Chapter VIII (5)

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

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

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

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

568-581. [The good and quiet _Dérma Wángsa_ is reluctantly persuaded by _Krésna_ to save the _Pandáwa_ by killing _Sália_.]

582-583. [_Dérma Wángsa_ discharges the arrow _pustáka kalíma asáda_: it penetrates and sticks in the breast of _Sália_, who immediately dies.]

584-586. [On the death of _Sália_ the _Kuráwa_ forces are routed and pursued in all directions by the _Pandáwa_, with great slaughter.]

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

* * * * *

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

* * * * *

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

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

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

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

* * * * *

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

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

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

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

* * * * *

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

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

* * * * *

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

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

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

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

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

* * * * *

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

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

* * * * *

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

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

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

* * * * *

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

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

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

* * * * *

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

(Measure _Basánta tiláka_.)

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

* * * * *

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

(_Tembang Basanta tilaksa_).

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

* * * * *

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

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

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

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

* * * * *

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

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

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

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

* * * * *

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

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

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

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

* * * * *

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

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

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

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

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

625-628. [_Suyudána_ comes out of the water and assures Bíma that he betook himself to the river, not out of fear, but for the purpose of making adoration to the gods, challenging _Bíma_, or any other of the _Pandáwa_, to combat. _Krésna_ represents that _Dérma-Wángsna_ is too peaceable and benevolent to fight against _Suyudána_; that _Arjúna's_ forte consists in using the bow mounted in a chariot; that _Nakúla_ and _Sedéwa_ are too young and inexperienced, and that _Bíma_ is therefore the fittest of all the _Pandáwa_ to oppose _Suyudána_.]

629-631. [_Kakrasána_ is informed by _Naráda_ of the _Pandáwa_ and _Kuráwa_ forces being engaged, and withdraws to see the issue of the contest. _Bíma_ and _Suyudána_ go and make their respects to him, and each receives from him a charm.]

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

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

* * * * *

(Here end the Javan copies of this work; the following abstract is from a copy of the _Bráta Yúdha Káwi_ presented to me by the _Rája_ of _Báli Balílíng_ in _Báli_.)

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

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

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

670-693. [News arrives from _Astína_ of _Aswatáma's_ having entered the city by night, and assassinated _Drésta-dríumna_, _Sérikándi_, and _Pánchakumára_, and of all the _mántris_ having fled for fear. Half are inclined to give credit to the report, and half believe that it must have been the spirit of _Sália_. The _Pandáwa_ return to _Astína_, and find the women there all in tears, and bewailing the loss of those who had been murdered during the night. _Krésna_ consoles them, and reconciles them to what has happened.]

694-696. [_Krésna_ makes the _Pandáwa_ accompany him in search of _Aswatáma_, whom they find among the hills.]

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

700-705. [_Sáng yáng Naráda_ descends from above, and tells _Arjúna_ that they will cause the destruction of the world if they continue the dreadful conflict. _Sáng yáng Naráda_ at the same time goes up to _Aswatáma_, and advises him to desist from opposing the _Pandáwa_, as he will certainly be beaten, and recommends his surrender and resignation to the _Pandáwa_ of his _pusáka_ of _Chúda-manik_, also called _Chúpu-mánik Estígéna_, a charm which gives its possessor the power of getting eight different things.]

706-707. [_Aswatáma_ refuses to give it to the _Pandáwa_, but is willing to part with it to the unborn grandson of _Arjúna_, of whom _Utári_ was then pregnant, and whom he directed should be called _Parikísit_.]

708-709. [_Krésna_ offers to bear witness to the promise; after which _Aswatáma_ gives the _pusáka_ to _Bíma_, to deliver to the grandson of _Arjúna_.]

710-714. [_Krésna_ and the _Pandáwa_ again return to _Astína_, and inform _Arjúna's_ wife of what has happened. _Aswatáma_ remains aloof from the _Pandáwa_, wandering about in the woods and among the mountains. _Yuyútsuh_, the only surviving _Kuráwa_ chief, joins and lives with the _Pandáwa_. All the sons of the _Pandáwa_ having been killed in the battle, without a single descendant being left to be made a king of _Astína_, excepting the yet unborn son of _Abimányu_, whom _Utári_ was about to bring forth, _Dérma Wangsa_, the eldest of the _Pandáwa_ (although all of them had arrived at an age when they should withdraw from the world) is appointed sovereign, until such time as he can be relieved and succeeded by the yet unborn _Parikísit_. Description of _Dérma Wángsa_; the beauty of his person; his many good qualities and accomplishments, for which and for his character for justice, wisdom, prudence, &c. he is universally beloved, and his praises celebrated in song.]

