Volume 1 — CHAPTER VIII. (continued 2)
Reading edition
Her heart now became easy; and delighted at what she beheld, she proceeded to bathe and perform her devotions.
The father, on his return, learns the treachery of the Panghúlu, and having recovered his daughter, she is subsequently married to a neighbouring prince, by whom she has three children. Her trials, however, are not yet at an end, for being on a journey to visit her father, accompanied by the Pepáteh of her husband, who is appointed to guard her on the way, the Pepáteh forms a design upon her virtue. He is represented as saying:—
"If you, oh princess, submit not to my desires, it is my determination to put your eldest child to death."
The princess on hearing this became so affected as to be deprived of speech.
When the Pepáteh again repeating his threat in a solemn manner,
She replied, "what would you have me say? Whatever may be the will of God I must submit. If my child is to die, how can I prevent it?"
The Pepáteh, on hearing this, forthwith drew his sword, and slew the child, again demanding of the princess whether she would submit to his desires? To which she answered, "No!"
He again urged her: but the princess hanging down her head was silent, and in the hope that God would give her resolution, her mind became more easy.
The Pepáteh then shaking his sword before the princess, again urged her to submit, threatening that if she refused he would slay her second child.
But the princess could only reply, "you must act as you say, if it is the will of God that you should do so."
He then slew the second child, and again urging her to submit, threatened, in case of refusal, that he would slay the third child, then at her breast.
Snatching the child from her arms, he put his threat into execution, and the blood flew on the mother's face, on which she swooned and fell to the ground.
The Pepáteh having succeeded in recovering her, again attempted to effect his purpose, threatening that if she still refused he would slay her: to this the princess at first made no reply.
But placing her sole reliance on the Almighty, a thought at last struck her, and she said:
"Do as you will with me; but seeing that I am disfigured with blood, allow me first to bathe in an adjacent stream."
The Pepáteh assenting to this, she went away and effected her escape into the woods. There she remained in safety, until discovered by her husband, who in revenge put the three children of the Pepáteh to death.
It has already been shewn, that notwithstanding the intercourse which has now subsisted for upwards of four centuries, and the full establishment of the Mahomedan as the national religion of the country for upwards of three centuries, the Arabic has made but little or no inroad into the language; and it may be added, that the Arabic compositions now among them are almost exclusively confined to matters of religion. Books in the Javan language are occasionally written in the Arabic character, and then termed Pégu, but this practice is by no means general. The Kóran was first translated, or rather paraphrased, about a century ago, and rendered into Javan verse by a learned man of Pranarága, to whom the title of Kiai Pranarága was in consequence given.
Arabic books, however, are daily increasing in number. The principal works in this language, with which the Javans are at present acquainted, are the Umul brahin, by Sheik Usuf Sanusi; Mohárrar, by Iman Abu Hanífa; Ranlo Taleb, by Sheik Islam Zachariah; and Insan Kamil, by Sheik Abdul Karim Jili. The doctrines of Sheik Mulana Ishak, the father of Susúnan Gíri and one of the earliest missionaries, were those of Abu Hanífa, which are the same as the Persians are said to profess; but these doctrines have, subsequent to the time of Susúnan Gíri, been changed for those of Shafihi. There are, however, some who still adhere to the doctrines of Hánifa; but their numbers are few, and the chiefs are all followers of Shafihi. The number of Arabic tracts circulating on Java has been estimated at about two hundred.
Several institutions have been established in different parts of the island, for the instruction of youth in the Arabic language and literature. At one of these, in the district of Pranarága, there were at one time (about seventy years ago, in the time of Páku Nagára), not less than fifteen hundred scholars. This institution has since fallen into decay, and the number at present does not exceed three or four hundred. Similar institutions are established at Meláng'i, near Matárem, and at Sídamârmar, near Surabáya; and at Bántam, about eighty years ago, there existed an institution, of nearly equal extent with that of Pranarága.
