Faithful translation in Sapardi Djoko Damono's poetry translated by Harry Aveling

A Thesis

Submitted to Letters and Humanities Faculty in Partial Fulfillment of the Requirements for

The Degree of Strata One

Ina Mutmaina 108026000053

ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY

STATE ISLAMIC UNIVERSITY OF SYARIF HIDAYATULLAH JAKARTA

i

Humanities Faculty, UIN Syarif Hidayatullah Jakarta, November 2014.

The study in this paper aims to show that a good translation of poetry provides the reader with a similar effect to that gained by reading the original text. It draws upon the importance of faithful translation in Sapardi Djoko Damono’s poetry: Sihir Hujan and Yang Fana adalah Waktu translates into Black Magic Rain and Time is Meaningless that translated by Harry Aveling. So, the messages that the author’s SL write can be conveyed very well both the readers SL and TL.

The method used in this paper is descriptive qualitative analysis in which the writer describes the method of translator to transfers the poetry from Indonesian into English and componential analysis based on Newmark theories about faithful translation and the criteria of translation poetry assessment used by Nababan that used three instrument such as: Accuracy-rating instrument, Readability-rating instrument, and Instruments for measuring the acceptability of a text that used by the writer to measure the quality of translation from data analysis.

From the analysis concludes that 99,37% of lines-stanza in this poetry is faithful translation by comparing the structure grammar, word, and phrase is accurate, readability, and acceptable. Then, 0,63% of other lines in poetry of Sihir Hujan are not conveyed as faithful translation and not meet the three criteria instrument of translation assessment. Besides, the method used by the translator to get the translation appropriate with expressive and aesthetic values both in the SL and TL. Such a translation contributes to the development of literary works through professed cases of intellectuality, without distorting the original text.

iv

knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgement has been made in the text.

Jakarta, June 2015

v

Praises to Allah SWT for all his favor and guidance of living things from being nothing to existence. Many salutation and benediction be upon the greatest prophet Muhammad SAW, his family, companions, and adherents realize that surely owes much many people materially, scientifically, and spiritually.

On this occasion, the writer would like to express her gratitude and say many thanks to her family, especially for her beloved parents, M. Iskandar and the lade of Cucu Supinah. Thanks for their spirit, motivation, financial, moral, and spiritual. “Thank you very much; I hope you are proud of my graduation”. The writer also wants to say thanks to her brother and sister, Sri Wahyuni Fajar Wati, Asep Hidayatullah and the lade of Muhammad Rizky Shahab .

This thesis could not be completed without a great deal of help for many people, especially Mr. Abdurrosyid, M. EIL. as the writer thesis advisor, thank you very much for the guidance, patient, support, kindness, contribution, correcting, and helping him in finishing this thesis. Without his guidance this thesis would not be completed well.

The writer also had been supported by several people, and the writer would like to express her gratitude to:

vi

Humanities Faculty, State Islamic University of Syarif Hidayatullah Jakarta. 3. Drs. Asep Saefuddin, M. Pd, the head of English Letters Department. Mrs.

Elve Oktafiyani, M. Hum, the secretary of English Letters Department.

4. All lecturers of English Letter Department, especially Mrs. Maria Ulfa, Mr. Moh. Supardi, M. Hum who teaches in translation class, who always give much of knowledge’s about translation science.

5. The writer’s friends especially Dede, Raisa, Fahyuni, Sylvi, Lily, Laily, Nurma, Suci Gusrimarni, Lidyawati, Mira, Endah Dwi P, Nenden, Lia, Omeh, Atina, Nofi, Putri, Desi, Ambar, Leny, Aliah, Irma for all their loves and supports; and all of her classmates in the translation class.

The writer realizes that there are so many mistakes in this thesis. The writer hopes the readers of this thesis give any suggestions, comments, and advices to make this thesis perfect.

Jakarta, June 2015

vii

TABLE OF CONTENTS

ABSTRACT ... i

APPROVAL SHEET ... ii

LEGALIZATION ... iii

DECLARATION ... iv

ACKNOWLEDGEMENT ... v

TABLE OF CONTENTS ... vii

CHAPTER I. INTRODUCTION A. Background of the Study ... 1

B. Focus of the Study ... 6

C. Research Question ... 6

D. Significance of the Study ... 7

E. Research Methodology ... 7

1. Objective of the Research ... 7

2. Method of Research ... 7

3. Technique of Data Analysis... 8

4. Instrument of the Research ... 8

5. The Unit of Analysis ... 8

6. Time and Place of the Research... 9

CHAPTER II. THEORETICAL FRAMEWORK A. Translation ... 10

viii

1. Definition of Translation ... 10

2. The Process of Translation ... 12

3. Translation Method ... 13

B. Faithful Translation ... 15

C. Poetry Translation ... 27

1. Definition of Poetry Translation ... 27

2. Poetry Translation Approaches... 29

3. Translation the Literary Works ... 32

CHAPTER III. RESEARCH FINDINGS A. Data Description ... 35

B. Data Analysis ... 37

C. Discussion ... 54

CHAPTER IV. CONCLUSION AND SUGGESTION A. Conclusion ... 56

B. Suggestion ... 57

BIBLIOGRAPHY ... 59

1

CHAPTER I INTRODUCTION

A. Background of The Study

Nowadays, science and technology is growing rapidly. There is new information and discovery in all fields. It is caused lack of understanding and difficulty in capturing information / messages from the media using a foreign language. For example, literary works are much in demand by the public both national and international. The translation is the absolute way to realize a universal literature.

Translation is an absolute necessity in the era of information and communication that rushed in this moment. Translation process and its results can be seen scattered in all areas from education to entertainment, politics, economics, and so on. Includes, books, novel, newspaper or audio-visual works, such as movie and various other information that are not in the original language that needs a translation process.

Translations do not only have an important role in literature, but also, play a role in the development of language as a tool of communication around the world. Translating activity has contributed as an effort to fulfill the function of language, both Indonesian and other languages. Thus, the translation is very influential to all aspects of human life.

