Pantun

Pantun (Jawi: ) is a Malayic oral poetic form used to express intricate ideas and emotions. It generally consists of an even number of lines and is based on $\mathrm{A}\mathrm{B}\mathrm{A}\mathrm{B}$ rhyming schemes. The shortest consists of two lines, known as the in Malay, while the longest, the , can have 16 lines. is a disjunctive form of poetry that always comes in two parts: the first part is a prefatory statement called or which has no immediate logical or narrative connection with the second or closing statement called or . However, they are always connected by rhyme and other verbal associations, such as puns and repeating sounds. There is also an oblique but necessary relationship, and the first statement often serves as a metaphor for the second. The most popular forms of are the quatrain (four lines) and the couplet (two lines), which both feature prominently in literature and modern popular culture.

The earliest literary records of date back to the 15th century Malacca Sultanate, although some historians believe that may be as old as, or even precede, the Classical Malay language itself, having grown and spread during the Srivijaya era, from which the founder of Malacca originated. during the Malacca era was featured in the most important Malay literary text, the Malay Annals, and is regarded as a high art integral to classical Malay literature. It also thrived naturally in the daily communication of traditional Malay society and served as an important expressive tool in Malay songs, rituals, performing arts, and all forms of storytelling.

Etymology

According to Za'aba, the word is thought to have evolved from the Malay word (Jawi: سڤنتون), meaning 'same as'. This word is used to signify a proverbial metaphor or simile, a type of figure of speech commonly found in traditional or proverbs from classical Malay literature. The archaic meaning of *pantun* in Malay also refers to a form of proverb used for indirect references, which has a similar role to as poetry, still generally created in styles portraying (indirect references) and (analogies).

Another theory suggests that originated from the word ('guider'), from the noun-building prefix and the verb (Jawi: تونتون) or 'to guide'. Alternatively, Brandstetter suggested that the word originates from and its similar sounding variants in Austronesian languages, with multiple meanings: Kapampangan ('well organized'), Tagalog ('skillful arrangement'), Old Javanese ('thread'), ('well arranged'), ('to lead'), and Toba Batak ('polite' or 'worthy of respect'). Winstedt supported this opinion, noting that in many Austronesian languages, words suggesting 'something set out in rows' gradually acquired the new meaning of 'well-arranged words', in prose or in poetry. Ari Welianto suggested that originated from the Minangkabau word , which means "guide".

History

Some scholars believe that predates literacy and may be as old as the Malay language itself. Muhammad Haji Salleh believes that the form grew and spread from Srivijaya, most probably from around the cities of Palembang or the Malayu. As Palembang became more dominant, the of the two cities would have been known to each other's populations, despite their political rivalry, as they used the same language. Nevertheless, the tradition is known to have reached its refined form with the flowering of classical Malay literature from the 15th century. Notable literary works like the Malay Annals and Hikayat Hang Tuah contain the earliest written examples of .

For at least 500 years, spread through spread from Malay language via trade routes, ports, and migrations, becoming the most dynamic single literary form. Today, it is known in at least 40 dialects of Malay and 35 non-Malay languages in the Malay Peninsula and many islands of Maritime Southeast Asia. The popularity of among hybrid communities like the Peranakans, Chitty, and Kristang people, signifies its prominent position as a cultural symbol in the Malay world. A type of called , consisting of interwoven quatrains, was introduced to Western poetry in the 19th century by Ernest Fouinet and later popularised by Victor Hugo, forming the basis of the modern pantoum.

Tradition

The originated as a traditional oral form of expression, manifesting the traditional Malay's views of life and their surroundings, and utilized to express a wide range of emotions and ideas. As a symbol of Malay identity, are seen as reflections of adat ('customs') and adab ('manners'). As Malay culture emphasizes polite and indirect expressions, are generally created using various forms of figurative language. Elements of metaphors, similes, symbols, personifications, eponyms, allusions, idioms, and proverbs are abundant in the elegantly compacted Malay .

In Malay culture, is an important instrument of communication in various social, cultural, and economic activities. It is used traditionally to express feelings, give advice, exchange quizzes, and sweeten conversations. For example, are used in the customary verbal exchange in a Malay wedding (or engagement) ceremony, especially as part of the culturally sanctioned greetings between representatives of the bridegroom and bride upon arrival at the bride's house. As an expressive tool, are also used extensively in the lyrics of traditional Malay songs tuned to popular rhythms like Zapin, Inang, and Joget. Other notable applications of can be found as a structural support for art performances like Dondang sayang, Bangsawan, Mak yong, Mek Mulung, and Dikir barat. The skill in performing these poems lies in reciting them in a way that suggests singing while simultaneously demonstrating the ability to engage in quick, witty, and subtle dialogue.

Indonesia possesses a wealth of verbal art. A largely non-written tradition of reciting expressive, often witty quatrains called is common in most Malay areas throughout the archipelago. Some performances are narrative; the traditions of central and eastern Java, for instance, use a structure similar to (called ) to recount religious or local historical tales to the accompaniment of a drum. However, this appears to be a modern adaptation, as writers from the early 20th century like H. Overbeck and J.J. De Hollander noted that a tradition similar to did not exist in Javanese at that time. Indeed, much of Indonesia's traditional literature forms the foundation of complex mixed-genre performances, such as the Randai of the Minangkabau of western Sumatra, which blends instrumental music, dance, drama, and martial arts in ceremonial settings.

Description

In its most basic form, the consists of a quatrain employing an ABAB rhyme scheme. A is traditionally recited according to a fixed rhythm; as a rule of thumb, to maintain the rhythm, every line should contain between eight and 12 syllables. According to Katharine Sim, "The is a four-lined verse consisting of alternating, roughly rhyming lines. The first and second lines sometimes appear completely disconnected in meaning from the third and fourth, but there is almost invariably a link of some sort. Whether it be a mere association of ideas, or of feeling, expressed through assonance or through the faintest nuance of thought, it is nearly always traceable" (Sim, page 12). The is highly allusive, and to understand it, readers generally need to know the traditional meaning of the symbols the poem employs. An example (followed by a translation by Katharine Sim):Template:Sfnp

I planted sweet-basil in mid-field
 Grown, it swarmed with ants,
I loved but am not loved,
 I am all confused and helpless.

According to Sim, literally means 'a floating coconut shell at sixes and sevens'. ('sweet basil') implies 'lover' because it rhymes with the word for that, . Other frequently recurring symbols are the flower and the bee, indicating a girl and her lover, the squirrel () implying a seducer, and the water hyacinth () meaning love that will not take root. The often makes use of proverbs as well as geographical and historical allusions, for example, the following poem by Munshi Abdullah:Template:Sfnp

Singapore is a new country,
 Tuan Raffles has become its lord,
Chinese jasmine, purple magnolia,
 A burgeon of flower in the dragon's mouth.

This alludes to the foundation of Singapore in 1819 by Sir Stamford Raffles. The last line means a girl who is protected by a powerful man, and Sim suggests this may refer to Raffles's wife, Olivia.

Sometimes a may consist of a series of interwoven quatrains, in which case it is known as a . This follows the $\mathrm{A}\mathrm{B}\mathrm{A}\mathrm{B}$ rhyme scheme, with the second and fourth lines of each stanza becoming the first and third lines of the following stanza. Finally, the first and third lines of the first stanza become the second and fourth lines of the last stanza, usually in reverse order, so that the first and last lines of the poem are identical. This form of has exercised the most influence on Western literature, where it is known as the pantoum.

See also

• Pantoum
• Gurindam
• Hainteny
• Sisindiran
• Syair

External links

• Template:Cite EB1911
• Pantun.com