Literary compositions are almost invariably written in verse. The measures employed are of three classes. First, the sekár[140] káwi, or measures in which the káwi compositions are generally written; secondly, the sekár sepoh, high or ancient measures; thirdly, the sekár gángsal, or five modern measures.
A complete stanza is termed a páda (literally a foot); a line is termed ukára; the long syllables are termed gúru, the short láku; and although rhyme is not used, the several measures of the sekár sepoh and gángsal are regulated by the terminating vowels of each line, which are fixed and determined, for each particular kind of verse[141], by the number of syllables in each line, the disposition of the long syllables, and the number of lines in each stanza or páda.
Of the sekár káwi there are twelve radical stanzas, most of which occur in the Níti Sástra and other principal Káwi compositions. They are named:
1. Stradúla wikrindíta.
2. Jága díta.
3. Wahírat.
4. Basánta tiláka.
5. Bágsapátra.
6. Srágdára.
7. Sekaríni.
8. Suwandána.
9. Champáka máliar.
10. Práwira lalítá.
11. Basánta líla.
12. Dánda.
Each of these stanzas consists of four lines, as in the following example of the Sradúla Wíkrindita, from the Níti Sástra Káwi.
"Reng jánma di kámi ta chíta reséping sárwa prája ng'enaka "Ring s'tri matdia manuára pría wawus andé mána kung lúlut "Yen ring Madiáni kang pinandîta mochap tetóah pa désa prîen "Yen ring matdía nikáng mosa mochap-akan wakchúra sing'a k'roti.
A man who is moderate and cool in his desires will do good to a country. A woman is like unto Déwi Manuhára when her desires are moderate, and men cannot look upon her without admiration. A Pandíta must at all times and on all occasions act up to his doctrines: Whether it be in war or in difficulty, still he must act up to what he says.
Examples of several other measures of the sekár káwi and of the metre will be given hereafter in the analysis of the Bráta Yudha.
Of the sekáh sepoh there are great varieties, several of which are exhibited in the following examples.
MEGÁTRUH.
(Consisting of five unequal lines, terminating with the vowel sounds u, e, u, i, and o.)
"Wong ahurīp | aywa tā | ang'gung | katungkūl || "'Ing kawibawān | kamuktēn || "'Aywa ta | ang'gung gumung'gūng || "Manawā | dinadung eblīs || "Kajarāh | temah wurung wōng ||
Men of this world! give not yourselves up To the pleasures of power and sensual gratification: Neither be vain nor open to flattery. Lest caught in his toils, You fall into the hands of the devil.
PÚCHUNG.
(Consisting of four unequal lines, terminating with the vowel sounds u, a, i, and a. )
"Den prayitnā | wong agūng | aja pitambūh || "Barāng | rahing prajā || "Kawruhanā | den atitī || "Supayani | 'ing tindāk aywa | ng'alentār ||
Watch well, ye great, and be not unmindful Of what takes place in the country; But observe it narrowly, That the administration of it may not be neglected.
BALÁBAK.
(Consisting of three long lines, each terminating in é.)
"Wong ahurīp | aja anggung mang'an minūm | jarenē || "Ananungkūl | íng dría kang tan sayogyā | gawénē || "Lamun orā | ing nalika mangsa Kalā | Kalanē ||
Men of this life! devote not yourselves to the pleasures of eating and drinking; For it is a passion of which the indulgence is vicious, Except on grand and particular occasions.
KÚSWA WIRÁNGRONG WIRÁNGRONG.
(Consisting of six lines, terminating in the vowel sounds i, o, u, i, a, and a).
"Lir dawūh dawūh | ing margī || "Sang d'yāh parayāng | paroyōng || "Supe duk aniandāk | wastra ng'rangkūs || "Kawingkin kang wēntīs || "Lumarāp | kadi kilāt || "Murub padāng | Kang pasebān ||.
