Letters in English are called Letter. Personal Letters are informal
letters written for individuals, usually only two people who know each other
are involved.
Structure of the Personal Letter
·Date = Usually this date is written at the top left. This
date indicates when the letter was written.
·Address = This section is the place where you write the
letter or the address where the sender lives. Address is written at the top
right.
·Salutation
& Name = This section writes the
greeting and the recipient's name. For example "Dear ...",
"Dearest ...", "Sweetheart", "Darling", "My
love" and others.
·Introduction
(Opening) = The opening of a letter
usually begins with an opening like the response to a previous letter or it
could be an initial introduction if you are just starting out in
correspondence.
·Body
(contents of the letter) = This
section is the content or essence of the letter. In this section of the Body,
you tell all the contents of the letter that we want to tell.
·Closure
(Closing) This section indicates
that the letter will end soon.
·Complimentary
close (closing greetings) = This
section is a short closing phrase such as, "With love".
"Sincerely yours", "With love", and so on.
·Signature
(Signature) = This section
is under the complementary close, you can put a signature or it could be just
the initials of your name.
Examples of expressions used in personal letters
·Starting the
letter
·How are you?
·Hope this
letter finds you ...
·Thank you for
your last letter.
·It was so good
to hear from you.
·Sorry for
answering late
·I am sorry I
should have written earlier ...
·Haven't heard
from you in a while so I thought ...
·I am sorry to
inform you that ...
Conclusion
·I am looking
forward to seeing you soon.
·I am looking
forward to hear from you soon.
·My best wishes
for the coming test.
·See you.
·I will write
soon.
·I will have to
stop now.
·I am waiting
for a quick reply.
·Looking forward
to see you again.
·Bye.
29 May 2020
Dear God
I am very
grateful for everything you give to me and my family. I know you know what's
best for me. If I can ask you, I want to ask for health and happiness and
blessings for me and my family. I also want to ask something for me personally,
namely I want to ask for your help to make my parents happy with anything like
I want to be able to study at a state university and be able to get a
scholarship so that it doesn't become my parent's cause and after graduating I
want to be able to work whose income I can use to make my parents happy
In this blog, I will explain
about narrative text and I will also make a narrative text
NARRATIVE TEXT
Definition of Narrative text
Narrative text is one type of English text that aims to tell a
story that has a chronological sequence of events that are interconnected.
Purpose of Narrative text
The Purpose of Narrative Text is to amuse or to entertain the
reader with a story.
Type Narrative text
There are many types of narrative text. Narrative text can be
imaginary, factual, or a combination of the two. Here are the types of
narrative text: fairy stories, mysteries, science fiction, romances, horror
stories, adventure stories, fables, myths and legends, historical narratives,
ballads, slice of life, personal experience.
Generic Structure Narrative
text
The generic structure of narrative text focuses on a series of
proposed stages to build a story. In narrative text, this stage covers:
1. Orientation
(Introduction) where the characters, setting, and time of the
story are set. Who usually answers questions? When? Where ? For example: Once
upon a time, there was a wolf lived in the forest.
2. Complication or problem
Tells the beginning of the problem that caused the crisis
(climax). Complication usually involves the main character.
3. Resolution
The end of the story in the form of a solution to the problem.
There needs to be a resolution of the problem. Problems can be solved can be
for better or worse, happy or sad. Sometimes there are some complications that
have to be resolved. This adds and maintains interest and tension for its
readers.
4. Reorientation / Coda
is the closing statement of the story and is optional. Can
contain moral lessons, suggestions or teachings from the author.
IN A LITTLE district west of Washington Square the streets have
run crazy and broken themselves into small strips called “places.” These
“places” make strange angles and curves. One street crosses itself a time or
two. An artist once discovered a valuable possibility in this street. Suppose a
collector with a bill for paints, paper and canvas should, in traversing this
route, suddenly meet himself coming back, without a cent having been paid on
account!
