The Translation Criticism of Poetical Expression in Vladimir Nabokov‘S Lolita of Anton Kurnia (Viewed from Newmark‘S Concept)

THE TRANSLATION CRITICISM OF POETICAL EXPRESSION

IN VLADIMIR NABOKOV’S LOLITA OF ANTON KURNIA

(VIEWED FROM NEWMARK’S CONCEPT)

A Thesis Submitted to Letters and Humanitites Faculty In Partial Fulfillment of the Requirements for the Strata One Degree (S1)

R. KSATRIO ADI HARSANTO 109026000147

ENGLISH LETTERS DEPARTMENT FACULTY OF ADAB AND HUMANITIES STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2014

ABSTRACT

R. Ksatrio Adi Harsanto, The Translation Criticism of Poetical Expression in Vladimir Nabokov‘s Lolita of Anton Kurnia (Viewed From Newmark‘s Concept). Thesis: English Letters Department. Faculty of Adab and Humanities, State Islamic University Syarif Hidayatullah Jakarta, 2014.

This research is focused on the translation field, especially about translation criticism of poetical expression in Lolita. The objective of the research is to find out how the translation criticism applied on poetical expression translation in the novel from English into Indonesian. Qualitative descriptive research, especially content analysis, is employed as the method of the research in order to reach the objective of the research above. Then, the instrument of the research is the writer himself as a prime instrument in collecting data by criticizing and assessing the types of translation criticism of the poetical expression in the novel. In order to process the data, Newmark‘s theory in translation criticism is adopted as the main reference of the research. The criticism classification such as translation as a science, translation as a craft, translation as an art, and translation as a taste are embraced to present and analyze the corpus of the research. Besides, there are other supporting theories to espouse the research‘s notion, which are poetry and poetical expression theory by Herman J. Waluyo and Roman Jakobson. Eventually, the application of translation criticism theory can be implemented in a structured manner on the poetical expression of the novel which started with reading the source language and target language version of the novel, identifying the specified parts in each verse, comparing and contrasting the translation and the English version in a table, classifying the data which have been collected, and concluding the data analysis in terms of the translation criticism theory. The result can be obtained from these steps and it shows that the criticism is classified as good. There are ten data which have been collected from the novel, and it has been classified into three expression forms; memory, longing, and disappointment. All the data is processed by the theories mentioned above, and as a result, the memory expression and disappointment expression data scores 71,25 while the longing expression scores 95. In other words, the translator has succeeded to transfer the meaning and beauty of the poetical expression from English into Indonesian, it is proved by good word selection, meaning‘s clarity, and expression‘s sublimity found in the data. So, the reader will understand quite easily when enjoying the poetical expression contained in the novel without having much hesitation or confusion.

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DECLARATION

I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for award of any other degree or diploma of the university or other institute of higher learning, except where due to acknowledgement has been made in the text.

Jakarta, May 2014

R. Ksatrio Adi Harsanto

ACKNOWLEDGEMENT

Firstly, the writer would like to express his greatest and highest gratitude to Allah SWT because this research would be impossible without any guidance and endless love from Him. All the praise is also sent to Prophet Muhammad

SAW who had delivered the truth to human beings in general and Muslim in particular.

In arranging this research, a lot of people have provided motivation, advice, support, and even remark that had helped the writer. In this valuable chance, the researcher aims to express his gratitude and appreciation to all of them. First of all, an appreciation goes to the writer‘s parents, Hendra Kurnia and

Srie Hartuty, for all their pray and support. A tribute is also sent to the writer‘s brothers and sisters, Mbak Tallya, Mas Didit, Mbak Tannya, Mas Damar, and

Mbak Ranti.

This research also could not be completed without a great deal of help from the related parties. It‘s such an honour to express gratitude to Prof. Dr.

Oman Fathurahman, M. Hum, the Dean of Faculty of Adab and Humanities, Drs.

Saefuddin, M. Pd, the Head of English Letters Department, and Mrs. Elve

Oktafiyani, M. Hum, the Secretary of English Letters Department.

A sincere appreciation is also sent to Mrs. Danti Pudjiati M.M., M. Hum, as the writer‘s advisor, who has given help, advice, suggestion, addition, correction, and motivation since the preliminary of manuscript until the completion of this research. The warmest regards is also addressed to all of the lecturers in English Department for any advice, motivation, and useful

knowledge. Not to forget to all the staffs either in Department or in Faculty who have helped the writer in managing all formal needs during this research arrangement.

The writer‘s thankfulness also goes to Kiki, Meilanti, Aris, Fitri, and Yuni, for all their laughter, pray, motivation, and for being places to share all the time.

A happy hello is also addressed to all his friends in English Letters Department who cannot be mentioned here one by one, particulary to Asa, Anisa, Navita,

Fida, Iie, Stella, Satya, Mila, Ana Diana, Nopi, Syifa, and Ana Gustiana for witty and joyous days to date. May Allah always bless us.

In addition, the writer realizes that this research is far from perfect, that is why the writer would like to accept any corrections or suggestions for this research to be better. The writer hopes that this research will come in handy to all translation enthusiasts, especially in UIN Syarif Hidayatullah Jakarta.

Jakarta, May 2014

The Writer

TABLE OF CONTENTS

ABSTRACT...... i APPROVEMENT...... ii LEGALIZATION...... iii DECLARATION...... iv ACKNOWLEDGEMENT...... v TABLE OF CONTENTS...... vii CHAPTER I INTRODUCTION...... 1 A. Background of the Research...... 1 B. Focus of the Research...... 5 C. Research Question...... 5 D. Objective of the Research...... 6 E. Significance of the Research...... 6 F. Methodology of the Research...... 6 1. Method of the Research...... 6 2. Unit of Analysis...... 7 3. Technique of Data Collection...... 7 4. Technique of Data Analysis...... 7 5. Instrument of the Research...... 7 CHAPTER II THEORETICAL FRAMEWORK...... 8 A. Translation...... 8 1. Definition of Translation...... 8 2. Criticism of Translation...... 9 a. Criteria for Criticism of Translation...... 10 b. Plan of Criticism...... 12 c. Marking a Translation...... 13 B. Poetry...... 16 1. Definition of Poetry...... 16 2. Definition of Poetical Expression...... 17 a. Referential Function...... 18 b. Emotive or Expressive Function...... 18

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c. Conative Function...... 18 d. Phatic Function...... 18 e. Metalingual Function...... 18 f. Poetic Function...... 19 3. Translation of Poetical Expression...... 20 4. Structure of Poetry...... 20 a. Physical Structure of Poetry...... 21 b. Mental Structure of Poetry...... 25 CHAPTER III RESEARCH FINDINGS...... 27 A. Data Description...... 27 1. The Expression of Humbert Humbert‘s Memory..27 2. The Expression of Humbert Humbert‘s Longing..29 3. The Expression of Humbert Humbert‘s Disappointment...... 31 B. Data Analysis...... 32 1. The Expression of Humbert Humbert‘s Memory..33 a. Data 1...... 33 b. Data 2...... 35 c. Data 3...... 37 2. The Expression of Humbert Humbert‘s Longing...... 39 a. Data 1...... 39 b. Data 2...... 42 c. Data 3...... 44 d. Data 4...... 46 3. The Expression of Humbert Humbert‘s Disappointment...... 49 a. Data 1...... 49 b. Data 2...... 51 c. Data 3...... 53 C. Discussion...... 54

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1. The Expression‘s Criticism of Humbert Humbert‘s Memory...... 54 2. The Expression‘s Criticism of Humbert Humbert‘s Longing...... 55 3. The Expression‘s Criticism of Humbert Humbert‘s Disappointment...... 56 CHAPTER IV CONCLUSION AND SUGGESTION...... 57 A. Conclusion...... 57 B. Suggestion...... 58 BIBLIOGRAPHY...... 60 APENDICES...... 63

CHAPTER I

INTRODUCTION

A. Background of the Research

Translation field has a very important role in terms of delivering message which contained in source language (SL) into the target language (TL).

Translating a word or phrase from one language to another should be done by transferring messages of the word or phrase itself with a good level of equivalency. In this case, equivalency means similarity of the received messages, both in source language or target language. Although some words or phrases in the source language rarely have the same equivalence level in the target language, it does not matter if they can be interchangeable. Thus, it can be concluded that translation involves two different languages which must have equal meaning.

In the translation field, translation criticism is one of the most inseparable thing from this field. But the expressions used to criticize translated texts are quite predictable. There are several expressions such as: ―nicely translated,‖ or maybe ―flat and uninspiring‖ which often used by many critics in practice. It is absolutely easy to criticize the total inadequacy of these comments, but perhaps it is time to reflect on the responsibilities of a critic who engages in reviewing translations. The critic of translation works should be familiar with the SL, the cultural and aesthetic context of the original work, and the difference in linguistic perceptions that exist between the SL and the

TL. Besides, the critics of translation have to fulfill a formidable yet very important task. They draw readers toward the foreign in other culture, make them feel comfortable with the unusual and strange things in that culture, and heighten the enjoyment of living the rich texture of aesthetic and deep experiences which reflected in the structure of a foreign language.

In order to achieve the task, a critic must go through a so-called process named translation criticism, which is an important component in translation course. Translation criticism is a significant part in translation field because it improves and escalates translator‘s skill and knowledge in shifting the culture and the message from one language to another. Translation criticism is the fundamental basis of each and every course in comparative linguistic or literature in translation, and a component of any professional translation course with specific text types as an exercise for criticism and discussion.1

Moreover, in the study of literary texts, translation has an important role in terms of development and deployment of so many texts, including literary texts. The presence of translation helps literary texts to reach audience from other areas which do not have same cultural background with the author of the text. Therefore, translation activities are needed to fill the gap and bridge of relationship between the author and target reader. Translation helps linking two different languages which have different cultural backgrounds, so it can also help the reader from different part of the world to understand the text in an easier way.

1 Peter Newmark, A Textbook of Translation (Hertfordshire: Prentince Hall, 1988), p. 185.

The study of literary text cannot be separated from the realm of linguistics. Each type of literary texts such as novel, short story, and poetry has its own discussion reflected in science of linguistics. For example, a poem using poetic language can be studied with the concept of polarity and also the concept of equivalence. Poetry is one part of a language which contained poetic function.

Roman Jakobson, one of the experts who centralize his thoughts on linguistic studies reveals that the poetic function is one of the part of six language functions which he designs, each of which have different focus, namely referential function, emotive or expressive function, conative function, phatic function, metalingual function, and also poetic function itself.2

The term ―poetic‖ has narrow and broad meaning. In a narrow sense, poetic is a use of linguistic methods to review literary works, especially poetry. 3

Meanwhile in broader sense, poetic refers to one of the function of language, which has already mentioned in the previous section. The use of poetic function of language is to highlight shape of the language itself for the sake of beauty of aesthetic impacts, or in other words it can be referred as poetic language.

