Analysis of Suluk Wujil's Literary Works

Author : Indah Pratiwi

The Supervisor (Co-Author) : Dr.Dadan Rusmana, M.Ag

E-mail : [email protected]

[email protected]

ABSTRACT

This article aims to analyze one of the early Islamic literary works, namely Suluk
Wujil by Sunan Bonang, whose suluk still exists in several Islamic boarding
schools in Indonesia. This article focuses on the study of literary analysis, both in
terms of language, meaning, and social aspects that exist in the Suluk Wujil. The
theory used in this article is a theory with a literary study of language and social
approaches. The language and social approach cannot be explained by the
teachers, but this can be a new theory that will be useful in making decisions. The
method used in this article is a descriptive research method that seeks to solve the
investigated problem by describing the subject or object used in the form of
people, institutions, communities, and others. The findings obtained in the
analysis of this article are the general meaning of Suluk Wujil, the meaning of the
character's name from a linguistic and social point of view, as well as an analysis
of the meaning of verses from several stanzas. These findings are then
redeveloped in this article so as to produce clearer analytical results. This article
as a whole discusses the biography of the writer Suluk Wujil, and an analysis of
his literary work in the form of Suluk.

Keywords: Sunan Bonang, literary works, Suluk Wujil.

PRELIMINARY

Islamic literature according to Said Hawwa's understanding is art or literature

based on Islam. In its civilization, the development of Islamic literature was
strongly influenced by Arabic literature which began to develop quite rapidly at a
time when Islam descended on Arab regions (Boat et al., n.d.). Literature in Islam
cannot be separated from Arabic, Al-Qur'an and Al-Hadith. Arabic is considered
capable of fulfilling the requirements of literature because it is able to play with
words so that it has aesthetic value, and usually Arabic literature is presented in
the form of prose, poetry, poetry, and fiction. If you revisit (Walidin & Anam,
2022), The Qur'an has a high aesthetic value in its linguistic structure which far
exceeds the literary works that existed at that time. It is through Arabic literature
that literature in Islamic civilization began to develop, several factors including:
Arabic literature is identical to the Qur'an, and the majority of its authors are
Muslim. Literature in Islamic civilization has not only developed in the Arabian
peninsula but has reached the Asian continent, including the archipelago. Islamic
literature in the archipelago entered together with the religion of Islam, then the
literary works were translated into Malay, with that Islamic literature began to
develop in Indonesia (Rohmana, n.d.). From there, Islamic writers began to appear
in the archipelago, one of the most famous of which was Sunan Bonang. Sunan
Bonang is one of the eight other sunans or commonly known as walisongo(L.
Asmoro, n.d.). In this article will discuss a brief biography of Sunan Bonang, the
literary side of Sunan Bonang, Sunan Bonang's literary works, and an analysis of
one of his literary works, Suluk Wujil, as well as conclusions regarding the four
points mentioned.

DISCUSSION

1. Short Biography of Sunan Bonang

Raden Maulana Makdum Ibrahim or known as Sunan Bonang is a very
influential figure because of his contribution in spreading Islam on the
island of Java along with eight other guardians. It is said that the name
(Raden Makdum or Maulana Makdum Ibrahim) is taken from Hindi,
which means is a pioneer Islam is respected and respected because of its
position in religion. While the name Bonang comes from a name in
Rembang district. But there are also those who say that Bonang is taken
from the words Bon and Ang which corresponds to his clan, namely Bong
like his father named Bong Swi Hoo alias Sunan Ampel. (Pendidikan et
al., 2021). Sunan Bonang was born in 1465, the son of Sunan Ampel (a
member of Walisongo) and Nyai Ageng Manila. According to lineage,
Sunan Bonang is still the 23rd descendant of the Prophet Muhammad
through Siti Fatimah and Ali bin Abi Talib. (Asmoro, 2016 p.2). Since
childhood, his father has taught Sunan Bonang religious studies
disciplinedly and diligently to form a strong religion-based character
education so that he can become the successor of Sunan Ampel. It is said
that Sunan Bonang together with Sunan Giri had studied up to the island
of Sumatra, to be precise in Aceh. Both of them studied with Sunan Giri's
biological father named Sheikh Maulana Ishaq, not only that, they also
studied with great scholars from Egypt, Iran, Baghdad who were living in
Aceh at that time. After returning from Aceh, Sunan Bonang was ordered
by his father to preach in one area of Central Java, Tuban. Sunan Bonang
also studied in Melaka which is the center of the spread of Islam in
Southeast Asia (Febriyanti & Ayundasari, 2021). Sunan Bonang is said to
have been married to Sunan Malaka's daughter, known as Dewi Hijrah
(Febriana, n.d.). However, there are also writers who say that Sunan
Bonang never married. In his da'wah method, Sunan Bonang is very
synonymous with Javanese culture such as wayang and gamelan which he
changed by adding elements of the Islamic religion so that he could preach
Islam through this cultural approach so that it can be more accepted by the
Javanese people. (Waqid, 2020). Not only that, Sunan Bonang also
conceptualized an event called syahadatain, or in Javanese it is called
sekaten. Sekaten is an event that is held once every year to commemorate
the birth of Prophet Muhammad SAW (Ramadani et al., 2020). One of the
proofs of Sunan Bonang's success in interpreting Islamic teachings
 through a cultural approach is that he succeeded in changing the gamelan,
which at that time was still iconic with Hindu nuances, into Islamic
nuances such as the song entitled "tombo ati".(Asmoro, 2016 p.5). Not
only through a cultural approach, Sunan Bonang also contributed to the
Demak kingdom by helping the process of building the Great Mosque of
Demak with the assistance of other walisongo members. (Ramadhana &
Dharoko, 2018). Sunan Bonang has left many traces of his da'wah in the
form of art, some of which are: the sekaten event until now, big grebeg,
and nyadran. Sunan Bonang's struggle steps finally stopped in 1525 AD,
which was the year when Sunan Bonang died, and he was buried in Tuban,
Central Java. However, the tomb of Sunan Bonang has become
controversial in its history because there are four tombs that are currently
suspected to be the tomb of Sunan Bonang. The most famous one is in
Tuban, precisely near the Great Mosque of Tuban. The others are in
Tambak Sacred, Bawean. And there are also those who say in Singkal,
Kediri which is on the banks of the Brantas river. And the last one is on
the hill between Rembang and Lasem. At the end of his life Sunan Bonang
has left many traces of his da'wah in the form of art, some of which are:
the sekaten event until now, big grebeg, Islamic wayang, suluk-suluk, and
songs that still exist today.

