POETIC INTERPRETATION OF THE QUR'AN AND SUNDANESE LITERATURE: PUPUJIAN POEM OF WAL FAJRI BY K.H.E.ABDULLAH

This article examines the poetic explanation of K.H.E. Abdullah (1918-1994) about time in Q.S. al-Fajr [89]: 1-5. The poem K.H.E. Abdullah not only interprets Q.S. al-Fajr [89]: 1-5 as a phenomenon of the circulation of time in the universe but also as a metaphor for the journey of human life. His interpretation was published in the Iber Sundanese magazine in the October-December 1970 edition in the rubric of Tafsir Al-Qur'an. E. Abdullah is the second generation activist of the Islamic Unity organization (PERSIS) after A. Hassan. Based on library research and the descriptive-analytical method, this article shows that the verse about the phenomenon of time in al-Fajr [89]: 1-5 is interpreted metaphorically as a description of human life in the world. The word al-Fajr means youth before ruruntuk (old age) comes. Laya>l 'asr is interpreted as alternating nights describing the increasing age. Al-sy ā f' interpreted as a whole moon night, represents a perfect age as an adult. Al-watr interpreted when the night turns dark reflects the time of getting older. The passage of youth into old age means wa al-layl iz\a> yasr (by night when it passes). From the Sundanese literary approach, E. Abdullah's pupujian poem generally shows the works that refer to the rules of pupujian, as seen in the number of lines, syllables of arrays, and the final rhyme of each line (a-a-a-a). This pupujian poem emphasizes that although E. Abdullah is active in the modernist Islam movement, he still preserves the tradition of pupujian in his work to bring himself closer to the local culture.


Introduction
So far, there is an assumption that the Sundanese literary tradition only develops among traditional pesantren (Islamic boarding schools) circles. Literary works such as the poetry of nadoman and pupujian (Javanese: syi'iran) are often recited in mosques and pesantren, which are generally located in traditionalist Muslim society especially among Nahdlatul Ulama (N.U.) 1 . Likewise, dimensional poetry such as dangding (guguritan) and wawacan are commonly also recited among Sundanese ménak with traditionalist Muslim backgrounds after studying Javanese culture 2 . On the other hand, reformist or modernist Muslims such as Muhammadiyah and Persatuan Islam (PERSIS) are not prominent in expressing Sundanese artistic and literary expressions and even tend to keep their distance from the local culture 3 . This attitude is based on their critical view of local traditions, which are considered full of superstition, bid'ah (heresy), and churafat (T.B.C.), so they need to be cleaned up because they are not by Abdullah). E. Abdullah wrote a pupujian poem of the translation of al-Fajri/89: 1-5, published in the rubric of Tafsir Al-Qur'an in Iber magazine in 1970 11 . This translation of the Qur'an as a Sundanese pupujian is not the only poetic translation compiled by PERSIS activists. Moh. Syarif Sukandi, for example, once composed a poetic translation of the Qur'an, but in the form of a dangding or guguritan, not a pupujian 12 . E. Abdullah's work is important to study because so far, poetic translations of the Qur'an in Sundanese are mostly composed by traditionalist Muslims, such as R. A.A. Wiranatakoesoema (1888A.A. Wiranatakoesoema ( -1965, K.H. Ahmad Dimyati or Mama Gedong (1910-1946, K.H. Sirajuddin Abbas (d. 1995) from Cibiru Bandung, Enas Mabarti (1942-2014), Hidayat Suryalaga (1941 and generally developed as an oral tradition in mosques of traditionalist Muslim circles 13 . This study emphasizes that reformist Muslims also pay attention to the local culture through the development of literary works as long as they do not conflict with the teachings of the Quran and the Sunnah they believe. Sundanese was used as an essential medium by activists of modernist organizations, such as E. Abdullah, to convey Sundanese literature's ideas and expressions in magazines in the 1970s. This does not mean that the use of Sundanese by PERSIS activists shows their concern for local culture, which is considered to have a lot of T.B.C 14 . PERSIS activists and modernist activists in Priangan generally use Sundanese only to communicate and facilitate the spread of their teachings to the Sundanese people in Priangan. They typically accept Sundanese culture as long as it does not contradict the Quran and Sunnah's teachings and will reject what contradicts them 15 . There have not been many scholars' studies on Sundanese literary expressions in the form of a poetic