syair syurga a devotional literary text in an early malay...

67Syair Syurga a Devotional Literary Text in an Early Malay Printed BookSari 27 (2009) 67 - 95

Syair Syurga a Devotional Literary Text in an Early MalayPrinted Book from Sumatra

SURYADI

ABSTRAK

Rencana ini membincangkan sebuah teks sastera Melayu yang boleh disebut‘sastra dakwah’, yang bila diluaskan boleh digolongkan ke dalam jenis ‘sastraIslam’ dari awal abad ke-20. Bertajuk Syair Syurga, ia menghuraikan ajarantarekat tentang tingkat kesedaran dan memberi penafsiran simbolik tentangibadah shalat. Ia bercerita tentang imbalan pahala yang akan diterima Muslimyang saleh di alam baka, tempat mereka akan hidup bahagia di syurga yangkekal. Rencana ini menyediakan transliterasi syair ini dalam huruf Roman,mengulas isinya dan menyajikan catatan mengenai kepengarangannya. Dalamperspektif yang lebih luas, rencana ini menelaah motif akhirat dalamkesusasteraan Melayu klasik. Dengan mengaji ‘peleburan’ agama dan sasteradalam teks kesusasteraan Melayu klasik seperti Syair Syurga, pemahaman kitamengenai Islam lokal di alam Melayu nescaya dapat ditingkatkan dalamperspektif kesejarahannya.

Kata kunci: Sastra Islam, Syair Surga, tarekat (ilmu tasawuf), Syattariyah,martabat tujuh, Palembang

ABSTRACT

This paper discusses an early twentieth century Malay literature that could becalled ‘sastra dakwah’ (religious proselytizing literature), in the broadercategory of ‘sastra Islam’ (Islamic literature). Entitled Syair Syurga, it outlinestarekat teachings about the levels of consciousness and gives a symbolicinterpretation of the prayer ritual. It tells about the reward that will be gainedby pious Muslims in the hereafter, where they will live happily forever in heaven.This paper provides a transliteration of the poem in the Roman alphabet, reviewsits content, and provides an account of the authorship of the poem. In short,this paper examines the motif of afterlife in classical Malay literature. Byexamining the ‘coalition’ of religion and literature in classical Malay text likeThe Poem of Heaven, our understanding of local Islam in the Malay world inits historical perspective will be enhanced.

Key words: Islamic literature, Syair Surga, tariqah, Shattariyya, the sevengrades (martabat tujuh), Palembang

68 Sari 27

INTRODUCTION

In Indonesia and the Malay world, both oral and written text narrating the afterlife are abundant. This can be understood because the majority of Malay peopleprofess Islam, which regards life in the everlasting hereafter as more importantthan the impermanent life on earth.1 In many Islamic written texts, readers arepresented with images of paradise where virtue is rewarded with happiness andon the other hand with images of hell where sinners must endure endlesshorrifying punishments. In Indonesian and Malay literatures, sketches of theafterlife can be found in many literary forms, ranging from adult novels tochildren’s comic strips (Figure 1).2 Such Islamic religious ideas have beenexpressed in many literary works of Indonesia and Malaysia since theseventeenth century at least, as, among others, in the Javanese book of tidingsfrom hell (Serat Kabar Neraka) that forms part of the famous Serat Centhini(Brakel-Papenhuyzen 2003).

This paper discusses a work of classical Malay literature that could becalled ‘sastra dakwah’ (religious proselytizing literature), in the broader category

69Syair Syurga a Devotional Literary Text in an Early Malay Printed Book

FIGURE 1 Images of the beauty of paradise (left) and the horrifying punishment inhell (right) in Indonesian Islamic children’s comic strips (Source: Anony-mous 1980:8, 19)

of ‘sastra Islam’ (Islamic literature). This text is entitled Syair Syurga3 (The‘Poem of Paradise’). As the title suggests, it clearly sets out the Islamic belief inthe afterlife. It was published as a booklet in South Sumatra in the early twentiethcentury (see description below), a typeset printed edition written in Arab-Malay(Jawi) script, not a lithographed one (see Figure 2, 3 & 4).

