460:, were unscripted and generally used fantastic settings and plotlines. Kwee Tek Hoay heavily disapproved of such whimsy, considering it "better to say things as they are, than to create events out of nothing, which although perhaps more entertaining and satisfying to viewers or readers, are falsehoods and lies, going against the truth". After condemning contemporary playwrights who merely wrote down existing stories, Kwee Tek Hoay expressed the hope that ultimately a unique form of Chinese Malay theatre—inspired by European theatrical traditions but dealing with Chinese themes—could be developed.
354:
363:
343:
334:
497:
33:
532:, writing that the play shows individuals doing anything to earn it—even sacrificing their values. He writes that the corrupting nature of money remains present in the best of times, and considers Kwee Tek Hoay's message to have been too heavily based in morality rather than considerations of social and human factors. As a result, he writes, readers are brought to understand the lust for money as a "human illness" which must be overcome: they should follow the example of Tan Kioe Gie, not Tan Kioe Lie. John Kwee of the
1942:
1966:
608:
1954:
264:
friends with the area's elite, and Hap Nio is happily married to a rich plantation administrator. When Kioe Gie and his companions return from playing tennis, they discover Kioe Lie hiding shamefully under a piano. Kioe Lie admits that he was wrong to be greedy. When a police officer arrives, Kioe Lie confesses to poisoning Tam Bing, then runs outside and shoots himself.
624:
was released by the
Batavia-based publisher Tjiong Koen Bie in mid-1919. This edition included a foreword from the author, four illustrations of recommended stage decor, a number of performance guidelines, and a brief outline of the state of the theatre among the ethnic Chinese. Kwee Tek Hoay paid
520:
message that money is not everything in the world, and that an unquenchable thirst for it would turn one into "a money animal". Throughout the dialogue, money is referred to as the false God, with Lie as a character who deifies money to the point of ignoring his other duties and only realising his
255:
Five years later, Kioe Lie and Houw Nio's marriage is failing. Owing to poor investments (some made with embezzled money), Houw Nio's gambling, and Kioe Lie's keeping of a mistress, they have lost their fortune. Kioe Lie tries to convince his wife to sell her jewellery, thus allowing him to return
243:
During the following week Kioe Gie and his wife sell their belongings and prepare to move back to
Cicuruk. This departure is delayed by a visit from Kioe Lie, who reveals that he will be marrying Tam Bing's widow Tan Houw Nio – Tam Bing having died the year before. Kioe Gie is horrified, both
467:
Kwee Tek Hoay made numerous recommendations for the play's casting, costuming, setting, and music. He wrote that if sufficiently talented actors to portray Kioe Lie and Kioe Gie could not be found, "it would be better to not perform this show", and that Ijan Nio needed to show "a perfect woman or
263:
Passing through
Cicuruk, the car breaks down and, while the chauffeur attempts to fix it, Kioe Lie takes shelter in a nearby home. He learns that it belongs to Kioe Gie and Hap Nio, who have built up a vast farm, garden, and orchard that provide them with ample income. The two philanthropists are
256:
the stolen money. Houw Nio, however, refuses, tells him to sell the house and his mistress' jewellery, and then leaves. Soon afterwards, Kioe Lie's friend Tan Tiang An warns him that he will be arrested by the police unless he flees the colony. Together they rent a car and Kioe Lie heads for the
224:
factory, but is planning to leave for competing business run by Tjio Tam Bing, who has offered him twice the salary. Kioe Gie asks him to reconsider, or at least not take any customers, but Kioe Lie is set on his goals. Before Kioe Lie leaves, the brothers discuss marriage: since Kioe Lie has no
213:. As they are packing, Kioe Lie's fiancée Gouw Hap Nio visits. She leaves some snacks with their father, the poor farmer Tan Lauw Pe, before going home, promising to take care of Pe while his sons are away. The brothers finish packing, say goodbye to their father, and head for the train station.
734:(generally considered the first canonic Indonesian stage drama), Kwee Tek Hoay's writing shows all the hallmarks of a literary work. Though the drama is not considered part of the Indonesian literary canon, performances have continued into the 21st century. In May 2003, the Jakarta-based
437:'s short story "The False Gods". Though in his foreword Kwee Tek Hoay apologised for the quality of the stage play, writing that "the content and arrangement of this book are far from what you could call neat", Sumardjo praises his language, feeling that the story flowed well.
654:, spurring him to continue writing. Considering the play too difficult for native troupes to stage, when one such troupe, the Union Dalia Opera, requested permission to perform it, Kwee Tek Hoay instead wrote a new story for them. This later became his best-selling novel
161:
play follows two brothers, one a devout son who holds firmly to his morals and personal honour, while the other worships money and prioritises personal gain. Over more than a decade, the two learn that money (the titular false god) is not the path to happiness.
468:
wife", as opposed to the "fierce and rough" Houw Nio. He provided four set designs, to be used at appropriate points in the plot, and gave suggestions for setting up the needed backgrounds and props. Kwee recommended that the play include only one song,
905:... lebih baek tuturkan kaadaan yang sabetulnya, dari pada ciptaken yang ada dalem angen-angen, yang meskipun ada lebih menyenangken dan mempuasken pada pembaca atau penonton, tapi palsu dan justa, bertentangan dengan kaadaan yang benar.