translation of the Quran in reformist Muslim circles. Rohmana's previous studies, for example, were limited to works of poetic translations of the Qur'an in Sundanese in the form of dangding and pupujian, whether they developed among traditionalist and modernist-reformist Muslims 16  work, Walfajri 19 . Therefore, this study is essential to emphasize the argument for the creativity of Sundanese literary expression among reformist Muslims, which has been neglected. Furthermore, this study is expected to contribute not only to the study of PERSIS figures' thoughts but also to the study of local interpretations in Indonesia. This study is critical because the majority of scholars still tend to ignore the phenomenon of interpretation in magazines that are published continuously rather than interpretations that are written and published in full 20 . Several interpretation rubrics were published regularly in several Sundanese-language Islamic magazines, such as Tjahja Islam, Al-Imtisal, Al-Mawa'idz, Almoechtar, at-Taqwaa, Bina Da'wah, Iber, and others 21 . Tafsir in magazines is essential in forming Muslim understanding of the Quran with simple language and short-light discussions compared to thick volumes of commentary books. Therefore, this study attempts to analyze the other side of the interpretation phenomenon that accompanied the journey of Sundanese Islamic journalism in the 1980s.  (1925)(1926)(1927)(1928)(1929)(1930)(1931). Muhammad Nuh is the father of Abdullah bin Nuh (1905-1987, the scholar known as Al-Ghazali from Sunda 23 . In that place, it is possible that E. Abdullah studied with his brother, E. Abdurrahman. After that, he continued his education to { s} \ anawiyah level for about two years in { Jalan Jakarta, { Cianjur. When he graduated in 1933, E. Abdullah was invited by his uncle to Cipayung, Depok. He became a teacher at the Islamic Madrasah. Because he was still very young (about 13 years old), he was nicknamed ustaz\ s} agi> r (little ustaz\ ). However, he became a teacher in Depok for just one year because he didn't feel at home. E. Abdullah decided to go to the city of Bandung to follow his older brother, E. Abdurrahman. At that time, E Abdurrahman was still the "golden child" of Mr. Al-Katiri, a rich man who established the Majelis Pendidikan Diniyah Islam (MPDI) school 24 . At that school, E. Abdullah and his brother were neighbors with Ilyas, an egg trader who was active in PERSIS. They then joined the PERSIS community, which was still strange and considered a new religion. Since then, his brother was known to have taught at H.I.S and MULO and received guidance from M. Natsir, Fakhrudin, and A. Hassan. E. Abdullah and his brother later joined PERSIS. When Mr. Al-Katiri found out that they joined PERSIS, which he considered Wahhabism, they were expelled and no longer permitted to teach at MPDI. E. Abdullah then moved to Rais' house on Kompa street, in front of the governor's office, with his brother on the condition that they teach religion to his children, who had a westernized lifestyle then. They felt unable to do so, then they stopped and moved to Pangeran Sumedang street (now Oto Iskandar Dinata street), where PERSIS administrators lived. In this place, they held a pesantren Kecil (for children) in the afternoon. Meanwhile, in the morning, it was used for pesantren besar (for adults) led by A. Hasan. In these pesantren activities, E. Abdullah). In Sundanese, the word heab also means feeling in the heart after hearing or seeing something 29 . In 1937, he started by publishing the Sundanese magazine, Al-Balaagh, while in Bogor, it was published in a few editions. In 1949, E. Abdullah often wrote articles for another Sundanese magazine, at-Taqwaa, which E. Abdurrahman led until 1957. When the Risalah magazine was published in 1962, E. Abdullah was also one of the writers of the Sundanese language rubric. The existence of the rubric did not last long. It only lasted until 1965. In August 1967, with personal capital, E. Abdullah published an Islamic magazine in the Sundanese language, Iber 30 . As a da'wa medium, Iber is managed by Persis activists for reading materials of their members and sympathizers who are generally spread across the Sundanese region. Although the magazine format is simple, Iber has a vital role in distributing modernist Islamic ideas through the easy-to-understand Sundanese language. Not only to develop Islamic insight but also to be used as material for sermons, lectures, chats, and debates 31 . At the beginning of its publication, Iber was still in the process of finding form.
