International Journal of Language and Linguistics Vol. 2, No.

5; November 2015

A Stylistic Study on the Literary Works of Ki Padmasusastra Holistic Critique

Prasetyo Adi Wisnu Wibowo

Abstract
This stylistic study explores the uniqueness and the specialty of the language use exerted by Ki Padmasusastra in
his literary works. Ki Padmasusastra was a famous author after the age of Javanese poets. His contribution to the
progress of Javanese language, literary works, and culture was considerable. The strong characteristics in his
authorship successfully led to his fame as an author. His creativity in the authorship helped advance the
civilization of the people.
Keyword: stylistic, literary works, Ki Padmasusastra
A. Introduction
Ki Padmasusatra (1843-1926) was an author who observed Javanese language, literary works, and culture after
the age of Javanese poets such as Yasadipura I, Yasadipura II and Ranggawarsita. He was not a royal poet, but he
produced many masterpieces as fine as the works of the royal poets. His nickname was Suwardi while also was
known as Ki Padmasusastra, Ngabei Wirapustaka and Ki Prajapustaka (Wibowo, 2010: 113). In 1890-1925, many
of his liteary works were published in the printed version by several publishers.
Mahmud (2010) states that local genius created by old time poets, including Ki Padmasusastra, is categorized as
adiluhung culture type since it can be used as a life guide in the form of manners. The national character building
today is merely a dream if it is not for the use of the traditional culture view exerted in the life of the people in the
past. The birth of literary works in the form of proses or poems does not solely root from the aspect of structure.
In fact, it is also closely related with author’s tendency on the expression style. Every author must seek to show
distinction in terms of the characteristics of individualism, originality and personal touch (Subroto, et al. 1997: 3).
Sometimes, ungrammaticality occurs in literary works. It is attempted on purpose in order to achieve aesthetic
effects (Riffaterre, 1978: 2). Dita (2010: 188-189) asserts that in the literary works such as proses or poems, there
is a deviation in the chosen vocabularies or dictions. Authors resort to a diverged expression in attempt to deliver
a particular effect onto the readers and to produce a particular message.
The expertise and the uniqueness of Ki Padmasusastra in using language in Serat Rangsang Tuban is shown as
follows.
(1) … tinutup ing paniti botên katingal kasêmêkanipun, namung wêninging jangga kawuryan sumorot apindha
thathit, prêmbayunipun katingal sawêg gumana saking kapathêt ing rasukan, kocaking netra pindha lintang
karainan, dhasar sêsinomipun barèh kados mêntas wungu saking sare, tindakipun mucang kanginan, kicating
pada gumêbyar pindha andaru lêlampah. …(SRT/8)
‘… closed by peniti so her bra is hard to see, but her neck is glistering like a thunderbolt, her breasts seem massy
in her squeezing tight dress, her winking sparkles like a diamond in the sky, her hair on the forehead is tangled as
if she had just got off from bed, she walks her muncang kanginan, her steps shimmer like wandering ndaru…’
In the data shown above their occurs the utilization of prefix {a-, ka-} as in apindha (as if), infix {-in-, -um-} in
tinutup (closed), sumorot (glistering), gumêbyar (sparkling), suffix {-ing} in wêninging (her clearness), kocaking
(her move), kicating pada (her steps). It makes the dictions sound more poetic and archaic. The affixes exerted by
Ki Padmasusatra in the literary works are used to manifest his expression and they are capable of presenting a
particular effect to build up a sense of adiluhung (beautiful and classy), authority and majesty.

139
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

For that matter, it had been reasonable for the researcher to conduct a linguistic study in order to find and describe
the uniqueness of the language use in the literary works of Ki Padmasusastra. Therefore, the stylistic study with
holistic critique perspective was undertaken on the four literary works of Ki Padmasusastra because they all have
uniqueness in the language use. The literary works analyzed were Serat Rangsang Tuban, Serat Prabangkara,
Serat Kandha Bumi, dan Serat Kabar Angin. The study was primarily concerned with linguistic aspects that play a
major role in the manifestation of the expression force of the author. It was also focused on the description of the
uniqueness in the linguistic expression of the author. The description of the uniqueness itself is beneficial in
understanding and interpreting the message contained in the four literary works.
A stylistic study on literary works carried out by relating the socio historic background and the ideology of an
author and its significance in the holistic literary interpretation had been rarely conducted in the knowledge of the
researcher. So far researches on the literary works mostly focused on the linguistic analysis. The stylistic study on
the literary works by relating to its significances in the interpretation of the literary works themselves needed to
be encouraged. A stylistic study should not only conclude only at the point of the description of the linguistic
phenomena, but it should go beyond that until it draws a literary interpretation, which is the core of literary arts.
The source of the value of the work arts, especially literature works, is basically concerned with three
components: (1) authors, (2) literary works and (3) readers. The three components coexist and interact in making
the value of ecery literary work. Therefore, to obtain a holistic understanding, any research on literary works must
not leave one of the three components out (Abrams, 1979: 6-29, Sutopo, 1995: 8-9).
The holistic or the complete understanding about the stylistic uniqueness of the four literary works of Ki
Padmasusastra based on the three interacting components which are objective factor (the literary works
themselves), genetic factor (the author) and affective factor (the readers) is needed in order to obtain a more
thorough and holistic understanding concerning the stylistic uniqueness in the four literary works of Ki
Padmasusatra.
The research problems in this study are as follow:
1. How is the uniqueness and the specialty of the language use (sounds, sound patterns, sound values,
vocabularies, semantics, word formation, syntaxis and imagery) exerted by Ki Padmasusatra in his four
literary works (objective factor)?
2. What is the influence of the socio historic background and the ideology of the author on the language use
exerted by Ki Padmasusastra in his four literary works (genetic factor)?
3. How is the reception/response of the readers on the stylistic message in the four literary works of Ki
Padmasusastra?
B. Theoretical Review
Stylistics is the study of the use of language in certain ways that it creates a particular effect. Style is a certain
specific way used by somebody to express himself; personal style (Shipley, 1979: 314, Leech & Short, 1984: 13).
According to Brams (1981: 190), language style is how a speaker or writer says whatever it is that he says or, in
another word, it is the uniqueness of a writer/author or speaker. Style in a broad sense covers a group of
authors/writers, a particular country, a particular time and a particular writing style (Satoto, 1995: 36). According
to Leech & Short (1984: 10), style is associated with the ways to use language in a particular specific context, by
a particular author, for a particular purpose. The focus of stylistics is the language style. So, style is a particular
set of characteristics in the use of language.
Stylistics does not only concern with language style of the literary works, but also deals with language style in
general, although its primary focus is the most complex literary language. Style acts as a dress of thought or a
manner of expression (Turner, 1977: 7-8, Satoto, 1995: 36).
Stylistics is a study that discusses the uniqueness of the language use exerted by an author using a linguistic
approach. Linguistics has an academic validity to study the language use of literary works in an attempt to
contribute to the literary critiques, since literary works are considered as a literary discourse by utilizing potentials
in the language for the sake of literary interpretation (Subroto, et al., 1997: 3).
Turner (1977: 7) states that stylistics is a part of linguistics that emphasizes on the discussion of the variation of
complex language use in the literary works. Next, Short (1989: 183) asserts that stylistics is a linguistic approach
used in the study of literary texts. In addition to that, Crystal (1969: 9) also states that stylistics belongs to the
category of scientifically linguistic study since it examines language variations.
140
International Journal of Language and Linguistics Vol. 2, No. 5; November 2015

