KESENIAN MASUK KAMPUNG

Suatu ketika, Manan sedang duduk di sebuah pendopo kecil di bawah pohon jambu, tepat di depan rumahnya. Ia tampak sibuk membaca buku. Banyak buku beserak di sekitar tempat dia duduk. Beragam-ragam buku ia baca. Tampak dari jauh, Tomok datang sambil menggandeng sebuah buku. Manan memanggil Tomok sambil mengode minum kopi. Tomok kalau dah diajak ngopi, tak akan pernah menolak siapa pun orang yang mengajaknya. Setiba Tomok di pendopo kecil Manan, Tomok duduk bersila, tanpa basa-basi ia membuka gelas yang telungkup dan mencurahkan kopi ke dalam gelas. Manan menggelengkan kepala dan berkata:

“Ewah, dikau Mok belum aku mempersilahkan dikau minum, dah main hembat ye.”

Tomok tidak menghiraukan, dan die tetap menghirup bau kopi yang telah ia curahkan ke gelas tadi. Sambil memejamkan mata, Tomok mulai berekpresi lagaknya mau baca puisi. Manan terkejut, tetiba Tomok berkelakuan aneh. Tak macam biasanya.

“Aih, Mok. Dikau ngape, tesampok Jin mane?”

“Pekat....Hitam....Bercita rasa semerbak bau...”, kata Tomok sambil berekpresi dengan kaki naik di atas kayu sandaran pendopo.

“Mok, dikau kenape ni? Mampus aku, apelah yang Minah masukan dalam kopi ni. Tapi, aku minum kopi ni tak macam Tomok pulak. Tesampok Jin manelah die ni. Mok, sado...sado”, kata Manan tampak cemas.

Tomok menatap tajam Manan dan ia tampak diam. Tatapan Tomok semakin memekat tajam yang membuat Manan ketakutan dan mulai merangkak menjauh dari Tomok. Tapi, Tomok melarang Manan untuk pergi.

“Diam membatu. Hei, mambang angin...mambang Tanah....mambang dari segala penjuru, mantra segala mantra membuncah lantang...”

Manan mulai khawatir dan begitu takut hingga tampak gemetar. Keringat dingin mulai timbul di badan Manan. Sarip yang lewat depan rumah Manan terkejut mendengar teriakan dari Tomok. Dengan gesit Sarip sembunyi disebalik pohon, dan melihat aksi Tomok bertingkah laku aneh.

“Hah? Tomok tu? Apo macam dio buat kelaku tu?”, kata Sarip sambil menepuk jidatnya.

Sarip pun berteriak memanggil warga.

“Woi, mike mike kesini. Tomok dimasuki Jin ip’ret”.

“Astagfirullah, kenape Tomok tu macam begitu kelaku”, kata seseorang warga.

Manan pun terkejut melihat warga-warga dah berkumpul depan rumah dia.

“Woi, mike ngape beramai-ramai ni?”, tanya Manan dengan suara parau.

“Seharusnye aku yang nak tanye, budak Tomok tu ngape pekik telolong macam tu. Masuk jin ke?”, tanya Sarip.

“Aku tak tahu de, saat minum kopi die langsung macam ni. Tapi, aku minum kopi ni tak macam ni pulak”, jawab Manan.

Tomok mulai tampak mengeksplor badannya seperti butoh (gerakan tubuh ala Jepang).

“Ihhh, die kene santau.”, kata salah seorang warga.

“Yang betul cakap tu, manelak ade di kampung kito ni hal macam tu. Betul tu Manan, die tu kene santau?”, tanya Sarip dengan nada sedikit meninggi.

Tomok pun tak mau kalah, diapun ikut bernada tinggi dan berteriak.

“Aih budak ni kang, aku nada tinggi die pun tak kalah saing. Mok, dikau kenape ni? Macam tu pulak kelaku?”, tanya Sarip sambil mengambil sebatang kayu lapuk.

Tiba-tiba, Tomok menatap Sarip dan warga. Perlahan ia menatap tajam dan berjalan pelan mendekati Sarip. Warga lain pun lari terbirit-birit. Sarip tampak diam dan memegang kayu lapuk dengan kuat, hingga patah.

“Lantang bukan mencecah....batu menjadi mantra”, kata Tomok sambil bergerak butoh.

“Mampus aku, tak dapat cakap lagi. Mengapelah aku betiak-tiak tadi, kan dah jadi gini”, kata Sarip yang bercucuran keringat.

