STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN VENUS DARI KOTA ILLE

(1)

STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN VENUS DARI KOTA ILLE

VENUS DARI KOTA ILLE

Ria Rizkya

French Studies, Faculty of Humanities, Universitas Indonesia, ria.rizkya03@gmail.com Arif Budiman

French Studies, Department of Linguistics, Faculty of Humanities, Universitas Indonesia, arif.budiman31@ui.ac.id

Follow this and additional works at: https://scholarhub.ui.ac.id/irhs Recommended Citation

Recommended Citation

Rizkya, Ria and Budiman, Arif (2023) "STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN VENUS DARI KOTA ILLE," International Review of Humanities Studies: Vol. 7: No. 2, Article 3.

DOI: 10.7454/irhs.v7i2.456

Available at: https://scholarhub.ui.ac.id/irhs/vol7/iss2/3

This Article is brought to you for free and open access by UI Scholars Hub. It has been accepted for inclusion in International Review of Humanities Studies by an authorized editor of UI Scholars Hub.

(2)

STRATEGIES USED IN TRANSLATING THE FANTASTIC EVENTS IN VENUS DARI KOTA ILLE

Ria Rizkya

French Studies, Faculty of Humanities, Universitas Indonesia ria.rizkya03@gmail.com

Arif Budiman

French Studies, Department of Linguistics, Faculty of Humanities, Universitas Indonesia arif.budiman31@ui.ac.id

ABSTRACT

The fantastic (le fantastique) is a literary genre that originated from France, which has a specific characteristic of an ambiguous event that cannot be found in other literary works from other countries that introduce similar genres. This study discusses the translation strategies used to translate these fantastic events in Venus dari Kota Ille, the Indonesian translation version of the fantastic story of La Vénus d'Ille by Mérimée (1837). The objective of this research is to see what strategies the translator use in translating the fantastic events that are present in the French version that contained uncanny elements and whether these elements are preserved in the Indonesian translation. By implementing the theory of translation techniques by Molina & Albir (2002), six translation strategies are found in Venus dari Kota Ille, namely established equivalent, literal translation, modulation, calque, compensation, and amplification. These translation strategies are used to maintain the uncanny element of supernatural creatures in the characteristics of a French fantastic story. In addition, the translator also creates a more intensive sinister element in the target text (TT) by using compensation. These results show that although there are differences in the characteristics of French and Indonesian literary works, these characteristics can still be maintained within the translation. However, this does not guarantee that the translator will not give any additions to the translation to emphasize the message in the TT.

KEYWORDS: translation strategies, French fantastic story, La Vénus d’Ille INTRODUCTION

France's reputation in the literary discipline is unquestionable. Apart from being known as the native country of notable literary figures such as Victor Hugo, Charles Baudelaire, and Émile Zola, France is also known as the country where various literature innovations and breakthroughs were born. One of the most notable innovations is the birth of the fantastic (le fantastique) genre in the 19th century. The fantastic story from France has its own originality and is different from any other fantasy genre; it makes the work unique, unconventional, and special. French fantastic contains certain characteristics that are used to build the eerie feeling through uncanny events which make readers hesitate to differentiate between natural and supernatural worlds. The characteristics found in a French fantastic story are portrayed as a strange, frightening,

(3)

supernatural, and confusing event that makes the reader confused to distinguish between what is real and imaginary. These 'fantastic' or 'uncanny' events commonly appear in the middle of the storyline that seems to be realistic at the beginning (Todorov, 1970). Furthermore, the most important sign or indication from a French fantastic work is the existence of the events or creatures which are part of mere imagination, not real, and not possible to happen in real life. These said events also appear unusual or strange, perplexing, and hard to believe because they are unnatural and not real (Puzin, 1984).

Explanations on the fantastic characteristics above can show the differences between the fantastic story from France and another one from another country. The literary works on fantasy and horror genres from another country are not trying to scare the readers by adding certain unusual events inside of the storyline. The uncanny events can still be found, but they are not specifically arranged by the writer to appear at a certain time to develop a realistic event in the story. Instead, the fantastical story from another country has already shown the uncanniness from the very beginning, for example, the story's background is in a fictional kingdom or a place where the people believes in ghosts and monsters, so there will be no any particular events that will appear abruptly and distract the readers because they are made aware that the story is not real from the start (Djokosujatno, 2005).

The originality of the French fantastic story finally raises curiosity in the public so that it is translated into many languages around the world, one of them is in Indonesian. In fact, in the Indonesian literary world, there is a similar genre to the French fantastic, known as 'cerita seram' or

‘scary story’ (Jassin, 1985). The similarity between the fantastic story from France and the scary story from Indonesia lies in the existence of the supernatural elements in the story and also the structure, commonly written as a short story. The differences between the two genres can be found within the background and cultural distinction from each origin country. These cultural differences cause diversity in the scary elements from each country's fantastic stories: if the French fantastic can scare readers from France and Europe with the presence of a Greek mythology monster known in the western world, Indonesian readers cannot show the same fear because they do not know Greek mythology and its creatures, because they do not exist in the Indonesian folklore (Jassin, 1985). Aside from that, the structure of the French fantastic story arranged in a particular strategy mentioned before has become another reason why there are differences between the two fantastic genres from France and Indonesia. However, these differences are no boundaries for the Indonesian translators to keep translating the fantastic story from France.

One of the French fantastic stories has been translated in Indonesian as Venus dari Kota Ille (2001) from the original work titled La Vénus d’Ille (1837). The original version is written by Prosper Mérimée, one of the most influential writers known to be writing the fantastic genre in France. He was born in Paris on 23 September 1803 and died in Cannes on the same date, 67 years later in 1870 (“Prosper Mérimée”, n.d). He has been writing roughly 54 literary works in the form of play, poetry, and short stories all his life. As an agnostic, he refuses to believe in the existence of God, but he believes that the universe holds an indescribable mysterious power. Therefore, his works are dominated by mystery and fantasy genres, in which stories are uncanny and contain transcendent events (Schneider, 1964). He also happens to be a writer heavily influenced by the romanticism movement, a literary genre whose doctrine states that a literary work should reflect the emotions of the writer and is not obligated to reflect on real life. Hence, romanticism-influenced

(4)

writers tend to publish dramatic works filled with imagination (Masson, 2007). Mérimée wrote La Vénus d’Ille itself based on his real experience visiting the temple of Venus. It tells the story of an archaeologist who pays a visit to a remote village called Ille in France for work. During his visit, he stays in the home of an older man called M. de Peyrehorade, who loves to collect antiques, one of them being the statue of Venus that he found buried underground. After the discovery of the Venus statue, a lot of mysterious incidents happen at his home. However, he ignores them, for he adores the statue so much. One day, his to-be-married son, Alphonse, accidentally put a ring on Venus' finger. With no one recognizing, the statue of Venus is alive and has her own consciousness.

