Materials for the Medieval History of Indonesia
Java1365.Nagara-Kertagama.Canto.83-91
[Canto 83]
1. an manka kottaman / çri narapati siniwiɳ tiktawilwaikanatha,
saksat / candreɳ sarat / kastawaniran agawe tustaniɳ sarwwaloka,
lwir padmaɳ durjjana lwir kumuda sahana saɳ sajanasih tke twas,
bhrtya mwaɳ koça len / wahana ga- (128b) ja turagadinya himper samudra.
2. mankin / rabdekana yawadarani kapawitranya riɳ rat / prakaça,
nhiɳ jambudwipa lawan / yawa ktan inucap / kottamanyan / sudeça,
deniɳ kweh saɳ widagden aji makamukha saɳ dyaksa saptopapatti,
mwaɳ panjyaɳ jiwa lekan tanar asin umunup karyya kapwatidaksa.
3. mukyaɳ çri brahmaraja dwijawara mamahakawy anindyaɳ gamajna,
hentyaɳ tarkkadi kawruhniraɳ nipuna mahakawya naiyeyikadi,
mwaɳ danhyaɳ bhamanatibrata kuçala tameɳ weda sad karmma çudda,
astam / çri wisnu cakte samajapa makhadon / wrddyaniɳ rat / subhiksa.
4. hetunyanantara sarwwajana tka saken anyadeça prakirnna,
naɳ jambudwipa khamboja cina yawana len / cempa kharnnatakadi,
goda mwaɳ syanka taɳ sankanika makahawan / potra milwiɳ wanikh sök,
bhiksu mwaɳ wipra mukyan hana tka sinunan / bhoga tustan pananti.
5. ndan anken phalguna cri nrpati pinaripujeniwö riɳ swarajya,
praptaɳ mantri sabhumi jawa juru kuwu len dyaksa sarwwopapatti,
milwaɳ balyadi nusantara sahana saha prabhrtin tan pgat sökh,
bya- (129a) pari mwaɳ wanin / ri pken anebek atip / sarwwa bandanya kirnna.
6. tinkahnin pujan idran / bhrisadi saha mrdangenarak niɳ wan akweh,
piɳ pitwanken dinaimbuh sasikhi saha niwaidyan dunuɳ riɳ wanuntur,
homa mwaɳ brahmayajnenulahaknira saɳ çewa boddan pamuja,
amwit in astami krsna makaphala rikaɳ swasthana çri narendra.
[Canto 84]
1. praptaɳ diwaça khapiɳ padblas i wijil / çri narapati warnnan,
tinkahnira midereɳ nagara marasuk / bhusana kanakadi,
cobhabhra pinikul iɳ jampana mahawan lantaran atuntun,
mantri saciwa bhujarigadinika manango dadar iniri sök.
2. ghurnaɳ padata mrdanga trutika duduɳ çanka tarayan atri,
sinraɳ ni paselur iɳ bhattagana manuccaranan abhiwada,
çlokhastutinira sankeɳ parapura de saɳ nipuna kawindra,
cihna nrpati gahan / lwi raghusuta krsnanjaya subhagen rat.
3. sampun / nrpati manek / riɳ manimaya sinhasana suminabhra,
çoddodani sakala lwirnira wahu sailke jinapada cobha,
byakta trisura surendran umark i himbaɳniran arja hyaɳ,
apan / pada linewih bhusananika sotan waɳ adika mu- (129b) lya.
4. tihkah ni lakunira çri nrpati pajaɳ sapriya pinakagra,
sinhasananira sampun / lpas inarak niɳ balagana kirnna,
mantri pajaɳ atawa mantri ri paguhan / rowan ika sapanta,
laksarwuda marasuk / bhusana saha bhrtya dwaja patahadi.
