MYSTICAL DISCOURSE THROUGH INSTINENTIC

INSTRUMENTS OF NOVEL DRACULA BY BRAM STOKERS,

SENJAKALA AND ASIH BY RISA SARASWATI

A research proposal

By:

ALFITRA AINUN NISSA

1165030014

A. Background Study

From these three novels which are kind of horror, I will analyze them with
mysticism through comparative literature with intrinsic elements in these three
novels.

Literature, in general, is a work of fiction that is the result of creations based on

spontaneous emotional expressions that can express aesthetic aspects both
between linguistic aspects and aspects of meaning. According to the Big
Indonesian Dictionary (2008), the meaning of the word literature is a type of
written works that are superior in terms of originality, artistic value, and the
beauty of their contents and disclosures.

Literature can be divided into written literature or oral literature. In this proposal I
will discuss a literary work in the form of writing which is commonly enjoyed by
many people, the literary work is a novel. Novels or Romances are literary works
in the form of long essays and in the form of processes in which a series of stories
of one's life are contained by highlighting the character and nature of each actor as
well as conflicts that occur with others.

Whereas comparative literature is also referred to as comparative literary study or

study beyond national and state boundaries to get a better understanding of trends
and movements that occur in various nations and countries. The simplest answer
is that comparative literature involves the study of texts across cultures, that is
interdisciplinary and that is conserved with patterns of connections in works of
literature across both time and space (Bassnett, Susan, 1993).

It is different with mysticism, in Greek mysterion , from mysticism (people who

seek the secrets of reality) or myelin (close one's own eyes).
This term comes from the Greek mystery religions whose aspirants are named
misty. (Garmin, Alimudin.24 June 2015)

Mysticism is the belief that the highest truth about reality can only be obtained
through suprarational, spiritual events intuitive experience, and not through
realizing logical reason (ratio or reason).

The novel is a fictional prose story of a certain length, depicting characters,

movements and representative real scenes in a plot or a somewhat chaotic or
disheveled state (Tarigan, Henry Guntur, 1991.). From this novel, I took all the
intrinsic elements to prove the mysticism in the three novels. The elements that
will be discussed in this study are the characters or characterizations, plots, and
settings.

Characterization is portrayals of characters, both their physical and mental state

which can change, their outlook on life, attitudes, beliefs, customs, and so on.
Characterization relates to the way the author determines and selects the
characters and names the characters, while characterization relates to the
characters of the characters. Based on the opinions above, it can be said that
characterizations are depictions of the characters, both their physics and their
hearts, by an author (Leroy, Diana. 2003).

The plot is an important fiction element, using a plot is a story that contains a
sequence of events, but each event is only connected causally, one event caused
the other events. The events of the story are shown through the actions, attitudes,
and attitudes of the main character (Nugiyantoro.2007: 149-150).

While the background is the foundation, suggesting the understanding of the

place, the relationship of time, and the social environment in which the events that
are told (Abrams 1981: 175).

Oral tradition is often referred to as folklore, which is part of a culture whose

spread is generally through speech or oral (Dananjaya, 1986: 5). According to
Dananjaya (1986: 28), another form of oral folklore is expressions or words
formed by copying natural sounds. The traditional expression is the wisdom of
many people which is one's intelligence, or short sentences that are abstracted
from long experience. Folk prose stories are one form of oral folklore.

B. Statement of the problem

 Base one some explained in the background of the study above, and to make
this research easier to solve, the reasearcher studies the particular problem as
stated below :

1. How are mystical discourse in the novel Dracula by Bram Stoker, Senjakala
and Asih by Risa Saraswati?

2. How does the oral tradition of the community affect those three novels?

C. Research objective

The purposes of this research are :

1. We can find out the similarity of interinsic elements through three novels
that are assisted by the study of comparative literature.

2. Can know mysticism can emerge from three novels by analyzing the
intrinsic elements.

3. Can find out the similarities of mystical things through the three novels.

D. Reasearch signifiance

1. This research is expected to be able to contribute in studying the learning of

novels in the application of mysticism.