Abrams (1981: 190-191) affirms that an analysis of language style may be in the form of diction analysis or
chosen words analysis, its sentence structure and syntax, the density and type of its figurative language, the
pattern of its rhythm, sound components and other formal features.
Diction varies depending on the form, meaning, structure of the language or structure of the given text, as in how
poetic language differs from daily language. Consequently, the variation of diction will cause effects on the
readers (Mahmood, 2014: 76).
In a stylistic study on a literary work, diction is utilized by the author to achieve particular effects. For that matter,
the research focus should be put on the form of the chosen language expression and the effects it causes. Of
course, the effects caused by the diction are based on the situation of the style in the literary works because the
style positions in the literary works determine its meaning and its effects.
In the creation of literary works the processing of the ideas is related to the attempts at creating crystal clear and
rich ideas through the form of expression that is compactly complete and imaginative (Aminuddin, 1995: 5-6).
The words used by someone in communication actually reflects his character and personality in the interaction
(Msuya, 2014: 132). Imagery is constructed by the author in order to make the used language more alive and to
add the depth of the meaning (Aslam, et al., 2014: 5).
The source of the values of the work arts, especially literary works in this case, is basically concerned with three
components: (1) the author, (2) the literary work, and (3) the readers (Sutopo, 1995: 9).The holistic or the
complete understanding about the stylistic uniqueness of the four literary works of Ki Padmasusastra based on the
three interacting components which are objective factor (the literary works themselves), genetic factor (the
author) and affective factor (the readers) is needed in order to obtain a more thorough and holistic understanding
concerning the stylistic uniqueness in the four literary works of Ki Padmasusatra (Sutopo, 2006: 144)

Objective Factor
Genetic Factor Stylistic analysis Affective
Sociohistoric result information Factor
backgroud of the literary Readers’
information of works of response
Padmasusastra Padmasusastra

Stylistic Meaning
4 literary works of
Padmasusastra

C. Research Method
This study is a qualitative descriptive study with the application of stylistics approach.
The data source of objective factor are four literary works of Ki Padmasusastra in the form of gancaran proses:
(1) Serat Rangsang Tuban (SRT) which is Javanese codex printed in Javanese writing published by N.V. Budi
Utama in Surakarta (1912), (2) Serat Prabangkara (SP) which is Javanese codex printed in Javanese writing
published by Tan Khoen Swie, Kediri (1921), (3) Serat Kandha Bumi (SKB) which is Javanese codex printed in
Javanese writing published by Tan Khoen Swie, Kediri (1924) and Serat Kabar Angin (SKA) which is Javanese
codex printed in Javanese writing published by Vogel van der Heyde & Co, Surakarta (1902). On account of the
Javanese writing, the data source needed to be intersemiotically translated into Latin writing. The four literary
works Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi, and Serat Kabar Angin in this research
were collected by using purposive sampling technique with criterion based selection (Sutopo, 2006: 53).

