A STUDY OF POETRY TRANSLATION PRINCIPLES AND ...The Trials of Apollo: The Hidden Oracle and how far...

A STUDY OF POETRY TRANSLATION PRINCIPLES

AND ACCEPTABILITY OF THE TRIALS OF APOLLO:

THE HIDDEN ORACLE NOVEL

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements

to Obtain the Sarjana Pendidikan Degree

in English Language Education

By

Chatarina Bintang Sukmajati

Student Number: 141214119

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM

DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2018

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

i

A STUDY OF POETRY TRANSLATION PRINCIPLES

AND ACCEPTABILITY OF THE TRIALS OF APOLLO:

THE HIDDEN ORACLE NOVEL

A SARJANA PENDIDIKAN THESIS

Presented as Partial Fulfillment of the Requirements

to Obtain the Sarjana Pendidikan Degree

in English Language Education

By


Student Number: 141214119

ENGLISH LANGUAGE EDUCATION STUDY PROGRAM

DEPARTMENT OF LANGUAGE AND ARTS EDUCATION

FACULTY OF TEACHERS TRAINING AND EDUCATION

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2018


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iv

The Worst Comes Right before You Become Perfect

Do Not Give Up! There Is No Shame in Falling Down! True

Shame Is to Not Stand Up Again! – Midorima Shintarou

I dedicate this thesis to:

Jesus Christ

My beloved father and mother

Yoga

My friends

And all people whom I love


vii

ABSTRACT

Sukmajati, C. Bintang. 2018. A Study of Poetry Translation Principles and

Acceptability on The Trials of Apollo: The Hidden Oracle Novel. Yogyakarta:

English Language Education Study Program, Sanata Dharma University.

Analyzing the poetry principle used to translate the poetry in this novel and

analyzing whether the poetry translations are acceptable or not are useful for

translators. By knowing the principles used, translators have better guidelines in

translating poetry.

This study is done to find out which poetry translation principles are used in

The Trials of Apollo: The Hidden Oracle and how far the acceptability of the poetry

translation. In order to obtain the answer, there are two research questions

composed: (1) What are the poetry translation principles used in translating the

poetry in the The Trials of Apollo: The Hidden Oracle? and (2) To what extent is

the poetry translations in The Trials of Apollo: The Hidden Oracle acceptable based

on Larson’s criteria of an acceptable translation?

To answer the research questions, the researcher conducted qualitative

research by using the text analysis. The data of this research were taken from both

the English and Indonesian version of The Trials of Apollo: The Hidden Oracle

novel. In answering the first question, the researcher identified the poetry

translation principles used in translating the poetry. Meanwhile, in answering the

second question, the researcher compares the translation between the English and

Indonesian poetry based on the theory of acceptability by Larson.

The researcher found that 35 out of 39 poetry translations in The Trials of

Apollo: The Hidden Oracle use three out of four poetry translation principles used,

namely using appropriate punctuation, using the precise translation of metaphor,

and conveying invisible message. Meanwhile, the conformity of the syllable

principle is not used. Using the theory of acceptability by Larson, the researcher

found that there are 36 poetry translations which are categorized as acceptable and

three poetry translation which are unacceptable. The 36 poetry translations

incorporate at least two out of the three poetry translations acceptability criteria,

while the three poetry only fulfil one poetry translation acceptability criterion.

Keywords: poetry translation, acceptability, The Trials of Apollo: The Hidden

Oracle


viii

ABSTRAK

Sukmajati, C. Bintang. 2018. A Study of Poetry Translation Principles and

Acceptability on The Trials of Apollo: The Hidden Oracle Novel. Yogyakarta:

English Language Education Study Program, Sanata Dharma University.

Menganalisis prinsip penerjemshan puisi yang digunakan dalam novel ini dan

menganalisis keberterimaan terjemahan puisi penting bagi penerjemah. Dengan

mengetahui prinsip yang digunakan, penerjemah dapat memiliki arahan yang lebih

baik untuk menerjemahkan puisi.

Penelitian ini dilakukan untuk mengetahui prinsip penerjemahan puisi mana

yang digunakan dalam The Trials of Apollo: The Hidden Oracle dan seberapa tinggi

keberterimaan terjemahan puisi tersebut. Untuk mendapatkan jawabannya, ada dua

pertanyaan penelitian yang dirumuskan: (1) Apa saja prinsip penerjemahan puisi

yang digunakan dalam menerjemahkan puisi dalam The Trials of Apollo: The

Hidden Oracle? dan (2) Seberapa tinggi keberterimaan terjemahan puisi dalam The

Trials of Apollo: The Hidden Oracle berdasarkan kriteria Larson tentang

terjemahan yang dapat diterima?

Untuk menjawab pertanyaan tersebut, peneliti melakukan penelitian kualitatif

dengan menggunakan analisis teks. Data dari penelitian ini diambil dari dari novel

The Trials of Apollo: The Hidden Oracle versi Inggris dan Indonesia. Untuk

menjawab pertanyaan pertama, peneliti mengidentifikasi prinsip penerjemahan

puisi yang digunakan dalam menerjemahkan puisi. Sementara itu, dalam menjawab

pertanyaan kedua, peneliti membandingkan terjemahan antara puisi bahasa Inggris

dan bahasa Indonesia berdasarkan teori penerimaan Larson.

Peneliti menemukan bahwa 35 dari 39 terjemahan puisi menggunakan tiga

dari empat prinsip penerjemahan yang digunakan untuk menerjemahkan puisi

dalam The Trials of Apollo: The Hidden Oracle, yaitu: menggunakan tanda baca

yang tepat, menggunakan penerjemahan metafora yang tepat, dan menyampaikan

pesan tersirat. Sementara itu, mengikuti aturan suku kata tidak digunakan dalam

penerjemahan. Menggunakan teori penerjemahan Larson, peneliti menemukan

bahwa ada 26 terjemahan puisi yang dapat diterima dan 3 terjemahan puisi yang

tidak dapat diterima. Tiga puluh enam terjemahan puisi tersebut mengikuti

setidaknya dua dari tiga kriteria terjemahan puisi yang dapat diterima, sementara 3

terjemahan puisi lainnya hanya memenuhi 1 criteria terjemahan puisi yang dapat

diterima.

Kata kunci: poetry translation, acceptability, The Trials of Apollo: The Hidden

Oracle


ix

ACKNOWLEDGMENTS

This thesis could not be completed without those who have given their time,

advice, support, and prayer to help me in accomplishing this thesis. First and

foremost, I would like to express my deepest and greatest gratitude to The

Almighty God, Lord Jesus Christ, who always gives me strength, motivation, and

blessing during my study.

Then, I want to give my sincere appreciation and gratitude to my advisor,

Patricia Angelina, S.Pd., M.Hum., for her advice and support for me in the

process of writing this undergraduate thesis. My sincere appreciation also goes to

all lecturers in the English Language Education Study Program of Sanata Dharma

University.

Moreover, I would like to acknowledge with gratitude, love and prayers, for

my family, my parents Bapak Yohanes Radjaban, Ibu Chatarina Catur Ani

Trisnawati, and my older brother, Yohanes Wikan Yogesthinaga. They made me

keep struggling on this thesis, and it would not have been possible without them.

I would also like to thank my friends, Edo, Ardi, Erwin, Yovita, Tina, Icha,

Finna, Della, Sheila, and other friends whom I cannot mention one by one for

encouraging and accompanying me in finishing this thesis.

Finally, I want to thank any parties whose assistance is significant in finishing

this undergraduate thesis.



x

TABLE OF CONTENTS

TITLE PAGE ........................................................................................................... i

APPROVAL PAGE ................................................................................................ ii

DEDICATION PAGE ............................................................................................ iv

STATEMENT OF WORK’S ORIGINALITY ........................................................ v

PERNYATAAN PERSETUJUAN PUBLIKASI ....................................................... vi

ABSTRACT .......................................................................................................... vii

ABSTRAK ............................................................................................................. viii

ACKNOWLEDGMENTS ..................................................................................... ix

TABLE OF CONTENTS ......................................................................................... x

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

LIST OF FIGURES ............................................................................................. xiii

LIST OF APPENDICES ...................................................................................... xiv

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

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

B. Research Questions ...................................................................................... 3

C. Research Significance .................................................................................. 4

D. Definition of Terms ...................................................................................... 4

CHAPTER II REVIEW OF RELATED LITERATURE ........................................ 7

A. Theoretical Description ................................................................................ 7

1. Translation .............................................................................................. 7

2. Acceptability ........................................................................................ 10

3. Poetry Translation ................................................................................ 11

4. Procedure of Checking Translation Quality ......................................... 15

B. Theoretical Framework .............................................................................. 16

CHAPTER III RESEARCH METHODOLOGY .................................................. 19


xi

A. Research Method ........................................................................................ 19

B. Type and Source of Data ............................................................................ 20

C. Data Gathering Technique.......................................................................... 21

D. Data Analysis Technique ........................................................................... 23

CHAPTER IV FINDINGS AND DISCUSSION .................................................. 26

A. Poetry Translation Principles Used in Translating Poetry in The Trials of

Apollo: The Hidden Oracle ............................................................................... 26

1. Punctuation ............................................................................................ 28

2. Precise Metaphor Translation ................................................................ 31

3. Conformity to the syllable ..................................................................... 34

4. Invisible Message Delivery ................................................................... 36

B. Acceptable and Unacceptable Poetry Translation ...................................... 38

1. Acceptable Poetry Translation............................................................... 39

2. Unacceptable Poetry Translation ........................................................... 48

CHAPTER V CONCLUSIONS, IMPLICATIONS AND SUGGESTIONS ........ 54

A. Conclusions ................................................................................................ 54

B. Implications ................................................................................................ 55

C. Suggestions.. ............................................................................................... 56

REFERENCES ....................................................................................................... 57

APPENDICES ....................................................................................................... 59


xii

LIST OF TABLES

Table 3.1 Poetry Translation Principles Checklist ................................................. 22

Table 3.2 Poetry Acceptability Checklist............................................................... 23

Table 4.1 Use of Appropriate Punctuation in Chapter 4 ........................................ 28

Table 4.2 Use of Appropriate Punctuation in Chapter 5 ........................................ 29

Table 4.3 Use of Appropriate Punctuation in Chapter 28 ...................................... 30

Table 4.4 Precise Translation of Metaphor in Chapter 8 ....................................... 31

Table 4.5 Precise Translation of Metaphor in Chapter 26 ..................................... 32

Table 4.6 Precise Translation of Metaphor in Chapter 30 ..................................... 33

Table 4.7 Conformity to the Syllable Rule in Chapter 9........................................ 34

Table 4.8 Conformity to the Syllable Rule in Chapter 11...................................... 35

Table 4.9 Invisible Message Delivery in Chapter 6 ............................................... 36

Table 4.10 Invisible Message Delivery in Chapter 12 ........................................... 37

Table 4.11 Acceptable Poetry Translation in Chapter 1 ........................................ 39



Table 4.14 Acceptable Poetry Translation in Chapter 17 ...................................... 42





Table 4.19 Unacceptable Poetry Translation in Chapter 3 .................................... 48

Table 4.20 Unacceptable Poetry Translation in Chapter 7 .................................... 50

Table 4.21 Unacceptable Poetry Translation in Chapter 14 .................................. 51


xiii

LIST OF FIGURES

Figure 2.1 Larson’s Translation Stages Diagram ................................................... 10

Figure 4.1 The Poetry Translation Principles Chart............................................... 27

Figure 4.2 The Poetry Translation Acceptability Chart ......................................... 39


xiv

LIST OF APPENDICES

Appendix A Poetry Translation Principles Checklist ............................................ 59

Appendix B Poetry Translation Acceptability Checklist ....................................... 62

Appendix C List of the Line in the Poetry ............................................................. 65

Appendix D Example of the Poetry ....................................................................... 71


1

CHAPTER I

INTRODUCTION

This chapter discussed the introduction of the study. The introduction is

divided into four parts namely research background, research questions, research

significance, and definition of terms.

