Antologi Esai 5-D - Scored

Table of Contens
UTILE ET DULCE IN OKKY MADASARI’S ENTROK NOVEL

by Ghani Akhdan ................................................................................................1
THE INFERIORITY OF WOMEN CHARACTER IN SOCIETY
THE ANALYSIS OF “ENTROK NOVEL
By Karimah Nurlatifah………………………………………………….……….12
WRITTEN BY OKKY MADASAR

FEMINISM THEORY : HOW LACK OF EDUCATION CAN CAUSE
WOMEN TO LIVE UNEDUCATED IN ENTROK BY OKKY MADASARI
by Leni Fitria Nurjannah ....................................................................................22
TRANSCENDENTALIST ELEMENT: THE THOUGHT OF LIVING
SIMPLICITY IN ENTROK BY OKKY MADASARI
by Linda Alfionita ...............................................................................................33
DETERMINING THE PLOT IN THE NOVEL ENTROK WITH

ARISTOTLE'S THEORY
by Linda Nurzannah ...........................................................................................44
THE PICTURE OFMARNI INENTROK BY OKKY MADASARI
by Marsza Nurul Azmi........................................................................................55
ANALYSIS CHARACTERS OF MARNI IN OKKY MADASARI’S NOVEL
ENTROKBASED ON WOLLSTONECRAFT THOUGHTS
by Marwah ..........................................................................................................66
VIOLENCES AGAINST WOMEN IN ENTROK BY OKKY MADASARI
by Maya Aspia Azzahra.......................................................................................78

SUBORDINATION OF WOMEN THROUGH COLLECTIVE IDEAS IN
OKKY MADASARI’S ENTROK
by Meilani Asrina Sri Lestari ..............................................................................89
WOMAN IS NOT A BODY WHICH ONLY WAITING TO DIE IN
ENTROK BY OKKY MADASARI
By Melisa Betha ............................................................................................. 100
AUTHOR’S POLITICAL VIEW AND INTEREST IN THE NOVEL
by Mila Jamilatussarifah ................................................................................ 112
HORACE’S DECORUM ON TRAGEDY IN OKKY MADASARI’S ENTROK
THE REALITY OF RELIGIOUS LIFE IN THE BOOK ENTROK BY OKKY
MADASARI
by Moch Alif Yasin M .................................................................................... 124
HORACE’S DECORUM ON TRAGEDY IN OKKY MADASARI’S ENTROK
By Mochamad ramdhan ............................................................................... 137
EMERSON’S TRANSCENDENTALISM IMPLEMENTATION ON
MARNI’S CHARACTER IN ENTROK
by Muhammad Mauda Putra ......................................................................... 149
REPRESENTATION OF WOMEN SUBORDINATION IN ENTROK BY
OKKY MADASARI
by Muhammad Abdel Akbar.......................................................................... 161

SOCIETY’S THOUGHT ABOUT WOMEN IN ENTROK BY OKKY
MADASARI
by Muhammad Bayu Aji Munggaran ............................................................ 174
GENDER DISCRIMINATION IN ENTROK NOVEL BY OKKY
MADASARI
by Muhammad Bukhari M. H. ...................................................................... 184
LABOR & CULTURAL INJUSTICE ON WOMEN CHARACTER IN
by Muhammad Fajar Ismail .......................................................................... 196
THE PICTURE OF PREJUDICIAL SOCIETY IN ENTROK
by Muhammad Guntur Aghni ...................................................................... 206
OKKY MADASARI’S ENTROK: A BAD CONTENT NOVEL
by Muhammad IchsanShaefulloh .................................................................. 218
ENTROK AS THE WOMEN’S IMAGE OF FEMINISM BY OKKY
MADASARI
by Muhammad Ilham Akbar ......................................................................... 231
THE IMPLEMENTATION OF SELF-RELIANCE AS
TRANSCENDENTALIST THOUGHT INENTROK BY OKKY MADASARI
by Mutiah ....................................................................................................... 244
THE RELATIONSHIP BETWEEN MARNI AND TEJA: REVIEWED BY
WOLLSTONECRAFT’S THOUGHTS
by Nabila Fahrunnisa .................................................................................... 254

WOMEN’S DISCRIMINATION IN “ENTROK” BY OKKY MADASARI
by Nabilla Fitriani ......................................................................................... 266
WOMEN’S FATE IN THE NOVEL “ENTROK” BY OKKY MADASARI
by Nabillah Farah .......................................................................................... 279
HUMAN NATURE AND SOCIO-CULTURAL IN NOVEL “ENTROK” BY
OKKY MADASARI
by Nafila Su’da Alsa Mabrukah ..................................................................... 293
ENTROK AS FEMINISM’S POWER TO AGAINST PATRIARCHY An
Analysis - Entrok’sNovel by OkkyMaddasari
by Naida Rahma Tania.................................................................................. 305
WOLLSTONECRAFT’S FEMINIST THEORY AGAINST OKKY
MADASARI’S ENTROK
by Nari Suryani Aghnyanawati ...................................................................... 314
SUMARNI AS THE IMITATION OF FEMINIST IN NOVELENTROK 2010
BY OKKY MADASARI
by Natasya Mega Putri .................................................................................. 326
REALITY IN NOVEL ENTROK BY OKKY MADASARI
by Nazlah Khadijah Salim ............................................................................. 337
WOMEN'S FOOLING IN WOLLSTONESCRAFT PERSPECTIVE ON
RAHAYU CHARACTER IN OKKY MANDASARI'S ENTROK NOVEL

by Nilam Salsabila Surya ............................................................................... 347
SOCIAL CONFLICTS IN THE NOVEL ENTROK IN WORK OKKY
MADASARI
by Nina Fitria Sumartini ................................................................................ 357
THE CONCEPT OF LOVE BY WOLLSTONECRAFT IN OKKY
MADASARI’S ENTROK NOVEL
by Nirwana Bentang Nopember ................................................................... 366
WOMEN INFERIORITY AT THE FACE OF SOCIETY THROUGHOUT
by Nisa Nurjannah ........................................................................................ 377
A SAD MOAN IN A MOTHER’S HEART IN ENTROK NOVEL BY OKKY
MADASARI
by Nisrina Azmil Muna ................................................................................. 390
HOW ROMANTICISM WAS IMPLIED THROUGHOUT ENTROK BY
OKKY MADASARI
by Nizar Asy Syauqi ....................................................................................... 400
REPRESENTATION OF MALE SUPREMACY IN OKKY MADASARI’S
ENTROK
by Nizar Ulhaq…………………………………………………………………413
HOW UTILE ET DULCE PRESENTED ON ENTROK BY OKY
MADASARI
by Novia Dwi Alviana .................................................................................... 424

ANUNDERSTANDING OF THE POSITION AND STATUS OF WOMEN
IN OKKY MADASARI’S ENTROK
by Novita wahidah ......................................................................................... 436

- Less focus analysis
65 = C
- Too many introductory paragraphs with unnecessary statements
- Almost all narratives quoted and the analysis on them are irrelevant with the the theory
used
- Having jumped-up ideas Ghani Akhdan
- Lack of relevant critical arguments
- lack of relevant theoretical supports/justifications 1195030089
- Having inconsistent references V-D
- Be aware of some mechanic errors esp paragraphs
UTILE ET DULCE IN OKKY MADASARI’S ENTROK NOVEL
Literature is often used as learning material for everyday life.
Literature is an imaginative work written in the form of poetry and prose
such as novels and short stories. Literary writers use several elements that
exist in themselves such as their imagination, feelings, emotions, and
beautiful words to make their work sound pleasing and aesthetic. One
example is that there is advice about the life we live in different packaging
and then sent to literary connoisseurs. The word "literature" is often used
in a variety of different contexts. This implies that literature is not a term
that can be used to refer to simple phenomena, but literature is a term
that has a broad meaning and includes different activities (Rahmanto,
1988: 10).As for the function of literature, the classical opinion regarding
the function of literature, according to Horace, the Greek philosopher, is
that literature has the function of utile et dulce (to teach and to delight)
(Ali Imron Al-Ma'ruf, 2017).
Meanwhile, in the expression of other figures, such as Edgar Allan Poe in
(Ali Imron Al-Ma'ruf, 2017, p. 32) states that the function of literature is
didactic heresy: entertaining and teaching something. It is necessary to
deepen this literature in order to know what is meant by literature and the
function of literature by using literary criticism. (Efendi, 2020) To convey
that the essence of literary criticism is to assess, interpret, analyze and
evaluate literary works. In Indonesia, the term literary criticism and its use
only took place in the early twentieth century. The use of the term cannot
be separated from the colonial role in teaching the education system to
writers or Indonesians. (Semi, 1989, p. 11) reveals that literary criticism is
an attempt to explore a literary work by praising, conveying
shortcomings, recommending through appropriate interpretation. There
is a significant function to date in the development of literary criticism.
(Semi, 1989) said that literary criticism has three functions, including: (1)
To foster and develop literature. (2) To foster and appreciate culture. (3)
To bolster literature.
The novel Entrok tells the story of the lives of two women named
Sumarni or fondly called Marni and their biological child, Rahayu. As two
people who have blood ties, but there are differences found in each of
them. Marni is told as a woman who does not have the skills to read and
write and adheres to animistic beliefs (ancestor worship) while Rahayu is
told as a woman who is educated, intelligent, and believes in the religion
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she adheres to. The title of this novel attracts the attention of novelist
enthusiasts because it creates a foreign word. Entrok means women's
underwear. The beginning of this novel opens with the story of Marni
who has a simple desire, namely wanting to have Entrok because she has
grown up so that breasts also grow on her chest, besides that Entrok is
also used by her peers. However, in reality, the financial situation of her
family does not support Marni's wishes and she still tries to fulfill her
desires by doing various ways. As time goes by, Rahayu has grown up and
at that time she also realized that her mother was a moneylender and
worshiped her ancestors, so Rahayu rebelled against her own mother
because in her belief this was considered idolatrous. It seems that there
are several dominant themes that characterize the story of Marni and
Rahayu such as feminism, social-political themes and pluralism. The story
telling in this novel feels local or beautiful because local sentences are
inserted in the dialogues. The setting in this novel is described by a story
that happened decades ago and there are several social situations that
were revealed at that time and are still happening today. This is as if a
concern about the future picture that will or will still happen if in the past
there were issues such as politics and the arbitrariness of the rulers and it
was described in the past.
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After reading and understanding the novel Entrok, The theory of literary
criticism that is the reference in this essay is Literary Decorum and The
Function of Literature to Teach and to Delight (Utile et Dulce). Utile
means utility, while Dulce means delight or in Indonesian it means
enjoyment. This theory says that every lierary work must provide benefits
or a lesson after the literary work is read because it will provide values.
Utile et Dulce which means that a good literary work is a literary work
that contains elements of entertaining as well as providing benefits. Said
Horace in (Badrun, 1983). According to Abrams (1953; 1999) in
(Nurrachman, 2017, p. 6) there are four basic approaches, which
determine the method of literary criticism, by which emerged as a form of
the total situatuin of the work. One of which is written in (Nurrachman,
2017, p. 7) Prgamatic, is the approach that views literary work as
something which is consturcted in order to achieve certain effects on the
audience (effects such as aesthethic pleasurem insturction, or kinds od
emotion), and tends to judge the value of the work according to its succes
in achieving that aim. The pragmatic approach of the reader plays the role
of the reader as the main role accompanied by appreciation in judging
good or bad, worthy or not worthy, or not worthy. The work produced
by the author is fully the responsibility of the reader, while the author
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does not have the authority. It is the reader who determines every thing
written by the writer in conveying the message, values, and elements in it
by (Selden, 1991: 106-107; Aminuddin, 1987: 94) in (Efendi, 2020).
In the beginning recognition, the writer identified there is
atmosfered that built by Madasri which is affecting the feel of the reader.
―Ibu menangis dengan suara keras. Perdebatan tentang ke- yakinan kami selalu
berakhir seperti ini. Tangisan Ibu dan kebencianku yang makin bertambah.
Aku dan Ibu seperti makin menjauh. Bukan raga, karena aku dan Ibu bukan
orang
yang betah marah berlama-lama. Ibu memaki dengan suara tinggi saat marah, dan
diakhiri dengan tangisan. Aku tak mau kalah. Tapi pertengkaran kami tidak
berlanjut dengan tak saling bertegur sapa selama berhari-hari. Kami berbicara lagi,
layaknya pertengkaran itu tidak pernah ada‖ (Madasari, 2010, p. 59)
In the quotes above, the author describes a touching atmosphere because
it creates a fight between a daughter and her mother. This has more or
less effect on every reader who reads. Including the writer who was
affected by the atmosphere built by Madasari in the previous quote. This
is also argued by Horace in (Nurrachman, 2017, p. 75) they must be
affecting, and must lead the heart of the hearer as they will. And the
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writer feels that the two paragraphs above have succeeded in manifesting
what Horace wrote in his work. This quote has been able to affect and
the quote above can take the heart of the reader.
The next influence from the novel are informative and
entertaining, where the writer put as the perspective as the reader.
‖Lha, Yuk, kamu ikut ke sini juga,‖ kata Ibu.
‖Lha Bapak sama Ibu katanya mau ke pasar, kok malah ke sini?‖
‖Tadi dicegat pak tentara, katanya yang nggak ke sini berarti nggak patuh sama
negara. Ya sudah to... daripada dipenjara, kami ke sini saja. Nyoblos, terus
bakulan di sini.‖
Sepertinya, pemilu memang memberi rezeki buat Ibu. Da- gangannya banyak yang
dibeli orang. Memang benar kata Bu Lastri. Pemilu memberi ketenteraman buat
semua orang. (Madasari, 2010, p. 62)
As like the narration previously stated, it is true that when elections are
held, almost all activities carried out by local people who carry out
elections are temporarily suspended. But not for Marni and her husband.
For them this was an unplanned event, he took advantage of every
opportunity in carrying out the business he was carrying out. With
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Madasari's creative writing style, she made the above incident an
opportunity to sell. We can imitate this to optimize all circumstances to
become an opportunity. However, what Madasari wrote, said that the
general election provides peace for everyone, which is comforting.
Because in reality, during elections there is no peace for the people
involved. Sometimes during elections it is also not uncommon for lies
during the campaigns of prospective candidates to even play victim
between parties and their voters with the aim of making one party
become one of the elected parties. The writer considers the above as one
of the entertainments when he positions himself as a reader. Horace also
argued in (Nurrachman, 2017, p. 81) the aim of the poet is to inform or
delight, or to combine together, in what he says, both pleasure and
applicability to life.
The further impact in Entrok's novel is the effect of the novel on
the reader if we maintain good manners. This depiction also illustrates
that when we are not polite, we will suffer the consequences.
‖Malam itu saya tidak pulang. Sambil ngisi waktu main kartu sama teman-teman
yang juga lagi mangkal. Ada enam orang. Mainnya di pangkalan pasar, tidak pakai
duit, wong kami nggak punya duit. Terus tiba-tiba mobil patroli datang. Empat
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orang berjaket hijau turun dari mobil. Kami semua disuruh naik ke mobil. Saya
gemetaran, terpeleset, eh, kaki saya ditendang. Di tengah jalan, saat mau ke markas,
mobil itu macet kehabisan bensin. Kami berenam disuruh mendorong sampai markas.
Di markas kami diberi pengarahan. Kami dilarang main kartu di pinggir jalan,
sekalipun tak pakai uang. Katanya itu mengganggu pemandangan. Setelah dapat
wejangan itu saya diizinkan pulang. Tapi pas mau pulang tiba-tiba... saya... mmm...
kentut. Tapi sumpah mati... saya tidak sengaja. Sudah saya tahan tapi nggak bisa.
Saya bukan mau menghina...‖ Mehong menangis lagi. Kentut itu begitu membekas
dalam hatinya. Sepertinya ia sangat menyesalinya. Kami semua diam, menunggunya
tenang lalu melanjutkan ceritanya lagi. ‖Lalu... petugas itu marah. Kami dibawa ke
Kali Manggis. Di pinggir kali kami dihajar... dipukul, ditendang... lalu disuruh
nyebur ke sungai... Saya kedinginan... Rasanya seperti masuk es... Wong tengah
malam seperti itu.. (Madasari, 2010, p. 154)
As like the narration above, at that time, the author wants to maximize
the word "kentut" as a familiar word as well as a new thing. This word
resulted where when a villager who was caught peeing while being
interrogated by the army because he was caught playing cards ended up
being sentenced to soak in the river overnight. The writer puts his
position as a reader and considers that although the author may intend to
describe the army's arbitrariness, this is also ridiculous and entertaining.
8
However, in that case this is a bit too much, because if only the case was
replaced with a slightly more complex one, it would seem more realistic.
Horace may also judge this description as the author's authority to give
effect as Horace stated, that "In addition to using taste and care in
arranging words, you will express yourself most effectively if you give
novelty to a familiar word by means of a skilled settings." (Nurrachman,
2017, p. 73)
As the final effect and message of the novel, the writer can feel
what they feel when he see this case in perspective as a reader, namely
when they are carried away by the sad atmosphere built by the author of
the novel Entrok, as narrated below.
―Duka ini begitu mendalam. Jauh lebih dalam dibandingkan kematian
Teja. Duka atas kematian Teja adalah duka atas hilangnya kebersamaan di hari-
hari yang telah lalu. Duka untuk Rahayu saat ini adalah duka atas hari-hari
panjang di masa yang akan datang. Kesedihanku kehilangan Teja adalah kesedihan
perempuan yang ditinggal mati suaminya. Dan kesedihanku kali ini adalah
kepedihan hati ibu yang akan melihat anak kandungnya sengsara sampai di akhir
hidupnya. Bukan hanya Rahayu yang telah mati sebelum kematian itu datang. Aku
pun demikian.‖ (Madasari, 2010, p. 276)
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With the narration above, the reader can be influenced by touching
dictions about how it feels to lose someone dear to her, and how
everyone will face the end of her life. The author is able to create an
emotional atmosphere. As Horace's opinion is relevant to the previous
quote, "Only then, O Telephus or Peleus, will your misfortune affect me.
If your words are not appropriate, I shall laugh or go to sleep. Sad words
are appropriate to a sorrowful face; furious words are fitting to the angry;
gay jests to the marry; serious words to the solemn. (Nurrachman, 2017,
p. 75)
The writer concludes that there are certain effects and messages in
the Entrok Novel that follow Horace's rules: Utile et Dulce (to Teach and
to Delight), there is an atmosphere building on the development of the
atmosphere in the tension between a daughters and her mothers, the
author provides inspiration to be able to become entrepreneurs in
conditions of election and crisis, the politeness can save yourself, and the
beauty of the atmosphere as a reminder that we love our loved ones while
they are still alive.
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REFERENCES.
Ali Imron Al-Ma'ruf, F. N. (2017). PENGKAJIAN SASTRA Teori dan

Aplikasi. Surakarta: CV. Djiwa Amarta Press.
Badrun, A. (1983). Pengantar Sebuah Sastra. Surabaya: Usaha Nasional.
Efendi, A. N. (2020). KRITIK SASTRAPengantar Teori, Kriitik, &
Pembelajarannya. Malang: Madza Media.
Madasari, O. (2010). Entrok. Jakarta: PT Gramedia Pustaka Utama.
Nurrachman, D. (2017). INTRODUCTION TO CRITISM Critical Theroy
from Ancient Greece to Victorian England. Bandung: Pustaka Aura
semesta.
Rahmanto. (1988). Metode Pengajaran Sastra, Pegangan guru Pengajar Sastra.
Yogyakarta: Kanisius.
Semi, A. (1989). Kritik Sastra. Bandung: Angkasa Bandung.
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- What's this...???
- Misleading Karimah Nurlatifah
- There's no real analysis even one
- All of this only retelling 1195030124
- Learn more how to write an essay
5D
50 = D
THE INFERIORITY OF WOMEN CHARACTER IN SOCIETY
THE ANALYSIS OF “ENTROK NOVEL”
WRITTEN BY OKKY MADASARI
1. The Contain of The Story of “Entok Novel”
In the entrok novel, It tells about the history of marni‘s family and
their social life in the society wit others. Marni has a husban and two
children. Marni is a good wife, she take after her children untul they got
mature and to be good person. Marni has good relationship with others
she tried to communicate with other well. She is the humble wife and
harwork person. Marni is a wife who can not read and always adore the
ancestors. In each night, she carried out her habitual adore under the tree
to worship on Mbah Ibu Bumi Bapak Kuasa as her God. Not only she
carried out the ritual worship every night but also she tried to give some
ritual offerings to find out some idols through her praying under the tree.
12
She never knows and sees God everywhere but she believes that God and
idol already listen on her hope and praying. She carried out her action and
adore on Mbah Ibu Bumi Bapak Kuasa as the Great God who always
help and listen her praying and hope. By her adore and her ritual habit,
she tried to keep her family and live together with her family. She is the
hardwork wife to sell some foods and lends much money and property
including gold to people in her home town with certain interest based on
engagements with borrowers. This habit is hands in hands with her to
get a lot of money even lending with interest is a bad habit and prohibited
deeds by Islamic law but she carried out her bad habit because of her lack
of understanding on Islam even she did know the Islam she only knew
Mabah Ibu Bumi Bapak Kuasa as a God who answer her hope and
praying. In her social life, she alway communicate with people around her
hause well, She never did the bad action or evil action on her life she is a
good adore altough she adored on Mabah Ibu Bumi Bapak Kuasa as a
God who answer her hope and praying she did not believe and worship
in Allah because during her life she did not know Allah.
Every night, marni always wakes and invites Rahayu as her
daughter to adore on idol or God under the tree. Rahayu as her daughter
follows her invitation to adore and pray on Mbah Ibu Bumi bapak Kuasa
13
as a God who answer her praying and hope in her family life. Marni is the
traditional person who did not know the improvement era. When rahayu
join with her study at elemntary school, she studied religion to Pak Wiji as
her religious teacher. Mr. Wiji teaches religion teaching on students
including to Rahayu. Her teacher teaches the characters of ally action
―Musrik‖ in lifes. Such as adore to an idol, tree and giving ritual offerings
on God or idol. Rahayu focuses on Mr. Wiji speech about ally on Allah.
She remembers on her mother whom always carries out the ally worship
on diffrent God to Mbah Ibu Bumi Bapak Kuasa. She thinks that
mother‘s habit is a sin action and deed on Allah. She feels shame on her
friends because her mother always carries out the ritual offerings ong idol
or Mbah Ibu Bumi Bapak Kuasa as a God. After going back from her
school, without thinking over, she throws out the ritual offerings foods
from special mother‘s room because her mother deeds are sin deeds on
Islam law. It is prohibited by Islam, when Rahayu throws the ritual
offering foods outside, Tonah as the old sisters sees her deed, Tonah tries
to remember and advises Rahayu not to throw some ritual offerings
foods from mother‘s room because it ritual symbol on God and their
mother will be angry to Rahayu. But Rahayu does not listen her advises
because her carrying out is a right deed on Islam. When their mother
14
comes to her house, she saw some terrible ritual offering foods to out of
hause. She feels angry when those foods out site. She asks to Rahayu
about this situation, then Rahayu answer it has been done by her because
mother habit is a sin deed on Allah. Allah will be angry on her mother
about her bad habit to adore on different God. Suddantly, Her mother
cries and asks to Rahayu who is Allah because when Marni was born
introduced by her parents from right now till today to adore on Mbah
Ibu Bumi Bapak Kuasa as her God and Idol to answer her hope, praying
and problem of life. Rahayu also cries because Rahayu‘s action is the right
deed to remember her mother about deviated deed on Allah.
Rahayu is the new generation which created by school and some
easy life. Rahayu is the obey person and uses logical understanding on
every problem who resists the deviated deed on Allah and prohibited on
ancestor worship on God or Idols although her mother is one of adore
person who obey on Mbah Ibu Bumi Bapak Kuasa as mother‘s God and
Idols. Rahayu is the new generation who think every think logically. This
hands in hands with Nurachman saement, ―woman is subjected by
ignorance to their sensation and only taught to look for happiness in love,
refine on sensual feelings and adopt metaphysical notion respecting that
passion which lead them shamefully to neglect the duties of life basen on
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logical perseption.‖ (Nurachman, 2017) Marni believes in her faith on
Mbah Ibu Bumi Bapak Kuasa as mother‘s God and Idols while Rahayu
believe that mother deeds to adore on Mbah Ibu Bumi Bapak Kuasa as
the sin deeds on Allah. Both faith characters on God are different, this
influence Rahayu and Marni as her mother seldom to communicate even
when Rahayu continue to study to certain collage, she never went home
because she will not see the bad behavior carried out by her mother to
adore Mbah Ibu Bumi Bapak Kuasa as one God and Idol every night and
putting ritual offering foods on mother‘s room and under the tree. Both
beliefs are different they did not communicate well even her mother tried
to communicate with Rahayu well but Rahayu did not see her mother.
She studies and lives in certain collage and city to avoid from her mother
ritual offering habit till she find the comfortable heart in certain place and
situation. Marni and Rahayu, two people who have real bond between
mother and daughter but both of them becomes the strange people each
other for every year. In Marni‘s site, Rahayu is the person who has no
soul and spirit, but Rahayu said Marni as her mother is a sinner person
who carries out the bad ritual offering habits to adore on Mbah Ibu Bumi
Bapak Kuasa as her God and Idol. In each theri thought, there is no same
perception on their beliefs each other.
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In the other situation, Rahayu met with Kiayi Hasby, he tought
her the be good moslem and to be good person who associate and
communicate with diversities background including ifferent beliefers well.
Kiayi Hasby tought her manay benefit matters on her life. Rahayu
realized that if she forced to be admited her thinking and belief by others
incuding by her mother it will separate and make bad relationsship with
others including with her mother. She met with someone till got maied
with him and found good neighbour and friends but unfortunately her
friends got has been killed by the soldier from govermants becuase of the
false prediction that her friends is PKI. In this reason, some soldiers
executed her friends to shot them although her friends are not the
members of PKI. It is the firts reason to fight some soldiers by her
paradigm and her efforts but Kiayi Hasby forbids her to keep silent and
tries to cooperate with state soldiers and join with them because if they
tried to resist state soldiers the society around them will be killed by
them. The same case is faced by Marni as her mother to face some state
soldiers who comes to her mother to ask a lot of money. The
complicated situation which has been faced by Rahayu is the teaching
matters for her to be good person wheather on her spiritual or her social
life to face and communicate well. Kiayi Hasby is the humble person and
17
tolerant person always teaches her to be better person to the future and
to be good citizenship and good believer. The situation becomes terrible,
Kiayi Hasby suggests her to go home to live with her mother athough
between she and her mother have the different belief but he advises her
to live together and rescpect each other.
At that time, she intended to go home because the situation in live
with Kiayi hasby is not condusive condition even some states soldiers
thinks that Rahayu indicated as the Indonesian Communist Members
―PKI‖ members. So that why, she tried to go home and hurry up to meet
her mother because for some years she never met and communicated
with her mother. When she arrived in her villiage, she met her family
including her beloved mother. Marni as her mother is very happy to meet
Rahayu as beloved daughter both of them did not tell about different
believes even they respect and tolerant each other. In certain situation,
because Rahayu lost her citizenship identity card ―KTP‖, she tried to
make her citizenship identity card to her leader in their jome town. But
when Rahayu got her citizenship identity card ―KTP‖ she saw the
identity name of her citizenship identity card as an Indonesian
communist member ―PKI‖ although she is not as an Indonesian
communist member ―PKI‖. She just aware on her society about the
18
wrong policy and action which have been given to her friends from
certain town. But Rahayu and Marni acepted this condition. They think
that they can live together and develop and respect each other as a good
family.
2. The Critique on The Story of “Entrok Novel”
a. The advantages of the story of the novel
The author presents this story well. It has spiritual and moral
dimension on creating good person in individual and social
structure on social life globally. In the spiritual dimension, this
story created Rahayu to be a good Muslim and good person on
social life with others. The process of good person on Rahayu was
taught by Kiayi Hasby as her teacher who guided her on each
activity incuding how to be a good Muslim and person. Kiayi
Hasbi taugh her indirectly. From his teaching, she know how to
communicate with people well, how to respect different
background well and how to be religious person in social life well.
The second, from moral dimesion, Rahayu learned how to be
tolerant with others, she learned about diversities thought and
learned about respecting on people around her including
respecting on her mother. In her life era, there two different
19
ideologies such as the Indonesian Communist members ―PKI‖
and state soldiers who fight each other. Rahayu and Kiayi Hasby
as the moderator on social structures to communicate both of
them to be hand in hands and live together in one state. In the
other side, state soldier forced society and PKI to obey them
totally by their violence while Kiayi Hasby tried to mediate
Indonesian communst members ―PKI‖ by his moderate
approaches as the method to invite them to join with state soldier
to be good citizenship including Rahayu follow him to face the
complicated problem oh their societies.
This story invites us to be a good person and invites us to respect
and tolerant to others even others have different backgrounds and
the story of this novel tried to communicate us as readers to be a
good people on our spiritual and moral dimension well in real
social. ―As result of the study, this employs a mimetic method in
which literary works of the novel are viewed as a product of reality
and reflection of the society and culture.‖ (Abrahams, 1999)
b. The lack of the story of the novel
This novel does not tell clearly becuse the ending of the story
needs the continued story to make the story complitelly. The
20
outhor presented does not tell the description of Indonesian
Communist memebers ―PKI‖ clearly because this organization
need to be undertood by readers. The author should tell why
the state soldiers tried to fight even kill the indonesian
Communist members ―PKI‖. It needs to be explained more in
oreder we are as readers understand the logicl reason whih has
been given by aurthor.
REFERENCES
Abrahams, H. a. (1999). A Glossary of Literary Terms. Boston.
Nurachman, D. (2017). Introduction to Criticism. Bandung: Pustaka Aura
Semesta.
21
- Too many introductory paragraphs with unnecessary statements Leni Fitria Nurjannah
- Having jumped-up ideas
- Some narratives and the analysis are relevant with the theory used, some
1195030127
others not
- Lack of theoretical supports/justifications
- Lack of sources cited V- D
60 = C
- Poor composition/mechanics: paragraphing, capitalization, punctuation,
citations, etc
- Learn more how to write references
FEMINISM THEORY : HOW LACK OF EDUCATION CAN
CAUSE WOMEN TO LIVE UNEDUCATED IN ENTROK BY
OKKY MADASARI
Literacy in English literacy comes from Latin, namely litera
(letters), often interpreted as literacy. When viewed from the meaning of
literacy means a person's ability to read and write. Often people who can
read and write are called literates, while people who cannot read and write
are called iliterates or illiteracy. (kern k. , 2000)
It describes literacy as the ability to read and write. In addition,
literacy also has similar meanings with learning and understanding the
source of reading. (romdhoni, 2013)
Literacy is a social event involving certain skills, which are necessary to
convey and obtain information in the form of writing. Women
22
desperately need it as Mary Wollstonecraft says in introduction to
criticism book.
― Were woman more rationally educated could they take a more
comprehensive view of things. ― (Nurrachman, p. 138)
Related to women, we need to know that the thing that discusses the
perception of women can be called feminism.
Feminism, which has the meaning of the femina, has the meaning
of female nature, so feminism is initiated by a perception of the
inequality of women's positions compared to men in society. As a
result of this perception, various efforts arise to examine the
causes of inequality to eliminate and find a formula for equalizing
the rights of women and men in all fields, in accordance with their
potential as human beings. (aida, 2019)
Over time, feminism is not just a discourse but an ideology that is
essentially resistance, anti, and free from oppression, domination,
hegemony, injustice, and violence experienced by women. Understood
from the ideology of resistance, this indicates that in feminism there must
be action to free women from all injustice, so that feminism also has the
23
meaning of intellectual movements that emerge and grow academically as
well as forms of women's political and social efforts to end oppression.
Likewise Wollstonecraft who strongly upholds the dignity of
women because she does not want the dignity of women under the
auspices of men she also does not want women to rule over men, as she
said in the book 'A Vindication of the Rights of Woman' which is now
considered a classic history of feminist and feminist theory,
Wollstonecraft primarily debated the right of women to be educated. She
believed that through education would come emancipation.
"Fighting for women's rights, my main argument is built on this
simple principle, that if she is not prepared by education to be a
male companion, she will stop the advance of science, because the
truth must be common to all, or will become ineffective with
respect to its influence on general practice." (greelane, 2019)
Entrok is one of the novels by An Indonesian writer born in
Magetan, Okky Madasari. The first printed novel was published in April
2010, which contains stories about various feminism and activities
opposed by Wollstonecraft.
24
Wollstonecraft strongly opposed the uneducated and literary
woman in her life, marni's illiterate and uneducated figure in an entrok
novel that was in stark contrast to her theory. Since a woman will become
a mother, the mother is the first school for her children. If a woman is
literary and uneducated, what would be the fate of the children of future
generations if a mother were. It turns out that illiteracy not only exists in
the real world, but in the fictional world is even more cruel and more
tortured.
―…….. Apa yang masih dipikirkan seorang perempuan kere buta huruf
dengan tanggungan seorang anak selain hanya makan? Suaminya, yang
konon adalah bapakku, minggat entah ke mana. Sejak kapan dia pergi aku
juga tak ingat. Samar-samar aku hanya ingat Bapak meninggalkan kami
waktu aku pertama kali bisa mengangkat panci yang airnya mendidih dari
pawon. ― (Madasari, p. 18)
The reason, what marni does has to do with lack of education. As
a result of illiteracy itself, marni lives on ignorance with the truth that
actually occurs, the truth of speech and writing.
Lack of education has serious effects on everyone, not only people
who are under-educated. People who lack education have trouble getting
25
ahead in life, have worse health and are poorer than the well-educated.
(foor, 2013)
― Apa yang dikatakan Bu Lastri kukatakan pada Ibu dan Bapak.
Mereka berdua, orang buta huruf yang hanya tahu pasar, harus tahu pemilu.
Mereka harus ikut, dan tidak salah pilih. Kalau bukan aku yang orang
sekolahan, siapa lagi yang akan memberitahu mereka ? ― (Madasari, p.
61)
On the other hand, marni figure who has desires or ambitions in
him, but at the same time does not get a school that causes him to be
uneducated, therefore there is no literacy in his life caused by the scope
of the surroundings.
This led to excessive oppression and extortion of marni because she was
uneducated and only agreed to everything without knowing the point.
‖Tadi dicegat pak tentara, katanya yang nggak ke sini ber-arti nggak patuh
sama negara. Ya sudah to... daripada dipenjara, kami ke sini saja. Nyoblos,
terus bakulan di sini.‖ (Madasari, p. 62)
It starts by following a path that aims "so that there are no
problems" but vice versa. As the saying goes, "master's weapon of
eating", sheltering under the protection of a brainless walking is not a
26
thing that brings happiness, but rather blackmail on the basis of
protracted fooling.
― Bertahun-tahun aku melihat mereka datang ke rumah hanya untuk
meminta jatah. Uang keamanan, katanya. Semua dituruti begitu saja.
Ibuku yang buta huruf dan aku yang anak sekolahan, semuanya seperti
kerbau dungu yang tak pernah tahu arah. Dan aku baru menyadarinya
sekarang. ― (Madasari, p. 136)
I‘m as a reader who follows the instincts of the author drifts away
and greget sees the figure of marni who is fooled easily, fooled with long-
term illiteracy that becomes a guarantee of the misery of his life.
― Dia mengeluarkan selembar kertas yang aku tak mengerti sama sekali apa
isinya. Lalu dia menyodorkan kotak berisi tinta, memasukkan jempolku ke
sana, lalu menempelkannya di kertas. ‖Sudah beres semua. Sekarang tinggal
sertifikatnya saja. ― (Madasari, p. 184)
"I earnestly want to show what is made up of true dignity and
human happiness. I want to persuade women to strive for
strength, both mind and body, and to convince them that gentle
expression, vulnerability of heart, tenderness of sentiment, and
subtlety of taste, almost synonymous with the epithet of weakness,
27
and that the creature is merely the object of mercy, and the kind
of love her sister calls her, will soon become the object of
humiliation. ― (greelane, 2019)
Mary Wollstonecraft struggled to fight for women's happiness, but
it was the woman herself who did not fight over her. He must be very sad
that his struggles have been wasted. I as a woman who fought to fight for
myself to be educated and literate was very disappointed, why the figure
of Marni in the novel entrok did not want to struggle in terms of literacy
even though the situation at that time was not like now that can be
literate anywhere and anytime. "Entrok" alone he can fight, why he just
keep quiet over his illiteracy.
― Anakku Rahayu sekarang sudah lulus SMA. Matur nuwun, Gusti, aku
yang buta huruf ini punya anak yang sekolahnya tinggi. Sama tingginya
dengan anak Pak Lurah atau anak priyayi-priyayi guru itu. Anakku, yang
orangtuanya buta huruf semua, malah lebih pintar dibanding anak-anak
orang-orang pintar itu. Ini semua karena berkatmu, Gusti, Mbah Ibu Bumi
Bapa Kuasa. ― (Madasari, p. 123)
That's the importance, and this is the benefit. Side effects in terms
of literacy, which will save us from the fooling of the world. Not
28
necessarily in the realm of school, the figure of Marni who has a highly
educated child can be used as an effort in literacy. Asking his son to teach
him to learn to read is not something that should put prestige forward.
― Aku naik kelas dengan nilai paling bagus. Ibu tak pernah tahu angka,
apalagi nilai. Dia hanya mendengarnya dari Bu Lastri, guruku yang sering
mengkredit barang pada Ibu. Ibu berkata doa-doanya setiap malam
dikabulkan oleh Mbah Ibu Bumi Bapa Kuasa. Ibu mengucapkan syukur.
Dia menyembelih lima ayam untuk panggan. ― (Madasari, p. 58)
Whether it's just in fiction, or in the real world there are people
who don't know numbers but he understands the amount of money he
gets from his defaults and loans to those around him. I think it's stupid,
every time he makes friends with money that his own brain doesn't see.
The long term of the fruit of initeration is vast, in addition to being
fooled by the world and all its contents, it will also be fooled by itself.
― Rezekiku juga kubagi-bagi untuk tentara-tentara itu, setoran buat RT
dan Kelurahan, sampai setoran untuk Partai. Aku juga nyumbang setiap
ada perbaikan masjid dan pembangunan langgar baru. Lha kok masih saja
aku disalah-salahkan. Sekarang ini saja, aku sudah ditagih sumbangan
untuk kampanye. Mereka minta 250.000. ― (Madasari, p. 101)
29
Fooled that drags on without end, I don't know when it will all
end. In palak subtly with very seducing language. The risk of becoming a
mother who lacks of education not only affects her child but has a greater
impact on her as the owner of her physical soul.
‖Ya buat keamanan di sini. Kowe bisa enak dagang di sini karena kami
semua yang mengatur. Kami semua yang meng-amankan. Kowe bisa dapat
untung, kami dapat apa?‖ tentara yang baru datang ikut-ikutan berbicara.
‖Iya, Pak. Maaf. Istri saya ini tidak paham. Maklum, kami orang buta
huruf. Jadi kami harus membayar uang keamanan berapa, Pak?‖
‖Sama-sama enak saja, uang keamanan diganti daganganmu yang masih
sisa itu. Malah enak, to? Kalian nggak perlu keluar duit.‖
Tentara-tentara itu mengambil dagangan Ibu. Masih ada empat ember dan
enam panci, semuanya ludes. Mereka juga mengambil setengah karung beras.
Bapak dan Ibu hanya diam tak berbuat apa-apa. ― (Madasari, p. 50)
Give up for the sake of the powerful because they want to take
refuge under the auspices of power with their illiteracy, pursued without
any fault. The picture of life without knowledge is greatly denigrated,
even though they deserve to be happy.
30
Literacy is important to want men or women, so as not to be
fooled by the cruelness of the world and its contents. Especially the
woman who will be the first school for the next generation. To be
educated not only in the realm of school, for today can access anywhere
and anytime we need it.
Mary Wollstonecraft reveals that :
― were woman more rationally educated could they take a more
comprehensive view of things. ― (Nurrachman, 2017)
The woman who can be more rational in terms of Education,
Wollstonecraft who greatly increases the position of women, lest we
disappoint her struggle and degrade women by being uneducated. But
don't think we're changing for Wollstonecraft's sake, change the mindset
for the future of all of us.
Discussing women, we need to know that the thing that discusses
the perception of women can be called feminism.
Feminism, which has the meaning of the femina, has the meaning of
female nature, so feminism is initiated by a perception of the inequality of
women's positions compared to men in society.
31
Feminism in the novel is opposed by Wollstonecraft with a marni
figure who lacks literacy and education which results in blackmail
indirectly without realizing it gradually. Not to imitate the events that
happened to marni, but make a life lesson so that we do not feel and do
not experience what Marni did.
REFERENCES
aida, i. (2019). Mary Wollstonecraft said. Wollstonecraft , 2.
foor, p. (2013). lack of education. education, 4.
greelane, l. (2019). gathering of wollstonecraft said. wollstonecraft, 3.
kern, k. (2000). literacy analysis. literate, 3.
kern, k. (2000). literacy analysis. literate literacy, 3.
Madasari, O. (2010). Entrok. indonesia : media.
Nurrachman. (2017). Introduction to Literary Analysis. bandung: pustaka aura
semesta.
romdhoni, e. (2013). literacy. analysis, 90.
32
- Supposed to be a good one reading the title, but it's mistaken
- Too many introductory paragraphs
- Having jumped-up ideas Linda Alfionita
- Some still retelling
- Some narratives and analysis are relevant with the theory, some others not
1195030128
- Lack of critical-analytical arguments
- Lack of theoretical supports/justification
- Lack of sources cited
- Be aware of some mechanic errors 65 = C 5D
TRANSCENDENTALIST ELEMENT: THE THOUGHT OF
LIVING SIMPLICITY IN ENTROK
BY OKKY MADASARI
A literary works must be containing at least one of the author‘s
beliefs and thought. It could be in the form of the plot, the characters
action or the way they choose the words or the narration. And more than
that, a good literary works should not only good at entertaining or at its
contextual quality, but also has to be good on the moral and social value
(Carr, 2005) not only pouring a bunch of human life experiences, but also
has to make the story good enough to affect the reader to feel, to
understand and to follow what they beliefs and thought with their words.
As Horace interprets in (Nurachman, 2017) Horace‘s ―Art of Poetry‖
poem that: ―It is not enough for poems to be beautiful; they must be
affecting, and must lead the heart of the hearer as they will..‖ as his
thought that the poets should be able to keep the reader‘s mind all the
time.
33
And to fulfil that mandate, a poet should also be able to pour their
thoughts, beliefs and imagination that could be from what they saw in
reality or how they think the story supposed to be resolve whether
through the characters, plot, or the words that was narrated on the story.
As C.S. Lewis, a British scholar and novelist said :
―Literature adds to reality, it does not simply describe it. It enriches the
necessary competencies that daily life requires and provides; and in this respect,
it irrigates the deserts that our lives have already become.‖
In that way, they can share how they beliefs and feeling as the purpose of
their writing to the reader. But since there is no single ‗correct‘ or ‗true‘ in
reading a literature works, It‘s basic to think that people can always found
more than one value in one literary works, since they can approach from
different aspect and perspective (Nurachman, 2017) or for more further,
the author itself can have more than one values or thought on the list.
Because they can put a lot of thoughts and wrap it into one form, named
literary works. In literature itself, the poet‘s thought and what they beliefs
were also often showed on the way the characters act. They can show it
by how they make decision, think or their social behavior.
34
Talk about the poet‘s thought in their works, Entrok is quite
representative for the works that has strong aspect of values and thought.
What we can see clearly in the first glance was perhaps it‘s feminism
element. But in the other hand, if we penetrate it using ‗beliefs‘ or
‗thought perspective, we can see some evidence of transcendentalist
thought on it. Indonesia that has a various culture and beliefs (at the
background time of entrok). Where some spirituality and also various
religious culture are frequently found, whether on their behavior or
thought. With that thought we should can easily saw some
transcendentalist elements such as Living Simplicity, Self-Reliance,
Importance of Nature and their Spirituality through the novel.
Entrok in some perspective tells more about feminism, tragedy of
injustice and social discrimination. At the time of 1950 - 1990 with a
young girl named Marni that has a wish to having Entrok1 but struggling
with her family poverty. That with a lot of efforts she finally make it, but
then she start to be greedy and want to having a lot of money. She keep
work hard and praying to ‗Nature‘ as most of what people believe in their
society to fight and change their social class, until finally she got her first
whises. In this part of the story, the character‘s thought seems to be
1
regional language (Javanese) for women's underwear (bra)
35
against any elements of transcendentalism. To be greedier and
materialistic which is highlighted in this novel. Human urgency to having
more than what they already have as the contradictive side:
―Pagi itu aku terbangun dengan kecewa. Segala keindahan dan kebahagiaan
itu kenapa hanya ada dalam mimpi? Aku ingin punya entrok berenda.
Entrok sutra bertatahkan intan dan permata. Aku ingin semua orang
kagum, menatapku dengan iri. Aku juga ingin ada orang yang membuatku
merasa begitu bahagia. Mengantarkanku ke kerajaan yang indah.‖
(Madasari, 2010a)
The quotation above shows how Marni being the opposite of the
transcendentalist, especially the thought of living in simplicity. At first she
only need at least one Entrok but then start to think one is not enough
which is as a representative of not having life with essential need. She
start to think about what people say (as representation of society) toward
her.
In another pages of the novel, at the peak climax of her problem‘s
life, she seems to realized what we call as the essential fact of life. After
suffering a lot of problem, about what she really need and what the most
important thing in the form of her love to her daughter:
36
―Pikap itu sudah menjadi duit. Aku punya modal lagi untuk bakulan. Aku
tahu, delapan persen sudah tidak akan laku lagi. Biarlah, aku tidak akan
mencari untung banyak-banyak. Yang penting bagiku duit itu tetap bisa
berjalan. Aku mulai datang lagi ke Pasar Ngranget. Kutawarkan utangan
lima persenan. Tentu saja tidak ada yang menolaknya. Kini aku kembali
mendapat tempat di pasar yang telah membesarkanku ini. Setiap pagi aku
datang kembali untuk mengambil cicilan orang-orang. Dua minggu sekali pada
hari Jumat, aku berangkat ke Semarang. Lalu kembali ke Pasar Ngranget
pada hari Senin. Semuanya berjalan begitu membahagiakan bagiku. Biarlah
aku tak punya pikap. Biarlah tebu-tebu itu hanya bisa dijual tak jauh lebih
mahal daripada singkong. Biarlah uangku hanya memberi untung lima persen.
Yang penting bagiku, selalu ada uang setiap aku ingin berangkat ke
Semarang. Yang penting bagiku, setiap hari aku punya sesuatu yang
diharapkan. Harapan agar bisa segera bertemu anakku lagi.‖(Madasari,
2010b)
The quotation above fits the thought of having life in simplicity, as
the thought that only need the essential facts of life. In this case, Marni
whose known as materialistic person on the previous chapter,
unpredictably after suffering a lot of problem, gradually start to think
about what essential thing for life. It is her family, her one and only
37
happiness, Rahayu her daughter. She start to think in way simpler, there is
no ‗become the richest‘ or ‗change people impression about me‘ anymore.
What really matters is the true happiness. Something that you can not
gain with any materialistic and luxury stuff. It is the happiness from the
one you loved, to be by your side. She naturally think about her life in
different way, instead of being overcome with the mundane and chaotic
choices of her former life, she instead are given the opportunity to think
about what really matters in life. In living simplicity, we begin to
appreciate the things that we may not have noticed before. The trivial
things in life become the big things because they create some biggest
joys.(Alexander, 2014)
If we seek for the value of the story, as for some people living simplicity
in these days are sort of the important and necessary thing. From the
poet‘s perspective, Okky Madasari seems like putting that thought on her
works as an agreement. By creating the character such as Marni and
Simbok. In the first chapter, Simbok appears a lot. I noticed, that at first
Simbok was like the representative of how the way living in simplicity
goes. She believe in thought that living in simple way with her poverty
was not a big deal. Not in ‗give up‘ way. But more like as long as we still
38
live, we can eat and drink and health, that‘s enough. Proved by she‘s
response when Marni tell her that she want to have entrok:
―Oalah, Nduk, seumur-umur tidak pernah aku punya entrok. Bentuknya
kayak apa aku juga tidak tahu. Tidak pakai entrok juga tidak apa-apa.
Susuku tetap bisa diperas to. Sudah, nggak usah neko-neko. Kita bisa makan
saja syukur,‖ kata Simbok.
From the dialog above, it proved how simple the way Simbok‘s life. and
also shows that she has been living in that condition for a long time, but
what she really do is just doing her best for life, be grateful for what she
already have and keep her soul to be close with nature and God:
―Nduk, terserah apa penginmu. Yang penting, coba nyuwun sama Mbah Ibu
Bumi Bapa Kuasa. Semua kejadian hanya terjadi kalau Dia yang
menginginkan.‖ Simbok menyuruhku memejamkan mata, lalu mengucapkan
permintaanku dalam hati. Simbok sendiri juga memejamkan mata. Dengan
mata saling terpejam, kami diam beberapa saat. Saat itu angin seolah berhenti
berembus, jangkrik dan katak menghentikan semua ocehannya. (Mandasari,
2010a)
Entrok using multi perspective, with the creative and expressive word,
Okky Madasari can shows each character‘s thought clearly. Even it easy
39
to tell that each characters has their own thought and beliefs. But how the
way the story lead us to the ending, tells us how the story end in a way so
that we can see the moral value on it. If we analyze it by that perspective,
we can see how at first Marni was so obsessed with worldly affairs,
thought that what society think about her is something we have to deal
with seriously. Or perhaps we can tell that Marni was a good
representative for the opposite type of living in simplicity and
transcendentalist. What I think about the thought of living simplicity.
What interesting about Entrok was, they can show more than one moral
value at once. In this analysis, the story tells us about living in simplicity,
about how living with only essential facts and need, and to be grateful
with it will be better than having a lot of extravagant things but has a lot
of consequence behind it. But in the other hand, the story also shows the
thought of ‗not to surrender on your life and dream‘. Living simplicity in
Entrok was not exactly has the same implementation as the real
transcendentalist like living far from the metropolitan life or live closer to
the nature. But there is an essential element as a representative of living
simplicity. Just like was interpret by Marni thought in page 268:
―Semuanya berjalan begitu membahagiakan bagiku. Biarlah aku tak punya
pikap. Biarlah tebu-tebu itu hanya bisa dijual tak jauh lebih mahal daripada
40
singkong. Biarlah uangku hanya memberi untung lima persen. Yang penting
bagiku, selalu ada uang setiap aku ingin berangkat ke Semarang. Yang
penting bagiku, setiap hari aku punya sesuatu yang diharapkan. Harapan
agar bisa segera bertemu anakku lagi.‖
When Marni says ―semuanya berjalan membahagiakan bagiku..‖ that part
which is refer to the return of Rahayu, was obviously shows how Marni
feel so grateful for the return of her daughter more than anything else.
She feels grateful for something that she never can tell it could be the
biggest joys in her life. More than all the luxury, social class and all her
achievements in the past. But of course, to finally having that kind of
thought, she has pass through a lot of struggle and problem. Which is
quite has the same process of how the way transcendentalist make up
their mind. When you have to see clearly what you really feel, what you
really need and found your answer as something that you thought as the
truth by your own mind and heart. If we analyze, we can see that Marni
did not make up her mind with any logical way. She just gave up all she
have to bring her daughter back by her side. She decide to do so as the
answer of what her heart and feeling say. As Emerson and Thoreau
interprets :
41
―Transcendentalism took an individualistic approach that stressed
that people ought to be self-reliant and that truth can be found
intuitively. This movement emphasized living a simple life and
having a oneness with nature.‖
In the end, Entrok as the novel that shows the power (in woman
perspective) that give all her have to fought poverty, discrimination and
injustice with ‗that‘ way cannot be judged as the whole incorrect thing,
just as we cannot considered surrender to your life as the thought of
living in simplicity. More than that, all the transcendentalist element
taught, not to live as people pleasure, not to letting society decide about
our life and decisions, to think clearly about our need and desire. More
specific, with the thought of living simplicity: to be closer with the God,
to be grateful for the thing we already have, not to live as machine to
fulfil ‗materialist stuff‘, but instead to live in a life that concern about the
most essential thing of life and to be happy even about simplest thing as
your biggest joys. That is the transcendentalist element, the moral value
of living simplicity in this literary work.
References:
Alexander, S. (2014). Degworth (1st ed.).
42
https://www.taylorfrancis.com/chapters/edit/10.4324/9780203796
146-39/simplicity-samuel-alexander
Carr, D. (2005). On the contribution of literature and the arts to the educational
cultivation of moral virtue, feeling and emotion, Journal of Moral Education.
137–151. https://doi.org/10.1080/03057240500127053
Mandasari, O. (2010a). Entrok. Gramedia Pustaka Utama.
Mandasari, O. (2010b). Entrok (2nd ed.). PT Gramedia Pustaka Utama.
Nurachman, D. (2017). Introduction to Criticism (D. Nurachman (ed.); 2nd
ed.).
43
50 = D
- Truly an inconsistent discussion
- Such a misleading one; applying Aristotle's theory on plot should meet his
own standards
- Truly lack of critical analysis Linda Nurzannah
- There's no sources cited even one
- Poor composition: paragraphing, capitalization, punctuation, citation, 1195030129
references, etc.
5D
- There's no real references at all
- Some paragraphs are plagiarism suspected
DETERMINING THE PLOT IN THE NOVEL ENTROK WITH
ARISTOTLE'S THEORY
In criticism there must be criticism in a work. Whether it's literary
works such as poetry, novels, short stories, prose, and drama. This is one
of the lessons in criticism because it will find out more about what
literature is. Literature is a writing, and writing must use a pattern, in the
pattern there must be a text. Literature is also a word from the Sanskrit
word "shaastra", which means "text containing instructions" or
"guidelines". Shastra comes from the basic words sas- or shas- which
means directing, teaching, giving instructions or instructions and tra
which means tools or means. The characteristics of literature, namely
literature is a creation, not imitation or imitation. This creation is caused
by artists creating a new world, literature is autonomous and not
communicative, and literature has an element of cohesion in which there
is harmony between form and content. And Criticism is trying to awaken
the reader to enter into a story, criticism begins with innocent discipline,
then natural existence, and ideological instruments and ideological
44
encounters occur which have textual and contextual aspects. By using a
variety of worldliness (which is unusual in the literary world), in criticism
there are three interrelated Terms: the first Theory, Approach, and
Criticism. In literature there are also 3 studies, namely literary theory,
literary critics, and literary history. Theory is where this is usually done to
understand theory in the analysis of literary works, then Approach is a set
of beliefs which is a point of view (it is not solitary because approach is
only a foothold where it only sees how theory in literature occurs), the
last one is Criticism, which is a criticism. In literature and criticism will
keep returning to a theory.
In criticism, one of the literary works here uses a literary work from
Okky Madasari, namely Entrok, one of these literary works is a good
literary work starting from the storyline, plot, theme, linguistic rules to
the genre. Okky Madasari's novel, entitled Entrok, describes the struggle
of a woman. Starting from Marni's desire to have an entropy which is
now better known as a bra or bra, she tried to boost the existing social
order. According to Simbok, from quotation above we can see "Perempuan yaa
kerjaannya mengupas singkong dan mengupah singkong". Of course, this made
Marni rebel. He believes that women also have the right to be paid
money like men. Paying no heed to Simbok's words, Marni stopped
45
peeling the cassava and joined him. Little by little, Marni's money was
collected. Until finally, Marni was able to buy the entrok she wanted.
After that, Marni realized that if she didn't develop her business, she
would still be poor. Because of that, Marni took the initiative to start
basket ling. Every day, he buys some goods in the market, then sells them
by going around the village. In the end, Marni has managed to change her
life. He was also known as a wealthy skipper. Thus, Entrok tells how
Marni struggles as a woman. He tries to break the assumption that
women are just weak creatures. The proof, Marni managed to collect
money from work identified with the Adam nguli. In the end, Okky
managed to raise one side that women in Indonesia can struggle. Even
though as individuals, women like Marni try to break the patriarchal
culture. And here, I will try to criticize deeper into what is Reaction and
the Classification or categorization of literary genres contained in the
novel Entrok by Okky Madasari with the theory of a literary scientist,
namely Aristotle.
Theory poetry Aristoteles earlier works by him, for example physic and
metaphysics, contains important statement about art and nature that bear
on literature and rhetoric written after Poetics, distinguishes rhetoric as a
practical art involving ―doing‖ from productive arts, including poetic, that
46
involve ―making‖. Aristoteles Rhetoric has had a strong influence on
criticism, for many later writers have blurred or obliterated the distinction
even to the extent that in some cases poetic seems to have become a
branch of rhetoric (or the art of persuasion). Aristoteles in poetics he
approaches literature to some extent as if he were a classical biologist. He
intends to classify and categorize systematically the kinds of literature art,
beginning with epic and tragic drama. Our sense of Aristoteles method is
established, he is the first critic to attempt a systematic discussion of
literary genres. He believe that change is a fundamental reality, a process
of nature, which is a creative force with teleological direction. In this
respect, the argument of Poetics serves an important purpose in
Aristoteles philosophy as a whole. The poet is thus an imitator and a
maker, and imitation is, in fact, a kind of making. In imitation the poet
discovers the ultimate from of an action. This is why, for Aristoteles the
plot of a tragedy is of prime importance over char. Actor, thought,
diction, song, and spectacle, though these are all elements of tragic drama.
Literary art, along with the fine arts (all the productive arts), is thus an
improvement on nature in that the poet has brought to completion what
nature, operating with its own principles, is still developing. Aristoteles
emphasized either his theory of imitation or the analytic procedures in his
47
discussion of tragedy. Aristoteles attention to the poem as an object that
can be discussed in term of its normal nature is probably his greatest
contribution to literary theory, though his treatment of tragedy as
bringing about a catharsis or purgation of pity and fear has been of great
interest and much debated.
In the novel Entrok by Okky Madasari, there are genres, plots and
tragedies. Just like Aristotle's theory in Poetry, there are genres,
classifications, plots, tragedies, as well as comedy. In the Entrok novel,
there are many tragedies that occur in each subtitle, the tragedies
contained in the Entrok novel are many, such as social conflicts, human
rights tragedies or so-called tolerance, psychological tragedies, even
conflicts that occur in oneself and one's family. All conflicts or tragedies
that occur in the Entrok novel begin with an analysis of the storyline so
that it is easier for us to get what will be discussed in this analysis. Plot or
plot is a literary term used to describe the events that make up a story, or
the main part of a story. These events relate to each other in a pattern or
sequence. The structure of the novel depends on the organization of
events in the storyline. Plot is known as the basis of a novel or story, on
which the characters and setting are built. It is intended to organize
information and events in a logical manner. There are several types of
48
plots in a novel, namely forward plots, backward plots and forward and
backward plots. And in the novel Entrok there is a forward plot in the
story.
The forward plot in the entrok novel has three stages such as the early
stage, the middle stage and the final stage. These three stages have stories
and conflicts that connect from one story to another, even though the
Entrok novel has subtitles which in my opinion are quite confusing, but
the neat writing and clear plot shows that the story in the novel is good.
In the early stages there is also from quotation above us can see ―Aku sudah
tidak lagi membagi waktu dengan bekerja di tempat Nyai Dimah. Simbok
diam saja, tak menanyakan atau melarang. Saat bersama, kami tidak
pernah menyinggung urusan nguli. Simbok juga tidak pernah bertanya
tentang upah yang kudapatkan dari nguli‖ In the quote above, it can be
seen that Marni is no longer working, so she said that she does not need
to divide her work time. Even though Marni used to be a cassava peeler
with Simbok as a market coolie. This is the initial stage of the forward
plot which in this Entrok novel is the story of the initial stage of the
conflict starting.
49
Still in the early stages of the forward plot in the Entrok novel, there is
a story. Where in this story is concerned with the relationship in the early
stages when Marni stopped working, where in the story began to
introduce a new character, this character is a character concerned with the
main character, namely Marni where she is Marni's favorite daughter
named Rahayu. Rahayu is the son of Marni in the story then continues
with the point of view of Rahayu, Marni's son. This is one of the quotes
that really introduces Rahayu to the main character in the Entrok novel,
Marni, the mother of Rahayu. In the story, Rahayu is still young but has
different views from her mother. From quotation above us can see ―Aku
masih tidak mengerti bagaimana Ibu masih saja telaten mengurusi receh-receh itu.
Sama tidak mengertinya, bagaimana Ibu tetap percaya pada arwah leluhur-
leluhurnya dan memberi mereka makan setiap hari kelahiran Ibu. Ah... kenapa
kami begitu berbeda?‖ In the quote above there is an explanation of what
his mother, Marni, knows very well, Rahayu's son, who very clearly feels,
thinks and even says to his mother, what are the differences between him
and Marni's mother. Some of the differences he felt started from
differences in perspective and Rahayu also said very clearly to his mother
what they believed was very different. And in the early stages of this
forward flow, several small conflicts began to arise which could trigger
50
other conflicts, even the biggest conflicts because of differences in
perspective.
Forward Path In the middle stage there are conflicts. In addition to the
debate between Rahayu and Marni which is not getting better, there are
also conflicts in society that are getting worse. The conflict occurred
between the people whose houses were to be evicted to make reservoirs
and the soldiers who were in power there as shown in the following
quotation above us can see. ―Mun, sekarang semuanya terserah kowe.
Yang jelas, minggu depan ini giliran desamu yang dikeruk. Mesin-mesin
keruk akan mengangkat tubuh kalian semua. Kowe akan mati tertimbun
tanah sendiri. Atau kalau untung, bisa saja kalian selamat. Tapi tiap hari
itu seluruh pasukan akan ada di daerah ini. Kalian semua akan tertangkap.
Seumur hidup masuk penjara bersama orang-orang PKI itu. Kalian semua
sudah jadi PKI.‖ The quote above shows that community conflicts are
getting worse and worse. Starting from the community or local residents
with soldiers who threatened one of the community, named Wagimun, to
tell other communities that they still had to leave the land that would be
used as a reservoir. They seriously threatened that by threatening life or
imprisonment with the PKI stamp. It becomes part of the conflict or
tragedy that occurs in the novel Entrok where in the novel the people
51
who remain firm with their stance will defend the land they occupy
despite the many threats that come with them. The people who remained
strong with their stance even when they were threatened they continued
to defend the land they occupied, even though one of the people was
threatened by the soldiers that these residents would be imprisoned and
labeled PKI. Until the soldiers would threaten residents who refused to
build reservoirs in their place and were labeled by the PKI, at that time
the PKI was the biggest enemy among the Indonesian people but they
still defended their land until they really made the soldiers angry and
furious because the people who very hard to set up. This is one of the
middle stages of conflict in the novel Entrok which makes a big tragedy
in the story and makes the story more interesting and becomes more
fearful when reading the novel.
According to Aristotle, Tragedy will be in the middle of the story or the
end of the story, but in Okky Madasari's Entrok novel, I think it is
nearing the end of the story. Where in the plot or the end of this story the
tragedy occurs completely as in this quote where Marni's mother who just
married after the birth of the daughter Rahayu. From quotation above us
can see ―Mereka akan menikah pada hari kelahiran Rahayu. Menurut
tanggalan, itu tanggal 15 Januari 1994. Aku akan membuat selamatan
52
besarbesaran. Ada gambyong sampai pagi. Aku benar-benar mau mantu.
Orangtua belum lengkap hidupnya kalau belum mantu untuk anaknya. Ini
sekaligus membayar kekecawaan saat dulu Rahayu menolak
pernikahannya dengan Arab itu diramaikan. Lha ya iya, wong cuma jadi
istri simpanan. Tapi sekarang beda. Rahayu yang sekarang akan menikah
dengan jejaka. Dia akan jadi istri sah. Istri pertama" This is a tradition
expressed by Aristotle in the quote above that it is Rahayu who will marry
one of the carriage drivers' children as the first wife. It was also stated
that Rahayu began to obey her mother, following her mother's wishes.
However, at the end of the story, Rahayu does not marry Sutomo
because the future Rahayu finds out that Rahayu has been labeled a PKI.
The groom decided not to continue the wedding when all the
preparations were ready, the D-day had come. This made Marni very
shocked and ended up with mental stress. And this is a big tragedy for
Rahayu who has to take care of her mother who has a mental illness
because of the events experienced by her child Rahayu which makes her
very sad.
53
The conclusion of the essay above is that in a novel or literary work
there must be a plot or plot that makes the story more interesting for the
public to read. As in Aristotle's theory, if a story has a connected plot or
plot, we will get a tragedy in the story. The tragedy contained in the
Entrok story is very successive so that those who read it easily
understand, indeed when reading the novel we will be confused because it
is told that Marni has a mental disorder because of the behavior Rahayu
did, but until the end of the story everything is explained by the story and
it is thanks to a very neat plot in the story Entrok.
Referensi
Jurnal.utsjogja.ac.id
https://jurnal.ustjogja.ac.id/index.php/caraka/article/download/4011
/2111
https://mahkamahnews.org/2015/11/20/hak-asasi-dan-toleransi-
negeri-seribu-religi/
http://lib.unnes.ac.id/15951/
54
- This is nice actually if you could be consistent with the discussion moreover
- Needs a real specific topic to guide the analysis
- Some still having retelling more than the real analysis Marsza Nurul Azmi
- Needs more critical-analytical arguments 1195030131
- Still lack of theoretical supports/justifications
- Lack of other supporting sources
- Be aware of some mechanic errors: paragraphing, citation, punctuation,
capitalization, etc. 70 = B 5D
THE PICTURE OF MARNI IN ENTROK BY OKKY MADASARI
Literature is an expression of the problems of life, philosophy, and
psychology. Literature can be called a work of art in writing, besides that
literary work is also a creative work that brings an entertaining impression
as well as intellectual and emotional supply for the reader. Literary works
created by the author are expected to deliver aesthetic and intellectual
values for the readers (Siswanto, 2008: 67). Through literary works, the
authors can express their creative ideas to captivate reader's curiosity to
continue follow the storyline they conduct. One of the ideas is feminism.
In daily practice, feminism is often misunderstood as a demand for
women's emancipation, even though what is meant by this term refers to
social movements that can be carried out by both men and women
(Hidayati, 2019). Men and women must have the same position in society,
equal, the only difference is the biological aspect that is owned by men
and women.
55
Readers can find a story with feminism tone in Entrok. Entrok is
Okky Madasari's first novel which was published in April 21st, 2010, as
Indonesian we must notice that April 21st is the day when we celebrate
Kartini Day. This novel centred the life of Marni, a woman who always
wants to break 'the limit' of women concept at that time in her
neighbourhood. Most male writers, however, effectively render woman
―useless members of society‖ (Nurrachman, 2017: 133). In this novel,
women are seen weak, in their work they can only peel cassava and are
paid again with cassava or another common job they can do is bakulan
(Madasari, 2010: 34). The character of Marni will be analysed using Mary
Wollstonecraft Theory about early feminism with mimetic approach.
Mimetic as stated by M. H Abrams (1953; 1999) is the approach that
views literary works as the imitation or representation of the world and
human life.
―Education thus only supplies the man of genius with knowledge to give
variety and contrast to his associations; but there is a habitual association
of ideas that develops along with us, and has a great effect on the moral
character of mankind. Such associations give the mind a slant that
commonly remains throughout life. So ductile is the understanding, and
yet so stubborn, that the associations that depend on chance happenings
56
before the body arrives at maturity can seldom be disentangled by reason
(Wollstonecraft, 1792: 72).‖
In the idea above, it is said that a person's maturity can be determined by
circumstances that force them to become wiser than their age.
―Samar-samar dalam ingatanku, terbayang Bapak memukul Simbok yang sedang
sakit panas dan tidak bisa ke pasar. Kalau Simbok tidak ke pasar, kami tidak
akan punya makanan. Dan laki-laki itu dengan seenaknya hanya menunggu
makanan. Dia seperti anjing gila yang marah saat kelaparan. Iya, dia memang
anjing gila. Hanya anjing gila kan yang menggigit istrinya yang sedang sakit. Saat itu
aku sangat ketakutan. Menyembunyikan diri di balik pintu sambil menangis
sesenggukan. Laki-laki itu pergi setelah menghajar istrinya dan tak pernah kembali
lagi.
Sejak itu aku hidup berdua dengan Simbok. Di gubuk reyot yang hanya berisi
pawon dan tikar pandan ini kami
menghabiskan hari. Simbok pergi ke pasar setiap hari masih gelap dan pulang ke
rumah saat siang sambil membawa bahan makanan. Akulah yang kemudian
memasaknya. (Madasari, 2010: 18)
Little Marni when she saw her abusive father, she could only stay silent
but as she grew older, she grew into a strong woman in living her life
57
together with simbok. This is in a same boat with what Wollstonecraft said
that associations about habits that occur can affect our morals and ideas,
so Marni's habit of living in a harsh environment makes her a strong and
independent woman. In Madasari, 2010: She also seems has trust issue on
man because of her father as she said,
―Aku hanya dengarkan suatu hari nanti akan kualami. Takut kalau anakku
nanti mengalami seperti apa yang kualami, punya bapak tapi minggat. Punya ibu
tapi bodoh dan melarat.‖
Similar issue above does not only happen in novels or in other fictional
world, it is not uncommon case that there are of people who are afraid to
get married because of unpleasant experiences in their family.
―I must be allowed to explain myself. The generality of people cannot see
or feel poetically, they want fancy, and therefore fly from solitude in
search of sensible objects; but when an author lends them his eyes, they
can see as he saw, and be amused by images they could not select, though
lying before them. (Wollstonecraft, 1792: 72)‖
Wollstonecraft stated that women should be allowed to do what they
want for themselves. No one knows what their heart wants for their
good. They should have known what they did not know.
58
‖Kamu mau ngangkat apa, Ni?‖
‖Bukan, Kang. Bukan minta dibantu ngangkat. Aku mau ditolong, aku mau ikut
nguli kayak Kakang.‖
Teja terbahak-bahak mendengar permintaanku. Sungguh bukan jawaban seperti itu
yang kuinginkan. Aku menunggu agak lama untuk mendapatkan jawaban yang
sebenarnya.
‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat. Sudah,
perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
‖Aku kuat, Kang. Biasanya aku juga nggendong tenggok, nggendong goni. Bakul-
bakul itu juga banyak yang mengangkat sendiri dagangannya dari rumah ke pasar.
Hanya priyayi-priyayi saja yang nggak kuat ngangkat goni.‖
‖Tapi tetap nggak umum, Ni. Di pasar ini, nggak ada perempuan nguli.‖
‖Tapi aku mau, Kang. Aku butuh duit, Kang. Nggak mau lagi diupahi singkong.‖
‖Ya terserah. Kalau mau nguli ya monggo,‖ Kata Teja lirih (Madasari, 2010: 33-
34)
In the narration above, Marni intends to nguli so that she can get money
to buy entrok but her desire is broken by Teja who seems to
underestimate the physical strength of women. With a strong willing in
59
the end, Marni keep nguli. Here again, Marni succeeded in breaking the
concept of women prevailing in her environment, where women are seen
as weak and unable to do men's work. Whereas men and women should
have the same position and job, the only difference is the biological
concept they have. In Nurrachman, 2017: 133 Wollstonecraft says "A
long tradition of writers has contributed to this degradation of women
into "artificial, weak characters." The attitude of this writer is slightly
represented by Teja because he had underestimated Marni even though in
the end, he let her nguli. Marni represents the expectations of
Wollstonecraft that women have the right to do what they want to get
what they dream of.
"Where love is duty on the female side, On theirs mere sensual gust, and
sought with surly pride."
But one grand truth women have yet to learn, though much it imports
them to act accordingly. In the choice of a husband they should not be
led astray by the qualities of a lover--for a lover the husband, even
supposing him to be wise and virtuous, cannot long remain
(Wollstonecraft, 1792: 74).
60
Here Wollstonecraft stated that in a relationship women should not
only think about love. We cannot be careless in selecting a 'partner' who
will later become a husband because women should also think about
what their future will be, and we must not determine the nature of a
husband when he still being a lover that we may not see all his bad things
that might be the cause of the end of a relationship.
―Tapi cerita-cerita itu juga menimbulkan ketakutan. Takut pada laki-laki,
takut kawin. Lha buat apa kawin, kalau jadinya cuma sengsara. Inilah yang
kukatakan pada Teja waktu dia memintaku jadi istrinya. Dia melamarku di depan
pasar, saat matahari baru mengintip malu-malu, saat aku menunggu kedatangan
petani yang membawa berbagai sayur-sayuran.
‖Aku belum mau kawin, Kang.‖
‖Kenapa, Ni? Kita saling cocok. Apa kamu tidak pengin punya suami, punya
anak seperti Tinah?‖
Punya anak? Bagaimana jika aku punya anak nanti? Mau jadi apa anakku
nanti? Tukang kupas singkong atau bakulan keliling desa kalau perempuan? Anak
laki-laki ikut bapaknya nguli? Pertanyaan-pertanyaan itu hanya tersimpan dalam
hati. Tak tega kusampaikan pada Teja, karena aku memang menyukainya. Aku
hanya dengarkan suatu hari nanti akan kualami. Takut kalau anakku nanti
61
mengalami seperti apa yang kualami, punya bapak tapi minggat. Punya ibu tapi
bodoh dan melarat.‖ (Madasari, 2010: 48).
According to Wollstonecraft view about a woman should be, the
narrative above Marni represents as the woman that Wollstonecraft
expect. Marni indirectly has a thought like Wollstonecraft. She was still
young but when she got proposed she does not accept it immediately, she
thinks about it deeply even though she is truly loves Teja. In her early
teens she has thought about how her life would be if she married with
Teja, she worries about her future child, will they have the same fate with
their parents? she does not want it happens. Marni is a traditional woman
with modern thought, she is wise enough in her age. She is a visionary
and dependent woman.
―Men, for whom we are told women are made,
have too much occupied the thoughts of women;
and this association has so entangled love, with all
their motives of action; and, to harp a little on an
old string, having been solely employed either to
prepare themselves to excite love, or actually
putting their lessons in practice, they cannot live
62
without love. But, when a sense of duty, or fear of
shame, obliges them to restrain this pampered
desire of pleasing beyond certain lengths, too far
for delicacy, it is true, though far from criminality,
they obstinately determine to love, I speak of their
passion, their husbands to the end of the
Chapter--and then acting the part which they foolishly exacted from their
lovers, they become abject wooers, and fond slaves. (Wollstonecraft in
Nurrachman, 2017: 138-139)‖
Here Wollstonecraft states that men have more power to rule over
women where they have the advantage to be reckless to women because
they feel more powerful.
―‖Dasar Teja, lanangan nggak tahu diuntung. Susah payah aku cari duit, dia
malah enak-enakan kelonan17 sama kledek.‖
Ibu sudah tidak lagi memaki Tonah. Kini dia mengumpat Bapak. Padahal orang
yang dimaki entah sedang di mana. Teja yang pemalas. Teja yang tidurnya seperti
kerbau. Teja yang hanya mau enaknya sendiri. Teja yang sekarang sedang gandrung
dengan kledek.. (Madasari, 2010: 53)‖
63
If Wollstonecraft argues that men are superior and they can give variety
and contrast of his association (Wollstonecraft in Nurrachman 2017: 134)
because of the education they earn, in Entrok men are seen as superior
because the concept of men that happen in their neighbourhood and they
are known as stronger than woman in physic and more powerful. Marni
lives in a patriarchal environment where women must always obey men.
So, no matter how strong Marni to fight against the stigma or gender
concept that exists in her living, she still has no desire to break loose
from Teja even though he has recklessly treated Marni. Marni could only
neglect her feelings towards Teja because she was too busy to only think
about that matter. He seemed to be a slave who just obeyed the
behaviour of her master who could not live without love and pleasure.
In conclusion, from this analysis is that Marni's character adequately
represents the female character expectations that Wollstonecraft expects.
First, She is a brave woman when actually she is afraid that what she feels
in her family will happen in her new family but she continues to live her
life with Teja as husband and wife. Furthermore, Wollstonecraft expects
women should have the opportunity to do and get what they expect and
Marni has the same thoughts with Wollstonecraft. In terms of love, the
woman should not be arbitrarily concerned with only love, they must still
64
think about the future of their family. From here, Marni impresses the
figure of an independent woman with a strong belief in her heart.
REFERRENCES
Iswanto, W. (2008). Pengantar Teori sastra. Grasindo.
Hidayati, N. (2019). Teori feminisme: Sejarah, Perkembangan Dan
relevansinya dengan Kajian Keislaman Kontemporer. Jurnal Harkat : Media
Komunikasi Gender, 14(1), 21–29.
https://doi.org/10.15408/harkat.v14i1.10403
Abrams, M.H. (1953). The Mirror and The Lamp: Romantic
theory and Critical Tradition. London: Oxford University Press.
Wollstonecraft, Mary, 1759-1797. (1792). A vindication of the rights of
woman: with strictures on political and moral subjects. London :Printed
for J. Johnson,
Nurrachman, D. (2017). Introduction to Criticism. Bandung: Pustaka
Aura Semesta.
Madasari, O. (2010). Entrok. Jakarta. Gramedia Pustaka Utama
65
- Nice yet still having jumped-up ideas MARWAH
- Needs a truly specific topic to discuss
- Some also still having retelling than real analysis
- Needs more relevant theoretical supports/justifications
- Needs more supporting sources 70 = B 5D
ANALYSIS CHARACTERS OF MARNI IN OKKY MADASARI’S
NOVEL ENTROK BASED ON WOLLSTONECRAFT
THOUGHTS
Literary work is the product of a process of thinking, imagining, or
environmental awareness, it is seen as an intimate medium between an
author and his idea. The idea that the author presents cannot be
separated from the representation of social life. Feminism is a topic that
is frequently addressed in a literary work. Marry Wollstonecraft, one of
initiators of feminism, interpreted feminism as a movement for the
emancipation of women, a movement that focuses on improving the
rights and standing of women and strongly rejects inequality between
men and women (Nurrachman, 2017, p. 133). Feminism is still frequently
mentioned in novels because the old tradition of women's position still
intimidates woman in various areas and due to Indonesia's traditional
norms, social values, religion, and patriarchal ideology, gender equality
66
between men and women cannot balance. Justice in gender equality is still
less used in Indonesia. (Haryanti & Suwana, 2014, p. 237)
In a book called 'A Vindication of the Rights of Woman with Strictures
on Political and Moral Subjects', Marry Wollstonecraft also discuss issues
of feminism. It was written in the hopes of achieving gender equality for
women. In this book, Wollstonecraft also wrote that she wishes women
to have power over themselves, not over men (Wollstonecraft, 2017, p.
43). Entrok, written by Okky Madasari, offer some insight towards how
women can stand over themselves through Marni's ambition and how
society is not support her. Marni does have a lot of ambition, but she also
has a weakness, which will be addressed below.
Entrok is a story about a women's struggle. Marni and Rahayu, the two
major characters, have a mother-daughter relation. Marni and Rahayu
fight for different things: Marni fights for her own wellbeing, while
Rahayu fights for the wellbeing of others (in this case the villagers whose
citizens will be evicted by the government). Regarding Marni, her struggle
started with her desire to have an entrok or bra, in addition to boosting
the social order that occurred when Marni was born. Marni was told that
it was the work of women to peel cassava and that they were paid for it.
67
Wollstonecraft also says that a long tradition of male writers has
contributed to this degradation into "weak characters" of women.
(Nurrachman, 2017, p. 133).
"Ni, Kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat.
Sudah, perempuan itu kerjanya yang ringan-ringan aja. Ngupas singkong."
(Madasari, 2010, p. 34)
‗Waktu kuceritakan rencanaku pada Simbok, dia langsung menolaknya.
―Nduk, semua itu sudah ada jatahnya. Orang kayak kita bagiannya
ngoncek telo. Nguli itu berat. Sudah jatang orang lain.‖‘ (Madasari, 2010,
p. 34)
This narration refers to Teja, a male market coolie who is startled by
Marni's willingness to work as a coolie to garner money. Teja views
women as weak beings capable of only light labour. Furthermore, her
mother who is called Simbok breaks Marni's ambitions and perceives her
wishes as weak. Simbok thinks they work as women is just to peel
cassava, or ngoncek telo in Javanese terms.
Despite this, Marni decides to pursue her dream, working as a coolie to
purchase an entrok, until she is able to purchase an entrok with the money
she has saved.
68
"Hingga suatu hari, aku ingat aku belum membeli entrok. Kubuka
bumbung itu dan kuambil lima keping uang sepuluhan rupiah." (Madasari,
2010, p. 39)
"Pedagang itu memilihkan ukuran paling kecil, dan menyuruhku
mengembalikan lagi kalau ternyata tidak pas. Aku menurutinya dan
memilih warna hitam." (Madasari, 2010, p. 39)
At the time, it was extremely rare for women to be able and motivated to
pursue their ambitions, much less even succeed in doing so. I don‘t want
women to have power over men; I want them to have power over
themselves (Wollstonecraft, 2017, p. 43). Women at the time often had
dreams, but they couldn't achieve them, or even just talk about them and
feel no right, because they were still enslaved to a culture that applied
unspoken rules that have been indirectly formed by society, such as
women whose only job was peeling cassava, and women should stay at
home. However, Marni is one of Wollstonecraft's representations of the
woman in her book, a figure of a woman who is capable of standing
alone and pursuing her dreams without relying on others, including men.
Marni's desires and dreams remained until she was an adult, even after
she married and had more than enough money to live comfortably.
69
―Aku juga kerja keras, memeras keringat, mengelilingi Pasar Ngranget dan
dari rumah ke rumah di desa-desa. Semua kulakukan hanya agar aku dan
keluargaku bisa makan, tidak merepotkan orang lain, dan punya kemuliaan
dalam hidup.‖ (Madasari, 2010, p. 99)
More than that, Marni has a desire to free other women for herself, she
wants women to be treated equally and paid the right amount without
discriminating against women or men.
"Sayangnya tidak ada buruh perempuan di sini. Betapapun aku ingin
mengupahi mereka dengan uang sebesar buruh laki-laki. Upah yang
besarnya sama, tidak lebih kecil hanya karena dia perempuan, lebih-lebih
hanya diupahi dengan telo. Tapi tak ada perempuan yang menebang tebu.
Tebu hanya menjadi jatah buruh laki-laki. Bagian buruh perempuan hanya
ndarep atau mbethot kacang. Tapi coba tanya ke perempuan-perempuan itu
berapa uapah yang ia dapat. Paling-paling tak lebih dari tiga ratus sehari.
Sayangnya aku tidak menanam padi atau kacang. Kalau Mbak Ibu Bapak
Bumi Kuasa mengizinkan, semoga rezekiku dilancarkan, aku punya duit
untuk membeli tanah lagi yang akan kutanami padi dan kacang. Akan
kupekerjakan perempuan-perempuan itu dan kuberi upah tak kurang
daripada yang diterima suami-suami mereka." (Madasari, 2010, p. 103)
70
Despite all of Marni's hard work, she was eventually underestimated by
others in her own environment, and she was criticized for her hard-won
accomplishments.
"Ha ha ha…! Mau sedikit, mau banyak, namanya tetap pontang. Sampean
itu rentenir, lintah darat! Orang-orang seperti kalian ini yang bikin susah
orang banyak." (Madasari, 2010, p. 70)
Yu Marni, Kang teja, kami mendengar dari banyak orang, katanya
sampean ngreteni duit. Itu dilarang agama. Kalian bikin sengsara banyak
orang." (Madasari, 2010, p. 75)
Ya sudahlah, Yu. Duitmu di orang lain kan masih banyak. Tagih saja
mereka. Daripada anakmu malu nanti, semua temannya tahu ibunya
rentenir. Lintah Darat. Orang yang jelas-jelas dikutuk agama." (Madasari,
2010, p. 84)
Marni has received the following critiques. Money lenders, the source of
difficult people, the source of many people's sorrows, individuals cursed
by religion, and many other hate speeches that she receives. Her aim here
is to help those who are in financial trouble by lending money which by
concerned had previously agreed on the agreement, but when she
requested for and/or refused to provide money, people shifty denounced
71
the acts that she made. Even though previously they themselves begged
to lend money.
The criticisms she received put her in an unfair position. It is an injustice
that she suffers, even though she merely wants to be an independent and
self-sufficient lady who wants to help others. She sets her dreams and
ambitions in motion because she does not want to be reliant on others.
Wollstonecraft said that what the world is short of is not charity but
justice! (Wollstonecraft, 2017, p. 49). Marni gets injustice, not only as a
woman but also as a human being who in fact is looking for money to
make a living.
―Duh, Gusti, apa salah kalau aku mau cari rezeki, punya harta biar tidak
dihinahina orang? Aku kan tidak membunuh orang, tidak mencuri, tidak
merampok. Aku hanya bakulan, menyediakan apa yang dibutuhkan orang,
mengambil upah buat tenaga dan modalku. Lha kok malah semua orang
ngrasani. Malah anakku sendiri, anakku satu-satunya, ikut-ikutan
menyalahkanku.‖ (Madasari, 2010, p. 100)1
―Lha kok yo masih ada saja yang bilang aku dosa. Yang dosa itu ya orang
kayak Mali itu, seharian tidur di langgar, istri dan empat anaknya tiap hari
kelaparan. Aku sering melihat istri dan anak Mali makan aking dicampur
72
garam yang ditampah. Mereka duduk mengelilingi tampah dan makan
bersama-sama. Dulu sekali, zaman aku kecil, makan aking dicampur
garam itu sudah luar biasa enaknya. Tapi inikan dulu. Zaman perang.
Zaman orang-orang bajunya dari goni dan mencari tikus sawah untuk
dimakan‖ (Madasari, 2010, p. 99)
Okky Madasari describes Marni's character as a woman who can stand on
her own and be able to survive despite the numerous insults she suffers.
However, each character has their own set of pluses and minuses. Marni's
lack is of education is one of her most significant problems. Were women
more rationally educated, could they take a more comprehensive view of
things (Wollstonecraft, 2017, p. 74). Educated women tend to be able to
see things from all sides. And this also applies to Marni, Marni, who
incidentally did not receive a proper education, looked ―stupid‖ in some
ways because she could not see things from all sides.
"Bejo mati gara-gara sampeyan. Bejo memang dibikin mati, to?"
Duh, Dusti, dia bilang aku yang membuat anaknya mati.
Dari mana dia punya pikiran seperti itu? Bagaimana bisa dia berpikir aku
yang membuat anaknya mati? (Madasari, 2010, p. 121)
73
―Sajen, pesugihan, tuyul, Gunung Kawi, selama bertahun-tahun orang-orang
Singget telah menjadikan itu semua sebagai cerita yang disebarkan dari
mulut ke mulut. Menjadi hiburan dan kesenangan di anatara berbagai
kesulitan, dan sekarang semuanya menjadi lengkap dengan kematian Bejo.
Duh, Gusti… Mbah Ibu Bumi bapa Kuasa…‖ (Madasari, 2010, p.
121)
―Tak masalah kalau semua orang omong aku memelihara tuyul atau cari
pesugihan, tapi aku selalu sakit ketika yang omong seperti itu anakku
sendiri. Dan ini telah berulang keali terjadi. Hanya karena rasa kasih,
ikatan ibu dan anak, yang membuat rasa sakit dan benci ini selalu kembali
mengendap.‖ (Madasari, 2010, p. 124)
Marni has been accused of maintaining tuyul and pesugihan for years, and
even her own child says the same thing to her. Marni is fully aware of
what she is doing; tuyul has no idea what she is doing, so how can she
keep tuyul? Marni has the right to speak up, to explain why something
isn't true, why something that has been talked about for years isn't true.
However, it was the lack of education upon her that made her unable to
defend her own rights in front of the community. In fact, even if he
defends himself, he will lose again because of the ignorance he has. Only
74
that education deserves emphatically to be termed cultivation of the mind
which teaches young people how to begin to think (Wollstonecraft, 2004,
p. 202). Education is an important component of life; it also teaches
young people how to think for themselves. Unfortunately, Marni's lack of
knowledge and lack of education rendered her unable of even defending
herself.
Corresponding to what Wollstonecraft stated about a long tradition of
men is contributed to make women‘s "weak-characters". Women are still
considered weak in character and incapable of doing what men can do in
today's culture, largely by men and women. Also, in Okky Madasari's
literature, people divide into two classes: women who peel cassava and
males who chill it. In truth, both men and women are entitled to the same
chances. Marni's character in this novel succeeds in overturning the social
order of the period, despite having to deal with numerous challenges, and
the most of which were resisted by those around her itself. On the other
hand, contradictory, Marni's character has a weakness that is opposite to
what Wollstonecraft said that men and women must be educated, in a
great degree, by opinions and manners of the society they live in. Marni's
lack of education has made her exploited by irresponsible persons which
resulted in Marni experiencing material losses.
75
As a result, we, particularly women, must be able to stand alone and
pursue a suitable education in order to ensure the wellbeing of future
generations.
REFERENCES
Haryanti, A., & Suwana, F. (2014). The Construction of Feminism in
Indonesian Film: Arisan 2! Procedia - Social and Behavioral Sciences,
155(October), 236–241.
https://doi.org/10.1016/j.sbspro.2014.10.285
Madasari, O. (2010). ENTROK. Gramedia Pustaka Utama.
Nurrachman, D. (2017). Introduction to Criticism: Critical Theory from Ancient
Greece to Victorian England (I). Pustaka Aura Semesta.
Wollstonecraft, M. (2004). A Vindication of the Rights of Woman. Penguin
Classics.
Wollstonecraft, M. (2017). From a vindication of the rights of woman
with strictures on political and moral subjects (1792). In Documenting

