RHYME, METRE ANALYSIS AND TRANSLATION STRATEGIES OF SAPARDI DJOKO DAMONO S POEMS A THESIS. Avilia Wardani C

Transcription

1 RHYME, METRE ANALYSIS AND TRANSLATION STRATEGIES OF SAPARDI DJOKO DAMONO S POEMS A THESIS Submitted in partial fulfillment of the requirements for the degree of Sarjana Sastra (S.S) By: Avilia Wardani C FACULTY OF HUMANITIES DIAN NUSWANTORO UNIVERSITY SEMARANG 2015

2 STATEMENT OF ORIGINALITY I declare that all material in this thesis is my own work and does not involve plagiarism. Semarang, 05 August 2015 Avilia Wardani ii

3 STATEMENT OF PUBLICATION I hereby grant Dian Nuswantoro University the right to display or copy. Any part of the thesis, in all forms of media for references purposes and legitimate use is prohibited without the written consent of Dian Nuswantoro University. Semarang, 05 August 2015 Avilia Wardani iii

4 ADVISOR S APPROVAL This thesis has been approved by the advisor on 10 March 2015 to be examined by the board of examiners. Advisor, Rahmanti Asmarani, S.S, M. Hum. iv

5 PAGE OF APPROVAL Title of Thesis : RHYME, METER ANALYSIS AND TRANSLATON STRATEGIES OF TRANSLATING SAPARDI DJOKO DAMONO S POEMS Student Name : AVILIA WARDANI Student Number : C This thesis has been approved by the board of examiners, English Study Program, Faculty of Humanities, Dian Nuswantoro University on 28 July 2015 Board of Examiners Chairperson Secretary Sarif Syamsu Rizal, S.S., M.Hum ExaminereeXAExaminer Nina Setyaningsih, S.S., M. Hum Advisor Dr.Drs. Jumanto, M.Pd. Rahmanti Asmarani, SS., M.Hum v

6 MOTTO Strength does not come from winning. Your struggles develop your strengths. When you go through hardship and decide not to surrender, that is strength. (Arnold Schwarzenegger) Life is like riding bicycle. To keep your balance, you must keep moving. (Albert Einstein) It doesn t matter how slowly you go as long as you don t stop. (Confucius ) vi

7 DEDICATION This thesis is dedicated to: The sake of Allah, my Creator and my Master, My Beloved Father and Mother vii

8 ACKNOWLEDGEMENT In this happiness moment, I would like to thank to Allah SWT the most merciful and compassionate for giving me strength to finish writing this thesis so in the end this thesis can be completed. Furthermore, I would like toexpress my sincere thanks to: 1. Dr. Ir Dwi Eko Waluyo, MM, Dean of the Faculty of Humanities of Dian Nuswantoro University, who gave me permission to conduct this thesis and also encouragement, so this thesis can be completed. 2. Dr. Drs Jumanto, M.Pd., Head of English Study Program of Strata 1, Faculty of Humanities, Dian Nuswantoro University, who gave me permission to conduct this thesis. 3. Rahmanti Asmarani, S.S., M.Hum., my advisor, for her continuous and valuable guidance, advice and encouragement in completing this thesis; 4. Irma Winingsih, S.S, M.Hum., thesis coordinator of English Study Program of Faculty of Humanities, Dian Nuswantoro University, who had arranged my thesis exam schedule. 5. All lecturers at the English Department of Faculty of Humanities of Dian Nuswantoro University, who had taught, motivated, and guided me during the writing of this thesis. 6. Librarians of central library Dian Nuswantoro University and Self Access Centre for the permission and valuable references in writing this thesis; 7. To myself who don t give up eventhough I feel I wanna give up. 8. The last but not least, my friends at English department of Faculty of Humanities for the motivation, supports and memories all this time. For the people that I cannot mention one by one, thank you very much. viii

9 Hopefully, this thesis will be useful for the readers, especially for the students of English Department Faculty of Humanities of Dian Nuswantoro University. Finally, I do realize that due to my limited ability, this thesis must have short coming. For this, I welcome any suggestions and criticisms. Semarang, 05 August 2015 ix

10 TABLE OF CONTENTS PAGE OF TITLE... Error! Bookmark not defined. STATEMENT OF ORIGINALITY... ii STATEMENT OF PUBLICATION... iii ADVISOR S APPROVAL... iv PAGE OF APPROVAL... v MOTTO... vi DEDICATION... vii ACKNOWLEDGEMENT... viii TABLE OF CONTENTS... x LIST OF TABLES... xii LIST OF APPENDICES... xiv ABSTRACT... xv CHAPTER 1 INTRODUCTION Background of the Study Statement of the Problem Scope of the Study Objective of the Study Significance of the Study Thesis Organization... 6 CHAPTER 2 REVIEW OF RELATED LITERATURE Poetry and Translation Problem in Translating Poetry... 9 x

11 2.4. Strategy of Poetry Translation Textual Element of Poetry CHAPTER 3 RESEARCH METHOD Research Design Unit of Analysis Source of Data Technique of Data Collection Technique of Data Analysis CHAPTER 4 DATA ANALYSIS Findings CHAPTER 5 CONCLUSION AND SUGGESTION Conclusion Suggestion BIBLIOGRAPHY APPENDICES xi