2. The Literary Side of Sunan Bonang

Before starting his missionary journey, Sunan Bonang got a lot of Islamic
knowledge that he learned from Sunan Ampel. As previously stated,
Sunan Ampel had studied with Sheikh Maulana Ishak. The da'wah method
used by Sunan Bonang is through an artistic, literary and cultural
approach. His knowledge of arts and culture, he got from his mother's
family who are nobles in Tuban, Central Java. From there Sunan Bonang
was able to master the arts, especially Javanese arts, especially in the field
of literature. In other words, Sunan Bonang's literary side is inherited from
his mother's family (Sudibyo, 2022). And in Sunan Bonang the blood of
great leadership has flowed from his father and he is a disciplined, diligent
and diligent person in learning. Not only that, his friendship with Sunan
Giri or Raden Paku also formed a more mature intellectual intelligence in
Sunan Bonang, because of that Sunan Bonang was very proficient in
mastering various sciences, one of which was about literature. Sunan
Bonang's literary side is very thick when viewed from his work in the form
of songs and mysticism. Even so, Sunan Bonang did not want to keep the
knowledge he mastered for himself, he wanted to share his knowledge
with others, namely to his student named Raden Mas Said or known as
Sunan Kalijaga, it can be seen from the approach to Islamic symbols that
Sunan Kalijaga did through arts such as songs and puppets (G/Tsadik et
al., 2020). But before that, in his youth, when Sunan Bonang preached in
Kediri to awaken adherents of the black magic teachings called Bhairawa
Tantra, it often caused conflicts and Sunan Bonang sometimes used
violence or fought against the adherents of the Bhairawa Tantra. Sunan
Bonang was furious at that time, he used his kanuragan knowledge to
change the direction of the Brantas river flow, as a result the people living
on the banks of the river experienced difficulties. The difficulties faced by
Sunan Bonang when carrying out his da'wah became a stepping stone for
Sunan Bonang himself, he realized that by using violence, the da'wah he
conveyed would not be accepted by the community, the majority of people
refused if the da'wah approach was carried out using coercion that led to
violence. (Manusia et al., 2021). Sunan Bonang then continued his
missionary struggle to Demak, while keeping his promise to Raden Patah
to become the Imam of the Mosque in Demak. And from there Sunan
Bonang began to change his da'wah strategy by focusing on art, literature
and culture approaches. Armed with the knowledge that has been obtained
from many teachers and scholars, Sunan Bonang is known to be proficient
in mastering the science of fiqh, ushul-fiqh, ushuluddin, tasawuf, art,
literature and architecture (H Kara, 2014). Sunan Bonang introduced Islam
through wayang performances that contained Sufistic values. Not only
that, Sunan Bonang also uses songs, kidung, and changes the gamelan
chant into a remembrance nuance which the local people call Bonang.
 Sunan Bonang has produced many literary compositions that can still be
enjoyed today. Raden Maulana Makdum Ibrahim is a guardian who has a
very strong sense of art and literature. Even the creation of songs that
accompany wayang performances is always beautiful, where the song also
contains Islamic elements which Sunan Bonang deliberately applied as
one of his da'wah methods. With this good method of preaching, the
Indonesian people graciously accepted it and the majority of them finally
embraced Islam. In every wayang performance, he is a mastermind who is
good at presenting a story. And every song played by Sunan Bonang
always has Islamic nuances such as remembrance, so many people are
interested in converting to Islam, because they see how peaceful the
nuances of Islam are brought by Sunan Bonang. (Farhan, 2019). Literature
is also his domain, one of which is Suluk, which contains Sunan Bonang's
thoughts which are presented in the form of literary works. Sunan Bonang
is the first Muslim writer to write in Javanese, in this case it is shown that
there is a difference with the first Muslim writer in Sumatra. If basically
Sumatran writers have used Arabic in their writing, Sunan Bonang and his
co-writers in Java only started using Arabic when Islam had spread in
Indonesia, and then edited their Javanese writings into Arabic. (Dan et al.,
2020). Thanks to Sunan Bonang's knowledge of literature or other Islamic
scholarship, Sunan Bonang has many students from various regions such
as Madura, Tuban, and Jepara.

