Islamic Values in Popular Malay Literary Novels

International Journal of Advanced Science and Technology Vol. 29, No. 6s, (2020), pp. 1243-1252

Ahmad Bahtiar1, Herman J. Waluyo2, Sarwiji Suwandi3, Budhi Setiawan4

1 Sebelas Maret University, Surakarta, Indonesia; UIN Syarif Hidayatullah Jakarta, Indonesia 2Sebelas Maret University, Surakarta, Indonesia 3Sebelas Maret University, Surakarta, Indonesia 4Sebelas Maret University, Surakarta, Indonesia

Abstract: Popular Malay literature has not been taken into account in the treasures of modern Indonesian literature. Although it exceeds the quantity of literary works that are officially considered in modern Indonesian literature. This literature gave birth to important literary works namely the novel Tjerita Nyai Dasima by G. Francis, which was first published in 1896 and Hikayat Siti Mariah by H. Mukti which was originally as a serial story of the Medan Priyayi daily from 1910-1912. These two works, besides being written several times in several versions, also begin the form of their statements in modern Indonesian literature. This study describes the Islamic values contained in the two novels and the author's attitude towards these values. With a sociological approach to literature, this descriptive qualitative research produced several findings. His findings were that the two novels contained Islamic values concerning the values of faith, sharia values and morals. The authors of these novels have different attitudes in seeing the values of Islam and the perpetrators. G Francis showed anti- Islamic attitudes towards both religion and its people while H. Mukti only looked down on certain religious leaders, as well as towards Islam and its people being shown fairly.

Keywords: author's attitude, Islam, popular Malay literature, sociology of literature

INTRODUCTION

Long before Balai Pustaka's novels were published, literary works had grown and developed using the common language of the time, Popular Malay. The language is used not only by Chinese people, but also by natives and Dutch and Indo people. With that language written very rich literature, namely Malay literature Popular (Sumarjo, 2004: 2).

This literary workis also called Chinese Malay Literature. However, this mention is not correct. In his search, Salmon did not find Chinese Malay, but what actually was the Malay language used in Javanese cities was used by all ethnic groups, both Javanese and Dutch and Chinese were known as Popular Malay. The term Chinese Malay Literature is only due to political factors (Salmon in Linda, 2009: 48).

Since thefirst novel Lawah-Lawah Merah (1875) by Pont Jest, recorded for 100 years (1870-1960) Chinese Malay literature gave birth to 806 writers with 3005 works consisting of original drama, poetry, translations by Western authors, translations of Chinese stories , original novels and short stories. As many as 2757 authors can be identified, while 248 others are anonymous. These works are a reflection of the integration of Chinese descent into the archipelago culture and its assimilation. The sources of these works did not only come from Europe (France and the Netherlands) but also local sources (Makassar, Java, and Malay) who drew the social mirror of Indonesia at that time (Budianta, 2012: 148-149). They consist of Europeans and Indo, Chinese and peranakans, and Indigenous people (Salmon, 2010). Compare with the literary works contained in modern Indonesian literature which are considered "official" during 1918-1967, there are only 175 writers with around 400 works. If counted until 1974, there were 284 authors and 770 works (Teeuw, 1988).

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However, after 1966 the peranakan Chinese culture and language which were supporters of literature were officially banned in Indonesia, these literary works became "silent" in Indonesian literary history books, literary learning in schools and meetings of national and international writers (Heryanto, 1997: 33) The language in Popular Malay is not a standard Malay language, but the Malay language that occurs because of the meeting between various nations and ethnic groups in the Archipelago which was originally only as an oral language (Toer, 1982: 9). Therefore, this language is also called Pasar Malay language.

Apart from being a literary language, this language also becomes the language of newspapers because it lives and develops in society. This language is different from Balai Pustaka Malay. The language may be said to be an elite group which was attempted to be spread by the colonial government through both schools and publications such as Balai Pustaka (Damono, 1979, 16-17). Thus, Balai Pustaka's literary works did not emerge from Indonesian society freely and spontaneously, but were raised and regulated by the Dutch Colonial Government (Sumardjo, 1992: 13). Unfortunately, some literary history writers (Rosidi, 1969; Teeuw, 1980; Pradopo, 2009; and Yudiono K.S. 2010) emphasized that the beginning of modern Indonesian literature was the 1920s and made Balai Pustaka become an important milestone in the beginningof Indonesian literature.

