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Downloaded From C. Watson Some preliminary remarks on the antecedents of modern Indonesian literature In: Bijdragen tot de Taal-, Land- en Volkenkunde 127 (1971), no: 4, Leiden, 417-433 This PDF-file was downloaded from http://www.kitlv-journals.nl Downloaded from Brill.com09/29/2021 10:40:51AM via free access SOME PRELIMINARY REMARKS ON THE ANTECEDENTS OF MODERN INDONESIAN LITERATURE nn I o the best of my knowledge very little has been written about _| _ the literature written in Bahasa Melaju rendah (Low Malay) before 1920. There are one or two articles which mention the availa- bility of translations of Chinese historical novels,1 but there seems to be no bibliographic account of the fictional reading matter available to Indonesians around the turn of the century. This article is therefore a preliminary attempt, in an area where much research remains tó be done, to fill this lacuna. In an early article2 G. Schlegel mentions the desire for reading matter among the Indonesian-Chinese who were unable to read Chinese characters Ieading to the translation and publication of various historical novels particularly from the Sam Kok (Three Kingdoms) cycle of stories. The earliest date which Schlegel mentions (for a Javanese translation) is 1859 but I suspect that the first printed novels were published shortly around the time of the press regulations of 1856. Not all of these novels dealt with remote history. There is one story, Lawah-lawah Merah (The Red Spider) which came out in a lavishly illustrated edition 3 (according to the advertisement on the cover, the first illustrated book to appear in Java) in 1875. It is a large book, quarto size, and runs to about a hundred pages. The print and the 1 Nio Joe Lan's articles on "De Indo-Chineesche Literatuur" in De Indische Gids, Jan. 1937, pp. 32-47; Mar. 1937, pp. 231-246; April 1937, pp. 311-329 contain a lot of usefui information, which is also to be found in his book: Sast era Indonesia-Tionghoa, Djakarta 1962. Kwee Kek Béng also gives some information in "Het Zoogenaamde Bata- viaasch Maleisch", Koloniale Studiën, 1923, Deel 1, pp. 424-438. 2 G. Schlegel, "Chinese-Malay and Javanese Literature in Java", T'oung Pao, Vol. II, 1891, pp. 148-151. 3 Lawah-lawah Merah, Ogilvie & Co., Batavia 1875. Downloaded from Brill.com09/29/2021 10:40:51AM via free access 7. Aiïjaneya, Andhra, 124,5 x 60 cm. Acht bewegl. Gelenke, ein Haltestab. Raksasa, Andhra, 134 x 55,5 cm. Fünf bewegl. Gelenke, ein Haltestab. Seltene Form des Dop- pel-Auges im Profilgesicht. Alle Aufnahmen vom Verfasser. Die Original- Figuren stammen aus der Versammlung des Verfassers. Downloaded from Brill.com09/29/2021 10:40:51AM via free access ANTECEDENTS OF MODERN INDONESIAN LITERATURE 419 dialect were available from lending libraries9; finally there were these editions brought out by Chinese publishers in small attractive formats. In this category mention should be made of Lie Kim Hok's version of a Hindu tale, Siti Akbari which Nio Joe Lan mentions as a master- piece.10 To judge from their publications, however, it appears that the three people most responsible for giving a stimulus and a direction to the writing of original stories in an Indonesian setting were F. H. Wiggers, H. Kommer and F. Pangemanann, the first two being Dutch, the last Menadonese. All three were journalists at one time or another and editors of Malay language newspapers.11 They wrote fluently in popular Malay and seem to have been equally at home in Indo-Dutch and Indo- Chinese communities. The most prolific of the three appears to have been F. Wiggers, who besides translating various official statute books into Malay also helped to translate Le Comte de Monte Cristo in conjunction with Lie Kim Hok.12 The most interesting translation he made was of Melati van Java's Van Slaaf Tot Vorst.13 This is an imaginative reconstruction of the Surapati legend spiced with references to sacred kris and djampe- djampe (spells), and f uil of intrigue and romance. At a brief glance it appears that Abdul Muis' two novels, Surapati and Robert Anak Sura- pati are very largely based on the two volumes of Melati van Java's novel.14 Besides translations Wiggers wrote some original stories. One of 9 Dr. Ph. S. van Ronkel, "Catalogus der Maleische Handschriften in het Museum van het Bataviaasch Genootschap van Kunsten en Wetenschappen", Verhande- lingen B. Genootschap, Deel LVII, 1909, p.' 312, describing a handwritten version of Sjacir Ken Tamboehan writes: Dit, 2070 dubbelverzen bevattende, handschrift vertegenwoordigt eene voor het Bataviaasche lezerspubliek geadap- teerde bewerking der bekende Ken Tamboehan materie. 10 Nio Joe Lan, "De Indo-Chineesche Literatuur", De Indische Gids, Jan. 1937, pp. 38 and 39: Zijn (Lie Kim Hok) meest beroemde creatie is het episch dichtwerk Siti Akbari, een Hindoesch verhaal het werk neemt hierin zoowat dezelfde plaats in als Homerus' Ilias in de Grieksche Literatuur; and Sastera Indonesia-Tionghoa, p. 29. 