Art. II.– Notes on the Kawi Language and Literature

ART. II.—Notes on the Kawi Language and Literature. By Dr. H. N. VAN DER TUUK, Boeleleng, Bali.

[Communicated by Dr. HOST, from letters received in 1878 and 1879. The author's system of transliteration has been retained.]

ONE of the chief difficulties which I have to encounter in the study of Old-Javanese manuscripts consists in the faulty spelling introduced by the Balinese transcribers. The Balinese language is not closely related to Javanese, the latter being a foreign language in Bali. Only a few words are identical in both languages, while many others have in each case a more or less different form. Thus, the Old-Jav. nyu, cocoanut, is nyuh in Balinese; hence, the Balinese transcribers, finding the word nyu in a Kawi composition, change it into nyuh. Again, being unable in their own language to distinguish between u, wu and hu, all three being pronounced u, they write promiscuously ugindra, hugin&ra, wugindra, as well as hupndra or wugin&ra, so that it is difficult to say which is really the Kawi form of this name. The metre sometimes helps us in settling the spelling of a word, but this can only be in the poems called Kekawin (from Kawi, poet), the metre of which is essentially Indian and is regulated by long and short syllables; but, clearly, not in the poems called Kidung, wherein the metre is regulated by rhyme and the number of syllables. The Kidung are of far greater interest than the Kekawin, the latter being simply imitations from the Sanskrit, containing nothing about ancient Javanese life, whereas the Kidung, on the other hand, supply us with valuable particulars in this respect. It is, therefore, a matter of regret that the manuscripts are so faulty. The existing free translations of Kawi poems into modern Javanese are of little avail to the student of Kawi. In

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their own poems, the Javanese introduce Kawi words, whether they understand them or not. Thus the word kreterta, victorious, the Kawi kretdrtha, occurs with almost the same meaning as the Sanskrit kritartha. Again, for Maithili the Javanese say Mantili; while long vowels are often represented by their corresponding short ones followed by a nasal, as nirbinta for nirbhita. Still, the Indian elements of Kawi are not so difficult to make out as the Malayan, modern Javanese having suffered too much wear and tear to afford a safe clue to Kawi, especially in words appearing in an abbreviated form in the modern language. Thus I found out, by a mere accident, that the Old-Javanese laketan is the modern word ketan (a kind of glutinous rice for cakes, etc.), on learning that, in the Malay dialect of Kutay (E. coast of Borneo), the old form laketan is still preserved. The Javanese dialects, of which we know as yet but little, will be of great assistance towards the unravelling of Kawi words. For the identification of names of animals and plants in Kawi, little help can be derived from the Javanese dictionary of Gericke and Roorda, in which, e.g., manyar, the name of the tailor-bird (tempuwa in Malay), is omitted, and ijoan, the name of a green variety of wood-dove (from ijo, green), is given under Joan, an abbreviation of ijoan. A poetical name of the same bird, manuk wills, green-bird, is not given at all. For a long time I took the word atat, the Balinese name of a small green variety of parrot of the size of a pigeon, for an original Balinese word, till I came across it in a modern Javanese poem, whence I concluded that the word must be one of the many Javanese words imported into Balinese. Complete copies of the Balinese interlineary translations of the larger Kawi poems, such as the Bhaumakawya (relating Naraka's exploits and his death by Wisnu), and the Eamayana, are very rare, inasmuch as, generally, only the more attractive passages are translated. The language of these translations is not the spoken tongue, but rather that of poetical composition, and is more or less mixed with ancient and modern Javanese. Moreover, these documents generally

