1

CHAPTER I

INTRODUCTION

1.1 The Background of the Problem

Foreign films especially Hollywood films have dominated the film

industry in Indonesia. The audiencies are not only adults or teenagers but

also children. The high quality pictures and also an interesting story have

caused the demand of Hollywood movies increases in Indonesia. Almost

all of Hollywood movies or films are produced in English, which are

difficult to understand by Indonesians. The difference can be a problem of

language used. Therefore, the film producers must transfer English as the

source language to certain target language, in this case it is translated into

Indonesian language, in order to make audience easier to understand and

enjoy the films.

Translating involves transferring the source language text into

target language text. For the translator, translating is not always an easy

job because it has some constraints and limitations. Many of the translators

have tried various ways to cover the contraints.

Figurative speech may be widely found in many works of

literature, such as movies or films. Figurative speech cannot be understood

literally and the posibility to translate the figurative speech is to subtitute a

figurative speech of the Target Language (TL) for the figurative speech of

the Source Language (SL). The types of figurative speech that are
 2

commonly found in the data source of this research are idiomatic

expression, hyperbole, irony, assonance.

The film opens with Prince Albert, Duke of York (later King

George VI), known to his wife and family as "Bertie". England's Prince

Albert must ascend the throne as King George VI, but he suffers from

speech impediment. Knowing that the country needs her husband to be

able to communicate effectively, Elizabeth hires Lionel Logue (Geoffrey

Rush), an Australian actor and speech therapist, to help him overcome his

stammer. An extraordinary friendship develops between the two men, as

Logue uses unconventional means to teach the monarch how to speak

confidenlly.

1.2 The Identification of the Problem

I have decided to the analysis of translation strategies and the

problems of the translation of figurative speech in the film script

consisting idiomatic expression, hyperbole, irony, and assonance. I found a

problem in some data, there is more than one translation approaches in one

figurative speech.

1.3 The Limitation of the Problem

Chesterman (2000) divided figurative language or figurative

speech into thirteen (13) types, they are: alliteration, anaphora, assonance,

euphemism, hyperbole, idiom, irony, metaphor, onomatopoeia, oxymoron,

 3

personafication, simile, understatement. The research is limited by

focusing on the analysis of idiomatic expression, hyperbole, irony, and

assonance in Tom Hooper’s film “The King’s Speech.”

1.4 The Statement of the Problem

This study will attempt to answer the following questions:

1. What translation strategies employed to solve the problems in

translating figurative speech from English into Indonesian in Tom

Hooper’s film “The King’s Speech?”

2. What problems that may occur in translating figurative speech from

English into Indonesian in Tom Hooper’s film “The King’s Speech?”

1.5 The Aims of the Research

This research is aimed at identifying translation strategies which

are employed to solve the problems in translating figurative speech from

English into Indonesian in Tom Hooper’s film “The King’s Speech” and

finding out the problems that may occur in translating figurative speech

from English into Indonesian in the film script.

1.6 Benefits of the Research

 4

I hope the result of the research can be a reference to assist

translators to overcome the problems raised in translating figurative speech

in literary works; a contribution to improve translator’s competence in

translating figurative speech; used as a useful material to develop

translator’s skill in translating figurative speech; and will be helpful for

students to improve their knowledge in translating figurative speech.

1.7 Methods of the Research

The study employed a qualitative research and the technique of

analysis descriptive research method. This is descriptive research, which

attempts to describe the translation which are used in The King’s Speech

film. James (1997) says that “descriptive research studies are designed to

obtain information concerning the current status of the phenomena to

describe “what exist” with respect to variables or conditions in a

situation.” In this research, I’ve choosen descriptive qualitative method

because the purpose of this study is to describe the phenomena of

translation, especially the translation approaches which are used in The

King’s Speech film.

In addition, Moleong (1995:6) says that “qualitative research is

descriptive, which means that the analyzed data and its findings are in the

forms of descriptions, instead of numbers.” Therefore, it is clear why this

method is chosen. The research procedure is meant to set up the direction in

 5

conducting the research. Therefore, this research uses the following

procedures:

1. Reading The King’s Speech film script and its translation by Rizal Adam;
2. Identifying all the available data related to idiomatic expressions,

hyperbole, irony, assonance;

3. Collecting the data of figurative speech in The King’s Speech film and its

translation by Rizal Adam;

4. Selecting the data to be analyzed;
5. Classifying all the data based on their part;
6. Writing the data on the data cards consisting all of the English and the

Indonesia figurative speech;

7. Analyzing the data using the translation theory of figurative speech;
8. Describing all of the data;
9. Concluding all the data which have been analyzed;
10. Writing the “Skripsi”.

1.8 The Theoretical Framework

In conducting the research, I use several theories to support my

analysis which can be formulated as:

 Definitions of Translation

a. Translation is as the replacement of textual material in one language

(Source Language, SL) by equivalent textual material in another

 6

language (Target Language, TL). (J.C. Catford, qtd in Rangkuti’s book:

Translation, Theory and Application, 2010:22).

b. Translating consists in reproducing in the receptor language the closest

natural Equivalence of a source-language message, first in terms of

meaning and secondly in terms of style (Nida and Taber qtd in

Choliludin’s book: The Technique of Making Idiomatic Translation,

2005: 3).

 Figures of speech translation

According to Longman Dictionary of Applied Linguistics (1985:105),

figure of speech is a word or phrase which is used for special effect, and

which does not have its usual or literal meaning. The two most common

figures of speech are the simile and the metaphor. According to my data

analysis, the four figurative speech are:

1. Idiomatic expressions

Larson (1998:17) said that “Meaning-based translations make every effort

to communicate the meaning of the source language text in the natural

forms of the receptor language. Such translations are called idiomatic

translations.” Further, Larson stated that “Idiomatic translations use the

natural forms of the receptor language, both in the grammatical

constructions and in the choice of lexical items. A truly idiomatic

translation does not sound like a translation (p. 18). Armstrong (2005:121)

stated that “… an idiomatic translation will often concentrate on the

 7

function rather than the structure of a phrase.” Peter Newmark (1988:41)

also said that “Idiomatic translation reproduces the ‘message’ of the

original but tends to distort nuances of meaning by preferring

colloquialisms and idioms where these do not exist in the original.”

2. Hyperbole

Larson (1998:127) citing Beekman and Callow 1974:118, said that “A

hyperbole is a metonymy or synecdoche with more said than the writer

intended the reader to understand. The exaggeration is deliberately used

for effect, and is not to be understood as if it were a literal description.”

Hyperbole is simply exaggeration out in the service of truth (Perrine,

1977:102). Andrew chesterman (2000:17) stated that “Hyperbole is an

outrageous exaggeration that emphasizes a point, and can be ridiculous or

funny.”

3. Irony

Irony is the opposite of what one means, (Perrine, 1977:103). Andrew

Chesterman (2000) said that “with irony, a word or words are taken in the

opposite way from their literal meaning (p. 1) and “Irony is using words

where the meaning is the opposite of their usual meaning (p. 26).

4. Assonance

Andrew Chesterman (2000:25) stated that “Assonance is the repetition of

vowel sounds in words that are close together.”

 Shift or Transposition
 8

Catford’s shifts which are cited by Venuti in his book The Translation

Studies Reader (2000:141-146) means departures from formal

correspondence in the process of going from the SL (source language) to

the TL (target language).

a. Structure-shifts. These are amongst the most frequent category

shifts at all ranks in translation; they occur in phonological and

graphological translation as well as in total translation.

b. Unit shifts or rank shifts. By unit-shift we mean 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. “Rank” here refers to the hierarchical

linguistic units of sentence, clause, group, word and morpheme.

 Cohesive Device

a. Cohesion

According to Larson (1998:44) “In any text, the reference to

certain THINGS, EVENTS, ATTRIBUTES, and RELATIONS will

be left implicit. The meaning is there but not expressed explicitly.”

