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FIGURATIVE LANGUAGE TRANSLATION OF
INDONESIAN-ENGLISH POEMS BY JOHN H. McGLYNN
A Thesis
Submitted to Faculty of Adab and Humanities
in Partial Fulfillment of the Requirements for the Degree of Strata One
IRFAN HARDIYATNA
11140260000065
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH
JAKARTA
2019
ii
ABSTRACT
Irfan Hardiyatna, Figurative Language Translation of Indonesian-English
Poems by John H. McGlynn. A Thesis: English Letters Department, Faculty of
Adab and Humanities, State Islamic University of Syarif Hidayatullah Jakarta,
2019.
The purpose of this research is to analyze the kinds of figurative language
and the strategy applied in the poems translation. The method of this research is
descriptive qualitative and the data are taken from the three poems of Sapardi
Djoko Damono’s Kuhentikan Hujan, Saat Sebelum Berangkat, and Di Tangan
Anak-anak which translated into English by John H. McGlynn. The researcher
finds that there are ten kinds of figurative language of the fifteen data collected
that used in the three poems. The poems have an irony, three personifications, a
metaphor, a paradox, a synecdoche, a metonymy, two symbols, two allegories,
two allusions and a hyperbole. The strategy of this translation is predominantly
applied literal translation. This strategy implemented by retaining the terms, the
grammatical system and the figurative language of the source language to be used
in the target language. There are twelve data that apply literal translation while the
rest, which presumed not to be appropriate in target language, use another strategy
such as a replacement of vehicle with a different vehicle, a reduction of the
figurative language and a replacement of vehicle with a gloss. This research
concludes that the translator transfers the figurative language of the poems by
thoroughly relate to the shape and the intention of the source poems. The way
how the translator delivered the aim of the source text is by imitating the terms,
the shape of the sentence and the meaning of the source language.
Keywords: Translation, Figurative Language, Poetry, Poetry Translation,
Translation Strategy, and Translation Style.
iii
APPROVEMENT
iv
LEGALIZATION
v
DECLARATION
vi
ACKNOWLEDGEMENT
All praise belongs to Allah, the Almighty, for every grace given to me
during the research. Blessing be upon beloved Prophet and Master of Messengers,
as-Siraj al-Munir, Muhammad, upon his family and chosen companions, and upon
those who follow him well until the Day of Judgment.
This thesis is presented to English Letters Department of Adab and
Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta as a
partial fulfillment of requirements for the degree of strata one. It is completed
properly due to the support of people around me. Therefore, I would like to
express my deepest gratitude for my beloved mother; Siti Fatimah, sisters; Sri
Hidayanti and Teti Haryati, brothers; Tedi Haryadi and Irwan Hardiansyah, and
all of the entirely family members who were always giving their best moral and
emotional support to me.
I also would like to express my gratitude to Mr. Moh Supardi, as the
advisor, for his suggestions and corrections regarding the process of the research.
I either would like to present my thankfulness to those who had involved in
finishing this thesis, particularly to:
1. Saiful Umam, Ph.D., the Dean of Adab and Humanities Faculty.
2. Dr. Ida Farida, M.LIS., the vice-Dean of Adab and Humanity Faculty.
3. Drs. Saefudin, M.Pd., the Head of English Letters Department.
vii
4. Elve Oktafiyani, M.Hum., the Secretary of English Letters Department.
5. M. Agus Suriadi, M.Hum. and Danti Pudjiati, S.Pd., M.M., M.Hum., as
the examiners of the research.
6. All of the lecturers of English Letters Department who had taught and
educated me during my study at State Islamic University of Syarif
Hidayatullah Jakarta.
7. To all members of Kelas Be, Translation Class ’14, and all friends of
English Letters Department who had given ideas, information, and
inspirations.
8. Special thanks to Mels, Seth and Nopi, my very best friends that I have
ever had, for their motivation support for me to finish this research
immediately.
9. To all of mbak and abang fotokopian/warnet who had helped me in
printing and copying this thesis research.
May Allah bless us all in any of our prayers and good deeds.
Finally, I am sure that this paper is far from being unblemished. So that, I
drink in any suggestions or criticisms that can ameliorate this paper more
acceptable.
Jakarta, May 2019
Irfan Hardiyatna
viii
TABLE OF CONTENTS
ABSTRACT ........................................................................................................... ii
APPROVEMENT ................................................................................................ iii
LEGALIZATION ................................................................................................ iv
DECLARATION ................................................................................................... v
ACKNOWLEDGEMENT ................................................................................... vi
TABLE OF CONTENTS ................................................................................... viii
LIST OF TABLES ................................................................................................ x
ABBREVIATION ................................................................................................ xi
CHAPTER I INTRODUCTION .......................................................................... 1
A. Background of the Research .................................................... 1
B. Focus of the Research ............................................................... 5
C. Research Question .................................................................... 5
D. Significance of the Research .................................................... 5
E. Research Methodology ............................................................. 6
1. Objectives of the Research ..................................................... 6
2. Method of the Research ......................................................... 6
3. Instrument of the Research .................................................... 6
4. Unit of Analysis ..................................................................... 7
5. Technique of Data Analysis ................................................... 7
CHAPTER II THEORETICAL FRAMEWORK ............................................. 9
A. Previous Research ..................................................................... 9
B. Literature Review ................................................................... 11
1. Translation ........................................................................... 11
2. Poetry ................................................................................... 11
3. Figurative Language ............................................................ 12
ix
4. Poetry Translation ................................................................ 20
5. Translation Strategy of Figurative Language....................... 21
CHAPTER III ANALYSIS AND DISCUSSION ............................................. 26
A. Data Description ..................................................................... 26
B. Data Analysis ........................................................................... 28
CHAPTER IV CONCLUSION AND SUGGESTION..................................... 44
A. Conclusion ............................................................................... 44
B. Suggestion ................................................................................ 45
BIBLIOGRAPHY ............................................................................................... 46
APPENDICES ..................................................................................................... 49
x
LIST OF TABLES
Table 1. Kuhentikan Hujan and I Stopped the Rain ....................................... 26
Table 2. Saat Sebelum Berangkat and The Moment Before Departure ........ 27
Table 3. Di Tangan Anak-anak and In the Hands of Children ...................... 27
xi
ABBREVIATION
Abbreviation Explanation
ed.
e.g.
etc.
et al.
i.e.
KBBI
OALD
SL
ST
TL
TT
edition
for example
et cetera
and others
that is
Kamus Besar Bahasa Indonesia
Oxford Advanced Learner’s Dictionary
Source Language
Source Text
Target Language
Target Text
1
CHAPTER I
INTRODUCTION
A. Background of the Research
This research is about translation analysis of figurative language and
translation strategy used by John McGlynn in translating poems from Bahasa
Indonesia into English. The poems in this research are Kuhentikan Hujan (1980),
Saat Sebelum Berangkat (1967), and Di Tangan Anak-anak (1981) written by
Sapardi Djoko Damono that translated to I Stopped the Rain, The Moment Before
Departure and In the Hands of Children. The poems are taken from an anthology
of poetry “Hujan Bulan Juni” that published in 2013 while the translated poems
taken from an anthology of poetry “Before Dawn” published in 2002.
