CHAPTER II LITERATURE REVIEW A. Definition of Translation Nida and Taber (1982: 33) state that translation consists of reproducing in the receptor language the closest natural equivalence of the source language message, first in terms of meaning and secondly in terms of style. Based on this definition, in translating, it is important for the translator to transfer not only the message but also the form of the source language into the target language. According to Larson (1984: 3), basically, translation is a change of form. In translation, the form of the source language is replaced by the form of the target language. According to her, translation is the matter of transferring the meaning. Therefore, the meaning which is being transferred must be held constantly and, thus, only the form which changes. Further, another expert, Bell (1993: 5) explains, Translation is the expression in another language (or target language) of what has been expressed in another, source language, preserving semantic and stylistic equivalences. The explanation shows the importance of transferring the equivalence of meaning and style. For example, when a translator translates a text that contains figurative language, besides finding the equivalent meaning of the text, the translator also has to consider the figurative language forms of the source and the target languages. Based on the definitions proposed by some experts above, it can be commit to user 8
9 concluded that translation is transferring message from source language to target language by reproducing it in the same the meaning, and by considering the form. B. Translation Techniques The result of a translation is affected by the techniques used by the translator to translate the text. Translation techniques are the realization of the translation strategy which can be seen through the translation product.. According to Molina and Albir (2002), by examining the translation techniques, a researcher can discover the step taken by a translator in translating each micro-unit of the text. Song lyrics usually contain various types of figurative language expressions. Before doing the translation, a translator has to examine the expression first. Recognizing whether or not a sentence has a special expression, a figurative language expression, is very important in order to produce a good translation, concerning both the meaning and style. The more difficult an expression is to understand and the less sense it makes in given context, the more likely a translator will recognize it as an idiom, or in this case as a figurative language (Baker, 1992: 65). It is because the expression does not make sense if it is interpreted literally. According to Teilanyo (2007), there are some techniques to translate figurative language. They are conferment of figurative texture, removal of figurative texture, alteration of figurative texture, and identify in figurative texture. 1. Conferment of figurative texture commit to user
10 This technique substitutes (or introduces) figurative expression in the TT for a concept or idea that was expressed literally in the ST. It is also called enfiguration. It is possible to convey the style and meaning of non-figurative expressions in ST to figurative expressions in TT. The replacement of nonfigurative expressions in the ST with figurative expressions in the TT can emphasize and beautify the form of the text. 2. Removal of figurative texture This technique involves the substitution of a literal expression in the TT for a figurative expression in the ST. Because the meaning of figurative expression in ST can not be conveyed properly to the same figurative expression nor the different one, the translator translates it to non-figurative language in order to carry the meaning of the text. It is also called defiguration. Thus, defiguration is pitiable disservice to the ST, especially in literary translation, as it can not remain the style of the ST. 3. Alteration of figurative texture It is also called alter-figuration. This technique substitutes a figurative expression of a particular type or in particular terms in the TT for another figurative expression of a different type or term in the ST. It is possible to find a meaning of a type of figurative language but is expressed in another type of figurative language. Even though the expression is conveyed in different type of figurative language, the meaning remains the same. 4. Identify in figurative texture It is the act of faithfully retaining or reproducing in the TT the form and quality of a figurative expression commit in the to user ST. This strategy involves translating
11 the figurative language from ST to TT in the same meaning and type. The translation conveys both the meaning and kind of figurative language the same. C. Subtitling Movie can be an influential and powerful vehicle for transferring information, ideas, and values through its picture, dialogue, and music. There are two types of translation for movie. They are subtitling and dubbing. When the foreign dialogue is adjusted to the mouth and movements of the actor in the movie, that is called dubbing (Dries, in Szarkowska, 2005). Its aim is to make the audience feels as if they were listening to actors actually speaking the target language. Szarkowska (2005) also states that dubbing is known to be the method that modifies the source text to a large extent and thus makes it familiar to the target audience through domestication. Dubbing tends to domesticate while subtitling seems to foreignize. On