So, to quaint old Greenwich Village the art people soon
came prowling, hunting for north windows and eighteenth-century gables and
Dutch attics and low rents. Then they imported some pewter mugs and a
chafing dish or two from Sixth avenue, and became a “colony.”
At the top of a squatty, three-story brick Sue and
Johnsy had their studio. “Johnsy” was familiar for Joanna. One was from
Maine; the other from California. They had met at the table d'hote of
an Eighth street “Delmonico's,” and found their tastes in art, chicory salad
and bishop sleeves so congenial that the joint studio resulted.
That was in May. In November a cold, unseen stranger, whom the
doctors called Pneumonia, stalked about the colony, touching one here and there
with his icy fingers. Over on the east side this ravager strode boldly, smiting
his victims by scores, but his feet trod slowly through the maze of the narrow
and moss-grown “places.”
Mr. Pneumonia was not what you would call a chivalric old
gentleman. A mite of a little woman with blood thinned by California zephyrs
was hardly fair game for the red-fisted, short-breathed old duffer. But Johnsy
he smote; and she lay, scarcely moving, on her painted iron bedstead, looking
through the small Dutch window-panes at the blank side of the next brick house.
One morning the busy doctor invited Sue into the hallway with a
shaggy, gray eyebrow.
“She has one chance in—let us say, ten,” he said, as he shook
down the mercury in his clinical thermometer. “And that chance is for her to
want to live. This way people have of lining-up on the side of the undertaker
makes the entire pharmacopeia look silly. Your little lady has made up her mind
that she's not going to get well. Has she anything on her mind?”
“She—she wanted to paint the Bay of Naples some day,” said Sue.
“Paint?—bosh! Has she anything on her mind worth thinking about
twice—a man, for instance?”
“A man?” said Sue, with a jew's-harp twang in her voice. “Is a
man worth—but, no, doctor; there is nothing of the kind.”
“Well, it is the weakness, then,” said the doctor. “I will do
all that science, so far as it may filter through my efforts, can accomplish.
But whenever my patient begins to count the carriages in her funeral procession
I subtract 50 per cent. from the curative power of medicines. If you will get her
to ask one question about the new winter styles in cloak sleeves I will promise
you a one-in-five chance for her, instead of one in ten.”
After the doctor had gone Sue went into the workroom and
cried a Japanese napkin to a pulp. Then she swaggered into Johnsy's
room with her drawing board, whistling ragtime.
Johnsy lay, scarcely making a ripple under the
bedclothes, with her face toward the window. Sue stopped whistling,
thinking she was asleep.
She arranged her board and began a pen-and-ink drawing to illustrate
a magazine story. Young artists must pave their way to Art by drawing
pictures for magazine stories that young authors write to pave their way to
Literature.
As Sue was sketching a pair of elegant horseshow riding trousers
and a monocle on the figure of the hero, an Idaho cowboy, she heard a low
sound, several times repeated. She went quickly to the bedside.
Johnsy's eyes were open wide. She was looking out the window and
counting—counting backward.
“Twelve,” she said, and a little later “eleven”; and then “ten,”
and “nine”; and then “eight” and “seven,” almost together.
Sue looked solicitously out the window. What was there to count?
There was only a bare, dreary yard to be seen, and the blank side of the brick
house twenty feet away. An old, old ivy vine, gnarled and decayed at the roots,
climbed half way up the brick wall. The cold breath of autumn had stricken its
leaves from the vine until its skeleton branches clung, almost bare, to the
crumbling bricks.
“What is it, dear?” asked Sue.
“Six,” said Johnsy, in almost a whisper. “They're falling faster
now. Three days ago there were almost a hundred. It made my head ache to count
them. But now it's easy. There goes another one. There are only five left
now.”
“Five what, dear? Tell your Sudie.”
“Leaves. On the ivy vine. When the last one falls I must go,
too. I've known that for three days. Didn't the doctor tell you?”