141
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

The data sources of genetic factor are informants who are close relatives of Ki Padmasusastra and socialites who
recognize the literary works and the characeteristics of Ki Padmasusastra. The data source of affective factor are
informants such as critics, literati, academics and students of Department of Local Literature, Faculty of Letters
and Fine Arts, Sebelas Maret University. These informants are genetic factor as well as affective factor data
source in holistic critique study model. They were treated as the key informants that were expected to provide
inputs on the style of the four literary works of Ki Padmasusastra.
Hence, the interaction of objective factor, genetic factor and affective factor viewing that the message of people’s
expression in the form of literary works cannot be detached from its context. The reality of socio-cultural aspect is
always bound by the dialectical interaction of subject and its object. That leads to an understanding that an
interpretation over stylistic meaning of the four literary works of Ki Padmasusastra should be undertaken by
taking socio-historical backrgroud of the authour and the response of the readers into account. The dialectical
interaction of the four literary works of Ki Padmasusastra (objective factor), socio-historical background of the
author (genetic factor), and the response of the readers (affective factors) had been put into work constantly until
the conclusion of the stylistic meaning of the four literaty works of Ki Padmasusastra was drawn.
D. Data Analysis
1. The Uniqueness and Specialty of the Language Use of Ki Padmasusastra through His Four
Literary Works
a. The Uniqueness of Language Sounds
Ki Padmasusastra often resorted to purwakanthi-purwakanthi in his prose language. The utilization of phonemes
in the literary works does not only amplify the beauty of the literary texts, but it also projects to create a particular
nuance generated from the character of the sounds (phonemes). It is the way Ki Padmasusastra showed his
uniqueness and specialty in the prose language use. Eventhough the text is manifested in the form of prose, the
beauty and the rhymes of the sounds are prioritized. The existence of rhymes in the literary texts leads to the
rhythm. It can be described as a steady move caused by the repetition of sounds, constant changes, sound
variations from words in prose lines so that all of which orchestrate a musical artistry.
1) Purwakanthi Guru Swara (Assonance)
(2) Sang prabu tansah angêlar jajahan, misuwuring asmanipun angèbêki jagad, para ratu sami suyud sumawita
botên kalayan kagêbag ing pêrang, anggêpipun sami ambathara. Sang prabu nêngênakên kaprawiran, mila
ingkang para abdi sami ulah kasampurnaning kawruh pêrang, aji jaya-kawijayan, kadigdayan lan
kanuragan,…(SRT/1)
‘the king always expands his ruling area, his name echoes glory in the world and all arena, all other kings submit
themselves to him not because of wars, he is reckoned to be the representative of God in the land of the world, he
has ardour in valour, therefore his people dedicate themselves to learning the art of war, the art of defense, the art
of invincibility, and the art of fights…’
Assonance [A] in data (2) occurs repeatedly in various positions: a) beginning of the word/first syllalble, b)
second syllable before the end of a word (penult), c) third syllable before the end of a word (antepenult), d) last
syllable of a word (ultimate). Sound [A] as a formal iconicity, deals with the forming of lips or mouth when
sounding [A]. That forming is utilized as a tool for iconicity. In sounding [A], mouth opens wide with upper lip
pulled upper and lower lip pulled lower, or in other words, moving towards different ends. This kind of forming is
utilized by the author to show the vastness of the territory or the vastness of the knowledge of Prabu Sindupati.
(3) Patihipun sang nata taksih kalêbêt santana ajêjuluk Radèn Apatih Giripawaka, bijaksana mêngku bang-bang
pangalum-aluming praja, sinuyudan ing wadyabala….(SP/1)
‘The Patih (general), namely Raden Apatih Giripawaka, is somehow related to the king, wise, holding national
power and feared by warriors…’
The utterance above contains closeness in word association. Such an interpretation is drawn from the coherence of
vocal sound [O]. Sound [O] in santana (relative) is followed by sound [O] in Patih Giripawaka, bijaksana (wise),
praja (nation) and wadyabala (warriors). Therefore, the utterance has a strong rhythmic emphasis in account of
the sound [O] that occurs linearly. The assonance of the sound [O] above is employed to illustrate the dignity of
Sang patih Giripawaka.

142
International Journal of Language and Linguistics Vol. 2, No. 5; November 2015

The characteristic of sound [i] is associated with a soft and tender character. The sound of [i] in the data is used to
describe the loyalty of kyai patih.
(4) Kyai patih mundur saking ngajêngan lajêng angruktèni pirantos badhe panglabuhing jabang bayi, winot ing
joli kajêng nagasari…(SRT/43)
‘Kyai patih retreats and observes the equipment for hauling down the baby, put into joli (palanquin) that is made
from nagasari wood…’
The characteristic of sound [i] in data (4) is utilized to portray the love of the patih for the baby that will be hauled
down the river. The tenderness and the kindness of the patih as well as the purity of the baby are very convenient
if they are expressed by sound assonance [i] that typically has a soft and tender character.
2). Purwakanthi Guru Sastra (Alliteration)
(5) Putêg manahipun Endhang Siti Pasir, pêpuntonipun badhe kesah saparan-paran pados margining pêjah, awit
wontên ing patapan botên kuwawi nandhang susahing manah….(SKB/19)
‘Endang Siti Pasir feels lost at sea, in her heart she desires to go wherever she can find a path to death, for in her
asceticism she barely bears sorrow…’
(6) … yèn ingupadosan inggih botên sagêd pinanggih, wasana mupus ing panggalih pasrah dhatêng dewa
ingkang linuwih, …. (SKB/21)
‘…even if it is sought, it is not found, then eventually accept it in the heart and submit to the almighty god…’
In data (5) and (6) above, there occurs the utilization of alliteration /h/ that can enhance the beauty in the
pronunciation. In addition to that, it also gives a certain effect to the association of the readers that an event or a
circumstance described by an author is an event truly recorded and attached in the heart of the readers.
3). Purwakanthi Lumaksita
(7) … dumugi ing pucak, pucaking ardi katuwuhan kajêng …(SP/46)
‘…reaching the top, the top of the mountain is grown by trees…’
In the text above there occurs the utilization of purwakanthi lumaksita word pucak (the top)that can enhance the
beauty in the pronunciation. Also, it is followed by the same word pucaking (the top of), which has a suffix {-ing}
that can also enhance the beauty in the pronunciation.
(8) Botên kénging janma mara janma mati sato mara sirna , …(SKB/48)
‘Men cannot come men will die, animals that come will perish…’
There occurs again purwakanthi lumaksita in the text above. Especially, it can function as a tool to strengthen the
feeling expressed by the author.
b. The Uniqueness of the Morphology
Prefix {ka-} is often opted in the four literary works of Ki Padmasusastra. Prefix {ka-} is often used by Ki
Padmasusastra in his literary works because it can create an archaic value on the word containing it.
(9) Ingkang raka karangkul lajêng kabopong kabêkta mêntas…(SKA/33)
‘The sibling is hugged and taken outside…’
(10) … ora wurung kadarbé ing wong kang ora milu kangelan. (SKB/4)
‘… definitely will be possessed by someone else who feels no sorrow…’
The utilization of other affixes that embody an archaic value is shown in the words with prefix {ma-}. The
examples are given below.
(11) Rara Apyu murang marga malêbêt ing wana sêpi,…(SP/20)
‘Rara Apyu goes into the silent woods,…’
(12) … lakune aja kumpul, binancang-bancanga mangalor mangidul, mangetan lan mangulon, ….(SKA/83)
‘…your journey should not be in one direction only, it should be going to the north, to the south, to the east, and
to the west…’
In data (11) above the word malêbêt is derived from the formation {ma+lêbêt } = malêbêt (made to go in/enter). It
also works the same way with the rest of the words. Mangalor ‘made to go to the north ’ is derived from
{maN+êlor}; mangidul ‘made to go to the south’ is derived from {maN+kidul}; mangetan ‘made to go to the
east’ is derived from{maN+etan}; mangulon ‘made to go to the west’ is derived from{maN+kulon}.

