HAROLD BLOOM’S PSYCHOANALYSIS IN PERI SANDI HUIZHCE’S PUISI ESAI

MATA LUKA: SENGKON KARTA

SAHRUL ROMADHON – 196111131
One of the new and remarkable broad discussions about psychoanalysis criticism in
poetic studies is Harold Bloom’s Freudian Revisionism theories. Nayar stated Bloom in Agon
(1983), A Map of Misreading (1975) and The Anxiety of Influence (1984) established a full-
fledged interpretation of the term "influence." 1 Bloom begins by assuming that all poets
experience anxiety at the start of their careers. This fear is a threat from the father: that older,
earlier poets, who have come to symbolize the father, have already accomplished everything
that needs to be accomplished. The father-unspoken poet's threat cannot be avoided by the
novice or latecomer poet. The younger poet is afraid of being castrated. As a result, in order
to survive, the younger poet begins a process of re-reading (or, as Bloom puts it,
"misreading") the earlier poets. So that he may write, he must deal with the father's (Oedipal)
threat.
As a result, misreading is a psychic defense against the father. It takes the shape of a
sequence of tropes that allow the younger poet to gradually assimilate the elder poet's work
into his own. As a result, the new poet develops into what Bloom refers to as a "strong poet."
The anxiety of the father-poet is swallowed and handled in poetry studies, according to
Bloom, through the six revisionary processes listed below:
1. Clinamen
Clinamen is a poetic form in which the new/younger poet use sarcasm to
demonstrate how the preceding poet was correct up to a point before going astray.
The poetry should have pursued a different path, such as the one taken by the new
poet. It's a rewrite of the previous poem.
2. Tessera
Tessera is the actual process. The younger poet here expands on the preceding
poem, assuming that the older poet did not go far enough.
3. Kenosis
Kenosis is a pause in the action. The younger poet recognizes the precursor's
influence and significance, but decides that he cannot duplicate it (psychoanalysis'
repetition-compulsion). As a result, he must separate himself from the older poet.
4. Daemonization
Daemonization is a countermove in which the younger poet claims that the
preceding poem contains a latent power that doesn't belong there and instead
belongs to him. As a result, he acknowledges the preceding poem's latent power
while downplaying its intensity or magnificence.
5. Askesis
Askesis is the point at which the younger poet limits his poem's and the
precursor's strength.
6. Apophrades
Apophrades is the Greek word for "return of the dead." In his revisionary poem,
the younger poet revisits and rewrites the older poem in such a way that when we

1
Nayar, P. K. (2009). Contemporary literary and cultural theory: From structuralism to ecocriticism. Pearson
Education India.
 read it now, we believe it was written by the younger poet rather than the
precursor.
In the light of these six codes author will explore Puisi Esai Mata Luka Sengkon
Karta (2013) by Peri Sandi Huizhce. The author hopefully do the research in psychoanalysis
criticism approach to accomplish a part of the Literary Theory Class’ assigments.
Huizhce’s Works
Huizhce first well-known as Rendra’s poem reader. One of the most famous reading
that have Huizhce made is WS Rendra’s Pesan Pencopet pada Pacarnya.2 The reading that
published in Huizhce’s youtube channel have reached 2,1 thousand viewers. Some of
Huizhce’s reading contents of Rendra’s works was succusfully hit the youtube; Kangen,
Sagu Ambon, Surat Cinta, Sajak Seonggok Jagung, Pamflet Cinta, and so on. Huizche also
made some reading contents of another poet works i.e. Joko Pinurbo, Widji Thukul, Sapardi
Djoko Damono, and so on.
As Huizche started his career as an internet poem reader at 2009, he also on who
could call as a poet, one of the best Indonesian contemporary poem writer. One of the best, in
which won the glamourous national competition, Lomba Puisi Esai 2012, Huizhce’s works is
Mata Luka Sengkon Karta in which become a book titled “MATA LUKA SENGKON KARTA:
Kumpulan Puisi Esai PEMENANG LOMBA PUISI ESAI 2012.”
