syair syurga a devotional literary text in an early malay...
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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
70 Sari 27
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):
71Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
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.
72 Sari 27
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).
73Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
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.
74 Sari 27
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
75Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
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)
77Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
FIGURE 3 Page 1 of Syair Syurga (Leiden University Library 5-800 E 102)
78 Sari 27
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 Page 12 (the last page) of Syair Syurga (Leiden University Library 5-800E 102)
Sari 27
79Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
Page
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80 Sari 27
Page
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81Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
Page
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laha
Illa
llah”
dib
uat t
aula
n,Sa
ma
pun
adah
mak
an m
inum
an,
Kal
imah
itu
juga
eng
kau
men
elan
.
25Jik
alau
set
erum
u da
tang
men
gada
ng,23
Kal
imat
“La
Illa
ha Il
lalla
h” d
ibua
t ped
ang,
Sena
ntia
sa e
ngka
u pe
rsan
dang
,Ta
kutla
h se
mua
nya
sete
ru m
eman
dang
.
27K
alim
ah n
afyi
25 p
edan
g di
kan
anm
u,K
alim
ah is
bat p
erisa
i di k
irim
u,“L
aisa
Kam
itslih
i Sya
i’un”
itul
ah T
uhan
mu,
Sam
paila
h en
gkau
ora
ng b
erilm
u.
29Pa
nca
inde
ra s
eter
u ya
ng b
esar
,K
etik
a sa
kit d
atan
g m
enya
sar,
Puku
l kal
imah
“La
Ilah
a Ill
alla
h” ja
ngan
ber
kisa
r,H
ingg
a sa
mpa
i Yau
mil
al-M
ahsy
ar.
22A
pabi
la e
ngka
u m
enda
pat a
ngin
,B
erla
yar s
ungg
u[h]
jang
an b
erm
ain,
Jadi
kan
sepe
rti b
aju
dan
kain
,D
apat
lah
perin
tah
yang
eng
kau
ingi
n.
24Ta
tkal
a en
gkau
sed
ang
berd
uduk
,K
alim
ah it
u ju
ga d
ibua
t mas
buk,
22
Laks
ana
ikan
di d
alam
lubu
k,D
alam
kal
imah
itu
juga
diri
mu
mab
uk.
26Ji
kala
u da
tang
iblis
lakn
atul
lah,
Law
an b
erpe
rang
sab
il A
llah,
24
Pasa
ng ‘m
eria
m’ k
alim
ah ‘L
a Ill
aha
Illal
lah’
,Pe
luru
nya
betu
l tia
da s
alah
.
28W
ahuw
a m
a‘ak
um d
enga
rkan
apa
,A
inam
a ku
ntum
jang
anla
h lu
pa,
Dim
ana
kam
u ki
ta b
erju
mpa
,B
eser
ta a
ku ti
ada
men
gapa
.
30D
atan
gnya
itu
saha
ja b
erka
sad,
Ber
jeni
s2 ru
pa d
an ja
sad,
Mat
a m
eman
dang
san
gatla
h da
hsat
,Su
paya
iman
men
jadi
ses
at.
82 Sari 27
Page
4St
anza
Stan
za
31M
enja
di s
esat
jang
an d
ihira
ukan
,B
erpe
gang
lah
tegu
h ke
pada
Qur
’an,
Fa a
inna
ma
tuw
allu
dal
ilnya
bur
han,
Fa ts
amm
a w
ajhu
llah
suda
[h] m
enya
taka
n.
33Ti
adal
ah la
gi w
udu’
27 d
an w
aktu
,Sy
uhud
a le
kas28
bat
angn
ya s
atu,
Ger
ak d
iam
nya
suda
[h]la
h29 te
ntu,
Peng
lihat
pen
deng
ar a
dala
h di
situ
.
35K
aram
lah
engk
au d
i ala
m s
ufi31
,B
ahar
ulah
di d
unia
sep
erti
mim
pi,
Teng
gela
m d
i lau
t tia
da b
erte
pi,
Alla
h its
bat d
irim
u na
fyi.
