Intern
ati
o
n
a
l
Jo
urn
a
l
o
f
E
v
al
ua
ti
o
n
and
Rese
arch in
Education (I
JE
RE)
Vol
.
4,
N
o
.
4
,
D
ecem
b
er 20
1
5
, pp
. 20
7~
21
4
I
S
SN
: 225
2-8
8
2
2
2
07
Jo
urn
a
l
h
o
me
pa
ge
: h
ttp
://iaesjo
u
r
na
l.com/
o
n
lin
e/ind
e
x.ph
p
/
IJERE
Pragm
a
t
i
c/Religi
o
us and Moral
Values in Herman
a HMT’
s
Drama Script “
Robohnya Surau Kami
” (The Collapse of Our
Mosque)
Lusi Komal
a
Sari
1,2
, Bede
Blaise Chukwu
n
yere
Onwu
agb
o
ke
3
1
Indonesia Univ
ersity
of
Edu
cation, Bandung
, In
donesia
2
Languag
e
and
Literatur
e
Dep
a
r
t
ment, Sultan
S
y
arif
Kasim State
Islamic University
, R
i
au
, Indon
esia
3
Curriculum & I
n
struction
Depar
t
ment, Alv
a
n Iko
ku
University
of Educa
tion, Owerri,
Nigeria
Article Info
A
B
STRAC
T
Article histo
r
y:
Received Nov 07, 2015
Rev
i
sed
No
v
20
, 20
15
Accepted Nov 29, 2015
Life in h
eav
en is the hope of all relig
ious human. Yet,
to reach
the par
a
dise
as
prom
is
ed to a
ll faithfu
l is
not
an eas
y
road
. It needs
the balan
c
e of eart
h
l
y
life
and
here
aft
e
r’s life
to
rea
c
h
the
pla
c
e
whic
h is prom
ised b
y
God
.
The
drama Robohn
ya Surau Kami (
R
SK) created b
y
dr
amatist Her
m
ana HTM
which is adapted from
a
short stor
y
written b
y
A.A. Navis convey
s
the
aforem
ention
e
d.
Us
ing des
c
ript
i
v
e t
echniqu
e to
ana
l
yze
Dram
a
RS
K it is
found that th
e dr
ama script is cr
eated b
y
s
t
ructural elements as o
t
her liter
a
r
y
works
.
The s
o
c
i
al-r
elig
ious
the
m
e pres
ented i
n
flas
hback plo
t
m
a
de this
drama script to
heave th
e read
er
s’
imagination u
p
ward. The dialogue which
m
a
de the
grad
ati
on of ch
ara
c
ter
of ea
ch
chara
c
t
e
r in
the dr
am
a br
ings
out th
e
uniqueness of
Drama RSK. Unfortunate
l
y
,
th
e pres
en
tat
i
on
of s
u
ch a
n
inter
e
sting scrip
t
was poorl
y
su
pported b
y
vari
ous m
eans of literar
y
and
dram
atics
tha
t
a
ppear blurred
.
Des
p
ite this
, th
e dram
a reveal
e
d
pragm
a
tic
view which s
y
m
boliz
es real
lif
e
situati
ons full of
relig
ious and moral lessons
for edif
y
i
ng r
e
ligious and good
s
o
cial life in
the society
.
Keyword:
Struct
ural
Pra
g
m
a
tic
Dram
a
R
e
l
i
g
i
ous val
u
es
Moral e
ducati
o
n
Copyright ©
201
5 Institut
e
o
f
Ad
vanced
Engin
eer
ing and S
c
i
e
nce.
All rights re
se
rve
d
.
Co
rresp
ond
i
ng
Autho
r
:
Bed
e
Blaise C
h
ukw
un
yer
e
On
wu
ag
bok
e,
Sch
ool
o
f
E
d
u
cat
i
onal
St
udi
e
s
,
Un
i
v
ersiti Sains Malaysia,
1
180
0 Mind
en, Pu
lau
Pen
a
n
g
, Malaysia.
Em
a
il: b
b
c
on
wu
@yah
oo
.co
m
1.
INTRODUCTION
There a
r
e two
m
a
jor
phases
of life
as
vi
ew
ed f
r
om
t
h
e p
e
rspect
i
v
e
o
f
a
dhe
re
nt
of m
a
ny
rel
i
g
i
o
ns
esp
ecially th
e Isla
m
i
c faith
; life in
th
e world
an
d th
e
h
e
reaft
e
r,
whi
c
h m
u
st
be
u
nde
rt
ake
n
by
e
v
ery
one
.
These
tw
o
p
h
ases
o
f
l
i
f
e
ar
e id
eally car
r
i
ed ou
t b
y
ap
pro
p
r
i
ate physical an
d
sp
ir
i
t
u
a
l n
e
ed
s.
How
e
v
e
r
,
liv
i
n
g th
e lif
e
in
th
e
world as well as look
ing
for th
e after-life is no
t eas
y i
n
the
context
of pe
rfecti
o
n. I
t
can
b
e
seen
thro
ugh
t
h
e
p
h
e
nom
enon
o
f
pr
ol
i
f
era
t
i
on of Isl
a
m
i
c
rel
i
g
i
o
us
se
cts today. The
s
e
are peop
le who
in
terpret th
e
Quran
and
Ha
dith les
s
appropriat
ely following thei
r teache
r’s
ha
bit without
c
r
itical consi
d
erati
on
of whethe
r it is
r
i
gh
t
or
n
o
t
.
This group of believers
spends
tim
e to praise the
great
nes
s
of Go
d throughout the
da
y because
they
are afraid
o
f
hell. Actu
ally, t
h
is is
no
t ab
ou
t ri
g
h
t
or
wro
n
g
,
b
u
t
t
h
ere is a life wh
ich
is
fo
rg
o
tten
in
th
i
s
situ
atio
n
wh
ich
is real life. Th
ey seem to
forg
et a
bou
t th
e i
m
p
o
r
tan
ce
o
f
fam
i
ly;
th
eir ch
ild
ren
and
wi
v
e
s at
hom
e and eve
n
m
e
m
b
ers of
the immediate
comm
unity. Besi
d
e
s, t
h
ere is a situ
atio
n which
is opp
osite wit
h
th
e th
ing
afo
r
emen
tio
n
e
d. Some p
e
o
p
l
e
o
n
l
y sp
end
th
eir ti
me to
ward
wo
rld
l
y life sp
aring
little o
r
n
o
ti
me fo
r
th
e afterlife.
Fo
r a
worthwh
ile relig
iou
s
life, a b
a
lanc
e
m
u
st be struck
betwee
n the worl
dly life and
p
r
ep
aration
fo
r th
e etern
a
l life fo
r t
h
e
form
er d
e
term
in
es th
e
later to
a
v
e
ry
g
r
eat ex
ten
t
.
Rob
ohn
ya
Su
ra
u
K
a
m
i
(RSK) is a
Dram
a
wh
ich
is ex
cerp
te
d
fro
m
sho
r
t story written
b
y
Nav
i
s,
(198
6) with
the sa
m
e
tit
le th
at is c
l
o
s
er to th
e r
eality
an
d
fu
ll o
f
im
p
o
r
tan
t
lesso
ns. Th
is sto
r
y no
d
oub
t
Evaluation Warning : The document was created with Spire.PDF for Python.
I
S
SN
:
2
252
-88
22
IJERE
Vol. 4, No. 4,
Decem
ber 2015 :
207 –
214
20
8
b
r
ou
gh
t Nav
i
s to
a p
o
s
itio
n
o
f
fam
e
as a f
i
g
u
re in
th
e dev
e
lop
m
en
t o
f
In
don
esian
literatu
re
h
i
sto
r
y
.
Th
e
d
r
am
a was p
a
ck
ag
ed
b
y
Herman
a HMT at reform
atio
n
era, yet th
is work
still re
m
a
in
s a fascin
atin
g d
r
am
a
wh
ich
m
a
k
e
s i
t
i
m
p
e
rativ
e fo
r an
alysis
in ac
corda
n
ce with structural and pr
a
g
m
a
t
i
c
vi
ews. T
h
i
s
st
udy
reveal
s
h
o
w
relig
io
sity is con
s
tru
c
ted
in
th
e
dram
a scrip
t
to fo
rm
a ph
eno
m
en
al lite
rary
work
wit
h
strong
ch
aract
er.
The dat
a
req
u
i
r
ed
was anal
y
z
ed i
n
acc
or
dan
ce wi
t
h
som
e
rel
e
vant
t
h
e
o
ri
e
s
i
n
cl
udi
ng t
h
e
nat
u
re
of
th
e literatu
re,
d
r
am
a, d
r
am
a
ap
pro
ach
es, and
relig
i
o
s
ity. Accord
ing
to
Wellek
and
Warren
(19
8
9
)
a literary
work
is an
art work
created
by th
e creativ
e p
r
o
cess [1
].
An
n
e
ah
ira
(201
3) furth
e
r arg
u
ed
th
at literatu
re is th
e
exp
r
essi
on
o
f
i
d
eas t
h
ro
u
g
h
l
a
ng
uage
w
h
i
c
h a
r
i
s
es f
r
o
m
its feelin
g
s
and
thou
gh
ts
[2
]
.
Literary
wo
rk
s are
creat
ed
by
hu
m
a
n im
pul
se t
o
ex
pre
ss
th
emselv
es abou
t the issu
es of human
, hu
m
a
n
ity
, and
th
e un
iv
erse [3
].
In
acco
r
d
a
n
ce
with
th
e literat
u
re cited
abo
v
e, it is d
e
du
ci
b
l
e th
at literatu
re is an
ind
i
v
i
du
al exp
r
essio
n
o
f
au
tho
r
. Literary wo
rk
con
s
ist
s
o
f
m
i
n
d
,
i
m
a
g
in
ation
,
an
d
em
o
t
io
n
.