explain one Kawi word by another. Most of them appear to have been made in Karahasem, an independent State, where many natives of Lombok who speak Sasak are settled. The language of Karanasem is accordingly much influenced by the Sasak. The same applies also to the Kawi-Balinese-Javanese dictionaries called Krgtabasa (Kr8ta =Sanskreta ?), which likewise appear to have been composed in that locality. About these I refer you to the " Bijdragen van het Instituut," iii. 6, 80. The study of Kawi is calculated to throw light on a number of modern Javanese words which owe their origin to a mistake. Thus, teroh (brinjal, aubergine, solanum melongena) is the Malay terun; in ancient Javanese it is tyuh, Lampong tiyuh, Batak thin or tuyun ; in • the Javanese medical books and the Malay dialect of Pelembang it is chun, in modern Balinese tuiin, ancient Bal. tehuh, the Malay r being often represented in the kindred languages by A or a vowel. I am unable to trace the origin of two Kawi words for the tailor-bird, kuyaka and hiji or hijin. They occur frequently in the Tantri, a kind of Panchatantra, but derived from other sources. The Tantri that I have read is a kidung, and not a kekawin, and accordingly more modern. It must be derived from some Indian fable book, but the greater part of the fables are unlike those in the Panchatantra or the Hitopadeca. The lion is called chandapingala, the jackal as personating the lion's first minister is called Sambada, which according to the KrStabasa means a dog. The names of jackals and dogs occurring in the poem are partly Sanskrit (Srigala, Sambuka, Swana), partly Malayan. The poem is most interesting, and its influence on the language has been great. The word tantri in Balinese has come to mean any fable or tale in which animals are the chief actors. There - are three recensions of the Tantri, one in prose and two in poetry. The prose version goes by the name of Kamandaka, and is the least complete of the three. The two poetical versions are written in a kind of Kawi which is anything but pure, as the spelling is bad, and many words, properly

distinguished in the more ancient language, are confounded one with the other. I have consulted several manuscripts of these two versions, and have found that the few tales bearing some resemblance in the plot to fables in the Pancha- tantra and Hitopadeca differ from them in almost every detail. They slightly differ from one another as to the number of tales they contain. The one (A) commences in the metre dimun, and is the more popular of the two; the other (B) is rarely met with, and begins with the metre kadiri. The latter is the more modern version of the two and contains even Portuguese words {minu, e.g., a kind of beverage, is evidently=vinho). This version has but few tales, such as that of the deer, the mouse, the crow, and the pigeon king, in common with the Hitopadeca and Pancha- tantra. But the pigeon king is here called Kan-daguna, the crow Hugata, the deer Tungapa, and the mouse Hiranyakta ; the tortoise has no special name. The hunter is called Hastakrama. In the tale of the three fishes, B. gives their names as Anangawiduta (for Anagatawidhata), Pradyumna- mati, and Yadbhawishyati. One would be inclined to read Pradyutpannamati for the second name but for the occur- rence of the synonymous terms Kusumastrantaka and Pra- dyumnantaka. The substitution of antaka for mati is explained by the Malayan word mati (dead). The Tantri contain a great many synonymous terms, and are therefore of importance to the compiler of a Kawi dictionary. Thus, we have tuhutuhu, as the name of a black bird which lays its eggs in the nest of a crow and is considered to be ominous. In the Tantri it is represented as a clever songster, and much sought after on that account. The story runs that it obtained admittance to a large tree where a great many fish-eating birds were living. Being fond of the fruits of the wunut (Balinese bunut), a kind of fig-tree, it occasioned the death of the other birds by its excrements causing such a fig-tree to grow, by which means men got access to the high tree and possessed themselves of the young birds. This tale occurs also in the Malay version of the Tuti-nameh, where the part of the tuhutuhu is given to the pirlin or champerlih, also

