IDA I DEWA AGUNG ISTRI KANYA Part 5 – Female Fighters Against Dutch Colonialism In Klungkung
IDA I DEWA AGUNG RANYA’S WIFE IS A WOMAN OF EMPTY
5.1.Cultural Environment.
Ida I Dewa Istri Kanya was a daughter of two sons of the king of Klungkung who held the title Dewa Agung Putra Kusamba. As a king’s daughter, Ida I Dewa Agung Istri Kanya was raised in a palace environment called the Semarapura palace in Klungkung. The palace, which was built in the 17th century, was a complex where the king and his family lived, so that daily social interactions were more often carried out with the king’s relatives, compared to others.
More socializing with the king’s relatives and other palace officials, was strengthened and maintained for centuries as a palace tradition. The palace walls seemed to be a solid boundary between palace life and life outside the palace. Semarapura Palace is divided into several buildings, including the saren gede where the king lives and the bale mas located near the saren gede. In the bale mas complex located behind the residence of the reigning god Agung Putra Kusamba, the king’s sons lived. This is where Ida I Dewa Istri Kanya and her half-sister lived, a place of honor for a reigning daughter of the king of Klungkung.
The palace became the center of all activities in all its aspects, and it was in this atmosphere that Ida I Dewa Agung Istri Kanya grew up. Hinduism plays an important role, and in this field there is an important royal position called bhagavanta. Bhagavanta is the highest palace position that can be occupied by a brahmin who is tasked with providing advice to the king and all his relatives.
The advice of a bhagawanta to the king and his family covers all aspects of life so that the bhagawanta can be said to be a figure who preserves tradition. Advice is given both verbally and in writing. It can be understood that literature developed, among others, in such a way. Such activities placed the palace as the center of the development of literature, a tradition that can be traced back to the Gelgel period around the 16th century.
Literature containing Hindu religious values teaches its readers, among other things, to always be humble in dealing with others. Human awareness. Towards his very limited position in relation to the highest being (Sanghyang Widhi) and with his fellow human beings strengthens the view that his life is also determined by that invisible power. A polite attitude towards others, especially towards people who are considered older, is the main characteristic of social interaction in the Semarapura palace. This view of society and religion greatly influences the attitude of Ida I Dewa Agung Istri Kanya in dealing with the outside world in the future.
Apart from the noble values contained in religious literature, the personality of Ida I Dewa Agung Istri Kanya was raised by historical events.
According to several historical sources, Ida I Dewa Agung Istri Kanya was born in Karangasem, the place where her mother came from. Her mother was one of the daughters of the Karangasem king so that the relationship between the Klungkung kingdom and Karangasem was quite close. The relationship was not only limited to the Puri Karangasem family but also to the Beleleng, Badung, Mengwi and Gianyar kingdoms. This family relationship can be understood after studying historical sources. In addition to her biological mother as the consort of Dewa Agung putra Kusamba, Ida I Dewa Agung Istri Kanya had a stepmother, the concubine of Dewa Agung Putra Kusamba who later gave birth to a son. From the sources obtained during the research, it can be understood that neither her biological mother nor her stepmother had a profound influence on the personality of Ida I Dewa Agung Istri Kanya, compared to Dewa Agung Putra Kusamba as a father. Dewa Agung Putra Kusamba as a father, Dewa Agung Klungkung and his relatives in Bali and Lombok on the other hand had a very profound influence, and therefore occupied a special place in the eyes of Ida I Dewa Agung Istri Kanya.
Dewa Agung Putra Kusamba and the king of Klungkung who held the government especially since the 19th century, faced increasingly severe changes in the political field. The 19th century included a period that included the process of change towards the collapse of the Klungkung kingdom. Ida I Dewa Agung Istri Kanya heard about this process of change from her parents and experienced the process of collapse herself. The process of collapse was marked mainly by the conflict of interests of Dewa Agung in Klungkung against other kings in Bali. This conflict of interests often caused physical conflict and left victims, not only in the form of property but also lives including the life of her own father.
In addition to the conflict against the kings in Bali and Lombok, Ida I Dewa Agung Istri Kanya also experienced how the Klungkung kingdom was faced with a very difficult choice because it faced diplomatic pressure from the Dutch colonial government. Conflict thus became a common feature of Balinese culture in the 19th century where and at which time Ida I Dewa Agung Istri Kanya was born and raised. In this case, the Semarapura palace and all its contents, including Dewa Agung Putra who held the government, were considered the center of cultural development. As a result, all processes of cultural development were seen as being in accordance with the interests of the palace.
The view of the process of cultural development is colored by the Hindu conception through the past, present and future. According to this view, the past is almost always identified as the Kertayuga period, a period in which the Klungkung kingdom is considered to have experienced a golden age. The present experienced by Ida Dewa Agung Istri Kanya is considered as a time full of chaos and misery while the future is full of hope for happiness. The process of cultural development is practically only seen in the three phases above and throughout this study, there is no mention of the treta yuga and dwa para yuga eras. In the development of Balinese history, it is also difficult to identify which phase is included in treta yura (chaos) on the contrary it is easy to identify in the development of Klungkung history. The last two phases limit the development of the Klungkung kingdom from the Kaliyuga period to the Kerta Yuga era and vice versa from the Kerta Yuga era to the Kekali Yuga era. The chaotic present influences Ida I Dewa Agung Istri Kanya’s views of herself and her views of the world outside her.