143
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

The utilization of prefix {a-} makes the utterance sounds more melodious because the utilization of this prefix is
generally regarded to contain an archaic value.
Words formed with prefix {a-} as in data (13) below such as amaoni ‘refuse’, amung ‘only’, andhèrèk ‘follow’,
and anitipakên ‘entrust’ are felt to be particularly stressed by the author by clearly voicing the prefix {a-}.
(13) … ingkang abdi sampun botên sagêd amaoni, kawula amung andhèrèk sakarsa paduka, botên langkung
kawula namung anitipakên anak kawula èstri ….(SKB/28-29)
‘…I cannot refuse, I can only submit to your will, I entrust to you my daughter…’
In the four literary works of Ki Padmasusatra, the utilization of prefix {Pa/PaN-D} is very productive.
(14) Jumênêngipun sang prabu putri mawi pasamuwan agêng sarta mawi kajênêngan para ratu ing
amôncapraja, pangastaning paprentahan sarta pangadilan parapabên, panêrak tuwin lampah kadurjanan
sampun botên nguciwani…(SRT/97).
‘The queen is sworn to the throne with a huge ceremony and party that is attended by foreign kings, ways of
leading and ruling as well as the going of justice, prohibition and evil deeds are no longer disappointing…’
Data (14) above contains the word pangastaning which is derived from {paN+asta+ning} = pangastaning ‘ways
of leading’, the word paprentahan which is derived from {pa+prentah+an} = paprentahan ‘ways of ruling’. The
word pangadilan ‘the going of justice’ is derived from {paN+adil+an} = pangadilan.
Data (15) below contains the use of infix {-um-} that makes the word in which it is affixed sound more archaic
such as kumriwik ‘the sound of water dropping’, gumêbyar ‘glister’.
(15) ilining toya kumriwik anjog trêjunging jêjurang mancur kasorotan surya gumêbyar, …(SP/22). ‘The flow
of water down the valley sounds melodious and glisters against the ray of sunlight…’
Suffix {-ing} and{-ning} sound more archaic and more reverberating. The words that have these suffixes are
productive in use. They can make the sounds more beautiful. The suffixes are aesthetic because if they are
pronounced their sound reverberates or echoes. In contrast, suffix {-e} is less aesthetic in the use because if it is
pronounced, it does not produce a reverberating sound.
(16) … sanadyan ananing pêpati kowe iya nora nêmu dosa, awit pamrajaya iku pamalêsing patrap roda-
paripêksa, mulane biratên tikbraning atimu,…(SRT/54).
‘…even though there were a murder you did not commit a sin, since it is a form of revenge to a rape, therefore, do
not live in sadness…’
Data (16) above contains the word tikbraning ‘sadness’ which is derived from {tikbra+ning}. The use of suffix {-
ning} is suitable to describe a neverending pain of sorrow or sadness.
c. The Uniqueness of the Diction
1) The Use of Kawi Language
Archaic words that belong to Kawi language in the four literary works by Ki Padmasusastra play a crucial role
because they can create a beautiful impression. Below are shown some archaic words of Kawi language used in
the four literary works.
(17) Ing nagari Indhu wontên ingkang jumênêng nata ajêjuluk Maha Prabu Andakara, agêng karatonipun,
pintên-pintên nagari ingkang sami suyud nungkul aris botên kalayan kagêbag ing prang, kapraban ing
kawibawan dening kontaping asmanipun sang prabu, dhasar ratu agung binathara, nyakrawati
ambaudhêndha…(SP/1)
‘In the country of Indhu there lived a king named Maha Prabu Andakara, whose realm is vast, for which other
countries respect and obey in a good will, people adore his dignity and his fame, oh he was really a mighty king
who is the ruler of a land and the justice.’
In the text above, there contains some Kawi vocabularies that amplifiy the beauty of the language use. They are
nata ‘king’, ajêjuluk ‘named’ which is dwipurwa form of the word juluk ‘name’ receiving prefix {a-}, suyud
‘respect’, nungkul ‘obey’, aris ‘good’, kapraban from word praba ‘sunray’ receiving confix {ka-an}, kawibawan
‘dignity’ from word wibawa ‘noble/dignity’ receiving confix {ka-an}, kontaping ‘his fame’, binathara ‘like a
god’ from word bathara ‘god’ receiving infix {-in-}, nyakrawati ‘ruler of the world’.
2). The Uniqueness of Personal Diction (The Writing of Author Name)
The uniqueness in other language use demonstrated by Ki Padmasusastra is in terms of the writing of author
name. Javanese literary works do not normally have the name of the author. They usually only have sandiasma.
However, Ki Padmasusastra seemed to explore and show something different with his literary works.
144
International Journal of Language and Linguistics Vol. 2, No. 5; November 2015

