Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
communicate something new. Moreover, the status of the source text as a social product, its intended readership , the socio economisc circumstances of its
production, translation and reception by TL readers are all relevant factors in the study of the translation process.
From the eight century Caliph who had philosophers to the present day work af staff translators for international organisations, from the translation of the
classics by gentlement-scholars to the evangelising work of Bible translators., tha activity of the translator has always been a function of, and influence upon, the
social life of their times. Jarson 1996 which was quoted from internet httpwww.seorang penerjemah.com
To study translation in isolation from the factors affecting their production in consequently to miss out and impotrtant dimension of the phenomenon. In fact,
the social context of translating is probably a more important variable tahn the textual gendre, which has imposed such rigid distinction on types of translating in
past. Division of this kind tend to mask certain fundamental similarities between text from diffrent field there are regulaties of discourse procedures which
transcend the boundaries between genres and which it is aim to describe. Hatim dan Mason, 1990: 12
2.4 The Task of The Translator
According to Belt 1991, 67 is a translation meant for readers who do not understand the original? This would seem to explain adequately the divergence of
their standing in the realm of art. Moreover, it seem to be only conceivable reason
Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
for saying “the samething” repeatedly. For what does a literary work “say”? what does it communicate? It “tells” very little to those who unerstand it. Its essential
quality is not statement or the imparting of information hence, something inessintial. This is the hallmark of bad translatioans. But do we not generally
regard as the essential substance of literary work, it contains in edition to informations – as even a poor tarnslator will admit- the unfthomable, the
mysterious, the “poetic”, something that a translator can reproduce only if he is also a poet? This actually is the cause of another characteristic of inferior
translation, which consequenly we may define as the inaccurate transmission of an inessential content. This will be true whenever a translation undertakes to serve
the reader. Remembered by Kusumatmatja 1984 : 26 translation is a mode. To
comprehend it as mode one must go back to the original, for what contains the law governing the translation: it translatability. The quations of whether a works is
translatable has a dual ,meaning. Either will an adequate translator ever be found among the totality of it readers? Or more pertinently: does its nature lend itself to
translation and therefore, in view of the significance of the mode, call effor it? In principle, the first quations can be decided only contingently; the second, however
apodictically. Only superficial thingking will deny the independent meaning of the latter and decler both quations to be of equal significance if translation is a mode
translatability must be an essential feature of certgai works. Translability is an essential quality of certain works, which is not to say
that it is essential that they be translated; it means rather that a spesific significane
Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
inherent in the original manifests itself in its translability. It is plausible that no translation, however good it many, can have any significance as regards the
original. Yet, by virtue of its translatability the original is closely connected with the translations; in fact, this connection is all the close since it is no longer of
inportance to the original. For a translation comes later than the original and since the importand works of world literature never find their chosen translators at the
time of their original, their tarnslation marks their stage continued life. The idea of life and afterlife in works of ar should be regarded with entirely unmetaphorical
objectivity. Even in times of narrowly prejudiced thought there was an inkling that life was not limited to organic corporeality. Tarnslation thatt are more than
transmissions of subject matter come into being when in the course of its survival a work has reached the age of its fame. Contrary, therefore to the claims of bad
translator such translation do not so much serve the work as owe their existence to it. The life of the original attains in them to its ever - renewed latest and most
abundant flowering Ahmad, 1984: 11 Translation thus ultimately serves the purpose of expresing the central
reciprocal relationship itself ; but in can represent it realizing it in embryonic attempt at making it visible is of so singular a nature that is rarely met with in the
sphere of nonlingustic life. This, in its analogies and symbol, can draw on other ways of suggesting meaning than intensive-that is antipative, intimating-
ralization. Belt 1991 : 21 said the task of the translators consist in finding that
intended effect upon the language into which he is translating which produces in it
Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
the echo of the original. This is feature of translation which basically differeniates it from the poet’s work, because the effort of the latter is never directed at the
language as such at its totality, but solely and immediately at spesific libguistic contextual aspects. Unlike a work of literature, translation does not find itself in
the center of the language forest but in the outside facing the wooded ridge; it calls into it without entering, aiming at that sigle spot where the echo is able to
give, in its own language, the reveberation of the work in the alien one. Not only does the aim of translation differ from that of a literaly work – it intend language
as a whole,taking an individual work a point af departure – but it is a different effort altogether. The itention of the poet is spontaneous,primary, garaphic; that of
the translator is derivative, ultimate, ideational. If the task of the translator is viewed in this light, the roads toward a
solution seem to be all the more obsure and impenetrable. Indeed, the problem of ripening the seed of pure language in a a translation seem to be insoluble,
determinable in no solution. For is not the ground cut from under such a solution if the reproduction of the ceases to be decisive? Viewed negatively, this is actually
the meaning of all foregoing. The traditional consepts in any discussion of translation are fidelity and license – the freedom of faithfully reproduction and, in
its service, eidelity to the word. These ideas seem to be no longer serviceable to a theory that looks for other things in a translation than reproduction of meaning. To
be sure, traditional usage make these terms appear as if in constant conflict with each other. What can fidelity do for the rendering of meaning? Machadi, 2000:
43
Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerful
affected by the foreign tangue. Particularly when translating fom a language very remote from his own he must go back to primal elements of language itself and
penetrate to teh point where work, image, and tone converge. He must expand and deepen his laguage by means of thr foreign language. It is not generally realized to
what extent this is posible, to what extent any language can be transformed, how language differs from language almost the way dialect differs from dialect;
however, this last is true only if one takes language seriously enough, not if one takes it lightly Ahmad, 1984: 78
Nelly M Pardosi : A Brief Description Of Becoming A Translator In English, 2009.
CHAPTER III GUIDELINES FOR A TRANSLATOR
