THE ANALYSIS OF METAPHOR TRANSLATION IN “ZOYA” Christina M. Manalu Alumnus of English Department, STBA LIA Jakarta Abstract The ability to tcanslate metaphors will help to make the translation more dramatic, vivid, and entertaining. There are thirty-four metaphors to be analyzed in “Zoya” that can be categorized into: The metaphor may be kept, a metaphor may be translated as simile, and without keeping the metaphorical imagery. Key words: metaphor, translation, Zoya. Introduction Compared to any other literary works such as poetry and drama, novel is the most popular written work that has been translated in a greater amount. More over, novel is relatively easy to digest. Many English novels and their translations are available in the bookstore. This has become one of the reasons that made the writer choose novel as the subject of the research. Among those novels, the writer is interested in analyzing “Zoya”, a popular novel written by Danielle Steel, published by Dell, New York in 1988, while its translation is done by Suwarni, A.S., published by Gramedia, Jakarta in 1998. Metaphors are often used as means of communication in daily conversation, advertising, articles, sermons, scientific disquisitions, philosophical writings, as well as in literary works (A Study of Metaphor 1). Therefore, after reading both English and Indonesian texts thoroughly, the recognized that “Zoya” contains a number of metaphors. This leads the its limitation of the study into the analysis of metaphors. The limitation of this study is mainly focused on the ways to translate metaphors. “The Analysis of Metaphor Translation in “Zoya (Christina M. Manalu) 105Concept of Translation Translation has something to do with language and no languages are identical. Newmark in his book entitled A Textbook of Translation believes that translation is transferring the meaning of a work in the source language into the receptor language in such a way that the meaning will be the same as the one intended by the author (5). Related to the process of translation, Larson provides a diagram as shown below: SOURCE LANGUAGE RECEPTOR LANGUAGE Text to be translated Discover the Re-express meaning the meaning SET In discovering the meaning, Larson says that translators have to study “the lexicon, grammatical structure, communication situation, and cultural context of the source language text, analyzing it in order to determine its meaning, and then reconstructing this same meaning using the lexicon and grammatical structure which are appropriate in the receptor language and its cultural context” (3), so that translators can re-express the meaning as exactly and naturally as possible. 106 LINGUA Vol 3 No.2, Sepember 2004 105—118,Regarding to the communication situation and cultural context, there is a relevant example in “Zoya.” The phrase “her brother” (Zoya 41; par. 3, line 1, ch, 3) has been translated into “abang Zoya” (Zoya 56; par. 1, line 1, ch. 3), instead of “kakak Zoya”, a sort of pronoun which is more popular in the culture of the receptor. In order to transfer the meaning and to get the best result in translation, translators have to pay attention to the equivalence of the words in the receptor language so that there won't be any misunderstanding. Eugene Nida in Translation Study distinguishes two types of equivalence: “formal and dynamic.” Formal equivalence focuses the attention on the message itself, in both form and content. Such translation concerns with correspondences as poetry to poetry, sentence to sentence, and concept to concept (qtd. in Bassnett 26). The example can be seen in “Zoya,” [ ... ], and she felt a wave of happiness [ ... ] (Zoya 405; par. 1, line 8, ch. 41) has been translated into “[ .. J. Zoya amat bahagia [ ... ] (Zoya 458; par. 1, line 9, ch. 41). Based on the principle of “equivalent effect,” dynamic equivalence occurs when the message conveyed from the source language into the receptor language produce the same expression (qtd. in Bassnett 26) as can be seen in “Zoya,” “She was the apple of her father’s eye” (Zoya 366; par. 4, lines 2-3, ch. 36) which was translated into “Dia buah hati ayahnya” (Zoya 416; par. 2, line 2, ch. 36). Larson acknowledges that there are two kinds of translation; (1) Literal translation (form-based) which attempts to follow the form of the source language. He adds that “literal translation of the words, idioms, figure of speech, etc., result in unclear, unnatural, and sometimes nonsensical translation.” (2) Idiomatic translation which aims to communicate the meaning of the source language text in the natural forms of the target language. ‘The Analysis of Metaphor Tansation in “Zoya” (Christina M. Manatu) 107Newmark in his book entitled Approaches to Translation, asserts that denotation is the literal meaning which exists in the dictionary and connotation is the meaning which arouses translators’ and receptors’ emotion that come out from the specific word. Although novel is not always easy to translate, it is still the most chosen one to be translated. According to Eugene Nida Dolet in “Toward A Science Of Translating”, 1964 novel translators are expected to: (1) Understand perfectly the content and intention of the author of the novel. (2) Have a