The statue falls in love with Alphone because she is mistaken by the man's gesture when he accidentally put the wedding ring on her finger. The Venus is enraged when Alphonse marries another lady, so, on his wedding night, the Venus comes to Alphonse and kills him. According to Schneider (1964), La Vénus d'Ille is known as Mérimée's notable work when he is still actively writing.

Because of the translators, La Vénus d'Ille can be enjoyed by readers from around the world. In Indonesia, this story has been translated by Djokosujatno, a literature professor who studies the French fantastic. The translation is published in her short story collection entitled Empat Cerita Fantastik Perancis (2001) and is translated as Venus dari Kota Ille, the corpus of this paper.

The researcher chooses this corpus because it is the Indonesian translation version of a French fantastic story, namely the original genre originated from the country and is different from the Indonesian scary story. The two genres contain supernatural elements and have the objective of giving an eerie feeling to the reader. However, the structure of French fantastic is more complex than the Indonesian scary story. Furthermore, the differences between the two cultures that include national histories and beliefs, also play a part as a fundamental distinction between the two literary genres. Those differences between French and Indonesian literature can cause a problem in the translation so that the writer must find out the solutions in the form of the translation strategies to solve the problems. If the translator is not solving and not using any translation strategies, the eerie and scary elements from the French version will disappear in the translated version in Indonesian.

This raises a question: what translation strategies are used by the Indonesian translator in translating the characteristics from the French fantastic story that contains uncanny elements or events? This study will analyze the translation strategies used by the translator, so this study can help show whether particular literature characteristics in a written work from a certain country can be maintained in its translated version.

In the previous research, Izzati used the theory of translation strategies by Molina & Albir in her study Analisis Teknik, Metode dan Ideologi pada Penerjemahan Cerpen Anak (2016). This study analyzes the translation strategies found in two short stories for children in the form of fairy tales that can be categorized as fantasy stories, entitled Two Good Friends Had A Quarrel One Day and The Monkey and The Dolphin. According to the results, it is found that the translation strategies in the two stories are dominated by established equivalent, particularization, and adaptation so the children as the readers will be able to understand it easily. Another previous study found is written by Novalinda (2014), entitled Kajian Teknik, Metode, Ideologi, dan Kualitas Terjemahan Cerita Anak Serial Erlangga for Kids. In this article, there are six translated children's fantasy stories in Serial Erlangga for Kids that were analyzed using the translation strategies by Molina & Albir. Based on the findings, it is found that there are ten translation strategies used,

(5)

namely the adaptation, amplification, borrowing, particularization, established equivalent, modulation, reduction, transposition, literal translation, and generalization. The researcher found that the strategy of literal translation is used the most to make the TT more effective and easily understood by the target readers (children). This study will be different from the previous ones analyzing the same topic on the translation strategies in a fantasy story. This study will analyze the fantastic elements and strategies used to maintain the spooky or scary message inside the fantastic elements, an idea never mentioned before in other previous researches.

RESEARCH METHODS

This study uses a qualitative research approach (Creswell, 2014) and a literature survey to collect the data. Data sources used in this study are the excerpts of the paragraphs or sentences that contain fantastic events in Venus dari Kota Ille, the translated Indonesian version by Djokosujatno (2001) from the French version entitled La Vénus d’Ille by Mérimée (1837). Firstly, the fantastic events are determined using the theory from Todorov (1970), Puzin (1984), and Djokosujatno (2005). After the fantastic events in the ST are found, the researcher will then search for the translated version in the TT. The researcher determines the translation strategies used in the TT employing the theory of translation techniques by Molina & Albir (2002). Based on the translated fantastic events on the TT, the component of meaning theory from Leech (1981) will be employed to see whether the elements that build fear into the readers will be maintained in the TT and what kind of said elements are going to be found.

Translation Strategies

It has been mentioned above that this study is conducted using the translation strategies from Molina & Albir (2002). According to the scientific article entitled Translation Techniques Revisited: A Dynamic and Functionalist Approach, Molina & Albir said that the translation strategies are the procedures used by the translator during the translation process. These strategies are implemented to solve the problems that the translator may face in the search for the right word equivalences when translating a source text (ST) that contains a source language (SL) into a target text (TT) that includes a target language (TL). Molina & Albir state the definition of the translation strategies after analyzing and classifying the theories of Vinay & Darbelnet (1958), Nida (1964), Vázquez Ayora (1977), Delisle (1993), and Newmark (1988) on the translation procedures.

Based on the theories they found, it can be concluded that there are 18 translation strategies discovered:

1. Adaptation: A strategy in translation to replace a cultural element in the SL with the TL's cultural element. For example, the word baseball in English is translated into fútbol in Spanish.

Baseball is America's common sport which does not exist in Spain, so there is a possibility that the readers from Spain cannot understand what it is when reading the translated version.

Therefore, the translator uses this technique to replace America's cultural term with the one from Spain, fútbol, that is already known there.

2. Amplification: A strategy used to introduce details that are not explicitly described or paraphrase implicit information in the SL, for example, the use of footnotes. The word mourre

(6)

found in the corpus of Venus dari Kota Ille is translated with an explanation on a footnote; the word is described as an Italian game where the player must quickly open his fingers from his cupped hands and the others must guess the number of fingers raised.

3. Borrowing: to 'borrow' words or terms from the SL. It can be divided into two techniques:

pure borrowing and naturalized borrowing. Pure borrowing is done using the words or terms straight from the SL and not changing them at all in the TL. Naturalized borrowing is done by naturalizing the word from SL in the TL. The word blender in English is translated with the exact word in Indonesian (this is the example of pure borrowing); but the word calculator is translated as kalkulator (this is the example of naturalized borrowing: the spelling of the word is different because it naturalizes with the Indonesian pronunciation).

4. Calque: literal translation of foreign words from the SL to the TL by maintaining their original structure. For example, fleur de sel is translated as ‘bunga garam’ in Indonesian or ‘flower of salt’ in English.

5. Compensation: a strategy to introduce the element of information or stylistic influence in the ST because it cannot be shown as it is in the TT. For example, the word étreignait—hug or embrace—in French is translated as mencekik, which means to suffocate or to strangle in Venus dari Kota Ille.