1820:
Sidharta, Myra (1989). "Bunga-Bunga di Taman
Mustika: Pandangan Kwee Tek Hoay Terhadap Wanita dan Soal-soal Kewanitaan" [Flowers in the Bejeweled Garden: Kwee Tek Hoay's Views on Women and Related Issues]. In Sidharta, Myra (ed.).
1005:
as a "language of administration", a language for everyday dealings, while the
Indonesian nationalists appropriated the language to help build a national culture. Chinese Malay literature, written in "low" Malay, was steadily marginalised
679:, the quality of stage performances in the Indies had increased noticeably. Nio notes that the quantity of stage plays by ethnic Chinese authors likewise increased. Though not many were ultimately published, the body of work pioneered by
236:, a stance that Kioe Gie considers a betrayal to the ethnic Chinese. When Tjoan Siat comes to Kioe Gie's home to ask him to follow the former's new political leanings, heavily influenced by a monthly payment of 2,000
774:
Kwee Tek Hoay, in his foreword to the first edition of the stage play, made a similar assertion. He stated that, as of July 1919, only three printed scripts of stage dramas were available in Malay:
647:. One performance is recorded as garnering 10,000 gulden. According to an advertisement, by 1930 the play had been performed "tens of times" and was popular with ethnic Chinese theatre troupes.
1016:
of the time, it was not
Indonesian, and as such, he asks whether works in vernacular Malay should be classified as local literature, Indonesian literature, or simply Chinese Malay literature (
1001:
The same holds true for all works of
Chinese-Malay literature. In his doctoral thesis, J. Francisco B. Benitez posits a socio-political cause for this. The Dutch colonial government used
1527:
225:
intent to marry Hap Nio soon, Kioe Gie asks permission to marry first. Though Kioe Lie disapproves of Kioe Gie's sweetheart, a poor orphan girl named Oeij Ijan Nio, he agrees.
525:
writes that such a message would have been popular among ethnic
Chinese of the contemporary Indies, and as such the play would have been a favourite of social organisations.
521:
error after it is too late. Gie, although he does become rich, does not consider money a god, but is a philanthropist and holds to his morals. The
Indonesian literary critic
554:
values", leaving his comfortable job rather than becoming an apologist for the Dutch colonial government to the detriment of his ethnic
Chinese peers. Another sinologist,
177:
found success on the stage. By 1930 it had been performed by various ethnic Chinese troupes to popular acclaim and pioneered a body of work by authors such as
1796:
232:
and married Ijan Nio. He is concerned, however, over the newspaper's new political orientation: the owner, Oeij Tjoan Siat, is aiming to make the paper pro-
412:
of the archipelago and was a keen social observer. He read extensively in Dutch, English, and Malay, and drew on these readings after becoming a writer.
1776:
Rieger, Thomas (1996). "From Huaqiao to Minzu: Constructing New Identities in Indonesia's Peranakan-Chinese Literature". In Littrup, Lisbeth (ed.).
625:
for this printing, a run of 1,000 copies, out of his own pocket and saw large financial losses. The stage play was republished in 2006, using the
1654:
745:
put on an abridged performance directed by E. Sumadiningrat. Another Jakarta-based troupe, Teater Bejana, has included it in their repertoire.
1537:
866:. Both types of theatre featured extensive song and dance as part of the story proper or between scenes. The majority of stories staged by
735:
456:
639:
was well received and broadly adopted. Troupes were allowed to perform the play as a charity opera, though proceeds were to go to the
173:
response to whimsical contemporary theatres. Though the published stageplay sold poorly and the play was deemed difficult to perform,
1732:
Kwee, Tek Hoay (2002). "Korbannya Kong-Ek" [The Victim of the Chinese Association]. In A.S., Marcus; Benedanto, Pax (eds.).
185:, and Tjoa Tjien Mo. In 2006 the script for the play, which continues to be performed, was republished with updated spelling by the
1861:
Sumardjo, Jakob (1989). "Kwee Tek Hoay Sebagai Sastrawan" [Kwee Tek Hoay as a Man of Letters]. In Sidharta, Myra (ed.).
2008:
1920:
1897:
1874:
1834:
1785:
1745:
1722:
1644:
1596:
1570:
795:
1709:
Kwee, Tek Hoay (2001). "Bunga Roos dari Cikembang" [The Rose of Cikembang]. In A.S., Marcus; Benedanto, Pax (eds.).
980:
and generally sponsored by Chinese-backed organizations for fundraising. Such plays were performed by amateur actors in the
216:
Three years later, Kioe Lie visits his brother in the latter's Batavia home. Kioe Gie has become an editor of the newspaper
1607:
656:
626:
613:
558:, looks at Kwee Tek Hoay's view of women. She writes that his depiction of an ideal woman was not yet fully developed in
248:
and because Kioe Lie had promised their father on his deathbed to marry Hap Nio. After an extensive argument, Kioe Lie
1993:
1683:
668:, was inspired by a friend, who wrote him a letter asking for another comforting and educational play after reading
581:
in that work, having read and reread the author's plays. Damono finds signs of Ibsen's influence already present in
1804:
1631:
Kwee, John (1989). "Kwee Tek Hoay, Sang Dramawan" [Kwee Tek Hoay, the Dramatist]. In Sidharta, Myra (ed.).