A. Research Background

Nowadays, people can find English literature works everywhere. Without

being translated, the readers will find difficulties to understand the meaning of that

English literature. That difficulty makes people have less interest in reading. There

are also translations which are unacceptable which can mislead the readers. Thus,

an acceptable translation is needed as a way to convey the appropriate meaning.

Translation does not merely mean changing the source language into the

target language, especially in literary works (Newmark, 1988). Some aspects need

to be considered in order to have an acceptable translation. An acceptable

translation will make the readers not only understand the meaning, but also obtain

the appropriate meaning of the literary works. The form of an acceptable literary

work translation, especially poetry, has not been exposed clearly because some

experts even believed that poetry cannot be translated. Therefore, poetry translation

needs to be analyzed.


2

Poetry is the freest type of literature works whose words have powerful

meaning (Newmark, 1988). Since the words have powerful meaning, poetry is more

difficult to understand compared to other literary works. In order to make poetry

easier to be understood, poetry should be translated. However, translators cannot

simply translate poetry. It is due to the ‘powerful words’, which are often being

represented in the form of morpheme or idiom. In translating, the source language

meaning and style should be able to be delivered into the target language as natural

as possible (Nida, 1974, p. 12). It means that the translators should be able to find

the same ‘powerful words’ with the context of the target language.

Novel translation is the second most difficult literary works to be translated

after poetry because it has lots of metaphors and idioms (Newmark, 1988).

Metaphors and idioms cannot be translated word-for-word. Translators should

know the equivalent metaphors and idioms in order to make the translation

acceptable. Hence, when translating poetry in a novel, someone should consider

more aspects rather than translating a poem or a novel alone. Thus, this study is

expected to be able to explore more about translating poetry in a novel.

The researcher chooses the poetry in The Trials of Apollo: The Hidden Oracle

novel because the poetry translation in that book is different from the translation of

poetry in an anthology book. The poetry in that novel has restricted context. The

poetry is written in every chapter, under the chapter number. It is a summary of the

story in the books. In an anthology book, the poetry translation acceptability can be

analyzed directly, but in this novel we should read the chapter first before we can


3

determine whether the translation of the poetry is acceptable or not. Therefore, the

poetry translation in this novel needs to be analyzed.

In the previous research, there is a research about the possibility or

impossibility of translating poetry. The results of the study are still indecisive

because there is not enough evidence whether poetry is possible to be translated or

not (Tisgam, 2014). Another factor that makes the researcher interested in this study

is the fact that there are not many research about poetry translation, especially

poetry in a novel.

Based on the explanation above, the researcher is interested in identifying

what kind of poetry translation is acceptable and unacceptable, so that language

users can find the form of acceptable and unacceptable poetry translation. The

researcher also wants to know how to make a poetry translation acceptable which

later on can be a reference for language users.

B. Research Questions

Based on the research background, there are two research questions

composed. They are:

1. What are the poetry translation principles that are used in translating poetry

in the The Trials of Apollo: The Hidden Oracle?

2. To what extent is the poetry translations in The Trials of Apollo: The Hidden

Oracle acceptable based on Larson’s criteria of an acceptable translation?


4

C. Research Significance

This study will be beneficial for the following groups of language users.

1. Translators

Translators will gain benefits from this study by getting knowledge about the

acceptability of poetry translation in a novel. It is expected that this study could

enlighten the way to translate literary works, especially poetry. Hence, it enables

them to become better translators.

2. ELESP translation lecturers

In the translation subject in ELESP, there is a topic of song translation. A

song is a poem which is sung. By getting the information about how to translate

poetry and the acceptability of a poetry translation, ELESP translation lecturers

could use the information as materials in the class. Hence, it can be beneficial for

ELESP translation lecturers.

3. Future researchers

The research findings can be used for a reference for future researchers who

have the same interest in literary works translation, especially poetry translation. It

is expected that this study can give sufficient information for the future research.

Further researchers could discuss about the comparison of poetry translation in an

anthology book and in a novel.

D. Definition of Terms

This section provides the definition of terms related to this study in order to

make the researcher and the reader have the same understanding about the key terms


5

of this study. There are three terms that will be discussed. Those are poetry

translation, acceptability, and The Trials of Apollo: The Hidden Oracle.

1. Poetry Translation

Poetry translation is a product of translation which delivers the author’s

feeling in the target language context associated with the target culture (Veckrācis,

2016). Poetry translation is a formulation of a brand new poem (Newmark, 1988,

p. 70). Thus, poetry translation is not merely translating a poem but creating a new

poem using the target language context adjusted with the target culture. In this

research, poetry translation is a poem inside a novel which is translated from

English into Indonesian.

2. Acceptability

Acceptability is the measurement level of something, whether it has fulfilled

the requirements or not (Herlambang, 2017, p. 7). Related to translation,

acceptability is whether the source language is able to be delivered effectively to

the target language or not (Larson, 1984, p. 485). From those explanations, it can

be concluded that acceptability is the measurement of a poem which is effectively

delivered into the target language.

3. The Trials of Apollo: The Hidden Oracle

The Trials of Apollo: The Hidden Oracle is the first part of pentalogy novel,

The Trials of Apollo, by Rick Riordan. This novel was first published in 2016 in

the United States by Disney Hyperion and in Great Britain by Puffin Books. The

Indonesian version was first published in 2017 by Penerbit Naura Books. This novel


6

contains 39 chapters. In the beginning of every chapter, there is a poem which

summarizes the events that happen in that chapter (see Appendix D).


7

CHAPTER II

REVIEW OF RELATED LITERATURE

This chapter provides the theories which are going to be used in this study. It

consists of two sections namely theoretical description, and theoretical framework.

A. Theoretical Description

In this section, the researcher presents the theories that are related to the study.

There are three main theories used in this study. The first theory is the theory of

translation. The second theory is theory of the criteria of an acceptable translation

by Larson. The last theory is the theory about the poetry translation principle.

1. Translation

a. Definition

Translation can be defined in various ways. In this study, the researcher

presents three definitions of translation by Nida, Larson, and Newmark.

According to Nida (1974), translation can be defined as either a process or a

product. Translation is an act of delivering messages from source language into the

target language using the most natural equivalence style and meaning. Meanwhile,

as a product, translation is the produced text either spoken or written in the target

language.

According to Larson (1984), translation is changing the form of the source

language into the target language. The form of the language refers to both spoken


8

and written words, phrases, clauses, sentences, and paragraphs. (Larson, 1984).

Thus, translation is changing the words, phrases, clauses, sentences, and paragraphs

from source language into target language in the form of spoken and/ written.

According to Newmark (1988), translation is representing the meaning of a

text into another language in the way that the author meant in the text. Translating

in another language infers that the translators become someone they are not

(Newmark, 1988). Hence, translating means understanding what the author’s

intention and delivering it into another language in a way that the receptor finds it

natural.

From those description of translation, it can be concluded that translation is

delivering the author’s message from the source language into the target language

in the most natural style, both spoken and/ written, by changing the source

language’s form.

b. Types of Translation

Roman Jackobson in Bassnett (2002) categorizes translation into three types:

1) Intralingual translation

Intralingual translation is a translation within the same language, or it can be

defined as synonymy (Bassnett, 2002). For example the words, “You are welcome”

can be translated into, “That is alright”, or, “No worries.” Those translation are both

English to English, however they are used in the different nations. The words “You

are welcome” is commonly used in Britain, while “That’s alright” is commonly

used in America, and “No worries” is commonly used in Australia.


9

2) Interlingual translation

Interlingual translation is a translation within two different languages

(Bassnett, 2002). It is the common translation. This translation is the type of

translation which will be discussed in this study. The language which is going to be

translated in this study is English to Indonesian. One of the examples taken from

the book is; “A girl from nowhere”, which is English, into “Anak perempuan entah

dari mana”, which is Indonesian.

3) Intersemiotic translation

Intersemiotic translation is a translation within a verbal sign and a non-verbal

sign (Bassnett, 2002). It is often associated with finding the meaning of a symbol.

For example the symbol of “x” we find in the computer which means “close”.

However, for a note, the symbol in the source language does not always carry the

same meaning with the target language.

c. Process of Translation

Translation as a process follows some steps. Based on Nida (1974), there are

three steps of translation. The first is analyzing the grammatical patterns of the

source language with its meaning and diction. After that, the translators transfer the

results of the analysis into the target language inside the mind. The last step is

reconstructing the transferred materials into the target language with correct

grammar and natural forms.

The following is the diagram of translation stages based on Larson (1984).


10

SOURCE LANGUAGE TARGET LANGUAGE

Figure 2.1 Larson’s Translation Stages Diagram

2. Acceptability

Translation acceptability is the measurement of whether a translation can be

categorized as a good translation or not. According to Larson (1984), a translation

should firstly, use the natural form of the target language, which means the

translation is not stiff. In other words, it uses the daily language of the target

language. Secondly, it should deliver the same meaning from the source language

into the target language, which means it does not change the meaning or lose its’

essential meaning (p. 6). Lastly, it should maintain the dynamic of the original

source language text, which means that the translation can give the same feeling to

the receptor in the target language with the receptor in the source language (Larson,

1984, p. 6).

Related to the theory of translation acceptability, a poem should focus more

on the meaning of the word rather than focusing to find the same word. It means

some words may be very different after being translated into the target language.

Text to be

translated

Analyze and

understand the

meaning

Meaning

Re-express the

meaning

Translation


11

For example, in translating a metaphor, the translators should find the equivalent

metaphor instead of translating it word by word.

In other words, to get an acceptable translation, translators should prioritize

some things over the others. According to Nida (1974), “Contextual consistency

has priority over verbal consistency, dynamic equivalence has priority over formal

correspondence, the aural form of language has priority over the written form, and

forms that are used by and acceptable to the audience for which a translation is

intended have priority over forms that may be traditionally more prestigious” (p.

14).

3. Poetry Translation

a. Definition of Poetry Translation

Poetry translation is a product of translation which delivers the author’s

feeling in the target language context associated with the target culture (Veckrācis,

2016). Poetry translation is making a new poem in the target language (Newmark,

1988). Thus, it can be concluded that poetry translation is not merely translating a

poem but creating a new poem using the target language context adjusted with the

target culture.

b. Strategies in Poetry Translation

According to Lefevere (in Bassnett-McGuire, 1980), there are seven

strategies in translating a poem: phonemic translation, literal translation, metrical

translation, poetry into prose, rhymed translation, blank verse translation, and

interpretation. In this study, the researcher discussed about literal translation and


12

interpretation. Literal translation is translating the text word-for-word. Meanwhile

interpretation is a strategy where the translators only take the core of the source

language and paraphrases it in the target language.

c. Principles of Poetry Translation

Newmark concludes that a poetry translation should:

(1) use appropriate punctuation to maintain the original tone

In poetry, punctuation is essential to deliver the feelings, such as in a poem

by Emily Dickinson. Her poetry contains a lot of dashes which become the

characteristic of her poetry. When translators translate her poetry, the translation

must not ignore it, but the translators must be wise enough to decide when the

dashes should be written because of the lexical and grammatical difference between

the source language and the target language. Moreover, the translators should be

more careful in using punctuation because every punctuation has a different

function and meaning. For example, a question mark (?) is used to interrogate, an

exclamation mark (!) is used to express surprise or anger, comma (,) is used to give

a break, and colon (:) is used to mention things (Carey, 1957).