Th
erefo
r
e, literary wo
rk
s can
b
e
u
s
ed
for
bot
h i
n
t
e
l
l
ect
u
a
l
and em
ot
i
onal
co
ns
um
pt
ion
.
Li
t
e
rary
wo
rk
s ha
ve
d
i
st
i
n
ct
i
v
e sha
p
e and
st
y
l
e. Th
ose
distinctive attri
butes
distingui
sh
literary from
non-literary writings.
As th
e latest gen
r
e
of literary
work
,
d
r
am
a h
a
s a
un
iqu
e
defin
itio
n, “th
e
life wh
ich
is
presen
ted
in
m
ove
m
e
nt” [4]. Thus, the
re
al dram
a
is the
story bein
g perform
e
d. That
is why
in every occasion dra
m
a is
always id
en
tifi
e
d
b
y
actio
n
an
d
m
o
tio
n. As
is th
e case
w
ith
literary pro
s
e, dram
a is also
b
u
ilt b
y
in
t
r
in
sic an
d
ex
trin
sic elemen
ts [5
]. Furt
h
e
rm
o
r
e, to
hav
e
th
e ab
ility
in
ev
alu
a
ting an
actio
n, its ele
m
en
ts h
a
ve to
b
e
mastered
well. Tho
s
e ele
m
en
ts are p
l
o
t
, ch
aracterizatio
n
,
d
i
alo
g
u
e
and
v
a
rio
u
s
m
ean
s o
f
literary an
d
dramati
c
p
r
esen
tatio
n [5].
Pl
ot
i
s
defi
ne
d
by
Am
eri
can
Heri
t
a
ge
Di
ct
i
ona
ry
of t
h
e E
ngl
i
s
h La
ng
ua
ge as
t
h
e
pat
t
e
r
n
or
seq
u
e
n
c
e
of e
v
e
n
t
s
i
n
a
nar
r
at
i
v
e o
r
dr
am
a. Sim
i
l
a
rl
y, pl
ot
i
s
see
n
a
s
the arra
ngement of eve
n
ts
or the selection and
or
der
o
f
sce
n
e
s
i
n
a
pl
ay
[6]
.
Pl
ot
co
nsi
s
t
s
of se
ve
ral
st
ag
es;
begi
nni
ng
,
m
i
ddl
e, an
d e
n
di
n
g
.
In
d
r
am
a, t
h
i
s
term
is k
n
o
wn
as ex
po
sition
,
co
m
p
licatio
n
,
an
d
reso
lu
tion
.
Ex
po
sition
in
t
r
odu
ces th
e characteristic o
f
d
r
am
a.
Com
p
lication works to de
ve
lop conflict. Meanwhile,
re
solution should take place logically and
have a
reaso
n
a
b
l
e
rel
a
t
i
ons
hi
p t
o
a
n
y
t
hi
ng
t
h
at
prec
eded
i
t
co
nt
ai
n
e
d i
n
com
p
l
i
cat
i
on.
The
c
h
aracte
r
ization of dram
a
has vari
ous
form
s.
So
m
e
times, ot
her
fig
u
re
s ap
pear
w
h
ich
is co
ntrar
y
with anot
her
one, the cha
r
act
ers who
hel
p
expl
ai
ni
ng
ot
h
e
r fi
g
u
r
es. B
e
s
i
des, the
r
e is a
characte
r
who acts
swiftly; kn
own as static ch
aracter th
at
h
a
s the sam
e
co
nd
itio
n fro
m
th
e
b
e
g
i
nn
ing
un
til th
e end
o
f
a
p
l
ay. On
the ot
her ha
nd, the
r
e is als
o
a cha
r
acter t
h
a
t
has
de
velopment during t
h
e show.
Dialogue
m
u
st accom
p
lis
h
tw
o
t
h
ing
s
,
n
a
mely en
h
a
n
c
ing
th
e v
a
l
u
e
o
f
m
o
v
e
m
e
n
t
an
d sho
u
l
d
b
e
g
ood
as
w
e
ll as
h
i
g
h
v
a
l
u
e. Th
e
d
i
alogue
sho
u
l
d
be use
d
t
o
refl
ect
wha
t
i
s
goi
ng
on
d
u
ri
ng t
h
e
pl
ay
, du
ri
n
g
t
h
e pe
r
f
o
r
m
a
nce, and
i
t
shoul
d al
so r
e
fl
ect
the
thoughts
a
nd feelings of the
cha
r
act
ers
that played a
role in the
play.
I
n
ad
di
t
i
on t
h
e di
al
o
gue s
h
o
u
l
d
be
m
o
r
e
f
o
cu
sed
an
d org
a
n
i
zed
of
ev
er
yd
ay conv
er
sation
.
A v
a
riety o
f
mean
s wh
ich
are in
th
e
field
o
f
literature and
dram
atics is
also
an
im
p
o
r
t
a
n
t
elem
en
t
th
at also
h
e
lped
d
e
term
in
e th
e su
ccess of a p
l
ay. So
me o
f
th
em
are
;
rep
e
titio
n
,
style an
d
at
m
o
sp
h
e
re,
sy
m
b
o
lis
m
,
e
m
p
a
th
y an
d
aesth
etic d
i
st
anc
e
[5]. These el
e
m
ents can be use
d
as gui
delines for e
v
aluat
i
ng the
p
l
ay o
r
dram
a. To
ev
alu
a
te a literary work
, literary
criticism
ter
m
is in
trodu
ced.
Hard
j
a
n
a
(198
1,
p. 17
)
d
e
fi
n
e
s literary criticis
m
as
a resu
lt o
f
effo
rts i
n
attr
actin
g read
ers and
d
e
term
in
in
g th
e in
tri
n
sic
v
a
lu
e
o
f
literary works
through syste
m
atic unde
rsta
ndi
ng a
n
d inte
rpretation [7].
E
ssentially, literary c
r
iticis
m
entails
lo
ok
ing
for faults, p
r
aise, assess, co
m
p
are, an
d enjo
y
a literary
work. Acco
rd
ing
to Sem
i
(201
3,
p
p
. 42--50
)
,
literary criticis
m are previ
ously group
ed in various
ways according to
th
e nature,
purpose,
historical
or
g
e
ograph
i
cal so
cial env
i
ro
nmen
t. It sh
ows ho
w critics
an
d scien
tists
tried
to app
r
oach
literary literatu
re
th
ro
ugh
v
a
r
i
ous ro
ad
s an
d end
eavor
; m
i
met
i
c
, pr
ag
m
a
t
i
c, ex
pr
essi
v
e
, and
o
b
j
ectiv
e [8
].
The t
e
rm
of l
a
ng
ua
ge st
y
l
e i
s
kn
o
w
n
as a
fi
gu
re
of s
p
eec
h in aut
h
ors
h
ip
wo
r
l
d. Figur
e
o
f
sp
eech
is
t
h
e use
of l
a
ng
uage
f
o
rt
u
n
e t
o
o
b
t
a
i
n
ce
rtain effects in c
o
nveying thoughts
and feeli
n
gs, both
orally and
i
n
writing [9]. It
can be
said, t
h
at figure
of speech is th
e
use
of
figurative
langua
ge that i
s
intended t
o
obtain
cert
a
i
n
ef
fect
s
i
n
c
o
m
m
uni
cat
i
on.
Fu
rt
he
r
m
ore, R
i
zki
(
2
0
0
9
)
di
vi
de
d
fi
g
u
re
o
f
s
p
e
ech i
n
t
o
fo
ur
sect
i
ons,
nam
e
ly; (1) The com
p
arative figure of s
p
e
ech, such as
m
e
t
ony
m
y
, (2) f
i
gu
re of s
p
eec
h sat
i
r
e, fo
r ex
am
pl
e;
sarcasm
,
(3) the assertion figure of s
p
ee
ch, s
u
ch as; asyndet
o
n,
elli
p
s
is etc.
and (4
)
fig
u
re of spee
c
h
cont
e
n
t
i
o
n
.
W
i
t
h
t
hose
fi
g
u
re
s of s
p
eec
h t
h
e
scri
pt
w
r
iter expl
ores t
h
e experie
n
ce
and imagination to
creat
e
th
e in
tegrity of wo
rk
s t
h
at are
use
f
ul
f
o
r
t
h
e audi
e
n
ce [1
0]
.
Reg
a
rd
ing
to
t
h
e con
c
ep
t o
f
relig
iou
s
, reli
gio
s
ity in
th
is stu
d
y
refers to
th
e asp
ect of
co
nscien
ce
(su
b
c
ons
ci
o
u
s)
t
h
at
t
e
nd t
o
b
e
a m
y
st
ery
t
o
ot
he
rs.
It
i
m
p
lies th
at th
e relig
io
u
s
ity of so
m
e
o
n
e
refers to
th
e
relatio
n
s
h
i
p
b
e
tween
h
i
m
s
elf/
h
e
rsel
f
attitu
d
e
with
God
[
11]. So
, so
m
e
o
n
e
who
is
relig
iou
s
can
b
e
said to
a
p
e
rson
who is
fu
ll
o
f
sp
iritu
al
con
s
id
eration
s
. Based
o
n
t
h
e
o
ret
i
cal
c
onsi
d
erat
i
ons
, i
t
i
s
a
ppa
re
nt
t
h
at
rel
i
gi
ou
s
v
a
lu
es in drama scri
p
t
RSK co
n
c
ern
s
t
h
e th
i
n
g
s
th
at
shows attitu
d
e
i
n
acco
r
d
a
n
ce
with
God
’
s in
ten
tion
;
su
ch
as faith
, sh
aria, and
m
o
rals.
Evaluation Warning : The document was created with Spire.PDF for Python.
I
J
ERE
I
S
SN
:
225
2-8
8
2
2
A
St
udy
of
St
ru
ct
ural
a
n
d
Pr
a
g
m
a
t
i
c
/
R
el
i
g
i
o
us an
d Mor
a
l
Val
u
es
i
n
Her
m
a
n
a
HMT
'
s
.
