Chapter VIII

Chapter VIII

_Language--Little known to Europeans--Different Languages or Dialects--Those of Súnda, Madúra and Báli compared with that of Java Proper--The polite Language, or Language of Honour--The Káwi, or Sacred and Classic Language--Numerals--Chándra Sangkála--Literature--Compositions in the Káwi Language, and in the modern Javan--Influence of Hindu Literature--Introduction of Arabic Literature--Poetry--The Bráta Yúdha, a Poem--Music--Painting--Sculpture--Architecture--Arithmetic--Astronomy._

The extensive prevalence of the Javan language, and its connexion with the languages of continental India, were not overlooked by those intelligent Europeans who visited these islands at an early period; for we find Valentyn[122] quoting the authority of Flaccourt, who published in 1661, and the Portuguese Jan de Barros, for conclusions with regard to the extent of Javan commerce in remote ages, drawn from the resemblance then traced between the languages of Java and those of Madagascar and Ambon (Amboina.) "The Javans," observes this author, "must doubtless have visited Coromandel and Malabar, for the high or court language is, in three parts out of four, derived from the Sanscrit or Brahminical language. Many Malabar words also enter into the composition, and it is besides composed in a great measure from the Dekan, which is the ancient language of India, in the same manner as the Sanscrit is the sacred language."

The alphabet has been exhibited, though imperfectly, by Valentyn, Le Brun, and Reland, and an Alphabetum Bantemense is said to have been found amongst the posthumous papers of the learned Hyde; but the language does not appear to have been regularly cultivated by Europeans until within the last very few years. Some of the outlines of the Javan mythological stories had previously appeared in a Dutch dress, in the transactions of the Batavian Society; and these, with the translation of the Lord's Prayer in the high and low languages, published by Valentyn, some short vocabularies, and a short comparative view of the Javan and Malayan languages, which appeared in a Dutch work entitled "Begin en vortgang den Oost Ind Compen," or the Rise and Progress of the East-India Company, are the only contributions to our knowledge of Javan literature with which I am acquainted.

The native population of Java, Madúra, and Báli, islands most intimately connected with each other in every respect, use exactly the same written character, and it appears that one generic language prevails throughout these islands. Of this generic language, however, there are four dialects, differing so materially from each other as to be generally considered separate languages. It is, however, rather by admixture of other languages than by mere difference of dialect that they are distinguished. These dialects or languages are the Súnda, spoken by the inhabitants of the mountainous districts of Java west of Tégal; the Jáwa or Javan, which is the general language of Java east of Chéribon, and throughout the districts lying on the northern coast of the island; the Madúra and the Báli, being the dialects or languages belonging to those islands respectively.

How far these dialects or languages radically assimilate with each other, and justify the opinion that one generic language prevails throughout, may be determined by an inspection of the annexed vocabulary[123]. The Lampung is added on account of the vicinity of that part of Sumatra to Java, and the intimate political connection which at all times subsisted between the people; and in order to enable the reader to compare them all with the prevailing language of the Archipelago the Maláyu is prefixed. Under the Javan is included the Bása kráma, or polite language, which will be more particularly noticed hereafter.

In this vocabulary such words only have been introduced as are used in conversation, and in ordinary epistolary composition; but the inhabitants of these islands possess further a classic language, altogether distinct from the ordinary languages of the country, and which is to them what the Sanscrit is to the Pracrit language of Hindustan, and what the Pali is to the Birman and Siamese. This language is termed Káwi[124]. The annexed vocabulary, No. 2[125], which affords a comparison between the Sanscrit, the Pali, and the Káwi, will shew how nearly these languages are allied.

These two vocabularies may serve to convey a notion of the extent, peculiarities, and antiquity of the Javan language, which will be found as intimately connected with the Maláyu, or general language of the Archipelago, on the one hand, as it is with the Sanscrit and Pali on the other.

The Súnda language, though now confined to the mountainous districts, seems to have been formerly, and probably down to the period immediately preceding the revolution occasioned by the Mahomedan conversion, the general language of the western districts, and is perhaps the most ancient vernacular language of the country. It is a simple uncultivated dialect, adapted however to all the purposes of the simple and uneducated mountaineers who speak it, and has perhaps escaped the influence of foreign innovation, from the peculiar nature of the country and the independent character of that race. It possesses a considerable portion of Maláyu words, and some of Sanscrit origin; the latter being, generally speaking, proper names or terms of art and science or polity, have probably been borrowed from the eastern or proper Javans, in common with whom the Súnda people have adopted a B'hasa dálam, or Bása kráma, which, however, is by no means extensive. The Súnda, with reference to the Javan, may be viewed in much the same light as the Welch is to the English. The proportion of the people who now speak it does not exceed one-tenth of the population of the whole island; the remaining nine-tenths speak Javan.

The language of Madúra, which is again divided into the dialects of Madúra proper and Sumenáp, will be found to contain many words in common with that of Súnda, but a much more extensive portion of Maláyu, varied in the termination by a peculiarity of dialect.

The languages of Báli are intimately connected with those of Java and Madúra. In the historical part of this work it will be shewn that it was in Báli the ancient religion, and with it the literature of Java, took refuge in the fifteenth century of our æra; and although, from the difference which is at this day found to exist between the vernacular languages of the two countries, as well as in their institutions, it is evident that the language, literature, and institutions of Java were there engrafted on a more rude and savage stock, still it is chiefly to Báli that we must look for illustrations of the ancient state of the Javans. The relation of the political revolutions by which these islands have been convulsed at different periods of their history, will, in a great measure, account for the distinctions of language which at present exist; while, at the same time, these distinctions and peculiarities must serve to confirm many of the facts, for which we should otherwise have only the authority of tradition to rely.

At Bantam the language is much mixed with Maláyu and Súnda. The language in ordinary use at Batavia and its immediate vicinity is a jargon of Dutch, Portuguese, Chinese, Javan, and Maláyu, the latter forming the principal component. In Bógor and Chai-ánjur, the Súnda is pronounced in a more drawling manner than in Chéribon, where it is probably most correctly spoken, as in the word náh, what? which at Chéribon is pronounced short and sharp, naù. At Tégal the Javan words are in like manner lengthened in pronunciation, while at Semárang they are spoken short and full. At the courts of Sura-kérta and Yugya-kérta, the words are pronounced short, strong, and full. In the provinces east of Surabáya, the language partakes much of the Madurese, and in the extreme district of Banyuwángí, the Báli is discernible.

The alphabet of Java is peculiar: it consists of twenty consonants (y and w are of the number), termed aksára or letters. In common with all other characters properly Indian, these letters may be considered as syllables, composed of a consonant and an inherent vowel sound, which is invariably expressed, unless contradicted by a particular sign.

Besides the aksára, there are twenty auxiliary characters, termed pasáng'an, which in this application means corresponding or similar. They have the same power as the aksára against which they stand, except that they are only used in connexion with and immediately after the aksára, for the purpose of suppressing their inherent vowel sound. Three of them are always placed after the aksára, the others below them.

When the inherent vowel sound in the aksára is not contradicted, the aksára is termed lagána. The vowel sound in this case is that of a in "water," or of o in "homo;" the o being at present invariably used at the native courts and their vicinity for the inherent vowel of the consonant, instead of a. The latter, however, is still preserved on Madúra, Báli, and in the districts of Java, west of Tégal, and was doubtless the original inherent vowel. The consonant sounds correspond with the sounds usually attributed to the English consonants, with the exception of a second d and t, which correspond with similar sounds in the Devanágari alphabet; ch, which is used as ch in "church;" nia, and ng', which latter is frequently used as an initial letter.

Besides these there are five vowel signs, which supplant the inherent vowel. These signs are termed sandáng'an, the clothing or dress. The répa consist of certain contractions of consonants and other signs used in composition. These, with a pángkun, or sign of elision, corresponding with the báris máti of the Malayu, which has no sound of its own, but being placed at the end of a word or sentence denotes its termination in a pure consonant, and some few other marks corresponding with the Devanágari, complete the orthographical arrangement, which though complex and intricate, is remarkable for its precision.

Some of the letters occasionally occur under a capital, or rather peculiar form, for they are of the same size; but these are seldom used, and when they are, it is not as capitals are employed in European languages. They are principally found in proper names, and titles of office, and are placed alike in the beginning, middle, or end of a word.

The annexed table is intended to exhibit the powers and application of the different letters and orthographical signs. No. 1. exhibits the characters now in general use. No. 2. contains the square characters in which the Káwi is usually written, and in which the different inscriptions in that language, cut in stone and copper, are found. No. 3. contains specimens of the varieties which the alphabetical characters have at different times assumed, arranged, according to the judgment of the native writers, in the order of their relative antiquity.

AKSÁRA JÁWA, or LETTERS of the JAVAN ALPHABET.

CONSONANTS.

AKSÁRA PASÁNG'AN,

(Used in forming Compound Consonants).

RÉPA,

(Or Contractions of certain Consonants used in composition with other Consonants).

signian or} [Illustration] is placed after the letter, and is wignian } used to supply the place of the letter h, when not followed by a vowel sound.

chákra [Illustration] is placed round two letters, and introduces r between the consonant and its inherent vowel.

láyar [Illustration] is placed above the letter, and is used to supply the place of the letter r when not followed by a vowel sound.

péngkal [Illustration] is placed partly below the letter and partly after, to introduce a medial y in the same manner as chákra introduces r.

chechak [Illustration] is placed above the letter, and is used to supply the place of the letter ng', when not followed by a vowel sound.

chákra-gántung [Illustration] is placed below the letter, and is pronounced re.

pángkun [Illustration] is placed after a letter, and serves as a mark of elision, destroying the final vowel sound.

VOWELS.

_Single or Sandáng'an, or Corresponding Medial and unconnected Final Vowels. Vowels._

a [Illustration]

i [Illustration] wulu [Illustration] is placed above the letter.

u [Illustration] súku [Illustration] is placed below the letter.

é [Illustration] táling [Illustration] is placed before the letter.

o [Illustration] táling-tárung [Illustration] with the letter between.

e pápet [Illustration] is placed above the letter, and is pronounced as le in French.

ng'a lálet [Illustration] gives the sound of le, and pachérak [Illustration] gives the sound of re, as in Sanscrit.

AKSÁRA GEDÉ,

(Being peculiar forms under which some of the letters occasionally occur).

ÁNGKA or NUMERALS.

AKSÁRA BÚD'DA, or ANCIENT ALPHABET.

ANOTHER FORM.

RÉPA.

(Or Contractions of Consonants, &c., their Position being the same as in the modern Javan).

wignian [Illustration] pronounced as h.

chákra [Illustration] r.

láyar [Illustration] r.

péngkal [Illustration] y.

chéchak [Illustration] ng'.

chákra gántung [Illustration] r.

pángkun [Illustration] the mark of elision.

SANDÁNGAN or VOWELS.

(Their position being the same as in the modern Javan).

wúlu [Illustration] pronounced as i.

súku [Illustration] u.

táling [Illustration] é.

táling tárung [Illustration] o.

pápet [Illustration] e.

ng'a lélet [Illustration] le.

The Javans write from left to right. Every consonant (aksára) is written separately, not being joined to that which precedes it, and no space is left between the words. One or two short diagonal lines are used at the close of every poetical stanza, and sometimes a comma, and this is the only mark in the language which simply indicates a stop.

In Java the natives usually write with Indian ink upon paper manufactured by themselves, as already described, and sometimes on European and Chinese paper; but in Báli the natives invariably use an iron style, and cut the letters on a prepared palm leaf, in the same manner as in Western India. This practice is still partially continued in some of the more eastern parts of Java, and was no doubt, at a former period of their history, general throughout the island. The leaf is called lóntar (from ron a leaf, and tal the palm tree, the first and last letters being transposed), and the leaves or manuscripts are strung together to form books in the same manner as on continental India. Of these I have several specimens, containing nearly all the interesting compositions of the country.

As in the Maláyu, by far the greater proportion of primitive Javan words are dissyllables, pronounced with a slight stress or accent on the former of the two. There are a great number of derivative words, formed after the same manner as those in the Maláyu, by prefixing or annexing certain inseparable and otherwise non-significant particles. Compound words, formed by the junction of two or more significant terms, are frequently met with, though they by no means form an extensive portion of the language.

Many words, in their primitive sense, are not confined to one particular part of speech, but are common to two or more. Nouns, as in the Maláyu, cannot be said to possess the distinctions of either gender, number, or case. The males and females of all animals are, with few exceptions, as in the instances Pútra--Pútri, Déwa--Déwi, Bramána--Bramáni, and some few others, denoted by adding to the general terms words applicable to the different sexes. Number is not denoted by any variety of termination or change in the form of the noun, but by separate words, expressive of plurality or singularity; a duplication of the singular sometimes occurs, though rarely, to denote plurality. Where the terms bíji, ékor, buáh, képing, &c. are used in the Maláyu to specify a particular number, the term wíji is used indiscriminately in the Javan, whatever may be the thing spoken of. The nouns have no cases.

The adjectives are indeclinable, and generally follow the noun; and these are sometimes formed from nouns by prefixing a particle. The comparative degree is sometimes formed by prefixing a word meaning higher or larger, but more frequently by placing adverbs, significant of "with," before that with which the comparison is made, as if we should say "by the side of." The superlative degree is formed by annexing adverbs signifying "very, exceedingly, entirely, alone."

The cardinal numbers are placed sometimes before and sometimes after the nouns to which they are attached. When prefixed, they undergo, for the sake of the sound, a variety in their termination, or drop the first syllable. The ordinals are formed by prefixing a distinguishing word to the cardinals. Ten characters, which are all either alphabetical letters or signs slightly altered in form, serve to express all numbers, the notation being decimal, and the numerals being combined in the same manner as the Indian and Arabian.

The pronouns of the first and second person are always significant, and vary with the relative rank of the parties. There is no proper pronoun of the third person, but a word signifying "alone, self," with the addition of the possessive particle, is used as a personal pronoun of the third person. The personal pronouns may all be used as possessive pronouns, by being placed as such after the noun to which they belong. The relative and demonstrative pronouns correspond very nearly with those of the Maláyu.

With regard to the verb, it may be noticed that many of the observations in Mr. Marsden's grammar, on the nature and formation of the different parts of the Maláyu verb, are applicable to the Javan. It belongs rather to the detail of the grammar to point out these; but it may be remarked, that the use of these inflexions in the Javan appears to be so varied and undefined, that it is impossible, without a much more extensive knowledge of the language than Europeans at present possess, to make out a perfect conjugation, or to lay down any fixed rules for them. All that could perhaps be done, in the present state of the language and of our knowledge of it, would be to give a number and variety of correct idiomatical expressions in the Javan, by which their nature and irregularity may be shewn; and our present limits do not admit of this.

The Javan language has never been reduced within the grammatical rules adopted by Europeans, nor have the Javans themselves any notion of grammar. The construction is generally simple and regular; but owing to prosodial refinements (every writing of importance being written in verse), syllables and words necessary to express a perfect sense are often omitted; at other times, unnecessary syllables or words are added, and letters at the beginning, middle, and end of a word are transposed. Hence, and also from the usual ellipsis of the verb transitive and personal pronouns, the meaning of many passages appears obscure.

The language is remarkable for the profusion of words which it contains, for the minute distinctions and shades of meaning, and the consequent extent of synonymes, and for difference of dialect.

Of the profusion of words it may be observed, that the Javan, in this respect, may be put in competition with many of the more cultivated languages of Europe and Asia, and that a dictionary would perhaps be far from complete, if it comprehended less than twenty thousand.

Of the extent of synonymes, and the minute shades of distinction which are found in this language, some notion may be formed from the extracts from the Dása Náma which are annexed[126]. In order to facilitate the acquirement of the language, it is usual to collect all the words in the different dialects, with their synonymes, and to connect them together by stringing them in classes following each other, according to the natural chain of our ideas. Thus, after commencing with the word man, and giving an explanation of every word in the vernacular, polite and Káwi languages, applicable from his birth to his death, as infant, boy, youth, and the like, it proceeds to woman, child; from thence to the deities, afterwards to the various avocations of mankind, &c. This collection of synonymes is called Dása Náma, literally the "ten names," a term probably given to it on account of few important words in the language having less than ten synonymes. Children are no sooner taught to know the letters of the alphabet (which they first describe on the sand), and to connect them in syllables and words, than they are instructed in the Dása Náma, without a partial knowledge of which, no youth is considered competent to enter upon any public office, or can advance to a knowledge of the written compositions of the country. These collections are varied in their contents and order of arrangement, according to the acquirements and notions of the compiler. As books of reference they may be considered to supply the place of dictionaries, and if less convenient for this purpose than works alphabetically arranged, they have certainty an advantage over them, in the comparative facility with which their contents are impressed on the memory.

But there is no feature in the language more deserving of notice than the difference of dialect, or the distinction between the common language, and what may be termed the polite language or language of honour. The latter contains many words of Sanscrit origin, and a portion of Maláyu; and in those instances in which it appears to have been borrowed from the vernacular language, which may perhaps be loosely estimated at a fourth of the whole, a slight alteration is commonly made in the orthography and pronunciation, to mark the distinction. To render this distinction intelligible to those who are not locally informed, it may be necessary to explain, that from whatever cause the distinction may have originated, so clearly is the line drawn on Java, between the higher and the lower classes of society, that on no account is any one, of whatever rank, allowed to address his superior in the common or vernacular language of the country. This language is exclusively applied when addressing an inferior, or among the lower orders or uneducated, where distinction of rank may not be acknowledged. Persons of high and equal rank, when discoursing among themselves, sometimes use the polite language, but in general they adopt a medium, by introducing words belonging to both branches of the language; and this is generally adopted by them in epistolary correspondence.

It is probable, that in the earlier stages of society, the terms of respect used towards a superior were comparatively few: that this second dialect, which now forms so extensive a branch of the general language, has been gradually formed with the growth of arbitrary power; and that, at one period, the extent of these terms did not exceed what is to be at this day found in the less cultivated dialects, and among the more independent races of Madúra and Súnda. Such, however, is their present extent in the Javan, that nearly one half of the words in the vernacular language, have their corresponding term in the Bása Kráma or polite language, without a knowledge of which no one dare address a superior; and although the general construction of the language, and its grammatical principles are not altered, so effectually is the language of inferiority contrasted with that of superiority, that it is possible to suppose a case in which a person might be well acquainted with one dialect, without being able to understand one sentence of the other.

It is not, however, to be inferred, that the one is studied and attained exclusively of the other, for while the one is the language of address, the other must be that of reply, and the knowledge of both is indispensable to those who have to communicate with persons of a different rank with themselves. Children are accustomed from their infancy to employ the polite language in addressing their parents and relations, and this added to the mode of instruction by the Dása Náma above described, early impresses upon their memory the corresponding terms to be used according to the occasion. The Bása Kráma, as has been before noticed, consists of a more extensive class of foreign words, and where different words from the common language have not been introduced, a variation in the orthography and termination is adopted; and the more effectually to render it distinct, not only are the affirmatives and negatives, as well as the pronouns and prepositions varied, but the auxiliary verbs and particles are different.

I have already mentioned, that besides the ordinary and the polite languages of the country, the inhabitants of these Islands possess a poetic or classic language, called Káwi. In this are written all the historical and poetical compositions of note, as well as most of the ancient inscriptions on stone and copper, which are found in different parts of the Island. In a short vocabulary already referred to[127], the relation of the Káwi to the Sánscrit and Páli is shewn; and in order to enable the Sánscrit scholar to extend the comparison, I have annexed a further vocabulary of Káwi words, with the meaning which the Javans at present attach to them[128].

At what period this language was introduced into Java, whence it came, and whether it was ever the sacred or vernacular language of any foreign people, remains to be decided. Of the words of which it is composed, as far as we may judge from the annexed vocabulary, and the compositions which have come down to us, nine out of ten are of Sánscrit origin, and less corrupted than the present Páli of Siam and Ava appears to be: if, therefore, it was ever the same language with the Páli, it must have been before the Páli was corrupted, and therefore probably at a very remote period.

In Báli the Káwi is still the language of religion and law; in Java it is only that of poetry and ancient fable. In the former, the knowledge of it is almost exclusively confined to the Bramána (Bramins); in the latter, a slight knowledge of it is deemed essential for every man of condition. In Báli, the ancient, mythological, and historical poems, are however preserved in more correct Káwi than on Java: and it is to the copies obtained from thence, that reference will be principally made in the observations which follow on Javan literature.

In noticing "the accessary tongues from whence the Maláyan acquired such a degree of improvement, as removed it from the general level of the other cognate dialects, and gave it a decided predominance in that part of the east," Mr. Marsden observes, "that the earliest, as well as most important of these, appears to have been, either directly or mediately, that great parent of Indian languages, the Sanscrit, whose influence is found to have pervaded the whole of the eastern (and perhaps also of the western) world, modifying and regenerating even where it did not create. That the intercourse, whatever its circumstances may have been, which produced this advantageous effect, must have taken place at an early period, is to be inferred, not only from the deep obscurity in which it is involved, but also from the nature of the terms borrowed, being such as the progress of civilization must soon have rendered necessary, expressing the feelings of the mind, the most obvious moral ideas, the simplest objects of the understanding, and those ordinary modes of thought which result from the social habits of mankind; whilst, at the same time, it is not to be understood, as some have presumed to be the case, that the affinity between these languages is radical, or that the latter is indebted to any Hindu dialect for its names for the common objects of sense[129]."

The same observations apply still more extensively to the Javan; and in the Káwi or classic language, we may presume to have discovered the channel by which the Javan received its principal store of Sanscrit words, for it is the practice, even at present, among the better educated of the Javans, for the party to display his reading, by the introduction, particularly into epistolary correspondence and literary compositions, of Káwi words, by which means the colloquial, but more particularly the written language of the country, is daily receiving fresh accessions of Sanscrit terms. From the vocabularies now presented to the public, and the account which will be given of their literary compositions, it will appear, that few languages, even on the continent of India, have been more indebted to the Sanscrit than the Javan. One original language seems, in a very remote period, to have pervaded the whole Archipelago, and to have spread (perhaps with the population) towards Madagascar on one side, and to the islands in the South Sea on the other; but in the proportion that we find any of these tribes more highly advanced in the arts of civilized life than others, in nearly the same proportion do we find the language enriched by a corresponding accession of Sanscrit terms, directing us at once to the source whence civilization flowed towards these regions. At what period, however, the light first broke in upon them, or at what period the intercourse first took place between the enlightened inhabitants of Western Asia and the islanders of this extensive Archipelago, is a question which, perhaps, may be more properly discussed, when treating of the antiquities and history of the country, and at best is involved in so much obscurity and fable, that much must be left to conjecture.

The letters of the Javan alphabet, as well as the orthographical signs, are decidedly on the principle of the Devanágari; but it is remarkable, that the letters of the alphabet do not follow the same order, notwithstanding that order is preserved in all the alphabets of Sumatra as well as in that of Celebes. This deviation has been considered presumptive of the alphabet having been introduced into the island anterior to the period when this order might have been established for the Devanágari itself, or before the refinement supposed to have been effected in that alphabet by the Bramins; but the deviation may, perhaps, be sufficiently accounted for, by the circumstance of a meaning being attached to the words formed by the order of the Javan alphabet as the letters are at present arranged, thus: hána charáka dáta sawála páda jayánia mága batáng'a; means, "there were two messengers disputing with each other, equally courageous, till they both died[130]." That this is not accidental may be inferred, not only from the common laws of chance, but from the probability of such an arrangement being preferred, both on account of its convenience, and in conformity with the spirit which in the Chándra Sangkála seeks to select such expressions for the particular numerals that are required, as may make a sentence.

Near the ruins of Brambánan and Sínga-sári, are still found inscriptions in the pure Devánágari character of a very ancient form. A specimen of these, together with one of the square Káwi, is exhibited in the accompanying plate, corresponding in size with the original. Annexed to each letter in the Devanágari character found on Java, is the modern character, and in the same manner the modern Javan letters are placed under the Káwi; and, in order to enable the reader to compare the forms of the consonants used in the alphabets of Ava, Siam, and Java, with the Devanágari, they have been placed against each other in another plate. It will be seen that many of the letters of the Káwi correspond so exactly with the square Páli of the Birmans, as to leave no doubt of their having originally been the same. It is probable, also, that were our acquaintance with the Páli more extensive, a similar coincidence would be found between the languages.

Upon the overthrow of the Hindu empire on Java, the natives may be considered to have lost most of their knowledge of the Káwi language; for although numerous compositions in it are still to be found among them, and these compositions are recited in their national entertainments, they would not be generally understood, but for the versions which have long since been rendered of them into the modern Javan. The Panambakán of Sumenap is perhaps, at present, alone entitled to be considered as a Káwi scholar, and he knows so little of the language as to acknowledge, while assisting in translating from it, that he was often under the necessity of guessing at the meaning.

The knowledge of the ancient characters seems, on Java, to have been for many years almost exclusively confined to the family of this chief, and it is stated, that they owe their knowledge of it, and of the Káwi language itself, to the circumstance of one of them having visited Báli, to which island it is that we must now look as the chief depositary of what remains of the literature and science which once existed on Java.

It is not unusual for the Javans, in carrying on any secret or political correspondence, to adopt a mystical language, known only to the parties themselves; and on occasions where attempts have been made to stir up the common people to commotion, scrolls have been distributed in various unintelligible characters, which, for the most part, appear to have had no other object but to impose on the credulity of those who were too willing to believe them sacred and mysterious. Were the characters intelligible, the mystery would cease, and the charm be dispelled. Of the manner in which the letters of the alphabet are applied in forming this mystical language, an instance is given at the conclusion of the vocabulary of Káwi words[131].

Unlike the Malayan, the Javan language owes little or nothing to the Arabic, except a few terms connected with government, religion, and science, which have been admitted with the religion and laws of Mahomet. The language, as well as the ancient institutions of the country, have been but little affected by the conversion. The Javan language was abundantly copious before the introduction of Arabic literature, and had few or no deficiencies to be supplied.

The general character of the language is strongly indicative of a former advanced state of civilization, and illustrates, in some degree, the present character of the people. It is rich and refined; it abounds in synonymes and nice distinctions; it is mixed and easily made to bend, and suit itself to every occasion; it is, in a high degree, expressive of power and servility[132].

As the languages of the whole Archipelago are so intimately connected with each other, and that of Celebes in particular is so little known, I have subjoined in an Appendix some further comparative vocabularies of the languages of Java, with some observations on the Búgis and Mangkásar nations[133].

For ordinary purposes, the Javans, as already described, use a modification of some of the letters of their alphabet as numerals, and a representation of these numerals has been given in the table of the Javan alphabet, page 404; but on occasions of importance, it is usual to employ certain signs or symbols in lieu of these ordinary numerals, and this practice appears to be of great antiquity among them. These symbols are termed chándra sangkála, "reflections of royal times," or "the light of royal dates," and consist in a certain number of objects, &c. either represented in design or named, each of which is significant of one of the ten numerals. Of the former class are said to be those found in most of the ancient buildings and coins, which in that case usually bear no inscription. The latter is found in most of the ancient inscriptions, and in such of the written compositions as possess any date at all, and is adopted in all proclamations and public writings by the sovereign of the present day.

The Appendix G. contains an account of these peculiar numerals, as far as they are at present understood by the Javans. In the use of them, they endeavour to select such objects from the list, as when read in succession, may afford some meaning illustrative of the fact the date of which is recorded; but this is not always attended to, or at least is not always to be traced. The date of the destruction of Majapàhit (1400), the most important in the history of Java, is stated as follows, the numbers being always reversed.

Sírna ílang kertáning Búmi Lost and gone is the work (pride) of the land. 0 0 4 1

In like manner, the date of the long graves at Grésik, near the tomb of the Princess of Chermai (1313), is thus stated:

Káya wúlan pútri íku Like unto the moon was that Princess. 3 1 3 1

Other examples will be given, in detailing some of the principal events of Javan history.

However imperfect the foregoing general account of the languages of Java may be, it will have served to convey to the reader some notion of the extent to which it has been indebted to a foreign source for its copiousness and refinement, and to prepare him for that extensive influence of Hindu literature, which is still to be found in the compositions of the country. Of these the most important, and indeed all that have any claim to literary distinction, are found either in the Káwi or in Javan versions from that classic language. On Java the establishment of a Mahomedan government for nearly four centuries, has tended in a great measure to obliterate that general knowledge among the better educated, which, there is reason to believe, once existed; but in Báli, the Hindu faith, however blended with the local customs of the island, and however perverted and distorted in its application by a semi barbarous people, is still the established religion of the country. Mahomedanism has gained but little ground there, and no part of the island has yet submitted to European authority. It was in this conveniently situated island that the adherents to that faith took refuge, when the sword of Mahomed prevailed on Java, carrying with them such remnants of the sciences and literature as they were able to rescue from the general wreck.

An account of the present state of the island of Báli, of the religious and political institutions, and of some of the peculiar customs and usages which subsist there, is essential to the illustration of Javan history; and although the limits of the present volume will not admit of our enlarging so much on this interesting subject as we could wish, it is hoped that a general notion may be formed, from the particulars which will be inserted in the chapter on the religion and antiquities of Java. In the following account of the literary compositions of Java, I shall avail myself of the more correct copies, which I was fortunate enough to obtain from Báli, confining myself in the explanation of them to the existing notions of the best informed of the Javans, it being the present state of their literature, rather than that of Báli, that I am now to describe.

The literature of Java may be considered under the general heads of ancient and modern, the former and more important division consisting of compositions in the Káwi language, which appear connected with the mythology and fabulous history of continental India.

