Data Analysis RESEARCH FINDINGS

in phrase “hujan mengenal baik pohon, jalan,” that is related to our life that we must learn how to live such as the rain that can respect to each object that is around even the rain was able to explore aspects of human life that is often discounted, especially the problems of life. In real life, people often avoids when they faced to difficult situation in which a human being is equipped with the gift of a reasonable minds; the man supposed to be known what is right and wrong. While, mengenal is defined as 1 mengetahui; kenal akan; tahu akan, 2 mempunyai rasa. 46 Through the word “mengenal” proves that human is expected to be more sensitive to everything around them. As Newmark said that poetry present the things in order to convey the feeling, in particularly, and however concrete the language each represents something else __ a feeling, a behavior, a view of life as well as itself. 47 So, the writer concludes that there is no change between the SL and Tl message both grammatically and semantically. SL : dan selokan- suaranya dapat dibeda-bedakan TL : and the gutters- recognizes their voices The data analysis 2 is analyzed as unfaithful translation. For example, word “selokan” in the SL translate into “gutters” in TL; gutter n defined as 1 the edge of road where rain roof which collects and carries away rain. 48 The TL translation 46 Pusat Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia, Kamus Besar Bahasa Indonesia Edisi ke Empat Jakarta: Gramedia Pustaka Utama, 2008, p. 541 47 Newmark 1988, p. 5. 48 Cambridge University Press 2009, op. Cit., p. 643 renders with the SL. Then, the phrase “bisa dibeda-bedakan” in the SL does not transfer into “can‟t be differentiated” because it will be less of aesthetic value in this poem. Expressive and aesthetic values can make a good rhythm as its original text. This reason is supported by Newmark that the translator has to decide whether the expressive and aesthetic function of language in a poem or in one place in a poem is more important. 49 Then, the translator uses other diction to express the SL message and transfers into “recognizes” in the TL because the writer analyze that the word “recognizes” have closest meaning with the SL word. Besides that, the play of diction is beneficial to create a good translation without losing its beauty of meaning in this line. The word recognizes defined as 1 to know someone or something because you have seen, heard or experienced them before. 50 In a poetry, reduction is useful to avoid an ambiguity of meaning in the TL as long as the translator uses the best diction which is trying to keep equivalence meaning with the original text purpose. The meaning in this data 2 “and the gutters- recognizes their voices” is still related to the data before; “The rain knows the trees, the road,” in the TL. The SL‟s message “the rain knows the trees, the road,” is described about the rain that more sensitive to sounds that falls into the earth which can be recognized the difference of sound can be represented something in our thoughts and feelings. Then, suara can be defined as 1 bunyi yang dikeluarkan oleh mulut manusia seperti pada waktu 49 Newmark 1988, op.cit., p. 166 50 Cambridge University Press 2009, op. Cit., p.1188 bercakap-cakap, bernyanyi, tertawa, dan menangis, 2 bunyi binatang, alat perkakas, dsb. 3 ucapan perkataan. 51 While, voice means as the sounds that are made when people speak or sing. 52 Through the voice the translator just wants to share what the author ‟s experience and thought which aims to the human that the raindrops is a sign of the greatness of God who created the rain for the sake of human survival so that we must always be aware of gratitude to the god. In this case, the author‟s SL tries to embody his idea into lines of poem which uses simple language but has a deep meaning to ponder what message is implied magical through the rain. So, the translator tries to be faithful with his the author‟s SL mind. SL : kau akan mendengarnya meski sudah kau tutup pintu TL : you will hear it, even after you shut the door The data 3 above the TL message uses simple future tense to give explanation that the word “mendengarnya” refers to the voices which describe there is no one can escape or stop to hear. In this case the modal will has some definitions; 1 used for showing that somebody is willing to do something; 2 used for stating what you think is probably true. 53 The first definition of will is fixed with the context in this data analysis. The author SL attempts to describe