76
First Wave Feminisms Volume I: Transnational Collaborations and
Crosscurrents. Jonathan Bennett.
77
MAYA ASPIA AZZAHRA
- This is good. I like it.
- Yet this still having some inconsistencies 1195030133
- Be more focus on one aspect; violence or educational lack?
- Needs more critical-analytical arguments
- Needs more relevant supporting sources 80 = A 5D
VIOLENCES AGAINST WOMEN IN ENTROK BY OKKY
MADDASARI
Literary works can represent many things, including cultural, religious and
social. One of the social issues that is always relevant to the times is the
issue of women or feminism. Feminism itself is a movement for equality
between men and women in all fields, either in political, economic,
educational, social and organized activities that defend women's rights
and interests (Utami, 2016, p. 2).
A question then appear, Why did the feminist movement exist?
According to Wollstonecraft, men tend to consider women as ―useless
members of society‖ (Nurrachman, 2017, p. 133). So, the position of
women since long time ago has been being underestimated in many
fields. Women, didn‘t get the rights they deserve. Instead they get unfair
and arbitrary treatment from men for instance the act of violence. That's
why the feminist movement exist, to get women's rights to be equal to
men.
78
Even though the feminist movement has spread all over the world, but
the acts of violence against women is still happening around us in our
environment until today. Not only in the real world, the issue of violence
against women is also appear in the novel by Oky Madasari; Entrok ,
which will be used as the object of study in this essay.
The act of violence against women in this novel is being presented by 3
supporting characters, Simbok, Bu Jujuk and Ndari.
Yes it is indeed that the main theme of the Entrok novel, is not about
them, it is about Marni and Rahayu. The title itself; Entrok is a symbol of
the struggle of the illiterate Marni in reaching her dream of becoming an
independent woman. But it seems to me that the violence act which is
captured in this novel can be an interesting topic to discuss using Mary
Wollstonecraft Theory.
It is clearly written in Mary Wollstonecraft‘s book 'A Vindication of the
Rights of Woman.' which she wrote as a movement for women to
achieve a level of gender equality, that the cause of women's foolishness
is the tyranny of men :
―From the tyranny of man, I firmly believe, the greater number of female follies
proceed; and the cunning, which I allow makes at present a part of their
79
character, I likewise have repeatedly endeavoured to prove, is produced by
oppression‖ (Wollstonecraft:, p 160)
Those three people that i mention above is a proof of how the tyranny of
man can make women weak. The word weak here means that they
receive an unfair, rude and arbitrary treatment from men but they can‘t
fight the man back. In this case, Wollstonecraft stated that the long
tradition of men contributed in making women an artificial weak
character. (Nurrachman: 2017, p. 133)
"Samar-samar dalam ingatanku, terbayang Bapak memukul Simbok yang
sedang sakit panas dan tidak bisa ke pasar. Kalau Simbok tidak ke pasar,
kami tidak akan punya makanan. Dan laki-laki itu dengan seenaknya
hanya menunggu makanan. Dia seperti anjing gila yang marah saat
kelaparan. Iya, dia memang anjing gila. Hanya anjing gila kan yang
menggigit istrinya yang sedang sakit. Saat itu aku sangat ketakutan.
Menyembunyikan diri di balik pintu sambil menangis sesenggukan. Laki-
laki itu pergi setelah menghajar istrinya dan tak pernah kembali lagi."
(Madasari, 2010: p. 18)
The narration above is an example of the violence experienced by
Simbok; Mother of Marni, which is the main character in this novel. How
80
the father character hit and beats his wife confirms Wollstonecraft's
opinion that not only through feeling that women is being humiliated,
they also get humiliated through brutal indulgences and violence by their
husband/lovers. A loving man can transform into a tyrant if he can't
control his desire and emotion. In this case, the father character prove
that the statement above is right cause he turned into an "anjing gila" and
‗attack‘ his wife when he was hungry, when his wife can't fulfil his desire.
―The virtues of a husband are thus thrown by love into the background, and
gay hopes, or lively emotions, banish reflection till the day of reckoning comes;
and come it surely will, to turn the sprightly lover into a surly suspicious
tyrant, who contemptuously insults the very weakness he fostered. Or,
supposing the rake reformed, he cannot quickly get rid of old habits. When a
man of abilities is first carried away by his passions, it is necessary that
sentiment and taste varnish the enormities of vice, and give a zest to brutal
indulgences; but when the gloss of novelty is worn off, and pleasure palls upon
the sense, lasciviousness becomes barefaced, and enjoyment only the desperate
effort of weakness flying from reflection as from a legion of devils. Oh! virtue,
thou art not an empty name! All that life can give- thou givest!‖
(Wollstonecraft in Nurrachman 2017, p. 139)
81
If we examine more closely using Wollstonecraft's theory, why Simbok
gets harsh treatment from her husband but does not fight back and tend
to be weak, it could be because of the lack of education she has.
―Punya ibu tapi bodoh dan melarat.‖ (Madasari, 2010, p. 48)
According to Wollstonecraft, lack of education is the root cause of the
weakness of women in front of men.
―The severest sarcasms have been levelled against the sex, and they have been
ridiculed for repeating ‗a set of phrases learnt by rote,‘ when nothing could be
more natural, considering the education they receive,‖ (Wollstonecraft in
Nurrachman 2017: 136)
Furthermore, to make women not being looked down by men is by
reaching good education. Wollstonecraft stated that if women are given
the same rights as men, especially in the field of education, they will
certainly be able to develop their mindset and not being a foolish
anymore who enjoys their own stupidity. By reaching good education,
women will not be willing to accept for granted harsh treatment from
men because if women is being educatedly well, it will be imprinted in
82
their mind that men and women are equal. Regarding my analysis above, I
rely on the following wollstonecaft theory:
―Were women more rationally educated, could they take a more comprehensive
view of things‖ (Nurrachman, 2017, p. 138).
Beside lack of education, the cause of women being treated unjustly by
men is because patriarchal environment. Women in such environment are
not having a chance to grow in society and they claimed that women are
weaker than men, so their role is only to please the men.
―….and that their ‗highest praise is to obey, unargued‘- the will of man…..‖
(Wollstonecraft in Nurrachman 2017, p. 136)
The reflection of the statement above can be seen from the narration
below, the character shown is bu Jujuk a wife of a sub-district employee
who is so afraid of her abusive and cheating husband.
"Suatu hari, suami Bu Jujuk pulang saat Bu Jujuk untuk kesekian kalinya
menceritakan lakon Pak Jujuk dan kledek gendakan-nya. Bu Jujuk yang
tak menyadari kehadiran suaminya terus menumpahkan perasaan sambil
menangis. Semuanya langsung berhenti saat terdengar teriakan suaminya. Bu
Jujuk langsung menghapus air matanya, lalu buru-buru masuk rumah. Dari
83
luar kudengar umpatan-umpatan suami Bu Jujuk. ‖Istri nggak tahu diri!
Kerjaannya rasan-rasan terus!
Tak ada jawaban dari mulut Bu Jujuk. Lenyap semua umpatan yang
sebelumnya dikatakan padaku. Bu Jujuk kembali ke dunianya, dunia yang
penuh kepatuhan dan ketakutan." (Madasari, 2010: 46-47)
Yes Indeed, there is no physical violence shown in the scene above, but
the rude attitude and harsh words of Pak Jujuk attacked the wife's psyche
and it could also be called as violence cause it shows the very poor
attitude of male superiority over women. Moreover, as I mentioned
earlier, it seems to me that the absence of resistance by Bu Jujuk is a
reflection of Wollstonecraft's opinion that the initiator and trigger of
women's folly comes from the tyranny of men (Wollstonecraft, 1792, p.
160).
Besides juju and simbok, there were actually several unnamed women
who were also victims of male tyranny. How they are treated rudely, do
not get love, and cheated on by their husbands.
―Jika kubandingkan cerita Bu Jujuk dengan pelanggan-pelangganku yang
lain, ternyata tak jauh berbeda,…‖ (Madasari, 2010, p. 47)
84
If we look at the setting of the place, both simbok, bu jujuk and the other
unnamed women mentioned above is living in the same neighborhood,
namely the village. The village environment itself is an environment
where the patriarchal tradition is still thick (Irma Sakina & Hasanah,
2016), and according to Wollstonecraft, environmental factors are very
capable of making women form a weak character.
―That woman is naturally weak, or degraded by a concurrence of
circumstances, is, I think, clear.‖ (Wollstonecraft, 1792: 45)
Lastly, the character who get violence act that is shown in this novel is
Ndari. She‘s just an innocent 12 year old girl who was being made as the
object of sexuality by her own uncle. Not only once Paklik force his will
on his niece (the first time was when she was told to massage his back)
but he still forced his will every time he wants.
―Lalu kejadian itu terus berulang. Dua hari sekali atau kadang setiap hari.
Ndari tidak hanya dirogoh-rogoh. Di harihari berikutnya dia juga disuruh
mengisap-isap burung pakliknya itu. Lalu laki-laki itu memaksa
memasukkan burungnya yang besar ke lubang kewanitaan Ndari. Ndari
yang masih berumur dua belas tahun itu meringis kesakitan. Paklik-nya
mengambil bantal untuk menutup mulut keponakannya. Hingga tadi
85
malam. Laki-laki itu kembali melakukannya di saat darah haid deras
mengucur dari lubang yang biasa dimasukinya. Ndari menangis kesakitan.
Laki-laki itu tak peduli.‖ (Madasari, 2010: 238)
I'm sure the narration above can make anyone who reads got a
goosebumps, cause violence act as described above is very condemnable
and more than heinous. It is so clear that Ndari is seen as the mean of
gratification and pleasure which in any norm is harmful. Here, paklik
character sees women as an object to satisfy his sexual desire whenever
he wants without thinking that he already has a wife, without thinking
that she is his niece, without thinking that she's just an innocent little girl.
This act of violence in form of rape is disgusting and against human right
and it is fully condemned by all of the human in this world especially by
the feminists.
In conclusion, female characters that I've mention above in Okky
Madasri's Entrok are victims of male dominance that involves violence
act where women are constantly being viewed as lesser than men, and
those acts are the reason that causes the feminism movement raise with a
hope that someday the patriarch can be erased so women can get their
right and can be seen equally to men.
86
As plato stated in his mimetic approach that literary work is an imitation
or representation of the world and human life (Nurrachman, 2017, p. 6).
so those acts shown in this novel could be really happened in real life.
As a closing, I think that‘s why feminism deserves to exist so that later
Mary Wollstonecraft's noble ideals will be achieved.
―But, we shall not see women affectionate till more equality be established in
society, till ranks are confounded and women freed, neither shall we see that
dignified domestic happiness, the simple grandeur of which cannot be relished
by ignorant or vitiated minds; nor will the important task of education ever be
properly begun till the person of a woman is no longer preferred to her mind.
For it would be as wise to expect corn from tares, or figs from thistles, as that
a foolish ignorant woman should be a good mother.‖ (Wollstonecraft, 1792, p.
158).
87
REFERENCES
Utami, M. (2019). FEMINISME NOVEL PEREMPUAN DI TITIK
NOL KARYA NAWAL EL-SAADAWI. Dirasah, 2(3), 15–16.
Wollstonecraft, M. (1870). A Vindication of the Rights of Woman with
Strictures on Political and Moral Subjects [1792].
http://oll.libertyfund.org/title/126
Nurrachman, D. (2017). Introduction To Criticism. Bandung: Pustaka
Aura Semesta.
Madasary, Okky. (2010). Entrok. Jakarta: PT. Gramedia Pustaka Utama
Irma Sakina, A., & Dessy Hasanah Siti, dan A. (2016). MENYOROTI
BUDAYA PATRIARKI DI INDONESIA. SOCIAL
WORK JURNAL, 7(1), 1–129.
http://www.jurnalperempuan.org/blog2/-akar-
88
- Nice and could be better if you are just consistent with one topic to Meilani Asrina Sri Lestari
discuss
- This still shows some jumped-up ideas
1195030134
- Some narratives and analysis are relevant with the theory used, some
80 = A
others not
- Needs more critical-analytical statements 5D
- Still lack of relevant theoretical supports
SUBORDINATION OF WOMEN THROUGH COLLECTIVE
IDEAS IN OKKY MADASARI‘S ENTROK
In social life there are always forms of agreement embedded in the social
environment regarding the roles, rights, and obligations for each
individual, both male and female, until gradually it becomes a belief,
habit, and even more than that it becomes a rule.
This is not born just like that but develops over time even though all
social agreements that are born of course start from the dominance
power in it, so that the agreement that is present can be called a winning
product in that environment into a collective idea held by the community.
Departing from this opinion, there is a potential gap that is built up due
to the dominance of one party in it and without realizing it becomes the
forerunner of gender subordination. Gender subordination is when there
is a gender being seconded in terms of roles and rights that can be
obtained such as an agreement on who should earn a living and who
89
should take care of the household and in this case it often happens to
women or commonly called patriarchal culture, even more so the ideas of
subordinating women often appears not only in society but also in a
literary work, it should also be realized that cultural or literary texts are
media that provide a space to internalize a value and understanding to
society, silently or even unconsciously.
One example of inculcating ideas about such phenomena in literary
works is that when the researcher found out after carefully and
thoroughly reading the novel Entrok by Okky Madasari. A novel that tells
the story of the struggle of Sumarni's life, a woman who dreams of
having an 'entrok' or bra after seeing one of her friends who uses it, but
because of her family's poor condition, her dreams must be put aside for
more important things, although this did not dampen Sumarni's intention
to have it, so that she joined the market with her mother only to find out
another fact that in the market women who work are not paid with
money, the story continues until finally Sumarni can fight for her fate to
live, marry, and have a child which also takes the reader on another series
of events.
90
In looking at women's subordination through collective ideas in this
novel, the researcher will use an expressive approach. This approach was
taken to assist researchers in finding deeper forms of thought and the
author's outpouring of the theme of this research. Abrams also stated
that:
―Expressive criticism treats a literary work primarily in

relation to its author. It defines poetry as an expression, or
overflow, or utterance of feelings, or as the product of the
poet's imagination operating on his or her perceptions,
thoughts, and feelings; it tends to judge the work by its
sincerity, or its adequacy to the poet's individual vision or
state of mind; and it often seeks in the work evidences of
the particular temperament and experiences of the author
who, consciously or unconsciously, has revealed himself or
herself in it.‖ (Abrams, 1999:52)
First of all, this novel opens with the character of Sumarni who is very
eager to buy 'entrok' so that his body feels comfortable,
―‖Ini entrok,‖ kata Tinah. Di Kali Singget, saat kami mandi, Tinah menunjukkan
entrok-nya. Ada dua segitiga yang bisa menutup gumpalan dada. Ukurannya pas
dan agak menekan. Entrok itu menekan dada Tinah sehingga tetap kencang, tidak
nglawer-nglawer, meskipun dia berlari kencang atau melompat. Aku juga ingin
memilikinya. Pada Simbok, kukatakan keinginanku‖. (Madasari, 2021: 17)
91
but just as she said this to the Simbok character, he was immediately hit
by a sense of inferiority from herself when faced with the fact that she
was a woman and was in a poor family.
―Entrok memang terlalu mewah untuk aku dan Simbok. Apa yang
masih dipikirkan seorang perempuan kere buta huruf dengan
tanggungan seorang anak selain hanya makan? Suaminya, yang
konon adalah bapakku, minggat entah ke mana. Sejak kapan dia
pergi aku juga tak ingat. Samar samar aku hanya ingat Bapak
meninggalkan kami waktu aku pertama kali bisa mengangkat panci
yang airnya mendidih dari pawon.‖ (Madasari, 2021: 18)
Sumarni's sense of inferiority is so strong, even the researchers see that
her desire to buy entrok is a form of subordination of women themselves
because it shows that women's goals or dreams are so low due to their
education that they are afraid to dream of others or because only from
there she can get happiness
―Kumainkan uang-uang itu dengan kedua tanganku, sementara pikiranku
berkelana. Apa lagi kalau bukan ke mimpiku. Aku harus punya banyak uang
untuk membeli banyak entrok, yang berenda dan yang berhiaskan emas permata.‖
(Madasari, 2021: 42)
The behavior shown by Sumarni is an illustration and a concrete form of
Mary Wollstonecraft's words, namely the subordination of women in
92
making their own choices due to lack of education, stated in Nurrachman
(2017)
―For instance, the severest sarcasms have been levelled

against the sex, and they have been ridiculed for repeating
'a set of phrases learned by rote. , when nothing could be
more natural, considering the education they receive, and
that their 'highest praise is to obey, unargued the will‘ -of
man. If they be not allowed to have reason sufficient to
govern their own conduct-why, all they learn-must be
learned by rote!‖ (Wollstonecraft in Nurrachman,
2017:136)
The idea that Sumarni had is not just coming like that, as discussed at the
beginning that one of the reasons for women's feelings of inferiority is
the collective idea that society has so that it can be internalized to them.
―Teja terbahak-bahak mendengar permintaanku. Sungguh bukan jawaban seperti itu
sebenarnya. ‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan
kuat. Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
Similar things to what Teja's character said to Sumarni's character was
also expressed by another character that women's duties are nothing but
light work such as peeling cassava, cooking, and selling. It can be seen
that women's understanding of being 'weak' has become commonplace
93
and is agreed upon by the audience to the point that their position is
weakened not only in terms of job restrictions but more than that in
terms of wages given because in this novel there are no women who are
given money but with food ingredients, patriarchal culture is clearly
displayed in these phenomena.
On the other hand, the phenomenon of women's subordination does not
only occur in the economic sphere as happens in the market, but in the
household realm there is an incident where the wife is forced to obey her
husband.
――Suamiku itu lho, Ni. Dia gendakan sama kledek. Sudah lama, Ni. Tapi aku
diam saja. Aku nggak mau ribut, nggak mau cari masalah. Tapi aku nggak kuat,
Ni. Hatiku diiris-iris.‖Tangis Bu Juju meledak. Hanya kami berdua yang ada di
rumah itu.‖ (Madasari, 2021: 42)
There was also an incident at the Ngranget market where there was a
verbal and physical fight between Yu Parti and Yu Yem because Yu Parti
knew that her husband had married Yu Yem who was as old as her first
child, and one of Yu Yem's words was quite interesting to show the
normalizing of men‘s madness in this novel that is
94
―Yu Yem, yang terlihat takut, terpancing dan mulai marah. Dengan suara tak
kalah kencang, dia membalas kata-kata Yu Parti. ‖Enak saja, nyebut aku sundal.
Sampeyan sendiri yang tidak bisa ngladeni suami. Bukan salahku kalau suami
sampeyan mau kawin sama aku.‖‖ (Madasari, 2021: 28)
And before that incident Yu Parti had said something that both
normalized male madness, namely
―Yu Parti bukan tidak mengetahui hal itu. Kata Nyai Dimah, Yu Parti pernah
berkata, ‖Namanya juga laki-laki. Asal mbaliknya tetap ke kandang ya nggak
apa-apa.‖‖
Then, after the fight at the market stall, Yu Parti was brought home by
his husband without resistance and without anger, even though in truth
the cheating party was the guilty party, but in this case Yu Parti more
blamed and cursed Yu Yem as his mistress. The behavior shown by the
two women is indeed irrational and even makes it natural for men to have
an affair, without questioning or fighting them, they must obey the
madness of any man here.
―It seems a little absurd to expect women to be more

reasonable than men in their likings. And still to deny them
the uncontrolled use of reason. When do men /all-in-love
95
with sense? When do they, with their superior powers and
advantages, turn from the person to the mind? And how
can they then expect women, who are only taught to
observe behaviour, and acquire manners rather than
morals, to despise what they have been all their lives
labouring to attain?‖ (Wollstonecraft on Nurrachman,
2017:136)
In addition, the powerlessness of women in making their own choices is
also experienced by Sumarni's character when she is married without her
knowledge, even though the person she marries is the man she loves, but
she herself said that she was not ready to advance to marriage due to
hearing stories of household problems of their raw customers.
―Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan

keinginan Teja untuk mengawiniku pada Simbok. Malam itu, di
belakang rumah, saat kuulangi permintaanku pada Mbah Ibu Bumi
Bapa Kuasa, Simbok berbisik pelan, ‖Nduk, anak perempuan itu
harus punya suami, punya anak. Kalau sudah ada yang melamar
tidak boleh ditolak, bisa kualat, jadi perawan tua.‖ Aku tak
membantah omongan Simbok. Tak mengiakannya. Tapi hanya tiga
hari setelah itu, kami telah berada di rumah Kamituwo. Kamituwo
menyuruh Teja menirukan ucapannya. Paklik berada di samping
Kamituwo. Aku sendiri duduk di dapur, bersama Simbok, Bulik,
dan istri Kamituwo.‖ (Madasari, 2021: 48)
Departing from this quote, patriarchal culture is so embedded in every
side, the irony is that this culture is no longer questioned or even resisted
but has been taken for granted by women, as revealed by Johnson (2004).
―To demonstrate that gender oppressions exists, we don't

have to show that men are villains, that women are good-
hearted victims, that women don't participate in their own
96
opinion, or that men never oppose it. If a society is
oppressiv, then people who grow up and live in it will tend
to accept, identify with, and participate in it as "normal"
and unremarkable life. that's the path of least resistance
‖(Johnson, 2004:26)
When this culture of patriarchy and subordination is continuously
legitimized by society, the opportunity for women to rise up and seek
gender equality is getting smaller, because every time women carry out
the slightest resistance, they are immediately denied and turned off, even
oppression will come not from the side of men but also from other
women who have been brainwashed to obey the agreements that has
been made, such as when Simbok's character talks about what is
appropriate and inappropriate for a woman when Sumarni's character
says she wants to be a labourer in the market, that kind of thinking will
make it difficult for women to rise up to fight her rights.
―This cruel association of ideas, which everything conspires