5. manka nrpa ri lasem / sapriya ri wugat / lampahira sabhrtya,
vmwaɳ çri nrpa ri kadinten / sayugala samatya bala ri wuntat saçri,
çri jiwanapurarajni ri wuri saha bhrtyagana sabhartta,
çri bhupati pamkas mantry adika sayawawanni maniri sök,
6. ton taɳ para jana sar sök / pnuh ariweg tanpa sla manonton,
pingir nikanaɳ lbuh ajajar taɳ sakatha pinanguɳ,
dwaranapi sawawa lwir dwaja nuniweh pangun ika rinenga,
sök / stry anwam atuha dudwaɳ manebek umungwiɳ bacinah atimbun.
7. buddinya daradaran kapwa suka banun / wahuwahu manonton,
tan warnnan ulah ikenjiɳ nrpati kinastryan mijil i wanuntur,
wipradi sira maweh amrta warakundyadi wawan ikapned,
mantri para pamget kapwa mark amuspanjali parn asraɳ.
[Canto 85]
1. tangal niɳ cetra tekaɳ balagana mapuluɳ rahya (130a) hem apupul,
mantri mwaɳ tanda len / gusti sahana nuniweh wadwa haji tumut,
milwaɳ mantryakuwu mwaɳ juru buyut athawa wwaɳ riɳ parapuri,
astam / saɳ ksatriya mwaɳ wiku haji karuhun / sakweh dwijawara.
2. doniɳ höman ri tan lamlama ni sabala saɳ çri natha rin ulah,
kapwanuttajariɳ raja kapakapa sadanken / cetra winaca,
haywanambah ri tan lakwan ika maneketeɳ wastradyarana,
dewaswadinya tatan purugen ika maran / swasthaɳ pura sada.
[Canto 86]
1. akara rwaɳ dina muwah ikaɳ karyya kewwan / narendra,
wawwan / lor niɳ pura tgal anamaɳ bubat kaprakaça,
çri nathanken mara makahawan / sthana sinhapadudwan,
sabhrtyanorakn ideran atyadbhutaɳ wwaɳ manonton.
2. ndan tinkahniɳ bubat arahararddarata tandes alwa,
madya kroçakaranikan amurwwanutug / rajamargga,
maddyardda kroca kta panalornyanutug pingiriɳ lwah,
kedran deniɳ bhawana kuwuniɳ mantri sasök mapanta.
3. bwatbwat / mungwiɳ tnah aruhur atyadbhutadegnya çobha,
stambhanyakweh hinukir anatha parwwa tinkahni- (130b) kapned,
skandaware nikata nika kulwan / raket lwir pure jro,
ngwan / çri nathan dunun i tkaniɳ cetramasan pamanguɳ.
[Canto 87]
1. pratinkahniɳ panguɳ majajar analor paçcima muka,
ri sandiɳ lor mwaɳ daksina haji para ksatriya pinikh,
sumantri darmmadyaksa ktan umarp / wetan atatha,
harpnyarddalwa lwir nika sadawataniɳ lbuh agöɳ.
2. rika ngwan / cri nathan parahita maweh netrawisaya,
hanan / praɳ tandiɳ praɳ pupuh ikan atembok kanin adu,
akanjar len prp / mwaɳ matalitali moghandani ni suka,
hanan pat / mwaɳ tri kaɳ dina lawasira çighran umulih.
3. yyulih çri nathekaɳ bubat aspi panguɳnya dinawut,
samanka taɳ praɳ tandin an inura mankin / sukhakara,
ri panlwaɳniɳ cetra nrpatin umiwö çrama sahana,
wineh wastra mwaɳ bhojana pada sukhan mamwit umulih.
[Canto 88]
1. salwir ikaɳ buyut / wadana teki tan wawan umantuk amwit i dalm,
aryya ranadikara dinuluniɳ kadipati rin enjin umark,
aryya mahadikara juru panca tanda pinakadi riɳ padlegan,
rowan ikan padamwit i sdaɳ na- (131a) reçwara siran tinankil apupul.
2. nkan pawuwus narecwara ri wenker ojar i parandyanadi wadana,
e khita haywa tan tuhu susatya bhaktyasih aniwyanatha ri haji,
sthitya khiteɳ kaweçyan i sinandane hajenaniɳ pradeça ya gnen,
setu damargga wandira grhadi salwir ikanaɳ sukirtti pahayun.
