ii

CATEGORY SHIFT AND READABILITY

IN TWO VERSIONS OF THE INDONESIAN TRANSLATION

OF POE’S “THE TELL-TALE HEART”

AN UNDERGRADUATE THESIS

Presented as Partial Fulfilment of the Requirements

for the Degree of Sarjana Sastra

in English Letters

By

WENSESLAUS SERIYANO JECKY LAMERE

Student number: 164214001

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

UNIVERSITAS SANATA DHARMA

YOGYAKARTA

2020


r

STATEMENT OF ORIGINALITY

I certify that this undergraduate thesis contains no material which has been

previously submitted for the award of any other degree at any university, and that,

to the best of my knowledge, this undergraduate thesis contains no material

previously written by any other person except where due reference is made in the

text ofthe undergraduate thesis.

Yogyakarta, January 8, 2020

Wenses aus Seriyano Jecky Lamere


LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAHTINTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma

Nama : Wenseslaus Seriyano Jecky Lamere

Nomor Mahasiswa : 164214001

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang berjudul

CATEGORY SHIFT AND READABILITYIN TWO VERSIONS OF THE INDONESIAN TRANSLATION

OF POE'S "THE TELL-TALE HEART"

Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan

kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan,

mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan

data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau

media lain utntuk kepentingan akademis tanpa perlu meminta ijin kepada saya

maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya

sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta

Pada tanggal 8 Januari2020

Yang menyatakan

V1

Wenseslaus Seriyano Jecky Lamere


vii

If the world says there is

no way anymore, easy,

I’ll just make one


viii


ix

ACKNOWLEDGEMENTS

Gratitude I send first to the Almighty God, for by His blessing I can still

stand today, and experience such a wonderful life. Furthermore, I would like to

thank my parents for all support they give in any ways that make me the way I am

now.

I would like to deliver a special thanks to Mr. Harris Hermansyah Setiajid,

S.S.,M.Hum. as my thesis advisor, who is always available when I need academic

favour. Besides, I would also give a round appreciation for Mrs. Adventina

Putranti, S.S.,M.Hum. who at will assists me by giving correction and pieces of

advice for making the best of my thesis.

Ultimately, I thank all my friends who always support and help me in the

last three years I have lived my life in the university.

Wenseslaus Seriyano Jecky Lamere


x

TABLE OF CONTENTS

TITLE PAGE ..................................................................................................... ii

APPROVAL PAGE .......................................................................................... iii

ACCEPTANCE PAGE ..................................................................................... iv

STATEMENT OF ORIGINALITY .................................................................. v

LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH .. vi

MOTTO PAGE ................................................................................................ vii

DEDICATION PAGE ..................................................................................... viii

ACKNOWLEDGEMENTS .............................................................................. ix

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

LIST OF ABBREVIATIONS .......................................................................... xii

LIST OF CHARTS ......................................................................................... xiii

LIST OF TABLES .......................................................................................... xiv

ABSRACT ....................................................................................................... xvi

ABSTRAK ...................................................................................................... xvii

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

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

B. Problem Formulation ................................................................................ 5

C. Objectives of the Study............................................................................. 5

D. Definition of Terms .................................................................................. 6

CHAPTER II: REVIEW OF LITERATURE................................................... 7

A. Review of Related Studies ........................................................................ 7

B. Review of Related Theories .................................................................... 12

1. Theory of Translation Shift ............................................................... 12

2. Theory of Category Shift .................................................................. 12

3. Theory of Readability ....................................................................... 15

4. Theory of Plot................................................................................... 20

C. Theoretical Framework........................................................................... 21

CHAPTER III: METHODOLOGY ................................................................ 23

A. Areas of Research .................................................................................. 23

B. Object of the Study ................................................................................. 23

C. Method of the Study ............................................................................... 24

D. Research Procedure ................................................................................ 25

1. Types of Data ................................................................................... 25


xi

2. Data Collection ................................................................................. 26

3. Population and Sample ..................................................................... 27

4. Data Analysis ................................................................................... 28

CHAPTER IV: ANALYSIS RESULTS AND DISCUSSIONS ...................... 31

A. The Types of Category Shift in Two Versions of the Indonesian

Translation of Poe’s “The Tell-Tale Heart” ............................................ 31

B. The Readability of Indonesian Translation in “Jantung yang Mengaduh”

and “Gema Jantung yang Tersiksa” ........................................................ 87

1. Readability of “Jantung yang Mengaduh” ......................................... 88

2. Readability of “Gema Jantung yang Tersiksa” .................................. 92

CHAPTER V: CONCLUSION ....................................................................... 97

REFERENCES ............................................................................................. 100

APPENDICES ............................................................................................... 102

Appendix 1 : ....................................................................................... 102

Appendix 2 : ....................................................................................... 104

Appendix 3 : ....................................................................................... 106

Appendix 4 : ....................................................................................... 110

Appendix 5 : ....................................................................................... 123

Appendix 6 : ....................................................................................... 138

Appendix 7 : ....................................................................................... 141


xii

LIST OF ABBREVIATIONS

ST : Source Text

TT : Target Text

TTs : Target Texts

TT1 : Target Text 1

TT2 : Target Text 2

No : Number

JYM : Jantung yang Mengaduh

GJYT : Gema Jantung yang Tersiksa

Ex : Exposition

Ra : Rising Action

H : Head

M : Modifier

S : Subject

V : Verb

O : Object

Od : Object Direct

Oi : Object Indirect

PP : Prepositional Phrase


xiii

LIST OF CHARTS

No. Charts Page

1 Chart 1. Comparison of Category shift Occurences in “Jantung

yang Mengaduh” and “Gema Jantung yang Tersiksa”

32

2 Chart 2. Category Shift in “Jantung yang Mengaduh” 33

3 Chart 3. Category Shift in “Gema Jantung yang Tersiksa” 34

4 Chart 4. Readability between JYM and GJYT 87

5 Chart 5. Readability of “Jantung yang Mengaduh” 88

6 Chart 6. The Frequency of Readability Factors in “Jantung yang

Mengaduh”

89

7 Chart 7. The Frequency of Not-Readability Factors in “Jantung

yang Mengaduh”

90

8 Chart 8. Readability of “Gema Jantung yang Tersiksa” 92

9 Chart 9. The Frequency of Readability Factors in “Gema

Jantung yang Tersiksa”

93

10 Chart 10. The Frequency of Not-Readability Factors in “Gema

Jantung yang Tersiksa”

95


xiv

LIST OF TABLES

No. Table Page

1 Table 1. Example of Data Coding 27

2 Table 2. Example of Category Shift Analysis 28

3 Table 3. Example of Readability Data in TT1/JYM 29

4 Table 4. Example of Readability Data in TT2/GJYT 30

5 Table 5. Types of Shift in Datum Number 1 35





































xv












































xvi

ABSTRACT

LAMERE, WENSESLAUS SERIYANO JECKY (2020). Category Shift and

Readability in Two Versions of the Indonesian Translation of Poe’s “The

Tell-Tale Heart.” Yogyakarta: Department of English Letters, Faculty of

Letters, Universitas Sanata Dharma.

Translation conducted in literary works is believed to be challenging for

translators due to the nuances, figurative languages, structures, and even the

writing style of the author. Related to that, translation shifts are still required in

the process of translation. Moreover, the translation to be readable is inevitably

case to happen. In accordance with the phenomenon, this study employed the

two versions of the Indonesian translation of Poe’s “The Tell-Tale Heart” named

“Jantung yang Mengaduh”, and “Gema Jantung yang Tersiksa” as the object of

analysis.

This study focuses on solving two problems. The first is to identify the category

shift in the two TTs, whereas the second is to examine the readability level of

translation works.

Qualitative-quantitative research is the applied method of the study. This is

argued to be qualitative since this study applies the library and explicatory

method driven from particular theories intended to reinforce the analysis.

Differently, this study is also classified as quantitative research method since in

collecting data, there distributed the questionnaire to chosen respondents.

The results reveal that there occuring all types of category shift in both TTs.

Structure shift becomes the most frequent shift occurring in “Jantung yang

Mengaduh” presented over 42%, while unit shift becomes the most frequent

shift occuring in “Gema Jantung yang Tersiksa” with percentage over 38% of

occurence. On the other hand, “Jantung yang Mengaduh” exhibits the higher

level of readability rather than “Gema Jantung yang tersiksa.” The percentage of

“Jantung yang Mengaduh is 55% over 45% belongs to “Gema Jantung yang

Tersiksa.”

Keywords: category shift, readability


xvii

ABSTRAK

LAMERE, WENSESLAUS SERIYANO JECKY (2020). Category Shift and

Readability in Two Versions of the Indonesian Translation of Poe’s “The

Tell-Tale Heart.” Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra,

Universitas Sanata Dharma.

Penerjemahan karya literatur dipercaya menantang bagi penerjemah karena

berkaitan dengan nuansa, khiasan, struktur, dan bahkan gaya penulisan

pengarang. Sehubungan dengan itu, pergeseran terjemahan sudah pasti muncul

di dalam proses terjamahan itu sendiri. Selain itu, tantangan lain yang akan

dihadapi adalah apakah terjemahan tersebut bisa dipahami oleh pembaca

merupakan hal yang tidak bisa dipungkiri. Sehubungan dengan fenomena terkait,

penelitian ini menggunakan “Jantung yang Mengaduh” dan “Gema Jantung yang

Tersiksa” sebagai data penelitian. Kedua teks tersebut adalah versi terjemahan

Bahasa Indonesia dari “The Tell-Tale Heart” karya Poe.

Terdapat 2 fokus permasalahan dalam penelitian ini. Yang pertama ditujukan

untuk menemukan pergeseran kategori, dan yang kedua untuk menguji tingkat

keterbacaan pada 2 versi terjemahan terkait.

Penelitian ini merupakan penelitian kualitatif-kuantitatif. Disebut sebagai

metode kualitatif karena menggunakan metode pustaka dan eksplikatori yang

mana dimaksudkan menjadi penopang analisis yang diperoleh dari teori-teori

tertentu. Di sisi lain, penelitian ini juga termasuk dalam penelitian kuantitatif

karena menggunakan metode perolehan angka lewat persebaran kuesioner bagi

responden tertentu dalam mengumpulkan data.

Hasil akhir menunjukan bahwa semua tipe pergeseran kategori terdapat di kedua

target teks dan pergeseran struktur menjadi yang paling dominan pada “Jantung

yang Mengaduh” dengan persentase 42%, sedangkan pada “Gema Jantung yang

Tersiksa”, pergeseran unit adalah yang paling dominan dengan persentase 38%.

Di lain pihak, “Jantung yang Mengaduh” menunjukkan tingkat keterbacaan lebih

tinggi dibanding “Gema Jantung yang Tersiksa” dengan persentase 55% untuk

“Jantung yang Mengaduh” dan 45% untuk “Gema Jantung yang Tersiksa.”

Keywods: category shift, readability


1

CHAPTER I

INTRODUCTION

A. Background of the Study

At present days, conducting a research in the area of translation is still one

of so much enticing areas to reach. It happens so because eventhough it is a

common thing to notice that one text can be translated into many languages, in

fact, that one text can also have versions in mere one language. uniquely, despite

sharing the same ST, there are to be found the discrepancies among versions in

one language making each of which unique in each own way. This phenomenon

happens due to the fact that translators have their particular purposes in translating

the text (Nababan, 1999, p. 29).

Translation is not only a matter of translating words or texts from one

language into another language, but more than that it is also a changing of content

in one language by the same equal content in another language (Catford, 1965, p.

20). Thereby, it is important to keep in mind that working on translation means

paying a deeper attention on how to make a source text (ST) and its target text

(TT) share the same meaning.

The term translation itself refers to the transfer of written massages, in this

case is texts (Nababan, 1999, p. 18). There are so many texts that we can find and

access easily in order to conduct a translation. Those types of texts can be

documents, books, and many other more. Each of which must have its own


2

characteristics that are distinctive to the other, let alone when it comes to

translating a literary work. Alike any other texts, translation conducted on literary

works definitely has its own complexity that is worth considering, thus in fact,

whenever comparing to the other subject on translation, translating literary work

revealed as more complicated and problematic. When it comes to render literary

works, huge problems that translators will encounter are its fundamental aspects

such as the nuances, culture-related terms, figurative languages, and many other

literary devices. Therefore, it is interesting, and altogether challenging to do

research on literary work translation.

In this study, the researcher chooses to scrutinize a literary work

particularly a short story entitled “The Tell-Tale Heart.” This piece written by

Edgar Allan Poe, first published in 1843 which ever since has become one of his

masterworks (House, 1944, pp. 503-509). Since Poe’s writing style is melancholy

and sometimes full of suspense, the researcher argues that this work is worth

analyzing.

Specifically, this study observes the two versions of the Indonesian

translation of Poe’s The Tell-Tale Heart; the first version translated by Shinta

Dewi into “Jantung yang Mengaduh”. This version first published by Noura

Books in 2016. Whereas the second version translated by Maggie Tiojakin into

“Gema Jantung yang Tersiksa” and was first published by PT Gramedia Pustaka

Utama in 2010. Both versions are published along the other short stories belongs

to Edgar Allan Poe, whereby all are combined into a book. The book published by

Noura books entitled “Kisah-Kisah Tengah Malam”, while the other version takes


3

title “Kucing Hitam.” As can be seen, both TTs are translated in a different year;

GJYT in 2010, as JYM in 2016. This phenomenon of retranslation appears due to

the notion that the retranslation is “expected to be more source-text oriented than

the first translation of the same work” (Dastjerdi & Mohammadi, 2013, p. 181),

meaning to say that the ST is retranslated (resulting in TT1, JYM) in order to

“emphasize the ‘otherness’ of the ST which was lost in the first translation”, in

this case is TT2, GJYT (p. 181).

Furthermore, In accordance with the problem of analyzing the texts, the

study will unravel each text thoroughly in terms of the occurrence of translation

shifts, particularly category shift. Furthermore, in order to obtain the level of

readability of the TTs, this study then measures each TT based on the

consideration given to determine how readable a text is.

Analyzing category shift is important because it is very common aspect to

face when it comes to translate texts. Category shift itself is one of two major

parts of translation shift that speaks about the changing of words or sentences’

form in particular category (Catford, 1965, p. 73). In translation process, the

appearance of form changes makes a translation stands differently or uniquely.

Those changes could dwell in words or phrases category, and sometimes it could

be in a bigger category such as in clauses, or sentences (Catford, 1965, p. 76).

Therefore, this requires translators to be meticulous when translating texts let

alone translating a literary work.

The occurrence of category shift in this study can be seen in the following

example:


4

ST TT1 TT2 Shift

TT1 TT2

I heard all things

in

the heaven and in

the earth.

Aku mendengar

segala hal yang

terjadi di surga

dan di bumi.

Aku bisa mendengar semua

yang telah terjadi

di bumi, bahkan

di surga.

Intra-system shift Unit shift

The example shows that the applied shift in both TTs is different. The TT1

possesses the intra-system shift shown in the things which is plural. Yet it gains a

changing into hal which is singular. Conversely, TT2 applies a unit shift. It

happens because the phrase all things undergoes a downrank into a word, from all

things into semua. Apparently, the translator of the TT2 wants to put more

emphasis in the word all rather that things itself.

The other phenomenon to discuss in this study is readability. It is a term

refers to how easy a text to understand (Sakri, 1993, p. 135). Discussing this

phenomenon is important because only by complying the condition of readability

should the reader understand the meaning intended in the text. Clearly, this

pehoenmonon deals with the notion that the higher a text’s level of readability, the

easier to follow, and the lower the text’s level of readability the harder to follow

(Wuriyantoro, 2018, p. 76). Subsequently, there will be shown the results in the

comparison and contrast between ST and TTs and TT1 and TT2.

The readability of TT can be found in the following questionnaire:


5

The example of questionnaire of “Jantung yang Mengaduh” (TT1) shows

that the respondent puts the sentence into readable by choosing the column

“kalimat lengkap”, a term which in English equals to ‘complete sentence’. By

pointing at this factor, the researcher infers that the respondent understand this

sentence as it contain a complete sentence’s components in it, such as, the subject,

verb, and object (Nababan, 1999, p. 70).

The theoretical benefit of this study is to enrich the translation repertoire in

the field of translation shift in particular category shift in the area of translating

literary works, especially short stories.

B. Problem Formulation

The research questions can be formulated as follows:

1. What types of category shift are observed in two versions of Indonesian

translation of Poe’s “The Tell-Tale Heart”?

2. How is the readability level in the two Indonesian versions of Indonesian

translation Poe’s “The Tell-Tale Heart?”

C. Objectives of the Study

This thesis aims at, firstly, analyzing the types of category shift in both

target texts, secondly, identifying the level of readability that both target texts

could possibly offer.


6

D. Definition of Terms

Here is the definition of some significant terms that are beneficial to

understand the topic clearly:

Shift can be simply defined as the changing of forms from SL into TL.

Catford clearly states this phenomenon as “departures from formal

correspondence in the process of going from the SL to the TL (Catford, 1965, p.

73).

Readability denotes a level of how simple a text is in terms of reading and

comprehending (Sakri, 1993, p. 135). Compared to Richard who states similarly

that a written text is readable when it comes to read and easy to grasp (Richards,

Platt, & Weber, 1985, p. 238).


7

CHAPTER II

REVIEW OF LITERATURE

This chapter particularly discusses related studies, related theories and the

theoretical framework. Systematically, here is the sequence; firstly, there will be

an exposition about the review of studies related to this topic, secondly an

elaboration about the theories applied in this study. Lastly, the theoretical

framework is given to explain the scope and the beneficial of applied theories.

A. Review of Related Studies

1. Category Shifts in the English Translation of Harry Potter and the

Philosopher’s Stone Movie Subtitle into Indonesia (An Applied Linguistics

Study)

This article speaks about the occurrence of the category shifts in subtitle of

Harry Potter and the Philosopher’s Stone movie. In the conclusion, Herman

infers that there occurs all types of category shift and the most frequent occurred

shift is unit shift (2014, p. 37).

Both the journal and this undergraduate thesis are the same in terms of

discussing the category shift. However, the journal focuses only on the category

shift that occurs in the subtitle while this study focuses in the category shift

occurring in the literary work entitled “The Tell-Tale Heart” by Edgar Allan Poe


8

which further measures the level of readability of both versions of the Indonesian

translation.

2. Structural Shift in Translation of Children’s Literature

This article discusses the role of the structure shift occurring in the

children’s literature from English into Persian and its role on affecting the

meaning (Akbari, 2012). It scrutinizes whether the circumstances on how

translators apply the structure shift resulting on the shift occurred, and lastly,

pointing on the most frequent structure shift occuring. Thus, this paper also

specifies how the structure shift occurring affects the meaning of the translation.

In conclusion, she states that the occurrence of structure shift affects the

translator’s in determining the meaning in the TL which apparently reducing the

distance of nonequivalence between SL and TL. In other word it is said as to

“minimize the inevitable loss of meaning” (Akbari, 2012, p. 592) during the

process of translation.

This article shares a common interest with the study. The similarity they

share is observing the translation shift of literary text from English into native

language. The difference is that the artilcle, first, analyzes deeper about the shift

phenomenon in literary text, while this present study’s focus is broader, which

talks about the category shift. Second, this research makes use of the literary

element only for sampling the data based on the plot development. It does not,

however, discusses the phenomenon of literary element in translation. Therefore,

it can be said that the article focusing deeper to the literary work translation, while


9

this present study works the other way, meaning to say that it focuses only on the

surface of the translation by employing the literary element that the piece has.

3. Literature Translation Shifts in Goenawan Mohamad’s Poem Collection

“On God and Other Unfinished Things” (with Special Reference to Poem 33)

This journal tries to look at the translation shifts occurring in the English

version of Goenawan Mohamad’s poem collection entitled “On God and Other

Unfinished Things” which is translated from Bahasa Indonesia “Tuhan dan Hal-

hal Yang Tak Selesai”, especially poems 33 by comparing the literary elements in

Bahasa Indonesia and English versions (Tirtayasa & Setiajid, 2018, pp. 200-206).

This paper analyzes not only the category shift, but also the semantic aspect,

textual, pragmatic, rhetorical, and stylistic components in the English version. In

conclusion, this paper states that the English translation of the poem has a various

type of shifts occuring; category, structure, class, rank, intra-system, and other

expression shifts, including the change/omission of certain parts point of view

modulation, and specification. Finally, this confirms that the occurring translation

shifts fortifies the bond of ST and TTs in the sense of the literary translation (p.

205).

The article is similar to this present study in sense of discussing the

translation shifts of the literary work. The difference is that the article does not

only focus on the shift itself, but also its relation to the literary aspect which

exhibits the power on producing the meaning in the TT. Nevertheless, besides

observing the category shift, this undergraduate thesis displays the impact of the

category shift in how readable the source texts are.


10

4. The Compound Nouns in the New World Translation of the Holy

Scriptures’ the Book of Proverbs: A Study of Translation Shift and

Readability

This is an undergraduate thesis conducted by Hapsari-Pollakal (Pollakal,

2017). It observes the translation shift in the compound nouns of the holy

scriptures’ the book of proverbs. Furthermore, the researcher examines whether

the translation shift occurring affecting the readability of the TT or not.

Subsequently, in the conclusion, the researcher finds that out of 40

compound nouns analyzed undergoes translation shift in the TT. The result shows

that the most frequent shift appearing is the unit shift (31), followed by intra-

system shift (5), and the rest is class shift (4). The compound nouns undergo the

changing resulting in the transformation into phrases, verbs and an adjective

(Pollakal, 2017, p. 57). This outcome leads the degree of readability of the TT is

highly understood, that the shift unquestionably affects the legibility of the TT (p.

58).

This undergraduate thesis has resemblance to this present study in terms of

applying the same translation technique; by enabling the translation shift and

measuring the readability of the TT. However, what truly distincts both study is

the difference of object of study both researchs involves, whereat the

undergraduate thesis conducted with only one object of study which is the

translation of a holy scripture, whereas this present study is conducted in the

translation in two target texts of a literary work.


11

5. The Effects of Translation Shifts on Readability in Translation of

Children’s literature

This article speaks out the translation shift in affecting the translation of

children’s literature (Ghoreishi & Aminzadeh, 2016, pp. 239-255). The article

first aims at identifying the translation shift occurring in three Persian translations

of Alice’s Adventures in the Wonderland thus examining its impact to the

readability of the TT. The theory applies Catford’s theory on observing the

category shift (p. 243) and subsequently detects its significance in modulating the

readability of the TTs.

Throughout two-stage procedure, the researcher finds out that translation

shift has each TT to be distinctive in terms of readability which particularly

modified by the structural and lexical differences of each translation.

Consequently, the shifts examined in the data, shown to bring out its effectiveness

towards making each TT more readable, thus resulting on the different level of

readability of each TT (Ghoreishi & Aminzadeh, 2016, p. 254).

The article is similar to present study in terms of analyzing the translation

shift and measuring the readability in literary work. However, the article which

focuses on the children literature applying the Gunning formula (fog index

formula) (Ghoreishi & Aminzadeh, 2016, p. 246) in measuring the readability by

scoring, as this present study underlies on the traditional way meaning to say that

it undertakes the questionnaire having the consideration of making a text is

readable, whereby also leaning on theories to obtain the result.


12

B. Review of Related Theories

1. Theory of Translation Shift

The term translation shift is used by Catford to refer to the changing of

words’ form when a translation is conducted. He specifies about shift as the

“departures from formal correspondence in the process of going from the SL to

the TL” (Catford, 1965, p. 73). By formal correspondence, Catford means that

“any TL category (unit, class, structure, element of structure, etc) which can be

said to occupay, as nearly as possible, the same place in the economu of the TL as

the given SL category occupies in the SL (p. 27). Furthermore, he classifies the

translation shift into two major types; level shift and category shift (p. 73). The

level shift occurs when a TT is equivalent to the ST on a linguistic level. This

shift has to do with the level of grammar to lexis and vice versa (p. 73), while

category shift refers to unbounded translation between sentence, clauses, groups,

words and morphemes. It has to do with the changes of unit, structure, class and

of term in system (p. 76).