to twist into all their habits of thinking, or, to speak with
more precision, of feeling, receives new force when they
begin to act a little for themselves; for they then perceive
that it is only through their address to excite emotions in
men, that pleasure and power are to be obtained‖
(Wollstonecraft on Nurrachman, 2017:135)
The phenomena mentioned have been able to describe the position of
women in the social environment, how women are placed second in
society through debilitating agreements that also limit them from claiming
97
their own rights and choices, especially without realizing that the female
character in this novel is only formed to be a wife for take care of the
kitchen and children as expressed by Betty Friedan in her essay on
Feminine Mystique (1964) "for women, in all the columns, books and
articles by experts telling women their role was to seek fulfillment as
wives and mothers." (Friedan, 1964:15)
It is true that women's rights can be fought for through a series of
movements from each individual, but in the end when faced with a large
audience who stems it completely, the journey will be very difficult, and
such patterns are instilled by Okky Madasari in this Entrok novel, she
internalizes patriarchal values through collective ideas that are present in
the community and elements of women's subordination either
intentionally or unintentionally by the author, but these patriarchal values
are present and are hidden in this novel.
Reference:
Abrams, M. H., & Harpham, G. (2014). A glossary of literary terms. Nelson
Education.
Friedan, B. (1964). The feminine mystique (Vol. 2498).
98
Johnson, A. G. (2004). Patriarchy, the system. Women‘s lives: Multicultural
perspectives, 3, 25-32.
Madasari, O. (2021). Entrok. Jakarta. PT. Gramedia Pustaka Utama
Nurrachman, D. (2017). Introduction to Criticism. Bandung. Pustaka Aura
Semesta
99
- Nice and could better if you consistent with one topic to discuss
- Some still having retelling than real analysis
- Still having some jumped-up ideas Melisa Betha
- Some narratives and analysis are relevant with the topic, some others not
1195030135
- Still lack of theoretical justifications
70 = B
- Still lack of relevant sources to cite, esp in supporting the arguments
- You can do your favor to write the title freely, but just remember that the title 5-D
also should represent the content of the discussion
WOMAN IS NOT A BODY WHICH ONLY WAITING TO DIE IN
ENTROK BY OKY MADASARI
The problem upon woman in society we live in is not simply in within from
the woman itself. More and beyond the iceberg it was structured and
systematically by the power relation of patriarchy. Following the thought of
Guo that “patriarchy is a social structure in which males are the primary
authority figures in charge of social organization, property ownership, moral
authority, political leadership, and other aspects of life. where males in the
family have power over women and children household” (Guo, 2018) which
substitutes in culture which hold the power to create what woman or how
woman is and must be to live in society. Moreover, in signification of this
proposal statement can be seen in every product of its such as symbol, norm,
stereotype, even government policy, and so on. In vivid instance such as the
prohibition where woman cannot go outside alone in night, it is unnatural
where woman do difficult manually labor, the RUU PKS in Indonesia which
is hanged and is still being debated even though it is critical needed, and the
disgusting jargon where woman only live at bed (kasur), kitchen (dapur),
and well (sumur).
This patriarchy is so rejoiced and flourished in current situation especially,
and very detrimental for woman, if there is no movement and people who
fight for the equality. As considered for the fundamental gender problem in
feminism by Amelia Valcárcel
“The sexes were not equal; they were complementary. That was the way of
Nature, and the new socio-political order should not go against its will.
Feminism claimed that male domination was a political construct”
(Valcárcel, 2002).
This chain of statement is emerged by Wollstonecraft on her powerful essay
about woman and regarded as the birth intellectual foundation of feminism
which the title is A Vindication of The Rights of Woman “This, habitual
slavery, to first impressions, has a more beneful effect on the female than the
male character, because bossiness and other dry employments of the
understanding, tend to deaden the feelings and break associations that do
violence to reason” (Nurachman, 2017). The contribution of Mary
Wollstonecraft has provoked the consciousness about the woman in fighting
for equality in society which in the end of the day it is called as feminism as
the theoretical foundation and movement.
101
Following this issue upon woman, a novel by Okky Madasari has certainly
developed in portraying the systematically persecution on woman in every
form, regardless the main character is two-woman Marni and Rahayu as
mother and daughter who has conflict of belief. The story also remains the
strugle of Marni and other woman in gaining her equality starting from the
symbol of buying “entrok” independently, wealth, power, etc. Experiencing
the violence, abuse, raped onto their subjectivity.
Thus, to criticize the woman persecution through this novel, this study will
acknowledge trough mimetic approach which treats and emphasizes
judgment in the perspective of the reflection from real life, based on the
sincerity of imitation. As followed the argument of Abrams who stated that
“Mimetic criticism views the literary work as an imitation, or reflection, or
representation of the world and human life, and the primary criterion applied
to a work is the "truth" of its representation to the subject matter that it
represents, or should represent” (Abrams, 1999). Thus, this study will
analysis every systematically type of persecution in the struggle of woman to
have the right of her equality.
As the first glance the narration which representing of persecution is started
from the narrative of Marni since a young girl who has will to buy entrok, as
quoted below.
102
“Teja terbahak-bahak mendengar permintaanku. Sungguh bukan jawaban
seperti itu yang kuinginkan. Aku menunggu agak lama untuk mendapatkan
jawaban yang sebenarnya.”Ni, kamu ada-ada saja. Nggak ada perempuan
nguli.
Nggak akan kuat. Sudah, perempuan itu kerja yang ringan-ringan aja.
Ngupas singkong.”
”Aku kuat, Kang. Biasanya aku juga nggendong tenggok,
nggendong goni. Bakul-bakul itu juga banyak yang mengangkat
sendiri dagangannya dari rumah ke pasar. Hanya priyayi-priyayi saja yang
nggak kuat ngangkat goni.”.” (Madasari, 2010)
This portrayal imitation showing of Okky Madasari intension which showing
the unfair system of work that woman was persecuted by irrelevant opinion,
fictive, and untrue where woman is already domesticated by its form to only
work in light work and most importantly it was said by Teja as a young man.
Moreover, this can be signified as a type where woman needs to struggle
even to do basic right of human to work is limited which is fundamental to
fulfilling the needs of life from being paid. This is corelates with
Wollstonecraft thought that “this cruel association of ideas, which everything
conspires to twist into all their habits of thinking, or, to speak with more
precission, of feeling, receives new force to begin to act a little for
103
themselves” (Nurachman, 2017). Thus, in act a little for the right of herself
as human being Marni as young girl was precluded sharply by its fact as girl.
In second representation is more severe where this was not only the main
character yet has vivid violence upon woman for having partner in unfair
way, as down here.
“ Sedulur-sedulur, si Iyem ini sundal. Suami orang direbut juga,” teriak Yu
Parti dengan penuh amarah.
Yu Yem, yang terlihat takut, terpancing dan mulai marah.
Dengan suara tak kalah kencang, dia membalas kata-kata Yu Parti. ”Enak
saja, nyebut aku sundal. Sampeyan sendiri yang tidak bisa ngladeni suami.
Bukan salahku kalua suami sampeyan mau kawin sama aku.”
”Dasar sundal, perebut suami orang.” Yu Parti mulai kehilangan
kesabaran” (Madasari, 2010)
Yet the representation of man namely Pak Suyat and womans Yu Parti and
Yu Yem privilege is very turn upside down here just like nothing to do, or in
other word has no certain impact to the man while in fact each character has
its own fair error if it determined as error.
“Yu Parti bukan tidak mengetahui hal itu. Kata Nyai Dimah, Yu Parti
pernah berkata, ”Namanya juga laki-laki. Asal mbaliknya tetap ke kandang
104
ya nggak apa-apa.” Pak Suyat memang tetap kembali ke kandang. Tapi
tidak lagi setiap hari. Entah ke kandang mana dia pulang saat tak bersama
Yu Parti. Belakangan, Yu Parti tahu Pak Suyat selalu pulang ke rumah Yu
Yem. Pak Suyat menggilir mereka. Jika hari ini bersama Yu Parti, besoknya
pasti pulang ke rumah Yu Yem. Kabar Yu Yem telah menjadi gendakan Pak
Suyat menjadi omongan di mana-mana. Yu Parti akhirnya marah dan
melabrak Yu Yem.” (Madasari, 2010)
This is fundamentally as an intentional imitation from Okky Madasari where
woman is constructed socially to cannot have a choice her will and wish in
having partner. The acceptance of Yu parti which driven by a man is the
systematically a genuine loss of her subject in bargain to say no to her
husband. This regarded by Wollstonecraft that “But one grand truth woman
have yet to learn, though much it imports them to act accordingly. In the
choice of husband, they should not be astray by the qualities of a lover-for a
lover the husband, even supposing him to be wise and virtuous, cannot long
remain. Were woman rationally educated, could they take a more
comprehensive view” (Nurachman, 2017). Yet here, Yu Parti and Yu Yem
was constructed to be blind to see in comprehensive view to all this partner
stuffs. Pre assumption is because they have not enough education and the
man Pak Suyat take the advantage.
105
Moreover, in the next quotation of Entrok is a vivid a persecution by the
imitation of irrational projection where woman has no chance to say no, in
other words the provided answer only for woman in dealing something is
affirmative.
“Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan keinginan
Teja untuk mengawiniku pada Simbok. Malam itu, di belakang rumah, saat
kuulangi permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok berbisik
pelan,”Nduk, anak perempuan itu harus punya suami, punya anak. Kalau
sudah ada yang melamar tidak boleh ditolak, bisa kualat, jadi perawan tua.”
(Madasari, 2010).
This can be seen and justified clarification where Okky Madasari is very
highlighting the reality of woman in choice is being persecuted even between
woman and woman itself. the answer has no room to say the opposite
request. As regarded Wollstonecraft consideration that “in the fact the female
mind has been totally neglected” (Nurachman, 2017) Therefore, in radical
point of view, the free will as woman is die, stolen, and raped, woman here
by the narration of “Kalau sudah ada yang melamar tidak boleh ditolak, bisa
kualat, jadi perawan” (Madasari, 2010), it is also show that woman pride is
determined by the virginity, not her quality of self like thinking, emotion or
even skill to answer the challenge of life.
106
The next persecution comes up from the state apparatus role which has the
norm to be wise and can be relied on to solve the conflict fair. Yet here is
just word to do so, especially to be fair in gender equality. As served below.
”Semua yang terkumpul selama jadi suami-istri ya berarti yang punya
berdua, to. Dan namanya laki-laki kan biasanya yang mencari semuanya.
Lagi pula kalau sudah untuk anak kan sudah tidak ada masalah. Wong kita
hidup memang mau bikin mulia anak-anak kita,” Pak Lurah masih
melanjutkan ceramahnya. ”Penyelesaian ini diterima saja. Daripada nanti
diurus negara malah jadi repot semuanya,” kata Pak Lurah mengakhiri
pembicaraan.” (Madasari, 2010)
This reflection is showing persecution upon woman was done state apparatus
which is officially as the government face to serve and help people as the
subject of service. Okky Maddasari reveals two persecutions at once, first
Marni as woman was forced and abused to be subtle on her financial
independent with the accusing that all wealth is only come from man hands,
second persecution is Marni as the people of the state was abused to accept
all the unfair offers. This is the most broken hearted of woman where all
hopes are gone even officially. This presentation is also emerging the
thought that the world only spinning around man, as Wollstonecraft
consideration that “for they then perceive that is only through their address to
excite emotions in men, that pleasure and power are to be obtained”
107
(Nurachman, 2017). The rejection of Marni to this persecution from state
apparatus was double damaged by the cultural reference of Jawa which state
by Pak Lurah as the inevitable culture and must be obeyed no matter what
about the ultimate role of men.
“Ini tidak adil, Pak. Aku yang mengumpulkan semua harta ini. Kok bisa-
bisanya dibagi dua begitu saja tanpa bertanya ke aku? Orang ini yang tidak
pernah ngerti susahnya mengumpulkan barang dari sedikit, enak sekali tiba-
tiba dapat jatah yang sama dengan anakku. Apanya yang adil, Pak Lurah?”
”Ya memang begini ini adatnya orang Jawa. Namanya suami-istri itu cuma
satu. Sampeyan tidak bisa bilang ini yang mencari sampeyan. Ini yang punya
kalian berdua. Lagi pula orangtua mencari harta itu kan buat anak. Jadi kalau
sudah buat anak ya sudah, to?” (Madasari, 2010).
This imitation constantly portraying the persecution upon woman was forced
by the narrative of culture and race. This indication of serials problem in
emerging culture and race, those are made woman is cursed even if they are
not born yet from the womb of Javanese woman as her mother and the
second insight of the problem is upon the problem where woman is not being
treat as human being yet merely as instrument, facility, and rudely as a tool.
“Dari hari ke hari, aku merasa kami semakin dekat. Bukan, bukan dekat
yang seperti itu. Ini kedekatan yang tak tampak, yang hanya diketahui kami
108
berdua. Saat aku memandangnya, sambil menyimak ceramahnya, aku selalu
merasa dia mengetahuinya. Lalu dia menoleh, membalas pandanganku, lalu
tersenyum. Lembut dan tipis. Hanya aku yang bisa mengetahuinya. Hanya
beberapa detik, namun selalu berulang. Dan aku merasa kian hari kami
kian terikat. Toh yang seperti ini bukan dosa”
The narrative representation here showed that woman in fact through Okky
Madasary imitation can be justified where woman thinking was neglected to
respect what is love and the nature of love itself and show as the expectation
Rahayu gross wishes, this can be more clarified following the causality of
how Rahayu admires Armi, as presented as the last quotation.
“Katanya dia memang keturunan Arab. Ratusan tahun lalu leluhurnya
berlayar untuk berdagang sampai ke Aceh. Dari Aceh mereka menyusuri
pantai barat Sumatra, lalu sampai di Padang. Mereka memilih tinggal di
Padang, turun-menurun, hingga generasi saat ini, yang entah sudah
keberapa. Ketampanannya sepadan dengan segala kelebihan otak dan
kesantunannya. Dia hafalkan setiap kata-kata Tuhan. Lalu dengan
bahasanya sendiri dia akan menerangkan maknanya kepada setiap orang.
Dengan santun menyentuh kesadaran setiap orang yang mendenga”
(Madasari, 2010).
109
This admiration from the eyes of Rahayu is preserving the blind spot where
woman cannot see the actual need of seeking real partner, this could be
neglected by the common assumption which substitute to persecuting the
unconsciousness of woman in the society. As following the comment of
Wollstonecraft to the woman situation in her era that “Could these girl have
been injured by the perusal of novels? Almost forgot the shade in the
character of one of them, she affected by a simplicity bordering on folly”
(Nurachman, 2017).
As a conclusion the study will remain insight to concluded that in Okky
Madasary imitation about type persecutions of woman are system of work,
genuine loss in bargaining to man, the subjectivity right to choose the
affirmative and opposite, state apparatus, traditional vogue of java, the right
to get her financial independent, and the unconsciousness in viewing man, all
those are dominated and constructed by man in every system of life. Yet here
as final words this study declare to all devil form domination in persecuting
woman, woman is human as its nature not a body which only waiting to die
in the hands of man. Woman will fight, all woman around the world
assemble to fight for equality.
REFERENCE
110
Abrams, M. H. (1999). A Glossary of Literary Terms (7th ed). Boston:
Thomson Learning.
Guo, R. M. (2018). Brief Analysis of Feminist Literary Criticism. Beijing:
The Drama Publishing House of China.
Nurachman, D. (2017). Introduction to Critica Theory. Bandung: Pustaka
Aura Semesta.
Valcárcel, A. (2002). The collective memory and. Santiago: United Nations
Publication.
111
- Too many paragraphs Name : Mila Jamilatussarifah
- Too many unnecessary informations
- Such an irrelevant discussion NIM : 1195030136
- Such a misleading analysis
- Wordsworth's theory is hardly related to political view
- Learn more Wordsworthian theory of romanticism 60 = C Class : 5D
AUTHOR’S POLITICAL VIEW AND INTEREST IN THE
NOVEL ENTROK BY OKKY MADASARI
Literature can be understood as a sign of a social phenomenon. In general,
social impulses give birth to various kinds of life activities, such as social,
economic, political, ethical beliefs, and others. So, this social impulse
ultimately encourages the creation of literary works that inevitably fight for
these various forms of social activity. Authors or writers are the creators of
literary works. Authors create various literary works according to their
respective backgrounds. Both social background, cultural background
including the religion adopted by an author. Even a literary work is also
influenced by the background of the author's era. This is in accordance with
Saryono's opinion that “literature is not just an artifact (inanimate object),
but literature is a living figure. As a living figure, literature develops
dynamically accompanying other figures, such as politics, economy, art, and
culture. Literature is considered capable of being a guide to the path of truth
because good literature is literature that is written with full honesty, clarity,
sincerity, wisdom, and the nobility of human conscience. Good literature is
112
able to remind, awaken, and return humans to the proper path, namely the
path of truth in an effort to fulfill their life tasks” (Saryono,2009). Literature
can be seen as a social phenomenon (Luxemburg, 1984). This is because
literature is written in a certain period which is directly related to the norms
and customs of that era and literary authors are part of a society or place
themselves as members of that society.
The novel is a form of reflection of the author's mental awareness of the
values that live and develop in the midst of society because the novel is
never separated from the socio-cultural system that surrounds it. Thus, a
social phenomenon can be one of the elements of a novel. Every novel as a
literary creation generally has a certain mandate. That is, the author tries to
activate the reader to accept his ideas about various aspects of life. Likewise,
the way the author views female characters as a form of concretization of
aspirations, ideas, views and values about women themselves.
Talking about the author's position, the researcher in this essay will analyze a
novel entitled Entrok Kaya Okky Madasari. It is undeniable that the author
has certain aims and objectives in making literary works. Literary works are
made in such a way as to spread the values that the writer wants to spread.
For example, in this novel, Okky re-examines the situation in Indonesia in
1950. As we all know that at that time, Indonesia was not doing well. There
are countless conflicts scattered all over. The power that exists in this novel
113
is described as oppressive power to innocent people, the state misinterprets
the independence of its own nation because there are too many conflicts,
especially in this novel it raises the dark history in Indonesia, namely about
the PKI party.
This novel was published in 2010, it means the author has a certain intention
in creating the Entrok novel. There is something that Okky wants to convey
as a form of straightening the history that has occurred. The uniqueness of
literary works lies in that, consciously and unconsciously, the reader will be
made to think again about what has passed. In this case, the author has a kind
of principle in making a story. I don't know what the background behind the
author is, but what is certain is that the work created by the author is a social
phenomenon. This is in accordance with the view of Sugihastuti that
“literary works are the media used by authors to convey their ideas and
experience”s. As a medium, the role of literature is as a medium to connect
the author's thoughts to be conveyed to all readers in the world or in
agreement with Wordsworth that “man speaking to man”(Nurachman, 2017).
In addition, literary works can also reflect the author's views on various
problems observed in his environment. The social reality presented through
the text to the reader is a description of various social phenomena that have
occurred in society and are presented again by the author in different forms
and ways. In addition, literary works can entertain, increase knowledge and
114
enrich the reader's insight in a unique way, namely by writing them in
narrative form. So that the message is conveyed to the reader without the
impression of being patronizing.
But literature is complex. The meaning of the story in a work of fiction can
be more than one. This, according to Nurgiyantoro tha“it is difficult to
determine the main theme of the story or major theme (meaning: the main
meaning of the story which is the basis or general idea of the
work)(Nurgiyantoro, 2009). The main meaning of the story is implied in
most of the whole story, while the additional meaning contained in it is
called the additional theme or minor theme. Interpretation of it must be done
based on the facts that exist as a whole to build the story. Hill in Pradopp
states that “literary works are a complex structure, so to understand the need
for analysis, namely the decomposition of its elements”(Pradopo,1995).
Interpretation of literary works aims to clarify its meaning. In addition,
Pradopo reveals that “literary analysis is carried out to understand the
meaning of literary works as deeply as possible”(Pradopo,1995).
Furthermore, suggests that “literary research can function for the
advancement of literature itself and interests outside of
literature”(Endraswara,2008). The interest in literature is to improve the
quality of literary creation. While interests outside of literature are related to
aspects outside of literature, such as religion, philosophy, morals, and so on
115
which are strongly influenced by the content of literature as a document of
the times. So that literary research has pragmatic value that will be useful for
other relevant sciences. Literary research is not only a purely scientific or
academic task, but must also be able to provide enlightenment for the
development, selection, dissemination of literature and explain the things
related in it. So, the function of literary research will be a medium for readers
to understand the content of the story and the meaning in the text written by
the author.
Based on the opinion that has been mentioned above, the researcher in this
essay uses an expressive approach. The expressive approach views literary
works as expressions or overflows, expressions of feelings as a result of the
author's imagination, thoughts, and feelings, this tends to weigh literary
works with their authenticity, or the author's state of mind and
psychology(Pradopo,2013). Whereas the expressive approach is an approach
in literary studies that focuses on the study of the expression of the author's
feelings or temperament, in this approach the assessment of works of art, the
expression of the author's life. So that the basic assumption of this essay can
prove that Okky Madasari uses literary works as a tool in his political
alignment.
Moreover, the author depicted its expression trough the power of describing,
portraying a complex scenery how politic event may leads such a massive
116
crowd. This also can be claimed that the author promotes the thought about
literacy and political attitudes in an Indonesian state are still low, it show
how sentiment to them who not take its right to vote in the election.
“Saat sepeda yang mereka tumpangi menghilang di ujung jalan, aku
mengikuti rombongan orang-orang yang menuju balai desa. Ingin melihat
keramaian yang ada di sana. Katanya pemilu itu sama ramainya dengan
pertunjukan wayang kulit. Di sana banyak orang yang menonton, ada
gambyong, juga banyak pedagang keliling. Balai desa sudah ramai. Ada
penjual arum manis, balon, bakso, dan cendol. Di halaman balai desa dibuat
tiga kamar dari tripleks. Orang-orang berdiri mengular di pintu tiap kamar.
Ada banyak petugas berseragam loreng-loreng. Mereka memegang pistol,
mengatur orang-orang. Meneriaki kalau ada yang nyolong antrean atau
pulang sebelum masuk ke kamar coblosan”(Madasari, 2010)
This thought and technique is related to Wordsworth who ever said
that“poem is to relate and describe the incident or emotion by the language
of men and to throw it with coloring imagination, simply ordinary thing
should be presented as an unusual and interesting”(Nurachman, 2017).
Following from this the author is simply wants to tell that election day can
be a party for people and warn that it can be so sentimental during the event.
117
Moreover, the author feeling is exposed to”Cik Lien” character that the
confusion about political ideology in such a way are very racist. It is
irrational where political ideology may leads on the oppression about
religion. As presented below.
“Aku tak tahu apa itu kelenteng. Cik Ellen sepertinya mengerti
kebingunganku. Katanya kelenteng itu tempat orang-orang Cina menyembah
leluhur. Mereka menyimpan abu nenek moyang dalam guci yang disimpan di
kelenteng, lalu berdoa di sana. Sejak goro-goro PKI, orang tidak boleh lagi
ke kelenteng. Kelenteng-kelenteng ditutup”(Madasari, 2010)
The author feeling in this narration is nothing but its interaction trough
reality and its creative skill to draw such confusion idea. This claim is
regarded to Wordsworth who said that“It means that literary woks the
process of creativity to response the interaction from the emotion and the
nature that made the feeling exist cause the object excites the feeling
strongly”(Nurachman, 2017).
There also a confusion where political ideology creating violence trough
freedom of speech and expression, this politic is very cruel. The author
seemingly criticized a system where government was taken by tyrant
whorules the state. This also contain the testimonial from the author which
can be claim as a developed feeling to makes this phenomenon important to
118
be discussed. Moreover, this is related with the consideration about the
author from Wordsworth that “feeling theirin developed gives the
importance of action and situation”(Nurachman, 2017)
“Tapi, ya siapa yang bisa menantang negara. Tentara-tentara itu
menyebutnya golongan PKI. Tikno masuk penjara dan tak pernah kembali
sampai sekarang. Istri dan anaknya sejak itu kere. Tak ada yang mau
memberi pekerjaan, karena mereka keluarga orang PKI. Istri Tikno, Yu Nah,
tak pernah bisa ikut nderep, padahal itulah satu-satunya yang bisa
dikerjakan. Semua orang yang punya sawah menolaknya. Pernah dia datang
ke rumah ini, minta bekerja membantu Tonah. Tapi aku tak mau, takut
membuat masalah. Urusanku sudah banyak”
The next author projection is quite unseen but in deep understanding, it can
be identified a natural order where human is can very easy to pick a side,
easy to belief, and easy to force their belief to other by promoting every day.
It just like how boring Bu Lastri telling her admiration about the army, and
Teja about Beringin Party.
“Di sekolahan, Bu Lastri selalu bercerita tentang kehebatan tentara. Mereka
selalu menjaga kita. Orang-orang yang selalu memberi kita rasa aman.
Bapak terus berbicara tentang pemilu pertama yang diikutinya dan
119
kehebatan Partai Beringin. Bapak tidak ada bedanya dengan tentara-tentara
itu. Kami tiba di rumah saat malam telah larut. Tak ada lagi orang lalu
lalang. Suara gamelan dan teriakan ”Cayo!” para penari gambyong
terdengar sayup-sayup. Mereka akan terus berpesta sampai terdengar kokok
ayam”(Madasari, 2010)
Moreover this show that the author may warn through its wise understanding
to stop, in other words the author tends the novel as a tool to tell about the
human is very political creature but once also withing is telling people to be
normal about it. This is very amazing of how the author namely Okky
Madasari promoting the natural order that human is political creature and the
truth that human is easy to belief. This is term is such an immortal pattern
which made this novel will durable because take the theme as intemporal
theme as Wordsworth stated that“And from the necessary character of rural
occupations are more easily comprehended; and are more durable; and lastly,
because in that situation the passions of men are incorporated with the
beautiful and permanent forms of nature”(Nurachman, 2017)
As a result , this essay claimed that author use this novel as a tool to convey
its political view which emerged from author’s experience, ideology, feeing,
and belief trough the scenery in the novel, characters and their experiences,
that author interest to dislike about tyrant, intolerance ideology, and forcing
ideology to other person.
120
121
REFERENCES
Endaswara, Suwardi. 2008. Metodelogi Penelitan Sastra Epistemologi,
Modal,
Teori, Dan Aplikasi. Yogyakarta: CAPS (Center for Academic
Publishing
Service).
Nurgiyantoro, Burhan. 2009. Teori Pengkajian Fiksi. Yogyakarta: Gadjah
Mada University Press.
Pradopo, Rachmat Djoko. 2013. Beberapa Teori Sastra, Metode Kritik, dan
Penerapannya. Yogyakarta: Pustaka Pelajar.
Ratna, Rachmat Kutha. 2015. Metode dan Teknik Penelitian Sastra.
Yogyakarta:
Pustaka Pelajar.
Saryono, Djoko. 2009. Dasar Apresiasi Sastra. Yogyakarta: Elmatera
Publishing.
Luxemburg, J.Et. All. 1984. Pengantar Ilmu Sastra. Jakarta: Gramedia.
Sugihastuti. 2007. Teori Apresiasi Sastra. Yogyakarta: Pustaka Pelajar.
122
123
60 = C
- Truly lack of focus
- What do you want to discuss actually?
- What theory do you want to use/apply actually?
- Too many introductory paragraphs Name: Moch Alif Yasin M
- Tooooooo many unnecessary informations
- Truly lack of real analysis
- There's no real analysis based on the theory of criticism learned in the class NIM: 1195030137
- Truly an inconsistent discussion
Class: 5D
The reality of religious life in the book Entrok by Okky Madasari
Linguistically, religion is the belief in and worship of a
superhuman controlling power, especially a personal God or gods. In
terms, religion is a social-cultural system of designated behaviors and
practices, morals, beliefs, worldviews, texts, sanctified places, prophecies,
ethics, or organizations, that relates humanity to supernatural,
transcendental, and spiritual elements; however, there is no scholarly
consensus over what precisely constitutes a religion.
Belief, or commonly called religion, has existed since the
beginning of human creation according to Islamic beliefs. Although
according to researchers belief emerged at 6 million years ago.
While scholars such as Ioan Couliano or Marija Gimbutas
assume that there is no actual proof of religious activity before 60,000 b.
C. 11 Mircea Eliade is convinced of the fact that even the first
hominids had a certain spiritual awareness. The commonly accepted
starting point for prehistorical religion is believed to have been
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about 6 million years ago, when the common ancestor of modern
apes and human beings lived somewhere in the African bush.
(Wunn, 2000)
In today's era, having faith has become an obligation for every
individual, especially in Indonesia as stated in the first principle of
Pancasila which reads "ketuhanan yang maha esa" which indirectly obliges
every Indonesian citizen to worship the one God. Everyone's obligation
to embrace a religion or believe in the existence of a god is not arbitrarily
determined without any reason, because religion itself has a function for
each of its adherents.
The function of religion in society, among others: Educational
function, Rescuer, As of Atonement, As Social Control, As enricher
Sense of Solidarity, Transformative function, Creative function, and
Sublimatif function. (Mulyadi, 2016)
Religion according to Durkheim has three major functions in a
society. The first major function of religion is that it creates a united
society. It unites people through their shared values, beliefs and practices.
The second function is it promotes conformity. It creates a society with
many cultural norms. The third and last function of religion to the society
125
is it offers the people a comforting self. They find strength and comfort
through their religious beliefs.
From the various theories above, it can be seen that religion is
important for everyone, not only as self-identity so as not to be alienated
by society or just because it is a legacy from parents that we must adhere
to because we are their children. However, embracing a religion is not as
simple as just wanting to feel the benefits, many other factors are taken
into consideration in embracing a religion.
In practice, the functions of religion, especially in society,
including: Educational function, religion has an educational function
because in religious teachings its adherents are given knowledge about
good and bad things, usually containing orders about carrying out good
things and staying away from bad things. Then there are also guidelines
for living in personal and social life. On the basis of religion, many
schools were founded which were originally devoted to learning about
religion, but nowadays religious schools have included general lessons as
well.
Rescuer, religion functions as a savior for people who carry out all
that is commanded by religion and stay away from all things that are
126
prohibited by religion. The savior function in religion is even very broad
in scope, covering two realms, namely during the world and in the
afterlife. Most people want to follow a religion because they are afraid for
their safety in this life after death, because humans tend to be afraid of
things they don't know.
As of atonement, inner peace can be obtained by humans if they
can carry out all that is commanded by religion and stay away from all
that is prohibited by religion. While peace in social life (relationships
between humans) can be obtained because every religion must teach
about living in harmony between fellow human beings.
As social control, the norms and rules that exist in religious
teachings are binding on their adherents. These norms and rules can be a
limitation, human control over how they behave in life.
As enricher sense of solidarity, due to the nature of humans who
often gather on the basis of similarities, adherents of the same religion
will become one on the basis of faith because they have the same way of
life. Even people of different faiths can have a sense of brotherhood as
when the companions of the Prophet Muhammad migrated to Habasyah
after being chased by the Quraish infidels. Based on Ibn Katsir's notes in
127
Bidayah wa al-Nihayah, Utsman bin Affan and his wife Ruqayyah were
among the first to migrate to Habasyah. Next followed by the group of
Ja'far bin Abu Talib and several other friends.
Transformative function, religious teachings can change a person's
life, change habits, customs, and even human culture to be better in
accordance with the teachings of that religion.
Creative function, religious teachings demand that its adherents be
creative in responding to all problems and also in living life. Religious
teachings cannot be carried out raw without being interpreted first. In
addition, humans are also required to be creative in fulfilling obligations
in carrying out what is ordered by religion, such as the obligation to
perform the pilgrimage for those who can afford it. In ancient times, the
people who were able to perform the pilgrimage were only those who
lived around the Arabian peninsula, while those who were far from
Mecca would not be able to perform the pilgrimage. For this reason,
humans have created a more sophisticated mode of transportation rather
than relying on animals such as camels to be able to perform the
pilgrimage no matter where they live.
128
Sublimatif function, in God's view through religious teachings, it is
taught that every thing that is done by humans if the intentions are good
will be worth worship even though it is a matter of the world. But in
Islam, if the work has good intentions and good practice, then it is worth
worship.
Research on the relationship between literature and religion was
started by the American literary critic, T.S. Eliot, in 1938. It relates literary
works to evangelical values and the practice of using literary works in the
religious practice of the people Christian. The study released by T.S. The
Eliot is growing with a number of variations, according to regional
characteristics and interests the reviewer. In Indonesia, the country with
the majority of citizens Muslims, has also developed a study that connects
literature with religion. (Surahmat, 2017, p. x)
The author also finds examples of the function of religion in the
Entrok novel by Okky Madasari, including:
Tapi aku tetap percaya, seberat-beratnya yang kualami, Mbah Ibu Bumi
Bapa Kuasa tetap akan memberi nikmat, sesuai apa yang selalu kuminta setiap
tengah malam. Memang salahku, tidak pernah meminta diberi ketenangan hidup,
dihargai, dan disenangi orang lain. Aku hanya minta diberi kemudahan rezeki, bisa
129
menyekolahkan anak setinggi-tingginya, menebus penyesalan orangtuanya yang
seumur hidup hanya menjadi orang bodoh, tak pernah kenal huruf. (Madasari,
2010)
The excerpt of the novel above is an example of the second
function of religion according to Mulyadi, namely the function of rescuer.
Marni feels safe, and can go through all the trials because Marni believes
Mbah Ibu Bumi Bapa Kuasa will still give her favors even though there is no
evidence that everything Marni can come from Mbah Ibu Bumi Bapa Kuasa.
Koh Cayadi menawari Ibu untuk ikut dalam ziarahnya pada Jumat Legi
yang jatuh minggu depan. Ibu langsung menyetujuinya. Mereka kini telah menjadi
kawan dan saling memercayai. (Madasari, 2010)
The similarity of trust between Marni and Koh Cayadi makes
them immediately close and trust each other. Koh Cayadi did not even
hesitate to take Marni on a pilgrimage to Gunung Kawi when they first
met. This incident illustrates one of the functions of religion, namely to
enrich a sense of solidarity.
Di sinilah aku sekarang. Tenggelam di antara orang-orang yang sedang
memasrahkan diri pada jalan kebenaran. Semuanya sama, tak ada yang ingkar, tak
ada yang berdosa. Kami semua belajar dan berlomba-lomba untuk mendapatkan
130
surga. Di tempat inilah, aku seperti tengah mencuci segala dosa masa laluku,
memohon ampun karena tak bisa membawa orangtuaku sendiri, orang-orang yang
ada di dekatku, menuju jalan yang seharusnya. (Madasari, 2010)
Rahayu who entered the boarding school felt a new environment
that was much different. Because Rahayu wants to learn about religion
here and with the support of the pesantren environment which is thick
with Islamic nuances, Rahayu also becomes a pious person. This rahayu
change is an example of one of the functions of religion, namely the
transformative function.
Based on the following fragment of the story the writer will look
for the form of reality of religious life in the novel which is the writer find
it related to the real life. The approach that will be used in analyzing
Entrok is Mimetic. According to Abrams (1953; 1999) Mimetic is the
approaches, that views literary work as an imitation, or reflection, or
representation of the world and human life, and the primary criterion
applied to a work is that of the ‗truth‘ of its representation to the subject
matter that it represents, or should represent. (Nurrachman, 2017, pp.
6,7)
131
Because there are various religions in this world. Disputes over
religious differences are common all over the world. Especially in a
family, when there is one family member who does not follow in the
footsteps of his ancestors. Incidents like this are often interpreted as
resistance, betrayal, and humiliation for the extended family. From a
social perspective, he will be a disgrace to his family, who will continue to
be gossiped about by the big family. But from a religious perspective, his
family doesn't want him to be a lost person and then be punished by God
because basically all religions say that religion is right while other religions
are wrong.
Relating to Emerson statement ―For all men live by the truth and
stand in need of expression. In love, in art, in avarice in politics, in
politics, in labour, in games, we study to utter our painful secret. The man
is only half himself, the other half is his expression.‖ (Nurrachman, 2017)
According to Emerson, at the basis of feeling on character those
energy become kind of power to grab nature in its wholeness, and to
evoke in order of persons experience. Relating to Marni‘s character, her
expression on nature was implied through her ancestors worshipment.
132
In professing a religion, parents should not force their beliefs on
their children. Parents should give their children the opportunity to
choose their own religion, but because they are afraid of being punished,
parents should give a good understanding that the religion they profess is
true. Parents must seduce as best they can so that the child is lulled by the
beauty of the religion they profess, not by coercion because the religion
has been passed down from generation to generation. In the novel
―Entrok‖ by Okky Madasari the writer found the examples of cases of
religious differences in the family.
Aku masuk kamar, menunggu Ibu pulang dari pasar. Sampai kudengar
teriakan Ibu dari kamarnya. Dia memanggil Tonah, bertanya ke mana tumpeng dan
panggang di kamarnya. Aku keluar kamar. ‖Aku buang. Itu sirik, dosa. Ibu tidak
beragama,‖ kataku sambil menangis. ‖Kata siapa aku dosa?‖ ‖Kata Pak Waji,‖
jawabku sambil terus menangis. Ibu makin marah. ‖Nduk, Rahayu! Ibumu tidak
membunuh, tidak mencuri, tidak menipu orang. Aku memanggang ayamku sendiri.
Membuat tumpeng dari berasku sendiri. Apa dosaku?‖ (Madasari, 2010, p. 57)
The incident above is Rahayu's first rejection of her mother's
religion which is considered heretical by the teacher at Rahayu's school.
Everything Marni (Rahayu's mother) did, even though it was in the
133
context of good things, getting closer to God and not harming others,
was still wrong from the point of view of other religions, especially Islam
which Rahayu studied at school.
Disputes due to religious differences in this family also occur in
the real world. Because it is easy to access information today, especially
using the internet. Many of the spread of religion is done online.
Someone may be persuaded to embrace another religion because of
listening to beautiful presentations on the internet. Many do it openly like
rahayu, many also do it secretly for fear of a dispute.
In addition to religious differences, many people also embrace
religion for administrative purposes. Religion is only used as data so that
all his affairs are facilitated.
Tapi tak pernah kami membahas hal-hal yang berat seperti ini. Agama?
Apa agamaku? ‖Katanya ya Islam, Koh. Sama seperti orang-orang.‖ ‖Aku Kristen.
Ditulis di KTP. Sama seperti orang-orang.‖ Kami diam. Tak ada suara. Aku
masih tidak mengerti kenapa Koh Cayadi tiba-tiba menanyakan hal ini. ‖Tapi
sampeyan selamatan, Yu?‖ ‖Lha iya, Koh. Biar tercapai apa tujuannya. Biar
selamat.‖ ‖Aku juga ke kelenteng.‖ (Madasari, 2010)
134
Marni and Koh Cayadi don't even believe in the religion written
on their IDs. Marni and Koh Cayadi just go with the flow, have a clear
religion written on ID for the convenience of state administration.
In fact, many people even embrace a religion but do not practice
all the teachings of their religion. People whose IDs have a clear religion,
in fact, their attitude does not reflect that they are religious people.
Based on the above analysis, it can be concluded that in the Entrok
novel by Okky Madasari, many cases experienced by religious people are
described in this novel, especially in ancient times when there was no
information dissemination technology as it is today. There are also many
people who still worship nature and their ancestors because they really
trust their parents and there are also many parents who are disappointed
because their children have different beliefs from those they hold. This
novel gives an example of the wrong way of solving the case of religious
differences in the family.
Reference
Madasari, O. (2010). Entrok. Jakarta: Gramedia Pustaka Utama.
Nurrachman, D. (2017). Introduction to Criticism. Bandung: Pustaka Aura
Semesta.
135
Surahmat. (2017). Sastra Agama teks, spiritualitas, dan keindahan. Semarang:
Cipta Prima Nusantara.
Wunn, I. (2000). Beginning of Religion. Beginning of Religion , 26.
Mulyadi. (2016). Agama dan Pengaruhnya dalam Kehidupan.
136
65 = C Mochamad Ramdhan
- Lack of focus 1195030139

- Lack of consistency
- There's no specific topic to discuss
- What theory is actually wanted to use? Horace's decorum or Aristotle's tragedy? 5D
- Lack of real critical analysis
- Lack of relevant theoretical justification/support
- Be aware of some mechanic errors
HORACE‘S DECORUM ON TRAGEDY IN OKKY MADASARI‘S
ENTROK
Quintus Horatius Flaccus, well-known as Horace. Once, he asked in his
Art of Poetry, as he said,
―if a painter should decide to join the neck of a horse to a human head, and to lay
many-coloured feathers upon limbs taken from here to there, so that what is comely
woman above ended as a dark, grotesque fish below, could you, my friends, if you were
allowed to see it, keep from laughing?‖
Horace in his question was trying to redefine, what should an art or a
poety to be? Is it alright if a poet have their freedom on their works and
literally by real consciousness put everything on there even though it is a
contrary, different, or even quirky to be combined, then stated as a
literary works?
137
Talking about literature, for sure, it can not to be inextricable on the
values as its content. Furthermore, the values of a literary work is never
explained so far than the measurement of its imagination. As Wellek and
Warren (1963:22) stated that the term literature seems best if we limit it
to the art of literature, that is, to imaginative literature. Literature is also
produced by imagination of the author. Literature is not just a document
of facts, it is not just the collection of real events though it may happen in
the real life. Literature can create its own world as a product of the
unlimited imagination. As rhymed as Pickering, James .H, Hoeper
(1981:307) says that " literature is a uniquely human activity, born of man's
timeless desire to understand, express, and finally share experiences‖.
As it comes to experiences, in general it is including an element which
consciously teach something, while most of it comes in a form of failure
and problem, yet it is educational as the substance. Later, experience that
seasoned by an imaginative supports—especiallly in poetry—naturally
will evoke an art entity that consists the values as the prior statement. It is
consequently go straight with Edgar Allan Poe argument, that said the
function of literature is didactic heresy: entertaining as well as teaching
something (Al-Ma‘ruf, 2007: 31).
138
Consecutively, Horace by all his wisdom informed us the same theory as
we know today that the aim of literature is utile et dulce.
―the aim of the poet is to inform and delight, or to combine together, in
what he says, both pleasure and aaplicability to life. In instructing, be
brief in what you say in order that your readers may grasp it quickly and
retain it faithfully. Superfluous words simply spill out when the mind is
already full. Fiction invented in order to please should remain close to
reality.‖ (Horace in Nurrachman, 2017:82).
As we know that literary function is to teach and delight—utile et dulce,
than let solve the earlier question. As Horace said ‗to please should
remain close to reality‘, authors—writers, may consider that their works
should keep adhere to its nature. Decorum, as presented by Horace, is an
idea about propriety that fit the rendering of a character, idea, and speech,
or scene. The goal of Decorum is to retain its unity; as the story goes on,
a work of art must be consistent in every aspect. the subject or theme
must be dealt with in the proper diction, metre, form, and tone. Farcical
characters should speak in a manner befitting their social position; kings
should intone with the elegance and dignity commensurate with their
rank. For that purpose, as Horace said, the author must measure his
139
ability before it turns into a progression of literary works. Briefly, each
author must recall their responsibility.
―You who write, take a subject equal to your powers, and consider at
length how much your shoulders can bear. Neither proper words nor
lucid order will be lacking to the writer who chooses a subject within his
powers. The excellence and charm of the arrangement, I believe, consists
in the ability to say only what needs to be said at time, deffering or
omitting many points for the moment. The author of the long-promised
poem must accept and reject as he proceeds.‖ (Nurrachman, 2017: 73).
Okky Madasari's novel Entrok tells the story of a patriarch's life through
the eyes of Sumarni and her daughter Rahayu. They were impoverished at
the start of the story, and it happened when Rahayu was child, but
Sumarni was able to change her fortune for the better after a difficult life
battle, as proven by their next event, in which they had a huge amount of
money and were able to send Rahayu to education. Rahayu is a little girl
who dislikes her mother because they disagree on religious, economic,
and cultural issues. Sumarni was raised to worship the earth's mother and
father, not other gods, and despite not having studied, she possessed
rational reasoning. Rahayu, who was educated and taught Islam, has more
140
modern ideals, while her mother, Sumarni, had not known Islam since
she was a youngster.
As it comes to the synopsis, the writer has identified that presumably
despite of the contents and the theme that presented at its narration,
Entrok is considered as tragedy story. It described by Aristotle on how a
tragedy story may occurred in the hand of poet/author, he argued that;
―The tragic fear and pity may be aroused by the spectacle; but they may
also be aroused by the very structure and incidents of the play-which is
the better way and shows the better poet. The plot in fact should be so
framed that, even without seeing the things take place, he who simply
hears the account of them shall be filled with horror and pity at the
incidents; which is just the effect that the mere recital of story in Oedipus
would have on one.‖ (Aristotle on Nurrachman, 2017: 56).
Incidents, which according to Aristotle is the very mark of tragedy genre,
and how it should flow wade through the plot. Regarding to Madasari‘s
Entrok, the characteristics of tragedy might be seem at the early chapter,
as it quoted below;
―Lima tahun aku menunggu hari ini datang. Pagi-pagi aku sudah mandi lalu
berdandan. Hari ini aku akan lahir kembali. Aku akan kembali menjadi manusia
141
yang punya jiwa. Tidak hanya raga kosong yang menunggu kematian. Hari ini
sedikit dosaku akan tertebus. Utangku memang tak akan pernah impas. Tapi
setidaknya biarkan aku membuatmu sedikit saja bahagia.
Lima tahun ini, kulakukan segalanya untuk membuatmu kembali merasa berarti.
Setiap pagi aku mengajakmu menyusuri jalanan yang telah puluhan tahun
kaulewati. Agar kau kembali ingat kau adalah manusia hebat yang telah
mengalahkan kerasnya nasib.‖ (Madasari, 2010: 11).
as it opened by an unexpectedly and kind of undefined events as
illustrated above, the diction and how the regret afterthought was told
throughout the narration, the writer suggests that as Literary Decorum was
applied in it, considering the atmosphere and the tone of its manner of
telling, it may be judged as a tragedy event.
As in accordance of Aristotle,
―Tragedy, however, is an imitation not only of a complete action, but also
of incidents arousing pity and fear. Such incidents have the very greatest
effect on the mind when they occur unexpextedly and at the same time in
consequence of one another; there is more of the marvelous in them then
than if they happened of themselves or by mere chance.‖ (Nurrachman,
2017: 54).
142
―Entrok memang terlalu mewah untuk aku dan Simbok. Apa yang masih
dipikirkan seorang perempuan kere buta huruf dengan tanggungan seorang anak
selain hanya makan? Suaminya, yang konon adalah bapakku, minggat entah ke
mana. Sejak kapan dia pergi aku juga tak ingat. Samar-samar aku hanya ingat
Bapak meninggalkan kami waktu aku pertama kali bisa mengangkat panci yang
airnya mendidih dari pawon .
Samar-samar dalam ingatanku, terbayang Bapak memukul Simbok yang sedang
makanan. Dia seperti anjing gila yang marah saat kelaparan. Iya, dia memang
anjing gila. Hanya anjing gila kan yang menggigit istrinya yang sedang sakit. Saat itu
aku sangat ketakutan. Menyembunyikan diri di balik pintu sambil menangis
sesenggukan. Laki-laki itu pergi setelah menghajar istrinya dan tak pernah kembali
lagi.‖ (Madasari, 2010: 18).
As it continues, the element of tragedy comes out little by little. For
instance, not far from the first quoted narration, there are more ‗pity‘ that
showed to the readers. As Aristotle stated, tragedy has six main
elements: plot, character, diction, thought, spectacle (scenic effect), and
song (music), of which the first two are primary. Focusing on how
143
Madasari intend to twist the character‘s destiny, by impoverished her. As
it illustrated, our main figure—Sumarni, is desperate on purchasing
entrok, since it is a fancy matter, the baneful Marni that day was recalling
her memory on her father on old days. Where there is only suffering and
violence she may hear and see. By the detailed narration and how the plot
and the character‘s figure may earned the gaze of readers, it is a
necessary—and later it‘s an obligation, as Horace said, to keep consistent
of every aspects that story had even started from the first line of writing.
And if it does not done correctly, as he ask at the very first, ―could you, my
friends, if you were allowed to see it, keep from laughing? ―.
―if your words are not appropriate, I shall laugh or go to sleep. Sad words
are appropriate to a sorrowful face; furious words are fitting to angry; gay
jests to merry; serious words to the solemn.‖ (Horace on Nurrachman,
2017: 75).
As a finale, the writer had like to bring out the ultimate course of tragedy,
as it occurred throughout the story in Entrok. When Sumarni being face
to face with his daughter, with their own each ethical claims on what they
believed, then as Gellrich (2014) argued, social collision as a conceived on
of three tragedy plot in general, finally happened.
144
―Anakku Rahayu sekarang sudah lulus SMA. Matur nuwun, Gusti, aku yang
buta huruf ini punya anak yang sekolahnya tinggi. Sama tingginya dengan anak Pak
Lurah atau anak priyayi-priyayi guru itu. Anakku, yang orangtuanya buta huruf
semua, malah lebih pintar dibanding anak-anak orang-orang pintar itu. Ini semua
karena berkatmu, Gusti, Mbah Ibu Bumi Bapa Kuasa.
Lima ekor ayam telah disembelih. Tonah akan memasaknya menjadi panggang yang
enak. Dia juga akan membuat lima tumpeng dan kulupan. Malam ini aku mau
selamatan. Mengucapkan terima kasih atas kelulusan Rahayu, juga untuk kirim
doa agar setelah ini jalannya juga dilancarkan. Dia mau kuliah, mau jadi sarjana.
Pangestune, Gusti, biarkan aku yang pertama kali menyekolahkan anak sampai
sarjana di Singget ini. Tapi kenapa anakku itu semakin menjauh dariku?‖
(Madasari, 2010: 123).
as illustrated above, the pre-conflict has occurred, when it comes to
Sumarni intend to celebrate her daughter graduation by throwing
‗selametan‘ as a gesture of grateful to her ancestors revere. Nevertheless,
this is what she gained later,
‖Bu, kenapa harus ada selamatan untukku?‖
‖Lha ya nggak apa-apa to, wong namanya syukuran.‖
145
‖Apanya, Bu, yang disyukuri? Lulus SMA itu biasa. Nggak usahlah bikin
selamatan untuk mbah-mbah yang sudah mati. Bikin malu.‖
‖Yuk, jangan kurang ajar kowe! Ingat siapa yang membuat kamu seperti ini!‖
‖Siapa, Bu? Siapa? Bukan arwah-arwah itu yang membantuku. Semuanya karena
usahaku sendiri. Kalaupun ada yang membantu, itu ya Gusti Allah.‖
‖Yuk... Yuk... kok tega kowe ngomong kayak gitu ke ibumu ini. Ibumu yang
melakukan semuanya untukmu. Oalah... Yuk... kenapa kowe masih terus
menyiksaku seperti ini, Yuk?‖
Aku tak mampu menahan air mata. Hatiku sakit. Sudah bertahun-tahun, Yuk.
Apa aku yang salah kalau sejak lahir aku nggak kenal Gusti Allah? Apa aku
yang salah kalau dari dulu aku hanya tahu bagaimana berterima kasih pada
leluhur? Selama bertahun-tahun, setiap hari aku menghindari omongan seperti ini.
Hanya supaya tak ada pertengkaran antara aku dan anakku satu-satunya ini. Tapi
sekarang dia malah terang-terangan membuat hatiku sakit. Justru di saat aku begitu
membanggakannya.‖ (Madasari, 2010: 123 – 124).
As the Horace‘s Decorum keep applied in Entrok, the conflict would be
explained by M.W. Gellrich as he stated,
146
―Although the structure of such a conflict has been variously formulated,
in general it has been conceived in one of three ways: 1) as a
psychological dilemma of inner decision-making, in which the hero must
choose between opposing claims that he cannot mediate; 2) as a social
collision between agents who hold to different but often equally valid
ethical claims; 3) as a religious struggle implicating man in resistance
against a force of divine necessity, such as fate, oracles, or the gods.‖
(Gellrich, 2014).
In the last, from the entire description and prove above it might be
concluded that, Okky Madasari‘s Entrok is considered as a Tragedy.
Reviewed from the appliance of plot and character, primarily, is the very
marks of Literary Decorum as main settings as to maintain the whole
aspects and it keep literary works proper to their each genre and forms.
As Decorum used as matter of measurement on literary creations, the
beauty of literature may perpetually keep living on.
References
Al Ma‘ruf, A.l (2017). Pembelajaran Sastra Multikultural di Sekolah:
Aplikasi Novel burung-Burung Rantau. Kajian Linguistik dan sastra.
147
Gellrich, M. (1984). Aristotle's Poetics and the Problem of Tragic
Conflict. Ramus, 13(2), 155-169.
Madasari, Oky. 2021 ENTROK. Jakarta: Gramedia Pustaka Utama.
Nurrachman, D. (2017). Introduction to Criticism. Bandung: Pustaka
Aura Semesta.
Pickering, J. et al. (1981). Concise Companion to Literature, New York:
Macmillian Publishing, Co.
Wellek, R., & Warren, A. (1963). Theory of Literature. Jakarta: PT
Gramedia.
148
Muhamad Mauda Putra Utama
- Such an inconsistent discussion 1195030140
- Which theory is actually wanted to use? Horace? Aristotle? Wordsworth?
Emerson?
- Be consistent with the topic and the theory used 5D
- Lack of relevant theoretical justification/supports
- Such a poor composition, esp on the cited narratives. 60 = C
EMERSON‘S TRANSCENDENTALISM IMPLEMENTATION ON
MARNI‘S CHARACTER IN ENTROK
Literary works, created as a result of dialogue, contemplation, and the
author's reaction to the environment and life. As a result of all that has
been mentioned previously, literary works are miniatures of life with all
its problems (Nurholis, 2019: 182). The author's themes, ideas, and ideas
are sourced from people's lives. The adoption of the social life of the
community in the form of literary works also raises the problems and
issues that occur in society which are conveyed in an imaginative way.
Discussing about imaginative, literary work's use of imaginative images is
sort of a necessary for aesthetic purpose. Because when reading a literary
work, readers require something that move them on and able to capture
149
their concerns. In literary terms, borrowing Aristotle idea—readers need
Catharsis (Nurrachman, 2017: 56). Readers desire on something lovely in a
literary work, not something that is only identical to real life, which does
not always correlate to reality. Literary works can show the significance of
what happened at the time, both good and terrible, and readers may gain
both entertainment and insights by reading them.
In case there are any collision course on both literary works as social
reflection as its nature, and the usage of imaginative way as its method on
Catharsis goals, it should be a better idea to intercede these duo entities by
a statement of Wellek and Warren (1990:13), that the history of aesthetics
might almost be summarized as a dialectic in which the thesis and
counterthesis are Horace's dulce and utile: poetry is sweet and useful.
Either adjective separately represents a polar heresy with regard to the
function of poetry — probably it is easier to correlate dulceet utile on the
basis of function than on that of nature. The view that poetry is pleasure
(analogous to any other pleasure) answers to the view that poetry is
instruction (analogous to any textbook).
Once again, as a mixture of both side literary works require both utile and
dulce; literary works as the reflection of vibrant and dynamic social life
150
and imaginative language as the way to deliver it to readers. As Horace
said, ―He who combines the useful and the pleasing wins out by both instructing and
delighting the reader.‖(Nurrachman, 2017: 82). Yet, the writer does not
intend to bring out the theory on this study as the guidance of reference
throughout the essay. Its only purpose is to emphasize the functions of
literary works.
Entrok is the first published novel by OkkyMadasari. Published in 2010, it
was coincide with the Kartini Day on 21st of April, despite of its multi-
layer of issues that contained throughout the plot, but in general,
Entroktells a story around Marni, a living-country girl who live amidst
colonial era in Singget, a village where the story lives. Departing from her
desire to having an entrok—bra in Javanese—she started to change her
fate by breaking through old norms and prejudicial dogma in its society
which put a handicap on women.
Even though the story with the characterize tends to portray a feminism
spirit, yet it is not the focus which will be studied on this essay. The
writing will take a zoom in closer to how Marnirun her beliefs on her
ancestors worship throughout the novel. The writer suggests that as the
character ‗report in conversation what has befallen her‘ as Emerson
151
stated (Nurrachman, 2017:202), it depicts a basic theory of
Transcendentalism as well, on how the character run her faith—although
it comes from her mother, Simbok—when it comes to a representation of
expression on her feelings to nature.
―Simboktakberkataapa-apalagi.Diamalahmengajakkukeluarrumah, duduk di
atasbatu di
bawahpohonjambu.Harisudahgelap.Embusananginmembelaitengkuk.Bunyijangkrikd
ankodoksilihberganti.Tidakbiasanya kami melakukanhalsepertiini.Biasanya,
setiapmalamsepertiini, akudanSimboksudahlelaptertidur, siap-
siapuntukbangunsaatayamjagoberkokok.
‖Nduk, terserahapapenginmu. Yang penting,
cobanyuwunsamaMbahIbuBumiBapaKuasa. SemuakejadianhanyaterjadikalauDia
yang menginginkan.‖Simbokmenyuruhkumemejamkanmata,
lalumengucapkanpermintaankudalamhati.Simboksendirijugamemejamkanmata.Deng
anmatasalingterpejam, kami diambeberapasaat.Saatituanginseolahberhentiberembus,
jangkrikdankatakmenghentikansemuaocehannya.
Akusebenarnyatidaktahuapa yang haruskulakukan.
SekadarmengikutiperintahSimbok, kuucapkanpermintaankudalamhati,
‖GustiMbahIbuBumiBapaKuasa, berkatilahusahaku. Akumaupunyauang,
152
memilikiseperti yang dimilikiNyaiWedana.Biarnggakpernahngrepoti orang lain.‖
Permintaanitukuulangiterus,
sampaiSimbokmenyentuhbahukudanmengajakkumasukrumah.‖ (Madasari,
2010:42).
Feelings, as stated by William Wordsworth is the real basis of
imagination, which changing into an energy or power that grasp nature in
its completeness, and then it is implied on one‘s experience in order to it
(Nurrachman, 2017:146). Wordsworth is a father figure of Romanticism,
who branding a literary flow with a vision to have kind of unity with
nature which will encourage the more feeling on poet by the support of
that phenomenon. This thoughts of idea, which will lead us into the
writer‘s choice of theory that will be implemented on this study.
Emerson‘s Transcendentalism.
Literary works, as described in early writing, is a social reflection. As a
spectacle of our own nation, it believed that in some part of our
livinghood, there are society in certain regions that still believe on
involvement of a distant energy, an ancestors entangled on their each
foot steps. As described by ReimarSchefold (2013:17), In all traditional
153
Indonesian cultures, ancestors were the preeminent spiritual authorities.
They included the earliest settlers, and people memorized genealogies
that led from primeval, mythical times to their immediate forebears. Since
memories are limited and writing was generally unknown, intervening
generations were often compressed into just a few names.
A person owed everything to his or her ancestors. One‘s cultural
environment was associated with their arrival in ancient times. Later
generations were related to historical events that led up to one‘s present-
day situation. A person not only owed his or her ancestors for his or her
very existence, but also hoped for their protection and help in everyday
life. This had its more precarious side, however: it was the ancestors who
continued to watch over the cultural order they established. Especially in
egalitarian traditional societies, there were no authorities to keep order
and punish social offenses; it was mainly the ancestors who had to step in
and strike the offender with illness and misfortune.
In Entrok, the practical event of this transcendental worship on ancestors
were narrated by Rahayu—daughter of Marni, whilst the plot goes on
Rahayu part for narration throughout the story.
154
―Ibujugarajinselamatan.Seminggusekali, setiapharikelahirannya,
diamenyembelihayamuntukdipanggang.Tonahmembuattumpengkecil,
menyiapkansemuauborampe.Ada kulupan, jenangmerah,
danjenangputih.Ibumemanggilbeberapatetanggalaki-laki.MbahSambong,
perangkatdesa yang dipercayapunyakekuatanlebih, membacakanujub.
Bapakdan yang lainnyamembaca, ‖Amin... Amin...!‖
SeusaiMbahSambongmembacaujub,
tumpengdanpanggangdipotong.Merekasemuamulaibancakan .Aku, Bapak,
danTonahtahu, tumpengdanpanggang yang dimakansaatselamatanbukansatu-satunya
yang dimasaksetiapharikelahiran.
Ibumenyimpansatutumpengdanpangganglagilengkapdenganuborampe-nya di
kamarnya.Ditaruh di mejasampinglemarikaca, beralasbaki, ditemanisebatanglilin.
Kata Ibu, tumpengdanpanggangitudikirimuntukMbahIbuBumiBapaKuasa.
Keesokanharinya, Ibuakanmengeluarkantumpengdanpanggangitu.
Tonahakanmemasaknyakembaliuntukmakanan kami semua.‖ (Madasari, 2010:
56).
As it is narrated above, the habitual things that Marni always did related
to her faith, according to Rahayu‘s description on how her mother was
155
‗sacrificed‘ at behalf of her wealth in order to fulfill the worship activity,
is likely become an evidence on Emerson‘s theory,
―For all men live by truth and stand in need of expression. In love, in art,
in avarice, in politics, in labour, in games, we study to utter our painful
secret. The man is only half himself, the other half is his expression.‖
(Nurrachman, 2017:205).
Regardless of Rahayu point of view in the narration, focus on what Marni
did back then is give an implication as result. For the thought that has
been captured her and unconsciously conserved her mind on a relieving -
mechanism, or grateful - mechanism which reincarnate as the method to
express her feelings. According to Emerson‘s statement, it can said that
‗Marni is only half himself, the other half is her expression.‘
This part is supported by the next act that Marni has done on spending
projectile of expression on what she believes.
Still on the same chapter, in Tuyul – tuyulIbuku (1970 – 1982), our
character got offered a chance to expand his worship activity—still onto
ancestors, she was kind of exaggeratly excited as she trusts, more noble
places she visited and more act of worship she done, she gain more
endowment on what she did to ancestors.
156
―KohCayadimenceritakansalahsatukebiasaankeluarganya yang
diyakiniterbuktimembantukelancaranusahamereka.Sejakbertahun-tahunlalu,
tepatnyasaatiamasihkanakkanak di Surabaya,
orangtuanyarutinmengajaknyakeGunungKawi. GunungKawiada di Malang, kota di
selatan Surabaya. Merekabiasapergikesananaik bus, dengan lama perjalanandua
jam. Di gunungituadamakam, yang bisamemberikanberkatbagi orang yang
menziarahinya.
Ibumendengarkansemuaitudenganantusias.Iasangatpercayaupayabatindiperlukanuntu
kmembantuseseorangmencapaikemakmurandankejayaan.
SelamainiiahanyamengenalMbahIbuBumiBapaKuasa.
Upayabatinnyabarusebatasmemohon di tengahmalam,
membawapanggangkemakampenguasadesa, danselamatansetiapharikelahiran.‖
(Madasari, 2010: 92).
This narration implied as well, another theory of Emerson on a character
that moved by his/her own consciousness that to done something is just
grab on your conscience, despite of it is unlikely to considered as normal
on the society. It‘s called self – reliance.
Emerson's primary objective in his essay "Self Reliance" is to encourage
people to eschew conformity. Emerson thought that a man must follow
157
his own conscience and "do his own thing" in order to truly be a man.
Essentially, rather than blindly following society, do what you believe is
right.
―These are the voices which we hear in solitude, but they grow faint and inaudible as
we enter into the world.Society everywhere is in conspiracy against the manhood of every
one of its members. Society is a joint-stock company, in which the members agree, for
the better securing of his bread to each shareholder, to surrender the liberty and culture
of the eater. The virtue in most request is conformity. Self-reliance is its aversion. It
loves not realities and creators, but names and customs.‖ (Emerson, 1841).
Later on, throughout the novel, OkkyMadasari showed readers how form
of Transcendentalism is depicted on Marni acts. Especially, on how she
being grateful on her faith.
―Malam pun
datang.Senyapdandingin.Pesareanitutampaksepertimakampadaumumnya,
meskipunadapuluhan orang di situ.Merekaduduk di seluruh areal
makammenghadapmakamEyangSujodanEyangJugo.Takadasuaraapa pun,
bahkanhelaannapas pun takterdengar. Masing-masing orang
tengahmelakukanperjalananbatinkealamantahberantahmenemuidewapemberiberkah.
158
KepadakuIbubercerita,
malamitusepertinyamemangmalamkeberuntungannya.Diahanyabisatirakat di tempat
yang agakjauhdarimakamkeduaeyangitu. Orang-orang yang datangterlebihdahuluatau
yang telahbermalam-malamtakpulangtelahmenempatibarisanpaling depan,
mengelilingimakamEyangSujodanEyangJugo. Di barisanpaling depanitu paling
banyakterdapatpohondewandaru. Dalamperjalananbatinnyamenemuidewa,
Ibumemanjatkanharapan agar bisamendapatkankemakmurandankejayaan.
Diamerasakanadaanginberembuslembutmengenaimukanya.Bukanangin yang
membuatmenggigiltapiangin yang hangat.Tak lama embusanhangatituterasa,
lalusemuanyakembalisenyapdandingin. Ibumerasaada yang jatuh di
pangkuannya.Ringansekalidannyaristakterasa.Ibumenyentuhbendaitu,
terasakering.Dialalumembukamatadanbetapagirangnyasetelahtahuitudaundewandaru.
Daunitudisimpandalamtasnya.‖ (Madasari, 2010: 97).
At last, as a conclusion, OkkyMadasari made Marni‘s character is a
representation of transcendental made-driven person that still believe on
her own belief, it was a hereditary which comes from Simbok, nevertheless
it everlasted even though there were a lot of pressure from society she
lived in—even from her daughter, Rahayu. As a study on Emerson‘s
transcendentalism theory, Marni is a character that well-made for its
159
implementation. Especially, for her acts on practicing Emerson‘s ‗Self-
Reliance‘. From Entrok, readers may see from the character that really
relied on her mind and belief, a most priviledge thing which a living
person may had is their own conscience, to decide whether is right or
wrong, to standing by their own decision and independently earned self-
freedom.
References
Emerson, R.W. (1841). Self-Reliance: An Essay.
Madasari, O. (2010). Entrok. Jakarta: PT GramediaPustakaUtama.
Nurholis. (2019). Prose: The Short Fiction. Bandung.
Nurrachman, D. (2017). Critical Theory from Ancient Greece to Victorian
England. Bandung: Pustaka Aura Semesta.
Schefold, R. (2013).Art and Its Themes in Indonesian Tribal Traditions.
London: Yale University Press.
Wellek, R., & Warren, A. (1989).Theory of Literature. (M. Budiantara,
Trans.) Jakarta: PT Gramedia.
160
Muhammad Abdel Akbar
- Still having some retelling rather than pure analysis
1195030141
- Some narrative quoted relevant with the analysis, some others not
- Some analysis relevant with the theory, some others not
5D
70 = B
- Needs more relevant theoretical supports/justifications
REPRESENTATION OF WOMEN SUBORDINATION IN
Literature has always been an art form that has always been revered for its
value. In addition, literature is also used as a tool to criticize, express
feelings, ideas or maybe just an imaginative entertainment facility. This is
accordance with the thoughts of (Abrams, 2012) which defines literature
as imaginative writing that stands out in form, expression, and emotional
strength. The word "literature" itself comes from the Latin, "Litteraturae"
which literally means, "to write." Because it is an imaginative writing, the
creative process in making a literary work requires imagination. The
meaning is the imagination still imaginative which can be defined that the
imagination itself is not purely derived from the writer or poet.
The requirement to manifest imagination into a form of work, especially
literary works, is to be sensitive or aware of the social environment, as
161
said by (Dobbie, 2012) which states that, "Literature is taken to be
mimetic, reflects and presents the truth about life and humans. the
condition." Surely poets imitate not only concrete things, even abstract
things such as ideological thoughts or ideas because these things enter
into nature as Plato said "Plato says that all art is mimesis by nature; art is
an imitation of life. He believed that 'ideas' were the ultimate reality. Art
imitates ideas and thus imitates reality.‖ (Team, 2012) poets imitates
nature and then create ―Artificial Realities‖ according to their will.
Talking about imitating abstract things such as ideological thought or an
understanding, certainly around us, just as in the academic field we can
find an understanding of feminism as found in Mary Wollstonecraft's
essay that talks about women's lives in a patriarchal world. Since the 18th
century, the views of men and women have been different. Men are
considered as superior while women are inferior or subordinate, this is
due to the culture that arises from the association of patriarchal ideas that
consider women only as objects to satisfy men. ―...Female education
should be directed toward one purpose: to make women pleasing to
men.‖ (Nurrachman, 2017)
162
―The association of our ideas is either habitual
or instantaneous, and the latter mode seems rather to
depend on the original temperature of the mind than
on the will. When the ideas, and matters of fact, are
once taken in, they lie by for use, till some fortuitous
circumstance makes the information dart into the mind
with illustrative force, that has been received at very
different periods of our lives.‖ (Wollstonecraft on
Nurrachman, 2017)
The quotation above shows that a mind filled with informative
knowledge produces a better perspective. The association of ideas above
is the fact of everyday experience around us at the time people assume
that men and women have different positions, men are in a better
position than women who are only satisfied. The existence of these
thoughts in life around or "everyday experienced" can be seen in one of
the forms of imitation found in literary works.
Researcher can find topic that are closely related to feminism in literature,
which is a imitates of life as outlined in writing, such as in Lelaki
Harimau, written by Eka Kurniawan, even though this novel wasn't
163
written by a women, this novel story presented the subordination idea of
women in society, for example through a character Nuraini. She is the
most subordinate female character in this story by her husband Komar
bin Syueb and the construct of patriarchy itself, other case is Nuraeni
can't choose her own desire to marry, at the age of sixteen she marry
Komar who almost thirty but nuraeni easily agreed to the matchmaking
because all she knew was that the tradition was one thing that was true
and matchmaking was what young women were waiting for the most at
her village while she didn't know that it cause by patriarchy's social
construction.
There is also other close relationship between the phenomena that occur
in the other novel yang menjadi objek kajian kali ini, the title is Entrok by
Oky Mardasari and some of idea‘s in Feminism essay ―A vindication of
the right of woman‖ by Mary Wollstonecraft.
Entrok by Okky Mardasari stories about Sumarni‘s life struggle through
social construction, similar to the title Entrok or Bra, this story begin with
Sumarni‘s dream of having an entrok, Sumarni and her mother, or what
she often calls Simbok, are poor people, this can be seen from the
condition of their house and her mother's job as a cassava peeler. One
164
day he saw a friend wearing an entrok, at first Sumarni did not know
what her friend was wearing, after her friend explained it was an entrok
or breast holder to hold her chest. Sumarni, who saw this for the first
time, immediately wanted it but because she was a poor, she could not
ask her mother or the person she often called Simbok. As a result, as in
her previous daily routine, Sumarni went to the market with Simbok but
this time she did not help Simbok for peeling cassava, but she wanted to
become a labour because labour were a man's job at that time and were
paid money, while cassava peeler, which incidentally was a woman's job at
that time, was only paid for cassava. The story continues on the life of
Sumarni who struggles through her faith such as working, getting married
and having children.
After reading carefully the Novel, Researcher found similarities regarding
the issue of subordination. Therefore, this research using a mimetic
approach which place literary works as a product of reality and a
representation of society and culture. (Emzir, 2018:83), to scope feminist
theory of Mary Wollstonecraft by focused on Sumarni‘s character.
―The severest sarcasms have been levelled
against the sex, and they have been ridiculed for
165
repeating ‗a set of phrases learnt by rote,‘ when nothing
could be more natural, considering the education they
receive, and that their ‗highest praise is to obey,
unargued‘- the will of man.‖ (Wollstonecraft in
Nurrachman 2017)
In the statement above Wollstonecraft argued that the subordination of
women are caused by the lack of education women receive in their life.
She also argued that subordination exist with the gap of knowledge and
understanding between women and men.
― Nyai Dimah memang benar. Kepada siapa pun aku
bekerja di pasar ini, aku akan diupahi dengan bahan makanan.
Lagi pula tak banyak pedagang yang butuh buruh seperti Nyai
Dimah. ― (Madasari, 2010:27)
In this novel first of subordination issue fall to Sumarni. It can be seen
Sumarni as uneducated women because of her profession, and also the
the reward for women working there is food or goods not with money,
this also makes Sumarni a subordinated figure because her work is in
accordance with the work of uneducated women so that the reward is
"banefull" namely poverty in accordance with Wollstonecraft said; ―The
166
habitual slavery, to first impression, has a more baneful effect on the
female than the male character, because bussiness and other dry
employments of the understanding, tend to deaden the feeling and break
associations that do violence to reason. (Wollstonecraft in Nurrachman
2017)‖
Worse than that, even when women try to increase their bargaining price
by working like men, they are subordinated to myth-like concepts.
―Teja terbahak-bahak mendengar permintaanku.
Sungguh bukan jawaban seperti itu yang kuinginkan. Aku
menunggu agak lama untuk mendapatkan jawaban yang
sebenarnya.‖Ni, kamu ada-ada saja. Nggak ada perempuan
nguli. Nggak akan kuat. Sudah, perempuan itu kerja yang
ringan-ringan aja. Ngupas singkong.‖
‖Aku kuat, Kang. Biasanya aku juga nggendong
tenggok, nggendong goni. Bakul-bakul itu juga banyak yang
mengangkat sendiri dagangannya dari rumah ke pasar. Hanya
priyayi-priyayi saja yang nggak kuat ngangkat goni.‖
(Madasari, 2010)
167
Teja who underestimate Sumarni by laughing out loud and calling
Sumarni weak is the result of an association of constructed ideas that
considers what Sumarni wants to do as a taboo. Just like Wollstonecraft
explained; ―this cruel association of ideas, which everything conspires to
twist into all their habits of thinking, or, to speak with more precission, of
feeling, receives new force to begin to act a little for themselves‖
(Nurrachman, 2017).
Another issue of subordination is Sumarni, who was forced into marriage
with Teja without Simbok's knowledge or her mother's knowledge.
―Ternyata tanpa sepengetahuanku, Mbah Noto
menyampaikan keinginan Teja untuk mengawiniku pada
Simbok. Malam itu, di belakang rumah, saat kuulangi
permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok
berbisik pelan,‖Nduk, anak perempuan itu harus punya suami,
punya anak. Kalau sudah ada yang melamar tidak boleh
ditolak, bisa kualat, jadi perawan tua.‖
―Aku tak membantah omongan Simbok. Tak
mengiakannya. Tapi hanya tiga hari setelah itu, kami telah
berada di rumah Kamituwo.‖ (Madasari, 2010).
168
This shows that Simbok's desire for approval for the marriage of her
daughter Sumarni is shamefull because she does not think about
Sumarni's future and only follows existing cultural patterns without
thinking logically, this is in accordance with what Wollstencraft said,
namely
―Women subjected by ignorance to their
sensations, and only taught to look for happiness in
love, refine on sensual feelings, and adopt metaphysical
notions respecting that passion, which lead them
shamefully to neglect the duties of life, ...‖
(Wollstonecraft in Nurrachman 2017)
Wollstonecraft also condemned women who neglect their duty in the
pursue of happiness in love and adopt metaphysical notions, this is also a
case where uneducated woman tend to pursue what they love while
neglecting their duties, this case was also happened with Sumarni by
Simbok. In the sequel, Teja becomes a bastard who only cares about his
own enjoyment and ignores his status as Sumarni's husband, this is
illustrated by his story with Kledek or mistress.
169
‖ Dasar Teja, lanangan nggak tahu diuntung. Susah
payah aku cari duit, dia malah enak-enakan kelonan sama
kledek.‖ Ibu sudah tidak lagi memaki Tonah. Kini dia
mengumpat Bapak. Padahal orang yang dimaki entah sedang di
mana. Teja yang pemalas. Teja yang tidurnya seperti kerbau.
Teja yang hanya mau enaknya sendiri. Teja yang sekarang
sedang gandrung dengan kledek.. ― (Madasari, 2010:53)
―The virtues of a husband are thus thrown by
love into the background, and gay hopes, or lively
emotions, banish reflection till the day of reckoning
comes; and come it surely will, to turn the sprightly
lover into a surly suspicious tyrant, who
contemptuously insults the very weakness he fostered.
Or, supposing the rake reformed, he cannot quickly get
rid of old habits. When a man of abilities is first carried
away by his passions, it is necessary that sentiment and
taste varnish the enormities of vice, and give a zest to
brutal indulgences; but when the gloss of novelty is
worn off, and pleasure palls upon the sense,
lasciviousness becomes barefaced, and enjoyment only
170
the desperate effort of weakness flying from reflection
as from a legion of devils. Oh! virtue, thou art not an
empty name! All that life can give- thou givest!‖
Like Wollstonecraft explained above a loving man can transform into a
tyrant or something horrible if he can‘t control his desire and emotion
and in this case Teja showed this side to Sumarni by cheating with
mistress.
More than that, Sumarni's bad faith marrying a rogue man continues
when Teja's or her husband dies, his death not only brings sorrow but
also disaster. For Sumarni, Teja's death makes him have to deal with what
Teja has done without her know.
‖Ini anak Kang Teja, Bu,‖ kata Endang sambil
menyentuh kepala anak itu. ‖Dia mau tahu bapaknya siapa.
Ya saya bawa ke sini to, wong ini rumah bapaknya.‖ ‖Aku
ndak tahu Teja punya anak.‖ ‖Ya, Bu. Kami tidak pernah
bilang-bilang. Tapi kan sekarang anaknya sudah segede ini.
Sudah empat tahun. Dia yang pengin banget tahu tentang
bapaknya. Walaupun bapaknya sudah tidak ada, ya paling
tidak biar dia tahu peninggalan bapaknya apa.‖ ‖Lha
171
bagaimana aku tahu ini memang anaknya Teja?‖ (Madasari,
2010:190)
This is in accordance with what Wollstonecraft said regarding choosing a
husband as a lover;
― But one grand truth woman have yet to learn, though
much it imports them to act accordingly. In the choice
of husband, they should not be astray by the qualities of
a lover-for a lover the husband, even supposing him to
be wise and virtuous, cannot long remain. Were woman
rationally educated, could they take a more
comprehensive view ‖ (Wollstonecraft on Nurrachman,
2017).
Later, Sumarni had to fight to defend her property; her screams, her
sweats from Teja's illegitimate child. In conclucion, of course, her
marriage with Teja is not her fault but the association of cruel ideas,
Simbok as her mother who abandoned her mind and her condition as a
subordinated woman that made him live a baneful fate.
172
References:
Abrams, M.H. & Harpham, G.G. 2012. A Glossary of Literary Terms.
Boston: Wadsworth.
Dobbie, Ann B. 2012. Theory into Practice: An Introduction to Literary
Criticism. Boston: Wodsworth.
Emzir, R. (2018). Tentang Sastra (Orkestrasi Teori dan Pembelajarannya) Ed.1.
Yogyakarta: Garudhawaca
Madasari, O. (2010). Entrok. Jakarta: PT. Gramedia Pustaka Utama
Semesta.
Team, L. P. (2012). Literary Criticism and Theories. New Delhi: USI
PUBLICATIONS.
173
- Quite nice and interesting discussion
- You tried to be consistent with the discussion yet some still got the
the lacks
- Still having some jumped-up ideas Muhammad Bayu Aji Munggaran
- Some analysis are relevant with the theory used, some others not
- Needs more theoretical justification on the analysis 1195030142
- Still lack of relevant supporting sources
punctuation. etc. 70 = B
- Be aware of some mechanic errors: paragraphing, capitalization,
5D
SOCIETY‘S THOUGHT ABOUT WOMEN IN ENTROK BY OKKY
MADASARI
In many literary works, the social issue that thrive in society sometimes
become the discussion that the author put on it. The authors put the
issue to acknowledge the readers to fix that problem and to invite the
readers to find the solution so the social life will be better. One of many
issues that always discuss in many literary works is feminism. Feminism is
a movement of women demand the same right as men. This movement
appear because of the inequality between the men and women in public
order. So feminism is not a movement that claim women is better than
men but equal. Both men and women must have the same right. In many
works, this issue is always discussed.
Among many theories about feminism, here we will take one theory by
Mary Wollstonecraft. She discussed this issue in her book ―A Vindication
of The Rights of The Women‖ at the late 19th century. In his homeland
174
England, Wollstonecraft saw that women is not as free as men to do
various things. She saw that women is an oppressed because the women
is not allowed to get the same education as men. The people thought that
women is only a passion satisfaction so the women in that era got their
education by only reading book such as romance novel in heir home.
This association of idea is actually made by men but he women admit it
so before Wollstonecraft delivered her thought about feminism, there is
no any women who want to change their life. This is what Wollstonecraft
criticized about the women in her era. She wanted women get the same
right as men, she wanted the women get the same education as men so
they can develop themselves and do many things not only a passion
satisfaction. And she didn‘t want men ruling about everything, she want
women to contribute also in various things.
One of many works that discuss about feminism is a novel Entrok By
Okky Madasari. This novel is tell the story about two women Sumarni
and rahayu, mother and daughter. It tells us how they facing their life
with their own way. Both of them has different point of view about life
where Sumarni the mother still believe in ancestral spirits because she
never school and Rahayu the daughter believes in Islam because she
175
school. And of course this novel has a feminism issue. The inequality
between men and women exist in novel.
―Aku tak bicara tentang entrok kepada Simbok. Aku hanya berkata ingin
membantunya mengupas singkong, siapa tahu bisa dapat uang. Simbok
berkata, aku tak akan mendapat uang. Kebiasaan di pasar, buruh-buruh
perempuan diupahi dengan bahan makanan. Beda dengan kuli laki-laki
yang diupahi dengan uang.‖ (Madasari, 2010, p. 22).
From this narration that told by Sumarni, we know that women has
different treatment where women only paid by food and men paid by
money. What I got from this scene is women described as if their job is
only take care of household things. Food is one of the stuff that should
be in a house, so it is represent a household job like cooking where
people think that job should only do by women. This is scene is same
with what Wollstonecraft saw about the women in her age where women
only doing their work in their house such as cooking, and cleaning. It
seem in that era in Singget, the village where Sumarni Lives, that thought
where women only paid by food has been embedded in their thought
hereditary so it is difficult for Sumarni if she want to change that habit if
it has become culture.
176
―Pernah suatu kali kuberanikan diri meminta upah uang pada Nyai
Dimah, tapi langsung ditolak oleh Nyai Dimah. Kata Nyai Dimah, ia
tidak mampu mengupahi uang. Lagi apula di pasar ini semua buruh
perempuan diupahi dengan bahan makanan. Dia menyuruhku bekerja di
tempat lain jika tidak percaya.‖ (Madasari, 2010. p, 30)
It is obvious that it has become a culture in that village. When Sumarni
ask to paid by money after she has finished spilling cassava, her request is
rejected by Nyai Dimah and wherever she ask to paid by money she will
be rejected because all women just paid by food. We can say that peeling
food is a women job and kind a women‘s skill so the paid is women paid,
food.
―Kutimang-timang upahku hari ini, delapan singkong. Simbok mendapat
sepuluh singkong. Aku berpikir upah yang didapat Teja, si kuli pasar,
setiap hari. Teja mendapat satu rupiah untuk setiap barang yang
diangkatnya. Kalau sehari dia bolak-balik mengangkat sepuluh kali, dia
sudah mendapat sepuluh rupiah. Lima hari bekerja, uang Teja cukup
untuk membeli satu entrok. Kenapa aku tidak bekerja seperti Teja?‖
(Madasari, 2010. p. 33)
177
It is definitely that women cannot working like men. Sumarni cannot get
money by doing the women job. It is obvious made her irritated by this
inequality. From this narration, it seem Sumarni wanted to break this
culture and this same as Wollstonecraft did in 19th century in her country.
She want to brake the idea that applied in that time where women not
allowed to study and learn the science in school just like the men did. In
Sumarni case maybe it is not school matter but about the job where
women cannot do the men job even if they able to do that. This is the
same scenario where both of Wollstonecraft and Sumarni wanted to
brake this inequality and show the people that women also has right to do
what men do in that era.
‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat.
Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
‖Aku kuat, Kang. Biasanya aku juga nggendong tenggok, nggendong
goni. Bakul-bakul itu juga banyak yang mengangkat sendiri dagangannya
dari rumah ke pasar. Hanya priyayi-priyayi saja yang nggak kuat ngangkat
goni.‖
‖Tapi tetap nggak umum, Ni. Di pasar ini, nggak ada perempuan nguli.‖
(Madasari, 2010. p, 34).
178
In next conversation between Sumarni and Teja, it shows us that Teja
confirm that nguli the job that require strength and physical is not
common for women even if Sumarni able to do that. This is what makes
nguli become the men job and no women doing that job. This idea has
been embedded in everybody‘s mind. And men also believe that women
are weak confirmed from Teja‘s Words. That is another reason why
women cannot nguli. But that is not true because Sumarni said that she
can do that, she can pick weight stuff. From this I think that women
weakness is not naturally but it is made by the culture and tradition and
the women admit it.
It same with Wollstonecraft‘s era where the idea that women only a
passion satisfaction for men has been embedded in everybody‘s mind and
the women admit it so women only learn how to satisfy men and bring
them a happiness. And because that idea has been embedded, no women
try to break that idea even if they do that it will benefit them, the women
could go to school and learn what men do and become anything not only
a passion satisfaction. Same with women in Singget, if they do the men
job it will benefit them they will get money to buy anything.
179
‖Bukan masalah kuat-nggak kuat, Nduk. Ini masalah ilok-ra ilok—pantas-
nggak pantas. Nggak ada perempuan nguli.‖ (Madasari, 2010. p, 35).
This conversation between Sumarni and her mother show us why women
cannot nguli just like men it because does not look good if women nguli.
This reason that make women only paid by food. In Wollstonecraft case,
the women not allowed to study in school because their job only in home
and make a happiness to the men so what for studying in school if their
job only in home. This is everybody‘s thought in that era. In Sumarni case
maybe until now it still apply that everybody think women is not look
good nguli but I think there is no harm if women nguli if they want
because it is the job that everyone could do either men or women.
Simbok berbisik pelan, ‖Nduk, anak perempuan itu harus punya suami,
punya anak. Kalau sudah ada yang melamar tidak boleh ditolak, bisa
kualat, jadi perawan tua.‖ (Madasari, 2010. p, 48)
This conversation between Sumarni and her mother remind me to
Wollstonecraft words that women is an object of desire. This
conversation tells us if a woman should marry and has a husband as if
women only exist to fulfill men happiness, as if women always depend on
men, if they are not marry they will get bad luck and hard life because
180
they will not have income for their life. If we see to this novel yes,
women will not have income because their job is restricted, there are
some job that cannot do by women.
Orang yang dari tadi berbicara paling banyak segera mengambil
tumpukan uang itu. Menghitung, lalu tertawa lebar.
‖Begini kok dibilang seret to Yu, seret apanya?‖
‖Seret ya seret, Ndan. Cuma setoran buat sampeyan aja yang nggak boleh
seret, iya to?‖
‖Lha ya iya. Ini kan buat keamanan sampeyan dan keamanan lingkungan.
Iya, to? Kalau bukan kami, siapa lagi yang ngatur!‖. (Madasari, 2010. p,
52).
From this scene when Sumarni is asked money by the soldiers for the
security, it is show us the effect of the inequality in education. Sumarni is
willing to give her money to those soldiers because she did not know that
they already paid by the government. This is what Wollstonecraft said
about the different between men and women. If men think with their
logic because their mind sharpened due to studying in school while
women think with their heart because they just study at home reading
181
some romance novels. Sumarni did not study in school so she did not
know many things and just give her money to those soldiers.
In her struggle, Wollstonecraft tried to make women could study in
school as well as men do so women can think with their logic and they
cannot be fooled just like the soldiers did to Sumarni.
―Kita dulu kerja memeras keringat seharian, diupahi telo, bukan uang,
hanya karena kita perempuan. Lihatlah sekarang, anakmu yang
perempuan ini, berdiri tegak di sini mengupahi para laki-laki.‖ (Madasari,
2010. p, 102).
―Sayangnya tidak ada buruh perempuan di sini, betapapun ingin aku
mengupahi mereka dengan uang sebesar buruh lakilaki. Upah yang
besarnya sama, tidak lebih kecil hanya karena dia perempuan, lebih-lebih
hanya diupahi dengan telo.‖ (Madasari, 2010. p, 103).
From this narration seems like Sumarni happy because she has succeed in
her business and got a lot of money. In this narration also show us that
Sumarni want to make equality between men and women by pay the
women as much as the men do, not by food or other stuff. From this
182
narration we know that both Sumarni and Wollstonecraft wanted the
equality between man and women.
―Perawan-perawan sengaja mengarang berbagai alasan untuk datang ke
rumah. Mau beli dagangan atau minta utangan. Lalu sambil lirak-lirik
melihat ke wong ganteng itu.‖ (Madasari, 2010. P, 163).
This scene is when Amri, and Rahayu came from Yogya to Singget. In
this scene women described as Wollstoncraft said that they are thinking
with their heart, all inside their mind is just love. It seen when the women
in Singget came to Sumarni‘s house deliberately just to see Amri, an
Arabian man. We call it as bucin or budak cinta in Indonesia. This is what
will happen if women think with their heart not their logic.
‖Ini untuk kami semua. Lha aku malah rela mengorbankan anakku.
Anakku rela tubuhnya dipakai untuk keselamatan orang-orang di sini. Lha
sampeyan, apa yang sudah sampeyan lakukan? Prek! Kyaimu malah pamit
mau pulang. Prek!‖ (Madasari, 2010. p, 252).
This scene is actually a vile and barbaric act. In this scene a father willing
to give his 12-year-old daughter to the soldiers he willig to give his
daughter body to them just to stop what will the soldiers do next day.
183
This is confirm that women is a desire object, a passion satisfaction just
like Wollstonecraft said.
What I got from Entrok is inequality between men and women is came
from the culture and tradition for example men believes that women is
weak and cannot do the job that require strength but it is not true,
women could do that if they want just like Sumarni did when she nguli in
Ngranget store. That weakness does not come naturally but made by the
ideas and women admit it.
Reference
Nurrachman, D. (2017). Introduction To Criticism. Bandung: Pustaka Aura
Semesta.
Hidayati, N. (2018). Teori Feminisme: Sejarah, Perkembangan, dan
Relevansinya Dengan Kajian Keislaman Kontemporer. Jurnal Harkat:
Media Komunikasi Gender. 14(1), 21-29.
184
Muhammad Bukhari M. H.
100% plagiarism detected for 1195030143
the whole analysis 5-D
0=E
GENDER DISCRIMINATION IN ENTROK NOVEL BY
OKKY MADASARI
Sociocultural understanding is a common understanding of an
inherited habit in an area that is created by the relationships between
communities are built with each other. Society as a whole is something
built and produced in a community site (Keith Jacobs). Whereas culture is
the ideas and feelings, actions and also works that are the results created
by people in social life which later become theirs through learning
(Koentjaraningrat).
The inclusion of gender in socio-cultural life finally reveals injustice in
socio-cultural life. Both men and women feel threatened by pre-existing
values.
185
These values, for example, men as the head of the family bear the
responsibility as breadwinners, while women take care of the household.
The emergence of movements that voiced gender equality by women
activists was then underestimated by some people who did not
understand the real concept of gender, even from other women who
grew up in a conservative environment. Men who grew up in a
conservative environment who have felt that they have an important role
as decision makers in Indonesian culture then see gender equality
movements as women's resistance that should not appear. In fact, gender
does not have to be seen from the side of women as those who ask for
and want "equality" while men are the givers of "equality". Gender in
socio-cultural life must be seen from their respective roles in building
equal values. Equal in getting opportunities and equal in getting awards.
If gender issues are still viewed from a conservative side, gender equality
will forever be a wishful thinking and a one-sided struggle for women
who feel intimidated by cultural rules and values. Gender equality is a
joint effort between men and women. Men must take part in efforts to
provide justice for women. In many sectors, the presence of women is
still underestimated. Intimidation and discrimination arise from various
parties, as well as from women themselves.
186
Entrok by Okky Madasari is a novel about a patriarch's life, as told
from the perspective of Sumarni and her daughter Rahayu. At the start of
the story, they were poor people, and it happened when Rahayu was
younger, but after a difficult life fight, Sumarni was able to alter her fate
for the better, as evidenced by their next scenario, in which they had a lot
of money and were able to send Rahayu to school. Rahayu is a little girl
who despises her mother because they hold opposing views on matters
like as religion, economy, and culture. Rahayu, who was educated and
taught Islam, has more modern ideas, but her mother, Sumarni, had not
know Islam since she was a child, Sumarni was raised to revere the earth's
mother and father, not other gods, yet despite not having studied, she
possessed rational reasoning. Of course, there are many twists and turns
in their life, especially because they live in a patriarchal world.
Broadly speaking, this novel tells about a woman who grew up in
Magetan named Marni and her daughter, Rahayu. Marni is a strong village
woman. Since childhood, she was abandoned by his father. Eventually
she and simbok wrestled with the market for money, helping peel cassava
to get food. However, Marni is not an ordinary woman who is obedient
to manners. He was jealous of the cool man. They are not paid with
cassava like she and simbok, but with money. She wants to earn money
187
too, so she can buy entrok (bra). When expressing her desire to join as a
the porters like a man, of course Marni had met resistance from simbok.
He said it was not good for women to do men's work. In fact, Marni
thought, if we just carry goods, we are definitely strong women. Finally,
Marni started to become the first and only female porter at that time.
This novel does not end with Marni's story, Okky Madasari writes this
novel using two points of view. The first point of view he took from the
character Marni as the main character, and told the life of Marni. She still
tells the same life, but she takes this second point of view from the point
of view of Rahayu, Marni's daughter.
In writing this Entrok story, the author uses the first person point of
view or 'I'. However, what is different from the use of Entrok's point of
view is that the main character with 'I' is not just one character, but two,
namely Marni and Rahayu. In other words, this novel tells the story of
two main characters from their respective perspectives. Even in the
writing, it is felt that these two characters present the story in their own
style. The diction, language style, and point of view used are different
between Marni and Rahayu.
188
The discrimination experienced by Marni's character as a woman
can be seen when she really wants to get money to buy entrok. She made
various efforts until she was against her nature as a Javanese woman to be
able to fulfill her desire. This can be seen in the following quotes.
Aku tak bicara soal entrok kepada Simbok. Aku hanya berkata ingin
membantunya mengupas singkong, siapa tau bisa dapat uang. Simbok berkata, aku
tak akan mendapatkan uang. Kebiasaan di pasar, buruh-buruh perempuan diupahi
dengan bahan makanan. Beda dengan kuli laki-laki yang diupahi dengan uang.
(hlm. 22)
The quote shows the injustice between women and men, namely in
working a woman gets paid only for food/cassava, in contrast to a man
who is paid with money.
Aku terdiam setengan kecewa. Tapi aku tetap memaksa ikut ke pasar. Aku
bilang pada Simbok, tak apalah kita kupas singkong diupahi singkong. Paling
tidak kalu ikut membantu, singkong yang kita bawa pulang bisa semakin banyak.
Gaplek yang kita punya bisa makin banyak. Kita bisa makan lebih banyak dan
jadi kenyang. Simbok mebiarkan aku ikut ke pasar. Aku berpikir bagaimana
caranya menukar upah dengan entrok. (hlm. 23)
189
The quote shows Marni's disappointment when she wants to go to
work but is not allowed by her Simbok. Simbok Marni advised that
women work in the market to trade or help out in the market such as
peeling cassava and will not be paid money.
Kutimang-timang upahku hari ini, delapan singkong. Simbok mendapat
sepuluh singkong. Aku berpikir upah yang didapat Teja, si kuli di pasar, setiap
hari. Teja mendapat satu rupiah untuk setiap barang yang diangkatnya. Kalau
sehari dia bolak-balik mengangkat sepuluh kali, dia sudah mendapat sepuluh rupiah.
Lima hari berkerja, uang Teja cukup untuk membeli satu entrok. Kenapa aku tidak
bekerja seperti Teja? (hlm. 33).
The quote shows when Marni got tired of working peeling cassava
and only got cassava. Marni thinks of working as a coolie like Teja so she
can earn money. Teja laughed out loud at my request. That's not really
the answer I wanted. I waited quite a while to get the real answer.
―NI, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak ada yang akan
kuat. Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong. (hlm.
34)
190
The quote shows that the locality of women working is only as a
cassava peeler. This can be seen when Teja laughs at Marni who wants to
work as a porter in the market.
―Aku kuat, Kang. Biasanya aku juga nggendong tenggok, nggendong goni.
Bakul-bakul itu juga banyak yang mengangkat sendiri dagangannya dari rumah ke
pasar. Hanya priyayi-priyayi saja yang nggak kuat ngangkat goni.‖
The quote shows Marni's seriousness in getting money. Marni is
willing to fight her nature as a woman by working as a coolie in the
market.
Waktu kuceritakan ren-canaku pada Simbok, dia angsung menolaknya.
―Nduk, semua itu sudah ada jatahnya. Orang kayak kita bagiannya ngoceki telo,
nguli itu berat. Sudah jatah orang lain.‖
―bukan masalah kuat—nggak kuat, Nduk. Ini masalah ilok-ra ilok pantas
nggak pantas. Nggak ada perempuan nguli.‖
The quote shows when Simbok Marni refused his son to become a
coolie. This is because being a coolie is an inappropriate thing for women
or in Javanese it is ora ilok. From this quote, it can be seen that the
locality of women in work is very limited.
191
Pagi itu kami berangkat ke pasar, tanpa menyinggung rencanaku nguli.
Simbok sudah yakin aku tak akan melakukan hal yang ra ilok. Padahal dalam
hati aku tetap bertekad akan nguli. Akan ku tinggakan Simbok saat dia sibuk
mengupas singkong-singkong Nyai Daimah. Aku akan pergi sebentar. Setiap selesai
ngangkat barang, aku akan kembali sebentar mengupas singkong. Simbok lalu akan
mengira aku kebelet atau bermain dengan anak-anak. (hlm. 35).
The quote shows when Marni was eager to get money to buy
Entrok. He plans to become a coolie in the market together with Teja.
This shows Marni's resistance to the locality of Javanese women who can
only work according to their nature.
Aku tertawa dalam hati saat mendengan nasihat Mbah Noto. Memang benar,
di pasar ini tidak ada perempuan yang nguli, pekerjaan berat yang menggunakan
tenaga besar. Di pasar ini, buruh perempuan mengerjakan pekerjaan yang halus dan
enteng, seperti mengupas singkong, menumbuk adi, atau menumbuk kopi. Tapi coba
lihat, begitu buruh-buruh perempuan itu sampai di rumah. Mereka harus
mengerjakan semua pekerjaan yang ada, mengambil air dari sumber dengan
menempuh perjalanan naik-turun. Berat satu jun yang berisi penuh air sama saja
dengan satu goni berisi singkong. Tidak ada laki-laki yang mengambil air, katanya
itu urusan perempuan. Yang jelas lebih enak nguli daripada ngambil air. (hlm. 37).
192
The quote shows when public protests began to occur when they
saw Marni, who was a woman, had to be a coolie in the market. This is an
action that according to Mbah Noto is against the nature of being a
woman because coolies are jobs for men.
Aku yang satu-satunya perempuan di antara kuli-kuli langsung merasa wanita
itu memanggilku. Inilah kiranya orang yang akan pertama kali memberiku uang
(hlm. 38).
The quote shows that it is very clear that none of the women
worked as coolies in the market, because this was related to ilok-ra ilok
which meant it was inappropriate for a woman to work hard like a coolie.
Aku harus mengambil gaplek belanjaan perempuan itu di tempat Nyai
Daimah. Melihatku nguli, Nyai Daimah menyapa setengah mengejek, ―Wah, dapat
duit ya sekarang‖. Sementara Simbok hanya diam, pura-pura tidak tahu (hlm. 38)
The quote above shows the treatment from around Marni that puts
her down when she sees her working in the market because the work she
does is not proper for a woman to do.
Sayangnya tidak ada buruh perempuan di sini, betapapun ingin aku
mengupaih mereka dengan uang sebesar buruh lelaki. Upah yang besarnya sama,
193
tidak lebih kecil hanya karna dia perempuan, lebih-lebih hanya diupahi telo. (hlm.
103)
The quote shows when Marni, who has been successful, wants to
equalize women's wages with men's wages, namely both being paid
money, not telo/cassava.
Kalau Mbah Ibu Bumi Bapa Kuasa mengizinkan, semoga rezekiku
dilancarkan, aku punya duit untuk membeli tanah lagi yang kutanami padi dan
kacang. Akan aku pekerjakan perempuan-perempuan itu dan kuberi upah tak
kurang daripada yang diterima suami-suami mereka. (hlm. 103)
The quote above shows that the women at that time were given
wages that were far from the income of their husbands. Marni prays to
her ancestors that she will be given sustenance to buy land so that women
can also work in the fields and earn money, no longer working and
getting food and that's all.
The quotes above are a description of the locality of a woman,
especially in work. Women are too limited, which is certainly unfair when
done, for example, women only get wages for food ingredients, not
money like what men get.
References
194
Barker, C. (2016). Cltural Studies. Yogyakarta: Kreasi Wacana.
Fakih, M. (2008). Analisis Gender dan Transformasi Sosial. Yogyakarta:
Pustaka Pelajar.
Ratna, N. K. (2013). Teori, Metode, dan Telaah Penelitian Sastra.
Yogyakarta: Pustaka Pelajar.
Sihite, R. (2007). Perempuan, Kesetaraan, keadilan Suatu Tinjauan
Berwawasan Gender. Jakarta: Raja Grafinda Persada.
Sugihastuti dan Suharto. (2002). Kritik Sastra Feminis Teori dan
Aplikasinya. Yogyakarta : Pustaka Pelajar.
Sugihastuti, Saptiawan, I. H. (2007). Gender dan Inferioritas Perempuan
(Praktik Kritik Sastra Feminis). Yogyakarta: Pustaka Pelajar.
Winarni, R. (2009). Kajian Sastra. Salatiga: Widya Sari
195
- Lack of focus
- lack of consistency
- Some still merely retelling Muhammad Fajar Ismail
- Some narratives and the analysis made relevant with the theory
used, some others not
1195030144
- Lack of relevant theoretical supports/justifications
- Be aware of mechanic errors: paragraphing, citation, punctuation,
capitalization, etc 65 = C V-D
LABOR & CULTURAL INJUSTICE ON WOMEN CHARACTER IN
Literary works, there are many literary works that exist in our lives with
various different genres, and of course literary works have its beauty and
lessons that can be applied in our life, for the example is literary works
that contain feminism. According to Najmah and Khatimah Sai'dah in
their book entitled Revisi Politik Perempuan (2003:34) she stated that
feminism is an awareness of the protection and exploitation of women
that occurs both in the family, at work, and in society as well as conscious
actions against men. Whom Both men and women to change the
situation lexically. In social reality, feminism is still remain a hot topic in
literary works, because in some places there are still those who apply a
traditions which these traditions threaten women's justice indirectly. This
tradition occurs because women are still shackled by the tyranny of men.
As Wollstonecraft stated out that, the beginner and the trigger of female
follies are from the tyranny of man (Wollstonecraft, 1792, p. 160)
196
In addition, Mary Wollstonecraft has also discussed feminism in her work
entitled "A Vindication of the Right of Woman" as a movement for
women's movements against injustice in Gender Equality. In her
discussion, Mary wrote that the woman was not weak, but it's all because
Women didn't get an education and given a cultural pattern that make
them became weak characters.
In Entrok's Novel, written by Okky Madasari, We could learn into how
the culture blinding the society where Sumarni lives. It happens because
of the old tradition implying that women are not worthy to earn money
because of their easy working.
Entrok tells many story, from the ancestor to the main character about
how the life without education which bring them to the conflict to their
family because of the differences in bealiefs. And here, about the
feminism topic In Entrok, Chapter 2 "Entrok"
Which the main character is Sumarni, a female character who is in the
spotlight in this chapter. There is also many another female characters
and they are all submissive to men, and men seems dominate their lives.
And all of this explained and written by Mary Wollstonecraft that a long
197
tradition of men is contributed to make "weak-characters" of women
(Nurrachman, 2017, p. 133).
― Di tengah kepanikan, tiba-tiba seorang laki-laki tua muncul dari