“Oh, I never heard of such nonsense,” complained Sue, with
magnificent scorn. “What have old ivy leaves to do with your getting well? And
you used to love that vine so, you naughty girl. Don't be a goosey. Why, the
doctor told me this morning that your chances for getting well real soon
were—let's see exactly what he said—he said the chances were ten to one! Why,
that's almost as good a chance as we have in New York when we ride on the
street cars or walk past a new building. Try to take some broth now, and let
Sudie go back to her drawing, so she can sell the editor man with it, and
buy port wine for her sick child, and pork chops for her greedy self.”
“You needn't get any more wine,” said Johnsy, keeping her eyes
fixed out the window. “There goes another. No, I don't want any broth. That
leaves just four. I want to see the last one fall before it gets dark. Then
I'll go, too.”
“Johnsy, dear,” said Sue, bending over her, “will you promise me
to keep your eyes closed, and not look out the window until I am done working?
I must hand those drawings in by tomorrow. I need the light, or I would draw
the shade down.”
“Couldn't you draw in the other room?” asked Johnsy, coldly.
“I'd rather be here by you,” said Sue. “Besides, I don't want
you to keep looking at those silly ivy leaves.”
“Tell me as soon as you have finished,” said Johnsy, closing her
eyes, and lying white and still as a fallen statue, “because I want to see the
last one fall. I'm tired of waiting. I'm tired of thinking. I want to turn
loose my hold on everything, and go sailing down, down, just like one of those
poor, tired leaves.”
“Try to sleep,” said Sue. “I must call Behrman up to be my model
for the old hermit miner. I'll not be gone a minute. Don't try to move ’till I
come back.”
Old Behrman was a painter who lived on the ground floor beneath
them. He was past sixty and had a Michael Angelo's Moses beard curling down
from the head of a satyr along the body of an imp. Behrman was a failure in
art. Forty years he had wielded the brush without getting near enough to touch
the hem of his Mistress's robe. He had been always about to paint a
masterpiece, but had never yet begun it. For several years he had painted
nothing except now and then a daub in the line of commerce or advertising. He
earned a little by serving as a model to those young artists in the colony who
could not pay the price of a professional. He drank gin to excess, and still
talked of his coming masterpiece. For the rest he was a fierce little old man,
who scoffed terribly at softness in any one, and who regarded himself as
especial mastiff-in-waiting to protect the two young artists in the studio
above.
Sue found Behrman smelling strongly of juniper berries in his
dimly lighted den below. In one corner was a blank canvas on an easel that had
been waiting there for twenty-five years to receive the first line of the
masterpiece. She told him of Johnsy's fancy, and how she feared she would,
indeed, light and fragile as a leaf herself, float away when her slight hold
upon the world grew weaker.
Old Behrman, with his red eyes plainly streaming, shouted his
contempt and derision for such idiotic imaginings.
“Vass!” he cried. “Is dere people in de world mit der
foolishness to die because leafs dey drop off from a confounded vine? I haf not
heard of such a thing. No, I will not bose as a model for your fool
hermit-dunderhead. Vy do you allow dot silly pusiness to come in der prain of
her? Ach, dot poor leetle Miss Yohnsy.”
“She is very ill and weak,” said Sue, “and the fever has left
her mind morbid and full of strange fancies. Very well, Mr. Behrman, if you do
not care to pose for me, you needn't. But I think you are a horrid old—old
flibbertigibbet.”
“You are just like a woman!” yelled Behrman. “Who said I will
not bose? Go on. I come mit you. For half an hour I haf peen trying to say dot
I am ready to bose. Gott! dis is not any blace in which one so goot as Miss
Yohnsy shall lie sick. Some day I vill baint a masterpiece, and ve shall all go
away. Gott! yes.”
Johnsy was sleeping when they went upstairs. Sue pulled the
shade down to the window-sill, and motioned Behrman into the other room. In
there they peered out the window fearfully at the ivy vine. Then they looked at
each other for a moment without speaking. A persistent, cold rain was falling,
mingled with snow. Behrman, in his old blue shirt, took his seat as the hermit
miner on an upturned kettle for a rock.
When Sue awoke from an hour's sleep the next morning she found
Johnsy with dull, wide-open eyes staring at the drawn green shade.
