Chapter VIII (2)

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).