TRADOS, MACHINE OF TRANSLATION

Class   : 4SA04

Agatha Octasari

Asti febriani

Lilik mudrika F

Marsa tsuraya

Robi Budiman

TRADOS

What is Trados?

SDL Trados is a computer-assisted translation software suite, originally developed by the German company Trados GmbH and currently available from SDL plc, a provider of customer experience cloud solutions. It is considered the market-leader in providing translation software solutions across the entire translation supply chain, including freelance translators, language service providers, corporate language departments and academic institutions.

Trados GmbH was founded as a language service provider (LSP) in 1984 by Jochen Hummel and Iko Knyphausen in Stuttgart, Germany. The company began developing translation software in the late 1980s, and released the first Windows versions of two of the suite's major components in the early 1990s – MultiTerm in 1992, and Translator's Workbench in 1994. In 1997, the company received a major boost when Microsoft decided to use Trados for its internal localization needs. By the end of the 1990s, it had become the clear market leader in desktop translation memory software.

Features

SDL Trados Studio is delivered with several tools and applications. These are:

•           SDL Trados Studio

The main application providing a complete environment to edit or review translations, manage translation projects, organize terminology, and connect to machine translation.

•           SDL MultiTerm

A terminology management tool that is integrated with SDL Trados Studio for adding, editing and managing terms.

•           SDL Language Cloud

Secure access to machine translation engines that can be accessed directly from within SDL Trados Studio.

•           SDL OpenExchange

SDL Trados Studio includes several applications for the SDL OpenExchange - an online marketplace which offers apps to help with a range of translation processes, for example further file format support and task automation.

Handling of translation memories and glossaries

The translation memory (TM) format of Trados is SDLTM, which consists in a particular SQLite database.

When creating a new (file-based) translation memory, SDL Trados Studio creates a database file in which all translation units are stored. The translation memory also stores structural and context information to link all the different segments and their position in a document. This allows the tool to select the most relevant translation memory segment.

Main translation memory database file: .sdltm

In previous version of Trados a neural network of files that enable fuzzy search capability was also created. A new translation memory consists of five new files:

Main translation memory database file: .tmw

Neural network files: .mdf, *.mtf, *.mwf, *.iix

When copying a translation memory, you must copy all five translation memory files. Otherwise, Translator's Workbench displays an error message when opening the copied translation memory.Trados can also work with server-based translation memories. Glossaries are handled by the MultiTerm application. Glossaries can be bilingual or multi-lingual.

The great news is that SDL Trados Studio 2015 will make your life a whole lot easier. Discover new ways to increase your productivity, ensure the highest levels of translation quality and personalize your Studio to suit you.

1. Easier to use

Traditional menus are replaced with a brand new ribbon navigation that feels quicker and more intuitive than any previous versionUsers who are not familiar with SDL Trados Studio can immediately take advantage of the ‘getting started’ resources, which can be found on the new welcome screen. Find easy access to video tutorials and help articles to get you up and running as quickly as possible.

2. Faster than ever

Trados can fill the large projects with multiple files. Teams that share linguistic assets will be happy to know that SDL GroupShare delivers a much faster server experience. Whether you’re sharing terminology, translation memories or entire projects, the user experience has been significantly improved.

3. More productivity tools

Use any file format supported by SDL Trados Studio and all alignments can be edited to improve quality. The new AutoSuggest feature provides suggestions from more sources including whole phrases coming from machine translation services as well as concordance and fuzzy match results coming directly from your translation memory. Source content can now be edited directly from the translation environment.

4. Enabling enhanced quality

Automatically update your bilingual file from a reviewed target file and immediately import the latest changes to your TM to streamline the review process. Accept and reject any changes clearly marked using Track Changes for improved quality, while keeping your TM up to date. A spellchecker certainly helps, but it’s not foolproof and mistakes can slip through the cracks.

