The Translation Crtitism Of Poetical Expression In Vladimir Nabokov's Lolita Of Anton Kurnia ( Viewed From Newmark's Concept )

(VIEWED FROM NEWMARK’S CONCEPT)

A Thesis

Submitted to Letters and Humanitites Faculty In Partial Fulfillment of the Requirements for

the Strata One Degree (S1)

R. KSATRIO ADI HARSANTO 109026000147

ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA

ABSTRACT

R. Ksatrio Adi Harsanto, The Translation Criticism of Poetical Expression in

Vladimir Nabokov‘s Lolita of Anton Kurnia (Viewed From Newmark‘s Concept). Thesis: English Letters Department. Faculty of Adab and Humanities, State Islamic University Syarif Hidayatullah Jakarta, 2014.

This research is focused on the translation field, especially about translation criticism of poetical expression in Lolita. The objective of the research is to find out how the translation criticism applied on poetical expression translation in the novel from English into Indonesian.

Qualitative descriptive research, especially content analysis, is employed as the method of the research in order to reach the objective of the research above. Then, the instrument of the research is the writer himself as a prime instrument in collecting data by criticizing and assessing the types of translation criticism of the poetical expression in the novel. In order to process the data, Newmark‘s theory in translation criticism is adopted as the main reference of the research. The criticism classification such as translation as a science, translation as a craft, translation as an art, and translation as a taste are embraced to present and analyze the corpus of

the research. Besides, there are other supporting theories to espouse the research‘s

notion, which are poetry and poetical expression theory by Herman J. Waluyo and Roman Jakobson.

Eventually, the application of translation criticism theory can be implemented in a structured manner on the poetical expression of the novel which started with reading the source language and target language version of the novel, identifying the specified parts in each verse, comparing and contrasting the translation and the English version in a table, classifying the data which have been collected, and concluding the data analysis in terms of the translation criticism theory. The result can be obtained from these steps and it shows that the criticism is classified as good. There are ten data which have been collected from the novel, and it has been classified into three expression forms; memory, longing, and disappointment. All the data is processed by the theories mentioned above, and as a result, the memory expression and disappointment expression data scores 71,25 while the longing expression scores 95. In other words, the translator has succeeded to transfer the meaning and beauty of the poetical expression from English into Indonesian, it is proved by good word selection, meaning‘s clarity,

and expression‘s sublimity found in the data. So, the reader will understand quite

easily when enjoying the poetical expression contained in the novel without having much hesitation or confusion.

DECLARATION

I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for award of any other degree or diploma of the university or other institute of higher learning, except where due to acknowledgement has been made in the text.

Jakarta, May 2014

ACKNOWLEDGEMENT

Firstly, the writer would like to express his greatest and highest gratitude to Allah SWT because this research would be impossible without any guidance and endless love from Him. All the praise is also sent to Prophet Muhammad SAW who had delivered the truth to human beings in general and Muslim in particular.

In arranging this research, a lot of people have provided motivation, advice, support, and even remark that had helped the writer. In this valuable chance, the researcher aims to express his gratitude and appreciation to all of

them. First of all, an appreciation goes to the writer‘s parents, Hendra Kurnia and Srie Hartuty, for all their pray and support. A tribute is also sent to the writer‘s

brothers and sisters, Mbak Tallya, Mas Didit, Mbak Tannya, Mas Damar, and Mbak Ranti.

This research also could not be completed without a great deal of help

from the related parties. It‘s such an honour to express gratitude to Prof. Dr.

Oman Fathurahman, M. Hum, the Dean of Faculty of Adab and Humanities, Drs. Saefuddin, M. Pd, the Head of English Letters Department, and Mrs. Elve Oktafiyani, M. Hum, the Secretary of English Letters Department.

A sincere appreciation is also sent to Mrs. Danti Pudjiati M.M., M. Hum,

as the writer‘s advisor, who has given help, advice, suggestion, addition,

correction, and motivation since the preliminary of manuscript until the completion of this research. The warmest regards is also addressed to all of the lecturers in English Department for any advice, motivation, and useful

knowledge. Not to forget to all the staffs either in Department or in Faculty who have helped the writer in managing all formal needs during this research arrangement.

The writer‘s thankfulness also goes to Kiki, Meilanti, Aris, Fitri, and Yuni,

for all their laughter, pray, motivation, and for being places to share all the time. A happy hello is also addressed to all his friends in English Letters Department who cannot be mentioned here one by one, particulary to Asa, Anisa, Navita, Fida, Iie, Stella, Satya, Mila, Ana Diana, Nopi, Syifa, and Ana Gustiana for witty and joyous days to date. May Allah always bless us.

In addition, the writer realizes that this research is far from perfect, that is why the writer would like to accept any corrections or suggestions for this research to be better. The writer hopes that this research will come in handy to all translation enthusiasts, especially in UIN Syarif Hidayatullah Jakarta.

Jakarta, May 2014

TABLE OF CONTENTS

ABSTRACT...i

APPROVEMENT...ii

LEGALIZATION...iii

DECLARATION...iv

ACKNOWLEDGEMENT...v

TABLE OF CONTENTS...vii

CHAPTER I INTRODUCTION...1

A. Background of the Research...1

B. Focus of the Research...5

C. Research Question...5

D. Objective of the Research...6

E. Significance of the Research...6

F. Methodology of the Research...6

1. Method of the Research...6

2. Unit of Analysis...7

3. Technique of Data Collection...7

4. Technique of Data Analysis...7

5. Instrument of the Research...7

CHAPTER II THEORETICAL FRAMEWORK...8

A. Translation...8

1. Definition of Translation...8

2. Criticism of Translation...9

a. Criteria for Criticism of Translation...10

b. Plan of Criticism...12

c. Marking a Translation...13

B. Poetry...16

1. Definition of Poetry...16

2. Definition of Poetical Expression...17

a. Referential Function...18

c. Conative Function...18

d. Phatic Function...18

e. Metalingual Function...18

f. Poetic Function...19

3. Translation of Poetical Expression...20

4. Structure of Poetry...20

a. Physical Structure of Poetry...21

b. Mental Structure of Poetry...25

CHAPTER III RESEARCH FINDINGS...27

A. Data Description...27

1. The Expression of Humbert Humbert‘s Memory..27

2. The Expression of Humbert Humbert‘s Longing..29

3. The Expression of Humbert Humbert‘s Disappointment...31

B. Data Analysis...32

1. The Expression of Humbert Humbert‘s Memory..33

a. Data 1...33

b. Data 2...35

c. Data 3...37

2. The Expression of Humbert Humbert‘s Longing...39

a. Data 1...39

b. Data 2...42

c. Data 3...44

d. Data 4...46

3. The Expression of Humbert Humbert‘s Disappointment...49

a. Data 1...49

b. Data 2...51

c. Data 3...53

1. The Expression‘s Criticism of Humbert Humbert‘s

Memory...54

2. The Expression‘s Criticism of Humbert Humbert‘s Longing...55

3. The Expression‘s Criticism of Humbert Humbert‘s Disappointment...56

CHAPTER IV CONCLUSION AND SUGGESTION...57

A. Conclusion...57

B. Suggestion...58

BIBLIOGRAPHY...60

A. Background of the Research

Translation field has a very important role in terms of delivering message which contained in source language (SL) into the target language (TL). Translating a word or phrase from one language to another should be done by transferring messages of the word or phrase itself with a good level of equivalency. In this case, equivalency means similarity of the received messages, both in source language or target language. Although some words or phrases in the source language rarely have the same equivalence level in the target language, it does not matter if they can be interchangeable. Thus, it can be concluded that translation involves two different languages which must have equal meaning.

