Saturday, May 28, 2016

THE CURSE OF KUALA KEDAH



SUMPAH KUALA KEDAH- DEWAN SASTERA, OKTOBER 2011.

" The fort  was still standing like a lonely monument, overlooking the estuary where blood had splashed and thousands of his predecessors  tortured and killed.  There was a scar that cannot be erased. But how many people passing by it had stop to recall the history and read the massage?"


 Another issue that often appear in my stories and poems is the future of younger generation who are being lulled by the less worthwhile entertainments.  Perhaps the most frightening is their madness to race on the road, getting killed or permanently disabled. An example of a short story bringing up this issue  is Sumpah Kuala Kedah (The Curse of Kuala Kedah)

I built the story by adding another element of my interest that is history.The main character is from Kedah who was schooling in Alor Setar  when the Japanese invaded. He was bitter with the Japanese who interrupted his schooling and more bitter with the Siamese police  for kicking his grandfather who did not stand in respect when the Siamese anthem was being played. When the war ended Ayub was able to continue his study and even went to University of Malaya, then situated in Singapore. The second part of the story took place when Ayub had retired from his top government post and was celebrating his seventy fourth birthday at a restaurant in Kuala Kedah. The place held memories of the pain and miseries of his ancestors especially at the hand of the Siamese attackers. Now the land is free but he was sad that the youths are wasting their lives and inflicting their own injury on drugs and road racing.  


SOME EXTRACTS FROM THE STORY. 

1- Ayub  had just started studying at Maktab Sultan Abdul Hamid when the joy of schooling was cruelly crushed by the Japanese invaders. The Japanese caused  havoc in the country, committing atrocities everywhere. Everyone lived in fear.
In the middle of 1943 Siamese guards and police ware seen patrolling   the town of Alor Setar. They heard that Japan had surrendered Kedah to Siam  supposedly out of  gratitude to the government of Thailand for allowing them to walk through to invade Malaya. Ayub felt bitter and sick over this He often grumbled " This is too much. How can you turn my state into a gift item. Are we mere slaves who must obey with no right to say anything?”.  But  he dared not speak out. The bitter words had to swallowed, stuck in his throat causing more pain in his heart. To Ayub, both  Japanese and Siamese weree foreigners who had no right to do as they please in his inherited land.


2- They sat at a table with a nice table runner and flowers.  "Today is uncle and father’s birthday." said Hisham and Kamal. "Oh so you plan this as a surprise?" said Hamid and Ayub  almost simultaneously.
Datuk Ayub turned seventy four years old today. He felt grateful to Allah that he could still stand and walk on His earth, though his  doctor had made it compulsory for him to be present at the hospital once a  month for monitoring. Hamid, fourteen years younger,  but he was thinner and  with more health problems. Hamid was shorter and smaller than Ayub. People had made remarks about this but he took it in  good face. He even joked, "It’s because I was born during Japanese occupation. My mother only had tapioca to eat when she was pregnant with me, so she did not have much milk”

Datuk Ayub certainly remember that today was his birthday and the birthday of his brother Hamid. Every time he faced this date he would be much disturbed. He could remember very well his grandfather moaning in  pain as he was lying weak after being kicked by the Siamese guards in front of Alor Setar police station in 1943. He had repeatedly related the incidents to his son and nephews. He repeated the story again and again whenever he was invited to give a lecture or talk at Historical seminar and forums.