the other hand, Szarkowska (2005) defines subtitling as Subtitling, i.e. supplying a translation of the spoken source language dialogue into the target language in the form of synchronised captions, usually at the bottom of the screen, is the form that alters the source text to the least possible extent and enables the target audience to experience the foreign and be aware of its foreignness at all times (http://translationjournal.net/journal/32film.htm). There are differences between subtitling and dubbing which make translators tend to use subtitling rather than dubbing. Dubbing has many weakness such as it is expensive, the original dialogue is lost, takes longer process, pretends to be a domestic product, and allows the overlapping dialogue. While subtitling has some positive point such as it is cheap, it respects the original integrity of the original dialogue, it is reasonably commit quick, to can user promote the learning of foreign
12 languages, keeps the quality of original actors voices, and does not allow the overlapping of dialogue (Ameri, 2007). In watching a movie, the audience may want to hear the real voices of the actors. However, not all of the audience understand the language of the movie. In this case, subtitle is needed in order to make those audience understand the dialogue in the movie. According to Ameri (2007), there are some rules in subtitling: 1. The lines of the subtitle are maximum of two lines of horizontal subtitles at a time. 2. The characters are maximum of 35 characters for each line. 3. An average of 70 characters in two lines are used for a duration of about 6 seconds. 4. The size of a subtitle is 1/12 of the total screen height. 5. The subtitle projection has to be synchronized with the actual dialog and removed when the actors stop speaking. 6. There has to be some time lag between subtitle projections. 7. A subtitle should not run over a cut or change of scene. 8. Recommended Typefaces are "Helvetica" and "Arial". 9. Type characters should be colored pale white (not snow bright) because a too flashy pigment would tire the viewers' eye. 10. Sequence Dots {...} are used hen a subtitle sentence is not finished on one flash and has to continue on a consecutive one. 11. Italics or quotation marks are used for Off-Screen (O.S.) voices, radio or TV or loudspeaker, an inner thought, commit phone to calls user and narration.
13 12. Subtitles are usually placed at the bottom of the screen to guarantee minimum pollution of the central image. They should be placed in a different area when the background does not allow its reading or, alternatively, be superimposed on a dark-colored box that will contrast with the written message and favour its reading. Using a font which ensures their clear visibility and easy legibility whilst distracting as little as possible from the picture. D. Translation Quality Quality assessment of translation is needed to protect the quality of translation and the quality of a translator. The aim of criticizing a literature work is to find out the strengths and the weaknesses of a translation. Indirectly, a good translation shows that the translator has a good capability to translate and vice versa (Nababan, 1999: 84). The quality of a translation covers three aspects; accuracy, acceptability, and readability. 1. Accuracy As has been explained before that in doing translation, it is very important to transfer the meaning of the text. Therefore, accuracy is one of the most important aspects in determining whether a translation is qualified or not. Accuracy is the state of the translation in which the ST is correctly analyzed by the translator so that it contains no mistake (Larson, 1984: 185-486). Accuracy deals with the transfer of the meaning or message of the source language into the target language. There should be no meaning distortion in conveying the message commit from to user SL to TL. A translation is accurate
14 when the message of SL is correctly conveyed to TL and is the same as SL. If the translation does not convey the whole message of the SL to TL or there are some messages of SL that is lost after translated into TL, then the translation is less accurate. When the message of SL is totally different from the message in TL, or the message of SL is not translated into TL, the translation is inaccurate. 2. Acceptability A translation must be acceptable for the readers. If accuracy deals with meaning, acceptability deals with the grammatical and cultural aspects. A translator should be able to produce translation which is natural according to target language system. The translation should be appropriate with the linguistic and literary norms of TL, including the sentence structure, diction, and also expression. Nida and Taber (1982: 12) state the best translation does nor sounds like a translation. A natural expression is important in translating a text in order to make the readers not realize that they are reading a translation. 3. Readability Readability is related to how easily a translation can be understood by the readers. According to Richards et al (in Nababan, 1999: 62), readability refers to how easily written materials can be read and understood. Readability is important in translation because translation cannot be separated from reading activity. When the readers can understand the content of the text only by reading the translation once, the translation has fulfilled the aspect of readability. There are some commit factors to influencing user the readability of a text.
