S_ING_0708033_Chapter IV

CHAPTER IV
FINDINGS AND DISCUSSION
This chapter discusses the findings of the research. It mainly deals with the
presentation of the data, the explanation of the data, and the discussion of the data
in reference to the research theories that already presented in the previous
chapters.
This chapter is primarily divided into the presentation of data and the
discussion and general interpretation of the data. The data were analyzed based on
the simile category of the figurative language and the translation techniques of
those similes.
The researcher tries to find the similes and the translation techniques used by
M. Ruslan Shiddieq and Sabri in translating similes of Sayap-sayap Patah novel
from “The Broken Wings” novel (A Treasured Writing of Kahlil Gibran, Caste
Book, USA. August, 1985).
4.1 The Findings
The similes were classified based on Fromilhague’s simile categories
(1995:83-84) in recognizing explicit and implicit simile, and based on Pierini’s
simile markers (2007:27) in recognizing all similes that written in the novel. Data
in this research were 177 items of similes, found in eleven chapters of “The
Broken Wings” novel as can be seen in the following table:
51
Table 4.1
Classification of Similes
No
Simile Categories
Frequency
Percentage (%)
1.
Explicit Simile
134
755.7%
2.
Implicit Simile
43
24
24.3%
177
100%
Total
Table 4.1 informs the reader about 177 similes of comparison,
comparison 134 of them
are explicit similes, while the rest of them are implicit similes. In other words,
explicit simile is the most common simile used by the author in expressing the
figurative language.
guage. The reader can take a look the following pie chart:
Frequency
Implicit
Simile
24%
Explicit Simile
Explicit
Simile
76%
Implicit Simile
Chart 4.1
Percentages of Similes Found
Table
able 4.1 and chart 4.1 above inform the readers that explicit similes are
the most frequent similes of the novel due to the percentage is 75.7% and
52
followed by implicit simile as the rest as many as 24.3%. In analyzing all those
similes, the writer, uses Pierini’s theory (2007:27) about simile markers, and the
result can be seen in the table 4.2 and chart 4.2 below.
Table 4.2
Comparison Markers Used in Similes of “The Broken Wings” Novel
No
1.
2.
3.
4.
5.
Comparison Marker
Function of Word
Marker
Seem
Look like
Act like
Verbs
Sound like
Resemble
Remind
Sub Total
Similar to
Adjective
The same as
Sub Total
A sort of
Nouns
Some kind of
Sub Total
Like
Prepositions
As
Sub Total
As if/though
Conjunctions
As when
Sub Total
Total
53
Frequency Percentage
6
9
2
1
18
2
2
102
27
129
28
28
177
3.39
5.08
0
0
1.13
0.56
10.17
1.13
0
1.13
0
0
0
57.63
15.25
72.88
15.82
0
15.82
100%
120
100
80
60
40
Series1
20
0
Chart
hart 4.2 The Comparison Markers
Marker Used in Simile of “The Broken Wings”
According to the table above, the author used prepositions
preposition marker as the
most frequent marker, amount to 129 markers, consists of 102 like prepositions
markers, and 27 as prepositions
preposition markers. The second most frequent marker used
by author is conjunctions,
conjunction amount to 28 markers, all of conjunctions
conjunction marker is as
if conjunctions. The third most frequent marker used by the author is verbs,
amount to 18 markers,
markers consist of nine look like verbs markers, six seem verbs
markers, two resemble verbs markers, and one reminds verbs marker. The least
frequent marker used by the author is adjective, amount to two adjective markers,
only similar to adjective marker.
4.1.1 Simile
Simile is fundamentally a figure of speech requiring overt reference to
source and target entities, and an explicit construction connecting them (Gibbs,
54
1994:40) in Fadaee (2010:23). As portrayed in table 4.1 above, “The Broken
Wings” novel contains 134 explicit similes and 43 implicit similes.
Here the writer only provides three examples of similes from each category of
simile to analyze, and the rest is provided in the appendix of this paper. In
analyzing the simile, the writer should identify tripartite structure as Fromilhague
(1995:73-74) in Pierini (2007:27) proposed. The tripartite consists of topic—the
entity described by the simile, vehicle—the entity to which the topic is compared,
and comparison marker or similarity feature—the properties shared by topic and
vehicle which can be expressed explicitly and implicitly.
Nevertheless, the writer should be careful in identifying the differences
between entities compared, whether it is comparing between persons, objects or
process (Fromilhague, 1995:73-74) in Pierini (2007:27). If the entities compared
are the similar entities, persons to persons, for example, we can not say the phrase
as simile, but if the entities compared are difference entities, we can say it as
simile. The explanation below shows which is simile and not.
1. Angie is as beautiful as Putri
2. Gita is as beautiful as Mount Fuji
In number one, Angie is compared to Putri with beautiful as their similarity.
The word “as” marked the likeness between both entities, and the entities are
persons. Due to this sentence has similar entities compared, in this case, persons,
so it is not categorized into simile. In the meanwhile, sentence number two, Gita is
compared to Mount Fuji, and “beautiful” is their similarity. This second phrase
belongs to simile since the entities compared are different. Gita is a person, while
55
Mount Fuji is an object. In addition, Mount Fuji is non living thing and has no any
facial organ as human. That is why we should be careful in determining which is a
simile and not a simile.
4.1.1.1 Explicit Simile
As mentioned in chapter two, explicit simile can be formed when sense or
point of similarity is stated directly. Explicit simile can also carry an explanation
(Roncero, et al. 2006) as quoted by Pierini (2007:27). In The Broken Wings novel,
the writer found 134 explicit similes from 177 similes or about 75.7% as written
in the list below.
1). ...and Selma Karamy was the first woman who awakened my spirit with her
beauty and led me into the garden of high affection, where days pass like
dreams... (p.3)
2). ...and the fiery sword which chased Adam out of Paradise was like the one
which frightened me by its glittering edge and forced me away from paradise
of my love without having disobeyed any order or tasted the fruit of the
forbidden tree. (p.3)
3). I have nothing left out of that beautiful dream except painful memories
flapping like invisible wings around me, filling the depths of my heart with
sorrow, and bringing tears to my eyes. (p.3)
In analyzing the simile of The Broken Wings novel, the writer identifies the
comparison markers first, based on Pierini’s (2007:27) theory; second, identifies
56
the topic as the entity described by the simile; and the last, identifies the vehicle,
as the main determiner in making certain whether the simile is explicit or implicit
simile. The last step to determine simile is comparing the topic and vehicle,
whether consists of different entities or similar entities. If the sentence contains
similar entities, it is not categorized into simile, but if the entities are different, it
is categorized into simile.
Concerning explicit and implicit simile, the writer provides the reader with
the following figure of process in determining explicit and implicit simile.
Identifying Comparison Marker
Tripartite
Structure
Identifying the Topic
Identifying the Vehicle
Comparing the Entities of Topic
and Vehicle
Identifying directness and
indirectness of point of similarity
Explicit Simile
Implicit Simile
Figure 4.1 The Process in Determining Explicit and Implicit of Simile
57
To identify the kind of simile of example number one, the writer identifies
“like” as preposition comparison marker first, in the same manner as process
described in figure 4.1 above. Then the writer identifies the phrase “where the
days pass” as topic, and “dreams” as vehicle. This one, the writer can say, is a
simile since the topic “where the days pass” is information of a process entity,
while the vehicle “dreams” is an activity entity, and the similarity relation
between them is marked by “like” preposition marker. After the writer
recognizing the simile, the next step is determining whether the simile is explicit
or implicit. The example of simile number one above is categorized into explicit
simile due to the point of similarity is stated directly. Phrase “the days pass” and
“dreams” has similarity in their temporariness and the writer has no another
interpretation concerning such simile.
The next sentence of simile is number two. The phrase “the fiery sword” as
topic and belongs to object entity, while phrase “the one which frightened“ is as
the vehicle and belongs to person entity, and the similarity of them is marked by
“like” preposition marker. The next step is again determining whether the simile is
explicit or implicit. The example of number two is categorized into explicit simile
since the point of similarity is stated directly. Phrase “the fiery word which chased
Adam out of Paradise” and “the one which frightened me by its glittering edge”
have similarity in their frightening person and the writer has no other
interpretation of the sentence.
The last example of explicit simile is number three. The phrase “painful
memories flapping” is considered as topic and belongs to process entity, while
58
phrase “invisible wings around me” is as vehicle and belongs to object entity. The
similarity feature of both entities are marked by “like” preposition marker. To
determine whether the simile belongs to explicit or implicit simile, the writer find
out the similarity feature of both entities—invisible or abstract things, and it is
stated directly, in this case “a dream” and “invisible wings” which left out, so this
simile belongs to explicit simile.
4.1.1.2 Implicit Simile
In analyzing the implicit simile, the writer doing similar procedures to
decide what kind of simile, as described in the figure 4.1. In “The Broken Wings“
novel, the writer found 43 implicit similes from 177 similes (24.3%) as written in
the table 4.1. Here the writer provides three examples of implicit simile.
