CHAPTER IV FINDINGS AND DISCUSSION
This chapter discusses the findings of the research. It mainly deals with the presentation of the data, the explanation of the data, and the discussion of the data in reference to the research theories that already presented in the previous chapters. This chapter is primarily divided into the presentation of data and the discussion and general interpretation of the data. The data were analyzed based on the simile category of the figurative language and the translation techniques of those similes. The researcher tries to find the similes and the translation techniques used by M. Ruslan Shiddieq and Sabri in translating similes of Sayap-sayap Patah novel from “The Broken Wings” novel (A Treasured Writing of Kahlil Gibran, Caste Book, USA. August, 1985).
4.1 The Findings The similes were classified based on Fromilhague’s simile categories (1995:83-84) in recognizing explicit and implicit simile, and based on Pierini’s simile markers (2007:27) in recognizing all similes that written in the novel. Data in this research were 177 items of similes, found in eleven chapters of “The Broken Wings” novel as can be seen in the following table: 51
Table 4.1 Classification of Similes No
Simile Categories
Frequency
Percentage (%)
1.
Explicit Simile
134
755.7%
2.
Implicit Simile
43
24 24.3%
177
100%
Total
Table 4.1 informs the reader about 177 similes of comparison, comparison 134 of them are explicit similes, while the rest of them are implicit similes. In other words, explicit simile is the most common simile used by the author in expressing the figurative language. guage. The reader can take a look the following pie chart:
Frequency Implicit Simile 24%
Explicit Simile Explicit Simile 76%
Implicit Simile
Chart 4.1 Percentages of Similes Found
Table able 4.1 and chart 4.1 above inform the readers that explicit similes are the most frequent similes of the novel due to the percentage is 75.7% and 52
followed by implicit simile as the rest as many as 24.3%. In analyzing all those similes, the writer, uses Pierini’s theory (2007:27) about simile markers, and the result can be seen in the table 4.2 and chart 4.2 below.
Table 4.2 Comparison Markers Used in Similes of “The Broken Wings” Novel No
1.
2.
3.
4.
5.
Comparison Marker Function of Word Marker Seem Look like Act like Verbs Sound like Resemble Remind Sub Total Similar to Adjective The same as Sub Total A sort of Nouns Some kind of Sub Total Like Prepositions As Sub Total As if/though Conjunctions As when Sub Total Total
53
Frequency Percentage 6 9 2 1 18 2 2 102 27 129 28 28 177
3.39 5.08 0 0 1.13 0.56 10.17 1.13 0 1.13 0 0 0 57.63 15.25 72.88 15.82 0 15.82 100%
120 100 80 60 40
Series1
20 0
Chart hart 4.2 The Comparison Markers Marker Used in Simile of “The Broken Wings”
According to the table above, the author used prepositions preposition marker as the most frequent marker, amount to 129 markers, consists of 102 like prepositions markers, and 27 as prepositions preposition markers. The second most frequent marker used by author is conjunctions, conjunction amount to 28 markers, all of conjunctions conjunction marker is as if conjunctions. The third most frequent marker used by the author is verbs, amount to 18 markers, markers consist of nine look like verbs markers, six seem verbs markers, two resemble verbs markers, and one reminds verbs marker. The least frequent marker used by the author is adjective, amount to two adjective markers, only similar to adjective marker.
4.1.1 Simile Simile is fundamentally a figure of speech requiring overt reference to source and target entities, and an explicit construction connecting them (Gibbs,
54
1994:40) in Fadaee (2010:23). As portrayed in table 4.1 above, “The Broken Wings” novel contains 134 explicit similes and 43 implicit similes. Here the writer only provides three examples of similes from each category of simile to analyze, and the rest is provided in the appendix of this paper. In analyzing the simile, the writer should identify tripartite structure as Fromilhague (1995:73-74) in Pierini (2007:27) proposed. The tripartite consists of topic—the entity described by the simile, vehicle—the entity to which the topic is compared, and comparison marker or similarity feature—the properties shared by topic and vehicle which can be expressed explicitly and implicitly. Nevertheless, the writer should be careful in identifying the differences between entities compared, whether it is comparing between persons, objects or process (Fromilhague, 1995:73-74) in Pierini (2007:27). If the entities compared are the similar entities, persons to persons, for example, we can not say the phrase as simile, but if the entities compared are difference entities, we can say it as simile. The explanation below shows which is simile and not. 1. Angie is as beautiful as Putri 2. Gita is as beautiful as Mount Fuji In number one, Angie is compared to Putri with beautiful as their similarity. The word “as” marked the likeness between both entities, and the entities are persons. Due to this sentence has similar entities compared, in this case, persons, so it is not categorized into simile. In the meanwhile, sentence number two, Gita is compared to Mount Fuji, and “beautiful” is their similarity. This second phrase belongs to simile since the entities compared are different. Gita is a person, while 55
Mount Fuji is an object. In addition, Mount Fuji is non living thing and has no any facial organ as human. That is why we should be careful in determining which is a simile and not a simile.
4.1.1.1 Explicit Simile As mentioned in chapter two, explicit simile can be formed when sense or point of similarity is stated directly. Explicit simile can also carry an explanation (Roncero, et al. 2006) as quoted by Pierini (2007:27). In The Broken Wings novel, the writer found 134 explicit similes from 177 similes or about 75.7% as written in the list below. 1). ...and Selma Karamy was the first woman who awakened my spirit with her beauty and led me into the garden of high affection, where days pass like dreams... (p.3) 2). ...and the fiery sword which chased Adam out of Paradise was like the one which frightened me by its glittering edge and forced me away from paradise of my love without having disobeyed any order or tasted the fruit of the forbidden tree. (p.3) 3). I have nothing left out of that beautiful dream except painful memories flapping like invisible wings around me, filling the depths of my heart with sorrow, and bringing tears to my eyes. (p.3)
In analyzing the simile of The Broken Wings novel, the writer identifies the comparison markers first, based on Pierini’s (2007:27) theory; second, identifies
56
the topic as the entity described by the simile; and the last, identifies the vehicle, as the main determiner in making certain whether the simile is explicit or implicit simile. The last step to determine simile is comparing the topic and vehicle, whether consists of different entities or similar entities. If the sentence contains similar entities, it is not categorized into simile, but if the entities are different, it is categorized into simile. Concerning explicit and implicit simile, the writer provides the reader with the following figure of process in determining explicit and implicit simile.
Identifying Comparison Marker
Tripartite Structure
Identifying the Topic
Identifying the Vehicle
Comparing the Entities of Topic and Vehicle
Identifying directness and indirectness of point of similarity
Explicit Simile
Implicit Simile
Figure 4.1 The Process in Determining Explicit and Implicit of Simile
57
To identify the kind of simile of example number one, the writer identifies “like” as preposition comparison marker first, in the same manner as process described in figure 4.1 above. Then the writer identifies the phrase “where the days pass” as topic, and “dreams” as vehicle. This one, the writer can say, is a simile since the topic “where the days pass” is information of a process entity, while the vehicle “dreams” is an activity entity, and the similarity relation between them is marked by “like” preposition marker. After the writer recognizing the simile, the next step is determining whether the simile is explicit or implicit. The example of simile number one above is categorized into explicit simile due to the point of similarity is stated directly. Phrase “the days pass” and “dreams” has similarity in their temporariness and the writer has no another interpretation concerning such simile. The next sentence of simile is number two. The phrase “the fiery sword” as topic and belongs to object entity, while phrase “the one which frightened“ is as the vehicle and belongs to person entity, and the similarity of them is marked by “like” preposition marker. The next step is again determining whether the simile is explicit or implicit. The example of number two is categorized into explicit simile since the point of similarity is stated directly. Phrase “the fiery word which chased Adam out of Paradise” and “the one which frightened me by its glittering edge” have similarity in their frightening person and the writer has no other interpretation of the sentence. The last example of explicit simile is number three. The phrase “painful memories flapping” is considered as topic and belongs to process entity, while
58
phrase “invisible wings around me” is as vehicle and belongs to object entity. The similarity feature of both entities are marked by “like” preposition marker. To determine whether the simile belongs to explicit or implicit simile, the writer find out the similarity feature of both entities—invisible or abstract things, and it is stated directly, in this case “a dream” and “invisible wings” which left out, so this simile belongs to explicit simile.
