International Journal of Advanced Science and Technology Vol. 29, No. 6s, (2020), pp. 1243-1252 Islamic Values in Popular Malay Literary Novels 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). ISSN: 2005-4238 IJAST 1243 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6s, (2020), pp. 1243-1252 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 ISSN: 2005-4238 IJAST 1244 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6s, (2020), pp. 1243-1252 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.