Tampak dari jauh, Jang membawa beberapa proposal.

“Mok, moh kopi. Penat aku nyari dikau dah”, teriak Jang dari Jauh.

Tomok pun terkejut, dan melirik Jang dengan cepat dan menjawab:

“Yop, kejap aku ambik kasut dulu. Kejap lagi aku kesano. Hmm alah, apo kesah Jang ni lamo aku nunggu dikau. ”, sambil besungut menuju pendopo Manan.

Manan pun terdiam, dan bertanya pada Tomok:

“Mok, dikau dah sado?”

“Sado? Aih, memang aku kenapo?”, tanya Tomok kembali.

“Dikau tejerit-jerit macam tesampok jin tu kenape?”, tanya Manan sambil perlahan mendekati Tomok.

“Oh, aku sedang besajak dan cubo berteater selepok. Apolah kesah dikau ni, Nan. Suai dikau ni selalu kusut tak nentu, banyak betul dikau baco buku tu jadi tak tahu aku bersajak dan teater tadi tu?”, tanya Tomok sambil memasang kasut.

“Ta..tadi tu dikau besajak? Plus teater?,” tanya Manan heran.

“Laillahailallah....tak tahu dikau selamo ni?”, tanya Tomok.

Tomok pun terkejut melihat Sarip.

“Astagfirullah, WAK SARIP! Ape dikau buat tu?,” tanya Tomok sambil melotot.

Sarip pun tersadar, dan bertanya:

“Mok, sado dikau dah. Aku kenape, Mok?”, tanya Sarip dengan penuh keheranan.

“TUTUP BARANG DIKAU TU, RIP. MALU Rip, MALUUU. Dikau tu dah tuo.”, kata Tomok sambil menunjuk sarung Sarip.

“Astagfirullah. Suailah warga lari tadi, rupenye barang aku tededah. Ni dikau punye pasal, Mok. Memacam kelaku pulak dikau perbuat tadi”, sungut Sarip sambil menutup yang terdedah bebas dan ia pergi meninggalkan Manan serta Tomok.

“Hahahahaha......Wak Sarip tu dah tuo tambah pulak dikau bekelaku macam-macam tadi. Hmmm alah, Mok Tomok”, kata Manan sambil mencurah kopi.

“Buku ni dikau bace. Ekonomi Kreatif Ala Atah Roy. Banyak inspirasi yang aku dapat dari buku ni. Macam dikau ni WAJIB membace ini. Sebab, banyak ulasannye tentang Kesenian, Penyair, Seniman, Teater, pokoknye semuenye ade dibuku ni. Dikau kan suke dengan hal berbau keingin tahuan berilmu. Ha, dikau bantu dan beri lahan berekpresi pada penukang kesenian ni. Dikau buatlah, program kesenian di kampung kite ni. Sebab, kalau tak kite yang menghargai para seniman siape lagi. hidup itu seni, Nan. Ingat! Dah, aku nak ke tempat Jang. Kami nak mengajukan bantuan proposal kesenian untuk kampung kite ni”, kata Tomok sambil meminum kopi.

“Waw, emejing ni buku Mok. Pinjamlah aku kejap", kata Manan penuh semangat.

"Pinjam? Hah, sedap cakap. Dikau belilah samo Atah Roy kampung sebelah tu. Tigo puluh Ribu rupiahnyo. Ulasan Atah Roy ni menarik, Nan", kata Tomok meyakinkan Manan.

"Okelah, kang aku beli dan aku lagi berusaha ni semampu aku untuk memajukan kesenian di kampung kite ni. Malam ni aku buat programnye dan aku ajukan besok tempat kejo aku. Kalau bukan kite, siape lagi. Ye tak?”, kata Manan.

Tomok pun pergi dan Manan merapikan buku-bukunya dan pergi untuk membeli buku "Ekonomi Kreatif Ala Atah Roy".

* * *

Judul                   : Ekonomi Kreatif Ala Atah Roy

Penerbit              : Yayasan Pusaka Riau

Desain Sampul   : Katon/ Hang Kafrawi

Harga                  : Rp 30.000,- (belum include pengiriman)

Pemesanan bisa melalui Gmail penulis maupun kontak person dibawah ini:

0822 8308 8441 (Bisa melalui WA)

ETIKA BERPAKAIAN MELAYU

Dr. ( H.C.) H. TENAS EFFENDY memperkenalkan tentang Etika Berpakaian Melayu haruslah mencerminkan sikap dan perilaku terpuji, menunjukkan keperibadian yang baik, sehingga tidak merusak atau merendah martabat pakaian Melayu yang di pakainya.