3. Literary Works of Sunan Bonang

As mentioned above, the literary works produced by Sunan Bonang
are very varied, including:
1. Suluk Wujil
Suluk is a type of Sufism essay that is very popular among the
Javanese and Madurese people (Al-Khalidi, 2019). Suluk Wujil is one
of Sunan Bonang's most famous literary works. Wujil itself was taken
from one of the students who studied with Sunan Bonang. One of
them is called Suluk Wujil. This Suluk is one of the many Javanese
 literary works contained in it about religious teachings and uses the
Javanese language, more precisely the Central Javanese language.
Suluk is thought to have first appeared and was written during the
Islamic era, specifically around the 16th century AD together with
other literary works of Sunan Bonang which have gone through the
editing process by Schrieke, namely Drewes's work entitled: Het Book
Van Bonang, Een Javaans Geschrif vit de 16e. The original Suluk
Wujil manuscript itself is 16 cm wide and long, written on 52 pages of
locally made old paper (duluwang). On the first page of this suluk is
blank, it doesn't say anything. It was only on the second page that this
wujil suluk began. The poetry contained in the Suluk Wujil contains
meaning. First, as a form of crucial representation of the transition
process from Hinduism to Islam. Which was marked by the collapse
of the last major Hindu empire in Java, namely Majapahit, and the
establishment of the first Islamic kingdom, the kingdom of Demak.
The second second is about the study of Sufi science, Sufi science is a
science that studies how the concept of real divinity is. The beginning
of Suluk Wujil was made because there was one of Sunan Bonang's
students who questioned how Islam was formed and what the true
essence of Islam was. Sunan Bonang's mysteries are now stored in the
Leiden University library, the Netherlands.
2. Suluk Gentur
Suluk Gentur contains the method that must be passed if you want to
reach the highest level in Sufi science. The poetry in the suluk is
written in a very long lyrical song. Gentur has a short meaning that is
perfect or complete. But many interpret it as a sense of enthusiasm and
perseverance. The points contained in this one suluk are the creed of
the mortal 'ruh idafi and da'imqa'im. Shahada da'im qa'im is a form of
someone's grace who can unite with divine nature.
3. Suluk Latri
 Suluk Latri contains romance that presents the nuances of romance,
describing someone who is waiting for his lover with feelings of
sadness. Unfortunately, his lover did not come, so he was frantic.
4. Tembang
The definition of Tembang is a literary work that has certain rules and
the way to read the poem is to sing it (Yunita, 2014). The songs
created by Sunan Bonang use gamelan instruments with Islamic
nuances. One of Sunan Bonang's songs is the tombo ati song. The
beginning of this song is because Sunan Bonang really likes art
(Khafidoh, 2021). Tombo Ati's song is very popular among the public,
and was performed by one of the Indonesian religious singers, namely
Opick and made an Indonesian version. (Syumaisi et al., 2021). The
meaning of the song itself is not much different from the meaning of
the song, which is a poem that has meaning, pitch and rhythm. Tombo
Ati himself sings about peace of mind, which if viewed through the
lyrics, peace of mind can be obtained by carrying out Islamic religious
teachings, such as praying, reciting the Koran, and remembrance.
(Syumaisi et al., 2021). Sunan Bonang's purpose in making this song is
that the people who listen to this song unconsciously listen to Islamic
elements without any coercion.
5. Suluk Jebeng
Suluk Jebeng is one of Sunan Bonang's works that discusses how the
actual form of a human leader or caliph on this earth is. Suluk is also
one of the works written by Sunan Bonang in the song
Dhangdhanggula. This Suluk also tells that the form of the caliph was
created and described like Allah SWT.
6. Suluk Khilafah
This Suluk generally describes and describes the journey and
experience of the saints when preaching Islamic teachings to people
who have the desire to embrace Islam. In this Suluk, Sunan Bonang
tells how his journey to gain knowledge from Aceh to Melaka. Not
 only that, this Suluk also explains the rules that are fana'ruh idhofi
(Al-jauhari, 2016).
7. Kitab Tanbihul Ghofilin
The book, which is 234 pages thick, contains Sufism lessons which
are currently in great demand and are still being studied by students of
Islamic boarding schools in Indonesia. (Aziz, n.d.). Sufism is a
science that studies the approach to Allah by carrying out Islamic
religious laws and trying to place the focus only on Allah SWT. The
purpose of Sufism itself is to be able to feel the presence of God in the
heart, and feel that this life is nothing but because of Allah SWT.
(DAMANIK, 2019).
8. Prosa dan Puisi
Apart from writing suluk, Sunan Bonang also wrote prose and poetry
as a form of his literary work. This prose and poetry has a beautiful
language structure, so it is known to have high aesthetic value
(Panglipur & Listiyaningsih, 2017). This prose and poetry has been
published in several books written by B Schrieke (1913), Purbatjaraka
(1938), Pigeadud (1967), Drewes (1954, 1968, and 1978) (Al-jauhari,
2016) (Aziz, n.d.).
9. Pewayangan
In addition to literary works in the form of writing, Sunan Bonang is
also known to be very proficient in the realm of wayang, because of
his expertise in masterminding wayang, Sunan Bonang's wayang is
also very popular with the public. The purpose of the wayang
performed by Sunan Bonang is inseparable from his intention to
preach Islamic teachings to the public, therefore Sunan Bonang's
wayang is bound by strong elements of the Islamic religion. Through
this wayang, people indirectly recognize Islamic teachings without any
element of pressure and coercion. In his performances, Sunan Bonang
often performs stories about how the Pandavas and the Kauravas can
fight. And through this wayang, Sunan Bonang did not forget to pour
 the moral values that contain so that humans will always love Allah
SWT.
10. Gamelan
In the past, this gamelan was identical with the teachings of Hinduism
which was later successfully changed by Sunan Bonang by
incorporating Islamic elements, so that it can still be enjoyed today.
Because Sunan Bonang is famous for composing gamelan, one of the
gamelan instruments was also named by Bonang. Bonang itself is a
musical instrument made using brass that looks prominent in the
middle and how to play it by hitting it with wood. This Javanese
gamelan is used as a musical instrument for Sunan Bonang's songs
with Islamic nuances.

