metaphor translation from an indonesian poem...

METAPHOR TRANSLATION FROM AN INDONESIAN POEM ENTITLED

TIDAK ADA NEW YORK HARI INI INTO ENGLISH

An Undergraduate Thesis

Submitted to Letters and Humanities Faculty in Partial Fulfillment of the

Requirements for the Degree of Strata One

DWI NURMAYUNITA

1113026000069

ENGLISH LETTERS DEPARTMENT

FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2017

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ABSTRACT

Dwi Nurmayunita. Metaphor Translation from an Indonesian Poem Entitled Tidak Ada

New York Hari Ini Into English. A thesis: English Letters Department: Faculty of Adab

and Humanities, State Islamic University Syarif Hidayatullah, Jakarta 2017.

This research analyzes the metaphor translation in a poem entitled Tidak Ada

New York Hari Ini written by M. Aan Mansyur translated into English by John H.

McGlynn entitled There is No New York Today The researcher classifies the

metaphorical expressions based on the procedure to translate it. In this research, the

researcher found out 14 metaphor expressions in the poem. Then, they are classified

into several types of metaphor based on conceptual metaphor theory by Lakoff and

Johnson. They are structural metaphor, ontological metaphor and orientational

metaphor. As the result, the data are categorized into the types of metaphor. Most of

the data are categorized into ontological metaphor. Furthermore, the data are analyzed

into four types of metaphor based on the procedure that is applied by the translator

according to Newmark’s theory. As the result, the researcher found two dead

metaphors, nine standard metaphors, one recent metaphor and two original metaphors.

Most of them are categorized as standard metaphor.

Keywords: Metaphor Translation, Conceptual Metaphor, Poetry

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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 the

award of any other degree or diploma of the university or other institute of higher

learning, except where due acknowledgement has been made in the text.

Jakarta, August 2017

Dwi Nurmayunita

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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 the

award of any other degree or diploma of the university or other institute of higher

learning, except where due acknowledgement has been made in the text.


Dwi Nurmayunita

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ACKNOWLEDGEMENT

In the name of Allah. The Beneficent the Merciful

In the name of Allah Subhanallahu wa Ta’ala, the Proprietor of life. First of

all, the researcher reveals all praise and gratitude to Him for every grace given from

the beginning until the completion of this research. During the research, there are so

many obstacles which the researcher faces, from the trivial thing such as striving to

appear positive atmosphere, inuring herself to straighten up her health and stress and

overcoming the uncertainty in determining the proper analysis in this undergraduate

thesis. However, Allah has given a great way to the researcher so that she is given an

ease in doing her obligation as a student in Syarif Hidayatullah State Islamic

University.

Secondly, the researcher thanks to her parents for their support in this research

process. Thanks for reminding her to eat and rest when the researcher takes too long in

her room to do this research. Thanks for the kindness and advice that had been given.

Then, researcher thanks to her siblings, Safitri Purnamayanti and Aldi Darmawan for

being a friend to talk and joke at home, they are a healer when the researcher got tired.

The third is the researcher’s advisor, Mr. Moh. Supardi, M.Hum. who has an

important role in doing this research. The researcher thanks to his patience, support and

kindness during the advisory times. The researcher also thanks him for every advice,

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suggestion, correction and his contribution until this thesis can be finished. May

Allah’s blessings always be with him and his family.

The researcher also would like to express her gratitude to the following persons

who have a role in finishing this undergraduate thesis:

1. Prof. Dr. Sukron Kamil, M.A., the Dean of Adab and Humanites Faculty, Syarif

Hidayatullah State Islamic University.

2. Drs. H. Saefudin, M.Pd., the Head of English Letters Department.

3. Elve Oktafiany, M. Hum., the Secretary of English Letters Department

4. All the lecturers of English Letters Department for their experiences that have

been shared and knowledge that have been taught during the lectures at Syarif

Hidayatullah State Islamic University.

5. All of the Translation Classmate that cannot be mentioned one by one who have

inspired the researcher. Especially for Purnama Kelam WhatsApp group:

Ni’mah, Sekar, Iqbal, Bila and Lilianih who have become a place to tell stories

in every condition about everything in Translation Class.

6. Thanks to big family of Bintang Revolusi Public Speaking and Motivator

Academy. Especially for Kak Archan and Kak Dilla who have taught the

researcher to resist her self-talk so she can be more confident and motivated in

every step of her life.

7. The researcher’s closest friends, the member of Grup Sucik such as Jeannita,

Desi, Japira, Sekar, Ni’mah, Lilianih, Ika, and Bundo who have consoled the

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researcher in stress time with receh jokes ever, they are her shoulders when

problems appear. Especially, the researcher thanks to Ismaniar, the first

researcher’s friend in college. She is an inspirator for the researcher because of

her advices to solve some problems, fosters the researcher to be more

independent and brave and encourage her to ride motorcycles so that the

researcher could attend her advisory. Moreover, the researcher thanks to

Aphriliana who has been a roommate when the researcher lived in a boarding

house. She taught so many things to the researcher. For her, Aphril is a place to

tell everything.

8. The researcher also thanks to Hapers, a name derived from the word “hap”

popularized by someone. However, the word “hap” connotes a positive thing

because Haper is a group of young women who like culinary.

9. For the researcher’s ex-crushes. Although the researcher cannot put them in her

heart, but she will always remember them in her life, thanks to filled and colored

her days.

10. Other people that cannot be mentioned one by one who give some support and

prayer for the researcher.


The researcher

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TABLE OF CONTENTS

ABSTRACT .................................................................................................................. i

APPROVEMENT ....................................................................................................... ii

LEGALIZATION ...................................................................................................... iii

DECLARATION ........................................................................................................ iv

ACKNOWLEDGEMENT .......................................................................................... v

TABLE OF CONTENTS ......................................................................................... viii

CHAPTER I INTODUCTION

A. Background of Study ........................................................................................ 1

B. Focus of Study .................................................................................................. 4

C. Research Question ............................................................................................. 4

D. Objective and Significance of Study ................................................................. 4

E. Research Methodology...................................................................................... 5

1. Method of the Research .............................................................................. 5

2. Technique of Data Analysis ........................................................................ 5

3. Instrument of Study ..................................................................................... 5

4. Unit Analysis ............................................................................................... 5

CHAPTER II THEORITICAL FRAMEWORK

A. Previous Researches .......................................................................................... 7

B. Translation Concept and Definition ................................................................ 12

C. Poetry Translation ........................................................................................... 13

D. Literary Translation ......................................................................................... 14

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E. Metaphor Translation ...................................................................................... 14

F. Definitions and Concepts of Metaphor ........................................................... 15

1. Zoltán Kövecses ........................................................................................ 15

a. Structural Metaphor ............................................................................ 17

b. Ontological Metaphor ......................................................................... 19

c. Orientational Metaphor ....................................................................... 20

2. Peter Newmark .......................................................................................... 20

a. Dead Metaphor .................................................................................... 21

b. Cliché Metaphor .................................................................................. 21

c. Stock or Standard Metaphor................................................................ 22

d. Adapted Metaphor ............................................................................... 23

e. Recent Metaphor ................................................................................. 23

f. Original Metaphor ............................................................................... 24

g. Procedure to Translate Metaphor ........................................................ 24

CHAPTER III RESEARCH FINDINGS

A. Data Description.............................................................................................. 28

B. Data Analysis .................................................................................................. 29

1. Dead Metaphor ......................................................................................... 29

2. Stock and Standard Metaphor .................................................................. 33

3. Recent Metaphor ...................................................................................... 48

4. Original Metaphor .................................................................................... 50

CHAPTER IV CONCLUSIONS AND SUGGESTIONS

A. Conclusions ................................................................................................... 53

B. Suggestions ................................................................................................... 54

x

BIBLIOGRAPHY ..................................................................................................... 56

APPENDICES ........................................................................................................... 58

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CHAPTER I

INTRODUCTION

A. Background of Study

In this research, the researcher analyzes the metaphor translation in a poem. The

title of the poem is “Tidak Ada New York Hari Ini” which translated into English

entitled “There is No New York Today.” The researcher analyzes the translator’s

procedure in translating metaphor from Indonesian to English in the poem. The

researcher is interested to analyze the metaphor in “Tidak Ada New York Hari Ini”

poem, because she likes the figure of speech that is appeared in the poem and the diction

to express what the poet’s feel is very touching and deep. Besides that, the translator

can convey the personal emotion of the poet and make the poem to be more poetic with

the distinctive diction through his translation work. Since then, the researcher is

interested with several M. Aan Mansyur’s work, especially his poems entitled “Cinta,”

“Tidak Ada New York Hari Ini,” and “Ketika Ada Yang Bertanya Tentang Cinta”

which have a romantic impression. Those poems are the three of thirty one poem which

collected in a book entitled “Tidak Ada New York Hari Ini” which translated by John

H. McGlynn entitled “There is No New York Today.”

In language field, metaphor is interesting to be discussed because metaphor is the

part of language and human’s cognitive system. As outlined in Business Dictionary,

cognitive system involves an individual’s world view and determines how a person

abstracts, filters and structures some information he or she received from around.

