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Pengguna:Crisco 1492/Atheis (novel)

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Atheis
PengarangAchdiat Karta Mihardja
NegaraIndonesia
BahasaBahasa Indonesia
GenreNovel
PenerbitBalai Pustaka
Tanggal terbit
1949
Jenis mediaCetak (kulit keras & lunak)
Halaman224 (cetakan ke-32)
ISBNISBN 978-979-407-185-4 (cetakan ke-32) Invalid ISBN
OCLC436358542

Atheis adalah sebuah novel karya Achdiat Karta Mihardja yang diterbitkan oleh Balai Pustaka pada tahun 1949. Roman ini, yang menggunakan tiga gaya naratif, menceritakan kehidupan Hasan, seorang Muslim muda yang dibesarkan untuk berpegang pada agama tetapi akhirnya meragukan agamanya sendiri setelah berurusan dengan seorang sahabat yang Marxis-Leninis dan seorang penulis yang nihilis.

Karta, seorang jurnalis serta redaktur yang pernah bergabung dengan penyair eksentrik Chairil Anwar dan Partai Sosialis Indonesia, menulis Atheis di antara bulan Mei 1948 dan Februari 1949. Bahasa Indonesia yang digunakan terpengaruhi oleh bahasa Sunda, dan gaya penulisannya lebih mirip gaya penulis Minang dari periode sebelumnya daripada para penulis kontemporer. Terutama membahas mengenai keimanan, novel ini juga menyinggung hubungan modernitas dan tradisionalisme. Biarpun Karta menegaskan bahwa karya ini dimaksud untuk realis, perlambangan dan hubungan simbolis pernah diusulkan tentang Atheis.

Ketika Atheis diterbitkan, terjadi pembahasan yang cukup panas. Tokoh-tokoh agama, Marxis-Leninis, dan anarkis menolak novel ini karena kurang menjelaskan ideology mereka masing-masing, sementara tokoh-tokoh sastra dan masyarakat banyak memuji roman ini. Penerimaan baik ini mungkin disebabkan diperlukannya penyatuan nasional oleh Pemerintah Indonesia. Sebelum tahun 1970, Atheis sudah diterjemahkan ke dalam bahasa Melayu, dan pada tahun 1972 diterjemahkan ke dalam bahasa Inggris; pada tahun 1974 novel ini diadaptasikan menjadi film. Selain menerima penghargaan dari pemerintah pada tahun 1969, Atheis sudah termasuk dalam UNESCO Collection of Representative Works.

Alur

Alur Atheis bersifat tidak linear. Menurut ahli sastra Indonesia asal Belanda A. Teeuw, plot novel ini menggunakan urutan sebagaimana dirumuskan di bawah. Huruf A mewakili masa yang dibahas dalam tulisan tokoh Hasan (dari masa kecil sampai bercerai dengan Kartini), huruf B mewakili masa yang diceritakan narator, dan huruf C mewakili waktu Hasan terbunuh.[1]

[C {B (A) B} C]

Ringkasan cerita di bawah ditulis secara kronologis.

Hasan, yang lahir di Panyeredan di keluarga penganut Tarekat Naqsyabandiyah, adalah siswa yang lumayan pandai dan tinggal bersama keluarga dan adik angkat, Fatimah. Seusai masa sekolah, Hasan berusaha untuk melamar temannya Rukmini untuk menjadi istri. Namun, Rukmini, yang mempunyai kedudukan sosial lebih tinggi, sudah dijanjikan untuk seseorang kaya di Batavia (sekarang Jakarta). Sebagai ganti, orang tua Hasan minta agar dia menikah dengan Fatimah. Hasan menolak, lalu mulai sangat mendalami Islam bersama ayahnya. Dia lalu berpindah ke Bandung untuk bekerja sebagai pegawai pemerintah.

Di Bandung, Hasan bekerja untuk pemerintah pendudukan Jepang dan hidup secara asketik; dia sering berpuasa berhari-hari dan memasukkan tubuhnya ke dalam sungai berulang kali dini pagi. Saat di Bandung, dia bertemu dengan sahabatnya semasa kecil, Rusli, yang memperkenalkan seorang gadis bernama Kartini. Karena melihat bahwa Rusli dan Kartini adalah Marxis-Leninis yang atheis, Hasan merasa seakan dipanggil untuk mengembalikan mereka ke agama Islam. Namun, dia tidak dapat mengatasi argumentasi Rusli yang menolak agama, sampai Hasan pun mulai meragukan keimanannya. Lama-kelamaan Hasan menjadi semakin sekuler, sampai pada suatu hari dia lebih memilih menonton film di bioskop bersama Kartini daripada sholat Maghrib. Melalui Rusli, Hasan diperkenalkan dengan berbagai orang yang menganut berbagai macam ideologi, termasuk Anwar, seorang nihilis yang suka main wanita; Hasan juga mulai mendekati Kartini.