perfect knowledge of the language being translated and an equally excellent knowledge of the language being translated. (3) Avoid the tendency to translate word for word, as it will destroy the meaning of the original language and ruin the beauty of the expression. (4) Employ the forms of speech in common use. (5) Choose and order words appropriately to produce the correct tone (qtd. in Nida 16). Concept of Metaphor The word metaphor means “a word or phrase used in an imaginative way to describe somebody or something else, in order to show that the two things have the same qualities and to make the description more powerful” as stated by Sally Wehmeier in the Oxford Advanced Learner’s Dictionary (739). While according to Moeliono in his book entitled Kembara Bahasa Kumpulan Karangan Tersebar, “kiasan atau metaphor ialah perbandingan yang implisit—jadi tanpa kata seperti atau sebagai—di antara dua hal yang berbeda” (Metaphor is the implicit comparison without the word like or as between two different items) (175). 108 LINGUA Vol, 3 No.2, September 2004 105-118Larson writes that it is very helpful to find out the metaphoric elements (topic, image, and point of similarity) to identify metaphor as not all elements are explicit in the text. However, if one or two elements are left implicit, translators should have to look at the context which are related to the image used in the metaphor , either in written text or in oral situation, (250). Beekman and Callow divide metaphoric elements into the following terms: (1) Topic is the item illustrated by the image, as can be seen in “Life is a game.” (2) dmage is the “metaphoric” part of the figure, as can be seen in “Life is a game.” (3) Point of similarity explains what particular aspect of the image and the topic are similar (127) as can be seen in “Life is a risky game.” Larson in his book entitled Meaning-Based Translation: A Guide to Cross Language, writes that there are “five ways to translate metaphors” as following: (1) The metaphor may be kept if the receptor language permits (that is, if it sounds natural and is understood correctly by the readers); (2) Ametaphor may be translated as a simile (adding like or as); (3) A metaphor of the receptor language which has the same meaning may be substituted; (4) The metaphor may be kept and the meaning will be explained (that is, the topic and/or point of similarity may be added); and (5) The meaning of the metaphor may be translated without keeping the metaphorical imagery (254). ‘The Analysis of Metaphor Translation in “Zoya”” (Christina M. Manalu) 109In translating metaphor, translators encounter many problems, as stated by Marry Snell-Horby in her book entitled Translation Studies, “the essential problem posed by metaphor in translation is that different cultures, hence different languages, conceptualize and create symbols in varying ways, and therefore the sense of metaphor in frequently culture-specific” (57). Newmark in The Ubiquity of Metaphor states that there are three purposes of metaphor: first, to describe entities (objects or persons), events, concepts or states of mind more comprehensively, concisely, and vividly, “second, to please, to entertain, to amuse, often to draw attention, to make the text colorful, and dramatic, and third, to indicate a resemblance between one thing and another called occasional purpose. (qtd. in Paprotte and Dirven, 295). Analysis Based on Larson’s theory, there are three ways of translating metaphors used in “Zoya” : (1) The metaphor may be kept, (2) A metaphor may be translated as a simile, and (3) Without keeping metaphorical imagery. ‘The Metaphor May Be Kept The metaphor may be kept if the receptor language permits (that is, if it sounds natural and understood correctly by the readers). SL: [.... ].She wondered too what had happened to Jimmy by then. [ ... but she had never heard from him again. He was part of another life, another chapter closed, [ ... | (Zoya 337-8; par. 4, ch. 34) RL : [... }- Dia lalu ingin tahu bagaimana keadaan Jimmy. Tapi dia tak pernah mendengar tentang Jimmy lagi. Jimmy merupakan bagian masa lalu hidupnya, suatu bab yang sudah tertutup (Zoya 383; par. 4, ch. 34) 110 LINGUA Vol. 3 No.2, September 2004 105118The phrase another chapter closed has been translated into suatu bab yang sudah tertutup. The word chapter is associated to a book is considered as the image, while Zoya’s life as the topic, is an implicit element. The point of similarity between Zoya’s life and chapter is both of them consist of parts and each part can be closed. In The Oxford Dictionary of Current English chapter means “main division of book; period of time” (117), and in KBBI, bab means “bagian isi buku, ada kalanya dibagi-bagi atas pasal-pasal” (71). The usage of the phrase bab yang sudah tertutup emphasizes that Zoya’s life contains her past events which she does not want to look back again. In line with the above context, Zoya actually wants to hear about Jimmy’s condition, but for Zoya, Jimmy is her past that is very painful and very sad. Zoya once worked as a striptease dancer in Jimmy’s club night. Because of this situation, she does not want to recall the bad memories again. This fact has strength by the usage of the word