Ungkapan adat Melayu mengatakan, "Adat memakai pada yang sesuai, adat duduk pada yang elok, adat berdiri tahukan diri".

Ungkapan ini mengandung makna yang dalam, intinya memberi petunjuk bahwa setiap orang dituntut untuk meletakkan sesuatu pada tempatnya, berperilaku menurut alur dan patutnya. Di dalam hal berpakaian hendaklah mengacu kepada asas 'sesuai' yaitu  sesuai pakaiannya, sesuai memakainya, sesuai cara memakainya, sesuai tempat memakainya, sesuai pula menurut ketentuan adat atau yang ditegaskan lagi elok baju karena sejudu, elok pakaian karena sepadan.

Akan tetapi kita kaitkan dengan pada saat ini telah banyak kita jumpai orang Melayu tidak lagi mengikuti kaidah dan ketentuan dalam berpakaian Melayu yang bersebati dengan agama Islam, hal tersebut tentunya dipengaruhi oleh perkembangan zaman dan modernisasi yang sangat melunjak di hadapan kita, lihatlah banyak sekali pakaian melayu yang mencolok dimata kita. seprti wanita memakai baju-baju yang ketat hingga menampakkan bentuk dan lekuk tubuhnya dimata orang banyak, tujuannya agar pria terpesona melihatnya tetapi sebenarnya ini melanggar etika dalam berpakaian Melayu. Jika hal tersebut masih terus berlanjut tanpa ada perubahan dalam adab berpakaian, ini akan mencemarkan ciri khas Melayu yang dikenal dengan sopan santun dalam tingkah laku dan adab berpakaian.

Orang tua-tua dahulu mengatakan bahwa "Adat pakaian orang Melayu, pantang mendedahkan aib malu”, atau dikatakan "Adat memakai pakaian Melayu, pantang membuka aib badan, pantang menyingkap malu diri".  Penegasan ini menunjukkan bahwa dalam memakai pakaian Melayu terutama pakaian adatnya tidaklah dapat dilakukan dengan semena-mena atau mengada-ada atau memandai-mandai, tetapi wajiblah mengacu dan mengikut nilai hakikat dalam budaya Melayu yang disebati dengan ajaran Islam.

Di dalam kehidupan masa silam, orang Melayu amatlah cermat dalam hal-ihwal berpakaian, amat teliti dalam menentukan adat istiadat tentang cara memakai pakaian dan amat menjunjung tinggi nilai agama dan budaya dalam berpakaian. Mengapa saat ini bisa terjadi perubahan dalam berpakaian? Apakah mereka merasa gengsi dengan etika berpakaian Melayu yang dulu? Sehingga mereka tidak mengikuti kaidah Melayu yang sebenarnya sudah diterapkan oleh orang tua-tua dulu yang lebih bermanfaat dan sejalan dengan peraturan agama Islam. Karena orang Melayu selalu memilih pakaian yang sesuai dengan dirinya dan kedudukannya, berusaha memakai pakaian baik dan benar, dan berusaha menjaga pantang larang dalam berpakaian, dan berusaha menunjukkan perilaku terpuji dalam kehidupan sehari-hari.

Penulis: Izwanto (Iwank) mahasiswa FIB Universitas Lancang Kuning Pekanbaru, jurusan Sastra Daerah.

NASKAH MONOLOG CERMIN karya Nano Riantiarno

PANGGUNG MULA-MULA GELAP. GELAP SEKALI. TIBA-TIBA TERDENGAR TERIAKAN KETAKUTAN SEORANG LAKI-LAKI. PANGGUNG MASIH TETAP GELAP.

SUARA :
Jangan! Jangan tinggalkan saya! Tolong! Tolong! Tolong! Nyalakan lampu, saya takut gelap! Saya takut sendirian! Tolong! Jangan tinggalkan saya! Cahaya, saya butuh cahaya! Saya butuh terang! Tolong…….cahaya…….cahaya.