Pada suatu hari, Hasan kembali ke Panyeredan bersama Anwar untuk mengujungi keluarganya. Saat di sana, Anwar melihat dua penjaga malam yang ketakutan dekat suatu pemakaman. Ketika diberi tahu bahwa penjaga malam itu melihat hantu, Anwar masuk ke pemakaman itu bersama hasan untuk membuktikan bahwa tidak ada hantu di sana. Namun, Hasan merasa bahwa ada sesuatu yang mengincarinya; hal ini membuat dia melarikan diri dari pemakaman tersebut. Ketika Anwar tertawa atas reaksi Hasan, Hasan merasa imannya sudah patah. Dia akhirnya bertengkar heboh dengan keluarganya tentang soal agama, sehingga dia diusir dari rumah. Sekembali ke Bandung, dia menikah dengan Kartini.

Three years later, Hasan's relationship with Kartini is souring. Both are becoming suspicious that the other is unfaithful. Eventually, Hasan sees Kartini leaving a hotel near the train station and incorrectly assumes that she had been cheating on him. He immediately divorces her and moves out, soon falling ill with tuberculosis. After several weeks, Hasan returns to Panyeredan after hearing that his father is ill to work out their issues. However, his father rejects him as a temptation from the devil. Dejected, Hasan returns to Bandung.

With his health failing, Hasan approaches a local journalist with a manuscript detailing his life; the journalist agrees to publish it should something happen to Hasan. Not long afterwards, Hasan goes out into the night after curfew and is shot in the chest by Japanese patrols, dying after torture at the station with the Islamic creed "Allahu Akbar" on his lips. Later, Rusli and a tearful Kartini claim his body.

Tokoh dan penokohan

Hasan
Hasan is the primary protagonist of the novel. Raised a devout Muslim, he becomes confused over his beliefs due to influences from his childhood friend and other acquaintances in Bandung. He is further confused by his feelings towards Kartini, who physically resembles his first love Rukmini. Eventually, after being disowned by his family and seemingly abandoned by his friends, Hasan is shot and tortured to death by Japanese police.[2]
According to literary critics Maman S. Mahayana, Oyon Sofyan, and Achmad Dian, Hasan's psychological struggles reflect Sigmund Freud's theories on psychoanalysis.[3] Teeuw notes that Hasan comes across as being disappointed that his traditional religious upbringing is not enough to overcome the temptations of the modern world.[4] Poet and critic of Indonesian literature Muhamad Balfas writes that Hasan's conflict arises from being torn intellectually between the teachings of his ultra-religious father and the Marxist Rusli, while at the same time being emotionally victimised by the ever self-confident Anwar. Balfas notes that three versions of Hasan are made apparent to the reader: Hasan's view of himself, the narrator's view of Hasan, and the narrator's reconstruction of Hasan.[5]

Rusli
Rusli is Hasan's childhood friend who approaches him in Bandung. A Marxist-Leninist, he is highly educated and eloquent, which he often uses to win debates on the benefits of different ideologies. Through Rusli, Hasan is introduced to several other characters with Western educations and ideologies, including Hasan's future wife Kartini. During Hasan's time in Bandung, Rusli supports both him and Kartini emotionally. It is Rusli who accompanies Kartini to the police station to identify Hasan's body.
Hendrik Maier, professor of southeast Asian literature at the University of California, Riverside, notes that Rusli is the most balanced of the main protagonists.[6]

Kartini
Kartini is a young Marxist-Leninist who Rusli introduces to Hasan. As Kartini resembles Hasan's first love, Hasan falls deeply in love with her. However, after they marry Hasan becomes increasingly jealous and questions her relationship with Anwar, who often flirts with Kartini. When Anwar picks her up at the train station after she visits her aunt, he attempts to force himself on her. After fighting him off, Kartini leaves the hotel, followed by Anwar. After Hasan divorces her based on his perception of the events, Kartini lives alone. She cries over Hasan's body when asked to identify him for the police.[2]
The poet Chairil Anwar may have been the basis for the character of Anwar.