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

* * * * *

The musical instruments of the Javans are peculiar. Several of them are necessary to compose a _gámelan_, set, or band: of these there are several varieties. The _gámelan salíndro_, which is the most perfect, consists of the several instruments represented in the plate. In the _gámelan pélog_, the instruments are much larger and louder; the _bónang_ or _krómo_, has sometimes only ten, and sometimes as many as fourteen notes. Both of these _gámelans_ are employed as accompaniments to the _wáyangs_. The _gámelan míring_ partakes of the two former, and is employed to accompany the _wáyang klítik_. In the _gámelan múng'gang_, called also _kódok ng'órek_, from its resembling the croaking of frogs, the _bónang_ has fifteen notes, and the _kécher_ resembles the triangle: neither the _génder_, _salentam_, _sarón_, nor _chalémpung_ are included in this set; this _gámelan_ is considered the most ancient, and is played at tournaments, in processions, &c. In the _chára báli_, or _chára wángsul_, the _rebáb_, or viol, is not used: in other respects the instruments are the same as in the _salíndro_, except that they are as large as in the _pélog_. The _gámelan sekáten_, which resembles the _pélog_, except that the instruments are still larger and louder, is restricted to the use of the sovereign, and seldom played, except on great occasions, as during eight days of the festival of _Múlut_. The _gámelan srúnen_ is used in processions of state and in war, being properly the martial music of the country, in which, besides the ordinary instruments, a particular _gong_ and trumpets are introduced.

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

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

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

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

The _bónang_ or _krómo_ (No. 3) the _sáron_ (No. 5) the _démong_, (No. 6) and _selántam_ (No. 7) are _staccátos_ of metallic bars, and a sort of bells placed on a frame. They contain a regular dianotic scale, and nearly two octaves. These, however, are never played singly, but harmonize with the instrument on which the air is played.

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

The above observations apply particularly to the _gámelan pélog_, which usually accompanies the recitation of the popular poems of the country. The _gámbang káyu_ of the _salíndru_ appears only to differ in being in another key, which is considered better suited to the occasions in which that kind of _gámelan_ is used.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

_Division of the Day._

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

That from eight to noon _teng'angi_;

That from noon till one o'clock _bedúg_;

That from one till three _lingsir kúlon_;

That from three till six _ásar_;

_Division of the Night._

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

That from eight till eleven o'clock _sirapwóng_;

That from midnight till one o'clock _teng'awéng'i_;

That from one o'clock till three _língsir-wéng'i_;

That from three o'clock till daylight _báng'un_.

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

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

The terms _páhing_, _pon_, _wági_, _kalíwon_, and _mánis_ or _légi_, are applied to the days of the _panchawára_, or week of five days, which is common throughout the country, and by which the markets are universally regulated[199].

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

_Díti_, Sunday, which corresponds with the Hindu _Rowi_.
_Sóma_, Monday _Soma_.
_Ang'gára_, Tuesday _Mangala_.
_Búdha_, Wednesday _Budha_.
_Raspáti_, Thursday _Vrihaspati_.
_Súkra_, Friday _Sukra_.
_Sanischára_ or _Túmpah_, Saturday _Sani_.

The Arabic terms are usually employed to express the months.

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

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

WÚKU. DÉWA OR DEITY.