550:
Thomas Rieger notes the presence of a Chinese national identity, pointing to Gie as a young man "excelling in all
540:, suggests that this was a challenge directed at the Chinese Malay press, then becoming increasingly commercial.
400:
and schools that focused on modernity. By the time he wrote the drama, Kwee Tek Hoay was an active proponent of
1010:, pp. 82–83). Sumardjo, however, sees it as a question of classification: though vernacular Malay was the
562:, though she finds Houw Nio to be a depiction of how a woman should not act: selfish and addicted to gambling.
405:
1073:
1553:
Damono, Sapardi Djoko (2006). "Sebermula Adalah Realisme" [In the Beginning there was Realism]. In
1497:
Arjanto, Dwi (1 June 2003). "Keserakahan yang (Pasti) Tenggelam" [Greed which will (Surely) Sink].
1844:
Sidharta, Myra (1996). "Kwee Tek Hoay, Pengarang Serbabisa" [Kwee Tek Hoay, All-round Author]. In
882:
1998:
1932:
886:. Troupes of both types, however, could and did stage stories of other kinds, including adaptations of
1662:
2003:
237:
794:). None of these focused specifically on the ethnic Chinese in the Indies. The first dealt with the
1516:: Alternative Subjectivities and Multiple Modernities in Nineteenth Century Insular Southeast Asia
473:
533:
1717:] (in Indonesian). Vol. 2. Jakarta: Kepustakaan Populer Gramedia. pp. 297–425.
434:
154:
220:
and is known as a generous philanthropist. Kioe Lie, meanwhile, has become the manager of a
1740:] (in Indonesian). Vol. 6. Jakarta: Kepustakaan Populer Gramedia. pp. 1–108.
574:
528:
The Indonesian literary critic Jakob Sumardjo likewise notes money as the central issue of
522:
353:
170:
362:
342:
8:
1988:
844:, in the 1870s and became popular in the Dutch East Indies in the late 19th century. The
640:
393:
333:
249:
480:", which was to be performed in the sixth act with either English or Malay vocals and a
423:
was the first stage drama in Malay by a Chinese writer. The six-act work was written in
1970:
880:
troupes' repertoires were replete with stories of Arabic origin, particularly from the
409:
146:
1916:
1893:
1870:
1830:
1781:
1764:
1741:
1718:
1640:
1592:
1580:
1566:
1554:
630:
477:
469:
233:
186:
142:
1958:
1619:
1532:
586:
424:
158:
496:
1845:
1507:
981:
817:... isi dan atoerannja ini boekoe ada djaoe dari pada boleh dibilang rapi...
445:
397:
245:
1941:
1002:
841:
727:
123:
1982:
1678:
1526:
1079:
1012:
791:
740:
696:
555:
429:
389:
376:
303:
257:
178:
150:
46:
611:
An advertisement for the published script, included in the 1930 printing of
32:
1768:
1623:
984:. Stories were generally inspired by Chinese legends, tales popular on the
595:
578:
551:
505:
481:
1946:
887:
704:
464:
was intended to be the first published stage play in this new tradition.
416:
210:
182:
1867:
100 Years of Kwee Tek Hoay: From Textile Peddler to Pen-Wielding Warrior
1827:
100 Years of Kwee Tek Hoay: From Textile Peddler to Pen-Wielding Warrior
1637:
100 Years of Kwee Tek Hoay: From Textile Peddler to Pen-Wielding Warrior
1565:] (in Indonesian). Jakarta: Lontar Foundation. pp. xvii–xxix.
787:
607:
547:
286:
Gouw Hap Nio, fiancée of Tan Kioe Lie and later wife of Khouw Beng Sien
931:... sifat jang sampoerna dari satoe prampoewan atawa satoe istri.
761:
In Chinese tradition, such a relationship would be considered incest (
1863:
100 Tahun Kwee Tek Hoay: Dari Penjaja Tekstil sampai ke Pendekar Pena
1823:
100 Tahun Kwee Tek Hoay: Dari Penjaja Tekstil sampai ke Pendekar Pena
1633:
100 Tahun Kwee Tek Hoay: Dari Penjaja Tekstil sampai ke Pendekar Pena
450:
240:
offered by an unnamed political party, Kioe Gie refuses and resigns.
100:
228:
Another four years pass, and Kioe Gie has become editor-in-chief of
197:
Brothers Tan Kioe Lie and Tan Kioe Gie are preparing to leave their
859:
850:
517:
485:
401:
292:
Khouw Beng Sien, administrator of the Goenoeng Moestika plantation
1639:] (in Indonesian). Jakarta: Sinar Harapan. pp. 166–179.
872:
799:
221:
206:
202:
198:
1869:] (in Indonesian). Jakarta: Sinar Harapan. pp. 89–121.
1608:"Kwee Tek Hoay: A Productive Chinese Writer of Java (1880–1952)"
1829:] (in Indonesian). Jakarta: Sinar Harapan. pp. 55–82.
