Data Description Data Analysis

At this translation there has been a shift categories. According to Catford it belong to the sub-category or unit level shift. This shift led to a decline in linguistic units of phrases adverba Ke Barat to be said Westward, which is a combination of the word west and related morpheme -ward, which means “toward a particular direction”. Bothoriginal poemand translation poems uses a formof verbalphrases. However, the translator in TL 1 chosethe wordwestward, rather thanthe using of preposition to the westas can be seen in TL 2, more or less both had thesamemeaning.Selection ofthe word islikely togivea poeticeffect, which isto bedirectly related tothe previous wordunhinderedother words. Seenfrom the pointof semantic, translation ofthe title ofthispoemhas beendonevery well. The researcher found that from the first translation form and meaning same with SL so that the ranslation is faithfull. As for the TL 2 the translation even more loyal to the source language. Data 1 SL : waktu aku berjalan ke barat di waktu pagi matahari mengikutiku dari belakang TL 1 : walking westward in the morning the suns follows from behind TL 2 : when i walk to the west in the morning the sun followed me from behind. In the first row is also a decline in the level of linguistic. This time of clauses into phrases.The first line of this original poem using adverb clause.Whereas the translation using the form participial phrase, as a result of reduction adverb clause. The first impression that arises bring the power of narrative line is slightly reduced. This can be seen when the opening line when I walked to the west the morning ... compared to walking westward in the morning ... The firstlineis invitinglogicaltruth, because in the morningthe sun risesin the eastand thepositionis still low. Ifin the morningawalktowards the westthe sun was behind him. The shadows ofthe person willlie ahead. Logicaltruthis alsocontained in... my ownshadowsstretchingahead becauseinthe morningshadowsthat occurfromaconcreteobjectto beelongated. Thislogicaltruthnecessaryalludedbothtothe interpretation ofthe poemitself andfor the analysisof the translation. Logic is not so often questioned in writing or poetry interpretation. As in other literary works, in poetry the rules of logic can even be devastated by satisfaction as good as the poet to achieve the goal of writing. But what can be said about the laws of logic which in reality contained in Supardi’s poem above? One possibility is that the moment of creating the poem, the poet consciously capture natural fact and making it theme. He did not distort the simple fact that in accordance with the purpose of describing or a wordplay, which, as mentioned in chapter 2, the natural fact disputed by not complicate. First sentence of original poem translated to be TL 2 : walkingto the west in the morning the sun followed mefrom behind The translator’s effort in maintaining the shape is visible in the first line of TL 2. He remained start with the first sentence does not use capital letters, and also do not use commas after the word morning as the two boundary markers such clauses are also performed by the poet from original poem. However, it seems the logical relationship that is reflected in the syntax line is no longer the same. In original poem, it looks did sense walk in the morning is the person, and followed me from behind is the sun, while the understanding gained from the construction dangling in the first sentence in the translated poem is not. In this version of translation sun bears two actions at once, walk west in the morning and followed from behind. In the discourse of non-poetry sentence consisting of two clauses are usually given a comma, to be walking to the westin the morning, the sun followed mefrom behind; and the perpetrators subject of the verb phrase at the beginning of the sentence grammatically is pro noun that follows the comma - in this case the sun. The Indonesian-language sentence structure of original poemis very good; as well assentence structurein translated poem. Only,inthe first rowthere has been adeviationmeaning of the sentenceinthis line. The reseacher focused on this aberration term istochangeof the meaningthat it’s completelydoes nothaveclosenessof meaning, but ratherthe oppositeofits original meaning. On the same line also has been a change of meaning with a different nature. The first line of the original poem clearly says that the sun followed the poet; the translated poem is only implied meaning only, and the possessive adjective ku in this TL 2 has equivalent translated as me.From here can be said that there has been transfered meaning. Diversion in this context can be overcome by incorporating a missing synonym; by entering the word “own”, as example. In TL 2, the translator also tried to keep the same sense as in the original poetry when he used preposition to the west instead of westward, in order to make the reader have the same imagination as the reader from the SL Source Language one. Analysis by Catfordparameters above do not indicate a shift in the phrase di belakang, which translates into “from behind”, because both are equally shaped adverb phrases. But semantically it can be said that there have been modifications phrase meaning, for the original meaning of the phrase in the back has been modified by the translators to be behind If the phrase is translated as ahead, clearly meaning storage. Data 2 SL : akuberjalanmengikutibayang-bayangkusendiri yang memanjang di depan TL 1 :I walk following my drawn out shadow before me TL 2 : I walk following my own shadow that extends before me There’s structure shift in this line, as shown in “yang memanjang di depan” which is translated ”drawn out… before me”.