“Pull it up; I want to see,” she ordered, in a whisper.
Wearily Sue obeyed.
But, lo! after the beating rain and fierce gusts of wind that
had endured through the livelong night, there yet stood out against the
brick wall one ivy leaf. It was the last on the vine. Still dark green near its
stem, but with its serrated edges tinted with the yellow of dissolution and
decay, it hung bravely from a branch some twenty feet above the ground.
“It is the last one,” said Johnsy. “I thought it would surely
fall during the night. I heard the wind. It will fall to-day, and I shall
die at the same time.”
“Dear, dear!” said Sue, leaning her worn face down to the
pillow, “think of me, if you won't think of yourself. What would I do?”
But Johnsy did not answer. The lonesomest thing in all the
world is a soul when it is making ready to go on its mysterious, far journey.
The fancy seemed to possess her more strongly as one by one the ties that bound
her to friendship and to earth were loosed.
The day wore away, and even through the twilight they could see
the lone ivy leaf clinging to its stem against the wall. And then, with the
coming of the night the north wind was again loosed, while the rain still beat
against the windows and pattered down from the low Dutch eaves.
When it was light enough Johnsy, the merciless, commanded that
the shade be raised.
The ivy leaf was still there.
Johnsy lay for a long time looking at it. And then she called to
Sue, who was stirring her chicken broth over the gas stove.
“I've been a bad girl, Sudie,” said Johnsy. “Something has made
that last leaf stay there to show me how wicked I was. It is a sin to want to
die. You may bring me a little broth now, and some milk with a little port in
it, and—no; bring me a hand-mirror first, and then pack some pillows about me,
and I will sit up and watch you cook.”
An hour later she said:
“Sudie, some day I hope to paint the Bay of Naples.”
The doctor came in the afternoon, and Sue had an excuse to go
into the hallway as he left.
“Even chances,” said the doctor, taking Sue's thin, shaking hand
in his. “With good nursing you'll win. And now I must see another case I have
downstairs. Behrman, his name is—some kind of an artist, I believe. Pneumonia,
too. He is an old, weak man, and the attack is acute. There is no hope for him;
but he goes to the hospital to-day to be made more comfortable.”
The next day the doctor said to Sue: “She's out of danger.
You've won. Nutrition and care now—that's all.”
And that afternoon Sue came to the bed where Johnsy lay, contentedly
knitting a very blue and very useless woolen shoulder scarf, and put one arm
around her, pillows and all.
“I have something to tell you, white mouse,” she said. “Mr.
Behrman died of pneumonia to-day in the hospital. He was ill only two days. The
janitor found him on the morning of the first day in his room downstairs
helpless with pain. His shoes and clothing were wet through and icy cold. They
couldn't imagine where he had been on such a dreadful night. And then they
found a lantern, still lighted, and a ladder that had been dragged from
its place, and some scattered brushes, and a palette with green and yellow
colors mixed on it, and—look out the window, dear, at the last ivy leaf on
the wall. Didn't you wonder why it never fluttered or moved when the wind blew?
Ah, darling, it's Behrman's masterpiece—he painted it there the night that
the last leaf fell.”
One day there was a child who was singing at a red light. The
child is named Rizky. Rizky was forced to do this because his father had died
and his mother was sick. He had to work to make ends meet and eat daily. He
lives with his mother in a house that is arguably less suitable to live in.
Even though he should have gone to school like the other friends, circumstances
forced him to do all of this.
Until one day when Rizky was around looking for a place to hang
out, he saw a father who was walking while receiving a call and then when he
took something in his pants, suddenly his wallet fell. Rizky who saw it
immediately took his wallet and he returned it to the man. The man just said
thank you while catching a glimpse of Rizky's face. After returning his wallet,
Rizky rushed to his house because the sky was almost dark and he also had to take
care of his mother who was sick.
