figurative language in the dialogue of marriage proposal...
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FIGURATIVE LANGUAGE IN THE DIALOGUE OF
MARRIAGE PROPOSAL PROCESS IN BUGINESE
CULTURE:
A SEMANTICS APPROACH
A THESIS
Submitted to the Faculty of Cultural Sciences Hasanuddin
University in Partial Fulfillment to Obtain Bachelor Degree
in English Department
BY
RISMAYANA
F21114017
ENGLISH DEPARTMENT
FACULTY OF CULTURAL SCIENCES
HASANUDDIN UNIVERSITY
MAKASSAR
2018
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SKRIPSI
FIGURATIVE LANGUAGE IN THE DIALOGUE OF MARRIAGE
PROPOSAL PROCESS IN BUGINESE CULTURE:
A SEMANTICS APPROACH
Disusun dan diajukan oleh
RISMAYANA
No. Pokok : F21114017
Telah dipertahankan didepan Panitia Ujian Skripsi
Pada hari Kamis, 9 Agustus 2018 dan dinyatakan telah memenuhi syarat
Menyetujui,
Komisi Pembimbing
Ketua Sekretaris
Dr. Ayub Khan, M.si. Sitti Sahraeny, S.S., M.A.
NIP. 196212311989031301 NIP.197203181998022001
Dekan Fakultas Ilmu Budaya Ketua Departemen Sastra Inggris
Universitas Hasanuddin
Prof. Dr. Akin Duli. MA. Dr. Abidin Pammu, M.A., Dipl. TESOL. NIP.196407161991031010 NIP.196012311986011071
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ENGLISH DEPARTMENT FACULTY OF CULTURAL SCIENCES
HASANUDDIN UNIVERSITY
APPROVAL FORM
With reference to the letter of the Dean of Cultural Sciences No.
965/UN4.9.1/DA.08.04/2018 on 5th February 2018 regarding supervision, we
hereby confirm approve the thesis draft to be examined at the English Department
Faculty of Cultural Sciences.
Makassar, 03rd July 2018
Approved by
First Supervisor Second Supervisor
Dr. Ayub Khan, M.si. Sitti Sahraeny, S.S., M.A.
NIP. 196212311989031301 NIP.197203181998022001
Approved for the Executions of Thesis Examination by
the Thesis Organizing Committees
On Behalf of Dean
Head of English Department
Dr. Abidin Pammu, M.A., Dipl.TESOL.
NIP. 196012311986011071
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UNIVERSITAS HASANUDDIN
FAKULTAS ILMU BUDAYA
Pada hari ini, Kamis Tanggal 9 Agustus, Panitia ujian skripsi menerima dengan
baik skripsi yang berjudul :
FIGURATIVE LANGUAGE IN THE DIALOGUE OF MARRIAGE
PROPOSAL PROCESS IN BUGINESE CULTURE:
A SEMANTICS APPROACH
Yang diajukan dalam rangka memenuhi salah satu syarat ujian akhir guna
memperoleh gelar sarjana pada Fakultas Ilmu Budaya Departemen Sastra Inggris
Universitas Hasanuddin.
Makassar, 9 Agustus 2018
PANITIA UJIAN SKRIPSI
1. Dr. Ayub Khan, M.Si. Ketua 1. ...............
2. Sitti Sahraeny, S.S., M.A. Sekretaris 2.................
3. Dr. Sukmawaty, M.Hum. Penguji I 3.................
4. Dra. Francisca E. Kapoyos, M.Hum. Penguji II 4.................
5. Dr. Ayub Khan, M.Si. Konsultan I 5.................
6. Sitti Sahraeny, S.S., M.A. Konsultan II 6.................
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ACKNOWLEDGEMENT
Assalamu’alaikum wr. wb. Proudly, the writer would like to express her
countless gratitude to the Most Merciful and the Most Gracious, Allah subhanahu
wa ta’ala who has given tremendous blessing, love, health and mercy to the
writer. Because of His guidance the writer is able to finish this undergraduate
thesis as the requirement for achieving the degree of Sarjana Sastra (S.S) in
English Department Faculty of Cultural Sciences, Hasanuddin University. Salam
and shalawat always give upon to the prophet Rasulullah SAW, the Messenger of
Allah who has brought the brightness to the world. Also to his families, his
companions, and his adherents who follow him until the judgment day.
The writer found many obscurities and obstacles in writing this thesis and it is
impossible to be solved without being helped by many kind-hearted persons
around her. The writer would like to thank to those who have supported,
motivated, helped, and prayed for her so that this thesis can be finished. In this
valuable chance, the writer intends to express her appreciation for those who have
important role during her life.
First of all, the writer sends the greatest gratitude to her lovable parents,
Ibrahim and Nurneni for their endless love, affection, and financial support to
the writer. May Allah bless them a good life ahead for every sacrifices they do for
the writer. The gratitude also for the writer’s aunt, Wardah who has been taking
care of the writer during her study that is far away from her parents. The writer
also thanks to her sister and brother, Risna and Risal who always motivate and
encourage her to finish this thesis soon. The writer loves them so much.
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Besides, the writer would like to express her deepest appreciation to her first
supervisor, Dr. Ayub Khan, M. Si and her second supervisor, Sitti Sahraeny,
S.S., M.A for their kindness, patience, time, and valuable guidance in the
completion of her thesis. The writer also thanks them for the bright ideas that ease
the writer finish this thesis. Unlimited thankful also sends to Prof. Dr. Dwia
Aries Tina Pulubuhu, M.A as the Rector of Hasanuddin University who brings
the campus to the advances, Prof. Akin Duli, M.A (the Dean of Faculty of
Cultural Sciences), Abidin Pammu, M.A., Dipl.TESOL (the Head of English
Department), and Prof. Dr. Abdul Hakim Yassi, M.A., Dipl.TESOL (the
writer’s Academic Consultant) for their best services, advices and supports to the
writer during her study. Sincerely gratitude is also dedicated to all lecturers and
staffs of English Department for the valuable knowledge and assistance given to
the writer.
The writer’s gratitude goes to her beloved sisters in Back to Muslim Identity
Chapter Unhas community for their love, advices, and motivates which help the
writer a lot to finish this thesis. Also for the writer close friends in PK group:
Tari, Kiki, Linda, Ratih, and Chelsy for their craziness and happiness. Many
stories of life the writer passes with them which are so memorable. The writer
loves them in advance. Unforgettable thankfulness to the member of Multi Topics
group: Winda (Windows) and Tari (Taripang) who always cheer up the writer
with their empty talks. The writer will never forget the main topic of the group
chat. A deepest love and gratitude also goes to Rini Karlin (Mrs. Semaunaji), an
absurd friend of the writer. She thanks her for a very memorable friendship story
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in the last 10 years back. A friend who is often discourages the writer in doing this
thesis and gives a scary imagination about doing thesis to the writer. No matter
happens, the writer loves her deeply.
Finally, the writer realizes that this thesis is far from perfect, but the writer
hopes this thesis can be useful not only for her but also for the readers. Thus,
suggestions and critiques for a better improvement are welcomed. May Allah
bless us with happiness and joyful. Aamiin.
Wassalamu’alaikum wr. wb.
Makassar, 22nd May 2018
The writer
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TABLE OF CONTENTS
TITLE PAGE ................................................................................................... i
APPROVAL FORM ........................................................................................ ii
ACKNOWLEDGEMENT ............................................................................... v
TABLE OF CONTENTS ................................................................................. viii
ABSTRAK ....................................................................................................... x
ABSTRACT ..................................................................................................... xi
CHAPTER I INTRODUCTION ...................................................................... 1
A. Background of the Study ....................................................................... 1
B. Identification of Problems .................................................................... 3
C. Scope of Problems ................................................................................ 3
D. Research Questions ............................................................................... 4
E. Objectives of the Study ......................................................................... 4
F. Significances of the Study ..................................................................... 4
CHAPTER II LITERATURE REVIEW .......................................................... 6
A. Previous Related Studies ....................................................................... 6
B. Theoretical Background ........................................................................ 8
1. Semantics ........................................................................................ 8
2. Figurative Language........................................................................ 9
3. Types of Figurative Language ........................................................ 10
4. Definition of Dialogue .................................................................... 15
5. Marriage Proposal Process in Buginese Culture ............................. 15
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CHAPTER III RESEARCH METHODOLOGY ............................................ 18
A. Method of Collecting Data ................................................................... 18
1. Library Research ............................................................................. 18
2. Field Research ................................................................................. 18
B. Technique of Collecting Data .............................................................. 18
1. Observation ..................................................................................... 18
2. Interview ......................................................................................... 19
3. Tape Recording ............................................................................... 19
4. Note Taking ..................................................................................... 19
C. Technique of Analyzing Data .............................................................. 19
CHAPTER IV FINDING AND DISCUSSION ............................................... 20
A. Data Presentation ................................................................................. 20
B. Data Analysis ....................................................................................... 24
1. Types of Figurative Language ....................................................... 24
2. The Meaning of the Dialogue of Marriage Proposal Process in
Buginese Culture ............................................................................ 30
CHAPTER V CONCLUSION AND SUGGESTION ..................................... 55
A. Conclusion ........................................................................................... 55
B. Suggestion ............................................................................................ 55
BIBLIOGRAPGY ............................................................................................ 57
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ABSTRAK
RISMAYANA. 2018. Bahasa Kiasan yang Terdapat dalam Dialog Proses
Pelamaran Pernikahan pada Kebudayaan Bugis: Sebuah Pendekatan Semantik.