4.1.1.2 Implicit Simile In analyzing the implicit simile, the writer doing similar procedures to decide what kind of simile, as described in the figure 4.1. In “The Broken Wings“ novel, the writer found 43 implicit similes from 177 similes (24.3%) as written in the table 4.1. Here the writer provides three examples of implicit simile. 1). ...and Selma Karamy was the first woman who awakened my spirit with her beauty and led me into the garden of high affection, where...nights like weddings. (p.3) 2). My life was a coma, empty like that of Adam’s in Paradise, when I saw Selma standing before me like a column of light. (p.3) 3). ...for the flowers you lay on Selma’s tomb are like falling drops of dew for the eyes of dawn on the leaves of withering rose. (p.4)
Started from the first sentence, the writer recognizes “like” as the comparison marker, then signs the word “nights” as topic and belongs to object entity, and “weddings” as vehicle and belongs to process entity, this sentence has different
59
entity, so that it belongs to simile. After recognizing tripartite structure and comparing both entities to make sure the simile, the writer identifying directness and indirectness of point of similarities to determine explicit and implicit category, those are the phrase “awakened my spirit” and phrase “led me into the garden of high affection”. In this simile, the writer is not able to recognize direct statement of point of similarity, so it is considered as implicit simile. In the second example, the writer signs “like” as the comparison marker, then signs “standing before me” as the topic and as process entity, while “a column of light” as the vehicle and as object entity. Due to the sentence has different entities, we can say it as simile. Furthermore, after recognizing tripartite structure and comparing both entities, again, the writer identifies the point of similarity, directness and indirectness of point of similarity, that is awkwardness of “Selma’s standing” and “column of light”. In this simile, the writer could not find direct statement of its point of similarity, so it is considered as implicit simile. In the last example, “like” is again as comparison marker, then “Selma’s tomb” is considered as topic and tangible entity, while “eyes of dawn” is considered as vehicle and intangible entity. This sentence belongs to simile since it has different entities, and belongs to implicit simile since the writer is not able to identify direct statement of point of similarity between two entities. In conclusion, the author mostly states the point of similarity directly, in other word by using explicit simile as many as 134 explicit similes or 75.7%, and only states the point of similarity by indirectly or implicit simile, as many as 43 implicit similes or 24.3% of all similes.
60
4.1.2 Translation Techniques of Simile The simile figurative language oftentimes difficult to understand by the readers, the factors may be the unfamiliarity of the simile and different language spoken of the readers. The factors above can cause misunderstanding in understanding the message of the text. To solve this problem, the translator has to apply translation technique to cope with it and should have skill in communicating among comparison marker, topic and vehicle of simile. After identifying the simile figurative language, the writer analyzes the technique of translating each simile of “The Broken Wings” novel translated by two different translators, M. Ruslan Shiddieq and Sabri. The below table provides summary of the translation techniques in translating “The Broken Wings” novel.
Table 4.3 Translation Techniques Used by M. Ruslan Shiddieq in Translating Similes Similes
Results
Total
Explicit
Techniques Literal Translation Reduction Generalization Established Equivalent Particularization Adaptation Discursive Creation Modulation Amplification Total
F
98 10 9 8 4 4 0 1 0 134
P (%)
55.37 5.65 5.08 4.53 2.26 2.26 0 0.56 75.7
61
Implicit F
37 0 1 1 1 0 2 0 1 43
P (%)
20.9 0 0.56 0.56 0.56 0 1.14 0 0.56 24.3
F
P (%)
135 10 10 9 5 4 2 1 1 177
76.27 5.65 5.65 5.09 2.83 2.26 1.13 0.56 0.56 100
According to the table of translation techniques above, the writer finds nine techniques used by M. Ruslan Shiddieq to translate simile of the “The Broken Wings” novel into Sayap-sayap Patah novel as translated version in 1986. In addition, the writer found literal translation technique as the translation technique mostly used in translating this novel, amount to 135 similes or 76.27%, followed by reduction, generalization, established equivalent, particularization, adaptation, discursive creation, modulation, and amplification. It also can be seen in the chart 4.3 below.
3%
2%
1%
1%
1% Literal Translation
5% Reduction Generalization
6%
Established Equivalent 6%
Particularization Adaptation Discursive Equivalent 76%
Modulation Amplification
Chart 4.3 The Techniques Used in Translating Similes by M. Ruslan Shiddieq
Different from M. Ruslan Shiddieq who used nine translation techniques, Sabri used 11 translation techniques in translating “The Broken Wings” novel. Sabri added to use description, and compensation techniques to translate “The Broken Wings” novel into Sayap-sayap Patah in Sabri translated version. In his translated version, he also used literal translation as the mostly technique in 62
translating “The Broken Wings” for the amount is to 84 or 47.46%. The statistic summary can be seen in the table 4.4 and chart 4.4 below. Table 4.4 Translation Techniques Used by Sabri in Translating Similes Similes
Results Explicit
Techniques Literal Translation Reduction Amplification Generalization Particularization Adaptation Established Equivalent Modulation Discursive Creation Description Compensation Total
4%
3%
2% 1%
F
P (%)
61 18 9 10 8 9 7 5 3 3 0 134
34.46 10.17 5.09 5.65 4.53 5.09 3.95 2.83 1.69 1.69 0 75.7
1%
Total Implicit F
23 1 4 2 3 1 3 2 2 0 3 43
P (%)
13 0.56 2.26 1.13 1.69 0.56 1.69 1.13 1.13 0 1.69 24.3
F
P (%)
84 19 13 12 11 10 10 7 5 3 3 177
47.46 10.73 7.35 6.78 6.22 5.65 5.65 3.96 2.82 1.69 1.69 100
Literal Translation Reduction
6%
Amplification Generalization
6% 47% 6%
Particularization Adaptation
7%
Established Equivalent Modulation
7%
Discursive Creation
11%
Description
Chart 4.4 The Techniques Used in Translating Similes by Sabri 63
Furthermore, below are the details of translation techniques used by both different translators, M. Ruslan Shiddieq and Sabri in translating similes written in “The Broken Wings” novel. Both M. Ruslan Shiddieq and Sabri used literal translation technique as the most frequent technique in translating simile. In addition, M. Ruslan Shiddieq only used nine translation techniques, while Sabri used 11 translation techniques.
4.1.2.1 Adaptation This technique replaces a Source Text (ST) cultural element with one from the target culture. In translating simile written in “The Broken Wings” novel, M. Ruslan Shiddieq used adaptation technique as many as four times or 2.26%, while Sabri used this technique as many as 10 times or 5.65%.
4.1.2.1.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
There was a moment of silence Ada saat-saat hening ketika Faris during which Farris Effandi stared Affandi
melirik
at his daughter like a prophet who perempuannya seperti
anak seorang
gazes at Heaven to divine its secret. nabi yang memandang langit (p.12)
untuk meramalkan rahasianya. (p.56)
2.
My departure was like Adam’s Keberangkatanku exodus from Paradise, but the Eve keluarnya
Adam
laksana dari
Taman
of my heart was not with me to Sorga, namun Hawa dari hatiku make the whole world an Eden. tidak bersamaku untuk mengubah
64
(p.18)
semesta dunia menjadi taman Aden. (p.68)
3.
Like a mystic who receives a
Laksana
seorang
sufi
revelation of Heaven, I saw myself
menerima ilham dari langit, aku
amid the trees and flowers, and as I
menyaksikan diriku berada di
approached the entrance of the
tengah-tengah
house I beheld Selma sitting on the
bunga-bungaan,
bench in the shadow of a jasmine
kumendekat pintu gerbang rumah,
pepohonan dan
yang
dan begitu
tree where we both had sat the week kusaksikan Selma sedang duduk before, on that night which
di bangku di bawah bayang-
Providence had chosen for the
bayang sebatang pohon melati,
beginning of my happiness and
tempat aku dan dia duduk-duduk
sorrow. (p.20)
berdua
seminggu
sebelumnya,
pada malam itu, yang dipilih oleh Tuhan
sebagai
kebahagiaan
dan
awal
mula
kedukaanku.
(p.112)
According to number one on the table above, There was a moment of silence during which Farris Effandi stared at his daughter like a prophet who gazes at Heaven to divine its secret is translated into Ada saat-saat hening ketika Faris Affandi melirik anak perempuannya seperti seorang nabi yang memandang langit untuk meramalkan rahasianya. The clause like a prophet who gazes at Heaven has been changed culturally, in this case langit is supposed to be written surga. Such translation technique belongs to adaptation technique, because some people prefers believe in heaven as the sky to the God’s place.
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Another example of adaptation technique is My departure was like Adam’s exodus from Paradise... which is translated into Keberangkatanku laksana keluarnya Adam dari Taman Sorga. The clause adam exodus from paradise especially the word paradise has been changed into Taman sorga, in which should be translated into firdaus due to taman surga means heaven actually. This reflects that firdaus only exists in Moslem society. The last example of adaptation technique is almost similar to example number one, the phrase Like a mystic who receives a revelation of Heaven which is translated into Laksana seorang sufi yang menerima ilham dari langit not into Laksana seorang sufi yang menerima ilham dari surga. This technique belongs to adaptation technique since heaven is one of religion terms.
4.1.2.1.2 Similes Translated by Sabri Different from M. Ruslan Shiddieq who used adaptation technique four times, Sabri used more, 10 times. Here the writer provides three examples of simile translated by Sabri used adaptation technique. No. 1.
Source Language
Target Language
In that year I was reborn and unless Di tahun itu aku terlahir kembali, a person is born again his life will dan bila seseorang dilahirkan remain like a blank sheet in the kembali, maka hidupnya akan book of existence. (p.5)
kekal
seperti
sehelai
kertas
kosong dalam kitab keberadaan. (p.8) 2.
The gardens were full of Nisan Taman-taman
penuh
dengan
flowers and the earth was carpeted bunga Nisan dan bumi berhampar
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with green grass, and like a secret rumput of earth revealed to Heaven. (p.6)
hijau,
semua
tempat
seperti rahasia yang diperlihatkan bumi kepada langit. (p.9)
3.