A few days after the incident, when Rizky was singing at a red
light, he met the father he helped again and the man was attracted by his voice
because his voice was beautiful, melodious and distinctive, he wanted to make Rizky
a great singer. Then the man invited Rizky to come with him as a sign of
gratitude for finding his fallen wallet. It turned out that Rizky was invited
to a restaurant not far from there. Then the man introduced his name, it turned
out that his name was Pak Irwan. Then Mr. Irwan offered Rizky to eat, but he
refused because he remembered that his mother was at home who had not eaten,
but Mr. Irwan convinced Rizky and promised to buy his mother food too and take
her home. After finishing the meal, the father invited Rizky to chat while
waiting for food for his mother to come, but suddenly Mr. Irwan offered Rizky
to record a song and make him a singer. Of course he was interested in the
offer because he wanted to become a singer, but he had to discuss it with his
mother first and Mr. Irwan allowed him and gave his card so that Rizky could
easily contact him. Then, after the food for his mother arrived, Rizky said
goodbye to go home because he was worried about his mother.
At night, before going to bed Rizky discusses the offer given by
the father with his mother, then his mother agrees and says that if you have
succeeded in becoming a famous singer, you must not be arrogant and remain
humble. In addition to asking his mother for permission, he did not forget to
pray for directions to God.
Several years later, Rizky's life has changed, unlike before.
Currently Rizky has become a famous singer and has many fans. He also has a
house, a car, etc. But his attitude and character have not changed at all, he
remains a polite, responsible, humble person, not arrogant, etc. He also always
remembers his mother until now his mother has also recovered and is not sick
anymore. He also always remembers his services and is very grateful because Mr.
Irwan has made him the famous singer he is today.
Enough blog this time, see you on the next blog. Thank You
"Education
is a ticket to the future. Tomorrow belongs to those who prepare themselves
from today." - Malcolm X
Raden
Adjeng Kartini was born in Jepara on April 21, 1876. She comes from a noble
family. Her father, Raden Mas Adipati Ario Sosroningrat is a regent who
governed Jepara at that time. While her mother, MA Ngasirah descended from the
common people. Like the other children from noble descent in general, she lived
in prosperity and strict Javanese rules. She is the 5th child of 11 brothers
and sisters coming from her biological and stepmother. Among her siblings from
her biological mother, she is the eldest daughter.
R.A
Kartini studied in the ELS School (Europese Lagere School). She studied Dutch
language there, so that she could speak Dutch language very well.
R.A
Kartini’s Adolescence
When
she was 12 years old, she had to quit studying because she had to do “pingit”
at that time, a rule of Javanese custom that forbid woman to go outside before
marriage. Finally, on 12th November 1983 she was married to Raden Adipati
Joyodiningrat.
After
getting married, R.A Kartini never stopped learning. She continued to study in
her own house by reading a lot of European books and magazines. When she was
reading them, she found a great difference between European women’s life with
Indonesian women. European women live in freedom and they have the same
equivalent position with men. While, Indonesia women lived under man’s power.
Based
on that fact, she had an idea to change Indonesian women’s life. She along with
her friends opened the first school for women in Indonesia in 1912 in Semarang.
They taught Indonesian women how to read and write, so that they could come out
of ignorance.
In
addition to teaching, she also wrote letters to her friends in the Netherlands.
One of them is Rosa Abendanon which strongly supported Kartini’s idea. She also
often wrote to the Dutch women’s magazine De Hollandsche Lelie several
times.
Thanks
to her efforts, many women schools were built in other areas such as in
Surabaya, Yogyakarta, Malang, Madiun, and Cirebon. Moreover, there was also
Kartini Foundation, founded by Van Deventer’s family who is a political
figures, opened Kartini’s School.
R.A
Kartini’s Death
On 13th
September 1904, RA Kartini died after giving birth to her son named RM
Soesalit. She was 25 years old at that time. Although she had passed away, her
spirit and brilliant ideas remain alive and inspire Indonesian women to
continue the struggle to make her dream comes true.
Even
her spirit made a Dutch figure, Mr.JH Abendanon, compiled and published her
letters sent to her friends in Europe entitle “Duisternis DOOR TOT Licht”,
which means “Through Darkness to Light”.
