A man who is moderate and cool in his desires will do good to a country. A woman is like unto Déwi Manuhára when her desires are moderate, and men cannot look upon her without delight. A Pandíta must act up to his doctrines; although it may be in war and difficulty, still he must act up to what he professes.
This must be the conduct of the Pandíta. If attacked by a serpent, he must not be moved by it, nor even by a lion: still the same, he must be firm and unmoved, and neither the serpent nor the lion will have power to hurt him.
As the surája flower floats in the water, so does the heart exist in a pure body; but let it not be forgotten, that the root of the flower holds to the ground, and that the heart of man depends upon his conduct in life. The conduct of a Pandíta must be distinguished by mercy, charity, firmness, and prudence. His speech should be soft and gentle, and in accordance with and like unto written instruction, so as to moderate and calm the mind and desires of mankind.
It is mean and low for a rich man not to dress well: it is still more mean and low for a man of understanding to mix with bad company. So it is when a man attains a high age and knows not the Sástra; but when a man, through the whole course of his life, does not reflect upon his conduct, such a man is of no use in the world whatever.
A man should wear that sort of apparel which in the general opinion is considered proper, and should also eat that kind of food which is generally approved of. If he does this, he will appear like unto a virgin, who has just attained maturity. Let him not follow implicitly the advice and instruction he may receive, but let him weigh them, and select what is good by his own understanding.
In war, let there be no fear on any account, but let the whole thoughts be directed to the main object of urging the warriors to the attack of the foe. Moreover, let the thoughts be directed to what may be the enemy's plans: this done, let the heart feel fire.
When a man engages another in his service, there are four points on which he should satisfy himself respecting him. First, his appearance: secondly, his conduct; thirdly, his intelligence; and fourthly, his honesty.
The most valuable property is gold; and whoever has much of it, if he does not assist those who are poor and in want, is like unto a house without a fence, and he will soon be deprived of the property which he possesses.
As the moon and the stars shed their light by night, and the sun giveth light by day, so should the sayings of a wise man enlighten all around him.
Follow not the seeming wisdom of a woman's discourse; for as a man is more powerful and better informed than a woman, it is fitter that he should stand on his own ground.
A man who knows not the customs of the country (yúdya Nagára), is like a man who would bind an elephant with cords made from the tánjung flower. It is not necessary for the elephant to be enraged: with the least motion he breaks the cords asunder.
Deprive not another of the credit which is due to him, nor lower him in the opinion of the world: for the sun, when he approaches near to the moon, in depriving her of her light adds nothing to his own lustre.
There is nothing better in the world than a man who keeps his word; and there is nothing worse than a man who swerves from his word, for he is a liar. There are five witnesses, which may be seen by every one: Yang-anála or Bráma (fire), Súria (the sun), Chándra (the moon), Kála (time), Báyu (life). And they are the great witnesses always present throughout the three worlds; therefore let men recollect never to lie.
There are three things which destroy a man's character, and they are as three poisons: the first, to disgrace his family or lower himself; the second, to take delight in bringing misfortunes and unhappiness upon others; the third, to be a hypocrite, and assume the character of a Pandíta.
Several works have been recently discovered in Báli, called Agáma, Adigáma, Púrwa Digáma, Súrcha, Muscháyagáma, Kantára or Sástra Menáwa, Dewagáma, Maiswári, Tatwa, Wiya Wasáha, Dásta Kalabáya, Slákan Taragáma, Satmagáma, Gamíga Gamána. Of many of these, copies have been procured, and the Sástra Menáwa, or institutions of Menu, have been partially translated into English. This is a book of law comprised in about one hundred and sixty sections, evidently written on the spot, and with reference to the peculiar habits and dispositions of the people for whom it was framed. As a code of civil law, it is remarkable for the proof it affords of the existence of actual property in the land; and as a criminal code, for the frequency of capital punishment, and the almost total absence of all degrading or minor corporeal punishment.
Of the more modern compositions, and which may be considered as more strictly Javan, the following are the principal:
Angréné is an historical work, which commences with the reign of Sri Jáya Langkára sovereign of Médang Kamúlan, the grandfather of the celebrated Pánji, and concludes with the death of Pánji. This is the longest work to be found in the modern literature of Java, and contains the most interesting and important part of Javan history immediately antecedent to the establishment of Mahomedanism. It is composed in several measures of the Sékar Gángsal, and is usually divided into several smaller works, to each of which the name of Pánji is prefixed, as:
Pánji Mordaningkung. The history of that part of the Pánji's life, when his consort, Sékar-táji, is carried off by a deity. This is replete with relations of his adventures in war, and partly written in the Sékar Sépoh and partly in the Sékar Gángsal.
