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==Alur==
Sukartono (Tono), aseorang Dutch-traineddokter doctor,berpendidikan andBelanda, hisdan wifeistrinya Sumartini (Tini), residentsyang oftinggal di [[Jakarta|Batavia]] (modern daysekarang Jakarta), aresedang suffering a [[marital breakdown]]menjauh. Tono isterlalu busysibuk treatingmerawat hispasien patients,sehingga leavingdia notidak timepunya forwaktu himuntuk to be withbersama Tini. In responseAkibatnya, Tini haspun becomemenjadi activelebih inaktif numerousdengan socialkegiatan organizations and women's groupssosial, leavingsehingga herdia littletidak timemengurus torumah deal with household worktangga. ThisHal furtherini distancesmembuat Tono fromsemakin hermenjauh, assebab hedia expectsingin her to behave like aTini traditionalmenjadi wifeistri andtradisional beyang waitingbersedia formenyiapkan himmakan atdan homemenunggu withdia dinnerdi readyrumah.
OneSuatu dayhari, Tono receivesdipanggil aoleh callseseorang from abernama Nyonya Eni, whoyang asksminta him to treat herdirawat. WhenKetika Tono goesmendatanginya, todia themenyadari hotelbahwa whereNy. Eni issebenarnya staying,adalah heRohayah discovers(Yah), thattemannya shewaktu ismasih actually his childhood friend Rohayah (Yah)kecil. Yah, whoyang hadsudah hadmencintai romanticTono feelingssejak formereka Tonomasih di sincesekolah childhoodrakyat, beginsmulai seducingmenggoda Tono, andsehingga afterdokter aitu whilejatuh Tono accepts her advancescinta. TheMereka twomulai beginbertemu furtivelysecara meeting,diam-diam oftendan takingsering longpergi walkske at the portbandar [[Tanjung Priok]]. WhenKetika Tini goespergi toke [[Surakarta]] tountuk attendmenghadiri akongres women's congresswanita, Tono decidesmengambil tolangkah stayuntuk athidup bersama Yah's house forselama asatu weekminggu.
Selama di rumah Yah, Tono dan Yah membahas masa lalu. Tono menjelaskan bahwa setelah tamat sekolah rakyat di [[Bandung]], dia berpindah ke [[Surabaya]] dan belajar di sekolah kedokteran di sana. Dia menikah dengan Tini karena kecantikannya. Sementara, Yah dijodohkan dengan pria yang lebih tua dan berpindah ke [[Palembang]]. Setelah meninggalkan suami, dia pindah ke Batavia dan menjadi pelacur; selama tiga tahun dia menjadi simpanan pria Belanda. Melihat tingkah laku Yah yang sopan santun, Tono menjadi semakin cinta padanya karena beranggapan bahwa Yah adalah istri yang tepat untuknya. Namun, Yah merasa dirinya belum siap untuk menikah.
While at Yah's, Tono and Yah discuss their past. Tono reveals that after he graduated from the elementary school in [[Bandung]], where he studied with Yah, he attended medical school in [[Surabaya]] and married Tini for her beauty. Meanwhile, Yah was [[forced marriage|married]] to an older man and moved to [[Palembang]]. After deciding that life as a wife was not for her, she moved to Batavia and became a [[prostitution in Indonesia|prostitute]], later serving as a Dutchman's mistress for three years. Tono falls further in love with Yah, as he feels that she is more likely to be a proper wife for him; however, Yah does not consider herself ready for marriage.
Tono, ayang fanmerupakan ofpenggemar traditionalmusik [[kroncongkeroncong]] music, isdiminta askedmenjadi tojuri judgesuatu alomba kroncongkeroncong singingdi contest at[[Pasar Gambir Market]]. WhileDi theresana, hedia meetsbertemu withdengan Hartono, aseorang politicalaktivis activistpolitik withdan the political partyanggota [[Partindo]], whoyang bertanya inquirestentang aboutistri hisdokter wifeitu. OnBeberapa ahari later datekemudian, Hartono visitsmengunjungi rumah Tono's homedan andbertemu meetsdengan Tini. Ternyata Tini ispernah revealedmenjalin tohubungan have been romantically involved withdengan Hartono when the two of them were insaat universitykuliah, withsehingga Tinimereka surrenderingberhubungan her virginity to himseks; thishal action,ini unacceptablemembuat inTini traditionaljengkel culture,dengan leddirinya hersehingga totidak bedapat disgustedmencintai with herself and unable to lovelaki-laki. Hartono hadpun madesemakin themengacaukan situationkeadaan worseketika bydia breakingmemutuskan offTini theirdengan relationshiphanya bymeninggalkan leavingsepucuk a letter for hersurat. WhenKetika Hartono asksminta heragar todapat takekembali himbersama backTini, Tini refusesmenolak.