12 LIST OF TABLES Table 4.3 Table 4.4 Table 4.5 Table 4.6 Table 4.7 Table 4.8 Table 4.9 Table 4.10 Table 4.11 Table 4.12 Table 4.13 Table 4.14 Rhyme and Meter Analysis of Stanza One in Kami Bertiga into Three of Us Rhyme and Meter Analysis of Stanza one in Kami Bertiga into Three of Us Rhyme and Meter Analysis of Stanza One in Di tangan Anak-Anak intoin Children s Hand Rhyme and Meter Analysis of Stanza one in Di Tangan Anak-Anak intoin Children s Hand Rhyme and Meter Analysis of Stanza one in Perahu Kertas into Paper s Boat Rhyme and Meter Analysis of Stanza two in Perahu Kertasinto Paper Boat Rhyme and Meter Analysis of Stanza two in Perahu Kertas into Paper Boat Rhyme and Meter Analysis of Stanza two in Perahu Kertas into Paper Boat Rhyme and Meter Analysis of Stanza two in Perahu Kertas into Paper Boat Rhyme and Meter Analysis of Stanza two in Perahu Kertas into Paper Boat Rhyme and Meter Analysis of Stanza one Sihir Hujan into Black Magic Rain Rhyme and Meter Analysis of Stanza two in Sihir Hujan into Black Magic Rain Table 4.15 Rhyme and Meter Analysis of Stanza two in Sihir Hujan into Black Magic Rain Table 4.16 Rhyme and Meter Analysis of Stanza two in Sihir Hujan into Black Magic Rain Table 4.17 Rhyme and Meter Analysis of stanza one in Cermin into Mirror 39 Table 4.18 Rhyme and Meter Analysis of stanza one in Cermin into Mirror 40 Table 4.19 Rhyme and Meter Analysis of stanza one in Yang Fana Adalah Waktu into Time is Meaningless Table 4.20 Rhyme and Meter Analysis of stanza one in Yang Fana Adalah Waktu into Time is Meaningless xii

13 Table 4.21 Rhyme and Meter Analysis of Stanza one in Bertebaran Sayap into Spreading Wings Table 4.22 Rhyme and Meter Analysis of Stanza one in Bertebaran Sayap into Spreading Wings Table 4.23 Rhyme and Meter Analysis of Stanza one in Apakah into The Problem Table 4.24 Rhyme and Meter Analysis of Stanza one in Apakah into The Problem Table Method of Poetry Translation in Sapardi Djoko Damono s Kami Bertiga into Three of Us Table Method of Poetry Translation in Sapardi Djoko Damono s Di Tangan Anak-Anak into In Children s Hands Table Method of Poetry Translation in Sapardi Djoko Damono s Perahu Kertas Paper Boat Table Method of Poetry Translation in Sapardi Djoko Damono s Sihir Hujan into Black Magic Rain Table Method of Poetry Translation in Sapardi Djoko Damono s Cermin into Mirror Table Method of Poetry Translation in Sapardi Djoko Damono s Yang Fana Adalah Waktu into Time is Meaningless Table Method of Poetry Translation in Sapardi Djoko Damono s Bertebaran Sayap into Spreading Wings Table Method of Poetry Translation in Sapardi Djoko Damono s Apakah into The Problem xiii

14 LIST OF APPENDICES Appendix 1. Sapardi Djoko Damono s Kami Bertiga into Three of Us Appendix 2. Sapardi Djoko Damono s Di Tangan Anak Anak into In Children s Hands Appendix 3. Sapardi Djoko Damono s Perahu Kertas into Paper Boat Appendix 4. Sapardi Djoko Damono s Sihir Hujan into Black Magic Rain Appendix 5. Sapardi Djoko Damono s Cermin into Mirror Appendix 6. Sapardi Djoko Damono s Yang Fana adalah waktu into Time is Meaningless Appendix 7. Sapardi Djoko Damono s Bertebaran Sayap into Spreading Wings Appendix 8. Sapardi Djoko Damono s Apakah into The Problem xiv

15 ABSTRACT Avilia Wardani Analysis of Textual Elements and Translation Strategies of Sapardi Djoko Damono s Poetry Translated by Harry G Aveling.English Study Program, Dian Nuswantoro University. Advisors : Rahmanti Asmarani Keywords: Poetry, Textual elements, Translation strategies This Thesis entitled Analysis of Textual Elements and Translation Strategies of Sapardi Djoko Damono s Poems Translated by Harry G Aveling In this research, the writer analyze the textual element which cover the rhyme and meter and translation strategies in every stanza of Sapardi Djoko Damono s poems. There are eight poems in this research taken from a volume book published by the department of Malay studies National University of Singapore. The poems are written by a famous Indonesian poet Sapardi Djoko Damono and translated by Harry G Aveling there are entitled Kami Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakah written by Sapardi Djoko Damono and they are translated into English as : Three of us, In Children s Hands, Paper Boat, Black Magic Rain, Mirror, Time is Meaningless, Spreading Wings and The Problem.This study use qualitative method. So, firstly the writer reads the original poems and compared it into the translated one and then analyzing the textual elements which cover the meter and rhyme in poetry. After that the writer determined the translation strategies use in every stanza of the poem by using Andre Alphon Lefevere s seven strategies in translating poetry. This study has two result, first the difference in rhyme and meter of both version of the poem Indonesian and English such as the number of syllable and the rhyme pattern in both poem. Second, the translation strategies used in every stanza of the poem. The dominant method used to translate the poem Is Literal translation which means word to words translation. There are 7 poems found translated using literal translation. And 2 stanza found using interpretation strategies to translate the poem as found in the second and third stanza of the poem perahu kertas translated into paper boat. And 2 other poem using blank verse translation which emphazise the meaning of the original poem as found in the second stanza of the poem Sihir Hujan and Apakah. xv