Since English and Bahasa Indonesia have different form and culture,
translation work has to be handled by the one who comprehends both English and
Bahasa Indonesian. In order that, the messages and ideas from the source
language will be delivered thoroughly and correctly to the target language. In
other word, a text can be successfully translated depends on how the translator
chooses the orientation to translate the text correctly.
In translating a language to another language, a translator has to have a lot
of knowledge about the usage of words, phrases and sentences of both the source
language and the target language. It is due to the fact that translation is a medium
to connect the aims of source language towards the target language. As Bassnett
states that translation involves the rendering of the source language into the target
2
language so as to ensure that the surface meaning of the two will be
approximately and the structure of the source will be preserved as closely as
possible, but no so closely that the source language structure will be seriously
distorted (12). Thus, in its submission, the result in the target language may alter
the form and the structure of the source language. This case is frequently
encountered in the process of translation, especially in literary works. Literary
works often create difficulties in the process of translation. It is because of literary
works have unusual forms of language that is different with non-literary works.
Poetry is one of literary works that difficult to be understood. In several
cases, it is not following linguistics principle, also using words or sentences that
have advanced meaning which often makes the messages fail to be conveyed. For
this reason, translating poetry requires hard effort and when stringing the words or
stringing the sentences of poetry also require sensitivity of poetic language in
writing (Venuti 17). Moreover, poetry translation is considered more complicated
rather than another literary work such as novel, short story, or drama since
translation is not just about transferring words from one language to another but
also still have to pay attention in the aesthetic of the form. Therefore, the role of a
superior translator is needed. As Newmark states that translation is most clearly
art, when a poem is sensitively translated into a poem (38).
The aesthetic of poetry depends on the applying of figurative language
besides the other aspect such as imagery, rhythm, topography, etc. The use of
figurative language makes the sentences in literary works feel difference from
common sentences in literal meaning. It is to avoid mentioning something directly
3
in order to emphasize the meaning of it. Differently with a non-figurative text that
uses literal language which is simply stating the fact as they are. As Morner and
Rausch state that figurative language is a language that uses words or expressions
with a meaning that is different from literal interpretation (83).
Even though translating figurative language is presumed as a demanding
task for the translator. There are strategies to contribute in the translation process.
The translation strategies can lead the translator to choose the right way in
rendering the aim of the source language since a translation result can be
considered successful if the overall messages, thoughts, ideas and concepts in the
source language can be delivered into the target language.
The main task of a translator is to leave the same impression on the target
text as the original author did on the source text. Therefore, the translator must be
able to determine the orientation in choosing the point of view of a translation
work. The way the translator translates a text known as style. Wales defines style
as the perceived distinctive manner of expression in writing or speaking (371).
Style in poetry translation refers to how the translator to understand the object to
transferring the aims of the original poetry. Further, the aim of style is to explain
the relation between language and artistic function (Leech and Short 13). How the
translator chooses the way to translate the text belongs to the translator itself. The
translator can bring the style of the source text into target language or the
translator creates translation style based on target language orientation. As Mona
Baker states that source text style is the result of choices by the author while the
4
target text style is the translator’s choices in response to the source text (Huang
21).
Figurative language translation is substantial to be studied since the
figurative language itself is typical description of the contents of the mind in a
literary works, in this case in poetry. Poetry itself is a literary work that often uses
figurative language to deepen the meaning the author trying to explain. It also
typically uses elusive expressions to embellish the aesthetic of the poetry itself.
These matters may lead to misperception on the readers. Thus, by concern to the
meaning of the figurative language and the translation strategy, this will maintain
the soul and the content of a poem. So, the message of the source language text
can be conveyed well to the target language.
In Indonesia, there are many great poets that their works have been
translated into English. The famous one is Sapardi Djoko Damono, one of the
most productive and popular poets in Indonesia. He began writing his poetry as a
high school student in the mid-1950. Most of his works have been translated into
English. One of the translators of Sapardi’s poetry is John H. McGlynn, originally
from USA. He is a long-term resident of Indonesia and having lived in Jakarta
almost continually since 1976. He has translated so many literary works,
including Sapardi’s Kuhentikan Hujan, Saat Sebelum Berangkat, and Di Tangan
Anak-anak.
5
B. Focus of the Research
Based on background of the research, the analysis of this research focuses
on the translation of the figurative language in the poems; Kuhentikan Hujan, Saat
Sebelum Berangkat, and Di Tangan Anak-anak into the English version; I Stopped
the Rain, The Moment Before Departure and In the Hands of Children.
C. Research Question
1. What kinds of figurative language does the translator use in the poems I
Stopped the Rain, The Moment Before Departure and In the Hands of
Children as the substitute of the original poems?
2. How are the translation strategies applied by John H. McGlynn in
Kuhentikan Hujan, Saat Sebelum Berangkat, and Di Tangan Anak-anak
which represent the translation style of the target poems?
D. Significance of the Research
This research is expected to give many advantages for the translation and
literature studies. Theoretically, this research is expected to give further
information about translation in literary work. In practical, this research can
contribute to the development of translation studies and to be used as a reference
in study of Indonesian into English poetry translation, particularly for English
Letters Department students in State Islamic University of Syarif Hidayatullah
Jakarta.
6
E. Research Methodology
1. Objectives of the Research
The intentions of this research are to identify the kinds of figurative
language that found in the poems Kuhentikan Hujan, Saat Sebelum Berangkat,
and Di Tangan Anak-anak written by Sapardi Djoko Damono and to find out the
meaning of figurative language in the translation of the poems. Other than that,
the aim of this research is also to analyze the strategies to translate the poems
which represent to the translation of style used by the translator.
2. Method of the Research
This research uses descriptive qualitative method. By using descriptive
qualitative method, the researcher intends to explain and conclude on the data that
is already obtained supported by the relevant theories. This method aims to
expose the kinds of figurative language found in the poems. It also to determine
the translation strategies used by the translator which influence the style of the
translation.
3. Instrument of the Research
The instrument of this research is the researcher himself. In doing this
research, the researcher organizes, reads, marks, classifies, understands and
analyzes the data from the object of the research. Then, the researcher gives
information or additional support based on the results of the research that is
conducted in the process of analysis.
7
4. Unit of Analysis
The unit of analysis in this research are three poems by Sapardi Djoko
Damono; Kuhentikan Hujan (1980), Saat Sebelum Berangkat (1967), and Di
Tangan Anak-anak (1981) taken from an anthology of poetry entitled “Hujan
Bulan Juni” published by PT. Gramedia Pustaka Utama in 2013 and the English
translation by John H. McGlynn; I Stopped the Rain, The Moment Before
Departure and In the Hands of Children taken from an anthology of poetry
“Before Dawn” that published by Lontar Foundation in 2002.