In the translation field, translation criticism is one of the most inseparable thing from this field. But the expressions used to criticize translated texts are quite predictable. There are several expressions such as: ―nicely

translated,‖ or maybe ―flat and uninspiring‖ which often used by many critics

in practice. It is absolutely easy to criticize the total inadequacy of these comments, but perhaps it is time to reflect on the responsibilities of a critic who engages in reviewing translations. The critic of translation works should be familiar with the SL, the cultural and aesthetic context of the original work, and the difference in linguistic perceptions that exist between the SL and the

TL. Besides, the critics of translation have to fulfill a formidable yet very important task. They draw readers toward the foreign in other culture, make them feel comfortable with the unusual and strange things in that culture, and heighten the enjoyment of living the rich texture of aesthetic and deep experiences which reflected in the structure of a foreign language.

In order to achieve the task, a critic must go through a so-called process named translation criticism, which is an important component in translation course. Translation criticism is a significant part in translation field because it

improves and escalates translator‘s skill and knowledge in shifting the culture and

the message from one language to another. Translation criticism is the fundamental basis of each and every course in comparative linguistic or literature in translation, and a component of any professional translation course with specific text types as an exercise for criticism and discussion.1

Moreover, in the study of literary texts, translation has an important role in terms of development and deployment of so many texts, including literary texts. The presence of translation helps literary texts to reach audience from other areas which do not have same cultural background with the author of the text. Therefore, translation activities are needed to fill the gap and bridge of relationship between the author and target reader. Translation helps linking two different languages which have different cultural backgrounds, so it can also help the reader from different part of the world to understand the text in an easier way.

1

Peter Newmark, A Textbook of Translation (Hertfordshire: Prentince Hall, 1988), p. 185.

The study of literary text cannot be separated from the realm of linguistics. Each type of literary texts such as novel, short story, and poetry has its own discussion reflected in science of linguistics. For example, a poem using poetic language can be studied with the concept of polarity and also the concept of equivalence. Poetry is one part of a language which contained poetic function. Roman Jakobson, one of the experts who centralize his thoughts on linguistic studies reveals that the poetic function is one of the part of six language functions which he designs, each of which have different focus, namely referential function, emotive or expressive function, conative function, phatic function, metalingual function, and also poetic function itself.2

The term ―poetic‖ has narrow and broad meaning. In a narrow sense,

poetic is a use of linguistic methods to review literary works, especially poetry.3 Meanwhile in broader sense, poetic refers to one of the function of language, which has already mentioned in the previous section. The use of poetic function of language is to highlight shape of the language itself for the sake of beauty of aesthetic impacts, or in other words it can be referred as poetic language. According to Jakobson, poetic language not only encompasses poetry, but also advertising language, political slogans, or maybe some stickers which can be found in public places.4 Therefore, it can be concluded implicitly that the expression which contained poetical function is also included in the poetic language.

2

Roman Jakobson, The Framework of Language (Michigan: University of Michigan, 1980), p. 84.

3

David Crystal, A Dictionary of Linguistics and Phonetics (Cambridge: Basil Blackwell, 1991), p. 267.

4

In terms of translation, poetical expression is often regarded as one of the most difficult expression to translate. In this case, a critic must know the

expression‘s intention and purpose in order to understand true meaning of the text, because a critic is the first and the foremost component of the research. In some highly-appreciated literature texts such as Vladimir Nabokov‘s Lolita, which contains so many wordplays and figurative expressions, a translator will usually be served by the concept of thoughts and expressions which inevitably must be understood and translated correctly. Poetical expression is chosen as the research object of this research because this kind of expression sometimes referred

as a ―branchy‖ one, which means a poetical expression can have a meaning that

depends on the taste and understanding of the translator. One of the example from the Lolita novel which represent the element is as follows.

SL: The Squirl and his Squirrel, the Rabs and their Rabbits Have certain obscure and peculiar habits

Male hummingbirds make the most exquisite rockets The snake when he walks holds his hands in his pockets...

TL: Petani dan tupainya, peternak dan kelincinya Punya kebiasaan aneh dan tak biasa

Burung pipit jantan punya roket paling memesona

Saat berjalan, ular menyembunyikan tangan dalam sakunya

This expression is likely multilayered, or in other words, has several layers of interpretation. So, it is no surprise if there are some mistranslations in the poetical expression above. First, the word Squirl means ornamental flourish or

curve.5

But the translator translated it into Petani or a farmer. Then, the word Rabs means a rod used by masons.6

But the translator translated it into Peternak or a cattleman.

From the example above, it appears that some mistranslations still exist, so

it is likely to have an impact to reader‘s understanding. Thus, translation criticism

is needed to minimize this and also to evaluate the performance of the translator in performing their duties. In addition, translation criticism can also help improving

the reader‘s understanding and also readibilty in the near future.

B. Focus of the Research

Based on the background of the research which has been described above, this research focuses only on translation as a product. The object of the research is focused on translation criticism. Translation unit of this research is limited only to some expressions which contain poetical function in Indonesian language version of Lolita.

C. Research Question

Based on the background of research that has been outlined earlier, the writer has formulated the problem as follows:

1. How does the translation criticism applied in poetical expression

translation in Vladimir Nabokov‘s Lolita?

2. What conclusion that can be drawn from the translation criticism of

poetical expression in Vladimir Nabokov‘s Lolita?

5

Oxford Dictionaries, s.v. ―Squirl,‖ accesed November 14, 2013,

http://www.oxforddictionaries.com/definition/english/squirl. 6

_{M e r r i a m -}Webster, s.v. ―Rabs,‖ accessed Nove mber 14, 2013, http://www.merriam-webster.com/dictionary/rabs.

D. Objective of the Research

In general, this research aims to determine how the translation criticism described on poetical expression and also to find out the conclusion of the translation criticism itself from SL to TL in Lolita novel by Vladimir Nabokov. Thus, the implementation of the translation criticism theory can be vividly outlined.

E. Significance of the Research

This research is expected to enhance knowledge about translation criticism and its application in English–Indonesia translation. Moreover, this research can also be a factor and consideration in translation criticism study, so it can facilitate further research on these topics in the near future.

F. Methodology of the Research

The methodology of the research includes several important aspects of the research as follows:

1. Method of the Research

In this research, the writer uses descriptive qualitative research as the method of the research, especially in the form of content analysis. By this kind of analysis, the writer hopes to reveal the content or meaning of the expression while still using the defined theory. In this method, the writer attempts to analyze the research object, which is poetical expression in Lolita, by using Newmark‘s four classifications to criticize translation works, namely translation as a science, translation as a craft, translation as an art, and translation as a taste.

2. Unit Analysis

The unit of analysis in this research is Lolita written by Vladimir Nabokov and published by Penguin Books in 1997. The writer also uses the Indonesian version of this novel translated by Anton Kurnia and published by Serambi in 2012 with the same title.

3. Technique of Data Collection

In this research, bibliographical study or written source is used as the technique of data collection. In order to collect the data, the writer will read the English version and its Indonesian translation carefully, and then choose ten poetical expressions in the novel which represent one of the classifications in the translation criticism theory.

4. Technique of Data Analysis

The collected data will be analyzed and also assessed by

Newmark‘s theory. And then, to break down the data specifically, each of the datum will be examined in detail and be classified into four classifications, namely translation as a science, translation as a craft, translation as an art, and translation as a taste. Later, the writer will conclude the data analysisi in terms of the translation criticism theory.

5. Instrument of the Research

The research consists an instrument only and that is the writer. The writer criticizes and assesses the poetical expressions as the corpus of the research and elaborate how the translation criticism theory applied

CHAPTER II

THEORETICAL FRAMEWORK

A. Translation

1. Definition of Translation

Translation, as a term, can be defined in many ways. Various

definitions of translation can be seen as a reflection of the expert‘s view, who

decides the significance of nature and process of translation. One of the experts who express his thoughts about the definition of translation is Catford, who argues that translation is the replacement of textual material in one language by equivalent textual material in another language.7 Remember that the reference of textual material by Catford is not merely written text. So translation can also be derived from unwritten or spoken language.