Stumbling as she went, The Princess walked with faltering pace. Laying hold of her under garment, she unconsciously drew it up, When from the exposed calf of her leg A flash like lightning darted, Which illumined the Hall of Audience.
SUMEKÁR.
(Consisting of eight lines, ending in the vowel sounds i, a, a, i and e).
"Gugunung'ān | lor-wetan tuhu 'angrawīt || "Pinārigī ing selā kakarang'ān || "Pandan-janmā | jinemb|ang'ān || "Sri jata winujīl | wujīl || "Pisang tatār | lir tunjūng | Sikarī |
Beautiful are the hills to the north-east, Adorned and interspersed with walls of stone, With the pándan jánma growing in pots, And overgrown with the s'ri játa, And the písang tátar, having a blossom like the túnjung.
PALUGÓN.
(Consisting of eight lines, terminating with the vowel sounds a, u, o, u, o, a, u, and o).
Yen tan hanā | adedangkān || Punggawa satryā agūng || Miang mantrĭ | rempeg āgolōng || Obah osīk | ing prajekū || Iku arjā | prajā katōng || Lawan pang'wā | saning natā || Tan hanā | panasten kalbū || Nora cheng'īl | datan leniōk ||
When none are selfish, And the great officers of state, the nobles, And the petty officers, are all united together, Whatever may be the convulsions or the troubles of the kingdom, Still will the kingdom be great and prosperous. When the power of the sovereign Is envied by none, All are then united and none are disloyal.
PAU-GÁNGSA.
(Consisting of six lines, terminating in the vowel sounds a, e, e, a, a, and i).
Pada salāmet sadayā || Sapung gawā | mantri lān satriyānē || Yata Rajā | adil malī | andikānē || Eh ajunan pirāng prakárā || Kabechikān | m'ring kawulā || Pateh yunān | awōt-sarī ||
All will be prosperous and peaceful, The chiefs of provinces, the nobles, and the petty chiefs. On which Raja Adil (the just king) thus spoke again: "Oh Yúnan, how many rules are there "For the prosperity of the subject?" To which Páteh Yúnan returned for answer.
KÚSWARÍNI.
(Consisting of seven lines, terminating in the vowel sounds u, a, u, a, i, a, and e).
"Sampun katāh | aniyasāt wadya prabū || "Balik ng'egung'enā || "Turasing wōng | bangsa luhūr || "Yen turaīsng | bangsa andāp || "Nang'ing prayugī | kīnantī || "Den pratelā | hing panejā || "Ang'inggahaken | wād'yanī ||
Treat not the subjects of your majesty with cruelty, But respect The descendants of honourable families; To the descendants even of low families Also shew kind treatment; Yet be careful how you take a liking to any one, And raise him in the world.
MÁHISA LÁNG'IT (THE BUFFALO OF THE SKY).
(Consisting of five lines, terminating in the vowel sounds e, u, i, u, and o).
"Yen sampūn | wontēn kagunānē || "Miang kraprawirānipūn || "Punjuling | sasami sāmī || "Pantes jenunjūng | kang lunggūh || "Nora lingsēm | ing piyāngkōh ||
If there is one who has merit And abilities Surpassing his equals, It is proper to raise him, And there is no shame in such an act.
KÉNYA KEDÍRI,
(Consisting of nine lines, terminating in the vowel sounds, u, i, u, u, u, a, e, u, and i.)
"Inggih lamūn | dereng wontan labetipūn || "Guna Kaprawirānekī || "Upama yen jinunjūng'a | lungguhipūn || "Sayektī | kochaping jāgāt | datan arūs || "Makan darāh | yen dereng yog'ya jinūnjūng || "Lan sampūn | 'akaryā | lūrāh || "Wong durjanā | dursilekī || "Lan sampun atantūn || "M'ring pung'gawā | mantrī jahīl ||
But if one having neither merit, Ability, nor capacity, Should be promoted in his stead, Then would the world say it was improper; For one raised above his merits must mákan dárah (swallow blood). Make not a chief Of one who is a knave or bears an ill character, And ask not advice From one who is ill-disposed.