The three poems along with the translation version have the intentions that
related to human life in general. The poems also apply various kinds of figurative
language such as irony, personification, metaphor, paradox, synecdoche,
metonymy, symbol, allegory, allusion and hyperbole which needed to be reviewed
more deeply to get the message that the author trying to convey.
5. Technique of Data Analysis
This research uses descriptive analysis technique through textual approach
which supported by relevant theories. The researcher analyses the data based on
the theory by Laurence Perrine to find out the kinds of figurative language used in
the original and the translated poems. Then, the researcher analyses the strategy of
figurative language used to translate the poems refers to the theory by Patrizia
Pierini.
In collecting the data of the analysis, the researcher does several measures.
To begin, the researcher reads the poems and marks the sentences that contain
figurative language in both of the original poems and the translation poems. These
8
sentences are then compared by the meaning of the figurative language between
the source language and the target language. Subsequently, the researcher
classifies the translation strategy of figurative language used by the translator of
the poems. Following this, the researcher determines the translation style used by
the translator. Finally, the researcher explains and gives conclusion about the
translation of figurative language of the poems.
9
CHAPTER II
THEORETICAL FRAMEWORK
A. Previous Research
In this research, the researcher intends to develop the study of figurative
language translation. In order to develop the research, there are two previous
studies used in this research as consideration and comparison related to the
translation of figurative language.
The first study comes from an article paper that has been written by
Teilanyo (2007). This study focuses on the translation of figurative language in a
folklore entitled The Ozidi Saga translated by J.P. Clark. The study underlined the
fact that figurative language is important in literary translation because literary
texts often derive their distinctiveness from the creative (figurative) use of
language. It found several cases that the translator made some improvement with
the translation in way changing the figurative language against the source
language, such as replacement of figurative expression with literal expression,
removal of figurative expression, and substitution of figurative expression for
another figurative expression.
In translating figurative language literally, the translator curbs his creativity
impulse directed at his ego; he employs it merely to identify and assimilate the
figurative texture or import in the source text expression and reflect it faithfully,
literally on to target text. The study propose that the literary translator should do
his utmost to retain the figurative of the source text language in the target
10
language, even if this involves literalism and some other violation of the basic
code of the target language while annotations and glossaries may be freely
employed.
Another study is from a thesis research by Rendy (2013). The research
focuses in analyzing the translation of figurative language in a novel translation.
The novel in the research is written by Ernest Hemingway with title The Old Man
and the Sea which is translated into Bahasa Indonesia by Sapardi Djoko Damono
become Lelaki Tua dan Laut. The analysis refers to Newmark translation method
to translate the figurative language. This study aimed at find the most dominant
figurative language in the novel and to identify the translation method used by the
author to translate the figurative language.
The result shows personification is the most dominant figurative used in this
novel. Translator uses more literal translation method because the translator tends
to translate the text lexically to make it acceptable in the structure of target
language without trying to make the translation beautifully since it might create
misinterpretation.
Compared with the two previous studies above, this research has similar
aspect in discussing figurative language in literary work translation. The
difference is that this research intends to develop on analysis of the figurative
language translation of the poems and the translation strategy to keep the meaning
from the original poems delivered to target language the reader, it also to show
how the translator puts his choices of orientation of the translation in the poems.
11
B. Literature Review
1. Translation
Translation in general defined as the process of converting text from one
language to another language. Newmark (5) defines translation as rendering the
meaning of a text into another language in the way that the author intended the
text. Also Venuti describes that translation is a process by which the chain of
signifiers that constitutes the source language text is replaced by a chain of
signifiers in the target language text which the translator provides on the strength
of an interpretation (17). Another view comes from Nida and Taber which explain
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 (12).
From the several definitions above, it can be inferred that translation not
only concerns in equivalence, but also in transformation process which involves
operational matters for transferring message from one language to another. In
other words, translation is the process of transferring messages appropriately from
one language into another language.
2. Poetry
Poetry is commonly known as words that arranged in respected sequence
which has elusive meaning. As Tomlinson state that poetry is the expression of
ideas and feelings through a rhythmical composition of imaginative and beautiful
words selected for their sonorous effects (38). It also considered as an expression
of feelings of a person. As Newmark states that poetry is the most personal where,
12
as a unit, the word is the first unit of meaning and has greater importance than is
any other type of text (163).
Throughout the era, poetry always experienced changes and developments.
This is because the essence as works of art that always happen the tension
between convention and innovation. Poetry is always changing, according to the
evolution of taste and aesthetic concept of change (Pradopo 3).
3. Figurative Language
Figurative language is a form of language use in which the writers and
speakers mean something other than the literal meaning of their words. It is any
way of saying something other than the ordinary way (Perrine and Arp 61).
Through figurative language, writers often use specific phrase or words to express
something beyond the literal meaning. It is not only used to embellish the
language, but also to enhance the reading experience of the readers and it allows
them to feel the same situation that the writers expressed in the pieces of the
writing. It could give special effect toward the readers. The applying of figurative
language can also strengthen the creative expression and description of poetry.
There are several kinds of figurative language that typically used in literary
works, especially in poetry:
a. Simile
A simile involves a comparison which develops a similarity between two
different kinds of ideas or objects. The comparison is made explicit by the uses of
some words or phrase as “like”, “as”, “than”, “similar to” or “seems” (Perrine and
13
Arp 61). Also, Pickering and Hoeper state that simile is comparison which
develops a similarity between two things using equivalent construction (143).
Example:
“I wandered lonely as a cloud
that floats on high o’er vales and hills”
- The Daffodils (By William Wordsworth)
In this poem, the speaker uses the word “as” to liken loneliness with a
cloud, floats alone in the sky.
b. Metaphor
Metaphor asserts the identity, without a connective such as “like” or a verb
such as “appear” of a term that are literally incompatible (Barnet et al. 63).
Someway metaphor is like a simile in that it to create a comparison, as Croft and
Cross state that the metaphor actually describes the subject being the thing to
which it is compared (56). In other words, metaphor is comparing two unlike
objects or things, which may have some common qualities.
Example:
“... and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you ...”
- I Carry Your Heart with Me (By E. E. Cummings)
The poem shows that the speaker compared his beloved to the moon, as well
as to the sun.
14
c. Personification
Personification is a representation of inanimate objects or abstract ideas as
living beings which distinct human qualities, e.g., emotions, feelings, thoughts,
etc. Perrine and Arp define that personification consists in giving the attribute of
human being to an animal, an object or a concept (64). It is used in the poetry to
affect the way a reader imagines each thing.
Example:
“Loveliest of trees, the cherry now
is hung with bloom along the bough,
and stands about the woodland ride
wearing white for Eastertide”
- Loveliest of Trees the Cherry Now (By A. H. Houseman)
In the poem above, the speaker sees a cherry tree covered with beautiful
white flowers in the forest, and says that the cherry tree wears clothes to celebrate
Easter. The speaker gives human attributes to a tree in order to describe it in
human terms.
d. Symbol
Symbol is something that could be an object, a situation or an action which
stands for something else. It is the use of word that has totally different meaning
than its actual meaning. As Perrine and Arp state that symbol may be defined as
something that means more than what it is (64).