Then, the following translation definition is proposed by Savory, in his book The Art of Translation. Savory argues that translation is made possible by an equivalent of thought that lies behind its different verbal expressions.8 In his statement, he mentions clearly that the thought of the expressions must be equivalent, but Savory does not elaborate further about operational matters relating to the process.

The interesting thing from both opinions above is that they highlight the importance of equivalence, just as already mentioned in the previous chapter. Even though there are slight differences, such as Catford who empasizes

7

J. C. Catford, Linguistic Theory of Translation (London: Oxford University Press, 1965), p. 20

8

Theodore Horace Savory, The Art of Translation (London: Jonathan Cape Ltd Publishers, 1968), p. 25

textual material equivalence and Savory who accentuates the thought equivalence, it can be deduced that equivalence is one of the key points in translation. But it is not the only essential things in translation. At least, Wolfram Wills found that translation is a transfer process which aims at the transformation of a written SL text into an optimally equivalent text, and which requires the syntactic, the semantic, and the pragmatic understanding and analytical processing of the SL.9 Here, Wills considers that translation is a process, a transfer, and a transformation. Although the word ‗equivalent‘ is still mentioned, but the concentration for the process of translation itself is much greater.

Thus, from 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. The intention of transformation process here is a model which

intended to explain human‘s thinking process when performing the translation

process. So, in order to achieve equal meaning between two languages, a translation process is needed.

2. Criticism of Translation

Speaking of translation, criticism is one of the most important parts in both its theory and also its practice. Even though the relationship between translation and criticism is far from clear, there is an agreement that translators must start from a reading of a literary text, but not on how that correlates with main lines of literary criticism. Actually, little has been said about what

9

translation offers critics, beyond a further supply of texts. Translation criticism itself is an interdisciplinary academic field which closely related to literary criticism and translation theory. It can be defined as the systematic study, evaluation, and interpretation of different aspects of translated works.10

Criticism of translation is different from review of translation. Review of translation conducts some comments on new translations, description, and evaluation as to whether they are worth reading or buying or not. On the other hand, criticism includes a broader activity. Criticism conducts analysis in detail, evaluating old and new translations, and assuming that readers know the translation.11 Translation criticism should take into account all the factors and elements in the process of translation. It comprises activities which are part of the process of translation, but it is different from the forms of criticism involved in this process. Moreover, translation criticism should not be a mere identification of errors, an intuitive, or highly subjective appraisal for judging some translated texts as good, bad, faithful, or anything else without qualifying the criteria.

a. Criteria for Criticism of Translation

As an important part in theory and practice of translation, translation criticism certainly has supportive aspects or criteria. These criteria are utilized to determine the quality of a translation, so that the objectivity of the criticism or assessment process can be maintained.

10_{Taqiyeh M. H., ―What is Translation Criticism?‖}

Translation Studies 11, no. 3 (Fall

2005): p. 61-63, accessed December 17, 2013,

http://www.sid.ir/en/ViewPaper.asp?ID=44700&varStr=3.14159265358979;TAQIYEH%20M.H.; TRANSLATION%20STUDIES;Fall%202005;3;11;53;61.

11

Notes on Translation Criticism. Accessed December 17, 2013, http://www.uv.es/tronch/Tra/NotesOnTranslationCriticism.htm.

Thus, along with these criteria, the ability of the translator is expected to be improved in the future. In order to criticize a translation properly, there are three criteria which were proposed by Larson, namely accuracy, clarity, and equity.12 A translation is accurate if the contained content or information is not deviate from its source text. Then, a translation is classified as clear if it is easy to understand by readers. Moreover, a translation is classified to have equity if the word and grammar selection is proper and familiar to target readers.

Beside the three criteria above, there are other aspects which can be used as benchmarks to criticize translation. Simatupang proposed that the meaning of the text, style, and clarity are some of criteria which can be utilized to see the level of acceptance in a translated text.13 According to him, meaning, style, and clarity are the first and the foremost aspects in translation criticism. A good translation have to encompass the true meaning of the source text, acceptable style in the target text, and clear enough to be read and understood by target reader as well.

Similar to Larson and Simatupang, Hoed argues that there are several aspects which have to be considered in criticizing translation products. He proposes that the accuracy of meaning reproduction which includes linguistics, semantics, and pragmatics, as well as phrase

12

Milder L. Larson, Meaning-based Translation: A Guide to Cross Language Equivalence (Lanham, Maryland: University Press of America, 1984), p. 534.

13

Maurists D. S. Simatupang, Pengantar Teori Penerjemahan (Jakarta: Direktorat Jenderal Pendidikan Tinggi Departemen Pendidikan Nasional, 2000), p. 131-135.

fairness, terminology, and orthography should be taken into account by a critic if he or she wants to conduct a critic of translation.14

b. Plan of Criticism

In order to make a comprehensive criticism of translation, Newmark discovers five topics in criticizing a translation.15 These topics are essential for a critic who wants to assess a translation product. The topics are:

1. Analysis of source text stressing its intention and functional

aspects. This part of analysis includes author‘s purpose and also

his/her attitude toward the topic, characterization of the readership, category and type of the text, quality of the

language to determine the translator‘s degree of license, and also state topic of the themes.

2. Analysis of the translator‘s interpretation of source text‘s purpose, translation method, and also translation‘s likely readership. In this part, a critic should understand why translator has used some specific procedures for a specific aim and also provide the reasons.

3. Selective but representative detailed comparison of source text (ST) and target text (TT). In this part of analysis, a critic has to determine general properties of both ST and TT, and then

14 _{Benny H. Hoed, ―Pengetahuan Dasar Tentang Penerjemahan,‖}

Lintas Bahasa Edisi Khusus No 1/7/1993 (Jakarta: Pusat Penerjemahan Fakultas Sastra Universitas Indonesia, 1993), p. 40.

15

provide how translator has solved a particular problem which posed by ST.

4. Evaluation of translation. This kind of evaluation should be

conducted in both the translator‘s terms and also the critic‘s

terms. In this part of analysis, the assessment of the referential

and pragmatic accuracy of the TT by translator‘s standards, the

assessment of the referential and pragmatic accuracy of the TT

by the critic‘s standards, and the assessment of the TT as a

piece of writing is included.

5. Assessment of the importance of translation in target language culture or discipline. In this part, a critic must analyze whether some culture-related words are worth translating or not. Besides, a critic has to know also what kind of influence it will have on the language, literature, and the ideas in its new milieu.16

c. Marking a Translation

From the explanation above, it can be inferred that there are two approaches in criticizing a translation product: functional and analytical.17 The functional one is much more general. This approach attempts to see whether translator has achieved in translating text, but the detail of translation seems to be overlooked. In the other hand, analytical approach is more detailed. Not only the general issues, but the details are also taken into consideration as well. In order to

16

Ibid.

17

investigate the details, Newmark assumes that all translation is partly science, partly craft, partly art, and partly a matter of taste.

First, Newmark considers that translation is partly science. It should

be understood that a term ‗science‘ is a matter of wrong rather than

right, and there are two types of scientific mistakes here, which are referential or linguistic. Referential mistakes are about facts, real world,

propositions not words. Statements like ‗water is air,‘ ‗water is black,‘ or ‗water breathes,‘ are referential mistake; even though as metaphors these terms may be true. In the other hand, linguistic mistakes show the

translator‘s ignorance of foreign language, for example grammatical,

lexical, words, collocations, or idiomatical mistakes.18

Secondly, Newmark also proposes that translation is partly craft or skill. An element skill is the ability to follow or deviate from appropriate natural usage, namely pragmatic and persuasive invocative texts, neat in informative texts, and hugging the style of the original in expressive and authoritative texts. In other words, the term ‗skill‘ here

means translator‘s capability to select or choose a more natural word

selection in order to avoid making mistakes in translating the text. If any mistakes occur, there are possibly some reason behind them, it could be due to inability to write well, misuse of dictionary, disregard of deceptive cognates, the persistent of seeking equal word level, and perhaps lack of common sense.19 For instance, a sentence To be or not to be from Hamlet, which is very popular among literature enthusiasts.