4. Analysis of Sunan Bonang’s Literary Works: Suluk Wujil

Suluk Wujil is a literary work that is quite old, in addition to Suluk
Sukarsa. Suluk Wujil is thought to have been written in the early sixteenth
century under the sovereign rule of Panembahan Seda Krapyak. In the
Suluk Wujil script with the code Ms BG 54 and the text published by
Soemodidjojo Mahadewa, the sengkalan or the time marker for writing is
written in stanza 91, which reads: /panerus tingal tataning nahi/ sasangkala
hauntan ungripta/. The time marker shows the year 1529 Caka or the year
1607 AD. If it is related to the writing of the timestamps above,
Poerbatjaraka expresses his suspicions that the timestamps may have been
made by the scribes. Regarding the position of Suluk Wujil in Javanese
literary works, Poerbatjaraka said that Suluk Wujil was a period of
"transitional" Suluk. This perception in terms of the form of language,
paper, and scripts used in writing Suluk Wujil, found the same
characteristics as the language of the work. Javanese literature in the
Middle Ages with the title Pararaton. The similarity of language
characteristics between Suluk Wujil and Paruraton is that the prefix ra is
still used as it is used in Pararaton. Likewise, in terms of the meter there is
one stanza in the Suluk Wujil text that uses the Aswalalita meter. The
meter does not exactly match the model and shape and no longer follows
the rules of the meter of the Central Javanese poetry. Metrum is a term in
literature that displays the language structure of a stanza of poetry
(Santosa et al., 2021) . John mentions that in the XV century the religion
of the palace was generally a syncretism of Shiva and Buddhism. Less
than two centuries later the religion began to change along with the entry
of Islam in Java. This period of change is called the "transition period".
These changes affect the literary works produced so that works born at that
time are referred to as "transitional" works. However, Drewes mentions
that the Suluk Wujil records come from the Cirebon area. Drewes
considers Suluk Wujil as a work created in the XVIll century. Before
Drewes, Poerbatjaraka said that considering the spelling in the writing of
one of the Suluk Wujil manuscripts, namely the Ms BG 54 manuscript, the
writing came from Cirebon, however, Poerbatjaraka was still unsure
because of the existence of incompatibility with the Cirebon spelling used.
The spelling discrepancy is the use of wignyan markings that are written
incorrectly, for example the word rekeh which should be written reke,
salayah which should be written salaya. As a literary work that is quite old
than other mystical works. Suluk is specific in the manuscript and text.
And in this suluk there are symbols that have certain meanings. This Suluk
contains 104 stanzas of which 20 stanzas will be studied and analyzed
more deeply, both related to linguistic studies and their content.