Nida and Taber in their books state that translating consist in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style.1 Translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language.2

In the translation activity of course there something that needs to be considered, one of them are the word choices very most important to make the translation results not ambiguous. Translation activity can be performed to determine the structure of understanding a foreign language. As proposed by Finlay in a book written by Maurits Simatupang that “...translation into a foreign language can be and is an excellent exercise for one‟s understanding of the foreign language structure. It is, however, that as such it should be indulged in, not as professional activity.”3

A translation result can be considered successful if the messages, thoughts, ideas, and concepts that exist in the source language can be delivered into the target language as a whole. This will be difficult because of differences in language systems and cultures between the source language and target language. Dick Hartono in the book by A. Widyamartaya said “The need of translating books is not a sign of backwardness. But, it is a sign of openness to participate in information exchange.”4

1

E. A Nida and Taber, The Theory and Practice of Translation (Den Haag: Brill, 1974), p. 12

2

Peter Newmark, Approaches to Translation (London: Prentice Hall, 1988),p.7

3

Maurits Simatupang, Enam Makalah tentang Penerjemahan (Jakarta: UKI Press, 1990), p.30

4

Translating a text is not only in scientific fields but also in non-scientific fields. One of them is translating poetry. In some ways, reading poetry is much like reading fiction, such as observing details of action and language, making connections and inferences, and drawing conclusions. We also bring to poetry some intellectual and emotional dispositions. The same general experience with life and literature that we draw on in reading fiction. In addition, there is something different about reading poetry.5

Poetry is the most personal and concentrated of the four forms, no redundancy, no phatic language, where, as a unit the word has greater importance than any other type of text.6 Poetry can be said as an extraordinary literary works. As one of literary works, poetry has a special characteristic. Not like words in prose which have descriptive character, the words in poem have very solid meaning. So the density of word make a word in poetry has many kinds of meaning or sense.

The sense of word is specific meaning that has in a given context. Most words have more than one sense.7 In addition, Kanya Puspokusumo stated:8

“To translate is one thing; to say how we do it, is another. Translating poetry without losing its beauty maybe is the most difficult thing. Because when we try to do it, we cannot just take a dictionary and find the words we need and apply them. We need more than that. The privilege of poetry forces us to find some appropriate translation methods, i.e. methods that can help us to

5

Robert DiYanni, Literature, Approaches to Fictions, Poetry and Drama (New York:McGraw - Hill Companies, Inc. 2004),p. 524

6

Peter Newmark, A Textbook of Translation (London: Prentice Hall, 1988),p.163

7

Seymour Chatman, an Introduction to The Language Poetry( Boston: Houghton Mifflin Company,1968), p. 3

8

transfer language from the source to the target language without losing its meaning and its beauty. Translating poetry without losing its beauty is not s nonsense job. We only need to „know how‟ to do it.”

In Indonesia many famous and great poets are Chairil Anwar, Goenawan Muhammad, WS. Rendra, Sanusi Pane, H.B. Jassin, H.K.S, Tatengkeng, Muhammad Yamin, and the famous poets is Sapardi Djoko Damono. Sapardi Djoko Damono, he was born in Solo, Central Java on 20 March 1940, and graduated from University of Gajah Mada Yogyakarta, in English Language and Literature in 1964. Since then, he has taught at a teacher's college in madiun (1964-1968), University of Diponegoro, Semarang (1968-1974), and University of Indonesia, Jakarta (from 1974). He has been involved with the editorship of the major literary magazines Basis (1969-1975) and Horison (from 1973).

The publication of Sapardi‟s first poetry collection, dukaMu abadi (Your Sorrow is Eternal) in 1969 may in a way be seen as a rebirth of Indonesian lyric poetry-fter a period of rough ideological rift during the 1960s. With clear, unadorned language and delicate inwardness, Sapardi‟s poetry are in sharp contrast to the slogan-ridden language of the then ideologically polarised Indonesia. Those turbulent times saw Sapardi finding his own voice in brief, limpid poems with simple yet pregnant imagery from everyday life. By the early 1970s he had already emerged as a master of profound simplicity.

Among his famous poetry collections are Mata Pisau (1974), Perahu Kertas (1983), Hujan Bulan Juni (1994), Arloji (1999), Ayat-Ayat Api (2000), Mata Jendela (2001), etc. Besides, there some his poets translated into English by foreign translator

such as: Sihir Hujan (Balck Magic Rain) by Harry Aveling at National University of Singapore in 1994, Water Color Poems, by John H. McGlynn, Temprint, Jakarta, 1986, Suddenly the Night, by John H. McGlynn, Lontar Foundation, Jakarta, 1988, Before Dawn, tr. John H. McGlynn, Lontar Foundation, Jakarta, 2005, etc.

Those literary works from Sapardi Djoko Damono above, the writer will analyze about faithful translation in two poetry: Sihir Hujan and Yang Fana adalah Waktu translated by Harry Aveling into Black Magic Rain and Time is Meaningless.

For instance, The source language (SL) “Sihir Hujan ” is translated into “Black Magic Rain‟; the word “Black” in target language (TL) is a unity with the word of “magic” in TL. In this context, the word “Black” is not about color but it is refers to something mysterious activity which is represent to the word “sihir”. While, sihir can be defined as 1) Perbuatan yg ajaib yg dilakukan dengan pesona dan kekuatan gaib (guna-guna, mantra, dsb): ia terdiam spt kena --; 2) Ilmu tentang penggunaan kekuatan gaib; ilmu gaib (teluh, tuju, dsb).9 The translator uses expressive and aesthetic function through the word “Black” so that the title of this poetry is faithful with the source language (SL). The author SL makes the rain such a metaphor which contains the message that he (author) tries to deliver both his idea and experience, especially about life that correlated with God and the nature. Besides, the poetry of “Black Magic Rain” (sihir hujan) represents the distinctive about beauty, strength, and understatement which is most of characteristic Sapardi‟s poetry.

9

Pusat Pembinaan dan Pengembangan Bahasa, Departemen Pendidikan dan Kebudayaan Republik Indonesia, Edisi Keempat (Jakarta: Gramedia Pustaka Utama, 2008), p. 1303

In this poetry will move within the controlled range of imagery such as to show splendor of nature. But the main purpose of translator wants to share is messages that can be delivered very well although it uses different dictions.

Moreover, other object of poem is Yang Fana adalah Waktu into Time is Meaningless. Grammatically, the TL structures are different with the SL but it does not important because the translator wants to keep the SL‟s message. So, this problem makes the writer challenges to research. That poetry is supposed to be faithful in the TL based on theory of faithful translation. The writer thinks that there many differences between the SL and TL. This research entitled “Faithful Translation in

Sapardi Djoko Damono’s Poetry Translated by Harry Aveling)”. B. Focus of the Study

Based on the background of the study, the writer will focus on method translation, especially in faithful translation to analyze the meaning from source language (SL) and express the same message into the target language (TL) in Sapardi Djoko Damono‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless). This research is limited to get good translation.

C. Research Question

The problems that will be analyzed in this study are formulated through the question:

1)What kind of translation method used in two Sapardi‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless)?

2)How the result of translation method used in two Sapardi‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless) are become faithful translation?

D. Significance of the Study

This research will be beneficial for the writer and the readers knowledge and as a _{concrete contribution for all of students of English Letters Department who} increase their ability in translation streams. Besides that, they can know how to identify the method of translation used in a literary works, especially about faithful translation in poetry.