We all sat silent as if Selma had Kemudian kami semua duduk brought into the room with her terdiam
seakan-akan
Salma
heavenly spirit worthy of mute membawa kebisuan yang setara respect. (p.8)
dengan jiwanya yang teramat menyenangkan. (p.16)
In number one above, ...like a blank sheet in the book of existence is translated into ...seperti sehelai kertas kosong dalam kitab keberadaan. From this example, Sabri chose to translate kitab keberadaan rather than buku keberadaan, so this technique belongs to adaptation since kitab keberadaan is a religion or cultural term. Thus, in the example number two, Sabri used adaptation technique since he translated heaven into langit in the simile the gardens were full of Nisan flowers and the earth was carpeted with green grass, and like a secret of earth revealed to Heaven. Heaven means surga in Bahasa Indonesia, but in cultural factor, especially religion, langit is more common for some people in particular tradition. The last example of adaptation technique in translating simile is We all sat silent as if Selma had brought into the room with her heavenly spirit worthy of mute respect translated into Kemudian kami semua duduk terdiam seakan-akan Salma membawa kebisuan yang setara dengan jiwanya yang teramat menyenangkan. We can identify adaptation technique through phrase heavenly
67
spirit, due to this phrase will be more suitable to be translated into ruh surgawi rather than jiwanya yang teramat menyenangkan.
4.1.2.2 Amplification This technique introduces details that are not formulated in the source text, such as information, and explicative paraphrasing. In translating simile written in “The Broken Wings” novel, M. Ruslan Shiddieq used amplification technique as many as only one time or 0.56%, while Sabri used this technique as many as 13 times or 7.34%.
4.1.2.2.1 Simile Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
As the rays of the moon shone on Ditimpa cahaya rembulan pada the face, neck, and arms of Selma, wajah, leher, dan kedua lengan she looked like a statue of ivory tangannya,
Selma
nampak
sculptured by the fingers of some laksana sebuah patung gading worshiper of Ishtar, goddess of yang
dipahat
oleh
jari-jari
beberapa pemuja Isytar8 sang
beauty and love. (p.15)
dewi keindahan dan cinta. (p.61)
Based on the above table, M. Ruslan Shiddieq used amplification technique only one time. Translator translated As the rays of the moon shone on the face, neck, and arms of Selma, she looked like a statue of ivory sculptured by the fingers of some worshiper of Ishtar, goddess of beauty and love. He put
68
footnote at behind the novel as a detail explanation of word Isytar. So, this technique belongs to amplification.
4.1.2.2.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
Her hand, when I touched it, was Tangannya yang indah, waktu aku like a white lily, and a strange pang menyentuhnya, pierced my heart. (p.8)
laksana
bunga
bakung yang indah, putih seperti tanpa dosa. Dan perasaan yang aneh tiba-tiba menyerbu hatiku. (p.16)
2.
Saying this, he turned to Selma as if
Sambil mengatakan kalimat itu, ia
to ask confirmation of his
menoleh
statement. (p.10)
mengangguk, kemudian melihatku
ke
arah
Salma.
Ia
seperti orang yang menemukan kenalan lamanya kembali. (p.20) 3.
As I reached the home of Farris
Ketika aku sampai di rumah Faris
Effandi, I saw Selma sitting on a
Afandi, aku melihat Salma sedang
bench in the garden resting her head
duduk di sebuah bangku di taman
against a tree and looking like a
itu
bride in her white silk dress (p.12)
kepalanya di sebuah pohon. Ia
seraya
menyandarkan
nampak seperti seorang pengantin perempuan
yang
sedang
mengenakan kebaya putih yang mengkilap (p.25)
Sabri used more amplification technique in translating “The Broken Wings”, he used 13 times. Begins from the number one, the clause Her hand, 69
when I touched it, was like a white lily, and a strange pang pierced my heart is translated into Tangannya yang indah, waktu aku menyentuhnya, laksana bunga bakung yang indah, putih seperti tanpa dosa. Dan perasaan yang aneh tiba-tiba menyerbu hatiku. The phrase white lily which is translated into laksana bunga bakung is added by ...yang indah, putih seperti tanpa dosa. This kind of translation technique belongs to amplification due to its additional explanation is almost similar to Delisle’s theory and tends to use Newmark’s paraphrase. Another simile which is translated by using amplification technique can be seen in number two, clause Saying this, he turned to Selma as if to ask confirmation of his statement is translated into Sambil mengatakan kalimat itu, ia menoleh ke arah Salma. Ia mengangguk, kemudian melihatku seperti orang yang menemukan kenalan lamanya kembali. The additional information in translated version is the clause Ia mengangguk, kemudian melihatku. The writer can say that this translation technique is amplification due to additional information is applied. The last example of amplification technique used by Sabri is the clause like a bride in her white silk dress which is translated into seperti seorang pengantin perempuan yang sedang mengenakan kebaya putih yang mengkilap. The additional description by phrase yang mengkilap that indicates amplification technique is applied by Sabri.
4.1.2.3 Compensation Compensation is translation technique which is used to introduce a Source Text (ST) element of information or stylistic effect in another place in the Target
70
Text (TT) because it can not be replaced in the same place as in the ST. This technique is only used by Sabri as many as three similes or 1.69%.
Similes Translated by Sabri No. 1.
Source Language
Target Language
The first Eve led Adam out of Adalah Hawa yang menyebabkan Paradise by her own will, while Adam keluar dari sorga dengan Selma made me enter willingly into keinginannya. Sementara Salma the paradise of pure love and virtue mengantarkan
aku
memasuki
by her sweetness and love; but what taman cinta yang murni dengan happened to the first man also kebajikan, keanggunan, dan cinta happened to me, and the fiery sword kasihnya. Kecuali bahwa apa which chased Adam out of Paradise yang menimpa makhluk pertama was like the one which frightened itu juga menimpaku. Dan pedang me by its glittering edge and forced tajam yang menghalau Adam me away from paradise of my love keluar dari sorga semisal yang without having disobeyed any order membuatku takut oleh kilatnya or tasted the fruit of the forbidden dan memaksaku menjauh dari tree. (p.3)
sorga cintaku tanpa pengingkaran atas segala macam perintah atau merasakan nikmatnya buah pohon terlarang itu.* (pakai footnote) (p.2)
2.
Selma stared at me a moment as if Salma menatap ke arahku sejenak doubting that a visitor could have seakan entered their house. (p.8)
tiada
percaya
kalau
seorang tamu telah memasuki rumahnya. (p.16)
3.
Selma listened to my words with Salma mendengarkan kata-kata palpitating
heart,
and
said itu dengan hati berdebar. Dia lalu
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“Tomorrow the truth will become berkata, “Besok aku akan menjadi ghostly and the awakening will be seperti like a dream. (p.24)
hantu
keterjagaan
dan akan
saat-saat berubah
menjadi sebuah mimpi. (p.55)
Started from number one, the phrase fiery sword which is similar meaning to pedang yang membara is translated into pedang tajam or sharp sword. This technique is called compensation because the stylistic effect factor is applied here. Tajam is more suitable to accompany the word sword in Bahasa Indonesia than to use membara. While in number two, the clause Selma stared at me a moment as if doubting that a visitor could have entered their house was translated into Salma menatap ke arahku sejenak seakan tiada percaya kalau seorang tamu telah memasuki rumahnya. In this case, the phrase their house was translated into rumahnya that supposed to be rumah mereka. This technique belongs to compensation since the determiner of belonging has been change. Different from transposition technique in which changes grammatical category, e.g., adverbial to verb, in compensation technique number one case above, Sabri tried to replace general ownership determiner their house into her house into specific ownership determiner. Furthermore, in the last example, Sabri replaced the clause Tomorrow the truth will become ghostly and the awakening will be like a dream into Besok aku akan menjadi seperti hantu dan saat-saat keterjagaan akan berubah menjadi sebuah mimpi. In this simile, the word like replaced by berubah that is supposed 72
to be seperti. In this case, Sabri thinks that a dream is something unreal, so he preferred to use berubah (change) to translate like into Bahasa Indonesia.
4.1.2.4 Description As mentioned in chapter two, description technique is the translation technique to replace a term or expression with a description of its form or/and function. In translating “The Broken Wings”, this technique only used by Sabri as many as three times or 1.69%. Below are the similes of description technique used by the translator.
Similes Translated by Sabri No. 1.
Source Language
Target Language
Today, after many years have
Saat
passed, I have nothing left out of
berlalu,
that beautiful dream except painful
apapun. Tak ada yang tersisa dari
memories flapping like invisible
impian
wings around me, filling the depths
kenangan
of my heart with sorrow, and
mengepak-ngepak laksana sayap-
bringing tears to my eyes; and my
sayap tak tampak di sekelilingku.
beloved, beautiful Selma, is dead
Ia melahirkan rintihan kedukaan
and nothing is left to commemorate
di dasar hati dan mengucurkan
her except my broken heart and
air mata putus asa di pelupuk
tomb surrounded by cypress trees.
mata. Salma yang anggun, sudah
(p.3)
tiada. Tiada yang tersisa untuk
itu,
sekadar
setelah aku
indah
tahun-tahun
tidak
itu,
yang
memiliki
melainkan menyakitkan
mengingatnya
selain
hatiku yang patah dan seonggok kuburan yang dikelilingi pohon73
pohon cemara. (p.3) 2.
