Pantun

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The pantun , also pantum, pantoun, is a form of poetry originally performed orally in the Malay language . Pantuns appear in writing for the first time in the Malay Annals (Sejarah Melayu) from the 16th century and in the legendary collection of Hikayat Hang Tuah from the 17th and 18th centuries. In France, England and Germany, poets have composed Pantune since the 19th century.

In 2020, the Pantun poem form was added to the Representative List of the Intangible Cultural Heritage of Humanity .

shape

A pantoon can consist of any number of stanzas . The stanzas consist of four lines with eight to twelve syllables each . Are figured these quartets in cross rhyme , so abab. The second and fourth lines of each stanza are repeated as the first and third lines of the next stanza. In addition, the third line of the first becomes the second line of the last stanza and the first verse of the poem becomes the last, but sometimes the first and third lines of the first stanza also remain unchanged.

A poem with four stanzas consists of only eight different verses (1–8) and four pairs of rhymes (a – d):

1st verse 2nd stanza 3rd stanza 4th stanza
1 (a) 2 B) 5 (c) 7 (d)
2 B) 5 (c) 7 (d) 3 (a)
3 (a) 4 (b) 6 (c) 8 (d)
4 (b) 6 (c) 8 (d) 1 (a)

The first two lines ( sampiran ) contain an image from nature, while the following two lines ( isi or maksud ) express a human feeling. Both pairs of lines are connected to one another by parallel sound sequences or sentence structures. The parallelism of the factual representation of nature and the expression of feeling in the refrain became the principle of the Pantun tradition.

In the Hikayat Hang Tuah there are reports of singers whose pantun verses were accompanied by the frame drum rebana , the box zither kacapi and a hump gong . In West Java, the kacapi is still the main accompanying instrument today . Pantune are performed in Ghazel songs at Muslim weddings and other family celebrations and are accompanied by the lute gambus , an Indian harmonium , violin and drums. Also to Malaysia and Sumatra popular Zapin - dances submits the singer Pantun songs. in theSaluang jo dendang called the Minangkabau singing style in Western Sumatra is predominantly set to music to accompany the saluang bamboo flute . In the province of Aceh at the northern tip of Sumatra, an ensemble called hareubab traditionally plays a pantun lecture with the string fiddle rebab and two large cylinder drums . A Malay accompanying orchestra includes a European violin and five frame drums ( terbang, rebana or redep )

At the annual Bau Nyale Festival on the island of Lombok , an ancient Malay tradition of fertility rituals within the music of Lombok is that thousands of boys and girls sit together and sing pantuns in the form of a competition. The usual social rules in relation to the sexes are overridden in this exceptional situation and replaced by a ritualized language that must be observed when exchanging pantun verses.

European Pantun seal

Victor Hugo , Charles Baudelaire , Paul Verlaine or Lewis Turco and, in the German-speaking world, especially Oskar Pastior wrote Pantune. Sometimes they did without rhymes. The special effect of the pantun is based on the play of meaning in its repetitions. The order of factual and emotional pairs of lines results in an artistic wickerwork. Since the first and third lines also recur as the second and last lines at the very end, the circle is complete. The cyclical shape of the poem leads the listener or reader harmoniously back to the beginning.

The idea of ​​adopting it in European literature was born in France. Victor Hugo published a report by Ernest Fouinet in the magazine Les Orientales in 1829 on improvised chants with this fixed repetition order. Théophile Gautier began to imitate such repetitions. It was not until about twenty years later that attempts were made to introduce this form of poetry into French literature.

The Indonesian language is less structured than the French or German languages. The grammatical tenses are not expressed by verb conjugation, but by (omitted) particles. There are no grammatical genders in Indonesian. A direct translation into European languages ​​therefore runs into difficulties.

A Pantun from the English by Lewis Turco , Eunuch Cat

She went to the office until she could no longer
at home, she always gave the cat a piece
that was always sunbathing on her threshold, moved and became fat herself. At home she always gave the cat a piece, then went to sleep, dream-free until morning, got up. And eventually got old and fat. All she had to worry about was food, then went to sleep, dream-free until morning, enough? Your hangover won't get anything. All she had to worry about was the food, in the evening she died and took her breath away. Enough? Your hangover won't get anything. who always sunbathed on her threshold, in the evening she died, breathed empty.














She went to the office until she couldn't anymore.

literature

  • Ajip Rosidi: My Experiences in Recording “Pantun Sunda.” In: Indonesia. October 16, 1973, pp. 105-111 ( cip.cornell.edu PDF).
  • Georges Voisset: Histoire du genre pantoun. Malayophonie, Francophonie, universal. Éditions L'Harmattan, Paris 1997.
  • Muhammad Haji Salleh: Sailing the Archipelago in a boat of rhymes Pantun in the Malay world. In: Wacana. Volume 13, No. 1, April 2011, pp. 78-104 ( wacana.ui.ac.id ).

Web links

Individual evidence

  1. ↑ Malay Annals. (English translation by John Leyden) Longman, Hurst, Rees, Orme and Brown 1821 (full text as PDF, 36 MB)
  2. ↑ UNESCO recognizes 14 traditions as Intangible Cultural Heritage of Humanity , UNESCO, December 17, 2020.
  3. ^ VI Braginskii: The Comparative Study of Traditional Asian Literatures: From Reflective Traditionalism to Neo-Traditionalism. Routledge Chapman & Hall, London / New York 2000, p. 295
  4. ↑ Patricia Ann Matusky, Tan Sooi Beng (Ed.): The Music of Malaysia: The Classical, Folk, and Syncretic Traditions. (SOAS musicology series) Ashgate Publishing, Aldershot 2004, pp. 321, 352
  5. ^ Paul Collaer: Southeast Asia . (Werner Bachmann (Hrsg.): Music history in pictures. Volume I: Musikethnologie. Delivery 3) Deutscher Verlag für Musik, Leipzig 1979, p. 86
  6. ↑ Siti Zainab: Bau Nyale ... Lombok's Unique Sea Worm Festival. ( Memento of December 6, 2010 in the Internet Archive ) Bali Advertiser, 2008
  7. ^ Judith L. Ecklund: Sasak Cultural Change, Ritual Change, and the Use of Ritualized Language. Indonesia, Vol. 24, October 1977, pp. 1-25