It is to be regretted, that the work which treats most extensively of the ancient mythology of the country, and of the earliest periods of fabulous history to which the Javans of the present day refer, is not to be found in the Káwi. The Javan work, termed Kánda, is probably a translation from the Káwi, and, in the absence of the original, claims our first attention. It is to this work, and the Mánek Móyo, of which an abstract will be given in the chapter on religion, that the modern Javans constantly refer for an explanation of their ancient mythology.

This composition is frequently called Pepákam. It contains the notions of mythology which appear to have been general throughout the Eastern Islands, with imperfect portions of their astronomical divisions, and of ancient history. It is to be regretted, however, that the Javan copy from which the following account is taken, though otherwise written in a very correct style, abounds in passages unfit for a chaste ear, and that it has been almost impossible entirely to purify it.

It opens with an account, first of Sáng yáng Wénang (the most powerful), who was sixth in descent from Purwáning Jan (the first of men, or Adam), and who had a son named Sáng yáng Túng'gal (the great and only one), the first, who (as is inferred from the meaning of his name) conceived that he was above all, and who setting aside the ways of his father, established the heavens, with all that they contain, under the name of Suréndra Buána, or Suraláya.

Plucking a leaf from the kastúba tree, and paying adoration to it, the leaf assumed the form of a beautiful woman, by whom he had four sons:--1, Sáng yáng Púgu; 2, Sáng yáng Púng'gung; 3, Sáng yáng Sámba; 4, Sáng yáng Pang'at. When these children attained maturity, Púgu quarrelled with Púng'gung, on account of the splendour and riches of the dwelling of Sáng yáng Túng'gal, which each of them desired to possess. Sáng yáng Túng'gal became enraged at this: not being able to reconcile them, the heavens became disturbed; he, in consequence, seized hold of both of them, Púgu by the right and Púng'gung by the left hand, and cast them aside. To the former, who fell on Sábrang (the opposite coast), he gave the name of Sécha Túng'gára; to the latter, who fell on Java, he gave that of Náyan-taka (the same with Sémar, the attendant on Arjúna). He converted them into monstrous figures, ridiculous in appearance and speech, exciting laughter by their actions, and with an inclination to follow in attendance on warriors.

Sáng yáng Tung'gal, who is said to have been invisible, and who in the Wáyangs of the present day is designated by a sun or glory of light, transferred the government of heaven to his son, Sáng yáng Sámba, directing him not to separate from his remaining brother, whose assistance he would require, and conferring upon him the title of Níla Kánta (blue necked), on account of his being of bright appearance, but having a tinge of blue on the front of his throat. To Pang'at, his brother, he gave the name of Kaníka pútra.

Srí Níla Kánta subsequently assumed various names and titles; the most pre-eminent of which was Pramésti Gúru, by which name and title he is acknowledged as supreme throughout the Eastern Islands. This title was first conferred upon him when the deities in Saraláya were numerous, and when all looked up to him as an instructor or Gúru. Kaníka Pútra took the name of Rési Naráda.

The thoughts of Sáng yáng Gúru turning one day upon women, he took a leaf of the kastúba tree, and paying adoration to it, it was immediately converted into a most beautiful female, who took the name of Uma. While she was young he looked upon her as a daughter, but when she arrived at maturity, he felt a stronger passion. Uma disliking this fled, and Sáng yáng Gúru being unable to catch her, it occurred to him that he might be more successful if he employed four hands and arms; whereupon, at his desire, two additional arms sprang from his shoulders, and Uma was immediately within his embrace. But she still resisted his desires, and during the struggle Káma Sála and Máha Praláya, both Rasáksas, but the latter in the form of a man, were produced, by an event similar to that which gave birth to some of the children of Jupiter[134]. Sáng yáng Gúru still observing the repulsive conduct of Uma, said to her, "your appearance is like that of a Rasáksa," whereupon she immediately assumed the form of one; and grieving sorely at this transformation, beseeched that she might again become what she had been, but Sáng yáng Gúru was deaf to her entreaties, and he conferred upon her the name of Káli Dúrga.

Káma Sála and Máha Praláya, when they arrived at maturity, mutually sought from each other to discover their descent, but not succeeding, they agreed to proceed in company to Suraláya, to demand information from Sáng yáng Gúru, resolving that, if they were not satisfied with his reply, they would make war against him. Arrived at Suraláya, they overcome the opposition of Rési Naráda, and reach the presence of Sáng yáng Gúru, who informs them that they are not his children, though they sprang from his body, and that it was the fault of the woman only that they had their present form. He tells them that he cannot allow them to remain in Suraláya, but will provide for them a place in which with their mother they may reside. He then appoints the mother to be sovereign of Naráka (Tambráka múka), under the title of Yáma Dipáti. To Káma Sála he gives the title of Batára Kála; the other retained the name of Máha Praláya. To Kála he assigns the charge of the bridge between earth and heaven, called Wot ágal ágil (the tremulous or swinging bridge, over which a good man may pass in safety, but from which, on account of its being shaken by his sins, a bad man falls into the gulph below), and to Máha Praláya that of the souls of men when they die, in order that he may direct to the bridge such as, from good conduct on earth, have a chance of passing it, and cast the others into Naráka, to his mother Yáma Dipáti.

Sáng yáng Gúru was again inclined to take another leaf of the kastúba tree, but apprehending that it might turn out as before, he restrained his inclination. Then purifying himself, there appeared before him, at his desire, a beautiful boy, to whom he gave the name of Sámbu, and after five more purifications, there successively appeared, secondly, a boy of a high colour, beautiful and very powerful, to whom he gave the name of Bráma; thirdly, a boy, appearing extremely powerful and enraged, to whom he gave the name of Máha déwa; fourthly, a boy beautifully white, bright, and fierce looking, and having sharp and sparkling eyes, to whom he gave the name of Basúki; fifthly, a boy of a deep black colour, but extremely beautiful, to whom he gave the name of Wísnu (Vishnu); sixthly, a girl of a bright yellow colour, beautiful and slender, to whom he gave the name of Warsíki.

Rési Naráda[135] following the example of his superior, there appeared before him after several purifications, five boys. The first was brilliant and bright as a pure flame; on him Sáng yáng Gúru conferred the name of Súria. The second was very weak and delicate, but well formed and beautiful; he received the name of In dra. The third was short and strong, and was named Sákra (or Chákra). The fourth was of a blue colour, and looking as if he would grow to a great height, with curled hair like a Papúa[136]; on him, was conferred the name of Báyu. The fifth was most beautiful, but appeared sad and sorrowful; to him Sáng yáng Gúru gave the name of Chándra.

This effected, Sáng yáng Gúru considered that a sufficient number of deities had been created for the charge of Suraláya.

Sáng yáng Gúru then turned his amorous thoughts towards Warsíki, but all the deities opposing it, Rési Naráda advises him to take a woman from the earth, and offers himself to go in search of one. This being agreed to, Naráda descends upon the earth, and discovers a most beautiful virgin, not yet arrived at maturity, at a place called Mádang; Sáng yáng Gúru no sooner beheld her than he became enamoured of her, and giving the name of Sri, he places her under the charge of Batára Sákra, with especial injunctions to take care of her. When she arrived at maturity she became most beautiful, and it so happens that Batára Wísnu beholds her by accident: they immediately feel a mutual passion, and Wísnu obtains his desire. When Sáng yáng Gúru hears of it, he becomes highly enraged; Batára Wísnu is cast out from Suraláya and thrown upon the earth, at a place called Waríngen pítu, or seven banyan trees.

[Here the narrative breaks off, and the story of Wátu Gúnung commences as follows.]

There was a woman of the name of Sínta, who resided on the earth, and who had a younger sister named Lándap. Sínta dreamt one night that she was sleeping with a Pandíta, named Rési Gána: after a few months she felt herself pregnant, and at the expiration of nine she was delivered of a most beautiful boy. This child, however, soon became unruly; and it happened that one day, when he had enraged his mother excessively, she struck him on the head with the wooden spoon which was in the rice vessel, on which he fled into the woods, and afterwards becoming a devotee, his mother long searched for him in vain.

At length having concluded his penance, he wandered about in quest of subsistence, until he came to the country of Gíling Wési, where he sought alms at a feast; but not being satisfied with the provision afforded to him, the parties became enraged, and hostilities ensuing, the Raja of the country was slain, and this boy succeeded him, under the title of Rája Séla Perwáta, which in the common language is the same as Wátu Gúnung, a name conferred upon him from his having rested on a mountain like a stone, and obtained his strength and power thereby, without other aid or assistance.

Becoming a great and powerful sovereign, he was still unmarried when his mother and sister arrived in the country. Ignorant who they were, and admiring their beauty, he espoused them both, and by his mother Sínta had twenty-seven children, when being one day restless and anxious to sleep, he requested her to comb and scratch his head, in doing which she discovered the wound and recognized her son. Her grief became excessive, and explaining the circumstance to him, she urged him to obtain another wife from among the Widadári of Suraláya, and recommended Sri as a proper object of his choice.

Wátu Gúnung thereupon sent an embassy to Suraláya, but the gods opposing his desires, because Sri had been delivered of a child by Wísnu, he assembled his forces and nearly defeated those of Suraláya, when Naráda pointing out the danger to Sáng yáng Gúru, urged the advantage that would arise from the recal of Wisnu. Naráda was accordingly authorized to call him back, with a promise that if he should be victorious on the present occasion, he should be pardoned, and permitted to return to his former abode in Suraláya. Wísnu was no sooner engaged in the cause, than he formed a stratagem with Wilúwuh, a demon Rasáksa, with whom he had become intimate at Waríngen pítu, and directed him to proceed to the sleeping place of Wítu Gúnung, in order to ascertain his secret. This spy had no sooner concealed himself in a place where he could overhear the conversation that was going on, than he heard the following discourse between Wátu Gúnung and Sínta.

Sínta. "What think you; shall we be successful or not in this enterprise?"

Wátu Gúnung. "If the gods are so nearly destroyed by those who are subordinate to me, what must they not suffer when I go myself? for I shall not then have occasion to use force. I need only say a few words, and if they don't understand the meaning of them, they will forthwith be destroyed, and I shall myself become sovereign of Suraláya. Should they, however, comprehend the meaning of what I say, then I shall know that my power is gone; but still there will be trouble in putting me to death."

Sínta. "Tell me what are the words you mean to use, and why they have not the power to put you to death?"

Wátu Gúnung. "I shall enclose in my hand the Sástra or description of my country, and holding it out, demand of them to tell me what it is. Then I shall repeat these words: dáka wói díki, and also díki wói dáka. The meaning of these words is easy enough, but the gods don't understand it: a great tree has small fruit; great fruit has a small tree. The great tree with small fruit means the waríngin tree; the great fruit and small tree means the gourd. I am invulnerable by all weapons, but if they pull my two arms asunder, then will they find it easy to put me to death; but this the gods know not."

With this intelligence the spy immediately hastened to Wísnu, who arrived at Suraláya when the gods were nearly beaten by the twenty-seven sons of Wátu Gúnung. After this success, Wátu Gúnung approaching Sáng yáng Gúru, put the intended questions to him. The latter referring to Wísnu, they were immediately recognized by him, on which Wátu Gúnung attempted to escape, but was soon overtaken by Wísnu, who laying hold of one of his arms, while his son, Sri Gáti, held the other, they soon succeeded in putting him to death. As he expired a voice was heard by Wísnu, saying, "think not that it will end here: hereafter trouble will again arise in Suraláya, in the time of Rája Sumáli, of the country of Séla gríng'ging, who will have a brother named Mang'liáwan. Forget it not."

When the twenty-seven sons of Wátu Gúnung heard of their father's fate, they wished to sacrifice themselves; but Wísnu disposed of them as follows, saying, "let there be a sign to the world of this victory. I will once in seven days put to death one of these twenty-seven, so that they may be killed in rotation." The grief of Sínta being excessive, she wept for seven days, and afterwards was received into Suraláya, and Wísnu added her name, as well as those of her sister and Wátu Gúnung, to the twenty-seven, and established the thirty wúku, as everlasting signs, in commemoration of this victory. From the grief of Sínta for seven days, it is said that rain always falls during the wúku which bears her name[137].

Then seizing the Pepáteh and three assistants, who with Wátu Gúnung had constituted the council of five, he declared that they should serve to commemorate the four great revolutions or Nága (serpents:) Nága Búmí (of the earth,) Nága Dína (of the day,) Nága Wúlan (of the moon,) Nága Táhun (of the year.) He struck out both the eyes of Nága Búmi, that the earth might never again see to attack the heavens, and afterwards the left eye of Nága Dína, and the right eye of Nága Wúlan.

[Here that part of the relation which has an astronomical reference breaks off.]

Bráma then following the example of Naráda, purifies himself, and at his desire, first there appears before him a boy of strong make, on whom he confers the name of Bráma Táma; secondly, a boy, also of strong make, whom he names Bráma Sudárga; and thirdly, a beautiful girl, on whom he confers the name of Bramáni Wáti.

The two boys, when they attained maturity, descended from Suralága. Bráma Sudárga united in marriage with a female of the earth: from them, in the third degree, were descended Raja Sumáli and Mangliáwan. In the reign of the latter of these a destructive war is stated to have taken place. Mangliáwan laid waste Suraláya and slew Sri Gáti, but afterwards, when he shewed a desire to possess Sri, Wísnu exerted all his strength, and put him to death. As Mangliáwan expired Wísnu heard a voice saying unto him, "The work is not yet complete; hereafter, when there shall be on earth a man named Rahwána, who will be descended from Bráma Táma, beware of him: in his time the peace of heaven will be again disturbed, and he will lay it waste." Bráma Táma espoused a princess of Chámpa, named S'ráti Déwi, by whom he had a son, named Bráma Rája, who became Raja of Indrapúri, and had a son named Chítra Bahár or Angsárwa, to whom, when he became advanced in age, he delivered over charge of the country, proceeding himself into the forests as a devotee, and assuming the name of Rési Táma.

Sumáli had a daughter, named Sukési Déwi. This prince, alarmed at the accounts of Mangliáwan's death, fled with her to Chítra Bahár, and requested him to protect her as a maiden, giving him authority to sanction her marriage on any proper occasion which might offer. He himself fearing the vengeance of Sáng yáng Gúru, fled further into the woods for concealment, but died on the way. Chítra Bahár, forgetting the nature of his charge, became enamoured of the girl. This happened when he was performing a penance; for he had two sons, named Mísra Wárna and Bísa Wárna, to the former of whom he had intrusted the charge of his government. The girl resisted on account of his age, but he at last succeeded. During the first amour he received from her nine strokes on the head with a stone. In due time she became pregnant and was delivered of a boy, having nine marks or excrescences on his head, which added to his natural face, making as it were ten fronts to his head: he was thence called Dása múka (ten-faced.) In the second attempt she pulled the lobes of both his ears with great strength, and when delivered she produced a child in the form of a Rasáksa, and having immense lobes to the ears: this child was named Amba kárna, or long-eared. In the third she scratched him all over, and the fruit of it was a girl, born with long nails and claws at the end of each finger: she was named Sárpa kanáka, or serpent-nailed; the wounds inflicted by these nails are said to have been mortal. But the fourth being unresisted, she was delivered of a most beautiful boy, who, having a countenance and mouth beautiful like those of a girl, was named Bibisána.

When these children were grown up Chítra Bahár carried them to Mísra Wárna, saying, "these are your brothers and sister, assist them, and they will be of use to you in your government." Mísra Wárna had a great dread of thunder. He possessed a weapon called límpung, which descended to him from Bráma Rája, and Dása Múka, desirous of possessing it, ingratiated himself into his favour, but no sooner obtained possession of it than he formed a design against his brother's life, in the hope of succeeding him. He accordingly performed a penance and prayed for thunder, and as soon as it was heard he slew his brother, and gave out that he disappeared during the thunder. At the moment, however, that he struck Mísra Wárna with the weapon it vanished; still he became Raja.

In the mean time Bísa Wárna became beloved by the gods, and they presented to him a car, named jaladára, in which he could be conveyed through the clouds. When Dása Múka heard of this he became enraged, and demanded the carriage for himself; but he had no sooner made the request than he perceived his lost weapon descend upon the lap of Bísa Wárna. Still more enraged at this, the altercation did not cease until Bísa Wárna, with one blow, laid him senseless on the ground; at which moment the father, Chítra Bahár, coming up, he succeeded in reconciling them, and with impressing upon Dása Múka the futility of his attempts against his brother. Chítra Bahár on this occasion repeated several invocations to the deity, which were treasured up in the recollection of after ages: such as Hong! Awígna; Hong! Widadánia; Hong! Widadáni, &c.

The father, however, had no sooner withdrawn, than Dása Múka again took courage, and another combat ensued, which ended in his being a second time struck senseless on the ground, blood issuing from his mouth. Bísa Wárna then laying hold of his body was about to cut his throat with the limpung, when Rési Naráda appeared and arrested his hand, saying, "forbear, Sáng yáng Gúru does not permit that you slay your brother. By attending to this advice you will hereafter become a deity in heaven. Give your weapon to your brother, who is Raja of Indrapúri." Bisa Wárna assenting, Rési Naráda then brought Dása Múka to his senses, and delivering over to him the weapon and car, conferred upon him the name of Rah-wána[138], from his blood having flowed in such quantity as to reach the adjoining forest.

[In some copies of this work it is said that Dása Múka was called Rahwána, because in his youth he delighted in the destruction of children and to spill their blood. There is also some variation in this part of the story, and Citrá Bahár is termed Chátor Bója (four-shouldered), on account of the great strength he exhibited in the war with Níli Kewácha].

Rési Naráda then presented Rahwána to Sáng yáng Gúru, who taking a liking to him adopted him as his son, giving him a saléndang[139] as a mark of his affection. Rahwána, however, was soon dazzled by the appearance of a bright flame, when forgetting the attachment of Sáng yáng Gúru, he pursued it, until he came into the presence of Sri, from whose beauty it proceeded. She, however, ran to her husband Wísnu for succour, and a severe combat ensued, during which the heavens were disturbed, and many of its most valuable contents were destroyed by Rahwána. Rési Naráda at length approaching, separated the combatants, saying, "this is not the proper place for your contention; better had you descend to the earth. As for you, Wísnu, as you are a god, and may be ashamed to shew yourself as such on earth, it is the will of Sáng yáng Gúru that you be permitted to appear there in the form of a man, and to do there as you like." On which Rahwána was cast out of Suraláya, and Wísnu, with his consort Sri, disappeared, without any one knowing whither they went.

Bísa Wárna was then, in fulfilment of the promise given by Naráda, called up to heaven, to supply the place among the Déwas vacated by Wísnu, and approaching the presence of Sáng yáng Gúru received from him the name of Batára Asmára or Kamajáya (the god of love), and presented him with a consort, named Káma Ráti or Batári Ráti.

[Here ends the Kérta Yoga, or first age of the world, and the Tréta Yóga, or second age, commences.]

Wísnu, after his descent upon the earth, first became incarnate in the person of an illustrious sovereign, named Arjúna Wijáya, of the country of Mauspáti, and reigned for a period of seventeen years, during which he was successful in two wars. One, in which the Rája of Tánjung-púra, having a beautiful daughter, named Chítra Wáti, in whom Sri had become incarnate, offered her in marriage to the prince who should overcome in wrestling all the others assembled: Arjúna Wijáya, however, carried her off from the place in which she was secreted (Gedóng Brahála) which produced a war, wherein he was victorious. The other war was with Rahwána, who attacked him at Mauspáti: in this Rahwána was taken prisoner and confined in a cage; but on the solicitations of his father, Chítra Bahár, he was forgiven, and allowed to return to his country, on condition that neither he nor his descendants would ever again make war on Arjúna Wijáya.

Wísnu afterwards quitting the body of Arjúna Wijáya became incarnate in the person of Ráma, son of Dása Ráta (who when young was called Murdáka), entering the body of his mother during conception, and coming into the world with the child. About the same time Batára Basúki, who had a son named Baswárat, united to Bramáni Wáti, becoming sorrowful, quitted Suraláya, with a determination to follow the fortunes of Wisnu, who after quitting the body of Arjúna Wijáya roamed for some time round the skirts of the earth until he fell in with Basúki. Wisnu then said to him, "there is a Raja of Mándra-púra, named Bása Ráta, who has two wives, named Déwi Rágu and Mánwa-dári. I am younger than you, but on earth I must be older. I will enter the body of Rágu, and become incarnate in the child she will bring forth; do you the same with the other." Mánwa-dári was delivered of a child named Lakasamána, in which Basúki accordingly became incarnate.

[The portion of the work, which also includes a relation of the feats of Báli son of Gotáma, the founder of Astíno, brings the story down to the period of the poem of Ráma. The history is then carried on to the period of the Pendáwa Líma or Bráta Yudha, and may be concisely stated as follows:]

Baswárat, son of Basúki, had by Bramáni Wáti two sons, Mánu-Manára and Mánu-Madéwa. The daughter of Mánu-Madéwa, named Siráti, was married to Bramána Rája, and from this marriage proceeded Rahwána. The Pendáwa Líma were tenth in descent from Mánu-Manára, as in the following pedigree:

1. Mánu-Manása, 2. Tritrushta, 3. Parikéna, 4. Sutápa, 5. Sa-pútram, 6. Sákri, 7. Pulasára, 8. Abiása, 9. Pándu-déwa Náta.

The Tréta Yóga or second age, is supposed to have ended, and the Duapára Yóga, or third age, to have commenced on the death of Ráma, which happened about the time of Sákri.

The Wiwáha káwi is a regular poem, and contains three hundred and fifty-five páda, or metrical stanzas. The subject is as follows:

Erang Báyu had a son, whose form was that of a Rasáksa, and who became sovereign of the country of Ima-ímantáka, under the name of Détia Kéwácha. The father, desirous of getting rid of him, urged him to go to Suréndra Buána, in search of a flower, called Turáng'ga játi, which was worn by all the Widadáris. The Rasáksa accordingly goes in search of it, and no sooner comes into the presence of Batára Gúru, than a Widadári sitting by his side, named Su Prába, the daughter of Batára Sámba, presents one of these flowers to him, with which he returns to his father, who alarmed at his success, immediately delivers over to him the government of his country.

After Détia Kéwácha had thus become sovereign, he desired to be united in marriage with the Widadári who had given him the flower, and dispatches a Rasáksa named Kolángkía, with a letter addressed to Batára Gúru, soliciting Su Prába in marriage, and threatening to destroy the heavens in case of refusal. When the messenger reached Suréndra Buána he presented the letter to Batára Sákra, who knowing its contents without reading it, immediately replied in a rage, "then let your sovereign carry his threat into execution, for Bitára Gúru will never consent that a Widadári be married to a Rasáksa."

When the messenger had disappeared, Batára Sákra communicated to the gods the state of affairs, on which Batára Gúru became enraged. As he curbed his passion, Naráka becomes disturbed; smoke issued from its deepest recesses and the heavens rocked to and fro. Rési Naráda then apprised Batára Gúru that there was a man on the earth, named Bagáwan Wardiníngsih, or Mitarága, who had long performed his devotions on the mountain Indra-kíla, and suggested that it might be better to employ him against Detia Kewácha than for the gods, who were ignorant of the art of war, to await in heaven the coming of the Rasáksa. Batára Gúru approves of the suggestion, and Rési Naráda descends accordingly to Indra-kíla, accompanied by seven Widadáris, in the hope that by the influence of their charms, he might succeed in abstracting Wardiníngsih from the severe penance which he was performing. The names of the Widadáris who accompanied him were Su Prába, Wilotáma, Leng-leng-Mandana, Sumartáka, Ang'impuni, Su Prába-sini, and Dérsa-nála. In their train followed a thousand of the young and beautiful maids of heaven.

Wardiníngsih was performing a long and rigid penance, for the purpose of recovering the kingdom of Astína; and when Naráda arrived at Indra-kíla, the sun had climbed half way up the heavens. The Widadáris immediately displayed their charms, and employed every artifice to attract his attention, but they could not succeed. One of them, who resembled his wife, even threw off her upper garments, and exposing her bosom embraced him with transport; but it did not avail.

Batára Sákra then descended to Indra-kíla, in the disguise of a Dervise, assuming the name of Panjíngrum, and approaching Wardiníngsih, as if in grief, threw off his disguise, and resuming the god, addressed Wardiníngsih as follows: "My visit to you is on three accounts; first, I request your assistance in this war; secondly, I wish to apprise you, that Batára Gúru will in a short time appear to you; thirdly, to advise you, that when you see Batára Gúru, and he asks you whether you have courage to engage in the war or not, you answer that you have; requesting, however, in return, that when the war Bráta Yúdha takes place, the Pandáwa may be successful. You may then request two arrows, called paso páti and trisula, and the crown cháping basunánda, the vest ánta kasúma, the slippers márdu kachárma: these slippers, when you wear them, will enable you to fly, and to enter heaven in person. Request, moreover, the chariot mánik, which is drawn by elephants and horses of the heavenly race (sambráni), and called chípta waláha, and that if you are successful in the war with Détia Kewácha, Batára Gúru, as well as the other gods, may each present you with a Widadári." Batára Sákra having made an impression on the mind of Wardiníngsih returned to heaven.

In the mean time Mang-máng Múrka, the Peptáeh of Détia Kewácha, who had a face like a hog, received orders to lay waste the mountain of Indra-Kíla. He no sooner arrived there, and began to destroy the cultivation, than Sémar gave information of it to Wardiníngsih, who coming forth with his bow and arrow, immediately struck the Rasáksa; upon which Batára Gúru appeared in the form of a forester, holding in his hand a bow without an arrow. Then straggling with Wardiníngsih to withdraw the arrow with which the Rasáksa had been struck, each pulled at it ineffectually until a quarrel ensued, in which Batára Gúru accused Wardiníngsih of having a bad heart, and of following the dictates of his Gúru Dúrna, who was at Astina, and who had a crooked nose and mouth. Wardiníngsih being enraged at this, a severe combat ensued, when Batára Gúru having laid hold of his adversary's hair, the other attempted to retaliate, on which Batára Gúru vanished. A fragrant odour immediately arose, and Wardiníngsih reflected upon what Sákra had told him, and instantly perceived a bright arch, like the rainbow, with Batára Gúru appearing within it, attended by Rési Naráda and a suite of Widadáris: bowing profoundly to the ground, he felt himself permitted to approach the deity and kiss his feet; Batára Gúru then informed him of his object in coming to Indra-kíla, and requested that he would make war upon Détia Kewácha, who was the enemy of the gods; to which Wardiníngsih consented, making the requests which had been suggested by Batára Sákra. To these Batára Gúru assented, adding, "If you have success in this war, I will appoint you sovereign of the heavens for one year. You shall have power over all the gods, and the Widadáris shall be your attendants; and as long as you live you shall have power to visit Suraláya at your pleasure." This said, Batára Gúru disappeared.

On the next day Wardiníngsih prepared for his journey to Ima imantáka, the country of Détia Kewácha, and on his way thither fell in with the Widadáris, Su Prába and Wilá Táma, who had been sent by Batára Sákra. Wardiníngsih, on his arrival at the Rasáksa's capital, commissioned these Widadáris to enter the palace and feign an attachment for Détia Kewácha. Détia Kewácha no sooner beheld them, than being thrown off his guard, he declared, that the object of the war being thus attained without trouble, he would enjoy himself at his ease. Then dressing himself in his princely robes, and perfuming himself as a bridegroom, he approached Su Prába, and taking her on his knee chaunted a song, which so delighted her that she fell asleep. Wardiníngsih, on this, entered into her ear-stud, and awoke her. Detia Kewácha then urged her to gratify his passion, but she refused, and required, as a mark of confidence, that he would trust her with the secret of his power. This he refused, until she was about to stab herself, when he whispered in her ear that he was invulnerable except within his throat; if any one injured that part in the least he must instantly die. Wardiníngsih thus ascertaining his vulnerable point, escaped with the Widadáris, and ascended to Batára Sákra in Suraláya.

Détia Kewácha, then collecting his forces, proceeded to the war with a countless host, laying waste the country, until he arrived near Tánda Wáru, where he halted to make preparations for the attack. The heavens now shook, and Naráka emitted smoke. The gods trembled with fear, and the wind, charged with the gross stench of the Rasáksa, almost overpowered them.

Wardiníngsih having arrived at the abode of Sákra, the great bell (gatíta) was struck, when the gods immediately assembled. The forces of Suraláya then moved on, Wardiníngsih following in a splendid chariot. Having thrown off the Pandíta's garment, he now appeared richly clothed in the character of Arjúna, adorned with gold and costly gems. The chariot had formerly belonged to Ráma, and had been preserved by Batára Gúru, when Ráma committed himself to the flames.

The battle commenced, and the forces of the Rasáksa being most numerous and powerful, were about to carry all before them, when Gatot Kácha arrived, and taking part with Wardiníngsih, turned the tide of the battle in favour of the gods, plucking up the mountains by the roots, and casting them upon the Rasáksas. Détia Kewácha escaping the general overthrow, and attended by Sécha Tung'gára, shot an arrow at Wardiníngsih, which the latter caught under his arm, and feigning death, fell to the ground. Great was the grief of Sémar and of all his other attendants; but Détia Kewácha approaching burst out into a loud laugh, when Wardiníngsih, who had watched his opportunity, observing the Rasáksa's mouth open, instantly rose, and struck the arrow into it, and so killed him.