3-From the dining table they could clearly see the road, the estuary and the pier jutting  out into the open sea. Unfortunately the beautiful evening  view by the seaside was disrupted by irritating sound of screeching tires of motocycles being driven too fast on the road. It was a common sight of  street racing by the youths , mostly local. Hisham who understood what was  lingering  in his uncle’s mind said. “ Look at them, what a show off, causing public disturbance. They are not afraid to die. The government widen roads  but they   misuse it to race for cheap thrills. Even the police fail to control.  Yesterday Uncle Halim, our former chef came here crying because his son met with an  accident. His son go racing all the time despite his mother’s plea and persuasions to stop. The accident was bad and his leg has to be amputated. Now he is causing more hardship and misery to his parents”

Ayub took a deep breath and sigh.  He heard such news many times before. He felt very old and tired of hearing such news of youngsters wasting their live away, getting killed in road accidents due to ruthless driving and racing. Many more die or leading a useless live as drug addicts .  There were also news of unmarried mothers abandoning their babies in garbage  bins.  So many  Malay schoolboys  were wasting their time at game stations in the shopping complexes. With this situation, how many left to defend or develop  their homeland? Is his race  heading  for a defeat while other races are improving themselves and strengthening their position even sharpening their weapons.


Ayub eyes fixed on the fort of  Kuala Kedah across the river. The fort  was still standing like a lonely monument, overlooking the estuary where blood had splashed and thousands of his predecessors  tortured and killed.  There was a scar that cannot be erased. But how many people passing by it had stop to recall the history and read the massage? Ayub recalled the words of George Santayana "People who do not learn from history will be cursed by history to repeat their mistakes." 




Thursday, May 26, 2016



There are other short stories and poems that  touch on obedience and submission as the symbol of decency, dignity and womanliness . A common stereotype phrase dedicated to women is “No matter how  high you learn a woman’s place is in the kitchen”. 






My novel Hatimu Aisyah  recorded the life and experiences of  Malay women in the thirties up to the eighties, covering the time of my grandmother, my mother and me.  The little novel of 240 pages was inspired by true stories told by grandmother of her younger days  .  The protagonist  Aisyah like my grandmother did not go to school and from a very young age she had to help with the chores at home and take care of her younger siblings, everything done for her own good since a woman’s only destiny is to be a housewife.  In her later life Aisyah  was under pressure and faced conflict of loyalties between her modernized husband who wish to send their daughters to secondary school and her old and sick mother who pleaded Aisyah to keep the daughters at home. At that time especially in the more remote   areas  it was even considered a disgrace to let young teenage girls to walk outside the house by themselves. I wrote the novel for the purpose of recording the customs, taboos, restrictions, hardship that Malay women had gone through. It is my hope that our younger generations will realize that they are luckier than their mothers and grandmothers and will use their time and opportunity  wisely. 

There are other short stories and poems that touch on obedience and submission as the symbol of decency, dignity and womanliness . A common stereotype phrase dedicated to women is “No matter how  high you learn a woman’s place is in the kitchen”. This almost discourage women to pursue further studies. Mothers and grandmothers advise their girls to marry young. The  elderly ladies  are worried that their daughters remain single. Somehow they manage to instil fear and unnecessary worry among the girls causing some of them to forgo further studies and career opportunities for the sake of settling down. I depicted this   in several short stories including Anita.  Anita was brilliant and beautiful. While studying in the university she was active in community work including helping to teach voluntarily Malay students who were weak in Mathematics and Science.  Her involvement made her too occupied to take up serious relationship with a boy, and boys prefer quiet and low profile girls for their potential wives. Anita graduated as a school teacher, determined to do her best to bring up good students and help her society. She organized programmes and asked for commitments from her fellow teachers. But Anita became a victim of prejudice and misunderstanding and even accused of trying to steal somebody’s husband. This happen because Anita is still unmarried

LAHUMA'S PADI FIELD. (translated to English and French) 
Besides women issues I also write about the weakening of agricultural sector. One such story is Bendang Lahuma (Lahuma’s Padi Field). Padi land is diminishing as more land are being built over with factories and houses . Less people want to become farmers with meagre income, hard work and unglamorous life.

The  country is producing less and less food while food production is crucial in the security of a nation. At about the same time we watched on television about people in Russia and Korea facing acute food shortage. Food production is a crucial issue in a country. If we go on depending on other countries for our food especially staple food like rice it would be a disaster if anything were to happen.

