(VIEWED FROM NEWMARK’S CONCEPT)
A Thesis
Submitted to Letters and Humanitites Faculty
In Partial Fulfillment of the Requirements for
the Strata One Degree (S1)
R. KSATRIO ADI HARSANTO 109026000147
ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA
ABSTRACT
R. Ksatrio Adi Harsanto, The Translation Criticism of Poetical Expression in
Vladimir Nabokov‘s Lolita of Anton Kurnia (Viewed From Newmark‘s Concept). Thesis: English Letters Department. Faculty of Adab and Humanities, State Islamic University Syarif Hidayatullah Jakarta, 2014.
This research is focused on the translation field, especially about translation criticism of poetical expression in Lolita. The objective of the research is to find out how the translation criticism applied on poetical expression translation in the novel from English into Indonesian.
Qualitative descriptive research, especially content analysis, is employed as the method of the research in order to reach the objective of the research above. Then, the instrument of the research is the writer himself as a prime instrument in collecting data by criticizing and assessing the types of translation criticism of the poetical expression in the novel. In order to process the data, Newmark‘s theory in translation criticism is adopted as the main reference of the research. The criticism classification such as translation as a science, translation as a craft, translation as an art, and translation as a taste are embraced to present and analyze the corpus of
the research. Besides, there are other supporting theories to espouse the research‘s
notion, which are poetry and poetical expression theory by Herman J. Waluyo and Roman Jakobson.
Eventually, the application of translation criticism theory can be implemented in a structured manner on the poetical expression of the novel which started with reading the source language and target language version of the novel, identifying the specified parts in each verse, comparing and contrasting the translation and the English version in a table, classifying the data which have been collected, and concluding the data analysis in terms of the translation criticism theory. The result can be obtained from these steps and it shows that the criticism is classified as good. There are ten data which have been collected from the novel, and it has been classified into three expression forms; memory, longing, and disappointment. All the data is processed by the theories mentioned above, and as a result, the memory expression and disappointment expression data scores 71,25 while the longing expression scores 95. In other words, the translator has succeeded to transfer the meaning and beauty of the poetical expression from English into Indonesian, it is proved by good word selection, meaning‘s clarity,
and expression‘s sublimity found in the data. So, the reader will understand quite
DECLARATION
I hereby declare that this submission is my own work and that, to the best
of my 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 award of any other degree or diploma of the university or other
institute of higher learning, except where due to acknowledgement has been made
in the text.
Jakarta, May 2014
ACKNOWLEDGEMENT
Firstly, the writer would like to express his greatest and highest gratitude
to Allah SWT because this research would be impossible without any guidance
and endless love from Him. All the praise is also sent to Prophet Muhammad
SAW who had delivered the truth to human beings in general and Muslim in
particular.
In arranging this research, a lot of people have provided motivation,
advice, support, and even remark that had helped the writer. In this valuable
chance, the researcher aims to express his gratitude and appreciation to all of
them. First of all, an appreciation goes to the writer‘s parents, Hendra Kurnia and Srie Hartuty, for all their pray and support. A tribute is also sent to the writer‘s
brothers and sisters, Mbak Tallya, Mas Didit, Mbak Tannya, Mas Damar, and
Mbak Ranti.
This research also could not be completed without a great deal of help
from the related parties. It‘s such an honour to express gratitude to Prof. Dr.
Oman Fathurahman, M. Hum, the Dean of Faculty of Adab and Humanities, Drs.
Saefuddin, M. Pd, the Head of English Letters Department, and Mrs. Elve
Oktafiyani, M. Hum, the Secretary of English Letters Department.
A sincere appreciation is also sent to Mrs. Danti Pudjiati M.M., M. Hum,
as the writer‘s advisor, who has given help, advice, suggestion, addition,
correction, and motivation since the preliminary of manuscript until the
completion of this research. The warmest regards is also addressed to all of the
knowledge. Not to forget to all the staffs either in Department or in Faculty who
have helped the writer in managing all formal needs during this research
arrangement.
The writer‘s thankfulness also goes to Kiki, Meilanti, Aris, Fitri, and Yuni,
for all their laughter, pray, motivation, and for being places to share all the time.
A happy hello is also addressed to all his friends in English Letters Department
who cannot be mentioned here one by one, particulary to Asa, Anisa, Navita,
Fida, Iie, Stella, Satya, Mila, Ana Diana, Nopi, Syifa, and Ana Gustiana for witty
and joyous days to date. May Allah always bless us.
In addition, the writer realizes that this research is far from perfect, that is
why the writer would like to accept any corrections or suggestions for this
research to be better. The writer hopes that this research will come in handy to all
translation enthusiasts, especially in UIN Syarif Hidayatullah Jakarta.
Jakarta, May 2014
TABLE OF CONTENTS
ABSTRACT...i
APPROVEMENT...ii
LEGALIZATION...iii
DECLARATION...iv
ACKNOWLEDGEMENT...v
TABLE OF CONTENTS...vii
CHAPTER I INTRODUCTION...1
A. Background of the Research...1
B. Focus of the Research...5
C. Research Question...5
D. Objective of the Research...6
E. Significance of the Research...6
F. Methodology of the Research...6
1. Method of the Research...6
2. Unit of Analysis...7
3. Technique of Data Collection...7
4. Technique of Data Analysis...7
5. Instrument of the Research...7
CHAPTER II THEORETICAL FRAMEWORK...8
A. Translation...8
1. Definition of Translation...8
2. Criticism of Translation...9
a. Criteria for Criticism of Translation...10
b. Plan of Criticism...12
c. Marking a Translation...13
B. Poetry...16
1. Definition of Poetry...16
2. Definition of Poetical Expression...17
a. Referential Function...18
c. Conative Function...18
d. Phatic Function...18
e. Metalingual Function...18
f. Poetic Function...19
3. Translation of Poetical Expression...20
4. Structure of Poetry...20
a. Physical Structure of Poetry...21
b. Mental Structure of Poetry...25
CHAPTER III RESEARCH FINDINGS...27
A. Data Description...27
1. The Expression of Humbert Humbert‘s Memory..27
2. The Expression of Humbert Humbert‘s Longing..29
3. The Expression of Humbert Humbert‘s Disappointment...31
B. Data Analysis...32
1. The Expression of Humbert Humbert‘s Memory..33
a. Data 1...33
b. Data 2...35
c. Data 3...37
2. The Expression of Humbert Humbert‘s Longing...39
a. Data 1...39
b. Data 2...42
c. Data 3...44
d. Data 4...46
3. The Expression of Humbert Humbert‘s Disappointment...49
a. Data 1...49
b. Data 2...51
c. Data 3...53
1. The Expression‘s Criticism of Humbert Humbert‘s
Memory...54
2. The Expression‘s Criticism of Humbert Humbert‘s Longing...55
3. The Expression‘s Criticism of Humbert Humbert‘s Disappointment...56
CHAPTER IV CONCLUSION AND SUGGESTION...57
A. Conclusion...57
B. Suggestion...58
BIBLIOGRAPHY...60
A. Background of the Research
Translation field has a very important role in terms of delivering message
which contained in source language (SL) into the target language (TL).