37A
lam
kud
us m
akam
sen
tosa
,D
i situ
per
tem
uan
sena
ntia
sa,
Irada
t al-w
ujud
tem
pat y
ang
asa,
Kan
dilla
h32 h
akik
at te
mpa
t ter
mas
a.
39D
i situ
lah
mak
rifat
ant
ara
kedu
a,N
afi a
tsba
t sud
a[h]
dib
awa,
Ham
pir t
erbu
ka d
i hat
imu
jua,
Naf
yila
h je
nis
kelim
a se
mua
ada
.
32Pi
kir R
abba
ni s
emat
a2,
Hen
dakl
ah ti
lik g
erak
ang
gota
,M
akrif
at <
w>a
hdah
26 te
rlalu
nya
ta,
Tiad
alah
lagi
ber
dua
cint
a.
34Zi
kir i
tu ib
arat
way
ang,
Seke
hend
ak d
alan
g di
a be
rgoy
ang,
Di d
alam
pen
gras
aan30
nya
ta te
rbay
ang,
Mal
am y
ang
gela
p se
perti
sia
ng.
36N
afila
h di
rimu
sand
aran
jasm
ani,
Bin
tang
Jau
har k
albu
nur
ani,
Bin
tang
pin
tu la
duni
,A
lam
kud
us k
albu
haq
qani
.
38K
andi
l hak
ikat
syu
huda
faal
i,Te
mpa
t tar
ikat
ber
ikat
tali,
Kep
ada
mak
rifat
af’a
l ter
jali,
Di s
itula
h ki
ta ja
lan
kem
bali.
40Pa
ndan
g m
akrif
at te
r[la]
lu n
yata
,Ti
adal
ah b
erke
hend
ak d
ian
pelit
a,K
eras
kan
ziki
r sam
a ra
ta,
Di s
itula
h te
mpa
t kita
ber
taht
a.
83Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
Page
5St
anza
Stan
za
41Ja
ngan
diti
lik p
anda
ng d
i lua
r,K
aren
a itu
lagi
agh
yar,
Di d
alam
kal
bu k
andi
l anw
ar,
Air
hurip
33 la
gi p
enaw
ar.
43Ti
ada
dipa
njan
gkan
laut
hak
ikat
,Se
kalia
n um
ur h
enda
k di
angk
at,
Suci
kan
paka
iank
u de
ngan
tem
pat,
Supa
ya tu
lus
di d
alam
mak
rifat
.
45Ja
ngan
lah
lupa
sek
ali2
,K
epad
a a‘
yan
tsabi
tah
tem
pat k
emba
li,Sy
uhud
al-m
anah
36 n
yata
terja
li,Ta
hsis
irad
at T
uhan
Aza
li.
47Tu
han
kita
kua
sa a
mat
,Ta
tkal
a la
gi d
alam
mak
lum
at,
Firm
an b
erka
ta A
llah
al-S
amad
,D
unia
akh
irat h
arap
sel
amat
.
49Zi
kir k
hafi
itu k
edua
nya,
Has
il di
dal
am h
ati m
enye
butn
ya,
Tiad
a m
ende
ngar
kan
telin
ga k
edua
nya,
Men
jadi
puj
i kep
ada
Tuha
nnya
.
42D
i dal
am k
albu
tem
pat m
enye
lam
,La
utan
luas
luar
dan
dal
am,
Ber
enan
glah
kita
sia
ng d
an m
alam
,Ti
dak
timbu
l tid
ak te
ngge
lam
.
44M
akrif
at k
ita h
enda
k be
rbet
ulan
,Se
rta m
urs[
y]id
ta’ri
q ba
Ahw
an,34
Fatih
a[h]
kan
syai
kh d
i mak
am a
dwan
,Su
paya
ham
pir s
aidi
na a
kuan
35.