Anwar
Anwar is a young anarcho-nihilist who considers himself his own god. He is known for being a crude womanizer who has no qualms with using others to get what he wants. Through his actions, Anwar is responsible for both events which devastate Hasan's life: Anwar's ridicule leads Hasan to strife with his family, and Anwar's womanizing and incessant flirting, leading to unwanted sexual advances against Kartini, lead to Hasan's divorce.[2] Maier describes him as a "destructive, egotistic and vain man who in daily life does not live up to the ideals with which he tries to impress [Hasan]".[7]
Anwar is thought to have been based on the poet Chairil Anwar,[7] an individualistic anarchist known for being abrasive, having kleptomania, and womanizing.[8] The poet's friend Nasjah Djamin notes that the characterization captured Anwar's nonchalance, impoliteness, and arrogance exactly.[9]

Narrator
The narrator, who only appears in parts of the novel which he narrates, is referred to throughout the novel only as "saya" (a respectful term for "I" or "me"). Little is known about his personal life other than that he is a journalist.[1] According to Indonesian writer and literary critic Subagio Sastrowardoyo, the narrator appears to be representative of Mihardja and used to teach moral lessons to the reader through his suggestions to Hasan.[10]

Gaya penulisan

Atheis uses three narrative voices, the first Indonesian novel to do so.[1][10] The novel starts with a describtion Rusli and Kartini's visit to the Japanese police headquarters after hearing of Hasan's death. Afterwards, the narrator referred to only as "saya" describes in the first person how he met Hasan and how Hasan came to tell him his life's story. This is followed by what is described by the original narrator as a manuscript by Hasan, which tells Hasan's life story from Hasan's point of view, using the less respectful term "aku". After a brief recollection of the narrator's last meeting with Hasan in the first person, using "saya", the last portion of the book describes Hasan's death in the third person omniscient.[1][11] According to Teeuw, this serves to avoid the characters becoming caricatures by giving the reader an objective observation of them before entering their point of view.[4] However, Mihardja wrote that it was simply to ease in the plot's resolution.[12]

Teeuw writes that the literary style is didactic, which he considers the novel's main shortcoming. However, he notes that Mihardja was part of a literary movement led by Sutan Takdir Alisjahbana which viewed literature as being instructive; he also writes that such a style was common in Indonesian literature at the time.[13]

The diction in the novel shows a heavy Sundanese influence, with many loan-words. Teeuw writes that it seems forced in places, with sentence structure deviating from those used by the Minang writers who dominated Indonesian literature at the time. According to Teeuw, this is because Mihardja had been raised with Sundanese and Dutch; as such, his Indonesian was not as well developed as Minang writers or those younger than him.[13] Maier writes that the novel features "odd but appropriate metaphors and similes" and stylistically resembles earlier works such as Abdul Muis' Salah Asuhan (Wrong Upbringing; 1928), Sutan Takdir Alisjahbana's Layar Terkembang (With Sails Unfurled; 1936), and Armijn Pane's Belenggu (Shackles; 1940).[7] Balfas also notes stylistic similarities with older works, including the death of the protagonist at the climax,[5] while Sastrowardoyo opines that Belenggu had a more modern styling despite being published nine years earlier.[14]

Tema

Mihardja later wrote that the novel was intended to deal with the question of the existence of God.[15] Mahayana et al. note that main theme, faith, is found throughout the novel; they also write that when Atheis was published the question had never been dealt with in a modern Indonesian novel.[3] Maier notes that the psychological concepts of guilt, fear, and remorse drive the novel.[16]

Teeuw describes the work as taking up the classic theme of modernity versus tradition in a new, more worldly manner.[17] Balfas writes that this approach to the theme was soon followed by other writers.[5]

Simbolisme

Despite Mihardja's insistence that Ateis is meant to be realistic and not symbolic, several interpretations have been put forward. According to Mihardja, one of the most common interpretations conveyed to him was that Hasan's death symbolised atheism winning over religion, with Hasan's death as the death of theism.[18]

According to Maier, Atheis serves as an allegory for the development of the Indonesian nation. Hasan, representing traditionalism, is killed by the Japanese, who changed the status quo when they invaded in 1942. Meanwhile, the anarchistic Anwar finds himself without a place in the modern world. Only the responsible modern character, Rusli, is able to bring the Indonesian nation, as represented by Kartini, to terms with the new world.[19]

Penulisan dan ilham

Mihardja, who was born and raised in Garut, West Java, was trained as a journalist[20] before moving to Jakarta in 1941 to work for the state publisher of the Dutch East Indies, Balai Pustaka. While in Jakarta, in 1945 he began associating with Chairil Anwar's literary group Republika. After the Proclamation of Indonesian Independence and the start of the Indonesian National Revolution, he fled to West Java and became associated with the Socialist Party of Indonesia led by Sutan Sjahrir. He used this background to write Atheis from May 1948 until February 1949.[17]