1). ...and Selma Karamy was the first woman who awakened my spirit with her
beauty and led me into the garden of high affection, where...nights like
weddings. (p.3)
2). My life was a coma, empty like that of Adam’s in Paradise, when I saw Selma
standing before me like a column of light. (p.3)
3). ...for the flowers you lay on Selma’s tomb are like falling drops of dew for the
eyes of dawn on the leaves of withering rose. (p.4)
Started from the first sentence, the writer recognizes “like” as the comparison
marker, then signs the word “nights” as topic and belongs to object entity, and
“weddings” as vehicle and belongs to process entity, this sentence has different
59
entity, so that it belongs to simile. After recognizing tripartite structure and
comparing both entities to make sure the simile, the writer identifying directness
and indirectness of point of similarities to determine explicit and implicit
category, those are the phrase “awakened my spirit” and phrase “led me into the
garden of high affection”. In this simile, the writer is not able to recognize direct
statement of point of similarity, so it is considered as implicit simile.
In the second example, the writer signs “like” as the comparison marker, then
signs “standing before me” as the topic and as process entity, while “a column of
light” as the vehicle and as object entity. Due to the sentence has different entities,
we can say it as simile. Furthermore, after recognizing tripartite structure and
comparing both entities, again, the writer identifies the point of similarity,
directness and indirectness of point of similarity, that is awkwardness of “Selma’s
standing” and “column of light”. In this simile, the writer could not find direct
statement of its point of similarity, so it is considered as implicit simile.
In the last example, “like” is again as comparison marker, then “Selma’s
tomb” is considered as topic and tangible entity, while “eyes of dawn” is
considered as vehicle and intangible entity. This sentence belongs to simile since
it has different entities, and belongs to implicit simile since the writer is not able
to identify direct statement of point of similarity between two entities.
In conclusion, the author mostly states the point of similarity directly, in other
word by using explicit simile as many as 134 explicit similes or 75.7%, and only
states the point of similarity by indirectly or implicit simile, as many as 43
implicit similes or 24.3% of all similes.
60
4.1.2 Translation Techniques of Simile
The simile figurative language oftentimes difficult to understand by the
readers, the factors may be the unfamiliarity of the simile and different language
spoken of the readers. The factors above can cause misunderstanding in
understanding the message of the text. To solve this problem, the translator has to
apply translation technique to cope with it and should have skill in communicating
among comparison marker, topic and vehicle of simile.
After identifying the simile figurative language, the writer analyzes the
technique of translating each simile of “The Broken Wings” novel translated by
two different translators, M. Ruslan Shiddieq and Sabri. The below table provides
summary of the translation techniques in translating “The Broken Wings” novel.
Table 4.3
Translation Techniques Used by M. Ruslan Shiddieq in Translating Similes
Similes
Results
Total
Explicit
Techniques
Literal Translation
Reduction
Generalization
Established Equivalent
Particularization
Adaptation
Discursive Creation
Modulation
Amplification
Total
F
98
10
9
8
4
4
0
1
0
134
P (%)
55.37
5.65
5.08
4.53
2.26
2.26
0
0.56
75.7
61
Implicit
F
37
0
1
1
1
0
2
0
1
43
P (%)
20.9
0
0.56
0.56
0.56
0
1.14
0
0.56
24.3
F
P (%)
135
10
10
9
5
4
2
1
1
177
76.27
5.65
5.65
5.09
2.83
2.26
1.13
0.56
0.56
100
According to the table of translation techniques above, the writer finds
nine techniques used by M. Ruslan Shiddieq to translate simile of the “The
Broken Wings” novel into Sayap-sayap Patah novel as translated version in 1986.
In addition, the writer found literal translation technique as the translation
technique mostly used in translating this novel, amount to 135 similes or 76.27%,
followed by reduction, generalization, established equivalent, particularization,
adaptation, discursive creation, modulation, and amplification. It also can be seen
in the chart 4.3 below.
3%
2%
1%
1%
1%
Literal Translation
5%
Reduction
Generalization
6%
Established Equivalent
6%
Particularization
Adaptation
Discursive Equivalent
76%
Modulation
Amplification
Chart 4.3 The Techniques Used in Translating Similes by M. Ruslan Shiddieq
Different from M. Ruslan Shiddieq who used nine translation techniques,
Sabri used 11 translation techniques in translating “The Broken Wings” novel.
Sabri added to use description, and compensation techniques to translate “The
Broken Wings” novel into Sayap-sayap Patah in Sabri translated version. In his
translated version, he also used literal translation as the mostly technique in
62
translating “The Broken Wings” for the amount is to 84 or 47.46%. The statistic
summary can be seen in the table 4.4 and chart 4.4 below.
Table 4.4
Translation Techniques Used by Sabri in Translating Similes
Similes
Results
Explicit
Techniques
Literal Translation
Reduction
Amplification
Generalization
Particularization
Adaptation
Established Equivalent
Modulation
Discursive Creation
Description
Compensation
Total
4%
3%
2% 1%
F
P (%)
61
18
9
10
8
9
7
5
3
3
0
134
34.46
10.17
5.09
5.65
4.53
5.09
3.95
2.83
1.69
1.69
0
75.7
1%
Total
Implicit
F
23
1
4
2
3
1
3
2
2
0
3
43
P (%)
13
0.56
2.26
1.13
1.69
0.56
1.69
1.13
1.13
0
1.69
24.3
F
P (%)
84
19
13
12
11
10
10
7
5
3
3
177
47.46
10.73
7.35
6.78
6.22
5.65
5.65
3.96
2.82
1.69
1.69
100
Literal Translation
Reduction
6%
Amplification
Generalization
6%
47%
6%
Particularization
Adaptation
7%
Established Equivalent
Modulation
7%
Discursive Creation
11%
Description
Chart 4.4 The Techniques Used in Translating Similes by Sabri
63
Furthermore, below are the details of translation techniques used by both
different translators, M. Ruslan Shiddieq and Sabri in translating similes written in
“The Broken Wings” novel. Both M. Ruslan Shiddieq and Sabri used literal
translation technique as the most frequent technique in translating simile. In
addition, M. Ruslan Shiddieq only used nine translation techniques, while Sabri
used 11 translation techniques.
4.1.2.1 Adaptation
This technique replaces a Source Text (ST) cultural element with one from
the target culture. In translating simile written in “The Broken Wings” novel, M.
Ruslan Shiddieq used adaptation technique as many as four times or 2.26%, while
Sabri used this technique as many as 10 times or 5.65%.
4.1.2.1.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
There was a moment of silence Ada saat-saat hening ketika Faris
during which Farris Effandi stared Affandi
melirik
at his daughter like a prophet who perempuannya seperti
anak
seorang
gazes at Heaven to divine its secret. nabi yang memandang langit
(p.12)
untuk meramalkan rahasianya.
(p.56)
2.
My departure was like Adam’s Keberangkatanku
exodus from Paradise, but the Eve keluarnya
Adam
laksana
dari
Taman
of my heart was not with me to Sorga, namun Hawa dari hatiku
make the whole world an Eden. tidak bersamaku untuk mengubah
64
(p.18)
semesta dunia menjadi taman
Aden. (p.68)
3.
Like a mystic who receives a
Laksana
seorang
sufi
revelation of Heaven, I saw myself
menerima ilham dari langit, aku
amid the trees and flowers, and as I
menyaksikan diriku berada di
approached the entrance of the
tengah-tengah
house I beheld Selma sitting on the
bunga-bungaan,
bench in the shadow of a jasmine
kumendekat pintu gerbang rumah,
pepohonan
dan
yang
dan
begitu
tree where we both had sat the week kusaksikan Selma sedang duduk
before, on that night which
di bangku di bawah bayang-
Providence had chosen for the
bayang sebatang pohon melati,
beginning of my happiness and
tempat aku dan dia duduk-duduk
sorrow. (p.20)
berdua
seminggu
sebelumnya,
pada malam itu, yang dipilih oleh
Tuhan
sebagai
kebahagiaan
dan
awal
mula
kedukaanku.
(p.112)
According to number one on the table above, There was a moment of
silence during which Farris Effandi stared at his daughter like a prophet who
gazes at Heaven to divine its secret is translated into Ada saat-saat hening ketika
Faris Affandi melirik anak perempuannya seperti seorang nabi yang memandang
langit untuk meramalkan rahasianya. The clause like a prophet who gazes at
Heaven has been changed culturally, in this case langit is supposed to be written
surga. Such translation technique belongs to adaptation technique, because some
people prefers believe in heaven as the sky to the God’s place.
65
Another example of adaptation technique is My departure was like Adam’s
exodus from Paradise... which is translated into Keberangkatanku laksana
keluarnya Adam dari Taman Sorga. The clause adam exodus from paradise
especially the word paradise has been changed into Taman sorga, in which should
be translated into firdaus due to taman surga means heaven actually. This reflects
that firdaus only exists in Moslem society.
The last example of adaptation technique is almost similar to example
number one, the phrase Like a mystic who receives a revelation of Heaven which
is translated into Laksana seorang sufi yang menerima ilham dari langit not into
Laksana seorang sufi yang menerima ilham dari surga. This technique belongs to
adaptation technique since heaven is one of religion terms.
4.1.2.1.2 Similes Translated by Sabri
Different from M. Ruslan Shiddieq who used adaptation technique four
times, Sabri used more, 10 times. Here the writer provides three examples of
simile translated by Sabri used adaptation technique.
No.
1.
Source Language
Target Language
In that year I was reborn and unless Di tahun itu aku terlahir kembali,
a person is born again his life will dan bila seseorang dilahirkan
remain like a blank sheet in the kembali, maka hidupnya akan
book of existence. (p.5)
kekal
seperti
sehelai
kertas
kosong dalam kitab keberadaan.
(p.8)
2.