2. This research is expected to contribute to comparative literature education

in selecting teaching materials.

3. The research is expected to make the reader understand the values contained
in the novel especially in the interinsic element.

E. Conceptual framework

1. Mysticism

Mysticism is an irrational knowledge even though in reality it can cause empirical

objects, where this mysticism in the life of the people is very attached, especially
in a society that is still primitive, that is now also widely adopted by most modern
societies. Until the mystical life entrenched both religious and general circles,
which eventually formed a belief in the existence of forces that exist in the outside
of human beings. With the nature of curiosity that so that the experts who form
certain techniques as a means of achieving something.

1.1 Mystical Javanese

For certain people, ghosts are considered as life challenges (memedi), but for
certain people ghosts will actually be able to bring benefits. For those who are
afraid, let alone examine just hearing - sometimes has stood feathers romance.
Instead those who feel benefited, ghosts will bring their own blessings. In contrast
to the mystic kejawen or people who have a sixth sense, the ghost world is not
much different from the human world. Some people believe that ghosts have the
same structure of life as human life. They breed like us. More than 20 types of
ghosts surround human life (Endraswara, 2003: 60). Of the many ghosts, it can be
grouped into two, the first ghost that is frightening and harmful, second, the ghost
that helps and benefits humans.

The discussion in this study are two novels that are included in the mystical
figures who are on the island of Java itself. There are two figures or creatures
themselves, namely kuntilanak in the novel Asih and wewegombel in the novel
Senjakala.

a. Kuntilanak is the ghost figure of a woman who is dying of curiosity

because many things are caused by ending her own life or being killed by
having an innocent baby. The characteristics of kuntilanak itself are
women with long hair and their feelings change - sometimes they cry and
sometimes they laugh without cause. In Asih's novel it is said that she
committed suicide because she was carrying a baby that was not expected
to be present in her life. So Asih is very fond of small children and does
not hesitate to bring it into nature.
b. While this Wewegombel is the same as a very scary female ghost. She can
be a ghost or supernatural being because a human being worshiping
creatures that are similar to wewegombel is usually called genderewo. An
ally to her for the success of life and this is not free of course there must
be a reward so if the benefits are not met then she will become
wewegombel. In this novel, Sukma is said to have become wewegombel
because her served genderowo at the expense of her child, but she did not
want to therefore it becomes wewegombel. And the nature of authority
itself is very fond of children who are abandoned by their parents.

1.2 European Mystics

In spite of Europe's supernatural, an area that believes in mysticism proves

that they have great respect for the gods who are considered the protectors
of the universe.
Early on they believed in the existence of a spirit that guarded the universe
through the World of Nordic Mythology which was introduced by their
ancestors. In Nordic Mythology, there are nine worlds known, of which
the nine worlds are connected by a tree named Yggdrasil, in Nordic
Mythology yggdrasil is the center of the world (like the universe) at its
branches and roots there are several worlds, namely Asgard (the gathering
place of the ruling gods and fighters), Vanaheimr (the place of gods for
protection and fertility), Alfheim (the gathering place for elves), Midgard
(place of gathering of people), Jotunheim (place of Jotun / Giants),
Niddhavellir (place of dwarves or dwarves), Svartalfheim (place of
gathering of people), Jotunheim (place of Jotun / Giants), Niddhavellir
(place of dwarfs or dwarves), Svartalfheim (place of gathering of people)
the dark elves), Muspell (the world of fire where Surt the destroyer of
Asgard triggers Ragnarok), Niflheim (the ice world where the frost giants
live) (claymite, 2018: kaskus).
Therefore they are very easy to assume that Dracula at that time really
existed and could finish them off so that they would be scared of that era.

a. Dracula

So far we know that vampires (including Dracula) are corpses that rise
from the dead. Therefore vampires are always associated with coffins and
graves. This understanding was originally derived from Slavic legends
several hundred years ago. But the older legend says that vampires are not
humans, but magical creatures (a kind of devil) who do not resemble
humans at all.
Beliefs about corpses that rose from the grave and attacked humans began
to spread in medieval European society. The classic story says the way a
person becomes a vampire is through a bite. Meanwhile in Romania, its
characteristics are somewhat different: marked with additional nipples at
birth. In fact, most European societies believe that the physical
abnormalities in infants represent a bad sign in the future (Wincham,
Miercea. 2008: 6).