Pánji Magát-kung relates to that period when the object of Pánji's love was not yet attained.
Pánji-áng'ron ákung, containing the particulars of marriage ceremonies observed by Pánji.
Pánji priambáda, containing an account of the success and completion of Pánji's love, and ending with his marriage.
Pánji Jáya Kasúma. This is one of the names assumed by Pánji after the loss of his consort, Sékar-táji and contains an account of his expedition to Báli, where he regained her.
Pánji Chékel Wáning Páti (when young brave even to death) contains the juvenile exploits of this hero.
Pánji Norowangsa includes the period of his life, when the Princess of Dahá transforms herself into a man.
Neither the date of the principal work from which these minor compositions are taken, nor the name of the author is known; but it is supposed to have been written subsequently to the time of Majapáhit, the language being modern Javan.
Literary compositions of the higher cast are generally classed by the Javans under the head of Pepákam or Bábat, the latter of which includes all historical works and chronicles of modern date.
Srúti is a work which contains regulations for the conduct and behaviour of an inferior to a superior. It is written in the Káwi language, but Artáti measure, and has not yet been translated into Javan. It is of the same length as the Níti Sástra Kâwi.
Níti Prája is composed in the same measure as the Srúti, and contains regulations for the conduct of sovereigns and chiefs, partly in the Káwi and partly in the Javan.
Asta Prája is a work of the same nature and similarly composed.
Siwáka contains regulations for behaviour when in the presence of a superior, in the Javan language and Artáti measure.
Nagára Kráma, regulations for the good administration of the country, in the same language and measure.
Yúdha Nagára, the customs of the country, containing rules for the behaviour of persons of different ranks, in Javan and in the Artáti and Pamíjil measures.
Kamandáka contains instructions for inspiring respect and fear in the exercise of authority, partly Káwi, partly Javan, and in Artáti measure.
The seven last mentioned works are supposed to have been written about the same period. The Chándra Sangkála of the Srúti is 1340 of the Javan era. From the allusion to Islam customs which they contain it is concluded that they were all composed on the decline of Majapáhit, at a period when the influence of that religion was rapidly gaining ground. These works are in pretty general circulation, and form the basis of the institutions and regulations of the country. The translation already given of a modern version of the Níti Prája will serve to shew their nature and tendency.
Jáya Langkára is a work supposed to have been written by a chief of that name, when sovereign of Médang Kamúlan, and which contains regulations for the highest judicial proceedings.
Júgul Múda, supposed to have been written by Júgul Múda the Páteh or minister of Kandiáwan, chief of Médang Kamúlan, containing rules for the guidance of Pátehs in the judicial department of their office.
Gája Múda, a similar work, supposed to have been written by Gája Múda, the Páteh of the great Browijáya of Majapáhit.
Kápa Kápa, regulations for the guidance of the sovereign in the administration of justice.
Súria Alem, a similar work for the guidance of all persons entrusted with authority, supposed to have been composed by Aji Jímbon, the first Mahomedan sovereign of Java.
None of the above works are written in verse. They form the basis of what may be called the common law of the country. The translation of the modern version of the last of these, contained in the Appendix, will serve to convey some idea of the nature and spirit of this class of compositions.
Besides the above may be noticed another work called Jáya Langkára, a romance, supposed to have been written in the time of Susúnan Ampel, in the Javan language and modern measures. This is a moral work of considerable length, written in allegory, and pointing out the duties of all classes.
The Jówar Maníkam is of a more recent date, and a general favourite: it may convey some notion of the modern romances of the Javans.
That is true love which makes the heart uneasy!
There was a woman who shone like a gem in the world, for she was distinguished by her conduct, and her name was Jówar Maníkam.
Perfect was her form, and she was descended from a devotee, from whom she derived her purity and the rules of her conduct.
Her beauty was like that of the children of heaven (widadáris), and men saw more to admire in her, than was to be found on the plains, on the mountains, or in the seas.