The gardens were full of Nisan Taman-taman
penuh
dengan
flowers and the earth was carpeted bunga Nisan dan bumi berhampar
66
with green grass, and like a secret rumput
of earth revealed to Heaven. (p.6)
hijau,
semua
tempat
seperti rahasia yang diperlihatkan
bumi kepada langit. (p.9)
3.
We all sat silent as if Selma had Kemudian kami semua duduk
brought into the room with her terdiam
seakan-akan
Salma
heavenly spirit worthy of mute membawa kebisuan yang setara
respect. (p.8)
dengan jiwanya yang teramat
menyenangkan. (p.16)
In number one above, ...like a blank sheet in the book of existence is
translated into ...seperti sehelai kertas kosong dalam kitab keberadaan. From this
example, Sabri chose to translate kitab keberadaan rather than buku keberadaan,
so this technique belongs to adaptation since kitab keberadaan is a religion or
cultural term.
Thus, in the example number two, Sabri used adaptation technique since
he translated heaven into langit in the simile the gardens were full of Nisan
flowers and the earth was carpeted with green grass, and like a secret of earth
revealed to Heaven. Heaven means surga in Bahasa Indonesia, but in cultural
factor, especially religion, langit is more common for some people in particular
tradition.
The last example of adaptation technique in translating simile is We all sat
silent as if Selma had brought into the room with her heavenly spirit worthy of
mute respect translated into Kemudian kami semua duduk terdiam seakan-akan
Salma membawa kebisuan yang setara dengan jiwanya yang teramat
menyenangkan. We can identify adaptation technique through phrase heavenly
67
spirit, due to this phrase will be more suitable to be translated into ruh surgawi
rather than jiwanya yang teramat menyenangkan.
4.1.2.2 Amplification
This technique introduces details that are not formulated in the source text,
such as information, and explicative paraphrasing. In translating simile written in
“The Broken Wings” novel, M. Ruslan Shiddieq used amplification technique as
many as only one time or 0.56%, while Sabri used this technique as many as 13
times or 7.34%.
4.1.2.2.1 Simile Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
As the rays of the moon shone on Ditimpa cahaya rembulan pada
the face, neck, and arms of Selma, wajah, leher, dan kedua lengan
she looked like a statue of ivory tangannya,
Selma
nampak
sculptured by the fingers of some laksana sebuah patung gading
worshiper of Ishtar, goddess of yang
dipahat
oleh
jari-jari
beberapa pemuja Isytar8 sang
beauty and love. (p.15)
dewi keindahan dan cinta. (p.61)
Based on the above table, M. Ruslan Shiddieq used amplification
technique only one time. Translator translated As the rays of the moon shone on
the face, neck, and arms of Selma, she looked like a statue of ivory sculptured by
the fingers of some worshiper of Ishtar, goddess of beauty and love. He put
68
footnote at behind the novel as a detail explanation of word Isytar. So, this
technique belongs to amplification.
4.1.2.2.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
Her hand, when I touched it, was Tangannya yang indah, waktu aku
like a white lily, and a strange pang menyentuhnya,
pierced my heart. (p.8)
laksana
bunga
bakung yang indah, putih seperti
tanpa dosa. Dan perasaan yang
aneh tiba-tiba menyerbu hatiku.
(p.16)
2.
Saying this, he turned to Selma as if
Sambil mengatakan kalimat itu, ia
to ask confirmation of his
menoleh
statement. (p.10)
mengangguk, kemudian melihatku
ke
arah
Salma.
Ia
seperti orang yang menemukan
kenalan lamanya kembali. (p.20)
3.
As I reached the home of Farris
Ketika aku sampai di rumah Faris
Effandi, I saw Selma sitting on a
Afandi, aku melihat Salma sedang
bench in the garden resting her head
duduk di sebuah bangku di taman
against a tree and looking like a
itu
bride in her white silk dress (p.12)
kepalanya di sebuah pohon. Ia
seraya
menyandarkan
nampak seperti seorang pengantin
perempuan
yang
sedang
mengenakan kebaya putih yang
mengkilap (p.25)
Sabri used more amplification technique in translating “The Broken
Wings”, he used 13 times. Begins from the number one, the clause Her hand,
69
when I touched it, was like a white lily, and a strange pang pierced my heart is
translated into Tangannya yang indah, waktu aku menyentuhnya, laksana bunga
bakung yang indah, putih seperti tanpa dosa. Dan perasaan yang aneh tiba-tiba
menyerbu hatiku. The phrase white lily which is translated into laksana bunga
bakung is added by ...yang indah, putih seperti tanpa dosa. This kind of
translation technique belongs to amplification due to its additional explanation is
almost similar to Delisle’s theory and tends to use Newmark’s paraphrase.
Another simile which is translated by using amplification technique can be
seen in number two, clause Saying this, he turned to Selma as if to ask
confirmation of his statement is translated into Sambil mengatakan kalimat itu, ia
menoleh ke arah Salma. Ia mengangguk, kemudian melihatku seperti orang yang
menemukan kenalan lamanya kembali. The additional information in translated
version is the clause Ia mengangguk, kemudian melihatku. The writer can say that
this translation technique is amplification due to additional information is applied.
The last example of amplification technique used by Sabri is the clause
like a bride in her white silk dress which is translated into seperti seorang
pengantin perempuan yang sedang mengenakan kebaya putih yang mengkilap.
The additional description by phrase yang mengkilap that indicates amplification
technique is applied by Sabri.
4.1.2.3 Compensation
Compensation is translation technique which is used to introduce a Source
Text (ST) element of information or stylistic effect in another place in the Target
70
Text (TT) because it can not be replaced in the same place as in the ST. This
technique is only used by Sabri as many as three similes or 1.69%.
Similes Translated by Sabri
No.
1.
Source Language
Target Language
The first Eve led Adam out of Adalah Hawa yang menyebabkan
Paradise by her own will, while Adam keluar dari sorga dengan
Selma made me enter willingly into keinginannya. Sementara Salma
the paradise of pure love and virtue mengantarkan
aku
memasuki
by her sweetness and love; but what taman cinta yang murni dengan
happened to the first man also kebajikan, keanggunan, dan cinta
happened to me, and the fiery sword kasihnya. Kecuali bahwa apa
which chased Adam out of Paradise yang menimpa makhluk pertama
was like the one which frightened itu juga menimpaku. Dan pedang
me by its glittering edge and forced tajam yang menghalau Adam
me away from paradise of my love keluar dari sorga semisal yang
without having disobeyed any order membuatku takut oleh kilatnya
or tasted the fruit of the forbidden dan memaksaku menjauh dari
tree. (p.3)
sorga cintaku tanpa pengingkaran
atas segala macam perintah atau
merasakan nikmatnya buah pohon
terlarang itu.* (pakai footnote)
(p.2)
2.
Selma stared at me a moment as if Salma menatap ke arahku sejenak
doubting that a visitor could have seakan
entered their house. (p.8)
tiada
percaya
kalau
seorang tamu telah memasuki
rumahnya. (p.16)
3.
Selma listened to my words with Salma mendengarkan kata-kata
palpitating
heart,
and
said itu dengan hati berdebar. Dia lalu
71
“Tomorrow the truth will become berkata, “Besok aku akan menjadi
ghostly and the awakening will be seperti
like a dream. (p.24)
hantu
keterjagaan
dan
akan
saat-saat
berubah
menjadi sebuah mimpi. (p.55)
Started from number one, the phrase fiery sword which is similar meaning
to pedang yang membara is translated into pedang tajam or sharp sword. This
technique is called compensation because the stylistic effect factor is applied here.
Tajam is more suitable to accompany the word sword in Bahasa Indonesia than to
use membara.
While in number two, the clause Selma stared at me a moment as if
doubting that a visitor could have entered their house was translated into Salma
menatap ke arahku sejenak seakan tiada percaya kalau seorang tamu telah
memasuki rumahnya. In this case, the phrase their house was translated into
rumahnya that supposed to be rumah mereka. This technique belongs to
compensation since the determiner of belonging has been change. Different from
transposition technique in which changes grammatical category, e.g., adverbial to
verb, in compensation technique number one case above, Sabri tried to replace
general ownership determiner their house into her house into specific ownership
determiner.
Furthermore, in the last example, Sabri replaced the clause Tomorrow the
truth will become ghostly and the awakening will be like a dream into Besok aku
akan menjadi seperti hantu dan saat-saat keterjagaan akan berubah menjadi
sebuah mimpi. In this simile, the word like replaced by berubah that is supposed
72
to be seperti. In this case, Sabri thinks that a dream is something unreal, so he
preferred to use berubah (change) to translate like into Bahasa Indonesia.
4.1.2.4 Description
As mentioned in chapter two, description technique is the translation
technique to replace a term or expression with a description of its form or/and
function. In translating “The Broken Wings”, this technique only used by Sabri as
many as three times or 1.69%. Below are the similes of description technique used
by the translator.
Similes Translated by Sabri
No.
1.
Source Language
Target Language
Today, after many years have
Saat
passed, I have nothing left out of
berlalu,
that beautiful dream except painful
apapun. Tak ada yang tersisa dari
memories flapping like invisible
impian
wings around me, filling the depths
kenangan
of my heart with sorrow, and
mengepak-ngepak laksana sayap-
bringing tears to my eyes; and my
sayap tak tampak di sekelilingku.
beloved, beautiful Selma, is dead
Ia melahirkan rintihan kedukaan
and nothing is left to commemorate
di dasar hati dan mengucurkan
her except my broken heart and
air mata putus asa di pelupuk
tomb surrounded by cypress trees.
mata. Salma yang anggun, sudah
(p.3)
tiada. Tiada yang tersisa untuk
itu,
sekadar
setelah
aku
indah
tahun-tahun
tidak
itu,
yang
memiliki
melainkan
menyakitkan
mengingatnya
selain
hatiku yang patah dan seonggok
kuburan yang dikelilingi pohon73
pohon cemara. (p.3)
2.