Other measures, which may be classed under the sekár sepoh are júrudemúng, lúntang, gámbuh, kulánté, lámbang, káswa rága, ránsang, pamur'ántang, ontang-'anting, 'mas-kumámqang, tárub-agúng, pa-mijil s'lang'it or kinánti, irun-írun lung-gadúng, lára-katrísna.
The sekár gungsal, or five modern measures, are those in which the ordinary compositions of the present day are written. Of these there are again several varieties in different districts, as follow:—
ASMARANDÁNA,
which, according to the manner in which it is chaunted, is called salóbog, jákalóla, súrup-sasi-bawaraga, séndon pradápa, paláran.
(Consisting of seven lines terminating in the vowel sounds i, a, o e, a, a u, and a.)
"Sun 'amurwā | lang'it inggīl || "Dadalan ikū | pan dāwā || "Chok jurang'ā | pasti lēdōk || "Lumrahi g'ni āpānas || "Sanady'an lawē | petāk || "Yen winedēl | dadi wūlūng || "Yen mahidū | ayonānā ||
Lofty is the sky, Roads too are always long; Every valley is low, And fire is naturally hot; White thread will even be black If jet you do but dye it, And if you don't believe it, try.
ARTÁTI, DÁNDANG GÚLÁ, (sugar crow), or SADÁNA CHÍTA,
which, according as it is chaunted, is called renchasih, majásih, lindur dálang-karahínan, bárang míring, gúla kentar, or paláran.
(Consisting of ten unequal lines, terminating in the vowel sounds i, a, e or o, u, i, a u, a, i and a.)
"Benjang ingsūn | mari brangta kingkīn || "Yen mamalā | malaning kanang rat || "Dūrjanā | dusta līnyokē || "Chelā | cholong chalimūd || "Wong ambīgāl | ng'etal katāhil || "Kichū kampāk karūmpak "Babotoh | kābutuh || "Babangsāt | puda malesat || "Baya kōnō | mari analian—wiyādī || "Dadining susī | lārja ||
The painful feeling of my love will only cease When the wicked of the world, The knaves, the thieves, and the liars, The scandalous and those who steal, And the banditti, are all held in contempt; When robbers and plunderers are all destroyed, And cock-fighters are in despair; When gamblers are cast out. Then, perhaps, the sadness of my heart may cease; Then may I be restored to peace and happiness.
SINOM, SRI NÁTA, OR PERDÁPA,
which, according to the chaunt employed, is called béngak, garúndel, gádung-maláti, jáyeng-asmára, babarláyar, merák ngúwuh, hagók-surabáya and paláran.
(Consisting of nine lines, terminating in the vowel sounds, a, i, a, i, i, u, a, i and a.)
"Wusinā | ing'amban saksāna || "Layōné | dewi angrēni || "Binaktā | minggah kēng pālwa || "Indrajalā | dan tītihī || "Dening Rahadēn Pūnjī || "Dewi oneng'ūn tān kantūn "Tumut dateng kāng | raka || "Akatāh | pawong'ān chéti || "Kang binakta | sagung'ingkang rajābranā ||
Having taken in his arms The body of the departed Princess Ang'réni, It was borne On board the vessel Indrajála By Ráden Pánji. The Princess Oréng'an was not left behind, But accompanied her elder brother, With many companions and female attendants, The whole treasures being carried along with them.
PÁNGKUR,
which, according as it may be chaunted, is termed paláran and kadáton.
(Consisting of seven lines, terminating in the vowel sounds, a, i, u, a, u, a, and i.)
"Nīhan kramanīng | tumītah || "Dan tatīla | tumulad 'ing réh titi || "Wechanā | den pindā | pūnggūng || "Dan amēm | nayéng gitā || "Pagutēnā | yen wus samekta éng wūwūs || "Den panggah | ay'wa miyāgāh || "Pilih tā | kawadēng wadī ||
The manners of men should be correct; And in adopting an accurate conduct, Let your speech be modest and unassuming. When thinking, let your countenance appear unruffled; And when your words are prepared, deliver them. Be firm, but on no account bigotted, Lest you be held in contempt.