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Michael (2014) argues that language is an independent system made with abstract

symbol and tightly connected to human’s body experience. Metaphors enable in

communication and it is created to develop human’s language to be more poetic and

alive. Furthermore, by metaphor, a person can express every word freely. Especially in

writing poetry, a poet should be synchronic in express his or her mind and the words

that must be written. Because if he uses common language, it can be lack of aesthetic

and harmonic nuance and make it lifeless that causes the readers feel bored. This is the

following sample of the study:

Source Text: Masa remaja dan negeri jauh. Jatuh dan patah.

Target Text: Days of youth and a far-away land. Fallen and broken.

The text above is categorized into dead metaphor. This translated text is clear and

easy to be understood by the reader because it is applied in common language. In a

major study (Newmark 106), it was found that dead metaphor often defy literal

translation and relate to universal terms of space and time, the main part of body such

as foot, mouth, eyes and the main human activities such as drop, fall and rise. The

words “fallen and broken” means that the hard situation or experience of someone who

lives in a country that far from his or her hometown.

In “Tidak Ada New York Hari Ini,” the researcher analyzes the types of metaphor

based on the procedure used by translator to translate the poem. According to “There

is No New York Today” book, John H. McGlynn is the world’s foremost editor and

translator of Indonesian literature. He is a co-founder of Lontar Foundation with some

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Indonesian man of letters. Currently, he already translated several dozen publications

under his own name and through the Lontar Foundation. Therefore, the researcher is

interested to analyze the procedures applied in translating metaphor is expected to

develop metaphor translation and enrich the knowledge of metaphor, to know the

procedure in translating and understanding the meaning of metaphor for the researcher.

Besides that, the researcher also hopes that this research can help poetry lovers or others

society to understand the message implied in the poem written in figure of speech such

metaphor, so it can be understood well.

Before deciding the topic, the researcher read some literary works, such as novel

and song lyrics with the same discussion, in terms of metaphor. At first, she wanted to

analyze metaphor in a novel entitled “The Fault in Our Stars” written by John Green,

because there are many metaphorical expression appeared in it. But after some time,

she found that this novel had been analyzed by another researcher. Thus, the researcher

no longer used novels as her corpus in the study because the most of English letters

students has already used it for their own research. After that, the researcher wanted to

analyze a song lyrics entitled “Up and Up” which popularized by Coldplay, but she

found a number of obstacles, among the song lyrics that is too hard to be interpreted.

Finally, the researcher chose a poem written by M. Aan Mansyur entitled “Tidak Ada

New York Hari Ini” which translated by John H. McGlynn into English with the title

“There is No New York Today.”

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B. Focus of Study

As outlined in Medium (2015), poetry has several elements that can make it alive

such as imagery, rhythm, sound, density and line. However, these elements will not be

discussed in this study. In this study, the researcher focuses on the metaphor translation

in “Tidak Ada New York Hari Ini” poem written by M. Aan Mansyur translated by

John H. McGlynn entitled “There is No New York Today.”

C. Research Questions

Based on the background of study, the question of this research is:

1. How are metaphors translated from Indonesian poem Tidak Ada New York

Hari Ini into English?

D. Objectives of Study

Based on the research question above, here is the purpose of this study:

1. To find out metaphors and its types translated from Indonesian to English.

E. Significance of Study

Theoretically, this research is expected to enrich the knowledge of metaphor

and metaphor translation and to know the procedure in translating and understanding

the meaning of metaphor for the researcher.

Practically, this research is expected to help poetry lovers or others society to

understand the message implied in the poem that has a figure of speech such as

metaphors.

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F. Research Methodology

1. Method of the Research

This study applies descriptive method, it is used to describe and explain

the problems through a process of data collection that enables them to describe

the situation more completely. In this research, the researcher will describe the

metaphor found in the Indonesian poem when it is translated to English (Tidak

Ada New York Hari Ini-There is No New York Today).

2. Technique of Data Analysis

In this study, the researcher will analyze the data line by line in the

poem. Then the data will be classified and analyzed based on the procedure of

translating metaphor.

3. Instrument of Study

The instrument of this research is the researcher herself by reading,

classifying and describing types of the metaphor in “There is No New York

Today” poem translated by John H. McGlynn.

4. Unit Analysis

The unit analysis of this study is the poem entitled “There is No New

York Today” translated by John H. McGlynn from Indonesian poem entitled

“Tidak Ada New York Hari Ini” written by M. Aan Mansyur. It is one of 31

poems in “Tidak Ada New York Hari Ini” book which first published in 2016.

The poem is presented in a movie entitled “Ada Apa Dengan Cinta? 2.” At the

launch of the movie, M. Aan Mansyur is believed to be a poet of romantic

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poems behind Rangga character in the movie which attracts the public interest

to be a best seller book.

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CHAPTER II

THEORETICAL FRAMEWORK

A. Previous Researches

Discussing about metaphor translation, there are several researches that the

researcher takes as the previous research. The first is a research is done by Fatemeh

Behnamnia from The University of Isfahan, Iran. Her study in 2016 was about

translating metaphor in a poem entitled “Translating Metaphor and Allusion from

Persian to English: A Comparative Study of Rumi’s the Song of the Road.” Fatemeh

analyzed the strategies for translating metaphor and strategies for translating allusion.

In theoretical framework, she cited some theories about translating poetry, strategies

for translating metaphor and allusion such as the perspective about translating poetry

based on Vahid (2004) who stated that poetry has many contrary and critic when it is

translated because basically, poetry is “untranslatable” and the translator usually re-

created the poetry in order to find the equivalence (Behnamnia 200). Moreover, she

also cited three functions of metaphor based on Newmark’s theory, strategies for

translating metaphor proposed by Larson, definition about allusion according to Perrine

(2006) and strategies for translating allusion proposed by Leppihalme (1997).

However, in analyzing her research, Fatemeh decided to use the strategies for

translating metaphor based on Larson’s theory and strategies for translating allusion

based on Leppihalme’s theory. The unit analysis of her study is the Persian text of

Mawlana’s “The Song of the Road” translated into English by Whinfield and

Nicholson. The objective of her study is to compare between Whinfield and Niclson’s

translation strategies to translate the Persian poem. The original text consists of

eighteen distiches, so do the English translations.

As the results of the whole data, she found many different methods that applied by

both translators. Nicholson applied literal translation by retaining metaphors and

explaining the meaning at the note part as translator’s interpretation to help TT (Target

Text) readers and the translator makes his translation work successfully by his

explanation, while Whinfield’s was preferred fidelity because he used the literal

translation and makes it difficult to be understood by the target readers. As a

comparison of this study, Fatemeh researched the strategies for translating metaphor

and strategies for translating allusion while the researcher studies about procedure for

translating metaphor including their types. In addition, Fatemeh and the researcher

apply the different theories in their own studies, Fatemeh applied Larson’s theory to

analyze the metaphor translation strategies and Leppihalme’s theory to analyze the

allusion translation strategies while the researcher prefers to analyze her study based

on Newmark’s theory. Moreover, Fatemeh decided to analyze a poem from Persian

into English while the researcher decides to analyze a poem from Indonesian into

English.

