ANALYSIS ON THE TRANSLATION OF METAPHORS
IN
RONGGENG DUKUH PARUK
BY AHMAD TOHARI
INTO
THE DANCER
BY RENÉ T.A LYSLOFF
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Ayu Ganjar Sejati Student Number: 081214027
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
i
ANALYSIS ON THE TRANSLATION OF METAPHORS
IN
RONGGENG DUKUH PARUK
BY AHMAD TOHARI
INTO
THE DANCER
BY RENÉ T.A LYSLOFF
A SARJANA PENDIDIKAN THESIS
Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree
in English Language Education
By
Ayu Ganjar Sejati Student Number: 081214027
ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHER TRAINING AND EDUCATION
SANATA DHARMA UNIVERSITY YOGYAKARTA
iv
(Thomas and Friends)
If you climb the highest mountain. Cross the river deep. Maybe you'll find it's never as easy. As it first appears, as it first appears. Just remember not to
worry, or get down at heart. Never lose faith in positive thinking. You'll be amazed when you achieve all the things you start, all the things you start.
So, never, never, never give up! even though the going's tough. Don't stop trying when you're tiring, and you're out of puff. No! never, never, never give
up even though you're feeling rough. If at first you don't succeed, never, never, never give up!
If at first you don't succeed, then try and try again. Nothing in life is ever as easy, but you get there in the end, get there in the end. So, blow your cares and woes behind you. Start a brand new day! Nothing can stop you reaching
your goal. If you're determined, you can do it. You will find a way, you will find a way.
Some things seem impossible, answers hard to find. No matter how improbable, you won't know until you try. You can do whatever you choose it
just takes a little luck. So remember never, never, never give up! Never, never, never give up!
“ Sesungguhnya Allah tidak mengubah keadaan suatu kaum sehingga mereka mangubah keadaan yang ada pada diri mereka sendiri “
Ar-Ra’d [13:11]
This thesis is dedicated to:
my son who has always been my sun..
v
STATEMENT OF WORK’S ORIGINALITY
I honestly declare that this thesis, which I have written, does not contain the work or parts of the work of other people, except those cited in the quotations and the references, as a scientific paper should.
Yogyakarta, September20th, 2013
The Writer
Ayu Ganjar Sejati
vi
LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma:
Nama : Ayu Ganjar Sejati
Nomor Mahasiswa : 081214027
Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan
Universitas Santa Dharma karya ilmiah saya yang berjudul:
ANALYSIS ON THE TRANSLATION OF METAPHORS
IN RONGGENG DUKUH PARUK BY AHMAD TOHARI
INTO THE DANCER BY RENÉ T.A LYSLOFF
beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal: 20 September 2013 Yang menyatakan
vii ABSTRACT
Sejati, Ayu Ganjar. 2013. Analysis on the Translation of Metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into The Dancer by René T.A Lysloff. Yogyakarta: English Education Study Program, Sanata Dharma University.
Metaphor is a figurative of speech of comparisons which expresses a thing in terms of something else directly. Novel is one of literary products which cannot escape from the application of metaphor because a metaphor can build up the sense of a literary work. However, the meanings of a metaphor cannot be derived from the words that compose it. Therefore, it brings problems in the process of translation that may influence the translation product.
In this research, there are two main theories employed in order to answer the problems formulated. In order to answer the first problem regarding the types of metaphor in the Ronggeng Dukuh Paruk, Larson’s theory of metaphor (1984) is
employed. In order to answer the second problem related to the translation of metaphors in the Ronggeng Dukuh Paruk into English in The Dancer are analyzed based on Newmark’s theory of strategies in translating metaphor (1981). Then, the translations are evaluated based on Ideal Translation proposed by Larson (1984).
This research isa qualitative research which employs the document analysis. There are two instruments are used in this research. The first instrument is the human instrument which functions as the primary agent to collect the data. The second instrument is the document instrument which is the novel Ronggeng Dukuh Paruk and The Dancer.
The result shows that the type of metaphor whichappeared most frequently in Ronggeng Dukuh Paruk,is the dead metaphor. The dead metaphors appear 312 times, or it acquires 68% from the total findings of 456 metaphors identified. Furthermore, the researcher found that the most frequently used strategy of translating metaphor is translating metaphor by reproducing the same image in target language. This strategy appears 157 times, or it gets 34.2% from the total findings of 456. At last, the findings show that 90% of the translation is acceptable. Therefore, the translation of metaphors in Ronggeng Dukuh Paruk
into The Dancer is categorized as a good translation.
viii
ABSTRAK
Sejati, AyuGanjar. 2013. Analysis on the Translation of Metaphors in Ronggeng Dukuh Paruk by Ahmad Tohari into The Dancer by René T.A Lysloff. Yogyakarta: English Education Study Program, Sanata Dharma University.
Metafora adalah majas perbandingan yang secara langsung membandingkan sesuatu dalam bentuk yang lainnya. Novel merupakan contoh dari karya sastra yang tidak dapat terlepas dari penggunaan metafora, karena penggunaan metafora dapat menciptakan pemaknaan yang lebih mendalam terhadap sebuah karyasastra. Akan tetapi, makna sebuah metafora tidak dapat ditarik hanya dengan mengartikanny adari kata-kata yang menyusunnya. Dengan demikian, hal ini dapat menjadi masalah dalam proses penerjemahan metafora yang nantinya juga dapat mempengaruhi kualitas terjemahan tersebut.
Dalam penelitian ini peneliti menggunakan dua teori utama untuk menjawab rumusan masalah. Untuk menjawab rumusan masalah pertama yang berkaitan dengan jenis metafora yang digunakan dalam Ronggeng Dukuh Paruk, peneliti menggunakan teori Larson tentang metafora (1984). Sedangkan untuk menjawab rumusan masalah kedua mengenai terjemahan metafora, peneliti menggunakan teori Newmark (1981) mengenai strategi dalam penerjemahan metafora. Kemudian, terjemahan tersebut dievaluasi berdasarkan teori Terjemahan Ideal yang dikemukananoleh Larson (1984).
Penelitian ini merupakan riset kualitatif, yang menggunakan dokumen analisis yang didalamnya menggunakan dua instrumen. Instrumen pertama adalah peneliti yang bertindak sebagai instrument utama dalam pengumpulan data. Instrumen kedua adalah dukumen yang berupa novel Ronggeng Dukuh Paruk dan terjemahan bahasa Inggrisnya, The Dancer.