11 Wiggers is mentioned as being editor of Pembrita Betawi in 1903. Kommer is mentioned in Overzicht van de Inlandsche en Maleisch-Chineesche Pers 1920 as editor of Pewarta Soerabaja. Pangemanann is mentioned in J. F. H. Later: "De Maleische Pers", De Indische Gids, 1915, Deel 2, p. 1268. 12 Sastera Indonesia-Tionghoa, p. 28. 13 Dari Boedak Sampe Djadi Radja (menoeroet karangannja Melati van Java tersalin dalem bahasa melajoe renda oleh F. Wiggers), 2 vols., Albrecht & Co., Batawi 1898. 14 Muis acknowledges this; v. p. 188 Surapati, Balai Pustaka, Djakarta 1950. Downloaded from Brill.com09/29/2021 10:40:51AM via free access 420 C. W. WATSON these which runs into several small volumes is the story of Njai Isah (1903). The heroïne of the story is Isah, the faithful njai (mistress) óf a Dutch factory administrator Paul Verkerk and the villain is a lascivious young Dutch woman, Poppi, whose sexual appetite appears insatiable and who solicits the help of the whole entourage of the Indo- nesian procuring system (dukun (native doctor), mah (old woman) and servant girl) to win Verkerk from Isah. This book, although this is not explicitly stated, like many others of its type probably has some basis in fact. The narrative is full of rather sensational events (a man runs amok — there is attempted suïcide and so on), clandestine meetings, illicit relationship and mysterious praeternatural occurrences. Another interesting work of Wiggers' is a short one-act play Lelakon Raden Brij Soeria Retno (1901).15 The play is very similar in con- struction and theme to a French pièce a these and inclines me to think that it is a free translation of a European play. The plot of the play concerns a priyayi whose son is a spendthrift student of medicine in Batavia. The son continually borrows money from his mother and sister and is finally driven to steal some money from the collected tax-money which his father as Collecteur is responsible for. The father surprises him in the.act of taking the money, but when he discovers that his wife has condoned his son's action he Iets his son take the money. Mother and son are overjoyed and do not notice the father go within. Suddenly there is a shot and the innocent daughter rushes in to announce that her father has committed suïcide. Curtain. Like all such plays this is very didactic in tone and at the end of the printed version is appended the moral: orang toewa teristemewa satoe iboe djangan terlaloe toeroet anak poenja maoe (a parent, especially a mother, should not yield too much to her child's wishes). F. Pangemanann wrote two stories of more or less the same nature concerning events that took place in Batavia.18 The first story Rossina was written in sjacir form and became very well known and a source of inspiration for many similar narratives. It was published by Balai Pustaka in a version edited by Tulis Sutan Sati in 1933.17 This story 15 F. Wiggers, Lelakon Raden Beij Soerio Retno, Oeij Tjaij Hin, Batavia 1901. 16 F. Pangemanann: Tjerita Rossina, Tjoe Toei Yang, Batavia, 1903. Tjerita Si Tjonat (Satoe kapala Penjamoen di djaman dahoeloe tempo tahon 1840. Jang betoel soeda kedjadian di Batavia), Tjoe Toei Yang, Batavia 1900. 17 Sjacir Rosina (Soeatoe Tjeritera jang Sesoenggoehnja Terdjadi Dikota Betawi) Dipetik dari karangan F. D. J. Pangemanann oleh Toelis Soetan Sati, B.P. 1090, Batavia-Centrum 1933. Downloaded from Brill.com09/29/2021 10:40:51AM via free access ANTECEDENTS OF MODERN INDONESIAN LITERATURE 421 and Pangemanann's prose work Tjerita Si Tjonat (1900) both deal with perampok (bandits) who terrorised the countryside round Batavia and who perpetrated various murders, kidnappings and thefts. Although the bandit always succeeds in kidnapping the beautiful lady, in accord- ance with the conventions of the romantic adventure story, the bandit never succeeds in his attempted rape, but is prevented in the nick of time by the prompt intervention of the hero. Sjacir Rosina reads well and is written in a racy, entertaining style. One slightly irritating feature in the narrative is the use of flash-back sequences which impedethe fluent progression of the story. This use of flash-back is fairly common in the fiction of the time and is probably derived from the practice in Chinese novels. Sjafir describing almost contemporaneous events seem to have been fairly popular at this time. Besides the number of traditional sjacir •which were translated into Melaju rendah (Low Malay), there were others which described fairly recent historical events, sometimes with a lot of anti-Dutch satire.18 Other works were of an erotic nature19 and again probably circulated in the lending libraries of the time.
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