Another research is done by Arini Dina Yushofa (2014), she is an undergraduate

student of State Islamic University Syarif Hidayatullah Jakarta who did the research

entitled “An Analysis of Metaphor Translation in ‘Mendorong Jack Kuntikunti’

Books.” She discussed about metaphor translation in poems entitled “Prayer for Rain”

by David Campbell; “Every Night About this Time” by Chris Wallace-Crabbe; and

“Transit Hotel” by Dimitris Tsalomas which translated into Indonesian by Sapardi

Djoko Damono that collected in book entitled “Mendorong Jack Kuntikunti.” The

focus of the study is to analyze the types of metaphor in the poems which collected in

the book. In theoretical framework, she took several theories, such as definition of

metaphor from Peter Newmark, George Lakoff and Mark Johnson, Victoria Fromkin,

and other theories to obtain the different perspective to be compared. In addition, she

also cited the types of metaphor from Newmark’s theory combined with other

definition about dead metaphor from Sam Glucksburg.

As the result, she found several types of metaphors. They are 1 dead metaphor

(1%) (No image yet except the falling star—Tak terlihat apapun kecuali bintang jatuh),

1 cliché metaphor (1%) (Above the static-crackle, the burning bush—Di atas suara

meretas, di atas semak bernyala), 4 standard metaphors (4%) (Whistling like a hawk—

Bersiul bagai seekor elang), (Down through fitful bars of light—Menukik menembus

kilatan-kilatan cahaya), (Between landscapes of past and time to come—

Pemandangan masa lampau dan masa datang), (Tugging upon uneven hair—

Menjambaki rambut yang kuat), 2 recent metaphors (2%) in sentence (Stepping round

in skirt of storm—Kuyupkan bumi dengan basah taufan), (Open to an empty sky—

Membuka di bawah langit terbentang) and 3 original metaphors (3%) in sentences

(During such vigils in transit hotels—Di saat seperti ini di hotel transit), (And shake

our Gothic churches by their spires—Dan mengguncang menara-menara Gothic kita),

(And couples in dark Fords lay bare the heart—Dan dalam keremangan mobil Ford

muda-mudi mengungkapkan isi hati mereka) (Arini 22). The difference between

Arini’s and this research is Arini discussed poems from English into Indonesia while

this research discuss Indonesian poem translated into English.

Zohdi and Saeedi stated that poetry is kind of difficult thing to be translated,

because in poetry, the translator has little options because of its sound devices and

compactness. Morteza Zohdi was a student of English Language Department in

University of Applied Science and Technology, Iran. Ali Asghar Rostami Abou Saeedi

was a student of English Department in University of Sistan and Baluchestan, Iran. In

their study in 2011 entitled “Translating Metaphor and Simile from Persian to English:

A Case Study of Khayyam’s Quatrains” analyzed the translation accuracy of Rubaiyat

poem written by Omar Khayyam and translated by FitzGerald and Arberry. Because

both translators have different strategy in translated the poem, Zohdi and Saeedi

compared the way of translators in translated the poem. In the theoretical framework,

the researchers took some theories such as the definition of translation according to

Catford and Wilss, the translation processes according to Kiraly, House and Tirkkonen-

Condit, some definition and concept of simile according to Newmark and Larson and

metaphor definition by Abrams and Newmark. Rubaiyat is Rubai in plural. Rubai is

known in west since Rubaiyat of Omar Khayyam by FitzGerald that translated in free

translation and translated again by some translators such as Arberry, Edward Heron-

Allen, Omar Alishah and Robert Graves (Zohdi 1123). However, Zohdi and Saeedi

compare two version of Rubaiyat, they are FitzGerald version and Arberry version. In

analyze the poem, the researchers used Larson’s theory to identify the procedure in

translate the Persian poem. They analyzed eighty three of Rubai and found thirty five

of it that contain either simile or metaphor or both translated by both FitzGerald and

Arberry. There are nine strategies found in Rubai, they are omission, literally translated

with metaphor, literal translation with addition of meaning, metaphor has been

translated with a new metaphor with the same meaning, literal translation and the

meaning had been translated without retaining the metaphor.

As the result, FitzGerald translation is not match with the original text because

they are completely different. In this research, Zohdi and Saeedi argued that Arberry’s

translation is better than FitzGerald translation because Arberry has created metaphors

to the same meaning more than FitzGerald that make his translation work to be more

successful (Zohdi 1124-1137). Finally, as comparison, Zohdi and Saeedi’s research

and this research have some similarities, both of them use poem as the corpus in their

study. However, there are some differences of these researches, this research use

Newmark’s theory in her study while Zohdi and Saeedi’s research use Larson’s theory.

In addition, the researcher analyzes the types of metaphor based on how it is translated

from Indonesian to English while Zohdi and Saeedi analyzed the strategy or procedure

of metaphor and simile translation by comparing two versions from Persian to English.

B. Theoretical Framework

1. Translation Concept and Definition

Before discussing the meaning of metaphor, the types, and how to translate

it, knowing the meaning of translation is the most important aspect. Eugene A.

Nida and Charles R. Taber (12) defines "Translation consists in reproducing in the

receptor language the closest natural equivalent of the source language message,

first in terms of meaning and secondly in terms of style." Thus, translation is the

process of conveying a message to the language by considering the closest

equivalence, in terms of both meaning and style of language. The concept of this

theory inclines to source language in order to maintain the language style, but the

target language readers will be understood if the meaning is transferred clearly. It

is a crucial thing to make the translated text be easier to be understood and

readable.

Meanwhile, Larson, as cited by Sayogie (6), focuses translation as meaning

transferring from the source language (SL) into the target language (TL) which can

be done on the first language form to the second language form through the

semantic structure, so the language should be changed, but the text translated

meaning must be maintained to avoid misunderstandings. Based on the concept

above, it is not focused on the source language structure, but more likely on the

meaning transferring from the source text. As the translation goal, it prefers to

readers’ understanding in order to the content of the translated text can be

understood.

2. Poetry Translation

Asim Gunawan, as cited by Sayogie (202-203), translation in poetry is the

aesthetically poetic translation which the message transferred to the target

language with aesthetically form too. In poetry translation, a translator has the dual

demands and several problems, among which to keep the content and the message

in the original poems and keep the original image of the poems.

In translation field, there is an opinion that poem is impossible to be

translated. If the translator wants to do it, the translated poem must be in prose, not

in a poem form anymore. Even so, the translators still do that. Holmes, as cited by

Sayogie (202-203), there are four categories to translating poem as follows:

- The first approach to translate poetry is to maintain the original poem’s form,

although this is impossible since there is no similarity in poetic forms between

two languages. But, the translator can produce the same form of the poem by

mimetic approach. Mimetic approach is the form transfer of the source

language by simulating to the target language as well as possible.

- The second approach uses the analogical form by emphasis on the function of

the original form in source language poetry tradition, then giving equivalence

in target language by considerate target language tradition.

- The third approach uses the derivative content form. The translator can

determine the form of the poem freely, but he or she has to use the contents of

the original poems as the basis for translating.

- In the fourth approach, the translator merely uses the original poem as an

inspiration, and the translated poem does not reflect to the original, both in form

and the content.

3. Literary Translation

In a major study (Landers 3-8), it was found that literary translation

consistently shares a creative process in translation. Here alone does the translator

experience the aesthetic joys of working with great literature beyond reach,

effectively ‘in code,’ in the metaphor of the celebrated Dutch novelist Cees

Nooteboom. For a literary translator, some capabilities is considered such as tone,

style, flexibility, inventiveness, knowledge of the SL culture, the ability to glean

meaning for ambiguity, an ear for sonority and humility.

4. Metaphor Translation

Metaphor has been discussed between translatology, mainly in the

translatability of it and the strategies of their translation. In translatology, metaphor

were reflected on to appreciate the translatability of a language such as what lost

in translating them, their originality, the cultural background of other language or

respect the TL language richness was argued (Bojović 3).