Hasil penelitian menunjukkan bahwa metafora mati adalah jenis metafora yang paling sering muncul dalam Ronggeng Dukuh Paruk. Penggunaan metafora mati muncul sebanyak 312 kali, atau 68% dari jumlah total temuan 456 metafora. Kemuadian, peneliti menamukan bahwa strategi penerjemahan metafora yang paling sering digunakan dalam The Dancer adalah penerjemahan dengan menggunakan citra yang sama dalam bahasa sasaran. Strategi ini muncul 157 kali, atau 34.2% dari temuan total sebanyak 456. Yang terakhir, dari hasil penelitian dapat ditarik kesimpulan bahwa 90% terjemahan telah memenuhi syarat sebagai terjemahan yang dapat diterima. Dengan demikian, metafora dalam Ronggeng Dukuh Paruk yang diterjemahkan kedalam bahasa Inggris dalam The Dancer dikategorikan sebagai terjemahan yang baik.
ix
ACKNOWLEDGEMENTS
First of all, I would like to give thanks to the Lord of my life, Allah SWT
for the love, the guidance and the joyful life given to me. I do believe that this
thesis would not come to its completion without Allah SWT’s remarkable help.
In this opportunity, I would also like to express my deepest gratitude to my
advisor, Carla Sih Prabandari, S.Pd., M.Hum. for her great assistance,
guidance, as well as encouragement during the accomplishment of this little piece
of hard work. My gratitude and appreciation are also addressed to Drs. Barli Bram, M.Ed., Ph.D., Yuseva Ariyani Iswandari, S.Pd., M.Ed. and Adesti
Komalasari, S.Pd., M.A. for their generosity and assistance for this thesis. I
thank them for correcting the grammar and proofreading this thesis. My sincere
gratitude is also expressed to Drs. I.M. Prayitno Adinugraha for his support and
encouragement in my study. Furthermore, I would like to thank the English
Language Education Study Program of Sanata Dharma University secretariat
staff, Mbak Dhaniek and Mbak Tari, for their help in administrative matter.
My special gratitude is addressed to my father, Bambang Hermanto, and
my mother, Hartati, for their prayers, support, love, suggestions and patience. I
would like also to express my gratitude to my beloved son, Muhammad Reivand
Arcadia Suryandhika, for being my inspiration. Besides, my gratitude is
addressed to my husband, Andhika Prabowo, for being a very best friend in my
x
My special thanks are directed to my friends of the English Language Education Study Program 2008 and 2009, especially to Vita, Yossie, Elizabeth,
Jastia, Yuanita, Gilang, Yuan, Nimas, Ajeng, and Tintin. I thank them for their
motivation and support given to me to finish my thesis. Finally, I want to express
my gratitude also to Dik Rio, Ciput, Mbak Wulan, and Rahajeng to be my best
supporters in doing this thesis.
At last, my gratitude also belongs to everyone whom I cannot mention one
by one. I thank them for their help and contribution to me during the completion
of my thesis. May God bless them all.
xi
TABLE OF CONTENTS
TITLE PAGE ………...... i APPROVAL PAGES ……….... ii DEDICATION PAGE ... iv
STATEMENT OF WORK’S ORIGINALITY……….....
PERNYATAAN PERSETUJUAN PUBLIKASI………....
v vi
ABSTRACT ……….... vii
ABSTRAK ……….... viii
ACKNOWLEDGEMENTS………...
TABLE OF CONTENTS………...
LIST OF FIGURES ………...………...
LIST OF TABLES ………...
LIST OF APPENDICES ... CHAPTER I. INTRODUCTION
A.Research Background ………... B.Research Problems ………... C.Problem Limitation ………... D.Research Objectives ………... E. Research Benefits ………... F. Definition of Terms ………... CHAPTER II. A REVIEW OF RELATED LITERATURE
A.Theoretical Description ………... 1. Theory of Metaphor ...………... a. Definition of Metaphor ...………... b. Types of Metaphor...………... 1) Dead Metaphor ... 2) Live Metaphor ...
ix xi xiv
xv xi
1 7 7 7 8 9
11 11 12 15 15 17 2. Theory of Translation ...………...
xii
b. Translation Method ... c. The Criteria of Good Translation ... d. The Translation of Metaphor ... e. The Strategies of Translating Metaphor ... B. Theoretical Framework ………... CHAPTER III. RESEARCH METHODOLOGY
A.Research Method……….…………... B.Research Subjects ... C.Research Instrument and Data Gathering Technique ………... D.Data Analysis Technique ………... E. Research Procedures ………... CHAPTER IV. RESEARCH FINDINGS AND DISCUSSION
A.Types of Metaphors Found in Ronggeng Dukuh Paruk... 1. Dead Metaphor ...
a. The Frequently Appeared Dead Metaphor in the Form of Phrase Idioms b. The Rarely Appeared Dead Metaphors in the Form of Phrase Idioms ... c. The Rarely Appeared Dead Metaphor in the Form of One-Word Idioms.. 2. Live Metaphor ... a. The Live Metaphor whose Topic is Not Stated Clearly ... b. The Live Metaphor whose The Point of Similarity is Implicitly Stated ... B.How The Metaphors Are Translated Into English...
1. Translating metaphor by Reproducing the Same Image as the Image in Target Language (TL) ... 2. Translating Metaphor by Replacing the Image in The Source Language
(SL) with A Standard Target Language(TL) Image ... 3. Translating Metaphor by Simile ... 4. Translating Metaphor by Simile Plus Sense ... 5. Translating Metaphor by Converting Metaphor to Sense ... 6. Translating Metaphor by Deleting Metaphor ... 7. Translating Metaphor by Using Same Metaphor Combined with Sense ...
22 24 25 26 29
31 32 33 34 37
41 43 44 45 48 51 52 54 56
59
xiii
CHAPTER V.CONCLUSIONS, IMPLICATIONS, AND RECOMMENDATIONS
A.Conclusions ………..………...……... B.Implications ... C.Recommendations………...
REFERENCES ………...