16 CHAPTER 1 INTRODUCTION 1.1. Background of the Study Recently translation has become a very interesting field and challenging object to study because in this globalization era a lot of literary works such as books, movies, song and poetry is translated to many languages, especially in English. Translating literary works into English is a way to immediately introduce literary works to a much broader audience and Moreover English is a global language the language which the world s most widely spoken that s why it is important for us to master English. By mastering English language it will allow us to access unlimited amount of information written in English and enjoyed unlimited amount of entertainment such as movies from Hollywood, English song and literature. A lot of literary works such as novel and poem have been translated to English in order to introduce the works to global market. However, Translation is not a simple process by translating word by word using dictionary, it is a process which requires a lot of cultural awareness and understanding. There are many expert proposed different definition about translation. One of the most prominent definitions of translation is given by an English professor of translation at The University of Surrey named Peter Newmark (1988: 5) who defines translation as rendering the meaning of a text into another language in the way that the author intended the text. His definition focused on rendering meaning of the source language text into the target language text as what is intended by the author. Moreover, translation is a process which not only deal with language it is also deals with culture aspects. Kridalaksana, an expert in translation theory states on his book (1983:128), Translation is a transfer of an intercultural of an 1

17 2 interlanguage in terms of grammatical and lexicalby maintaining its intended meaning, its form and its impact. Based on the definition above it can be concluded that his view about translation is a process of transferring message not only the language itself but also the cultures. According to the definition given by two expert above, it can be concluded that the point of translation is to render the message from the source language (SL) into target language (TL) which requires cultural awareness and understanding. There are several things that need to be considered in translating activity one of them is the choice of word the translator use to translate the text so the result of the translation will be accurate, clear, natural and effective. So, the message from the Source language (SL) can be perfectly transferred in the Target language (SL) and the text has a good degree of readability. In translating literary works, The role of a professional translator is very important because a translator is a mediator between cultures. So, a translator has to be a competent person who master both the source language and the target language and have awareness of the culture both the source and target language reader so the translator will be able to translate a text based on the culture of the target readers. The most important thing is a translator should have empathy for his target reader. For example a text translated for elementary school student should be simple and easy to understand and a text translated for university students must be suited to their level of comprehension. One of the challenging materials to be translated by a professional translator is poems. Translating poems is considered to be one of the most complicated types of translation because poetry has unique structures and aesthetic values such as rhyme, meter, rhythm, metaphor hyperbole and devices such as assonance, alliteration and onomatopoeia which cant be find in daily language conversation and

18 3 make poems different from another literary works. That s what makes translating a poems as a complex and thrilling project for a translator to do. In this study the researcher is interested in analyzing poems written by Sapardi Djoko Damono and its English translation translated by Herry Aveling derived from a volume published in Malaysia, Sihir Hujan or Black Magic Rain (Dewan Bahasa dan Pustaka, Kuala Lumpur, 1984). The book was awarded the Second Putra Poetry Prize in 1983, in a literary competition sponsored by the Bank Bumiputra Malaysian Berhad, and organized by GAPENA, the Malaysian National Writer Association. In this study, the researcher takes eight poems or 20% of poems from 40 poems in Black Magic Rain volume that Sapardi writes. The reason why the writer chose poems written by Sapardi Djoko Damono is because he is well known as a living legend and one of the best indonesian poet. His poetry has drawn many praise and admiration from public. A number of his poems have become highly popular after being set to music, while many of his works also widely distributed on social media. One of the reasons why he is very famous is because his ability to uses simple and endearing language in his work. He is one of indonesian talented writer which a lot of his works has been translated into English. In this study, the researcher wants to find out what strategies are used to translate poem written by Sapardi Djoko Damono entitled Kami Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakah written by Sapardi Djoko Damono and they are translated into English as : Three of us, In Children s Hands, Paper Boat, Black Magic Rain, Mirror, Time is Meaningless, Spreading Wings and The Problem by Harry G Aveling. The translation strategies used in this study are translation strategies from Belgian theorist Andre Alphons Lafevere. He notes seven strategies of translation for

19 4 translating poetry. There are phonemic translation strategies, literal translation strategies, metrical translation strategies, verse-to-prose translation, rhymed translation, free verse translation, and interpretation. Comparing to the other translation strategies, the strategies from Andre Lafevere is the most suitable strategies to analyze the translation of poetry and song lyrics Statement of the Problem The problems of this study can be stated as follows: 1. What are the rhyme and metre between SL and TL data of Sapardi djoko Damono s poems? 2. What kind of translation strategies are used in every line of those poems?