that somebody in this line will not be stopped to hear the sound of rain since the author SL uses expressive 51 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia 2008, op. Cit., p. 1094 52 Cambridge University Press 2009, op. Cit., p.1624 53 Ibid., p. 1665 function and figurative meaning to share his experience about life. The SL message is accepted in the TL of faithful translation. Grammatically, in the TL “you will hear it, even after you shut the door” have two subjects, two verbs, and two nouns. Besides, this line is still related with the data 2 that the pronoun “kau” in the SL is not capital letter as the beginning of new line. As can be seen that the translator did not change the forms in the TL even more the translator adds a punctuation as commas between the word “it” and “even” becomes “you will hear it, even after you shut the door” to give stressing in the TL. But it does not matter because the translator just wants to appropriate the original text in the target language as faithful translation. In the meaning, the SL “kau akan mendengarnya meski sudah kau tutup pintu”; the readers does not know who is “kau” on line 3. The translator make it is clear through the phrases “even after you shut the door” in the TL which is related to human activities. In this line the author tries describe that someone in this phrase is do not care to the problems that happen even if the god always remain us instead they prefer to run away from the reality. So, the message in this line is delivered faithfully by the translator very well. Everyone has sensitivity to the art and the beauties are different. This sensitivity is very important to assess and understand the meaning of a work of literature, especially about poetry. This sensibility called an aesthetic. In this analysis the writer tries to explain that the aesthetic in poetry revive word by word as solid and complete so that the problem of life is presented in this poetry that the author‟s means is not only a reflection of reality interpretation of life, a sense of sympathy for humanities, and contemplation of nature but also his reflections about something that has never been imagined and thought by the readers that this poetry have something mystery despite of uses a simple language. SL : dan jendela. Meski sudah kau matikan lampu TL : and the windows. Even after you turn out the light The data 4 above, the translator did not change any forms in the TL message grammatically. The phrase “dan jendela,” is still related with the previous line 3 because in English there is no sentence is prefixed by conjunctions “dan” at the beginning of sentence. The writer just wants to focus on the SL phrase “Meski sudah kau matikan lampu ” into “Even after you turn out the light”; there is adverb clauses Even after to show the time of relationship that express unexpected result of time which is the activity happens at unclear times. But it does not problem because the translator just tries to keep the hole meaning equivalence of what the authors SL means is suitable in the TL to be faithful translation. In the meaning, the pharses “Meski sudah kau matikan lampu” into “Even after you turn out the light”; as can be seen that there is no reduction or addition in it. the word “lampu” transfer into “light” because in poetry that the word “light” is often used which is considered more representative of a persons heart. The translator delivers the SL message very well and he translator also conveys the meaning faithfully and originally, line by line, so that the reader can be easily understand. Besides, an English word correspond to which foreign word because the translator has to know the SL either culture, description of time, or other languages. In the other hands, the translator also have known about the characters of the author‟s SL poetry. In addition, the SL and TL message have similarities both semantically and grammatically which includes as faithful translation. The writer thinks that the translator attempts to give the best result which relatively as well as the author‟s SL wants to share the point of message to the readers SL. This reason is proposed by Newmark‟s theory in a book written by Frans Sayogie about the methods of translation especially about faithful translation that Newmark submits the two groups of translation method; the translator uses first method that the translator give emphasis to the the source language. 54 So, the translation this line is supposed to be faithful. 