APPENDICES ………..………..
xiv
LIST OF FIGURES
Figure Page
Figure 2.1 The Process of Translation Based on Larson’s Theory... Figure 2.2 The Diagram V of Newmark ... Figure 2.3 The Translation of Metaphor Based on Newmark’s Theory ...
xv
LIST OF TABLES
Tables Page
Table 3.1 the Sample of Strategies of Metaphor Translation and Categories of Translation ... Table 4.1 Types of Metaphor ... Table 4.2 the Findings of Frequently Used Dead Metaphors in Form of Phrase
Idiom ... Table 4.3 the Findings of Rarely Appeared Dead Metaphors in the Form of
Phrase Idiom ... Table 4.4 the Findings of Rarely Appeared Dead Metaphors in the Form of One
Word Idioms ... Table 4.5 the Findings of Live Metaphor whose Topic is Not Clearly Stated ... Table 4.6 the Findings of Live Metaphor whose Point of Similarity is Implicitly
Stated... Table 4.7 the Strategies of Translating Metaphors ... Table 4.8 the Acceptability of Translation of Metaphors in the Ronggeng Dukuh Paruk into The Dancer ... Table 4.9 the Findings of TranslatingMetaphor by Reproducing the Same Image
in Target Language ... Table 4.10 the Findings of Translating Metaphor by Replacing Image in the
Source Language with A Standard Target Language Image ... Table 4.11 the Findings of Translating Metaphor by Simile ... Table 4.12 the Findings of Translating Metaphor by Simile Plus Sense ... Table 4.13 the Findings of Translating Metaphor by Converting Metaphor to
Sense ... Table 4.14 the Findings of Translating Metaphor by Deleting Metaphor... Table 4.15 the Findings of Translating Metaphor by Using Same Metaphor
Combined with Sense...
36 42
44
46
48 53
54 57
58
59
61 63 65
66 68
xvi
LIST OF APPENDICES
Appendix A
The Classification of the Types of Metaphor in Ronggeng Dukuh Paruk ...
Appendix B
The Analysis of Strategies and the Categorize of Metaphor Translation from
Ronggeng Dukuh Parukinto The Dancer……...
79
7
.
B ResearchProblem
q o w t e r a e r e h
T uesiton saddressed i n t hi sresearch in order t o specfiy t he
e h t f o l a o g n i a
m research .Theproblem saref ormulatedasf ollows:
.
1 Wha ttype so fIndonesian metaphor sare used in Ronggeng Dukuh Paruk by
ir a h o T d a m h
A ?
.
2 Howaret hemetaphorsi nRonggengDukuhParukbyAhmadTohar i rtanslated
o t n
i TheDance rbyRenéT.A .Lysloff?
.
C ProblemLimtia iton
h c r a e s e r e h t s ti m il r e h c r a e s e r e h t , h c r a e s e r s i h t n
I t o discoverthet ype so f
n o d n
I esianmetaphorsf oundinRonggengDukuhParukbasedonLarson’ s( 1985 )
y r o e h
t , da n analyze the ifndings ,including ti ssubtypes .Thi s research i salso
f o n o it a t n e m e l p m i e h t s s u c s i d o t g n i o
g srtategie so f rtanslaitng metaphors by
) 1 8 9 1 ( k r a m w e
N in rtanslaitng metaphorsf rom Ronggeng DukuhParuk oint The
r e c n a
D . Besides , thi s research a s im to evaluate the qualtiy o f the Engilsh
n o it a l s n a
rt fo the Indonesian metaphor sfrom Ronggeng Dukuh Paruk i nto The
r e c n a
D .
.
D ResearchObjecitves
f o s e v it c e j b o e h
T thi sresearch aret o answer t he t wo quesiton sraised i n
e h
t problemf ormulaitonasf ollows:
.
1 To discover et yh t pe so fIndonesian metaphor sused in the Ronggeng Dukuh
k u r a
.
2 To analyze how the Indonesian metaphor sin Ronggeng Dukuh Paruk are
o t n i d e t a l s n a
rt TheDance .r
.
3 To evaluatet hequaltiy oft heEngilsh rtanslaiton of t heIndonesianmetaphor s
m o r
f RonggengDukuhParukintoTheDancer.
.
E ResearchBeneftis
: o t s ti f e n e b e v i g l li w h c r a e s e r s i h t t a h t s t c e p x e r e h c r a e s e r e h T
.
1 Thet ranslators
r e h c r a e s e r e h
T expectsthatt hisr esearch wli lgivean understandableview
f o n o it a l s n a rt e h t n
o the Indonesian metaphor s into Engilsh . Besides , the
e
r searche rexpect stha tthi sresearch wli lgiveimpo trant i nsight t o the rtanslato r
g n i d r a g e
r thes rtategiest ha tcanbei mplementedin rtanslaitngmetaphors.
.
2 The rtanslaitonl ectures/teachers
r e h c r a e s e r e h
T hope stha tthet opico fthisr esearchwli lgivesomebeneftis
o
t the rtanslaiton l ectures/teachers .Thet opico fmetapho r rtanslaiton can beused
s
a et h addiitona flreerencesi n rtanslaitonclass.
.
3 TheEngilshlearner s
r e h c r a e s e r e h
T expectstha tby reading t hi sresearch, t he Engilsh learners
t e g l li
w some impo tran tknowledge about metapho rand metapho r rtanslaiton
t u o b a y lr a l u c it r a
p the Indonesian metaphor sand how the Indonesian metaphor s
” s t n i o p n o m m o c e m o
s . Fu trhermore ,Larson ( 1984 )dividest het ype so fmetapho r
e v il d n a d a e d o t n
i metaphor .Thef ollowing saret heexampleo fmetapho :r
.
a Deathmetaphor: Hei sundert heweathe rnow.
.
b Livemetaphor: Myf atheri sSuperman.
.
3 RonggengDukuhParuk
k u r a P h u k u D g n e g g n o
R i sa rtliogy nove lby Ahmad Toha ir. The novel
a f o e fi l a t u o b a s ll e
t ronggengdance rnamedSirntli .RonggengDukuhParukw as
a i d e m a r G T P y b d e h s il b u p y lt s ri
f PustakaUtamai nt heyea ro f1982 .Thesecond
s e ir e
s Lintang Kemukus D ini H ari w as pubilshed in the yea ro f1985 .The las t
f o s e ir e
s Ronggeng Dukuh Paruk ,Jantera Bianglala w as pubilshed in 1986 .
k u r a P h u k u D g n e g g n o
R i salso rtanslated in Dutch ,German ,Japanese ,and
.s e g a p 4 0 4 f o s t s i s n o c l e v o n y g o li rt s i h T . e s e n i h C
.
4 TheDance r
e h
T Dancer is t heEngilsh version o fRonggeng Dukuh Parukwhich wa s
t I . f f o l s y L . A . T é n e R y b d e t a l s n a
rt w aspubilshe d in t heyea ro f2003 by Lonta r
1 5 4 s e s ir p m o c l e v o n s i h T . r e h s il b u
P pages and i tis longe rthan ti sIndonesian
. n o i s r e v
f o a ir e ti r c e h
t a good rtanslaiton .By applying t his t heory, t he researche rwould
e t a rt s u ll i o t e k
.