And Duff (1981:22) states, “…a translation may be longer … than

the original....” Larson (1998:394) also states “there are many

devices which give cohesion to a text.”

b. Anaphora

Guy Cook (1989:156) stated that anaphora is “A relationship

whereby the meaning of expressions is recovered from previous

 9

mention.” On the Textual Cohesion “Anaphoric refers to any

reference that ‘points backwards’ to previously mentioned

information in text” (p. 2).

c. Ellipsis

Guy Cook (1989:20) stated that ellipsis is “omitting part of

sentences on the assumption that an earlier sentence or the context

will make the meaning clear is known as ellipsis.”

 Trope vs Scheme

Andrew Chesterman (2000:1) said that “Tropes and schemes are both

figure of speech that add color and interest to language. These are devices

that contribute to the style of the author and can help to get the point

across. One way they do this is by appealing to the emotions of the

recipient.”

1. Trope Change

This strategy, or rather set of strategies, applies to the translation of

rhetorical tropes (i.e. figurative expressions) in the same way as

strategy the translation of schemes (Andrew Chesterman, 2000:105-

106).

a. ST trope X→TT trope X

For example, a ST pun is retained as a pun in TT. The TT trope.

Can be (i) semantically identical, (ii) semantically related or (iii)

 10

not. Semantically related but still the same type of trope as the ST

trope.

b. ST trope X→TT trope Y

The figurativeness is retained but the trope changes, e.g. a ST pun

Is translated as a metaphor in TT.

2. Scheme Change

This refers to the kinds of changes that translators incorporate in the

translation of rhetorical schemes such as parallelism, repitition,

alliteration, metrical rhythm etc (Andrew Chesterman, 2000:99-101).

o ST scheme X→TT scheme Y

That is, the ST scheme can be changed to another scheme that is

deemed to serve an appropiate or similar function in the TL (e.g.

ST parallelism → TT chiasmus).

 Undertranslation/Reduction/Too few words

a. Nida and Taber (1982:168) mentioned that “undertranslation is there

are quite naturally some expressions which are reduced in the process

of transfer from one language to another.”

b. Duff (1984:22) said that “... a translation may be shorter than the

original.”
 11

c. Newmark (1986:39) also mentioned that ”Generally, a communicative

translation is likely to be smoother, simpler, clearer, more direct, more

conventional, conforming to a particular register of language, tending

to under-translate, i.e. to use more generic, hold-all terms in difficult

passages.”

 Overtranslation/Expansion/Too many words

a. Nida and Taber (1982:163) mentioned on expansion as follows: “there

is a tendency for all good translations to be somewhat longer than the

originals. This does not mean, of course, that all long translations are

necessarily good. It only means that in the process of transfer from one

linguistic and cultural structure to another, it is almost inevitable that

the resulting translation will turn out to be longer.”

b. Duff (1981:23) said that “padding occurs when words are merely

transferred without regard for the potential of the target language.”

c. Newmark (1981:39) explained that “A semantic translationtends to be

more complex, more awkward, more detailed, more concentrated, and

pursues the thought-processes rather than the intention of the

transmitter.”

 Naturalization
a. Venuti (2000:237) citing André Lefevere (1982) stated that “Since

different languages reflect different cultures, translations will nearly

always contain attempts to “naturalize” the different culture, to make it

conform more to what the reader of the translation is used to.”

 12

b. Larson (1984:16) stated that “Literal translation of words, idioms,

figures of speech etc. Results in unclear, unnatural, and sometime

nonsensical translation.”

 Literal Translation
a. Neubert (1983) stated on Newmark’s book A Text Book of Translation

(1988:68) “that one word of an SL text and a TL word in the

translation rarely correspond semantically, and grammatically hardly

ever.”
b. Newmark stated on his book A Text Book of Translation (1988:69)

“Transferring SL grammar and word order as well as the primary

meanings of all SL words.”

 Free Translation
a. Pei and Gaynor (1954:77) stated that “A free translation is a translation

that reproduce the general meaning of the original text. It may or may

not closely follow the form or organization of the original.”

b. Jeremy Munday (2001:20) stated that “The sense-for-sense approach,

on the other hand, allowed the sense or contentof the ST to be

translated.”

1.9 The Systematic Organization

 13

Chapter I: INTRODUCTION contains the background of the problem,

the identification of the problem, the limitation of the

problem, the statement of the problem, the aims of the

research, the benefits of the research, the methods of the

research, the theoretical framework, and the systematic

organization.

Chapter II: REVIEW OF THE RELATED THEORIES contains the

definitions of translation, definitions of figurative speech,

shift or transposition, cohesive device, trope vs scheme,

undertranslation vs overtranslation, naturalization, literal

translation, free translation.

Chapter III: ANALYSIS OF THE DATA contains the idiomatic

expressions, hyperbole, irony, assonance.

Chapter IV: CONCLUSION AND SUGGESTION

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CHAPTER II

REVIEW OF THE RELATED THEORIES

2.1 Definitions of Translation

a. Translation is the replacement of textual material in one language (SL)

by equivalent textual material in another language (TL) (Catford,

1969:20).
b. Translation consists in reproducing in the receptor language the closest

natural equivalent of the source language message, first in terms of

meaning and secondly in terms of style (Nida, 1969:12).

 15

c. Translation is the rendering of a source language (SL) text into the

target language (TL) so as to ensure that (1) the surface meaning og the

two will be approximately similar and (2) the structures of the SL will

be preserved as closely as prossible but not so closely that the TL

structure will be seriously distorted (McGuire, 1981:7).

d. Translation is a craft consisting in the attempt to replace a written

message and/or statement in one language by the same message and/or

statement in another language (Newmark, 1981:7).

e. Translation is a process of finding a TL equivalent for an SL utterace

(Pinchuck, 1977:38).

There are a lot of definitions of translation stated above, the core of

translation still refers to one definition that is transferring the meaning

from the SL into the TL and it is obvious that producing natural and

equivalent translation is the main point in translation. The message of the

SL text should be transferred into the TL text so that the target readers

would understand the translation as the original readers in understanding

the SL text.

2.2 Definitions of Figurative Speech

Figures of speech are imaginative tools in both literature and

ordinary communications used for explaining speech beyond its usual

usage. The Collins English Dictionary (2006) defines figure of speech as

“an expression such as a simile, in which words do not have their literal
 16

meaning, but are categorized as multi-word expressions that act in the text

as units (cited in Alhasnawi, 2007:3). The language that uses figures of

speech is called ‘figurative language’ and “its purpose is to serve three

elements of clarity, forth and beauty in the language (Tajali, 2003: 100).

However, as any figure of speech has a figurative meaning, it may cause

ambiguity which influences the clarity. Perrine also said (1977:61)

“figurative language is broadly defined as anyway of saying something

other than ordinary way. And it is more narrowly definable as a way of

saying one thing and meaning another.

