METAPHORICAL EXPRESSIONS IN ANDREA HIRATA’S AND JOHN

COLOMBO’S EDENSOR

A THESIS

Presented as Partial Fulfillment of the Requirements for Attainment

of a Sarjana Sastra Degree in English Language and Literature

YOLANDA CYNTHIA PUTRI

09211141015

ENGLISH LANGUAGE AND LITERATURE STUDY PROGRAM

ENGLISH EDUCATION DEPARTMENT
FACULTY OF LANGUAGES AND ARTS
STATE UNIVERSITY OF YOGYAKARTA
2013

i
MOTTOS

~ The only sure way to avoid making mistakes is to have no new

ideas.

~ Falling is not bad when you learn what not to do.

~The future is not a gift – it is an achievement.

~ God does not play dice.

~Not everything that counts can be counted and not everything

that can be counted counts.

~ You never fail until you stop trying.

~ To belittle, you have to be little.

v
DEDICATIONS

This thesis is dedicated to:

My Beloved Parents : Mr. and Mrs. Nursahid,

My Brother : Johan Prasetyawan,

My Special Engineer : Azhar Mustafa, and

My Beloved Friends.

vi
ACKNOWLEDGEMENTS

Bismillahirrahmanirrahim. Alhamdulillahi Rabbil’alamin. On this occasion, I

would like to express my deepest gratitude to Allah SWT whose blessing and

guidance enable me to finish this research and to all who have given valuable

contribution. I owe my deepest gratitude to:

1. Drs. Suhaini Muhammad Saleh, MA and Mr. Andy Bayu Nugroho, SS.

M.Hum as my thesis consultants for giving me guidance, support,

correction and advice, so I can finish my thesis;

2. Mrs. Ari Nurhayati, SS. M.Hum as my academic consultant for guiding

and supporting me during my academic years;

3. all lecturers of English Language and Literature Study Program who have

taught me worthwhile knowledge;

4. the raters, Mr. Agus Riyanto and Mr. Andy Bayu Nugroho for their help

and cooperation;

5. the triangulators, Herdian Praditya and Maria Wintang Saraswati for being

my informants to validate the data;

6. my beloved father and mother, Mr. And Mrs. Nursahid for giving me

support and praying in finishing my thesis, (I am blessed to have you in

my life and I love you all);

7. my brother, Johan Prasetyawan;

8. my special engineer, Azhar Mustafa for the support, advice and love, who

has brought me into a new world I never know;

vii
9. my best friends: Fatwa Yuniarti, Dyah Ayu Puspitaningrum, Dindadari

Arum Jati, Qolidina Noviani, Risti Utami Dewi, Nurissa Fatmawati, for

that time we spent together, the advice and the kindness;

10. my best friends in English Language and Literature of 2009, especially my

classmates in Class A and those in Translation concern;

11. Vendy Muchdyasworo, for the flashdisk, that was really helpful; and

12. everyone who always helps and supports me.

I realize that this thesis is far from being perfect. Therefore, comments and

suggestions are accepted kindly. I really hope that this thesis will be useful for

everyone who is interested in translation study.

Yogyakarta, December 6th 2013

Yolanda Cynthia Putri

viii
TABLE OF CONTENTS

TITLE ................................................................................................. i

APPROVAL SHEET .......................................................................... ii

RATIFICATION SHEET .................................................................. iii

PERNYATAAN .................................................................................. iv

MOTTOS .............................................................................................. v

DEDICATIONS .................................................................................. vi

ACKNOWLEDGEMENTS ................................................................ vii

TABLE OF CONTENTS .................................................................... ix

LIST OF TABLES ............................................................................... xii

LIST OF APPENDICES ...................................................................... xiii

LIST OF ABREVIATIONS ................................................................. xiv

ABSTRACT .......................................................................................... xvi

CHAPTER I INTRODUCTION ......................................................... 1

A. Research Background ................................................................ 1

B. Identification of Problem ......................................................... 3

C. Research Focus ......................................................................... 5

D. Research Objectives .................................................................. 6

E. Research Significance ............................................................... 6

CHAPTER II LITERATURE REVIEW AND CONCEPTUAL

FRAMEWORK

A. Literature Review ........................................................................ 8

ix
1. Translation ............................................................................. 8

a. Definitions of Translation ................................................. 8

b. Translation Technique ....................................................... 10

c. Translation Quality Assessment ......................................... 16

2. Metaphor …………................................................................. 18

3. Edensor ................................................................................... 24

4. Relevant Studies ..................................................................... 25

B. Conceptual Framework ................................................................. 27

C. Analytical Construct ..................................................................... 35

CHAPTER III RESEARCH METHOD

A. Type of the Research ..................................................................... 37

B. Data and Sources of Data ............................................................... 37

C. Instrument of the Research ........................................................... 38

D. Technique of Collecting Data ....................................................... 39

E. Technique of Analysing Data ........................................................ 41

F. Trustworthiness ............................................................................ 47

1. Credibility .............................................................................. 47

2. Transferability ....................................................................... 48

3. Dependability and Confirmability .......................................... 48

CHAPTER IV FINDINGS AND DISCUSSION

A. Research Findings ....................................................................... 49

B. Discussion .................................................................................. 53

1. Types of Metaphor ............................................................... 54

x
2. Translation Techniques ......................................................... 58

3. Translation Quality Assessment ............................................. 78

CHAPTER V CONCLUSION AND SUGGESTIONS

A. Conclusion .................................................................................. 98

B. Suggestions .................................................................................. 99

REFERENCES ...................................................................................... 101

APPENDICES ....................................................................................... 103

xi
LIST OF TABLES

Table 1 : Scale of Accuracy .......................................................... 47

Table 2 : Scale of Acceptability ................................................... 48

Table 3 : Questionnaire of Translation Quality Assessment ........ 49

Table 4 : Data Analysis of Metaphorical Expressions ................. 50

Table 5 : The Frequencies of the Types of Metaphor .................. 55

Table 6 : The Frequencies of the Translation Techniques ............ 55

Table 7 : The Frequencies of Accuracy Level .............................. 57

Table 8 : The Frequencies of Acceptability Level ........................ 58

Table 9 : Data Classifying Analysis .............................................. 64

Table 10 : Data Analysis …………………………………………….. 103

xii
LIST OF APPENDICES

Appendix 1 : Data Analysis ............................................................... 103

Appendix 2 : Data Questionnaire ....................................................... 111

xiii
LIST OF ABBREVIATIONS

SL : Source Language

TL : Target Language

DM : Dead Metaphor

LM : Live Metaphor

Bor : Borrowing

Cal : Calque

Lit : Literal Translation

Mod : Modulation

Trans : Transposition

Equ : Established Equivalent

Adap : Adaptation

Amp : Amplification

Comp : Compensation

Des : Description

Dis : Discursive Creation

Gen : Generalization

Liam : Linguistic Amplification

Lico : Linguistic Compression

Par : Particularization

Red : Reduction

Sub : Substitution

xiv
Var : Variation

Acr1 : Accurate

Acr2 : Less Accurate

Acr3 : Innaccurate

Acp1 : Acceptable

Acp2 : Less Acceptable

Acp3 : Unacceptable

xv
TRANSLATION OF METAPHORICAL EXPRESSIONS IN ANDREA
HIRATA’S EDENSOR

By:
Yolanda Cynthia Putri
09211141015

ABSTRACT

Metaphor is one form of the figurative languages which is considered

difficult to recognize since it is rather implicit in terms of the comparison and
meaning. The implicit comparison and the meaning lead to the complexity of the
translation process. The aims of this research are to know the types of the
metaphor in the source text, the translation techniques applied by the translator to
translate the metaphorical expressions, and the translation quality assessment of
the translated metaphorical expressions in terms of the accuracy and the
acceptability. In general, this research is intended to know how the metaphorical
expression in Bahasa Indonesia is translated into English
The Qualitative approach is used in this research in order to make this
research successful. The data of this research are taken from Andrea Hirata’s
novel entitled Edensor in Bahasa Indonesia and its English version translated by
John Colombo. The main instrument of this research is the researcher herself and
the second instrument is the data sheets. The data sheets consist of the data and
the classifications of the types of metaphor, translation techniques and the
translation quality assessments. To achieve data trustworthiness, the data sheets
are repeatedly checked by the researcher and some peers. After that, the results are
discussed with the consultants and the respondents.
The results of this research show that there are two kinds of metaphor
found in Andrea Hirata’s Edensor. They are dead metaphor and live metaphor.
From 18 techniques introduced by Molina and Albir, there are nine techniques
applied by the translator to translate the novel into English. They are borrowing,
literal translation, transposition, modulation, established equivalent, adaptation,
generalization, linguistic amplification and reduction. Two respondents are
involved in this research in order to assess the accuracy and the acceptability level
in the form of questionnaire sheets. Based on the respondents, 20 out of 43 data
are considered accurate and acceptable. It means that, in accordance with the
translation quality, less than 50% of the translation of metaphorical expressions
found in Andrea Hirata’s Edensor is considered accurate and acceptable.

Keywords: metaphorical expressions, types of metaphor, translation technique,

translation quality assessment

xvi
CHAPTER I

INTRODUCTION

A. Research Background

As a homo socius, people need communication to interact with each other.

Communication among people is divided into two kinds. They are direct and

indirect communication. Talking to each other by face to face is a kind of direct

communication. While direct communication could be done by the fast reaction

process, indirect communication has a longer reaction since it needs such

instruments during the interaction. One of the instruments could be in the form of

paper, including novel. Communication using a novel is a kind of communication

between the author and the reader. A novel has a role as the media which delivers

the author’s opinion of certain phenomenon to the readers through a story which

needs to be interpreted by the readers, so they can conclude by themselves after

finish reading the novel.

Communication using a novel could be succesful as long as the author and

the readers use the same language. In other words, if the language is different, it

cause a problem. The message could not be delivered to the readers because they

do not understand the language. Thus, it needs another communicator which is

called as translator.

In some conditions, people are fond of a certain novel not because of the

story, but often because it is written by a certain author. In other words, some

people like the novel because of the author. The reason why some people are fond

1
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of certain author is a kind of phenomenon. There must be something in the author

that makes the readers fond of his/her works. The answer is because the author

has their own characteristics in telling a story or writing a novel. This kind of

feature is called language style.

When a novel that uses certain style is translated into other languages, the

language style is possibly changed. The translator should have a responsibility to

maintain the language style of the source text, so the readers from all over the

world can appreciate it and feel the same sense as reading the original novel. It is

important to make the same effect to the readers when they read the translated text

as well as the original text. Some examples of the literary works which have

spread and been appreciated in all over the world are Khalil Gibran’s,

Shakespeare’s, Charles Dickens’, Pramoedya Ananta’s, and Andrea Hirata’s.

Each of the authors has their own characteristics of writing. Their works are

translated into some languages and the spreading of their novel is proved

successful since the books are appreciated by people who read them. It seems that

the translator has succeeded in giving the same effect when the works are

translated into the target language.

Andrea Hirata is an example of a novel writer who is called as a

metaphorical writer since his works are full of metaphor. Prof. Sapardi Djoko

Darmono writes “...karya Andrea Hirata bergaya realis bertabur metafora yang

berani, tak biasa, tak terduga, kadang kala ngawur, namun amat memikat”. It

means that Andrea Hirata’s works are full of such brave, unusual, unexpected,

sometimes scatter, but attracted metaphors. Tempo Magazine also gives a

3

comment “...dibalut sejumlah metafora dan deskripsi yang kuat, filmis ketika

memotret lanskap dan budaya”. It means that his works are covered by numbers

of metaphors and strong descriptions in capturing the landscape and culture.

Tribun Jabar Daily also writes “Metafora-metafora yang ditulis Andrea demikian

kuat karena unik dan orisinal”. In other words, Andrea’s works contain many

strong metaphors because of their uniqueness and the originality. He is new as a

writer. His first novel, Rainbow Troops, has become the best seller novel all over

the world followed by other novels. Edensor, which is studied in this research, is

the third novel. It also has become the best seller and been spread all over the

world. It has been translated into English by John Colombo. This novel, like

others, also contains figurative language, especially metaphors as mentioned

before.

B. Identification of Problem

Problems occur when there is difference of languages used by the author

and the readers. Thus, the process in delivering the meaning should be done by a

translator. It means that the translator should be able to take a role as a reader and

a writer. The difficulties as a reader might be caused by the complicated sentence

used by the author, so it makes the translator find it difficult to understand the

meaning. The unusual words used by the author might also cause the problems.

Moreover, it would be more complex when the unusual words are used in a form

of figurative language, especially in metaphor. If the unusual words are used in

metaphor, then the meaning would be difficult to understand since metaphor is

4

rather implicit in terms of meaning. Furthermore, it would also create the

intangibility which would also create the complexity of the problems.

On the other hand, the translator also has a role as a writer since he should

write his interpretation about the novel into another language which is used by the

readers. The problems which occur during the translation process might be caused

by the different culture between the source language and the target language. The

different culture among them would cause an ambiguity if the translator fails to

find the suitable words.

The other problem occurs when the metaphorical expressions are

translated. It is said so because in translating metaphor, a translator should

consider not only the meaning, but also the way the meaning is expressed as Nida

and Taber in Ran (2009:44) 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.” It is considered difficult

since creating such a beautiful writing containing figurative language could not be

done by everyone randomly. The translator should have a skill in writing a literary

work. The lack of knowledge in literature might cause the low-quality of

translation. The different sense of metaphorical expressions between the source

language and the target language could also cause this problem. It means that

when the sense of metaphorical expression in the source language is considered as

usual, it could not be assured that the same sense would occur in the target

language. It could be considered as problem since it would have a big impact

related to the works of Andrea Hirata’s. The impact could be in the form of
5

disadvantages such as the works would be interested only in Indonesia or original

country, so people around the world could not enjoy the beauty of the

metaphorical writing that freshly created by Andrea Hirata.

C. Research Focus

There are three important points that are disscussed in this research. They

are types of metaphorical expressions, translation techniques and translation

quality assesment. The metaphorical expression is focused only on two types,

dead and live metaphor. The translation technique is based on Molina and Albir’s

theory who introduce 18 techniques such as borrowing, calque, literal translation,

modulation, transposition, established equivalent, adaptation, amplification,

compensation, description, discursive creation, generalization, linguistic

amplification, linguistic compression, particularization, reduction, substitution and

variation. Lastly, the translation quality assesment is limited only on the accuracy

and acceptability.

There are several interesting parts that can be analyzed from this product

of translation. The novel itself actually has its own characteristics which represent

the writer’s character in writing a work. These characteristics are usually called as

the style of writing or stylistics. Thus, this research focuses only on the following

questions.

1. What kinds of metaphorical expressions does the writer use in writing the

novel?
6

2. What translation techniques does the translator use in translating the

metaphorical expressions in Andrea Hirata’s Edensor?

3. What is the quality of the translated Metaphorical Expressions in terms of the

accuracy and acceptability?

D. Research Objectives

The purposes of this study are:

1. to describe the types of the Metaphorical Expressions which exist in Andrea

Hirata’s Edensor,

2. to describe the translation techniques used by the translator in translating the

metaphorical expressions found in Andrea Hirata’s Edensor, and

3. to analyze the translation quality of the translated Metaphorical Expressions

found in Andrea Hirata’s Edensor in terms of accuracy and acceptability.

E. Research Significance

Based on the objectives of the study above, some benefits can be derived

as follows.

1. Theoretically, this study is expected to give some information and

contribution to translation study. It can be used as a reference to any related

translation research particularly in terms of metaphorical translation.

2. Practically, this research offers some benefits for several people.

7

a. Other researchers

It gives information about the techniques in translating metaphorical

expression. Thus, it can be used as a reference for the next study in the same field.

b. Academic society

It is contributed to comprehend people who curiously start to reveal

something beyond translation and those who are interested in translating the

literary works.

c. Translators

It helps the translators to enrich their knowledge in translation activity.

Hence, this research can be used as a reference if they find some difficulties when

they are translating texts, especially for those who are interested in translating

literary works.
CHAPTER II

LITERATURE REVIEW AND CONCEPTUAL FRAMEWORK

A. Literature Review

1. Translation

There are three points which are discussed in this subchapter. The

discussion starts with the definitions of translation. It consists of many definitions

proposed by many scholars, the paraphrases of each definition in order to make a

clear understanding, and the conclusion of the definitions. The second point is

translation technique which contains many definitions of the translation technique

and the kinds of translation techniques. There are also some examples of each

technique. The last point of this subchapter is translation quality assessment. The

translation quality assessment contains some views on how a translation product

is considered as a good translation. It consists of three ways in assessing a

translation product involving accuracy, clarity (readability) and naturalness

(acceptability).

a. Definitions of Translation

Translation could be defined in some ways and by many people or

scientists. Generally, translation has a function as a bridge to connect one

language to other languages. It aims to deliver the meaning of the source language

to the target language. Solodub in Sokolovsky (2010:286) states that “Translation

is a creative intellectual activity, denoting the transmitting of information from a

8
9

source language into a target language”. It means that translation is a process of

transmitting the meaning of one language called Source Language (SL) into

another language called Target Language (TL).

Semenov in Sokolovsky (2010:286) defines “First of all, translation is the

translator‟s activity of transforming a message in one language into another

language; secondly, translation is a result of the translator‟s activity, i.e. an oral or

written language utterances”. This definition seems completing the previous

definition that translation is not only a process, but also the result of the process.

Jiang (2008:862) writes that “Translation does not mean to replace one

linguistic text with another, or to find word-for-word, sentence-for-sentence

equivalence, but to reproduce in linguistic forms the mental image constituted out

of the source text”. This definition is actually similar with the previous definitions

that translation is an activity of delivering the information from one language to

another. However, this definition is more explicit for it clarifies that translation is

not about finding the word-for-word equivalence, but rather about understanding

the meaning of the source text then recreating it into the target text.

Nida and Taber in Ran (2009:44) 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.” The

definition stated by Nida and Taber clarifies that translation does not only aim to

deliver the meaning, but also to deliver the style used by the writer of the source

text. In other words, a translator does not only interpret the meaning, but also

maintain how the way the text is expressed.

10

Regarding Nida‟s definition, Ran adds that “...as translation is to

„reproduce‟ the closest natural corresponding information and meaning, for

translators it is to find the presupposed meaning and express it out.” It seems that

in translation, the translator takes an important role in interpreting the meaning of

the source text into the target text. Thus, the translation product is rather about the

translator‟s mind or understanding of the source text.

Toury in James (2002:1) defines that “Translation is a kind of activity

which inevitably involves at least two languages and two cultural traditions.” This

definition reminds that language will always deal with culture. Thus, translation

process must consider not only the language, but also the culture.

However, though the various definitions above are stated in different

ways, the point of view is quite similar. Thus, those various ways in defining

translation could be allied in one complete definition. That is, translation is an

activity of catching what the aims of the writer in writing such text or what he

wants to deliver to the readers using certain kinds of style, then recreating the

whole messages to the target language that understandable for the target readers in

the same way or in the same style. This research adopts Nida and Taber‟s theory

that translation does not only deal with the meaning, but also the style. It is

because this research is focused on the metaphorical expression that becomes the

style of the writer in writing the novel.