1. _Sínta_ _Batara Yáma_.
2. _Landáp_ _Súria_.
3. _Wúkir_ _Maheswára_.
4. _Kurántil_ _Puru Senkára_.
5. _Tálu_ _Báyu_.
6. _Gúmbreg_ _Sákra_.
7. _Waríga_ _Asmára_.
8. _Warigájan_ _Pancháresi_.
9. _Júlung Wáng'i_ _Sámbo_.
10. _Sung Sang_ _Gána Kumára_.
11. _Galúng'an_ _Kamajáya_.
12. _Kuníng'an_ _Indra_.
13. _Lángkir_ _Kala_.
14. _Mandásia_ _Bráma_.
15. _Julung-pújud_ _Páncha Rásmi_.
16. _Paháng_ _Tántra_.
17. _Kuru Welút_ _Wísnu_.
18. _Maraké_ _Gána_.
19. _Támbir_ _Séwa_.
20. _Mánda kung'an_ _Basúki_.
21. _Maktal_ _Chandrása_.
22. _Woyé_ _Kawéra_.
23. _Manáhil_ _Chitra Gáta_.
24. _Prang-bákat_ _Bísma_.
25. _Bála_ _Dúrga_.
26. _Wúku_ _Lódra_.
27. _Wáyang_ _Sri_.
28. _Kuláwu_ _Sewandána_.
29. _Dukúd_ _Kanéka_.
30. _Wátu gúnung_ _Gúru_.

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

When a want of rain is experienced, it is a custom for the people of the village or town to assemble, and for a _wáyang_ to be performed upon the story of _Wátu Gúnung_ and _Déwi Sínta_. On these occasions two sticks of the dark coloured sugar-cane, two young and two old cocoa-nuts, two bundles of different coloured _pári_, two bundles of the flowers of the _areca_-nut, a piece of white cloth, sweet scented oils, two fowls and two ducks, are placed by the side of the _dálang_ during the performance, and are afterwards considered his property.

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

_Mangkára_, Prawn, if on a Friday,
_Ménda_, Goat, Saturday,
_Klábong_, Centiped, Sunday,
_Wichítra_, Worm, Monday,
_Mintúna_, A species of fish, Tuesday,
_Was_, Scorpion, Wednesday.
_Maisába_, Buffalo, Thursday.

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

1. _Mésa_ or _Mesáris_, the Ram, corresponding with the Hindu
_Mesha_,
2. _M'rísa_ or _M'resába_, the Bull, _Vrisha_,
3. _M'ritúna_ or _M'rikaga_ the Butterfly, _Mithuna_ (the pair),
4. _Kalakáta_ or _Kkala kadi_, the Crab, _Karkata_,
5. _Sing'ha_ or _Grigréson_, the Lion, _Sinha_,
6. _Kanya_ or _Kangerása_, the Virgin, _Kunya_,
7. _Tula_ or _Tularási_, the Balance, _Tula_,
8. _Mri-Chika_ or _Priwitarási_, the Scorpion, _Vrishchica_,
9. _Dánu_ or _Wánok_, the Bow, _Danus_,
10. _Makára_, the Crawfish, _Makara_ (sea monster),
11. _Kúba_, the Water-jug, _Kumbha_,
12. _Ména_, the Fish, _Mina_[201].

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

"This year, the year of _Mesa-arsi_, there is a mark in the horn of the ram; the deity who presides is _Batára Wisnu_; the rain is for five months; it is profitable to plant _gágas_, but birds destroy great quantities; this may be prevented by administering _obat_ (medicine) composed of the oil of the _káwang_, with the flowers of the cotton plant and those of the _kasúmba_; rats also do great mischief in the _sáwahs_, which may be prevented by administering the _bud_ of _síri_ on a lucky day, named _ang'gara_, and _diti_ on the _panchawára Mánis_; when administering it the following words should be repeated; '_Hong! Kíro-Wísnu-Sówa! tung'gal sih ning Buána!_' 'Hail Wisnu! who art beheld clearly to be the only one in the world!'"

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

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

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

The second is as follows:

"In the seasons of _Káru_, _Katíga_, and _Kaphat_, the head of the _nága_ is to the north and tail to the west. These times are neither good nor bad; it is proper to plant yellow _pári_; alms should be given of _búbur ábang_, red rice and water, &c. in honour or in the name of _Déwa Sarasáti_. Success will attend wars undertaken in these months.

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

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

FOOTNOTES:

[146] One of the titles of _Jaya Baya_.

[147] _Duijawara_, _Pandita_ of society or village priests.

_Resi_, _Pandita_ who do penance in the woods.

_Sewa_, _Pandita_ who fast and constantly watch.

_Sugata_, _Pandita_ who communicate advice and give instruction.