3. mukya nikaɳ gaga sawah asiɳ tinandur iɳ kawrddya raksan amern, yawat ikaɳ lmah
pinakaramaken / pageha tanpa dadya waluha,
hetu nikaɳ kulina tan atundunen amaradeça yan pataruka,
naɳ pratigundalanya ya tuten / ri gonanikanaɳ pradeçan usirn.
4. çri krtawarddaneçwara hamaywani kagenan iɳ pradeça gawayen,
ndan wilanen mahanasar ikan pramadanika riɳ pjah çaçi sada,
milwa ta yomapeksa hananiɳ duratmaka makadyanidra lawana,
wrddyani drwya sang prabhu phalanya sadananiran / rumaksa bhuwana.
5. çri nrpa tiktawilwanagareçwaranupasaman suminten amuwus,
samya naranya rakwa kadadinya teki katkanya haywa wisamma,
yan hana rajakaryya palawaɳ makadi nika tan hanan / nlwata,
yan pa- (131b) sgeh muwah wruhanaha swadehanika samyalaksana gegen.
[Canto 89]
1. mwaɳ rasaniɳ pratigundala panadegirebu hajika tuten,
enjina yan padananratnana sabhinuktinikan pasgeh,
yan hana murkka tikaɳ sin-gehan agawe lara sahasika,
tut sasinambat ika sinawakanika tajaraken / ri kami.
2. apan ikaɳ pura len / swawisaya sinha lawan gahana,
yan / rusakaɳ thani milwan akuran upajiwa tikaɳ nagara,
yan taya bhrtya katon wayanika para nusa tkanrweka,
etunikan / pada raksan apageha kalih phalaniɳ mawuwus.
3. nahan ujarnira riɳ para wadana sahur nika sapranata,
eka hatur nika tan / salah anuta saliɳ naranatha kabeh,
mantry upapattyananankal athaca para handyan ateki mark,
thog tumiban ghatita traya panadahireky apupul caritan.
4. uttarapurwwa witanna kahananira çobha rinanga huwus,
riɳ tri witana matut / padu mara wadanadyapupul / tinata,
prapta tika tadah uttama wawan ika sarwwa suwarrnnamaya,
çighra tika humarp / harpakn atitah ri harp / nrpati.
5. lwirni (132a) tadahnira mesa mahisa wihaga mrga wök / madupa,
mina lawan tikan andah ajarin aji lokapurana tinut,
cwana kara krimi musika hilahila len / wiyuɳ nalpa dahat,
çatrw awamana hurip / ksaya cala nika rakwa yadi purugen.
[Canto 90]
1. praptaɳ bhojana makadon rikaɳ wwan akweh,
sankep sarwwarajatha bhojananya çobha,
matsyasankya sahana rin (Bogen) darat / mwan i wwai,
raprp / drak / rumawuh anut kramanuwartta.
2. manduka krimi kara musika çrgala,
kweh çakterika winahan tamahnya tusta,
deni wwaɳ nika dudu riɳ sadeçadeça,
sambeknyeki tinuwukhan / dumeh ya tusta.
3. lwir niɳ pana surasa tan / pgat mawantu,
twak nyu twak / çiwalan / harak hano kilaɳ brm,
mwaɳ tampo sin adika taɳ hane harp / sök,
sarwwa mas/ wawan ika dudw anekawarnna.
4. rombeh mwaɳ guci tikanaɳ prakirrnna lumra,
arddakweh sajen ika datwanekawarnna,
tanpantyaɳ larih aliwer banun way adrs,
sambeknyangapan umutah waneh byamoha.
5. prahprah nrpatin aweh khasukan / pamukti,
yan waɳ çakta pa- (132b) da pinaran / larihnya limpad,
tan dadyamidi rin alah tlas kasenkwan,
riɳ wwaɳ mana lagi werwer ginuywan.
6. ramyaɳ gitada paniduɳ nikan maganti,
kirtti çri nrpati linanwakenyan anras,
mankin tusta san aninum / samenake twas,
sowenyalaha wkasan maguywaguywan.