5. Support the latest file types

Continue to accept any project with our latest additions and updates of file formats, including:

• New, faster XLIFF filter which now supports alternate translations

• New, faster HTML filter with HTML5 and SGML  support

• Redeveloped, faster TTX filter

• Enhanced XML filter with an embedded content filter setting, supporting open W3C standards such as ITS 2.0

• New, improved PDF filter with built-in OCR functionality enabling the translation of scanned documents

• New, robust Microsoft Word filter for better handling of Word files

• New bilingual Microsoft Excel file filter

6. Improved collaboration capabilities

SDL Trados Studio 2015 fully leverages the entire range of capabilities available with SDL Studio GroupShare where translation projects can be shared for streamlined management of project assets

Advantages :

•     Generally, it is useful for specialized texts (medical, technical, legal) if many sentences are repeated throughout the text and only a few words change said sentence, then it is useful to keep consistency.
•           You never translate twice the same sentence
•            Trados allow you to translate files in InDesgin, X-Press, HTML,etc 
•           Have a lot of plug-in who allow you to make reliable quality checker.
•         Trados has storage to save the result of translation, so translator does not need to translate again. Therefore, trados is very useful for translators.
•           Supported source document formats

SDL Trados Studio 2015 supports over 70 different file types, including: various markup and tagged formats such as SGML, XML, HTML, XLIFF, SDLXLIFF (Studio's native format for translation), OpenDocument files; straight text files; source code files, such as Java and Microsoft .NET; Microsoft Word, Excel, Bilingual Excel and PowerPoint; and some Adobe file formats, such as PDF, scanned PDF (OCR is included) FrameMaker, InDesign, and InCopy.

•           Handling of translation memories and glossaries

The translation memory (TM) format of Trados is SDLTM, which consists in a particular SQLite database.When creating a new (file-based) translation memory, SDL Trados Studio creates a database file in which all translation units are stored. The translation memory also stores structural and context information to link all the different segments and their position in a document. This allows the tool to select the most relevant translation memory segment.

•           Main translation memory database file: .sdltm

translation memory consists of five new files:

Main translation memory database file: .tmw

Neural network files: .mdf, *.mtf, *.mwf, *.iix

•           Glossaries are handled by the MultiTerm application. Glossaries can be bilingual or multi-lingual.
•           Integration of Machine Translation and Post-Editing

SDL Trados Studio 2015 has integrated machine translation and postediting into its translation workflow.

• Disadvantages

-          In general text or literary translations, it is not help.

-          The cost is still expensive

-          The application need a huge space to be installed.

Reference :

https://arabtranslatorsgroup.wordpress.com/2013/11/23/cat-tools-history-advantages-disadvantages/

http://www.computing.dcu.ie/~kkeogh/review_by_trados.pdf

http://www.lojahcr.com/WebRoot/ce_pt/Shops/176770/MediaGallery/Nova_pasta/SDL_WhyUpgrade_2011-2015.pdf

https://en.wikipedia.org/wiki/SDL_Trados

Machine Translation

4SA04
Asti Febriani (11612223)
Agatha Octasari (10612320)
Lilik Mudrika F. (14612207)
Marsa Tsuraya (14612454)
Robi Budiman (16612655)