Gorys Keraf said on his book Diksi dan Gaya Bahasa (1998) there

are twenty (20) types of figurative speech. Nevertheless, there are only

four types of figurative speech that are analyzed in this research, there are

idiomatic expressions, hyperbole, irony, assonance;

a. Idiom adalah pola pola struktural yang menyimpang dari

kaidah-kaidah bahasa yang umum, biasanya berbentuk
frasa, sedangkan artinya tidak bisa diterangkan secara
logis atau secara gramatikal, dengan bertumpu pada
makna kata-kata yang memebentuknya (p. 109).
Idiom is structural pattern that deviates from the rule of the
language common, usually a phrase, while it means
unexplained logically or grammatically, with rests on the
meaning of that word which compose it.
b. Hiperbol adalah semacam gaya bahasa yang mengandung
suatu pernyataan yang berlebihan, dengan membesar-
besarkan suatu hal (p. 135).
Hyperbole is some language style that containing an over
statement by exaggerating one thing.
c. Ironi adalah suatu acuan yang ingin mengatakan sesuatu
dengan makna atau maksud berlainan dari apa yang
terkandung dalam rangkaian kata-katanya (p. 143).
Irony is one of reference to say something with the meaning
of or different meanig from what contained in its words.
 17

d. Asonansi adalah semacam gaya bahasa yang berwujud

perulangan bunyi vokal yang sama. Biasanya dipergunakan
dalam puisi, kadang-kadang dalam prosa untuk
memperoleh efek penekanan atau sekedar keindahan (p.
130).
Assonance is some sort of style that tangible vocal
repetition. Usually used to poetry, sometimes in prose to
obtain the emphasis effect or just beauty.

a. Idiomatic Expression
Larson (1998:17) said that “Meaning-based translations make

every effort to communicate the meaning of the source language

text in the natural forms of the receptor language. Such translations

are called idiomatic translations.” Further, Larson stated that

“Idiomatic translations use the natural forms of the receptor

language, both in the grammatical constructions and in the choice

of lexical items. A truly idiomatic translation does not sound like a

translation (p. 18). Armstrong (2005:121) stated that “… an

idiomatic translation will often concentrate on the function rather

than the structure of a phrase.” Peter Newmark (1988:41) also said

that “Idiomatic translation reproduces the ‘message’ of the original

but tends to distort nuances of meaning by preferring

colloquialisms and idioms where these do not exist in the original.”

For example:
SL: Raining cats and dogs.
TL: Hujan deras.
b. Hyperbole
Larson (1998:127) citing Beekman and Callow 1974:118, said that

“A hyperbole is a metonymy or synecdoche with more said than the

 18

writer intended the reader to understand. The exaggeration is

deliberately used for effect, and is not to be understood as if it were

a literal description.” Hyperbole is simply exaggeration out in the

service of truth (Perrine, 1977:102). Andrew chesterman (2000:17)

stated that “Hyperbole is an outrageous exaggeration that

emphasizes a point, and can be ridiculous or funny.” For example:

SL: You snore louder than a freight train.
TL: Kamu mendengkur lebih keras daripada kereta barang.

c. Irony
Irony is the opposite of what one means, (Perrine, 1977:103).

Andrew Chesterman (2000) said that “with irony, a word or words

are taken in the opposite way from their literal meaning (p. 1) and

“Irony is using words where the meaning is the opposite of their

usual meaning (p. 26). For example:

SL: The Titanic was said to be unsinkable.
TL: Kapal Titanic dikatakan tidak akan tenggelam.
d. Assonance
Andrew Chesterman (2000:25) stated that“Assonance is the

repetition of vowel sounds in words that are close together.” For

example:
SL: I must confess that in my quest I felt depressed and

restless.
TL: Aku harus mengakui bahwa dalam pencarianku, aku

merasa tertekan dan gelisah.

2.3 Shift or Transposition

Catford’s shifts which are cited by Venuti in his book The Translation

Studies Reader (2000) means departures from formal correspondence in

 19

the process of going from the SL (source language) to the TL (target

language).

a. Structure-shifts. These are amongst the most frequent category

shifts at all ranks in translation; they occur in phonological and

graphological translation as well as in total translation, for

example:
SL: I had my car repaired.
TL: Saya memperbaiki mobil saya.
The sentence in the source text is in the passive form but translated

into an active form in the target language.

c. Unit shifts or rank shifts. By unit-shift we mean 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. “Rank” here refers to the hierarchical

linguistic units of sentence, clause, group, word and morpheme, for

example:

SL: FC BARCELONA is an unbeaten club in the world. (un-

is a morpheme)

TL: FC BARCELONA adalah klub yang tidak terkalahkan di

dunia. (tidak is a word)

2.4 Cohesive Device

a. Cohesion
According to Larson (1998:44) “In any text, the reference to

certain THINGS, EVENTS, ATTRIBUTES, and RELATIONS will

be left implicit. The meaning is there but not expressed explicitly.”

 20

And Duff (1981:22) states, “…a translation may be longer … than

the original....” Larson (1998:394) also states “there are many

devices which give cohesion to a text.” For example:

SL: I love that plane. She makes me comfort.
TL: Saya suka pesawat itu. Dia selalu membuatku nyaman.
b. Anaphora
Guy Cook (1989:156) stated that anaphora is “A relationship

whereby the meaning of expressions is recovered from previous

mention.” On the Textual Cohesion “Anaphoric refers to any

reference that ‘points backwards’ to previously mentioned

information in text” (p. 2). For example:

SL: Always wanted to build models. Father wouldn’t allow

it.
TL: Selalu ingin membuat model. Tapi ayahku tak

mengizinkannya.
c. Ellipsis
Guy Cook (1989:20) stated that ellipsis is “omitting part of

sentences on the assumption that an earlier sentence or the context

will make the meaning clear is known as ellipsis.”

SL: I love rose.
TL: Saya suka bunga mawar.
The word “rose” translated into “bunga mawar”, in which the

word bunga is intensionally left out but the meaning of the word

does not constitute the problem at all and it is intuitively clear

because rose is one of the flower species.

2.5 Trope vs Scheme

Andrew Chesterman (2000:1) said that “Tropes and schemes are both

figure of speech that add color and interest to language. These are devices
 21

that contribute to the style of the author and can help to get the point

across. One way they do this is by appealing to the emotions of the

recipient.”

3. Trope Change

This strategy, or rather set of strategies, applies to the translation of

rhetorical tropes (i.e. figurative expressions) in the same way as

strategy the translation of schemes (Andrew Chesterman, 2000:105-

106).

c. ST trope X→TT trope X

For example, a ST pun is retained as a pun in TT. The TT trope.

Can be (i) semantically identical, (ii) semantically related or (iii)

not. Semantically related but still the same type of trope as the ST

trope, for example:

SL: He’s been here hundreds of times.

TL: Dia ke tempat ini sudah ratusan kali.

The hyperbole “He’s been here hundreds of times” is translated

into hyperbole “Dia ke tempat ini sudah ratusan kali.”

d. ST trope X→TT trope Y

The figurativeness is retained but the trope changes, e.g. a ST pun

Is translated as a metaphor in TT, for example:

SL: She has tons of money.

TL: Dia mempunyai banyak uang.

 22

The hyperbole “She has tons of money” is translated into non-

hyperbole “Dia mempunyai banyak uang.” There is a change from

hyperbole into non-hyperbole.

4. Scheme Change

This refers to the kinds of changes that translators incorporate in the

translation of rhetorical schemes such as parallelism, repitition,

alliteration, metrical rhythm etc (Andrew Chesterman, 2000:99-100).

 ST scheme X→TT scheme Y

That is, the ST scheme can be changed to another scheme that is

deemed to serve an appropiate or similar function in the TL (e.g.

ST parallelism → TT chiasmus), for example:

SL: From what i’ve tasted of desire, I hold with those who

favor fire.

TL: Dari keinginan yang telah kurasakan, aku setia pada

mereka yang membela bara.

The assonance “From what i’ve tasted of desire, I hold with

those who favor fire” is translated into non-assonance “Dari

keinginan yang telah kurasakan, aku setia pada mereka yang

membela bara.” There is a change from assonance into non-

assonance.

2.6 Undertranslation vs Overtranslation

1. Undertranslation/Reduction/Too few words

 23

d. Nida and Taber (1982:168) mentioned that “undertranslation is

there are quite naturally some expressions which are reduced in the

process of transfer from one language to another.”

e. Duff (1984:22) said that“... a translation may be shorter than the

original.”
f. Newmark (1986:39) also mentioned that ”Generally, a

communicative translation is likely to be smoother, simpler,

clearer, more direct, more conventional, conforming to a particular

register of language, tending to under-translate, i.e. to use more

generic, hold-all terms in difficult passages.”