My neighbours, you remember the Para tetanggaku, tentu kalian
dawn of youth with pleasure and masih ingat masa muda dengan
regret its passing; but I remember it keriangannya dan menyesalkan
like a prisoner who recalls the bars berlalunya. Tetapi aku mengingat
and shackles of his jail. (p.4)
semua
seorang
itu
tak
beda
tawanan
dengan
yang
menggambarkan kembali jeruji
dan
belenggu-belenggu
kesengsaraan di dalamnya. (p.5)
3.
He stared at me for a moment, and I Dia menatapku sejenak. Dan aku
noticed a change in his expression melihat perubahan raut mukanya
as if my few simple words had dengan
revealed to him a new idea. (p.7)
jelas,
seakan-akan
penuturanku yang simpatik itu
memberinya gagasan baru. (p.13)
In the table above, first, in translating the clause painful memories flapping
like invisible wings around me, filling the depths of my heart with sorrow, and
bringing tears to my eyes into kenangan yang menyakitkan mengepak-ngepak
laksana sayap-sayap tak tampak di sekelilingku. Ia melahirkan rintihan kedukaan
di dasar hati dan mengucurkan air mata putus asa di pelupuk mata, the translator
applied description technique since Sabri adds the phrase putus asa di pelupuk in
his translated text.
The second example of description technique is the clause but I remember
it like a prisoner who recalls the bars and shackles of his jail which is translated
into Tetapi aku mengingat semua itu tak beda dengan seorang tawanan yang
menggambarkan kembali jeruji dan belenggu-belenggu kesengsaraan di
74
dalamnya. In this case, the phrase shackles has been expanded into belenggubelenggu kesengsaraan, so this technique belongs to description.
The last example of description technique is indicated by sentence He
stared at me for a moment, and I noticed a change in his expression as if my few
simple words had revealed to him a new idea into Dia menatapku sejenak. Dan
aku melihat perubahan raut mukanya dengan jelas, seakan-akan penuturanku
yang simpatik itu memberinya gagasan baru. Sabri added dengan jelas to his
translated text which is not uttered in the source text. That is why this translation
technique belongs to description.
4.1.2.5 Discursive Creation
Discursive creation is the translation technique to establish a temporary
equivalence that is totally unpredictable out of context. In translating “The Broken
Wings”, this technique is used as many as two times or 1.13% by M. Ruslan
Shiddieq and five times or 2.82% by Sabri.
4.1.2.5.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
A woman’s heart is like a field Hati
seorang
wanita
laksana
turned into a battleground; after the sebuah pedang yang berubah jadi
trees are uprooted and the grass is medan
pertempuran;
sesudah
burned and the rocks are reddened pohon-pohon ditumbangkan dan
with blood and the earth is planted rerumputan terbakar dan batuwith bones and skulls, it is calm and batu karang memerah oleh darah
silent as if nothing has happened; dan
75
bumi
ditanami
dengan
for the spring and autumn come at tulang-tulang
dan
tengkorang-
their intervals and resume their tengkorak, ia akan tenang dan
work. (p.22)
diam seolah tak ada sesuatu pun
terjadi karena musim semi dan
musim
waktunya
gugur
datang
dan
pada
memulai
pekerjaannya. (p.52)
2.
Don’t you believe that thwarted Tidak percayakah anda bahwa
love which leads a woman to the cinta tersita yang membawa
grave is like the despair which seorang perempuan ke liang
pervades the people of the earth? kuburnya itu bagaikan
keputusasaan yang menyelubungi
(p.29)
penghuni bumi? (p.69)
According to the table above, the clause A woman’s heart is like a field
turned into a battleground is translated into Hati seorang wanita laksana sebuah
pedang yang berubah jadi medan pertempuran by M. Ruslan Shiddieq. In this
case, he used discursive creation translation technique due to field is not similar to
pedang, and this is totally out of context.
The next example of discursive creation technique is translating the clause
Don’t you believe that thwarted love which leads a woman to the grave is like the
despair which pervades the people of the earth into Tidak percayakah anda bahwa
cinta tersita yang membawa seorang perempuan ke liang kuburnya itu bagaikan
keputusasaan yang menyelubungi penghuni bumi. In this case thwarted is
translated into tersita not into merintangi, menghalangi, or menggagalkan. It is
clear that the technique belongs to discursive creation due to its out of context.
76
4.1.2.5.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
My life was a coma, empty like that Hidupku laksana terhenti, hampa
of Adam’s in Paradise, when I saw seperti Adam di sorga, ketika aku
Selma standing before me like a melihat Salma berdiri di
column of light. (p.3)
hadapanku laksana mercusuar.
(p.2)
2.
The boy’s soul undergoing the Jiwa seorang anak yang tak henti
buffeting of sorrow is like a white dilanda derita adalah seumpama
lily just unfolding. (p.5)
teratai
putih
yang
sedang
semula
laksana
terapung. (p.7)
3.
Her sweet lips were like two Bibir
yang
withering roses that autumn has left sekuntum bunga aster, kini bagai
on their stems. (p.20)
mawar ditinggal musim gugur di
tangkainya. (p.47)
Different from M. Ruslan Shiddieq, Sabri used discursive creation
technique five times or 2.82%. The first example of his translation is Selma
standing before me like a column of light which is translated into Salma berdiri di
hadapanku laksana mercusuar. The phrase a column of light is supposed to be
seberkas cahaya, while laksana mercusuar is out of context. By this reason, the
technique in translating this simile belongs to discursive creation.
The second example of discursive creation technique is in translating The
boy’s soul undergoing the buffeting of sorrow is like a white lily just unfolding
into Jiwa seorang anak yang tak henti dilanda derita adalah seumpama teratai
putih yang sedang terapung. Similar to the first example, discursive creation has
77
been applied since unfolding is translated into terapung, that is supposed to be
mekar or terbentang.
The last example is shown in the translation of roses into aster, because
roses are different from aster. A translation based on a change of viewpoint
belongs to discursive creation since there is unpredictable context in target
language.
4.1.2.6 Established Equivalent
Established equivalent is a technique to use a term or expression
recognized by dictionaries or language in use as an equivalent in the target
language. This technique used by M. Ruslan Shiddieq as many as nine times or
5.08% and by Sabri as many as 10 times or 5.65%. Below are the tables of
established equivalent examples.
4.1.2.6.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
My life was a coma, empty like that Hidupku adalah sebuah koma,
of Adam’s in Paradise, when I saw hampa bagai kehidupan Adam
Selma standing before me like a dalam Sorga, ketika aku melihat
column of light. (p.3)
Selma berdiri di depanku seperti
seberkas cahaya. (p.30)
2.
An old man likes to return in Seorang
laki-laki
tua
suka
memory to the days of his youth kembali pada kenangan masalike a stranger who longs to go back masa mudanya seperti seorang
to his own country. (p.6)
asing yang rindu pulang ke
78
kampung halamannya. (p.40)
3.
The moon came out from behind Bulan muncul dari balik Gunung
Mount Sunnin and shone over the Sunnin
dan
menebarkan
coast, hills, and mountains; and we cahayanya pada pantai-pantai,
could see the villages fringing the bukit-bukit,
dan
pegunungan-
valley like apparitions which have pegunungan, dan kami dapat
suddenly
been
conjured
from melihat
nothing. (p.14)
dusun-dusun
yang
menghiasi lembah seperti hantuhantu yang tiba-tiba muncul dari
alam maya. (p.60)
According to the table above, the clause Selma standing before me like a
column of light is translated into Hidupku adalah sebuah koma, hampa bagai
kehidupan Adam dalam Sorga, ketika aku melihat Selma berdiri di depanku
seperti seberkas cahaya. This translation technique belongs to established
equivalent since the phrase column of light is translated into seberkas cahaya, as
this term is a standard term in Bahasa Indonesia.
The second example of established equivalent is in translating An old man
likes to return in memory to the days of his youth like a stranger who longs to go
back to his own country into Seorang laki-laki tua suka kembali pada kenangan
masa-masa mudanya seperti seorang asing yang rindu pulang ke kampung
halamannya. In Bahasa Indonesia, kampung halaman is a standard term and
similar to hometown.
The last example is shown in number three, which the villages fringing the
valley like apparitions which have suddenly been conjured from nothing is
79
translated into dusun-dusun yang menghiasi lembah seperti hantu-hantu yang
tiba-tiba muncul dari alam maya. A translation based on a change of this
viewpoint belongs to established equivalent since the word menghiasi is the most
proper word to express the beautiful of figurative language, in this case simile,
and also as standard term.
4.1.2.6.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
Poets of the West think of Lebanon Para
as a legendary place... (p.14)
penyair
menganggap
dari
Barat
Lebanon
sebagai
suatu negeri antah berantah...
(p.31)
2.
I felt as if my heart were choked Duka
with grief. (p.17)
cita
yang
dialaminya
bercampur dengan rasa kasih
sayang terhadap anak-anaknya,
kurasakan
seakan-akan
hatiku
penuh dengan penderitaan. (p.39)
3.