Gátot Kácha, who, in consequence of the absence of Arjúna on a penance for three years, had been sent to recall him, and who had discovered him by the appearance of his attendant Sémar, now approached Wardiníngsih, and kissing his feet, informed him of the sorrow of Séna and Dérma Wángsa at his absence, on which Wardiníngsih desired him to return and report what he had seen.

He then proceeded, attended by the victorious host, to the dwelling of Batára Gúru, called Papáriwárna; on which Batára Gúru assembling the gods, and permitting Wardiníngsih to approach and kiss his feet, declares to him that he was not forgetful of his promise, and would forthwith fulfil it. He then declared him sovereign of Suraláya, under the title Prábu Aníli Kíti, and gave him free access to every part of the heavens. Arjúná then visited the seven quarters of Suraláya, in which was the abode of the Widadáris, and assumed the sovereignty accordingly; while Gatot Kácha, proceeding to Amérta, informed Séna and Dérma Wángsa of what had passed. There were also present at his relation Nakóla Sa déwa, Batára Krésna, Sámbu, and Panchawála, all equally anxious to know the fate of Arjúna. Déwi Kúnti, the mother of Pandáwa, having calculated on the death of Arjúna, and made preparation for burning herself in consequence, was overjoyed at this unexpected good news; and Dérma Wángsa, the sovereign Amérta, gave a grand entertainment, in which the Bedáyas danced to the sound of the music, while Gàtot Kácha related the feats of Arjúna.

The Ráma Káwi is usually divided into four parts. The first, called Ráma Gán-drung, contains the history of Ráma, from his infancy until his marriage; the second, Ráma Bádra, from his marriage until his consort, Síti Déwi, is carried off by Rahwána; the third, Ráma Táli, from the first employment of Hánuman as a dúta or messenger, until he builds the bridge from the continent to the island Ang'lángka-di púra; and the fourth, called Ramayána (by which is understood Ráma when arrived at his full power), from the beginning of the war of Dána Lága on Lánka till the end of it, when Ráma regains his consort Siti Déwi, and returns to Nayúdía, leaving Rahwána's brother, Bibisána, sovereign of Lángka. Of these the Rámayána is the most common on Java. The Ráma Táli has been recently obtained from Báli. This composition, as one poem, is by far the most extensive of any which the Javans possess.

The mythology contained in the Ráma differs, in some measure, from that of the Kánda. Ráma is here made to relate to Bibisána, in Artáti measure but Káwi language, that Bráma, in the first instance, sprang from Wísnu; that in the beginning of the world, Wísnu existed in that part of the heavens named Antabóga, the place of serpents; that Bráma first communicated the knowledge of the Sástra. Nine incarnations of Wísnu are then detailed: the first, when he appeared as Iwak Mokúr-mo (the tortoise); the second, as Sing'ha (the lion), when he was called Barúna; the third, as Arjúna Wijáya; the fourth in Winákitáya or Ráma. In the fifth he was to appear as Krésna; and after the sixth, seventh, and eighth, in the ninth when he would become incarnate in the person of a great sovereign, named Prábu Purúsa.

Anráka Súra (the courageous child of the sun) is written in Káwi, but translated into Javan, under the name of Búma Kalantáka, or Emba táli. The period to which it refers is that occupied posterior to that of the Wiwáha, and prior to that of the Bráta Yúdha. It relates almost exclusively to the exploits of Búma, who was the son of Déwi Pratíwi, of the race of Widadáris.

Déwi Pratíwi being enamoured of Wísnu, her thoughts were continually turned towards him, notwithstanding he had been cast out of Suraláya. One night having dreamt that her passion for him was gratified, she conceived a child. She afterwards heard in her sleep a voice saying to her, "Descend to the earth in search of Krésna, for Wísnu is become incarnate in his person: his colour is deep black." She descended accordingly; and established herself at Praju-téksna, where she was delivered of a son, whom she named Búma Kalantáka. When he arrived at maturity, she informed him who was his father, and when he discovered him he was received and acknowledged by him. Krésna had afterwards another son, named Sámba, who having insulted the wife of Búma a quarrel arose between the two brothers, in which Búma put Sámba to death in a most disgraceful manner, mangling and exposing his body. Krésna, enraged at this, threw his Chákra at Búma, desiring Gátot Kácha to raise him from the earth the moment he is struck, lest the power of his mother should restore him. Gátot Kácha obeys his orders and Búma is destroyed. Séna, one of the sons of Pándu, is one of the personages of this poem.

The history of the succeeding period is contained in the Bráta Yudha, or holy war, the most popular and esteemed work in the language. This poem is identified in its subject with the Mahabárat of continental India, in the same manner as that of Ráma is with the Ramáyan. An analysis of this poem will be given under the head poetry.

Next, in point of time, to this story, follows that of the poem called Parakísit, which abounds with the praises of that prince, who was the son of Bimányu and grandson of Arjúna, and is descriptive of the tranquillity and happiness which universally prevailed during his reign. It also contains an historical relation of the sovereigns who succeeded him, and brings down the line of princes from Parikísit through ten descents to Aji Jáya Báya, as follows.

-- Parikísit.

1. Súma Wichítra.

2. Ang'ling Dría.

3. Udiána.

4. Madiwáng'i.

5. Miséna.

6.

7.

8.

9. Súma Wichála.

10. Aji Jáya Báya.

It was during the reign of the last of these princes that the first intercourse with Western India is supposed to have taken place; an account of the historical composition relating to a subsequent period is therefore reserved for the chapters on History.

The Súria Kétu (or lofty sun) contains in a few stanzas the history of a prince, the fifth in descent from the Kuráwa, who by dint of prayer to the gods obtained a son named Kérta Súma.

The Níti Sástra Káwi is a work on ethics, comprized in one hundred and twenty-three stanzas, each of which contains a moral lesson: it is considered coeval with, if not more ancient than the Bráta Yudha, and the Káwi is considered the most pure extant. The modern version of this work has already been referred to, and translations of some of the stanzas have been introduced. The following are taken indiscriminately, and translated immediately from the Káwi.

A man who is moderate and cool in his desires will do good to a country. A woman is like unto Déwi Manuhára when her desires are moderate, and men cannot look upon her without delight. A Pandíta must act up to his doctrines; although it may be in war and difficulty, still he must act up to what he professes.

This must be the conduct of the Pandíta. If attacked by a serpent, he must not be moved by it, nor even by a lion: still the same, he must be firm and unmoved, and neither the serpent nor the lion will have power to hurt him.

As the surája flower floats in the water, so does the heart exist in a pure body; but let it not be forgotten, that the root of the flower holds to the ground, and that the heart of man depends upon his conduct in life. The conduct of a Pandíta must be distinguished by mercy, charity, firmness, and prudence. His speech should be soft and gentle, and in accordance with and like unto written instruction, so as to moderate and calm the mind and desires of mankind.

It is mean and low for a rich man not to dress well: it is still more mean and low for a man of understanding to mix with bad company. So it is when a man attains a high age and knows not the Sástra; but when a man, through the whole course of his life, does not reflect upon his conduct, such a man is of no use in the world whatever.

A man should wear that sort of apparel which in the general opinion is considered proper, and should also eat that kind of food which is generally approved of. If he does this, he will appear like unto a virgin, who has just attained maturity. Let him not follow implicitly the advice and instruction he may receive, but let him weigh them, and select what is good by his own understanding.

In war, let there be no fear on any account, but let the whole thoughts be directed to the main object of urging the warriors to the attack of the foe. Moreover, let the thoughts be directed to what may be the enemy's plans: this done, let the heart feel fire.

When a man engages another in his service, there are four points on which he should satisfy himself respecting him. First, his appearance: secondly, his conduct; thirdly, his intelligence; and fourthly, his honesty.

The most valuable property is gold; and whoever has much of it, if he does not assist those who are poor and in want, is like unto a house without a fence, and he will soon be deprived of the property which he possesses.

As the moon and the stars shed their light by night, and the sun giveth light by day, so should the sayings of a wise man enlighten all around him.

Follow not the seeming wisdom of a woman's discourse; for as a man is more powerful and better informed than a woman, it is fitter that he should stand on his own ground.

A man who knows not the customs of the country (yúdya Nagára), is like a man who would bind an elephant with cords made from the tánjung flower. It is not necessary for the elephant to be enraged: with the least motion he breaks the cords asunder.

Deprive not another of the credit which is due to him, nor lower him in the opinion of the world: for the sun, when he approaches near to the moon, in depriving her of her light adds nothing to his own lustre.

There is nothing better in the world than a man who keeps his word; and there is nothing worse than a man who swerves from his word, for he is a liar. There are five witnesses, which may be seen by every one: Yang-anála or Bráma (fire), Súria (the sun), Chándra (the moon), Kála (time), Báyu (life). And they are the great witnesses always present throughout the three worlds; therefore let men recollect never to lie.

There are three things which destroy a man's character, and they are as three poisons: the first, to disgrace his family or lower himself; the second, to take delight in bringing misfortunes and unhappiness upon others; the third, to be a hypocrite, and assume the character of a Pandíta.

Several works have been recently discovered in Báli, called Agáma, Adigáma, Púrwa Digáma, Súrcha, Muscháyagáma, Kantára or Sástra Menáwa, Dewagáma, Maiswári, Tatwa, Wiya Wasáha, Dásta Kalabáya, Slákan Taragáma, Satmagáma, Gamíga Gamána. Of many of these, copies have been procured, and the Sástra Menáwa, or institutions of Menu, have been partially translated into English. This is a book of law comprised in about one hundred and sixty sections, evidently written on the spot, and with reference to the peculiar habits and dispositions of the people for whom it was framed. As a code of civil law, it is remarkable for the proof it affords of the existence of actual property in the land; and as a criminal code, for the frequency of capital punishment, and the almost total absence of all degrading or minor corporeal punishment.

Of the more modern compositions, and which may be considered as more strictly Javan, the following are the principal:

Angréné is an historical work, which commences with the reign of Sri Jáya Langkára sovereign of Médang Kamúlan, the grandfather of the celebrated Pánji, and concludes with the death of Pánji. This is the longest work to be found in the modern literature of Java, and contains the most interesting and important part of Javan history immediately antecedent to the establishment of Mahomedanism. It is composed in several measures of the Sékar Gángsal, and is usually divided into several smaller works, to each of which the name of Pánji is prefixed, as:

Pánji Mordaningkung. The history of that part of the Pánji's life, when his consort, Sékar-táji, is carried off by a deity. This is replete with relations of his adventures in war, and partly written in the Sékar Sépoh and partly in the Sékar Gángsal.

Pánji Magát-kung relates to that period when the object of Pánji's love was not yet attained.

Pánji-áng'ron ákung, containing the particulars of marriage ceremonies observed by Pánji.

Pánji priambáda, containing an account of the success and completion of Pánji's love, and ending with his marriage.

Pánji Jáya Kasúma. This is one of the names assumed by Pánji after the loss of his consort, Sékar-táji and contains an account of his expedition to Báli, where he regained her.

Pánji Chékel Wáning Páti (when young brave even to death) contains the juvenile exploits of this hero.

Pánji Norowangsa includes the period of his life, when the Princess of Dahá transforms herself into a man.

Neither the date of the principal work from which these minor compositions are taken, nor the name of the author is known; but it is supposed to have been written subsequently to the time of Majapáhit, the language being modern Javan.

Literary compositions of the higher cast are generally classed by the Javans under the head of Pepákam or Bábat, the latter of which includes all historical works and chronicles of modern date.

Srúti is a work which contains regulations for the conduct and behaviour of an inferior to a superior. It is written in the Káwi language, but Artáti measure, and has not yet been translated into Javan. It is of the same length as the Níti Sástra Kâwi.

Níti Prája is composed in the same measure as the Srúti, and contains regulations for the conduct of sovereigns and chiefs, partly in the Káwi and partly in the Javan.

Asta Prája is a work of the same nature and similarly composed.

Siwáka contains regulations for behaviour when in the presence of a superior, in the Javan language and Artáti measure.

Nagára Kráma, regulations for the good administration of the country, in the same language and measure.

Yúdha Nagára, the customs of the country, containing rules for the behaviour of persons of different ranks, in Javan and in the Artáti and Pamíjil measures.

Kamandáka contains instructions for inspiring respect and fear in the exercise of authority, partly Káwi, partly Javan, and in Artáti measure.

The seven last mentioned works are supposed to have been written about the same period. The Chándra Sangkála of the Srúti is 1340 of the Javan era. From the allusion to Islam customs which they contain it is concluded that they were all composed on the decline of Majapáhit, at a period when the influence of that religion was rapidly gaining ground. These works are in pretty general circulation, and form the basis of the institutions and regulations of the country. The translation already given of a modern version of the Níti Prája will serve to shew their nature and tendency.

Jáya Langkára is a work supposed to have been written by a chief of that name, when sovereign of Médang Kamúlan, and which contains regulations for the highest judicial proceedings.

Júgul Múda, supposed to have been written by Júgul Múda the Páteh or minister of Kandiáwan, chief of Médang Kamúlan, containing rules for the guidance of Pátehs in the judicial department of their office.

Gája Múda, a similar work, supposed to have been written by Gája Múda, the Páteh of the great Browijáya of Majapáhit.

Kápa Kápa, regulations for the guidance of the sovereign in the administration of justice.

Súria Alem, a similar work for the guidance of all persons entrusted with authority, supposed to have been composed by Aji Jímbon, the first Mahomedan sovereign of Java.

None of the above works are written in verse. They form the basis of what may be called the common law of the country. The translation of the modern version of the last of these, contained in the Appendix, will serve to convey some idea of the nature and spirit of this class of compositions.

Besides the above may be noticed another work called Jáya Langkára, a romance, supposed to have been written in the time of Susúnan Ampel, in the Javan language and modern measures. This is a moral work of considerable length, written in allegory, and pointing out the duties of all classes.

The Jówar Maníkam is of a more recent date, and a general favourite: it may convey some notion of the modern romances of the Javans.

* * * * *

That is true love which makes the heart uneasy!

There was a woman who shone like a gem in the world, for she was distinguished by her conduct, and her name was Jówar Maníkam.

Perfect was her form, and she was descended from a devotee, from whom she derived her purity and the rules of her conduct.

Her beauty was like that of the children of heaven (widadáris), and men saw more to admire in her, than was to be found on the plains, on the mountains, or in the seas.

* * * * *

Pure was her conduct, like that of a saint, and she never forgot her devotions to the deity: all evil desires were strangers to her heart.

She rose superior above the multitude from following the dictates of religion, and in no one instance was her heart disturbed by a bad thought or desire, so that her life was without reproach.

What pity it is she hath not a lover, for when a young and handsome woman obtains a husband of high character and qualifications, it is as milk mixed with sugar!

* * * * *

When her virtue was assailed by the Panghúlu, she was astonished, and exclaimed, "why dost thou thus take the course of a thief? why dost thou act in this manner?

"Art thou not prohibited from doing thus? forgettest thou thy Rája, and fearest thou not thy God?

"And thinkest thou not either of thyself? Greatly dost thou astonish me! Is not thy conduct bad even before the world? but being forbidden by the Almighty, art thou not afraid of his anger?"

* * * * *

"If such be thy desire, I can never consent to its indulgence, for I fear my God, and for all such deeds the punishment from heaven is great.

"Rather let me follow the course pointed out by the prophet: let me imitate the conduct of his child Fatima.

"How comes it, that thy inclination is so evil towards me? Verily, if my father knew of this proceeding, wouldst thou not justly receive severe punishment?"

The Panghúlu thus frustrated in his design, writes in revenge to her father, and informs him that his daughter has made a fruitless endeavour to seduce him: upon hearing which the deceived parent orders her to be put to death. Her brother is about to put this order in execution, when placing his hand before his eyes while he inflicts the blow, he stabs a small deer in lieu of his sister, who escapes into the woods.

With rapidity she fled to the woods, and then taking shelter under a wide spreading waríng'en tree, the still unripe fruits of the forest attained maturity, and seemed to offer themselves as a relief to her.

All the flowers, though the season for opening their petals was not arrived, now expanded, and shedding their fragrance, it was borne by a gentle zephyr towards her, while the bramára, attracted by the odour, swarmed around, and the fragrance of each flower seemed to vie with the other in reaching her presence.

The wild animals of the forest, the tiger, the wild ox, the rhinoceros came towards the princess, as if to watch and guard her, crouching around her, but occasioning not the least alarm.

* * * * *

Being in want of water, the princess put up a prayer to heaven, when close by her feet a spring of pure water issued.

On which the sarója flower soon appeared, opening its petals, and offering the shade of a páyung to the smaller water-plants floating beneath.

Her heart now became easy; and delighted at what she beheld, she proceeded to bathe and perform her devotions.

The father, on his return, learns the treachery of the Panghúlu, and having recovered his daughter, she is subsequently married to a neighbouring prince, by whom she has three children. Her trials, however, are not yet at an end, for being on a journey to visit her father, accompanied by the Pepáteh of her husband, who is appointed to guard her on the way, the Pepáteh forms a design upon her virtue. He is represented as saying:--

"If you, oh princess, submit not to my desires, it is my determination to put your eldest child to death."

The princess on hearing this became so affected as to be deprived of speech.

When the Pepáteh again repeating his threat in a solemn manner,

She replied, "what would you have me say? Whatever may be the will of God I must submit. If my child is to die, how can I prevent it?"

The Pepáteh, on hearing this, forthwith drew his sword, and slew the child, again demanding of the princess whether she would submit to his desires? To which she answered, "No!"

He again urged her: but the princess hanging down her head was silent, and in the hope that God would give her resolution, her mind became more easy.

The Pepáteh then shaking his sword before the princess, again urged her to submit, threatening that if she refused he would slay her second child.

But the princess could only reply, "you must act as you say, if it is the will of God that you should do so."

He then slew the second child, and again urging her to submit, threatened, in case of refusal, that he would slay the third child, then at her breast.

Snatching the child from her arms, he put his threat into execution, and the blood flew on the mother's face, on which she swooned and fell to the ground.

The Pepáteh having succeeded in recovering her, again attempted to effect his purpose, threatening that if she still refused he would slay her: to this the princess at first made no reply.

But placing her sole reliance on the Almighty, a thought at last struck her, and she said:

"Do as you will with me; but seeing that I am disfigured with blood, allow me first to bathe in an adjacent stream."

The Pepáteh assenting to this, she went away and effected her escape into the woods. There she remained in safety, until discovered by her husband, who in revenge put the three children of the Pepáteh to death.

It has already been shewn, that notwithstanding the intercourse which has now subsisted for upwards of four centuries, and the full establishment of the Mahomedan as the national religion of the country for upwards of three centuries, the Arabic has made but little or no inroad into the language; and it may be added, that the Arabic compositions now among them are almost exclusively confined to matters of religion. Books in the Javan language are occasionally written in the Arabic character, and then termed Pégu, but this practice is by no means general. The Kóran was first translated, or rather paraphrased, about a century ago, and rendered into Javan verse by a learned man of Pranarága, to whom the title of Kiai Pranarága was in consequence given.

Arabic books, however, are daily increasing in number. The principal works in this language, with which the Javans are at present acquainted, are the Umul brahin, by Sheik Usuf Sanusi; Mohárrar, by Iman Abu Hanífa; Ranlo Taleb, by Sheik Islam Zachariah; and Insan Kamil, by Sheik Abdul Karim Jili. The doctrines of Sheik Mulana Ishak, the father of Susúnan Gíri and one of the earliest missionaries, were those of Abu Hanífa, which are the same as the Persians are said to profess; but these doctrines have, subsequent to the time of Susúnan Gíri, been changed for those of Shafihi. There are, however, some who still adhere to the doctrines of Hánifa; but their numbers are few, and the chiefs are all followers of Shafihi. The number of Arabic tracts circulating on Java has been estimated at about two hundred.

Several institutions have been established in different parts of the island, for the instruction of youth in the Arabic language and literature. At one of these, in the district of Pranarága, there were at one time (about seventy years ago, in the time of Páku Nagára), not less than fifteen hundred scholars. This institution has since fallen into decay, and the number at present does not exceed three or four hundred. Similar institutions are established at Meláng'i, near Matárem, and at Sídamârmar, near Surabáya; and at Bántam, about eighty years ago, there existed an institution, of nearly equal extent with that of Pranarága.

Literary compositions are almost invariably written in verse. The measures employed are of three classes. First, the sekár[140] káwi, or measures in which the káwi compositions are generally written; secondly, the sekár sepoh, high or ancient measures; thirdly, the sekár gángsal, or five modern measures.

A complete stanza is termed a páda (literally a foot); a line is termed ukára; the long syllables are termed gúru, the short láku; and although rhyme is not used, the several measures of the sekár sepoh and gángsal are regulated by the terminating vowels of each line, which are fixed and determined, for each particular kind of verse[141], by the number of syllables in each line, the disposition of the long syllables, and the number of lines in each stanza or páda.

Of the sekár káwi there are twelve radical stanzas, most of which occur in the Níti Sástra and other principal Káwi compositions. They are named:

1. Stradúla wikrindíta. 2. Jága díta. 3. Wahírat. 4. Basánta tiláka. 5. Bágsapátra. 6. Srágdára. 7. Sekaríni. 8. Suwandána. 9. Champáka máliar. 10. Práwira lalítá. 11. Basánta líla. 12. Dánda.

Each of these stanzas consists of four lines, as in the following example of the Sradúla Wíkrindita, from the Níti Sástra Káwi.

"Reng jánma di kámi ta chíta reséping sárwa prája ng'enaka "Ring s'tri matdia manuára pría wawus andé mána kung lúlut "Yen ring Madiáni kang pinandîta mochap tetóah pa désa prîen "Yen ring matdía nikáng mosa mochap-akan wakchúra sing'a k'roti.

* * * * *

A man who is moderate and cool in his desires will do good to a country. A woman is like unto Déwi Manuhára when her desires are moderate, and men cannot look upon her without admiration. A Pandíta must at all times and on all occasions act up to his doctrines: Whether it be in war or in difficulty, still he must act up to what he says.

Examples of several other measures of the sekár káwi and of the metre will be given hereafter in the analysis of the Bráta Yudha.

Of the sekáh sepoh there are great varieties, several of which are exhibited in the following examples.

MEGÁTRUH.

(Consisting of five unequal lines, terminating with the vowel sounds u, e, u, i, and o.)

"Wong ahurīp | aywa tā | ang'gung | katungkūl || "'Ing kawibawān | kamuktēn || "'Aywa ta | ang'gung gumung'gūng || "Manawā | dinadung eblīs || "Kajarāh | temah wurung wōng ||

* * * * *

Men of this world! give not yourselves up To the pleasures of power and sensual gratification: Neither be vain nor open to flattery. Lest caught in his toils, You fall into the hands of the devil.

PÚCHUNG.

(Consisting of four unequal lines, terminating with the vowel sounds u, a, i, and a. )

"Den prayitnā | wong agūng | aja pitambūh || "Barāng | rahing prajā || "Kawruhanā | den atitī || "Supayani | 'ing tindāk aywa | ng'alentār ||

* * * * *

Watch well, ye great, and be not unmindful Of what takes place in the country; But observe it narrowly, That the administration of it may not be neglected.

BALÁBAK.

(Consisting of three long lines, each terminating in é.)

"Wong ahurīp | aja anggung mang'an minūm | jarenē || "Ananungkūl | íng dría kang tan sayogyā | gawénē || "Lamun orā | ing nalika mangsa Kalā | Kalanē ||

* * * * *

Men of this life! devote not yourselves to the pleasures of eating and drinking; For it is a passion of which the indulgence is vicious, Except on grand and particular occasions.

KÚSWA WIRÁNGRONG WIRÁNGRONG.

(Consisting of six lines, terminating in the vowel sounds i, o, u, i, a, and a).

"Lir dawūh dawūh | ing margī || "Sang d'yāh parayāng | paroyōng || "Supe duk aniandāk | wastra ng'rangkūs || "Kawingkin kang wēntīs || "Lumarāp | kadi kilāt || "Murub padāng | Kang pasebān ||.

* * * * *

Stumbling as she went, The Princess walked with faltering pace. Laying hold of her under garment, she unconsciously drew it up, When from the exposed calf of her leg A flash like lightning darted, Which illumined the Hall of Audience.

SUMEKÁR.

(Consisting of eight lines, ending in the vowel sounds i, a, a, i and e).

"Gugunung'ān | lor-wetan tuhu 'angrawīt || "Pinārigī ing selā kakarang'ān || "Pandan-janmā | jinemb|ang'ān || "Sri jata winujīl | wujīl || "Pisang tatār | lir tunjūng | Sikarī |

* * * * *

Beautiful are the hills to the north-east, Adorned and interspersed with walls of stone, With the pándan jánma growing in pots, And overgrown with the s'ri játa, And the písang tátar, having a blossom like the túnjung.

PALUGÓN.

(Consisting of eight lines, terminating with the vowel sounds a, u, o, u, o, a, u, and o).

Yen tan hanā | adedangkān || Punggawa satryā agūng || Miang mantrĭ | rempeg āgolōng || Obah osīk | ing prajekū || Iku arjā | prajā katōng || Lawan pang'wā | saning natā || Tan hanā | panasten kalbū || Nora cheng'īl | datan leniōk ||

* * * * *

When none are selfish, And the great officers of state, the nobles, And the petty officers, are all united together, Whatever may be the convulsions or the troubles of the kingdom, Still will the kingdom be great and prosperous. When the power of the sovereign Is envied by none, All are then united and none are disloyal.

PAU-GÁNGSA.

(Consisting of six lines, terminating in the vowel sounds a, e, e, a, a, and i).

Pada salāmet sadayā || Sapung gawā | mantri lān satriyānē || Yata Rajā | adil malī | andikānē || Eh ajunan pirāng prakárā || Kabechikān | m'ring kawulā || Pateh yunān | awōt-sarī ||

* * * * *

All will be prosperous and peaceful, The chiefs of provinces, the nobles, and the petty chiefs. On which Raja Adil (the just king) thus spoke again: "Oh Yúnan, how many rules are there "For the prosperity of the subject?" To which Páteh Yúnan returned for answer.

KÚSWARÍNI.

(Consisting of seven lines, terminating in the vowel sounds u, a, u, a, i, a, and e).

"Sampun katāh | aniyasāt wadya prabū || "Balik ng'egung'enā || "Turasing wōng | bangsa luhūr || "Yen turaīsng | bangsa andāp || "Nang'ing prayugī | kīnantī || "Den pratelā | hing panejā || "Ang'inggahaken | wād'yanī ||

* * * * *

Treat not the subjects of your majesty with cruelty, But respect The descendants of honourable families; To the descendants even of low families Also shew kind treatment; Yet be careful how you take a liking to any one, And raise him in the world.

MÁHISA LÁNG'IT (THE BUFFALO OF THE SKY).

(Consisting of five lines, terminating in the vowel sounds e, u, i, u, and o).

"Yen sampūn | wontēn kagunānē || "Miang kraprawirānipūn || "Punjuling | sasami sāmī || "Pantes jenunjūng | kang lunggūh || "Nora lingsēm | ing piyāngkōh ||

* * * * *

If there is one who has merit And abilities Surpassing his equals, It is proper to raise him, And there is no shame in such an act.

KÉNYA KEDÍRI,

(Consisting of nine lines, terminating in the vowel sounds, u, i, u, u, u, a, e, u, and i.)

"Inggih lamūn | dereng wontan labetipūn || "Guna Kaprawirānekī || "Upama yen jinunjūng'a | lungguhipūn || "Sayektī | kochaping jāgāt | datan arūs || "Makan darāh | yen dereng yog'ya jinūnjūng || "Lan sampūn | 'akaryā | lūrāh || "Wong durjanā | dursilekī || "Lan sampun atantūn || "M'ring pung'gawā | mantrī jahīl ||

* * * * *

But if one having neither merit, Ability, nor capacity, Should be promoted in his stead, Then would the world say it was improper; For one raised above his merits must mákan dárah (swallow blood). Make not a chief Of one who is a knave or bears an ill character, And ask not advice From one who is ill-disposed.

Other measures, which may be classed under the sekár sepoh are júrudemúng, lúntang, gámbuh, kulánté, lámbang, káswa rága, ránsang, pamur'ántang, ontang-'anting, 'mas-kumámqang, tárub-agúng, pa-mijil s'lang'it or kinánti, irun-írun lung-gadúng, lára-katrísna.

The sekár gungsal, or five modern measures, are those in which the ordinary compositions of the present day are written. Of these there are again several varieties in different districts, as follow:--

ASMARANDÁNA,

which, according to the manner in which it is chaunted, is called salóbog, jákalóla, súrup-sasi-bawaraga, séndon pradápa, paláran.

(Consisting of seven lines terminating in the vowel sounds i, a, o e, a, a u, and a.)

"Sun 'amurwā | lang'it inggīl || "Dadalan ikū | pan dāwā || "Chok jurang'ā | pasti lēdōk || "Lumrahi g'ni āpānas || "Sanady'an lawē | petāk || "Yen winedēl | dadi wūlūng || "Yen mahidū | ayonānā ||

* * * * *

Lofty is the sky, Roads too are always long; Every valley is low, And fire is naturally hot; White thread will even be black If jet you do but dye it, And if you don't believe it, try.

ARTÁTI, DÁNDANG GÚLÁ, (sugar crow), or SADÁNA CHÍTA,

which, according as it is chaunted, is called renchasih, majásih, lindur dálang-karahínan, bárang míring, _gúla kentar_, or paláran.

(Consisting of ten unequal lines, terminating in the vowel sounds i, a, e or o, u, i, a u, a, i and a.)