E. Research Methodology 1. Objectives of the Research

According to the research question above this study aims to:

1)Find out the kind of method of translation used in two Sapardi‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless) based on Newmark‟s theory.

2)Describes the method of translation result in two Sapardi‟s poetry: Sihir Hujan (Black Magic Rain), Yang Fana adalah Waktu (Time is Meaningless) are faithful translation based on Newmark‟s theory.

2. Method of the Research

In this research, the writer uses descriptive qualitative method. Data collection done by using comparative method between the SL and TL. The writer focuses on

method of translation, especially in faithful translation. From the comparative result the writer wants to know the meaning of each line in two Sapardi‟s poetry is supposed to be faithful translation.

3. Technique of Data Analysis

The data are qualitatively analyzed using relevant theories. To analyze the data, the researcher uses the following steps:

1) Reading all the content of two poetry from source language (SL) into target language (TL).

2) Identifying the correct method used in two Saprdi‟s poetry.

3) Comparing the SL‟s text and TL at the level of word and phrase on each stanza are faithful translation or not.

4) Making sure to look up reliable dictionaries to find out whether the meaning TL is suitable with the SL or not.

5) Discovering whether there an addition or reduction is done by the translator based on Newmark‟s concept about faithful translation.

4. Instrument of the Research

The instrument of this research is the writer herself by reading, collecting words, phrases, or sentences in the TL which has the same meaning with the SL. Then, comparing between SL and TL from the original poetry.

5. Unit Analysis

The unit of this analysis is two of Sapardi Dojoko Damono‟s poetry are Sihir Hujan and Yang Fana adalah Waktu. Translated into English by Harry Aveling becomes Black Magic Rain and Time is Meaningless.

6. Time and Place of the Research

The writer started doing the research from July 2013 up to December 2014 in English Letters Department, Letters and Humanities Faculty, State Islamic University of “Syarif Hidayatullah Jakarta, and the writer‟s house.

CHAPTER II

THEORITICAL FRAMEWORK

A. Translation

1. Definition of Translation

Basically, the definition of translation is the process of transferring messages from one language into other languages, but there are other definitions of translation such as described in Oxford dictionary which tells that the meaning of translation is the process of changing something that is written or spoken into another language. Besides those two definitions, there are still some definitions of translation from some scholars as follows:

Peter Newmark defines, Translation is rendering the meaning of a text into another language in the way that the author intended the text. 10

Nida and Taber say that Translation consist in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and second in term of style.”11

J.C Catford states that Translation may be defined as the replacement of textual-material in one language (SL) by equivalent textual material in another

10

Peter Newmark, Approaches to Translation (London: Prentice Hall, 1981),p.5

11

E. A. Nida and Charles R. Taber. The Theory and Practice of Translation. (Leiden: E. J. Brill, 1974), p. 12

language (TL)”12. In addition the theory of translation is concerned with a certain type of relation between languages and consequently a branch of comparative linguistics.

In other hand, Newmark defines, Translation is a craft consisting in attempts to replace a written message and or statement in one language by the same message and or statement in another language.13 Thus, he agrees that the meaning is something which transferred in a translation to be able to achieve the equivalent effect, not the form.

From some definitions above can be conclude that the definition of translation is a process of transferring the messages SL into TL. The translators have to avoid translating by using method one by one translation because translation basically gives the messages SL into TL. Besides, in translating a text, the translator is an important factor that affects the result of translation itself. The translator should have reliable knowledge and experiences about both the SL and TL or about the textual and contextual aspects. If a translator does not have what the writer mentioned before, it will cause the result of translation misunderstood for the readers. Besides, the dictionaries used by translators have to be completed, the translator

12

J. C Catford, A Linguistic Theory of Translation (London:Oxford University Press, 1965), p.20

needs to compare the meanings in different dictionaries to get reliable meanings.

2. The Process of Translation

Translation is the process that is done step by step. Larson said that there are three steps in translating:14

1. Studying the lexicon, grammatical structure, communication situation, and cultural context of the source language text.

2. Analyzing it in order to determine its meaning.

3. And then reconstructing this same meaning using the lexicon and grammatical structure which are appropriate in the receptor language and its cultural context.

Nida and Taber propose the process of translation and its illustration as follows: 15

a. Analysis, in this step, the translator explores the meaning and the grammatical relationship of source language word or compound word;

b.Transfer, the transfer of the sense which is in the mind of translator from language A to language B.

14

Frans Sayogie, Teori dan Praktek Penerjemahan Bahasa Inggris ke dalam Bahasa Indonesia)(Jakarta: Pustaka Anak Negeri, 2009), p. 21

15

E. A. Nida and C Taber, The Theory and Practice of Translation (Leiden: E. J. Brill, 1982), p. 33.

c. Restructuring, the sense that has been transferred is restructured in order to make the final message fully acceptable in the receptor language.

3. Translation Method

According to Molina refers to the translation method how to perform a translation process that is use to express purpose of translators. For example, selection of translators in general which affect the whole text " Translation refers to the way a particular translation process is Carried out in terms of translator`s objective .16 There are several translation methods used, its use depends on the purpose of translation. The translators often apply one method translation in accordance with the type of text. Newmark divided into eight translation methods, as follows.17

SL emphasis TL emphasis

Word-for-word translation (1) (5)Adaptasi

Terjemahan Harfiah (2) (6) Free translation Faithful translation (3) (7) Idiomatic translation Semantic translation (4) (8) Communicative translation.

Gambar 3 : Diagram – V Newmark (1988:45)

16

Molina, Lucia & Hurtado, Amparo, Transalation Techniques Revisited: A Dynamic and Functionalish Approach Meta, Vol.47, n.4. p. 498-512.

17

1. Word-for-word translation

This is often demonstrated as interlinear translation, with the TL immediately below the SL words. The SL word-order is preserved and the words translated singly by their most common meanings, out of context. Cultural words are translated literally. The main use of word-for-word translation is either to understand the mechanics of the source language or to construe a difficult text as a pre translation process.

2. Literal translation

The SL grammatical constructions are converted to their nearest TL equivalents but the lexical words are again translated singly, out of context. As a pre-translation process, this indicates the problems to be solved.

3. Faithful translation

A faithful translation attempts to reproduce the precise contextual meaning of the original within the constraints of the TL grammatical structures. It transfers cultural words and preserves the degree of grammatical and lexical abnormality (deviation from SL norms) in the translation. It attempts to be completely faithful to the intentions and the text-realization of the SL writer.

4. Semantics translation

Semantic translation differs from faithful translation only in as far as it must take more account of the aesthetic value (that is, the beautiful and natural sound) of the SL text, compromising on meaning where appropriate so that no assonance, word-play or repetition jars in the finished version.