“Yang memanjang di depan” is an adjective clause which explain “bayang-bayangkusendiri”. This clause transformed become adjective phrase drawn out, which explain noun shadow. This transformation signifies a shift or unit level. Phrase di depan which hasequivalentsin the form ofwordsbefore, which canalsoexplain theshift inlevelsthat aredeclining. The construction of “yang memanjang” have equivalent “drawn out” which actually have different meaning. The word “memanjang” means “lengthen”, whereas “drawn out” have closest meaning with terhampar, tergambar, atau terlukis. The meaning domain ofadjectivephrasehas aclose relationship withthe meaningdepicted, sketched, orillustrated.By selectinga phrasedrawnoutasequivalent, rather thanlengtheningorfor example, the translator has modifiedthe original meaning.Whereas in TL 2, it can be seen that the translator tryingto maintaina similar formof the wordsthat expressed bythe poetinthe originalpoem, as seen onpossessive adjective“ku” translatedby as“own”. It will make the reader understand that the poet tried to give the same experience to them and explain that the shadow was his. Also in TL 2 the translator remain faithful to original poem by explain “yang memanjang” being translated as “that extends” so that to those who reads the poem will get the point that meant from the original poem. The addition meaning ofboth English version in this lineis visibleto adverb phrasedi depanwhich translated before me; ontheoriginal poem there is nopronounme, but it has equivalent word.The word di depancan be translatedinto Englishin front orbefore, althoughthislast word is notjustmeans di depan.The use ofthe wordbeforeas a synonym ofin front ofconstrained bysyntagmaticrelationswithother wordsin asentence construction.We tendnotto includethe wordbeforein conjunctionwithother words, such asin The treesarebefore thehouse.Thewordgivesshades of meaningin the presenceof orface to face with, whichis not inin front of. Data 3 SL : akudanmataharitidakbertengkartentangsiapadiantara kami yang telah menciptakanbayang-bayang TL 1 :the sun and i don’t argue about which one of us creates the shadows TL 2 : the sun and i don’t argue about which one of us creates the shadows Both of the transaltors have the same thoughts about translated the sentence in this line and also there is a translation shift structure in this line. aku dan matahari is translated as the sun and I, because in English it rules determining reversal position first person singular pronoun. The translation of bayang-bayang into the shadows can give an example the type of Catford’s intrasystem shift. The word, though formed by the repetition of the word shadow, seems not to be construed as plural nouns. However, intentionally or not, this word has been used as a plural in the translation. Verbal phrase thatstructured in this line translates to the word creates; This suggests a shift in the level or unit is decreased. Semantically this interpretation has been modified the meaning. This type the phrase has have been + verb is generally paired in English with shapes have has + past participle. As shown, the chosen equivalence is not the case. It is crucial for us to talk about the determination of meaningorvalue, bothofthe poets andthe translators. By choosing the word “bertengkar” Sapardihaspersonified thesun. By choosingthe word “telah” Sapardiseems todescribe thequarrelbetween the sunand the shadowswerealready in front oftheir eyesthat seemed tobewitnessed bySapardiandthe sunas they walkedtogether. On the other hand, McGlynn is more concerned of whoactually createsthe shadows, regardless ofwhetherthe shadow wasthereornotat the time.Thusthe translatorcan be said tohave reducedthe nuances ofthat creation. Stillon the same line, there is also formalequivalence inconsistency. The firstinconsistencyisinequivalence bayang-bayangbecomeshadowLine 2 andshadowsline 3. As mentioned above, the word bayang-bayangis notalwaysplural. Then, thesingular formin the Indonesian languageis notalwaystranslatedin the plural. However, ifonehas beenspecifiedequivalentform, theformshouldbe maintained. There is inconsistencyhere. Therefore,need to be investigated. Perhapsit isdue toprinterror- this does notneed to becommented upon. Perhaps there is