a black bird of a mischievous character. Of its synonymes, —parapustah, anyabhretah, parabhretah, kokila, pik, ku- woh, kuwwah,—the first four are Sanskrit. The bird called in Malay tiyuh goes in Kawi by the names syuh, bayan (in Malay a kind of parrot), and larwan (laron in Javanese is the flying white ant). I have not met with a Sanskrit name of this bird in any Kawi composition. In the Tantri, Nandaka is the name of the bull that was left in the wood, and became the friend of the lion Chandapingala; the Brahman to whom the bull belonged is called Dharmapriya. In the story of the grateful animals, the name of the ungrateful goldsmith is Wenuka in B., whereas in A. and the Kamandaka it is Suwarnan- kara. Some Sanskrit words have a signification in Kawi which can only be explained by analogy. A striking instance is supplied by the word nra, which not only means Qiwa, but also a holy man. This second signification can only be explained from the Balinese. A priest is called in Balinese Siwa with reference to the person who employs him as priest to assist at a burial or to administer the toyatirta or holy water. Hence the owner of a hermitage, the chief hermit, is called in Kawi sah nra (sah is prefixed to names of sainted persons, heroes, kings, etc.). The following passage from a Kidung proves this peculiar signification:—Syapa- puspatanira sah nra ih&grama, what is the name of the sainted man of the hermitage ? It is as yet hardly possible to say whether many Prakrit words have found their way into Kawi. Some of them might almost be taken for genuine Malayan words. So, e.g., hatal (Bharatayuddha xi. 33) could not be explained if the Malay hartal did not point to the Hindi hartal (Sanskrit haritala). The word is pronounced atal by the Javanese, which gives it quite a Malayan appearance. The form akus (metri causa for ankus, Hindi ankuc) has passed into Malay; and as a Kawi word is found in the Buddhistic poem Sutasoma, xxii. 8. Bhindiw&la, a dart, is also the Prakrit form for bhindipala. The poetic compositions on the island of Lombok are, with.

the exception of a few in Sasak, modern Javanese. But the Balinese copyists at Karanasem change the spelling according to the Kawi, and thus write wadwa for the Javanese wadya (Sanskrit badwa). This wadya or wadwa often has the sense of " servant, dependent;" hence, Nandicwara is called the wadwa of Qiwa (in the Kawi uttarakanda passim). In Lampong it is baduwa, and means " slave." In the Balinese version he is called N. makala (i.e. mahakala), the name of another servant of Qiwa. My manuscript of the Brahmanda-purana introduces at the commencement a King DacamakrSsna or Dicimakresna, and the two bhagawans Romaharsana and Nemiseya, who are interrogated by him about the Manubancakrama. To give you an idea of what the Sanskrit portion is like, I quote some clokas from the beginning : Dacamakresnawakrante rajatjakumamatwasi prasamimem pi dharmena bhumibhuh bhumipratamem. Amarendrabhawanawat. (The remainder wanting.) Dikshitantem jatacastrem, satwabjabjagattamahabuddhih sutah poranikottamem. RSsayah sansiptanancha, satyabjattaparayanah, rejawah santanasobya, dantasantah wisatparah. Poramanihakottamah, hagranigekaremuddhah, ragadwesawiwarjitah, manamanamasamatajnana. Romaharsanemyaiichaka, romaharsanamityatat, kramanem mapradartena, notranancha cubha§ikah. Then follows a tedious account of the creation. Brahma created four Rgsis, viz. Enanda the eldest, Sanaka, Sanat- kumara,—the fourth is not mentioned. They were Brahma's equals in power and might. They would not marry. This distressed Brahma. Then he created the gods. Afterwards the nine divine Resis were born, viz. Marichi, Bregu, Ansira, Pulastya, Pulaka, Kretu, Daksa, Atri, Wasistha. Brahma creates Qiwa, whose names are Bhawa, lea, Bhima, Ugra Mahadewa, and Sarwa. The Kretabasa of the Brahmanda- purana goes here by several names, viz. Dasanama (which is also Javanese), Krakah (Karaka), and Ekalawya. The last