Translating a word or phrase from one language to another should be done by
transferring messages of the word or phrase itself with a good level of
equivalency. In this case, equivalency means similarity of the received
messages, both in source language or target language. Although some words or
phrases in the source language rarely have the same equivalence level in the
target language, it does not matter if they can be interchangeable. Thus, it can be
concluded that translation involves two different languages which must have
equal meaning.
In the translation field, translation criticism is one of the most
inseparable thing from this field. But the expressions used to criticize translated
texts are quite predictable. There are several expressions such as: ―nicely
translated,‖ or maybe ―flat and uninspiring‖ which often used by many critics
in practice. It is absolutely easy to criticize the total inadequacy of these
comments, but perhaps it is time to reflect on the responsibilities of a critic
who engages in reviewing translations. The critic of translation works should
be familiar with the SL, the cultural and aesthetic context of the original work,
TL. Besides, the critics of translation have to fulfill a formidable yet very
important task. They draw readers toward the foreign in other culture, make
them feel comfortable with the unusual and strange things in that culture, and
heighten the enjoyment of living the rich texture of aesthetic and deep
experiences which reflected in the structure of a foreign language.
In order to achieve the task, a critic must go through a so-called process
named translation criticism, which is an important component in translation
course. Translation criticism is a significant part in translation field because it
improves and escalates translator‘s skill and knowledge in shifting the culture and
the message from one language to another. Translation criticism is the
fundamental basis of each and every course in comparative linguistic or literature
in translation, and a component of any professional translation course with
specific text types as an exercise for criticism and discussion.1
Moreover, in the study of literary texts, translation has an important role
in terms of development and deployment of so many texts, including literary
texts. The presence of translation helps literary texts to reach audience from
other areas which do not have same cultural background with the author of the
text. Therefore, translation activities are needed to fill the gap and bridge of
relationship between the author and target reader. Translation helps linking two
different languages which have different cultural backgrounds, so it can also
help the reader from different part of the world to understand the text in an
easier way.
1
The study of literary text cannot be separated from the realm of
linguistics. Each type of literary texts such as novel, short story, and poetry has
its own discussion reflected in science of linguistics. For example, a poem using
poetic language can be studied with the concept of polarity and also the concept
of equivalence. Poetry is one part of a language which contained poetic function.
Roman Jakobson, one of the experts who centralize his thoughts on linguistic
studies reveals that the poetic function is one of the part of six language
functions which he designs, each of which have different focus, namely
referential function, emotive or expressive function, conative function, phatic
function, metalingual function, and also poetic function itself.2
The term ―poetic‖ has narrow and broad meaning. In a narrow sense,
poetic is a use of linguistic methods to review literary works, especially poetry.3 Meanwhile in broader sense, poetic refers to one of the function of language,
which has already mentioned in the previous section. The use of poetic function
of language is to highlight shape of the language itself for the sake of beauty of
aesthetic impacts, or in other words it can be referred as poetic language.
According to Jakobson, poetic language not only encompasses poetry, but also
advertising language, political slogans, or maybe some stickers which can be
found in public places.4 Therefore, it can be concluded implicitly that the expression which contained poetical function is also included in the poetic
language.
2
Roman Jakobson, The Framework of Language (Michigan: University of Michigan, 1980), p. 84.
3
David Crystal, A Dictionary of Linguistics and Phonetics (Cambridge: Basil Blackwell, 1991), p. 267.
4
In terms of translation, poetical expression is often regarded as one of
the most difficult expression to translate. In this case, a critic must know the
expression‘s intention and purpose in order to understand true meaning of the
text, because a critic is the first and the foremost component of the research. In
some highly-appreciated literature texts such as Vladimir Nabokov‘s Lolita, which contains so many wordplays and figurative expressions, a translator will
usually be served by the concept of thoughts and expressions which inevitably
must be understood and translated correctly. Poetical expression is chosen as the
research object of this research because this kind of expression sometimes referred
as a ―branchy‖ one, which means a poetical expression can have a meaning that
depends on the taste and understanding of the translator. One of the example from
the Lolita novel which represent the element is as follows.
SL: The Squirl and his Squirrel, the Rabs and their Rabbits
Have certain obscure and peculiar habits
Male hummingbirds make the most exquisite rockets
The snake when he walks holds his hands in his pockets...
TL: Petani dan tupainya, peternak dan kelincinya
Punya kebiasaan aneh dan tak biasa
Burung pipit jantan punya roket paling memesona
Saat berjalan, ular menyembunyikan tangan dalam sakunya
This expression is likely multilayered, or in other words, has several layers
of interpretation. So, it is no surprise if there are some mistranslations in the
curve.5
But the translator translated it into Petani or a farmer. Then, the word
Rabs means a rod used by masons.6
But the translator translated it into Peternak
or a cattleman.
From the example above, it appears that some mistranslations still exist, so
it is likely to have an impact to reader‘s understanding. Thus, translation criticism
is needed to minimize this and also to evaluate the performance of the translator in
performing their duties. In addition, translation criticism can also help improving
the reader‘s understanding and also readibilty in the near future.
B. Focus of the Research
Based on the background of the research which has been described above,
this research focuses only on translation as a product. The object of the research is
focused on translation criticism. Translation unit of this research is limited only to
some expressions which contain poetical function in Indonesian language version
of Lolita.