2. Theory of Category Shift

Category shifts can be defined as a departures from formal correspondence

in translation (Catford, 1965, p. 73). This shift consists of 4 parts: structure shift;

class shift; unit shift; and intra-system shift.

a. Structure Shift

This shift occurs when the structure in a sentece of ST undergoes a change

in TT. This is also the most frequent type to be found in translation occuring in

phonological and graphological and even in total translation. Moreover, this could


13

occur at all ranks in grammar. It is important to note that a sentence undergoes

translation shift only whenever there is a formal orrespondece between SL and TL

(Catford, 1965, p. 77).

English/Structure Bahasa Indonesia/Structure

“Boris Pasternak with his definition of poetry” “Boris Pasternak memberi kita suatu definisi”

The example above shows that there is an absence of predicate ST,

however, the TT reversely shows the presence of a predicate and even completing

the sentence by adding two objects. In other words, there is a structure shift

occuring. The structure of the English sentence above shows a pattern of S-PP, yet

it changes as is translated into the TT, Bahasa Indonesia which has pattern of S-V-

Oi-Od (Tirtayasa & Setiajid, 2018, p. 202).

b. Class Shift

Class shift is a shift that occurs when the words’s class in ST performs a

changing in TT. Catford stated this shift to occur “when the translation equivalent

of an Sl item is a member of a different class from the original item (Catford,

1965, p. 78).”

English Bahasa Indonesia

“Rasa syukur adalah sebuah momen etis” “Being grateful is an ethical moment”

The table shows that the English sentence undergoes a class shift. The

occuring since the word syukur which is a noun, translated into Bahasa Indonesia

as grateful which performs an adjective. Therefore, the shift experiences a

changing from an adjective to a verb (Tirtayasa & Setiajid, 2018, p. 202).


14

c. Unit/Rank Shift

Catford defines unit shift as, “…changes of rank –that is, departures from

formal correspondence in which the translation equivalent of a unit at one rank in

the SL is a unit at a different rank in the TL (1965, p. 79). For example;


“Gravity” “Gaya tarik bumi”

Inherently, the word gravity itself has the equivalent word in Bahasa

Indonesia as gravitasi. However, since in this case it is translated as gaya tarik

bumi, the unit shift happens uprank from word into phrase category (Alzuhdy,

2014, p. 189).

d. Intra-System Shift

This shift means a changing that occurs internally within a corresponding

system within two languages. According to Catford, this shift merely means the

“departure from formal correspondence in which (a term operating in) one system

in the SL has as its translation equivalent (a term operating in).” One of systems

of language that we can find in text is system of number or so-called plural and

singular (Catford, 1965, p. 79). For example;


“Hal-hal yang mempesona, tapi akan segera

hilang” “The value of which the poet knows too well”

In the example above, the phrase hal-hal which is a plural noun undergoes

an intra-system shift in Bahasa Indonesia as displayed in the word value which

possesses a singular form (Tirtayasa & Setiajid, 2018, p. 203).


15

3. Theory of Readability

All texts are meant to be read, but sometimes not all is easy to understand.

Concerning that matter, there comes readability as a facility in settling how

readable a text is. According to Adjat Sakri in Nababan, readability refers to a

degree of naturality of a text to be understood. Similarly, Richards et al states that,

“readability.... how easily writen materials can be read and understood” (Nababan,

1999, p. 62). In determining the readability level of a text, there are some factors

to consider as comes next:

a. Unfamiliar word

The use of words which are unfamiliar, or “new” to reader apparently

affects the readability to the lower level (Nababan, 1999, pp. 64-65).

Unfamiliar word Synonym Meaning in English

“Anggit” “Konsep” “Concept”

The word konsep is in fact a common word to hear for the Indonesian

listener rather than the word anggit. Therefore, whenever a translator employs

anggit in a translation it perhaps would give the reader a hard time to understand

the meaning of the text (Nababan, 1999, p. 65).

b. Borrowing

Borrowing words is also an important factor to concern. This phenomenon

usualy derived from the usage of other languages or traditional languages’ words

(Nababan, 1999, p. 64). Below is provided example of borrowing from other

language, then followed by borrowing from traditional language:


16

1. Borrowing from other language. Alberto Moravia’s English novel The

Conformist contains French words such as consume froid; filets de sole meuniere;

didne au riz, sauce supreme, and salade de saison. Those examples surely to

avoid in order to create a readable text especially when the readers do not

understand French (Nababan, 1999, p. 68).

2. Borrowing from traditional language.

Borrowing from Javanese Standard of Bahasa Indonesia

“Nuwun Sewu” “Minta ijin”

Nuwun sewu is familiar perhaps word for javanese, however whenever a

text containing the word is read by someone who is outside the javanese, then

they might not understand it instead of using word minta ijin which is a standard

word in Bahasa Indonesia (Nababan, 1999, p. 66).

c. Ambiguous sentence

Ambiguous sentence is a sentence that could possibly carry two or more

meanings (Wuriyantoro, 2018, p. 77)

Sentence First possible meaning Second possible meaning

“They are broiling hens” “[They (human)] [are broiling]

[hens]”

“[They (hens)] [are] [broiling

hens]

They are broiling hens obviously contains two meanings. The ambiguity

of the sentence is generated firstly by the word They which offers two meanings.

The first meaning proposes They as human, who are doing something that is

broiling hens. While the second They refers to the hens itselves, which means that

the phrase broiling hens here stands as the compliment of the subject They.


17

Secondly, Broiling in the first meaning stands as a main verb in a continuous

present tense. While in the second meaning it stands as a modifier which follows

the head hens (Nababan, 1999, p. 69).

d. The use of incomplete sentence

Incomplete sentence refers to the sentence which does not possess

complete elements as a sentence is supposed to have like subject, predicate, and or

object. This is one substantial matter that should be considered for through its

presence, readers would find it challenging in understanding the messages

(Nababan, 1999, p. 71).

Sentence example

“komponen sintaksis tata bahasa, dan khsusnya kaidah-kaidah struktur frasa dan kaidah-kaidah

penyelinap bahasa yang kreatif”

The sentence above is considered as incomplete because it is served in a

buch of noun phrases which has no clear subject, thus the absence of verb and

object (Nababan, 1999, p. 71).

e. Long sentence

This factor starts with the concern that the longer sentence the harder it is

to be understood. Since a long sentence must contain many words in it, therefore,

the reader should have an extra effort to understand the sentence yet the meaning

suggested by the relation between words (Nababan, 1999, p. 71; Wuriyantoro,

2018, p. 77). The term long sentence here means that the word unit in the sentence

is longer, but the idea it contains is only one. This sometimes causes the reader

confused to catch the idea.


18

Sentence with more words Sentence with fewer words

“He remembered that, for lack of money,

anyhow for the first few years, the two of them,

Guilla and he, would have to live in this house

after they were married; and he almost blessed

their poverty”

“Modulation is an ideational as much as an

interpersonal system”

The table shows how two sides in reverse. The first uses more words and

the other uses fewer words. In the reference pointed by Adjat Sakri in Nababan,

the sentence that contains more than 21 words is considered to have a higher level

of intricacy than others which has fewer than 21 words. Coincidentally as seen in

the table the first column has 37 words, meaning to say that the sentence is harder

to be understood (Nababan, 1999, pp. 71-72).

f. Complex sentence

Complex sentence is a sentence that conveys more than one idea combined

into a sentence. The multiple ideas in the sentence cause it is harder to be

understood, hence, the level of readability would be regarded lower (Nababan,

1999, p. 73; Wuriyantoro, 2018, p. 78). The example of complex sentence can be

seen in the table below;

Complex sentence Ideas containing

“Young people need to develop the values, attitudes, and the problem-solving skills essential to their paticipation in a political system which was

designed, is still based on, an assumption that all citizens would be so prepared”

a. “Young people need to develop the values” b. “Young people need to develop the

attitudes”

c. “Young people need to develop the problem-solving skills”

d. “The values are essential to their participation in a political system”

e. “The attitudes are essential to their participation in a political system”

f. “The problem-solving skills are essential to their participation in a political system”

g. “A political system was designed on an

assumption” h. “A political system is still based on an

assumption” i. “The assumption is all citizens would be so

prepared”


19

The table in previous page shows that there are some ideas combining in a

single sentence. This sentence which altogether carries some ideas would affect

the readers in attempt to understand it clearly. It is notably that the more ideas

containing in a sentence, the more difficult the readers will understand the

sentence (Nababan, 1999, p. 74).

g. Unsensible sequence of the text

The notion of the unsensible sequence of the text deals with the account

that a sentence is of no free but bound to the preceeding and the following

sentences in a text. It is also perceivable that the grammatical error in the sentence

which comes in the sense of a not-connected sequence would give readers a

harder times to understand the meaning (Nababan, 1999, pp. 75-77). For example:

“If the book consist of page with the own special meaning so many sentence which has special

meaning, each as genetic mssage. In the cromosones has the message and gen network, with the

specific characteristic in the human body based on the reseach estimated more then 100.000 gen (Holmes, 1985)”

The text quoted from Nababan was taken from a reseach report. This text

shows no connection of the first sentence about the book and page to the second

sentence that discusses about cromosones, gen network, and specific

characteristic in the human body (Nababan, 1999, p. 77).

4. Theory of Plot

Every story must have a plot. In literary works plot attained as a structure

of a temporal succession and causality compounding on affecting the event of in a

story. This theory of plot which was initially argued by Aristotle, developed by a


20

German critic Gustav Freytag that is known to his inverted v, a way to depict a

normal plot. According to him, the plot is divided into five parts, exposition,

rising action, climax, resolution, falling action and denouement (Martin, 1986, p.

81).

Since the data are taken from literary work, therefore, this theory is

imployed merely to assist the researcher in terms of limiting the data that are

going to be analyzed from the point of view of plot.

a. Exposition

Exposition as suggested by Gustav Freytag is an opening part to a

narrative story usually carries the introduction of characters, setting and situation.

Similarly, Thomas S. Kane states

It is a part of the plot which gives us the background information about

the characters, telling us what we need to know in order to understand

why they act as they do in what is about to unfold (Kane, 1998, p. 267).

Therefore, this is an important part to make known the surface of the story to the

reader.

b. Rising action

This is the area where conflict is introduced and developed in dealing with

opposition of the other characters or things to the main character’s intention

(Bulman, 2007, p. 190).

d. Climax

Climax is “the point of highest interest, whereat the reader makes the

greatest emotional response which designates the turning point of the action”

(Holman, 1986, p. 92).


21

e. Falling action

Falling action stands as the result of the climax. it begins “often with a

tragic force, exhibits the falling fortunes of the ‘hero’ and the successful efforts of

the counter players, and culminate in the catastrophe (Holman, 1986, p. 198).

f. Denouement

This is the last part of the plot which describes the consolation of the

character, the phase when everything is resolved, and the story reaches its end

(Nurgiyantoro, 2018, p. 210). It is explicitly stated by Holman,

The unraveling of the plot in drama of fiction; the solution of the

mystery’thy explanation or outcome. It implies an ingenious untying of

the knot of an intrigue, involving not only a satisfactory

misunderstandings connected with the plot of complication (Holman,

1986, p. 137).

C. Theoretical Framework

In conducting this study, there are two research problems of category shift

and redability of two versions of Indoesian translation of Poe’s “The Tell-Tale

Heart” that the researcher examines. The first problem focusing on identifying the

types of category shift in two TTs, while the other focusing on examining the

readability of two versions. In attempt to answer the problems, there are applied 5

studies comprise 4 journal articles and 1 undergraduate thesis. These studies are

utilized in order to see the comparison and contranst to this present study.

Apparently, these studies are arguably helpful enough for the reseacher in finding

the utmost way in answering the problems. Moreover, to answer the first problem,

there is one theory to employ in this study which is translation shift theory

suggested by Catford. The purpose of this theory is to put the basic idea about the


22

translation shift itself and to make limit the scope of shift that is being examined.

Based on this theory, the researcher manages to make use only the category shift

as the main theory. In addition, there is also applied the theory of plot suggested

by Freytag which enables the researcher to stipulate the limit of data being taken

only from exposition and rising action.

The second focus of this present study is to identify the level of readability

of the two TTs. In solving this problem, the researcher utilizes Nababan theory of

readability. This theory offers the aspects to concern while examining a text in

terms of readability. In particular, those aspects are factors that affecting a text to

be readable or vice versa. These factors assist the reseacher in establishing the

questionnaire and help the researcher in analysing the TTs in the scope that they

suggest.


23

CHAPTER III

METHODOLOGY

This chapter discusses the applied methodology which aims at giving a

clear exposition about the process related to the data acquirement. Here are

subchapters that are going to be specifically discussed. Firstly, the areas of

research which conveys the expenditure of the study. Secondly, the object of the

study which intends to give a clear description of the analyzed data, thirdly, the

method of the study which shows how the data are obtained. Lastly, the research

procedure of the study which presents the types of data, data collection,

population and sample and the data analysis of the study.

A. Areas of Research

In this study, the researcher chooses to examine and analyze the literary

work, and the focus of this study is actually to observe the monologue in the scope

of analyzing the category shift and readability of the work. Hence, this research is

classified into the area of genre translation (Williams & Chesterman, 2002, p.

10).

B. Object of the Study

The object of this study are sentences taken from exposition and rising

action in two versions of the Indonesian translation of Poe’s “The Tell-Tale

Heart” which are respectively translated into, “Jantung yang mengaduh” by Shinta


24

Dewi, and “Gema Jantung yang Tersiksa” by Maggie Tjoakin. These sentences as

the object are analyzed one by one in identifying the category shift and the level

of readability of the TTS.

The sentences are chosen only from introduction until the rising action of

the story because these are important parts that usually determine the tone of a

story.

C. Method of the Study

In conducting this research, the researcher applies both qualitative and

quantitative methods. The qualitative method is applied since the researcher uses

the library and explicatory method. The use of qualitative method can be seen in

thorough description of analysis and findings. According to Newman and Benz,

qualitative research are those generally subsumed under the headings and names

include case studies, field studies, grounded theory, document studies, naturalistic

inquiry, observational studies, interview studies, and descriptive studies (Newman

& Benz, 1998, p. 9).

Therewith, the quantitative method is applied since the researcher

undertakes a survey which is done by distributing questionnaire on collecting

data. Quantitative designs include experimental studies, quasi-experimental

studies, pretest-postest designs, and others. According to Campbell and Stanley

(1963) in Newman and Benz, quantitative research method, falls under the

category of empirical studies or statistical studies (Newman & Benz, 1998, p. 10).


25

In addition to that, the data taken are primary in the sense that all the data

is initially collected, thereupon analyzed and examined by the researcher.

D. Research Procedure

1. Types of Data

In terms of type of data, this study is classified into the type of objective

and affective data that could be elaborated as follows:

The data collected were taken from the original short story of Edgar Allan

Poe entitled “The Tell-Tale Heart” (ST) and two Indonesian translated version of

the piece, “Jantung yang Mengaduh” translated by Shinta Dewi, along with

“Gema Jantung yang Tersiksa” conducted by Maggie Tjoakin. Since the data were

taken from both ST and TTs, consequently, this research was categorized into the

objective data.

In a way, still in the process, this research was also categorized into

affective data. The reason why was due to the fact that the researcher undertook a

survey by distributing questionnaire to the particular respondents in order to

obtain data. Specifically, the questionnaire was taken in order to acquire the data

of readability in two Indonesian translated version of Poe’s “The Tell-Tale Heart”.

In doing so, the researcher distributed questionnaires to 20 students that

are in 7th semester out of Sanata Dharma University, particularly students of

English letters department. There were two types of questionnaire to distributed,

the first was the questionnaire to measure the readability of “Jantung yang

Mengaduh”, while the other was to measure “Gema Jantung yang Tersiksa.” The


26

first questionnaire of “Jantung yang Mengaduh” was given to the first 10 students,

while the second questionnaire was distributed to the other 10 students. The

researcher divided the respondents into two groups, regarding that, first, because

the content was too long, thus it would not be effective in way that there will be

unnecessary exhaustion of respondent in the process of filling it. The second was

because the researcher considered that it would be better for a respondent to fill

only one questionnaire instead of two besides for it is too long, also it would leave

the respondent to fill the questionnaire without affected by the other one. The

reseacher purposively chose the respondent from 7th semester in order to

minimalize the lack of knowledge possessed by respondent regarding the factors

occuring. The students this semester veritably attends the Morphoponology class

and Theories and Practices in Translation which respectively deals with the

meaning in the sentence such as ambiguous; and the use of borrowing in a

sentence.

2. Data Collection

In conducting this research, the researcher employed a sampling method

whereby selecting sentences only from introduction and rising action in the TTs.

In doing so, the researcher applied the traditional plot theory suggested by Gustav

Freytag. The theory classifies plot into five major parts such as exposition, rising

action, and falling action and denouement. After categorizing sentences into each

part, the researcher continued on choosing sentences from exposition and rising


27

action only. Afterwards, the data were analyzed to find the occurrence of category

shift in both Indonesian versions. Data coding can be seen in table below;

Table 1. Example of Data Coding

In which,

1 : Number of the data (the first number of the whole data)

ST : Source Text (The Tell-Tale Heart by Edgar Allan Poe)

Ex : Exposition

TT1 : Target Text 1 (“Jantung yang Mengaduh”)

TT2 : Target Text 2 (“Gema Jantung yang Tersiksa”)

JYM : “Jantung Yang Mengaduh”

GJYT : “Gema Jantung Yang Tersiksa”

In further section, the researcher inputs the collected data of both TTs in a

questionnaire and distributed it in order to obtain the result of readability of each

TT.

3. Population and Sample

The population was the total sentences in “Jantung yang Mengaduh”, and

“Gema Jantung yang Tersiksa.” According to Countwordsworth there are 382

No. Data ST No. Data TT1 No. Data TT2

1/ST/Ex

True, nervous-

very, very

nervous I had been and I am;

1/JYM/Ex

Benar sekali! Gugup

–sedari tadi dan

sampai sekarang aku sungguh amat

gugup.

1/GJYT/Ex

Benar sekali! Gugup –

itu yang kurasakan

dari tadi sampai sekarang, gugup luar

biasa


28

sentences in total to which respectively comprises 190 sentences from TT1, and

192 sentences from TT2 (Rocca, 2019). Since the population data were too large,

consequently, the researcher conducted sampling method data by applying the

theory of plot in order to help researcher limiting the data. This theory considers

the sequence of action that initially starts with exposition, then rising action,

climax, and falling action. In this study, the researcher employed only exposition

and rising action to limit the data. The data were taken from only exposition and

rising action since those parts are the area to set the tone of a story, especially the

climax in the story. As the result, the sample data to analyze were 78 sentences in

“Jantung yang Mengaduh, while 77 sentences in “Gema Jantung yang

Mengaduh.”

4. Data Analysis

In this section, the data analysis is conducted in two major parts. First,

there will be identification of category shift by using Catford’s theory of

translation shift, and the second part is to analyze the readability of each TT based

on results of distributed questionnaire.

This part goes on with the categorization of the occuring shift in the text.

The analysis of shift occurence in the text would be seen in the following table:

Table 2. Example of Category Shift Analysis No. Data ST No. Data TT1 No. Data TT2

1/ST/Ex True,

nervous-very,

very nervous

I had been and I am;

1/JYM/Ex Benar sekali!

Gugup –

sedari tadi

dan sampai sekarang aku

sungguh amat

gugup

1/GJYT/Ex Benar sekali!

Gugup –itu

yang

kurasakan dari tadi

sampai

sekarang,

gugup luar


29

biasa

Occuring shift in TT1 : 1 unit shift and 1 class shift


Example above shows that the ST undergoes unit shift and class shift in

the TTs. The occurring of unit shift is shown by conversion of the word True into

Benar sekali which is a phrase in Bahasa Indonesia. The second shift occuring in

this sentence is class shift pointed out in the translation of the clause, I had been

and I am. Each word; I (pronoun) had been (verb), I (pronoun) am (verb)

translated into sedari tadi dan sampai sekarang which act as an adverb (TT1). In

TT2, it is translated as, itu yang kurasakan dari tadi sampai sekarang. The clause

itu yang kurasakan stays in its original form which is a pronoun (itu) and a verb

(kurasakan) while the second clause dari tadi sampai sekarang performs as an

adverb.

Second part, the result of distributed questionnaire is analyzed in order to

obtain both TTs’ level of readability. The example can be seen below:

Table 3. Example of Readability Data Analysis of TT1/JYM

No. Data TT1/JYM R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑R

3/JYT/EXP

Kegugupan ini, alih-alih

merusak atau

menumpulkannya, justru

telah mempertajam indra-indraku.

NR R NR R R R R NR NR NR 5

The table above shows the sentence level of readability to which it is still

regarded as readable despite there are some of respondents to concern it as not

readable. Of those who choose readable (R2, R4, R5, R6, R7), surely they have no

issues about the sentence readability. However the respondents who rather not


30

readability (R1, R3, R8, R9, R10), they have a particular concern to make it so.

For them, the sentence is, incomplete (R1), this means that there must be an

absence of at least one aspect in establishing the intact sentence; unfamiliar (R3,

R9), this factor is checked since for respondents there must be a new word in the

sentence that affecting the wholity, leading to unintelligible sentence; ambiguous

(R8, R9), this means the respondents argue that the sentence must contain more

than one idea; unsensible sequence (R10) means that there must be word or idea

that diverse the whole line or sequence, resulting in an odd text as perceived by

the respondents.

Table 4. Example of Readability Data Analysis of TT2/GJYT

No. Data TT2/ GJYT R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑R

3//GJYT/EXP

Kalaupun benar aku

gila, kegilaan itu

justru telah

menajamkan semua

indraku, bukan

mematikan atau

menumpulkan mereka

R R R R R R NR NR NR R 7

The table above shows that the sentence has a higher level of readability

since 7 respondents choose it so. This is visible that the 7 respondets have no issue

in understanding and accepting the sentence. Differently, the other 3 respondents

(R7, R8, R9) recognize the sentence as not readable. In their perspective, the

sentence is regarded to contain borrowing (R7), means that there must be a loan

word from other language to be used in the sentence; incomplete (R8), this means

that there is an absence of at least one supporting element of the sentence making

it to be not readable; and lastly, ambiguous (R9), this indicates that respondent

may think of the sentence to contain two or more ideas.


31

CHAPTER IV

ANALYSIS RESULTS AND DISCUSSIONS

This chapter discusses the analysis and findings based on the research

questions which is divided into two major parts. First part presented the

elaboration of category shift occurences in TTs, while the second part is dedicated

to measure the readability of each TT.

A. The Types of Category Shift in Two Versions of the Indonesian

Translation of Poe’s “The Tell-Tale Heart”

In this part, the category shift occurences based on theory of translation

shift argued by Catford (Catford, 1965, pp. 75-82) is observed. The shift is

classified into four parts; structure shift, unit shift, class shift and intra-system

shift. Theese types of shift will be identified and examined in “Jantung yang

Mengaduh”, and “Gema Jantung yang Tersiksa.” The total data to analyze are 157

sentences comprised of 79 belongs to “Jantung yang Mengaduh” and 78 belongs

to “Gema Jantung yang Tersiksa.”

Regarding that the sample data are too large, therefore, the researcher

decides to put two TTs in one table while conducting the analysis of category

shift whose each explanation is provided following the table of the data.


32

There is one clustered-columns chart employed to present the results of the

category shift occurences in between “Jantung yang mengaduh” and “Gema

Jantung yang Tersiksa.”