By looking at that fact, Watson (1971) emphasized the need for Indonesian literary history to be reconstructed (Ding Choo Ming, 1978: 54). For this reason, it is necessary to include Popular Malay Literature as part of modern Indonesian Literature so that its initial periodgoesbackdecades.

The study of Popular Malay Literature was conducted by Sumardjo (2004) and Salmon (2010). Previously, Nie Joe Lan (1930) suggested that this literature was referred to as the important Indo- Chinese Literature, which was studied psychologically, historically and in literature. Sumardjo and Salmon provide an important foundation in the study of this literature. In addition to providing a sociological background, Sumarjo also gave a description of several literary works in poetic, prose, and theater forms. While Salmon explains comprehensively the development and growth of this literature as well as how the role of the writer in developing the popular Malay language as a lingua francas. This causes the literature is also known as franca environmental literature.

This recent study ofliterature highlights the image and problems of women (Nugoroho and Purnomo, 2017; Cholifah, 2019), the image of peranakan women (Chusniatin and Thoyib, 2005), hybridity of the Chinese community (Setijowati, 2012), representation of perinyaian (Linda, 2010) ) while the study of Kwee Tek Hoay, the most productive theater performer, journalist, and writer was conducted by Hapsanti and Hapsari (2015). The problem of religion was raised by Pramono (2019) who pointed outn religious diversity in this literature. This study looks at several aspects of Kong Hu Chu, Hinduism, Islam and the Belief in an almighty God. Specific studies only on Islamic values have not beenconducted.

To complement these studies, the researcher examines the values of Islam in the popular Malay literary novel. Novels taken for this study are the novel Nyai Dasima by G. Francis, which was first published in 1896 and Hikayat Siti Mariah by Haji Mukti, which was originally a serial story in the Medan Priyayi daily, Bandung from 7 November 1910 to 6 January August 1912.

Both of these works are important works of popular Malay literature. Tjerita Nyai Dasima is very famous not only in Batavia but also throughout the Dutch East Indies, the Malay Peninsula and Singapore so that it inspired other writers to make stories about Nyai such as Njai Painah (1900), Nyai Alimah (1904), Njai Aisyah (1915), Njai Soemirah (1917), and Njai Marsina (1923) (Rijal, 2013: viii-1x).

In additionto starting the story, this work is considered to be the opening story of a murder based on facts from court records or press documents at the time. When performed, this story has been played hundreds of times in city folk theater in both Malay and regional languages. In fact, it was also

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famous until the aristocratic theater in Malaysia at the beginning of the 20th century. This story was filmed three times (1929, 1940, 1970). This story is so interesting in theater and film that someone who continues his story becomes Nyai Dasima II and Nancy's Revenge (Sumardjo, 2004: 149-150).

This story was included by Pramodya Ananta Toer in Tempo Doeloe. Anthology of Pre-Indonesian Literature (1982) along with six other stories. In 1960, S.M. Ardan, a writer as well as a film critic and observer and builder of the Betawi traditional theater, made a new version of the story published as a sequel titled "Nyai Dasima" in the September-October 1960 News. Then the story, 1963, was written in a 3-act drama and was staged at the end of 1964 and finally 1979. In 1965 it was re- published as a serial story in Varia magazine before being printed as a book by Triwarsana (1965) and Pustaka Jaya (1971) (Toer, 2003: 47; Rijal, 2013: x-xi).

Meanwhile, Hikayat Siti Mariah was originally serialized in the Medan Priyayi daily which was published in Bandung from 7 November to 6 January August 1912. Then, it was edited by Piet Santoso Istanto for the Bintang Timur newspaper, in the Lantern cultural space as a continuous story in the 1962 to 1965 edition. Pramodya Ananta Toer, edited again in 1987 to become a 305-thick novel published by Hasta Mitra and reprinted by the publisher Lentera Dipantara (2003). Both of these novels are set in the colonial era of the 1920s, the actors in this story mostly come from Islamic societies (Betawi and Javanese), most of the characters in this work embraced Islam and who raised Islamic values in their lives. In both novels, Islam is not only a setting but partoflife'sproblems.

