Masuri S. N. (1927-2005)
CRITICAL INTRODUCTION
Masuri S. N.: A genius ahead of his time
Written by Liyana Sulaiman
Dated 26 Mar 2018
Brief Biography
Masuri bin Salikun has been widely regarded as the father of modern Malay poetry in Singapore. Born on 11 June 1927, Masuri led a carefree childhood but also witnessed the hardships of people around him. These formative experiences moulded him into a brave, disciplined and dedicated man who empathised with the less privileged.
Masuri was formally educated at Telok Kurau Malay School. Being exceptionally bright, he excelled in his studies, and was interested in reading and writing. Driven to uphold the status of the Malay language, and concerned for the continued progress of his community, Masuri became a teacher, and co-founded “Angkatan Sasterawan 50” (“The Singapore Malay Writers’ Movement 50”), or “ASAS ’50”. Despite being a prolific author, Masuri was a humble man who loved his community and country. He left behind a great legacy, which continues to influence the Malay literary scene to this day.
The Patriotic Poet
The Japanese Occupation, which is often regarded as the darkest period in Singapore’s history, is a painful and sensitive memory for Pioneer-generation Singaporeans. It is almost impossible to erase the atrocities of this period from the literary works of the writers who had lived through it. Masuri is no exception—but though he was critical of the Japanese, he also sought to stoke the patriotism and consciousness of his people by reminding them of their attitude towards the British before the Japanese Occupation:
kalau tidak, orang kita menganggap Inggeris seperti ‘tuhan’ yang menjadi tempat mereka bergantung nasib
[otherwise, our people would think the English as Gods whom we depend on for our fate]
Masuri understood that the Malay community’s high regard for their British colonisers impeded their own progress. Therefore, when Singapore fell to the Japanese, Masuri felt that they could reverse the British’s manipulation and degradation of the Malay community. This gave Masuri hope—a hope that envisioned the independence of his nation.
Bunga Sakura
Baik di gunung, di kampung, di tanah lapang
Sayup hingga penghabisan mata memandang
Bunga Sakura makmur berkembang
Jadi lambang semangat berjuangAh! Sukmaku ragu tertanya-tanya
Apakah tak salah penglihatan
Kabuskah atau awan
Lantaran kembang mekar
Bak kapas dibusarDisinari matahari pagi
Indah berseri menawan hati
Ah! Bunga Sakura pujaan perwira
Berkembangan semerbak ke mana-mana[Sakura Blossom
Whether in the mountain, in the kampong, in open land
Faint until the very last the eye beholds
Sakura Blossom flourishes, flowers
Becomes an emblem of fighting spiritAh! My own soul, doubting, asks and asks
Whether vision might not be false
Haze or cloud
Because flowers bloom
Like cotton ginningIlluminated by morning sun
Beautious radiance seizes the heart
Ah! Sakura Blossom, idol, hero
Effloresce fragrance everywhere]
“Bunga Sakura” was one of Masuri’s earliest poems. It was published on 5 September 1944, together with “Ros Kupuja” in Berita Malai during the Japanese Occupation. Despite the controversy surrounding these poems (Masuri was said to be a spy who supported the Japanese Occupation), it is important to understand the conditions that he was writing under. At the time, Masuri had been informed that his previous submissions were rejected because of its overtly anti-Japanese messages. In response, he changed his approach, cleverly deploying symbolism to convey that the Japanese had inspired a sense of patriotism and a willingness to fight for one’s own country. These themes are also found in other written works, such as “Perajurit Negara” (Soldier of the Nation):
Perajurit Negara
Berbaris berjejar hebat bergaya
Pergi bertempur penut darurat
Menyerah raga dengan sukarela
Mencipta bahagia ‘Asia Raya’Dengan semangat yang bernyala-nyala
Tujuan hati tetaplah satu
Menghancurleburkan bangsa penganiaynya
Pihak Sekutu dirangkum tentuBerjuang, berjuanglah ‘Perajurit Negara’
Tunjukkan keperwiraan bangsa Asia
Sanggup membela, turut bertempur
Haram menyerah tak pernah undurJangan bimbang, janganlah walang
Teruskan menggempur pihak Sekutu
Bunga pujaanmu mekar berkembang
Menanti pulangmu sarat merindu[Soldier of the Nation
Form up in mighty stylish rows
Go to battle thick with crisis
Surrender your body willingly
Create a joyful ‘Great Asia’With a spirit fiery aflame
Heart’s aim unwavering, one,
Annihilate the race of oppressors
Side the Ally in resolute embraceFight, go fight, Soldier of the Nation
Display heroism to the races of Asia
Prepare to avenge, join the battle
Never surrender, do not ever withdrawCease worry, yes cease shrilly
Keep blitzing at the Ally’s side
Your adoration blossoms, blooms, flowers
I await your return laden with yearning]
Here, Masuri calls for his people to be united and to fight against the ones in power who were not bringing any good to the masses. Known for his interesting and clever wordplay, anyone who reads Masuri’s poems would be intrigued to discover the meaning and significance behind his ideas, as his poems allow for multiple interpretations.