"Benjang ingsūn | mari brangta kingkīn || "Yen mamalā | malaning kanang rat || "Dūrjanā | dusta līnyokē || "Chelā | cholong chalimūd || "Wong ambīgāl | ng'etal katāhil || "Kichū kampāk karūmpak "Babotoh | kābutuh || "Babangsāt | puda malesat || "Baya kōnō | mari analian--wiyādī || "Dadining susī | lārja ||

* * * * *

The painful feeling of my love will only cease When the wicked of the world, The knaves, the thieves, and the liars, The scandalous and those who steal, And the banditti, are all held in contempt; When robbers and plunderers are all destroyed, And cock-fighters are in despair; When gamblers are cast out. Then, perhaps, the sadness of my heart may cease; Then may I be restored to peace and happiness.

SINOM, SRI NÁTA, OR PERDÁPA,

which, according to the chaunt employed, is called béngak, garúndel, gádung-maláti, jáyeng-asmára, babarláyar, merák ngúwuh, hagók-surabáya and paláran.

(Consisting of nine lines, terminating in the vowel sounds, a, i, a, i, i, u, a, i and a.)

"Wusinā | ing'amban saksāna || "Layōné | dewi angrēni || "Binaktā | minggah kēng pālwa || "Indrajalā | dan tītihī || "Dening Rahadēn Pūnjī || "Dewi oneng'ūn tān kantūn "Tumut dateng kāng | raka || "Akatāh | pawong'ān chéti || "Kang binakta | sagung'ingkang rajābranā ||

* * * * *

Having taken in his arms The body of the departed Princess Ang'réni, It was borne On board the vessel Indrajála By Ráden Pánji. The Princess Oréng'an was not left behind, But accompanied her elder brother, With many companions and female attendants, The whole treasures being carried along with them.

PÁNGKUR,

which, according as it may be chaunted, is termed paláran and kadáton.

(Consisting of seven lines, terminating in the vowel sounds, a, i, u, a, u, a, and i.)

"Nīhan kramanīng | tumītah || "Dan tatīla | tumulad 'ing réh titi || "Wechanā | den pindā | pūnggūng || "Dan amēm | nayéng gitā || "Pagutēnā | yen wus samekta éng wūwūs || "Den panggah | ay'wa miyāgāh || "Pilih tā | kawadēng wadī ||

* * * * *

The manners of men should be correct; And in adopting an accurate conduct, Let your speech be modest and unassuming. When thinking, let your countenance appear unruffled; And when your words are prepared, deliver them. Be firm, but on no account bigotted, Lest you be held in contempt.

DURMA,

which, according as it is chaunted, is called seráng, rángsang, bedáya, madúra, and Paláran.

(Consisting of seven lines, terminating in the vowel sounds, a, i, a, a, i, a and i.)

"Masjidé kā | kabatulah ika prayōgā || "Payū | tinirū sami || "Gawi kabatūlah || "Sigra mantuk prasamia || "Wōng Abesah | sireng prapti || "Ing nagarania || "Anulia | yasa sami ||

* * * * *

The temple of Kabatúlah is most excellent, Come, let us all imitate it, And build another Kabatúlah. They then returned to their home, And when the people of Abésah arrived At their country, They immediately commenced the work.

The sekárs, kinánti, and míjil are sometimes classed under the common or modern measures. The following are examples of those measures.

KINÁNTI,

(Consisting of six lines, terminating in the vowel sound, u, i, a, i, a, and i.)

"Ake wong | sanak sadūlūr || "Tan kadiā | Sugriwā bali || "Sapolāh | tingkaniā pada || "Moang suarā | rupa anūng'gīl || "Kadia n'gilu | lan wayang'gā || "Kewran sāng | rama ēng ati ||

* * * * *

Most people have brothers and relatives, But not such as Sugriwa and Báli. Their actions and conduct were both alike, And their voice and form was one and the same. They were like each other even as a substance and its shadow, And the mind of Ráma himself was confused in distinguishing between them.

MIJIL,

(Consisting of six lines, terminating in the vowel sounds, i, o, e, i, i, and u.)

"Rima panjāng | memak tur awīlīs || "Urāb urāb āwōr || "Lir manj'āngān | katarwan solāhē || "Brang'os lemēt | yayah lir mināngsī || "Dia wirun tinūlīs || "Warnani abāgūs ||

* * * * *

His long and waving hair was of a greenish hue Intermixed with flowers, His action like that of a wounded deer, And his mustachios fine and dark, as if pencilled. He resembled the picture of Wírun (the brother of Panji). Most beautiful was his complexion.

The following are examples of some of the measures adopted by the inhabitants of Báli. The three first are in the language of the country people; the others are extracted from one of their modern compositions.

"Kadi jaran "Pang'aruk duag mapola "Pang'ang'gong niane lueh "Mapelag-pelagan "Mandadi "Paleng'gian "Atut sayang "Kategah-keng "Tundung ne balan "Lamput tina chamáti

* * * * *

Like unto a horse Graceful in action, Richly caparisoned With various ornaments Becoming The royal saddle-horse; Truly pleasant and agreeable To ride, His back shewing the mark Of the stroke of the whip.

* * * * *

"Chahi santri "Bajang bajang gobah m'lah "Dapati manu huking "Deman hatini memadat "Chahi "Bajang taruna "Nu liyu "Demanin chahi "Ing'atan awah "Bikasé dali santri

* * * * *

Young man! you are a sántri[142], Young and handsome: Curb your inclinations And don't smoke opium. Young man! Yet unconnected with woman, There is much To which you must incline. Think of yourself, And that you have become a sántri.

CHECHANG KRIMAN.

(Sung by a Mother to her Child on her Arm.)

"Niahi ayu kapakan maniankil wakul Kalang mabalanjar lakuné manolé-nolé Sada gisu Dayanin tuah kablag'gandang"

* * * * *

My handsome girl! in bringing a purchase from the market, When you have paid the price, cast not your eyes behind, But move quickly, Lest men may seize upon you.

The following are examples from the written compositions of Báli.

"Sang'nata ika wus mati Penadang deneng joarsa Yata nulia kesa mangko Medal saking pupungkuran Prapta Heng jawi kita Awatara Teng'ha dalu Tanana wong kang ng'uning'a"[143]

* * * * *

Then that sovereign died, Being destroyed by Joarsa, Who thereupon went out, Retreating by the back part of the dwelling; And having arrived at the outside of the fort At the time It was midnight, No one knew of it.

* * * * *

"Wus lepas lampa ireki "Handung kaping parang parang "Sumung kaking ukir halon "Tumaruning lebah lebah "Mantuk "Maring Nagara "Heng Sahalsa "Sina dia "Hiku kalang'an chobayang suks'ma"

* * * * *

When he had passed the road He ascended the mountains, And moved on slowly, Ascending and descending, Proceeding in search of his country, Named Sahálsa, Which he descried;-- But here he was opposed by the will of Providence.

In order the better to illustrate the poetry and literature of Java, and to exhibit the nature and spirit of the compositions in the Káwi, I request to present the reader with an analysis of the Bráta Yudha, the most popular and celebrated poem in the language. Versions of this poem in the modern Javan are common throughout the island, and the subject is the theme of the most popular and interesting amusements of the country.

The Brata Yúdha Kawi, of which the following is the analysis, and from which the illustrations which are interspersed are taken, contains seven hundred and nineteen páda or metrical stanzas, of four long lines each, the measures varying with the subject, so that most of the twelve Káwi measures are to be found in it. Considering how little was known on Java of the Káwi language, and how likely that little was to be lost for ever, I felt a strong interest in analysing and translating, as far as practicable, one of the principal compositions in that language; and availing myself of the literary acquirements of the Panambahan of Sumenap, to whom I have already adverted, and of the assistance of a gentleman of my family, and Raden Saleh, the son of the regent of Semaráng, I have it now in my power to lay the following analysis of this ancient poem before the public. It is far from being as complete, or correct, as I could have wished, yet imperfect as it is, it may serve to convey some idea of the original. I have endeavoured to keep as close to the original as possible, and have, in every instance, given the interpretation of the Káwi, as far as it was understood by the Panambahan. The Sanscrit scholar will probably find imperfections, and possibly might be able to render a better translation; but it is the Káwi language, as it is understood by the Javans of the present day, that I am anxious to illustrate. The original stanzas are given in the Káwi, and I only regret that the limited knowledge of the language possessed by the Panambahan himself, and my own want of time to study and trace the grammatical construction of it, have not admitted of my doing more justice to the original. I can safely affirm, that independent of the interest which the subject loses by translation into a foreign language, the illustrations now given afford but a very imperfect specimen of the beauty, sublimity, and real poetry of the original.

This celebrated work would appear from the Chándra Sangkála included in one of the verses, to have been composed by one Puséda, a learned Pandíta, in the year 1079. Some copies, however, admit of a different interpretation regarding the date, and the general opinion is, that it was composed in 706 of the Javan era, during the reign of a prince on whom was conferred the title of Jáya Báya. Whether the poem was actually written on Java, or brought by the early colonists, may be questionable; but the Javans of the present day firmly believe, not only that the poem was written on Java, but that the scene of the exploits which it records was also laid on Java and Madúra. The annexed sketch, with the subjoined note, will explain the situation of the different countries, according to this notion[144].

NAMES OF THE PANDÁWA PRINCES, PRINCESSES, &c.

--------------+--------------------------+-------------------------- Names. |Genealogical and |Different other |Descriptive Account. |Appellations under | |which known. --------------+--------------------------+-------------------------- Krésna |An incarnate deity, who | {Narayána. |is favourable to the | {Janardána (performers |Pandáwa, the particular | { of austerities). |friend and guardian of | {Patmanába. |Arjúna. His father was | {Esa. |brother to Déwi Kúnta | {Wijáya mólia. | | {Kesáwa. | | Pándu |The son of Abiása, |Pandu Déwa Nata. |husband of Déwi Kúnti | |and Déwi Madrim and | |father of the Pandáwa | | | Déwi Kúnti |Daughter of Basuketé, | |King of Madúra, and | |wife of Pándu. | | | Déwi Madrim |Daughter of _Chándra |Déwi Metrim. |Wàti_, King of | |Mandaráka, and wife of | |Pándu | | | | | {Dérma Kasúma. T P {_Dérma |The chief and eldest of | {Chantáka púra. h á { Wángsa_ |the Pandáwa by _Déwi | {Gunan tali kráma. e n { |Kúnti_ | {Yudistíra. d { | | P u { | | {Waikudára. a { | | {Judipáti (death d { Bíma |Son of Pándu by _Déwi | { seeking). a { |Kúnti_ | {Bayu-pútra (son of w { | | { strength). a { | | {Séna (chief in war). , { | | { | | {Palgúna (of o { | | { powerful[145] thumb). r { | | { Jaya Ningrat (victor { | | { of the world.) f { | | { Wintarája. i { Arjúna|Son of Pándu by _Déwi | { Parta (the middle v { |Kúnti_ | { one). e { | | {Wardiníngsih (devotee, { | | { enthusiast). s { | | { Janárka. o { | | { Damarjáya n { | | { (victory-giving). s { | | { Kerséti. { | | o { Nakula|{Sons of Pándu | f { Sedéwa|{by Déwi Madrim. | | | Naráda } | | Kánwa } |In attendance on Krésna.| Jenáka } | | Parásu } | | | | _Pancha | | Kumara_ |Son of Dérma Wángsa. | | | Gatot Kacha |Son of Bíma. | | | Abimányu } |Sons of Arjúna. | Oráwan } | | | | Drupáda |Brother of Déwi Kúnti. | | | Satiáki |Servant of Krésna. | | | Mangsa Páteh|King of Wiráta. | | | Kakarsána |King of Madúra, and | |eldest brother of | |Krésna. | | | Sumbádra |Sister of Krésna, wife | |of Arjúna, and mother | |of Abimányu. | | | Destadriumna|Son of Drupada. |

The regal titles of Aria, Narária, Naranáta, Naríndra, &c. are occasionally applied to the different chiefs on both sides.

NAMES OF PRINCIPAL KURÁWA PRINCES, PRINCESSES, &c.

--------------+--------------------------+-------------------------- Names. |Genealogical and |Different other |Descriptive Account. |Appellations under | |which known. --------------+--------------------------+-------------------------- Drupadi |Daughter of Drupada and | |wife of Dérma-Wángsa. | | | Sirikándi, | Do. -- do. and wife of | or Sikándi | Arjúna. | | | Sitisundári | Do. -- do. of Krésna | | and wife of Abimányu. | | | Utári | Do. -- of Mángsa Páteh| | or Wiráta, and wife of| | Abimányu. | | | Utára |Son of -- do. | | | Séta, or | Do. -- do. -- |Sang Wirata Suta. Soita | | | | Sangka | Do. -- do. | | | Dresteráta |Eldest brother of Pándu |{Dresterája. |and father of the |{Dreterája. |Kuráwa, born blind. | | | | | | | Suyudána |King of Astína, and |{Genderea. |eldest son of |{Kurupati. |Dresteráta. |{Kuranata. | |{Durya dana. | |{Kurawendra. | |{Korawe Swara. | | Durusána |One of the Kúru. | | | Kérna |Son of Batára Suria (the|{Suria-putra,|(Child of |Sun) by Déwi Kúnti when |{Arka-putra, |the Sun). |a virgin, King of |{Radea |Awáng'ga. |{Rawi Suta. | | Jáya-dráta |Brother-in-law of the | |Kuráwa. | | | Sália |King of Mandaráka, and |Norasuma |uncle to the sons of the | (his early name). |Pandáwa, Nakúla and | |Sedéwa. | | | _Dang yang |An aged Pandíta, revered| drúnu_ |by all parties. | | | Aswatáma |His Son. |Duija Suta. | | Krépa |The younger brother of | |Dang yang Deruna. | | | Bísma |An aged Pandíta, revered|{Dewa-brata. |by all parties, son of a |{Aria Bisma. |former king of Astina. | | | Sakúni |Brother-in-law of | |Dresteráta. | | | Begedénta |The friend and companion | |of Suyudána. | | | Satia-wáti |Wife of Sália and | |daughter of Gunawijaya, | |a worthy Rasaksa | | | Bannwáti |Wife of Suyudana. |

NUMERICAL TERMS MADE USE OF IN THE BRÁTA YÚDHA.

100 Rátus. 1,000 Rébu. 10,000 Láksa. 100,000 Kéti. 1 million 1,000,000 Yuta. 10 ditto 10,000,000 Bára. 100 ditto 100,000,000 Memeng. 1 billion 1,000,000,000 Pante. 10 ditto 10,000,000,000 Chamo. 100 ditto 100,000,000,000 Ekso'eni. 1,000 ditto 1,000,000,000,000 Pertana. 10,000 ditto 10,000,000,000,000 Gulma.

FOOTNOTES:

[122] Vol. IV. Book 2, Chap 1.

[123] See comparative vocabulary of the Malayu, Javan, Madurese, Báli, and Lampung languages. Appendix E.

[124] The term Káwi seems to have been borrowed from the Sanscrit Káwi, meaning, in that language, poetry or poetical.

[125] See Appendix E. No. 2.

[126] Appendix E, No. IV.

[127] Appendix E. No. II.

[128] See Appendix E. No. III.

[129] Marsden's Malayan Grammar.

[130] See Historical Chapter, for an account of the introduction of the alphabet by Aji Saka.

[131] See Appendix E. No. III.

[132] "The style of the address in Mexican is varied according to the rank of the persons with whom, or about whom, conversation is held, by adding to the nouns, verbs, prepositions, and adverbs, certain particles expressive of respect. This variety, which gives so much refinement to the language, does not however make it difficult to be spoken, because it is subjected to rules, which are fixed and easy; nor do we know any language that is more regular and methodical."--History of Mexico, by Clavigero, vol. 1.

[133] See Appendix F.

[134] The centaurs.

[135] See Appendix.

[136] Who is represented as the Páteh, or minister, of Sáng yáng Gúru.

[137] See Astronomy.

[138] From rah, blood, and wána, wood, forest.

[139] A narrow white cloth, usually thrown over the shoulders, still worn by the Bramanas of Báli, and called sámpa álang álang.

[140] Sekár literally means flowers, and is the usual term for poetry, flowers (of the language.)

[141] "The tegála verse is only regulated by the rhythm of the syllables, and the similarity of the vowels in the close. This similarity of the terminating vowels does not amount to regular rhyme, for the consonants may be totally different though the vowels are similar, as in the Spanish rhymes termed Asonantes. Thus laglag and taltal, sut and cahug, silip and bukkir, however imperfect as rhymes, are all that is required in the termination of the tegála verse."--Leyden on the Indo-Chinese. Asiatic Researches.

[142] Priest.

[143] This and the following stanza are from the poem of Joarsa, being the history of two brothers of the country of Sahalsa.

[144] Under this impression, the city of Astina (Hastina pura) is believed to have been situated near the modern Pakalong'an; Gendara Désa, the country of Sanghoni, near Wiradesa; Amerta, the country of Derma Wangsa and the Pandawa, near Japara; Talkanda, the country of Bisma, and Banjar jung'ut, the country of Dursa Sána, in Lurung Teng'ha; Awang'ga, either near Kendal, or the modern Yug'ga-kerta; Pring'gadani, the country of Bima, near Pamálang; Purabáya, the country of Gatot Kacha, near Surabáya; Mandura, the country of Bála dewa, or Kákrá Sáná, the western provinces of the island Madúra, and Mandaráka, the country of Salia, the eastern provinces of that island, towards Sumenap; Diára Wati, or Indoro Wati, Krisna's country, the modern Pati. In the same spirit, the modern capital of the sultan of Matarem, called by the Dutch Djocjo carta, but more correctly Ayog'ya Kerta, was so named by its founder, about sixty years ago, after Ayudya the celebrated capital of Rama.

There are three peaks in different parts of the Island, which still retain the name of Indra Kíla, the mountain on which Arjúna performed tapa; one on the mountain Arjúna, near Surabáya, one on Morea at Japara, and another on the Ung'arang mountain, near Semárang.

At the foot of Semiru, the name of one of the highest mountains on the eastern part of the island, is supposed to have been situated the country of Newata, better known as the residence of Detia Kewacha, who reigned before the war of the Bráta Yudha.

On Gunung Práhu, a range of lofty mountains inland between Pakalungan and Semárang, are the remains of nearly four hundred temples, or buildings, with the traces of an extensive city. This is supposed to have been the burying-place of the ancestors of the Pandáwa, as well as of Arjúna. The site of the temples was formerly called Rah tawu, the place whence blood was washed, from a tradition, that when Pula Sara was born, his mother immediately died, on which the Déwa came and received the infant on its coming into the world.

In the performance of the wáyang, in which the heroes of these historical romances are exhibited, the common people of Jawana never exhibit that part of the history which relates to the juvenile days of Krésna, from a superstitious apprehension, that the alligators would, in such event, overrun the country, these animals being supposed to be the transformed followers of Kángsa. At Pamalang, also, there is a similar prohibition with regard to representing Arímba, the brother-in-law of Bíma, under a dread, that if the Dálang should, by accident, not represent the story with exactness, he would inevitably fall sick on the first mistake.

The country of Parakisit, after the Brata Yudha, is supposed to have been near Semárang, and on that account the Dálang will not perform that part of the history which relates to his reign, although it forms a very principal portion in the performances elsewhere.

To these superstitions may be added, that although with these local exceptions the wáyang may represent any portion of the Bráta Yudha, or of the preceding or subsequent histories of the same class, there is a prevalent superstition, that a great war will be the inevitable consequence of performing, at one sitting, the whole of this poem. It is gravely asserted, that a chief of Kendal tried this experiment about fifty years ago, but that the performance was no sooner completed, than his country was laid waste and destroyed: and also that, previous to the Javan war, the grandfather of the present Susunan, Sida Langkungang, ordered the whole of the Bráta Yúdha to be performed at once; the consequence of which was the dreadful war which ensued, and the dismemberment of the empire.

These impressions and superstitions may seem to evince, how deeply rooted is the belief that the scene of this poem was in Java.

The scene of the Rámayan, on the contrary, is not believed to have been on Java; but there is an impression, that after the death of Rawána, Hánuman fled to Java, and took refuge in the district of Ambaráwa, near Semárang, on a hill called Kandali Sáda, the place named in the Ramayan where Hanuman performed tapa (penance). There is still a post or pillar preserved to distinguish this spot at the summit of the hill; and such is the superstition of the neighbourhood, that they never perform the wáyang representing any part of the history of Ráma, lest Hanuman should pelt them with stones.

The annexed plate shews the situation of the principal places mentioned in the Bráta Yúdha, according to the prevailing notions of the Javans.

[145] The Padawa, or five Sons of Pándu.

AN ANALYSIS

OF

THE BRÁTA YÚDHA,

OR HOLY WAR; OR RATHER THE WAR OF WOE:

AN EPIC POEM,

IN THE KÁWI OR CLASSIC LANGUAGE OF JAVA.

INTRODUCTORY REMARKS.

The wife of Santánu, king of Astína, dying on giving birth to Déwa Bráta (Bísma), Santánu asked Pulásara, the Prábu-Anom (or younger prince), of Wiráta, and brother-in-law of Mángsah Páti, prince of that country, to allow his wife Ambarsári, who at that time had a child (Abiása) at the breast, to suckle and so save the life of his infant boy Déwa Bráta.

Pulasára, offended at the proposal, went to war with Santánu, but was afterwards persuaded by the Déwa Sang yang Naráda to comply, on condition of Santánu resigning his kingdom to him; to which Santánu agreed. Pulasára, when his son Abiása was grown up, gave him the kingdom of Astína, and turning hermit, went and passed the rest of his days on the mountains.

By his wife Ambalíka (the old maiden daughter of Baliétma, a hermit of Gúnung Chámaragándi, whom he was forced to marry against his inclination) Abiása had three sons, viz.

1. Drestaráta, who was blind. 2. Pándu, whose head was inclined to one side. 3. Aria Widúra, who was lame.

Pándu, the least exceptionable of the three sons, being raised to the throne, Abiása turned hermit, and went and passed the remainder of his days among the mountains.

On the death of Pándu, Drestaráta persuaded his father Abiása to allow him to rule the country during the minority of the Pándáwa (or five children of Pándu). These were Dérma Wangsa, Bíma, and Arjúna, born of his wife Déwi Kúnti, and Nakúla and Sedéwa, born of his wife Déwi Madrim.

Drestaráta however afterwards persuaded them to go to a wild uncultivated place called Amérta, and establish a kingdom there, furnishing them, for that purpose, with the requisite implements, and a thousand men to enable them to clear away and cultivate the country.

Through the assistance of Mangsáh Pati, the king of Wiráta (uncle to Abiása), the country of Amérta was completed; but not until the thousand men had all been devoured by demons, of whom Párta was the chief.

Drestaráta retained possession of Astína, and afterwards resigned it to his sons, the Kuráwa, in number ninety-seven.

The hundred was completed by the addition of Kérna, the son of Déwi Kúnti before marriage, by Batára Suria, and of Jaya-dráta and Aswatáma.

The incarnate Déwa, Krésna, having been deputed by the Pandáwa, whose part he takes, to propose to the king of Kuráwa an equal division of the kingdom of Astína between the Kuráwa and Pandáwa, and his proposal being rejected, the Pandáwa go to war for the kingdom which was left them by their father, and which in justice they ought to have had. The Kuráwa are ultimately beaten, and the kingdom of Astína recovered by the Pandáwa.

The scene of the poem lies chiefly in the hostile plains of Kuruksétra, close to Astína, whither it sometimes shifts. The time of it is about a month, the same being the fifth of the year.

The poem opens as follows:--

(Measure Jagadíta.)

1. In war 'tis the prayer of the brave to annihilate the foe, To see the braids of fallen chiefs scattered like flowers before the wind. To rend their garments, and burn alike their altars and their palaces, Boldly to strike off their heads while seated in their chariots, and thus to obtain renown.

2. Such was the prayer (of Jáya Báya) offer'd to the three worlds for success in battle; Such was the resolve of Batára Náta[146] against those whom he knew to be his enemies. And the name and power of Padúka Batára Jáya Báya became famous throughout the world, Confirmed and approved by all good men and by the four classes of Pandíta[147].

3. The lord of the mountains descended with all his Pandíta, And the prince approached him with respect and a pure heart. The deity was pleased, and said, "Aji Jáya Báya," be not afraid: I come to thee not in anger, but according to thy desire, to endow thee with the power of conquest.

* * * * *

Awigno mastutina masidam.

(Tem bang Jágadíta.)

1. Săng sūră m'rī ayā|niă rīng sămără mā|yoănĭ ĭlăng'ăni kāng | părāng-mŭkă || Līlā kēmbăng ng'ŏrā | sĕkār tăjĭnĭ kĕsā|nīng'ări pĕjăh hĭng | rănāng'-gănă || Urnā nīng rătu mā|tĭ wĭjă nĭră kūn|dănĭ năgărănīng | mŏsū gĕsăng || Sāhītiā ŭtĭ tēn|dăsī rĭpŭ kăpāk|ka nĭrătā sŭ|ră sŭsrămeng lăga ||

2. Da samangkana kastawa nira tekeng tri Buana winuwus jaying rana Kapia sabda Batara Nata sa mosu nira tekapi huwusnia kagraha Ng'ka lumra ti tohor ta Paduka Batara Jaya Baya panangga hing sarat Mang'go sampun ninastoakan sujana len duijawara Resi Siwa Sugata

3. Ng'ka ragrian tumurun Batara Giri Nata lawana sira sang'gia len resi Yetna s'ri pamasa mamurista mang'argia ri sira sang'a chintia nir mala Yekan tusta mana Batara sa wuwus Aji Jaya Baya ayua sang saya Ta tan kroda tekangku yen sira saka sung'a wara karananan ka dik Jaya

* * * * *

4. Receive from me a blessing, oh my son Jáya Báya!--Hear me! In thy country Thou shall become the chief of the whole circle of princes, and in war victorious over the enemy. Be firm and fear not, for thou shalt become as a Batára. This declaration pronounced with solemnity, was treasured in the memory of all the holy Pandíta of heaven.

5. Thus having bestowed his blessing, the Batára vanished; And the enemies of the prince being overcome with fear, submitted to him. Tranquil and happy was every country. The thief stood aloof during the reign of this prince, And the lover alone stole his pleasure, seeking his object by the light of the moon.

6. It was at this time Puséda[148] rendered memorable the date, risang'a kuda suda chandrama[149], When the brilliancy with which the enemy was defeated was like unto the brightness of the sun at the third season, And the mercy which was shewn to them was like the moon at the full. For in war he looked upon the enemy, as the lord of the wild beasts would eye his prey.

* * * * *

4. Tang'gap tosna nograha ku ri wukang ku Jaya Baya rang'e nikang Praja Satiastu prabu chakra wartia kita ring sabuana Jaya satru ring mosu Tekuan lang'gen'a satmaka na ku lawan kita tulusa Batara ring Jagat Yekan sabda nira tro telasi nastoakan nira resi sang'gia ring lang'it

5. Sampun mangkana suksma reh nira Batara telasi ramawé ka nograha Tanduan nut samusu nareswara pada pranata teka rihing mabupati 'Enak tand'li reng sarat maling awah layata wadi risakti sang Prabu Hangheng tan udi sapsabé wang ng'atajeng teka sumilip pipajang'ing wulan

6. Nowan don Puseda makirtia sasakala risang'a kuda sud'da Chandrama, Sang saksat ari morti yen Katiga nitia maka palaga saktining musu San lir lek prati pada sukla pinalaku nahurip pawijil nireng ripu Ring prang derpa pasu prabu pamanira Yuni Kadung'ola ning parang muka

* * * * *

7. Then Batára Séwa came and said to him, "This is the time proper to relate the war between the Pandáwa and the princes of Kóra, A relation which is not intended for the regulation of the country or the conduct of men, but is like síri with burnt lime, Which affects not the teeth, but gives inward satisfaction and delight."

8. In former times, Naráría Krésna was the friend of _Naranáta Pandáwa_, And he urged them saying, "Request from Suyudána, the chief of the Kúru. "Nothing less than a division of the country of the Kúru: "If he accede, it is well; if not, a great war shall be raised."

9. Thus having advised he hastily departed, and quitted Wiráta, followed by Satiáki, He mounted his chariot of swift-footed coursers, which sped through the air as if with wings, And soon discerned the city of Gajahúya[150], breaking through the clouds. Sad Looked her waríngen tree[151], like unto a sorrowful wife separated from her husband.

* * * * *

7. Biakta chamana pada Pangkaja Batara seiva mara ng'omastawa sira Yogya mang'galaning mikat prangira Pandawa maka laga Korawé s'wara Dan Duran kawasa alip kadi s'ru pama hugi mahapu susu gesang Mang'so tan sedap panya ring waja tuhon pamurna mang'on resēpi ng'ati

8. Ng'ani Kala Narario Krisna pinaka seraya nira Naranatu pandawa Sinoé Kara Kinon lumakqua dateng'ing kurupati mang'aran Suriodana Tan lean don nanira malaku rika paliani pura Nararia Kurawa Yukpuan pasra atut ta ratqua yedi tan pasung'a karana ning prang'at Buta.

9. Dan mangka sira sigra Sakari Wirata dinolur ri ng'anama Satiaki Heng'gal prapta tekap nisacti ni turang'ga Nirata nira pinda hanglayang Kong'ang desa nikang Gajahuya pura awu Kinemol laneng udan riwut Uruk warnani wandirania kadi soka makemoli paning'gal ling pria.