For this reason, thisresearch not only looks at Islamic values in the two works but also looks at the attitudes of Indo-Dutch authors (G Francis and H. Mukti) toward these values. An Islamic literary or Islamic style should not be created by an Islamic writer. In other words, it would be possible for Islamic literature to be created by non-Muslims (Ahmad and Ahmad, 1987: xiv-xv).

This research is expected to not only give a new meaning to the two novels, but also complete the study of Popular Malay literature. Thus, the existence of this literature is increasingly recognized in the treasury of modern Indonesian literature. Especially after the issuance of Presidential Decree no. 6/2000 revoking Presidential Instruction no. 24/1967, Chinese people who are supporters of literature have regained some of their rights as citizens of Indonesia, which for more than three decades was limited by the presidential decree (Chusniatu and Thoyibi, 2005: 72).

RESEARCH METHODS

This research is a library research (library research) so that data collection is done by the documentation method and note taking techniques. The selection of the corpus and the assessment of the data were carried out descriptively-qualitatively, against two novels of Popular Malay Literature, namely Tjerita Nyai Dasima by G Francis and Hikayat Siti Mariahby Haji Mukti.

Qualitative research prioritizes the depth of appreciation of interactions between concepts that are studied empirically. Whereas with descriptive methods, data decomposes in the form of words which are sign systems that will provide a more comprehensive understanding (Semi, 1999: 25).

This research begins by gathering data contained in the two novels. After that, the data is classified and analyzed by applying literary sociology to get an overview of Islamic values in the novel that is being studied. Then, the description of Islamic values is used as a basis for knowing the author's attitude toward these values.

THEORY

The theory used in this research is sociology of literature. This study is very broad and varied, as is the classification of literary sociology according to Wellek and Warren (2014), namely the author's sociology relating to social status, political ideology, and others concerning the author's self. Then, the sociology of literary works that examines what is implied in the literary work and what is the purpose

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or message to be conveyed. Finally, the sociology of literature that questions the reader and his social influence on society. Based on the formulation of the problem, this study only uses the sociology of literary works to find out Islamic values and the sociology of the author to see the attitudeoftheauthor.

The value of Islam that wants to be realized is, the value of faith, namely the self-concept that values belief in the existence of Allah. along with other supernatural things arranged in the pillars of faith. This is a part of Islam which is an operational part which is limited to the level of trust; sharia values, i.e. sharia values are self values Concepts that value observance of worship to Allah. as manifested in a series of Islamic pillars; and the value of morality, namely the concept of self which looks at the valuable reflection of the good relations between humans and God, humans and their fellow humans, and humans with the natural environment (Zainuddin, 1992: 26). Moral value refers to behavior related to good breeding; and the quality of character possessed by a good Muslim, following the example of the Prophet Muhammad (Halsted, 2007).

To findout the author's attitude can be seen by looking at the social involvement and ideology of the author's role in the process of creating literary works. This can be learned not only through their works, but also from biographical documents. Besides biography, the author's information can be seen his social position in the community. As a citizen, the author has a social position that can be traced clearly in history. In the creation of literary works, the social life of the author influences both aspects of the form and content of literary works (Welek and Warren, 2014: 113-114).

DISCUSSION 1. Islamic Values In this section, the researcher explains the various Islamic values contained in Tjerita Nyai Dasima by G. Francis and Hikayat Siti Mariah by H. Mukti which are the objects of this study. Based on this description, the authors' attitudes towards these values are explained.

Islamic Values in Tjerita Nyai Dasima Karya G. Francis

The Islamic values expressed in the works of Gijsbert Francis or G. Francis are manifested in the values of faith, sharia, and morality. The issue of faith in G. Francis is the relationship between a nyai named Dasima and her employer, an Englishman named Edward William or or Mr. W. Nyai is a woman who was nurtured by wealthy Dutch colonial or private officials (Hafiz in Handayani and Hardini, 2004: 324 ). The phenomenon of singing does not only occur in the Dutch colonies but also in the colonies of France, Portugal and Spain. In the context of contemporary Indonesia, the word nyai is still used in West Java and Madura to refer to the wife of a kiai (Linda, 2009: 21-22).