5. Adaptation

This is the freest form of translation. It is used mainly for plays (comedies) and poetry; the themes, characters, plots are usually preserved, the SL culture converted to the TL culture and the text rewritten. The deplorable practice of having a play or poem literally translated and then rewritten by an established dramatist or poet has produced many poor adaptations, but other adaptations have rescued period plays.

6. Free translation

Free translation reproduces the matter without the manner, or the content without the form of the original. Usually it is a paraphrase much longer than the original, a so-called intralingual translation , often prolix and pretentious, and not translation at all.

7. Idiomatic Translation

Idiomatic translation reproduces the message of the original but tends to distort nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original.

8. Communicative Translation

Communicative translation attempts to render the exact contextual meaning of the original in such a way that both content and language are readily acceptable comprehensible to the readership.

B. Faithful Translation

Faithful translation attempts to reproduce the precise contextual meaning of the original within the constraints of the TL grammatical structures. It transfers cultural words and preserves the degree of grammatical and lexical abnormality (deviation from SL norms) in the translation. It attempts to be completed faithful to the intentions and the text-realization of the SL writer.18 For Instance, ada dua orang wanita hamil yang sama sama hamil di tahun yang sama can be translated into there were two pregnant women. This sentence is less included as faithful translation because it does not follow the whole of original context (SL). It should be translated into there were two pregnant women at the same time. The translator must realize that he is only translator and not original writer, even an adapter. He is media who bridges people s thought. So the grammar and meaning should be survived. In others example from Chairil Anwar s poetry titled Adakah Suara Cemara translated into Is it Sound of Pines:

SL : Adakah suara cemara

Mendesing menderu padamu Adakah melintas sepintas Gemersik dedaunan lepas TL : Is it the sound of the pines

That hiss and roar at you Is it the fleeting passage

Of rustling leaves

18

Analysis the poetry above that the structure formed is quite enough. The poetry written in three stanzas have the same number of rows-in-four lines of each stanza. This poetry uses a lot of imagery auditory. It is very right to consider purpose the writing of poetry about the beauty of music nature. These lines in third stanza and this poetry uses the words that stimulate the senses of hearing, such as: "sound", "whooshing", "roaring", and "calling". In poetry Is it the Sound of Pines , the imagery is translated correctly be "sound", "hiss", "roar", and "Knell". So, in terms of the uses of imagery in poetry Is it the Sound of Pines is a good translation or faithful translation. Each TL s message managed to retain the meaning of the SL. In other words, the translation of the poetry able to fulfill the requirements of Fidelity.

Faithful basically defines true and accurate, not changing anything.19 It also tries to be completely to the intention and text-realization of the SL. Finally, analysis of the source text in terms of grammatical relationships and analysis in terms of the meaning of words are related each other to get the best result of translation in the combination of words.

Faithful translation also preserve in some aspects of text (grammar and meaning).20in the texts of law and poetry, faithful translation focuses on the form

19

Hornby, A. S, Oxfrord Advanced Learner’s Dictionary of Current English (New York: Oxford University Press, 2000),p. 475

20

Beny Hoedoro Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT. Dunia Pustaka Jaya, 2006), p. 57

aspects, so the translator can easily to translate by using faithful form based on the SL, without changing the aspects.

The perfection in translating is grammar and meaning from the SL and it must be in its result (TL). The perfection is an idealist thought and not always achieved very well, but it has to effort to get the best result of translation. In this case, the translator is able to choose faithful in vocabularies, structures, grammars, or style in the SL. Nonetheless, the faithfulness has to be limited by understanding the context and naturalness because different languages also have different cultures. It aims not to destroy the translation.

Translation is not original works, but the translator in the process of translation must try to obey faithful concept in the original text (SL). Faithful, in this case, means there is a relationship which is expected between the SL and TL that is not too literal and also not too free. This situation wants a translator must really to master both intrinsic and extrinsic aspects in a work that he or she translate.

To know in faithful translation, there is guideline to be good translator. In short, faithful is based on relationship among the writer s intention (original text), target language, and the readers (can be the listeners) TL. Parameter, in this case, can be explained as below:21

1. The writer, when making literary works, has particular intention. This means that the translator has to look for the writer SL s intention and it

21

Benny Hoedoro Hoed, Penerjemahan dan Kebudayaan (Jakarta: PT. Dunia Pustaka Jaya, 2006), p.25-26

can be done by understanding text, original information in work, style of language, and connotation that he uses.

2. In reproducing messages from the SL, the translator must look for equivalence (specific diction) in the TL.

3. The readers TL are different communities with the readers SL, this means: that there are differences of culture, language, and perception. The translator also should try, at his best, to transfer these values into the TL. As one genre of literature, poetry has something special comparison to the others. In a poem the beauty is not only reached through the choice of words and figurative language like in novels and short stories, but also with the creation of rhythm, rhyme, meter, and specific expression and structures that may not conform to the one s daily language. In short, the translation of poetry or song work needs something more than translating other genres of literature.

This kind of translation is used to translate art and literature objects, such as prose, poetry, drama or opera, descriptive stories, film and etc. in translating these objects, they are usually faithful on form of expression the SL s; it aims to the original message and impression from the SL. The translator must have capability to catch the atmosphere which happens in the SL: it is sometime covered by explicit language, so the translation does not seem like a translation. Nevertheless, translations of literature objects have to be handled through poet s skills to create impressive translation in the TL.

Translation of art and literature must be given priority in figurative languages and it purposes to clear the meaning from the SL. Error in translation of art and literature makes the reader TL do not understand what the real message that the translator deliver, so it can destroy its original text.

Faithful translation must have same message as the SL. A translator must also know how to give information about the message SL to TL exactly and it has to obey grammatical forms in the TL. As Nida and Taber said that meaning must be given priority, for it was the content of the message which was of prime importance for translating text.22

To measure the same message between The SL and TL, the translator should use whole measurements, such as words, phrases, or sentences which have been seen functionally. Source language must be read totally and understood messages generally. Important parts should be marked, either in structure, meaning, style or message, so the result of translation can be read very well.

a) The Translation Assessment

Talking about a good translation of course closely relates to the quality. House said that judgements of the quality of a translation assessment depend on a large variety of factors that enter to any social evaluative statement.23 The success of

22

E. A Nida and Charles R. Taber, the Theory and Practice of Translation (Leiden: Brill, 1982), p. 22

23

Julian House, Translation Quality Assessment: Linguistic Description versus Social Evaluation (Hamburg, Germany: University of Hamburg, 2001) p, 254

translating poetry are depends on some criteria that used by the translator. These criteria may assess that the translation of poetry can be succeed while the criteria of translation can be known by the quality of translation. Meanwhile, translation quality can be determined by several techniques of evaluation. Nida and Taber stated that the quality of the translation can be measured by (a) using techniques gaps, (b) asking the reader response to the passage of translation, (c) knowing the reaction to the reading of scripture reader the translation, and (d) reading the translation out loud, so that it can it is unknown whether his reading fluently or haltingly.24