8 W iritngupt heRepo tr
t n
I he las tstep ,the researche rpresented the resul to fthe research in
s e B . r u o f r e t p a h
c ides , the researche r also wrote the explanaiton s fo r each
41 CHAPTER IV
RESEARCH FINDINGS AND DISCUSSION
In this chapter, the researcher discusses the research findings used to
answer the problem formulations. The content of this chapter is divided into two
parts. The first part discusses what types of metaphors are used in Ronggeng Dukuh Paruk. The second part discusses how the metaphors are translated into English. The two problem formulations are answered based on the findings and
related theories.
A.Types of Metaphors Found in Ronggeng Dukuh Paruk
This section is to answer the first problem regarding the classification of
the types of metaphors found in Ronggeng Dukuh Paruk. The findings of metaphors have been classified based on Larson’s theory of the types of
metaphor. According to Larson (1984), there are two types of metaphors, namely
live metaphors and dead metaphors. Live metaphors are figurative of speech of
comparison which is created on the spot by the author to illustrate something.
Dead metaphors are those which are a part of the idiomatic constructions. The
sense of a dead metaphor is considered as easier to be understood. The sense of a
dead metaphor can be understood directly by the readers without paying attention
to the meaning and the comparison between the words composing a dead
metaphor. On the other hand, understanding the sense of a live metaphor is harder
of a live metaphor, the readers need to think about the comparison made between
the topic and the image composing a live metaphor.
Based on the findings, there are 456 metaphors identified in Ronggeng Dukuh Paruk. Table 4.1 illustrates the findings based on the types of metaphors found in Ronggeng Dukuh Paruk.
Table 4.1 Types of Metaphor
No. Types of Metaphor Frequency %
1. Dead Metaphor 312 68
2. Live Metaphor 144 32
TOTAL 456 100
As shown in the previous table, the researcher found that dead metaphor is the
type of metaphor which is mostly used by the writer in Ronggeng Dukuh Paruk. Dead metaphor obtains higher percentage than the live metaphor, which is 68%
from the total findings. Furthermore, most of them were found in the form of
idiom. Whereas the percentage of live metaphor is lower than dead metaphor,
which are 144 or 32% from the total metaphors found.
The further discussion explains how the types of metaphor are analysed. In
order to give a clear explanation of the analyzing of the metaphor, the following
discussion includes the discussion of dead metaphor and live metaphor. Besides
the discussion of the metaphors, the following section also presents the samples of
43
1. Dead Metaphors
After the researcher analyzed the analysis findings of the types of
metaphors in Ronggeng Dukuh Paruk, the researcher found that dead metaphor occurred 312 times in the novel. A dead metaphor is a metaphor which belongs to
idiomatic constructions of the lexicon of a certain language. It is proven by Larson
(1984, p. 249), who also states that dead metaphor is a type of metaphor which is
a part of the idiomatic constructions of the lexicon of a language. However, in
order to understand the meaning of a dead metaphor, the native readers, which in
this research refer to the Indonesian; do not need to pay attention to the
comparison or to think about the sense for each word. It is because the native
readers have already had the common knowledge of the sense of a dead metaphor.
Based on Larson (1984), idiom is a part of the dead metaphor. Supported by
Chaer (2009), who explains Larson’s statement on idiom, states that, ”Idiom can
be in the forms of word, phrase, and sentence”(p. 74). Furthermore, in analyzing
the findings of dead metaphors, the researcher also found the dead metaphors in
the form of phrase idioms and one-word idiom.
In this section, the researcher divides the discussion of the findings of dead
metaphor found in Ronggeng Dukuh Paruk into three parts. The first part illustrates the findings of dead metaphor in form of phrase idioms which
frequently appeared in the novel. The second part shows the findings of dead metaphors in the form of phrase idioms, which are rarely used in the novel. The last part presents the findings of dead metaphor in form of one-word idioms,
a. The Frequently Appeared Dead Metaphor in the Form of Phrase Idiom
After analyzing the findings of dead metaphor in Ronggeng Dukuh Paruk,
the researcher defined that the dead metaphors which appears four to nine times in
the novel, are categorized as the frequently appeared dead metaphor. Table 4.2
illustrates the findings of the dead metaphor in form of phrasal idioms which are
frequently appeared in Ronggeng Dukuh Paruk.
Table 4.2 the Findings of Dead Metaphors in the Form of Phrase Idiom which Frequently Appeared
No. Dead Metaphor Frequency
1. Tanah Air 9
2. Mita diri 6
3. Air mata 6
4. Punggung bukit 5
5. Rumah tangga 4
The above table shows that the findings of the dead metaphors in form of
phrasal idioms are tanah air, minta diri, air mata, punggung bukit and rumah tangga. The findings of the frequently appeared dead metaphor illustrated on the table above belong to Indonesian idiomatic construction. Indonesian idiomatic
construction is the idiomatic expressions, which are commonly used by the
Indonesian and has been a part of Indonesian language. Hence, the Indonesian
readers do not need to think about the primary sense of each word composing a
dead metaphor.
45
by word, the meaning will be the land and the water. Examining the meaning of
the literal meaning of the words tanah and air, the researcher who is also an Indonesian native reader finds that the words tanah air do not have any sense. However, if those words are seen from the Indonesian idiomatic expression, the
words tanah air means a place where somebody born. Literally, the words
tanahair do not have any relation with a country where somebody was born (Kamus Idiom Bahasa Indonesia, 1984). However, the Indonesian native readers will directly understand that the meaning of tanah air is the place where somebody was born. Yet, for the Indonesian, in a particular situation the word
tanah air may also refer to Indonesia as a country.
The third example is Punggung bukit. It is used five times in the novel.
The literal meaning of punggung is the back, a body part, and bukit means hill. Literally, the words Punggung bukit mean the back side of a hill. However, the sense of punggung bukit in Ronggeng Dukuh Paruk is the upper side of a hill. The word punggung is the language expression to express the upper side of the hill, because the word punggung and upper side of something share the same idea. The illustration is when somebody lies his face down, his back will be his upper
side of his body. Thus, punggung or the back can be used to express the upper side of something.
b. The Rarely Appeared Dead Metaphors in the Form of Phrase Idiom
After examining the examples in the previous discussion on the frequently
appeared dead metaphor in the form of phrase idioms, the researcher also
findings are categorized into the rarely used dead metaphor because their
occurrences are less than four times in the novel. However, when the researcher
counts their occurrences, the average of the occurrence of rarely dead metaphors
is only once. Table 4.3 illustrates the findings of the rarely appeared dead
metaphors in the form of phrase idioms.
Table 4.3 the Findings of Rarely Appeared Dead Metaphors in the Form of Phrase Idiom in Ronggeng Dukuh Paruk.
