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2 patrap ingkang nyengsemaken, 3 kagungan swanten ingkang sae, 4 nguaosi basa lan sastra, 5 kagungan kawruh ingkang cekap, 6 kagungan kapribadhen ingkang sae,
and 7 kebak raos pitados dhiri. In terms of sarira jangkep physically normal, Mr. Sudiono is handsome,
representing a typical Javanese man without physical defects. He performed interestingly patrap ingkang nyengsemaken, and his voice is, as previously described, a duplicate of
Ki Nartosabdo kagungan swanten ingkang saé. Furthermore, viewed from the language use, he must be linguistically and literarily knowledgeable nguaosi basa lan sastra with
thorough mastery of wedding ins and outs kagungan kawruh ingkang cekap. His overall performance also indicated that he had a good personality kagungan kapribadhen
ingkang sae and was of high self-confidence kebak raos pitados dhiri
4.3 Communicative Purposes of Pranatacara Genre
Upon justifying that the Pranatacara Mr. Sudiono performed his job professionally in terms of physical appearance, self confidence, and oral performance, I
have a very strong ground to argue that has has met the requiremtns as a good Pranatacara. At the same time, the discussion in 4.2 functions as a prelude to the next
investigation.
Therefore, below, I would like to identify the communicative purposes of what
he was saying in response to sub research question 1 stated in 21.
4.3.1 Opening
The opening text of the Pranatacara is quoted below.
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Kawulo nuwun sagung para tamu ingkang tansah sinugoto ing pangurmatan. Mugi rahayu soho sih wilasaning gusti kang maha
asih tansah tumedhak, tumandhuk jiwo ksaliro dumateng kulo lan panjengean sedoyo. Nuwun injih kanthi asta tumadah
nyenyadang, lumunturing berkah sangking Gusti ingkang Maha Mirah. Mugi tansah rumentah sarta lumarambah sagung titah,
Satemah sami amangun bungah, awit katarimah sedyaning manah ngantos dumugi putra wayah Recorded corpus data.
Excuse me, distinguished guests, ladies and gentlemen, may the blessings of God the Merciful be upon us, me and you all. Humbly
do I request that the blessings of God the Merciful be bestowed on people on earth in order to achieve everlasting happiness up to the
next and next generation.
The purpose of the opening text is to attract the attention of the audience that the reception is about to commence. The conventionalized phrase of Kawulo nuwun Excuse
me is normally used to attract the attention of the audience. Some other conventionalized phrases for this communicative purpose are tabulated as follows:
Table 4-4 Opening Phrases
No. Phrase English
Equivalence
1 Kawula nuwun
Excuse me, 2
Para rawuh, Ladies and gentlemen,
3 Nuwun keparenga kawula
ngempil kamardekan panjenengan sami anggenipun
nembe pangandikan. Could I please have your freedom of
conversation with each other?
4 Nuwun kawigatosanipun para
rawuh, Let me have your attention, please.
5 Kepareng matur dumateng
para rawuh Let me say something, ladies and gentlemen,
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Observed from the English equivalence in Table 4-3 above, it seems that they are not normally used in English but such phrases are quite acceptable in Javanese speech in
order to have the attention of the audience. The opening part of Mr. Sudiono’s text has three elements, such as 1 having
the attention of the audience, 2 expecting the blessings of God for himself and the audience, and 3 inviting the audience to join his prayer in expectation of the blessings
of God for others, as can be seen in the following table.
Table 4-5 Elements of the Opening part No
Utterance Communicative purpose
1 Kawulo nuwun sagung
para tamu ingkang tansah sinugoto ing
pangurmatan, To attract the attention of the audience that the
reception is about to commence.
2 Mugi rahayu soho sih
wilasaning gusti kang maha asih tansah
tumedhak, tumandhuk jiwo ksaliro dumateng
kulo lan panjengean sedoyo
To expect the blessings of God for himself and the audience
3 Nuwun injih kanthi asta
tumadah nyenyadang, lumunturing berkah
sangking Gusti ingkang Maha Mirah mugi tansah
rumentah sarta lumarambah sagung titah,
setemah sami amangun bungah, awit katarimah
sedyaning manah ngantos dumugi putra wayah
To invite the audience to join his prayer in expectation of the blessings of God for others on
earth.
Table 4-4 above indicates that the communication occurred between the Pranatacara and the audience. But, it should be noted that it was a monologue. Thus,
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no linguistic reaction on the part of the audience was expected. The audience were supposed to pay attention to what the Pranatacara said.
In
APPRAISAL
system which deals with the interpersonal meaning as one of the language metafunctions, the Pranatacara employed ‘positive’
JUDGEMENT
over the audience as his
ATTITUDES.
It can be seen from the use of attributes which qualify the audience, such as shown in the following table.
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Table 4-6
ATTITUDES
of the Pranatacara upon the Audience
No Attribute Type
Headword Attribute Type
1 Sagung
All of , Positive
Para tamu guests
kula I lan and
panjengean sedaya
you all ingkang
tansah sinugata ing
pakurmatan,
who are highly
respected Positive
2 Mugi rahayu
soho sih wilasaning Gusti kang maha
asih tansah tumedhak,
tumandhuk jiwo ksaliro dumateng
Hoping the love of God the Merciful to
always come down upon
-
3 - Gusti God
kang maha asih
the Merciful
Positive
4 -
Gusti God kang maha
mirah the
Generous Positive
5 -
titah people Bingah
happy Positive
6 - putra wayah
children and grand
children
By employment of positive attributes towards the audience, the Pranatacara assumed the interpersonal relationship between him and the audience would developed
positively. As a result, the audience would feel pleased and elegent to stay until the reception was over.