15
Example:
“Ah Sun-flower!, weary of time,
who countest the steps of the sun;
seeking after that sweet golden clime
where the traveler’s journey is done”
- Ah! Sun-flower (By William Blake)
The speaker uses “sun-flower” as a symbol for human beings, and “the sun”
symbolizes life. Therefore, these lines symbolically refer to their life cycle and
their yearning for a never-ending life.
e. Metonymy
According to Merriam-Webster Dictionary, metonymy is a figure of speech
consisting of the use of the name of one thing for that of another of which it is an
attribute or with which it is associated. In other words, metonymy used to describe
a thing is closely linked to that particular thing, but is not necessarily a part of it.
Example:
“As he swung toward them holding up the hand
half in appeal, but half as if to keep
the life from spilling”
- Out, Out (By Robert Frost)
The expression “the life from spilling” refers to the spilling of blood. It
develops a link between life and blood. The loss of too much blood means loss of
life.
16
f. Allegory
Allegory is a narration or description that has a second meaning beneath the
surface. According to Porter, an allegory is a word or phrase that occurs in another
text and which carries with it the meaning and emotional freight which it has in
that text (194).
Example:
“All animals are equal but a few are more equal than others.”
- Animal Farm (By George Orwell)
The animals are used to expose the greed and corruption of the revolution. It
also describes how powerful people can change the ideology of a society.
g. Paradox
According to Perrine, paradox is a statement that is true in some sense, even
though at first it appears self-contradictory and absurd (80). It is often used to
make a reader think over an idea in innovative way.
Example:
“My heart leaps up when I behold
a rainbow in the sky:
so was it when my life began;
so is it when I shall grow old,
or let me die!
The Child is father of the Man;
and I could wish my days to be
17
bound each to each by natural piety.”
- My Heart Leaps Up When I Behold (B William Wordsworth)
In the line “the Child is father of the Man”, the speaker is saying that the
childhood experiences become the basis for all adult occurrences. The childhood
of a person shapes his life, and consequently creates the grown-up adult.
h. Hyperbole
Hyperbole is an unreal exaggeration to emphasize the real situation. Roberts
defines hyperbole as an intentional exaggeration for emphasis effect (143). By
using a hyperbole in poetry, it makes common human feeling remarkable and
intense to such an extent that they do not remain ordinary.
Example:
“As fair art thou, my bonnie lass,
so deep in luve am I;
and I will love thee still, my dear,
till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,
and the rocks melt wi’ the sun:
O I will love thee still, my dear,
while the sands o’ life shall run.”
- A Red, Red Rose (By Robert Burns)
In this poem the speaker says that he would love his beloved until the seas
are dried up, and the rocks are melted.
18
i. Irony
Irony refers to a contrast between appearance and reality (Pickering and
Hoeper 150). According to Roberts, irony is a mode of ambiguous or indirect
expression; it is natural to human beings who are aware of possibilities in life
(143).
Example:
“Water, water, everywhere,
and all the boards did shrink;
water, water everywhere,
nor any drop to drink”
- The Rime of the Ancient Mariner (By Samuel Coleridge)
The poem tells about the ship that blown by the south wind and stranded in
the uncharted sea. Ironically, there is water everywhere, but they do not have a
single drop of drinkable water.
j. Synecdoche
Synecdoche refers to the whole of a thing by the name of any one of its
parts. In other words, synecdoche is using part of something to signify the whole
detail (Perrine 64).
Example:
“Prepar’d to scrub the entry and the stairs.
The youth with broomy stumps began to trace.”
- The Description of the Morning (By Jonathan Swift)
19
In the lines above, the phrase “broomy stumps” refers to the whole broom
not only to the stumps of the broom.
k. Apostrophe
Apostrophe used to speak directly to someone who is not present, or speak
to an inanimate object. As Perrine and Arp state that apostrophe consist in
addressing someone absent or something nonhuman as if that person or thing were
present and could reply to what is being said (31-32). It is used to produce
dramatic effect and to show the importance of the object or idea.
Example:
“Twinkle, twinkle, little star,
how I wonder what you are.
Up above the world so high,
like a diamond in the sky.”
- The Star (By Jane Taylor)
The poem shows that the speaker speaks to a star, is an inanimate object, as
if it is capable to answer the question.
l. Allusion
Allusion is a brief and indirect reference to a person, place, thing or idea of
historical, culture, literary or political significance. Allusion often refers to past
events or figures, but sometimes it refers to current famous people. In simple
words, allusion means using of word or phrase designed to call something to
mind, without mentioning that thing explicitly.
20
Example:
“Narcissus so himself himself forsook
and died to kiss his shadow in the brook.”
- Venus and Adonis (by William Shakespeare)
The word Narcissus is used as an allusion, taken from the classical
mythology where a handsome man falls in love with his own body and keeps
looking at himself in the water.
4. Poetry Translation
Translating a poetic text perhaps more difficult than translating other types
of text because poetic works have imaginative powers of expression and specific
values called aesthetic and expressive values. As Nair states that poetry is an
imaginative expression of a poet's feelings and experiences (93). So that, a poetry
translator should, strive for accuracy and this makes the translator's fluency of
expression indispensably difficult.
The translation of poetry does not rely as much on an accepted definition of
words or sentences as it does on the characteristic features of poetry that can
mimic until a recognizable analogous form is reached. The translation of poetry
involves both the content and the form, since in translation there is both an
orientation backwards to the message of the source text and an orientation
forwards towards how similar texts are written in the target language (House 7).
Thus, the aesthetics of target language can feel the same with what is presented in
21
the source text. As Lefevere states that translation text is best nearest to create the
audience the same impression as was made by the original (103).
5. Translation Strategy of Figurative Language
The translation of figurative language in poetry not only involve an
examination of the intended meaning of the author and the formal devices used in
the source language, but also a consideration of the poetic forms and the figurative
devices available in the target language. There are six potential strategies by
Patrizia Pierini to translate figurative language in particular:
a. Literal Translation
Literal translation means translating text word by word from source
language into target language. It is a method of translating poetry on word-for-
word translation of the original (Bassnett 87). This strategy is employed by
considering the same cultural and grammatical system of SL and TL. Pierini
points this strategy as the retention of the same vehicle, thus the intention of literal
translation in term of figurative language is to translate the text by retaining the
vehicle of the source text (31).
Example:
SL: Hujan mengenal baik pohon, jalan,
TL: Rain knows well the tree, the road,
- Sihir Hujan (by Sapardi Djoko Damono), translated into Rain Spell (by
John H. McGlynn)
22
This translation retains the same vehicle as the source language. It conveys
the meaning of the source language by transfer the expression of the source
language equally into the target language. Even though the translator translates it
word-by-word, the text still can be directly understood because of both the source
language and the target language in these sentences have the same grammatical
system.
b. Replacement of the vehicle with a different vehicle
In several case of translation process, the two cultures have different vehicle
to express the same meaning (Pierini 33). This strategy is often employed when in
the process of delivering the message, the cultural word of the source language is
deemed unsuitable with the source language. Thus, this strategy used to convey
the message of the source text by adjusting the cultural terms of target language.