sudah tertutup. These two words make the message being conveyed are dramatic, colorful, and vivid. As a result, the same response of both the receptors is achieved, that is, Zoya has forgotten all her past memories which were miserable. SL: The pastiis only a heavy burden to carry with you, And yet [ ... ]” She looked up at him with wise eyes, “it’s so hard to let them go [ ... ] to forget . . . to move ahead [ ... ]” She still had some letting-go to do. She still had a giant step to make, from the past to the present. But he understood that and he wasn’t rushing her. He knew she needed time and he was willing to be patient (Zoya 382-3; par. 5, lines 4-12, ch. 38) RL : Masa lalu merupakan beban yang berat yang harus kita pikul. Tapi, sulit sekali melepaskannya begitu saja [ ... ] sulit untuk melupakan [ ... )” Dia harus melepaskan sesuatu. Dia masih harus_mengambil langkah_raksasa, dari masa lalu ke masa kini. Tapi Simon memahaminya dan dia tak menyuruhnya cepat-cepat. Dia maklum “The Analyse of Metaphor Translation in “Zoya (Christina M. Manala) 1abahwa Zoya butuh waktu dan dia mau bersabar (Zoya 435; lines 1-10, ch. 38) In the source language text She still had a giant step to make shows that Zoya’s action is the topic of metaphor. Based upon the context, the topic is implied by the phrase “. . . had some letting-go to do.” Zoya’s action is compared to a giant step because the point of similarity is being very big. The word raksasa has the connotation of something being very big. In KBBI, raksasa has three meanings, that is, “(1) makhluk yang menyerupai manusia, konon berbadan tinggi besar, (2) sesuatu yang sangat besar, (3) besar sekali (melebihi ukuran biasa)” (812). In this case, the meaning is not physical neither number one nor number three, but raksasa refers to number two and this implies that Zoya must take something important in her life, that is a big decision. Langkah itself has four meanings in KBBI. They are “(1) gerakan kaki waktu berjalan, (2) jarak antara kedua kaki waktu melangkah ke muka, (3) sikap; tindak-tanduk; perbuatan, (4) tahap; bagian” (561). Langkah raksasa to express Zoya’s action refers to number three. Thus, receptor audience can easily comprehend the message being conveyed. A Metaphor May Be Translated As a Simile The translator translates the metaphor in the source language text into simile in the receptor language text to make the receptor audience understand the message clearly. The topic and the image are compared by adding the words seperti, bagaikan, ibarat, bak, sebagai, umpama, dan laksana in the receptor language text (Moeliono, 175). 12 LINGUA Vol.3 No.2, September 008 105—118SL: The cascade of fiery red hair hiding her eyes (Zoya 142; par. 5, lines 2-3, ch. 13) RL : Rambut_merahnya bagaikan_air_terjun menyembunyikan matanya (Zoya 169; par. 5, lines 2-3, ch. 13) The phrase The cascade of fiery red hair consists of the topic, red hair, is compared to cascade, the image. Zoya’s hair is loose or hung down to her shoulder, is the point of similarity. Based on the context, the metaphor is translated into simile by adding the word bagaikan. Air terjun, in KBBI, means “aliran air melewati jeram hingga air jatuh bebas ke dasar sungai” (14), and in The Oxford Dictionary of Current English the word cascade means “fall in or like cascade” (107). It means that the usage of air terjun creates the nuance of beauty of Zoya’s hair which is beautiful and long. Accordingly, by translating the metaphor into simile, the receptor audience can have the same response and understanding as the original receptor, that is, the beauty of Zoya’s hair. The translation uses the idiomatic translation which the meaning of the source language text is communicated in the natural forms of the receptor language. Moreover, there is a proverb in the receptor language to describe the beauty of long hair, that is, rambutnya bak mayang terurai. This simile is natural in the receptor language instead of air terjun. To help the receptor audience get clear imagination of Zoya’s beautiful hair, the above metaphor can also be translated using “as a simile,” that is, rambutnya bak mayang mengurai. SL : The next few years flew on angels’ wings, filled with people and excitement and parties (Zoya 287; lines 1-2, ch. 30) “The Analysis of Metaphor Translation in Zoya” (Chita M. Maral) 113RL : Tahun-tahun_berikutnya_berlalu_bagaikan terbang dengan sayap malaikat, yang penuh dengan orang-orang, kesenangan-kesenangan, dan pesta-pesta (Zoya 328; lines 1-3, ch. 30) In The next few years flew on angels’ wings the topic is The next few years, and the image is angels’ wings. The similarity between the topic and the image is that both of them can disappear. According to The Oxford Dictionary of Current English the word fly means “go or move, pass swiftly” (284), and in KBBI the word berlalu means “lewat; lampau” (556), In order to convey the same message and to get the same response, the metaphor can be translated “without metaphorical imagery,” that is, Tahun-tahun berikutnya berlalu begitu cepatnya. The metaphor berlalu bagaikan terbang dengan sayap malaikat will make the receptor audience get double meaning since berlalu and terbang indicates something which can be passed