No. Dead Metaphor Page 1. Berhutang nyawa 33 2. Perawan kencur 57
3. Air muka 153
4. Perjaka lapuk 310 5. Induk semang 372
The examples shown in table 4.3 are the findings which are categorized
into the rarely appeared dead metaphors. The first example of the rarely appeared
dead metaphors is berhutang nyawa. Literally, the meaning of the word berhutang
is being in debt and the meaning of the word nyawais life. Therefore, if the words
berhutang nyawa are seen literally, berhutang nyawa means owing somebody’s life. Without giving attention to the primary sense for each word, the Indonesian
readers will directly understand that berhutang nyawa means someone who ever
been helped by other (Kamus Idiom Bahasa Indonesia, 1984).
47
retire, and then he built Dukuh Paruk. Realizing that the Paruk people were the Ki Secamenggala’s descendants, they believe that they had the obligation to pay for Ki Secamenggala’s “debt” for having done many misdeeds against people in his
life. Therefore, when the disaster of tempe bongkrek happened, and many Paruk
People were killed by the poisonous tempe bongkrek, the Paruk people believed that it was one of the ways to pay Ki Secamenggala’s “debt”. Thus, berhutang nyawa in this novel means murdering a lot people.
The second example of the rarely appeared dead metaphors is perawan kencur. The Indonesian reader will directly understand that in the novel, perawan kecur means a young virgin girl. The meaning of perawan is a virgin girl. However, the literal meaning of the word kencur does not have any relation with the word young. Kamus Besar Bahasa Indonesia Online (2013) defines kencur as a root crop, which can be used as spice and medicine. Therefore, to understand the
meaning of perawan kencur, the native readers do not need to think about the primary sense for each word because the words perawan kencur belong to the idiomatic construction of the Indonesian lexicon. The words perawan kencur in this novel are used to illustrate how young Srintil was when she was inaugurated
as a ronggeng. Srintil started to become a ronggeng when she reached the age of eleven. It is an irony because an eleven-years-old-girl should face a life, which is
very close with sexuality. Thus, in this novel, perawan kencur means a very young virgin girl.
literal meaning of induk is mother and semang means a special relation between someone who lends her money and her debtor (KBBI Edisi Kedua, 1991). However, in the novel, the words induk semang does not refer to the owner of a lodge. In this novel, induk semang means a woman who seems to be a boss for a prostitute place. In Ronggeng Dukuh Paruk, Srintil was not only a ronggeng
dancer but also a prostitute. A prostitute is considered that she has debts to her
induk semang because induk semang had given her job for her to earn money in her prostitute place. A prostitute should pay her induk semang by sharing her wages with the induk semang like what Srintil does with her induk semang, Nyai Sakarya.
c. The Rarely Appeared Dead Metaphor in the Form of One-Word Idioms.
In the previous part, the researcher discussed the findings of the rarely
appeared dead metaphor in the form of phrase idioms. However, the researcher
also found the rarely appeared dead metaphor in the form of one-word idioms. In
this research, the rarely appeared dead metaphor in the form of one-word idioms
refers to a word which has an idiomatic meaning, and their occurrences are less
than four times in the novel. Table 4.4 illustrates the findings of the rarely
appeared dead metaphors in the form of one-word idioms.
Table 4.4 the Findings of Rarely Appeared Dead Metaphors in the Form of One-Word Idioms.
No. Dead Metaphor Page
1. Srintil masih demikian hijau. 121 2. Ibu camat hanya bias terpaku dikursinya. 187 3. Apakah Srintil tidak khawatir akan diciduk kembali. 294 4. Yang menyebabkan khalayak mabuk, lalu mereka
menyerbu sawah. 294
49
Table 4.4 illustrates the findings of the dead metaphors in Ronggeng
Dukuh Paruk, which belongs to one-word idioms. The first example is the word
hijau and the literal meaning of hijau is green color. However, the word hijau in this novel means young. As seen in the sentence, “Srintil masih demikian hijau”
(p. 121), the word hijau is used to express that Srintil is so young. By using the word hijau, it means that Srintil is compared to fruits, because fruits are usually green when they are unripe.
The second example of rarely appeared dead metaphor is terpaku, which means being nailed. The word terpaku is used to express how much Ibu Camat
was astonished to see Srintil’s attitude, which made her stuck. The word terpaku
illustrates Ibu Camat’s feeling,which is compared to something nailed. She is also unable to do anything; even though she cannot move her own body. Although he
was astonished to see Srintil’s attitude, actually she could not admit that Srintil
had something that many people admire of. Ibu Camat was so jealous with Srintil,
not only because of her youth and beauty but also her charismatic personality and
attitude. Thus, the word tepaku in this novel means Ibu camat’s astonishment towards Srintril.
The third example is diciduk. The literal meaning of the word diciduk is something being taken out from water using dipper. The use of the word diciduk
is to indicate that there is a comparison between Srintil and water. However, the
arrested again. Thus, the meaning of diciduk in the sentence “Apakah Srinti ltidak khawatir akan diciduk kembali?”(p. 294), is being arrested by the police.
The fourth example is mabuk. Literally, the word mabuk means drunk. However, the word mabukin this novel does not mean being drank because of an alcohol, but being affected by the propaganda. As seen in the sentence, “ ..yang
menyebabkan khalayak mabuk, lalu mereka menyerbu sawah..” (p. 294), the propaganda in this discussion means an action that makes people attack others
who are considered having different view with them. Furthermore, the sense of
the word mabuk shares the same idea with drunken man because the drunken man would likely loss their consciousness that makes his unable to control his mind,
actions, and speeches. The drunken man is usually controlled by his emotion at
the current state. Thus, the word mabuk in this novel means people passionate to join a violation such as burning and damaging the buildings because they are
affected by the propaganda regarding to a certain political party issue.
The last example of rarely used dead metaphor in the form of one-word
idiom is anjingmu. In the sentence, “Jadinya aku rela menjad ianjingmu” (p. 313), the word anjingmu is used to express the person who follows others just like a lapdog follows its owner, so that the owner will give the lapdog a reward
(Cambridge Advanced Learner’s Dictionary Third Edition, 2003). As illustrated in the novel, a young man named Diding agreed to accompany Tamir, his friend,
to go to Srintil’s house because Tamir promised that he would give some money
51
menjadi anjingmu asal bias memperoleh uang prei” (p. 313). Examining the previous dialogue, it is obvious that Diding follows his friend’s desire in order to
get some money. Although he has another choice, he prefers to come along with
Tamir in order to get some money. What Diding does is like what a lapdog does
to please its owner, so that the owner gives a reward to it. Thus, the word
anjingmu in this novel means someone who is willing to do something for others only to get money.