name puzzles me. One MS. of the Krakah makes mention of a certain Chandragopita, who was perhaps the author of the work. Unfortunately, the dictionaries are not only very faulty, but they also only explain the Indian portion of the language, entirely neglecting the more difficult Malayan element. From this fact we may infer that these works were composed at a time when the ancient Javanese was still a living tongue, and the authors did not think it necessary to explain their own language. Thus, the words icudhi, banadhi, saradhi, tuna, tunira, nicanga (MS. nimanka), apasanga (MS. warasanga), are explained by tankula (quiver), whereas the real ancient Javanese word undi is left unexplained.1 This state of things considerably increases the difficulties of translating an ancient Javanese text, especially in the case of anra% Xeyo/Aeva. An example may suffice. The word linehis (Wiwaha,. ii. 2) does not enable you to guess at its meaning from the context. It must be a passive of aiilenis,—a word I have never met with. One of the Balinese translators renders it by " thin," " leafless," the other by "fat," "leafy." As a parasite (katirah) is spoken of which is winding itself around the tree (liran), the meaning " thin" seems the more probable one. Of the eighteen parwas of the Mahabharata, only eight have been saved from the general ruin, viz. Adiparwa, Viratap., Udyogap., Bhismap., and the last four parwas. The best-preserved parwa is the Adiparwa, but this also abounds in blunders, and especially the proper names have been so altered from their Indian originals as to be hardly recognizable. Thus Presata, the father of Dru- pada, is called Prstsada. Agniweea has become Niwecja, and Ghretachi Ghretawira. In the passage describing Drona's visit to the- P&ndawas and Kaurawas, the word undi (" a quiver" in ancient Javanese) takes the place of the Sanskrit uitd. The Udyogaparwa appears to be the most corrupted of all, and is besides full of lacunae. Of the last

1 In the KrStabasa I find raktaf&U explained by ketamban (red glutinous rice), kresnac&li by ketan MrSn (black glutinous rice), and maMf&li by kU wuduk (glutinous rice tasting like fat)..

four parwas there exists a poetical version, or Kekawin, called Kresnantaka. There is also a Kekawin of the Brah- mandapurana, much shorter than the prose version, and an Angastyaparwa. The Balinese call parwa every prose composition which has been worked up into a poetical form. Their wayan, or puppet-show, appears to be based on the parwas. The genuine Balinese wayan is called wayah parwa (or, according to the Balinese pronunciation, prawa), as contradistinguished from wayah sasak, which originally came from Lombok, and in which the puppets invariably have longer necks, thus resembling those of the modern Javanese. The wayah sasak is principally performed in Karanasem, where many inhabitants of Lombok are settled, and is Mohammadan, deriving its heroes on Bali and Lombok from " the Amir," which is the general name of Hamzah, Muham- mad's uncle. The Javanese poem containing his exploits is called Menak; it has been edited by Winter. I have read " The Amir," and do not find that it differs materially from the Javanese Menak. The Balinese wayan. is pagan, and its heroes are those of the Arjunawiwaha, the Ramayana, the Bharatayuddha, the Bhaumakawya, in fact of all the poems in which Indian heroes are the chief actors. The Balinese dalah, or performer of a puppet-show, takes his subject from the poems direct, and not, as the Javanese does, from a pahem or prose summary. It is the wayan that keeps up the Indian religion. Even little boys are acquainted with the names of Qiwa, Indra, and other deities and heroes. In ordinary life the Indian gods are scarcely known, and Qiwa's names, as Mahadewa, Icwara, etc., are taken for those of different deities. The eight cardinal points are each occupied by a god bearing one of the surnames of Qiwa, Qiwa himself being the ninth, and placed in the middle. It is probable that the Batak word siwah, for ' nine,' in the Dairi dialect, is to be derived from the worship of Qiwa and his eight representa- tives. Some popular superstitions in Bali are just the same as amongst the Bataks. According to the latter, an earthquake is caused by Nagapadoha, a god upholding the earth on his arms and horns. To put an end to the earthquake, the

