the fellowship of the nerd - di dalam kereta

Ini list yang gua bikin -list tentang yang paling yang bisa lo liat kalo traveling by train. Dari tipikal orang sampe situation. Enjoy to read, People...


- Yang Paling Baek.

Ibu-ibu yang duduk disamping lo, nawarin bekal-bekal yang dibawa dari rumah. "Mau jeruk dek? manis loh... ", ato yang nawarin lo duduk waktu lo ga kebagian tiket duduk, "duduk sini aja dek, kasian kamunya diri-diri gitu".

- Yang Paling Baek tapi Nyebelin.

Ibu-ibu yang duduk disamping lo, yang terus maksain makanan homemade yang dia bawa. "Ini lempernya enak lo, jeruknya mau engga? ato ni Tango nya, kacangnya juga boleh. sini ambil aja.. ga usah malu-malu.. " .. Gila, gua berasa anak ilang, ga punya duit, beli karcis pake gadaiin sendal jepit dulu, ga punya tujuan, terus pake baju yang ingus nya dimana-mana.

Ibu-ibu/nenek-nenek/bapak-bapak yang ngajakin lo ngobrol, curhat tentang anak/cucu/keponakan dia yang baru aja naek kelas/juara kelas/menang lomba model tingkat kelurahan/baru aja nikah sama anak pejabat/dan bla-bla-bla dan yadda-yadda-yadda dan yang bisa lo lakuin cuma "OH" "hehe" "wow" "Oh gitu" dan manggut-manggut kayak ayam keselek karet. They won't stop sampe lo pake earphone dan puter lagu rock dengan volume penuh!


- Yang Paling Ngeselin

Anak-anak ABG yang ga berenti muter lagu yang sedang "IN" pake loudspeaker.
Anak-anak cewe ABG yang larak-lirik ke lo, moto diem-diem, bisik-bisik sambil liat-liatin elo, senyam-senyum. Bikin orang ge er aja. :P
Pedagang yang nginjek kaki elo, tanpa minta maap.
Pelayan kereta yang nginjek kaki elo, tanpa minta maap.
Penumpang yang lewat yang nginjek kaki elo tanpa minta maap.
Masinis yang kebelet kekamar mandi, nginjek kaki elo tanpa minta maap.
Tukang tagih karcis yang nginjek kaki elo, tanpa minta maap.
Orang yang kakinya ditaruh sembarangan. Jangan nyalahin gua kalo kena injek.


- Yang Paling Ga Tau Malu

Cowok kekar, sehat, ganteng, putih, tipikal gila-tuh-cowok-gua-banget-nya-cewe-cewe-ABG-yang-gua-sebutin-barusan, (maap bagi sodara-sodara yang pnya masalah dalam penglihatan, harap dibaca pelan-pelan), yang kaga mao ngasih tempat duduk nya ke mbah-mbah yang telat antri tiket. Where's your brain, dude!

Pengamen yang nyanyi dengan suara sumbang. Maybe I could say, pengamens (Jamak. Mungkin lagi trend ya kalo ngamen harus rame-rame). Ga jelas yang mana yang ngisi suara apa. Ato siapa yang megang apa. Ato sebenarnya mereka siapa dan mau apa? Yang jelas, mereka bergerombol, nyanyi, ga peduli bagus ato engga, dan minta duit. Gua cuma ngasih duit sama yang nyanyinya beneran (yang beneran nyanyi, bukan cuma jadi pengiring AKA backsound. Masa cuma "Yeah.." "Aaaa.." "Ohh...." mo minta duit?), yang bisa maenin gitar+harmonika barengan. Gua bahkan bakalan ngasih semua yang gua punya (harga diri, sendal jepit andelan, kejantanan gua) kalo misalnya ada yang bisa ngamen, sendirian, sambil nabuh drum, maen bass, maen gitar, niup saksofon, bawa monyet, joget ala Shakira, dan punya jambang nya Haji Roma Irama. Huahahaha.

Bapak-bapak/abang-abang yang diri dilorong, tangan diangkat keatas, ga pake deodorant. Gua saranin ni orang jangan sampe masuk ke ruangannya masinis. Bisa-bisa tabrakan ni kereta kalo masinis nya pingsan gara-gara bau ketek.


- Yang Paling Pengen Kena Tonjok.

Yang nginjek kaki elo berkali-kali tapi kaga minta maap.

Iye-iye, gua tau, daritadi gua nyebutin tentang nginjek kaki molo. Tapi mau apa lagi? Masa nginjek kepala? perut? punggung? Elo lagi ngapain emangnya sampe perut ato kepala lo keinjek orang didalam kereta? Kayang???


- Yang Paling Bikin Bingung.

Emba-emba pake high heels didalam kereta. Hebat ya, mau ke pesta kawinan aja yang nganterin naek kereta api...

Bapak-bapak berewokan pake high heels didalam kereta. Ya iyalah, ga naek kereta liat bapak-bapak berewokan pake high heels aja udah heboh, apalagi kalo didalam kereta api!