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As a rhetorician, at least in this opening stage, the Pranatacara employed one of the rhetorical strategies of literary type termed as ‘assonance’ namely he repeated the
same sound in words close to each other as in ‘lumarambah sagung titah, setemah sami amangun bungah, awit katarimah sedyaning manah ngantos dumugi putra wayah.
After the opening stage which was mainly aimed at developing the personal rapport between the audience and the Pranatacara and praising God the Almighty for
His Blessings for which it was expected that the reception would run smoothly in accordance with the carefully-planned items, the Pranatacara went on itemizing what
would come next and after, such as quoted below: Kawula nuwun, para tamu ingkang satuhu bagya mulya. Nuwun
injih sarwi angungak liwaraning suasana angesti luhuring susila, linambaran lumiting basa, sarta endah miwah edining budaya,
keparenga kulo ingkang minangka jejering pambiyo woro badhe hangaturaken tata urut reruncening adi cara ingkang sampun
rinakit sarta tinoto ing rahino punika.
The conventional phrase ‘Kawula nuwun’ Excuse me, functions as a generic marker to start something. The next phrase ‘para tamu ingkang satuhu bagya mulya’ is to
address the audience para tamu and to qualify them with positive attitude ‘ingkang satuhu bagya mulya’ who are really happy and elegent.
The phrase ‘Nuwun injih’ is similar in function with the English phrase ‘in this respect’ and thus normally followed by new information. However, the Pranatacara
started to supply the new information by first putting himself under the audience’s shoes. He said ‘sarwi angungak liwaraning suasana angesti luhuring susila’ with regard to the
context of fully-formal and elegent situation and ‘linambaran lumiting basa, sarta endah miwah edining budaya’ based on the beauty of language, and the grace of culture. All
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of these phrases functions as a point of departure Theme, which was then followed by the Rheme, namely ‘keparenga kulo ingkang minangka jejering pambiyo woro badhe
hangaturaken tata urut reruncening adi cara ingkang sampun rinakit sarta tinoto ing rahino punika’ I, as the master of ceremony, would like to itemize the stages of
activities that have been well-organized for today’s reception. Thus, in terms of the thematic structure, the above sentence can be represented
below:
Table 4-7 The Thematic Structure 1
No. Theme Rheme
1 Kawula nuwun,
para tamu ingkang satuhu bagya mulya
2 Nuwun injih sarwi
angungak liwaraning suasana angesti luhuring
susila, linambaran lumiting basa, sarta endah
miwah edining budaya, Keparenga kulo ingkang minangka jejering
pambiyo woro badhe hangaturaken tata urut reruncening adi cara ingkang sampun rinakit sarta
tinoto ing rahino punika’
The Theme here, as Halliday 1994 suggests, functions as a point of departure prior to the real new information that one is going to give. In other words, Theme may be
called an introductory remark to which the new information is related. The Theme ‘Kawula nuwun,’ will attract the hearers or in this respect, the audience, who will than
wait for the new information. It happens that the Rheme is para tamu ingkang satuhu bagya mulya, a kind of device to develop interpersonal relation— functioning as a
hyperTheme for the rest.
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Similarly, the Theme ‘Nuwun injih sarwi angungak liwaraning suasana angesti luhuring susila, linambaran lumiting basa, sarta endah miwah edining budaya,’
introduces the new information Rheme ‘keparenga kulo ingkang minangka jejering pambiyo woro badhe hangaturaken tata urut reruncening adi cara ingkang sampun
rinakit sarta tinoto ing rahino punika’. Such a thematic structure where the Theme is not the subject of the sentence is termed as ‘marked Theme’. On the other hand, when the
Theme is the subject of the sentence, it is referred to as ‘unmarked Theme’. Compare the following sentences:
Marked Theme
[Theme] Nuwun injih sarwi angungak liwaraning suasana angesti luhuring susila, linambaran lumiting basa, sarta endah miwah edining
budaya, introduces the new information [Rheme] keparenga kulo ingkang minangka jejering pambiyo woro badhe hangaturaken tata urut reruncening
adi cara ingkang sampun rinakit sarta tinoto ing rahino punika.
Unmarked Theme
[Theme] Keparenga kulo ingkang minangka jejering pambiyo woro [Rheme] badhe hangaturaken tata urut reruncening adi cara ingkang
sampun rinakit sarta tinoto ing rahino punika nuwun injih sarwi angungak liwaraning suasana angesti luhuring susila, linambaran lumiting basa, sarta
endah miwah edining budaya, introduces the new information.
Despite the fact that one may say that it is a matter of style, it really creates a semantic difference, especially the psychological impact on the hearers. The first
sentence, for example, will make the hearers enthusiastic to hear the new information. Conversely, the second sentence is kind of dull because there are many unnecessary
items in the Rheme which, in turn, will de-emphasize the main point.
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Meanwhile, a hyperTheme as I have slightly touched upon, is always a marked Theme which functions as the Theme for the whole paragraph in question. Thus, the
thematic structure of the above paragraph can be represented as follows:
Table 4-8 HyperThematic Structure
No HyperTheme
1 Theme Rheme
Kawula nuwun para tamu ingkang satuhu bagya mulya
HyperRheme Theme Rheme
Nuwun injih sarwi angungak liwaraning suasana angesti
luhuring susila, linambaran lumiting basa, sarta endah
miwah edining budaya, introduces the new information
keparenga kulo ingkang minangka jejering pambiyo woro badhe hangaturaken tata urut
reruncening adi cara ingkang sampun rinakit sarta tinoto ing rahino punika’
Table 4-7 above indicates that a hyperTheme consists of Theme and Rheme of its own and a hyperRheme also consists of Theme and Rheme of its own. However, it
should be noted that the thematic structrure should be constructed without violating the rules of discourse semantics in order to achieve cohesion and coherence.
4.3.2 Itemizing