I purposely named the main character Lahuma to establish the  link and remind the readers of the novel RAnjau Sepanjang Jalan. In this way I could remind the readers that the words of a writer like Shahnon Ahmad should be taken seriously. 


WHAT MY READERS SAY






Sunday, April 10, 2016

En regardant le port

Comme cela me dérange
Chaque fois que je regarde les lumières du port
Ce sont les lumières de nos limites
Qui nous rappellent que personne ne peut vivre sans nom
Ni sans loyauté à un pays.

Mais personne ne peut choisir son propre nom
Ou le pays où l’on va naître.



Le monde est un centre commercial

Shakespeare a dit un jour
Que le monde est une scène
Les hommes ne sont que des acteurs
Se partageant de nombreux rôles.

Dans les mains de Beckett
Les comédiens deviennent des esclaves
Emprisonnés sur l’estrade
Dans une scène sur l’attente
Dans une pièce sans fin.

Que se passe-t-il si aujourd‘hui nous disons
Que le monde est un grand marché
Nous sommes sans exception des commerçants ou des acheteurs
Prononçant le dialogue des transactions commerciales.

C’est un centre commercial pour tout le monde
Ainsi qu’un hall d’exposition
Avec des promoteurs sournois
S’emparant de ceux dont la conscience sociale
Est à la recherche
Pour l’acquérir, d’un statut.

Qu’il s’agisse d’une pièce de Shakespeare
D’acteurs aux nombreux rôles
Et aux nombreux visages
Ou dans la pièce de Beckett
De comédiens pris au piège dans une salle d’attente
Nous ne différons pas d’eux
Nous sommes des acteurs dirigés par le matérialisme.




Le message de la Princesse du Mont Ledang au Sultan Mahmoud

Tun Mamat
Fait part du message suivant au sultan
Qu’il fournisse ceci pour ma dot
S’il souhaite m’épouser.

Qu’il me construise un pont en or et un autre en argent
Qu’il m’apporte sept plateaux de coeurs de moustiques et de germes
Des coupes pleines de larmes et de jus de jeunes noix de bétel
Et du roi et du prince un bol de leur sang chacun.

Franchement
Je savais dès le départ
Qu’il était prêt à construire ce pont de misère
À laisser le peuple porter les plateaux de l’agonie
Et supporter le fardeau des lourdes coupes de larmes
À brûler leur vie avec la flamme de son désir charnel
À condition qu’il pût échapper à l’incendie.

Tun Mamat,
Ces conditions ne montrent que mon refus
Je refuse d’être sa reine
Voyant ma vie comme un trouble reflet
Je ne suis pas Tun Fatimah
Capable de pardonner la cruauté
Je ne suis pas Tun Kudu
Que l’on put forcer de consentir
Hang Li Po suffit
Enveloppée comme un présent, un héritage
Ou Tun Teja qui trébucha et tomba
L’amant qu’elle suivit n’étant qu’une ombre.
Laissons le Mont Ledang se dresser fièrement, comme un rappel à
tous
D’une fleur qui survécut et resta libre
Ayant échappé au caprice royal
Même une femme peut choisir de ne pas être d’accord
Même un roi doit à son tour
Admettre qu’il est battu.

Note: le Sultan Mahmoud, le dernier empereur de Malacca, tomba amoureux de la princesse
du Mont Ledang qui lui était apparue en rêve. Il envoya ses hommes sur la montagne pour
la demander en mariage, causant beaucoup de détresse et des morts inutiles. La princesse fit parvenir son célèbre et éloquent message au sultan par l’intermédiaire de Tun Mamat, le seul homme qui parvint au sommet de la montagne.

THESE POEMS ARE PUBLISHED IN THIS BOOK EN REGARDANT LE PORT, PUBLISHED BY L HARMATTAN PARIS 2015. 


