AN ANALYSIS OF FIGURATIVE LANGUAGE TRANSLATION IN MARK TWAIN’S NOVEL ENTITLED ADVENTURES OF HUCKLEBERRY FINN.

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CHAPTER I

INTRODUCTION

This first chapter introduces background of the study including several theories related to the study, and limitation of the study. Besides that, it provides the research questions, the aims of the study, the significance of the study, the research methodology and procedures, and the clarifications of the key terms. Organization of the paper is presented in this chapter as the general depictions of the translating research paper.

1.1 Background

Nowadays, translation has become an important part of life. This act of transferring information and message from the Source Language (SL) to the Target Language (TL) has developed in many parts of the world. The main purpose of translating is to enable the readers to understand the message of the Source Language without any significant obstacle.

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According to Newmark (1988: 5) “translation is rendering the meaning of a text into another language in the way the author intended the text”. Meanwhile, Oxford Learner’s Dictionary (2005: 1438) states that “translation is the process of changing something that is written or spoken into another language”. Based on those explanations it means that when a text is translated from the source language (SL) into target language (TL), the meaning of the text must be same. Therefore, in translating a text the translator must deliver or transfer the information from source language (SL) to target language (TL) as clear as possible.

A translator holds a very essential factor in facilitating people or readership to attain a satisfying translation service. Furthermore, the translator should have good knowledge of both the source language (TL) and target language (TL). As stated by Newmark (1988:4), “a translator has to have a flair and a feel for his own language”. Here, the capability of translator will determine the quality of translation output. In this case, the translator has to be aware of cultural, politic, linguistic, and social background of source language (SL) and target language (TL). Hence, to be a good translator should not only master both the source language (SL) and target language (TL) but also the culture and social background of the source language (SL) that must be translated into target language (TL).

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is used by the writer both to deliver his messages to the readers and to invite them to communicate through imaginative languages.

One of imaginative languages is figurative language. The figurative language is usually found in some literary works such as, short story and novel. In writing a novel, a writer mostly uses figurative language. Meriam-Webster’s Encyclopedia of Literature(1995: 415) defines figurative language as:

A form of expression (as a simile or metaphor) used to convey meaning or heightened effect often by comparing or identifying one thing with another that has a meaning or connotation familiar to the reader or listener

(Meriam—Webster’s Encyclopedia of Literature, 1995: 415)

This may mean is usually found in the novel in which the writer uses it to convey exact meaning in a vivid and artistic manner. In other word, the writer tries to create an image in the readers mind. Thus, holding the attention of the readers is the writer’s goal.

As mentioned before, the translator must deliver or transfer the information from source language (SL) to target language (TL) as clear as possible. In accordance with translation, figurative language must be translated carefully in order to avoid misunderstanding. In this case, in translating figurative language becomes one of challenges that have to be faced by a translator.

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procedures used by translator in translating it based on Newmark’s theory. Hopefully, this research is expected to give more knowledge to the writer or the translator, especially in translating figurative language.

1.2 Limitation of the Study

In translating figurative language, the translators have to be more careful because the translators not only render the meaning of source language to target language but also consider the other aspects, such as culture, social, and politic of source language. Furthermore, the writer found 398 sentences that contain figurative language in the novel. However, the writer focuses on 121 figurative language to be analyzed and in order to be more manageable.

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1.3 Research Questions

To guide the research, the writer formulates the research questions as follows:

1. What kinds of figurative language are found and translated in the novel? 2. What are the procedures used in translating the figurative language in the

novel into the Indonesian language?

3. What is the quality of translated version of the figurative language?

1.4 The Aims of the Study

The aims of the study are:

1. To discover the kinds of figurative language in Mark Twain’s Novel entitled Adventures of Huckleberry Finn.

2. To reveal the procedures used by the translator in translating figurative language in the novel.

3. To know the quality of translated version of the figurative language.

1.5 The Significance of the Study

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figurative language into Indonesian language. Further, this study identifies proper procedures, accuracy, clarity, and naturalness in translating figurative language.

1.6 The Research Methodology and Procedures

1. Research Methodology

A qualitative method is used in this research. According to Fraenkell and Wallen (1993: 38) “when a researcher used a qualitative method where the results of the research were not presented in numbers but in form of writing and giving interpretation to the result descriptively”. Therefore, the main goal of this research is to describe, define, classify, and analyze the data.

2. Research Procedures

In conducting the research the writer will use the following procedures: 1. The writer reads both original and translated version of “Adventures of

Huckleberry Finn” novel.

2. The writer selects figurative language found out in the novel from chapter one up to last chapter.

3. The writer extracts each translation of the selected figurative language and places them to each line of the original in a transcript.

4. The writer juxtaposes the gained data both form the original version and translated version.

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6. The writer judges how the quality in the case of accuracy, clarity, and naturalness of the figurative language in translated version novel.

7. The writer draws conclusion based on data

1.7 Clarification of the Key Terms

1. “Analysis is the study of something by examining its parts in order to understand it”. (Oxford Advanced Learner’s Dictionary, 2005)

2. “Translation is transferring the meaning of the Source Language (SL) into the Target Language (TL) in the way that author intended in the text”. (Newmark, 1988)

3. “Figurative language is a form of expression (as simile or metaphor) used to convey meaning or heighten effect often by comparing or identifying one thing with another that has a meaning or connotation familiar to the reader or listener (Meriam-Webster’s Encyclopedia of Literature, 1995: 415)

4. “Novel is a story long enough to fill a complete book, in which the character and event are usually imaginary”. (Oxford Advanced Learner’s Dictionary, 2005)

1.8 Organization of the Paper

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CHAPTER II

THEORETICAL FOUNDATION

This chapter deals with theories related to the study. It covers the definition of translation, process of translation, translation procedures, methods of translation, the criteria of good translation and theory about figurative language that will be elaborated in this chapter.

2.1 Translation

2.1.1 Definition of Translation

Basically, translation tends to be defined as a process or kind of activity in changing from one form to another. According to Oxford Advanced Learner’s Dictionary, “translation is (1) the process of changing forms that is written or spoken into another language. (2) A text or work that has been changed from one language into another. (3) A process of changing into a different form”.