20 Scope of the Study The scope of the study is the translation strategies uses in translating the poems entitled Kami Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakah written by Sapardi Djoko Damono and they are translated into English as : Three of us, In Children s Hands, Paper Boat, Black Magic Rain, Mirror, Time is Meaningless, Spreading Wings and The Problem by Harry G Aveling. All of those are published by Department of Malay Studies National University of Singapore Objective of the Study The research of this study is focused on rhyme, meter and translation strategies in every line of the poems written translated by Harry G Aveling. by Sapardi Djoko Damono And 1.5. Significance of the Study Hopefully this study will give contribution in language learning for the researcher, English department of Dian Nuswantoro University and for those who reads this study. It concerns on translation program. This study gives some information about textual elements of poetry and strategies in translating poetry. Furthermore, the result of this study is expected to be : a) A contribution for the writer, to get more knowledge about learning translation especially about the translation strategies on textual element of the translated poetry. b) A reference for translators, to get more knowledge about the translation especially in translated strategies of textual element on translated poetry. c) A reference for English Department of Dian Nuswantoro University, to get learn more about the translation study especially in translating strategies.

21 Thesis Organization Thesis organization is a summary of each chapter. It is to create a systematic writing and to make it easy to the readers in understanding the content. This thesis organization is arranged as follows: Chapter 1 is Introduction. It consist of Background of the Study, Statement of the Problem, Scope of the Study, Objective of the Study, Significance of the study, and Thesis Organization. Chapter 2 is review of related literature it describes about translation in general, Definition of Poetry, Problem in translating poetry, poetry translation strategies and rhyme and meter. Chapter 3 is the research method that consists of research design, unit of analysis, source of data, technique of data collection and technique of data analysis. Chapter 4 is data analysis that consists of the poetry translation, they are textual elements of poetry and method of poetry translation that Occur in Sapardi Djoko Damono s poem. Chapter 5 is conclusion and suggestion.

22 CHAPTER 2 REVIEW OF RELATED LITERATURE To analyze Translation Strategies used in Sapardi Djoko Damono s poetries, the researcher uses some references which related to translation analysis. The theories discuss about definition of translation, poetry and translation it includes about the definition of poetry, and the difficulties of poetry translation and translation strategies by a Belgian theorist Andre Alphons Lavefere Definition of Translation Many scholars proposed different definition of translation. According to an Indonesian expert Wiratno (2003) says that translation is a process of transferring message from SL into TL. SL or Source Language is an origin language which is translated, while TL or Target Language is a final language which is used to express the result of translation. He states the previous statement in his book that translation is transfer of an interlanguage in terms of grammatical and lexicalby maintaining its intended meaning, its form and its impact. Another definition of translation is given by Hatim and Munday (2004: 6) define translation as the process of transferring a written text from source language (SL) to target language (TL). In this definition they do not explicitly express that the object being transferred is meaning or message. Based on the definition of translation given by the expert above, it can be concluded that translation is a procedure to render the message from the source language (SL) into target language (TL) which can be done whether it in written or oral form. According to Newmark (1988: 21), there are two approaches to translating (and many compromises between them): 7

23 8 a. Starting translating sentence by sentence, for saying the first paragraph or chapter, to get feel and the feeling tone of the text, and then you deliberately sit back, review the position, and read the rest of the SL text. b. Reading the whole text two or three time, and finding the intention, register, tone, mark the difficult words and passages and start translating only when you have taken your bearings. A translation itself has its own manner to translate translation works. One of the manners to translate translation works is by using translation methods Poetry and Translation Etymologically, The word poetry derived from ancient greek wordsποιεω (poieo) It means to make, to create (Moody, 1979: 39). Hence, a poem is something made or created, the poet is the creator who uses the language to create his/her work of art through the language. Another definition was given by Cudden (1976: 678) defines poetry as "a work of art, a composition, a work of verse, which may be in rhyme or may be blank verse or a combination of the two. Or it may depend on having a fixed number of syllables." Based on the definition given by experts above, it can be concluded that, Poetry is a literary form characterized by a strong sense of rhythm and meter and an emphasis on the interaction between sound and sense. The translation of poetic texts, as Newmark (1988: 162) states, is "the most testing type of translation." It is believed that translating poetry is harder than translating other types of texts because the literary work is not only an idea or a writing, poetry is a product designed to achieve an aesthetic beauty. It is therefore a duty for the translator to be as faithful as possible to keep the meaning of the original text when translating into target language without distorting its beauty. Furthermore, Newmark (1988: 70) believes that the translation of poetry is

24 9 the field where most emphasis is normally put on the creation of a new independent poem, and where literal translation is usually condemned. In poetry translation, The translation of poetry is blocked by certain problems to the extent that Arberry (1957: 246) argues that the attempt does not worth the effort; disaster is inevitable. As Jakobson (1966: 238) argued, that poetry is untranslatable and only creative transposition is possible. While Landers (2000:97) argues that translating poetry is so difficult to the extent that it is called impossible by most experts. Venuti (2004: 154) argues that "only rarely can one reproduce both content and form in a translation, and hence in general the form is usually sacrificed for the sake of the content". Arab scholar Jahiz (2003: 79), says that " the translator cannot do what the poet says because of the characteristics of latter's meanings, realities of his doctrines, minutes of his precise briefs, and the secrets of his limitations. Hence, he cannot be faithful at all." Moreover, he said that poetry "cannot be translated and should not be transferred because when rendered, it lacks rhyme, beauty, and exclamation, contrary to prose." The translation of literary works is more difficult than the translation of other types of texts because of its peculiar nature. The reason why translating poem is more difficult than translating a prose is because, poems concentrates more on its musical quality and aesthetic values while prose only concentrates on meaning Problem in Translating Poem Translatability of poems has long been seen as an important issue among translation expert. Some expert in translation believe that poetry will inevitably be lost in translation, while others stated that poetry, is translatable. According to the writer point of view, it is possible to translate poems, but it need hard effort because poems is a text which full of imagery, aesthetic and expressive values. It has