2. Live Metaphor
A live metaphor is a figurative speech of comparison which is created by
the author to illustrate something (Larson, 1984, p. 249).In order to understand the
sense of a live metaphor, the readers should pay attention to the comparison which
is made. In this research, the appearance of live metaphor is only 32% or 144
times in the novel, which is lower than the dead metaphor.
In order to identify whether a certain metaphor is a live metaphor or not,
Larson (1984, p. 248) states that a live metaphor consist of three basic elements;
they are topic, image, and point of similarity. Topic is the thing that talked about
(nonfigurative), image refers to what being compared with (figurative), and point
of similarity is the likeness between the topic and the image. However, the topic
of a live metaphor is not always presented literally, but it isrepresentedin the form
of something else. Larson (1984, p. 250) states,” the topic in live metaphor is not
always clearly stated that may create a problem for the reader”. The unclear topic
Another factor that may lead confusion towardss the reader is the point of
similarity of a live metaphor, which is sometimes implicitly stated. The implicit
point of similarity may lead the readers to have different interpretations towards
the sense of a live metaphor. The readers’ different interpretation can be affected
by the readers’ culture distinctions. Some readers may understand the image of a
metaphor based on their own cultural understanding including the language.
However, an image of a metaphor may have a different meaning in another
culture.
In this section, the researcher divides the discussion of the findings of live
metaphor into two parts. The first part illustrates the findings of live metaphor
whose topic is not stated clearly. The second part illustrates the findings of live
metaphor whose point of similarity is implicitly stated.
a. The Live Metaphor whose Topic is not Stated Clearly
The first part is the discussion of the finding of the live metaphor
regarding the live metaphor whose topic is not stated clearly. As Larson (1984)
states, a live metaphor whose topic is not clearly stated may lead the readers to
have wrong interpretation towards the topic. Therefore, a clear discussion of the
live metaphor, whose topic is not clearly stated, is needed. Table 4.5 illustrates the
53
Table 4.5 the Findings of Live Metaphor whose Topic Is Not Clearly Stated
Examining the first example in table 4.5, “roh-roh jahat mengajariku bagaimana menipu nenekku yang pikun” (p. 39), the topic is not clearly stated. The topic of the first example is roh-roh jahat and the literal meaning of roh-rohjahatis evil. However, the real evil does not exist in this context, because the sentence “roh-roh jahat mengajariku bagaimana menipu nenekku yang pikun”(p. 39) “roh-roh jahat mengajariku bagaimana menipu nenekku yang pikun” (p. 39)does not talk about evil. This sentence talks about Rasus’ desire to give a keris, which is his family’s charmto Srintil. In that situation Rasus feels a dilemma
whether he should give the keris to Srintil or not. At last, he decides to give the
keris to Srintil without telling his grandmother. Hence, the words roh-roh jahat
represented Rasus’ thought about lying to his grandmother in order to give the
keristo Srintil.
In the second example, “pengikat yang membuatku mencintai Dukuh
Paruk telah direnggut kembali” (p. 80), the topic in this example is not clearly stated. The topic of the second example is pengikat and the literal meaning of the word pengikat is the binder. However, the word pengikat in this context refers to Srintil. Srintil is said as the binder because Rasus likes her and she lives in
No. Live Metaphor Page
1. Roh-roh jahat mengajariku bagaimana menipu nenekku yang pikun. 39
2. Pengikat yang membuatku mencintai Dukuh Paruk telah direnggut
kembali. 80
3. Seekor binatang jantan mengaum hebat dan menghantam musuhnya. 310
4. Sebuah jimat telah kembali ke pangkuan ibunya 372
5. Ombak yang bergelora telah berubah menjadi riak-riak kecil namun
DukuhParuk. Therefore, unconsciously Rasus feels that he should like
DukuhParuk, where Srintil lives. In fact, Rasus feels disgusting with the life in
DukuhParuk. Thus, Srintil’s existence binds Rasus to accept everything happens
to her in DukuhParuk including Srintil’s being a ronggeng.
b. The Live Metaphor whose Point of Similarity is Implicitly Stated.
In this part the researcher discusses the finding of the live metaphor,
whose point of similarity is implicitly stated. The implicitly stated point of
similarity may lead the readers to have different interpretations towards the sense
of a live metaphor. Hence, the discussion of the live metaphor, whose point of
similarity is implicitly stated, is needed. Table 4.6 illustrates the findings of live
metaphor whose point of similarity is implicitly stated.
Table 4.6 the Findings of Live Metaphor whose Point of Similarity Is Implicitly Stated.
Examining the first example in table 4.6, “kini Srintil menjadi boneka”(p.
36), the point of similarity is implicitly stated. Larson (1984) states, ”when the point of similarity is not stated, it is often hard to interpret the metaphor” (p. 251).
From the first example, “kini Srintil menjadi boneka” (p. 36), the researcher identifies the image of the metaphor is boneka, which means doll. However, the previous sentence does not include the point of similarity. The sentence “kini
No. Live Metaphor Page
1. Kini Srintil menjadi boneka 36
2. Kemandulan adalah hantu mengerikan. 90
3. Dua orang yang sejak kelahirannya menjadi murid alam. 130 4. Bau badan sampean adalah bau badan seorang ronggeng. 166
55
Srintil menjadi boneka” (p. 36) is a comparison, which is made by Rasus. By using the comparison, Rasus tells about Srintil’s life after she was inaugurated as
a real Ronggeng only after she reached her age of eleven. However, in the sentence “kini Srintil menjadi boneka”(p. 36), the point of similarity is not clear. The unclear point similarity may lead the readers to have difficulties in
interpreting why Srintil is compared to doll. The use of the word boneka is not clear whether it means that after she was inaugurated as a real ronggeng, Srintil became so beautiful and Rasus compared her beauty to the beauty of a doll, or it
just because after she was inaugurated of a ronggeng, people in Dukuh Paruk
admired her so much and loved to treat her specially.
The other example is “semuanya adalah mata Rasus” (p. 190). The
sentence “semuanya adalah mata Rasus” (p. 190) is used to tell the situation when Srintil dances as a ronggeng in a special stage. Once, Srintil was invited to dance on the Indonesian Independence Day, it became the most spectacular stage
for her. There were numerous audiences attended this event, including the
government officials. However, she did not care about the numerous audiences,
who watched her. She only thought that the audiences were Rasus, whom she was
in love with. There she danced as if it was for her love, Rasus. Nevertheless, the
use of mata Rasus as the image in the sentence “semuanya adalah mata Rasus”
(p. 190), left its point of similarity. The point of similarity between mata Rasus
Srintil’s thought to her performance, which should be as perfect as if she danced
only for Rasus.