Among the Malay manuscripts containing images of the afterlife such asHikayat Abdullah Asyir dan Dayang Rohani (Wieringa 2005; Wieringa 2007:346-9), Hikayat Raja Jumjumah (Anonymous 1823; Jusuf 1971), Syair Neraka,Syair Azab dalam Neraka, Syair Kanak-Kanak, the stories of the ‘sarakat al-maut’ (Braginsky 1993: 290-303; Brakel-Papenhuyzen 2003: 18), and the Malaypoem Syair Alif-ba-ta (Wieringa 1998a), I have not found one with the titleSyair Syurga. This paper provides a transliteration of the poem in the Romanalphabet, reviews its content, and provides an account of the authorship of thepoem. The transliteration is based upon the printed edition preserved in Leiden

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University Library under shelf mark 5 – 800 E 102. It is one of many earlyMalay texts in Leiden University Library, and part of the precious collectionbequeathed to the library by Prof. Dr. Snouck Hurgronje. In the catalogue ofLeiden University Library, the poem is listed as “Sjair Soerga, jang dikeloearkandari nas Koer’an dan hadith nabi dan hadith koedsi, [Sum[atra] Westkust, 18XX,19e eeuw].”

THE CONTENTS OF THE POEM

The twelve-page booklet comprises 124 stanzas or 485 verses teaching readersabout eschatology. It outlines the teachings of the Shattariyya mystical order(tariqah) about the levels of consciousness and provides a symbolic interpretationof the prayer ritual. It tells about the rewards that will be gained by pious maleMuslims in the hereafter, in paradise, where they will live forever in happiness,with plentiful foods and fruits, surrounded by loyal servants who also serve astheir life companions: the beautiful fairies (bidadari). The poem also teachesthe way to gain this everlasting comfort and happiness: Muslims should carryout God’s commandments throughout their lives in this world by accepting themetaphysical concept of emanation in seven grades (martabat tujuh), theprincipal teaching of the Shatariyya tariqah.4 The tariqah teaches Muslims tokeep away from worldly desires by performing ascetism during their lives. Allof a Muslim’s physical activities should be fully devoted to God. The authorwrites (stanza 32).

Pikir Rabbani semata2,Hendaklah tilik gerak anggota,Makrifat <w>ahdah terlalu nyata,Tiadalah lagi berdua cinta.

The author also describes the characteristics of God (zatnya Tuhan), whichhave to be known by pious Mulims. He also describes the four componentsforming the human body: water (air), earth (tanah), fire (api), and wind (angin),as he writes (stanza 10):

Alam Mithalah martabat kelima,Anasir empat bersama2,Air, angin, api, tanah.Menjadilah jasad dengan sempurna.

Furthermore, the author describes the benefits of dhikr, to recite repetitiouslyshort Muslim religious phrases, such as repeating over and over the sentenceLa Ilaha Illallah (There is no lord worthy of worship except Allah). One of thebenefits of dhikr is to avoid evil temptations, as the author writes (stanza 26):


Jikalau datang iblis laknatullah,Lawan berperang sabil Allah,Pasang ‘meriam’ kalimah ‘La Illaha Illallah’,Pelurunya betul tiada salah.

The dhikr sentence La Ilaha Illallah also serves to deaden the pain whenone is suffering severe illness. Human bodies feel pain because they have thefive senses (stanza 29):

Panca indera seteru yang besar,Ketika sakit datang menyasar,Pukul kalimah ‘La Ilaha Illallah’ jangan berkisar,Hingga sampai Yaumil al-Mahsyar.

Frequent performance of dhikr will serve to resist the temptations of thisworldly life. Those who perform dhikr habitually will readily enter paradise inthe hereafter. The author writes (stanza 48):

Zikir itu martabatnya tiga,Zikir jali disebut juga,Zahir di lidah tiada berhingga,Itulah jadi pembeli syurga.

Probably, this text was used to propagate the teachings of the ShattariyyaSufi Order among common Malay Muslims, which was less popular due to thebiting criticism by Islamic reformist groups such as the followers of theNaqshbandiyya Sufi Order (see further description below). Interestingly, it wascomposed in the form of poetry, syair, not in the form of prose, such as MSLeiden Cod. Or. 2222 (Wieringa 1998b:281-2l; Mu’jizah 2005). It also relatesthe stages of the mystic path that should be followed by as Sufi student, as theauthor writes (stanza 73):

Syariat itu ibarat tubu[h],Tarikat: hati berteguh2,Hakikat: nyawa bersungguh2,Makrifat: rahasia menjadi suluh.

So, the stages begin from the lowest level of syariat advancing to the highestlevel of makrifat. The most important mystical principle in this Shattariyyateaching is the description of Being. The Creator and the created are conceivedof as realities that need to be deeply and properly understood by all Sufis. Onewill fail as a Sufi if one is unable to comprehend these relations.