According to Jakobson, poetic language not only encompasses poetry, but also advertising language, political slogans, or maybe some stickers which can be found in public places.4 Therefore, it can be concluded implicitly that the expression which contained poetical function is also included in the poetic language.

2 Roman Jakobson, The Framework of Language (Michigan: University of Michigan, 1980), p. 84. 3 David Crystal, A Dictionary of Linguistics and Phonetics (Cambridge: Basil Blackwell, 1991), p. 267. 4 Jakobson, Op. Cit., p. 85.

In terms of translation, poetical expression is often regarded as one of the most difficult expression to translate. In this case, a critic must know the expression‘s intention and purpose in order to understand true meaning of the text, because a critic is the first and the foremost component of the research. In some highly-appreciated literature texts such as Vladimir Nabokov‘s Lolita, which contains so many wordplays and figurative expressions, a translator will usually be served by the concept of thoughts and expressions which inevitably must be understood and translated correctly. Poetical expression is chosen as the research object of this research because this kind of expression sometimes referred as a ―branchy‖ one, which means a poetical expression can have a meaning that depends on the taste and understanding of the translator. One of the example from the Lolita novel which represent the element is as follows.

SL: The Squirl and his Squirrel, the Rabs and their Rabbits Have certain obscure and peculiar habits Male hummingbirds make the most exquisite rockets The snake when he walks holds his hands in his pockets...

TL: Petani dan tupainya, peternak dan kelincinya Punya kebiasaan aneh dan tak biasa Burung pipit jantan punya roket paling memesona Saat berjalan, ular menyembunyikan tangan dalam sakunya

This expression is likely multilayered, or in other words, has several layers of interpretation. So, it is no surprise if there are some mistranslations in the poetical expression above. First, the word Squirl means ornamental flourish or

curve.5 But the translator translated it into Petani or a farmer. Then, the word

Rabs means a rod used by masons.6 But the translator translated it into Peternak or a cattleman.

From the example above, it appears that some mistranslations still exist, so it is likely to have an impact to reader‘s understanding. Thus, translation criticism is needed to minimize this and also to evaluate the performance of the translator in performing their duties. In addition, translation criticism can also help improving the reader‘s understanding and also readibilty in the near future.

B. Focus of the Research

Based on the background of the research which has been described above, this research focuses only on translation as a product. The object of the research is focused on translation criticism. Translation unit of this research is limited only to some expressions which contain poetical function in Indonesian language version of Lolita.

C. Research Question

Based on the background of research that has been outlined earlier, the

writer has formulated the problem as follows:

1. How does the translation criticism applied in poetical expression

translation in Vladimir Nabokov‘s Lolita?

2. What conclusion that can be drawn from the translation criticism of

poetical expression in Vladimir Nabokov‘s Lolita?

5 Oxford Dictionaries, s.v. ―Squirl,‖ accesed November 14, 2013, http://www.oxforddictionaries.com/definition/english/squirl. 6 Merriam-Webster, s.v. ―Rabs,‖ accessed November 14, 2013, http://www.merriam-webster.com/dictionary/rabs.

D. Objective of the Research

In general, this research aims to determine how the translation criticism described on poetical expression and also to find out the conclusion of the translation criticism itself from SL to TL in Lolita novel by Vladimir Nabokov.

Thus, the implementation of the translation criticism theory can be vividly outlined.

E. Significance of the Research

This research is expected to enhance knowledge about translation criticism and its application in English–Indonesia translation. Moreover, this research can also be a factor and consideration in translation criticism study, so it can facilitate further research on these topics in the near future.

F. Methodology of the Research

The methodology of the research includes several important aspects of the research as follows:

1. Method of the Research

In this research, the writer uses descriptive qualitative research as

the method of the research, especially in the form of content analysis.

By this kind of analysis, the writer hopes to reveal the content or

meaning of the expression while still using the defined theory. In this

method, the writer attempts to analyze the research object, which is

poetical expression in Lolita, by using Newmark‘s four classifications

to criticize translation works, namely translation as a science,

translation as a craft, translation as an art, and translation as a taste.

2. Unit Analysis

The unit of analysis in this research is Lolita written by Vladimir

Nabokov and published by Penguin Books in 1997. The writer also

uses the Indonesian version of this novel translated by Anton Kurnia

and published by Serambi in 2012 with the same title.

3. Technique of Data Collection

In this research, bibliographical study or written source is used as

the technique of data collection. In order to collect the data, the writer

will read the English version and its Indonesian translation carefully,

and then choose ten poetical expressions in the novel which represent

one of the classifications in the translation criticism theory.

4. Technique of Data Analysis

The collected data will be analyzed and also assessed by

Newmark‘s theory. And then, to break down the data specifically,

each of the datum will be examined in detail and be classified into

four classifications, namely translation as a science, translation as a

craft, translation as an art, and translation as a taste. Later, the writer

will conclude the data analysisi in terms of the translation criticism

theory.

5. Instrument of the Research

The research consists an instrument only and that is the writer. The

writer criticizes and assesses the poetical expressions as the corpus of

the research and elaborate how the translation criticism theory applied

in Vladimir Nabokov‘s Lolita.

CHAPTER II

THEORETICAL FRAMEWORK

A. Translation

1. Definition of Translation

Translation, as a term, can be defined in many ways. Various

definitions of translation can be seen as a reflection of the expert‘s view, who

decides the significance of nature and process of translation. One of the experts

who express his thoughts about the definition of translation is Catford, who

argues that translation is the replacement of textual material in one language by

equivalent textual material in another language.7 Remember that the reference

of textual material by Catford is not merely written text. So translation can also

be derived from unwritten or spoken language.

Then, the following translation definition is proposed by Savory, in his

book The Art of Translation. Savory argues that translation is made possible by

an equivalent of thought that lies behind its different verbal expressions.8 In his

statement, he mentions clearly that the thought of the expressions must be

equivalent, but Savory does not elaborate further about operational matters

relating to the process.

The interesting thing from both opinions above is that they highlight the

importance of equivalence, just as already mentioned in the previous chapter.

Even though there are slight differences, such as Catford who empasizes

7 J. C. Catford, Linguistic Theory of Translation (London: Oxford University Press, 1965), p. 20 8 Theodore Horace Savory, The Art of Translation (London: Jonathan Cape Ltd Publishers, 1968), p. 25

textual material equivalence and Savory who accentuates the thought equivalence, it can be deduced that equivalence is one of the key points in translation. But it is not the only essential things in translation. At least,

Wolfram Wills found that translation is a transfer process which aims at the transformation of a written SL text into an optimally equivalent text, and which requires the syntactic, the semantic, and the pragmatic understanding and analytical processing of the SL.9 Here, Wills considers that translation is a process, a transfer, and a transformation. Although the word ‗equivalent‘ is still mentioned, but the concentration for the process of translation itself is much greater.

Thus, from several definitions above, it can be inferred that translation not only concerns in equivalence, but also in transformation process which involves operational matters for transferring message from one language to another. The intention of transformation process here is a model which intended to explain human‘s thinking process when performing the translation process. So, in order to achieve equal meaning between two languages, a translation process is needed.

2. Criticism of Translation

Speaking of translation, criticism is one of the most important parts in both its theory and also its practice. Even though the relationship between translation and criticism is far from clear, there is an agreement that translators must start from a reading of a literary text, but not on how that correlates with main lines of literary criticism. Actually, little has been said about what

9 S. B. McGuire, Translation Studies (London: Methuen, 1980), p. 2

translation offers critics, beyond a further supply of texts. Translation criticism

itself is an interdisciplinary academic field which closely related to literary

criticism and translation theory. It can be defined as the systematic study,

evaluation, and interpretation of different aspects of translated works.10

Criticism of translation is different from review of translation. Review

of translation conducts some comments on new translations, description, and

evaluation as to whether they are worth reading or buying or not. On the other

hand, criticism includes a broader activity. Criticism conducts analysis in

detail, evaluating old and new translations, and assuming that readers know the

translation.11 Translation criticism should take into account all the factors and

elements in the process of translation. It comprises activities which are part of

the process of translation, but it is different from the forms of criticism

involved in this process. Moreover, translation criticism should not be a mere

identification of errors, an intuitive, or highly subjective appraisal for judging

some translated texts as good, bad, faithful, or anything else without qualifying

the criteria.

a. Criteria for Criticism of Translation

As an important part in theory and practice of translation,

translation criticism certainly has supportive aspects or criteria. These

criteria are utilized to determine the quality of a translation, so that the

objectivity of the criticism or assessment process can be maintained.

10 Taqiyeh M. H., ―What is Translation Criticism?‖ Translation Studies 11, no. 3 (Fall 2005): p. 61-63, accessed December 17, 2013, http://www.sid.ir/en/ViewPaper.asp?ID=44700&varStr=3.14159265358979;TAQIYEH%20M.H.; TRANSLATION%20STUDIES;Fall%202005;3;11;53;61. 11 Notes on Translation Criticism. Accessed December 17, 2013, http://www.uv.es/tronch/Tra/NotesOnTranslationCriticism.htm.

Thus, along with these criteria, the ability of the translator is expected

to be improved in the future. In order to criticize a translation properly,

there are three criteria which were proposed by Larson, namely

accuracy, clarity, and equity.12 A translation is accurate if the contained

content or information is not deviate from its source text. Then, a

translation is classified as clear if it is easy to understand by readers.

Moreover, a translation is classified to have equity if the word and

grammar selection is proper and familiar to target readers.

Beside the three criteria above, there are other aspects which can be

used as benchmarks to criticize translation. Simatupang proposed that

the meaning of the text, style, and clarity are some of criteria which can

be utilized to see the level of acceptance in a translated text.13

According to him, meaning, style, and clarity are the first and the

foremost aspects in translation criticism. A good translation have to

encompass the true meaning of the source text, acceptable style in the

target text, and clear enough to be read and understood by target reader

as well.

Similar to Larson and Simatupang, Hoed argues that there are

several aspects which have to be considered in criticizing translation

products. He proposes that the accuracy of meaning reproduction which

includes linguistics, semantics, and pragmatics, as well as phrase

12 Milder L. Larson, Meaning-based Translation: A Guide to Cross Language Equivalence (Lanham, Maryland: University Press of America, 1984), p. 534. 13 Maurists D. S. Simatupang, Pengantar Teori Penerjemahan (Jakarta: Direktorat Jenderal Pendidikan Tinggi Departemen Pendidikan Nasional, 2000), p. 131-135.

fairness, terminology, and orthography should be taken into account by

a critic if he or she wants to conduct a critic of translation.14

b. Plan of Criticism

In order to make a comprehensive criticism of translation,

Newmark discovers five topics in criticizing a translation.15 These

topics are essential for a critic who wants to assess a translation

product. The topics are:

1. Analysis of source text stressing its intention and functional

aspects. This part of analysis includes author‘s purpose and also

his/her attitude toward the topic, characterization of the

readership, category and type of the text, quality of the

language to determine the translator‘s degree of license, and

also state topic of the themes.