15 Richards et al (in Nababan, 1999: 63) explains that readability depends on the length of the sentence, new words found in the text, and the grammatical complexity of the language used. A translation is considered good if the translator has succeeded with his or her work, that is, after finishing his or her work, he or she must be willing not only to check it carefully by himself or herself but also the readers. As they read, they will notice any parts they do not understand. If they stop and re-read the sentence, this should be noted as it indicates some problems in readability. It should be kept in mind that what is readable for one person may not be readable for another. A highly educated audience will easily read a complex sentence structure. A newly literate audience tends to have difficulty with such complicated structure. E. Figurative Language According to Abrams (1999: 96), figurative language is a conspicuous departure from what users of a language apprehend as the standard meaning of words, or else the standard order of words, in order to achieve some special meaning or effect. Figurative language makes writing concrete and colorful. It can also beautify the work itself. Same idea of a writing can be expressed in different ways using the figurative language. Perrine and Arp (1992: 61) explain further that figurative language is language using figures of speech or language that cannot be taken literally, broadly defined a figure of speech in any way of saying something other than the ordinary way. This means that commit the message to user conveyed is not only through the
16 usual way. Figurative language is not intended to be interpreted in a literal sense. The unordinary way of figurative language can give special effects to the work. Perrine and Arp (1992: 67) also state that there are several functions of figurative language. First, figurative language affords an imaginative pleasure. Imagination might be described in one sense as the ability of the mind that proceeds by sudden leaps from one point to another, when seeing likenesses between unlike things. Figurative languages are therefore satisfying in themselves, providing a source of pleasure in the exercise of the imagination. Second, figurative language is a way of bringing additional imagery into verse, making the abstract concrete, and also making poetry more sensuous. Figurative language is a way of multiplying the sense appeal of poetry. Third, figurative language is a way of adding emotional intensity to otherwise merely informative statements and of conveying attitudes along with information. Fourth, figurative language is a means of concentration. There are many types of figurative language explained by some experts. However, this research employs the types of figurative language proposed by Perrine and Arp (1992: 60-108). 1. Metaphor Metaphor compares two different objects directly without employing comparative words, such as like, as, so, resemble, seem, and so on. It is used to help the readers imagine the unfamiliar thing more clearly by comparing it to another more familiar item. Perrine and Arp (1992: 62-64) describe metaphor may take one of four forms. In the first form of metaphor, commit as to in user simile, both the literal and figurative
17 terms are named. In the second form, the literal term is named and the figurative term is implied. In the third form, the literal term is implied and the figurative term is named. In the last form of metaphor, both literal and figurative terms are implied. Example: Your voice was the soundtrack of my summer (Boys Like Girls Thunder) The lyric compares voice to the soundtrack. It means that his girl s voice was a soundtrack he always wanted to listen to in the summer. Even though it compares between two things, there is no specific word indicating comparison used in the lyric. It directly compares the things. 2. Simile Simile is a type of figurative language which explicitly compares one thing to another unlike thing by using specific words of comparison, such as like, as, so, than, similar to, resemble, seem, and so on. Furthermore, the things compared in simile are not usually thought of as being alike. Perrine and Arp (1992: 61) state that metaphor and simile are similar, both of them compare of two things that are essentially unlike. The distinction between them is the use of connective words. Further, Kennedy and Gioia (2007: 769) explain that the difference between metaphor and simile is more than just the presence or the absence of a connective. A simile refers to only one characteristic that two things have in common, while a metaphor is not plainly limited in the number of resemblances it may indicates. Example: Airplanes in the night commit sky are to like user shooting stars
18 (Airplanes B.O.B ft. Hayley) The word like in the lyric above is one of the characteristics of simile. Besides, it also compares two unlike things, airplanes and shooting stars. It represents the airplanes that fly in the sky the same as the shooting stars do. 3. Personification Personification is giving the attributes of a human being to an animal, an object, or a concept (Perrine and Arp, 1992: 64). In personification, the figurative term of the comparison is always a human being, whether in its behaviors, feelings, or other human attributes. The reader is asked to actually visualizing the literal term in human form. Example: The whole world stops and stares for a while (Bruno Mars Just the Way You Are) The lyric contains a concept, that is the whole world, which is attached by human attributes, stops and stares. In fact, the whole world cannot really stop and stare. 4. Apostrophe Apostrophe is a way of addressing someone absent or dead or something nonhuman as if that person or thing were present and alive and could reply to what is being said (Perrine and Arp, 1992: 65). A poet or a writer may address an inanimate object, a dead or absent person, an abstract thing, or a spirit, and often uses apostrophe to announce a lofty and serious tone. Apostrophe and personification similarly state something by giving human attributes to an inanimate commit object. to user The main difference is that in
