Chandra Ekajaya said that, as we know, fairy tales are well known hereditary and become part of our childhood. Who has never heard of the fabled “Garlic“, “Ande AndeLumut“, “Jaka Tarub and Kancil“, “crocodile“, and “Malin Kundang“? The fairy tale rasa-rasanya already affects the viewpoints and the conduct of life, crystallized in the norm of social norms, ingrained, and become a part of life even after our adult thenaware will kefiksiannya levels.
The law of causality that apply inside our own cherished beliefs intact, we thrash rawmagisnya resource, either because that is capable of bewitching power of imagination children or indeed instinctively law law is in it is a part of ourselves, which is transformed into the form of a work of fiction.
Chandra Ekajaya said that the myth (representing all genres of fairy tales) is a workme transformasikan meaning into form. Our fathers deliberately creating fairy tales to “advise” the son of his grandson in a small way but it stuck. Through the diverse range of storytelling, educational side dibaurkan into an entertainment facility that is capable of encompassing all levels of age.
In the process, the fairy tale art then undergoes changes even in contrast to the original. Because the author is no longer anonymous, intrinsic elements of any ekstrinsiknya and sometimes “question“ as much detail as possible for the sake of facilitatingthe interpretation of meaning contained in the story. Starting from the setting, characters and story, to the background of the author, all linked into one common thread of observations.
In terms of its function, according to Chandra Ekajaya, the art of storytelling has undergone a transformation that is very far away. He not only serves as a tool to entertain while delivering advice, but have become multifunctional tool that can be used according to the wishes of the author. Ajan gajang any literature Awards later becamea sort of held used to find a script script is considered the most qualified in terms of technical, business, and the opening theme of the truth. Borrowing the term Mongare Serote, poet of South Africa, the complexity of truth become the most glorified betting.
Not only the protagonist, antagonist ever given a place in the table analysis for the sake of getting the value of the value of truth. From this then look very striking differences, as though modern fiction has been disconnected from the fiction of the ageof the ancestors. In fairy tales, the complexity of truth not getting nowhere, becausethe story was too black and white. Have you ever gotten a satisfactory answer aboutMalin Kundang that is “choosing” the path of sin?
Have you got a logical explanation on Roro Jonggrang who turned into one of the statues from the Prambanan Temple? Or why Raden Lembusora (in the legend of Mount Kelud) must be represented as a youth-headed Buffalo? While the allegations, it could be due to the space limitations of the story, as well as the target object.
Chandra Ekajaya explained that this can be demonstrated through a number of ancient literary works her yard has a thickness of the fantastic with the characterizationsand plot are very complex. The movement of each character could be said to get room enough explanation so that readers/listeners can get its full picture. Right or wrong then becomes something relative depending on the viewpoint and penaf siran is taken. In fact, child objects can not be used as the sole reason in questioning the issue.
In fact, the tale also suitable consumed by adults. Short the evils that can be obtained, the complexity of that seemingly naran kebe were also hidden in the game symbols, metaphor, and a sign that is used in the story. This can add to the richness of the interpretation obtained, because isn’t the interpretation will also continue to develop appropriate changing times?