Matthew Beresford, author of "From Demons to Dracula: The Creation of

the Modern Vampire Myth" (Reaktion, 2008), notes, "There are clear
foundations for the vampire in the ancient world, and it is impossible to
prove when the myth first arose. There are suggestions that the vampire
was born out of sorcery in ancient Egypt, a demon summoned into this
world from some other." There are many variations of vampires from
around the world. There are Asian vampires, such as the Chinese jiangshi
(pronounced chong-shee), evil spirits that attack people and drain their life
energy; the blood-drinking Wrathful Deities that appear in the "Tibetan
Book of the Dead," and many others (Radford Benjamin.2014 : live
science contributor ). 
2. Oral tradition

Almost all cultures throughout the world also believe that there are other
creatures that live side by side with us. The idea of other creatures among
us finally gave birth to folklore arising from the existence of oral traditions
in certain areas. From this oral tradition the community will have a ghost
story. By a writer the story material will be used in his novel then this
story will become the object of public entertainment.

Tradition comes from the word traditium which means everything

inherited from the past (Murgiyanto, 2004: 2). Besides tradition is a
general term that is usually used in everyday speech and also a term used
by anthropologists, folklore researchers, and oral historians. According to
Sibarani (2012: 123) oral tradition is the traditional cultural activity of a
society which is passed down from generation to generation by oral media
from one generation to another, both the arrangement of verbal words
(verbal) and other traditions that are not verbal (non-verbal) . Furthermore
Hoed (2008: 184) defines oral tradition is a variety of knowledge and
customs that are passed on orally transmitted orally.

Lord (2000: 1) sets limits on oral tradition as something spoken in society.

This means that the speaking element for the speaker and the listening
element for the recipient are the keywords. Roger Tol and Pudentia (1995:
2) suggest that oral traditions do not only include stories, myths, legends
and dogengs. But it also contains various matters concerning the life and
life of the community of the owner. For example local wisdom, value
systems, traditional knowledge, history, law, customs, medicine, belief
systems and religion, astropology, and various arts.

Oral tradition in society must have a form. Next Sibarani

(2012: 48-49) suggests that the oral tradition can be:
1) The tradition of oral literature
2) Traditions of shows and games
3) Technology traditions
4) Tradition of development or symbolization
5) Folk music tradition

One characteristic of the oral tradition is its orality. The characteristics of

orality mentioned by Ong (1989: 37-56) include: first, additive, which is
the style of speech adapted to the listener: second, aggregative, that is,
using expressions that are unifying groups; third, rendunan, which is to use
expressions that are repeated and over-felt whose purpose is to facilitate
memory; fourth, conservative, which is to uphold traditional values as a
way to maintain old traditions that are considered high value; fifth, which
is close to the world of human life; sixth, agonostic, which is to keep
knowledge and tradition competitive and able to compete with new
traditions.
Rene Wellek and Austin Warren (1989), define three notions of
comparable literature. oral literary research, especially the theme of
folklore and its dissemination, here the term comparative literature is used
for the study of oral literature. Especially folklore and its migration, and
how and when folklore enters into more artistic literary writing. Oral
literature is basically an integral part of written literature.