 



Monday, March 7, 2016


EN BUSCA DE ESPACIO

Repentinamente el se levanto y apago la luz
Diciendo “ Esta habitacion es mas grande n la oscuridad
Ya que no podemos ver los muros”

Yo encendi otra vez la luz
Diciendo “Esta luz es verdaderamente el espacio
Y mas frecuentemente estamos asprisionados
Por los muros que no podemos ver”


Zurinah Hassan, (Malaysia National Laureate) Frente al Puerto Malaysian Institute of Translation and Books 2012.

Tuesday, February 2, 2016

Pemenang Hadiah Sastera Kumpulan Utusan ExxonMobil (HSKU) 2014
Novel Remaja
1. Nazri Hussein – Kudup Hujan Tropika
Tiada pemenang tempat pertama dan kedua.

Kategori Kajian & Rencana Sastera
1. Dato’ Rahman Shaari – Estetika Pantun Wan Khazim, Mingguan Malaysia, 28 Disember 2014
2. S.M Zakir - Realisme Baru Zainal Rashid, Mingguan Malaysia, 10 Ogos 2014

Kategori Puisi
Hadiah Utama
1. Siti Raihani Mohamed Saaid – Perempuan yang Mencintai Purnama, Mingguan Malaysia, 14 Disember 2014
2. Tuah Sujana – Di Padang Sarjana, Mingguan Malaysia, 5 Januari 2014
3. Dr Mohamad Salleh Rahamad – Bertengger di Pohon yang Sama, Mingguan Malaysia, 13 Julai 2014

Hadiah Penghargaan
1. Shapiai Mohd Ramly – Memandang ke Seberang, Mingguan Malaysia, 12 Oktober 2014
2. Zulfazlan Jumrah – Rawan Setiawan, Mingguan Malaysia, 7 September 2014
3. Muzaf Ahmad – Jaulah Sampai Syurga, Mingguan Malaysia, 7 September 2014
4. Ratna Laila Shahidin – Sepatu Hijrah, Mingguan Malaysia, 2 November 2014
5. Nazim Mohd Subari – Gurindam Kebenaran, Mingguan Malaysia, 17 Ogos 2014
6. Syafiq Zulakifli – Dari Mimbar Shinjuku, Mingguan Malaysia, 30 November 2014

Kategori Cerpen
Hadiah Utama
1. Mohd Fudzail Mohd Nor – Psiko, Mingguan Malaysia, 8Jun 2014
2. Ratna Laila Shahidin – Hingyaku, Mingguan Malaysia, 31 Ogos 2014
3. Zaniffa Azzura Abdullah – Bara Sang Suri, Mingguan Malaysia, 20 Julai 2014

Hadiah Penghargaan
1. Dr. Maskiah Masrom – Selimut, Mingguan Malaysia, 12 Januari 2014
2. Malim Ghozali PK – Pesanku pada Hujan, Mingguan Malaysia, 13 Julai 2014
3. Fahd Razy – Delusisma 2.0 (Denggi), Mingguan Malaysia, 16 Februari 2014
4. Saifullizan Yahaya – Pahlawankah Kucing Kami?, Mingguan Malaysia, 19 Januari 2014
5. S.M Zakir – Bari Orang Lepe Kabu, Mingguan Malaysia, 16 Mac 2014
6. Adam Mustakim – Sang Sutradara, Mingguan Malaysia, 30 Mac 2014

Kategori Cerpen Remaja
Hadiah Utama
1. Rebecca Ilham – Maraton Kampung, Mingguan Malaysia, 5 Oktober 2014
2. Mohd. Hashim Osman – Debu-debu Mimpi Chao Phraya, Mingguan Malaysia, 28 September 2014
3. Nazri Hussein – Pelita Jiwa Ayah, Mingguan Malaysia, 25 Mei 2014