kerumunan penonton, mendekati dua perempuan yang sedang pada puncak
amarah. Tubuh laki-laki itu kurus, dengan tinggi di atas kebanyakan laki-
laki di pasar ini. Seluruh rambutnya putih, begitu juga kumis tipis yang
melekat di wajahnya. Ketika berjalan, punggung laki-laki itu melengkung,
entah karena usia atau karena badannya yang terlalu tinggi.
Laki-laki itu Pak Suyat. Suami Yu Parti sekaligus Yu Yem.
Laki-laki yang menjadi sumber perkelahian dua pedagang Pasar Ngranget.
‖Ti, sudah, Ti. Sudah!‖ Pak Suyat meraih tangan kiri Yu
Parti yang sedang menjambak rambut Yu Yem. ‖Sudah, ayo pulang!‖ Pak
Suyat menarik tangan istrinya.
Yu Parti yang sebelumnya kelihatan penuh semangat, kini lemas tanpa tenaga.
Ditariknya tangan kanannya yang tengah mencakar muka Yu Yem. Tanpa
bantahan, Yu Parti mengikuti tarikan suaminya. Mereka pulang. Melihat Yu
Parti pergi, Yu Yem menggulung rambutnya yang tergerai awut-awutan dan
membenahi kainnya yang berantakan akibat ditarik-tarik. Ia memungut satu
per satu cabe-cabe yang berserakan di lapaknya. Perlahan-lahan orang mulai
meninggalkan los tempat keramaian pagi ini terjadi. Mereka kembali
melanjutkan pekerjaan sebelumnya. Tontonan selesai.‖ (Madasari, 2010, p.
27)
This story refers to Pak Suyat, one of the side characters in this story. It is
written that Pak Suyat even he is an old man and not rich, he could stop
two women that having great anger and also after that no one blame Pak
Suyat after what his done for having mistress, and his wife and his
198
mistress still love this old man and submissive to him. Even also Yu Parti
and Yu Yem are women who still can get money frome their business,
and for Yu Parti, her food stall (pecel) isn't belonging to Pak Suyat at first.
―Yu Parti berjualan pecel di pasar ini sejak belum bertemu Pak Suyat. Mereka
bertemu saat Pak Suyat mulai nguli di pasar ini. Sejak menikah, Pak Suyat
berhenti nguli dan membantu istrinya berjualan pecel. Mencari daun untuk
pincuk dan membuatkan kopi untuk pembeli. Pecel itulah sumber penghasilan
mereka.‖ (Madasari, 2010, p. 28).
And then, because men are better in the story, having mistress isn't
something taboo anymore.
―Yu Parti bukan tidak mengetahui hal itu. Kata Nyai Dimah, Yu Parti
pernah berkata, ‖Namanya juga laki-laki. Asal mbaliknya tetap ke kandang
ya nggak apa-apa.‖.‖ (Madasari, 2010, p. 27).
As Wollstonecraft said regarding to the "weak character" of women,
Okky Madasari recounts the figure of Bu Jujuk, the wife of the sub-
district office keeper, Pak Jujuk. In the middle of the story chapter 2, Bu
Jujuk is told as a woman who only could cry when scolded and share her
sad story about her husband to Sumarni because she can do nothing."
―Pada Hari itu, misalnya, Bu Jujuk tiba-tiba menangis di depanku.

‖Jangan bilang siapa-siapa ya, Ni. Aku percaya sama kamu.‖
Aku, yang baru anak ingusan ini, hanya mengiyakan permintaan Bu Jujuk.
Lagi pula Bu Jujuk tidak butuh apa-apa dariku, hanya minta didengarkan.
199
Dia tak mungkin bercerita ke tetangga-tetangganya, malu. Kalau dipendam
terus, lama-lama makan hati. Bu Jujuk memilihku. Barangkali karena aku
sudah dipercayai, atau mungkin hanya sekadar karena aku bocah ingusan yang
tidak mungkin bercerita kepada siapa-siapa.
‖Suamiku itu lho, Ni. Dia gendakan sama kledek. Sudah lama, Ni. Tapi aku
diam saja. Aku nggak mau ribut, nggak mau cari masalah. Tapi aku nggak
kuat, Ni. Hatiku diiris-iris.‖
Tangis Bu Juju meledak. Hanya kami berdua yang ada di rumah itu.
Tentu tak ada yang bisa kukatakan pada Bu Jujuk. Menikah saja aku belum,
apalagi tahu bagaimana rasanya suami punya gendakan. Tapi Bu Jujuk
memang tak pernah bertanya padaku. Setiap ceritanya hanya ditutup dengan
tangisan. Begitu terus berulang kali.
Suatu hari, suami Bu Jujuk pulang saat Bu Jujuk untuk kesekian kalinya
menceritakan lakon Pak Jujuk dan kledek gendakan-nya. Bu Jujuk yang tak
menyadari kehadiran suaminya terus menumpahkan perasaan sambil menangis.
Semuanya langsung berhenti saat terdengar teriakan suaminya. Bu Jujuk
langsung menghapus air matanya, lalu buru-buru masuk rumah. Dari luar
kudengar umpatan-umpatan suami Bu Jujuk.
‖Istri nggak tahu diri! Kerjaannya rasan-rasan14 terus!‖ Tak ada jawaban dari
mulut Bu Jujuk. Lenyap semua umpatan yang sebelumnya dikatakan padaku.
Bu Jujuk kembali ke dunianya, dunia yang penuh kepatuhan dan ketakutan.‖
(Madasari, 2010, p. 46-47).
It is clearly described that Bu Jujuk as the figure or character that
submissive to his husband even after what her husband have done for
having a mistress. Regadless of her position, women hve the right thing to
fight the injustice of being betrayed of their married and those who
betraying their partner life, have no right thing to angry and even more to
scolded their partner life (Husdband / Wife).
200
As Marry Wollstonecraft said, It is not uncommon for a society's old
traditions to have a significant influence on women's position. Women
being a weak character due to circumstances that degrade them
(Wollstonecraft, 1792, p. 45). Some women's life are being controlled by
villages and are still shackled by a patriarchal conscience, which still lacks
gender equality. Due to Indonesia's traditional norms, social values,
religion & bealiefs, and patriarchal ideology, gender equality between
men and women cannot balance. Justice in gender equality is still less
used in Indonesia (Haryanti, 2014, p. 237).
‖Aku kuat, Mbok. Lha wong kita tiap pulang dari pasar juga nggendong goni.
Malah jaraknya jauh, naik-turun.‖
‖Bukan masalah kuat-nggak kuat, Nduk. Ini masalah ilok-ra ilok—pantas-
nggak pantas. Nggak ada perempuan nguli.‖ (Madasari, 2010, p. 35).
―Aku harus mengambil gaplek belanjaan perempuan itu di tempat Nyai

Dimah. Melihatku nguli, Nyai Dimah menyapa setengah mengejek, ‖Wah,
dapat duit ya sekarang.‖ Sementara Simbok hanya diam, pura-pura tidak
tahu.‖ (Madasari, 2010, p. 38).
And now, here the main female character in this story chapter 2,
Sumarni. Sumarni is the girls on puberty / adolescent from poor familly.
201
She is the woman who fight for feminist and ignore the culture that stop
her reaching her dreams for Entrok / bra.
‖Nduk, entrok itu mahal. Mbok mending duitnya buat makan,‖ kata Paklik.
‖Wong aku nggak pernah pakai entrok juga nggak apa-apa,‖
kata istrinya..‖ (Madasari, 2010, p. 19).
‖Aku yang satu-satunya perempuan di antara kuli-kuli itu langsung merasa

wanita itu memanggilku. Inilah kiranya orang yang akan pertama kali
memberiku uang. Aku ikuti langkah perempuan itu kembali ke dalam pasar.
Dia menyuruhku mengambil belanjaannya yang ada di los-los, sesuai jenisnya.
Cabe, bawang, bayam, sawi, tomat, singkong, juga gaplek. Ternyata priyayi
seperti dia masih makan gaplek juga, bukan beras." (Madasari, 2010, p. 38)
From the context above, it seems the place & times setting are from
previous / old era, which entrok or bra is so expensive, even to someone
who have husband that still working for money couldn't buy another
entrok, and also cassava as the main food because rice is also expensive
and only for rich people. And it's the reason why injustice of women are
something common because they have no right thing to do for their life
which everything dominated by men, most of old culture don't have
balance on gender equality .
202
And it is confirmed by Rousseau that women no need to be
independent. They have to maintain great fear, eventually becoming
enslaved by the men to please them (men) (Wollstonecraft, 1792, p. 25).
Women's status is still looked down upon in old culture, or as "weak
character," because of the patriarchal culture that still inherent in
people's mindset. On the story cited above, it is explained like if women
are born is only for biological and sociological needs for men, and the
women have to be ―prepared‖ and have no choice except to be married
to a man.
―Tapi cerita-cerita itu juga menimbulkan ketakutan. Takut pada laki-laki,