I shall remember you as a sower Aku
akan
mengingatmu
remembers the bundles of wheat on sebagaimana seorang petani yang
his threshing flour, and as a mengingat berkas-berkas gandum
shepherd
remembers
the
green di lantai tempat mengiriknya, juga
prairies the sweet brooks.” (p.23)
seperti
gembala
mengingat
padang rumput yang luas dan
sungai yang segar airnya. (p.83)
Based on the example number one above, the clause Lebanon as a
legendary place... translated into clause Lebanon sebagai suatu negeri antah
80
berantah. The clause negeri antah berantah belongs to standard term of legendary
place in Bahasa Indonesia, rather than using tempat melegenda in literal
translation.
The second example is the clause I felt as if my heart were choked with
grief which is translated into kurasakan seakan-akan hatiku penuh dengan
penderitaan. A translation based on a change of this viewpoint belongs to
established equivalent because the word penuh is the most proper word to express
somebody’s grief in this simile.
While in the example number two, Sabri preferred to translate the phrase
sweet brooks into sungai yang segar airnya than to translate it into selokan yang
manis. In this technique, Sabri applied established equivalent due to segar is the
most equivalent word with sungai. Selokan yang manis does not belong to proper
phrase since the meaning is almost similar to the sweet river or the river’s water is
sweet like sugar.
4.1.2.7 Generalization
This technique uses a more general or neutral term, as an opposition to
particularization. In translating simile written in “The Broken Wings” novel, M.
Ruslan Shiddieq used generalization technique as many as 10 one time or 5.65%,
while Sabri uses this technique as many as 12 times or 6.78%. Below are the
examples of simile which is translated by generalization technique.
81
4.1.2.7.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
I appeal to you in the names of “Wahai sahabat-sahabat masa
those virgins whom your hearts mudaku,
kepada
kalian
aku
have loved, to lay a wreath of menghimbau atas nama perawanflowers on the forsaken tomb of my perawan suci yang menambatkan
beloved, for the flowers you lay on cinta kasih dari hatimu, untuk
Selma’s tomb are like falling drops meletakkan sesunting bunga di
of dew for the eyes of dawn on the atas
leaves of withering rose. (p.4)
pusara
bunga-bunga
cintaku,
karena
yang
kalian
letakkan di atas pusara Selma
adalah laksana titik-titik embun
jatuh dari mata Sang fajar di atas
daun-daun bunga mawar yang
kering.” (p.32)
2.
The orange trees and apple trees, Pohon-pohon jeruk dan apel yang
looking like houris or brides sent by nampak bagai bidadari-bidadari
nature to inspire poets and excite atau gadis-gadis yang dititahkan
the
white
imagination,
garments
were
of
wearing oleh alam buat memberi ilham
perfumed para penyair dan membangkitkan
khayalan,
blossoms. (p.6)
baju
berselimutkan
putih
kembangnya
dari
baju-
kembang-
yang
mekar
semerbak. (p.38)
3.
People lead him like a blind man. Orang-orang memperlakukannya
(p.7)
seperti orang buta. (p.12)
82
According to the example number one above, M. Ruslan Shiddieq used
generalization technique in translating the phrase withering rose into bunga
mawar yang kering. In this case, withering is similar to faded, and he prefers to
choose kering or dry to replace layu which layu is similar in meaning to faded.
The writer assumes that dry is more general than faded.
Another simile which is translated by using generalization technique can
be seen in number two, when M. Ruslan Shiddieq translated like houris or brides
by bagai bidadari-bidadari atau gadis-gadis, or in literally is similar meaning to
fairies or girls. In this case, he prefers to choose more general terms rather than
literal terms.
The last generalization technique used by M. Ruslan Shiddieq is People
lead
him
like
a
blind
man
which
is
translated
into
Orang-orang
memperlakukannya seperti orang buta. In this case, the phrase lead him is
translated into memperlakukannya or similar meaning to treat him/her. The writer
thinks that memperlakukannya is more general than menuntunnya in phrase lead
him.
4.1.2.7.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
and Selma Karamy was the first Selma Karami adalah perempuan
woman who awakened my spirit pertama yang mampu menggugah
with her beauty and led me into the perasaanku
dengan
garden of high affection, where kecantikannya, serta membawaku
days pass like dreams and nights masuk ke dalam tanah kasih yang
83
like weddings. (p.3)
agung, di mana hari-hari berlalu
laksana
mimpi
dan
malam-
malamku layaknya pesta pora.
(p.1)
2.
That year is like a mountain peak in Tahun-tahun tersebut tak jauh
my life, for it awakened knowledge berbeda dengan puncak-puncak
in me and made me understand the gunung dalam hidupku. Karena ia
vicissitudes of mankind (p.5)
menjadikan ak berpikir tentang
alam
ini
dan
membuatku
memahami perubahan-perubahan
pada diri manusia. (p.8)
3.
He lives spiritually in the past Mereka hidup secara spiritual di
because the present passes swiftly, masa lalu sebab hari ini berlalu
and the future seems to him an dengan
cepat.
approach to the oblivion of the mendatang
grave. (p.6)
seperti
Dan
baginya
sebuah
masa
nampak
jalan
menuju
kematian. (p.11)
Different from M. Ruslan Shiddieq, Sabri used generalization technique 12
times in translating “The Broken Wings”. The first example is in translating the
clause where days pass like dreams and nights like weddings into di mana harihari berlalu laksana mimpi dan malam-malamku layaknya pesta pora. In this
case, the phrase nights like weddings is translated into malamku layaknya pesta
pora. Pesta pora is similar meaning to party, so the writer thinks that pesta pora
is more general than pernikahan which is similar in meaning to weddings.
The second example also tells the reader a generalization technique which
is used by Sabri. The clause That year is like a mountain peak in my life is
84
translated into Tahun-tahun tersebut tak jauh berbeda dengan puncak-puncak
gunung dalam hidupku. In translating mountain into gunung, the writer believes
that Sabri used generalization technique because gunung is more general than
pegunungan which is similar in meaning to mountain as Kahlil Gibran wrote.
The last example of generalization technique is in translating clause the
future seems to him an approach to the oblivion of the grave into masa mendatang
baginya nampak seperti sebuah jalan menuju kematian. This simile shows
generalization technique in generalizing grave into mortality which is similar in
meaning to kematian.
4.1.2.8 Literal Translation
This technique translates a word or an expression word for word. Literal
translation technique is the most frequent technique used by both translators. M.
Ruslan Shiddieq used this technique as many as 135 times or 76.27% and by Sabri
as many as 84 times or 47.46%. Below are the tables of literal translation
technique examples.
4.1.2.8.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
I was eighteen years of age when Usiaku baru delapan belas tahun
love opened my eyes with its magic ketika cinta membuka mataku
rays and touched my spirit for the dengan sinar-sinar ajaibnya dan
first time with its fiery fingers, and menyentuh jiwaku untuk pertama
Selma Karamy was the first woman kalinya
85
dengan
jari-jemarinya
who awakened my spirit with her yang
membara,
dan
Selma
beauty and led me into the garden Karamy adalah wanita pertama
of high affection, where days pass yang
like dreams... (p.3)
membangkitkan
dengan
kecantikannya
jiwaku
serta
membimbingku ke dalam taman
cinta kasih yang luhur, tempat
hari-hari berlalu laksana mimpi
(p.29)
2.
I was eighteen years of age when Usiaku baru delapan belas tahun
love opened my eyes with its magic ketika cinta membuka mataku
rays and touched my spirit for the dengan sinar-sinar ajaibnya dan
first time with its fiery fingers, and menyentuh jiwaku untuk pertama
Selma Karamy was the first woman kalinya
who awakened my spirit with her yang
dengan
membara,
jari-jemarinya
dan
Selma
beauty and led me into the garden Karamy adalah wanita pertama
of high affection, where days yang
pass...and
nights
membangkitkan
like dengan
kecantikannya
jiwaku
serta
membimbingku ke dalam taman
weddings. (p.3)
cinta kasih yang luhur, tempat
hari-hari
malam
berlalu...dan
bagaikan
malam-
perkawinan.
(p.29)
3.
The first Eve led Adam out of Hawa yang pertama membimbing
Paradise by her own will, while Adam keluar dari Sorga atas
Selma made me enter willingly into kemauannya sendiri, sementara
the paradise of pure love and virtue Selma
menuntun
aku
masuk
by her sweetness and love; but what dengan rela ke dalam sorga cinta
happened to the first man also murni dan kebenaran dengan
happened to me, and the fiery sword kemanisan dan cinta kasihnya:
which chased Adam out of Paradise namun apa yang terjadi terhadap
86
was like the one which frightened Adam pun terjadi pula padaku,
me by its glittering edge and forced dan
pedang
membara
yang
me away from paradise of my love mengusir Adam dari Sorga mirip
without having disobeyed any order pedang yang menakuti-nakuti aku
or tasted the fruit of the forbidden dengan ujungnya yang mengkilat,
tree. (p.3)
dan memaksaku menjauhi sorga
cintaku
yang
tak
pernah
mengabaikan suatu perintah atau
mencicipi
buah
dari
pohon
terlarang. (p.30)
Started from number one, the clause Selma Karamy was the first woman
who awakened my spirit with her beauty and led me into the garden of high
affection, where days pass like dreams... into Selma Karamy adalah wanita
pertama yang membangkitkan jiwaku dengan kecantikannya serta membimbingku
ke dalam taman cinta kasih yang luhur, tempat hari-hari berlalu laksana mimpi.