Hadiah Penghargaan
1. Dr Mawar Safei – Antara Dua Rumah di Lereng Bukit, Harmoni, 15 Oktober 2014
2. A. Muziru Idham – Enta Liberal, Mingguan Malaysia, 10 Ogos 2014
3. Noraini Osman – Di Bawah Pohon Kekabu pada Suatu Senja, Mingguan Malaysia, 12 Oktober 2014
4. Azman Hussin – Ibu Pertiwi, Mingguan Malaysia, 21 Disember 2014
5. Haswida Abu Bakar – Rumah Kecil Mama, Wanita Disember 2014
6. Tiras R – Suara, Mingguan Malaysia, 6 Julai 2014

Wednesday, January 27, 2016

En regardant le port

Comme cela me dérange
Chaque fois que je regarde les lumières du port
Ce sont les lumières de nos limites
Qui nous rappellent que personne ne peut vivre sans nom
Ni sans loyauté à un pays.

Mais personne ne peut choisir son propre nom
Ou le pays où l’on va naître.

Le message de la Princesse du Mont Ledang au Sultan Mahmoud

Tun Mamat
Fait part du message suivant au sultan
Qu’il fournisse ceci pour ma dot
S’il souhaite m’épouser.

Qu’il me construise un pont en or et un autre en argent
Qu’il m’apporte sept plateaux de coeurs de moustiques et de germes
Des coupes pleines de larmes et de jus de jeunes noix de bétel
Et du roi et du prince un bol de leur sang chacun.

Franchement
Je savais dès le départ
Qu’il était prêt à construire ce pont de misère
À laisser le peuple porter les plateaux de l’agonie
Et supporter le fardeau des lourdes coupes de larmes
À brûler leur vie avec la flamme de son désir charnel
À condition qu’il pût échapper à l’incendie.

Tun Mamat,
Ces conditions ne montrent que mon refus
Je refuse d’être sa reine
Voyant ma vie comme un trouble reflet
Je ne suis pas Tun Fatimah
Capable de pardonner la cruauté
Je ne suis pas Tun Kudu
Que l’on put forcer de consentir
Hang Li Po suffit
Enveloppée comme un présent, un héritage
Ou Tun Teja qui trébucha et tomba
L’amant qu’elle suivit n’étant qu’une ombre.
Laissons le Mont Ledang se dresser fièrement, comme un rappel à
tous
D’une fleur qui survécut et resta libre
Ayant échappé au caprice royal
Même une femme peut choisir de ne pas être d’accord
Même un roi doit à son tour
Admettre qu’il est battu.

Note: le Sultan Mahmoud, le dernier empereur de Malacca, tomba amoureux de la princesse
du Mont Ledang qui lui était apparue en rêve. Il envoya ses hommes sur la montagne pour

la demander en mariage, causant beaucoup de détresse et des morts inutiles. La princesse fit parvenir son célèbre et éloquent message au sultan par l’intermédiaire de Tun Mamat, le seul homme qui parvint au sommet de la montagne.

Friday, January 22, 2016

https://www.facebook.com/photo.php?fbid=10203841734683791&set=a.1657374974236.65294.1832983771&type=3&theater






Menghadap ke Pelabuhan  -  Poèmes bilingues : malaisien, français  -  Hassan Zurinah
L'Harmattan  Sold by Librairie Obliques      
Les questions posées par la poétesse sont celles qui sont proches de son âme. Les émotions sont celles d'une femme douce, mais pas naïve. Femme de réflexion et excellente observatrice, elle distille et exprime ce qu'elle voit, pense, ressent et n'exprimerait jamais une impression négative qui se révèlerait amère pour son public. Baha Zain
ISBN : 978-2-343-03704-2 • octobre 2015 • 128 pages





Menghadap ke Pelabuhan  -  Poèmes bilingues : malaisien, français  -  Hassan Zurinah
L'Harmattan  Sold by Librairie Obliques      


Les questions posées par la poétesse sont celles qui sont proches de son âme. Les émotions sont celles d'une femme douce, mais pas naïve. Femme de réflexion et excellente observatrice, elle distille et exprime ce qu'elle voit, pense, ressent et n'exprimerait jamais une impression négative qui se révèlerait amère pour son public. Baha Zain