My neighbours, you remember the Para tetanggaku, tentu kalian dawn of youth with pleasure and masih ingat masa muda dengan regret its passing; but I remember it keriangannya dan menyesalkan like a prisoner who recalls the bars berlalunya. Tetapi aku mengingat and shackles of his jail. (p.4)
semua seorang
itu
tak
beda
tawanan
dengan yang
menggambarkan kembali jeruji dan
belenggu-belenggu
kesengsaraan di dalamnya. (p.5) 3.
He stared at me for a moment, and I Dia menatapku sejenak. Dan aku noticed a change in his expression melihat perubahan raut mukanya as if my few simple words had dengan revealed to him a new idea. (p.7)
jelas,
seakan-akan
penuturanku yang simpatik itu memberinya gagasan baru. (p.13)
In the table above, first, in translating the clause painful memories flapping like invisible wings around me, filling the depths of my heart with sorrow, and bringing tears to my eyes into kenangan yang menyakitkan mengepak-ngepak laksana sayap-sayap tak tampak di sekelilingku. Ia melahirkan rintihan kedukaan di dasar hati dan mengucurkan air mata putus asa di pelupuk mata, the translator applied description technique since Sabri adds the phrase putus asa di pelupuk in his translated text. The second example of description technique is the clause but I remember it like a prisoner who recalls the bars and shackles of his jail which is translated into Tetapi aku mengingat semua itu tak beda dengan seorang tawanan yang menggambarkan kembali jeruji dan belenggu-belenggu kesengsaraan di 74
dalamnya. In this case, the phrase shackles has been expanded into belenggubelenggu kesengsaraan, so this technique belongs to description. The last example of description technique is indicated by sentence He stared at me for a moment, and I noticed a change in his expression as if my few simple words had revealed to him a new idea into Dia menatapku sejenak. Dan aku melihat perubahan raut mukanya dengan jelas, seakan-akan penuturanku yang simpatik itu memberinya gagasan baru. Sabri added dengan jelas to his translated text which is not uttered in the source text. That is why this translation technique belongs to description.
4.1.2.5 Discursive Creation Discursive creation is the translation technique to establish a temporary equivalence that is totally unpredictable out of context. In translating “The Broken Wings”, this technique is used as many as two times or 1.13% by M. Ruslan Shiddieq and five times or 2.82% by Sabri.
4.1.2.5.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
A woman’s heart is like a field Hati
seorang
wanita
laksana
turned into a battleground; after the sebuah pedang yang berubah jadi trees are uprooted and the grass is medan
pertempuran;
sesudah
burned and the rocks are reddened pohon-pohon ditumbangkan dan with blood and the earth is planted rerumputan terbakar dan batuwith bones and skulls, it is calm and batu karang memerah oleh darah silent as if nothing has happened; dan 75
bumi
ditanami
dengan
for the spring and autumn come at tulang-tulang
dan
tengkorang-
their intervals and resume their tengkorak, ia akan tenang dan work. (p.22)
diam seolah tak ada sesuatu pun terjadi karena musim semi dan musim waktunya
gugur
datang dan
pada
memulai
pekerjaannya. (p.52) 2.
Don’t you believe that thwarted Tidak percayakah anda bahwa love which leads a woman to the cinta tersita yang membawa grave is like the despair which seorang perempuan ke liang pervades the people of the earth? kuburnya itu bagaikan keputusasaan yang menyelubungi
(p.29)
penghuni bumi? (p.69)
According to the table above, the clause A woman’s heart is like a field turned into a battleground is translated into Hati seorang wanita laksana sebuah pedang yang berubah jadi medan pertempuran by M. Ruslan Shiddieq. In this case, he used discursive creation translation technique due to field is not similar to pedang, and this is totally out of context. The next example of discursive creation technique is translating the clause Don’t you believe that thwarted love which leads a woman to the grave is like the despair which pervades the people of the earth into Tidak percayakah anda bahwa cinta tersita yang membawa seorang perempuan ke liang kuburnya itu bagaikan keputusasaan yang menyelubungi penghuni bumi. In this case thwarted is translated into tersita not into merintangi, menghalangi, or menggagalkan. It is clear that the technique belongs to discursive creation due to its out of context.
76
4.1.2.5.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
My life was a coma, empty like that Hidupku laksana terhenti, hampa of Adam’s in Paradise, when I saw seperti Adam di sorga, ketika aku Selma standing before me like a melihat Salma berdiri di column of light. (p.3)
hadapanku laksana mercusuar. (p.2)
2.
The boy’s soul undergoing the Jiwa seorang anak yang tak henti buffeting of sorrow is like a white dilanda derita adalah seumpama lily just unfolding. (p.5)
teratai
putih
yang
sedang
semula
laksana
terapung. (p.7) 3.
Her sweet lips were like two Bibir
yang
withering roses that autumn has left sekuntum bunga aster, kini bagai on their stems. (p.20)
mawar ditinggal musim gugur di tangkainya. (p.47)
Different from M. Ruslan Shiddieq, Sabri used discursive creation technique five times or 2.82%. The first example of his translation is Selma standing before me like a column of light which is translated into Salma berdiri di hadapanku laksana mercusuar. The phrase a column of light is supposed to be seberkas cahaya, while laksana mercusuar is out of context. By this reason, the technique in translating this simile belongs to discursive creation. The second example of discursive creation technique is in translating The boy’s soul undergoing the buffeting of sorrow is like a white lily just unfolding into Jiwa seorang anak yang tak henti dilanda derita adalah seumpama teratai putih yang sedang terapung. Similar to the first example, discursive creation has
77
been applied since unfolding is translated into terapung, that is supposed to be mekar or terbentang. The last example is shown in the translation of roses into aster, because roses are different from aster. A translation based on a change of viewpoint belongs to discursive creation since there is unpredictable context in target language.
4.1.2.6 Established Equivalent Established equivalent is a technique to use a term or expression recognized by dictionaries or language in use as an equivalent in the target language. This technique used by M. Ruslan Shiddieq as many as nine times or 5.08% and by Sabri as many as 10 times or 5.65%. Below are the tables of established equivalent examples.
4.1.2.6.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
My life was a coma, empty like that Hidupku adalah sebuah koma, of Adam’s in Paradise, when I saw hampa bagai kehidupan Adam Selma standing before me like a dalam Sorga, ketika aku melihat column of light. (p.3)
Selma berdiri di depanku seperti seberkas cahaya. (p.30)
2.
An old man likes to return in Seorang
laki-laki
tua
suka
memory to the days of his youth kembali pada kenangan masalike a stranger who longs to go back masa mudanya seperti seorang to his own country. (p.6)
asing yang rindu pulang ke 78
kampung halamannya. (p.40) 3.
The moon came out from behind Bulan muncul dari balik Gunung Mount Sunnin and shone over the Sunnin
dan
menebarkan
coast, hills, and mountains; and we cahayanya pada pantai-pantai, could see the villages fringing the bukit-bukit,
dan
pegunungan-
valley like apparitions which have pegunungan, dan kami dapat suddenly
been
conjured
from melihat
nothing. (p.14)
dusun-dusun
yang
menghiasi lembah seperti hantuhantu yang tiba-tiba muncul dari alam maya. (p.60)
According to the table above, the clause Selma standing before me like a column of light is translated into Hidupku adalah sebuah koma, hampa bagai kehidupan Adam dalam Sorga, ketika aku melihat Selma berdiri di depanku seperti seberkas cahaya. This translation technique belongs to established equivalent since the phrase column of light is translated into seberkas cahaya, as this term is a standard term in Bahasa Indonesia. The second example of established equivalent is in translating An old man likes to return in memory to the days of his youth like a stranger who longs to go back to his own country into Seorang laki-laki tua suka kembali pada kenangan masa-masa mudanya seperti seorang asing yang rindu pulang ke kampung halamannya. In Bahasa Indonesia, kampung halaman is a standard term and similar to hometown. The last example is shown in number three, which the villages fringing the valley like apparitions which have suddenly been conjured from nothing is
79
translated into dusun-dusun yang menghiasi lembah seperti hantu-hantu yang tiba-tiba muncul dari alam maya. A translation based on a change of this viewpoint belongs to established equivalent since the word menghiasi is the most proper word to express the beautiful of figurative language, in this case simile, and also as standard term.
4.1.2.6.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
Poets of the West think of Lebanon Para as a legendary place... (p.14)
penyair
menganggap
dari
Barat
Lebanon
sebagai
suatu negeri antah berantah... (p.31) 2.
I felt as if my heart were choked Duka with grief. (p.17)
cita
yang
dialaminya
bercampur dengan rasa kasih sayang terhadap anak-anaknya, kurasakan
seakan-akan
hatiku
penuh dengan penderitaan. (p.39) 3.
