Abstract
Malay Pantun is one of the cultural works that remain alive on the island
of Bangka. Since it uses language as the medium, it can be analyzed using
stylistic study. Through stylistic study of the pantun, it can be found the use
of language in the pantun, the attitude pantun reader on pantun convention, and
the meaning conveyed in the pantun as well. The Malay pantun of Bangka studied
has various patterns of sentences. When viewed from the conventions of writing,
there is an indication towards the violation of the convention. Malay pantun of
Bangka is a reflection of the state Malay community of Bangka.
Key words: pantun, Bangka
Malay, stylistic study
INTRODUCTION
Malay Pantun of Bangka is one of the cultural products that remain alive on the island of Bangka (one of the islands in the Province of Bangka Belitung Island). Even Halim (2007) says that Bangka Malays are poets because Malay community of Bangka often use pantun in their daily activities. According to Halim, pantun in the lives of Malay community is only used in formal activities but also in non-formal ones. Malay community of Bangka use pantun not only to show happiness, sadness, but also anger.
Malay Pantun of Bangka is one of the cultural products that remain alive on the island of Bangka (one of the islands in the Province of Bangka Belitung Island). Even Halim (2007) says that Bangka Malays are poets because Malay community of Bangka often use pantun in their daily activities. According to Halim, pantun in the lives of Malay community is only used in formal activities but also in non-formal ones. Malay community of Bangka use pantun not only to show happiness, sadness, but also anger.
Theoretically, the pantun consists
of four lines with the following provisions: the first two lines are called
sampiran (couplet) and they shows the pantun of the pantun. The second two
lines are called isi (content). The content is the core part or the intention
of pantun with crossed pantuns. In other words, the pantun of pantun refers to
the first two lines of sampiran ( Herfanda, 2008). In addition, the pantun has
another characteristic that is the number of syllables in each line is between
eight to twelve syllables. Thus, the pantun is a literary work that is bound by
sampiran aspect, content, pantun, and number of syllables per line.
Pantun is one of literary works using language as the medium. As the
result, it can be studied or observed through the language used in the pantun.
Studies that used to see the text language (pantun) is a stylistic study.
According Djatmika (2004:107) "Stylistics is the study of the style of a
text." He further states the advantage of applying the stylistic study of
the text is that it can produce a systematic analysis of the texts studied.
Stylistic study can also be done by involving elements of the context of the
text. Becker (Nurhayati, 2008:5) states that stylistics is a meeting point of micro-analysis
and macro analysis.
Sudjiman (1993: v-vi) states that the main focus of stylistic study is the
use of language and language style in a literary work with the intention of
examining the aesthetic effect of the language. Thus, stylistics can be the
instrument for better understanding of a literary work. The better
understanding will enable the reader to appreciate and assess the pantun
accurately. In addition, Sudjiman also states that the stylistic study also
enable the reader to understand writer technique in utilizing language to
express meaning. This idea is also expressed also by Leech and Short (1984:74) ... every analysis of style ... is an attempt to find the
artistic principles underlying a writer's choice of language. All writers ...
have their individual qualities
From the above statements, it can
be concluded that the study from the aspects of language contained in the pantun
can assist in interpreting the meaning of pantun itself. This is what is meant
by the meeting point of micro and macro aspects of stylistic analysis. As noted
Spitzer (in Leech and Short, 1984:13), basically, stylistic study aims to
provide two skills: the ability to observe the language of literary work and the
ability to respond. Studies conducted on Malay Pantun of Bangka uses stylistic
approach to find out micro elements (text) and everything related to macro
elements (the context).
METHODOLOGY
Instruments for Study
The theory used to analyze the language found in the
Malay Pantuns of Bangka is the language theory found in Tata
Bahasa Baku Indonesia (grammar of Indonesian language standard). In
addition, the theories related to the other stylistic study are also used, such
as, diction and rhyme. Since pantun is bound to the number of syllables per
lines, the work of analyzing grammatical elements of lines of pantun is also
accompanied by the effort of paraphrasing the lines of the pantun. The
parapharasing is done by adding elements (words) lost. Furthermore, since
pantun is literary work bound to some a set of convention as stated previously,
this study also discuss the relationship.
Below are the types of core sentences of Indonesian
language used as the instruments for analyzing Malay pantuns of Bangka. The
types of core sentences consist of six types. The six types of core sentences
are classified base on the patterns of obliged elements based on functions or
categories. In order to understand the six types of core sentences, the
following table is presented.