To produce good-quality translation, the tramslator should make the renders get an appropriate information with the real meaning in TL. Newmark said that: " a good translstion fulfils it intention; in anvinformative text its success is measurable. At least, in theory and therefore the effectiveness of anbadvertising agency translator can be shown by result; in an authoritative or an expressive, form is almost as important as content, there is often a tension between the expressive and aesthetic functions of language and therefore merely 'adequate' translation may be useful to explain what the text is about, but a good translation has to be 'distinguished' and the translator exceptionally sensitive".25

24

E.A Nida & Taber, The Theory and Practice of Translation (Leiden: E.J Brill, 1969), pp. 168-173

25

_{Peter newmark, A Textbook of Translation (New York: Prentice HallInternational, 1988),} p.15

Meanwhile, Larson said that the quality of the translation divided into four aspects, namely (a) reason for the assessment, (b) the person who assesses, (c) how to make an assessment, and (d) the use of assessment results.26

Assessment is performed to determine the accuracy, clarity, and fairness translation. This work can be done by translators themselves, special appraisers, consultants, and reviewers. Fourth parties can judge the quality of a translation by (a) comparing a translation with the source, (b) translating back to the source, (c) assess an understanding of translation, (d) to measure legibility of the source, and (e) assess the consistency of the translation.27

According to Rochayah Machali, translation assessment carried out on the product not the process. In the assessment of translation, which needs to be understood is the term and aspect of the assessment; (1) accuracy (linguistics, semantics, pragmatics), (2) the reasonableness of expression, (3) terminology, and (4) spelling. Assessment criteria; assigned to each terms or aspect of the assessment either positively or negatively. Method of assessment; divided into two, namely common ways (relative can be applied to all types of translation) and a special way (for special text types such as text fields of law or poetry. Assessment translations conducted on the presence and magnitude of the deviation happens referential meaning.28

26

Mildred L. Larson, Meaning-based Translation: A Guide to Cross-Language Equivalence, (New York: New York University Press), pp.168-173

27

Syihabuddin, Studi Tentang Kualitas Terjemahan dan Implikasinya terhadap Pengajaran Menerjemah , Journal Program Studi Bahasa Arab, (FPBS, UPI: Bandung, 2005), pp. 2-3.

28

Rochayah Machali, Pedoman bagi Penerjemah: Panduan Lengkap bagi Anda yang Ingin Menjadi Penerjemah Profesional (Jakarta: Grasindo, 2000), p. 147-148

Larson in Frans Sayogie s book (2009) said that there are three things that need to be considering in the assessment, namely:29

1. Accuracy, a translation said has accuracy when not deviate from the content or information contained in the original text of the source language.

2. Clarity, a translation has good clarity is that the translation can be understood easily by readers.

3. Naturalness, a translation has naturalness means that the translation uses sentences that are subject to the rules of the target language rules and familiar to readers

Same as with Larson, Barnwell in Suryawinata (2003) said that whether or not of the appropriateness of the translation depends on three components, namely:30

1. Accuracy is the accuracy of the source language message means understanding the appropriate and as accurately as possible diversion meaning of the message in the target language.

2. Clarity means that there are several ways of expressing an idea clearly. 3. Naturalness means that the translation was effective and high level of

acceptability. Translation should not feel dry or sounds odd.

29

Frans Sayogie, Teori dan Praktek Penerjemahan (Jakarta: Pustaka Anak Negeri, 2009), p.153

30

Zuchridin Suryawinata & Sugeng Hariyanto, Bahasa Teori dan Penuntun Praktis Menerjemahkan (Yogyakarta: Penerbit Knaisius, 2003), p.160

b) Nababan’s Translation Assessment Methods

The quality of a translation is difficult to measure quantitatively. Most researchers used two instruments to measure the quality of the translation. Both instruments are (1) Accuracy-rating instrument and (2) readability-rating instruments. However, in this study there is still one more (3) Instruments for measuring the acceptability of a text. Accordance with its name, the instrument (1) is used to measure the quality of the translation of accuracy, while the instrument (2) is used to measure the level of readability and that to (3) to measure the acceptability of the text.31

Table 1. Scale and definitions Translation Quality Assessment (Accuracy-rating instrument)

Scale Definition Conclusion

3 The content of the source sentence is accurately conveyed into the target language sentence. The translated sentence is clear to the evaluator and no rewriting is needed.

Accurate

2 The content of the source sentence is accurately conveyed to the target sentence. The translated sentence can be clearly understood by the evaluator, but some rewriting and some change in word order are

Inaccurate

31

Nababan, M.R . Teori Menerjemah Bahasa Inggris. (Yogyakarta : Pustaka Pelajar,2003), p. 60-63

needed.

1 The content of the source sentence is not accurately conveyed to the target sentence. There are some problems with the choice of lexical items and with the relationships between phrase, clause and sentence element.

Not Accurate

The table above shows that the measuring of instrument adheres to the level of translation equivalence scale of 1 to 3. The higher the score has given to the key informants, the more accurate the resulting translation. Otherwise, the lower the score has given the lower level of the translation equivalence.

The second instrument, readability-rating instrument, the degree of ease of an article to be understood his point. The high writing of readability is easier to understand than the lower. Otherwise the lower writing of readability is difficult to read. Readability depends on ketedasan and kejelahan. Ketedasan readability associated with language, which is determined by the choice of words, sentences wake paragraph composition, and other grammatical elements. Kejelahan related to readability letter, which is determined by letters, line density, width of sembir, and other visual elements of system.32

32

Adjat, Sakri. Bangun Kalimat Bahasa Indonesia (Bandung: Penerbit ITB, 1994), pp. 165-166

Assessment aimed at determining the readability of subtitles should be handed over to the reader. Let the readers of the target language text that determines whether the translation they read very easy, easy, difficult or very difficult for them. Because an understanding of the reader to fill in the target language text is largely determined by the background knowledge, reader s poll as assessor text readability level should be done with caution. If the translated text is a text that will be evaluated in the field of literature, for example the assessor of readability level should be the ones in charge or cultivate the field of literature because in essence they are being targeted or a major consumer of the text.

Table 2. In the assessment readability of translation Nababan give a guidance table of Readability Rating Instrument used as a benchmark:

Scale Definition Conclusion

3 Word, phrase, clause, and sentence translation can be understood easily by the reader.

High readability level

2 Generally the translation can be understood by the reader; however there are certain parts that should be read more than once to understand translation.