2. Analysis of the translator‘s interpretation of source text‘s

purpose, translation method, and also translation‘s likely

readership. In this part, a critic should understand why

translator has used some specific procedures for a specific aim

and also provide the reasons.

3. Selective but representative detailed comparison of source text

(ST) and target text (TT). In this part of analysis, a critic has to

determine general properties of both ST and TT, and then

14 Benny H. Hoed, ―Pengetahuan Dasar Tentang Penerjemahan,‖ Lintas Bahasa Edisi Khusus No 1/7/1993 (Jakarta: Pusat Penerjemahan Fakultas Sastra Universitas Indonesia, 1993), p. 40. 15 Newmark, Op. Cit., p. 186-189.

provide how translator has solved a particular problem which

posed by ST.

4. Evaluation of translation. This kind of evaluation should be

conducted in both the translator‘s terms and also the critic‘s

terms. In this part of analysis, the assessment of the referential

and pragmatic accuracy of the TT by translator‘s standards, the

assessment of the referential and pragmatic accuracy of the TT

by the critic‘s standards, and the assessment of the TT as a

piece of writing is included.

5. Assessment of the importance of translation in target language

culture or discipline. In this part, a critic must analyze whether

some culture-related words are worth translating or not.

Besides, a critic has to know also what kind of influence it will

have on the language, literature, and the ideas in its new

milieu.16

c. Marking a Translation

From the explanation above, it can be inferred that there are two

approaches in criticizing a translation product: functional and

analytical.17 The functional one is much more general. This approach

attempts to see whether translator has achieved in translating text, but

the detail of translation seems to be overlooked. In the other hand,

analytical approach is more detailed. Not only the general issues, but

the details are also taken into consideration as well. In order to

16 Ibid. 17 Ibid, p. 189.

investigate the details, Newmark assumes that all translation is partly

science, partly craft, partly art, and partly a matter of taste.

First, Newmark considers that translation is partly science. It should

be understood that a term ‗science‘ is a matter of wrong rather than

right, and there are two types of scientific mistakes here, which are

referential or linguistic. Referential mistakes are about facts, real world,

propositions not words. Statements like ‗water is air,‘ ‗water is black,‘

or ‗water breathes,‘ are referential mistake; even though as metaphors

these terms may be true. In the other hand, linguistic mistakes show the

translator‘s ignorance of foreign language, for example grammatical,

lexical, words, collocations, or idiomatical mistakes.18

Secondly, Newmark also proposes that translation is partly craft or

skill. An element skill is the ability to follow or deviate from

appropriate natural usage, namely pragmatic and persuasive invocative

texts, neat in informative texts, and hugging the style of the original in

expressive and authoritative texts. In other words, the term ‗skill‘ here

means translator‘s capability to select or choose a more natural word

selection in order to avoid making mistakes in translating the text. If

any mistakes occur, there are possibly some reason behind them, it

could be due to inability to write well, misuse of dictionary, disregard

of deceptive cognates, the persistent of seeking equal word level, and

perhaps lack of common sense.19 For instance, a sentence To be or not

to be from Hamlet, which is very popular among literature enthusiasts.

18 Ibid. 19 Ibid, p. 190.

By many Indonesian translators, this sentence is rarely translated into

Ada atau tiada, because the true meaning of the sentence in the source

language is stronger than the sentence itself.20

Then, the third one is a positive one, translation as an art. This

factor attempts to interpret implied meaning of the text rather than take

care of expressed meaning. As we know, the term ‗art‘ is much more

related to creativity, and in this factor, creativity is a must to produce a

good and proper translation. A translator should be creative enough to

create a variety of solutions and digest the author‘s mean rather than he

or she wrote in the source language. For example, if a book on

Alexander von Humboldt starts with: Alexander von Humboldt—yes,

but why? A coarse translator perhaps will translate it into Kenapa

menulis buku tentang Alexander von Humboldt dari sekian banyak

orang yang ada? Or perhaps there are translators who will translate it

into Tampak aneh menulis buku tentang Alexander von Humboldt. But

there are also translators who will translate it into Alexander von

Humboldt... Ya, tetapi kenapa? From the third translation above, the

first one seems to be more referential, the second one is pragmatically

closer, and the last one is more brief and the closest. This is what we

call creative translation.21

The last area of translation, the taste, has to be accepted as a

subjective factor. This factor concerns about the translation as a

personal choice. It stretches from preferences between lexical

20 Benny H. Hoed, Penerjemahan dan Kebudayaan (Jakarta: Pustaka Jaya, 2006), p. 95. 21 Newmark, Op. Cit., p. 191.

synonyms to sentences or paragraphs that under or over translated in

different places. In this area, a matter of subjectivity and also the ‗good‘

or ‗bad‘ is far more prominent.22 For example, a word however is more

than enough to represent this factor. The word however can be

translated into namun or akan tetapi by the translator, it is according to

their taste.23 The translation choice is not depend on any other issue. As

long as the meaning of the text is delivered, it is all up to translator.

However, whether translation is regarded as a science, art, craft, or

taste, it seems significant to note that a good translation should play the

same role in the target language as the original did in the source

language.

B. Poetry

1. Definition of Poetry

Poetry is one of the oldest form of art which is still existent and popular. It is the closest language to human experience. People from various circle, ranging from rich, poor, educated, intelligent, and sensitive enjoy it as one of their source of entertainment. Initially, poetry is a kind of language which means more and it says more intensely than an ordinary language. A little and simple poetry can contain a deep and meaningful essence in an ordinary language. So in other words, poetry is a pretty complex and complicated work of art.

Actually, true definition of poetry is tentative, but a notable poet Gerard

Manley Hopkins gave his view about what he has thought about poetry. He

22 Ibid. 23 Hoed, Op. Cit., p. 95

argues that poetry needs to be heard for its own sake and interest even over and

above its interest of meaning. Hopkins proposes that meaning is not the only

essential element in poetry. There are other important elements which support

this kind of art form, namely: sounds, images, rhythms, and figures of speech.

24 Thus, all those essential elements form a complex entity which we call as

poetry. It is certainly something more than good sense, it is something more

philosophic and of graver import than history.25

Poetry is indeed something divine. It is at once a center and

circumference of knowledge. It comprehends all science, and that to which all

science must be referred. There are millions of definition of poetry, depend on

thinking of each experts. But from all of the definitions above, it can be

concluded that poetry is an expressive way to show some things or feelings by

taking into account all of its elements. It is more than just an art, it is a way of

life.

2. Definition of Poetical Expression

As a literary text, poetry cannot be separated from realm of language or

linguistics as well. As with other types of literary texts such as novel and short

story, poetry has its own discussion which reflected in linguistic science. For

example, poetic language which is used by poetry can be studied with the

concept of polarity and the concept of equivalence. As we know, poetry is one

part of the language that contains poetic function. Roman Jakobson, one of the

experts who focus his thoughts in linguistic studies reveals that poetic function

is part of the six functions of language which has a different focus, namely:

24 X. J. Kennedy and Dana Goia, An Introduction to Poetry (London: Longman, 2002), p. 6. 25 Aristotle, Poetics (New York: Cosimo, Inc., 2008), p. 17.

a. Referential function, which focuses on content of speech or

denotative meaning. In other words, language is used as an

intermediary discussion about a given topic. For example, with

presence of language, human can learn about everything such as

religion, science, moral, or technology. b. Emotive or expressive function, which focuses on attitude or feeling

of a speaker for content of their speech. In this part, language is

used as a tool to express feelings, such as happiness, sadness,

disappointment, or satisfaction. For example, a boy tells about her

grievances of her problem to a girl. c. Conative function, which focuses on hearer and usually appears as a

command sentence. In this respect, use of language is intended to

motivate or encourage people to do something. For instance, a

teacher who commands his or her students to do their homework

can be classified into this section as well. d. Phatic function, which focuses on maintaining communication‘s

continuity between speaker and hearer. With the presence of

language, people can take advantage of their experience, learn, and

get acquainted with other people. So, people may feel belonged to

the group they are into. For example, a boy says ―Hi,‖ to a girl. e. Metalingual function, which focuses on the use of language to talk

about language. For instance, a boy explains about Mandarin

vocabulary in Indonesian language.

f. Poetic function, which focuses on the use of language which aims to

highlight the language itself for aesthetic needs. In this matter, the

use of language is intended to convey a specific message or

mandate. Language expresses thoughts, ideas, feelings, volition, or

one‘s behavior. For instance, a boy advised a girl not to skip class

again. In the previous example, language is used by a person to

convey message to another person. In this case, the center of

attention goes to the message implied. 26

As disclosed earlier, Jakobson uses the concept of polarity and

equivalence in study of poetic language. He cited the concept of polarity from

Ferdinand de Saussure‘s theory of syntagmatic and pragmatic relations. This

concept shows binary opposition of metaphor and metonymy. Metaphor is

paradigmatic, whereas metonymy is syntagmatic.27 Both processes underlie a

formation of language signs over selection and combination. Based on that

matter, he defines the poetic function of language as a function to take

advantage of the selection and combination for improving equivalence. In his

theory, poetic function is not only to be found in poetry, but also in all forms

of language use.

The term ‗poetic‘ has a narrow and broad significance. In a narrow

sense, poetic is a use of linguistic methods to analyze literary works, especially

poetry.28 While in a broader sense, it refers to one of the function of language,

as already mentioned in the previous section. The function of poetic language

26 Jakobson, Op. Cit., p. 84. 27 Harimurti Kridalaksana, Mongin Ferdinand de Saussure (Jakarta: Yayasan Obor Indonesia, 2005), p. 49-50. 28 Crystal, Op. Cit.

is used to highlight shape of language itself for the sake of aesthetic or beauty effects. Subsequently, it can be referred as poetic language. According to

Jakobson, poetic language encompasses not only poetry, but also advertising language, political slogans, or maybe a sticker which can be found in public places.29 Implicitly, it can be concluded that the phrase which contains poetic function is also included in poetic language.

3. Translation of Poetical Expression

Translation of poetry, especially poetical expression, was and still is by some believed as impossibility for any unfaithful elements and would have been taken as failur, eby its content or form. But as translation of poetry has never been stagnant though sometimes vigorous and sometimes not, there is strong evidence in both translation history and present day practice that poetic translation, a literary form as distinguished from fiction, drama, and prose, is translatable. Poetical expression itself serves a purpose, be it an illustrative matters, and aesthetics can be reproduced in another language and culture if accommodation is made. It would be highly likely that the target readers would obtain rather than similar, if not the same aesthetic pleasure, reading the translation as would the source readers reading the original poem. And this is the only criterion in evaluating and criticizing a successful piece of translation.