Example:
SL: Gamelan perkawinan itu
TL: Marriage rhythm
- Ranjang Pengantin, Kopenhagen (by Goenawan Mohamad), translated
into Bridal Bed, Copenhagen (by Harry Aveling)
This translation replaces the word gamelan into rhythm. Gamelan is a
traditional music instrument from Indonesia which has typical rhythm and often
played in a wedding ceremony. This matter is not common in general, so that the
translator replaces the vehicle gamelan into rhythm as a familiar term. In this case,
23
the word rhythm represents the sound of the gamelan to illustrate the situation that
the author trying to explain.
c. Reduction of the figurative language
This strategy can be used when the equivalent terms of source language text
cannot be found in the target language. This strategy commonly used for
idiomatic expression which is culturally bounded. Pierini states that translation
problems can also be posed by divergences between the two language systems,
thus the figurative language in source text might be translated into literal
expression by reducing the sense of it (35).
Example:
SL: Bulan pun lamban dalam angin, abai dalam waktu
TL: The moon is covered by the wind, time ignores it
- Asmaradana (by Goenawan Mohamad), translated into Asmaradana (by
Harry Aveling)
The expression lamban in the source language, which possibly translated
into slow, does not exist in the target language. It is reduced to assert that there is
the wind that giving impact to the moon. The reduction in this translation used to
maintain the aesthetic of the poem and make it easier to be understood by the
readers.
d. Retention of the same vehicle plus explication of similarity feature
This strategy is used when the result of literal translation gives rise to
different perceptions or causes ambiguity. By adding explicit words as additional
24
information when the vehicle is unfamiliar in the target language, it might help the
reader of the target language in interpreting the intention of the text (Pierini 35).
Example:
SL: Ada seribu kereta api menjemputmu pada batas
TL: A thousand trains stand ready to meet you at the border
- Z (by Goenawan Mohamad), translated into Z (by Harry Aveling)
The sentence above shows that the translator adds stand ready as the
explicit words. It is to explain that the trains are ready to be chosen to be used
even not all of them will be used. The translator adds the explicit words because
the source language sentence seems leading the readers to perception that the
trains could go anywhere while in fact they need railroad to be operated.
e. Replacement of the vehicle with a gloss
The choice of strategy can depend on the status of the source text (Pierini
35). Hence, when the term in the source text seems too way unfamiliar if it used in
the target language the translator might use this strategy to make it clearer. It is to
replace the vehicle with adding a gloss in the sentence.
Example:
SL: Kau yang panas di kening, kau yang panas di kenang
TL: You are the fever in my mind, you are the frost in my memory
- Tidak Ada New York Hari Ini (by Aan Mansyur), translated into There
is No New York Today (by John H. McGlynn)
25
This translation replaces the expression panas into fever. The translated text
is considered as equal and can convey the same message with the source
language. It is because of the word panas in source language does not actually
refer to hot, which is a relatively high temperature in general, but specifically
refers to a rise of body temperature above the normal.
f. Omission of the figure of speech
This strategy used when the source text consisting of complex figurative
structure. By removing the figurative language, it might retain the information
that contained in the source text. Hence, this strategy results non-figurative
language in the target text.
Example:
SL: Kami rakyat jelata, peras keringat untuk makan.
TL: We the common people, sweat to make a living.
- Pasung Jiwa (by Okky Madasari), translated into Bound (by Nurhayat
Indriyatno Mohmed and Makna Sinatria)
The translation of this poem omitted the play of an idiom peras keringat
which has the meaning of working hard. Whereas the English version only
mention it as sweat which has occurred in reasons, such as heat, fear, or tire. This
strategy retains the information of the source language that lead to different
perspective upon the readers.
26
CHAPTER III
ANALYSIS AND DISCUSSION
A. Data Description
Here are the data selected from three poems; Kuhentikan Hujan, Saat
Sebelum Berangkat, and Di Tangan Anak-anak along with the translation version
by John H. McGlynn; I Stopped the Rain, The Moment Before Departure and In
the Hands of Children. The data descriptions are tabulated based on the kinds of
figurative language and translation strategy used in the poems. The selected data
are demonstrated as follows:
Table 1.
Kuhentikan Hujan and I Stopped the Rain
No ST / Stanza / Line TT / Stanza / Line Figurative
Language
Translation
Strategy
1 Kuhentikan hujan / 1 /
1
I stopped the rain / 1 /
1 Irony
Literal
translation
2
Kini matahari
merindukanku / 1 /
1,2
Now the Sun in
longing for me / 1 /
1,2
Personification Literal
translation
3
ada yang berdenyut
dalam diriku:
menembus tanah
basah / 1 / 3,4,5
something beats
inside myself:
piercing the wet earth
/ 1 / 3,4,5
Metaphor Literal
translation
4
dendam yang
dihamilkan hujan dan
cahaya matahari / 1 /
6,7
a longing made
pregnant by rain and
sunlight / 1 / 6,7 Personification
Replacement
of vehicle
with a
different
vehicle
5
Tak bisa kutolak
matahari memaksaku
menciptakan bunga-
bunga / 2 / 1,2
I could not stop the
sun from forcing me
to create flowers / 2 /
1,2
Personification Literal
translation
6 menciptakan bunga-
bunga / 2 / 2
to create flowers / 2 /
2 Paradox
Literal
translation
27
Table 2.
Saat Sebelum Berangkat and The Moment Before Departure
No ST / Stanza / Line TT / Stanza / Line Figurative
Language
Translation
Strategy
7 mengapa kita masih
juga bercakap / 1 / 1
why do we still speak
/ 1 / 1 Synecdoche
Literal
translation
8 hari hampir gelap / 1 /
2
the day, now almost
dark / 1 / 2 Metonymy
Literal
translation
9
menyekap beribu kata
diantara karangan
bunga / 1 / 3
conceals a thousand
words among the
flowers / 1 / 3
Symbol Literal
translation
10
di ruang semakin
maya, dunia purnama
/ 1 / 4
in the ever more
illusory space, a
perfect earth / 1 / 4
Symbol
Reduction of
the figurative
language
11 mengapa musim tiba-
tiba reda / 2 / 2
why the season so
suddenly faded / 2 / 2 Allegory
Literal
translation
12
di luar para pengiring
jenazah menanti / 2 /
4
while outside the
funeral procession
waits / 2 / 4
Allegory
Replacement
of vehicle
with a gloss
Table 3.