Setelah mengetahui bahwa Tono selingkuh, Tini menjadi sangat marah dan pergi untuk berbincang dengan Yah. Namun, setelah berbicara panjang dengan Yah, Tini mulaiberanggapan bahwa Yah lebih cocok untuk Tono dan minta agar Yah segera menikahinya; Tini lalu berpindah ke Surabaya, dengan Tono ditinggalkan di Batavia. Namun, Yah merasa bahwa mempunyai hubungan dengannya akan membuat citra baik Tono hancur, sebab latar belakangnya yang pelacur itu. Dia lalu ambil keputusan untuk pindah ke [[Kaledonia Baru]], dengan meninggalkan sepucuk surat dan sebuah piring hitam yang membuktikan bahwa Yah sebenarnya penyanyi favorit Tono, Siti Hajati. Dalam perjalanan ke Kaledonia Baru, Yah kangen pada Tono dan mendengar suaranya di radio. Tono ditinggal sendiri dan mulai bekerja sangat keras, dalam usaha untuk mengisi kesepiannya.
After discovering that Tono had been having an affair, Tini is furious and goes to meet Yah. However, after a long talk she decides that Yah is better for Tono and tells her to marry him; she then moves back to Surabaya, leaving Tono in Jakarta. However, Yah feels that she would only ruin Tono's respected status as a doctor because of her history as a prostitute. She decides to move to [[New Caledonia]], leaving a note for Tono as well as a [[Gramaphone record|record]] showing that she is also Tono's favourite singer, Siti Hajati. On the way to New Caledonia, Yah pines for Tono and hears his voice calling from afar, giving a speech on the radio. Tono is left alone and dedicates himself to his work, trying to fill the void left in his heart.
==Tokoh==
;Sukartono
:Sukartono (disingkat Tono) adalah seorang dokter yang merupakan suami Tini dan cinta Yah. Dokter ini suka merawat pasien miskin tanpa memunggut biaya, sehingga menjadi terkenal. Dia juga penggemar berat lagu-lagu keroncong; waktu dia masih di sekolah kedokteran, dia lebih suka bernyanyi daripada belajar dan sampai sekarang ada radio di ruang periksa. Kegemarannya atas musik tradisional mencerminkan keinginannya untuk mempunyai istri yang berwawasan tradisional untuk menjaganya. Karena merasa tersiksa dari pernikahannya tanpa cinta dengan Tini, dia jatuh hati pada Yah, sebab Yah dianggap lebih mampu menjadi istri tradisional. Namun, akhirnya dia ditinggal sendiri.{{sfn|Taum|2008|pp=139–141}}
:Sukartono (abbreviated as Tono) is a doctor who is husband to Tini and lover to Yah. Trained as a doctor, he treats poor patients for free and is thus well-liked by the general populace. He is also a big fan of traditional kroncong music, preferring singing over studying while in medical school and keeping a radio in his treatment room. This affection for traditional music reflects his wants to have a traditionally-minded wife to take care of his needs. Suffering from his loveless marriage with the modern-minded Tini, he falls for Yah, whom he perceives as being more willing to play the traditional wife. However, after Tini leaves him and when he proposes to Yah, he is left alone.{{sfn|Taum|2008|pp=139–141}}
;Sumartini
:Sumartini (abbreviated asdisingkat Tini) isadalah istri Tono's ultra-modernyang wifesangat modern. WhileWaktu inmasih universitymahasiswi, shedia wassangat verypopuler populardan andsuka enjoyed partyingberpesta. DuringPada thismasa timeitu, she lostTini hermenyerahkan virginitykeperawanannya tokepada Hartono, whichsehingga issetelah vieweddia asdiputuskan unacceptabledia inmenjadi traditionalsemakin Indonesiantidak culture;acu whenpada hekeinginan left her, she became increasingly aloof and distant from the wants of menlaki-laki. AfterSetelah being married bydinikahi Tono, sheTini feltmenjadi increasinglysemakin lonelykesepian anddan tookmulai tobergerak doingdi socialbidang worksosial tosupaya givehidupnya her life meaningberarti. AfterKetika learningmengetahui ofketidaksetiaan Tono's infidelitydan andberanggapan seeing thatbahwa Yah couldlebih takecocok betterdengan care of himsuaminya, Tini leavesmeninggalkan her husbandTono anddan movespindah toke Surabaya.{{sfn|Taum|2008|pp=142–143}}