For example:
SL: I am hot and bothered about you.
TL: Saya khawatir kepadamu.
The three words ‘hot and bothered’ is translated into one word

‘khawatir.’ Thus, the translation is shorter than the original.

2. Overtranslation/Expansion/Too many words
a. Nida and Taber (1982:163) mentioned on expansion as follows:

“there is a tendency for all good translations to be somewhat longer

than the originals. This does not mean, of course, that all long

translations are necessarily good. It only means that in the process

of transfer from one linguistic and cultural structure to another, it is

almost inevitable that the resulting translation will turn out to be

longer.”
b. Duff (1981:23) said that “padding occurs when words are merely

transferred without regard for the potential of the target language.”

c. Newmark (1981:39) explained that “A semantic translationtends to

be more complex, more awkward, more detailed, more

 24

concentrated, and pursues the thought-processes rather than the

intention of the transmitter.”

For example:
SL: Freeze!
TL: Jangan bergerak!
The one word ‘freeze’ is translated into two words ‘jangan

bergerak.’ Thus, the translation is longer than the original.

2.7 Naturalization

c. Venuti (2000:237) citing André Lefevere (1982) stated that “Since

different languages reflect different cultures, translations will nearly

always contain attempts to “naturalize” the different culture, to make it

conform more to what the reader of the translation is used to.”

d. Larson (1984:16) stated that “Literal translation of words, idioms,

figures of speech etc. Results in unclear, unnatural, and sometime

nonsensical translation.”
For example:
SL: I’m still feeling a little homesick.
TL: Saya masih merasa sedikit kangen rumah/keluarga.
The phrase ‘homesick’ sounds awkward if it is translated into ‘sakit

rumah/keluarga’ in a literally translated sentence ‘Saya masih merasa

sedikit sakit rumah/keluarga.’ Thus it is translated into ‘Saya masih

merasa sedikit kangen rumah/keluarga’ in order to sound natural.

2.8 Literal Translation

c. Neubert (1983) stated on Newmark’s book A Text Book of Translation

(1988:68) that one word of an SL text and a TL word in the translation

rarely correspond semantically, and grammatically hardly ever.”

 25

d. Newmark stated on his book A Text Book of Translation (1988:69)

Transferring SL grammar and word order as well as the primary

meanings of all SL words.”

For example:
SL: .... is looking for someone slightly younger and little

more regal.
TL: .... mencari orang yang sedikit lebih muda dan sedikit

lebih bersikap bangsawan.

2.9 Free Translation

c. Pei and Gaynor (1954:77) stated that “A free translation is a translation

that reproduce the general meaning of the original text. It may or may

not closely follow the form or organization of the original.”

d. Jeremy Munday (2001:20) stated that “The sense-for-sense approach,

on the other hand, allowed the sense or contentof the ST to be

translated.”
For example:
SL: The small building to worship to Allah is more in use in

the village.
TL: Di desa lebih banyak musholla yang di gunakan untuk

beribadah kepada Allah SWT.

 26

CHAPTER III

DATA ANALYSIS

During the analyze of the data, I have found many difficulties.

However, in this chapter, I only took fifteen (15) data that were the most

difficult to be solved. Those fifteen (15) data are grouped into four

categories, namely nine (9) idiomatic expressions, one (1) hyperbole, two

(2) ironies, three (3) assonances out of the thirty nine (39) data.

3.1 Idiomatic Expression

1. SL: I am sure you will be splendid. Just take your time.

TL: Kuyakin anda pasti hebat. Santai saja.
Semantically, the idiomatic expression take your time is translated

into a non-idiomatic word ‘santai saja’ refering to the later sentence (p. 3)

“Bertie is frozen at the microphone. His neck and jaw muscles contract

nad quiver.” According to Oxford Advanced Learner’s Dictionary

 27

(2000:1255) take your time means ‘to use as much time as you need

without trying.’ The idiomatic expression take your time is translated into

an Indonesian equivalence ‘santai’ (adj) which means, according to

Kamus Besar Bahasa Indonesia, ‘dalam keadaan santai dan senggang’ (p.

1362) and ‘saja’ (adv) ‘seenaknya; sesuka hati’ (p. 1341). Alan Duff on

his book Principles of Translation (1990:10-11) stated that “Idiomatic

expressions are notoriously untranslatable...If the expressions cannot be

directly translated, try...-use a non-idiomatic or plain prose translation.”

Grammatically, the idiomatic expression as an imparative verb

phrase Just take your time in the SL text “I am sure you will be splendid.

Just take your time” translated into adjective phrase ‘Santai saja’ in the TL

text “Ku yakin anda pasti hebat. Santai saja” is correct. The translation is

categorized as unit shift. Catford (1965:79) stated that “unit-shift we mean

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.”

2. SL: Timing isn’t my strong suit.

TL: Penempatan waktunya tidak tepat.
Semantically, The idiomatic expression isn’t my strong suit in the

SL text “Timing isn’t my strong suit” translated into non-idiomatic ‘tidak

tepat’ in the TL text “Penempatan waktunya tidak tepat.” According to

Oxford Advanced Learner’s Dictionary (2000:1189) be sb’s strong suit

means ‘to be a subject that sb knows a lot about.’ According to Kamus

Besar Bahasa Indonesia ‘tepat’ (adj) ‘kena benar’(pd sasaran, tujuan,

 28

maksud, dsb) ‘betul atau cocok’ (tt dugaan, ramalan, dsb) (p. 1684). Alan

Duff on his book Principles of Translation (1990:10-11) stated that

“Idiomatic expressions are notoriously untranslatable...If the expressions

cannot be directly translated, try...-use a non-idiomatic or plain prose

translation.”
Naturally, the idiomatic expression isn’t my strong suit translated

into ‘tidak tepat’ refering to the previous sentence (p. 15) Bertie: “Out of

the question. I’m not having this conversation again. The matter’s settled.”

Circumtances make the speaker is not in the mood of making a joke.

Venuti (2000:237) citing André Lefevere (1982) stated that “Since

different languages reflect different cultures, translations will nearly

always contain attempts to “naturalize” the different culture, to make it

conform more to what the reader of the translation is used to.”

Grammatically, the idiomatic expression as a noun phrase isn’t my

strong suit in the SL text “Timing isn’t my strong suit” translated into

adjective phrase ‘tidak tepat’ in the TL text “Penempatan waktunya tidak

tepat” is correct. The translation is categorized as unit shift. Catford

(1965:79) stated that “unit-shift we mean 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.”

3. SL: You’re barking up the wrong tree now, Doctor, Doctor.

TL: Kau salah, Dokter.
The idiomatic expression barking up the wrong tree consists of

five words and it is translated into only one word ‘salah’ thus the

translation is shorter than the original one. Newmark (1986:39) also

 29

mentioned that ”Generally, a communicative translation is likely to be

smoother, simpler, clearer, more direct, more conventional, conforming to

a particular register of language, tending to under-translate, to use more

generic, hold-all terms in difficult passages.”

Semantically, the idiomatic expression barking up the wrong tree

is translated into non-idiomatic ‘salah’ refering to the previous sentence

(p. 43) Bertie: “It was a relief...knowing I wouldn’t be King.” According

to Oxford Advanced Learner’s Dictionary (2000:80) bark up the wrong

tree means ‘to have the wrong idea about how to get or achieve sth.’

According to Kamus Besar Bahasa Indonesia ‘salah’ (adj) ‘tidak benar’,

‘keliru’ (p. 1345). According to Tesaurus Bahasa Indonesia ‘keliru’ (adj)

‘salah’ (p. 240). Alan Duff on his book Principles of Translation (1990:10-

11) stated that “Idiomatic expressions are notoriously untranslatable...If

the expressions cannot be directly translated, try...-use a non-idiomatic or

plain prose translation.”