2 Stanza 2 SL : “Hujan, yang tahu benar membeda-bedakan, telah jatuh di pohon, jalan, dan selokan- „ TL : “The rain, which knows, falling on the trees, roads, and gutters-“ The data in stanza 2, line 5 is long phrases that is similar with stanza 1, line 1 which stress by using word “Hujan” in the SL; the writer analysis that is not just similarities in phrases and meaning. But also, the similarities between line 1 stanza 1 and line 5 stanza 2 analyzed as a refrain that usually find in the poetry, prose, and lyrics of songs. This statement is supported by Siswantoro that repetition of sounds can occur from a single sound such as a vowel or consonant, so on propagate to 54 Frans Sayogie 2009, op. Cit., p. 30 repetition of sounds syllable, word phrases, and lines. 55 Although the SL message has found a refrain in stanza 1, line 5; the word “membeda-bedakan” does not exsit in the TL because he translator uses reduction. The translator thinks that the uses of reduction in the S L “membeda-bedakan” is considered does not make the distortion of meaning so do not need to be appeared in TL. In the other words, the translator just implicit of the explicit word meaning so that the words “which knows” in the TL is represented the SL message. Besides, in the stanza 2 line 5 SL the author uses word of “yang tahu benar” stressing to the word “mengenal baik” in the stanza 1, line 1 means that the author SL wants to convince the meaning deeper and avoid the monotony sound of the word in the SL but the translator still uses the word “knows” in the TL that is represent both of SL words. Then, in the SL phrase “yang telah jatuh” Translate into “falling”; there is suffix -ing to the word “fall” that the translator uses present continues tense to express an activity that is in progress at the moment when the rain falls down and it begin in the resent past, and the future that can not be stopped. In the other hands, in Indonesian grammars there are no tenses to tell the time present, past, continuous, or future because it hard to prove. But it does not problems for the translator who knows both Indonesian cultures and the characters of Indonesian poems, especially Sapardi‟s works. In the meaning, as the writer analyzed that there is refrain of stanza 1, line 1 so that the writer thinks it does not different meaning purpose. But, in this line the 55 Siswantoro, Apresiasi Puisi - Puisi Sastra Inggris Surakarta: Muhammadiyah University Press, 2002, p. 82 author just wants to remind and suggests us that we should not give up or complain to a state that has and will occur. There must be a secret message is hidden every moment and only time will be tell. Nevertheless, the data analysis 3 cannot be accepted as faithful translation. SL : menyihirmu agar sama sekali tak sempat mengaduh TL : weaving spells so no one complains In the data 6, the SL “menyihirmu agar sama sekali tak sempat mengaduh”, the translator uses phrase “no one” in the TL is to implicit the phrase “agar sama sekali” and pronoun “mu”. Besides that, the phrase “no one” is considered more appropriate to express Sl phrase because the translator think about the power of that word can produce images especially images of feeling and support the word “menyihir” which claimed as figurative language so that the function of figurative language is able to excite emotion from the author‟s feeling. As Perrin said in Waluyo‟s book that 1 figurative language is able to produce imaginative pleasure, 2 figurative language is a way to generate additional images in the poetry so that the abstract becomes the concrete and make poetry enjoyable to read, 3 figurative language is a way to increase the intensity of the feeling of poetry and convey his attitude, 4 figurative language is a way to concentrate the meaning to be conveyed and how to deliver something much and spacious with a short language. 56 The word no one defined as tak seorang pun; which is resumes between “agar sama sekali” and the pronoun “mu” in the SL tells about no human can‟t be complained or escape to 56 Herman. J Waluyo, Teori dan Apresiasi Puisi Penerbit Erlangga: Jakarta, 1995, p. 83 what something will happen. Then, the TL message stresses by using word “weaving spells” that if the translator transfer it phrase word by word it will be ambiguous meaning becomes “menenun mantra” in the SL. While, weaving weave + ing defined as to make cloth by repeatedly crossing a single thread through two sets of long threads on a loom special frame. 57 Spells means 1 to form a word or words with the letters in the correct order verb, 2 spoken words which are thought to have magical power or the condition of being inder the influence or control of such words magic. 