 Functions |
Examples
|
||||
|
Types
|
Subjek (S)
|
Predicate (P)
|
Object (O)
|
Agent (Ag.)
|
Adverb (Adv.)
|
|
a. S-P
|
Orang itu
Saya
|
sedang tidur
mahasiswa
|
-
-
|
-
-
|
-
-
|
|
b. S-P-O
|
Ayahnya
|
membeli
|
mobil
|
-
|
-
|
|
c. S-P-Pel
|
Beliau
|
menjadi
|
-
|
ketua koperasi
|
-
-
|
|
d. S-P-K
|
Kami
Kecelakaan itu
|
tinggal
terjadi
|
-
-
|
-
-
|
di Jakarta
minggu lalu
|
|
e. S-P-O-Pel
|
Dia
Dian
|
mengirimi
mengambilkan
|
ibunya
adiknya
|
uang
air minum
|
-
-
|
|
f. S-P-O-K
|
Pak Raden
Beliau
|
memasukkan
memperlakukan
|
uang
kami
|
-
-
|
ke bank
dengan baik
|
Quoted
fro Alwi et.al. (1993:362).
Data and Source of Data
Even
though pantun is presented verbally, the ones analyzed in this study are those
written in a book entitled Bangka Belitung Bercahaya dalam Pantun & Puisi and Pelangi Budaya Bangka Tengah as well as pantun downloaded
from internet by Malay Poets of Bangka.
ANALYSIS AND INTERPRETATION
The stylistic study of a ray of
Malay Pantun of Bangka is presented below followed by interpretations of the
pantuns.
Pantun 1
Gadis melayu berambut panjang
Pakai selendang berbaju kurun
Walaupun Pulau Bangka penuh lubang
Di sini tempat lahir pujangga pantun
Pantun
1 consists of four lines following the principle of pantun, namely, the first
two lines are sampiran while the second two lines are content. The first line
consists of two elements, namely S+P. Gadis Melayu is S while berambut
panjang is P. The second line consists of two clauses without S. the first
clause is pakai selendang and the second clause is berbaju kurun.
When related to the first line, it is found that the S of the second line is gadis
melayu. So that, the construction of the lines is P+O+P+Ag. Pakai is
P, selendang is O and berbaju is P and kurun is Ag. When
paraphrased, the second line will be (gadis melayu itu) (me) pakai
selendang (dan) berbaju kurun. Looking at the last rhyme of
line 2, it is found that the letter is missing at the end of the word kurun.
This is done for the sake of similar sounds to line four. So, the poet omits the
letter g for the sake of rhyme of the last word. Line 3 states: walaupun
Pulau Bangka penuh lubang is dependent clause begun with conjunction walaupun
(although) and the independent clause is
line 4 saying: di sini tempat lahir pujangga pantun. So that, when the
two lines are combined, they will become: walaupun Pulau Bangka penuh
lubang, di sini tempat lahir pujangga pantun. When the grammatical elements
are analyzed, the two lines of the pantun, it is found that the dependent
clause consist of Pulau Bangka (S) + penuh lubang (P). While the
independent clause consists of di sini(lah) tempat lahir(nya)
is S and pujangga pantun is P.
The
lines 1 and 2 of pantun 1 expresses that people of Bangka are included into
Malay group. According to Basyarsyah II
(2002:17) someone is said to be a Malay if he is a Moslem, using Malay language
in his daily communication, and practicing Malay Custom. From the concept,
Malay girls should wear costumes reflecting Malay culture, namely, wearing baju
kurung and selendang (scarf). Baju kuring and selendang (scarf) is are mainly
worn in religious events or marriage ceremony.
Line
3 and 4 content information that Bangka island now a days has lots of holes
caused by the exploration of tin or lead. The holes were then left as they were
by the explorers. Contradictory to the fact, one thing (to please oneself) is
that in the exploited lands, born the Poets of Pantun. One of the famous Poets
from Banka island is Kario Kurawa.
Below
is presented the paraphrase of pantun 1.