In this case, the word dreams is translated into mimpi, and the writer assumes that
this technique is literal translation technique.
Similar to number one, the second example also reflects literal translation
technique since the clause the garden of high affection, where days pass...and
nights like weddings is translated literally into taman cinta kasih yang luhur,
tempat hari-hari berlalu...dan malam-malam bagaikan perkawinan. In addition,
the third example also reflects literal translation technique due to the phrase fiery
sword is translated into pedang membara.
87
In order to analyze the literal translation above, the writer tries to write
down the translation at below of the source language text or separate the sentence
into parts, whether one word, group to group, or clause to clause is provided in the
following analysis.
the fiery sword which chased Adam out of Paradise was like the one
pedang membara yang mengusir Adam dari Sorga mirip pedang
which frightened me by its glittering edge and forced me away from paradise
yang menakuti-nakuti aku dengan ujungnya yang mengkilat, dan memaksaku
menjauhi sorga
of my love without having disobeyed any order or tasted the fruit of the forbidden
tree.
cintaku yang tak pernah mengabaikan suatu perintah atau mencicipi buah dari
pohon terlarang.
4.1.2.8.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
and Selma Karamy was the first Selma Karami adalah perempuan
woman who awakened my spirit pertama yang mampu menggugah
with her beauty and led me into the perasaanku
dengan
garden of high affection, where kecantikannya, serta membawaku
days pass like dreams (p.3)
masuk ke dalam tanah kasih yang
agung, di mana hari-hari berlalu
laksana mimpi (p.1)
88
2.
for the flowers you lay on Selma’s barangkali
tomb are like falling drops of dew pelataran
bunga-bunga
kubur
Salma
di
itu
for the eyes of dawn on the leaves menjadi laksana setetes embun
of withering rose. (p.4)
yang dititikkan pelupuk sang fajar
pada bunga mawar yang layu.
(p.4)
3.
All those beauties which I speak of Seluruh
keindahan
yang
aku
now and which I long to see, as a sampaikan sekarang ini dan aku
child longs for his mother’s breast rindukan itu, tak ubahnya laksana
seorang bayi merindukan tetek
(p.5)
ibunya, (p.6)
Different from M. Ruslan Shiddieq, Sabri used literal translation technique
as many as 84 times or 47.46%. In dealing with the translation of the first
example, the translator applied literal translation. He translated the clause and led
me into the garden of high affection, where days pass like dreams literally.
While in the second example, M. Ruslan Shiddieq shows literal translation
in translating the sentence for the flowers you lay on Selma’s tomb are like falling
drops of dew for the eyes of dawn on the leaves of withering rose into barangkali
bunga-bunga di pelataran kubur Salma itu menjadi laksana setetes embun yang
dititikkan pelupuk sang fajar pada bunga mawar yang layu. In this case,
particularly the word whithering is translated literally into layu, not translated by
using generalization technique as doing by M. Ruslan Siddieq, when he translated
whithering into layu.
The last example is shown in number three, which the clause All those
beauties which I speak of now and which I long to see, as a child longs for his
89
mother’s breast is translated into Seluruh keindahan yang aku sampaikan
sekarang ini dan aku rindukan itu, tak ubahnya laksana seorang bayi merindukan
tetek ibunya. This translation technique belongs to literal translation because the
word breast is translated literally into tetek, not into susu as translated by M.
Ruslan Shiddieq.
4.1.2.9 Modulation
It is said that modulation technique is to change the point of view, focus or
cognitive category in relation to the Source Text (ST), also it can be lexical or
structural. This technique used by M. Ruslan Shiddieq as many as one time or
0.56% and by Sabri as many as seven times or 3.95%. Below are the tables of
modulation technique examples.
4.1.2.9.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
I shall remember you... and as a Aku akan mengenangmu.... seperti
hungry man remembers a banquet... seorang lelaki lapar mengenang
(p.23)
sebuah meja makan... (p.83)
Based on the example number one above, the clause I shall remember
you... and as a hungry man remembers a banquet is translated into Aku akan
mengenangmu.... seperti seorang lelaki lapar mengenang sebuah meja makan. In
literal translation, the word banquet is similar meaning to perjamuan, while M.
Ruslan Shiddieq translates it into meja makan or dining table in literal translation.
90
From this reason, the writer believes that the translator wants to change the
reader’s view point.
4.1.2.9.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
In her white silk dress, Selma was Dengan kebaya sutra putihnya
slender as a ray of moonlight yang berkilauan, Salma begitu
coming through the window. (p.11)
anggun seperti secercah sinar
rembulan
yang
masuk
lewat
jendela. (p.22)
2.
She looked like a lily bent to the Dia tampak seperti bunga bakung
carpet of green grass by the breeze berayun oleh semilir angin fajar
of dawn. (p.13)
3.
di hamparan rumput hijau. (p.28)
Then the carriage reached the Kereta sudah mencapai pintu
entrance of the garden, Farris masuk taman, saat itu Faris
Effandi dismounted and slowly Afandi turun dan berjalan pelanwalked towards us, bending forward pelan ke arah kami. Kepalanya
slightly as if he were carrying a tertunduk
heavy load. (p.16)
menghujam
tanah
seakan-akan ada beban yang
sangat berat sedang dipikulnya.
(p.36)
Started from number one above, modulation technique is used in
translating the clause Selma was slender as a ray of moonlight coming through the
window into Dengan kebaya sutra putihnya yang berkilauan, Salma begitu
anggun seperti secercah sinar rembulan yang masuk lewat jendela. In this
example, Sabri preferred to choose anggun which is in literally similar meaning to
91
elegant rather than to choose ramping which is similar meaning to slender. It
perhaps the translator wanted to bring into line between white silk and elegant.
The second example also tells the reader a modulation technique which is
used by Sabri. The clause She looked like a lily bent to the carpet of green grass
by the breeze of dawn is translated into Dia tampak seperti bunga bakung berayun
oleh semilir angin fajar di hamparan rumput hijau. In translating like a lily bent
into seperti bunga bakung berayun, the writer believes that Sabri used modulation
technique because if the phrase the lily bent translated literally, it should be bunga
bakung bengkok not bunga bakung berayun. This indicates that the translator
focused on cultural word in here—bunga which is equivalent with berayun.
The last example of adaptation technique is almost similar to example
number one, when the clause Farris Effandi dismounted and slowly walked
towards us, bending forward slightly as if he were carrying a heavy load is
translated into Faris Afandi turun dan berjalan pelan-pelan ke arah kami.
Kepalanya tertunduk menghujam tanah seakan-akan ada beban yang sangat berat
sedang dipikulnya. In this case the word kepalanya is a translator’s point of view
to express the person, Farris Effandi’s bending forward of his head which is not
expressed in the Source Text (ST).
4.1.2.10 Particularization
This technique is to use a more precise or concrete term. In translating
simile written in “The Broken Wings” novel, M. Ruslan Shiddieq used
particularization technique as many as five time or 2.82%, while Sabri used this
92
technique as many as 11 times or 6.21%. Below are the examples of simile which
is translated by particularization technique.
4.1.2.10.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
imprisoned in the darkness of terpenjara ke dalam kegelapan
youth, as a falcon suffers in its cage masa remaja, laksana seekor
when it sees a flock of birds flying burung rajawali merana dalam
freely in the spacious sky. (p.5)
sangkarnya
ketika
sekawanan
terbang
dilihatnya
burung-burung
dengan
bebasnya
di
langit yang lapang. (p.6)
2.
He lives spiritually in the past Jiwanya hidup di zaman silam
because the present passes swiftly, karena masa kini begitu cepat
and the future seems to him an melaju, dan masa depan mendekat
approach to the oblivion of the terasa
grave. (p. 6)
menawarkan
seperti
keremangan liang kubur padanya.
(p.40)
3.
It is hard to answer these questions,
Sulit
menjawab
but I say truly that in that hour I felt
pertanyaan
an emotion that I had never felt
berkata sebenarnya bahwa pada
before, a new affection resting
saat itu aku merasakan suatu
calmly in my heart, like the spirit
perasaan
hovering over the waters at the
kurasakan sebelumnya, suatu cita
creation of the world, and from that
rasa
affection was born my happiness
tenteramnya bersemayam dalam
and my sorrow. (p.9)
hatiku,
itu,
yang
baru
seperti
pertanyaannamun
tak
yang
roh
aku
pernah
dengan
yang
melayang-layang di atas lautan
pada penciptaan dunia, dan dari
93
cita rasa itu lahir kebahagiaan
dan kesedihan. (p.48)
According to the example number one above, M. Ruslan Shiddieq used
generalization technique in translating the clause imprisoned in the darkness of
youth, as a falcon suffers in its cage which is translated into terpenjara ke dalam
kegelapan masa remaja, laksana seekor burung rajawali merana dalam
sangkarnya. In this case the word youth is not literally translated by the translator
into masa muda, but he preferred to translate into masa remaja which is similar in
meaning to adolescence. The writer thinks that masa remaja is more specific than
masa muda, so this technique belongs to particularization.
Furthermore, the second example also reflects particularization technique
since the word grave is translated particularly into liang kubur. In English, grave
is similar meaning to kuburan, which is more general than liang kubur. Based on
this analysis, the writer thinks that the second example belongs to particularization
technique.