(Dibimbing oleh Ayub Khan dan Sitti Sahraeny).
Penelitian ini bertujuan untuk mengidentifikasi jenis bahasa kiasan yang
terdapat dalam dialog proses pelamaran pernikahan pada kebudayaan Bugis, dan
menganalisa makna dialog tersebut secara keseluruhan.
Dalam proses pengumpulan dan analisa data, penulis melakukan studi
kepustakaan dan studi lapangan dengan melakukan wawancara dengan
narasumber yang memiliki pemahaman yang baik mengenai dialog pelamaran ini.
Hal ini dilakukan untuk mengumpulkan teori-teori yang relevan dengan penelitian
dan juga mengumpulkan materi untuk menjawab rumusan-rumusan masalah.
Dalam menganalisa data, penulis menggunakan metode deskriptif kualitatif
dengan pendekatan Semantik.
Hasil analisa menunjukkan bahwa terdapat 28 ekspresi dalam dialog yang
menggunakan bahasa kiasan. Jenis tipe yang muncul adalah 4 alusi, 8 metonimia,
9 simile, 4 litotes, dan 3 metafora.
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ABSTRACT
RISMAYANA. 2018. Figurative Language in the Dialogue of Marriage Proposal
Process in Buginese Culture: A Semantics Approach). (Supervised by Ayub Khan
and Sitti Sahraeny).
This research is aimed to identify the type of figurative language used in the
dialogue of marriage proposal process in Buginese culture and to analyze the
meaning of the whole dialogue.
In the process of collecting and analyzing data, the writer used library research
and field research by interviewing Buginese man who has comprehensive
understanding about the dialogue. In analyzing the data, the writer used
descriptive qualitative method with Semantics approach.
The result of the analysis shows that there are 28 expressions use figurative
language. They are 4 allusions, 8 metonymies, 9 similes, 4 litotes, and 3
metaphors.
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CHAPTER I
INTRODUCTION
In this chapter, the writer presents the background of the study, identification
of problems, scope of problems, research questions, objectives of the study, and
significance of study.
A. Background of the Study
Language is defined as one of the most important things of human life.
People use language to communicate and to express their ideas, thoughts, and
feelings. In the dictionary of Linguistics, Kridalaksana (2008:24) states that
language is a system of vocal symbols that people use to communicate each
other. Language also can be used in self-identifying. Language can be found
either in spoken or written term. Written language can be a poem, novel,
drama text, magazine, and newspaper. While in spoken, it can be found in
speech, song, drama performances, and conversation. Based on this
statement, people as social human beings cannot be separated from language.
Study that focuses in language is called Linguistics. Linguistics includes
phonetics, phonology, morphology, syntax, and semantics which are the
units of language (Chaer, 2012:35). By using language, people can identify
what others want to express. However, people should firstly understand what
the meaning of the language and it is studied in Semantics. Semantics is one
of Linguistics branches that deal with the meaning of words, phrases, and
sentences. Semantics plays an important role in conveying message from the
speaker and the hearer.
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In general, there are two kinds of meaning, they are literal and non- literal
meaning. Literal meaning is when the speaker says something that has same
meaning as what it is said or it does not have another meaning. While, non-
literal meaning is when the speaker says something but it refers to something
else or it has another meaning. Literal meaning of course is easier to
understand than non-literal. However, sometimes people need to use non-
literal meaning language to express something.
Non-literal meaning can be found in figurative language. Figurative
language is one kind of language. It is known as a figure of speech which
means saying something other than usual way. To understand figurative
language, it cannot be taken literally because it might say one thing but mean
another.
Figurative language is commonly used in the language of literature and
sometimes in a particular culture, for example in the dialogue of marriage
proposal process. In this case, Semantics is also important to understand the
meaning of this language.
In this thesis, the writer is interested in analyzing the figurative language
in the dialogue of marriage proposal process in Buginese culture. As been
known that in the marriage proposal process in Buginese culture, we find that
the language that is used is figurative. This type of language is slightly
different from the daily conversation. We also know that marriage proposal
is a sacred process, so it is very important to know the meaning of the
figurative language in order to understand what the speaker says.
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The writer also finds that many people even the Buginese people
themselves are unaware about the existence of figurative language in the
dialogue of marriage proposal process. Hence, the writer decides to do
research entitled “Figurative Language in the Dialogue of Marriage
Proposal Process in Buginese Culture: A Semantics Approach.”
B. Identification of the Problems
Based on the previous explanation, there are some problems that make
writer does research about figurative language in the dialogue of marriage
proposal process in Buginese culture, they are as follow:
1. Many people do not understand about figurative language.
2. Many people do not recognize the use of figurative language in the
dialogue, particularly in cultural event.
3. Many people cannot identify the connotative meaning of figurative
language that is used in specific context.
C. Scope of the Problems
The writer knows that Bugis consist of various districts, but in this thesis,
she only analyzes the dialogue of marriage proposal process in Wajo district.
The writer also limits the problem by presenting 2 problems. They are the
types of figurative language used in the dialogue of marriage proposal
process in Buginese culture, and the meaning of the dialogue.
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D. Research Questions
In this study, there are 2 questions of problem to be answered. They are
as below:
1. What are the types of figurative language used in the dialogue of
marriage proposal process in Buginese culture?
2. What are the meanings of the dialogue of marriage proposal process in
Buginese culture?
E. Objectives of the Study
The objectives of this study are:
1. To identify the types of figurative language are used in the dialogue of
marriage proposal process in Buginese culture.
2. To analyze the meanings of the dialogue of marriage proposal process in
Buginese culture.
F. Significances of the Study
The result of this study is expected to give contributions as following:
1. By reading this thesis, hopefully students and society enrich the
knowledge about the figurative language in the dialogue of marriage
proposal process in Buginese culture. This study is also expected to give a
comprehensive understanding about figurative language and Buginese
marriage proposal process.
2. This study contributes as a reference for those who are interested in
discussing Buginese marriage proposal process, particularly about the
figurative language in its dialogue. The writer also hopes this study gives
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useful information to Buginese people themselves and foreigners who
want to know about Buginese culture.
3. This study is expected to become a reference to the next researchers who
want to conduct a research related to the topic.
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CHAPTER II
LITERATURE REVIEW
In this chapter, the writer presents review of some previous studies and
theories related to the study, such as Semantics, figurative language, types of
figurative language, definition of dialogue, and marriage proposal process in
Buginese culture.
A. Previous Related Studies
There are some studies that have been done by other writers related with
the topic of this thesis. The related studies are considered to assist the writer
in completing her thesis. The following are some previous studies which are
related to this research:
Abdullah (1991) in his research Denotative and Connotative Meaning of
Some Buginese Expression. He analyzed the denotative and connotative
meaning of some Buginese expression, one of the expressions is ellong
madduta. Both this study and Abdullah analyzed the connotative meaning of
ellong madduta in Buginese culture. However, in his research, Abdullah only
analyzed the connotative meaning without exploring the use of figurative
language of the dialogue, while this study explored the use of figurative
language in the dialogue of marriage proposal marriage in Buginese culture.
Fitria Lonanda (2013) in her research The Use of Figurative Language in
Characterization of the Nightingale and the Rose Short Story by Oscar
Wilde. She analyzed the types of figurative language characterizing the
characters in the short story The Nightingale and the Rose. Besides, the
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researcher also described the relation of figurative language use to the
characterization in the short story The Nightingale and the Rose. The
similarity between this study and Fitria’s is that they analyzed the figurative
language, while the difference is that Fitria concerned in the short story and
this study concerned in the dialogue of marriage proposal process in
Buginese culture.
Heny Listiani (2015) in her research An Analysis of Figurative Language
Found on the Song Lyric by Taylor Swift’s Speak Now Album. She analyzed
the types and the meaning of figurative language used in Taylor Swift’s
“Speak Now” album. Both this study and Heny analyzed the types and
meaning of figurative language. However, this study analyzed it in the
dialogue of marriage proposal process in Buginese culture, while Heny
analyzed in song lyric.
Khadijah Arifah (2016) entitled Figurative Language Analysis in Five
John Legend’s Song. In this thesis, the writer analyzed the types and
contextual meaning of figurative language used in five songs of John Legend.
Both Khadijah and this study analyzed the types and meaning of figurative
language. However, this study analyzed it in the dialogue of marriage
proposal process in Buginese culture, while Khadijah analyzed in Five John
Lengend’s song.
Lisnayanti (2013) in her research Figurative Language in the Dialogue of
Marriage Proposal Process in Makassarese Culture. She analyzed the
figurative language in the dialogue of marriage proposal process in
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Makassarese culture. Both this study and Lisnayanti analyzed the type and
the meaning of figurative language in the dialogue of marriage proposal
process. However, this study analyzed the dialogue of marriage proposal
process in Buginese culture, while Lisnayanti analyzed the dialogue of
marriage proposal process in Makassaresese culture.
Based on the comparison between the previous studies and this study, it is
clearly seen that this study is original. Therefore, this study is worth it to be
conducted.