Penerjemahan Berbantuan Komputer
TEXT 2
2. Terjemahan Intrabahasa, Antarbahasa, Intersemiotik
Di dalam literatur penerjamahan, ada beberapa ragam terjemahan yang pernah dikemukakan oleh para ahli. Ragam-ragam tersebut ada yang digolongkan menurut jenis sistem tanda yang terlibat, jenis naskah yang diterjemahkan, dan juga menurut proses penerjemahan serta penekanannya.
Roman Jakobson (1959:234) membedakan terjemahan menjadi tiga jenis, yaitu terjemahan intrabahasa, terjemahan antarbahasa, dan nterjemahan intersemiotik.
Yang dimaksud terjemahan intrabahasa adalah pengubahan suatu teks menjadi teks lain berdasarkan interpretasi penerjemah. Dan kedua teks ini ditulis dalam bahasa yang sama.
Jadi, bila kita menuliskan kembali puisi Chairil Anwar, Aku, ke dalam bentuk prosa di dalam bahasa Indonesia, maka kita melakukan penerjemahan intrabahasa.
Jenis terjemahan kedua adalah terjemahan antarbahasa. Terjemahan jenis ini adalah terjemahan dalam arti yang sesungguhnya. Dalam jenis ini, penerjemah menuliskan kembali makna atau gagasan teks bahasa sumber ke dalam teks bahasa sasaran.
Yang terakhir adalah jenis terjemaan intersemiotik. Jenis ini mencakup penafsiran sebuah teks ke dalam bentuk atau system tanda yang lain. Sebagai contoh, penafsiran novel menjadi sebuah karya film.
2. Intralingual, Interlingual, and Intersemiotic translation
In a literature work of  translation, there are various kinds  of translation that the expert have been revealed. The varieties are classified into the sign system which involved , kind of text that was translated , process and the emphasis. , and also according to the translation process that include emphasizing.
Roman Jacobson (1959:234) distinguish translation into three types, there are intralingual translation, interlingual translation, and semiotic translation.
The meaning of intralingual translation is transferring a source text into another text based on  translator interpretation. Both of the  text  written in the same language.
Therefore, if we rewrite  Chairil Anwar’s poetry, Aku, into a  prose in Indonesian language, thus we did intralingual translation.
The second type of translation is interlingual translation. This translation called as a proper translation. In this translation, translator rewrite  the meanings or  ideas of source language into target language.
The last type of translation  is intersemiotic translation. This translation covers  interpretation of  a text into a form or another sign system.for instance, interpretation of a novel into a film.

Alur Dalam Sebuah Drama

Dalam drama terdapat banyak unsur. Salah satu dari unsur tersebut adalah alur. Alur merupakan jalan cerita atau urut-urutan peristiwa dalam drama. Alur terdiri dari banyak jenis.

•Alur maju
Alur maju disebut juga alur kronologis, alur lurus atau alur progresif. Peristiwa-peristiwa ditampilkan secara kronologis, maju, secara runtut dari awal tahap, tengah hingga akhir.

•Alur mundur
Alur mundur disebut juga alur tak kronologis, sorot balik, regresif, atau flash-back. Peristiwa-peristiwa ditampilkan dari tahap akhir atau tengah dan baru kemudian tahap awalnya.

•Alur tunggal
Dalam alur tunggal biasanya cerita drama hanya menampilkan seorang tokoh protagonis. Cerita hanya mengikuti perjalanan hidup tokoh tersebut.

•Alur jamak
Dalam alur jamak, biasanya cerita drama menampilkan lebih dari satu tokoh protagonis. Perjalanan hidup tiap tokoh ditampilkan.

•Alur erat
Alur erat disebut juga alur ketat atau padat. Dalam drama yang beralur cepat, susul menyusul, setiap bagian terasa penting dan menentukan.

•Alur longgar
Alur longgar berbanding terbalik dengan alur ketat. Hubungan antarperistiwanya longgar, tersajikan secara lambat, dan diselingi berbagai peristiwa tambahan. Pembaca atau penonton dapat meninggalkan atau mengabaikan adegan tertentu yang berkepanjangan dengan tanpa kehilangan alur utama cerita.

•Alur tertutup
Dalam drama yang beralur tertutup, penampilan kisahnya diakhiri dengan kepastian atau secara jelas.

•Alur terbuka
Dalam drama yang beralur terbuka, penampilan kisahnya diakhiri secara tidak pasti, tidak jelas, serba mungkin. Jadi akhir ceritanya diserahkan kepada imajinasi pembaca atau penonton.

•Alur bawahan
Alur kedua atau tambahan yang disusupkan disela-sela bagian alur utama sebagai variasi. Alur bawahan merupakan lakuan tersendiri tetapi yang masih ada hubungannya dengan alur utama. Ada kalanya alur bawahan ini dimaksudkan untuk menimbulkan kontras, adakalanya sejalan dengan alur utama.

•Alur menanjak
Jalinan peristiwa dalam satu karya sastra yang semakin menanjak sifatnya.