Therefore, the rubrics often change. In 1970, E. Abdullah, editor (ais pangampih), created a rubric for interpreting the Qur'an in Iber magazine.
The rubric of the interpretation of the Qur'an contains the writings of E. Abdullah regarding the discussion of certain verses of the Qur'an. The verses chosen for performance are not only related to the fiqh theme of worship, as is often discussed by PERSIS activists. E. Abdullah often also discusses verses related to the reflections associated with daily events. In addition to the usual form of prose interpretation, E.
Abdullah also uses the structure of the pupujian poem to explain his understanding.  A piece of advice on the importance of dawn. This quote explains the importance of dawn, quoted from a famous Sufi, Imam Hasan Basri, and then translated by E. Abdullah into a Sundanese pupujian poem. He made a personification of how dawn speaks to the son of Adam to remind him of his presence. The light that comes every morning is like greeting the son of Adam that he will always be new and be a witness to human actions. Therefore, dawn reminds us that the time should be equipped with good deeds because he does not return a second time. Then E. Abdullah  That's why… fill the minutes with worthy charity, which is good again makes tumaninah, that brings peace to the heart, walfajri, fill it with hasanah charity. Jung mitra geura miang, sing awas kana jurang, nu diajar ulah kapalang, nu didamel sing tenang ulah curang, nu dagang ulah ngalanggar nu dilarang.
O viewers, go soon, beware of the abyss, who learn not to bear, those who work calmly don't cheat, those who trade do not violate the prohibition.
Come on… bismillah is made as the origin of departure, in every deed, read and use mindfulness, not reading just reading use it as reflection, walfajri-come on bismillah.
E. Abdullah's poem shows dawn (al-Fajr), which is not only interpreted physically as a natural phenomenon but also contains a symbolic meaning that shows that young age is like a new dawn. That young age will not continue to last. It will change as the planets travel in the universe. Dawn will continue to run until the time turns to even. Such is the journey of the dawn of human beings. Every second will shift slowly until finally, the age of light is only a memory of the past. E. Abdullah called it ruruntuk (used). In the Sundanese dictionary, the word ruruntuk is translated by obsolete (urut) 35 . This word usually indicates an item that is no longer functioning correctly. Like the expression "ruruntuk bedog," a machete that is no longer sharp and deformed. When the machete has become a ruruntuk, it is no longer used as a weapon.
Even if it is still used, it is usually only used to tidy up the coals in the furnace.
Humans who are old are like ruruntuk because the various functions of their bodies have decreased. Today's young people will turn into "obsolete" young people when the time changes them to become grandparents. When you are old, it is impossible to be young again. As it advanced into the evening, it was impossible to be like at dawn. The current condition of aging is now depressing. The burly body turned into a hunchback. Tight skin becomes loose and wrinkled. Black hair turns white. The mustache and beard are less and sparse. Those are the picture of an older man when he is past the age of dawn. Youth at birth is only one time. If it has been passed, it is impossible to get it back. What remains is only the image of the experience stored in memory. Now, all that is left is a weak and suffering body, cough, and joint pain. Sometimes, it comes to be a real sign that he has changed from his dawn age. E. Abdullah reminds the readers that the presence of dawn is limited by age, and he hopes to raise awareness to take advantage of young age by increasing knowledge and noble character.
In addition, to strengthen this awareness, in the third stanza, E. Abdullah reminds the readers to pay attention to the graves inhabited by previous ancestors. He invites the readers to reflect on the evidence that seems natural in life, the grave. All of this is proof that no human is eternal. Grandparents will not last forever, slowly and surely moving closer to the time limit of parting from the world. The inhabitants of the grave remind us that they are the same as humans who are still alive, but death has separated them from the world. When they are separated from the grave, no one has ever returned to being an inhabitant of the earth. Even though they plead with a tone of regret so that God will return them to the world to improve their deeds, they will still not be able to return. What is left is only regret and torment that continues to be felt.
