Allah jang Palsoe
Allah jang Palsoe (Malay pronunciation: [alah ja
palsu]; Perfected Spelling: Allah yang Palsu; Malay for
The False God) is a 1919 stage drama in six acts written by
the ethnic Chinese author Kwee Tek Hoay. Based on E.
Phillips Oppenheim's short story The False Gods, the
Malay-language play follows two brothers, one a devout
son who holds rmly 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.
Kwee Tek Hoays rst stage play, Allah jang Palsoe was
written as a realist response to whimsical contemporary
theatres. Though the published stageplay sold poorly and
the play was deemed dicult to perform, Allah jang Pal-
soe 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 Lauw Giok Lan, Tio Ie Soei, and Tjoa Tjien Mo. In
2006 the script for the play, which continues to be per-
formed, was republished with updated spelling by the
Lontar Foundation.
1 Plot
Brothers Tan Kioe Lie and Tan Kioe Gie are preparing
to leave their Cicuruk home to nd work: Kioe Lie will
go to Bandung, while Kioe Gie will go to Batavia (now
Jakarta) and become a letter-setter. As they are packing,
Kioe Lies ance 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 nish packing, say goodbye
to their father, and head for the train station.
Three years later, Kioe Lie visits his brother in the lat-
ters Batavia home. Kioe Gie has become an editor of the
newspaper Kamadjoean and is known as a generous phi-
lanthropist. Kioe Lie, meanwhile, has become the man-
ager of a tapioca factory, but is planning to leave for com-
peting business run by Tjio Tam Bing, who has oered
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 intent to marry Hap Nio
soon, Kioe Gie asks permission to marry rst. Though
Kioe Lie disapproves of Kioe Gies sweetheart, a poor
orphan girl named Oeij Ijan Nio, he agrees.
Another four years pass, and Kioe Gie has become editor-
1
in-chief of Kemadjoean and married Ijan Nio. He is con-
cerned, however, over the newspapers new political ori-
entation: the owner, Oeij Tjoan Siat, is aiming to make
the paper pro-Dutch East Indies, a stance that Kioe Gie
considers a betrayal to the ethnic Chinese. When Tjoan
Siat comes to Kioe Gies home to ask him to follow the
formers new political leanings, heavily inuenced by a
monthly payment of 2,000 gulden oered by an unnamed
political party, Kioe Gie refuses and resigns.
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 Bings widow Tan
Houw Nio Tam Bing having died the year before. Kioe
Gie is horried, both because the widow has the same
surname[lower-alpha 1] and because Kioe Lie had promised
their father on his deathbed to marry Hap Nio. After
an extensive argument, Kioe Lie disowns his brother and
leaves.
Five years later, Kioe Lie and Houw Nios marriage is
failing. Owing to poor investments (some made with em-
bezzled money), Houw Nios gambling, and Kioe Lies
keeping of a mistress, they have lost their fortune. Kioe
Lie tries to convince his wife to sell her jewellery, thus al-
lowing him to return the stolen money. Houw Nio, how-
ever, refuses, tells him to sell the house and his mistress
jewellery, and then leaves. Soon afterwards, Kioe Lies
friend Tan Tiang An warns him that he will be arrested by
the police unless he ees the colony. Together they rent
a car and Kioe Lie heads for the port at Batavia.
Passing through Cicuruk, the car breaks down and, while
the chaueur attempts to x 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 or-
chard that provides them with ample income. The two
philanthropists are friends with the areas 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 ocer arrives, Kioe Lie confesses to poi-
soning Tam Bing, then runs outside and shoots himself.
2 Characters
Tan Lauw Pe, a poor farmer
Tan Kioe Lie, eldest son of Tan Lauw Pe
2 4 ANALYSIS