(2) use the precise translation of the metaphor

Poetry contains many metaphors. Mistakes in translating metaphors will

mislead the readers and it will be inconvenient to be read. For example, if the phrase

“apple of my eye” is translated into apel di mataku, it will sound strange and cannot

deliver its real meaning.

Newmark also mentions that in order to translate a poem, translators should

also:


13

(3) consider the syllable

Some specific types of poetry have rules. For example, haiku has three lines

and contains 17 syllables in total, limerick has five lines with AABBA rhyme, and

pantun has 4 lines which contain only 8-12 syllables with ABAB rhyme. That is

why the translators should consider the syllable when translating poetry. In this

novel, the poem is in the form of haiku. As stated above, haiku contains 17 syllables

in total, 5 syllables on the first line, 7 syllables on the second line, and 5 syllables

on the last line. It means that when translating haiku, translators should consider the

syllables.

In addition to Newmark’s theory, Tisgam also contributes to the principle of

poetry translation. He states that a poetry translation should be able to:

(4) convey invisible message

Because of the use of metaphors, poetry may hide an invisible message. That

invisible message has the author’s feelings which should be preserved. The key in

translating a poem is conveying an invisible message (Tisgam, 2014).

d. Poetry Diction

When translating a poem, the translators should be careful with the diction

used. A poem may have metaphors, slang, and swear words. Those diction are used

to make the poetry more expressive. Hence, if the translators are not careful, the

poetry translation may lose its feelings.

(1) Metaphor

A metaphor is any lexeme that has a different meaning other than its lexical

one (Lakoff & Johnson, 1980). Goatly (1997) said “the larger the gap between the


14

proposition expressed and meaning intended, the more metaphorical the utterance

will be” (p. 15). It means that metaphor is an expression of words or phrases using

analogy of two different things. There are two types of metaphors; personification

and metonymy. Personification is giving an image to inanimate objects as if it has

human’s part of body, sense, motivations, characteristic, and activities (Lakoff &

Johnson, 1980, p.33). For example, using “The leaves dance with the wind” to

describe fallen leaves. Meanwhile, metonymy is changing the words to another

things that have relation to it or refer to it (Lakoff &Johnson, 1980, p. 36). For

example, “She likes to read Christie’s” means she likes to read novels by Agatha

Christie.

(2) Slang

Slang is derived from the modified colloquial words and phrases which

indicate social identity or trends in society (Eble, 1996, p. 11). Slang can be formed

from compounds, affixation, functional shift, shortening, blending, and borrowing

(Eble, 1996). Slang has a function to talk about social life (Eble, 1996, p. 115). It is

barely used to building intimacy talk or gaining new information (Eble, 1996, p.

115). Slang generally has three effects: (1) changes the informality, (2) identifies

someone’s group, and (3) shows authority (Eble, 1996, p. 116). One of the examples

of slang is “dude”. The words “dude” is derived from duds which is an abbreviation

of an attitude (Green, 1993, p. 2).

(3) Swear Words

Swear words are expressive emotion put in the language to react on something

that is not favored (Aditia, 2011, p. 18). The use of swear words is mainly to show


15

psychological state (Aditia, 2011, p. 21). However, swear words are also used to

show social class and ethnic. There are two types of swear words; strong swear

words and weak swear words (Aditia, 2011, p. 19). Strong swear words mostly use

lavatory words, private parts of body, and sexual activity. Meanwhile, weak swear

words mostly use religion words or insult words. For example the words “shit”,

“asshole”, and “fuck” are categorized as strong swear words, while “Christ, gosh,

and stupid” are categorized as weak swear words (Aditia, 2011).

4. Procedure of Checking Translation Quality

According to Larson (1984), in order to check the quality of a translation,

there are five procedures needed. They are:

(1) comparing the text

Translators should make sure all important information is there in the text. To

make it easier to compare the text, write the translation below the source language.

(2) doing back-translation

It means translating the product of translation into the source language. By

doing this method, we can see whether the target language delivers the same

meaning as the source language.

(3) checking the comprehension

Try to ask other people, who are fluent in the target language, for checking

the translation text. It is better to give the tester some guiding questions so they can

check whether the text can give them information about the discourse style, the

theme of the text, or detailed information.


16

(4) testing the text’s naturalness and readability,

Testing naturalness is similar to checking the comprehension. The difference

is in this part, the volunteer is more like a reviewer rather than a tester. Hence, the

reviewer task is reviewing or giving comments whether the translation seems

natural in their target language or not. Meanwhile, the easiest way to test readability

is by reading the translation out loud. The aim is to hear whether the text can be

seen as a unity or not.

(5) checking the consistency

It includes various aspects such as the consistency in translating names,

punctuations, spellings, footnotes, glossary, and index of table of contents.

B. Theoretical Framework

In this part the researcher discussed the theories presented previously to

answer the research questions theoretically. The researcher combines the theory by

Larson, Nida, Newmark, and Tisgam.

In order to answer the first research question namely what are the poetry

translation principles used in translating the poetry in the The Trials of Apollo: The

Hidden Oracle, the researcher combines the theories by Newmark and Tisgam.

They are (1) using appropriate punctuation to maintain the tone of original and (2)

using the precise translation of metaphors, (3) considering the number of syllable,

and (4) conveying an invisible message. The theories are used because Newmark

provides the principle of translating a poem. Meanwhile, Tisgam’s theory poetry

translation principle is used because his research has proved what should be


17

preserved in order to make a poetry translation possible. The researcher will analyze

whether the poem uses the principles or not.

Nida (1974) and Nababan (1999) propose some aspects of translation that

should be assessed when assessing a translation. The aspects of translation that

should be assessed based on Nida (1974) are syntactic patterns, semiotic

appropriateness, cultural backgrounds, and thematic relevance. In addition,

Nababan (1999) states that testing a translation should evaluate accuracy in

delivering the messages, accuracy in conveying the message in the target language,

and the naturalness of the language.

In order to answer the second question namely to what extent the poetry

translations in The Trials of Apollo: The Hidden Oracle is acceptable based on

Larson’s criteria of an acceptable translation, the researcher used Larson’s theory

of acceptability. The theory is used because Larson’s theory covers the criteria of

translation which can be used to determine the acceptability of a poetry translation.

The first criterion from Larson’s theory states that translation uses the natural form

of the target language, it can evaluate the first and second aspects of translation

proposed by Nida and third aspect of translation proposed by Nababan. The second

criterion states that translation should deliver the same meaning, it can be used to

assess the fourth aspect of translation by Nida and the first aspect by Nababan. The

third criterion states that translation maintains the dynamic of the original source

text which can be used to assess the third aspect of translation by Nida and the

second aspect by Nababan.


18

The researcher took five steps, which are also mentioned by Larson, to check

whether the translation meets the criteria mentioned by Larson above or not. The

steps are comparing the text, doing back translation, checking the comprehension,

testing the naturalness and readability, and checking the consistency. Since the

consistency covers the punctuation more than the other step, it is used mostly for

analyzing the first research question. The “checking the comprehension” step was

less used because the poem only has three lines so it barely has detailed information.

Meanwhile, the other three steps can be used both in analyzing the first and second

research questions.


19

CHAPTER III

RESEARCH METHODOLOGY

This chapter presents how the researcher conducts the study. There are four

parts in this chapter. The first part is research method which contains the definition

of the type of research chosen. The second part is type and source of data which

elaborates on the subject of this study. The third part is instruments and data

gathering technique which explain the research instruments used in this study and

how it is used. The last part is the text analysis technique which explains the steps

in analyzing the data.

A. Research Method

This study used the text analysis method. A text analysis method is a type of

content analysis in which the researcher analyzes and interprets documents to give

voice and meaning around an assessment topic (Neuendorf, 2002). The documents

were in the form of public records, textbooks, letters, films, tapes, diaries, themes,

reports, or other documents. The difference between a text analysis with other

content analysis type is a text analysis focused more on written text (Neuendorf,

2002). This study was dealing with the poetry translation in a novel, which means

the researcher analyzed both the poetry and the novel. Hence, this method was

chosen.


20

Qualitative researchers’ goal is to get a holistic picture and depth

understanding rather than a numeric analysis of data. It is focused on the total

picture rather than breaking it down into variables (Ary, Jacobs, & Sorensen, 2010,

p. 29). It can involve understanding reasons, opinions, and motivations. This study

wanted to analyze the acceptability quality of the poetry translation which was

determined based on Larson’s theory. Thus, this study used qualitative research

because it sought for the understanding of the opinion on the acceptability of poetry

translation and the reasons of its acceptability.

B. Type and Source of Data

The type of this research data was literary works. The data were 39 poems

from the English version of The Trials of Apollo: The Hidden Oracle novel and 39

poems from the Indonesian version. The poetry replaces the title of the chapter

inside the book. It is the summary of the chapter. For example, the poem in chapter

1 is the summary of the story in chapter 1 (see Appendix D). This novel is the first

part of the tetralogy novel: The Trials of Apollo. The researcher chose the first novel

because the translation of the second novel has not been yet available when this

research was conducted and the third and fourth novel have not been released yet.

The title of the second novel is The Trials of Apollo: The Dark Prophecy, the third

is The Trials of Apollo: The Burning Maze, and the last is The Trials of Apollo: The

Tyrant’s Tomb.


21

C. Data Gathering Technique

This study used purposive sampling because the subjects were chosen based

on the researcher’s hypothesis which may be subjective. Purposive sampling is

known as judgmental, selective, or subjective sampling. According to Ary, Jacobs,

and Sorensen (2010), “In purposive sampling, sample elements which are judged

to be typical or representative are chosen from the population” (p. 156). Therefore,

purposive sampling is the suitable sampling for this study. The purposive sampling

was used because only the poetry in the beginning of the chapter were analyzed, the

poetry inside the chapter were not analyzed. The poetry inside the chapter were not

analyzed because they have different forms from the poetry in the beginning of the

chapter. The poetry in the beginning of the chapter is haiku, while the poetry inside

the chapter are free poems, limerick, and pantun. Moreover, in the story, the

limerick is a prophecy that has not been deciphered which made it quite tricky to

be analyzed and may give unreliable results.

In choosing the subjects, the researcher also combined some variations of

purposive sampling such as comprehensive sampling, random sampling and

negative case sampling. Comprehensive sampling includes all of the data (Ary,

Jacobs, & Sorensen, 2010, p. 429). In this study, all poems in the beginning of the

chapter were analyzed to obtain valid data. Then, in choosing the subjects to be

discussed further, the researcher used random sampling and negative case sampling.

Random sampling is a method where every population has an equal chance to be

chosen (Ary, Jacobs, & Sorensen, 2010, p. 150). The random sampling was used to

choose the population to answer both the first and the second research questions.


22

The researcher only chose some population in order to increase the research

efficiency. Negative case sampling is a method in choosing a sample which does

not give positive results to the researcher’s criteria (Ary, Jacobs, & Sorensen, 2010,

p. 431). The researcher used the poetry translations which did not give positive

results to answer the first research question, that is to know why the principle is not

used.