B. Theoretical Background
1. Semantics
The term Semantics comes from Greek, semanio which means to
signify or mean. In general definition, Semantics is a study of meaning in
language. According to Kreidler (1998:3) that “Semantics is the systematic
study of meaning, and linguistic semantics is the study of how languages
organize and express meanings”.
Aside from Semantics, there are also other studies that attempt to
identify meaning, such as Semiotics. However, these two studies are
different. Semiotics has wider scope because it studies about meaning of
symbols and codes. While Semantics only focuses on the meaning of
language (Chaer, 2013:2).
Semantics becomes an important study to know since in a good
communication, understanding the meaning is the most important thing. It
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is because a good understanding of meaning will deliver what speaker
really wants to say to the hearer well.
There are two kinds of meaning, they are denotative and connotative
meaning. Denotative meaning is the real meaning, basic, and central
meaning of a word. It also can be stated that denotative meaning is a
meaning given to a word based on the observation of senses and
experience. For example, the word “dog”, its denotative meaning refers to
an animal that have 4 legs and like to eat bone. While connotative meaning
is additional meaning of a word. It means there is meaning added to the
real meaning of a word. For example, the word “dog”, it does not only
mean an animal, but for particular religion, word “dog” can be something
negative to hear.
The significant difference between denotative meaning and
connotative meaning is the sense value of a word. Every word has a
denotative meaning, but not all word have connotative meaning. A word
has a connotative meaning when it consists of sense value; either it is
positive or negative value (Chaer, 2013:63).
2. Figurative Language
Figurative language is a way of saying something different from the
literal meaning. Figurative language uses a figure of speech in order to
make a language be more effective, persuasive, and impactful. In addition,
figurative language can make the language be more colorful, rich,
aesthetic, and has a high art value.
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The use of figurative language will make the hearer/reader think
deeply about the meaning. The hearer/reader will use the power of
imagination in interpreting this kind of language. Therefore, figurative
language is also defined as saying something imaginatively other than
usual way.
Figurative language can be found in the language of literature, such as
drama, prose, poetry, and novel. It also can be found in a particular context
of conversation, for example in the dialogue of marriage proposal.
Figurative language in general can be classified in five categories:
resemblance or relationship, emphasis or understatement, figure of sound,
verbal games, and errors.
3. Types of Figurative Language
a. Simile
Simile is a figure of speech that compares two unlike things
explicitly. It can be identified by using some connective words, such as
like, as, than, and seems (Keraf, 1984:138). Simile compares two things
that essentially different and make them look the same. For example:
Your eyes are like a star.
The baby’s skin is as smooth as silk.
The meaning of the first example is not that the eyes have shape like
a star, but it means the eyes are bright like a star in the sky. The second
example means that the baby’s skin feels smooth and soft like a silk.
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Both of the examples used the key word like and as to compare between
two unlike things.
b. Metaphor
The word metaphor is derived from Greek which means to carry
over. Metaphor is like simile that compares things, but metaphor does
not use connective words such as like and as. Therefore, metaphor is an
implicit comparison (Keraf, 1984:139). Metaphor is a statement of
saying one thing is something else, which literally they are not the
same. Metaphor will make sense if the connection of two compared
things becomes apparent. For example:
She has a hard of stone.
I am titanium.
The meaning of first example is someone that cannot to accept the
other people opinion because her heart is hard like a stone. The second
example means that someone is strong like titanium. These two
examples compare two unlike things.
c. Personification
Personification or prosopopoeia is a kind of figurative language that
gives human characteristics to inanimate things (Keraf, 1984:140).
Personification makes nonhuman can act, speak, and has emotional
feeling like a human. There are some examples of personification, such
as:
The sky was full of dancing stars.
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The city never sleeps.
The meaning of the first sentence is that there are many stars in the
sky that make the sky more beautiful. The second example means that
people in the city are always busy, it makes the city crowded all the
time. Both examples describe the sky and the city act like a human.
d. Hyperbole
Hyperbole is a figure of speech that contains of exaggeration
statement in order to emphasize something (Tarigan, 1986:55). It
expresses something beyond what it is meant or an over-statement of
something. For example:
I’ve told you a million times.
He’s older than the hills.
The meaning of the first example is that someone has said
something many times to other. Even though it is not actually a million
times, but it aims to give an emphasis to the sentence. The second
example means someone who has lived in the world for a very long
time. The first and the second example state something beyond its
meaning.
e. Synecdoche
Synecdoche is a use of part a thing that represents the whole thing
of it or vice versa (Keraf, 1984:142). Synecdoche may call a thing by
the name of the material it is made of. For example:
All eye on me.
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She drives a new wheel.
The meaning of the first example is that everybody looking at her.
The second example is that someone drives a new car, a wheel
represents to a new car. Both of the examples use a part of things to
describe the whole thing of it.
f. Metonymy
Metonymy is a way of express something that is replaced by
another thing which is closely associated. It is the use of something to
mean another thing that has close relation (Keraf, 1984:142). For
example:
The pen is mightier that the sword.
England decides to keep check on immigration.
The meaning of the first example is that a pen that means writing
can hurt others as sharp as sword. The second example describes
England that refers to the government will check the immigration. Both
sentences above use something that is closely related to the something
actually meant.
g. Litotes
Litotes is the opposite of hyperbole. It is kind of understatement
where a positive thing is changed into a negative expression (Tarigan,
1986:58). According to Keraf (1984:133), litotes is a kind of figurative
language that is used to truckle. Something is described less than the
real meaning. There are some examples of litotes, they are:
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There is nothing I can give you.
Welcome to my poor house.
The meaning of the first example is someone that is lick boots by
saying cannot give anything to other, but in fact he/she can. The second
example is an understatement, speaker says that he/she has a poor
house, but in fact he/she has a good house. Both examples show a
negative sentence but the meaning is actually positive.
h. Allusion
According to Keraf (1984:141), allusion is a figure of speech that
saying one thing which refers to a certain story, character in a literary
work or myth. It can also refer to particular figure and religion. For
example:
They are like Romeo and Juliet.
When you lie, you will become Pinocchio.
In the first example, Romeo and Juliet refer to one of Shakespeare’s
drama. They are considered as romantic couple and they have a real
love to each other. The second example, Pinocchio refers to one famous
story. In the story, Pinocchio is a character where he lies, his nose will
be longer. These two examples refer to something outside the text that
is a certain famous story.
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4. Definition of Dialogue
Dialogue is a written or spoken conversational exchange between two
or more people. Dialogue also can be interpreted as a deep communication
that has a high level and quality includes the ability to listen and share
ideas each other.
In a good dialogue, there are specifications that have to be considered.
They are as follow:
a. The participants understand the topic well.
b. The participants create a good situation and atmosphere in order to
avoid disputing and emotional involving.
c. The participants deliver their ideas or intentions obviously to avoid
misunderstanding and misconception one another.
Dialog can be used to discuss something. The subjects of dialogue can
be social life, economics, politics, culture, ethnic, etc.
5. Marriage Proposal Process in Buginese Culture
Marriage is an important process in human life because it is one of
sunnah of prophet, Muhammad. Marriage is the union of a man and
woman who are ready to life together for the rest of their life. Furthermore,
marriage also unites both man and woman’s family.
One important process before the wedding day conducted is marriage
proposal process. It is because in this step both sides of family discuss
everything about marriage. In Indonesia, there are many various cultures,
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so are the marriage proposal process. One culture may have a different
process of proposal than others.
In Buginese culture, the process of marriage proposal called madduta.
Madduta is one step conducted before wedding day. Madduta is a process
when the man’s family comes to the woman’s family to propose the
woman officially. Before madduta, there is one step called mammanu’-
manu’. In this very first step, the representative of man’s family comes to
the woman’s family to ensure whether the woman is still single or not. If
the bride’s family says that the girl is single, so the step can be continued
to the madduta.
In madduta, there is usually discussion of both families regarding dui’
menre (expense money), sompa (dowry), appaserekeng and the decision of
wedding day. Dui’ menre is burdened toward the groom candidate to be
used in marriage realization. Sompa in Buginese tradition would consist of
some things according to the status of the both family. Appaserekeng in
Buginese means that the groom candidate gives the bride several things
such as underwear, shoes, bag, make up collection, etc. After both parties
have agreed everything in madduta, then they will announce the wedding
news to the close family, neighbor, and their close relatives.
Something is interesting in the process of madduta is that people use
unusual language in communication. They use language that is different
from daily conversation. The language consists of figurative language.
Regarding the use of this language, the man’s family will delegate people
17
who understand about this language. They are the ones who are entrusted
to deliver message to the woman’s family. They also have to be wise and
capable so that they can deliver message of propose well. So do the
woman’s family, people who are delegated are those that understand well
this kind of language.
18
CHAPTER III
RESEARCH METHODOLOGY
In this chapter, the writer presents the method of collecting data, technique of
collecting data, and technique of analyzing data. The writer uses descriptive
qualitative method in this research.
A. Method of Collecting Data
1. Library Research
The writer finished the thesis by reading some supporting references.
The references such as book in the library, previous thesis, lecturer’s
explanation and from the writer’s own book collection related to the thesis.
It was conducted to find certain data or information, and theories related to
the thesis.