Tan Kioe Gie, second son of Tan Lauw Pe
Oeij Ijan Nio, wife of Tan Kioe Gie
Gouw Hap Nio, ance of Tan Kioe Lie and later formances were heavily inuenced by orality. Con-
wife of Khouw Beng Sien
Tan Houw Nio, wife of Tan Kioe Lie
Khouw Beng Sien, administrator of the Goenoeng proved of such whimsy, considering it better to say
Moestika plantation
Oeij Tjoan Siat, owner of the newspaper Kemad- ing to viewers or readers, are falsehoods and lies, go-
joean
Tan Tiang An, a Mayor Cina
Saina, servant of Tan Houw Nio
Servants of Tan Kioe Lie and Tan Kioe Gie
Sado, a coachman
Chaueur
3 Writing
what you could call neat,[lower-alpha 3][8] Sumardjo praises
his language, feeling that the story owed well.[9]
At the time Allah jang Palsoe was written, stage per-
temporary theatres, such as bangsawan and stamboel,
were unscripted and generally used fantastic settings and
plotlines.[lower-alpha 4][10] Kwee Tek Hoay heavily disap-
things as they are, than to create events out of nothing,
which although perhaps more entertaining and satisfy-
ing against the truth.[lower-alpha 5][11] After condemning
contemporary playwrights who merely wrote down exist-
ing stories, Kwee Tek Hoay expressed the hope that ulti-
mately a unique form of Chinese Malay theatreinspired
by European theatrical traditions but dealing with Chi-
nese themescould be developed.[12] Allah jang Palsoe
was intended to be the rst published stage play in this
new tradition.[8]
Kwee Tek Hoay made numerous recommendations for
the plays casting, costuming, setting, and music. He
wrote that if suciently talented actors to portray Kioe
Lie and Kioe Gie could not be found, it would be better
to not perform this show,[lower-alpha 6] and that Ijan Nio
needed to show a perfect woman or wife,[lower-alpha 7]
as opposed to the erce and rough[lower-alpha 8] Houw
Nio.[13] He provided four set designs, to be used at appro-
priate points in the plot, and gave suggestions for setting
up the needed backgrounds and props.[14] Kwee recom-
mended that the play include only one song, John Payne
and Henry Bishop's "Home! Sweet Home!", which was
to be performed in the sixth act with either English or
Malay vocals and a trio of piano, viola, and guitar or
mandolin.[15]

designs for Allah jang Palsoe by Kwee Tek Hoay; illus-

trations by Oey 4 Analysis

Allah jang Palsoe was the rst stage play by the journalist The title Allah jang Palsoe is a reference to money,[16]
Kwee Tek Hoay.[1] Born to an ethnic Chinese textile mer- with an underlying didactic message that money is not
chant and his wife,[2] Kwee was raised in Chinese culture everything in the world, and that an unquenchable thirst
and schools that focused on modernity. By the time he for it would turn one into a money animal.[17] Through-
wrote the drama, Kwee Tek Hoay was an active propo- out the dialogue, money is referred to as the false God,
nent of Buddhist theology. However, he also wrote ex- with Lie as a character who deies money to the point of
tensively on themes relating to the native population of ignoring his other duties and only realising his error after
the archipelago[3] and was a keen social observer.[4] He it is too late. Gie, although he does become rich, does not
read extensively in Dutch, English, and Malay, and drew consider money a god, but is a philanthropist and holds to
on these readings after becoming a writer.[5] his morals. The Indonesian literary critic Sapardi Djoko
According to the historian Nio Joe Lan, Allah jang Damono writes that such a message would have been pop-
Palsoe was the rst stage drama in Malay by a Chi- ular among ethnic Chinese of the contemporary Indies,
nese writer.[lower-alpha 2][6] The six-act work was written in and as such the[18]
play would have been a favourite of social
vernacular Malay, the lingua franca of the Indies, and organisations.
was based on E. Phillips Oppenheim's short story The The Indonesian literary critic Jakob Sumardjo likewise
False Gods.[7] Though in his foreword Kwee Tek Hoay notes money as the central issue of Allah jang Palsoe,
apologised for the quality of the stage play, writing that writing that the play shows individuals doing anything
the content and arrangement of this book are far from to earn iteven sacricing their values. He writes that
 3

already present in Allah jang Palsoe. He compares the

stage directions in Allah jang Palsoe to those in Ibsens
Hedda Gabler and nds them to be similar in their level
of detail.[11]

5 Release and reception

The style of Allah jang Palsoe was inspired by the realism of

Henrik Ibsen.