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The Shattariyya teaching unveils the relation between the inner and outer being by usinga schematic diagram consisting of seven circles. Each circle is ranked from an emptycircle to lesser circles crisscrossed by horizontal as well as vertical lines. Each circleconceptualises a nature of being. According to this view God is initially manifest in thefirst level of Being. This consists of (1) the grade of emptiness (ahadiyah), then (2) thestage of first individuation (wahdat), followed by (3) the second grade of individuationwhere God manifests His Name (wahidiyat). Secondly God creates alam or worlds/realms consisting of (4) the world of spirits (alam arwah), (5) the world of ideas orprototypes (alam mithal), (6) the world of forms (alam ajsam), and (7) the world ofPerfect Man (alam insan kamil).5

The concept of the seven grades of Being mentioned in the poem (see thetransliteration) can be represented in ‘iconic’ mode as follows6:

Sufism with syncretistic characteristics has long been popular with Muslimcommunities in Indonesia and the Malay world, where Islamic teaching fusedwith local traditional beliefs or with the doctrines of other religions that hadspread in the region previously. Actually, the teaching of the seven grades wasalready discussed by Shamsuddin al-Sumatrani, who was in high favour withthe court of Aceh at the end of the 16th century (Drewes and Brakel 1986:3).


Another point which is important for understanding Islam in Indonesia andMalaysia is that the religion “came mainly via a region (India) where it hadalready acquired syncretistic characteristics, not only through its relation withthe Indian religions, but also internally, since in India more than anywhere elseSunnite a Shi’te elements had merged” (Brakel 2004:9).

THE AUTHORSHIP OF THE POEM

The writer of the poem is apparently its author rather than a copyist because instanza 121 he mentions mengarang (composing) this poem. Apparently, he isan ulama (scholar of Islam) in Palembang (stanza 123:4). However, he doesnot mention his name. He, a very humble indigent ( fakir yang hina lata; stanza121), is too shy to mention his name because his knowledge is very far fromperfect and he was not from an eminent social class (Ilmu sedikit bangsa punkurang; stanza 122) – actually a formulaic expression of the author’sunpretentiousness that is a typical literary convention in classical Malay (Koster1993). He says that he composed the poem in the Palembang Lama district of 1Ilir, near Palembang, South Sumatra (stanza 122 & 123; underlines by Suryadi).

Hina lata zaman sekarang,Ilmu sedikit bangsa pun kurang,Jangan dibuat sebarang2,1 Ilir tempat mengarang.

Sebab tidak disebut nama,Hanya kampung Palembang Lama,Jangan menjadi ujub bersama,Inilah kesudahan kata ulama.

The author says he finished writing the poem on Wednesday, RamadhanAH 1335 without mentioning a definite date. Here I note that Khamis 1Ramadhan AH 1335 = 21 June 1917. This textual information, which issupported by the language characteristics of its text, allow us to deduce that thepoem was composed and published in Palembang in 1917, not in “[Sum[atra]Westkust, 18XX, 19e eeuw” as recorded in the catalogue of Leiden UniversityLibrary. As Von de Wall (1857) suggested, Palembang, being a famous centerof Islamic teaching with great ulamas such as Sihabuddin bin AbdullahMuhammad, Kemas Fakhruddin and Syekh Abd al-Shamad al-Palimbani (Azra1994:243-51; Fathurahman 2002), was one of the towns in the NetherlandsEast Indies where the printing industry has long been established, first usinglithography and then typeset printing.7 Below are the images of title page, thefirst page, and the last page, followed by the transliteration of the text.

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CONTEXT OF ISLAMIC CLASSICAL MALAY LITERATURE

The expansion of Islam in the Malay world, which occurred since the thirteenth-fourteenth centuries, entailed serious changes in the entire system of medievalMalay culture and, consequently, in literature (Braginsky 2004:91). AsBraginsky (ibid.:127) says:

[T]he system of early Islamic Malay literature displays features characteristic of a periodof transition. After the adoption of Islam the Buddhist canon was naturally replacedwith the Muslim one, in which the principal place was taken by the Qur’an, the firstcomplete and unified scripture to which the Malays were introduced. Furthermore, severalgenres of the former functional sphere, which, like the local hymnography, had a distinctlyreligious colouring, fell into disuse. In this sphere Sanskrit was replaced by Arabic (butfor the time being, as it seems, no Malay was used), and historiography, which in theearlier period might have been bilingual, now exclusively employed in Malay. At thesame time, in the totally Malay-based non functional sphere, the periphery of literarysystem, which by and large has been lees imbued with the spirit of the new religion,there began a progress of Islamization, at this stage in the form of transition-coexistence.