Like Nyai Dasima fromthe village of Kuripan, Ciseeng Parung, Bogor generally the song was taken from a virgin from the village or the poor. There are also songs from the priyayi community. To maintain power, a native official or factory or plantation entrepreneur handed his child over to a Dutch official tobecome a singer.

Nyai Dasima has beenliving without a marriage for eight years with her employer. In fact, they already have a 5-year-old child named Nanci. Therefore, marriage is only allowed in one religion. Many foreign men in the colonial period would rather choose to have their hearts than to get married. Not many foreigners lived in Indonesia at that time (Helwig in Handayani and Hardini, 2004: 100). Mr. W offered his marriage in Christianity to Nyai Dasima. However, the marriagedid not happen.

The relationship between Nyai Dasima and her master is like a marriage in general. They love each other. In addition to being beautiful, Nyai Dasima, who has white skin, long hair, is also smart and diligent in taking care of Mr. W.'s family. Nyai Dasima's employer, after selling land in Curuk, Tangerang, moved to Gambir near the Ciliwung River. He worked in a British shop in the City and every month gave him a spendingoff100 for his life so that his life was fulfilled. All his wishes were always granted Mr. W. Even so, he was never wasteful in shopping, only buying things properly. That is what caused Mr. W to give up all of his wealth in the form of jewelry, silk clothes, and various

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sarongs. That made Nyai Dasima famous in the villages. Not surprisingly, many men intend to approach. For two years with various inducements for Nya Dasima to turn away from his master. However, nothing works. The attitude of these people towards him, of course not told by Nyai Dasima to his employer.

Among men who are interested in Nyai Dasima, Samiun is the most persistent. This compactor and thief from Pejambon has long wanted Mr. W's song. Although not a religious person, he made religion to separate Nyai Dasima from his master. For reasons of wealth, he had the support of his wife, Mrs. Hayati and his mother Mbok Saleha to marry Nyai Dasima. For this reason, by promising to give 50 pasmat, silver coins at the time, he asked Ma Buyung, an old woman who lived near Nyai Dasima, to help.

“O, Ma, ini saja poenja atoeran terlalu baek sekali, dikaloemamenoloening, boekansadjaberamal kepada saja, madjoega kepada nabiMoehamad, jang saja rasa mapoenya kewajiban djoega!”

Ma Boejongmenjaoetdengensoeka hati:

“Baba! Djikaloe saja bisa menoeloeng di dalam amalan boeat Nabi Moehamad, itoesoedatentoe sekali saja djalanken! (Francis, 2013 : 77-78).

O, Mother, I have rules that are too good, if you help, not only do good deedstome, you are also to the prophet Moehamad, who only feels a senseofdutytoo!"

Ms. Boejongshoutshappily:

"Baba! If only I could help in the practice of the Prophet Moehamad, that is ofcourse my way! (Francis, 2013: 77-78).

Samiun explained to Ma Buyung, Nyai Dasima was imprisoned by someone of a different religion, a gentile gentleman. For that, he must separate Nyai Dasima to return to Islam so that the world and the hereafter are saved. Every Muslim has an obligation to remember and guide him back. To expedite his efforts, Samiun asked for help from Haji Salihun from the Petjenongan Gang which is famous as a dukun talisman and pelletist. He made medicine one ingredient from Nyai Dasima's hair. The drug will make Nyai Dasima hateher master.

On one occasion, when she was close to Nyai Dasima, Ma Buyung questioned Nyai Dasima about her beliefs. Nyai Dasima has never studied religion. His life is not according to the rules and demands of religion. During this time, he never carried out religious orders. He felt frightened when explained by Mak Buyung that in the afterlife there would be hell for unbelievers, Christians and Chinese. Because of that, finally Nyai Dasima wanted to study the pillars of Islam and offer prayers to mbok Saleha. The activity further familiarized Nyai Dasima with the Samiun family. After being promised a pilgrimage and his wife's divorce, Nyai Dasima left Mr. W and Nanci tomarry Samiun.

The marriage lasted not long because Nyai Dasima was killed by Fasting at Samiun's orders. Her husband was afraid because Nyai Dasima would report it after learning that the marriage was only to take away his treasure. The explanation was known to Nyai Dasima when he asked for divorce from Samiun. The sharia values of G. Francis are not talked about much. The implementation of this value was discussed briefly by Ma Buyung who explained that in religion there is a pillar that tells people to pray, sadaqah, and repent of disbelief. Thanks to that, Nya Dasima wanted to learn prayers and leave his master who was not of the samefaith as him.