Pure was her conduct, like that of a saint, and she never forgot her devotions to the deity: all evil desires were strangers to her heart.
She rose superior above the multitude from following the dictates of religion, and in no one instance was her heart disturbed by a bad thought or desire, so that her life was without reproach.
What pity it is she hath not a lover, for when a young and handsome woman obtains a husband of high character and qualifications, it is as milk mixed with sugar!
When her virtue was assailed by the Panghúlu, she was astonished, and exclaimed, "why dost thou thus take the course of a thief? why dost thou act in this manner?
"Art thou not prohibited from doing thus? forgettest thou thy Rája, and fearest thou not thy God?
"And thinkest thou not either of thyself? Greatly dost thou astonish me! Is not thy conduct bad even before the world? but being forbidden by the Almighty, art thou not afraid of his anger?"
"If such be thy desire, I can never consent to its indulgence, for I fear my God, and for all such deeds the punishment from heaven is great.
"Rather let me follow the course pointed out by the prophet: let me imitate the conduct of his child Fatima.
"How comes it, that thy inclination is so evil towards me? Verily, if my father knew of this proceeding, wouldst thou not justly receive severe punishment?"
The Panghúlu thus frustrated in his design, writes in revenge to her father, and informs him that his daughter has made a fruitless endeavour to seduce him: upon hearing which the deceived parent orders her to be put to death. Her brother is about to put this order in execution, when placing his hand before his eyes while he inflicts the blow, he stabs a small deer in lieu of his sister, who escapes into the woods.
With rapidity she fled to the woods, and then taking shelter under a wide spreading waríng'en tree, the still unripe fruits of the forest attained maturity, and seemed to offer themselves as a relief to her.
All the flowers, though the season for opening their petals was not arrived, now expanded, and shedding their fragrance, it was borne by a gentle zephyr towards her, while the bramára, attracted by the odour, swarmed around, and the fragrance of each flower seemed to vie with the other in reaching her presence.
The wild animals of the forest, the tiger, the wild ox, the rhinoceros came towards the princess, as if to watch and guard her, crouching around her, but occasioning not the least alarm.
Being in want of water, the princess put up a prayer to heaven, when close by her feet a spring of pure water issued.
On which the sarója flower soon appeared, opening its petals, and offering the shade of a páyung to the smaller water-plants floating beneath.
Her heart now became easy; and delighted at what she beheld, she proceeded to bathe and perform her devotions.
The father, on his return, learns the treachery of the Panghúlu, and having recovered his daughter, she is subsequently married to a neighbouring prince, by whom she has three children. Her trials, however, are not yet at an end, for being on a journey to visit her father, accompanied by the Pepáteh of her husband, who is appointed to guard her on the way, the Pepáteh forms a design upon her virtue. He is represented as saying:—
"If you, oh princess, submit not to my desires, it is my determination to put your eldest child to death."
The princess on hearing this became so affected as to be deprived of speech.
When the Pepáteh again repeating his threat in a solemn manner,
She replied, "what would you have me say? Whatever may be the will of God I must submit. If my child is to die, how can I prevent it?"
The Pepáteh, on hearing this, forthwith drew his sword, and slew the child, again demanding of the princess whether she would submit to his desires? To which she answered, "No!"
He again urged her: but the princess hanging down her head was silent, and in the hope that God would give her resolution, her mind became more easy.
The Pepáteh then shaking his sword before the princess, again urged her to submit, threatening that if she refused he would slay her second child.
But the princess could only reply, "you must act as you say, if it is the will of God that you should do so."
He then slew the second child, and again urging her to submit, threatened, in case of refusal, that he would slay the third child, then at her breast.
Snatching the child from her arms, he put his threat into execution, and the blood flew on the mother's face, on which she swooned and fell to the ground.
The Pepáteh having succeeded in recovering her, again attempted to effect his purpose, threatening that if she still refused he would slay her: to this the princess at first made no reply.
But placing her sole reliance on the Almighty, a thought at last struck her, and she said:
"Do as you will with me; but seeing that I am disfigured with blood, allow me first to bathe in an adjacent stream."
The Pepáteh assenting to this, she went away and effected her escape into the woods. There she remained in safety, until discovered by her husband, who in revenge put the three children of the Pepáteh to death.
