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.comdefinitionenglishvair.
49
Artikata, s.v. ―Vair,‖ accessed April 7, 2014, http:artikata.comarti-312512-vair.html.
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