11

b. Translation Technique

It has been known that translation is not a simple activity since there are

several elements which needs to be considered such as culture, sense, style and, of

course, language. Hence, a translator should understand what he has to do before

starting the translating activity. It is important to pay attention to the strategy or

technique or method or procedure in translation process. In fact, the term strategy,

technique, method and procedure in translation are defined in different ways and

that the definitions are still debatable. However, in this study, those terms are

considered the same. Thus, translation technique, in this research, means the

phase in translating process which involves some ways or formulas in order to

create a good translation, so that the target readers could easily understand the

translated text.

Molina and Albir (2002:510) introduce 18 techniques of translation. Those

techniques are explained as follows.

1) Borrowing

A word taken directly from another language is a technique called

borrowing. It could be seen from the word “borrow” in borrowing which means

that it borrows the technical term from the source language into the target

language without changing the word.

For example: Style (English)  Style (Bahasa Indonesia)

2) Calque
12

Calque is done if a foreign word or phrase is translated and incorporated

into another language. Calque is a special kind of borrowing whereby a language

borrows an expression form of another, but then translates literally each of its

elements.

For example: Honeymoon (English)  Bulan Madu (Bahasa Indonesia)

3) Literal Translation

It is also known as word for word translation. It is the direct transfer of a

source language text (SL) into a grammatically and idiomatically appropriate

target language text (TL).

For example: There is a girl in this room (English)  Ada seorang gadis di

ruangan ini (Bahasa Indonesia)

4) Transposition

Transposition is a shift of word class. It involves replacing on word class

with another without changing the meaning of the message.

For example: After he arrives at Adi Sucipto Airport (English)  Setelah

kedatangannya di Bandara Adi Sucipto (Bahasa Indonesia)

5) Modulation

It is a shift of point of view. Whereas transposition is a shift between

grammatical categories, modulation is a shift in cognitive categories. It is a

variation of the form of the message.

13

For example: I will become a father (English)  Aku akan segera memiliki anak

(Bahasa Indonesia)

6) Established Equivalent

This is for the same situation using a completely different phrase. It can be

rendered by two texts using completely different stylistics and structural methods.

For example: Killing two birds with one stone (English)  Sambil menyelam

minum air (Bahasa Indonesia)

7) Adaptation

Adaptation is a shift in cultural environment. It is used in those cases

where the type of situation being referred to by the source language message is

unknown in the target language culture.

For example: Keris (Bahasa Indonesia)  Sword (English)

8) Amplification

It is a technique which aims to introduce details that are not formulated in

the source text. It could be in the form of information or explicative paraphrasing.

For example: Ramadhan (Bahasa Indonesia)  Ramadhan, the Moslem month of

fasting (English)

9) Compensation
14

It aims to introduce a source text element of information or stylistic effect

in another place in target text because it cannot be reflected in the same place as in

the source text. This is rather amorphous term, but in general terms it can be used

where something cannot be translated from source to target language, and the

meaning that is lost in the immediate translation is expressed somewhere else in

the target text.

For example: Man attempts, the will of God prevails (English)  Manusia

berusaha, kehendak Tuhan berkuasa (Bahasa Indonesia)

10) Description

Description is a technique which replaces a term or expression with a

description of its form or/and function.

For example: Ketupat (Bahasa Indonesia)  Indonesian traditional food eaten on

the celebration of Eid al-Fitr (English)

11) Discursive Creation

It is to establish a temporary equivalence that is totally unpredictable out

of context. It usually happens in the translation of title.

For example: Maryamah Karpov (Bahasa Indonesia)  Strange Rhythm (English)

12) Generalization

Generalization is a technique which uses a more general or neutral term.

For example: Mansion (English)  Rumah (Bahasa Indonesia)

15

13) Linguistic Amplification

It is a technique which is done by adding linguistic element. This

technique is often used in oral consecutive interpreting and dubbing.

For example: Shall we? (English)  Bisa kita berangkat sekarang? (Bahasa

Indonesia)

14) Linguistic Compression

It is a technique which aims to synthesize linguistic elements in the target text. It

is often used in simultaneous interpreting and sub-titling.

For example: I want you to know (English)  Ketahuilah (Bahasa Indonesia)

15) Particularization

Particularization is a technique which uses more specific or concrete word

or phrase in the target text.

For example: Developed countries rejected the protocol (English)  Negara maju

menolak Protokol Kyoto (Bahasa Indonesia)

16) Reduction

It aims to suppress the information item of the source text into the target

text.

For example: Ramadhan, the Moslem month of fasting (English)  Ramadhan

(Bahasa Indonesia)
16

17) Substitution

It is to change linguistic elements for paralinguistic elements (intonation,

gestures) or vice versa.

For example: The gesture of bowing head (Bahasa Indonesia)  Shy (English)

18) Variation

It is to change linguistic or paralinguistic elements (intonation, gestures)

that affect aspect of linguistic variation such as changes of textual tone, style,

social dialect, geographical dialect, etc.

Molina and Albir (2002:509) define “translation techniques as

procedures to analyze and classify how translation equivalence works”. It means

that translation techniques as stated by Molina and Albir could be used to analyze

a product of translation and see whether the translation product is equivalent with

the original text. They also state that “Translation techniques are not good or bad

in themselves. They are used functionally and dynamically in terms of the genre,

type, mode, purpose and method”.

c. Translation Quality Assessment

It is not an easy task to measure whether or not a translation product is

considered as a good translation. Downing and Bogoslaw (2013:6) write that “A

good translation is one that draws upon a source text to effectively fulfill a

communicative purpose.” Thus, a product of translation could be considered as a

17

good translation as long as it could communicate the writer‟s opinion to the target

readers.

Larson in Yarahmedzehi, Beikian and Nadri (2013:62) states that “The

translator wants to be sure his translation is accurate, clear and natural.” They add

that “These are three determining and widely accepted criteria in assessing the

quality of translation.” Hence, it is clear that in translation, accuracy, clearness

(readability) and naturalness (acceptability) are the major assessments.

1) Accuracy

Accuracy is conducted to make sure that the meaning of the source text is

delivered and equal to the target text. It aims to communicate the meaning

accurately. It means that the meaning in the source language should be accurate

without any addition and omission of the meaning.

2) Readibility (Clearness)

Larson in Yarahmedzehi, Beikian and Nadri (2013:62) argues that, “...a

translation maybe accurate but still not communicate to the people for whom it is

prepared due to lack of clarity.” The main purpose of clearness is to know

whether or not the target readers understand in reading the translated text. Once

the target readers do not find any amusements in reading the trasnlated text, it

means that the product of translation is good in terms of clearness.

3) Acceptability (Naturalness)
18

Generally, acceptability is measured by how natural the target language is.

It also deals with the language culture of the target laguage, so when the readers

of the target language read the translated text, they do not seem as if they read a

translated text or a product of translation. Yarahmedzehi, Beikian and Nadri

(2013:62) state that “Eventually, the purpose of naturalness test is to see if the

form of the translation is natural and the style is appropriate.” Thus, naturalness

focus on the style of the target text.

2. Metaphor

Figurative language usually emerges in literary works in order to achieve

special effects for the readers. The special effects are usually in the form of

emotion. Egudu in Teilanyo (2007:310) defines figurative language as “...one of

the features that gives literature its distinctiveness in the form of the suggestion or

indirection, and imagination or invention that characterise its method of

expression.” In his research, Teilanyo (2007:310) adds that “In fact, figurative use

is common in everyday speech, employed to indicate the speaker‟s deep

perception of or emotive identification with the idea being expressed.” One of

figurative languages that is usually used in literary works is metaphor.

Metaphor is a kind of figurative language which uses connotative meaning

through the comparison without using the word “like” or “as”. Metaphor is

considered difficult especially in understanding the meaning. It depends on the

background knowledge of the readers. It needs a deeper attention since the

comparison is conveyed implicitly. In literary works, metaphor takes an important

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role to communicate the complex material and convey it more effectively to the

readers. Therefore, the writer‟s intention could be understood for the readers.

Besides, metaphor could help the readers to catch the accurate insight of the writer

physically and emotionally.

Lakoff and Johnson (2003:4) define metaphor as “...a device of the poetic

imagination and the rhetorical flourish-a matter of extraordinary rather than

ordinary language.” This may become the reason why metaphor contains

connotative meaning rather than dennotative.

Glucksberg (2001:52) states that “Metaphors work via an interaction

between the metaphor vehicle and the metaphor topic.” This statement supports

that metaphor deals with the comparison. Thus, in comparing two objects, there

must be the main object or the topic and the symbol which is called by

Glucksberg as the vehicle.

Metaphor is a kind of figurative language comparing two objects

implicitly as Nigel Armstrong (2005:189) states that “a metaphor is an implicit

comparison, most often using imagery”. In terms of translating metaphor, Nigel

continues that “...the translator needs to consider selecting an equivalent metaphor

if one is available; in the latter case, a neutral translation must be found.”

According to Lakoff and Johnson (2003:152), metaphor could be divided

into conventional metaphor and new metaphor. They are explained as below.

1) Conventional metaphor. It is often based on correlations which is perceived in

daily experience. That is, metaphors that structure the ordinary conceptual

system of culture, which is reflected in everyday language.

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For example: Time is running out.

2) New Metaphor. It is a metaphor which could create new meaning. This kind

of metaphor is capable in giving a new understanding of experience. New

metaphor is an active metaphor which is more creative and imaginative.

For example: You are my sun.

Kovecses (2002:29) explains that “...metaphor can be characterized with

formula A IS B, where the target domain (A) is comprehended through a source

domain (B). This comprehension is based on a set of mappings that exist between

elements of (A) and elements of (B).” The set of mapping which has been

explained by Kovecses deals with the term conceptual metaphor. Kovecses

(2002:4) also adds that “A conceptual metaphor consists of two conceptual

domains, in which one domain is understood in terms of another”. In the book

entitled Metaphor: A Practical Introduction, Kovecses (2002:33) then

distinguishes the conceptual metaphor into three general basis. They are structural

metaphor, ontological metaphor and orientational metaphor.

1) Structural metaphor. It is a metaphor in which the source domain provides a

relatively rich knowledge structure for the target concept (Kovecses,

2002:33). This kind of metaphor makes the readers get a clear understanding

of the compared object in metaphorical expressions. Since it is a mapping, the

structural metaphor exists in more than only one sentence.

For example: Your claims are indefensible. He attacked every weak point in

my argument. His criticisms were right on target. I demolished his argument.

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2) Ontological metaphor. It is a kind of metaphor which provides much less

cognitive structuring for target concepts than structural ones do. The

ontological metaphor seems rather sharper in giving the information of an

object being compared than those in the structural metaphor.

For example: The mind is an entity.

3) Orientational metaphor. It is a metaphor which provides even less conceptual

structure for target concepts than ontological ones. Orientational metaphor

aims to make a coherence metaphor by giving the opposite comparison such

as up and down, good and bad, rise and sink,etc.

For example: Happy is up. Sad is down.

Richards in Madsar (2010:13) classifies the types of metaphor into nine.

They are dead metaphor, extended metaphor, mixed metaphor, active metaphor,

complex metaphor, compound metaphor, implicit metaphor, simple metaphor and

submerged metaphor.

1) Dead metaphor. It is defined as a metaphor in which the sense of a transferred

image is not present and goes unnoticed. It is a metaphor which has lost of its

metaphorical sense.

For example: We are in the same boat.

2) Extended metaphor. It is a metaphor which sets up a principal subject with a

subsidiary subject or comparison.

For example: All the world is a stage.

And all the men and women are merely players.

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3) Mixed metaphor. It is a metphor which leaps from one identification to the

second identification that is inconsistent with the first. It is done when two

metaphors are used in one sentence without any correlations between them.

For example: He stepped up to the plate and grabbed the bull by the horns.

4) Active metaphor. It is also known as live metaphor. It is a metaphor which is

newly created by a writer and has to be understood in a particular context.

The sense of metaphorical expression in this kind of metaphor could be felt

directly by the readers.

For example: You are my light.

5) Complex metaphor. It is a metaphor which mounts one identification on

another. It happens where a metaphor is based on a secondary metaphoric

element. It is a way in making a more complex form of metaphor when it is

actually could be created in a more simple form. The aim is to make the

readers interest with the diction, especially for those who love literary works.

For example: She owed me an apology and she finally gave it to me.

6) Compound metaphor. It is a metaphor that catches the mind with several

points of similarity. It is made of more than one similarity.

For example: Thick, primal, blind fog descended before his eyes.

7) Implicit metaphor. It is a metaphor in which the tenor is not specified but

implied. It needs further experience of the readers in understanding the

connection. Deeper understanding is needed to interpret the meaning behind.

For example: We were drinking the white.

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8) Simple metaphor. It is a metaphor in which there is only one point of

resemblance between the tenor and the vehicle. Simple metaphor aims to

make a metaphor as easy as possible to be understood by the readers.

For example: Cool down!

9) Submerged metaphor. It is a metaphor in which the metaphoric image is

indicated by one part of it. It involves the ability of thinking like when a

person is told about a small part of something, he/she would automatically

think of the whole part. It is how this metaphor could be understood.

For example: Her thoughts were on the wing.

Larson in Zhang (2010:11) classifies the metaphor into two types, dead

metaphor and live metaphor. They explanations are below.

1) Dead metaphor. It is a metaphor which is a part of constructions of lexicon of

the language. It is a kind of metaphor in which the sense of a transferred

image is not present and goes unnoticed. When they are used, the person who

listens or reads does not think about the primary sense of the words, but only

the idiomatic sense directly. The dead metaphor is commonly defined as a

metaphor which has lost its metaphorical sense. In other words, the

connotative meaning in the metaphorical expression has changed into

denotative as it is used very often.

For example: The explanation is crystal clear.

2) Live metaphor. Live metaphor or active metaphor is defined as a metaphor

which can be identified by its readers after they give special attention to the
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primary meaning of the words which are used metaphorically (Larson in

Zhang: 2010). It is not a part of daily language and is noticeable as a

metaphor. It is a metaphor which is newly created by a speaker and has to be

understand in a particular context.

For example: It‟s been a purple dinosaur of a day.

The types of metaphor classified by Larson in Zhang (2010:11) would be

the basic theory used in this study since those types are considered the simplest

type of metaphor among others.

3. Edensor

Edensor is the third novel in Rainbow Troops quartet. The Dreamer and

The Strange Rhythm are the other novels in the series. Rainbow Troops quartet is

based on the true story of the author himself. The third novel, Edensor, tells about

the journey of the author, Andrea Hirata, and his close friend who is also his

relative called Arai. Though they come from a suburb area of Bangka Belitung,

they did not afraid of having a dream to study abroad in Sorbonne University and

go around Europe. They both are interested in every single branch of science and

reach a good accomplishment in Senior High School. In order to make their dream

come true, they had a plan to go to Jakarta. In Jakarta, they studied in different

universities. The author studied at University of Indonesia (UI). Besides, Arai

studies at Bogor Agricultural University (IPB). After they finished their studies,

they had got scholarships to continue their study in Sorbonne University, Paris.

They met many kinds of people who come from various countries and got so
25

many experiences from there. Still, they keep their dream to go around Europe. In

summer holiday, they challenged their new friends from other countries to go

around Europe. Finally, they really made their dream to study abroad at Sorbonne

University and go around Europe.

4. Relevant Studies

The previous research in the same field which uses a literary text as the

data and translation technique to analyze the data was done by Andina Agusti

Wisudarani in An Analysis of Translation Techniques in Six Translated Poems of

Chairil Anwar (2009). In her research, she analyze the translation tecnique used

by the translator and how those techniques are workable to the poems. The source

data that she uses in her research are six different poems by Chairil Anwar and the

English Version translated by Liaw Yock Fang. The other data are taken from

thirty intended respondents. Based on her research, she found that the translated

poems apply literal translation techniques which influences some elements within

the poems. It was supported by the high frequency of literal translation which was

about 89,5%. She also found about 80% respondents who said that they could not

enjoy the beauty of the poem entirely as well. It was strengthened by the argument

of the six selected respondents that the poems looked stiff. Besides, it is often

diminishing the sense or the spirit of the original. In short, she concluded that

those translated poems could be evaluated as adequate and acceptable translation

though there were some weaknesses within.

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The research above is similar with this research. It is said so because this

research uses the literary work as the data. Besides, it also uses translation

technique to analyze the data.

Another previous research which focused on metaphorical expression

comes from Susi Apriati Madsar in The Analysis of The Translation of

Metaphorical Expressions In The Novel The God of Small Things By Arundhati

Roy Into Yang Maha Kecil By A. Rahartati Bambang Haryo (2010) who tries to

find the types of metaphor, the translation strategy and translation quality

assessment in terms of accuracy. The source data that she uses in her research is

The God of Small Things novel and the Indonesian version Yang Maha Kecil. The

data become the primary data, while the secondary data were taken from the

questionnaire collected from three raters. In her research, she finds 69 data of

metaphorical expression. Based on her analysis, she finds that there are seven

types of metaphor in the novel. They are dead metaphor (16 data), extended

metaphor (3 data), active metahor (20 data), compound metaphor (21 data),

implicit metaphor (4 data), submerged metaphor (3 data) and complex metaphor

(2 data). There are two strategies in translating metaphorical expressions that she

finds in her research. They are metaphor into metaphor (51 data) and metaphor

into simile (18 data). From the researcher‟s analysis on the accuracy of

translation, she finds that there are 22 data which are considered accurate and 47

data that are considered less accurate.

The previous research above has inspired this study to focus on the

metaphorical expressions. However, this study is rather different in terms of

27

translation quality assessment. In this research, it is not only focus on the

accuracy, but also on the acceptability or naturalness. It is also different in

categorizing the types of metaphor and the translation technique. The types of

metaphor in this research are dead meatphor and live metaphor. Whereas, the

translation technique consists of borrowing, calque, literal translation,

transposition, modulation, established equivalent, adaptation, amplification,

compensation, description, discursive creation, generalization, linguistic

amplification, linguistic compression, particularization, reduction, substitution and

variation.

B. Conceptual Framework

In terms of translation, this research adopts the theory from Nida and

Taber in Ran (2009:44) 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.” It could be connected with this

research since metaphorical expression is considered as the style of the writer in

writing Edensor, the source of data. The translation of the metaphorical

expressions found in the novel is the problem that is analyzed in this research.

In accordance with metaphor, this research adopts the theory stated by

Larson in Zhang (2010:11) who classify the types of metaphor into dead metaphor

and live metaphor. They are considered as the simplest types of metaphor among

others. Besides, the difference between the types is also clear, so that it would be

easy to differ. Hence, in this research, the metaphorical expressions of the source
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text are also classified into dead metaphor and live metaphor. Dead metaphor

consists of the metaphorical expressions in which the sense of transferred image is

not present and goes unnoticed. This kind of metaphorical expression has lost its

metaphorical sense. Most of the readers do not notice that this kind of

metaphorical expression is a kind of figurative language which has connotative

meaning.

For examples: We are in the same boat.

The explanation is crystal clear.