Chart 1. Comparison of Category Shift Occurences in “Jantung yang

Mengaduh” and “Gema Jantung yang Tersiksa”

Chart above shows the comparison of the category shift occurence

between two TTs. First to discuss is structure shift. The structure shift in JYM

with the total occurence of 63 times is obsolutely higher than GJYT which gains

only 43 times of occurence. Second is unit shift. This shift occurence in JYM is

Lower than in GJYT displayed by the ratio of 42 to 54. Third is class shift with

the highest score to obtain by JYM with 24 times of occurence, slightly diverse to

GJYT with mere 20 times of occurence. The last is intra-system shift. The chart

points the higher score belongs to JYM over GJYT at the ratio of 18 to 12 times

of occurence. Below is elaborated thoroughly the category occurence in both TTs

with the aid of charts.

0

10

20

30

40

50

60

70

Structure shift Unit shift Class shift Intra-system shift

JYM GJYT


33

Chart 2. Category Shift in “Jantung yang Mengaduh”

The chart above shows the percentage of occurence of category shift in

JYM. The occurence of each shift virtually appears in particular category in the

data, explained as follows;

The structure shift mostly occurs in the noun phrase category, in this case

the transposition between modifier to head and vice versa with 50 times of

occurence, followed by the transposition of object to subject with 4 times;

transitivity for 3 times; polarity 2 times; and to the last four, question to

imperative form; active to passive voice; and complement to subject transposition

each obtains 1 times of occurence.

Unit shift as the second most frequent shift presents in the category of

word to phrase category as the dominant gaining 27 times of occurence; phrase to

word 11 occurences; clause to phrase 2 occurences; word to clause and phrase to

clause each has 1 occurence.

There acquired by class shift 24 times of occurrence in total. The shift

prevails in the class of word such as; adjective to verb with 6 times of occurrence,

then preposition to verb 5 times; noun to adjective over 3 times. Besides there are

0

10

20

30

40

50

60

70

Structure shift Unit shift Class shfit Intra-system shift


34

also verb to particle over 1 times; adverb to adjective over 2 times; verb to adverb

over 2 times; verb to adjective over 2 times, noun to verb over 1 times,

preposition to noun over 1 times, and clause phrase to adverb over 1 times of

occurrence in total.

The intra-system shift appears in the changing from plural into singular

form of word with the total 16 times of occurence; while singular to plural 2

times of occurence.

Chart 3. Category Shift in “Gema Jantung yang Tersiksa”

The chart points out that there are all types of category shift occuring in

the data; structure shift, unit shift, class shift, and intra-system shift. Structure

shift as the second frequent shift occurs over 43 times occurences, while unit shift

as the most frequent shift occurs over 54 times occurences, besides, class shift and

intra-system shift each appears over 21 times occurences, and 12 times occurences

througout the data. Those shifts appear in variously in the sentences are

observable as follows;

Unit shift with the total 54 times of occurrence spotted in the sentence in

varied terms such as; first, word to phrase over 36 times of occurence; second,

0

10

20

30

40

50

60

Structure shift Unit shift Class shift Intra-system shift


35

word to clause over 7 times; third, phrase to word over 9 times, fourt, phrase to

clause over 1 times; and lastly, clause to phrase over 1 times.

Structure shift as the second most occurring shift in GJYT attains 42 times

of occurrence. The phenomenon experienced in particular term in the sentence

which itemized in; phrase transposition for 31 times of occurence; transitivity for

2 times; object-subject transposition 5 times; diction 1 times; polarity for 2 times;

and indirect to direct object for 1 times of occurence.

Class shift obtains 21 times of occurrence TT. The occurrence prevails in

the sense of; adjective to noun over 3 times of occurence, then adjective to verb

over 3 times, and preposition to verb 4 times. There are involved noun to

adjective for 3 times, adverb to adjective for 4 times, preposition to noun 1 times,

verb to adjective 1, clause phrase to adverb 1, and verb to noun for 1 times of

occurence.

Intra-system shift occuring in the changing of the plural into singular in

the TT with the frequency of 11 times of occurence; and the singular to plural

with 1 times of occurence.

Below is provided the thoroughly analysis of category shift occurring in

both TTs.

Table 5. Types of Shift in Datum Number 1

No. Data Source Text No. Data TT1 No. Data TT2

1/ST/Ex True,

nervous-very,

very nervous I had been

and I am

1/JYM/Ex Benar sekali!

Gugup –

sedari tadi dan sampai

sekarang aku

sungguh amat

gugup.

1/GJYT/Ex Benar sekali!

Gugup –itu

yang kurasakan

dari tadi

sampai

sekarang,

gugup luar

biasa


36



The first shift to occur in this datum is unit shift. This is shown by the

word True is translated into benar sekali in both TTs. Furthermore, the first

sentence of JYM (TT1) undergoes class shift. The sentence I had been and I am

(S-V-Conj-S-V) which is a noun phrase clause translated into sedari tadi sampai

sekarang (adverb). The translator elipses I so that to avoid the unnecessary

repetition of pronoun. On the other hand, GJYT (TT2) undergoes another unit

shift. This can be seen in the translation of word very which into phrase luar biasa

which is a phrase (TT2). Along with that, very undergoes a class shift from

adverb to adjective as shown in luar biasa (TT2).

Table 6. Types of Shift in Datum Number 2 No. Data ST No. Data TT1 No. Data TT2

2/ST/Ex But why will

you say that I

am mad?

2/JYM/Ex Tapi mengapa

kau

menganggapku

gila?

2/GJYT/Ex Tapi, itu

bukan berarti

aku gila kan?

Occuring shift in TT1 : -

Occuring shift in TT2 : 1 structure shift

In above datum there is a change of structure in TT2. The structure of the

question in ST which started with ‘why’ (Why+S+V+Clause) requires an

explanatory answer, while in TT2, when it is translated to English it would match

perfectly to, “It does not mean I am crazy, right?” this kind of question is

rethorical, meaning to say it does not necessarily require an answer.


37


3/ST/Ex The disease

had

sharpened

my senses –

not

destroyed, not dulled

them

3/JYM/Ex Kegugupan ini,

alih-alih merusak

atau

menumpulkannya,

justru telah

mempertajam indra-indraku

3/GJYT/Ex Kalaupun

benar aku gila,

kegilaan itu

justru telah

menajamkan

semua indraku, bukan

mematikan

atau

menumpulkan

mereka


Occuring shift in TT2 : 1 structure shift and 1 intra-system shift

The TT1 undergoes structure shift. This shift is shown by the phrase, my

senses (S-P) turning into indra-indraku (P-S). The subject my in ST becomes ‘ku’,

performing an object in the TT1. Meanwhile, the TT2 possess the structure and

intra-system. The structure shift is shown by the translation of phrase my senses

(S-P) which is translated into Indraku (P-S), the position of subject my turns into

object as in ‘ku’. While, intra-system shift is shown through the changes of

plural into singular in the word senses into indra.


4/ST/Ex Above all

was the sense

of hearing

acute.

4/JYM/Ex Yang terutama

sekali, indra

pendengaranku

yang begitu

peka

4/GJYT/Ex di antara indra

lainnya, yang

sekarang

kurasakan

paling tajam

adalah

pendengaranku

Occuring shift in TT1 : 1 unit shift



38

In this datum the only shift occuring is unit shift. This shift is shown by

the addition of word unit in the sentence as the word all is translated to indra

lainnya (TT2). The same shift can also be seen in the word acute translated into

phrase begitu peka (TT1), and paling tajam (TT2).


5/ST/Ex I heard all

things in

the heaven

and in the

earth.

5/JYM/Ex Aku

mendengar

segala hal

yang terjadi

di surga dan

di bumi

5/GJYT/Ex Aku bisa

mendengar

semua yang

telah terjadi

di bumi,

bahkan di surga

Occuring shift in TT1 : 1 intra-system shift


The TT1 undergoes intra-system shift shown by the word things (plural)

translated into hal (singular), Whereas the TT2 exposes unit shift which is

marked by the translation of phrase all things seen in the word semua. Seemingly,

the translator wants to put emphasis in the word all rather than things of the ST.


6/ST/Ex I heard many things in hell.

6/JYM/Ex Bahkan aku mendengar

banyak hal

yang ada di

neraka

6/GJYT/Ex Dan, lebih dari itu,

pendengaranku

juga bisa

menangkap

apa-apa saja

yang terjadi di

neraka




39

The shift occurring in the TT1 is intra-system shift. The shift in

obviously shown by translator in rendering the ST’s word things which is plural

into hal which is singular.


7/ST/Ex How, then,

am I mad?

7/JYM/Ex Kalau begitu,

bagaimana

mungkin aku

ini gila?

7/GJYT/Ex Kalau sudah

begitu,

masihkah kau

akan

menyimpulkan

bahwa aku gila?

There is no shift occurring in the above datum.


8/ST/Ex Hearken! and

observe how

healthily—

how calmly I

can tell you

the whole story

8/JYM/Ex Dengarkan

baik-baik!

Perhatikan

betapa aku

bisa

menceritakan seluruh

ceritanya

kepadamu

dengan

tenang dan

dengan akal

sehat.

8/GJYT/Ex Coba dengar!

Pasang

telinga!

Aku akan

menceritakan

semuanya kepadamu

dengan

pembawaan

tenang serta

berbekal akal

sehat.



The only occuring shift in TT1 is unit shift. The first evidence is shown

by the word Hearken! Is translated in TT1 as Dengarkan baik-baik! a changing

from word into phrase category. It seems that the translator wants to put a stress to

the exclamation word so that the addressee realy act as is intended to do. TT2 also

shows the similar case as the same ST’s word is translated into coba dengar.

Another unit shift is shown in the TT2 by the translation of word calmly into


40

berbekal akal sehat which is by this changing, there obviously the unit transforms

from word into phrase category. Unit shift also shows up in the reducing of

amount of word by the ST’s phrase whole story becoming semuanya (word rank)

in TT2.


9/ST/Ex It is

impossible to

say how first

the idea

entered my

brain;

9/JYM/Ex Mustahil

rasanya

menceritakan

bagaimana

awalnya ide

itu tercetus di benakku.

9/GJYT/Ex Kalau kau

bertanya

darimana aku

mendapatkan

ide itu, sulit

bagiku untuk menjelaskannya:

Occuring shift in TT1 : 1 structure shift, 1 unit shift


The TT1 possess the structure shift shown by the phrase my brain (M-H)

translated into benakku (H-M). my as the modifier and brain as the head of the

phrase have their position change in TT1, my=benak performs a head, while

brain=benak performs a modifier. TT1 also carries the reduction of number of

word it is impossible becomes mustahil only which is a clause reduced into a

word unit.


10/ST/Ex but once

conceived,

it haunted

me day and

night.

10/JYM/Ex Tapi begitu

mendapatkanny

a, ide itu selalu

terngiang di

pikiranku siang

dan malam.

10/GJYT/Ex

Tapi

kesimpulannya

adalah begitu aku

mendapat ide

tersebut, siang-

malam aku

memikirkannya.




41

There is a structure shift occurring in this datum. The verb haunted in it

haunted me entails an object me, but as it changes to terngiang (TT1) it perfoms

an intransitive verb which does not require an object. Differently, TT2 chooses me

(aku) the object in ST as the subject instead of it as in the ST whereby ineluctably

turns the subject into object. Unit shift is spotted as the word conceived translated

aku mendapat ide tersebut, a shift from phrase into clause (TT2).


11/ST/Ex Object there

was none.

11/JYM/Ex Aku tidak

punya

maksud apa-

apa

11/GJYT/Ex Jujur saja aku

tidak punya

motif

terselubung.



In this datum, as both translators put aku as the subject and at once render

the word none standing as subject in ST to be an object in both TTs; maksud apa-

apa (TT1), and motif terselubung (TT2). This is classified into structure shift.

There is also unit shift applied in both TTs. In TT1 the word object is translated

into maksud apa-apa, while TT2 as motif terselubung. The case is that the

category of word changes into noun phrase.


12/ST/Ex Passion there

was none.

12/JYM/GJYT Amarah yang

terpendam

pun aku tidak merasakan.

12/GJYT/Ex Aku juga

tidak pernah

berniat macam-

macam.


Occuring shift in TT2 : 1 unit shift, 1 stucture shift


42

TT1 undergoes a unit shift marked by: passion is translated into amarah

yang terpendam which surely a noun phrase. Secondly, still at unit shift, the

word none becomes aku tidak merasakan. Clearly the word amount is added from

a word into a sentence. The TT2 also involves the same shift. The word none

changes into phrase as passion becomes berniat macam-macam. There is also

structure shift happens in the TT2 as the ST’s subject none is translated into the

object of the sentence as berniat macam-macam.


13/ST/Ex I loved the

old man.

13/JYM/Ex Malah aku

menyayangi

lelaki tua itu.

13/GJYT/Ex Asal kau

tahu, aku

menyayangi

lelaki tua itu.



In this datum both TTs exhibits the use of structure shift that is shown in

the translation of phrases the old man translated into lelaki tua itu. The structure

of both TTs transforms from M-H into H-M. In the translation, the head comes

first then followed by modifiers as seen in lelaki tua itu.


14/ST/Ex He had

never

wronged me.

14/JYM/Ex Dia juga tak

pernah

memperlakukanku dengan kasar.

14/GJYT/Ex Beliau tidak

pernah

menyakitiku

There is no shift in the above datum


15/ST/Ex He had never

given me

insult.

15/JYM/Ex Tidak juga

dia pernah

menghinaku.

15/GJYT/Ex Apalagi

mencelaku


43



The unit shift also prevails in this datum. The phrase given me insult

which consists of phrasal verb given insult translated as menghina (TT1) and

mencela (TT2) only.


16/ST/Ex For his gold I had no desire

16/JYM/Ex Hartanyapun tidak aku

ingini.

16/GJYT/Ex Aku juga tidak

menginginkan

harta

kekayaannya

Occuring shift in TT1 : 1 structure shift, 1 class shift


In the datum above, the shift occuring is structrure shift. The shift

appears in both TT. The ST’s part showing the shift is in the phrase his gold

which is respectively translated into hartanya (TT1) and kekayaannya (TT2). In

the translation, harta and kekayaan both are head then comes first before the

modifier nya. Another shift appearing shift is class shift. This shift occurs in both

TTs. It shown in the word desire respectively translated into ingini and

menginginkan. This objects that the word class changes from adjective into verb

in the translations.


17/ST/Ex I think it was

his eye!

yes, it was

this! One of

his eyes

resembled

that of a

vulture—a

17/JYM/Ex Kurasa

karena

matanya! Ya,

itu dia!

Matanya

seperti mata

burung

pemakan

17/GJYT/Ex Lantas apa yang

menggangguku?

Matanya! Itu

dia! Aku yakin

sekarang.

Sebelah

matanya

mengingatkanku


44


pale blue

eye, with a

film over it.

bangkai –

mata biru

pucat,

dengan

dilapisi

selaput.

akan mata

burung bangkai

–warnanya biru

pucat, dilapisi

selaput tipis

yang

menjijikkan

Occuring shift in TT1 : 2 structure shift, 1 intra-system shift, 2 class shift

Occuring shift in TT2 : 2 structure shift, 1 intra-system shift, 1 class shift, 1 unit shift

There are four shifts appearing in this sentence; structure, intra-system,

class, and unit shift. The structure shift is shown in the translation of phrase his

eye becoming matanya in both TTs. The structure changes from M-H into H-M as

the head, eye which comes lastly in the phrase has to move to the first place of the

phrase in the translations. The other structure shift is brought out by the phrase a

pale blue eye which its sturucture is M-H, turns into mata biru pucat in TT1, and

warnanya biru pucat in TT2. Both TTs shows a pattern of H-M, the head must

come first in Bahasa Indonesia.

The second shift is intra-system shift. The shift is shown in the

translation of ST’s word eyes turns into mata in both TTs. The case is that the

plural form transforms into singular in Bahasa Indonesia.

The third shift is class shift. The ST’s word resembled which is a verb

turns into seperti which is a particle in TT1. The other part that also shows the

class shift is ST’s word over that is a preposition translated into dilapisi which is a

verb in TT1. The other part showing class shift is that the preposition with is

translated into dilapisi which performs a verb. This occurs in TT2 only.

Lastly there is unit shift which appears only in TT2. This shown in the

translation of film which is a unit of word, then changes into a phrase selaput tipis


45

yang menjijikkan. Presumably, the translator wants to put emphasis on the

character’s feeling towards ‘the eye’.


18/ST/Ex Whenever it

fell

upon me, my

blood ran

cold; and so

by degrees—very

gradually—I

made up my

mind to take

the life of the

old

man, and thus

rid myself of

the eye for

ever.

18/JYM/Ex Setiap kali

mata itu

terarah

kepadaku,

aku menjadi

sangat takut; dan perlahan

demi perlahan

–secara

berangsur-

angsur –

kuputuskan

untuk

mencabut

nyawa lelaki

tua itu, jadi

aku bisa terbebas dari

tetapan mata

itu selama-

lamanya.

18/GJYT/Ex Setiap kali

menatapku,

darahku

mengalir

dingin,

hingga akhirnya

tumbuh hasrat

di dadaku

untuk

membunuh

beliau, agar

aku bisa

terbebaskan

dari

pandangan

mata yang membuatku

jijik setengah

mati.

Occuring shift in TT1 : 1 structure shift,


There is a structure shift occuring in TT2. The ST’s word my blood is

translated into darahku. In this sense, the order of structure changes from H-M

into M-H. This shift also occurs in the word old man which is translated into

lelaki tua (TT1). The case is still the same whereby the order is reversed from H-

M into M-H.

The second shift occuring is unit shift. There are some words added in

TT2. It is clearly shown in the clause pandangan mata yang membuatku jijik

setengah mati, as the translation of the eye. The shift departs from the phrase into

a clause form.


46


19/ST/Ex Now this is

the point.

19/JYM/Ex Nah, begini

pokok

ceritaku

19/GJYT/Ex Nah, ini

sebenarnya

inti ceritaku



The datum shows that there is a unit shift as seen in the translation of

point in both TTs. The translator of TT1 translates it as pokok ceritaku, while the

other translator renders it as inti ceritaku. Both translations are in phrase form,

changes from its ST which is only in unit of word.


20/ST/Ex You fancy me

mad.

20/JYM/Ex Kau mengira

aku gila.

20/GJYT/Ex Kaupikir aku

gila.

There is no category shift occurring in this datum


21/ST/Ex Madmen know nothing

21/JYM/Ex Orang gila itu tidak tahu

apa-apa.

21/GJYT/Ex Tapi sebenarnya

orang gila itu

kan tidak tahu

apa-apa. Beda

halnya

denganku

Occuring shift in TT1 : 1 intra-system shift, 1 structure shift


There is an intra-system shift appearing in both TTs. The phenomenon is

shown in the translation of the ST’s word madmen translated as orang gila in both

TTs. The word men in madmen itself is a plural but then changes into Bahasa as


47

orang which is singular. This phrase also undergoes a structure shift whereat its

modifier and head changes their position, from M-H into H-M.


22/ST/Ex But you

should

have seen

me.

22/JYM/Ex Tapi kau

seharusnya

memperhatikanku.

22/GJYT/Ex Seharusnya

kau lihat

bagaimana aku

melakukannya.



There is unit shift applied in TT2. The word me which performs a unit of

word, turns into a clause in TT2 that is, bagaimana aku melakukannya. Instead of

focusing to the character himself, the translator wants to put stress in the action of

what the character is up to do.


23/ST/Ex You should

have seen

how wisely I

proceeded—with what

caution—

with what

foresight—

with what

dissimulation

I went to

work!

23/JYM/Ex Kau akan

melihat betapa

cerdiknya aku

menyelesaikan perkerjaanku.

Betapa rapih

dan terencana,

kemudian aku

berpura-pura

tidak tahu apa-

apa

23/GJYT/Ex Aku

membunuh

lelaki tua itu

dengan hati-hati–

seksama–

penuh

perencanaan

dan taktik

manipulasi.

Ini bukan

perkerjaan

kecil lho!


Occuring shift in TT2 : 1 structure shift, 1 class shift, 3 unit shift

The structure shift occurring in TT1 and TT2 is obtained by translating

proceed as menyelesaikan (TT1) and membunuh (TT2). The structure changes

here because the verb proceeded in this term performing an intransitive verb,


48

which does not require an object. However, the translator of both TTs translate the

verb into a transitive verb leading to the addition of object as its consequence. The

TT1 verb menyelesaikan requires object pekerjaanku while the in the other text,

the verb membunuh requires object lelaki tua itu.

There is also the changing of word class as seen in word caution which is

noun translated into cerdik an adjective (TT1), whereas foresight which is noun

rendered as terencana which is a verb (TT1). In the same sense, translator of TT2

renders caution as an adjective in seksama.

In this datum, unit shift takes charge in TT2 seen in the changing of;

wisely to hati-hati; foresight to penuh perencenaan; and dissimulation to taktik

manipulasi. These all are the signs of word conversion to phrase category.


24/ST/Ex I was never

kinder to the

old man

than during

the whole week before

I killed him.

24/JYM/Ex Selama

seminggu

penuh sebelum

membunuhnya,

aku bersikap lebih baik hati

terhadap lelaki

tua itu.

24/GJYT/Ex Sebelum

membunuhnya,

aku

menghabiskan

waktu seminggu

penuh

mengambil

perhatian

beliau dan

menjadi orang

kesayangannya.



The shift occurring in the datum is structure shift in terms of polarity.

The ST applies a negation to the sentence as seen in I was never…, even so, the

translators of two TTs choose to use affirmation as seen in the beginning of the

sentence, selama seminggu penuh sebelum (TT1), and sebelum membunuhnya,


49

(TT2). The other structure shift is shown in the phrase old man translated into

lelaki tua in TT1. The structure changes from M-H into H-M.


25/ST/RA And every

night, about

midnight, I

turned the

latch of his

door and opened it –oh,

so gently

25/JYM/RA Dan setiap

malam,

sekitar tengah

malam,

kuputar

gagang pintunya dan

kubuka–

dengan

amaaat pelan!

25/GJYT/RA Lalu, setiap

malam,

menjelang

tengah

malam, aku

memutar kunci dan

membuka

pintu

kamarnya

pelan-pelan –

pelaaan

sekali.



There is structure shift appearing in this datum shown in the word his

door’s translation of both TTs. The translator of TT1 translates the word as

pintunya while the other translates it as kamarnya. In Bahasa Indonesia, the

modifiers follows the head of a phrase, therefore, the structure order shifts from

M-H into H-M.

The other shift is class shift which shown in the translation of word gently.

This word which acts as an adverb, translated in TT2 as pelan which plays an

adjective.


26/ST/RA And then,

when I had

made an

opening

sufficient for

my head, I put in a dark

lantern, all

26/JYM/RA Lalu setelah

pintu terbuka

sedikit hingga

cukup melihat

ke dalam,

kuulurkan tangan uang

menenteng

26/GJYT/RA Aku hanya

mendorong

pintu itu

selebar yang

kuperlukan

supaya aku bisa

menjulurkan


50


closed,

closed, so that

no light shone

out, and then

I thrust in my

head.

lentera

berkatup yang

semua

katupnya

kurapatkan

sehingga

cahayanya

tidak

menyorot ke

ruangan,

kemudian

kujulurkan kepala ke

dalam.

kepalaku ke

dalam.

Occuring shift in TT1 : 2 structure shift, 1 class shift,


The change of structure is employed in the TT1 pointing the shift from

active voice into passive. The active voice is represented by I had made an

opening, nevertheless, the translator of TT1 disobeys the action of made an

opening and wants to focus merely to the result leading to the using of stative

passive as seen in the phrase pintu terbuka sedikit.

The word class of ST for my head which is a prepositional phrase shifts its

form to a verb as seen in melihat ke dalam (TT1).

The other shift occurring in this datum is structure shift shown in; dark

lantern to lentera berkatup (TT1); my head to kepalaku (TT2); These are

phenomena that indicates the transposition of structure from H-M to M-H.


27/ST/RA Oh you

would have

laughed to

see how

cunningly I

thrust it in!

I moved it

slowly –very,

27/JYM/RA Oh kau pasti

akan tertawa

jika melihat

betapa

cerdiknya aku

menjulurkan

kepalaku ke

dalam!