.
..
(
L
u
s
i
K
o
mal
a
Sari
)
20
9
2.
R
E
SEARC
H M
ETHOD
This st
udy is a
qualitative study usi
n
g de
scri
ptive m
e
t
hods
. In order t
o
c
o
llect data for t
h
is study, the
dat
a
col
l
ect
i
o
n
t
echni
que
s em
pl
oy
ed
was
co
nt
ent
a
n
al
y
s
i
s
.
Dat
a
col
l
ect
i
o
n
an
d a
n
al
y
s
i
s
was
do
ne t
h
r
o
ug
h:
1)
readi
ng a
nd
u
n
d
erst
a
ndi
ng
dr
am
a scri
pt
R
S
K, 2
)
m
a
rki
n
g
t
h
e speec
h o
r
di
al
og
ue w
h
i
c
h st
at
es t
h
e st
r
u
ct
u
r
e
and
whi
c
h c
o
nt
ai
n
rel
i
g
i
o
us
an
d m
o
ral
va
l
u
es,
3)
a
n
al
y
z
i
ng a
n
d i
n
t
e
r
p
ret
i
n
g t
h
e st
r
u
ct
u
r
e a
n
d
rel
i
gi
ou
s
values
in t
h
e s
p
eech, a
n
d 4)
drawi
n
g
conclus
i
ons
base
d
on t
h
e a
n
alysis.
3.
FINDINGS
3.
1.
Sy
no
psis
of
RSK D
r
ama
The d
r
am
a
t
e
l
l
s t
h
e st
ory
of a
gra
n
d
f
at
he
r’s
obe
di
ence t
o
Go
d (
A
l
l
a
h)
. He l
i
v
ed i
n
t
h
e
m
o
sque as a
gua
r
d
a
n
d
care
t
a
ker
.
He s
h
ar
pen
s
kni
ves
fo
r
peo
p
l
e
a
n
d
f
eeds
fr
om
gi
ft
s pe
o
p
l
e
gi
ves
hi
m
i
n
ret
u
r
n
.
Eve
r
y
day
he p
r
ai
sed
t
h
e great
ne
ss of
Go
d,
beat
i
n
g t
h
e d
r
um
(
be
du
g
), m
a
ki
ng cal
l
s
t
o
pray
er,
and w
o
rshi
pe
d G
o
d
with
ou
t ev
er forg
etting
to pray for
His gen
e
ro
sity to
His serv
an
t.
On
e
d
a
y cam
e
a b
r
agg
a
rt, called
Aj
o
Sid
i
who
lik
e telling
stories.
Ajo
Sid
i
to
ld
grandfath
e
r abou
t
Haji
Sal
e
h a r
e
l
i
g
i
ous sc
h
o
l
a
r w
ho
was ve
r
y
confi
d
ent
wi
t
h
hi
s fai
t
h
i
n
Go
d.
Ho
we
ver
,
une
x
p
ect
edl
y
, Haji
Saleh
was thrown
in
t
o
h
e
ll b
y
God
.
Althou
gh
Haj
i
Saleh
a
nd
hi
s fri
e
nds t
r
i
e
d t
o
p
r
ot
est
t
o
t
h
e Lor
d
,
fo
r wh
at
th
ey th
ou
gh
t
was God
'
s
m
i
s
t
ak
e, th
ey still co
u
l
d
no
t g
e
t
o
u
t
o
f
h
e
ll b
e
cau
se of
n
e
g
l
i
g
en
ce i
n
th
e care and
atten
tio
n
t
o
th
eir fam
ilies d
u
r
i
n
g th
eir life time in
th
e
worl
d
.
Th
e n
e
x
t
m
o
rnin
g
grandfath
e
r was fo
und
d
e
ad
in
th
e m
o
sq
u
e
un
d
e
r app
a
llin
g
con
d
ition
s
. His n
e
ck
was sl
ashe
d
w
i
t
h
a razo
r. Fi
nal
l
y
, t
h
e m
o
sque
ha
d n
o
oc
cupa
nt
any
m
or
e. O
v
er t
i
m
e
the m
o
sque
be
cam
e
des
o
late. Children a
r
e now
us
ing it as a place to play wh
ate
v
er
gam
e
s they want to
; eve
n
m
o
thers often
brea
k
t
h
e wal
l
s
a
n
d fl
oo
rs
w
h
en
r
u
n
n
i
n
g
out
o
f
fi
re
wo
o
d
.
3.
2.
Struc
t
ur
al Elements in Drama Script
Lik
e
in
o
t
h
e
r literary wo
rk
s,
dram
a RSK is co
n
s
t
r
u
c
te
d
b
y
t
h
e use of stru
ctu
r
al elem
en
ts. Stru
ct
u
r
e is
th
e o
r
g
a
n
i
zatio
n
a
l fram
ewo
r
k
of a sto
r
y su
ch
as t
h
em
e,
p
l
o
t
, settin
g,
ch
aracterizatio
n
and
conflict. Th
e
v
a
ri
o
u
s
m
ean
s o
f
literary and
dram
atics u
s
ed
in
th
e
scri
pt are also
ex
amin
ed
. Th
e fo
l
l
o
w
ing
is th
e an
alysi
s
and the
disc
uss
i
on
of eac
h
of t
h
e structural
el
e
m
ents as cont
ained i
n
the
dra
m
a.
3.
3.
Theme
The t
h
em
e in every
dram
a or stor
y is th
e
main
m
e
ssag
e
o
r
t
h
e cen
t
ral i
d
ea
wh
ich
th
e
scrip
t
writer
wan
t
s to
co
nv
ey th
rou
g
h
th
e
scrip
t
. Ev
ery ev
en
t in
th
is
d
r
a
m
a rev
o
l
v
e
s aroun
d
a sing
le th
em
e wh
ich
is seen
as so
cio
-
relig
i
o
u
s
th
em
e. Every stag
e in
th
is d
r
am
a b
a
sica
lly
is to
su
stain
th
e n
a
rration
of th
e ab
so
lu
te lo
yalty
o
f
gr
andf
ath
e
r
to
God
w
ith
ou
t
g
i
v
i
n
g
a thou
gh
t abou
t th
i
n
g
s
of
th
e wo
r
l
d
l
y lif
e.
3.
4.
Plot
Plot can
be see
n
as the m
a
in events
of the
dra
m
a an
d
th
e
ord
e
r i
n
wh
ich the writer cho
s
e
to
d
e
v
e
lop
and
pre
s
ent
t
h
e event
s
. Thi
s
coul
d be st
a
r
t
i
ng
fr
om
t
h
e begi
n
n
i
n
g, t
h
e
m
i
ddl
e, o
r
eve
n
t
h
r
o
ug
h
fl
ashbac
k
s
.
The
dram
a is presente
d attract
ively,
has
a
n
i
n
t
e
rest
i
n
g
pl
ot
wi
t
h
u
n
p
r
edi
c
t
a
bl
e e
ndi
ng
. T
h
e
dram
a R
S
K
be
ga
n
w
ith
th
e expositio
n
wh
ich
describ
e
s
reso
l
u
tio
n
.
It can
b
e
seen
th
rou
gh th
e creativ
ity o
f
scrip
t
writer to
introduce all c
h
aracters in t
h
e
be
ginnin
g
o
f
dram
a an
d
to
g
i
v
e
th
e ind
i
catio
n abou
t reso
l
u
tio
n. Th
e act
ors
were
in
trodu
ced imp
licitly to
th
e aud
i
en
ce. The fo
llo
wi
n
g
is th
e i
n
stru
ction
o
f
th
e stag
e ind
i
catin
g
t
h
e th
ing
afo
r
em
ent
i
one
d. T
h
e fai
n
t
so
un
ds t
h
e cal
l
t
o
p
r
ay
er at
da
wn
. T
hose a
r
i
s
i
ng
fr
om
di
ffer
e
nt
di
rect
i
o
ns
,
suc
h
as
stag
e lin
ed
up
in
willin
gn
ess
to
p
e
rfo
r
m
p
r
ayers: “
Sa
yup
-
sa
yup
terd
engar kum
and
ang
a
d
z
an
sub
u
h
.
O
r
ang
-
ora
n
g
mu
nc
ul
dari
ber
b
ag
ai
ara
h
,
b
e
rb
ari
s
di
p
a
n
g
g
u
n
g
se
pert
i
m
a
u mel
a
kuka
n sh
al
at
”
.
Th
e scri
p
t
writer in
trodu
ces
th
e ch
a
r
acters
indirectly. Thi
s
instruc
tion
of
th
e
stag
e d
e
scrib
e
s
th
e
o
b
e
d
i
en
ce t
o
God
fro
m
b
e
g
i
n
n
i
n
g
u
n
til th
e en
d
of th
e drama.
It see
m
s
t
h
at th
e scrip
t
writer d
e
li
b
e
rately d
i
d
not
m
a
ke t
h
e
dram
a st
rai
ght
t
o
chr
o
n
o
l
o
gi
cal
or use
d
fl
a
s
hb
ack st
o
r
y
t
el
l
i
ng t
o
see t
h
e cause of t
h
e
i
r
oni
c
condition t
oda
y where t
h
e m
o
sques as the place s
h
oul
d be used
for wors
hip
ha
d been c
h
ange
d int
o
playground and eve
n
bec
o
mes a place
to find fire
wood for m
o
thers at ni
ght. Part of com
p
lication of the
dram
a i
s
t
h
e com
p
l
e
t
i
on of t
h
e st
o
r
y
t
o
be t
o
l
d
.
It
can
be s
een f
r
om
ho
w
t
h
e scri
pt
wri
t
e
r b
r
i
n
gs
up
di
a
l
og
ues
settle
m
e
n
t
b
e
fo
re
g
r
an
dfath
e
r to
ld
stories.