Di Tangan Anak-anak and In the Hands of Children
No ST / Stanza / Line TT / Stanza / Line Figurative
Language
Translation
Strategy
13
Di tangan anak-anak,
kertas menjelma
perahu Sinbad / 1 / 1
In the hands of
children, paper
becomes Sinbad’s
ship / 1 / 1
Allusion Literal
translation
14
yang jeritnya
membukakan
kelopak-kelopak
bunga di hutan / 1 / 3
whose cries open
flower blooms in the
forest / 1 / 3 Hyperbole
Literal
translation
15
di mulut anak-anak,
kata menjelma Kitab
Suci / 1 / 4
in the mouths of
children, words
become the Holy
Book / 1 / 4
Allusion Literal
translation
28
B. Data Analysis
The researcher identifies the kinds of figurative language that have been
found as mentioned in data description. It is by comparing between the original
text and the translation text. Also, the researcher determines the translation
strategies used by John H. McGlynn as the translator based on relevant theories to
indicate the translation style used in the poems.
Data 1. Irony
SL: Kuhentikan hujan.
TL: I stopped the rain.
Both the source language and the target language are using the same kind of
figurative language. The sentence kuhentikan hujan describes that the speaker as
though has capability of stopping the rain. In fact, as a human being, the speaker
cannot really stop the rain because the rain is stop by itself. The sentence is
translated literally into I stopped the rain which also describes that the speaker
pretends to stop the rain, while it is not really happened. Hence, the expression of
the sentence kuhentikan hujan and I stopped the rain considered as a contrast
between appearance and reality.
Accordingly, the translation strategy of kuhentikan hujan into I stopped the
rain is considered as literal translation. As Pierini states that literal translation in
term of translating figurative language is by retaining the vehicle belonging to the
source text. In this translation, each word contained in the source text is translated
literally into the target text. It also has the same grammatical system. Therefore,
29
according to Boase-Beier this translation is determined as a source-type oriented
style since the translator intends to retain the point and the aesthetics of the source
text as an expression of the author’s choices (5). It is by using the same
grammatical and figurative language as in the source language.
Data 2. Personification
SL: Kini matahari merindukanku,
TL: Now the Sun in longing for me,
The figurative language of both the source language and the target language
are classified as personification. The sentence Kini matahari merinduanku
describes that the speaker trying to explain how the Sun missing the speaker
himself. As well as the English version of the sentence, the Sun in longing for me
also expresses that the Sun has the feeling of a strong desire to meet the speaker.
It is clear that in both of the source language and the target language the speaker
giving the attribute of human being to the Sun.
According to the use of the same figurative language between the target
language and the source language, the strategy to translate kini matahari
merinduanku into now the Sun in longing for me is determined as literal
translation where the translator retains the vehicle belonging to the source
language. So, the aim of the meaning in the original sentence translated equally to
the target language. It indicates that the translator tries to deliver the message in
the target language as similar as the original text. In that case, this can be stated
30
that this translation is oriented to the source-type style where the translator hands
on the original sentence to convey it to the target language.
Data 3. Metaphor
SL: ada yang berdenyut dalam diriku: menembus tanah basah,
TL: something beats inside myself: piercing the wet earth
Both the source language and the target language are using the same
figurative language. From the sentence ada yang berdenyut dalam diriku which is
translated into something beats inside myself, the speaker explains that there is
something pulses inside the speaker himself. Then both the source text and the
target text are using punctuation mark i.e. “:” (colon) which stands for replacing
the word “as” to mention menembus tanah basah and piercing the wet earth. In
brief, the sentences express that the sensation of beats that the speaker felt inside
himself feels the same as something is going through inside the earth. Thus, the
sentences ada yang berdenyut dalam diriku: menembus tanah basah and
something beats inside myself: piercing the wet earth both are considered that the
speaker likens himself with the earth that something doing pierce inside. In other
words, both the source sentence and the target sentence are about to describe the
expression of comparing two unlike objects, which have a common quality.
Since the translator using figurative language of the target text the same as
the source text, the strategy of this translation is indicated as literal translation.
Each word in the source language is translated equally to the target language. As
Pierini defines literal translation in term of figurative language is by retaining the
31
vehicle belonging to the source considering the cultural and grammatical system.
Hence, this translation is determined as a source-type oriented style where the
figurative language of the source language used as reference for the target
language. The translator transfers the message of the source language as close as it
is intended into the target language.
Data 4. Personification
SL: dendam yang dihamilkan hujan dan cahaya matahari
TL: a longing made pregnant by rain and sunlight
The sentence dendam yang dihamilkan hujan dan cahaya matahari
expresses that the rain and the sunlight made pregnant the dendam, which
“dendam” in KBBI refers to the desire of getting revenge. The sentence illustrates
that dendam has an ability to get pregnant. Thus, it considered that the speaker
gives human beings attribute to the word dendam. The translation version of the
sentence uses the same figurative language which also stands as a representation
of inanimate object as living beings to distinct human qualities. But there is a
different vehicle in it. To translate the sentence dendam yang dihamilkan hujan
dan cahaya matahari into a longing made pregnant by rain and sunlight the
translator chooses to replace the word dendam with the word longing rather than
transfer it into revenge, as in Kamus Lengkap Indonesia-Inggris that dendam
equal with revenge. Nevertheless, since the word dendam has negative
connotation but the idea of the word refers to the feeling of longing, this
translation of the sentence still convey the purpose of the source language.
32
Moreover, the translator decided to use the word longing as the equivalent of
dendam to make the aim of the message clearer in the target language.
Accordingly, the translation strategy to translate dendam yang dihamilkan
hujan dan cahaya matahari into a longing made pregnant by rain and sunlight is
considered as the replacement of the vehicle with a different vehicle. The
translator chooses to use this strategy in order to adjust the vehicle with the norms
of the target language. It is to avoid misleading perception of the readers from
positive to negative. It also to make the message of the source text to be easier
understood in the target language. Therefore, the style of this translation
determined as target-type oriented translation turned to translator’s choice in
delivering the message of the sentence.
Data 5. Personification
SL: Tak bisa kutolak matahari memaksaku menciptakan bunga-bunga
TL: I could not stop the sun from forcing me to create flowers
The type of figurative language in the sentence tak bisa kutolak matahari
memaksaku menciptakan bunga-bunga which is translated into I could not stop
the sun from forcing me to create flowers classified as personification. In the
sentence of the source language the speaker mentions matahari memaksaku,
which means that the speaker being forced by the sun. It is clearly indicated that
the speaker gives human attribute to the sun. As well as the translation version, it
also uses personification as the figurative language with the phrase forcing me
which refers to the act of the sun in forcing the speaker to create flowers.
33
Since the target language using the same figurative language as the source
text, the translation of tak bisa kutolak matahari memaksaku menciptakan bunga-
bunga into could not stop the sun from forcing me to create flowers is categorized
as literal translation strategy. The translation renders the aesthetic of the poem by
retaining the vehicle of the source text. Thus, this translation is determined as
source-type oriented style where the translator relates to the source language to
deliver the feeling of it.