also an issueof a different thoughts between the poets and the translator to determination ofthe value ora different meaning. In this case, the translator was fascinatedbythe use ofpersonificationfigure of speechwhichis dominantin this poem, so thatin his vision, hesawtwoshadows, whichbelonged to Sapardi andthe sun. Ifthis interpretationis strong enough, as lookhow farthatis have been affected byamorpheme However, regardless ofthisinterpretation, the writer onlyintended toshowthe change inthe meaning here. The second inconsistency is on the translation of subject clause “siapa di antara kami...” become “which one of us” line 3 dan “which of us” line 4. Those two words in English are same, but in my opinion the using word “one” is more emphatic. Data 4 SL : akudanbayang –bayang tidakbertengkartentangsiapadiantara kami yang Harusberjalan di depan TL 1 : the shadows and I don’t argue about which of us must lead the way TL 2 : the shadows and I don’t argue aboutwhich of usmustwalk in front. In TL 1 line phraseberjalan di depan translated to“leadthe way”. Phrasetranslationthat roughly first run orleading the wayis veryidiomatic here.Selection ofthephraseimplies thatthe translatordoes notget stuckwiththe structure ofIndonesian. As in TL 2 the translator translated the clause “berjalan di depan” to be “walk in front”. Translator in TL2seemsonceagainchose toremain loyal touse ofthe wordsthat arein intendedby the original authorof the poem, becausehedid notwant tospoilthe meaningcontained in it andturn it intosomething that is notsupposed to be like in TL, where clauseischangedintosomething that isidiomatic. Corpus 2 Derai-DeraiCemara cemaramenderaisampaijauh, 1 terasaharijadiakanmalam, 2 adabeberapadahan di tingkapmerapuh, 3 dipukulangin yang terpendam. 4 akusekarangorangnya bias tahan, 5 sudahberapawaktubukankanaklagi, 6 tapidulumemangadasatubahan, 7 yangbukandasarperhitungankini. 8 hiduphanyalahmenundakekalahan, 9 tambahtersaingdaricintasekolahrendah, 10 dantahu, ada yang tetaptakterucapkan, 11 sebelumpadaakhirnyakitamenyerah. 12 Chairil Anwar The English version: Fir Trees in Rows Fir trees straggle into the distance 1 I feel day becoming night 2 There are branches poking at the tiny window 3 Pushed by some unseen wind 4 I can stand it, now, 5 It’s been a long time since I was a child 6 But once, once there was something 7 That, now, counts for nothing at all 8 Life only puts off defeat 9 Extending further and further from simple puppy love 10 As we learn there’s always something unsaid 11 Before, finaly, we give it all up 12 Translated by Burton Raffel The English version of corpus 2: Fir Trees in Rows Fir trees straggle into the distance 1 It feels the day becoming night 2 There are branches poking at the tiny window 3 Beaten by unseen wind 4 I am now a man who can resist 5 It’s been a long time since i was a kid 6 But once, there was one susbstance 7 That now, counts for nothing at all 8 Life only delaying defeat 9 Extending further from simple puppy love 10 And know, there’s always something unspoken 11 Before we give it all up in the end 12 Translated by Derwent May Analysis of corpus 2 As mentioned in the previous chapter, the second corpus is the kind of poetry that full of using elements language which are unusual. On some lines can be found the removal of some of the words, inversion structure, mixing lexicon or informal structures, as well as use of figure of speech. On the one hand, a combination things of literary works; on the other hand, those things I feel making it complicates to analysis the corpus. Title: SL : Derai-DeraiCemara TL : Fir Trees in Rows The titleandfirst linesinthispoemdepictsimagesof nature, thatof pine andatmosphereinone day. The titleandfirst linesemphasizethe pine patters, notrows of pine trees.Thetranslatingof the titlebecameFir Trees inRows has replacedderai-derai cemara” with“Fir rows.In the first lineof meaningis reinforced bythe use ofwords“straggle” which meansgrow scattered orto appreadoutirregularly. It can be said, the translation ofthis line has beendistortedthe meaning. Alsoneeds to bementionedhere about cemara itself. Althoughrefrensialmeaning ofthis term and “thefirtrees” equal, for peoplewholive inthe country with autumn, this treehasits own value. In autumn, usuallyonly afew treesthat can grow, and one of them is the fir trees. This tree isone of theevergreen treesthroughout the year. The quality ofthe tree that is usedas theimageryin this poemmaynot immediatelybecaptured byus. Data 1 and 2: SL : cemaramenderaisampaijauh, SL : terasaharijadiakanmalam, TL 1 : Fir trees straggle into the distance TL 2 : Fir trees straggle into the distance TL 1 : I feel day becoming night TL 2 : It feels the day becoming night The firstand secondlinein this poemshows thelinkage. This can be seenif weparaphraseboth intocemara menderai sampai jauh”, so it seems “terasa hari jadi akan malam. In thesecond row ofthe original poem, the subjectfelt the change of the dayconveyedas implicitly, whereasin TL 1, this