[Canto 91]
1. jurwiyanin / cucud saha buyut nikan amaceh maceh,
prapta manrtta riɳ çwaran umambil i sadulur ika,
solahulah nikamuhara guyw anukani lumihat,
etunikhan wineh waçana taɳ para wadana kabeh.
2. ri wkasan kinon / marka milwalariha ri harp,
mantry upapatti kapwa dinulurnyan alarih aniduɳ,
manhuri khandamohi paniduɳnira titir inalm,
çri nrpatin widagda manulangapi rsp alanö.
3. gita narendra maɳhlahlandani jner anani,
mrak manawuwwan i padapa tulyanika rin alanö,
lwir mmadu len / guladrawa rinok / rin amanis anener,
wança maghasa tulyanika rin rs anuner i hati.
4. haryya ranadikara lali yan hatur i narapati,
haryya mahadikara ta dulur nika parn amuwus,
an / para handyan apti miha- (133a) te siran arakherakhet,
a juga linnira t-her umantuk / hadadadakan.
5. çri krtawarddaneçwara mamanjaki si ra rumuhun,
nkana rika witana ri tnah rinacana dinadak,
çorinireki gitada lawan / tkesira rahajöɳ,
sotan ulah karamyan ikanaɳ guyu juga winanun.
6. ndaluwaran sireki ri dataɳ narapatin anadeg,
gitaniranyat andani girahyasen in umulat,
çoranireki suçrama nirukti lituhayu waged,
gi ta nikanhiribhirib aweh rsepanin umulat.
7. çri naranatha tan sipi wagusnira tlas arasuk,
asta tkesnirekin upabharyya rahayu sawala,
tusnin amatya wança wicaksana tetes in ulah,
etuniran pabanwal anibaken ucapan anne.
8. naɳ nawanatya kapwa tinapaknira tinewekaken,
asya makadi tan pat ikaɳ guyu parn aslur,
mwaɳ karunamanun tanis aweh skel apuhara luh,
etu nikaɳ tumon / pada kamanusan anenanen.
9. sinhitin arkka linsir irika nrpatin atlasan,
nka para handyan amwit umusap / ri padatala haji,
liɳ nika muktapapa sinunan sukha kadi tan i rat,
tan / wuwusen / stuti- (133b) nya haji sampun umulih hi dalm.
[Canto 83]
1. [Being] Thus is the Illustrious Prince's excellence, obeyed in Tikta Wilwa (Majapahit), a monarch:
manifestly the moon in autumn is His glory, causing contentment in all quarters.
By aspect red lotus flowers are the bad people, by aspect white lotus flowers are altogether the honoured good people, loving to the (innermost of the) heart.
Retinue and treasures, also conveyances, elephants, horses are the first thereof, resemble the ocean.
2. The more begins this Yawa-land (Java, because of) her purity, to be renowned in the world.
Only Jambudwipa (India), together with Java, to be exact, are the ones that are talked about, (because of) their excellence, being good deshas (countries ),
on account of the great number of honoured experts in aji (lore), having for principals the honoured dhyaksas (judges), saptopapattis (seven assessors-at-law),
and Panjyangjiwa, Lekan, Tangar, in anything that may arise of karya (religious, legal concern) equally most clever.
3. In the first place (comes) the Illustrious Brahmaraja, of the dwijas (priests) the supreme, the great kawi (poet), blameless, knowing the agama religious doctrine),
the whole of tarka (speculation) etcetera is within His knowledge, versed in sangkhya (numbers), naiyayika (logic) etcetera,
and the holy Bhamana, in brata (religious observance) most accomplished, having penetrated the Wéda, the sat karma shuddha (six pure activities),
not to mention the Illustrious Wishnu, powerful in sama japa (Samaweda incantations), having for aim the increase of the world, thriving.
4. That is the reason why without interruption all peoples come from other countries, of all sorts,
so Jambudwipa (India), Camboja, China, Yawana (Annam), also Champa, Karnataka (in South India) and so on,
Goda (Gaur) and Syangka (Siam), that are their places of origin, taking their way in ships, joining merchants, crowded.