:Menurut Yoseph Yapi Taum, aseorang lecturerdosen atdi [[Universitas Sanata Dharma University]] indi [[Yogyakarta]], viewssikap Tini'stidak aloofacu natureTini asadalah aalasan majorutama force drivingmengapa Tono tomenjadi tertarik pada Yah; hergaya lifestylehidup Tini, ofyang whichtidak memasuki Tono is not a part, alienatesmembuatnya himberasa andterasing drivesdan himmendorongnya tountuk findmencari awanita moreyang traditionallebih womantradisional.{{sfn|Taum|2008|p=142}} Tham Seong Chee, aseorang politicalkritikus scientistdari from Singapore[[Singapura]], viewsberanggapan herbahwa asTini aadalah weak-willedtokoh character,yang unwillinglemah tosebab actdia withouttidak outsidebisa interventionmengambil andkeputusan eventanpa thenpengaruh beingluar, unwillingdan tosampai workkapan outpun hertidak issuesmau withmenyelesaikan masalahnya dengan Tono. HeDia alsojuga seesmenyatakan herkalau asTini beingdibatasi fetteredoleh bynilainya her own valuessendiri, whichyang aretidak incompatiblesesuai withdengan those held bynilai-nilai themasyarakat generalIndonesia Indonesianpada populaceumumnya.{{sfn|Tham|1981|p=114}} IndonesianMenurut poetpenyair anddan literarykritikus criticsastra [[Goenawan Mohamad]], views her as being driven in part by theTini stressdidorong placedoleh onharapan hersuaminya byakan heristri husband'syang expectationstradisional.{{sfn|Mohamad 1985, Yah}}
;Rohayah
:Rohayah (alsojuga knowndikenal bydengan thenama pseudonymssamaran Nyonya Eni anddan Siti Hayati; abbreviateddisingkat Yah) isadalah teman Tono's childhooddari friendsekolah andrakyat lover,yang askemudian menjadi simpanannya; welldia asjuga aseorang popularpenyanyi kroncongkeroncong singerterkemuka. AfterSetelah Tono, whoyang islebih threetua yearstiga her eldertahun, graduatedlulus fromdari elementarysekolah schoolRakyat, Yah wasdipaksakan forciblyuntuk marriedmenikah todengan manpria twentyyang yearslebih hertua senior20 andtahun broughtdan fromdibawa Bandung toke Palembang. AfterSetelah escapingmelarikan himdiri, sheYah returnedkembali toke Bandung; andakan foundtetapi, thatorang hertuanya parentssudah hadmeninggal. died,Dia shekemudian movedberpindah toke Batavia anddan becamemenjadi aseorang prostitute;pelacur shesekaligus alsopenyanyi becamekeroncong adengan popularnama kroncong singer under the pseudonymsamaran Siti Hayati. WhenKetika shemengetahui discovers thatbahwa Tono has becometelah amenjadi doctordokter indi Batavia, shedia pretendsmenggoda todokter be a patient and seduces him by letting her houserobe slip and revealing skinitu. Although the twoBiarpun fallmereka deeplysaling injatuh lovecinta, Yah decidesmengambil tolangkah leaveuntuk Tonopergi assebab shedia feelstakut thatTono societyakan woulddiremehkanapabila viewdia himmenikah poorlydengan ifseorang hemantan married a former prostitutepelacur. SheYah movesberpindah toke NewKaledonia CaledoniaBaru.{{sfn|Taum|2008|pp=144–146}}
:Tham beranggapan bahwa Yah sebenarnya cocok menjadi istri Tono, sebab dia bersudi menjadi istri tradisional. Namun, dia tidak dapat menjalani hubungan tersebut karena dulu menjadi pelacur. Menurut Tham, hal ini mencerminkan bahwa "moral dan nilai etis tidak mudah dipahami intelek, akal, atau rasio".{{sfn|Tham|1981|p=114}} Goenawan beranggapan bahwa Yah sebenarnya seorang fatalis, yang merendahkan diri dengan menyatakan bahwa ada seribu perempuan di Tanjung Priok yang mempunyai cerita serupa. Dia juga beranggapan bahwa tokoh tersebut menjadi mengharukan tanpa menjadi berlebihan. Menurutnya, Yah adalah pelacur pertama yang digambarkan secara simpatetis dalam suatu karya sastra Indonesia.{{sfn|Mohamad 1985, Yah}}