I shall remember you as a sower Aku
akan
mengingatmu
remembers the bundles of wheat on sebagaimana seorang petani yang his threshing flour, and as a mengingat berkas-berkas gandum shepherd
remembers
the
green di lantai tempat mengiriknya, juga
prairies the sweet brooks.” (p.23)
seperti
gembala
mengingat
padang rumput yang luas dan sungai yang segar airnya. (p.83)
Based on the example number one above, the clause Lebanon as a legendary place... translated into clause Lebanon sebagai suatu negeri antah 80
berantah. The clause negeri antah berantah belongs to standard term of legendary place in Bahasa Indonesia, rather than using tempat melegenda in literal translation. The second example is the clause I felt as if my heart were choked with grief which is translated into kurasakan seakan-akan hatiku penuh dengan penderitaan. A translation based on a change of this viewpoint belongs to established equivalent because the word penuh is the most proper word to express somebody’s grief in this simile. While in the example number two, Sabri preferred to translate the phrase sweet brooks into sungai yang segar airnya than to translate it into selokan yang manis. In this technique, Sabri applied established equivalent due to segar is the most equivalent word with sungai. Selokan yang manis does not belong to proper phrase since the meaning is almost similar to the sweet river or the river’s water is sweet like sugar.
4.1.2.7 Generalization This technique uses a more general or neutral term, as an opposition to particularization. In translating simile written in “The Broken Wings” novel, M. Ruslan Shiddieq used generalization technique as many as 10 one time or 5.65%, while Sabri uses this technique as many as 12 times or 6.78%. Below are the examples of simile which is translated by generalization technique.
81
4.1.2.7.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
I appeal to you in the names of “Wahai sahabat-sahabat masa those virgins whom your hearts mudaku,
kepada
kalian
aku
have loved, to lay a wreath of menghimbau atas nama perawanflowers on the forsaken tomb of my perawan suci yang menambatkan beloved, for the flowers you lay on cinta kasih dari hatimu, untuk Selma’s tomb are like falling drops meletakkan sesunting bunga di of dew for the eyes of dawn on the atas leaves of withering rose. (p.4)
pusara
bunga-bunga
cintaku,
karena
yang
kalian
letakkan di atas pusara Selma adalah laksana titik-titik embun jatuh dari mata Sang fajar di atas daun-daun bunga mawar yang kering.” (p.32)
2.
The orange trees and apple trees, Pohon-pohon jeruk dan apel yang looking like houris or brides sent by nampak bagai bidadari-bidadari nature to inspire poets and excite atau gadis-gadis yang dititahkan the white
imagination, garments
were of
wearing oleh alam buat memberi ilham perfumed para penyair dan membangkitkan khayalan,
blossoms. (p.6)
baju
berselimutkan
putih
kembangnya
dari
baju-
kembang-
yang
mekar
semerbak. (p.38) 3.
People lead him like a blind man. Orang-orang memperlakukannya (p.7)
seperti orang buta. (p.12)
82
According to the example number one above, M. Ruslan Shiddieq used generalization technique in translating the phrase withering rose into bunga mawar yang kering. In this case, withering is similar to faded, and he prefers to choose kering or dry to replace layu which layu is similar in meaning to faded. The writer assumes that dry is more general than faded. Another simile which is translated by using generalization technique can be seen in number two, when M. Ruslan Shiddieq translated like houris or brides by bagai bidadari-bidadari atau gadis-gadis, or in literally is similar meaning to fairies or girls. In this case, he prefers to choose more general terms rather than literal terms. The last generalization technique used by M. Ruslan Shiddieq is People lead
him
like
a
blind
man
which
is
translated
into
Orang-orang
memperlakukannya seperti orang buta. In this case, the phrase lead him is translated into memperlakukannya or similar meaning to treat him/her. The writer thinks that memperlakukannya is more general than menuntunnya in phrase lead him.
4.1.2.7.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
and Selma Karamy was the first Selma Karami adalah perempuan woman who awakened my spirit pertama yang mampu menggugah with her beauty and led me into the perasaanku
dengan
garden of high affection, where kecantikannya, serta membawaku days pass like dreams and nights masuk ke dalam tanah kasih yang
83
like weddings. (p.3)
agung, di mana hari-hari berlalu laksana
mimpi
dan
malam-
malamku layaknya pesta pora. (p.1) 2.
That year is like a mountain peak in Tahun-tahun tersebut tak jauh my life, for it awakened knowledge berbeda dengan puncak-puncak in me and made me understand the gunung dalam hidupku. Karena ia vicissitudes of mankind (p.5)
menjadikan ak berpikir tentang alam
ini
dan
membuatku
memahami perubahan-perubahan pada diri manusia. (p.8) 3.
He lives spiritually in the past Mereka hidup secara spiritual di because the present passes swiftly, masa lalu sebab hari ini berlalu and the future seems to him an dengan
cepat.
approach to the oblivion of the mendatang grave. (p.6)
seperti
Dan
baginya
sebuah
masa nampak
jalan
menuju
kematian. (p.11)
Different from M. Ruslan Shiddieq, Sabri used generalization technique 12 times in translating “The Broken Wings”. The first example is in translating the clause where days pass like dreams and nights like weddings into di mana harihari berlalu laksana mimpi dan malam-malamku layaknya pesta pora. In this case, the phrase nights like weddings is translated into malamku layaknya pesta pora. Pesta pora is similar meaning to party, so the writer thinks that pesta pora is more general than pernikahan which is similar in meaning to weddings. The second example also tells the reader a generalization technique which is used by Sabri. The clause That year is like a mountain peak in my life is
84
translated into Tahun-tahun tersebut tak jauh berbeda dengan puncak-puncak gunung dalam hidupku. In translating mountain into gunung, the writer believes that Sabri used generalization technique because gunung is more general than pegunungan which is similar in meaning to mountain as Kahlil Gibran wrote. The last example of generalization technique is in translating clause the future seems to him an approach to the oblivion of the grave into masa mendatang baginya nampak seperti sebuah jalan menuju kematian. This simile shows generalization technique in generalizing grave into mortality which is similar in meaning to kematian.
4.1.2.8 Literal Translation This technique translates a word or an expression word for word. Literal translation technique is the most frequent technique used by both translators. M. Ruslan Shiddieq used this technique as many as 135 times or 76.27% and by Sabri as many as 84 times or 47.46%. Below are the tables of literal translation technique examples.
4.1.2.8.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
I was eighteen years of age when Usiaku baru delapan belas tahun love opened my eyes with its magic ketika cinta membuka mataku rays and touched my spirit for the dengan sinar-sinar ajaibnya dan first time with its fiery fingers, and menyentuh jiwaku untuk pertama Selma Karamy was the first woman kalinya
85
dengan
jari-jemarinya
who awakened my spirit with her yang
membara,
dan
Selma
beauty and led me into the garden Karamy adalah wanita pertama of high affection, where days pass yang like dreams... (p.3)
membangkitkan
dengan
kecantikannya
jiwaku serta
membimbingku ke dalam taman cinta kasih yang luhur, tempat hari-hari berlalu laksana mimpi (p.29) 2.
I was eighteen years of age when Usiaku baru delapan belas tahun love opened my eyes with its magic ketika cinta membuka mataku rays and touched my spirit for the dengan sinar-sinar ajaibnya dan first time with its fiery fingers, and menyentuh jiwaku untuk pertama Selma Karamy was the first woman kalinya who awakened my spirit with her yang
dengan membara,
jari-jemarinya dan
Selma
beauty and led me into the garden Karamy adalah wanita pertama of high affection, where days yang pass...and
nights
membangkitkan
like dengan
kecantikannya
jiwaku serta
membimbingku ke dalam taman
weddings. (p.3)
cinta kasih yang luhur, tempat hari-hari malam
berlalu...dan bagaikan
malam-
perkawinan.
(p.29) 3.
The first Eve led Adam out of Hawa yang pertama membimbing Paradise by her own will, while Adam keluar dari Sorga atas Selma made me enter willingly into kemauannya sendiri, sementara the paradise of pure love and virtue Selma
menuntun
aku
masuk
by her sweetness and love; but what dengan rela ke dalam sorga cinta happened to the first man also murni dan kebenaran dengan happened to me, and the fiery sword kemanisan dan cinta kasihnya: which chased Adam out of Paradise namun apa yang terjadi terhadap
86
was like the one which frightened Adam pun terjadi pula padaku, me by its glittering edge and forced dan
pedang
membara
yang
me away from paradise of my love mengusir Adam dari Sorga mirip without having disobeyed any order pedang yang menakuti-nakuti aku or tasted the fruit of the forbidden dengan ujungnya yang mengkilat, tree. (p.3)
dan memaksaku menjauhi sorga cintaku
yang
tak
pernah
mengabaikan suatu perintah atau mencicipi
buah
dari
pohon
terlarang. (p.30)
Started from number one, the clause Selma Karamy was the first woman who awakened my spirit with her beauty and led me into the garden of high affection, where days pass like dreams... into Selma Karamy adalah wanita pertama yang membangkitkan jiwaku dengan kecantikannya serta membimbingku ke dalam taman cinta kasih yang luhur, tempat hari-hari berlalu laksana mimpi. In this case, the word dreams is translated into mimpi, and the writer assumes that this technique is literal translation technique. Similar to number one, the second example also reflects literal translation technique since the clause the garden of high affection, where days pass...and nights like weddings is translated literally into taman cinta kasih yang luhur, tempat hari-hari berlalu...dan malam-malam bagaikan perkawinan. In addition, the third example also reflects literal translation technique due to the phrase fiery sword is translated into pedang membara.