DAN LAMPU WARNA PINK MENYOROT (FADE-IN) MELINGKARI AREA DIMANA DIA BERTERIAK-TERIAK DILANTAI, SAMPING SEBUAH KURSI BESI. DALAM PENJARA SEORANG LAKI-LAKI KIRA-KIRA BERUMUR 35 TAHUN KAGET KETIKA SADAR BAHWA DIA SEKARANG BERADA DALAM TERANG. DIA KECAPAIAN DAN TERENGAH-ENGAH.MENGHIMPASKAN PANTATNYA DI LANTAI. PADA SAAT YANG HAMPIR BERSAMAAN, SETELAH UJUD SELURUH LAKI-LAKI ITU TERLIHAT SAMAR-SAMAR LAMPU MENYALA MENYOROTI AREA DI DEPAN DIA. SEORANG LAKI-LAKI LAIN YANG SELURUHNYA SAMA DENGAN DIA JUGA DUDUK DI LANTAI SAMPING SEBUAH KURSI BESI YANG SAMA. LAMPU BERWARNA PINK JUGA. DUA LELAKI YANG SAMA DUDUK DI LANTAI SAMPING KURSI BESI YANG SAMA TERSEKELILING GELAP. GELAP SAKALI.
LAKI-LAKI :

He………..

(LAKI-LAKI DI DEPANNYA MENYAPANYA JUGA PERSIS TAPI TANPA SUARA)

Hee……….. Ya! Masih ada. Kukira sudah pergi bersama yang lain-lain. He, aku senang kau masih ada. Di depan situ menatapku. Temanku Cuma kamu sekarang. Di sini pengap. Keringat tak henti-hentinya menyembul dari pori-pori kulit. Aku khawatir kalau persediaan air dalam tubuhku habis, pasti bukan keringat lagi yang keluar tapi darah. Dan kalau darah sudah habis…….. sebuah pintu terbuka lebar-lebar dan aku harus mendorong diriku sendiri untuk bilang ayo masuki ruangan besar di sebaliknya. Ruangan besar dari sebuah gedung yang besar. Ada apa di dalamnya? Perabotan-perabotannya bagus? Jenis kursi-kursinya dibikin dari kayu apa? Jati tua atau mahoni? Karpetnya? Dari India atau Persia?

LAKI-LAKI :
Apa ada hiasan-hiasan dindingnya? Dari apa? Kuningan apa perunggu? Lampu gantungnya dari kristal? Kamar mandinya bersih, artinya tidak terdapat lipas di sudut-sudutnya. Dapurnya bagaimana? Selalu tersedia makanan hangat dalam lemari? Aku pedagang barang antik, harus tahu secara detail perabotan-perabotan tiap ruangan yang kumasuki. Bagaimana? Apa aku akan ditemani atau sendirian? (BERBISIK) Apa Su ada disitu……apa dia menungguku disitu? (DIAM MENUNGGU JAWABAN). Ya aku tahu kau tidak tahu. Tak seorangpun yang tahu sebelumnya. Masuki gedung itu dulu, baru kau akan bisa bercerita ada apa di dalamnya. Tapi siapa saja yang masuk ruangan besar itu, tak akan pernah kembali lagi. Pans, Cuma keluhan, jangan khawatir seorang kawan bisa menyejukkan suasana. Ada seorang di sekitar kita lebih baik daripada sama sekali tidak ada. Pada dasarnya semua orang takut sendirian. Aku juga. Kau juga. Benarkan. Kita ngobrol-ngobrol, untuk mengisi waktu. Obrolan yang intim bisa menambah rasa kekawanan. Tidak usah dijawab. Aku yakin pasti kau mau. Ya, kita akan ngobrol-ngobrol. Aku dapat pertama, kamu yang kedua. Akan kubeberkan semuanya tanpa malu-malu. Tapi musti janji, begitu aku selesai kau segera menyambungnya. Dengan begitu tak akan terasa lagi waktu lewat. Pagi-pagi sekali kita akan berpelukan mengucapkan salam perpisahan, barangkali sambil tertawa-tawa atau barangkali kita akan saling menangisi. Entahlah! Jangan menjawab, aku tahu kau sama seperti aku, termasuk orang-orang yang selalu berusaha untuk menepati janji. Dengan adanya kau di situ, meskipun kau tidak menyapa apa-apa bisa kupastikan kita akan selalu bersama-sama, setia sampai mati.

(BERPIKIR HENDAK MEMULAINYA DARIMANA). 