B.How the Metaphors are Translated into English
This section is to answer the second problem of the analysis of the
metaphors translation from Ronggeng Dukuh Paruk into The Dancer. The data was analysed based on Newmark’s theory of strategies in translating metaphors.
Newmark (1981) presents seven strategies in translating metaphors, namely
translation by reproducing the same image in target language, translating by
replacing the image in the Source Language (SL) with a standard Target
Language (TL) image, translation of metaphor by simile, translation of metaphor
by simile plus sense, translation by converting metaphor to sense, deleting
metaphors, and translation by using the same metaphor combined with sense.
However, in this research the researcher also found another finding of the
strategies of translating metaphor. The finding shows that some metaphors in
Ronggeng Dukuh Paruk are also translated by converting metaphors into personification. Personification is also a figurative of speech of comparison but in
personification, the comparison is a physical object stating to be a human.
Lakoff& Johnson (1980) supports the researcher’s definition of personification
“personification supposes the physical object as being a person” (p. 33). The
example of personification is as stated in The Dancer, “A crude power was now controlling history” (p. 274). The sentence “A crude power was now controlling
57
examining the example of personification, the researcher found that the physical
object of the personification is a crude power. A crude power is an abstract thing, but the words was now controlling history indicate that the words a crude power
in The Dancer are supposed as a person. However, in this research, the researcher is not going to discuss personification. Table 4.7 illustrates the findings based on
the strategies of translating metaphors identified in Ronggeng Dukuh Paruk into
The Dancer
Table 4.7 Strategies of Translating Metaphors
No. Strategies of Translating Metaphors Frequency %
1. Reproducing the same image in TL 157 34.2
2. Replacing the image in the SL with a standard TL image 77 17
3. Translating metaphor by simile 22 5
4. Translating metaphor by simile plus sense. 3 0.6
5. Converting metaphor to sense 143 31.3
6. Deleting metaphor 33 7.2
7. Using same metaphor combined with sense. 11 2.4
8. Translating metaphor by personification. 10 2
Total 456 100
Table 4.7 shows that there are 456 metaphors identified in Ronggeng Dukuh Paruk. After analysing the translation of metaphor based on Newmark’s theory,
the findings are evaluated based on the characteristic of ideal translation proposed
by Larson (1984). There are three characteristics of an ideal translation:
- Accurate : accuracy in translating the message in TL
- Natural : the translation in TL is natural to be read.
- Clear : the forms of language used in TL make the message easy
In order to see whether or not the findings of the translation of metaphors
in Ronggeng Dukuh Paruk into The Dancer are acceptable, the findings are evaluated by Larson’s (1984) theory of the characteristics of an ideal translation.
A translation is categorized as an acceptable translation if it has two of three
characteristics. On the contrary, a translation which possessed only one
characteristic of an ideal translation is categorized as unacceptable translation.
Table 4.8 illustrates the findings based on the acceptability of translation of
metaphors in Ronggeng Dukuh Paruk into The Dancer.
Table 4.8 Acceptability of Translation of Metaphors in the
Ronggeng Dukuh Paruk into The Dancer
No. Strategies of Translating Metaphors Frequency Acceptable % Unacceptable %
1. Reproducing the same
image in TL 157 152 33 5 1
2.
Replacing the image in the SL with a standard TL image
77 73 16 4 0,8
3. Translating metaphor by
simile 22 21 4,6 1 0,2
4. Translating metaphor by
simile plus sense. 3 3 0,6 - -
5. Converting metaphor to
sense 143 136 30 7 1,5
6. Deleting metaphor 33 6 1,3 27 6
7. Using same metaphor
combined with sense. 11 11 2,4 - -
8. Translating metaphor by
personification. 10 9 2 1 0,2
Total 456 411 90 45 10
The findings in table 4.8 are the acceptability evaluation of the metaphors
translations, which had been translated using the strategies proposed by Newmark
59
Ronggeng Dukuh Paruk into The Dancer is 90%. There is only 10% of the metaphor translation categorized as unacceptable. Based on the findings, the
metaphor translation which is categorized as unacceptable metaphors translation
is dominated by the strategy of translating metaphor by deleting the SL metaphor.
To show the readers how the metaphors are analysed and evaluated, the researcher
discusses the findings in the following. The discussion includes the samples of
metaphors and their translations. The list of the metaphor translation strategies
and the translation categories is attached to the appendixes.
1. Translating Metaphor by Reproducing the Same Image as the Image in
Target Language (TL)
Translating metaphor by reproducing the same image in TL is the most
common strategy identified in this research. According to the findings, translating
metaphor by reproducing the same image in TL is used 157 times in The Dancer or 34.2% from the total amount of 456. This strategy is utilized because the image of the metaphors has the same meaning both in the source language and the target
language. The examples are presented in table 4.9.
Table 4.9 the Findings of Translating Metaphors by Reproducing the Same Image in Target Language
No. Source Language Page Target Language page
1. DalamwaktusemalamSrintilakanmenjadibarang
yang sudahterbeli. 60
For one night she would become an object he had purchased
60
2.
SrintilmenjadiRatuPanggung 278 She had been queen of the stage
The examples in table 4.9 show that the metaphors in Ronggeng Dukuh
Paruk translated into The Dancer are categorized into live metaphor and dead metaphor. The first example, “Dalam waktu semalam Srintil akan menjadi barang
yang sudah terbeli”(p. 60) is translated into “For one night she would become an object he had purchased” (p. 60). Basically both of the sentences in SL and TL
have the same meaning. In the novel, Srintil is compared to an object, which had
been purchased because Srintil was paid for giving her virginity to a man, named
Dower.
Even though there is a structure changing in translating the SL sentence,
“barang yang sudah terbeli” into the TL sentence,“an object he had purchased”, the sentence in the TL becomes more specific. The sentence “barang yang sudah
terbeli” states unclearly who had “bought” Srintil, but the sentence “an object he had purchased” states clearly that the man who “bought” Srintil was Dower.
However the metaphor in the first example is translated natural and clear. The
sentence “an object he had purchased” is natural to be read and easy to be
understood. In conclusion, this translation is categorized as acceptable translation.
The second example, “Srintil menjadi ratu panggung” (p. 278) is translated into “She had been queen of the stage” (p. 330). The image of the SL
61
because the word ratu and queen share the same sense in both the novels, which means that Srintil is the ronggeng dancer, who is admired by the audiences.