3. Comparative Literature

Comparative literature is the study of literature outside the boundaries of a

country and the study of the relationship between literature and other
fields of science and beliefs, such as art (for example painting, sculpture,
building art, and music), philosophy, history and science social (for
example politics, economics, sociology), science, religion, and others. In
summary, comparative literature compares one country's literature with
another country's literature and compares literature with other fields as a
whole expression of life.

investigation of the relationship between two or more literary works,

which become the material and object of their investigation, including the
matter of reputation and penetration, the influence and fame of a major
work, or in other words the term comparative literature includes the study
of the relationship between two or more literatures. This approach was
pioneered by French scientists, called comparatistes, initiated by
Ferdinand Baldensperger, who reviewed the issue of Goethe's reputation,
influence, and fame in France and England.
Aspects learned include:
   (a) the author's image and concept and at a certain time,
   (b) translation factors,
   (c) receiving factor (receiving factor),
   (d) the atmosphere and literary situation at a certain time.

3.1 Susan Basnett

According to Basnett (1993: 1), comparative literature is the study of

cross-cultural texts, characterized by interdisciplinary and related to
patterns of relationships in literature across space and time. In accordance
with Basnett's opinion, comparative literary studies at least two literary
objects should be compared. The two objects of literature are literary
works with different cultural backgrounds. Differences in cultural
backgrounds are also automatically different in space and time.

According to Bassnett (1993: 12), the name of comparative literature

comes from a French anthology series published in 1816 under the title
Cours de Litterature Comparee. The German version of the term
Vergleichende Literaturgeschichte first appeared in the book by Moriz
Carriere in 1854, whereas in English it was introduced by Matthew Arnold
in 1848. So, comparable literature can be said to be young.

Basnett (1993: 20) adds that the term "comparative litterature" only
emerged in transitional times when colonized countries struggled to gain
independence from the "Ottoman" kingdom, from the Austro-Hungarian
empire, from France and Russia. The new state is realized, so that national
identity cannot be separated from national culture. The emergence of
comparative literature coincides with the emergence of the spirit of
nationalism in the transitional period, at which time the colonized
countries were looking for their identities. The birth of comparative
literature is caused by the emergence of awareness that literature is plural,
not single.

3.2 Sapardi Djoko Damono

Comparative literature is a study or study of literary pride that has

historical links with other nations' literature, how intertwined processes
intertwine with one another, what literature one has taken, and what pua
yan has contributed. (Sapardi Djoko Damono, 2005: 4).
According to Damono (2005: 1; 2009: 1), comparative literature is an
approach in the science of literature that cannot produce its own theories.
It can be said that any theory can be utilized in comparative literary
research, according to the object and purpose of the research. In some
writings, comparative literature is also referred to as study or study. In the
steps it does, the comparison method is primary.

According to Nada (in Damono, 2009: 3), comparative literature is a study

or study of the literature of a nation that has historical links with the
literature of other nations, how intertwined processes interplay with one
another, what has been taken by a literature, and what also which he has
donated. In short, one cannot be considered to have carried out a
comparative literary study, if one made comparisons between Arabic
writers, al-Buhturin, and other Arabic poets such as Hafiz and Syauqi.

Comparative literature transcends national and state boundaries to get a

better understanding of trends and movements that occur in various
nations and countries. Particularly with regard to western literature, Jan
Brandt Cortius assumes that by looking at literary objects - texts, genres,
movements, criticism - in the perspective of comparative literary nations
can contribute to our knowledge of literature. (Sapardi Djoko Damono,
2005: 7).

According to Clements there are five approaches that can be used in

comparative literary research;
1. theme / myth
2. genre / form
3. movement / era
4. relations between literature and the arts and other disciplines, and
5. Involvement of literature as material for the development of theories
that are constantly revolving. (Sapardi Djoko Damono, 2005: 7-8).

4. Novel

Big Indonesian Dictionary (KBBI) : a long prose essay that contains a

series of stories of a person's life with those around him by highlighting
the character and nature of each actor.

The novel is part of the fiction prose genre. Related to the understanding
of novels as literary works in the form of fiction prose. Novels include
fiction (fiction) because the novel is a result of fantasy or something that
does not actually exist (Moeis, 1999: 3) Nurgiyantoro, Burhan (2009: 2)
argues that the term novella and novella contains the same meaning as the
Indonesian term novellet (English; novellet ), which means a work of
fiction prose of sufficient length, not too long, but not too long.