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THE JUDGMENT OF PARIS

from Dialogues of the Gods

by Lucian of Samosata

adapted by Baudelaire Jones

[Mount Olympus. HERA, ATHENA, APHRODITE, and HERMES gather around the

throne of ZEUS.]

ZEUS:

Hermes, I have an important task for you. Take this apple to Phrygia. On the Gargaran peak of Ida, you will find a young herdsman—Paris, the son of Priam. Tell him that he’s been chosen by Zeus to judge the beauty of the Goddesses and to decide once and for all which one is the most beautiful.

HERMES: 

What’s the apple for?

ZEUS: 

Oh, that’s the prize—for the winner.

HERMES: 

That’s the best you could do?

ZEUS: 

It’s an apple from the table of Zeus! Besides, it’s not the prize that’s important, but the honor of being chosen most beautiful of all the Goddesses. As for myself, I’ll have nothing to do with it. I love you all equally, and if I had my way, all three would win. But of course one of you has to be honored above the others or you’ll never be satisfied, and if I choose one of you, the other two will make my life miserable. This young Phrygian, on the other hand, has an objective eye. Although there is royal blood in his veins, he is a simple countryman, so he knows what’s what, and he won’t play any games.

APHRODITE: 

It doesn’t matter who the judge is. Momus himself can be the judge, as far as I’m concerned. I have nothing to hide. I mean, what fault could he possibly find with me? Of course, the others must agree too.

HERA: 

Oh, we’re not afraid to measure ourselves against you, even if your lover Ares should be appointed. Paris will do—whoever he is.

ZEUS: 

And my little Athena—does she approve? No, no, don’t blush or hide your pretty face. I know it’s a delicate subject, but—there, she nods her consent. Very well, then—it’s decided. And remember, the losers in this contest mustn’t be angry with the judge. I won’t have the poor boy punished for his decision. Only one can wear the crown of beauty.

HERMES: 

All right, then—we’re off to Phrygia. Just follow me, ladies, and don’t be nervous. I know Paris—he’s a good boy, quite the charmer, and a clever judge of beauty. He’ll make the right choice, you can count on it.

APHRODITE: 

I’m glad you approve of Paris; I ask for nothing but a fair judge. Do you know if he has a wife, Hermes? Or is he a bachelor?

HERMES: 

He’s not a bachelor in the strictest sense.

APHRODITE: 

What does that mean?

HERMES: 

Well, there’s a wife … and she’s nice enough … but she really doesn’t deserve him.

APHRODITE:

Why not?

HERMES:       

Well … she’s a “country beauty.” In other words, she’s downright ugly and he only took her because there was nothing else available, and a young man must have somewhere to sow his seed. Why do you ask?

APHRODITE: 

Just curious.

ATHENA: 

What’s all this whispering about? That isn’t fair, Hermes. Whatever you’re telling Aphrodite, you can tell the rest of us.

HERMES: 

It’s nothing important. She only asked if Paris was a bachelor.

HERA:

None of her business—that’s what you should have said.

HERMES: 

It’s an innocent enough question.

ATHENA: 

Well—is he?

HERMES: 

A bachelor? No.

ATHENA: 

What are his ambitions? Does he care for military glory? Or just for his goats?

HERMES: 

Well, I don’t really know, but he’s a young man, so I would assume he’s dreamed of distinction on the battlefield.

APHRODITE: 

There, you see—I don't complain when you whisper to her.

HERMES: 

Listen, ladies, don’t be cross with me; I’m just the messenger. And besides, Athena asked almost the same question you did. It can’t do any harm, can it—my answering a simple question?

HERA: 

How much further?

HERMES: 

We’re almost over Phrygia now. There’s Ida—I can just make out the peak of Gargarum, and if I’m not mistaken, there’s Paris right there.

HERA: 

Where? I can’t see.

HERMES: 

Over there, to the left. No, not on top—down to the side, by that cave where you see the herd.

HERA: 

I don’t see the herd either.

APHRODITE: 

It’s a good thing this isn’t a “seeing” contest.

HERMES: 

Right there, between the rocks. Where I’m pointing, look—and the man running around with the staff, keeping them together …

HERA]: 

Ah, I see now.

HERMES: 

Yes, that’s him, all right. We should descend here—he might be frightened if we swoop down too suddenly.

HERA: 

Now that we’re on the earth, Aphrodite, why don’t you lead the way? I understand you’ve been here often enough to “visit” Anchises; or at least that’s what I’ve heard.