:Tham sees Yah as being a good match for Tono in personality, as she shows a willingness to serve as the traditional wife. However, she finds herself unable to be in a relationship with him as her past as a prostitute would ruin his good name. He sees the underlying message as being that "morals and ethical standards are frequently beyond the ken of intellect, reason, or rationality".{{sfn|Tham|1981|p=114}} Mohamad describes her as being fatalistic and notes that she downplays her past by saying that any of a thousand girls in Tanjung Priok could tell the same story; he also found her touching without being melodramatic. Mohamad notes that Yah was the first prostitute featured in an Indonesian work who was portrayed sympathetically.{{sfn|Mohamad 1985, Yah}}
==InfluencesPengaruh==
Menurut [[Bakri Siregar]], anseorang kritikus Indonesiansastra socialistIndonesia literarysosialis criticyang associatedaktif withdengan [[Lembaga Kebudajaan Rakjat|Lekra]], notesArmijn thatdipengaruhi Pane was influenced in part byteori [[Sigmund Freud]]'s theories onakan [[psychoanalysispsikoanalisis]]; hedia writesmenulis thatbahwa ithal isini mostpaling evidentmenonjol indalam the treatment oftokoh Sumartini.{{sfn|Siregar|1964|p=103}} TwoDua ofkarya Pane'sArmijn earlieryang shortditulis storiessebelumnya, "Barang Tiada Berharga" ("Worthless Thing"; 1935) anddan "Lupa" ("Forget"; 1936), containedmempunyai aspek plot pointsyang usedmirip indengan ''Belenggu''. "Barang Tiada Berharga" alsojuga dealtmempunyai withtokoh adokter doctordan andistrinya, his wife,yaitu Pardi anddan Haereni, whoyang weredigambarkan characterizeddengan inwatak ayang similar manner asmirip Sukartono anddan Sumartini, whilesementara "Lupa" introduced thememperkenalkan maintokoh characterutama Sukartono.{{sfn|Balfas|1976|p=70}} AsSebab thepemerintah reigning[[Hindia DutchBelanda]] colonialmelarang governmentpembahasan forbadepolitik thedalam involvement of politics in literaturesastra, Pane minimized theArmijn explicitmembatasi effectssindiran ofpada colonialismsistem inkolonial thedalm novel.{{sfn|Christie|2001|p=69}}
==Gaya==
''Belenggu'' usessering ellipsesmenggunakan andtanda monologues[[elipsis]] heavilydan to[[monolog]] representuntuk themencerminkan mainkonflik characters'batin internaltokoh turmoilmasing-masing, to the point thatsehingga Dutchkritikus scholarsastra ofIndonesia Indonesianberasal literatureBelanda A. Teeuw callsmenyatakan itbahwa anovel ini adalah "three-prongedmonolog interior monologuebercabang tiga".{{cref|A}}{{sfn|Teeuw|1980|p=122}} UnlikeBerbeda worksdari publishedkarya-karya yang byditerbitkan [[Balai Pustaka]], theyang state-ownedmerupakan publisherpenerbit ofmilik thenegara [[Dutch EastHindia IndiesBelanda]], ''Belenggu'' doestidak notmenjelaskan providesemua fullaspek expositioncerita; instead,hanya itaspek onlykunci explicitlydikemukakan, statesdengan keyaspek pointslain anddiisi leavessendiri theoelh rest for the reader to interpret,pembaca. leadingIni tomembuat morepembacaan activemenjadi readerlebih participationaktif.{{sfn|Siregar|1964|p=102}}
UnlikeBerbeda authorsdari ofpenulis earlier works published bynovel Balai BahasaPustaka, PaneArmijn doestidak notmenggunakan use proverbs[[peribahasa]]; hedia insteadlebih usesmenekankan similespenggunaan [[simile]]. AnotherCara waylain inyang whichmenunjukkan heperbedaan writesgaya differentlytulis thanArmijn earlierdengan writerspenulis-penulis isBalai byPustaka limitingialah hisdengan usemembatasi of thepenggunaan [[Dutchbahasa languageBelanda]] murni; earliersebelumnya writerspenulis such asseperti [[Abdul Muis]] anddan [[Sutan Takdir Alisjahbana]] usedmenggunakan thebahasa languagekolonialis ofitu theuntuk dominantmenggambarkan colonialsifat powertokoh toutama illustrateyang theintelektual. intellectualism of the main charactersSementara, while indalam ''Belenggu'' PaneArmijn reliesmenekankan onbahasa the Indonesianized loan wordsserapan, withsehingga aedisi-edisi [[glossary]]awal ofmemuat difficultdaftar oristilah uncommonyang wordsberisikan providedistilah-istilah withlangkah earlyatau editions of the novelsulit.{{sfn|Balfas|1976|p=69}}{{sfn|Siregar|1964|pp=103–104}} Siregar wrotemenulis that Pane'sbahwa languagebahasa reflectedArmijn thelebih actualmencerminkan usepenggunaan ofbahasa IndonesianIndonesia wellsehari-hari.{{sfn|Siregar|1964|pp=103–104}}