Grammatically, the idiomatic expressionas as a phrasal verb

barking up the wrong tree in the SL text “You’re barking up the wrong

tree now, Doctor, Doctor ”translated into an adjective ‘salah’ in the TL text

“Kau salah, Dokter” is correct. The translation is categorized as unit shift.

Catford (1965:79) stated that “unit-shift we mean 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.”

 30

4. SL: Do you want a top-up?

TL: Anda mau tambah lagi?
Semantically, The idiomatic expression top-up is translated into

non-idiomatic ‘tambah lagi’ referring to previous sentence (p. 41) Lionel:

“I’ll put on some hot milk.” According to Oxford Advanced Learner’s

Dictionary (2000:1264) top up means ‘to fill sb’s glass or cup with sth

more to drink.’ According to Kamus Besar Bahasa Indonesia ‘tambah’ (n)

‘yang dibubuhkan pada yang sudah ada supaya menjadi lebih banyak’ (p.

1605) and ‘lagi’ (p) ‘tambah sekian’ (p. 855). Alan Duff on his book

Principles of Translation (1990:10-11) stated that “Idiomatic expressions

are notoriously untranslatable...If the expressions cannot be directly

translated, try...-use a non-idiomatic or plain prose translation.”

Grammatically, the idiomatic expression as a phrasal verb top up

in the SL text “Do you want a top up?” translated into a noun phrase

‘tambah lagi’ in the TL text “Anda mau tambah lagi?” is correct. The

translation is categorized as unit shift. Catford (1965:79) stated that “unit-

shift we mean 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.”

5. SL: ...there are people marching across Europe singing The Red Flag?
TL: ...sementara Eropa sedang memanas?
Semantically, the idiomatic expression singing the red flag is

translated into non-idiom ‘sedang memanas’ refering to the sentence (p.

79) Chamberlain: “...a state of war would exist between us.” According to

Oxford Advanced Learner’s Dictionary (2000:980) the red flag means ‘a

 31

flag used for warn people of danger as a symbol of revolution or

communism.’ According to Hasan Alwi (2003:36)

‘sedang’ “berfungsi sebagai atributif (yang menerangkan),
koordinatif (yang menerangkan secara setara), subordinatif
(yang menggabungkan secara bertingkat). Predikat dalam
bahasa Indonesia dapat berwujud frasa verbal, adjektival,
nominal, numeral, dan preposisional”.
Contoh: Ibu sedang makan didapur.

According to Kamus Besar Bahasa Indonesia ‘sedang’ (adv) means

‘masih’ (p. 1377). According Tesaurus Bahasa Indonesia ‘masih’ (adv)

‘lagi’, ‘sedang’, ‘tengah’ (p. 313) and ‘memanas’ (v) ‘menegang’,

‘mengeruh’ (p. 351). Alan Duff on his book Principles of Translation

(1990:10-11) stated that “Idiomatic expressions are notoriously

untranslatable...If the expressions cannot be directly translated, try...-use a

non-idiomatic or plain prose translation.”

According to Oxford Advanced Learner’s Dictionary of Current

English (1974:706) red flag (n) means (a). ‘Flag used as a symbol of

danger.’ (b). ‘Symbol of revolution.’

Grammatically, the idiomatic expression as a noun phrase singing

the red flag in the SL text “...there are people marching across Europe

singing The Red Flag?” translated into verb phrase ‘sedang memanas’ in

the TL text “...sementara Eropa sedang memanas?” is correct. The

translation is categorized as unit shift. Catford (1965:79) stated that “unit-

shift we mean 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.”

6. SL: But he’s going to anyway. All hell’s broken loose.

 32

TL: Namun dia akan tetap mencobanya. Masalah yang sangat besar.
Semantically, The idiomatic expression All hell’s broken loose is

translated into non-idiomatic ‘Masalah yang sangat besar’ refering to the

previous sentence (p. 56) Bertie: “Unthinkable”. Lionel: “Can he do

that?”. Bertie: “Absolutely not.” Also refering to the later sentence (p.58)

Baldwin: “...It’s just because she’s an American. Is that she is soon to be a

twice divorced American, and the King cannot marry a divorced

woman...Should your brother continue to ignore the advice of his

government, he must abdicate. Otherwise his government has no choice

but to resign.” According to Oxford Advanced Learner’s Dictionary

(2000:558) All hell broke loose means ‘suddenly there was a lot of noise

arguing, fighting or confusion.’ According to Kamus Besar Bahasa

Indonesia ‘masalah’ (n) ‘sesuatu yang harus diselesaikan atau harus

dicarikan jalan keluarnya’ (p. 992) and ‘sangat besar’ (adj) ‘amat’,

‘terlalu’ (p. 1358). Alan Duff on his book Principles of Translation

(1990:10-11) stated that “Idiomatic expressions are notoriously

untranslatable...If the expressions cannot be directly translated, try...-use a

non-idiomatic or plain prose translation.”

Grammatically, the idiomatic expression as an adjective phrase All

hell’s broken loose in the SL text “But he’s going to anyway. All hell’s

broken loose” translated into noun phrase ‘Masalah yang sangat besar’ in

the TL text “Namun dia akan tetap mencobanya. Masalah yang sangat

besar” is correct. The translation is categorized as unit shift. Catford

(1965:79) stated that “unit-shift we mean changes of rank-that is,

 33

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.”

7. SL: A jumped-up jackeroo from the outback.

TL: Seorang penggembala sombong dari pedalaman.

Semantically, the idiomatic expression jumped-up jackeroo is

translated into non-idiomatic ‘penggembala sombong’ refering to the

previous sentence (p. 57) Bertie: “Don’t instruct me on my duties! I’m the

brother of a King...the son of a King...we have a history that goes back

untold centuries. You’re the disappointing son of a brewer!” According to

Oxford Advanced Learner’s Dictionary (2000:646) jumped-up means

‘thinking you are more important than you really are, particularly because

you have risen in social satatus.’ According to Kamus Besar Bahasa

Indonesia ‘penggembala’ (n) ‘penjaga atau pemiara binatang’ (p. 465)

and ‘sombong’ (adj) ‘congkak’ (p. 1490). According to Tesaurus Bahasa

Indonesia ‘penjaga’ (n) ‘pemelihara’ (p. 210) and ‘congkak’ (adj)

‘sombong’ (p. 111). According to online dictionary “jackeroo” (n) means

‘an inexperienced person working as an apprentise on a sheep ranch.’ Alan

Duff on his book Principles of Translation (1990:10-11) stated that

“Idiomatic expressions are notoriously untranslatable...If the expressions

cannot be directly translated, try...-use a non-idiomatic or plain prose

translation.”

Grammatically, the idiomatic expression as a noun phrase jumped-

up jackeroo in the SL text “A jumped-up jackeroo from the outback”

 34

translated into noun phrase ‘penggembala sombong’ in the TL text

“Seorang penggembala sombong dari pedalaman” is correct. The

translation is categorized as unit shift. Catford (1965:79) stated that “unit-

shift we mean 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.”

8. SL: Shell-shocked and unable to speak.

TL: Stres akibat perang dan tidak mampu berbicara.
The idiomatic expression Shell-shocked consist of two words and

it is translated into a three-word phrase ‘Stres akibat perang,’ so the

source language is shorter then the target language, which means there is

an overtranslation. Nida and Taber (1982:163) mentioned on expansion as

follows: “there is a tendency for all good translations to be somewhat

longer than the originals. This does not mean, of course, that all long

translations are necessarily good. It only means that in the process of

transfer from one linguistic and culturalstructure to another, it is almost

inevitable that the resulting translation will turn out tobe longer.”
Semantically, the idiomatic expression Shell-shocked is translated

into non-idiomatic ‘Stres akibat perang’ refering to the previous sentence

(p. 72) Lionel: “When the Great War came, our boys were pouring back

from the front.” According to Oxford Advanced Learner’s Dictionary

(2000:1086) Shell-shocked means 2. ‘Suffering from shell shock,’ shell

shock is (n) ‘a mental illness that can affect soldiers who have been in a

battle for a long time.’ According to Kamus Besar Bahasa Indonesia ‘stres’
 35

(n) ‘gangguan atau kekacauan mental dan emosional yang disebabkan

gangguan luar’ (p. 1529) and ‘akibat’ (n) ‘sesuatu yang menjadi

kesudahan’ (peristiwa, kejadian, perbuatan) (p. 27) and ‘perang’ (v)

‘pertempuran bersenjata antara dua negara’ (p. 1156). Alan Duff on his

book Principles of Translation (1990:10-11) stated that “Idiomatic

expressions are notoriously untranslatable...If the expressions cannot be

directly translated, try...-use a non-idiomatic or plain prose translation.”