The instruments used in this study were checklists. According to Ary, Jacobs,

and Sorensen (2010), “Checklist provides list of behaviors that are to be observed,

and then the researcher check whether each of the behavior is present or absent” (p.

217). The researcher used checklists because what was studied is the quality of the

poetry translation acceptability. The researcher also used online dictionaries as

references. It was used to obtain the literal meaning or the connotative meaning

from the sentences or words.

There were two checklists provided. The first checklist was about the poetry

principles which are used in translating the poetry. It contained two elements. The

first element was the theory of translating a poem by Newmark. The second element

was poetry in the beginning of each chapter in the book. Hence, this checklist was

used to answer research question number one.

Table 3.1 Poetry Translation Principles Checklist

Chapter

Poetry Translation Principle

Use appropriate punctuation to maintain

the tone of originality

Use precise translation of

metaphor

Consider the

syllable

Convey invisible

message

1


23

2

3

etc.

The second checklist was about poetry translation acceptability. It also

contained two elements. The first element was the theory of poetry translation

acceptability by Larson. The second element was poetry in the beginning of each

chapter inside the book. Thus, this checklist was used to answer the research

question number two. The following was the template of the second checklist.

Table 3.2 Poetry Acceptability Checklist

Chapter

Larson’s acceptablity theory

Uses natural forms of the target

language

Delivers the same meaning from the source language

into the target language

Maintain the dynamic of the original source

language text

1

2

3

etc.

D. Data Analysis Technique

The researcher took three steps of analyzing data in qualitative research

proposed by Ary, Jacobs, and Sorensen (2010) namely organizing and

familiarizing, coding and reducing, and interpreting and representing (p. 481).

The first step is organizing and familiarizing. The researcher should be

familiar with the data (Ary, Jacobs, & Sorensen, 2010, p. 481). In order to be


24

familiar with the data, the researcher read the poetry and found the literal and

connotative meaning of each word or phrase used in the poetry. After that, the

researcher organized the poetry, both the English and Indonesian, by listing them

from chapter one until chapter 39.

The second step is coding and reducing. The researcher gave codes on every

line of the poetry. The coding was used to make it easier for the researcher to find

the data, especially the lines which contain metaphors because it needed special

attention. Hence, different coding was applied depending on the existence of

metaphors. In the coding, “E” stood for the English version, and “I” stood for the

Indonesian version. The number followed them are the chapter. For example, E1

meant the poetry in chapter 1 English version and I1 meant the poetry in chapter 1

Indonesian version. Meanwhile, the letter “L” stood for line and the number

followed it is its number of line. For example, L1 meant the first line.

The last step is interpreting and representing. According to Ary, Jacobs, and

Sorensen (2010), “Interpretation is about bringing out the meaning, telling the story,

providing an explanation, and developing plausible explanations” (p. 490).

Meanwhile, representing is about how the results are going to be presented (Ary,

Jacobs, & Sorensen, 2010, p. 491).

The interpreting and representing process were conducted twice. The first

process was conducted to answer the first research question. The researcher

analyzed the reason for using and not using the principles of translating poetry

based on the result of the first checklist. After having the results, the data were

presented in a column chart.


25

The second process was conducted after obtaining the answer to the first

research question. Firstly, the poetry was interpreted by comparing the English with

the Indonesian. The comparison showed whether the translation was acceptable or

not based on Larson’s theory of an acceptable translation in the checklist. The poem

is considered as acceptable if it fulfills minimum two of the criteria of acceptability

translation by Larson. The data from the answer to research question number one

became the base of the analysis because the researcher wanted to know whether

using the poetry translation principles influences the acceptability or not. After that,

the results were presented using a pie chart.


26

CHAPTER IV

FINDINGS AND DISCUSSION

This chapter discusses the findings of this study. There are two sections in

this chapter; poetry principles used in translating the poetry and poetry translation

acceptability. The first section presents and discusses the findings of the first

checklist to answer the first research question. The second section presents and

discusses the findings of the second checklist for answering the second research

question.

A. Poetry Translation Principles Used in Translating Poetry in The Trials

of Apollo: The Hidden Oracle

In this part, the researcher discusses the poetry translation principles that are

used in translating the poetry in The Trials of Apollo: The Hidden Oracle and the

reason of using the principles. As stated in chapter two, the researcher uses four

poetry translation principles. Those principles are (1) use appropriate punctuation

to maintain the tone of original, (2) use the precise translation of metaphor, (3)

consider the syllable, and (4) convey invisible message. The results of the checklist

are presented in Figure 4.1.


27

Figure 4.1 The Poetry Translation Principles Chart

Figure 4.1 shows that the 38 poetry translations use the first poetry translation

principle, 36 poetry translations use the second poetry translation principle, no

poetry translation uses the third principle, and 35 poetry translations use the fourth

poetry translation principle. Based on the data, the principles used by most of the

poetry translations are using correct punctuation, using precise translation of

metaphors, and conveying invisible messages. Meanwhile, one poetry translation

uses correct punctuation and precise translation of metaphors only, two poetry

translations use correct punctuation only, and one poetry translation does not follow

any principle. The syllable rule is not used at all.

Firstly, the researcher discusses three poetry translations that contain the

principle of using appropriate punctuation. After that, the researcher discusses the

principle of using precise translation of the metaphor. The researcher also explains

why the poetry translations do not follow the syllable rule though the third principle

states that translator should consider the syllable. Lastly, the researcher discusses

the principle of conveying invisible messages. The special case in Chapter 3 and 7

which only use correct punctuation principle, Chapter 14 which does not use any

0

10

20

30

40

Poetry Translation Principles

Punctuation

Metaphor

Syllables

Invisible

Messages


28

principle, and Chapter 22 which only uses precise punctuation and metaphor

translation are discussed further in the second part, acceptable and unacceptable

poetry translation.

1. Punctuation

Correct punctuation will make the readers able to understand the sentences

(Carey, 1957). Incorrect punctuation will mislead the meaning of the sentences. In

the example below, it is proven that changes from a question mark (?) to an

exclamation mark (!), addition of comma (,), and deletion of colons (:) have role to

the meaning and the tone of a sentence.

Table 4.1 Use of Appropriate Punctuation in Chapter 4

No Line Code Meaning in Indonesian Code

1 Casa de Jackson E4.L1 Di Istana Jackson I4.L1

2

No gold-plated throne for

guests E4.L2

Tiada takhta emas

untuk tamu I4.L2

3 Seriously, dude? E4.L3 Terlalu! I4.L3

This example shows the change from the question mark to the exclamation

mark. A question mark does not only have an interrogative function. It also has

another function that is exclamation function. The sentence “Seriously, dude?” is

not really a question. It is a pseudo-interrogative. Pseudo-interrogative is actually

an exclamation (Carey, 1957, p. 11). E4.L3 is better to be translated into Terlalu!

Besides it is more natural in the target language, it is also caused by the

punctuation’s role. In Indonesian, Yang benar saja, bung? does not always refer to

exclamation. Depending on the context, it can be an interrogative which needs an


29

answer as a confirmation. To avoid ambiguity, it is better to paraphrase the sentence

then choose the appropriate punctuation in the target language. Therefore, in this

case, the question mark should be changed into the exclamation mark because the

question mark in E4.L3 has the same meaning with the exclamation mark in I4.L3.


No Line Code In Indonesian Code

1 Seven-layer dip E5.L1 Cocolan tujuh lapis I5.L1

2

Chocolate-chip cookies in

blue E5.L2

Kue kering cokelat warna

biru I5.L2

3 I love this woman E5.L3 Bu Jackson, aku cinta padamu I5.L3

The second example of appropriate use of punctuation shows that there are

deletion of hyphens and addition of comma. The hyphens in E5.L1 and E5.L2 are

basically related to the grammar. In English, when an adjective is made by attaching

adjective + noun into another noun, it is necessary to add a hyphen (Carey, 1957, p.

25). However, in Indonesian there is no need to add hyphen in that kind of case. In

Indonesian, an adjective can be attached to the noun right away. Hence, it becomes

strange in the matter of grammar if the hyphens are kept.

One of the functions of comma is to emphasize things (Carey, 1957, p. 10).

In English, the word “this woman” already emphasizes an amazement more than

mentioning the woman’s name. Hence, the author chooses to write “I love this

woman” rather than “I love Mrs. Jackson”. However, in Indonesian it should be

clear who “this woman” is. Thus, it does not sound natural when it is translated into

Aku cinta pada perempuan ini. On the other hand, when it is translated into Aku

cinta Bu Jackson the amazement level is not as high as “I love this woman.”


30

Therefore, the solution is adding a comma which has a role as an emphasizer and

rearranging the sentence.



1 Parenting advice: E28.L1 Sekedar saran untuk orangtua I28.L1

2 Mamas, don’t let your larvae E28.L2

Wahai, Mama, jangan

biarkan larva I28.L2

3 Grow up to be ants E28.L3 Tumbuh besar menjadi semut I28.L3

The last example of appropriate use of punctuation is deletion of the colon. A

colon is used as a pause to separate long clause which explains the main clause.

E38.L2 and E38.L3 are clauses which explains E28.L1. They are one unity though

they are separated into three lines. Hence, it needs a colon to indicate that it is one

sentence which is separated into three clauses in three lines. However, in Indonesian

poetry, it is common to end the line without any punctuation. Even though there is

no punctuation, when the lines are separated it is enough to indicate pauses or

breaks which have connection with the previous line. Thus, the colon in I28.L1 is

deleted because it is unnecessary.

These three examples show that punctuation has different functions and roles

in different languages. For example, a question mark in English can have the same

function with an exclamation mark in Indonesian. It can also be seen that some

punctuation symbols are not necessary in a different language. For example, a

comma is not needed to emphasize something in English, the word play is more

important. Another example is in Indonesian a colon is not always needed, the

sentence only needs to be separated into several lines right away. In conclusion, the


31

poetry translations in The Trials of Apollo: The Hidden Oracle use precise

punctuation though sometimes it needs to be change to adjust with the target

language.

2. Precise Metaphor Translation

As stated in chapter two, a metaphor is an analogy of two different things.

The meaning of the analogy is different depending on the culture and habit. For

example, European and American people think time is very precious, so they are

never late. Hence, there is a famous metaphor “Time is money.” Meanwhile, in

Indonesia, we can do things slowly. People are not too concerned about time,

because Indonesian people tend to think that they have a lot of time. They often

come late. It can be seen from a Javanese idiom, Alon-alon asal kelakon which

means we can do things slowly as long as we can achieve the goal. In short, time

can be seen differently in a different place based on the culture. It can also be

inferred that culture could change the metaphorical meaning of something. Hence,

metaphors should be translated properly by looking at the background of the

country.

Table 4.4 Precise Translation of Metaphor in Chapter 8


1 Peaches in combat E8.L1 Persik ikut bertarung I8.L1

2 I’m hanging it up now E8.L2 Sedangkan aku tidak berkutik I8.L2

3 My brain exploded E8.L3 Kepalaku pusing tujuh keliling I8.L3

In this example, E8.L3 contains a metaphor. “My brain exploded” does not

mean the brain really explodes. It means that Apollo is very confused until his head


32

hurts. After getting the real meaning of the metaphor, the translator should look for

another idiom which delivers the same feeling and meaning. In Indonesia, to give

an impression of overly perplexed is Kepalaku pusing tujuh keliling. If the translator

translates it into Kepalaku serasa ingin meledak, which is the literal meaning of

E8.L3, it will make the translation sound unnatural in the target language though

the meaning is the same. Meanwhile, if the translator only translates it into

Kepalaku sangat pusing, it will lose its feeling. Hence, I8.L3 is the precise

translation of the metaphor in E8.L3.