46K
emba
lilah
kep
ada
tem
pat b
erta
hta,
Tiad
alah
lagi
gha
lat d
an la
ta,
Jau[
h]37
sek
ali p
atah
dan
but
a,D
enga
n ko
drat
Tuh
anny
a ki
ta.
48Zi
kir i
tu m
arta
batn
ya ti
ga,
Ziki
r jal
i dis
ebut
juga
,Za
hir d
i lid
ah ti
ada
berh
ingg
a,Itu
lah
jadi
pem
beli
syur
ga.
50K
etig
a m
arta
bat z
ikir
sirri,
Sem
ata2
inga
t di d
alam
diri
,Si
ang
mal
am p
agi d
an s
ore,
Hin
gga
hanc
ur ja
ngan
ber
cera
i.38
84 Sari 27
Page
6St
anza
Stan
za
51N
ahi j
anga
n ka
mu
ham
piri,
Am
arny
a bu
at s
etia
p ha
ri,Se
lagi
ada
aka
l ber
diri,
Di a
lam
bar
zakh
nik
mat
dib
eri.
53K
elua
rlah
amal
an s
emba
hyan
g ru
kun
tiga
bela
s,D
i dal
am k
ubur
Alla
h m
emba
las,
Men
jadi
pak
aian
kai
n an
tela
s,Itu
lah
bala
s am
al y
ang
ikhl
as.
55B
erdi
ri be
tul r
ukun
ked
ua,
Men
jadi
mak
anan
sek
alia
n ha
lwa,
Wa
naha
naf
su a
n al
-haw
a,Fa
inna
al-j
anna
t hia
al-m
a’w
a.
57B
aca
Fatih
ah ru
kun
keem
pat,
Di d
alam
kub
ur ra
hmat
did
apat
,D
i ata
s tit
ian
sege
ra m
elom
pat,
Inila
h am
al a
hli m
akrif
at.
59Ik
tidal
ruku
n ke
enam
,D
i dal
am k
ubur
dud
uk b
erse
nang
,B
idad
ari h
adir
baw
a m
akan
an,
Mak
anla
h di
a ba
rang
yan
g be
rken
an.
52N
ikm
at d
iber
i mal
am d
an s
iang
,D
ikel
uark
an p
ula
amal
sem
bahy
ang,
Luas
kub
urny
a m
ata
mem
anda
ng,
Men
dapa
t nik
mat
tiad
alah
pad
an39
.
54N
iat i
tu ru
kun
perta
ma,
Mem
baik
i tub
uh s
elam
a2,
Cah
aya
sepe
rti b
ulan
pur
nam
a,D
i dal
am k
ubur
nik
mat
ber
sam
a.
56Ta
kbira
t al-i
hram
ruku
n ke
tiga,
Beb
erap
a m
alai
kat d
uduk
men
jaga
,M
emba
wa
mak
anan
min
uman
syu
rga,
Leza
t nik
mat
tiad
a be
rhin
gga.
58R
ukun
kel
ima
ruku
‘ sem
bahy
ang,
Dat
angl
ah ra
hmat
mal
am d
an s
iang
,R
amai
sep
erti
men
onto
n w
ayan
g,M
alam
yan
g ge
lap
sera
sa<h
>40 s
iang
.
60K
etuj
uh s
ujud
ruku
nnya
juga
,B
idad
ari m
emba
wa41
nik
mat
syu
rga,
Dat
angn
ya it
u tia
da b
erhi
ngga
,M
anak
ala
term
akan
hila
ngla
h da
haga
.
85Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
Page
7St
anza
Stan
za
61K
edel
apan
dud
uk a
ntar
a du
a su
jud,
Di d
alam
kub
ur ti
ada
terk
ejut
,Se
mua
dik
ehen
daki
ada
lah
mau
jud,
Dar
ipad
a Tu
han
Ilah
al-M
a‘bu
d.