1350:
1173:
1171:
837:
573:), Kwee Tek Hoay wrote that he had drawn inspiration from the
1890:
Development of Modern Theatre and Literary Drama in Indonesia
644:
1168:
1856:] (in Indonesian). Jakarta: Grasindo. pp. 323–348.
1528:"Chinese-Indonesian writers told tales of life around them"
1274:
444:
was written, stage performances were heavily influenced by
1367:
1365:
1262:
1252:
1250:
1088:
918:... lebih baek ini lelakon djangan dipertoendjoekkan.
1473:
1119:
1117:
1115:
1061:
128:
1661:(in Indonesian). Jakarta City Government. Archived from
1449:
1401:
1362:
1247:
1223:
1199:
1144:
599:
and finds them to be similar in their level of detail.
1461:
1437:
1310:
1156:
1112:
1930:
1886:
Perkembangan Teater Modern dan Sastra Drama Indonesia
1298:
1235:
650:
Kwee Tek Hoay received numerous letters from fans of
1892:] (in Indonesian). Bandung: Citra Aditya Bakti.
1134:
1132:
1039:
1037:
157:'s short story "The False Gods". Over six acts, the
1734:
Kesastraan Melayu Tionghoa dan Kebangsaan Indonesia
1711:
Kesastraan Melayu Tionghoa dan Kebangsaan Indonesia
1591:] (in Indonesian). Jakarta: Lontar Foundation.
1286:
1211:
1738:Chinese Malay Literature and the Indonesian Nation
1715:Chinese Malay Literature and the Indonesian Nation
1377:
396:textile merchant and his wife, Kwee was raised in
1915:] (in Indonesian). Yogyakarta: Galang Press.
1795:Safinaz, Debbi; Ismono, Henry (22 January 2012).
1579:
1425:
1413:
1389:
1356:
1332:
1129:
1100:
1049:
1034:
862:, Dutch East Indies, in 1891, and built upon the
37:Cover to the published stage play (first edition)
1980:
1338:
890:, Chinese legends, and contemporary literature (
1519:(PhD thesis). Madison: University of Wisconsin.
1799:[Maintaining Traces of China in Art].
1763:] (in Indonesian). Jakarta: Gunung Agung.
1653:
1067:
1794:
1479:
546:also contains themes unrelated to money. The
664:). Another of Kwee Tek Hoay's stage dramas,
516:is a reference to money, with an underlying
1691:] (in Malay). Batavia: Tjiong Koen Bie.
972:". This type of stage drama, also known as
388:was the first stage play by the journalist
1797:"Mempertahankan Jejak Tionghoa dalam Seni"
1780:. Surrey: Curzon Press. pp. 151–172.
798:, while the latter two were set among the
31:
633:'s anthology of Indonesian stage dramas.
312:Servants of Tan Kioe Lie and Tan Kioe Gie
205:, while Kioe Gie will go to Batavia (now
1906:
1883:
1860:
1843:
1819:
1589:Anthology of Indonesian Dramas 1895–1930
1563:Anthology of Indonesian Dramas 1895–1930
1455:
1316:
1280:
1256:
1150:
1123:
1094:
1017:
989:
891:
762:
675:In 1926 Kwee Tek Hoay wrote that, after
606:
602:
495:
295:Oeij Tjoan Siat, owner of the newspaper
1854:Indonesian Peranakan Chinese Literature
1505:
1496:
1467:
1007:
280:Tan Kioe Gie, second son of Tan Lauw Pe
277:Tan Kioe Lie, eldest son of Tan Lauw Pe
201:home to find work: Kioe Lie will go to
1981:
1775:
1552:
1371:
1304:
1268:
1241:
1177:
1162:
796:Spanish occupation of the Netherlands
726:was published seven years before the
629:, as part of the first volume of the
122:
1731:
1708:
1704:] (in Malay). Batavia: Panorama.
1695:
1677:
1630:
1605:
1431:
1419:
1407:
1395:
1383:
1344:
1328:
1292:
1229:
1217:
1205:
1193:
1189:
1138:
1055:
1043:
803:
1850:Sastra Peranakan Tionghoa Indonesia
1754:
1443:
1106:
283:Oeij Ijan Nio, wife of Tan Kioe Gie
13:
1585:Antologi Drama Indonesia 1895–1930
1559:Antologi Drama Indonesia 1895–1930
870:troupes originated from the Malay
289:Tan Houw Nio, wife of Tan Kioe Lie
165:Kwee Tek Hoay's first stage play,
14:
2020:
1506:Benitez, J. Francisco B. (2004).