6. Description: this strategy is employed to replace a term or an expression using a description of its form or function. This strategy is different from amplification that makes implicit information more explicit. For example, beurre doux is translated as unsalted butter.

7. Discursive creation: a translation strategy that uses an out-of-context equivalence. This strategy is commonly used in translating movie or book titles. For example, the movie title Home Alone is translated as Maman, j’ai raté l’avion! in French, which does not have a correlation of being home alone, but rather, a situation where the character is missing a flight.

8. Established equivalent: to apply commonly used terms or expressions in the TL, which are also recognizable by the dictionaries and familiar to the reader as they use it in their everyday life, e.g., to translate the word malheur that means sadness in French as musibah or disaster in Indonesian because it is more prevalent by the Indonesians.

9. Generalization: employing a more general or neutral term in the TL. For example, the words guichet, fenêtre, and devanture, which are words to say the many types of specific windows in French, are generally translated as only one word in Indonesian that is ‘jendela’.

10. Linguistic amplification: adding linguistic elements to make the translation longer. This strategy is commonly used in interpreting and dubbing. For example, the phrase “I get it.” is translated as “Biar saya saja yang mengangkat teleponnya.”

11. Linguistic compression: this strategy synthesizes the linguistic elements in order to simplify it. For example: “Yes, so what?” is translated as “Terus?” in Indonesian.

12. Literal translation: translating a word or an expression word for word. This strategy is different from calque. While calque tries to maintain the phrase structure from the SL, literal translation on the contrary, adjusting the translation into the structure and rules in the TL. For example:

‘Je le vis déployer le bras’ is translated as ‘Aku melihat dia mengembangkan tangan.’

13. Modulation: translating by changing the point of view, focus, or cognitive category concerning the SL. For example, ‘...elle lit un mouvement involontaire’ is translated as ‘...lalu secara tak sengaja ia bergerak.’

(7)

14. Particularization: using a more precise and specific term. This strategy is the opposite of generalization which generalizes a term from the SL in the translation. For example, the translation of the word ‘jendela’ in Indonesian—meaning window—as guichet, fenêtre, and devanture in French.

15. Reduction: a strategy that focuses on the suppression of the translation from ST to TT. In other words, the explicit information found in the ST is made implicit in the TT. For example, ‘SBY the president of the republic of Indonesia’ is written as only ‘SBY’ in the translation.

16. Substitution: linguistic, paralinguistic: changing linguistic elements with paralinguistic elements such as intonation and gesture, or vice versa. This technique is commonly used in interpreting. For example, ‘He nods’ (showing a gesture) is translated into ‘Ia setuju’ (he agrees) in Indonesian.

17. Transposition: to change a grammatical category in the TT. For example: Une femme indonesienne or ‘An Indonesian woman’ is translated as ‘wanita yang berasal dari Indonesia’

or ‘A woman who comes from Indonesia’. There is a change in the parts of speech:

indonesienne is a French adjective, but it is translated as ‘Indonesia’ which is a noun.

18. Variation: a strategy that changes the linguistic and paralinguistic elements that affect the linguistic variation aspects, such as changing the style, social dialect, or geographical dialect.

This strategy is commonly used in translating play scripts.

Componential Analysis of Meaning

Translating is not merely a process of transferring language but also a process of transferring meaning from ST to TT (Newmark, 1988). Therefore, a component analysis on the meaning needs to be conducted to see if there are meanings being maintained or eliminated in a translation. In this study, the theory of component analysis in the meaning by Leech (1981) will be implemented by using tables. The tables will show which components of meaning are the same or not the same (changed or eliminated) in the TT. To see those similarities and differences in the components of meaning, the tables will be completed with two indicators: a plus sign (+) and a minus sign (-). The plus sign will show that the lexemes analyzed are having the same meaning and the minus sign will indicate that there are no similarities between the two lexemes. The following table is the example of the analysis:

Table 1.

Component of Meaning Analysis Example Between “Cat” and “Rabbit”

Cat Rabbit

Domestic animal + +

Carnivore + -

Small size + +

(8)

Based on the table above, it is presented that the lexemes “cat” and “rabbit” are having the same meaning as a small-sized domestic animal. However, cat possesses another meaning as a carnivore while rabbit is a non-carnivore domestic animal.

Translation Strategies for the Fantastic Events in Venus dari Kota Ille

According to the definitions from experts about fantastic story’s elements, it is concluded that a fantastic characteristic can be in the form of uncanny events that are irrational until they are impossible to take place in real life, that can be found in between the storyline and is intended to appear unexpectedly following a realistic event. In this research, the fantastic elements being analyzed are the unearthly events chosen by reading and tracing the storyline of La Vénus d’Ille and the translated version, Venus dari Kota Ille. In this article, an event will be considered

‘fantastic’ if it shows an uncanniness and so unearthly until it cannot happen in real life, and also if the event appears abruptly following another event that is ordinary and usual in real life.

Furthermore, to strengthen the examination of the fantastic events, researcher will also observe the characters involved in the event. Todorov (1970) said that a certain situation in a story can be categorized as ‘fantastic’ when the readers can find ordinary human figures witnessing the happening of some uncanny and eerie occurrences. Therefore, after deciding whether a particular event is part of a fantastic element, the researcher will proceed to see if there are ordinary human characters experiencing that supernatural event to make sure that the events chosen are truly a fantastic event.

In the research corpus of Venus dari Kota Ille, five fantastic events were found and can be briefly summarized as the following:

1. First event: the revenge of the statue of Venus to a young man who mock her.

2. Second event: the ring that is attached and cannot be taken off Venus' finger.

3. Third event: the death of Alphonse.

4. Fourth event: the flashback of Venus murdering Alphonse.

5. Fifth event: the mysteriously frozen vines at Ille.

From those five events found above, each is translated using different variations of strategies. The table below is the recapitulation of the translation strategies found in Venus dari Kota Ille, that are determined by examining strategies used in a phrase contained in a paragraph with a certain fantastical events:

Table 2.

The Translation Strategies Used to Translate the Fantastic Events.

No. Fantastical Event No. of Page Translation Strategy No. of Frequency

1. First event 17 Established equivalent 2

Literal translation 1

W 2.

Second event 42 Established equivalent 5

Amplification 1

(9)

Compensation 1

Calque 1

3 3.

Third event 47 Established equivalent 5

4 4.

Fourth event 49-50 Established equivalent 4

Compensation 2

Modulation 1

5 5.