27/GJYT/RA Kemudian, aku

mengulurkan

sebelah tangan

ke dalam

kamar,

menenteng

sebentuk

lentera yang


51


very slowly,

so that I

might not

disturb the

old man’s

sleep

Dengan

perlahan aku

bergerak –

sangat, sangat

pelan sehinga

tidak

mengganggu

tidur si lelaki

tua.

terselubung

dalam kain

gelap agar

sinarnya tidak

membangunkan

lelaki tua itu

Occuring shift in TT1 : 1 unit shift, 1 class shift, 1 structure shift


Unit shift appears in the word it translated as a phrase in kepalaku (TT1).

Besides, there is also class shift denoted in the translation of adverb cunningly

into cerdik performing an adjective (TT1).

There is structure shift occurring in both TTs. The phrase old man is

translated into lelaki tua. This indicates that the Structure order changes from M-

H to H-M.


28/ST/RA It took me an

hour to place

my whole

head within

the opening so far that I

could see him

as he lay

upon his bed.

28/JYM/RA Dibutuhkan

waktu satu

jam untuk

melongokkan

kepala ke dalam bukaan

pintu kamar

itu sehingga

aku bisa

melihat laki-

laki itu

terbaring di

ranjangnya.

28/GJYT/RA Aku sangat

berhati-hati

dalam setiap

gerak-gerikku

hingga hanya untuk

melongokkan

kepala ke

dalam bukaan

pintu kamar

saja aku

butuh waktu

sekitar satu

jam.

Occuring shift in TT1 : 1 unit shift, 1 structure shift


There is unit shift occurring in the word my whole head translated into

kepala (both TTs). There is a changing of unit from phrase into word category.


52

Structure shift is shown in the phrase his bed translated into ranjangnya (TT1).

The case is also similar to the first phrase whose M-H converted into H-M.


29/ST/RA Ha! Would a

madman have

been so wise

as this?

29/JYM/RA Ha! Bisakah

seorang yang

gila bertindak

sehati-hati

ini?

29/GJYT/RA Ha! –apakah

orang gila

bisa

melakukan

semua ini

tanpa sekalipun

terpergok?

Tidak, kan?

Occuring shift in TT1 : 1 class shift

Occuring shift in TT2 : 1 class shift, 1 unit shift

There is a class shift occurring in both TTs. First, it is shown in the

translation of the word wise in TT1 which is an adjective, transfroms into

bertindak which is a verb. Second, in TT2 it is translated as melakukan which is

also a verb.

There is also unit shift shown in the translation of word this. The word

undergoes a shift from lower level into the higher level which is initially a word

rank but then becomes a phrase. This can be spotted in TT2 as the word translated

into semua ini.


30/ST/RA And then,

when my

head was well

in the room, I

undid the

lantern

cautiously –

oh, so

cautiously –

cautiously (for the

hinges

30/JYM/RA Kemudian,

ketika sudah

melongokkan

kepalaku ke

dalam kamar,

kubuka katup

penutup

lentera

dengan hati-

hati, -oh, dengan sangat

hati-hati –

30/GJYT/RA Setelah aku

melongokkan

kepala ke

dalam kamar,

aku mulai

meredupkan

cahaya

lentera dalam

genggamanku

dengan sangat hati-hati,

apalagi


53

No. Data ST No. Data TT2 No. Data TT2 cracked) karena engsel

katupnya bisa

berderit.

karena engsel

pintu mulai

berderit

berisik.

Occuring shift in TT1 : 1 structure shift, 1 intra-system shift


There is a structure shift occurring in the translation of phrase my head.

TT1’s translates this phrase as kepalaku which directly complies the changing of

structure. The ST’s structure which is M-H in my head turns into H-M in kepalaku

of both TTs.

There is also intra-system shift which shown in the transformation of

word hinges which is plural into engsel which is singular in both TTs.


31/ST/RA I undid it just

so much that

a single thin

ray fell upon

the vulture

eye.

31/JYM/RA Katup lentera

kubuka

seperlunya,

hingga

seberkas

sinarnya

cukup untuk

menyoroti

mata burung

bangkai itu.

/31GJYT/RA Redup cahaya

lentera kini

begitu halus

menerobos

ruangan

kamar hingga

hanya

sanggup

menerangi

bagian wajah beliau.

Sebenarnya,

tujuanku

sekadar untuk

mengintip

mata burung

bangkai itu.



The word it is translated to katup lentera which is a phrase, and yet

indicating the unit shift in TT1. The phrase fell upon translated as menyoroti


54

(TT1) and menerangi (TT2) obviously denotes the unit shift by the changing of

phrase into word category.

Structure shift is spotted int the translation of vulture eye as mata burung

bangkai in both TTs. The order of structure shifts from M-H into H-M. The

structure shift also appears in the reposition of the object it in I undid it just so

much…in TT1 the object is put preceeding subject and verb of the sentence which

seen as follows; katup lentera kubuka.


32/ST/RA And this I did

for seven

long nights –

every night

just at midnight –

but I found

the eye

always

closed; and

so it was

impossible to

do the work;

32/JYM/RA Ini kulakukan

salama tujuh

malam –setiap

malam persis

saat tengah malam –tapi

mata itu selalu

saja dalam

keadaan

tertutup. Kalau

matanya

tertutup,

mustahil aku

bisa

membunuhnya,

32/GJYT/RA Tujuh malam

berturut-turut

aku

mengendap-

endap ke kamar tidur

lelaki tua itu,

namun setiap

kali aku

melongokkan

kepalaku ke

dalam mata

beliau selalu

ditutup; maka

sulit bagiku

untu k

melakukan apa yang

ingin

kulakukan.


Occuring shift in TT2 : 1 intra-system shift, 2 unit shift

The word nights in the form of plural translated as malam in both TTs

which is singular. This indicates the present of intra-system shift in the datum.

The structure of sentence but I found the eye….is rendered as mata itu

selalu saja…, by the translator of TT1. This imples that the translator changes the

structure that is the object to be the subject in TT: eye as object turns into mata as


55

the subject. Supposedly, the translator wants to put a stress in the eye as the major

cause of the problem.

Unit shift occurring in TT2 can be seen in the translation of eye becomes

mata beliau which shows a shift from word into phrase category. The other unit

shift occurring is that the word work is translated into a clause as spotted in apa

yang ingin kulakukan (TT2).


33/ST/RA for it was not

the old man

who vexed

me, but his

evil eye.

33/JYM/RA Karena bukan

sosok lelaki

tua itu yang

membuatku

jengkel, tapi mata

jahatnya.

33/GJYT/RA Terus-terang,

aku tidak

punya

masalah

dengan beliau, tetapi

matanya itu,

lho! Mata

setan! Iiiii


Occuring shift in TT2 : 1 structure shift,

The shift occurring in this datum is structure shift. This can be seen in the

translation of the phrase old man which is translated into lelaki tua in TT1. The

structure appears to shift from M-H to H-M. The other structure shift is spotted in

the TT1 which is mata jahatnya, and TT2 matanya. Both which are translated

from phrase his evil eye undergoes the structure order from M-H to H-M.

Another shift occurring is unit shift. The verb vexed is translated to be a

phrase as TT1 translates the word as membuatku jengkel. The unit goes from a

word into phrase rank.

Table 38. Types of Shift in Datum Number 34 No.Data ST No.Data TT1 No.Data TT2

34/ST/RA And every

morning,

34/JYM/RA Dan setiap

pagi, ketika

34/GJYT/RA Kalau kau

mau tahu,


56

No.Data ST No.Data TT1 No.Data TT2

when the day

broke, I went

boldly into

the chamber,

an spoke

courageously

to him,

calling him

by name in a

hearty tone,

and inquiring

how he had passed the

night.

fajar

menyingsing,

aku dengan

berani masuk

ke kamar, dan

berbicara

kepadanya

dengan

santai,

memanggil

namanya

dengan nada ramah, dan

menanyakan

bagaimana

tidurnya

semalam.

setiap pagi,

saat matahari

bersinar

cerah, aku

melenggang

masuk ke

dalam kamar

tidur beliau

dengan

seenaknya,

mengajak

basa-basi, berbicara

dengan nada

ramah sambil

menanyakan

apakah beliau

tidur nyenyak

semalam.



The translation of phrase hearty tone uncovers the structure shift in its

translation as seen in both TTs, rendered as nada ramah which the order of the

structure transposed from M-H to H-M.

There is also another shift occurring in TT2 which is unit shift marked by

translation of chamber to kamar tidur beliau, which shows the unit change from

word to phrase cateogy.


35/ST/RA So you see he would have been a very profound old

man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept.

35/JYM/RA Karena itulah, kau lihat, dia pasti lelaki tua yang sangat

cerdas kalau sampai bisa mencurigai bahwa setiap malam, persis jam dua belas, aku mengamatinya

saat dia tertidur.

35/GJYT/RA Maka itu, kecuali beliau punya indra khusus untuk

mendeteksi apa yang tidak terdeteksi, rasanya mustahil baginya untuk mencurigaiku.


57



The first occurring shift in this datum is structure shift shown in the

phrase old man’s translation, lelaki tua (TT1). The structure order changes from

M-H into H-M.

Another shift is class shift. This occurs in the phrase very profound which

is translated into TT2 as indra khusus. The word very as an adverb transforms into

khusus which is an adjective. On the other hand, the word profound which is an

adjective translated into indra which is a noun.


36/ST/RA Upon the

eight night I

was more

than usually

cautious in

opening the

door.

36/JYM/RA Pada malam

kedelapan,

aku lebih

berhati-hati

saat

membuka

pintu kamar

lelaki tua itu.

36/GJYT/RA Di malam

kedelapan,

aku lebih

berhati-hati

saat

membuka

pintu kamar

beliau.


Occuring shift in TT2 : 1 structure shift, 1 class shift, 1 unit shfit

Structure shift happens in the translation of phrase eight night which

similarly rendered to both TTs as malam kedelapan. The structure of the phrase

which is initially stands as M-H transforming to H-M.

There is also class shift marked by the change of word class from

preposition to noun as seen in in rendered as saat. The shift occurs in both TTs.

The word door also undergoes a shift of unit as spotted in TT1 as pintu

kamar lelaki tua itu, and TT2 as pintu kamar beliau.


58


37/ST/RA A watch’s

minute hand

moves more

quickly than

did mine.

37/JYM/RA Gerakanku

sungguh amat

pelan.

37/GJYT/RA Bila malam-

malam

sebelumnya

au bergerak

pelan, kali ini

jauh lebih pelan lagi.

There is no shift occurring in above datum.


38/ST/RA Never before

that night had

I felt the

extent of my

own powers –

of my sagacity.

38/JYM/RA Aku baru

menyadari

betapa

hebatnya

diriku ini –

betapa cerdiknya aku

ini.

38/GJYT/RA Entah kenapa,

di malam

kedelapan

aku baru

menyadari

untuk pertama

kalinya –

betapa hebat

perbuatanku

itu, akal-

akalanku.



There is a change of structure between ST and both TTs. The change of

structure is nothing short of polarity entailing affirmation and negation. The

author applied a negation by stating that never berfore that I..., diversely the

translators of both TTs subtitute the negation with affirmation by similarly

rendering the clause becomes aku baru menyadari. This is actually the way of

how the translator put an emphasis to their translation


39/ST/RA I could scarcely contain my feelings of

triumph.

39/JYM/RA Aku nyaris tidak bisa mengendalikan

perasan gembira ini.

39/GJYT/RA Aku tidak bisa

membendung

rasa bangga yang

membumbung

dalam dada.


59

Occuring shift in TT1 : 1 intra-system shift, 1 class shift

Occuring shift in TT2 : 1 intra-system shift, 1 class shift, 1 unit shift

The translation of word feelings undergoes an intra-system shift when

translated into TT1. The plural sense in the ST’s word becomes singular as seen in

the translation, perasaan. In TT2 the translation is also in the form of singular,

rasa.

Class shift also partakes in two TTs. The word triumph stands as a noun

in the phrase feelings of thriumph, translated into adjective in both TTs. The

translator of TT1 renders it as gembira, while the translator of the TT2 renders it

as bangga.

The last occuring shift is unit shift. The translator transforms the phrase

feelings of triumph into rasa bangga yang membumbung dalam dada (TT2).

Hereby, in this sense, the phrase changes to clause category.


40/ST/RA To think that

there I was,

opening the

door, little by

little, and he

not even to

dream of my

secret deeds

or thoughts.

40/JYM/RA Coba

bayangkan

aku di sini

membuka

pintu

kamarnya

sedikit demi

sedikit, dan

dia bahkan

tidak

mencurigai tindakan atau

pikiran

rahasiaku.

40/GJYT/RA Bayangkan

saja, selama

delapan

malam beliau

tidak pernah

sekali pun

mencurigai

tindakanku




60

The shift occurs is intra-system shift. The phrase deeds and thougts each

represents a plural form. However, each is translated into a singular form as seen

in TT1 pikiran dan rahasiaku, and TT2 tindakanku.

Distinct to English structure pattern of making the head in the end of a

phrase, Bahasa Indonesia instead put the head as the initial of a phrase.

Consequently, the transposition of structure from M-H to H-M can be seen in my

secret deeds or thoughts when translated as tindakan atau pikiran rahasiaku

(TT1) and tindakanku (TT2).


41/ST/RA I fairly

chuckled at

the idea;

41/JYM/RA Aku tertawa

kecil

membayangka

nnya.

41/GJYT/RA Aku jadi geli

sendiri

memikirkannya.


Occuring shift in TT2 : 2 class shift,

There is a class shift occurring in TT1. The word fairy which is an adverb

transfroms to kecil which is an adjective. The second class shift occurring is

shown in the translation of the preposition at which translated into

membayangkan (TT1) and memikirkan (TT2) which are verbs. In TT2, the verb

chuckled is also translated into an adjective as shown in the word geli.


42/ST/RA and perhaps he heard me; for

he moved on the bed suddenly, as if startled.

42/JYM/RA Mungkin dia mendengar

tawaku, karena dia tiba-tiba bergeser di ranjangnya, seakan terkejut.

42/GJYT/RA Tiba-tiba kulihat beliau

bergeser di atas ranjang, seolah dikagetkan sesuatu.


61



There is a unit shift in the TT1 as shown in me translated into tawaku

which is a phrase. The translator uses tawaku since the sentence is still related to

the previous sentence which tells that the character is fairy chuckled.


43/ST/RA Now you may

think that I

drew back –

but no.

43/JYM/RA Kau mungkin

mengira aku

akan bergerak

mundur –tapi

tidak.

43/GJYT/RA Waduh!

Jangan-

jangan –kau

pasti mengira

aku akan

mundur melihat ini,

tapi justru

kebalikannya.


Occuring shift in TT2 : 1 unit shift, class shift,

There is unit shift occurring in TT2 as seen in the translation of word no

which translated to a phrase justru kebalikannya. Simultaneously, the phrase

undergoes a class shift since the word class which is an adjective turning into a

noun phrase as no is rendered as justru kebalikannya. By using this expression

seemingly, the translator wants to clarify the idea that the character is being

adamant on his action.


44/ST/RA His room was

as black as

pitch with the

thick

darkness (for

the shutters

were close

fastened,

through fear

of robbers),

44/JYM/RA Kamar lelaki

tua itu gelap

gulita. Daun

penutup

jendela

tertutup rapat

karena

khawatir ada

pencuri yang

masuk. Jadi,

44/GJYT/RA Kamar tidur

beliau

bernuansa

sangat gelap

(tirainya

ditutup rapat

demi

mengusir

maling) dan

aku dapat


62


and so I knew

that he could

not see the

opening of

the door, and

I kept

pushing it on

steadily,

steadily.

aku yakin dia

tidak bisa

melihat

bukaan

pintunya.

Dan aku pun

terus

mendorong

pintu kamar

dengan

gerakan

mantap

memastikan

bahwa

dengan

pencahayaan

terbatas,

beliau takkan

bisa

melihatku,

atau pintu

yang sedikit

terbuka.

Oleh sebab itu, aku terus

mendorong

pintu

kamarnya.

Pelaaaan

sekali.



Phrase his room obtains its Indonesian form as kamar lelaki tua itu (TT1)

and kamar tidur beliau (TT2). The case is that the structure order of the phrase

appears to shift from H-M to M-H.

Intra-system shift occurs in the plurality shift as robbers which is plural

translated to TTs as pencuri (TT1) and maling (TT2), showing both in singular

form.

The word knew shifts to yakin (TT1) presents the occurring of word class

as the verb changes to adjective. The class shift also occurs in the translation of

steadily to pelaaan sekali in TT2. The word class of steadily is an adverb while

pelaaan sekali performs an adjective phrase.

The last shift occurring in this datum is unit shift. This shift occurrence is

signed by the translation of steadily to gerakan mantap (TT1), and steadily to

pelaaan sekali (TT2). This marks the shift of unit from word to phrase category.


63

This shift also occurs as the word his rendered as lelaki tua itu (TT1) and room as

kamar tidur (TT2).


45/ST/RA I had my head

in, and was

about to open

the lantern,

when my

thumb slipped upon the tin

fastening, and

the old man

sprang up in

the bed,

crying out –

who’s there?

45/JYM/RA Aku sudah

melongokkan

kepala ke

dalam dan

baru saja

hendak membuka

katup lentera,

ketika ibu

jariku

menyentuh

dan justru

mengetuk

lempengan

katup

sehingga

membuat lelaki tua itu

terbangun di

ranjangnya

dan berteriak,

“siapa di

situ?”

45/GJYT/RA Tapi baru saja

aku

menjulurkan

kepala ke

dalam kamar

beliau, dan dengan

sebelah

tangan

hendak

menyalakan

lentera, tiba-

tiba lelaki tua

itu bangkit

duduk di atas

ranjang

seraya berteriak

lantang –

“siapa di

situ?”



The first unit occuring is unit shift. The shift as seen in lantern to katup

lentera; is a word to phrase shift. While slipped upon to menyentuh; crying out to

berteriak are phrase to word shift (TT1). Another is bed becoming ranjangnya.

Whilst the TT2 is displayed in the word thumb to be sebelah tangan, word to

phrase.

The second shift is structure shift, marked by my thumb translated as ibu

jariku (TT1). The shift happens since the structure goes a changing from M-H to H-M in

the TT. The other structure shift is shown by the transposition of modifier-head as is

visible in old man to lelaki tua (both TTs).


64



46/ST/RA I kept quite

still and said

nothing. For a

whole hour I

did not move

a muscle, and in the

meantime I

did not hear

him lie down.

46/JYM/RA Aku tetap

diam, dan

tidak

menjawab.

Selama sejam

penuh aku tidak

bergerak

sedikitpun.

Sementara

itu, tidak

kudengar

lelaki tua itu

berbaring

lagi.

46/GJYT/RA Aku tidak

menjawab,

tidak juga

bergerak.

Otot-ototku

tegang. Selama sejam

penuh aku

tidak

mendengar

beliau

kembali

merebahkan

tubuhnya di

atas ranjang.



I did not move a muscle is translated into TT2 as otot-ototku tegang. The

sentence of ST clearly undergoes a structure shift in the TT. The order of the

structure changes here as the translator renders the object muscle as the subject in

the the TT, at once removing the subject I.

There is also unit shift occurring in word him which translated as lelaki

tua itu of TT1. The shift starts from a word to phrase category. The shift also

appears in the translation of verb phrase lie down becoming a clause in TT2 that is

kembali merebahkan tubuhnya di atas ranjang.


47/ST/RA He was still

sitting up in

the bed

listening; -just as I have

done, night

after night,

hearkening to

the death

watches in

the wall.

47/JYM/RA Dia masih saja

duduk di

ranjangnya

seraya menyimak

persis yang

kulakukan

malam demi

malam, sambil

mendengarkan

suara

47GJYT/RA Tampaknya

beliau masih

berada dalam

posisi duduk, memasang

telinga,persis

seperti yang

kulakukan

tiap malam,

berjaga-jaga,

siapa tahu


65


kumbang

kayu yang

mengetuk-

ngetuk di

dinding.

malaikat

kematian

tengah berdiri

mengawasi di

balik dinding

kamar.



There is a unit shift occurring in TT2 as seen in the translation of verb

listening translated to memasang telinga a phrase which refers to a tense action of

of mere listening to something. Besides, the translator also renders in the ‘wall’

into di balik ‘dinding kamar.’ Translator wants to put a clear description to the

place where the character is in.


48/ST/RA Presently I

heard a slight

groan, and I

knew it was

the groan of

mortal terror.

48/JYM/RA Sekarang

kudengar

suara erangan

lemah, dan

aku tahu

erangan ini

disebabkan

oleh rasa takut yang

luar biasa.

48/GJYT/RA Saat ini aku

mendengar

erangan

lemah;

erangan yang

bermuara dari

rasa takut luar

biasa.



There is structure shift occuring in this datum as the slight groan

becoming suara erangan lemah (TT1), and erangan lemah (TT2). Both TTs

display the structure order changing from M-H to H-M. The other structure shift

as seen in the datum is mortal terror whose structure is M-H, converted into rasa


66

takut yang luar biasa (TT1) and rasa takut luar biasa (TT2) whose structure is H-

M.

There is also class shift shown in the translation of word of to disebabkan

(TT1), and bermuara (TT2). The word class of known as preposition changes to

verb in both TTs.

Unit shift also occurs in the addition of word unit to the translation of

word groan which becomes suara erangan stands as a phrase (TT1).


49/ST/RA it was not a

groan of pain

or of grief –

oh, no! –it

was the low stifed sound

that arises

from the

bottom of the

soul when

overcharged

with awe.

49/JYM/RA Bukan

erangan sakit

atau sedih –

oh sama

sekali bukan! Ini suara

cekikan

tertahan yang

muncul dari

dasar jiwa

saat dipenuhi

rasa teror

mengerikan

49/GJYT/RA Erangan itu

bukan

erangan sakit,

ataupun duka

–sama sekali bukan!

melainkan

erangan yang

bangkit dari

dalam jiwa

dan dimotori

rasa takut

akan sesuatu

yang tidak

kasatmata.



The unit shift occurs as the word no is translated as sama sekali bukan in

both TTs. The unit changes from word to phrase. Another unit shift also occurs in

the TT2 as the word low stifed sound translated to erangan only. This clarifies

that there is a shifting from phrase into word category. The other part displaying

unit shift is the word awe which translated separately as rasa terror mengerikan

and rasa takut akan sesuatu yang tidak kasat mata. The shift departs from a word


67

level and ends in a phrase level (TT1), whilst the other ends in a clause level

(TT2).

Besides, there is also structure shift appearing in this datum. The noun

phrase low stif sound gains its Indonesian version as suara cekikikan tertahan

(TT1). The translation points out the modifier (low stif) and the head (sound) of

the phrase converts from M-H into H-M, visible in cekikikan (head) yang tertahan

(modifier).


50/ST/RA I knew the

sound well.

50/JYM/RA Aku kenal

betul suara

itu.

50/GJYT/RA Aku kenal

sekali

erangan itu.

There is no shift in above datum.


51/ST/RA Many a

night, just at

midnight,

when all the

world slept,

it has welled

up from my

own bosom,

deepening, with its

dreadful

echo, the

terrors that

distracted

me.

51/JYM/RA Setiap malam,

persis tengah

malam, ketika

dunia tertidur

lelap, suara itu

meluap dari

jiwaku, dengan

gema yang

menakutkan. Perasaan teror

yang

menggelisahkan

51/GJYT/RA aku bisa

merasakan

apa yang

tengah

dirasakan

beliau, karena

sering kali, di

tengah

malam, saat dia terlelap

dalam buaian

tidur, erangan

yang sama

bangkit dari

dalam jiwaku

menggema

penuh teror,

mengganggu

alam sadarku.

