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FAITHFUL TRANSLATION IN SAPARDI DJOKO
DAMONO’S POETRY TRANSLATED BY HARRY AVELING
A Thesis
Submitted to Letters and Humanities Faculty
in Partial Fulfillment of the Requirements for
The Degree of Strata One
Ina Mutmaina
108026000053
ENGLISH LETTERS DEPARTMENT
LETTERS AND HUMANITIES FACULTY
STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH
JAKARTA
2015
i
ABSTRACT
Ina Mutmaina: Faithful Translation in Sapardi Djoko Damono’s Poetry
Translated by Harry Aveling. Thesis: English Letters Department of Adab and
Humanities Faculty, UIN Syarif Hidayatullah Jakarta, November 2014.
The study in this paper aims to show that a good translation of poetry
provides the reader with a similar effect to that gained by reading the original text.
It draws upon the importance of faithful translation in Sapardi Djoko Damono’s
poetry: Sihir Hujan and Yang Fana adalah Waktu translates into Black Magic
Rain and Time is Meaningless that translated by Harry Aveling. So, the messages
that the author’s SL write can be conveyed very well both the readers SL and TL.
The method used in this paper is descriptive qualitative analysis in which
the writer describes the method of translator to transfers the poetry from
Indonesian into English and componential analysis based on Newmark theories
about faithful translation and the criteria of translation poetry assessment used by
Nababan that used three instrument such as: Accuracy-rating instrument,
Readability-rating instrument, and Instruments for measuring the acceptability of
a text that used by the writer to measure the quality of translation from data
analysis.
From the analysis concludes that 99,37% of lines-stanza in this poetry is
faithful translation by comparing the structure grammar, word, and phrase is
accurate, readability, and acceptable. Then, 0,63% of other lines in poetry of Sihir
Hujan are not conveyed as faithful translation and not meet the three criteria
instrument of translation assessment. Besides, the method used by the translator to
get the translation appropriate with expressive and aesthetic values both in the SL
and TL. Such a translation contributes to the development of literary works
through professed cases of intellectuality, without distorting the original text.
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, June 2015
Ina Mutmaina
v
ACKNOWLEDGEMENT
Praises to Allah SWT for all his favor and guidance of living things from
being nothing to existence. Many salutation and benediction be upon the greatest
prophet Muhammad SAW, his family, companions, and adherents realize that
surely owes much many people materially, scientifically, and spiritually.
On this occasion, the writer would like to express her gratitude and say
many thanks to her family, especially for her beloved parents, M. Iskandar and
the lade of Cucu Supinah. Thanks for their spirit, motivation, financial, moral, and
spiritual. “Thank you very much; I hope you are proud of my graduation”. The
writer also wants to say thanks to her brother and sister, Sri Wahyuni Fajar Wati,
Asep Hidayatullah and the lade of Muhammad Rizky Shahab .
This thesis could not be completed without a great deal of help for many
people, especially Mr. Abdurrosyid, M. EIL. as the writer thesis advisor, thank
you very much for the guidance, patient, support, kindness, contribution,
correcting, and helping him in finishing this thesis. Without his guidance this
thesis would not be completed well.
The writer also had been supported by several people, and the writer would like to
express her gratitude to:
vi
1. Prof. Dr. Sukron Kamil, M, Ag. The Dean of Letters and Humanities faculty,
Syarif Hidayatullah State Islamic University, Jakarta.
2. Mr. Dr. H. Muhammad Farkhan, M.Pd, the Assistant of Dean of Letters and
Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta.
3. Drs. Asep Saefuddin, M. Pd, the head of English Letters Department. Mrs.
Elve Oktafiyani, M. Hum, the secretary of English Letters Department.
4. All lecturers of English Letter Department, especially Mrs. Maria Ulfa, Mr.
Moh. Supardi, M. Hum who teaches in translation class, who always give
much of knowledge’s about translation science.
5. The writer’s friends especially Dede, Raisa, Fahyuni, Sylvi, Lily, Laily,
Nurma, Suci Gusrimarni, Lidyawati, Mira, Endah Dwi P, Nenden, Lia, Omeh,
Atina, Nofi, Putri, Desi, Ambar, Leny, Aliah, Irma for all their loves and
supports; and all of her classmates in the translation class.
The writer realizes that there are so many mistakes in this thesis. The writer
hopes the readers of this thesis give any suggestions, comments, and advices to
make this thesis perfect.
Jakarta, June 2015
The writer
vii
TABLE OF CONTENTS
ABSTRACT .......................................................................................... i
APPROVAL SHEET ........................................................................... ii
LEGALIZATION ................................................................................. iii
DECLARATION .................................................................................. iv
ACKNOWLEDGEMENT ................................................................... v
TABLE OF CONTENTS ...................................................................... vii
CHAPTER I. INTRODUCTION
A. Background of the Study ..................................... 1
B. Focus of the Study ............................................... 6
C. Research Question ............................................... 6
D. Significance of the Study .................................... 7
E. Research Methodology ........................................ 7
1. Objective of the Research ................................ 7
2. Method of Research ....................................... 7
3. Technique of Data Analysis............................. 8
4. Instrument of the Research ............................. 8
5. The Unit of Analysis ........................................ 8
6. Time and Place of the Research....................... 9
CHAPTER II. THEORETICAL FRAMEWORK
A. Translation .......................................................... 10
viii
1. Definition of Translation .............................. 10
2. The Process of Translation .......................... 12
3. Translation Method ...................................... 13
B. Faithful Translation ............................................. 15
C. Poetry Translation .............................................. 27
1. Definition of Poetry Translation .................... 27
2. Poetry Translation Approaches........................ 29
3. Translation the Literary Works ........................ 32
CHAPTER III. RESEARCH FINDINGS
A. Data Description .................................................. 35
B. Data Analysis ....................................................... 37
C. Discussion ............................................................ 54
CHAPTER IV. CONCLUSION AND SUGGESTION
A. Conclusion ........................................................... 56
B. Suggestion ............................................................ 57
BIBLIOGRAPHY ................................................................................. 59
APPENDICES ....................................................................................... 61
1
CHAPTER I
INTRODUCTION
A. Background of The Study
Nowadays, science and technology is growing rapidly. There is new
information and discovery in all fields. It is caused lack of understanding and
difficulty in capturing information / messages from the media using a foreign
language. For example, literary works are much in demand by the public both
national and international. The translation is the absolute way to realize a universal
literature.
Translation is an absolute necessity in the era of information and
communication that rushed in this moment. Translation process and its results can be
seen scattered in all areas from education to entertainment, politics, economics, and
so on. Includes, books, novel, newspaper or audio-visual works, such as movie and
various other information that are not in the original language that needs a translation
process.
Translations do not only have an important role in literature, but also, play a
role in the development of language as a tool of communication around the world.
Translating activity has contributed as an effort to fulfill the function of language,
both Indonesian and other languages. Thus, the translation is very influential to all
aspects of human life.
2
Nida and Taber in their books state that translating consist 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.1 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 the translation activity of course there something that needs to be
considered, one of them are the word choices very most important to make the
translation results not ambiguous. Translation activity can be performed to determine
the structure of understanding a foreign language. As proposed by Finlay in a book
written by Maurits Simatupang that “...translation into a foreign language can be and
is an excellent exercise for one‟s understanding of the foreign language structure. It
is, however, that as such it should be indulged in, not as professional activity.”3
A translation result can be considered successful if the messages, thoughts,
ideas, and concepts that exist in the source language can be delivered into the target
language as a whole. This will be difficult because of differences in language systems
and cultures between the source language and target language. Dick Hartono in the
book by A. Widyamartaya said “The need of translating books is not a sign of
backwardness. But, it is a sign of openness to participate in information exchange.”4
1 E. A Nida and Taber, The Theory and Practice of Translation (Den Haag: Brill, 1974), p.
12 2 Peter Newmark, Approaches to Translation (London: Prentice Hall, 1988),p.7 3 Maurits Simatupang, Enam Makalah tentang Penerjemahan (Jakarta: UKI Press, 1990),
p.30 4 Widyamartaya. A, Seni Menerjemahkan (Yogyakarta: Kanisius, 1989),p. 9
3
Translating a text is not only in scientific fields but also in non-scientific
fields. One of them is translating poetry. In some ways, reading poetry is much like
reading fiction, such as observing details of action and language, making connections
and inferences, and drawing conclusions. We also bring to poetry some intellectual
and emotional dispositions. The same general experience with life and literature that
we draw on in reading fiction. In addition, there is something different about reading
poetry.5
Poetry is the most personal and concentrated of the four forms, no
redundancy, no phatic language, where, as a unit the word has greater importance
than any other type of text.6 Poetry can be said as an extraordinary literary works. As
one of literary works, poetry has a special characteristic. Not like words in prose
which have descriptive character, the words in poem have very solid meaning. So the
density of word make a word in poetry has many kinds of meaning or sense.
The sense of word is specific meaning that has in a given context. Most words
have more than one sense.7 In addition, Kanya Puspokusumo stated:
8
“To translate is one thing; to say how we do it, is another. Translating poetry
without losing its beauty maybe is the most difficult thing. Because when we
try to do it, we cannot just take a dictionary and find the words we need and
apply them. We need more than that. The privilege of poetry forces us to
find some appropriate translation methods, i.e. methods that can help us to
5 Robert DiYanni, Literature, Approaches to Fictions, Poetry and Drama (New
York:McGraw - Hill Companies, Inc. 2004),p. 524 6 Peter Newmark, A Textbook of Translation (London: Prentice Hall, 1988),p.163 7 Seymour Chatman, an Introduction to The Language Poetry( Boston: Houghton Mifflin
Company,1968), p. 3 8 Kanya Puspokusumo, Language and Journal Tourism of STBA Yapari, Bandung, 2008.
4
transfer language from the source to the target language without losing its
meaning and its beauty. Translating poetry without losing its beauty is not s
nonsense job. We only need to „know how‟ to do it.”