(18) Sêrat Rangsang Tuban. …, kaanggit dening Ki Padmasusastra. Tiyang mardika ingkang marsudi
kasusastran Jawi ing Surakarta... (SRT/Sampul)
‘Serat Rangsang Tuban… written by Ki Padmasusastra, a free man who loves to dedicate his life for Javanese
literature in Surakarta…’
(19)Sêrat Prabangkara. … Kaanggit dening: Ki Padmasusastra Tiyang mardika ingkang amarsudi kasusastran
Jawi ing Surakarta.... (SP/Sampul)
‘Serat Prabangkara… … written by Ki Padmasusastra, a free man who loves to dedicate his life for Javanese
literature in Surakarta…’
(20) Sêrat Kandha Bumi karanganipun Ki Padmasusastra tiyang mardika ingkang marsudi kasusastran Jawi
ing Surakarta... (SKB/Sampul)
‘Serat Kandha Bumi is written by Ki Padmasusastra, a free man who loves to dedicate his life for Javanese
literature in Surakarta…’
It is one of the uniqueness and the specialty of Ki Padmasusastra. In writing his literary works he always added
some description after putting his name such as Tiyang mardika ingkang marsudi kasusastran Jawi ing
Surakarta’a free man who loves to dedicate his life for Javanese literature in Surakarta’
Ki Padmasusastra was a democratic man who had a global knowledge. He never rejected a foreign culture if he
thought that it could enrinch the nuance of local culture, for instance in case of the renewal of literature writing
model. The addition of Tiyang mardika ingkang marsudi kasusastran Jawi ing Surakarta after his name actually
means that he did not want to be bound by anyone or anything. He wanted to be tiyang mardika (a free man)
when he wrote a literary work.
3) The Uniqueness of the Character Names
Character names in the four literary works by Ki Padmasusastra refer to four natural elements according to the
title of the literary works. Serat Prabangkara is a signification of fire element, and therefore, the character names
in it contains the fire element ‘geni’ such as Dewi Geniara, Jaka Geniroga, Pangeran Prabanggeni and many more.
The characters in the Serat Prabangkaraare as follow.
(21) Nyariyosakên Prabu Andakara... (SP/Sampul)
‘Tells about Prabu Andakara…’
The character name Prabu Andakara, a king in the land called Indhu in Serat Prabangkara, if viewed from the
word andakara, means srengenge ‘the sun’. The sun as the source of light in the world has embodies fire element.
In addition to that, the name of sang patih ‘general’ of Indhu, Raden Apatih Giripawaka, also contains a fire
element. In that case, giri ‘mount’ and pawaka ‘fire’ are related with fire element. Some other character names as
Dewi Geniara and Pangeran Prabangkara all also embody one of the natural elements, that is fire element. The
meaning of prabangkara itself is the sun, which in many ways involves an element of fire. This is the uniqueness
of Ki Padmasusastra in creating character names: character names were created based on the title of the literary
works and also the element of nature in them.
The characters in Serat Rangsang Tuban also have uniqueness in term of names. Their names are often found to
be involved with water element.
(22) Sêrat Rangsang Tuban, nyariyosakên … Sang Pangeran Warihkusuma … (SRT/Sampul)
‘Serat Rangsang Tuban … tells … Sang Pangeran Warihkusuma …’
d. The Uniqueness of the Syntax
The four literary works by Ki Padmasusastra have uniqueness in the syntax. The examples are as follow.
The syntax uniqueness in the language of Javanese literature is realized in the complexity with a series of MD
typed nominal group, that is a nominal group that consists of a modified word positioned in the front preceding
the modifier word.
(23) lakune diarani: saptabrata, têgêse: laku pitu,.. (SKB/7)
‘His path is called: saptabrata, it means seven acts,…’
Saptabrata is an inversion with the regular formation brata sapta, which means seven acts (an act of meditation
as many as seven kinds).