Grammatically, the idiomatic expression as an adjective phrase

Shell-shocked in the SL text “Shell-shocked and unable to speak”

translated into noun phrase ‘Stres akibat perang’ in the TL text “Stres

akibat perang dan tidak mampu berbicara” is correct. The translation is

categorized as unit shift. Catford (1965:79) stated that “unit-shift we mean

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.”

9. SL: Family secret. Tongue-tied.

TL: Rahasia keluarga. Dijaga ketat.
Semantically, the idiomatic expression Tongue-tied is translated

into non-idiomatic ‘Dijaga ketat’ is a free translation refering to the

previous sentence (p. 83) Winston Churchill: “....I eventually made an

asset of it.” According to Oxford Advanced Learner’s Dictionary

(2000:57) asset means ‘a person or thing that is valuable or useful to

sb/sth.’ Therefore, the translation of “Tongue-tied” into “Dijaga ketat”

 36

sounds natural instead of ‘not able to speak because you are shy or

nervous’ (Oxford Advanced Learner’s Dictionary (2000)) which means

“kaku lidah” (p. 1262). According to Kamus Besar Bahasa Indonesia

‘jaga’ (v) ‘perbuatan menjaga’ (p. 606) and ‘ketat’ (adj, kiasan) means

‘tetap tidak dapat diubah, tanpa kecuali’ (p. 761). According to Tesaurus

Bahasa Indonesia ‘jaga’ (v) (mulut, kiasan) ‘menjaga lidah’, ‘menjaga

omongan’ (p. 210) and ‘ketat’ (adj) ‘cermat’, ‘teliti’ (p. 251). Alan Duff on

his book Principles of Translation (1990:10-11) stated that “Idiomatic

expressions are notoriously untranslatable...If the expressions cannot be

directly translated, try...-use a non-idiomatic or plain prose translation.”

Pei and Gaynor (1954:77) stated that “A free translation is a translation

that reproduce the general meaning of the original text. It may or may not

closely follow the form or organization of the original.” Jeremy Munday

(2001:20) stated that “The sense-for-sense approach, on the other hand,

allowed the sense or contentof the ST to be translated.”

Grammatically, the idiomatic expression as a passive form

“Tongue-tied” in the SL text “Family secret. Tongue-tied” translated into

an adjective phrase “Dijaga ketat” in the TL text “Rahasia keluarga.

Dijaga ketat” is correct. The translation categorized as structure shift.

Catford (1965) stated “these are amongst the most frequent category shifts

at all ranks in translation; they occur in phonological and graphological

translation as well as in total translation (p. 77).

3.2 Hyperbole
 37

1. SL: ...I thought he stammers so beautifully...

TL: ...aku berpikir dia gagap dengan begitu indahnya...

The hyperbole he stammers so beautifully is translated into

hyperbole ‘dia gagap dengan begitu indahnya’ the translator adopts literal

translation to translate the hyperbole. The previous sentences, (p. 65)

“...Bertie breaks down, fierce, wracking sobs. Elizabeth speaks softly, with

growing strength, having already accepted and adapted to the situation,”

that is the context of he stammers so beautifully helps the translator to

seek the equivalence of the most appropriate for it. According to Oxford

Advanced Learner’s Dictionary of Current English (1974) ‘stammer’

means (vi, vt) ‘speak haltingly with a tendency to repeat rapidly the same

sound or syllable’ (p. 840) and ‘beautifully’ (adv) means ‘in a ~ manner’

(71). According to An English-Indonesia Dictionary, Third Edition, By

John M. Echols and Hasan Sadily (1989), ‘stammer’ (kb) ‘kegagapan’,

‘cara bicara yang gagap’ (p. 551) and ‘beautifully’ (kk) ‘dengan indah’

(p. 58). Hyperbole is simply exaggeration out in the service of truth

(Perrine, 1977:102). Larson (1998:127) citing Beekman and Callow

1974:118, said that “A hyperbole is a metonymy or synecdoche with more

said than the writer intended the reader to understand. The exaggeration is

deliberately used for effect, and is not to be understood as if it were a

literal description.” Newmark stated on his book A Text Book of

Translation (1988:69) Transferring SL grammar and word order as well as

the primary meanings of all SL words.”

 38

The translation of hyperbole in the SL he stammers so beautifully

is translated into ‘dia gagap dengan begitu indahnya’ is based on the

trope change theory. A ST trope X→TT trope X, a ST hyperbole is retained

as a hyperbole in TT. The TT trope. Andrew Chesterman (2000:1) said that

“a trope is simply figure of speech. Tropes and schemes are both figure of

speech that add color and interest to language. These are devices that

contribute to the style of the author and can help to get the point across.

One way they do this is by appealing to the emotions of the recipient. This

trope uses exaggeration to get the point across.”

3.3 Irony
1. SL: Makes it official then.
TL: Kalau begitu gelar bodohnya sudah resmi.
The text Makes it official then is translated into irony ‘Kalau

begitu gelar bodohnya sudah resmi’ refering to the previous sentence (p.

21) Lionel: “They’re idiots.” The word it in the SL text “Makes it official

then” is translated into ‘gelar bodohnya’ in the TL text “Kalau begitu

gelar bodohnya sudah resmi”. The pronoun it functions as a cohesive

device, there is a change of cohesion namely from the determiner it into

noun phrase ‘gelar bodohnya.’ Thus the word it is a cohesive device. This

reference is endophoric cohesion because the referent is within the word it

is anaphorically refers to the text before “My physicians say it relaxes the

throat. They’re idiots” (p. 21). On the Textual Cohesion “Anaphoric refers

to any reference that ‘points backwards’ to previously mentioned

information in text” (p. 2). According to Larson (1998:394) “there are

 39

many devices which give cohesion to a text.” Example: ...Always wanted

to build models. Father wouldn’t allow it (p. 43). According to Hasan

Alwi (2003)
“Kohesi merujuk pada keterkaitan antar preposisi yang
secara eksplisit di ungkapkan oleh kalimat-kalimat yang
digunakan (p. 41). Anafora adalah peranti dalam bahasa
untuk membuat rujuk silang dengan hal atau kata yang
telah di katakan sebelumnya. Peranti itu dapat berupa kata
ganti persona seperti dia, mereka, nomina tertentu,
konjungsi, keterangan waktu, alat, dan cara (p. 43).

The word ‘nya’ in the TL text “Kalau begitu gelar bodohnya

sudah resmi” is refering to “para dokterku” in the previous sentence

(Indonesian film script, event: 249-253) “Aku yakin merokok akan

membunuhmu. Kata para dokterku...”. According to Hasan Alwi

(2003:256) “...dari keempat pronomina persona ketiga itu, hanya dia,

-“nya” dan beliau yang dapat dipakai untuk menyatakan milik.” Contoh:

Rumahnya di daerah Kebayoran Baru. Irony is the opposite of what one

means, (Perrine, 1977:103). According to Abdul Chaer (1993)

“kalau begitu adalah konjungsi antarkalimat. Konjungsi

antarkalimat adalah konjungsi yang menghubungkan
kalimat baik dalam satu paragraf maupun diantara dua
paragraf. Sebagai konjungsi antarkalimat, tentu saja posisi
konjungsi ini selalu berada pada awal kalimat, tetapi
bukan kalimat pembuka paragraf. Konjungsi antarkalimat
selalu berada sesudah adanya pernyataan yang telah
diungkapkan dalam kalimat lain.”
Contoh: Kalau begitu, biar aku saja yang menerimanya.