In Indonesia many famous and great poets are Chairil Anwar, Goenawan
Muhammad, WS. Rendra, Sanusi Pane, H.B. Jassin, H.K.S, Tatengkeng, Muhammad
Yamin, and the famous poets is Sapardi Djoko Damono. Sapardi Djoko Damono, he
was born in Solo, Central Java on 20 March 1940, and graduated from University of
Gajah Mada Yogyakarta, in English Language and Literature in 1964. Since then, he
has taught at a teacher's college in madiun (1964-1968), University of Diponegoro,
Semarang (1968-1974), and University of Indonesia, Jakarta (from 1974). He has
been involved with the editorship of the major literary magazines Basis (1969-1975)
and Horison (from 1973).
The publication of Sapardi‟s first poetry collection, dukaMu abadi (Your
Sorrow is Eternal) in 1969 may in a way be seen as a rebirth of Indonesian lyric
poetry-fter a period of rough ideological rift during the 1960s. With clear, unadorned
language and delicate inwardness, Sapardi‟s poetry are in sharp contrast to the
slogan-ridden language of the then ideologically polarised Indonesia. Those turbulent
times saw Sapardi finding his own voice in brief, limpid poems with simple yet
pregnant imagery from everyday life. By the early 1970s he had already emerged as a
master of profound simplicity.
Among his famous poetry collections are Mata Pisau (1974), Perahu Kertas
(1983), Hujan Bulan Juni (1994), Arloji (1999), Ayat-Ayat Api (2000), Mata Jendela
(2001), etc. Besides, there some his poets translated into English by foreign translator
5
such as: Sihir Hujan (Balck Magic Rain) by Harry Aveling at National University of
Singapore in 1994, Water Color Poems, by John H. McGlynn, Temprint, Jakarta,
1986, Suddenly the Night, by John H. McGlynn, Lontar Foundation, Jakarta, 1988,
Before Dawn, tr. John H. McGlynn, Lontar Foundation, Jakarta, 2005, etc.
Those literary works from Sapardi Djoko Damono above, the writer will
analyze about faithful translation in two poetry: Sihir Hujan and Yang Fana adalah
Waktu translated by Harry Aveling into Black Magic Rain and Time is Meaningless.
For instance, The source language (SL) “Sihir Hujan ” is translated into
“Black Magic Rain‟; the word “Black” in target language (TL) is a unity with the
word of “magic” in TL. In this context, the word “Black” is not about color but it is
refers to something mysterious activity which is represent to the word “sihir”. While,
sihir can be defined as 1) Perbuatan yg ajaib yg dilakukan dengan pesona dan
kekuatan gaib (guna-guna, mantra, dsb): ia terdiam spt kena --; 2) Ilmu tentang
penggunaan kekuatan gaib; ilmu gaib (teluh, tuju, dsb).9 The translator uses
expressive and aesthetic function through the word “Black” so that the title of this
poetry is faithful with the source language (SL). The author SL makes the rain such a
metaphor which contains the message that he (author) tries to deliver both his idea
and experience, especially about life that correlated with God and the nature. Besides,
the poetry of “Black Magic Rain” (sihir hujan) represents the distinctive about
beauty, strength, and understatement which is most of characteristic Sapardi‟s poetry.
9 Pusat Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia, Edisi Keempat (Jakarta: Gramedia Pustaka Utama, 2008), p. 1303
6
In this poetry will move within the controlled range of imagery such as to show
splendor of nature. But the main purpose of translator wants to share is messages that
can be delivered very well although it uses different dictions.
Moreover, other object of poem is Yang Fana adalah Waktu into Time is
Meaningless. Grammatically, the TL structures are different with the SL but it does
not important because the translator wants to keep the SL‟s message. So, this problem
makes the writer challenges to research. That poetry is supposed to be faithful in the
TL based on theory of faithful translation. The writer thinks that there many
differences between the SL and TL. This research entitled “Faithful Translation in
Sapardi Djoko Damono’s Poetry Translated by Harry Aveling)”.
B. Focus of the Study
Based on the background of the study, the writer will focus on method
translation, especially in faithful translation to analyze the meaning from source
language (SL) and express the same message into the target language (TL) in Sapardi
Djoko Damono‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu
(Time is Meaningless). This research is limited to get good translation.
C. Research Question
The problems that will be analyzed in this study are formulated through the
question:
1) What kind of translation method used in two Sapardi‟s poetry: Sihir Hujan
(Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless)?
7
2) How the result of translation method used in two Sapardi‟s poetry: Sihir
Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless)
are become faithful translation?
D. Significance of the Study
This research will be beneficial for the writer and the readers knowledge and
as a concrete contribution for all of students of English Letters Department who
increase their ability in translation streams. Besides that, they can know how to
identify the method of translation used in a literary works, especially about faithful
translation in poetry.
E. Research Methodology
1. Objectives of the Research
According to the research question above this study aims to:
1) Find out the kind of method of translation used in two Sapardi‟s poetry: Sihir
Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless)
based on Newmark‟s theory.
2) Describes the method of translation result in two Sapardi‟s poetry: Sihir
Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless)
are faithful translation based on Newmark‟s theory.
2. Method of the Research
In this research, the writer uses descriptive qualitative method. Data collection
done by using comparative method between the SL and TL. The writer focuses on
8
method of translation, especially in faithful translation. From the comparative result
the writer wants to know the meaning of each line in two Sapardi‟s poetry is
supposed to be faithful translation.
3. Technique of Data Analysis
The data are qualitatively analyzed using relevant theories. To analyze the
data, the researcher uses the following steps:
1) Reading all the content of two poetry from source language (SL) into target
language (TL).
2) Identifying the correct method used in two Saprdi‟s poetry.
3) Comparing the SL‟s text and TL at the level of word and phrase on each
stanza are faithful translation or not.
4) Making sure to look up reliable dictionaries to find out whether the meaning
TL is suitable with the SL or not.
5) Discovering whether there an addition or reduction is done by the translator
based on Newmark‟s concept about faithful translation.
4. Instrument of the Research
The instrument of this research is the writer herself by reading, collecting
words, phrases, or sentences in the TL which has the same meaning with the SL.
Then, comparing between SL and TL from the original poetry.
9
5. Unit Analysis
The unit of this analysis is two of Sapardi Dojoko Damono‟s poetry are Sihir
Hujan and Yang Fana adalah Waktu. Translated into English by Harry Aveling
becomes Black Magic Rain and Time is Meaningless.
6. Time and Place of the Research
The writer started doing the research from July 2013 up to December 2014 in
English Letters Department, Letters and Humanities Faculty, State Islamic University
of “Syarif Hidayatullah Jakarta, and the writer‟s house.
10
CHAPTER II
THEORITICAL FRAMEWORK
A. Translation
1. Definition of Translation
Basically, the definition of translation is the process of transferring messages
from one language into other languages, but there are other definitions of translation
such as described in Oxford dictionary which tells that the meaning of translation is
the process of changing something that is written or spoken into another language.
Besides those two definitions, there are still some definitions of translation from
some scholars as follows:
Peter Newmark defines, “Translation is rendering the meaning of a text into
another language in the way that the author intended the text.”10
Nida and Taber say that “Translation consist in reproducing in the receptor
language the closest natural equivalent of the source language message, first in terms
of meaning and second in term of style.”11
J.C Catford states that “Translation may be defined as the replacement of
textual-material in one language (SL) by equivalent textual material in another
10
Peter Newmark, Approaches to Translation (London: Prentice Hall, 1981),p.5
11 E. A. Nida and Charles R. Taber. The Theory and Practice of Translation. (Leiden: E. J.
Brill, 1974), p. 12
10
11
language (TL)” 12. In addition the theory of translation is concerned
with a certain type of relation between languages and consequently a branch
of comparative linguistics.
In other hand, Newmark defines, Translation is a craft consisting in
attempts to replace a written message and or statement in one language by the same
message and or statement in another language.13
Thus, he agrees that the
meaning is something which transferred in a translation to be able
to achieve the equivalent effect, not the form.
From some definitions above can be conclude that the definition of translation
is a process of transferring the messages SL into TL. The translators
have to avoid translating by using method one by one translation
because translation basically gives the messages SL into TL. Besides, in
translating a text, the translator is an important factor that affects the result of
translation itself. The translator should have reliable knowledge and
experiences about both the SL and TL or about the textual and contextual aspects. If
a translator does not have what the writer mentioned before, it
will cause the result of translation misunderstood for the readers. Besides, the
dictionaries used by translators have to be completed, the translator
12
J. C Catford, A Linguistic Theory of Translation (London:Oxford University Press, 1965),
p.20
13
Peter Newmark, Approaches to Translation (London: Prentice Hall, 1981), p.13
12
needs to compare the meanings in different dictionaries to get reliable
meanings.
2. The Process of Translation
Translation is the process that is done step by step. Larson said that there are
three steps in translating:14
1. Studying the lexicon, grammatical structure, communication situation, and
cultural context of the source language text.
2. Analyzing it in order to determine its meaning.
3. And then reconstructing this same meaning using the lexicon and
grammatical structure which are appropriate in the receptor language and its
cultural context.
Nida and Taber propose the process of translation and its illustration as
follows: 15
a. Analysis, in this step, the translator explores 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.
14 Frans Sayogie, Teori dan Praktek Penerjemahan Bahasa Inggris ke dalam Bahasa
Indonesia)(Jakarta: Pustaka Anak Negeri, 2009), p. 21
15 E. A. Nida and C Taber, The Theory and Practice of Translation (Leiden: E. J. Brill,
1982), p. 33.
13
c. Restructuring, the sense that has been transferred is restructured in order to
make the final message fully acceptable in the receptor language.
3. Translation Method
According to Molina refers to the translation method how to perform a
translation process that is use to express purpose of translators. For example,
selection of translators in general which affect the whole text " Translation refers to
the way a particular translation process is Carried out in terms of translator`s
objective “.16 There are several translation methods used, its use depends on the
purpose of translation. The translators often apply one method translation in
accordance with the type of text. Newmark divided into eight translation methods, as
follows.17
SL emphasis TL emphasis
Word-for-word translation (1) (5)Adaptasi
Terjemahan Harfiah (2) (6) Free translation
Faithful translation (3) (7) Idiomatic translation
Semantic translation (4) (8) Communicative translation.