The following is the text of Suluk Wujil in Indonesian Latin:

(1). Dyan warnanen sira ta pun Wujil // matur sira ing sang adinira //
Ratu Wahdat pangerane // sumungkem aneng lebu // telapakan Sang Maha
Muni // Sang adhekah ing Benang // mangke atur bendu // sawitnya nedha
jinarwan // sapratingkahing agama kang sinelir // teka ing rahsa purba.
(2). Sadasa warsa sira pun Wujil // angastu pada sang adinira // tan antuk
wara ndikane // ri kawijilanipun // ira Wujil ing Maospait // ameng-
amenganira // nateng Majalangu // telas sandining aksara // pun Wujil
matur maring Sang adi Gusti // anuhun pangatpada.
Analytical translation of stanzas 1-2: Wujil is a disciple of Sunan who
holds the title Ratu Wahdat. Wujil used to be a servant from Majapahit. He
begged to be given a secret teaching, because after ten years of studying at
Ratu Wahdat, Wujil was considered not capable enough to enter the secret
teaching.

(3). Pun Wujil byakteng kang anuhun sih // ing talapakan Sang Jati
Wenang // pejah gesang katur mangke // sampun manuh pamuruk // sastra
Arab paduka warti // wekasane angladrang // anggeng among kayun //
sabran dina raraketan // malah bosen kawula kang angludrugi // ginawe
alan-alan.
Translation: Wujil begged Sunan Wahdat for mercy and gave his life for
his teacher. Arabic literature has been studied, but the expected teachings
have not been given.

(4). Ya Pangeran  ing Sang adi Gusti // jarwaning wisik aksara tunggal //

pangiwa lan panengene // nora na bedanipun // dene maksih atata
gendhing // maksih ucap-ucapan // karone puniku // datan pulih anggeng
mendra // atilar tresna saka ring Majapahit // nora antuk usada.
(5). Ya marma lunga ngikis ing wengi // angulati sarahsyaning tunggal //
sampurnaning lampah kabeh // sing pandhita sun dunung // angulati
sarining urip // wekasing Jati Wenang // wekasing lor kidul // suruping
raditya wulan // reming neta kalawan  suruping pati // wekasing ana-ora.
(6). Sang Ratu Wahdat mesem ing lathi // hih ra Wujil kapo kamakara //
tan samanya mangucape // lewih anuhun bendu // atinira taha nanagih //
dening genging swakarya // kang sampun kalebu // tan pandhitane  wong
dunya // yen adol warta tuku wartaning tulis // angur aja wahdata.
(7). Kang adol warta atuku warti // kumisun kaya-kaya weruha // mangke
ki andhe-andhene // awarna kadi kuntul // ana tapa sajroning warih //
meneng tan kena obah // tingalipun terus // ambek sadu anon mangsa // lir
antelu putihe putih ing jawi // ing jro kaworan rakta.
(8).Suruping arka aganti wengi // pun Wujil anuntumaken wreksa //
badhiyang aneng dagane // patapane Sang Wiku // ujung tepining
wahudadi // aran dhekah ing Benang // saha sunya samun // anggayang
tan ana pala // boga anging jraking sagara nempuhi // parang rong
asiluman.
Translation of stanzas 4-8: Sunan Wahdat said to Wujil that he wanted
someone who would study secret knowledge to be honest and clean in
mind and body.