Bhiksus (Buddhist monks) and wipras (brahmins) are the principal ones who present themselves. At their arrival they are given enjoyment: they are well pleased, (the time they are) waiting.
5. Then every month Phalguna (February-March) the Illustrious Prince is offered paripuja (procession worship), celebrated in his own Royal residence.
Arrive the mantris (mandarins) of the whole land of Java, juru kuwus (lairds of manors), on the other hand dhyaksas (judges), all upapattis (assessors-at-law).
Joining them are: Bali etcetera, the other islands, as many as there are, with prabherti (first fruits tribute), without interruption, crowded.
Tradespeople and merchants are in the marketplace filling it in crowds, all their wares in great variety.
6. The order of the worship is: a going round of bhrisadis (portable pavilions) in company with merdanggas (ceremonial drums), escorted in procession by the common people,
seven times, every day increased by one (portable pavilion), with niwedya (offerings), going to their places in the wanguntur (main court yard).
Homa (fire-offerings) and brahmayajna (spiritual offerings) are performed by the worshipful the honoured Shiwaites and Buddhists, worshipping,
beginning on the eighth of the dark moon, having for fruit the Illustrious Princes' prosperity.
[Canto 84]
1. Arrived the time of the fourteenth at sunrise, the Illustrious Princes are to be described :
Their order: going round the town, having donned attire of gold etcetera,
splendid, sparkling, being carried in jampanas (palanquins), taking their way along the body of the Royal compound, in succession.
Mantris (mandarins) whoever excelled in all Java-land, wearing state attire, accompanied them, crowded.
2. Booming were the padahas (conical drums), merdanggas (ceremonial drums), truts (?), setting aside the shangkas (conches), tarayans (straight trumpets), noisy,
pressed on by the chain of the bhatta (singers) group, pronouncing the salutation,
shlokas (Sanskrit verses) in His praise (coming) from a foreign Royal compound, (made) by an honoured well-versed poet-monarch,
evidence of the Prince's renown like Raghu's Son (Rama) and Kersna, being victorious, beloved in the world.
3. Already the Prince had climbed into the jewel-singhasana (lion throne palanquin), radiant, sparkling.
Shoddhodani (Siddharta Buddha) in the body was His aspect, just (coming) out of Jinapada (the Buddhas' estate), splendid.
Evidently Tripuraharendra was she who entered into the Presence at His side, beautiful, imposing,
for equally superlatively well made was their attire, being humans pre-eminent, magnificent.
4. The order of Their course was: the Illustrious Princess of Pajang with her consort served as head (of the procession).
Their singhasana (lion throne palanquin), being started, was escorted in procession by a crowd of Royal servants, in great variety,
mantris (mandarins) of Pajang and also mantris (mandarins) of Paguhan were companions, in one group,
in very great numbers, having donned their attire, in company with the retinue, banners, padahas (conical drums) etcetera.
5. In the same way the Princess in Lasem with her consort, at the back was Their coming-on, with retinue,
and the Illustrious Princess in Kadiri with her spouse, with amatyas (well-born men), Royal servants, at the back.
The Illustrious Jiwana-compound's Queen came behind them, in company with a retainers' crowd, with husband.
The Illustrious Ruler was the last, mantris (mandarins) excellent of all Yawa-Iand (Java) accompanied him, crowded.
6. See now the common people, densely crowded, packed, troubled (because) without interstice, looking on.
At the borders of the open spaces there, crowded, altogether in rows stood carts, made into panggungs (stands for the public).
The doorways were taken care of, well-balanced, with the aspect of banners, and the panggungs (watch-towers) too were decorated.
Crowded were the women, young and old, setting aside those who filled up, having their places in the bacingah (great field), accumulated.
7. Their minds were excited and equally rejoicing, as if they were for the first time looking on.
Not to be described is that conduct. In the morning for the Prince was performed the angastrèni (consecration) ceremony, coming out into the wanguntur (main court yard).
Wipras (brahmins) etcetera, They gave amerta (holy water); eminent jars etcetera were those wawans,(carriers), well made.