Occuring shift in TT1 : 2 structure shift, 1 class shift, 1 intra-system shift



68

The structure shift is implied throughout the translation of my own

bossom which is jiwaku (TT1). The structure order transposes from M-H to H-M.

the modifier (my own) and the head (bossom) is reordered into head (jiwa) and

modifier (ku). Besides, the phrase dreadful echo (TT1) undergoes the same

transposition when translated as gema yang menakutkan, M-H into H-M.

Class shift is also present in this datum showing in the dreadful translated

as menakutkan (TT1). The word class transmutes from an adjective into a verb.

Intra-system shift shown up in word Terrors which is plural, yet

translated in both TTs as teror that is singular.


52/ST/RA I say I knew

it well.

52/JYM/RA Sudah

kukatakan,

aku kenal

betul suara

ini.

52/GJYT/RA Sudah

kubilang aku

mengenal

erangan itu.

There is no shift occurring in above datum.


53/ST/RA I knew what

the old man

felt, and

pitied him,

although I

chuckled at

heart.

53/JYM/RA Aku tahu apa

yang

dirasakan si

lelaki tua, dan

karena itu,

aku merasa

kasihan

padanya,

meski aku

tertawa dalam

hati.

53/GJYT/RA Lantas, aku

jatuh iba

terhadap

beliau,

mengingat

teror yang

melanda

jiwanya,

meski dalam

hati aku

tersenyum




69

The first shift occurring is structure shift. The phrase old man whose

structure is M-H turns to be H-M in TT1 as lelaki tua. On the other hand, the

translator of TT2 translates the phrase to beliau. This indicates the unit shift

phrase to word category.

Unit shift also occurs in the Bahasa Indonesia version of pitied, which is

merasa kasihan, therefore there is a changing of word category into phrase (TT1).

The TT2 translator also conducts the same thing by bringing the word into a

phrase category which is jatuh iba.


54/ST/RA I knew that he

had been

lying awake

ever since the

first slight noise, when

he had turned

in the bed.

54/JYM/RA Kutahu dia

kini terjaga

sejak kali

pertama

dikejutkan gaduh pelan,

ketika dia

bergeser di

ranjangnya.

54/GJYT/RA Sejak awal

aku sadar

bahwa beliau

sudah mulai

merasakan kejanggalan

dalam kamar

tidurnya,

terlebih saat

ia menggeser

tubuh di atas

ranjang.



Unit shift happens as the verb lying awake translated in TT1 as terjaga.

The shift goes from phrase to word category. This also prevails in the translation

of bed in TT1 as ranjangnya showing a shift from word into phrase category.


55/ST/RA His fears had been ever since

growing upon him.

55/JYM/RA Ketakutannya kian

bertambah.

55/GJYT/RA Rasa takutnya sedikit demi

sedikit semakin memuncak;

Occuring shift in TT1 : 1 structure shift, 1 intra-system shift, unit shift



70

There are two shifts appearing in this datum. First is structure shift. The

phrase His fears, M-H, experiences the changing of structure order in both TTs,

visualized as ketakutannya (TT1) and takutnya (TT2), H-M.

The second appearing shift is intra-system shift as shown in the plurality

of the word fears translated separatedly as ketakutan and rasa takut in TTs. Both

of which are singular.

The last to discuss is unit shift. The phrase ever since is translated into

kian (TT1). This shows the reduction of word unit from phrase to word.


56/ST/RA He had been

trying to

fancy them

causeless,

but could not.

56/JYM/RA Dia terus

mencoba

memikirkan

semua ini

yang biasa, tapi percuma

saja.

56/GJYT/RA namun beliau

tetap mencoba

mengusir

kekhawatirannya.



The class shift occurs in the word percuma (TT1) performing an adjective

that is shifted from the negation of modals verb could not.


57/ST/RA He had been

saying to

himself –“it is

nothing but

the wind in

the chimney –

it is only a

mouse

crossing the

floor,” or “ it

is merely a

cricked which

57/JYM/RA Dia terus

berkata

kepada diri

sendiri, “itu

hanya angin

yang masuk

ke dalam

cerobong

asap. Itu

hanya seekor

tikus yang

berjalan di

57/GJYT/RA Berkali-kali

beliau berkata

pada dirinya

sendiri,

“suara aneh

itu pasti

disebabkan

karena

embusan

angin malam

yang

terperangkap


71


has made a

single chirp.”

lantai,” atau

“itu Cuma

suara jangkrik

yang

mengerik.”

di dalam

cerobong

asap –atau

suara tikus

jalan-jalan.”

Atau “derik

jangkrik.”



Preposition in in phrase in the chimney undergoes a class shift in both

TTs. The preposition is translated as masuk by TT1 translator, meanwhile

translated as terperangkap di dalam by TT2’s translator. This indicates that the

shift departs from preposition to verb category. Moreover, the phrase

terperangkap di dalam (TT2) detected to shift in terms of unit as the result of

transmuting word to phrase.

Unit shift also appears in translation of it to suara aneh itu (TT2); wind to

embusan angin malam (TT2); crossing to jalan-jalan (TT2). These are

categorized as the shift from word into phrase. Other than that, the clause it is

merely a cricked which has made a single chirp rendered as jangkrik yang

mengerik (TT1) and derik jangkrik (TT2). Both translations justify the idea of

shiftting from clause to phrase category.


58/ST/RA Yes, he has

been trying to

comfort

himself with

these suppositions;

but he had

found all in

vain. All in

58/JYM/RA Ya dia

berusaha

menenangkan

dirinya

dengan dugaan-

dugaan ini,

tapi semua

sia-sia belaka.

58/GJYT/RA Jangan heran,

apabila

dihadapkan

pada situasi

serupa, semua orang juga

pasti mencari

penjelasa

paling logis.


72


vain; Termasuk kau

dan aku.

Namun,

dalam kasus

ini, pada

akhirnya

tidak ada

satupun

penjelasan

logis itu yang

berhasil

membuat lelaki tua itu

tenang



Unit shift appears in the translation of he had found all in vain which is

semua sia-sia belaka in TT1. This clearly shows that the clause undergoes a shift

into phrase category. The translator seemingly avoids the repetition of phrase all

in vain by just adding word belaka to emphasize the proposition.


59/ST/RA because

death, in

approaching

him, had

stalked with

his black

shadow

before him,

and

enveloped the

victim.

59/JYM/RA Percuma

karena maut

yang datang

mendekat

telah

mengikuti

lelaki tua

dengan

bayangan

gelapnya dan

meyelubungi korban-

korbannya.

59/GJYT/RA Toh nyatanya

sia-sia saja

beliau

mencoba

untuk

rasional;

karena

kematian

datang seperti

bayangan

hitam yang menyelimuti

korban-

korbannya

bahkan

sebelum

sosoknya

yang gelap

tiba di

hadapan

mereka.


73



The sturcture shift appears in TT1. The phrase his black shadow which

its structure order is M-M-H, translated into bayangan gelap nya which has the

structure H-M. The phrase structure converts from M-H to H-M. Whilst, the TT2

translator only translates the phrase black shadow only, thus it becomes bayangan

hitam, yet the structure is similarly built as when translated using his.

Intra-system shift also occurs in both TTs. The singular word victim

translated into korban-korbanya which in the form of plural noun.


60/ST/RA And it was

the mournful

influence of

the

unperceived

shadow that

caused him to

feel –

although he

neither saw

nor hear –to

feel the presence of

my head

within the

room.

60/JYM/RA Pengaruh

suram dari

bayang-

bayang yang

tak terlihat

inilah yang

membuatnya

merasa –

meski dia

tidak melihat

ataupun

mendengar –merasakan

kehadiranku

di dalam

kamar itu.

60/GJYT/RA Aku sangat

yakin lelaki

tua itu bisa

merasakan

kehadiranku –

meski beliau

sama sekali

tidak

melihatku –di

dalam kamar

tidurnya.



The structure shift shows up in the TT1’s initial sentence it was mournful

influence. The structure containing in it is definitely S-P-C, however it turns out

that the translation of TT1 changes the structure of the sentence into a phrase


74

Pengaruh suram posits a subject and altogrther the head of the phrase.

Unperceived shadow also exhibits the resemble case (structure shift) for the TT1

translator renders the phrase as bayang-bayang yang tak terlihat. The order of the

phrase structure changes from M-H into H-M. Another structure shift in the

datum shown in TT2 as the intransitive-infinitive to feel is translated in the TT as

merasakan kehadiranku which is a transitive verb.

The intra-system shift occurs in the phrase bayang-bayang (TT1) which

appears in plural form denying its ST’ form, shadow which in singular.

The phrase kamar tidurnya in TT2 indicates the presence of unit shift

since its corresponding part in ST is only a word, room. The unit of word, hence

goes from word into phrase category.


61/ST/RA when I had

waited a long

time, very

patiently,

without hearing him

lie down, I

resolved to

open a little –

a very, very

little crevice

in the lantern.

So I opened it

–

62/JYM/RA Sewaktu aku

sudah

menunggu

begitu lama,

dengan sangat sabar, tanpa

mendengar

lelaki tua itu

terbaring

tidur,

kuputuskan

untuk

membuka

sedikit-

sangat sedikit

– katup lentera.

62/GJYT/RA Setelah lama

menunggu,

kuperhatikan,

dia tetap

berada dalam posisi duduk

di atas

ranjang, maka

kuputuskan

untuk

menyalakan

lentera pelan-

pelan,

menghadirkan

cahaya yang

sangat minim.



Long time in ST is translated as begitu lama in TT1 denoting the

Sturctural change of order from M-H to H-M. The structure shift occurs also in


75

the structure changing of the adverb position in TT2 pelan-pelan corresponding to

a very, very little. The position of the adverb in the ST follows the verb open, and

preceeds the object crevic. Nevertheless, in TT2 the adverb follows the object

lantern

There is also unit shift shown in the translation of verb phrase lie down

rendered in TT1 as terbaring which is in a word category. The shift goes from

word to phrase.


62/ST/RA You cannot

imagine how

stealthily,

stealthily –

until, at length, a

single dim

ray, like the

thread of the

spider shot

from out the

crevice and

fell upon the

vulture eye

62JYM/RA Kau tidak bisa

membayangkan

betapa aku

membukanya

dengan diam-diam, sampai

akhirnya

secercah sinar

bagai benang

laba-laba

tersorot dari

celah di lentera

dan menyoroti

mata burung

bangkai itu.

62/GJYT/RA Kulakukan

semua itu

tanpa bersuara

–kau mungkin

tak bisa membayangka

n betapa sunyi

gerak-gerikku

–hingga

secercah sinar

redup terulur

keluar dari

dalam bukaan

lentera bak

benang sutra

laba-laba

mencuat keluar di antar

celah lentera

menyinari

mata burung

bangkai

tersebut.



The unit shift appears in the translation of word spider which is in single

word unit, thus it is rendered in both TTs as laba-laba which is a phrase. There is


76

also word until which is translated in TT1 as sampai akhirnya which performs a

phrase.

The vulture eye which is translated into mata burung bangkai in both TTs

indicates the structural shift of order. This denotes the position change of M-H in

vulture eye into H-M in mata burung bangkai.


63/ST/RA It was open –

wide, wide

open –and I

grew furious

as I gazed

upon it.

63/JYM/RA Mata itu

terbuka –

terbuka lebar

–dan aku

menjadi

berang saat menatapnya.

63/GJYT/RA Mata itu

terbuka lebar

dan tak lama

hatiku pun

mengamuk.

Occuring shift in TT1 : 1 class shift, 1 structure shift


The word open in clause it was open is functioned as an adjective,

however gaining the verb form when translated as terbuka in both TTs. This

denotes the presence of class shift.

Phrase terbuka lebar in both TTs as a translation of phrase wide open

indicates the structure shift wherby the structure order converts from M-H in ST

to H-M in TT.


64/ST/RA I saw it with perfect distinctness –all a dull blue, with a hideous veil over it that

chilled the very marrow in my bones;

64/JYM/RA Aku melihat mata itu dengan sangat jelas –warna biru pucat itu, dengan dilapisi

selaput mengerikan yang membuatku merasa sungguh amat takut.

64/GJYT/RA Aku melihatnya dengan jelas –warna yang pucat, selaput yang

menjijikkan, ugh! Tulang-tulangku terasa ngilu menatap sorotannya.


77



Rendering distinctess as jelas in both TTs obviously indicates word class

shift from noun to adjective.

The structure shift presents in the translation of phrase dull blue as warna

biru pucat (TT1) and warna yang pucat (TT2). This shows the structure changing

from M-H to H-M. The structure also transmutes in translating hideous veil as

selaput yang mengerikan (TT1) and selaput yang menjijikan (TT2). It transposes

from M-H to H-M. Translation of my bones as tulang-tulangku (TT2) also carries

the same idea as M-H renders to H-M. Another case is that when translator of TT1

renders chilled the very marrow of my bones as membuatku merasa sungguh

takut, there implied a structural change since the verb chilled entails the object the

very marrow…., while the verb membuat in TT1 does not entail any object but a

complement. The adverb and adjective in clause merasa sungguh takut stands as

complement describing the subject, in this case the character. Meanwhile, In TT2

the phrase my bones transposes from object into subject as in tulang-tulangku

terasa…


65/ST/RA But I could see

nothing else of the old man’s face or person; for I had directed the ray as if by instinct, precisely upon

the damned spot.

65/JYM/RA Tapi aku tidak

melihat bagian lain dari wajah atau sosok si lelaki tua karena aku telah mengarahkan sinar lentera

seolah dengan refleks, tepat ke mata terkutuk itu.

65/GJYT/RA Tapi aku juga

seolah tersihir, tak mau tahu tentang hal lain, terus mengarahkan cahaya lentera yang remang kea rah mata

sial itu.


78



There is unit shift appearing in the TT1’s translation of man’s face as

wajah only. The similar case happens when the word person switches to a phrase

in TT1 as seen in sosok si lelaki tua. The first case, the shift goes from phrase to

word category, while the other switches from word to phrase category. Unit shift

occurring in both TTs also denoted by ray which translated into sinar lentera

(TT1) and cahaya lentera yang remang (TT2). The shift goes from word into

phrase category.

Structure shift occurs in phrase damned spot translation. Both TTs’

translator separatedly renders the phrase as mata terkutuk (TT1), and mata sial

(TT2). The structure order transmutes from M-H to H-M.


66/ST/RA And now

have I not

told you that

what you

mistake for

madness is

but over-

acuteness of

the senses?

66/JYM/RA Bukankankah

tadi sudah

kukatakan

bahwa

dugaanmu

yang keliru

tentang

kegilaanku itu

sebenarnya

hanyalah

ketajaman indra yang

terlalu kuat?

66/GJYT/RA Bukankah

tadi sudah

kukatakan

bahwa

kegilaan

mampu

menajamkan

indra

manusia?



Intra-system shift shown in the word senses which is plural taranslated as

indra in both TTs. Therefore, the system falls from plural into singular in the TTs.


79

By rendering over-acuteness of the senses as indra yang terlalu kuat TT1

exhibits a transposition of structure order from M-H in ST to H-M in TT.



67/ST/RA –now, I say, there came

to my ears a

low, dull, quick sound,

such as a

watch makes when

enveloped in

cotton.

67/JYM/RA Nah, sekarang di

telingaku

terdengar suara cepat

yang rendah

dan samar-samar,

seperti suara

jam saat

diredam dalam

bantal

67/GJYT/RA Nah, pada saat ini aku

mendengar

suara samar, namun

teratur:

seperti jam tangan yang

diredam

suaranya

oleh bantal kapuk.



The structure Verb-Prepositional Phrase carried out by phrase came to my

ears shifts to Prepositional Phrase-Verb as seen in TT1, di telingaku terdengar.

This indicates the presence of structure shift in terms of transposition. Besides, it

also happens in the low, dull, quick sound which applies M-H, then changes into

suara cepat yang rendah dan samar-samar (TT1), and suara samar namun

teratur (TT2). Both TTs employs structure H-M, thereupon, the shift transposes

from M-H to H-M.

Here also occurs the intra-system shift as seen in ears which plural gains

its singular form as translated into TT1 as telinga.


68/ST/RA I knew that

sound well

too

68/JYM/RA Aku juga

mengenal

betul suara

itu.

68/GJYT/RA Meski tak

lazim, aku

juga

mengenal

suara itu

dengan baik.


80



The unit shift appearing as the word well is translated into a form of

phrase dengan baik in TT2. The shift starts from word into phrase category.


69/ST/RA It was the beating of the

old man’s

heart.

69/JYM/RA Suara itu berasal dari

denyut

jantung si

lelaki tua

69/GJYT/RA Denyut itu milik jantung

si lelaki tua



The structure shift appearing in this datum shown in the translation of

phrase old man translated as lelaki tua in both TTs. The phrase experiences a shift

of structure order from M-H in the ST into H-M in TT.

It is interesting to know that the translator of TT2 renders was a copula as

milik which is a noun. The word class plays role since verb is translated into

noun.



70/ST/RA It increased

my fury, as

the beating of a drum

stimulates

the soldier

into courage.

70/JYM/RA Denyut jantung

itu meluapkan

amarahku, bagai tabuhan

drum yang

membangkitkan

keberanian

dalam diri

prajurit.

70/GJYT/RA Amarahku

kini tak bisa

ditahan lagi, detak jantung

belialu bagai

tabuhan drum

yang

mengundang

kenekatan

prajurit

perang.




81

The structure of the clause a drum stimulates the soldier into courage in

TT1 as keberanian dalam diri prajurit. The clause is translated that way because

the translator perhaps considers that it will be odd in Bahasa when saying tabuhan

membangkitkan prajurit untuk bersemangat. Instead, it is common to say

membangkitkan keberanian dalam diri prajurit. The TT2 also operates the same

pattern as seen in drum mengundang kenekatan prajurit perang.

The other structure shift to present is shown in the phrase my fury which

then translated into both TTs as amarahku. The order goes reverselly between the

ST and TTs from M-H to H-M.


71/ST/RA But even yet I

refrained and

kept still. I

scarcely

breathed. I held the

lantern

motionless.

71/JYM/RA Meskipun

begitu, aku

menahan diri

dan tetap

diam. Aku menahan

napas.

Kupegang

erat lentera

sehingga

tidak

bergoyang-

goyang.

71/GJYT/RA Tapi aku

tetap diam.

Menahan

napas.

Kupegang erat lentera

dalam

genggamanku

tanpa

bergerak

sedikit pun.


Occuring shift in TT2 : 1 structure shfit, 2 unit shift

The first shift to occur is structure shift shown in the order of the

structure goes from H-M into M-H, as seen in the phrase kept still and translated

into tetap diam in both TTs. Moreover, this datum shows also a unit shift. First in

the TT1, the word unit is shown to be adding as visibel in motionless translated

into sehingga tidak bergoyang-goyang. While in TT2, the word is translated into

tanpa bergerak sedikitpun. There is also unit shift in TT2 but now the reduction


82

process takes the part. The two clauses I refrained and kept still. I scarcelly

breathed are to be found translated as menahan napas only. The TT2 translator

seemingly focused directly on the phrase scarcely breathed which then translated

into TT2 as Menahan napas.


72/ST/RA I tried how

steadily I

could to

maintain the

ray upon the

eye.

72/JYM/RA Kucoba

sebisa

mungkin

tetap

mengarahkan

sinarnya ke mata itu

72/GJYT/RA Kutahan

pancaran

sinar yang

menyeruak

lemah di

antara impitan

kegelapan

malam dan

jatuh terus di

mata jahanam

itu.



There is a unit shift occuring in TT2. The word ray is translated as

pancaran sinar yang menyeruak lemah di antara inpitan kegelapan malam. The

shift departs from word into clause category. Unit shift also happens in the word

eye which is translated as mata jahanam itu (TT2). This indicates the movement

of word unit from word into a phrase level.


73/ST/RA Meantime, the hellish tattoo of the heart

increase. It grew quicker and quicker, and louder and louder every instant.

73/JYM/RA Saat itu tabuhan mengerikan

dari jantungnya terdengar menguat. Detaknya kian cepat dan cepat, dan suaranya makin keras.

73/GJYT/RA Sementara telingaku terus mendengar

denyut jantungnya, iramanya yang semakin cepat, suaranya yang lantang.


83

Occuring shift in TT1 : 1 structure shift, 1 unit shift, 1 class shift


The shift occuring in this datum is structure shift. The phenomenon can

be seen in the changing of structure order M-H in the ST’s phrase and its

translation in TT1 which has H-M structure, hellish tattoo becoming tabuhan

mengerikan.

The presence of unit shift is marked by the word terdengar menguat

(TT1) as translated from the ST’s increase. There is unit addition from single

word into a phrase.

The class of word grew is verb, however it shifts to an adverb as translated

in TT1, kian.


74/ST/RA The old

man’s terror

must have

been extreme!

74/JYM/RA Ketakutan

lelaki tua itu

pasti sudah

memuncak!

74/GJYT/RA Beliau pasti

dicekam

teror!


Occuring shift in TT2 :

The shift appearing is structure shift. This shift marks the changing of

structure order. The order starts with M-H and ends with H-M. This can be seen in

the translation of phrase The old man’s terror translation in TT1 which is

translated into Ketakutan lelaki tua itu.

The word extreme which is rendered as memuncak in TT1 signifies the

class shift from the adjective into verb.


84


75/ST/RA It grew

louder, I say,

louder every

moment! –do

you mark me

well? I have told you that I

am

nervous:so I

am.

75/JYM/RA Detaknya

bertambah

keras, lebih

kencang

setiap saat!

Kau perhatikan

baik-baik apa

yang tadi

kukatakan

kalau aku ini

gugup.

Aku memang

gugup.

75/GJYT/RA No

translation is

provided.



Structure of the question do you mark me well? Changes into the

imperative structure as seen in TT1 Kau perhatikan baik-baik. Each sentence,

either ST or TT1 would give a different impact to the listener or the addressee.

The question in ST contains a rethorical aspect allowing no answer from the

addressee. However, as the translation’s structure shifting from question into

imperative, the addresse would produce a different mental response to it. We can

simply say that the sentence in ST is applying a polite way whilst the other is

enabling a tenser way of asking the addressee’s attention.

Besides, there is also class shift denoted in the translation of copula am in

TT1. The word which posits a verb is translated as gugup which is an adjective.


76/ST/RA And now at

the dead hour

of the night,

amid the

dreadful silence of that

old house, so

76/JYM/RA Dan sekarang

di malam

buta ini, di

tengah

kesunyian rumah tua itu,

betapa

76/GJYT/RA Percaya atau

tidak, rasa

gugup yang

melandaku

kini membuatku

senang


85


strange a

noise as this

excited me to

zf llable

terror.

anehnya suara

seperti ini

justru

membuatku

bergairah

sekaligus

takut

setengah

mati.

sekaligus

takut.



There is a structure shift happening in malam buta of TT1 as the

correspondence to the phrase the dead hour of the night. The structure shift from

M-H to H-M. The other structure shift can be discovered in TT1 translation of

uncontrollable terror. The translator renders the phrase as takut setengah mati.

The structure of the translation changes from M-H into H-M. Diversely, the

translator of TT2 renders the phrase as takut affecting on the reducing of word

unit from phrase into word category (unit shift).

Unit shift can be seen in the translation of verb exited which turns into

verb phrase membuatku bergairah in TT1 and membuatku senang in TT2.


77/ST/RA Yet, for some minutes longer I refrained and stood still. But the beating

grew louder, louder! I thought the heart must burst.

77/JYM/RA Tapi, selama beberapa menit lebih lama aku menahan diri dan bergeming.

Detak itu kian kencang, dan kencang! Sampai kukira jantung itu bisa saja meledak.

77/GJYT/RA Di tengah kesunyian malam, aku tak berkutik. Denyut jantung

lelaki tua itu semakin keras mengetuk genderang telingaku. Dag! Dig! Dug! Aku khawatir jantungnya

akan meletus seperti balon yang ditusuk jarum.


86

Occuring shift in TT1 : 1 intra-system shift, 1 class shift


The shift occuring in the datum is intra-system shift, class shift and unit

shift. The intra-system shift is shown in the changing of plural into singular as

seen in minutes into menit (TT1).