18

Ibid.

19

By many Indonesian translators, this sentence is rarely translated into Ada atau tiada, because the true meaning of the sentence in the source language is stronger than the sentence itself.20

Then, the third one is a positive one, translation as an art. This factor attempts to interpret implied meaning of the text rather than take

care of expressed meaning. As we know, the term ‗art‘ is much more

related to creativity, and in this factor, creativity is a must to produce a good and proper translation. A translator should be creative enough to

create a variety of solutions and digest the author‘s mean rather than he

or she wrote in the source language. For example, if a book on Alexander von Humboldt starts with: Alexander von Humboldt—yes, but why? A coarse translator perhaps will translate it into Kenapa menulis buku tentang Alexander von Humboldt dari sekian banyak orang yang ada? Or perhaps there are translators who will translate it into Tampak aneh menulis buku tentang Alexander von Humboldt. But there are also translators who will translate it into Alexander von Humboldt... Ya, tetapi kenapa? From the third translation above, the first one seems to be more referential, the second one is pragmatically closer, and the last one is more brief and the closest. This is what we call creative translation.21

The last area of translation, the taste, has to be accepted as a subjective factor. This factor concerns about the translation as a personal choice. It stretches from preferences between lexical

20

Benny H. Hoed, Penerjemahan dan Kebudayaan (Jakarta: Pustaka Jaya, 2006), p. 95. 21

synonyms to sentences or paragraphs that under or over translated in

different places. In this area, a matter of subjectivity and also the ‗good‘ or ‗bad‘ is far more prominent.22

For example, a word however is more than enough to represent this factor. The word however can be translated into namun or akan tetapi by the translator, it is according to their taste.23 The translation choice is not depend on any other issue. As long as the meaning of the text is delivered, it is all up to translator. However, whether translation is regarded as a science, art, craft, or taste, it seems significant to note that a good translation should play the same role in the target language as the original did in the source language.

B. Poetry

1. Definition of Poetry

Poetry is one of the oldest form of art which is still existent and popular. It is the closest language to human experience. People from various circle, ranging from rich, poor, educated, intelligent, and sensitive enjoy it as one of their source of entertainment. Initially, poetry is a kind of language which means more and it says more intensely than an ordinary language. A little and simple poetry can contain a deep and meaningful essence in an ordinary language. So in other words, poetry is a pretty complex and complicated work of art.

Actually, true definition of poetry is tentative, but a notable poet Gerard Manley Hopkins gave his view about what he has thought about poetry. He

22

Ibid.

23

argues that poetry needs to be heard for its own sake and interest even over and above its interest of meaning. Hopkins proposes that meaning is not the only essential element in poetry. There are other important elements which support this kind of art form, namely: sounds, images, rhythms, and figures of speech. 24

Thus, all those essential elements form a complex entity which we call as poetry. It is certainly something more than good sense, it is something more philosophic and of graver import than history.25

Poetry is indeed something divine. It is at once a center and circumference of knowledge. It comprehends all science, and that to which all science must be referred. There are millions of definition of poetry, depend on thinking of each experts. But from all of the definitions above, it can be concluded that poetry is an expressive way to show some things or feelings by taking into account all of its elements. It is more than just an art, it is a way of life.

2. Definition of Poetical Expression

As a literary text, poetry cannot be separated from realm of language or linguistics as well. As with other types of literary texts such as novel and short story, poetry has its own discussion which reflected in linguistic science. For example, poetic language which is used by poetry can be studied with the concept of polarity and the concept of equivalence. As we know, poetry is one part of the language that contains poetic function. Roman Jakobson, one of the experts who focus his thoughts in linguistic studies reveals that poetic function is part of the six functions of language which has a different focus, namely:

24

X. J. Kennedy and Dana Goia, An Introduction to Poetry (London: Longman, 2002), p. 6.

25

a. Referential function, which focuses on content of speech or denotative meaning. In other words, language is used as an intermediary discussion about a given topic. For example, with presence of language, human can learn about everything such as religion, science, moral, or technology.

b. Emotive or expressive function, which focuses on attitude or feeling of a speaker for content of their speech. In this part, language is used as a tool to express feelings, such as happiness, sadness, disappointment, or satisfaction. For example, a boy tells about her grievances of her problem to a girl.

c. Conative function, which focuses on hearer and usually appears as a command sentence. In this respect, use of language is intended to motivate or encourage people to do something. For instance, a teacher who commands his or her students to do their homework can be classified into this section as well.

d. Phatic function, which focuses on maintaining communication‘s continuity between speaker and hearer. With the presence of language, people can take advantage of their experience, learn, and get acquainted with other people. So, people may feel belonged to

the group they are into. For example, a boy says ―Hi,‖ to a girl.

e. Metalingual function, which focuses on the use of language to talk about language. For instance, a boy explains about Mandarin

f. Poetic function, which focuses on the use of language which aims to highlight the language itself for aesthetic needs. In this matter, the use of language is intended to convey a specific message or mandate. Language expresses thoughts, ideas, feelings, volition, or

one‘s behavior. For instance, a boy advised a girl not to skip class again. In the previous example, language is used by a person to convey message to another person. In this case, the center of attention goes to the message implied. 26

As disclosed earlier, Jakobson uses the concept of polarity and equivalence in study of poetic language. He cited the concept of polarity from

Ferdinand de Saussure‘s theory of syntagmatic and pragmatic relations. This

concept shows binary opposition of metaphor and metonymy. Metaphor is paradigmatic, whereas metonymy is syntagmatic.27 Both processes underlie a formation of language signs over selection and combination. Based on that matter, he defines the poetic function of language as a function to take advantage of the selection and combination for improving equivalence. In his theory, poetic function is not only to be found in poetry, but also in all forms of language use.

The term ‗poetic‘ has a narrow and broad significance. In a narrow

sense, poetic is a use of linguistic methods to analyze literary works, especially poetry.28 While in a broader sense, it refers to one of the function of language, as already mentioned in the previous section. The function of poetic language

26

Jakobson, Op. Cit., p. 84.

27

Harimurti Kridalaksana, Mongin Ferdinand de Saussure (Jakarta: Yayasan Obor Indonesia, 2005), p. 49-50.

28

is used to highlight shape of language itself for the sake of aesthetic or beauty effects. Subsequently, it can be referred as poetic language. According to Jakobson, poetic language encompasses not only poetry, but also advertising language, political slogans, or maybe a sticker which can be found in public places.29 Implicitly, it can be concluded that the phrase which contains poetic function is also included in poetic language.

3. Translation of Poetical Expression

Translation of poetry, especially poetical expression, was and still is by some believed as impossibility for any unfaithful elements and would have been taken as failur, eby its content or form. But as translation of poetry has never been stagnant though sometimes vigorous and sometimes not, there is strong evidence in both translation history and present day practice that poetic translation, a literary form as distinguished from fiction, drama, and prose, is translatable. Poetical expression itself serves a purpose, be it an illustrative matters, and aesthetics can be reproduced in another language and culture if accommodation is made. It would be highly likely that the target readers would obtain rather than similar, if not the same aesthetic pleasure, reading the translation as would the source readers reading the original poem. And this is the only criterion in evaluating and criticizing a successful piece of translation.