C. Research Question
Based on the background of research that has been outlined earlier, the
writer has formulated the problem as follows:
1. How does the translation criticism applied in poetical expression
translation in Vladimir Nabokov‘s Lolita?
2. What conclusion that can be drawn from the translation criticism of
poetical expression in Vladimir Nabokov‘s Lolita?
5
Oxford Dictionaries, s.v. ―Squirl,‖ accesed November 14, 2013,
http://www.oxforddictionaries.com/definition/english/squirl. 6
D. Objective of the Research
In general, this research aims to determine how the translation criticism
described on poetical expression and also to find out the conclusion of the
translation criticism itself from SL to TL in Lolita novel by Vladimir Nabokov.
Thus, the implementation of the translation criticism theory can be vividly
outlined.
E. Significance of the Research
This research is expected to enhance knowledge about translation criticism
and its application in English–Indonesia translation. Moreover, this research can also be a factor and consideration in translation criticism study, so it can facilitate
further research on these topics in the near future.
F. Methodology of the Research
The methodology of the research includes several important aspects of the
research as follows:
1. Method of the Research
In this research, the writer uses descriptive qualitative research as
the method of the research, especially in the form of content analysis.
By this kind of analysis, the writer hopes to reveal the content or
meaning of the expression while still using the defined theory. In this
method, the writer attempts to analyze the research object, which is
poetical expression in Lolita, by using Newmark‘s four classifications to criticize translation works, namely translation as a science,
2. Unit Analysis
The unit of analysis in this research is Lolita written by Vladimir
Nabokov and published by Penguin Books in 1997. The writer also
uses the Indonesian version of this novel translated by Anton Kurnia
and published by Serambi in 2012 with the same title.
3. Technique of Data Collection
In this research, bibliographical study or written source is used as
the technique of data collection. In order to collect the data, the writer
will read the English version and its Indonesian translation carefully,
and then choose ten poetical expressions in the novel which represent
one of the classifications in the translation criticism theory.
4. Technique of Data Analysis
The collected data will be analyzed and also assessed by
Newmark‘s theory. And then, to break down the data specifically,
each of the datum will be examined in detail and be classified into
four classifications, namely translation as a science, translation as a
craft, translation as an art, and translation as a taste. Later, the writer
will conclude the data analysisi in terms of the translation criticism
theory.
5. Instrument of the Research
The research consists an instrument only and that is the writer. The
writer criticizes and assesses the poetical expressions as the corpus of
the research and elaborate how the translation criticism theory applied
CHAPTER II
THEORETICAL FRAMEWORK
A. Translation
1. Definition of Translation
Translation, as a term, can be defined in many ways. Various
definitions of translation can be seen as a reflection of the expert‘s view, who
decides the significance of nature and process of translation. One of the experts
who express his thoughts about the definition of translation is Catford, who
argues that translation is the replacement of textual material in one language by
equivalent textual material in another language.7 Remember that the reference
of textual material by Catford is not merely written text. So translation can also
be derived from unwritten or spoken language.
Then, the following translation definition is proposed by Savory, in his
book The Art of Translation. Savory argues that translation is made possible by
an equivalent of thought that lies behind its different verbal expressions.8 In his
statement, he mentions clearly that the thought of the expressions must be
equivalent, but Savory does not elaborate further about operational matters
relating to the process.
The interesting thing from both opinions above is that they highlight the
importance of equivalence, just as already mentioned in the previous chapter.
Even though there are slight differences, such as Catford who empasizes
7
J. C. Catford, Linguistic Theory of Translation (London: Oxford University Press, 1965), p. 20
8
textual material equivalence and Savory who accentuates the thought
equivalence, it can be deduced that equivalence is one of the key points in
translation. But it is not the only essential things in translation. At least,
Wolfram Wills found that translation is a transfer process which aims at the
transformation of a written SL text into an optimally equivalent text, and which
requires the syntactic, the semantic, and the pragmatic understanding and
analytical processing of the SL.9 Here, Wills considers that translation is a
process, a transfer, and a transformation. Although the word ‗equivalent‘ is still mentioned, but the concentration for the process of translation itself is much
greater.
Thus, from several definitions above, it can be inferred that translation
not only concerns in equivalence, but also in transformation process which
involves operational matters for transferring message from one language to
another. The intention of transformation process here is a model which
intended to explain human‘s thinking process when performing the translation
process. So, in order to achieve equal meaning between two languages, a
translation process is needed.
2. Criticism of Translation
Speaking of translation, criticism is one of the most important parts in
both its theory and also its practice. Even though the relationship between
translation and criticism is far from clear, there is an agreement that translators
must start from a reading of a literary text, but not on how that correlates with
main lines of literary criticism. Actually, little has been said about what
9
translation offers critics, beyond a further supply of texts. Translation criticism
itself is an interdisciplinary academic field which closely related to literary
criticism and translation theory. It can be defined as the systematic study,
evaluation, and interpretation of different aspects of translated works.10
Criticism of translation is different from review of translation. Review
of translation conducts some comments on new translations, description, and
evaluation as to whether they are worth reading or buying or not. On the other
hand, criticism includes a broader activity. Criticism conducts analysis in
detail, evaluating old and new translations, and assuming that readers know the
translation.11 Translation criticism should take into account all the factors and
elements in the process of translation. It comprises activities which are part of
the process of translation, but it is different from the forms of criticism
involved in this process. Moreover, translation criticism should not be a mere
identification of errors, an intuitive, or highly subjective appraisal for judging
some translated texts as good, bad, faithful, or anything else without qualifying
the criteria.
a. Criteria for Criticism of Translation
As an important part in theory and practice of translation,
translation criticism certainly has supportive aspects or criteria. These
criteria are utilized to determine the quality of a translation, so that the
objectivity of the criticism or assessment process can be maintained.
10Taqiyeh M. H., ―What is Translation Criticism?‖
Translation Studies 11, no. 3 (Fall
2005): p. 61-63, accessed December 17, 2013,
http://www.sid.ir/en/ViewPaper.asp?ID=44700&varStr=3.14159265358979;TAQIYEH%20M.H.; TRANSLATION%20STUDIES;Fall%202005;3;11;53;61.