5. Definitions and Concepts of Metaphor.

5.1. Zoltán Kövecses

In a major study (Kövecses), it was found that metaphor is a figure of

speech that compare one thing to another by saying that one is the other. The

aims of metaphor are to express some deep emotion. There are five of the

most commonly accepted features to characterize the traditional concept of

metaphor:

1. Metaphor is a property of words, it is a linguistic phenomenon. The

metaphorical use of lion in “He is a lion” is a characteristic of linguistic

expression.

2. Metaphor is used for some artistic and rhetorical purpose, for instance

when Shakespeare writes “All the world’s a stage.”

3. Metaphor is based on a likeness between two objects that are compared

or identified.

4. Metaphor is a mindful and thoughtful use of words, so everyone must

have a capability to do it. Some of the masters of metaphor are

Shakespeare, Churchill.

5. Metaphor is a figure of speech for appear a special effect and inevitable

in human communication.

In a major study (Kövecses 4-7), it was found that metaphor in cognitive

linguistic is described as understanding one conceptual domain in terms of

another conceptual domain, as a short hand, conceptual domain A is

conceptual domain B, this is called as conceptual metaphor. Some of the

examples of conceptual metaphor are from Lakoff and Johnson’s Metaphor

We Live By,they are terms about journey, love, argument, food, and so on

as following:

AN ARGUMENT IS WAR

Your claims are indefensible.

He attacked every weak point in my argument.

LOVE IS A JOURNEY

Look how far we’ve come.

We’re at a crossroad.

THEORIES ARE BUILDING

Is that the foundation for your theory?

We need to construct a strong argument for that.

IDEAS ARE FOOD

Let me stew over that for a while

That’s food for thought.

The italic words are metaphorical linguistic expression, while the

capitals for the statement of conceptual metaphors. Briefly, conceptual

metaphor is the way to thinking while the metaphorical linguistic

expression is the way to express explicitly.

Conceptual metaphor can be classified in relation to the cognitive

functions. In a major study (Kövecses 37), it was found that there are three

kinds of conceptual metaphor that can be classified as following:

1. Structural Metaphors

In a major study (Kövecses 37-38), it was found that structural

metaphors are the metaphors which the source domain provides a rich

knowledge structure for the target concept. The aim of structural metaphors

is to enable speakers to understand target A by means of the structure of

source B.

For instance, the concept “time” can be structured according to motion

and space, here are the ways to understanding time is motion metaphor

(Kövecses 37):

IS

Target Domain Source Domain

Time in terms of some basic elements, such as physical objects, their

location, and their motion.

MOTION TIME

In understanding time, there is a background situation that applies to this

way: the present time is at the same location as a canonical observer.

From the basic elements and the background condition, here are the

following mappings:

Times are things.

The passing of time is motion.

Future times are in front of the observer, past times are behind the observer.

One thing is moving, the other is stationary; the stationary thing is the

deictic center.

From the set mappings above, it is clear about notion of time.

Other examples of structural metaphors:

LOVE IS A JOURNEY

IS A

Target Domain Source Domain

JOURNEY LOVE

A path has

some obstacles

to be

traversed.

Something that

has value to be

fighted for.

Something that

bring a

destination.

A relationship

has a marriage

goal

In a map above, the term “love” as a source domain that is influenced

by the term “journey” which is a source domain.

2. Ontological Metaphors

In a major study (Kövecses 38-39), it was found that ontology is a

branch of philosophy that has to do with the nature of existence. The

cognitive role of ontological metaphors seems to give a new ontological

status to general categories of abstract target concept and to bring about

new abstract entities. It means that someone must conceive their

experiences in terms of objects, substances, and containers without

specifying what kind of object, substance and container is meant.

Ontological metaphors are useful to explain some undelineated physical

objects. For instance, conceiving of fear as an object, people can

conceptualize it as “possession” that linguistically, people can say my fear

or your fear. Moreover, people can also say “mind” as an object and find a

metaphor such as “machine” as in ”My mind is rusty this morning.”

Besides that, ontological metaphor can be conceived as personification.

In this case, human qualities are given to nonhuman entities. Here are some

examples:

Life has cheated me.

Cancer finally caught up with him.

Her tears melted me.

3. Orientational Metaphors

In a major study (Kövecses 40), it was found that cognitive function of

orientational metaphors is to set the target concepts in order to be coherent

in human’s conceptual system. The orientational metaphors discuss about

basic human spatial orientations such as up-down and center-periphery

which derives from the fact of metaphors that serve the function in life. In

addition, orientational metaphors are more appropriate to be called

“coherence metaphor” because of its function in cognitive level. These are

the following examples:

MORE IS UP; LESS IS DOWN: Speak up, please. Keep your voice down

please.

HAPPY IS UP; SAD IS DOWN: I’m feeling up today. He’s really low

these days.

5.2.Peter Newmark

In a major study (Newmark 104), it was found that metaphor as an

expression of figurative language that can convey a sense of the physical

word, personification of an abstraction or the application of a word and

collocation that cannot show the real sense, like describing something that

refer to other objects. Therefore, a translator should be sharp and have a

sense for its own language, it does not mean to relate mystically as a 'sixth

sense', but to get all that, should combine intelligence, sensitivity and

intuition and science.

In a major study (Newmark 108-112), it was found that Newmark

classified metaphors into six types and presented them with the contextual

factors and translation procedures, the kinds of metaphors according to

Newmark namely:

a. Dead Metaphors

Dead metaphor is a metaphor that is difficult to realize on an image,

often associated with the term universal space and time, parts of the body,

prioritize ecologically speaking, and human activities. For example, in

English: 'space' , 'top' , 'foot' , 'mouth' , 'fall', 'rise'. Generally, a dead

metaphor is not very difficult to be translated because it is translated literally.

Dead metaphor is used too often in common language, so the figurative sense

was no longer impressed. In a major study (Sayogie 209), it was found that

the example of dead metaphor: Kaki gunung which translated as foot of the

mountain.

b. Cliché Metaphors

Cliché metaphor is a metaphor that has long been used which is used as

an alternate from clear thinking, impress touching, but no resemblance to the

facts. However, a translator had to peel the cliché metaphor, especially when

used on a 'no name' text, which is as informative texts that only contain facts

or theories, announcements and instructions when a translator tries to get the

best reaction from readers. Then, it is used for giving the additional

explanation and connotative information but it does not matter to be removed

from the text if it is inefficient. As outlined in Translation Dictionary, the

example for cliché metaphor is ‘a jewel in the crown.’ The sentence is

inefficient because a jewel is certainly available in a crown.

c. Stock or Standard Metaphor

Stock or standard metaphor is set on an informal compact and efficient

context include physical and mental situation of reference and pragmatic.

Stock metaphor has a certain emotional warmth, its use is too often, but this

metaphor will not die. Then, standard metaphor sometimes is tricky to be

translated because of its ancient equivalence or influenced and used by social

groups or specific age groups. In a major study (Sayogie 211-215), it was

found that there are several ways to translate the standard metaphor:

1. Translation of metaphor by simile;

For example: Budi adalah lintah darat which can be changed

into Budi seperti lintah darat.

2. Deletion;

Arini was argued that the example of deletion procedure for

translate metaphors is ‘Down through fitful bars of light’ which had

been translated into menukik menembus kilatan-kilatan cahaya.

3. Same metaphor combined with sense;

For example: ‘Tongue is a fire’ which added a sense ‘fire ruins

thing’

4. Reproducing to the same image in the target language.

In a major study (Sayogie 211), it was found that the example

of this procedure is ‘I see a ray of hope’ which translated into saya

melihat secercah harapan.

d. Adapted Metaphors

In translation, adapted metaphor should be translated in adapted

equivalences metaphor, especially in a script 'sacred'. As outlined in

Translation Dictionary, adapted metaphor is actually a stock metaphor that

has been adapted into a new context by its writer. For instance, the stock

metaphor of ‘carrying coals to Newcastle’ can be turned into adapted

metaphor by saying ‘almost carrying coals to Newcastle.’

e. Recent Metaphors

Recent metaphor indicates the objects or processes that are treated as

neologisms, with particular reference to 'exportability' in reference and

metaphor language levels. When the metaphor following the time, this

metaphor can also called metonymy. Recent metaphor can be conveyed by

exploring the connotation source text of metaphor in other language that has

the closest meaning to the target language in order to the reader can get the

point of the message in source language. Tetyana was argued that the

examples of recent metaphors are ‘fashionable,’ ‘headhunter’ and

‘walkman.’

f. Original Metaphors

Original metaphor invented or quoted by SL (source language) author.