takut kawin. Lha buat apa kawin, kalau jadinya cuma sengsara. Inilah yang
kukatakan pada Teja waktu dia memintaku jadi istrinya. Dia melamarku di
depan pasar, saat matahari baru mengintip malu-malu, saat aku menunggu
kedatangan petani yang membawa berbagai sayur-sayuran.
‖Aku belum mau kawin, Kang.
‖Kenapa, Ni? Kita saling cocok. Apa kamu tidak pengin punya suami, punya
anak seperti Tinah?‖
Punya anak? Bagaimana jika aku punya anak nanti? Mau jadi apa anakku
nanti? Tukang kupas singkong atau bakulan
keliling desa kalau perempuan? Anak laki-laki ikut bapaknya nguli?
Pertanyaan-pertanyaan itu hanya tersimpan dalam hati.‖ (Madasari, 2010, p.
47).
203
―Ia Nduk, anak perempuan itu harus punya suami, punya anak. Kalau sudah
ada yang melamar tidak boleh ditolak, bisa kualat, jadi perawan tua.‖
Aku tak membantah omongan Simbok." (Madasari, 2010, p. 48).
Hari itu, Teja pulang ke rumah Simbok. Jadilah kami tinggal bertiga di gubuk
itu. Simbok memasang papan yang membagi gubuk kami menjadi dua bagian.
Bagian depan dari pintu masuk sampai cagak, menjadi tempat untukku dan
Teja. Simbok menempati bagian sisanya, yang dekat dengan pawon."
(Madasari, 2010, p. 48).
In the end, although Sumarni afraid and don't want married, she still
can't reject the culture and tradition, which having husband is a great
oppertunity and if she reject the proposal marriage, she will got karma.
From the story above The tradition from an old tradition are the factor
in gender inequality where women only can surrender to the situation
because they are not allowed to do much. The role of parents is also
very influential, the old rules, usually more followed by women. So it
makes women weaker than men (Wollstonecraft, 1792, p. 126).
It was evident that women' weakness, is not by nature, but because of
the culture and traditions which also made the women became that
204
way. As Wollstonecraft said, the mind is not gendered. The role of
women is always stupid because they do not get a decent education.
References
Sa'idah, N. Iskandar, A, B. Khatimah, H. (2003). Revisi politik perempuan :
becermin pada Shahabiyat. Bogor: Idea Pustaka Utama
Haryanti, A. (2014). The Construction of Feminism in Indonesian Film:
Arisan 2! Procedia-Social and Behavioral Sciences, 236-241.
Semesta.
Wollstonecraft, M. (1792). A Vindication of the Rights of Woman: With
Strictures on Political and Moral Subjects. London: J. Johnson Publishing.
205
- Truly lack of focus Muhammad Guntur Aghni
- Too many unnecessary informations
- Which theory do you want to apply actually? Choose one and be 1195030146
consistent with it
- Too many narratives quoted yet lack of real analysis
5D
- Lack of relevant theoretical supports/justifications
60 = C
- Use the references to support the analysis, not only to be cited in the
introductions
THE PICTURE OF PREJUDICIAL SOCIETY IN ENTROK
Literature is a social reflection that conceived by language as the medium.
Since literature is derived from the Latin littera, which has meaning ‗a
letter of alphabet‘, it referred as the written of human expression which
highly regarded in a given language and society. According to Eagleton
(1996 : 15), the criteria of matter than can be mentioned as literary works,
were honestly ideological; the values and ‗tastes‘ of particular social class.
Consequently, the face of literary work never can be established without
its reflection, society. In short, it is inseparable. In rhymed with the
statement, Wellek and Warren (1953:110) argued, society is the main
source expression of literature. Besides of the assimilation beyond both
the entities, literary works may have done great communication and
commentary on the reality of human being and their interaction for many
206
centuries. This connection, later, probably has aroused another approach
on defining literature, as Damono (1979:3) explained, since the literary
creations may have portrayed the part of society dimension through the
plot, and consecutively talking about the criticize and commentary, or
even only on purpose to show it as a reveals to readers in order to engage
its consciousness, on what has befallen the society. Then, literature is
considered as one of social institution which conduct language as the
media.
Despite of the nature, or as described by the expert on by social
perspective, furthermore literary works required to be imaginative. In
order to amuse and gain reader‘s gaze on the topic that presented in the
literature, the authors must encourage their ‗creative power‘ so that the
message could be received as they amused and earned knowledge.
According to Horace, "it is not enough poems to be beautiful; they must
be affecting and must lead the heart of the hearer as they will. As people's
faces smile on those who smile, in a similar way they sympathize with
those who weep.‖ (Nurrachman, 2017: 75).
Speaking of imaginative—creative, Matthew Arnold possessed his own
perception on how literature should bear the amount of creative power.
207
As he loved the way Wordsworth‘s put beauty on poet by the movement
of criticism, he bravely put commentary on it as he also adore it. He
stated,
―more then one rejoinder declared that the importance I here assigned to
criticism was excessive, and asserted the inherent superiority of the
creative effort of the human spirit over its critical effort.‖ (Nurrachman,
2017:226).
Arnold put focus on how Wordsworth‘s embraced the idea for
expressing their mind that it had to be done by feeling as it is a basis of
imagination. As it quoted, ―feeling becomes the real basis of imagination,
which become to grasp nature in its totality and to order one‘s
experience.‖ (Wordsworth on Nurrachman, 2017: 146). He later has its
critique, regarding to the manner of criticism as movement has neglected
the behalf of literary works nature, which it requires social reflection.
At the development, relating to the society amidst 18 th century, where
industry revolution sparked and made social issues as the consequents.
Romanticism, regarding to Arnold‘s viewpoint, rather than elaborate their
beauteous combined with surroundings reality, on the contrary it only
aroused the nature, and left the society behind. On Arnold‘s thought,
208
literary works suppose to able maintain both of powers; critical power
and creative power.
‖Wordsworth holds the critical power very low, infinitely lower than the inventive; and
he said today that if the quantity of time consumed in writing critiques on the works of
others were given to original composition, of whatever kind it might be, it would be
much better employed; it would make a man find out sooner his own level, and it
would do infinitely less mischief. A false or malicious criticism may be much injury to
the minds of others, a stupid invention, either in prose or verse, is quite harmless.‖
(Arnold on Nurrachman, 2017: 227).
As the critique continued throughout The Function of Criticism at The Present
Time, Matthew Arnold emphasized his argument on how critical power
should being equal to creative power.
Entrok,the first published novel presented by Okky Madasari. The book
set out the story around Sumarni, a woman who has been lived among
patriarchal society. Set place in Singget, Sumarni whose really eager to have
entrok—bra in Javanese—while her effort is going through hard paths, as
the place she live in is at prejudicial patterns towards women. As an
educational woman, who urges to prevail on her destiny when she step
on at her life little by little, she already meets the obstacles; from the
209
cultural view on working woman, the unreasonable claims on her belief,
until get blackmailed by military.
The large picture above, may implied how many multi layer issues that
occurred upon the story of Madasari‘s Entrok. Furthermore, as the essay
has put focus on the Matthew Arnold‘s Critical Power, the writer intend
to dissect and identify some narration that related towards the theory.
This profound research will deliberately use objective approach thal also
well-known as pragmatic. According to Abrams (1953; 1999), Pragmatic
is the approach that put an outlook to literary works as something which
is constructed in order to achieve certain effects on the audience, and
tends to judge the value of the work according to its success in achieving
that aim.
It is also has the similar aim on criticism as rhymed as Arnold‘s theory of
disinterestedness. The word disinterestedness does not imply a mere lack of
interest. On the contrary, it explained that Matthew Arnold's ideal critic is
disinterested. The critic must be from the ―interests‖ which in any way
tend to obstruct the attainment of the intellectual and moral perfection.
―And how is criticism show to show disinterestedness? By keeping aloof
from what is called ―the practical view of things‖; by resolutely following
210
the law of its own nature, which is to be a free play of the mind on all
subjects which it touches. By steadily refusing to lend itself to any of
those ulterior, political, practical, considerations about ideas, which plenty
of people wiil be sure to attach to them, which perhaps ought often to be
attached to them, which in this country at any rate are certain to be
attached to them quite sufficiently, but which criticism has really nothing
to do with.‖ (Nurrachman, 2017: 237).
As the topics, to connect furthermore with the presented theory, despite
of take review on the characters, the writer would like to try to assert and
identify the representation of prejudicial society throughout the novel, as
it is related issue and quite compatible with the real society events.
In Entrok, the building of society which developed by Okky Madasari is
vibrantly awful when it comes to public amenities and private life. As a
coping mechanism, respond to the social gap and sensitive financial
outlook, people tend to prepossess the negative idea about the person at
commentary.
Orang-orang bilang, Ibu memelihara tuyul. Makhluk halus berkepala gundul yang
bisa membuat orang yang memeliharanya kaya. Setiap malam tuyul keluar rumah,
mencuri harta orang lain untuk diberikan pada majikannya.
211
Kata mereka, ‖Bagaimana mungkin Marni kere bisa jadi sekaya ini kalau tidak
punya tuyul?‖ Bagaimana orang yang dulunya makan saja tidak bisa sekarang
punya rumah megah, roda empat, dan berhektar-hektar tanah kalau bukan karena
tuyul?
Kata orang-orang, tuyul Ibu disembunyikan di kamar paling belakang, di samping
kamar mandi. Rumah kami terdiri atas empat bangunan rumah Jawa. Satu
bangunan untuk tamu, kami menyebutnya omah ngarep. Di belakangnya ada omah
mburi, tempat kami biasanya tidur bersama di atas tikar, padahal ada dua kamar
di sana. Keluarga ini memang tidak terbiasa tidur di kamar. Begitu juga aku.
Kamar-kamar itu hanya untuk menyimpan berbagai barang. Selebihnya, itu hanya
mengikuti model bangunan yang kata orang bangunan modern. Di sebelah omah
mburi ada dapur besar dengan empat pawon. Di depannya ada bangunan yang kami
sebut toko. Di situ Ibu biasa menaruh semua barang dagangan yang dijualnya di
pasar.‖ (Madasari, 2010: 54).
Later on, as it represents the cultural habit of prejudice. It shifting its
form into a sort of weapon to blackmailed a person by a handicap on
individual manner, and then it will used to earn what the perpetrator
want, or even in order to degrading someone‘s name. in Singget, it could
happened to anybody who do not bow down on this negative notions.
212
Begitu tentara-tentara itu pergi, Bapak dan Ibu bertengkar hebat.
‖Kamu jangan seenaknya, Ni. Mau kamu dicap PKI, dipenjara kayak Pak
Tikno?‖ ‖Halah! Aku bukan PKI! Aku cuma mau cari makan. Tidak mencuri.
Tidak merampok. Apa aku salah? Terus mereka seenak udele meras orang. Dulu
ngambil panci. Sekarang datang minta duit!‖
‖Tapi mereka petugas, Ni. Orang yang mengamankan kita!‖ ‖Hasyah! Prek!‖
‖Kowe prak-prek-prak-prek terus! Mau nanggung kalau kita nanti dicap PKI?
Mau kalau nanti kita semua dipenjara?‖ ‖Terserah! Yang penting aku bukan
PKI.‖ Hari itu berakhir dengan pertengkaran antara Bapak dan Ibu. Pertengkaran
yang berakhir mengambang. Masing-masing ngotot pada apa yang dipercayainya.‖
(Madasari, 2010: 71).
After this event, in sequel, other things occurred with similar substance.
The different is, it comes from a matter of leaders echelon. Which in this
case, the form of the deeds occured in form of pressure that injured the
private rights that people should have. It showed, that the depiction of
this negative notions had infiltrated the wisdom of leadership. And of
course, it is a complete representation of how civil is have degrade
themselves in front of authority.
213
Keesokan harinya, pagi-pagi sekali, saat aku belum berangkat sekolah dan Bapak-
Ibu belum berangkat ke pasar, Pak RT datang ke rumah kami. Dia datang
mengenakan sarung yang digunakan tidur, dengan mata yang masih merah menahan
kantuk. Pak RT menyapa Bapak dan Ibu yang tengah bersiap-siap di depan pintu
rumah. Dia mengucapkan salam. Bapak mempersilakan Pak RT masuk rumah,
duduk di kursi rotan yang sehari sebelumnya diduduki tentara-tentara itu.
‖Yu Marni, Kang Teja, kemarin ada komandan mampir ke rumah saya. Katanya
habis dari sini. Komandan bilang... emmm... sampeyan tidak tahu pentingnya
keamanan.‖
‖Ya bukan begitu, Pak RT. Saya itu cuma bingung, wong saya tidak punya musuh
kok mesti diamankan.‖
‖Itu sudah normal, Yu. Sudah aturan negara, semua orang harus menjaga
keamanan. Kalau harus bayar, ya bayar!‖
‖Ya saya agak berat to, Pak RT. Wong saya kerja meras keringat siang-malam
buat cari makan. Ini bisa bangun rumah kayak gini dari mengumpulkan sedikit
demi sedikit.‖
‖Huss, Ni! Maaf, Pak RT, memang Marni nggak ngerti apa-apa soal keamanan.
Dia tahunya cuma bakulan di pasar,‖
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Bapak memotong jawaban Ibu.
‖Ya sudahlah. Itu urusan kalian. Saya cuma mau meng ingatkan, kita butuh
tentara. Mereka itu yang bisa buat kita aman. Saya tidak mau gara-gara kalian,
ada goro-goro di kampung kita. Kalian ingat to, kejadian Tikno? Gara-gara orang
yang sakpenake dewe seperti dia, orang sekampung direpotkan. Sekarang malah
anak-istrinya keleleran, kita juga yang repot. Saya tidak mau kejadian seperti itu
terjadi lagi di kampung kita. Ngerti, to?‖
Bapak mengiyakan dengan lirih, nyaris tak terdengar. Ibu hanya mengangguk lemah.
Tak ada bantahan dari mereka berdua. Pak RT pamit pulang. Bapak dan Ibu
mengantarnya sampai halaman.‖ (Madasari, 2010: 73).
According to Arnold, this kind of issue in literature is what needed in
every author‘s works. They were expected to be able to bring out the
reality, so just not focus on beauty of nature which is tend to
transcendent and neglect the real life, because society is essentially part of
nature. As it is alluded by Arnold,
―Presently these new ideas reach society, the touch of truth is the touch
of life, and there is stir and growth everywhere; out of this stir and
growth come to creative epochs of literature. Or, to narrow our range,
and quit these considerations of the general march of genius and of
215
society—considerations which are apt to become too abstract and
impalpable—everyone can see that a poet, for instance, ought to know
life and the world before dealing with them in poetry; and life and the
world being in modern times very complex things, the creation of
modern poet, to be worth much, implies a great critical efford behind it;‖
(Arnold on Nurrachman, 2017: 229).
At final, as it has been described and explained throughout the novel and
theories, it can be concluded that; the society which has been depicted in
Okky Madasari‘s Entrok is a great representation of prejudicial society, as
it is reviewed along the quotes, on how much the society—through
negative aspects—is reapetedly affected the characters in terrible ways.
The picture of blackmail, social pressure, and prejudice was well-done
representated in the novel. And is it a good proof on how critical power
should be applied in accordance of Matthew Arnold.
References
Abrams, M. (1979). The Mirror and the Lamp: Romantic Theory and The
Critical Tradition. New York: Oxford University Press.
Damono, S. D. (1979). Sosiologi Sastra: Sebuah Pengantar Ringkas. Jakarta:
Pusat Penelitian dan Pengembangan Bahasa dan Sastra Indonesia.
216
Eagleton, T. (1996). Literary Theory: An Introduction. London: Basil Blackwell
Wellek, R., & Warren, A. (1989). Theory of Literature. Jakarta: PT
Gramedia.
217
- Lack of focus
Name: Muhammad Ichsan Shaefulloh
- Jumped-up ideas
- Some analysis are still irrelevant with the theory used
- Lack of real critical analysis Student‘s ID: 1195030147
- Lack of theoretical justifications
60 = C
- Inconsistent sources/references Class: 5D
- Be aware of mechanic errors
OKKY MADASARI’S ENTROK: A BAD CONTENT NOVEL
Literary works divided into 3, namely poetry, prose, and drama.
Novel is one of kinds of Prose. According to Maskurun, novel is a story
that tells conflicts of actors so that there is a change in path or fate of the
main character and there is also another definition of novel stated by
Laelasari and nurlaela, ―novel is long prose essay that contains a series of
stories of a person‘s life with the people around him by highlighting the
character and the nature of each actor (Amri, 2018).
Literary works are closely related to the social life of society. This
is because literary works are the result of the author's imagination and
reflection on social phenomena that occur in society and are poured into
writing. In line with that, according to the book Theory of Literature by
Dr. I made Suarta and Kadek Adhi Dwipayana (Suartata & Dwipayana,
2016), argued that literature is always created from a creative process by
the author which departs from the social problems of society. From the
explanation above, we know that literary works are based on reality and
218
can‘t be separated with reality. it is called mimetic. Mimetic is a word that
come from Greek which means ―representation‖ or ―imitation‖.
Literary works is a combination between entertainment and
education as stated by Rene Wellek & Austin Warren (Kanzunnudin,
2012) , ―Literature has a function of entertaining as well as educating. In
line with the function of literature as education, Nurholis (Nurholis,
2018), stated that there are some functions of literature and one of them
is didactive function which means that literature must be able to direct
or educate its readers because of the truth values contained in it.
From the explanation above, we can now that literature can be an
education tool.
As an education tool, literary works should contain
something good or only contain good content, either in language or
in action. In language, writer should filter, and select only good
words and in action, writer should provide good action only and
avoid bad things or bad contents in order to avoid negative effects
of literary works on readers. Literary works are called as a tool or
media for education because it can include life‘s value explicitly or
implicitly and literary works are such great tools for teaching
219
children because Literary works are believed to be capable of being
used as a media for instilling, cultivating, developing, and even
preserving values that are believed to be good and valuable by
family, community, and nation (Anafiah, 2015) and indirectly can
shape children‘s character. According to Tarigan (Kanzunnudin, 2012),
literary works play important role in children‘s education, namely
languange development, cognitive development, character development,
and social development. In line with literary works as character forming,
Plato states that the beginning is the most important part of any work,
especially in the case of a young and tender thing; for that is the time at
which the character is being formed and the desired impression are more
readily taken (Nurrachman, 2017).Therefore, literary works are really
expected to contain something good so that they can give good impact
for reader especially for children and expected to avoid bad things.
However, there are still many literary works that contain bad things or
inappropriate things that we can find today and one of them is a novel
entitled Entrok by Okky Madasari.
Entrok is A Novel written by Okky Madasari, an Indonesian
novelist that was published in April 2010 on Kartini's Day. This novel is
220
the first novel of Okky Madasari and is inspired by life experiences that
are often told by his grandmother as stated by Okky.
“Ide novel ini lahir dari keluarga besar saya di Magetan, tempat
saya pertama kali belajar tentang kesetaraan dan toleransi”
(Madasari, 2010).
Entrok is a novel set in the time of new order that tells a story of 2
Javanese woman, namely Sumarni and Rahayu and their struggling
against injustice caused by gender construction in patriarchal culture.
This story begins with sumarni, a poor girl who has desire to buy an
entrok for herself but she doesn‘t have money. For this reason, Sumarni
determines to work as cassava peeler like her mother so that she can get
money and buy an entrok but in reality, she doesn‘t earn money. Instead,
she gets cassavas. She begins to work as a porter to earn money and
break a stereotype that porter job is only for men and finally, she can buy
an entrok.
In this novel, there are many inappropriate or bad contents. This
is something that is not good because it can produce a bad impact on the
reader and what can be done is to do censorship as proposed by Plato
(Nurrachman, 2017), ―Then the first thing will be to estabslish a
censorship of the writers the writers of fiction, and let the censors
221
receive any tale of fiction which is good, and reject the bad‖. Censorship
itself is a process of filtering out something that is not good in a literary
work by eliminating it because it should not be consumed by the public.
In Okky Madasari‘s Entrok, bad contents appear are Inappropriate
language and maybe lead to a vulgar one, sexual content, violence. The
following are bad contents in Okky Madasari‘s Entrok.
“Aku bandingkan dadaku dengan dada
Simbok yang besar, kendor, dan
menggelantung seperti pepaya. Kata Simbok
saat bayi aku selalu mencari-cari dadanya
yang kewer-kewer2 itu. Setiap saat aku
menangis dan berteriak, Simbok akan segera
memasukkan dadanya ke mulutku. Lalu aku
akan berhenti menangis dan mengisapnya
dengan lahap.” (Page 16)
“Saat itu aku menyadari ada sesuatu yang
berbeda di dadaku. Ada gumpalan yang
lembut dan terlihat menyembul dari balik
baju yang kupakai. Simbok bilang aku sudah
mringkili” (Page 15-16)
222
“Di rumah, Simbok biasa mengumbar
dadanya. Dia hanya memakai kain yang
dililitkan di perutnya, bagian atas perut
dibiarkan terbuka” (Page 16)
“Dadanya tidak nglawer-nglawer, tapi
menyembul dengan indah. (Page 17)
“Dadaku kian membesar dan mengencang
setelah aku mengeluarkan darah pertama
kali” (hal. 33)
“Kupasang entrok pada dua gunungku.
Rasanya pas dan kencang. Aku meloncat dan
berlarian. Dadaku seperti terikat kencang,
tidak nglawer-nglawer lagi. Malam harinya
aku” (hal. 40)
Sumarni is a girl who has just grown up and is in her puberty. One of
the female puberty periods is marked by the appearance of breasts and
this is something natural. However, this is not appropriate to be told
explicitly in literary works. Besides that, Okky also wrote about Marni
comparing her breasts with her mother's breasts and also told about her
mother's habit of never wearing a breast cover when at home. the
223
narratives written by Okky are very likely to make the reader imagine
something sexual and this can have a bad impact on readers, especially
children. In these quotations, there are many inappropriate words,
phare or sentence such as “dada Simbok yang besar, kendor, dan menggelantung
seperti papaya‖, ―menyembul‖, ―ngalawar ngelewer‖. because in my opinion,
these words are still considered taboo in Indonesia. According to
Cambridge dictionary, taboo is a subject, word, or action that
is avoided for religious or social reasons and in ―Simbok akan segera
memasukkan dadanya ke mulutku‖, ―mengisapnya dengan lahap‖ , I think it can
be something vulgar, so that it need to be censored.
In this novel, Okky also presents sexual activity as Sumarni and Teja are
getting married. Okky describes the sexual activity between Sumarni and
Teja with ―Kesakitan & Kegirangan‖. ― ―Mengerang & Senang‖
―Menangis & Tertawa‖ and even though Okky doesn‘t present it very
vulgar, it still can make the reader imagine something sexual and still have
bad impact on readers. so, it must be censored and not be presented.
Here‘s the narration:
“Aku kesakitan, dia kegirangan. Aku
mengerang, dia senang. Aku menangis, dia
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tertawa penuh kemenangan. Aku
menerawang, dia telah pulas” (hal. 49)
This novel also contains violence. This is showing a fight between Yu
Yem and Yu Parti. Even though the fight between Yu Yem and Yu Parti
is not too dangerous because it‘s just by pulling hair but still it is not
appropriate to show it explicitly on the novel and it also can cause bad
impact on reader. So, this must be censored and this also contains a harsh
word like ―Sundal‖.
” Dasar sundal, perebut suami orang.” Yu
Parti mulai kehilangan kesabaran. Dia
bergerak mendekati tempat Yu Yem berdiri.
Dagangan cabe yang ada di los disapu dengan
tangannya. Cabe-cabe itu berhamburan ke
seluruh los.
Emosi Yu Yem memuncak melihat
dagangannya diobrakabrik. Ditariknya rambut
Yu Parti yang tergelung. Yu Parti menjerit,
kali ini jerit kesakitan. Tapi dia tetap tidak
mau kalah, rambut Yu Yem yang tergerai
sampai pinggang ditariknya dengan kasar.
225
Jadilah dua perempuan itu saling menjambak.
Teriakan dan makian silih berganti keluar dari
mulut kedua perempuan itu.” (hal. 25).
There are also other violence shown in this novel. Amri is trying
to help rickshaw drivers who are being tortured by soldiers but it
ends up with fighting. This scene is very inappropriate to show,
especially this scene shows violence against women when Rahayu
tries to break up their fight. Rahayu got slapped in her cheek.
these scenes can also make readers think that being a soldier
allows one to do anything. this has a bad impact on the readers
and this scene must be censored.
“ Pukulan melayang di wajah Amri. Iman
bergerak cepat membalasnya. Mereka berempat
kini terlibat perkelahian. Aku dan Arini hanya
diam, tak tahu mau berbuat apa. Pak Amin
diam di sampingku. Lirih kudengar dia
berzikir, suaranya bergetar. Kedua petugas itu
kini menggunakan senapannya. Tidak, dia
tidak menembak. Dengan popor senapan Imran
dan Amin digebuk, di muka, punggung, dan
226
perut. Aku sudah tidak tahan...”Berhenti...
berhenti...!” Plak... kurasakan pipiku panas,
perih. Popor senjata itu mengenai pipiku.
Kedua petugas itu menghentikan serangannya.
Amri dan Iman sudah meringkuk di tanah.
(Page 148)
” Lalu... petugas itu marah. Kami dibawa ke
Kali Manggis.Di pinggir kali kami dihajar...
dipukul, ditendang... lalu disuruh nyebur ke
sungai... Saya kedinginan... Rasanya seperti
masuk es... Wong tengah malam seperti itu...”
(Page 154).
Once again, Okky presents violence in this novel. Being beaten,
beaten, kicked are things that are not very good to be presented in
a work explicitly. Besides violence, Okky also shows bad content,
namely silencing.
Surat itu tiba. Surat pemecatan dari rektorat.
Amri dipecat sebagai dosen. Aku, Iman, dan
Arini dikeluarkan sebagai mahasiswa. Kami
dianggap telah menyebabkan terjadinya
227
kerusuhan. Tak ada sedikit pun yang
menyinggung tentang peristiwa di Kali
Manggis atau kematian Mehong. Taufik juga
dipecat dari pekerjaannya. Dia dituduh
mengarang berita. Kami orang-orang kalah.
(Page 161)
Amri, Rahayum, Iman, Arini, and Taufik are fighting for justice
for Mehong. They demanded an investigation of the case of the
strange death of Mehong. However, they were all silenced. They
are considered as rioters even though they want to demand justice.
This is not a good thing to show.
From the explanation above, Entrok, a novel written by Okky
Madasari which tells the story of 2 Javanese women and their
struggle against injustice, is a novel that contains bad content. In
this novel, the bad content is about the use of inappropriate
words, sexual activities and silencing and all the contents of this
bad content are exposed explicitly by Okky. this should not be
exposed in a novel because it can have a bad effect on readers,
especially children. Therefore, we need to censor the bad content.
This bad content also makes Okky Madasari's work categorized as
228
bad literature because good literature is a literary work that
contains something good that can have a good impact on its
readers.
229
REFERENCE
Amri, A. (2018). KAJIAN MIMESIS DALAM NOVEL DOA CINTA
KARYA SIRIN M.K. Seminar Nasional Pendidikan Bahasa Indonesia,
2(1).
http://conference.unsri.ac.id/index.php/SNBI/article/view/1301
Anafiah, S. (2015). Pemanfaatan Sastra Anak Sebagai Media Mitigasi
Bencana. Humaniora, 15(1), 10–15.
Kanzunnudin, M. (2012). PERAN SASTRA DALAM PENDIDIKAN
KARAKTER. 10.
Madasari, O. (2010). Entrok. PT. Gramedia Pustaka Utama.
Nurholis. (2018). Introduction to literary analysis (2018th ed.).
Nurrachman, D. (2017). Introduction to Criticisn: Critical Theory from Ancient
Greece to Victorian England (Revised Ed). Pustaka Aura Semesta.
Suartata, D. I. M., & Dwipayana, K. A. (2016). Teori Sastra (1st ed.).
Rajawali Press.
230
Muhammad Ilham Akbar
- Having more retelling than real analysis
- Having some jumped-up ideas
1195030148
- Still lack of consistency
- Needs more real critical-analytical arguments
5– D
- Still lack of relevant theoretical justifications/supports
- Inconsistent references
- Be aware of mechanic errors 60 = C
ENTROK AS THE WOMEN’S IMAGE OF FEMINISM
BY OKKY MADASARI
Literature is a creative and productive activity that results in a work that is
both aesthetic and socially relevant. Wellek (1993: 3), stated that
―Literature is a creative activity of a work of art‖. Literary works emerge from
the author's desire to express his or her existence through the expression
of certain ideas, messages, and concepts inspired by the author's
imagination and socio-cultural reality. Make use of language as a means of
communication. Literature itself has the same discipline qualification with
the other diciplines such as body of knowledge than can studied
systematically (Nurachman, 2017 , p. 1). The works of literature are
human creativity-related socio-cultural phenomena. ―Literary works are born
from the expression of the sediment of experience that has existed in the soul of the
author in a deep way through the process of imagination‖ (Aminuddin, 1990: 57).
231
In literary criticism those are opinion that supported by evidence in
relating genre, theme, setting and also political or historical contex.
Literary criticism that also includes about work‘s discussin content and
upgrade ideas with the other and gained by research. There is not
summary, bioghrapy of the author, or looking for the mistake in
literature. There are some types of literary criticism such as bioghrapical
criticism, comparative criticism , ethnical, textual, feminist, historical,
mimetic, pragmatic, expressive, social, psychological, theoretical, and
sociological criticism (WAIDNER-SPAHR LIBRARY, 2020). A good
literary work is one that is able to leave the viewer with a statement and a
general feeling. In this case, readers can enjoy a literary work while also
gaining valuable knowledge from it. As a result, the reader will be satisfied
with literature if they can obtain both of these topics. As wisely told by
William Wordsworth, who advised that ―For all poetry, good poetry is a
spontaneous overflow feeling‖ (Nurachman, 2014).
Feminism is a term used to describe women's movements that seek to
eliminate gender inequality as a result of discrimination, violence,
inferiority, and arbitrary power. The feminist movement aims to improve
women's status by removing them from their position of helplessness.
232
Issues arising from gender differences resulting in a societal appreciation
imbalance as well as Inequity in men's and women's rights and
opportunities Embarrassment, neglect, exploitation, and even sexual
harassment are all common experiences for women violence. The
existence of gender gaps in various aspects of life, particularly in terms of
access to education and economic resources, causes gender inequality,
which primarily affects women. This is a serious issue. It's possible that
this is due to the negative stereotype that women are weak. Feminist
criticism is one of the kind of literary criticism. Generally feminist is
person who fight for gender equality in social context, economic context,
and political context this action or movement called feminism. Feminist
criticism is influence and reflected of women‘s situation by themselves in
a long term and achievement of their specific and practical action (Guo,
2019).
Because the old tradition of women's position still threatens women in
some areas, feminism is still frequently discussed in novels. Because
women are still enslaved by male tyranny, this tradition severely restricts
their freedom of movement. It is mentioned, ―the beginner and the trigger of
female follies are from the tyranny of man‖ (Wollstonecraft, 1792, p. 160). In her
233
book 'A Vindication of the Rights of Woman,' Mary Wollstonecraft also
discusses this feminism debate. It was written as a call to action for
women to achieve gender equality. Mary also stated in this book that
women are not born weak. Wollstonecraft's retort is an integral element
in her feminist strategy: "What nonsense!" Not only Rousseau but also most of
the male writers who have followed in his footsteps have argued that the whole tendency
of female education should be directed toward one purpose: to make women pleasing to
men‖ ( Nurachman, 2014). Departing from the arguments and idea of
Feminism Movement which views literary works as such, scienters study
continiously with the novel that will be criticized. Entrok novel written by
Okky Madasari, elucidate a woman's struggle. Sumarni, a Javanese
woman, came from a low-income family. When Marni, who lives alone
with her mother or simbok, reaches puberty, she has issues. Something
was growing in her chest, namely enlarged breasts, she felt mringkili
(breasts begin to grow). Marni was bothered by the appearance of breasts,
which made her unable to move freely. Marni, like her cousin Tinah,
wants entrok (BH or bra). However, at the time, entrok was a luxury item
with a high price tag. Simbok, whose daily wages consist solely of cassava,
is unable to purchase Marni Entrok. Marni began to wrack her brains
234
about how to get her to have encroachment as a result of her desire,
marni attempted to improve the existing social order.
Marni's physical appearance and age is mentioned in the early novel to
that of a young adolescent, as evidenced by the following changes in body
shape:
―Aku masih sangat muda.‖ And in line ―Saat tinggiku sudah sepundak Simbok
dan tangan kananku bisa meraih kuping dengan mudah. Saat itu aku menyadari
ada sesuatu yang berbeda di dadaku. Ada gumpalan yang lembut dan terlihat
menyembul dari balik baju yang kupakai. Simbok bilang aku sudah mringkili.
Kataya itu hal biasa yang akan dialami semua perempuan. Kataya mringkili adalah
salah satu tanda aku sudah bukan anak-anak lagi. Aku bandingkan dadaku
dengan dada Simbok yang besar, kendor, dan menggelantung seperti pepaya. Kata
Simbok saat bayi aku selalu mencari-cari dadanya yang kewer-kewer2 itu‖
(Madasari, 2010, p.15-16). So Marni is a teenager who is entering puberty.
Marni is a hardworking woman who is determined to change her life by
improving her family's financial situation. Since Marni's adolescence, she
has been thinking about this. Starting when Marni joined Simbok and
assisted her in peeling Nyai Dimah's cassavas.
235
Marni had a stronger desire to work. She was willing to work as a butler,
which was traditionally a man's job. Marni was dissatisfied with her job as
a cassava peeler and demanded cassava in exchange. She aspired to be
paid in the same way that men were.
‖Nyi Dimah mau ngangkat apa?‖
‖Bukan, Kang. Aku nggak disuruh Nyai. Aku yang butuh bantuan, Kang.‖
‖Kamu mau ngangkat apa, Ni?‖
‖Bukan, Kang. Bukan minta dibantu ngangkat. Aku mau ditolong, aku mau ikut
nguli kayak Kakang.‖
‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat. Sudah,
perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
Hanya priyayi-priyayi saja yang nggak kuat ngangkat goni.‖
‖Tapi tetap nggak umum, Ni. Di pasar ini, nggak ada pe-rempuan nguli.‖
‖Tapi aku mau, Kang. Aku butuh duit, Kang. Nggak mau lagi diupahi singkong.‖
‖Ya terserah. Kalau mau nguli ya monggo,‖ Kata Teja lirih.
‖Caranya gimana, Kang?‖
236
‖Nggak ada caranya. Asal ada tenaga saja. Kamu tunggu di sini kalau ada orang
yang butuh,‖ kata Teja sambil menunjuk kuli-kuli lain yang bergerombol di bangku
kayu depan pasar.‖ (Madasari, 2010, P. 34)
Okky Madasari describes Bu Jujuk, the wife of Pak Jujuk, the sub-district
office keeper, in the same way that Wollstonecraft described women's
"weak character." Bu Jujuk is described as a woman who could only cry
when scolded and share her sad story about her husband with Sumarni
because she couldn't do anything.
―Pada Hari itu, misalnya, Bu Jujuk tiba-tiba menangis di depanku.
‖Jangan bilang siapa-siapa ya, Ni. Aku percaya sama kamu.‖
Aku, yang baru anak ingusan ini, hanya mengiyakan permintaan Bu Jujuk. Lagi
pula Bu Jujuk tidak butuh apa-apa dariku, hanya minta didengarkan. Dia tak
mungkin bercerita ke tetangga-tetangganya, malu. Kalau dipendam terus, lama-lama
makan hati. Bu Jujuk memilihku. Barangkali karena aku sudah dipercayai, atau
mungkin hanya sekadar karena aku bocah ingusan yang tidak mungkin bercerita
kepada siapa-siapa.
‖Suamiku itu lho, Ni. Dia gendakan sama kledek. Sudah lama, Ni. Tapi aku
diam saja. Aku nggak mau ribut, nggak mau cari masalah. Tapi aku nggak kuat,
Ni. Hatiku diiris-iris.‖
237
Tangis Bu Juju meledak. Hanya kami berdua yang ada di rumah itu.
Tentu tak ada yang bisa kukatakan pada Bu Jujuk. Menikah saja aku belum,
apalagi tahu bagaimana rasanya suami punya gendakan. Tapi Bu Jujuk memang
tak pernah bertanya padaku. Setiap ceritanya hanya ditutup dengan tangisan. Begitu
terus berulang kali.
Suatu hari, suami Bu Jujuk pulang saat Bu Jujuk untuk kesekian kalinya
menceritakan lakon Pak Jujuk dan kledek gendakan-nya. Bu Jujuk yang tak
menyadari kehadiran suaminya terus menumpahkan perasaan sambil menangis.
Semuanya langsung berhenti saat terdengar teriakan suaminya. Bu Jujuk langsung
menghapus air matanya, lalu buru-buru masuk rumah. Dari luar kudengar
umpatan-umpatan suami Bu Jujuk.
‖Istri nggak tahu diri! Kerjaannya rasan-rasan14 terus!‖ Tak ada jawaban dari
mulut Bu Jujuk. Lenyap semua umpatan yang sebelumnya dikatakan padaku. Bu
Jujuk kembali ke dunianya, dunia yang penuh kepatuhan dan ketakutan.‖
(Madasari, 2010, p. 46-47).
Bu Jujuk is clearly depicted as a figure or character who is submissive to
her husband, despite what her husband has done for having a mistress.
Regardless of their position, women have the right to fight injustice when
their marriage is betrayed, and those who betray their partner life have no
right to be angry or even scolded by their partner life (husband / wife).
238
As Marry Wollstonecraft said, ―It is not uncommon for a society's old traditions
to have a significant influence on women's position. Women being a weak character due
to circumstances that degrade them‖ (Wollstonecraft, 1792, p. 45). Villages have
control over some women's lives, and they are still shackled by a
patriarchal conscience that lacks gender equality. Gender equality
between men and women cannot be achieved in Indonesia due to
traditional norms, social values, religion and beliefs, and patriarchal
ideology. Justice in gender equality is still less used in Indonesia (Haryanti,
2014, p. 237).
She aspires to improve the current social order. "Women work peeling
cassava and are paid for cassava," Simbok says. Marni, understandably,
became enraged. She believes that women, like men, have the right to be
paid.
― Aku kuat, Mbok. Lha wong kita tiap pulang dari pasar juga nggendong goni.
Malah jaraknya jauh, naik-turun.‖
‖Bukan masalah kuat-nggak kuat, Nduk. Ini masalah ilok-ra ilok—pantas-nggak
pantas. Nggak ada perempuan nguli.‖ (Madasari, 2010, p. 35).
239
Paying no heed to Simbok's words, Marni stopped peeling the cassava
and joined him. Little by little, Marni's money was collected. Until
finally, Marni was able to buy the entrok she wanted. After that, Marni
realized that if she didn't develop her business, she would still be poor.
Therefore, Marni also took the initiative to start bakulan. Every day, he
buys some goods at the market, then sells them by traveling around the
village. In the end, Marni has managed to change her life. He was also
known as a wealthy skipper.
Because of the patriarchal culture that still exists in people's minds,
women's status is still looked down upon, or as "weak character."
According to the story cited above, women are born solely to meet the
biological and sociological needs of men, and women must be "prepared"
and have no choice but to marry a man. Women no need to be
independent. They have to maintain great fear, eventually becoming
enslaved by the men to please them (men) (Wollstonecraft, 1792, p. 25).
‖Aku belum mau kawin, Kang.
‖Kenapa, Ni? Kita saling cocok. Apa kamu tidak pengin punya suami, punya anak
seperti Tinah?‖
Punya anak? Bagaimana jika aku punya anak nanti? Mau jadi apa anakku nanti?
Tukang kupas singkong atau bakulan
240
keliling desa kalau perempuan? Anak laki-laki ikut bapaknya nguli?
Pertanyaan-pertanyaan itu hanya tersimpan dalam hati.‖ (Madasari, 2010, p. 47).
The role of parents is also very influential, the old rules, usually more followed by
women. So it makes women weaker than men (Wollstonecraft, 1792, p. 126).
Women are only able to surrender to the situation because they are not
permitted to do much. From that on we know that she has no chance to
speak up her minds. this case is similar with the case in Mary
Wollstonecraft‘s essay A Vindication of The Right of Woman chapter VI.
She says that ―woman have to learn in choise of husband should by theirselves and
don‘t became fool on their partner‖ (Wollstonecraft in Nurachman, 2017: 138).
Woman should have equal rights and opputunities as man. Mary
Wollstonecraft has teories in facing about feminism issue, one of these is
the concept woman as rakes. In this theory Wollstonecraft tells that
woman became a slave to love often dishonest.
As a result, Entrok depicts Marni's struggles as a woman. She tries to
dispel the stereotype that women are helpless creatures. Marni was able to
collect money from work associated with Adam, as proof. Finally, Okky
was able to bring up one point: Indonesian women face challenges.
241
Despite the fact that women like Marni try to break the patriarchal
culture as individuals.
242
References
Semesta.
Wollstonecraft, M. (1792). A Vindication of the Rights of Woman: With
Strictures on Political and Moral Subjects. London: J. Johnson Publishing.
Nurachman, D. (2014). Classical Theory: From Ancient Greek to Victorian
Rene Wellek & Austin Wareen. (1995). Teori Kesusastraan. Jakarta: PT
Gramedia Pustaka Utama.
Duman, F. (2012). The Roots of Modern Feminism : Mary Wollstonecraft and the
French Revolution. 2(9), 75–89.
WAIDNER-SPAHR LIBRARY. (2020, August 25). Retrieved from Criticism
: Literature, Film & Drama : Literature Criticism:
http://hhh.gavilan.edu/kwarren/LitCrit.html
243
70 = B
- Supposed to be a good one reading the title, yet still I'm mistaken
- Still having jumped-up ideas
- Some still retelling than real analysis
Mutiah
- Some narratives and analysis are still irrelevant with the theory used
- Needs more relevant theoretical justifications/supports
- Be aware of mechanic errors: paragraphs, capitalization, punctuation, 5-D
citation, etc
THE IMPLEMENTATION OF SELF-RELIANCE AS
TRANSCENDENTALIST THOUGHT IN ENTROK
BY OKKY MADASARI
In the life of literature to qualify science, literature can be disciplined
to have its own knowledge and can be studied systematically. In people's
lives, literature is like an expression that is in itself that can be appreciated
and surpassed in everyday life to be more valuable. Because of that,
literary works always have self-reliance to be able to support all things,
both good and bad.
The most important thing is how literature can sustain itself so as not
to be influenced by anything. That way literature will be able to actualize
all the potential in his work, such as being able to accept reality, think
positively, be self-aware, have independence, and have the ability to
achieve it. Moses, Plato, and Milton in Emerson's book interpret that:
244
―That they set at naught books and traditions, and spoke not what men but what
they thought. A man should learn to detect and watch that gleam of light which
flashes across his mind from within, more than the lustre of the firmament of bards
and sages. Yet he dismisses without notice his thought, because it is his.‖
(Emerson 1841)
In literary works such as novels, poetry, short stories, dramas, they
often use self-reliance as part of transcendentalist thinking. This is
because some authors consider that self-reliance is important. So that
they often apply these ideas in their works through characters, plots, and
narratives, one of the author's works that implies self-reliance is Okky
Madasari in his work entitled Entrok.
Talk about self-reliance, a culture in society is an important part of
that. Entrok is one culture that is sufficient to represent human life.
Where people can believe in themselves to step on the goals they want to
realize. As (Nurrachman 2014) argues that nature is a movement or
change that can be regulated by itself and nature does everything with its
own hands, and does not leave other people to be able to baptize it, but
by baptizing using itself.
245
Entrok tells the story of a woman's struggle, starting with Marni who
wanted to have Entrok which is now better known as a Bra or Bra. Marni
is trying very hard to boost the existing social order. Ecording to
Simbok‘s opinion ―Perempuan yaa hanya bisa bekerja mengupas singkong dan di
upahi dengan singkong‖ With those words, Marni rebelled and believed
herself that women deserved to be rewarded with money, not only men.
Don't pay attention to what Simbok says, Marni stopped peeling cassava
and went over to Teja to join her coolies. While working, little by little
Marni earns money and collects it. Finally, Marni was able to buy the
entrok that she really wanted. Thus, Marni also took the initiative to
support her family by bakulan, if she does not expand his business then
she will remain poor. Every day Marni buys things at the market and then
goes around the village to sell them. Until finally, Marni has managed to
change her life, and is known as a rich skipper. Behind its success is
thanks to the help of Mbah Ibu Bumi Bapak Kuasa. Therefore, Marni
never left the ritual of prayer and offerings to "Her God". After Marni
married Teja, they had a child named Rahayu. In her growth Rahayu
became a smart child, and she learned about religious knowledge, but
from her intelligence Rahayu stated that her mother was a sinner because
246
her mother had believed in Mbah Ibu Bumi Bapak Kuasa. Meanwhile,
Rahayu believes that only Gusti Allah has the right to be worshiped. The
feud is getting hotter, even Rahayu hates her mother openly. Until we
finally find out why they have their own beliefs.
As has been told above. I will begin to analyze the human beliefs they
highlight in this novel. In this attitude will bring up self-reliance in it, as
the following quote:
―Kutinggalkan Teja setelah mendapat jawaban yang kuinginkan. Aku pulang
dengan puas dan penuh semangat. Bahagia, hanya karena aku mempunyai
harapan lagi. Hari itu waktu seperti berjalan lambat. Sudah tidak sabar
rasanya untuk kembali ke pasar, nguli, dan mendapat upah. Aku akan segera
mempunyai entrok, Waktu kuceritakan rencanaku pada Simbok, dia langsung
menolaknya. ‖Nduk, semua itu sudah ada jatahnya. Orang kayak kita
bagiannya ngoncek telo . Nguli itu berat. Sudah jatah orang lain. ‖Aku kuat,
Mbok. Lha wong kita tiap pulang dari pasar juga nggendong goni. Malah
jaraknya jauh, naik-turun.‖ ‖Bukan masalah kuat-nggak kuat, Nduk. Ini
masalah ilok-ra ilok—pantas-nggak pantas. Nggak ada perempuan nguli.‖.
(Madasari 2010, 34)
247
The quote above, shows positive beliefs in individuals. Marni, who is
known as a villager and has a poor family, is very confident and persistent
that she can achieve what she wants with her hard work. As mentioned
(Emerson 1841) ―that though the wide universe is full of good, no kernel of
nourisihing corn can come to him but through his toil bestowedon that plot of ground
which is given to him till‖ . Likewise with confidence, it does not mean that
every belief in oneself is able to do everything by itself, but confident to
feel capable and believe that she can do it because of the experience,
achievements, and hopes that are in her. For every form of image there
will be an expression and there is no body without the spirit or with its
genius. All forms of image effects of a meaningful character, condition
and quality of life. Likewise harmony which is based on health. So beauty
only deserves good, as well as Marni is one of those things. As Spenser
taught in (Nurrachman 2014, 209) :
So every spirit, as it is more pure,
And hats in it the more of heavenly light,
So it the fairer body doth procure
To habit in, and it more fairly dight.
248
For, of the soul, the body form doth take,
For soul is form, and doth the body make.
The depiction of the characters in Marni is an art that contains self-
reliance. It can also be found in the quote:
―Emosi Yu Yem memuncak melihat dagangannya diobrakabrik. Ditariknya
rambut Yu Parti yang tergelung. Yu Parti menjerit, kali ini jerit kesakitan. Tapi
dia tetap tidak mau kalah, rambut Yu Yem yang tergerai sampai pinggang
ditariknya dengan kasar. Jadilah dua perempuan itu saling menjambak.
Teriakan dan makian silih berganti keluar dari mulut kedua perempuan itu.
Orang-orang yang menonton tidak melakukan apa-apa. Mereka hanya berusaha
menghentikan perkelahian dengan mulut, tapi tidak melangkahkan kaki untuk
menghentikan perkelahian dua warga Pasar Ngranget itu. Nyai Dimah,
misalnya, orang yang sudah dianggap sesepuh karena paling lama berjualan di
pasar ini, hanya bisa berteriak meminta Yu Parti dan Yu Yem menghentikan
apa yang dilakukan. ‖Gusti! Sudah, Yu. Sudah. Sabar!‖ teriak Nyai Dimah
berulang kali. Namun, entah karena teriakan Nyai Dimah yang terlalu lirih
sehingga tidak terdengar atau memang Yu Parti dan Yu Yem yang sudah tidak
peduli lagi dengan orang-orang di sekelilingnya, bukannya menghentikan jambak-
menjambak, mereka kini mulai cakar-mencakar. (Madasari 2010, 26-27)
249
The quote above shows the belief in two perpetrators with a problem
that can be handled with each wish. Like the case, Yu Yem and Yu Parti
quarreled over one issue, causing a fight between them. They have no
definition, but they are ordered by nature with a life force that they feel
and present themselves.
There are no limitations or games from the fight so that some of
them feel satisfied and don't care about the people around them. As
Lynceus said in (Nurrachman 2014, 212):
―Were to see through the eart, so the poet turns the world to glass, and shows us
all things in their right series and procession. For through that better perception he
stands one step nearer to things, and sees the flowing or metamorphosis; perceives
that thought is multiform; that witin the form of every creature is a force impelling
it to ascend into a higher form; and following with his eyes the life, uses the forms
which express that life, and so his speech flows with the flowing of nature‖
After going through self-confidence regardless of the people around
him, there are also quotes that are familiar to the public, namely:
―Ibu menyerah. Dia keluar dari kamarku, menuju halaman belakang,
melakukan apa yang telah sejak dulu dilakukannya. Melanjutkan apa yang
telah bertahun-tahun dijalaninya. Ia sama sekali tak mau meninggalkan apa
250
yang dia percaya. Sementara aku, hari demi hari mendengar apa yang dikatakan
Pak Waji tentang dosa dan neraka. Tentang cara berdoa yang tak pernah
dikenal Ibu sepanjang umurnya. Aku dan Ibu seperti berada di dunia yang
berbeda. Tentu saja duniaku yang benar. Aku mendapatkannya di sekolah, yang
kata Ibu sendiri tempat kumpulnya orang pintar. Siapa yang lebih benar, Pak
Waji yang guru terpelajar atau Ibu yang tidak mengenal satu huruf pun?
Aku membenci Ibu. Dia orang berdosa.
Aku membenci Ibu. Kata orang, dia memelihara tuyul.
Aku membenci Ibu, karena dia menyembah leluhur.
Aku malu, Ibu.
Aku tak pernah lagi berdoa di bawah pohon asem saat tengah malam. Aku juga selalu
menolak makan panggang dan tumpeng yang dibuat untuk selamatan. Ibu tak pernah
lagi membangunkanku saat tengah malam. Aku tahu Ibu marah, tapi kami tak
pernah membicarakannya. . (Madasari 2010, 58)
Religion is a system that governs a belief and how to organize
worship to each of His Gods, as well as rules that are indeed related to
culture and connect humans with the order of life from the worldview.
Likewise, God and the universe are like spirits that can run continuously
in a person's life. Rahayu who believes in Islam always believes that only
251
worshiping the gusti of Allah is right, as well as Marni who believes that
only Mbah Ibu Bumi Bapak Kuasa who believes in her presence and
helps in every situation. As said (Nurrachman 2014, 205) the poet is the
sayer, the namer, and the represents beauty. He is a sovereign, and stands
on the centre. For the world is not paintedor adorned, but is from the
beginning beautiful; and God has not made some beautiful things, but
beauty is the creator of the universe. Therefore the poet is not any
permissive potentate, but is imperor in his own right. So, as said
(Emerson 1841) that ―Trust thyself: every heart vibrates to that iron string. Accept
the place the divine providence has found for you, the society of your contemporaries, the
connection of events. Great men have always done so, and confided themselves childlike
to the genius of their age, betraying their perception that the absolutely trustworthy was
seated at their heart, working through their hands, predominating in all their being.
And we are now men, and must accept in the highest mind the same transcendent
destiny; and not minors and invalids in a protected corner, not cowards fleeing before a
revolution, but guides, redeemers, and benefactors, obeying the Almighty effort, and
advancing on Chaos and the Dark‖
Genius is intuition, a man who can hear the private heart is by
guessing his heart or soul to be able to be spoken. That way genius is
252
called truth. And if the heart says for sure then that's called self-reliance.
In the novel entrok itself the application of self-reliance itself is described
at the time when Marni and her daughter Rahayu have differences in
religious beliefs between them. Like a philosophy that says that God and
the universe are like spirits that can run continuously in a person's life.
That way, there is a difference between them caused by differences in
beliefs that cause each of them to be firmly clean for what they consider
to be true. That is the thought as a moral value in this entrok as literary
work. Just as Emerson quotes : ―Nothing can bring you peace but
yourself. Nothing can bring you peace buth the triumph of principles‖.
(Emerson 1841)
References
Emerson, Ralph Waldo. Essays, First Series[1841]. 1841.
https://archive.vcu.edu/english/engweb/transcendentalism/auth
ors/emerson/essays/selfreliance.html.
Madasari, Okky. Entrok . Jakarta : PT. Gramedia Pustaka, 2010.
Nurrachman, Dian. Intoduction To Criticism . bandung: Pustaka Aura
Semata, 2014.
253
75 = B Nabila Fahrunnisa
- Nice and interesting discussion actually; you see what others didn't
- Some analysis are yet miss 1195030152
- Some still merely retelling
5D
- Too many unnecessary informations included
- Needs more theoretical supports/justifications
THE RELATIONSHIP BETWEEN MARNI AND TEJA:
REVIEWED BY WOLLSTONECRAFT‘S THOUGHTS
Talking about literature, it can not be separated from the face of society.
As stand in front of mirror, literary works reflects what it can be seen as it
happened in social life. As Wellek and Warren stated (1953:110), literature
is an expression of society. The connection between individual with
public is a one thing that intertwined and emerged on its surface. Surface,
as it said, is an figurative language which in essential forms, society is
reflected in literature, yet it distorted. In accordance of Damono (1979:2),
literary creations are separated of social surroundings, but the imagery can
be really portrayed through the plot.
254
The content that literature carry on its writing might be used to preserve
particular manners in social life or arouse specific social phenomenon.
Therefore, literary works may spark or criticize issue of society such as
norms, symbols, myths, legends, conventions, until traditions which are
lie down beneath its surface. Appeared as its nature, literary works
revolved its entity to become sort of social institution which stated
language as its medium.
Furthermore, literary works have its substance while it established itself as
a creation of art. Literature has an obligation to keep imaginative.
Imaginative as Jeff Riggenbach (1975) argued, a work of imaginative
literature is a verbal presentation of an imaginary world in which
imaginary beings engage in imaginary acts and processes, all of which is
useful to humans by allowing them to make certain kinds of
abstractions—abstractions about the nature of the world and the ways in
which the conceptual faculty can be used to describe and understand it.
The goal of imaginative language is to create images of characters,
settings, and circumstances using words in a creative way. The language
of imagination employs sensory-stimulating detail, emotive vocabulary,
strong verbs, adjectives, adverbs, and figures of speech. By the way it
255
goes on, imaginative has it aim. It encourage to have it Catharsis.
According to Aristotle, Catharsis is a literary term that refers to the
discharge of emotions such as pity, sadness, and terror via the viewing of
art. Catharsis is the transformation of intense emotion into interior
healing and rejuvenation. Aristotle, the Greek philosopher, was the first
to associate catharsis to theatre, particularly tragedy. The theory was that
by watching tragedies, people learned to express their emotions in a
healthy way and to control their emotional outbursts in everyday life.
―The tragic fear and pity may be aroused by the spectacle; but they may also be aroused
by the very structure and incidents of the play-which is the betterway and shows the
better poet. The plot in fact should be so framed that, even without seeing the things
take place, he who simply hears the account of them shall be filled with horror and pity
at the incidents; which is just the effect that the mere recital of the story in Oedipus
would have on one.‖ (Nurrachman, 2017: 56).
But it should be emphasized beforehand that in this study the author
does not use Aristotle's theory. The statement above is only to emphasize
the function of literary works.
256
Consequently, this writing will take focus on engaging identification on
how much Mary Wollstonecraft‘s concept of love is affected the story of
characters in Entrok.
Okky Madasari's first published novel is Entrok. Despite its multi-layer of
concerns that run throughout the tale, Entrok offers a story about Marni,
a living-country girl who lives amidst colonial era to post-colonial in
Singget, the village where the story takes place. She began to improve her
fate by breaking through outdated rules and unfair notions in its society
that put a disadvantage on women, departing from her aim to have an
entrok (bra in Javanese).
Set out with the tale of woman‘s life, indeed this novel was contained by
feminism contents throughout multi-layer issues regarding to its society
that the characters had lived in. Since Mary Wollstonecraft‘s Vindication of
the Rights of Woman (1792) well deserves its rank as the first great feminist
work, it is the most related writing discourse that capable of being
compared appeal to appeal to the story of Entrok.
In Entrok, the writer found interesting topic on our main characters as the
detailed outlook of research, it took focus on Marni and Teja—her
husband, on how the relationship scene at novel was represented by the
257
content of how the assessment of love and the way it wade through the
theories that occurred on Mary Wollstonecraft‘s essay.
The writer employs Wollstonecraft's idea in her 1792 essay, A Vindication
of the Rights of Woman, to demonstrate women's lack of comprehension
rights. Wollstonecraft outlines how women should understand the
concept of love and self-freedom in chapter six of her text. As a result of
this hypothesis, the author will condemn the actions of Okky Madasari's
female character in her story. An objective method will be taken in order
to comprehend this novel. The pragmatic approach emphasizes the
intrinsic value of literary works, yet it considered as objective approach as
well. This refers to the structural aspects of a literary work, such as
themes, characterizations, settings, and plots. In a nutshell, this method
emphasizes the study of literary works while ignoring sociohistorical
variables that are unrelated to the literary work being researched. To put
it another way, the objective method is an inherent approach, akin to the
structural approach (Abrams, 1979: 3-29).
Focus on Marni‘s experience throughout the book, in the earlier chapter
readers may see the first spark of affection regarded to her dream. In
page 40,
258
―Sorot mata Teja tidak sama dengan Tinah, perawan-perawan itu, atau pedagang-
pedagang pasar. Mereka semua memandang iri. Pandangan mereka mengutarakan
penyesalan karena tidak memiliki apa yang kupunyai. Tapi Teja lain.
Pandangannya... aku tak tahu seperti apa... tapi membuatku bahagia sekali. Sorot
mata Teja mengantarkanku ke kerajaan yang indah, megah, dikelilingi taman
bunga.‖ (Madasari, 2010:40).
It may seem at first, the scene of it may presumably kind of sweet and
tender since it was visualized by the narration. Later on, the reality on the
story that related to Wollstonecraft‘s idea of love may prevail one by one.
―Kutinggalkan Teja yang masih berdiri di tempatnya. Entah apa yang masih
dipikirkannya. Sekarang malah aku terus memikirkannya. Sebenarnya Teja laki-
laki yang baik. Mau menolong orang kapan saja. Tanpa pamrih. Diam-diam
sebenarnya aku suka padanya. Aku teringat mimpiku malam itu. Tentang sorot
matanya yang membahagiakan, yang membawaku ke tempat yang begitu indah. Ah,
jangan-jangan mimpi itu berasal dari angan-anganku sendiri.
Tapi aku tak sepenuhnya menyukai Teja. Aku juga membencinya. Benci atas
kesabaran dan penerimaannya pada nasib. Benci atas ketidakberdayaannya
mengubah hidupnya. Apakah Teja tak pernah bermimpi saat tidur? Apakah dia
tak pernah membayangkan punya emas dan berlian? Tidakkah ada rasa malu jika
259
sampai tua dia akan terus nguli seperti bapaknya? Relakah dia kalau nanti
anaknya ikut menjadi kuli?‖ (Madasari, 2010: 44).
Consequently, Marni realized that even sense of affection have its
contrary side. Marni, as she wroted as an active and eagerful figure of
woman, who put contrast on major fate of woman around the society,
the character may figured out that it does not enough to make a
relationship that demand modal while they unlikely well enough to build
an household.
This consciousness that Marni had, presumably is the effect on how she
feels unwealthy and unable to have something she want while she did not
that the abilty to afford that, it is implied on the quote below,
―Entrok memang terlalu mewah untuk aku dan Simbok. Apa yang masih
dipikirkan seorang perempuan kere buta huruf dengan tanggungan seorang anak
selain hanya makan?‖ (Madasari, 2010: 18)
A word regarding education: Marni's mother does not attend school, as
evidenced by the sentence above. The fact that Marni's mother couldn't
read was proof enough that she didn't go to school. This is apparently
what failed to create the ideal concept of love in the home, trapping him
260
in the habitual slavery described by Wollstonecraft in her work. The
following quote then confirms this once further.
―Love is, in a great degree, an arbitrary passion, and will reign, like some other
stalking mischiefs, by its own authority, without deigning to reason; and it may also be
easily distinguished from esteem, the foundation of friendship because it is often excited
by evanescent beauties and grace …‖ (Wollstonecraft in Nurrachman, 2017:
137)
In sequel, this scene of love was infiltrated by emerging unwanted force,
that roughly encourage Marni to get married with Teja, despit of her
hatred on Teja‘s principal life on only being a transport worker. Which
later, it might be related to Wollstonecraft‘s commentary on the
association of ideas related to women subordination.
Marni, who was pushed into marriage with Teja without Simbok's or her
mother's knowledge, is an example of subordination.
―Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan keinginan Teja
untuk mengawiniku pada Simbok. Malam itu, di belakang rumah, saat kuulangi
permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok berbisik pelan,‖Nduk,
anak perempuan itu harus punya suami, punya anak. Kalau sudah ada yang
melamar tidak boleh ditolak, bisa kualat, jadi perawan tua.‖
261
―Aku tak membantah omongan Simbok. Tak mengiakannya. Tapi hanya tiga hari
setelah itu, kami telah berada di rumah Kamituwo.‖ (Madasari, 2010: 48).
This occured event is in accordance with what Wollstencraft said, namely
―Women subjected by ignorance to their sensations, and only taught to
look for happiness in love, refine on sensual feelings, and adopt
metaphysical notions respecting that passion, which lead them shamefully
to neglect the duties of life, ...‖ (Wollstonecraft in Nurrachman 2017).
It‘s quite enough for the evidence that the concept of love that Marni
embraced is being smudged by the cultural patterns. Hereover, marriage
was attained by the outdated society‘s outlook and unfair norms on
women.
It was proven by the prior quote that showed by Marni unwillingness on
marriage idea that Teja offered.
―Tapi cerita-cerita itu juga menimbulkan ketakutan. Takut pada laki-laki, takut
kawin. Lha buat apa kawin, kalau jadinya cuma sengsara. Inilah yang kukatakan
pada Teja waktu dia memintaku jadi istrinya. Dia melamarku di depan pasar, saat
262
matahari baru mengintip malu-malu, saat aku menunggu kedatangan petani yang
membawa berbagai sayur-sayuran.
‖Aku belum mau kawin, Kang.‖ ‖Kenapa, Ni? Kita saling cocok. Apa kamu
tidak pengin punya suami, punya anak seperti Tinah?‖ Punya anak? Bagaimana
jika aku punya anak nanti? Mau jadi apa anakku nanti? Tukang kupas singkong
atau bakulan keliling desa kalau perempuan? Anak laki-laki ikut bapaknya
nguli?‖ (Madasari, 2010: 47).
The quote above, has showed the readers that despite of Marni‘s
unwillingness on marriage by the reasons that has been described in
previous quotes, it is ensure that Marni‘s choice as woman is prisoned
and controlled by the idea that associated by the social surroundings in
Singget, an it has been considered as culture and normal notions instead of
judge it as prejudicial. As Wollstonecraft argued,
―The association of our ideas is either habitual or instantaneous, and the
latter mode seems rather to depend on the original temperature of the
mind than on the will. When the ideas, and matters of fact, are once taken
in, they lie by for use, till some fortuitous circumstance makes the
information dart into the mind with illustrative force, that has been
received at very different periods of our lives.‖ (Nurrachman, 2017:134).
263
―Malam ini, tidur tak lagi sekadar rutinitas penutup hari, melainkan saat pelepasan
seluruh keinginan dan kepemilikan. Tidur kini menjadi simbol bagaimana
pencapaian manusia dalam mendapatkan apa yang diinginkan.
Aku kesakitan, dia kegirangan. Aku mengerang, dia senang. Aku menangis, dia
tertawa penuh kemenangan. Aku menerawang dia telah pulas.‖ (Madasari, 2010:
48-49)
The marital life of Marni and Teja appears to be hollow. Marni's negative
narrative expression suggests that she does not like it. Sexual activity that
should be filled with love is depicted solely as an outlet for Teja's lust;
there is no shared delight. This episode was also directly mentioned by
Wollstonecraft by John Dryden.
―'Where love is duty, on the female side, 'On theirs mere sensual gust and sought with
surly pride‖ (Wollstonecraft in Nurrachman, 2010: 138).
Finally, it can be concluded throughout this essay, after being reviewed
and compared by Wollstonecraft‘s theory it shows the result that, Marni‘s
thoughtful consciousness was correctly be littered by the idea that
occurred in the society—which have been stated by Wollstonecraft,
which unfair and quite prejudicial, not only for Marni, as well for any
women in the society. The relationship between Marni and Teja, is
264
considered as unhealthy relationship, since it is a certainty one-sided and
get biased by the nature of its marriage, which is not including Marni‘s
willingness to done the deed.
References
Pusat Penelitian dan Pengembangan Bahasa dan Sastra Indonesia.
Riggenbach, J. (2017). An Introduction on Imaginative Literature Pt. 1.
Libertarianism. org.
Wellek, R., & Warren, A. (1989). Theory of Literature. (M. Budiantara,
265
65 = C
- Lack of focus
- Too many unnecessary informations included
- Much of this are merely retelling Name : Nabilla Fitriani
- Still lack of relevant theoretical justifications/supports
- Inconsistent references ID : 1195030153
Class : 5D
Women’s Discrimination in “Entrok” by Okky Madasari
Literature is the experience of the overflow of human personal emotions
in the form of thoughts, feelings, ideas, passion, faith, in images that
evoke beauty with language tools. Literary works are beautiful writings
with language structures and language deepening that make writing
aesthetic. Literary works become a place for writers to share their views,
criticisms, opinions, and others. And literature is not only limited to
inventions either (inanimate objects), literature is a living being. As a
living entity, literature develops dynamically with other forms, such as
economics, politics, art, and culture. Literature is considered capable of
being a guide to the truth because good literature is literature written with
a sense of clarity, honesty, wisdom, sincerity, and the nobility of human
conscience. Good literature can awaken, remind, and redirect people to
the proper path, namely the path of truth in carrying out life's tasks.
Literature can be seen as a social phenomenon (Luxemburg, 1984). This
is because literature was written at a certain time which is directly related
266
to the rules and customs of that time, literary authors are also part of
society or can be said to place themselves as members of that society.
Literature has existed for a long time, from ancient Rome to the present,
namely modern literature. In the course of literature in England, there
was a period called the Enlightenment period, Enlightenment is a general
term applied to the intellectual liberation movement that developed in
Western Europe from the late 17th century to the late 18th century (this
period is called the 'Age of Reason'). The notion of enlightenment spurs
rational scientific inquiry, human tolerance, and the idea of universal
human rights. In understanding religion, it naturally involves a skeptical
rejection of dogmas, superstitions, and revelations in favor of 'deism' i.e.
beliefs that are limited by universal doctrines supposedly common to all
religions, such as the existence of God.
Enlightenment proponents put more faith in human progress propagated
by the gradual spread of rational principles, although their great
proponent, Voltaire, was more militant and less optimistic, they launched
a bitter campaign against the abuses of the ancient regime under a
completely untranslatable slogan. Enlighteenment first took place in
England in the late 18th century, in the work of historians Edward
267
Gibbon and political writers Thomas Paine and William Godwin, and in
the feminist work of Mary Wollstonecraft.
Feminist is part of one of the existing ideologies. Ideology is a collection
of normative beliefs and values that individuals or groups have for
reasons other than purely epistemic. There are many well-known
ideologies, which include various human activities related to characters in
literary works (Honderich, quoted from Widya, 2019). Feminists are
different from emancipation, Sofia and Sugihastuti (in Sugihastuti and
Itsna Hadi Saptiawan, 2007: 95) say that emancipation is more in control
and gives a narrow space for women's participation in development
without questioning the rights and interests of women which is
considered unfair, if feminism is to view women as having their activities
and initiatives to use their rights and interests in various movements.
The definition of feminist itself is a social, political, idealistic movement
that has the same goal, namely definition, building, achieving gender
equality in political, economic, personal and social reach. Society more
often prioritizes the point of view of men than women, women are
treated unfairly as a society. Efforts to change gender stereotypes and
open wide opportunities for professional education so that they can be
268
equal to men. Feminist is not about resistance to men, but about
demands for equality (patriarchy) Freedom of expression, politics,
education, socio-economics to men.
The feminist approach in literary studies is often known as feminist
literary criticism. The opinion of experts on feminist literature is that
feminism is a literary study that directs the focus of its analysis on
women. The analysis of the novel using feminist literary criticism is
related to the perception of reading as a woman, with this criticism there
is a renewal of the recognition that there are female readers too.
If all this time it is considered that men who substitute readers and
creators in western literature are men, feminist literary criticism shows
that women also have views and hopes for the experience of their
literature. Feminist literary criticism according to Yoder (in Sugihastuti
and Suharto quoted from Iqbal) is like a quilt that is sewn and formed
from square pieces of cloth on the bottom covered with soft cloth. This
metaphor illustrates that feminist literary criticism has an image as a
strong foundation to unite its stance if a woman can consciously read
literary works as a woman.
269
Like in the novel "Entrok" by Okky Madasari, this novel emphasizes the
feminist side of the story experienced by the main character, Marni.
Marni is an illiterate woman who wants to fight for her future life to be
better than her life when she was a child. She is a woman who is
oppressed and has limited mobility in her life because she is a woman.
Marni in the novel ―Entrok‖ is one of the victims of the New Order era
where she felt injustice and equality as a woman. As a Javanese woman
who is full of limitations in movement, Marni wants to rise from these
limitations, one of which is in terms of work. She tried to dismiss the
perception of the people of Singget, Central Java, which said that heavy
work and high wages were the rights of men, women who existed at that
time only received very low wages compared to men. In addition, it is
also about injustice against women because of the superiority factor of
men.
Seeing from the background that has been described above, the author is
interested in analyzing using a mimetic approach with the aim of seeing
the reasons and solutions for women's discrimination in the novel
"Entrok" with Mary Wollstonecraft's Feminist theory which requires
women to be able to overcome themselves and be able to fight for their
rights and position in society.
270
Mary Wollstonecraft is a British writer, philosopher, and advocate for
women's rights. Although he died before the age of 40, he published
many works, from novels to history books and even behavioral books.
Her most important philosophical work, Defending the Rights of
Women, was a call for better education of women and a call for reason to
be the foundation of society at large.
The ideas in her book were truly revolutionary at the time and caused
tremendous controversy. In her book, Mary says that she wants women
to have a high rationality that can equalize women's rights with men, and
to just not be a man who satisfies men.
To analyze the theory in a literary work requires the right approach, the
author uses a mimetic approach to find out the discrimination against
women and feminists contained in the novel "Entrok" by Okky Madasari
where this literary work represents the truth of the real life of women at
that time whose life was not fair.
1. ―Ni, Kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat.
Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong‖
(page 36)
271
2. ―Bukan masalah kuat-nggak kuat, Nduk. Ini masalah ilok-ra ilok __
pantas-nggak pantas. Nggak ada perempuan nguli.‖ (page 37)
In the book ―A Vindication of the Rights of Woman‖, Mary describes the
decline of European society where women are confined at home and
denied the opportunity to enter the labor market and do household
chores. Meanwhile, men are given the freedom to develop themselves as
optimally as possible. This described in ―Entrok‖ where Marni as the
main character cannot take a job that pays money, this is because
Javanese culture upholds ―ilok-ra ilok‖. At that time, The injustice against
women is very clear, men get money in the form of money while women
are only paid by cassava. Where men seem to have superior power than
women.
3. ―Wah, dapat duit banyak ya sekarang. Sementara Simbok hanya diam,
pura-pura tidak tahu‖. (page 40)
This quote is a negative response from the surrounding community that
occurs naturally because Marni is against the existing culture. But also this
is proof that Marni can fight the feminism that is happening around her.
4. ―Aku berdiri di tengah mereka yang semuanya laki-laki. Dan aku
sekarang akan mengupahi mereka. Simbok, lihatlah anakmu ini sekarang.
272
Kita dulu kerja memeras keringat seharian, diupahi telo, bukan uang, hanya
karena kita perempuan. Lihatlah sekarang, anakmu yang perempuan ini,
berdiri tegak di sini mengupahi para laki-laki‖. (page 104)
In this quote, Marni proves that she can equalize the wages or rights she
wants with men's wages. This is what Mary means, Mary wants every
woman to take, voice, and do her rights as women.
5. ―Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan keinginan
Tejs untuk mengawiniku pada Simbok. Malam itu, dibelakang rumah, saat
kuulangi permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok
berbisik pelan ―Nduk, anak perempuan itu harus punya suami, punya
anak. Kalau sudah ada yang melamar tidak boleh ditolak, bisa kualat, jadi
perawan tua.‖
This quote shows subordination to women, where women cannot express
their opinions and suffer from the choices that others have made for
them. This quote is very representative of most women today who are
still forbidden to voice their opinions on their life choices.
6. ―Kenapa, Ni? Kita saling coocok. Apa kamu tidak pengin punya suami,
punya anak seperti Tinah?‖ (page 49)
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7. ―Sejak Rahayu tinggal di Jogja, rumah iini terasa sepi. Teja makin sering
keluar malam. Aku sudah malas bertanya atau menegur‖ (page 127)
8. ―Ku perhatikan anak itu.Terlihat tak terurus dibandingkan ibunya yang
mukanya penuh bedak dan gincunya merah. Duh, Gusti, matanya dan
hidungnya adalah milik Teja. Aku Mengenalinya‖ (page 192)
These three quotes show very clearly about the superiority that men have,
they do arbitrary things to women. They want to get a good return while
they give something painful to women.
It seems little absurd to expect women to be more reasonable thsn men
in their likings. And still to deny them the unctrolled use of reason.
When do men /all-in love with sense? When do they, with their superior
powers and advantages, turn from the person to the mind? And how can
they then expect women, who are only taught to observe behaviour, and
acquire manners rather than morals, to despise what they have been all
their lives labouring to attain? Where are they suddenly to find judgment
enough to weigh patiently the sense of an awkward virtuous man, when
his manners, of which they are made critical judges, are rebuffing and his
conversation cold and dull, because it does not consist of pretty repartees,
or well-turned compliments? In order to admire or esteem anything for a
274
continuance, we must, at least, have our curiosity excited by khowing, in
some degree, what we admire; for we are unable to estimate the value of
qualities and virtues above our comprehension. (Nurrachman,2017)
9. ―Tiba-tiba aku menyesal kenapa aku hanya punya satu anak. Coba kalau
aku punya dua, atau empat seperti Tonah, pasti rumah ini menjadi ramai ...
Dulu, waktu Rahayu masih SD, Pak RT dan Pak Lurah menyuruhku ke
kantor desa. Semua perempuan yang sudah menikah dan punya anak
katanya harus ke sana. Ya sudah, nggak tahu ada apa di sana, daripada
buat masalah sama aku datang ke sana. ... mereka menyuruh orang-orang
ikut KB. Katanya biar desa tidak tampak sumpek..‖ (page 128)
In the long quote, Marni's regret can be seen who had to follow orders
from the government for family planning or KB with the lure so that the
village would not be overcrowded. Even though the family planning or
KB program is good for keeping the population in check, it can also be a
psychological burden for women who are forced or voluntarily to use
family planning or KB. In this case, women are cornered because until
now women are considered as controllers of population growth, even
though men also take part in it. This happens because of the superiority
of men who seem to blame women for this.
275
10. ―Tiap Jumat pagi, saat kami semua baru saja selesai salar Amri bergegas
meninggalkan tempat ini. Disandangnya ransel hitam itu. Malam
sebelumnya, aku telah memasukkan tiga baju putih panjang ke tas itu.
Dengan motornya, dia menuju ke selatan, menembus kabut Merapi yang
menghalangi pandangan. Dia akan menemui anaknya. Juga istrinya. Dia
pulang. Ke rumahnya. Di Jogja sana.
Lalu pada Senin pagi, bunyi motor yang sudah kunantikan itu terdengar.
Aku turun dari kamarku di lantai dua, berjajar dengan kamar-kamar
guru-guru lainnya. Kucium tangannya. Lalu kubawa jaket yang baru saja
dilepaskannya. Kami naik bersama-sama. Dia tidur sebentar, sebelum mulai
masuk kelas. Setiap minggu, semuanya berulang dalam urutan yang pernah
berubah. Dalam kedamaian dan keikhlasan yang sama. Tak adakah yang
masih kurisaukan ketika aku telah berjalan lurus menuju kebahagiaan
abadi itu?‖ (page 214)
In this long quote, Rahayu looks very happy to live her day as the second
wife of an ustadz. They got married of their own choice, they had
thought carefully about what they would do. This happened because
Rahayu was a woman who was highly educated at one of the universities.
Rahayu prioritizes rationality and the right to his own choices. And this is
what a lot of women should be doing.
276
Were woman rationally educated ould they take a more comprehensive
view of things, they would be contented to love but once in their lives;
and after marriage calmly let passion subside into friendship-into that
tender intimacy, which is the best refuge from care; yet is built on such
pure, still affections, that idle jealousies would not be allowed to disturb
the discharge of the sober duties of life, or to engross the thoughts that
ought to be otherwise employed. This is a state in which many men live;
but few, very few women. (Nurrachman, 2017).
From the analysis that has been done by the author, it can be concluded
that the Novel "Entrok" is in accordance with Mary Wollstonecraft's
theory which states that women must be able to overcome themselves, be
able to fight for their rights and position in gender equality rationally.
Women have the right and must get an education or at least learn to
make themselves able to think rationally so that the life that women lead
is not destroyed and oppressed arbitrarily by other people, especially men.
Women also have high self-esteem equal to or more than men.
References
277
Nurrachman, D. (2017). Introduction to Critisism. Bandung: Pusaka Aura
Semesta.
Mandey, W.A. (2019). Cerminan Feminisme Dalam Novel The Best Of Me
Karya Nicholas Sparks. Manado
Andestend (2020). Feminisme Dalam Novel Cinta Suci Zahrana Karya
Habiburrahman El Shirazy. Bogor.
Gora, R. Representasi Feminisme Dalam Karya Sastra (Kajian Semiotika Sosial
Novel ―Eks Parasit Lajang‖ Karya Ayu Utami). Jakarta Timur
http://digilib.uinsby.ac.id/544/6/Bab%203.pdf
https://dapobas.kemdikbud.go.id/home?show=isidata&id=1545
https://www.dictio.id/t/enlightenment/155674
278
- Lack of focus 65 = C
- What do you want to discuss actually by saying women's fate?
Nabillah Farrah
- Needs a more specific topic
- Having jumped-up ideas 1195030154
- Some still retelling
- Lack of relevant theoretical supports/justifications 5–D
WOMEN’S FATE IN THE NOVEL “ENTROK” BY OKKY
MADASARI
A literary work that is present in the midst of our lives is a work
that is born from the results of creativity, thoughts, ideas, or even
someone's imagination which is then poured into written form.
According to Semi (Semi, 1984) Sebagai karya kreatif, sastra harus mampu
melahirkan suatu kreasi yang indah dan berusaha menyalurkan kebutuhan
keindahan manusia. Di samping itu, sastra harus pula mampu menjadi wadah
penyampaian ide-ide yang dipikirkan dan dirasakan oleh sastrawan tentang
kehidupan umat manusia. In this approach, literature serves as a space for a
writer to reflect on what is going on in his surroundings. The novel is a
sort of literary work that is frequently employed as a vehicle for
transmitting literary ideas. Of course, the novel raises the issues that
symbolize the writer's thoughts that are incorporated inside it. Feminism
is a literary subject that has been addressed.
279
Feminisme itself in Cambridge (Cambridge Dictionary) has
meaning as ―the belief that women should be allowed the same rights, power, and
opportunities as men and be treated in the same way, or the set of activities intended to
achieve this state.‖ Feminism is an awareness of gender inequity that affects
women in the home and in society, as well as conscious activities taken by
women and men to rectify this condition. (Ilyas, 1997) Literary criticism
of feminism means studying how writers present women in their works.
According to Ruthven in (Sofia, 2009) The work of literary criticism is to
examine literary works by tracing the ideologies that shape them and
pointing out the differences between what the work says and what
appears from a careful reading. Thus, Feminism is a movement based on
the awareness of both men and women to fight for equal rights and
gender of a woman in a society.
Mary Wollstonecraft, with a book titled A Vindication of the
Woman, which is widely regarded as the first feminist work, criticizes
women who are too precious in their sentiments and advocates for
women to have the same feelings and rights as men. (Nurrachman, 2017,
hal. 132).
280
According to Mary, the old tradition of male writers has a very big
contribution in giving a bad image or decreasing the value of women in
literary works, ―Artificial, weak characters‖ (Nurrachman, 2017, hal. 133).
This occurs when male writers represent female characters as objects of
passion, implying that a woman must be able to satisfy males. ―Is it
surprising, when we consider what a determinate effect an early association of ideas has
on the character, that they neglect their understandings, and turn all their attention to
their person?‖ (Nurrachman, 2017).
Mary's notion of Feminism began when she witnessed the
situation of European society in the 18th century, when women were
exclusively concentrated on males and constantly thought instantly not
based on desire but based on sentiments. According to him, this could
not be separated from the lack of education for women in that century,
which was created by the patriarchal society that existed at the time.
―Were women more rationally educated, could they take a more comprehensive view of
things...‖ (Nurrachman, 2017) By comparing women's education with
men's education, we may transform a woman into a "independent
woman," rather than merely a doll and a toy for men. (Arivia, 2003).
281
Okky Madasari's novel Entrok narrates the story of the world
through the eyes of two opposing women. Okky Madasari recounts a
woman's battle against her fate to break free from the weak perspective of
a woman in her environment through Marni and Rahayu. It is anticipated
that by employing these two alternating points of view, the reader would
be able to understand and absorb the sentiments of each character. Marni
and Rahayu are mother and child figures with extremely different origins,
Marni as a mother who cannot experience education, and Rahayu, her son
who attends school from elementary school to college. As a result, the
difficulties they encounter in fighting for their life are unquestionably
distinct.
‖Mbok, aku mau punya entrok.‖
‖Oalah, Nduk, seumur-umur tidak pernah aku punya entrok.
Bentuknya kayak apa aku juga tidak tahu. Tidak pakai entrok
juga tidak apa-apa. Susuku tetap bisa diperas to. Sudah, nggak
usah neko-neko. Kita bisa makan saja syukur,‖ kata Simbok.
(hal. 17)
282
The dialogue excerpt above is the beginning of the debate in this Entrok
novel, Marni, who wants to utilize Entrok since her chest has begun to
develop but is hampered by their current economic position.
Kutimang-timang upahku hari ini, delapan singkong. Simbok
mendapat sepuluh singkong. Aku berpikir upah yang di dapat
Teja, si kuli pasar, setiap hari. Teja mendapat satu rupiah untuk
setiap barang yang diangkatnya. Kalau sehari dia bolak-balik
mengangkat sepuluh kali, dia sudah mendapat sepuluh rupiah.
Lima hari bekerja, uang Teja cukup untuk membeli satu entrok.
Kenapa aku tidak bekerja seperti Teja? (Madasari, 2010, hal.
33)
Marni started to wonder about gender equality in the Ngranget
community. Teja, a male porter, may obtain earnings in the form of
money; why doesn't she labor like Teja to earn money to purchase
Entrok? Marni's desire was restricted in the following quotations due to
societal beliefs that perceive women differently than they do males.
‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak
akan kuat. Sudah, perempuan itu kerja yang ringan-ringan aja.
Ngupas singkong.‖ (Madasari, 2010, hal. 34)
283
Gender inequalities are highlighted here, with males viewing
women as weak and incapable of doing the labor that men perform.
‖Tapi tetap nggak umum, Ni. Di pasar ini, nggak ada
perempuan nguli (hal. 34)
‖Bukan masalah kuat-nggak kuat, Nduk. Ini masalah ilok-ra
ilok—pantas nggak pantas. Nggak ada perempuan nguli.‖
Omonganku dan Simbok berakhir tanpa ujung yang jelas. Aku
malas melanjutkan omongan karena merasa tidak akan ada
gunanya. Kalau Simbok sudah menyebut ilok-ra ilok, itu berarti
pakem yang sudah tidak bisa dibantah lagi. ‖Bisa kualat kalau
nggak dituruti,‖ kata Simbok. (hal. 35)
In the following remark, they no longer have an issue with gender
since they believe women are not as strong as males to work as coolies,
but Marni now has to deal with society's unwritten custom or societal
conventions that assume women work like men. Things that are
forbidden will be met with karma.
But, in the end, Marni was able to overcome all of the challenges.
Marni determined to covertly follow her wishes with perseverance and
284
strong goals. This also shatters the viewpoint of women who have
notions based on the moment, which might alter depending on the mood
of women. She may earn money as a coolie in the market, demonstrating
that women can be equally as powerful as men.
‖Mau buat bakulan, Mbok. Buat beli dagangan lalu nanti
dijual lagi. Kayak Nyai Dimah.‖
‖Oalah, Nduk, Nyai Dimah itu memang bakat dagang.
Bakulan laris terus.‖
‖Aku juga bisa kok, Mbok. Sedikit-sedikit saja.‖ (hal. 42)
Marni continued to try to be more advanced when one request was
granted, especially the purchase of Entrok. She wants to demonstrate that
she is capable of accomplishing everything she likes, as well as that she is
the same as Teja, but Marni has tremendous hopes and ambitions to alter
her fate, even though it began because she wanted to acquire Entrok.
Teja, aku juga bukan siapa-siapa. Hanya anak wong kere, yang
tiap hari menggantungkan hidup dari singkong. Menukar tenaga
untuk mengupas singkong, diupahi dengan singkong. Tak pernah
ada cita-cita lain yang diturunkan orangtuaku selain bisa makan
285
hari ini. Tapi aku menyimpan harapan dan mimpi. Setidaknya
untuk entrok. (Madasari, 2010, hal. 45)
Samar-samar dalam ingatanku, terbayang Bapak memukul Simbok yang sedang
makanan. (hal. 18)
The sentence above clearly demonstrates patriarchal society, with Mr.
acting arbitrarily on behalf of the family's "chief." Simbok, as a wife, must
be meek and obedient to her husband at all times, accepting his severe
treatment without protesting. When Marni saw this, she knew she
couldn't rely on anyone for her fate; she needed to be able to stand on her
own, as illustrated in the clip below.
Hari itu aku sadar, tak ada seorang pun yang bisa kuharapkan untuk memberi apa
yang kuminta, meskipun masih punya hubungan darah. (hal. 19)
Menurut Mary Wollstonecraft, perempuan seharusnya tidak terlalu
terpaku akan urusan cinta dan menjadi budak dari cinta itu sendiri. Dalam
memiliki hubungan dengan laki-laki tetap harus menyertakan sense supaya
tidak terlalu jatuh dan diperbudak oleh laki-laki. Seperti pada kutipan di
286
bawah ini. Pada akhirnya Yu Parti tetap harus membiarkan suaminya,
menikah lagi dengan Yu Yem.
Yu Yem, yang terlihat takut, terpancing dan mulai marah. Dengan suara tak kalah
kencang, dia membalas kata-kata Yu Parti. ‖Enak saja, nyebut aku sundal.
Sampeyan sendiri yang tidak bisa ngladeni suami. Bukan salahku kalau suami
sampeyan mau kawin sama aku.‖
‖Dasar sundal, perebut suami orang.‖ Yu Parti mulai kehilangan kesabaran. (hal.
26)
Simbok's remark that being a virgin meant being a businessman alludes to
society's attitude toward women of inferior rank. Women are regarded as
commodities that may be negotiated for and purchased by males. This is
similar to what Rousseau and many male writers in general started, that
female education is geared at making women acceptable to males
(Nurrachman, 2017).
Kata Simbok, kalau aku minum kunir tiap hari, perutku tak akan sakit lagi saat
keluar darah nanti. ‖Biar singset juga. Kamu perawan sekarang, jadi dagangan,‖
kata Simbok soal jamu kunir. (hal. 33)
287
Tidur kini menjadi simbol bagaimana pencapaian manusia
dalam mendapatkan apa yang diinginkan.
Aku kesakitan, dia kegirangan. Aku mengerang, dia senang.
Aku menangis, dia tertawa penuh kemenangan. Aku
menerawang, dia telah pulas. (Madasari, 2010, hal. 49)
Women as objects of want are described as if marriage is simply in men's
minds to satisfy their passion; even in partnerships, they do not think
about the woman; instead, they prioritize their selfishness and
satisfaction.
Men of wit and fancy are frequently rakes (Nurrachman, 2017),
men who use their brains to put words together in order to craft
seductions and jokes that attract women. They are particularly skilled at
instilling hope in women in order to coerce them into obedience.
‖Kalau umurku lebih muda sedikit, Ni, sudah kuajak kawin
kowe, terus kita hidup di Jakarta sana,‖ kata si Bagong, saat
kami sedang duduk di ruang tamu rumahku. Di meja sudah
kusiapkan secangkir kopi kental dan sekaleng emping melinjo.
‖Kalau kita di Jakarta, Ni, hidup kita bakal enak. Kita jadi
orang kota, punya duit banyak, mau beli apa-apa tinggal tunjuk.
288
Kowe ndak usah lagi ke pasar, aku juga gak perlu panas
panasan di sawah, mengawasi orang-orang tebang tebu.‖
Ya seperti ini salah satu yang kusukai dari Marijo. Saat dia
mulai berandai-andai, memberiku harapan-harapan dan mimpi-
mimpi. Orang-orang menyebutnya tukang umuk. (hal. 201)
Marni, who is portrayed as a strong lady, favors realism over her feelings
and remains subject to Marijo's seduction and beautiful promises. Marijo
has the ability to make Marni forget her senses for a short period of time
and force her to express her emotions in the manner of 18th century
ladies.
Dua hari sekali atau kadang setiap hari. Ndari tidak hanya
dirogoh-rogoh. Di hari-hari berikutnya dia juga disuruh
mengisap-isap burung paklik nya itu. Lalu laki-laki itu
memaksa memasukkan burungnya yang besar ke lubang
kewanitaan Ndari. Ndari yang masih berumur dua belas tahun
itu meringis kesakitan. Paklik-nya mengambil bantal untuk
menutup mulut keponakannya. Hingga tadi malam. Laki-laki
itu kembali melakukannya disaat darah haid deras mengucur
dari lubang yang biasa dimasukinya. Ndari menangis kesakitan.
289
Laki-laki itu tak peduli. Tapi siang ini Ndari mengubah sendiri
nasibnya. Dia menceritakan semua yang dialaminya kepadaku.
Cukup. Apa yang telah terjadi tak boleh diulangi lagi. Laki-
laki itu harus masuk penjara. Kalau perlu biarlah dibunuh
ramai-ramai oleh orang sedesa. (Madasari, 2010, hal. 238)
Rahayu, as a girl with a strong educational background,
understands the value of preserving a woman's dignity. Rahayu, as a
fellow woman, determined to aid her pupils with all her heart in order to
obtain justice. Rahayu urged that the perpetrator of the sexual harassment
face proper consequences.
Aku menolak semua tawaran Kyai Hasbi. Ajakan untuk
pulang dan untuk menikah. Aku akan tetap di desa ini. Demi
nyawa Amri dan demi kehormatan Ndari. Biarlah aku menjadi
bagian dari mereka. Menantang kematian yang dalam satu
putaran matahari akan datang. Besok aku akan berdiri bersama
mereka memegang kata-kata yang ingin kami sampaikan.
Biarlah aku mati bersama mereka. (Madasari, 2010, hal. 252)
290
Rahayu can once again demonstrate that she can choose logic over the
promise made by Kyai Hasbi when battling for justice in a village. Be a
brave lady, even if her life is on the line.
The conclusion is, Okky Madasari's Entrok Novel depicts the
feminism of the two main female characters, Marni and Rahayu. It started
with Marni who had aspirations to have an Entrok, thus requiring her to
join in the work and justify all means so that it could be realized even
though she had to go against the unwritten tradition norms that existed in
society. From being a cassava peeler, a porter, selling vegetables around
the village, selling furniture, to becoming a moneylender, Marni has gone
through to improve her economic life and that of her family.
Then there is her daughter, Rahayu, who is also worthy of being
called one of the feminists in this Entrok novel. If her mother struggles
against the social traditions prevailing in her environment because of
gender inequality, then Rahayu fights for the rights and upholds the
dignity of a woman. Rahayu defended one of her students, Ndari, who
was traumatized by the treatment of irresponsible men against her,
sexually harassing Ndari, who was a minor. Rahayu fights for this
problem so that the perpetrator is given the appropriate punishment.
291
Works Cited
Arivia, G. (2003). Filsafat Berperspektif Feminis. Jakarta: Yayasan Jurnal
Perempuan. Retrieved December 2021
Cambridge Dictionary. (n.d.). Feminism. Retrieved December 2021, from
Dictionary.Cambridge.org:
https://dictionary.cambridge.org/dictionary/english/feminism
Ilyas, Y. (1997). Feminisme dalam kajian tafsir Al-Qur'an :klasik dan
kontemporer. Yogyakarta: Pustaka Pelajar. Retrieved December
2021, from
https://opac.perpusnas.go.id/DetailOpac.aspx?id=90766
Nurrachman, D. (2017). Introduction to Criticism (3rd ed.). (M. Purwanto, &
P. Priyawan, Eds.) Bandung, Jawa Barat, Indonesia: Pustaka Aura
Semesta. Retrieved December 2021
Semi, M. A. (1984). Anatomi Sastra. Padang: Sridharma. Retrieved
December 2021, from https://vdokumen.net/anatomi-sastra-atar-
semi.html
Sofia, A. (2009). Aplikasi Kritik Sastra Feminis. Yogyakarta: Citra Pustaka.
Retrieved December 2021
292
- Interesting discussion actually
- Just be consistent with Arnold's concept learned in the class
- Still having some jumped-up ideas Nafila Su‘da Alsa Mabrukah
- Some narratives and analysis are relevant with the theory,
some others not
1195030155
70 = B
- Needs more relevant theoretical justifications
- Be aware of mechanic errors: paragraphing, punctuation, 5D
italicization, citation, etc
HUMAN NATURE AND SOCIO-CULTURAL IN NOVEL
“ENTROK” BY OKKY MADASARI
Literary work is a person's thoughts and ideas that are poured in
writing. According to Sumardjo & Saini, ―Karya sastra adalah sebuah usaha
merekam isi jiwa sastrawannya. Sastra adalah bentuk rekaman dengan bahasa yang
akan disampaikan kepada orang lain‖. Literary work itself can reveal a
various of issues in human life, whether experienced by the author, what
the author hears or reads. Out of so many, there are literary works in
which describes human nature. The idea of beauty and of a human nature
perfect on, all its sides (Arnold, 1869: p. 23). This is also stated by
Nyoman Kutha Ratna in ‗Metode Penelitian Sastra‘: ―Manusia dijadikan
objek sastrawan sebab manusia merupakan gambaran tingkah laku yang dapat
dilihat dari segi kehidupannya. Tingkah laku merupakan bagian dari gejolak jiwa
sebab dari tingkah laku manusia dapat dilihat gejala-gejala kejiwaan yang pastinya
berbeda satu dengan yang lain. Pada diri manusia dapat dikaji dengan ilmu
293
pengetahuan yakni psikologi yang membahas tentang kejiwaan. Oleh karena itu,
karya sastra disebut sebagai salah satu gejala kejiwaan‖ (Ratna, 2004: 62).
Alongside human nature, as we know that the literary work
contains cultural values that have been created by the author through
their artistic language. Literature cannot be separated from culture.
According to Arnold (1869: p. xvi, ), Culture, which is the study of
perfection, leads us, as we in the following pages have shown, to conceive
of true human perfection as a harmonious perfection, developing all sides
of our humanity; and as a general perfection, developing all parts of our
society. As a form of art and culture, literature is the embodiment of life.
The object studied is not far from the characters and characterizations
contained in the literary work. These characters display various
characteristics and behaviors (human nature) related to experiences or
conflicts that human have experienced in real life. Based on this, literary
works can be viewed from a sociological perspective. Literary works can
be seen from a sociological perspective by considering social activity,
concerning humans and their environment.
One of a popular form of literary work which describe people‘s
daily life is novel. Yudiono (1986: 125) conveyed that, ―Novel merupakan
294
jenis sastra yang sedikit banyak memberikan gambaran tentang masalah
kemasyarakatan. Novel tidak dapat dipisahkan dari gejolak atau keadaan
masyarakat yang melibatkan penulis dan pembacanya‖. There are many novels
in Indonesia that tells humans life. The novel Entrok by Okky Madasari
is one of the reflection of the social life. Politics, economy, belief, and
knowledge are the basis of this novel. Also the cultural elements, where
the setting located in Singget Village, Magetan, East Java.
As stated by Oxford Learners Dictionaries, human nature is the ways
of behaving, thinking and feeling that are shared by most people and are
considered to be normal. Okky Madasari conveyed human nature of the
character and the social cultural surroundings in Entrok interestingly.
Arnold (1869: p. 8) stated that there is a view in which all the love of our
neighbor, the impulses towards action, help, and beneficence, the desire
for stopping human error, clearing human confusion, and diminishing the
sum of human misery, the noble aspiration to leave the world better. As a
social creature, people need to show their concern to each other
especially for the closest one. In the novel Entrok there are the behave,
the actions from one of the main character, Rahayu, who tell her parents
to do the right thing. The quotation as follow:
295
―Kata Pak Waji, guru agamaku di SD, Ibu berdosa. Di depan kelas
dia berkata, ibuku tak beragama. Ibuku sirik. Masih menyembah
leluhur, memberi makan setan setiap hari. Pak Waji juga bilang
ibuku punya tuyul. Aku malu dan marah. Begitu sampai di rumah,
aku masuk ke kamar Ibu. Kuambil baki berisi tumpeng dan
panggang itu lalu kubuang di halaman belakang rumah. Tonah
yang melihatku berteriak-teriak. Dia ketakutan. Takut pada Ibu,
juga takut kualat pada Mbah Ibu Bumi Bapa Kuasa. Aku masuk
kamar, menunggu Ibu pulang dari pasar. Sampai kudengar teriakan
Ibu dari kamarnya. Dia memanggil Tonah, bertanya ke mana
tumpeng dan panggang di kamarnya. Aku keluar kamar. ―Aku
buang. Itu sirik, dosa. Ibu tidak beragama,‖ kataku sambil
menangis.‖ (Madasari, 2010: 75)
For all of her life, Rahayu‘s mother, Marni has been asking or
Nyuwun to the ancestors. We can tell that animism, believe in mysticism is
still exist here. Tylor in (Harvey, 2005: 6) stated that animism represented
the earliest form of religion, being situated within an evolutionary
framework of religion that has developed in stages and which will
ultimately lead to humanity rejecting religion altogether in favor of
scientific rationality. However, because of Rahayu‘s love for her mother,
she told her that what she has been doing is wrong. Nyuwun from the
ancestors is prohibited by religion, in this case is Islam. Another
quotation example of Rahayu‘s action as follow:
―Bu Lastri menunjukkan kertas warna kuning bergambar beringin,