* * * * *

10. The corners of the gateways seemed to bow as he advanced, And their turrets to beckon to Janardáni to hasten on. The branches of the serpent flower[152] waved in the wind, as if in obeisance, And all the beauty of the city of the Kúrus appeared to enquire whether he were followed by the Pandáwa.

11. But Narária Kesáwa had left the sons of Pándu at Wiráta. The appearance of every thing on the road was sad: sorrowful was the sound of the bird chúchur, And the jring plant was drooping and fallen, bearing down with it to the ground the pándan flower; Mournful was the moaning of the bird walikitádáhasi crying on the branch of a tree.

* * * * *

10. Punchak punchaki gopuran'ia aturang ng'adang'a ri sira mong'gu ri ng'nu Kadio gir ri tekar Janardana panambahi pataka nekang nawe Katon Warna nambahi pang nikang bujaga puspa magiu anu mimba kang'-inan Saksat laxmini kang puri kuru matakoana ri milu Nararia Pandawa.

11. Dan Bahnan kari Pandu Patra ri Wirata tekapira Nararia Kesawa Yéka soka lang'an ikang awana kunda manang'isa sekal chuchur neka Mangka j'ring malumi dawu pudaki Pandani ka makilusu aning Watu Hing hing sabdani kang Waliktadahasi pada manang'isi pang nikang tahan

* * * * *

12. Bright and beautiful was the city of Gajahúya, till it was known that the Pandáwa did not follow. The champáka flower was full blown and ready to fall; The faded flowers of the tanjung were caught in the spider's web, And the dark beetle[153], almost lifeless, in sadness sought the flowers of Angsána, which floated on the waters.

13. Dry was the course in which the rivulet had flowed, And the stone images looked in sadness at the marks which the water had left on the rocks. The shell-fish[154] had deserted their covering. And the dead shells were left on the banks by the retiring waters.

14. Unlike this was the appearance of the ráwas[155], which resembled an assemblage at the paseban[156]. On their banks grew the flower rajása[157], entwined by the suwárna[158], as a golden ornament worn by men. The white flowered tánjung having reclosed its petals, hung like a closed páyung[159], And the small fish were frisking with delight in the waters.

* * * * *

12. Kapua sa leng'ang'ing Gajahuya ri tan padulur rira Nararia Pandawa Hunia champaka malugas Kusuma paksa Malabua jurang nikang parung Lampus tanjung ng'ika ng'anas layati gantung'i panawang ng'aning jaring jaring Tan patma Bramara kusa nang'isi layuani ng'asana manot yiriaking banyu

13. Mangkania sani panchurania pada soka ri taya nira sang danang jaya Unia lek magegeng molat kapenatan rika patini lumot nikang watu Sangsara Karachakechap mulati pandaga nika ri pipinya tan padon Ka res res ni susunya mati manolat tiba tiwati mukar juning sela

14. Tan mangka kalang'ang nikang rawarawen Masemu lumiating wang hing saba Tirania nadar Rajasa kayu suwarna Mamolacti atur gelang kuning Mang'ka tunjung'i kang sekar wali ping'olani ka pada payung ping'ol Sarwecha pachuring sunhunbras ika yan pabanyubanyu mang'anti ring renek

* * * * *

15. And as he came close to the city, the approach was cleared: The wúng'or flowers hung in abundance like reclining pillows, The tanjúng flower was open, like an expanded payúng, And the pétung[160] was surpassed by the beauty of the gáding[161] sprouts, which shewed like the gáding flower.

16. And the woods were as if no one could tell whether there was good or bad in them, and the rocks were as if deaf and dumb. The beetle buzzed at a distance from the flowers of the dádap and the síri, for it knew not the taste of them; The bird chat-da played like unto the bird kiong[162], when in its glory in the woods; And the joints of the sugar-cane attracted not the eye.

(Measure Suandána.)

17. Delightful and pleasant were the roads of Astína. And soon on the plains[163] of Kúru did the good Krésna arrive: There was he joined by the heroes Kánwa, Janáka, and Narádá, Who were found by him on the plain, and who entered his service.

* * * * *

15. Sing'gi yan maparek puraraja mahalep alep anoluhi ri nika ng'enu Banonia Suraga tulis makalasa bari tuwuni nika sinang rateng Mangka tinkahi patmaraga nika sayana sekara pajeng pajeng dadu Tan pasri tekapi petung gading bung'nia pada tumota pawahan gading

16. Lir tanuru hihunadika alas apinda bisu tuli watunia ring jurang Monya Kumbang'i kumbang'i rang'en ado weruha rechap'ika puspa ning seda Chang'gang chang'ga manuknia chutda nachading kiong atuwa Kalang'aning wukir Tekuan tan kahanan w'las harep pula nisi paha nika tan lumis mata

(Tembang Suandána.)

17. Leng'ēng gatine kāng | awān sabasabā | nikīng āstina || Samāntarā tekēng | tegāl kuru nar|ārya krēsnān laku || Sirāng para sūra makā|no'a janakā | dulūr nārada § Kapāng'gē irikāng | tegāl milu rikār ya sāng būpati ||

* * * * *

18. Immediately the excellent Krésna took the charioteer's seat, Giving up his own in the chariot to the three Pándita, and making obeisance to them. They returning the salute, Inwardly prayed for the welfare of Krésna.

19. The Pánditas were much pleased by Krésna's taking the charioteer's place: And as they were borne along, they talked of their journey to the King of Astína, And also discussed many weighty matters, While mildly flowed their words like a gentle stream.

20. When the worthy Krésna was yet on the plain of Kúru, Drótarája soon heard of his coming, And gave orders to clean and dust the palace; Directing, at the same time, the finest cloths to be spread on the ground from the royal seat, outside, as far as the great square.

21. It was at the same time required of all to show respect. Such were the orders of Aria Bísma and Dratarástra. Sakúni, Kerna, Duryodána, alone refused to obey, turning away and shewing their backs. This they did, perceiving intuitively that the great among men was acting in concert with the Pandáwa.

* * * * *

18. Wawang sira nararya kresna numaring gwaning sarate Sirang parama sapta pandita gumanti mung'gweng rata Turawin sira telas winorsita malas mawe nastute Monagya keni ayu'a sang prabu yan non nera ng'astawa

19. Lengeng alapira daran pinaka sarati yang resi Tohor muchapi doniran lari mereng narape Astina Datan'nia juga rakwa gostinéra sarwa tat'wa dika Lumot wijili sabda sang resi kabe mawerna merta

20. Sedeng anari kang tegal kuru nararya kresnan laku Rika ta drotaraja sigra rumeng'o dateng sang prabu Nimitani lebu nekang pura kinon naken busanan Pada natara wastra mulia tekaring wang'ontur batuk

21. Tuwen pada ginositan sira kabe kinon sambrama Tekap nira sangarya bisma dratarasta motus tinut Kunang sira wi'ang ming'e sakune karna duryodana Apan warui mana janardana sapaksa ring pandawa

* * * * *

22. The various viands in the interior of the palace being prepared and laid out, Kesáwa[164] arrived before the city. When grateful sounds struck up from various musical instruments, As slowly advanced his chariot to the hall of audience.

23. The people, desirous of beholding the royal arrival, and afraid of being too late, Hurried in crowds to where they might have a view of him, Adjusting their dress and tying up their hair as they ran along; And some, who had left the operation unfinished, came with their teeth partly black and partly white.

24. While others, among the women, held up their breasts with both hands, As if they were going to present them to the exalted among men[165]. Children, too, bore along in their arms their ivory dolls, And caused them, when they came to the looking place, to acknowledge and bow to him, whom they pointed out as their royal father.

* * * * *

22. Sedeng masaji boga sadrasa samong'gu ring jero puri Samantara dateng ta kesawa anengarepning kuta Lengeng tekapikang garangtung ngamapak umong gurnita Tuwen rata nera rere lakunekan dateng ring saba

23. Ikang wang aharap tumingala risang naréndran dateng Pada garawalan maring pangu'ngangan wedi kantuna Ana mahayu kesa ta pana gelung rusak ringenu Dudu tanga sisik atur inaliwa katen tan tulus

24. Wane tangalayu manag'gari susunya karwéng tangan Ya pwan sunga keneng janardana aturnya nang'giwakna Ana nakanakan gadeng makilayu mamhban leng'en Tekeng pangu ngangan kinon ika mangakua rama aji

* * * * *

25. There were also seen among the throng, those who, leaving off the duties of the toilet, and taking with them their looking-glass and paint-brush, Appeared as if they were hastening to officiate for the prince. Others there were, whose hands contained unfinished garlands of flowers, which they had been making, and Which they seemed to be running to give to his highness.

26. Others ran so fast, that they dropt and lost their garments by the way; Such was their fear of being too late to see the prince go by. The overloaded ladders broke down with the weight of people upon them, And the extended mouths of those who fell prostrate, gave them the appearance of persons under the influence of liquor.

(Measure Basánta tiláka).

27. It would be endless to describe the various sights which presented themselves among the astonished multitude, Enough that the royal Krésna reached the palace. But it was not the palace of the King of Astína which he went into; It was that of the Aria Drastarésta.

* * * * *

25. Wane tanga payas wa'u saha sipatnia mung'geng sadak Yaya ngotusa mahiasan ni patane naréndra dateng Mewah tanga ngiket sekar ana ri asta tapwan tulus Sawang kapalajeng makana kusuman paninjo aji

26. Nian tang hamregen umirakani kenya sak ringenu Rires nika kasépa yan lumiyati 'alintang aji Kuneng pwari saraknya mung'ga hirikang Saganya tikel Datan dua kawedar nekang kadi tutuknya ngato'a bo'ajeng

(Tembang Basánta tilaka).

27. Tāng'ēh ya dīn | kawuning'ān rarasīng | maniīnjo || Sīgrān datīng | nerpatī krēs|na rīkāng kadāt-'wan || Tūtān dunāng | ri kurunā|ta sīran t'kāngka || T'kāni narār|yā dratarēs|tra sirān chumūnduk ||

* * * * *

28. There he found assembled Drúna, Bísma, Krépa, and Sália; As also Aria Widúra, Dratarája, and Kérna. Then quickly before him did the Aria place Viands, served up in dishes of gold set with precious stones, befitting the dignity of a prince.

29. Delighted was the mind of Krésna, When he saw the hospitable manner in which he was treated by the Aria and by Bísma. Then came the King of Astína to present him with dainties; But his coming was fruitless, for Krésna would have none of them, spurning the offer.

30. On which the King of the Kuráwa, addressing the blessed among men[166] in an angry tone thus spoke: "O! thou pure among men, who lovest to over-rate thyself, "Disdaining to receive the proffered food which I prepared for thee, "It is not fit that thou shouldst be numbered among the good and worthy of the earth."

31. Such were the words of the King of the Kuráwa addressed to Krésna. To whom, in reply, the latter said: "Being deputed by others, "To accept of the articles presented to me by thee, would be as if I were to take poison, "Not having yet finished the work I am come about."

* * * * *

28. Ka drona bisma krepa salya kapanggi arpat Lawan sang arya widura drata-raj'ya karna Sig'ran sumung'akni kang pasaji nararya Bogo paboga saha mas mani raj'ya yog'ya

29. At'yanta tustané manah naranata Krésna Yanton segeh nira pararya makadi bisma Yekan dateng prabu ri astina sopa boga Datan tinanggapira Kresna aturnia nir don

30. Yekan panant'wa kurunata risang narind'ra He sang janardana hade juga denta mambik Tan tanggamé pasaji nistura tan pananggap Tan yukti totenira sang tuhu sadu ring rat

31. Naling nirang kurupatin pang'uchap ring Kresna Mojar janardana t'her puri ing kinongkon Tan sambramé pang'upakara ritap'waning don Apan mamukti wisa rak'wana sida karaya

* * * * *

32. So spake the pure among men, losing for a moment the character of a Pandíta, Krésna then returned home, followed by his principal Mántrí[167]: And on reaching his residence he immediately kissed the feet of the wife[168] of Pándu, Who very graciously and kindly received the honour done her.

(Measure Bangsa patra.)

33. As soon as Batári Kunti[169] perceived Krésna approaching, Her mind suddenly expanded, like an opening flower, but immediately after became oppressed with grief. Then addressing the royal youth, she said, his coming to her was as welcome as that of the Pandáwas. She then quickly threw her arms round the neck of the well-pleased Krésna,

34. And immediately told him of all the sad grief and consequent shame which filled her mind, With a choked utterance and a strenuous effort to suppress the rising tear, "O! my friend and protector," said she, "thou bringest consolation and comfort to my breaking heart, "Making me feel as happy as if I were at this moment in the delightful company of all the sons of Pándu."

* * * * *

32. Naling janardana ri sang resi sangga suks'ma Sang Kresna mantuki niring nira sang sumantri Prapténg g'reha ngusapi jeng nira pandu-patni Somia b'wata t'wang'i t'las nira yan panembah

(Tembang Bangsa patra.)

33. Saliyati ra Batā|ri Kūnti Krēs|na wahu datēng || Kadi sinekari kāng | t'yās māhār|sa puwarā sekel || Atutu rī | n'repa sūnu lwīr sāng | pāndawa datēng'a || Karana nirā | tekā n'gol teng | gēk sāng teka marārem

34. T'hĕr awarahi geng ning duka ngande hirisira Saha wuwus ira mas'ret déning luh lagi pinegeng Kita tiki bapa tambang kun mariyang regepa lara Sawulata saguyu m'wang sang pandut'maja saweka

* * * * *

35. Such were the words of the great Dewi Kunti, causing Krésna to shed tears. To whom the latter, in reply, thus spake: "Grieve not, oh princess, "What is, has been ordained by the Almighty, whose humble instrument I am." Thus said, he forthwith returned, and went to the palace of Wára-widúra.

36. Leaving Krésna to the hospitable entertainment of Widúra, who administered to all his wants, Let us proceed to speak of the King of the Kuráwa, Whose gifts had been disdainfully rejected, And who thereby was sorely vexed.

37. He consulted with Dusasána and Sakúni upon the subject. But the first on the list of advisers were Krépa and Kérna. They wishing to kindle the ire of the king of Kuráwa, Asked, "Why should you be afraid to refuse giving up half of the country, "On account of Krésna's being the friend and ally of the Pandáwa;

* * * * *

35. Na wuwus ira su déwi kunti Krésna saha tang'is Sang inujaran irojar tan soba n'repa mahisi Sakarepa Batara manggeh ng'wang w'kasanika Ling'ira t'her umantuk ring g'wan sang warawidura

36. H'neng'akena kamant'yan sang kresnan s'deng'iniweh T'kapira widura pah ramia tut samanahira Da tuchapa kurunata karya sa sinala hasa Sapasaji nira eman dé sang kresna tana árep

37. Karana nira na hemhem m'wang dusasana sakuni Maka muka k'repa karna t'yan téng dusta mangapui Ling'ira mapa tahé t'wan ta wéha pura sateng'ah Apan iki n'repa k'resna b'yekta pandawa sasisih

* * * * *

38. "Therefore it is that the offered food was so much slighted. "If not accepted of (by Krésna) care not, but give it away elsewhere. "Be the enemies of our leader who they may, our bweapons are ready." Having thus said, Krépa and Kérna departed, and were followed by Dusasána and Sakúni.

39. All having departed, and gone home, The king of the Kuráwa, alone and sad, Went to the apartment of his wife, Who was said to be exquisitely beautiful, even exceeding the females of heaven, and containing more sweetness than a sea of honey.

40. When he reached the place where his wife was, he spoke not, but continued silent, Oppress'd with grief, and lost to every thing; In this mood he remained, till the coolness of evening came, and The sun shone bright in the west.

41. The sun about to disappear, looked as if descending into the bosom of the deep, And cast a beautiful and pleasing appearance on the palace; But it assumed all at once a pale and sombre aspect, While the women within were happy and joyful.

* * * * *

38. Niha niki teka panian sampa é-ke pasaji aji Tarimanen niki ay 'wang kewéra métukaraken Sapa karika musuh sang nata was gati rasika Ling ira t'her umantuk m'wang dusasana sakuni

39. Da'i moli ira kap'wa ngungsir wésma nira uwus Kurupati kari sokang kaneng g'wan warama 'isi Tuchapan niki sawang sang déwi ngant'yani ngahajeng Ratih ajapana wung'wa m'wang yanging jeladi madu

40. Sadateng'ira ri déwi tan warnan aneng'akena Lawani wing'iti chita sri dur'yudana na sumeng Lalu déwasa kalungha tistis ng'wé kirana matis Ririsa dulura ngen mar mam'wat ganda ningasana

41. Rawi mangayati moksa kane lot masilurupa Dana s'mo kama tresnan ton rumneng pura ridalem Karana nerana nolih moruk pinda kamadelen 'Lala lumiating s'tri ring jero mahawuhawu

42-46. [Description of the loves of both sexes, and the graces and attractions of women.]

47-50. [Moonlight scene described, with the sports and blandishments of the maids of the palace.]

51-53. [The maids of Astína continue to talk and amuse themselves by the light of the moon.]

54. [Midnight follows, when all are at rest, and a solemn stillness prevails, disturbed only by the Bramins proclaiming the midnight hour.]

55-63. [Description of morning. Sunrise, &c.]

64-66. [Suyudána, king of Kuráwa, comes forth in state into the hall of audience to meet Krésna, who has been waiting for him there, along with many princes and chiefs of the place.]

67-73. [Krésna announces to Suyudána the object of his mission, viz. to ask for half the kingdom of Astína for the Pandáwa, &c. The father and mother of Suyudána and all the old and grave Pandítas recommend compliance with the proposal of the Pandáwa, in order that there may be an amicable adjustment of affairs. Kérna, Dusasána, Sakúni, and Krépa, shake their heads, in token of their disapprobation of the measure, and evince their readiness to attack and kill Krésna on the spot.]

(Measure Sekaríni.)

74. Then the servant Satíáki related to Krésna from his own knowledge, That at the time the plan of Duriodána was to take away his life, For he had collected together and assembled his people in arms; Whereupon Krésna issued orders for his forces to be in like manner assembled.

* * * * *

(Tembang Sekarini.)

74. Samāngkā yoda sā|tiaki majari sāng | Krēsna saduga || Ri tīngkā sāng Durio|dana arap pam|ātia nāri sira || Tuwin sampūn naidāng | yadū bala kabē | sāstrani sita || Umi rātniā s'ri Krēs|na kārana nikīn | tān warang'en ||

(Measure Basánta tiláka.)

75. Krésna then giving way to his anger, arose from his seat, His passion swelling and rising within him like unto the fury of the god Kála. His speech no longer soft, was harsh and loud, and he represented the all-powerful Wísnu[170], His appearance uniting the force of the three powers and of the three worlds.

76. From his shoulders were seen to extend four arms, and above them were three heads and three eyes[171]. The power and divinity of every deity now entered into his person: Bráma, the saints, the powerful deities, the chiefs of the Rasáksas, With the power of all the people and chiefs of the immaterial world, and of all that possessed power.

77. Then swaying his body from side to side, and breathing hard like the roar of a lion, The earth shook to its base, disturbing the foundation of every thing: The mountain tops nodding, and the mountains themselves rocking to and fro; The waves of the sea rising like mountains, forming whirlpools and casting the deep sea-fish on the adjacent shore.

* * * * *

(Tembang Basanta tilaka. See 26.)

75. Angka kroda Kresna mang'adĕk sakaring pahman Mong'ging natar sira wibuh Kadi Kala merchu Mintonakan krama niran tuhu Wisnu murti Lila tri wikrama maka waki kang tri loka

76. Takkuwan chatur buja siran tri sira tri netra Sakoé Batara pinaka wakira samoa Brahma r'si dewa gana rasaksa yaksa sura Moang detia denawa pisacha manusia sakti

77. Yekan lumangka asigap kraka singha nada Lindu tikang siti pado lawa ng'ambek Kambek Yang parwoto gra gumiwang manawang ginanjuh Kombak wayi tasi kanyakra panyunya kabeang

* * * * *

78. In an instant fear and panic overspread the hundred Kuráwa. Silent and speechless they stood, and with a pale and wan look, which extended to the prince Kérna himself. Even Súyudána and Yuyútsu lost their senses from fear; They remained as without life, and having no will of their own.

79. It was then that Drúna and Bísma, and the good _Pandíta Naráda_, Offered prayers and praise, and sprinkling a shower of sweet-scented flowers before him, Thus entreated: "Are you not, in truth, the God of Day, why become greater? "Have mercy upon the world and all that it contains.

80. "If you resolve upon the destruction of Kurunáta, his destruction must ensue: "But think once more of the agreement of Nahária Bíma, "And of the pledge of Drupádi, who has vowed not to bind her hair "Until she shall have bathed in the blood of the hundred Kuráwa."

81. At this the god relented, and his heart became softened When he listened to the words of the holy Bísma; For the wisdom of Krésna was pleased with the praise, And in an instant he resumed the form of Nahária Krésna.

* * * * *

78. Tanduan kawus gatini kang sata Kurawa ras Diem tan pasábda mawenes Narepa Karna Nata Mangkang Suryodana Yuyutsu Wikarna morcha Biak tan geseng tekap irang arepi ilangnia

79. Ng'ka Druna Bisma ng'uniwé resi Narada di Asrang mang'astuti umong saha puspa warsa Mojar Batara hari ayowa magung weyung ta S'wasta nikang Buana kasihi tulihenta

80. Yedian kita mejahani kurunata nang'ga Bahna pratitnia gati sang Prawaria Bima Moang Dropadi basa matan pag'lung gatinia Yen tan pakadiusa rirah sata kuraweng prang

81. Da kantananya lesunen poa geleng Batara Ling sang watak resi lawan paramarsi Bisma Karunya budi nira Kresna renan pinuja Rap saksana noluya rupa Nararia Kresna

* * * * *

82. The Pandítas then went each his way, And Krésna proceeded to the dwelling of the widow of Pándu. No sooner was he arrived than he said: "I offered my advice to the princes of Kúra, "But they have resolved to be destroyed in battle.

83. "Such, O Naranáti Déwi, is the conduct of Kurunáta." To him the princess then replied, "Inform my sons, the sons of Pándu, of this: "And since they must fight, let them select warriors who cling to life; "And let Swárga receive those who may fall in the war."

84. Thus spake the princess to Nahária Krésna, Who closing his hands in respect, requested to withdraw. Then quickly mounting his resplendent chariot, He was followed by Widúra, Sanjáya, and Yuyútsu.

85. Kérna alone was seated in the chariot by the side of Krésna, And him he advised to follow the cause of Pándu. But the Prince of Wáng'ga replied: "I hold to my resolve, "And long to try my strength in battle against Kiríti."

* * * * *

82. 'Ngka tant tinut nira muli resi sangga suksma Sang Kresna mantuk kumari sira Pandu Patni Sigran teka jari wiang nira Kura wendra Kewalia mayun nirikang rana matia ring prang

83. Yekan pasabda Karuna Naranati dewi Bota siasi wara-akan ta ripandu Putra Heng sura darma ngosirangnia matoha jiwa S'warga ngola pej ahimatdia nikang ranang'ga

84. Nahan wuwus narepa wadu Rinararia Kresna Yekan tinut nira napatgata semba amit Sigran mijil sira tohor mahawan rata bra Sering lawan Widura Sanjaya len Yuyutsu

85. Sang Karna rowang nira Kresna aning rata krem Sinoé kinoni tumota ri Pandu Putra Dan sang Nararia Riawang'ga kedah sudira Mayon makola guna sakti lawan kiriti

* * * * *

86. Such was the speech of Narapáti Kérna, who would not hear but of war; "To the battle will I go, for I pant for war, and instant war. "In the fifth season, and on the first day of the moon, shall the war commence, "And ere the tenth night of Krésna shall it be terminated."

87. Rawisúta having thus declared himself in speech bold and fierce, Requested to depart in company with Widúra, Sanjáya, and Yuyútsu, And said not a word until he reach'd his home. Janardána gave speed to his course and went on.

88. Narapáti Krésna spoke not a word as he proceeded; But Srí Kúnti, when she heard the intelligence, Became sad at heart that her children should go to war, And well she recollected what Krésna, had formerly said.

89. This she thought should be the course of Naranáta Kérna, He should not listen to Kurunáta, for he is bent upon war; And thus she advised her son, Arka Pútra[172], For she had borne him when yet a virgin.

* * * * *

86. Nahan wuwus Narapati Karnu wiyang tanamoas Metoeng ranang gana juga heng ujar neragia Mamui taneng kalima tué sedang tumanggal Rapuan Masampuna nipancha dasinia Kresna

87. Nahan wuwus Rawisuta piakakas rasania Mamoet lawan Widura Sanjoya len Yuyutsu Tan warnanan Sira wuwus tekaring swa wisma Lampa Janardana makin kalepas kemantian.

88. Da titanen narapati Krésna sedang lumampa Sri Kunti boja tana yeki reng'an kamantian Sokan rasi wekan niran mijiling' ranang'ga Ngu'nin datang nerepati Kresna matakon ningdé.

89. Na doniran patari Sang Naranata Karna Motus kumona Kurunata tanagrah heng prang Kunti yaling nira mowa risang Arka putra Biak tan nanak'nira ri kalaniran sukanya.

* * * * *

90. But Kérna would not hearken, but averted his head. His wish was that nothing should avert the war; For he feared the loss of his character for courage, And he had received great benefits from the princes of Kóra.

91. The widow of Pándu then departed in grief, And in silence bent her way to the abode of Sumántri. Janardána, meanwhile, continued his course Attended by Satiáki, the good and the brave.

92. So rapidly did the chariot go that the time could not be counted, Till reaching Wiráta, he met the assembled Pandáwa. To them Krésna related, that the people of Astína rejected his advice, And were resolved upon trying their prowess in war.

93. Transfix'd with rage, the sons of the Pándu, Bíma, Arjúna, Yenakúla, spoke with fierceness and defiance, When they heard the words of Pándu Pátni That they should try their power and skill in war.

94. It was then that all the assembled princes Consulted and declared for war. And Drupáda said to his son, the prince of Wiráta, "Give orders and make ready the warlike implements, collect the chiefs and warriors."

* * * * *

90. Dan Kerna langana saha dara lot manamba Mang yang ritan wurunga ning mijiling ranang'ga Kak satrian juga palai yuana ling ning raswi Apan kalindi anisih nira kora wendra.

91. Na étu Pandu dayeta numuli sasoka Tan warnanan sira teking graha sang Sumantri Lampa Jenardana mowa wuwusen wisata Siring lawan prawara Satiaki weresni wira

92. Heng'gal wawang tanuchapan takap ping rata dras Prapteng Wirata katamo nerepa Pandawa hém Ng'ka kesawa jri wihang nira Astinindra Mayuan mang'ongsira yasa takran prabawa

93. Yekan padang getam masabda sapandu putra Bimar, Junar, Yenakula s'ru lawan sang'anten Tekuwan deng'ar ripa wakas mira Pandu patni Motus mang'on sire yasi teng'a hing ranang'ga

94. Mangka watak ratu sapaksa risang narindra Kapua sarak wuwusiran mijiling ranang'ga Ayuhé nuchap Drupada sunu Wirata putra Sabda nomangkata ri kalanikang pranata

(Measure Sragdára.)

95. At the dawn of day, the Pandáwa arose and march'd forth from the capital of Wiráta, Resplendent as the morning sun, when rising above the mountains, he first sheds his rays over the earth; In numbers great, compact, and like an overwhelming sea. And a sound, like distant thunder in the hills, Was the sign, that the elephants, horses, and chariots, with the rich and splendid trappings of gold were in motion.

96. Many and numberless were the flowers scattered in clouds upon them by the Pandita; Loud was the sound of the martial strain, breathing victory and triumph to the sons of Pándu. And when the flowers ceased to fall, there arose a strong wind, as if propitious to their march; For the gods were assembled on high, and wished them success in the war.

* * * * *

(Tembang Sragdára.)

95. Yiri āngkāt sāng Pāndawēng|'jeng Sakari Kuta nikāng | Rājia dāni Wirāta || Tān pēndā Sūria sāng|ke ngudaya giri mijīl | māyuwan nāng dipa nīngrat || Lūmra wurāsākpenu līr | jalinidi mang'alīh|muang 'ngukīr guntūr āgrah || Chīnāniā n'wēh tekāp nīng | gaja turāngga ratā | reng'ga rāta pradīpta ||

96. Ny'kan lumrang puspa warseng gana Sina Wurakan Sang watak siᵗ dia sing ga Lawan ungkara mantri jaya jaya ri jaya Sri Maha Pandu Putra Matrang Warsa rarap mang'galani laku nira pang ruhun sidu ngadres Apan Sang yang Surendrang duluri ngawang-awang mastoakan yen jayeng prang

* * * * *

97. In the front of the march Bíma, the bold and the brave, took his station; Wild with impatience for battle, and heedless of opposition, He remained on foot, tossing his gáda into the air for amusement; For he was accustomed to conquer, as well on the sea as on the mountains, and elephants and lions became his spoil.

98. In his rage he was all-powerful as the elephant of the forest: And now that he was in motion, he panted for the hostile chief, and gave the challenge aloud: His voice being like the roar of the lion was heard by all, The sound thereof resounding throughout the three worlds.

99. Behind him followed Arjúna, seated in a splendid chariot of variegated gold, and shaded by a golden páyung, Flaming like a burning mountain and threatening destruction on Astína and its princes. His banner, the monkey, floated high in the air, flapping the clouds in its course; And as his retinue shone and glittered, lightning flashed with the thunder-clap in presage of victory.