Medium

readability level

1 Translation difficult to understand by the reader.

Low readability level

Achieving an adequate degree of readability the text should be the purpose of the translation. According to Richard readability is how easily written materials can be read and understood.33A similar thing also expressed by Dale and Chall, that readability is an overall of element texts in affects to the reader understanding.34

The third instrument is acceptablity. Acceptability referred to also as the norm, which is a phrase or specific terms deemed customary and reasonable in a particular community. This means that we can, a phrase or term is considered prevalent in a community, for other communities such expressions or terms to be uncommon. Because of its very relative, testing the acceptability of a translation done by asking specific community members assess the translation or not considered prevalent in the community. Given the terms that will be examined in this study is the medical term in the medical books medicine community members used as an appraiser acceptance of the translation.

Acceptance of the level of acceptability the translation should be done by people who have expertise in the field of translation. Besides that, he must have a very high sensitivity to the rules, norms and prevailing culture in the target language. However, he must represent the target reader in determining whether a translation acceptable or unacceptable to the target reader.

33

Ricard, Jack, John Platt and Heidi Weber . Longman Dictionery of Applied Linguistics

(London: Essex. Longman Group Ltd, 1990), p.238

34

J. Flood (ed), Understanding Reading Comprehension (New York, DE: International Reading Association, 1984), p. 236

Table 3. Measuring Instrument of Acceptability Level Translation

Scale Definition Conclusion

3 Translation feels natural; technical terms used are commonly used in their field and familiar to the reader; words, phrases, clauses, and sentences that are used are in accordance with the rules of language.

Acceptable

2 Translation generally feels natural; but there is a little problem in the use of technical terms or grammatical errors occur slightly.

Less acceptable

1 Translation unnatural or feels like a work of translation; technical terms used are not commonly used and familiar to the reader; words, phrases, clauses and sentences are not in accordance with the rules of language.

Not

acceptable

C. Poetry Translation

1. Definition of Poetry Translation

Poetry defines as a kind of language that we can say more intensive that what said by using daily language. Poetry is more different than novel or drama. Its difference can be concerned from full composition and restrictive convention, so that poetry does not give a space for poets to create their language freely and is signed by using a few words, but it express something much more.35

35

Siswantoro, Metode Penelitian Sastra; Analisis struktur Puisi (Yogyakarta: Penerbi Pustaka Pelajar, 2010),p. 23

Peter Newmark said that poetry is the most personal and concentrated of the four forms, no redundancy, no phatic language, where, as a unit, the word has greater importance than in any other type of text. And again, if the word is the first unit of meaning, the second is not the sentence or the proposition, but usually the line, thereby again demon-strafing a unique double concentration of units.”36 Besides, Calvin in Rodda defined poetry translation as bellow:37

The translation of any poem is necessarily a sort of cross-word puzzle because of the necessity of attempting to reproduce the form, the meaning, and the feeling of a work which was conceived in different form. When the poem has been set to music and of making the right words come out on the right notes for the expressive values of the poem is added to the problems of meter, rhyme, sense and atmosphere, and the problem becomes a sort of three- dimensional cross-words puzzle.

Robert DiYanni said that poetry is an art of condensation and implication; poems concentrate meaning and distill feeling.38Poem is a piece of writing in which the words are chosen for their sound and the images they suggest, not just for their obvious meanings. The words are arranged in separate lines, usually with a repeated a rhythm, and sometimes the lines rhyme at the end.39

36

Peter Newmark, A Text Book of Translation (New York: Prentice Hall, 1988), p.163

37

Anne E. Rodda, Translating for Music: The German Art Song”, Translation Spectrum;

Essays in Theory and Practice, ed. Marilyn Gaddis Rose (New York: State University of New York Press, 1981), p. 150

38

Robert Diyanni, Literature: Reading Fiction, Poetry and Drama (New York: McGraw Hill, 2002), p. 670

39

Hornby, AS, Oxford Advanced Learner’s Dictionary (New York: Oxford University Press, 2003), p. 1013

Poetry is the most compressed form of literature books may describe thousands of objects with thousands words, but poetries describe thousand of objects with fear words only. It is written in sentence. Therefore, the way to understand poetry may be more complicated than that to understand a book.

The definition above proves that poetry translation must give the best result; both in the content and form because poetry presents the thing in order to convey a feeling, a behavior, and a view of life as well as itself. Moreover, poetry has several elements (universal, culture, personal sources), so that the translator of poetry cannot make any concession to the reader such as transferring the foreign culture to native equivalence. Besides, Sayogie adds that poetry translation has double jobs; rendering messages and forms must be reliable. It means that translation in poetry refers to deliver messages as the SL does.40

There are two elements in literary works, especially in poetry. There are an art and expression. In poetry, the art does not only achieve through diction, but the writer produce rhythms, tones and significant emotions by particular expression. Furthermore, what the writer writes is not based on grammar.41

40

Frans Sayogie, Teori dan Praktek Penerjemahan (Jakarta: Pustaka Anak Negeri, 2009), p.212

41

Zuchridin Suryawinata & Sugeng Hariyanto, Bahasa Teori dan Penuntun Praktis Menerjemahkan (Yogyakarta: Penerbit Knaisius, 2003), p. 159

2. Poetry Translation Approaches

Newmark adds that there are many steps to translate poetry easily. The first, the translator decides to choose a TL poetic form (viz. sonnet, ballad, quatrain, blank verse etc.) as close as possible 10 that of the SL, Although the rhyming scheme is part of the form, its precise order may have to be dropped. Secondly, the translator will reproduce the figurative meaning, the concrete images of the poem. Lastly the setting, or sound-effect must be considered. The translator may use these steps to apply in translating a text and also have to choose language poetic form in order to easy translating.

In other sides, Hilaire Belloc in Basnet also laid down six general rules for the translator prose text:42

1. The translator should not „plod on‟, word by word or sentence by sentence, but should „always “block out” his work‟. By „block out‟ Belloc means that the translator should consider the work as an integral unit and translate in sections, asking him self „before each what the whole sense is has to render‟. 2. The translator should render idiom by idiom and idioms of their nature

demand translation into another form that of the original.

3. The translator must render „intention by intention‟, bearing mind that; the intention of a phrase in one language may be less emphatic than the form of the phrase or it may be more emphatic. By „intention‟, Belloc seems to be

42

Susan Basnet, Translation Studies Third Edition (New York: Rouledge Taylor and Francis Group, 2002), pp. 116-117.

talking about the weight a given expression may be in a particular context in the SL that would be disproportionate if translate literary into the TL. He quotes several examples where the weighting of the phrase in the SL is clearly much stronger or weaker than the literal TL translation, and points out that in the translation of „intention‟, it is often necessary to add words not in the original to conform to the idiom of one‟s own tongue.

4. Belloc warns against the words or structures that may appear to correspond in both SL and TL but actually do not.

5. The translator is advised to “transmute‟ boldly and Belloc suggests that the essence of translating is „the resurrection of an alien thing in a native body‟. 6. The translator should never embellish.