sama seperti umbul-umbul yang dipasang di gapura perbatasan
dan di depan balai desa. Apa yang dikatakan Bu Lastri kukatakan
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pada Ibu dan Bapak. Mereka berdua, orang buta huruf yang hanya
tahu pasar, harus tahu pemilu. Mereka harus ikut, dan tidak salah
pilih. Kalau bukan aku yang orang sekolahan, siapa lagi yang akan
memberitahu mereka?‖ (Madasari, 2010: 61)
Here we can see that Rahayu does not want her parents to choose
the wrong choice, so that they are not labeled as PKI─―[…] Jangan lupa
yang gambarnya pohon. Kalian bukan PKI, to?‖ (Madasari, 2010: 85).
From the two quotations above, it can be seen that there is the difference
between the parents and the child. The child understands knowledge
better, but the child, Rahayu shows a good human nature.
There is a good human nature, but there is also a bad one, the
quotation as follow:
―Ini untuk kami semua. Lha aku malah rela mengorbankan

anakku. Anakku rela tubuhnya dipakai untuk keselamatan orang-
orang di sini. Lha sampeyan, apa yang sudah sampeyan lakukan? Prek!
Kyaimu malah pamit mau pulang. Prek!‖ (Madasari, 2010: 252)
How can a father sacrifice his daughter just like that? His daughter
is a school girl but she has to do such thing for everyone‘s safety. Not
only the father, but the people who use her also a bad people. The last is
the quotation shows a good human nature, but on the other side it is also
bad, as follow:
297
―Ha ha ha...! Mau sedikit, mau banyak, namanya tetap potang.
Sampeyan itu rentenir, lintah darat! Orang-orang seperti sampeyan
ini yang bikin susah orang banyak.‖ ―Lho, Ndan. Wong saya itu
malah mau membantu orang. Mereka butuh pinjaman uang, ya
sudah saya kasih. Kalau mereka butuhnya panci, ya saya juga
dagang panci.‖ (Madasari, 2010: 70)
What Marni did was good, helping her neighbors in need by
lending a money. But to give loan interest to them is bad. This act is also
prohibited by religion (Islam).
A literary work feels less interesting if there is no conflict in it.
Joubert in (Nurrachman, 2017: 233) said that force and right are the
governors of this world; force till right is ready. […] The way in which for
us it may change and transform force, the existing order of things, and
become, in its turn, the legitimate ruler of the world, will depend on the
way in which, when our time comes, we see it and will it. Therefore for
other people enamoured of their own newly discerned right, to attempt to
impose it upon us as ours, and violently to substitute their right for our
force, is an act of tyranny, and to be resisted. The conflict between the
villagers and the authorities who act arbitrarily is depicted in this novel.
The quotations as follow:
298
―Pak Tikno sekarang ada di penjara. Tentara menahannya sejak
enam bulan lalu. Gara-garanya, Pak Tikno menolak memberikan
kebunnya yang hanya sepetak pada tentara. Tentara ingin
membangun gardu di kebun itu. Katanya untuk pos keamanan.‖
―Sementara Pak Tikno ada di penjara, tentara-tentara itu telah

mengambil tanah sepetak tempat cikal bakal leluhur Pak Tikno
berasal.‖ (Madasari, 2010: 64)
Pak Tikno does not afraid of the soldiers, he sticks to his stance in
order to protect the inherited land. He can be labelled as the
nonconformist, who deviate from the applicable rules, or being called
PKI. The term ―nonconformist‖ was used first in criminal acts after the
Restoration of the monarchy (1660) and the Uniformity Act (1662) to
describe the convent (place of worship) of a congregation that had
separated from the Church of England. As written in (Arnold, 1869: 202)
Nonconformist is not in contact with the main current of national life.
Another example of the villagers who against authorities is Wagimun, the
quotation as follow:
―Sampeyan kira aku bertahan di sini karena harta? Harta yang mana,
Kang Lurah? Sawah sudah dipatok, mau makan saja susah. Tinggal
rumah dan tanah ini saja yang punya saya. Ini juga sebentar lagi
dikeruk seperti itu.‖ ―Lho... lha kowe juga sudah tahu ini nanti
bakal dikeruk semua. Ya sudah mau apa lagi? Yang penting
sekarang semuanya selamat. Ingat anakmu, Mun... Masa semuanya
mau terkubur di sini?‖ ―Ya, kalau memang sudah nasib kami
299
terkubur di sini... saya ikhlas... yang penting tidak malu sama
leluhur...‖ (Madasari, 2010: 218)
Just like Pak Tikno, Wagimun does not want to leave his house, he
feels that the things left only the house. He chose to be buried with his
house rather than having to leave it. Something that we have to fixed in
our minds that a more full and harmonious development of the
―nonconformist‖ humanity is what they most want, that narrowness, one-
sidedness, and incompleteness is what they most suffer from. They have
a reason to against the order.
The opposite of the nonconformist is conformist, people who
follow the applicable rules. People who follow the rules either they really
feel the rules are good or because they are afraid for being punished. The
example quotation as follow:
―Lha Bapak sama Ibu katanya mau ke pasar, kok malah ke sini?‖
―Tadi dicegat pak tentara, katanya yang nggak ke sini berarti nggak
patuh sama negara. Ya sudah to... daripada dipenjara, kami ke sini
saja. Nyoblos, terus bakulan di sini.‖ (Madasari, 2010: 62)
―Tapi nanti kalau balik lagi diberi saja, Bu. Jangan cari penyakit.
Jangan sampai kita nanti kayak Pak Tikno,‖ jawab Bapak dengan
muka ketakutan. Ibu diam tak menjawab. Tapi aku bisa melihat
300
raut mukanya berubah begitu mendengar nama Pak Tikno disebut.
Ia juga ketakutan. (Madasari, 2010: 63)
From the quotations above we can tell that Marni and Teja are
afraid of the authorities. Rather than oppose the army, it is better to just
do what they want.
Culture, in like manner, places human perfection in an internal
condition, in the growth and predominance of our humanity proper, as
distinguished from our anitiality, in the ever-increasing efficaciousness
and in the general harmonious expansion of those gifts of thought and
feeling which make the peculiar dignity, wealth, and happiness of human
nature (Arnold, 1986: 12-13). As the author mention earlier, this novel
has cultural elements in it, which is the culture in Desa Singget. The
example quotations as follow:
―Aku dan Simbok bukan satu-satunya orang yang menyusuri

jalanan pagi ini. Di depan kami, di belakang, juga di samping,
perempuan-perempuan menggendong tenggok5 menuju Pasar
Ngranget.‖ (Madasari, 2010: 22)
―Kebiasaan di pasar, buruh-buruh perempuan diupahi dengan

bahan makanan. Beda dengan kuli laki-laki yang diupahi dengan
uang.‖ (Madasari, 2010: 22)
―Kata Simbok, kalau aku minum kunir tiap hari, perutku tak akan
sakit lagi saat keluar darah nanti.‖ (Madasari, 2010: 33)
301
―Paling depan terlihat seorang laki-laki berpakaian seperti pemain
ketoprak dengan baju warna hijau mencolok dan hiasan kepala
warna emas. Dia menjadi cucuk lampah, pemandu langkah orang-
orang yang ikut dalam iring-iringan. Cucuk lampah menari-nari
dalam setiap langkahnya, mengikuti irama gamelan dari bagian
belakang iring-iringan. Di belakang cucuk lampah ada empat laki-laki
mengusung tandu. Mereka berpakaian jawa, beskap dengan kepala
ditutup blangkon. Tandu itu dihiasi dengan janur dan melati, persis
seperti tandu pengantin. Tapi yang ada di dalam tandu bukan
manusia, melainkan dua tebu yang juga dihias dengan kantil dan
melati. Itulah Temanten Tebu.‖ (Madasari, 2010: 104)
―Mereka akan tirakat di sekitar makam Eyang Sujo dan Eyang

Jugo. Sesajen dan dupa yang sudah disiapkan dari Madiun
diletakkan di samping makam. Ada tumpeng lengkap dengan
panggang dan ubo rampe-nya, buah-buahan, dan rokok. Selama
tirakat mereka tidak akan berbicara dan makan-minum. Mereka
juga dilarang memikirkan hal-hal yang tidak baik. Satu-satunya
yang mereka lakukan adalah berdoa memohon berkah. Selama
tirakat itu, mereka juga akan menunggu jatuhnya bagian pohon
dewandaru.‖ (Mandasari, 2010: 95)
―Sudah sejak dari dulu orang-orang Tionghoa dikenal suka ke

Gunung Kawi setiap Jumat Legi untuk mencari pesugihan. Orang-
orang juga mengira Ibu telah melakukan hal yang sama, mencari
pesugihan ke Gunung Kawi.‖ (Mandasari, 2010: 97)
302
There are many cultures that mention in the novel, from Javanese
to Chinese. The writer of the novel writes it by her own experience as she
is a Javanese.
For the conclusion, the human nature can be a culture if done
repeatedly and accepted by the environment. As stated by Arnold in
(Nurrachman, 2017: 242) truth and culture themselves can be reached by
the processes of this life. One of the literary work which has element of
culture is novel. The Entrok novel is a great work that portray human‘s
daily life with its aspects.
REFERENCES
Arnold, M. (1869). Culture and Anarchy: An Essay in Political and Social
Criticism. London. p. xvi, 8, 23, 12-13, 23, 202, 242
Harvey, G. (2005). Animism: Respecting the Living World. p. 6
Madasari, O. (2010). Entrok. Jakarta: Gramedia Pustaka Utama
Semesta. p. 233, 242
303
Ratna, N.K. (2004). Teori, Metode, dan Teknik Penelitian Sastra. Yogyakarta:
Pustaka Pelajar. p. 62
Yudiono, K.S. (1986). Sastra, Psikologi, dan Masyarakat. Bandung: Penerbit.
Alumni. p. 125
304
- This could be better if you are consistent with just one aspect to discuss 75 = B
- Some still having jumped-up ideas and tend to be inconsistent discussion
- Some narratives and analysis made are relevant with the theory used, some
Naida Rahma Tania
others not
- Needs more relevant critical-analytical arguments 1175030188
- Needs more relevant theoretical justification/supports
- Be more aware of mechanic errors: paragraphing, punctuation, font size,
italicization, citation, etc 5D
ENTROK AS FEMINISM‘S POWER TO AGAINST PATRIARCHY
An Analysis - Entrok‘s Novel by Okky Maddasari
Imbalance of system education and economic in Indonesia post-
colonialism give massive impact to inhabitant. People is not available to
go to school and people prefer to work for survive. Also, patriarchy of
man has different and superior position front of woman even in power,
strength, education, and work highly dominant by men. Such as on
Entrok novel written by Okky Madasari describe 1950 reflection.
However, this novel shows feminist against patriarchy but still consist
slave love element. Therefore, Mary Wollstonecraft‘s thought attempt to
this Novel analysis. By her literacy great feminist literacy work ‗A
Vindication of The Right of Woman‘ (1792).
In the beginning Mary asking ―is it surprising that woman everywhere
appear a defect in nature?‖ (Nurrachman, 2017). Woman apparent inferiority
as society fault which give impact to them a moral character by the
association of ideas. Her thinking ―Education thus only supplies the man of
305
genius with knowledge to give variety and contrast to his associations; but there
is a habitual association of ideas, that grows "with our growth," which has a
great effect on the moral character of mankind; and by which a turn is given to
the mind, that commonly remains throughout life. ‖ (Nurrachman, 2017: 134-
135). It consists critic on woman who accepting the association idea
impacted to the moral character on woman by men, but neglect and
accepting without denying. Then, genius men as association ideas figure
get assumed education. In addition, in context that woman doesn‘t get
any education whereas woman will be the first teacher for her child then
woman educated is a must. As Wollstonecraft said that only men get
education which present imbalance between men and woman. It shows
that men have more chance than woman which refers to patriarchy
ideology. Reasoning patriarchy ideology is hegemony of men that
justifies the major of one group such power can occur between groups
based on differences between gender, religion, race, or economic
class(Darwin, 2018). Then, as a form of resistance to this thought, there
are feminists who oppose all forms of injustice against women. Feminist
comes from the word femme which means woman. According to
Sugihastuti that feminism is movement equality between men and women
in all aspect such as politics, economic, educational, social, and organized
306
through woman‘s right and interest (Milleniawati, 2019). Also, based to
Marxisme feminism is a way that looks at women's problems in
capitalism, it is related to the system of power (Milleniawati, 2019).
Sumarni as main character deny the association ideas. She is poor,
a daughter of a cassava peeler, and uneducated person. She has optimistic
and willed (Prawira, 2018). The rejection of ideas begin with her will to
have some Entrok ―Paklik yang duduk Bersama istrinya tertawa terbahak
mendengar kata-kataku. Sama seperti reaksi Simbok saat aku minta entrok.
‗Nduk, entrok itu mahal. Mbok mending duitnya buat makan‘ kata Paklik‖
(Madasari, 2010: 19). From the quote sugge sts that Marni did not have
the opportunity to buy the entrok she wanted. which leads to a woman's
inability to give up before taking action. but this did not dampen his
desire and give more motivation in. She started to follow his mother to
the traditional market and pay attention to the people around her. She
found the way by her observation, ―Kenapa aku tidak bekerja seperti Teja?‖ It
means that Marni wants to work earning money as Teja do. Indirectly
refers to gender equality toward feminism that woman works like a man.
Marni one step ahead.
Once more patriarchy appears on Teja utterances ―Ni, kamu gak
ada perempuan nguli. ada-ada saja. Nggak akan kuat. Sudah, perempuan itu kerja
307
yang ringan-ringan aja. Ngupas singkong.‖ (Madasari, 2010: 34). There are two
association of ideas on woman, first no one woman work hard as ‗nguli‘,
and second woman do a simple work activity. Those thoughts give an
interpretation that female can not work like men, connotates woman is
weak and men is strength in power aspect regarding patriarchy as the
opposite of femin ist. Mbah Noto makes a clearness about patriarchy
social in Singget ―Mbah Noto hanya mengingatkanku untuk tidak terlalu ngoyo
dan tahu diri. Katanya sudah dari sononya tenaga perempuan itu kecil dan tidak bisa
bekerja berat.‖ (Maddasari, 2010: 37). Comparing strength between woman
and men in aspect power and remembering to the ideas of habitual
slavery of character. She reje cted by comparing household activities with
carrying sacks in the market ―Berat satu jun (wadah air dari tanah liat) yang
berisi penuh air sama saja dengan satu goni berisi singkong. Tidak ada laki-laki
yang mengambil air, katanya itu urusan perempuan. Ya jelas lebih anak nguli
daripada ngambil air. Nguli diuppahi duit, sementara mengambil air tidak pernah
mendapat apa-apa‖ (Maddasari, 2010: 37). That‘s may Wollstonecraft wants.
Marni was thinking more critically than before which proving woman are
able to think critically and more rationally with the present the thought
‗better work as nguli than carrying water‘. Marni one step more ahead.
308
―Wah, sudah kaya kamu sekarang, Ni. Sudah punya modal. Tidak nguli
lagi sekarang?‖ (1) ―Ah, wong sampeyan tiap hari nerima duit kok. Tinggal niat-
nya bagaimana to….‖(2) (Maddasari, 2010: 44) For quote (1), Teja noticed
Marni and acknowledge her efforts which indicates that Teja claimed that
woman are able to work and same chance of gender in economic and
work aspect. One victory received Marni as woman against patriarchy in
society. Turn to quotes (2) as direct resistance to patriarchy in context of
‗will‘. Both of them, give interpretations will‘s Marni being active
participant in society as realization of statement Wollstonecraft that ‗So,
ductile is the understanding‘ (Nurrachman, 2017: 135). His tenacity to
realize his desire as understanding. Marni continues to apply this
understanding as evidenced by changing jobs as ‗bakulan‘. Her thinking
―Siapa yang masih memilih jauh-jauh berjalan ke pasar kalua ada yang mengantar
dagangan sampai ke pintu rumah?‖, comprehensive thinking.
As previously mentioned, that woman will be the first teacher for
her child. Visionary thinking as the development on Marni character
reflected Wollstonecraft values about the importance of education,
rationally thinking, and ductile fir woman. In context marrying, Teja asks
Marni to marry with him and have a child like Tinah (Marni‘s childhood
friend) she reply with visionary, prospect in future, responsibility, and
309
hiding hopes for her child like her who should work in childhood age
―Tukang kupas singkong atau bakulan keliling kalua perempuan? Anak laki-laki
ikut bapaknya nguli?‖ (Maddasari, 2010; 47). From the way Marni struggle
to survive, her thinking is rationally. Worrying about a child's future
experiencing the same thing is a very deep and critical decision. This is
because of the rationality, and responsibility on her moral character.
Here‘s, the association ideas of moral character and judgment hierarchy
on woman has reduced by Marni‘s characterization through changes in
Marni who are increasingly educated through observation, critical
thinking, deep thinking, visionary, responsible, and knowledgeable since
her first wish (Entrok).
However, Marni is not perfect in Wollstonecraft's eyes because
Marni still yearns for love ―Pandangannya… aku takt ahu seperti apa… tapi
membuatku Bahagia sekali. Sorot mata Teja mengantarkanku ke kerajaan yang
indah, megah, dikelilingi taman bunga.‖ (Maddasari, 2010:41). His dream leads
to sentimentality which Wollstonecraft considers a weakness. She state
that ―Another instance of that feminine weakness of character, often
produced by a confined education, is a romantic twist of the mind, which
has been very properly termed sentimental.‖ (Nurrachman, 2017: 140)
She adding that woman should controlled her love sensational which
310
towards imaginations. Cause it will referring to ―how foolishly and
ridiculously they caricatured human nature, just opinions might be
substituted instead of romantic sentiments.‖ (Nurrachman, 2017: 143).
Wollstonecraft criticized that woman should not be ridiculed as adults
because they act incompatible with the values prevailing in society and the
experiences gained. This also relates to stories about "gendakan" that are still
being carried out by the Singget community. Therefore, the importance of self-
control and emotions about love. ―Dan biarkan saja aku menikmati malam ini.
Mengulang apa yang kami lakukan tadi malam. Merasakan lagi nikmat dan
bahagia yang kami cicipi dalam gelap desa ini. Kyai Hasbi bergerak lebih cepat
dan tangkas sekarang. Tidak ada ragu dan malu seperti sebelumnya. Sepertinya
dia sudah yakin aku juga menginginkannya. Dia bergerak cepat mencumbu bibir
dan dada. Gusti, aku hampir lupa kalau laki-laki ini tiga puluh tahun lebih tua
dari aku‖ (Madasari, 2010: 249 - 250). Which makes Marni as an 18th
century woman longing for love which according to Wollstonecraft is
stupid and ridiculous.
Thus, in Okky Madasari's novel Entrok is a reflection of a fictional
story that has a background in19th century. Where is the post-
independence year, the hierarchical level still views men as rulers, leaders,
and with a higher degree than women. However, based on an analysis
using Mary Wollstonecraft's theory of thought in the Entrok Novel, the
311
Patriarchy is opposed through the characterization of Sumarni as the
main character. A strong desire and motivation to become a reality is a
tenacity for Marni herself. From his thoughts on how to make money, he
led to success which indirectly led to the feminism movement. Where the
movement is fighting for the rights and opportunities for women. but in
her case, she is categorized as feminism for the individual. This can be
concluded as a reflection of the values and things that a woman must
strive for according to Wollstonecraft. Finally, it could be due to social
factors and cultural communities that still have illicit relationships which
are the benchmarks for the value of love. So in practice, love is still a
common thing and the practice of sexual relations in the 19th century.
References
Darwin, M. (2018). Maskulinitas: Posisi Laki-Laki dalam Masyarakat
Patriarkis. Center of Population and Policy Studies Gadjah Mada University,
4(02), 1–7. https://doi.org/10.30996/.v4i02.1735
Milleniawati, S. K. (2019). PERLAWANAN TOKOH PEREMPUAN
PADA NOVEL ENTROK. Seminar Nasional Bahasa Dan Sastra,
3(Nomor 2), 898–906.
Prawira, S. D. (2018). Karakter Tokoh Utama Pada Novel Entrok Karya
312
Okky Madasari (Kajian Psikologi Sastra). Jurnal Ilmiah FONEMA :
Jurnal Edukasi Bahasa Dan Sastra Indonesia, 1(1), 1.
https://doi.org/10.25139/fn.v1i1.1092
313
- Too many introductory paragraphs Nari Suryani Aghnyanawati
- Tooooo many unnecessary informations included
- Truly lack of real analysis 1195030157
- Lack relevant theoretical justification/supports V-D
60 = C
WOLLSTONECRAFT’S FEMINIST THEORY AGAINST OKKY
MADASARI’S ENTROK
Literary work is a sort of rhetoric that portrays countless aspects
of people's lives and society. Meanwhile, feminist theory is a concentrated
idea of criticism of the investigation of women's concerns in works of
literature in literature on its own. Throughout mankind's life, females
have really been unfairly represented by social imbalance. Women who
are already positioned in domestic and reproductive responsibilities face
significant barriers to advancement throughout the public and
professional spheres. Gender is viewed as more than just a cultural notion
that has been used to differentiate the roles, actions, mindset, and
emotional qualities of men and women which it develops in society, as
well as non-biological elements (Rokhmansyah, 2016). So far no one has
established a comprehensive definition of the term "feminist criticism."
Even before applied in the context of literary works, it is also being used
in a variety of contexts to help hide a wide range of activities, which
314
include (1) each and every critical analysis written by a woman, regardless
of the subject matter; (2) a certain criticism written by a woman about
something like a man's book which then continues to treat this certain
book from either a "political" or "women's rights" perspective; as well as
(3) any criticism written by a woman about a woman's book but rather
about female authors in broad sense (Kolodny, 2017). The different kinds
of studies should include under those same last two broad headings have
helped us better define the portrayal of and attitudes forward into female
characters in a wide range of authors, as well as, where appropriate,
exposed the ways in which gender stereotypes bias and/or stereotyped
formulations of women's roles in the society are becoming written into
law throughout literary works.
I believe that it is important to emphasize that what women had already
expressed throughout literary works thus far has been only what they
have been capable of expressing as nothing more than a result of the
complex dynamic interaction among both inherent biological causal
factors, individual personal skills and abilities and opportunities, and also
the significantly bigger effects of primary socialization, that further, in
some case scenarios, might very well rule the country a limits of
expression or perhaps even perception and experience its own. I am
315
particularly concerned that, because the concept of something like the
artist woman is still unfamiliar to the significantly bigger academic world
(if it has already been acknowledged what so ever), and because other
groups within the women's liberation movement are all still trying to
discuss this same relationship among both human physiology and societal
norms, we would then subconsciously authorize ourselves to just be
forced to put up with the potentially futile public discussion over genetic
and environmental factors. But unless we confront the argument at all, it
should only be to acknowledge the possibility of based on biology causal
factors behind some of these clearly evident literary similarities and
differences.
As I have mentioned above, women had already expressed their
concerns on gender discrimination throughout literary works through
decades. Women are an intriguing subject that they usually always offer
elements that often included objects to be examined in certain way; even
issue of hatred of women in a small rural town can be depicted in the
context of mobile media, such as in Okky Madasari's Entrok. This book
narrates Sumarni's life story is shrouded with gender injustice, which I
would address in this paper.
316
Entrok's novel, set in the Madiun between 1950 and 1999, tells the story
of a woman's struggle to meet her demands as a woman who wishes to
have entrok. Sumarni's life revolves around struggle, hard effort, as well as
a strong spirit. The novel's themes of injustice, authority, and despair
provide us the readers with information and insight into life at the
moment. Marni, in particular, is just a really interesting character created
by the author. Marni actually started as a porter having to carry women's
grocery shopping at the market because she really wanted to have entrok
(bra), then advanced to shopping carts around, lease money (lenders),
lease a pickup, and eventually was becoming an owner of sugarcane
enterprise and the wealthiest woman in Singget, her village, thanks to
perseverance and determination, and her life principles. Her daughter,
Rahayu, who was raised in sufficiency, was able to go to college in
Yogyakarta. She, then, became an activist who defends residents whose
land has been displaced due to development of a reservoir. The character,
Sumarni, described by Okky Madasari is what will become a material for
this analysis by tracing the gender inequality that they naturally through
the influence of patriarchal culture.
The term patriarchy refers to male dominance both in public and
private realms. Feminists frequently use the term "patriarchy" to describe
317
the power imbalance between men and women (Sultana, 2010). As a
result, patriarchy is more than simply a term; feminists accept it as an
idea, and, like some of the other notions, it is a way of understanding
feminist challenges. Various scholars view the concept of patriarchy
differently. Walby, for example, defines "Patriarchy" as "a kind of public
organizations and actions within which males govern, oppress, and take
advantage of women." She describes patriarchy as a framework that
rejects gender essentialism (the belief that men and women are
biologically or physically distinct and consequently assigned separate
duties) or "the assumption that every individual male is constantly in a
dominant position and every woman in a subservient one." She describes
patriarchy as a framework that rejects gender essentialism (the belief that
men and women are biologically or physically distinct and consequently
assigned separate duties) or "the assumption that every individual male is
constantly in a dominant position and every woman in a subservient one
(Walby, 1990)."
Meanwhile, Mary Wollstonecraft yearned for more. She went so far as to
declare war on patriarchy. She demanded nothing other than a
"revolutionary in feminine etiquette." This was not a breakthrough about
how to set up or sit at the dining room table. Its aim was to abolish the
318
indoctrination system that rendered men and women prisoners of one
other's cruelty, rather than just the moral companions they were intended
to be. Before declaring a war against patriarchy, she already had published
fiction to answer Edmund Burke‘s Reflection on the Revolution in
France with her A Vindication of the Rights of Man. In A Vindication of the
Rights of Man, she went beyond her Dissenter friends, whose views
remained strictly patriarchal. A continuous heritage of male writers has
contributed to women being reduced to "artificial, weak figures.", said
Wollstonecraft (Nurrachman, 2017). Wollstonecraft recognized education
as the underlying cause of male-female inequities. Education really does
have an impact on almost every aspect of life since it began in the
nursery, long before anyone even acquired a language or attended school.
Parents supplied toys and mirrors to young females while enabling young
boys to run around outside free. Wollstonecraft noticed that these
substantial disparities in early children's upbringing also had much
impacts. 'The tremendous difficulty is that they both acquire manners
before morals, and an understanding of life, before they can have, from
reflection, any connection with the big ideal shape of human behaviour,'
she soberly observed. Likewise, they acknowledged the difference in
behavior that education created between both the sexes. Women learned
319
to think and portray themselves as weak and submissive, which made
them more desirable to males. She also points out in chapter 6 of her
book that what individuals learn when they are young is seldom
unlearned later in life, especially if they are not taught how to challenge it.
She discusses how, as children, women are told to admire dashing but
dishonest guys and to absorb facts by rote. That is why, if there is a
difference in behavior generated by education between men and women,
inequity concerns will always exist. This issue is one of the main problems
in Entrok novel by Okky Madasari. Hence, I am going to analyze some
narratives that really portray this issue in the novel.
The Entrok novel by Okky Madasari is actually flooded with a lot
of patriarchal and gender inequality issues. The injustices that appear in
Entrok occur in various aspects life. Girls are dominated by their family
members since they are perceived as a weak creature. One of the most
related to Wollstonecraft theory about gender inequality is when Marni
wants to work and become a porter in the traditional market. She was
being laughed at after she stated her ambition to work as a porter.
―Aku kuat, Kang. Biasanya aku juga nggendong tenggok, nggendong
goni. Bakul-bakul itu juga banyak yang mengangkat sendiri dagangannya
320
dari rumah ke pasar. Hanya priyayi-priyayi saja yang nggak kuat
ngangkat goni.‖
The quote shows Marni's seriousness in getting money. Marni is willing to
go against her nature as a woman with work as a porter in the market.
From the quote above, it can be seen that the workload is made into a
rule and a habit that cannot be broken, women have been allotted to peel
cassava and men nguli. Marni felt that the distribution was unfair and that
women were ready to do heavy work and were able to use force. In the
novel, it is stated that every day women fetch water from a river that is far
away and have to carry heavy loads. That part really speaks volumes that
women actually can do what men do. Another narrative that shows how
messed up the society by seeing women as the weakest creature in the
Entrok novel is shown by this quote:
ngoceki telo, nguli itu berat. Sudah jatah orang lain.‖ ―bukan masalah
kuat—nggak kuat, Nduk. Ini masalah ilok-ra ilok, pantas nggak pantas.
Nggak ada perempuan nguli.‖
When Simbok rejects her kid willing to work as a porter, as seen in the
statement, this is due to the fact that being a porter is considered
unsuitable for women. According to the quotation, women's employment
321
in the area is extremely limited. This proves that Wollstonecraft's theory
about women who tend to be seen as weak is real. Marni is considered
unable to do the job just because she is a woman. In addition, the quote
above proves that women do not have many choices in life, even to work,
we are faced with the irrational limitations of patriarchy.
―Sayangnya tidak ada buruh perempuan di sini, betapapun ingin aku
mengupaih mereka dengan uang sebesar buruh lelaki. Upah yang
besarnya sama, tidak lebih kecil hanya karna dia perempuan, lebih-lebih
hanya diupahi telo.‖
The quote shows when Marni who has been successful wants once
equalized women's wages with men's wages, that is, equally paid money is
no longer just a cassava. This system is quite similar to slavery because
getting paid just by a cassava is not enough and it does not represent
equality or even justice. According to Wollstonecraft, this continual
subjugation has a more harmful influence on the female character than
on the male, because industry and other dried forms of employment of
the mind tend to dull the emotions and sever bonds that harm reason.
This corruption ranges from the presentation of fake manners to the
cultivation of a culture of luxury, which eventually leads to power abuses.
322
―Nduk, anak perempuan itu harus punya suami, punya anak. Kalau
sudah ada yang melamar tidak boleh ditolak, bisa kualat, jadi perawan
tua." Aku tak membantah omongan Simbok, tak juga mengiyakan. Tapi
hanya tiga hari setelah itu, kami berada di rumah kamituwo.‖
The quote above shows that Marni cannot express her opinion in
rejecting Teja's proposal to marry her. Women are considered to have to
always accept men's proposals even though women want to reject them.
This problem gives the assumption that women cannot express their
opinions. Marni is hesitant to marry Teja because she is bound by the
cultural norm that women must accept a man's proposal. This indicates
that before becoming husband and wife, men already have the privilege
to dominate and make women the recipients of all their decisions.
Reinforced by noble opinions about women's leadership. In society,
women tend to be seen as unfit to be leaders because their bodies are
very weak and their hearts are soft, and their minds are short, besides
having soft feelings that make women considered unable to make firm
decisions. This is also consistent with Wollstonecraft's opinion, as stated
in her book, that a married woman had no property, no vote, no money
of her own, and no rights to her children in the eyes of the law.
323
In conclusion, the depiction of gender discrimination, particularly
in the workplace, is plainly obvious in the quotations above. During that
time, a woman, particularly a Javanese woman, did light labor and was
solely responsible for the kitchen. Marni's heavy job, such as becoming a
porter, is against nature and improper. Women are also treated unfairly
when it comes to finding jobs. It all happened due to the lack of
education, as Wollstonecraft describes the real culprit is the education
system. That is why she campaigned for women's right to education, also
was arguing that they were largely responsible for the teaching of the
young.
References
Walby, Sylvia (1990. Theorising_Patriarchy.
Kolodny, A. (2017). Some Notes on Defining a " Feminist Literary Criticism ".
75–92.
Nurrachman, D. (2017). Introduction to Criticism: Critical Theory from Ancient
Greece to Victorian England (M. D. Purwanto & P. Priyawan (Eds.)).
Pustaka Aura Semesta.
Rokhmansyah, A. (2016). Pemahaman Awal Kritik Sastra Feminisme.
Penerbit Garudhawaca.
324
https://books.google.co.id/books?id=tDUtDQAAQBAJ&printsec
=frontcover#v=onepage&q&f=fals
Sultana, A. (2010). Patriarchy and W omen ‘ s Subordination : A Theoretical
Analysis.
325
70 = B
- State the specific topic what is this about and be consistent with it
- Still having jumped-up ideas
- Some narratives and analysis are relevant with the theory, Natasya Mega Putri
some others not
- Still needs more critical-analytical arguments
- Still needs more relevant theoretical justifications/supports 1195030158
- There's still an inconsistent references
- Be aware of mechanic errors: paragraphing, citation, punctuation, VD
capitalization, italicization, etc
SUMARNI AS THE IMITATION OF FEMINIST IN NOVEL
ENTROK 2010 BY OKKY MADASARI
―In the fact the female mind has been totally neglected‖ (Nurachman,
2017). That words were came out from 4 century ago, but why that fact
in reality is still remained? Those words were written down by Marry
Wollstonecraft in her book in ―A Vindication of the Rights of Woman‖
1792 which triggering a movement that nowadays call as feminism, and
the people who stick on this movement called as feminist.
The genuine idea of feminism is the movement to end social construction
which dominated by man. The vivid idea in my opinion about this
movement is based on the fact that human when they born has no choice
to select their sexuality, whether to be woman or man, it is undetermined
by the people, yet it is natural order of destiny. Meanwhile, the social
relation and its activities in life has the area to be discussed in the first
place, therefore it is lies the chance to choose. Therefore, the status of
326
sexuality does not determine the limitation access, chance, and choice to
live the life in society. But the fact is not so humble as I said in this
foundation. So many forms of social construct which unfair and creating
inequality among gender, and so mesmerizing and ridiculous that such a
certain thing reasoned because sexuality like the family decision
dominated by man, works recruitment dominated by man, and so on
which full taken on masculine power. This situation is defined as
patriarchy system, as stated by Guo that ―patriarchy is a social structure in
which males are the primary authority figures in charge of social
organization, property ownership, moral authority, political leadership,
and other aspects of life. where males in the family have power over
women and children household‖ (Guo, 2018).
Moreover, I propose that feminist movement representation can be
appeared in literary work, this because literary has the capacity to reveal
everything and imitate the reality, no matter what, even the immaterial
things like imagination and emotion of the author. As followed the
reference from ―the nature of literature does present a large part of life,
while real world life is a social condition of society‖ (Rene Wellek &
Austin Wareen, 1995). Afterwards, the analysis of feminist movement can
use the literary work as its object.
327
This humble essay, therefore, will analysis the portrayal of feminist
movement as regarded the imitation from reality in the novel‖ Entrok‖
2010 by Okky Madasari. This novel was being chosen because it contains
several depictions about feminist movement from the character in the
novel. As modest synopsis which follow this interest that the story tells
about Marni as a young girl who possess and obsess about bra or entrok in
java language, following her ambition to have fulfil her needs by working
as a merchant by walking around, and day by day she succeeded with the
addition job as moneylender, the story also moves in the story about
Rahayu, Marni‘s daughter who become a mistress and accused of being a
PKI sympathizer.
In analyzing feminist movement in literary works, then it is mandatory to
use literary criticism and approach. In this gold opportunity, I will use the
approach of mimetic which is understood to treat literary woks as the
reflection of reality. This also agreed by Abrams in Nurachman that
―Mimetic criticism views the literary work as an imitation, or reflection,
or representation of the world and human life, and the primary criterion
applied to a work is the "truth" of its representation to the subject matter
that it represents, or should represent‖ (Nurachman, 2017).
328
The first movement is played by Sumarni in the novel where she manages
to fight the common view of women who can't work as casual laborers,
and don't go back to following the women's work followed by their
mothers which doesn't make them develop either financially or creatively,
because cutting cassava is a very repetitive job.
―Teja melihat, dan langsung berdiri menghampiriku. ‖Nyi Dimah mau ngangkat
apa?‖ ‖Bukan, Kang. Aku nggak disuruh Nyai. Aku yang butuh bantuan, Kang.‖
‖Kamu mau ngangkat apa, Ni?‖ ‖Bukan, Kang. Bukan minta dibantu ngangkat.
Aku mau ditolong, aku mau ikut nguli kayak Kakang.‖ Teja terbahak-bahak
mendengar permintaanku. Sungguh bukan jawaban seperti itu yang kuinginkan.
Aku menunggu agak lama untuk mendapatkan jawaban yang sebenarnya. ‖Ni,
kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat. Sudah,
perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖ ‖Aku kuat, Kang.
Biasanya aku juga nggendong tenggok, nggendong goni. Bakul-bakul itu juga banyak
yang mengangkat sendiri dagangannya dari rumah ke pasar. Hanya priyayi-priyayi
saja yang nggak kuat ngangkat goni.‖ ‖Tapi tetap nggak umum, Ni. Di pasar ini,
nggak ada perempuan nguli.‖ ‖Tapi aku mau, Kang. Aku butuh duit, Kang. Nggak
mau lagi diupahi singkong.‖ ‖Ya terserah. Kalau mau nguli ya monggo,‖ Kata Teja
lirih. ‖Caranya gimana, Kang?‖ ‖Nggak ada caranya. Asal ada tenaga saja. Kamu
329
tunggu di sini kalau ada orang yang butuh,‖ kata Teja sambil menunjuk kuli-kuli
lain yang bergerombol di bangku kayu depan pasar.‖ (Madasari, 2010)
From here I can see, the novel imitates in reality where feminist
movement can be started any woman, this also imitates regardless
feminist movement is social movement, in the practice it can be done
personally. I also familiar where the feminist movement in the action in
reality trough Instagram Influencer such as Agri Merinda with her
Instagram account @agrimerinda or such as woman artist like Tara Basro
when she acknowledge on the issue ―woman body is woman choice‖ in
2020, they are individually use what they can to act feminist movement.
Starting from that this imitation is the fight against the stupid idea which
constructed by Man domination is social about the understanding work
access is for everyone not determinate by sexuality. Then, I understand
the imitation is what Wollstonecraft ever provoked to be fight that ―This,
habitual slavery, to first impressions, has a more beneful effect on the
female than the male character, because bossiness and other dry
employments of the understanding, tend to deaden the feelings and break
associations that do violence to reason‖ (Nurachman, 2017)
330
The next feminist movement which imitates from society in the novel is
ho Marni keep going on to fight what she belief right, even at the end was
persecuted by her husband. This is what the challenge of feminist
movement to fight the inequality is hard, because every inequality is exist
in everywhere as long there is corrupted man who ac stupid and afraid.
As followed by the foundation challenge by Marry Wollstonecraft that
―The severest sarcasms have been levelled against the sex, and they have
been ridiculed for repeating ‗a set of phrases learnt by rote,‘ when nothing
could be more natural, considering the education they receive, and that
their ‗highest praise is to obey, unargued‘- the will of man.‖ (Nurachman,
2017). As presented here.
―Ibu tidak dapat menutupi kejengkelannya. Dia sudah tahu orang-orang ini hanya
mau meminta uang. Padahal, bagi Ibu, setiap sen uangnya didapat dengan kerja
keras, dan hanya akan digunakan untuk hal-hal yang menurutnya berguna.
Tentara-tentara itu sudah sampai di puncak amarah. Bapak yang selalu takut pada
tentara, seperti biasanya, langsung menengahi. ‖Mohon maaf, Ndan. Istri saya ini
memang tidak tahu mana yang benar mana yang salah. Maaf, Ndan. Beribu maaf,
Ndan. Monggo datang lagi saja minggu depan, Ndan. Nanti kami siapkan jatah
buat keamanannya.‖ ‖Hei, Kang! Kowe kok kurang ajar begitu! Kami ini petugas.
Ke sini bukan mau minta jatah. Kami hanya mau menjaga keamanan!‖ kata
331
Sumadi dengan keras. Jarinya menunjuk-nunjuk muka Bapak. Bapak pucat pasi,
tak mampu lagi bicara‖ (Madasari, 2010).
But Marni as the imitation of feminist will never silence when she faces
the subordination of her subject. This fight is to end the circle that
woman is neglected on her mine as the beginning introduction in the first
paragraph. As quoted below.
―Begitu tentara-tentara itu pergi, Bapak dan Ibu bertengkar hebat. ‖Kamu jangan
seenaknya, Ni. Mau kamu dicap PKI, dipenjara kayak Pak Tikno?‖ ‖Halah!
Aku bukan PKI! Aku cuma mau cari makan. Tidak mencuri. Tidak merampok.
Apa aku salah? Terus mereka seenak udele meras orang. Dulu ngambil panci.
Sekarang datang minta duit!‖ ‖Tapi mereka petugas, Ni. Orang yang
mengamankan kita!‖ ‖Hasyah! Prek!‖ ‖Kowe prak-prek-prak-prek terus! Mau
nanggung kalau kita nanti dicap PKI? Mau kalau nanti kita semua dipenjara?‖
‖Terserah! Yang penting aku bukan PKI‖ (Madasari, 2010)
Despite this imitation referring about political issue, here I see Marni is
struggling to fight what her truth that she is not pro on Indonesia
Communist Party. That is a grand truth. From here, I could say that
Marni is not blinded by her husband where many woman are majority
blinded by her husband, throwing away her mind and truth as subject
332
being, as warned by Mary Wollstonecraft that ―for they then perceive that
is only through their address to excite emotions in men, that pleasure and
power are to be obtained‖ (Nurachman, 2017)
The next feminist imitation on Sumarni is how she managed to be
conscious and full of reasoning to choose a partner, so many
considerations that very well to be thought. Thinking about more
complex possibility in the future such as provision of abilities, beliefs, and
assets to start a family and live as a marriage couple with Teja, shortly
Sumarni is being realistic to decide, The imitation from Sumarni even did
not judge any physical or social class about Teja, yet she question
objectively on how Teja‘s effort in dealing life. Sumarni consideration is
very imitating and related to in current situation in society where woman
is needed to be more reasoning something rather than following blinded
feeling about couple, such as popular term in relationship like bucin, cinta
mati while her partner is a playboy and crock for example. This related to
Mary Wollstonecraft about the truth lof love relationship and it decision
to live as couple ―But one grand truth woman have yet to learn, though
much it imports them to act accordingly. In the choice of husband, they
should not be astray by the qualities of a lover-for a lover the husband,
even supposing him to be wise and virtuous, cannot long remain. Were
333
woman rationally educated, could they take a more comprehensive view‖
(Nurachman, 2017). The imitation is very clear over here.
―Kenapa, Ni? Kita saling cocok. Apa kamu tidak pengin punya suami, punya anak
seperti Tinah?‖ Punya anak? Bagaimana jika aku punya anak nanti? Mau jadi
apa anakku nanti? Tukang kupas singkong atau bakulan keliling desa kalau
perempuan? Anak laki-laki ikut bapaknya nguli? Pertanyaan-pertanyaan itu hanya
tersimpan dalam hati. Tak tega kusampaikan pada Teja, karena aku memang
menyukainya. Aku hanya takut kalau cerita-cerita yang setiap hari ku dengarkan
suatu hari nanti akan kualami. Takut kalau anakku nanti mengalami seperti apa
yang kualami, punya bapak tapi minggat. Punya ibu tapi bodoh dan melarat.‖
(Madasari, 2010)
As the end of this humble essay. I will conclude and suggest that feminist
movement from the imitation in Entrok in Sumarni as a woman, this
regarded by Andestend ―Women‘s life can be counted to the feminism
matter in the literary movement. Feminism‖ (Andestend, 2013). It is very
beneficial to understand that feminist movement can be start whether its
socially or individually to acknowledge the society about the inequality,
but the challenge is everywhere even the man of the loves one can be on
the side of the opposite feminist movement, the second conclusion of
334
feminist imitation is that Marni stick to defend what is the truth about the
identity, the conscious and strong reasoning about decision and
consideration of taking marriage.
Finally, the suggestions from this genuine essay are that woman as the
imitation of literary work shall be more presented in the worst possible
imagination of how inequality, because the feminist movement is more
dealing with extreme man domination and more structural, deeper, and
not even felt and unseen. Therefore, I hope, the imitation in literary
works shall more beyond than reality to trigger and gain the
consciousness that woman condition is not ok.
335
REFERENCES
Andestend. (2013). Feminisme Sosialis Di Dalam Novel Mencari
Perempuan Yang Hilang Karya Imad Zaki. Jurnal Ilmiah Korpus
Vol.4 No.2, 2020 ISSN. English Language and Education Departmen,
Bengkulu University.
Guo, R. M. (2018). Brief Analysis of Feminist Literary Criticism. Beijing: The
Drama Publishing House of China.
Nurachman, D. (2017). Introduction to Critica Theory. Bandung: Pustaka
Aura Semesta.
Rene Wellek & Austin Wareen. (1995). Teori Kesusastraan. Jakarta: PT
Gramedia Pustaka Utama.
336
- What do you want to discuss actually? What reality?
- There's no specific theory chosen to be applied
60 = C
- Blurred and jumped-up ideas Nazlah Khadijah Salim
- Inconsistent discussion
- Lack of critical-analytical arguments 1195030159
- Lack of relevant theoretical supports
- Be aware of mechanic errors 5D
REALITY IN NOVEL ENTROK BY OKKY MADASARI
Reality has a close relationship with literary works. literary works
are believed to be a reflection of reality. A literary work created by the
author will usually reflect the social conditions or conditions of the
community when the work was made. Literary work is considered as an
imitation of nature or a representation of the world and human life.
Then, the poets and all artists are imitators (Nurrachman, 2017). Quoted
from Muzakki (2011), according to Atmazaki (1990) literary work is not a
tool to convey ideas, a reflection of the reality that exists in society, or the
incarnation of truth values that are difficult to understand. However
literary work is reality itself, and it would be wrong to see it as an
expression of the author.
Mimetic is the approach that views literary works as an imitation,
or reflection, or representation of the world and human life
(Nurrachman, 2017). Talking about mimetic identically has a relationship
with Plato and Aristotle. According to Plato, mimesis was strongly
337
influenced by the concept of ideas (Sanjaya, 2017). Plato said that the
world of ideas is the world of the Divine. Plato's view then concludes that
what is beautiful is the truth, because the true truth only exists in God's
world. The truth of reality always refers to the world of God (Muzakki,
2011). On the other side, quoted from Aristotle (in Aminuddin, 2004)
argues that mimesis is not just an imitation, not just a portrait and reality,
but has gone through the inner personal awareness of the author. The
authors are considered to be doing mimetics not merely copying reality,
but through a creative process to produce novelty.
The novel is one of the literary works. The story that showed in a
novel is considered a reality. Also, Entrok by Okky Madasari is a novel
that reflected the world and reality. Okky Madasari wisely describes reality
through her novel. Okky said that the ideas of the novel are from her
family in Magetan. Okky indirectly said that the novel idea comes from
the life around her. The setting of the novel is about the life of Marni and
her daughter Rahayu. Okky also nicely packs several social realities in her
work. Social reality contains the meaning of social realities around a
certain community environment (Mei, 2017). Through Okky‘s novel, we
could see the reflection of realities, including the social reality that
338
appears in Java‘s people. Here is the writer would be quoted and analyze
several social realities that appear in Entrok.
The first reflection of a reality that the writer chooses to analyze is
a woman‘s puberty. A woman who is going through puberty will
experience several changes in herself. Puberty is marked by menstruation.
Besides that, there are also some changes in her, especially the upper
body, in this case, the breasts.
Saat itu aku menyadari ada sesuatu yang berbeda di dadaku. Ada gumpalan
yang lembut dan terlihat menyembul dari balik baju yang kupakai. Simbok
bilang aku sudah mringkili.
Aku membuka kainku lalu menunjukkan noda-noda merah itu. Ada yang
kering, ada yang masih basah. Simbok melihatnya, lalu tertawa.
‖Ini bukan mau mati, Nduk. Ini tandanya kamu sudah anak perawan.
Sudah bukan bocah. Sudah bukan bocah.‖ (Madasari, 2010)
From the novel quotes above, it can be seen that every woman who
is in a period of growth will experience things that happen to Marni, such
as menstruation and growing breasts. A woman also sometimes lacks
knowledge about puberty, so they are sometimes confused about what
happened to herself when she entered puberty. In the quote above, it can
be seen that her mother, who had experienced this, told Marni about
what had happened to her.
Next, the writer chooses one of the realities, namely social reality.
One kind of social reality is working. People generally start their activities
339
in the morning to work. The purpose of work is to earn salaries to meet
the necessities of life.
Aku dan Simbok bukan satu-satunya orang yang menyusuri jalanan pagi ini.
Di depan kami, di belakang, juga di samping, perempuan-perempuan
menggendong tenggok menuju Pasar Ngranget. Kami semua seperti kerbau yang
dihela di pagi buta, menuju sumber kehidupan. (Madasari, 2010)
Based on Plato's theory of mimesis, this quote shows that the
events described in the quote above are a reflection of reality. After
experiencing puberty, Marni needs a lot of new things for her life and one
of them is an entrok or a bra. Entrok was not an easy item to get at that
time because it was expensive, so Marni tried to make money. Marni
works as a cassava peeler with her mother.
The culture that grows in society is the result of the stereotypes of
society itself. As well as in terms of work. Society assumes that women
cannot do heavy work. It then becomes a social reality that occurs in
society. Society tends to conclude that any heavy work is only suitable for
men.
‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan kuat.
Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
(Madasari, 2010)
From the quote above, it is illustrated that the social reality is
happening. Marni's character is a woman, so she is considered unable to
340
do heavy work, such as nguli. She should do women's work, in this case
peeling cassava.
Ancient Javanese people tend to believe in the existence of myths,
as well as in the case of proposals. The myth says that if a girl is proposed
to by a boy and then it is rejected and does not get their soul mate then
creates the perception that if the girl refuses the first proposal it will be
difficult to get a mate (Mutmainnah, 2018). After a man arrives, a woman
must accept and then marry. Marriage is one of the social realities where a
person gets married to maintain the continuity of life on this earth.
Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan keinginan Teja

untuk mengawiniku pada Simbok. Malam itu, di belakang rumah, saat
kuulangi permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok berbisik
pelan, ‖Nduk, anak perempuan itu harus punya suami, punya anak. Kalau
sudah ada yang melamar tidak boleh ditolak, bisa kualat, jadi perawan tua.‖
Aku tak membantah omongan Simbok. Tak mengiakannya. Tapi hanya tiga
hari setelah itu, kami telah berada di rumah Kamituwo. Kamituwo menyuruh
Teja menirukan ucapannya. Paklik berada di samping Kamituwo. Aku
sendiri duduk di dapur, bersama Simbok, Bulik, dan istri Kamituwo
(Madasari, 2010).
From the quote above, Simbok, Marni‘s mother still believes that a
woman who refuses a proposal will difficult to find a mate. So that, Marni
could not refuse Teja's proposal. After that, they are having a marriage.
because a woman must have a husband and have children. The quote
above can be seen as a reflection of the customs of Javanese society
during the colonial period in real life.