63K
esep
uluh
ber
tahi
yat s
uda[
h]la
h ny
ata,
Inila
h ja
di d
ian
pelit
a,Te
rang
ben
dera
ng s
emat
a-m
ata,
Lepa
slah
dar
ipad
a ai
b da
n la
ta.
65K
edua
bel
as s
alam
per
tam
a,Te
rbuk
alah
pin
tu s
yurg
a ut
ama,
Muk
a se
perti
bul
an p
urna
ma,
Mas
ukla
h sy
urga
bid
adar
i ber
sam
a.
67D
iseb
utka
n sy
air
deng
an s
ungg
u[h]
nya,
43
Had
is fir
man
nya
ta s
emua
nya,
Jika
lau
kura
ng y
akin
hat
inya
,B
oleh
ditu
njuk
kan
di d
alam
bab
nya.
69O
rang
has
ad h
atin
ya la
lai,44
Kep
ada
ilmu
haki
kat t
idak
per
duli,
Sem
uany
a itu
pak
aian
wal
i,R
idal
ah d
ia b
adan
ters
alai
.
62K
esem
bila
n du
duk
berta
hiya
t,D
i dal
am k
ubur
bad
anny
a se
tere
hat,42
Dib
ukak
an p
intu
syu
rga
tuju
h pa
ngka
t,B
erib
u2 je
nis
nikm
at d
idap
at.
64K
eseb
elas
sal
awat
sud
a[h]
lah
tent
u,M
enja
di k
ota
berd
indi
ng b
atu,
Lepa
slah
pan
as n
erak
a di
situ
,D
i dal
am s
yurg
a te
mpa
tnya
tent
u.
66K
etig
a be
las
terti
b ru
kunn
ya it
u,Tu
juh
nera
ka d
itutu
p pi
ntu,
Seka
lian
tem
pat h
abis
dibu
ntu,
Lepa
slah
aza
b si
ksa
di s
itu.
68B
abny
a itu
terla
lu d
ekat
,B
oleh
dili
hat d
enga
n sa
ngat
,D
i bel
akan
g ka
mi j
anga
n di
umpa
t,D
unia
akh
irat b
iar s
elam
at.
70Itu
lah
tand
a ak
alny
a ku
rang
,Ilm
u ya
ng b
enar
bol
eh d
ilara
ng,
Alla
h m
enyu
ruh
setia
p or
ang,
Ilmu
suci
lagi
pun
tera
ng.
86 Sari 27
Page
8St
anza
Stan
za
71Te
rang
pik
ir di
dal
am h
ati,
Aka
n m
enge
nal R
abb
al-‘I
zzat
i,M
akrif
at in
ilah
diam
at-a
mat
i45,
Ilmu
inila
h di
baw
a m
ati.
73Sy
aria
t itu
ibar
at tu
bu[h
],Ta
rikat
: hat
i ber
tegu
h2,
Hak
ikat
: nya
wa
bers
ungg
uh2,
Mak
rifat
: rah
asia
men
jadi
sul
uh.
75B
aca
oleh
mu
empa
t pul
uh k
ali,
Mal
am J
umat
dem
ikia
n pe
rgi,
Hin
gga
sam
pai e
mpa
t pul
uh h
ari,
Terb
uka
hija
b m
enge
nal d
iri.
77Se
rahk
an d
irim
u, ja
ngan
taku
t,B
eras
ah48
ses
ak n
yaw
a di
cabu
t,Se
perti
kor
eng
gata
l dig
aut,49
Kar
amla
h jiw
amu
di a
lam
lahu
t.
79B
aran
g ya
ng a
da m
akrif
at s
empu
rna,
Den
gan
haki
kat t
iada
lah
lena
,D
ilepa
skan
Alla
h se
gala
ben
cana
,C
arila
h50 il
mu
jadi
sem
purn
a.
72D
imisa
lkan
ibar
at s
ebiji
kel
apa,
Kul
it da
n is
i tia
da s
erup
a,Ja
ngan
lah
Tuan
ters
alah
tem
pa,46
Teta
pi b
enda
nya
tiada
ber
apa.