Fifth event 53 Amplification 1

Established equivalent 1

Based on the table above, it is shown that there are six translation strategies used in translating the fantastic events, namely the established equivalent, literal translation, modulation, calque, compensation, and amplification. The established equivalent strategy is used most often with 17 times appearances in each of the fantastic events. Meanwhile, the literal translation is employed 4 times, compensation 3 times, amplification 2 times, calque and modulation are both employed once. The findings on the translation strategies will be elaborated one by one specifically.

Translation Strategy of Established Equivalent

In Venus dari Kota Ille, based on the analysis on each fantastic event, it is found that the most used translation strategy is the established equivalent. This strategy is employed in every five fantastic events in the TT, moreover, the translator uses this strategy to translate the whole storyline, not only for the fantastic events. To show how the translator employs the established equivalent strategy in the TT, an example will be given, specifically the translation of the second fantastic event in Venus dari Kota Ille. The second event is chosen because the established equivalent strategy appears the most there than in other fantastic events in the story. This is how the translator use the established equivalent in the translation:

Table 3.

Translation Strategies Found in the Second Fantastic Event in Venus dari Kota Ille.

No. ST (in French) TT (in Indonesian) Translation Strategies 1

1.

“Vous savez bien, mon anneau ? poursuivit-il

après un silence.

“Anda tahu sekali bukan, cincin kawinku?” lanjutnya

setelah berdiam diri.

Amplification

2.

— Eh bien ! on l’a pris ? “Eh! Ada yang mengambilnya?”

Established equivalent

3.

— Non. “Tidak.” Literal translation

(10)

4. — En ce cas, vous l’avez

?

“Kalau begitu ada pada Anda?”

Established equivalent 5

5.

— Non... je... je ne puis l’ôter du doigt de cette

diable de Vénus.

“Tidak… saya… saya tidak dapat melepaskan cincin saya

dari jari Venus sialan itu.”

Compensation

6 6.

— Bon ! vous n’avez pas tiré assez fort.

“Nah! Anda tidak cukup kuat menariknya.”

Calque 7

7.

— Si fait... Mais la Vénus... elle a serré le

doigt.

“Tidak, sudah kutarik dengan kuat…Tapi Venus itu…dia

merapatkan jarinya.

8 8.

Le doigt de la Vénus est retiré, reployé ; elle

serre la main, m’entendez-vous ?...

Venus melengkungkan jarinya, melipatnya; ia merapatkan

tangannya. Anda dengar tidak?...

9 9.

C’est ma femme, apparemment, puisque je

lui ai donné mon anneau... Elle ne veut

plus le rendre.”

Kelihatannya ia merasa menjadi istriku, karena aku

telah memberikan cincin kawinku padanya… ia tidak mau lagi mengembalikannya.”

According to Molina & Albir (2002), the established equivalent is a strategy that is used to translate a ST with familiar words, terms, and expressions found in the TL’s dictionary and also in everyday use. This strategy is used by the translator so the readers can easily understand the message in the story because the TT contains the TL with familiar terms and expressions that are common to them. This statement shows that the established equivalent strategy has the purpose of providing a simpler and understandable translation to the readers in the TL. From the ST-TT table above, examining the second fantastic event found in the storyline of Venus dari Kota Ille, it is shown that the translator frequently employs the strategy of established equivalent by using common expressions and terms recognized in Indonesian as the TL. Those said expressions and terms can be found employed on the phrases number 2, 4, 7, 8, and 9.

In the second sentence, the translator uses the word ‘ada’, meaning ‘there is’ to translate the word ‘on’ (we, us, someone) in the interrogative sentence ‘...on l’a pris?’. This finding shows that the translator uses the established equivalent not only to make the translation simpler and easier to comprehend, but also to unconsciously construct an eeriness element for the readers, because the translator does not use literal translation as a strategy to translate the word ‘on’ into

‘seseorang’ (someone) that shows its literal meaning. The reason behind this is because the translator seems to want to arouse suspicion in the readers that “something else” or “something inhuman” that cannot be addressed as ‘someone’ might take the ring from Alphonse. In this story, then, the “something else” refers to the statue of Venus, that is clearly not a human being, so the translator does not use the word ‘seseorang’ and instead, uses the established equivalent as a strategy to give readers a cue and a hint that there is an inhuman creature that can move and think like a human in this story; so that the mystical impression from the original story can be conveyed in the translation.

(11)

Still in the same paragraph, the mystical or supernatural impression that is built by the translator intensifies when Alphonse admits that he sees the statue of Venus bending her fingers on the seventh and eighth sentences. The translator, again, uses the established equivalent as a strategy to translate a sentence that describes the movements of Venus’ hands, which is odd in this paragraph, because Venus, being just a mere statue, is depicted like a human with the ability to move its fingers. This shows that the translation strategy of the established equivalent is used to make the readers able to immediately understand the message that the Venus, which is just a statue, can move, because the established equivalent allows readers to easily visualize the movement of the Venus in just one read. Based on the analysis, it is concluded that the translator uses the established equivalent to maintain the spooky element from the original story, and even intensifies it in a way that is understandable and clear for Indonesian readers, because the most important events and the dialogues containing the main topic of the paragraph is translated in a simple way so the readers do not have to think repeatedly and can instantly grasp the scary feeling from the story.

Translation Strategy of Literal Translation

Alongside the strategy of the established equivalent, in the TT, the researcher also finds another strategy, namely the strategy of literal translation. This strategy is the second most used after the established equivalent. The employment of the literal translation is not found as frequently as the established equivalent in the translation of the fantastic events. The translator uses it only once for several translated events, which is on the first, second, third, and fifth fantastic events in the story. Below is the elaboration of the usage of the literal translation in one of the fantastic events in the TT, that is the first one:

Table 4.

Translation Strategies Found in the First Fantastic Event in Venus dari Kota Ille.

No. ST TT Translation Strategies

1 1.

“Il faut que je souhaite le bonsoir à l’idole”, dit le plus grand des apprentis,

s’arrêtant tout à coup.

“Aku harus mengucapkan selamat malam pada patung berhala itu,” kata si magang

yang lebih tinggi sambil berhenti tiba-tiba.

(12)

2. Il se baissa, et probablement ramassa une pierre. Je le vis déployer le bras, lancer quelque chose, et aussitôt un coup sonore

retentit sur le bronze. Au même instant l’apprenti porta la main à sa tête en poussant un cri de douleur.

Dia membungkuk, mungkin memungut batu. Aku melihat

dia mengembangkan tangan, melemparkan sesuatu, dan segera suatu bunyi nyaring bergema di atas perunggu itu.