Th
e dram
a
is
m
o
re u
n
i
qu
e wh
en
scri
p
t
writer h
a
s no
t led
to
th
e
in
trodu
ctio
n
o
f
th
e p
r
ob
lem
,
b
u
t
rath
er tells th
e d
e
v
e
lop
m
en
t o
f
th
e p
r
ob
lem first. It
can be seen from
several
u
tteran
ces i
n
th
e fo
llo
wi
ng
dialo
g
b
y
Gran
dfath
e
r. Hop
e
fu
l
l
y th
is razo
r
wh
ich
I
h
a
v
e
sh
arp
e
n
e
d
slit h
i
s th
ro
at
(
Muda
h-
mudah
an
p
i
sa
u cuku
r i
n
i, yan
g
ku a
s
ah
ta
j
a
m-
taja
m
i
n
i,
m
e
n
g
g
o
r
o
k
teng
go
ro
kann
ya
)
. T
h
e
speec
h
i
ndi
cat
es t
h
at
t
h
ere i
s
s
o
m
e
t
h
ing
w
h
i
c
h m
a
kes gra
n
dfat
her
m
a
d. Aft
e
r t
e
l
l
i
ng t
h
e
de
vel
o
pm
ent
of t
h
e p
r
o
b
l
e
m
,
t
h
en t
h
e
begi
n
n
i
n
g
of
t
h
e
pr
o
b
l
e
m
was ex
po
sed.
Evaluation Warning : The document was created with Spire.PDF for Python.
I
S
SN
:
2
252
-88
22
IJERE
Vol. 4, No. 4,
Decem
ber 2015 :
207 –
214
21
0
3.
5.
Conflict
The
pr
o
b
l
e
m
begi
ns
whe
n
Aj
o Si
di
Ha
ji
t
e
l
l
s
abo
u
t
Haji
Sal
e
h
w
h
o
was l
o
y
a
l
t
o
hi
s
G
o
d
,
neve
rt
hel
e
ss
G
od s
e
nt
hi
m
i
n
t
o
hel
l
be
cause
he f
o
r
g
ot
o
n
e t
h
i
n
g;
he a
b
a
n
d
one
d
hi
s fam
i
ly
and c
o
m
m
uni
t
y
i
n
his quest to pl
ease God. T
h
i
s
section is called com
p
li
cat
ion i
n
pl
ot
el
e
m
ent
of d
r
am
a. In acc
or
da
nc
e wi
t
h
Tari
ga
n (
2
0
1
1
:
75
), t
h
i
s
sect
i
on
wo
r
k
s t
o
d
e
vel
o
p a co
nfl
i
ct
, t
h
e her
o
fi
nd t
h
e ba
rri
ers
and i
n
t
e
rfe
ren
ce i
n
achieving his objective [5].
The clim
ax occurs at t
h
e end of the
st
age. It can
be see
n
fro
m
th
e fo
llo
wi
ng
speec
h
by
S
o
m
e
one:
“S
ui
ci
de
, t
h
e
r
e
was s
u
i
c
i
d
e”
(Bun
uh
diri. Ada
ya
ng
bu
nuh
d
i
ri)
.
Gra
n
dfat
he
r w
a
s fo
un
d
dead
i
n
t
h
e m
o
squ
e
(
Sura
u
)
in
co
nd
itio
n
alread
y slash
e
d
.
He slit h
i
s o
w
n
th
ro
at with
a razo
r. After th
is cli
m
actic event occurs, the sc
ript writer im
mediately ends the dram
a by le
aving
a myriad
o
f
qu
estion
s
fo
r lov
e
rs
of th
is literary work. Di
d
h
e
really cu
t
h
i
s thro
at
b
y
h
i
m
s
elf, o
r
act
u
a
lly
gra
n
dfat
he
r
wa
s sl
ashe
d by
ot
hers
, s
u
ch a
s
Aj
o Si
di
at
t
h
e
i
n
st
ance
wh
en
he cam
e t
o
t
h
e
m
o
sq
ue t
o
fe
t
c
h hi
s
razo
r s
h
ar
pe
ne
d
by
g
r
a
n
d
f
at
h
e
r
?
Sc
ri
pt
wri
t
er
does
n
o
t
see
m
to
reso
lv
e t
h
e in
cid
e
n
t
in detail. Howev
e
r, th
is is
circu
m
v
e
n
t
ed
b
y
way o
f
d
e
scrib
i
ng
th
e con
d
ition
after th
e d
eath
o
f
h
i
s g
r
an
dfath
e
r in
th
e b
e
g
i
nn
ing
o
f
the
d
r
am
a. As i
f
it
is a n
a
t
u
ral com
p
le
tio
n
of t
h
e dram
a.
3.
6.
Settin
g
The
dram
a RBK is set in
Pari
a
m
an,
W
e
st
Sumatera.
The di
alogues of
t
h
e characte
r
s occ
u
rred
m
o
stly
i
n
m
o
sque
(Sura
u
)
an
d
i
n
hel
l
.
The use o
f
wo
rd
m
o
sque
(
Sur
a
u
)
here i
s
sym
bol
i
c
. The
m
o
sque i
s
u
s
e
d
as a
place of
wors
hip as well as the center
of
re
ligious e
du
cati
on
for Muslims in Minang. T
h
e dram
a is
expected
to
h
a
v
e
b
e
en written du
ri
ng
th
e reform
a
tio
n
era.
Drama RBK expresses t
h
e so
cial life o
f
rel
i
g
i
o
u
s
co
mm
u
n
ities a
f
ter 19
98
. It is d
e
liv
ered
clearly b
y
th
e l
ead
ersh
ip
stage statin
g
“…un
d
e
rstand
ab
ly, th
e
ref
o
rm
ation er
a" (…
Makl
um
,
zam
an ref
o
rm
asi
).
Alth
oug
h th
e p
l
ay is an
ad
ap
tation
o
f
a sh
ort sto
r
y wh
ich
was creat
e
d
i
n
19
5
6
,
but
t
h
e
dram
a i
s
not
out
of t
h
e el
em
ent
s
prese
n
t
.
The c
o
m
posi
t
i
on
of s
h
ort
st
ori
e
s
adapte
d AA
Navis Herm
ana
HMT with
m
ode
rn
life i
n
t
h
e
ti
m
e
o
f
reformatio
n
.
3.
7.
Ch
arac
teri
z
a
t
i
on
Actu
ally, th
is
stu
d
y
an
alyzes th
e
d
i
alo
g
u
e
of
th
e
cha
r
acters
to de
scribe
eac
h c
h
aracte
r
in the
dram
a.
The ol
d m
a
n Gran
dfat
her
(Kakek)
is the
m
a
in cha
r
acter
of
dram
a RSK.
A
l
t
hou
g
h
A
j
o Si
di
was
descri
b
e
d as a
p
e
r
s
on
w
ho likes stor
ytellin
g
an
d Haj
i
Saleh w
a
s pr
esen
ted as a p
e
r
s
o
n
wh
o lik
es d
i
alogu
e, bu
t th
e centr
a
l
characte
r
of this dram
a is highlighted
fro
m
th
e b
e
g
i
nn
ing to
end
i
ng
. The d
i
alog
u
e
consists in
th
is dra
m
a,
i
m
p
l
yin
g
go
od em
o
tio
n
s
o
f
t
h
e ch
aracter. In
add
ition
,
th
e d
i
alog
u
e
of this d
r
am
a d
o
e
s
n
o
t
l
o
ok
co
n
t
riv
e
d
or
forced,
b
u
t
still
d
i
fferen
t fro
m
ev
ery
d
ay conversatio
n b
e
cau
s
e it is m
o
re con
cern
e
d
an
d org
a
n
i
zed
.
3.
8.
Literary me
ans and
Dr
am
atics
Literary m
ean
s wh
ich are
wid
e
ly
u
s
ed in
th
e sc
ript a
r
e the
style of language
.
T
h
e
variety
of
rep
e
titio
n
i
n
this d
r
am
a scrip
t
is u
s
ed
as confirm
a
t
i
o
n
.
For
in
stan
ce
Gran
dfath
e
r:
You
k
n
o
w
m
e
, d
o
y
o
u not
?
From
m
y
chi
l
dho
o
d
I
ha
ve b
een he
re.
A y
o
u
n
g
a
g
e, i
s
i
t
not
?
Yo
u
k
n
o
w
w
h
at
I
ha
ve
been
d
o
i
n
g, i
s
n’t
i
t
?
(
K
a
u ken
al
p
a
dak
u,
b
u
ka
n
?
Sed
a
ri
keci
l
k
u
aku s
u
da
h
di
si
ni
. Se
dari
mu
da
, b
u
k
a
n
?
K
a
u t
a
hu
ap
a y
a
ng
ak
u
lakuk
a
n sem
ua, Buk
a
n? ..
.)
.
Th
e rep
e
titio
n
o
f
wo
rd
‘b
uk
an
’
in
grandfa
t
her’s dialogue
is to em
phasize the
app
r
oval
fr
om
t
h
e i
n
t
e
rl
ocut
o
r
of t
h
e cl
a
u
ses
an
d se
nt
ence
s
bei
n
g
del
i
v
ere
d
.
The
scri
pt
w
r
i
t
e
r a
ppa
rent
l
y
al
so
tried
to em
p
h
asize so
m
e
th
in
g
thro
ugh
th
e d
i
alogu
e
wh
i
c
h
has t
h
e sa
me ideas. T
h
i
s
can be
see
n
in t
h
e
fol
l
o
wi
n
g
exc
e
r
pt
:
A
wom
a
n:
“No
w
t
h
e
ol
d
m
a
n i
s
not
t
h
ere any
m
ore. He i
s
dea
d
. A
nd st
ay
m
o
squ
e
was
with
ou
t gu
ard
s
…”
(Kini kakek itu sudah tidak ada lagi. Ia su
dah meni
nggal. Dan
tingga
llah s
u
r
au itu tanpa
penj
ag
a
n
ya
. ..