From general rules above, Belloc wants to stress that translator in literary work (especially in poetry) must consider that a text is whole thing and is never separated. He also admits that the translator also must be a person who makes faithful translation in the SL. Furthermore, translators can also add or reduce words in original text when translating in order to the result of translation can be suitable with the messages and style rules SL. Finally, translation poetry should render its meaning, and then its style.

Although so many people are opposed poetry translation, the translation of poetry into the other languages still continues. The translation of poetry is the field where most emphasis is normally put on the creation of a new independent poem, and

where literal translation is usually condemned. In short, the translation of poetry need something more than translating other genres of literature.

3. Translating the Literary Works

Basically, poetry translation should be semantic translation for a poem is typically with aesthetic and expressive values. The translator may face the linguistic, literary and aesthetic, and socio-cultural problems in translating it. The linguistic problems include the collocation and obscured syntactic structure. The aesthetic and literary problems are related with poetic structure, metaphorical, expression, and sounds; while the socio-cultural problems arise when the translator translates expression containing the four major cultural categories: ideas, ecology, behavior, and products.

Translation literary works is, perhaps, always more difficult than translating other types of text because literary works have specific values called the aesthetic and expressive values. The aesthetic function of the work shall emphasize the beauty of the words (diction), figurative language, metaphor, etc; while the expressive function shall put forwards the writer s thought (or process of thought), emotion, etc, and the translator should try, at this best , to transfer the specific values into the TL. As one genre literature, poetry has something special compared to the others.

Rhyme is one of the important elements in a poem. Rhyme is two or more words which are ended with the same sound.43 There is an opinion which believes that it is impossible to translate a poem, and that if it poetry is to be translated at all, then prose the only medium for that purpose. The other factor of the difficulties of translating the poetry is the poetry translation is always involves two factors: two people (writer and translator), two languages and two literary situations.

Although there are many experts opposed, the poetry translation into poetry is continually done by many people. But it must be noted in this case there is a gradation of translating the poetry as stated by Holmes (1970), according to the approaches that people used44:

1. The first approach is to retain the original form poetry even though it is not possible we retain the existing form in the SL if we divert it into TL, this is because not two languages, however, are genetically close, that have an absolutely similar of poetic forms. What the translator does in this case is the form that is in the SL was imitated in the TL as good as possible. Therefore this form of approach is called mimetic form approach.

2. The second approach uses analogical form; here the emphasis is on function of the original form of poetry within the tradition of poetic language sources,

43

Elve Oktafiyani, Introduction to Poetry, Compiled from Understanding Unseens by M.J Murphy for Introduction to Literature (Jakarta: English Letters Department UIN Jakarta: 2007), p. 5

44

James Holmes, Forms of Verse Translation and the Translation of Verse Form . Essays on the Theory and Practice of Translation (Bratislava: Slovak Academy of Science: 1970), pp. 94-97

and then given the equivalent functions within the language of targets taking into consideration the tradition of poetry in the language of those objectives. 3. The third approach is uses derivative content form. Here translator did not

consider the original of poetry: he/she uses the content of the poem as a starting point. By using the content of poem as a basis, he/she is free to determine the form of poetry translations that he/she wants to make.

4. The fourth type unrelated to the original poem, so it can be said this approach is not translation approach. Inside this the translator simply uses the original poem as an inspiration, and the metapuisi does not reflect the original, both in form and in content.

CHAPTER III RESEARCH FINDINGS

A. Data Description

In data description, the writer tabulated every line of poetry. The writer will analyzes the word and the phrase that related to the meaning and form of two poetry of Sapardi Djoko Damono: Sihir Hujan and Yang Fana adalah Waktu created 1994 and its translation: Black Magic Rain and Time is Meaningless translated by Harry Aveling and published in the book Black Magic Rain at National University of Singapore, Singapore in 1994. The form and the meaning of the poetry are related to the method of translation about faithful translation and other changes that the translator did in translating those poetry. The poetry is follows:

Table 4. Data of Analysis Poetry of Sihir Hujan into Black Magic Rain

No SL TL INDICATION

1 Hujan mengenal baik pohon, jalan,

The rain knows the trees, the roads,

Faithful

2 dan selokan- suaranya bisa di beda-bedakan;

and the

gutters_recognises their voices;

Unfaithful

3 kau akan mendengarnya meski sudah kau tutup pintu

you will hear it, even after you shut the door

Faithful 4 dan jendela. Meskipun

sudah kau matikan lampu

and the windows. Even after you turn out the light

Faithful

5 Hujan, yang tahu benar membeda-bedakan, telah jatuh di pohon, jalan, dan selokan-

The rain, which knows, falling

on the trees, roads and gutters –

Unfaithful

6 Menyihirmu agar sama sekali tak sempat mengaduh

weaving spells so no one complains

Faithful 7 Waktu menangkap wahyu

yang harus kau rahasiakan

as it touches your deepest secret

Unfaithful

Table 5. Data of Analysis Poetry of Yang Fana adalah Waktu into Time is Meaningless

No SL TL INDICATION

1 Yang fana adalah waktu. Kita abadi:

Time is meaningless. We are eternal:

Faithful

2 memungut detik demi detik, merangkainya seperti bunga sampai pada suatu hari

kita lupa untuk apa.

picking moment after moment, threading like a flowers until one day we forget why.

Faithful

3 "Tapi, yang fana adalah waktu, bukan?" tanyamu. Kita abadi

But, time is

meaningless, isn t it? ask you. We are eternal.

.Faithful

B. Data Analysis

From the data description above, the writer writes data that contains two poetry in faithful translation. The writer analyze both in meaning, grammar, diction, and any figurative language which are decided. Then, she compares two poetry between source language and target language to find out the method of translation poetry, especially faithful translation.

a. Poetry of Sihir Hujan and Black Magic Rain 1) Analysis of Stanza 1

These poetry divided into two stanza and four lines in every stanza. Stanza 1 contains the introduction or the beginning from the poetry.

SL : Hujan mengenal baik pohon, jalan, TL : The rain knows the trees, the road,

The translator uses faithful translation to express the same feeling with the author‟s SL. Grammatically, word “hujan” is a subject of noun in the first line is transfer into “rain” and the translator adds “the” as determiner and uses simple present tense. Uses faithful translation in this data is suitable to describe about the distinctive beauty of rain that seems to be mysterious. In this line, there is an element of metaphor and using imagery that is function to support the description about how the rain implies to the magic is? The writer thinks this line uses imagery visual; in which the author describes several objects such as trees, roads, Gutters make the readers imagine the sights when it rains drenching the object. For example, in phrase “hujan mengenal baik,” the word “mengenal” translated into “know” can be defined as 1) to have information in your mind; 2) to be familiar with or have experience and understanding of.45 Besides, the writer also argue about the phrase “hujan mengenal baik pohon, jalan,” have metaphorical meaning in the TL. The writer argues that the phrase "mengenal baik" refers to the word “hujan” where the rain likes a human that can recognize other creatures. In this case the author treats the rain as a metaphor itself. So, in this line the author wants to express the SL‟s message through metaphor (use standard metaphor) and there is no change which the translator does grammatically.