For her
contribution, she was awarded as Indonesian national hero because of her ideas
which improve Indonesian women level, on May 2, 1964.
Enough
of the blogs this time, I hope this blog can be useful for readers. if there
are corrections or suggestions please comment below. See you on the next blog.
Keep dreaming, keep dreaming, dream as long as you
can dream! - R.A. Kartini
on this blog I will discuss Vanity and Pride and at the end of this
blog I will show a video drama Vanity and Pride which I demonstrate with my
friends
VANITY AND PRIDE
Madame Loisel was a
pretty girl born into a poor family. She had no expectations and she felt
so trapped by her situation that she married a little clerk in a goverment
office. Her tastes were simple because she had never been able to afford
any other, but she was as unhappy as though she had married beneath her
status; for women have no caste or class, their beauty, grace, and charm
serving them for birth or family. She suffered endlessly, feeling herself born for every delicacy
and luxury. She suffered from the poorness of her house, from its bare
walls, worn chairs, and ugly curtains.
Madame
Liosel adalah seorang gadis cantik yang dilahirkan dalam keluarga miskin. Dia
tidak mempunyai harapan dan merasakan terperangkap oleh situasi bahwa dia
menikah dengan karyawan kecil kantor pemerintahan. Seleranya sederhana karena
dia tidak pernah dapat mengusahakan yang lain, akan tetapi dia tidak sekan
karena dia telah menikahi dibawah statusnya; bagi perempuan tidak mempunyai
kasta atau kelas, kecantikannya, dan daya tariknya kelahiran atau keluarganya.
Dia selalu menderita, sambil merasakan dirinya dilahirkan untuk setiap
kehalusan dan kemewahan. Dia menderita dari buruknya rumah, dari temboknya,
kursi dan gorden yang jelek
Scene 1
MONSIEUR
LOISEL: Sweetheart, I have a surprise for you. ( cantik saya mempunyai kejutan
untukmu) MADAME
LOISEL : Really, what is the surprise?(
Sungguh, apa kejutan itu?) MONSIEUR
LOISEL: See for yourself.(
lihat sendiri) (He places the invitation on the
table.) ( Dia meletakkan undangan di meja) Swiftly she tears open the
envelop and draws out a printed card and reads out( Secara lemah lembut dia membuka
amplop dan menarik kartu dan membacanya)
"The Minister and Madame Ramponneau request the pleasure of the
company of Monsieur and Madame Loisel at the Ministry on the evening of
Monday, January the eighteenth."
" Menteri dan Madame Ramponneau
memohon keluarga Monseiuer dan Madame loisel bertempat di menteri pada hari
minggu, 18 Januari "
MONSIEUR LOISEL: Isn't it wonderful?( tidakkah ini
menakjubkan)
MADAME LOISEL : What do you mean? What can I do with it? ( apa maksudmu? Apa yang
dapat saya lakukan ?)
MADAME LOISEL : I have nothing suitable to wear to this glamorous
occasion? ( saya tidak
mempunyai apapapun yang pantas untukdipakai pada ajara mewah ini)
MONSIEUR LOISEL : Why... Why, you can wear your theater gown, of
course. It's really quite suitable. ( Mengapa ...mengapa, kamu dapat memakai gaun
pentasmu. Ini sungguh cocok)
MONSIEUR LOISEL : What's the matter? Why are you crying? ( apa masalahnya ? Mengapa
kamu menangis ?)
MADAME LOISEL : I'll be humiliated in that old gown. It's so tattered and
completely out of style. I can't go to the ball wearing that rag. ( saya akan dipermalukan
oleh gaun tua itu. Gaun tersebut sudah compang camping dan ketinggalan jaman.