The other shift showing up is class shift. This shift can be seen in the

changing of word class of verb into an adverb. The evidence is shown in the word

grew changes into kian of TT1.

Unit shift occuring in the tranlation of burst in TT2, meletus seperti balon

yang ditusuk jarum strengthens the idea that there is a shift from word into clause

category.


78/ST/RA And now a

new anxiety

seized me –

the sound

would be

heard by a

neighbor! The

old man’s

hour had

come

78/JYM/RA Sekarang

kegelisahan

lain

menyergapku

–suara itu

bisa saja

terdengar

oleh seorang

tetangga! Ajal

si lelaki tua

sudah tiba!

78/GJYT/RA Dan aku juga

resah kalau-

kalau ada

tetangga yang

mendengar

denyut

jantung yang

sama

menggelegar

dari dalam

rumah ini. Aku harus

melakukan

sesuatu.



The clause aku harus melakukan sesuatu in TT2 indeed produces a

distinctive meaning compared to the old man’s hour had come. The translator of

the TT presumably focuses on the intention carries out by the sentence (plan to


87

murder) instead of just translating the message. Through the translation she also

provides the idea of the character as an active person; ‘instead of waiting for the

hour to come, I want to approach the hour’. Along with that, the phrase old man’s

hour appears to shift in terms of structure as compared to the TT1 ajal si lelaki

tua. This is a changing from M-H to H-M.

B. The Readabilty of Indonesian Translation in “Jantung yang Mengaduh”

and “Gema Jantung yang Tersiksa”

After analyzing the first part that is the category shift in both TTs, the

second part is purposively conducted to answer the second problem which is to

identify the readability level of TTs. Specifically, this part comprised of two parts.

The first part is given to elaborate the level of readability of “Jantung yang

Mengaduh” translated by Shinta Dewi, thus, the second part is left for “Gema

Jantung yang Tersiksa” translated by Maggie Tjoakin To help the explanation of

the data, there provided charts in color that is also expected to be helping the

understanding.

Chart 4. Readability between JYM and GJYT

45%

55%

Gema Jantung yang Tersiksa Jantung yang Mengaduh


88

Comparison of both TTs is obviously visible through experiencing the

readable and not readable sides in their sentences. The contranst is clearly spotted

in the pie chart above as “Jantung yang Mengaduh” apparent to have a higher

level of readability over “Gema Jantung yang Tersiksa.” Out of 78 data in each

TT, “Jantung yang Mengaduh is opted over 335 times to be readable while 269

times is opted for “Gema Jantung yang Tersiksa.”

In order to obtain the details, this part separates the data in two parts. The

first part is readability of “Jantung yang Mengaduh” and the second part is

readability of “Gema Jantung yang Tersiksa.”

1. Readability of “Jantung yang Mengaduh”

This section observes the level of readability of “Jantung yang Mengaduh”

and the factors affecting it. Initially, this part begins with the explanation of the

readability of the TT in general, hence, succeeded by the the discussion of the

factors comprised of two parts; readable data and not readable data. The

explanation is given sequentially starts with the readable data, and then followed

by not readable data. The analysis will be preceeded by supplying charts then

followed by an elaboration.

Chart 5. Readability of “Jantung yang Mengaduh”

81%

19%

Readable Not Readable


89

The chart above depicts “Jantung yang Mengaduh” to be more readable

over not readable, for the average sentences in the text gain 81% while not

readable sentences stands in 19% in total. The results containing surely cannot be

separated from the factors affecting its readability. There occurs all factors as

suggested by Nababan (Nababan, 1999, pp. 62-77); complete; short; familiar; no

borrowing; and sensible sequence. Accordingly, the subsection is divided into two

parts as well discussing factors occurring in both readable data and not readable

data.

a. Readable Data

This section discusses analysis of frequency of factors occurring in the

questionnaire which establishes the data to be readable. The factors occurring in

the questionnaire are complete, short, familiar, no borrowing, clear, and sensible

sequence.

Chart 6. The Frequency of Readability Factors in “Jantung yang Mengaduh”

As seen in the chart above, there all occuring factors to employ by the

respondents. The most frequent factor is familiar with the total 251 times of

occurrence, followed by clear with 244 times of occurrence, next, complete with

total occurrence in 170 times, then sensible sequence over 154 times, short over

116 times, and at last no borrowing over 96 times of occurrence in the TT. It is

0

100

200

300

Complete Short Familiar No borrowing Clear Sensiblesequence


90

important to notice that the obtained data differs one to another since the

respondents did not fill all column when picking a side. They only filled the

column where they find out the factors suit their deliberations. Below is provided

the example of readability data analysis:

No. Data JYM R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑R

2/JYM/Ex Tapi mengapa

kau

menganggapku

gila?

R R R R R R R R R R 10

The table above shows an example of readability data based on distributed

questionnaire. The table, as can be seen, displays the fact that all respondents of

the TT agree that the sentece is readable. It means that all the respondets have no

problem in understanding and accepting the sentence, hence, it gains a perfect

score, 10.

b. Not-Readable Data

This part observes the frequency of factors occurring that built the

sentences to be not readable. Those factors are incomplete, long, unfamiliar,

contains borrowing, ambiguous, and unsensible sequence. The elaboration of

these factors are given as visible in the chart below:

Chart 7. The Frequency of Not-Readable Factors in “Jantung yang

Mengaduh”

0

20

40

60

Incomplete Long Unfamiliar Containsborrowing

Ambiguous Unsensiblesequence


91

According to chart above, there are occuring all factors affecting the not

readability of sentences in the TT. Started from the higest score, realized to be

familiar stands in 56 times of occurence, followed by ambiguous in 54 time of

occurence, thus, long 24 times, contains borrowing 20 times, while incomplete

and unsensible sequence both gain 19 times of occurence. It notable that the

varying data happen due to the fact that the respondent only filled the column

where they perceive to conform their deliberations. To complete the analysis,

below is presented table of not-readable data:

No. Data JYM R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑NR

60/JYM/Ra Pengaruh

suram dari

bayang-

bayang tak

terlihat

inilah yang

membuatnya

merasa –

meski dia

tidak

melihat ataupun

mendengar

–merasakan

kehadiranku

di dalam

kamar itu.

NR R R NR R NR NR NR NR NR 7

The table above shows the level of readability of datum number 60. It

depicts that there are 7 out of 10 respondents to choose this sentence as not

readable while there are 3 of them claim to understand it, and so picking readable.

The 7 respondents choose not readable since in their perspective, the sentence is

first, ambiguous, meaning to say that the sentence purposes more than one idea;

second, long, as for them the sentence is literally long, hence, making it hard to be

understood; third, unfamiliar, that there must be a word or more which in its usage


92

is regarded as new for the respondents leading to their preference of not readable;

incomplete, meaning to say that there must be an absence of an element of a

sentence; and lastly unsensible sequence that there must be a word or idea that

does not follow the sequence or line where it should be.

2. Readability of “Gema Jantung yang Tersiksa”

This part discusses the level of readability of the second TT, “Gema

Jantung yang Tersiksa” in relation to the factors affecting it. Thus, an elaboration

is provided with the aid of chart. The readability analysis of this text is divided

into two minor parts. The first part speaks the readability data in general, whilst

the second part scrutinizes the factors occurence in the data which consists of

readability and not readable data. Inherently, the chart of readability data is

shown, hence followed by charts elaborating each readable data and not readable

data. In doing so, charts are applied to give a strong description of the data itself.

Chart 8. Readability of “Gema Jantung yang Tersiksa”

It is evident that the text contains more readable over not readable

sentence that ineluctably directs the text to be readable in general. As the chart

points, there is spotted readable data experiences 74% of 572 times of occurence,

74%

26%

Readable Not Readable


93

whereas not readable data takes 26% of 198 times of occurence. The outcome

derived from how frequent readability factors occuring, those factors are;

complete-incomplete, short-long, familiar-unfamiliar, no borrowing-contains

borrowing, clear-ambiguous, and sensible-unsensible sequence. This factors

subsequently discussed in the readable and not readable data.

a. Readable Data

This section provides the discussion about the occurence of factors in

affecting the readability of the data. Those occuring factors are complete, short,

familiar, no borrowing, clear, and sensible sequence. Below, the data is provided

by employing chart intended to help the understanding of it, hence followed by

the explanation.

Chart 9. The Frequency of Readability Factors in “Gema Jantung yang

Tersiksa”

Obviously, all factors are present in the data. The frequency shows that

though disparate, the occurences among factors are not too significant. Clear is

spotted having 292 as the most frequent factor occuring followed in a slight

number below familiar with 291, next, complete with 221 times, thus short with

181 times, sensible sequence with 159 times, and no borrowing with 156 times of

occurence. It is notable that the factors chosen are in accordance with various

0

100

200

300

400

Complete Short Familiar No borrowing Clear Sensiblesequence


94

deliberations of the respondents that presumably fit them leading to the fluctiation

among the factors. Below is presented an example of readable data analysis:

No. Data GJYT R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑R

57/TT2/Ra

Berkali-kali beliau

berkata pada

dirinya sendiri,

“suara aneh itu

pasti disebabkan

karena embusan

angin malam yang

terperangkap di

dalam cerobong

asap –atau suara

tikus jalan-jalan.”

Atau “derik jangkrik.”

NR R R R R R R R R NR 8

The table shows that there are 8 respondents who choose the sentence as

readable. It means that they have no issue towards the understanding and

accepting the sentence. However, there are still 2 respondents to choose reversely.

These 2 respondents (R1, R10) have their own consideration in making them do

so. At first, R1 choose not readable because of his regarding the sentence as

unfamiliar, which means that there has to be at least one word that is new or in the

usage in the sentence is arguably unintelligible. Secondly, the other respondent

R10 also regards that the sentence has unsensible sequence, meaning to say that

there must be a word or an idea in the sentence that does not follow or match the

sequence as they are supposed to be.

b. Not-Readable Data

This part focuses on unraveling the occurence of factors that make the data

not to be readable. Those factors are incomplete, long, unfamiliar, contains


95

borrowing, ambiguous, and unsensible sequence. Furthermore, there is included a

chart in order to give the visual aid in elaborating the data.

Chart 10. The Frequency of Not-Readable Factors in “Gema Jantung yang

Tersiksa”

The chart above displays the range of occurences among factors in TT.

Starting from the most frequent to occur, there is ambiguous with 78 times of

occurence, incomplete with 67, unsensible sequence with 55, ufamiliar with 50,

followed by long with 41, and ended by contains borrowing with 23 times of

occurence. The range is fluctuative regarding the deliberations of the respondent

in filling the column. In picking a side whether a sentence is readable or not, there

were some respondents who fill chose a factor, while there were also some who

chose more than one factor. The analysis of the not readable data is served below;

No. Data GJYT R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 ∑NR

35/TT2/Ra

Maka itu,

kecuali beliau punya indra

khusus untuk

mendeteksi apa

yang tidak

terdeteksi,

rasanya

mustahil

baginya untuk

mencurigaiku.

R NR NR R R NR NR NR NR NR 7

The table above displays the level of readability of datum 35. It obviously

showing the contranst between the respondents who pick readable and not

0

20

40

60

80

100

Incomplete Long Unfamiliar Containsborrowing

Ambiguous Unsensiblesequence


96

readable data, as 3 of them have no problem in understanding the sentence, most

of them, 7 respondents choose the sentence to be not readable. R2 regard the

sentence to be ambiguous. It means that there must be a statement or an idea in the

sentence that contains more that one meaning. Besides, R3 also regards the

sentence to be long, and therefore choose it as not readable. Moreover, R6 and

R10 claim that the sentence has an unsensible sequence, it means that there must

be a part, word, or an idea that does not follow the sequence they are supposed to

be. R8 and R9 do the same by considering the sentence to be incomplete, that

there must be the absence of at least one element in establishing a sentence.

Lastly, R7 picks not readable since his considering the factor unfamiliar, that there

must be a new word that in its usage in the sentence affecting the other words,

thus, leading to be unconceivable.


97

CHAPTER V

CONCLUSION

Translation conducted in the area of literary work is truly a matter that

should not be underrated owing to the uniqueness it conveys which would lead to

be effortful for translators. Those uniqueness can be figurative languages,

nuances, structure, and many more others. In that sense, this researh aimed to

examine the category shift and the level of readability in two versions of the

Indonesian translation of Poe’s “The Tell-Tale Heart” which is managed based on

a qualitative and quantitative method.

Departing from the qualitative reseach analysis there found in both TTs all

types of category shift to occur; structure, unit, class, and intra-system shift whose

each TT produces a distinct outcome. The detail of shift occuring displays

structure shift to come as the most frequent shift in JYM, as unit shift to be the

most frequent shift in GJYT. The difference happens, to which there are more

shift occurring in JYM to GJYT, and structure shift occurring more in JYM to

GJYT due to the fact that the translator of TT1 seeks to find the formal

correspondence translation of the words and structures produced by the author in

the ST, which is not the concern of the second TT’s translator who emphasizes

more in adding expression to the TT. This ineluctably impacts the more unit shift

appearing in GJYT rather than in JYM.


98

From quantitative research’s point of view in terms of readability, both

TTs are perceived to be readable, however, JYM in fact turns to have a higher

level of readability to the second TT, GJYM, which is visible in the precentage of

55% to 45%. Besides, familiar and clear are the most frequent factors to choose in

the readable data of both TTs. ln the not-readable data, JYM displays the

unfamiliar and ambiguous to the most frequent factors appearing, while GJYT

spots factors incomplete and ambiguous to be the frequent.

To the closing of findings and analysis, it can be concluded that, there

must be occured all types of category shift in each literary translation. The

problem of which there are distinctive frequencies of the shift occurring in

between the two translations is due to how faithfully the translators render the text

in terms of providing a formal correspondence translation in the TT. This indeed

resulting on the level of readability possessed by each TT. Ultimately, the more

category shift occurring and the dominant use of structure shift in JYM imply the

translator’s commitment of complying a formal correspondence translation to the

ST which establishes it to be concise but altogether unyielding in view of the fact

that it nails too much to the form and structure of ST, yet leading to be more

readable. On the other hand, by employing less category shift and the fact that unit

shift prominently occurs in GJYT, the translator’s show her intention of bringing

a dynamic equivalence translation which employs a more natural translation to the

ST. This ineluctably constructs the TT to flow and becomes more communicative,

however, impacting on the lower level of readability to the text. Lastly, JYM


99

comes out to be more readable than GJYT for the students of English letters

department.

Since the readability result derived from a restricted area which involves

mere students from English letters department, therefore, a further research

regarding a wider scope of respondents is needed in the distant future to clarify

the readability of the TTs.

Additionally, this undergraduate thesis also discovers the numerous usage

of expression shift in TT2 as the effect of producing more dynamic equivalence

by the translator. Therefore, a further reseach is needed also ,m to examine the

causes and effects of the expression shift occuring in the literary work.


100

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Retranslation of "Pride and Prejudice". Open Journal of Modern

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Ghoreishi, S. M., & Aminzadeh, S. (2016). The Effects of Translation Shifts on

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Herman, M. (2014). Category Shifts In the English Translation of Harry Potter

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House, R. (1944). Tales of Edgar Allen Poe. New York: Random House.

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Nababan, M. R. (1999). Teori Menerjemah Bahasa Inggris. Yogyakarta: Pustaka

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APPENDICES

Appendix 1. “The Tell-Tale Heart” by Edgar Allan Poe

TRUE!—nervous—very, very dreadfully nervous I had been and am; but

why will you say that I am mad? The disease had sharpened my senses—not

destroyed—not dulled them. Above all was the sense of hearing acute. I heard all

things in the heaven and in the earth. I heard many things in hell. How, then, am I

mad? Hearken! and observe how healthily—how calmly I can tell you the whole

story.

It is impossible to say how first the idea entered mybrain; but once

conceived, it haunted me day and night. Object there was none. Passion there was

none. I loved the old man. He had never wronged me. He had never given me

insult. For his gold I had no desire. I think it was his eye! yes, it was this! One of

his eyes resembled that of a vulture—a pale blue eye, with a film over it.

Whenever it fell upon me, my blood ran cold; and so by degrees—very

gradually—I made up my mind to take the life of the old man, and thus rid myself

of the eye for ever.

Now this is the point. You fancy me mad. Madmen know nothing. But you

should have seen me. You should have seen how wisely I proceeded—with what

caution—with what foresight—with what dissimulation I went to work! I was

never kinder to the old man than during the whole week before I killed him. And

every night, about midnight, I turned the latch of his door and opened it—oh, so

gently! And then, when I had made an opening sufficient for my head, I put in a

dark lantern, all closed, closed, so that no light shone out, and then I thrust in my

head. Oh, you would have laughed to see how cunningly I thrust it in! I moved it

slowly—very, very slowly, so that I might not disturb the old man’s sleep. It took

me an hour to place my whole head within the opening so far that I could see him

as he lay upon his bed. Ha!—would a madman have been so wise as this? And

then, when my head was well in the room, I undid the lantern cautiously—oh, so

cautiously—cautiously (for the hinges creaked)—I undid it just so much that a

single thin ray fell upon the vulture eye. And this I did for seven long nights—

every night just at midnight—but I found the eye always closed; and so it was

impossible to do the work; for it was not the old man who vexed me, but his Evil

Eye. And every morning, when the day broke, I went boldly into the chamber, and

spoke courageously to him, calling him by name in a hearty tone, and inquiring

how he had passed the night. So you see he would have been a very profound old

man, indeed, to suspect that every night, just at twelve, I looked in upon him

while he slept.

Upon the eighth night I was more than usually cautious in opening the

door. A watch’s minute hand moves more quickly than did mine. Never before

that night had I felt the extent of my own powers—of my sagacity. I could

scarcely contain my feelings of triumph. To think that there I was, opening the


103

door, little by little, and he not even to dream of my secret deeds or thoughts. I

fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed

suddenly, as if startled. Now you may think that I drew back—but no. His room

was as black as pitch with the thick darkness (for the shutters were close fastened,

through fear of robbers), and so I knew that he could not see the opening of the

door, and I kept pushing it on steadily, steadily.

I had my head in, and was about to open the lantern, when my thumb

slipped upon the tin fastening, and the old man sprang up in the bed, crying out—

“Who’s there?”

I kept quite still and said nothing. For a whole hour I did not move a

muscle, and in the meantime I did not hear him lie down. He was still sitting up in

the bed listening;— just as I have done, night after night, hearkening to the death

watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal

terror. It was not a groan of pain or of grief—oh, no!—it was the low stifled sound

that arises from the bottom of the soul when overcharged with awe. I knew the

sound well. Many a night, just at midnight, when all the world slept, it has welled

up from my own bosom, deepening, with its dreadful echo, the terrors that

distracted me. I say I knew it well. I knew what the old man felt, and pitied him,

although I chuckled at heart. I knew that he had been lying awake ever since the

first slight noise, when he had turned in the bed. His fears had been ever since

growing upon him. He had been trying to fancy them causeless, but could not. He

had been saying to himself—“It is nothing but the wind in the chimney—it is only

a mouse crossing the floor,” or “it is merely a cricket which has made a single

chirp.” Yes, he has been trying to comfort himself with these suppositions; but he

had found all in vain. All in vain; because Death, in approaching him, had stalked

with his black shadow before him, and enveloped the victim. And it was the

mournful influence of the unperceived shadow that caused him to feel—although

he neither saw nor heard—to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie

down, I resolved to open a little—a very, very little crevice in the lantern. So I

opened it—you cannot imagine how stealthily, stealthily—until, at length, a single

dim ray, like the thread of the spider, shot from out the crevice and full upon the

vulture eye.

It was open—wide, wide open—and I grew furious as I gazed upon it. I

saw it with perfect distinctness—all a dull blue, with a hideous veil over it that

chilled the very marrow in my bones; but I could see nothing else of the old man’s

face or person: for I had directed the ray as if by instinct, precisely upon the

damned spot.

And now have I not told you that what you mistake for madness is but

over-acuteness of the senses?—now, I say, there came to my ears a low, dull,

quick sound, such as a watch makes when enveloped in cotton. I knew that sound

well too. It was the beating of the old man’s heart. It increased my fury, as the

beating of a drum stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the

lantern motionless. I tried how steadily I could maintain the ray upon the eye.


104

Meantime the hellish tattoo of the heart increased. It grew quicker and quicker,

and louder and louder every instant. The old man’s terror must have been

extreme! It grew louder, I say, louder every moment!—do you mark me well? I

have told you that I am nervous: so I am. And now at the dead hour of the night,

amid the dreadful silence of that old house, so strange a noise as this excited me to

uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But

the beating grew louder, louder! I thought the heart must burst. And now a new

anxiety seized me—the sound would be heard by a neighbor! The old man’s hour

had come!

Appendix 2. “Jantung yang Mengaduh” by Shita Dewi

Benar sekali! Gugup –sedari tadi dan sampai sekarang aku sungguh amat

gugup. Tapi mengapa kau menganggapku gila?Kegugupan ini, alih-alih merusak

atau menumpulkannya, justru telah mempertajam indra-indraku. Yang terutama

sekali, indra pendengaranku yang begitu peka Aku mendengar segala hal yang

terjadi di surga dan di bumi Bahkan aku mendengar banyak hal yang ada di

neraka Kalau begitu, bagaimana mungkin aku ini gila? Dengarkan baik-baik!

Perhatikan betapa aku bisa menceritakan seluruh ceritanya kepadamu dengan

tenang dan dengan akal sehat.

Mustahil rasanya menceritakan bagaimana awalnya ide itu tercetus di

benakku. Tapi begitu mendapatkannya, ide itu selalu terngiang di pikiranku siang

dan malam. Aku tidak punya maksud apa-apa Amarah yang terpendam pun aku

tidak merasakan. Malah aku menyayangi lelaki tua itu. Dia juga tak pernah

memperlakukanku dengan kasar. Tidak juga dia pernah menghinaku. Hartanyapun

tidak aku ingini. Kurasa karena matanya! Ya, itu dia! Matanya seperti mata

burung pemakan bangkai –mata biru pucat, dengan dilapisi selaput. Setiap kali

mata itu terarah kepadaku, aku menjadi sangat takut; dan perlahan demi perlahan

–secara berangsur-angsur –kuputuskan untuk mencabut nyawa lelaki tua itu, jadi

aku bisa terbebas dari tetapan mata itu selama-lamanya.

Nah, begini pokok ceritaku. Kau mengira aku gila. Orang gila itu tidak

tahu apa-apa. Tapi kau seharusnya memperhatikanku. Kau akan melihat betapa

cerdiknya aku menyelesaikan perkerjaanku. Betapa rapih dan terencana,

kemudian aku berpura-pura tidak tahu apa-apa. Selama seminggu penuh sebelum

membunuhnya, aku bersikap lebih baik hati terhadap lelaki tua itu. Dan setiap

malam, sekitar tengah malam, kuputar gagang pintunya dan kubuka –dengan

amaaat pelan! Lalu setelah pintu terbuka sedikit hingga cukup melihat ke dalam,

kuulurkan tangan uang menenteng lentera berkatup yang semua katupnya

kurapatkan sehingga cahayanya tidak menyorot ke ruangan, kemudian kujulurkan

kepala ke dalam. Oh kau pasti akan tertawa jika melihat betapa cerdiknya aku

menjulurkan kepalaku ke dalam! Dengan perlahan aku bergerak –sangat, sangat

pelan sehinga tidak mengganggu tidur si lelaki tua.

Dibutuhkan waktu satu jam untuk melongokkan kepala ke dalam bukaan

pintu kamar itu sehingga aku bias melihat laki-laki itu terbaring di ranjangnya.

Ha! Bisakah seorang yang gila bertindak sehati-hati ini? Kemudian, ketika sudah

melongokkan kepalaku ke dalam kamar, kubuka katup penutup lentera dengan

hati-hati, -oh, dengan sangat hati-hati –karena engsel katupnya bisa berderit.