- Yang Paling Ga Punya Kerjaan Sedunia

Orang yang bikin list tentang orang laen didalam kereta. Don't look at me! Don't ask me who! yang jelas, dia itu ORANG YANG PALING GA PUNYA KERJAAN SEDUNIA.

My Side Literature Project

Greek Mythology in Modern World;

Pygmalion and Prometheus in Modern Literature, and other Tales

Greek Myth Thorough Times

I wonder if Pygmalion had these doubt,

And, feeling the hard marble first relent,

Grow supple to the straining of his arm,

And tingle through its cold his burning lip,

Supposed his senses mocked, and that the toil

Of starching past the known and seen, to reach

The archetypal Beauty out of sight,

Had made his heart beat fast enough for two,

And with his own life dazed and blinded him!

Not so; Pygmalion loved- and whoso lovos

Believe the impossible.

(Elizabeth Barret Browning from Aurora Leigh)

Having persisted on poet work in books whether Pygmalion maintain similar doubt, Elizabeth Browning compares her thought to Pygmalion. Pygmalion, as we know, is character in Greek mythology that fall in love with his own opus, a woman ivory sculpture and later on intervened by Venus whom brings the statue into live and Pygmalion be able to marry her. Miles (1999) notes the oldest version Pygmalion derives from Ovid's the Metamorphose while Caxton indicates Ovid's Metamorphose as Greco-Roman influenced which means it hybridizes Greek and Roman

There are many versions indeed in mythology, in Greek for example; Homer and Aeschylus who were famous narrators of myth, as alike in Greco Roman known as Ovid. Though the version of tales between Roman and Greek were different, the theme of deities and worshiping pattern were obviously in the same theme. Manifestly, the Greek one was the earlier form as the oldest Mythology in the earth, as Roman followed, simulated and adapted the trace to be used as their Myth’s line. Zeus in Greek and Jupiter in Roman deities are totally one similar man both in characteristic and position among the Gods and Goddesses.

Greek mythology is often used in literary works. In fact, Elizabeth Browning is not the only person who uses allusion to Greek and Roman mythology. Mary Shelley writes Frankenstein regarding the Prometheus Unbound, one of Mythical lore in Greek Mythology, while her husband, P.B Shelley, purposely to expose Adonis as his reference in poetry. In modern literary, Bernard Shaw writes play entitled Pygmalion. These exemplifications are only a bit of man of literature whom applies mythology in literary work and hence we are interested in discussing other literary work which maintains mythology as devices in composing work of literature.

Greek and Roman as the Ancient Myth Stood along the History

Apollo and Daphne; One would think a god such as Apollo, endowed with all the charms of youth, strength, grace, and beauty would find few to resist him. The amorous adventures of Apollo were numerous and legendary, but several of these olympian goddesses, oceanids, and nymphs such as Daphne were unwilling. Nor did all mortal women submit to Apollo's desires, some sources hint his arrogance, unfaithfulness, and cruelty made him impossible to love in spite of his obvious attributes. He tried in vain to seduce Daphne, the nymph and daughter of the river Peneius, who was as chaste as she was beautiful. When she refused to submit to Apollo, he attempted to ravish her; but she fled. He over-took her and she already felt the eager arms of the Sun god around her when she called upon the venerable Gaea to aid her. Immediately the Earth gaped open. Daphne disappeared, and in her place a Laurel Tree sprang from the ground. Apollo made it a plant sacred to him, and the Laurel wreath worn about the head was a symbol of great honor in Ancient Greece and Rome and is associated with great personal achievement to this day

(Johnson: 2004)

.

The question that appears is; why it should be Greek mythology? Even Roman, for its adapted form of adoration of Gods and Goddesses, could not resist the appealingness of Greek’s Myth. Why Greek Mythology is adored for its insistence Twilight of Gods and other Mythological stories, and being adapted for literary works?

We could trace back the time to the earlier form of ancient work of Greek, the full narration of deities idolatry in Greek history in two greatest poems of Homer, Iliad and the Odyssey. Though it is still, until now, being debated that the exact appearance of Homer in Greek periodical time of literature for two works he made was for real. For centuries, Iliad and Odyssey have been the center of resource for apprehending Greek ancient stories of epic and Gods worshiping. Its have been standing not only for their intension in performing lyrical sounds in every line from both poems, but also for historical ground of the biggest battle in Greece history.

Both poems deal with the stories of the Trojan War; the Iliad focuses on the destructive anger of the Greek warrior Achiles, his quarrel with his commander Agamemnon, and his eventual duel to the death with the Trojan Hector; the Odyssey follows a different kind of hero, the patient and resourceful Odysseus, on his journey home after the war. Homer created the classic picture of the Greek heroic age, and also of the very human, quarrelsome and meddling Olympian Gods.

(Miles, 1999: 6)

Thus, for the complete resource of historical exposition in both poems, has made them as media for lot of responder who like to know profoundly for great lines of Greek and Roman history. Trojan War has been mentioned as the greatest war ever, expounded in both Homer’s poems, was one greatest story of Greek and Roman Empire. It becomes the researchers and literates media for encouraging themselves researching Roman and Greek history, it’s Empire, culture, faith and paganism, and their polytheism for believing in Gods and Goddesses as the highest power among man and earth.