876:and were set in palaces, whereas
683:included plays by Kwee Tek Hoay (
448:. Contemporary theatres, such as
141:) is a 1919 stage drama from the
1964:
1952:
1940:
1083:2000, Chinese-Indonesian writers
858:was a genre which originated in
433:of the Indies, and was based on
361:
352:
341:
332:
1803:(in Indonesian). Archived from
1322:
1183:
995:
962:
949:
936:
923:
910:
897:
822:
809:
565:In a preface to his 1926 drama
504:was inspired by the realism of
484:of piano, viola, and guitar or
244:because the widow has the same
1489:
768:
755:
536:, citing Gie's departure from
309:Saina, servant of Tan Houw Nio
1:
1761:Indonesian-Chinese Literature
1536:. 26 May 2000. Archived from
1027:
988:stage, and European theatre (
722:Sumardjo writes that, though
267:
16:Play written by Kwee Tek Hoay
2009:Plays based on short fiction
1778:Identity in Asian Literature
7:
1698:Boenga Roos dari Tjikembang
883:One Thousand and One Nights
657:Boenga Roos dari Tjikembang
614:Boenga Roos dari Tjikembang
491:
415:According to the historian
404:theology. However, he also
10:
2025:
1909:Kesusastraan Melayu Rendah
1757:Sastera Indonesia-Tionghoa
408:on themes relating to the
323:
274:Tan Lauw Pe, a poor farmer
1501:(in Indonesian): 102–103.
1480:Safinaz & Ismono 2012
627:Perfected Spelling System
124:[aˈlahˈjaŋpalˈsu]
106:
96:
81:
52:
42:
30:
25:
1994:Chinese Malay literature
1907:Sumardjo, Jakob (2004).
1884:Sumardjo, Jakob (1992).
944:... galak dan kasar
748:
379:; illustrations by "Oey"
252:his brother and leaves.
145:that was written by the
1696:Kwee, Tek Hoay (1930).
1659:Encyclopedia of Jakarta
1522:(subscription required)
780:Raden Beij Soerio Retno
192:
1702:The Rose of Tjikembang
1624:10.3406/arch.1980.1526
1357:Lontar Foundation 2006
1333:Lontar Foundation 2006
1180:, pp. xvii, xvix.
976:, was inspired by the
711:), and Tjoa Tjien Mo (
701:Pendidikan jang Kliroe
617:
534:University of Auckland
509:
1755:Nio, Joe Lan (1962).
693:Plesiran Hari Minggoe
662:The Rose of Cikembang
610:
603:Release and reception
577:Norwegian playwright
571:The Victim of Kong-Ek
499:
435:E. Phillips Oppenheim
155:E. Phillips Oppenheim
1913:Low Malay Literature
1271:, pp. xxi–xxii.
992:, pp. 110–112).
982:Betawi Malay dialect
957:penyakit kemanusiaan
894:, pp. 102–109).
593:to those in Ibsen's
523:Sapardi Djoko Damono
1606:Kwee, John (1980).
1446:, pp. 151–155.
1410:, pp. 298–299.
1283:, pp. 143–144.
1232:, pp. 119–121.
1208:, pp. 111–112.
1196:, pp. vi–viii.
1097:, pp. 333–334.
641:Tiong Hoa Hwee Koan
1068:JCG, Kwee Tek Hoay
618:
585:. He compares the
510:
371:Stage designs for
129:Perfected Spelling
1999:1910s debut plays
1922:978-979-3627-16-8
1899:978-979-414-615-6
1876:978-979-416-040-4
1836:978-979-416-040-4
1807:on 8 January 2016
1787:978-0-7007-0367-8
1747:978-979-9023-82-7
1724:978-979-9023-45-2
1684:Allah jang Palsoe
1665:on 28 August 2012
1646:978-979-416-040-4
1598:978-979-99858-2-8
1581:Lontar Foundation
1572:978-979-99858-2-8
1555:Lontar Foundation
1540:on 7 January 2014
782:(F. Wiggers) and
724:Allah jang Palsoe
685:Korbannja Kong-Ek
681:Allah jang Palsoe
677:Allah jang Palsoe
670:Allah jang Palsoe
666:Korbannja Kong-Ek
652:Allah jang Palsoe
637:Allah jang Palsoe
631:Lontar Foundation
622:Allah jang Palsoe
591:Allah jang Palsoe
583:Allah jang Palsoe
567:Korbannja Kong-Ek
560:Allah jang Palsoe
544:Allah jang Palsoe
530:Allah jang Palsoe
514:Allah jang Palsoe
502:Allah jang Palsoe
478:Home! Sweet Home!
462:Allah jang Palsoe
442:Allah jang Palsoe
421:Allah jang Palsoe
410:native population
406:wrote extensively
386:Allah jang Palsoe
373:Allah jang Palsoe
234:Dutch East Indies
187:Lontar Foundation
175:Allah jang Palsoe
169:was written as a
167:Allah jang Palsoe
143:Dutch East Indies
118:Allah jang Palsoe
114:
113:
97:Original language
26:Allah jang Palsoe
2016:
2004:Indonesian plays
1969:
1968:
1967:
1957:
1956:
1955:
1945:
1944:
1936:
1926:
1903:
1880:
1857:
1846:Suryadinata, Leo
1840:
1816:
1814:
1812:
1791:
1772:
1751:
1728:
1705:
1692:
1674:
1672:
1670:
1650:
1627:
1602:
1576:
1549:
1547:
1545:
1533:The Jakarta Post
1523:
1520:
1502:
1483:
1477:
1471:
1465:
1459:
1453:
1447:
1441:
1435:
1429:
1423:
1417:
1411:
1405:
1399:
1393:
1387:
1381:
1375:
1374:, p. xviii.