Penokohan Dalam Drama Teater

Peran merupakan sarana utama dalam sebuah lakon, sebab dengan adanya peran maka timbul konflik. Konflik dapat dikembangkan oleh penulis lakon melalui ucapan dan tingkah laku peran. Dalam teater,  peran dapat dibagi-bagi sesuai dengan motivasi-motivasi yang diberikan oleh penulis lakon. Motivasi-motivasi peran inilah yang dapat melahirkan suatu perbuatan peran. Peran-peran tersebut adalah sebagai berikut.

•  Protagonis
Protagonis adalah peran utama yang merupakan pusat atau sentral dari cerita.  Keberadaan peran adalah untuk mengatasi persoalan-persoalan yang muncul ketika mencapai suatu cita-cita. Persoalan ini bisa dari tokoh lain, bisa dari alam, bisa juga karena kekurangan dirinya sendiri. Peran ini juga menentukan jalannya cerita. Contoh tokoh protagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Raja Lear itu sendiri.

•  Antagonis
Antagonis adalah peran lawan, karena dia seringkali menjadi musuh yang menyebabkan konflik itu terjadi. Tokoh protagonis dan antagonis harus memungkinkan menjalin pertikaian, dan pertikaian itu harus berkembang mencapai klimaks. Tokoh antagonis harus memiliki watak yang kuat dan kontradiktif terhadap tokoh protagonis. Contoh tokoh antagonis pada lakon Raja Lear karya William Shakespeare terjemahan Trisno Sumardjo adalah tokoh Gonerill dan tokoh Regan. Kedua tokoh inilah yang menentang perkembangan, keinginan, dan cita-cita Raja Lear.  

•  Deutragonis
Deutragonis adalah tokoh lain yang berada di pihak tokoh protagonis. Peran ini ikut mendukung menyelesaikan permasalahan yang dihadapi oleh tokoh protaganis. Contoh, peran Tumenggung Kent, Edgar, Cordelia dalam lakon  Raja Lear karya William Shakespeare.

•  Tritagonis
Tritagonis adalah peran penengah yang bertugas menjadi pendamai atau pengantara protagonis dan antagonis. Contoh, tokoh Bangsawan pada lakon  Raja Lear  karya Willliam Sahkespeare. Dia adalah pengawal dari Cordelia.


•  Foil
Foil adalah peran yang tidak secara langsung terlibat dalam konflik yang terjadi tetapi ia diperlukan guna menyelesaikan cerita. Biasanya dia berpihak pada tokoh antagonis. Contoh, tokoh Perwira, Oswald, Curan dalam lakon  Raja Lear karya William Shakespeare.
 
•  Utility
Utility adalah peran pembantu atau sebagai tokoh pelengkap untuk mendukung rangkaian cerita dan kesinambungan dramatik. Biasanya tokoh ini mewakili jiwa penulis. Contoh: tokoh Badut dalam lakon Raja Lear karya William Shakespeare.

Jenis Karakter - Penokohan Dalam Drama Teater
Karakter adalah jenis peran yang akan dimainkan, sedangkan penokohan adalah proses kerja untuk memainkan peran yang ada dalam naskah lakon. Penokohan ini biasanya didahului dengan menganalisis peran  tersebut sehingga bisa dimainkan. Menurut Rikrik El Saptaria (2006), jenis karakter dalam teater ada empat macam, yaitu  flat character, round charakter, teatrikal, dan karikatural.

•  Flat Character (perwatakan dasar)
Flat character atau karakter datar adalah karakter  tokoh yang ditulis oleh penulis lakon secara datar dan biasanya bersifat hitam putih. Karakter tokoh dalam lakon mengacu pada pribadi manusia yang berkembang sesuai dengan perkembangan lingkungan. Ketika masih kecil dia bereksplorasi dengan dirinya sendiri untuk mengetahui perkembangan dirinya, dan ketika sudah dewasa maka pribadinya berkembang melalui hubungan dengan lingkungan sosial. Jadi perkembangan karakter seharusnya mengacu pada pribadi manusia, yang merupakan akumulasi dari pengalaman-pengalaman dan interaksi-interaksi yang dilakukannya dan terus berkembang.