4. Structure of Poetry

Certainly, a body of poetry has a couple of structures which sustains integrity of the poetry itself. These structures of poetry can give some kinds of convenience for someone to criticize poetry in depth. Herman J. Waluyo

29 Kridalaksana, Op. Cit.

believes that poetry has two structures, which are physical structure and mental structure. Each of these elements has its essential points which will be described as follows:

a. Physical Structure of Poetry

Linguistic or physical structure of poetry is called as method of

poetry. The form elements or physical structure of poetry can be

described in the method of poetry, which is aesthetic structure that

builds outer structure of the poetry. Those elements can be analyzed

one by one, but still, it constitutes as a unified whole.30 There are

several elements which contained in physical structure of poetry,

namely: diction, imagery, concrete words, figurative language or figure

of speech, diversification, and typography.

1. Diction, that is the selection of word which made by the poet in

his or her poetry. As a form of literature which only have few

words but can express many things, the words must be chosen

as careful as possible. The selection of word in poetry is closely

related to meaning, sound‘s harmony, and word order.31

2. Imagery, that is a word order which may reveal sensory

experience, such as vision, hearing, and feeling. Imagery can be

divided into three, namely sound imagery (auditory), visual

imagery, and touch imagery (tactile image).32 With these

elements, a reader is expected to see, hear, or feel what the poet

experienced.

30 Herman J. Waluyo, Teori dan Apresiasi Puisi (Jakarta: Erlangga, 1991), p. 71. 31 Ibid, p. 73. 32 Ibid, p. 79.

3. Concrete words, that is the word which can be captured by the

senses that enable an emergence of images. The word itself

relates heavily to some figures or signs.33

4. Figurative language or figure of speech is a use of language

which may revive or increase certain effects and connotations.34

Figurative language makes a poetry to become prismatic, which

means the poetry itself radiates or contains so much meaning.

Figurative language consists of analogy that raises analogical

meaning and symbolism that raises symbolical meaning. 35

a. Analogy

Analogy has a broader meaning than style of figurative

language, because it represents the whole style of the

language itself. It aims to create a richer, more effective,

and more suggestive effect in poetry language.

b. Symbolism

Symbolism is used to clarify meaning and create tone

and atmosphere of poetry to become clearer, so it can

arise reader‘s heart. In analogy, something is compared

or analogized by other things, but in symbolism,

something is changed or symbolized by something else.

There are several kinds of symbol contained in the

physical structure of poetry, namely:

33 Ibid, p. 81. 34 Soedjito, Kosa Kata Bahasa Indonesia (Jakarta: Gramedia, 1988), p. 128. 35 Waluyo, Op. Cit., p. 84.

1) Symbol of Color. Color has characteristics of a

particular disposition. Many poets use color to

express their feelings or beliefs, such as: Sajak

Putih, Serenada Biru, Ciliwung yang Cokelat,

and Malam Kelabu.

2) Symbol of Object. Symbolism can also use

some objects‘ name to replace something

which wants to be spoken by poet. One of the

examples is spotted in Amir Hamzah‘s poetry

which depicts God who love to flip through

human‘s life as a burung yang bercakar or a

clawed bird.

3) Symbol of Sound. Sound that was created by

poet also symbolizes a particular feeling or

meaning. Combination of sounds will create a

very special atmosphere in poetry.

4) Symbol of Atmosphere. Atmosphere can also

be represented by another, more concrete

atmosphere. This symbol of atmosphere is

usually described in a sentence or paragraph. 36

5. Diversification, that is a physical structure of poetry which

associated with rhyme, rhythm, and metrum.

36 Ibid. p. 87-90.

a. Rhyme is a sound equation in poetry, either at the

beginning, middle, or at the end of line in poetry.

Rhyme is composed of several kinds, namely:

1) Onomatopoeia. Onomatopoeia is an imitation

of sound. For example like meow for cat and

quack for duck.

2) Internal Form of Formal Pattern. The

meaning of internal form here is a form of

alliteration, assonance, final equation, initial

equation, intermittent rhyme, half rhyme, full

rhyme, repetition of sound, and so on. b. Repetition of Word or Phrase. Repetition is not only

limited to sound, but might be to word or phrase as well.

Repetition of sound, word, or phrase is believed to

provide intellectual effect and purely magical effect. c. Rhythm is strains which occur due to repetition and

change of sound unity in the stream, pressure, and tone

of the sound. d. Metrum is static repetition of word. Metrum is similar

to maat. However, because pressure of word does not

distinguish the word meaning in Indonesian language, it

is difficult to find dactylus, anapest, jambe, tracheus,

and so on. Therefore, metrum is hard to find in

Indonesian poetry.

6. Typography, that is a form of poetry which is not filled with

words, right-left edge, and row setting, so that poetry does not

always begin with a capital letter and end with a dot. These

elements determine heavily to meaning of poetry.

b. Mental Structure of Poetry

Mental structure of poetry is building blocks of poetry which does

not appear directly in the writing of the words. Mental structure of

poetry can be grouped as follows:

1. Theme

Theme is main idea or basic story which is used as basic

composing of the poetry. Media of the poetry is language.

Therefore, poetry must be meaningful in every word, line, verse,

or as a whole.37

2. Feeling

Feeling is attitude of poet toward main issue which contained in

poetry. Theme disclosure and taste is closely related to social

and psychological background of poet. The depth and accuracy

of disclosure in addressing the theme of an issue does not

depend on ability of poet to choose the words, rhyme, style, and

form of the poetry alone, but rely more on the insight,

knowledge, experience, and personality which are formed by

sociological and psychological background.38

37 Ibid, p. 107. 38 Ibid, p. 121.

3. Tone

Tone is attitude of poet toward his or her reader. Tone is also

related to theme and feeling. A poet can convey theme of

patronizing, dictating, or cooperating sounds with reader to

solve problem. Or maybe poet can simply submit the issues to

the reader, in an arrogant and ignorant tone.39

4. Intention

Intention is message which wants to be conveyed by author to

reader or hearer. However, there is a purpose that drives the poet

to create poetry. That purpose can be sought before poet create

the poetry, and can be found in his or her poetry.40

39 Ibid, p. 125. 40 Ibid, p. 131.

CHAPTER III

RESEARCH FINDING

A. Data Description

In this chapter, the writer analyzes several data from Lolita novel which

contain poetical expression and criticizes them based on Peter Newmark‘s

translation criticism theory. The data descriptions are taken from Lolita novel

which written by Vladimir Nabokov and also their Indonesian translation

which translated by Anton Kurnia. There are several facts about these data,

ranging from their word selections to their implied meanings. For more details,

it can be seen as follows:

1. The expression of Humbert Humbert’s memory

No. Source text Target text Translation Marking 1. Lolita, light of my Lolita, cahaya hidupku, Translation as an art life, fire of my api sulbiku.

loins. Dosaku, sukmaku. Lo-

My sin, my soul. li-ta: ujung lidah

Lo-lee-ta: the tip menjejak mundur

of the tongue langit-langit mulut tiga

taking a trip of kali dan pada kali

three steps down ketiga menyentuh

the palate to tap, at deretan gigi. Lo. Li. Ta.

three, on the teeth.

Lo. Lee. Ta.

p. 9 p. 15

2. My Dolly, my folly! Dolly-ku, kebodohanku! Translation as a craft Her eyes were vair, Matanya menipu,

And never closed Dan tak pernah

when I kissed her. terpejam saat kucium,

Known an old Tahukah kau Soleil

perfume called Vert? Itu merk parfum.

Soleil Vert? Tuan, berasal dari

Are you from Paris-kah dirimu?

Paris, mister?

p. 254 p. 444

3. Saint, forsooth! Demi kebenaran, Translation as an art While brown Santa!

Dolores, Ketika Dolores yang

On a patch of cokelat muda,

sunny green Pada sepetak rumput

With Sanchicha hijau ceria,

reading stories Dengan Sanchicha

In a movie membaca cerita

magazine— Di sebuah majalah

remaja—

p. 243 p. 425

2. The expression of Humbert Humbert’s longing

No. Source text Target text Translation Marking 1. Where are you Dolores Haze, ke Translation as an art riding, Dolores mana kau

Haze? menghilang?

What make is Apakah kau naik

the magic karpet terbang?

carpet? Apakah kau suka

Is a Cream kue krim sekarang?

Cougar the Dan di mana kau

present craze? diparkir, mobilku

And where are tersayang?

you parked, my

car pet?

p. 254 p. 444

2. Wanted, Dolores Haze— Translation as a craft wanted: dicari, dicari,

Dolores Haze. Tak kedip tatap

Her dream- mata kelabunya.

gray never Dan empat puluh

flinches lima kilo bobotnya

Ninety pounds Tingginya hanya

is all she enam puluh inci

weighs

With a height of

sixty inches

p. 255 p. 445

3. Wanted, Dolores Haze— Translation as a craft wanted: dicari, dicari!

Dolores Haze. Rambut: cokelat.

Hair: brown. Bibir: merah

Lips: scarlet. terang.

Age: five Usia: lima ribu tiga

thousand three ratus hari.

hundred days. Pekerjaan: tidak

Profession: ada, atau “calon

none, or bintang”.

“starlet.”

p. 253 p. 444

4. Oh Dolores, Oh Dolores, Translation as an art that juke-box musiknya bikin

hurts! meriang!

Are you still Masihkah kau

dancin’, berdansa, Sayang?

darlin’? (Keduanya

(Both in worn bercelana Levi’s

levis, both in usang, keduanya

torn T-shirts, berkaus belang,

And I, in my Dan aku, di sudut,

corner, meradang).

snarlin’).

p. 254 p. 444

3. The expression of Humbert Humbert’s disappointment

No. Source text Target text Translation Marking 1. Dying, dying, Lolita Haze, kini aku Translation as a craft Lolita Haze, sekarat,

Of hate and Nyaris mati karena

remorse, I’m sesal dan benci,

dying. Tinjuku yang berbulu

And again my coba kuangkat,

hairy fist I Dan kudengar kau

raise, menangis lagi.

And again I

hear you

crying.

p. 254 p. 445

2. Officer, officer, Polisi, polisi, itu Translation as an art there they are— mereka—

Dolores Haze Dolores Haze dan

and her lover! kekasihnya!

Whip out your Kokang pistolmu,

gun and follow ikuti mobil mereka,

that car. Sekarang lompatlah

Now tumble dan tangkap mereka.

out, and take

cover.

p. 254 p. 445

3. Because you Karena kau Translation as a taste took advantage mengambil

of a sinner keuntungan dari

because you seorang pendosa

took advantage Karena kau

because you mengambil

took keuntungan

because you Karena kau

took advantage mengambil

of my Karena kau

disadvantage... mengambil

keuntungan dari

kelemahanku...

p. 298 p. 520

B. Data Analysis

As mentioned above, there are slightly differences in source text and target

text. Most of all, the translator emphasizes the arts in translating those poetical

expressions above. In fact, it might be necessary to elaborate the concept in

order to deepen the understanding of the expressions. Once again, the writer

tries to criticize the expressions above with Peter Newmark‘s translation

criticism theory.