the corrupting nature of money remains present in the

best of times,[17] and considers Kwee Tek Hoays mes-
sage to have been too heavily based in morality rather An advertisement for the published script, included in the 1930
than considerations of social and human factors. As a re- printing of Boenga Roos dari Tjikembang
sult, he writes, readers are brought to understand the lust
for money as a human illness[lower-alpha 9] which must be The script for Allah jang Palsoe was released by
overcome: they should follow the example of Tan Kioe the Batavia-based publisher Tjiong Koen Bie in mid-
Gie, not Tan Kioe Lie.[19] John Kwee of the University 1919.[23] This edition included a foreword from the au-
of Auckland, citing Gies departure from Kamadjoean, thor, four illustrations of recommended stage decor, a
suggests that this was a challenge directed at the Chinese number of performance guidelines, and a brief outline
Malay press, then becoming increasingly commercial.[20] of the state of the theatre among the ethnic Chinese.[24]
Kwee Tek Hoay paid for this printing, a run of 1,000
Allah jang Palsoe also contains themes unrelated to
money. The sinologist Thomas Rieger notes the pres- copies, out of his own pocket and saw large nancial
losses.[7] The stage play was republished in 2006, using
ence of a Chinese national identity, pointing to Gie as
a young man excelling in all Confucianist values, leav- the Perfected Spelling System, as part of the rst volume
ing his comfortable job rather than becoming an apolo- of the Lontar Foundation's anthology of Indonesian stage
gist for the Dutch colonial government to the detriment dramas.[25]
of his ethnic Chinese peers.[21] Another sinologist, Myra
Allah jang Palsoe was well received and broadly
Sidharta, looks at Kwee Tek Hoays view of women. She adopted.[26] Troupes were allowed to perform the play
writes that his depiction of an ideal woman was not yet as a charity opera,[lower-alpha 10] though proceeds were to
fully developed in Allah jang Palsoe, though she nds go to the Tiong Hoa Hwe Koan branch in Bogor.[27] One
Houw Nio to be a depiction of how a woman should not performance is recorded as garnering 10,000 gulden.[26]
act: selsh and addicted to gambling.[22] According to an advertisement, by 1930 the play had been
[1]
In a preface to his 1926 drama Korbannja Kong-Ek (The performed tens of times [7]
and was popular with ethnic
Victim of Kong-Ek), Kwee Tek Hoay wrote that he had Chinese theatre troupes.
drawn inspiration from the realist Norwegian playwright Kwee Tek Hoay received numerous letters from fans of
Henrik Ibsen in that work, having read and reread the Allah jang Palsoe, spurring him to continue writing.[28]
authors plays. Damono nds signs of Ibsens inuence Considering the play too dicult for native troupes to
4 7
stage, when one such troupe, the Union Dalia Opera, re-
quested permission to perform it, Kwee Tek Hoay instead
wrote a new story for them. This later became his best-
selling novel Boenga Roos dari Tjikembang (The Rose of
Cikembang).[29] Another of Kwee Tek Hoays stage dra-
mas, Korbannja Kong-Ek, was inspired by a friend, who
wrote him a letter asking for another comforting and ed-
ucational play after reading Allah jang Palsoe.[30]
In 1926 Kwee Tek Hoay wrote that, after Allah jang Pal-
soe, the quality of stage performances in the Indies had
increased noticeably.[31] 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 Allah jang Palsoe included plays by
Kwee Tek Hoay (Korbannja Kong-Ek, Mait Hidoep, Ple-
siran Hari Minggoe), Lauw Giok Lan (Pendidikan jang
Kliroe), Tio Ie Soei (Jan Tio), and Tjoa Tjien Mo (Beng
Lee Koen, Hsi Shih).[32]
Sumardjo writes that, though Allah jang Palsoe was pub- [9] Original: "penyakit kemanusiaan"
lished seven years before the Rustam Eendi's Bebasari
(generally considered the rst canonic Indonesian stage [10] Original: "opera derma". This type of stage drama, also
drama), Kwee Tek Hoays writing shows all the hallmarks
of a literary work.[33] Though the drama is not considered
part of the Indonesian literary canon,[lower-alpha 11] perfor-
mances have continued into the 21st century. In May
2003, the Jakarta-based Mainteater put on an abridged
[34]
performance directed by E. Sumadiningrat. Another
Jakarta-based troupe, Teater Bejana, has included it in
their repertoire.[35] [11] The same holds true for all works of Chinese-Malay liter-
6 Notes
[1] In Chinese tradition, such a relationship would be consid-
ered incest (Sidharta 1989, p. 59).
[2] Kwee Tek Hoay, in his foreword to the rst edition of the
stage play, made a similar assertion. He stated that, at as of
July 1919, only three printed scripts of stage dramas were
available in Malay: Kapitein Item, Raden Beij Soerio Retno
(F. Wiggers) and Karina Adinda (Victor Ido, translated
by Lauw Giok Lan). None of these focused specically
on the ethnic Chinese in the Indies. The rst dealt with
the Spanish occupation of the Netherlands, while the latter
two were set among the Javanese gentry (Kwee 1919, p.
ix).
[3] Original: "... isi dan atoerannja ini boekoe ada djaoe dari
pada boleh dibilang rapi..."
[4] The bangsawan or komedi bangsawan originated in
Penang, British Malaya, in the 1870s and became pop-
ular in the Dutch East Indies in the late 19th century. The
stamboel (from the word Istanbul) or komedi stamboel was
a genre which originated in Surabaya, Dutch East Indies,
in 1891, and built upon the bangsawan. Both types of the-
atre featured extensive song and dance as part of the story
proper or between scenes. The majority of stories staged
by bangsawan troupes originated from the Malay hikayat
REFERENCES
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kinds, including adaptations of Shakespeare, Chinese leg-
ends, and contemporary literature (Sumardjo 1992, pp.
102109).
[5] Original: "... lebih baek tuturkan kaadaan yang sabetul-
nya, dari pada ciptaken yang ada dalem angen-angen,
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[6] Original "... lebih baek ini lelakon djangan dipertoend-
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9 Text and image sources, contributors, and licenses

