54 DukuhParuk. Therefore, unconsciously Rasus feels that he should like
DukuhParuk, where Srintil lives. In fact, Rasus feels disgusting with the life in DukuhParuk. Thus, Srintil’s existence binds Rasus to accept everything happens
to her in DukuhParuk including Srintil’s being a ronggeng.
b. The Live Metaphor whose Point of Similarity is Implicitly Stated.
In this part the researcher discusses the finding of the live metaphor, whose point of similarity is implicitly stated. The implicitly stated point of
similarity may lead the readers to have different interpretations towards the sense of a live metaphor. Hence, the discussion of the live metaphor, whose point of
similarity is implicitly stated, is needed. Table 4.6 illustrates the findings of live metaphor whose point of similarity is implicitly stated.
Table 4.6 the Findings of Live Metaphor whose Point of Similarity Is Implicitly Stated.
Examining the first example in table 4.6, “kini Srintil menjadi boneka” p. 36, the point of similarity is implicitly stated. Larson 1984 states,
”when the point of similarity is not stated, it is often hard to interpret the metaphor” p. 251.
From the first example, “kini Srintil menjadi boneka” p. 36, the researcher
identifies the image of the metaphor is boneka, which means doll. However, the previous sentence does not include the point of similarity. The sentence
“kini
No. Live Metaphor
Page
1. Kini Srintil menjadi boneka
36 2.
Kemandulan adalah hantu mengerikan. 90
3. Dua orang yang sejak kelahirannya menjadi murid alam.
130 4.
Bau badan sampean adalah bau badan seorang ronggeng. 166
5. Semuanya adalah mata Rasus.
190
55 Srintil menjadi
boneka” p. 36 is a comparison, which is made by Rasus. By using the comparison, Rasus
tells about Srintil’s life after she was inaugurated as a real Ronggeng only after she reached her age of eleven. However, in the
sentence “kini Srintil menjadi boneka” p. 36, the point of similarity is not clear.
The unclear point similarity may lead the readers to have difficulties in interpreting why Srintil is compared to doll. The use of the word boneka is not
clear whether it means that after she was inaugurated as a real ronggeng, Srintil became so beautiful and Rasus compared her beauty to the beauty of a doll, or it
just because after she was inaugurated of a ronggeng, people in Dukuh Paruk admired her so much and loved to treat her specially.
The other example is “semuanya adalah mata Rasus” p. 190. The sentence
“semuanya adalah mata Rasus” p. 190 is used to tell the situation when Srintil dances as a ronggeng in a special stage. Once, Srintil was invited to
dance on the Indonesian Independence Day, it became the most spectacular stage for her. There were numerous audiences attended this event, including the
government officials. However, she did not care about the numerous audiences, who watched her. She only thought that the audiences were Rasus, whom she was
in love with. There she danced as if it was for her love, Rasus. Nevertheless, the use of mata Rasus as the image in the sentence
“semuanya adalah mata Rasus” p. 190, left its point of similarity. The point of similarity between mata Rasus
and the audiences is not clear. It is not clear because mata Rasus could mean the audiences
watched Srintil’s performance in the same way as Rasus did, or
56 Srintil’s thought to her performance, which should be as perfect as if she danced
only for Rasus.
B. How the Metaphors are Translated into English
This section is to answer the second problem of the analysis of the metaphors translation from Ronggeng Dukuh Paruk into The Dancer. The data
was analysed based on Newmark’s theory of strategies in translating metaphors. Newmark 1981 presents seven strategies in translating metaphors, namely
translation by reproducing the same image in target language, translating by replacing the image in the Source Language SL with a standard Target
Language TL image, translation of metaphor by simile, translation of metaphor by simile plus sense, translation by converting metaphor to sense, deleting
metaphors, and translation by using the same metaphor combined with sense. However, in this research the researcher also found another finding of the
strategies of translating metaphor. The finding shows that some metaphors in Ronggeng Dukuh Paruk are also translated by converting metaphors into
personification. Personification is also a figurative of speech of comparison but in personification, the comparison is a physical object stating to be a human.
Lakoff Johnson 1980 supports the researcher’s definition of personification “personification supposes the physical object as being a person” p. 33. The
example of personification is as stated in The Dancer, “A crude power was now
controlling history” p. 274. The sentence “A crude power was now controlling history” p. 274, shows as if the crude power truly controlled the history. After