87
In order to analyze the literal translation above, the writer tries to write down the translation at below of the source language text or separate the sentence into parts, whether one word, group to group, or clause to clause is provided in the following analysis.
the fiery sword which chased Adam out of Paradise was like the one pedang membara yang mengusir Adam dari Sorga mirip pedang
which frightened me by its glittering edge and forced me away from paradise yang menakuti-nakuti aku dengan ujungnya yang mengkilat, dan memaksaku menjauhi sorga
of my love without having disobeyed any order or tasted the fruit of the forbidden tree. cintaku yang tak pernah mengabaikan suatu perintah atau mencicipi buah dari pohon terlarang.
4.1.2.8.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
and Selma Karamy was the first Selma Karami adalah perempuan woman who awakened my spirit pertama yang mampu menggugah with her beauty and led me into the perasaanku
dengan
garden of high affection, where kecantikannya, serta membawaku days pass like dreams (p.3)
masuk ke dalam tanah kasih yang agung, di mana hari-hari berlalu laksana mimpi (p.1) 88
2.
for the flowers you lay on Selma’s barangkali tomb are like falling drops of dew pelataran
bunga-bunga kubur
Salma
di itu
for the eyes of dawn on the leaves menjadi laksana setetes embun of withering rose. (p.4)
yang dititikkan pelupuk sang fajar pada bunga mawar yang layu. (p.4)
3.
All those beauties which I speak of Seluruh
keindahan
yang
aku
now and which I long to see, as a sampaikan sekarang ini dan aku child longs for his mother’s breast rindukan itu, tak ubahnya laksana seorang bayi merindukan tetek
(p.5)
ibunya, (p.6)
Different from M. Ruslan Shiddieq, Sabri used literal translation technique as many as 84 times or 47.46%. In dealing with the translation of the first example, the translator applied literal translation. He translated the clause and led me into the garden of high affection, where days pass like dreams literally. While in the second example, M. Ruslan Shiddieq shows literal translation in translating the sentence for the flowers you lay on Selma’s tomb are like falling drops of dew for the eyes of dawn on the leaves of withering rose into barangkali bunga-bunga di pelataran kubur Salma itu menjadi laksana setetes embun yang dititikkan pelupuk sang fajar pada bunga mawar yang layu. In this case, particularly the word whithering is translated literally into layu, not translated by using generalization technique as doing by M. Ruslan Siddieq, when he translated whithering into layu. The last example is shown in number three, which the clause All those beauties which I speak of now and which I long to see, as a child longs for his 89
mother’s breast is translated into Seluruh keindahan yang aku sampaikan sekarang ini dan aku rindukan itu, tak ubahnya laksana seorang bayi merindukan tetek ibunya. This translation technique belongs to literal translation because the word breast is translated literally into tetek, not into susu as translated by M. Ruslan Shiddieq.
4.1.2.9 Modulation It is said that modulation technique is to change the point of view, focus or cognitive category in relation to the Source Text (ST), also it can be lexical or structural. This technique used by M. Ruslan Shiddieq as many as one time or 0.56% and by Sabri as many as seven times or 3.95%. Below are the tables of modulation technique examples.
4.1.2.9.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
I shall remember you... and as a Aku akan mengenangmu.... seperti hungry man remembers a banquet... seorang lelaki lapar mengenang (p.23)
sebuah meja makan... (p.83)
Based on the example number one above, the clause I shall remember you... and as a hungry man remembers a banquet is translated into Aku akan mengenangmu.... seperti seorang lelaki lapar mengenang sebuah meja makan. In literal translation, the word banquet is similar meaning to perjamuan, while M. Ruslan Shiddieq translates it into meja makan or dining table in literal translation. 90
From this reason, the writer believes that the translator wants to change the reader’s view point.
4.1.2.9.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
In her white silk dress, Selma was Dengan kebaya sutra putihnya slender as a ray of moonlight yang berkilauan, Salma begitu coming through the window. (p.11)
anggun seperti secercah sinar rembulan
yang
masuk
lewat
jendela. (p.22) 2.
She looked like a lily bent to the Dia tampak seperti bunga bakung carpet of green grass by the breeze berayun oleh semilir angin fajar of dawn. (p.13)
3.
di hamparan rumput hijau. (p.28)
Then the carriage reached the Kereta sudah mencapai pintu entrance of the garden, Farris masuk taman, saat itu Faris Effandi dismounted and slowly Afandi turun dan berjalan pelanwalked towards us, bending forward pelan ke arah kami. Kepalanya slightly as if he were carrying a tertunduk heavy load. (p.16)
menghujam
tanah
seakan-akan ada beban yang sangat berat sedang dipikulnya. (p.36)
Started from number one above, modulation technique is used in translating the clause Selma was slender as a ray of moonlight coming through the window into Dengan kebaya sutra putihnya yang berkilauan, Salma begitu anggun seperti secercah sinar rembulan yang masuk lewat jendela. In this example, Sabri preferred to choose anggun which is in literally similar meaning to 91
elegant rather than to choose ramping which is similar meaning to slender. It perhaps the translator wanted to bring into line between white silk and elegant. The second example also tells the reader a modulation technique which is used by Sabri. The clause She looked like a lily bent to the carpet of green grass by the breeze of dawn is translated into Dia tampak seperti bunga bakung berayun oleh semilir angin fajar di hamparan rumput hijau. In translating like a lily bent into seperti bunga bakung berayun, the writer believes that Sabri used modulation technique because if the phrase the lily bent translated literally, it should be bunga bakung bengkok not bunga bakung berayun. This indicates that the translator focused on cultural word in here—bunga which is equivalent with berayun. The last example of adaptation technique is almost similar to example number one, when the clause Farris Effandi dismounted and slowly walked towards us, bending forward slightly as if he were carrying a heavy load is translated into Faris Afandi turun dan berjalan pelan-pelan ke arah kami. Kepalanya tertunduk menghujam tanah seakan-akan ada beban yang sangat berat sedang dipikulnya. In this case the word kepalanya is a translator’s point of view to express the person, Farris Effandi’s bending forward of his head which is not expressed in the Source Text (ST).
4.1.2.10 Particularization This technique is to use a more precise or concrete term. In translating simile written in “The Broken Wings” novel, M. Ruslan Shiddieq used particularization technique as many as five time or 2.82%, while Sabri used this
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technique as many as 11 times or 6.21%. Below are the examples of simile which is translated by particularization technique.
4.1.2.10.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
imprisoned in the darkness of terpenjara ke dalam kegelapan youth, as a falcon suffers in its cage masa remaja, laksana seekor when it sees a flock of birds flying burung rajawali merana dalam freely in the spacious sky. (p.5)
sangkarnya
ketika
sekawanan terbang
dilihatnya
burung-burung
dengan
bebasnya
di
langit yang lapang. (p.6) 2.
He lives spiritually in the past Jiwanya hidup di zaman silam because the present passes swiftly, karena masa kini begitu cepat and the future seems to him an melaju, dan masa depan mendekat approach to the oblivion of the terasa grave. (p. 6)
menawarkan
seperti
keremangan liang kubur padanya. (p.40)
3.
It is hard to answer these questions,
Sulit
menjawab
but I say truly that in that hour I felt
pertanyaan
an emotion that I had never felt
berkata sebenarnya bahwa pada
before, a new affection resting
saat itu aku merasakan suatu
calmly in my heart, like the spirit
perasaan
hovering over the waters at the
kurasakan sebelumnya, suatu cita
creation of the world, and from that
rasa
affection was born my happiness
tenteramnya bersemayam dalam
and my sorrow. (p.9)
hatiku,
itu,
yang
baru
seperti
pertanyaannamun
tak
yang
roh
aku
pernah
dengan
yang
melayang-layang di atas lautan pada penciptaan dunia, dan dari
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cita rasa itu lahir kebahagiaan dan kesedihan. (p.48)
According to the example number one above, M. Ruslan Shiddieq used generalization technique in translating the clause imprisoned in the darkness of youth, as a falcon suffers in its cage which is translated into terpenjara ke dalam kegelapan masa remaja, laksana seekor burung rajawali merana dalam sangkarnya. In this case the word youth is not literally translated by the translator into masa muda, but he preferred to translate into masa remaja which is similar in meaning to adolescence. The writer thinks that masa remaja is more specific than masa muda, so this technique belongs to particularization. Furthermore, the second example also reflects particularization technique since the word grave is translated particularly into liang kubur. In English, grave is similar meaning to kuburan, which is more general than liang kubur. Based on this analysis, the writer thinks that the second example belongs to particularization technique. The last example is shown in number three, which the clause a new affection resting calmly in my heart, like the spirit hovering over the waters at the creation of the world which is translated into suatu cita rasa baru yang dengan tenteramnya bersemayam dalam hatiku, seperti roh yang melayang-layang di atas lautan pada penciptaan dunia. In this case, the word lautan is translated into lautan not into air which is similar meaning to waters. In Bahasa Indonesia, lautan is similar meaning to ocean or sea. So, the writer believes that the translator used particularization technique. 94
4.1.2.10.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
Saying this, he turned his head Sembari berkata demikian, dia toward the window as if he were menggeser pandangan kea rah trying to solve the problems of jendela
seakan-akan
berusaha
human existence by concentrating memecahkan persoalan-persoalan on the beauty of the universe. (p.7)
hidup manusia dengan mengamati dalam-dalam
keindahan
alam
semesta. (p.13) 2.