The imparative sentence Makes it official in the SL text “Makes it

official then” is translated into a noun phrase ‘gelar bodohnya sudah

resmi’ in the TL text “Kalau begitu gelar bodohnya sudah resmi” is

correct. The translation is categorized as unit shift. Catford (1965:79)

 40

stated that “unit-shift we mean 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.”

The translation of irony in the SL Makes it official then is

translated into ‘Kalau begitu gelar bodohnya sudah resmi’ is based on

trope change theory. ST trope X→TT trope Y, the figurativeness is

retained but the trope changes, a ST non-irony is translated as an irony in

TT. Andrew Chesterman (2000:1) said that “a trope is simply figure of

speech. Tropes and schemes are both figure of speech that add color and

interest to language. These are devices that contribute to the style of the

author and can help to get the point across. One way they do this is by

appealing to the emotions of the recipient. With irony, a word or words are

taken in the opposite way from their literal meaning.”

2. SL: Welcome to our little country shack.

TL: Selamat datang di gubuk kecil kami.
The irony little country shack is translated into irony ‘gubuk

kecil’ refering to the previous sentence (p. 48) “AUSTIN, ROYAL

COUNTRY ESTATE, Bertie and Elizabeth are dressed for a party.”

According to Oxford Advanced Learner’s Dictionary of Current English

(1974), little (adj) means ‘small or small in comparison, some but not

much; a small quantity of’ (p. 497) and country (n) means ‘land, land used

for farming, land consisting of open spaces’ (p. 196) and shack (n) means

‘small, roughly built shed, hut or house’ (usu of wood) (p. 783). Irony is

the opposite of what one means, (Perrine, 1977:103). Andrew Chesterman

 41

(2000:1) said that “with irony, a word or words are taken in the opposite

way from their literal meaning.”

The translation of irony in the SL little country shack is translated

into ‘gubuk kecil’ is based on trope change theory. ST trope X→TT trope

X, a ST irony is retained as an irony in TT. The TT trope. Andrew

Chesterman (2000:1) said that “a trope is simply figure of speech. Tropes

and schemes are both figure of speech that add color and interest to

language. These are devices that contribute to the style of the author and

can help to get the point across. One way they do this is by appealing to

the emotions of the recipient.”

3.4 Assonance

1. SL: ...George to the mercy of God, our Maker and Redeemer.

TL: ...George pada kasih tuhan, Sang Pencipta dan Penebus kami.
The assonance our Maker and Redeemer is translated into non-

assonance ‘Sang Pencipta dan Penebus kami.’ According to Andrew

Chesterman (2000:25) “Assonance is the repetition of vowel sounds in

words that are close together.” The text our Maker sounds unnatural if it

were translated into ‘Pencipta kami.’ Therefore, to make it sound more

natural the translation should go Sang Pencipta. Venuti (2000:237) citing

André Lefevere (1982) stated that “Since different languages reflect

different cultures, translations will nearly always contain attempts to

“naturalize” the different culture, to make it conform more to what the

reader of the translation is used to.”

 42

According to Oxford Advanced Learner’s Dictionary of Current

English (1974), maker (n) means ‘the Creator; God’ (p. 515) and

redeemer (n) means ‘Jesus Christ’ (p. 707). According to An English-

Indonesia Dictionary, Third Edition, By John M. Echols and Hasan Sadily

(1989), maker (kb) ‘Sang Pencipta’ (p. 371) and redeemer (kb) ‘penebus’

(p. 472). According to Kamus Besar Bahasa Indonesia ‘sang’ (part) ‘kata

yang dipakai di depan nama orang, binatang, atau benda yang dianggap

hidup atau dimuliakan’ (p. 1357) and ‘penebus’ (n) ‘orang yang menebus’,

‘tebus’ (v), ‘menebus’ (v) ‘memperbaiki kesalahan (dosa dsb) dengan

berbuat jasa; kebaikan’ (p. 1647). According to Zarmika Sitinjak (2012)

“Kata sandang itu tidak mengandung suatu arti tetapi
mempunyai fungsi ................ sang, yang kadang-kadang
digunakan untuk mengagungkan dan terkadang untuk
menyatakan ejekan atau ironi.

The translation of assonance in the SL our Maker and Redeemer

is translated into ‘Sang Pencipta dan Penebus kami’ is based on scheme

change theory. ST scheme X→TT scheme Y. That is, the ST scheme can

be changed to another scheme that is deemed to serve an appropriate or

similar function in the TL. ST assonance → TT non-assonance. Andrew

Chesterman (2000:1) said that “a scheme will repeat a word or phrase

several times for emphasis. Tropes and schemes are both figure of speech

that add color and interest to language. These are devices that contribute to

the style of the author and can help to get the point across. One way they

do this is by appealing to the emotions of the recipient.”

 43

2. SL: Herrings don’t have wings.

TL: Ikan Haring tak punya sayap.
The word Herrings translated into ‘Ikan Haring,’ in which the

word ikan is intensionally left out but the meaning of the word does not

constitute the problem at all and it is intuitively clear because herring is

one of the fish species. Guy Cook (1989:20) stated that ellipsis is

“omitting part of sentences on the assumption that an earlier sentence or

the context will make the meaning clear is known as ellipsis.” According

to Oxford Advanced Learner’s Dictionary of Current English (1974),

herring (n) means ‘sea-fish, usu swimming in immense shoals, valued as

food’ (p. 401). According to An English-Indonesia Dictionary, Third

Edition, By John M. Echols and Hasan Sadily (1989), herring (kb) ‘ikan

haring’ (p. 297). The assonance Herrings don’t have wings is translated

into non-assonance ‘Ikan Haring tak punya sayap.’ According to Andrew

Chesterman (2000:25) “Assonance is the repetition of vowel sounds in

words that are close together.”

The translation of assonance in the SL Herrings don’t have wings

is translated into ‘Ikan Hering tak punya sayap’ is based on scheme

change theory. ST scheme X→TT scheme Y. That is, the ST scheme can

be changed to another scheme that is deemed to serve an appropriate or

similar function in the TL. ST assonance → TT non-assonance. Andrew

Chesterman (2000:1) said that “a scheme will repeat a word or phrase

several times for emphasis. Tropes and schemes are both figure of speech

that add color and interest to language. These are devices that contribute to
 44

the style of the author and can help to get the point across. One way they

do this is by appealing to the emotions of the recipient.”

3. SL: Should we pull over and find shelter?

TL: Kita menepi dan cari perlindungan?
The assonance pull over and find shelter is translated into non-

assonance ‘menepi dan cari perlindungan.’ According to Andrew

Chesterman (2000:25) “Assonance is the repetition of vowel sounds in

words that are close together.” According to Oxford Advanced Learner’s

Dictionary of Current English (1974), pull over means (cause a vehicle,

boat, etc to) ‘move or steer to one side, eg to let another vehicle or boat

pass’ (p. 677) and shelter (n) means ‘condition of being kept safe, eg from

rain, danger’ (p. 788). According to An English-Indonesia Dictionary,

Third Edition, By John M. Echols and Hasan Sadily (1989), pull over

‘pindah’ (tempat) (p. 456) and shelter (kb) (tempat) ‘perlindungan’ (p.

