International Journal of Indonesian Studies Volume 1, Issue 3 | Page 134

INTERNATIONAL JOURNAL OF INDONESIAN STUDIES
SPRING 2016
What she suggests is the cover offered by darkness out of fear of repercussions, regardless
of how alluring it appears.
‘In the shadows of the trees
her body shines
like a golden deer.’

(Ibid.)

What she offers is not complete, not totally defined but, nevertheless, deeply attractive.
‘Her unfinished breasts
are like half ripe fruit,’ (Ibid.)
Rendra sees himself as a part of this ‘maiden’s’ movement. He is at one with it
‘I embrace her
as I embrace life and death’ (Ibid.)
She is his motivator, his personal coach whose words will maintain his focus of intent.
‘And her fast breathing
whispers in my ears.’

(Ibid.)

The impact of what she can achieve is amazing and has its own inherent beauty:
‘How amazed she is
at the rainbow
beneath her hooded lids.’

(Ibid.)

The poet then suggests that even their forefathers are observing how this will play out,
‘Our ancient ancestors
appear from the centre of the dark
coming nearer
in their ragged clothing
and squat
watching us.’

(Ibid.)

They, too, it would appear, have a vested interest in this insurrection.
In the poem, ‘Pemandangan Senjakala,’(Twilight View 1968), Rendra is far more
direct in his use of language to rage against the actions which had killed Indonesians in the
so-called communist coup of 1965.
‘Smell of munitions in the air. Smell of corpses. And horseshit.’ (Aveling, p.45)

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