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is spoken or written”. This means that in translating the text’s meaning of the Source Language (SL) must be the same with that in the Target Language (TL).

Regarding those statements above, it is clear that translation covers meaning, form of language, equivalences and cultural context. Therefore, a translator needs to have good understanding not only in mastering the materials that she/he is translating, but also everything that is related to the two languages. It can be concluded that the central idea of translation is the process of transferring meaning from the Source Language (SL) to the Target Language (TL) in order to present the original sense and naturalness of the expression.

2.1.2 Process of Translation

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Figure 2.1 Translation Process by Larson

The forms of the text to be translated and the translation results are shown by the different forms between square and triangle. It means that in translating a text, Larson suggests that “the forms of the Source Language (SL) may be changed into appropriate forms of the receptor language in order to achieve the idiomatic translation”.

In line with Larson, Newmark (1988: 144) there are three basic translation processes as follows:

1. The interpretation and analysis of source language text;

2. The translation procedures, which may be direct, or based on Source Language (SL) and Target Language (TL) corresponding syntactic structures.

3. The reformulation of the text in relation to the writer’s attention, the reader’s expectation, the appropriate norms of the Target Language (TL) and so forth.

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approach, secondly when one is translating, he/she translates with four levels to bear consciously in mind”. Those four levels presented as follows:

1. The source language text level: this level also known as the level of language, where the translator begins and which he/she continually (but not continuously) go back to. At this level, a translator transposes the SL grammar (clauses and groups) into their TL ‘ready’ equivalents and he/she translates the lexical units into the sense that appears immediately appropriate in the context of the sentence.

2. The referential level: this level is the level objects and events, real or imaginary, which he/she progressively has to visualize and build up. This level is an essential part, first of the comprehension, then of reproduction process.

3. The cohesive level: this level is more general and grammatical which traces the train of thought, the feeling tone (positive or negative) and the various presuppositions of the SL text. This level encompasses both comprehension and reproduction. It presents an overall picture, to which a translator may have to adjust the language level.

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2.1.3 Translation Procedures

Newmark (1988: 81 – 93) specifically describes the translation procedures there are:

1. Literal

Literal is to transfer or to convert the grammatical structure of the SL both word and sentence to the nearest equivalence of the TL, in which the words are translated individually and out of context.

SL: The book is read by Udin TL: Buku itu dibaca oleh Udin.

2. Transference

Transference is the process of transferring a Source Language (SL) words to a Target Language (TL) text as a translation procedure. The word then becomes a ‘loan word’. The word in this procedure does not change the original form of the SL that is translated into TL. Translators use this procedure for there are the lack vocabularies of the TL. For example, most Indonesian people call the machine makes a printed record computer information as printer. This naming is taken from the source language itself.

SL: Oh, you can’t imagine

TL: Oh, takkan bisa kau bayangkan

3. Naturalization

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changing it to the normal morphology (word-forms) of the TL in order to make it familiar to the tongue of the target language speakers.

SL: Strategy, scheme, method TL: Strategi, skema, metode

4. Cultural Equivalent

Cultural equivalent is an approximate translation where a SL cultural word is translated by a TL cultural word. This procedure has translator to transfer the relevant cultural equivalents of the SL which is possessed by the TL. The main purpose of the procedure is to support of supplement another translation procedure in a couplets.

SL: Bachelor of Arts, notaire TL: Sarjana muda, pengacara

5. Functional Equivalent

Functional equivalent is a common procedure. By using this procedure a translator tries to explain the use—its description of the function—of the source language word in the TL. It is applied to cultural words, require the use of a culture-free word, sometime with a new specific term; it therefore neutralises or the SL word. When one translates Japanese word ‘harakiri’, he/she only explains the function ‘harakiri’ to be ‘an honorable way to end up your own life’. Other example is baccalaureat – ‘french secondary school leaving exam’; Sejm – ‘Polish parliament’ (Newmark, 1988: 83) SL: Shaman (English)

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6. Descriptive Equivalent

Differing from functional equivalent, descriptive equivalent puts more emphasize on the description of cultural word. For example, samurai is described as Japanese aristocracy from the eleventh to the nineteenth century (Newmark, 1988: 81)

SL: Décolletage

TL: Potongan baju wanita yang lehernya sangat rendah

7. Synonymy

Synonymy is the use of a near TL equivalent to an SL word in a context, where a precise equivalent may or may not exist. This procedure is used for a SL word where there is no clear one-to-one equivalent, and the word is not important in the text. In other word, due to there are choices of words in the TL; a translator may decide to use one of the equivalent words. ‘Desert’ can be translated ‘padangpasir' or ‘padang gurun’ by the translator which has the similar meaning in the TL.

SL: Cream tea (English) TL: Pastry (Italian)

8. Through-Translation

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words which may be transparent for English language. A common example is UN (United Nations) translated as ‘PBB (Perserikatan Bangsa-Bangsa)’.(Newmark, 1988: 85)

SL: World Health Organization (English) TL: Badan Kesehatan Dunia (Indonesian)

9. Shift or Transposition

A ‘shift’ or ‘transposition’ is a translation procedure involving a change in the grammar from the SL to TL. One type is the change of singular to plural. The second type of shift is required when a SL grammatical structure does not exist in the TL. The third type of shift is the one where literal translation is grammatically possible but may not accord with natural usage in the TL. The fourth type of transposition is the replacement of a virtual lexical gap by a grammatical structure.

From singular to plural: the sheep Domba-domba itu.

Position of adjective: The lazy woman Wanita yang malas.

From passive to active: The book is read by her Dia membaca buku itu

10. Modulation

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another’, ‘reversal of terms’, ‘space for time’, ‘intervals and limits’, and ‘change of symbols’.

SL: It is not bad for you TL: Itu baik untuk kamu

11. Recognized Translation

Recognized translation is normally used when the TL accepted translation for the SL both words and sentences. This procedure is sometimes inappropriate or poor but the speakers of TL are fine with that. The translation of ‘Among every tongue and tribe’ is ‘Pada segala bangsa’ or ‘Wait a minute’ is ‘Tunggu sebentar’ as two examples of recognized translation.

