Breakfast with Charlie was a quiet event. He wished me good luck at school. I thanked him, knowing his hope was wasted. Good luck tended to avoid me. Charlie left first, off to the police station that was his wife and family. After he left, I sat at the old square oak table in one of the three unmatching chairs and examined his small kitchen, with its dark paneled walls, bright yellow cabinets, and white linoleum floor. Nothing was changed. My mother had painted the cabinets eighteen years ago in an attempt to bring some sunshine into the house. Over the small fireplace in the adjoining handkerchief-sized family room was a row of pictures. First a wedding picture of Charlie and my mom in Las Vegas, then one of the three of us in the hospital after I was born, taken by a helpful nurse, followed by the procession of my school pictures up to last year’s. Those were embarrassing to look at — I would have to see what I could do to get Charlie to put them somewhere else, at least while I was living here.
Source: Meyer , Stephenie. 2005. Twilight. Page 5. Retrieved from http://wevier.wordpress.com/2012/01/24/download-ebook-twilight/
Sarapan bersama Charlie berlangsung hening. Ia mendoakan supaya aku berhasil di sekolah. Aku berterima kasih padanya, meski tahu doanya sia-sia. Keberuntungan selalu menjauhiku. Charlie berangkat duluan, menuju kantor polisi yang menjadi istri dan keluarganya. Setelah ia pergi aku duduk di meja kayu ek persegi tua itu, di salah satu dari tiga kursi yang tak serasi, mengamati dapur kecilnya, dengan dinding panelnya yang gelap, rak-rak kuning terang serta lantai linoleumnya yang putih. Tak ada yang berubah. Delapan belas tahun yang lalu ibuku mengecat rak-rak itu dengan harapan bisa membawa sedikit kecerahan di rumah. Di atas perapian bersebelahan dengan ruang keluarga yang mungil, tampak berderet foto-foto. Yang pertama foto pernikahan Charlie dan ibuku di Las Vegas, kemudian foto kami di rumah sakit setelah aku lahir yang diambil oleh seorang perawat, diikuti rangkaian fotoku semasa sekolah hingga tahun lalu. Aku malu melihatnya—aku harus mencari cara supaya Charlie mau memindahkannya ke tempat lain. Setidaknya selama aku tinggal di sini.
Source: Meyer , Stephenie. 2005. Twilight. Page 10. Alih Bahasa: Lily Devita Sari. Editor: Rosi L. Simamora. Retrieved from: http://mobiku.tk/site_272.xhtml?get-s=2&get-sort=
Focus: Structure of Modification
In the paragraph above, there are ten structures of modification. They are
1. In the fifth sentence: “…police station…” translated into “…kantor polisi…”
2. In the sixth sentence: “…old square oak table…” translated into “…meja kayu ek persegi tua…”
3. In the sixth sentence: “…three unmatching chairs…” translated into “…tiga kursi yang tak serasi…”
4. In the sixth sentence: “…his small kitchen…” translated into “…dapur kecilnya…”
5. In the sixth sentence: “…its dark paneled walls…” translated into “…dinding panelnya yang gelap…”
6. In the sixth sentence: “…bright yellow cabinets…” translated into “…rak-rak kuning terang…”
7. In the sixth sentence: “…white linoleum floor…” translated into “…lantai linoleumnya yang putih…”
8. In the ninth sentence: “…handkerchief-sized family room…” translated into “…ruang keluarga yang mungil…”
9. In the tenth sentence: “…wedding picture…” translated into “…foto pernikahan…”
10. In the tenth sentence: “…my school pictures…” translated into “…fotoku semasa sekolah…”
The translation of the structures of modification above is appropriate. It is because the SL translated well to the TL and they sound natural. In general, modifier precedes head in English while in Bahasa Indonesia is the other way around. Structure of modification has some patterns. The first analysis comes from the first of the ten structures of modification above. The phrase police station (N+N) which is M-H is translated into kantor polisi (M-H) which is the contrary of English pattern. The second one is in the form of Adj+Adj+Adj+N (old square oak table) which is M-M-M-H and translated into meja kayu ek persegi tua (H-M-M-M). The third is in the form of Num+V.ing+N (three unmatching chairs) which is M-M-H and translated into tiga kursi yang tak serasi (M-H-M). The fourth is in the form of N+Adj+N (Possessive) in the phrase his small kitchen (M-H). It is translated into dapur kecilnya (H-M). The fifth is the phrase its dark paneled walls (M-M-H) which is in the form of N+Adj+N-ed+N (Possessive). It is translated into dinding panelnya yang gelap (H-M-M).
The fifth is the phrase bright yellow cabinets (M-M-H) which is in the form of Adj+Adj+N. It is translated into rak-rak kuning terang (H-M-M). The seventh is the phrase white linoleum floor (M-M-H) which is in the form of Adj+N+N. It is translated into lantai linoleumnya yang putih (H-M-M). The eight is the phrase handkerchief-sized family room (M-M-H) which is in the form of N+N-ed+N+N. It is translated into ruang keluarga yang mungil (H-M-M). The ninth is the phrase wedding picture (M-H) which is in the form of N+N. It is translated into foto pernikahan (H-M). The last is in the form of N+N+N (my school pictures) which is M-M-M-H and translated into fotoku semasa sekolah (H-M-M).
(Hanifa Rahmawati. Sastra Inggris 2010. Universitas Brawijaya)