Mantris (mandarins), common pamegets (gentlemen vested with authority) equally entered into the Presence, with the puspanjali (flower-anjali) ceremony, together pressing (to be the foremost).
[Canto 85]
1. At the new moon of Caitra (March-April) now the Royal servants' groups do pulung rahi: they assemble in company:
mantris (mandarins) and tandas (headmen), on the other hand gustis (yeomen) as many as there are and wadwa haji (the lord's menial serving men) too, following them.
Accompany them: mantris akuwu (lairds of manors) and juru buyuts (chiefs of rural communities' elders), also people from foreign Royal compounds,
not to mention the honoured kshatriyas (noblemen) and the wikuhajis (Royal priesthood), chiefly all eminent dwijas (priests).
2. The purpose of the assembly is: for the not being seduced (to evildoing) of all the honoured Illustrious Prince's servants, as to their conduct.
Equally they have to follow the "Teachings of the Raja Kapa-kapa (Kings of yore)", always every Caitra (March-April) read (to them):
do not set foot on the not to be ente red path, holding to the (rules on) clothes etcetera not to be worn.
Dewaswa (divine property) is the principal of it, not to be encroached upon is that, so that there may be prosperity of the Royal compound always.
[Canto 86]
1. About two days more is that (well-known) function, a Princely celebration.
There is north of the Royal compound a plain called Bubat, renowned.
The Illustrious Princes every time proceed there, using conveyances : singha-places (lion throne palanquins), with differences,
with retinue surpassing the procession (round the town), most wonderful: the people are looking on.
2. Now the arrangement of Bubat is: an empty plain, very flat, with short grass, wide.
About half a krosha (league) it is to the eas( extending to the Royal highway.
Half a half krosha (league) precisely is its trend to the north, extending to the bank of the river.
It is surrounded by bhawanas (large buildings), kuwus (manors) of mantris (mandarins), densely crowded, in groups.
3. Structures have their places in the centre, high, most wonderful their establishment, splendid.
Their stambhas (panels) are numerous, carved with parwa (Mahabharata) tales, the order thereof is well-arranged.
A camp is in the vicinity thereof, west, close by, of the aspect of a Royal compound in the Interior,
(it is) the place where the Illustrious Princes move into at the coming of the Caitra month (March-April), mounting the panggung (stand).
[Canto 87]
1. The order of the panggungs (stands) is in a row northward, with western front.
At the sides north and south of our lord are common kshatriyas (noblemen), select.
Sumantris (eminent mandarins), dharmadhyaksas (bishops) by name, are those who have their front eastward, (sitting) in order.
Their front is very wide. Its aspect is like the level area of the great field (in Majapahit-town).
2. There is the place where the Illustrious Princes, striving after the welfare of others, give eyes' delight.
There are fights of competition. Fights with blows are those with stakes of wounds, face to face.
They have kanjar (single combats with sharp weapons), on the other hand boxing and tug-of-war, thus causing pleasure.
There are four and three the days of Their staying; soon they are
going home again. .
3. At the going horne of the Illustrious Princes Bubat there is deserted, its panggungs (stands) are pulled up.
Thus now the fights of competion being dissolved, the more is it pleasure-causing.
In the waning moon of Caitra (March-April) the Princes are treating gramas (common village communities) as many as there are.
They are given clothes and food. All of them, rejoicing and respectfully taking leave, go home.
[Canto 88]
1. All kinds of buyut-wadanas (elders and speakers) now not (so) quickly go home. They take their leave respectfully in the Interior.
The Arya (Honourable) Ranadhikara is followed by those, the adhipatis (governors). In the morning they enter into the Presence.
The Arya (Honourable) Mahadhikara is juru panca tanda (the fellows-headmen's chief). They are considered the principal ones in padelegan (divination).
Companions are these, equally taking their leave respectfully on the occasion that the Princes, Their Worships, are waited upon in company.
2. Then there is the speech of the Prince of Wengker speaking to the common andyans (squires) etcetera, wadanas (speakers).
O you, do not be untrue, be most faithful, submissive, loving, Protector-obeying (loyal) toward our lord.