SL: Gas station, football TL: Pom bensin, sepak bola.

12. Translation Label

Label is a temporary translation of the SL word. The translator considers this procedure usually as the appropriate one to translate a new institutional term, which should be made in inverted commas, which can be later be discreetly withdrawn. It could be done through literal translation. For example, heritage language is translated become language

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13. Compensation

Compensation procedure is used when one part of a sentence loss of meaning, sound-effect, metaphor or pragmatic effect, then the compensated in another part or in a contiguous sentence.

14. Componential Analysis

Componential analysis is the splitting up of lexical unit into its sense components, often one-to-two, -three or –four translations.

15. Paraphrase

Paraphrase is an amplification or explanation of the meaning of a segment of the text. It is used in an “anonymous” text when it is poorly written, or has important implication and omission.

SL: A discussion of these remedies. TL: Perbincangan seputar perbaikan.

16. Adaptation

Adaptation as stated by Vinay and Darbelnet quoted by Newmark (1988: 91) is the use of recognized equivalent between two situations. This is a matter of cultural equivalence, such as ‘Dear Sir’ translated as ‘kepada yang terhormat’ or ‘Yours ever’ translated as Amities.

17. Equivalence

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mentions that a term by the translator is considered to be translated into approximate equivalence, accounting for the same situation in different term.

18. Reduction and Expansion

Reduction and expansion are rather imprecise translation procedures, which can be practiced intuitively in some cases. Reduction is used to eliminate some part of the sentence or the phrase from the SL. For expansion, a translator extends belebend (adjective) to be ‘life-giving’ (adverb plus past participle). However, for each there is at least one shift that you may like to bear in mind, particularly in poorly written text. SL: Trust me!

TL: Percayalah!

19. Couplet, Quadruplet and Triplet

Couplet, Quadruplet, Triplet are combination of two, three or four of the mentioned procedures above respectively for dealing with a single problem. They are particularly common for cultural words, if transference combined with a functional or a cultural equivalent.

SL: The prevailing problems

TL: Problem-problem atau masalah-masalah umum

20. Notes, Addition and Glosses

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information in his or her translation. Note is additional information placed at the bottom of page or at the end of chapter. Meanwhile, additions are written within the text and glossary is put at the end of the book often as list of explanation of unusual words.

2.1.4 Translation Methods

In translating, the translator may face problems in transferring the meaning from SL text to the TL text. It occurs whether in term of grammatical structure, cultural aspect, lexicon, communication situation, style of language both SL text and TL text. Therefore, to solve these problems, some experts proposed some methods of translation.

Larson (1984: 15) divides translation methods into two comprising form-based translation and meaning-form-based translation. According to her, the first is called as literal translation which to follow the form of the source language. And the second is named as idiomatic translation since it is produced to communicate the meaning of the source language text in the natural forms of the receptor language. Thus, Larson adds that “a truly idiomatic translation does not sound like a translation”.

Further, Larson mentions that a good translator looks for the way in which the same message is expressed naturally in the receptor language. He/she will be able to provide an adequate and sometimes brilliant translation. Therefore:

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text written in the receptor language for their information and enjoyment.

(Larson, 1984: 23)

Meanwhile, Newmark (1988: 45 – 47) proposes eight translation methods on the basis of language used to emphasis either SL or TL. He describes them in the form of a flattened V diagram:

Figure 2.2 Newmark’s Flattened V Diagram of Translation Method

The translation methods that emphasize on the Source Language 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 into 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 SL or to interpret a difficult text as a pre-translation process.

SL: I Like you

TL: Saya menyukai kamu

2. Literal translation

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SL: They are quick of hearing and sharp-eyed

TL: Mereka punya pendengaran dan penglihatan tajam

3. Faithful translation

It is an attempt to reproduce the precise contextual meaning of the original within the constraints of the TL grammatical structure. It transfers cultural words and maintains the degree of grammatical and lexical abnormality in the translation. It attempts to be completely faithful to the intention and the text realization of the SL writer

SL: If he was lucky, his death would be quick TL: Kalau ia beruntung, ia akan mati cepat

4. Semantic translation

The distinction between ‘faithful’ and ‘semantic’ translation that the first is uncompromising and dogmatic, while the second is more flexible, admits the creative exception to 100% fidelity and allows for the translator’s intuitive empathy with the original.

SL: There they lay fat.

TL: Di sana mereka tengkurap rata dengan tanah.

The translation methods that emphasize on the Target Language 1. Adaptation

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2. Free translation

It 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 translation at all.

SL: She was robbed of her jewels yesterday. TL: Kemarin permata-permatanya dirampok.

3. Idiomatic translation

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

4. Communicative translation

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

SL: She put the egg down

TL: Pelan-pelan ia diletakkannya kembali telur itu

2.1.5 The Criteria of Good Translation

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mastering SL and TL, he should also understand the situation and context of a work that will be translated. These all are related to the quality of translation.

Meanwhile, Larson (1984: 6) states that the best translation is the one which:

1. Uses the normal language forms of the receptor language

2. Communicates as much as possible, to the receptor language the same meaning that was understood by the speakers of the source language 3. Maintains the dynamics of the original source language text.

In accordance with Larson statement, Prochazka in Nida (1964) mentions that defines a good translation in terms of certain requirements which must be made of the translator, namely: (1) “He must understand the original word thematically and stylistically”; (2) “He must overcome the different between the two linguistic structures”; and (3) “He must reconstruct the stylistic structures of the original work in his translation”.

Meanwhile, According to Barnwell as cited in Perkasa (2006), there are three most essential qualities of a good translation:

1. Accuracy: This refers to the precise understanding of the source message and the transfer of the message meaning as accurate as possible into the Target Language (TL)

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2. Clarity: Easy to understand. The translation should be clear and understandable. The translator aims to communicate the message in a way that people can readily understand

Example: “How nice this scenery is!” is translated into “Alangkah indahnya pemandangan itu”

3. Naturalness: The translation should make sense, read naturally which is written in ordinary language, the common grammar, idioms, and words that meet that kind of situation. The use of natural Target Language (TL) in the translation is expected to be natural and not sound strange.