1369:
1360:
1354:
1348:
1342:
1336:
1326:
1320:
1314:
1308:
1302:
1296:
1290:
1284:
1278:
1272:
1266:
1260:
1254:
1245:
1239:
1233:
1227:
1221:
1215:
1209:
1203:
1197:
1187:
1181:
1175:
1166:
1160:
1154:
1148:
1142:
1136:
1127:
1121:
1110:
1104:
1098:
1092:
1086:
1081:The Jakarta Post
1077:
1071:
1065:
1059:
1053:
1047:
1041:
1021:
999:
993:
966:
960:
953:
947:
940:
934:
927:
921:
914:
908:
901:
895:
834:komedi bangsawan
826:
820:
813:
807:
790:, translated by
772:
766:
759:
744:
587:stage directions
425:vernacular Malay
365:
356:
345:
336:
315:Sado, a coachman
301:Tan Tiang An, a
134:Allah yang Palsu
126:
101:Vernacular Malay
92:
90:
35:
23:
22:
2024:
2023:
2019:
2018:
2017:
2015:
2014:
2013:
1979:
1978:
1975:
1965:
1963:
1953:
1951:
1939:
1931:
1929:
1923:
1900:
1877:
1837:
1810:
1808:
1788:
1748:
1725:
1668:
1666:
1655:"Kwee Tek Hoay"
1647:
1599:
1573:
1543:
1541:
1521:
1492:
1487:
1486:
1478:
1474:
1466:
1462:
1454:
1450:
1442:
1438:
1430:
1426:
1418:
1414:
1406:
1402:
1394:
1390:
1382:
1378:
1370:
1363:
1355:
1351:
1343:
1339:
1327:
1323:
1315:
1311:
1303:
1299:
1291:
1287:
1279:
1275:
1267:
1263:
1255:
1248:
1240:
1236:
1228:
1224:
1216:
1212:
1204:
1200:
1192:, p. 167;
1188:
1184:
1176:
1169:
1165:, p. xxii.
1161:
1157:
1149:
1145:
1137:
1130:
1122:
1113:
1105:
1101:
1093:
1089:
1078:
1074:
1066:
1062:
1054:
1050:
1042:
1035:
1030:
1025:
1024:
1020:, p. 100).
1000:
996:
967:
963:
954:
950:
941:
937:
928:
924:
915:
911:
902:
898:
856:komedi stamboel
848:(from the word
827:
823:
814:
810:
800:Javanese gentry
773:
769:
760:
756:
751:
738:
620:The script for
605:
494:
398:Chinese culture
383:
382:
381:
380:
368:
367:
366:
358:
357:
348:
347:
346:
338:
337:
326:
321:
270:
209:) and become a
195:
88:
86:
77:
38:
17:
12:
11:
5:
2022:
2012:
2011:
2006:
2001:
1996:
1991:
1974:
1973:
1961:
1949:
1928:
1927:
1921:
1904:
1898:
1881:
1875:
1858:
1841:
1835:
1817:
1792:
1786:
1773:
1752:
1746:
1729:
1723:
1706:
1693:
1679:Kwee, Tek Hoay
1675:
1651:
1645:
1628:
1603:
1597:
1583:, ed. (2006).
1577:
1571:
1550:
1524:
1503:
1493:
1491:
1488:
1485:
1484:
1472:
1470:, p. 103.
1460:
1458:, p. 144.
1448:
1436:
1424:
1412:
1400:
1388:
1376:
1361:
1349:
1337:
1331:, p. 99;
1321:
1309:
1307:, p. 161.
1297:
1295:, p. 167.
1285:
1273:
1261:
1259:, p. 143.
1246:
1244:, p. xxi.
1234:
1222:
1220:, p. 118.
1210:
1198:
1182:
1167:
1155:
1153:, p. 142.
1143:
1128:
1126:, p. 140.
1111:
1109:, p. 151.
1099:
1087:
1072:
1060:
1048:
1032:
1031:
1029:
1026:
1023:
1022:
994:
961:
948:
935:
922:
909:
896:
842:British Malaya
836:originated in
821:
808:
806:, p. ix).
767:
765:, p. 59).
753:
752:
750:
747:
728:Rustam Effendi
604:
601:
493:
490:
394:ethnic Chinese
370:
369:
360:
359:
351:
350:
349:
340:
339:
331:
330:
329:
328:
327:
325:
322:
320:
319:
316:
313:
310:
307:
299:
293:
290:
287:
284:
281:
278:
275:
271:
269:
266:
194:
191:
159:Malay-language
147:ethnic Chinese
112:
111:
108:
104:
103:
98:
94:
93:
83:
82:Date premiered
79:
78:
76:
75:
72:
69:
66:
63:
60:
56:
54:
50:
49:
44:
40:
39:
36:
28:
27:
15:
9:
6:
4:
3:
2:
2021:
2010:
2007:
2005:
2002:
2000:
1997:
1995:
1992:
1990:
1987:
1986:
1984:
1977:
1972:
1962:
1960:
1950:
1948:
1943:
1938:
1937:
1934:
1924:
1918:
1914:
1910:
1905:
1901:
1895:
1891:
1887:
1882:
1878:
1872:
1868:
1864:
1859:
1855:
1851:
1847:
1842:
1838:
1832:
1828:
1824:
1818:
1806:
1802:
1798:
1793:
1789:
1783:
1779:
1774:
1770:
1766:
1762:
1758:
1753:
1749:
1743:
1739:
1735:
1730:
1726:
1720:
1716:
1712:
1707:
1703:
1699:
1694:
1690:
1689:The False God
1686:
1685:
1680:
1676:
1664:
1660:
1656:
1652:
1648:
1642:
1638:
1634:
1629:
1625:
1621:
1617:
1613:
1609:
1604:
1600:
1594:
1590:
1586:
1582:
1578:
1574:
1568:
1564:
1560:
1556:
1551:
1539:
1535:
1534:
1529:
1525:
1518:
1517:
1513:
1509:
1504:
1500:
1495:
1494:
1481:
1476:
1469:
1464:
1457:
1456:Sumardjo 2004
1452:
1445:
1440:
1433:
1428:
1421:
1416:
1409:
1404:
1397:
1392:
1386:, p. 89.