In certainty, the line of Greek and Roman history and myth will not end in any era, now or in the future. The more people invited with the charm and beauty of Greek and Roman mythology, the more upheld and secured it would be. Beside, its sacred cultural stories have been noted, adapted, framed, and remade in every media of writings, literatures, arts, and even Walt Disney.

How a Work Depicted Mythical Story

Shaw’s Pygmalion uses the Pygmalion myth ironically, to expose the Pygmalion figure, Henry Higgins. Higgins attempts to keep Eliza strictly withing the power of framework of the original myth, but Eliza/Galatea ultimately releases herself from slavish submission because she was not created body and soul by Higgins (Wartenberg 36). The “hero”, Professor Henry Higgins, does not at any moment depart from his role of creator and dominator. (Gallegos: 2004)

Pygmalion is one of tale beyond the Ovid’s Metamorphoses, another greatest literature work of Greek. For some historians concern, the tale depicted by Ovid was an imagery resembled tale of the king of Cyprus who felt in love with an ivory statue of beautiful woman instead of marrying local woman. The essential purpose of the king was, apparently, to disgust the mortality of the origin female human shape. As the summary, the king was finally tired of to only dress, make up, and sleep with the statue, and then praying to Venus (the Roman Goddess name for Aphrodite, Goddess of female and love in Greek Myth) to bring a life to the statue. For loving and caring he gave, Venus granted his wish.

In the previous lines, it has been mentioned the name of Bernard Shaw for his re-composing story of Pygmalion in his own version. The interesting part is, the Shaw’s Pygmalion is not only adapting Ovid’s version of Pygmalion as the king of Cyprus, but also comprising the origin story of the first female in Greek Myth; story of Pandora and his box.

Eliza, female character in Shaw’s Pygmalion, gifted with beauty and charm, but shapely rotten with her boner. Henry Higgins took her to the beauty life of upper class, gave her education, and passionately facilitated her. But then, when she had been a bit precocious, she abandoned Higgins. This Eliza resemblance brought the form of Pandora, for her foolishness opening the box Gods has told him not to open up. From the box, there were various chaoses downward to earth and suffer man from time to time. Those were feelings that would haunt human life, such as despair, painful, anger, chaos, poverty, and more confusions for man to suffer with. The only thing that left inside the box was only “Hope”, reflecting the final peak to hold on whenever discouragement and lost trouble man. The direct line from this interpretation is an attractive female obviously (or perhaps, in certain conditions) not intelligent, which by Bernard Shaw’s Pygmalion version successfully interpreted on the base of Greek appraisal of its myths.

Human’s passion of Greek and Roman myth for their works has not only stopped in the level of literary works. In the branches of story telling, with children as the object of listener, beside fable and folklore, a mythological tale would be a nice option to retell. Thus made the classical Hercules story, a man granted with God power for his born under Zeus affair with ordinary female, familiarly known by children through world and time. Having same proportion with 1001 tales of Arabic’s Night’s content (Aladdin and the Magic Lamp, Sinbad the Pirate, etc.), a lot of world myth and fairy tales have become acquainted in children’s ears.

The particular forms that these retellings took was and is often influenced by what the author perceives as his/her purpose in writing the tale, as well as the particular historical or social circumstances surrounding the relling. For example, some of the tales contain violent or sexual material that at various times has been considered inappropriate for children; retellers thus adjust their versions of the story to make them more acceptable. (Morford and Lenardon: 2005)

For those justifications, no wonder Walt Disney, a big movie studio, made a cartoon of Hercules in early 90s. With his remarkable strength, and Hollywood script, brought Hercules as an idol for children and cartoon lover at that time.

Hercules was not the first Greek hero goes-cinema, in the earlier year before Walt Disney making folklores and tales to animation, a green-hideous-monstrous creature of Dr. Frankenstein by Marry Shelley had been filmed and culturally known for 30^th October Halloween fest. Shelley’s Frankenstein as the modern Prometheus was also encouraging the idea of Greek mythology about creation. Frankenstein blew life to his made up creature, as Prometheus brought fire for human. The ironic same ending happened to both when suffering the risk they had taken. Frankenstein for being terrorized by the Monster, and Prometheus for being punished by Gods, since man used the fire he given for making war, chaos, and scathing other creatures. The figure of Frankenstein’s Monster has been well known by mass society from Hollywood director interpretation through their horrible (sadly, that’s true) movie.

For instance, the root of Greek and Roman literary works have an endless journey until the end of time. For all the writers, readers, children, historians, who are still completely learning, exploring, adapting them for their own works, reading related literature, and remade to big cinema, their tales will be remained forever. Acknowledging its movement along the history and for its priceless fully imaginative exposition story of the greatest centuries for Greek and Roman establishment, their idolatry, epical story, magical and dreamy tales, perhaps it would be an optional reading for students to know deeper how is a myth’s contribution for a literal work.

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