Gadis melayu berambut panjang
(Gadis melayu) (me) Pakai selendang (dan) berbaju
kurun
Walaupun Pulau Bangka penuh lubang
Di sini(lah) tempat lahir(nya) pujangga pantun
Pantun 2
Maen di pantai burung kedidi Main
di pantai burung kedidi
Pata sayap e ketimpak kayu Patah sayapnya tertimpa
kayu
Punye adat kek bebudi Punya adat serta
berbudi
Tula jati diri urang Melayu Itulah jati diri orang Melayu
Line 1 of pantun 2 has grammatical
structure (P+Adv.+S). The word maen (play)
is P, adverbial phrase di pantai is
Adv. and noun phrase burung kedidi is
S. The second line consists of two clauses, namely, pata sayap e and ketimpak kayu. The first clause pata sayap e consists of pata as P and sayap e as S. on the other hand, the second clause, namely, ketimpak kayu only consists of P without
any subject. So that, the second clause can be paraphrased to be ketimpak kayu (sayap e). The phrase sayap e
is S. the third line consists of two clauses, namely, the clause of punye adat and the clause bebudi. The two clauses are connected
with conjunction kek meaning and. The clause punye adat consists of punye
as P and adat as O. The clasuse is
without S. The clause bebudi only
consists P without S. In order to have S on the second clause of line 3, this
pantun should be referred to line 4 and it can be concluded that the clause is urang Melayu (on line 4). So that, the
paraphrase of line 3 of pantun 2 is (Urang
Melayu) punye adat kek (urang Melayu) bebudi. Line 4 consists of P + S, namely, tula as P and jati diri urang
Melayu as S. judging from the structure of line 1 up to line 5, it is found
that there similarities of grammatical structure with consistent pattern, namely,
begun with the letter P at the beginning of each line. In order to have the
similarity, the pantun readers omit the S on line 3.
As an island, Bangka is famous with its beautiful
beaches. On holidays, the beautiful beaches are full of people of Bangka. And
at the beaches flies the birds, including Kedidi birds (a small size beach
birds and usually fly in groups). As
found on the sampiran. Furthermore, the
content expresses that Malay appreciate their custom and friendliness.
The custom meant is the ethic and norms, such as, how to behave to parents or
older people, how to be a guest, how to welcome a guest, and how to eat. In addition to that, as part of Malay
civilization, a Malay should be bebudi. The word bebudi
may mean to have noble character, such as, well mannered and friendly.
Basically, punye adat and bebudi
show the character of Malay to be appreciated and respected. People can use
pantun to directly tease someone with now noble character. It is expected that
Malay do not forget their characters as part of Malay Civil cosmopolitan (see Nurhayati,
2010).
Below is the paraphrase of pantun 2.
Maen di pantai burung kedidi
Pata sayap e ketimpak kayu (sayap
e)
(Urang Melayu) Punye adat kek
bebudi
Tula jati diri urang Melayu
Pantun 3
Adat istiadat pula dijunjung
Adat istiadat seperti nganggung
Suka duka sama ditanggung
Itu namanya senasib sepenanggung
Line 1 of pantun 3 has the pattern of S+P, that is adat istiadat as S and dijunjung as P. Between S and P lies the
word pula meaning juga (also). Liine 2 consists of S+P,
namely, adat istiadat as S and seperti nganggung as P. Line 3 consists
of S+P, namely, suka duka as S and sama ditanggung as P. likewise, line 4 consists
of S+P, namely, itu namanya as S and senasib sepenanggung as P.
The grammatical elements of pantun 3
are found to be consistent using the pattern of S+P from line 1 to line 4.
However, judging from the last rhymes,
there is an inconsistency with the convention of the pantun itself. According
to technique of writing pantun, the last rhyme of the pantun should be ab-ab
rhymes. On the other hand, the rhymes of pantun 3 are aa-aa. So that, the
function of sampiran as the support of last thyme of the content does not
apply. In other words, the pantun 3 writer “break” the convention that make the
pantun in-conventional.
The break of the convention may happen in literary
work. As what is said by Teeuw (quoted Nurhayati, 2008:21), literary work, in
one hand is bound to convention but on the other hand, there is a loose and
freedom to play with the convention, to make use of it individually, even to violate
it although a kind of a bound violation. The violation of the convention,
according to Teeuw, is caused by the necessity for the sake of literary work.
The violation is often called de-familiarization or de-automatization,
popularized by Victor Shklovsky.
Looking at the pantun 3, especially
lines 1 and 2 that should function as the sampiran, it is found that the
function is violated. According to Halim (2007), sampiran functions as the opening
sentence and serves as the bait of rhyme for the content found in the following
sentences. When referred to the idea of Halim, it is found that lines 1 and 2
are not only as the bait but also as the content conveying message.
Line 1 pantun 3 states that Malay
people of Bangka respects their custom very much. The terms of custom is
related to the habit and tradition conducted continuously from one generation
to the next generation. Malay people Bangka still maintain the tradition “nganggungly”
(line 2). “Nganggung” ialah the tradition of bringing food consisting of rice
together with the dishes. The food and dishes were brought by winnowing tray.
The food is the best menu served by a family. The food is put in the tray and
brought to the mosque to be served together with other food brought by other
family. All citizen of the village do it together and get together at the
mosque. The nganggung event is
conducted at the celebration of Islamic holiday, such as Maulud (the birth of
Prophet Muhammad) and Isra’ Mi’raj (Nurhayati, 2010:183).