==Analisis==
===Simbolisme===
AccordingMenurut to TaumYapi, the titlejudul ''Belenggu'' reflectsmencerminkan thekonflik innerbatin conflictsyang faceddihadapi bysemua alltokoh of the main charactersutama, causingsehingga themmereka toterbatas bedalam limitedperilaku in their actionsmereka. TaumYapi pointsmenunjuk topada the climax of theklimaks novel--in whichsebagai Rohayahcontoh hasbaik theakan chanceketerbatasan to marry Sukartono but refuses because if she were to marry him he would lose face by virtue of her formerly being a prostitute--as a prime example of these limitationsitu.{{sfn|Taum|2008|p=147}} Menurut Siregar, noteshal thatini thisdidukung isoleh supporteddialog byantara dialogueSiregar betweenantara Hartono anddan Sukartono, in which they notedi thatmana humansmereka areberanggapan inherentlybahwa heldmanusia backselalu bydibelenggu theiroleh reminiscenceskenangannya ofakan themasa pastlalu.{{sfn|Siregar|1964|p=105}}
UncommonlyBerbeda fordari Indonesiankarya literaturesastra duringIndonesia thisdi timezaman perioditu pada umumnya, bab-bab ''Belenggu''{{'s}} chapters were labeled with onlyhanya adiberi numbernomo – otherkarya workslain, such as Abdul Muis' 1928 novelmisalkan ''[[Salah Asuhan]]'', gave(1928) bothkarya aAbdul numberMuis andmenggunakan subtitlenomor to thedan chaptersjudul. AccordingMenurut to TaumYapi, thisperbedaan changegaya inini stylemewakili representsaliran humanity'skesadaran streammanusia, ofberbeda consciousness,dengan ascara opposedsebelumnya toyang themenjadikan earliersetiap stylebab whichsebagai keptperistiwa chaptersyang separateterpisah.{{sfn|Taum|2008|p=138}}
===Tema===
Menurut Teeuw notes that, unlikeberbeda mostdari Indonesian novels atnovel-novel theIndonesia timesemasa, ''Belenggu'' didtidak notmenggunakan featuretema aprotagonis themeyang ofbaik adan goodsuci andmelawan pureantagonis protagonistyang struggling against an evil antagonist or deal withjahat, conflictatau andkonflik differencesdan betweenperbedaan differentantara generationsgenerasi.{{sfn|Teeuw|1980|p=119}} ItNovel alsoini didjuga awaytidak withmenggunakan the common themes oftema [[forcedkawin marriagepaksa]] anddan thetidak youth'sditerimanya nonacceptance of ''[[adat]]'' (traditionaloleh culture)pemuda-pemudi.{{sfn|Balfas|1976|p=69}} Instead,Novel itini showedmalah amenggunakan lovetema triangle[[cinta segitiga]] – commonyang inpada Westernsaat literatureitu butsudah unheardumum ofdi insastra IndonesianBarat literaturetapi atbelum theada timedi sastra Indonesia – without an indication of whethertanpa anymenunjukkan characterssiapa wereyang goodbaik, eviljahat, rightbenar, oratau wrongsalah. HeDia writesmenulis thatkalau thebuku novelini portrayedmenggambarkan thekonflik interiorbatin strugglesejenis ofmanusia a "new kind of human"{{cref|B}}baru, one who is the result ofyang adibentuk mixturekarena ofpersatuan Easternbudaya andTimur Westerndan culturesBarat.{{sfn|Teeuw|1980|p=119}}