Example: She worked hard at whatever she did. It is translated into dia bekerja keras apapun yang dikerjakan, the translation seems unnatural compared with Apapun yang dilakukannya selalu dengan sungguh-sungguh.

2.2 Figurative Language

2.2.1 Definition of Figurative Language

According to Longman Dictionary of Contemporary English (1987: 379) figurative speech or figurative language is “an example of the figurative use of words.” Same definition is given by Oxford Advanced Learner’s Dictionary (2005: 433) that is “a word or phrase used for vivid or dramatic effect.”

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words in order to furnish new effects or fresh insights into an idea or a subject, cited from (http://www.orangeusd.k12.ca.us/yorba/figurative_language .htm).

Meanwhile, figurative language as stated on (http: //au.encarta.msn.com/ text_761577842__1/Figure_of_Speech.html) is:

Figure of speech, word of group of words used to give particular emphasis to an idea or sentiment. The special emphasis is typically accomplished by the user’s conscious deviation from the strict literal sense of a word, or from the more commonly used from of word order or sentence construction.

In Merriam—Webster’s Encyclopedia of Literature (1995: 415), figure of speech is defined as:

A form of expression (as a simile or metaphor) used to convey meaning or heighten effect often by comparing or identifying one thing with another that has a meaning or connotation familiar to the reader or listener.

In Indonesian language figurative language is known as gaya bahasa or

majas. According to Keraf (1991: 112) in his book entitled “Diksi dan Gaya Bahasa” defines figurative language as:

Persoalan gaya bahasa meliputi semua hirarki kebebasan: Pilihan kata secara individual, frasa, klausa, dan kalimat, bahkan mencakup pula sebuah wacana secara keseluruhan, malahan nada yang tersirat di balik sebuah wacana termasuk pula persoalan gaya bahasa.

Keraf (1991: 112)

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also their background of experiences and so forth. Certainly, the writers’ skill to create attractive and dept meanings of combinational words are needed to attract their readers’ intention.

2.2.2 Types of Figurative Language

According to Merriam-Webster’s Encyclopedia of Literature, 1995: 415,

Figurative language or figure of speech can be classified in five major categories, there are:

1. Figures of resemblance on relationship (e.g., simile, metaphor, kenning, conceit, parallelism, personification, metonymy, synecdoche, and euphemism).

2. Figures of emphasis or understatement (e.g., hyperbole, litotes, rhetoric question, antithesis, climax, bathos, paradox, oxymoron, and irony).

3. Figures of sound (e.g., alliteration, repetition, anaphora, and onomatopoeia).

4. Verbal games and gymnastics (e.g., pun, and anagram). 5. Errors (e.g., malapropism, periphrasis, and spoonerism).

Basically, according to Keraf (1991) in bahasa Indonesia figurative language or

majas is divided into four major categories, they are:

1. Majas Perbandingan for example, personification, metaphor, euphemism, allegory, hyperbole, litotes, etc.

2. Majas Sindiran for example, irony, sarcasm, etc.

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4. Majas Pertentangan for example, antithesis, paradox, okupasi, etc.

In addition, in line with Frost (2006) state that there are sixteen types of figurative language. Those figurative language would be explained which related to this study and those are used in analyzing the findings. The sixteen types of figurative language are presented below:

1. Alliteration

Alliteration is repeated consonant sound occurring at the beginning of the word or within words. Alliteration is used to create melody, establish mood, call attention to important words, and point out similarities contrast. Meanwhile, based on Ensiklopedi Sastra Indonesia (2004: 42) pointed out that “Aliterasi adalah gaya bahasa dimana adanya pengulangan bunyi konsonan, lazimnya pada awal kata yang berurutan, untuk mencapai efek

kesedapan bunyi” For instances:

• Sweet smell of success, a dime a dozen, and jump for joy

• Five freaky females finding sales at retail.

• Bukan beta bijak berperi (Rustam Effendi’s poem)

2. Allegory

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Furthermore, Robert Frost is notable for his use of parable using the description to evoke an idea. For instances:

• After Apple-Picking: the apple harvest suggests accomplishment.

• Birches: the climbing suggests the value of learning and experience.

• Kakek dan nenek itu telah bersama-sama mengarungi bahtera

pernikahan selama 50 tahun

3. Allusion

Allusion is a brief figurative or symbolic reference within a literary text to a familiar or person, place, event or thing outside the text. Allusion is used in hopes of triggering an association to portray a meaning. For instances: • Catherine is a real Cinderella (works a lot around the house , cooking

and cleaning)

• He was Hercules of a man (strong, take on anything)

• Si Udin sekuat Gatotkaca

4. Assonance

Assonance is a resemblance of a sound in words or syllable. According to

Ensiklopedi Sastra Indonesia (2004: 93), “Asonansi adalah gaya bahasa

dimana perulangan beberapa bunyi yang berdekatan yang terdapat pada

berapa kata yang menyebabkan bunyi-bunyi itu enak didengar. Umumnya

berupa pengulangan bunyi vokal” For instances: • Thy kingdom com, thy will be done.

• Fleet feet sweep by sleeping geese.

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5. Hyperbole

Hyperbole is expression of exaggeration which used by a writer depicted as being better or worse, or larger or smaller, than actually the case. According to Merriam—Webster’s Encyclopedia of Literature (1995: 573) “hyperbole is a figure of speech that is an intentional exaggeration for emphasis or comic effect.” For instances:

• Dr. Johnson drank his tea in oceans.

• My date last night was the most beautiful girl in the world.

• Darahnya mendidih mendengar hinaan itu

6. Idiom

Idiom is the language peculiar to a group of people and has a special meaning of its own. According to Ensiklopedi Sastra Indonesia (2004: 345) “Idiom adalah ungkapan yang bercorak khas digunakan

dalam pemakaian bahasa, baik yang menyimpang dari tata bahasa

maupun tidak karena mempunyai makna yang tidak dapat dijabarkan dari

makna unsur-unsurnya”. For instances: • She sings at the top of her lungs. • Do you need a hand?