74Ilm
u m
akrif
at d
ibaw
a m
ati,
Sena
ngka
n ol
ehm
u kh
atir47
hat
i,U
capl
ah o
lehm
u ja
ngan
ber
hent
i,Su
bhan
Alla
h R
abb
al-‘I
zzat
i.
76D
atan
gnya
itu
tiada
ban
ding
nya,
Suat
u al
amat
dar
ipad
a Tu
hann
ya,
Seba
gai m
ajdz
ub p
ada
rasa
nya,
Sera
hkan
lah
dirim
u ke
pada
Dia
nya.
78Te
ringa
tlah
nyaw
a di
dal
am n
ikm
at,
Dili
hatk
an s
yurg
a su
atu
tem
pat,
Dik
arun
ia T
uhan
beb
erap
a ra
hmat
,B
aran
g ya
ng m
ati d
i dal
am m
akrif
at.
80Ilm
u em
pat w
ajib
sem
uany
a,Sy
aria
t, ta
rikat
, sam
a ke
duan
ya,
Hak
ikat
, mak
rifat
, sat
u hu
kum
nya,
Jang
an d
iting
gal s
alah
sat
unya
.
87Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
Page
9St
anza
Stan
za
81A
pabi
la m
ati a
hli s
yaria
t,Ja
lann
ya s
ama
deng
an ta
rikat
,N
yaw
a ke
mba
li ke
pada
wah
dat,
Ala
m m
aklu
m k
enya
taan
sifa
t.
83K
emba
lilah
nya
wa
sem
uany
a he
wan
,D
ihid
upka
n pu
la b
erba
las-
bala
san,
51
Ala
m n
asut
ia d
ikat
akan
.Ja
dila
h la
yu ia
sek
alia
n.
85A
lam
mal
akut
itul
ah ia
,Itu
pun
mili
k Tu
han
Yan
g K
aya,
Apa
bila
mat
i hila
ngla
h di
a,D
itita
hkan
Tuh
an Y
ang
Kad
im s
edia
.
87Pi
kir o
lehm
u ay
uhai
Ikhw
an,
Mat
i itu
sah
aja
tuna
ngan
,D
i dal
am k
ubur
dim
ana
gera
ngan
,D
iman
a ny
awa
dim
ana
bada
n.
89Y
ang
aku
cari
Tuha
n se
bena
rnya
,Se
kalia
n ya
ng b
ahar
u bu
kan
sem
uany
a,D
atan
glah
dza
uq d
i dal
am ra
sany
a,La
isa
kam
itslih
i sya
i’un
itula
h Tu
hann
ya.
82A
lam
Jab
arut
ia n
aman
ya,
Kep
ada
ilmu
apa
tahu
nya,
Bai
k ja
hat t
ahu
sem
uany
a,‘M
asya
Alla
h’ ju
a ka
tany
a.
84A
lam
Af‘a
l pul
a di
situ
,A
lam
Asm
a’ n
aman
ya te
ntu,
Kem
balil
ah n
yaw
a ka
yu d
an b
atu,
Gha
ibla
h ia
tiad
alah
tent
u
86A
yuha
i Tua
n be
rbua
t bak
ti,In
gatk
an T
uhan
Rab
b al
-Izza
ti,Ja
ngan
lah
putu
s ci
nta
di h
ati,
Hid
up it
u tu
nang
an m
ati.
88K
alau
tida
k A
llah
mem
beri,
Kem
ana
aku
mem
baw
a di
ri.Ta
nah
men
gim
pit k
anan
dan
kiri
,Si
apa
jua
yang
aku
car
i?
90Te
rima
oleh
mu
itula
h di
a,K
aren
a ny
ata
di d
alam
raha
sia,
Taja
lli z
at T
uhan
yan
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.
91Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
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: .
93Syair Syurga a Devotional Literary Text in an Early Malay Printed Book
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]