* * * * *

97. Pang'anjur ning lu mampa sang ngino chapa ngaran Bima surang'ga Kara Wang momoring Sarira wang'i molimola mok tan idap sakti ning len Takwan tan Sang'grahing Wahana lumaku juga moang gada geng inunda Apan derpa tawan sagara giri gehana pet gaja singha berwang

98. Towen Kroda lawas mataka di gaja alas geng galatan panampar Munin mahiwun luma kiwo prihawaka mapagiring ritang'guh Narindra Mangken totus lumumpat Kawigara Nang'uhuh wi brama Singananda Lunpat ring burbua s'waranira ibkan sekanangka tri loka

99. 'Ngka ni wuntat Nararia Rijuna Marata manik Sarwa warna pajeng mas Montap lir parwata pui lari gumaseng 'ani Astina moang ratunia Kumlap tung gulnira Wanara mang'ada dutur sabdani megha makrak Lumrah ring dikwidik mang kilata wetu gelap biakta mang dé jayeng prang

* * * * *

100. Next to Palgúna came Aria Nakúla, with Sedéwa, mounted in a chariot of green of exquisite workmanship. In beauty resembling two deities of heaven, and thirsting for the attack on the youths of Astína, They shone resplendent. Their banner floating in the air like a dark cloud threatening rain, and scattering the petals of sweet-scented flowers. Ready for the combat, as thunder before the lightning flash; and as they moved, the sound resembled the humming of bees in search of food.

101. Then slowly followed Aria Utára, with Soíta, alike mounted in a chariot of war; And next Drásta driúmna and Drupádi, with Sikándi by her side; With countless chariots, elephants, and horses bringing up the cavalcade and filling up all space: The whole elevated in spirit, as fish when enlivened by a sudden fall of rain.

102. And now appeared Drupádi, borne on a litter of gold, and shaded with a páyung of peacocks' plumes: She was like a deity when represented by a golden image; her long hair hanging loose and floating in the wind. She had not bound it: but while it hung like a low'ring cloud, she awaited the coming of the rain of blood; For she held to her vow, that until she bathed in the blood of the enemy, she would not collect her hair or tie the knot.

* * * * *

100. Wuntat Sang Palgunang Karia Nakula Saha dewa rata Jong bang'un j'ring Endah lir Kamah Kambar lumaku rumabasas-tri puri Astinendra Leng leng tung'gul nira pinda jelada mawudan sarining kitaka mrik Wagiut pata gelap tan prakata kadi ketar ning prang'ing sat padawu

101. Len Len sangke sirar Yotara masiring'a ring Soita mong'ging rata brah Moang Drasta-driúmna lawan Drupada pada tumot niwang Sikandi tanimba Pasrang ning siandana moang gaja kuda maduluring awan Siu penu sek Ler mining lot manung sung Jawu ahulapula sang huwus drada ring prang

102. Da ngka sang dropadi lampa ararasa awan dampa ima pajang merak Lir dewi yang yang ing réka kanaka mang'ori rima antan katampuan Mawian kesa nawang meg'ha mang'ajara keni landung 'ania n'godan rah Biaktan rah ning musu rakua karamasa niran mimponing kang glung sak

* * * * *

103. Then in her train followed Dárma Súnu, mounted on a white elephant, His attire complete; his pustáka yellow, and the case of the purest gold; Evincing that Dárma Mórtia desired to slay Sália, the chief warrior of Duriodáning: And that when he raised his pustáka as an instrument of war, there was not his equal in power or courage.

104. Next Krésna advanced in his golden chariot, and shaded by a white páyung; For it was his pleasure to bring up the rear, with the elder princes and the royal host. Not far off were his chákra and conch, and the princes of his retinue were borne on white elephants; The cry of the elephants rose loud and high, uniting with the mingled sounds which issued from all quarters.

105. Behind Krésna came Bimányu, the son of Arjúna, With his instruments of war, borne in a splendid chariot, studded with precious stones, and playing with his chákra, With him was Satiáki, seated on an elephant, and accompanied by numerous followers. Richly adorned with golden vests, the surprise and admiration of all beholders.

* * * * *

103. Lila Sri Dárma sunu miring ngakaning sira nong'ganing mata Hasti Sarwecha jong kuning pustaka winawa nira nane ratna pradipta Sing'gi yan Darma Mortia arapi rapoaning Salia Duriodaning a prang Yapoan tan pindowang Gang galaka rika ikang pustakang dadia bajra.

104. Sampun mangka tumot krisna saha rata suwarna pajang soweta warna Lila ning kari lampa pararatu pinati sang watak partiva keh Chakra moang sangka tan sa mareki sira padabra matangran kagendra Yekang nerek gurniteng ngambara siniring'a ning jera ning uning merdang'ga.

105. Wuntat Sang Kresna partatmaja sira mang'iring sang manama Bimanyu Sangkap ring sanjata marga rata mani maya n'gonda chakra pradipta Lawan Sang Satiaki moang yedu bala mahawan mata matang'ga makeh Sampurnang busana bra maka wacha kanakan de ulap ning tuming'al.

* * * * *

106. And then came on the two sons of the Pandáwa, Panchawála, and Wítia, Complete in their habiliments, and mounted in a war-chariot, ornamented with gems and flowers of gold: Their dress of linen and of silk. A delightful fragrance surrounded them. Beautiful was their páyung, for it was of the wings of the mardukára, and dazzled the eye like the glare of the sun.

107. Many and various were the characters and attributes of the different warriors hastening to their work, were they all to be described. Arrived at Kuruksétra, they soon raise a fort of very great strength; And the palace built therein being finished, they invite the wife of Pándu, Who quickly arrives, and enters the palace, accompanied by Widúra.

108. Then Widúra went back, and safely reached her home. While Déwi Náta and all the sons of Pándu, met together with mutual delight, And discoursed in turn of the hardship of her being incessantly obliged to retreat to the hills; The more she poured out her grief, the greater was the joy that followed, even to shedding tears.

* * * * *

106. Mong'geng wuntat watak Pandawa suta mang'aran Panchawala du Witia Kapoéka bro numung'geng rata mapapati ang'reng'ga ratna rawis mas Sangkap ring busana wastra chaweli linaka m'lek penuh kasturi m'rik Sarvecha jong larneng madukara mahulap katrangan suria téja.

107. Akoé ting'ku watek wira yanahchapakenang lampa agya tekéng don Da ngka prapténg kuruksetra sira t'lasi tingkah kuta tianténg durga Sampurna m'wang kadeto an rika ta sira maha pandu patni iuundang Sigra prapténg niring sang widura sira uwus manjing nging jero kadat'o'an.

108. Sampun mangka molih sang widura tanuchapen ramnya mong'gwéng swawisma Warnan Sang nata dewi pada saka mapupul mwang watek pandu putra Kapwa hemhem sili pajari laranera tansa mangungsir wanadri Mangken ramnya guwug ya wetu suka dadi luh dunawas arsa étu

* * * * *

109. Long would it take to relate all the pleasure felt by the wife of Pándu while in the interior of the palace. Then all the Pandáwa, together with Krésna, the first and the mightiest, with many other chiefs, debated Who was the fittest, from his knowledge of military positions, to be elected Séna-dípa[173], As one of undoubted ability and skill in managing an army.

110. Dérmat-mája, addressing Krésna and all the assembled chiefs, then said, "Seven only out of all the number appear to be fit to hold the chief command "Of the army, which consists of seven hundred millions of fighting men. "And first of these Soétan[174], skilled in the direction of soldiers."

* * * * *

109. Tange yan warnanan tustane mana ira sang pandu patne aning jero Sigra hem sang watek pandawa maka muka sang Kresna len partiwa kweh Rehning sena dipa ring samara ya ginonem sang 'wru'ing byu'a durga Tan manman pandengen sakti nera saha bala yogya tangwana ring-prang

110. Ling sang dermat maja jar inagingan nera sang Krésna len partiwa koeh Sapte ko'e sang ginantang wunang'a rika wawa sang watek wira wira ring prang Rapwan mang'gah subada bala gana pitungak so ini kwenya sakti 'Ngka sang so'etan pinuja wuruha ri gelara-ning sura yoding ranang'ga

(Measure Suandána.)

111. Whilst all the Pandáwa were appointing chiefs over the army, Narapati Kuráwa[175] held a council of war, For he had heard of the arrival of many enemies at Kuruk-sétra[176]. It was Aria Widúra who gave him the intelligence.

112. Then Prábu Gajawáyan[177] marched forth with all his chiefs. All the Kuráwa, too, were in company, making a noise as they moved along, like the roaring of the sea. In the neighbourhood of the hostile plain they construct a place of strength. Soon was the work completed, for the Narapati's authority extended over all the princes around.

113. Then was Aria Bísma first made a leader in battle. Raised above all others, he is seen crowned with flowers. From all quarters the crowded and restless multitude send forth shouts While the sound of gongs and conchs rend the skies.

* * * * *

(Tembang Suándana.)

111. Sedēng mang'abisekā | brātya pati sāng | watāk Pāndawa || Ulā nerepati kō|rawē swara na hēm | pirēng ng'wā kena || T'lās wuruhe dateng|ne sātru nera ring | kurūk setra sek || Tekāpni pawarā | sang Aria widurnā | datēng mānglawat ||

112. Rika prabu gajahwayan laku lowan watek partiwa Sakorawa marempaka tri gumuruh bangun sagara Akarya kuta durga meh tegalika pradéseng kuru Wawang 'uwusa pan sirang nerepati chakra warting sarat

113. Samang kana sang arya Bisma pinaka gra sénapati Katone nabiséka sampuna sekar sira busana Penuh pas'luring prawira masurak masang'garuhan Lawan Pada ibera sangka tinolup umong ring langit

* * * * *

114. Next all the princes and chiefs are regaled; The troops and followers have all they want, and are provided with conveyances. The length of one line was twelve millions one hundred thousand; While the thronged legions extended to the hills and to the woods.

115. Then altogether they set out for the field of battle, Moving towards the west, and leaving their strong hold and the king of Astína behind. Arrived on the hostile plain, loud resounded the conchs; While the warriors, animated by the sound, testify by their actions and gestures, their impatience to engage in the fight.

116. At the same time they are formed in battle array on the hostile plain. Ráwan was the name of the order which was first founded by the king of the Pandáwa: That of king of the Kúru was according to the wish of the Bramána, Who with all their relations swore they would conquer or die in the battle.

117. And now let us proceed to speak of the Pandáwa. Having come out from their strong hold and arrived at the field of battle, They advance eastward, towards the formed bodies of the Kuráwa: Both sides shout and brandish their weapons in front of each other.

* * * * *

114. Tu'e pwa niniwe watek ratu kabé pinujakrama Tekéng bala samoa yoda pada purna ring wahana Pinanding ngatarung wilenya sawelas gananya yuta Ya karanane kin penuh tekaring kawukir mwang wana

115. Samang kana pareng mijil sakari kang tegal paprangan Mangula'ana ngawuriakan kuta watek naropé Astina Tekèng pag'laran pada s'ranga nulup sungo jerah pareng Ya étuni girang nikang bala kabé pada ge'a pranga

116. Tu'en pada t'las makarya bisuwéng tegal paprangan Rawan ngarane kang tawur nereparti Pandawa morwane Kunang tawuri sang nerepéng Kuru yakari lut Brahmana Rikan sira sinapa sang du'ija sagotra mati'a laga

117. Ri mangkana nikanda tochapa tasang watek Pandawa T'las metu sakeng dalam kuta samipaneng panchaka Lumampa angawétan angarepaken g'lar korawa Pada pranga ngawuh mangunda winawanya kapwa ngadeg

* * * * *

118. Loud and confused were the mingled sounds of the armies. The stoutest and bravest seemed to have been placed in front: The only persons who did not engage in the fight were the musicians and standard-bearers. Those in front were seen prancing and nimbly moving about with their brandished weapons.

119. Quickly the contending armies mutually and fearlessly rush upon each other, Amid the roar of elephants, the neighing of steeds, the beating of drums, and the shouts of the troops, Till the whole air and sky is filled with the jarring sounds, And the earth is shaken with the tumultuous din of war.

120. Prawára Bísma then formed his troops into the resemblance of the sea and mountains: While the princes and chiefs of Astína seemed like towering and immovable rocks; The warriors in front dashing upon the enemy like the waves of the sea, And like the ocean bearing down before them stones as large as mountains.

* * * * *

118. Rikan pada gamoeanane sawateknia sawang pareng Sinangwo'a sinilan risan mokane sang prawireng rana Ritan anane ngapranga mawa meredang'ga tung'gul kunang Lawan gatine kang katon mawusana regep sanjata

119. Risampunera mangkanan dana pareng mase sehasa Umong swarane kang gaja kuda lawan gaber mwang surak Samantara ngati gurniteng langita monto'ane dikvidik Gumetere lema nikang rana saba ketugnia selur

120. Sireng Prawara Bisma sigra mag'lar ukir sagara Watek ratu anéng gaja-swa karangenya durga ruhur Pama gunong nganeng balamuka ngalun tuanut musuh Ya bano'ani kagunturang gulunganeng sela marwata

* * * * *

121. Prawára[178], Pandáwa, formed the order of _bajára tíksna lúngit_[179]. Dananjáya[180] and Werkodára[181] were there with Sikándi[182] in front; Wiráta's[183] son, Satiáki, and the son[184] of Drupáda, were in the rear, Yudestíra with all the princes being in the centre.

122. The mind of Arjúna, when he viewed the enemy, was divided between joy and sorrow, and he was moved with love and pity towards them; For they were chiefly composed of his own kindred. Some of them were the sons of his father and mother: the younger and elder brother of his father were also there; As also the Gúrus[185], Krepa, Sálea, Bísma, and Duijéng'ga.

123. Therefore quickly addressing Narária Krésna, He intreated that the battle might not take place, being afflicted at the sight of the Kuráwa. But Janardána compelled him to command that the fight should begin, It being dishonourable for men to hold back at the hour of battle.

* * * * *

121. Kuneng Prawara Pandawa g'lari bajara tiksna lungit Dananjaya lawan Werakodara tomot S'ikandi arep Wirata suta Satiaki Drupada sunu waktré wuri Yudistira lawan watek ratu kabé manganténg tenga

122. Mulat mara sang Arjuna s'mu kamanusan kas'repan Ri tingka'i mosu neran pada kadang taya wang waneh 'Ana wang anakeng yaya mwang ibu l'en uwa go paman Makadi Krepa Salea Bisma sera sang Duijeng'ga Guru

123. Ya karananeran pasabda ri nararya Kresna teher Aminta wurunga laga pana welas tumon Kurawa Kuneng sira Janardana sekang'a kon sarosa pranga 'Apan ilailang kasinatria surut yaning paprangan

* * * * *

124. Then was seen Dérma-pútra stealing away Towards Aria, Bísma, Krépa, Sálea, and Dúija. With ardour he kissed and clung to their feet; For it was customary, with Gúrus, to make obeisance to them before the battle.

125. Then spoke those who were thus made a brilliant object of adoration and respect: "Our noble child, suffer no uneasiness of mind, for you have already deprived us of life. "Child of ourselves, may you be successful in battle and soon obtain possession of the country. "And may Narapáti Krésna witness the truth of our words."

126. This done, he forthwith returned to his own side; Quickly ascending his chariot and laying hold of his weapons, While each sounded his conch; And various were the sounds of the kéndang and its accompaniments.

127. Instant the contending armies rush upon each other, mingling together in long, obstinate, and close fight. Ten elephants to a chariot, and ten horses to an elephant: These ten horses being mounted by such as fear not to die in battle, And their duty being to watch when they can cut up and exterminate the enemy.

* * * * *

124. Caton pwa sira Derma-putra mangenes rika tan tumut Mare sira sang Arja Bisma Kropa Saléa len sang Duija Masocha ri sukunera nenabi wada dé sang prabu 'Apan purihi ngang lawan Guru mapur'wa pujan arep

125. Kunang sa'uri sang kinarya pinaka gra chudamane Bapangku laki ayo'a sang saya uripku ta lap huwus Kita naku jayéng ranang'gana teher madre wi'a pura Sirang Nerepati Kresna saksi'a yadi'an merosa ringwuwus

126. Ri sampunera mangkana dan nomalia maréng paprangan Kasana krama numung'ga ing rata pada regep sanjata Sahasa manulup risangka nera so'angan nya 'umung Pareng mo'ang ngonening gubar saragi koté kotia nguwuh

127. Wawang pamuki kang bala s'ranga selur mawenta jemur Ratéka sapulu gajanya gaja tung'gul aswa dasa Kudéka sapulu pada tinika sura manténg laga Kenohnya 'ana pada raksaka yadin wisirnan winuk

* * * * *

128. The number of the chiefs who were mounted on elephants Were a thousand millions: those that accompanied them were ten and one thousand billions. Those on horseback amounted to one billion, while they that followed were ten billions. Great therefore was the battle and many were the slain.

129. Many days did the Kuráwa oppose the Pandáwa. Soon fell the brave sons of Wirátes Swára. He named Wira Sángka was slain by Duija: Dea Utra fell by the hand of Narapáti Sálea, the hero in battle.

130. Enraged at the fall of these two heroes, Soéta[186] Rushed like a mountain on ten billions of the foe. A shower of arrows at once destroyed the chariot of Náta Sálea, and carried death to many of the brave; Sálea himself and his charioteer narrowly escaping with their lives.

131. The whole army of the Koráwa hastened to his support. Amongst them were seen Bíma, Dróna, Wérahat-bála, and Jáya, Séna, armed with their clubs; Rukmaráta, too, the son of Narapáti-Sálea, supporting his father. Soon did Ari Soéta, powerful as a lion, make them feel his superiority.

* * * * *

128. Aneka tekaping wibaga yan sangséna dulur 'Anun saka sapanti len sapretana sagulmé naseh Dudung merang ngaturang'ga ara sachamo mwang ngakso-eni Ya karanane kang prangat buta magenturan sek pejah

129. Pirang dina kuneng lawas kurukula lawan pandawa Datando'a ana sura mati uka sang wirates swara Prakasa wara sangka namanera mati de sang Duija Dea utara paraptra de nerepati salea sureng rana

130. 'Ngka sweta numasa masungeti pejaneng sura kali pisan Sigran tandang 'amagunung saha bala 'ngamba teka eksoeni Yekan s'yu rata nata salea pinana mwang wira yodan pejah Tambis méh sira matia karwa kerta warma pan makarwan rata

131. 'Ngkan pinrih tinulung tekap nera watek yoda aning korawa Bisma drona lawan werahat bala jayat sena dulur ma gada Mwang sang rukmaratat maja nerepati salea nimbangi gang yaya Datando'an kawenang tekap nera sang arya so'éta singot 'tama

* * * * *

132. Dínang Rukmaráta fell and lay prostrate on the seat of his carriage. Soéta fought furiously and killed many of the Kuráwa: None would face him, but all fled in terror. Great too was their dread of Gátut-kácha, Drupáda's son, and Kirítiatmája.

133. Then Rési-Bísma rapidly advancing opposed the furious attack of all the Pendáwa, Aiming at Soéta he unceasingly shot the best of his sharp arrows; But Soéta, the commander in battle, unhurt, grew more and more courageous, and shot his arrows in turn. Bíma and Dananjáya came to his aid: their arrows poured like a shower of rain from the heavens.

134. The King of the Kuráwa advancing, no sooner came upon Bíma, in the middle of the field of battle, Than he suddenly stopped and started backwards, making a precipitate retreat, running and falling, and stopping not till he had got to a great distance. But Bísma, intent only on Bíma, maintained an incessant attack, which Bísma, standing up in his carriage, watched and repelled, While Bísma was greatly exasperated against Wiráta-tináya, for his attempt to exterminate the Kuráwa.

* * * * *

132. Dinangrukmaratan peja magulingan 'ngkane salening rata Sang so'étan lurugen pamok nira mating yoda aneng korawa Mangkin sirna luyuk datan ana mulat kapwa kukud atakut Tekwan wira gatot-kacha drupada putra mwang kiriteat-maja

133. Yekang so resi bisma sigra mapulih mok-wok watik pandawa Sang so'étan dinunong neran pamana'in diwi'estra teksna susun Datan pami'ati mangki nujuala pana sang so'éta sénapati Lut sang bima dananjaya nolunge ringh'ru lir udan ring langit

134. 'Ngkan mangsa kurunata sigra pinapag dé bima ring sayaka Kang'gek mundura ngong'gutung'guta layu mung'gwéng kado'an kawes Ang'ing bisma lineksa pinri inerup stira ngadeg ring rata Déra kroda risang wirata tanaya ndé sirnaning korawa

* * * * *

135. Then, alarmed, Wirá-ta-sáta, the leader of the Pandáwa, Shot one of his best arrows at him, the tiger of the Kuráwa. The flight of the arrow resembled that of the bird garúda; And striking the shoulder of Déwa-bráta broke it into seven pieces.

136. On this Wiráta-tanáya alighting and laying hold of a large club of iron, Would have struck Súra-bráta therewith on the side of his head; but he leaping from his chariot avoided the blow. Destroyed, however, was his carriage, and slain were the horses and charioteer: And the death of many elephants and chiefs ensued.

137. Terrified at the sight of Wiratamája, Wára-Bísma would have fled in dismay, When a voice from heaven told him that the hour for Soéta to die was come. Whereat encouraged, he talked boldly; and seizing a chariot and arrows, He aimed at the heart of Soéta with the sharp pointed weapon of fire[187].

* * * * *

135. Mangkén garjita sang wirata suta séna nata ring pandawa Mandug ring wara tomaré sanga ngaran santana wagréng kuru 'Ngkan pinri pinana sedeng niki numur lir naya rotang layang Datandua papitu danéka tumiba nyiuh baw déwa-brata

136. Da yékan tumedun wirata tanaya nambut gada bisana Paksa malo'a wahang sura brata rikan lumpat maharsi lemah S'ya tékang rata kélu sarati nika lawan kudanya repa Mwang matang'ga pirang pulu kunang ngikang matia dulur partiwa

137. Képwan sang warabisma paksa muruda res ton wiratatmaja Ngka sabdeng langita jare tekane patya so'eta de sang resi Nahan étunira ebang-ebang nanbut sing rata mwang panah Prana so'eta tikang minusti nera ring b'hramastra tiksna lungit

* * * * *

138. Quickly pierced through the heart, Sang Wiráta Sáta fell lifeless on the ground. Grieved and distressed were the Pandáwa thus to see Soéta killed on the field of battle. Not so the hundred Kuráwa, who shouted with joy when their enemy perished. While Sang Dusásána danced fantastically, delighted with the sight of the fallen Wirátamja.

* * * * *

138. Tandu'a trus dada sang wirata-suta mar murcha tiba ring lemah Yekan soka sang pandawa lara tumon sang soéta matia laga Béda mwang sata kurawa surakawur arse peja ning mosu Sang dusasana tusta mata mangegel yan ton wiratat maja

139. [Vexed and enraged at the death of his son, Mángsah Páti makes a furious and desperate attack upon the enemy. The Pandáwa, too, heedless of their lives, join and support him.]

140-144. [The followers of Bísma are routed and pursued with great slaughter. Night comes on, hostilities cease, and the contending armies respectively withdraw. Mangsáh Páti and his wife weep over the dead bodies of their three sons slain in battle, and lament their misfortune in losing them:--they shake them and endeavour to call them to life.]

145. [They then burn the dead bodies on the field of battle by the light of the moon.]

146-147. [The Pandáwa consult about the election of a fit person to take the lead in battle. Drestadriúmna is appointed. Morning arrived, the army of the Pandáwa is formed into the terror-inspiring order of kágeng-páteh, or that of the royal vulture. Situations of the different princes and chiefs detailed.]

148-151. [Suyudána causes the army of the Kuráwa to be formed into a similar order. The battle rages. The different chiefs, on either side, who engage each other.]

152-153. [The dust stirred up fills and darkens the air. The dust clearing away, the field of battle appears like a sea of blood, in which the carcases of elephants, horses, and men, with the fragments of chariots, weapons, &c. resemble so many rocks and stones.]

154-156. [Bísma beheld with delight and admiration by all the chiefs and people of Kuráwa, distinguishes himself by his prowess. He engages Arjúna, and shoots ten arrows for every one discharged by him.]

157. [Ráwan, the son of Arjúna, is killed by the Rasáksa Séreng'gi.]

158-159. [Krésna, enraged at Bísma, descends from his chariot and is going to shoot at him, when Bísma evinces his ready willingness to be killed by Krésna's chákra, and so gain admittance to his heaven.]

160. [Arjúna then descends from the chariot, and dissuades Krésna from killing Bísma.]

161. [Krésna and Arjúna both re-ascend the chariot, while Bísma remains deprived of all his strength, in consequence of the fright he had undergone.]

162-164. [Bísma makes a sign to Dérma-Wángsa, who recollecting that the former had made a surrender of his life to Arjúna and S'ri-kándi, goes to them and tells them not to be afraid, but to shoot at Bísma; whereupon S'ri-kándi discharging an arrow, hits him in the breast. The arrow not having penetrated far, Arjúna shoots, and drives it home with another arrow. Bísma falls down in the chariot but is not killed. His blood ascending to the regions above, is converted into flowers, and in that form returns to the earth.]

165. [The Kuráwa fly and are pursued by the Pandáwa.]

166-167. [Dérma-Wángsa, Arjúna, Nakúla, and Sedéwa, all go and kiss the feet of the respected Bísma; but the haughty and unbending Bíma remaining in an angry posture, makes no obeisance to the wounded Gúru. The Kuráwa chiefs, with Suyudána at their head, wish to come up and bow respectfully before Bísma; but seeing the stern Bíma they are afraid to approach.]

168. [A truce takes place between the hostile chiefs, when all shew their respect for Bísma. The Kuráwa wish to place him upon a mat, but the Pandáwa insist upon his litter consisting of arrows joined together.]

169. [The Pandáwa withdraw, and the Kuráwa alone are left in charge of Bísma. Bísma refuses to take the water offered him in a vessel by Suyudána, and calls to Arjúna, who presents him with some in a quiver.]

170-171. [Bísma defers dying till the period of the sun's greatest declination, which he reckons to be about seven months off.]

172. [Suyudána appoints Dangyang Drúna commander-in-chief, whereupon it rains blood.]

173. [The Kuráwa are too uneasy in their minds to go to rest.]

174-177. [The following morning they go to battle. Both armies are formed into the order of battle called gája, or the elephant. A furious engagement ensues, in which many are slain on either side. Arjúna destroys the order of the Kuráwa army, is shot by Bágadéta, and afterwards brought to life again by medicines administered by Krésna, when he returns to the attack, and kills Bágadéta and the elephant he is on. Many of the Kuráwa are killed by Bíma and Arjúna.]

178. [Night coming on the battle ceases. It was at the eighth pánglong (or about the twenty-fourth) of the moon. The Pandáwa regale themselves, while the Kuráwa lament the death of Bágadéta.]

179-181. [Dangyang Drúna undertakes to kill Dérma Wángsa, provided Arjúna and Bíma are out of the way. Ten Kuráwa chiefs, with Trigérta at their head, draw away Arjúna to fight against them to the south of the hills: ten more, under Dráta Púra, draw off Bíma, in a similar manner, to the north of the hills. Krésna, as usual, accompanies and watches over the safety of Arjúna.]

182-185. [Dangyang Drúna forms his men into the order chákra-búhia (or that of the circle with a well-defended entrance). Dérma Wángsa, in his perplexity what to do, calls upon Bimányu, the son of Arjúna, to attack and break the order of the enemy. Bimányu, decoyed by Suyudána, pursues him into the ring purposely formed by the enemy, when it closes, and he is cut off from all assistance and support from the Pandáwa.]

186-194. [Bimányu kills Leksána-kumára, the son of Suyudána, but is overpowered by the number of the enemy. His situation is described by many similes. He is slain.]

195-196. [Night comes on and hostilities cease.]

197-199. [The effect which the death of Abimányu produces on his wife Déwi Sundári. She adorns and prepares to burn herself with the corpse of her husband.]

200. [His other wife, Utári, being eight months gone with child, is deprived of this honour.]

201-205. [Bíma and Arjúna return victorious from their respective engagements. The latter is angry with Dérma Wángsa, for having caused the death of his son, but is appeased by Krésna, and induced to treat the old man with respect. Dérma Wángsa explains how Abimányu's death was occasioned by Jáya Dráta's preventing the Pandáwa from entering the ring of the enemy, and from his defending it so well. Arjúna vows vengeance against Jaya Dráta, and hopes that he himself may be killed and burned, if he does not on the following day send him to the other world.]

206-207. [Jáya Dráta advised of Arjúna's intentions, begs of Suyudána to be allowed to withdraw from the field of battle. Dangyang Drúna, upon this, upbraids him, and persuades him to remain and try his hand against Arjúna, promising to support him.]

208-211. [Arjúna and Krésna consult together how Jáya Dráta may be killed, and Krésna himself escape.]

212-213. [For this purpose Krésna makes Arjúna purify himself and offer up prayers to the Batára. Batára Sákra descends, and informs Arjúna that he will succeed in killing Jáya Dráta, if he only makes use of the arrow called pasopáti, and then vanishes.]

214-228. [The two wives of Abimányu talk much together of the death of their husband. Their different situations and feelings. Their separation, and meeting again under various forms, &c.; after which Sundári burns herself with the body of Abimányu.]