Another type of metaphor which is used in this research is live metaphor.

Live metaphor is a metaphor which can be identified after the readers give a

special attention when they read the metaphorical expressions. The readers are

mostly notice that it is a kind of figurative language. This kind of metaphor is

sometimes newly created by the writer, so the technical term of the metaphor is

not common.

For examples: The sun became a fortuneteller.

The hope blown over to me.

In categorizing the translation techniques, this research adopts the theory

comes from Molina and Albir (2002:509) who introduce 18 techniques. The

techniques are borrowing, calque, literal translation, transposition, modulation,

established equivalent, adaptation, amplification, compensation, description,

discursive creation, generalization, linguistic amplification, linguistic

compression, particularization, reduction, substitution and variation.

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Borrowing is a translation technique which borrows the original

terminology of the source language into the target language without any changes.

It could be seen from the word “borrow” in borrowing which means that it

borrows the technical term from the source language into the target language

without changing the word. Below is an example of borrowing. In the following

example, there is a word angkot which is translated into angkot in English. Since

the word angkot is not originally from English, it could be concluded that the

translator uses borrowing as the technique.

For example: SL : “Ini ongkos angkot. Pulang sana!”

TL : “Here‟s money for an angkot. Go home!”

Calque is a technique which maintains the expression form of the source

language then translates literally of each element. It is done when a foreign word

or phrase translated and incorporated into another language. Below is an example

of live metaphor which is translated using calque procedure. The word simpai

keramat is an unknown technical term in the target text. The translator seems to

maintain the word simpai keramat, so the translator prefers to translate it literally

into the target language.

For example: SL : Kutatap mata lelaki simpai keramat yang selalu

membelaku itu, dialah Lone Rangerku.

TL : I looked into the eyes of that boy of the sacred knot who

always protected me, he was my lone ranger.

Literal translation is known as word for word translation which considers

the appropriate grammar and idiom of the target language text. Below is an
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example of live metaphor which is translated using literal translation procedure. It

could be seen in the example that each word in the source text is translated word-

for-word into the target text.

For example: SL : Mereka adalah gajah di laut.

TL : They are the elephants of the sea.

Transposition is a technique that involves replacing the word class of the

source language text into another without changing the meaning. Below is an

example of the translation of dead metaphor using transposition procedure. It

could be seen that the word pandanganku in the source text is categorized as

noun, then the translator translates it into saw which is categorized as verb.

For example: SL : Pandanganku berkunang-kunang.

TL : I saw stars.

Modulation is done by changing the point of view without changing the

meaning. Whereas transposition is a shift between grammatical categories,

modulation is a shift in cognitive categories. It is a variation of the form of the

message.

For example: SL : Aku akan segera memiliki anak.

TL : I will become a mother.

Established Equivalent is a technique which uses completely different

terminology. It can be rendered by two texts using completely different stylistics

and structural methods. Below is an example of live metaphor which is translated

into dead metaphor using equivalence procedure. It is clear that the term in the
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source text is completely different with the target text, but it does not change the

meaning.

For example: SL : Perutku naik menyundul-nyundul ulu hatiku.

TL : I got butterflies in my stomach.

Adaptation is a technique which is focused on the culture of the source

language and the target language. Adaptation is done by finding the closest

meaning and term because of the different culture between the two languages. It is

a shift in cultural environment. It is used in those cases where the type of situation

being referred to by the source language message and the technical term is

unknown in the target language culture. Below is an example of dead metaphor

which is translated using adaptation procedure. The word arjuna in the source text

is unknown in the target text. Arjuna is a local figure of the source culture and is

unknown in the target culture. Thus, the translator translates the word arjuna into

ideal guy, so that it could be understood for the target readers.

For example: SL : Alessandro D’Archy, si ganteng itu adalah arjuna kelas

kami sekaligus seorang Italia yang agak playboy.

TL : Alessandro D‟Archy, that stud was the ideal guy in our

class and was also a playboy.

Amplification is a technique which aims to introduce details that are not

formulated in the source text. It could be in the form of information or explicative

paraphrasing. It is to add a description of a technical term which is not familiar in

the target text. Below is an example of amplification technique. The word

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Ramadhan is maintained in the target text, but then it is described explicitly into

the Moslem month of fasting.

For example: SL : Ramadhan

TL : Ramadhan, the Moslem month of fasting

Compensation aims to introduce a source text element of information or

stylistic effect in another place in target text because it cannot be reflected in the

same place as in the source text. This is rather amorphous term, but in general

terms it can be used where something cannot be translated from source to target

language, and the meaning that is lost in the immediate translation is expressed

somewhere else in the target text. The following example uses compensation as

the technique since it is not translated literally but by finding the closest meaning

and by creating the same rhyme.

For example: SL : Man attempts, the will of God prevails

TL : Manusia berusaha, kehendak Tuhan berkuasa

Description is a technique which replaces a term or expression with a

description of its form or/and function. It is to translate an unknown word of the

source text into the target text by giving a description directly without maintaining

the original term. In the following example, the word Ketupat is an unknown

word for the target text which is translated as Indonesian traditional food eaten on

the celebration of Eid al-Fitr. The word Indonesian traditional food eaten on the

celebration of Eid al-Fitr is the description of the word Ketupat.

For example: SL : Ketupat

33

TL : Indonesian traditional food eaten on the celebration of Eid

al-Fitr

Discursive Creation aims to establish a temporary equivalence that is

totally unpredictable out of context. It usually happens in the translation of title.

Maryamah Karpov is one of Andrea Hirata‟s novel title. It is a name of the first

character in the novel. In the translated novel, the title is changed into The Strange

Rhythm which is not a name of any character in the novel. Nevertheless, the word

The Strange Rhythm is able to represent the content of the novel.

For example: SL : Maryamah Karpov

TL : The Strange Rhythm

Generalization is a technique which uses a more general or neutral term. It

uses more general term in order to avoid the ambiguity or unnaturalness in the

target text. Below is an example of generalization technique since the word

Einstein kedua is translated into The second person.

For example: SL : Einstein kedua dalam hidupku – yang mengenalkanku

pada diriku sendiri – adalah tokoh legendaris ini: Mak Birah,

dukun beranak kampung kami.

TL : The second person to better acquaint me with myself was

a legendary figure: Mak Birah, a midwife from our village.

Linguistic amplification is a technique which is done by adding linguistic

element. This technique is often used in oral consecutive interpreting and

dubbing. The following example uses linguistic amplification technique since the

word Shall we? is expressed explicitly and clearly in te target text.

34

For example: SL : Shall we?

TL : Bisa kita berangkat sekarang?

Linguistic Compression is a technique which aims to synthesize linguistic

elements in the target text. It is often used in simultaneous interpreting and sub-

titling. It is the opposite term of linguistic amplification.

For example: SL : I want you to know

TL : Ketahuilah

Particularization is a technique which uses more specific or concrete word

or phrase in the target text. It is the opposite term of generalization. The following

example uses particularization since the word the protocol is expressed

specifically into Protokol Kyoto in the target text.

For example: SL : Developed countries rejected the protocol

TL : Negara maju menolak Protokol Kyoto

Reduction aims to suppress the information item of the source text into the

target text. It is the opposite term of amplification. Below is an example of a dead

metaphor which uses reduction as the technique. In the following example, the

word biru buah ganitri muda is omitted since the word sky blue is enough to make

a clear description.

For example: SL : Bola matanya biru langit, bukan, lebih indah, biru buah

ganitri muda.

TL : Her eyes were sky-blue.

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Substitution is to change linguistic elements for paralinguistic elements

(intonation, gestures) or vice versa. It is to translate a gesture into a written form.

Below is an example of translating a gesture.

For example: SL : The gesture of bowing head

TL : “Shy”

The last technique is variation. It aims to change linguistic or

paralinguistic elements (intonation, gestures) that affect aspect of linguistic

variation such as changes of textual tone, style, social dialect, geographical

dialect, etc.

This research also adapts the theory stated by Larson in Yarahmedzehi,

Beikian and Nadri (2012:62) in testing the translation quality. However, this

research only uses two of the three categories. The categories are accuracy and

acceptability or naturalness. Accuracy in this research is merely focused on the

meaning. The translation quality is considered accurate when it has a clear

meaning without any omissions.

Another category is acceptability that focuses on the naturalness of the

style used by the writer of the source language text. The translation quality is

considered acceptable when the style of the source text is accepted by the readers

of the target text. Style in this research refers to the metaphorical expressions used

by the writer of the source text.

C. Analytical Construct
36

The data are analysed by finding the metaphorical expression in the source

text first and see how it is expressed in the target text. Then, both are classified

into two types of metaphor, dead and live metaphor. After that, the analysis

continues into how the source text is translated into the target text. That is the

translation techniques that are used by the translator to translate the metaphorical

expressions in the novel entitled Edensor. The techniques are based on Molina

and Albir‟s theory (2002:509). The categories of the translation techniques would

be borrowing, calque, literal translation, transposition, modulation, established

equivalent, adaptation, amplification, compensation, description, discursive

creation, generalization, linguistic amplification, linguistic compression,

particularization, reduction, substitution and variation. The translation quality

assessment is analysed in two ways, namely accuracy and acceptability. The

accuracy will be ranked in six scales, while the acceptability will be ranked in

three scales. The step of analytical construct is shown in the chart below.
Source Text Target Text

Edensor (Indonesian Language) Edensor (English)

Translation Translation of Metaphorical

Metaphorical Expressions Process Expressions

Types of Metaphor Translation Techniques Translation Quality Assessment

Dead Live Cal Trans Establi Ampli Des Genera Ling. Red Variation Accuracy Acceptability
Metap Meta que positi shed ficatio crip lizatio Comp uctio
hor phor on Equiv n tion n ressio n
alent n

Borro Literal Modulat Adaptati Compens Discursive Linguistic Particular Substitut

wing ion on ation Creation Amplification ization ion
1 2 3 1 2 3
Figure 1. Analytical Costruct

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CHAPTER III

RESEARCH METHOD

A. Type of The Research

Qualitative approach is used in this research in order to make it successful

in analysing the metaphorical expressions, translation technique and translation

quality in terms of the accuracy and acceptability in English translation of Andrea

Hirata’s Edensor translated by John Colombo. Vanderstoep and Johnston (2009:7)

state that “Qualitative Research produces narrative as textual descriptions of the

phenomena under study.” It means that qualitative approach is rather deep in

analyzing the phenomena. In short, the qualitative descriptive approach of this

research aims to describe the translation of metaphor, to classify the types of

metaphor, to identify the translation technique used in translating metaphor and to

analyze the translation quality in terms of accuracy and acceptability of the

translated metaphorical expressions found in Andrea Hirata’s Edensor.

B. Data and Sources of Data

The data of this research were taken from Andrea Hirata’s novel entitled

Edensor that is translated into English by John Colombo. Andrea Hirata’s

Edensor is originally published by PT Bentang Pustaka. It is the twenty third

edition and published in 2011. The data are in the form of clauses or sentences

considered as metaphorical expressions.

37
38

The data are also obtained from two raters by purposeful sampling. The

raters are willing to evaluate the assessment of translation quality in terms of

accuracy and acceptability. Since it uses the purposeful sampling technique, the

raters are those who require certain criteria. The raters should at least took a

master degree in English Linguistics or Translation, have a good knowledge of

translation, have a good sense in translation of literary works and have a good

understanding of English and Indonesian language.

C. Instruments of the Research

Since the research uses the qualitative approach, the main instrument of

the research is the researcher herself. The researcher takes an important role in

reading and writing related to this research. The ability in understanding the

metaphorical expressions, translation techniques and translation quality

assessments become the most important tools in analysing the data of this

research. The researcher also collects, analyzes, interprets data, and reports the

result of the research. Meanwhile, this study also uses additional instruments, such

as books, dictionaries, data sheets and laptop to collect and classify the data.

Data sheets are used to record and to classify the data. The data sheets

consists of number, code, data, the classifications of the types of metaphor,

translation techniques and translation quality assessments. There are also tables

containing the scales of the translation quality assessments in terms of the

accuracy and the acceptability. It is used by the respondents as the basic for

measuring the accuracy and the acceptability.

39

D. Technique of Collecting Data

Since the researcher become the main instrument of this research, the

researcher uses her own skill to classify and collect the data based on the

background knowledge and match them with the existing theory. The data are

collected by:

1. rereading the source and target versions of the Edensor novel carefully,

2. underlining the metaphorical expressions found in the source novel of

Edensor,

3. seeking the translation of the metaphorical expressions in the target novel of

Edensor,

4. gathering the data of metaphor in both Indonesian and English versions of

Edensor novel,

5. validating the data by consulting them to the experts whether the data are

considered as metaphor or not,

6. revising the data as a result of disscussion done by the researcher and the

experts,

7. categorizing the valid data based on certain clasification of the types of

metaphor and the translation techniques found in Edensor novel and its

English translation,

8. transferring the valid data into the table of data in certain classifications,

9. encoding the data in order to simplify the term of analysis data,

10. making a list of the data in the form of questionnaire,

40

11. asking for the raters to rate the translation quality in terms of accuracy and

acceptability and give a brief explanation for each point, and

12. presenting the result of the questionnaire.

In the process of collecting data above, there is a step where the data

should be encoded orderly, for instance: 01/SL2/TL1/DM/Bor/Acr1/Acp2. It

means that the datum number 1 can be found in page 2 of the source language and

page 1 of the target language. The type of metaphor of the datum is Dead

Metaphor and translated using Borrowing as the technique. The accuracy of the

translation is 1 which could be considered as accurate. The acceptability of the

translation is 2 which could be considered as less acceptable.

The abreviations of the code are below.

01 : number of the datum

SL1 : Indonesian version page of the datum

TL1 : English version page of the datum

DM : Dead Metaphor

LM : Live Metaphor

Bor : Borrowing

Cal : Calque

Lit : Literal Translation

Tran : Trasposition

Mod : Modulation

Equ : Equivalence

Adap : Adaptation
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Amp : Amplification

Com : Compensation

Des : Description

Dis : Discursive creation

Gen : Generalization

Liam : Linguistic amplification

Lico : Linguistic compression

Par : Particularization

Red : Reduction

Sub : Substitution

Var : Variation

Un : Unrealized

Acr1 : Accurate

Acr2 : Less Accurate

Acr3 : Inaccurate

Acp1 : Acceptable

Acp2 : Less Acceptable

Acp3 : Unaceptable

E. Technique of Analysing Data

Since metaphor is the main issue in this research, the data analysis starts

from the metaphorical expressions first. It is not an easy task to decide whether a
42

text contains metaphor or not, esspecially for the common metaphor or in this

research called as dead metaphor. Thus, it needs some experts to check the data.

After the data are gathered, they are analysed based on the objectives of

the research. First, the metaphorical expressions of the source and target language

text is divided into two types of metaphor, namely dead metaphor and live

metaphor. Second, the data of the metaphorical expressions in both Indonesian

and English version of Andrea Hirata’s Edensor are analysed based on the

translation technique. Third, the translation quality assessment is analysed by the

qualified raters. The raters are willing to analyse the translation quality assessment

in terms of accuracy and acceptability. The accuracy is rated in three degrees or

assessment scales. The scales of the accuracy is adapted from a thesis created by

Kholifah (2010:46) entitled Analisis Teknik dan Kualitas Subtitle Film My Mom’s

New Boyfriend. Each scale is described in the following table.

Table 1. Scale of Accuracy Adapted from Kholifah (2010:46)

Scale Description

1 The meaning and the interpretation of metaphor in

(Accurate) the source text is accurately conveyed into the target

text. Moreover, the translation does not need

rewriting.

2 The meaning and the interpretation of metaphor in

(Less Accurate) the source text is accurately conveyed into the target

text. Yet, the translation needs some rewriting in

words or expressions.
43

3 The meaning and the interpretation in the source text

(Inaccurate) are not accurately conveyed into the target text.

These might because the expressions in the source

text do not equal in the target text or they are not

translated or the expressions are not realized instead.

Besides, the raters also assess in terms of acceptability or naturalness. The

acceptability is also rated in three degrees or assessment scales. The scales of the

acceptability is also adapted from a thesis created by Kholifah (2010: 46) entitled

Analisis Teknik dan Kualitas Subtitle Film My Mom’s New Boyfriend. Each scale

is described in the following table.

Table 2. Scale of Acceptability Adapted from Kholifah (2010:46)

Scale Description

1 The metaphorical expressions of the source text are

(Acceptable) conveyed naturally in the target text. It cannot be

identified as a translated text (the readers feel like

reading an original text).

2 The metaphorical expressions of the source text are

(Less Acceptable) not really conveyed naturally in the target text. There

are some words, grammar and phrase found

unnatural. The unnatural words, grammar and phrase

are less than 20% of the text.

44

3 The metaphorical expressions of the source text are

(Unacceptable) conveyed unnatural in the target text. It could be

identified easily as a translated text (the readers

surely feel like reading a translated text)

The raters or respondents evaluate both the accuracy and the acceptability

in the form of questionnaire. The questionnaires are provided in a table in order to

make it easier and simpler. Below is the table of the questionnaire which is given

to the respondents.

Table 3. Questionnaire of Translation Quality Assessment

No Data Accura Accept Explanation

cy ability

Source Language Target Language 1 2 3 1 2 3

(Indonesian) (English)

1.

The data analysis containing the types of metaphor, the translation

techniques and the translation quality assessment in terms of accuracy and

45

acceptability are simplified in the form of a table. The table of data analysis is

represented in the following table.

46
47

F. Trustworthiness

Trustworthiness is similar to the concept of validity and reliability in

quantitative research. According to Moleong (2001:173), trustworthiness could be

achieved by four degrees. They are credibility, dependability, confirmability and

transferability.

1. Credibility

Credibility is the test whether the researcher assumes the presence of

multiple realities and attempts to represent these multiple realities adequately. It is

the degree to which a process is credible. In this research, the researcher performs

deep observation toward the data in order to make it considered as credible. The

researcher used triangulation in testing the credibility of this research.

Triangulation is done in order to avoid the subjectivity of the research. In

applying triangulation, the researcher used other observers to verify the data. The

observers are those who observe and check whether the data are considered

metaphorical expression or not. They are Herdian Praditya and Maria Wintang

who study English Literature in Yogyakarta State University. The data were

observed in detail and deeply by reading and rereading the data until the

researcher surely confirmed that the data were in accordance with the objectives

of the research. Thus, by organizing detail and deep observation, the data can be

considered credible. Besides, the researcher also involved two raters who are

considered qualify the certain criteria related to this research. The raters are Mr.

Andy Bayu Nugroho, S.S. M.Hum who works as a lecturer in Yogyakarta State

University and Mr. Agus Riyanto who works as a UNICEF Consultant. Both of
48

them have enough experiences in translation practice and are considered as

experts in terms of translation.

2. Transferability

It is a modification of external validity in quantitative research. It means

that transferability is meaasured by the reader’s understanding in achieving the

context and the focus of the research. For maintaining transferability, the

researcher provided sufficient and clear information related to the research. Also,

the researcher conceptualized her idea in a form of a framework in order to make

a clear understanding of the context and the research focus.