5.2. Purpose, Form, Content and Nature of Wewatekan Language Symbols.
It is clearly stated that Pralambang Bhasa Wewatekan as a literary work aims to express a very deep feeling of sadness towards the reality of life that was and is being faced by Ida I Dewa Agung Istri Kanya. Therefore, Pralambang Bhasa Wewatekan itself contains historical elements.
The very clear purpose is expressed on sheet 16b. “Mangde pwang kagagat prih-ingwang-a ngtang kasurugani sarananing ati”. The free translation is: I wrote a composition because I was driven by heartache. Awareness of her present which was considered unhappy, full of chaos and conflict, encouraged her not to continue to drown in that sadness. Ida I Dewa Agung Istri Kanya wanted to escape from the reality of life that was pressing on her by becoming a writer. In the Pralambang Bhasa Wewatekan it is stated that: “Tan ryamban Bayangan nanahku kasekan lara sinaki-tan ing rajah kamah, na hetunyawimuda forced tumulartular angapi gurit niracrhya.” The free translation is My heart is confused and anxious because of deep sadness and is covered by darkness. Therefore, I, the fool, want to become a writer.
By pouring out her sadness into a literary work, Ida I Dewa Agung Istri Kanya is free from her sadness. The problem is in what form the outpouring of feelings is expressed. By depicting the negative present, Ida I Dewa Agung Istri Kanya actually has another goal, namely to depict the history of the greatness of the past of the Klungkung kingdom which was manifested in the person of the king of Klungkung, namely Dewa Agung Putra Kusamba. The greatness of Dewa Agung Putran Kusamba is depicted in her composition both as the king of Klungkung and as a descendant of Bali and Lombok. The contrasts that I Dewa Agung Istri Kanya thinks about want to be poured into the form of symbols through a series of kekawin. namely literary works that are bound by certain rules. As a result, pouring out thoughts and feelings into a composition is limited by the applicable rules. Finally, the depiction of historical reality is difficult to identify. This is understandable because Ida I Dewa Agung Istri Kanya did not intend to write a historical work, but wrote a literary work, namely Pralambang Bhas Wewatekan in the form of poetry as a common form in her time.
In an effort to describe the past and present experiences that she was experiencing, Ida I Dewa Agung Istri Kanya can be said to work systematically according to the standards of that era. The contents of Pralambang Bhasa Wewatekan clearly describe the past of the Klungkung kingdom that was never experienced, and some others that were indeed experienced and are being experienced. Therefore, Ida Dewa Agung Istri Kanya did not work alone. Information provided by ancestors, poets and other informants played an important role in the process of writing the results of her work. Information about the relationship between the king of Klungkung and Majapahit was certainly heard from poets or read from existing sources.
How to pour thoughts and feelings into writing can also be learned from the poets in the Semarapura palace. Perhaps it is true what Ida I Dewa Agung Istri Kanya said that the skill to write a composition is also thanks to the education received from Dewa Agung Putra Kusamba, his late father. In the Pralambang Bhasa Wewatekan it is stated that: “Kyati ori wiryaputra nupana nipuna ring sarwa castra dhi guhnya….Ndah mangka kottama sang nara pati winuwus sang huwus sidha yogi, denya ngwang harsa cittang rahat i hati maweh hyunumawak wilapa”. It means freely: It is well-known that Ida I Dewa Agung Putra (Kusamba) is very skilled in the main sciences. I am very reluctant because he provided education to become a writer.
A sincere confession truly reflects that Ida I Dewa Agung Istri Kanya is an honest and open writer. Honesty has thus been firmly held and this attitude is an absolute requirement for a scientist until today. The scientific ethics that Ida I Dewa Agung Istri Kanya also has is a humble attitude, the ideal attitude of today’s scientists as opposed to the attitude of scientific arrogance that is also often shown by today’s scientists. A humble attitude can be understood from the Pralambang Bhasa Wewatekan on page 6a, which opposes himself who is considered to lack knowledge, and therefore unable to write perfectly. Furthermore, awareness of his shortcomings encouraged him to accept criticism in perfecting the Pralambang Bhasa Wewatekan.
The systematic work order followed by Ida I Dewa Agung Istri Kanya as the author or rakawi is also very prominent. The systematic discussion of her literary work is clearly visible from the description of its contents. Ida I Dewa Agung Istri Kanya begins her writing with an introduction which in principle asks for safety to Sanghyang Widhi Wasa in carrying out a job. Ida I Dewa Agung Istri Kanya begins her writing with the sentence Awighnamastu which means may there be no obstacles. This sentence is very commonly used in literary works both in the Gelgel era and the Klungkung era. Additional variations are very often found with the words: nama sidham.
