which were done by the translator in order to bring a beautiful and rhythmic expression are still here and there.
b. Datum 2
This poe tical 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
Hornby, Op. Cit., p. 358.
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
Hornby, Op. Cit., p. 131.
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