520).
The translation of assonance in the SL pull over and find shelter

is translated into ‘menepi dan cari perlindungan’ is based on scheme

change theory. ST scheme X→TT scheme Y. That is, the ST scheme can

be changed to another scheme that is deemed to serve an appropriate or

similar function in the TL. ST assonance → TT non-assonance. Andrew

Chesterman (2000:1) said that “a scheme will repeat a word or phrase

several times for emphasis. Tropes and schemes are both figure of speech

that add color and interest to language. These are devices that contribute to
 45

the style of the author and can help to get the point across. One way they

do this is by appealing to the emotions of the recipient.”

 46

CHAPTER IV

CONCLUSION AND SUGGESTION

4.1 Conclusion

Based on the research findings in the previous chapter, there are

four types of figurative speech found in the Tom Hooper’s film “The

King’s Speech”. They are nine idiomatic expressions, one hyperbole, two

ironies, three assonances. The translation approaches there are also found

in translating the figurative speech. In the film script, I found nine

translation approaches on the data. They are shift (unit shifts 9 data) and

(structure shifts 9 data), cohesive device (anaphora 1 datum) and (ellipsis 1

datum), trope change (3 data), scheme change (3 data), undertranslation (1

datum), overtranslation (1 datum), naturalization (2 data), literal

translation (1 datum), free translation (1 datum). In some data, I found a

problem that is more than one translation approaches in one figurative

speech because of the difference of language system between the source

language text and the target language text. So translating the figurative

speech need some approaches to reach the equivalence.

 47

4.2 Suggestion

This research is expected to give additional information for

students, especially English Department students about figurative speech

such as the types of figurative speech, the approaches used in translating

figurative speech, and the effect caused by the approaches used in terms of

accuracy and acceptability. Hopefully, the information can improve their

knowledge.

The result of this research is expected to be useful for those who

want to conduct further research about figurative speech. This research can

be one of the source of information which might be needed to make a more

detail research of figurative speech. According to the research findings, the

approaches proposed by several theorists that are used in this research can

not really show the real problems in translating figurative speech.

Therefore, the researcher suggests to other researcher to find another

translation approaches which are more appropriate to analyze figurative

speech.
 48

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 51

APPENDIX

1. SL: I am sure you will be splendid. Just take your time.

TL: Kuyakin anda pasti hebat. Santai saja.
2. SL: Fight against those marbles ... Enunciate!
TL: Berjuanglah melawan kelereng-kelereng itu ... Katakan dengan jelas.
3. SL: My husband has seen everyone ... He’s given up hope.
TL: Suamiku sudah temui setiap dokter ... Kukhawatirkan dia menyerah.
4. SL: Indentured servitude? Something of that nature.
TL: Karena pengabdian penuh? Semacam itulah.
5. SL: Still sounds a bit rough.
TL: Suaranya masih terdengar agak kasar.
6. SL: Why bring it up if you can’t talk about it?
TL: Mengapa mengungkitnya bila kau tak mau membicarakannya?
7. SL: Myrtle, just a woman looking to help her husband.
TL: Myrtle, dia hanya wanita yang mencari bantuan untuk suaminya.
8. SL: Oh, to fly away! Weren’t they lucky!
TL: Mereka terbang jauh! Tidakkah mereka beruntung!
9. SL: Herrings don’t have wings.
TL: Ikan haring tidak memiliki sayap.
10. SL: A short-tailed albatross.
TL: Seekor elang laut berekor pendek.

11. SL: By the way, I think I found someone rather interesting.

TL: Omong-omong, kutemukan sesuatu yang cukup menarik.
12. SL: Out of the question. I’m not having this conversation again.
TL: Tidak mungkin. Aku tak mau membahas itu lagi.
13. SL: Timing isn’t my strong suit.
TL: Penempatan waktunya tidak tepat.
14. SL: Makes it official then.
TL: Kalau begitu gelar bodohnya sudah resmi.
15. SL: What an earth do you mean?
TL: Apa maksudmu?
16. SL: I haven’t agreed to take you on.
TL: Aku belum setuju untuk mengobatimu.
17. SL: There’s a bob in this, mate. You can go home rich!
 52

TL: Nilai taruhannya satu shilling, Kawan. Kau bisa kaya saat pulang.
18. SL: I give you my word we’ve never had immoral relations.
TL: Aku bersumpah kami tak pernah memiliki hubungan yang mesum.
19. SL: Get it out boy!
TL: Ucapkanlah, Nak!
20. SL: ...We must build up the strength in your diaphragm.
TL: ...Kita harus membangun kekuatan pada diafragmamu.
21. SL: ...George to the mercy of God, our Maker and Redeemer.
TL: ...George pada kasih tuhan, Sang Pencipta dan Penebus kami.

22. SL: Time for a Shake, Dad ?

TL: Sudah waktunya bermain, Yah.
23. SL: Put your thinking caps on.
TL: Pakailah topi berpikirmu.
24. SL: Don’t listen to egghead. Go on, Dad.
TL: Jangan dengarkan sipintar itu. Teruskan, Yah.
25. SL: ...Logue, I’d kill for something stronger.
TL: ...Logue, aku ingin minuman yang lebih kuat.
26. SL: I was, sorry, mucking around with my kids.
TL: Maaf, aku tadi bermain-main dengan anakku.
27. SL: You’re barking up the wrong tree now, Doctor, Doctor.
TL: Kau salah Dokter.
28. SL: Do you want a top-up?
TL: Anda mau tambah lagi?
29. SL: Welcome to our little country shack.
TL: Selamat datang di gubuk kecil kami.
30. SL: ...there are people marching across Europe singing The red flag?
TL: ...sementara Eropa sedang memanas?
31. SL: Bertie, I’m not a geisha girl.
TL: Bertie, aku bukan perempuan geisha.
32. SL: But he’s going to anyway. All hell’s broken loose.
TL: Namun dia akan tetap mencobanya. Masalah yang sangat besar.

33. SL: A jumped up jackeroo from the outback!

TL: Seorang penggembala sombong dari pedalaman!
34. SL: ...I thought he stammers so beautifully...
TL: ...aku berpikir dia gagap dengan begitu indahnya...
35. SL: He is not here anymore...He’s on that shilling I gave you.
TL: Dia tak disini lagi...Di uang shilling yang ku berikan padamu.
36. SL: Shell-shocked and unable to speak.
TL: Stres akibat perang dan tidak mampu berbicara.
37. SL: Should we pull over and find shelter?
TL: Kita menepi dan cari perlindungan?
38. SL: Family secret. Tongue-tied.
TL: Rahasia keluarga. Dijaga ketat.
39. SL: ...we don’t want that evil eye staring at you all the way through.
 53

TL: ...kita tak mau mata iblis itu menatapmu sepanjang pidato.

COVER OF FILM
 54

CV (Curriculum Vitae)
 55

Personal Data
Name : Haidar Zulkarnain
Place and Date of Birth : Jakarta, 5 Oktober 1992
Sex : Male
Nation : Indonesian
Status : Single
Height/Weight : 180 cm/60 kg
Religion : Islam
Address : Jl. Penggilingan Baru III No. 81 Rt 011/004 Kel.
Dukuh Kec. Keramat Jati Jakarta Timur 13550
Phone : 081311157284
E-mail : idanglagilari@gmail.com

Education
1. Strata 1 English Department Faculty of Letters. Graduated 2016
(Sertificated)
2. Madrasah Aliyah Pondok Pesantren Modern Nurul Hijrah. Graduated 2010
(Sertificated)
3. Madrasah Tsanawiyah Pondok Pesantren Modern Nurul Hijrah. Graduated
2007 (Sertificated)
4. SDN Dukuh 09 Pagi Jakarta Timur. Graduated 2004 (Sertificated)

Organization Experience
2008- Health Section
2012- Maulid Organizer
2013- 2015 Qurban Organizer

Skills
Internet
English Language
Arabic Language

Work Experience
Crew EO Indonesian Aquaculture

My regard,
(Haidar Zulkarnain)