Be orderly, you, in the waishya (third estate) condition. Anything that might cause welfare of the pradeshas (rural districts), that should be had at heart.
Dams, dyke-roads, wandiras (bhandiras, Ficus Rumphii), gerhas (buildings) etcetera, all kinds of those good kirtis (foundations) should be kept in good state.
3. The principal of it: gagas (unterraced fields), sawahs (terraced fields), anything that is planted: that if may thrive, it must be guarded and treated with care.
As much of the land as has been made into karaman(rural community)-territory, should remain permanently so, without going to waste.
Therefore the kulinas (resident farmers) should not drive away those who are coming into foreign deshas (districts) when they are going to clear new land.
So is its pratigundala (regulation); that should be followed. The becoming great of the pradeshas (ruraldistricts) there (in the country), that is what should be striven after.
4. The Illustrious Kertawardhana-Master calls right (that) the greatness of the pradeshas (rural districts) be worked at.
Then, to be counted are those who show propensity to go astray, being negligent; that is: at the month Asadha (June- July)'s end.
Take part now in the giving heed to the presence of miscreants, in the first place those who practise deceit in companionship (sexual relations).
That there will be increase of the honoured Prabhu's property is its fruit: His means for the taking care of the world.
5. The Illustrious Prince the Tikta Wilwa (Majapahit) town's Master is soothing, continuing he says:
Samya (commoners), the name, so people say, its origin now is this: being visited, do not be wisama (troublesome).
If there are (obligatory contributions for) Royal functions, palawang (door-tax) making the first thereof, let there be none who wants to pass by.
As to pasegeh (obligatory regalement) also be mindful, reflecting on oneself then; the (true) samya (commoners) mark ought to be adhered to.
[Canto 89]
1. And the sense of the pratigundala (regulation) of the reign ofthe worshipful your lord's Mother, that must be followed.
Let people in the morning when it is light cook all those things that are to be eaten as pasegeh (obligatory regalement).
If there are greedy ones now (among) those who are regaled, causing pain by violence,
follow anything that is mentioned; anybody, whoever he be now, den ounce hirn with Us.
2. For the Royal compound and, on the other hand, its particular domain are a singha (lion) and a wood.
If destroyed be the peasants' cultivated lands (as a matter of course) will accompany them that (area) which has a shortage of means of subsistence; now, that is the town.
If there is no retinue in evidence there' are the foreign islands coming to the attack.
Therefore equally they must be taken care of: stable will be both. That is the fruit of the speaking.
3. Such are Their speeches for the common wadanas (speakers). Their answer is (given) with bows.
One is their respectful proffering: without fault to follow all the Princes' sayings altogether.
Mantris (mandarins) and upapattis (assessors-at-law) are those who are in waiting; thereupon the common handyans (squires) here mter into the Presence.
Bang, falls the stroke of three. Their repast now in company is to be mentioned.
4. The north-eastern witana (hall) is Their place, splendid, decorated completely.
In the three witanas (halls) following the corners the common wadanas (speakers) etcetera in company are ordered.
There comes now that food, excellent, those wawans (carriers) are all gold.
Quickly now those who serve up are (coming) in order according to rank in the Princes' front.
5. The specification of Their repast is: mutton, buffalo, poultry, game, wild boar, bees,
fish, also those ducks. The teaching of the sacred text Lokapurana is followed.
Dogs, tortoises, worms, mice are forbidden, on the other hand frogs are mean, very.
Enemies are despising, life perishes, (that) is the fruit thereof, so it is said, if it would be encroached upon.
[Canto 90]
1. There comes the food having for destination [for] the common people.
Complete all silver are its plates, splendid.
Meats innumerable, all there is on the land and in the water.
Hurry-skurry, soon they come off following the custom in succession.
2. Frogs, worms, tortoises, mice, dogs,
how many there are who like those (meats)! They are flooded with them, so they appear to be well pleased.
As to people there (in the country), they are different in one desha (district) and another.
All their minds now are satisfied. (That is) the cause that they are well pleased.