The last example is shown in number three, which the clause a new
affection resting calmly in my heart, like the spirit hovering over the waters at the
creation of the world which is translated into suatu cita rasa baru yang dengan
tenteramnya bersemayam dalam hatiku, seperti roh yang melayang-layang di atas
lautan pada penciptaan dunia. In this case, the word lautan is translated into
lautan not into air which is similar meaning to waters. In Bahasa Indonesia,
lautan is similar meaning to ocean or sea. So, the writer believes that the
translator used particularization technique.
94
4.1.2.10.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
Saying this, he turned his head Sembari berkata demikian, dia
toward the window as if he were menggeser pandangan kea rah
trying to solve the problems of jendela
seakan-akan
berusaha
human existence by concentrating memecahkan persoalan-persoalan
on the beauty of the universe. (p.7)
hidup manusia dengan mengamati
dalam-dalam
keindahan
alam
semesta. (p.13)
2.
Like a devoted worshiper who Ibarat seorang insan remaja yang
receives his blessing by kissing the taat memohon berkat dengan cara
altar in a shrine, I took Selma’s mencium altar, kuambil tangan
hand, placed my burning lips on it, Salma, kubawa ke bibirku yang
and gave it a long kiss, the memory membara. Kuberi ia ciuman yang
of which melts my heart and amat panjang, kenangan yang
awakens by its sweetness all the meluluhlantakkan hatiku dan rasa
virtue of my spirit. (p.16)
manisnya membangunkan semua
kebaikan jiwaku. (p.36)
3.
I want you to remember me as a Aku ingin engkau mengingatku
mother remember her child that seolah-olah engkau seorang ibu
died before it saw the light, (p.23)
yang
tidak
bisa
melupakan
putranya yang mati saat ia masih
kecil, (p.54)
Different from M. Ruslan Shiddieq, Sabri used particularization technique
as many as 11 times in translating simile of “The Broken Wings” novel. First, he
translated verb trying trough particularization technique into berusaha, while in
Bahasa Indonesia trying is similar meaning to mencoba. In this case, the writer
95
thinks that berusaha is a specific word of mencoba, so this technique belongs to
particularization.
While in the second example, Sabri applied particularization technique in
translating the worshiper into insan remaja yang taat, while in Bahasa Indonesia,
worshiper is similar meaning to pemuja. In this case, the writer also thinks that
insan remaja yang taat is a specific term of pemuja, so this technique is
categorized into particularization.
The last example is in translating her child that died before it saw the light
into putranya yang mati saat ia masih kecil. Sabri used particularization technique
in translating this phrase because saat ia masih kecil is a specific clause of before
it saw the light which has similar meaning to sebelum ia melihat cahaya. So this
technique belongs to particularization.
4.1.2.11 Reduction
The last technique used by both translators is reduction. This technique
suppresses a Source Text (ST) information item in the Target Text (TT). This
technique used by M. Ruslan Shiddieq as many as 10 times or 5.65% and by Sabri
as many as 19 times or 10.73%. Below are the tables of reduction examples.
4.1.2.11.1 Similes Translated by M. Ruslan Shiddieq
No.
1.
Source Language
Target Language
Today, after many years have Kini
beberapa
tahun
sudah
passed, I have nothing left out of berlalu, dan tak satu pun mimpi
that beautiful dream except painful indah itu tersisa padaku kecuali
96
memories flapping like invisible kenangan-kenangan menyakitkan
wings around me, filling the depths yang terayun-ayun bagai sayapof my heart with sorrow, and sayap yang nampak di seputarku,
bringing tears to my eyes; and my menyedihkan
hatiku
serta
beloved, beautiful Selma, is dead mengalirkan air mataku; dan
and nothing is left to commemorate kekasihku Selma yang jelita kini
her except my broken heart and telah tiada, dan tak ada yang
tomb surrounded by cypress trees. tersisa
buat
mengenangnya
kecuali hatiku yang patah dan
(p.3)
sebuah makam yang dikelilingi
oleh pohon-pohon cypress.(p.31)
2.
The old man looked at me a Sejenak
laki-laki
moment, touching his forehead with memandangiku,
tua
itu
menyentuh
the ends of his fingers as if he were keningnya dengan ujung jaritrying to regain his memory (p.6)
jarinya seolah sedang mencoba
membangkitkan
kembali
ingatannya. (p.39)
3.
As I left the house of Farris Effandi Begitu kutinggalkan rumah Farris
Karamy, Selma’s voice still rang in Effandi Karamy, suara Selma
my ears, her beauty followed me masih terngiang di telingaku,
like a wraith, and her father’s tears kecantikannya masih mengikuti
dried slowly on my hand.(p.18)
seperti hantu, dan air mata
ayahnya mongering perlahan di
tanganku. (p.68)
According to the example number one above, M. Ruslan Shiddieq used
generalization technique in translating the clause filling the depths of my heart
with sorrow, and bringing tears to my eyes into menyedihkan hatiku serta
97
mengalirkan air mataku. In this kind of technique, M. Ruslan Shiddieq deleted the
clause filling the depths. Such translation is called reduction procedures.
While in the second sentence, the translator only reduce the target text by
deleting the pronoun he in translating The old man looked at me a moment,
touching his forehead with the ends of his fingers as if he were trying to regain his
memory. Because of that, this technique used also belongs to reduction.
The last instance of reduction technique can be seen in number three, when
the clause her beauty followed me like a wraith is translated into kecantikannya
masih mengikuti seperti hantu. In this case, the pronoun me is suppressed, so this
technique is categorized into reduction.
4.1.2.11.2 Similes Translated by Sabri
No.
1.
Source Language
Target Language
If that boy does not have diversion Manakala anak tersebut tidak
or friends or companions in his punya hiburan atau kawan dalam
games his life will be like a narrow permainan,
hidupnya
akan
prison in which he sees nothing but menjadi penjara yang sempit, di
spider webs and hears nothing but mana dia tidak mampu melihat
the crawling of insects. (p.5)
apa pun kecuali jaring laba-laba.
(p.7)
2.
It removed from my shoulders the Ia pulalah yang mematahkan
wings of youth and made me like a kemudaanku dari bahuku dan
pong of water between mountains membuatku seperti air di antara
which reflects in its calm surface gunung-gunung yang tenang dan
the shadows of ghosts and the memantulkan bayangan hantucolours of clouds and trees, but hantu dan warna-warni awan
98
cannot find an outlet by which to serta pepohonan. Tetapi tidak
pass
singing
to
the
sea. (p.5) menemukan sebuah jalan keluar
di mana sungai mengalir sambil
berdendang ke arah laut. (p.8)
3.
The orange trees and apple trees, Pohon-pohon badam dan apel,
looking like houris or brides sent by terlihat
laksana
mempelai
nature to inspire poets and excite pengantin dengan gaun putih
the
imagination,
white
garments
were
of
wearing bunga-bunga oleh alam untuk
perfumed mengilhami para penyair dan
blossoms. (p.6)
membangkitkan gairah fantasi.
(p.9)
Different from M. Ruslan Shiddieq, Sabri used reduction technique as
many as 19 times. First, in translating sentence number one, Sabri suppressed the
clause and hears nothing but the crawling of insects on its Target Text (TT). The
second example of reduction technique is reflected in suppressing the word
surface. Furthermore, the third example can be seen in number three above, when
the translator suppressed words houris or brides only into mempelai pengantin or
brides without translating houris into bidadari. This informs us that the reduction
technique is applied on the above examples.
4.2 Discussions
This study seeks to figure out the translation techniques found in the novel
“The Broken Wings” authored by Kahlil Gibran which is translated by M. Ruslan
Shiddieq and Sabri based on Albir and Molina’s classification (2002:509). The
99
collected data indicated that nine translation techniques of Molina are found in the
novel translated by M. Ruslan Shiddieq and 11 translation techniques are found in
the novel translated by Sabri.
The simple calculation is taken regarding the frequency of each translation
technique in translating similes found on the both novels. The following is a table
of frequency and percentage of the techniques used.
Table 4.5
Translation Techniques Used by M. Ruslan Shiddieq and Sabri in
Translating Similes
M. Ruslan
Shiddieq
Results
Techniques
Literal Translation
Reduction
Generalization
Established Equivalent
Particularization
Adaptation
Discursive Creation
Modulation
Amplification
Description
Compensation
Total
No.
F
P (%)
No.
1
2
3
4
5
6
7
8
9
13
14
135
10
10
9
5
4
2
1
1
0
0
177
76.27
5.65
5.65
5.09
2.83
2.26
1.13
0.56
0.56
0
0
100
1
2
4
6
5
7
9
8
3
10
11
-
100
P (%)
Similar
Similes
Translated
by.
47.46
10.73
6.78
5.65
6.22
5.65
2.82
3.96
7.35
1.69
1.69
100
51
0
0
1
0
2
0
0
1
0
0
55
Sabri
F
84
19
12
10
11
10
5
7
13
3
3
- 177
160
140
120
100
80
60
M. Ruslan Shiddieq
40
Sabri
20
0
Chart 4.5 Translation Techniques Used by M. Ruslan Shiddieq and Sabri in
Translating Similes of “The Broken Wings” Novel
According to the table 4.5 above, there are four similar techniques used in
similar order. First, literal translation technique, which is the most frequently used
technique in translating similes, respectively used by M. Ruslan Shiddieq as many
as 135 similes, and by Sabri as many as 84 similes. Second, reduction technique,
respectively used by M. Ruslan Shiddieq as many as 10 similes, and by Sabri as
many as 19 similes. Third, particularization technique, respectively used by M.