His works in Mata Luka Sengkon Karta insist 23 title of poems i.e:
Serupa Maskumambang Terengah-Engah dalam Tabung dan Selang
Interogasi Karta Uang dan Kepedihan yang Mengombak
Karta Bicara Pada Langit Keluarga Golek Beurem
Pembunuhan dan Perampokan di Rumah Warga Desa dan Sumpah Dipatuk Ular
Sulaiman
Malam Jumat Dua Satu November 1974 B.A.P
Menginjakkan Kaki Di Jeruji Besi Jodo, Pati, Bagja, Cilaka,Kumaha Nu
Kawasa
Hakim Djurnetty Soetrisno Tubuh Boleh Dipenjara Tapi Lamunan di
Kepala Tetap Merdeka
Ngajorowok Maratan Langit Ngoceak Gunel Siih
Maratan Jagat
Nyanyian Gunel Siih Pengakuan Gunel
Hari Pertama di Tahun yang Lama Mengadukan Gugatan
Kematian dalam Bayangan Kesaksian Luka
Sengkon Karta 2045
Based on these 23 poems, author will select Serupa Maskumambang, Terengah-Engah dalam
Tabung dan Selang, Malam Jumat Dua Satu November 1974 on purpose. These three poems
picked as a sample data that author will analyze by employed Bloom’s psychoanalysis theory
in poetry studies. Regarding six codes that have been defined above, author hopes will find
how Peri Sandi Huizche become a poet who are different with his precursors, especially WS
Rendra as a father-pot who write Maskumambang poem

2
WS Rendra | Pesan Pencopet Pada Pacarnya | Peri Sandi Huizche, https://www.youtube.com/watch?
v=BN0RBSU22J0&t=87s retriviewed 26 October 2021.
.Huizche as Rendra’s par Excellent
Rendra’s Maskumambang encompasses WS Rendra as Huizche father-poet since
Huizche make a similar titled Serupa Maskumambang. In its nature the term
‘Maskumambang’ is a traditional Javanese poem in which tells about emotional and
traumatic events of a growing men into their maturity. The ryme structure of Javanese
Maskumambang consists ‘-i’ in fist temple, ‘-a’ in second temple, ‘-i’ in third temple, ‘-a’ in
forth temple. And, the typography of Javanese Maskumambang limited to four temple.
Huizche’s Serupa Maskumambang Rendra’s Maskumambang
pupuh mengantarkan wejangan hidup Kabut fajar menyusut dengan perlahan.
kecapi dalam suara sunyi menyendiri Bunga bintaro berguguran
pupuh dan kecapi membalut nyeri di halaman perpustakaan.
menyatu dalam suara genting Di tepi kolam,
di dekat rumpun keladi,
aku duduk di atas batu,
melelehkan air mata.
Either Huizche or Rendra depicted the same theme on their poem, yet different in rhyme,
sense, tone, mood.
The diferences of these poems basically point a clinament codes. As Blooms stated
above, the younger poets will do some sort of correcting up their father-poet. Huizche
represent his sarcasm through Serupa Maskumambang in which more better in rhyme and
typhography. Then, Huizche’s Serupa Maskumambang differences all toghether encompas
the ultimate process of the tessera codes in which represent Huizche’s saracasm about his
father-poet who did not go far enough.
Huiszche differenciate himself as a poet from his father-poet when he use a different
I-gaze. The Rendra’s Maskumambang I-gaze located in the writer perspective in which
represent as Mas Willy (the nick name of WS Rendra), in contrary Huizche’s I-gaze did not
come from writer perpective. The author found in Terengah-Engah dalam Tabung dan
Selang the reperesentation of the I-gaze is comes form one who tells his name as Sengkon.
The process of differencing the gaze point the kenosis codes.
Huizche’s Terengah-Engah dalam Tabung dan Rendra’s Maskumambang
Selang
aku seorang petani bojongsari “Mas Willy!” istriku datang menyapaku.
menghidupi mimpi Ia melihat pipiku basah oleh air mata.
dari padi yang ditanam sendiri Aku bangkit hendak berkata.
... “Sssh, diam!” bisik istriku,
akulah sengkon yang sakit “Jangan menangis. Tulis sajak.
berusaha mengenang setiap luka Jangan bicara.”
di dada, di punggung, di kaki
di batuk yang berlapis tuberkulosis
However Rendra’s Maskumambang is one of the finnest poem in the literature history
development of Indonesia. It has a hidden power, radical, that brought the readers to be a
conscious ones facing the dark side of social conditions in Indonesia. Huizche realizes the
hidden power of his father-poet, yet he make a counter move that succesfully made his own
authentic and powerfull poems. The author found Huizche potray the social conditions of
Indonesia as Rendra do, yet in the light of micro-structural approach curtailing the macro-
structural approach. It was an important finding since Rendra wrote his poem
Maskumambang using macro-strucural approach. In these points the author found the
representation of deamonization codes and askesis codes.