•  Round Character (perwatakan bulat)
Karakter tokoh yang ditulis oleh penulis secara sempurna, karakteristiknya kaya dengan pesan-pesan dramatik. Round karakter adalah karakter tokoh dalam lakon yang mengalami perubahan dan perkembangan baik secara kepribadian maupun status sosialnya. Perkembangan dan perubahan ini mengacu pada perkembangan pribadi orang dalam kehidupan sehari-hari. Perkembangan inilah yang menjadikan karakter ini menarik dan mampu untuk mengerakkan jalan cerita. Karakter ini biasanya terdapat karakter tokoh utama baik tokoh protagonis maupun tokoh antagonis.


•  Teatrikal
Teatrikal adalah karakter tokoh yang tidak wajar, unik, dan lebih bersifat simbolis seperti nampak pada gambar 14 di atas. Karakter-karakter teatrikal jarang dijumpai pada lakon-lakon realis, tetapi sangat banyak dijumpai pada lakon-lakon klasik dan non realis. Karakter ini hanya simbol dari psikologi masyarakat, suasana, keadaan jaman dan lain-lain yang tidak bersifat manusiawi tetapi dilakukan oleh manusia. Misalnya karakter yang diciptakan oleh Putu Wijaya pada lakon-lakonnya yang bergaya post-realistic, seperti tokoh A, D, C, Si Gembrot, Si Tua, Kawan, Pemimpin (lakon LOS)  dan lain-lain.
Penokohan Dalam Drama Teater.

•  Karikatural
Karikatural adalah karakter tokoh yang tidak wajar, satiris, dan cenderung menyindir seperti diperlihatkan dalam gambar 15 di atas. Karakter ini segaja diciptakan oleh penulis lakon sebagai penyeimbang antara  kesedihan dan kelucuan, antara ketegangan dengan keriangan suasana. Sifat karikatural ini bisa berupa dialog-dialog yang diucapkan oleh karakter tokoh, bisa juga dengan tingkah laku, bahkan perpaduan antara ucapan dengan  tingkah laku. Misalnya, karakter Badut pada lakon Raja Lear karya Willilam Shakespeare terjemahan Trisno Sumardjo, kalau dianalisis dialognya menunjukkan betapa sangat satir dan dapat mengimbangi ketegangan suasana yang diciptakan oleh Raja Lear.

Sejarah Drama Indonesia

Perkembangan Drama di Indonesia

Sejarah perkembangan drama di Indonesia dipilah menjadi sejarah perkembangan penulisan drama dan sejarah perkembangan teater di Indonesia. Sejarah perkembangan penulisan drama meliputi:

(1) Periode Drama Melayu-Rendah
(2) Periode Drama Pujangga Baru
(3) Periode Drama Zaman Jepang
(4) Periode Drama Sesudah Kemerdekaan
(5) Periode Drama Mutakhir

Dalam Periode Melayu-Rendah penulis lakonnya didominasi oleh pengarang drama Belanda peranakan dan Tionghoa peranakan.

Dalam Periode Drama Pujangga Baru lahirlah Bebasari karya Roestam Effendi sebagai lakon simbolis yang pertama kali ditulis oleh pengarang Indonesia.

Dalam Periode Drama Zaman Jepang setiap pementasan drama harus disertai naskah lengkap untuk disensor terlebih dulu sebelum dipentaskan. Dengan adanya sensor ini, di satu pihak dapat menghambat kreativitas, tetapi di pihak lain justru memacu munculnya naskah drama.

Pada Periode Drama Sesudah Kemerdekaan naskah-naskah drama yang dihasilkan sudah lebih baik dengan menggunakan bahasa Indonesia yang sudah meninggalkan gaya Pujangga Baru. Pada saat itu penulis drama yang produktif dan berkualitas baik adalah Utuy Tatang Sontani, Motinggo Boesye dan Rendra.

Pada Periode Mutakhir peran TIM dan DKJ menjadi sangat menonjol. Terjadi pembaruan dalam struktur drama. Pada umumnya tidak memiliki cerita, antiplot, nonlinear, tokoh-tokohnya tidak jelas identitasnya, dan bersifat nontematis.