• Anak itu besar kepala

7. Imagery

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tonight” in the poem “Dover Beach,” you create sea in your imagination. For instances:

• The trees converged in a velvet meadow.

• Sungai itu mengalir dengan tenang, airnya jernih sehingga ikan-ikan

kelihatan dengan jelas

8. Irony

Irony is word using that say something other than what we mean actually. Irony is one of type of figurative language that declare the opposite meaning or contradiction with the fact. According to Ensiklopedi Sastra Indonesia (2004: 361) pointed out that “Ironi adalah majas yang bertentangan dengan makna sesungguhnya, bias berupa ketidaksesuaian

antara harapan dan kenyataan atau ketidaksesuaian antara suasana yang

diketengahkan dan kenyataan yang mendasari” For example: • In this cell we are happy, actually.

• Wanita itu kesepian di tengah kota yang ramai

9. Metaphor

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• A woman is admired for her strength and beauty, she is a silken tent.

• The stages of love are stepping stones to death.

• Raja siang telah pergi keperaduannya

10. Metonymy

Metonymy is a figure of speech that uses a concept closely related to the thing actually meant. Meanwhile, according to Merriam—Webster’s Encyclopedia of Literature (1995: 578), “metonymy is figure of speech consists of using the name of one thing for something else with which associated.” There are several examples of metonymy:

• I spent the evening reading Shakespeare.

• “Hollywood.” (The American film industry)

• “White House.” (The president of the United States and advisors)

• Ayah pergi ke kantor naik kijan sedangkan ibu pergi ke pasar naik

bebek

11. Onomatopoeia

Onomatopoeia is the naming of a thing or action by a vocal imitation of the sound associated with it and the use of words whose sound suggests the sense. In more simple terms, it is the use of a word to indicate sound in other words the figurative language of a sound like the word. For instances:

• The fire crackled and the popcorn popped. • Hiss, rattle, bang, buss, roar, woof and so forth.

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12. Paradox

Paradox is a statement or situation containing apparently contradictory or incompatible elements, but on closer inspection may be true. There are three definitions of paradox based on Merriam—Webster’s Encyclopedia of Literature (1995: 856):

Paradox is (1) A tenet or proposition contrary to received of expectation. (2) An apparently self-contradictory statement, the underlying meaning of which is revealed only by careful scrutiny. (3) Something (such as a person, phenomenon, state of affairs, or action) with seemingly contradictory qualities or phases.

According to Keraf (1991: 136) “Paradoks adalah semacam gaya bahasa yang mengandung pertentangan yang nyata dengan fakta-fakta yang

ada”.

Several examples of paradox as follows:

• Men work together whether they work together or apart.

• A well-known secret agent.

• Musuh sering merupakan kawan yang akrab.

13. Personification

Personification is representation of inanimate objects or abstract ideas as living beings, as in fact. According to Merriam—Webster’s Encyclopedia of Literature (1995: 875), “personification is figure of speech in which human characteristics are attributed to an abstract quality, or animal, or inanimate object.” Furthermore, according to Keraf (1991: 140)

“Personifikasi adalah semacam gaya bahasa kiasan yang

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bernyawa seolah-olah memiliki sifat-sifat kemanusiaan”. There are three examples of personification:

• Night enfolded the town in its ebon wings.

• The tree watches him sleep.

• Anginpun berusaha membisikkan sesuatu kepadaku

14. Simile

Simile is a figure of speech in which a comparison is expressed by the specific use of a word or phrase such as: like, as than, seems or as if. Based on Merriam—Webster’s Encyclopedia of Literature (1995: 1033), the definition of simile is “figure of speech involving a comparison between two unlike entities. Based on Keraf (1991: 138) states that

“Persamaan atau simile adalah perbandingan yang bersifat eksplisit.

Untuk itu ia memerlukan upaya yang secara eksplisit menunjukan

kesamaan itu, yaitu kata-kata” seperti, sama, sebagai, bagaikan, laksana,

dan sebagainya” There are four examples of simile: • Like an old-stone savage armed.

• We ran as if to meet the moon.

• Matanya bagaikan bintang timur

15. Symbol

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especially, a visible sign of something invisible.” There are four examples of symbol:

• Our flag is the symbol of our country.

• Flowers become a symbol for the beloved, his wife Elinor.

• “Maung Bandung” hari ini akan beraksi (Maung Bandung means one

of soccer club in Indonesia located in Bandung) 16. Synecdoche

Synecdoche is a figure of speech that mentions a part of something to suggest the whole or contrary. According to Merriam—Webster’s Encyclopedia of Literature (1995: 1086), “synecdoche is figure of speech in which a part represents the whole or, less commonly, the whole represents a part”. In line with Keraf (1991: 142) states that “Sinekdoke adalah semacam bahasa figurative yang mempergunakan sebagaian dari

sesuatu hal untuk menyatakan keseluruhan (pars prototo) atau

mempergunakan keseluruhan untuk menyatkan sebagian” For instances: • “Have you got your wheels, man?” (‘Wheel’ is used to mean a car)

• “50 head of cattle.” (‘Head’ is used to mean whole animals)

• Si Udin sudah satu minggu tidak menampakkan batang hidungnya

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2.2.3 Figurative Language in Novel

As mentioned before that figurative language usually exists in a novel. Here, the novel is as one of way for the author to write figurative language. According to Buhler in Newmark (1988:39), “novel is included into expressive functions of language. The other two are informative and vocative function.”

Novel is an extended work of written, narrative, prose fiction, usually in story form. The English word derives from the Italian word ‘novella’, meaning “a tale, a piece of news”. Novel is longer than any other works such as poem or short story. It is not bound by structural and metrical restrictions such as in plays and poetry (http://en.wikipedia.org/wiki/Novel). However, novels usually attempts to bring greater senses of realism to the narrative by covering a wide range of characters and experience.

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CHAPTER III

RESEARCH METHODOLOGY

This chapter includes the methodology of the research, and describes the method of the research, the source of data, the data samples, the techniques of collecting the data, and the techniques of analyzing the data.