145
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

The uniqueness of construction with the pattern N followed by suffix {-ing} and N is also often found in the
Javanese literature. The construction is in the form of nominal group and it shows a passive form.
(24) Sang Pandhita midhangêt aturing wayah sanalika kagèt,...(SKB/16)
‘The monk who just heard what his grandson said is startled, …’
(25) Sumiliring maruta manda ambêkta gandaning sêkar …(SKA/4).
‘The swirl of wind brings the fragrance of the flowers…’
e. The Uniqueness of the Use of Language Style
1). Simile/Pepindhan
In the language use of the four literary works by Ki Padmasusastra, Serat Rangsang Tuban, Serat Prabangkara,
Serat Kandha Bumi and Serat Kabar Angin, the use of simile is productive and utilized distributively.
(26) Rara Apyu, sariranipun singsêt … apindha pradapaning angsoka, wadananipun mancorong pindha kartika
mabangun…(SP/1).
‘Rara Apyu has a sexy body… like a young leaf of angsoka flower, her face glisters like a fullmoon…’
Pepindhan ‘simile’ in data (26) above is signed by word pindha/apindha ‘like’. Simile above is used to describe
the beauty of the body of Rara Apyu with the comparison apindha pradapaning angsoka ‘like a young leaf of
angsoka flower’ and her beautiful face pindha kartika mabangun ‘like a fullmoon’.
2). Metaphor
There are found metaphors in data below as the wind flows as if it could do a job people do in the utterance
samirana midit ambêkta gandaning sêkar ‘the wind swirls bringing the fragrance of the flower’. The moonlight
is said to be as if tearing through the leaves, which is expressed as soroting rêmbulan ingkang ambêdhah
lêlongkangan sêlaning godhong ‘the moonlight that tears through the leaves’. The exertion of the metaphor
projects the utterance to be more alive.
(27) Samirana midit ambêkta gandaning sêkar saya adamêl rêncêming galih, …(SRT/49)
‘The wind blows/swirls bringing the fragrance of the flowers and it deepens the pain of the sorrow in the heart,
…’
(28) … soroting rêmbulan ambêdhah lêlongkangan sêlaning godhong. …(SRT/49)
‘… the moonlight tears through the leaves…’
f. The Uniqueness of Imagery
Visual imagery in this case is related with the function of the visual organ of the readers. Ki Padmasusastra, in an
attempt to trigger the visual instrument of the readers, exerted the words signifying a comparison such as apindha,
pindha, kados, kadi, atau pindha.
(29) Rara Apyu, sariranipun singsêt amênjalin kuning wênês maya-maya lumêr apindha pradapaning angsoka,
wadananipun mancorong pindha kartika mabangun…(SP/1).
‘Rara Apyu has a sexy, clean, yellowish, soft, and tender like a young leaf of angsoka flower, her face glisters like
a fullmoon…’
Ki Padmasusastra precipitated the visual instrument of the readers in describing the beauty of the body of Rara
Apyu with a comparison apindha pradapaning angsoka ‘like a young leaf of angsoka flower’ and pindha kartika
mabangun ‘like a fullmoon’.
Audio imagery is related with the words utilized by an author in the attempt to influence the readers’ mind
through the engagement of their audio organ.
(30) Sang Nata amiyosakên karsanipun angèndêli kyai patih, … Punika amratandhani gêng sihipun sang nata
dhatêng kyai patih, para wadyabala sidhêm pramanêm, botên wontên banènipun walang ngalisik. (SKB/33)
‘Sang nata commanded to put kyai patih to rest… this shows how great the love of the king for kyai patih was, the
soldiers were totally quiet, there was an absolute silence’
Data (30) describes the silence in the ballroom of the palace with an audio imagery sidhêm pramanêm, botên
wontên banènipun walang ngalisik ‘totally quiet, an absolute silence (no sound of grasshopper)’. The exertion of
this audio imagery precipitates the imagination of the readers. It awakens every sense in the readers that they feel
they hear and feel the situation described in the story.

146
International Journal of Language and Linguistics Vol. 2, No. 5; November 2015

2. The Influence of Socio-historic Background of the Author on the Language Use Exerted by Ki
Padmasusastra in His Four Literary Works (Genetic Factor)
After presenting the stylistic analysis on the four literary works by Ki Padmasusastra, the analysis on the socio-
historic background of Ki Padmasusastra as well as the social condition which is the realization of genetic factor
on the language use exerted by Ki Padmasusastra in his four literary works is exhausted. The life and the
background of an author have urgency in providing an explanation about a creative process of the creation of a
literary work. The biography of an author is a part of historiography that reveals his authorship.
The era of his engagement with Dutch people gave a special impression and experience for Ki Padmasusastra in
the world he loved most: Javanese language and literature. He claimed himself to be Wong mardika kang marsudi
kasusastran Jawa ing Surakarta. He was actually interested in European culture, but he did not want to fully
accept and practice the European cultural and literary norms. He was committed to dedicating his life for Javanese
traditional literature and culture.
Even though Serat Rangsang Tuban is in the form of gancaran ’prose’, there is found a form of tembang
Macapat in it.
(31) Pangkur wuryaning gitaya/ sadurunge kaki sira dumadi/ anèng ngêndi dunungipun/ yêktine saking ora/ bapa
biyung dadi lantaran tumuwuh/ tan nêdya yoga mring sira/ mung nêkakkên ardèng budi// (SRT/65)
‘Pangkur has a famous song/ before you were born/ where were you?/ you came from nothingness/ parents were
the medium that brought us to the world/ they never imagined of having you/ they were just having their lust and
desire//’
Other than being a Javanese literati, Ki Padmasusastra was an obedient moslem who practiced religious teachings.
His religious ideas on the meaning of life was cardinal and was deeply reflected in Serat Rangsang Tuban, Serat
Prabangkara, Serat Kandha Bumi dan Serat Kabar Angin.
(32) sang pangeran: i, i, i, i, mêngkene karsane Allah, têtela ora kêna ginayuh ing manungsa, …(SP/67)
‘the prince said: i, i, i, i, here is what Allah wants, and it cannot be thought of by a mere man’
(33) … mung wajibing ngaurip nganggo istiyar, … kula lampahi kalayan sucining manah, sarta lampah wau
namung kula anjingakên istiyar, ….(SKB/. 6)
‘… the obligation of the living people is that they have to try and keep trying,… I will do it whole heartedly, and I
will do it as a proof that I try and keep trying, …’
It can be seen in the text that the uniqueness of the diction exerted by Ki Padmasusastra in the religious aspect is
vast. There is found a diction that belongs to the teaching of Islam such as the word Allah ‘God’ and istiyar
‘always keep trying and praying’.
Ki Padmasusastra viewed the modern culture as a positive enrichment for the sustainment of Javanese tradition.
The positive side of the effects of globalization and democratization must be taken as a blessing for people to
carry on the existence of the Javanese culture. He obtained his creativity from his era. The influence of politic,
economy, culture, literature, ideology and his education makes his four literary works contain a unique nuance as
a blending of European literature and Javanese literature. The utilization of Javanese diction is very archaic, but it
presents more modern themes.
On the basis of his brilliance and the influence of the education of his parents and the people around him, the
brilliant ideas in the aspect of education for the betterment of the future of the nation are included in his literary
works.
(34) Kacariyos Dèwi Bantarangin …limpad ing panggraita, kalêbêtakên ing pawiyatan agêng pinrêtêk ing
piwulang warni-warni, gurunipun tigang dasa nêm, botên namung kawruh ing wanodya andondomi, nyulam,
nênun, … dalasan kawruh ulah praja, ulah prang, anganggit-anggit putus sadaya…(SKA/128-129)
‘It is said that Dewi Bantarangin… witty in her thoughts, she was put in a higher education to be fed with more
knowledge, her teachers were as many as 36, she did not only learn a knowledge for women such as knitting, …
she also received a political knowledge, the art of war, the art of composition, she was good in all of it…’
Most Javanese women in the past were less educated; therefore Ki Padmasusastra aspired to change this view. His
years of engaging with Dutch scholars gave him a special experience. This is incorporated in the story that Dewi
Bantarangin, the daughter of Sang Prabu Timur and Ibu Dewi Sumilir, obtained a lesson from her many teachers
about many kinds of knowledge; either skills for women or political knowledge.