4. Structure of Poetry

Certainly, a body of poetry has a couple of structures which sustains integrity of the poetry itself. These structures of poetry can give some kinds of convenience for someone to criticize poetry in depth. Herman J. Waluyo

29

believes that poetry has two structures, which are physical structure and mental structure. Each of these elements has its essential points which will be described as follows:

a. Physical Structure of Poetry

Linguistic or physical structure of poetry is called as method of poetry. The form elements or physical structure of poetry can be described in the method of poetry, which is aesthetic structure that builds outer structure of the poetry. Those elements can be analyzed one by one, but still, it constitutes as a unified whole.30 There are several elements which contained in physical structure of poetry, namely: diction, imagery, concrete words, figurative language or figure of speech, diversification, and typography.

1. Diction, that is the selection of word which made by the poet in his or her poetry. As a form of literature which only have few words but can express many things, the words must be chosen as careful as possible. The selection of word in poetry is closely

related to meaning, sound‘s harmony, and word order.31

2. Imagery, that is a word order which may reveal sensory experience, such as vision, hearing, and feeling. Imagery can be divided into three, namely sound imagery (auditory), visual imagery, and touch imagery (tactile image).32 With these elements, a reader is expected to see, hear, or feel what the poet experienced.

30

Herman J. Waluyo, Teori dan Apresiasi Puisi (Jakarta: Erlangga, 1991), p. 71. 31

Ibid, p. 73.

32

3. Concrete words, that is the word which can be captured by the senses that enable an emergence of images. The word itself relates heavily to some figures or signs.33

4. Figurative language or figure of speech is a use of language which may revive or increase certain effects and connotations.34 Figurative language makes a poetry to become prismatic, which means the poetry itself radiates or contains so much meaning. Figurative language consists of analogy that raises analogical meaning and symbolism that raises symbolical meaning. 35

a. Analogy

Analogy has a broader meaning than style of figurative language, because it represents the whole style of the language itself. It aims to create a richer, more effective, and more suggestive effect in poetry language.

b. Symbolism

Symbolism is used to clarify meaning and create tone and atmosphere of poetry to become clearer, so it can

arise reader‘s heart. In analogy, something is compared

or analogized by other things, but in symbolism, something is changed or symbolized by something else. There are several kinds of symbol contained in the physical structure of poetry, namely:

33

Ibid, p. 81.

34

Soedjito, Kosa Kata Bahasa Indonesia (Jakarta: Gramedia, 1988), p. 128.

35

1) Symbol of Color. Color has characteristics of a particular disposition. Many poets use color to express their feelings or beliefs, such as: Sajak

Putih, Serenada Biru, Ciliwung yang Cokelat, and Malam Kelabu.

2) Symbol of Object. Symbolism can also use

some objects‘ name to replace something

which wants to be spoken by poet. One of the examples is spotted in Amir Hamzah‘s poetry which depicts God who love to flip through

human‘s life as a burung yang bercakar or a clawed bird.

3) Symbol of Sound. Sound that was created by poet also symbolizes a particular feeling or meaning. Combination of sounds will create a very special atmosphere in poetry.

4) Symbol of Atmosphere. Atmosphere can also be represented by another, more concrete atmosphere. This symbol of atmosphere is usually described in a sentence or paragraph. 36 5. Diversification, that is a physical structure of poetry which

associated with rhyme, rhythm, and metrum.

36

a. Rhyme is a sound equation in poetry, either at the beginning, middle, or at the end of line in poetry. Rhyme is composed of several kinds, namely:

1) Onomatopoeia. Onomatopoeia is an imitation of sound. For example like meow for cat and quack for duck.

2) Internal Form of Formal Pattern. The meaning of internal form here is a form of alliteration, assonance, final equation, initial equation, intermittent rhyme, half rhyme, full rhyme, repetition of sound, and so on.

b. Repetition of Word or Phrase. Repetition is not only limited to sound, but might be to word or phrase as well. Repetition of sound, word, or phrase is believed to provide intellectual effect and purely magical effect. c. Rhythm is strains which occur due to repetition and

change of sound unity in the stream, pressure, and tone of the sound.

d. Metrum is static repetition of word. Metrum is similar to maat. However, because pressure of word does not distinguish the word meaning in Indonesian language, it is difficult to find dactylus, anapest, jambe, tracheus, and so on. Therefore, metrum is hard to find in Indonesian poetry.

6. Typography, that is a form of poetry which is not filled with words, right-left edge, and row setting, so that poetry does not always begin with a capital letter and end with a dot. These elements determine heavily to meaning of poetry.

b. Mental Structure of Poetry

Mental structure of poetry is building blocks of poetry which does not appear directly in the writing of the words. Mental structure of poetry can be grouped as follows:

1. Theme

Theme is main idea or basic story which is used as basic composing of the poetry. Media of the poetry is language. Therefore, poetry must be meaningful in every word, line, verse, or as a whole.37

2. Feeling

Feeling is attitude of poet toward main issue which contained in poetry. Theme disclosure and taste is closely related to social and psychological background of poet. The depth and accuracy of disclosure in addressing the theme of an issue does not depend on ability of poet to choose the words, rhyme, style, and form of the poetry alone, but rely more on the insight, knowledge, experience, and personality which are formed by sociological and psychological background.38

37

Ibid, p. 107.

38

3. Tone

Tone is attitude of poet toward his or her reader. Tone is also related to theme and feeling. A poet can convey theme of patronizing, dictating, or cooperating sounds with reader to solve problem. Or maybe poet can simply submit the issues to the reader, in an arrogant and ignorant tone.39

4. Intention

Intention is message which wants to be conveyed by author to reader or hearer. However, there is a purpose that drives the poet to create poetry. That purpose can be sought before poet create the poetry, and can be found in his or her poetry.40

39

Ibid, p. 125.

40

CHAPTER III RESEARCH FINDING

A. Data Description

In this chapter, the writer analyzes several data from Lolita novel which contain poetical expression and criticizes them based on Peter Newmark‘s translation criticism theory. The data descriptions are taken from Lolita novel which written by Vladimir Nabokov and also their Indonesian translation which translated by Anton Kurnia. There are several facts about these data, ranging from their word selections to their implied meanings. For more details, it can be seen as follows:

1. The expression of Humbert Humbert’s memory

No. Source text Target text Translation

Marking 1. Lolita, light of my

life, fire of my loins.

My sin, my soul. Lo-lee-ta: the tip of the tongue

taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.

Lolita, cahaya hidupku, api sulbiku.

Dosaku, sukmaku. Lo-li-ta: ujung lidah

menjejak mundur langit-langit mulut tiga kali dan pada kali ketiga menyentuh deretan gigi. Lo. Li. Ta.

Translation as an art

p. 9 p. 15 2. My Dolly, my folly!

Her eyes were vair, And never closed when I kissed her.

Known an old perfume called Soleil Vert? Are you from Paris, mister?

p. 254

Dolly-ku, kebodohanku! Matanya menipu, Dan tak pernah terpejam saat kucium,

Tahukah kau Soleil Vert? Itu merk parfum. Tuan, berasal dari Paris-kah dirimu?

p. 444

Translation as a craft

3. Saint, forsooth! While brown

Dolores, On a patch of

sunny green With Sanchicha reading stories In a movie

magazine—

p. 243

Demi kebenaran, Santa!

Ketika Dolores yang

cokelat muda, Pada sepetak rumput hijau ceria,

Dengan Sanchicha membaca cerita Di sebuah majalah

remaja—

p. 425

Translation as an art

2. The expression of Humbert Humbert’s longing

No. Source text Target text Translation

Marking 1. Where are you

riding, Dolores Haze?