25 10 elements which are different with another literary works. Such as rhythm, rhyme, stanza, meter, etc which makes translating poems more thrilling and challenging tasks than translating other genres of literature. An expert in translation field from Indonesia. Suryawinata (1982) finds that in general a literary translator faces ; linguistic, literary and aesthetic, and socio-cultural problems. 1. Linguistic Problems In term of linguistic factors, according to the writer, at least there are two points to consider: collocation and obscured (non-standard) syntactical structures. The word collocation used here refers to words or word groups with which a word or words may typically combine. The combination may by syntagmatic or horizontal, like make a speech (not say a speech), run a meeting (not do a meeting), etc. The second point to consider in term of linguistic matters is obscured (non-standard) syntactic structures. Such kinds of structures may be intentionally written in a poemas a part of the expressive function of the text. Because of that, such structures should be rendered as closely as possible. 2. Literary or Aesthetic Problems Aesthetic values or poetic truth in a poem are conveyed in word order and sounds, as well as in cognitive sense (logic). And these aesthetic values have no independent meaning, but they are correlative with the various types of meaning in the text. There are three factors that make problems on literary or aesthetic: Poetic Structure, Metaphorical Expressions and Sound. The first factor is poetic structure. It is important to note that structure meant here is the plan of the poem as a whole, the shape and the balance of individual sentence or of each line. Metaphorical expressions, as the second factor, mean any constructions evoking visual, sounds, touch, and taste images, the traditional

26 11 metaphors, direct comparisons without the words "like and "as if", and all figurative languages. Intentionally, the writer does not use the term metaphor in the sub-heading since it has different meaning for some people. The last of literary or aesthetic factors is sound. As stated before, sound is anything connected with sound cultivation it include rhyme, rhythm, assonance, onomatopoeia, etc. 3. Socio-Cultural Problems Words or expressions that contain culturally-bound word(s) create certain problems. The socio-cultural problems exist in the phrases, clauses, or sentences containing word(s) related to the four major cultural categories, namely: ideas, behavior, product, and ecology (Said in Suryawinata, 1994: 39). The "ideas" includes belief, values, and institution; "behavior" includes customs or habits, "products" includes art, music, and artifacts, and "ecology" includes flora, fauna, plains, winds, and weather Strategies in translating poem In translating a text or literary works there are a lot of translation strategies which can be used, but not all of them are suitable to be used in translating a poetry. In this section Andre Lefevere' s strategies for the translation of poetry will be presented in general. Andre Lafevere (in Bassnett-McGuire, 1980: 81-82) notes seven strategies which are adopted by English translators in translating Catullus's poems. The translation strategies are phonemic translation, literal translation, metrical translation, verse-to-prose translation, rhymed translation, free verse translation, and interpretation. The detail can be seen in the explanation below:

27 12 1. Phonemic translation. It attempts to recreate the sounds of the source language (SL) in the target language (TL) and at the same time the translator tries to transfer the meaning. According to Lafevere, in general the result sounds awkward and sometimes leaves some parts of the original meaning behind. Example can be seen below : In the kitchen The taps go plip, plop! The saucepan goes stir, slop! The knives and forks go rattle, clatter! The phone goes ring, ting! The microwave goes beep, ping Harmoni Musik Dapur Air leding mengalir, kricik! Panci berdentam, klonteng! Pisau dan garpu bergemerincing, kretak! Telepon berdering, kring! Microwave berbunyi, ping! 2. Literal translation means word-to-word translation. It is just transferring the word, not the original meaning, message and idea from a poem. The example can be seen below : Aku ingin aku ingin mencintaimu dengan sederhana dengan kata yang tak pernah diucapkan kayu kepada api yang menjadikannya abu. Aku ingin mencintaimu dengan sederhana dengan isyarat yang tak sempat disampaikan awan kepada hujan yang menjadikannya tiada I Want I want to love you simply In words not spoken: Tinder to the flame which transforms it to ash I want to love you simply In signs not expressed: Clouds to the rain which make them evanesce

28 13 3. Metrical translation, where the dominant criterion is the reproduction of the SL metre. Lefevere concludes that, like literal translation, this method concentrates on one aspect of the SL text at the expense of the text as a whole. Example can be seen below : A red red rose O, my love is like a red, red rose, 9 That is newly sprung in June. 7 O, my love is like the melody, 9 That is sweetly played in tune. 7 Mawar merah O, my love is like a red, red rose, 9 That is newly sprung in June. 7 O, my love is like the melody, 9 That is sweetly played in tune Verse to prose translation. This method is transferring poetry into a prose. It has also some weaknesses. The outstanding weakness is the loss of the beauty of the original poem. Karangan Bunga Tiga anak kecil dengan langkah malu malu datang ke salemba sore itu Ini dari kami bertiga Pita hitam Pada karangan bunga Sebab kami ikut berduka Pada kakak yang ditembak mati Siang tadi wordpress.com/2012/08/07/parafrase/ Karangan Bunga Ada tiga anak kecil berjalan dengan langkah malu malu. Mereka datang ke salemba pada sore itu ini dari kami bertiga kata mereka. Sebuah pita hitam disematkan pada karangan bunga, sebab kami merasa ikut berduka pada kakak kami yang ditembak mati siang tadi.