(9). Sang Ratu Wahdat lingira aris // Hih ra Wujil marengke den enggal //
trus den cekel kekucire // sarwi den elus-elus // tiniban sih ing sabda
wadi // ra Wujil  rungokena // sasmita kateng sun // lamun sira kalebua //
ing naraka ingsun dhewek angleboni // aja kang kaya sira.
(10). Sigra pun Wujil atur subakti // matur sira ing guru adimulya //
sakalangkung panuwune // sampun rekeh pukulun // leheng dasih rekeh
pun Wujil // manjinga ing naraka // pun Wujil sawegung // pan sami wruh
ing kalinga // guru lan siswa tan asalayah kapti // kapti saekapraya.
(11). Pengetisun ing sira ra Wujil // den yatna uripira neng dunya // ywa
sumabaraneng gawe // kawruhana  den estu // sariranta pan dudu jati //
kang jati dudu sira // sing sapa puniku // weruh rekeh  ing sarira //
mangka sasat wruh sira maring Hyang Widi // iku marga utama.
(12). Utamane sarira puniki // angawruhana jatining salat // sembah
lawan pamujine // jatining salat iku // dudu ngisa tuwin magrib //
sembayang aranika // wenange puniku // lamun ora nana salat // pan
minangka kekembanging salat da’im // ingaran tatakrama.
(13). Endi ingaran sembah sejati // aja nembah yen tan katingalan //
temahe kasor kulane // yen sira nora weruh // kang sinembah ing dunya iki
// kadi anulup kaga // punglune den sawur // manuke mangsa kena’a //
awekasan amangeran adam-sarpin // sembahe siya-siya.
Translation of stanzas 9-13: Sunan Wahdat begins to give his teachings.
It is stated that Wujil's relationship with his teacher is very good, so that
there is never a disagreement. The Mahayogi gave advice to Wujil all
night long. Sunan Wahdat's first sermon about life. Humans should be
careful living in the world. The Mahayogi stated that "you are not the
truth, the authenticity is not you." Whoever knows himself only knows
Hyang Widhi.

(14). Lan endi kang ingaranan puji // samya amuji dalu lan siyang // yen
ora sarta wisike // tan sampurna kang laku // yen sirarsa weruh ing puji //
den nyata ing sarira // panjing wetunipun // kang atuduh
ananing  Hyang // panjing wetuning napas yogya kawruhi // suksma catur
prakara.
(15). Catur  prakara anasirneki // bumi geni angin iku toya // samana duk
panapele // sipate iku catur // kahar jalal jamal lan kamil // katrapan
sipating Hyang // wowolu kehipun // lampahe punang sarira // manjing
metu  yen metu ndi paraneki // yen manjing ndi pernahnya.
(16). Tuwa anom kang anasir bumi // lakune puniku kawruhana // yen
atuwa ndi enome // lamun anom puniku // pundi rekeh tuwanireki // anasir
geni ika // apes kuwatipun // yen kuwat endi apesnya // lamun apes pundi
nggene kuwatneki // tan sampun kasapeksa.
(17). Miwah ta rekeh anasir angin // lakune iku ana lan ora // yen ora
pundi anane // lamun ana puniku // aneng endi oranineki // ingkang anasir
toya // pejah gesangipun // yen urip pundi patinya // lamun mati ndi
parane urip
(18). Kawruhana tatalining urip // ingkang aningali ing sarira // kang tan
pegat pamujine // endi pinangkanipun // kang amuji lan kang pinuji //
sampun ta kasapeksa //marmaning wong agung // padha angluru sarira //
dipun nyata ing uripira sejati // uripira neng dunya.neki // sasar yen ora
wruha.
Translation of stanzas 14-18: Humans should know the true meaning of
praise, the meaning of going in and out of breath. The soul consists of four
kinds of elements, namely earth, fire, wind and water. Each of these
elements has its own function and nature. As a guide to life, you should
know yourself, while never forgetting to pray fervently.
Translation of stanzas 19-38: The human body is like a cage in which a
bird is placed. Sunan Wahdat also said that do not look far for a poet,
because the poet is already within himself. Sunan Wahdat mentioned the
need to know oneself, to control one's passions, all kinds of actions must
be in accordance with the will and belief. God exists and is truly holy.
People who feel they know are people who are able to curb their passions,
are able to regulate their sense of sight. God exists, but does not have a
specific place, only a chosen person is able to see that form. Anyone who
wants to know the absolute height is not allowed to act and behave
recklessly. As for stupid people because of their limited view. They do not
recognize God as omnipresent. A person must know the value of the
conversations that are carried out when he is communicating with God,
and must know about solitude. Peace of mind is a good place to catch the
vibrations of God's existence (Hasmiati, 2019). Explanation of the terms
silence and talk. True gifts must be accompanied by right intent and care.
The real meaning is without words. One may notice that most people do
not see the real point and are thus erased by chaotic attitudes. This attitude
carried over when he was in the mosque. Such a person is difficult to gain
enlightenment of the soul to know the secret knowledge. Whoever is able
to direct the praise properly, is the same as the one who performs 100
years of prayer. Continual praise in the proper manner is equivalent to 60
years of prayer. Other people do meditation, the same as people who pray
without interruption and without being bound by time. People who can do
this meditation are called perfect people.

Translation of stanza 39: Devotion for the main person knows no time.
Once a person has true intentions then all his body movements are
intended for the purpose of prayer. True intentions equal praise that is
always done.
Translation of stanza 40: Intention is more important than action.
Intentions cannot be expressed in mere words. Intention is what a mind
wants to do, therefore the intention to perform prayer is the same as the
intention of the person who is about to commit robbery.