The main features of the novel are as follows:

a. Has a complex plot / plot. Various events are displayed related to each
other so that the novel can tell at length, discuss issues broadly and more
deeply.
b. Not only one theme in the novel, but side themes emerge. Therefore, the
author can discuss almost all aspects of the problem.
c. Many characters / characters in ordinary novels. In the novel, the author
often turns on many storytelling characters, each of which is portrayed
completely and intact.

5. Interinsic Elements

In general, the building elements are called intrinsic and extrinsic

elements. Intrinsic element is an element that builds literary works from
within or according to him (the literary work itself). Unlike the case with
extrinsic elements that build literary works from outside the work.
According to Wellek and Warren (1990: 79), the most widely discussed in
the study of literature is the setting (environment), environment
(environment) and things that are external.

The intrinsic and extrinsic elements of a literary work cannot be separated

simply because the two influence each other. Intrinsic elements are formed
due to external influences (extrinsic). This outside influence comes from
the author as the director. The origin and environment of the author greatly
influence the literary work that he created.

The intrinsic element of a literary work consists of a theme, plot (plot),

setting, characterization, point of view of the author, style of language and
mandate contained therein. The extractive element of a literary work
consists of the subjectivity of the individual author, the psychology of
authors and the environment of the author.

5.1 Themes

Readers of fictional works such as novels do not aim solely to enjoy the
beauty of the story, but also confront themselves with the question: what
exactly is the meaning contained and or what does the author want to
convey in the story? Reading this, (Hartoko & Rahmanto in Nurgiantoro,
2010: 68) summarizes the question in terms of the theme. According to
them, themes are general basic ideas which support a literary work and
which are contained in a text as a semantic structure involving similarities
or differences.

A theme is an idea that underlies a story. Themes are formed from a

number of ideas, tendencies, motives or the same mandate, which do not
conflict with one another. The theme is stated bluntly, even though it
exists and is felt by the reader. The theme is none other than the main idea,
central idea or dominant ideas in literary works (Sugiarti, 2002: 37-38).
The theme is divided into the main theme (major), namely the main
meaning of the story which forms the basis or general basic idea of the
work and the additional theme (minor), which is the additional meaning
found only in certain parts of the story.

5.2 Plot

Plot or plot is the structure of a series of events in a story arranged as a

sequence of parts in the whole of fiction. Thus, the plot is a combination of
elements that build the story so that it becomes the main framework of the
story. According to (Nurgiantoro, 2010: 113), many experts who defined
the plot include Stanton who called the plot as a sequence of stories that
contained a sequence of events, but each event was only connected
causally, one event caused by another event.

The plot is a very important basic framework. The plot regulates how
actions must be related to each other, how an event has a relationship with
another event, and how the characters are portrayed and play a role in the
event.

The plot or plot itself according to its shape is divided into forward
grooves, flashback grooves and mixed grooves. The flow forward is the
normal flowing path from the start of the formation of the conflict to its
resolution. Flashback flow or highlight is a flow where the story is going
forward, then the story is returned to the past before the events told are
finished. For example, the story tells the effect first, then returns to the
cause. Finally, a mixed plot is a plot whose story is not coherent according
to the chronology of the event alias mixed. Sometimes the middle of the
story told first, then return to the past and immediately jump to the future,
or can be modified according to the tastes of the author.

5.3 Background

The time setting is the time setting that deals with the problem of "when"
the occurrence of events told in a work of fiction. The problem of "when"
is usually associated with factual time, time that is related or can be
associated with historical events.

a. Atmosphere setting
The setting of the atmosphere is the setting that describes the inner
atmosphere and the environment that occurs in the story. The atmosphere
can be sad, happy, chaotic, confused, and so on.
b. Social Setting
The social setting suggests things related to the behavior of the social life
of the community in a place that is told in a work of fiction including
problems in a fairly complex scope. Social background can be in the form
of life habits, customs, traditions, beliefs, outlook on life, ways of thinking
and behaving and others. In addition, social background is also related to
the social status of the person concerned.