Saya tidak dapat pergi ke pesta memakai baju tersebut)
MONSIEUR LOISEL : There must be a way! How much do you think a suitable
gown would cost, something very simple but elegant as well, of course ( Pasti ada jalan! menurutmu
berapa harga gaun yang pantas, sesuatu yang sederhana dan bagus, tentu saja )
MADAME LOISEL : I'm not too sure, but maybe 400 francs. ( Saya tidak tahu, akan
tetapi mungkin sekitar 400 francs)
MONSIEUR LOISEL : I've been saving and I think I have just about 400 francs
you could take it to buy a gown ( saya akan menabung dan saja kira saya mempunyai
400 frans kamu dapat mengambilnya untuk membeli gaun)
Scene
2:
MONSIEUR LOISEL : You make any dress come to life, my dear. How ravishing
you look! ( kamu membuat
pakaian apapun tampak canti. kamu nampak sangat menarik)
MADAME LOISEL : [Pouting and whining] But I'll be disgraced! ( sambil cemberut dan
merengek) akan tetapi saya akan malu )
MONSIEUR LOISEL : Disgraced? What can you possibly mean? You will be the
most beautiful woman there!( dipermalukan? apa maksudmu
? kamu akan menjadi gadis paling cantik disana)
MADAME LOISEL : You just don't understand! It's so annoying! I don't
have a single piece of jewelry to wear with my gown. ( kamu tidak paham. ini
membingungkan! saya tidak mempunyai perhiasan apapun untuk ditempatkan pada
gaun)
MONSIEUR LOISEL : There is one thing, one possibility that you've forgotten.( ada satu,
mungkin satu yang telah kamu lupakan)
MADAME LOISEL : [sniffs.] What's that?( apa )
MONSIEUR LOISEL : Your old classmate! Madame Jeanne Forestier! She is
really well off. I'm sure she would be willing to lend you some of her
jewelry! ( teman lamamu!
Madame Jeanne Forestier! dia sangat baik. saya yakin diaakan meminjamkanmu
beberapa perhiasannya!
MADAME LOISEL : [Her sniffs turn into laughter and joy.] Of course! I
can borrow something suitable from Jeanne. Thank you, darling.( dengusannya
berubah menjadi tawa dan keceriaan) tentu saja ! saya dapat meminjam sesuatu
yang pantas dari Jeanne. Terima kasih sayang)
NARRATOR:
Madame Loisel was absolutely smashing! She was prettier than any of the other women:
elegant, graceful, smiling and wild with joy. Everyone noticed her, and her husband's
boss seemed to want every dance with her!
Madame Loisel sungguh sangat luar biasa! dia lebih
cantik dari perempuan lain: elegant, anggun dan senyum dan kebinalan senangnya.
semua orang memperhatikannya, dan bos bos suaminya nampak ingin berdansa dengan
dia !
MADAME LOISEL : [Looking in mirror.] Oh my God! Oh no, oh no. : I... I
have... Oh my God, this can not happen!( sambil menatap cermin) Ya
Tuhan...oh tidak....ini tidak dapat terjadi )
MONSIEUR LOISEL : What? What is it? ( apa , apa ini)
MADAME LOISEL : I have lost Madame Forestier's necklace!( saya telah
menghilangkan kalung Madame Forestier)
MONSIEUR LOISEL : It can't be true! It's impossible! [They begin
frantically searching through their coats and clothes, and on the floor.] ini tidak mungkin( mereka
mulai mencari ke seluruh kemeja dan pakaiannya dan lantai)
MADAME LOISEL : Oh God, help us!(Ya Tuhan)
MONSIEUR
LOISEL : It must be here somewhere. Necklaces don't just evaporate.( ini pasti berada di sini. kalung jangan kamu
menghilan.) [Madame Loisel begins weeping and sobbing as she searches.] ( Madame mulai menangis ketika dia mencari)
MONSIEUR LOISEL : I shall go back on foot, over the entire route, to see
whether or not I can find it. (saya seharusnya pergi
kembali ke lantai, ke seluruh jala, dan mengetahui apakah saya dapat menemukan
atau tidak)
[He rushes out. Madame Loisel sinks into a chair,
sobbing. After more than a hour he comes back. ]
MADAME LOISEL : Did you find it? Tell me! Did you? ( apakah kamu menemukannya,
katakan, apakah kamu menemukannya )
MONSIEUR LOISEL : [Remains silent] ( tetap diam)
MADAME LOISEL : Did you find it or not?( apakah kamu menemukannya atau tidak)
MONSIEUR LOISEL : I am afraid not ( saya rasa tidak)
Scene
4:
NARRATOR:
Madame Loisel didn't tell Madame Forestier that she lost her necklace and she chose
to replace it. The replacement cost them everything. Madame Loisel came to know
the ghastly life of abject poverty. Their previous life seemed downright luxurious
compared to what they had now.