2. Field Research
The writer collected and analyzed data by interviewing some Buginese
people who know about Buginese marriage proposal particularly about its
dialogue.
B. Technique of Collecting Data
1. Observation
In this method, the writer looked for some informants to help her in
collecting and analyzing data. The writer asked some Buginese people she
guessed understand about the topic. Then, the writer chose one of them.
The writer assumed that the chosen Buginese man have a comprehensive
knowledge about marriage proposal process.
19
2. Interview
In finishing this study, the writer did an interview. The writer collected
data from the chosen Buginese man. In addition, the writer also
interviewed the informant in the process of analyzing data.
3. Tape Recording
While interviewing the informant, the writer recorded it by using
mobile phone. It eased the writer to keep the data.
4. Note Taking
Besides tape recording, the writer also did note taking. The writer
wrote the important points that the informant said as the headline to ease
arrange the data.
C. Technique of Analyzing Data
In analyzing data, the writer used descriptive qualitative method. The data
are analyzed based on the observation, interview, tape recording, and note
taking. The writer transcribed the data. She wrote down the important
utterances from the recording. The writer then arranged the data in well
order. The next step was the writer translated the data into English. It was
because the data were in Buginese language. After the data collected and also
translated, then the writer analyzed the data. It in this step, the informant
helped the writer to analyze the data. Therefore, the writer could classify the
types and the meanings of figurative language in the dialogue of marriage
proposal process.
20
CHAPTER IV
FINDING AND DISCUSSION
In this chapter, all the data that have been collected through interview and
library research are presented and analyzed. The types of figurative language
found in the dialogue of marriage proposal process in Buginese culture and the
meaning of that dialogue were described.
Gorys Keraf’s theory was used in analyzing data, particularly in the process of
determining the types of figurative language. In identifying the meaning of the
dialogue, the writer was helped by the informant.
This chapter consists of two parts. The first is data presentation. In part A, the
dialogue of marriage proposal process is presented. The second part is data
analysis. In this part, the writer presents the type of figurative language using a
table and the meaning of the dialogue.
A. Data Presentation
The object of this study is the dialogue of marriage proposal process in
Buginese culture and the writer explores the use of figurative language in that
dialogue.
The dialogue of marriage proposal process in Buginese culture is written
below. It is written in Buginese and English language. To-madduta in English
is the man’s spokesman and to-riaddutai means the woman’s spokesman.
Vowel “e” is like empat in Indonesia and vowel “ē” is like pendek in
Indonesia.
21
To-madduta : Engkakak mai manguju mellek maēlo sanrē ri alliri
lattuk ē. Nakkupappolo rimakkedana ēlongngē, duami
laleng tempedding rilēsangi; anrēna kallangngē
nennia paddēnrēnna asu ē. Dua tomi kuala sappo;
unganna panasa ē bēlo kanuku ē. Jaji taparējēangnga
addampeng kuakkutana ri idik, iaro bunga rositta tēpu
tabbakkani ro makanjak siseng tuona. Engkanaga
sappona?
(I come to state love and want to lean on the pillar.
Then, I adduce the song expresses that only two ways
are not to be avoid namely; the way of palm-leaf rib
and the dog’s binder and two also I have taken as the
fences; the bloom of jackfruit and the embellishment
of claws. Thus, excuse me I want to offer a question
for you, your rose-flower is quite sufficient of its
bloom and well-growth. Does it have any fence?).
To-riaddutai : Engka tongessaro anurēta iēbarak i bunga-bunga,
bunga temmaddaungngē bunga temmattakē. Iarēkga
iēbarak i bale oseng malaccak ē. Iarēkga iēbarak i
batang-batang, batang marujung arēa.
(That is sure I have a daughter, but when she is
supposed as flower, so it is a flower without any leave
and any stems. When she is supposed as fish, so it is as
like as an oseng. When she is supposed as tree, so it is
as like as thatch-grass).
To-madduta : Taroni temmaddaung, taroni temattakkē, taroni oseng
malaccak, taroni marujung arēa. Bēlo-bēlo
temmalarak.
(Let her as leaf less flower, let her as stem less flower,
let her as an oseng, and let her as thatch-grass but she
is eternal decoration).
To-riaddutai : Dēkga manuk lunrara ri liputta, anynyarang buleng ri
kampotta, mulinco mabēla?
(Is not there a young hen in your country or a white
female horse in your village whereupon you go to
farther?).
To-madduta : Engkamua manuk lunrara ri lipukku, anynyarang
buleng ri kampokku, naikia ia teppaja kusappa;
rapanna rialaē, pallangga mariang nennia mattonra
jari ēngngik, lētē ri manipi iarēkga sagalami kusappa.
(There is a young hen in my country and a white
female horse in my village too, but that I always look
22
for; alike which becomes the propping of cannon,
connected hands cross on the small bridge or the only
soul that I look for).
To-riaddutai : Iaku sagala tasappa, engkani maddibola. Mattunrung
mattakkē, makkurek jawi-jawi, maddau boko-boko,
mangolo tanrajeng.
(If the soul that you look for, indeed there is at home.
It has root as like as jawi-jawi*, it embraces as like as
boko-boko*, and it looks out upon tanrajeng*). (These
terminology are explained in data analysis part b)
To-madduta : Upahanni madēcēng adatta maneng. Mammuarēk
anatta ia dua matti sitettongeng pada matanrē,
situdangeng pada mapancēk. Nasiamek pada golla na
kaluku, onynyik na apek, gambērē na alosi.
(I have understood all your statement. May God bless
our children to be one from two. He stands up as the
same tall as her, he sits down as the same low as her.
Then, he meets her as like sugar with coconut, saffron
with cotton, and gambier with areca).
To-riaddutai : Dēcēng ēnrēkkik ri bola! Tejjali tettappērē, banna
masē-masē, masē-masē idiknaga, niga tasilaongeng
mutellu sitinro? Paritandak sai mai! Nappa tapalolo
parēwa tēkēta.
(Oh goodness comes up at home, please! A home
without rattan mat, without palm-leaf mat, just
kindness. Are you that kindness? Who accompany you
three in a row to come here? Keep it into the filter,
please! Then, you move your utensil of horse (pick
horse)).
To-madduta : Ia ulu saraikak macorana kētengngē tennapattappari.
Iēbarak i to mappujitta maēlo maggalung, mawettuni
aggalungengngē maēloni maddakala nasikajumi
sapinna, sappani bali ancajing. Mammuarēk lalengngē
tengengka nakkaluri, tannapodo pada mua
rimakkedana ēlongngē; rituppu bulu matanrē, dēcēng
risappa ēdē nappa rilolongeng. Tennapado
silolongeng coppokna pattukkuna wirinna tengngana.
(The thing which obsesses in my mind is the moon’s
light that is unclear. The man is supposed as a farmer
who wants to cultivate the rice-field and to plough but
his bull is only one and he is looking for its partner.
May God bless, there is no any obstruction as like the
23
song expresses that; to climb a high mountain, looking
for a well-being and we find it. May God bless,
encounter house’s pitch with house’s prop both in the
edge and in the middle).
To-riaddutai : Madēcēnni kupahanna maneng minasatta, naiana
kuala pappēbali makkedaē, narēkko engkai matti
manguju mellek ajak tapappadai tebbu tonrossalo,
ajak tapappadai carē bakuē, ajak tapappadai galung
attang Sanrē, ajak tapappadai minynyak na uwai.
(Well, I have understood all your intentions, and this is
my answer, I hope that do not consider her (my
daughter) as like sugar-cane on the river bank, do not
consider her as like decrepit basket, do not consider
her as like rice-field in the south of Sanrē, and do not
consider her as like oil and water).
To-madduta : Matē ala dua ē, kutaro ri babua, tennaidimuak anrē
mata toddok puli makkanrē samparaja. Seppipi
nalarak sangadi matē watangngak, mareppak bulo-
bulo kupaja massēngek.
(Let die to be two, I keep it in my stomach, if the only
you my exact eye’s chosen being stuck as anchor. It
cannot be separated except my soul separates my body,
broken as like as bamboo, then I stop reminiscing).
To-riaddutai : Jaji iaro anatta iēbarak i saping, mawatanniga
rēnrēng rakkala? Iarēkga iēbarak i manuk-manuk,
sakkek bulu panniniga?
(If your son is supposed as a bull, is he able to draw up
plough? Or being supposed as a bird, is it full wing?).
To-madduta : Kuani ro saping camara, kuani ro manuk-manuk
sekkek bulu mulampekkek keppanini narenreng, kua
bokang mallapi ellung.
(He is similar to a heroic bull or a full winged bird that
can fly as high as possible).
To-riaddutai : Tennapodo idik mua lurengngi anakku matti, tololo
pamawang lopi, nasakkek pawisē. Matajang
pakkitanna pollopinna, malēwa palureng, sorē ri
minanga, mappasau kininnawa. Tania paddarek seddē
bola nakabo darekna.
(I do hope you bring my daughter, as a young boat
floater to bring passengers safely and hospitality. He is
not a land home gardener).
24
To-madduta : Madēcēnni nasabak iaro to mappujitta pollopi sakkek
salompēna, pollopi sakkek singkerukna. Tania toi
paddarek natēa massubēk. Naullēni maccennēri
dapurengngē wēkkapitu si esso. Namminasai ē rēpo ē.