The historical accounts show that the rise of Islam in the Malay world fromthe seventeenth to the nineteenth centuries significantly influenced regionalliterary life. The Puritan Islamic movements occurring in some areas of theIndonesian archipelago in the nineteenth century, such as the Padri movementin the Minangkabau highlands (1803-1837), made efforts to replace the non-Islamic (pagan) literature – the local stories which are set in never-never landwith gods and goddesses as their main characters – by introducing stories fromIslamic Middle Eastern literature such as Hikayat Putri Balqis (or Kaba PutiBalukih in Minangkabau) (Van Wijk 1881). The Poem of Paradise can be seenas the continuation of the development of Islamic literature in the Malay world.

According to Braginsky (op cit.:127-8), two genres dominated Malayliterature of the early Islamic period: the prose narrative or hikayat and thechronicle which is considered to contain historical information (for exampleSejarah Melayu and Kronik Pasai). Both were composed in the form of prose.However, the syair genre was also used at the time to represent Islamic literaturein the region. One of the first Sumatran Muslim poets who used the syair formin his theological works was Hamzah Fansuri, the prominent theologian andmystical poet from Barus (see Drewes and Brakel 1985; Abdul Hadi W.M.1995; Braginsky 2003). Apparently this continued in the modern printing era,which burgeoned in the Malay world since the last quarter of the nineteenthcentury (Proudfoot 1993). Unlike the poetry in manuscripts which circulatedamong the tariqah pupils only, the printed Sufi poems such as Syair Syurgaseem to have been intended for trading. Hence, I think, the publication of thebook is connected with efforts to disseminate Islamic teachings such as thetariqah doctrines among the common people. By mentioning the word paradise(surga) in the title of the booklet, which contrasts with similar classical literary


works that mention the word hell (neraka) in their title, apparently the author orpublisher tries to attract the readers to engage in the teaching. Though, it doesnot mean that the literature dealing with Hell is connected with theNaqshbandiyya Sufi Order.

As historical accounts note, the Shattariya tariqah has long been criticizedby the modernist Islamic groups in the Malay world (Suryadi 2001), accusingits leaders to try and revive this Sufi order in Malay society, among others bycomposing religious instruction in the form of syair, the Malay literary genrewhich is very popular among the common Malay people. Unlike prose, whichhas been closely connected with traditional intellectual circles, syair, whichhas strong connections with the oral literary tradition, may well be used as amedium for educating and comforting the public (Proudfoot 1993). This genreis not elitist, hence it is appropriate to use it as medium to spread Islamic teachingsamong the common people. As the text of the ‘Poem of Paradise’ indicates, theauthor uses terms that are familiar in the common people’s lives in order tohelp them understand the abstract concepts of Islamic teachings according tothe Shattariyya Sufi order. For instance, the poem uses the Javanese puppettheatre (wayang), which was popular among the common people, as analogyfor dhikr (stanza 34).

Zikir itu ibarat wayang,Sekehendak dalang dia bergoyang,Di dalam pe<ng>rasaan nyata terbayang,Malam yang gelap seperti siang.

Following the development of the traditional printing press which producedbooks in Jawi script, the form of syair became increasingly popular, being usedto express various aspects of Malay people’s lives, dealing with profane as wellas sacred themes. Even, in the local press which developed later, journalist’sreports and letters from the readers were expressed as syair. Considering this, Isurmise that the ‘Poem of Paradise’ was composed to propagate the Shattariyateachings, especially martabat tujuh (the seven grades) to the common people.The author seems to have realized the consequences of choosing this genre topropagate the sacred elements of Islamic teaching: the sacred aspect of theteaching will be reduced, given the genre’s strong orientation towardsentertainment. Hence in the booklet’s subtitle the author reminds the readers toconsider the poem as a devotional text, and urges them to treat it seriously. Healso asks that God may hopefully forgive the sins of those who read it. Hewrites: “Mudah-mudahan diampuni Allah Taala segala dosanya bagi yangmembacanya / dan yang men[d]engarnya. Maka hendaklah iman serta ikhlashatinya, / jangan dibuat main2 kerana syair ini rahasia yang halus. Amin!”Considering this, it can be surmised that the poem should be classed amongreligious works, and has therefore to be appreciated in the context of religiousactivities in the Malay world. Nevertheless, it also functions as source of pleasure.