19 apostrophe the abstract is though as it is concrete, as if the object could be asked into a conversation and be able to reply the speaker s requirements (Kennedy and Gioia, 2007: 776). Example: Blue moon, you saw me standing alone (Cliff Richard Blue Moon) In the example above, the singer talks to Blue moon and says that the blue moon sees him standing alone. In fact, blue moon is a nonhuman object which cannot hear what he said or see him standing alone. 5. Synecdoche Kennedy and Gioia (2007: 776) define synecdoche as the use of a part of a thing to stand for the whole of it, or vice versa. Example: But I relate because those faces could have been me (Michael Heart Long Live Palestine) The word faces in the lyric above has a sense of the whole part of the body of a person, a stranger. It uses part of something to state the whole of it, and, in this case, the word face represents a person. The singer also shows that he could be on the list of the suspicious person, the stranger, as he compares himself to the faces. 6. Metonymy Metonymy is a type of figurative language in which the statement tries to state something by substituting a thing to another, which has close relation one to replace the other one. The substitution makes the analogy more vivid and meaningful. commit to user
20 Example: Together we ll stay hidden, wait for the Armageddon (Green Day Mechanical Man) There is a metonymy in the lyric above, in the use of the word Armageddon. The word Armageddon is used to substitute the end of the world, as it associates with the bible and the Armageddon movie which refer to the end of the world. 7. Symbol Perrine and Arp (1992: 80) define symbol as something that means more than what it is. Kennedy and Gioia (2007: 894) also describe symbol as a visible object or action that suggests some further meanings in addition to itself. A symbol may be a thing, setting, action, person, or situation. Kennedy and Gioia add that a symbol is not an abstraction. Such terms as truth, death, love, and justice can not work as symbol (unless personified). Most often, symbol is something we can see in the mind s eyes (2007: 896). Example: Now who is this clown, trying to take my smile to a frown (Michael Heart Still Strong) In the lyric, the word clown symbolizes the officer who knocks the singer s door and suddenly arrests him. The singer relates clown, which is mysterious because of the mask which is worn by the clown, with the officer who comes to the singer s house in bad attitude with a mysterious purpose. 8. Allegory Perrine and Arp (1992: 88) explain allegory as a narrative or description having a second meaning beneath the surface one. The name and event in allegory may be abstract commit but the to user purpose is always clear. The meaning
21 of allegory should be drawn up to the surface in order to understand it. Even though the surface description of the allegory has its own interest, the author s intention is in the concealed meaning. It carries a meaning or message about something other than its literal subject. The difference between allegory and symbol isthat allegory is a complete narrative. Unlike allegory, symbol does not tell a story, it is an object that only stands for another object giving it a particular meaning. In example, a song by Peter, Paul, and Mary entitled Where Have All the Flowers Gone?. It was produced in 1960s when there are a number of protest songs about the war in Vietnam were produced. The lyric of the song, in whole, carries an allegory. The flowers represents young men who become soldiers. First, the young girls pick them and pair up. Then the young men are gone for soldiers, everyone. Soon the soldiers are gone to graveyards, then those graveyards are gone to flowers. The song is an allegory about the destruction of life and innocence caused by war. 9. Paradox Perrine and Arp (1992: 100) define paradox as an apparent contradiction that is nevertheless somehow true, may be either situation or a statement. In a paradox, what at first seems impossible is actually entirely plausible and not strange at all. The contradiction usually stems from one of the words being used figuratively or with more than one definitions. It is usually used to give a shock value. A paradox is an apparently true statement or group of statements that lead to a contradiction or a situation which defines intuition. commit to user
22 Example: And when I close my eyes it's you I see (Michelle Branch Everywhere) The lyric contains a paradox. The singer states And when I close my eyes it's you I see, when she closes her eyes she can see someone. In fact, when the eyes are closed, there is nothing to see except darkness. 10. Hyperbole or Overstatement Hyperbole is kind of figurative language which uses an exaggerated or extravagant statement to create stronger emotional feeling, a greater effect. Perrine and Arp (1992: 101) state that hyperbole is simply exaggeration but exaggeration in the service of truth. In hyperbole, the speakers do not expect to be taken literally but they are only adding emphasis to what they really mean or in other words, they are overstating their statement. Like all figure of speech, hyperbole may be used in a variety of effects such as humorous or grave, fanciful or restrained, convincing or unconvincing (Perrine and Arp, 1992: 101). Example: Every time I touch that track it turns into gold (B.O.B Magic) The example shows that the singer exaggerates the statement that he is very magical, so when he touches something, the thing will become gold. 11. Understatement Understatement, or saying less than one means, may exist in how one says it (Perrine and Arp, 1992: 102). Example: It s the end of the world as we know it and I feel fine (It s The End of The World commit and as to We user Know It (and I Feel Fine) R.E.M.)