The poem verses above contain advice to do everything in their power to take advantage of their dawn age with good deeds, the charity that will cause inner peace in devotion to Allah. Awareness of the reality of the human journey that leads to death is not meant to prevent Muslims from fulfilling their daily needs. Islam encourages humans to give their best efforts as long as they are always vigilant to avoid the abyss of disobedience. Specifically, E. Abdullah advises those at their dawn age to study seriously, not just to abort religious obligations. Do not let cheating twist your soul while working. When destiny takes you to become a trader, God's rules must guide you to avoid cheating, not to reduce the dose. Any work must be intended for Allah Ta
Nights pass alternately back to the place of origin, from light, back to darkness, dark, more than yesterday.
The light of the moon 14 (full moon), slowly diminishes, not bright, was enchanted, finally disappeared without a trace.
The light disappears into darkness, faint dark vision, steps become limited many wishes are blocked.
In these three stanzas, E. Abdullah interprets the three sentences in al-Fajr [89]: 2-3: layāl 'asyr, al-syaf', and al-watr. The word layāl 'asr (ten nights) is interpreted in the first stanza, namely the reality of changing atmosphere at night, which is not fixed. The nights come alternately, varying from light to darkness. In the second stanza, E.
Abdullah interprets the word al-syaf '(the true night). He interprets it as the night of the full moon or the night of 14. An even night marks the perfect peak of the moon's shape at night every month. Then, in the third stanza, E. Abdullah interpreted the word al-watr (odd) as a night that lost its light, from a perfectly even night to a strange night when the light was lost and turned dark. The first stanza shows the reality of alternating nights, from the first night to the tenth night, then reaching the full moon on the fourteenth night, before gradually the shape and light of the moon diminishes until its light is fading. This is the literal meaning of the verse about laya> l 'asr, al-syaf', and al-watr.
The figurative Meaning of layāl 'asyr, al-syaf' and al-watr After explaining the literal meaning of the three words, E. Abdullah then gave a symbolic meaning that the three are a description of the journey of human life. E.
Abdullah expressly states the comparison of human journeys in his pupujian poem: Such is the human journey, arranged by the Almighty, like it or not, Humankind will perish.
For E. Abdullah, the phenomenon of the moon's phases, which is visible in everyday life, is also a figurative picture of human's inner and outer atmosphere. The dark atmosphere of the night in the first ten nights (wa layāl 'asr) and the night after the full moon indicates an inner mood full of turmoil, while the night of the full moon (al-syaf') indicates an inner spirit full of peak joy. However, the rage after the full moon nights until the odd nights full of darkness (al-watr) will be felt much more disturbing than before. Such is the inner atmosphere of man in his journey of life.
In the first phase of his life, he will feel worried about his future. However, the worry will be much more deemed after he passes the full moon when he is at the peak of his youth and slowly moves towards the final phase of his life journey (old). The atmosphere of the full moon nights that look so beautiful will disappear like a human's young age, which finally only lives in memories. When the moon turned dark again, it was difficult for anyone to see things as they were. This is how a person will feel when he is old, his body's weaknesses will hinder his desires, and his various efforts will be hampered by many.
Such is the journey of human life in this world. The journey of his life will lead him to life's difficulties. Young age will be left and turned by old age, marked by various pains that come and go. When humans are born into the world, they are cared for with love and bathed so that they are clean and healthy. However, in the end, the body constantly being cared for will gradually break down, and the teeth will fall out with age. Humans cannot create their life journeys. The destiny of the Almighty arranges his journey. Feel it or not. Eventually, humans will come to perdition (death).
Evidence characterizes Felt by everyone, The healthy body turns sick, Finally, met the death.
Yet strangely, humans, live on their own, forget religion, Even though life is not happy.
Although humans do not believe in the reality of the journey of life they will go through, the evidence looks natural and is experienced and felt by every human being. The body will not always be healthy. This is an undeniable fact until finally, death comes to pick humans up. This is an unavoidable provision of Allah. Humans have no authority to regulate His destiny. However, death as the end of the journey of human life on earth sometimes does not become advice. Death is often forgotten.