ISBN : 978-2-343-03704-2 • octobre 2015 • 128 pages
Prix éditeur : 14 € 13,30 €




ON THE COVER OF MALAYSIA TOP LITERARY MAGAZINE, DEWAN SASTERA, DISEMBER 2015. UPON BEING ANNOUNCED AS SASTERAWAN NEGARA, NATIONAL LITERARY LAUREATE 

http://www.myjurnal.my/filebank/published_article/22907/089_123.PDF



THE SIGNIFICATION OF FLORA IN THE POEMS OF ZURINAH HASSAN, ACCORDING TO THE MALAY THEORY OF METHODOLOGY

 Haiah Samsina Abd. Rahman 
 Muhamad Fadzil Yusof  Facuculty of Modern language and Media Communication, Universiti Pulra Malavsia

 Abstract Flora is God's unique creation. According to the Our'an, its life processes and beauty maintain the right balance and prove the power of Allah SWT. However, for a poet, observing and studying nature becomes more interesting when viewed through analogy or metaphor and through interpretation and meaning. In this study, the Signification of flora in five collections of poems by Zurinah Hasan, Sesayup Ja/an (1974), Oi Sini Tiada Perhentian (1977), Keberangkatan (1985), Pujangga Tidak Bernama (1994), and Kumpu/an Puisi Sa/asilah (2005), will be examined. Signification and thought are found in all aspects of life. Flora can be classified as jungle or rice plants, and as trees and branches, flowers and fruits. These explain phenomena that represent human life such as poverty, character, behaviour, love, femininity, national identity, politics, leadership, and the strength and resilience of the will to live, centred around life in the past and present, as well as historical remains. The analysis in this paper is done using the Malay Theory of Methodology, which places importance on goodness and usefulness, justice in society, beauty in art, symbols (signs) and their meaning, and, most importantly, increasing one's love for and belief in Allah. Keywords: Flora, Malay Methodology, Premonition, Functional, Animism, Connotation, Figurative, Analogy, Introspection, Ideology.