TaumYapi indicatesmencatat thatbahwa ''Belenggu'' presentsmenunjukkan modernityhidup andmodern traditionalismdan astradisional asebagai [[binarysistem opposition|binary system]]berlawanan, contrastingyang thememperbandingkan hal-hal newbaru withdengan theyang oldlama. For exampleMisalkan, Sukartono, aseorang doctor dokter (consideredsimbol ahidup symbol of modernitymodern), isselalu obsessedberpikir withtentang themasa pastlalu, including his schoolmate RahayahYah, anddan preferslebih traditionalsuka kroncongmusik musictradisional overdaripada other, moreyang modern genres. ThroughLewat the contrast ofkontras Sukartono anddan hisistrinya ultra-modernTini andyang emancipatorysangat wifemodern Sumartiniitu, PaneArmijn emphasizesmenekankan thatbahwa modernitykehidupan doesmodern notbelum necessarilytentu bringmembuat happinessorang bahagia. TaumMenurut writesYapi, that''Belenggu'' thismungkin maydipengaruhi haveatau beenbahkan influencedditulis bysebagai or even written as a response to Sutan Takdir Alisjahbana's 1936tanggapan novelatas ''[[Layar Terkembang]]'' (1936), whichkarya dealt[[Sutan withTakdir aAlisjahbana]], similaryang themejuga butmempunyai wastema forini modernizationtetapi lebih pro-modern.{{sfn|Taum|2008|pp=148–150}}
Clive Christie, aseorang lecturerdosen on Southeast Asian Studies at thedi [[School of Oriental and African Studies]] indi London, notesmencatat thatbahwa ''Belenggu'' alsojuga containsmewujudkan arasa strongterasingkan senseyang of alienationkuat. HeDia writesmenulis thatbahwa thepara characterstokoh seemmenjadi toseperti part of aanggota "societymasyarakat suspendedyang inberada adalam vacuumvakum", withouttanpa anhubungan explicityang connectionjelas todengan colonialismkolonialisme buttetapi alsojuga unabletanpa topengertian comeyang tojelas termsakan withnilai-nilai traditional morestradisional. Christie describesmenjelaskan Sukartono'shubungan relationshipTono withdengan RohayahYah assebagai symbolicsimbol ofatas intellectualsorang-orang tryingintelektual toyang engageberusaha withberinteraksi thedengan massesmasyarakat throughluas amelalui sharedbudaya popular culturepopuler, buttetapi akhirnya ultimatelytidak failingberhasil.{{sfn|Christie|2001|p=69}}
==Peluncuran==
''Belenggu'' wasdiserahkan submitted tokepada Balai Pustaka forpada publication intahun 1938, butuntuk was notditerbitkan, acceptedtetapi duetidak toditerima itssebab perceiveddianggap dissonanceberlawanan withdengan publicmoral moralityumum;{{sfn|Balfas|1976|p=68}} thishal wasini baseddisebabkan onpenggambaran theperselingkuhan factsebagai thathal adulteryyang wasumum, portrayedsehingga asmenjadi normalbagian inpenting thedalam novel and played a key part in the plotalur. EventuallyAkhirnya it was picked upnovel byini thediterbitkan literaryoleh magazinemajalah ''[[Poedjangga Baroe]]'', whichyang Armijn Panetelah hadbantu helpedmendirikan foundpada intahun 1933, anddan wasditerbitkan publisheddalam in abentuk serial format in three editionsdari betweenbulan April andsampai JuneJuni 1940.{{sfn|Teeuw|1980|p=119}}{{sfn|Balfas|1976|p=68}} ''Belenggu'' wasadalah the onlysatu-satunya novel publishedyang byditerbitkan themajalah magazine.sastra itu,{{sfn|Balfas|1976|p=68}} Itdan wasmerupakan thenovel firstpsikologis IndonesianIndonesia [[psychological novel]]pertama.{{sfn|Rampan|2000|p=92}}
InPada tahun 1965, ''Belenggu'' wasditerjemahkan translatedke into[[bahasa MalayMalaysia]]. BySampai pada tahun 1988, itnovel hadini beensudah translatedterjemahkan toke dalam [[bahasa Mandarin]] dan, andpada intahun 1989, itditerjemahkan waske translateddalam tobahasa EnglishInggris byoleh John McGlynn underdengan the titlejudul ''Shackles'', andlalu published by thediterbitkan [[Yayasan Lontar Foundation]].{{sfn|Mahayana|Sofyan|Dian|2007|pp=83–84}}
==Penerimaan==