.
)
.
One Wom
a
n:
“B
ut
t
h
e ol
d m
a
n i
s
not
t
h
e
r
e any
m
ore. H
e
was dea
d
.
A
nd t
h
e m
o
sque
st
ays
without gua
r
d
s
...” (
T
a
pi
kake
k i
t
u
s
u
d
a
h
t
i
d
ak
ad
a l
agi
sek
a
ra
n
g
.
I
a
s
u
da
h
meni
ng
g
a
l
.
Da
n t
i
n
g
gal
su
rau
i
t
u
ta
np
a p
e
n
j
agan
ya, ...)
.
The use
of sar
casm
l
a
ngua
ge
st
y
l
e
i
n
M
i
nang occ
u
r
r
ed i
n
d
i
al
ogue
s of
dra
m
a R
S
K whi
c
h hi
g
h
l
i
g
ht
s
the cha
r
acter
of the story. T
h
e
use of wo
r
d
bras
h
a
nd dest
i
t
ut
e
(
k
ura
n
g
aj
ar
a
nd
melar
a
t
)
is co
n
g
ru
en
t
to
th
e
r
oug
h lang
u
a
ge u
s
ed
i
n
th
e daily lif
e an
d
a
cl
ear i
n
di
cat
i
on
of
t
h
e l
o
w
l
e
vel
o
f
ec
o
nom
y
.
Sym
bol
i
s
m
as
use
d
by
scri
pt
wri
t
e
r can
be seen i
n
a st
agi
n
g i
n
st
r
u
ct
i
on i
n
t
h
e fo
rm
of st
ro
ng wi
nd
s
and t
h
u
nde
r
o
u
s
m
u
si
c. It
happe
ne
d w
h
en
Haji
Sal
e
h as
k
e
d by
t
h
e cha
r
i
t
y
t
o
po
or s
o
un
d. P
o
wer
f
ul
m
u
si
c
accom
p
anied by
wind rum
b
le
is
not a
good si
gn, a
sym
bol of
black m
a
gic or ba
d
om
en.
The em
pathy of the a
u
diences ev
oke
d
when t
h
ey read this fo
llowing dialogue.
Grandfat
her:
“Hop
efu
lly th
i
s
razo
r
wh
ich
I sh
arp
e
n
e
d
slit h
i
s th
ro
at” (
Mud
a
h
-
mu
daha
n p
i
sa
u cu
kur in
i, ya
ng
ku a
s
a
h
ta
ja
m-ta
j
a
m i
n
i, men
ggo
ro
k ten
ggo
ro
kann
ya
)
.
The c
h
arac
ter of
gra
n
dfat
her m
a
kes the
audie
n
ces si
gh when
im
agi
n
i
ng
hi
s sl
ashed
neck
wi
t
h
a kni
fe n
e
wl
y
shar
pene
d. It
dem
onst
r
at
es t
h
at
a sense o
f
em
pat
h
y
and
aesth
etic d
i
stance app
ears on
t
h
e au
d
i
en
ce
wh
en enjo
yin
g
t
h
is literary
work
.
As a literary work, the
play has
va
rious lessons that som
e
tim
e
s
the dialogue itself
can contain a
vari
et
y
of
gra
d
es. O
n
e of t
h
e
m
i
s
excerpt
ed
i
n
t
h
e fol
l
o
wi
ng
di
al
o
gue
. O
n
e
Wom
a
n:
“...
Wom
e
n who
r
un
out
Evaluation Warning : The document was created with Spire.PDF for Python.
I
J
ERE
I
S
SN
:
225
2-8
8
2
2
A
St
udy
of
St
ru
ct
ural
a
n
d
Pr
a
g
m
a
t
i
c
/
R
el
i
g
i
o
us an
d Mor
a
l
Val
u
es
i
n
Her
m
a
n
a
HMT
'
s
.
.
..
(
L
u
s
i
K
o
mal
a
Sari
)
21
1
o
f
f
i
r
e
wo
od
often
p
u
lled ou
t
w
a
llbo
a
rd f
l
oo
r at n
i
gh
t” (...
Perem
puan
ya
ng
kehab
isan ka
yu
ba
ka
r serin
g
menc
o
pot
i
p
a
p
a
n
di
ndi
n
g
l
a
n
t
ai
di
m
a
l
a
m
hari
)
.
Th
e d
i
al
o
g
u
e
im
p
lies th
at th
is
scrip
t
writer t
o
o
k
it u
pon
hi
m
s
el
f t
o
convey
t
h
e m
o
ral
i
n
st
ruct
i
o
n t
h
at
st
eal
i
ng i
s
not
g
o
o
d
.
Act
u
al
l
y
, wom
e
n are m
e
nt
i
oned
i
n
t
h
e
di
al
og
ue,
k
n
o
w
t
h
at
st
eal
i
n
g
i
s
pr
ohi
bi
t
e
d b
y
Go
d,
hence t
a
ki
n
g
t
h
e m
o
sque
wal
l
s
we
re
do
ne at
ni
ght
.
An ac
t
if k
nown
t
o
the g
e
n
e
ral pu
b
l
i
c
will attract a
m
o
ral p
u
n
i
shmen
t
. So
in
add
itio
n
to
b
e
ing ex
clud
ed
from so
cia
l
life, p
e
rp
et
rators
o
f
su
ch
acts
are also con
s
i
d
ered
low
b
y
the pu
b
lic
p
e
rsonality as a
m
o
ral pu
n
i
sh
m
e
n
t
.
3.
9.
Relig
io
us
Va
l
u
es in
RSK Dra
m
a
Script
As a
rep
r
ese
n
t
a
t
i
on
of t
h
e rea
l
wo
rl
d, t
h
i
s
d
r
am
a i
s
ful
l
of
r
e
l
i
g
i
ous
val
u
e
s
. Fr
om
pragm
a
t
i
c
poi
nt
of
view, it can be
adduced that this dr
am
a has a bi
g im
pact
in im
pro
v
i
n
g t
h
e social conditions
of the reli
gious
co
mm
u
n
ity. R
e
lig
io
u
s
v
a
lu
es in
th
is script are d
e
liv
ered
in
a
v
e
rtical (
h
abl
um
mi
n
a
l
l
a
h
) with
God
and
ho
ri
zo
nt
al
(
h
a
b
l
um
m
i
n
ann
as
) with m
a
n rel
a
tions
hip. Reli
gious
values
c
a
n be
seen i
n
t
h
e following s
p
eeche
s
.
Stage Direct
or:
“
fr
om
now o
n
i
t
i
s
bet
t
e
r we m
a
ke pr
ovi
si
o
n
f
o
r o
u
r
h
o
m
e
com
i
ng. In
or
d
e
r n
o
t
t
o
get
l
o
st
or
get
into
places
we do
not
like later...” (…
da
r
i
sekar
a
n
g
l
e
bi
h bai
k me
mpe
r
si
apk
a
n
bekal
kepul
an
g
a
n
ki
t
a
i
t
u
.
Aga
r
na
n
ti tid
a
k
tersesa
t a
t
au
ma
su
k ke tempa
t
yan
g
tidak kita
su
ka
i…).
Si
m
ilarly
Aj
o Sid
i: “He is p
e
n
s
iv
e
an
d
bow
s h
i
s head
. Th
e
h
eat o
f
th
e f
i
r
e
of
hell
su
dd
en
ly
b
l
o
w
s
to
th
e bo
dy
o
f
H
a
j
i
Saleh.
And
h
e
w
a
s
cr
yin
g
.
Bu
t ev
ery fl
owing
tears dried
by
the heat of fire”
.
(
Ia
term
enun
g dan
m
e
n
e
ku
rkan
kep
a
l
a
n
y
a
.
Ha
w
a
p
ana
s
api
ner
a
ka
t
i
b
a-t
i
b
a
men
g
h
e
m
b
u
s ke
t
u
bu
h
H
a
j
i
S
a
l
e
h.
D
a
n
i
a
me
na
n
g
i
s
. T
api
set
i
ap
ai
rm
at
a
n
y
a
me
ng
al
i
r
d
iisp
keri
n
g o
l
eh
h
a
w
a
pa
nas ap
i nera
ka
)
. The
di
al
o
gue
qu
ot
ed
i
s
rel
a
t
e
d t
o
t
h
e
bel
i
e
f i
n
t
h
e s
u
per
n
at
ural
realm
th
e life after
d
eath
.
For ex
am
p
l
e th
e
d
i
alo
g
u
e
i
n
vo
l
v
ing
Stag
e Directo
r
an
d
Aj
o
Sid
i
illu
strates th
is
b
e
lief su
ccin
c
tl
y.
Wh
ile th
e
Stag
e Di
r
ector i
n
troduces t
h
e
unce
r
tainty of
whe
r
e m
a
n wil
l
spe
n
d eternity, Ajo
Si
di
pai
n
t
s
a pi
ct
ure o
f
suf
f
eri
ng i
n
hel
l
fi
re
hence t
h
e
r
e i
s
need f
o
r go
o
d
l
i
f
e t
o
avoi
d b
e
i
ng t
h
r
o
wn i
n
t
o
hel
l
after th
e eart
h
ly life.
Religious
val
u
es according t
o
t
h
e tenets
of Isla
m
include belief in
God,
t
o
tal de
votion to God,
co
n
tinuo
us reme
m
b
ran
ce
o
f
Go
d, an
d abso
lu
te tru
s
t i
n
God
.
Th
e sing
l
e
m
o
st i
m
p
o
r
tan
t
b
e
lief in
Isla
m
,
an
d
argu
ab
ly th
e cen
t
ral th
em
e o
f
th
e
relig
ion
,
is th
at th
ere is on
ly on
e
Go
d to b
e
serv
ed
an
d
worsh
i
p
e
d
[12
]
,[1
3
]
.