APHRODITE: 

Your sneers are wasted on me, Hera.

HERMES: 

Come on, I’ll lead the way myself. I spent enough time in the area while Zeus was courting Ganymede. Many times, I stood watch over the boy; and when the great eagle came and swooped him up, I flew at his side and helped with his lovely burden. I believe this is the very rock where he stood piping to his sheep as Zeus  tenderly caught him up in those talons and carried the frightened boy off. I picked up his pipes, he had dropped them trying to escape, and—

HERA: 

Enough about my husband’s philanderings.

HERMES: 

Oh, yes … sorry. Anyway, here is our appointed referee. Good morning, Paris!

PARIS: 

Hey, kid. Aren’t you a little young to be climbing these dangerous peaks? And with a band of women, no less! Beautiful women—too beautiful for this mountain-side.

HERMES: 

These women, good Paris, are the Goddesses Hera, Athena, and Aphrodite. And I am Hermes, messenger extraordinaire for mighty Zeus. He has chosen you to judge the beauty of these three, and the prize is this apple.

PARIS: 

An apple?

HERMES : 

I know, I know, but it’s a very nice apple. And there’s an inscription. Here, have a  look.

PARIS: 

“For the Fair.” So, I …

HERMES: 

Just give the apple to the fairest of the three. That’s it. Couldn’t be simpler.

PARIS: 

But lord Hermes, how do you expect a mere goatherd to judge between three such unparalleled beauties?

HERA: 

He speaks well, at least.

PARIS: 

Surely, there must be some fine city folk better suited to judge this contest. I can tell you which of two goats is the finer beast, or adjudicate the merits of two heifers, but in the present company there is beauty all around. I don’t know how any man could tear his eyes away from one to look on the other. Wherever my eyes fall—there is beauty. I move them, and what do I find—more loveliness! And yet I can’t focus because I sense equal beauty lurking just this way or that! I am distracted by neighboring charms! If only I were all eyes, like Argus—then perhaps I could judge the matter!

APHRODITE: 

You’re right, Hera—his speech is pretty.

HERMES: 

So it is. I’m sorry, Paris, but these are Zeus's orders—there’s no way out of it. You are to decide the matter.

PARIS: 

All right, but the losers mustn’t be angry with me. The fault will be with my eyes only—they are instruments far too crude for deciding such a fine matter.

HERMES: 

Zeus has already made this clear. There will be no retribution from the losing parties. Now get to work!

PARIS: 

All right, but … am I just to examine them as they are, or should I go into the matter more thoroughly?

HERMES: 

Well, that’s for you to decide, I guess. Do whatever you think best.

PARIS: 

What I think best? Then I will be thorough.

HERMES: 

When you say “thorough” …

PARIS: 

I mean, if I’m to judge the entire package, perhaps they should disrobe.

HERMES: 

Disrobe?! You naughty boy! Do you really think—

HERA: 

Calm down, Hermes—the boy’s quite right. I approve of your decision, Paris, and will be the first to submit myself to your inspection. You will find that I have more to boast of than white arms and large eyes—every part of me is beautiful.

PARIS: 

Aphrodite, will you also submit?

ATHENA: 

Oh, Paris—make sure she takes off that girdle; there’s magic in it! She’ll bewitch you! And she ought to wipe off all that makeup as well! She has no right to come so tricked out and painted!

APHRODITE: 

This is my natural hue.

HERA: 

Oh, please—you look like a prostitute.

APHRODITE: 

Excuse me?!

ATHENA: 

She really should show herself unadorned.

PARIS: 

The makeup can stay, but they’re right about the girdle, madam—it must be removed.

APHRODITE: 

Oh, fine. But Athena has to take off her helmet then—no intimidating the judge with that waving plume. Or are you afraid your colorless eyes might be exposed without their formidable surroundings?

ATHENA: 

I’m afraid of no such thing. Here is my helmet.

APHRODITE: 

And here is my girdle.

HERA: 

Good. Let’s get on with it.

PARIS: 

God of wonders! What beauty is here! Oh, rapture! How exquisite these ladies’ charms! How dazzling the majesty of Heaven's true queen! And oh, how sweet, how captivating is Aphrodite's smile! And Athena’s taut muscles! It’s too much! I’m overwhelmed by your combined beauty! I know not where to look! My eyes are  drawn all ways at once—they’re splitting apart!