3. The specification of the drinks, tasty, without interruption succeeding each other:
tuwak (fermented sap) of the coconutpalm (Cocos nucifera), tuwak of the lontarpalm (Borassus flabellifer), arak (distilled liquor) of the sugarpalm (Arenga pinnata), kilang (fermented cooked molasses), brem (fermented rice),
and tampo (double fermented rice), anything superior, that is what is present before them, crowded.
All gold are those wawans (carriers) different, of several kinds.
4.Pots and jars, now, are there of all varieties spread everywhere.
Very numerous are those sajengs (alcoholic drinks), the raw materials are of several kinds.
Without waiting the liquor rushes around (as if) of the shape of water, streaming.
All their breaths are panting, they are vomiting, others are bewildered.
5. Universally the Illustrious Princes are giving pleasure by enjoyment (of the repast).
If there are people addicted (to drinking) just as well they are visited, their liquor is all-surpassing.
Nor does it occur that (the Princes) censure them for their faults, completely are they covered up.
As to people over-bold, just bemused, they are laughed at.
6. Pleasant are the gitadas (singers), their singing of songs is in turns.
The Illustrious Prince's kirtis (foundations) are glorified by them, charming.
The more content are the honoured drinkers with all imaginable pleasure in their hearts.
How long they are competing! At the end there is mockery.
[Canto 91]
1. A jurw iy angin (female dancer), witty, in company of Buyut (an old man) then causes merriment.
She comes on dancing, in the text (of her song, she tells) that she is taking a companion there.
All that variegated acting causes laughter, giving pleasure to the onlookers.
Therefore she is given clothes by the common wadanas (speakers) all.
2. At the end she is ordered to enter into the Presence to join drinking liquor in front (of Royalty),
Mantris (mandarins) and upapattis (assessors-at-law) equally are taken for companion by her, drinking liquor, singing kidungs (songs).
Manghuri, Kandamohi, Their kidung-singing is unceasing, and praised.
The Illustrious Prince, being expert, joins in, pleasant, (poetically) charming.
3. The Prince's singing is maving, causing amazement, touching.
A peacoek carolling on a tree is the likeness for it in the (poetically) charming (parts).
Of the kind of honey and sugar, fluid, mixed, it is in the sweet (parts), agreeable.
Grating bamboo is the likeness for it in awe-inspiring (parts), stinging in the heart.
4. Arya (the Honourable) Ranadhikara is forgetful that there is a respectful announcement (to be made) to the Princes.
Arya (the Honourable) Mahadhikara now is his companion, together they speak:
that the eommon handyans (squires) wish to see Them performing rakets (musical plays).
A only is Their word. At onee they return (to their places) making provisions.
5. The Illustrious Kertawardhana-Master is panjak (initiator) for Him (the King) first,
there in that witana (hall) in the centre, decorated, improvised.
His Shori here, Gitada with His Tekeses are beautiful.
As it is an act of pleasantry only laughter is aroused then.
6. Then He disperses (his troupe) at the coming of the Prince, making his appearance.
His (the King's) songs, are something different, causing the onlookers to be excited.
His Shori here is doughty, matching, good-looking, skilful.
Those songs are insinuating, giving pleasure to the onlookers.
7. The Illustrious Prince, not missing the mark is His neatness, completely dressed.
Eight are His Tekeses here, being upabharyas (companions), beautiful, worthy.
scions of amatya (well-born) families, so (they are) discerning, accurate in conduct.
Therefore He, banol-playing (joking), letting fall (facetious) sayings, hit the mark.
8. So then the Nawanatya all was followed by Him and brought to a conclusion.
Merriness made the beginning; without interruption was the laughing together in succession,
and pity aroused weeping, giving anguish, causing tears.
Therefore those who saw it were altogether touched in their minds.
9. The inclination of the sun was declining: then the Prince was making an end.
Then the common handyans (squires) took their leave, wiping our lord's Foot-soles.
The words of those (men) were: released from evil, given joy as if not in the world.
Not to be mentioned is their praise. Our lord at last returned into the Interior.
first draft, not proofread /