implicitly transformed intoexplicit, because subjectIusedbythe translator and in TL 2 subject I translated as pronoun It, the translator in TL 2 seems that the word terasarefersto a situationorcondition thatoccurred, it can be saidthat the word terasa contained ambiguous meaningbecause theoriginal authorof the poemdoes notgivethe exactpicture ofwhatpronouns being used. Data 3 and 4: SL : adabeberapadahan di tingkapmerapuh, SL : dipukulangin yang terpendam. TL 1 : There are branches poking at the tiny window TL 2 : There are branches poking at the tiny window TL 1 : Pushed by some unseen wind TL 2 : Beaten by unseen wind There is a shiftfrom theclass ofphrasehere “beberapadahan” become branches, and from the word tingkapbecome a phrase the tiny window. The shiftis alsovisible from the displacementpositionof the word “merapuh”, whichtranslated intopoking. A structure shift also happen from the phrase“angin yang terpendam”, which translated someunseen wind. The word tingkap which means “jendela” translated as window. As a synonym, the word tingkap is rare to used in daily life. This wordis alliterationwitha few wordson thelinesthat precede andfollowthis line, namely the word“terasa” and“terpendam”. In terms ofsemantic, a reductionmeaning has occurred, anditseemsdifficult for the translator to avoid it. The word merapuh which means menjadi rapuh matched as poking, which according to Hornby, it means pushed and suppresed. It can be said, the meaningconveyedbythe poetcan not be maintainedby the translator. The meaning conveyedby the translator has been modifiedfromits originalmeaning. In line four, the word dipukul is “the hardest” word from this poems. This word translated as pushedin TL 1 where in TL translated as beaten. Derived from the word to push, this word has a synonymous relationship with the word poked, which its derivative formshave been used in the previous line. When compared with the meaning conveyed by the poet, it can be seen once again that there is a modification of meaning. Similar changes were also seen in the translation of the word terpendaminto unseenwhich means invisible. Data 5 and 6: SL : akusekarangorangnya bisa tahan, SL : sudahberapawaktubukankanaklagi, TL 1: I can stand it, now TL 2:I am now a man who can resist TL 1 : It’s been a long time since I was a child TL 2 : It’s been a long time since i was a kid The fifthlineof thispoemisan informaltype ofsentence, whichmayparaphrasedto be “akusekarang adalah orang yang bias tahan”. One of the equivalent in English is “I am now a man who can resist”as it can see on TL 2 that being translated by other translator, it seems that the translator from TL2 translatethe original meaninginan event where target language usedwouldgivethe same impact ontargetaudiencessuch as the impactcreated by source languageon targetsource, he also emphasize the word “tahan” by translated as resist instead of stand that it might be shows idiomatic element to it. The translator of TL1 chose“I can stand it, now”; his choice may be due to his desire to use the phrase that is also informal, as well as the original sentence. This sentence is translated into sentences anyway, but with the structure or with a different type. The shift structure, therefore, has happened here. The conveyed meaning is more or less the same. However, if the internal rhyme as in the words sekarang ,orangnya, tahan and poetry rhytme reckoned, it is quite obvious that there is a lack in the equivalent . In thesixthline ofthe poetinterruptedthe word kanak-kanakbecomekanak. The word kanakis seldomto stand alonewithoutrepetition. We canmake aparaphraseofthis linebeing sudah sejak lama saya bukan anak kecil lagi orsaya sudah lama bukan anak kecil lagi. It seems that Chairil Anwaravoidthe use ofwordssuchkanak-kanak. He alsodoes not use the word anak kecil oranak- anak, because itmightinterfere the poetic value in lineoreven the poem itself. Sowhat about thetranslation ofthis line? It isdifficult to findan English word such as childwithout sacrificing thepoeticvalue. LikewiseinIndonesian.Inthis regard, EzraPoundin TheRiverMerchants Wife: ALetter, a referto thedefinition ofchildorchildhood, wrotethe followinglines: While my hair was still out straight across my forehead I played about the front gate, pulling flowers. …. Teo small people, without dislike or suspicion. Instead ofcausingunwantedconnotations, the poetprefersto giveimages ofa wonderfulchildhood experiences, free ofsuspicionorprejudice. Chairil anwarin a moreconcisehave spawneda newword, or at leastreleasingthe wordchosenfrom attachmentrepetition. Whenthis linecompared with theequivalentsentencein English, it reflecting the shift inthe structure: the structure ofnegationorbrokenstructurechanged tothe normal structure. Overall meaningin this sentencecan be saidthe same, but both poetic value can notsay so. The equivalence that occur in this line can be seen from the different uses of the word “kanak” which the interpreter translates as childin TL 1 while the translator