1 Imperators here? E26.L1 Ada imperator di sini? I26.L1

2 Gag me with a peace symbol E26.L2 Gawat ini, Bunda I26.L2

3 Not groovy, Mama E26.L3 Aku tidak mau diajak damai I26.L3

This example has a metaphor in E26.L2. “Gag me with a peace symbol”

means “Though you forced me to cease-fire, I do not want to.” In the target

language, it is translated into Aku tidak mau diajak damai. Though this translation

does not contain a metaphor, it is still acceptable because in Indonesian there is no

equivalent metaphor for this phrase. The implication of precise translation is it can

deliver the same meaning and feeling with a natural language. It does not have to

be in the form of a metaphor in the target language. The role of the translator to

make it precise is to determine whether she should find the equivalent metaphor in

the target language or paraphrase the translation, and what should she does if there

is no equivalent metaphor. In this translation, the metaphor is precisely translated


33

because it can deliver the same meaning and feeling with the source language in the

natural form of target language.



1 I school McCaffrey E30.L1 Kunasehati McCaffrey I30.L1

2 Yo, girl, your stepdad is wack E30.L2

Kataku, Non, ayah

angkatmu edan I30.L2

3 Why won’t she listen? E30.L3 Kenapa dia ogah mendengarkan? I30.L3

In this example the metaphor is in E30.L1. Though “I school McCaffrey” is

a colloquial sentence in English, it contains a metaphor. Literally, “school” as a

verb means melatih or “train”, and mengajar or “teach”. However, it does not make

sense when it is translated by its literal meaning. The “school” here refers to

menasehati or giving advice. One of the activities at school, training, or teaching is

giving advice. Hence, “school” in E30.L1 is a metonymy because it describes a

particular thing based on one entity. In Indonesia, there is a word menyekolahkan

which means paying for someone’s education tuition. If the translator does not

translate the metaphor correctly, it will become Aku menyekolahkan McCaffrey. If

it is back-translated it will become “I pay for McCaffrey tuition”. Those two

sentences are different. Thus, in order to get a precise translation, the translator must

not merely choose the word that has a similar base form, such as “school” and

menyekolahkan.

These three examples show that the poetry translation uses precise translation

of metaphor. There are three ways to get precise translation of a metaphor: (1)

choosing an equivalent metaphor, (2) using a sentence without any metaphor when


34

there is no equivalent metaphor, and (3) choosing a correct diction regardless of the

similarity of the base form of the metaphor. Thus, it is important to translate

metaphor precisely because an inaccurate translation of metaphor may lead to

change in meaning and dynamic of the source language and results in an unnatural

form of the target language.

3. Conformity to the syllable

Some poems have rules regarding the syllable. Thus, to fulfil the rules, the

translator should consider the syllable. However, the results of this study show that

no poetry translation follows the rule of the syllable.

Table 4.7 Conformity to the Syllable Rule in Chapter 9


1 A walk through the woods E9.L1 Jalan-jalan di hutan I9.L1

2 Voice driving me bonkers E9.L2

Suara-suara membuatku

edan I9.L2

3 I hate spaghetti E9.L3

Spagheti? Tidak usah,

terima kasih I9.L3

Haiku has rules for the syllable. The first line contains 5 syllables, the second

line has 7 syllables, and the third line has 5 syllables. In total, there are 17 syllables.

The English version has followed the rules. However, the Indonesian version has

not. I9.L1 has 7 syllables; ja-lan-ja-lan-di-hu-tan. I9.L2 has 12 syllables; su-a-ra-

su-a-ra-mem-bu-at-ku-e-dan. The last line also has 12 syllables; Spa-ge-ti-ti-dak-

u-sah-te-ri-ma-ka-sih. If the translator forces to fulfil the rules, it will result in an

unnatural form of the target language or change the meaning of the target language

or ignore the dynamic of the source language.


35

For example, when I9.L1 is shortened into Jalan di hutan, it becomes

unnatural. Another example is when I9.L2 is shortened into Suara bikin edan, it

changes the dynamic of the source language. It also changes the meaning because

in the source language the voice does not come from one tree but lots of tree, so

there is more than one voice. In Indonesian, the word is repeated to show plurality.

Hence, suara bikin edan changes the meaning. I9.L3 has similar case. When it is

translated into Benci spageti, it does not sound natural in the target language. It can

be seen from the data that it happens because Indonesian tends to have more syllable

than English. Thus, this poem does not follow the syllable rule.

Table 4.8 Conformity to the Syllable Rule in Chapter 11


1 Check your spam folder E11.L1

Periksa map surat

sampahmu I11.L1

2 The prophecies might be there E11.L2

Siapa tahu ramalan

terkirim ke situ I11.L2

3 No? Well, I’m stumped. Bye E11.L3

Tidak ada? Wah, masuk

ke mana, ya? Dah! I11.L3

The previous example contains a metaphor. Hence, in the previous

discussion, the translation still can be modified to adjust the syllable though it

makes the poetry translation unnatural and the grammar inappropriate, which result

in changes in the meaning and dynamic of the source language. However, this

example does not contain any metaphor. It uses literal translation except for the last

line. It means there is no other sentence that can replace I11.L1 and I11.L2.

However, as it can be seen above, the sentences are too long for a haiku. The first

line contains 9 syllables pe-rik-sa-map-su-rat-sam-pah-mu and the second line

contains 14 syllables si-a-pa-ta-hu-ra-ma-lan-ter-ki-rim-ke-si-tu. These two lines


36

cannot be shorten or modified. If the translator insists to follow the syllable rule,

then she should delete the syllables.

For example, the first line will become periksa map su and the second line

will become siapa tahu rama. It can be seen that the first line will become nonsense,

while the second line’s meaning will be changed completely. Rama in Indonesia

may become someone’s name, so siapa tahu rama will become “Does anybody

know Rama?” Thus, it can be concluded that forcing the syllable is not appropriate.

These two examples prove that the poetry does not follow the syllable rule

because if the lines are forced to follow the rules, it will become incomplete.

Moreover, forcing the syllable may change the meaning and the dynamic of the

source language which will result in an unnatural form of the target language

instead.

4. Invisible Message Delivery

Poetry contains metaphor, so some of the poetry may have invisible message.

Thus, translator should be able to find the invisible message and deliver it to the

readers correctly. These two examples prove the principle which says a poem

should be able to convey invisible message is used in this translation.

Table 4.9 Convey Invisible Message in Chapter 6


1 Aquaman driving E6.L1 Aquaman berkendara I6.L1

2 Couldn’t possibly be worse E6.L2 Tenang, tidak apa-apa I6.L2

3 Oh, wait, now it is E6.L3 Eh, malah tabrakan I6.L3


37

In this poem, the author wants to deliver Apollo’s feeling when he is afraid

of Percy Jackson’s way of driving. Though the sentences are different, but the

translation of the poem is able to give us a picture of Apollo’s feeling. The context

that Apollo is afraid of is not written directly in the original text. The meaning of

the poem should be interpreted first, then should be related to the story in the

chapter. If the translator could not get the invisible meaning, it will be translated as

it is.

For example, the second line will become Nggak bisa lebih buruk lagi and

the third line will become Oh, tunggu, sekarang lebih buruk. In Indonesian, Nggak

bisa lebih buruk lagi is commonly used to complain about a situation. Whereas

“Couldn’t possibly be worse” is used by Apollo to reassure himself that it is okay.

Meanwhile, Oh, tunggu, sekarang lebih buruk is not natural. Hence, to use the

natural language and get the same meaning and dynamic of the source language,

the translation should be able to convey the invisible message in the source

language.

Table 4.10 Convey Invisible Message in Chapter 12


1 Ode to hotdog E12.L1 Ode untuk hotdog I12.L1

2 With bug juice and tater chips E12.L2

Disajikan dengan keripik

kentang I12.L2

3 I got nothing, man E12.L3

Aku minta sari serangga

saja I12.L3

In this poem, the author wants to deliver Apollo’s feeling when he is disgusted

with the fact that the bug juice served for him is the most delicious than hotdog and

tater chips. Similar to the previous example, Apollo’s disgusted feeling is not


38

clearly written in the poem. If the translator could not convey this message, the

meaning will be misinterpreted. When it is translated literally, the second line will

become Dengan sari serangga dan keripik kentang, and the last line will become

Aku nggak dapat apa-apa, bung. Thus, in Indonesian it will mean that Apollo does

not eat anything instead of reluctantly admitting that the bug juice is more delicious

than the other foods. As it can be seen, the meaning changes. Hence, the translator

should be able to convey invisible message from the source language to make the

poem acceptable.

From these two poetry translations, it can be concluded that it is important to

get the invisible message from the source language, then convey it properly in the

target language. Thus, the poetry translations use the fourth principle of translating

a poem.

B. Acceptable and Unacceptable Poetry Translation

As we can see from the result of the research question number 1, none of the

poetry translations use the principle number three which is considering the syllable.

However, all of the poetry translations use the first, the second, and the fourth

principle. In this part, the researcher discussed further whether they are acceptable

or not even though they did not follow the third rule. The researcher compared the

English and Indonesian version of the poetry. After that, the researcher analyzed

the poetry translation acceptability using Larson’s theory of acceptable translation.

The results of the comparison are presented on Figure 4.2.


39

Figure 4.2 The Poetry Translation Acceptability Chart

Figure 4.2 shows that there are 36 poetry translations which are acceptable

and 3 poetry translations which are unacceptable. The poetry translations are

acceptable if they meet at least two out of three indicators of acceptable poetry

translation. Meanwhile, if they only meet one or none of the indicator, it is

categorized as unacceptable.

1. Acceptable Poetry Translation

Referring to Larson’s translation acceptability theory (1984), a translation

should use the natural form of the target language, deliver the same meaning to the

target language, and maintain the dynamic of the source language (p. 6). Most of

the poetry translations meet the criteria of acceptable poetry translation. Hence,

those poetry translations are categorized acceptable. The complete list can be seen

in Appendix B.

Table 4.11 Acceptable Poetry Translation in Chapter 1


1 Hoodlums punch my face E1.L1 Mukaku kena hajar I1.L1

2 I would smite them if I could E1.L2 Si preman pantas binasa I1.L2

3 Mortality blows E1.L3 Nahasnya aku fana I1.L3

Poetry Translation Acceptability

Acceptable Not acceptable


40

The first example of acceptable poetry translation is found in Chapter 1. If the

first line is translated literally, it will be Preman menghajar mukaku. Meanwhile,

the second line will be Aku akan menghantam mereka jika aku bisa, and the third

line will be Kefanaan meniup. However, as shown in Table 1, the translation of

E1.L1, E1.L2, and E1.L3 are not literal. In I1.L1, the word “Hoodlums” is not

translated. It is put on the second line. It is similar to the translation of E1.L2. The

subject “I” is not translated on the second line. However, if it is read as one unity,

it delivers the same meaning that is Apollo wants to take revenge for the hoodlums.