29 14 5. Rhymed translation transfers the rhyme of the original poem into the translation in TL. Rhyme is the last word of the line which is matched with each other in some form. The result will be appropriate physically but tends to be semantically inappropriate. The example can be seen below : A red red rose O, my love is like a red, red rose, 9-a That is newly sprung in June. 7-b O, my love is like the melody, 9-c That is sweetly played in tune. 7-b Mawar merah Oh, cintaku mawar memerah, 9-a Awal Juni bersemi. 7-b Oh, cintaku bagai bernada, 9-c Dalam alunan bunyi. 7-b 6. Free verse translation or blank verse translation. With this method the translator may be able to get the accurate equivalents in the TL with a sound literary value of the result. The result is different from the original, but semantically it seems the same. The example can be seen below : Anak kecill dan dunianya Anak kecil dan dunianya Adalah suatu kenikmatan dan keasyikan Yang menyinari jalan yang lapang A child and his world The child and his world Is reflection of joy and hope Is a life with blessing Which illuminate The road he is treading on

30 15 7. interpretation. According to Lafevere, there are two types of interpretation: version and imitation. A version of a poem in the TL will semantically be exactly the same with the original, but physically is totally different. On the other hand, an imitation is exactly a different poem, but the title, topic, and starting point are the same with the original poem. The example can be seen below : Version Cintaku bagai sekuntum bunga mawar. Yang indah merah merekah. Pada bulan Juni di musim semi. Cintaku bagai musik emosi yang Intensif Imitation Cintaku bagai sekuntum bunga mawar. Yang indah merah merekah. Pada bulan Juni di musim semi. Cintaku bagai musik emosi yang intensif 2.5. Rhyme and Meter in a Poem According to define rhyme and meter as follow: Rhyme : Rhyme is the repetition of similar sounds. In poetry, the most common kind of rhyme is the end rhyme, which occurs at the end of two or more lines. It is usually identified with lower case letters, and a new letter is used to identify each new end sound. Meter : The systematic regularity in rhythm; this systematic rhythm (or sound pattern) is usually identified by examining the type of "foot" and the number of feet. Based on the definition rhyme and meter above, it can be simply concluded that rhyme is two words that sound alike when those are spoken. Although, the initial consonant sound is different but the vowel sound is the same. While meter can be

31 16 defined as a rhythm of accented and unaccented syllables arranged into feet. In classic Greek and Latin versification, meter depended on the way long and short syllables were arranged to succeed one another, but in English the distinction is between accented and unaccented syllables. Below are the example of rhyme and meter in a poem: She/ was/ a/ li/ttle/tense The/no/ti/ce /made /no/sense I/ saw/ a /li/ttle/ her/mit /crab His/ co/lo/ring/ was /oh /so /drab As shown in the example above, we can see that in line one and two of the poem the words tense and sense in the last line of the poem are rhymed to each other because it has the same sounds. While in line three and four the words crab and drab in the last line of the poem are also rhymed. Its creates the beauty and the musicality of poem which can t be found in another literay works.

32 CHAPTER 3 RESEARCH METHOD The research of this study uses descriptive qualitative research. According to Denzin and Lincoln (1994) stated that "Qualitative research is multi method in focus, involving an interpretive, naturalist approach to its subject matter." This chapter discusses the research method used in this research including Research Design, Unit of Analysis, Source of Data Collection and also Technique of Data Analysis. 3.1 Research Design The research design to analyze the problem in this study was qualitative research. Qualitative research was the method to describe the subject or the object of the research based on the fact or reality. According to Denzin and Lincoln (1994), qualitative method focuses on interpretation of phenomena in their natural settings to make sense in terms of the meanings people bring to these settings. 3.2 Unit of Analysis The unit of analysis of this study was the textual elements and the translation strategies used in every stanza of the poems entitled Kami Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakahwritten by Sapardi Djoko Damono and they are translated into English as : Three of us, In Children s Hands, Paper Boat, Black Magic Rain, Mirror, Time is Meaningless, Spreading Wings and The Problem by Harry G Aveling. 3.3 Source of Data The data of this study were taken from the poems in bilingual version. The researcher takes 20% of poems or 8 poems from 40 poems in book black magic rain to be analyzed.the poetry is written by Sapardi Djoko Damono entitled Kami 17

33 18 Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakah they are translated into English by Harry G Aveling. The poems was taken from Black Magic Rain Volume Published by Department of Malay Studies National University of Singapore in Technique of Data Collection The data collection of this study used documentation method. The researcher collected the data from the book. It contained two languages; they were Indonesian as the source language and English as target language. In collecting data the researcher used the following steps: 1. Choosing the data The researcher found poems book by Sapardi Djoko Damono from e-book on the internet and then the researcher chose eight poems from the book or 20% from the total of poem in that book. 2. Reading the data The second step was reading the poems written bysapardi Djoko Damono as the source data, and then compared it with its translation. 3. Identifying the data The next step of data collection was identifying the data, the researcher identified the data into each stanza of the poems.