76 Sari 27

THE LANGUAGE AND WRITING OF THE POEM

There is inconsistency in the writing of some words in the text, and some unusualforms occur. For example, the word mendengarkan is written as bothmenengarkan and mendengarkan. Likewise the text has suda instead of sudah.We also find the words tubu, suru, jau, tuju, pulu, and ruma instead of tubuh,suruh, jauh, tujuh, puluh, and rumah. Likewise the words ngerjakan and ngatainstead of mengerjakan and mengata[kan] (see stanza 106 and 111). In thetransliteration I have adjusted these words to contemporary Indonesian spellingby adding the necessary additional letters in brackets. The mark “< >” is used toidentify additional phoneme (usually /-h/), which is often found in the end ofparticular word. In other cases, where there is cause for doubt, I present theJawi forms in footnotes. I must say that the text is decorated with many Arabicwords, phrases, and sentences. Stanza 93 and 94, for example, consist completelyof lines of Arabic.

FIGURE 2 The title page of Syair Syurga (Leiden University Library 5-800 E 102)


FIGURE 3 Page 1 of Syair Syurga (Leiden University Library 5-800 E 102)

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TRANSLITERATION8

[TITLE PAGE]

Ini Syair Syurga, yang dikeluarkan /9 dari nas Qur’an dan hadis Nabi sal[lallahualaihi wasallam] / dan hadis qudsi bicara rahasia yang ghaib / ghafurullah limanqara’ahu min zanbihi.

Mudah-mudahan diampuni Allah Ta’ala segala dosanya bagi yangmembacanya / dan yang men[d]engarnya10. Maka hendaklah iman serta ikhlashatinya, / jangan dibuat main2 kerana syair ini rahasia yang halus. Amin!

FIGURE 4 (the last page) of Syair Syurga (Leiden University Library 5-800E 102)

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82 Sari 27

Page

4St

anza

Stan

za

31M

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Page

5St

anza

Stan

za

41Ja

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84 Sari 27

Page

6St

anza

Stan

za

51N

ahi j

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Men

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59Ik

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Page

7St

anza

Stan

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61K

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65K

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70Itu

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86 Sari 27

Page

8St

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71Te

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74Ilm

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78Te

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80Ilm

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.


Page

9St

anza

Stan

za

81A

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83K

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51

Ala

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85A

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87Pi

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ang

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82A

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Alla

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84A

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86A

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Rab

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88K

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90Te

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g se

dia,

Kal

bu m

eman

dang

itul

ah d

ia.

88 Sari 27

Page

10

Stan

zaSt

anza

91Ta

jalli

zat

san

gatla

h ny

ata,

Kep

ada

hati,

buk

an d

i mat

a,Le

nyap

rasa

jua

angg

ota,

Mem

anda

ng T

uhan

sem

ata2

.

93R

ahm

an R

ahim

Ilah

al-K

arim

,Su

bhan

a A

llah

Rab

b al

-‘Ars

y al

-‘Azi

m,

Wa

tub

alai

na in

naka

ant

a ta

ww

ab a

l-rah

im,

Taqa

bbal

min

na in

naka

ant

a sa

mi‘u

n al

im.

95Ta

mat

lah

syai

r hak

ikat

mak

rifat

,Ja

ngan

lah

seka

li ka

mi d

ium

pat,

Buk

an m

enun

jukk

an a

rif li

mpa

t,53

Seka

dar m

enun

jukk

an ja

lan

yang

dek

at.

97D

i dal

am m

a‘an

i nya

ta b

egitu

,D

ihar

ap a

mpu

n sa

haja

tent

u,W

a ta

wak

kal ‘

ala

al-h

ayyi

al-l

adzi

la y

amut

u,D

a’w

at h

abis

piki

rpun

bun

tu.

99In

gatk

an s

ungg

uh d

i dal

am h

ati,

Setia

p Ju

mat

mal

amny

a pa

sti,

Seka

lian

arw

ah o

rang

yan

g m

ati,

Ditu

runk

an T

uhan

Rab

b al

-Izza

ti.

92Le

nyap

lah

rasa

nya

mem

anda

ng T

uhan

,A

syik

rind

u ny

awa

dan

bada

n,Lu

pa<h

>52 d

iriny

a tu

buh

seka

lian,

Uca

plah

ole

hmu

Alla

h R

ahm

an.

94W

a sa

lla A

llahu

‘ala

say

yid

al-m

ursa

lin,

Wa‘

ala

alih

i wa

sahb

ihi a

jmai

n,W

a ta

bi‘ih

im il

a ya

um a

l-din

,A

lham

dulil

lahi

rab

b al

-‘ala

min

.