3.1 Method of the Research

In this research, a descriptive qualitative method is used by the writer in analyzing and in exposing the obtained data which is the figurative language that is found in the novel. According to Fraenkel and Wallen (1993: 23) state that descriptive method is method used to explain, analyze, and classify, something through various techniques, survey, interview, questionnaire, and test. In addition, Fraenkel and Wallen (1993: 380) also explain about qualitative research. Qualitative research is defined as “a research study that investigates the quality of relationships, activities, situations or materials.” Qualitative methods use descriptions and categories (words), for examples, open ended interviews, naturalistic observation, and document analysis. The writer analyzed the data one by one or detail.

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rather than numbers. Third, qualitative researchers are concerned with process as well as product. Fourth, qualitative researchers tend to analyze their data inductively. Fifth, how people make sense out their lives is a major concern to qualitative researchers.

Regarding to the subject of the study, the writer believes that this research has potential issues to be analyzed by a descriptive qualitative method since this research is going to describe and explore the translation procedures used in translating figurative language in a novel.

3.2 Source of Data

The object of the present study is a novel entitled Adventures of Huckleberry Finn written by Mark Twain, and its translated version by Juniriang Zendrato and Siwi Karmadi Kurniasih. This novel consists of 43 chapters, and 374 pages. It was published in 1973 and translated into Indonesia in 2007. This is an international best seller novel and belongs to classic novel.

This research was conducted only to analyze the figurative language found in the English novel version. Then the translation procedures in translating the figurative language in the two Indonesian translation versions were analyzed. Therefore, a purposive sampling is an appropriate method employed in this study.

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Another reason is the researcher use personal judgment to select a sample since the specific purpose of the research.

3.3 Data Samples

3.3.1 Population

Population is a set of data used to be investigated in which samples can be taken. Sugiyono (2006: 117) also explains that “A population is a generalization area consisting object or subject which has certain quality and characteristic that is determined by the researcher in order to be learned and taken its conclusion”.

After collecting the data, the writer found there are 398 sentences that contain figurative language taken from the whole chapters (chapter 1- chapter 43) of the novel Adventures of Huckleberry Finn written by Mark Twain.

3.3.2 Samples

Population is divided into two: sampling population and target population. The sampling population of this research is the whole sentences in the novel ‘Adventures of Huckleberry Finn’, and the target population is the sentences that contain figurative language in it.

Samples are taken from the selected chapters. The steps in sampling process are as follows:

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2. The selected chapter is divided into three parts: beginning chapters consist of the uneven number chapters (chapter 1, 3, 5, 7, 9, 11, 13), the middle chapters consist of the even number chapters (chapters 16, 18, 20, 22, 24, 26, 28) , the last part consist of uneven number chapters (chapters 31, 33, 35, 37, 39, 41, 43)

3. From the beginning chapters, the writer found 44 sentences of figurative language, 40 sentences that contain figurative language taken from the middle chapters, and from the last chapters 37 sentences of figurative language.

4. From those 121 samples were analyzed by the writer in order to find out the types of figurative language.

5. The writer analyzes the data in order to identify the procedures in translating figurative language.

6. The 121 samples will be analyzed by the writer in order to judges the quality in terms of accuracy, clarity and naturalness.

3.4 Techniques of Collecting the Data

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1. Reading the novel both the original version and translated version.

2. Highlighting and identifying the sentences that contain figurative language then writes them into transcript.

3. Collecting the data (figurative language)

4. Classifying the gained data based on of each characteristic of figurative language

5. Juxtaposing the gained data between the original version and translated version

3.5 Techniques of Analyzing the Data

The analysis of figurative language translation applied on the entire samples as follows:

• After classifying the figurative language, the writer juxtaposing the gained

data which is figurative language both between the original version and the translated version of the novel.

• Calculating the total number of the sentences that contain figurative

language in it.

• Identifying the use of translation procedures that are used in translating the

original version into Indonesian version based on Newmark’s Theory. • Categorizing the translation procedures based on Newmark’s Theory

• Calculating total number and percentage of each procedure to find out the

amount of each procedure based on the following formula: P = F X 100%

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P: number of percentages

F: frequency of translation procedures N: number of whole sample

• Judging the quality in terms of accuracy, clarity, and naturalness of

translated version

• Drawing conclusion based on the data that have been analyzed.

Example of analysis:

Source Language Target Language

The wind was trying to whisper something to me

p. 4 c. 1

Anginpun berusaha membisikkan sesuatu kepadaku

p. 35

The example above belongs to personification category. The author used the word “membisikkan” in order to compare the dead thing with human being. Here the author intended to communicate a certain feeling that the word

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CHAPTER IV

FINDINGS AND DISCUSSIONS

This chapter presents the research findings and discussions related to the formulation of the research. The findings are analyzed and elaborated which then discussed in sub-chapters in order to obtain the result of this research.

4.1 Findings

The research is aimed to analyze the types of figurative language that are found in the novel, to figure out the procedures of translation used in translating the novel entitled Adventures of Huckleberry Finn written by Mark Twain. Furthermore this research is aimed at judging the quality of translation of Indonesia version in terms of accuracy, clarity, and naturalness.

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sampling and analyzed based on the translation procedures suggested by Newmark and then stated the quality of translated novel.

In detail, the writer selected 121 figurative language. They consist of 1 alliteration, 2 allusion, 1 assonance, 21 hyperbole, 11 idiom, 25 imagery, 2

irony, 3 metaphor, 2 metonymy, 3 onomatopoiea, 6 paradox, 8 personification, 31 simile, 4 symbol and 1 synecdoche. The further disccusion about each figurative language and its procedures are shown as follow

Table 4.1 The Translation Procedures of Alliteration

No Source Language Target Language Translation Procedures

1

I got a good going-over in the morning from old Miss Watson on account of my clothes.

p.14 c. 3

Paginya aku mendapat ceramah dari Nona Watson

mengenai bajuku

p. 49 Transposition

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figurative language in which the translator changed the grammatical structure of the original text. There are three changes that were conducted by translator. First is position of the word I as subjet placed in front of the sentence in source language is shifted into subject in target language “aku” placed after modifier. Second is the position of modifier of time “in the morning” placed in the middle of sentence is shifted into in the front of the sentence in target language “paginya”. And the last is “my clothes” as plural object is translated into “bajuku” as singular object in the target language. The subject, verb, complement and modifier in this sentence formed the effect of alliteration it self. Generally, the translation is comprehensible. The translation is accurate, natural and clear.