147
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

3. The Reception of the Readers on the Stylistic Meaning of the Four Literary Works by Ki
Padmasusastra (Affective Factor)
The stylistic analysis on the four literary works by Ki Padmasusastra involving Serat Rangsang Tuban, Serat
Prabangkara, Serat Kandha Bumi and Serat Kabar Angin by considering the socio-historic background of the
author as well as the socio-cultural condition around the author realizes a multidimensional notion. The
multidimensional idea becomes the essence of Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi
and Serat Kabar Angin.
a. Cultural Dimension (Local Genius)
Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi and Serat Kabar Angin are the media to express
the existence of Javanese culture or tradition that is rich in nuance and value. One of the strengths of the four
literary works by Ki Padmasusastra is the inclusion of Javanese local genius amid the dynamic global world. With
his expertise and mastery in socio-cultural knowledge and Javanese philosophy, Ki Padmasusastra incredibly
conveyed many kinds of local genius through his writing style.
Javanese teaching in Serat Kabar Angin is manifested in the character Jaka Bayu, who has a characteristic sepi
ing pamrih ’sincere’.
(35) Jaka Bayu iku sêpi marang pamrih lan ora dhêmên marang dhuwit, ….(SKA/192)
‘Jaka Bayu never expects a favor to be returned and he does not like money…’
The text above has a Javanese local genius unen-unen sepi ing pamrih ’sincere’. Jaka Bayu portrays a rare
character in life. He dedicates himself to help people with all of his sincerity.
b. Social Dimension
Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi and Serat Kabar Angin are the manifestation of
Ki Padmasusastra’s siding with common people. He cared about how common people became the victim of
power; how common people were always sentenced with a heavier punishment than high class people, etc.
He was always concerned about the life of those common people. The power of the king had been perceived to be
unlimitless. Ki Padmasusastra through his literary works attempted to change such a view. The king that holds
power should be a king that people truly approve of. It was a brand new understanding that he introduced to
Javanese people at the time.
c. Moral Dimension
Ki Padmasusastra was really concerned about moral problems. He aspired to bring a good moral to society. He
was against the typical moral of a beggar in a public servant. Therefore, through Serat Kabar Angin he seeked to
fix the morality of public servants.
d. Gender Dimension
Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi and Serat Kabar Angin are regarded as if they
exposed the resistence of women against the hegemony of men power.
The fresh idea about gender that is brought through the four literary works gives an enlightment to the readers that
a respect without a bully to a woman is necessary to do. This brand new idea was really fascinating and was an
iconic style of his literary works that always incorporated new paradigms.
e. Religious Dimension
As a Javanese literatus, Ki Padmasusastra was able to show that he was an obedient moslem. His religious ideas
about the meaning of life was very deep and cardinal. If looked deeper, Serat Rangsang Tuban, Serat
Prabangkara, Serat Kandha Bumi and Serat Kabar Angin deliver a deep teaching on Tasawuf that reflects the
blending of the existence of men and god.
f. Multicultural Dimension
Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi and Serat Kabar Angin are multicultural literary
works that are also multidimensional. As multicultural literature, they are able to expose local Javanese culture as
a diversity of national culture, and they also contribute to the enrichment of global culture. The four literary works
by Ki Padmasusastra have a cultural value complexity which is rare to find in any other literary works.