3. Dependability and Confirmability

Both dependability and confirmability are similar to reliability which

concerns with the research accuracy in conceptualizing what she studies. In order

to maintain the dependability and the confirmability of this research, the

researcher audited the quality and the accuracy of the findings by rechecking them

many times.
Table 4. Data Analysis of Metaphorical Expressions and The English Version

Code Data Typ Translation Techniques Translation

e of Quality
Met Assessment
aph
or
Source Language Target Language D L B C L M T E A A C D D G L L P R S V U Accur Accept
(Indonesian) (English) e i o a i o r q d m o e i e i i a e u a n acy ability
a v r l t d a u a p m s s n a c r d b r
d e n p m o 1 2 3 1 2 3

46
CHAPTER IV

FINDINGS AND DISCUSSION

In this chapter, there are two important points to be discussed. They are

research findings and discussion. The research findings presents the finding of the

research in the form of numbers which are presented in two different ways,

namely frequency and percentage. The research findings are derived from the data

which have been categorized based on the types of the metaphorical expressions,

the translation techniques in translating the metaphorical expressions and the

translation quality assessment in terms of the accuracy and the acceptability. The

discussion presents the deep explanation for each finding. The explanation of each

finding is divided based on the research objectives. They are types of

metaphorical expressions, the translation techniques and the translation quality

assessment in terms of the accuracy and the acceptability.

A. Research Findings

This sub-chapter consists of the findings of the types of metaphor found in

Andrea Hirata’s Edensor, translation techniques and the translation quality

assessment of the metaphorical expressions. The findings are shown in the form

of tables which contains the frequency and the percentage which represents the

amount of the findings. There is also the description which describes each table.

49
50

Table 5. The Frequencies of the Types of Metaphor found in Andrea Hirata’s

Edensor

Kinds of Metaphor Frequency Percentage

Dead Metaphor 9 26.47%
Live Metaphor 34 79.07%
Total 43 100%

Table 5 shows the frequency of the types of metaphor found in Andrea

Hirata’s Edensor. The types of metaphor that are expressed in the novel are both

dead and live metaphor. From Table 5 above, it could be seen that live metaphors

dominate the data since the percentage of its appearance is 79.07% of the whole

data. Whereas, the appearance of dead metaphor is 26.47%. In other words, live

metaphor is used more often than dead metaphor in order to make the novel more

attractive and to create a deeper sense for the literary readers.

Table 6. The Frequencies of The Translation Techniques Applied in

Translating the Metaphorical Expressions found in Andrea

Hirata’s Edensor

Translation Techniques Frequency Percentage

Literal Translation 10 23.26%
Modulation 1 2.33%
Transposition 1 2.33%
Generalization 2 4.65%
Linguistic Amplification 3 6.98%
Reduction 3 6.98%
Borrowing & Literal Translation 1 2.33%
Literal Translation & Modulation 2 4.65%
Literal Translation & Established Equivalent 1 2.33%
Modulation & Reduction 1 2.33%
Modulation & Transposition 1 2.33%
Established Equivalent & Adaptation 1 2.33%
51

Established Equivalent & Linguistic 1 2.33%

Amplification
Generalization & Reduction 1 2.33%
Borrowing, Generalization & Reduction 1 2.33%
Unrealized 14 32.56%
Total 43 100%

Based on Table 6, there are only 9 translation techniques found in the data

that are used by the translator to translate the metaphorical expressions found in

Andrea Hirata’s Edensor. They are borrowing, literal translation, modulation,

established equivalent, adaptation, generalization, linguistic amplification and

reduction. In fact, theoretically, there are 18 translation techniques which are

introduced by Molina and Albir (2002:510). It means that there are 9 techniques

which are not used by the translator in translating the metaphorical expressions in

Andrea Hirata’s Edensor. Those techniques are calque, amplification,

compensation, description, discursive creation, linguistic compression,

particularization, substitution and variation.

From Table 6, it could be concluded that the translator mostly uses literal

translation to translate the metaphorical expressions of Andrea Hirata’s Edensor.

It is said so since the percentage number for literal translation is 23.26% of the

whole techniques. The second techniques that are mostly used by the translator

are linguistic amplification and reduction that have the same number of

percentage around 6.98% and are followed by generalization and mixed

techniques of literal translation and modulation that have the same percentage

number about 4.65%. After that, there are modulation, transposition, mixed of

established equivalent and linguistic amplification, mixed of modulation and

52

reduction, mixed of borrowing and literal translation, mixed of established

equivalent and adaptation, mixed of generalization, mixed of literal translation,

mixed of modulation and transposition, and mixed of borrowing, generalization

and reduction that have the same number of percentage about 2.33%. Those

techniques are placed on the lowest number of percentage. The rest of the data

belong to Unrealized that the number of percentage is about 32.56%.

Table 7. The Frequencies of Accuracy Level in the Translation of

Metaphorical Expressions found in Andrea Hirata’s Edensor

Accuracy Level Frequency Percentage

Accurate 20 46.51%

Less Accurate 9 20.93%

Inaccurate 14 32.56%

Total 43 100%

According to Table 7 above, the translation quality assessment is divided

into three levels. They are Accurate, Less Accurate and Inaccurate. Table 7 shows

that the translation of metaphorical expressions in Andrea Hirata’s Edensor is

mostly accurate. It could be seen from the number of frequency that shows the

amount of the accurate translation is approximately reach number 20 and the

percentage number is 46.51%. It is followed by the inaccurate translation with the

number of frequency is around 14 and the percentage is 32.56%. It is because

there are so many unrealized expressions in the target text. Whereas, the lowest
53

number is placed for less accurate that has the number of frequency around 9 and

the number of the percentage is around 20.93%.

Table 8. The Frequencies of The Acceptability Level in the Translation of

Metaphorical Expressions found in Andrea Hirata’s Edensor

Acceptability Level Frequency Percentage

Acceptable 20 46.51%

Less Acceptable 8 18.60%

Unacceptable 15 34.88%

Total 43 100%

Table 8 above shows the frequency and the percentage of acceptability

level in the translation of metaphorical expressions found in Andrea Hirata’s

Edensor. It could be seen that most of the translation of metaphorical expressions

are acceptable. It is shown by the table above that the acceptable translation

reaches the highest number about 20 and the percentage is approximately 46.51%.

The next is unacceptable translation which the number of frequency is about 15

and the percentage number is around 34.88%. The lowest number of frequency is

less acceptable translation with the number of frequency is 8 and the percentage

number is around 18.60%.

B. Discussion

The discussion section contains deep explanation of the findings. It is done

in order to answer the objectives of the research that consists of three points,
54

namely the types of metaphor, translation techniques and the translation quality

assessment, which is in the form of accuracy and acceptability, of the

metaphorical expressions found in Andrea Hirata’s Edensor.

1. Types of Metaphor

The types of metaphor is divided into two kinds. They are dead metaphor

and live metaphor. It is based on the theory introduced by Larson in Zhang (2010:

11).

a. Dead Metaphor

Dead metaphor is a metaphor which is a part of constructions of lexicon of

the language. It is a kind of metaphor in which the sense of a transferred image is

not present and goes unnoticed. The dead metaphor is commonly defined as a

metaphor that has lost its metaphorical sense. In other words, the connotative

meaning in the metaphorical expression has changed into denotative as it is used

very often. There are nine data expressing dead metaphor in Andrea Hirata’s

Edensor. Below are some examples of the data.

Pengalaman semacam itu bak mutiara dan mutiara dalam

hidupku adalah lelaki yang mengutuki hidupnya sendiri,
namanya Weh.
(Datum number 2: 02/SL1/TL1/DM/Un/Acr3/Acp3)

The example above belongs to dead metaphor since it compares a pearl to

a person. In the source language’s culture, when someone or something is

compared to mutiara (pearl), it means that the person or thing is considerd as

worth as a pearl. The expression is common in Bahasa Indonesia. Thus, the

example above is considered as dead metaphor, where the topic of the metaphor is
55

Weh (name of the character in the novel), the image is mutiara (pearl), and the

point of similarity is the quality value.

Alessandro D’Archy, si ganteng itu adalah arjuna kelas kami

sekaligus seorang Italia yang agak playboy.
(Datum number 19: 19/SL113/TL106/DM/Equ/Adap/Acr2/Acp2)

The example above belongs to dead metaphor since it compares a certain

person to arjuna (a legend figure in source language’s culture). In Indonesian

culture, Arjuna is a legend figure who has a perfect appearance. A person in

reality, who is perfectly handsome, is usually compared to Arjuna. It is a common

expression in Bahasa Indonesia that someone handsome is always compared to or

called as arjuna. Thus, the example above is considered as dead metaphor with

Alessandro D’Archy as the topic of the metaphor, arjuna as the image and the

appearance as the point of similarity.

Gothia menunjuk kostum ikan duyung, ia menginginkan kostum

itu. No way! Kostum Famke Somers itu adalah nyawaku.
(Datum number 37: 37/SL222/TL176/Lit/Acr1/Acp1)

The example above belongs to dead metaphor since it compares Kostum

Famke Somers (a mermaid costume made by Famke Somers) to nyawaku (the life

of the main character in the novel). A thing which is called as nyawaku or

compared to nyawa means something important or something vital and considered

as valuable as life. In other words, if those things, which is considered as nyawa

(life), is gone, the person will be died. It is a common expression in Bahasa

Indonesia when something important is compared to nyawa (life). Thus, the

example above belongs to dead metaphor where the topic of the metaphor is
56

Kostum Famke Somers, the image is nyawaku and the point of similarity is the

value.

b. Live Metaphor

Live metaphor or active metaphor is defined as a metaphor that can be

identified by its readers after they give special attention to the primary meaning of

the words that are used metaphorically (Larson in Zhang:2010). It is not a part of

daily language and is noticeable as a metaphor. It is a metaphor which is newly

created by a speaker and has to be understood in a particular context. There are 34

expressions that belong to live metaphor found in Andrea Hirata’s Edensor.

Below are some examples of the whole live metaphor data found in Andrea

Hirata’s Edensor.

Pujian bagi wanita tertentu, tak ubahnya bulu ketiak Tarzan

Kota, di situlah titik lemahnya.
(Datum number 16: SL97/TL90/LM/Un/Acr3/Acp3)

The example above is a kind of expression containing live metaphor. It is

said so because it compares the uncommon things such as pujian (praising) that is

compared to bulu ketiak Tarzan Kota (Tarzan Kota’s / Indonesian Legend’s

armpit hair). This expression is not common and considered as new in metaphor

field. The readers will not understand if they only read the expression without

reading the whole sentece or related sentence. Thus, the writer should explain

further how it can be compared. In the example above, the writer clarifies the

relation between pujian (praising) and bulu ketiak Tarzan Kota by adding the

word di situlah kelemahannya. In other words, what the writer wants to tell is that
57

praising is the women’s main weakness. Hence, the example above belongs to live

metaphor with pujian as the topic of metaphor, bulu ketiak Tarzan Kota as the

image and weakness as the point of similarity.

Tapi Townsend dan Stansfield tak ubahnya jungkat-jungkitan.

Mereka reaksioner satu sama lain.
(Datum number 20: 20/SL121/TL107/LM/Un/Acr3/Acp3)

The example above belongs to live metaphor since it compares Townsend

and Stansfield (the names of the character in the novel) to jungkat-jungkitan

(seesaw). In Bahasa Indonesia, the comparison is uncommon and considered as

new metaphor. The writer adds the sentence Mereka reaksioner satu sama lain in

order to make the readers understand the meaning. Thus, the example above

belongs to live metaphor. The topic of the metaphor is Townsend and Stansfield,

the image is jungkat-jungkitan and the point of similarity is reactionary.

Kawan, apa yang bisa kukatakan padamu tentang Daria Werbowy?

Kurasa, meski bagian dari keindahannya, sedikit kurang respek
kalau ia kurepresentasikan lewat nomor-nomor lingkar dada,
pinggang, dan pinggulnya. Kuharap cukup artikulatif kalau
kubeberkan angka-angka ini: 180 dan 52. Itulah tinggi dan beratnya
dalam sentimeter dan kilogram. Maka ia adalah tiang listrik.
(Datum number 27: 27/SL151/TL125/LM/Un/Acr3/Acp3)

The datum above is considered as live metaphor since the comparison of

ia (Daria Werbowy) and tiang listrik (electrical pole) is uncommon in Bahasa

Indonesia. Besides, the expression is hard to understand if it stands alone. Thus,

the writer should give further explanation such as Kawan, apa yang bisa

kukatakan padamu tentang Daria Werbowy? Kurasa, meski bagian dari

keindahannya, sedikit kurang respek kalau ia kurepresentasikan lewat nomor-

nomor lingkar dada, pinggang, dan pinggulnya. Kuharap cukup artikulatif kalau
58

kubeberkan angka-angka ini: 180 dan 52. Itulah tinggi dan beratnya dalam

sentimeter dan kilogram. It means that Daria Werbowy, with her tall and weight,

is tall and thin and can be called as electrical pole. In other words, this kind of

metaphor needs a deeper attention when it is read. Thus, it belongs to Live

Metaphor. The topic of the metaphor is ia (Daria Werbowy), the image is tiang

listrik (electrical pole) and the point of similarity is physical appearance.

2. Translation Techniques

The analysis of metaphorical expressions using the translation techniques

and the translation quality assessment is presented in the form of a table. It is done

in order to make it easier to understand.

Table 9. Data Classifying Analysis

Types of Dead Metaphor Live Metaphor

Metaphor

Translation Accuracy Level Acceptability Level Accuracy Level Acceptability Level

Techniques

Literal 1.37.__________ 1.37.__________ 1.12, 14, 25, 35, 40, 1.12, 14, 25, 35, 40,
Translation 41 & 42.________ 41 & 42.________
2.03.__________ 2. 03._________
2. 24.__________ 2.24.___________
3._____________ 3.____________
3._____________ 3.______________
Modulation 1._____________ 1._____________ 1._____________ 1._____________
2._____________ 2._____________ 2.34.__________ 2.34.__________
3._____________ 3._____________ 3._____________ 3._____________
Transposition 1._____________ 1._____________ 1.11.__________ 1.11.___________
2._____________ 2._____________ 2._____________ 2.______________
3._____________ 3._____________ 3._____________ 3.______________
59

Generalization 1.32.___________ 1.32.__________ 1._____________ 1._____________

2._____________ 2._____________ 2.33.__________ 2.33.__________
3._____________ 3._____________ 3._____________ 3._____________
Linguistic 1._____________ 1._____________ 1.08, 09 & 18.___ 1.08, 09 & 18.___
Amplification
2._____________ 2._____________ 2._____________ 2._____________
3._____________ 3._____________ 3._____________ 3._____________
Reduction 1._____________ 1._____________ 1.38___________ 1.38___________
2._____________ 2._____________ 2.23___________ 2._____________
3.17___________ 3.17___________ 3._____________ 3.23___________
Borrowing & 1._____________ 1._____________ 1.15.__________ 1.15.___________
Literal
Translation 2._____________ 2._____________ 2._____________ 2._____________
3._____________ 3._____________ 3._____________ 3._____________
Literal 1.39.__________ 1.39.__________ 1.07.___________ 1.07.___________
Translation &
Modulation 2._____________ 2._____________ 2._____________ 2.______________
3._____________ 3._____________ 3._____________ 3._____________
Literal 1._____________ 1._____________ 1.36.___________ 1. 36.__________
Translation &
Established 2._____________ 2._____________ 2._____________ 2._____________
Equivalent
3._____________ 3._____________ 3._____________ 3._____________
Modulation & 1. ____________ 1. _____________ 1. _____________ 1. _____________
Transposition
2. ____________ 2. _____________ 2. 43.__________ 2. 43.__________
3. ____________ 3. _____________ 3. _____________ 3. _____________
Modulation & 1. ____________ 1. _____________ 1. _____________ 1. _____________
Reduction
2. 10.__________ 2. 10.__________ 2. _____________ 2. _____________
3. ____________ 3. _____________ 3. _____________ 3. _____________
Established 1. _____________ 1. _____________ 1. 04.__________ 1. 04.___________
Equivalent &
Linguistic 2. _____________ 2. _____________ 2. _____________ 2. ______________
Amplification
60

3. _____________ 3. _____________ 3. ____________ 3. _____________

Established 1. _____________ 1. _____________ 1. ____________ 1. _____________
Equivalent &
Adaptation 2. 19.__________ 2. 19.__________ 2. ____________ 2. _____________
3. ____________ 3. _____________ 3. ____________ 3. _____________
Generalization & 1. 26.__________ 1. 26.__________ 1. ____________ 1. _____________
Reduction
2. ____________ 2. ____________ 2. ____________ 2. _____________
3. ____________ 3. ____________ 3. ____________ 3. _____________
Unrealized 1._____________ 1._____________ 1._____________ 1._____________
Translation
2._____________ 2._____________ 2._____________ 2._____________
3.02.__________ 3.02.___________ 3.01,06,13,16,20,21 3.01,06,13,16,20,21
,22,27,28,29,30 & ,22,27,28,29,30 &
31. 31.

Table 9 above represents the following phenomena.

a. There are 9 translation techniques applied by the translator in translating the

metaphorical expressions found in Andrea Hirata’s Edensor. Theoretically,

Molina and Albir (2002:599) have introduced 18 techniques of translation.

b. The translator mostly prefers to use literal translation to translate the dead

metaphor.

c. Literal translation is also mostly used by the translator to translate live

metaphor.

d. Borrowing and transposition are only used to translate the live metaphor.

e. Adaptation is only applied to translate the dead metaphor.

f. The accurate translation is mostly derived using literal translation.

61

g. The inaccurate translation mostly occurs when the metaphorical expressions

are not realized.

h. Less accurate translation is mostly derived using modulation.

i. Accuracy and acceptability are almost the same and contiguous.

Based on the data classification above, the translation of metaphorical

expressions is analysed and discussed according to the translation techniques and

the translation quality assessment in terms of accuracy and the acceptability.

Below are the examples of the translation techniques applied by the translator in

translating the metaphorical expressions found in Andrea Hirata’s Edensor.

a. Translation of Dead Metaphor

There are 7 techniques applied by the translator in translating dead

metaphor. Those techniques are literal translation, generalization, linguistic

amplification. Other techniques are considered mix techniques. They are

modulation with reduction, established equivalent with adaptation, generalization

with reduction, and literal translation with modulation.

1) Translation of Dead Metaphor Using Literal Translation

Literal translation is known as word for word translation which considers

the appropriate grammar and idiom of the target language text. There are two

literal translation techniques applied by the translator in translating dead

metaphor. Below are the examples and the deep explanations of dead metaphor

translated using literal translation technique.

SL : Semakin dekat, raksasa-raksasa kelabu itu ternyata jauh lebih besar dari
yang selalu kubayangkan. Mereka adalah gajah di laut.
62

TL : The sharks drew close, grey giants that were plainly far larger than I had
imagined. They are the elephants of the sea.
(Datum number 3: 03/SL6/TL6/DM/Lit/Acr2/Acp2)
The example above shows that the translator uses literal translation to

translate the dead metaphor since it is translated word-for-word. It could be seen

from the word Mereka adalah gajah di laut which is translated into They are the

elephants of the sea in the same order.