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Batak calls out "Sohul!" (the handle of a chisel), to make' Nagapadoha believe that Batara Guru is speaking to him and ordering him to be quiet. When the earth was being created, Batara Guru ordered a he-goat (Nagapadoha is considered to have horns) to uphold the raft that was floating on the surface of the water. In putting to rights the raft on which earth and animals were to be placed, Batara Guru broke the handle of his chisel. By calling out " Sohul!" the Batak wants Nagapadoha to know that he must be quiet, in order to enable the god to restore the handle. The Balinese have a similar belief. If a woman, for the first time pregnant, lies down on the earth during an earthquake, she hears the people below say " Kanchin ! Paet!" which means both "fasten it with a kanchin" (a bar), and " work it with a chisel." To stop the earthquake, the Balinese call out "Idup! Idup!" (still alive), as the deity below that shakes the earth thinks that all men have perished. The people of Western Java, the Sundanese, call out " Ochon! " (we still live), in order to make the giant Lindu (Jav. ' earthquake') believe that people are still alive. That the Bataks were civilized by the ancient Javanese is proved by many Sanskrit words having retained in Batak the corrupted Javanese form. Thus, irisana, in Batak, is the ancient Javanese grsanya and resanya (North-east, Sanskrit aicani). (For the pronunciation of ai as er, see above.) Another example is si-tononi (spelling). The Balinese use the word matenenan in speaking of a closed syllable, as e.g. the word anak is mateMnan ha, closed by k, which properly means, " it has to the right a i " (Jav. tengn, ' right'). The Batak tonon is the Javanese tSnen (right), as the Jav. vowel e is represented by o in the Toba and Mandailin dialects of Batak (as bodil, 'gun,' is=Jav. bedil). The first day of the week of seven days is raditya in ancient Javanese, whereas the sun is aditya. Raditya (dies solis) stands for arditya,—a transposi- tion very frequent in the case of r and I. The Batak has adintiya and artiya instead of raditya. In Gericke's Jav. Diet, raditya is explained by ra (a prefix to the name of revered objects) and aditya. But this cannot be correct, as

the sun is always called dditya, and the first day of the week raditya (see the ancient Javanese Inscriptions published by the late A. B. Cohen Stuart). In modern Javanese poetry both words are used promiscuously. It is often difficult to trace the original of many of the Indian words which have passed into Balinese. The segle marmelos is called bila, no doubt from vilva. Rumphius, the celebrated botanist, gives bilak as the Malay name of that fruit, which is unknown in genuine Malay. The Mirabilis Jalapa is called noja, which looks like Sanskrit. There are two varieties, one having a yellow flower, and the other a purple one. The flower is only open early in the morning, and at sunset. Hence, the Malay name (at Batavia) kimbah pagi sore, (morning and evening flower). Another name in Balinese is sanja-sanja (a corruption of sandhya). The mango has a Sanskrit name only in Batavian Malay, viz. manga, an abbreviation of kamanga. On Bali it is called, as in Kawi, poh (cf. Malay pauh »j^), and in Javanese pelem, which is an abbreviation of the Menankabau Malay marapalam or the Malaka Malay ampelam. Marapalam is Tamil. The rose apple is nambu in Balinese, jambu in Javanese, as in Sanskrit. In the Kawi copper-plate inscriptions, as well as in some Kawi works found in this island, Majapahit is written Majhapahit. Maj'a is the Javanese name of the vilva; hence the Kawi name of the place Vilvatikta (tikta= pahit, bitter). The ancient character for jha being confounded by the Balinese with the diphthong ai and pronounced er, gave rise to another name of Majapahit, viz. Maerpahit. Among the most important Kidung are the Malat, the Wasen, and the Wahbah Wideya. These three somewhat voluminous compositions relate the exploits of the Prince of Koripan, after the loss of his beloved one, the Princess of Daha. The plot is nearly the same in each, but the names of the actors differ altogether. In the Malat, the name of the hero is Nusapati: he is the eldest son of the King of Koripan (Kahu- ripan or Kagesanan), and when the Princess Anrankesari is lost he roves about under the assumed name Amalatracmi