Saat itu juga pemuda itu memegangi kepalanya sambil

menjerit kesakitan.

Literal translation

3 3.

“Elle me l’a rejetée !”

s’écria-t-il.

Et mes deux polissons prirent la fuite à toutes

jambes.

“Dia balas melempar padaku!” teriaknya. Dan kedua pemuda jalanan itu pun

lari sekencang mungkin.

According to Molina & Albir, literal translation is the strategy used to maintain the structure of the sentence and by using this strategy, a translator will have to translate word for word so the sentence structure in the TT will only have minor changes. However, the use of this strategy has its own risk, because oftentimes, the translation will become rigid and not communicative enough.

Nevertheless, in Venus dari Kota Ille, the translator keeps using this strategy. Based on the result of the analysis from each fantastic event in the TT, a pattern on the use of this strategy is found:

the translator uses the literal translation strategy in translating human actions or incidents that happen to a human.

Take the example by observing the table above which contains the translation of the first fantastic event in the story. The translator employs the literal translation as a strategy to translate a human-action-related incident that involves a young man who throws a pebble at the statue of Venus. In the translation, the sentence structure presented in the TT shows that the translator wants to maintain the scenario and the order of a human action or movement. In the second column on the table above, the human actions taken—from taking a pebble to throwing it towards the statue of Venus—are translated sentence for sentence with each word from the ST being maintained in the TT, even the word ‘déployer’ (spread) is exactly translated as ‘mengembangkan’ (extend or expand) in the TT, and it is not replaced by a more common Indonesian term like ‘merentangkan’

(spread) that can work better when describing an action of spreading one’s arms. This shows that the translator wants to translate the human actions in the ‘purest’ way possible. The order of those actions taken by a human, are also tend to be conveyed clearly and structured so the readers can see these human behaviors in a detailed way and not just with a general view.

The translator also uses this strategy to translate human behaviors with consequences or just the consequences themselves. In the table above, the literal translation strategy is used to show the stages of human action in detail, namely starting from picking up a pebble, then getting ready to throw, to throwing, then followed by the consequences received from these actions when the pebble thrown comes back to the young man who throws it himself. So this strategy is used because

(13)

it makes it easier to imagine the details of a structured event, especially events that contain cause and effect. This is important because it can show the existence of relationships and interactions between humans and other creatures in the story, which shows that humans will always receive retribution from these creatures if they try to act against them. Another incident that uses a literal translation strategy is the third event in the incident that happened to humans, namely the death that befell Alphonse, and the fourth event, namely the frozen state of the wine in the village as a result of the melting of the Venus statue.

Translation Strategy of Amplification

Another translation strategy found in Venus dari Kota Ille is amplification. The translator uses this strategy twice in the TT: once in both the second and fifth fantastic events. The following is the elaboration of the use of the amplification translation strategy that can be seen clearly in the second fantastic event:

Table 5.

Translation Strategy Found in the Second Fantastic Event in Venus dari Kota Ille.

ST TT Translation Strategy

“Vous savez bien, mon anneau ? poursuivit-il

Amplification

Above, the second fantastic event in the story is shown in the ST-TT table that tells the incident of Alphonse who cannot take his ring away from Venus because the statue bends its fingers. In this table, it appears that the translator uses the amplification translation strategy to translate one of the sentences that builds a paragraph containing this fantastic event. Molina & Albir explains that amplification is a translation strategy where the translator adds words, expressions, and introduces details in order to clearly explain the message in the translation. In this case, the translator adds the word ‘kawin’ (wedding) when translating the word ‘anneau’ (meaning a ring), so in the translation, the word ‘anneau’ holds a detailed message as not only a ‘ring’ but a ‘wedding ring’. The translator employs this strategy to clarify and intensify a scary impression, that the ring that Alphonse slides into Venus’ fingers is not just a regular ring, but a wedding ring that symbolizes love, and this is the reason why Venus fall in love with Alphonse, because the statue ‘feels’ like it is loved by Alphonse and has become his wife. This finding shows that amplification is used to clarify the logic of the story and to give off scary impression, because by using this strategy, the translator can clarify and show that the Venus, which is a statue, can feel like a human being and able to distinguish between ordinary rings and wedding rings, and can even understand the meaning behind these items that can be associated with love and romantic relationships.

(14)

Translation Strategy of Compensation

Compensation is another translation strategy found in the analyzed TT, which is on the second and fourth fantastic events. The elaborated explanation can be seen in the ST-TT table for the fourth event below:

Table 6.

Translation Strategies Found in the Fourth Fantastic Event in Venus dari Kota Ille.

1. Au bout d’un instant, le lit cria comme s’il était

chargé d’un poids énorme. Elle eut grand

peur, mais n’osa pas tourner la tête.

Beberapa saat kemudian, tempat tidur bergerak-gerak seakan-akan mendapat beban

yang amat berat. Dia merasa takut sekali, tetapi tidak berani memalingkan kepala.

2. Cinq minutes, dix minutes peut-être... elle ne peut se rendre compte du temps,

se passèrent de la sorte.

Lima menit, mungkin sepuluh menit, berlalu seperti itu…

dia tidak mampu menghitung waktu.

Compensation

3. Puis elle lit un mouvement involontaire, ou bien la personne qui était dans le lit en fit un, et elle sentit le

contact de quelque chose de froid comme la glace, ce sont ses expressions.

Lalu secara tak sengaja ia bergerak, atau mungkin orang

yang berada di atas tempat tidur itu yang bergerak, dan

dia merasakan sentuhan sesuatu yang dingin seperti

es, itulah kata-kata yang dipakainya.

Modulation

4. Elle s’enfonça dans la ruelle, tremblant de tous ses membres. Peu après,

la porte s’ouvrit une seconde fois, et quelqu’un

entra, qui dit : Bonsoir, ma petite femme. Bientôt après on tira les rideaux.

Elle entendit un cri étouffé.

Dia menggeser lagi sampai ke tepi dengan seluruh tubuh gemetar. Tak lama kemudian,

pintu terbuka untuk kedua kali, dan seseorang masuk sambil berkata, “Selamat

malam, istriku sayang.”

Segera sesudah itu kelambu dibuka, dia mendengar jeritan

tertahan.

5. La personne qui était dans le lit, à côté d’elle, se leva

sur son séant et parut étendre les bras en avant.

Orang yang ada di tempat tidur, di sampingnya, bangkit

duduk dan tampaknya mengulurkan kedua belah

lengannya.