Gambar 3 : Diagram – V Newmark (1988:45)
16 Molina, Lucia & Hurtado, Amparo, Transalation Techniques Revisited: A Dynamic and
Functionalish Approach Meta, Vol.47, n.4. p. 498-512. 17
Peter Newmark, Approaches to Translation (London: Prentice Hall, 1981), p. 45-47.
14
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 the 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-realization of the SL writer.
4. Semantics translation
Semantic translation differs from ‘faithful translation’ only in as far as it
must take more account of the aesthetic value (that is, the 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.
15
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 comprehensible to the readership.
16
B. Faithful Translation
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 completed faithful to
the intentions and the text-realization of the SL writer.18
For Instance, ada dua
orang wanita hamil yang sama sama hamil di tahun yang sama can be translated into
there were two pregnant women. This sentence is less included as faithful translation
because it does not follow the whole of original context (SL). It should be translated
into there were two pregnant women at the same time. The translator must realize that
he is only translator and not original writer, even an adapter. He is media who bridges
people’s thought. So the grammar and meaning should be survived. In others
example from Chairil Anwar’s poetry titled Adakah Suara Cemara translated into Is
it Sound of Pines:
SL : Adakah suara cemara
Mendesing menderu padamu
Adakah melintas sepintas
Gemersik dedaunan lepas
TL : Is it the sound of the pines
That hiss and roar at you
Is it the fleeting passage
Of rustling leaves
18
Peter Newmark, Approaches to Translation (London: Prentice Hall, 1981), p. 143
17
Analysis the poetry above that the structure formed is quite enough. The
poetry written in three stanzas have the same number of rows-in-four lines of each
stanza. This poetry uses a lot of imagery auditory. It is very right to consider purpose
the writing of poetry about the beauty of “music” nature. These lines in third stanza
and this poetry uses the words that stimulate the senses of hearing, such as: "sound",
"whooshing", "roaring", and "calling". In poetry “Is it the Sound of Pines”, the
imagery is translated correctly be "sound", "hiss", "roar", and "Knell". So, in terms of
the uses of imagery in poetry “Is it the Sound of Pines” is a good translation or
faithful translation. Each TL’s message managed to retain the meaning of the SL. In
other words, the translation of the poetry able to fulfill the requirements of Fidelity.
Faithful basically defines true and accurate, not changing anything.19
It also
tries to be completely to the intention and text-realization of the SL. Finally, analysis
of the source text in terms of grammatical relationships and analysis in terms of the
meaning of words are related each other to get the best result of translation in the
combination of words.
Faithful translation also preserve in some aspects of text (grammar and
meaning).20
in the texts of law and poetry, faithful translation focuses on the form
19
Hornby, A. S, Oxfrord Advanced Learner’s Dictionary of Current English (New York:
Oxford University Press, 2000),p. 475
20 Beny Hoedoro Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT. Dunia Pustaka Jaya,
2006), p. 57
18
aspects, so the translator can easily to translate by using faithful form based on the
SL, without changing the aspects.
The perfection in translating is grammar and meaning from the SL and it must
be in its result (TL). The perfection is an idealist thought and not always achieved
very well, but it has to effort to get the best result of translation. In this case, the
translator is able to choose faithful in vocabularies, structures, grammars, or style in
the SL. Nonetheless, the faithfulness has to be limited by understanding the context
and naturalness because different languages also have different cultures. It aims not
to destroy the translation.
Translation is not original works, but the translator in the process of
translation must try to obey faithful concept in the original text (SL). Faithful, in this
case, means there is a relationship which is expected between the SL and TL that is
not too literal and also not too free. This situation wants a translator must really to
master both intrinsic and extrinsic aspects in a work that he or she translate.
To know in faithful translation, there is guideline to be good translator. In
short, faithful is based on relationship among the writer’s intention (original text),
target language, and the readers (can be the listeners) TL. Parameter, in this case, can
be explained as below:21
1. The writer, when making literary works, has particular intention. This
means that the translator has to look for the writer SL’s intention and it
21 Benny Hoedoro Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT. Dunia Pustaka Jaya,
2006), p.25-26
19
can be done by understanding text, original information in work, style of
language, and connotation that he uses.
2. In reproducing messages from the SL, the translator must look for
equivalence (specific diction) in the TL.
3. The readers TL are different communities with the readers SL, this
means: that there are differences of culture, language, and perception.
The translator also should try, at his best, to transfer these values into the TL.
As one genre of literature, poetry has something special comparison to the others. In a
poem the beauty is not only reached through the choice of words and figurative
language like in novels and short stories, but also with the creation of rhythm, rhyme,
meter, and specific expression and structures that may not conform to the one’s daily
language. In short, the translation of poetry or song work needs ‘something more than
translating other genres of literature.
This kind of translation is used to translate art and literature objects, such as
prose, poetry, drama or opera, descriptive stories, film and etc. in translating these
objects, they are usually faithful on form of expression the SL’s; it aims to the
original message and impression from the SL. The translator must have capability to
catch the atmosphere which happens in the SL: it is sometime covered by explicit
language, so the translation does not seem like a translation. Nevertheless,
translations of literature objects have to be handled through poet’s skills to create
impressive translation in the TL.
20
Translation of art and literature must be given priority in figurative languages
and it purposes to clear the meaning from the SL. Error in translation of art and
literature makes the reader TL do not understand what the real message that the
translator deliver, so it can destroy its original text.
Faithful translation must have same message as the SL. A translator must also
know how to give information about the message SL to TL exactly and it has to obey
grammatical forms in the TL. As Nida and Taber said that meaning must be given
priority, for it was the content of the message which was of prime importance for
translating text.22
To measure the same message between The SL and TL, the translator should
use whole measurements, such as words, phrases, or sentences which have been seen
functionally. Source language must be read totally and understood messages
generally. Important parts should be marked, either in structure, meaning, style or
message, so the result of translation can be read very well.
a) The Translation Assessment
Talking about a good translation of course closely relates to the quality.
House said that judgements of the quality of a translation assessment depend on a
large variety of factors that enter to any social evaluative statement.23
The success of
22 E. A Nida and Charles R. Taber, the Theory and Practice of Translation (Leiden: Brill,
1982), p. 22
23 Julian House, Translation Quality Assessment: Linguistic Description versus Social
Evaluation (Hamburg, Germany: University of Hamburg, 2001) p, 254
21
translating poetry are depends on some criteria that used by the translator. These
criteria may assess that the translation of poetry can be succeed while the criteria of
translation can be known by the quality of translation. Meanwhile, translation quality
can be determined by several techniques of evaluation. Nida and Taber stated that
the quality of the translation can be measured by (a) using techniques gaps, (b) asking
the reader response to the passage of translation, (c) knowing the reaction to the
reading of scripture reader the translation, and (d) reading the translation out loud, so
that it can it is unknown whether his reading fluently or haltingly.24
To produce good-quality translation, the tramslator should make the renders
get an appropriate information with the real meaning in TL. Newmark said that: " a
good translstion fulfils it intention; in anvinformative text its success is measurable.
At least, in theory and therefore the effectiveness of anbadvertising agency translator
can be shown by result; in an authoritative or an expressive, form is almost as
important as content, there is often a tension between the expressive and aesthetic
functions of language and therefore merely 'adequate' translation may be useful to
explain what the text is about, but a good translation has to be 'distinguished' and the
translator exceptionally sensitive".25
24 E.A Nida & Taber, The Theory and Practice of Translation (Leiden: E.J Brill, 1969), pp.
168-173 25
Peter newmark, A Textbook of Translation (New York: Prentice HallInternational, 1988),
p.15
22
Meanwhile, Larson said that the quality of the translation divided into four
aspects, namely (a) reason for the assessment, (b) the person who assesses, (c) how to
make an assessment, and (d) the use of assessment results.26
Assessment is performed to determine the accuracy, clarity, and fairness
translation. This work can be done by translators themselves, special appraisers,
consultants, and reviewers. Fourth parties can judge the quality of a translation by (a)
comparing a translation with the source, (b) translating back to the source, (c) assess
an understanding of translation, (d) to measure legibility of the source, and (e) assess
the consistency of the translation.27
According to Rochayah Machali, translation assessment carried out on the
product not the process. In the assessment of translation, which needs to be
understood is the term and aspect of the assessment; (1) accuracy (linguistics,
semantics, pragmatics), (2) the reasonableness of expression, (3) terminology, and (4)
spelling. Assessment criteria; assigned to each terms or aspect of the assessment
either positively or negatively. Method of assessment; divided into two, namely
common ways (relative can be applied to all types of translation) and a special way
(for special text types such as text fields of law or poetry. Assessment translations
conducted on the presence and magnitude of the deviation happens referential
meaning.28
26 Mildred L. Larson, Meaning-based Translation: A Guide to Cross-Language Equivalence,
(New York: New York University Press), pp.168-173
27 Syihabuddin, “Studi Tentang Kualitas Terjemahan dan Implikasinya terhadap Pengajaran
Menerjemah”, Journal Program Studi Bahasa Arab, (FPBS, UPI: Bandung, 2005), pp. 2-3. 28 Rochayah Machali, Pedoman bagi Penerjemah: Panduan Lengkap bagi Anda yang Ingin
Menjadi Penerjemah Profesional (Jakarta: Grasindo, 2000), p. 147-148
23
Larson in Frans Sayogie’s book (2009) said that there are three things that
need to be considering in the assessment, namely:29
1. Accuracy, a translation said has accuracy when not deviate from the
content or information contained in the original text of the source
language.
2. Clarity, a translation has good clarity is that the translation can be
understood easily by readers.
3. Naturalness, a translation has naturalness means that the translation uses
sentences that are subject to the rules of the target language rules and
familiar to readers
Same as with Larson, Barnwell in Suryawinata (2003) said that whether or not
of the appropriateness of the translation depends on three components, namely:30
1. Accuracy is the accuracy of the source language message means
understanding the appropriate and as accurately as possible diversion
meaning of the message in the target language.
2. Clarity means that there are several ways of expressing an idea clearly.
3. Naturalness means that the translation was effective and high level of
acceptability. Translation should not feel dry or sounds odd.
