Chapter VIII (3)

"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.