Ketika ''Belenggu'' diterbitkan, ada dua jenis reaksi utama. Orang-orang yang suka novel ini menyatakan bahwa ''Belenggu'' sangat berani, sebab dia mampu membahas tema yang berdasarkan kenyataan sosial.{{sfn|Taum|2008|p=113}} Misalkan, jurnalis [[S. K. Trimurti]] menulis bahwa buku ini benar-benar mencerminkan permasalahan yang dihadapi orang Indonesia berpendidikan tinggi saat menghadapi kebudayaan tradisional.{{sfn|Tham|1981|p=115}} Sementara, orang-orang yang tidak suka ''Belenggu'' meremehkannya sebagai novel yang "porno", sebab ada tekanan pada perilaku tabu seperti perselingkuhan dan prostitusi.{{sfn|Taum|2008|p=113}} Menurut Teeuw, resepsi ini dipengaruhi oleh sifat pembaca Indonesia, yang terbiasa membaca karya sastra yang diidealkan, menjadi syok atas kenyataan yang dicerminkan dalam ''Belenggu''.{{sfn|Teeuw|1980|p=121}}
Upon its release, there were two main reactions. Proponents of the novel stated that it was daring, as it dealt with themes based on societal realities.{{sfn|Taum|2008|p=113}} For example, journalist [[S. K. Trimurti]] wrote that the novel well reflected issues faced by highly educated Indonesians in dealing with traditional culture.{{sfn|Tham|1981|p=115}} Meanwhile, opponents of the novel dismissed it as "pornographic", putting emphasis on traditionally taboo acts like prostitution and adultery.{{sfn|Taum|2008|p=113}} Alisjahbana wrote that it was fatalistic and defeatist as he felt it did not portray the freedom of spirit necessary for people to choose their own destiny,{{sfn|Teeuw|1980|p=121}} and he decried the plot as lacking causality.{{sfn|Balfas|1976|p=68}} According to Teeuw, the initial mixed reception was due in part to Indonesian readers, having been accustomed to reading idealized literature, being shocked by the realistic portrayals in ''Belenggu''.{{sfn|Teeuw|1980|p=121}}
LaterKritik-kritik reviewsyang havelebih generallymutakhir beencendurung morelebih positivepositif. Literary documentarian [[HB Jassin]] wrotemenulis inpada tahun 1967 thatbahwa, althoughbiarpun the characters cametokoh-tokoh acrossbertindak assebagai caricatureskarikatur, ''Belenggu'' wasmampu capablemembuat ofpembaca makingtermenung readersatas stopkenyataan and think aboutsosial modern conditions.{{sfn|KS|2010|p=99}} InPada tahun 1969 the novel received an award for outstandingini literaturediberi frompenghargaan thedari Indonesianpemerintah governmentIndonesia;{{sfn|Mahayana|Sofyan|Dian|2007|p=83}} thatpada sametahun year,yang Indonesiansama, writerpenulis anddan literarykritikus criticsastra [[Ajip Rosidi]] wrotemenulis thatbahwa thebuku novelini waslebih moremenarik interestingdaripada thankarya-karya earliersebelumnya workskarena becausepenyelesaiannya itsbersifat ending was open to interpretationmulti-tafsir.{{sfn|KS|2010|p=99}} IndonesianMenurut poetpenyair anddan literarykritikus criticsastra [[Muhammad Balfas]], wroteyang inmenulis 1976pada thattahun 1976, ''Belenggu'' wasadalah "innovel everyIndonesia respectterbaik thedari best novel of pre-warsebelum Indonesianperang literaturekemerdekaan".{{sfn|Balfas|1976|p=69}} InDalam hisbukunya 1980tentang booksejarah onsastra IndonesianIndonesia literature,yang Teeuwterbit wrotepada thattahun despite1980, severalTeeuw flawsmenulis inbahwa, thebiarpun psychologicalada portrayalkekurangan ofdalam thepenggambaran mainpsikologis tokoh-tokoh charactersutama, ''Belenggu'' wasadalah the onlysatu-satunya novel fromIndonesia beforedari thesebelum [[IndonesianPerang NationalKemerdekaan RevolutionIndonesia|Perang Kemerdekaan]] inyang which a reader from thebenar-benar Westmenarik woulduntuk feelpembaca trulydari involvedBarat.{{sfn|Teeuw|1980|p=121}} Tham wrotemenulis inpada tahun 1981 that thebahwa novel wasini theadalah bestcermin reflectionterbaik ofakan thetimbulnya growingkesadaran consciousnessdalam ofmasyarakat theIndonesia Indonesianbahwa peoplenilai-nilai thatBarat Westernbertentangan valuesdengan such as individualism and intellectualism contradicted with traditionalnilai-nilai valuesTimur.{{sfn|Tham|1981|p=112}}
==Rujukan==
{{refbegin|colwidth=30em}}
* {{cite book
| last = Balfas
| first = Muhammad
| editor1-first = Brakel
| editor1-last = L. F.