58 Meanwhile, in bahasa sihir defined as 1 menggunakan sihir, 2 memukai, memesona, membuat sangat terpikat penonton dsb. 59 So, the translator uses idiomatic expression to represent the SL word “menyihir” into “weaving spells” and the writer assume that the translation in this line is faithful but in terms of acceptance both of diction and figurative language used by the translator have fulfilled criteria as naturalness. In the meaning, the data 6 there is figurative meaning in phrase menyihirmu ; through the rain, the author to imply that the rain is a gift of God that we can t deny a lot of blessings and benefits for human survival. Moreover, the figurative meaning in the SL is representation of the authors spiritual experience 57 Cambridge University Press 2009, op. Cit., p. 1646 58 Ibid ., p. 1391 59 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia 2008, op. Cit., p. 1303 about the majesty of God creating the rain. The writer analysis that the data 6 is assumed as faithful translation. SL : waktu menangkap wahyu yang harus kau rahasiakan TL : as it touches your deepest secret The data in this line is not included into faithful translation both in grammar and meaning. Grammatically, there is S + V but it can be said as complete sentence because there is conjunction “as” at the beginning of phrase. There is pronoun “your” which is refers to the word “wahyu” in the SL. Then, the word “deepest” in TL as an adjective which is expresses very strongly felt or experienced and usually lasting longtime. 60 The phrase “waktu menangkap wahyu yang harus kau rahasiakan” does not exist in the TL; the translator tries to deliver what the author‟s SL thought into other words by idiomatic expression. Unfortunately, it‟s a little beat hard to understand by the reader SL. The process of transfer the message into TL has shift forms which have changed the real meaning in the SL and not all the readers understand English idioms. In the other hands, English idioms are not suitable in Indonesian language which have different culture and the forms of grammar so that the readers SL does not get the message of what the author‟s SL means in the TL. In this line is stresses by word “touch” that represent the SL phrase “menangkap wahyu” is not reliable and does not have the same meaning. Meanwhile, wahyu can be defined as 1 petunjuk Alloh hanya kepada para nabi dan rosul melalui 60 Cambridge University Press 2009, op. Cit., p. 364 mimpi. 61 The writer thinks that the translator make the SL messa ges can‟t be delivered well to the reader because the translator does not know about the culture especially in religious statement of the author‟s SL into TL. While, Benny stated in his book that the messages SL are determined by SL‟s particular intention. 62 Moreover, the writer tries to concern in the real meaning that there is something difficult to explain even though the SL phrase uses a simple language but in the TL meaning have many possibilities to explore by using aesthetic values. Comparing the original and its translation, the rendering of this poetry not all lines is considering as faithful both of meaning and form. As can be seen from the forms; both of SL and TL, the poetry is composed of seven lines of unequal length. The way of writing, all the lines written by considering the balance between the right and left side, it is clear that the typography considered by Sapardi. Enjambments dial-connect events fill two lines rhyme that order are also found in the poem of Magic Rain, in lines 1-2 and 5-6-7. Then, if we looks from the rhyme, poetry is rich in rhyme beginning and end lines 1-2 and lines 5-7, first stanza the rhyme scheme namely as a-a-b-b-c-d-c-d is replaced by a-b-c-d-e-f-g-h so that the writer analyzed this line is free rhyme in the TL. This causes the rhythm of reading becomes faltered, as if there pounding. Repetition alliteration is also contained in the word rain, trees, 61 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia 2008, op. Cit., p. 1553 62 Benny, H. Hoed, Penerjemahan dan Kebudayaan Jakarta: PT. Dunia Pustaka Jaya, 2006, p. 28 roads, and gutters in the lines 1 and 5. Moreover, the repetition is contained not only in that words but also there are repetition of sound “S”. In this poetry find any punctuation and capital letters as an early marker lines and stanzas. It shows the clarity in the meaning of poetry despite enjambment. At the beginning of the first lines, said the rain is opening - the embodiment of the title.