The nganggung tradition indicates that Malay people of Bangka basically
realize that they are individuals that cannot be separated from others.
According to Krech (Nurhayati, 2010:183), human being is an individual in
society. People of Bangka think that they are brothers each other. They will
face everything (happiness and sadness) together. Anything related to happiness and sadness
will be the business of all people in the kampong. The feeling of togetherness
is felt solidly in the villages (kampongs).
Pantun 4
Derite laen ade pule Derita lain ada juga
Kalok sahang jatu harge Jika lada jatuh harga
Harte bende kek sirne Harta benda akan sirna
Dijual nek buat belanje Dijual untuk uang belanja
Line 1 of pantun 4 consists of S+P. Derita laen is S and ade pule ia P. Line 2 that says kalok sahang jatu harge is dependent
clause related to line 3, namely, harte
bende kek sirne. The clause kalok
sahang jatu harge consists of the element of S+P. The element of S is sahang
and the element of P is jatu harge and proceeded by conjunction
of kalok. The clause harte bende kek sirne consists of
elements of S+P. the S is harte bende
while the P kek sirne. Line 4 consists
of P+Adv. The P is dijual and the Adv.
is nek buat belanje. Since line 4 is
closely related to line 3 indicated by the fact that the element of S on line 4
is harte bende. So that , line 4
fully says (harte bende) dijual nek buat belanje. The omission of
S on line 4 can be understood because when S is not omitted, the number of
syllables on the last line will be more that the convention that is 12
syllables. The writing of S on the line will lead to the de-harmonization in
form and rhytme.
In addition to that, pantun 4 “violate” the convention
of pantun on sampiran. Line 1 and 2 of pantun 4 contents sampiran. Line 1 and 2
on pantun 4 has the content related to line 3 and 4. The violation of
convention as happening in the pantun 4 is like what is said by Sudjiman
(1993:19-20), the process of poets’ creativity (in this case the pantun
writer), may violate the available convention.
Pantun 4 expresses the economic situation of Malay
people of Bangka. Bangka is well known for its white pepper (sahang). Before local government allows
the people to mine the tin (unconventionally), the people of Bangka were the
farmer of white pepper. Long time ago, white pepper was the main commodity of
Bangka Island. Even though growing white pepper was not easy for it requires
serious attention, the people of Bangka depended his economy on the produce.
The price was often instable. The prices was often ups and downs. The highest
price was Rp 100.000,00 per kilogram but now the price is about Rp 20.000,00. The
people of Bangka cannot save especially those who live in villages. During the
harvest time, people were in competition to buy consumptive items, such as, TV,
refrigerator, and motorcycle. Even every child has one motorcycle. When the
price of white pepper is low, they have to resell all the furniture cheaply to meet
their daily needs.
Below is the paraphrase of pantun 4
Derite laen ade pule
Kalok sahang jatu harge
Harte bende kek sirne
(Harte bende) dijual nek buat
belanje
CONCLUSION
Using stylistic study on the 4 Malay
pantuns of Bangka, it can be found out that the grammatical structure of
pantun. Pantun 1 has the pattern of S+P; P+O+P+Ag; conjunction +S+P; S+P. judging
from the existence of sampiran, pantun 1 has sampiran followed by the content. However,
there is an omission of last sound (letter) of line 1 for the sake of rhyme. Pantun
2 has the pattern of P+Adv.+S; P+S+P+Ag.; P+O+P; P+S. Pantun 2 has the
similarity in pattern, namely, begun with the element of P. in addition, there
is sampiran and content of line 2 and it has the rhyme of ab, ab. Pantun 3 has
the pattern of S+P; S+P; S+P; S+P. So that, there is inconsistency of sentence
pattern found. But pantun 3 does not have sampiran and has sampiran of aa, aa.
Pantun 4 has the pattern of S+P; S+P; S+P: P+Adv.. Pantun 4 does not have sampiran
and has the rhyme of aa,aa.
Judging the pattern of pantuns
studied, there are variations of sentence pattern of pantun. Judging from the
convention of writing Malay pantun of Bangka, there is an effort to violate the
convention. From the study of Malay pantun of Bangka, it can be found out the
situation of Malay people of Bangka.
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Anton M. Moeliono. 1993. Tata Bahasa Baku
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Utama Grafiti.
1 Makalah pada Seminar Antarabangsa
Linguistik dan Pembudayaan Bahasa Melayu VII (SALPBMVII) tanggal 9-10 November
2011 di Universiti Putra Malaysia Serdang, Selangor
2 Dosen Program Studi Pendidikan Bahasa
dan Sastra Indonesia FKIP Unsri dan Dosen Program Pascasarjana Program
Pendidikan Bahasa Unsri
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