swiftly. The metaphor translation Tahun-tahun berikuinya berlalu begitu cepainya sounds natural and clear. Further, the message conveyed to the receptor audience is attained. Without Keeping the Metaphorical Imagery The meaning of the metaphor may be translated without keeping the metaphorical imagery. SL: She (Evgenia) held him as he rocked mindlessly back and forth in his chair, keening for his only son, and then suddenly Zoya exploded into his arms, clinging to him as though he were the only rock left in the world, [ ... ] (Zoya 53; par. 2, lines 2-6, ch. 3) RL : Ibunya merangkulnya, sedang tubuhnya bergoyang-goyang ke depan dan ke belakang tanpa disadarinya, menyesali kepergian putranya. Tiba-tiba Zoya menghambur ke pelukan ayahnya, berpagut kepadanya seolah-olah dialah satu-satunya tempat bergantung (Zoya 68-9; par. 3, lines 2-6, ch. 3) 114 UNGUA Vol. 3 No. 2, September 2004 105—118The source language text he were the only rock left in the world has been translated into dialah satu-satunya tempat bergantung. The word he refers to Zoya’s father. The rock is the image. The rock symbolizes place to hide, and strength. It is the point of similarity, which is an implicit element. The connotation of The rock is something hard and strong. In The Oxford Dictionary of Current English, the word rock means “hard part of earth’s crust underlying soil; large detached stone; mass of rock protecting and forming hill, cliff, etc., or standing up into or out of water from bottom” (647). In the receptor language, the rock is not translated into batu because it will not help the receptor audience understand the message being conveyed. Moreover, translating the word rock into bergantung makes the message in the source language text conveyed naturally because according to KBBI, bergantung means “(1) bersangkut, (2) berpegang, (3) menyandarkan diri (kepada)” (292). The word bergantung in the receptor language text is used to emphasize the nuance of Zoya’s father who is very strong in her eyes both physically and mentally. Bergantung is also used to describe that her father is her only hope in the world, while the atmosphere describes that Zoya is afraid to lose her father after her brother, Nicholai, died. The above metaphor translation is appropriate because the response of both receptors will be the same, that is, Zoya’s hope is only her father. Besides, the availability of the context makes the receptor audience get clear message. SL : “My kids are fine, I guess,” he (Paul) smiled, “they’re so long gone from the nest, we don’t hear from them much (Zoya 458; par. 2, lines 1-3, ch. 46) ‘The Analysis of Metaphor Translation in "Zoya" (Christina M. Manalu) usRL : “Kurasa anak-anakku baik-baik saja,” katanya sambil tersenyum, “sudah lama mereka meninggalkan rumah, kami jarang mendapat berita dari mereka (Zoya 515; par. 2, lines 1-3, ch. 46) In the source language text, the topic of metaphor is the nest, and the image is @ home which is indicated by the word “kids.” The nest and a home are similar because both of them give feeling of security, which is the point of similarity. The nest is translated into a home because it refers to kids, not birds. Thus, the choice of rumah instead of sarang is more appropriate. According to KBBI, sarang means “tempat yang dibuat atau yang dipilih oleh binatang unggas seperti burung untuk bertelur dan memiara anaknya” (880). Consequently, the idiomatic translation is applied and the same response of the receptor audience and the original receptor can also be made. It is called the dynamic equivalence. Conclusion The ways to translate the metaphors hold an important role to make the translation sensible, The translator is suggested to use her/his freedom to choose one suitable way to translate as stated by Larson “five ways to translate metaphors.” After analyzing the data, it is concludes that translating metaphors is not an easy task. Translators should pay attention to requirements such as mastering both languages including the metaphors, comprehending the content and context which the author wants to convey, avoiding to translate word-for- word, employing the forms of speech in common use, choosing and ordering word appropriately to produce the correct tone. Since understanding metaphors are difficult, the writer suggests that it will be an advantage if someone is thinking to write a metaphor dictionary. 116 LINGUA Vol. 3 No.2, September 2008 105—118Therefore, it can help anyone to understand the meaning of metaphors in a novel. BIBLIOGRAPHY Allen, R. E. The Oxford Dictionary of Current English. USA: Oxford UP, 1984. Ayto, John and John Simpson. Oxford Dictionary of Modern Slang. USA: Oxford UP, 1992. Beekman, John and John Callow. Translating the Word of God. Grand Rapids: Zondervan, 1974. Barnwell, Katherine G. L. Introduction to Semantics and Translation. Horsleys Green: Summer Institute of Linguistics, 1980. Bassnett, Susan. Translation Studies. London: Routledge, 1996. “Tidak Sekadar Alih Bahasa.” Kompas 24 Mei 2003: 41. Echols, M. John and Hassan Shadily. An English-Indonesian Dictionary. Gramedia: Jakarta, 1996. Kamus Besar Bahasa Indonesia. 2” ed. Jakarta: Balai Pustaka, 1995. Larson, M. L. 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