34 Technique of Data Analysis This study used qualitative method of research, In the research, the researcher analyzed the data using the following steps : 1. Dividing the poems into stanzas. 2. Comparing rhythm and meter by finding the number syllables of each line in each stanza. 3. Comparing rhyme by finding the rhyme pattern of each line in each stanza. 4. Comparing the data between Indonesian and English version 5. Determining the translation strategies used by the translator in translating Sapardi Djoko Damono s poetries based on the comparison of textual elements in two versions of poems. 6. Drawing conclusion

35 CHAPTER 4 DATA ANALYSIS This chapter is related to the analysis of textual elements and translation strategies which are used to translate Sapardi Djoko Damono s poetries. The data are 8 poems. Kami Bertiga, Di tangan Anak- Anak, Perahu Kertas, Sihir Hujan, Cermin, Yang Fana Adalah Waktu, Bertebaran Sayap and Apakah written by Sapardi Djoko Damono and they are translated into English as : Three of us, In Children s Hands, Paper Boat, Black Magic Rain, Mirror, Time is Meaningless, Spreading Wings and The Problem by Harry G Aveling. In the data analysis, the poems will be sorted by the number of stanza in each poem. First, the data will be classified and compared between Indonesian and English version using textual elements of poetry. The differences of the two versions of poem will be found in terms of their textual elements in this cases from the number of syllable and rhyme. After that, the strategies uses in translating Sapardi Djoko Damono s poetries will be determined. 4.1 Findings The table below shows the total number of translation strategies used in translating Sapardi s poems, the column 2 shows the type of Translation Strategies, and the column 3 of the table shows the total number of Translation Strategies. The number of Translation Strategies in translating Sapardi s poem can be seen in table below : No Translation strategies Total Precentage (%) 1 Literal translation 32 68,08% 2 Blank verse translation 7 14,89% 3 Interpretation 8 17,03% Total Data % 20

36 21 From the table above, it can be seen that the translator often uses more literal translation strategies to translate Sapardi s poems. The researcher found 32 (68,08%) line uses literal translation strategies which applied to translate the poems. Literal translation is the translation which prioritizes the equivalent word or expression in the target language which has the same meaning as the word or expression in the source language. Literal translation should preserve the structure of the source language sentence, even though the structure was not acceptable in the target language. If the structure is changed slightly in order to be accepted in the structure of the target language, it is called modified literal translation. The next one is Interpretation strategy there are 8 (14,89%) lines translates using interpretation strategy and the last one is blank verse translation. There are 7 (17,03%) lines found using blank verse translation Kami Bertiga translated into Three of Us The first corpus of this research is a poem by Sapardi Djoko Damono with the title Kami Bertiga translated into Three of Us was taken from a volume book of poems on page one. The researcher finds that the data only consists of one stanzas and in one stanzas it consists four lines. The poem can be categorized into Rhyme poetry. A rhyming poem has the repetition of the same or similar sounds of two or more words, often at the end of the line Di Tangan Anak-Anak translated into In Children s Hand The second corpus of this research is a poem by Sapardi Djoko Damono entitled Di Tangan Anak-Anak translated into In Children s Hand was taken from a volume book of poems on page three.

37 Perahu Kertas translated into Paper Boat The third corpus of this research is a poem by Sapadi Djoko Damono entitled Perahu Kertas translated into Paper Boat was taken from a volume book of poems on page four. The researcher finds that the data have three stanzas and each stanza has different number of lines Sihir Hujan translated into Black Magic Rain The fourth corpus of this research is a poem by Sapadi Djoko Damono entitled Sihir Hujan translated into Black Magic Rain was taken from a volume book of poems on page five. The researcher finds that the data have two stanzas and each stanza has four number of lines. The poem can be categorized into quatrain. Quatrain is a group of four lines in a poem Cermin translated into Mirror The fifth corpus of this research is a poem by Sapadi Djoko Damono entitled Cermin translated into Mirror in the TL was taken from a volume book of poems on page 37. The researcher finds that the data only consist of one stanzas and it consist of five lines Yang Fana Adalah Waktu translated into Time is Meaningless The sixth corpus of this research is a poem by Sapadi Djoko Damono entitled Yang Fana Adalah Waktu translated into Time is Meaningless. It was taken from a volume book of poems on page 41. The researcher finds that the data only consist of one stanzas and it consist of five lines Bertebaran Sayap translated into Spreading Wings The seventh corpus of this research is a poem by Sapadi Djoko Damono entitled Bertebaran Sayap translated into Spreading Wings was taken from a volume book of poems on page 23. The researcher finds that the data only consist of one stanzas and it consists of four lines.

38 Apakah translated into The Problem The last corpus of this research is a poem by Sapadi Djoko Damono entitled Apakah translated into The Problem was taken from a volume book of poems on page 27. The researcher finds that the corpus only consist of one stanza and it consists of four lines. The analysis of textual elements in this poem will be described as follows: 4.2. Rhythm and Meter In the analysis of translating poetry, rhythm and meter analysis are used only to analyze the number of syllable in every line to compare between the original version and the translated version and determined whether the metrical translation strategies and rhymed translation strategies applied in translating those poetries or not. Stanza 1: Metre Table Metre Analysis of Stanza One in Kami Bertiga into Three of Us Line Source language Numb.of syllable Target language 1 Da/ lam ka/ mar i/ ni ka mi 11 There/ are/three /of/ us ber/ti/ga /in/ the/ room/ 2 A/ku pi/sau, dan ka/ta 7 My/self, a/ knife/, and/ lang/uage 3 Ka/li/an ta/hu, pi/sau ba/ru/lah pi/sau ka/lau a/da da/rah di ma/tan/ya 4 Tak/ pe/du/li da/rah/ku a/tau da/rah ka/ta 22 You/ know/, a/ knife/ is on/ly a/ knife/ af/ter /it /has blood/ on t/he/ blade 13 My/ blood/ or/ the/ blood/ of/ the/ word Numb.of syllable As shown in the table above,the first stanza of Indonesian poem has 4 lines and the translated poem also has 4 lines. From the original poem, the first line has

