of the unit next above. Class-shifts, then, occurs when the translation equivalent of a SL item is a member of a different class from the
original item. c.
Unit- shifts. By unit shifts we mean changes of rank- that is, departures from formal correspondence in which the translation equivalent of a
unit at one rank in the SL is a unit at a different rank in the TL. d.
Intra-system shifts. We use the term intra-system shifts for those cases where the shift occurs internally, within a system; that is, for those
cases where SL and TL possess system which approximately correspond formally as to their constitution, but when translation
involves selection of a non- corresponding term in the TL system.
F. Translating the literary work
Translating the literary work is perhaps more difficult than translating other types of text because literary works have specific values called the
aesthetic and expressive values. Poetry is one of literary work that is difficult to translate, because it has the elements of poetic or aesthetic expression-
rhyme, metre, the use of figure of speech, style, and the like-are exactly those aspects of language which are very difficult to carry across.
Rhyme is one of the important elements in a poem. Rhyme is two or more words which are ended with the same sound.
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There is an opinion which believes that it is impossible to translate a poem, and that if poetry is to
27
Elve Oktafiyani, Introduction to Poetry, Compiled from Understanding Unseens by M. J. Murphy for Introduction to Literature Jakarta:English Letters Department UIN Jakarta: 2007,
p.5
be translated at all, then prose is the only medium for that purpose. The other factor of the difficulties of translating the poetry is the poetry translation
always involves two factors: two people writer and translator, two languages and two literary situations.
Although there are many experts opposed, the poetry translation into poetry is continually done by many people. But it must be noted that in this
case there is a gradation of translating the poetry as stated by Holmes1970, according to the approaches that people used
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:
1. The first approach is to retain the original form of poetry even though it is
not possible we retain the existing form in the source language if we divert it into the target language, this is because no two languages, however, are
genetically close, that have an absolutely similar of poetic forms. What the translator does in this case is the form that is in the source language was
imitated in the target language as good as possible. Therefore this form of approach is called mimetic form approach.
2. The second approach uses analogical form, here the emphasis is on
function of the original form of poetry within the tradition of poetic language sources, and then given the equivalent functions within the
language of targets taking into consideration the tradition of poetry in the language of those objectives
28
James Holmes “Forms of verse Translation and the Translation of Verse Form”.Essays on the Theory and Practise of Ttranslation.Bratislava: Slovak Academy of Science:1970 pp.94-97
3. The third approach is to use a derivative content form. Here translators did
not consider the original form of poetry: heshe uses the contents of the poem as a starting point. By using the content of the poem as a basis,
heshe is free to determine the form of poetry translations that heshe wants to make.
4. The fourth type unrelated to the original poem, so it can be said this
approach is not a translation approach. Inside this the translator simply uses the original poem as an inspiration, and the metapuisi does not reflect
the original, both in form and in content.
In his book on the various methods employed by English translators of Catullus Poem 64, Andre Lefevere catalogues seven different strategies in
translating poetry
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: 1
Phonemic Translation, which attempts to reproduce the SL sound in the TL while at the same time producing an acceptable paraphrase of the
sense. Lefevere comes to the conclusion that although this work moderately well in the translation of onomatopoeia, the overall result is
clumsy and devoid of sense together. 2
Literal translation, where the emphasis on word-for-word translation distorts the sense and the syntax of the original.
3 Metrical translation, where the dominant criterion is the reproduction of
the SL metre. Lefevere concludes that, like literal translation, this method
29
Susan Basnett, Translation studies, revised editionLondon: Routledge, 1991, pp.81-82
concentrates on one aspect of the SL text at the expense of the text as a whole.
4 Poetry into prose, Here Lefevere concludes that distortion of the sense,
communicative value and syntax of the SL text results from this method, although not to the same extent as with the literal or metrical types of
translation. 5
Rhymed translation, where the translator enters into a double bondage of metre and rhyme. Lefevere’s conclusions here are particularly harsh, since
he feels that the end of the product is merely a ‘caricature’ of Catullus. 6
Blank verse translation. Again the restrictions imposed on the translator by the choice of structure are emphasized, although the greater accuracy
and higher degree of literalness obtained are also noted. 7
Interpretation, under this heading, Lefevere discusses what he calls versions where the substance of the SL text is retained but the form is
changed, and imitations where the translator produces a poem of his own which has only title and point of departure, if those, in common with the
source text.
CHAPTER III RESEARCH FINDINGS
A. Data Description
The writer analyzes the words, the sentences, and the rhyme related to the meaning and form of three poems of Goenawan Mohamad : Dingin Tak Tercatat,
Z, and Ranjang Pengantin Kopenhagen created in 1971, and its translation Cold Unregistered, Z, and Bridal Bed Copenhagen translated by Harry Aveling and
published in the book Translations of contemporary Indonesian poetry in 1975. The form and the meaning of the poems are related to the translation procedure,
so the writer also analyzes about the translation procedure and other changes that the translator did in translating those poems. The poems are as follows:
1. DINGIN TAK TERCATAT Goenawan Mohammad
Dingin tak tercatat Pada termometer
Kota hanya basah Angin sepanjang sungai
Megusir, tapi kita tetap saja Di sana, seakan-akan
Gerimis raib Dan cahaya berenang
Mempermainkan warna Tuhan kenapa kita bisa
Bahagia? COLD UNREGISTERED
Harry Aveling Cold unregistered
On the thermometer City wet
The wind along the river driving us away,yet we stay
rain invisible and the light swimming
Playing with colour God, how can we ever
be happy?
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