 Introduction 

Flora or plants are often referred to in literary works, especially Malay 89 MALAY LITERATURE 90 poetry. This is based on the observation and examination of flora which starts out as a seed, and, further, its stem, shoots, leaves, branches, flowers, fruits, and strong roots which stabilize the plant and support its life processes, and are necessary for it to proliferate. All these become more interesting when seen as analogies or similes through the eyes of a poet whose perception is heightened. Detailed observation of the flora that surrounds us, coupled with a poet's sensitivity, will bring out ideas and a philosophy of thought that are manifest in the form of poetry. The Kamus Dewan (2007:413) defines the meaning of "flora" as "all the plant life in one region or one time period" whereas the Kamus Besar Bahasa Indonesia Edisi Ketiga (2003:318) defines "flora" as "all plant life within one habitat, region, or in a certain geological strata; plant life" as well as "the works and manifestation of plant life of one habitat, region or geological strata". The Ensiklopedia Dunia Jilid 7 (2005:178) explains that "flora" is the name given to the plant life of certain regions of the world or certain time periods. The term "flora" is taken from the name of the Roman goddess of flowers and springtime. The meaning of "plants", according to Baharuddin Salleh (1987: 1) is "living things, most of which are capable of producing their own food with the aid of sunlight that is absorbed by photosynthetic pigments; they do not move actively, or at least, minimally so. They neither have a nervous system, nor an excretory system". In short, from the definitions given above, "flora" refers to all living plants, including epiphytes and parasites, whether short, tall, leafy or flowery, whether on land, in the sea, or in rivers. The signification of "flora" will be analysed using the Malay Theory of Methodology first made known by Hashim Awang of the Malay Studies Department at University Malaya at the Second International Seminar on Malay Literature (Seminar Antarabangsa Kesusasteraan Melayu II) held at Universiti Kebangsaan Malaysia from 29 October to 1 November 1989. This theory is based on the reality of life and the environment of the nation in which the writer produces his work. Almost all aspects of Malay life are looked at and taken into consideration. Apart from this, all aspects of the work itself, both internal and external, can be studied, critiqued and evaluated. According to Mana Sikana (1991 :58), this theory is a literary approach to studying Malay literature that is rooted in the creativity and richness of Malay literature that is produced as a result of the close proximity with nature and refinement of Malay character. This theory is also strongly based on the attitude towards life, beliefs and religion of the Malay people, which is rooted in Islam. Two approaches are suggested in this theory, the Natural Approach (Pengkaedahan Alamiah) and the Religious Approach (Pengkaedahan Keagamaan). The Natural Approach is divided into three, that is, the Functional Approach (Pendekatan Gunaan), the Moral Approach (Pendekatan Moral) and the Premonitional Approach (Pendekatan Firasat). The Religious Approach is further divided into the HAJAH SAMSINA ABD. RAHMAN & MUHAMAD FADZIL YUSOFF Missionary Approach (Pendekatan Dakwah), the Societal Approach (Pendekatan Kemasyarakatan) and the Artistic Approach (Pendekatan Seni) (Hashim Awang, 2002: 15 - 27). This means that there are six different approaches that are based on this theory, as elucidated by the following diagram: 1. Natural Approach Hashim Awang Theory of Malay Methodology (a) Functional Approach \ (c) Premonitional Approach (b) Moral Approach 2. Religious Approach a. Missionary Approach b. Societal Approach c. Artistic Approach From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodolog From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodology suggests specific, complete and solid values that suit the life of Malay society, which is very sensitive to its surroundings and capable of expressing a highly-sophisticated creativity in the form of crafts and literary works, both in prose and poetry. He also links elements of nature with religious elements such as missionary efforts (dakwah), morals, and glorification of Allah and faith in Him, in order to complete the analysis of the external and internal aspects of literary and other works produced by Malays.