[148] The supposed author of the poem.

[149]

_Risanga_ _kuda_ _suda_ _chandrama_, }
9 7 0 1 }

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

[150] _Astina._

[151] The Indian fig or _banyan_.

[152] Nagasari.

[153] _Bramára._

[154] _Kuráchékéchup._

[155] Swamps.

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

[157] The same with the _kasang'a_.

[158] The same with the _masmas_.

[159] Umbrella.

[160] A large head of _bambu_.

[161] The yellow _bambu_.

[162] _Kiong_, _Chiong_, or minor.

[163] Tegal.

[164] Another name for _Krésna_.

[165] Krésna.

[166] Kresna.

[167] _Satiaka._

[168] _Déwi Kúnti._

[169] The mother of the _Pendáwa_, the same with _Déwi Kúnti_.

[170] Vishnu.

[171] Three pair of eyes.

[172] Child of the sun.

[173] Commander-in-chief.

[174] _Seta._

[175] King of the _Kuráwa_.

[176] The plain of _Kuru_.

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

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

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

[180] _Arjúna._

[181] _Bima._

[182] Wife of _Arjúna_.

[183] _Sita._

[184] _Dresta Drijúmna._

[185] Religious instructors.

[186] Their brother, being also a son of _Wirátes Swára_.

[187] _B'hramástra._

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

[189] Dagger.

[190] Of _Sália_.

[191] Milton says:

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

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

[192] With _Síri_ juice.

[193] Bridge.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[196] See Plate.

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

[198] See Chapter on History.

[199] "Each Mexican month of twenty days was subdivided into four small periods of five days. At the beginning of these periods every commune kept its fair, _tianquiztli_."--_Humboldt's Researches_, Translation, vol. i. page 283.

"In respect to civil government, they divided the month into four periods of five days, and on a certain fixed day of each period their fair, or great market day, was held."--_Clavigero_, Translation, vol. i. page 293.

[200] See Literature, account of the _Kanda_.

[201] Each of the years represented in the Chéribon manuscript, and distinguished by the signs of the Zodiac, is considered sacred to one of the following deities: _Wísnu_, _Sámbo_, _Indra_, _Suria_, _Místri_, _Barúna_, _Sang Místri_, _Wandra Kurísia_, _Purusiah_, _Tabada_, _Aria_, or _Gána_.

[202] See an account of this manuscript under the head Antiquities.

* * * * *

END OF VOL. I.

LONDON:

PRINTED BY R. GILBERT, ST. JOHN'S SQUARE.

THE

HISTORY

OF

JAVA.

BY THE LATE

SIR THOMAS STAMFORD RAFFLES, F.R.S.

FORMERLY LIEUTENANT-GOVERNOR OF THAT ISLAND AND ITS
DEPENDENCIES, AND PRESIDENT OF THE SOCIETY OF
ARTS AND SCIENCES AT BATAVIA.

IN TWO VOLUMES.

VOL. II.

SECOND EDITION.

LONDON:

JOHN MURRAY, ALBEMARLE-STREET.

MDCCCXXX.

GILBERT AND RIVINGTON, PRINTERS,

ST. JOHN'S SQUARE, LONDON.

CONTENTS

OF

VOLUME II.

CHAPTER IX.

PAGE

Religion--Introduction of Mahomedanism--How far its Tenets and
Doctrines are observed--Priests--How provided for--How far the ancient
Institutions of the Country are superseded--Antiquities--Edifices--The
Temples of Brambánan--Bóro Bódo--Gúnung Práhu--Kedíri--Sing'a Sári,
Súku, &c.--Sculpture--Images in Stone--Casts in Metal--Inscriptions
on Stone and Copper--Coins--Ruins of the ancient Capitals at Médang
Kamúlan, Majapáhit, Pajajáran, &c.--Island of Báli--Conclusion 1

CHAPTER X.

The History of Java from the earliest Traditions till the establishment
of Mahomedanism 69

CHAPTER XI.

History of Java from the establishment of Mahomedanism (A. J. 1400)
till the arrival of the British Forces in A.D. 1811, (A. J. 1738.)
147

Line of Mahomedan Sovereigns of Java 254

Chronological Table of Events 255

Account of the several principal Divisions of Java and Madura 265