11
Thus, along with these criteria, the ability of the translator is expected
to be improved in the future. In order to criticize a translation properly,
there are three criteria which were proposed by Larson, namely
accuracy, clarity, and equity.12 A translation is accurate if the contained
content or information is not deviate from its source text. Then, a
translation is classified as clear if it is easy to understand by readers.
Moreover, a translation is classified to have equity if the word and
grammar selection is proper and familiar to target readers.
Beside the three criteria above, there are other aspects which can be
used as benchmarks to criticize translation. Simatupang proposed that
the meaning of the text, style, and clarity are some of criteria which can
be utilized to see the level of acceptance in a translated text.13
According to him, meaning, style, and clarity are the first and the
foremost aspects in translation criticism. A good translation have to
encompass the true meaning of the source text, acceptable style in the
target text, and clear enough to be read and understood by target reader
as well.
Similar to Larson and Simatupang, Hoed argues that there are
several aspects which have to be considered in criticizing translation
products. He proposes that the accuracy of meaning reproduction which
includes linguistics, semantics, and pragmatics, as well as phrase
12
Milder L. Larson, Meaning-based Translation: A Guide to Cross Language Equivalence (Lanham, Maryland: University Press of America, 1984), p. 534.
13
fairness, terminology, and orthography should be taken into account by
a critic if he or she wants to conduct a critic of translation.14
b. Plan of Criticism
In order to make a comprehensive criticism of translation,
Newmark discovers five topics in criticizing a translation.15 These
topics are essential for a critic who wants to assess a translation
product. The topics are:
1. Analysis of source text stressing its intention and functional
aspects. This part of analysis includes author‘s purpose and also
his/her attitude toward the topic, characterization of the
readership, category and type of the text, quality of the
language to determine the translator‘s degree of license, and
also state topic of the themes.
2. Analysis of the translator‘s interpretation of source text‘s purpose, translation method, and also translation‘s likely readership. In this part, a critic should understand why
translator has used some specific procedures for a specific aim
and also provide the reasons.
3. Selective but representative detailed comparison of source text
(ST) and target text (TT). In this part of analysis, a critic has to
determine general properties of both ST and TT, and then
14 Benny H. Hoed, ―Pengetahuan Dasar Tentang Penerjemahan,‖
Lintas Bahasa Edisi Khusus No 1/7/1993 (Jakarta: Pusat Penerjemahan Fakultas Sastra Universitas Indonesia, 1993), p. 40.
15
provide how translator has solved a particular problem which
posed by ST.
4. Evaluation of translation. This kind of evaluation should be
conducted in both the translator‘s terms and also the critic‘s
terms. In this part of analysis, the assessment of the referential
and pragmatic accuracy of the TT by translator‘s standards, the
assessment of the referential and pragmatic accuracy of the TT
by the critic‘s standards, and the assessment of the TT as a
piece of writing is included.
5. Assessment of the importance of translation in target language
culture or discipline. In this part, a critic must analyze whether
some culture-related words are worth translating or not.
Besides, a critic has to know also what kind of influence it will
have on the language, literature, and the ideas in its new
milieu.16
c. Marking a Translation
From the explanation above, it can be inferred that there are two
approaches in criticizing a translation product: functional and
analytical.17 The functional one is much more general. This approach
attempts to see whether translator has achieved in translating text, but
the detail of translation seems to be overlooked. In the other hand,
analytical approach is more detailed. Not only the general issues, but
the details are also taken into consideration as well. In order to
16
Ibid.
17
investigate the details, Newmark assumes that all translation is partly
science, partly craft, partly art, and partly a matter of taste.
First, Newmark considers that translation is partly science. It should
be understood that a term ‗science‘ is a matter of wrong rather than
right, and there are two types of scientific mistakes here, which are
referential or linguistic. Referential mistakes are about facts, real world,
propositions not words. Statements like ‗water is air,‘ ‗water is black,‘ or ‗water breathes,‘ are referential mistake; even though as metaphors
these terms may be true. In the other hand, linguistic mistakes show the
translator‘s ignorance of foreign language, for example grammatical,
lexical, words, collocations, or idiomatical mistakes.18
Secondly, Newmark also proposes that translation is partly craft or
skill. An element skill is the ability to follow or deviate from
appropriate natural usage, namely pragmatic and persuasive invocative
texts, neat in informative texts, and hugging the style of the original in
expressive and authoritative texts. In other words, the term ‗skill‘ here
means translator‘s capability to select or choose a more natural word
selection in order to avoid making mistakes in translating the text. If
any mistakes occur, there are possibly some reason behind them, it
could be due to inability to write well, misuse of dictionary, disregard
of deceptive cognates, the persistent of seeking equal word level, and
perhaps lack of common sense.19 For instance, a sentence To be or not
to be from Hamlet, which is very popular among literature enthusiasts.
18
Ibid.
19
By many Indonesian translators, this sentence is rarely translated into
Ada atau tiada, because the true meaning of the sentence in the source
language is stronger than the sentence itself.20
Then, the third one is a positive one, translation as an art. This
factor attempts to interpret implied meaning of the text rather than take
care of expressed meaning. As we know, the term ‗art‘ is much more
related to creativity, and in this factor, creativity is a must to produce a
good and proper translation. A translator should be creative enough to
create a variety of solutions and digest the author‘s mean rather than he
or she wrote in the source language. For example, if a book on
Alexander von Humboldt starts with: Alexander von Humboldt—yes,
but why? A coarse translator perhaps will translate it into Kenapa
menulis buku tentang Alexander von Humboldt dari sekian banyak
orang yang ada? Or perhaps there are translators who will translate it
into Tampak aneh menulis buku tentang Alexander von Humboldt. But
there are also translators who will translate it into Alexander von
Humboldt... Ya, tetapi kenapa? From the third translation above, the
first one seems to be more referential, the second one is pragmatically
closer, and the last one is more brief and the closest. This is what we
call creative translation.21
The last area of translation, the taste, has to be accepted as a
subjective factor. This factor concerns about the translation as a
personal choice. It stretches from preferences between lexical
20
Benny H. Hoed, Penerjemahan dan Kebudayaan (Jakarta: Pustaka Jaya, 2006), p. 95. 21
synonyms to sentences or paragraphs that under or over translated in
different places. In this area, a matter of subjectivity and also the ‗good‘ or ‗bad‘ is far more prominent.22
For example, a word however is more
than enough to represent this factor. The word however can be
translated into namun or akan tetapi by the translator, it is according to
their taste.23 The translation choice is not depend on any other issue. As
long as the meaning of the text is delivered, it is all up to translator.