341
Praying is one reflection of reality. When someone wants
something, they tend to ask the Almighty. like that in reality, apart from
trying to make ends meet, one will pray to the Almighty to make things
easier.
Dulu sekali, aku juga melakukan apa yang Ibu lakukan. Ibu
membangunkanku, lalu kami berdua duduk di bawah pohon asem. Kata Ibu
itu namanya berdoa, tirakat. Ibu mengajariku untuk nyuwun. Katanya, semua
yang ada di dunia milik Mbah Ibu Bumi Bapa Kuasa. Dialah yang punya
kuasa untuk memberikan atau tidak memberikan yang kita inginkan.
‖Nyuwun supaya jadi orang pintar. Bisa jadi pegawai,‖ kata Ibu. (Madasari,
2010)
The quote above is a narrative quote about the ―I‖ character,
namely Rahayu and her mother Marni about how Marni's character
guides Rahayu to ask for her wishes. This often happens in the real world,
where people will pray to worship and ask for their wishes to come true.
School is another example of social reality. Every parent has high
expectations of their children. Like a term that is widely heard in the
community that children must be smarter than their parents.
Rahayu memilih kuliah di Jogja. Orangtuanya yang tidak tahu apa-apa hanya
menyetujui. Aku dan Teja sudah cukup bahagia hanya dengan melihat anak
kami satu-satunya akan berangkat ke kota untuk kuliah. Dia nanti akan
pulang menjadi sarjana. (Madasari, 2010)
From the quote above, the social reality of school can be seen.
Every parent wants their child to be an educated person. like the
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character Marni in the novel Entrok who wants her son to become a
scholar.
Crying is an activity that a person does to express his feelings, one
of which is when the pain is unbearable. when someone experiences such
a deep heartache then crying is one way out. a mother has so much love
for her child when she finds out her child hates her so much, she will feel
a very deep heartbreak.
Aku tak mampu menahan air mata. Hatiku sakit. Sudah bertahun-
tahun, Yuk. Apa aku yang salah kalau sejak lahir aku nggak kenal Gusti
Allah? Apa aku yang salah kalau dari dulu aku hanya tahu bagaimana
berterima kasih pada leluhur?
Selama bertahun-tahun, setiap hari aku menghindari omongan seperti
ini. Hanya supaya tak ada pertengkaran antara aku dan anakku satu-
satunya ini. Tapi sekarang dia malah terang-terangan membuat hatiku sakit.
Justru di saat aku begitu membanggakannya.
Tak masalah kalau semua orang omong aku memelihara tuyul atau cari
pesugihan, tapi aku selalu sangat sakit ketika yang omong seperti itu anakku
sendiri. Dan ini telah berulang kali terjadi. Hanya karena rasa kasih, ikatan
sebagai ibu dan anak, yang membuat rasa sakit dan benci ini selalu kembali
mengendap. (Madasari, 2010)
Some of the quotes above prove a clear picture of reality. If a
person experiences heartache usually they will cry. As happened to the
character in the novel Entrok, Marni. In addition, the quotes above
illustrate how great a mother's love for her child is in the real world. It
doesn't matter if the whole world hates a mother like Marni, but if her
child hates her then it will hurt her heart a lot.
343
A mother's love is unquestionable. Despite having conflicts with her
daughter, her heart will never be able to lie that she also loves her. A
mother will still worry about her child if something bad happens to her
even though she is neglected by her child. As can be seen in the quote
below.
Rahayu Ningsih. Ada rasa getir saat mendengar nama itu. Rasa kecewa
seorang ibu yang telah diabaikan anak kandungnya bertahun-tahun lamanya.
Tapi juga ada rasa haru. Haru karena rindu. Dan ketika nama itu
diucapkan seorang yang tak kukenal, ada rasa kecut sekaligus takut. Berita
buruk apa yang hendak mereka katakan? (Madasari, 2010)
From the quote above, it can be understood how easily a mother's
heart melts when hearing the name of her child. Marni, who is
disappointed with her daughter, Rahayu, is still excited to hear the news
of her daughter.
A mother is willing to sacrifice anything for her child. Even though
she had to lose the precious things in her life. Because for a mother her
child is far more valuable than all that she has.
Semuanya berjalan begitu membahagiakan bagiku. Biarlah aku tak punya

pikap. Biarlah tebu-tebu itu hanya bisa dijual tak jauh lebih mahal daripada
singkong. Biarlah uangku hanya memberi untung lima persen. Yang penting
bagiku, selalu ada uang setiap aku ingin berangkat ke Semarang. Yang
penting bagiku, setiap hari aku punya sesuatu yang diharapkan. Harapan
agar bisa segera bertemu anakku lagi. (Madasari, 2010)
From the quote from the novel above, we can see how much
sacrifice a mother is willing to give to her child. Despite losing valuable
344
things in her life, Marni is willing to do it for the sake of meeting her
child. Marni was happy as long as she could meet her son. The quote is a
reflection of how much a mother's love for her child is in real life.
Based on the views of Plato and Aristotle on literary works, the
mimetic theory is a literary theory that sees literary works as a reflection
of real-world life. the writer finds a real-life relationship with the novel
Entrok by Okky Madasari. The author analyzes the novel Entrok by
Okky Madasari by citing several narratives in the novel, then identifies the
social aspects that exist in literary works, and finds the relationship of
social aspects in literary works with social aspects that exist in real life.
Such as menstruation and the growth of breasts in women during
puberty, working to meet the needs of life, working according to gender,
marrying to produce offspring, praying to the Almighty, going to school
to become a scholar, crying when feeling hurt, loving children deeply,
making sacrifices parents do for their children.
References
Aminuddin. (2004). Pengantar Apresiasi Karya Sastra. Sinar Baru Algenindo.
Atmazaki. (1990). Ilmu Sastra: Teori dan Terapan. Angkasa Raya.
Madasari, O. (2010). Entrok. PT Gramedia Pustaka Utama.
345
Mei, T. Y. (2017). Realitas Sosial Pada Novel Impian di Bilik Merah
红楼梦(Hónglóumèng)Karya 曹雪芹 (Cáo Xuěqín). Mandarin Unesa,
2(02).
Mutmainnah. (2018). Persepsi Masyarakat tentang Mitos Sangkal
Perempuan Penolak Lamaran di Desa Penagan Sumenep Madura.
Pamator, 11(1).
Muzakki, A. (2011). KARYA SASTRA: MIMESIS, REALITAS ATAU
MITOS? LiNGUA: Jurnal Ilmu Bahasa Dan Sastra, 2(1).
https://doi.org/10.18860/ling.v2i1.557
Nurrachman, D. (2017). Introduction to Criticism. Pustaka Aura Semesta.
Sanjaya, A. (2017). Analisis Pendekatan Mimesis Dalam Novel ―Semusim, Dan
Semusim Lagi‖ Karya Andina Dwifatma.
346
- Nice and interesting discussion actually, I like the topic you choose to discuss
- Yet some still got random thoughts Nilam Salsabila Surya
- Just avoid some unnecessary statements as an effect of random thoughts
1195030160
- Personal judgement bias
- Needs more critical-analytical arguments based on the theory used
- Needs more relevant theoretical supports, despite of some unnecessary sources
- Be aware of citation technique esp for the narratives quoted 75 = B 5D
WOMEN'S FOOLING IN WOLLSTONESCRAFT PERSPECTIVE
ON RAHAYU CHARACTER IN OKKY MANDASARI'S ENTROK
NOVEL
Literary works are compositions provided by people as a mirror of the
sociological phenomenon surrounding them that would never expire; he
will permanently remember what happened at that time, and will most
likely have a similar relationship with comparable social phenomena at
later periods. Furthermore, literary works are significantly linked to the
distribution of humans to what they feel. As a result, the finished work
may be very subjective. According to Setyorini, a literary work is a
product that has its own, independent existence and exists as a complete
totality (2017). Literary works already have potential of conveying the
message even if it is not explicitly like condescending, using novels as the
platform (Gora, 2015). Seeing the same, it is quite evident how a novel
Entrok depicts the narrative of women in the established order who still
347
have the same social symptoms as now, where they have been compelled
to be moulded to bow to the requirements of males as superior and
served human beings. Okky Mandasari's novel Entrok reflects her
thoughts on this situation via the character of Rahayu, a daughter of
Marni who became one of the many women whose lives are filled with
tales that confine the mind that should be free. Okky Mandasari depicts
how and why the character Rahayu, who now is more educated than his
mother, develops into a more limited and traditional individual. This is
how Rahayu referred to Marni as a sinner based on the beliefs of her
religious teacher at school. Also, when he loves the husband of yet
another lady and becomes engrossed in amorous ideas.
Wollstonecraft examined such view of occurrences in his work A
Vindication of the Rings of Woman from either a liberal feminist
standpoint (1792). Wollstonecraft emphasizes on justice for women in
order for them to have the same rights in the private and public realms as
men, but with women's reason (rationality) since doing so. In plenty of
other regards, this style of feminism strives for women to attain legal,
social, and political equality. Such as equal educational opportunities,
political representation, and the ability to work fairly and equitably.
Capable of bringing equality between the sexes to all public institutions in
348
order to enhance knowledge creation for women so that women's
problems are no continuously disregarded.
In literary criticism, the feminist perspective is commonly referred to as
feminist literary critique. According to Nyoman Kutha Ratna (2005: 226),
the term feminism derives from the word femme, which means
"woman." This notion is supported by Sugihastuti's (2002:18) view of
feminism as an equal and fair movement between men and women in all
domains, including politics, economics, education, social and organized
actions that protect women's rights and libertiesFeminism, as per
Sugihastuti, is a knowledge of oppression against women and extortion in
society, both at home and in the workplace. Thus, the two points of view
may be combined to provide an overview of feminism as a movement
that works for women's rights and eradicates anything that oppresses
women. This is due to the fact that violence and injustice are on the
increase in many regions of the world. In truth, many women have been
ensnared by this societal construct.
Due to the obvious power of this patriarchal culture, it appears that
Wollstonecraft was the first to explore women's deceit through print
media, such as novels. Nurrachman (2017) supports this viewpoint with
349
his analysis that women are purposefully supplied with narratives packed
with romantic notions, restricting the mind with information, such that
their logical thinking talents are buried so deeply that they are no longer
human beings with that side. Women are purposefully designed to have
even a sentimental side of feeling, which Wollstonecraft refers to as
'stupidity.' Andestend (2020) concurred, stating that this tactic was a
political plan to reduce women's positions in the social order. It's similar
to what's written in the following statement:
―Ya, kami memang sedang pengajian. Tak pernah ada larangan untuk
mengaji dan beribadah. Juga tak ada larangan untuk tertarik dengan
seseorang kan, meskipun dia sudah beristri?‖
Rahayu has become a student in this statement from Okky Mandasari's

novel Entrok, on page 136. The statement that appears also reveals what
narrative he has heard, indicating that Rahayu has love sentiments but a
limited way of thinking. If explored, students will undoubtedly gain a
different perspective from the campus group. This quotation reflects
what he read and heard on campus. This is odd, because Rahayu can't
perceive Amri as a lecturer with whom she (ostensibly) simply has an
intellectual connection. Furthermore, the setting that encourages her to
continue doing what men desire. What Rahayu reads appears to have led
him to his life's decision, as evidenced by the following passage from
Rahayu and Marni's conversation on page 165:
350
‖Bu... nggak bisa, Bu. Kami nggak mau ramai-ramai. Yang penting sah
agama saja. Yang penting kami tidak dosa, Bu. Nggak usah ramai-ramai,
Bu...‖
‖Sudahlah, pokoknya kalian diam saja. Biar aku dan bapak-mu yang
ngurus semuanya.‖
‖Bu, Amri sudah punya istri...‖
According to Nurrachman (2017), if women have a higher degree of

sensible education, they will think deeply about anything, such as the
quotation on page 237 below. Could women reject such a narrative if they
were a little wiser with their logic? But it appears to be an overly broad
issue. In reality, there are very few public narratives that are not
patriarchal. This occurs because women are regarded as less deserving of
the right to vote or even to speak out. Can we count the number of roles
males play in practically every area of public narrative, including
entertainment like novels and short story collections?
―Pernikahan kami hanya akan pernah ada bagi mereka yang percaya. Tak
ada surat, tak ada gambar, tak ada perayaan‖.
Men and the patriarchal culture have invaded women's brains to the point
that women who have been imprisoned by this heinous system believe
that their lives are merely to meet the standard of life of men. Men,
according to Nurrachman (2017: 137), believe that women are a source of
beauty that men cannot live without. Women are like glass glasses, statues
posed with typical masculine decorum. Furthermore, this becomes a
realization for women; that his life is spent seeking it. Nothing would
make her happier than to be recognized as a lady deserving of praise for
351
her beauty and romanticism. They are shown imaginations that are
shaped by their own emotions.
‖Kita menikah saja, Yu,‖ kata laki-laki yang kukagumi itu.
‖Menjadi istri keempat?‖
‖Apa salahnya? Tidak dilarang dalam agama kita.‖
Gusti Allah. Apakah anugerah jika seseorang yang ku-kagumi akan

menjadikanku istri keempat? Apakah dosa jika seseorang yang kukagumi
membuatku bahagia di tanah lapang tanpa menjadi istrinya?
What the character Kyai Hasbi stated to Rahayu is a depiction about just
how men may exploit women's emotions and the ability to get him to
comply with some of what men desire. Rahayu's thoughts responded to
the offer as you can see. Worse, this idea is connected with religion, and
if you reject it, you will be regarded to be disloyal to religious precepts.
This appears to be a real-life scenario in which hegemonic masculinity has
invaded the margins of Religious principles. This appears to be how the
particular religion Syarh Uqûd al-Lujjayn (Ethics of the Household) by
Al-Nawawi presents it, as stated by Muhammad Ibn Uma Al-Nawawi
(2000). According to Nurmila (2015), the Islamic society's thinking
construct is that males can perform any essential function regardless of
their gender. Men can become religious leaders, and they frequently
conduct religious studies that include both men and women. Men can
352
also be seen to be leaders because they perceive women's IQ is inferior.
There are several gender prejudices that are poisonous social
constructions. Especially, as described in Okky Mandasari's novel Entrok,
how they begged the wife of a recently departed colleague to marry him,
as well as the title of a religious person who manages a boarding school.
A man's persona like this might simply persuade a lady to agree with just
about everything he says. Furthermore, if it is wrapped in religion, males
have an easier time manipulating women. Men exclusively regard women
as objects to be dominated, and they are deemed to be incapable of
thinking and deciding for themselves. Men believe that women's lives are
nothing more than a means to an end.
Kami meniru semua yang ada padanya. Mengikuti semua yang

dilakukannya. Tiga istrinya tinggal di sini. Masing-masing dengan kelebihan
yang berbeda. Istri pertamanya begitu indah membaca kitab. Ditularkannya
keahlian itu pada seluruh perempuan yang ada di sini. Istri keduanya
kadang mengingatkanku pada Ibu. Begitu lincah, begitu sigap, mengatur
segala kebutuhan padepokan. Istri ketiganya baru dinikahinya dua bulan
lalu. Dia temanku sendiri. Arini. Aku dan Amri yang memperkenalkan
mereka. Arini yang sedang sebatang kara dan butuh tempat berlabuh. Kyai
Hasbi me-minangnya. Sekarang Arini, sebagaimana aku dan Amri, me-
lengkapi apa yang perlu diketahui santri-santri ini. Berhitung, berpolitik,
353
hingga mengerti bahasa selain yang ada di kitab dan selain yang setiap hari
mereka gunakan.
Consider how the women' capabilities serve solely to reinforce the
pesantren system maintained by their husbands. Men may readily exploit
women's strengths by marrying them. What guys seek from women might
be comical at times. They search for women who have an advantage in a
sector, but not to promote gender equality. Sepertinya, This seems to
have been a worry for Mardiasih (2019), where Muslims appreciate
Khadijah for her independence and commercial acumen, but they dislike
women who follow the same aspirations. Aisyah's brilliance is normally
praised in such an Islamic community, but she does not enjoy it when she
sees brilliant women, dares to break through injustice, or is just wiser
than males. This has been my bewilderment and concern, if the Muslim
society just romanticizes female figures that are regarded excellent, or
whether it is just a stale fiction with no adoption of any essence for life. Is
society of the opinion that outstanding women can only be associated
with the names of the personalities mentioned above? Furthermore, this
story has frequently been offered at every chance for Islamic religious
occasions, even in casual conversation. Is it possible to comprehend how
ladies acquire such a dreadful narrative?
354
As a result, this will always be a battle between women who just want to
obey the system that punishes them and those who choose to be free.
Dengan hati hancur, kutemui perempuan dan laki-laki se-tengah baya itu.
‖Saya istri sah Amri,‖ kataku kepada me-reka.
‖Itu istri Amri. Itu anaknya.‖ Laki-laki itu menunjuk perem-puan dan
anak laki-laki yang duduk di sebelah tubuh Amri.
‖Kami sudah menikah. Saya istrinya.‖
‖Amri tak pernah bilang dia menikah lagi,‖ jawab perem-puan itu.
When you fulfill men's desire to control women, women really get
nothing. This remark may be examined further to see how Rahayu feels,
who has been severely damaged. But, once again, women who are
exposed to this type of narrative choose to continue living it and even
feel bad when they resist. The problem that complicates matters more
than anything is how this patriarchal way of life is maintained not just by
men who are eager for adoration, but also by women who become the
soldiers' collaborators. In my perspective, the women who embrace the
monster's story are women who fall into the trap of being fooled and
become part of the killers of other people in an attempt to exist in a
gender-biased and patriarchal environment. The women compete to see
who can be the most subservient to men.
355
REFERENCES
Gora, R. (2015). Representasi feminisme dalam karya sastra (Kajian
semiotika sosial novel ―Eks Parasit Lajang‖ karya Ayu Utami).
Jurnal Cakrawala, 15(2), 78-84.
Nurmila, N. (2015). Pemahaman Agama Dan Pembentukan Budaya.
Karsa, 23, 1, 1-16.
Semesta.
Mardiasih, K. (2019). Muslimah yang diperdebatkan. Yogyakarta: Buku
Mojok.
Ratna, N. K. (2013). Teori, Metode, dan Telaah Penelitian Sastra.
Yogyakarta: Pustaka Pelajar.
Setyorini, R. (2017). DISKRIMINASI GENDER DALAM NOVEL
ENTROK KARYA OKKY MADASARI : KAJIAN
FEMINISME. Jurnal Desai, 04, No. 03, 291-297.
Sugihastuti dan Suharto. (2002). Kritik Sastra Feminis Teori dan
Aplikasinya. Yogyakarta : Pustaka Pelajar.
356
45 = E Name: Nina Fitria Sumartini
- What's this... ???
- There's no real analysis even for one narrative ID: 1195030161
- There's no citation even for one source
- There's no discussion of the topic stated even for one sentence Class: 5D
- Please be nice to yourself
SOCIAL CONFLICTS IN THE NOVEL ENTROK IN WORK
OKKY MADASARI
Yubahar Ilyas defines feminism as an awareness of the inequality of
gender division experienced by women, covering various perspectives, both in
the family environment and in the social environment, thereby encouraging
awareness by both women and men which is then manifested in actions with
the aim of changing this inequality. Feminism is a women's movement in
fighting for emancipation or full equality of rights without distinguishing
between women and men, without being accompanied by restrictions or acts of
violence or discrimination. The essence of the Feminism movement is the equal
opportunity between women and men in self-development. Feminism basically
covers various fields of life, including education, economics, social, culture, and
politics. Understanding the meaning and implications of feminism in life, needs
to be deepened by looking at the development of feminism studies. In the work
Vindication of the Right of Woman, Mary Wollstonecraft argues that men and
women both have the same mindset, so they should both get equal rights and
357
treatment. Viewed from a historical point of view, this liberal feminist
movement focuses on the struggle of women in obtaining equal education
rights with men. The unfortunate thing about this manifesto is that many
people do not know what feminism is, many people actually misunderstand the
meaning and intent of feminism.
Entrok novel by Okky Madasari is a novel that contains the life journey
of two women from different generations, namely Marni and Rahayu. Okky
Madasari herself is a woman born in Magetan. Entrok is her first novel, which
was printed on April 21, 2010, taken from the Javanese language Entrok means
brassiere. In this novel tells the struggle of two feminists who are trying to
achieve justice and equality between men and women. If we look at history
there are many feminists struggles in Indonesia, some of the famous feminist
figures in Indonesia are Raden Ajeng Kartini, L.A Lasminingrat, Raden Dewi
Sartika, Raden Siti Jenab, Ema Poeradiredja, and others.
The feminist criticism approach actually comes from the feminist
movement in the Western world which is rooted in the struggle for equal rights
for women. The struggle to eradicate gender subordination began in the late
eighteenth century, especially with the publication of Mary Wollstonecraft's A
Vindication of Women's Rights (Justification for Women's Rights, 1792). Then,
following John Stuart Mill's The Subjection of Women, and American female
writer Margaret Fuller wrote Women in the Nineteenth Century. The suffrage
358
movement (women in England in the early 20th century who demanded
women's right to vote) continued its struggle. Feminist criticism is a
development and movement in theoretical criticism and study that took place in
the late 1960s and since then this feminist criticism has been increasingly
established. Feminist criticism is a (literary) criticism that seeks to describe and
interpret (and reinterpret) the experiences of women in various literary works,
especially in novels. This feminist criticism questions the protracted 'ideology'
which is dominated and centered on (gender) men coupled with a male
'conspiracy' with its patriarchal attitude and male interpretation in literature and
literary criticism. This feminist criticism attacks the record of the value of men
in literary works by offering a critique of male authors and the role of men in
literary works. This feminist critique prioritizes female authors. In addition,
feminist criticism challenges and challenges men's traditional and established
ideas and views about the basic nature of women and how women feel, think,
and act and how women in general respond to this life and existence. This
feminist critique questions the prejudices and prejudices against women that are
shaped by men. This feminist critique does not in the slightest allow the
tendency of men to push women into the role of belittled figures.
In the novel Entrok by Okky Madasari, Marni is described as having the
soul of a feminist, but people at that time did not know the term feminist or
feminism. As explained above, feminism is a movement that fights for gender
359
equality between women and men. in this novel too depicted the figure of
Marni who always tries to realize all her wishes with her hard work, as well as
her daughter, Rahayu, she also has a passion who is the same as her mother in
fighting for equality and justice for all the people, but there is quite a difference
between the two of them. One of which is Rahayu is too easy to judge
something, such as when he judges that his mother is a sinner for worshiping
ancestors, Rahayu's figure is also described as too rash in taking action. In
addition, this novel also shows a lot of inequality between genders, such as
when working in the market, female workers are only paid for food, while male
workers are paid money, as if female workers will not need anything else but
food. In this novel, it is described how very important the role of men in a
leadership is, there are no women who have positions, women only follow what
men say. Because of the thick patriarchy in this novel, we can see how unfair
the life lived by women at that time. as we know at that time are the years after
independence, the author argues that this happened because men felt that they
had succeeded in resisting the invaders with their hard work, while women who
were considered as 'weak creatures' were only objects that had to be protected
at that time, besides that this could also be because of the influence of the
colonizing invaders. Indonesia at that time. In history the leaders of the
Netherlands or Japan were led by a man. Things like feminism at that time were
considered to be against nature, such as when Marni wanted to be a coolie in
the market to get paid money. Marni‘s mother this is violated nature because
360
she thought that menial work like that was only done by men, also the case with
Teja who was Marni's husband, before they got married, Teja also had forbade
Marni to be a coolie with him. even though behind that all women are also able
to do the same work as men do, even much better. like when Marni was selling
around with her husband, namely Teja. Marni always thinks how to get money
in a faster way, while her husband only helps Marni carry her wares, as if there
is no desire to provide for his wife, because most men have big egos in this
matter, many men feel lose their self-esteem when he has to live from the
results of his wife's sweat. but what Teja does is different, this proves that not
all men have a patriarchal spirit which must always be above women. Apart
from feminist issues, this novel also describes the many inequalities that
occurred at that time. The struggle of women in gender equality is also not only
happening in Indonesia, many countries are still struggling to fight for the rights
of gender equality. In one of the books the author reads, namely A Feminist
Manifesto by Chimamanda Ngozi Adichie, a woman from Africa also tells of
her difficult times when fighting for gender equality, one simple example that
men are more valued than women is when Chimamanda gave parking money to
the parking guard, but the parking guard actually thanked the man who was
with Chimamanda, and not only that Chimamanda also had an argument with
his male friend when he was a teenager, they argued about something and there
he still maintained his opinion, then his friend named Okolama said that he was
a feminist with a tone he said that Chimamanda is a supporter of terrorists.
361
There are still many people's misconceptions about women who try to equalize
themselves with men, they think that it is inappropriate, violates nature, violates
religious orders, and so on.
There are too many things that limit women from getting to the things they
want, and if such misunderstandings continue to be nurtured and passed down
then the struggle of women in equality must never be extinguished, and This
thinking needs to be corrected through education. In the novel, in my opinion
the figure of Marni succeeded in leading herself, even her husband, to success
where success here according to Marni is measured by how much wealth she
has. Marni was even able to pay the men to work in her fields, and this was a
matter of pride for her, because in her childhood she was underestimated by the
people around him, especially the men.
And then when the president's leadership changed many social problems
occurred. The apparatus, which is supposed to protect the community, actually
extorts the community by promising to provide security and protection as long
as they are willing to pay. It just shows them as criminals in the name of the
state, and when they easily judge someone as PKI when their requests are not
obeyed, this actually makes people's lives difficult and like there is no difference
with the colonial period, it's just changing people. In addition to social
problems that occur because of the authorities, social problems also occur
between neighbors, according to the author, neighbor problems in this novel
362
still occur a lot until now. Although Indonesia is known as a friendly country,
likes to help others, the fact is that in neighborly life, the opposite is true. In
this novel it is described that people will not help if no feedback they receive.
And even though we have done good to our neighbors, it is not necessarily that
the neighbors will respond by being kind, on the contrary they even talk about
bad things about people who help them. In my opinion, Marni's character in
this novel is quite good, even though she gets a lot of slander from her
neighbors, she still wants to help her neighbors who are in trouble even though
it's not free. Things that happen in the novel Entrok are still happening in
Indonesia today, such as patriarchal thinking, many Indonesian people have
men in their families with patriarchal thoughts. In addition, those who have
patriarchal thoughts are also strongly against what is called feminism, many
think that feminism means opposing men and means women can live alone
without men. people with patriarchy usually don't like to be rebutted when it
comes to gender issues. Then the problem of officers who become criminals in
the name of the state, this still happens a lot today, not a few officers who
abuse their power. There has also been a lot of bad news lately, there have been
many cases of rape against women, such as the one that occurred in West Java,
where unscrupulous Islamic School teachers raped their students. This make
people angry because the authorities are very slow in handling this case, but the
thing to be grateful for at this time is the development of technology such as
social media, where rape cases like this can be quickly identified by the
363
community quickly and in this way the community can demand the authorities
to quickly follow up on the case. Different from the past, in the novel Entrok
depicts the figure of Rahayu who is the daughter of Marni, when she tries to
uncover the truth to the public, she did not get any response from state officials
and instead got into trouble, besides that the witness of the incident was found
dead with stab wounds, this was really ironic because Indonesia at that time was
not truly independent, people were still being colonized by the nation itself. The
problem of injustice between men and women is also still a problem until now,
there are still many men who think that women do not need higher education
because in the end women will only serve their husbands and take care of their
children, whereas in terms of taking care of children, women need to have
extensive knowledge, not only about feeding children, dressing children, a
mother must also be knowledgeable in order to be able to give understanding to
her child, so that a much better generation of the nation is formed, such as a
quote " providing education to men will create a great person, and give
education of women will create a great nation ".
Reference
(Sosiologi, 2020)
(Nurrachman, 2017)
(Adichie, 2019)
364
(Madasari, 2010)
Bibliography
Adichie, C. N. (2019). A Feminist Manifesto. Yogyakarta: Odyssee Publishing.
Nurrachman, D. (2017). Introduction to Criticism. In D. Nurrachman, Introduction

to Criticism (pp. 132-133). Bandung: Pustaka Aura Semesta.
Sosiologi, D. (2020, April Monday). Feminism according to experts. Retrieved from

Yubahar Ilyas: https://dosensosiologi.com/pengertian-feminisme/
365
- Lack of focus
- Too many unnecessary informations/statements included Nirwana Bentang Nopember
- Jumped-up ideas/random thoughts/inconsistent discussion
- Some narratives and analysis are relevant with the theory used,
some others not 1195030162
- Still lack critical-analytical arguments
- Still lack of relevant theoretical supports
- Be aware of mechanic errors 65 = C 5-D
THE CONCEPT OF LOVE BY WOLLSTONECRAFT IN OKKY
MADASARI’S ENTROK NOVEL
Literary works cannot be separated from society, it is like an
inseparable part of each other. According to Damono (1979: 2), literary
works are not part of society, but social images can be fully conveyed
through stories. This is because the literature can contain ideas that might
be used to foster certain social attitudes or even spark certain social
events. Then Wellek and Warren (1990: 109) have the same concept as
Damono. They mention that literary works have an impersonal social
function or "benefit". So literary problems imply or are social problems
such as tradition, conventions, norms, symbols, and myths.
The characteristics of literary works are imaginative. But even so, it can
also explain the fact of life or reality in the real world in an imaginary way.
In other words, this imaginative literary work can be called ―perfecting‖
reality with the intention that humans better understand and can properly
apply it to the reality of their life (Juwati, 2018: 2).
366
The use of imaginative depictions in this literary work is not without
reason. Because readers need cathartic media when reading a literary
work. Readers want something beautiful in a literary work and not the
same as real-life which sometimes never corresponds to reality. Socially,
literary works can show the meaning of what happened at that time, both
bad and good, so readers can see events by reading a literary work
(Mahayana, 2015: 3).
Furthermore, the author "borrowed" Horace's statement which stated
that "it is not enough poems to be beautiful; they must be affecting and
must lead the heart of the hearer as they will. As people's faces smile on
those who smile, in a similar way they sympathize with those who weep.‖
(Nurrachman, 2017: 75). But it should be emphasized beforehand that in
this study the author does not use Horace's theory. The statement above
is only to emphasize the function of literary works. Imron (2017: 8) also
asserts that the task of literature as an art is to offer a unique experience
of various models of life. Literature is not just a historical document, a
report of life, moral perception, philosophy, and religion. Literature is an
explanation of life itself. Therefore, the main purpose of reading it is to
add to the inner experience.
367
The inner experiences described by Imron as well as the effects and
lead the heart described by Horace can be found in almost every literary
work. This kind of thing is usually experienced by readers through
descriptions of events, descriptions of events, as well as the choice of
diction presented by the author. For example, when the author narrates a
loving event between characters in a story. If the reader feels an inner
experience or remembers something in his life, then the literary work is
successfully called a beautiful, delightful work if I borrow Horace's
statement once again.
Such things are what the author finds in the novel Entrok by Okky
Madasari. In general, the novel tells about the struggle of women against
the injustice of society. More specifically, all the injustices experienced by
several female characters in the novel Entrok come from men. It can be
said that men are told to be the dominant class in society. Entrok presents
two narrative stories from different characters. The first is from the point
of view of Marni, who is a woman who was born during the colonial era
so that her life can be said to be difficult. Marni at the beginning of the
story has the dream of having an entrok or a bra in Javanese. At that time
the bra was considered a luxury that only the aristocrats had. Marni's
desire finally led her to try to work in the market, starting from cassava
368
peelers to goods transport workers. With the efforts she lived, Marni was
finally able to improve her life little by little. She also met Suteja, who
became her husband when he was a porter at the market. After getting
married, Marni and Suteja started a new business, trading vegetables and
utensils by traveling around the village before becoming moneylenders.
Unlike Marni, Rahayu, who is Marni's son, can be said to have a better
life. He was born into the wealth of the already successful Marni. But the
conflict that Rahayu experienced was with her mother because she had
the assumption that her mother was just an infidel (animist), which was
different from Rahayu's view of religion.
The conflict in the novel Entrok, as the title used by the author, tells
more about the domination of men over women, so that it intersects with
the struggles of women that the author is trying to build. Even though
the struggle as far as the writer sees it is only based on equality in society,
both in economic and social terms. But there is one thing that some
female characters miss in this novel, which is about love. The women in
the novel, although very loudly defending equal rights, are not yet rational
enough in terms of love. They are still "fooled" by something that only
appears from the outside.
369
To see the lack of understanding of love by women, the writer uses
Wollstonecraft's theory in her work entitled A Vindication of the Rights of
Woman which was published in 1792. In chapter six of her work,
Wollstonecraft explains how the concept of love— or love should be
understood by women. So armed with this theory, the author will criticize
the behavior of the female character described by Madasari in her novel.
The approach that will be used to understand this novel is an objective
approach. The objective approach emphasizes the value of literary works
autonomously. This means that a literary work is studied structurally such
as themes, characterizations and characterizations, settings, and storylines.
In short, this approach prioritizes the study of literary works without
connecting with sociohistorical factors outside the literary work to be
studied. In other words, the objective approach can be said to be an
intrinsic approach which is similar to the structural approach (Abrams,
1979: 3-29).
After reading the novel Entrok, the writer then finds an outline of the
concept of love that is shared by several of the characters involved. Some
of the existing concepts of love have more or less relevance to what
Wollstonecraft has said in her work, whether they are compatible or
370
contradictory. In the following, the author will describe the concept of
love through the quotes contained in the novel in the quotes below.
―Samar-samar dalam ingatanku, terbayang Bapak memukul Simbok

yang sedang sakit panas dan tidak bisa ke pasar. Kalau Simbok tidak ke
pasar, kami tidak akan punya makanan. Dan laki-laki itu dengan
seenaknya hanya menunggu makanan. Dia seperti anjing gila yang
kelaparan. Iya, dia memang anjing gila. Hanya anjing gila kan yang
menggigit istrinya yang sedang sakit.‖ (Madasari, 2010: 18)
Seen at the beginning of the novel Madasari tells how Marni was
abandoned by her father when she was little. And the reason is a trivial
thing is because his wife is sick and there is no food available at home. In
a marriage, life should be filled with love and compassion, not anger. But
that thing—love was not found in Marni's parents' marriage. When
physical needs are not met, and one partner leaves the other, it means
that their marriage is not based on love, only the fulfillment of desires.
This kind of thing is alluded to by Wollstonecraft in the following quote.
―This habitual slavery, to first impressions, has a more baneful effect on

the female than the male character …‖ (Wollstonecraft in
Nurrachman, 2017: 135)
Although the context of the quote above refers to education, the two
things are related to each other. Because education in practice can affect
all aspects, including love.
371
―Entrok memang terlalu mewah untuk aku dan Simbok. Apa yang
masih dipikirkan seorang perempuan kere buta huruf dengan tanggungan
seorang anak selain hanya makan?‖ (Madasari, 2010: 18)
A little mention about education, Marni's mother is indeed someone
who does not go to school, it can be proven from the quote above. The
inability to read was enough to prove that Marni's mother did not attend
school. This is what presumably failed to build the ideal concept of love
in the household so that he was trapped in the habitual slavery that
Wollstonecraft said in his work. Then this is confirmed again by the
following quote.
―Love is, in a great degree, an arbitrary passion, and will reign, like some
other stalking mischiefs, by its own authority, without deigning to reason; and
it may also be easily distinguished from esteem, the foundation of friendship
because it is often excited by evanescent beauties and grace …‖
(Wollstonecraft in Nurrachman, 2017: 137)
The writer feels that Wollstonecraft in the quote above inserts a little
satire for the understanding of love. That the concept of ideal love is not
like that. Love is not arbitrary from men.
―Malam ini, tidur tak lagi sekadar rutinitas penutup hari, melainkan
saat pelepasan seluruh keinginan dan kepemilikan. Tidur kini menjadi
simbol bagaimana pencapaian manusia dalam mendapatkan apa yang
diinginkan.
Aku kesakitan, dia kegirangan. Aku mengerang, dia senang. Aku
menangis, dia tertawa penuh kemenangan. Aku menerawang dia telah
pulas.‖ (Madasari, 2010: 48-49)
372
In the novel quoted above, it can be seen that Marni and Teja's
married life seems empty. Sexual activity that should be filled with love is
depicted only as an outlet for Teja's lust, there is no mutual enjoyment, as
evidenced by Marni's negative narrative expression which shows that she
does not like it. John Dryden also quoted this incident directly by
Wollstonecraft.
―'Where love is duty, on the female side, 'On theirs mere sensual gust and
sought with surly pride‖ (Wollstonecraft in Nurrachman, 2010: 138)
But even so, Marni still did not ask for a divorce with Teja, not for
reasons of love, Marni did not believe or did not know about love, as he
said directly.
―Apa itu cinta? Prek! Cinta itu kan omongan orang-orang zaman
sekarang setelah menonton TV. Mereka Cuma ikut-ikutan ngomong,
padahal juga nggak tahu apa itu cinta.‖
―Aku tidak minta pegat karena tidak mau semua yang sudah kumiliki
ini dibagi dua. Kok enak banget. Semuanya ini aku yang kerja keras, aku
yang mikir semuanya,‖ (Madasari, 2010: 114-115)
The only reason Marni didn't get divorced was not because of love,
but because she didn't want the property she had to be divided equally if
they divorced. Marni thinks that so far, she is the one who works hard, so
he is also the one who deserves to own all of his wealth.
373
―Iya, Pak. Maaf. Istri saya ini tidak paham. Maklum, kami orang buta
―Tentara-tentara itu mengambil dagangan Ibu. Masih ada empat ember
dan enam panci, semuanya ludes. Mereka juga mengambil setengah jaring
beras. Bapak dan Ibu hanya diam tak berbuat apa-apa.‖ (Madasari, 2010:
65)
The two quotes above refer to the incident when Marni had her goods
taken by the army. Even though in reality Marni had protested against the
soldiers who were about to take her wares, it was just a futile act. Teja
immediately interrupted Marni's protest with his male power and then
made his decision unilaterally. This is also stated by Wollstonecraft which
states that the superior nature of men tends to never listen to women's
arguments. As in the following quote.
―When do men /all-in-love with sense? When do they, with their superior
powers and advantages, turn from the person to the mind? And how can they
expect women, who are only taught to observe behavior, and acquire manners
rather than morals, to despise what they have been all their lives labouring to
attain? Where are they suddenly to find judgement enough to weigh patiently
the sense of an awkward virtuous man, when his manners, of which they are
made critical judges, are rebuffing and his conversation cold and dull, because
it does not consist of pretty repartees or well-turned compliments?‖
What kind of marriage is based on male authority? Wouldn't a
marriage base on love listen to each other? I don't see this in the married
life of Teja and Marni. Even Marni, who has logical arguments, doesn't
374
get a sound that is rational enough for Teja. That's what happens if the
concept of love is not built in a marriage. What will happen in the end is
only about who leads and is led.
From some of the quotes that the author has described above, it can
be concluded that the concept of love experienced by several characters
in the novel is in line with what Wollstonecraft focuses on in defining the
concept of love that is often experienced by women. Often the marriage
experienced by women, in the end, is not based on love, thus making
matrimony only as a fulfillment of physical desires or even to fulfill the
stigma of society. The habitual slavery.
References
Damono, S. D. (1979). Sosiologi Sastra: Sebuah Pengantar Ringkas.
Jakarta: Pusat Penelitian dan Pengembangan Bahasa dan Sastra
Indonesia.
Imron, A. A.-M., & Nugrahani, F. (2017). Pengkajian Sastra Teori dan
Aplikasi. Surakarta: CV. Djiwa Amarta Press Surakarta.
Juwati. (2018). Sastra Lisan Bumi Silampari: Teori, Meode, dan

Penerapannya. Yogyakarta: Budi Utama.
Mahayana, M. S. (2015). Kitab Kritik Sastra. Jakarta: Yayasan Pustaka Obor

Indonesia.
375

376
85 = A Nisa Nurjannah
- This is good and nice discussion. I like it.