29 Frans Sayogie, Teori dan Praktek Penerjemahan (Jakarta: Pustaka Anak Negeri, 2009),
p.153
30 Zuchridin Suryawinata & Sugeng Hariyanto, Bahasa Teori dan Penuntun Praktis
Menerjemahkan (Yogyakarta: Penerbit Knaisius, 2003), p.160
24
b) Nababan’s Translation Assessment Methods
The quality of a translation is difficult to measure quantitatively. Most
researchers used two instruments to measure the quality of the translation. Both
instruments are (1) Accuracy-rating instrument and (2) readability-rating instruments.
However, in this study there is still one more (3) Instruments for measuring the
acceptability of a text. Accordance with its name, the instrument (1) is used to
measure the quality of the translation of accuracy, while the instrument (2) is used to
measure the level of readability and that to (3) to measure the acceptability of the
text.31
Table 1. Scale and definitions Translation Quality Assessment (Accuracy-rating
instrument)
Scale Definition Conclusion
3 The content of the source sentence is
accurately conveyed into the target language
sentence. The translated sentence is clear to
the evaluator and no rewriting is needed.
Accurate
2 The content of the source sentence is
accurately conveyed to the target sentence.
The translated sentence can be clearly
understood by the evaluator, but some
rewriting and some change in word order are
Inaccurate
31 Nababan, M.R . Teori Menerjemah Bahasa Inggris. (Yogyakarta : Pustaka Pelajar,2003),
p. 60-63
25
needed.
1 The content of the source sentence is not
accurately conveyed to the target sentence.
There are some problems with the choice of
lexical items and with the relationships
between phrase, clause and sentence element.
Not Accurate
The table above shows that the measuring of instrument adheres to the level of
translation equivalence scale of 1 to 3. The higher the score has given to the key
informants, the more accurate the resulting translation. Otherwise, the lower the score
has given the lower level of the translation equivalence.
The second instrument, readability-rating instrument, the degree of ease of an
article to be understood his point. The high writing of readability is easier to
understand than the lower. Otherwise the lower writing of readability is difficult to
read. Readability depends on ketedasan and kejelahan. Ketedasan readability
associated with language, which is determined by the choice of words, sentences
wake paragraph composition, and other grammatical elements. Kejelahan related to
readability letter, which is determined by letters, line density, width of sembir, and
other visual elements of system.32
32 Adjat, Sakri. Bangun Kalimat Bahasa Indonesia (Bandung: Penerbit ITB, 1994), pp.
165-166
26
Assessment aimed at determining the readability of subtitles should be handed
over to the reader. Let the readers of the target language text that determines whether
the translation they read very easy, easy, difficult or very difficult for them. Because
an understanding of the reader to fill in the target language text is largely determined
by the background knowledge, reader’s poll as assessor text readability level should
be done with caution. If the translated text is a text that will be evaluated in the field
of literature, for example the assessor of readability level should be the ones in charge
or cultivate the field of literature because in essence they are being targeted or a
major consumer of the text.
Table 2. In the assessment readability of translation Nababan give a guidance
table of Readability Rating Instrument used as a benchmark:
Scale Definition Conclusion
3 Word, phrase, clause, and sentence translation
can be understood easily by the reader.
High readability
level
2 Generally the translation can be understood by
the reader; however there are certain parts that
should be read more than once to understand
translation.
Medium
readability level
1 Translation difficult to understand by the
reader.
Low readability
level
27
Achieving an adequate degree of readability the text should be the purpose of
the translation. According to Richard readability is how easily written materials can
be read and understood.33
A similar thing also expressed by Dale and Chall, that
readability is an overall of element texts in affects to the reader understanding.34
The third instrument is acceptablity. Acceptability referred to also as the
norm, which is a phrase or specific terms deemed customary and reasonable in a
particular community. This means that we can, a phrase or term is considered
prevalent in a community, for other communities such expressions or terms to be
uncommon. Because of its very relative, testing the acceptability of a translation done
by asking specific community members assess the translation or not considered
prevalent in the community. Given the terms that will be examined in this study is the
medical term in the medical books medicine community members used as an
appraiser acceptance of the translation.
Acceptance of the level of acceptability the translation should be done by
people who have expertise in the field of translation. Besides that, he must have a
very high sensitivity to the rules, norms and prevailing culture in the target language.
However, he must represent the target reader in determining whether a translation
acceptable or unacceptable to the target reader.
33 Ricard, Jack, John Platt and Heidi Weber . Longman Dictionery of Applied Linguistics
(London: Essex. Longman Group Ltd, 1990), p.238 34 J. Flood (ed), Understanding Reading Comprehension (New York, DE: International
Reading Association, 1984), p. 236
28
Table 3. Measuring Instrument of Acceptability Level Translation
Scale Definition Conclusion
3 Translation feels natural; technical terms used are
commonly used in their field and familiar to the
reader; words, phrases, clauses, and sentences that
are used are in accordance with the rules of language.
Acceptable
2 Translation generally feels natural; but there is a little
problem in the use of technical terms or grammatical
errors occur slightly.
Less
acceptable
1 Translation unnatural or feels like a work of
translation; technical terms used are not commonly
used and familiar to the reader; words, phrases,
clauses and sentences are not in accordance with the
rules of language.
Not
acceptable
C. Poetry Translation
1. Definition of Poetry Translation
Poetry defines as a kind of language that we can say more intensive that what
said by using daily language. Poetry is more different than novel or drama. Its
difference can be concerned from full composition and restrictive convention, so that
poetry does not give a space for poets to create their language freely and is signed by
using a few words, but it express something much more.35
35
Siswantoro, Metode Penelitian Sastra; Analisis struktur Puisi (Yogyakarta: Penerbi
Pustaka Pelajar, 2010),p. 23
29
Peter Newmark said that poetry is the most personal and concentrated of the
four forms, no redundancy, no phatic language, where, as a unit, the word has greater
importance than in any other type of text. And again, if the word is the first unit of
meaning, the second is not the sentence or the proposition, but usually the line,
thereby again demon-strafing a unique double concentration of units.”36
Besides,
Calvin in Rodda defined poetry translation as bellow:37
The translation of any poem is necessarily a sort of cross-word puzzle because of
the necessity of attempting to reproduce the form, the meaning, and the feeling of
a work which was conceived in different form. When the poem has been set to
music and of making the right words come out on the right notes for the
expressive values of the poem is added to the problems of meter, rhyme, sense
and atmosphere, and the problem becomes a sort of three- dimensional
cross-words puzzle.
Robert DiYanni said that poetry is an art of condensation and implication;
poems concentrate meaning and distill feeling.38
Poem is a piece of writing in which
the words are chosen for their sound and the images they suggest, not just for their
obvious meanings. The words are arranged in separate lines, usually with a repeated a
rhythm, and sometimes the lines rhyme at the end.39
36
Peter Newmark, A Text Book of Translation (New York: Prentice Hall, 1988), p.163
37 Anne E. Rodda, “Translating for Music: The German Art Song”, Translation Spectrum;
Essays in Theory and Practice, ed. Marilyn Gaddis Rose (New York: State University of New York
Press, 1981), p. 150
38 Robert Diyanni, Literature: Reading Fiction, Poetry and Drama (New York: McGraw
Hill, 2002), p. 670
39 Hornby, AS, Oxford Advanced Learner’s Dictionary (New York: Oxford University Press,
2003), p. 1013
30
Poetry is the most compressed form of literature books may describe
thousands of objects with thousands words, but poetries describe thousand of objects
with fear words only. It is written in sentence. Therefore, the way to understand
poetry may be more complicated than that to understand a book.
The definition above proves that poetry translation must give the best result;
both in the content and form because poetry presents the thing in order to convey a
feeling, a behavior, and a view of life as well as itself. Moreover, poetry has several
elements (universal, culture, personal sources), so that the translator of poetry cannot
make any concession to the reader such as transferring the foreign culture to native
equivalence. Besides, Sayogie adds that poetry translation has double jobs; rendering
messages and forms must be reliable. It means that translation in poetry refers to
deliver messages as the SL does.40
There are two elements in literary works, especially in poetry. There are an art
and expression. In poetry, the art does not only achieve through diction, but the writer
produce rhythms, tones and significant emotions by particular expression.
Furthermore, what the writer writes is not based on grammar.41
40
Frans Sayogie, Teori dan Praktek Penerjemahan (Jakarta: Pustaka Anak Negeri, 2009),
p.212
41 Zuchridin Suryawinata & Sugeng Hariyanto, Bahasa Teori dan Penuntun Praktis
Menerjemahkan (Yogyakarta: Penerbit Knaisius, 2003), p. 159
31
2. Poetry Translation Approaches
Newmark adds that there are many steps to translate poetry easily. The first,
the translator decides to choose a TL poetic form (viz. sonnet, ballad, quatrain, blank
verse etc.) as close as possible 10 that of the SL, Although the rhyming scheme is part
of the form, its precise order may have to be dropped. Secondly, the translator will
reproduce the figurative meaning, the concrete images of the poem. Lastly the setting,
or sound-effect must be considered. The translator may use these steps to apply in
translating a text and also have to choose language poetic form in order to easy
translating.
In other sides, Hilaire Belloc in Basnet also laid down six general rules for the
translator prose text:42
1. The translator should not „plod on‟, word by word or sentence by sentence,
but should „always “block out” his work‟. By „block out‟ Belloc means that
the translator should consider the work as an integral unit and translate in
sections, asking him self „before each what the whole sense is has to render‟.
2. The translator should render idiom by idiom and idioms of their nature
demand translation into another form that of the original.
3. The translator must render „intention by intention‟, bearing mind that; the
intention of a phrase in one language may be less emphatic than the form of
the phrase or it may be more emphatic. By „intention‟, Belloc seems to be
42 Susan Basnet, Translation Studies Third Edition (New York: Rouledge Taylor and Francis
Group, 2002), pp. 116-117.
32
talking about the weight a given expression may be in a particular context in
the SL that would be disproportionate if translate literary into the TL. He
quotes several examples where the weighting of the phrase in the SL is clearly
much stronger or weaker than the literal TL translation, and points out that in
the translation of „intention‟, it is often necessary to add words not in the
original to conform to the idiom of one‟s own tongue.
4. Belloc warns against the words or structures that may appear to correspond in
both SL and TL but actually do not.