SL : Gothia menunjuk kostum ikan duyung, ia menginginkan kostum itu. No

way! Kostum Famke Somers itu adalah nyawaku.
TL : Gothia pointed at the mermaid costume, she wanted it. No way! Famke
Somers’ costume was our life.
(Datum number 37: 37/SL222/TL176/DM/Lit/Acr1/Acp1)

The example above shows that the translator uses literal translation to

translate the dead metaphor since it is translated word-for-word. It could be seen

from the sentence Kostum Famke Somers itu adalah nyawaku translated in the

same order into Famke Somers’ costume was our life.

2) Translation of Dead Metaphor Using Generalization

Generalization is a technique which uses a more general or neutral term.

There is merely one generalization applied by the translator in translating the dead

metaphor found in Andrea Hirata’s Edensor. Below is the example.

SL : Jika musim panas, Paleis menjadi surga bagi para penampil jalanan.
TL : Throughout the summer this place would be a paradise for street
performers.
(Datum number 32: 32/SL179/TL134/DM/Gen/Acr1/Acp1)
63

The datum of dead metaphor above shows that the translator uses

generalization since the word Paleis is translated into this place. In the example

above, Paleis refers to the certain place. Whereas, it is translated into the more

general term as this place which is not clear where the place is exactly placed

since it does not mention the name of the place.

3) Translation of Dead Metaphor Using Linguistic Amplification

Linguistic amplification is done by adding linguistic element into the

target text. There is only one linguistic amplification found in the translation of

dead metaphor in Andrea Hirata’s Edensor. Below is the example.

SL : Terutama karena pembawaannya yang gembira dan paras baby face-nya.

Matanya adalah mata bayi.
TL : This was mostly because of his enthusiastic disposition and his baby
face. His eyes were those of a baby, too.
(Datum number 18: 18/SL106/TL102/DM/Liam/Acr1/Acp1)

The translation of dead metaphor above shows that it uses linguistic

amplification as the technique since there is an addition of the linguistic element.

Literally, the phrase mata bayi is actually could be translated as baby eyes.

However, the translator prefers to use linguistic amplification in translating the

phrase mata bayi into those of a baby, too. The linguistic element such as too is

added since the previous sentence has clarified the meaning of mata bayi.

4) Translation of Dead Metaphor Using Modulation and Reduction

There is also an expression of dead metaphor which is translated using two

techniques, namely modulation and reduction. Below is the example.

64

SL : “Saya Famke ...” Ia menyalami Arai. Bola matanya biru langit, bukan,
lebih indah, biru buah ganitri muda.
TL : “I’m Famke ...” She greeted Arai. Her eyes were sky-blue.
(Datum number 10: 10/SL53/TL53/DM/Mod/Red/Acr2/Acp2)

Above is an example of the translation of dead metaphor using modulation

and reduction. Since modulation is a technique which changes the point of view of

the source text, this example of translation also changes the point of view. It could

be seen that the dead metaphor above is rather comparing bola mata to biru buah

ganitri muda than biru langit. Whereas, in the target text the comparison has

changed into her eyes and the sky-blue which refers only to biru langit. In other

words, there is a shift of the object being compared from biru buah ganitri muda

into biru langit. Thus, the technique in translation the expression above belongs to

modulation.

Whereas, it is also translated using reduction It could be seen that the

expression Bola matanya biru langit, bukan, lebih indah, biru buah ganitri muda

is suppressed into Her eyes were sky-blue. It means that the information bukan,

lebih indah, biru buah ganitri muda is omitted since it contains the similar

information as sky-blue. It is done in order to avoid ambiguity since the word biru

buah ganitri muda is unknown in the target language.

5) Translation of Dead Metaphor Using Established Equivalent and

Adaptation

The translator seems to mix the technique established equivalent with

adaptation since there is an expression of dead metaphor which is translated using

both established equivalent and adaptation. Below is an example.

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SL : Alessandro D’Archy, si ganteng itu adalah arjuna di kelas kami

sekaligus seorang Italia yang agak playboy.
TL : Alessandro D’Archy, that stud was the ideal guy in our class and was
also a playboy.
(Datum Number 19: 19/SL113/TL106/DM/Equ/Adap/Acr2/Acp2)

The example above is considered using established equivalence since the

phrase si ganteng itu is translated into that stud. The phrase that stud in the target

language belongs to idiom. Thus, the translation of si ganteng itu into that stud

belongs to established equivalence. Besides, the translator also uses adaptation as

the technique since the word arjuna is translated into the ideal guy. It seems that

the translator want to express the meaning of arjuna by using the closest meaning

of it in the target language.

6) Translation of Dead Metaphor Using Generalization and Reduction

There is only one expression of dead metaphor which is translated using

generalization and reduction. Below is the example.

SL : Waktu pertama bertemu degannya di bandara Schippol dulu, aku telah

melihat supermodel Daria Werbowy dalam diri Famke Somers.
TL : The first time we met at Schippol Airport, I had seen a model in Famke
Somers.
(Datum number 26: 26/SL151/TL125/DM/Gen/Red/Acr1/Acp1)
The example above shows that the translator uses generalization as the

technique since the word supermodel Daria Werbowy in the source language is

translated into model only. The word Supermodel Daria Werbowy refers to one

person only, but the translator uses more general term as model which refers to all

model in the world or model in general. Thus, this technique belongs to

generalization.
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reduction is also used to translate the dead metaphor above. It is said so

since the name Daria Werbowy in the source text is supressed. In other words, the

name Daria Werbowy is dissappeared in the target text. Thus, it could be said that

the translator uses reduction as the technique in translating the dead metaphor

above.

7) Translation of Dead Metaphor Using Literal Translation and

Modulation

There is only one expression of dead metaphor which is translated using

both literal translation and Modulation. Below is the example.

SL : Orang Italia, melihat hidup sebagai seni.

TL : Italians look at life as art.
(Datum number 39: 39/SL247/TL181/DM/Lit/Mod/Acr1/Acp1)

The example above shows that the translator uses literal translation and

modulation as the technique in translating the dead metaphor above. It is proven

by each of the word in the source text which is translated literally into the target

text. The translator even does not change the order of each word. Besides, the

expression hidup sebagai seni is translated into life as art. It means that the

metaphorical expression in the source text is changed into simile in the target text.

Thus, there is a change in the point of view. Hence, it could be consluded that the

translator uses literal translation and modulation to translate the expression of

dead metaphor above.

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b. Translation of Live Metaphor

There are 6 techniques applied by the translator in translating live

metaphor. Those techniques are literal translation, modulation, transposition,

generalization, linguistic amplification and reduction. Other techniques are

considered mix techniques. They are established equivalent with linguistic

amplification, established equivalent with literal translation, literal translation

with modulation, borrowing with literal translation, modulation with

transposition, and a mix of three techniques consists of borrowing, generalization,

and reduction.

1) Translation of Live Metaphor Using Literal Translation

Literal translation is also known as word for word translation. It is the

direct transfer of a source language (SL) into a grammatically and idiomatically

appropriate target language (TL). There are 8 literal translation applied by the

translator to translate live metaphor in Andrea Hirata’s Edensor. Below are some

examples of them.

SL : Hari ini, tiga Juli, peringatan kematian Jim Morrison, seorang rocker
flamboyan, pentolan The Doors, dewa bagi penganut mazhab anti-kemapanan.
TL : Today, July third, was the anniversary of the death of Jim Morrison, a
flamboyant rocker, front man of The Doors, a god to worshippers of the anti-
establishment sect.
(Datum number 14: 14/SL93/TL99/LM/Lit/Acr1/Acp1)
In the datum above, the live metaphor is shown from the expression Jim

Morrison, dewa bagi penganut mazhab anti-kemapanan. The expression is

translated into Jim Morrison, a god to worshippers of anti-establishment sect. The

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translation is considered using literal translation as the technique since it is

translated in the form of word-for-word based on the grammatical order of the

target language.

SL : Laut Mediterania tak ubahnya tabir ajaib yang memisahkan dua

tempat yang sama sekali berbeda.
TL : The Mediterranian Sea was no different from a magical screen that
separated two completely different places.
(Datum number 40: 40/SL265/TL219/LM/Lit/Acr1/Acp1)

The expression of live metaphor above uses literal translation to translate

it into English. It could be seen from the order of the translated text The

Mediterranian Sea was no different from a magical screen that separated two

completely different places since it is translated word-for word based on the

grammatical order of the target language.

SL : Kutatap mata lelaki simpai keramat yang selalu membelaku itu, dialah
Lone Ranger-ku.
TL : I looked into the eyes of that boy of sacred knot who always protected
me, he was my Lone Ranger.
(Datum number 41: 41/SL277/TL230/LM/Lit/Acr1/Acp1)

The datum above is considered using literal translation as the technique to

translate the live metaphor in Andrea Hirata’s Edensor. It could be proven from

the sentence of the source text which is translated word-for-word in the target text.

Though it is translated word-for-word, it still allows the grammatical order of the

target language. It could be seen that the phrase Lone Ranger-ku is translated into
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my Lone Ranger. It is said so because according to the target language’s structural

form, the possessive pronoun is placed before the noun.

2) Translation of Live Metaphor Using Modulation

Modulation is a shift of point of view. It is a shift in cognitive categories.

It is a variation of the form of the message. There is merely one modulation

applied by the translator to translate the live metaphor in Andrea Hirata’s

Edensor. Below is the example.

SL : Belushye dijuluki penjara dunia, surga bagi pelaut hidung belang

dan orang-orang yang tak menyukai daratan.
TL : Belushye is nicknamed the world’s prison, heaven for masher sailors
and savage people who shun land.
(Datum number 34: 34/SL201/TL155/LM/Mod/Acr2/Acp2)

The datum above uses modulation as the technique to translate the live

metaphor in Andrea Hirata’s Edensor. It is said so since the clause orang yang tak

menyukai daratan is translated into savage people who shun land. The clause in

the source text contains a negation expression shown by the word tak in it which

means not. Whereas, the translated text changes into an affirmative expression.

This technique is considered as the change of the point of view or called as

modulation.

3) Translation of Live Metaphor Using Transposition

Transposition is a shift of word class. It involves replacing one word class

with another without changing the meaning of the message. There is only one
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transposition applied by the translator to translate the live metaphor in Andrea

Hirata’s Edensor. Below is the example.

SL : Jalanan adalah karya seni instalasi yang sempurna.

TL : The street is the perfect installation for a work of art.
(Datum number 11: 11/SL55/TL59/LM/Trans/Acr1/Acp1)
The datum above is considered using transposition as the translation

technique since there is a change of the word class as the word karya seni in the

source text is translated into for a work of art. The different is that the word karya

seni in the source text is a noun and the word for a work of art is an adverb. Thus

there is a change in the word class. That is why it is considered using

transposition.

4) Translating Live Metaphor Using Generalization

Generalization is a technique which uses a more general or neutral term.

There is merely one generalization applied by the translator in translating the live

metaphor found in Andrea Hirata’s Edensor. Below is the example.

SL : Perbuatan-perbuatan kecil yang buruk tak ubahnya bayi-bayi

jantan Hyena, ia akan tumbuh, dan cepat atau lambat akan mengepung induknya
sendiri.
TL : Our naughty little deeds were no different while baby beast. They
would grow and, sooner or later, they would endanger their own mother.
(Datum number 33: 33/SL187/TL142/LM/Gen/Acr2/Acp2)
The example above belongs to generalization since the word Hyena is

translated into beast. Hyena is a species of wild animal. Whereas, beast is a

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synonim of wild animal which is a general term of Hyena. Thus, the datum above

is considered using generalization as the translation technique.

5) Translation of Live Metaphor Using Linguistic Amplification

Linguistic amplification is done by adding linguistic element into the

target text. There are two linguistic amplification found in the translation of live

metaphor in Andrea Hirata’s Edensor. Below are the examples.

SL : Kalong-kalong yang rakus bukan lagi tikus yang terkena kutukan

tapi hewan langka familia Palaeochiropteryx tupaidon yang harus dilindungi,
kalau perlu dengan undang-undang.
TL : The voracious fruit bats were no longer rats that had been cursed,
but a rare animal from the family Palaechiropteryx tupaidon that needed
protection, if necessary, by force of law.
(Datum number 8: 08/SL31/TL35/LM/Liam/Acr1/Acp1)

The translation technique of the example above is linguistic amplification

since the word fruit appears in the target text. It is from the expression kalong-

kalong yang rakus which is then translated into the voracious fruit bats. The word

fruit is not expressed in the source text, but then expressed in the target text in

order to make it clear.

SL : Baru kutahu ada orang yang ditampik hampir sepuluh tahun tapi tetap
kukuh berjuang. Arai tak pernah tertarik pada perempuan lain. Zakiah adalah
resolusi dan seluruh definisinya tentang cinta.
TL : I realized then that there are some people who can get rejected for almost
ten years and still cling to struggling on. Arai had never been drawn to anyone
else. Zakiah was the only resolution and the entire definition of love for him.
(Datum number 9: 09/SL46/TL50/LM/Liam/Acr2/Acp2)

The translation technique of the example above is linguistic amplification.

It could be seen from the expression Zakiah adalah resolusi dan seluruh

definisinya tentang cinta which is translated into Zakiah was the only resolution

and the entire definition of love for him. There is an addition of the word only in
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the target text which is not expressed in the source text. This kind of addition

could be concluded that the datum above uses linguistic amplification as the

technique.

6) Translation of Live Metaphor Using Reduction

Reduction aims to suppress the information item of the source text into the

target text. There are three reduction found in the translation of dead metaphor in

Andrea Hirata’s Edensor. Below are some of the examples.

SL : Abraham Levin adalah ahli matematika ekuilibrium paling jempolan

yang pernah kukenal. Ia memiliki embrio kecerdasan Nobelis John Nash.
TL : Abraham Levin was the most impressive expert on mathematical
equilibria I have ever known. –
(Datum number 17: 17/SL101/TL92/LM/Red/Acr3/Acp3)
The datum above uses reduction as the translation technique. It could be

seen that the expression Ia memiliki embrio kecerdasan Nobelis John Nash is

dissappeared in the target text. It means that the translator prefers to ommit the

whole expression without any explanation in the target text. It might because the

expression is not effective since the sentence before has clarified enough.

SL : Paris di hari-hari akhir musim salju tak ubahnya gemerincing snare

drum musik country jazz Norah Jones: simpel, terduga, dan menimbulkan
perasaan senang.
TL : Paris at the end of the winter. –
(Datum number 23: 23/SL145/TL113/LM/Red/Acr2/Acp3)
The datum above shows that it uses reduction as the technique since the

expression is not fully expressed in the target text. It could be seen from the

source text that the expression tak ubahnya gemerincing snare drum musik

country jazz Norah Jones: simpel, tak terduga, dan menimbulkan perasaan
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senang is not expressed in the target text. This kind of ommission is called as

reduction.

SL : Toha, orang Banyumas berhati mulia yang kutemui di pedalaman

Eropa adalah Weh kedua dalam hidupku. Weh dan Pak Toha, laki-laki
terbuang dengan pilihan hidup yang getir, mencerahkanku dengan cara yang tak
dapat kujelaskan.
TL : Toha, the man from Banyumas whom I met deep in Europe was the
second Weh in my life. Weh and Pak Toha, men cast out with a bitter life choice,
enlightened me in ways that I cannot explain.
(Datum number 38: 38/SL227/TL181/LM/Red/Acr1/Acp1)

The example above is considered using reduction as the technique. It could be

seen from the phrase berhati mulia in the source text which is then omitted by the

translator in the target text. The phrase berhati mulia is not expressed since it is

only a complement. Yet, this omission could diminish the beauty of the

expression since the phrase which has been omitted is expressed in order to make

a stronger sense of the aesthetics and to attract the readers all at once.

Nevertheless, the translator prefers to omit the phrase. In addition, the activity of

omitting the phrase belongs to reduction.

7) Translation of Live Metaphor Using Established Equivalent and

Linguistic Amplification

There is only one live metaphor which is translated using established

equivalent and linguistic amplification. Below is the example.

SL : Langit adalah kitab yang terbentang.

TL : The sky is a vast, open book.

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(Datum number 4: 04/SL8/TL8/LM/Equ/Liam/Acr1/Acp1)

The example above belongs to established equivalent since the expression

is translated by finding the proverb in the target text. The expression the sky is a

vast is known in the target text as a common technical term. The phrase open book

is added in order to maintain the phrase kitab yang terbentang. This technique is

called as established equivalent. The translator also applied linguistic

amplification since the word vast is appeared in the target text to add the aesthetic

sense of the writing style. Hence, the translator is considered using linguistic

amplification.

8) Translation of Live Metaphor Using Literal Translation and Established

Equivalent

There is only one mix of literal translation and established equivalent

applied by the translator to translate live metaphor. Below is the example.

SL : Parsi adalah tanah peradaban, pertaruhan gengsi masa lalu, dan

tarik menarik estetika yang membingungkan, namun memesona.
TL : Persia is a land of civilization full of past prestige and though
bewildering tug-of-war of aesthetic, nevertheless enchanting.
(Datum number 36: 36/SL211/TL166/LM/Lit/Equ/Acr1/Acp1)
The datum above is considered using established equivalent since the

translator translates the phrase tarik menarik into tug-of-war. The term tug-of-war

belongs to idiom in the target language which has the same meaning with tarik

menarik. This technique belongs to established equivalent for it uses idiom in

translating the usual phrase in the source text. literal translation is also applied by
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the translator since the expression above is translated word-for-word in the same

order and following the grammatical order of the target text.

9) Translation of Live Metaphor Using Literal Translation and Modulation

There is merely one mix of literal translation and modulation in the

translation of live metaphor. Below is the example.

SL : Kuberi tahu kawan, rahasia romansa komidi putar adalah fisika

sederhana: hukum gravitasi! Waktu komidi mencapai posisi empat puluh lima
derajat dari porosnya, daya tarik bumi membuat mempelai dalam kurungan ayam
tadi seperti akan terjungkal. A Ling histeris, takut campur manja, memeluk erat
lenganku.
TL : I’ll tell you, friend, the secret of a carousel romance lies in simple
physics: the law gravity. When one rotates forty-five degrees on the axis of a
carousel, the earth’s attractive force cause the lovers in the chicken cage to feel as
if they’re about to be tossed out. Aling was hysterical, her fear mixed with
affection, holding tightly onto my arm.
(Datum number 7: 07/SL30/TL35/LM/Lit/Mod/Acr1/Acp1)

The datum above is considered using modulation as the technique since

the word adalah is translated into lies in. The word adalah in the source text is a

linking verb which shows the metaphorical expression. Whereas, the word lies in

in the target text is a phrasal verb which shows personification since lies in is an

activity which is usually done by human. The change of the figure of speech could

be considered as change of the point of view. Thus, it belongs to modulation. The

translator also applied literal translation since it is translated literally or by word-

for-word. Thus, it could be concluded that the translator applied two techniques in

translating the live metaphor above.

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10) Translation of Live Metaphor Using Borrowing and Literal Translation

There is only one mix of borrowing and literal translation applied by the

translator to translate live metaphor. Below is the example.