DURMA,
which, according as it is chaunted, is called seráng, rángsang, bedáya, madúra, and Paláran.
(Consisting of seven lines, terminating in the vowel sounds, a, i, a, a, i, a and i.)
"Masjidé kā | kabatulah ika prayōgā || "Payū | tinirū sami || "Gawi kabatūlah || "Sigra mantuk prasamia || "Wōng Abesah | sireng prapti || "Ing nagarania || "Anulia | yasa sami ||
The temple of Kabatúlah is most excellent, Come, let us all imitate it, And build another Kabatúlah. They then returned to their home, And when the people of Abésah arrived At their country, They immediately commenced the work.
The sekárs, kinánti, and míjil are sometimes classed under the common or modern measures. The following are examples of those measures.
KINÁNTI,
(Consisting of six lines, terminating in the vowel sound, u, i, a, i, a, and i.)
"Ake wong | sanak sadūlūr || "Tan kadiā | Sugriwā bali || "Sapolāh | tingkaniā pada || "Moang suarā | rupa anūng'gīl || "Kadia n'gilu | lan wayang'gā || "Kewran sāng | rama ēng ati ||
Most people have brothers and relatives, But not such as Sugriwa and Báli. Their actions and conduct were both alike, And their voice and form was one and the same. They were like each other even as a substance and its shadow, And the mind of Ráma himself was confused in distinguishing between them.
MIJIL,
(Consisting of six lines, terminating in the vowel sounds, i, o, e, i, i, and u.)
"Rima panjāng | memak tur awīlīs || "Urāb urāb āwōr || "Lir manj'āngān | katarwan solāhē || "Brang'os lemēt | yayah lir mināngsī || "Dia wirun tinūlīs || "Warnani abāgūs ||
His long and waving hair was of a greenish hue Intermixed with flowers, His action like that of a wounded deer, And his mustachios fine and dark, as if pencilled. He resembled the picture of Wírun (the brother of Panji). Most beautiful was his complexion.
The following are examples of some of the measures adopted by the inhabitants of Báli. The three first are in the language of the country people; the others are extracted from one of their modern compositions.
"Kadi jaran "Pang'aruk duag mapola "Pang'ang'gong niane lueh "Mapelag-pelagan "Mandadi "Paleng'gian "Atut sayang "Kategah-keng "Tundung ne balan "Lamput tina chamáti
Like unto a horse Graceful in action, Richly caparisoned With various ornaments Becoming The royal saddle-horse; Truly pleasant and agreeable To ride, His back shewing the mark Of the stroke of the whip.
"Chahi santri "Bajang bajang gobah m'lah "Dapati manu huking "Deman hatini memadat "Chahi "Bajang taruna "Nu liyu "Demanin chahi "Ing'atan awah "Bikasé dali santri
Young man! you are a sántri[142], Young and handsome: Curb your inclinations And don't smoke opium. Young man! Yet unconnected with woman, There is much To which you must incline. Think of yourself, And that you have become a sántri.
CHECHANG KRIMAN.
(Sung by a Mother to her Child on her Arm.)
"Niahi ayu kapakan maniankil wakul Kalang mabalanjar lakuné manolé-nolé Sada gisu Dayanin tuah kablag'gandang"
My handsome girl! in bringing a purchase from the market, When you have paid the price, cast not your eyes behind, But move quickly, Lest men may seize upon you.
The following are examples from the written compositions of Báli.
"Sang'nata ika wus mati Penadang deneng joarsa Yata nulia kesa mangko Medal saking pupungkuran Prapta Heng jawi kita Awatara Teng'ha dalu Tanana wong kang ng'uning'a"[143]
Then that sovereign died, Being destroyed by Joarsa, Who thereupon went out, Retreating by the back part of the dwelling; And having arrived at the outside of the fort At the time It was midnight, No one knew of it.