5. The translator is advised to “transmute‟ boldly and Belloc suggests that the
essence of translating is „the resurrection of an alien thing in a native body‟.
6. The translator should never embellish.
From general rules above, Belloc wants to stress that translator in literary
work (especially in poetry) must consider that a text is whole thing and is never
separated. He also admits that the translator also must be a person who makes faithful
translation in the SL. Furthermore, translators can also add or reduce words in
original text when translating in order to the result of translation can be suitable with
the messages and style rules SL. Finally, translation poetry should render its meaning,
and then its style.
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
33
where literal translation is usually condemned. In short, the translation of poetry need
‘something more’ than translating other genres of literature.
3. Translating the Literary Works
Basically, poetry translation should be semantic translation for a poem is
typically with aesthetic and expressive values. The translator may face the linguistic,
literary and aesthetic, and socio-cultural problems in translating it. The linguistic
problems include the collocation and obscured syntactic structure. The aesthetic and
literary problems are related with poetic structure, metaphorical, expression, and
sounds; while the socio-cultural problems arise when the translator translates
expression containing the four major cultural categories: ideas, ecology, behavior,
and products.
Translation literary works is, perhaps, always more difficult than translating
other types of text because literary works have specific values called the aesthetic and
expressive values. The aesthetic function of the work shall emphasize the beauty of
the words (diction), figurative language, metaphor, etc; while the expressive function
shall put forwards the writer’s thought (or process of thought), emotion, etc, and the
translator should try, at this best , to transfer the specific values into the TL. As one
genre literature, poetry has something special compared to the others.
34
Rhyme is one of the important elements in a poem. Rhyme is two or more
words which are ended with the same sound.43
There is an opinion which believes
that it is impossible to translate a poem, and that if it poetry is to be translated at all,
then prose the only medium for that purpose. The other factor of the difficulties of
translating the poetry is the poetry translation is always involves two factors: two
people (writer and translator), two languages and two literary situations.
Although there are many experts opposed, the poetry translation into poetry is
continually done by many people. But it must be noted in this case there is a
gradation of translating the poetry as stated by Holmes (1970), according to the
approaches that people used44
:
1. The first approach is to retain the original form poetry even though it is not
possible we retain the existing form in the SL if we divert it into TL, this is
because not two languages, however, are genetically close, that have an
absolutely similar of poetic forms. What the translator does in this case is the
form that is in the SL was imitated in the TL as good as possible. Therefore
this form of approach is called mimetic form approach.
2. The second approach uses analogical form; here the emphasis is on function
of the original form of poetry within the tradition of poetic language sources,
43 Elve Oktafiyani, Introduction to Poetry, Compiled from Understanding Unseens by M.J
Murphy for Introduction to Literature (Jakarta: English Letters Department UIN Jakarta: 2007), p. 5
44 James Holmes, “Forms of Verse Translation and the Translation of Verse Form”. Essays
on the Theory and Practice of Translation (Bratislava: Slovak Academy of Science: 1970), pp. 94-97
35
and then given the equivalent functions within the language of targets taking
into consideration the tradition of poetry in the language of those objectives.
3. The third approach is uses derivative content form. Here translator did not
consider the original of poetry: he/she uses the content of the poem as a
starting point. By using the content of poem as a basis, he/she is free to
determine the form of poetry translations that he/she wants to make.
4. The fourth type “unrelated” to the original poem, so it can be said this
approach is not translation approach. Inside this “the translator” simply uses
the original poem as an inspiration, and the metapuisi does not reflect the
original, both in form and in content.
36
CHAPTER III
RESEARCH FINDINGS
A. Data Description
In data description, the writer tabulated every line of poetry. The writer will
analyzes the word and the phrase that related to the meaning and form of two poetry
of Sapardi Djoko Damono: Sihir Hujan and Yang Fana adalah Waktu created 1994
and its translation: Black Magic Rain and Time is Meaningless translated by Harry
Aveling and published in the book Black Magic Rain at National University of
Singapore, Singapore in 1994. The form and the meaning of the poetry are related to
the method of translation about faithful translation and other changes that the
translator did in translating those poetry. The poetry is follows:
Table 4. Data of Analysis Poetry of Sihir Hujan into Black Magic Rain
No SL TL INDICATION
1 Hujan mengenal baik
pohon, jalan,
The rain knows the trees,
the roads,
Faithful
2 dan selokan- suaranya bisa
di beda-bedakan;
and the
gutters_recognises their
voices;
Unfaithful
3 kau akan mendengarnya
meski sudah kau tutup pintu
you will hear it, even
after you shut the door
Faithful
4 dan jendela. Meskipun
sudah kau matikan lampu
and the windows. Even
after you turn out the
light
Faithful
5 Hujan, yang tahu benar
membeda-bedakan, telah
jatuh di pohon, jalan, dan
selokan-
The rain, which knows,
falling
on the trees, roads and
gutters –
Unfaithful
6 Menyihirmu agar sama
sekali tak sempat mengaduh
weaving spells so no one
complains
Faithful
7 Waktu menangkap wahyu
yang harus kau rahasiakan
as it touches your deepest
secret
Unfaithful
36
37
Table 5. Data of Analysis Poetry of Yang Fana adalah Waktu into Time is
Meaningless
No SL TL INDICATION
1 Yang fana adalah waktu.
Kita abadi:
Time is meaningless. We
are eternal:
Faithful
2 memungut detik demi
detik, merangkainya
seperti bunga sampai pada
suatu hari
kita lupa untuk apa.
picking moment after
moment, threading like a
flowers until one day
we forget why.
Faithful
3 "Tapi, yang fana adalah
waktu, bukan?" tanyamu.
Kita abadi
“But, time is
meaningless, isn’t it?” ask you. We are eternal.
. Faithful
B. Data Analysis
From the data description above, the writer writes data that contains two
poetry in faithful translation. The writer analyze both in meaning, grammar, diction,
and any figurative language which are decided. Then, she compares two poetry
between source language and target language to find out the method of translation
poetry, especially faithful translation.
a. Poetry of Sihir Hujan and Black Magic Rain
1) Analysis of Stanza 1
These poetry divided into two stanza and four lines in every stanza. Stanza 1
contains the introduction or the beginning from the poetry.
SL : Hujan mengenal baik pohon, jalan,
TL : The rain knows the trees, the road,
38
The translator uses faithful translation to express the same feeling with the
author‟s SL. Grammatically, word “hujan” is a subject of noun in the first line is
transfer into “rain” and the translator adds “the” as determiner and uses simple
present tense. Uses faithful translation in this data is suitable to describe about the
distinctive beauty of rain that seems to be mysterious. In this line, there is an element
of metaphor and using imagery that is function to support the description about how
the rain implies to the magic is? The writer thinks this line uses imagery visual; in
which the author describes several objects such as trees, roads, Gutters make the
readers imagine the sights when it rains drenching the object. For example, in phrase
“hujan mengenal baik,” the word “mengenal” translated into “know” can be defined
as 1) to have information in your mind; 2) to be familiar with or have experience and
understanding of.45
Besides, the writer also argue about the phrase “hujan mengenal
baik pohon, jalan,” have metaphorical meaning in the TL. The writer argues that the
phrase "mengenal baik" refers to the word “hujan” where the rain likes a human that
can recognize other creatures. In this case the author treats the rain as a metaphor
itself. So, in this line the author wants to express the SL‟s message through metaphor
(use standard metaphor) and there is no change which the translator does
grammatically.
The translator attempts to explain what the author means; what the message
contained in this line that the writer thinks there is a hidden meaning to be conveyed
45
Cambridge University Press, Cambridge Advanced Learner’s Dictionary: Third Edition
(Singapore: Green Giant Press, 2009), p. 795
39
in phrase “hujan mengenal baik pohon, jalan,” that is related to our life that we must
learn how to live such as the rain that can respect to each object that is around even
the rain was able to explore aspects of human life that is often discounted, especially
the problems of life. In real life, people often avoids when they faced to difficult
situation in which a human being is equipped with the gift of a reasonable minds; the
man supposed to be known what is right and wrong. While, mengenal is defined as
1) mengetahui; kenal (akan); tahu (akan), 2) mempunyai rasa.46
Through the word
“mengenal” proves that human is expected to be more sensitive to everything around
them. As Newmark said that poetry present the things in order to convey the feeling,
in particularly, and however concrete the language each represents something else
__ a feeling, a behavior, a view of life as well as itself.47
So, the writer concludes that
there is no change between the SL and Tl message both grammatically and
semantically.
SL : dan selokan- suaranya dapat dibeda-bedakan
TL : and the gutters- recognizes their voices
The data analysis (2) is analyzed as unfaithful translation. For example, word
“selokan” in the SL translate into “gutters” in TL; gutter (n) defined as 1) the edge of
road where rain roof which collects and carries away rain.48
The TL translation
46
Pusat Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia, Kamus Besar Bahasa Indonesia Edisi ke Empat ( Jakarta: Gramedia Pustaka
Utama, 2008), p. 541
47 Newmark (1988), p. 5.
48 Cambridge University Press (2009), op. Cit., p. 643
40
renders with the SL. Then, the phrase “bisa dibeda-bedakan” in the SL does not
transfer into “can‟t be differentiated” because it will be less of aesthetic value in this
poem. Expressive and aesthetic values can make a good rhythm as its original text.
This reason is supported by Newmark that the translator has to decide whether the
expressive and aesthetic function of language in a poem or in one place in a poem is
more important.49
Then, the translator uses other diction to express the SL message
and transfers into “recognizes” in the TL because the writer analyze that the word
“recognizes” have closest meaning with the SL word. Besides that, the play of diction
is beneficial to create a good translation without losing its beauty of meaning in this
line. The word recognizes defined as 1) to know someone or something because you
have seen, heard or experienced them before.50
In a poetry, reduction is useful to
avoid an ambiguity of meaning in the TL as long as the translator uses the best
diction which is trying to keep equivalence meaning with the original text purpose.