It has already been shewn, that notwithstanding the intercourse which has now subsisted for upwards of four centuries, and the full establishment of the Mahomedan as the national religion of the country for upwards of three centuries, the Arabic has made but little or no inroad into the language; and it may be added, that the Arabic compositions now among them are almost exclusively confined to matters of religion. Books in the Javan language are occasionally written in the Arabic character, and then termed Pégu, but this practice is by no means general. The Kóran was first translated, or rather paraphrased, about a century ago, and rendered into Javan verse by a learned man of Pranarága, to whom the title of Kiai Pranarága was in consequence given.
Arabic books, however, are daily increasing in number. The principal works in this language, with which the Javans are at present acquainted, are the Umul brahin, by Sheik Usuf Sanusi; Mohárrar, by Iman Abu Hanífa; Ranlo Taleb, by Sheik Islam Zachariah; and Insan Kamil, by Sheik Abdul Karim Jili. The doctrines of Sheik Mulana Ishak, the father of Susúnan Gíri and one of the earliest missionaries, were those of Abu Hanífa, which are the same as the Persians are said to profess; but these doctrines have, subsequent to the time of Susúnan Gíri, been changed for those of Shafihi. There are, however, some who still adhere to the doctrines of Hánifa; but their numbers are few, and the chiefs are all followers of Shafihi. The number of Arabic tracts circulating on Java has been estimated at about two hundred.
Several institutions have been established in different parts of the island, for the instruction of youth in the Arabic language and literature. At one of these, in the district of Pranarága, there were at one time (about seventy years ago, in the time of Páku Nagára), not less than fifteen hundred scholars. This institution has since fallen into decay, and the number at present does not exceed three or four hundred. Similar institutions are established at Meláng'i, near Matárem, and at Sídamârmar, near Surabáya; and at Bántam, about eighty years ago, there existed an institution, of nearly equal extent with that of Pranarága.
Literary compositions are almost invariably written in verse. The measures employed are of three classes. First, the sekár[140] káwi, or measures in which the káwi compositions are generally written; secondly, the sekár sepoh, high or ancient measures; thirdly, the sekár gángsal, or five modern measures.
A complete stanza is termed a páda (literally a foot); a line is termed ukára; the long syllables are termed gúru, the short láku; and although rhyme is not used, the several measures of the sekár sepoh and gángsal are regulated by the terminating vowels of each line, which are fixed and determined, for each particular kind of verse[141], by the number of syllables in each line, the disposition of the long syllables, and the number of lines in each stanza or páda.
Of the sekár káwi there are twelve radical stanzas, most of which occur in the Níti Sástra and other principal Káwi compositions. They are named:
- 1. Stradúla wikrindíta.
- 2. Jága díta.
- 3. Wahírat.
- 4. Basánta tiláka.
- 5. Bágsapátra.
- 6. Srágdára.
- 7. Sekaríni.
- 8. Suwandána.
- 9. Champáka máliar.
- 10. Práwira lalítá.
- 11. Basánta líla.
- 12. Dánda.
Each of these stanzas consists of four lines, as in the following example of the Sradúla Wíkrindita, from the Níti Sástra Káwi.
A woman is like unto Déwi Manuhára when her desires are moderate, and men cannot look upon her without admiration.
A Pandíta must at all times and on all occasions act up to his doctrines:
Whether it be in war or in difficulty, still he must act up to what he says.
Examples of several other measures of the sekár káwi and of the metre will be given hereafter in the analysis of the Bráta Yudha.
Of the sekáh sepoh there are great varieties, several of which are exhibited in the following examples.
MEGÁTRUH.
(Consisting of five unequal lines, terminating with the vowel sounds u, e, u, i, and o.)
"'Ing kawibawān | kamuktēn ||
"'Aywa ta | ang'gung gumung'gūng ||
"Manawā | dinadung eblīs ||
"Kajarāh | temah wurung wōng ||
To the pleasures of power and sensual gratification:
Neither be vain nor open to flattery.
Lest caught in his toils,
You fall into the hands of the devil.
PÚCHUNG.
(Consisting of four unequal lines, terminating with the vowel sounds u, a, i, and a. )
"Barāng | rahing prajā ||
"Kawruhanā | den atitī ||
"Supayani | 'ing tindāk aywa | ng'alentār ||
Of what takes place in the country;
But observe it narrowly,
That the administration of it may not be neglected.