23 The clause I feel fine in the example above shows an understatement since the whole song is about the destruction and the end of the world. I feel fine does not actually mean fine, but it brings down the meaning to make the situation seems less important than it really is. 12. Irony Irony is a form of figurative language in which the real meaning is contradicted by the word use. The words, which employ irony, are not to be taken literally because they are saying one thing that means another, the opposite meaning. In example in The Lion King movie, Scar says long live the king as he pushes Mufasa off the cliff. He obviously does not mean what he is saying. F. Song and Lyric A song is a composition consisting of lyric and music. It is vocally produced, linguistically meaningful and has melody (Griffee, 1995: 3). Song, like a conversation between two people, brings messages and ideas of the musicians, to be communicated with the listeners through the lyric, hence lyric plays an important role in a song. A good lyric should be harmonious with the melody of the song in order to bring the listeners to a delightful and pleasant mood. Griffee (1995: 3) explains further that although songs have elements in common with poetry, such as both use words to convey meaning, both are ususally written down before publication, both can be put to music, and both can be listened to, but songs have their own identity and they function differently from commit to user
24 poetry. According to Griffee, it is possible to note at least three features of songs (1995: 3-4): 1. Songs convey a lower amount of information than poetry since song is usually heard than read 2. Songs have more redundancy and simplicity than poetry as song is heard for a short time 3. Songs have a personal quality that make the listeners react as if the songs were being sung for the listeners personally. Songs create their own world of feeling and emotion, and as listeners participate in the song, they participate in the world it creates. Three features of songs above give deeper understanding about song. Song should be written in simple way since the listeners have to understand in a short of time. The language used in a song should be an easy listening one in order to ease the listeners in understanding the lyric while the song was sung. Song has strength to emotionally influence the listeners. Songs speak to the listeners directly and reassure in moment of trouble. G. Difficulties in Translating Song Lyric In translating song lyric, translator deals with more complicated matters than doing translation in general because basically translating song lyric is almost similar to translating poem or poetry. Suharto (2006) suggests that song lyric translator will still face the compatibility of the song melody, whether it has matched between the syllable in the translation and the melody. commit to user
25 Translating song lyric is essentially composing a new song. Ming (in Suharto, 2006) explains further that translating literatures, including literary works or song lyrics, is similar to re-write them. However, the translator must concern on: (1) what the original writer states, (2) what the intention is, and (3) how the writer states. The first two point is to learn the message of the source language and the third point is to discover the writer s style of language, or beingable to catch both message and style, which usually consists of figurative language. Figurative language expressions are often found in many kind of works especially in literary works. The expressions are often quite difficult both to understand and to translate, because the meaning of the expressions are often quite different from the meaning of each individual word which form the figurative language. Trying to find out the meaning of such expressions by seeking the meaning of each word separately is no the way to understand them since the expressions can not be taken literally. Therefore, the translator has to master the expressions in both languages because the use of figurative language involves the risk of misinterpretation, though the risk is well worth taking. According to Samuel and Frank (2000), there are two dangers in translating from one language to another, especially translating work containing special expression. First, the translator does not really focus on the meaning being expressed, perhaps does not even understand it. The translation will not be natural sounding and the meaning will not be clear. Second, in order to make the translation natural-sounding and the meaning clear, the translator reduces the commit to user