105

lentera kubuka seperlunya, hingga seberkas sinarnya cukup untuk menyoroti mata

burung bangkai itu. Ini kulakukan salama tujuh malam –setiap malam persis saat

tengah malam –tapi mata itu selalu saja dalam keadaan tertutup. Kalau matanya

tertutup, mustahil aku bisa membunuhnya, Karena bukan sosok lelaki tua itu yang

membuatku jengkel, tapi mata jahatnya.

Dan setiap pagi, ketika fajar menyingsing, aku dengan berani masuk ke

kamar, dan berbicara kepadanya dengan santai, memanggilanamanya dengan nada

ramah, dan menanyakan bagaimana tidurnya semalam. Karena itulah, kau lihat,

dia pasti lelaki tua yang sangat cerdas kalau sampai bisa mencurigai bahwa setiap

malam, persis jam dua belas, aku mengamatinya saat dia tertidur.

Pada malam kedelapan, aku lebih berhati-hati saat membuka pintu kamar

lelaki tua itu. Gerakanku sungguh amat pelan. Aku baru menyadari betapa

hebatnya diriku ini –betapa cerdiknya aku ini. Aku nyaris tidak bisa

mengendalikan perasan gembira ini. Coba bayangkan aku di sini membuka pintu

kamarnya sedikit demi sedikit, dan dia bahkan mencurigai tindakan atau pikiran

rahasiaku. Aku tertawa kecil membayangkannya. Mungkin dia mendengar

tawaku, karea dia tiba-tiba bergeser di ranjangnya seakan terkejut. Kau mungkin

mengira aku akan bergerak mundur –tapi tidak. Kamar lelaki tua itu gelap gulita.

Daun penutup jendela tertutup rapat karena khawatir ada pencuri yang masuk.

Jadi,aku yakin dia tidak bisa melihat bukaan pintunya. Dan aku pun terus

mendorong pintu kamar dengan gerakan mantap.

Aku sudah melongokkan kepala ke dalam dan baru saja hendak membuka

katup lentera, ketika ibu jariku menyentuh dan justru mengetuk lempengan katup

sehingga membuat lelaki tua itu terbangun di ranjangnya dan berteriak, “siapa di

situ?”

Aku tetap diam, dan tidak menjawab. Selama sejam penuh aku tidak

bergerak sedikitpun. Sementara itu, tidak kudengar lelaki tua itu berbaring lagi.

Dia masih saja duduk di ranjangnya seraya menyimak persis yang kulakukan

malam demi malam, sambil mendengarkan suara kumbang kayu yang mengetuk-

ngetuk di dinding.

Sekarang kudengar suara erangan lemah, dan aku tahu erangan ini

disebabkan oleh rasa takut yang luar biasa. Bukan erangan sakit atau sedih –oh

sama sekali bukan! Ini suara cekikan tertahan yang muncul dari dasar jiwa saat

dipenuhi rasa teror mengerikan. Aku kenal betul suara itu. Setiap malam, persis

tengah malam, ketika dunia tertidur lelap, suara itu meluap dari jiwaku, dengan

gema yang menakutkan. Perasaan teror yang menggelisahkan Sudah kukatakan,

aku kenal betul suara ini. Aku tahu apa yang dirasakan si lelaki tua, dank arena

itu, aku merasa kasihan padanya, meski aku tertawa dalam hati. Kutahu dia kini

terjaga sejak kali pertama dikejutkan gaduh pelan, ketika dia bergeser di

ranjangnya. Ketakutannya kian bertambah. Dia terus mencoba memikirkan semua

ini yang biasa, tapi percuma saja.

Dia terus berkata kepada diri sendiri, “itu hanya angin yang masuk ke dalam

cerobong asap. Itu hanya seekor tikus yang berjalan di lantai,” atau “itu Cuma

suara jangkrik yang mengerik.” Ya dia berusaha menenangkan dirinya dengan

dugaan-dugaan ini, tapi semua sia-sia belaka. Percuma karena maut yang datang


106

mendekat telah mengikuti lelaki tua dengan bayangan gelapnya dan meyelubungi

korban-korbannya.

Pengaruh suram dari bayang-bayang yang tak terlihat inilah yang membuatnya

merasa –meski dia tidak melihat ataupun mendengar –merasakan kehadiranku di

dalam kamar itu.

Sewaktu aku sudah menunggu begitu lama, dengan sangat sabar, tanpa

mendengar lelaki tua itu terbaring tidur, kuputuskan untuk membuka sedikit-

sangat sedikit – katup lentera. Kau tidak bisa membayangkan betapa aku

membukanya dengan diam-diam, sampai akhirnya secercah sinar bagai benang

laba-laba tersorot dari celah di lentera dan menyoroti mata burung bangkai itu.

Mata itu terbuka –terbuka lebar –dan aku menjadi berang saat menatapnya.

Aku melihat mata itu dengan sangat jelas –warna biru pucat itu, dengan dilapisi

selaput mengerikan yang membuatku merasa sungguh amat takut. Tapi aku tidak

melihat bagian lain dari wajah atau sosok si lelaki tua karena aku telah

mengarahkan sinar lentera seolah dengan refleks, tepat ke mata terkutuk itu.

Bukankankah tadi sudah kukatakan bahwa dugaanmu yang keliru tentang

kegilaanku itu sebenarnya hanyalah ketajaman indra yang terlalu kuat? Nah,

sekarang di telingaku terdengar suara cepat yang rendah dan samar-samar, seperti

suara jam saat diredam dalam bantal. Aku juga mengenal betul suara itu. Suara itu

berasal dari denyut jantung si lelaki tua. Denyut jantung itu meluapkan amarahku,

bagai tabuhan drum yang membangkitkan keberanian dalam diri prajurit.

Meskipun begitu, aku menahan diri dan tetap diam. Aku menahan napas.

Kupegang erat lentera sehingga tidak bergoyang-goyang. Kucoba sebisa mungkin

tetap mengarahkan sinarnya ke mata itu. Saat itu tabuhan mengerikan dari

jantungnya terdengar menguat. Detaknya kian cepat dan cepat, dan suaranya

makin keras. Ketakutan lelaki tua itu pasti sudah memuncak! Detaknya bertambah

keras, lebih kencang setiap saat! Kau perhatikan baik-baik apa yang tadi

kukatakan kalau aku ini gugup. Aku memang gugup. Dan sekarang di malam buta

ini, di tengah kesunyian rumah tua itu, betapa anehnya suara seperti ini justru

membuatku bergairah sekaligus takut setengah mati. Tapi, selama beberapa menit

lebih lama aku menahan diri dan bergeming. Detak itu kian kencang, dan

kencang! Sampai kukira jantung itu bisa saja meledak. Sekarang kegelisahan laing

menyergapku –suara itu bisa saja terdengar oleh seorang tetangga! Ajal si lelaki

tua sudah tiba!

Appendix 3. “Gema Jantung yang Tersiksa” by Magie Tjoakin

Benar sekali! Gugup –itu yang kurasakan dari tadi sampai sekarang, gugup

luar biasa. Tapi, itu bukan berarti aku gila, kan? Kalaupun benar aku gila, kegilaan

itu justru telah menajamkan semua indraku, bukan mematikan atau menumpulkan

mereka. Di antara indra lainnya, yang sekarang kurasakan paling tajam adalah

pendengaranku. Aku bisa mendengar semua yang telah terjadi di bumi, bahkan di

surga. Dan, lebih dari itu, pendengaranku juga bisa menangkap apa-apa saja yang

terjadi di neraka. Kalau sudah begitu, masihkah kau akan menyimpulkan bahwa

aku gila? Coba dengar! Pasang telinga! Aku akan menceritakan semuanya

kepadamu dengan pembawaan tenang serta berbekal akal sehat.


107

Kalau kau bertanya darimana aku mendapatkan ide itu, sulit bagiku untuk

menjelaskannya: Tapi kesumpulannya adalah begitu aku mendapat ide tersebut,

siang-malam aku memikirkannya. Jujur saja aku tidak punya motif terselubung.

Aku juga tidak pernah berniat macam-macam. Asal kau tahu, aku menyayangi

lelaki tua itu. Beliau tidak pernah menyakitiku apalagi mencelaku. Aku juga tidak

menginginkan harta kekayaannya.

Lantas apa yang menggangguku?

Matanya! Itu dia! Aku yakin sekarang. Sebelah matanya mengingatkanku

akan mata burung bangkai –warnanya biru pucat, dilapisi selaput tipis yang

menjijikkan Setiap kali menatapku, darahku mengalir dingin, hingga akhirnya

tumbuh hasrat di dadaku untuk membunuh beliau, agar aku bisa terbebaskan dari

pandangan mata yang membuatku jijik setengah mati.

Nah, ini sebenarnya inti ceritaku Kaupikir aku gila. Tapi sebenarnya orang

gila itu kan tidak tahu apa-apa. Beda halnya denganku: Seharusnya kau lihat

bagaimana aku melakukannya. Aku membunuh lelaki tua itu dengan hati-hati –

seksama –penuh perencanaan dan taktik manipulasi. Ini bukan perkerjaan kecil

lho! Sebelum membunuhnya, aku menghabiskan waktu seminggu penuh

mengambil perhatian beliau dan menjadi orang kesayangannya. Lalu, setiap

malam, menjelang tengah malam, aku memutar kunci dan membuka pintu

kamarnya pelan-pelan –pelaaan sekali. Aku hanya mendorong pintu itu selebar

yang kuperlukan supaya aku bisa menjulurkan kepalaku ke dalam. Kemudian, aku

mengulurkan sebelah tangan ke dalam kamar, menenteng sebentuk lentera yang

terselubung dalam kain gelap agar sinarnya tidak membangunkan lelaki tua itu.

Aku sangat berhati-hati dalam setiap gerak-gerikku hingga hanya untuk

melongokkan kepala ke dalam bukaan pintu kamar saja aku butuh waktu sekitar

satu jam. Ha! –apakah orang gila bisa melakukan semua ini tanpa sekalipun

terpergok? Tidak, kan?

Mari kulanjutkan ceritaku...

Setelah aku melongokkan kepala ke dalam kamar, aku mulai meredupkan cahaya

lentera dalam genggamanku dengan sangat hati-hati, apalagi karena engsel pintu

mulai berderit berisik. Redup cahaya lentera kini begitu halus menerobos ruangan

kamar hingga hanya sanggup menerangi bagian wajah beliau. Sebenarnya,

tujuanku sekadar untuk mengintip mata burung bangkai itu. Tujuh malam

berturut-turut aku mengendap-endap ke kamar tidur lelaki tua itu, namun setiap

kali aku melongokkan kepalaku ke dalam mata beliau selalu ditutup; maka sulit

bagiku untu k melakukan apa yang ingin kulakukan. Terus-terang, aku tidak

punya masalah dengan beliau, tetapi matanya itu, lho! Mata setan! Iiiii!

Kalau kau mau tahu, setiap pagi, saat mathari bersinar cerah, aku

melenggang masuk ke dalam kamar tidur berliau dengan seenaknya, mengajak

basa-basi, berbicara dengan nada ramah sambil menanyakan apakah beliay tidur

nyenyak semalam. Maka itu, kecuali beliau punya indra khusus untuk mendeteksi

apa yang tidak terdeteksi, rasanya mustahil baginya untuk mencurigaiku.

Di malam kedelapan, aku lebih berhati-hati saat membuka pintu kamar

beliau. Bila malam-malam sebelumnya au bergerak pelan, kali ini jauh lebih pelan

lagi. Entah kenapa, di malam kedelapan aku baru menyadari untuk pertama

kalinya –betapa hebat perbuatanku itu, akal-akalanku. Aku tidak bisa


108

membendung rasa bangga yang membumbung dalam dada. Bayangkan saja,

selama delapan malam beliau tidak pernah sekali pun mencurigai tindakanku. Aku

jadi geli sendiri memikirkannya. Tiba-tiba kulihat beliau di atas ranjang seolah

dikagetkan sesuatu. Waduh! Jangan-jangan –

Kau pasti mengira aku akan mundur melihat ini, tapi justru kebalikannya.

Kamar tidur beliau bernuansa sangat gelap (tirainya ditutup rapat demi mengusir

maling) dan aku dapat memastikan bahwa dengan pencahayaan terbatas, beliau

takkan bisa melihatku, atau pintu yang sedikit terbuka. Oleh sebab itu, aku terus

mendorong pintu kamarnya, pelaaaan sekali.

Tapi baru saja aku menjulurkan kepala ke dalam kamar beliau, dan dengan

sebelah tangan hendak menyalakan lentera, tiba-tiba lelaki tua itu bangkit duduk

di atas ranjang seraya berteriak lantang –“siapa di situ?”

Aku tidak menjawab, tidak juga bergerak. Otot-ototku tegang.…. selama

sejam penuh aku tidak mendengar beliau kembali merebahkan tubhnya di atas

ranjang. Tampaknya beliau masih berada dalam posisi duduk, memasang

telinga,persis seperti yang kulakukan tiap malam, berjaga-jaga, siapa tahu

malaikat kematian tengah berdiri mengawasi di balik dinding kamar.

Saat ini aku mendengar erangan lemah; erangan yang bermuara dari rasa

takut luar biasa. Erangan itu bukan erangan sakit, ataupun duka –sama sekali

bukan! melainkan erangan yang bangkit dari dalam jiwa dan dimotori rasa takut

akan sesuatu yang tidak kasatmata. Aku kenal sekali erangan itu. aku bisa

merasakan apa yang tengah dirasakan beliau, karena sering kali, di tengah malam,

saat dia terlelap dalam buaian tidur, erangan yang sama bangkit dari dalam jiwaku

menggema penuh terror, mengganggu alam sadarku. Sudah kubilang aku

mengenal erangan itu. Lantas, aku jatuh iba terhadap beliau, mengingat teror yang

melanda jiwanya, meski dalam hati aku tersenyum.

Sejak awal aku sadar bahwa beliau sudah mulai merasakan kejanggalan

dalam kamar tidurnya, terlebih saat ia menggeser tubuh di atas ranjang. Rasa

takutnya sedikit demi sedikit semakin memuncak; namun beliau tetap mencoba

mengusir kekhawatirannya. Berkali-kali beliau berkata pada dirinya sendiri,

“suara aneh itu pasti disebabkan karena embusan angin malam yang terperangkap

di dalam cerobong asap –atau suara tikus jalan-jalan.” Atau “derik jangkrik.”

Jangan heran, apabila dihadapkan pada situasi serupa, semua orang juga

pasti mencari penjelasa paling logis. Termasuk kau dan aku. Namun, dalam kasus

ini, pada akhirnya tidak ada satupun penjelasan logis itu yang berhasil membuat

lelaki tua itu tenang. Toh nyatanya sia-sia saja beliau mencoba untuk rasional;

karena kematian datang seperti bayangan hitam yang menyelimuti korban-

korbannya bahkan sebelum sosoknya yang gelap tiba di hadapan mereka. Aku

sangat yakin lelaki tua itu bisa merasakan kehadiranku –meski beliau sama sekali

tidak melihatku –di dalam kamar tidurnya.

Setelah lama menunggu, kuperhatikan, dia tetap berada dalam posisi

duduk di atas ranjang, maka kuputuskan untuk menyalakan lentera pelan-pelan,

menghadirkan cahaya yang sangat minim. Kulakukan semua itu tanpa bersuara –

kau mungkin tak bisa membayangkan betapa sunyi gerak-gerikku –hingga

secercah sinar redup terulur keluar dari dalam bukaan lentera bak benang sutra


109

laba-laba mencuat keluar di antar celah lentera menyinari mata burung bangkai

tersebut.

Mata itu terbuka lebar dan tak lama hatiku pun mengamuk. Aku

melihatnya dengan jelas –warna yang pucat, selaput yang menjijikkan, ugh!

Tulang-tulangku terasa ngilu menatap sorotannya. Tapi aku juga seolah tersihir,

tak mau tahu tentang hal lain, terus mentarahkan cahaya lentera yang remang

kearah mata sial itu.

Bukankah tadi sudah kukatakan bahwa kegilaan mampu menajamkan

indra manusia? Nah, pada saat ini aku mendengar suara samar, namun teratur:

seperti jam tangan yang diredam suaranya oleh bantal kapuk. Meski tak lazim,

aku juga mengenal suara itu dengan baik. Denyut itu milik jantung si lelaki tua

Amarahku kini tak bisa ditahan lagi, detak jantung belialu bagai tabuhan drum

yang mengundang kenekatan prajurit perang.

Tapi aku tetap diam. Menahan napas. Kupegang erat lentera dalam

genggamanku tanpa bergerak sedikit pun. Kutahan pancaran sinar yang

menyeruak lemah di antara impitan kegelapan malam dan jatuh terus di mata

jahanam itu. Sementara telingaku terus mendengar denyut jantungnya, iramanya

yang semakin cepat, suaranya yang lantang. Beliau pasti dicekam teror!

Percaya atau tidak, rasa gugup yang melandaku kini membuatku senang

sekaligus takut. Di tengah kesunyian malam, aku tak berkutik. Denyut jantung

lelaki tua itu semakin keras mengetuk genderang telingaku. Dag! Dig! Dug! Aku

khawatir jantungnya akan meletus seperti balon yang ditusuk jarum. Dan aku juga

resah kalau-kalau ada tetangga yang mendengar denyut jantung yang sama

menggelegar dari dalam rumah ini. Aku harus melakukan sesuatu.


110

Appendix 4. Questionnaire of Readability of “Jantung yang Mengaduh”

KUESIONER KETERBACAAN DUA VERSI TERJEMAHAN BAHASA

INDONESIA DARI “THE TELL-TALE HEART” OLEH EDGAR ALLAN

POE

Sehubungan dengan penulisan skripsi, maka saya Wenseslaus S. J. Lamere

mahasiswa program studi Sastra Inggris, Universitas Sanata Dharma

menggunakan kuesioner sebagai salah satu metode utama dalam mengumpulkan

data. Metode ini digunakan untuk mengetahui tingkat keterbacaan dari dua versi

terjemahan dalam bahasa Indonesia yakni JANTUNG YANG MENGADUH

(JYM). Teks tersebut merupakan terjemahan dari teks asli berjudul THE TELL-

TALE HEART, karya Edgar Allan Poe.

Dengan demikian, penulis berharap agar responden dapat mengisi

kuesioner ini demi kelancaran penelitian dan penulisan skripi.

Hormat saya,

Wenseslaus S. J. Lamere

Petunjuk pengisian:

- Kuesioner bersifat anonim

- Berilah tanda centang () pada kolom;

Terbaca (Readable) serta pada kolom alasan (boleh memilih lebih

dari satu alasan), apabila kalimat yang dibaca mudah dimengerti,

atau;

Tidak Terbaca (Not Readable) serta pada kolom asalan (boleh

memilih lebih dari satu alasan), apabila kalimat yang dibaca kurang

dan atau tidak dimengerti.

Nb; Apabila dalam pengisian ditemukan kesamaan dalam hal keterbacaan atau

sebaliknya, maka responden boleh mencentang dua kolom sekaligus seperti di

bawah ini;

Data responden:

Nama :

Program studi :

Semester :


111

No JYM T TT

Alasan terbaca Alasan tidak terbaca

Kalimat

lengkap

Kalimat

pendek

Dipahami

familier

Tidak

memakai

kata

serapan

Kalimat

jelas

Alur

pikiran

runut

dan

logis

Kalimat

tidak

lengkap

Kalimat

panjang

Dipahami

asing

Memakai

kata

serapan

Kalimat

ambigu

Alur

pikiran

tidak

runut

dan

tidak

logis

1

Benar sekali! Gugup –sedari tadi dan sampai sekarang aku sungguh amat gugup.

2 Tapi mengapa kau menganggapku gila?

3

Kegugupan ini, alih-alih merusak atau menumpulkannya, justru telah mempertajam indra-indraku.

4 Yang terutama sekali,

indra pendengaranku yang begitu peka

5 Aku mendengar segala hal yang terjadi di surga dan di bumi

6 Bahkan aku mendengar banyak hal yang ada di

neraka

7 Kalau begitu, bagaimana mungkin aku ini gila?


112

8

Dengarkan baik-baik! Perhatikan betapa aku bisa menceritakan seluruh ceritanya kepadamu dengan tenang dan dengan akal sehat.

9

Mustahil rasanya menceritakan bagaimana awalnya ide itu tercetus di

benakku.

10

Tapi begitu mendapatkannya, ide itu selalu terngiang di pikiranku siang dana malam.

11 Aku tidak punya maksud

apa-apa

12 Amarah yang terpendam pun aku tidak merasakan.

13 Malah aku menyayangi lelaki tua itu.

14 Dia juga tak pernah

memperlakukanku dengan kasar.

15 Tidak juga dia pernah menghinaku.

16 Hartanyapun tidak aku ingini.

17

Kurasa karena matanya! Ya, itu dia! Matanya seperti mata burung pemakan bangkai –mata biru pucat, dengan dilapisi


113

selaput.

18

Setiap kali mata itu terarah kepadaku, aku menjadi sangat takut; dan perlahan demi perlahan –secara berangsur-angsur –kuputuskan untuk

mencabut nyawa lelaki tua itu, jadi aku bisa terbebas dari tetapan mata itu selama-lamanya.

19 Nah, begini pokok ceritaku

20 Kau mengira aku gila.

21 Orang gila itu tidak tahu apa-apa.

22 Tapi kau seharusnya memperhatikanku.

23

Kau akan melihat betapa cerdiknya aku menyelesaikan perkerjaanku. Betapa rapih dan terencana, kemudian aku berpura-

pura tidak tahu apa-apa

24

Selama seminggu penuh sebelum membunuhnya, aku bersikap lebih baik hati terhadap lelaki tua itu.

25

Dan setiap malam, sekitar

tengah malam, kuputar gagang pintunya dan kubuka –dengan amaaat pelan!

26 Lalu setelah pintu terbuka sedikit hingga cukup


114

melihat ke dalam, kuulurkan tangan uang menenteng lentera berkatup yang semua katupnya kurapatkan sehingga cahayanya tidak menyorot ke ruangan, kemudian kujulurkan

kepala ke dalam.

27

Oh kau pasti akan tertawa jika melihat betapa cerdiknya aku menjulurkan kepalaku ke dalam! Dengan perlahan aku bergerak –sangat, sangat pelan sehinga tidak

mengganggu tidur si lelaki tua.

28

Dibutuhkan waktu satu jam untuk melongokkan kepala ke dalam bukaan pintu kamar itu sehingga aku bias melihat laki-laki

itu terbaring di ranjangnya.

29 Ha! Bisakah seorang yang gila bertindak sehati-hati ini?

30

Kemudian, ketika sudah melongokkan kepalaku ke

dalam kamar, kubuka katup penutup lentera dengan hati-hati, -oh, dengan sangat hati-hati –karena engsel katupnya bisa berderit.

31 lentera kubuka seperlunya, hingga


115

seberkas sinarnya cukup untuk menyoroti mata burung bangkai itu.

32

Ini kulakukan salama tujuh malam –setiap malam persis saat tengah malam –tapi mata itu

selalu saja dalam keadaan tertutup.

33

Kalau matanya tertutup, mustahil aku bisa membunuhnya, Karena bukan sosok lelaki tua itu yang membuatku jengkel, tapi mata jahatnya.

34

Dan setiap pagi, ketika fajar menyingsing, aku dengan berani masuk ke kamar, dan berbicara kepadanya dengan santai, memanggilanamanya dengan nada ramah, dan

menanyakan bagaimana tidurnya semalam.

35

Karena itulah, kau lihat, dia pasti lelaki tua yang sangat cerdas kalau sampai bisa mencurigai bahwa setiap malam, persis jam dua belas, aku

mengamatinya saat dia tertidur.

36

Pada malam kedelapan, aku lebih berhati-hati saat membuka pintu kamar lelaki tua itu.

37 Gerakanku sungguh amat


116

pelan.