b. Poetry of Yang Fana adalah Waktu and Time is Meaningless

1 Analysis of Stanza 1 SL : Yang fana adalah waktu TL : Time is meaningless In this case the translator transfers the phrase “Yang fana adalah waktu” into “Time is meaningless”. The writer analysis that the translation is appropriate enough though the translator uses reduction “yang” in the TL. But, it does not matter because it is not omit the purpose of meaning in the SL. The translator wants to explore more about the SL‟s segment “waktu” and “kita”; both of words have relationship based on the author‟s thought. So, the translator attempts to share the SL messages by using good diction that easy to understand by the reader. Fana, in this context, is defined as 1 dapat merusak hilang, mati; tidak kekal. 63 Meanwhile, meaningless means 1 tak berarti. 64 Based on the two definitions, the writer argues that there is equivalence between the SL and TL meaning. So, the 63 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia 2008, op. Cit., p. 387 64 John, M. Echols and Shadily, Hassan, An English - Indonesian Dictionary Jakarta: Gramedia Pustaka Utama, 1997, p. 1997 author argues that the word “meaningless” get closes to SL word and more expressive. While, Nida and Taber said that level of equivalence is if the readers or listeners SL give the same understanding with the readers or listeners TL. 65 Nevertheless, the translator embodies the meaning with other diction that to create this line is rhythmical. For this perception, the human beings are certainly damaged and die. Otherwise, author SL describe the time as something that is broken and lost. Eventually, humans will die and broken bodies, but the soul will be eternally in another world to the final destination of human life hereafter. The author gives emphasis on the phrase we are eternal which suggests that we humans have to contemplate every moment that happens must have wisdom and lessons of life because we will eternal. So, we do not have to unwilling to do something simply because fear of wasting time instead we have to do a good thing because in the eternal life well be held accountable in front of God. Nonetheless, there is no equivalence between the words “fana” and “meaningless” in the TL; the translator assumes that he translator tries to embody the aut hor‟s idea into simple language in the TL. 2 Stanza 2 SL : memungut detik demi detik, merangkainya seperti bunga sampai pada suatu hari kita lupa untuk apa TL : picking moment after moment, threading them like flowers until one day we forget why 65 Nida and Taber 1974, op. Cit., p. 200 In this stanza 2, there is no reduction or addition in it and still uses simple present continuous tense. The translator transfer the original text into TL very well both of forms and idioms “detik demi detik” into “moment after moment”. Since there is no change between the SL and TL messages; this line is indicated as faithful translation. The translator attention to the details of aesthetic values which aims to beautify the meaning of this poem becomes more rhythmical. The suffix- ing in the word “picking” and “threading”; both of words are shows that activities still continuing at that time, past, present, and future. Pick verb defines as 1 to take some things and leave others; to choose; 2 to take some things but not others. 66 While, thread ing means to put something long and thin such as string or thread through a narrow hole or into a small space. 67 Meanwhile, merangkai defined as 1 menyusun mengatur menjadi berangkai-rangkai. 68 So the result of this translation is render with the TL. In the meaning, the writer analysis this line that the author tries to explain about “kita” which always pursue of time and feel pressed for time so we look glorifying time. In this stanza describe about human competing against time, kept running without looking and care for his god. So we forget the purpose and reason; why and fo r what we are doing this. The author SL‟s thought that “kita” do not have 66 Cambridge University Press 2009, Op. Cit., p. 1067 67 Ibid, p. 1513 68 Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia 2008, op. Cit., p. 928 to struggle with the time that would be lost; the important thing is how we do things to create moments that make us happy. The author SL uses figurative language that found in phra se “memungut detik demi detik ”; it is make poems included expressive and aesthetic function. Besides, the author SL wants to express idea, feeling, and his experiences through those idioms into the stanza. Moreover, there is standard metaphor included in phrase “merangkainya seperti bunga” into “treading them like flowers” in TL. The pronoun “them” in the TL is the object form of “they” used after a verb or preposition, 2 used to refer to one person whose sex is not known instead of saying “him” or “her”. 69 Ithe other hands, the uses of figurative language by the author makes the readers imagine about the situation that perceived by him author so that the readers can renders with the author‟s thought. So, the conclusion this translation is conveyed as faithful translation very well by the translator. 