The translator attempts to explain what the author means; what the message contained in this line that the writer thinks there is a hidden meaning to be conveyed

45

Cambridge University Press, Cambridge Advanced Learner’s Dictionary: Third Edition (Singapore: Green Giant Press, 2009), p. 795

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

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.49Then, 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

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

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 person's 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.54So, 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

repetition of sounds syllable, word phrases, and lines.55Although 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 SL “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

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).59So, 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 author's 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

Black Magic Rain

The rain knows the trees, the roads,

and the gutters_recognises their voices; you will hear it, even after you shut the door and the windows. Even after you turn out the light

The rain, which knows, falling

on the trees, roads and gutters –

weaving spells so no one complains as it touches your deepest secret

Yang Fana adalah Waktu

Yang fana adalah waktu. Kita abadi:

memungut detik demi detik, merangkainya seperti bunga sampai pada suatu hari

"Tapi, yang fana adalah waktu, bukan?" tanyamu. Kita abadi.

Time is Meaningless

Time is meaningless. We are eternal:

picking moment after moment, threading like a flowers Until one day

we forget why.

B. BIOGRAPHY

Sapardi Djoko Damono was born in Solo, Central Java, on 20 March 1940, and spent his childhood and adolescent years in his hometown. He studied English literature at Gadjah Mada University in Yogyakarta, and has translated many works of fiction and poetry from English into Indonesian. He was editor of the Indonesian literary magazines Basis, Horison, and Kalam. Now he is Professor Emeritus at the University of Indonesia s Faculty of Humanities.

The publication of Sapardi s first poetry collection, dukaMu abadi (Your Sorrow is Eternal) in 1969 may in a way be seen as a rebirth of Indonesian lyric poetry—after a period of rough ideological rift during the 1960s. With clear, unadorned language and delicate inwardness, Sapardi s poems are in sharp contrast to the slogan-ridden language of the then ideologically polarised Indonesia. Those turbulent times saw Sapardi finding his own voice in brief, limpid poems with simple yet pregnant imagery from everyday life. By the early 1970s he had already emerged as a master of profound simplicity. In many of Sapardi s later poems, what starts as an ordinary event may, through a subtle turn of phrase, or a swift shift of perspective, suddenly take a twist towards the unexpected or the uncanny.

Among his poetry collections are Mata Pisau (Knife Point, 1974), Sihir Hujan (Rain Spell, 1984), Hujan Bulan Juni (Rain of June, 1994), Arloji (Wristwatch, 1999), Ayat-Ayat Api (Verses of Fire, 2000), Mata Jendela (Window s Eye, 2001), Ada Berita Apa Hari Ini, Den Sastro? (What s the News Today, Den Sastro?, 2002), and Kolam (Pond, 2009). He also writes short stories and has published two collections, Pengarang Telah Mati (The Author is Dead, 2001) and Membunuh

Orang Gila (Killing a Madman, 2003). He compiled Mantra Orang Jawa (Mantras of the Javanese, 2005). His essay collections are, among others, Kesusastraan Indonesia Modern: Beberapa Catatan (Modern Indonesian Literature: Some Notes, 1983), Politik Ideologi dan Sastra Hibrida (Politics of Ideology and Hybrid Literature, 1999), and Sihir Rendra: Permainan Makna (Rendra s Magic: Play of Meaning, 2000). His poems are included in several anthologies, such as Fire in the Sea: An Anthology of Poetry and Art (1996) and World Poetry: An Anthology of Verse from Antiquity to Our Time(1998). Sapardi Djoko Damono is a recipient of, among others, the Putera Poetry Award from Malaysia (1983), the Jakarta Arts Council Literary Award (1984), the SEA Write Award from Thailand (1986) and the Achmad Bakrie Award for Literature (2003). He took part in the Poetry International Festival, Rotterdam, in 1976.

Bibliography Poetry

duka-Mu abadi, Jeihan, Bandung, 1969. Mata Pisau, Puisi Indonesia, Jakarta, 1974. Akuarium, Puisi Indonesia, Jakarta, 1974. Perahu Kertas, Balai Pustaka, Jakarta, 1983.

Sihir Hujan, Dewan Bahasa dan Pustaka, Kuala Lumpur, 1984. Hujan Bulan Juni, Grasindo, Jakarta, 1994.

Arloji, Yayasan Puisi, Jakarta, 1998.

Ayat-Ayat Api, Pustaka Firdaus, Jakarta, 2000. Mata Jendela, IndonesiaTera, Magelang, 2001.

Ada Berita Apa Hari Ini, Den Sastro? IndonesiaTera, Magelang; Jakarta, Kalam, 2002.

Kolam, Editum, Jakarta, 2009. Poetry in English translation

Black Magic Rain, tr. Harry Aveling, National University of Singapore, Singapore, 1994.

Water Color Poems, tr. John H. McGlynn, Temprint, Jakarta, 1986

Suddenly the Night, tr. John H. McGlynn, Lontar Foundation, Jakarta, 1988.

Fire in the Sea: An Anthology of Poetry and Art, ed. Sue Cowing, University of Hawaii Press, Honolulu, 1996.

World Poetry: An Anthology of Verse from Antiquity to Our Time, ed. Katharine Washburn, John S. Major & Clifton Fadiman, W.W. Norton & Company, New York, 1998.

A World of Poetry: An Anthology, ed. American Poetry and Literary Project, Dover Publications, New York, 2002.

Before Dawn, tr. John H. McGlynn, Lontar Foundation, Jakarta, 2005.

Short stories

Pengarang Telah Mati, IndonesiaTera, Magelang, 2001 Membunuh Orang Gila, Penerbit Buku Kompas, Jakarta, 2003 Critical writing

Sosiologi Sastra: Sebuah Pengantar Ringkas, Pusat Bahasa, Jakarta, 1977 Novel Sastra Indonesia Sebelum Perang, Pusat Bahasa, Jakarta, 1979

Kesusastraan Indonesia Modern: Beberapa Catatan, Gramedia, Jakarta, 1983 Politik Ideologi dan Sastra Hibrida, Pustaka Firdaus, Jakarta, 1999

Puisi Indonesia Sebelum Kemerdekaan: Sebuah Catatan Awal, Pusat Bahasa, Jakarta, 2003.