26 figurative language to its literal meaning. The translation will be clear enough but lifeless. Based on Samuel and Frank (2000), there are ten principles in translating figurative language: 1. Translate with awareness of both form and meaning and with understanding of the forms available in the receptor language. 2. In translating, consider whether the topic, image and/or point of similarity of some figurative languages, especially simile, needs to be made explicit in order to be understood, or whether the image needs to be adjusted or abandoned completely. 3. Recognize the use of figurative language and consider whether it should be adjusted, translated as other figurative language, or abandoned completely. 4. Recognize and deal with the appropriate range of meaning of a single word. 5. In translation, retain ambiguity where appropriate, if possible. 6. Recognize the use of some figurative languages, such as idioms and euphemisms, in the source text and do not necessarily expect to translate them literally, but rather use whatever they are appropriate to the receptor language, whenever appropriate. 7. Recognize the use of some figurative languages, such as personification and apostrophe, in the source text and evaluate and test whether they can be translated as such. 8. Recognize the use of some figurative languages, such as metonymy, synecdoche, and hyperbole, and consider whether at times they need to be reduced to a more literal meaning. commit to user
27 9. Recognize the use of some of figurative language, such as irony, and translate it as the equivalent type of speech. 10. Translate using grammatical forms natural to the receptor language. H. The Lion King Synopsis The story of Lion King takes place in Pride Lands where Mufasa as the King in the island. Mufasa has a cub, Simba, who will be the next king when Mufasa dies. Mufasa tells Simba about the "Circle of Life", the delicate balance affecting all living things. He teaches Simba how to be a good king. Scar, Mufasa s evil brother, feels jealous with what Mufasa has. He wants to steal Mufasa s reign and be a King. Scar also uses hyenas to kill Mufasa. He comes to attack Mufasa and Simba. Mufasa saves his son but is left clinging to the edge of a cliff, which finally fells to the deep of the cliff then is hit by hyenas. Scar implies that the cause of Mufasa s death is Simba's fault and that the Pride Lands will blame him. Simba collapses in a distant desert where he is found unconscious by Timon and Pumbaa, a meerkat-warthog duo who raise Simba under their carefree "Hakuna Matata" lifestyle. When Simba has grown into a young adult, he saves Pumbaa from a hungry lioness who is revealed to be Nala, his childhood friend. Simba shows Nala around his home and the two begin to fall in love. Nala then tells him that Scar's tyrannical reign has turned the Pride Lands into a barren wasteland. She asks Simba to return and take his rightful place as king, but Simba refuses, still guilty about his father's death. Rafiki, a wise shaman baboon, arrives and persuades Simba to return to commit the Pride to Lands, user aided by Mufasa's presence in
28 the stars. After some advance from Rafiki and the soul of his father, Simba eventually agrees to fight for his kingdom. Simba battles Scar and discovers his father's death was Scar's fault, not his own. Simba prevails and takes his father s place as rightful king. At the end of the story, Simba and Nala has newborn baby, Kiara, that continuing the Circle of Life. I. Review of Related Study Many researchers have conducted researches of song lyric translation. One of them is a research conducted by Trianto (2009) entitled An Analysis of Techniques and Quality of the Song Lyrics Translation in Animation Movie Entitled Happy Feet. This thesis explores the techniques used to translate the song lyric translation and the quality assessment of the translation. However, it does not examine the figurative language found in the song lyric. The research consists of 172 data employs 6 translation techniques; addition (16 data), reduction or deletion (55 data), translation shift (18 data), modulation (3 data), literal translation (67 data), free translation (13 data). More than a half of all the data are accurately translated, as much as 61.05%. 91.62% of the data are considered to be acceptable and 75.48% of the data are considered to be readable. The research also shows that by employing literal translation results a high degree of accuracy; addition, translation shift, and modulation result acceptable translation; and translation shift results high degree of readability. Research of song lyric translation dealing with the figurative language can be said as research that is still rarely commit conducted. to user A research entitled An Analysis of
29 Song Lyrics Translation in the Movie Entitled Music and Lyric conducted by Isfahani (2011) is one of the example. This thesis analyses the techniques used to translate the figurative language of song lyric. However, it does not employ any theories in analyzing the translation technique of the song lyric translation. The research shows that from 149 data analyzed, the researcher discovers four translations techniques applies by the the translator in translating the song lyrics; 1) the translation of common language into common language, 2) the translation of common language into figurative language, 3) the translation of figurative language into common language, 4) the translation of figurative language into figurative language. In addition, dealing with the translation quality, the researcher only discovers the acceptability aspect, as much as 83% acceptable translation, and accuracy apect, as much as 67% accurate translation. It does not examine the readability aspect. This situation provides the researcher chances to conduct significant research about song lyric translation especially deals with the figurative language of the song lyric of an animation movie entitled The Lion King. commit to user