This paper talks about the delirium of identification of the gurindam genre. The only tipainduk that is a reference in gurindam whether from the etymological point of view, definition, characteristics, philosophy or thought is modeled on the Gurindam Dua Belas. However the vast majority of scholars fail to address the issue of gurindam identity and most notably in terms of characterization of the gurindam itself. Unfortunately, it fails to be responded to by today's authors let alone the audience that reads it. The qibla guided by Za'ba (1954) was the trigger for the beginning of the confusion in identifying the gurindam and was continued with similar support by (Piah, 1987). According to these two comments, gurindam is defined as an autonomous poem with no attachment, despite the fact that it is a form of traditional Malay poetry. As the millennium approaches, there is a new generation of millennium poets mobilizing energies and attempts to re-establish gurindam, such as Raja Ali Haji's Gurindam Dua Belas. . However, the question is whether the gurindam essays match the characteristics outlined by Raja Ali Haji? Most of the gurindam of the new millennium can be considered to have an identity disorder when it is backed up by five main features such as the creation of the work of Gurindam Dua Belas. Two parallel lines, A/A rhyme, free inline words, advice and cause and effect are specific guides built by Riau's poet, Raja Ali Haji from the very beginning.Therefore, this paper will limit the discussion to the repertoire of gurindam between the 2000s and above.It was at once discovered that the gurindam of the new millennium almost resembled the guidelines of gurindam construction but his soul and body were not parallel.This is what it likened to "I Think Eve Apparently Adam!"
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