| year = 1976
| title = Handbuch der Orientalistik
| trans_title = Bugu Pegangan Ilmu Orientalistik
| language=Inggris
| chapter = Modern Indonesian Literature in Brief
| trans_chapter= Pengantar Sastra Indonesia Modern
| edition =
| series =
| volume = 1
| publisher = E. J. Brill
| location = Leiden, Netherlands
| isbn = 978-90-04-04331-2
| url = http://books.google.com/?id=NbY3AAAAIAAJ
| ref = harv
}}
* {{cite book
| last = Christie
| first = Clive
| year = 2001
| title = Ideology and Revolution in Southeast Asia, 1900–1980 : Political Ideas of the Anti-Colonial Era
| trans_title=Ideologi dan Revolusi di Asia Tenggara, 1900-1980 : Ide Politik dari Zaman Anti-Kolonialisme
|language=Inggris
| series =
| publisher = Curzon
| location = Richmond
| isbn = 978-0-7007-1308-0
| url = http://books.google.ca/books?id=msnkp_1XvpYC
| ref = harv
}}
* {{cite book
| last = KS
| first = Yudiono
| year = 2010
| title = Pengantar Sejarah Sastra Indonesia
| series =
| publisher = Grasindo
| location = Jakarta
| isbn = 978-979-759-849-5
| url =http://books.google.ca/books?id=4SZPPIHUSpYC
| ref = harv
}}
* {{cite book
| last = Mahayana
| first = Maman S.
| last2 = Sofyan
| first2 = Oyon
| last3 = Dian
| first3 = Achmad
| year = 2007
| title = Ringkasan dan Ulasan Novel Indonesia Modern
| location = Jakarta
| publisher = Grasindo
| isbn = 978-979-0-25006-2
| url = http://books.google.com/?id=Bq8caP8yvqwC
| ref = harv
}}
* {{cite news
|last=Mohamad
|first=Goenawan
|authorlink=Goenawan Mohamad
|title=Yah
|work=Tempo
|date=20 April 1985
|url=http://majalah.tempointeraktif.com/id/arsip/1985/04/20/CTP/mbm.19850420.CTP36835.id.html
|accessdate=3 February 2012
|archiveurl=http://www.webcitation.org/65AT92agG
|archivedate=3 February 2012
|ref={{harvid|Mohamad 1985, Yah}}
}}
* {{cite book |title=Leksikon Susastra Indonesia |last=Rampan |first1=Korrie Layun|year=2000|publisher=Balai Pustaka|location=Jakarta|isbn=978-979-666-358-3 |url=http://books.google.ca/books?id=iCh2XorBXNgC |ref=harv |accessdate=}}
* {{cite book
| last = Siregar
| first = Bakri
| year = 1964
| title = Sedjarah Sastera Indonesia
| series =
| publisher = Akademi Sastera dan Bahasa "Multatuli"
| location = Jakarta
| oclc = 63841626
| url = http://books.google.com/?id=xXjiAAAAMAAJ
| volume = 1
| ref = harv
}}
* {{cite journal |title=Pemaknaan ''Belenggu'' dengan Teori dan Metode Semiotik |last=Taum |first=Yoseph Yapi |journal=Sintesis |pages=131–153 |volume=6 |number=2 |month=October |year=2008 |ref=harv}}
* {{cite book
| last = Teeuw
| first = A.
| year = 1980
| title = Sastra Baru Indonesia
| location = Ende
| publisher = Nusa Indah
| volume = 1
| oclc = 222168801
| url = http://books.google.com/?id=YVSjHAAACAAJ
| accessdate =
| ref = harv
}}
*{{cite book
|last = Tham
|first = Seong Chee
|title = Essays on Literature & Society in Southeast Asia
|trans_title=Beberapa Esai Mengenai Sastra & Masyarakat di Asia Tenggara
|language=Inggris
|publisher = Coronet Books
|location = S.l
|year = 1981
|url=http://books.google.ca/books?id=h6SOvP6FLskC
|isbn = 978-9971-69-035-9
|ref=harv
}}
{{refend}}
| 