38 Aku baru menyadari betapa hebatnya diriku ini –betapa cerdiknya aku ini.

39 Aku nyaris tidak bisa mengendalikan perasan gembira ini.

40

Coba bayangkan aku di sini membuka pintu kamarnya sedikit demi sedikit, dan dia bahkan mencurigai tindakan atau pikiran rahasiaku.

41 Aku tertawa kecil

membayangkannya.

42

Mungkin dia mendengar tawaku, karea dia tiba-tiba bergeser di ranjangnya seakan terkejut.

43 Kau mungkin mengira

aku akan bergerak mundur –tapi tidak.


117

44

Kamar lelaki tua itu gelap gulita. Daun penutup jendela tertutup rapat karena khawatir ada pencuri yang masuk. Jadi,aku yakin dia tidak bisa melihat bukaan pintunya.

Dan aku pun terus mendorong pintu kamar dengan gerakan mantap.

45

Aku sudah melongokkan kepala ke dalam dan baru saja hendak membuka katup lentera, ketika ibu jariku menyentuh dan

justru mengetuk lempengan katup sehingga membuat lelaki tua itu terbangun di ranjangnya dan berteriak, “siapa di situ?”

46

Aku tetap diam, dan tidak menjawab. Selama sejam

penuh aku tidak bergerak sedikitpun. Sementara itu, tidak kudengar lelaki tua itu berbaring lagi.

47

Dia masih saja duduk di ranjangnya seraya menyimak persis yang

kulakukan malam demi


118

malam, sambil mendengarkan suara kumbang kayu yang mengetuk-ngetuk di dinding.

48

Sekarang kudengar suara erangan lemah, dan aku

tahu erangan ini disebabkan oleh rasa takut yang luar biasa.

49

Bukan erangan sakit atau sedih –oh sama sekali bukan! Ini suara cekikan tertahan yang muncul dari dasar jiwa saat dipenuhi

rasa teror mengerikan

50 Aku kenal betul suara itu.

51

Setiap malam, persis tengah malam, ketika dunia tertidur lelap, suara itu meluap dari jiwaku, dengan gema yang menakutkan. Perasaan teror yang menggelisahkan

52 Sudah kukatakan, aku kenal betul suara ini.

53

Aku tahu apa yang dirasakan si lelaki tua, dank arena itu, aku merasa kasihan padanya, meski aku tertawa dalam

hati.

54

Kutahu dia kini terjaga sejak kali pertama dikejutkan gaduh pelan, ketika dia bergeser di


119

ranjangnya.

55 Ketakutannya kian bertambah.

56

Dia terus mencoba memikirkan semua ini yang biasa, tapi percuma saja.

57

Dia terus berkata kepada diri sendiri, “itu hanya angin yang masuk ke dalam cerobong asap. Itu hanya seekor tikus yang berjalan di lantai,” atau “itu Cuma suara jangkrik

yang mengerik.”

58

Ya dia berusaha menenangkan dirinya dengan dugaan-dugaan ini, tapi semua sia-sia belaka.

59

Percuma karena maut

yang datang mendekat telah mengikuti lelaki tua dengan bayangan gelapnya dan meyelubungi korban-korbannya.

60

Pengaruh suram dari bayang-bayang yang tak

terlihat inilah yang membuatnya merasa –meski dia tidak melihat ataupun mendengar –merasakan kehadiranku di dalam kamar itu.

61 Sewaktu aku sudah

menunggu begitu lama,


120

dengan sangat sabar, tanpa mendengar lelaki tua itu terbaring tidur, kuputuskan untuk membuka sedikit-sangat sedikit – katup lentera.

62

Kau tidak bisa

membayangkan betapa aku membukanya dengan diam-diam, sampai akhirnya secercah sinar bagai benang laba-laba tersorot dari celah di lentera dan menyoroti mata burung bangkai itu.

63 Mata itu terbuka –terbuka lebar –dan aku menjadi berang saat menatapnya.

64

Aku melihat mata itu dengan sangat jelas –warna biru pucat itu, dengan dilapisi selaput

mengerikan yang membuatku merasa sungguh amat takut.

65

Tapi aku tidak melihat bagian lain dari wajah atau sosok si lelaki tua

karena aku telah mengarahkan sinar lentera seolah dengan refleks, tepat ke mata terkutuk itu.

66

Bukankankah tadi sudah kukatakan bahwa dugaanmu yang keliru tentang kegilaanku itu


121

sebenarnya hanyalah ketajaman indra yang terlalu kuat?

67

Nah, sekarang di telingaku terdengar suara cepat yang rendah dan samar-samar, seperti suara

jam saat diredam dalam bantal

68 Aku juga mengenal betul suara itu.

69 Suara itu berasal dari denyut jantung si lelaki tua

70

Denyut jantung itu meluapkan amarahku, bagai tabuhan drum yang membangkitkan keberanian dalam diri prajurit.

71

Meskipun begitu, aku

menahan diri dan tetap diam. Aku menahan napas. Kupegang erat lentera sehingga tidak bergoyang-goyang.

72 Kucoba sebisa mungkin tetap mengarahkan

sinarnya ke mata itu.

73

Saat itu tabuhan mengerikan dari jantungnya terdengar menguat. Detaknya kian cepat dan cepat, dan suaranya makin

keras.


122

74 Ketakutan lelaki tua itu pasti sudah memuncak!

75

Detaknya bertambah keras, lebih kencang setiap saat! Kau perhatikan baik-baik apa yang tadi kukatakan

kalau aku ini gugup. Aku memang gugup.

76

Dan sekarang di malam buta ini, di tengah kesunyian rumah tua itu, betapa anehnya suara seperti ini justru membuatku bergairah

sekaligus takut setengah mati.

77

Tapi, selama beberapa menit lebih lama aku menahan diri dan bergeming. Detak itu kian kencang, dan kencang!

Sampai kukira jantung itu bisa saja meledak.

78

Sekarang kegelisahan laing menyergapku –suara itu bisa saja terdengar oleh seorang tetangga! Ajal si lelaki tua sudah tiba!


123

Appendix 5. Questionnaire of Readability of “Gema Jantung yang Tersiksa”

KUESIONER KETERBACAAN DUA VERSI TERJEMAHAN BAHASA

INDONESIA DARI “THE TELL-TALE HEART” OLEH EDGAR ALLAN

POE

Sehubungan dengan penulisan skripsi, maka saya Wenseslaus S. J. Lamere

mahasiswa program studi Sastra Inggris, Universitas Sanata Dharma

menggunakan kuesioner sebagai salah satu metode utama dalam mengumpulkan

data. Metode ini digunakan untuk mengetahui tingkat keterbacaan dari dua versi

terjemahan dalam bahasa Indonesia yakni “GEMA JANTUNG YANG

TERSIKSA” (GJYT). Teks tersebut merupakan terjemahan dari teks asli

berjudul THE TELL-TALE HEART, karya Edgar Allan Poe.

Dengan demikian, penulis berharap agar responden dapat mengisi

kuesioner ini demi kelancaran penelitian dan penulisan skripi.

Hormat saya,

Wenseslaus S. J. Lamere

Petunjuk pengisian:

- Kuesioner bersifat anonim

- Berilah tanda centang () pada kolom;

Terbaca (Readable) serta pada kolom alasan (boleh memilih lebih

dari satu alasan), apabila kalimat yang dibaca mudah dimengerti,

atau;

Tidak Terbaca (Not Readable) serta pada kolom asalan (boleh

memilih lebih dari satu alasan), apabila kalimat yang dibaca kurang

dan atau tidak dimengerti.

Data responden:

Nama :

Program studi :

Semester : ::


124

No

GJYT T TT

Alasan terbaca Alasan tidak terbaca

Kalimat

lengkap

Kalimat

pendek

Dipahami

familier

Tidak

memakai

kata

serapan

Kalimat

jelas

Alur

pikiran

runut

dan logis

Kalimat

tidak

lengkap

Kalimat

panjang

Dipahami

asing

Memakai

kata

serapan

Kalimat

ambigu

Alur

tidak

runut

dan

tidak

logis

1

Benar sekali! Gugup –itu yang kurasakan dari tadi sampai sekarang, gugup luar

biasa

2 Tapi, itu bukan berarti aku gila, kan?

3

Kalaupun benar aku gila, kegilaan itu justru telah menajamkan semua

indraku, bukan mematikan atau menumpulkan mereka

4

di antara indra lainnya, yang sekarang kurasakan paling tajam adalah pendengaranku.

5

Aku bisa mendengar semua yang telah terjadi di bumi, bahkan di surga

6

Dan, lebih dari itu, pendengaranku juga bisa menangkap apa-

apa saja yang terjadi di neraka


125

7

Kalau sudah begitu, masihkah kau akan menyimpulkan bahwa aku gila?

8

Coba dengar! Pasang telinga! Aku akan menceritakan

semuanya kepadamu dengan pembawaan tenang serta berbekal akal sehat.

9

Kalau kau bertanya darimana aku mendapatkan ide itu, sulit bagiku untuk

menjelaskannya:

10

Tapi kesumpulannya adalah begitu aku mendapat ide tersebut, siang-malam aku memikirkannya.

11 Jujur saja aku tidak

punya motif terselubung.

12 Aku juga tidak pernah berniat macam-macam.

13 Asal kau tahu, aku menyayangi lelaki tua

itu.

14 Beliau tidak pernah menyakitiku

15 Apalagi mencelaku.

16 Aku juga tidak menginginkan harta


126

kekayaannya

17

Lantas apa yang menggangguku? Matanya! Itu dia! Aku yakin sekarang. Sebelah matanya mengingatkanku akan

mata burung bangkai –warnanya biru pucat, dilapisi selaput tipis yang menjijikkan

18

Setiap kali menatapku, darahku mengalir dingin, hingga akhirnya

tumbuh hasrat di dadaku untuk membunuh beliau, agar aku bisa terbebaskan dari pandangan mata yang membuatku jijik setengah mati.

19 Nah, ini sebenarnya inti ceritaku

20 Kaupikir aku gila.

21

Tapi sebenarnya orang gila itu kan tidak tahu apa-apa. Beda halnya denganku

22 Seharusnya kau lihat

bagaimana aku melakukannya.

23 Aku membunuh lelaki tua itu dengan hati-hati –seksama –


127

penuh perencanaan dan taktik manipulasi. Ini bukan perkerjaan kecil lho!

24

Sebelum membunuhnya, aku menghabiskan waktu

seminggu penuh mengambil perhatian beliau dan menjadi orang kesayangannya.

25

Lalu, setiap malam, menjelang tengah malam, aku memutar kunci dan membuka

pintu kamarnya pelan-pelan –pelaaan sekali.

26

Aku hanya mendorong pintu itu selebar yang kuperlukan supaya

aku bisa menjulurkan kepalaku ke dalam.

27

Kemudian, aku mengulurkan sebelah tangan ke dalam kamar, menenteng sebentuk lentera yang terselubung dalam

kain gelap agar sinarnya tidak membangunkan lelaki tua itu.

28

Aku sangat berhati-hati dalam setiap gerak-gerikku hingga hanya untuk


128

melongokkan kepala ke dalam bukaan pintu kamar saja aku butuh waktu sekitar satu jam.

29

Ha! –apakah orang gila bisa melakukan

semua ini tanpa sekalipun terpergok? Tidak, kan?

30

Setelah aku melongokkan kepala ke dalam kamar, aku mulai meredupkan cahaya lentera dalam

genggamanku dengan sangat hati-hati, apalagi karena engsel pintu mulai berderit berisik.

31

Redup cahaya lentera kini begitu halus

menerobos ruangan kamar hingga hanya sanggup menerangi bagian wajah beliau. Sebenarnya, tujuanku sekadar untuk mengintip mata burung bangkai itu

32

Tujuh malam berturut-turut aku mengendap-endap ke kamar tidur lelaki tua itu, namun setiap kali aku melongokkan kepalaku ke dalam mata beliau selalu


129

ditutup; maka sulit bagiku untu k melakukan apa yang ingin kulakukan.

33

Terus-terang, aku tidak punya masalah dengan beliau, tetapi

matanya itu, lho! Mata setan! Iiiii!

34

Kalau kau mau tahu, setiap pagi, saat mathari bersinar cerah, aku melenggang masuk ke dalam kamar tidur

berliau dengan seenaknya, mengajak basa-basi, berbicara dengan nada ramah sambil menanyakan apakah beliay tidur nyenyak semalam.

35

Maka itu, kecuali beliau punya indra khusus untuk mendeteksi apa yang tidak terdeteksi, rasanya mustahil baginya untuk mencurigaiku.

36

Di malam kedelapan, aku lebih berhati-hati saat membuka pintu kamar beliau.

37

Bila malam-malam sebelumnya au bergerak pelan, kali ini jauh lebih pelan


130

lagi.

38

Entah kenapa, di malam kedelapan aku baru menyadari untuk pertama kalinya –betapa hebat perbuatanku itu, akal-

akalanku.

39

Aku tidak bisa membendung rasa bangga yang membumbung dalam dada.

40

Bayangkan saja,

selama delapan malam beliau tidak pernah sekali pun mencurigai tindakanku.

41 Aku jadi geli sendiri memikirkannya.

42

Tiba-tiba kulihat beliau di atas ranjang seolah dikagetkan sesuatu.

43

Waduh! Jangan-jangan –kau pasti mengira aku akan mundur melihat ini,

tapi justru kebalikannya.


131

44

Kamar tidur beliau bernuansa sangat gelap (tirainya ditutup rapat demi mengusir maling) dan aku dapat memastikan bahwa dengan pencahayaan terbatas, beliau

takkan bisa melihatku, atau pintu yang sedikit terbuka. Oleh sebab itu, aku terus mendorong pintu kamarnya, pelaaaan sekali.

45

Tapi baru saja aku menjulurkan kepala ke dalam kamar

beliau, dan dengan sebelah tangan hendak menyalakan lentera, tiba-tiba lelaki tua itu bangkit duduk di atas ranjang seraya berteriak lantang –“siapa di

situ?”

46

Aku tidak menjawab, tidak juga bergerak. Otot-ototku tegang.…. selama sejam penuh aku tidak mendengar beliau kembali

merebahkan tubhnya di atas ranjang.


132

47

Tampaknya beliau masih berada dalam posisi duduk, memasang telinga,persis seperti yang kulakukan tiap malam, berjaga-jaga, siapa tahu malaikat

kematian tengah berdiri mengawasi di balik dinding kamar.

48

Saat ini aku mendengar erangan lemah; erangan yang bermuara dari rasa takut luar biasa.

49

Erangan itu bukan erangan sakit, ataupun duka –sama sekali bukan! melainkan erangan yang bangkit dari dalam jiwa dan

dimotori rasa takut akan sesuatu yang tidak kasatmata.

50 Aku kenal sekali erangan itu.

51

aku bisa merasakan apa yang tengah

dirasakan beliau, karena sering kali, di tengah malam, saat dia terlelap dalam buaian tidur, erangan yang sama bangkit dari dalam jiwaku menggema penuh


133

terror, mengganggu alam sadarku.

52 Sudah kubilang aku mengenal erangan itu.

53

Lantas, aku jatuh iba terhadap beliau, mengingat teror yang

melanda jiwanya, meski dalam hati aku tersenyum.

54

Sejak awal aku sadar bahwa beliau sudah mulai merasakan kejanggalan dalam

kamar tidurnya, terlebih saat ia menggeser tubuh di atas ranjang.

55 Rasa takutnya sedikit demi sedikit semakin memuncak;

56 namun beliau tetap mencoba mengusir kekhawatirannya.

57

Berkali-kali beliau berkata pada dirinya sendiri, “suara aneh itu pasti disebabkan karena embusan

angin malam yang terperangkap di dalam cerobong asap –atau suara tikus jalan-jalan.” Atau “derik jangkrik.”

58 Jangan heran, apabila

dihadapkan pada


134

situasi serupa, semua orang juga pasti mencari penjelasa paling logis. Termasuk kau dan aku. Namun, dalam kasus ini, pada akhirnya tidak ada

satupun penjelasan logis itu yang berhasil membuat lelaki tua itu tenang.

59

Toh nyatanya sia-sia saja beliau mencoba untuk rasional; karena kematian datang

seperti bayangan hitam yang menyelimuti korban-korbannya bahkan sebelum sosoknya yang gelap tiba di hadapan mereka.

60

Aku sangat yakin lelaki tua itu bisa merasakan kehadiranku –meski beliau sama sekali tidak melihatku –di dalam kamar tidurnya.

61

Setelah lama menunggu, kuperhatikan, dia tetap berada dalam posisi duduk di atas ranjang, maka kuputuskan untuk


135

menyalakan lentera pelan-pelan, menghadirkan cahaya yang sangat minim.

62

Kulakukan semua itu tanpa bersuara –kau mungkin tak bisa

membayangkan betapa sunyi gerak-gerikku –hingga secercah sinar redup terulur keluar dari dalam bukaan lentera bak benang sutra laba-laba mencuat keluar di antar celah

lentera menyinari mata burung bangkai tersebut.

63 Mata itu terbuka lebar dan tak lama hatiku pun mengamuk.

64

Aku melihatnya dengan jelas –warna yang pucat, selaput yang menjijikkan, ugh! Tulang-tulangku terasa ngilu menatap sorotannya.

65

Tapi aku juga seolah

tersihir, tak mau tahu tentang hal lain, terus mentarahkan cahaya lentera yang remang kea rah mata sial itu.

66 Bukankah tadi sudah kukatakan bahwa kegilaan mampu


136

menajamkan indra manusia?

67

Nah, pada saat ini aku mendengar suara samar, namun teratur: seperti jam tangan yang diredam

suaranya oleh bantal kapuk.

68 Meski tak lazim, aku juga mengenal suara itu dengan baik.

69 Denyut itu milik jantung si lelaki tua

70

Amarahku kini tak bisa ditahan lagi, detak jantung belialu bagai tabuhan drum yang mengundang kenekatan prajurit perang.

71

Tapi aku tetap diam. Menahan napas. Kupegang erat lentera dalam genggamanku tanpa bergerak sedikit pun.

72

Kutahan pancaran sinar yang menyeruak

lemah di antara impitan kegelapan malam dan jatuh terus di mata jahanam itu.

73

Sementara telingaku terus mendengar denyut jantungnya,

iramanya yang


137

semakin cepat, suaranya yang lantang.

74 Beliau pasti dicekam teror!

75

76

Percaya atau tidak, rasa gugup yang melandaku kini

membuatku senang sekaligus takut.

77

Di tengah kesunyian malam, aku tak berkutik. Denyut jantung lelaki tua itu semakin keras mengetuk genderang

telingaku. Dag! Dig! Dug! Aku khawatir jantungnya akan meletus seperti balon yang ditusuk jarum.

78

Dan aku juga resah kalau-kalau ada tetangga yang

mendengar denyut jantung yang sama menggelegar dari dalam rumah ini. Aku harus melakukan sesuatu.


138

Appendix 6. Recapitulation of “Jantung yang Mengaduh”

No R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R NR

1 R R R R R NR R NR NR R 7 3

2 R R R R R R R R R R 10

3 NR R NR R R R R NR NR NR 5 5

4 NR R NR R R NR R R R NR 7 3


6 NR R R R R R R R R NR 8 2

7 R R R R R R R R R NR 9 1



10 NR R R R R R R R NR NR 8 2


12 R R NR R NR R R R R NR 7 3

13 R R NR R R R R NR R NR 7 3


15 NR R NR R R NR NR NR R NR 4 6

16 R R R R R R R R NR R 9 1

17 R NR NR R NR R R R NR R 6 4

18 NR R R R R R R NR R NR 7 3

19 NR R NR NR R R R R NR R 6 4



22 R R NR R R R R R R R 9 1

23 NR R R R R R NR R R R 8 2




139

26 R R NR R NR NR R R R R 7 3

27 NR R R R NR R R R R R 8 2

28 NR R R R R R R R R R 9 1

29 R R R R R NR R R R NR 8 2

30 R R R R R NR NR R NR R 7 3

31 R R R R R R R NR NR NR 7 3

32 NR R R NR R NR R NR R R 6 4

33 R R R R R R R NR R R 9 1

34 NR R R R R R NR R R R 8 2

35 R R R R R NR R R R NR 8 2





40 R R R NR R R R R R R 9 1


42 R R R R NR NR R R R NR 7 3


44 NR R R R R R R R NR NR 7 3

45 NR R R R R R R NR R R 8 2



48 NR R R R R R R NR NR NR 6 4

49 NR R R R R R R NR R NR 7 3





140


54 R R R R NR NR R NR R NR 6 4

55 R R R R R NR R R R R 9 1

56 R R R R NR NR R R NR NR 6 4



59 NR R NR R R R R NR NR R 6 4

60 NR R R NR R NR NR NR NR NR 3 7

61 NR R R R R NR R R NR R 7 3

62 NR R R NR R R R NR R NR 6 4

63 NR R R R R NR NR R NR NR 5 5

64 NR R NR R R R R R R NR 7 3

65 R R R R R R R NR NR R 8 2

66 R R NR R R R R R NR R 8 2

67 R R NR NR NR R R R NR R 6 4



70 R R R R R R R R NR NR 8 2






76 R R R NR R NR R NR R R 7 3

77 R R R R R NR R NR R NR 7 3

78 R R R R R NR R NR R NR 7 3


141

Appendix 7. Recapitulation of “Gema Jantung yang Tersiksa”

No R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R NR

1 R R R R R R R NR R NR 8 2


3 R R R R R R NR NR NR R 7 3

4 R R R R R NR R NR R R 8 2


6 NR R R R R NR R R NR R 7 3

7 NR R R R R NR R R R R 8 2

8 R NR R R R NR R NR R R 7 3


10 NR R NR R R R R NR R R 7 3





15 R R R NR R R R NR NR NR 6 4


17 R R NR NR R R R R NR R 7 3

18 NR R NR R R R NR NR NR NR 4 6

19 NR R R R R NR R NR R NR 6 4


21 NR NR R R R R R R NR NR 6 4

22 NR R R R R R R R NR R 8 2

23 R R NR R R R NR R R NR 7 3

24 R NR NR R R R NR R NR R 6 4

25 R NR R R R NR R R NR NR 6 4


142

26 R NR R R R NR R R R R 8 2

27 NR NR R R R NR R R R R 6 4

28 R NR R R R NR R NR R NR 10

29 NR R NR R R R R NR R R 7 3

30 R NR R R R NR R R R R 8 2

31 NR R NR NR R NR R NR NR R 4 6

32 R NR R R R NR R NR NR R 6 4

33 R NR NR R R NR R NR NR NR 4 6

34 R R R R R R NR NR R R 8 2

35 R NR NR R R NR NR NR NR NR 3 7


37 R R R R R NR R R NR R 8 2

38 R R R R R NR R NR NR R 7 3

39 R R R R R R NR R NR R 8 2



42 NR NR NR NR R R R R NR R 5 5

43 NR R NR NR R NR R NR R NR 4 6

44 NR NR R R R NR NR NR NR NR 3 7



47 NR R R NR R R R NR NR R 6 4

48 R NR R R R R NR R NR R 7 3

49 R NR NR R R NR NR R R R 7 3

50 R NR R R R R R R R R 9 1

51 R NR NR R R R R NR NR R 6 4

52 R NR R R R R R R R R 9 1


143

53 R NR NR R R NR R R NR NR 5 5

54 R R R R R NR R R R R 9 1




58 NR R R R R R NR NR NR NR 5 5

59 R R NR R R R NR R R NR 7 3



62 NR NR R NR R NR NR NR R NR 3 7


64 R R R NR R R R R NR R 8 2

65 R NR R NR R R R NR NR R 6 4

66 R R R R R NR NR R R R 8 2

67 NR R R R R R R R NR R 8 2


69 NR R R R R R R NR NR R 7 3

70 R R R NR R NR NR NR NR R 5 5


72 R NR NR R R NR NR R NR R 5 5

73 R R R R R R R R NR NR 8 2

74 R NR R R R R R R NR R 8 2


76 NR R R R R NR NR R R R 7 3

77 R R R R R NR R NR NR NR 6 4


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