1. RELIGIOUSITY IN ACEP ZAM-ZAM NOOR’S TRASIMENO FOR DEEP
CONTEMPLATION
There are various types of poetry that the famous writers are already been
participating on it. The history of literary wrting had been begun since of the
ancient time before the age of the masehi to the present and of course the themes
being discussed were differents all the time depending upon the issues the period
of time blowed up.
There are many famous isuues written in the history of literature known that
colorng the writing type of literature that they are slavery, feminism, kingdom,
religiousity, the destroyment after word war and etc.
Some of the famous writers are edgar allan poe, shakespeare, william wordsworth,
etc.
William wordsworth was wellknown as the famous writer concerning in the nature.
Most of his works are telling the significance of nature that can help people to
“cure” the social suffering. Of course in the life of modernity, as wordsworth hiam
self experienced, the urban life stressed the life of its people and colored also by
many social diseases that people at last need the “medicine” to make it well treaten.
There are terms that wordsworth give to the literary theory about the literature.
The terms are feeling, movement, nature, common life, and coloring imagination.
For wordsworth, every literature should include the unsure of feeling that the
works of literature should not only give the logical words that make the readers
swung but indeed to make it valuable.
Basically, the works of literature should give the effect or movement to the readers
and change the situation where the readers or the works itself being read.
Trasimeno is one of acep zam-zam noor’s poem that has close relationship to the
princip hold by wordworth. Shortly it is telling one person that is doing the prayer
and enjoying the beauty of nature. But, once again, according to him, a works
should not only give the beauty of words but also able to make the readers swung
and have an intend to do the righteous deed for that feeling. Here by we would like
to analyze it.
Feeling
Wordsworth said in the preface to the secondpohon edition of lyrical ballads
“feeling becomes the real basic of imagination, which is the power to grasp mature
in its totality and to order one’s experience.”
In the first stanza, Acep writes :

2. Sebuah danau
Hamparan sajadah biru
Adalah ketenangan tiada tara
Angin dan kabut, barisan pohon cemara
Bukit-bukit menggeraikan rambutnya
Di bawah langit merah padam
In the first line, the word “danau” is combined with the word “sajadah” that it
seems the author would like to explore the meaning of the danau deeper. Danau as
translated to english lake could be understood as sum of waters in certain place.
But when the word combined with sajadah, it can be understood in the other
perspective. It seems that acep define the “danau” as sajadah that danau is the
place for praying as it is the definition for sajadah. it can be seen that acep has the
deep imagination that it perhpas has the relation to his past as quoted by
wordsworth :
“for our continued influxes of feeling are modified and directed by our
thoughts, which are indeed the representatives of all our past feelings; and, as by
contemplating the relation of these general representatives to each other.”
It is can be seen that may be acep had the memory with the beauty of the danau
and the open air. Further acep describes the silentness of the lake that it is
surrounded by the hills and the red sky.
It is the description technique given by acep to make the condition that he is fond
of the condition to be like that. If it is looked further, it seems that he would like to
make a prayer. As it is known the good condition to do the prayer is to have the
silent and “khusyu” condition. The silent of the lake and surrounded by the hills
that are charming imagining the reader that it is the suit condition to do the prayer.
It is such the metaphor given by acep that by the words like “danau”, sajadah,
angin, bukit, langit make the imagination that give the good feelings either to acep
or to the readers.