96D

ihar

ap R

ahim

bel

as k

asih

an,

Kep

ada

faki

r yan

g du

ngu

buai

an,54

Hak

ikat

mak

rifat

nya

ta te

rbay

an,

Di d

alam

kita

b Th

alab

al-B

ayan

.55

98A

da la

gi fa

kir p

esan

kan,

Di d

alam

had

is ha

mba

kel

uark

an,

Mal

am J

umat

faki

r nya

taka

n,Se

giya

56 b

aik

kita

inga

tkan

.

100

Rab

b al

-Izz

ati d

enga

n ko

drat

Nya

,M

enur

unka

n ru

h ke

dal

am d

unia

,M

asin

g2 m

asuk

rum

a[h]

nya,

57

“Ass

alam

uala

ikum

!” d

emik

ian

kata

nya.

89Syair Syurga a Devotional Literary Text in an Early Malay Printed BookPa

ge 1

1St

anza

Stan

za

101

Kat

anya

sek

alia

n pe

ndet

a,Se

kalia

n ah

li isi

rum

ah k

ita,

Ber

suka

ram

ai ja

ngan

dik

ata,

“Ber

ilah

sede

kah

kam

i yan

g la

ta.

103

Paka

ian

itu b

aran

g ya

ng n

ikm

at,

Mud

ah2a

n58 k

amu

bole

h se

lam

at,

Ata

s ka

mi m

enda

pat r

ahm

at,

Mer

asak

an m

akan

an le

zat n

ikm

at.”

105

Sede

kah

itu k

ita g

antik

an,

Kep

ada

arw

ah k

ita h

adia

hkan

,D

enga

n Fa

tihah

pul

a di

sebu

tkan

,B

anya

klah

mal

aika

t suk

a m

en[d

]eng

arka

n.

107

Ber

oleh

pan

gkat

itul

ah ju

ga,

Di d

unia

inila

h te

mpa

t ber

niag

a,C

arila

h se

gala

yan

g m

ahal

har

ga,

Inila

h ya

ng la

ku d

i dal

am s

yurg

a.

109

Nik

mat

dira

sa b

ukan

tang

gung

an,

Tuju

[h] 6

4 pul

u[h]

65 k

ali s

eray

a da

tang

jam

uan,

Mal

aika

t dat

ang

baw

a<k>

66 [h

]idan

gan,

67

Mak

anla

h ia

bar

ang

berk

enan

.

111

Tuha

n Y

ang

Kay

a su

da[h

]lah

tent

u,H

idan

gan

berp

usin

g se

perti

bat

u,R

amai

jem

puta

n ke

tika

itu,

Had

is da

n fir

man

[me]

ngat

a69 b

egitu

.

102

Sede

kah

kepa

da k

ami s

ekal

ian,

Faki

r misk

in b

elas

kas

ihan

,M

ana

yang

em

puny

a pe

rcin

taan

,D

arip

ada

mak

anan

ata

u pa

kaia

n.

104

Leza

t nik

mat

tiad

a te

rkira

,M

akan

an s

yurg

a sy

urba

n ta

hura

,59

Iman

mu

jang

an d

iber

i ced

era,

Piki

r ole

hmu

hai S

auda

ra.

106

Suka

men

deng

arka

n60 b

erbu

at ib

adat

,M

enun

tut i

lmu

[me]

nger

jaka

n61 ta

at,

Jauh

i62 s

ekal

ian

jeni

s m

aksia

t,D

i dal

am s

yurg

a be

role

h pa

ngka

t.

108

Di d

alam

syu

rga

amat

sen

tosa

,K

erja

[kan

]lah63

ibad

at s

enan

tiasa

,K

aren

a Tu

han

Yan

g K

uasa

,B

erib

u je

nis

nikm

at d

irasa

.

110

Bar

ang

berk

enan

kep

ada

ia,

Bes

ar [h

]idan

gan

sepe

rti d

unia

,N

asi d

an k

ambu

li da

ging

sed

ia,

Dip

erin

ta[h

]nya

68 o

leh

Tuha

n Y

ang

Kay

a.

112

Wa

yut‘i

mun

a al

-ta‘a

m,

Ber

ibu

jeni

s m

akan

min

uman

,D

enga

n bi

dada

ri be

rtuan

g2an

,Ti

dakl

ah la

gi b

anya

k ke

nang

an.

90 Sari 27Pa

ge 1

2St

anza

Stan

za

113

Ban

yak

kena

ngan

di d

alam

diri

,In

ilah

bala

san

Kha

lik a

l-Bar

i,Sa

tu o

rang

em

pat p

uluh

bid

adar

i,Se

ribu

khad

amny

a su

da[h

] dib

eri.