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The other pillars of worship discussed are the pilgrimage to Mecca. One of the reasons Nyai Dasima wants to leave her life is because she was promised to be invited to the holy land. Hajj is also referred to in the novel as worship to atone for great sins. Before killing his wife by means of Bang Puasa, Samiun had a chance to discuss with Haji Salihun and a teacher in Pekojan. They argue that killing mainly Muslims is a grave sin. However, it will be forgiven for going to pilgrimage and asking for forgiveness in the Grand Mosque. In addition, must give alms and charity to the poor. That explanation encouraged Samiun tokill Nyai Dasima.

The last Islamic value in this novel gives a bad picture of Muslims. The Muslims in this novel are described by the author as not having good morals, including Nyai Dasima. Even though he had lived and gotten everything from his employer for a long time, he left Tuan and his son to marry Samiun. While still living in Gambir, Nyai Dasima had even committed adultery with Samiun when his master had not returned from work.

Samiun himself can be seen morally based on what was conveyed by the author of this novel,

“Dia ada djadikaponakannya Baba Paridien, jang Tempo itoedjadiKommadandistrict di sitoe, roepanya soggoe moeda ada djelek, moekanyaitem sertabertjampoerdengen segala bangsa pemadatan dan maling, diadjaditoekang tadah barang glap ataoe kerbo boleh dapetmentjoreri...(Francis,2013: 83).

"He has a nephewofMr.Paridien, whousedto be the district Kommadan there, apparently really ugly, black face splashed with compactors and thieves, he became a collector of dark goods or stolen buffalo stolen..(Francis, 2013: 83).

Likewise the hajj characters in this novel, Haji Solihun is described as a shaman who has many spells and pellet sciences. Other female figures Ma Buyung, Mrs Hayati, and Mbok Saleha were involved in a conspiracy with Samiun to trap Nyai Dasima separated from her master. Another Islamic figure, Bang Puasa, is a well-known hitman from Kwitang Village.

Islamic Values in the Hikayat Siti Mariah by H. Mukti

The value revealed in the novel H. Mukti is the same as the previous novel, namely the issue of faith between Siti Mariah (Islam) and Henri Dam (Christian), a sugar factory operator from Batavia. Initially, Joyopranoto's foster father Siti Mariah was very opposed. Besides being known as a generous sugar foreman, he is known as a devout person who worships. Therefore, he opposed it because the young man Mariah loved was considered to be infidels because he was not Muslim.

Astagfirullah! Tuan opsiner Henri Dam. Apa betul? Belanda Totok? Bangsa Kafir? Bermantukan dia? Banyak Terima kasih. Najis. Tuan Dam memang seorang yang baik-baik. Saya suka. Buka saya berhati busuk padanya, saya dan dia bersahabat dalam pekerjaan. Tapi lain lagi dalam hal agama. Agama di atas, persahabatan di bawah. Biar sampai mati. Heran sekali bagaimana Mariah bisa jatuh cinta sama bangsa Kafir. Bikin jadi kapiran ibu dan bapaknya. Bikin malu bangsa Islam (Mukti, 2003 : 127).

Astagfirullah! Mr. opsiner Henri Dam. Is that right? Dutch Totok? The Gentiles? Humped him? Many thanks. Unclean. Mr. Dam is indeed a good person. I like. I open hearted to him, me and he are friends at work. But it is different in terms of religion. Religion above, friendship below. Let it die. It is very surprising how Mariah fell in love with the Gentiles. Make a mother and father chapel. Making a shame of the Islamic nation (Mukti, 2003: 127).

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He prefers Sondari to be his son's husband. Sondari is actually one father with Siti Mariah. His mother, Raden Ayu Mustikaningrat, another singer from von Hogerveldt who was the son of the head of Kedu, Raden Hajj Ngabdulah Suci. Joyopranoto's rejection ended after he realized that they could not be separated. Moreover, after Sarinem, his original mother defended Siti Mariah. After knowing the impossibility of Sondari and Siti Mariah's marriages, the marriage finally took place. This marriage produced a boy named Arie van Dam. Henri van Dam is living happily with his sister, Siti Mariah.