9.1 Text
Allah jang Palsoe Source: https://en.wikipedia.org/wiki/Allah_jang_Palsoe?oldid=770469122 Contributors: Huntington, Rjwilmsi,
Crisco 1492, Ian Rose, Ohconfucius, Ser Amantio di Nicolao, J Milburn, Magioladitis, Sarahj2107, JohnBlackburne, Bentogoa, Drmies,
Bbb23, Materialscientist, GA bot, Brandmeister, SchroCat, TFA Protector Bot, Sigehelmus, FACBot, My Chemistry romantic, Inter-
netArchiveBot, Iambic Pentameter, Tfhhr45rt, DieterPaxwellMavis, Innafornow, The edgy sock and Anonymous: 2

9.2 Images
File:Allah_jang_Palsoe_ad.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/5d/Allah_jang_Palsoe_ad.jpg License:
Public domain Contributors: Source: Kwee Tek Hoay (1930) (in malay) Boenga Roos dari Tjikembang, Batavia: Panorama Original artist:
Uncredited
File:Flag_of_Indonesia.svg Source: https://upload.wikimedia.org/wikipedia/commons/9/9f/Flag_of_Indonesia.svg License: Public do-
main Contributors: Law: s:id:Undang-Undang Republik Indonesia Nomor 24 Tahun 2009 (http://badanbahasa.kemdiknas.go.id/
lamanbahasa/sites/default/files/UU_2009_24.pdf) Original artist: Drawn by User:SKopp, rewritten by User:Gabbe
File:Flag_of_the_Netherlands.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/20/Flag_of_the_Netherlands.svg Li-
cense: Public domain Contributors: Own work Original artist: Zscout370
File:Henrik_Ibsen,_1898_(4705434787).jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bf/Henrik_Ibsen%2C_
1898_%284705434787%29.jpg License: Public domain Contributors: https://www.flickr.com/photos/national_library_of_norway/
4705434787/ Original artist: Daniel Georg Nyblin (1826-1910), via National Library of Norway
File:Nuvola_apps_package_graphics.png Source: https://upload.wikimedia.org/wikipedia/commons/2/22/Nuvola_apps_package_
graphics.png License: LGPL Contributors: http://icon-king.com Original artist: David Vignoni / ICON KING
File:Stage_design_I,_Allah_jang_Palsoe,_p18.jpg Source: https://upload.wikimedia.org/wikipedia/en/b/b7/Stage_design_I%2C_
Allah_jang_Palsoe%2C_p18.jpg License: PD-US Contributors: Kwee, Tek Hoay (1919). Allah jang Palsoe [The False God] (in Malay).
Batavia: Tjiong Koen Bie. p. 18. Original artist:
Oey
File:Stage_design_II,_Allah_jang_Palsoe,_p28.jpg Source: https://upload.wikimedia.org/wikipedia/en/b/b1/Stage_design_II%2C_
Allah_jang_Palsoe%2C_p28.jpg License: PD-US Contributors: Kwee, Tek Hoay (1919). Allah jang Palsoe [The False God] (in Malay).
Batavia: Tjiong Koen Bie. p. 28. Original artist:
Oey
File:Stage_design_III,_Allah_jang_Palsoe,_p80.jpg Source: https://upload.wikimedia.org/wikipedia/en/e/eb/Stage_design_III%2C_
Allah_jang_Palsoe%2C_p80.jpg License: PD-US Contributors: Kwee, Tek Hoay (1919). Allah jang Palsoe [The False God] (in Malay).
Batavia: Tjiong Koen Bie. p. 80. Original artist:
Oey
File:Stage_design_IV,_Allah_jang_Palsoe,_p94.jpg Source: https://upload.wikimedia.org/wikipedia/en/d/db/Stage_design_IV%2C_
Allah_jang_Palsoe%2C_p94.jpg License: PD-US Contributors: Kwee, Tek Hoay (1919). Allah jang Palsoe [The False God] (in Malay).
Batavia: Tjiong Koen Bie. p. 94. Original artist:
Oey

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