(one who conquers beauties), which the Balinese have shortened into Malat. In the Wasen the hero is called Wiranaintami, and after the loss of the Princess of Daha, whose name is Amahiraras, he takes the name of Tamasah. When living at the court of Daha, in the vicinity of his beloved one, who was not aware of his being the prince of Eoripan, he went by the name of Kuda, or Hundakan Wasen Sari, or Wasen Sari (kuda and hundakan mean horse, whereas sari and sekar mean both flower and princess). In the Wanban Wideya the hero is called Makaradhwaja, and after the loss of War&strasari, princess of Daha, he takes the name Wanban Wideya. The word Pahji, so popular in Malay, Javanese and Balinese literature, is not the name of a hero, but simply means a surname or adopted name. The name Apanjyamalatragmi means "having the surname of the conqueror of beauties." The meaning of Anrankesari is " who defies the flowers (by her beauty)," it has been corrupted by the Balinese into Rankesari, which has no meaning at all. As to the plot of these three poems, and the heroes and heroines occurring in them, they resemble more the Malay tales belonging to the Pafiji cyclus than the modern Javanese poems treating of the same subject. The brother of Anrankesari is Wiranantaja ; he afterwards takes the name of Malayu on being adopted by the King of a foreign nation called Tanjawa {i.e. non-Javanese). We may surmise from this that the modern name of the Malays, Malayu (which in Javanese means "to run away"), is quite of a late date, as it does not occur in the Kawi poems. Probably Tanjawa was the name which the ancient Javanese gave to the Malays. For the sake of the rhyme Tanjawa is occasionally written Tanjawi. But the name Jawi given to the language is properly an Arabic word, and has nothing to do with Tanjawi. The Arabs called all the nations of the Indian Archipelago Jawi, and the Malay authors of religious works applied the word to their own language. For an attempt to explain the origin of the name Malayu see my Bataksch leesboek, vol. iv. p. 43.

The story of Wiranantaja, and his bearing the name Malayu, occurs also in the Malay novel Hahtuwah. Having no access here to Javanese MSS. treating of the same subject, I am unable to state whether it is found also in modern Javanese poems. I am inclined to think, however, that the origin of the Malay novels is traceable to the ancient Javanese poems, and not to the modern ones. I infer this from the form of some proper names which bear a greater resemblance to the Kawi form than to the Javanese. Thus, e.g. Bhagadatta, one of the heroes of the Bharatayuddha, is called in Malay Bahgadata, and not, as in Javanese, Bagadenta. The, Kawi wadwa is in Malay JJJ, and not wadya, as in Javanese. The above-mentioned word hundakan (Balinese undakan, only said of the horses of men of high caste) is found also in Malay MSS. (see my " Short Account of the Malay MSS. of the Royal Asiatic Society," No. 7, ii). We find the name Malatrasmi applied to a woman in a Malay tale (1.1., No. 25). Lastly, we meet with the humblest form of the first personal pronoun in Balinese, tityah, in a Malay tale in the form of titiyan (1.1., No. 46). As far as I know, the word is never used as a pronoun in ancient Javanese; but titiyan (" man," " your man") often occurs as a pronoun of the first person, principally in the Malay spoken on Java (=tuwanpuna orah). In Kawi poems titiyan means servant, dependent. It is not probable, however, that the Malay word was borrowed directly from the Balinese. I would leave the question open for the present. Another popular poem is the BMm&swarga, which relates how Bhima went to the Kawah (hell) in order to liberate Pandu, whose corpse had been forcibly carried away by the dependents of Yama, called in the poem Chikarabala, a corruption of Kihkarabala. The Javanese call him Chinka- rabala, and make him one of O^iwa's dependents. Nawaruchi is a poem relating the treacherous conduct of Drona towards the generous but weak-minded Bhima, who is sent abroad to fetch the toya pawitra, and encounters all sorts of dangers, till he dies, and is brought to life again by