Based on the original principles of metaphor, the authoritative texts and

expressive must be translated in real sense/literally, either universal, cultural,

or vague subjectively. So, the translator does not change the word. Arini was

argued that the examples of original metaphors are: ‘During such vigils in

transit hotels’ which had been translated into di saat seperti ini di hotel transit,

‘and shake our Gothic churches by their spires’ which had been translated into

dan mengguncang menara-menara Gothic kita.

Newmark, as cited by Sayogie (211-215), there are seven procedures to

translate the metaphor as following:

1. Reproducing the same image in the target language

In this procedure, the translator should translate the metaphor into the

same image between in Source Language and the Target Language without

changing the images.

For example: You are my sunshine which translated into Indonesian as

Engkaulah matahariku. The translator reproduces the same image of the text

without changing or affecting in the target language.

2. Replacing the image in the SL with a standard TL image which does

not clash with the TL culture

In this procedure, the translator changed the image of the source

language to the target language when there is a different culture and no image

that corresponds in source language when the text is translated to the target

language. This procedure usually applied in translating a proverb.

For example: It’s no use crying over spilled milk which translated into

Nasi sudah menjadi bubur. In some countries, milk is the largest production

while in Indonesia, the largest production is rice. The both languages have

the different culture but the text can be translated with the same meaning.

3. Translation of metaphor by simile, retaining the image

This procedure is applied to modify stock metaphor if the target

language is not emotive. Moreover, this procedure can be applied to modify

and clarify the metaphor that is considered as a strange metaphor in the

source language and the sense is needed.

For example: He is a lion which translated into Dia seperti singa. The

expression of lion is a metaphor that describes as a strong characteristic of

the man.

4. Translation of metaphor or simile by simile plus sense occasionally a

metaphor plus sense

This procedure used when the translation cannot be understood and the

translator use simile to translate it and add the sense to the translated

metaphor.

For example: It rains cat and dogs which translated into Hujan turun

bagai air bah, lebat sekali. In English, cats and dogs is an analogy for heavy

rain and it is added by lebat sekali as a sense to explain about the meaning.

5. Conversion of metaphor to sense

This procedure used when the image of the SL is reduced to its sense

and rewritten to equal the TL. This procedure commonly applied to change

the image of the SL to the TL which needed an explanation and describe the

meaning of the metaphor.

For example: Earn a living which translated into Mencari sesuap nasi.

The SL meaning is described to the closest meaning in the TL.

6. Deletion

This procedure used when the source text is confusing when it is

translated. Thus, the translator deletes some words in the text and considers

which is more important in the text because not all the text needs to be

translated, it may be a personal expression of the writer but translator adds

the sense component.

7. Same metaphor combined with sense.

This procedure used when the translator aims to convince by adds the

explanation.

For example: Still waters run deep translated into Air tenang

menghanyutkan, jangan dianggap remeh. The text jangan dianggap remeh

is an affirmation form of air tenang menghanyutkan.

28

CHAPTER III

RESEARCH FINDINGS

A. Data Description

As in the previous chapter, the researcher focuses on the metaphor translation

method. The metaphor will be classified into four types based on the procedure

applied, namely dead metaphor, stock and standard metaphor, recent metaphor and

original metaphor.

After analyzing the whole lines of poem Tidak Ada New York Hari Ini written

by M. Aan Mansyur and translated into English by John H. McGlynn entitled There

is No New York Today, the researcher found 15 metaphor in the poem. They are 2

dead metaphors (Dan cinta—kau tak ingin aku mematikan mata lampu – And love—

you don’t want me to extinguish light’s eyes), (Masa remaja dan negeri jauh. Jatuh

dan patah – Days of youth and a far-away land. Fallen and broken), 10 standard

metaphors (Jendela terbuka dan masa lampau memasukiku sebagai angin - Through

the open window, the past enters me like wind.), (Semua kata tubuh mati semata -

Words are but lifeless souls) , (Aku sendiri dan tidak berada di sini - I am alone and

am not here), (Semua orang adalah orang lain. - Everyone is someone else.),

(Kupeluk tubuh sendiri - I embrace myself.), (Hari ini tidak pernah ada. Kemarin

tidak nyata - There is no today. Yesterday is not real.), (Tidak ada pengunjung.

Tidak ada pengunjung. - There are no visitors. There are no visitors.), (Di balik

jendela, langit sedang mendung. - Outside the window, the sky is overcast.),

(Bahasa ibu adalah kamar tidurku. - My mother tongue is my bedroom.), (Aroma

kemeja ayah dan senyum perempuan yang tidak membiarkanku merindukan senyum

lain. - The smell of my father’s shirt. The smile of a woman who will not permit me

to pine for a different smile.), 1 recent metaphor (Kau yang panas di kening, kau

yang dingin. di kenang. - You are the fever in my mind. You are the frost in my

memory.) and 2 original metaphors (Tidak ada New York hari ini. - There is no New

York today.), (Puisi adalah museum yang lengang. - Poetry is a deserted museum.).

From the data above, the researcher found that the most types of metaphor based

on the translation procedure applied by the translator in poem Tidak Ada New York

Hari Ini is standard metaphor.

B. Data Analysis

In this study, the researcher describes the metaphor translation procedures in

poem “Tidak Ada New York Hari Ini.” The data that will be analyzed as follows:

1. Dead Metaphor

Dead metaphor is one of the types of metaphor that is easy to be understood

because the metaphor is often expressed in daily language. Moreover, dead

metaphor is translated literally. They are the data that categorized into dead

metaphor:

Table 1

No. Source Text Target Text Translation

procedure

1. Dan cinta—kau tak

ingin aku mematikan

mata lampu.

And love—you

don’t want me to

extinguish light’s

eyes.

Reproducing the

same image in

the TL.

Line 5 Line 7

2. Masa remaja dan negeri

jauh. Jatuh dan patah.

Days of youth

and a far-away

land. Fallen and

broken.

Reproducing the

same image in

the TL.

Line 12 Line 16

Datum 1

SL : Dan cinta—kau tak ingin aku mematikan mata lampu.

TL : And love—you don’t want me to extinguish light’s eyes.

Based on the conceptual metaphor theory, the text above is categorized into

ontological metaphor because the sentence “Dan cinta—kau tak ingin aku

mematikan mata lampu“ indicates human activities carried out by nonhuman.

In a major study (Kövecses 38), it was found that ontological metaphor can be

conceived as personification. As outlined in Dictionary, ontological relates to

ontology, the branch of metaphysics that studies the nature of existence or being

as such metaphysical.

In translation theory, the text above is categorized into dead metaphor. This

translated text is clear and easy to be understood by the reader because it is

applied in common language. In a major study (Newmark 106), it was found

that dead metaphor often defy literal translation and relate to universal terms of

space and time, the main part of body such as foot, mouth, eyes and the main

human activities such as drop, fall and rise. The text above represents to

someone who cannot sleep since he is thinking someone whom he loves.

From the text above, the procedure that is applied by the translator is

reproducing the same image in the target language. The translator can convey

the meaning of the metaphor above successfully and the researcher argues that

the metaphor translation from Indonesian (mata lampu) into English (light's

eyes) has an equal meaning in both of the languages. Although the translator

translates it word for word, but the text can be directly understood by the

researcher.

Datum 2

SL : Masa remaja dan negeri jauh. Jatuh dan patah.

TL : Days of youth and a far-away land. Fallen and broken.