in TL 2 translate itas kid. It is certainly in the underlying of understanding and logically every translator who they think is more appropriate for use in the translation of the poem . Data 7 and 8: SL : tapidulumemangadasatubahan, SL : yang bukandasarperhitungankini. TL 1 : But once, once there was something TL 2 : But once, there was one susbstance TL 1 : That, now, counts for nothing at all TL 2 : That now, counts for nothing at all On this data7 of TL 1,there is a shift in the level of the phrases satu bahan to be something. The changing of adverb dulu became auxiliary verb was implying a shift in class. While in TL 2 the translator have a different thought about placing the word once, he reckoned that what the poet meant was one once, instead of two that would make the reader feels flutter. Andtranslationdifferencescan also beseen fromthe wordbahan translatedinto something in TL 1 whereas in TL 2 it translated as substance, if welookatthe source language, the use of word substancehavean appropriate match, it isbecausethe translatordid notbreak throughthe limitsdictatedbythe poet, andwhen it translated into somethingthe readeris certainlydifficultto understand thetruepoeticelementscontained . Both translator seems have something in common in this line of the poet, only maybe on TL 2 the translator didn’t put the coma , after the word That and thestructure shift in line 8 shown in adverb now as the equivalent adverb kini. There is intrasystem shift in the way of translatorto use dissenter structure counts for nothing at all. That dissenter structure is not found in Indonesian. Data 9 and 10: SL : hiduphanyalahmenundakekalahan, SL :tambahtersaingdaricintasekolahrendah, TL 1 :Life only puts off defeat TL 2 : Life only delaying defeat TL 1 : Extending further and further from simple puppy love TL 2 : Extending further from simple puppy love Onthis data9 of TL 1, there is a class shift from the word menundabecome verb phraseputsoff. Withthis equivalent, the personificationfigure of speechcan be maintained. Whetherhas been ashift inclass here, becausethe wordhidupin Indonesian language as this contextcan be considered asa nounora verb? Grammatically, in this context, hidup used as nouns, because verb can not syntax related with verb menunda, andthereforeit is imply noshiftclasses. Whereas in TL 2 translation, the word menunda seems being translated what it supposed to be, because for some reader in target language might have not depiction, and by chose the word delaying it defines real situation in the original poem. Line hidup hanyalah menunda kekalahan isa kind ofconclusionthatis spokenbythe poets abouthis lifeandthe life itself. Start onthis lineand so on, the poets seemsno longer speaks for himself. Hebeganinvolvedusto recognizeafactof life: the defeat, andimpliesaresignation, forthe defeat.Theline canbe pharaphrased askita hidup hanyalah untuk menunda kekalahan, as another way tosayat lastwe will lose inthislife.The emotive poetic meaning of the line does not seem to be reflected in its counterpart. The writer would like to propose an alternative word merely as an equivalent of the word hanyalah, to give a little poetic value in the sentence. The shift structure seen in the equivalent of cinta sekolah rendah with simple puppy love.Tambah terasing in the last stanza translated into Extending further and furtherin TL 1 while in TL 2 the translator seems only put the word futher in one description and not putting preposition and to it. Meaning of the word terasingkan here seems taxa: this word has a meaning as “terasingkan” alienated or “merasa asing feeling strange. Nonetheless, both these meanings are equally suggests a psychological distance between subject and object. The chosen equivalent by the translator here means getting away. This equivalent is more hinted at a distance of a realbetween the subject and the object rather than the psychological distance earlier. The conveyed meaning result by the translator slightly modified. Cintasekolahrendah, as an example of new colocation which means“cintamonyet”, which translated simple puppy love. The conveyedmeaning remains intact, but the way of delivering it is not the same; that is, the chosen way by the poets looks more original and it is reflected the election of diction carefully. By choosing such diction, the poet has created the overall meaning of the phrase, which can not be found in a collection of lexicon. Originality and choice of words in this poem actually has a big share in shaping the value of this poem as a literary work. Data 11 and 12: SL : dantahu, ada yang tetaptakterucapkan, SL : sebelumpadaakhirnyakitamenyerah. TL 1 : As we learn there’s always something unsaid TL 2 : And know, there’s always something unspoken TL 1 : Before, finaly, we give it all up TL 2 : Before we give it up in the end. Inthis line the poet removes the subject of the sentence. This clause can pharaphrase become dan kita tahu bahwa ada yang tetap tidak terucapkan. Whereas clause in the English