What make is

the magic carpet? Is a Cream Cougar the present craze? And where are you parked, my car pet?

p. 254

Dolores Haze, ke mana kau

menghilang? Apakah kau naik

karpet terbang? Apakah kau suka

kue krim sekarang? Dan di mana kau diparkir, mobilku tersayang?

p. 444

Translation as an art

2. Wanted, wanted:

Dolores Haze.

Her dream-gray never flinches

Ninety pounds

is all she weighs

Dolores Haze—

dicari, dicari,

Tak kedip tatap

mata kelabunya. Dan empat puluh lima kilo bobotnya Tingginya hanya

enam puluh inci

Translation as a craft

With a height of

sixty inches

p. 255 p. 445

3. Wanted, wanted:

Dolores Haze. Hair: brown. Lips: scarlet. Age: five thousand three hundred days. Profession: none, or

“starlet.”

p. 253

Dolores Haze—

dicari, dicari!

Rambut: cokelat. Bibir: merah terang.

Usia: lima ribu tiga ratus hari.

Pekerjaan: tidak

ada, atau “calon bintang”.

p. 444

Translation as a craft

4. Oh Dolores,

that juke-box

hurts!

Are you still

dancin’, darlin’?

(Both in worn levis, both in

torn T-shirts,

Oh Dolores,

musiknya bikin

meriang!

Masihkah kau

berdansa, Sayang? (Keduanya

bercelana Levi’s

usang, keduanya berkaus belang,

Translation as an art

And I, in my corner,

snarlin’).

p. 254

Dan aku, di sudut,

meradang).

p. 444

3. The expression of Humbert Humbert’s disappointment

No. Source text Target text Translation

Marking 1. Dying, dying,

Lolita Haze, Of hate and remorse, I’m dying.

And again my hairy fist I raise,

And again I hear you crying.

p. 254

Lolita Haze, kini aku sekarat,

Nyaris mati karena sesal dan benci, Tinjuku yang berbulu

coba kuangkat, Dan kudengar kau

menangis lagi.

p. 445

Translation as a craft

2. Officer, officer, there they are— Dolores Haze and her lover! Whip out your

Polisi, polisi, itu mereka—

Dolores Haze dan

kekasihnya! Kokang pistolmu,

Translation as an art

gun and follow

that car. Now tumble out, and take cover.

p. 254

ikuti mobil mereka, Sekarang lompatlah dan tangkap mereka.

p. 445 3. Because you

took advantage of a sinner because you took advantage because you took

because you took advantage of my

disadvantage...

p. 298

Karena kau mengambil keuntungan dari seorang pendosa Karena kau mengambil keuntungan Karena kau mengambil Karena kau mengambil keuntungan dari

kelemahanku... p. 520

Translation as a taste

B. Data Analysis

As mentioned above, there are slightly differences in source text and target text. Most of all, the translator emphasizes the arts in translating those poetical

expressions above. In fact, it might be necessary to elaborate the concept in order to deepen the understanding of the expressions. Once again, the writer

tries to criticize the expressions above with Peter Newmark‘s translation

criticism theory.

1. The expression of Humbert Humbert’s memory a. Datum 1

These are the very first sentences in the Lolita novel, which portray

Humbert‘s affection and desire to Lolita. The author uses such stirring

language which is almost poetic to the reader. From the expression above,

it can be seen that Humbert reduces Lolita‘s name to a rhythm of syllables. Calling her the light of his life makes the reader feel this intense emotion that Humbert feels for Lolita. The reader understands that he is deeply in love with this girl, and aesthetically moved by her presence. Even her name invokes such a passionate response in him that he appreciates the movement of his tongue as it moves to pronounce it. In this expression, the reader gets a sense of how truly enthralled Humbert is with Lolita, regardless of their familial status and difference in age.

In the first sentence, the translator translated the phrase my loins into sulbiku. According Cambridge Advanced Learner‘s Dictionary, loins means a part of the body which is above the legs and below the waist, especially the sexual organs.41 Then, in English-Indonesian Dictionary, the word loin means bagian badan sebelah belakang antara pinggul dan

41 _{Elizabeth Walter, ―Loins,‖ in Cambridge Advanced Learner’s Dictionary}

, (Cambridge: Cambridge University Press, 2008), p. 843.

tulang rusuk or in other words, it is synonymous with pinggang.42 According to thesaurus, the word sulbi and pinggang is synonymous.43 However, if the translator used pinggang rather than sulbi, it is equivalently and grammatically correct, but as the consequences, the beauty of the expression will not be as sublime as its original version.

By the same token, the same principle is cherished by the translator to translate my soul in the same sentence. The word soul itself means the part of a person which is not physical and experiences deep feelings and emotions.44 Furthermore, soul in Indonesian language means nyawa, roh, or sukma.45 Maybe it would be tolerable if the translator translated the phrase into nyawaku or rohku, because the meaning would not be affected anyway, but those words are not as emotional and esthetical as sukma. So,

the translator‘s decision to choose sukma rather than nyawa or roh is worth appreciated.

Then in the next sentence, there is a phrase in ST which said

―taking a trip of three steps down the palate,‖ which is translated into

“menjejak mundur langit-langit mulut.” Specifically, the phrase take a trip means the same with go or ramble,46 so in Indonesian language it has the same meaning with pergi or bergerak.47 Actually, the phrase in ST could be translated literally into “pergi mundur tiga kali di langit-langit

42

Hornby, E.C. Parnwell, and Suswoyo, “Loin,‖ in Kamus Inggris-Indonesia (Jakarta: PT Indira, 1993), p. 193.

43

Kateglo, s.v. ―Sulbi,‖ accessed April 7, 2014,

http://kateglo.com/?phrase=sulbi&mod=dictionary.

44

Walter, Op. Cit., p. 1381.

45

Hornby, Op. Cit., p. 307.

46

Thesaurus.com, s.v. ―Take a trip,‖ accessed April 7, 2014, http://thesaurus.com/browse/take+a+trip.

47

mulut”or “bergerak mundur tiga kali di langit-langit mulut,” and these translations are still acceptable in Indonesian language. The three translation versions above are proportional and readable in target language, but it can be seen that the first version is far more effective, communicative, and natural rather than the second and the third.

The elaboration above paints a conclusion that translation as an art is more prominent. The translator strongly considers aesthetic side in translating this expression, and it is reflected in his prudent and subtle word selection. While there is a trick to achieve a suitable and natural equivalent in target language, the issue is still influenced by the aesthetic aspect which feels very strong already in the original version.

b. Datum 2

In this poetical expression, the translator creates some re-structuralisation, addition, and changes in order to make a communicative translation. For example in the first verse, the word vair is translated into menipu or deceiving, while the referential meaning of the word is fur or garment which obtained from a squirrel.48 From translation as a science perspective, maybe this is completely subversive, because in according to English-Indonesian Dictionary, vair means bulu tupai yang berwarna biru keabu-abuan.49 However, when it comes to poetical or any other literary translation, there is no such thing as right and wrong. In a closer look, the intention from the first verse is Lolita or Dolly, who has deceiving eyes, make Humbert looks foolish. In order to transfer that meaning from ST to

48

Oxford Dictionaries, s.v. ―Vair,‖ accessed December 23, 2013,

http://www.oxforddictionaries.com/definition/english/vair.

49

TT, the translator creates a new word which has no relation to its true referential meaning. So, based on the translator‘s perspective, the word vair is closely equal to menipu, because these two words have quite similar meaning in each language.

Then in the third verse, there are Soleil Vert word which is not familiar for target readers here in Indonesia. Richard Cohen once mentioned about Soleil Vert in his book, and he stated that it is an old perfume.50 If the translator simply translated it for granted and explained it all the way through the expression, maybe the translation of the verse would be very long and ineffective. Thus, he cuts the sentence into two and makes it briefer. In addition to above reason, this kind of technique is adopted to make a harmonious suffix with the second verse, which have – m suffix, so the a-b-a-b pattern will be established just like in ST. Moreover, most importantly this technique also gives the translator a more efficient way to imply the meaning in the translation, so reader will know about what they are reading.