Based on the conceptual metaphor theory by Lakoff and Johnson, the text

above is categorized into orientational metaphor. In a major study (Kövecses

40), it was found that orientational metaphors are more appropriate to be called

“coherence metaphor” because of its role in cognitive level. Thus, the text

above needs the cognitive system of human to get the meaning. The word

“fallen and broken” is the negative evaluation of spatial orientation up-down.

The words “fallen and broken” means that the hard situation or experience of

someone who lives in a country that far from his or her hometown.

In translation theory, the text above is categorized into dead metaphor. This

translated text is clear and easy to be understood by the reader because it is

applied in common language and translated literally. In a major study

(Newmark 106), it was found that dead metaphor often defy literal translation

and relate to universal terms of space and time, the main part of body such as

foot, mouth, eyes and the main human activities such as drop, fall and rise. The

italic text above is classified into dead metaphors, besides it is translated

literally, the words “jatuh” or “fallen” is the main of human activities.

From the text above, the translator reproduce the metaphor to the same image

in the target language and transferred the meaning successfully. Moreover, the

researcher argues that the metaphor translation from Indonesian (jatuh dan

patah) into English (fallen and broken) has the equal meaning. Although the

translator translates the text by word for word, but the researcher gets the

meaning of the text.

2. Standard Metaphor

Standard metaphor keeps sense of the text to maintain the cultural meaning

of it. According to Newmark (1988: 109), there are several procedures that can

be applied to translate this type of metaphor. In analyzing the data, the

researcher found 10 data of standard metaphors as follows:

Table 2


Procedure

3. Jendela terbuka dan

masa lampau

memasukiku sebagai

angin.

Through the open

window, the past

enters me like wind.

Translating

metaphor by

simile.

Line 6 Line 9

4.

Semua kata tubuh

mati semata.

Words are but lifeless

souls.

Deletion.

Line 11 Line 16

5. Aku sendiri dan tidak

berada di sini.

I am alone and am not

here.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 2 Line 3

6. Semua orang adalah

orang lain.

Everyone is someone

else.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 3 Line 4

7. Kupeluk tubuh

sendiri.

I embrace myself. Reproducing

the

metaphor to

the same

image in the

TL.

Line 4 Line 6

8. Hari ini tidak pernah

ada. Kemarin tidak

nyata.

There is no today.

Yesterday is not real.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 10 Line 14

9. Tidak ada

pengunjung. Tidak

ada pengunjung.

There are no visitors.

There are no visitors.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 17 Line 21

10. Bahasa ibu adalah

kamar tidurku.

My mother tongue is

my bedroom.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 4 Line 5

11. Aroma kemeja ayah

dan senyum

perempuan yang

tidak membiarkanku

merindukan senyum

lain.

The smell of my

father’s shirt. The

smile of a woman

who will not permit

me to pine for a

different smile.

Reproducing

the

metaphor to

the same

image in the

TL.

Line 15 Line 19

Datum 3

SL : Jendela terbuka dan masa lampau memasukiku sebagai angin.

TL : Through the open window, the past enters me like wind.


structural metaphor. In a major study (Kövecses 37), it was found that structural

metaphor occurred when the source domain provides a relatively rich

knowledge structure for the target concept. To determine that the text above is

a structural metaphor, the mapping can be illustrated as follows:

THE PAST IS WIND

Source Domain: Wind Target Domain: The past

Enters a house through a window => Enters through someone’s heart

Brings dust grains => Brings some memories

In translation theory, translating metaphor by simile procedure can be used

to modify and clarify a strange metaphor and it needs a further explanation

(Sayogie 212). The underlined text “Jendela terbuka dan masa lampau

memasukiku sebagai angin” had been translated literally to “Through the open

window, the past enters me like wind.” The text above is categorized into

standard metaphor which the translator use the procedure by applying simile.

The wind is reflected to the past which enters to his mind.

Based on the text above, the translator can convey the texts to the same image

successfully and the texts have the equal meaning. However, the translated

metaphor is not categorized into translating metaphor to the same image

procedures, it is categorized into translating metaphor by simile because there

is the characteristic of simile such as “like”. In a major study (Sayogie 212), it

was found that this procedure is applied to modify stock metaphor if the target

language is not emotive.

Datum 4

SL : Semua kata tubuh mati semata.

TL : Words are but lifeless souls.

Based on conceptual theory by Lakoff and Johnson, the text above is

categorized into orientational metaphor. In a major study (Kövecses 40), it was

found that orientational metaphors are more appropriate to be called “coherence

metaphor” because of its function in cognitive level. The orientation metaphor

derives from the fact that most metaphors that serve the function to do with

basic human spatial orientations such as up-down. Thus, the word “lifeless” is

the negative evaluation of spatial orientation up-down.

In a major study (Sayogie 214), it was found that deletion procedure to

translating metaphor is needed if it is confusing. Frequently, the source

language text does not necessarily have to be translated because it may be a

personal expression of the author.

Based on the text above, the translator used the deletion procedure in this

context. In the text above, word “semua” is deleted because the word is a poet’s

expression to make it felt stronger. However, in this datum, the text is not

transferred successfully because the text above has the different meaning.

According to KBBI, semata means hanya or satu-satunya. In addition, the word

“but” can be translated into hanya. However, in this context, the SL means that

the words cannot be expressed while in the TL means that the word does not

have meaning.

Datum 5

SL : Aku sendiri dan tidak berada di sini.

TL : I am alone and am not here.

Based on conceptual metaphor theory by Lakoff and Johnson, the text above

is categorized into ontological metaphor. In a major study (Kövecses 38), it was

found that ontological metaphor occurred when human conceive their

experience in terms of objects, substances and container. The text “I am not

here” is conceptualized into container as the source domain and physical and

nonphysical objects as the target domain. The text above represents to someone

who lives in New York, but there is no family or people he knows who makes

him feels empty and considers that his soul is not there.

In translation theory, the sentence “Aku sendiri dan tidak berada di sini” that

translated into “I am alone and am not here” is categorized into standard

metaphor. In this case, the translator applies the procedure to translate this

metaphor by reproducing the metaphor to the same image in target language

because the image or sense in source language has an equal sense in the target

language. In a major study (Newmark 208), it was found that reproducing

metaphor to the same image is a procedure that provides the comparable

frequency from the source text to the target text because the source language is

translated by the translator as “I am alone and am not here.”

Based on the text above, the translator produces the metaphor to the same

image because the translated text is equal to the source text. Moreover, the

researcher argues that the translated metaphor has the equal meaning between

the source language (Indonesian) and target language (English) because the

word “tidak berada di sini” translated into “am not here” is delivered by the

translator with the same image and emotion which described someone’s

aloneness in New York and he considers that his soul is not there.

Datum 6

SL : Semua orang adalah orang lain.

TL : Everyone is someone else.


is categorized into structural metaphor because the text “orang lain” is the

image of everyone except his self. But in this context, the image is replaced to

everyone he does not recognized because according to Kövecses, structural

metaphor conceptualize one thing to others. The text above represents to

someone who lives in far-away place and there is no family, friends or someone

who have the emotional attachment in his life that makes him feels lonely in his

place without them so he considers everyone in New York as a stranger.

In translation theory, the sentence “Semua orang adalah orang lain” had been

translated into “Everyone is someone else.” The text above is categorized into

standard metaphor. The translator translated the text by reproducing the

metaphor to the same image and maintained the taste and meaning of source

text in the target text. In a major study (Newmark 108), it was found that

reproducing metaphor to the same image is a procedure that provides the

comparable frequency from the source text to the target text.

Based on the text above, the translator produces the metaphor to the same

image to the target language because the image is not changed and affected in

the target language and the translator translates it successfully with the equal

meaning in two languages and he does not deviate at all in translating the text.

Moreover, in the researcher’s perspective, the metaphor translation from

Indonesian (orang lain) into English (someone else) has the equal meaning.

Datum 7

SL : Kupeluk tubuh sendiri.

TL : I embrace myself.




experience in terms of objects, substances and container. The text “Kupeluk

tubuh sendiri” is conceptualized into substance as the source domain and

activities as the target domain. Text above represents to someone who feels such

a deep friendless and he considers that embarce can makes him comfortable.