5.4 characterization

Events in fictional works as well as events in everyday life, are always

carried out by certain characters or actors. Actors who carry out events in
fictional stories so that events are able to intertwine a story are called
characters. While the way the author presents the character or actor is
called characterization (Aminudin, 2010: 79).

5.5 Point of view

First person point of view using "me". Style "me", the narrator is someone
who is involved in the story. He is the "I" character who tells the story,
tells his own awareness, tells the event or action, which is known, seen,
heard, experienced and felt, as well as his attitude towards other people
(figures) to the reader. So, readers can only see and feel limited as seen
and felt the character of "me" is.

Third-person perspective uses the style "He", the narrator is a person who
is outside the story that displays the characters of the story by naming
names, or substitutes: he, he, them. The names of the characters, especially
the main ones, are often or continuously mentioned, and as a variation
used pronouns. This will make it easier for readers to recognize who is the
character being told or who is acting.

The mixed point of view is that the author confuses the opinion of the
author and his characters. All of the events and activities of the characters
are given comments and interpretations, so that the reader gets an
overview of the characters and events told.

5.6 Language Style

Language style is the technique of language processing by the author in an

effort to produce literary works that are lively and beautiful. Language
 processing must be supported by proper diction. However, diction is not
the only thing that shapes language style. Language style is a way of
expression that is unique to each author. The style of an author will not be
the same when compared to the style of other authors, because certain
authors always present things that are closely related to his personal tastes
and sensitivity to everything around him.

Language style can create different atmosphere: straightforward, satirical,

sympathetic, annoying, emotional, and so on. Language can create the
right atmosphere for scary scenes, love scenes, war scenes and others.

5.7 Mandate

Mandate is the message that the author wants to convey to the reader
through his work, which will be neatly stored and hidden by the author in
the whole story. As the theme, the mandate can be conveyed implicitly by
giving moral teachings or messages in the behavior or events that occur to
the character before the story ends, and can also be explicitly delivered,
namely the delivery of exclamations, suggestions, warnings, advice,
suggestions, or prohibitions related to the main idea of the story.

F. Research Method

This chapter consists of research design, sample of data, source of

data,technique of collecting data, and technique of analyzing data.
1. Research design

1.1 Qualitative Method

According to the Big Indonesian Dictionary, this method is a systematic

way of working to facilitate the implementation of an activity to achieve
the specified goals, while qualitative is an assessment based on quality. In
the analysis of intrinsic and extrinsic elements, the writer uses qualitative
methods.

2. Data sources

2.1 Data
Data is information or material that must be sought and collected to
answer the problem that will be examined in scientific papers. The data in
this paper are the three Dracula novels by Bram Stoker, Senjakala and
Asih by Risa Saraswati.

2.2 Data Sources

Data source is a very important aspect because the accuracy of choosing

and determining the data source will determine the validity of the data or
information presented. There is also data that is a source in this paper that
comes from books and articles from the internet that are relevant to the
discussion, namely about the intrinsic and extrinsic elements of a literary
work in the form of a novel.

3. Technique of colleting data

Data collection techniques used in this paper are collecting library

materials, reading, sorting data, taking notes, identifying and
establishing the correctness of data for later use as analysis material.
Data collection is done to maintain the naturalness of the data
obtained. In this paper, data collection is done by library techniques,
namely by collecting various literary sources such as three Dracula
novels by Bram Stoker, Senjakala and Asih by Risa Saraswati. oral
literature and comparative literary works especially prose.

4. Data analysis techniques

Data analysis technique is the process of arranging data sequences by

classifying them into basic patterns, categories and unit descriptions. Data
analysis techniques used in this paper include identification, interpretation,
analysis, and conclusions relating to intrinsic elements related to
mysticism involving oral traditions.
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