Perkembangan teater di Indonesia dibagi ke dalam :
(1) Masa Perintisan Teater Modern
(2) Masa Kebangkitan Teater Modern
(3) Masa Perkembangan Teater Modern
(4) Masa Teater Mutakhir

Masa perintisan diawali dengan munculnya Komedi Stamboel. Masa kebangkitan muncul teater Dardanella yang terpengaruh oleh Barat. Masa perkembangan ditengarai dengan hadirnya Sandiwara Maya, dan setelah kemerdekaan ditandai dengan lahirnya ATNI dan ASDRAFI. Dalam masa perkembangan teater mutakhir ditandai dengan berkiprahnya 8 nama besar teater yang mendominasi zaman emas pertama dan kedua, yaitu Bengkel Teater, Teater Kecil, Teater Populer, Studi klub Teater Bandung, Teater Mandiri, Teater Koma, Teater Saja, dan Teater Lembaga.
 terjadi dalam perasaan dan pik

Short Story

The Emperor's Three Questions
By Leo Tolstoy


  One day it occurred to a certain emperor that if he only knew the answers to three questions, he would never stray in any matter.

 1. What is the best time to do each thing?
 2. Who are the most important people to work with?
 3. What is the most important thing to do at all times?

  The emperor issued a decree throughout his kingdom announcing that whoever could answer the questions would receive a great reward.  Many who read the decree made their way to the palace at once, each person with a different answer.

  In reply to the first question, one person advised that the emperor make up a thorough time schedule, consecrating every hour, day, month and year for certain tasks and then follow the schedule to the letter.  Only then could he hope to do every task at the right time.

  Another person replied that it was impossible to plan in advance and that the emperor should put all vain amusements aside and remain attentive to everything in order to know what to do at what time.

  Someone else insisted that, by himself, the emperor could never hope to have all the foresight and competence necessary to decide when to do each and every task, and what he really needed was to set up a Council of the Wise and then to act according to their advice.

  Someone else said that certain matters require immediate decision and could not wait for consultation, but if he wanted to know in advance what was going to happen he should consult magicians and soothsayers.

  The responses to the second question also lacked accord.

  One person said that the emperor needed to place all his trust in administrators, another urged reliance on priests and monks, while others recommended physicians.  Still others put their faith in warriors.

  The third question drew a similar variety of answers.

  Some said science was the most important pursuit.  Others insisted on religion.  Yet others claimed the most important thing was military skill.

  The emperor was not pleased with any of the answers, and no reward was given.

  After several nights of reflection, the emperor resolved to visit a hermit who lived on a mountain and was said to be an enlightened man.  The emperor wished to find the hermit to ask him the three questions, though he knew the hermit never left the mountains and was known to receive only the poor, refusing to have anything to do with persons of wealth or power.  So the emperor disguised himself as a simple peasant and ordered his attendants to wait for him at the foot of the mountain while he climbed the slope alone to seek the hermit.

 Reaching the holy man's dwelling place, the emperor found the hermit digging a garden in front of his hut.  When the hermit saw the stranger, he nodded his head in greeting and continued to dig.  The labor was obviously hard on him.  He was an old man, and each time he thrust his spade into the ground to turn the earth, he heaved heavily.

  The emperor approached him and said, "I have come here to ask your help with three questions:  When is the best time to do each thing?  Who are the most important people to work with?  What is the most important thing to do at all times?"

  The hermit listened attentively but only patted the emperor on the shoulder and continued digging.  The emperor said, "You must be tired.  Here, let me give you a hand with that."  The hermit thanked him, handed the emperor the spade, and then sat down on the ground to rest.

  After he had dug two rows, the emperor stopped and turned to the hermit and repeated his three questions.  The hermit still
did not answer, but instead stood and pointed to the spade and said, "Why don't you rest now?  I can take over again."  But the emperor continued to dig.  One hour passed, then two.  Finally the sun began to set behind the mountain.  The emperor put down the spade and said to the hermit, "I came here to ask if you could answer my three questions.  But if you can't give me any answer, please let me know so that I can get on my way home."