These
religious val
u
es a
r
e
portrayed i
n
the
dram
a script
a
s
de
picted i
n
Gra
n
dfathe
r’s
characte
r
. T
h
e
y
can
be
seen
fr
om
t
h
e f
o
l
l
o
wi
ng
di
al
o
gue
.
G
r
an
dfat
her:
Yo
u k
n
o
w
m
e
d
o
y
o
u
not
?
F
r
om
m
y
chi
l
d
h
o
o
d
ha
ve
n’t
I been
here.
Yo
u k
n
o
w
what I
have
be
en doing, isn’t it
?
G
o
ddam
n
actions
?
Fr
om
the youth
... a
m
I not here
?
I
do
n
o
t
r
e
m
e
m
b
er
to
h
a
v
e
a
w
i
f
e
, h
a
v
e
ch
ildr
e
n, h
a
v
e
a f
a
m
ily
lik
e ev
er
yon
e
else, y
ou
know?
I do not think
of m
y
own life
.
I do not think abou
t tom
o
rrow,
because
I believe there is
a
Go
d m
e
rci
f
ul
and
g
r
aci
o
u
s t
o
pe
o
p
l
e
t
h
at
t
r
ust
hi
m
.
I get
up
earl
y
, I
pe
rf
orm
abl
u
t
i
o
n
.
I
beat the
drum
, every tim
e I wake
up. I
pra
i
se,
pr
aise h
i
m. H
i
s
bo
ok
I
r
e
ad
.
W
h
at is my
wrong
doing
?
But now I am
a cursed m
a
n.
(
K
a
u ke
nal
pa
dak
u
bu
ka
n
?
S
e
da
ri
keci
l
ak
u di
si
ni
.
Sed
a
r
i
mu
d
a
,
buk
a
n? K
a
u
t
a
h
u
a
p
a
y
a
n
g
aku l
a
k
u
ka
n se
mu
a,
b
u
ka
n
?
T
e
rkut
ukk
a
h pe
r
b
u
a
t
a
nk
u?
..
S
e
da
ri
m
u
d
a
ak
u
d
i
sin
i
bu
ka
n? Ta
k ku
ing
a
t
p
u
n
y
a
istri, pun
ya
an
a
k
, punya
kelua
rg
a
sep
e
rti o
r
a
n
g
la
i
n
,
ta
hu
?
Ta
k ku
p
i
kirkan
h
i
dupku
send
iri. …Ta
k
ku
p
i
kirkan
ha
ri eso
k
, ka
ren
a
a
k
u
ya
kin
Al
l
ah
i
t
u
a
da da
n pen
g
a
si
h peny
ay
an
g
ke
p
a
d
a
um
at
ny
a
y
a
n
g
t
a
w
a
k
a
l
.
A
k
u
b
a
n
g
u
n
pa
g
i
-
pa
gi
, ak
u
bers
uci
.
Aku
puk
ul
bed
u
k, m
e
m
b
an
g
unk
a set
i
a
p w
a
kt
u
.
Aku
puj
i
-
p
u
j
i
di
a.
Aku
bac
a ki
t
a
bN
y
a
.
Ap
a s
a
l
a
h
pek
e
rj
aa
nk
u.
Ta
pi
ki
ni
ak
u
di
kat
a
kan
m
a
nusi
a
t
e
rkut
uk)
.
Furt
herm
ore, a
not
her rel
e
va
nt
rel
i
g
i
ous
val
u
e whi
c
h t
h
e
dr
am
a shows i
s
t
h
e pract
i
ce o
f
pray
i
n
g t
o
Go
d. P
r
ay
er i
s
very
im
port
a
n
t
i
n
th
e life o
f
ev
ery relig
i
o
u
s
faith
fu
l as it is th
e ack
nowled
g
e
m
e
n
t
o
f
human
weak
ness a
nd
Go
ds
’ m
i
ght
and l
o
vi
n
g
ki
nd
ness.
Kerm
al
l
i
(20
1
4
) c
oncei
ves i
t
as t
h
e
m
o
st
effect
i
v
e
w
a
y
of
spi
r
i
t
u
al
m
i
grat
i
on t
o
war
d
s G
od a
n
d reac
hi
n
g
t
h
e exal
t
e
d p
o
si
t
i
on
of
Hi
s near
ness
[1
4]
.
M
a
n’s
rel
a
t
i
o
n
s
hi
p
with
Go
d is sho
w
n
and
pu
t into
p
r
actice, as
well as enh
a
nc
ed a
n
d i
n
t
e
nsi
f
i
e
d,
by
t
h
e
pra
y
er [
1
5]
. T
h
i
s
can
be
seen i
n
t
h
e fol
l
owi
ng
di
al
og
u
e
. Pray
er R
ead
er 1:
“O Go
d,
O Go
d ..
. pl
eas
e gi
ve us m
e
rcy
from
y
ou, f
o
r veri
l
y
th
ou
Giv
e
r”
(
Ya Alla
h, ya
Tuh
a
n
…
ka
ru
n
i
a
ilah
kep
ada
ka
m
i
ra
hma
t
da
ri
sisi En
gkau
,
ka
rena
sesun
ggu
hn
ya Eng
k
au
Maha
Pem
b
eri)
.
In the
sam
e
vein, Prayer R
eader 2: “
…
Y
o
u
gi
ve i
m
m
e
asura
b
l
e
sust
ena
n
ce t
o
wh
om
y
ou wa
nt
t
o
”
(
…
Eng
k
au
me
mber
ri
zky kep
ad
a ya
ng e
n
gka
u
ke
h
e
nd
aki
de
n
g
a
n
t
i
dak
terkira
)
.
It is a
religious obligation
for a
ll faithful to
pray
continually to
God. T
h
is
very im
portant pl
ace of
pray
er
i
s
decl
a
r
ed
by
G
o
d t
o
M
o
ses t
h
us:
“
A
n
d
I ha
ve c
h
o
s
en
you
, so
listen
to
that which
is in
sp
ired
to
yo
u.
Veri
l
y
, I
am
God
!
T
h
er
e i
s
n
one
w
o
rt
hy
o
f
wo
rs
hi
p
b
u
t
I,
so
wo
rs
hi
p M
e
an
d
of
fer
pr
ay
er pe
rf
ect
l
y
fo
r
My
r
e
m
e
m
b
r
a
n
ce.” (
Q
ur
an 20
:13-1
4
)
In
t
h
e
rel
a
t
i
ons
hi
p
bet
w
ee
n
h
u
m
a
n l
i
v
es (
hab
lum
m
i
n
ann
as
), t
h
ere
are
some d
i
alo
g
u
e
s t
h
at illu
strate
th
e relig
iou
s
lead
ers asso
ciated
with
th
e sh
aria v
a
lu
es. Con
s
id
er th
e fo
llo
wi
n
g
d
i
alogue. Stage Di
rector: “...
Evaluation Warning : The document was created with Spire.PDF for Python.
I
S
SN
:
2
252
-88
22
IJERE
Vol. 4, No. 4,
Decem
ber 2015 :
207 –
214
21
2
Well ...
weir
d… but once again I tender a
p
ologies”
(… Begini … eeeh.. tapi s
ekali lagi saya
menghaturkan
mo
h
on ma
af
)
.
Men: “Assalam
u
alaikum
... assalam
u
alaikum
... assalam
u
alaikum
.
Usually gra
n
dfat
her
happily received m
e
...” (
Ass
a
lamual
aikum …
assal
a
mu
alaikum… ass
a
l
a
mualaikum.
B
i
asany
a
kakek gembir
a
m
e
n
e
rima
keda
t
an
gan
ku
…). Th
e sp
eech
illu
strated
t
h
at the p
r
o
c
ed
ures
in
estab
lish
i
ng
b
r
o
t
h
e
rhoo
d
o
f
men
is
b
y
con
s
tan
tly ap
o
l
o
g
i
zing
wh
en
wrong
and
say h
e
llo
wh
en
t
h
ey m
e
t.
Greeting
in
an
y cu
lture h
e
l
p
s to
est
a
bl
i
s
h c
o
r
d
i
a
l
rel
a
t
i
ons
hi
p
bet
w
ee
n
peo
p
l
e
an
d
he
lp
in
th
e
b
u
ild
i
n
g
of tru
s
t amo
n
g
m
e
n
.
Rend
eri
n
g
ap
o
l
o
g
i
es is yet an
o
t
h
e
r
v
i
rtue th
at ev
ery ind
i
v
i
du
al sh
ou
l
d
cu
ltiv
ate as it h
e
lp
s t
o
h
e
l
p
s to
rem
o
v
e
hurts and
co
o
l
f
r
a
yed
n
e
rv
es t
h
er
eb
y r
e
du
cing
co
nf
licts.
3.
10
.
Discussion
Based
on the
research fi
ndi
ngs, it is clea
r t
h
at th
e scri
pt writer has
p
o
rt
ray
e
d
s
o
cio
-rel
i
giou
s
them
es
in
th
e dram
a.
Th
e series
o
f
cau
sality is d
e
v
e
lop
e
d
i
n
line with
th
e p
l
ot flash
b
a
ck
. Th
is dram
a scri
p
t
is
sup
p
o
rt
e
d
by
t
h
e M
i
na
ng
kaba
u c
u
l
t
u
re
as a
back
d
r
o
p
.
Fi
g
u
res
use
d
i
n
t
h
i
s
dram
a has
di
ve
rse
characte
r
izations, ranging from
the tr
u
l
y
o
b
e
d
i
en
t to
Allah
,
wh
o
care ab
ou
t th
e en
v
i
ron
m
en
t, ch
ild
ish,
insecure,
ha
ve
a great s
e
nse
of confide
n
ce, a
liar, to a
c
h
a
r
act
er t
h
at
i
s
cr
uel
.