SL : Mahasiswa-mahasiswa dari beragam bangsa di dalamnya membuat

kelasku seperti laboratorium perilaku. Kelasku bukan sekedar ruang untuk
belajar science tapi juga university of life.
TL : Students from various countries made the class like a laboratory for
human behaviour. My class wasn’t only a room for studying science, but also a
university of life.
(Datum number 15: 15/SL95/TL90/LM/Bor/Lit/Acr1/Acp1)

The datum above belongs to borrowing since it keeps the phrase university

of life in the source text into the target text. However, the phrase university of life

is originally from the target language, but it is known in the source language.

When it goes to the translation process, borrowing is the best way to avoid

ambiguity. Literal translation is also used to translate the live metaphor above.

Thus, there are two techniques in one expression, namely borrowing and literal

translation.

11) Translation of Live Metaphor Using Modulation and Transposition

There is merely one mix of modulation and transposition applied by the

translator in translating the live metaphor. Below is the example.

SL : Di pinggir Ouse, aku menemukan kembali Weh yang meninggalkan

rasa kelu sekaligus rindu dalam sukmaku.
TL : On the edge of the Ouse, I again found Weh and he left me
speechless and longing.
(Datum number 43: 43/SL285/TL235/LM/Mod/Trans/Acr /Acp )
77

The datum above contains modulation since there is a change of point of

view between the expression aku menemukan kembali Weh yang meninggalkan

rasa kelu sekaligus rindu dalam sukmaku and the expression I again found Weh

and he left me speechless and longing. Both expressions has the same meaning,

but different in terms of the point of view since the expression rasa kelu sekaligus

rindu which belongs to noun is translated into speechless and longing which

belongs to adjective. The change from noun into adjective could be considered as

the change of the point of view. This is called as modulation.

Besides, it also contains transposition since the words rasa kelu and rindu

which belong to noun are translated into speechless and longing which belong to

adjective. The change of the noun into adjective in the translation above shows

that the translator is considered using transposition. It is said so because there is a

change of the word class.

12) Translation of Live Metaphor Using Borrowing, Generalization and

Reduction

This is the only mix techniques applied by the translator using three

techniques in one expression. There is only one mix of three techniques applied,

namely borrowing, generalization and reduction. Below is the example.

SL : Einstein kedua dalam hidupku – yang mengenalkanku pada diriku

sendiri – adalah tokoh legendaris ini: Mak Birah, dukun beranak kampung
kami.
TL : The second person to better acquaint me with myself was a legendary
figure: Mak Birah, a midwife from our village.
(Datum number 5: 05/SL13/TL15/LM/Bor/Gen/Red/Acr1/Acp1)
78

The first technique is generalization. The datum above uses generalization

as the translation technique since Einstein in the source text which refers to a

name of a famous scientist is translated into person which could be refer to

anybody. The generalization might be used to avoid ambiguity or unnaturalness. It

is said so because the phrase the second person is more acceptable than the second

Einstein. Thus, the translation technique that used by the translator to translate the

expression above is called generalization. The second technique is reduction. It

could be seen that the terms dalam hidupku in the source text is omitted in the

target text. The last technique is borrowing. The datum above is considered using

borrowing as the technique since the word Mak in the source text is maintained in

the target text into Mak. The translator seems prefer to use borrowing to introduce

the setting of the story.

3. Translation Quality Assessment

The Translation Quality Assessment is measured based on the accuracy

and the acceptability. Both accuracy and acceptability are divided into three levels

for each of them. The accuracy level consist of Accurate (1), Less Accurate (2)

and Inaccurate (3). Whereas, the acceptability level consist of Acceptable (1),

Less Acceptable (2) and Unacceptable (3). In measuring the Translation Quality

Assessment, the researcher involve two respondents. The respondents are those

who have been engaged with translation for years and considered as professional

translators. They are Mr. Agus Riyanto and Mr. Andy Bayu Nugroho who are

required as the best respondents.

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a. The Accuracy Translation of Metaphorical Expressions in Andrea

Hirata’s Edensor

Accuracy is conducted to make sure that the meaning of the source text is

delivered and equal to the target text. It aims to communicate the meaning

accurately. It means that the meaning in the source language should be accurate

without any addition and omission of the meaning. There are three levels of

measurements in the accuracy. They are Accurate (1), Less Accurate (2) and

Inaccurate (3).

1) Accurate Translation

The translation of metaphorical expressions is considered accurate if the

meaning and the interpretation of the metaphorical expressions in the source text

is accurately conveyed into the target text. Moreover, the translated text does not

need rewriting.

a) Accurate Translation of Dead Metaphor

The translation of dead metaphor is considered accurate if the meaning

and the interpretation of the dead metaphor in the source text is accurately

conveyed in the target text. There are 7 accurate translation of dead metaphor.

Below are some examples of them.

SL : Terutama karena pembawaannya yang gembira dan paras baby face-nya.

Matanya adalah mata bayi.
TL : This was mostly because of his enthusiastic disposition and his baby
face. His eyes were those of a baby, too.
(Datum number 18: 18/SL106/TL102/DM/Liam/Acr1/Acp1)
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The translation of dead metaphor above is considered as accurate since the

expression Matanya adalah mata bayi is equal with those in the translated text

His eyes were those of a baby, too.

SL : Waktu pertama bertemu degannya di bandara Schippol dulu, aku telah

melihat supermodel Daria Werbowy dalam diri Famke Somers.
TL : The first time we met at Schippol Airport, I had seen a model in Famke
Somers.
(Datum number 26: 26/SL151/TL125/DM/Gen/Red/Acr1/Acp1)

The translation of dead metaphor above is considered accurate. It could be

seen from the expression aku telah melihat supermodel Daria Werbowy dalam

diri Famke Somers which is translated into I had seen a model in Famke Somers.

Though there are some terms which are omitted by the translator, the meaning is

still fully conveyed.

SL : Jika musim panas, Paleis menjadi surga bagi para penampil jalanan.
TL : Throughout the summer this place would be a paradise for street
performers.
(Datum number 32: 32/SL179/TL134/DM/Gen/Acr1/Acp1)

The datum above is accurate since the meaning of the expression in the

source text is delivered well in the target text. What is expressed in the target text

is exactly what the writer wants to express. Though the word Paleis which refers

to a specific place is translated into a more general term, it still does not change

the meaning. Thus, it is considered accurate.

b) Accurate Translation of Live Metaphor

The translation of live metaphor is considered accurate if the meaning and

the interpretation of the live metaphor in the source text is accurately conveyed in
81

the target text. There are 15 accurate translation of live metaphor. Below are some

of the examples.

SL : Langit adalah kitab yang terbentang.

TL : The sky is a vast, open book.
(Datum number 4: 04/SL8/TL8/LM/Equ/Liam/Acr1/Acp1)
The translation above is considered accurate. It is said so since the

expression Langit adalah kitab yang terbentang is translated into The sky is a

vast, open book. It could be seen that the comparison between langit and kitab

yang terbentang is equal with the sky and open book. Thus, the translation of the

live metaphor above is accurate.

SL : Jalanan adalah karya seni instalasi yang sempurna.

TL : The street is the perfect installation for a work of art.

(Datum number 11: 11/SL55/TL59/LM/Adap/Acr1/Acp1)
The translation of the expression Jalanan adalah karya seni instalasi yang

sempurna into The street is the perfect installation for a work of art is considered

accurate. The writer wants to inform that jalanan which means the street could be

compared to karya seni instalasi which means installation of a work of art. The

live metaphor stated by the writer is delivered by the translator accurately since

the meaning is fully conveyed. Thus, the accuracy level for the translation of live

metaphor above is high which means accurate.

SL : Jika bangun subuh, selempang merah membujur di langit timur

menjelmakan atap-atap bangunan sepanjang L’Avenue De La Baurdonnais
menjadi sayap-sayap burung starling yang mengibas sisa es di bibir talang, di
rongga-rongga pancuran dan topi-topi cerobong asap.
TL : When I woke up at dawn, a red line extending across the eastern sky
transformed the roofs of houses along L’Avenue De La Baurdonnais into
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starling wings flapping the remainder of the eyes of the lips of roof gutters,
faucet holes and chimney crowns.
(Datum number 25: 25/SL145/TL113/LM/Lit/Acr1/Acp1)
The datum above shows that the translation of live metaphor above is

considered accurate. It means that the meaning of the source text is delivered well

into the target text. The respondents and the researcher agree that the translation

of live metaphor is considered accurate.

2) Less Accurate Translation

The translation of metaphorical expression is considered less accurate if

the meaning and the interpretation of metaphor in the source text is accurately

conveyed into the target text. Yet, the translation needs some rewriting in words

or expressions.

a) Less Accurate Translation of Dead Metaphor

The translation of the dead metaphor is considered less accurate if the

meaning and the interpretation of metaphor in the source text is accurately

conveyed into the target text. Yet, the translation needs some rewriting in words

or expressions. There are 3 less accurate translation of dead metaphor found in

Andrea Hirata’s Edensor. Below are the examples.

SL : Semakin dekat, raksasa-raksasa kelabu itu ternyata jauh lebih besar dari
yang selalu kubayangkan. Mereka adalah gajah di laut.
TL : The sharks drew close, grey giants that were plainly far larger than I had
imagined. They are the elephants of the sea.
(Datum number 3: 03/SL6/TL6/DM/Lit/Acr2/Acp2)
83

The translation of dead metaphor above is considered less accurate. Based

on the respondent, it is considered as less accurate since the phrase gajah di laut

does not equal to elephants of the sea. Gajah laut is better to be translated into

elephant seal. Thus, the accuracy level of the translation of dead metaphor above

is 2 which means less accurate.

SL : “Saya Famke ...” Ia menyalami Arai. Bola matanya biru langit, bukan,
lebih indah, biru buah ganitri muda.
TL : “I’m Famke ...” She greeted Arai. Her eyes were sky-blue.
(Datum number 10: 10/SL53/TL58/DM/Red/Acr2/Acp1)

The datum above is considered less accurate. Based on the respondent, it is

better to translate the complete expression since it contains the whole metaphor.

The researcher agrees that it should be translated completely since the interesting

part is the image biru buah ganitri muda rather than biru langit. The interesting

part means that it is the expression which is able to attract the readers. In the

datum above, the expression is not realized in the target text. Thus, the accuracy

level of the translation of dead metaphor above is 2 which means less accurate.

SL : Alessandro D’Archy, si ganteng itu adalah arjuna di kelas kami

sekaligus seorang Italia yang agak playboy.
TL : Alessandro D’Archy, that stud was the ideal guy in our class and was
also a playboy.
(Datum number 19: 19/SL113/TL106/DM/Equ/Adap/Acr2/Acp2)

The datum above is considered less accurate. It is said so since the phrase

seorang Italia is not translated by the translator. It is better to translate the phrase
84

seorang Italia since it contains an important information. That is the information

which is needed by the readers so that the novel could be interpreted completely.

b) Less Accurate Translation of Live Metaphor

The translation of the live metaphor is considered less accurate if the

meaning and the interpretation of metaphor in the source text is accurately

conveyed into the target text. Yet, the translation needs some rewriting in words

or expressions. There are 6 less accurate translation of dead metaphor found in

Andrea Hirata’s Edensor. Below are some of the examples.

SL : Baru kutahu ada orang yang ditampik hampir sepuluh tahun tapi tetap
kukuh berjuang. Arai tidak pernah tertarik pada perempuan lain. Zakiah adalah
resolusi dan seluruh definisinya tentang cinta.
TL : I realized then that there are some people who can get rejected for almost
ten years and still cling to struggling on. Arai had never been drawn to someone
else. Zakiah was the only resolution and the entire definition of love for him.
(Datum number 9: 09/SL46/TL50/LM/Liam/Acr2/Acp2)

The accuracy level of the translation above is 2 which means less accurate.

It is because there is addition of phrase which is not necessary for the target text.

The addition of the phrase the only is considered unnecessary since it cannot be

ensured that what the writer means is that Zakiah was the only resolution since

there is no phrase which represents the expression of the only in the source text.

Hence, the example above belongs to Less Accurate translation of live metaphor.

SL : Paris di hari-hari akhir musim salju tak ubahnya gemerincing snare

drum musik country jazz Norah Jones: simpel, terduga, dan menimbulkan
perasaan senang.
TL : Paris at the end of the winter. –
85

(Datum number 23: 23/SL145/TL113/LM/Mod/Red/Acr2/Acp1)

The datum above is considered less accurate because it is not translated

completely. It could be seen that the target text is cut and the expression tak

ubahnya gemerincing snare drum musik country jazz Norah Jones: simpel, tak

terduga, dan menimbulkan perasaan senang is not realized in the target text.

Besides, the metaphorical expression expressed in the source text is dissappeared

in the target text. Thus, the accuracy level of the translation above is 2 which

means less accurate.

SL : Matahari adalah tukang tenung.

TL : The sun became a fortuneteller.

(Datum number 24: 24/SL145/TL113/LM/Lit/Acr2/Acp2)

The translation of live metaphor above is considered less accurate. It is

based on the respondent who says that the meaning in the source text is not

delivered well in the target text. The respondent puts number 2 for the accuracy

level which means that the translation of live metaphor above is less accurate.

3) Inaccurate Translation

The translation of metaphorical expressions found in Andrea Hirata’s

Edensor is considered inaccurate when the meaning and the interpretation in the

source text are not accurately conveyed into the target text. It might happen

because the expressions in the source text do not equal in the target text or the

expressions are not realized instead.

86

a) Inaccurate Translation of Dead Metaphor

The translation of dead metaphor is considered inaccurate if the meaning

and the interpretation in the source text are not accurately conveyed into the target

text. Besides, it is considered inacurate if the dead metaphor is not realized. There

is only one dead metaphor which is translated inaccurately. Below is the example.

SL : Pengalaman semacam itu bak mutiara dan mutiara dalam hidupku

adalah lelaki yang mengutuki hidupnya sendiri, namanya Weh.
TL :-
(Datum number 2: 02/SL1/TL1/DM/Un/Acr3/Acp3)

The datum above is considered innacurate. It is said so since the

expression is not realized in the target text. It could be seen that the expression in

the source text could not be found in the target text. It seems that the translator do

not try to deliver the message. The unrealized expression above is considered

inaccurate.

b) Inaccurate Translation of Live Metaphor

The translation of live metaphor is considered inaccurate if the meaning

and the interpretation in the source text are not accurately conveyed into the target

text. Besides, it is considered inacurate if the live metaphor is not realized. There

are 13 live metaphor which are translated inaccurately. Below are some of the

examples.
87

SL : Belitong menjelang malam adalah semburan warna dari seniman

impresi yang melukis spontan tak dibuat-buat dan memikat.
TL :-
(Datum number 6: 06/SL25/TL29/LM/Un/Acr3/Acp3)

The example above shows that the expression in the source text is not

realized by the translator. It means that the message is not delivered as well.

Because the message in the source text is not delivered, it could be concluded that

the accuracy level for the example above is low or called as inacurate.

SL : La Niege au Sahara: Snow on The Sahara adalah metafora hidupku.

Anak Melayu pedalaman di Paris, tak ubahnya salju di Sahara.
TL :-
(Datum number 13: 13/SL88/TL88/LM/Un/Acr3/Acp3)

The datum above is considered as inaccurate translation since the message

in the source text is not realized. The translator prefers to erase the expression in

the target text. Since the expression is dissapeared in the target text, the example

above is involved to inaccurate translation.

SL : Pujian bagi wanita tertentu, tak ubahnya bulu ketiak Benjamin

Tarzan Kota, di situlah titik lemahnya.
TL :-
(Datum number 16: 16/SL97/TL90/LM/Un/Acr3/Acp3)

The datum above belongs to inaccurate translation. It is said so because

the expression in the source text is not realized by the translator. The unrealized

translation as shown in the example above is considered as inaccurate translation.

88

b. Acceptability Translation of Metaphorical Expressions in Andrea

Hirata’s Edensor

Acceptability is measured by how natural the target language is. It also

deals with the language culture of the target laguage, so when the readers of the

target language read the translated text, they do not seem as if they read a

translated text or a product of translation. Thus, naturalness focus on the style of

the target text. There are three level of measurements in acceptability. They are

Acceptable (1), Less Acceptable (2) and Unacceptable (3).

1) Acceptable Translation

The translation of metaphorical expressions is considered acceptable if the

metaphorical expressions of the source text are conveyed naturally in the target

text. It cannot be identified as a translated text. Also, the readers feel like reading

an original text.

a) Acceptable Translation of Dead Metaphor

The translation of dead metaphor is considered acceptable if the dead

metaphor of the source text are conveyed naturally in the target text. It cannot be

identified as a translated text. Also, the readers feel like reading an original text.

There are 5 acceptable translation of dead metaphor which are found in Andrea

Hirata’s Edensor. Below are some of the examples.

SL : Terutama karena pembawaannya yang gembira dan paras baby face-nya.

Matanya adalah mata bayi.
TL : This was mostly because of his enthusiastic disposition and his baby
face. His eyes were those of a baby, too.
(Datum number 18: 18/SL106/TL102/DM/Liam/Acr1/Acp1)
89

The datum above belongs to acceptable translation. It is based on the

respondents who put number 1 for the acceptability level which means acceptable.

The answers from the respondents mean that they do not find any ambiguity in

reading the translated text.

SL : Waktu pertama bertemu degannya di bandara Schippol dulu, aku telah

melihat supermodel Daria Werbowy dalam diri Famke Somers.
TL : The first time we met at Schippol Airport, I had seen a model in Famke
Somers.
(Datum number 26: 26/SL151/TL125/DM/Gen/Red/Acr1/Acp1)

The example above shows the high acceptability translation. It is said so

based on the respondents who give number 1 for this datum in terms of the

acceptability. Number 1 means that the translation of dead metaphor above is

considered acceptable.

SL : Gothia menunjuk kostum ikan duyung, ia menginginkan kostum itu. No

way! Kostum Famke Somers itu adalah nyawaku.
TL : Gothia pointed at the mermaid costume, she wanted it. No way! Famke
Somers’ costume was our life.
(Datum number 37: 37/SL222/TL176/DM/Lit/Acr1/Acp1)

Above is an example of acceptable translation of dead metaphor. It is

considered acceptable based on what respondents has answered in the

questionnaire sheet. It means that the translated text do not contains any problems

which could make the readers feel confused and read the target text unnaturally.

Thus, the translation of dead metaphor above is considered acceptable.

b) Acceptable Translation of Live Metaphor

The translation of live metaphor is considered acceptable if the live

metaphor of the source text are conveyed naturally in the target text. It cannot be

identified as a translated text. Also, the readers feel like reading an original text.
90

There are 15 acceptable translation of Live Metaphor which are found in Andrea

Hirata’s Edensor. Below are some of the examples.