3 Stanza 3 SL : “Tapi, yang fana adalah waktu, bukan?” tanya mu. Kita abadi. TL : “But, time is meningless, isn’t?” you ask. We are eternal. In the last stanza, the data 3 have similarities with stanza 1 “Time is meaningless”; both grammatically and semantically. The author SL adds some words and uses direct speech that signed by punctuations; it purposes to make sure and emphasizes that th e character “you” in the SL is really believes about human is eternal at the end of life. The communication is built by some main factors, such as the original text, the author himself, the norm SL, culture SL, place, time, and format 69 Cambridge University Press 2009, op. Cit., p. 1506 texts written and read texts. 70 Besides, there is no change in form and the translator also still keep the SL message very well so that this line is conveyed as faithful translation. Typography, in poetry “Yang Fana adalah Waktu”; the form is similar with the prose, but the right edge is irregular. Uses of punctuation, the beginning of sentences using capital letters and at the end of a sentence using a dot like prose. These poems divided into 3 stanzas; in stanza 1 writer put them into 4 lines even though the line 3 and 4 is a continuation of line 2. It is done in stanza 1 by the author SL to balance the end of rhyme so that the forming rhyme scheme namely a-b-a-b in the SL while there is no rhyme or free rhyme in stanza 2. According to the typography the writer argues that it is only 2 lines whereas at the beginning of phrase there is quotation marks [“ ”] as a signed of direct speeches. Besides, the word “tapi” in the first line has written separately with the second phrase which is formed as prose-poem. The writer argues that it is done for improvisation and appreciation of poems by the readers to be more rhythmically. Then, in target language, the writer thinks that the translator delivers the SL into TL messages very well even though the form of scheme rhyme is not included in the TL. 70 Hoed 2006, op. Cit., p, 30

C. Discussion:

According to Nababan‟s criteria of translation assessment used by the writer divided into three criteria such as: Accuracy, Readability, and Acceptability. In this research, there is 99.37 from both of poetry are faithful translation 32.6 accurate based on words and grammatical compares, 32.6 is acceptable; in case the writer analyzed from the words, phrase clause are used in those poetry accordance with the rules of SL. On the other hands, the translation feels natural and familiar to the reader so that makes the reader easy to understand what the main point means. The third is Readability instrument, 34.17 those poetry is readable because the writer‟s analysis the TL words, clause, and phrase are easily to understand because the translator try to be faith with the original and he translator also thought that Sapardi‟s poetry use the simple words to express his feel. Then, the writer also found 0.63 of line in that poetry unfaithful; 0.21 is medium readable, 0.21 less acceptable and 0.21 inaccurate. It shown in the last line in poetry of Sihir Hujan; Waktu menangkap wahyu yang harus kau rahasiakan translated into as it touches your deepest secret, as can be seen that the translation have omitted a half part of that line; word “waktu menangkap” is not translate as “the time catch of” because he translator thought that was less of aesthetic meaning. Then, he translator uses his own language to get the beauty of meaning so that it has changed shift-forms in the TL. In this case, many experts argued that the treason in poetry is a natural thing in translation of literary works because there is impossible in translation of poetry the TL is exactly the same as with the SL or 100 faithful. Translation of poetry is a creative treason. This thought comes from the French; there are translations of literary works considered trahison creatice, creative treason. In the meaning, the translation of poetry is generating of lives in a different body, it is natural that we cannot expect the elegance of the same body, the same linguistic form. The lack of equivalent linguistic form or meaning that is called treason. 71 71 http:jlt-polinema.org?p=215 accessed on May, 2 th 2015

CHAPTER IV CONCLUSION AND SUGGESTION

A. Conclusion

Sapardi Djoko Damono has created poetry that inspires our minds about life through the nature; it describes how the man life is, and most of his poetry are very short, often only four lines. A simple word has arranged in line by line but have deep meaning and almost about mystery of love and the brevity of human existence, that s character his works. According to the research findings, the writer finds seven lines in poetry of Sihir Hujan Black Magic Rain that three of lines claimed as unfaithful translation. In line two the translator uses reduction because it useful to pursue an aesthetic value in the TL word. Based on translation assessment that word is not fulfilling the criteria of accuracy, but it s acceptable and readable. Line five the translator omit the word that he translator implicit the explicit meaning. Then, in line seven the translator uses an idiomatic expression to deliver the message so that it has change-shift meaning in the TL. In poetry of Yang Fana adalah Waktu Time is Meaningless there are no irrelevance meaning means that there are no addition, reduction or omission in every lines. Finally, the writer concluded that 99, 37 in the line from both of poetry are faithful translation based on the grammar and meaning compares used by the 57