Pac
k
a
g
i
n
g
t
echni
que
s di
a
l
og
ue
in this text ca
n be sai
d
to
be
uni
que
,
becaus
e
the dial
ogue
s contained in
this dram
a is a
b
le to
bri
ng
out the
characte
r
a
n
d the
bac
kground im
plied that this story
ta
kes
place in the
same tim
e
.
In
add
itio
n, the d
i
alo
g
u
e
s i
n
RSK dram
a are g
ood
and
h
i
gh
v
a
l
u
e at a time can
en
h
a
n
c
e th
e v
a
lu
e
of
th
e m
o
tio
n
.
Nev
e
rt
h
e
less, t
h
e
d
r
am
a is n
o
t
ri
ch
ly supp
or
ted b
y
a
v
a
riety of m
ean
s of literary an
d dramatics,
su
ch
as
u
s
e of
figu
res of sp
eech
that is
p
r
eci
se and
h
a
rm
o
n
i
o
u
s
(su
c
h
as:
rep
e
titio
n, m
e
t
o
n
y
m
y
,
A
s
yndeto
n,
ellip
sis, sarcasm
e
t
c.). Sim
i
l
a
rly, th
ere is
n
o
t
m
u
ch
, stag
ing
instru
ction
s
in th
e
drama scrip
t
. Th
i
s
im
p
lie
s
som
e
sym
bol
i
s
m
i
n
t
h
e f
o
rm
of
b
r
i
g
ht
l
i
ght
,
and
wi
nd
r
u
m
b
l
e
. M
o
re
o
v
er
d
i
al
ogue
s
used
f
i
shi
n
g em
pat
h
y
and
aesth
etic d
i
stan
ce for th
e audien
ce. Th
e com
b
in
atio
n
of t
h
ese elem
en
ts creates a sing
l
e
en
tity to
d
i
sclo
se th
e
rel
i
g
i
o
us si
de
o
f
t
h
e
pe
o
p
l
e
w
h
o
wa
nt
e
x
p
o
s
e
d a
u
t
h
or
.
Dram
ascrip
t RSK is
fu
ll
o
f
relig
io
u
s
v
a
l
u
es rang
in
g
fro
m
th
eo
log
y
, m
o
rals, and
sh
aria.
In
add
itio
n,
t
h
e uni
que
ness
of t
h
i
s
dram
a l
i
e
s
i
n
t
h
e val
u
es of rel
i
g
i
o
us ed
ucat
i
o
n con
v
ey
ed i
n
di
re
ct
l
y
. A l
ook a
t
t
h
e
fo
llowing
d
i
al
o
g
u
e
will sh
ow th
is m
o
re clearly. A
Wo
man
:
“No
w
th
e
o
l
d
m
a
n
is n
o
t
th
ere an
ym
o
r
e. He is
d
ead.
And
th
e m
o
sq
u
e
stays witho
u
t
g
u
a
rds. Now m
e
rely
po
rtrays an
i
m
p
r
essiv
e
p
i
ct
u
r
e
of a san
c
tity th
at
wo
ul
d c
o
l
l
a
pse
”
(
Kini kakek itu sudah ti
dak ada lagi
. Ia sudah
meninggal. Dan tingg
allah surau itu tanpa
penj
ag
a
n
ya
. S
ekar
a
n
g
h
a
n
y
a
ak
a
n
me
nj
u
m
p
a
i
g
a
m
b
a
r
a
n ya
n
g
me
n
g
e
s
an
ka
n s
uat
u
kesuci
a
n y
a
n
g
bak
al
ro
boh
)
.
It is stated
th
at th
e
m
o
sq
u
e
was left in
un
treated co
nd
ition
and it is v
e
ry alarmin
g
.
Im
p
licitl
y, th
is
speec
h s
h
ows
that
houses
of
wors
hip a
r
e
no longe
r
a
w
ake.
Th
is sign
ifies
a so
ciety who
s
e faith in
Go
d
is fast
weake
n
i
n
g a
s
a
res
u
l
t
o
f
t
h
e
p
a
ssi
ng
o
f
t
h
e
ol
der
ge
nerat
i
on
.
An
ot
he
r di
al
o
g
u
e al
so re
veal
ed an i
m
port
a
nt
m
e
ssage ab
out
rel
i
g
i
o
u
s
l
i
f
e. The i
m
port
a
nt
m
e
ssage
can
b
e
seen
in th
e fo
llowing ex
cerp
t
.
So
m
e
o
n
e
: “In
m
o
sq
u
e
.
He cu
t h
i
s th
ro
at
with
a razor”
(
Di s
u
rau
.
Ia
men
g
gor
ok l
e
h
e
rny
a
den
g
an
sebi
l
a
h pi
sa
u c
u
ku
r)
. Also, Voice: “In a country that
is always chaotic,
so that
y
ou a
n
d y
o
u
a
r
e al
way
s
fi
ght
i
n
g
,
was t
h
e re
s
u
l
t
o
f
l
a
n
d
ot
he
r
peo
p
l
e
wh
o t
o
o
k
i
t
not
?
”
(D
i n
e
g
e
ri ya
ng
sela
l
u
ka
cau itu
, h
i
ngg
a
kam
u
da
n
kam
u
sela
lu
b
e
rkelah
i, sed
ang
ha
sil ta
n
ahmu
o
r
ang
la
in
ya
ng
m
e
n
gam
b
ilnya
bu
kan?
)
.
Bot
h
di
al
og
ues
sho
w
t
h
e e
r
osi
on
of t
h
e
rel
i
g
i
ous
val
u
es i
n
hum
an
b
e
ing
s
. Su
icid
e is an
act th
at i
s
d
e
sp
icab
le b
e
cau
se life is sacred
an
d
b
e
long
s to
God
.
Su
i
c
id
e ou
t o
f
d
e
sp
air of
Go
d’
s m
e
rcy
or w
o
rl
dl
y
pr
o
b
l
e
m
s
i
s
st
ri
ct
l
y
fo
rbi
dde
n i
n
Is
l
a
m
and ot
her
r
e
l
i
g
i
ons
[1
6]
.
Thi
s
i
s
cl
earl
y
st
at
ed
in
th
e scrip
t
ures “An
d
do
no
t k
ill yo
ursel
v
es.
Surely
,
God
is M
o
st Mercifu
l
to you
.”
(Qu
r
an
4
:
29
). The
secon
d
d
i
alogue sho
w
s
u
n
g
r
atefu
l
attitu
d
e
.
A
ttitu
d
e
o
f
gratitu
d
e
fo
r favors sh
ou
ld b
e
sh
own
b
y
k
e
ep
i
n
g th
e
n
a
ture’s wealth
to
b
e
p
a
ssed d
o
wn
to
th
e
n
e
x
t
g
e
n
e
ra
tion
rath
er th
an
wan
t
o
n
ex
p
l
o
itatio
n
.
In
add
itio
n, th
e
script
writer in the l
o
ng run
appeale
d
t
o
t
h
e audience
t
o
al
way
s
be
on
t
h
e
pat
h
o
f
b
r
o
t
her
h
o
o
d
t
o
a
d
vance
societal peace.
Ultim
a
tely, the m
o
st im
portant esse
nce
of the e
n
tire
sc
ript of this
dra
m
a is firstly to teach true
relig
iou
s
faith
an
d th
en
to ensu
re its th
oro
ugh
b
e
lie
f. Relig
i
o
u
s
b
e
lief witho
u
t
un
d
e
rstandin
g
will bring
fu
tility
as d
o
n
e
by
g
r
a
n
d
f
at
he
r c
h
ara
c
t
e
r (
H
aji
Sal
e
h)
. H
u
m
a
ns ne
ed t
o
st
ri
ke
a
bal
a
nce
bet
w
e
e
n t
h
ei
r
wo
rl
dl
y
l
i
v
es
and their searc
h
for t
h
e eternal life,
because
the life
of t
h
e
world and t
h
e
herea
f
ter ca
nnot be
se
parate
d from
o
n
e
ano
t
h
e
r as
th
e gran
tin
g of
etern
a
l life is
dep
e
nd
en
t on
ones earth
ly life i
n
to
tality.
4.
C
O
N
C
L
U
S
ION
A
N
D
R
E
COMM
ENDATION
B
a
sed o
n
t
h
e
a
n
al
y
s
i
s
and
di
s
c
ussi
o
n
, i
t
ca
n
be co
ncl
ude
d
t
h
at
a u
n
i
t
e
d st
ruct
ure
of
dr
a
m
a R
S
K i
s
aim
e
d at
con
v
e
y
i
ng t
h
e
s
o
ci
al
-rel
i
g
i
o
us l
e
s
s
on
s. T
h
e l
e
ss
ons
w
h
i
c
h
can
be l
e
a
r
ne
d
fr
om
t
h
i
s
dram
a a
r
e
num
ero
u
s.
Par
a
m
ount
am
ong t
h
em
i
s
t
h
at
t
h
ere
i
s
no
p
o
i
n
t
fo
r as
ki
n
g
,
d
o
i
n
g
w
o
rs
hi
p,
a
n
d
su
rre
nde
ri
n
g
except God who
is
t
h
e reas
on for hum
a
n
existence. In
s
o
doi
n
g,
the m
o
sque
and ot
her places of wors
hip
sho
u
l
d
be
ke
pt
hol
y
a
nd cl
ea
n l
i
k
e
we w
o
ul
d kee
p
o
u
r
ow
n h
o
u
ses, a
s
t
h
e dest
r
u
ct
i
o
n o
f
m
o
sque;
t
e
m
p
l
e
o
r
Evaluation Warning : The document was created with Spire.PDF for Python.
I
J
ERE
I
S
SN
:
225
2-8
8
2
2
A
St
udy
of
St
ru
ct
ural
a
n
d
Pr
a
g
m
a
t
i
c
/
R
el
i
g
i
o
us an
d Mor
a
l
Val
u
es
i
n
Her
m
a
n
a
HMT
'
s
.