SL : Desis angin berubah menjadi seribu mata lembing, menghujam tubuh

kami yang lapar dan kedinginan.
TL : The whistling wind changed into a thousand spear points, stabbing
our cold, starved bodies.
(Datum number 12: 12/SL62/TL66/LM/Lit/Acr1/Acp1)

The datum above is an example of the live metaphor translation which is

considered acceptable for the target readers. It is based on the respondents who

has been asked to read and give answers whether or not the translation text above

is considered acceptable. Since the expression is expressed naturally in the target

language, it could be concluded that the translation of live metaphor above is

acceptable.

SL : Jalanan adalah karya seni instalasi yang sempurna.

TL : The street is the perfect installation for a work of art.
(Datum number 11: 11/SL55/TL59/LM/Tran/Acr1/Acp1)
The example above is considered acceptable. It is said so since the readers

of the target text do not find any ambiguity when they read the translated text. In

other words, it still could be accepted by the readers Hence, the translation of live

metaphor above is considered acceptable.

SL : Rusia adalah potongan terbesar mozaik hidupku, yang membuka

ruang dalam hatiku untuk memahami arti zenith dan nadir hidupku, seperti pesan
Weh dulu.
TL : Rusia was the largest piece in my life mosaic, the one that open a space
in my heart to understand the meaning of the zeniths and nadire in my life, just as
Weh had asked of me.
(Datum number 35: 35/SL207/TL161/LM/Lit/Mod/Acr1/Acp1)
91

The datum above is considered acceptable. It is an expression contains live

metaphor which is translated using literal translation and modulation as the

technique. The translation of live metaphor above is acceptable. It is based on the

respondents who put number 1 for the acceptability level.

2) Less Acceptable Translation

The translation of the metaphorical expressions is considered less

acceptable if they are not really conveyed naturally in the target text. There are

some words, grammar and phrase found unnatural. The unnatural words, grammar

and phrase are less than 20% of the text.

a) Less Acceptable Translation of Dead Metaphor

The translation of the dead metaphor is considered less acceptable if it is

not really conveyed naturally in the target text. There are some words, grammar

and phrase found unnatural. There are three less acceptable translation of dead

metaphor found in Andrea Hirata’s Edensor. Below are the examples.

SL : Semakin dekat, raksasa-raksasa kelabu itu ternyata jauh lebih besar dari
yang selalu kubayangkan. Mereka adalah gajah di laut.
TL : The sharks drew close, grey giants that were plainly far larger than I had
imagined. They are the elephants of the sea.
(Datum number 3: 03/SL6/TL6/DM/Lit/Acr2/Acp2)

The example above is a translation of dead metaphor which is considered

less acceptable. It is based on the respondents who decide that the translated text
92

seems unnatural since the phrase gajah di laut is better to be translated into

elephant seal rather than the elephants of the sea.

SL : “Saya Famke ...” Ia menyalami Arai. Bola matanya biru langit, bukan,
lebih indah, biru buah ganitri muda.
TL : “I’m Famke ...” She greeted Arai. Her eyes were sky-blue.
(Datum number 10: 10/SL53/TL58/DM/Mod/Red/Acr2/Acp2)

The translation of dead metaphor is considered less acceptable by the

respondents. It is said so since they argue that the expression is not fully

translated. It is better to maintain the expression biru buah ganitri muda in the

target text. The reason why it should be maintained is that the sense of metaphor

is placed precisely on the expression biru buah ganitri muda rather than biru

langit or blue-sky. Thus, the translation of dead metaphor above belongs to less

acceptable translation.

SL : Alessandro D’Archy, si ganteng itu adalah arjuna di kelas kami

sekaligus seorang Italia yang agak playboy.
TL : Alessandro D’Archy, that stud was the ideal guy in our class and was
also a playboy.
(Datum number 19: 19/SL113/TL106/DM/Equ/Adap/Acr2/Acp2)

Above is the translation of dead metaphor which is considered less

acceptable. It is based on the respondents who argue that the phrase seorang Italia

should be translated in order to avoid an ambiguity of the translated text. It is said

so since the phrase seorang Italia in the source text which means an Italian
93

should be understood by the readers so that the readers know the correlation

between playboy and Italian.

b) Less Acceptable Translation of Live Metaphor

The translation of the live metaphor is considered less acceptable if it is

not really conveyed naturally in the target text. There are some words, grammar

and phrase found unnatural. There are 5 less acceptable translation of live

metaphor found in Andrea Hirata’s Edensor. Below are some of the examples.

SL : Perbuatan-perbuatan kecil yang buruk tak ubahnya bayi-bayi

jantan Hyena, ia akan tumbuh, dan cepat atau lambat akan mengepung induknya
sendiri.
TL : Our naughty little deeds were no different while baby beast. They
would grow and, sooner or later, they would endanger their own mother.
(Datum number 33: 33/SL187/TL142/LM/Gen/Acr2/Acp2)

The translation of live metaphor above is considered less acceptable. It is

said so since the respondents choose number 2 as the acceptability level which

means less acceptable. The respondents who represent as the readers, found that

the translated text is not really natural to read. There are some phrases which are

hard to understand, such as naughty little deeds and baby beast. It is better to

change them with other terms.

SL : Belushye dijuluki penjara dunia, surga bagi pelaut hidung belang

dan orang-orang yang tak menyukai daratan.
TL : Belushye is nicknamed the world’s prison, heaven for masher sailors
and savage people who shun land.
(Datum number 34: 34/SL207/TL161/LM/Mod/Acr2/Acp2)
94

Above is a translation of live metaphor which is considered less

acceptable. The respondents argue that the word nicknamed in the target text

makes the text becomes rather unnatural. It is better to change the term nicknamed

into other term.

SL : Perbuatan-perbuatan kecil yang buruk tak ubahnya bayi-bayi

jantan Hyena, ia akan tumbuh, dan cepat atau lambat akan mengepung induknya
sendiri.
TL : Our naughty little deeds were no different while baby beast. They
would grow and sooner or later, they would grow and, sooner or later, they would
endanger their own mother.
(Datum number 33: 33/SL187/TL142/LM/Gen/Acr2/Acp2)

The translation of live metaphor above is considered less acceptable. It is

based on the respondents who argue that the expression in the target text cannot

fully accepted for the readers. It might be caused by the word Hyena which is

translated into beast. It is better to keep the term Hyena. Since that term is not

expressed in the target text, the acceptability level is 2 which means less

acceptable.

3) Unacceptable Translation

The translation product is considered unacceptable if the metaphorical

expressions of the source text are conveyed unnatural in the target text. It could be

identified easily as a translated text. Besides, the readers surely feel like reading a

translated text.
95

a) Unacceptable Translation of Dead Metaphor

The translation of dead metaphor is considered unacceptable if the dead

metaphor in the source text are conveyed unnatural in the target text. It could be

identified easily as a translated text so that the readers surely feel like reading a

translated text. There is only one translation of dead metaphor which is considered

unnatural or unacceptable. Below is the example.

SL : Pengalaman semacam itu bak mutiara dan mutiara dalam hidupku

adalah lelaki yang mengutuki hidupnya sendiri, namanya Weh.
TL :-
(Datum number 2: 02/SL6/TL6/DM/Un/Acr3/Acp3)
The datum above is a translation of dead metaphor which is considered

unacceptable. It is based on the respondents who decide that it is better to deliver

the message of the source text into the target text rather than unrealizing it. In

other words, it is considered unacceptable because the expression is dissapeared in

the target text.

b) Unacceptable Translation of Live Metaphor

The translation of live metaphor is considered unacceptable if the live

metaphor in the source text are conveyed unnatural in the target text. It could be

identified easily as a translated text so that the readers surely feel like reading a

translated text. There are 14 translation of live metaphor which is considered

unnatural or unacceptable. Below are some of the examples.

SL : Tapi Townsend dan Stansfield tak ubahnya jungkat-jungkitan.

Mereka reaksioner satu sama lain.
96

TL :-
(Datum number 20: 20/SL129/TL113/LM/Un/Acr3/Acp3)
Above is an example of live metaphor which is considered unacceptable.

The expression in the source text is not realized in the target text. That is why the

translation above is unacceptable since the information is not delivered. In other

words, the unrealized expression could make a jumping sentence which could

make the readers difficult to understand the next sentence or paragraph.

SL : Kuharap cukup artikulatif kalau kubeberkan angka-angka ini: 180 dan

52. Itulah tinggi dan beratnya dalam sentimeter dan kilogram. Maka ia adalah
tiang listrik.
TL :-
(Datum number 27: 27/SL151/TL125/LM/Un/Acr3/Acp3)

The translation of live metaphor above is considered unacceptable. It

could be seen that the live metaphor in the source text is not realized in the target

text. Whereas, the expression in the source text above contains important

descriptions of certain characters which is needed for the readers. It could make

the readers hard to understand. Besides, it makes the readers difficult to feel the

sense of the metaphor if it is not expressed. Thus, the example above is considered

unacceptable.

SL : Amat berbeda dengan Stansfield dan Townsend. Mereka adalah Xena

dengan tinggi di atas 175 senti.
TL :-
(Datum number 31: 31/SL170/TL133/LM/Un/Acr3/Acp3)
97

The datum above belongs to unacceptable translation since the live

metaphor in the source text is not expressed in the target text. Since the expression

in the source text is not translated, the readers would not get any sense of the

metaphor. Hence, it could be said that the datum above is unacceptable in terms of

the translation quality.

CHAPTER V

CONCLUSION AND SUGGESTIONS

This chapter is the last part of the whole research. It consists of two sub-

chapters, namely conclusion and suggestions. Conclusion contains a brief explanation

based on the findings of the research and the discussion. It covers the objectives of this

research which are the types of the metaphorical expressions, the translation techniques

and the translation quality assessment in terms of the accuracy and the acceptability.

The suggestion contains some suggestions which is derived in order to cover the lack of

this research and follow the good points of this research. Those brief explanations are

discussed in the following sub-chapters.

A. Conclusion

According to the findings of the research and the discussion, the conclusion

could be derived as follows.

1. In terms of the types of metaphor, there are two types found in Andrea Hirata’s

Edensor, namely dead and live metaphor. The metaphorical expressions found in

the novel are majority recognized as live metaphor. Whereas, the dead metaphor is

found less than the live metaphor. Live metaphor is mostly used by the writer in

order to create a deep sense of literary work. It could also make it interesting to

read for its beauty of the metaphor.

2. In terms of the translation techniques, there are 9 techniques applied by the

translator. They are borrowing, literal translation, transposition, modulation,

established equivalent, adaptation, generalization, linguistic amplification and

98
99

reduction. Theoretically, there are 18 techniques introduced by Molina and Albir

(2002: 599). Thus, there are 9 techniques which are not applied by the translator.

They are calque, amplification, compensation, description, discursive creation,

linguistic compression, particularization, substitution and variation. Based on the

findings, literal translation is mostly applied by the translator to translate the

metaphorical expressions both live and dead metaphor. Borrowing and

transposition are not applied by the translator to translate dead metaphor. Whereas,

the translator does not use adaptation to translate the live metaphor.

3. In terms of the translation quality assessment, there are two respondents who are

given a sheet of questionnaires and asked to assess the accuracy and the

acceptability level. The findings are based on the answers of the respondents in

measuring the translation quality assessment in terms of the accuracy and the

acceptability. The accuracy consist of three levels, namely Accurate (1), Less

Accurate (2) and Innaccurate (3). Whereas, the acceptability consists of three

levels, namely Acceptable (1), Less Acceptable (2) and Unacceptable (3). Based on

the respondents and a brief discussion between the researcher and the respondents,

the translation of metaphorical expressions in Andrea Hirata’s Edensor is mostly

found Accurate and Acceptable. The least with the lowest number of frequency are

Less Accurate and Less Acceptable. In other words, the translation product contains

a high quality of translation in terms of the metaphorical expressions.

B. Suggestions

This sub-chapter is intended for those who are supposed to engage with this

research. They are clearly explained as follows.

100

1. For Other Researchers

This research is lack of data since there are only 43 data found in this research.

Thus, it is suggested to other researchers to seek other source of data which have more

numbers of data containing metaphorical expressions. Besides, it is better to use other

techniques or theories in conducting the research both in terms of translation and

metaphorical expressions so it could be compared to this research.

2. For Academic Society

It is better for the academic society in the same field, which is to say the

translation study, to use the techniques or the translation quality assessment as the

reference to study. The students of translation could also make a research which deals

with the translation of literary works since it is rarely found. It could be a challenge for

the students to translate the literary works using the techniques used in this research.

Also, the translation quality assessment is given in order to anounce that a translation

product should be accurate, acceptable and readable. Thus, it is better to measure a

product of translation using the translation quality assessment or other related

assessments.

3. For the Translators

It is intended to anounce the translators to consider the technique used in

translating literary works or some expressions containing figure of speech. A translator

should chooses and considers the best technique to translate certain expressions. This

will lead to the quality of the translation. The better the translation techniques is chosen,

the higher level of quality will be reached.

101

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Table 10. Data Analysis of the Translation of Metaphorical Expressions in Andrea Hirata’s Edensor
Dead : Dead Metaphor Adap : Adaptation Liam : Linguistic Amplification Accuracy 1 : Accurate
Live : Live Metaphor Tran : Transposition Lico : Linguistic Compression Accuracy 2 : Less Accurate
Bor : Borrowing Amp : Amplification Par : Particularization Accuracy 3 : Innaccurate
Cal : Calque Com : Compensation Red : Reduction Acceptability 1: Acceptable
Lit : Literal Translation Des : Description Sub : Substitution Acceptability 2: Less Acceptable
Mod : Modulation Dis : Discursive Creation Var : Variation Acceptability 3: Unacceptable
Equ : Established Equivalence Gen : Generalization
Code Data Typ Translation Techniques Translation
e of Quality
Me Assessment
tap
hor
Source Language Target Language D L B C L M T E A A C D D G L L P R S V U Accura Accept
(Indonesian) (English) e i o a i o r q d m o e i e i i a e u a n cy ability
a v r l t d a u a p m s s n a c r d b r 1 2 3 1 2 3
d e q n p m o
01/SL Jika hidup ini seumpama rel -
1/TL1 kereta api dalam eksperimen
relativitas Einstein, maka
pengalaman demi pengalaman v v 3 3
yang menggempur kita dari
waktu ke waktu adalah cahaya
yang melesat-lesat di dalam
gerbong di atas rel itu.
02/SL Pengalaman semacam itu bak -
1/TL1 mutiara dan mutiara dalam v v 3 3
hidupku adalah lelaki yang
mengutuki hidupnya sendiri,
namanya Weh.

103
03/SL Semakin dekat, raksasa-raksasa The sharks drew close, grey
6/TL6 kelabu itu ternyata jauh lebih giants that were plainly far v V 2 2
besar dari yang selalu larger than I had imagined. They
kubayangkan. Mereka adalah are the elephants of the sea.
gajah di laut.
04/SL Langit adalah kitab yang The sky is a vast, open book.
8/TL8 terbentang. v v v 1 1

05/SL Einstein kedua dalam hidupku The second person to better

13/TL – yang mengenalkanku pada acquaint me with myself was a v v v v 1 1
15 diriku sendiri – adalah tokoh legendary figure: Mak Birah, a
legendaris ini: Mak Birah, midwife from our village.
dukun beranak kampung kami.

06/SL Belitong menjelang malam -

25/TL adalah semburan warna dari v v 3 3
29 seniman impresi yang melukis
spontan tak dibuat-buat dan
memikat.
07/SL Kuberi tahu kawan, rahasia I’ll tell you, friend, the secret of
30/TL romansa komidi putar adalah a carousel romance lies in
35 fisika sederhana: hukum simple physics: the law of v v V 1 1
gravitasi! Waktu komidi gravity. When one rotates forty-
mencapai posisi empat puluh lima five degrees on the axis of a
derajat dari porosnya, daya tarik carousel, the earth’s attractive
bumi membuat mempelai dalam force cause the lovers in the
kurungan ayam tadi seperti akan chicken cage to feel as if they’re
terjungkal. A Ling histeris, takut about to be tossed out. A Ling
campur manja, memeluk erat was hysterical, her fear mixed
lenganku. with affection, holding tightly
onto my arm.

104
08/SL Kalong-kalong yang rakus The voracious fruit bats were
31/TL bukan lagi tikus yang terkena no longer rats that had been v v 1 1
35 kutukan tapi hewan langka cursed, but a rare animal from
familia Palaeochiropteryx the family Palaeochiropteryx
tupaiodon yang harus dilindungi, tupaiodon that needed
kalau perlu dengan undang- protection, if necessary, by force
undang. of law.

09/SL Baru kutahu ada orang yang I realized then that there are
46/TL ditampik hampir sepuluh tahun some people who can get
50 tapi tetap kukuh berjuang. Arai rejected for almost ten years and v v 2 2
tak pernah tertarik padastill cling to struggling on. Arai
perempuan lain. Zakiah adalah had never been drawn to anyone
resolusi dan seluruh definisinyaelse. Zakiah was the only
tentang cinta. resolution and the entire
definition of love for him.
10/SL “Saya Famke ...” Ia menyalami “I’m Famke ...” She greeted
53/TL Arai. Bola matanya biru langit, Arai. Her eyes were sky-blue. v v v 2 2
58 bukan, lebih indah, biru buah
ganitri muda.
11/SL Jalanan adalah karya seni The street is the perfect
55/TL instalasi yang sempurna. installation for a work of art. v v 1 1
59

12/SL Desis angin berubah menjadi The whistling wind changed

62/TL seribu mata lembing, into a thousand spear points, v V 1 1
66 menghujam tubuh kami yang stabbing our cold, starved
lapar dan kedinginan. bodies.
13/SL La Niege au Sahara: Snow on The -
88/TL Sahara adalah metafora hidupku. v v 3 3
88 Anak Melayu pedalaman di
Paris, tak ubahnya salju di

105
Sahara.

14/SL Hari ini, tiga Juli, peringatan Today, July third, was the
93/TL kematian Jim Morrison, seorang anniversary of the death of Jim v V 1 1
99 rocker flamboyan, pentolan The Morrison, a flamboyant rocker,
Doors, dewa bagi penganut front man of The Doors, a god
mazhab anti-kemapanan. to worshippers of the anti-
establishment sect.

15/SL Mahasiswa-mahasiswa dari Students from various countries

95/TL beragam bangsa di dalamnya made the class like a laboratory
90 membuat kelasku seperti for human behaviour. My class v v v 1 1
laboratorium perilaku. Kelasku wasn’t only a room for
bukan sekedar ruang untuk studying science, but also a
belajar science tapi juga university of life.
university of life.
16/SL Pujian bagi wanita tertentu, tak -
97/TL ubahnya bulu ketiak Benjamin v v 3 3
90 Tarzan Kota, di situlah titik
lemahnya.
17/SL Abraham Levin adalah ahli Abraham Levin was the mst
101/T matematika ekuilibrium paling impressive expert on V v 3 3
L92 jemplan yang pernah kukenal. Ia mathematical equilibria I have
memiliki embrio kecerdasan ever known. -
Nobelis John Nash.
18/SL Terutama karena pembawaannya This was mostly because of his
106/T yang gembira dan paras baby enthusiastic disposition and his v V 1 1
L102 face-nya. Matanya adalah mata baby face. His eyes were those
bayi. of a baby, too.