The Voice of his Community
As someone who always made himself present within the community, Masuri felt the need to write for his people. Masuri wrote with purpose. His intentions were always towards bettering society—whether it was to make people aware of the problems plaguing the community, or to motivate Malays to stand up and progress as a community. He was the voice in his community who was deeply concerned with the development of the Malays. But Masuri was not a selfish man. Injustices or issues that affected the political, economic, and social conditions of the masses—regardless of ethnicity or religious background—would similarly compel Masuri to critically express his views and thoughts through his writing. He strongly believed that everyone deserved to be respected and treated fairly regardless of their social status. Masuri was a visionary humanist.
Masuri would critically comment on sensitive issues through his writings. For instance, in “Melantik Sendiri,” he criticises the greed for power by pointing out that when amassing wealth is the only concern of leaders, the well-being of society is neglected:
Melantik Sendiri
Itu sudah jadi biasa
apabila seorang melantik sendiri
dirinya pemimpin bangsa
padahal koceknya berbonjolan
dengan dinar titik peluh
helahnya seorang yang telah terpedayaDi dini tidak ada kasihan
sebab ini bukan suatu kesilapan
ini suatu pembelotan
menjualkan maruah bukam dirimu seorangmelainkan seluruh anak watan
sehingga tidak bercorak[Self Appointment
It’s already become banal
when one self-appoints
himself leader of a nation
though his pockets bulge
with dollars, sweat drops
his trick: one who’s already fooledIt’s pitiless in the early hours
because this is not an error
this is a betrayal
dignity is not yours alone to peddlenot unless every citizen
is sandpapered]
Masuri also empathised with the less privileged, especially the marginalised. In “Pandanglah Kami,” he sought to raise awareness of the manual labourers who worked hard in undesirable conditions in order to make ends meet. Masuri observed that the hard work of labourers were taken for granted by the more privileged members of society, even though their labour made the provision of rice, bread, or cloth possible for these people. This urged him to write poems to raise awareness amongst those who were living comfortably to appreciate the efforts of these labourers.
Spiritual Reflection as Inspiration
Masuri also used poetry to document his spiritual journey and reflections. He had brought these themes into this poems, especially as he was nearing old age. There are many unpublished poems that are about spirituality and Islam, and these contain valuable lessons, advice, and can be a source of inspiration for others. Through these later poems, Masuri showed how religion requires a balance between self and community. Spirituality was not only a private affair, but also involved maintaining good relations within the community, as can be seen in “Bicara”:
Bicara
Bicara yang baik-baik saja
kerana yang tidak baik
bukan bicara, melainkan
umpan marah, angkara murka
lupa meruah
merenggut segala hak
dan milik orang yang dilanda
bicara bisa jadi apa
yang disangka tidak apa-apa;
tahu-tahu ada yang terbunuh
kerana bicaranya sebutir peluru
dan otaknya tembus
dimakan besi berdebuberkata-katalah
mengeluarkan bicara
untuk keperluan bukan kepunahan
sementara boleh bernafas
agar tidak disalah mengertikan
jauh dari perselisihan
hidup antara insan
yang tiada pernah tenang
Masuri’s Legacy
Masuri’s passion and his love for his country and community motivated him to write, criticise and inspire others through his works. His works urge his readers to possess the right moral compass in whatever situation that confronted them. As in the Malay proverb, “harimau mati meninggalkan belang, manusia mati meninggalkan nama,” Masuri’s contributions to Singapore’s literary scene continues to inspire others.
Works cited
Mohamed Abdul Aziz, Mohamed Pitchay Gani. Di sebalik tabir Masuri S.N.: biografi dan karya pilihan yang belum tersiar.Singapore: Bizmedia Publishing, 2015.
Suratman Markasan. Tiga warna bertemu: antologi puisi penulis-penulis Singapura / diselenggarakan oleh Suratman Markasan. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia, 1987.
Masuri S.N.. Puisi-puisi pilihan Masuri S.N. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia. 1989.
—Mimpi panjang seorang penyair. Kuala Lumpur: Dewan Bahasa dan Pustaka, Kementerian Pendidikan Malaysia. 1995.
“Contributor”. Words Without Borders. October 2016. Web. 24 March 2018.
“Masuri bin Salikun”. Singapore Infopedia. 2005. Web. 24 March 2018.