 Therefore, the Malay Theory of Methodology has been chosen for this study as it is felt to be suitable for the analysis of the poems of Zurinah Hassan, which are observably natural, creative and artistic in nature, while at the same time emphasising Islam as the core principle in life, as is evident in her poetry. Background of the Study The flora in the poems of Zurinah Hassan - that of jungles and rice plants, including trees and branches, flowers and fruits - are natural creations that are beautiful, complete and meaningful. Each of these natural creations has been created with wisdom, intelligence, value and purpose. The Our'an explains in detail the beauty of plants (flora), how they grow, the miracle of their reproduction, their variety, fruits and grains and the variety of the colours of flowers which always maintain the correct measurements and prove the power of Allah SWT. According to Seyyed Hossein Nasr (1993: 279), plants, with their specific characteristics, such as the texture of their petals and attractive colours, a balance and fragrance - all of this has been created to be admired by a being other than plants and also to be marvelled at by an intellect and emotions that plants themselves do not possess. In Surah al-Ra'd 13:4, Allah says: On Earth there are spaces and on them grape fields, crops and date trees with and without branches that are watered together and We give one a better taste than another. Verily, in these creations there is proof (of the power of Allah) for those who know. (Yusoff Zaky Haji Yacob, 2000, 9:315). Because of this, the creation of plants was an invitation for humans to see, think and evaluate the miracle of Allah's creation in order to understand the meaning behind it and to use these as example and to gain knowledge from them using their minds and intellect. Using this as a guide, this study is aimed at the signification of the variety of flora (plants) in the poems of Zurinah Hassan. The study covers five collections of poems: Sesayup Jalan (1974), Di Sini Tiada Perhentian (1977), Keberangkatan (1985), Pujangga Tidak Bernama (1994), and HAJAH SAMSINAABD. RAHMAN & MUHAMAD FADZIL YUSOFF Kumpulan Puisi Salasilah (2005) and employs the Malay Theory of Methodology. The flora encountered can be divided into that of jungle and rice plants, as well as trees and branches, and flowers and fruits. These are listed in Table 1 below From the above diagram, the relationship between the approaches contained within the Theory of Malay Methodology (Natural and Religious), clarifies that the life of the Malays is closely connected to nature (Natural Approach) as nature is a part of their lives. Malay society also makes nature its source of income (Functional Approach), experience (Functional Approach), learning (Moral Approach) and welfare (Societal Approach). This is because Malay society is extremely sensitive to the environment and events and happenings around them, and will immediately react to whatever signs and symbols that they can observe in nature (Premonitional Approach). He also emphasises on Islam (Religious Approach) as the root or the guiding principle in life, which is to be based on the belief in the Oneness of God; as well as the fact that spreading Islam, which can increase their faith in Allah (Missionary Approach), is obligatory. All the beautiful things in Islam which can be seen through creative works (Artistic Approach), such as poetry, will bring about prosperity and justice in society (Societal 91 MALAY LITERATURE 92 Approach). Hashim Awang's conception of Malay Methodology suggests specific, complete and solid values that suit the life of Malay society, which is very sensitive to its surroundings and capable of expressing a highly-sophisticated creativity in the form of crafts and literary works, both in prose and poetry. He also links elements of nature with religious elements such as missionary efforts (dakwah), morals, and glorification of Allah and faith in Him, in order to complete the analysis of the external and internal aspects of literary and other works produced by Malays. Therefore, the Malay Theory of Methodology has been chosen for this study as it is felt to be suitable for the analysis of the poems of Zurinah Hassan, which are observably natural, creative and artistic in nature, while at the same time emphasising Islam as the core principle in life, as is evident in her poetry. Background of the Study The flora in the poems of Zurinah Hassan - that of jungles and rice plants, including trees and branches, flowers and fruits - are natural creations that are beautiful, complete and meaningful. Each of these natural creations has been created with wisdom, intelligence, value and purpose. The Our'an explains in detail the beauty of plants (flora), how they grow, the miracle of their reproduction, their variety, fruits and grains and the variety of the colours of flowers which always maintain the correct measurements and prove the power of Allah SWT. According to Seyyed Hossein Nasr (1993: 279), plants, with their specific characteristics, such as the texture of their petals and attractive colours, a balance and fragrance - all of this has been created to be admired by a being other than plants and also to be marvelled at by an intellect and emotions that plants themselves do not possess. In Surah al-Ra'd 13:4, Allah says: On Earth there are spaces and on them grape fields, crops and date trees with and without branches that are watered together and We give one a better taste than another. Verily, in these creations there is proof (of the power of Allah) for those who know. (Yusoff Zaky Haji Yacob, 2000, 9:315).

 The flora encountered can be divided into that of jungle and rice plants, as well as trees and branches, and flowers and fruits. These are listed in Table 1 below: Table 1 Analysis of flora by category. No. Category Title of Poem Type of Flora Total 1. Jungle and 1. Di Pinggir Rimba Jungle 4 poems rice plants 2. Dialog Generasi 5 Rice 3. Kilauan Emas Bukit Siguntang Rice 4. Kenangan Anak Tani Rice 2. Trees and 1. Mencari Pohon Melaka Tree 2 poems branches 2. Ranting Branch 3. Flowers 1. Untuk Hidup Bersama Rose 3 poems 2. Surat Teja Kepada Tuah Rose and ylang-ylang 3. Kereta Api Malam Dari Paloh Rose 4. Fruits 1. Anak-anak Rambutan Putik Rambutan 5 poems 2. Episod Tun Kudu Grape and Cucumber 3. Di Makam Laksamana Jackfruit 4. Pesan Si Luncai Gourd 5. Orang Tua Rambutan Masak Rambutan