Like a devoted worshiper who Ibarat seorang insan remaja yang receives his blessing by kissing the taat memohon berkat dengan cara altar in a shrine, I took Selma’s mencium altar, kuambil tangan hand, placed my burning lips on it, Salma, kubawa ke bibirku yang and gave it a long kiss, the memory membara. Kuberi ia ciuman yang of which melts my heart and amat panjang, kenangan yang awakens by its sweetness all the meluluhlantakkan hatiku dan rasa virtue of my spirit. (p.16)
manisnya membangunkan semua kebaikan jiwaku. (p.36)
3.
I want you to remember me as a Aku ingin engkau mengingatku mother remember her child that seolah-olah engkau seorang ibu died before it saw the light, (p.23)
yang
tidak
bisa
melupakan
putranya yang mati saat ia masih kecil, (p.54)
Different from M. Ruslan Shiddieq, Sabri used particularization technique as many as 11 times in translating simile of “The Broken Wings” novel. First, he translated verb trying trough particularization technique into berusaha, while in Bahasa Indonesia trying is similar meaning to mencoba. In this case, the writer
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thinks that berusaha is a specific word of mencoba, so this technique belongs to particularization. While in the second example, Sabri applied particularization technique in translating the worshiper into insan remaja yang taat, while in Bahasa Indonesia, worshiper is similar meaning to pemuja. In this case, the writer also thinks that insan remaja yang taat is a specific term of pemuja, so this technique is categorized into particularization. The last example is in translating her child that died before it saw the light into putranya yang mati saat ia masih kecil. Sabri used particularization technique in translating this phrase because saat ia masih kecil is a specific clause of before it saw the light which has similar meaning to sebelum ia melihat cahaya. So this technique belongs to particularization.
4.1.2.11 Reduction The last technique used by both translators is reduction. This technique suppresses a Source Text (ST) information item in the Target Text (TT). This technique used by M. Ruslan Shiddieq as many as 10 times or 5.65% and by Sabri as many as 19 times or 10.73%. Below are the tables of reduction examples.
4.1.2.11.1 Similes Translated by M. Ruslan Shiddieq No. 1.
Source Language
Target Language
Today, after many years have Kini
beberapa
tahun
sudah
passed, I have nothing left out of berlalu, dan tak satu pun mimpi that beautiful dream except painful indah itu tersisa padaku kecuali 96
memories flapping like invisible kenangan-kenangan menyakitkan wings around me, filling the depths yang terayun-ayun bagai sayapof my heart with sorrow, and sayap yang nampak di seputarku, bringing tears to my eyes; and my menyedihkan
hatiku
serta
beloved, beautiful Selma, is dead mengalirkan air mataku; dan and nothing is left to commemorate kekasihku Selma yang jelita kini her except my broken heart and telah tiada, dan tak ada yang tomb surrounded by cypress trees. tersisa
buat
mengenangnya
kecuali hatiku yang patah dan
(p.3)
sebuah makam yang dikelilingi oleh pohon-pohon cypress.(p.31) 2.
The old man looked at me a Sejenak
laki-laki
moment, touching his forehead with memandangiku,
tua
itu
menyentuh
the ends of his fingers as if he were keningnya dengan ujung jaritrying to regain his memory (p.6)
jarinya seolah sedang mencoba membangkitkan
kembali
ingatannya. (p.39) 3.
As I left the house of Farris Effandi Begitu kutinggalkan rumah Farris Karamy, Selma’s voice still rang in Effandi Karamy, suara Selma my ears, her beauty followed me masih terngiang di telingaku, like a wraith, and her father’s tears kecantikannya masih mengikuti dried slowly on my hand.(p.18)
seperti hantu, dan air mata ayahnya mongering perlahan di tanganku. (p.68)
According to the example number one above, M. Ruslan Shiddieq used generalization technique in translating the clause filling the depths of my heart with sorrow, and bringing tears to my eyes into menyedihkan hatiku serta
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mengalirkan air mataku. In this kind of technique, M. Ruslan Shiddieq deleted the clause filling the depths. Such translation is called reduction procedures. While in the second sentence, the translator only reduce the target text by deleting the pronoun he in translating The old man looked at me a moment, touching his forehead with the ends of his fingers as if he were trying to regain his memory. Because of that, this technique used also belongs to reduction. The last instance of reduction technique can be seen in number three, when the clause her beauty followed me like a wraith is translated into kecantikannya masih mengikuti seperti hantu. In this case, the pronoun me is suppressed, so this technique is categorized into reduction.
4.1.2.11.2 Similes Translated by Sabri No. 1.
Source Language
Target Language
If that boy does not have diversion Manakala anak tersebut tidak or friends or companions in his punya hiburan atau kawan dalam games his life will be like a narrow permainan,
hidupnya
akan
prison in which he sees nothing but menjadi penjara yang sempit, di spider webs and hears nothing but mana dia tidak mampu melihat the crawling of insects. (p.5)
apa pun kecuali jaring laba-laba. (p.7)
2.
It removed from my shoulders the Ia pulalah yang mematahkan wings of youth and made me like a kemudaanku dari bahuku dan pong of water between mountains membuatku seperti air di antara which reflects in its calm surface gunung-gunung yang tenang dan the shadows of ghosts and the memantulkan bayangan hantucolours of clouds and trees, but hantu dan warna-warni awan
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cannot find an outlet by which to serta pepohonan. Tetapi tidak pass
singing
to
the
sea. (p.5) menemukan sebuah jalan keluar di mana sungai mengalir sambil berdendang ke arah laut. (p.8)
3.
The orange trees and apple trees, Pohon-pohon badam dan apel, looking like houris or brides sent by terlihat
laksana
mempelai
nature to inspire poets and excite pengantin dengan gaun putih the
imagination,
white
garments
were of
wearing bunga-bunga oleh alam untuk perfumed mengilhami para penyair dan
blossoms. (p.6)
membangkitkan gairah fantasi. (p.9)
Different from M. Ruslan Shiddieq, Sabri used reduction technique as many as 19 times. First, in translating sentence number one, Sabri suppressed the clause and hears nothing but the crawling of insects on its Target Text (TT). The second example of reduction technique is reflected in suppressing the word surface. Furthermore, the third example can be seen in number three above, when the translator suppressed words houris or brides only into mempelai pengantin or brides without translating houris into bidadari. This informs us that the reduction technique is applied on the above examples.
4.2 Discussions This study seeks to figure out the translation techniques found in the novel “The Broken Wings” authored by Kahlil Gibran which is translated by M. Ruslan Shiddieq and Sabri based on Albir and Molina’s classification (2002:509). The
99
collected data indicated that nine translation techniques of Molina are found in the novel translated by M. Ruslan Shiddieq and 11 translation techniques are found in the novel translated by Sabri. The simple calculation is taken regarding the frequency of each translation technique in translating similes found on the both novels. The following is a table of frequency and percentage of the techniques used.
Table 4.5 Translation Techniques Used by M. Ruslan Shiddieq and Sabri in Translating Similes M. Ruslan Shiddieq
Results
Techniques Literal Translation Reduction Generalization Established Equivalent Particularization Adaptation Discursive Creation Modulation Amplification Description Compensation Total
No.
F
P (%)
No.
1 2 3 4 5 6 7 8 9 13 14
135 10 10 9 5 4 2 1 1 0 0 177
76.27 5.65 5.65 5.09 2.83 2.26 1.13 0.56 0.56 0 0 100
1 2 4 6 5 7 9 8 3 10 11
-
100
P (%)
Similar Similes Translated by.
47.46 10.73 6.78 5.65 6.22 5.65 2.82 3.96 7.35 1.69 1.69 100
51 0 0 1 0 2 0 0 1 0 0 55
Sabri F
84 19 12 10 11 10 5 7 13 3 3 - 177
160 140 120 100 80 60 M. Ruslan Shiddieq
40
Sabri 20 0
Chart 4.5 Translation Techniques Used by M. Ruslan Shiddieq and Sabri in Translating Similes of “The Broken Wings” Novel
According to the table 4.5 above, there are four similar techniques used in similar order. First, literal translation technique, which is the most frequently used technique in translating similes, respectively used by M. Ruslan Shiddieq as many as 135 similes, and by Sabri as many as 84 similes. Second, reduction technique, respectively used by M. Ruslan Shiddieq as many as 10 similes, and by Sabri as many as 19 similes. Third, particularization technique, respectively used by M. Ruslan Shiddieq as many as five similes, and by Sabri as many as 11 similes. The last similar technique is modulation, respectively used by M. Ruslan Shiddieq as many as one simile, and by Sabri as many as seven techniques.