The text above, the sentence “Kupeluk tubuh sendiri” had been translated

into “I embrace myself.” The translator uses standard metaphor by reproduce

the same image or sense as the procedure of translate metaphor and it is

classified into standard metaphor. In a major study (Newmark 108), it was

found that reproducing metaphor to the same image is a procedure that provides

the comparable frequency from the source text to the target text. The translator

can convey the image in both languages with a precise diction.

Based on the translated text, the translator can transfer the meaning

successfully and the researcher argues that the metaphor translation from

Indonesian (kupeluk) into English (I embrace) has the equal meaning and it

evokes the same image between both languages. In addition, the word that used

by the translator is suitable because the word “memeluk” in English are “hug”

and “embrace.” As outlined in Quora (2014), the word “hug” is used as an

action that involves physical while the word “embrace” does not imply physical

involvement but it has a strong emotional meaning such as to affect or protect

a person.

Datum 8

SL : Hari ini tidak pernah ada. Kemarin tidak nyata.

TL : There is no today. Yesterday is not real.




experience in terms of objects, substances and container. The text “Hari ini

tidak pernah ada” is conceptualized into physical object as the source domain

and nonphysical or abstract entities as the target domain. Text above represents

to someone who feels lonely in each day because there is no family, friend, or

someone he loves during in New York.

In translation theory, the sentence “Hari ini tidak pernah ada. Kemarin tidak

nyata” had been translated to “There is no today. Yesterday is not real” is

categorized into standard metaphor. The translator’s procedure is reproducing

the metaphor to the same image. In a major study (Newmark 108), it was found

that reproducing metaphor to the same image is a procedure that provides the

comparable frequency from the source text to the target text. In the underlined

text above, the image is comparable in the source language and in the target

language.

Based on the text above, the translator transfers the image and the meaning

successfully because he produces the metaphor to the same image without

replacement. Additionally, the researcher argues that the text feels good in its

translation and the taste of two languages which describes a person who feels

empty in his days during in New York.

Datum 9

SL : Tidak ada pengunjung. Tidak ada pengunjung.

TL : There are no visitors. There are no visitors.

Based on the conceptual metaphor theory, the text above is refers to the

previous text “puisi adalah museum yang lengang.” Thus, it is categorized

into structural metaphor. In a major study (Kövecses 37), it was found that

structural metaphor occurred when the source domain provides a relatively

rich knowledge structure for the target concept. To determine that the text

above is a structural metaphor, the mapping can be illustrated as follows:

POETRY IS A MUSEUM

Source Domain: Museum Target Domain: Poetry

A place to store historical objects => A way to store someone’s feeling

There are objects to be looked at => There are words to be read

There are visitors => There are readers

In translation theory, the sentence “Tidak ada pengunjung. Tidak ada

pengunjung” had been translated to “There are no visitors. There are no

visitors” is categorized into standard metaphor. The text is translated by utilize

reproduce the metaphor to the same image procedure because there is no

changed meaning and image from the source text. In a major study (Newmark

108), it was found that reproducing metaphor to the same image is a procedure

that provides the comparable frequency from the source text to the target text.

From the text above, the translator reproduces the image and the meaning

successfully in the target language because he produces the metaphor to the

same image without replacement. In addition, the researcher argues that the text

in the table has the equal meaning because the metaphor translation is delivered

as a metaphor as well. In addition, the text evokes the same sense. As in the

previous data, a word can be interpreted literally or as an analogy depends on

the reader’s perspective. However, in the text above, the researcher assumes

that the text is a metaphor or analogy that can be proved by conceptual metaphor

theory.

Datum 10

SL : Bahasa ibu adalah kamar tidurku.

TL : My mother tongue is my bedroom.






MOTHER TONGUE IS A BEDROOM

Source Domain: Bedroom Target Domain: Mother Tongue

Comfortable place to take a rest => Comfortable language to be

spoken

Inside the house => In the hometown

In translation theory, the sentence “Bahasa ibu adalah kamar tidurku” had

been translated into “My mother tongue is my bedroom.” The text above is

classified to standard metaphor. The translator uses reproduce the metaphor in

the SL with a standard TL image which does not clash with the TL culture. In

a major study (Sayogie 212), it was found that in this procedure, the translator

changed the image of the source language to the target language when there is

a different culture and no image that corresponds in source language when the

text is translated to the target language. The text in the table above represents

to someone who feels more comfortable to use mother tongue because it makes

him feels like he has someone whom he knows and has an emotional attachment

as like as his family or his friends.

From the text above, the translator adjusts the culture in SL to the TL

successfully with the same meaning. In addition, the researcher argues that the

translated text has the same meaning because the translator matches the culture

between source language and the target language. If the text is translated by

word for word, then the word “bahasa” will be translated into “language.” In

fact, the word “bahasa ibu” is a word that can be translated into “mother

tongue.”

Datum 11

SL : Aroma kemeja ayah dan senyum perempuan yang tidak

membiarkanku merindukan senyum lain.

TL : The smell of my father’s shirt. The smile of a woman who will

not permit me to pine for a different smile.


is categorized into ontological metaphor because the sentence “Aroma kemeja

ayah dan senyum perempuan yang tidak membiarkanku merindukan senyum

lain“ indicates human activities carried out by nonhuman. In a major study

(Kövecses 38), it was found that ontological metaphor can be conceived as

personification. As outlined in Dictionary, ontological relates to ontology, the

branch of metaphysics that studies the nature of existence or being as such

metaphysical.

The sentence “Aroma kemeja ayah dan senyum perempuan yang tidak

membiarkanku merindukan senyum lain” had been translated to “The smell of

my father’s shirt. The smile of a woman who will not permit me to pine for a

different smile” is categorized as standard metaphor. The translator uses

reproduce the metaphor to the same image procedure. In a major study

(Newmark 108), it was found that reproducing metaphor to the same image is

a procedure that provides the comparable frequency from the source text to the

target text. Although the word “merindukan” can be translated to “miss” or

“longing” but the translator uses the term “pine for.” Based on Merriam

Webster Dictionary, the word “pine for” can be found as an inseparable word

and it means “to yearn intensely and persistently especially for something

unattainable.” Thus, the translator chooses the word “pine for” to evoke the

strong sense in the text.

From the text above, the translator can convey the aim of the poet

successfully and evokes the equal meaning. Based on several sources such as

Vocabulary.com, it defines “pine” as “to torture or cause to experience pain”

whereas in Merriam Webster Dictionary, the word “pine for” can be found as

an inseparable word and it means “to yearn intensely and persistently especially

for something unattainable.” Thus, the text above evokes a same meaning

between in source text and the target text.

3. Recent Metaphor

Recent metaphor is occurred when an author create a new term or phrase as

metaphor. According to Newmark, the translating metaphor is usually called

neologism. In analyzing data, the researcher found 1 recent metaphor as

follows:

Table 3

Datum 12

SL : Kau yang panas di kening, kau yang dingin di kenang.

TL : You are the fever in my mind. You are the frost in my memory.


is categorized into orientational metaphor. In a major study (Kövecses 40), it


Procedure

12. Kau yang panas di

kening, kau yang

dingin di kenang.

You are the fever in

my mind. You are

the frost in my

memory.

Replacing the

image in the

SL with a

standard TL

image.

Line 9 Line 12

was found that orientational metaphors are more appropriate to be called

“coherence metaphor” because of its function in cognitive level. The word

“fever” is up and “frost” is down in spatial orientation up-down. The sentence

“You are the fever in my mind. You are the frost in my memory” means that

there is a woman who is still very strong in someone’s mind.

The sentence “Kau yang panas di kening, kau yang dingin di kenang” had

been translated into “You are the fever in my mind. You are the frost in my

memory” is categorized into recent metaphor because the word “di kenang” is

a new term which created by the poet. In a major study (Newmark 111), it was

found that recent metaphor pointed the objects or processes that are treated as

neologisms or new term with particular reference to 'exportability' in reference

and metaphor language levels. It occurs when the writer use the new term to

reinforce sense in the language. Newmark, as cited by Sayogie (216), in

translate this type of metaphors, the translator should exploring the connotation

in source culture and searching the closest equivalent in the target culture in

order to the metaphor can be translated successfully.