 Huizche’s Terengah-Engah dalam Tabung dan Rendra’s Maskumambang
Selang
aku seorang petani bojongsari Negara gaduh.
menghidupi mimpi Bangsa rapuh.
dari padi yang ditanam sendiri Kekuasaan kekerasan merajalela.
Pasar dibakar.
kesederhanaan panutan hidup Kampung dibakar.
dapat untung Gubuk-gubuk gelandangan dibongkar.
dilipat dan ditabung Tanpa ada gantinya.
Semua atas nama takhayul pembangunan.
Huizhce’s Malam Jumat Dua Satu November 1974 Restoran dibakar.
segalanya ada di mulut warga Toko dibakar.
kata-kata tak mewakili peri kemanusian Gereja dibakar.
warga seperti serigala Atas nama semangat agama yang berkobar.
ganas
bengis Apabila agama menjadi lencana politik,
tak ada rasa kasihan maka erosi agama pasti terjadi!
dari batu sampai bambu Karena politik tidak punya kepala.
dari golok sampai balok Tidak punya telinga. Tidak punya hati.
dari cerulit sampai arit Politik hanya mengenal kalah dan menang.
diacung-acungkan ke arahku Kawan dan lawan.
serempak berkata “allahu akbar!!!” Peradaban yang dangkal.
batu, bambu, dan balok beterbangan ke arahku
Cleverly, all of these differences did never kills the precursor. Readers could always
remember Rendra when read Huizhce works, yet it was the authentic of Huizhce works. As
every great poem do to the readers, ones have always remember apart of the phrases. The
author found Huizche and Rendra poetically interlock in its feature of their poems.
Huizche’s Serupa Maskumambang Rendra’s Maskumambang
pupuh mengantarkan wejangan hidup Cucu-cucuku!
kecapi dalam suara sunyi menyendiri Zaman macam apa, peradaban macam apa,
yang akan kami wariskan kepada kalian!
Huizhce’s Terengah-Engah dalam Tabung dan Jiwaku menyanyikan tembang maskumambang.
Selang ...
1974 tanah air yang kucinta Karena kami tidak menguasai ilmu
berumur dua puluh sembilan tahun untuk membaca tata buku masa lalu,
waktu yang muda bagi berdirinya sebuah negara dan tidak menguasai ilmu
lambang garuda untuk membaca tata buku masa kini,
dasarnya pancasila maka rencana masa depan
undang-undang empat lima hanyalah spekulasi keinginan
merajut banyak peristiwa dan angan-angan.
peralihan kepemimpinan yang mendesak ...
bung karno diganti pak harto Negara gaduh.
dengan dalih keamanan negara Bangsa rapuh.
... Kekuasaan kekerasan merajalela.
Pasar dibakar.
Huizhce’s Malam Jumat Dua Satu November 1974 Kampung dibakar.
istriku masih mengenakan mukena Gubuk-gubuk gelandangan dibongkar.
mengambilkan minum dari dapur Tanpa ada gantinya.
di kejauhan terdengar warga desa gaduh Semua atas nama takhayul pembangunan.
“adili si keluarga rampok itu” Restoran dibakar.
“ya… usir dari kampung ini” Toko dibakar.
“bakar saja rumahnya” Gereja dibakar.
“betul Atas nama semangat agama yang berkobar.
... ...
istriku kaget “Mas Willy!” istriku datang menyapaku.
“kok kamu, kang?” Ia melihat pipiku basah oleh air mata.
kebingungan Aku bangkit hendak berkata.
“demi allah saya tidak berbuat jahat!” “Sssh, diam!” bisik istriku,
 masih dalam suara yang sama “Jangan menangis. Tulis sajak.
“kalau sodara tidak keluar Jangan bicara.”
dalam hitungan tiga
kami akan mengeluarkan
tembakan peringatan
satu, dua… ti…g….
Huizche for ones who read their both works succesfully brought Rendra into his works
misteriously. Blooms called these as apophrades codes.