148
International Journal of Language and Linguistics Vol. 2, No. 5; November 2015

In that way, Ki Padmasusastra as a Javanese was successful in developing his cultural identity without sacrificing
his true nature. Even, he was also successful in integrating the two different cultures (Kejawen and Islam) so that
it can be used for the benefit of the people.
E. Conclusion
Based on the analysis conducted above, some conclusions are drawn as follows. The language sound patterns that
dominantly appear are purwakanthi guru swara or assonance aspect, purwakanthi guru sastra or alliteration
aspect and purwakanthi lumaksita. The selection of those sound patterns makes the four literary works by Ki
Padmasusastra beautiful. In terms of morphological structure, the word formation dan the word use tend to strive
to word forms that have an archaic value. The choice of word or diction varies such as the use of Kawi words. The
uniqueness in terms of diction which involves the personal touch of the author is on the naming of the author by
the author. In addition to that, the uniqueness of the name of the characters also make the four literary works by
Ki Padmasusastra more graceful. The uniqueness of the syntax, the uniqueness of the use of metaphors and simile
(pepindhan) other than realizes an aesthetic aspect, they can also make concrete an idea an author means to
deliver to the readers as well as beautify it at the same time. The imagery of the stroty through these aspects make
the story real and alive.
The analysis on the socio-historic background of Ki Padmasusastra results in the notion that his political,
religious, and education factor strongly influence the style of his four literary works. Not only was he interested in
European literary and culture norms, he also learned and received a great deal of them in his life. However, he
never left his own culture and he even dedicated his life on the traditional Javanese literature and culture. His four
literary works have their own uniqueness that make Ki Padmasusastra as one of the most famous Javanese
authors.
The reception of the readers on the stylistic meaning of the four literary works of Ki Padmasusastra (affective
factor) is that the four literary works embody multidimensional ideas involving the cultural dimension, gender
dimension, religious dimension and multicultural dimension. The idea of the multidimension itself becomes the
essence of Serat Rangsang Tuban, Serat Prabangkara, Serat Kandha Bumi and Serat Kabar Angin.

149
ISSN 2374-8850 (Print), 2374-8869 (Online) © Center for Promoting Ideas, USA www.ijllnet.com

References
Abrams, M.H. 1979. The Mirror and the Lamp: Romantic Theory and the Critical Traditional. New York: Oxford
University Press.
Abrams, M.H. 1981. A Glossary of Literary Terms. New York: Holt-Rinehart and Winston.
Aminuddin. 1995. Stilistika Pengantar dalam Memahami Bahasa dalam Karya Sastra. Semarang: IKIP Semarang
Press.
Aslam, et. al. 2014. Stylistics Analysis of The Poem “Bereft” By Robert Frost. European Journal of Research
and Reflection in Arts and Humanities, vol. 2, no. 1, hlm. 1-5.
Crystal, David. 1969. Investigating English Style: English Language Series. London: University Colledge
London.
Dita, Shirley N. 2010. A stylistic Analysis of Montage. 3L The Southeast Asian Journal of English Language
Studies, vol. 16, no. 2, hlm. 169-191.
Leech, Geoffrey N & Michael H. Short. 1984. Style in Fiction: a Linguistics Introduction to English Fictional
Prose. London: Longmann.
Mahmud, Amir. 2010. Sang Inspirator Ekonomi Kreatif dan Demokrasi dalam Konteks Membangun Karakter
Bangsa melalui Bahasa dan Sastra hlm. 8-14. Prosiding Seminar Nasional Demokratisasi Ki
Padmasusastra dalam Bahasa, Sastra, dan Budaya, Surakarta.
Msuya, Erasmus Akiley. 2014. Stylistic Analysis of “Xuma” and “Leah” in Peter Abraham‟s Mine Boy: A Verbal
Transitivity Process. International Journal of Linguistics, vol. 6, no. 1, hlm. 132-152.
Mahmood, Shoaib, et.al. 2014. Stylistic Analysis of William Blake’s Poem “A Poison Tree. International Journal
of Linguistics, Literature and Culture (Linqua- IJLLC), vol. 1, no.2, hlm. 76-85.
Padmasusastra. 1902. Serat Kabar Angin. Surakarta: Vogel van der Heyde & Co.
_________. 1912. Serat Rangsang Tuban. Surakarta: n.v. Budiutama.
_________. 1921. Serat Prabangkara. Kediri: Tan Khoen Swie.
_________. 1924. Serat Kandha Bumi. Surakarta/Kediri: Tan Khoen Swie.
Riffaterre, Michael. 1978. Semiotics of Poetry. Bloomington and London: Indiana University Press.
Shipley, Joseph T. 1979. Dictionary of Word Literature. Paterson New York: Liftefield, Adam & Co.
Satoto, Soediro. 1995. Stilistika. Surakarta: STSI Press.
_________. 2012. Stilistika. Yogyakarta: Penerbit Ombak.
Subroto, Edi D., dkk. 1997. Telaah Linguistik Atas Novel Tirai Menurun Karya N.H. Dini. Jakarta: Departemen
Pendidikan dan Kebudayaan.
Sutopo, H.B. 1995. “Kritik Seni Holistik sebagai Model Pendekatan Penelitian Kualitatif”. Pidato Pengukuhan
Guru Besar Ilmu Budaya pada Jurusan Seni Rupa Fakultas Sastra dan Seni Rupa UNS.
__________. 2006. Metodologi Penelitian Kualitatif Dasar Teori dan Terapannya dalam Penelitian (Edisi
Kedua). Surakarta: Sebelas Maret University Press.
Turner, G.W. 1977. Stylistics. Harmondswoth Middlesex: Penguin Books.
Wibowo, Prasetyo Adi WW. 2010. Tatacara Kelahiran Masyarakat Jawa Menurut Serat Tatacara Karya Ki
Padmasusastra hlm. 113-121 Prosiding Seminar Nasional Demokratisasi Ki Padmasusastra dalam
Bahasa, Sastra, dan Budaya, Surakarta.

150