Ruslan Shiddieq as many as five similes, and by Sabri as many as 11 similes. The
last similar technique is modulation, respectively used by M. Ruslan Shiddieq as
many as one simile, and by Sabri as many as seven techniques.
101
Furthermore, in translating similes of “The Broken Wings” novel, both
translators have different techniques, depends on the text equivalency, analyzing
coherence, cohesion, and contextual dimension of their point of view. But, the
writer found similar similes translated by similar techniques by both translators.
The examples are provided in the following ellaboration.
4.2.1 Literal Translation
As well as the most frequently technique used by both translators, literal
translation technique is also the most frequently used technique in translating
similar similes by both translators. The frequencies of this intersection are as
many as 51 similes or 28.81% of total similes, from 135 similes translated by M.
Ruslan Shiddieq and 84 similes translated by Sabri. The figure can be seen in the
figure 4.2 below.
Translated by Translated by
M. Ruslan Shiddueq
Sabri
84
51
33
Figure 4.2 The Intersection of Similar Similes Translated by Literal
Translation Technique
In addition, we can see such similar similes translated by literal translation
technique, as provided in the following example.
Source Text (ST) as an example of similes taken from number 23:
102
An hour full of old memories // passed like the shadows // of the trees over the
grass (p.6)
Target Text (TT) of simile by M. Ruslan Shiddieq:
Satu jam yang penuh kenangan-kenangan lama // membersit bagai bayangbayang // pepohonan pada rerumputan. (p.40)
Target Text (TT) of simile by Sabri:
Satu jam penuh kenangan-kenangan itu // berlalu seperti bayang-bayang // pohon
di rerumputan. (p.11)
In the above case, the topic passed is respectively translated into
membersit by M. Ruslan Shiddieq, and berlalu by Sabri. In the meanwhile, the
comparison marker like is respectively translated into bagai by M. Ruslan
Shiddieq and seperti by Sabri. The last element of tripartite structure is vehicle,
the shadows, is also respectively translated into bayang-bayang by both
translators. All the above elements of tripartite structure are translated literally by
them.
4.2.2 Adaptation
Adaptation technique is the second most frequent technique used by both
translators in translating similar similes of translated novels “The Broken Wings”.
The frequencies of this intersection are as many as two similes or 1.13% of total
103
similes, four from similes translated by M. Ruslan Shiddieq and 10 from similes
translated by Sabri, from similes number 68 and 72. The figure of intersection can
be seen in the figure 4.3 below.
Translated by Translated by
M. Ruslan Shiddueq
Sabri
2
2
8
Figure 4.3 The Intersection of Similar Similes Translated by Adaptation
Technique
Source Text (TT) of simile taken from simile number 68:
My departure was like Adam’s exodus from Paradise, but the Eve of my heart was
not with me to make the whole world an Eden (p.18)
Target Text (TT) of simile by M. Ruslan Shiddieq:
Keberangkatanku laksana keluarnya Adam dari Taman Sorga, namun Hawa dari
hatiku tidak bersamaku untuk mengubah semesta dunia menjadi taman Aden
(p.68)
Target Text (TT) of simile by Sabri:
Kepergianku dari tempat itu bagai keluarnya Adam dari sorga Firdaus. Tetapi
Hawa yang ada di hatiku tidaklah mengiring langkahku yang membuat seluruh
dunia menjadi taman yang indah (p.39)
104
In the above case, the writer focuses on the vehicle paradise which is
respectively translated into Taman Sorga by M. Ruslan Shiddieq and into sorga
Firdaus by Sabri. In this case, adaptation technique is applied since Taman Sorga
and sorga Firdaus are cultural elements that influence an adaptation, including
religion aspect.
4.2.3 Established Equivalent
Established equivalent technique is the third most frequent of similar
technique used by both translators in translating similes of translated novel “The
Broken Wings”. Each translator has similar similes translated by using established
equivalent technique, as many as one simile or 0.56% of total similes, nine from
similes translated by M. Ruslan Shiddieq and 10 from similes translated by Sabri,
as an intersection. The figure of intersection can be seen in the figure 4.4 below.
Translated by Translated by
M. Ruslan Shiddueq
Sabri
8
1
9
Figure 4.4 The Intersection of Similar Similes Translated by Established
Equivalence Technique
Source Text (ST) of simile taken from number 54:
Poets of the West think of Lebanon as a legendary place, (p.14)
105
Target Text (TT) of simile by M. Ruslan Shiddieq:
Para penyair dari dunia Barat berpikir tentang tanah Libanon sebagai suatu
tempat dalam dongengan, (p.61)
Target Text (TT) of simile by Sabri:
Para penyair dari Barat menganggap Lebanon sebagai suatu negeri antah
berantah (p.31)
According to the above sentences, the vehicle legendary place is translated
into tempat dalam dongengan by M. Ruslan Shiddieq, while Sabri translated that
vehicle into negeri antah berantah. Established equivalent is applied here due to
legendary place is not translated into tempat legenda. The writer thinks that
tempat dalam dongengan and negeri antah berantah are the most equivalent terms
to change tempat legenda.
4.2.4 Amplification
Similar to Established Equivalent, Amplfication technique is also the third
most frequent technique used by both translators of translated novel “The Broken
Wings”. Each translator has similar technique in translating simile by using
amplification, as many as one simile or 0.56% of total similes, one from similes
translated by M. Ruslan Shiddieq and 13 from similes translated by Sabri. The
figure of intersection can be seen in the figure 4.5 below.
106
Translated by Translated by
M. Ruslan Shiddueq
Sabri
0
1
12
Figure 4.5 The Intersection of Similar Similes Translated by Amplification
Technique
Source Text (ST), example taken from simile number 57:
As the rays of the moon shone on the face, neck, and arms of Selma, she looked
like a statue of ivory sculptured by the fingers of some worshiper of Ishtar,
goddess of beauty and love (p.15)
Target Text of simile by M. Ruslan Shiddieq:
Ditimpa cahaya rembulan pada wajah, leher, dan kedua lengan tangannya, Selma
nampak laksana sebuah patung gading yang dipahat oleh jari-jari beberapa
pemuja Isytar8 sang dewi keindahan dan cinta (p.61)
Target Text of simile by Sabri:
Karena cahaya rembulan menyinari wajah leher dan tangan Salma, dia tampak
bagai arca gading yang sengaja dipahat oleh jari-jari para pemuja Isytar*
(Footnote: Dewi cinta dan keindahan bagi bangsa Funisia, Aprodhite dalam
mitologi Yunani atau Venus sebagaimana dikenal bangsa Romawi. Sedang
bangsa Arab menyebutnya Zuharoh.) (p.32)
107
In the above case, the writer focuses on the vehicle Ishtar which is
respectively translated into Isytar8 by M. Ruslan Shiddieq with notification on its
behind page, and into Isytar* by Sabri with footnote on the below translated text.
In this case, amplification technique is applied since Isytar8 and Isytar* have been
described in notes after those words, or in another word are provided in footnotes.
Furthermore, this study also investigates the types of simile used by the
author, Kahlil Gibran, to express the figurative language by using Fromilhague’s
(1995:83-84) theory. According to this theory, the writer found 134 explicit
similes and 43 implicit similes.
In the meanwhile, Pierini’s (2007:27) theory is applied in identifying
similes by its comparison markers. As shown in the table 4.2, the prepositions
function of word dominated simile comparison marker that consist of 102
(57.63%) like comparison markers, and 27 (15.25%) as comparison markers.
Followed by conjunctions that is represented by 28 (15.82%) as if comparison
markers. Thus verbs that consist of six (3.38%) seem comparison markers, nine
(5.08%) look like comparison markers, two (1.13%) resemble comparison
markers, and one (0.56%) remind. The last function of word is adjectives,
represented by two (1.13%) similar to comparison markers.
In relation to translation of similes, the writer found close relationship
between Pierini’s (2007) theory about seven translation strategies as he proposed
and Albir and Molina’s (2002:509) theory concerning translation technique. In
this case, both M. Ruslan Shiddieq and Sabri are respectively applied literal
108
translation technique which is the writer thinks that it is similar to Pierini’s (2007)
literal translation strategy, due to the point is translating vehicle literally.
Pierini’s (2007) theory regarding replacement of the vehicle with different
vehicle strategy, has also similar typical with Albir and Molina’s (2002:509)
adaptation,
compensation,
established
equivalent,
generalization,
and
particularization translation technique which are the respective vehicle that is
replaced by different vehicle.
The third Pierini’s (2007) strategy, reduction of the simile, seems also
similar to Albir and Molina’s (2002:509) reduction technique, since the translator
has to provide understandable target text to the reader, so he or she had to reduce
the simile. The forth Pierini’s (2007) strategy, retention of the same vehicle plus
explication of similarity feature(s), looks like Albir and Molina’s (2002:509)
description technique, because these strategy and technique require us to describe
the similarity feature between topic and vehicle of the simile.
The next Pierini’s (2007) strategy is replacement of the vehicle with a
gloss. The writer assumes that the strategy is similar to amplification technique
since it requires additional information concerning the vehicle of simile. The last
Pierini’s (2007) strategy, omission of the simile, is similar to Albir and Molina’s
(2002:509) reduction technique, due to this kind of strategy and technique
respectively reduce the information contained in the simile.
Eventually, the writer thinks that each translator has their own style in
using translation technique. There is no such thing as the best technique, since
translating the figurative language is something stylistic skill. In addition, using
109
translation techniques in translating similes is not only a matter of how the target
text should be logic and readable, but also it should be beautiful to imagine by the
readers.
110