Translation of stanzas 41-44: People are said to be envious and

unbelievers if they think that the most important thing is intelligence. Such
people are people who do not know about the true intentions. Lust must be
curbed, so people should not talk too much and don't push their desires too
much and follow personal desires. Likewise, people should not be too
religious about their own opinions. Next, Sunan Wahdat sent Wujil to go
to the girls' dormitory to call Ken Satpada.

Translation of stanza 45: Wujil calls Satpada. Then Satpada came to face
Sunan Wahdat

Translation of stanzas 46-48: On the way to Sunan Wahdat, Ken Satpada

asked why his friend was called Wujil. Wujil explained why he was called
by the name Wujil, namely between name and appearance there was no
difference. It was also stated that Wujil was not the first figure from
Majapahit who studied at the hermitage. Then Wujil and Satpada arrived
in front of Sunan Wahdat and Sunan Wahdat asked how he was when
Satpada was in Jawana.

Translation of stanzas 49-50: Ratu Wahdat told Wujil to take a lotus

flower. Ratu Wahdat then wrote a letter on lotus petals to Seh Malaya.
Then Wujil was ordered to take the letter to Seh Malaya in Pati.

Translation of stanzas 50-51: Sunan Wahdat sent sumpil. Wujil

immediately left for Pati. No mention of the journey taken. Wujil asked
people in the countryside if they knew of a gambuh (mask) dancer named
Seh Malaya. Villagers explained to Wujil that a person named Seh Malaya
was performing a dance performance in South Wasana village. When
Wujil arrives at the venue, Seh Malaya had ended the show. Then Wujil
met with Seh Malaya and then gave a letter from Sunan Wahdat.

Translation of stanzas 52-54: Seh Malaya opened the letter. Seh Malaya
asked Wujil what the surengpati and the seeds of the saga put in the lotus
flower meant. Wujil replied that he did not know Seh Malaya said that the
honorable ones who were in power in Murya conveyed the message that
every action will end after the person dies. The letter is then read over and
over again. The contents are very touching and touching, the letter ends
with Aswalanta.

Translation 55-56: The letter concludes that while Seh Malaya is away
from home and family, he is expected to always remember Sunan
Bonang's advice. Sunan Bonang really wanted to meet She Malaya
because he really missed her. Description of Sunan Bonang's longing for
Seh Malaya.

Translation 57-58: After reading the letter from Sunan Bonang, Seh
Malaya was pensive. Seh Malaya took Wujil to his house in Pegambiran
village. After arriving at the hut then they ate.

Translation 59-77: Seh Malaya told Wujil that through a letter sent
through Wujil, it was possible that Sunan Wahdat was insinuating his
pilgrimage. Seh Malaya did not continue the pilgrimage to Mecca because
he was ordered by Maulana Magribi to return to Java. Mecca is a place in
the West it doesn't really matter. The important thing is the existence of a
sacred stone built by Prophet Ibrahim. There is a throne of God in the
Mecca Mosque. The throne hangs unlinked. When looking from above,
they would see the sky below. And when he looked down, he saw the earth
above him. If one looks to the west, he will see the east. If one looks at the
east he will be able to see the west. If you look south, you will see north. If
one looks north, it will appear south. When someone prays there, one
place for one. If there are two or three people the room will be enough for
two and three people. If there are tens of thousands of people praying there
the Kaaba can accommodate all of them. If only one world would pray
there it would also be accommodated. Seh Malaya said to Wujil that what
Seh Malaya said should not be told to Sunan Wahdat. Wujil must continue
to give his service to Sunan Wahdat. Wujil returned to Sunan Wahdat's
hermitage. Sunan Wahdat was doing meditation, Wujil immediately sat
behind him waiting for Sunan Wahdat who was doing meditation, After
the Mahayogi finished meditating, Wujil immediately worshiped. Next,
Sunan Bonang opened the secret of Se's odyssey.

Overall Content and Symbol Name:

Suluk Wujil tells the story of a young man whose name was used as the
title of the Suluk, namely Wujil. In the history of his journey in search of
secret knowledge (divinity), Wujil met Sunan Bonang and Ken Satpada,
along with Sunan Bonang and Ken Satpada, Wujil involved himself in a
conversation about religion. Sunan Bonang ordered Wujil to go to Pati to
ask why Seh Malaya did not go up. pilgrimage to Mecca. Seh Malaya
explained that the true pilgrimage was to find his Lord. It does not have to
be done to Mecca, but in itself. Sunan Bonang's advice to Wujil and other
Satpada is about the human relationship with God, which is likened to the
image of a human being in a mirror. Furthermore, it was told that there
was a puppeteer named Sari who was going to hold a shadow puppet
show. The shadow puppet show chose the play Baratayudha. When the
puppet show had started, Seh Malaya arrived from Pati accompanied by
his two students, namely Luwung Salawe and Ken Wanakarta, Seh Malaya
then paid his respects to Sunan Bonang. In a conversation with Sunan
Bonang, Seh Malava told of the pilgrimage to Mecca. Next, Sunan Bonang
invited Seh Malaya and their respective students to discuss about the
wayang games associated with nafi and isbat. The discussion ended with
meditation conducted by Sunan Bonang together with Seh Malaya. At the
peak of semeadi it is depicted that in an instant the two of them arrived at
Mecca. The setting of Suluk Wujil does not take place in the palace but in
a rural area in the Cirebon area. Not only that, Suluk Wujil also teaches
how to purify and clean the heart when you want to face the creator
(Apdareyna, 2021). The name of the Wujil character is the main character
that is the title of this suluk, Suluk Wujil. Wujil from the word seeds
which means glaring (Pendidikan et al., 2021). Poerbatjaraka defines
Wujil as someone whose eyes are bulging. Wujil from the word seed
means one or more eyes come out. The statement was later corrected by
Poerbatjaraka by saying that Wujil means dwarf or midget. In this
connection the word wujil is returned to the word wujel or bujel meaning
short or blunt. This shift in meaning is also referred to from the similarity
of the letters i and e in the old manuscripts. The meaning of the word put
forward by Poerbatjaraka above is acceptable, because Wujil means
midget or bastard. Wujil refers to the figure of the actor who is a midget,
while the question is why did the author place the midget as the main actor
in the text? Conventionally, according to public belief, figures who have
physical disabilities are often considered to have certain advantages,
namely magical advantages. In connection with this belief, the kings in the
land of Java have courtiers consisting of people who have these
disabilities, mentioning that royal courtiers who have disabilities are called
courtiers Palawija (Jayanti, 2020). With this courtier, the king seemed to
have a certain power. It is stated in Suluk Wujil that the wujil figure
previously serving Sunan Wahdat was a courtier of the Majapahit
kingdom. Based on the understanding of the meaning of Wujil as a
character who has a physical disability, namely in the form of a dwarf, the
use of the name Wujil contains a certain symbolic meaning. The symbolic
meaning is extracted from knowledge in the context of Javanese literature
and culture, that someone who has a disabled body actually has certain
magical powers. The selection of a Wujil figure with a dwarf body shape
means that only people who have certain advantages are able to study
secret knowledge in depth, because only people who have certain
 advantages can absorb Sunan Bonang's knowledge, it is natural that Suluk
Wujil is then referred to as a secret teaching. Furthermore, Wahdat is a
name which means not married, this name describes Sunan Bonang who
has never married and has had children throughout his life (LIU, 2020).
The title Wahdat was indeed given to Sunan Bonang.

SIMPULAN

Islamic literature in the archipelago entered together with the religion of Islam,
then the literary works were translated into Malay, with that Islamic literature
began to develop in Indonesia. From there, Islamic writers began to appear in the
archipelago, one of the most famous of which was Sunan Bonang.

Sunan Bonang was born in 1465, the son of Sunan Ampel (a member of
Walisongo) and Nyai Ageng Manila. According to lineage, Sunan Bonang is still
the 23rd descendant of the Prophet Muhammad through Siti Fatimah and Ali bin
Abi Talib. (Asmoro, 2016 p.2). Sunan Bonang is a very influential figure because
of his contribution in spreading Islam on the island of Java. Before starting his
missionary journey, Sunan Bonang got a lot of Islamic knowledge that he learned
from Sunan Ampel. As previously stated, Sunan Ampel had studied with Sheikh
Maulana Ishak. The da'wah method used by Sunan Bonang is through an artistic,
literary and cultural approach. His knowledge of arts and culture, he got from his
mother's family who are nobles in Tuban, Central Java.

At the end of his life Sunan Bonang has left many traces of his da'wah in the form
of art, some of which are: the sekaten event until now, big grebeg, Islamic
wayang, suluk-suluk, and songs that still exist today.

One of them is Suluk Wujil. Suluk Wujil is one of the many Javanese literary
works contained in it about religious teachings and uses the Javanese language,
more precisely the Central Javanese language. Suluk Wujil is a literary work that
is quite old in age, in addition to Suluk Sukarsa. Suluk Wujil is thought to have
been written in the early sixteenth century or under the sovereignty of
Panembahan Seda Krapyak.
Suluk Wujil tells the story of a young man whose name was used as the title of the
Suluk, namely Wujil. In the history of his journey in search of secret knowledge
(divinity), Wujil met Sunan Bonang and Ken Satpada, along with Sunan Bonang
and Ken Satpada, Wujil involved himself in a conversation about religion. Not
only that, Suluk also teaches about cleanliness and purity of heart, beauty, respect
for teachers, always having good intentions, and not having an arrogant attitude.

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