1. The expression of Humbert Humbert’s memory

a. Datum 1

These are the very first sentences in the Lolita novel, which portray

Humbert‘s affection and desire to Lolita. The author uses such stirring

language which is almost poetic to the reader. From the expression above,

it can be seen that Humbert reduces Lolita‘s name to a rhythm of syllables.

Calling her the light of his life makes the reader feel this intense emotion

that Humbert feels for Lolita. The reader understands that he is deeply in

love with this girl, and aesthetically moved by her presence. Even her

name invokes such a passionate response in him that he appreciates the

movement of his tongue as it moves to pronounce it. In this expression, the

reader gets a sense of how truly enthralled Humbert is with Lolita,

regardless of their familial status and difference in age.

In the first sentence, the translator translated the phrase my loins

into sulbiku. According Cambridge Advanced Learner‘s Dictionary, loins

means a part of the body which is above the legs and below the waist,

especially the sexual organs.41 Then, in English-Indonesian Dictionary, the

word loin means bagian badan sebelah belakang antara pinggul dan

41 Elizabeth Walter, ―Loins,‖ in Cambridge Advanced Learner’s Dictionary, (Cambridge: Cambridge University Press, 2008), p. 843.

tulang rusuk or in other words, it is synonymous with pinggang.42

According to thesaurus, the word sulbi and pinggang is synonymous.43

However, if the translator used pinggang rather than sulbi, it is

equivalently and grammatically correct, but as the consequences, the

beauty of the expression will not be as sublime as its original version.

By the same token, the same principle is cherished by the translator

to translate my soul in the same sentence. The word soul itself means the

part of a person which is not physical and experiences deep feelings and

emotions.44 Furthermore, soul in Indonesian language means nyawa, roh,

or sukma.45 Maybe it would be tolerable if the translator translated the

phrase into nyawaku or rohku, because the meaning would not be affected

anyway, but those words are not as emotional and esthetical as sukma. So,

the translator‘s decision to choose sukma rather than nyawa or roh is worth

appreciated.

Then in the next sentence, there is a phrase in ST which said

―taking a trip of three steps down the palate,‖ which is translated into

“menjejak mundur langit-langit mulut.” Specifically, the phrase take a

trip means the same with go or ramble,46 so in Indonesian language it has

the same meaning with pergi or bergerak.47 Actually, the phrase in ST

could be translated literally into “pergi mundur tiga kali di langit-langit

42 Hornby, E.C. Parnwell, and Suswoyo, “Loin,‖ in Kamus Inggris-Indonesia (Jakarta: PT Indira, 1993), p. 193. 43 Kateglo, s.v. ―Sulbi,‖ accessed April 7, 2014, http://kateglo.com/?phrase=sulbi&mod=dictionary. 44 Walter, Op. Cit., p. 1381. 45 Hornby, Op. Cit., p. 307. 46 Thesaurus.com, s.v. ―Take a trip,‖ accessed April 7, 2014, http://thesaurus.com/browse/take+a+trip. 47 Hornby, Op. Cit., p. 344.

mulut”or “bergerak mundur tiga kali di langit-langit mulut,” and these

translations are still acceptable in Indonesian language. The three

translation versions above are proportional and readable in target

language, but it can be seen that the first version is far more effective,

communicative, and natural rather than the second and the third.

The elaboration above paints a conclusion that translation as an art

is more prominent. The translator strongly considers aesthetic side in

translating this expression, and it is reflected in his prudent and subtle

word selection. While there is a trick to achieve a suitable and natural

equivalent in target language, the issue is still influenced by the aesthetic

aspect which feels very strong already in the original version.

b. Datum 2

In this poetical expression, the translator creates some re-

structuralisation, addition, and changes in order to make a communicative

translation. For example in the first verse, the word vair is translated into

menipu or deceiving, while the referential meaning of the word is fur or

garment which obtained from a squirrel.48 From translation as a science

perspective, maybe this is completely subversive, because in according to

English-Indonesian Dictionary, vair means bulu tupai yang berwarna biru

keabu-abuan.49 However, when it comes to poetical or any other literary

translation, there is no such thing as right and wrong. In a closer look, the

intention from the first verse is Lolita or Dolly, who has deceiving eyes,

make Humbert looks foolish. In order to transfer that meaning from ST to

48 Oxford Dictionaries, s.v. ―Vair,‖ accessed December 23, 2013, http://www.oxforddictionaries.com/definition/english/vair. 49 Artikata, s.v. ―Vair,‖ accessed April 7, 2014, http://artikata.com/arti-312512-vair.html.

TT, the translator creates a new word which has no relation to its true

referential meaning. So, based on the translator‘s perspective, the word

vair is closely equal to menipu, because these two words have quite

similar meaning in each language.

Then in the third verse, there are Soleil Vert word which is not

familiar for target readers here in Indonesia. Richard Cohen once

mentioned about Soleil Vert in his book, and he stated that it is an old

perfume.50 If the translator simply translated it for granted and explained

it all the way through the expression, maybe the translation of the verse

would be very long and ineffective. Thus, he cuts the sentence into two

and makes it briefer. In addition to above reason, this kind of technique is

adopted to make a harmonious suffix with the second verse, which have –

m suffix, so the a-b-a-b pattern will be established just like in ST.

Moreover, most importantly this technique also gives the translator a more

efficient way to imply the meaning in the translation, so reader will know

about what they are reading.

Besides, the translator has made some re-structuralisation to the

expression. It can be seen that the position of the third and fourth verse in

ST is reversed in TT. It was done in order to make an accurate and

communicative translation. In addition, it also serves to avoid English

language impression from its Indonesian language version. Because of the

re-structuralisation above, it feels that translation as a craft is dominant in

this poetical expression. Communicative translation is one of the reasons

50 Richard Cohen, Chasing the Sun: The Epic Story of the Star That Gives Us Life (New York: Random House LLC, 2010), p. 402.

behind this, even though several meaning gaps which were done by the

translator in order to bring a beautiful and rhythmic expression are still

here and there.

c. Datum 3

This poetical expression is a form of Humbert Humbert‘s memory

to Lolita, his stepdaughter who doubles as his lover. The theme of the

expression is about happiness, which describes about Humbert who

expresses his longing by describing Lolita when she was playing with her

friend in a garden. He symbolizes her as brown, which means Lolita has a

natural and friendliness character that emanated from within.

In the first verse, the translator translated the term forsooth into

Demi kebenaran. Whereas, according to Merriam-Webster Dictionary,

forsooth means in truth, or an expression which often used to imply

contempt or doubt.51 Meanwhile in Indonesian language, forsooth has the

same meaning with yang benar saja.52 From its referential meaning, the

term may have undergone a meaning deviation and included in translation

as a science category which disallows linguistic errors in translation.

Otherwise the target reader will hardly know what the true meaning of

demi kebenaran is, which rarely used in Indonesian language. Maybe if the

translator uses yang benar saja, just like in the dictionary, the equality and

understandability level of the phrase will be improved.

51 Merriam-Webster, s.v. ―Forsooth,‖ accessed March 28, 2014, http://www.merriam-webster.com/dictionary/forsooth. 52 Termwiki, s.v. ―Forsooth,‖ accessed April 7, 2014, http://id.termwiki.com/EN:forsooth.

Then in the second verse, there is brown word which has translated into cokelat muda by the translator. According to Cambridge Advanced

Learner‘s Dictionary, brown means the color of chocolate or soil,53 meanwhile in English-Indonesian Dictionary, it means warna cokelat.54

Again, if observed from translation as a science, if brown is translated into cokelat muda or light brown, the translation process of that word may absolutely have undergone a meaning deviation. But in terms of art, the strategy is intended to similarize the rhyme of the expression, so there will be a relation between verses. The translator adds muda to the word cokelat to make a connected pattern, so the a-b-a-b rhyme pattern could be created.

Meanwhile in terms of meaning, there is slightly a meaning deviation here, because after all brown or cokelat and light brown or cokelat muda is not equivalent, and it will create some kind of meaning distortion to target reader.

Furthermore in the last three verses, there are two translation facts which adopted by the translator. The first one is translation of sunny in the third verse which translated into ceria. According to the Cambridge

Dictionary, sunny means bright or happy.55 And in English-Indonesia

Dictionary, sunny means cerah or gembira,56 which is quite synonymous to ceria. But ingeniously the translator picks ceria which have a shorter yet more concise structure to represent sunny in Indonesian language.

Moreover, the second one is translation of movie in the last verse which

53 Walter, Op. Cit., p. 176. 54 Hornby, Op. Cit., p. 43. 55 Walter, Op. Cit., p. 172. 56 Hornby, Op. Cit., p. 324.

translated into remaja. There are no correlation between movie and

remaja, because movie means a cinema film,57 while remaja or teens

means the period in which a person‘s aged between 13 and 19.58 In terms

of meaning, the translator once again has made a meaning deviation by

changing movie to teens. As a consequence, target reader will likely to be

disoriented and blinded to the original context. However, if it is seen from

the translator‘s standpoint, the reason why the recreation was made is to

similarize the whole rhyme of the verse. Thus, the target reader will still

sensate the beauty of the author‘s writing style.

Ultimately, the translator has re-created some words or phrases so

that, there is a connection and also beauty in the poetical expression. The

translator has also similarized the rhyme of the verse in Indonesian

language to make a more communicative yet entertaining expression.

Since the beauty and art factor is prioritized by the translator, translation

as an art appears to be the major influence in this poetical expression

translation.

2. The expression of Humbert Humbert’s longing

a. Datum 1

In this poetical expression, the author portrays Humbert Humbert‘s

mood when he lost his lover and also his step daughter, Lolita. It is

illustrated by the use of interrogative sentences which describe his

frustration to represent implicit messages. In the first verse, the translator

translated the word riding into menghilang or disappear. Based on the

57 Walter, Op. Cit., p. 932. 58 Ibid., p. 1495.

dictionary, riding or ride is parallel to travel in a vehicle.59 While in

Indonesian language, ride means menunggang or naik.60 Similar to the

previous expressions, the translation here seems not fully equal to its

referential meaning. Although the word could be translated into drive or

berkendara, which has the closer meaning with riding,61 but the rhyme of

the expression will be ruined. The translator tends to choose words with –

ng suffix to create a sadder and touching atmosphere, so the word

menghilang is preferred. On the other hand, the meaning of the word might

be less equal and may cause difference interpretation.