It is not translated literally because the translator wants to maintain the dynamic of

the source language. Thus, the translator uses the word preman in the second line

and the word “I” which should become a subject is changed into clitics –ku, which

has a role as possessive pronoun, in the first line. E1.L3 is also not literally

translated because in the second word there is a metaphor, that is “blows”. The word

“blows” in that context means mengacaukannya not meniup. After finding the

appropriate meaning of the metaphor, the translator paraphrases the phrase to make

the translation become more natural in the target language. It is not translated as

kefanaan mengacaukannya but nahasnya aku fana.



1 A girl from nowhere E2.L1

Anak perempuan entah

dari mana I2.L1

2

Completes my

embarrassment E2.L2

Menggenapkan aibku

I2.L2

3 Stupid bananas E2.L3 Dasar pisang celaka I2.L3


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The second example of acceptable poetry translation is found in Chapter 2. In

this poetry, the first line is translated literally, which becomes Anak perempuan

entah dari mana. The second line has the same case. However, the third line is quite

different. When E2.L3 is translated literally, it becomes Pisang bodoh. Though it is

not translated literally, “stupid bananas” is not a metaphor. It is weak swear words.

Hence, in order to make the translation of the swear words becomes natural in

Indonesian, it becomes Pisang celaka.



1 Casa de Jackson E4.L1 Di Istana Jackson I4.L1

2


guests E4.L2

Tiada takhta emas

untuk tamu I4.L2


The third example of the acceptable poetry translation is also not translated

literally. The first line is a Spanish phrase which means Rumah Jackson. However,

it is translated into Di Istana Jackson. The Spanish phrase is actually a slang which

is derived from borrowed words. Apollo uses Spanish language as a slang because

he wants to make a glorious image of Percy Jackson’s house which is actually a

sarcasm. Therefore, it is translated into istana. The second line is translated literally,

but it is simplified. The word tiada replaces the words tidak ada and the word emas

is deleted. Hence, instead of writing tidak ada takhta berlapis emas untuk tamu, it

is translated into Tiada takhta emas untuk tamu. The last line is also not translated

literally because it is slang. The word “dude” means bung in Indonesian. The word

“dude” also has the equivalent one in Indonesian that is bro. Thus, when it is


42

translated literally, it becomes Yang benar saja, bung? or if the slang wants to be

kept, it can be translated as Yang benar saja, bro? However, both options do not

maintain the dynamic of the source language as well as Terlalu! Therefore, to fulfil

the three criteria of acceptable poetry translation, E4.L3 is translated into Terlalu!



1 Bowling balls of death E17.L1

Aku tak mau bertemu

ular raksasa I17.L1

2

Rolling towards my

enemies E17.L2

Lebih baik dikejar

bola boling maut I17.L2

3 I’ll trade you problems E17.L3

Seperti musuh-

musuhku saja I17.L3

The fourth example has a similar case with the first example, which says that

poetry translation should be analyzed as one unity. When the poem is translated

literally, the first line becomes Bola boling maut, the second line becomes Bergulir

ke arah teman-temanku, and the third line becomes Akan kutukar kau masalah. The

literal translation seems not equivalent with the Indonesian translation. In the

I17.L1 there are words ular raksasa, while in the E17.L1 “snake” does not exist at

all. In I17.L1, there are also words Aku tidak mau bertemu while “I” does not exist

as the subject in E17.L1 and there is no words such as “meet.” E17.L2 has a similar

case, there is no words such as “better”, but in I17.L2 there are words lebih baik. In

addition, in E17.L3 “just like” does not exist, but in I17.L3 there exists a word

seperti.

Hence, if the back-translation method is used, the first line becomes “I don’t

want to meet a giant snake”, the second line becomes “It is better to be chased by

bowling balls of death”, and the third line becomes “Just like my enemies.” It can


43

be seen that the meanings are different. Therefore, the translator makes the

translation acceptable by gaining the main point of the poetry then associating it

with the context in the chapter.

If it is read as a unity, the poem has a meaning that Apollo wants to trade his

problem with his enemies’ problem which is being chased by bowling balls of

death. In this chapter, Apollo is very cautious. He does not want to be chased by

bowling balls of death. However, Meg, his partner, make him trapped in a situation

where he should face a giant snake, Python, his archenemy. After being in such

situations, he begin to think that it is better for him being chased by bowling balls

of death rather than facing a giant snake.

Thus, it can be seen that the point of the poem in chapter 17 is that Apollo

wants to be chased by bowling balls of death just like his enemies rather than facing

a snake. Then, the main idea of the poem is paraphrased into Indonesian so that it

can be written in the most natural form of the target language but still gave the same

feelings with the source language.


No Line Code

Meaning in

Indonesian Code

1 Uber’s got nothing E34.L1 Aku tidak butuh Uber I34.L1

2

Lyft is weak. And

taxis? Nah. E34.L2

Taksi? Buat apa?

I34.L2

3 My ride is da mom E34.L3 Aku menumpang Mama saja I34.L3

The fifth example has similarities to the third example in that this poem

contains slang. The difference is that in this example, the slang is deleted and there


44

are two brands of transportation mentioned “Uber” and “Lyft”. In order to make the

readers understand the meaning of the source language, the translator adjusts the

brands with Indonesian ones. In Indonesia, there is also a brand named “Uber”.

Hence, the translator keeps the word “Uber”. However, there is no Lyft in

Indonesia. Lyft is a taxi, so the translator deletes the brand because the next

transportation mentioned is also a taxi.

The literal meaning of the first line is Uber nggak ada apa-apanya, while the

second line is Lyft itu lemah. Dan taksi? Hah, and the third line is Kendaraanku

adalah Mama itu. The sentence Uber nggak ada apa-apanya is equivalent with Aku

tidak butuh Uber because of the word saja in the third line. The word saja makes

an impression that menumpang Mama is better than using Uber.

The point of the second line is the same, which is Lyft and taxi do not match

to “da mom”. In order to make the impression that Lyft and taxi do not match to

“da mom”, in I34.L2 there are words Buat apa? The words Buat apa? in Indonesian

sound like a mockery. It leaves an impression that Lyft and taxi are not good.

Meanwhile, the third line is not translated literally because it sounds

ambiguous. Hence, the words are paraphrased. In the paraphrasing, the slang “da”

or “the” is deleted because there is no equivalent word of “da” in Indonesian slang.

However, the words tidak butuh, buat apa?, and saja are left to give an impression

that Mama is cool. Therefore, it is acceptable to remove the slang because in this

case the slang is used to make Mama look cool.


45



1 Want to hit Leo? E39.L1 Ingin memukul Leo, katamu? I39.L1

2 That is understandable E39.L2 Bisa dimaklumi I39.L2

3 Hunk Muffin earned it E39.L3 Kakanda Imut patut ditinju I39.L3

The sixth example has a slang which is modified into someone’s nickname.

The nickname is “Hunk Muffin”. Literally, hunk means bongkahan. In slang

dictionary hunk (hunk of a man) means a well-built, sexually attractive man. Muffin

refers to a kind of small cake. In Indonesian, muffin is still named muffin, but it

will be added kue as modifier, so it becomes kue muffin. Some also removes one of

the “f”, so it becomes kue mufin. Hence, when it is translated literally, the third line

becomes bongkahan kue muffin, or when it is translated using the slang definition

it becomes laki-laki seksi yang seperti kue muffin. It can be seen that “Hunk Muffin”

does not has an equivalent words in Indonesia. Therefore, the translator should

make a new nickname which can represent “Hunk Muffin”. In order to do that, the

translator should think of the person who obtain this title, Leo. Leo is a small but

attractive boy.

The word kakanda is used to call a brother in a kingdom or a lover sweetly.

It means that the one who is called kakanda is charming like a prince or a boyfriend.

Meanwhile, the word imut is the same with “cute” in “Peter is cute, isn’t he?”

Hence, Kakanda Imut could represent Leo and give the same vibes with “Hunk

Muffin”, which is a small but attractive boy. The next phrase “earned” is quite

literal. It only specifies the “it”. It in E39.L3 refers to the word “hit” in E39.L1. The


46

second line and the first line are also literal. However, in I39.L1, there is a word

katamu. The addition of this word does not change the meaning at all. It is only

used to make the translation more natural.

After discussing six examples of acceptable poetry translations, now the

researcher would also like to discuss two acceptable poetry translations that only

met two of the criteria of acceptable poetry translation.



1 Armed to the eyeballs: E22.L1 Berbekal senjata lengkap I22.L1

2 A combat ukulele E22.L2

Syal Brazil ajaib dan

ukulele tempur I22.L2

3 Magic Brazil scarf E22.L3 Kami maju pantang mundur I22.L3

The poetry translation in chapter 22 meets only the first and third criteria of

acceptable poetry translation, which are “use the natural form of the target language

and maintain the dynamic of source language.” It means this translation does not

deliver the same meaning, which is the second criterion of an acceptable poetry

translation.

As is shown in the table, all of the English lines are translated into Indonesian.

“Armed to the eyeballs:” is a metaphor which exactly means berbekal senjata

lengkap in Indonesian. “A combat ukulele” and “Magic Brazil scarf” are also

literally translated. However, if it is back-translated, I22.L3 does not exist in E22.

Kami maju pantang mundur means that they do not give up. The poem in chapter

22 does not say that they do not give up. By adding I22.L3, the translator makes the

readers believe that they do not give up though they might give up. Hence, it


47

changes the meaning because in the English version it is not stated that they are not

giving up.

Related to the fourth principle, delivering invisible message, this poetry is fail

to deliver invisible message because there is no clear evidence that Apollo gives up.

However, this poem is still considered acceptable because the first line and the

second line of the Indonesian version are able to fulfill all of the criteria of an

acceptable poetry translation. The problem is only on 122.L3. Moreover, the

problem is not too crucial because if the readers read the chapter they may have an

assumption that they do not give up since Apollo and Meg are still moving forward

though they are soaked in the rain.



1 Buck-naked statue E35.L1

Kolosus Neurosis

telanjang bulat I35.L1

2 A Neurotic Colosseus E35.L2

Hei, patung tidak tahu

malu I35.L2

3 Where art thy undies? E35.L3 Kenakanlah kolormu! I35.L3

The eighth example is similar with the previous example. The difference is in

this example, the line in the target language which does not exist in the source

language is the second line. It is not stated in the English version that the statue has

no shame. However, just like the previous data, all of the lines in the source

language have been translated into the target language correctly. E35.L1 and

E35.L2 have been literally translated into I35.L1. The translation of E35.L3 gives

the same meaning though it is not 100% literal because the translator looks for

sentence which is more natural in the target language. Similar to the case in I22.L3,


48

I35.L2 does not change the important point though it does not deliver the same

meaning with the English poem. The translator may give the impression to the

reader that the statue has no shame because in the novel Apollo is disgusted by the

naked statue which is confidently crushing the Camp Half-Blood. Thus, this poetry

translation is still considered as acceptable because all of the lines in the source

language are translated properly and the addition in the target language does not

necessarily change the meaning of the source language.

From those eight examples, it can be concluded that 36 poetry translations in

the The Trials of Apollo: The Hidden Oracle are acceptable though the poetry may

have metaphors, slang, swear words, and title. The example shows that in order to

make the poetry acceptable or make sense, the poetry should be analyzed as a unity,

the main point of the poetry should be found, and the meaning of the poetry with

the story inside the chapter should be related. It can also be concluded that the

translator uses interpretation strategies in translating the poetry.

2. Unacceptable Poetry Translation

There are three of the poetry translations which are categorized as

unacceptable. These poetry translations are unacceptable because the meaning and

dynamic of the source language, which are included as the second and third criteria

of acceptable poetry translation, are changed.