229-231. [With the rising sun, the Pandáwa chiefs, &c. repair to the field of battle, where they find the Kuráwa forces drawn up in the order chákra báhui, with Jáya Dráta, for safety's sake, in the centre.]

232. [The diameter of the circle formed by the enemy round Jáya Dráta, is ten times the distance at which men can be distinguished by the eye.]

233-235. [The Pandáwa observe the same order of battle, and attack the Kurawa. Both armies mingle in close and obstinate fight.]

236-237. [The Pandáwa being oppressed with thirst, Arjúna strikes an arrow into the earth; whereupon water springing forth, men and beasts drink and are refreshed.]

238-240. [Krésna makes Arjúna shoot at Suyudána, whose chariot is thereby broken to pieces, and his charioteer and horses killed, himself narrowly escaping with his life. Arjúna and his men fight furiously, and kill many of the enemy.]

241-244. [Satiaki kills Tuyasáda, Kambujána, and Sang Ambisúki.]

245-252. [Bíma kills Chitra Yúda, Jáya Suséna, Cháruchítra, Durjáya, Jáya Chítra Séna, Chítraka, Sangupu Chítra Derma, and nine more chiefs.]

253-257. [Burisráwa opposes Satíaki. They fight, and after their weapons are broken, they close and wrestle. Satíáki is on the point of being killed, when Arjúna, at the urgent request of Krésna, discharges an arrow at Burisráwa, which, breaking his arm, causes him to drop the weapon with which he was going to kill Satiáka. While Burisráwa and Arjúna are expostulating with each other on their respective conduct, Satiáki seizes the opportunity to dispatch the former. Bíma and Arjúna slay thousands of the enemy, and endeavour to get at Jáya Dráta, but are prevented by the numbers of the Kuráwa, who rush in between and try to save him.]

258-259. [Seeing Bíma and Arjúna tired and nearly exhausted, without the latter's being likely to effect the death of Jáya Dráta within the promised time, Krésna has recourse to an artifice. He discharges his chákra at the declining sun, whereupon the clouds following the course of the weapon, collect round and obscure the luminary, making it appear like night. The Kuráwa thinking the fatal day past on which Arjúna was to kill Jáya Dráta, triumphantly and insultingly call out to Arjúna to fulfil his promise of meeting death and being burned.]

260-262. [Taking advantage of the darkness, and of the Kuráwa being off their guard, Krésna, accompanied by Arjúna, wheels his chariot past the Kuráwa, till he reaches the spot where Jáya Dráta is. Arjúna then shoots at Jáya Dráta, and kills him. Jáya Dráta's head being struck off by the arrow, Krésna causes a wind to rise and carry it to Jáya Dráta's father, who was doing penance in the mountains, in order to obtain of the gods, that if his son was killed in the battle, he might live again. In his surprise at beholding the head, he inadvertently exclaimed that his son was dead, which sealed his doom. Krésna then recalled his chákra, whereupon the sun again shone forth before it went down. Thus the vow of Arjúna was fulfilled.]

263-264. [Suyudána accuses Dangyang Drúna of being the cause of Jáya Dráta's death, in not suffering him to retire from the field of battle when he wished to do so. Dangyang Drúna defends his conduct, and uses high words to Suyudána.]

265-266. [Suyudána invites Kérna to go and attack Arjúna. Kérna goes, and Suyudána with his men follow.]

267-271. [The sun sets and the battle continues. Enemies and friends are with difficulty distinguished in the dark, and many of the latter are killed by mistake.]

272-275. [Sang Dwa jáya-ráta, the adopted brother of Kérna, is killed by Bíma. Pratipéya is on the point of killing Sangá sáng'a, the son of Satiáki, but is prevented from doing so by Bíma, by whom he himself is slain, after having wounded Bíma.]

276. [The sons of the Kuráwá chiefs, exasperated at the death of Pratipéya, all fall upon Bíma, but are every one of them killed by that potent hero.]

277. [Three younger brothers of Sakuni are killed by Bíma.]

278-280. [Suyudána talks with Kérna of the carnage occasioned by Bíma and Arjúna. Kérna makes light of their power, and engages to kill them both. Krépa accuses Kérna of being a boaster, and intimates his inferiority in prowess to the two hostile heroes, whereupon they are going to fight with each other, when Suyudána interposes and prevents them.]

281-284. [Kérna attacks the Pandáwa army and causes great havoc. A consultation is held among the Pandáwa respecting the fittest person to oppose Kérna. Krésna objects to Arjúna's doing so, as being unskilled in fighting by night. Gatot Kácha, the son of Bíma, is then selected to fight against Kérna.]

(Measure Basánta lila.)

285. Wherefore Sang Gatot Kácha was directed to seek the child of the sun By Krísna and Parta, who complimented him for his superiority and power: Quickly roused at the call, he presented himself with joy, And said, "Happy am I and fortunate, thus to be distinguished by his highness.

286. "And so that I continue to serve the king according to my duty, "Let my body be severed to pieces, and death itself ensue. "However arduous the service required, I will nevertheless perform it." At these words the advanced in years were struck dumb.

287. Thus spake Sang Gatot Kácha. The heart of Kesáwa failed, So well did he know how to awaken tender feelings: Therefore did the heart of his uncle melt away, When he saw the boy daring enough to encounter the King of Awáng'ga.

288. Therefore did Krésna and Parta remain speechless. Moved with compassion, and grieved that they had thus called upon Gatot Kácha. Instantly the hero hurried to the attack; But as he was about to engage the child of the sun, he stopt short in terror.

* * * * *

(Tembang Basánta lila.)

285. Irika ta sang | gatot kacha kinon | mapag arka suta || Teka pira kresna parta maneher | muji sakti nera || Sang ngenojaran | wawang masemo garjita arsa marek || Mawachana bege'a yan ana pakon repatik nerepati ||

286. Pakena neki lana marki jeng aji yugya neka Dadaha rikalaning baya aturnya matoa pati Kunenga paniwoa rahatane gate karya temen Situtua tan paneng'ha mené sigegen sakarang

287. Na wuwusing sang gatot Kacha lumad ati Kesawa mar Tekapira yan weruh ujara ngalap maniking redaya Nguni-nguni nalaning to'a sira sang paman arda tenyu Molati rare neran lumawane sang awang'ga pati

288. Ya Karana Kresna parta mamuwue damené sakareng Asemo Kamanosan Kaluputan tekaping mangutus Kuneng iki sang gatot Kacha wawang sira sigra mase Mapagi pamok sang arka suta tando'a nomandek ares

* * * * *

289. Then all his potent arrows Issuing from his hands and from his mouth, With celerity flew to the child of the sun, who overpowered in battle, Gave way to the left, while the numerous torches of the Pandáwa army shed their glare around.

* * * * *

289. Apitui sarwa sanjata wisesa yatas stranera Mijili tangan dudung mijili chang Kema nuta ngohuh Yata rumujak sang Arka suta Kéwerana pinda jemor Muruda kiu mowa metu sulu bala pandawa bap

290-299. [Sialambána, a blind Rasáksa chief, joins the Kuráwa against Gatot Kácha, by whom he is slain; whereupon his band of blind Rasáksas take to flight. Three other blind Rasáksa chiefs, with separate bodies of blind Rasáksas, successively oppose Gatot Kacha, and share the same fate as the first.]

300-308. [Gatot Kacha fights with Kérna, flies, and is ultimately killed by him.]

309-314. [The Pandáwa, enraged at the death of Gatot Kacha, all fight with desperate fury. Arjúna alone is restrained and withheld by Krésna.]

315-321. [Dowi Arimbi, the mother of Gátot Kácha, burns herself on the funeral pile of her son.]

322-334. [The following morning Dangyang Drúna, a Pandíta on the side of the Kuráwa, causes great havoc among the Pandáwa; to save whom from the destruction which threatened them, Krésna spreads a false report of Aswatáma's death, and makes all the Pandáwa proclaim it. Dangyang Drúna hears and believes the rumour of his son's death, and faints away; upon which Drestadríumna approaches him and cuts his throat.]

335-343. [Aswatáma hearing that his father is killed, makes a furious attack upon the enemy, but perceiving Bíma is afraid and retires.]

344. [The sun is about to set and hostilities cease.]

345-349. [Description of the field of battle after the fight.]

350-351. [The King of the Kuráwa asks Kérna to engage Arjúna. Kérna agrees, but requests to have some one to attend and support him in battle. Sália is selected and appointed for the purpose.]

352-356. [Kérna and Sália, before they go to fight, go home to take leave of their families, &c. What passes on the occasion.]

357-365. [Kérna's wife relates to her husband a dream she had. The particulars of the conversation which takes place between them.]

366-393. [Dérma Wángsa, Krésna, and Arjúna, set out in the night for the purpose of finding and putting together the head and body of their respected Gúru, Dangyang Drúna, and in order to pay due respect and homage to his remains, and to entreat forgiveness on account of what had happened to him. Description of all they see and meet by the way.]

394-407. [Morning. The Pandáwa prepare for battle.]

408-413. [The Kuráwa army is formed into the position báhui-makára[188], or that of the prawn. Kérna in the mouth, Drumúka in the right fore claw, Sakuni in the left, Suyudána in the head, all the princes and chiefs in the body.]

414-415. [The Pandáwa army is put into the order called wúlan-tumánggal, or that of the new moon. Arjúna forms the right horn of the crescent, Bíma the left, Dérma Wángsa and all the princes and chiefs compose the centre.]

416-426. [Kérna and Sália, mounted in one carriage, proceed to the field of battle. The two contending armies engage. Their various success described.]

427-440. [Bíma attacks, upbraids, and pursues Suyudána. To save the latter, Dusasána fires an arrow at Bíma and hits him. Bíma turns about, and finding it was Dusasána that shot him, he seizes him by the hair, and having called out to all the princes and chiefs to bear witness to the fulfilment of his promise, he tears him in pieces and drinks his blood.]

441-449. [The battle continues to be fought with various success, sometimes one army giving way and sometimes the other.]

450-467. [Arjúna and Kérna fight against each other. The arrows shot by each at the other are immediately converted into various elements or destructive animals. Kérna shoots rain; Arjúna shoots and dispels it. Kérna shoots fire; Arjúna shoots rain and quenches it. Kérna shoots dragons; Arjúna shoots griffins which destroy them.]

468-469. [Kérna aims an arrow at the throat of Arjúna, whom Sália beckons to incline his head. Ardawilíka, a Rasáksa, in the form of a dragon, is killed by Arjúna, while in the act of shooting at him.]

470-476. [Kérna twice shoots at Arjúna, but his arrow only strikes and loosens his top-knot of hair.]

477-479. [Arjúna, invited and challenged by Kérna to shoot at him, in his turn tells him, if he wishes to save his life to surrender and pay obeisance. Kérna refusing to do this is shot in the throat by Arjúna: his head falls back into the chariot. On the death of Kérna, the child of the sun, that bright luminary grows dim with grief, and expresses his deep sorrow by groans of thunder and showers of tears, while his twinkling eyes emit incessant flashes of lightning.]

479. Disheartened at the death of Kérna, the army of the Kuráwa take to flight, And pursued by numbers, conceal themselves, out of fear, in holes and cavities, The earth shakes, and at the same time a drizzling rain descending from the clouds, washes the blood-stained corpse. The evil-portending cloud is seen, and the grumbling noise of thunder is heard.

480. Thus it was with him who died in the field of battle. Lost was the sweet expression of his countenance, Shining were his polished teeth, and uplifted and still the black of his fixed eye! No longer erect, his hair lay flat on his pale face, and frightful yet becoming was his severe wound. Such is the appearance of the brave who die in battle.

* * * * *

479. Ri lina sri Karna lara laruti Kang Korawa bala Tinut ginreg mukséng wana Kateduning lo'ah juranga res Pareng mwang lindu mega sumara riris rah sumarasah Kawanda lirning téja patrà keter wana tangisa

480. Nian lir sang mating rana pada elang mwang manesira Waja nerang seidenta sepi irengi Kang nitra lumayep Alandung sang sri tang muka lalu Kuchem syu brana luwes Datanlen sang waneng baya mapalupu'i ring rana saba

481-483. [The Kuráwa having taken to flight are pursued by the Pandáwa into Astína.]

484. [Night coming on, the Pandáwa return.]

485-489. [Suyudána comments on the misfortune of the Kuráwa in losing Kérna, and consults about the fittest person to succeed that hero.]

490-497. [Advised by Sakúni, Suyudána asks Sália to assume the chief command.]

498-500. [Sália endeavours to excuse himself; whereupon Aswatáma comes forward, and accuses him of being friendly to the Pandáwa, and on that account unwilling to become the leader of the Kuráwa.]

501-502. [Aswatáma and Sália quarrel and are going to fight, when Suyudána interferes and draws Sália away, exhorting him to take the command.]

508-511. [Sália at last consents, and then withdraws to his wife.]

512-516. [Nakúla is sent by Krésna to Sália to dissuade him from fighting. Description of Sália's palace.]

517-524. [At sight of his nephew Nakúla, Sália's resolution fails him, and he promises not to fight against the Pandáwa. He declares he will readily and willingly surrender his life to Dérma Wángsa, but to no one else, and that that worthy person has only to make use of the arrow called pustaka akalíma asáda.]

525-527. [Nakúla returns and informs Krésna and Dérma Wangsa of the success of his mission to Sália, and of all that passed on the occasion.]

528-553. [Sália relates to his wife Sátia Wáti, the result of his interview with Nakúla, and of his intention to sacrifice himself, whereupon she is grieved and sheds tears. Then follows a long and detailed description of Sátia Wáti, her person, manners, disposition, &c., and the particulars of a conversation which takes place between her and her husband, wherein they display great affection for each other; after which they yield to the power of love, and then fatigued with amorous dalliance, sink into each other's arms and fall asleep.]

554-556. [In consequence of Sátia Wáti's declared determination to accompany him, Sália steals from her when she is asleep; and having got fairly away from her, he dresses himself without, and is honoured by the Pandíta, who cast flowers upon him.]

559. [Sália reaches the field of battle.]

560. [The Pandáwa army forthwith appears, and an engagement takes place.]

561. [The army of the Pandáwa are hard pressed and obliged to fall back.]

562-564. [Bíma comes to their support and routs the enemy with great slaughter.]

565-567. [Sália deserted by his army remains alone, and as he discharges his arrows they change into thousands of Rasáksas, dragons, and evil spirits, which lighting among the enemy occasion great consternation; whereupon Krésna ordering all the people to throw down their weapons and fold their arms, the whole of the demons disappear without doing any harm.]

568-581. [The good and quiet Dérma Wángsa is reluctantly persuaded by Krésna to save the Pandáwa by killing Sália.]

582-583. [Dérma Wángsa discharges the arrow pustáka kalíma asáda: it penetrates and sticks in the breast of Sália, who immediately dies.]

584-586. [On the death of Sália the Kuráwa forces are routed and pursued in all directions by the Pandáwa, with great slaughter.]

587. Suyudána was on the point of being taken, but he bravely resisted; And quickly bounding away in great alarm, he narrowly escaped with his life. But Sakúné, trembling with fear, fell into the hands of the enemy; And weeping, implored mercy, exclaiming, "this is the reward of my kindness and hospitality."

* * * * *

587. Suyudana sireki meh kawananga takis lagawa Lumompata layu luput lepasa met urip katresan Tuwen sakuni sang sedeng ngkakatran kakesa graha Asambata nangis dine kwenargan buja sestawa

* * * * *

588. "Silence! thou vile and infamous dog! "With what restless labour hast thou sought to vex and offend me; "But now will I fail not to take my revenge; "Death shall seize thee, and great shall be thy torture."

589. Thus spake Bíma, and trampling him beneath his feet, He thereby and with his gáda reduced to atoms the body of Sakúne. The story goes, that he tore it in pieces, and sucking the blood, Scattered them among the villages of the north and of the south.

590. The enemy being totally extinguished, filled was the field of battle with mountains of the slain, While downward, in its deep bed, a sea of blood rolled with noisy rush. Suyudána having escaped, there yet remained to seize him. He is pursued and sought for, but cannot be found, having plunged in the water.

591. Abandoning their fruitless search after Suyudána, the five Pandáwa returning, homeward bend their course. Déwi Sátia Wáti is then informed that Sália had fallen in battle. Aged and creditable persons, bowing respectfully, communicate to her the dire news: Concealed amid the heaps of slain lay her lord, they alone escaped to tell the tale.

* * * * *

588. Ada nara'neng tako ngasu kanistane chadama Datan werga weh laram beka ngupaya ri banchana Kunang nea tana lepaté ki pamales kuh duké riko Ikang yama ngala pwapang idapana pwageng ning lara

589. Nahan wachana bimaséna tehera dedel sahasa Renyo sawanira sang arya Sakuni linut ring gada Biatita sinesep sesep nera senempal uwus Dinuka kena mancha desa mapado aning lor kidul

590. Uwus para-wasang musu penu ikang sawa marwata Iline rudiranya gurnita mangarnawa lo'a dalam Kunang pwa riluput Suyodana dume turung ning'gawé Tinot mara pinet datan katemo ya ine ar mowa

591. Da rarean mara pancha pandawa murutsaha ba la ri luput Suyodana Dewi Satia-wati sireki charitan winara ipati salea ring rana Wanten bretya kaparchaya tuha yata jari sira teka namya torasih Dan rakweki dumenya tan pajaha sing lara ngeduku samendeming sawa

* * * * *

592. The news quickly spreading, all the Gúrus of the country weep on every side. Trembling and distressed, Déwi Sátia Wati no longer retains the power of speech. Blind with grief and with a heart full of sorrow, she reels and cannot stand: Lost and insensible to all around, she seemed as if life itself had forsaken her.

594. Coming to herself, by the pains and assistance of her friends, she rises and adjusts her disordered dress: Then loosening and combing her hair, she is bent on repairing to the field of battle. First grasping her petrem[189], wherewith to deprive herself of life when she reaches the place where the joy of her heart is lain, She forthwith ascends her chariot, and sets out, favoured by a grateful breeze.

* * * * *

592. Sang siptan pawaranya tando'a guruwing sanagara pada gurnita nangis Dewi Satia Wati kitan wenanga sabda kumetere pangunchanging lara Leng leng tan anara teka ton tekapiran kapeting-ane anekne kang ati Tan patma kalinger datanuru'i pasambang ng'ya saha pakraking sakit

594. Antukning manulung nimitanera nang lilira mahayu lungsuring tapih Roma werata ninombara nera naminta tumotura mareng rana Patrem nitea minusti pangelanga jiwa na pupula mene lawan sineng Ngkan mangkat mahawan rata nela sama dresan kani sarantaning manah

565-602. [Accompanied by Sagandíka, she wanders over the field of battle by night in quest of his corpse, looking for it among the number of prostrate slain. Appearance of the different dead bodies and carcasses of horses, elephants, &c. described. She often thinks that she has found it: her repeated mistakes and disappointments.]

603. Wearied with fruitless search, and despairing of finding him to whom she would make her obeisance, the princess Unsheathed her dagger, resolved to stab herself, her heart being wholly devoted to her husband. But the Almighty, in pity, sent lightning to guide her to the spot where he whom she had long sought for lay, And inspired her with strength and desire to renew the search.

604. All this while the chariot[190] lay buried among flowers which had been showered down upon it. As if the growling thunder wept, tears fell in small rain, in grief for the death of the prince[191]. Such was the mark the princess followed till she came to and perceived the body of Sália, Who seemed as if looking at her with a side glance as he lay with grinning teeth.

* * * * *

603. Meh tan diria mahas narendra ma'isi ri taiyani sang enesti sambahan Paksa patrema sampunang lugasi kang ati sumaivaka nama sang pria Sih ningyang ukasan manambaya tuduh ri kaha-nanera sang pinet nira Nahan etuniran panging kina ng'ebang abanga maka sama ngosir kilat

604. Oniang warsa sekar sumarsa akuwung kuwunga menoi ring'ganing rata Genter lu'era nangis malu'a rarab'ing-rereba lara rilina sang prabu Na tang chihna tinut nareswara wadu teka lumi-ati getra sang kakung Kadia nung sung'a reh nikang mata atur lumiringa reja kesisan waja

* * * * *

605. Then quickly seizing the feet of him, now lifeless, who stole from her bed, Not knowing what she did, she patted, pressed, and kissed the body, His lips she rubbed and stained red[192]; supporting his head with her encircling arm, and wiping his face with the end of one of her garments: but long were his eyes without twinkling. To cure his wounds she constantly applied her chewed síri.

606. "Ah! ah! my princely lord, thou whom having sought I have at last found, why dost thou remain silent? "Wilt thou not speak to her who has thus sought thee out?--Who else is there to be kind to me, unfortunate? "Tired and worn out am I with searching for thee, and now with averted glance thou refusest to look at me, "Shall I weep, or what is it thou wouldst have me do?--Speak and tell me, instead of preserving this unmeaning smile.

607. "Am I to understand that thou hast no regard for me? Come, quick, speak comfort to me, and make my heart glad." With words sweeter than honey, and nicely selected, did she thus hold converse with the dead; but it was all in vain. "Was it thus to meet death," said she, "that thou didst steal from me when I was asleep, "And depart alone, without my knowledge, to the regions above? but I will follow thee.

* * * * *

605. Yekan pakrakir a mekul sukune sang peja aneliba ting'galing tilam Tanwreng da tinepak tepak nera hanan kinisapu kinsuan sinukeman Lambe lot linuga tekeng magala ginusa pira ura lama tan kedap Lawan tang kanining kapwa warasa dening sepa ira lana jinam-peaken.

606. Ah! ah! mah prabu sungsungen manemahta tuhana pani mita ning heneng Tan pangling ringana seraya siapa tika sia mowa gatingku kasian Ngel kwa met riwekas tiring paberatan katemo sahaja ewa tan wulat Wanten ta wekase tangis kwa mene kite suma'ora ayo'a ta minge

607. Nanten weruh ngo'angi tan sianti bapa meng'gepa 'ngamera raras priambada S'ojar tan pāsirat sirat madu tuhun ane saji saji tan tekeng ati Pangling'gan rilalis ta 'ngone nalis layata nilibi pamremeng ulun Nes tanyan lepasi sura laya yaya ku tumutura sadenya tan ling'en

* * * * *

608. "It is my request that thou wilt meet and carry me across the úgalágil stone[193]. "Trembling and fearful should I be without thy support and assistance, "Although thou shouldst have many Windadáris at thy command, yet still reserve a place for me before them all, "What must not be thy regard for her, who has thus wandered about after thee, and who is now going to die for thee?"

(Measure Basánta tiláka.)

609. Tedious would be the relation of all that Satía Wáti said. Oppressed with a load of grief, great as a mountain, When she beheld her lord And determined to meet death.

* * * * *

608. Ngeng pintangakwa tuan papag nga'ang ngirikang watu gala-gila namba eng'gung an Tistisnya 'ngoang ngikana tan wani lumampaha gigu ri tayenta raksaka Yadiastun jeneka 'ngamer surawadu kita sumalanga ayo'a nestura Pali tapwa welasat ring wang angomeng pati lumaku lana morang morang.

(Tembang Basanta tilaksa).

609. Tangi ujar satia watin pasambat Ikang lara marwata mangke nabuat Tuen katon tahananing iner er Matang nera dan pejahang kasang kas

* * * * *

610. Seizing her dagger with firm grasp She drew it from its sheath, glancing as it came out, Then boldly buried it in her breast. Like shining gold was the blood that issued from the wound.

611. Not dying instantly, with expiring voice Sugandíka she called and thus addressed: "My old and faithful friend and attendant, return thou to Mandaráka, "And tell the people there that I now send

612. "My last request to the good and worthy, "That they will commemorate the history of my sufferings, "In order that my story may be heard and known; "When the gentle heart will perhaps be moved with love and pity, and tears will flow at the sad tale."

614. "Oh! my mistress, when was the time that I ever quitted thee? "Into whatever state of being thou may'st pass, I will accompany thee. "Whom wilt thou have to send for water, "And who will wash my noble mistress' feet if I am not with her?"

* * * * *

610. Minges marang kedga lana minusti Uwus kasaring sarungan pradipta Inan-deman denira tan anangres Ila nikang rah kadi datu munchar

611. Datan wawang mati magentak entak Sugandika lot tinawe sinabdan Kakangku mantuk ta ri mandraraka Wara tikang wang ri ukasku mangke.

612. Paminta kasi tari sang kawendra Larang-ku dadiakena gita basa Rengine ngogang idepe gating ku Malar ngeresi twasnea mamang wa waspa

614. Aduh Tuan ring kapana, saha ngoang Tumuta mon 'jenma nejenma rakrian Siap'eka konen ta mangengswa socha Ye tan ngwenga damo'a rijeng ta masku

* * * * *

617. Thus weeping, the female attendant, affected with grief, The buried dagger drew (from the body of her mistress), And stabbing herself, instantly expired At the feet of the princess, where her body lay.

618. Forthwith delighted their happy spirits together fled. The astonished spirit of prince Sália quickly said: "Uneasy and impatient have I waited for thee among the clouds, "With many Widadáris, Panditás, and Déwas."

619. Having taken the princess in his arms, He returned with her by the road which leads to heaven. There arrived, they find it extremely beautiful. Of silk were the houses and brilliant were the precious stones.

620. Amusing herself, the princess Was delighted with the abundance of food which was there, Great being the bounty of the Almighty to mankind, And there was no difference susceptible in the ages of those that were there[194].

* * * * *

617. Nahan tangis ning pari charaka n'gres Tanemne kang katga ye tenunusnea Inandeman ngeng eksans yan paratra Sawanya tan sa ridagan sudéwi

618. Tatandua ngetma madulur wijata Naréswaratma nera gerjitang ling Alal mangauting jalada mangun res Sahap sari mwang resi déwa Sang'ga

619. Telas pinangkwa Kenerang Sudéwi Molih sera marga wimana ramya Dateng rikang swarga layep alepnya Graha sinang baswara sarwa ratna

620. Mengen mengen téki naréndra patni Mangu Kawahan suka sek binokti Wiwal neran manusa janma nguni Apan tanantuk tumulu'i dugan nwang

621-624. [The Pandáwa hear that Suyudána is in the middle of the river: delighted, they repair to the spot. Bíma calls him a dastardly coward afraid to die, and assures him that his arm will reach him, whithersoever he may betake himself, to the lowest depth of the earth or the highest region of heaven.]

625-628. [Suyudána comes out of the water and assures Bíma that he betook himself to the river, not out of fear, but for the purpose of making adoration to the gods, challenging Bíma, or any other of the Pandáwa, to combat. Krésna represents that Dérma-Wángsna is too peaceable and benevolent to fight against Suyudána; that Arjúna's forte consists in using the bow mounted in a chariot; that Nakúla and Sedéwa are too young and inexperienced, and that Bíma is therefore the fittest of all the Pandáwa to oppose Suyudána.]

629-631. [Kakrasána is informed by Naráda of the Pandáwa and Kuráwa forces being engaged, and withdraws to see the issue of the contest. Bíma and Suyudána go and make their respects to him, and each receives from him a charm.]

632-639. [Bíma and Suyudána fight. Missing each other, they strike and cut the earth, trees, and every thing about them, without being able to hurt each other. They then throw away their weapons, and closing, wrestle. So closely are they united, that they seem to be one person and to have one voice.]

640-656. [Arjúna repeatedly striking his hand on his left thigh, reminds Bíma of Suyudána's being vulnerable in that particular place only. Bíma recollecting the circumstance, seizes his club and strikes Suyudána with it in his vulnerable part. Suyudána falls, and expiring under the blow is trampled upon by Bíma, who continues to insult and triumph over him, till out of all patience with his relentless and ungenerous conduct, Kakrasána seizes his spear and is going to slay Bíma, but is withheld by Krésna, who says that Bíma is not to be blamed for such just retaliation.]

* * * * *

(Here end the Javan copies of this work; the following abstract is from a copy of the Bráta Yúdha Káwi presented to me by the Rája of Báli Balílíng in Báli.)

657-667. [Suyudána dead, and night coming on, the Pandáwa retire from the scene of battle to the city of Astína, and there feast and rejoice, on account of their victory. Satiated and fatigued with their revelling, all except Krésna go to sleep. He alone remains awake, pitying in his own mind the fate of Suyudána, and recollecting with feelings of regret the indignant and unkind manner in which he was treated by Bíma. Withdrawing by stealth, he goes to the mountains, and wanders about oppressed with grief and much agitated.]

668. [Next morning the Pandáwa missing Krésna, go in search of him, and find him among the images on the hills. Portentous signs take place. A raven croaks till blood issues from its beak, it rains blood, and all the wild animals fight with each other.]

669. [Next morning all these omens are gone.]

670-693. [News arrives from Astína of Aswatáma's having entered the city by night, and assassinated Drésta-dríumna, Sérikándi, and Pánchakumára, and of all the mántris having fled for fear. Half are inclined to give credit to the report, and half believe that it must have been the spirit of Sália. The Pandáwa return to Astína, and find the women there all in tears, and bewailing the loss of those who had been murdered during the night. Krésna consoles them, and reconciles them to what has happened.]

694-696. [Krésna makes the Pandáwa accompany him in search of Aswatáma, whom they find among the hills.]

697-699. [Bíma is going to strike Aswatáma, when the latter discharges an arrow at Bíma, and at the same time tells him he is not a fit opponent, inviting Arjúna to contend with him. Arjúna and Aswatáma fight, causing the earth and mountains to shake, &c.]