In the next verse, the translator translated the phrase magic carpet

into karpet terbang or flying carpet. Magic carpet itself means a special

carpet that you can sit on as it flies through the air.62 This phrase usually

appears in children‘s stories or folklores. In this respect, the translator

seems to successfully transfer the phrase from SL to TL. The translator

chose the right word to represent magic carpet in Indonesian language, so

the beauty and meaning alignment of the expression noticeably presents in

the target text.

In the third verse, there are Cream Cougar word which is not

familiar for target readers here in Indonesia. If the translator simply

translate it for granted, maybe the Indonesian readers will not understand

what the meaning of the word is. Moreover, there aren‘t supporting details

or descriptions about the phrase, so the translator beat his brain out and

59 Ibid., p. 1227. 60 Hornby, Op. Cit., p. 276. 61 Thesaurus.com, s.v. ―Ride,‖ accessed December 23, 2013, http://thesaurus.com/browse/ride. 62 Walter, Op. Cit., p. 861.

translated it into kue krim, which is more familiar and understandable in

Indonesian language. If the translator would have translated it just as the way it is, maybe the meaning of the expression will be questionable and the form alignment of the whole expression will be affected.

In the last verse, there is my car pet phrase which is translated into mobilku tersayang. In its original version, Humbert Humbert‘s car is represented as his pet by the author, because that car is always there wherever he goes. This interpretation has a close meaning with pet, which is to be the person or thing that someone in authority likes best and treats better than anyone else.63 Meanwhile in Indonesian language, pet means orang atau benda yang paling disayangi.64 In deeper consideration, the meaning above and tersayang, the word which the translator chose, doesn‘t have much distortion and have close intention with its referential meaning. That is why it‘s even more aesthetically effective and concise to put in poetry.

Besides, the translator has made some aesthetical changes to the expression. It can be seen from the number of adjustments in order to make a beautiful and communicative translation. In addition, it also serves to avoid English language impression from its Indonesian language version. Because of the elaboration above, it sorely feels that translation as an art is dominant in this poetical expression. Literary translation is one of the reasons behind this, even though there are several meaning gaps

63 Ibid., p. 1061. 64 Hornby, Op. Cit., p. 237.

which were done by the translator in order to bring a beautiful and rhythmic expression are still here and there. b. Datum 2

This poetical expression depicts Humbert Humbert‘s longing of his long-lost lover Lolita, which is illustrated by the use of exclamation wanted, wanted or dicari, dicari. Afterwards, he described the stature of

Lolita with a poetry which is dominated by –s suffix, which adds longing- sadness-mixed feel to the poetry. In the Indonesian version of this poetical expression, there are quite a lot structural changes which are made by the translator. As a result, a tangible form of the expression becomes a little different from the original version.

It looks like there are quite significant differences between the original and the translated version of the expression. In ST, the author expressed Humbert‘s sense of loss by using the phrase ―wanted, wanted:‖

But in TT, the translator used the phrase “—dicari, dicari.” This is not just a rendering effort, but rather than a trick so that the reader will consider it as a natural Indonesian language. The word wanted itself has two difference meanings, which are wished for and loved by other people and being searched for by the police because of a crime.65 On the other hand, wanted or want in Indonesia means menginginkan or menghasratkan.66 In deeper consideration, the meaning of the word in ST tends to lead to the first option, but the meaning of the word in TT tends to lead to the second

65 Walter, Op. Cit., p. 1633. 66 Hornby, Op. Cit., p. 358.

option instead. This occurrence has led to meaning distortion and could result in target reader‘s understandability.

Moreover, the translator did another trick to translate the whole second verse. He translated the phrase her dream-gray into mata kelabunya. According to dictionary, dream-gray is synonymous with dove-gray, and it means pale grey.67 Meanwhile in Indonesian language, the meaning of this phrase is kelabu.68 Even though the author did not describe that dream-gray is an adjective for eyes or mata, but the word flinches, which means to make a sudden small movement because of pain or fear,69 is usually used for eyes. According to English-Indonesian dictionary, the word flinch means surut or meringis.70 But as can be seen in the data presentation above, the translator translated it into kedip, which has no correlation to surut or meringis. In further analysis, kedip is way more make sense and understandable than surut or meringis. It has a harmonic and consistent meaning with eyes, and it will be easier for the reader to understand the whole verse.

Like the previous poetical expression, the translator re- structuralized the pattern of the third and fourth verse in this expression.

The reason is likely the same, namely to create a more natural yet communicative translation to target reader. Another change in this expression can be seen in numeral writing on the last two verse of the expression. In ST, the author wrote Lolita‘s body weight in the number of

67 Walter, Op. Cit., p. 632. 68 Hornby, Op. Cit., p. 148. 69 Walter, Op. Cit., p. 545. 70 Hornby, Op. Cit., p. 131.

pounds. But in TT, the author converted it into kilogram, which is more familiar and ear-friendly to Indonesian reader. But that technique was not performed by the translator in writing Lolita‘s height. Most likely it was done to equalize the –i suffix like in the second verse, but this number is better to be converted to a more familiar tally in Indonesian language, which is centimeter, to make the whole expression to be more understandable.

In conclusion, translation as a craft still seems to be more dominant from the elaboration above. It can be seen from several re- structuralisations and numeral writing technique‘s change that was done in order to actualize a more natural and sublime expression, although the naturalness level can still be improved. c. Datum 3

Like the previous expression, this poetical expression also depicts

Humbert Humbert‘s longing of his long-lost lover Lolita, which is illustrated by the use of exclamation wanted, wanted or dicari, dicari.

Afterwards, he described the stature of Lolita with a poetry which is dominated by –s suffix, which adds longing-sadness-mixed feel to the poetry. In the Indonesian version of this poetical expression, there are quite a lot structural changes which were made by the translator. As a result, a tangible form of the expression becomes a little different from the original version.

It looks like there are quite significant differences between the original and the translated version of the expression. In ST, the author

expressed Humbert‘s sense of loss by using the phrase ―wanted, wanted:‖

But in TT, the translator used the phrase “—dicari, dicari.” This is not just a rendering effort, but rather than a trick so that the reader will consider it as a natural Indonesian language. And just like the previous expression, the meaning of the word in ST tends to lead to the first meaning, but the meaning of the word in TT tend to lead to the second option instead. This occurrence has led to meaning distortion and could result in target reader‘s understandability.

Moreover, there is also an interesting fact in the translation of the second verse. The translator translated the phrase scarlet into merah terang. According to Cambridge Advanced Learner‘s Dictionary, scarlet means bright red.71 It is aligned with its Indonesian translation, which is merah menyala.72 In this regard, the translator tried to comprehend the meaning of the word in ST and transfer it to TT without neglecting the core of the expression. So, he chose merah terang which is synonymous in

Indonesian language with merah menyala, and the true meaning of the word will be well-perceived. Besides, it also has the same –ng rhythm, just like the other verses‘ ends, so it will make a harmonious expression in TT.

Another thing to be pointed out is the word starlet in the last verse.

According to the dictionary, starlet means a young female actor who hopes to be or is thought likely to be famous in the future.73 Meanwhile in

71 Walter, Op. Cit., p. 1271. 72 Hornby, Op. Cit., p. 285. 73 Walter, Op. Cit., p. 1414.

Indonesian language, it means bintang harapan or pemain muda,74 so

there is a slightly different word selection with the translator. But in

deeper consideration, bintang harapan or calon bintang has a synonymous

meaning, which is he or she is potential to be a star. So, it can be

concluded that those words are reversible and there aren‘t meaning

distortions in this verse.

In conclusion, translation as a craft still seems to be more dominant

from the elaboration above. Although the naturalness level can still be

improved, the translator‘s effort in translating several terms in this

expression should be appreciated.

d. Datum 4

From the message implied in this poetical expression, it looks like

this expression intends to show Humbert Humbert‘s yearning of Lolita,

who always listens to music from the juke-box. He wondered, whether

Lolita is still like to dance right now, after he separated from her because

of she went with another man. The word both in the third verse is referred

to Lolita and her secret affair, and in two last verses Humbert tries to

describe his jealousy of both of them. The author uses some symbols in

this expression, which are worn Levi‘s and torn T-shirts. It represents

Lolita‘s and her secret affair‘s behavior which don‘t have any manners and

clear mind, because Lolita just walked away leaving his father/lover

without giving any messages. This indicates that worn and torn clothes is

74 Kamus.net, s.v. ―Starlet,‖ accessed April 7, 2014, http://www.kamus.net/english/starlet.

associated with bad behavior. So, he described Lolita and her secret lover

were wearing them.

In the first and the second verse, there are hurts and also darlin’

word, which have no suffix similarity. It because the rhyme pattern of the

expression in SL is a-b-a-b, but the translator changed it into a-a-a-a and

similarized the whole suffix in the expression. In order to do so, the

translator slightly changes the meaning of hurts into meriang. Although

according to the dictionary, hurt means to feel pain in a part of your

body.75 In the meantime, hurt in Indonesian language means terluka or

menyakitkan.76 But the translator prefers to choose meriang rather than

terluka or menyakitkan, because meriang means feel dizzy in English,77 so

it has a quite similar reflection with its referential meaning.

There are several facts as well in the third and fourth verse, which

related to translator‘s word selection. In the third verse, there are worn and

torn which translated into usang and belang. If observed further, maybe

there are meaning distortion here, because the meaning of torn according

to the dictionary is to pull or be pulled apart or to pull pieces off.78 In

Indonesian language, it means terkoyak or robek.79 Rather than using

terkoyak or robek to represent torn in Indonesian language, the translator

used belang in TT. Belang itself means piebald or stripe,80 and it doesn‘t

correlate at all with torn‘s referential meaning. The translator intended to

75 Walter, Op. Cit., p. 707. 76 Hornby, Op. Cit., p. 163. 77 Kamus.net, s.v. ―Meriang,‖ accessed April 7, 2014, http://www.kamus.net/indonesia/meriang. 78 Walter, Op. Cit., p. 1493. 79 Hornby, Op. Cit., p. 331. 80 Kamus.net, s.v. ―Belang,‖ accessed April 7, 2014, http://www.kamus.net/indonesia/belang.

make a similar suffix with the previous adjective word, but unfortunately,

the meaning of the word became neglected. The same principle is also

upheld by the translator in the fourth verse, especially in the word snarlin’,

which is translated into meradang. Actually the referential meaning of the

word snarlin’, or snarl to be exact, is to make a deep rough sound while

showing the teeth.81 And in Indonesian language, snarl can also be

translated into menggeram.82 But the translator took the same technique in

translating this word and used meradang to represent it in TL.

The meaning of meradang itself is ignited or fired up.83 Even though the

chosen word has a different meaning with its referential word, but it has a

stronger connection with the rest of the words in the expression, so even

though the expression‘s meaning is a little bit affected, the expression‘s

beauty is well-perceived.