BALÁBAK.
(Consisting of three long lines, each terminating in é.)
"Ananungkūl | íng dría kang tan sayogyā | gawénē ||
"Lamun orā | ing nalika mangsa Kalā | Kalanē ||
For it is a passion of which the indulgence is vicious,
Except on grand and particular occasions.
KÚSWA WIRÁNGRONG WIRÁNGRONG.
(Consisting of six lines, terminating in the vowel sounds i, o, u, i, a, and a).
"Sang d'yāh parayāng | paroyōng ||
"Supe duk aniandāk | wastra ng'rangkūs ||
"Kawingkin kang wēntīs ||
"Lumarāp | kadi kilāt ||
"Murub padāng | Kang pasebān ||.
The Princess walked with faltering pace.
Laying hold of her under garment, she unconsciously drew it up,
When from the exposed calf of her leg
A flash like lightning darted,
Which illumined the Hall of Audience.
SUMEKÁR.
(Consisting of eight lines, ending in the vowel sounds i, a, a, i and e).
"Pinārigī ing selā kakarang'ān ||
"Pandan-janmā | jinemb|ang'ān ||
"Sri jata winujīl | wujīl ||
"Pisang tatār | lir tunjūng | Sikarī |
Adorned and interspersed with walls of stone,
With the pándan jánma growing in pots,
And overgrown with the s'ri játa,
And the písang tátar, having a blossom like the túnjung.
PALUGÓN.
(Consisting of eight lines, terminating with the vowel sounds a, u, o, u, o, a, u, and o).
Punggawa satryā agūng ||
Miang mantrĭ | rempeg āgolōng ||
Obah osīk | ing prajekū ||
Iku arjā | prajā katōng ||
Lawan pang'wā | saning natā ||
Tan hanā | panasten kalbū ||
Nora cheng'īl | datan leniōk ||
And the great officers of state, the nobles,
And the petty officers, are all united together,
Whatever may be the convulsions or the troubles of the kingdom,
Still will the kingdom be great and prosperous.
When the power of the sovereign
Is envied by none,
All are then united and none are disloyal.
PAU-GÁNGSA.
(Consisting of six lines, terminating in the vowel sounds a, e, e, a, a, and i).
Sapung gawā | mantri lān satriyānē ||
Yata Rajā | adil malī | andikānē ||
Eh ajunan pirāng prakárā ||
Kabechikān | m'ring kawulā ||
Pateh yunān | awōt-sarī ||
KÚSWARÍNI.
(Consisting of seven lines, terminating in the vowel sounds u, a, u, a, i, a, and e).
"Balik ng'egung'enā ||
"Turasing wōng | bangsa luhūr ||
"Yen turaīsng | bangsa andāp ||
"Nang'ing prayugī | kīnantī ||
"Den pratelā | hing panejā ||
"Ang'inggahaken | wād'yanī ||
But respect
The descendants of honourable families;
To the descendants even of low families
Also shew kind treatment;
Yet be careful how you take a liking to any one,
And raise him in the world.
MÁHISA LÁNG'IT (THE BUFFALO OF THE SKY).
(Consisting of five lines, terminating in the vowel sounds e, u, i, u, and o).
"Miang kraprawirānipūn ||
"Punjuling | sasami sāmī ||
"Pantes jenunjūng | kang lunggūh ||
"Nora lingsēm | ing piyāngkōh ||
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.)
"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 ||
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.)
"Dadalan ikū | pan dāwā ||
"Chok jurang'ā | pasti lēdōk ||
"Lumrahi g'ni āpānas ||
"Sanady'an lawē | petāk ||
"Yen winedēl | dadi wūlūng ||
"Yen mahidū | ayonānā ||
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.)
"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 ||
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.)
"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 ||
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.)
"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 ||
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.)
"Payū | tinirū sami ||
"Gawi kabatūlah ||
"Sigra mantuk prasamia ||
"Wōng Abesah | sireng prapti ||
"Ing nagarania ||
"Anulia | yasa sami ||
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.)
"Tan kadiā | Sugriwā bali ||
"Sapolāh | tingkaniā pada ||
"Moang suarā | rupa anūng'gīl ||
"Kadia n'gilu | lan wayang'gā ||
"Kewran sāng | rama ēng ati ||
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.)