The most sharia values described in H. Mukti's work are the pilgrimage performed by the Joyopranoto Family. To prepare for the worship, Joyopranoto actively studied religion with Haji Ibrahim from Banyumas. As a result of his study, he prayed every night and never gaveuptheQur'an.

In 1877, after receiving a very large severance pay, he went on the pilgrimage with his wife and Sarinem. After the Hajj, they not only wear the title of Hajj before their names but change their names to Arabic names. The former sugar cane foreman changed his name to Haji Abdulrahman, his wife Waginah became Haji Fatimah while Sarinem became Haji Aisah. The same thing was done by Sondari who served as the Dutch hajj consul in Jeddah, after making the pilgrimage to Hajj Mukti and his adoptive father, Bang Rafi, Bek Kemayoran becameHajj Abdul Rivai.

Among Indonesian Muslim communities, especially in Java there is a tradition of changing the name given by a sheikh in Mecca. Conversely, something that is considered unusual and not polite if after that there are still people who call him by name and old call (before the pilgrimage), except for people who do not know or do not know him. Therefore, the hajj attribute (such as white skull cap, turban, etc.) must be used (Zainuddin, 2013: 179).

Although raising the question of the question of the colonial period that illustrates the low level of religion, in the novel we still see morality in the main character. This value in the novel is shown by Sondari or Haji Mukti. The death of his father, the controller of Kedu Elout van Hogerveltd, caused his family to live in poverty. However, he thus has great self-esteem. He did not want to accepthelpfromanyone.

As the eldest child, he at the age of 14 left the family to progress in Betawi. His passion for progress made him learn a lot. During his 23 years, he served as the Hajj consulate in Jeddah to take care of the Dutch East Indies pilgrimage during his settlement in Arabia. While in Jeddah he made the pilgrimage and changed his name to H. Mukti. During his time as a consulate, the Sultan of Turkey was gratified, because Mecca was the Otoman region of Turkey. That's when he continued his education in theNetherlands.

After the death of his adopted father Haji Abdul Rivai alias Bang Rapi and no longer a consul, he moved to Semarang because he held a certain position. Thanks to his persistence, he finally not only found Siti Mariah, who had become an Esobier widow, but met her husband Henri Dam alias Henri Hubrect van Goldstein and her son Ari van Aken or Sinyo Ari and the Haji Abdulrahman family. The figure depicted as having poor morality in this novel is Haji Ibrahim, a Koran teacher from Banyumas. He was considered to be a teacher of the Koran who was deviant because he considered the Dutch to be infidels. Besides that, it is considered as a bad guy because he dares to oppose the government by gathering residents to make riots. He also intends to kill all infidels and appoint himself to be the Sultan of Banyumas. Therefore, he was put in prison.

2. Author's Attitude The attitude of the author Tjerita Nyai Dasima by G. Francis

This section describes the attitude of the author G.Francis who comes from English descent whose ancestors have long settled in Indonesia. He is an experienced journalist who manages newspapers in

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Bandung and in Batavia (Courts, Bintang Betawi, and Pantjaran Warta) (Rizal in Francis and Ardan, 2013; viii).

As a journalist who has long lived in Indonesia, he should be able to provide a balanced picture of Islam and society in his work. The novel is set in Betawi society, most of which are religious Muslims. However, the Muslims in the novel all have bad morals namely Nyai Dasima, Ma Buyung, Mrs Hayati, Mbok Saleha, especially Samiun. Even people with the title of hajj, Haji Salihun, work as shamans who have many amulets and pellets, including the Islamic Police, as in the quote, "Bang Puasa is famous for being brave, and strong and many people and also Islamic Polities are afraid to be sold, ... (Francis, 2013: 108). "

The only good character in the novel is Mr. W. He is portrayed as a good Englishman. Every day, he works in a British shop in town, leaving early in the morning and returning home late in the evening. He is known to love and trust him, Nyai Dasimah. When left away, he did not ask for his toreturn his property.