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Furthermore, in translating similes of “The Broken Wings” novel, both translators have different techniques, depends on the text equivalency, analyzing coherence, cohesion, and contextual dimension of their point of view. But, the writer found similar similes translated by similar techniques by both translators. The examples are provided in the following ellaboration.
4.2.1 Literal Translation As well as the most frequently technique used by both translators, literal translation technique is also the most frequently used technique in translating similar similes by both translators. The frequencies of this intersection are as many as 51 similes or 28.81% of total similes, from 135 similes translated by M. Ruslan Shiddieq and 84 similes translated by Sabri. The figure can be seen in the figure 4.2 below. Translated by Translated by M. Ruslan Shiddueq Sabri
84
51
33
Figure 4.2 The Intersection of Similar Similes Translated by Literal Translation Technique In addition, we can see such similar similes translated by literal translation technique, as provided in the following example. Source Text (ST) as an example of similes taken from number 23: 102
An hour full of old memories // passed like the shadows // of the trees over the grass (p.6)
Target Text (TT) of simile by M. Ruslan Shiddieq: Satu jam yang penuh kenangan-kenangan lama // membersit bagai bayangbayang // pepohonan pada rerumputan. (p.40)
Target Text (TT) of simile by Sabri: Satu jam penuh kenangan-kenangan itu // berlalu seperti bayang-bayang // pohon di rerumputan. (p.11)
In the above case, the topic passed is respectively translated into membersit by M. Ruslan Shiddieq, and berlalu by Sabri. In the meanwhile, the comparison marker like is respectively translated into bagai by M. Ruslan Shiddieq and seperti by Sabri. The last element of tripartite structure is vehicle, the shadows, is also respectively translated into bayang-bayang by both translators. All the above elements of tripartite structure are translated literally by them.
4.2.2 Adaptation Adaptation technique is the second most frequent technique used by both translators in translating similar similes of translated novels “The Broken Wings”. The frequencies of this intersection are as many as two similes or 1.13% of total
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similes, four from similes translated by M. Ruslan Shiddieq and 10 from similes translated by Sabri, from similes number 68 and 72. The figure of intersection can be seen in the figure 4.3 below. Translated by Translated by M. Ruslan Shiddueq Sabri
2
2
8
Figure 4.3 The Intersection of Similar Similes Translated by Adaptation Technique
Source Text (TT) of simile taken from simile number 68: My departure was like Adam’s exodus from Paradise, but the Eve of my heart was not with me to make the whole world an Eden (p.18) Target Text (TT) of simile by M. Ruslan Shiddieq: Keberangkatanku laksana keluarnya Adam dari Taman Sorga, namun Hawa dari hatiku tidak bersamaku untuk mengubah semesta dunia menjadi taman Aden (p.68)
Target Text (TT) of simile by Sabri: Kepergianku dari tempat itu bagai keluarnya Adam dari sorga Firdaus. Tetapi Hawa yang ada di hatiku tidaklah mengiring langkahku yang membuat seluruh dunia menjadi taman yang indah (p.39)
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In the above case, the writer focuses on the vehicle paradise which is respectively translated into Taman Sorga by M. Ruslan Shiddieq and into sorga Firdaus by Sabri. In this case, adaptation technique is applied since Taman Sorga and sorga Firdaus are cultural elements that influence an adaptation, including religion aspect.
4.2.3 Established Equivalent Established equivalent technique is the third most frequent of similar technique used by both translators in translating similes of translated novel “The Broken Wings”. Each translator has similar similes translated by using established equivalent technique, as many as one simile or 0.56% of total similes, nine from similes translated by M. Ruslan Shiddieq and 10 from similes translated by Sabri, as an intersection. The figure of intersection can be seen in the figure 4.4 below.
Translated by Translated by M. Ruslan Shiddueq Sabri
8
1
9
Figure 4.4 The Intersection of Similar Similes Translated by Established Equivalence Technique
Source Text (ST) of simile taken from number 54: Poets of the West think of Lebanon as a legendary place, (p.14) 105
Target Text (TT) of simile by M. Ruslan Shiddieq: Para penyair dari dunia Barat berpikir tentang tanah Libanon sebagai suatu tempat dalam dongengan, (p.61)
Target Text (TT) of simile by Sabri: Para penyair dari Barat menganggap Lebanon sebagai suatu negeri antah berantah (p.31)
According to the above sentences, the vehicle legendary place is translated into tempat dalam dongengan by M. Ruslan Shiddieq, while Sabri translated that vehicle into negeri antah berantah. Established equivalent is applied here due to legendary place is not translated into tempat legenda. The writer thinks that tempat dalam dongengan and negeri antah berantah are the most equivalent terms to change tempat legenda.
4.2.4 Amplification Similar to Established Equivalent, Amplfication technique is also the third most frequent technique used by both translators of translated novel “The Broken Wings”. Each translator has similar technique in translating simile by using amplification, as many as one simile or 0.56% of total similes, one from similes translated by M. Ruslan Shiddieq and 13 from similes translated by Sabri. The figure of intersection can be seen in the figure 4.5 below.
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Translated by Translated by M. Ruslan Shiddueq Sabri
0
1
12
Figure 4.5 The Intersection of Similar Similes Translated by Amplification Technique
Source Text (ST), example taken from simile number 57: As the rays of the moon shone on the face, neck, and arms of Selma, she looked like a statue of ivory sculptured by the fingers of some worshiper of Ishtar, goddess of beauty and love (p.15)
Target Text of simile by M. Ruslan Shiddieq: Ditimpa cahaya rembulan pada wajah, leher, dan kedua lengan tangannya, Selma nampak laksana sebuah patung gading yang dipahat oleh jari-jari beberapa pemuja Isytar8 sang dewi keindahan dan cinta (p.61)
Target Text of simile by Sabri: Karena cahaya rembulan menyinari wajah leher dan tangan Salma, dia tampak bagai arca gading yang sengaja dipahat oleh jari-jari para pemuja Isytar* (Footnote: Dewi cinta dan keindahan bagi bangsa Funisia, Aprodhite dalam mitologi Yunani atau Venus sebagaimana dikenal bangsa Romawi. Sedang bangsa Arab menyebutnya Zuharoh.) (p.32) 107
In the above case, the writer focuses on the vehicle Ishtar which is respectively translated into Isytar8 by M. Ruslan Shiddieq with notification on its behind page, and into Isytar* by Sabri with footnote on the below translated text. In this case, amplification technique is applied since Isytar8 and Isytar* have been described in notes after those words, or in another word are provided in footnotes. Furthermore, this study also investigates the types of simile used by the author, Kahlil Gibran, to express the figurative language by using Fromilhague’s (1995:83-84) theory. According to this theory, the writer found 134 explicit similes and 43 implicit similes. In the meanwhile, Pierini’s (2007:27) theory is applied in identifying similes by its comparison markers. As shown in the table 4.2, the prepositions function of word dominated simile comparison marker that consist of 102 (57.63%) like comparison markers, and 27 (15.25%) as comparison markers. Followed by conjunctions that is represented by 28 (15.82%) as if comparison markers. Thus verbs that consist of six (3.38%) seem comparison markers, nine (5.08%) look like comparison markers, two (1.13%) resemble comparison markers, and one (0.56%) remind. The last function of word is adjectives, represented by two (1.13%) similar to comparison markers. In relation to translation of similes, the writer found close relationship between Pierini’s (2007) theory about seven translation strategies as he proposed and Albir and Molina’s (2002:509) theory concerning translation technique. In this case, both M. Ruslan Shiddieq and Sabri are respectively applied literal
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translation technique which is the writer thinks that it is similar to Pierini’s (2007) literal translation strategy, due to the point is translating vehicle literally. Pierini’s (2007) theory regarding replacement of the vehicle with different vehicle strategy, has also similar typical with Albir and Molina’s (2002:509) adaptation,
compensation,
established
equivalent,
generalization,
and
particularization translation technique which are the respective vehicle that is replaced by different vehicle. The third Pierini’s (2007) strategy, reduction of the simile, seems also similar to Albir and Molina’s (2002:509) reduction technique, since the translator has to provide understandable target text to the reader, so he or she had to reduce the simile. The forth Pierini’s (2007) strategy, retention of the same vehicle plus explication of similarity feature(s), looks like Albir and Molina’s (2002:509) description technique, because these strategy and technique require us to describe the similarity feature between topic and vehicle of the simile. The next Pierini’s (2007) strategy is replacement of the vehicle with a gloss. The writer assumes that the strategy is similar to amplification technique since it requires additional information concerning the vehicle of simile. The last Pierini’s (2007) strategy, omission of the simile, is similar to Albir and Molina’s (2002:509) reduction technique, due to this kind of strategy and technique respectively reduce the information contained in the simile. Eventually, the writer thinks that each translator has their own style in using translation technique. There is no such thing as the best technique, since translating the figurative language is something stylistic skill. In addition, using
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translation techniques in translating similes is not only a matter of how the target text should be logic and readable, but also it should be beautiful to imagine by the readers.
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