The contents of the Bhasa Wewatekan Symbol consist of 25 pages and the rest are the works of others combined into one with the work of Ida I Dewa Agung Istri Kanya. Why these works are combined and who the author is need not be discussed here. The contents begin by describing the author’s feelings regarding the death of Ida I Dewa Agung Putra Kusamba in the war against Taman Bali. The feeling of sadness peaked at the time of the cremation. This feeling can be understood because apart from being a father, Dewa Agung Putra Kusamba was also a teacher and king and respected Bali Lombok family. In addition, after the death of Dewa Agung Putra Kusamba, the Klungkung kingdom faced conflict not only against other kings in Bali and Lombok, but also against the Dutch colonial government. Ida I Dewa Agung Istri Kanya faced political problems that required determination. Precisely in such circumstances a longing for happiness arose. Happiness was considered to exist in the past, namely when Dewa Agung Putra was faced by other kings in Bali as a sense of submission. Dewa Agung Putra. Embodied as a symbol of the greatness of the Klungkung kingdom.
The depiction of the greatness of the Klungkung kingdom later became the core of the Pralambang Bhasa Wewatekan. The depiction is not limited to one aspect but is comprehensive, and the Semarapura palace and Dewa Agung Putra occupy a very important place. Other kingdoms in Bali with their respective kings are depicted only when they are related to the greatness of the Klungkung kingdom. Dewa Agung in Klungkung occupies a central position.
The information provided is very detailed, starting from the palace environment, the roads full of trees, the clothes of the king and his officials when facing and so on. Data on sociological conditions, especially prominent circles, political elite circles are sufficient in addition to data on the lifestyle of the palace which is also interesting. There is no description of the lives of ordinary people, because the main goal of Ida I Dewa Agung Istri Kanya is to describe the greatness of the king and the kingdom of Klungkung. The king-centric nature and palace-centric are very important characteristics.
Another aspect that appears in the Pralambang Bhasa Wewatekan is the problem of the chronology of the events described. Comparative sources that have not been found until now are the reason why the sequence of events described in the Pralambang Bhasa Wewatekan is difficult to understand. If the events described in the Pralambang Bhasa Wewatekan are considered not chronological, it can be understood because the main purpose of Ida I Dewa Agung Istri Kanya was not to write history, but to write events that were considered important. Here, of course, there is a selection process based on the principle of the interests of the author.
The closing part of the composition of Ida I Dewa Agung Istri Kanya contains the sentence: Pralambang iki pakardin ida dewathi, ida I dwagung Istri, putran ida maha raja dewata, ida i dewa agung gdhe putra kang ndewata ring bebek pane aperang….. The meaning in free translation is: This marriage is the work of the late king Ida I Dewa Agung Istri, daughter of the late king Ida I Dewa Agung Gde Putra who died in the war in Belah Pane
This section is clearly not the writing of Ida IDewa Agung Istri Kanya, and must have been written by someone else. The problem that has not been explained is that the Pralambang Bhasa Wewatekan manuscript uses Old Javanese, a language that is commonly used in writing a composition.
In the Pralambang Bhasa Wewatekan, a work by Ida I Dewa Agung Istri Kanya, it is stated that the author felt sad when he witnessed the burning of his father’s body, Dewa Agung Putra Kusamba. Dewa Agung Putra Kusamba died in the battle against Taman Bali in 1809. If the body of Dewa Agung Putra Kusamba was immediately burned at that time and the sadness of Ida I Dewa Agung Istri Kanya was also written at that time or not long after, then it means that the Pralambang Bhasa Wewatekan began to be written around 1809. The next problem becomes more difficult because other historical events that are also described in it occurred long after that year. The Kusamba War described in the form of kekawai clearly occurred in 1849. This means that there is a time span between 1809-1849.
Between 1809 and 1849, a number of important events occurred. These events include agreements in various forms between the Klungkung kingdom and other kingdoms in Bali and the Dutch colonial government. Some of these events also receive attention in the Pralambang Bhasa Wewatekan.
If the Kusamba War occurred in 1849, Pralambang Bhasa Wewatekan should have been written after that year. If the assumption regarding the beginning of the writing of Pralambang Bhasa Wewatekan is set at 1809, and the last writing occurred in 1848, then it can be assumed that the writing was not completed in that time.
At the same time, it is possible that Pralambang Bhasa Wewatekan was written continuously starting in 1809 and ending after 1850, namely after Dewa Agung Putra died, this assumption is getting stronger after paying closer attention to the contents of Pralambang Bhasa Weatekan. The last part of the composition was clearly written by another author as an addition. Additions and reductions to a literary work including babad are indeed common.
Up to here it turns out that we have not been able to obtain an adequate picture of the Pralambang Bhasa Wewatekan which is actually very important for the research of Balinese history. However, the literary work of kakawin that has been composed gives a signal to the current generation that Ida I Dewa Agung Istri Kanya can be said to be a very rare rakawi woman in her time.