Besides, the translator has made some re-structuralisation to the expression. It can be seen that the position of the third and fourth verse in ST is reversed in TT. It was done in order to make an accurate and communicative translation. In addition, it also serves to avoid English language impression from its Indonesian language version. Because of the re-structuralisation above, it feels that translation as a craft is dominant in this poetical expression. Communicative translation is one of the reasons

50

Richard Cohen, Chasing the Sun: The Epic Story of the Star That Gives Us Life (New York: Random House LLC, 2010), p. 402.

behind this, even though several meaning gaps which were done by the translator in order to bring a beautiful and rhythmic expression are still here and there.

c. Datum 3

This poetical expression is a form of Humbert Humbert‘s memory

to Lolita, his stepdaughter who doubles as his lover. The theme of the expression is about happiness, which describes about Humbert who expresses his longing by describing Lolita when she was playing with her friend in a garden. He symbolizes her as brown, which means Lolita has a natural and friendliness character that emanated from within.

In the first verse, the translator translated the term forsooth into Demi kebenaran. Whereas, according to Merriam-Webster Dictionary, forsooth means in truth, or an expression which often used to imply contempt or doubt.51 Meanwhile in Indonesian language, forsooth has the same meaning with yang benar saja.52 From its referential meaning, the term may have undergone a meaning deviation and included in translation as a science category which disallows linguistic errors in translation. Otherwise the target reader will hardly know what the true meaning of demi kebenaran is, which rarely used in Indonesian language. Maybe if the translator uses yang benar saja, just like in the dictionary, the equality and understandability level of the phrase will be improved.

51

Merriam-Webster, s.v. ―Forsooth,‖ accessed March 28, 2014, http://www.merriam-webster.com/dictionary/forsooth.

52

Termwiki, s.v. ―Forsooth,‖ accessed April 7, 2014,

Then in the second verse, there is brown word which has translated into cokelat muda by the translator. According to Cambridge Advanced

Learner‘s Dictionary, brown means the color of chocolate or soil,53 meanwhile in English-Indonesian Dictionary, it means warna cokelat.54 Again, if observed from translation as a science, if brown is translated into cokelat muda or light brown, the translation process of that word may absolutely have undergone a meaning deviation. But in terms of art, the strategy is intended to similarize the rhyme of the expression, so there will be a relation between verses. The translator adds muda to the word cokelat to make a connected pattern, so the a-b-a-b rhyme pattern could be created. Meanwhile in terms of meaning, there is slightly a meaning deviation here, because after all brown or cokelat and light brown or cokelat muda is not equivalent, and it will create some kind of meaning distortion to target reader.

Furthermore in the last three verses, there are two translation facts which adopted by the translator. The first one is translation of sunny in the third verse which translated into ceria. According to the Cambridge Dictionary, sunny means bright or happy.55 And in English-Indonesia Dictionary, sunny means cerah or gembira,56 which is quite synonymous to ceria. But ingeniously the translator picks ceria which have a shorter yet more concise structure to represent sunny in Indonesian language. Moreover, the second one is translation of movie in the last verse which

53

Walter, Op. Cit., p. 176. 54

Hornby, Op. Cit., p. 43.

55

Walter, Op. Cit., p. 172.

56

translated into remaja. There are no correlation between movie and remaja, because movie means a cinema film,57 while remaja or teens

means the period in which a person‘s aged between 13 and 19.58

In terms of meaning, the translator once again has made a meaning deviation by changing movie to teens. As a consequence, target reader will likely to be disoriented and blinded to the original context. However, if it is seen from

the translator‘s standpoint, the reason why the recreation was made is to similarize the whole rhyme of the verse. Thus, the target reader will still

sensate the beauty of the author‘s writing style.

Ultimately, the translator has re-created some words or phrases so that, there is a connection and also beauty in the poetical expression. The translator has also similarized the rhyme of the verse in Indonesian language to make a more communicative yet entertaining expression. Since the beauty and art factor is prioritized by the translator, translation as an art appears to be the major influence in this poetical expression translation.

2. The expression of Humbert Humbert’s longing a. Datum 1

In this poetical expression, the author portrays Humbert Humbert‘s mood when he lost his lover and also his step daughter, Lolita. It is illustrated by the use of interrogative sentences which describe his frustration to represent implicit messages. In the first verse, the translator translated the word riding into menghilang or disappear. Based on the

57

Walter, Op. Cit., p. 932.

58

dictionary, riding or ride is parallel to travel in a vehicle.59 While in Indonesian language, ride means menunggang or naik.60 Similar to the previous expressions, the translation here seems not fully equal to its referential meaning. Although the word could be translated into drive or berkendara, which has the closer meaning with riding,61 but the rhyme of the expression will be ruined. The translator tends to choose words with – ng suffix to create a sadder and touching atmosphere, so the word menghilang is preferred. On the other hand, the meaning of the word might be less equal and may cause difference interpretation.

In the next verse, the translator translated the phrase magic carpet into karpet terbang or flying carpet. Magic carpet itself means a special carpet that you can sit on as it flies through the air.62 This phrase usually

appears in children‘s stories or folklores. In this respect, the translator seems to successfully transfer the phrase from SL to TL. The translator chose the right word to represent magic carpet in Indonesian language, so the beauty and meaning alignment of the expression noticeably presents in the target text.

In the third verse, there are Cream Cougar word which is not familiar for target readers here in Indonesia. If the translator simply translate it for granted, maybe the Indonesian readers will not understand what the meaning of the word is. Moreover, there aren‘t supporting details or descriptions about the phrase, so the translator beat his brain out and

59

Ibid., p. 1227.

60

Hornby, Op. Cit., p. 276.

61

Thesaurus.com, s.v. ―Ride,‖ accessed December 23, 2013,

http://thesaurus.com/browse/ride.

62

translated it into kue krim, which is more familiar and understandable in Indonesian language. If the translator would have translated it just as the way it is, maybe the meaning of the expression will be questionable and the form alignment of the whole expression will be affected.

In the last verse, there is my car pet phrase which is translated into mobilku tersayang. In its original version, Humbert Humbert‘s car is represented as his pet by the author, because that car is always there wherever he goes. This interpretation has a close meaning with pet, which is to be the person or thing that someone in authority likes best and treats better than anyone else.63 Meanwhile in Indonesian language, pet means orang atau benda yang paling disayangi.64 In deeper consideration, the meaning above and tersayang, the word which the translator chose, doesn‘t have much distortion and have close intention with its referential

meaning. That is why it‘s even more aesthetically effective and concise to put in poetry.

Besides, the translator has made some aesthetical changes to the expression. It can be seen from the number of adjustments in order to make a beautiful and communicative translation. In addition, it also serves to avoid English language impression from its Indonesian language version. Because of the elaboration above, it sorely feels that translation as an art is dominant in this poetical expression. Literary translation is one of the reasons behind this, even though there are several meaning gaps

63

Ibid., p. 1061.

64

which were done by the translator in order to bring a beautiful and rhythmic expression are still here and there.

b. Datum 2

This poetical expression depicts Humbert Humbert‘s longing of his long-lost lover Lolita, which is illustrated by the use of exclamation wanted, wanted or dicari, dicari. Afterwards, he described the stature of Lolita with a poetry which is dominated by –s suffix, which adds longing-sadness-mixed feel to the poetry. In the Indonesian version of this poetical expression, there are quite a lot structural changes which are made by the translator. As a result, a tangible form of the expression becomes a little different from the original version.