Based on the text above, the translator successfully reproduces the meaning

of “panas” which translated into “fever” and “di kenang” which translated into

“in my memory.” Most of people argued that “di kenang” is misspelled and

considered as a prefix. However, it is a preposition as in the original book in

Indonesian version. Based on the text above, the translator used the replacing

the image in the SL with a standard TL image procedure. The translated text is

equal and the translator can convey the same message between in source

language and the target language. According to Merriam Webster Dictionary,

fever means a stated of excited emotion or activity. It means that there is

someone who still strong in his mind. In addition, the word “di kenang” is

translated into “in my memory,” which has the same image and clear meaning

when it is translated.

4. Original Metaphor

Table 4


Procedure

13. Tidak ada New

York hari ini.

There is no New York

today.

Reproducing the

same image in

the TL.

Line 1 Line 1

14. Puisi adalah

museum yang

lengang.

Poetry is a deserted

museum.

Reproducing the

same image in

the TL.

Line 13 Line 17

Datum 13

SL : Tidak ada New York hari ini.

TL : There is no New York today.




experience in terms of objects, substances and container. The text “Tidak ada

New York hari ini” is nonthing experience that has received a thing status. In

this context, New York is symbolized as someone’s feeling. The sentence

“Tidak ada New York hari ini” means that someone feels lonely during the day.

In fact, New York is a busy and lively town along day and night.

In translation theory, the sentence “Tidak ada New York hari ini” had been

translated to “There is no New York today” is categorized into original

metaphor. Original metaphor should be translated literally. In a major study

(Newmark 112), it was found that original metaphor invented or quoted by SL

(source language) author. Based on the original principles of metaphor, the

authoritative texts and expressive must be translated in real sense or literally,

either universal, cultural, or vague subjectively. The translator did not change

the text “New York” in the sentences because it is the name of city in the United

States, so the translator kept it in the target language and reproduce to the same

image in the TL.

Based on the text above, the translator used the reproducing the same image

in the TL procedure. Moreover, the translator translated the text successfully

because he reproduced the same image without changing and affecting in the

target text. Although the translator translates it by word for word, the text

looked good because the image which appeared in the text still be maintained.

Datum 14

SL : Puisi adalah museum yang lengang.

TL : Poetry is a deserted museum.






POETRY IS A MUSEUM

Source Domain: Museum Target Domain: Poetry

A place to store historical objects => A way to store someone’s feeling

There are objects to be looked at => There are words to be read

There are visitors => There are readers

The text “Puisi adalah museum yang lengang” had been translated “Poetry

is a deserted museum,” the word “museum” in Bahasa constantly translated as

“museum” in English. The translator kept it in the target language. This type of

metaphor is appropriate as original metaphor. Original metaphor should be

translated literally. In a major study (Newmark 112), it was found that original

metaphor invented or quoted by SL (source language) author. Based on the

original principles of metaphor, the authoritative texts and expressive must be

translated in real sense or literally, either universal, cultural, or vague

subjectively.

Based on the text above, translator translated the text successfully because

he reproduced the same image in the TL without changing and affecting in the

target text. Although the translator translates it by word for word, the image

which appeared in the text still be maintained.

53

CHAPTER IV

CONCLUSIONS AND SUGGESTIONS

A. Conclusions

After analyzing the data, the researcher comes to describe some conclusions. In

this research, the researcher discusses about the types of metaphor in Indonesian poem

“Tidak Ada New York Hari Ini” by M. Aan Mansyur which translated into English by

John H. McGlynn entitled “There is No New York Today.” At first, the researcher

makes sure that the texts are metaphor. To identify the texts, the researcher classifies

them into three types of conceptual metaphor. As the result, the researcher finds 14

expression of metaphor. They are categorized into structural metaphor, ontological

metaphor and orientational metaphor. Ontological metaphor is the type of metaphor

that found frequently in this research.

Afterward, the researcher classifies the data into several types of metaphor and the

way to translate it. As the result, the researcher finds four types of metaphor. They are

two dead metaphors, nine stock or standard metaphors, one recent metaphor and two

original metaphors that become the focus of this study. Standard metaphor is the type

of metaphor that is found frequently in poem “Tidak Ada New York Hari Ini.” In

standard metaphor, there are several procedures to identify the metaphor translation

such as translation of metaphor by simile, translation of metaphor by deletion and

translation of metaphor by reproduce the same image in the target language that applied

by the researcher based on Newmark’s theory to analyze the poem.

In metaphor translation, the translator frequently translates the metaphors to the

metaphors as well because metaphor is a set or a word that has the implied meaning.

Thus, a translator must understand its meaning in advance to get the same message or

equivalence between two languages. Moreover, a translator should consider and adjust

the context so the readers can get the message and the implied meaning of the text.

B. Suggestions

There is number of suggestion after conducting this research as follows:

1. For translator, it is very important to know the implied message in a text that

will be translated by a high sensitivity. However, the translator’s awareness is

the key to produce the same sense or image of a literary work especially to

translate a poem. In addition, the translator should comprehend about the

culture and adjust the diction of the author or poet.

2. For English Letters Department students who are interested in translating

metaphor research especially in a literary work such as poem. To master the

translation study, they must comprehend and apply the procedure or strategy

from a lot of theory to make sure that the text is equal between the source

language and the target language. Thus, it can be helpful for the readers

especially the student in reading a lecture book or a literary work. In addition,

the researcher also suggests the other researchers who are interested in this

study to comprehend the knowledge about metaphor translation to improve this

research.

56

BIBLIOGRAPHY

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77-80. E- Book.

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<https://kamusbahasainggris.id/arti-kata/but/>

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Kövecses, Zoltán. Metaphor: A Practical Introduction. New York: Oxford University

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Jersey City University. 2001. E-Book.

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58

APPENDICES

Indonesian version

Tidak Ada New York Hari Ini

Tidak ada New York hari ini. Tidak ada

New York kemarin. Aku sendiri dan tidak

berada di sini. Semua orang adalah orang lain.

Bahasa ibu adalah kamar tidurku. Kupeluk

tubuh sendiri. Dan cinta—kau tak ingin aku

mematikan mata lampu. Jendela terbuka

dan masa lampau memasukiku sebagai angin.

Meriang. Meriang. Aku meriang. Kau yang panas

di kening. Kau yang dingin di kenang.

Hari ini tidak pernah ada. Kemarin tidak nyata.

Aku sendiri dan tidak menulis puisi ini. Semua

kata tubuh mati semata.

Puisi adalah museum yang lengang. Masa remaja

dan negeri jauh. Jatuh dan patah. Foto-foto hitam

putih. Aroma kemeja ayah dan senyum perempuan

yang tidak membiarkanku merindukan senyuman lain.

Tidak ada pengunjung. Tidak ada pengunjung.

Di balik jendela, langit sedang mendung.

Tidak ada puisi hari ini. Tidak ada puisi kemarin.

Aku menghapus seluruh kata sebelum sempat

menuliskannya.

English version translated by John H. McGlynn

There is No New York Today

There is No New York today.

There was no New York yesterday.

I am alone and am not here.

Everyone is someone else.

My mother tongue is my bedroom.

I embrace myself.

And love—you don’t want me

to extinguish light’s eyes.

Through the open window

the past enters me like wind.

I shiver. Shiver. Shiver.

You are the fever in my mind,

you are the frost in my memory.

There is no today. Yesterday is not real.

I am alone and not writing this poem.

Words are but lifeless souls.

Poetry is a deserted museum. Days of youth

and a far-away land. Fallen and broken. Black and white

photographs. The smell of my father’s shirt. The smile of a woman

who will not permit me to pine for a different smile.

There are no visitors. There are no visitors.

Outside the window, the sky is overcast.

There is no poetry today. There was no poetry yesterday.

I erase all the words even before I have the chance

to write them.

metaphor translation from an indonesian poem...

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