The hermit lifted his head and asked the emperor, "Do you hear someone running over there?"  The emperor turned his head.
They both saw a man with a long white beard emerge from the woods.  He ran wildly, pressing his hands against a bloody wound in his stomach.  The man ran toward the emperor before falling unconscious to the ground, where he lay groaning.  Opening the
man's clothing, the emperor and hermit saw that the man had received a deep gash.  The emperor cleaned the wound thoroughly and then used his own shirt to bandage it, but the blood completely soaked it within minutes.  He rinsed the shirt out and bandaged the wound a second time and continued to do so until the flow of blood had stopped.

  At last the wounded man regained consciousness and asked for a drink of water.  The emperor ran down to the stream and brought back a jug of fresh water.  Meanwhile, the sun had disappeared and the night air had begun to turn cold.  The hermit gave the emperor a hand in carrying the man into the hut where they laid him down on the hermit's bed.  The man closed his eyes and lay quietly.  The emperor was worn out from a long day of climbing the mountain and digging the garden.  Leaning against the doorway, he fell asleep.  When he rose, the sun had already risen over the mountain.  For a moment he forgot where he was and what he had come here for.  He looked over to the bed and saw the wounded man also looking around him in confusion.  When he saw the emperor, he stared at him intently and then said in a faint
whisper, "Please forgive me."

  "But what have you done that I should forgive you?" the
emperor asked.

  "You do not know me, your majesty, but I know you.  I was your sworn enemy, and I had vowed to take vengeance on you, for during the last war you killed my brother and seized my property.
When I learned that you were coming alone to the mountain to meet the hermit, I resolved to surprise you on your way back and kill you.  But after waiting a long time there was still no sign of you, and so I left my ambush in order to seek you out.  But instead of finding you, I came across your attendants, who recognized me, giving me this wound.  Luckily, I escaped and ran here.  If I hadn't met you I would surely be dead by now.  I had intended to kill you, but instead you saved my life!  I am
ashamed and grateful beyond words.  If I live, I vow to be your servant for the rest of my life, and I will bid my children and grandchildren to do the same. Please grant me you forgiveness."

  The emperor was overjoyed to see that he was so easily reconciled with a former enemy.  He not only forgave the man but promised to return all the man's property and to send his own physician and servants to wait on the man until he was completely healed.  After ordering his attendants to take the man home, the emperor returned to see the hermit.  Before returning to the palace the emperor wanted to repeat his three questions one last
time.  He found the hermit sowing seeds in the earth they had dug the day before.

  The hermit stood up and looked at the emperor.  "But your
questions have already been answered."

  "How's that?" the emperor asked, puzzled.

  "Yesterday, if you had not taken pity on my age and given me a hand with digging these beds, you would have been attacked by that man on your way home.  Then you would have deeply regretted not staying with me.  Therefore the most important time was the
time you were digging in the beds, the most important person was myself, and the most important pursuit was to help me."

  "Later, when the wounded man ran up here, the most important time was the time you spent dressing his wound, for if you had not cared for him he would have died and you would have lost the chance to be reconciled with him.  Likewise, he was the most important person, and the most important pursuit was taking care of his wound."

  "Remember that there is only one important time and that is now.  The present moment is the only time over which we have dominion.  The most important person is always the person you are with, who is right before you, for who knows if you will have dealings with any other person in the future?  The most important pursuit is making the person standing at your side happy, for that alone is the pursuit of life."

Poetry

Mom

I love you so much
I miss you so much
You are so beautiful and perfect in my eyes
Nothing can replace your place in my hearts

Mom Your Sacrifice so sincere to me
Although I bring you stars and the moon for you
It will not be able to pay all your sacrifices for me
It will not change your great affection

Mom, your embrace is so warm until stab my bones
Mom, your love are flowing like a flowing streams
Mom, Your voice always makes me awake in my dreams

Today I miss you Mom
I miss your arms
I miss your Loves
Hope you’re keeping all of them
When I come back to you

GOD keeps my mom there!
Just treat her like she threats me
Love her like she loved me when I was little