Ultimately, it can be concluded that translation as an art is

controlling the translator‘s mind in translating this expression. It can be

seen from the translator‘s technique and move when picking the right

match of some words from SL to TL. In order to convey the integrity of

beauty and language, the translator embraced communicative translation

which allows him to modify the expression to create not only an

acceptable, but beautiful and attractive translation.

81 Walter, Op. Cit., p. 1366. 82 Hornby, Op. Cit., p. 304. 83 Kamus.net, s.v. ―Meradang,‖ accessed April 7, 2014, http://www.kamus.net/indonesia/meradang.

3. The expression of Humbert Humbert’s disappointment

a. Datum 1

From the author‘s word selection, this poetical expression reflects

Humbert Humbert‘s disappointment because of Lolita‘s departure. He

found out that Lolita go with another man without his knowledge, thus,

Humbert fell into desperation and lamented his loneliness. It is illustrated

from the first and the second verse, that he seemed so disappointed and

powerless. From the symbols implied in the third and the fourth verse, it

looks like he tried to rise again as a man, but then Lolita went away from

him. Humbert‘s hairy fist and crying Lolita shows two contradictory

persona which imply that there is no harmony anymore between both of

them.

Actually, there are several re-structuralisations in this poetical

expression, ranging from the first until the last of its verse. The first one is

the position alteritation of ―dying, dying,” in the beginning of the first

verse in ST which translated into ―kini aku sekarat” and be placed in the

end of the first verse in TT. Whereas, according to the dictionary, dying

means very ill and likely to die soon.84 On the other hand, in Indonesian

language, dying has the same meaning with sekarat.85 It is tolerable if the

translator would have translated the term “dying, dying” to ―sekarat,

sekarat,” but it seems very inept and awkward to read in Indonesian

language. So to avoid that kind of unreadability, the translator did another

84 Walter, Op. Cit., p. 440. 85 Kamus.net, s.v. ―Dying,‖ accessed April 7, 2014, http://www.kamus.net/english/dying.

trick and added ―kini aku,” or ―now I am,” to the term to make it more legible.

Afterwards, another re-structuralisation can be found in the third verse, especially in the end which said ―I raise.‖ As seen on the dictionary, raise means to lift something to a higher position86 in English-

English dictionary and mengangkat or meninggikan87 in Indonesian language. But in its Indonesian version, the translator translated the phrase into “coba kuangkat,” which have a slightly difference with its original meaning. If observed further, the third verse which said ―And again my hairy fist I raise,” means that Humbert has already raise his hairy fist more than once. But in TT, the translator has a different perception and interprets it as a trial, then translates it into “coba kuangkat.”

From the combination of several re-structuralisations above, it can be concluded that the translator changes the position of a word or phrase because he wants to create a harmonious yet communicative expression.

He tries to sort the word with the same suffix in the same position, so that the connection between verses will be established and the a-b-a-b rhyme pattern will be created, just like the way it is in ST. Besides, he wants to avoid English language atmosphere from the Indonesian version of the expression, so the translation will sound natural and legible to the target reader here in Indonesia. Therefore, translation as a craft is dominant here because of the re-structuralisation and adjustment which was made by the translator.

86 Walter, Op. Cit., p. 1172. 87 Hornby, Op. Cit., p. 262.

b. Datum 2

In this poetical expression, the artsy atmosphere seems to influence the translator again. It cannot be separated because poetical expression or poetic translation in general, is fully included in literary translation. So, if there is any criteria which is considered as its main reference point, art is the one that is the most dominant. From its physical and mental structure, it can be seen that the main message of the expression is the angry

Humbert Humbert who commanded the police to arrest Lolita and her lover.

The first and the second verse of the expression use interjection sentence as its pattern. The translator seems to translate the two verses just like the way it is. There is no conspicuous change or adjustment which was done by him. The only interesting thing here is the translator‘s word selection to represent his lover in Indonesian language. In advance, the term lover here means the person you are having a sexual relationship with, but are not married to.88 But he is more inclined to choose kekasihnya rather than penggemar or pecinta, just like the word‘s referential meaning in the dictionary.89 Although that term has a more specific language in English language rather than its referential meaning in

Indonesian language, the translator‘s personal choice is involved in translating that term, so translator‘s taste is the main determinant here.

But in the third verse, there is a difference between the expression in ST and TT which affect both meaning. In ST, there are a phrase which

88 Walter, Op. Cit., p. 851. 89 Hornby, Op. Cit., p. 194.

said ―follow that car,” but in TT, the translator adjusts it into ―ikuti mobil

mereka.” That in the phrase in ST above used to refer to an object,90 but

the translator had different perception and translated it into mereka or

their, to refer of or belonging to them.91 While if the translation follows

the original version‘s word order, then it must be ―ikuti mobil itu.” By

using this technique, he wants to make a harmonious yet communicative

expression just like any other poetical expressions in this novel. He tries to

similarize the suffix of the verse, but on the flip side the meaning of the

expression is affected.

Reciprocally, in the fourth verse the similar adjustment is also

present. In the end of the verse, the author wrote take cover to round off

the expression. According to the thesaurus, take cover means protect

oneself from attack by ducking down into or under a shelter,92 or in

Indonesian language it means berlindung.93 But the translator chooses

another word which has no relation to the referential meaning, which is

tangkap mereka or arrest them. As before, the translator tries to hunt

down the same-rhymed word as in previous verse, but unwittingly the

translator creates a meaning distortion which makes the expression biased.

As unfortunately, the target reader here in Indonesia won‘t unlikely feel

the same expression‘s intention as the source reader does.

As mentioned above, the art is mostly influenced the translation

method in this poetical expression. Therefore, translation as an art is

90 Walter, Op. Cit., 1504. 91 Ibid., p. 1506. 92 Thesaurus.com, s.v. ―Take cover,‖ accessed December 24, 2013, http://thesaurus.com/browse/take+cover. 93 Hornby, Op. Cit., p. 79.

absolutely prominent in it and its word selection. The reason behind this is still the same as before, which is to create an equal and natural translation of this poetical expression. c. Datum 3

This poetical expression has an interesting yet different from any other expression in this novel. In here, Humbert Humbert expressed his disappointment to the man who took Lolita away, so he was heart-broken and lonely.

The expression in TT uses the same pattern as the one in ST, so there is no big difference between the two of them. But there is a change which was made by the translator in translating this expression, especially in end of the last verse. The author uses the word disadvantage to portray

Humbert‘s fate at that time, but the translator has another perspective and tends to choose the word kelemahan as its representative in Indonesian language. The word disadvantage here means a condition or situation which causes problems, especially one which causes something or someone to be less successful than other things or people.94 This is undebatable because it involves translator‘s personal choice and taste to translate this word. While maybe the word itself could be translated into kerugian just like its referential meaning in the dictionary,95 all of the choice of word selection is both natural and readable, so that the meaning of the whole expression will not be interrupted although one of the words is chosen to represent disadvantage in Indonesian language.

94 Walter, Op. Cit., 397. 95Hornby, Op. Cit., p. 5.

Therefore, because this expression relies heavily to translator‘s

own personal taste and choice, translation as a taste is the main reference

in translating this poetical expression. The issue of ―good‖ or ―bad‖ is

more prominent here, and the color of subjectivity is far stronger.

C. Discussion

From the previous data analysis, it can be concluded that there are ten data

from three groups that are found in the translation criticism of Lolita novel.

Those groups can be placed on a continuum which affects the criticism process

towards the translator‘s work. With Peter Newmark‘s criticism translation

theory, all the data will be analyzed and assessed thoroughly. For the

record, 1-100 points given to each category of the table, and if there are any

meaning gaps or other deficiencies, the value is reduced five points. The

criticism can be outlined as in the table below.

1. The expression’s criticism of Humbert Humbert’s memory

Data Criticism Category Criticism result Number Science Craft Art Taste 1. - - 100 x 1 - = 100 2. - 100 x 1 = - - 285 : 4 = 71,25 100 3. - - 85 x 1 - = 85

From the table above, there are three categories found in the

expression‘s criticism of Humbert Humbert‘s memory. Two of them are

translation as an art in datum number one and number three, and the other

one is translation as a craft in datum number two. Datum number one and

number two has full 100 points because there are no deficiency found in the

data. In addition, datum number three has 85 points because three

deficiencies found, so the score must be reduced to 15 points. The total

point of the criticism result could reach up to 285, and it is divided by four

because there are four benchmarks which are used as the criticism‘s

determinants. As a result, the score obtained from this expression‘s

criticism is 71,25.

2. The expression’s criticism of Humbert Humbert’s longing

Data Criticism Category Criticism result Number Science Craft Art Taste 1. - - 95 x 1 = - 95 2. - 95 x 1 = - - 95 380 : 4 = 95 3. - 95 x 1 = - - 95 4. - - 95 x 1 = - 95

In the second table, there are four data found in the expression‘s

criticism of Humbert Humbert‘s longing. Datum number one and number

four are categorized as translation as an art, while datum number two and

number three are categorized as translation as a craft. Because all the data

have one deficiency, each of the datum point must be reduced by five, so

the results for each of them are 95. Hence, the average of the expression‘s

criticism is 95, because all the data has equal points.

3. The expression’s criticism of Humbert Humbert’s disappointment

Data Criticism Category Criticism result Number Science Craft Art Taste 1. - 95 x 1 = - - 95 2. - - 90 x 1 = - 285 : 4 = 71,25 90 3. - - - 100 x 1 = 100

From the third table, three data are found in the expression‘s

criticism of Humbert Humbert‘s disappointment. Each of the datum

sequentially is translation as a craft in datum number one, translation as

an art in datum number two, and translation as a taste in datum number

three. The point of datum number one must be reduced by five because it

has one deficiency, the point of datum number two also has to be reduced

to ten points because it has two deficiencies, while the point of datum

number three doesn‘t have to be reduced at all because it has no

deficiency. As can be seen above, the total score of the expression is 285,

so the average point obtained from the expression‘s criticism above is 71,

25.

Broadly, from those three tables above it can be concluded that the

criticism‘s assessment from the poetical expression in Lolita novel is

categorized as good. The meaning of ―good‖ here is reflected on the high

level of readability, congruency, accuracy, and most importantly beauty,

which is represented in the translation criticism theory by Peter Newmark.

CHAPTER IV

CONCLUSION AND SUGGESTION

A. Conclusion

In poetical translation, it is often said that translated poetry or

poetical expression is not as good as its original poetry. Translators are

frequently trapped in translating poetry‘s meaning and beauty, while on

the other hand, the linguistic aspect of the poetry has to be taken as a

consideration as well. Many people believe that translating a poetry is

impossible, and if it can really be translated, the translation version must

be worse than its original. But, this myth is broken by the poetical

expression translation in Lolita. Translation criticism was performed in

order to find out how the translation criticism of its poetical expression

applied, and as it turns out, actually the application of the criticism can be

started with reading the English version and its Indonesian translation of

the novel, identifying the specified parts in each verse, comparing and

contrasting the translation and the English version in a table, classifying

the data which have been collected, and concluding the data analysis in

terms of the translation criticism theory.