2. Translating Metaphor by Replacing the Image in the Source Language
(SL) with a Standard Target Language (TL) Image
In translating metaphor, the translator may replace the image of a
metaphor by using a standard TL image. However, the image used in TL should
be acceptable in TL culture, because the unacceptable image in TL may lead the
TL readers to have different interpretation towards the metaphor. Besides, the
image replacing should not change the sense of the metaphor. The strategy of
translating metaphor by replacing the image in SL with a standard TL image gets
17% from the total amount of 456 data. Table 4.10 illustrates the translation of
metaphor by replacing an image in the SL with a standard TL image.
Table 4.10 the Findings of Translating Metaphor by Replacing An Image in the Source Language with A Standard Target Language Image.
No. Source Language Page Target Language Page
1. Srintil kini tampil ditengah
pentas. 19
Srintil was now the star of a
public performance. 15
2. “ Hanya Pak ” Kurang enak badan, 353 I am just feeling a bit under
the weather.
395
The previous examples illustrate the findings of translating metaphor by
replacing image in the SL with a standard TL image. Both of the SL metaphors
are categorized into dead metaphors. After the researcher analyses the first
example, “Srintil kini tampil ditengah pentas” (p. 19), the researcher found that
was now the star of the public performance” (p. 15), becomes a live metaphors. The image from the SL metaphor is extremely changed, and so does the sense of
the metaphor.
Based on Ronggeng Dukuh Paruk, the sense of the sentence “Srintil kini tampil ditengah pentas” (p. 19) means that Rasus as the narrator tells the readers that Srintil was performing the ronggeng dance in the moment when Rasus was also there as the audience. However, the image of “Srintil was now the star of the
public performance” (p. 15) is star. The CALDIC 3rd Edition (2003) defines the
word star as a very famous, successful and important person, especially a performer such as musician, actor, or sports player. In The Dancer, the word star
illustrates Srintil as a famous ronggeng dancer, which is admired by a lot of people. Therefore, it is categorized as an unacceptable translation because the
message from the SL metaphor is not accurately translated into TL. Besides, the
image changing also makes the SL message harder to be understood.
The second example, “kurang enak badan”(p. 353), is also categorized as
dead metaphor. However, the translator keeps translating it into dead metaphor.
The words “A bit under weather”(p. 395)belongs to English idiom and the sense
is the same as “kurang enak badan” (p. 353), which mean to be or feel ill
(CALDIC 3rd Edition, 2003). Yet, this translation is categorized into an acceptable translation because the SL metaphor is translated clearly and accurately into TL.
3. Translating Metaphor by Simile
There is a possibility for the translator to translate a metaphor by simile,
63
(Newmark, 1981, p. 89). Therefore, the purpose of translating metaphor by simile
is to liven up the sense of the SL metaphor so that the message of the SL
metaphor can be delivered accurately to the TL. Based on the findings, the
strategy of translating metaphor by simile gets 5% from the total amount of 456,
or it is used 22 times in The Dancer. Table 4.11 illustrates the findings of translating metaphor by simile.
Table 4.11 the Findings of Translating Metaphor by Simile.
No. Source Language Page Target Language Page
1. Kini srintil menjadi boneka. 36 From then on, she became like a doll 33
2. Pesona bayi adalah pesona
bunga-bunga. 136
The magic of babies is like the magic of flowers 145
Table 4.11 illustrates the examples of the metaphors translation strategy by
translating metaphor into simile. The characteristic of simile is comparing
something with something else using like, as, as though, and as if (Suryawinata & Hariyanto, 2003, p. 113). As seen in the first example, “kini Srintil menjadi boneka” (p. 36), which is translated into “from then on, she became like a doll”
(p. 33), the SL metaphor is translated into simile in TL. After Analyzing the
sentence “kini Srintil menjadi boneka” (p. 36), the researcher concludes that the
topic of the sentence is Srintil and the image is boneka. Both of the words boneka
and doll share the same meaning. The CALDIC 3rd Edition (2003) defines the word doll as a child’s toy in the shape of small person or baby. Although, the
acceptable translation because both of the Indonesian native readers and the TL
reader will have a same interpretation towards the comparison.
After analyzing the first example, the researcher concludes that both of the
examples belong to live metaphor whose point of similarity is not stated. The
sentence “Pesona bayi adalah pesona bunga-bunga” (p. 136), is translated into “the magic of babies is like the magic of flowers” (p. 145). Even though the point
of similarity between the baby and the flower is not clear, the translator uses the same image of the SL metaphor. Besides, the translator translates the SL metaphor
effectively. The translation of the sentence “Pesona bayi adalah pesona bunga-bunga” (p. 136) into “the magic of babies is like the magic of flowers” (p. 145)
does not change the SL meaning. Thus, this translation is also categorized as an an
acceptable translation.
4. Translating Metaphor by Simile plus Sense
Translating a metaphor by simile added by the sense can be operated when
the simple translation destructs the sense of the metaphor. This condition makes
the TL readers do not understand the metaphors, because the clue that indicates
the sense of the metaphor is not stated. Hence, the readers may interpret the sense
of the metaphors by their own interpretation that will destruct the sense of the SL
metaphor. According to the findings, this strategy obtains 1.1% from the total
amounts of 456. Table 4.12 illustrates the findings of translating metaphor by
65
Table 4.12 the Findings of Translating Metaphor by Simile Plus Sense.
No. Source Language Page Target Language Page
1.
Laki-laki pertama adalah laki-laki jenis lembu jantan atau bajul buntung seperti
kebanyakan mereka yang datang kepadanya.
141
Firstly there were men who acted like randy bulls and harassed or abused woman, like most of the men who came to her.
151
2.
Seekor binatang jantan mengaum hebat dan menghantam musuhnya.
273
Exploding like a raging lion, Rasus pummelled the man with the strength of his fits
306
The examples in table 4.12 illustrate the translation of metaphor by simile
added by the sense. In the first example, “ laki-laki pertama adalah laki-laki jenis lembu jantan atau bajul buntung seperti kebanyakan mereka yang datang kepadanya” (p. 141) is translated into “firstly there were men who acted like
randy bulls and harassed or abused woman, like most of the men who came to her”(p. 151). The sense of the SL metaphor of laki-laki jenis lembu jantan is not
clear. There is no clear illustration why the men were compared with lembu jantan. However, when it is translated into English, the reason why the first type of the men called as randy bulls becomes clearer since the translator adds the sense of randy bulls, which is a man who likes to annoy, upset, or abuse the
women. In conclusion, this translation is categorized as an an acceptable
translation.
The second example is, “Seekor binatang jantan mengaum hebat dan menghantam musuhnya” (p. 273).After analyzing the sentence “Seekor binatang jantan mengaum hebat dan menghantam musuhnya” (p. 273), the researcher