Data 6. Paradox
SL: menciptakan bunga-bunga
TL: to create flowers
The sentence menciptakan bunga-bunga refers to the speaker that forced by
the sun to create flowers. At first, it appears illogical. How can a human create
flowers? It seems impossible. But then, in another sense this condition possibly
happens. That is by way of planting those flowers. Thus, the figurative language
of the sentence is classified as paradox since the statement is true in some sense
even though at first it appears self-contradictory. The translation version of the
sentence is also using paradox as the figurative language which describes the
same meaning.
Accordingly, the translation strategy of menciptakan bunga-bunga into to
create flowers is categorized as literal translation where the translator decided to
retain the same vehicle of source language. The target language also applies the
same cultural and grammatical system as the source language. Thus, this
34
translation is determined as a source-type oriented style considering that the
translator conveys the message in the sentence of the target language the same
way as it is mentioned in the source language. The style of this translation refers
to the source text as the expression of the author’s choices.
Data 7. Synecdoche
SL: mengapa kita masih juga bercakap
TL: why do we still speak
The figurative language in the sentence mengapa kita masih juga bercakap
is considered as synecdoche where there is the word bercakap which is a part of
activities in human life. The aim of the sentence is to describe why do people still
living their life mundanely without remembering that there is a death waiting.
Thus, the word bercakap stands to represent the whole activities of human beings,
not only an act of speak. For this reason, the sentence is indicated as the using of
part of something to signify the whole.
The translation sentence is also using synecdoche as the figurative language.
In the sentence why do we still speak the translator transforms the word bercakap
become speak. The aim of the word speak in target language is also referring to
the entirely of human activities, not only one lively action. Thus, the strategy to
translate mengapa kita masih juga bercakap into why do we still speak is
categorized as literal translation where the translator retains the figurative
language and the structure of the source text. It means that the translator equalizes
the vehicle and the grammatical system between the source language and the
35
target language. The style in this translation is determined as source-type oriented
which means that the result of the translation refers to the source language as the
expression of the author of the original poem.
Data 8. Metonymy
SL: hari hampir gelap
TL: the day, now almost dark
The figurative language in the sentence hari hampir gelap is classified as
metonymy. The speaker describes that the day becomes darker. As widely known,
when the day seems darker it means that the night is coming. Rather than saying
that the night is coming, the speaker chooses to illustrate the situation of it. It
indicates that the expression of the word gelap closely linked with night. That is
to say, the sentence describes a thing is closely linked to that particular thing, but
is not necessarily a part of it.
The translation version of the sentence retains the same kind of figurative
language as the source language. The word dark in the sentence the day, now
almost dark also represents the dusk time when the night is coming over. For that
reason, this translation sentence categorized as a figurative language consisting of
the use of the name of one thing for another attribute which it is associated. It is
to explain that the speaker trying to bring the reader to the time before night.
Since the target language sentence uses the same figurative language with
the source language sentence, the translation strategy to translate hari hampir
gelap into the day, now almost dark is determined as literal translation. This
36
translation strategy is applied by retaining the vehicle of the source language into
the target language. In this manner, it can be said that the translation of this data is
a source-type oriented style where the translator refers to the style of the source
language.
Data 9.Symbol
SL: menyekap beribu kata diantara karangan bunga
TL: conceals a thousand words among the flowers
The sentences menyekap beribu kata diantara karangan bunga and conceals
a thousand words among the flowers are using “flower” as a symbolic expression.
Flower is often associated with romance but also can be related to death. It is
frequently used to congratulate or even to express sorrow. In the context of this
poem, the flowers leading to funeral flower arrangements since the theme of this
poem is about contemplation of death. In brief, both the sentences of the source
language and the target language describe about the situation where even the
words of condolences that symbolized by flower are not able to change the
condition for the better. In other words, the word bunga in the source language
and the word flowers in the target language both symbolize condolences.
Accordingly, both the source language and the target language use the same
figurative language. Thus, the translation strategy of menyekap beribu kata
diantara karangan bunga into conceals a thousand words among the flowers is
indicated as literal translation. The target text uses the same vehicle as the source
37
text to get the same effect of the sentence. It also retains the same cultural and
grammatical structure as the source text.
This translation is determined as source-type oriented style since the
translator retains the expression of the source language to be used in the target
language. That way, the meaning of the original text did not distorted when it
delivered in the target text. It results the reader of the translation version gets the
same senses and feelings as the reader of the source text.
Data 10. Symbol
SL: di ruang semakin maya, dunia purnama
TL: in the ever more illusory space, a perfect earth
The sentence di ruang semakin maya, dunia purnama uses symbol as the
figurative language. There is the word purnama which in common opinion
claimed as the time when moon perfectly bright. For that, the sentence considered
to symbolize the world as a perfect place. Conversely, the translation of the
sentence does not use figurative language. It only mentions the aim of the
figurative language in the source language. Instead of transfer the word purnama
into full moon, as purnama in Kamus Lengkap Indonesia-Inggris means full
moon, the translator uses another equivalent of it. Due to the full moon generally
known as the condition of the moon in perfect whole disc illuminated which
KBBI also explain that purnama is a condition when the moon is in a perfect
round, the translator illustrates that purnama is a perfect condition. Therefore, the
translator points dunia purnama as a perfect earth in the target language.
38
Accordingly, the strategy used to translate di ruang semakin maya, dunia
purnama into in the ever more illusory space, a perfect earth is determined as the
reduction of the figurative language. The translator decided not to use figurative
language in the target text and prefer to replace the symbol in the source text with
the meaning of it. Hence, the style of this translation is oriented to target-type
style where the translator did an adjustment of term. It is to make the aim of the
source text to be clearer in the target language.
Data 11. Allegory
SL: mengapa musim tiba-tiba reda
TL: why the season so suddenly faded
The sentences mengapa musim tiba-tiba reda and why the season so
suddenly faded are using the same kind of figurative language. The sentences
express that the season suddenly faded which means that time passes so quickly.
On the other side, the words musim and the season stand as the time of human life
which means that the existent of a person in this earth is not forever, there must be
an end. Thus, the figurative language used in both of the source language and the
target language is classified as allegory where the sentence has a second meaning
beneath the surface.
The translation strategy of mengapa musim tiba-tiba red into why the season
so suddenly faded is determined as literal translation. The target text is using the
same figurative language with the source text. It also retains the grammatical
system of the source language. Therefore, the style of this translation is
39
determined as source-type oriented. It is to preserve the aesthetics of the source
language.
Data 12. Allegory
SL: di luar para pengiring jenazah menanti
TL: while outside the funeral procession waits
The sentence para pengiring jenazah menanti is classified as allegory as the
figurative language. It explains that people outside are waiting to take involve in
taking care of someone who died. As an allegory, the expression not only
expresses that there are people who waiting for someone’s funeral procession but
also describes that the people are also waiting for their own funeral procession
which means their own death. Thus, the sentence is determined as a description
that has a second meaning beneath the surface.