However, whether translation is regarded as a science, art, craft, or
taste, it seems significant to note that a good translation should play the
same role in the target language as the original did in the source
language.
B. Poetry
1. Definition of Poetry
Poetry is one of the oldest form of art which is still existent and
popular. It is the closest language to human experience. People from various
circle, ranging from rich, poor, educated, intelligent, and sensitive enjoy it as
one of their source of entertainment. Initially, poetry is a kind of language
which means more and it says more intensely than an ordinary language. A
little and simple poetry can contain a deep and meaningful essence in an
ordinary language. So in other words, poetry is a pretty complex and
complicated work of art.
Actually, true definition of poetry is tentative, but a notable poet Gerard
Manley Hopkins gave his view about what he has thought about poetry. He
22
Ibid.
23
argues that poetry needs to be heard for its own sake and interest even over and
above its interest of meaning. Hopkins proposes that meaning is not the only
essential element in poetry. There are other important elements which support
this kind of art form, namely: sounds, images, rhythms, and figures of speech.
24
Thus, all those essential elements form a complex entity which we call as
poetry. It is certainly something more than good sense, it is something more
philosophic and of graver import than history.25
Poetry is indeed something divine. It is at once a center and
circumference of knowledge. It comprehends all science, and that to which all
science must be referred. There are millions of definition of poetry, depend on
thinking of each experts. But from all of the definitions above, it can be
concluded that poetry is an expressive way to show some things or feelings by
taking into account all of its elements. It is more than just an art, it is a way of
life.
2. Definition of Poetical Expression
As a literary text, poetry cannot be separated from realm of language or
linguistics as well. As with other types of literary texts such as novel and short
story, poetry has its own discussion which reflected in linguistic science. For
example, poetic language which is used by poetry can be studied with the
concept of polarity and the concept of equivalence. As we know, poetry is one
part of the language that contains poetic function. Roman Jakobson, one of the
experts who focus his thoughts in linguistic studies reveals that poetic function
is part of the six functions of language which has a different focus, namely:
24
X. J. Kennedy and Dana Goia, An Introduction to Poetry (London: Longman, 2002), p. 6.
25
a. Referential function, which focuses on content of speech or
denotative meaning. In other words, language is used as an
intermediary discussion about a given topic. For example, with
presence of language, human can learn about everything such as
religion, science, moral, or technology.
b. Emotive or expressive function, which focuses on attitude or feeling
of a speaker for content of their speech. In this part, language is
used as a tool to express feelings, such as happiness, sadness,
disappointment, or satisfaction. For example, a boy tells about her grievances of her problem to a girl.
c. Conative function, which focuses on hearer and usually appears as a
command sentence. In this respect, use of language is intended to
motivate or encourage people to do something. For instance, a
teacher who commands his or her students to do their homework can be classified into this section as well.
d. Phatic function, which focuses on maintaining communication‘s continuity between speaker and hearer. With the presence of
language, people can take advantage of their experience, learn, and
get acquainted with other people. So, people may feel belonged to
the group they are into. For example, a boy says ―Hi,‖ to a girl.
e. Metalingual function, which focuses on the use of language to talk
about language. For instance, a boy explains about Mandarin
f. Poetic function, which focuses on the use of language which aims to
highlight the language itself for aesthetic needs. In this matter, the
use of language is intended to convey a specific message or
mandate. Language expresses thoughts, ideas, feelings, volition, or
one‘s behavior. For instance, a boy advised a girl not to skip class
again. In the previous example, language is used by a person to convey message to another person. In this case, the center of
attention goes to the message implied. 26
As disclosed earlier, Jakobson uses the concept of polarity and
equivalence in study of poetic language. He cited the concept of polarity from
Ferdinand de Saussure‘s theory of syntagmatic and pragmatic relations. This
concept shows binary opposition of metaphor and metonymy. Metaphor is
paradigmatic, whereas metonymy is syntagmatic.27 Both processes underlie a
formation of language signs over selection and combination. Based on that
matter, he defines the poetic function of language as a function to take
advantage of the selection and combination for improving equivalence. In his
theory, poetic function is not only to be found in poetry, but also in all forms
of language use.
The term ‗poetic‘ has a narrow and broad significance. In a narrow
sense, poetic is a use of linguistic methods to analyze literary works, especially
poetry.28 While in a broader sense, it refers to one of the function of language,
as already mentioned in the previous section. The function of poetic language
26
Jakobson, Op. Cit., p. 84.
27
Harimurti Kridalaksana, Mongin Ferdinand de Saussure (Jakarta: Yayasan Obor Indonesia, 2005), p. 49-50.
28
is used to highlight shape of language itself for the sake of aesthetic or beauty
effects. Subsequently, it can be referred as poetic language. According to
Jakobson, poetic language encompasses not only poetry, but also advertising
language, political slogans, or maybe a sticker which can be found in public
places.29 Implicitly, it can be concluded that the phrase which contains poetic
function is also included in poetic language.
3. Translation of Poetical Expression
Translation of poetry, especially poetical expression, was and still is by
some believed as impossibility for any unfaithful elements and would have
been taken as failur, eby its content or form. But as translation of poetry has
never been stagnant though sometimes vigorous and sometimes not, there is
strong evidence in both translation history and present day practice that poetic
translation, a literary form as distinguished from fiction, drama, and prose, is
translatable. Poetical expression itself serves a purpose, be it an illustrative
matters, and aesthetics can be reproduced in another language and culture if
accommodation is made. It would be highly likely that the target readers would
obtain rather than similar, if not the same aesthetic pleasure, reading the
translation as would the source readers reading the original poem. And this is
the only criterion in evaluating and criticizing a successful piece of translation.