39 24 11 syllables, the second line has 7 syllables, the third line has 22 syllables and the fourth line has 13 syllables. In the English poem, the first line has 8 syllables, the second line has 7 syllables, the third line has 17 syllables and the fourth line has 8 syllables. Based on the number of syllable of two version of poem shown in the table, the original poem Kami Bertiga and it English translation Three of us has many differences in the number of syllables in each line except in line number two. However, overall it can be concluded that metrical translation strategies is not applied in translating Sapardi Djoko Damono s Kami Bertiga translated into Three of Us. Metrical translation is a translation strategies which focus on the reproduction of SL metre into TL metre. In the poem above, the author tells about someone whom alone in his room with a knife and words while surrounded by an atmosphere which full of silence. Words and knife is inanimate object. However, the author describes the words and knife as it were alive. In the English version, the translator translated the poem by maintaining the ideas and thoughts from the original version. Comparing the original and its translation the translator is faithful enough in translating Sapardi Djoko damono s Kami Bertiga since the meaning of the original poem is well conveyed to the target language.

40 25 Stanza 1: Rhyme Table Rhyme Analysis of Stanza one in Kami Bertiga into Three of Us Line Source Language Rhyme Pattern Target Language 1 Dalam kamar ini kami bertiga A There are three of us in the room 2 Aku pisau, dan kata A Myself, a knife, and language 3 Kalian tahu, pisau barulah A You know, a knife is only a pisau kalau ada darah di knife after it has blood on matanya theblade 4 Tak peduli darahku atau darah kata A My blood or the blood of the word Rhyme Pattern A B C D Comparing the original and its translation, it can be concluded that the musicality of the original poem has been lost through the process of translation. it can be seen from the rhyme scheme of the original poem, A-A-A-A is replaced by A- B-C-D its translation. The English poem is not physically preserving the original poem. It means the two versions of poem have the different rhyme patterns. This poem does not use rhymed translation method. The rhymed translation is transferring the rhyme pattern of the original poem into the translated version. In the original poem The words bertiga, kata, matanya, in the line one, two, three and four are rhymed, because it has the same sound /a/ in the last line. However, no rhymed has been detected in the translated version. The translator doesnt do a good rendering of the rhyme, so the translation poem's music doesn t sounds as good as the original text, but it is very common happen in translating a poetry.

41 26 Stanza 1: Metre Table Metre Analysis of Stanza One in Di tangan Anak-Anak Children s Hand. Line Source language Numb.of syllable Target Language 1 Di ta/ngan a/nak-a/nak 17 In chil/dren s hands, ker/tas men/jel/ma pa/per be/comes pe/ra/hu Sin/bad Sin/bad s/ boat 2 Yang/ tak/ tak/luk pa/da ge/lom/bang, men/jel/ma bu/rung 3 Yang/ je/rit/nya mem/bu/ka/kan ke/lo/pakke/lo/pak bu/nga di hu/tan 4 Di mu/lut a/nak-a/nak, ka/ta men/jel/ma Ki/tab su/ci 5 Tu/an ja/ngan kau/gang/gu per/ma/i/nan/ku i/ni 14 Un/con/quered/ by/ the/ waves/, be/come /a/ bird 19 Whose/ calls/ o/pen flo/wers in the fo/rest 16 In chil/dren s mouths, the word is Sa/cred 14 Hey/ mis/ter, please/ leave/ my /game /alone into In Numb.of syllable Glancing at the two versions poem above, we can see the difference In the number of syllable of both poem. In the English poem the number of syllable is shorter compared to the original poem. The original poemhas 5 lines and the translated poem also has 5 lines. From the original poem, the first line has 17 syllables, the second line has 14syllables, the third line has 19 syllables, the fourth line has 16 syllables and the fifth line has 14 syllables. In the English poem, the first line has 11 syllables, the second line has 10 syllables, the third line has 10 syllables, fourth line has 9 syllables and the fifth line has 9 syllables. Based on the number of syllable of two version of poem shown in the table, the original poem Di tangan Anak-Anak and it English translation In Children s

42 27 Hands has many differences in the number of syllables in each line except in line number two. However, overall it can be concluded that metrical translation strategies is not applied in translating Sapardi Djoko Damono s Di Tangan Anak-Anak translated into In Children s Hand. Metrical translation is a translation strategies which focus on the reproduction of SL metre. In Sapardi Djoko Damono s Di Tangan Anak-Anak, the poem tells about children s world. The author expressed children s world as the world which full of fantasy and imagination. It can be seen from the first line and fourth line of the poem. In the original poem we can find repetitive words such as anak- anak in line one and four and kelopak-kelopak in line three. However in the translated version the word anak -anak is translated into children in English and the word kelopakkelopak translated into flowers into the target language which makes the translated poem seem shorter compared to the original one due the different structure in both language because In Indonesia, markers of plural nouns are shown by using repetition. While in English they uses inflectional morpheme -sor -es, to show plural nouns.