(15)

6. Elle tourna la tête alors...

et vit, dit- elle, son mari à

genoux auprès du lit, la tête à la hauteur de l’oreiller, entre les bras

d’une espèce de géant verdâtre qui l’étreignait

avec force.

Saat itulah ia memalingkan muka… dan, katanya, melihat

suaminya berlutut di samping tempat tidur, kepalanya pada

ketinggian bantal, dalam pelukan makhluk raksasa kehijauan yang mencekiknya

dengan kuat.

Established equivalent and compensation

The strategy of compensation is used twice in the fourth fantastic event in the table above.

However, the use of this strategy is highly significant in the sixth column. Compensation itself is a translation strategy in which the translator reduces an element in ST or removes an element from the ST and replaces it with another element in TT. On the table above, specifically on the sixth column, the translator removes the word ‘étreignait’ that means ‘to hug’ or ‘to embrace’ and replaces it with ‘mencekik’ that means ‘to strangle’ in Indonesian. This shows that the translator wants to emphasize the scary element found in the ST and intensifies its message in the TT. By using compensation, the translator gives off a more sinister or sadistic impression in the translation when telling the action of a supernatural creature, so the message given in the translated version will become scarier than its actual scene in the original story. The use of this strategy shows that the translator maintains the scary or eerie elements from a French fantastic story as the ST to the TT while also tries to intensify it to the readers so they can feel more scared reading the translated version.

Translation Strategies of Calque and Modulation

The last two strategies found in the TT are the strategies of calque and modulation. These two strategies appear the least. According to Molina & Albir, calque is the strategy to translate word for word, which the definition often confused with the strategy of literal translation. The difference between the two strategies is that calque is not employed to maintain the exact same structure from the ST to the TT, but instead, in a more subtle way of ‘borrowing’ the meaning of a word or an expression from SL to TL and focuses more on the TL. Meanwhile, modulation is a translation strategy to change the point of view. In the TT, calque can be found in the second fantastic event, shown below in the table:

Table 7.

Translation Strategy of Calque Found in the Second Fantastic Event in Venus dari Kota Ille

— Bon ! vous n’avez pas tiré assez fort.

Calque

Based on the table above, the use of the strategy of calque can be found only once in the second fantastic event in the dialogue between Alphonse and the main character whose name is not

(16)

mentioned in the story. Rather than maintaining the scary element, calque is used to maintain a communicative element from ST to TT. By translating the exclamation ‘Bon!’ into ‘Nah!’, the readers can enjoy the translation well because there is a proper and correct choice of term.

Therefore, the translator uses calque to show an intention of preserving the elements of art and beauty of the literary diction from the ST to the TT, not only the spooky element contained.

Meanwhile, the strategy of modulation is used to change point of view and can be found in the fourth fantastic event, as seen in the table below:

Table 8.

Translation Strategy of Modulation Found in the Fourth Fantastic Event in Venus dari Kota Ille

Puis elle lit un mouvement involontaire, ou bien la personne

qui était dans le lit en fit un, et elle sentit le contact de quelque

chose de froid comme la glace, ce sont ses expressions.

Lalu secara tak sengaja ia bergerak, atau mungkin orang

yang berada di atas tempat tidur itu yang bergerak, dan

dia merasakan sentuhan sesuatu yang dingin seperti

es, itulah kata-kata yang dipakainya.

Modulation

On the table above, it is shown that the translator uses the strategy of modulation in the TT to show an impression that Alphonse’s wife is moving suddenly. The use of the modulation here is to reveal the active movement of a character.

The Scary Elements of the Fantastic Events in Venus dari Kota Ille

The translator uses the established equivalent strategy to translate the story of a murder commited by a gigantesque creature from the ST to the TT, which can be found from the extract of the fourth fantastic event in Venus dari Kota Ille below:

Table 9.

The Extract of the Fantastic Event Which Contains a Scary Element

ST TT

Elle tourna la tête alors... et vit, dit- elle, son mari à genoux auprès du lit, la tête à la

hauteur de l’oreiller, entre les bras d’une espèce de géant verdâtre qui l’étreignait

avec force.

Saat itulah ia memalingkan muka… dan, katanya, melihat suaminya berlutut di samping tempat tidur, kepalanya pada ketinggian bantal, dalam pelukan makhluk

raksasa kehijauan yang mencekiknya dengan kuat.

(17)

In the ST, there is a phrase ‘d’une espèce de géant verdâtre’ which translates in the TT as ‘raksasa kehijauan’ (greenish-colored giant). According to an official French online dictionary, Larousse.fr, the word ‘géant’ has the meaning of a very large creature whose size exceeds the normal human size. The word ‘géant’ also has the definition as a big and dangerous being. This word is translated in the TT as ‘raksasa’. According to an official Indonesian online dictionary, KBBI Daring, the word ‘raksasa’ has the definition as a creature with an extraordinary size (very large), as well as a frightening creature who can only be found in fairy tales. These two lexemes will be analyzed for their components of meaning using Leech's (1981) theory of componential analysis of meaning.

The analysis of meaning components according to Leech is the process of sorting out the meaning of a word in its minimal specific characteristics. The lexemes ‘géant’ and ‘raksasa’ have the following meaning components:

Table 10.

Componential Analysis of Meaning Between the Words ‘géant’ and ‘raksasa’

Géant Raksasa

Non-human beings + +

A large creature + +

A dangerous creature + +

Based on the componential analysis of meaning above, it is known that the word géant is a large- sized creature, non-human, and dangerous. The appearance of a ‘géant’ in a fantastic event is as a dangerous creature that endangers the personnages in the story by killing one of the characters, Alphonse. This word is later translated in the TT as ‘raksasa’. Based on the componential analysis of meaning presented above, it can be acknowledged that the word ‘géant’ and ‘raksasa’ contain common meaning components, namely as large and dangerous non-human beings. The similarity of the meaning components between these two words shows that the scary element of ST is not removed by the translator and maintained in TT because it is still translated with the same meaning using the established equivalent translation strategy.

Moreover, besides the appearance of a non-human creature, in the TT, there is also another scary element found, which is murder. The elements of murder can be seen in the fourth fantastic event that can be shown below by using a table:

Table 11.

The Extract of the Fantastic Event which Contains a Scary Element

ST TT

Elle tourna la tête alors... et vit, dit- elle, son mari à genoux auprès du lit, la tête à la

Saat itulah ia memalingkan muka… dan, katanya, melihat suaminya berlutut di samping

(18)

hauteur de l’oreiller, entre les bras d’une espèce de géant verdâtre qui l’étreignait

avec force.

tempat tidur, kepalanya pada ketinggian bantal, dalam pelukan makhluk raksasa kehijauan yang

mencekiknya dengan kuat.