Table 4.19 Unacceptable Poetry Translation in Chapter 3


1 Used to be goddy E3.L1 Dahulu dewa I3.L1


49

2 Now uptown feeling shoddy E3.L2 Sekarang merana I3.L2

3 Bah, haiku don’t rhyme E3.L3 Ah, payah I3.L3

The first example of unacceptable poetry translation is found in Chapter 3.

When the first line is translated literally, it is actually already good. It uses the

natural language of the target language, delivers the same meaning from the source

language, and maintains the dynamic of the source language. However, the second

line does not maintain the dynamic of the source language. It does not maintain the

dynamic because the diction in I3.L2 is just the core of the E3.L2. It does not deliver

the sadness Apollo feels. When E3.L2 is literally translated, it becomes Sekarang

di tengah kota merasa sedih. It is definitely not natural, so the translator decides to

take the substance of the line which is Apollo is very sad. Merana is equivalent to

“very sad”. It means that it delivers the meaning of the content from the source

language. The translator could simply say merana instead of sekarang di tengah

kota merasa sedih. However, if he or she just uses the word merana, it makes the

source language lose its feeling. Therefore, the translator should have made a new

sentence which is poetic enough to deliver the sorrow Apollo feels.

The third line also does not deliver the same meaning and does not maintain

the dynamic of the source language. Of course “Bah, haiku don’t rhyme” could not

be translated literally because it will become unnatural in the target language.

Therefore, the translator decides to take the core of line and change the diction.

However, the translator may get the meaning wrong. Poetry which is not rhymed is

bad. In Indonesian, “bad” is payah. Hence, it is translated into Ah, payah. However,

haiku is not necessarily rhymed. In fact, most haiku are not rhymed. Ah, payah is


50

more natural and be easier to understand than Ah, tak berima, which fulfills the first

criterion of acceptable translation by Larson and correspond with the second

criterion of acceptable translation by Nida. However, the meaning is distorted.

Though Nida (1974) states that a good translation should be easily understood, but

it is useless if the meaning mislead the reader (p. 173). Moreover, this poetry

translation only uses the correct punctuation principle. Hence, this translation is

unacceptable because it only preserves the natural form of the target language and

ignores the other aspects and principles.



1 Tag with plague spirits E7.L1

Kejar-kejaran dengan roh

wabah penyakit I7.L1

2

You’re it, and you’re

infectious E7.L2

Jangan sampai tertangkap

I7.L2

3 Have fun with that, LOL E7.L3 Kalau tidak mau sakit I7.L3

In this second example of unacceptable poetry translation, E7.L1 and E7.L2

have been translated into I7.L1, I7.L2, and I7.L3. It is translated literally and

naturally into the target language because it does not contain any metaphor. The

problem is the last line is missing or not translated. It is different from the seventh

example. The seventh example also has a line which does not exist in the other

language, but the missing one is the line in target language. However, in this

translation the missing one is the line in the source language or deletion. Addition

is better than deletion if the addition does not change the core of the source language

such as in the poetry chapter 22. On the other hand, deletion is not acceptable

because it eliminates the meaning and may influence the dynamic of the source


51

language. In this example, “Have fun with that, LOL” is a sarcasm for the Apollo’s

condition. In that condition, Apollo is desperate but he does not look miserable.

Instead, he is still able to make fun of them. It changes the meaning and the dynamic

of the source language when the line is deleted because it makes Apollo seem

miserable. In addition, this poetry translation only uses the first principle; correct

punctuation. Hence, this poetry translation is unacceptable because it only fulfills

one criterion and uses only the correct punctuation principle.



1 You’ve got to be kid- E14.L1 Kamu anak siapa? I14.L1

2

Well, crud, what just

happened there? E14.L2

Apa, bercanda, ya?!

I14.L2

3 I ran out of syl- E14.L3 Wah, gawat ini I14.L3

In the third example of unacceptable poetry translation, only E14.L1 which is

translated properly in I14.L2. E14.L2 and E14.L3 are nowhere to be found. As a

consequence, I14.L1 and 14.L3 also do not exist in the source language when it is

back-translated. When E14.L2 is translated literally, it becomes Hei, sialan, apa

yang baru saja terjadi? or, if it is changed into a more natural form, it becomes

Apa? Sial. Apa yang terjadi sih? However, as mentioned before, there is no

sentence similar to that in the Indonesian version.

The last line has a similar case. When E14.L3 is translated literally, it

becomes Aku kehabisan ka-. There is no similar sentence existing in the Indonesian

version. This is the thing that should not be done by the translator. The translator

should have translated it literally if there is no metaphor. Moreover, these lines can


52

easily look natural when it is translated literally. As mentioned above, the translator

takes the core and remakes the lines. It is in line with what Newmark (1988)

suggested about translating a poem by taking the core and then making a new poem

(p. 70). However, it does not need to be done if it changes the meaning rather than

translating it word-for-word. It is different from the poetry in Chapter 17. In chapter

17, the translator also only takes the core but it is necessary to be done because it

contains metaphors which do not have equivalence in Indonesian. Moreover, this

poetry translation does not use any principle. Hence, this poetry translations is also

unacceptable because it completely changes the meaning and the dynamic of the

source language and does not use any poetry translation principle.

From these three examples, it can be concluded that these three poetry

translations are unacceptable because the translator wants to use the most natural

form of the target language. The method that the translator used is still the same,

which is interpretation. The problem is that the interpretation sometimes incorrect,

the diction chosen sometimes not poetic, and the translator sometimes changes

something that does not need to be changed.

From the discussion above, it can also be concluded that even all of the poetry

translations in The Trials of Apollo: The Hidden Oracle do not follow the syllable

rule, most of them are acceptable. In addition, the poetry translation in chapter 22

is not able to convey invisible message but is acceptable. It means that not all of the

poetry translation principles must be followed to get an acceptable poetry

translation. However, poetry translation principles still need to be considered

because poetry translations in chapter 3, 7, and 14 are unacceptable because poetry


53

translation in chapter 3 and 7 only use one poetry translation principle and poetry

translation in chapter 14 does not use any principle.


54

CHAPTER V

CONCLUSIONS, IMPLICATIONS AND SUGGESTIONS

This chapter is the last part of this study. It consists of the conclusions,

implications and suggestions. In the conclusion, the researcher concludes the results

from this study. In the second part, the researcher exposes the contribution of this

study for translators and ELESP translation lecturers. In the last part, the researcher

gives suggestions to future researchers who are interested in this kind of study.

A. Conclusions

The first finding is related to the answer to the research question number one

that is the poetry translation principle which are used in translating the poetry in

The Trials of Apollo: The Hidden Oracle. The principles are taken from Newmark

(1988) which states that to translate a poem, translators should use appropriate

punctuation to maintain the tone of originality, use precise translation of metaphor

(p. 163), and consider the syllable (p. 168) and Tisgam’s (2014) theory which states

that the translators should be able to convey invisible messages. From the

discussion, most of the poetry translations use appropriate punctuation, precise

translation of metaphors and invisible message delivery principles. Meanwhile, the

conformity of the syllable principle is not used.

The second finding is related to the answer to research question number two

which decides how far the poetry translation in The Trials of Apollo: The Hidden


55

Oracle are categorized as acceptable. The acceptability criteria are based on

Larson’s (1984) theory namely using the natural form of the target language,

delivering the same meaning from the source language into the target language, and

maintaining the dynamic of the original source language text. The findings found

that there are 36 poetry translations (92.3%) which are acceptable and three poetry

translations (0.07%) which are unacceptable.

There are four points that can be concluded from the findings. First, to decide

the acceptability of the poetry, the interpretation method should be used to find the

core of the poetry. Second, the poetry translation is influenced by the content of the

chapter or the context. Third, syllable does not influence the acceptability because

Indonesian tends to have more syllables than English. In other words, preserving

the meaning is more important than following the syllable rule. Fourth, to get an

acceptable poetry translation, translators do not always need to follow the poetry

translation principles but still need to consider the poetry translation principles.

B. Implications

This section contains the implications of this study. This study contributes in

the linguistic field, especially the translation and education field. For the translation

field, this thesis could become a guideline on translating poetry. This section

contains the suggestions for translators, ELESP translation lecturers, and future

researcher.

The first contribution is for translators. There are three guidelines this study

proposes. First, the translators should be more careful in interpreting the meaning


56

of the poetry. Second, the translators must also remember to relate the translation

with the content of the book. Third, it is also important to preserve the meaning

rather than to consider the syllable. Therefore, by knowing what should be

prioritized, it would be easier for the translators to translate the poetry.

The second contribution is for ELESP translation lecturers. Knowing a new

type of translating a literary work, this study can be used as reference for a new

learning material in the class. English lecturers can make an activity related to

translating a literary work especially poetry inside a novel. This activity could

develop students’ understanding in translating poetry.

C. Suggestions

These suggestions are for future researchers, especially those who are

interested in poetry translation. The researcher hopes that this study can be used as

a reference for future studies. Moreover, the researcher suggests that they conduct

more research on poetry translation. Future researchers may do research on the

unacceptable poetry translation of this novel, find new aspects that influence the

poetry translation acceptability for example conformity to the rhyme rule, and

explore more for the reason why conformity to the syllable rule is not used.


57

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Veckrācis, J. (2016). Translations of Joseph Brodsky’s poem “May 24, 1980” into

English and Latvian: Cross-linguistic, cross-cultural and interpretative

components of text analysis. Social and Behavioral Sciences 231, 179-186.

Retrieved from https://ac.els-cdn.com/S1877042816312009/1-s2.0-

S1877042816312009-main.pdf?_tid=2741e0e8-9ab9-4110-beac-

992fa46e8c77&acdnat=1521711298_95b1e92ebf4b3ca5986ff5ac169ff64b

Wojowasito, S., & Poerwadarminta, W. (2007). Kamus lengkap Inggris - Indonesia

Indonesia - Inggris dengan ejaan yang disempurnakan. Bandung: Hasta.