115

Har

i kem

udia

n tid

ak te

rper

i,D

uduk

ber

suka

an d

enga

n bi

dada

ri,B

a<h>

unya

72 h

arum

sep

erti

kestu

ri,Se

rta b

erpa

ntun

men

yera

hkan

diri

.

117

Nah

nu a

l-rak

hiya

t, ka

tany

a la

gi,

Suka

nya

keka

l sun

yi ta

k la

gi,

Men

yera

hkan

diri

sor

e da

n pa

gi,

Di d

alam

mah

ligai

yan

g m

aha

tingg

i.

119

Bua

h2an

di d

alam

syu

rga,

Ras

anya

leza

t tia

da b

erhi

ngga

,D

i dal

amny

a be

risi b

idad

ari t

iga,

Hila

ngla

h la

par h

ilang

lah

daha

ga.

121

Kha

timat

ters

ebut

nya

ta,

Arti

nya

peng

habi

san

kala

m b

erka

ta,

Jang

an d

ipuj

i jan

gan

dika

ta,

Ata

s fa

kir y

ang

hina

lata

.

123

Seba

b tid

ak d

isebu

t nam

a,H

anya

kam

pung

Pal

emba

ng L

ama,

Jang

an m

enja

di u

jub

bers

ama,

Inila

h ke

suda

han

kata

ula

ma.

114

Suda

[h] d

iber

i ser

ta p

akai

an,

Gel

ang

kalu

ng k

eron

cong

sek

alia

n,D

isuru

[h]70

men

ari r

amai

2an,

71

Inila

h ba

las

hari

kem

udia

n.

116

Nah

nu a

l-kha

lidat

pul

a ya

kni,

Arti

nya:

kek

al d

i akh

irat i

ni,

Ber

suka

2an

ke s

ana

sini

,Su

da[h

] per

inta

h Tu

han

Subh

ani.

118

Hur

un m

aqsu

ratu

n fi

al-k

hiya

m,

Di d

alam

khi

ma73

bid

adar

i sek

ian,

74

Di a

tas

mah

ligai

di d

alam

keb

unan

,R

amai

ber

mak

an b

uah2

an.

120

Ass

alam

uala

ikum

, sek

ian75

Ikh

wan

,D

ihar

ap s

ungg

uh m

inta

den

gark

an,

Jikal

au k

hila

f sal

ah p

enge

tahu

an,

Min

ta b

etul

kan

jang

an m

alua

n.

122

Hin

a la

ta z

aman

sek

aran

g,Ilm

u se

diki

t ban

gsa

pun

kura

ng,

Jang

an d

ibua

t seb

aran

g2,

1 Ili

r76 te

mpa

t men

gara

ng.

124

Kat

a ul

ama

yang

peg

ang

hadi

s,B

ulan

Ram

adha

n ha

rinya

Kha

mis,

Serib

u tig

a ra

tus

tiga

pulu

h lim

a77 m

aka

tertu

lis,

Kal

am p

atah

da’

wat

hab

is.


NOTES

1 An earlier version of this paper was delivered at the Scholar’s Discourse @ IAMM,Islamic Arts Museum Malaysia (Kuala Lumpur, 22 August 2008). I would like toexpress my gratitude to the Museum’s librarian, Puan Azenita binti Abdullah M.A.,for kindly inviting me to present a lecture there, as well as to the lively audience fortheir thoughtful comments. My travel to Malaysia and Indonesia was financiallysupported by the Stichting Oosters Instituut in Leiden. I also gratefully acknowledgethe help of Prof. Dr. Edwin P. Wieringa, Dr. Oman Fathurahman, Dr. Ian Proudfoot,and Dr. Clara Brakel-Papenhuyzen for their valuable comments on the draft of thispaper. Any mistakes, of course, are mine alone.

2 For example, the case of Indonesian novel Ayat-ayat Cinta (The Love Verses) byHabiburrahman El Shirazy (2006) which is adored by many young IndonesianMuslims, hence it sold well and has been frequently reprinted. The novel was adaptedto film in 2007, produced by MD Picture and directed by Hanung Bramantyo (see:http://en.wikipedia.org/wiki/Ayat-Ayat_Cinta_(film; accessed 16-7-2008). The filmwas box office in Indonesia and Malaysia soon after its release in early 2008.

