Reading the Tragedy in Madurese Folklore: Raja Macaja more

Reading the Tragedy in Madurese Folklore: Raja Macaja There are folklores in the different countries told a tragedy, even in Indonesia. The story of Bandung Bondowoso, Sangkuriang, the origin of Banyuwangi, or the story of Raja Macaja can be included in the tale of tragedy. Such the tale of tragedy, it always ends with tragic ending. It can be seen from the definition of Oxford dictionary literary term, Tragedy is a serious play (or, by extension, a novel) representing the disastrous downfall of a central character. Then, in Britannica Concise Encyclopedia is defined that tragedy is a Drama of a serious and dignified character that typically describes the development of a conflict between the protagonist and a superior force (such as destiny, circumstance, or society) and reaches a sorrowful or disastrous conclusion. This article intends to analyze the birth of tragedy in Madurese folklore entitled Raja Macaja. Unconsciously, tragedy is the part of human life. In the world, there will be happiness and badness. Literature in this case, tries to portray the story of human life in order to get a lesson to be doing a better act in the future. By using an unique perspective, literary work can transfigure tragedy well. The philosopher Aristotle said in his work Poetics that tragedy is characterized by seriousness and dignity and involving a great person who experiences a reversal of fortune (Peripeteia). Aristotle's definition can include a change of fortune from bad to good as in the Eumenides, but he says that the change from good to bad as in Oedipus Rex is preferable because this effects pity and fear within the spectators. Tragedy results in a catharsis (emotional cleansing) or healing for the audience through their experience of these emotions in response to the suffering of the characters in the drama (Rorty, 1992:178). *** Schopenhauer in his book The world as Will and Idea, conveys that our life is full of sorrow, sadness, or misery. It can be concluded that life is tragedy. It happens because of unsatisfied desire (David Cartwright, 2010:43). The story of Raja Macaja begins with the pretension of The King of Macaja to give his daughter in marriage with The King of Bugis¶ son. Unfortunately, coming close to the marriage, Marteyesa- The King of Mecaja¶s daughter- rejects to get married. It makes son of The King of Bugis getting angry and throwing away the dowry to the sea. After this occurrence, Marteyesa dies because of unrecovered ill. There are portrayed the unsatisfied desire of human being. The king of Macaja wants his daughter getting married with the son of Bugis in order to strengthen their relationship. ³The relationship between Macaja king and the Bugis king was getting closer that they even wanted to pair one of their son and daughters to make the relationship between the countries even stronger (Sutarto, 2011:70)´. Unfortunately, Marteyesa rejects to get married suddenly. In the story, it does not tell clearly why Marteyesa rejects to marry. A matter we get from this case; a consciousness that there is an unconquered matter such her heart. The princess that commonly must follow the rule of his father rejects her father¶s message. She cannot absolutely be conquered by the power of her father. This story is like Bandung Bondowoso. When Bandung defeats The king of Baka, automatically, Loro Jonggrang as the princess of Baka becomes his captive. But, to get married with her, Bandung must build a thousand temples. He accepts the requirement. The lay people will regard, it is caused by Bandung¶s love. To use Thomas Kempis word. Love does not feel the burden, even hardness. However, Bandung¶s acceptance to build a thousand temples has other side; an arrogance that he is powerful man. The admission to be called powerful man, in fact, still needs other people to strengthen his position. Finally, he builds the temples, may be based on love or admission. Poor for Bandung, he fails. He cannot get married with Jonggrang. From the folklore, we get two messages; first, there is a matter that cannot absolutely conquered, and second, tragedy can emerge everywhere, even after the victory of Bandung defeating the king of Baka. Marteyesa also chooses another way. She must not follow her father¶s rule. She is free. Until, Marteyesa dies, the son of Bugis fails to marry her. Marteyesa¶s choice is the undefeated power. Although her position as well as Jonggrang becomes the woman under the rule, she tries to choose-to use Jean Paul Sartre word- ³Better to have beasts that let themselves be killed than men who run away (1990:45)´. The dowry that is thrown to the sea also has another meaning. Every man who tries to take the dowry will get suffering. It is a tragedy, how a precious thing cannot make the owner happy. Tragedy can come from everywhere. There is a man who accepts tragedy as calamity: ³The people of Mecaja were dissatisfied with Princess Marteyesa¶s manner that showed disrespect both her father and The King of Bugis (Sutarto, 2011:72)´. There is also a man who accepts the tragedy as a fate: ³The Macaja King was very disappointed with Princess Marteyesa and shy of the Bugi king. However, he could not force his daughter with his choice. He accepts the regrettable experience with his heart and soul gave it all to Almighty God (Sutarto, 2011:71)´. From the tragedy, finally we are invited to get contemplated. The desire to conquer, to own, even the desire to reject the conquest can change to be a tragedy. But it is the real life, the condition that is not always happy. We have to brave facing our life. If we are scared to face our life, it is the worst tragedy ³One of the most tragic things I know about human nature is that all of us tend to put off living (Dale Carnegie on Rita Felski, 2008:97)´. Nietzsche in The birth of Tragedy also says that tragedy as the art form of sensual acceptance of the terrors of reality and rejoicing in these terrors in love of fate (amor fati) (Porter, 2000:24). *** Art is a means to see the tragedy wisely. We are invited to enjoy the tragedy in a new perspective. We celebrate the tragedy such seeing Picasso¶s painting in describing the gloomy of Spain war or Sophocles¶ drama in Oedipus Rex. In the end of the story, Oedipus becomes a blind man. Art teaches us that tragedy cannot be released from our life totally. It always emerges to be a part of our life. When we want to forget the tragedy, actually it is the real tragedy. Bandung¶s victory has another side. Loro Jonggarng cannot be conquered. The king of Macaja as the ruler cannot force his will to Marteyesa. In tragedy, we are reminded that there is no total conquest. Reference: Cartwright, David. 2010. Schopenhauer: A Biography. Cambridge University Press Felski, Rita, ed. 2008. Rethinking Tragedy. Baltimore: Johns Hopkins Porter, James I. The Invention of Dionysus: An Essay on The Birth of Tragedy. Stanford: Stanford University Press, 2000 Rorty, Amelie Oksenberg.1992. Essays on Aristotle¶s Poetics. Princeton: Princeton UP Sartre, Jean paul. 1990. Existentialism and human emotion. New York: Carroll publishing group