1385:
1380:
1373:
1368:
1366:
1359:, p. 95.
1358:
1353:
1346:
1341:
1335:, p. 95.
1334:
1330:
1325:
1319:, p. 59.
1318:
1317:Sidharta 1989
1313:
1306:
1301:
1294:
1289:
1282:
1281:Sumardjo 2004
1277:
1270:
1265:
1258:
1257:Sumardjo 2004
1253:
1251:
1243:
1238:
1231:
1226:
1219:
1214:
1207:
1202:
1195:
1191:
1186:
1179:
1174:
1172:
1164:
1159:
1152:
1151:Sumardjo 2004
1147:
1140:
1135:
1133:
1125:
1124:Sumardjo 2004
1120:
1118:
1116:
1108:
1103:
1096:
1095:Sidharta 1996
1091:
1084:
1082:
1076:
1069:
1064:
1058:, p. 81.
1057:
1052:
1046:, p. 99.
1045:
1040:
1038:
1033:
1019:
1018:Sumardjo 1989
1015:
1014:
1013:lingua franca
1009:
1004:
998:
991:
990:Sumardjo 1992
987:
983:
979:
975:
971:
965:
958:
952:
945:
939:
932:
926:
919:
913:
906:
900:
893:
892:Sumardjo 1992
889:
885:
884:
879:
875:
874:
869:
865:
861:
857:
853:
852:
847:
843:
839:
835:
831:
825:
818:
812:
805:
801:
797:
793:
792:Lauw Giok Lan
789:
785:
784:Karina Adinda
781:
777:
776:Kapitein Item
771:
764:
763:Sidharta 1989
758:
754:
746:
742:
737:
733:
729:
725:
720:
718:
714:
713:Beng Lee Koen
710:
706:
702:
698:
697:Lauw Giok Lan
694:
690:
686:
682:
678:
673:
671:
667:
663:
659:
658:
653:
648:
646:
642:
638:
634:
632:
628:
623:
616:
615:
609:
600:
598:
597:
592:
588:
584:
580:
576:
572:
568:
563:
561:
557:
556:Myra Sidharta
553:
549:
545:
541:
539:
535:
531:
526:
524:
519:
515:
507:
503:
500:The style of
498:
489:
487:
483:
479:
475:
471:
465:
463:
459:
458:
453:
452:
447:
443:
438:
436:
432:
431:
430:lingua franca
426:
422:
418:
413:
411:
407:
403:
399:
395:
392:. Born to an
391:
390:Kwee Tek Hoay
387:
378:
377:Kwee Tek Hoay
374:
364:
355:
344:
335:
317:
314:
311:
308:
306:
305:
300:
298:
294:
291:
288:
285:
282:
279:
276:
273:
272:
265:
261:
259:
253:
251:
247:
241:
239:
235:
231:
226:
223:
219:
214:
212:
211:letter-setter
208:
204:
200:
190:
188:
184:
180:
179:Lauw Giok Lan
176:
172:
168:
163:
160:
156:
152:
151:Kwee Tek Hoay
148:
144:
140:
139:The False God
136:
135:
130:
125:
120:
119:
109:
105:
102:
99:
95:
84:
80:
73:
70:
68:Oeij Ijan Nio
67:
64:
61:
58:
57:
55:
51:
48:
47:Kwee Tek Hoay
45:
41:
34:
29:
24:
21:
19:
1976:
1912:
1908:
1889:
1885:
1866:
1862:
1853:
1849:
1826:
1822:
1809:. Retrieved
1805:the original
1801:Tabloid Nova
1800:
1777:
1760:
1756:
1737:
1733:
1714:
1710:
1701:
1697:
1688:
1682:
1667:. Retrieved
1663:the original
1658:
1636:
1632:
1615:
1611:
1588:
1584:
1562:
1558:
1542:. Retrieved
1538:the original
1531:
1515:
1511:
1508:
1498:
1475:
1468:Arjanto 2003
1463:
1451:
1439:
1434:, p. 9.
1427:
1422:, p. 4.
1415:
1403:
1398:, p. 2.
1391:
1379:
1352:
1340:
1324:
1312:
1300:
1288:
1276:
1264:
1237:
1225:
1213:
1201:
1185:
1158:
1146:
1141:, p. x.