In addition to giving a bad description of Muslims, this novel provides an incorrect understanding of Islam. In the novel explained, performing the pilgrimage can erase big sins such as killing. This understanding made Samiun's conviction to kill his wife through the Fasting Bang evengreater.

Another inaccuracy is the concept of prophets and apostles in Islam. Prophet Muhammad was only a prophet and messenger, messenger of Allah. as the messenger, not God himself as in the concept of the Trinity in Christianity. The error is seen in several quotes,“Dengan harapan, ‘Moeda-moedaan Rasoel Allah bisa trima nyai di tempat kasoetjian, soepaya Njai soeka...’(Francis, 2013: 96)”. Next quote, “...dari kerna itoe Njai pikir baik-baik jang Nabi Moehamad ada sediakaen boet orang kafir toedjoe noraka;...(Francis, 2013 : 80). Another quote, “Siapa jang melaggar perdjanjiannja, dia tiaa dapet slamet dari Nabi Moehamad di dalem sorga! Lantas rame-rame berkata: “Amin! Betoel begitoe!” (Francis, 2013:80).

"With hope," Hopefully Allah's Apostle can receive his chastity in the sanctity, so that Njai soeka ... "(Francis, 2013: 96)". Next quote, "... from that Njai thought carefully that the Prophet Moehamad had provided the infidels with seven hells ...... (Francis, 2013: 80). Another quote, "Whoever violates his agreement, he cannot be saved from the Prophet Moehamad in heaven! Then the crowd said: "Amen! That's right! "(Francis, 2013: 80).

The quotes are as if the Prophet Muhammad. Having great power to forgive someone's sins, provide heaven, and putpeople in it.

The attitude of the Author Hikayat Siti Mariah by H. Mukti

The author of this novel, H. Mukti, is a character in the story written. Based on this story, originally called Sondari, the illegitimate son of the controller Elout von Hogervelt was an Indo Dutch who was sympathetic to the natives (Sumarjo, 2004: 214). Even though Indo is Dutch, he worships and changes his name to H. Mukti.

The author's attitude in the novel shows consistency in understanding faith. The unreligious marriage between Henri van Dam and Siti Mariah was initially rejected but was finally approved. Although it is not explained, what marriage they are in because religion is not possible in different religions. However, their marriage lastsdespitemanyobstacles.

This novel gives a good picture of Muslims. But it gives a bad picture of Haji Ibrahim, the teacher of Joyopranoto. He was considered heretical because he dared to disbelieve the Dutch and hold riots against the colonial government.

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CONCLUSION

Based on these descriptions, itcan be concluded that the two novels of the Malay PopularLiterary product even though the author's work comes from Indo-Holland shows Islamic values that include the values of faith, sharia, andmorality.

The value of faith in the two novels questions the same thing, the relationship between the nuns and the Dutch. However, the relationship between the two couples has a different ending. Tuan W and Nyai Dasima finally separated because of Samiun's efforts to get Nyai Dasima. While the couple Henri Dam and Siti Mariah, although from the beginning many opposed and tortuous in their journey, they finally reunited and get happy in theend.

The same sharia value is also seen in both novels. O worshipwhichiswidelydescribed in thesetwo works. As for the difference, the pilgrimage. Tjerita Nyai Dasima only became a discussion while the Hajj was about Hajj while in the Hikayat Siti Mariah the Joyopronto family had already taken place, even the main character H. Mukti became a Hajjconsulate in Jedaah.

The moral values in G. Francis's work depict Muslims who are morally bad while in Karya Mukti's vice versa. Everything is good except for Haji Ibrahim, who is a teacherofrecitingJoyoprono.

Both of these authors show different attitudes towards the religion of Islam which is the belief of the characters. G. Francis draws an unbalanced Islam while H. Mukti gives a balanced attitude except for actions that can be considered against the colonial government.

Both of these literature have given a role not only to Popular Malay literature but modern Indonesian literature in general. That is because besides starting the story but also proving that this literature received wider attention from the public from the many writings and reprints. No less important is this literary work can provide a source of study in enriching literature, especially the science of literature. The authors of the novels who came from Indo-Dutch also showed that in addition to Chinese authors, Popular Malay Literature was also written by Indo-Dutch, although the numbers were not much. Initially this literature was written by Indo Belada, but in its journey the Chinese authors were more dominant because of their trading strategies.

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