It looks like there are quite significant differences between the original and the translated version of the expression. In ST, the author

expressed Humbert‘s sense of loss by using the phrase ―wanted, wanted:‖ But in TT, the translator used the phrase “—dicari, dicari.” This is not just a rendering effort, but rather than a trick so that the reader will consider it as a natural Indonesian language. The word wanted itself has two difference meanings, which are wished for and loved by other people and being searched for by the police because of a crime.65 On the other hand, wanted or want in Indonesia means menginginkan or menghasratkan.66 In deeper consideration, the meaning of the word in ST tends to lead to the first option, but the meaning of the word in TT tends to lead to the second

65

Walter, Op. Cit., p.1633.

66

option instead. This occurrence has led to meaning distortion and could

result in target reader‘s understandability.

Moreover, the translator did another trick to translate the whole second verse. He translated the phrase her dream-gray into mata kelabunya. According to dictionary, dream-gray is synonymous with dove-gray, and it means pale grey.67 Meanwhile in Indonesian language, the meaning of this phrase is kelabu.68 Even though the author did not describe that dream-gray is an adjective for eyes or mata, but the word flinches, which means to make a sudden small movement because of pain or fear,69 is usually used for eyes. According to English-Indonesian dictionary, the word flinch means surut or meringis.70 But as can be seen in the data presentation above, the translator translated it into kedip, which has no correlation to surut or meringis. In further analysis, kedip is way more make sense and understandable than surut or meringis. It has a harmonic and consistent meaning with eyes, and it will be easier for the reader to understand the whole verse.

Like the previous poetical expression, the translator re-structuralized the pattern of the third and fourth verse in this expression. The reason is likely the same, namely to create a more natural yet communicative translation to target reader. Another change in this expression can be seen in numeral writing on the last two verse of the

expression. In ST, the author wrote Lolita‘s body weight in the number of

67

Walter, Op. Cit., p. 632.

68

Hornby, Op. Cit., p. 148.

69

Walter, Op. Cit., p. 545.

70

pounds. But in TT, the author converted it into kilogram, which is more familiar and ear-friendly to Indonesian reader. But that technique was not

performed by the translator in writing Lolita‘s height. Most likely it was

done to equalize the –i suffix like in the second verse, but this number is better to be converted to a more familiar tally in Indonesian language, which is centimeter, to make the whole expression to be more understandable.

In conclusion, translation as a craft still seems to be more dominant from the elaboration above. It can be seen from several

re-structuralisations and numeral writing technique‘s change that was done in

order to actualize a more natural and sublime expression, although the naturalness level can still be improved.

c. Datum 3

Like the previous expression, this poetical expression also depicts

Humbert Humbert‘s longing of his long-lost lover Lolita, which is illustrated by the use of exclamation wanted, wanted or dicari, dicari. Afterwards, he described the stature of Lolita with a poetry which is dominated by –s suffix, which adds longing-sadness-mixed feel to the poetry. In the Indonesian version of this poetical expression, there are quite a lot structural changes which were made by the translator. As a result, a tangible form of the expression becomes a little different from the original version.

It looks like there are quite significant differences between the original and the translated version of the expression. In ST, the author

Soleil Vert? Are you from Paris, mister? p. 254

Tahukah kau Soleil Vert? Itu merk parfum.

p. 444

third and fourth verse.

3. Saint, forsooth! While brown Dolores, On a patch of sunny green With Sanchicha reading stories In a movie magazine—

p. 243

Demi kebenaran, Santa!

Ketika Dolores yang cokelat muda, Pada sepetak rumput hijau ceria,

Dengan Sanchicha membaca cerita Di sebuah majalah remaja—

p. 425

There are three deficiencies here which makes it sensible to reduce the criticism value, which are brown into cokelat muda translation, sunny into ceria translation, and movie to remaja.

2. The expression of Humbert Humbert’s longing

No. Source text Target text Explanation 1. Where are

you riding, Dolores

Dolores Haze, ke mana kau menghilang?

In this poetical expression, the translator's personal choice in word selection

Haze? What make is the magic carpet? Is a Cream Cougar the present craze? And where are you parked, my car pet?

p. 254

Apakah kau naik karpet terbang? Apakah kau suka kue krim sekarang? Dan di mana kau diparkir, mobilku tersayang?

p. 444

can be seen in the word like riding, magic carpet, Cream Cougar, and car pet. But there are some meaning gaps in riding and car pet translation which could be improved by the translator.

2. Wanted, wanted: Dolores Haze. Her dream-gray never flinches Ninety pounds is all she weighs With a height

Dolores Haze— dicari, dicari, Tak kedip tatap mata

kelabunya. Tingginya hanya enam puluh inci Dan empat puluh lima kilo bobotnya.

There are three re-structuralisations in this expression, which are in the first verse and also in the third and the fourth verses. Besides, there is a meaning deviation in wanted, wanted translation which was made by the translator, and it can be calculated as one

of sixty inches

p. 255 p. 445

deficiency.

3. Wanted, wanted: Dolores Haze.

Hair: brown. Lips: scarlet. Age: five thousand three hundred days. Profession: none, or “starlet.”

p. 253

Dolores Haze—dicari, dicari! Rambut: cokelat. Bibir: merah terang. Usia: lima ribu tiga ratus hari. Pekerjaan: tidak ada, atau “calon

bintang”.

p. 444

Re-structuralisation and conformation is still there, and it can be seen from

wanted,wanted, scarlet, and starlet translation. But, there are a meaning

deviation in wanted,wanted

translation, so it can be calculated as one deficiency.

4. Oh Dolores, that juke-box hurts!

Are you still dancin’, darlin’?

Oh Dolores, musiknya bikin meriang! Masihkah kau berdansa, Sayang?

There also a meaning deviation here. It is reflected from the translation of the word torn, which are translated into belang, in order to

(Both in worn levis, both in torn T-shirts, And I, in my corner, snarlin’).

p. 254

(Keduanya bercelana Levi’s usang, keduanya berkaus belang,

Dan aku, di sudut,

meradang). p. 444

create the same rhyme as the previous adjective word, worn, which was translated into usang. Meanwhile the true meaning in Indonesian language shows different words, which is robek or terkoyak.

3. The expression of Humbert Humbert’s disappointment

No. Source text Target text Explanation 1. Dying, dying,

Lolita Haze, Of hate and remorse, I’m dying.

And again my hairy fist I raise, And again I hear you

Lolita Haze, kini aku sekarat, Nyaris mati karena

sesal dan benci, Tinjuku yang

berbulu coba kuangkat,

Dan kudengar kau menangis lagi.

In this expression, the translator made a meaning deviation in “And again my hairy fist I raise‖ translation. The translator has a different perception and interpret it the other way, but as a

crying.

p. 254 p. 445

result, it turns out to be a deviation.

2. Officer, officer, there they are— Dolores Haze and her lover! Whip out your gun and follow that car. Now tumble out, and take cover.

p. 254

Polisi, polisi, itu mereka—

Dolores Haze dan kekasihnya! Kokang pistolmu, ikuti mobil mereka, Sekarang lompatlah dan tangkap

mereka.

p. 445

The translator change several parts of the expression, which are in the word that in the third verse, and also in the phrase take cover in the last verse. There is meaning differences between the word and phrase above, and it is calcuted as two deficiencies in the criticism value. 3. Because you

took advantage of a sinner because you took advantage because you took

because you

Karena kau mengambil keuntungan dari seorang pendosa Karena kau mengambil keuntungan Karena kau

Translation as a taste is more prominent here because this expression relies heavily to

translator‘s own

took advantage of my

disadvantage...

p. 298

mengambil Karena kau mengambil keuntungan dari kelemahanku...

p. 520

choice, besides there are no deficiencies in this expression, and the translation can be categorized as good.