1102:
1090:
1080:
1075:
1063:
1051:
1011:
1008:Benitez 2004
997:
985:
977:
973:
969:
964:
956:
951:
943:
938:
930:
925:
917:
912:
904:
899:
881:
877:
871:
867:
863:
855:
849:
845:
833:
829:
824:
816:
811:
783:
779:
775:
770:
757:
731:
723:
721:
716:
712:
708:
700:
692:
688:
684:
680:
676:
674:
669:
665:
661:
655:
651:
649:
636:
635:
621:
619:
612:
596:Hedda Gabler
594:
590:
582:
579:Henrik Ibsen
570:
566:
564:
559:
552:Confucianist
543:
542:
537:
529:
527:
513:
511:
506:Henrik Ibsen
501:
474:Henry Bishop
466:
461:
455:
449:
441:
440:At the time
439:
428:
420:
414:
385:
384:
372:
302:
296:
262:
260:at Batavia.
254:
242:
229:
227:
217:
215:
196:
174:
166:
164:
138:
137:; Malay for
133:
132:
117:
116:
115:
74:Tan Houw Nio
71:Gouw Hap Nio
65:Tan Kioe Gie
62:Tan Kioe Lie
20:
18:
1971:Netherlands
1490:Works cited
1372:Damono 2006
1305:Rieger 1996
1269:Damono 2006
1242:Damono 2006
1178:Damono 2006
1163:Damono 2006
1003:Court Malay
970:opera derma
968:Original: "
955:Original: "
942:Original: "
929:Original: "
903:Original: "
888:Shakespeare
815:Original: "
739: [
705:Tio Ie Soei
689:Mait Hidoep
417:Nio Joe Lan
183:Tio Ie Soei
59:Tan Lauw Pe
1989:1919 plays
1983:Categories
1028:References
974:Cu Tee Hie
916:Original "
788:Victor Ido
736:Mainteater
643:branch in
548:sinologist
538:Kamadjoean
512:The title
470:John Payne
304:Mayor Cina
297:Kemadjoean
268:Characters
230:Kamadjoean
218:Kamadjoean
53:Characters
43:Written by
1959:Indonesia
1811:8 January
1618:: 81–92.
1432:Kwee 2002
1420:Kwee 2002
1408:Kwee 2001
1396:Kwee 2002
1384:Kwee 1980
1345:Kwee 1919
1329:Kwee 1930
1293:Kwee 1989
1230:Kwee 1919
1218:Kwee 1919
1206:Kwee 1919
1194:Kwee 1919
1190:Kwee 1989
1139:Kwee 1919
1056:Kwee 1980
1044:Kwee 1930
868:bangsawan
864:bangsawan
830:bangsawan
804:Kwee 1919
451:bangsawan
318:Chauffeur
153:based on
1681:(1919).
1669:11 March
1612:Archipel
1544:14 March
1444:Nio 1962
1107:Nio 1962
986:stamboel
978:stamboel
878:stamboel
860:Surabaya
851:Istanbul
846:stamboel
732:Bebasari
717:Hsi Shih
518:didactic
492:Analysis
486:mandolin
457:stamboel
402:Buddhist
1933:Portals
1848:(ed.).
1769:3094508
1557:(ed.).
873:hikayat
709:Jan Tio
575:realist
446:orality
324:Writing
250:disowns
246:surname
222:tapioca
207:Jakarta
203:Bandung
199:Cicuruk
171:realist
149:author
110:Avarice
107:Subject
87: (
1919:
1896:
1873:
1833:
1784:
1767:
1744:
1721:
1643:
1595:
1569:
838:Penang
427:, the
238:gulden
1911:[
1888:[
1865:[
1852:[
1825:[
1759:[
1736:[
1713:[
1700:[
1687:[
1635:[
1587:[
1561:[
1514:Syair
1499:Tempo
854:) or
749:Notes
743:]
645:Bogor
1947:Arts
1917:ISBN
1894:ISBN
1871:ISBN
1831:ISBN
1813:2016
1782:ISBN
1765:OCLC
1742:ISBN
1719:ISBN
1671:2013
1641:ISBN
1593:ISBN
1567:ISBN
1546:2012
1512:and
1510:Awit
828:The
482:trio
476:'s "
472:and
454:and
258:port
193:Plot
89:1919
85:1919
1620:doi
832:or
730:'s
719:).
703:),
695:),
589:in
375:by
1985::
1657:.
1616:19
1614:.
1610:.
1530:.
1364:^
1249:^
1170:^
1131:^
1114:^
1036:^
946:".
840:,
778:,
741:id
715:,
691:,
687:,
672:.
488:.
419:,
189:.
181:,
131::
127:;
1935::
1925:.
1902:.
1879:.
1839:.
1815:.
1790:.
1771:.
1750:.
1727:.
1673:.
1649:.
1626:.
1622::
1601:.
1575:.
1548:.
1482:.
1347:.
1085:.
1070:.
1006:(
959:"
933:"
920:"
907:"
819:"
802:(
786:(
707:(
699:(
660:(
569:(
508:.
121:(
91:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
.jpg)