4. Structure of Poetry
Certainly, a body of poetry has a couple of structures which sustains
integrity of the poetry itself. These structures of poetry can give some kinds of
convenience for someone to criticize poetry in depth. Herman J. Waluyo
29
believes that poetry has two structures, which are physical structure and mental
structure. Each of these elements has its essential points which will be
described as follows:
a. Physical Structure of Poetry
Linguistic or physical structure of poetry is called as method of
poetry. The form elements or physical structure of poetry can be
described in the method of poetry, which is aesthetic structure that
builds outer structure of the poetry. Those elements can be analyzed
one by one, but still, it constitutes as a unified whole.30 There are
several elements which contained in physical structure of poetry,
namely: diction, imagery, concrete words, figurative language or figure
of speech, diversification, and typography.
1. Diction, that is the selection of word which made by the poet in
his or her poetry. As a form of literature which only have few
words but can express many things, the words must be chosen
as careful as possible. The selection of word in poetry is closely
related to meaning, sound‘s harmony, and word order.31
2. Imagery, that is a word order which may reveal sensory
experience, such as vision, hearing, and feeling. Imagery can be
divided into three, namely sound imagery (auditory), visual
imagery, and touch imagery (tactile image).32 With these
elements, a reader is expected to see, hear, or feel what the poet
experienced.
30
Herman J. Waluyo, Teori dan Apresiasi Puisi (Jakarta: Erlangga, 1991), p. 71. 31
Ibid, p. 73.
32
3. Concrete words, that is the word which can be captured by the
senses that enable an emergence of images. The word itself
relates heavily to some figures or signs.33
4. Figurative language or figure of speech is a use of language
which may revive or increase certain effects and connotations.34
Figurative language makes a poetry to become prismatic, which
means the poetry itself radiates or contains so much meaning.
Figurative language consists of analogy that raises analogical
meaning and symbolism that raises symbolical meaning. 35
a. Analogy
Analogy has a broader meaning than style of figurative
language, because it represents the whole style of the
language itself. It aims to create a richer, more effective,
and more suggestive effect in poetry language.
b. Symbolism
Symbolism is used to clarify meaning and create tone
and atmosphere of poetry to become clearer, so it can
arise reader‘s heart. In analogy, something is compared
or analogized by other things, but in symbolism,
something is changed or symbolized by something else.
There are several kinds of symbol contained in the
physical structure of poetry, namely:
33
Ibid, p. 81.
34
Soedjito, Kosa Kata Bahasa Indonesia (Jakarta: Gramedia, 1988), p. 128.
35
1) Symbol of Color. Color has characteristics of a
particular disposition. Many poets use color to
express their feelings or beliefs, such as: Sajak
Putih, Serenada Biru, Ciliwung yang Cokelat, and Malam Kelabu.
2) Symbol of Object. Symbolism can also use
some objects‘ name to replace something
which wants to be spoken by poet. One of the
examples is spotted in Amir Hamzah‘s poetry which depicts God who love to flip through
human‘s life as a burung yang bercakar or a
clawed bird.
3) Symbol of Sound. Sound that was created by
poet also symbolizes a particular feeling or
meaning. Combination of sounds will create a
very special atmosphere in poetry.
4) Symbol of Atmosphere. Atmosphere can also
be represented by another, more concrete
atmosphere. This symbol of atmosphere is
usually described in a sentence or paragraph. 36
5. Diversification, that is a physical structure of poetry which
associated with rhyme, rhythm, and metrum.
36
a. Rhyme is a sound equation in poetry, either at the
beginning, middle, or at the end of line in poetry.
Rhyme is composed of several kinds, namely:
1) Onomatopoeia. Onomatopoeia is an imitation
of sound. For example like meow for cat and
quack for duck.
2) Internal Form of Formal Pattern. The
meaning of internal form here is a form of
alliteration, assonance, final equation, initial
equation, intermittent rhyme, half rhyme, full
rhyme, repetition of sound, and so on.
b. Repetition of Word or Phrase. Repetition is not only
limited to sound, but might be to word or phrase as well.
Repetition of sound, word, or phrase is believed to
provide intellectual effect and purely magical effect.
c. Rhythm is strains which occur due to repetition and
change of sound unity in the stream, pressure, and tone
of the sound.
d. Metrum is static repetition of word. Metrum is similar
to maat. However, because pressure of word does not
distinguish the word meaning in Indonesian language, it
is difficult to find dactylus, anapest, jambe, tracheus,
and so on. Therefore, metrum is hard to find in
6. Typography, that is a form of poetry which is not filled with
words, right-left edge, and row setting, so that poetry does not
always begin with a capital letter and end with a dot. These
elements determine heavily to meaning of poetry.
b. Mental Structure of Poetry
Mental structure of poetry is building blocks of poetry which does
not appear directly in the writing of the words. Mental structure of
poetry can be grouped as follows:
1. Theme
Theme is main idea or basic story which is used as basic
composing of the poetry. Media of the poetry is language.
Therefore, poetry must be meaningful in every word, line, verse,
or as a whole.37
2. Feeling
Feeling is attitude of poet toward main issue which contained in
poetry. Theme disclosure and taste is closely related to social
and psychological background of poet. The depth and accuracy
of disclosure in addressing the theme of an issue does not
depend on ability of poet to choose the words, rhyme, style, and
form of the poetry alone, but rely more on the insight,
knowledge, experience, and personality which are formed by
sociological and psychological background.38
37
Ibid, p. 107.
38
3. Tone
Tone is attitude of poet toward his or her reader. Tone is also
related to theme and feeling. A poet can convey theme of
patronizing, dictating, or cooperating sounds with reader to
solve problem. Or maybe poet can simply submit the issues to
the reader, in an arrogant and ignorant tone.39
4. Intention
Intention is message which wants to be conveyed by author to
reader or hearer. However, there is a purpose that drives the poet
to create poetry. That purpose can be sought before poet create
the poetry, and can be found in his or her poetry.40
39
Ibid, p. 125.
40
CHAPTER III RESEARCH FINDING
A. Data Description
In this chapter, the writer analyzes several data from Lolita novel which
contain poetical expression and criticizes them based on Peter Newmark‘s translation criticism theory. The data descriptions are taken from Lolita novel
which written by Vladimir Nabokov and also their Indonesian translation
which translated by Anton Kurnia. There are several facts about these data,
ranging from their word selections to their implied meanings. For more details,
it can be seen as follows:
1. The expression of Humbert Humbert’s memory
No. Source text Target text Translation
Marking 1. Lolita, light of my
life, fire of my loins.