In Mihardja's observations, among the most common ideologies in Indonesia at the time were Marxism–Leninism and anarcho-nihilism; this influenced his choice to depict Rusli and Anwar as followers of the movements.[21] At the time, emerging writers such as Idrus, Asrul Sani, and Chairil Anwar were increasingly critical of the older generation of Indonesian writers, whom they decried as narrow-minded and provincial.[20] Mihardja, who was older than many contemporary writers and wrote in a similar style to the older authors, disliked this comparison; according to Maier, this may have led him to represent Chairil Anwar as the much-flawed character Anwar.[20]

Penerbitan

Atheis was published in 1949 by Balai Pustaka, which had become the state publisher of independent Indonesia;[22] it was Mihardja's first novel.[23] According to Teeuw, with the publication of Atheis Mihardja immediately became famous.[17] Maier notes that the fame and warm reception to which Atheis was released was influenced not only be the novel's strengths, but also by Mihardja's personality and stature, which were in-line with the nascent government's need to use literature, as the most developed of the new national culture, for nation-building.[24]

In 1969 Atheis received a literary award from the government of Indonesia, and by 1970 it had seen three Malay-language printings.[3] In 1972 the novel was translated by R. J. Macguire into English as part of the UNESCO Collection of Representative Works project,[25] and two years later Sjumandjaja adapted it into a film with the same title.[3]

Mihardja went on to write two more novels: Debu Cinta Bertebaran (The Dust of Love Spreads; 1973), which was published in Singapore; and Manifesto Khalifatullah (Manifest of Khalifatullah; 2005), published in Jakarta.[23][26] At the launch of Manifesto Khalifatullah, a religious-themed novel, Mihardja stated that it was "the answer to Atheis", after he realised that "God made man to be His representative on earth, not that of Satan".[26]

Penerimaan terhadap novel

According to Mihardja, religious thinkers blasted the novel for depicting Hasan, whom they interpreted as being representative of religion and religious people, being unable to overcome temptation; they also disagreed on the novel's perceived lack of in-depth discussion of religion.[27] Marxists and anarchists also felt that their ideology was not explained as well as it should have been. They found the characters of Rusli and Anwar as not truly representing the thoughts of thinkers like Karl Marx and Friedrich Nietzsche.[28] In response, Mihardja wrote that the characters were meant to realistic, and that few people in real life have as much knowledge about an ideology as demanded by the critics.[29]

However, other readers – many from the literary world – praised the novel, including writers Pramoedya Ananta Toer and Haji Abdul Malik Karim Amrullah.[22] Sastrowardoyo described it as a "well made novel", noting that he felt it brought complete closure to the story with Hasan's death.[30] Teeuw writes that Atheis was the first truly interesting novel to arise after the war for independence.[17]

Rujukan

Catatan kaki
  1. ^ a b c d Teeuw 1980, hlm. 273.
  2. ^ a b c Mahayana, Sofyan & Dian 1995, hlm. 78–79.
  3. ^ a b c d Mahayana, Sofyan & Dian 1995, hlm. 80.
  4. ^ a b Teeuw 1980, hlm. 274.
  5. ^ a b c Balfas 1976, hlm. 91.
  6. ^ Maier 1996, hlm. 141.
  7. ^ a b c Maier 1996, hlm. 131.
  8. ^ Yampolsky 2002, Chairil Anwar: Poet.
  9. ^ Djamin & LaJoubert 1972, hlm. 52–53.
  10. ^ a b Sastrowardoyo 1983, hlm. 159.
  11. ^ Maier 1996, hlm. 138.
  12. ^ Mihardja 2009, hlm. 195.
  13. ^ a b Teeuw 1980, hlm. 275.
  14. ^ Sastrowardoyo 1983, hlm. 162.
  15. ^ Mihardja 2009, hlm. 180.
  16. ^ Maier 1996, hlm. 142.
  17. ^ a b c d Teeuw 1980, hlm. 272.
  18. ^ Mihardja 2009, hlm. 188.
  19. ^ Maier 1996, hlm. 147.
  20. ^ a b c Maier 1996, hlm. 130.
  21. ^ Mihardja 2009, hlm. 192.
  22. ^ a b Maier 1996, hlm. 129.
  23. ^ a b Mahayana, Sofyan & Dian 1995, hlm. 79.
  24. ^ Maier 1996, hlm. 134.
  25. ^ UNESCO, Atheis.
  26. ^ a b The Jakarta Post 2010, Obituary: 'Atheist' writer.
  27. ^ Mihardja 2009, hlm. 183.
  28. ^ Mihardja 2009, hlm. 184.
  29. ^ Mihardja 2009, hlm. 185.
  30. ^ Sastrowardoyo 1983, hlm. 158.
Bibliografi
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