According to E. Abdullah, forgetting about death will cause a person to fail his religion and worship his passions, leading him to suffer. When a person dedicates lust, he will judge himself to be always young, feeling that his appearance and sound will remain the same. That feeling will cause the loss of shame from his consciousness. As a result, he will exceed the limits of his humanity according to the direction of lust to obtain false happiness. However, that feeling will not be able to go against the provisions of Allah in the universe (sunatullah). The self will turn old until death finally comes to pick it up.
The meaning of layal idza yasr and hal fi> z\ a> lik qasam liz\ i> h} ijr After elaborating on the literal meaning of alternating nights as a natural phenomenon and its symbolic meaning as a description of the journey of human life, E. Abdullah describes the meaning of the following verse: Wallayli idza yasr. Hal fi dzalika qasamul lidzi hijr? Perhatikeun peuting di mana indit. Naha lain dina eta kajadian teh perhatian pikeun nu berakal?
Watch the night as it passes. Wasn't that incident a cause for concern for the wise?
Puisi Awareness of the reality of the alternating nights and the phases of the moon is interpreted as a figurative picture of the reality of the journey of human life. It requires awareness to always try to avoid injury marked by living in pretense. E. Abdullah reminded us always to remember the reality of changing age, as layli iz\ a> yasri (the night when it passes). Today will turn into yesterday. Every move will be held accountable while filling the days of life's journey. However, that fact is not a barrier to meeting the body's needs. E. Abdullah reminded us that humans are ordered to fulfill their needs on the condition that they do not forget their religion. When the body is powerless, it still has guidance that will lead to happiness. Therefore, humans must use their youth before the weak voice when old comes. That effort will keep them in a healthy state of mind and gain glory. He then closed the explanation of al-Fajr [89]: 1-5 by quoting a famous hadith of the Prophet about the importance of preparing five things before Allah asks about them in the hereafter. The explanation above shows that E. Abdullah uses the form of a pupujian poem in explaining the symbolic meaning of al-Fajr [89]: 1-5. The pupujian is oriented to praise the majesty of God, and it is hoped that it will increase the reader's awareness of his position as a servant of God as he is always required to be aware of the natural law of human life, birth-death-resurrection. This fact is emphisized by the slogan of Iber magazine "kanggo bahan ngageuing ati sangkan diri jadi walagri aya dina karidoan Gusti Allah". The pupujian interpretation of Surah al-Fajr uses a pattern of four lines in one stanza, eight-syllable lines, and the same final rhyme for each line (a-a-a-a). He seems consistent in using the rules of the poetry, as seen in the Sundanese pupujian tradition in general 41 . This form of pupujian poem forms song lyrics so they can be sung. This confirms that although E. Abdullah is active in the modernist Islamic movement, he still maintains the tradition of praise in his works to bring himself closer to local culture. His tendency to use Sundanese literary traditions cannot be avoided because he has long been formed in the Sundanese community, which developed Sundanese literary traditions such as pupujian.
In addition, E. Abdullah, born in Cianjur, was also educated at the Al-I'anah Islamic Boarding School in Bogor, so he grew up in a traditionalist Islamic tradition that accepts Sufism teachings, as seen in the Hasan Basri's words that he quoted. Then, this shaped him to express his Islamic works in the form of these Sundanese literary works. Therefore, the tradition of pupujian is not only a medium for preserving the Sundanese language among modernists but also a space for cultural negotiation between Islam and Sundanese 42 . Although he was later active in the modernist movement, Sundanese culture was used to express his works as an effort to get closer to the rural Sundanese people. This was not only done by E. Abdullah but also by several other modernist activists, for example, Muh. Syarif Sukandi made a poetic translation of the Qur'an in the form of a dangding poem 43 . This shows that there is a tendency that the early generation of modernist activists who were formed in the traditionalist Muslim tradition generally used a traditional Sundanese literary approach to compose their works as an effort to get closer to the Sundanese people in terms of spreading their ideas.

Conclusion
The explanation above shows that E. Abdullah's poetic interpretation of al-Fajr [89]: 1-5 in the form of a Sundanese pupujian uses literal and figurative meanings. The literal meaning of the verse concerning the markers of dawn, the tenth night, even times, odd times, and elapsed time are understood literally as the change of time in the