Table 4.2 The Translation Procedures of Allusion

1 He said if I warn’t so ignorant, but had read a book called Don Quixote, I would know without asking

p.17 c. 3

Lalu dia bilang kalau saja aku tidak terlalu bodoh dan membaca buku yang berjudul

Don Quixote, pasti aku akan tahu tanpa banyak tanya

Dan berkata bahwa dulu dia

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book written by Cervantes, meanwhile Romeo and Juliet is a couple and they are a familiar story and become legend story for people all over the world. The procedure that was used by translator in translating those figurative language is transference. The procedure does not change physical form of the translated word where Don Quixote and Romeo and Juliet are translation of Don Quixote and Romeo and Juliet. Because the message of those sentences do not change too much and can be understood easily so those sentences are acceptable or good.

Table 4.3 The Translation Procedures of Assonance

1

Now you’d hear the thunder let go with an awful crash, and then go rum- bling, grumbling, tumbling

p.63 c. 9

Sekarang kau akan mendengar guntur datang dengan gelegar yang mengerikan, dan bergemuruh

p.118

Paraphrase

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change the meaning of the source language, so that the reader can understand easily. In this sentence the meaning of the sentence has translated successfully.

Table 4.4 The Translation Procedures of Hyperbole

1 the highest tree there was in the country

p.19 c. 3

Tapi aku akan membuat orang itu memanjat pohon tertinggi di seluruh negeri

p.55

Expansion

4

The judge said it was the holiest time on record

p. 30 c. 5

Hakim itu berkata bahwa itu adalah waktu tersuci di didn’t speak nor whisper, nor hardly even breathe.

p.92 c. 13

Kami sama sekali tidak

menggunakan dayung, dan kami

tidak berbicara atau berbisik, bahkan tidak juga bernafas p. 160

Through Translation

7

Jim was pleased most to death.

p. 373 c. 43

Jim senang setengah mati

p. 547 Synonymy

8

The lightning begun to flicker out from under his eyebrows

Dan dia berkata aku adalah

anak laki-laki terbaik di dunia

p. 229 Through Translation

10

I couldn’t get my breath for most a minute crying and taking on, scared most to death

p.186

Banyak perempuan dewasa dan

gadis yang menangis dan histeris, ketakutan setengah mati.

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c. 22 p. 288

aman di tangan ribuan orang

seperti kalian

Aku bahkan tidak dapat memikirkannya dalam setahun

p. 294 Transposition

14

But his brother would a give anything in this world to see HIM

dunia yaitu dapat melihatnya sebelum mati

Kasihan! Harus tin’gal sendiri di dunia ya’ kejam ini

p. 314 Synonymy

16

Sudden as winking the ornery old creature went an to smash p. 208

c. 24

Tiba-tiba dalam sekejap mata,

orang tua itu menghampiri untuk menampar

p. 317

Reduction

17

Then Susan SHE waltzed in; and if you’ll believe me, she did give Hare-lip hark from the tomb p. 223

c. 26

Kemudian Susan berkata jika kau mempercayaiku, dia akan

kepadanya seribu kebohongan

sehingga dia melakukannya lagi.

Aku rasa aku telah memikirkan dia berjuta kali

Dan dia sangat gembira, dan dia berkata bahwa aku adalah

teman baik yang pernah dia miliki di dunia ini

p. 406

Reduction

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effect (Merriam – Webster’s Encyclopedia of Literature, 1995: 573). In this case, all of sentence above have the effect of exaggeration within its words.

Hyperbole presents in figurative language number 1, 4, 7 and 15 in which the exaggeration of statement is made to emphasize the truth of the statement. An exaggeration language is used in both the source language and in target language. The readers are able to catch the meaning of the sentences if they do not read literally. In source language of figurative language number 1 the word “sweat” is translated into target language into “setengah mati”. It means that the translator attempted to understand how the character “I” really wants to know something so hard. The sentence “The judge said it was the holiest time on record” in figurative language number 4 shows that there is an exaggeration expression in this sentence. It sounds too excessive that the author of the novel wants to attract the readers and it cannot be understood literally. In figurative language number 7 “Jim was pleased must to death” illustrates that it is does not make sense that Jim was happy and almost die because of it. This is only the author’s style in expressing something in his character in the novel. Then in figurative language number 15 in sentence “to be left alone in the cold world so” indicates the exaggeration expression. In this sentence, the author of the novel intended to make this expression much more attract to be read.

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translated as “keringat or peluh”. However, the translator selected the word

“setengah mati” in translating “sweat” in order to appropriate with the context of the text. Figurative language number 4, the translator translated the word “judge” into “hakim” in target language. Actually, the word “judge” can be literally translated into “wasit” in target language. But, the word is not appropriate in this text since it will change the meaning. So, the translator used the word “hakim” that has similar meaning to “judge”.

The figurative language number 2, 6, 9, and 18, it can be seen the exaggeration in each sentences. In figurative language number 2 can be seen that the sentence “I as high as a tree and as big as a church” has the effect of exaggeration. It does not make sense that the body of people can be as high as a tree and as big as a church. This is only the imagination of the authors that is expressed in his writing. The sentence “we didn’t speak nor whisper, nor hardly even breathe” in figurative language number 6 has exaggeration effect. Human may be dead if do not breath even 5 minutes. Figurative language number 9 illustrates exaggeration expression in sentence “I was the best boy in the world”. Through this sentence the author of the novel attempts to emphasize for certain effect. An exaggeration expression also found in a sentence “I wished I could tell her a thousand lies” in figurative language number 18. It is impossible that a person is able to lie in a thousand to other.