The translation version of the sentence uses different expression with the
source language. It mentions the funeral procession as a substitution of para
pengiring jenazah. The phrase para pengiring jenazah refers to the people who
take care of a person to the funeral while the translator prefers to convey it with
the activity of it, which is the funeral procession. Funeral in OALD is explained
as a ceremony for burying a dead person. Hence, rather than mention the
attendants of the funeral, the translator expresses it with the procession of it to
generalize the aim of the sentence. Thus, this translation leads to the perception
that the expression of the sentence refers to people in general not only to one
person. Therefore, the translation strategy of di luar para pengiring jenazah
40
menanti into while outside the funeral procession waits is determined as the
replacement of vehicle with gloss. The translator decided to replace vehicle with
the information of it.
Accordingly, the style of this translation is categorized as target-type
oriented style. The translator substitutes the term in the source language with the
term that more familiar in the target language. It is to make the message delivered
well in the target language, also to maintain the feelings and the aesthetics of the
poem.
Data 13. Allusion
SL: Di tangan anak-anak, kertas menjelma perahu Sinbad
TL: In the hands of children, paper becomes Sinbad’s ship
The word Sinbad in di tangan anak-anak, kertas menjelma perahu Sinbad
used in the sentence as an allusion. Sinbad is a fictional mariner and the hero of
Middle Eastern literature. In the tales of his seven voyages, Sinbad battled
incredible monsters, visited amazing lands and met with supernatural forces as he
sailed Indian Ocean’s fabled trade routes (Szczepanski). And for that, the ship that
used by Sinbad to go on his voyages is sturdy in encountering any obstacle
throughout the seas. Thus, the allusion of di tangan anak-anak, kertas menjelma
perahu Sinbad refer to the use of the term “perahu Sinbad” to illustrate how
strong the ship when it is made by children, even though it is made of paper. It is
to imply that any act of children may always give a major impact.
41
The target language sentence in the hands of children, paper becomes
Sinbad’s ship is using the same figurative language as the source language. The
sentence describes how much the impact that children can make on what they
have done. It is by mentioning Sinbad’s ship to liken how strong the impact is. It
is also using the same grammatical as the source text. For this reason, the
translation strategy of di tangan anak-anak, kertas menjelma perahu Sinbad into
in the hands of children, paper becomes Sinbad’s ship is classified as literal
translation. The translator transfers the text by retaining the vehicle of the source
text. It also applies the same cultural and grammatical system. Therefore, this
translation is determined as a source-type oriented style. The translator preserves
the feeling of the expression of the source language.
Data 14. Hyperbole
SL: yang jeritnya membukakan kelopak-kelopak bunga di hutan,
TL: whose cries open flower blooms in the forest;
The figurative language of both the source language and target language are
classified as hyperbole. The word jeritnya which is translated into whose cries
refers to the sound of bird in the previous line of this poem. The sentence yang
jeritnya membukakan kelopak-kelopak bunga di hutan expresses the situation
where the sound of the bird is so loud to the extent that it inflicts the flowers to
bloom their petals. The target language of the text also describes about the impact
of the loud noise of the bird that bring about the flowers to disclose their petals.
Thus, the sentences yang jeritnya membukakan kelopak-kelopak bunga di hutan
42
and whose cries open flower blooms in the forest are considered as the expression
that is exaggerating the real situation.
Since the translation text uses the same figurative language as the source
text, the strategy of this translation is categorized as literal translation which
means that the translation text retaining the vehicle of the source text. The
translation text is also using the same grammatical system as the source language.
Hence, the style of this translation uses source-type orientation to make the
aesthetics of the source text remains the same in the target text.
Data 15. Allusion
SL: di mulut anak-anak, kata menjelma Kitab Suci.
TL: in the mouths of children, words become the Holy Book
The sentence di mulut anak-anak, kata menjelma Kitab Suci is classified as
allusion. It uses The phrase Kitab Suci alludes the words that come out from
children will always be trusted the same as what said in it which is considered as
true affirmations. It means that the sentence is using a word or object to calling for
something else. The translation version of the sentence is using the same kind of
figurative language. Holy Book in the sentence in the mouths of children, words
become the Holy Book stands to represent that the words of children is considered
to be true.
Accordingly, the strategy to translate di mulut anak-anak, kata menjelma
Kitab Suci into in the mouths of children, words become the Holy Book is
43
determined as literal translation. The translator retains the vehicle and
grammatical system of the source language to be used in the target language.
The style in this translation is oriented to source-type considering that the
result of the translation refers to the original poem as the expression of author’s
choices. Thus, the meaning and the feeling of the target language can feel the
same way as it is expressed in the source language.
44
CHAPTER IV
CONCLUSION AND SUGGESTION
A. Conclusion
Based on the previous discussion, the poems written by Sapardi Djoko
Damono entitled Kuhentikan Hujan, Saat Sebelum Berangkat, and Di Tangan
Anak-anak along with the English version I Stopped the Rain, The Moment Before
Departure and In the Hands of Children translated by John H. McGlynn are used
as the data to analyze the translation of figurative language.
The researcher concludes that the poems use various kinds of figurative
language. There are ten kinds of figurative language found thru the fifteen data
collected from the three poems. The kinds of figurative language used in the
poems are an irony, three personifications, a metaphor, a paradox, a synecdoche, a
metonymy, two symbols, two allegories, two allusions and a hyperbole.
The poems are predominantly applying literal translation. There are twelve
translations out of fifteen data that use this strategy. The strategy applied by
retaining the terms, the grammatical system and the figurative language of the
source language to be used in the target language. It is to maintain the intended
meanings and senses of the source poems. But in some parts of terms which
presumed not to be appropriate in target language, the translator also committed to
alter several terms to adjust with the target language by using another strategy
such as a replacement of vehicle with a different vehicle, a reduction of the
figurative language and a replacement of vehicle with a gloss.
45
B. Suggestion
Poetry is a literary work that more difficult to be understood rather than the
other literary works. To get a good understanding about a poem, the readers have
to read the text repeatedly, because poetry is a kind of multi interpreting language.
Poetry, which is sequence of words used to communicate experience, expresses
feelings, senses, emotions, and imaginations through unordinary ways and often
uses figurative language that is not simply explaining the message of it. Therefore,
to understand poem more deeply, the readers of the poem have to do analysis of
the meaning of each expression in the poem itself. By analyzing it, the reader will
be able to get the feelings and the aims of the poems.
Moreover, the researcher suggests the translators and the students of English
literature, especially those who want to translate Indonesian poems into English,
to master the literary aspects of the poem. Also, it is needed to comprehend the
strategy of poetry translation. Through preferable concern of the translation
strategy, the purpose of the source text would be delivered well to the source
language.
For the next researcher who wants to discuss about figurative language as
the subject of the study may amplify the discussion of it and may explain wider
scope about the figurative language translation also to describe it referring another
theories. By giving different theories conducting the kinds of figurative language
or translation strategies, it can give extensive study about literary translation.
46
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APPENDICES
Cover of SL Book Cover of TL Book
Poem 1 of SL
Poem 1 of TL
Poem 2 of SL
Poem 2 of TL
Poem 3 of SL
Poem 3 of TL