700-705. [Sáng yáng Naráda descends from above, and tells Arjúna that they will cause the destruction of the world if they continue the dreadful conflict. Sáng yáng Naráda at the same time goes up to Aswatáma, and advises him to desist from opposing the Pandáwa, as he will certainly be beaten, and recommends his surrender and resignation to the Pandáwa of his pusáka of Chúda-manik, also called Chúpu-mánik Estígéna, a charm which gives its possessor the power of getting eight different things.]

706-707. [Aswatáma refuses to give it to the Pandáwa, but is willing to part with it to the unborn grandson of Arjúna, of whom Utári was then pregnant, and whom he directed should be called Parikísit.]

708-709. [Krésna offers to bear witness to the promise; after which Aswatáma gives the pusáka to Bíma, to deliver to the grandson of Arjúna.]

710-714. [Krésna and the Pandáwa again return to Astína, and inform Arjúna's wife of what has happened. Aswatáma remains aloof from the Pandáwa, wandering about in the woods and among the mountains. Yuyútsuh, the only surviving Kuráwa chief, joins and lives with the Pandáwa. All the sons of the Pandáwa having been killed in the battle, without a single descendant being left to be made a king of Astína, excepting the yet unborn son of Abimányu, whom Utári was about to bring forth, Dérma Wangsa, the eldest of the Pandáwa (although all of them had arrived at an age when they should withdraw from the world) is appointed sovereign, until such time as he can be relieved and succeeded by the yet unborn Parikísit. Description of Dérma Wángsa; the beauty of his person; his many good qualities and accomplishments, for which and for his character for justice, wisdom, prudence, &c. he is universally beloved, and his praises celebrated in song.]

715-719. [Dérma Wángsa receives the name and title of Batára Jáya Báya. Under his wise and excellent administration the kingdom of Astína flourishes, crimes are unknown, and the inhabitants are happy. The neighbouring princes of Java, who had survived the war, all acknowledge the authority of the king of Astína, and pay homage to him.]

* * * * *

The musical instruments of the Javans are peculiar. Several of them are necessary to compose a gámelan, set, or band: of these there are several varieties. The gámelan salíndro, which is the most perfect, consists of the several instruments represented in the plate. In the gámelan pélog, the instruments are much larger and louder; the bónang or krómo, has sometimes only ten, and sometimes as many as fourteen notes. Both of these gámelans are employed as accompaniments to the wáyangs. The gámelan míring partakes of the two former, and is employed to accompany the wáyang klítik. In the gámelan múng'gang, called also kódok ng'órek, from its resembling the croaking of frogs, the bónang has fifteen notes, and the kécher resembles the triangle: neither the génder, salentam, sarón, nor chalémpung are included in this set; this gámelan is considered the most ancient, and is played at tournaments, in processions, &c. In the chára báli, or chára wángsul, the rebáb, or viol, is not used: in other respects the instruments are the same as in the salíndro, except that they are as large as in the pélog. The gámelan sekáten, which resembles the pélog, except that the instruments are still larger and louder, is restricted to the use of the sovereign, and seldom played, except on great occasions, as during eight days of the festival of Múlut. The gámelan srúnen is used in processions of state and in war, being properly the martial music of the country, in which, besides the ordinary instruments, a particular gong and trumpets are introduced.

The plate will afford a better idea of the form of these instruments than any verbal description. Most of them resemble the staccáto or harmonica, and the sound is produced by the stroke of a hammer. The gámbang káyu has wooden plates, sixteen or seventeen in number: the gámbang gángsa, of which there are several in each band, has metal plates.

In the génder the metal plates are thin, of a different form, and suspended by strings. The gong, represented (No. 9) in the plate, is usually three feet in diameter. The bónang, kénong, and ketók, are of metal, and are suspended by tightened cords to favour the vibration. The kécher, shewn in the plate, corresponds with the cymbal. The hammers with which the larger instruments are struck are either wound round at the end with cloth, or the elastic gum, in order to soften the sound. The drum is struck with the open hand and fingers only. The chalémpung is a stringed instrument, with from ten to fifteen wires, which are sounded with the finger, after the manner of the harp.

The person who leads the band performs upon the rebáb (No. 17), an instrument which, having a neck, and two strings pitched by pegs, is capable of producing perfect intonation and a variety of sounds, by shortening the strings with the pressure of the finger.

The gámbang káyu (No. 2) is a kind of staccáto, consisting of wooden bars of graduated lengths, placed across a kind of boat, which, when skilfully struck with a sort of mallet, produce pleasing tones, either grave or acute. The lowest and highest sounds of the instrument differ from each other by the interval of three octaves and a major third: the intermediate sounds of each octave from the lowest note are a second, third, fifth, and sixth. This instrument is general throughout the Archipelago, and is frequently played alone, or accompanied only by the drum and a small gong. Ráden Rána Dipúra, a native of Java, who accompanied me to England, played on this instrument several of his national melodies before an eminent composer, all of which were found to bear a strong resemblance to the oldest music of Scotland, the distinctive character of both, as well as of Indian music in general, being determined by the want of the fourth and seventh of the key, and of all the semitones[195]. By reiteration several of the sounds are artfully prolonged much beyond their noted length, which produces an irregularity of measure that might both perplex and offend the educated ear of an accompanying timeist. The rhythm of the sections (from extention and contraction) appears very imperfect.

The bónang or krómo (No. 3) the sáron (No. 5) the démong, (No. 6) and selántam (No. 7) are staccátos of metallic bars, and a sort of bells placed on a frame. They contain a regular dianotic scale, and nearly two octaves. These, however, are never played singly, but harmonize with the instrument on which the air is played.

The gongs (No. 9) are perhaps the noblest instruments of the kind that have been brought to Europe: I am assured that they are very superior to that which was admitted in the terrific scenes of the serious ballet representing the death of Captain Cooke. Suspended in frames, and struck by a mallet covered with cloth or elastic gum, they sustain the harmonious triad in a very perfect manner, and are probably the most powerful and musical of all monotonous instruments. They might be introduced with advantage in lieu of large drums. They have the advantage of being mellifluous, and capable of accompanying pathetic strains. The two gongs differ from each other by one note.

The above observations apply particularly to the gámelan pélog, which usually accompanies the recitation of the popular poems of the country. The gámbang káyu of the salíndru appears only to differ in being in another key, which is considered better suited to the occasions in which that kind of gámelan is used.

The airs which are exhibited in the plate are selected from several written down by a gentleman at Semárang, as they were played on the rebáb of the gámelan pélog, and may afford a further illustration of the nature of their music.

But it is the harmony and pleasing sound of all the instruments united, which gives the music of Java its peculiar character among Asiatics. The sounds produced on several of the instruments are peculiarly rich, and when heard at a distance have been frequently compared to those produced on the harmonic glasses. The airs, however simple and monotonous they may appear of themselves, when played on the gámbang káyu, or accompanied by the other instruments, never tire on the ear, and it is not unusual for the gámelan to play for many days and nights in succession.

The Javans do not note down or commit their music to writing; the national airs, of which I have myself counted above a hundred, are preserved by the ear alone. Those which are exhibited in the plate are among the most popular: but there are a variety which are played on occasions of rejoicing and festivity, which it would be difficult to note down; if, indeed, they can be called airs at all, the sounds produced rather resembling the chiming of bells than a melody. Thus, when a great man arrives at the native seat of government, the tune of kébu gíru, "buffaloes frisking," is played, and a variety of others of the same nature, which diffuse the same kind of joy and gaiety among all assembled, as the quick ringing of bells in the churches of England.

A complete set of the gámelan pélog costs from a thousand to six hundred dollars (£250 to £400,) but second-hand sets are frequently disposed of. The principal manufacture is at Grésik, and the gongs in particular furnish a valuable article of export. Every native chief in authority has one or more gámelans, and there are more or less perfect sets in all the populous towns of the eastern provinces.

In some of the interior, and in particular in the Súnda districts, the inhabitants still perform on a rude instrument of bámbu, called the ángklung, of which a representation is given in one of the plates. This instrument is formed of five or more tubes of bámbu, cut at the end after the manner of the barrels of an organ. These, which are of graduated lengths, from about twenty to eight inches, are placed in a frame, in such a manner as to move to a certain extent from their position, and to vibrate on the frame being shaken. A troop of from ten to fifty mountaineers, each with an ángklung, and accompanied by one or two others with a small drum played with the open hand, always perform upon this instrument on occasions of festivity in the Súnda districts. The upper part of the instrument, and the parties themselves, are generally decorated with common feathers, and the performers, in their appearance and action, are frequently as grotesque and wild as can be imagined. There is something, however, so extremely simple, and at the same time gay, in the sound produced by the rattling of these bámbu tubes, that I confess I have never heard the ángklung without pleasure. The Javans say the first music of which they have an idea was produced by the accidental admission of the air into a bámbu tube, which was left hanging on a tree, and that the ángklung was the first improvement upon this Æolian music. With regard to the music of the gámelan, "that," they say, "was procured from heaven, and we have a long story about it."

A wind instrument, of the nature of a flute, but in length some feet, with a proportionate diameter, is sometimes introduced in the gámelans; but this is not usual in Java, though, in Báli it is general.

The trawángsa is a stringed instrument, not very unlike a guitar[196], which is occasionally found in the Súnda districts: it is by no means general. I recollect to have once heard an old blind bard at Chiánjur play upon this instrument, reciting at the same time traditions respecting Pajajáran, and the ancient history of the country, which had probably never been committed to writing.

The Javans have made no progress in drawing or painting; nor are there any traces to be found of their having, at any former period of their history, attained any proficiency in this art. They are not, however, ignorant of proportions or perspective, nor are they insensible to the beauty and effect of the productions of other nations[197]. Their eye is correct and their hand steady, and if required to sketch any particular object, they produce a very fair resemblance of the original. They are imitative, and though genius in this art may not have yet appeared among them, there is reason to believe that, with due encouragement, they would not be found less ingenious than other nations in a similar stage of civilization. They have a tradition, that the art of painting was once successfully cultivated among them, and a period is even assigned to the loss of it; but the tradition does not seem entitled to much credit.

The Javans do not appear to possess any peculiar method or system in their arithmetical calculations. They generally compute without putting down the figures in writing. In this process they are slow, but generally correct. The common people, from an entire ignorance of arithmetic, or to assist their memory, sometimes use grains of pári or small stones on these occasions.

The many vast and magnificent remains of edifices found at this day in different parts of Java, bear witness to the high degree of perfection in which architecture and sculpture were at one period practised in that island. But whether the natives themselves designed these edifices and their ornaments, or only worked under the direction of ingenious artists from other countries, is a question connected with their history, which we shall at present forbear to inquire into.

The art of sculpture is entirely lost to the natives. The only modern buildings they possess, of any architectural importance, are the krátons, or palaces of the chiefs, which have already been described.

The Javans of the present day have no pretensions to astronomy as a science. The seasons are determined by reference to a system no longer perfectly understood, either in its principle or application; but from the Hindu terms still in use for the days of the week, &c. and from the similarity of many of their superstitions to those of continental India, it seems probable that if they ever possessed an astronomical system, it was derived from that quarter. Thus when an eclipse takes place, the people shout and make all the noise they can, to prevent the sun or moon from being devoured by the great nága, or dragon, which they suppose to be invading it. Some of the better informed have derived a few notions of astronomy from the Arabs; but their knowledge, in this respect, is at best extremely imperfect, and it is rather to the traces which are to be found in the ancient manuscripts, and to the remains of what they knew in former days, that it is interesting to refer.

The Javans, in common with other Mahomedans, have, for upwards of two centuries, if not for a longer period, adopted the lunar year of the Arabs; but they still retain their own era, and seldom adopt that of the Hejira. The Javan era is called that of Aji Sáka, on whose arrival in Java it is supposed to have commenced; but as sáka is a Sanscrit term, variously applied, as connected with the establishment of an era, it was probably adopted by the Javans at the period of the introduction of the era itself[198], which corresponds almost exactly with the Hindu era of Salavaharna, being seventy-four years short of the Christian era. The present is accordingly the year 1744 of the Javan era, or era of Aji Sáka. On Báli, where the same era is likewise adopted, there is a difference of about seven years, the Báli year being 1737. This difference is supposed to have arisen from the people of Báli, who are still unconverted to the Mahomedan faith, continuing to use the solar year.

The Javans usually divide the day and night each into five portions, as follows:

Division of the Day.

The period from six o'clock in the morning } till eight is called } ésuk;

That from eight to noon teng'angi;

That from noon till one o'clock bedúg;

That from one till three lingsir kúlon;

That from three till six ásar;

Division of the Night.

The period from six o'clock in the evening } till eight is called } sóré;

That from eight till eleven o'clock sirapwóng;

That from midnight till one o'clock teng'awéng'i;

That from one o'clock till three língsir-wéng'i;

That from three o'clock till daylight báng'un.

The twenty-four hours of the day and night are also occasionally divided into what is called the líma wáktu, or five periods of time, namely: from sunset until eight o'clock in the morning; from that hour till twelve; from twelve till three; from three till four; from four till sunset.

Each of these divisions is considered sacred to one of the five deities, Sri, Kála, Wísnu, Maheswára, and Bráma, supposed to preside over these divisions of the day and night in rotation, the order being changed every day, until at the commencement of every fifth day and night it returns to the same again. The division which thus becomes sacred to Sri is considered fortunate; that to Kála unfortunate; that to Wísnu neither good nor bad; that to Maheswára as still more fortunate than that to Sri; that to Bráma as peculiarly unfortunate.

The terms páhing, pon, wági, kalíwon, and mánis or légi, are applied to the days of the panchawára, or week of five days, which is common throughout the country, and by which the markets are universally regulated[199].

Besides this week of five days, which seems to be by far the most ancient as well as the most generally adopted among them, the Javans have a week of seven days as follows.

Díti, Sunday, which corresponds with the Hindu Rowi. Sóma, Monday Soma. Ang'gára, Tuesday Mangala. Búdha, Wednesday Budha. Raspáti, Thursday Vrihaspati. Súkra, Friday Sukra. Sanischára or Túmpah, Saturday Sani.

The Arabic terms are usually employed to express the months.

The weeks of seven days, considered with reference to the seasons, are termed wúku. Thirty of these are said to have been established in commemoration of the victory obtained over Wátu Gúnung[200]. These thirty have again six principal divisions, each consisting of thirty-five days, and commencing on the day when díti and páhing fall together.

Each wúku, is dedicated to its particular deity, and has its appropriate emblems in the Javan system of judicial astrology. The names of the wúku and of the deities to which each is considered sacred are as follow:

WÚKU. DÉWA OR DEITY.

1. Sínta Batara Yáma. 2. Landáp Súria. 3. Wúkir Maheswára. 4. Kurántil Puru Senkára. 5. Tálu Báyu. 6. Gúmbreg Sákra. 7. Waríga Asmára. 8. Warigájan Pancháresi. 9. Júlung Wáng'i Sámbo. 10. Sung Sang Gána Kumára. 11. Galúng'an Kamajáya. 12. Kuníng'an Indra. 13. Lángkir Kala. 14. Mandásia Bráma. 15. Julung-pújud Páncha Rásmi. 16. Paháng Tántra. 17. Kuru Welút Wísnu. 18. Maraké Gána. 19. Támbir Séwa. 20. Mánda kung'an Basúki. 21. Maktal Chandrása. 22. Woyé Kawéra. 23. Manáhil Chitra Gáta. 24. Prang-bákat Bísma. 25. Bála Dúrga. 26. Wúku Lódra. 27. Wáyang Sri. 28. Kuláwu Sewandána. 29. Dukúd Kanéka. 30. Wátu gúnung Gúru.

The twelve seasons, Mángsa, of which an account has been given, when treating of the agriculture of the Javans, are said to be determined by reference to the sun's course at the commencement of each of these divisions.

When a want of rain is experienced, it is a custom for the people of the village or town to assemble, and for a wáyang to be performed upon the story of Wátu Gúnung and Déwi Sínta. On these occasions two sticks of the dark coloured sugar-cane, two young and two old cocoa-nuts, two bundles of different coloured pári, two bundles of the flowers of the areca-nut, a piece of white cloth, sweet scented oils, two fowls and two ducks, are placed by the side of the dálang during the performance, and are afterwards considered his property.

The term wíndu is used to express a revolution or cycle of years. The Javans refer to wíndu of eight years, a wíndu of twelve years, a wíndu of twenty years, and a wíndu of thirty-two years. The wíndu of eight years, now in use, seems to have been borrowed from the Arabs; but this is more frequently considered of seven years, each year taking its name from one of the following animals, according to the day of the week on which it begins.

Mangkára, Prawn, if on a Friday, Ménda, Goat, Saturday, Klábong, Centiped, Sunday, Wichítra, Worm, Monday, Mintúna, A species of fish, Tuesday, Was, Scorpion, Wednesday. Maisába, Buffalo, Thursday.

The names given to the year comprised in the wíndu of twelve years appear to be the same with the signs of the zodiac, which, according to the manuscript discovered at Chéribon, are as follow:

1. Mésa or Mesáris, the Ram, corresponding with the Hindu Mesha, 2. M'rísa or M'resába, the Bull, Vrisha, 3. M'ritúna or M'rikaga the Butterfly, Mithuna (the pair), 4. Kalakáta or Kkala kadi, the Crab, Karkata, 5. Sing'ha or Grigréson, the Lion, Sinha, 6. Kanya or Kangerása, the Virgin, Kunya, 7. Tula or Tularási, the Balance, Tula, 8. Mri-Chika or Priwitarási, the Scorpion, Vrishchica, 9. Dánu or Wánok, the Bow, Danus, 10. Makára, the Crawfish, Makara (sea monster), 11. Kúba, the Water-jug, Kumbha, 12. Ména, the Fish, Mina[201].

The Javans, though they occasionally apply the signs of the zodiac to the twelve years of the cycle, have at present no knowledge of these signs as connected with the sun's course. In the Chéribon manuscript, which contains an explanation of each sign, they seem to have been considered only as giving names to particular years. Thus in the explanations of the first sign it is stated:

"This year, the year of Mesa-arsi, there is a mark in the horn of the ram; the deity who presides is Batára Wisnu; the rain is for five months; it is profitable to plant gágas, but birds destroy great quantities; this may be prevented by administering obat (medicine) composed of the oil of the káwang, with the flowers of the cotton plant and those of the kasúmba; rats also do great mischief in the sáwahs, which may be prevented by administering the bud of síri on a lucky day, named ang'gara, and diti on the panchawára Mánis; when administering it the following words should be repeated; 'Hong! Kíro-Wísnu-Sówa! tung'gal sih ning Buána!' 'Hail Wisnu! who art beheld clearly to be the only one in the world!'"

In the same manuscript, which appears to be entirely of an astronomical or astrological nature, the year appears to be divided into four portions, each distinguished by the peculiar position of a nága, or serpent.

The first of the three divisions includes Jista, Sáda, Kásar; the form and shape of the great nága in these seasons is first stated, and represented by a drawing, the head being during these months towards the east and tail to the west. "In these months, if any one wishes to plant rice, it must be white and yellow pári; and at this time alms must be given, consisting of white rice ornamented with the flowers called wári, and in the name of or in honour of Déwa Yáma, and on the seventh day. It will not be profitable to go to war in these months.

"If a child is born in these months he will be liable to seven sicknesses through life. Great care and caution must be taken in these months against sickness."

The second is as follows:

"In the seasons of Káru, Katíga, and Kaphat, the head of the nága is to the north and tail to the west. These times are neither good nor bad; it is proper to plant yellow pári; alms should be given of búbur ábang, red rice and water, &c. in honour or in the name of Déwa Sarasáti. Success will attend wars undertaken in these months.

"If a child is born in the month it will be unfortunate, and great care and caution must be taken regarding it; and if the child attains an advanced age, unhappiness will befal the parent.

"In the third nága, which includes the fifth, sixth, and seventh seasons, the head of the nága" it says, "is to the west, his tail to the east, his belly to the north. The offering then to be made is yellow rice, and a small ivory-handled knife ornamented with gold. The deity of these months is Batára Sarastati. In going to war in these seasons, be careful not to face the head of the nága[202]."

FOOTNOTES:

[146] One of the titles of Jaya Baya.

[147] Duijawara, Pandita of society or village priests.

Resi, Pandita who do penance in the woods.

Sewa, Pandita who fast and constantly watch.

Sugata, Pandita who communicate advice and give instruction.

[148] The supposed author of the poem.

[149]

Risanga kuda suda chandrama, } 9 7 0 1 }

making 1079 of the Javan æra. But other interpretations render it 708, which latter is the date generally attributed to the work on Java, and the period in which Jaya Baya is said to have reigned.--See History.

[150] Astina.

[151] The Indian fig or banyan.

[152] Nagasari.

[153] Bramára.

[154] Kuráchékéchup.

[155] Swamps.

[156] Paseban, assemblage of chiefs in front of the palace.

[157] The same with the kasang'a.

[158] The same with the masmas.

[159] Umbrella.

[160] A large head of bambu.

[161] The yellow bambu.

[162] Kiong, Chiong, or minor.

[163] Tegal.

[164] Another name for Krésna.

[165] Krésna.

[166] Kresna.

[167] Satiaka.

[168] Déwi Kúnti.

[169] The mother of the Pendáwa, the same with Déwi Kúnti.

[170] Vishnu.

[171] Three pair of eyes.

[172] Child of the sun.

[173] Commander-in-chief.

[174] Seta.

[175] King of the Kuráwa.

[176] The plain of Kuru.

[177] Or Elephant Carcass, another name for Astína. The Javan tradition is, that an elephant made the country, in order to obtain Ratnádi, who, thinking it impracticable, had imposed that task on him, as a condition of her favour. When it was effected, she got Gatáma to kill him, and then married him. It was called Astina, from Asti, which also signifies an elephant.

[178] The princes on the side of the Pandawa.

[179] Or that of a sharp-pointed weapon.

[180] Arjúna.

[181] Bima.

[182] Wife of Arjúna.

[183] Sita.

[184] Dresta Drijúmna.

[185] Religious instructors.

[186] Their brother, being also a son of Wirátes Swára.

[187] B'hramástra.

[188] See plate of the position of the Matàrem army.

[189] Dagger.

[190] Of Sália.

[191] Milton says:

"Sky lowered, and muttering thunder, some sad drops, "Wept at completion of the mortal sin."

And a modern poet selected the passage as an example of the exercise of a truly poetical imagination.

[192] With Síri juice.

[193] Bridge.

[194] Having since my return to England put these illustrations of the Brata Yudha in the hands of a relative (the Rev. Thomas Raffles, of Liverpool,) he has been kind enough to give the translation a poetical dress, and I regret that the limits of the present volume do not admit of their insertion in this form, in justice to the poetry of Java and the talent which he has displayed. The following example of the last stanzas may serve as a specimen of the style and spirit in which the task has been executed.

603. Wearied with fruitless search, and in despair To find the object of her pious care, Her murder'd lord, who on the battle plain Lay all neglected mid the thousands slain, She drew the dagger from its sheath of rest, Intent to plunge it in her heaving breast. Just then, as if in pity to her grief, Flash'd the red light'ning to the maid's relief, And shew'd with horrid glare the bloody way To where her husband's mangled body lay.

604. Another flash, indulgent from the skies, Points to the spot where Sália's carriage lies, And Sália's self, whom living she adored, The bleeding body of her murder'd lord. The richest flowers by heavenly influence shed Their sweetest odours o'er his honoured head, The muttering thunder mourned his early tomb, And heaven in showers bewailed the hero's doom.

605. With eager grasp the livid corpse she press'd In frantic wildness to her throbbing breast; Tried every art of love that might beguile Its sullen features to one cheerful smile; Kiss'd those dear lips so late of coral red, As if unconscious that the soul had fled; Then in her folded arms his head she rais'd, And long on those beloved features gazed. With síri-juice his pallid lips she died, And to his wounds its healing balm applied; While with the skirt of her embroidered vest, She wip'd the blood-drops from his mangled breast.

606. "Ah! then, my princely lord, whom I have found "Bleeding and mangled on this cursed ground! "Why are thy lips in sullen silence sealed "To her who sought thee on this battle field? "Wilt thou not speak--my love, my lord, my all, "Or still in vain must Sátia Wáti call! "Say, shall my copious tears in torrents flow "And thus express my agony and woe? "How shall I move thee, by what art beguile "The ghastly air of that unmeaning smile?"

607. Thus soft and tender were the words she poured, To move the pity of her murder'd lord; But ah! no sound the unconscious dead return'd, No fire of love within his bosom burn'd; While at each pause a death-like stillness stole O'er the deep anguish of the mourner's soul. "And was it thus to bow thy honour'd head "Amid the thousands of the mingled dead, "That on that fatal morning thou didst glide "With gentle footsteps from thy consort's side? "And thus to reach the glorious realms above "Without the faithful partner of thy love? "But earth has lost its fleeting charms for me, "And, happy spirit, I will follow thee!

608. "Oh! meet and bear me o'er that fatal stone, "Nor let me pass it, trembling and alone. "Though Widadáris shall obey thy call, "Yet keep for me a place above them all. "To whom but me does that first place belong, "Who sought and found thee mid this ghastly throng; "And who, unable to survive thy doom, "Thus sheds her blood and shares thy honour'd tomb?"

610. Then with a steady hand the noble maid Drew from its peaceful sheath the gleaming blade; From her fair bosom tore th' embroidered vest, And plunged it deep within her heaving breast. Rich was the blood that issued from the wound, And streamed like liquid gold upon the ground.

611. And while the ebbing tide of life remained, And thought and reason were a while sustained, She called her maiden with her feeble breath, And thus address'd her from the arms of death.

612. "Oh! when my spirit soars to realms above, "Take this my last request to those I love: "Tell them to think of Sátia Wati's fate, "And oft the story of her love relate; "Then o'er her woes the tender heart shall sigh, "And the big tear-drop roll from pity's eye."

614. "Ah my lov'd mistress," cried the faithful maid, "In every scene by thee I gladly staid. "Whate'er the state of being thou must know, "Thy faithful maiden will partake it too. "What hand but mine the cooling stream shall pour, "Or bathe the feet of her whom I adore?"

617. Strong in despair, and starting from the ground, She drew the dagger from her mistress' wound, With deadly aim she plunged it in her breast, And with her mistress sunk to endless rest.

618. Then did their happy spirits wing their way To the fair regions of eternal day. The astonish'd shade of Sália linger'd there, Borne on the pinions of the ambient air, To bid the object of his earthly love An eager welcome to the realms above.

619. Then in his arms his lovely bride he bore Up that resplendent path he trod before, Till earth and time had vanished all away Amid the splendours of eternal day: Where fields of light and silken mansions stand, The glorious work of a celestial hand.

620. Th' enraptured princess, dazzled with the sight, Gazed o'er the boundless realms of living light, With heavenly fruit the eternal groves were crowned, And joy and rich profusion smiled around. All bore the bloom of an immortal youth, All breathed alike the air of love and truth; And all adoring one eternal mind,-- The Almighty, rich in bounty to mankind.

[195] The same observation has, I believe, been made on the character of the Grecian music.

[196] See Plate.

[197] We can hardly suppose them to have been as ignorant of the art of design as their neighbours on Borneo, at the period of their being first visited by Europeans. The following story is translated from a note in Joao de Barros, 4 Decade, Book I. Chap. 17. "Vasco Lorenco-Drejo Cam and Gonzala Veltoza, were sent to the King of Borneo on a treaty of commerce. Among their presents was a piece of tapestry, representing the marriage of Henry VIII. of England and Catherine, Princess of Arragon. The king received them well, but on delivering the presents, the piece of tapestry was displayed, with the figures as large as life. This to the king was matter of alarm and suspicion, for he imagined that the figures must be enchanted, and that the Portuguese wished to introduce them under his roof to deprive him of his kingdom and his life. He ordered the tapestry to be immediately removed, and that the Portuguese should immediately depart, as he did not chuse to have any more kings beside himself in the country; and all attempts to pacify him were fruitless."--Vol. IV. Part I. p. 107.

[198] See Chapter on History.

[199] "Each Mexican month of twenty days was subdivided into four small periods of five days. At the beginning of these periods every commune kept its fair, tianquiztli."--Humboldt's Researches, Translation, vol. i. page 283.

"In respect to civil government, they divided the month into four periods of five days, and on a certain fixed day of each period their fair, or great market day, was held."--Clavigero, Translation, vol. i. page 293.

[200] See Literature, account of the Kanda.

[201] Each of the years represented in the Chéribon manuscript, and distinguished by the signs of the Zodiac, is considered sacred to one of the following deities: Wísnu, Sámbo, Indra, Suria, Místri, Barúna, Sang Místri, Wandra Kurísia, Purusiah, Tabada, Aria, or Gána.

[202] See an account of this manuscript under the head Antiquities.

* * * * *

END OF VOL. I.

LONDON:

PRINTED BY R. GILBERT, ST. JOHN'S SQUARE.

THE

HISTORY

OF

JAVA.

BY THE LATE

SIR THOMAS STAMFORD RAFFLES, F.R.S.

FORMERLY LIEUTENANT-GOVERNOR OF THAT ISLAND AND ITS DEPENDENCIES, AND PRESIDENT OF THE SOCIETY OF ARTS AND SCIENCES AT BATAVIA.

IN TWO VOLUMES.

VOL. II.

SECOND EDITION.

LONDON:

JOHN MURRAY, ALBEMARLE-STREET.

MDCCCXXX.

GILBERT AND RIVINGTON, PRINTERS,

ST. JOHN'S SQUARE, LONDON.

CONTENTS

OF

VOLUME II.

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