(Well, the lover man is a sailor who has prepared his
equipment, tighten his knot. He is not a farmer who is
lazily to weed. He is able to encircle the kitchen for
seven times a day. He is willing to work hard).
To-riaddutai : Iaku makkuni tu bicaratta, madēcēnni sipahanna pada
riamminasai ē. Jaji taparējēangnga addampeng,
maēloni ripakanasui adatta ia maneng. Kutarimanik
sibawa unga pacci. Siarekennik temmalērē, taro pura
toddok puli. Singkeruk silariang nateddēng
pabbunganna.
(That is your speech what we hope together. Thus,
excuse me, all your speeches will be concluded. I
welcome you with bloom of steadies. It is inseparable
bound to keep it sturdily. The agreement has to be
fulfilled).
B. Data Analysis
In this part, the data is analyzed. There are the types of figurative language
and meanings of dialogue of marriage proposal process.
1. Types of Figurative Language
No Data Type
1
Maēlo sanrē ri alliri lattuk ē
(I want to lean on the pillar)
Allusion
2
Anrēna kallangngē
(The way of palm-leaf rib)
Metonymy
25
3
Paddēnrēnna asu ē
(The dog’s binder)
Metonymy
4
Unganna panasa ē
(the bloom of jackfruit)
Metonymy
5
Bēlo kanuku ē
(the embellishment of claws)
Metonymy
6
Iaro bunga rositta tēpu tabbakkani ro
makanjak siseng tuona. Engkanaga
sappona?
(Your rose-flower is quite sufficient of
its bloom and well-growth. Does it
have any fence?)
Metonymy
7
Engka tongessaro anurēta iēbarak i
bunga-bunga
(That is sure I have a daughter, but
when she is supposed as flower)
Simile
8
Bunga temmadaung, bunga
temmattakkē
(flower without any leave and any
stems)
Litotes
26
9
Iarēkga iēbarak i balē
(When she is supposed as fish)
Simile
10
Iarēkga iēbarak i balē, oseng malaccak
(When she is supposed as fish, so it is
as like as an oseng)
Litotes
11
Iarēkga iēbarak i batang-batang
(and when she is supposed as tree)
Simile
12
Batang marujung arēa
(thatch-grass)
Litotes
13
Bēlo-bēlo temmalarak
(She is eternal decoration)
Metaphor
14
Dēkga manuk lunrara ri liputta
(Is not there a young hen in your
country?)
Allusion
15
Anynyarang buleng ri kampotta
(A white female horse in your village)
Allusion
27
16
Ia teppaja kusappa; rapanna rialaē
palangnga mariang nennia mattonra
jari ēngngik
(But that I always look for; alike which
becomes the propping of cannon)
Metonymy
17
Lētē ri manipi
(Cross on the small bridge)
Allusion
18
Iaku sagala tasappa engkani
maddibola. Mattunrung mattakkē,
makkurek jawi-jawi, maddau boko-
boko, mangolo tanrajeng
(If the soul that you look for, indeed
there is at home. It has root as like as
jawi-jawi, it embraces as like as boko-
boko, end it looks out upon tanrajeng)
Metaphor
19
Nasiamek pada golla na kaluku,
onynyik na apek, gambērē na alosi
(He meets her as like sugar with
coconut, saffron with cotton, and
gambier with areca)
Simile
28
20
Dēcēng ēnrēkkik ri bola! Tejjali
tettapērē
(Oh goodness comes up at home,
please! A home without rattan mat,
without palm-leaf mat)
Litotes
21
Nappa tapalolo parēwa tēkēta
(Then, you move your utensil of horse
(pick horse))
Metonymy
22
Ia ulu saraikak macorana kētengngē
tennappatappari
(That something which is obsess in my
mind, the moon’s light that is unclear)
Metonymy
23
Iēbarak i tomappujitta maēlo
maggalung, mawettuni
aggalungengngē maēloni maddakkala
nasikajumi sapinna, sappani bali
ancajing
(The man is supposed as a farmer who
wants to cultivate the rice-field and to
plough but his bull is just one and he is
looking for its partner)
Simile
29
24
Jaji iaro anatta iēbarak i saping,
mawatanniga rēnrēng rakkala?
(If your son is supposed as a bull, is he
able to draw up plough?)
Simile
25
Iarēkga iēbarak i manuk-manuk,
sakkek bulu panniniga?
(Or being supposed as a bird, is it full
wing?)
Simile
26
Kuani ro saping camara
(He is similar to a heroic bull)
Simile
27
Kuani ro manuk-manuk sekkek bulu
mulampekkek
(He is similar to a full winged bird)
Simile
28
Madēcēni nasabak iaro tomappujitta
pollopi sakkek salompēna
(Well, the lover man is a sailor who has
prepared his equipment)
Metaphor
30
2. The Meaning of the Dialogue of Marriage Proposal Process in
Buginese Culture
In this part, the meaning of the dialogue of marriage proposal process
between the man’s spokesman (to-madduta) and the woman’s spokesman
(to-riaddutai) are presented.
To-madduta : Engkakak mai manguju mellek maēlo sanrē ri alliri
lattuk ē. Nakkupappolo rimakkedana ēlongngē,
duami laleng tempedding rilēsangi; anrēna
kallangngē nennia paddēnrenna asu ē. Dua tomi
kuala sappo; unganna panasa ē belo kanuku ē. Jaji
taparējēangnga addampeng kuakkutana ri idik, iaro
bunga rositta tēpu tabbakkani ro makanjak siseng
tuona. Engkanaga sappona?
(I come to state love and want to lean on the pillar.
Then, I adduce the song expresses that only two
ways are not to be avoid namely; the way of palm-
leaf rib and the dog’s binder and two also I have
taken as the fences; the bloom of jackfruit and the
embellishment of claws. Thus, excuse me I want to
offer a question for you, your rose-flower is quite
sufficient of its bloom and well-growth. Does it have
any fence?).
31
Meaning:
The man’s spokesman states that their family wants to propose the
daughter in the house. It is indicated by the use of alliri lattuk ē. It
contains figurative language, which is allusion. The speaker says
something that refers or represents to Buginess culture. Alliri lattuk ē (the
pillar) in Buginese culture refers to the pillar that is located in the second
row from the door. When someone comes to house and wants to lean in
alliri lattuk ē, it means he has intension to propose someone in the house.
The man’s spokesman also says that there are two cases could not be
refused. They are anrēna kallangngē (the slice of palm-leaf rib) and
paddēnrēnna asu ē (the dog’s binder). Both phrases are examples of
metonymy. Anrēna kallangngē is intended to uki that means writing in
English. The word uki is associated with the word oki which is identified
as fate. While, paddēnrēnna asu ē in Buginese is known as totto. The word
totto is associated with the word toto which is predestination or God’s
decree. Therefore, anrēna kallangngē and paddēnrēnna asu ē are used to
replace the things that are actually meant, oki (predestination) and toto
(fate or God’s decree).
Besides, there are two things are taken as the basic principles. They are
unganna panasa ē (the bloom of jackfruit) and bēlo kanuku ē (the
embellishment of claws). They are also kind of metonymy. Unganna
panasa ē is known as lempu which is associated with the word malempu.
In English it means honest. The use of unganna panasa ē is to replace the
32
word malempu (honest). While, bēlo kanuku ē in Buginese is known as
pacci that is associated with the word paccing or holy in English.
Therefore, the word that is actually meant by bēlo kanuku ē is paccing
(holy).
In the last sentence the man’s spokesman states a sentence iaro bunga
rositta tēpu tabbakkani ro makanjak siseng tuona. It consists of
metonymy. Bunga rosi (rose flower) refers to the girl that is proposed. The
man’s spokesman replaces the way of using the word girl to make it more
poetical. In some cases, bunga rosi is used to replace the word girl because
a flower and a girl are associated in connotative meaning. Tēpu tabbakkani
ro makanjak siseng tuona (quite sufficient of its bloom and well-growth)
means that the girl is potential to become a house wife. The most
important thing is that the man’s spokesman questions whether the girl has
an owner or not.
As the conclusion, the man’s spokesman tells the woman’s spokesman
that his son wants to propose the girl in house to be a wife. The man’s
family comes with holy heart to say their intension honestly. The man’s
family believes if the man and the woman are destined to unite, there is
nothing can change it. To make sure that the girl is able to propose, the
man’s spokesman questions whether the woman is single or already has an
owner.
33
To-riaddutai : Engka tongessaro anurēta iēbarak i bunga-bunga,
bunga temmaddaungngē bunga temmattakē. Iarēkga
iēbarak i bale oseng malaccak ē. Iarēkga iēbarak i
batang-batang, batang marujung arēa.
(That is sure I have a daughter, but when she is
supposed as flower, so it is a flower without any
leave and any stems. When she is supposed as fish,
so it is as like as an oseng. When she is supposed as
tree, so it is as like as thatch-grass).
Meaning:
In this expression, the woman’s spokesman admits that there is a girl
in their house. The woman’s spokesman uses expression of simile. It is
indicated by the sentence engka tongessaro anurēta iēbarak i bunga-
bunga (that is sure I have a daughter, but when she is supposed as flower).