3 Spelled syu-r-g (syurga), as spelled until now in Malaysia (see Iskandar et al. 1984:1156), whereas in Indonesian it is written as surga. This word derives from Sanskrit‘svarga’ (Gonda 1973:123), hence in Indonesian it means, among other things,‘kayangan tempat kediaman Batara Guru (Siwa)’ (Moeliono et al. 1989: 873). Inthis paper I write syurga, as it was originally written in Jawi script (see Figure 2).

4 See also Zoedmulder’s thesis on pantheism and monism (1995:97-114) that discussesthe emanation doctrine of seven grades (martabat tujuh) in Javanese suluk literature.

5 This quotation based on the online version of Tomy Christomy’s Signs of the Wali:narratives at the Secret Sites in Pamijahan, West Java [PhD Thesis, AustralianNational University, 2003] (see: http://epress.anu.edu.au/islamic/wali/mobile_devices/ch07s03.html; accessed 26-7-2008).

6 Ibid.. Christommy mentions that the illustration based on Beben’s manuscript orThe Book of the Wali found in Pamijahan, West Java.

7 For further on the printing in the 19th century Palembang, see Peeters (1996).8 In the meantime, this transliteration has been included in the Malay Concordance

Project (MCP) of The Australian National University, Canberra, for which I wouldlike to say thank Ian Proudfoot, the project administrator (see: http://mcp.anu.edu.au//N/Srg_bib.html; accessed 20-4-2008). As the MCP decrees, its administratorsprotect this transliteration.

9 Slash mark indicates the change of line in the original text (see Figure 2).10 In Jawi: . See also the last line of stanza 105.11 In Jawi: . See also stanza 11, 12, 31, 33, 39, 63, 64, 109, 111, 112, 114 and

116.12 In Jawi: .13 In Jawi: .14 In Jawi: .15 In Jawi: .16 In Jawi: . See note 14.17 In Jawi: , as in note 14 and 16.

92 Sari 27

18 In Jawi: . Perhaps, it means mengenalnya.19 In Jawi: .20 In Jawi: which could also be read hewan.21 In Jawi: which in this context irreasonable if it is read al-Khalik.22 In Jawi: .23 In Jawi: , means menghadang.24 Or sabilillah in the Malay Muslims pronunciation.25 In Jawi: .26 In Jawi: .27 In Jawi: .28 In Jawi: .29 In Jawi: .30 In Jawi: .31 In Jawi: .32 In Jawi: .33 In Jawi: .34 The last three words in Jawi: .35 The last two words in Jawi: , which could also be read ‘sadan[y]a kawan’.36 In Jawi: .37 In Jawi: .38 In Jawi: .39 In Jawi: . Hence the end rhyme of this stanza is unbalanced.40 In Jawi: .41 In Jawi: .42 In Jawi: . Apparently this is the Palembang Malay pronunciation for istirahat.

It remind us to the Modern Indonesian word rehat (pause)—‘rehat kopi’ for example.43 In Jawi: .44 In Jawi: , which could also be read lalai.45 Written: diamati2 [ ].46 In Jawi: .47 In Jawi: .48 In Jawi: , which means berasa (= terasa).49 In Jawi: , means digaruk (scratch).50 Written j-r-y-ylh [ ]. The first letter should be c, not j.51 Written: berbalasan2 [ ].52 In Jawi: .53 In Jawi: .54 In Jawi: .55 In Jawi: .56 In Jawi: , which remind us to Indonesian word seyogia (properly).57 In Jawi .58 Written muda2han [ ].59 In Jawi: .


60 In Jawi: . Compare with men[d]engarkan in stanza 105 line 4 and in thetitle page (see note 10).

61 In Jawi: .62 Written: ja’ui [ ].63 In Jawi: .64 In Jawi: .65 In Jawi: .66 In Jawi: .67 In Jawi: . See also this word in next stanza.68 In Jawi: .69 In Jawi: .70 In Jawi: .71 Written ramaian2 [ ].72 In Jawi: .73 In Jawi: , from Arabic cognate al-khayamah (house or camp).74 In Jawi: , which properly read sekalian rather than sekian.75 In Jawi: , compare with previous note. But in this context, the word sekian is

also proper, in sense that the author will finish his poem. That why I put commaafter word Assalamualaikum.

76 The place where the author wrote this poem.77 Khamis, Ramadhan AH 1335 without mentioning a definite date. Here I note that

Khamis 1 Ramadhan AH 1335 = 21 June 1917.

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SuryadiOpleiding Talen en Culturen van IndonesieFaculteit Geesteswetenscahppen Universiteit LeidenPostbus 95152300 RA LeidenThe NetherlandsE-mail: [email protected]

syair syurga a devotional literary text in an early malay...

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