My sin, my soul. Lo-lee-ta: the tip
of the tongue
taking a trip of three steps down the palate to tap, at three, on the teeth.
Lo. Lee. Ta.
Lolita, cahaya hidupku,
api sulbiku.
Dosaku, sukmaku. Lo-li-ta: ujung lidah
menjejak mundur langit-langit mulut tiga kali dan pada kali
ketiga menyentuh
deretan gigi. Lo. Li. Ta.
p. 9 p. 15
2. My Dolly, my folly!
Her eyes were vair, And never closed
when I kissed her.
Known an old perfume called Soleil Vert? Are you from Paris, mister?
p. 254
Dolly-ku, kebodohanku!
Matanya menipu, Dan tak pernah
terpejam saat kucium,
Tahukah kau Soleil Vert? Itu merk parfum. Tuan, berasal dari Paris-kah dirimu?
p. 444
Translation as a craft
3. Saint, forsooth! While brown
Dolores,
On a patch of
sunny green With Sanchicha
reading stories
In a movie
magazine—
p. 243
Demi kebenaran, Santa!
Ketika Dolores yang
cokelat muda, Pada sepetak rumput
hijau ceria,
Dengan Sanchicha
membaca cerita
Di sebuah majalah
remaja—
p. 425
2. The expression of Humbert Humbert’s longing
No. Source text Target text Translation
Marking 1. Where are you
riding, Dolores Haze?
What make is
the magic carpet? Is a Cream Cougar the present craze?
And where are
you parked, my car pet?
p. 254
Dolores Haze, ke
mana kau
menghilang? Apakah kau naik
karpet terbang? Apakah kau suka
kue krim sekarang? Dan di mana kau
diparkir, mobilku tersayang?
p. 444
Translation as an art
2. Wanted, wanted:
Dolores Haze.
Her dream-gray never flinches
Ninety pounds
is all she
weighs
Dolores Haze—
dicari, dicari,
Tak kedip tatap
mata kelabunya. Dan empat puluh lima kilo bobotnya Tingginya hanya
enam puluh inci
With a height of
sixty inches
p. 255 p. 445
3. Wanted, wanted:
Dolores Haze.
Hair: brown.
Lips: scarlet. Age: five
thousand three
hundred days.
Profession:
none, or
“starlet.”
p. 253
Dolores Haze—
dicari, dicari!
Rambut: cokelat.
Bibir: merah terang.
Usia: lima ribu tiga
ratus hari.
Pekerjaan: tidak
ada, atau “calon
bintang”.
p. 444
Translation as a craft
4. Oh Dolores,
that juke-box
hurts!
Are you still
dancin’,
darlin’?
(Both in worn
levis, both in
torn T-shirts,
Oh Dolores,
musiknya bikin
meriang!
Masihkah kau
berdansa, Sayang?
(Keduanya
bercelana Levi’s
usang, keduanya
berkaus belang,
And I, in my
corner,
snarlin’).
p. 254
Dan aku, di sudut,
meradang).
p. 444
3. The expression of Humbert Humbert’s disappointment
No. Source text Target text Translation
Marking 1. Dying, dying,
Lolita Haze,
Of hate and
remorse, I’m
dying.
And again my hairy fist I raise,
And again I
hear you
crying.
p. 254
Lolita Haze, kini aku sekarat,
Nyaris mati karena
sesal dan benci,
Tinjuku yang berbulu
coba kuangkat, Dan kudengar kau
menangis lagi.
p. 445
Translation as a craft
2. Officer, officer,
there they are—
Dolores Haze
and her lover! Whip out your
Polisi, polisi, itu
mereka—
Dolores Haze dan
kekasihnya! Kokang pistolmu,
gun and follow
that car. Now tumble
out, and take cover.
p. 254
ikuti mobil mereka, Sekarang lompatlah
dan tangkap mereka.
p. 445
3. Because you
took advantage
of a sinner
because you
took advantage
because you
took
because you
took advantage
of my
disadvantage...
p. 298
Karena kau
mengambil
keuntungan dari
seorang pendosa
Karena kau
mengambil
keuntungan
Karena kau
mengambil
Karena kau
mengambil
keuntungan dari
kelemahanku... p. 520
Translation as a taste
B. Data Analysis
As mentioned above, there are slightly differences in source text and target
expressions above. In fact, it might be necessary to elaborate the concept in
order to deepen the understanding of the expressions. Once again, the writer
tries to criticize the expressions above with Peter Newmark‘s translation
criticism theory.
1. The expression of Humbert Humbert’s memory a. Datum 1
These are the very first sentences in the Lolita novel, which portray
Humbert‘s affection and desire to Lolita. The author uses such stirring
language which is almost poetic to the reader. From the expression above,
it can be seen that Humbert reduces Lolita‘s name to a rhythm of syllables.
Calling her the light of his life makes the reader feel this intense emotion
that Humbert feels for Lolita. The reader understands that he is deeply in
love with this girl, and aesthetically moved by her presence. Even her
name invokes such a passionate response in him that he appreciates the
movement of his tongue as it moves to pronounce it. In this expression, the
reader gets a sense of how truly enthralled Humbert is with Lolita,
regardless of their familial status and difference in age.
In the first sentence, the translator translated the phrase my loins
into sulbiku. According Cambridge Advanced Learner‘s Dictionary, loins means a part of the body which is above the legs and below the waist,
especially the sexual organs.41 Then, in English-Indonesian Dictionary, the
word loin means bagian badan sebelah belakang antara pinggul dan
41 Elizabeth Walter, ―Loins,‖ in Cambridge Advanced Learner’s Dictionary
tulang rusuk or in other words, it is synonymous with pinggang.42
According to thesaurus, the word sulbi and pinggang is synonymous.43
However, if the translator used pinggang rather than sulbi, it is
equivalently and grammatically correct, but as the consequences, the
beauty of the expression will not be as sublime as its original version.
By the same token, the same principle is cherished by the translator
to translate my soul in the same sentence. The word soul itself means the
part of a person which is not physical and experiences deep feelings and
emotions.44 Furthermore, soul in Indonesian language means nyawa, roh,
or sukma.45 Maybe it would be tolerable if the translator translated the
phrase into nyawaku or rohku, because the meaning would not be affected
anyway, but those words are not as emotional and esthetical as sukma. So,
the translator‘s decision to choose sukma rather than nyawa or roh is worth
appreciated.