.
..
(
L
u
s
i
K
o
mal
a
Sari
)
21
3
chu
r
c
h
i
s
a
sy
m
bol
of t
h
e
de
st
ruct
i
o
n
of
t
h
e
fai
t
h
of
co
mmu
n
ity.
O
b
v
i
ou
sly th
e po
w
e
r
of
lif
e an
d death ar
e i
n
God
’
s h
a
nd
and
as su
ch
no
hu
m
a
n
is au
tho
r
ized
to
tak
e
own
life
no
m
a
t
t
er th
e situ
ation
on
e
find
s
h
i
m
s
e
l
f for
we
will all an
swer fo
r it b
e
fore th
e creat
o
r
an
d own
e
r of
life. Th
e
d
r
am
a re
m
i
n
d
s
all fait
h
f
u
l
o
f
th
e
ju
dg
m
e
n
t
day a
n
d enc
ourages all to live accordi
n
g to
the will
of God.
The
dram
a also
dra
w
s atte
ntion to the
fa
ct that
Go
ds
j
u
dgem
e
nt
pa
sses
h
u
m
a
n
reaso
n
i
n
g
a
n
d
l
o
gi
c f
o
r
hu
m
a
n ri
g
h
t
e
o
u
s
n
ess m
a
y
be
u
n
ri
ght
e
ous
be
f
o
re
t
h
e
u
lti
m
a
te j
u
dg
e
o
f
th
e
un
iv
erse.
Li
fe i
n
t
h
e w
o
rl
d an
d t
h
e
herea
f
t
e
r a
r
e
equal
l
y
i
m
por
t
a
nt
beca
use t
hos
e w
h
o
onl
y
conce
r
n
th
em
selv
es to
h
e
reafter life
with
ou
t
d
u
e
con
cern
for
worl
dl
y
l
i
f
e w
oul
d
have
l
a
b
o
u
r
ed
i
n
vai
n
as
was
t
h
e case
o
f
Gr
an
df
ath
e
r. A
t
all
ti
mes, p
e
op
le sh
ou
l
d
end
eavou
r
to
k
e
ep
a h
ealth
y b
r
o
t
h
e
r
hood
(u
khu
w
ah
)
with
in
society becaus
e
hum
an being belongs
to s
o
cial comm
unity. Praise to Go
d for e
v
ery
a
m
enity we have by
u
s
ing
wisely an
d
k
e
ep
ing
ou
r n
a
tu
ral
resources for co
m
i
n
g
g
e
n
e
ration
s
. In
add
itio
n, prag
m
a
t
i
c v
i
ew rev
eals
th
at th
e p
l
ay RSK is lad
e
n with
relig
ious v
a
lu
es, in
clu
d
i
n
g
;
Creed
(
aq
idah
) th
at
in
clu
d
e
s th
e valu
e of
m
onot
hei
s
m
and
bel
i
e
ve i
n
t
h
e su
pe
rnat
ura
l
realm
;
Shari
a
(
syari
a
h
) re
fe
rs to the
value
of lo
ve f
o
r h
u
m
anity
t
h
at
i
s
li
vi
ng i
n
harm
ony
wi
t
h
pe
opl
e an
d C
h
aract
er (
ak
h
l
ak
), w
h
i
c
h i
n
cl
udes m
o
ral
s
t
o
Go
d (
w
o
r
s
h
i
ppi
n
g
,
p
r
aying
,
and
pu
ttin
g
on
es ab
so
lu
te tru
s
t i
n
Go
d), and
t
h
e
v
a
lu
e of
resp
ectfu
ln
ess (
al
-
hay
a
).
Based
on
th
ese co
n
c
lusion
s, it is reco
mmen
d
e
d
th
at
relig
ious literary wo
rks su
ch
as drama RSK n
o
t
only can be used as
m
a
terials
in teach
ing Indonesia langua
ge and literature
but also can
be use
d
as
m
a
t
e
rials
in teaching Isla
m
i
c religion
values as
well
as healthy egalita
rian living in society. Sc
hools a
nd c
o
lleges i
n
In
d
onesi
a a
nd
bey
o
nd a
r
e en
cou
r
a
g
ed t
o
a
d
opt
t
h
e
dram
a
as part of thei
r curricul
um
to hel
p
inculcat
e the
i
nhe
rent
rel
i
g
i
o
us a
n
d m
o
ral
l
e
sso
ns i
n
t
o
t
h
e
y
out
h
f
o
r
a
bet
t
e
r s
o
ci
et
y
.
REFERE
NC
ES
[1]
R. Wellek, A.
Warren, “Theor
y
of
Li
terature”, New York, A Harvest Book Ha
r
c
ourt, Br
ace &
World, Inc. Yamin,
1989
[2]
Anneahira, “Das
ar-dasar
Pengertian Sastra”,
2013
. Retrieved f
r
om http
://www.Anneahir
a.com.
[3]
MA. Semi, “Metode Penelitian
Sastra”, B
a
ndung, Angkasa, 1993.
[4]
RB. Slametmuld
jana, “Bimbingan Seni Sa
str
a
”, J
a
karta, J.B. Wolters, 1951
.
[5]
HG. Tar
i
gan, “Prinsip-prinsip Dasa
r Sastra”, B
a
n
dung, Angkasa,
2011
[6]
EW. Trumbull,
“North Virginia Community
Co
lleg
e”,
In
troduction to Theater
Online Course,
2008. Retrieved
September 28
, 2
015 from http://novaonlin
e.nvcc.edu/eli/spd130e
t/play
p
lot.htm.
[7]
A. Hardj
a
na, “Kritik
Sastra:
Seb
u
ah
Pengan
t
ar
”,
Jakarta, Gram
ed
ia, 1981.
[8]
MA. Semi, “Kritik Sastra”,
Band
ung, Angkasa, 2
013.
[9]
H. Kridalaksana, “Kamus Linguis
tik”, Jakar
t
a, Gr
amedia, 1993.
[10]
M. Riski, “Ran
gkuman Pelajar
a
n Se
kolah”, 2
009. Retriev
e
d
on July
20, 20
10 from http://www.ziddu.com
/
download/34973
31/MAJAS.doc.html.
[11]
SI. Lathief, “Sastra: Eksistensi
alisme – Mistisisme Religius”,
Lamongan, Pustak
a I
l
alang, 2008.
[12]
Anon
y
m
ous, “Islamic b
e
liefs”, 2
015.
Retrieved
November 7, 20
15 from
www.religionfacts.com
/islam/beliefs.
[13]
IK. Mufti, “Core Values of Islam”,
2015. Retriev
e
d
November 7, 2015 fr
o
m
http://www.islamreligion.com/ar
ticles/10256/cor
e
-valu
e
s-of-islam.
[14]
J. Kerm
alli
,
“Concentrat
ion
in Pray
er
”, 2014.
Retri
e
ved Novem
b
er
7, 2015 fr
om
http://ww
w
.al-
islam
.
org/con
c
e
n
tration
-
in-pra
ye
r-jam
eel-k
erm
a
ll
i.
[15]
J. Zar
a
bozo, “The Importance of
Pray
er
”, 2015
. Retr
iev
e
d
November 7, 2015
from
http://www.islamreligion.com/ar
ticles/2870/importance-of-pray
e
r/
[16]
A. Stacey
, “Despair and
Suicide in
Islam”, The Religion
of
Islam,
2013. Retriev
e
d November 7, 2015
fro
m
http://www.islamreligion.com/article
s/10370/d
e
spair-and-suicid
e-in-islam/.
BIOGRAP
HI
ES OF
AUTH
ORS
Lusi Komala Sari is a lecturer o
f
language
a
nd liter
a
ture
at the
Sultan S
y
arif Kasim State
Islamic University
Riau
. Presen
tly
,
she
is docto
r
a
l student
at the Gra
duate School,
Univers
ity
of Education In
donesia, speci
ali
z
ing in
Indonesi
a Langu
age and
Lit
e
ratu
re. In addition, sh
e
was incorporated into
the Indon
esian
Teachers
Association for
Foreign Speak
er
s (APBIPA)
Indonesia over
the last 2
y
e
ars.
Within this per
i
o
d
she has been
activ
ely
invo
lved
in teaching
Indonesian lang
uage to in
tern
at
ional studen
t
s.
Her resear
ch in
terests ar
e in th
e areas of
linguistics,
literature, and
learnin
g
.
Evaluation Warning : The document was created with Spire.PDF for Python.
I
S
SN
:
2
252
-88
22
IJERE
Vol. 4, No. 4,
Decem
ber 2015 :
207 –
214
21
4
Bede B
l
aise Ch
ukwun
y
e
r
e
Onwuagboke
is a lect
urer
in th
e Dep
a
rtment of
Curriculum an
d
Instruction
Alvan Ikoku Univers
i
ty
of
Educa
tion
Owerri, Nigeria. Curr
ently
, h
e
is a PhD
Candidat
e
in Ed
ucat
ional T
echn
o
log
y
at the Sch
ool of Educa
tion
a
l Studies, Univ
ersiti Sain
s
Mala
y
s
ia
; His research
inter
e
st
is in the int
e
g
r
ation of Infor
m
ation and co
m
m
unication
techno
log
y
(IC
T) in t
each
er e
ducat
ion progra
m
m
e
with s
p
ecial in
ter
e
s
t
in
Art tea
c
her
education progr
amme. He is a member of
Nation
a
l Association of Educatio
nal Media
Techno
logis
t
s
(
NAEM
T
) Nigeria and
a r
e
gis
t
e
r
ed and
lic
enc
e
d
tea
c
her wi
th t
h
e Te
ach
ers
Registration Cou
n
cil of Nig
e
ria (
T
RCN) with ov
er 20
y
e
ars of
teacher
education
experien
ce.
Evaluation Warning : The document was created with Spire.PDF for Python.