Still originating from the same excerpt of fantastic event, this time the translator uses the strategy of compensation to translate the word ‘étreignait’ into ‘strangle’. In the Larousse.fr, the word

‘étreignait’ has the meanings of ‘to hug’, ‘to embrace’, or ‘to circle (someone)’. Meanwhile, according to KBBI Daring, the word ‘mencekik’ is defined as ‘to make (someone) dead’, ‘to weigh down’, and ‘to grip (a neck)’. When arranged in a table of componential meanings, it will appear that there is a relation between the two lexemes as follows:

Table 12.

Componential Analysis of Meaning Between the Words ‘étreignait’ and ‘mencekik’

Étreignait Mencekik

To hug + -

To embrace + -

To circle + -

To make dead (murder) - +

To weigh down - +

To grip a neck - +

Based on the table above, it appears that the two words do not have a single meaning in common.

The word ‘étreignait’ which is used in the ST share no componential meaning as scary as the word

‘mencekik’. Moreover, the word ‘étreignait’ in the ST tends to show a meaning of romance and gentleness, as it relates to the words ‘hug’ and ‘embrace’, which are the gestures of affection. This suggests that in the ST, Mérimée wants to give the impression that love is the motive behind the murder of Alphonse by the statue of Venus. The use of the term ‘étreignait' is also used to show the impression that Alphonse died in the embrace of Venus, like lovers. Herein lies the horror of the use of the word 'étreignait', because it turns out that a dangerous supernatural being can fall in love with a human, and that love is what brings disaster to that human. However, in TT, the translator uses the word 'mencekik' which has a more sinister and sadistic meaning than the original word in the ST. This shows that the translator intensifies the spooky elements from the ST to the TT, by using a word that has a more obvious meaning of killing and murder than the word 'étreignait'. This suggests that the translator can choose a translation strategy to build the spooky

(19)

element in the TT. Even though it seems that the true message in the ST is ignored, but, the aim to maintain a sense of horror in the TT is still achieved by the translator.

CONCLUSION

Based on the discussion and analysis, the translation strategies used in the Indonesian translation of La Vénus d’Ille are the established equivalent found 17 times in total, then 4 times literal translation, 3 times compensation, 2 times amplification, as well as calque and modulation, which are used once for each strategy. Through the componential analysis of meaning in the Indonesian translation of La Vénus d'Ille, it appears that there are the elements of horror and eeriness that are maintained, namely those related to a supernatural, non-human creature. This shows that the translation strategies found are used to maintain these scary elements so they can be found still in the Indonesian version. However, it is found that the translator also uses one of the strategies to build an intensified horror element in the TT by using the strategy of compensation that can not only maintain the elements of the murder from the ST to the TT, but also, can retell the murder in a more sadistic way in the TT. The elements in the fantastic events being maintained from the ST to the TT, show that a fantastic characteristic featured only in French literature can also be featured and reproduced in the translated version in Indonesian, so it is proven that the characteristics of a particular literary work can still be preserved when translated to another language, so the characteristic is not reduced and the identity of the literary work can still be seen.

(20)

REFERENCES

Alalettre.com: Le site littéraire. (n.d.). Biographie de Prosper Mérimée (1803-1870). Available on: http://www.alalettre.com/merimee-bio.php

Creswell, J. W. (2014). Research Design: qualitative & quantitative, and mixed methods approaches. Fourth ed. California: SAGE Publication.

Djokosujanto, Apsanti. (2001). Empat Cerita Fantastik Prancis. Jakarta: Yayasan Obor Indonesia.

—–—–—–—–—–—– (2005). Cerita Fantastik dalam Perspektif Genetik dan Struktural. Jakarta:

Djambatan.

Jassin, H. B. (1985). Kesusastraan Indonesia Modern dalam Kritik Esei III. Jakarta: Gramedia.

Izzati, A. N. (2016). Analisis Teknik, Metode dan Ideologi pada Penerjemahan Cerpen Anak.

Dalam Pukan, E. O. & Setiajid, H. H. (Eds.), Proceedings of the 4th Literary Studies Conference “Children’s Literature in Southeast Asia”, 19-20 Oktober 2016. Yogyakarta:

Universitas Sanata Dharma.

Leech, G. (1981). Semantics: The Study of Meaning. London: Penguin.

Masson, N. (2007). La littérature française. Paris: Eyrolles.

Mérimée, P. (1837). La Vénus d’Ille. Revue des Deux Mondes, 10(4), 425-452.

Molina, L., & Albir, A. H. (2002). Translation Techniques Revisited: A Dynamic and Functionalist Approach. Journal des Traducteur, 47(4), 498-512.

Newmark, Peter. (1988). A Textbook of Translation. Hertfordshire: Prentice Hall International.

Novalinda. (2014). Kajian Teknik, Metode, Ideologi, dan Kualitas Terjemahan Cerita Anak Serial Erlangga for Kids. Linguistika Kultura, 7(3), 1-14.

Puzin, Claude. (1984). Le Fantastique. Paris: Fernand Nathan.

Schneider, M. (1964). La littérature fantastique en France. Paris: Fayard.

Todorov, Tzvetan. (1970). Introduction à la Littérature Fantastique. Paris: Seuil.

Dictionaries:

Larousse.fr. Accessed 23 May through https://www.larousse.fr/

KBBI Daring. Accessed 23 May through https://kbbi.web.id/

(21)

APPENDIX

1. The first event: the revenge of the statue of Venus to a young man who mock her (p. 17).

No. ST (in French) TT (in Indonesian) Translation Strategies 1. “Il faut que je souhaite le

bonsoir à l’idole”, dit le plus grand des apprentis,

s’arrêtant tout à coup.

“Aku harus mengucapkan selamat malam pada patung berhala itu,” kata si magang

yang lebih tinggi sambil berhenti tiba-tiba.

2. Il se baissa, et probablement ramassa

une pierre. Je le vis déployer le bras, lancer quelque chose, et aussitôt un coup sonore retentit sur le bronze. Au même instant l’apprenti porta la main à

sa tête en poussant un cri de douleur.

Dia membungkuk, mungkin memungut batu. Aku

melihat dia mengembangkan tangan, melemparkan sesuatu, dan segera suatu bunyi nyaring bergema di atas perunggu itu. Saat itu juga pemuda itu

memegangi kepalanya sambil menjerit kesakitan.