Then in the next sentence, there is a phrase in ST which said
―taking a trip of three steps down the palate,‖ which is translated into
“menjejak mundur langit-langit mulut.” Specifically, the phrase take a
trip means the same with go or ramble,46 so in Indonesian language it has
the same meaning with pergi or bergerak.47 Actually, the phrase in ST
could be translated literally into “pergi mundur tiga kali di langit-langit
42
Hornby, E.C. Parnwell, and Suswoyo, “Loin,‖ in Kamus Inggris-Indonesia (Jakarta: PT Indira, 1993), p. 193.
43
Kateglo, s.v. ―Sulbi,‖ accessed April 7, 2014,
http://kateglo.com/?phrase=sulbi&mod=dictionary.
44
Walter, Op. Cit., p. 1381.
45
Hornby, Op. Cit., p. 307.
46
Thesaurus.com, s.v. ―Take a trip,‖ accessed April 7, 2014, http://thesaurus.com/browse/take+a+trip.
47
mulut”or “bergerak mundur tiga kali di langit-langit mulut,” and these
translations are still acceptable in Indonesian language. The three
translation versions above are proportional and readable in target
language, but it can be seen that the first version is far more effective,
communicative, and natural rather than the second and the third.
The elaboration above paints a conclusion that translation as an art
is more prominent. The translator strongly considers aesthetic side in
translating this expression, and it is reflected in his prudent and subtle
word selection. While there is a trick to achieve a suitable and natural
equivalent in target language, the issue is still influenced by the aesthetic
aspect which feels very strong already in the original version.
b. Datum 2
In this poetical expression, the translator creates some
re-structuralisation, addition, and changes in order to make a communicative
translation. For example in the first verse, the word vair is translated into
menipu or deceiving, while the referential meaning of the word is fur or
garment which obtained from a squirrel.48 From translation as a science
perspective, maybe this is completely subversive, because in according to
English-Indonesian Dictionary, vair means bulu tupai yang berwarna biru
keabu-abuan.49 However, when it comes to poetical or any other literary
translation, there is no such thing as right and wrong. In a closer look, the
intention from the first verse is Lolita or Dolly, who has deceiving eyes,
make Humbert looks foolish. In order to transfer that meaning from ST to
48
Oxford Dictionaries, s.v. ―Vair,‖ accessed December 23, 2013,
http://www.oxforddictionaries.com/definition/english/vair.
49
TT, the translator creates a new word which has no relation to its true
referential meaning. So, based on the translator‘s perspective, the word vair is closely equal to menipu, because these two words have quite
similar meaning in each language.
Then in the third verse, there are Soleil Vert word which is not
familiar for target readers here in Indonesia. Richard Cohen once
mentioned about Soleil Vert in his book, and he stated that it is an old
perfume.50 If the translator simply translated it for granted and explained
it all the way through the expression, maybe the translation of the verse
would be very long and ineffective. Thus, he cuts the sentence into two
and makes it briefer. In addition to above reason, this kind of technique is
adopted to make a harmonious suffix with the second verse, which have – m suffix, so the a-b-a-b pattern will be established just like in ST.
Moreover, most importantly this technique also gives the translator a more
efficient way to imply the meaning in the translation, so reader will know
about what they are reading.
Besides, the translator has made some re-structuralisation to the
expression. It can be seen that the position of the third and fourth verse in
ST is reversed in TT. It was done in order to make an accurate and
communicative translation. In addition, it also serves to avoid English
language impression from its Indonesian language version. Because of the
re-structuralisation above, it feels that translation as a craft is dominant in
this poetical expression. Communicative translation is one of the reasons
50
behind this, even though several meaning gaps which were done by the
translator in order to bring a beautiful and rhythmic expression are still
here and there.
c. Datum 3
This poetical expression is a form of Humbert Humbert‘s memory
to Lolita, his stepdaughter who doubles as his lover. The theme of the
expression is about happiness, which describes about Humbert who
expresses his longing by describing Lolita when she was playing with her
friend in a garden. He symbolizes her as brown, which means Lolita has a
natural and friendliness character that emanated from within.
In the first verse, the translator translated the term forsooth into
Demi kebenaran. Whereas, according to Merriam-Webster Dictionary,
forsooth means in truth, or an expression which often used to imply
contempt or doubt.51 Meanwhile in Indonesian language, forsooth has the
same meaning with yang benar saja.52 From its referential meaning, the
term may have undergone a meaning deviation and included in translation
as a science category which disallows linguistic errors in translation.
Otherwise the target reader will hardly know what the true meaning of
demi kebenaran is, which rarely used in Indonesian language. Maybe if the
translator uses yang benar saja, just like in the dictionary, the equality and
understandability level of the phrase will be improved.
51
Merriam-Webster, s.v. ―Forsooth,‖ accessed March 28, 2014, http://www.merriam-webster.com/dictionary/forsooth.
52
Termwiki, s.v. ―Forsooth,‖ accessed April 7, 2014,
Then in the second verse, there is brown word which has translated
into cokelat muda by the translator. According to Cambridge Advanced
Learner‘s Dictionary, brown means the color of chocolate or soil,53
meanwhile in English-Indonesian Dictionary, it means warna cokelat.54
Again, if observed from translation as a science, if brown is translated into
cokelat muda or light brown, the translation process of that word may
absolutely have undergone a meaning deviation. But in terms of art, the
strategy is intended to similarize the rhyme of the expression, so there will
be a relation between verses. The translator adds muda to the word cokelat
to make a connected pattern, so the a-b-a-b rhyme pattern could be created.
Meanwhile in terms of meaning, there is slightly a meaning deviation here,
because after all brown or cokelat and light brown or cokelat muda is not
equivalent, and it will create some kind of meaning distortion to target
reader.
Furthermore in the last three verses, there are two translation facts
which adopted by the translator. The first one is translation of sunny in the
third verse which translated into ceria. According to the Cambridge
Dictionary, sunny means bright or happy.55 And in English-Indonesia
Dictionary, sunny means cerah or gembira,56 which is quite synonymous
to ceria. But ingeniously the translator picks ceria which have a shorter
yet more concise structure to represent sunny in Indonesian language.
Moreover