- You tried to be consistent with the topic and theory used 1195030163
- The narratives and analysis presented also relevant with the theory
- Yet in some parts still found of jumped-up ideas 5D
- This is also having too many introductory paragraphs
- Just avoid some unnecessary informations/statements
- Still needs more other relevant supporting sources to support the analysis
WOMEN INFERIORITY AT THE FACE OF SOCIETY
THROUGHOUT ENTROK BY OKKY MADASARI
Discourse, introspection, and the author's reaction to the surroundings
and life are results in literary creations. As a result of everything that has
gone before, works of literature are representations of life, complete with
all of its flaws. The incorporation of communal social life in the form of
literary works also produces societal obstacles and problems that are
portrayed in a creative manner.
Literary works are closely intertwined to society; they are intricately
bound. Literary is an expression of society, even in distorted form,
according to (Wellek, R., & Warren, 1989), but social pictures can be
adequately transmitted through stories. Because the literature might
377
contain concepts that can be used to create particular social dispositions
or even trigger specific social engagements, this is the case.
The main attributes of literary works are imaginative. The creative
process in creating a literary piece necessitates imagination because it is
imaginative writing. The point is that the imagination is still imaginative,
which means that it is not solely derived from the authors.
According to (Dobbie, 2012), "Literature is taken to be mimetic, reflects
and presents the truth about life and humanity‖. the condition, the
prerequisite to manifest imagination into a form of labor, especially
literary works, is to be sensitive or aware of the social surroundings.
Surely, poets imitate not just real objects, as (Abrams & Harpham, 1999)
said on ‗Archetype‘, a literary archetype is a character or theme that recurs
frequently. Since it is the original type which others imitate, it is including
abstract objects such as ideological beliefs or ideas, because these things
exist in nature, as Plato stated: "Plato states that all art is mimesis by
nature; art is an imitation of life." 'Ideas, he believed, were the ultimate
reality. Art is a reflection of ideas, and consequently of reality."
When it comes to replicating abstract things like ideological thought or
understanding, we can find an understanding of feminism all around us,
378
just as we can find an understanding of feminism throughout Mary
Wollstonecraft's essay about women's experiences in a patriarchal world.
Men and women have had opposing viewpoints since the eight-teenth
century. Because of the culture that comes from the association of
patriarchal notions that treat women primarily as things to fulfill males,
women are regarded as subordinates or inferior while men are regarded as
superior.
―A long tradition of male writers, says Wollstonecraft, has contributed to
this degradation of women into ‗artificial, weak characters‘. The ‗whole
purport of those books‘, she exclaims, tends to ‗degrade one - half of the
human species, and render women ―useless members of society‘.‖
(Nurrachman, 2017).
As we talking literary works as imitation, it requires the association of
ideas which is the results of elaborating mind with everyday experiences
at surroundings while people in majority presupposed that in society men
and women are not equal when it comes to measure social positions.
Wollstonecraft offered an idea on her statement, that when informative
insights has been put on mind it will cause an better perspective. As it
quoted below,
379
―The association of our ideas is either habitual or instantaneous, and the
latter mode seems rather to depend on the original temperature of the
mind than on the will. When the ideas, and matters of fact, are once taken
in, they lie by for use, till some fortuitous circumstance makes the
information dart into the mind with illustrative force, that has been
received at very different periods of our lives.‖ (Wollstonecraft on
(Nurrachman, 2017))
Such things are discovered by the writer in Okky Madasari's novel
Entrok. The novel, in general, is about women's struggle against societal
injustice. All of the injustices encountered by numerous female characters
in the novel Entrok are perpetrated by men. It may be claimed that men
are shown as the dominant social class. Entrok tells two stories from the
perspectives of two separate protagonists. The first is from the
perspective of Marni, a woman born during the colonial era, whose life
can be described as challenging. Marni's dream at the start of the novel is
to have an entrok, or bra in Javanese. At the time, wearing a bra was
considered a privilege reserved for the aristocracy.
Marni's passion eventually drove her to seek employment in the market,
where she worked as a cassava peeler and then as a commodities
380
transport worker. Marni was ultimately able to change her life slowly but
surely as a result of her efforts. She also met Suteja, who became her
husband while working as a market porter. Marni and Suteja launched a
new business after getting married, traveling around the hamlet trading
vegetables and housewares before becoming ‗businesspeople‘.
Rahayu, Marni's daughter, can be regarded to enjoy a better life than
Marni. He was born into the already prosperous Marni family. Rahayu, on
the other hand, had a problem with her mother because she assumed her
mother was an infidel (animist), which was contrary to Rahayu's religious
beliefs.
After attentively reading the novel, the writer discovered parallels in the
subject of inequality. As a result, this study employs a mimetic method, in
which literary works are viewed as a product of reality and a reflection of
society and culture (Abrams & Harpham, 1999). to explore Mary
Wollstonecraft's feminist ideology through Sumarni's figure.
The conflict in the novel Entrok, as the author's title suggests, is primarily
about men's dominance over women, intersecting with the author's
attempt to depict women's hardships. Even if, in the writer's opinion, the
conflict is solely focused on societal equality, both economically and
381
socially. However, there is one aspect of this tale that some female
characters overlook: inferiority. The women in the narrative are not yet
sensible enough in terms of it, despite their outspoken support for equal
rights. They are still driven astray by something that is only visible from
the outside.
Marni is the subject of the novel's first inferiority issue. Her figure can be
seen as an uneducated woman because of her field of work, and because
the incentive for women working there still is food or goods rather than
cash. This also makes Marni an inferior figure because her work is similar
with those of uneducated women, and the reward is "baneful," i.e.
poverty, as Wollstonecraft stated,
―The habitual slavery, to first impression, has a more baneful effect on
the female than the male character, because bussiness and other dry
employments of the understanding, tend to deaden the feeling and break
associations that do violence to reason.‖ (Nurrachman, 2017).
― Nyai Dimah memang benar. Kepada siapa pun aku bekerja di pasar ini, aku
akan diupahi dengan bahan makanan. Lagi pula tak banyak pedagang yang butuh
buruh seperti Nyai Dimah. ― (Madasari, 2010)
382
The suffering is extended, when Marni try to raise her bargaining power
by working like men, women are subjected to old conceptions as it
embodied to the society.
―Teja terbahak-bahak mendengar permintaanku. Sungguh bukan jawaban seperti itu
sebenarnya.‖Ni, kamu ada-ada saja. Nggak ada perempuan nguli. Nggak akan
kuat. Sudah, perempuan itu kerja yang ringan-ringan aja. Ngupas singkong.‖
Hanya priyayi-priyayi saja yang nggak kuat ngangkat goni.‖ (Madasari, 2010)
Teja, who dismisses Marni by laughing aloud and labeling her as weak, is
the outcome of a conglomeration of manufactured notions that views
Sumarni's desires as taboo.
From this narration, then comes the irony which occurred in Marni‘s
perception. Whose connecting the undefined viewpoint in society which
considered as injustice. Regarding to men with money as their work
incentive, and women which actually has done many similar deeds as
men, in terms of particular job as a housewife. But did not earn anything
that worth the hardship.
383
―Aku tertawa dalam hati saat mendengar nasihat Mbah Noto. Memang benar, di
pasar ini tidak ada perempuan yang nguli, pekerjaan berat yang menggunakan tenaga
besar. Di pasar ini, buruh perempuan mengerjakan pekerjaan yang halus dan enteng,
seperti mengupas singkong, menumbuk padi, atau menumbuk kopi. Tapi coba lihat,
begitu buruh-buruh perempuan itu sampai di rumah.
Mereka harus mengerjakan semua pekerjaan yang ada, mengambil air dari sumber
dengan menempuh perjalanan naik-turun. Berat satu jun yang berisi penuh air sama
saja dengan satu goni berisi singkong.
Tidak ada laki-laki yang mengambil air, katanya itu urusan perempuan. Ya jelas
lebih enak nguli daripada ngambil air. Nguli diupahi duit, sementara mengambil air
tidak pernah mendapat apa-apa.‖ (Madasari, 2010)
Just like Wollstonecraft explained; ―this cruel association of ideas, which
everything conspires to twist into all their habits of thinking, or, to speak
with more precission, of feeling, receives new force to begin to act a little
for themselves‖ (Nurrachman, 2017).
Another issue that consequently happened, related to the lack of
education is, when Marni was forced to being married with Teja while at
prior statement she was unable to see the future prospects of being in
marriage with Teja—an transport worker.
384
―Tapi cerita-cerita itu juga menimbulkan ketakutan. Takut pada laki-laki, takut
kawin. Lha buat apa kawin, kalau jadinya cuma sengsara. Inilah yang kukatakan
pada Teja waktu dia memintaku jadi istrinya. Dia melamarku di depan pasar, saat
matahari baru mengintip malu-malu, saat aku menunggu kedatangan petani yang
membawa berbagai sayur-sayuran. ‖Aku belum mau kawin, Kang.‖ ‖Kenapa, Ni?
Kita saling cocok. Apa kamu tidak pengin punya suami, punya anak seperti
Tinah?‖ Punya anak? Bagaimana jika aku punya anak nanti? Mau jadi apa
anakku nanti? Tukang kupas singkong atau bakulan keliling desa kalau
perempuan? Anak laki-laki ikut bapaknya nguli?‖ (Madasari, 2010)
despite of her tought of this condition, at the face of societal
surroundings and its prejudicial subconscious of how women are seems
to comply its greed. Ironically, it comes from Simbok—her mother.
―Ternyata tanpa sepengetahuanku, Mbah Noto menyampaikan keinginan Teja
untuk mengawiniku pada Simbok. Malam itu, di belakang rumah, saat kuulangi
permintaanku pada Mbah Ibu Bumi Bapa Kuasa, Simbok berbisik pelan, ‖Nduk,
anak perempuan itu harus punya suami, punya anak. Kalau sudah ada yang
melamar tidak boleh ditolak, bisa kualat, jadi perawan tua.‖
Aku tak membantah omongan Simbok. Tak mengiakannya. Tapi hanya tiga hari
setelah itu, kami telah berada di rumah Kamituwo.‖ (Madasari, 2010).
385
The reality that Marni faced, is parallely go straight with Wollstonecraft
statement. Marni‘s figure is a sort of completed representation of how it
stated.
―The severest sarcasms have been levelled against the sex, and they have
been ridiculed for repeating ‗a set of phrases learnt by rote,‘ when nothing
could be more natural, considering the education they receive, and that
their ‗highest praise is to obey, unargued‘- the will of man. If they be not
allowed to have reason sufficient to govern their own conduct-why, all
they learn –must be learned by rote!‖ (Nurrachman, 2017).
In other hand, Simbok‘s desire of approval is marking the embodiment of
women inferiority vision in society, while Simbok is only following the
cultural patterns rather than considering it first, toe to toe on the
happiness and future of Marni‘s life. This condition is also alluded by
Wollstonecraft, as she said,
―Women subjected by ignorance to their sensations, and only taught to
look for happiness in love, refine on sensual feelings, and adopt
metaphysical notions respecting that passion, which lead them shamefully
to neglect the duties of life, ...‖ (Nurrachman, 2017).
386
In the next stage, as a husband, Teja no longer had any reasoning on what
he doing later, neglect his rensposibility to accompany his wife. It showed
that, Marni as a wife is losing her influence on Teja consideration on
every deeds he does. It made Marni—as a woman, become real inferior
even on his independent issue such as marriage.
‖Dasar Teja, lanangan1 nggak tahu diuntung. Susah payah aku cari duit, dia
malah enak-enakan kelonan sama kledek.‖ Ibu sudah tidak lagi memaki Tonah.
Kini dia mengumpat Bapak. Padahal orang yang dimaki entah sedang di mana. Teja
yang pemalas. Teja yang tidurnya seperti kerbau. Teja yang hanya mau enaknya
sendiri. Teja yang sekarang sedang gandrung dengan kledek...‖ (Madasari, 2010)
this situation is in accordance with Wollstonecraft commentary on
arbitrarily husband,
―The virtues of a husband are thus thrown by love into the background,
and gay hopes, or lively emotions, banish reflection till the day of
reckoning comes; and come it surely will, to turn the sprightly lover into a
surly suspicious tyrant, who contemptuously insults the very weakness he
fostered. Or, supposing the rake reformed, he cannot quickly get rid of
old habits. When a man of abilities is first carried away by his passions, it
387
is necessary that sentiment and taste varnish the enormities of vice, and
give a zest to brutal indulgences; but when the gloss of novelty is worn
off, and pleasure palls upon the sense, lasciviousness becomes barefaced,
and enjoyment only the desperate effort of weakness flying from
reflection as from a legion of devils. Oh! virtue, thou art not an empty
name! All that life can give- thou givest!‖ (Nurrachman, 2017).
In the end, as a conclusion, Marni‘s character throughout the novel is a
massive representation of Wollstonecraft statement, that women tend to
considered at inferior position rather than men. Its fact affected the
whole life of women, as readers may seen through Entrok, that hardship
life of women is accepted sobconsciously as the real reality by the society,
where it has to live as it lived before.
References
Abrams, M. H., & Harpham, G. . (1999). A Glossary of Literary Terms.
Boston: Thomson Wadsworth.
Dobbie, A. B. (2012). Theory into Practice: An Introduction to Literary Criticism.
Boston: Wodsworth.
Madasari, O. (2010). Entrok. Jakarta: PT. Gramedia Pustaka Utama.
388
Semesta.
Wellek, R., & Warren, A. (1989). Theory of Literature (M. Budiantara,
Trans). Jakarta: PT Gramedia.
389
- Huft... Supposed to be the best one when reading the title, but I'm
mistaken for that
- This is good actually; good in terms of the interesting ideas NISRINA AZMIL MUNA
- Yet this still lack of consistency
- Too many personal arguments without subjected the narratives 1195030164
- Lack of real analysis based on the narratives cited
- This is also having inconsistent references: you didn't cite the
sources at all inside the essay
- Be aware of mechanic errors 75 = B 5D
A SAD MOAN IN A MOTHER’S HEART
IN ENTROK NOVEL BY OKKY MADASARI
Almost all aspects of life in society are appointed as the
phenomena of literary works by poets or authors, including the
phenomena in family scopes such as the relationship among them. The
relationship between mother and her children is definitely intense.
Mother is the first love of the children, she will always do the best for
them, even she could sacrifice herself in everything: her happiness,
serenity, interest, strength, and so on, for her children. The role of
mother is very close to the children, she always be with them in all phases
of the growth of children. She is who brought them to the earth,
educated them, protected them, and give them all her affection. However,
mother is also an ordinary human who has feelings and can be hurt,
especially by the one whom she loves, her children. She hurts, but she will
390
keep in her heart, because her affection and love for her children are
greater than her hurt. Likewise in the novel Entrok by Okky Madasari,
one of stories in it which caught my attention is when the mother, Marni,
was hurt by her daughter, Rahayu. She was hurt by Rahayu‘s words, she
felt that her daughter did not respect her hard work and sacrifice, Rahayu
also did not respect to Marni‘s faith, but it did not make her to stop
loving her daughter. The relationship of mother-daughter is linked in her
heart, so that she only kept it in her heart. She was hurt, but she could
not.
It is real evidence and exists in real life, mothers always do that
and do the best for her children. But sometimes, there is also exists the
opposite of it. Children do the best for making their mother proud in
education and so on, but the mother did not respect it and even she will
hurt the children heart by her words. In other case there is a mother who
injures their children violently, or she does not give the full rights to the
children, or even they force their children to do something they want
without caring about her children. At this time, there are so many cases
like that. The reasons which probably happen are because they do not
ready yet to have a child, or they are hit by economic condition in
pandemic phase so that they cannot control what they do.
391
The critical theory used is the theory stated by Horace, it is Utile et
Dulce which means that a good literary work is a literary work that
contains elements of fun and benefits. Further than that, Horace said in
his work Art of Poetry in Nurrachman‘s book,
―The aim of the poet is to inform or to delight, or to combine together, in what he says,
both pleasure and applicability to life. In instructing, be brief in what you say in order
that your readers may grasp it quickly and retain it faithfully. Superfluous words
simply spill out when the mind is already full. Fiction invented in order to please
should remain close to reality.‖
―Selama bertahun-tahun, setiap hari aku menghindari omongan seperti ini. Hanya
supaya tak ada pertengkaran antara aku dan anakku satu-satunya ini. Tapi
sekarang dia malah terang-terangan membuat hatiku sakit. Justru di saat aku begitu
membanggakannya. Tak masalah kalau semua orang omong aku memelihara tuyul
atau cari pesugihan, tapi aku selalu sangat sakit ketika yang omong seperti itu
anakku sendiri. Dan ini telah berulang kali terjadi. Hanya karena rasa kasih,
ikatan sebagai ibu dan anak, yang membuat rasa sakit dan benci ini selalu kembali
mengendap.‖
392
From the quotation above, it proved that the aim of Entrok is to
inform about the affection of mother is real and she will always loves her
children. There is also a little delight for readers when read it, especially
who has become a mother, because they will feel supported and corrected
from it. It is also applicable to life and will be useful for the readers‘ life
because every literary works are definitely provides some messages in it.
Okky was also brief in instructing it, so that the readers can grasp it in
one time.
In Nurracman‘s book, it is claimed that Horace is more interested
in the practical question of how the poet may delight and instruct an
intelligent reader than he is defining what a poem is or what literature is.
Because of that, I chose Horace theory which I think it is suitable to the
topic. Entrok is a novel which contains something delight and beneficial if
we look for it further. On the other hand, Horace emphasizes decorum.
Okky also used the appropriate vocabulary and diction in her writing
style. Entrok described as taking place in Singget, Central Java, therefore
she described her work in some Singget words. She also used appropriate
vocabulary in the topic I chose described ―a mother‘s little heart‖ which
can hurt the readers‘ heart.
393
According to Horace in Nurrachman‘s book, ―poetry is like
painting in that some works are best viewed up close, some farther away,
some in the shadow, and some in the light.‖ In Entrok, we can also view
it in close when we see the pure script of the novel, the quotation I
brought, it can bring the perspective out. Besides, we can also view it in
some farther away, the viewpoint of Rahayu, we can know and
understand the reason why Rahayu did it because we will try to be further
looking to it. Furthermore, we can also view it in the shadow or the light,
we will look for the real reason and evidence why the problem happen,
we will bring it into our deep mind and heart. That is poetry is like
painting.
There is poetic license which Horace stated that painters and
poets have always had a privilege to do anything they wish. Likewise in
Entrok, Okky try to convey something she want or wish. She speaks for
women‘s rights, she gave all stories in Entrok all she wanted, she had a
privilege to do it because she is the poet.
However Horace also stated that the poetic license or the freedom
of expression in art/literature should meet the five special standards:
responsibility, novelty, suitability, beautiful, and affecting. Therefore,
394
Okky can be said that she would have a privilege to do something they
wish or she would have the poetic license if she includes the five special
standards to Entrok.
The first standard is responsibility. Horace stated that you who
write, take a subject equal to your powers, and consider at length how
much your shoulder can bear. Neither proper words nor lucid order will
be lacking to the writer who chooses a subject within his powers. In
Entrok, Okky took a subject equal to her powers, the relationship
between mother and daughter, also the women rights. Because she is a
mother and woman, she experienced it in her life, further than that, the
condition of the relationship between mother and daughter when she
write it may be the same, also the respect to the mother and women
rights are not too good. Besides, she used the proper words to express
her feeling because she chose the right subject within her power.
Especially in this sentence, ―Justru di saat aku begitu membanggakannya.‖ It is
really hurt the readers‘ heart. She good at chose the proper words and she
did it.
The second standard is novelty. Horace said that you will express
yourself most effectively if you give novelty to a familiar word by means
395
of a skilful setting. Okky made it in the sentence ―Hanya karena rasa kasih,
ikatan sebagai ibu dan anak, yang membuat rasa sakit dan benci ini selalu kembali
mengendap.‖ The word ―mengendap‖ is a familiar word, but it given a skilful
setting by her in the context, so that it became most effective in
expressing her feeling.
The third standard is suitability. Horace said that both comedy and
tragedy have adopted this meter as best fitted for dialogue, able to drown
out the noise of the audience, and suitable for action. It means that the
poetry have to adopted material which best fitted for dialogue in it so that
it can suit to the audiences or the readers. Also it applied to Entrok, the
word and everything in it is suitable for its genre. The moan of the
mother‘s heart is suitable perfectly to the action.
The fourth and last standard is beautiful and affection. It is unity,
best fitted when put together, like Horace said in Nurrachman‘s book
that it is not enough for poems to be beautiful; they must be affecting,
and must lead the heart of the hearer as they will. If you wish me to weep,
you must first feel grief yourself. Likewise the topic above, I cried and felt
sad when I read it. Okky succeed to convey the sadness she has to the
readers. She leads the heart of the readers. The other topics in Entrok also
396
succeed making the readers feel the same with the role or figure of the
novel.
Horace claimed in his work in Nurrachman‘s book that in all good
writing the source and fountain is wisdom. Okky used the wisdom for the
source and fountain of the novel, it is proved with the wisdom of the
mother‘s act to her daughter. Even though her daughter did not listen to
her words and respect her, she was always wise. She continued to work
hard and even harder for making her daughter successful after getting a
higher education. If we look further, we can also see the wisdom of her
daughter, Rahayu. She tried to protect her mother from getting lost in her
religion or faith, and she tried to avoid talking to her mother so they do
not fight.
Regardless of the hidden act of Rahayu to Marni, she also had a
fault. She acted like she did not respect her mother. But according to
Horace in his work, you have enough judgment and good sense not to do
it. It means that the readers have their own judgment and good sense, so
that they can filter what they can practice in their own life. But the
readers cannot judge the writer or the poets if the story is not what the
readers want, because the poets have the rights to do something in their
397
works such as sadness, pain, happiness, pleasure, and so on. It is stated by
Horace in his work that you must allow poets to have the right and ability
to destroy themselves. Like in the topic, Okky destroyed the roles or
figures in the story. She destroyed Marni with the act of Rahayu which
did not respect her. Besides, the conditions and all struggles that Marni
got was destroyed her and it is the rights and ability of the poets to
destroy the roles or figures and characters in their literary works.
In the end, Marni and Rahyu were reunited because the bond
between the mother and the children is definitely strong. Regardless of it
all, the topic is very interesting to discuss because it described the
relationship in everyone‘s scope. We all know that our mother will do
everything for our life, and the children will always be thankful to their
mother for it, like in the Entrok novel by Okky Madasari.
The Entrok novel also gives us the lessons which we can apply in
our life, because the novel is one of literary work which created by the
poets, and according to Horace that the aim of the poet is to teach and to
delight, so that the novel Entrok by Okky Madasari gives us it all.
References:
398
Semesta.
Surahman, B. (2019). ―Peran Ibu terhadap Masa Depan Anak.‖ Jurnal
Hawa, 1(2), pp.201-208.
Rizky, A. & Larasati, AY. (2020). ―Konsep Horace Dalam Novel Laskar
Pelangi Karya Andrea Hirata Kajian Kritik Sastra.‖ Jurnal Ilmiah Pend.
Bahasa, Sastra Indonesia dan Daerah, 10(1), pp.54-60.
Akbar, S., Winarni, R. & Andayani. (2013). ―Kajian Sosiologi Sastra dan
Nilai Pendidikan dalam Novel Tuan Guru Karya Salman Faris.‖ Jurnal
Pendidikan Bahasa dan Sastra, 1(1), pp.54-68.
399
- Too many introductory paragraphs Nizar Asy Syauqi
- Having jumped-up ideas
1195030165
- Some narratives and analysis are relevant with the theory, some others,
mostly, not
- Romanticism is not simply related to that feeling 5D
- Lack of critical analytical arguments
- Lack of relevant theoretical justifications
- Be aware of mechanic errors: paragraphing, capitalization, citation, etc 65 = C
HOW ROMANTICISM WAS IMPLIED THROUGHOUT ENTROK
BY OKKY MADASARI
In a literary works narrative, the form of beauty becomes a very
supportive aspect in the establishment or existence of a literary works.
The beauty is dominated in the form of language style, diversity of
diction, and word play. Since a literary works is a product of beauty so
that it is considered similar to art, such as painting and sculpture, the
aesthetic value becomes the benchmark for the beauty of the literary
works.
In the essence, according to Plato, literary works or 'poet' are considered
as imitations. Imitation of reality. He emphasized that reality actually
exists in the form of 'ideas' and that artists are imitators of that idea,
―Plato has Socrates locate reality in what are called ideas or forms rather
400
than in the world of appearances or phenomena experienced through the
senses. He regards objects that we perceive as them copies of their ideas.‖
However, in the period of its development, the frame of mind which
linked to the definition of literature has changed. Or increase. In the mid-
18th century period, literature is actually a branch of imagination, with
imitation as its initial effort. According to Gary Day (2008:163) the
imagination is a symptom because it exalts the mind, dulled by the
routines of production, with fantasies.
In the Romantic era in the mid-eighteenth era, the beauty of a literature
depends on the ability of a poet to imagine. As with the political-
economic situation in that era, imitation, we might say, is the literary
equivalent of the financial argument that the form of money should
coincide with the content of its value. From that statement, some early
theories of the imagination contained an element of imitation.
On that certain period, which stated under early enlightenment and early
romantic era, the idea about it became massive and became mainstream
since the problems of human life are no longer only about art and
language, but involve the lives of many people, talking about economics,
401
politics, and humanity. The changes caused by the industrial revolution,
caused many people to leave the simple lifestyle in the village—close to
nature—to change their direction as slaves to corporations and factories.
Departing from that anxiety, Wordsworth as an activist at that time
sparked a movement, the romanticism movement. That in the depths of
the human heart yearning for simplicity, with which there will be a sense
of connectedness with nature. Which means that life like that will last a
long time, and is sweeter to taste. (Nurrachman, 2017:149)
this consecutive whole events ignited a new idea about literature, as in
Charlotte Smith's poem, "the beauteous rather than the true".
Turning to the Romantic discourse by wordsworth, he begins by
redefining what literature is.
―He approaches the idea of a poem by first discussing the idea of a poet: ―a man
speaking to men: a man, it is true, endowed with more lively sensibility, more
enthusiasm and tenderness, who has greater knowledge of human nature, and a more
comprehensive soul, then are supposed to be common among mankind.‖
(Nurrachman, 2017: 145).
Furthermore, in terms of the traces and background of the emergence of
romanticism, according to Wordsworth, nature is the main source of
402
imagination. Beauty will be seen in how a poet is able to image something
through the glass, what is invisible but can be felt, beyond the reach of
the senses, which can only be accepted by the feelings of the heart.
(Mahayana, 2015: 39)
This will later become the writer's reference in writing his critique of
Okky Madasari's Entrok book.
Entrok, as given the title by its author, is Madasari's first published novel.
Published in April 2010 to coincide with Kartini's Day, the book tells
stories about women's lives. Marni, a woman who lived during the
colonial era before independence, had to feel the bitter reality of life for a
woman in her day. The fact that a woman can only be paid food for the
work she does, in a narrow context makes this woman break the social
system that is bound to post-colonial norms and dogma of Javanese
society at that time for women, in order to fulfill her desire to have an
Entrok. (bra – in Javanese).
This book has in its way of speaking, has various layers of conflict with
various issues. However, but it should be emphasized beforehand that in
this essay, the writer does not discuss this further.
403
What the author tries to focus on in this writing, related to the
introduction above, is to try to dissect the extent to which the content of
Romanticism is embedded in the way Entrok tells the story. As nature is
the main source of the element of beauty in this flow, the experience of
Marni—the main character—related to the feelings she expresses with
that element, will be raised one by one, as Wordsworth stated that
―Feeling becomes the real basis of imagination, which becomes the
power to grasp nature in its totality and to order one's experience.‖
On the first chapter of Entrok, we will find the undefined opening on the
book which quite unrelated to the next chapter of it. But, consequently it
will connected to the final of the story. Here on 99‘s of January, a
character believed as Rahayu—daughter of Marni—is having her
monologue.
―Lima tahun aku menunggu hari ini datang. Pagi – pagi aku sudah mandi lalu
berdandan. Hari ini aku akan lahir kembali. Aku akan kembali menjadi manusia
yang punya jiwa. Tidak hanya raga kosong yang menunggu kematian.‖ (Madasari,
2010:11)
404
The way rahayu talked about life and death on it, was how the author try
to express the character‘s feeling of reborn and become ‗life again‘ which
quite related on how Romanticism really emphasize feeling on nature.
Which part of nature is a cycle of life and death.
Later, on the next part, Rahayu monologue was continued.
―Hari ini sedikit dosaku akan tertebus. Utangku memang tak akan pernah impas.
Tapi setidaknya biarkan aku membuatmu sedikit saja bahagia. Lima tahun ini,
kulakukan segalanya untuk membuatmu kembali lagi merasa berarti. Setiap pagi
aku mengajakmu menyusuri jalanan yang telah puluhan tahun kau lewati. Agar kau
kembali ingat kau adalah manusia hebat yang telah mengalahkan kerasnya nasib.‖
(Madasri, 2010:11)
The course of intention that Rahayu tried on his mother in this narration
implied that by bring back the feeling of walking on the same street and
repeat the similar experience which she has done in entire her mother‘s
life, is sort of the Romanticism method on emphasize feeling, by speak a
plainer and more emphatic language (Nurrachman, 2017:149).
More specific events on how romantic way was told on Marni‘s life
throughout Entrok, is located in next chapter.
405
When the plot was going far backward on little puberty Marni
experienced her rejection by her uncle, while she tried to kind of asking
him to purchase her an Entrok.
‖Aku tak langsung ke rumah, tapi mampir ke sungai tempat aku dan orang – orang
kampung ini biasa mandi. Di balik batu besar, kutuntaskan tangisku.
Kutumpahkan rasa kecewa dan amarah ke dasar sungai. Kulihat arus membawanya
pergi, menjauh. Sayup – sayup kudengar bisikan, ajakan. Kupertajam
pendengaranku. Makin terdengar sayup , ada suara yang tidak bisa didengar, tapi
hanya bisa dirasakan. Suara yang mengajakku berlari ke pasar, mendatangi penjual
entrok, memilih entrok yang kusuka.‖ (Madasari,2010: 20).
The feeling that Marni expressed here was the same way on how
wordsworth encourage authors while writing their poems and stories, is
throughout imagination by the nature expressed itself, unpredictable.
Unusual.
―… to throw over them a certain colouring of imagination, whereby ordinary things
should be presented to the mind in unusual aspect…‖ (Nurrachman, 2017 : 148).
the ‗unusual aspect‘ which Wordsworth stated above, was practically
implemented by Okky Madasari, in order that she depicted Marni‘s
406
expression of her disappointment and sadness by throw out the nature on
its place settings, and the way she carry the character feeling throughout
Marni contemplated her sorrow and then drag her to encourage herself
by the transcendental whisper of nature.
Consequently, the whisper brought Marni on other events of
Romanticism afterby.
―Aku mengikuti suara itu. Kususuri jalan yang biasa dilewati Simbok setiap hari.
Kalau simbok biasa melewati jalan ini di pagi buta lalu pulang saat matahari
sepenggalah, kini aku melaluinya saat matahari tepat di atas kepala.Terik. Kaki
yang tak beralas terasa perih.
Pasar Ngranget ada di desa lain. Untuk ke sana aku harus berjalan kaki melewati
tiga desa, lewat jalanan naik -turun yang penuh batu dan debu. Aku tiba di pasar
saat matahari sudah bergeser ke barat.‖ (Madasari, 2010: 20)
How Marni intends to follow the whisper to the market, despite of her
lack of ability to purchase Entrok is a perfect depiction of the
spontaneous overflow of powerful feeling which is another Wordsworth
thoughts on the way of characters in his term is encouraged by their own
exaggerated feeling of desires.
407
This part as well, was succeed to give readers a good description on a
point of view that Wordsworth desired on. The humble and rustic life.
―Humble and rustic life was generally chosen, because, in that condition, the essential
passion of the heart find a better soil in which they can attain their maturity, are less
under restraint, and speak a plainer and more emphatetic.‖ (Nurrachman, 2017:
149)
The place settings in Entrok—in this case, Singget—was played a large
role in a bigger frame while the story goes on throughout the years where
the main caharacters spent most of their life in that village. Singget
represents a sort of thing that keeping the characters connected with its
implicit power of tight-knit that implied on how the place was described.
Furthermore, Singget as well, has became the romantic power on its
story, especially for Rahayu—daughter of Marni. more accurately in the
fifth chapter , chapter Kentut Kali Manggis (1984-1985).
―Masuk di Bandongan, makin tak berbekas sisa kemajuan Magelang. Desa ini tak
ubahnya seperti Singget. Sawah dengan padi menguning yang siap dipanen
membentang luas. Rumah gedek di mana – mana. Di jalanan beberapa anak yang
seharusnya sekolah tampak sedang memanggul rumput, apalagi kalau bukan untuk
makan ternak.‖ (Madasari, 2010: 152).
408
Throughout this event, Rahayu experienced the place that she has been
entered was just similar like the place she was grew up, Singget. The
representation of condition around her, where there were ready-to-
harvest paddyfield, and kids that were carrying wild grass instead of go to
school.
―…because the manners of rural life germinate from those elementary feelings, and,
from the necessary character of rural occupations, are more easily comprehended, and
are more durable; and, lastly, because in that condition the passions of men are
incorporated with the beautiful and permanent forms of nature,…‖ (Nurrachman,
2017: 149).
However, since the story used ‗rural life‘ as its place settings, the
representation of its nature becoming an influential structure of the
novel. It will shifting into a general patterns, as the writer quoted on
Garry Day (2008:251),
―This perfection comes from form which, by giving shape to things, reveals their beauty.
It also intensifies our experience of them.‖
Switch over from the rustic and rural things, hereover the author was
adding an extended parts of romantic ‗feeling‘. Again, narrated by
409
Rahayu—daughter of Marni, located on the third chapter, Tuyul – tuyul
Ibuku (1970 – 1982).
―Aku dan Ibu seperti makin menjauh. Bukan raga, karena aku dan Ibu bukan
orang yang betah marah berlama – lama. Ibu memaki dengan suara tinggi saat
marah, dan diakhiri dengan tangisan. Aku tak mau kalah. Tapi pertengkaran
kami tidak tidak berlanjut dengan tak saling bertegur sapa selama berhari – hari.
Kami berbicara lagi, layakna pertengkaran itu tidak pernah ada.
Tapi di dalam hati, kami seperti dua manusia yang sedang berjalan di tebing tinggi,
di mana masing – masing berjalan hati – hati. Sedikit salah langkah, kami akan
jatuh ke dasar jurang. Tapi, toh, bagaimanapun kami saling berhati – hati,
perbedaan di antara kami semakin menjadi.‖ (Madasari, 2010: 59)
the exploration that Okky Madasari did in this part of story, is go hand in
hand with Wordsworth theory. The background of issues where occurred
on the quote above and the way its conflict happened were attached
parallely with ‗the spontaneous overflow of powerful feelings‘ that has been
described by Wordsworth on his statement in Preface to The Second of Lyrical
Ballads,
―For all good poetry is the spontaneous overflow of powerful feelings; and though this be
true, poems to which any value can be attached were never produced on any variety of
410
subjects but by a man who, being possessed of more than usual organic sensibility, had
also thought long and deeply.‖ (Nurrachman, 2017: 150).
From all the theories and the quotes which has been consecutively
described above, it can concluded that, there are some narration that
implied Romanticism course of method on how the characters connected
to the nature around them and how much their feeling were influenced
by it. There are many Wordsworth‘s vision as well, on how nature and
feeling were aroused on the story of Entrok. Lastly, similar to how
bloodline and reality bonded Marni and Rahayu that lead them on every
events, it can not be denied that the effect of nature and feeling will
always contained and become much influential in every section of story,
of tales, and of life.
References
Day, G. (2008). Literary Criticism: A New History, Great Britain: Edinburgh
University Press
Mahayana, M. S. (2015). Kitab Kritik Sastra. Jakarta: Yayasan Pustaka Obor
Indonesia.
411
Nurholis. (2019). Prose: The Short Fiction. Bandung.
412
- Lack of focus Nizar Ulhaq
- Too many introductory paragraphs with unnecessary informations
- Jumped-up ideas 1195030166
- Inconsistent discussion
- Much of this retelling only
- Lack of real analysis 5D
- Lack relevant theoretical justifications/supports
- Be aware of mechanic errors: spacing, paragraphing, citation, etc 60 = C
REPRESENTATION OF MALE SUPREMACY IN OKKY
MADASARI‘S ENTROK
Although literary works are not part of society, stories can effectively
express societal images. Because the literature might contain concepts
that can be used to create particular social attitudes or even trigger
specific social events, this is the case. Then there's Damono's notion,
which is shared by Wellek and Warren (1990: 109). They mention that
literary works have a societal role or "benefit" that is impersonal.
Tradition, traditions, norms, symbols, and myths are all examples of
literary issues that imply or are social problems.
The material that literature contains in its composition can be utilized
to perpetuate certain social customs or to stimulate certain social
phenomena. As a result, literary works may elicit or critique societal issues
such as norms, symbols, myths, legends, conventions, and traditions that
413
lie beneath society's surface. Literary works, by their very nature, have
evolved into a type of social institution that uses language as its platform.
Nonetheless, the author's goal is not solely his or her own; there is, of
course, entanglement with nature, which supplies the author's impulse.
Mursal Esten (1978) exclaims that literature is the manifestation of
creative and imaginative facts as a manifestation of human life and society
in general, using language as platform and having a good impact on
people's lives. As Horace said,
"it is not enough poems to be beautiful; they must be affecting and
must lead the heart of the hearer as they will. As people's faces smile on
those who smile, in a similar way they sympathize with those who weep.‖
(Nurrachman, 2017: 75).
Horace's innermost sensations, as well as their repercussions and how
they guide the heart, may be found in practically every literary work.
Readers are typically exposed to this type of item through descriptions of
events, descriptions of events, and the author's choice of diction. When
the author describes a romantic incident between characters in a tale, for
instance. The work of literature is successfully considered a lovely,
414
pleasant work if the reader has an internal experience or remembers
something from his lifetime.
Sort of things are what the writer figures out throughout the story
Entrok by Okky Madasari. The novel, in general, is about women's
struggle against societal injustice. All of the injustices encountered by
numerous female characters in the novel Entrok are perpetrated by men.
It may be claimed that men are shown as the dominant social class. The
first is from the perspective of Marni, a woman who was born during the
colonial era and has had a rough existence. Marni's dream at the start of
the novel is to have an entrok, or bra in Javanese. At the time, wearing a
bra was considered a privilege reserved for the aristocracy. Marni's
passion eventually drove her to seek employment in the market, where
she worked as a cassava peeler and then as a commodities transport
worker. Marni was ultimately able to change her life little by little as a
result of her efforts. She also had the opportunity to meet Suteja. Here is
the main outlook, when male is representated as superior than woman.
The conflict in the novel Entrok, as the author's title suggests, is
primarily about men's supremacy over women, merging with the author's
415
attempt to depict women's challenges. Even if, in the writer's opinion, the
conflict is solely focused on societal equality, both economically and
socially. Despite their outspoken support for equal opportunities, the
characters of the novel aren't quite socially reasonable.
To see throughout the narration, the writer uses Wollstonecraft's
theory in her work entitled A Vindication of the Rights of Woman which was
published in 1792. In chapter six of her work, Wollstonecraft explains
how the male supremacy and abusive behavior of men should be
challenged. As a result of this hypothesis, the author will condemn the
actions of Madasari's female character in her story. An objective method
will be taken in order to comprehend this novel. The objective approach
emphasizes the intrinsic value of literary works. This refers to the
structural aspects of a literary work, such as themes, characterizations,
settings, and plots. In a nutshell, this method emphasizes the study of
literary works while ignoring sociohistorical variables that are unrelated to
the literary work being researched. To put it another way, the objective
method is an inherent approach, comparable to the conceptual
framework (Eagleton, T. 1996).
416
After reading the novel Entrok, the writer then finds an outline of the
male supremacy that is shared by several of the events occured. In the
following, the author will describe the concept of love through the quotes
contained in the novel in the quotes below.
―Sedulur-sedulur , si Iyem ini sundal. Suami orang direbut juga,‖ teriak

Yu Parti dengan penuh amarah. Yu Yem, yang terlihat takut, terpancing
dan mulai marah. Dengan suara tak kalah kencang, dia membalas kata-
kata Yu Parti. ‖Enak saja, nyebut aku sundal. Sampeyan sendiri yang
tidak bisa ngladeni suami. Bukan salahku kalau suami sampeyan mau
kawin sama aku.‖ ‖Dasar sundal, perebut suami orang.‖ Yu Parti mulai
kehilangan kesabaran. Dia bergerak mendekati tempat Yu Yem berdiri.
Dagangan cabe yang ada di los disapu dengan tangannya. Cabe-cabe itu
berhamburan ke seluruh los. Emosi Yu Yem memuncak melihat
dagangannya diobrakabrik. Ditariknya rambut Yu Parti yang tergelung.
Yu Parti menjerit, kali ini jerit kesakitan. Tapi dia tetap tidak mau
kalah, rambut Yu Yem yang tergerai sampai pinggang ditariknya dengan
kasar. Jadilah dua perempuan itu saling menjambak. Teriakan dan
makian silih berganti keluar dari mulut kedua perempuan itu. Orang-orang
yang menonton tidak melakukan apa-apa. Mereka hanya berusaha
menghentikan perkelahian dengan mulut, tapi tidak melangkahkan kaki
untuk menghentikan perkelahian dua warga Pasar Ngranget itu. Nyai
Dimah, misalnya, orang yang sudah dianggap sesepuh karena paling lama
berjualan di pasar ini, hanya bisa berteriak meminta Yu Parti dan Yu
Yem menghentikan apa yang dilakukan.‖ (Madasari, 2010: 26)
Seen at the later of the novel Madasari tells how at market there were a
fight that happened. Because of male, two women fight each other. Then
there is an occurance that represented male supremacy,
417
Di tengah kepanikan, tiba-tiba seorang laki-laki tua muncul dari kerumunan
penonton, mendekati dua perempuan yang sedang pada puncak amarah. Tubuh laki-
laki itu kurus, dengan tinggi di atas kebanyakan laki-laki di pasar ini. Seluruh
rambutnya putih, begitu juga kumis tipis yang melekat di wajahnya. Ketika berjalan,
punggung laki-laki itu melengkung, entah karena usia atau karena badannya yang
terlalu tinggi. Laki-laki itu Pak Suyat. Suami Yu Parti sekaligus Yu Yem. Laki-
laki yang menjadi sumber perkelahian dua pedagang Pasar Ngranget. ‖Ti, sudah, Ti.
Sudah!‖ Pak Suyat meraih tangan kiri Yu Parti yang sedang menjambak rambut
Yu Yem. ‖Sudah, ayo pulang!‖ Pak Suyat menarik tangan istrinya. Yu Parti yang
sebelumnya kelihatan penuh semangat, kini lemas tanpa tenaga. Ditariknya tangan
kanannya yang tengah mencakar muka Yu Yem. Tanpa bantahan, Yu Parti
mengikuti tarikan suaminya. Mereka pulang. Melihat Yu Parti pergi, Yu Yem
menggulung rambutnya yang tergerai awut-awutan dan membenahi kainnya yang
berantakan akibat ditarik-tarik. Ia memungut satu per satu cabe-cabe yang
berserakan di lapaknya. Perlahan-lahan orang mulai meninggalkan los tempat
keramaian pagi ini terjadi. Mereka kembali melanjutkan pekerjaan sebelumnya.
Tontonan selesai. (Madasari, 2010:27).
Meanwhile two woman was fighting, the source of problem whose the
husband of both women is coming, and stop the fight just by nothing.
Without any sorry, he just came and didn‘t solve the real issue.
418
This kind of thing is alluded to by Wollstonecraft in the following
quote.
―This habitual slavery, to first impressions, has a more baneful effect on

the female than the male character …‖ (Wollstonecraft in
Nurrachman, 2017: 135)
Although the context of the quote above refers to education, the
quoted things are related to each other. Because education in practice can
affect all aspects, including love.
Yu Parti dan Yu Yem seolah telah lupa mereka harus berbagi suami.
Yu Parti seperti tak ingat lagi, suami yang sebelumnya hanya miliknya,
kini juga telah dimiliki orang lain. Yu Yem pun seperti tak peduli lagi
bahwa di depan orang banyak dia pernah disebut sundal dan perebut
suami orang. Meski Yu Parti dan Yu Yem saling tak bertegur sapa sejak
peristiwa itu, di Pasar Ngranget ini mereka masing-masing menjalani
kehidupan dengan semangat yang sama, dengan gairah mencari uang
sebanyak-banyaknya. Di pasar ini, Yu Parti dan Yu Yem menjadi
manusia seutuhnya, tanpa harus diembel-embeli suami. Madasari, 2010:
27)
This is what presumably failed to build the ideal concept of love in the
household so that he was trapped in the habitual slavery that
Wollstonecraft said in his work. Then this is confirmed again by the
following quote.
―Love is, in a great degree, an arbitrary passion, and will reign, like some
other stalking mischiefs, by its own authority, without deigning to reason; and
it may also be easily distinguished from esteem, the foundation of friendship
419
because it is often excited by evanescent beauties and grace …‖
The writer feels that Wollstonecraft in the quote above inserts a little
satire for the understanding of love. That the concept of ideal love is not
like that. Love is not arbitrary from men.
Hari itu, misalnya, Bu Jujuk tiba-tiba menangis di depanku. ‖Jangan

bilang siapa-siapa ya, Ni. Aku percaya sama kamu.‖ Aku, yang baru
anak ingusan ini, hanya mengiyakan permintaan Bu Jujuk. Lagi pula Bu
Jujuk tidak butuh apa-apa dariku, hanya minta didengarkan. Dia tak
mungkin bercerita ke tetangga-tetangganya, malu. Kalau dipendam terus,
lama-lama makan hati. Bu Jujuk memilihku. Barangkali karena aku
sudah dipercayai, atau mungkin hanya sekadar karena aku bocah ingusan
yang tidak mungkin bercerita kepada siapa-siapa. ‖Suamiku itu lho, Ni.
Dia gendakan sama kledek. Sudah lama, Ni. Tapi aku diam saja. Aku
nggak mau ribut, nggak mau cari masalah. Tapi aku nggak kuat, Ni.
Hatiku diiris-iris.‖ Tangis Bu Juju meledak. Hanya kami berdua yang ada
di rumah itu. Tentu tak ada yang bisa kukatakan pada Bu Jujuk.
Menikah saja aku belum, apalagi tahu bagaimana rasanya suami punya
gendakan. Tapi Bu Jujuk memang tak pernah bertanya padaku. Setiap
ceritanya hanya ditutup dengan tangisan. Begitu terus berulang kali. Suatu
hari, suami Bu Jujuk pulang saat Bu Jujuk untuk kesekian kalinya
menceritakan lakon Pak Jujuk dan kledek gendakan-nya. Bu Jujuk yang
tak menyadari kehadiran suaminya terus menumpahkan perasaan sambil
menangis. Semuanya langsung berhenti saat terdengar teriakan suaminya.
Bu Jujuk langsung menghapus air matanya, lalu buru-buru masuk rumah.
Dari luar kudengar umpatan-umpatan suami Bu Jujuk. ‖Istri nggak tahu
diri! Kerjaannya rasan-rasan14 terus!‖ (Madasari, 2010: 47)
In the novel quoted above, it can be seen that culture outlook married
life seems just an formal deed. Married couple activity that should be
420
filled with love is depicted only as an men dominance over woman, who
don‘t cares what they do, they have responsibility towards their wife.
John Dryden also quoted this incident directly by Wollstonecraft.
―'Where love is duty, on the female side, 'On theirs mere sensual gust and
sought with surly pride‖ (Wollstonecraft in Nurrachman, 2010: 138)
―Apa itu cinta? Prek! Cinta itu kan omongan orang-orang zaman
sekarang setelah menonton TV. Mereka Cuma ikut-ikutan ngomong,
padahal juga nggak tahu apa itu cinta.‖
―Aku tidak minta pegat karena tidak mau semua yang sudah kumiliki
ini dibagi dua. Kok enak banget. Semuanya ini aku yang kerja keras, aku
yang mikir semuanya,‖ (Madasari, 2010: 114-115)
Marni didn't get divorced because she didn't want their
possessions to be shared evenly if they divorced, not because she
was in love. Marni believes that because she has worked hard thus
far, he is the one who deserves to own all of his fortune.
―Iya, Pak. Maaf. Istri saya ini tidak paham. Maklum, kami orang buta
―Tentara-tentara itu mengambil dagangan Ibu. Masih ada empat ember
dan enam panci, semuanya ludes. Mereka juga mengambil setengah jaring
beras. Bapak dan Ibu hanya diam tak berbuat apa-apa.‖ (Madasari, 2010:
65)
421
The two quotes above refer to the incident when Marni had her goods
taken by the army. Even though in reality Marni had protested against the
soldiers who were about to take her wares, it was just a futile act. Teja
immediately interrupted Marni's protest with his male power and then
made his decision unilaterally. This is also stated by Wollstonecraft which
states that the superior nature of men tends to never listen to women's
arguments. As in the following quote.
―When do men /all-in-love with sense? When do they, with their superior
powers and advantages, turn from the person to the mind? And how can they
expect women, who are only taught to observe behavior, and acquire manners
rather than morals, to despise what they have been all their lives labouring to
attain? Where are they suddenly to find judgement enough to weigh patiently
the sense of an awkward virtuous man, when his manners, of which they are
made critical judges, are rebuffing and his conversation cold and dull, because
it does not consist of pretty repartees or well-turned compliments?‖
What kind of relationship is built on male dominance? Wouldn't a love
marriage listen to each other? This does not appear to be the case in Teja
and Marni's marriage. Marni, who is a logical thinker, can't come up with
a sound that is rational enough for Teja. That's what occurs when a
marriage isn't based on the foundation of love. In the end, it will all come
down to who leads and who is led.
422
The society of male superiority experienced by various characters in the
story is in accordance with what Wollstonecraft concentrates on in her
essy, as evidenced by several of the passages mentioned above. In the
end, many women's marriages are not founded on love, making
matrimony just a satisfaction of sensual cravings or even a fulfillment of
societal stigma.
References
Eagleton, T. (1996). Literary Theory: An Introduction. London: Basil Blackwell

423
- Nice and interesting discussion actually, and this could be better if you
consistent in the discussion Novia Dwi Alviana
- Still having some jumped-up ideas
- Too many introductory paragraphs with unnecessary informations
1195030167
- Needs more relevant theoretical supports
- Just avoid quoted too much narratives without real analysis on it
- Be aware of mechanic errors: capitalization, italicization, punctuation, etc 75 = B 5D
HOW UTILE ET DULCE PRESENTED ON ENTROK BY OKKY
MADASARI
Talking about literature, of course, will not be separated from the
values contained in it, besides that these values are a benchmark for
whether or not a work is expressed by the author according to the literary
function said by Edgar Allan Poe who said that the function of literature
is didactic heresy: Entertaining as well as teaching something (Al-Ma‘ruf,
2007: 31) From the quote above, it can be said that the author of a work
is able to convey thoughts, ideas to beliefs, meaning that there are
intentions and values conveyed by him.
However, in expressing an intention, it is not purely of the author
itself, of course, there is interference with nature which provides the
source of the author's inspiration. Mursal Esten argues that literature is
the expression of artistic and imaginative facts as a manifestation of
human life and society in general, through language as a medium and
424
having a positive effect on human life. (Esten, 1978) The readers could
take the teaching value from it.
Apart from the teaching value of a work, there is also
entertainment value in the work. The author‘s method for delivering what
they have to the reader contains so much value that we can apply to our
lives as a lesson, as well as providing an entertaining side that we can
enjoy as readers. This is the job of literature. Utile et Dulce means that we
can obatained the teach value in the literature, Johnson stated that poetry
is the unity pleasure and truth, which mean that we can enjoy the
literature as the medium to find entertaining contents as well as we can
get a tech value for our better life. (Johnson, 2006)
Taking or conveying moral values lies in how the author conveys
it through an event or depiction of a story and then the reader reads it,
such as when we read his work, for example, in Tere Liye's novel Tentang
Kamu, which tells the story of Sri Ningsih's life struggles of having
nothing to success, at the end of the story, it is told that she died, but her
death was still useful for people who had helped her life because she left a
large legacy and indeed the inheritance was intended for people who had
helped her life. From the depiction of the story we can take a teaching
425
value, while to achieve the teaching value we also enjoy the plot it is in
accordance with Utile et Dulce where we can take the teaching from the
incident and enjoy the work from the plot. Larasati and Rizky explained
that Dulce is the esthetic way from the plot or the figurative language.
(Larasati and Rizky, 2020)
Entrok by Okky Madasari is a novel about a patriarch's life, as told
from the perspective of Sumarni and her daughter Rahayu. At the start of
the story, they were poor people, and it happened when Rahayu was
younger, but after a difficult life fight, Sumarni was able to alter her fate
for the better, as evidenced by their next scenario, in which they had a lot
of money and were able to send Rahayu to school. Rahayu is a little girl
who despises her mother because they hold opposing views on matters
like as religion, economy, and culture. Rahayu, who was educated and
taught Islam, has more modern ideas, but her mother, Sumarni, had not
know Islam since she was a child, Sumarni was raised to revere the earth's
mother and father, not other gods, yet despite not having studied, she
possessed rational reasoning. Of course, there are many twists and turns
in their life, especially because they live in a patriarchal world.
426
Entrok by Okky Madasari is also inseparable from the Utile et
Dulce rule, we can see how it is contained using a pragmatic approach
which is an approach that views literary work as something which is
constructed in order to achieve certain effect on the audience (effects
such as aesthetic, pleasure, instruction, or kinds of emotion) and tends to
judge the value of the work according to its success in achieving that aim.
(Abrams, 1953). In researching this work, the writer is also interested in
examining this work using the theory of Utile et Dulce by Quintus
Horatius Flaccus, popularly known as Horace.
In principle, Horace alludes to the responsibility of a writer in the
embodiment of his ideas, he said that in embodiment of ideas and in
order for readers to be taught and entertained the writer must "take a
subject equal to your powers", and consider at length how much your
shoulders can bear. Neither proper words nor lucid order will be lacking
to the writer who chooses a subject within his powers. The excellence
and charm of the arrangement, I believe, consists in the ability to say only
what needs to be said at the time, deferring or omitting many points for
the moment. The author of the long promised poem must accept and
reject as he proceeds.‖ (Horace in Nurrachman, 2017)
427
―Lima tahun aku menunggu hari ini datang. Pagi-pagi aku
sudah mandi lalu berdandan. Hari ini aku akan lahir kembali. Aku
akan kembali menjadi manusia yang punya jiwa. Tidak hanya raga
kosong yang menunggu kematian. Hari ini sedikit dosaku akan
tertebus. Utangku memang tak akan pernah impas. Tapi setidaknya
biarkan aku membuatmu sedikit saja bahagia. Lima tahun ini,
kulakukan segalanya untuk membuatmu kembali merasa berarti.
Setiap pagi aku mengajakmu menyusuri jalanan yang telah puluhan
tahun kaulewati. Agar kau kembali ingat kau adalah manusia hebat
yang telah mengalahkan kerasnya nasib.‖ (Madasari, 2021)
The quote above tells about regret, about trying to atone for
sins as illustrated by the excitement of a character there. That is the
first lesson, this is in accordance with what Horace said, illustrated that
its consist the ability to say what must be said about the depiction of
penance as his effort to do everything for it Further teaching in the
intro story can also be obtained from the depiction of different points
of view about the two main characters in this story, such as the parts
of Rahayu and Sumarni;
428
―Aku bilang, ‖Aku berdoa lima kali sehari. Itu cara yang
benar, bukan dengan cara yang dosa.‖ Ibu marah. ‖Aku nyuwun
pada Mbah Ibu Bumi Bapa Kuasa sejak lahir. Aku tidak
mengganggu orang lain. Dosa apa yang kulakukan?‖ ‖Yang kuasa
itu Gusti Allah, Bu. Bukan Mbah Ibu Bumi,‖ kataku dengan suara
keras, membalas teriakan Ibu. ‖Sampai setua ini, sampai punya
anak sebesar kamu, Nduk, aku tidak pernah tahu Gusti Allah.
Mbah Ibu Bumi yang selalu membantuku. Mbah Ibu Bumi yang
memberiku semua ini. Apanya yang salah?‖ (Madasari, 2017)
And Sumarni‘s part:
―Sungguh atas pertolongan Mbah Ibu Bumi Bapa Kuasa
semua yang kudapatkan saat ini. Memang aku mendapatkan daun
dewandaru dari Pesarean Gunung Kawi. Tapi kan daun itu hanya
mau jatuh kalau Mbah Ibu Bumi Bapa Kuasa menjatuhkannya.
Aku juga kerja keras, memeras keringat, mengelilingi Pasar
Ngranget dan dari rumah ke rumah di desa-desa. Semua kulakukan
hanya agar aku dan keluargaku bisa makan, tidak merepotkan
orang lain, dan punya kemuliaan dalam hidup. Lha kok yo masih
ada saja yang bilang aku dosa. Yang dosa itu ya orang kayak Mali
429
itu, seharian tidur di langgar, istri dan empat anaknya tiap hari
kelaparan.‖ (Madasari, 2021)
At his stand point Horace said that Praiseworthy poem is the
product of Nature or of conscious Art (Nurachman, 2017) it can be
means about how the author manifests the ideas he gets. This is also in
accordance with the quotation above which separates the two points of
view, this is judged as a work based on conscious, which makes this work
a praiseworthy work by writing two different points of view to
contrasting two different thoughts. We can also take the message from
the two points of view as an appreciation for differences, we must not
judge a difference first because being different does not mean harming
others..
The next lesson, can also be taken from several characters who are
present in the story of entropy, there are many characters who are present
who also make the story of Entrok a praiseworthy, but not only good
characters, of course, because antagonist characters are needed in a story,
the point is for contrasting as well as the axis or fuel for the story.
‖Ibunya Rahayu itu contohnya lintah darat. Dia ngutangi
orang, menarik bunga sepuluh persen. Wong susah malah ditekek.‖
430
Mukaku terasa panas. Mataku memerah, air mata berdesakan ingin
dikeluarkan, mengingat bagaimana Pak Waji pernah mengatakan
itu di hadapanku dan kembali akan mengulangnya esok pagi. Aku
merasa waktu berhenti dan semua temanku sedang memandangku,
berbisik-bisik dan mengatakan aku anak lintah darat. Tiap hari
makanan yang kumakan adalah keringat orang-orang susah. Aku
bisa sekolah karena ibuku mengisap darah orang lain.‖ (Madasari,
2021)
Pak Waji is an example of an antagonist character in an entrok
story, we can get a lesson from the quotation above about someone who
easily judges others without paying attention to the feelings of the other
person. The incident and description also provided consolation for the
reader, feeling irritated or sympathizing with Pak Waji's cruelty in
accordance with one of Horace's rules which states.
―it is not enough for poems to be beautiful; they must be affecting, and
must lead the heart of the hearer as they will. As people‘s faces smile on
those who smile, in a similar way they sympathize wih those who weep. If
you wish me to weep, you must first feel grief yourself.‖ (Horace in
Nurrachman, 2017)
431
Further, in the story of Entrok we can feel a more intense affection.
‖Kamu kentut di depan petugas, ya!‖ bentak petugas yang
lain tiba-tiba. Petugas itu berbadan tinggi besar, berkumis tebal.
‖Tidak sengaja, Pak. Saya sudah tahan, tapi ndak bisa,‖ jawab
orang yang dituduh kentut. Kami berlima tertawa cekikikan. Ssst!
Amri memberi isyarat agar jangan sampai suara tawa kami terlalu
keras. Keenam orang itu meninggalkan pos jaga. Dua tentara
mengawal mereka sambil membentak. Mereka keluar gerbang lalu ke
jalan di samping markas. Itu jalan setapak. Mereka tidak pulang.‖
(Madasari, 2021)
―Siapa yang kedinginan?‖ terdengar suara dari arah dua orang itu. Kini
kami tahu enam orang lainnya berendam dalam sungai. Dalam dingin
udara yang membuatku terus menggigil. Kini pandangan kami ke sungai
di depan batu besar itu. Sekarang baru kami sadari ada bayang-bayang
enam kepala di sungai itu. Lalu sekarang ada bayangan tangan yang
diangkat ke atas. Salah satu orang itu mengacungkan tangan. Sepertinya
jawaban dari pertanyaan, ‖Siapa yang kedinginan?‖ (Madasari, 2021)
The description of the incident above such as farting and holding
back laughter as well as the way the soldiers scolded the pedicab driver
432
who farted in front of them was enough without showing any expression
from them according to Rahayu's point of view because the incident was
night and dark. Furthermore, the story continues in the incident that six
pedicab drivers there were punished by entering the river, only on the
basis of farting. We can feel the anger here at the arbitrariness of the
apparatus
In this part there are also good writing rules, a simple storytelling
style but full of meaning, familiar material such as the behavior of the
apparatus, as well as messages about the arbitrariness and rights, this is in
accordance with what Horace said.; ―For me, the ideal of poetic style is to
mould familiar material with such skill that anyone might hope to achieve
the same feat. And yet so firmly would the material be ordered and
interconnected (and such is beauty that one may draw out in that way
from the familiar) that he would work and sweat in vain to rival it.‖
(Horace in Nurachman, 2017)
In conclusion, Okky Madasari's Entrok is a work that has many
moral messages by showing two different points of view of the two main
characters, as well as depictions of other characters and events. Of
course, this work can also win the hearts of readers, Okky Madasari as the
433
author can give pleasure to readers because of the plot or description of
the story by paying attention to good storytelling rules. The concept of
Utile et Dulce in this novel is considered with properly according to the
researcher because of its conformity with the concept of to teach and to
delight. Okky Madasari and her work are in line with the goals of the poet
according to Horace who said that aim of the poet is to inform or delight,
or to combine together, in what he says, both pleasure and applicability to
life‖ furthermore, he said that "he who combines the useful and pleasing
wins out by both instructing and delighting the reader." (Horace in
Nurachman, 2017)
Reference:
Abrams, M.H. 1953. The Mirror and the Lamp: Romantic Theory and Critical
Tradition. Oxford: Oxford University Press
Al Ma‘ruf, A.l (2017). Pembelajaran Sastra Multikultural di Sekolah:
Aplikasi Novel burung-Burung Rantau. Kajian Linguistik dan sastra.
Esten, Mursal. (1978). Kesusastraan (Pengantar, Teori, dan Sejarah).
Bandung: Angkasa.
434
Johnson, S. (2006). Lives of the poets. V. I. New York: Clarendon Press
Larasati, A. & Rizky, A. (2020). Konsep Horace Dalam Novel Laskar
Pelangi Karya Andrea Hirata Kajian Kritik Sastra. LITERASI, Jurnal
Ilmiah Pend. Bahasa, Sastra Indonesia dan NDaerah
Madasari, Oky. 2021 ENTROK. Jakarta: Gramedia Pustaka Utama.
Semesta.
435
Name: Novita Wahidah
- Lack of focus
- Inconsistent discussion NIM: 1195030168
- Too many retelling rather than real analysis
- Lack of relevant theoretical justifications Class: 5D
- Having some inconsistent references
- Be aware of mechanic errors: citation, punctuation, paragraphing,
capitalization, etc 60 = C
AN UNDERSTANDING OF THE POSITION AND STATUS OF
WOMEN IN OKKY MADASARI‘S ENTROK
The term woman is given to a girl who has reached a certain age.
Meanwhile, according to Kartono (1992) that a woman must have several
distinctive feminine traits that are widely demanded and highlighted by
the wider community, including: beauty, humility and nurturing. It can be
concluded that a woman is a girl with the achievement of certain ages, if
she is 20-40 years old, she can be said to be an adult woman, while if she
is under 20 years she is called a teenage woman. Women are synonymous
with beauty, have an attraction with their beauty. However, this cannot be
assessed on the one hand, because everyone has a different view of
women, there is a view that women are weak creatures who have many
limitations, talking about women is closely related to feminism.
436
―Rousseau, whom Wollstonecraft otherwise admires, suggest that woman
should exercise cunning and coquetry to make herself ―a more alluring object of
desire‖ ; her cultivation of ― truth and fortitude‖ must be sharply restricted
since ― obedience is the grand lesson which ought to be impressed‖ on women.‖
(Nurrachman, 2017: 133)
Not a few women are always seen as weak and life depends on a man. But
also not a few women who try to fight these views, and this is what is
meant by feminism. Feminism is a movement of women to gain
autonomy or freedom to determine themselves. In the form of the
women's emancipation movement, namely the process of detachment and
low socio-economic position, which curbs progress.
―In A Vindication of the Rights of Woman she went beyond her
Dissenter friends, whose views remained strickly patriarchal.‖
The issue of feminism has been widely discussed in several works, one of
which is A Vindication of the Rights of Woman (1792) by Mary
Wollstonecraft which raises the issue of women in the chapters of each of
her writings, she explains at length about the character, role and education
of women. Likewise, in Okky Madasari's novel Entrok, the novel raises
many issues of feminism, equality and tolerance, arbitrariness, injustice,
437
and violence. The following are the characters and characteristics that
raise Feminist issues in the entrok novel.
―Pasar ngaret ada di desa lain. Untuk kesana aku harus berjalan kaki
melewati tiga desa, lewat jalanan naik turun yang penuh batu dan debu, aku
tiba dipasar saat matahari sudah bergeser ke barat.‖ (Madasari, 2010: 20)
The story quote above is a quote from Mirna, she is the main character in
this novel who has a brave, decisive, and hardworking character. Marni is
the main character who raises feminist issues the most, she always tries to
prove that women also deserve to have a decent education and job.
ngoncek telo. Nguli itu berat. Sudah jatah orang lain.‖ (Madasari, 2010:
34)
In the quote above, there is a mbok character who is the mother of mirna
and is a hard worker who works in the ngaret market, she has good
character and always obeys existing customs and traditions.
―Tidak, pak,‖ jawab bapak cepat. ―Bukan begitu maksudnya. Nanti kami
sediakan duitnya. Dua atau tiga hari lagi sudah bisa diambil, pak,‖ kata
bapak penuh yakinan. Ia tidak memedulikan lirikan tajam ibu. Bapak
merasa sudah berbuat paling benar‖ (Madasari, 2010: 80)
438
The quote above is a quote that shows one of the characters named Teja,
he is the husband of mirna, his character is polite and obedient to the
government, but he has a arbitrary character to mirna, takes advantage of
his wealth to commit an affair behind mirna.
―aku malu dan marah. Begitu sampai di rumah, aku masuk ke kamar ibu
kuambil baki berisi tumpeng dan panggang itu lalu kubuang di halaman
belakang rumah. Tonah yang melihatku langsung berteriak-teriak. Dia
ketakutan. Takut pada ibu juga takut kualat pada Mbah Ibu Bumi Bapa
Kuasa.‖ (Madasari, 2010: 57)
This quote describes one of the characters, the only child from mirna
named Rahayu, Rahayu has a responsible character, is quick to face
problems, Rahayu really hates her mother, because of differences in
beliefs, but at the end of the story, after several incidents, Rahayu
becomes a dear child. and polite to mirna.
―Namanya Amri Hasan. Dosen di fakultas hukum. Masih muda, tampan,
dengan muka keakrab-akraban, belum pernah kulihat orang setampan ini.
Putih, mata lebar, alis tebal, dan hidung yang mancung agak besar, selalu
memakai baju putih dan seringkali celananya diatas mata kaki, terutama
439
saat ada pengajian. Semuanya terlihat serasi dan pas.‖ (Madasari, 2010:
137)
In the quote above it is clear, there is a character named Amri Hasan, he
is a Koran teacher who becomes Rahayu's husband, his character is firm,
brave, Rahayu is his second wife.
―Marijo adalah pegawai bagian pembayaran dipabrik gula. Saat ada tebang
tebu, dia ke sawah-sawah, mengawasi tebu-tebu yang diangkur ke lori,
menghitung, lalu menyerahkan uang pembelian pada pemilik sawah.‖
(Madasari, 2010: 201)
The quote above is one of the quotes that describes Marijo's character as
an employee at a sugar factory, Marijo is Marni's husband after a long
time Marni was left by her first husband Tejo, Marijo has a good
character, is hardworking, and also cunning, because after Marni
experienced a decline in effort he left Marni just like that without news.
In the explanation of the characteristics above, it can be seen that men
have arbitrary characteristics towards women, Marni and Rahayu are one
of the victims. There are so many incidents in this novel that show how
men have a higher degree of inequality and status than women.
440
―Aku kuat, Mbok. Lha wong kita tiap pulang dari pasar juga nggendong
goni. Malah jaraknya jauh, naik-turun‖, ―bukan masalah kuat ngga kuat,
Nduk. Ini masalah ilok ra ilok- pantas nggak pantas. Nggak ada
perempuan nguli.‖ (Madasari, 2010: 35)
The quote from the novel above illustrates that the gap in the degrees of
women and men is so different, men are always considered to have a
higher degree than women, this seems to have been widely recognized by
many people, as well as by Marni's mother in this Entrok novel, said ilok
ra ilok which means it is patented and cannot be contested, until now
there are still many people who think like this. Therefore, feminists are
also becoming more widespread because of cases like this, like what
Marni did.
―Ni, kamu ada-ada saja. Nggak ada perempuan nguli, nggak akan kuat.
Sudah, perempuan itu kerja yang ringan-ringan saja ngupas singkong.‖
The quote above is a conversational dialogue between Mirna and her
mother. When in the market, Mirna asked and wanted to work as a
coolie, but because this work is usually done by a man, so his mother said
so, besides that because women are widely known as someone who is
441
weak and cannot work like a man. This assumption seems to have stuck
in the souls of everyone.
―Mbah Noto hanya mengingatkanku untuk tidak terlalu ngoyo dan tahu
diri. Katanya sudah dari sononya tenanga perempuan itu kecil dan tidak bisa
bekerja keras‖ (Madasari, 2010: 37)
The quote above is Mbah Noto's advice to Mirna regarding female
workers, but Mirna is adamant about this.
―Dipasar ini, buruh perempuan mengerjakan pekerjaan yang alus dan
enteng, seperti mengupas singkong, , menumbuk padi atau menumbuk kopi.
Tapi coba lihat, begitu buruh-buruh perempuan itu sampai dirumah. Mereka
harus melakukan pekerjaan yang ada, mengambil air dari sumber dengan
menempuh perjalanan naik turun. Berat satu jun yang berisi penuh air sama
saja dengan satu goni berisi singkong. Tidak ada laki-laki yang mengambil
air, katanya itu urusan perempuan. Ya jelas lebih enak nguli daripada
ngambil air. Nguli diupahi duit, sementara mengambil air tidak
mendapatkan apa-apa.‖ (Madasari, 2010: 37)
In the long quote, it shows the reality that men don't hear, and it seems as
if the blind don't see that the fact is that women are able to do their jobs,
but injustice still happens, in this quote it can be seen how a woman does
442
more work without pay. while the men only get cool jobs but earn
enough money.
―Aku sudah tidak lagi membagi waktu dengan bekerja di tempat Nyai
Dimah. Simbok diam saja, tak menanyakan atau melarang. Saat Bersama,
kami tidak pernah menyinggung urusan nguli. Simbok juga tidak pernah
bertanya tentang upah yang kudapatkan dari nguli‖ (Madasari, 2010: 39)
Basically the purpose of feminism is to equalize the position or degree of
women and men. Feminism fights for the humanity of women, fights for
women as independent human beings as a whole. (Setyorini: 2017). The
quote above shows how Marni fought for her rights as a woman. In
Setyorini (2017) feminism is a movement of women to gain autonomy or
freedom to determine themselves. Likewise with Marni who shows that
women are not weak creatures who are considered unfit to work like
men, she proves that by working as a nguli even though she is the only
woman, she tries to be free from thoughts like her mbok.
―Kalau Mbah Ibu Bumi Bapa Kuasa mengizinkan, semoga rezekiku
dilancarkan, aku punya duit untuk membeli tanah lagi yang kutanami padi
dan kacang. Akan aku pekerjakan perempuan-perempuan itu dan kuberi
443
upah tak kurang daripada yang diterima suamisuami mereka.‖ (Madasari,
2010: 103)
The quote above shows how the position of women is below men in
terms of economy, they get lower wages than their husbands, Marni as a
feminist pleads with her ancestors so that she gets more sustenance so
that she can employ the women in her village.
―Entrok memang terlalu mewah untuk aku dan simbok. Apa yang masih
dipikirkan seorang perempuan kere buta huruf dengan tanggungan seorang
anak selain hanya makan?‖ (Madasari, 2010: 18)
This quote shows that women will be inferior if they are not educated,
this is said by Marni, that yes, someone who is illiterate so that it is only
worth thinking about eating, he feels unworthy and will not be achieved if
his expectations are higher. But in reality, education is still widely
discussed among outsiders, because not a few when women are educated
there are also many limitations with men.
―Not only Rosseau but also most of the male writers who have follewes in his
footsteps have argued that the whole tendency of female education should be
directed toward one purpose: to make woman pleasing to men‖
444
In this case, it seems as if everything women do is aimed at serving men,
as well as in terms of education aimed at the interests of the husband.
―This habitual slavery, to first impressions, has a more baneful effecton the
female than the male character. Because business and other dry employments of the
understanding, tend to deaden the feelings and break associations that do violence to
reason.‖ (Nurrachman, 2017: 135)
Slavery and injustice against women continues to occur both in terms of
business, work or other things. Indirectly, this injustice can turn off
women's feelings. Injustice between a husband and a wife has happened
very often, this happened in addition to rahayu and also mirna, but many
other characters suffered the same fate.
―Yu Parti yang sebelumnya terlihat begitu semangat, kini lemas tanpa
tenaga. Ditariknya tanga kanannya yang tengah mencakar muka yu yem.
Tanpa bantahan yu parti mengikuti mengikuti tarikan suaminya.‖
In the quote above, it tells about yu party and yu yem, yu yem is an affair
with yu party's husband. a long time later the husband from the yu party
came and pulled him, this is where the yu party's powerlessness emerged
as a woman even though she was a victim, she obeyed orders and
445
instructions from her husband without scolding and being annoyed at her
husband.
―Ini anak Kang teja bu, kata ending sambil menyentuh kepala anak itu.
―Diam au tahu bapak nya siapa, ya saya bawa kesini to, wong ini dalah
rumah bapaknya.‖ (Madasari, 2010: 190)
In this quote explains the arrival of a new character named Endang
sulastri, then suddenly brings a small child and says that he is the son of
Tejo. What's worse is that he asked for an inheritance for his son, isn't
this unfair, that Marni is a hard workers who managed to buy rice fields
and others using their own sweat, which even her husband has been
playing behind her all this time.
―Bukan berebut suami tapi semua ini bersumber dari laki-laki. Apakah
memang seperti ini nasib seorang perempuan?‖ (Madasari, 2010: 193)
The quote above illustrates how tired Marni is with her position as a
woman, injustice has hit her successively, starting from Tejo, who is like a
parasite, living, eating, living and others, then at this time he always gets
reprimands from his superiors because of his reckless attitude towards
Tejo, to even if he dies, it still ruins his life. Even this also happened to
his son Rahayu.
446
―Orang tua Amri membawa mayat anaknya Kembali ke padang.
Perempuan itu bersama mereka. Sedikitpun taka da pertanyaan kepadaku,
apakah aku setuju atau apakah aku menginginkan hal lain. Arini yang
menyampaikan hal ini padauk‖ (Madasari, 2010: 235)
In this case, Rahayu experienced a slump over the departure of her
husband Amri, but it was even more painful because her husband's body
was brought by her mother and also his first wife, they didn't even glance
at and greet Rahayu, even this injustice happened again, polygamy
becomes painful if one party is harmed and also isolated.
Perempuan seharusnya dibiarkan menjadi dirinya sendiri di mana pun ia
berada, tanpa harus terkotak-kotak pada ruang publik atau domestik.
Pemilahan secara dikotomis justru sangat kontraproduktif terhadap
kemandirian perempuan itu sendiri. (Wibowo, 2011)
Naomi Wolf, mengatakan bahwa upaya untuk memperbaiki kehidupan
perempuan membutuhkan keberanian untuk secara terus-menerus
mensosialisasikan gagasan feminis secara rasional dan simpatik. ―Menjadi
feminis‖ bagi Wolf harus diartikan ―menjadi manusia‖, karena feminis
adalah sebuah konsep yang mengisahkan harga diri pribadi dan harga diri
seluruh kaum perempuan (Wolf, 1997: 10)
447
In this quote it can be concluded that women deserve to have equal
degrees, look for jobs that they can afford, have the freedom to choose
everything they want, that women are not fully servants for their
husbands.
References
Edi, D. (2011). Peran Ganda Perempuan dan Kesetaraan gender. Kajian
Gender, 362.
Hasan, B. (2019). Gender dan Ketidak Adilan. Signal , 74.
Madasari, O. (2010). Entrok. Jakarta: PT. Gramedia Pustaka Utama.
Semesta.
Setyorini, R. (2017). Diskriminasi Gender. Desain, 292.
448

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Table of Contens

UTILE ET DULCE IN OKKY MADASARI’S ENTROK NOVEL

THE INFERIORITY OF WOMEN CHARACTER IN SOCIETY

THE ANALYSIS OF “ENTROK NOVEL

WRITTEN BY OKKY MADASAR

WOMEN TO LIVE UNEDUCATED IN ENTROK BY OKKY MADASARI

by Leni Fitria Nurjannah ....................................................................................22

TRANSCENDENTALIST ELEMENT: THE THOUGHT OF LIVING

SIMPLICITY IN ENTROK BY OKKY MADASARI

by Linda Alfionita ...............................................................................................33

DETERMINING THE PLOT IN THE NOVEL ENTROK WITH

by Marsza Nurul Azmi........................................................................................55

ANALYSIS CHARACTERS OF MARNI IN OKKY MADASARI’S NOVEL

ENTROKBASED ON WOLLSTONECRAFT THOUGHTS

VIOLENCES AGAINST WOMEN IN ENTROK BY OKKY MADASARI

by Maya Aspia Azzahra.......................................................................................78

OKKY MADASARI’S ENTROK

by Meilani Asrina Sri Lestari ..............................................................................89

WOMAN IS NOT A BODY WHICH ONLY WAITING TO DIE IN

ENTROK BY OKKY MADASARI

By Melisa Betha ............................................................................................. 100

AUTHOR’S POLITICAL VIEW AND INTEREST IN THE NOVEL

ENTROK BY OKKY MADASARI

by Mila Jamilatussarifah ................................................................................ 112

HORACE’S DECORUM ON TRAGEDY IN OKKY MADASARI’S ENTROK

THE REALITY OF RELIGIOUS LIFE IN THE BOOK ENTROK BY OKKY

by Moch Alif Yasin M .................................................................................... 124

HORACE’S DECORUM ON TRAGEDY IN OKKY MADASARI’S ENTROK

By Mochamad ramdhan ............................................................................... 137

EMERSON’S TRANSCENDENTALISM IMPLEMENTATION ON

MARNI’S CHARACTER IN ENTROK

by Muhammad Mauda Putra ......................................................................... 149

REPRESENTATION OF WOMEN SUBORDINATION IN ENTROK BY

by Muhammad Abdel Akbar.......................................................................... 161

by Muhammad Bayu Aji Munggaran ............................................................ 174

GENDER DISCRIMINATION IN ENTROK NOVEL BY OKKY

by Muhammad Bukhari M. H. ...................................................................... 184

LABOR & CULTURAL INJUSTICE ON WOMEN CHARACTER IN

ENTROK BY OKKY MADASARI

by Muhammad Fajar Ismail .......................................................................... 196

THE PICTURE OF PREJUDICIAL SOCIETY IN ENTROK

by Muhammad Guntur Aghni ...................................................................... 206

OKKY MADASARI’S ENTROK: A BAD CONTENT NOVEL

by Muhammad IchsanShaefulloh .................................................................. 218

ENTROK AS THE WOMEN’S IMAGE OF FEMINISM BY OKKY

by Muhammad Ilham Akbar ......................................................................... 231

THE IMPLEMENTATION OF SELF-RELIANCE AS

TRANSCENDENTALIST THOUGHT INENTROK BY OKKY MADASARI

by Mutiah ....................................................................................................... 244

THE RELATIONSHIP BETWEEN MARNI AND TEJA: REVIEWED BY

by Nabila Fahrunnisa .................................................................................... 254

by Nabilla Fitriani ......................................................................................... 266

WOMEN’S FATE IN THE NOVEL “ENTROK” BY OKKY MADASARI

by Nabillah Farah .......................................................................................... 279

HUMAN NATURE AND SOCIO-CULTURAL IN NOVEL “ENTROK” BY

by Nafila Su’da Alsa Mabrukah ..................................................................... 293

ENTROK AS FEMINISM’S POWER TO AGAINST PATRIARCHY An

Analysis - Entrok’sNovel by OkkyMaddasari

by Naida Rahma Tania.................................................................................. 305

WOLLSTONECRAFT’S FEMINIST THEORY AGAINST OKKY

by Nari Suryani Aghnyanawati ...................................................................... 314

SUMARNI AS THE IMITATION OF FEMINIST IN NOVELENTROK 2010