The meaning in this data (2) “and the gutters- recognizes their voices” is still
related to the data before; “The rain knows the trees, the road,” in the TL. The SL‟s
message “the rain knows the trees, the road,” is described about the rain that more
sensitive to sounds that falls into the earth which can be recognized the difference of
sound can be represented something in our thoughts and feelings. Then, suara can be
defined as 1) bunyi yang dikeluarkan oleh mulut manusia (seperti pada waktu
49
Newmark (1988), op.cit., p. 166
50 Cambridge University Press (2009), op. Cit., p.1188
41
bercakap-cakap, bernyanyi, tertawa, dan menangis), 2) bunyi binatang, alat perkakas,
dsb. 3) ucapan (perkataan).51
While, voice means as the sounds that are made when
people speak or sing.52
Through the voice the translator just wants to share what the
author‟s experience and thought which aims to the human that the raindrops is a sign
of the greatness of God who created the rain for the sake of human survival so that
we must always be aware of gratitude to the god. In this case, the author‟s SL tries to
embody his idea into lines of poem which uses simple language but has a deep
meaning to ponder what message is implied magical through the rain. So, the
translator tries to be faithful with his (the author‟s SL) mind.
SL : kau akan mendengarnya meski sudah kau tutup pintu
TL : you will hear it, even after you shut the door
The data (3) above the TL message uses simple future tense to give
explanation that the word “mendengarnya” refers to the voices which describe there
is no one can escape or stop to hear. In this case the modal will has some definitions;
(1) used for showing that somebody is willing to do something; (2) used for stating
what you think is probably true.53
The first definition of will is fixed with the
context in this data analysis. The author SL attempts to describe that somebody in this
line will not be stopped to hear the sound of rain since the author SL uses expressive
51
Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia (2008), op. Cit., p. 1094
52 Cambridge University Press (2009), op. Cit., p.1624
53 Ibid., p. 1665
42
function and figurative meaning to share his experience about life. The SL message is
accepted in the TL of faithful translation.
Grammatically, in the TL “you will hear it, even after you shut the door” have
two subjects, two verbs, and two nouns. Besides, this line is still related with the data
(2) that the pronoun “kau” in the SL is not capital letter as the beginning of new line.
As can be seen that the translator did not change the forms in the TL even more the
translator adds a punctuation as commas between the word “it” and “even” becomes
“you will hear it, even after you shut the door” to give stressing in the TL. But it does
not matter because the translator just wants to appropriate the original text in the
target language as faithful translation.
In the meaning, the SL “kau akan mendengarnya meski sudah kau tutup
pintu”; the readers does not know who is “kau” on line 3. The translator make it is
clear through the phrases “even after you shut the door” in the TL which is related to
human activities. In this line the author tries describe that someone in this phrase is
do not care to the problems that happen even if the god always remain us instead they
prefer to run away from the reality. So, the message in this line is delivered faithfully
by the translator very well.
Everyone has sensitivity to the art and the beauties are different. This
sensitivity is very important to assess and understand the meaning of a work of
literature, especially about poetry. This sensibility called an aesthetic. In this analysis
the writer tries to explain that the aesthetic in poetry revive word by word as solid and
complete so that the problem of life is presented in this poetry that the author‟s means
43
is not only a reflection of reality (interpretation of life, a sense of sympathy for
humanities, and contemplation of nature) but also his reflections about something that
has never been imagined and thought by the readers that this poetry have something
mystery despite of uses a simple language.
SL : dan jendela. Meski sudah kau matikan lampu
TL : and the windows. Even after you turn out the light
The data (4) above, the translator did not change any forms in the TL message
grammatically. The phrase “dan jendela,” is still related with the previous line (3)
because in English there is no sentence is prefixed by conjunctions “dan” at the
beginning of sentence. The writer just wants to focus on the SL phrase “Meski sudah
kau matikan lampu” into “Even after you turn out the light”; there is adverb clauses
(Even after) to show the time of relationship that express unexpected result of time
which is the activity happens at unclear times. But it does not problem because the
translator just tries to keep the hole meaning equivalence of what the authors SL
means is suitable in the TL to be faithful translation.
In the meaning, the pharses “Meski sudah kau matikan lampu” into “Even
after you turn out the light”; as can be seen that there is no reduction or addition in
it. the word “lampu” transfer into “light” because in poetry that the word “light” is
often used which is considered more representative of a person's heart. The
translator delivers the SL message very well and he (translator) also conveys the
meaning faithfully and originally, line by line, so that the reader can be easily
understand. Besides, an English word correspond to which foreign word because the
44
translator has to know the SL either culture, description of time, or other languages.
In the other hands, the translator also have known about the characters of the author‟s
SL poetry. In addition, the SL and TL message have similarities both semantically
and grammatically which includes as faithful translation.
The writer thinks that the translator attempts to give the best result which
relatively as well as the author‟s SL wants to share the point of message to the readers
SL. This reason is proposed by Newmark‟s theory in a book written by Frans Sayogie
about the methods of translation (especially about faithful translation) that Newmark
submits the two groups of translation method; the translator uses first method that the
translator give emphasis to the the source language.54
So, the translation this line is
supposed to be faithful.
2) Stanza 2
SL : “Hujan, yang tahu benar membeda-bedakan, telah jatuh di pohon,
jalan, dan selokan-„
TL : “The rain, which knows, falling on the trees, roads, and gutters-“
The data in stanza (2), line 5 is long phrases that is similar with stanza 1, line
1 which stress by using word “Hujan” in the SL; the writer analysis that is not just
similarities in phrases and meaning. But also, the similarities between line 1 stanza 1
and line 5 stanza 2 analyzed as a refrain that usually find in the poetry, prose, and
lyrics of songs. This statement is supported by Siswantoro that repetition of sounds
can occur from a single sound such as a vowel or consonant, so on propagate to
54
Frans Sayogie (2009), op. Cit., p. 30
45
repetition of sounds syllable, word phrases, and lines.55
Although the SL message has
found a refrain in stanza 1, line 5; the word “membeda-bedakan” does not exsit in the
TL because he (translator) uses reduction. The translator thinks that the uses of
reduction in the SL “membeda-bedakan” is considered does not make the distortion
of meaning so do not need to be appeared in TL. In the other words, the translator
just implicit of the explicit word meaning so that the words “which knows” in the TL
is represented the SL message. Besides, in the stanza 2 line 5 SL the author uses
word of “yang tahu benar” stressing to the word “mengenal baik” in the stanza 1, line
1 means that the author SL wants to convince the meaning deeper and avoid the
monotony sound of the word in the SL but the translator still uses the word “knows”
in the TL that is represent both of SL words. Then, in the SL phrase “yang telah
jatuh” Translate into “falling”; there is suffix -ing to the word “fall” that the translator
uses present continues tense to express an activity that is in progress at the moment
when the rain falls down and it begin in the resent past, and the future that can not be
stopped. In the other hands, in Indonesian grammars there are no tenses to tell the
time (present, past, continuous, or future) because it hard to prove. But it does not
problems for the translator who knows both Indonesian cultures and the characters of
Indonesian poems, especially Sapardi‟s works.
In the meaning, as the writer analyzed that there is refrain of stanza 1, line 1
so that the writer thinks it does not different meaning purpose. But, in this line the
55
Siswantoro, Apresiasi Puisi - Puisi Sastra Inggris (Surakarta: Muhammadiyah University
Press, 2002), p. 82
46
author just wants to remind and suggests us that we should not give up or complain to
a state that has and will occur. There must be a secret message is hidden every
moment and only time will be tell. Nevertheless, the data analysis (3) cannot be
accepted as faithful translation.
SL : menyihirmu agar sama sekali tak sempat mengaduh
TL : weaving spells so no one complains
In the data (6), the SL “menyihirmu agar sama sekali tak sempat mengaduh”,
the translator uses phrase “no one” in the TL is to implicit the phrase “agar sama
sekali” and pronoun “mu”. Besides that, the phrase “no one” is considered more
appropriate to express Sl phrase because the translator think about the power of that
word can produce images (especially images of feeling) and support the word
“menyihir” which claimed as figurative language so that the function of figurative
language is able to excite emotion from the author‟s feeling. As Perrin said in
Waluyo‟s book that 1) figurative language is able to produce imaginative pleasure, 2)
figurative language is a way to generate additional images in the poetry so that the
abstract becomes the concrete and make poetry enjoyable to read, 3) figurative
language is a way to increase the intensity of the feeling of poetry and convey his
attitude, 4) figurative language is a way to concentrate the meaning to be conveyed
and how to deliver something much and spacious with a short language.56
The word
no one defined as tak seorang pun; which is resumes between “agar sama sekali” and
the pronoun “mu” in the SL tells about no human can‟t be complained or escape to
56
Herman. J Waluyo, Teori dan Apresiasi Puisi (Penerbit Erlangga: Jakarta, 1995), p. 83
47
what something will happen. Then, the TL message stresses by using word “weaving
spells” that if the translator transfer it phrase word by word it will be ambiguous
meaning becomes “menenun mantra” in the SL. While, weaving (weave + ing)
defined as to make cloth by repeatedly crossing a single thread through two sets of
long threads on a loom (special frame).57
Spells means 1) to form a word or words
with the letters in the correct order (verb), 2) spoken words which are thought to have
magical power or (the condition of being inder) the influence or control of such
words (magic).58
Meanwhile, in bahasa sihir defined as 1) menggunakan sihir, 2)
memukai, memesona, membuat sangat terpikat (penonton dsb).59
So, the translator
uses idiomatic expression to represent the SL word “menyihir” into “weaving spells”
and the writer assume that the translation in this line is faithful but in terms of
acceptance both of diction and figurative language used by the translator have
fulfilled criteria as naturalness.
In the meaning, the data (6) there is figurative meaning in phrase
“menyihirmu”; through the rain, the author to imply that the rain is a gift of God that
we can’t deny a lot of blessings and benefits for human survival. Moreover, the
figurative meaning in the SL is representation of the author's spiritual experience
57
Cambridge University Press (2009), op. Cit., p. 1646
58 Ibid ., p. 1391
59Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik
Indonesia (2008), op. Cit., p. 1303
48
about the majesty of God creating the rain. The writer analysis that the data (6) is
assumed as faithful translation.