Madame Loisel tidak mengatakan pada Madame Forestier
bahwa dia telah kehilangan kalung dan dia memilih untuk menggantinya. barang
ganti tersebut menghabiskan harta mereka semuanya. Madame Loisel mengetahui
malangnya hidup miskin. kehidupan mereka nampak semakin buruk dibandingkan
dengan apa yang mereka punya
MONSIEUR LOISEL : Matilda, my love. I have made the last payment on our
debt. We have nothing left for ourselves, but at least we are free from
the loan of 20,000 francs. ( Matilda, sayangku. Saya telah membuat pembayaran
terakhir utang kita. Kita tidak menyisakan apapun,akan tetapi akhirnya kita
telah bebas dari pinjaman 20.000 francs. )
MADAME LOISEL : Free at last. ( bebas akhirnya)
MONSIEUR LOISEL: Look! Isn't that Madame Forestier over there? You have not
spoken to her since that day. Go talk to her ( Lihat, bukankah itu Madame
Forestier disana ? kamu belum berbicara dengannya sejak hari itu. pergilah
bercakap dengannya)
MADAME LOISEL : Uh... Hello. Good day. ( uh hello hari yang cerah)
MADAME FORESTIER: You must have mistaken me for someone else. Excuse me
please..
MADAME FORESTIER: Matilda? But it can't be. You look so worn and old ( Matilda? ini tidak mungkin,
kamu nampak lemas dan tua )
MADAME LOISEL : No really, it's me. I've changed because I have had to
endure ten hard years of manual labor, scrubbing floors and taking in
laundry( Ini memang saya. saya
telah berubah karena saya harus mengalami sepuluh tahun bekerja kasar, mengepel
lantai dan mencuci)
MADAME FORESTIER: My dear, what could have happened to make you do that?( sayang, apa
yang membuatmu melakukan hal itu )
MADAME LOISEL : It was your necklace, or rather my desire to be elegant,
that caused this. ( ini adalah
kalungmu, atau keinginanku untuk tampil memikat, yang menyebabkan ini)
MADAME FORESTIER: But how is that possible? I have the necklace. I wore it
to the theater just the other night. ( bagaimana ini bisa terjadi? saya mempunyai kalung.
saya memakainya malam berikutnya)
MADAME LOISEL : The necklace you have is actually just a replacement. I'm
afraid that I lost yours. We borrowed money to purchase
a replacement and have spent the past ten years paying off the debt, but today,
we have made the last payment. ( Kalung yang kamu pakai sebenarnya adalah
pengganti. saya takut karena menghilangkannya. kami meminjam uang untuk membeli
pengganti dan menghabiskan sepuluhtahun untuk membayar utang, akan tetapi hari
ini saya sudah melunasinya. )
MADAME FORESTIER: Ten years? Surely it could not have taken that long to
pay off the amount needed to replace the necklace? ( sepuluh tahun? pastinya ini tidak membutuhkan
waktu yanglama untuk membayar jumlah yang dibutuhkan untuk mengganti kalung)
MADAME LOISEL : What do you mean? ( apa maksudmu)
MADAME FORESTIER: Mine was a fake; the replacement should have cost you
nothing more than 500 francs. Oh, my poor, poor, dear Matilda. ( punyaku adalah imitasi;
penggantinya seharusnya tidak lebih dari 500 francs harganya. oh. malangnya
kamu Maltida)