The woman’s spokesman explicitly compares his daughter and flower. The
use of the word iēbarak which is in Buginese means an expression of
comparison indicates that it is a simile. In English it should be as. The girl
and the flower are essentially two different things, but the speaker makes
them look the same in order to help the hearer easily find definition about
the girl. The woman’s spokesman continues talking by saying bunga
temmadaung ē bunga temmattakkē (flower without any leave and any
stems). It is an expression of litotes. Bunga temmaddaung ē bunga
temmattakkē means that the girl that is proposed has nothing. A well-
34
growth flower has leaves and stems and it looks more beautiful. On the
contrary, if a flower has not leaves and stems, it will not grow well and it
looks strange that the normal ones. In this sentence, based on the previous
sentence, the girl and the flower are compared which means that the girl
has not properties or poor. It also means that she is not a beautiful girl. The
woman’s spokesman says that kind of expression to show the humbleness
in order to do not be assumed arrogant.
In the next sentence iarēkga iēbarak i balē oseng malaccak, the
woman’s spokesman uses expression of simile and litotes. Iēbarak i balē
(she is supposed as fish) indicates the use of simile. The woman’s
spokesman compares his daughter and fish directly. The word iēbarak
means as and it is a connective word used to compare two different things.
Balē oseng malaccak is an expression of litotes. Oseng malaccak is known
as a short and black fish. It indicates that the girl is small and black that
implies she is not beautiful. The woman’s spokesman’s statement conveys
a form of understatement to humble themselves (family).
As the two previous sentences, the woman’s spokesman also uses
expression of simile and litotes in the last sentence. Iarēkga iēbarak i
batang-batang (when she is supposed as tree) contains expression of
simile. The woman’s spokesman again compares the girl and other thing
that is tree. The expression that indicates the use of litotes is batang
marujung arēa (thatch-grass). Batang marujung arēa is a kind of rice-
35
plant which grows so much longer so much the bigger of its trunk. It is
used to describe that the girl has big calf, so she is not beautiful.
The point of the woman’s spokesman’s statement is to answer the
man’s spokesman that there is a girl in the house who is able to be
proposed. However, the girl a poor girl and she is also not a beautiful girl.
To-madduta : Taroni temmaddaung, taroni temattakkē, taroni
oseng malaccak, taroni marujung arēa. Bēlo-bēlo
temmalarak.
(Let her as leaf less flower, let her as stem less
flower, let her as an oseng, and let her as thatch-grass
but she is eternal decoration).
Meaning:
In the statement above, the man’s spokesman says that it does not
matter if the girl is poor (has nothing). It is not a problem if she is not
beautiful. The man remains to love the girl. The statement also contains
figurative language, which is metaphor. The man’s spokesman compares
the girl and decoration by saying bēlo-bēlo temmalarak (eternal
decoration). It is an implicit comparison because there is no connecting
word used. Decoration is known as a beautiful thing, so the man’s
spokesman intends is to say that the girl is beautiful for the man and the
family.
36
To-riaddutai : Dēkga manuk lunrara ri liputta, anynyarang buleng
ri kampotta, mulinco mabēla?
(Is not there a young hen in your country or a white
female horse in your village whereupon you go to
farther?).
Meaning:
In the statement above, the woman’s spokesman uses expressions of
allusion by saying manuk lunrara (a young hen) and anynyarang buleng
(white female horse). Both are denoted as a girl. In Buginese culture,
manuk lunrara and anynyarang buleng is used to represent a girl.
Therefore, the whole meaning of the statement above is that the woman’s
spokesman asks why the man goes too far to look for a girl, is there no girl
in his village he can marry.
To-madduta : Engkamua manuk lunrara ri lipukku, anynyarang
buleng ri kampokku, naikia ia teppaja kusappa;
rapanna rialaē, pallangga mariang nennia mattonra
jari ēngngik, lētē ri manipi iarēkga sagalami
kusappa.
(There is a young hen in my country and a white
female horse in my village too, but that I always look
for; alike which becomes the propping of cannon,
37
connected hands cross on the small bridge or the
only soul that I look for).
Meaning:
In this chance, the man’s spokesman answers the woman’s spokesman
that there are many beautiful girls in his village but what he is looking for
is pallangnga mariang (the propping of cannon). This is a kind of
metonymy which the use of that phrase is to replace the phrase pada ati.
Pallangnga mariang means the roll of yarn or in Buginese it is called
padati. Then, it is associated with pada ati that means united in heart.
The next expression mattonra jari ēngngik lētē ri manipi (connected
hands cross on the small bridge) contains expression of allusion. Manipi
refers to the small bridge in the hereafter that has to be crossed. Therefore,
this statement means that the man is looking for a girl who can accompany
him cross the small bridge which implies the man wants to live with the
girl in life and hereafter.
In the last sentence, the man’s spokesman also says that what he is
looking for is soul. It means he needs a girl that has good attitude and
moral.
As the conclusion, the man’s spokesman answers the woman’s
spokesman that there are many beautiful girls in his village but he only
wants to propose the girl in the house because the man believes that the
girl can life with him in the life and hereafter, he also believes that the
woman has a good attitude and good moral.
38
To-riaddutai : Iaku sagala tasappa, engkani maddibola.
Mattunrung mattakkē, makkurek jawi-jawi, maddau
boko-boko, mangolo tanrajeng.
(If the soul that you look for, indeed there is at home.
It has root as like as jawi-jawi, it embraces as like as
boko-boko, and it looks out upon tanrajeng).
Meaning:
In expression above, the woman’s spokesman tries to praise the girl
by saying iaku sagala tasappa, engkani maddibola. It means that if the
man is looking for a girl that has a good attitude and moral, indeed there is
at home. Then, the woman’s spokesman uses expression of metaphor by
comparing the girl and jawi-jawi, boko-boko, and tanrajeng implicitly. No
connecting words are used to compare those two things, but the meaning
actually is a comparison.
Mattunrung jawi-jawi (it has root as like as jawi-jawi) means strong
principle. Jawi-jawi is a kind of banyan tree that has much thick root, so it
implies that the girl has a strong principle in her life. Maddau boko-boko
(it embraces as boko-boko) refers to a loom that weavers use when they
wove. It consists two parts; in front of weaver’s stomach and in the back.
It represents a unity of the man and the woman. It cannot be used without
one another. Therefore, maddau boko-boko means unity of the man and
the woman which is one kind of happiness. While mangolo tanrajeng (it
looks out upon tanrajeng) means a cheerfulness. Tanrajeng is also one
39
kind of loom that can produce sound. When someone hears a good sound
of tanrajeng, he/she must be cheerful.
As the conclusion of the statement above, the woman’s spokesman
responses to the previous statement of the man’s spokesman that in this
house there is a kind of girl that he is looking for. Either it is a girl with
strong principle, happiness, or cheerfulness. In this part, the woman’s
spokesman starts to show their acceptance of the man’s proposal.
To-madduta : Upahanni madēcēng adatta maneng. Mammuarēk
anatta ia dua matti sitettongeng pada matanrē,
situdangeng pada mapancēk. Nasiamek pada golla
na kaluku, onynyik na apek, gambērē na alosi.
(I have understood all your statement. May God
bless our children to be one from two. He stands up
as the same tall as her, he sits down as the same low
as her. Then, he meets her as like sugar with coconut,
saffron with cotton, and gambier with areca).
Meaning:
The man’s spokesman hopes that the man and the girl to be one (unite)
soon. They both are expected can respect one another and humble
themselves each other. It is indicated when the man’s spokesman says
sitettongeng pada matanrē (He stands up as the same tall as her) and
40
situdangeng pada mapancēk (he sits down as the same low as her he meets
her as like).
In the last expression nasiamek pada golla na kaluku, onynyik na ape,
gambērē na alosi (he meets her as like sugar with coconut, saffron with
cotton, and gambier with areca), it is an expression of simile. The man’s
spokesman hopes that the togetherness of the man and the girl is like sugar
with coconut, saffron with cotton, and gambier with areca. Sugar with
coconut means sweetness because if sugar and coconut are mixed together,
it will be so sweet and delicious. If saffron and cotton are mixed, it cannot
be separated. Hence, saffron with cotton refers to something that cannot be
separated. Gambier with areca is a good combination to be a medicine. It
means the togetherness of the man and the girl will complete each other.
As the conclusion, the man’s spokesman hopes that the man and girl
unite, the will not be separated and can bring happiness for both of them
and also for their family.
To-riaddutai : Dēcēng ēnrēkkik ri bola! Tejjali tettappērē, banna
masē-masē, masē-masē idiknaga, niga tasilaongeng
mutellu sitinro? Paritandak sai mai! Nappa tapalolo
parēwa tēkēta.
(Oh goodness comes up at home, please! A home
without rattan mat, without palm-leaf mat, just
kindness. Are you that kindness? are you that
41
kindness? Keep it into the filter, please! Then, you
move your utensil of horse (pick horse)).
Meaning:
The woman’s spokesman shows the expression of hoping. It is
indicated by the sentence dēcēng ēnrēkkik ri bola! (Oh goodness comes up
at home, please!). The woman’s spokesman hopes happiness will come.