SL : waktu menangkap wahyu yang harus kau rahasiakan
TL : as it touches your deepest secret
The data in this line is not included into faithful translation both in grammar
and meaning. Grammatically, there is S + V but it can be said as complete sentence
because there is conjunction “as” at the beginning of phrase. There is pronoun
“your” which is refers to the word “wahyu” in the SL. Then, the word “deepest” in
TL as an adjective which is expresses very strongly felt or experienced and usually
lasting longtime.60
The phrase “waktu menangkap wahyu yang harus kau
rahasiakan” does not exist in the TL; the translator tries to deliver what the author‟s
SL thought into other words by idiomatic expression. Unfortunately, it‟s a little beat
hard to understand by the reader SL. The process of transfer the message into TL has
shift forms which have changed the real meaning in the SL and not all the readers
understand English idioms. In the other hands, English idioms are not suitable in
Indonesian language which have different culture and the forms of grammar so that
the readers SL does not get the message of what the author‟s SL means in the TL.
In this line is stresses by word “touch” that represent the SL phrase
“menangkap wahyu” is not reliable and does not have the same meaning. Meanwhile,
wahyu can be defined as 1) petunjuk Alloh hanya kepada para nabi dan rosul melalui
60
Cambridge University Press (2009), op. Cit., p. 364
49
mimpi.61
The writer thinks that the translator make the SL messages can‟t be
delivered well to the reader because the translator does not know about the culture
especially in religious statement of the author‟s SL into TL. While, Benny stated in
his book that the messages SL are determined by SL‟s particular intention.62
Moreover, the writer tries to concern in the real meaning that there is something
difficult to explain even though the SL phrase uses a simple language but in the TL
meaning have many possibilities to explore by using aesthetic values.
Comparing the original and its translation, the rendering of this poetry not all
lines is considering as faithful both of meaning and form. As can be seen from the
forms; both of SL and TL, the poetry is composed of seven lines of unequal length.
The way of writing, all the lines written by considering the balance between the right
and left side, it is clear that the typography considered by Sapardi. Enjambments
(dial-connect events fill two lines rhyme that order) are also found in the poem of
Magic Rain, in lines 1-2 and 5-6-7. Then, if we looks from the rhyme, poetry is rich
in rhyme beginning and end (lines 1-2 and lines 5-7), first stanza the rhyme scheme
namely as a-a-b-b-c-d-c-d is replaced by a-b-c-d-e-f-g-h so that the writer analyzed
this line is free rhyme in the TL. This causes the rhythm of reading becomes faltered,
as if there pounding. Repetition (alliteration) is also contained in the word rain, trees,
61
Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia (2008), op. Cit., p. 1553
62 Benny, H. Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT. Dunia Pustaka Jaya, 2006),
p. 28
50
roads, and gutters in the lines 1 and 5. Moreover, the repetition is contained not only
in that words but also there are repetition of sound “S”. In this poetry find any
punctuation and capital letters as an early marker lines and stanzas. It shows the
clarity in the meaning of poetry despite enjambment. At the beginning of the first
lines, said the rain is opening - the embodiment of the title.
b. Poetry of Yang Fana adalah Waktu and Time is Meaningless
1) Analysis of Stanza 1
SL : Yang fana adalah waktu
TL : Time is meaningless
In this case the translator transfers the phrase “Yang fana adalah waktu” into
“Time is meaningless”. The writer analysis that the translation is appropriate enough
though the translator uses reduction “yang” in the TL. But, it does not matter because
it is not omit the purpose of meaning in the SL. The translator wants to explore more
about the SL‟s segment “waktu” and “kita”; both of words have relationship based on
the author‟s thought. So, the translator attempts to share the SL messages by using
good diction that easy to understand by the reader.
Fana, in this context, is defined as 1) dapat merusak (hilang, mati); tidak
kekal.63
Meanwhile, meaningless means 1) tak berarti.64
Based on the two definitions,
the writer argues that there is equivalence between the SL and TL meaning. So, the
63
Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia (2008), op. Cit., p. 387
64 John, M. Echols and Shadily, Hassan, An English - Indonesian Dictionary (Jakarta:
Gramedia Pustaka Utama, 1997), p. 1997
51
author argues that the word “meaningless” get closes to SL word and more
expressive. While, Nida and Taber said that level of equivalence is if the readers or
listeners SL give the same understanding with the readers or listeners
TL.65
Nevertheless, the translator embodies the meaning with other diction that to
create this line is rhythmical.
For this perception, the human beings are certainly damaged and die.
Otherwise, author SL describe the time as something that is broken and lost.
Eventually, humans will die and broken bodies, but the soul will be eternally in
another world to the final destination of human life hereafter. The author gives
emphasis on the phrase "we are eternal" which suggests that we (humans) have to
contemplate every moment that happens must have wisdom and lessons of life
because we will eternal. So, we do not have to unwilling to do something simply
because fear of wasting time instead we have to do a good thing because in the
eternal life we'll be held accountable in front of God. Nonetheless, there is no
equivalence between the words “fana” and “meaningless” in the TL; the translator
assumes that he (translator) tries to embody the author‟s idea into simple language in
the TL.
2) Stanza 2
SL : memungut detik demi detik, merangkainya seperti bunga sampai
pada suatu hari kita lupa untuk apa
TL : picking moment after moment, threading them like flowers until one
day we forget why
65
Nida and Taber (1974), op. Cit., p. 200
52
In this stanza (2), there is no reduction or addition in it and still uses simple
present continuous tense. The translator transfer the original text into TL very well
both of forms and idioms “detik demi detik” into “moment after moment”. Since there
is no change between the SL and TL messages; this line is indicated as faithful
translation. The translator attention to the details of aesthetic values which aims to
beautify the meaning of this poem becomes more rhythmical. The suffix- ing in the
word “picking” and “threading”; both of words are shows that activities still
continuing at that time, past, present, and future. Pick (verb) defines as 1) to take
some things and leave others; to choose; 2) to take some things but not others.66
While, thread (ing) means to put something long and thin such as string or thread
through a narrow hole or into a small space.67
Meanwhile, merangkai defined as 1)
menyusun (mengatur) menjadi berangkai-rangkai.68
So the result of this translation is
render with the TL.
In the meaning, the writer analysis this line that the author tries to explain
about “kita” which always pursue of time and feel pressed for time so we look
glorifying time. In this stanza describe about human competing against time, kept
running without looking and care for his god. So we forget the purpose and reason;
why and for what we are doing this. The author SL‟s thought that “kita” do not have
66
Cambridge University Press (2009), Op. Cit., p. 1067
67 Ibid, p. 1513
68 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan
Republik Indonesia (2008), op. Cit., p. 928
53
to struggle with the time that would be lost; the important thing is how we do things
to create moments that make us happy.
The author SL uses figurative language that found in phrase “memungut
detik demi detik”; it is make poems included expressive and aesthetic function.
Besides, the author SL wants to express idea, feeling, and his experiences through
those idioms into the stanza. Moreover, there is standard metaphor included in phrase
“merangkainya seperti bunga” into “treading them like flowers” in TL. The pronoun
“them” in the TL is the object form of “they” used after a verb or preposition, 2) used
to refer to one person whose sex is not known instead of saying “him” or “her”.69
Ithe other hands, the uses of figurative language by the author makes the readers
imagine about the situation that perceived by him (author) so that the readers can
renders with the author‟s thought. So, the conclusion this translation is conveyed as
faithful translation very well by the translator.
3) Stanza 3
SL : “Tapi, yang fana adalah waktu, bukan?” tanya mu. Kita abadi.
TL : “But, time is meningless, isn’t?” you ask. We are eternal.
In the last stanza, the data (3) have similarities with stanza (1) “Time is
meaningless”; both grammatically and semantically. The author SL adds some words
and uses direct speech that signed by punctuations; it purposes to make sure and
emphasizes that the character “you” in the SL is really believes about human is
eternal at the end of life. The communication is built by some main factors, such as
the original text, the author himself, the norm SL, culture SL, place, time, and format
69
Cambridge University Press (2009), op. Cit., p. 1506
54
texts (written and read texts).70
Besides, there is no change in form and the translator
also still keep the SL message very well so that this line is conveyed as faithful
translation.
Typography, in poetry “Yang Fana adalah Waktu”; the form is similar with
the prose, but the right edge is irregular. Uses of punctuation, the beginning of
sentences using capital letters and at the end of a sentence using a dot like prose.
These poems divided into 3 stanzas; in stanza 1 writer put them into 4 lines even
though the line 3 and 4 is a continuation of line 2. It is done in stanza 1 by the
author SL to balance the end of rhyme so that the forming rhyme scheme namely
a-b-a-b in the SL while there is no rhyme or free rhyme in stanza 2.
According to the typography the writer argues that it is only 2 lines whereas
at the beginning of phrase there is quotation marks [“ ”] as a signed of direct
speeches. Besides, the word “tapi” in the first line has written separately with the
second phrase which is formed as prose-poem. The writer argues that it is done for
improvisation and appreciation of poems by the readers to be more rhythmically.
Then, in target language, the writer thinks that the translator delivers the SL into TL
messages very well even though the form of scheme rhyme is not included in the TL.
70
Hoed (2006), op. Cit., p, 30
55
C. Discussion:
According to Nababan‟s criteria of translation assessment used by the writer
divided into three criteria such as: Accuracy, Readability, and Acceptability. In this
research, there is 99.37% from both of poetry are faithful translation 32.6% accurate
based on words and grammatical compares, 32.6% is acceptable; in case the writer
analyzed from the words, phrase clause are used in those poetry accordance with the
rules of SL. On the other hands, the translation feels natural and familiar to the
reader so that makes the reader easy to understand what the main point means. The
third is Readability instrument, 34.17% those poetry is readable because the writer‟s
analysis the TL words, clause, and phrase are easily to understand because the
translator try to be faith with the original and he (translator) also thought that
Sapardi‟s poetry use the simple words to express his feel.
Then, the writer also found 0.63% of line in that poetry unfaithful; 0.21% is
medium readable, 0.21% less acceptable and 0.21% inaccurate. It shown in the last
line in poetry of Sihir Hujan; Waktu menangkap wahyu yang harus kau rahasiakan
translated into as it touches your deepest secret, as can be seen that the translation
have omitted a half part of that line; word “waktu menangkap” is not translate as “the
time catch of” because he (translator) thought that was less of aesthetic meaning.