"Wus lepas lampa ireki "Handung kaping parang parang "Sumung kaking ukir halon "Tumaruning lebah lebah "Mantuk "Maring Nagara "Heng Sahalsa "Sina dia "Hiku kalang'an chobayang suks'ma"
When he had passed the road He ascended the mountains, And moved on slowly, Ascending and descending, Proceeding in search of his country, Named Sahálsa, Which he descried;— But here he was opposed by the will of Providence.
In order the better to illustrate the poetry and literature of Java, and to exhibit the nature and spirit of the compositions in the Káwi, I request to present the reader with an analysis of the Bráta Yudha, the most popular and celebrated poem in the language. Versions of this poem in the modern Javan are common throughout the island, and the subject is the theme of the most popular and interesting amusements of the country.
The Brata Yúdha Kawi, of which the following is the analysis, and from which the illustrations which are interspersed are taken, contains seven hundred and nineteen páda or metrical stanzas, of four long lines each, the measures varying with the subject, so that most of the twelve Káwi measures are to be found in it. Considering how little was known on Java of the Káwi language, and how likely that little was to be lost for ever, I felt a strong interest in analysing and translating, as far as practicable, one of the principal compositions in that language; and availing myself of the literary acquirements of the Panambahan of Sumenap, to whom I have already adverted, and of the assistance of a gentleman of my family, and Raden Saleh, the son of the regent of Semaráng, I have it now in my power to lay the following analysis of this ancient poem before the public. It is far from being as complete, or correct, as I could have wished, yet imperfect as it is, it may serve to convey some idea of the original. I have endeavoured to keep as close to the original as possible, and have, in every instance, given the interpretation of the Káwi, as far as it was understood by the Panambahan. The Sanscrit scholar will probably find imperfections, and possibly might be able to render a better translation; but it is the Káwi language, as it is understood by the Javans of the present day, that I am anxious to illustrate. The original stanzas are given in the Káwi, and I only regret that the limited knowledge of the language possessed by the Panambahan himself, and my own want of time to study and trace the grammatical construction of it, have not admitted of my doing more justice to the original. I can safely affirm, that independent of the interest which the subject loses by translation into a foreign language, the illustrations now given afford but a very imperfect specimen of the beauty, sublimity, and real poetry of the original.
This celebrated work would appear from the Chándra Sangkála included in one of the verses, to have been composed by one Puséda, a learned Pandíta, in the year 1079. Some copies, however, admit of a different interpretation regarding the date, and the general opinion is, that it was composed in 706 of the Javan era, during the reign of a prince on whom was conferred the title of Jáya Báya. Whether the poem was actually written on Java, or brought by the early colonists, may be questionable; but the Javans of the present day firmly believe, not only that the poem was written on Java, but that the scene of the exploits which it records was also laid on Java and Madúra. The annexed sketch, with the subjoined note, will explain the situation of the different countries, according to this notion[144].
NAMES OF THE PANDÁWA PRINCES, PRINCESSES, &c.
Names. Genealogical and Descriptive Account. Different other Appellations under which known.
Krésna An incarnate deity, who is favourable to the Pandáwa, the particular friend and guardian of Arjúna. His father was brother to Déwi Kúnta Narayána.
Janardána (performers of austerities).
Patmanába.
Esa.
Wijáya mólia.
Kesáwa.
Pándu The son of Abiása, husband of Déwi Kúnti and Déwi Madrim and father of the Pandáwa Pandu Déwa Nata.
Déwi Kúnti Daughter of Basuketé, King of Madúra, and wife of Pándu.
Déwi Madrim Daughter of Chándra Wàti, King of Mandaráka, and wife of Pándu Déwi Metrim.