language has been set again the subject of the sentence, namely we. This has caused a shift in the structure of sentences. Semantically, the implicit subject has been modified so it becomes explicit. There is the difference between the poet and translator in the way of delivering perception about life. Each person would have a personal view on life, and maybe some people have a view that is similar to the poets view. As in previous corpus, the emphasis in the delivery of this mandate is the how and not what. I think the poet managed to convey perception of his life without being patronizing. He cleverly left the explicit elements that will only give the impression of shallow or low. As in TL2translation, the translatorof the poemfollows theoriginal formofthe source languagewithwords“andknow”thatthe placement ofwheretheoriginalpoemis, where in other case the translator from TL 2 chose a different diction for the word “tak terucapkan”, which he chose unspoken. In this last line, there isa class shiftfrom the phrase akhirnyabecamethe wordfinally; The opposite also occurs class shifts from the word to phrase, which the word menyerahinto phrasegive itall up. In TL 2 translation, the translator decided not to put coma , after before, and instead of choosing the word finally, he choses to put in the end so it showing that everything the poem felt would become nothing if he never makes it better in the future and regret will show up for that consequence.

C. Research Findings

Based on the data analysis above, the writer finds research findings that will answer the research questions “How is the meaning equivalence of the shift in Indonesian into English poetry translation?”and “How formal equivalence translation of poems Westward Walking In The Morning and Fir Trees Rows by John McGlynn and Burton Raffel which has undergone a shift in form and meaning? Determining thetimeconsumptionisa seriousprobleminthe translationefforts, especiallywhen involving the translation with source language, which is recognized the time and target language which is not recognized the time. Hereare directlyrevealedcleardifferences betweenthe languages concerned, whichthenalsocharacterizethe cultural differencesof eachthose languagesin conjunctionwith the dimensionsof spaceandtimespatio-temporal. The narrative in the poem of corpusonetellsthe experience of thepersonainthe morning, which isthe experience inthe past. It issomething normaliftodeclare present tense,pasttenseused asthe first choice. However, as seenabove, the translation poetry chosethe form of present tensetoexpress the experienceof thepast. For the reasonsbelow,the writer thinks that the translatormanagedvery wellto solve theproblem ofelectiontime. Oneof the expert onlinguistic, GeoffreyLeech, alluded about how an English present tense used torefer the past tense. Hesaid that present tense in specific things can be used to refer the past...that[actually no relation in it, with the present tense; in the historic present, present tense describes past events as if it were happening at the time told. Thepoet, novelist, ora fiction writerin Englishusuallyusingthe past tense todescribe the imaginativeevents they created, whether it refersto the past, present, orrefertothe future. Whentheyuse present tense, thisis adeviationfromthenormal, which in turncauseother effects. The way is used toelevatefictionaldramatization ofthe events. With theuse ofpresent tense, theauthortriesto makethe readerso that seemswitnesseddirectly, involved inthe event or eventsimaginativelycreated bythe author. One of the purposes of normal use in present tense is to show the general truths or unrestrictive temporally. Although on the other hand the translator failed to maintain a general truth or logical truth in the lines of original poem. He expressed it through the election of time. It is not possible to achieve in the same way in original poem by Sapardi above. The consideration of choosing time in corpus2 is notmuchdifferentfrom theelection of time in corpus1.Incidentallythese twoselected copuses here are narrative,equallytells ofafactor perhapsthe truth of life. Butonthiscorpus 2, there are thingsthat are notfound inthe firstcorpusearlier. At this corpus 2, meaning changes found more occur. Several types of changes in the meaning of this corpus is not only caused by the long lines of poetry 2, but also by the kind of poetry itself, full of the poet’s idiosyncratic. Cutting and choice of words are not common, mixing languange structure and daily language, as well as the inversion can be found interwoven with the construction elements of the beauty of poetry, such as rhyme, alliteration, imagery, and a figure of speech. Also seen that the changes brought about in part because of differences in the linguistic system, as well as differences in the value set by the translator. A translation, inother words, involves an encounter of linguistic and literary norms and conventions, a confrontation of linguistic and literary system. The