Literal translation

3. “Elle me l’a rejetée !”

s’écria-t-il.

Et mes deux polissons prirent la fuite à toutes

jambes.

“Dia balas melempar padaku!” teriaknya.

Dan kedua pemuda jalanan itu pun lari sekencang

mungkin.

2. Second event: the ring that is attached and cannot be taken off Venus' finger (p. 42).

1. “Vous savez bien, mon anneau ? poursuivit-il

Amplification

2. — Eh bien ! on l’a pris

?

“Eh! Ada yang mengambilnya?”

3. — Non. “Tidak.” Literal translation

4. — En ce cas, vous l’avez ?

“Kalau begitu ada pada Anda?”

Established equivalent 5. — Non... je... je ne puis “Tidak… saya… saya tidak Compensation

(22)

l’ôter du doigt de cette diable de Vénus.

dapat melepaskan cincin saya dari jari Venus sialan

itu.”

6. — Bon ! vous n’avez pas tiré assez fort.

Calque 7. — Si fait... Mais la

Vénus... elle a serré le doigt.

“Tidak, sudah kutarik dengan kuat…Tapi Venus itu…dia merapatkan jarinya.

8. Le doigt de la Vénus est retiré, reployé ; elle

serre la main, m’entendez-vous ?...

Venus melengkungkan jarinya, melipatnya; ia merapatkan tangannya.

Anda dengar tidak?...

9. C’est ma femme, apparemment, puisque

je lui ai donné mon anneau... Elle ne veut

plus le rendre.”

Kelihatannya ia merasa menjadi istriku, karena aku

telah memberikan cincin kawinku padanya… ia tidak

mau lagi mengembalikannya.”

3. Third event: the death of Alphonse (p. 47).

1. De l’extrémité opposée partaient des cris et des

lamentations, et une voix déchirante dominait toutes les

autres :

“Jeritan dan ratapan itu berasal dari ujung gang yang berlawanan, dan sebuah suara yang sangat

memilukan, menenggelamkan suara-

suara lain:

2. “Mon fils ! mon fils !

>> il était évident qu’un malheur était arrivé à M. Alphonse.

““Anakku! Anakku!” Jelas bahwa Tuan Alphonse

tertimpa musibah.

3. Je courus à la chambre nuptiale : elle était

pleine de monde.

“Aku berlari ke kamar pengantin: kamar itu penuh

orang.

4. Le premier spectacle qui frappa ma vue frit le jeune homme à demi vêtu, étendu en travers sur le lit dont le bois

était brisé.

Pandangan pertama yang mengejutkan penglihatanku

adalah seorang pria muda setengah telanjang terbaring

melintang di atas tempat tidur yang kayunya patah.

(23)

5. Il était livide, sans mouvement. Sa mère pleurait et criait à côté

de lui.

Kulitnya pucat kebiru- biruan, tak bergerak. Ibunya

menangis dan menjerit-jerit di sisinya.

6. Hélas ! depuis longtemps son fils était

mort.

Sayang! Sudah agak lama anaknya meninggal.

Literal translation

4. Fourth event: the flashback of Venus murdering Alphonse (p. 49-50).

1. Au bout d’un instant, le lit cria comme s’il était

chargé d’un poids énorme. Elle eut grand

peur, mais n’osa pas tourner la tête.

Beberapa saat kemudian, tempat tidur bergerak-gerak

seakan-akan mendapat beban yang amat berat. Dia

merasa takut sekali, tetapi tidak berani memalingkan

kepala.

2. Cinq minutes, dix minutes peut-être... elle

ne peut se rendre compte du temps, se passèrent de la sorte.

Lima menit, mungkin sepuluh menit, berlalu seperti itu… dia tidak mampu menghitung waktu.

Compensation

3. Puis elle lit un mouvement involontaire, ou bien la personne qui était dans le lit en fit un, et elle

sentit le contact de quelque chose de froid comme la glace, ce sont

ses expressions.

Lalu secara tak sengaja ia bergerak, atau mungkin orang yang berada di atas

tempat tidur itu yang bergerak, dan dia merasakan

sentuhan sesuatu yang dingin seperti es, itulah kata-kata yang dipakainya.

Modulation

4. Elle s’enfonça dans la ruelle, tremblant de tous ses membres. Peu après, la porte s’ouvrit une seconde fois, et quelqu’un entra, qui dit

: Bonsoir, ma petite femme. Bientôt après on

tira les rideaux. Elle entendit un cri étouffé.

Dia menggeser lagi sampai ke tepi dengan seluruh tubuh gemetar. Tak lama

kemudian, pintu terbuka untuk kedua kali, dan seseorang masuk sambil berkata, “Selamat malam,

istriku sayang.” Segera sesudah itu kelambu dibuka,

dia mendengar jeritan

(24)

tertahan.

5. La personne qui était dans le lit, à côté d’elle,

se leva sur son séant et parut étendre les bras

en avant.

Orang yang ada di tempat tidur, di sampingnya,

bangkit duduk dan tampaknya mengulurukan

kedua belah lengannya.

6. Elle tourna la tête alors... et vit, dit- elle,

son mari à genoux auprès du lit, la tête à

la hauteur de l’oreiller, entre les bras d’une

espèce de géant verdâtre qui l’étreignait

avec force.

Saat itulah ia memalingkan muka… dan, katanya, melihat suaminya berlutut di

samping tempat tidur, kepalanya pada ketinggian

bantal, dalam pelukan makhluk raksasa kehijauan yang mencekiknya dengan

kuat.

Established equivalent and compensation

5. Fifth event: the mysteriously frozen vines at Ille (p. 53).

No. ST TT Translation

Strategies 1. Après la mort de son mari,

le premier soin de Mme de Peyrehorade fut de la faire fondre en cloche, et sous cette nouvelle forme elle

sert à l’église d’llle.

Setelah suaminya meninggal dunia, hal pertama yang dilakukan oleh Nyonya de Peyrehorade adalah menyuruh orang melebur patung tersebut menjadi sebuah lonceng, dan

dalam bentuknya yang baru benda itu digunakan di gereja

Ille.

Amplification

2. Mais, il ajoute M. de P., il semble qu’un mauvais sort

poursuive ceux qui possèdent ce bronze.

Namun, sambung Tuan de P., tampaknya nasib buruk senantiasa membayangi mereka yang memiliki

perunggu itu.

3. Depuis que cette cloche sonne à Ille, les vignes ont

gelé deux fois.

Semenjak lonceng itu berdentang di Ille, tanaman

anggur membeku dua kali.

Literal translation