The Padawa, or five Sons of Pándu. Dérma Wángsa The chief and eldest of the Pandáwa by Déwi Kúnti Dérma Kasúma.
Chantáka púra.
Gunan tali kráma.
Yudistíra.
Bíma Son of Pándu by Déwi Kúnti Waikudára.
Judipáti (death seeking).
Bayu-pútra (son of strength).
Séna (chief in war).
Arjúna Son of Pándu by Déwi Kúnti Palgúna (of powerful[145] thumb).
Jaya Ningrat (victor of the world.)
Wintarája.
Parta (the middle one).
Wardiníngsih (devotee, enthusiast).
Janárka.
Damarjáya (victory-giving).
Kerséti.
Nakula Son of Pándu by Déwi Madrim.
Sedéwa Son of Pándu by Déwi Madrim.
Naráda In attendance on Krésna.
Kánwa
Jenáka
Parásu
Pancha Kumara Son of Dérma Wángsa.
Gatot Kacha Son of Bíma.
Abimányu Sons of Arjúna.
Oráwan
Drupáda Brother of Déwi Kúnti.
Satiáki Servant of Krésna.
Mangsa Páteh King of Wiráta.
Kakarsána King of Madúra, and eldest brother of Krésna.
Sumbádra Sister of Krésna, wife of Arjúna, and mother of Abimányu.
Destadriumna Son of Drupada.
The regal titles of Aria, Narária, Naranáta, Naríndra, &c. are occasionally applied to the different chiefs on both sides.
NAMES OF PRINCIPAL KURÁWA PRINCES, PRINCESSES, &c.
Names. Genealogical and Descriptive Account. Different other Appellations under which known.
Drupadi Daughter of Drupada and wife of Dérma-Wángsa.
Sirikándi, or Sikándi Do. ... do. and wife of Arjúna.
Sitisundári Do. ... do. of Krésna and wife of Abimányu.
Utári Do. ... of Mángsa Páteh or Wiráta, and wife of Abimányu.
Utára Son of ... do.
Séta, or Soita Do. ... do. Sang Wirata Suta.
Sangka Do. ... do.
Dresteráta Eldest brother of Pándu and father of the Kuráwa, born blind. Dresterája.
Dreterája.
Suyudána King of Astína, and eldest son of Dresteráta. Genderea.
Kurupati.
Kuranata.
Durya dana.
Kurawendra.
Korawe Swara.
Durusána One of the Kúru.
Kérna Son of Batára Suria (the Sun) by Déwi Kúnti when a virgin, King of Awáng'ga. Suria-putra, | (Child of Arka-putra, | the Sun).
Radea
Rawi Suta.
Jáya-dráta Brother-in-law of the Kuráwa.
Sália King of Mandaráka, and uncle to the sons of the Pandáwa, Nakúla and Sedéwa. Norasuma (his early name).
Dang yang drúnu An aged Pandíta, revered by all parties.
Aswatáma His Son. Duija Suta.
Krépa The younger brother of Dang yang Deruna.
Bísma An aged Pandíta, revered by all parties, son of a former king of Astina. Dewa-brata.
Aria Bisma.
Sakúni Brother-in-law of Dresteráta.
Begedénta The friend and companion of Suyudána.
Satia-wáti Wife of Sália and daughter of Gunawijaya, a worthy Rasaksa
Bannwáti Wife of Suyudana.
NUMERICAL TERMS MADE USE OF IN THE BRÁTA YÚDHA.
100 Rátus.
1,000 Rébu.
10,000 Láksa.
100,000 Kéti.
1 million 1,000,000 Yuta.
10 ditto. 10,000,000 Bára.
100 ditto. 100,000,000 Memeng.
1 billion 1,000,000,000 Pante.
10 ditto. 10,000,000,000 Chamo.
100 ditto. 100,000,000,000 Ekso'eni.
1,000 ditto. 1,000,000,000,000 Pertana.
10,000 ditto. 10,000,000,000,000 Gulma.