Tejjali tettappērē (A home without rattan mat, without palm-leaf mat) is
one example of litotes. It is known in Buginese that if there is a home
without mat either rattan or palm-leaf means that the people at home are
not able to buy a rattan. Therefore, tejjali tettappērē indicates that the girl
and her family are not rich. The woman’s spokesman uses that kind of
expression to humble themselves (the family). On the other hand, the
woman’s spokesman says banna masē-masē (just kindness) which is
implicitly means if the man is looking for wealth in the house, he will find
nothing because there is only a kindness. It also implies that the woman’s
spokesman only wants a kindness to come. Then, the expression masē-
masē idiknaga? (are you that kindness?) means that the man is expected to
bring a kindness in the house. Niga tasilaongeng mutellu sitinro? (Who
accompany you three in a row to come here?) intends to holy intention,
unanimous, and manner or custom. In this case, the woman’s spokesman
questions the purpose of man’s coming. In the two last sentences,
parintandak sai mai! Nappa tapalolo parēwa tēkēta (keep in to the filter,
please! Then, you move your utensil of horse (pick horse)) means that the
42
man has to be able to separate the bad and the good thing and the man has
to keep his words. It is indicated by the use paritandak (the filter) which
expresses something must be separated. While parēwa tēkēta (your utensil
of horse (pick horse)) is expression of metonymy. In Buginese, parēwa
tēkē is known as adang which is associated with ada (words).
As the conclusion, in the statement above the woman’s spokesman
only wants a happiness and kindness by the coming of the man to propose
the girl. Therefore, the man has to decide that he has holy intention. He
also has to be able to separate the good and bad thing, so he is expected to
keep what he has stated to the girl and her family.
To-madduta : Ia ulu saraikak macorana kētengngē
tennapattappari. Iēbarak i to mappujitta maēlo
maggalung, mawettuni aggalungengngē maēloni
maddakala nasikajumi sapinna, sappani bali
ancajing. Mammuarēk lalengngē tengengka
nakkaluri, tannapodo pada mua rimakkedana
ēlongngē; rituppu bulu matanrē, dēcēng risappa ēdē
nappa rilolongeng. Tennapado silolongeng
coppokna pattukkuna wirinna tengngana.
(The thing which obsesses in my mind is the moon’s
light that is unclear. The man is supposed as a farmer
who wants to cultivate the rice-field and to plough
43
but his bull is only one and he is looking for its
partner. May God bless, there is no any obstruction
as like the song expresses that; to climb a high
mountain, looking for a well-being and we find it.
May God bless, encounter house’s pitch with house’s
prop both in the edge and in the middle).
Meaning:
In the statement above, the man’s spokesman expresses the man’s
feeling of hesitation. Macorana kētengngē (the moon’s light) is an
expression of metonymy. The man’s spokesman uses those phrases to
refer to the beautiful girl that is proposed. Macorana kētengngē
tennapattappari (the moon’s light that is unclear) describes that the man is
not confident the girl will accept his proposal. Although the man loves the
girl, he does not know about the girl’s feeling to him.
Expression iēbarak i to mappujitta maēlo maggalung, mawettuni
aggalungengngē maēloni maddakala nasikajumi sapinna, sappani bali
ancajing (The man is supposed as a farmer who wants to cultivate the rice-
field and to plough but his bull is only one and he is looking for its
partner) is a simile. The man is explicitly compared with a farmer by the
man’s spokesman. It is indicated by use of iēbarak that means as and it is a
connective word used to compare two unlike things. This expression
means that the man is ready to get married but he has no partner yet.
44
Therefore, the man is looking for partner and he wants the girl in the
house.
After the man’s spokesman expresses that the man is doubt that the girl
has the same feeling as him, then the man’s spokesman expresses a kind of
hoping. It is described in the expression mammuarēk lalengngē tengengka
nakkaluri, tannapodo pada mua rimakkedana ēlongngē; rituppu bulu
matanrē, dēcēng risappa ēdē nappa rilolongeng (May God bless, there is
no any obstruction as like the song expresses that; to climb a high
mountain, looking for a well-being and we find it). Mammuarēk lalengngē
tengengka nakkaluri tannapodo pada mua rimakkedana ēlongngē
corresponds to the hope that does not have any hampering. Rituppu bulu
matanrē is simbolyzed as a high ideal. Dēcēng risappa ēdē nappa
rilolongeng implies that what are looked for has been found. As the whole,
this expression shows the man’s hoping that although the ideal that we
look for is a high ideal, we can find it when we strove together.
The last sentence tennapado silolongeng coppokna pattukkuna wirinna
tengngana (may God bless, encounter house’s pitch with house’s prop
both in the edge and in the middle) states that the man hopes the woman’s
family accept the his proposal. Coppokna is the top of the house,
pattukkuna is the prop of the house, wirinna is the border of the house, and
tengngana is the middle one. Those four words are symbolized as the
whole families of the woman’s side. Hence, tennapado silolongeng
45
coppokna pattukkuna wirinna tengngana means the whole families of the
woman’s side will accept the man’s proposal to marry their daughter.
The conclusion of the statement above is that the man doubts whether
his proposal will be accepted or not but he hopes a lot that the girl and her
whole families will accept his propose.
To-riaddutai : Madēcēnni kupahanna maneng minasatta, naiana
kuala pappēbali makkedaē, narēkko engkai matti
manguju mellek ajak tapappadai tebbu tonrossalo,
ajak tapappadai carē bakuē, ajak tapappadai galung
attang Sanrē, ajak tapappadai minynyak na uwai.
(Well, I have understood all your intentions, and this
is my answer, I hope that do not consider her (my
daughter) as like sugar-cane on the river bank, do not
consider her as like decrepit basket, do not consider
her as like rice-field in the south of Sanrē, and do not
consider her as like oil and water).
Meaning:
The woman’s spokesman states that the woman’s side understands all
of the man intention to propose the girl. After the man and girl are
married, the woman’s spokesman as the representative of the woman’s
family conveys some hopes to the man. Those hopes are ajak tapappadai
tebbu tonrossalo (do not consider her (my daughter) as like sugar-cane on
46
the river bank), ajak tapappadai carē bakuē (do not consider her as like
decrepit basket), ajak tapappadai galung attang Sanrē (do not consider
her as like rice-field in the south of Sanrē), and ajak tapappadai minynyak
na uwai (and do not consider her as like oil and water).
Tebbu tonrossalo (sugar-cane on the river bank) is known as araso
which refers to the sugar-cane that grows on the river bank. It is a kind of
sugar-cane that has no taste. It is symbolized to someone who has not any
happiness in her/his life. Thus, the expression ajak tapappadai tebbu
tonrossalo means do not make the girl’s life unhappy.
Bakuē (basket) is an old box made of palm-leaf. It is useable only
when it is still new but when it is old/decrepit (carē baku), it will be
thrown. Hence, the expression ajak tapappadai carē bakuē connotes do
not humiliate the girl if she is getting older. Do not love her only when she
is young but love her till the end of the time.
Ajak tapappadai galung attang Sanrē means do not take a cow-wife of
the girl. Sanrē is a forest located in Soppeng, it is called ladua which is
associated with padua. Padua means to be two that refers to polygamy.
Therefore, ajak tapappadai galung attang Sanrē implies deep meaning
that the man is forbidden to marry another girl after marrying the girl.
Ajak tapappadai minynyak na uwai means that the man is expected to
do not divorce the girl after they get married. Minynyak na uwai (water
and oil) are two things which cannot unite one another. Hence, the
47
expression ajak tapappadai minynyak na uwai implies that the man will
never divorce the girl.
As the conclusion, the statement above is about the woman’s side asks
three requests if the man wants to marry their daughter. Firstly, the man
has to love the girl till the end of the time. Secondly, the man is forbidden
to marry another girl after they get married. The last is that the man will
never divorce the girl.
To-madduta : Matē ala dua ē, kutaro ri babua, tennaidimuak anrē
mata toddok puli makkanrē samparaja. Seppipi
nalarak sangadi matē watangngak, mareppak bulo-
bulo kupaja massēngek.
(Let die to be two, I keep it in my stomach, if the
only you my exact eye’s chosen being stuck as
anchor. It cannot be separated except my soul
separates my body, broken as like as bamboo, then I
stop reminiscing).
Meaning:
The meaning of the statement above is that the man’s spokesman
ensures the woman’s families that the girl is already chosen by the man
and the whole family. The expression matē ala dua ē (let die to be two)
means that the man does not want to marry another girl but the girl in the
house. Kutaro ri babua (I keep it in my stomach) intends to a holy
48
intention. Tennaidimuak (if the only you) refers to the girl that is
proposed, she is the only one that the man loves. Anrē mata means that the
girl is chosen by the man. Toddok means stuck, while puli expresses
something inseparable. Therefore, anrē mata toddok puli means that what
has been chosen will be unity inseparably. It refers to the man and the girl.
Samparaja in Buginese is known as larik, equipment the hunter uses to
hunt that is the strongest. Therefore, makkanrē samparaja means
something to be fastened using the strongest equipment. It refers to the
statement of the man. It has been tied. Seppipi nalarak sangadi matē
watangngak (it cannot be separated except my soul separates my body)
means that nothing can change the man’s statement except anyone die
between the man and the girl. Mareppak bulo-bulo kupaja massēngek
(broken as like as bamboo, then I stop reminiscing) means that the man
will always love the girl no matter happens.