106
19/SL Alessandro D’Archy, si ganteng Alessandro D’Archy, that stud
113/S itu adalah arjuna kelas kami was the ideal guy in our class v v v 2 2
T106 sekaligus seorang Italia yang agak and was also a playboy.
playboy.
20/SL Tapi Townsend dan Stansfield -
121/T tak ubahnya jungkat-jungkitan. v v 3 3
L107 Mereka reaksioner satu sama lain.

21/SL Di Sorbonne, setiap hari aku -

129/T diracuni ilmu meski aku tak v v 3 3
L113 ubahnya anak burung puyuh
yang tersuruk-suruk mengejar
induk belibis.
22/SL “Tahukah kau, Ikal?! Hasil riset -
137/T sitokrom-C ini dapat menjadi v v 3 3
L119 kanon yang merontokkan
bangunan absurditas teori-teori
kaum evolusionis,” lagaknya
menceramahiku.
23/SL Paris di hari-hari akhir musim Paris at the end of winter. -
145/T salju tak ubahnya gemerincing V v 2 3
L113 snare drum musik country jazz
Norah Jones: simpel, terduga,
dan menimbulkan perasaan
senang.
24/SL Matahari adalah tukang The sun became a
145/T tenung. fortuneteller. v v 2 2
L113

107
25/SL Jika bangun subuh, selempang When I woke up at dawn, a red
145/T merah membujur di langit timur line extending across the eastern V v 1 1
L113 menjelmakan atap-atap sky transformed the roofs of
bangunan sepanjang L’Avenue houses along L’Avenue De La
De La Baurdonnais menjadi Baurdonnais into starling
sayap-sayap burung starling wings flapping the remainder of
yang mengibas sisa es di bibir the eyes of the lips of roof
talang, di rongga-rongga pancuran gutters, faucet holes and
dan topi-topi cerobong asap. chimney crowns.
26/SL Waktu pertama bertemu The first time we met at
SL15 dengannya di bandara Schippol Schippol Airport, I had seen a v V v 1 1
1/TL1 dulu, aku telah melhat model in Famke Somers.
25 supermodel Daria Werbowy
dalam diri Famke Somers.
27/SL Kuharap cukup artikulatif kalau -
151/T kubeberkan angka-angka ini: 180 v v 3 3
L125 dan 52. Itulah tinggi dan beratnya
dalam sentimeter dan kilgram.
Maka ia adalah tiang listrik.
28/SL Cintanya mengajakku menulis -
158/S puisi, cintanya adalah sastra. V v 3 3
T130

29/SL Cinta adalah channel TV! -

158/S v v 3 3
T130

30/SL Bagaimana kalau aku menjadi -

158/S acara TV yang membosankan? V v 3 3
T130

108
31/SL Amat berbeda dengan Stansfield -
170/T dan Townsend. Mereka adalah v v 3 3
L133 Xena dengan tinggi di atas 175
senti.
32/SL Jika musim panas, Paleis menjadi Throughout the summer this
179/S surga bagi para penampil place would be a paradise for V v 1 1
T134 jalanan. street performers.

33/SL Perbuatan-perbuatan kecil yang Our naughty little deeds were

187/S buruk tak ubahnya bayi-bayi no different while baby beast. v v 2 2
T142 jantan Hyena, ia akan tumbuh, They would grow and, sooner or
dan cepat atau lambat akan later, they would endanger their
mengepung induknya sendiri. own mother.
34/SL Belushye dijuluki penjara Belushye is nicknamed the
201/S dunia, surga bagi pelaut hidung world’s prison, heaven for v V 2 2
T155 belang dan orang-orang ganas masher sailors and savage
yang tak menyukai daratan. people who shun land.
35/SL Rusia adalah potongan terbesar Rusia was the largest piece in
207/S mozaik hidupku, yang membuka my life mosaic, the one that v v 1 1
T161 ruang dalam hatiku untuk open a space in my heart to
memahami arti zenith dan nadir understand the meaning of the
hidupku, seperti pesan Weh dulu. zeniths and nadire in my life,
just as Weh had asked of me.
36/SL Parsi adalah tanah peradaban, Persia is a land of civilization
211/S pertaruhan gengsi masa lalu, full of past prestige and v V v 1 1
T166 dan tarik menarik estetika yang though bewildering tug-of-war
membingungkan, namun of aesthetic, nevertheless
memesona. enchanting.
37/SL Gothia menunjuk kostum ikan Gothia pointed at the mermaid
222/S duyung, ia menginginkan kostum costume, she wanted it. No way! v v 1 1
T176 itu. No way! Kostum Famke Famke Somers’ costume was
Somers itu adalah nyawaku. our life.

109
38/SL Toha, orang Banyumas berhati Toha, the man from
227/S mulia yang kutemui di Banyumas whom I met deep in V v 1 1
T181 pedalaman Eropa adalah Weh Europe was the second Weh in
kedua dalam hidupku. Weh dan my life. Weh and Pak Toha ,
Pak Toha, laki-laki terbuang men cast out with a bitter life
dengan pilihan hidup yang getir, choice, enlightened me in ways
mencerahkanku dengan cara yang that I cannot explain.
tak dapat kujelaskan.
39/SL Orang Italia, melihat hidup Italians look at life as art.
247/S sebagai seni. v v v 1 1
T203

40/SL Laut Mediterania tak ubahnya The Mediterranean Sea was

265/S tabir ajaib yang memisahkan dua no different from a magical V v 1 1
T219 tempat yang sama sekali berbeda. screen that separated two
completely different places.
41/SL Kutatap mata lelaki simpai I looked into the eyes of that boy
277/S keramat yang selalu membelaku of sacred knot who always v v 1 1
T230 itu, dialah Lone Ranger-ku protected me, he was my Lone
Ranger.
42/SL Arai adalah antitesis sikap Arai was the antithesis to
179/S pesimis, panglima yang pesimistic attitude, a V v 1 1
T232 mengobrak-abrik mentalitas commander who destroyed
penakut dan hulubalang bagi fear full mentality and a chief
jiwa besar. of great spirit.
43/SL Di pinggir Ouse, aku On the edge of the Ouse, I
285/S menemukan kembali Weh yang again found Weh and he left v v v 2 2
T235 meninggalkan rasa kelu me speechless and longing.
sekaligus rindu dalam
sukmaku.

110
Kuisioner Untuk Menentukan Tingkat Keakuratan dan Keberterimaan
Terjemahan Metafora Novel Edensor

Kuisioner ini disusun dalam rangka penelitian mengenai tingkat keakuratan dan keberterimaan terjemahan metafora novel Edensor.
Judul Penelitian : Translation of Metaphorical Expressions in Andrea Hirata’s Edensor
Nama Peneliti : Yolanda Cynthia Putri
NIM : 09211141015
Pada kuisioner ini, responden diminta untuk menulis skala keakuratan di tabel kolom “Accuracy” dan skala keberterimaan di tabel kolom
“Acceptability” yang telah tersedia. Responden juga diminta untuk menuliskan alasan/penjelasan yang mendukung jawaban tersebut di tabel
kolom “Explanation” yang telah tersedia. Adapun tingkat keakuratan berdasarkan skala dan definisi sebagai berikut.

Table 1. Scale of Accuracy

Scale Description

1 The meaning and the interpretation of metaphor in the source

(Accurate) text is accurately conveyed into the target text. Moreover, the

translation does not need rewriting.

111
2 The meaning and the interpretation of metaphor in the source

(Less Accurate) text is accurately conveyed into the target text. Yet, the

translation needs some rewriting in words or expressions.

3 The meaning and the interpretation in the source text are not

(Inaccurate) accurately conveyed into the target text. These might because

the expressions in the source text do not equal to the target

text or they are not translated or the expressions are not

realized instead.

Selain itu, tingkat keberterimaan juga dinilai berdasarkan skala dan definisi yang tersedia dalam tabel di bawah ini.

Table 2. Scale of Acceptability

Scale Description

1 The metaphorical expressions of the source text are conveyed

(Acceptable) naturally in the target text. It cannot be identified as a

translated text (the readers feel like reading an original text).

112
2 The metaphorical expressions of the source text are not really

(Less Acceptable) conveyed naturally in the target text. There are some words,

grammar and phrase found unnatural. The unnatural words,

grammar and phrase are less than 20% of the text.

3 The metaphorical expressions of the source txt are conveyed

(Unacceptable) unnatural in the target text. It could be identified easily as a

translated text (the readers surely feel like reading a translated

text)

Identitas Responden
Nama : Agus Riyanto
Alamat : Jakarta
Pekerjaan : Dosen/ penerjemah
Telp/HP : 0811 849 830
Pengalaman Menerjemahkan : 20 tahun

Karena informasi dari kuisioner ini sangat penting bagi peneliti, peneliti berharap responden berkenan mengerjakan dengan sungguh-
sungguh dan teliti. Atas kesediaan dan kerjasama Anda, peneliti mengucapkan terima kasih dan selamat mengerjakan.

113
No Data Accura Accept Explanation

cy ability

Source Language (Indonesian) Target Language (English) 1 2 3 1 2 3

1. Jika hidup ini seumpama rel kereta api dalam -

eksperimen relativitas Einstein, maka pengalaman
demi pengalaman yang menggempur kita dari
waktu ke waktu adalah cahaya yang melesat-lesat
di dalam gerbong di atas rel itu.

2. Pengalaman semacam itu bak mutiara dan mutiara -

dalam hidupku adalah lelaki yang mengutuki
hidupnya sendiri, namanya Weh.

3. Semakin dekat, raksasa-raksasa kelabu itu ternyata The sharks drew close, grey giants that were 2 2 Gajah laut = Elephant
jauh lebih besar dari yang selalu kubayangkan. plainly far larger than I had imagined. They are seal
Mereka adalah gajah di laut. the elephants of the sea.

114
4. Langit adalah kitab yang terbentang. The sky is a vast, open book. 1 1

5. Einstein kedua dalam hidupku – yang mengenalkanku The second person to better acquaint me with 1 1
pada diriku sendiri – adalah tokoh legendaris ini: Mak myself was a legendary figure: Mak Birah, a
Birah, dukun beranak kampung kami. midwife from our village.

6. Belitong menjelang malam adalah semburan warna -

dari seniman impresi yang melukis spontan tak dibuat-
buat dan memikat.

7. Kuberi tahu kawan, rahasia romansa komidi putar I’ll tell you, friend, the secret of a carousel 1 1
adalah fisika sederhana: hukum gravitasi! Waktu romance lies in simple physics: the law of
komidi mencapai posisi empat puluh lima derajat dari gravity. When one rotates forty-five degrees on
porosnya, daya tarik bumi membuat mempelai dalam the axis of a carousel, the earth’s attractive force
kurungan ayam tadi seperti akan terjungkal. A Ling cause the lovers in the chicken cage to feel as if
histeris, takut campur manja, memeluk erat lenganku. they’re about to be tossed out. A Ling was
hysterical, her fear mixed with affection, holding
tightly onto my arm.

115
8. Kalong-kalong yang rakus bukan lagi tikus yang The varacious fruit bats were no longer rats 1 1
terkena kutukan tapi hewan langka familia that had been cursed, but a rare animal from
Palaeochiropteryx tupaiodon yang harus dilindungi, the family Palaeochiropteryx tupaiodon that
kalau perlu dengan undang-undang. needed protection, if necessary, by force of law.

9. Baru kutahu ada orang yang ditampik hampir sepuluh I realized then that there are some people who 2 2
tahun tapi tetap kukuh berjuang. Arai tak pernah can get rejected for almost ten years and still
tertarik pada perempuan lain. Zakiah adalah resolusi cling to struggling on. Arai had never been
dan seluruh definisinya tentang cinta. drawn to anyone else. Zakiah was the only
resolution and the entire definition of love for
him.
10. “Saya Famke ...” Ia menyalami Arai. Bola matanya “I’m Famke ...” She greeted Arai. Her eyes 2 2
biru langit, bukan, lebih indah, biru buah ganitri were sky-blue.
muda.

11. Jalanan adalah karya seni instalasi yang sempurna. The street is the perfect installation for a work of 1 1
art.

12. Desis angin berubah menjadi seribu mata lembing, The whistling wind changed into a thousand 1 1
menghujam tubuh kami yang lapar dan kedinginan. spear points, stabbing our cold, starved bodies.

116
13. La Niege au Sahara: Snow on The Sahara adalah -
metafora hidupku. Anak Melayu pedalaman di
Paris, tak ubahnya salju di Sahara.

14. Hari ini, tiga Juli, peringatan kematian Jim Morrison, Today, July third, was the anniversary of the 1 1
seorang rocker flamboyan, pentolan The Doors, dewa death of Jim Morrison, a flamboyant rocker,
bagi penganut mazhab anti-kemapanan. front man of The Doors, a god to worshippers of
the anti-establishment sect.

15. Mahasiswa-mahasiswa dari beragam bangsa di Students from various countries made the class 1 1
dalamnya membuat kelasku seperti laboratorium like a laboratory for human behaviour. My class
perilaku. Kelasku bukan sekedar ruang untuk wasn’t only a room for studying science, but
belajar science tapi juga university of life. also a university of life.

16. Pujian bagi wanita tertentu, tak ubahnya bulu ketiak -

Benjamin Tarzan Kota, di situlah titik lemahnya.

17. Abraham Levin adalah ahli matematika ekuilibrium Abraham Levin was the most impressive expert 2 2 Lebih
paling jempolan yang pernah kukenal. Ia memiliki on mathematical equilibria I have ever known. -
embrio kecerdasan Nobelis John Nash.

117
18. Terutama karena pembawaannya yang gembira dan This was mostly because of his enthusiastic 1 1
paras baby face-nya. Matanya adalah mata bayi. disposition and his baby face. His eyes were
those of a baby, too.

19. Alessandro D’Archy, si ganteng itu adalah arjuna Alessandro D’Archy, that stud was the ideal 2 2 Italia –playboy.. Italia
kelas kami sekaligus seorang Italia yang agak guy in our class and was also a playboy. sebaiknya
playboy.
diterjemahkan.

20. Tapi Townsend dan Stansfield tak ubahnya -

jungkat-jungkitan. Mereka reaksioner satu sama lain.

21. Di Sorbonne, setiap hari aku diracuni ilmu meski aku -

tak ubahnya anak burung puyuh yang tersuruk-
suruk mengejar induk belibis.

22. “Tahukah kau, Ikal?! Hasil riset sitokrom-C ini -

dapat menjadi kanon yang merontokkan bangunan
absurditas teori-teori kaum evolusionis,” lagaknya
menceramahiku.

118
23. Paris di hari-hari akhir musim salju tak ubahnya Paris at the end of winter. - 1 1
gemerincing snare drum musik country jazz Norah
Jones: simpel, terduga, dan menimbulkan perasaan
senang.

24. Matahari adalah tukang tenung. The sun became a fortuneteller. 2 2

25. Jika bangun subuh, selempang merah membujur di When I woke up at dawn, a red line extending 1 1
langit timur menjelmakan atap-atap bangunan across the eastern sky transformed the roofs of
sepanjang L’Avenue De La Baurdonnais menjadi houses along L’Avenue De La Baurdonnais
sayap-sayap burung starling yang mengibas sisa es into starling wings flapping the remainder of
di bibir talang, di rongga-rongga pancuran dan topi- the eyes of the lips of roof gutters, faucet holes
topi cerobong asap. and chimney crowns.

26. Waktu pertama bertemu dengannya di bandara The first time we met at Schippol Airport, I had 1 1
Schippol dulu, aku telah melihat supermodel Daria seen a model in Famke Somers.
Werbowy dalam diri Famke Somers.

27. Kuharap cukup artikulatif kalau kubeberkan angka- -

angka ini: 180 dan 52. Itulah tinggi dan beratnya
dalam sentimeter dan kilgram. Maka ia adalah tiang

119
listrik.

28. Cintanya mengajakku menulis puisi, cintanya adalah -

sastra.

29. Cinta adalah channel TV! -

30. Bagaimana kalau aku menjadi acara TV yang -

membosankan?

31. Amat berbeda dengan Stansfield dan Townsend. -

Mereka adalah Xena dengan tinggi di atas 175
senti.

32. Jika musim panas, Paleis menjadi surga bagi para Throughout the summer this place would be a 1 1
penampil jalanan. paradise for street performers.

33. Perbuatan-perbuatan kecil yang buruk tak ubahnya Our naughty little deeds were no different while 2 2
bayi-bayi jantan Hyena, ia akan tumbuh, dan cepat baby beast. They would grow and, sooner or
atau lambat akan mengepung induknya sendiri. later, they would endanger their own mother.

120
34. Belushye dijuluki penjara dunia, surga bagi pelaut Belushye is nicknamed the world’s prison, 2 2
hidung belang dan orang-orang ganas yang tak heaven for masher sailors and savage people
menyukai daratan. who shun land.

35. Rusia adalah potongan terbesar mozaik hidupku, yang Rusia was the largest piece in my life mosaic, 1 1
membuka ruang dalam hatiku untuk memahami arti the one that open a space in my heart to
zenith dan nadir hidupku, seperti pesan Weh dulu. understand the meaning of the zeniths and nadire
in my life, just as Weh had asked of me.
36. Parsi adalah tanah peradaban, pertaruhan gengsi masa Persia is a land of civilization full of past 1 1
lalu, dan tarik menarik estetika yang membingungkan, prestige and though bewildering tug-of-war of
namun memesona. aesthetic, nevertheless enchanting.

37. Gothia menunjuk kostum ikan duyung, ia Gothia pointed at the mermaid costume, she 1 1
menginginkan kostum itu. No way! Kostum Famke wanted it. No way! Famke Somers’ costume
Somers itu adalah nyawaku. was our life.

38. Toha, orang Banyumas berhati mulia yang Toha, the man from Banyumas whom I met 1 1
kutemui di pedalaman Eropa adalah Weh kedua deep in Europe was the second Weh in my
dalam hidupku. Weh dan Pak Toha, laki-laki life. Weh and Pak Toha , men cast out with a
terbuang dengan pilihan hidup yang getir, bitter life choice, enlightened me in ways that I
mencerahkanku dengan cara yang tak dapat cannot explain.

121
kujelaskan.

39. Orang Italia, melihat hidup sebagai seni. Italians look at life as art. 1 1

40. Laut Mediterania tak ubahnya tabir ajaib yang The Mediterranean Sea was no different from a 1 1
memisahkan dua tempat yang sama sekali berbeda. magical screen that separated two completely
different places.
41. Kutatap mata lelaki simpai keramat yang selalu I looked into the eyes of that boy of sacred knot 1 1
membelaku itu, dialah Lone Ranger-ku. who always protected me, he was my Lone
Ranger.
42. Arai adalah antitesis sikap pesimis, panglima yang Arai was the antithesis to pesimistic attitude, a
commander who destroyed fear full mentality
mengobrak-abrik mentalitas penakut dan hulubalang
and achive of great spirit.
bagi jiwa besar.

43. Di pinggir Ouse, aku menemukan kembali Weh yang On the edge of the Ouse, I again found Weh and 2 2
meninggalkan rasa kelu sekaligus rindu dalam he left me speechless and longing.
sukmaku.

122