the bhagawan Nawaruchi, a man whom Qiwa had adopted. This tale occurs also in Malay, where Nawaruchi has been turned into Tawaruchi (3 easily passed into J)\ Pawitra has been corrupted in the Malay tale into Kawitra. I cannot make sense of Nawaruchi ; but Wararuchi is the name of the author of the Sarasamuchchaya, a very corrupt prose work which contains moral precepts. This work contains many clokas taken from the Mahabharata. The vocatives Kaunteya and partha occur, but not frequently. Some clokas I have been able to correct from the Hitopadeca and Panchatantra, where they also occur. Thus, e.g : daridran bhaja, kaunteya, ma prayachchecvfrare dhanam, wyadhitasyosadham pathya nnlrajawya kimosadhaih, may be corrected from Hitop. i, 14. In the Javanese translation the equivalent of icwara is sugih (wealthy). The cloka purwe wayasi yah cantah sa canta iti me matih dhatusu ksiyamanesu 9amah kasya na jayate, is from the Panchatantra i. 181. The third cloka of the Hitopadeca (Introd.) is given as follows: arjayet jnanam arthac cha widwan amarawat sthitah, keceswiwa grehitah san mretyana dharmam acharet. The text is very corrupt and full of lacunae. The Mahabharata is referred to as Bhara- takatha. The words purta and ista have the meaning of meritorious works, such as providing the country with wells, resting places, temples, etc. Though the ancient Javanese translation is here and there rather free, it is interesting as giving an insight into the meaning of many Kawi words. No good copies of the Nawaruchi and Bhlm&swarga appear to exist, probably on account of these poems being too popular, and having suffered too much by transcribers belonging to the uneducated classes. The same may be said of the Britanjun, of which kidun I have consulted many MSS. The variety of readings is quite bewildering. This poem is very interesting, being entirely pagan, though copies of it in the Arabic character exist at Banuwani, where it was probably composed at a time when a great part of

East Java still adhered to the Indian faith. From the journals of Dutch navigators, we know that after the fall of Majapahit till late in the seventeenth and at the beginning of the eighteenth century the Eastern portion of Java had not yet embraced Islam. The Balinese know nothing of what is related by Sir S. Raffles, and some Dutch writers, all of whom placed too much reliance on the Javanese chronicles, namely, that those Javanese who objected to adopting the new faith fled to Bali immediately after the conquest of Majapahit by the Musalmans. The com- paratively small island of Bali was already a dependency of Java before the rise of Majapahit. Besides, those pagan Javanese could take refuge in Javanese states, such as Pana- rukan and Balambanan, without having to go to Bali. The Balinese played till late in the eighteenth century a conspicuous part in the wars against the Western Mu- hammadan states, and there is a village in Banuwani, called Chunkin, the inhabitants of which were still pagans fifty years ago. The Sritanjun does not contain a trace of Muhammadan influence; it is only in the Javanese copies that a few Arabic words occur. In the copies found on Bali, the author calls himself Chitragotra, and says that he composed the Sritanjun after the Sudamala. The latter poem relates how Sadewa (Sahadewa) delivered Durga of her Raksasa form, the consequence of a curse by Qiwa, who had convicted her of adultery with a young cowherd, and had assumed that form to put her to the test. Uma, being transformed into a monster, received the name of Durga, and was compelled to dwell in the cemetery Ganda- mayu. Sahadewa delivered her of the consequences of Qiwa's curse, and went thenceforth by the name of Sudamala,— a corruption from cuddha (purified), and mala (a temporary monstrous form caused by the curse of a god). Sritanjun is a sequel of the Sudamala. Sritanjun, the daughter of Sahadewa, is married to Sidapaksa (in the dialect of Banu- wani Sidapoksa), her cousin, the son of Nakula. He stabs her under the impression that she had committed adultery during his absence ,in Indra's heaven whither the king had