Then, he (translator) uses his own language to get the beauty of meaning so that it has
changed shift-forms in the TL. In this case, many experts argued that the treason in
poetry is a natural thing in translation of literary works because there is impossible in
translation of poetry the TL is exactly the same as with the SL or 100 % faithful.
56
Translation of poetry is a creative treason. This thought comes from the French; there
are translations of literary works considered trahison creatice, creative treason. In the
meaning, the translation of poetry is generating of lives in a different body, it is
natural that we cannot expect the elegance of the same body, the same linguistic
form. The lack of equivalent linguistic form or meaning that is called treason.71
71
http://jlt-polinema.org/?p=215 accessed on May, 2 th 2015
57
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
Sapardi Djoko Damono has created poetry that inspires our minds about life
through the nature; it describes how the man life is, and most of his poetry are very
short, often only four lines. A simple word has arranged in line by line but have deep
meaning and almost about mystery of love and the brevity of human existence, that’s
character his works.
According to the research findings, the writer finds seven lines in poetry of
Sihir Hujan (Black Magic Rain) that three of lines claimed as unfaithful translation.
In line two the translator uses reduction because it useful to pursue an aesthetic value
in the TL word. Based on translation assessment that word is not fulfilling the criteria
of accuracy, but it’s acceptable and readable. Line five the translator omit the word
that he (translator) implicit the explicit meaning. Then, in line seven the translator
uses an idiomatic expression to deliver the message so that it has change-shift
meaning in the TL.
In poetry of Yang Fana adalah Waktu (Time is Meaningless) there are no
irrelevance meaning means that there are no addition, reduction or omission in every
lines. Finally, the writer concluded that 99, 37% in the line from both of poetry are
faithful translation based on the grammar and meaning compares used by the
57
58
translator to represent what the author SL thought is accurate, acceptable, and
readability. While, the writer find out 0, 63% of line seven in poetry Sihir Hujan
analyzed as unfaithful translation and not meet with the criteria of translation
assessment that one of lines is 0, 21% not accurate, 0, 21% less acceptable and 0,
21% medium readability level with the original texts because the translator has
changed the words to get beautifulness so that he create his (translator) own word. In
case, this line has lacked of equivalent linguistic form or meaning that is called
treason.
Some experts said that translation of poetry is a creative treason because the
translation of poetry is the generation lives in a different body; it is natural that we
cannot expect the elegance of the same body, the same linguistic form. In addition,
there is a myth from France called as trahison creatice, said that the good translation
is surely not faith and the faithful translation certainly not pretty. However, this is
acceptable considering that Indonesian grammars obviously is not the same and
cannot be enforced the same as English.
B. Suggestion
As we knows that translating poetry is not easily done by the foreign speakers
who do not know the background of SL poetry. There some terms need to know
include cultural, the structures of SL language, perception and character of the poetry
that became characteristic of the SL author is strongly recommended to explore
before starting the translation. Then, the translation can be done by considering the
59
concepts used by the SL author. In addition, for the students or academic who want to
involve in translation streams, especially poetry let accustomed to explore the basic
knowledge of poetry translation so that the work that has been born is not distorted by
those who are not responsible. In the end it suggests, with examples taken from
well-acknowledged translators of poetry, some strategies for poetic translators so that
global talk opens up another channel for human communication. We will understand
one another better.
60
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http://www.poetryinternationalweb.net/pi/site/poet/item/16151/15881/Sapardi-Djoko-
Damono accessed on May, 22 th 2015
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APPENDICES
A. POETRY
Sihir Hujan
Hujan mengenal baik pohon, jalan,
dan selokan- suaranya bisa di beda-bedakan;
kau akan mendengarnya meski sudah kau tutup pintu
dan jendela. Meskipun sudah kau matikan lampu
Hujan, yang tahu benar membeda-bedakan, telah jatuhdi pohon, jalan, dan selokan-
Menyihirmu agar sama sekali tak sempat mengaduh
Waktu menangkap wahyu yang harus kau rahasiakan
Black Magic Rain
The rain knows the trees, the roads,
and the gutters_recognises their voices;
you will hear it, even after you shut the door
and the windows. Even after you turn out the light
The rain, which knows, falling
on the trees, roads and gutters –
weaving spells so no one complains
as it touches your deepest secret
Yang Fana adalah Waktu
Yang fana adalah waktu. Kita abadi:
memungut detik demi detik, merangkainya seperti bunga
sampai pada suatu hari
kita lupa untuk apa.
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"Tapi, yang fana adalah waktu, bukan?" tanyamu. Kita abadi.
Time is Meaningless
Time is meaningless. We are eternal:
picking moment after moment, threading like a flowers
Until one day
we forget why.
“But, time is meaningless, isn‟t it?” ask you. We are eternal.
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B. BIOGRAPHY
Sapardi Djoko Damono was born in Solo,
Central Java, on 20 March 1940, and spent his
childhood and adolescent years in his hometown. He
studied English literature at Gadjah Mada University
in Yogyakarta, and has translated many works of
fiction and poetry from English into Indonesian. He
was editor of the Indonesian literary magazines Basis,
Horison, and Kalam. Now he is Professor Emeritus at the University of Indonesia’s
Faculty of Humanities.
The publication of Sapardi’s first poetry collection, dukaMu abadi (Your
Sorrow is Eternal) in 1969 may in a way be seen as a rebirth of Indonesian lyric
poetry—after a period of rough ideological rift during the 1960s. With clear,
unadorned language and delicate inwardness, Sapardi’s poems are in sharp contrast to
the slogan-ridden language of the then ideologically polarised Indonesia. Those
turbulent times saw Sapardi finding his own voice in brief, limpid poems with simple
yet pregnant imagery from everyday life. By the early 1970s he had already emerged
as a master of profound simplicity. In many of Sapardi’s later poems, what starts as
an ordinary event may, through a subtle turn of phrase, or a swift shift of perspective,
suddenly take a twist towards the unexpected or the uncanny.
Among his poetry collections are Mata Pisau (Knife Point, 1974), Sihir Hujan
(Rain Spell, 1984), Hujan Bulan Juni (Rain of June, 1994), Arloji (Wristwatch,
1999), Ayat-Ayat Api (Verses of Fire, 2000), Mata Jendela (Window’s Eye, 2001),
Ada Berita Apa Hari Ini, Den Sastro? (What’s the News Today, Den Sastro?, 2002),
and Kolam (Pond, 2009). He also writes short stories and has published two
collections, Pengarang Telah Mati (The Author is Dead, 2001) and Membunuh
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Orang Gila (Killing a Madman, 2003). He compiled Mantra Orang Jawa (Mantras of
the Javanese, 2005). His essay collections are, among others, Kesusastraan Indonesia
Modern: Beberapa Catatan (Modern Indonesian Literature: Some Notes, 1983),
Politik Ideologi dan Sastra Hibrida (Politics of Ideology and Hybrid Literature,
1999), and Sihir Rendra: Permainan Makna (Rendra’s Magic: Play of Meaning,
2000). His poems are included in several anthologies, such as Fire in the Sea: An
Anthology of Poetry and Art (1996) and World Poetry: An Anthology of Verse from
Antiquity to Our Time(1998). Sapardi Djoko Damono is a recipient of, among others,
the Putera Poetry Award from Malaysia (1983), the Jakarta Arts Council Literary
Award (1984), the SEA Write Award from Thailand (1986) and the Achmad Bakrie
Award for Literature (2003). He took part in the Poetry International Festival,
Rotterdam, in 1976.
Bibliography
Poetry
duka-Mu abadi, Jeihan, Bandung, 1969.
Mata Pisau, Puisi Indonesia, Jakarta, 1974.
Akuarium, Puisi Indonesia, Jakarta, 1974.
Perahu Kertas, Balai Pustaka, Jakarta, 1983.
Sihir Hujan, Dewan Bahasa dan Pustaka, Kuala Lumpur, 1984.
Hujan Bulan Juni, Grasindo, Jakarta, 1994.
Arloji, Yayasan Puisi, Jakarta, 1998.
Ayat-Ayat Api, Pustaka Firdaus, Jakarta, 2000.
Mata Jendela, IndonesiaTera, Magelang, 2001.
Ada Berita Apa Hari Ini, Den Sastro? IndonesiaTera, Magelang; Jakarta, Kalam,
2002.
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Kolam, Editum, Jakarta, 2009.
Poetry in English translation
Black Magic Rain, tr. Harry Aveling, National University of Singapore, Singapore,
1994.
Water Color Poems, tr. John H. McGlynn, Temprint, Jakarta, 1986
Suddenly the Night, tr. John H. McGlynn, Lontar Foundation, Jakarta, 1988.
Fire in the Sea: An Anthology of Poetry and Art, ed. Sue Cowing, University of
Hawaii Press, Honolulu, 1996.
World Poetry: An Anthology of Verse from Antiquity to Our Time, ed. Katharine
Washburn, John S. Major & Clifton Fadiman, W.W. Norton & Company, New York,
1998.
A World of Poetry: An Anthology, ed. American Poetry and Literary Project, Dover
Publications, New York, 2002.
Before Dawn, tr. John H. McGlynn, Lontar Foundation, Jakarta, 2005.
Short stories
Pengarang Telah Mati, IndonesiaTera, Magelang, 2001
Membunuh Orang Gila, Penerbit Buku Kompas, Jakarta, 2003
Critical writing
Sosiologi Sastra: Sebuah Pengantar Ringkas, Pusat Bahasa, Jakarta, 1977
Novel Sastra Indonesia Sebelum Perang, Pusat Bahasa, Jakarta, 1979
Kesusastraan Indonesia Modern: Beberapa Catatan, Gramedia, Jakarta, 1983
Politik Ideologi dan Sastra Hibrida, Pustaka Firdaus, Jakarta, 1999
Sihir Rendra: Permainan Makna, Pustaka Firdaus, Jakarta, 1999
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Puisi Indonesia Sebelum Kemerdekaan: Sebuah Catatan Awal, Pusat Bahasa, Jakarta,
2003.
Sastra Bandingan: Pengantar Ringkas, Editum, Jakarta, 2009
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