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language. The word “oar” is translated into “dayung” in figurative language number 6. In figurative language number 9 and 18 the words “boy” and “thousand”, each of them is translated into “anak laki-laki” and “seribu” in target language. Therefore, the translator applied this procedure in order to convert the grammatical structure of the source language to the nearest target language equivalent.

Hyperbole was found in figurative language number 3, 5 and 14. It is indicated in “I’d make that man climb the highest tree there was in the country” In figurative language number 3, “Seemed a week before we got to the stern” in figurative language number 5 and “But his brother would a give anything in this world to see him before he died” in figurative language number 14 which are all of them have exaggeration expression.

Expansion procedure was applied by the translator in translating figurative language number 3, 5, and 14 in which there is some addition of words class was put in target language. It can be seen in figurative language number 3 the word “country” is translated into “seluruh negeri”. So in this case, the translator added one word class that is adjective “seluruh” in target language. The expansion is happened in figurative language number 5 in which the word “stern” (noun) is translated into “buritan kapal” (noun plus noun). Meanwhile, in figurative language number 14 the translator translated a noun “world” to be “dunia yaitu” (a noun plus a verb).

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figurative language number 8 shows that there is exaggeration within this sentence. It sounds peculiar as well as does not make sense that eyebrow is able to come out the lighting. The words “….scared most to death” in figurative language number 11 illustrates an exaggeration expression. The figurative language number 13 in sentence “I couldn’t a thought of them in a year” describes the exaggeration as well.

In translating figurative language number 8, 11 and 13, the translator used transposition procedure in which each figurative language underwent the change. In this case, the translator translated the word “eyebrows” into “alis” and “girls” into “gadis” in figurative language number 8 and 11 where plural word become singular word in target language. Meanwhile, figurative language number 13 in word “a thought” as a noun is translated into “memikirkannya” as a verb in the target language.

The Figurative language number 10 and 20 is categorized as hyperbole as well. Both of them illustrate exaggeration expression is used by the author of the novel. It can be seen in “I couldn’t get my breath for most a minute” and “I’ve thought of her a many and a many a million times”. This is done by the author in order to lead attention of his readers in enjoying his writing.

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An exaggeration language is used in figurative language number 16, 19, and 21. Figurative language number 16 “Sudden as winking the ornery old creature went an to smash”. It is does not make sense that the elder is able to move as a blink the eye to hit someone. Furthermore, “They sha’n’t touch a hair of your head” in figurative language number 19 shows that there is exaggeration expression in it. And also the sentence “And he was so grateful, and said I was the best friend old Jim ever had in the world” in figurative language number 21.

The same procedure is applied in translating figurative language number 16, 19 and 21 that is reduction. The omission is happened when the translator translated “ornery old creature” into “orang tua”, “a hair of your head” into “sehelai rambut” and “best friend old” into “teman baik” in each figurative language of target language. It can be seen that there is a word that is not translated in target language there are creature, your head, and old in each figurative language.

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The last hyperbole is illustrated in figurative language number 17. The sentence “she did give Hare-lip hark from the tomb” in figurative language number 17 shows an exaggeration expression since it does not make sense that the dead body is able to listen the call from tomb. It sounds like more comical event than reality. Transference is the procedure in translating this figurative language in which the word “Susan” is translated into “Susan” in target language. The word “Susan” in target language is still read in accordance to the source language phonology.

All of target language can be understood easily by the readers. Most of source language consists of simple sentences, so the translator could translate easily. Generally, the translator above have fulfilled the requirements as suggested by Barnwell: accuracy, clarity, and naturalness. However, there are some weaknesses in translating source language especially in terms of naturalness. For example, figurative language number 10 “I couldn’t get my breath for most a minute” is translated into “Aku kehilangan napas selama satu menit. This translation is little bit lack of naturallness. Suggested version that can be considered ”aku tidak bisa bernapas selama satu menit”.

Table 4.5 The Translation Procedures of Idiom

No Source Language Target Language Translation Procedure

1

Just keep a tight tongue in your head and move right along

p.277

Sometimes the widow would take me one side and talk about

Providence in a way to make a body’s mount water.

p.15

Kadang si janda mengajakku bicara tentang Tuhan yang membuat orang tergiur p. 50

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c. 3

hanging on the jackstaff of a double-hull ferryboat p.94

c. 13

Saat mengapung aku melihat ada sebuah lentera tergantung pada sebuah dongkrak kapal feri yang berlambung dua

p. 162

Naturalization

5

They made a heap of fuss over him, and fixed him up prime

p. 372

Give a nigger an inch and he’ll take an ell

kebebasan (Diberi hati minta ampela)

p. 190

Notes, addition, and glosses

7

But after this always do whichever come handiest at the time

p. 118 c. 16

Tetapi setelah ini aku akan selalu ringan tangan di setiap kesempatan.

p. 196

Paraphrase

8

He set up a little piece of poetry, which he made, himself, out of his own head

p. 171 c. 20

Dia menulis sedikit puisi yang dia buat sendiri, di luar kepala

p. 268 Reduction

9

And then a MAN goes in the night, with a hundred masked cowards at his back

p. 188 c. 22

Dan ada seorang lelaki berjalan di malam hari dengan seratus topeng pengecut di punggungnya

Dan hal itu membuatnya naik

pitam, dan mulai mengamuk.

p. 294 Reduction

11

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sentence above have the implicit meaning. The sentence has certain meaning within it. It can be seen in figurative language number 1, 3, 7 and 11, there are have hidden meaning behind the text. In figurative language number 1 “Just keep a tight tongue in your head and move right along” this text has contextual meaning. The contextual meaning is that must be more careful and do not talk too much in a journey. In translating this sentence, the translator translated into

“pokoknya jaga lidahnya dan berjalan terus”. This translation has same meaning with the true meaning of figurative language number 1 Figurative language number 3 has contextual meaning. The true meaning of figurative language number 3 is there is compulsion to do something. Then, in figurative language number 7 “…handiest at the time…” means that easy to be ordered to do something. The true meaning of figurative language number 11, “Because they could have the heart to serve Jim such a trick as that” is “they dared to treat Jim like that”. In translating those figurative language the translator applied paraphrase procedure. The translator conveyed the core meaning of the source language in the simplify form.