Based on the above steps, there are ten data found in the novel

which are divided into three kinds of expression. The first one is the

expression of Humbert Humbert‘s memory which has three categories,

namely one category of translation as a craft and two categories of

translation as an art. Then, the second one is the expression of Humbert

Humbert‘s longing which has four categories, namely two categories of

translation as a craft and two categories of translation as an art. And last,

the third one is the expression of Humbert Humbert‘s disappointment

which has three categories, namely one categories of translation as a craft,

one categories of translation as an art, and one categories of translation

as a taste.

From all the data above, five data has no deficiency at all, three

data has one deficiency, one datum has two deficiencies, and the other one

has three deficiencies. In total, the criticism result for the expression of

Humbert Humbert‘s memory and Humbert Humbert‘s disappointment are

71, 25, and for the expression of Humbert Humbert‘s longing is 95.

Therefore, it can be concluded that the application of translation criticism

on poetical expression found in the novel is considered good. The term

―good‖ here is based on the high level of readibility, congruency,

accuracy, and most importantly beauty, which is represented in

Newmark‘s translation criticism theory.

B. Suggestion

Based on the conclusion above, several suggestions as an effort to

escalate the quality of English-Indonesian translation particularly in the

field of literature and to intensify the criticism of translation and its

application are proposed.

For the translation circles, the writer suggest that translators not

only should enforce practical standpoint in translating text, but also critical

standpoint. Since the translation field is rapidly growing, it is necessary to

create a better translation quality in the future by making a proper translation criticism among the translation circles itself.

Besides, it is worth remembering that translation criticism should not be a mere identification of errors, an intuitive, or highly subjective appraisal for judging some translated texts as good, bad, or anything else.

Several qualifying criteria should be implemented to develop an equitable criticism towards translation. Because sometimes, there are some ineligible criticisms which cannot be justified scientifically and academically.

BIBLIOGRAPHY

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APPENDICES

Novel Synopsys

Lolita is a novel about a man who love a girl endlessly, even though there are so many obstacles and prohibition lies ahead of him. The story is told from

Humbert‘s perspective, who is the book‘s unreliable and subjective narrator. It is divided into two parts and includes a Foreword written by a fictional editor of the manuscript. A note from its author, Vladimir Nabokov, was added after 1956 to the end of the book.

Humbert Humbert, a European, has a fairly normal childhood, except for his mother‘s death when he was 3 years old. When he‘s 9, he meets Annabel

Leigh at his father‘s hotel. He falls in love with her. She dies of typhus after the summer and he‘s crushed by the death permanently. Later, he believes that he has a fatal flaw, he loves charming young girls between ages 9 and 14, who he calls

―nymphets.‖ Nymphets arouse him and he obsesses with them. He has very little feelings for adult women.

After he gets older, Humbert goes to United States and moves in with a

New England woman, Charlotte Haze, and her young daughter, Dolores ―Lo‖

Haze. Lo—or Lolita, as Humbert calls her—is a 12-year-old nymphet. From the moment Humbert lays eyes on her, he feels that he must have her. He chooses to stay with the Haze family as a tenant. Meanwhile, Charlotte has feelings for

Humbert, which he can no longer ignore after she goes to drop off Lo at camp and leaves him a letter declaring her love. He can only stay in the house if he tells

Charlotte that he feels the same way and marries her. Humbert loves Lo so much

that he has no choice, he must stay and marry Charlotte in order to stay close to

Lo.

Their marriage doesn‘t last long. Lo, who has nursed a schoolgirl crush on

Humbert, remains at camp during their short marriage. The newlyweds‘ bliss is cut short by Charlotte‘s discovery of Humbert‘s diary, in which he recorded his stalking notes about Lo. Charlotte races out of the house and a car hits her, and she dies. Humbert can barely believe his luck. Then, he picks up Lo from camp and takes her to a hotel, which begins their road trip. At the hotel, he has sex with her. He doesn‘t let her know that her mother is dead until the next day. The girl has no choice but to stick with Humbert. For the next year, Humbert and Lo travel the country, and they eventually settle in Beardsley, a college town, and Lo briefly attends school there. At the school, she takes part in the drama group and meets the author of her school play, Clare Quilty.

After a particularly nasty fight with Humbert, Lo requests to leave

Beardsley. This turns out to be the beginning of the end for Humbert‘s nymphet love affair. Lo secretly communicates their locations to Quilty, who eventually helps her escape when she is hospitalized for a fever. Humbert vows to take revenge on the mysterious kidnapper. Years later, he finds Quilty after reconnecting with Lo, who is a pregnant, married teenager living in poverty.

When Lo rejects him after he visits her for the first time since she escaped, he tracks down Quilty and kills him. Humbert is charged with murder and jailed, and he writes the manuscript, which he requests not to be published until Lo and he are dead. Lo tragically dies while giving birth to her child, and Humbert dies in jail.

Criticism Table

1. The expression of Humbert Humbert’s memory

No. Source text Target text Explanation

1. Lolita, light of Lolita, cahaya Translation as an art is

my life, fire of hidupku, api prominent here because the

my loins. sulbiku. translator strongly

My sin, my soul. Dosaku, sukmaku. considers the aesthetic side

Lo-lee-ta: the Lo-li-ta: ujung when translating this

tip of the tongue lidah menjejak expression. There are three

taking a trip of mundur langit- parts which determined the

three steps down langit mulut tiga criticism value and the

the palate to tap, kali dan pada kali translator translated it very

at three, on the ketiga menyentuh well.

teeth. Lo. Lee. deretan gigi. Lo. Li.

Ta. Ta.

p. 9 p. 15

2. My Dolly, my Dolly-ku, There are a meaning gap

folly! Her eyes kebodohanku! and restructuralisation in

were vair, Matanya menipu, this expression. The

And never closed Dan tak pernah translator translated vair

when I kissed terpejam saat into a different meaning in

her. kucium, Indonesian language, and

Known an old Tuan, berasal dari the translator also created a

perfume called Paris-kah dirimu? restructuralization in the

Soleil Vert? Tahukah kau third and fourth verse.

Are you from Soleil Vert? Itu

Paris, mister? merk parfum.

p. 254 p. 444

3. Saint, forsooth! Demi kebenaran, There are three

While brown Santa! deficiencies here which

Dolores, Ketika Dolores makes it sensible to

On a patch of yang cokelat reduce the criticism value,

sunny green muda, which are brown into

With Sanchicha Pada sepetak cokelat muda translation,

reading stories rumput hijau sunny into ceria

In a movie ceria, translation, and movie to

magazine— Dengan Sanchicha remaja.

membaca cerita

Di sebuah majalah

remaja—

p. 243 p. 425

2. The expression of Humbert Humbert’s longing

No. Source text Target text Explanation

1. Where are Dolores Haze, In this poetical expression,

you riding, ke mana kau the translator's personal

Dolores menghilang? choice in word selection

Haze? Apakah kau can be seen in the word

What make is naik karpet like riding, magic carpet,

the magic terbang? Cream Cougar, and car

carpet? Apakah kau pet. But there are some

Is a Cream suka kue krim meaning gaps in riding and

Cougar the sekarang? car pet translation which

present Dan di mana could be improved by the

craze? kau diparkir, translator.

And where mobilku

are you tersayang?

parked, my

car pet?

p. 254 p. 444

2. Wanted, Dolores Haze— There are three re-

wanted: dicari, dicari, structuralisations in this

Dolores Tak kedip tatap expression, which are in

Haze. mata the first verse and also in

Her dream- kelabunya. the third and the fourth

gray never Tingginya verses. Besides, there is a

flinches hanya enam meaning deviation in

Ninety puluh inci wanted, wanted translation

pounds is all Dan empat which was made by the

she weighs puluh lima kilo translator, and it can be

With a height bobotnya. calculated as one

of sixty deficiency.

inches

p. 255 p. 445

3. Wanted, Dolores Re-structuralisation

wanted: Haze—dicari, and conformation is

Dolores dicari! still there, and it can

Haze. Rambut: be seen from

Hair: brown. cokelat. Bibir: wanted,wanted,

Lips: scarlet. merah terang. scarlet, and starlet

Age: five Usia: lima ribu translation. But, there

thousand tiga ratus hari. are a meaning

three Pekerjaan: deviation in

hundred tidak ada, atau wanted,wanted

days. “calon translation, so it can be

Profession: bintang”. calculated as one

none, or deficiency.

“starlet.”

p. 253 p. 444

4. Oh Dolores, Oh Dolores, There also a meaning

that juke-box musiknya bikin deviation here. It is

hurts! meriang! reflected from the

Are you still Masihkah kau translation of the word

dancin’, berdansa, torn, which are translated

darlin’? Sayang? into belang, in order to

(Both in worn (Keduanya create the same rhyme as

levis, both in bercelana the previous adjective

torn T-shirts, Levi’s usang, word, worn, which was

And I, in my keduanya translated into usang.

corner, berkaus Meanwhile the true

snarlin’). belang, meaning in Indonesian

Dan aku, di language shows different

sudut, words, which is robek or

meradang). terkoyak.

p. 254 p. 444

3. The expression of Humbert Humbert’s disappointment

No. Source text Target text Explanation

1. Dying, dying, Lolita Haze, kini In this expression, the

Lolita Haze, aku sekarat, translator made a

Of hate and Nyaris mati karena meaning deviation in

remorse, I’m sesal dan benci, “And again my hairy

dying. Tinjuku yang fist I raise‖

And again my berbulu coba translation. The

hairy fist I kuangkat, translator has a

raise, Dan kudengar kau different perception

And again I menangis lagi. and interpret it the

hear you other way, but as a

crying. result, it turns out to

p. 254 p. 445 be a deviation.

2. Officer, officer, Polisi, polisi, itu The translator change

there they are— mereka— several parts of the

Dolores Haze Dolores Haze dan expression, which are

and her lover! kekasihnya! in the word that in

Whip out your Kokang pistolmu, the third verse, and

gun and follow ikuti mobil mereka, also in the phrase

that car. Sekarang lompatlah take cover in the last

Now tumble dan tangkap verse. There is

out, and take mereka. meaning differences

cover. between the word and

phrase above, and it

is calcuted as two

deficiencies in the

p. 254 p. 445 criticism value.

3. Because you Karena kau Translation as a

took advantage mengambil taste is more

of a sinner keuntungan dari prominent here

because you seorang pendosa because this

took advantage Karena kau expression relies

because you mengambil heavily to

took keuntungan translator‘s own

because you Karena kau personal taste and

took advantage mengambil choice, besides of my Karena kau there are no disadvantage... mengambil deficiencies in this

keuntungan dari expression, and the

kelemahanku... translation can be

categorized as

p. 298 p. 520 good.