APHRODITE: 

Perhaps he should view us one at a time.

HERA: 

Yes, we don’t want the poor boy’s eyes to explode.

HERMES: 

All right, then—Aphrodite, you and Athena withdraw with me. Let Hera remain.

APHRODITE: 

So be it.

[APHRODITE, ATHENA, and HERMES withdraw.]

HERA: 

Well, do you like what you see?

PARIS: 

Words cannot express my satisfaction, madam.

HERA:

 When you have finished your scrutiny, you must decide how you would like your present.

PARIS:

My present?

HERA: 

That’s right. Give me the prize of beauty, Paris, and I will make you lord of all Asia!

PARIS: 

I will take no presents, madam. Withdraw, and I shall judge as I see fit.

[HERA withdraws.]

Approach, Athena.

ATHENA: 

Behold.

PARIS: 

You are very beautiful.

ATHENA: 

If you will crown me the fairest, Paris, I will make you a great warrior—a conquering hero! I will cast a divine spell so that you will never lose a battle!

PARIS: 

I appreciate the offer, Athena—but I’m a lover, not a fighter. There’s peace throughout the land, and my father’s rule is uncontested. What use do I have for fighting? You can put your robe back on, and your helmet; I’ve seen enough.

[ATHENA exits.]

And now for Aphrodite.

APHRODITE: 

Here I am. Take your time, and examine every inch as carefully as you like; let nothing escape your vigilance. Don’t be shy. Put your hand here. There, now that’s better—isn’t it? You’re a handsome boy, Paris—I’ve had my eye on you for a long time. You must be the fairest youth in all of Phrygia. It’s such a pity that you’re hidden away in these rocks and crags. Your beauty is wasted on these goats. I’d like to whisk you away and marry you to some Greek girl—an Argive, or Corinthian, or maybe a Spartan, if you like a girl with a little spunk. Helen is a Spartan. Such a pretty girl—quite as pretty as I am.

PARIS: 

As pretty as you?

APHRODITE: 

Oh, yes. And such a lover of beauty. I’m quite certain, if she once caught sight of you, she would give up everything to be with you. She would make a most devoted wife.

PARIS: 

But … I’m already married.

APHRODITE: 

So is she. But that’s of no importance. When marriage exists without love, such bonds are easily broken.

PARIS: 

Tell me about her—this Helen.

APHRODITE: 

Well, she’s the daughter of Leda—you know, the beauty Zeus ravaged in the guise of a swan.

PARIS: 

And what is she like?

APHRODITE: 

Helen is the fairest of the fair, and as one might expect from the offspring of the swan, she is soft as down (she was hatched from an egg, you know), and so lithe and graceful; her figure is the picture of perfection. She’s already had one war fought over her after she was abducted by Theseus—and she was just a child then. Now she’s all grown up and married to Menelaus, but if you’d like, I will make her your wife.

PARIS: 

Won’t Menelaus be angry?

APHRODITE: 

Don’t worry about the details, child; I’ll protect you.

PARIS: 

I don’t want to cause any problems.

APHRODITE: 

No problem at all. I will arrange to have you set out for Greece on a little vacation. When you get to Sparta, Helen won’t be able to resist your charms.

PARIS: 

But … will she really leave her husband and cross the seas with a complete stranger?A goatherd?

APHRODITE: 

Trust me. I have two beautiful children, Love and Desire—they shall be your guides.

PARIS: 

I don’t know how this will end, but I feel like I’m in love with Helen already. I can see her in my mind, on our homeward journey from Sparta, her hand wrapped in mine as we stare across the sea.

APHRODITE: 

Wait! Don’t fall in love yet. There’s still the little matter of crowning me the most beautiful of the Goddesses. Eternal happiness is yours—all you have to do is hand me that apple.

PARIS: 

Are you sure you won’t forget me after I give you the prize?

APHRODITE: 

Shall I swear?

PARIS: 

No; your word is enough.

APHRODITE: 

You shall have Helen for your wife; she shall follow you and make Troy her home— this I promise.

PARIS: 

Take the apple. It’s yours.

END of PLAY

A little note: Theater is the conscience of the people. With theater, we can be more sensitive to something happening around us. The Judgment of Paris manuscript is a dialogue between the gods, Zeus, Athena, Aphrodite, Hermes, and Hera. Please advise and input the readers