59

APPENDIX A


60

1st Checklist: Translation Principles Checklist

Chapter

Poetry Translation Principle

Use appropriate

punctuation to maintain the tone of original

Use the precise

translation of metaphor

Consider the

syllable

Convey

invisible

message

1 √ √ - √

2 √ √ - √

3 √ - - -

4 √ √ - √

5 √ √ - √

6 √ √ - √

7 √ - - -

8 √ √ - √

9 √ √ - √

10 √ √ - √

11 √ √ - √

12 √ √ - √

13 √ √ - √

14 - - - -

15 √ √ - √

16 √ √ - √

17 √ √ - √

18 √ √ - √

19 √ √ - √

20 √ √ - √

21 √ √ - √

22 √ √ - -

23 √ √ - √

24 √ √ - √

25 √ √ - √


61

26 √ √ - √

27 √ √ - √

28 √ √ - √

29 √ √ - √

30 √ √ - √

31 √ √ - √

32 √ √ - √

33 √ √ - √

34 √ √ - √

35 √ √ - √

36 √ √ - √

37 √ √ - √

38 √ √ - √

39 √ √ - √


62

APPENDIX B


63

2nd Checklist: Poetry Acceptability Checklist

Chapter

Larson’s acceptability theory

Uses the natural form of the target language

Delivers the same meaning from the source language

into the target language

Maintain the dynamic of the original source

language text

1 √ √ √

2 √ √ √

3 √ - -

4 √ √ √

5 √ √ √

6 √ √ √

7 √ - -

8 √ √ √

9 √ √ √

10 √ √ √

11 √ √ √

12 √ √ √

13 √ √ √

14 √ - -

15 √ √ √

16 √ √ √

17 √ √ √

18 √ √ √

19 √ √ √

20 √ √ √

21 √ √ √

22 √ - √

23 √ √ √

24 √ √ √

25 √ √ √


64

26 √ √ √

27 √ √ √

28 √ √ √

29 √ √ √

30 √ √ √

31 √ √ √

32 √ √ √

33 √ √ √

34 √ √ √

35 √ - √

36 √ √ √

37 √ √ √

38 √ √ √

39 √ √ √


65

APPENDIX C


66

List of the Line in the Poetry

No Line in English Code Line in Indonesia Code

1 Hoodlumps punch my face E1.L1 Mukaku kena hajar I1.L1

2

I would smite them if I

could E1.L2 Si preman pantas binasa I1.L2

3 Mortality blows E1.L3 Nahasnya aku fana I1.L3

4 A girl from nowhere E2.L1

Anak perempuan entah dari

mana I2.L1

5

Completes my

embarrassment E2.L2 Menggenapkan aibku I2.L2

6 Stupid bananas E2.L3 Dasar pisang celaka I2.L3

7 Used to be goddy E3.L1 Dahulu dewa I3.L1

8

Now uptown feeling

shoddy E3.L2 Sekarang merana I3.L2

9 Bah, haiku don't rhyme E3.L3 Ah, payah I3.L3

10 Casa de Jason E4.L1 Di Istana Jackson I4.L1

11


guests E4.L2

Tiada takhta emas untuk

tamu I4.L2


13 Seven-layer dip E5.L1 Cocolan tujuh lapis I5.L1

14

Chocolate-chip cookies in

blue E5.L2

Kue kering cokelat warna

biru I5.L2

15 I love this woman E5.L3

Bu Jackson, aku cinta

padamu I5.L3

16 Aquaman driving E6.L1 Aquaman berkendara I6.L1

17 Couldn't possibly be worse E6.L2 Tenang, tidak apa-apa I6.L2

18 Oh, wait, now it is E6.L3 Eh, malah tabrakan I6.L3

19 Tag with plague spirits E7.L1

Kejar-kejaran dengan roh

wabah penyakit I7.L1

20

You're it, and you're

infectious E7.L2 Jangan sampai tertangkap I7.L2

21 Have fun with that, LOL E7.L3 Kalau tidak mau sakit I7.L3

22 Peaches in combat E8.L1 Persik ikut bertarung I8.L1

23 I am hanging it up now E8.L2

Sedangkan aku tidak

berkutik I8.L2

24 My brain exploded E8.L3

Kepalaku pusing tujuh

keliling I8.L3

25 A walk through the woods E9.L1 Jalan-jalan di hutan I9.L1

26 Voice driving me bonkers E9.L2

Suara-suara membuatku

edan I9.L2

27 I hate spaghetti E9.L3

Spageti? Tidak bisa, terima

kasih I9.L3


67

28 My bus is in flames E10.L1 Busku terbakar I10.L1

29 My son is older than me E10.L2

Putraku lebih tua daripada

aku I10.L2

30 Please, Zeus, make it stop E10.L3 Ya Zeus, tolong sudahilah I10.L3

31 Check your spam folder E11.L1

Periksa map surat

sampahmu I11.L1

32

The prophecies might be

there E11.L2

Siapa tahu ramalan terkirim

ke situ I11.L2

33

No? Well, I'm stumped.

Bye E11.L3

Tidak ada? Wah, masuk ke

mana, ya? Dah! I11.L3

34 Ode to a hot dog E12.L1 Ode untuk hot dog I12.L1

35

With bug juice and tater

chips E12.L2

Disajikan dengan keripik

kentang I12.L2

36 I got nothing, man E12.L3

Aku minta sari serangga

saja I12.L3

37 Three-legged death race E13.L1 Balapan maut tiga-kaki I13.L1

38 Five terrible syllables E13.L2 Mendengarnya aku bergidik I13.L2

39 Oh, gods. Please not Meg E13.L3

Demi dewa-dewi. Jangan

Meg, dong! I13.L3

40 You've got to be kid- E14.L1 Kamu anak siapa? I14.L1

41

Well, crud, what just

happened there? E14.L2 Apa, bercanda, ya?! I14.L2

42 I ran out of syl- E14.L3 Wah, gawat ini I14.L3

43 Practice makes perfect E15.L1 Alah bisa karena biasa I15.L1

44 Ha, ha, ha, I don't think so E15.L2 Ha, ha, ha, yang benar saja I15.L2

45 Ignore my sobbing E15.L3 Abaikan isak tangisku I15.L3

46 Tied to McCaffrey E16.L1 Diikat ke McCaffrey I16.L1

47 We might end up in Lima E16.L2

Bisa-bisa kami terdampar di

Lima I16.L2

48 Harley is evil E16.L3 Jahatnya Harley I16.L3

49 Bowling balls of death E17.L1

Aku tak mau bertemu ular

raksasa I17.L1

50

Rolling towards my

enemies E17.L2

Lebih baik dikejar bola

boling maut I17.L2

51 I'll trade you problems E17.L3 Seperti musuh-musuhku saja I17.L3

52 The Beast is calling E18.L1 Si Buas datang menyapa I18.L1

53

Tell him I'm not here.

Let's hide E18.L2 Katakan aku tak ada I18.L2

54 Where? In garbage. Natch E18.L3

Aku hendak sembunyi di

tong sampah I18.L3

55 They have gone missing? E19.L1 Mereka hilang? I19.L1

56 No, no, no, no, no, no, no E19.L2 Tidaaaaaak I19.L2

57 No, et cetera E19.L3 Tidaaaaaak, dst I19.L3


68

58 Don't paint over gods E20.L1

Jangan timpa lukisan dewa-

dewi dengan cat I20.L1

59 If you're redecorating E20.L2

Kalau kau mendekorasi

ruangan I20.L2

60 That's, like, common sense E20.L3 Soalnya tidak sopan, kan? I20.L3

61 Up in my business E21.L1 Orang Romawi sangar I21.L1

62 Always burning Oracles E21.L2 Doyan membakar Oracle I21.L2

63 Romans gonna hate E21.L3 Membuatku jadi mangkel I21.L3

64 Armed to the eyeballs: E22.L1 Berbekal senjata lengkap I22.L1

65 A combat ukulele E22.L2

Syal Brazil ajaib dan ukulele

tempur I22.L2

66 Magic Brazil scarf E22.L3 Kami maju pantang mundur I22.L3

67 Scale of one to ten E23.L1

Dari skala satu sampai

sepuluh I23.L1

68

How would you rate your

demise? E23.L2

Sukakah kau disiram air

mendidih? I23.L2

69 Thanks for your input E23.L3

Atas masukanmu, kami

ucapkan terima kasih I23.L3

70 Breaking my promise E24.L1 Percuma sudah I24.L1

71 Spectacularly failing E24.L2 Aku mengingkari sumpah I24.L2

72 I blame Neil Diamond E24.L3

Biar kusalahkan Neil

Diamond I24.L3

73 I'm on a roll now E25.L1

Kemalangan menimpaku

bertubi-tubi I25.L1

74

Boiling, burning, throwing

up E25.L2

Mendidih, terbakar, lalu

muntah-muntah I25.L2

75 Lions? Hey, why not? E25.L3 Singa? Boleh, kenapa tidak? I25.L3

76 Imperators here? E26.L1 Ada imperator di sini? I26.L1

77

Gag me with a peace

symbol E26.L2 Gawat ini, Bunda I26.L2

78 Not groovy, Mama E26.L3 Aku tidak mau diajak damai I26.L3

79 I apologize E27.L1 Maafkanlah aku I27.L1

80

For pretty much

everything E27.L2 Atas segalanya I27.L2

81 Wow, I'm a good guy E27.L3 Aku ternyata baik, ya I27.L3

82 Parenting advice: E28.L1

Sekadar saran untuk

orangtua I28.L1

83

Mamas, don't let your

larvae E28.L2

Wahai, Mama, jangan

biarkan larva I28.L2

84 Grow up to be ants E28.L3

Tumbuh besar menjadi

semut I28.L3

85 Nightmares of torches E29.L1 Deretan obor nan mencekam I29.L1

86

And a man in purple

clothes E29.L2

Beserta seorang pria

berbaju ungu I29.L2


69

87 But that's not the worst E29.L3

Tapi, bukan itu yang paling

seram I29.L3

88 I school McCaffrey E30.L1 Kunasihati McCaffrey I30.L1

89

Yo, girl, your stepdad is

wack E30.L2

Kataku, Non, ayah angkatmu

edan I30.L2

90 Why won't she listen? E30.L3

Kenapa dia ogah

mendengarkan? I30.L3

91 Listen to the trees E31.L1 Dengarkanlah pepohonan I31.L1

92

The trees know what is up,

yo E31.L2

Pohon-pohon yang banyak

tahu I31.L2

93 They know all the things E31.L3

Pohon-pohon yang

serbatahu I31.L3

94 It takes a Village E32.L1 Supaya tidak hilang akal I32.L1

95

People to protect your

mind E32.L2 Nyanyikan saja "Y.M.C.A" I32.L2

96 Y.M.C.A' Yeah E32.L3 Terima kasih, Village People I32.L3

97 Parting is sorrow E33.L1

Perpisahan itu

mendatangkan duka I33.L1

98 Nothing about it is sweet E33.L3

Sama sekali tidak ada

manis-manisnya I33.L3

99 Don't step on my face E33.L3 Tolong jangan injak wajahku I33.L3

100 Uber's got nothing E34.L1 Aku tidak butuh Uber I34.L1

101

Lyft is weak. And taxis?

Nah E34.L2 Taksi? Buat apa? I34.L2

102 My ride is da mom E34.L3 Aku menumpang Mama saja I34.L3

103 Buck-naked statue E35.L1

Koloseus Neurosis telanjang

bulat I35.L1

104 A Neurotic Colossus E35.L2 Hei, patung tak tahu malu I35.L2

105 Where art thy undies? E35.L3 Kenakanlah kolormu! I35.L3

106 I love me some plague E36.L1 Aku suka wabah I36.L1

107

When it's on the right

arrow E36.L2

Untuk ditembakkan dengan

panah I36.L2

108 Ka-bam! You dead, bro? E36.L3 Jleb! Situ mati, Bro? I36.L3

109 Hey, look! It's Percy E37.L1 Hei, lihat! Itu Percy I37.L1

110

Least he could do was

help out E37.L2

Sepatutnyalah dia

mengulurkan bantuan I37.L2

111 Taught him everything E37.L3

Semua yang dia tahu, aku

yang mengajarkan I37.L3

112 After the sneezing E38.L1 Selepas bencana bersin I38.L1

113

Healing peeps, parsing

limericks E38.L2

Merawat pasien, menebak

teka-teki I38.L2

114 Worst God Award? Me E38.L3

Apollo dewa payah, pantas

ditimpuki I38.L3

115 Want to hit Leo? E39.L1 Ingin memukul Leo, katamu? I39.L1


70

116 That is understandable E39.L2 Bisa dimaklumi I39.L2

117 Hunk Muffin earned it E39.L3 Kakanda Imut patut ditinju I39.L3


71

APPENDIX D


72

Examples of the Poetry


73


74


75


A STUDY OF POETRY TRANSLATION PRINCIPLES AND ...The Trials of Apollo: The Hidden Oracle and how far...

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