In this statement, the man’s side states that the only girl that the man
wants is the girl in the house. The man has a holy intention to propose the
girl. The man promises that they will not be separated and his statement
will never change except one of us die.
To-riaddutai : Jaji iaro anatta iēbarak i saping, mawatanniga
rēnrēng rakkala? Iarēkga iēbarak i manuk-manuk,
sakkek bulu panniniga?
49
(If your son is supposed as a bull, is he able to draw
up plough? Or being supposed as a bird, is it full
wing?).
Meaning:
In the statement above, the woman’s spokesman uses two expressions
of simile. Firstly, iaro anatta iēbarak i saping, mawatanniga rēnrēng
rakkala (your son is supposed as a bull is he able to draw up plough). The
woman’s spokesman explicitly compares the man and a bull by using the
word iēbarak (as). A bull is known as the strongest among the other
animals. Therefore, a bull that is able to draw up plough is described as a
boy who is strong to work. Secondly, iarēkga iēbarak i manuk-manuk,
sakkek bulu panniniga (or being supposed as a bird, is it full wing). In this
chance, the man and a bird are also compared explicitly by using the word
iēbarak (as). If a bird has full wing, it means that the bird could fly to look
for food either for itself or its children. A bird in this expression is
illustrated as the man who is capable to earn living for his family.
As the conclusion, the woman’s spokesman adduces some questions to
the man about his ability to work and earn living for his daughter after
they get married. Those are questioned to ensure that the girl will get a
better life after getting married. The woman’s family hopes the man can
give the best thing to the girl.
50
To-madduta : Kuani ro saping camara, kuani ro manuk-manuk
sekkek bulu mulampekkek keppanini narenreng, kua
bokang mallapi ellung.
(He is similar to a heroic bull or a full winged bird
that can fly as high as possible).
Meaning:
In the statement above, the man’s spokesman answers the woman’s
spokesman’s question also using two expressions of simile. The first
simile is in the expression kuani ro saping camara (he is similar to a
heroic bull). The word kuani means similar in English which is a word
used to explicitly compare two things. The man’s spokesman aims to
compare the man and a heroic bull in order to ensure the woman’s family
that the man is already adult and he is able to work for his family. The
second simile is kuani ro manuk-manuk sekkek bulu mulampekkek (he is
similar to a full-winged bird). The man and a full-winged bird are
compared directly by the use of the word kuani. It is used to describe that
the man is able to wade the life and earn living as a full-winged bird that
can fly as high as possible to look for food.
As the conclusion, in the statement above the man’s spokesman
declares to the woman’s family that the man is able to earn living for his
family. The man’s spokesman also states that the man is ready to face the
bitter sweet of life with his wife.
51
To-riaddutai : Tennapodo idik mua lurengngi anakku matti, tololo
pamawang lopi, nasakkek pawisē. Matajang
pakkitanna pollopinna, malēwa palureng, sorē ri
minanga, mappasau kininnawa. Tania paddarek
seddē bola nakabo darekna.
(I do hope you bring my daughter, as a young boat
floater to bring passengers safely and hospitality. He
is not a land home gardener).
Meaning:
This is an expectation of the woman’s family that the man will be the
best partner for the girl. It is indicated by the expression tennapodo idik
mua lurengngi anakku matti, tololo pamawang lopi, nasakkek pawisē.
Matajang pakkitanna pollopinna, malēwa palureng, sore ri minanga,
mappasau kininnawa (I do hope you bring my daughter, as a young boat
floater to bring passengers safely and hospitality). The word lopi (boat) is
described as household. The man is expected can lead the girl to a better
life. He can be a good head of household till the end of their life. In the last
sentence tania paddarek seddē bola nakabo darekna (he is not a land
home gardener) implies that the woman’s family hopes the man is not a
lazy man. Paddarek seddē bola nakabo darekna is a kind of gardener
which his garden full of weeds. It means the gardener is lazy to clean his
garden. Therefore, this expression describes that the man is expected not a
lazy man.
52
To-madduta : Madēcēnni nasabak iaro to mappujitta pollopi
sakkek salompēna, pollopi sakkek singkerukna.
Tania toi paddarek natēa massubēk. Naullēni
maccennēri dapurengngē wēkkapitu si esso.
Namminasai ē rēpo ē.
(Well, the lover man is a sailor who has prepared his
equipment, tighten his knot. He is not a farmer who
is lazily to weed. He is able to encircle the kitchen
for seven times a day. He is willing to work hard).
Meaning:
In the statement above, the man spokesman responds to the statement
of the woman’s spokesman who hopes that the man is the best partner for
the girl. Madēcēnni nasabak iaro to mappujitta pollopi sakkek salompēna,
pollopi sakkek singkerukna (well, the lover man is a sailor who has
prepared his equipment, tighten his knot) is an expression of metaphor.
The man’s spokesman compares the man and a sailor who has prepared his
equipment implicitly. It is implicitly because there is no connecting word
used to compare those two unlike things. This expression connotes that the
man is ready to become head of household. He has prepared his self to
lead his wife and children. The expression tania toi paddarek natēa
massubēk (he is not a farmer who is lazily to weed) means that the man is
not a lazy man. Naullēni maccennēri dapurengngē wēkkapitu si esso (he is
able to encircle the kitchen for seven times a day) states that the man is
53
able to satisfy the family need. Namminasai ē rēpo ē (he is willing work
hard) means the man is a work harder. All these statements are used to the
girl and her family that the man is the best choice for the girl.
To-riaddutai : Iaku makkuni tu bicaratta, madēcēnni sipahanna
pada riamminasai ē. Jaji taparējēangnga
addampeng, maēloni ripakanasui adatta ia maneng.
Kutarimanik sibawa unga pacci. Siarekennik
temmalērē, taro pura toddok puli. Singkeruk
silariang nateddēng pabbunganna.
(That is your speech what we hope together. Thus,
excuse me, all your speeches will be concluded. I
welcome you with bloom of steadies. It is
inseparable bound to keep it sturdily. The agreement
has to be fulfilled).
Meaning:
The woman’s spokesman states that the girl and the family accept the
man’s proposal. Pacci (steadies) refers to paccing that means holy. Unga
(bloom) refers to heart. Thus, unga pacci means holy heart. Then, the
expression kutarimanik sibawa unga pacci (I welcome you with bloom of
steadies) means the girl and her family accept the man’s proposal with
holy heart. Siarekennik temmalērē, taro pura toddok puli (it is inseparable
bound to keep it sturdily) means that the statements that have been
54
established must be kept seriously. The last sentence singkeruk silariang
nateddēng pabbunganna means the statements could not be changed even
to abrogate them.
As the conclusion, the woman’s spokesman states that the girl and her
family accept the man’s proposal. Therefore, all the statement that has
been stated by the man could not be changed anymore. The man has to
keep his statements sturdily and nothing can change them.
Based on the analysis above about the meaning of the dialogue of
marriage proposal process in Buginese culture, the use of figurative
language influences the flow of the dialogue between the man’s
spokesman and the woman’s spokesman. This kind of language makes the
dialogue more poetical and meaningful. Besides, Buginese people assume
that figurative language is a soft language so that the possibility of
misunderstanding and offensiveness to arise becomes smaller. In addition,
figurative language is an honorable language. Hence, a marriage proposal
process that involves figurative language in the dialogue, the one who is
proposed will feel respected by the one who proposes. In conclusion, the
uses of figurative language give significant influences to the dialogue of
marriage proposal process in Buginese culture.
55
CHAPTER V
CONCLUSION AND SUGGESTION
A. Conclusion
Based on the finding and discussion which have been presented in the
preceding chapter, the writer concludes some points as in the following:
1. The writer counts that there are 28 expressions use figurative language
which are four expressions of allusion, eight expressions of metonymy,
nine expressions of simile, four expressions of litotes, and three
expressions of metaphor.
2. Allusion, metonymy, simile, metaphor, and litotes that exist in the
dialogue have different function in the meaning. Allusion is to make the
word more meaningful because it contains element of culture that becomes
a common knowledge of Buginese societies; metonymy is to see that
many objects can be replaced by the use of another objects that have
association one another; simile is to see the explicitly comparison of two
unlike things and it looks that they are the same thing; metaphor is to make
the word more poetic by comparing two unlike things implicitly; litotes is
to show how the speakers use understatement to humble themselves. In
general, the use of those 5 types of figurative language makes the dialogue
more poetical, beautiful, and meaningful.
B. Suggestion
It is highly suggested to the readers who are interested to do research about
this kind of language, they need to explore more in the other cases. For
56
example, they can relate the language with the cultural situation itself. They
can also do research about the existence this kind of language in this era. It is
known, that figurative language the dialogue of marriage proposal process
mostly uses in the old age. Therefore, the next researcher can explore the use
of that kind of language in the nowadays era.
On the other hand, the writer recognizes that in this thesis, there are lots of
errors. The writer also realizes that this thesis is far from being perfect.
Therefore, constructive thoughtful suggestions and critics are highly
respected. The writer hopes this thesis can be useful to the readers and those
who are interested in analyzing the Buginese cultural especially about the
language in the dialogue of marriage proposal process.
57
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