sent him in order to seduce Sritafijun. From the circum- stance of her blood emitting a delicious scent he concluded that the king had slandered her. According to the tradition, Bafiu (water) wahi (well scented) has its name from her, but the poem itself says nothing about this. The wicked king, Sinduraja, is at last killed by Sidapaksa, who is assisted by the Pandawas. Both poems, though kiduns, contain many old words. I have not been able to explain from the Sanskrit the proper names occurring in them. Is Gandamayu Sanskrit ? A corruption from Gandamaya is not probable, as the termination maya is well known in Kawi (kafichanamaya, ratnamaya, etc.). With reference to the antiquity of the Kawi compositions to be found in the island of Bali, it is as yet impossible to fix any dates. It is worthy of notice that a few Tamil and Persian words are found even in the earliest Kawi compositions. Thus, pane or (metri causa.) paney, a kind "of jar to cultivate the lotus in, is undoubtedly Tamil. Persian words are jon CX^~, taraju«JUJ, and gulu A$[ The last- named is juM (throat) in Javanese; but this may be an accidental resemblance. There is hardly any trace found of Arabic words. A curious example is majum (v.r. majyum), "a soporific mixture causing a person to fall into a death-like sleep." This word is ^y^**, well known to readers of Malay novels : it occurs in the Wanban Wideya, a thoroughly pagan poem. The Kawi of Bali differs from that of Java. In modern Javanese poems the word swanita (wanting in Gericke's Javanese Dictionary) means " sweat," whereas in the genuine Kawi it means " blood," and is synonymous with conita. In modern Javanese poetry chantuka is found in the sense of " frog," whereas in the genuine Kawi only manduka is used. In making use of such words, the Javanese, having for a long period neglected their pagan literary compositions, only guessed at the sound. Amongst the Balinese words which are a puzzle to me is kafieri, " oleander," a translation of the Sanskrit acwama- raka. Hunter (Orissa, ii. App. p. 176) mentions kaniyari

as the name of the oleander. But how did kaneri get into JBalinese, as it does not occur in Kawi books ? According to the Balinese themselves, the oleander was introduced by a European some thirty years ago at Badun, where Mr. Lange, a Danish merchant, caused it to be planted in his garden. Most probably it had been introduced by some Indian merchant into Singapore, whence Mr. Lange procured it. The word kaneri may be known in the Straits, but I have never come across it in Malay compositions. The Javanese poem Dewaruchi bears but little resemblance to the Nawaruchi, and is very tedious. It has been published at Samarang by Messrs. van Dorp & Co. One of the Buddhistic kekawin is the Arjunawijaya, which mentions Amitabha, Amoghasiddha, Wairochana, Aksobhya, and Ratnasambhawa (P). Some of these names are also found in the Sutasoma, of which I have spoken before, and in certain invocations where they are described as bhatara (bhattara). I give here a literal transcript of the invocation (mantra) of the Dharmapanulih for the avertion of evil influences. Some passages of it are very corrupt, and cannot be mended without the aid of a better MS.—Un dwipada kita, pamulih maren purwapada, pamarek maren bhataraksobhya, uh huh ya namah swaha. Un chaturpada kita, pamulih maren daksinapada, pamarek maren bhatara Ratnasambhawa, uh trail ya namah swaha. Un anahipada kita, pamulih maren pacchimapada pamarek maren bhata- ramitabha, uh hrih ya namah swaha. Uh byuhpada kita, pamulih maren uttarapada, pamarek maren bhataramogha- siddha, uh ah ya namah swaha. Uh ekapada kita, pamulih maren madhyapada, pamarek maren bhatara Werochana, uh ah ya namah swaha iti dharmapamulih. Namo Buddhaya. "Uh, ye two-footed ones, return to the East, present your- selves before god Aksobhya." The rest needs no translation. Byuhpada means " many-footed." Instead of anahipada we have perhaps to read ahipada, " serpent-footed," unless it be a blunder for apada. Many tales are found in the Arjuna- wijaya, which have been derived from the Uttarakanda. There are two editions of the modern Javanese recension,

one by the late C. F. "Winter, and the other by Dr. Palmer van den Broek. The latter recension is a tedious enlarge- ment of the former, which is as short as the Kawi poem itself. In both, however, many episodes are left out, such as those of Wedawati and Eawana, and Nandicwara and Eawana's endeavours to procure admission into Qiwa's abode. The original poem has been frequently misunderstood and spoilt in the translation.