Show / hide

The gamelan plays the suite of pieces that serves as an overture (talu).
While the audience enters the theatre, Ki Anom Soeroto sits cross-legged behind the screen, facing the gamelan. Only a kayon is on the screen. It stands straight in the centre, planted in the trunk at the screen’s base. Another kayon is implanted at the far left, covering some of the puppets of the ornamental row on that side of the screen .
When the overture is concluded, the dhalang turns round to face the screen. His assistant sits down behind him.After a few moments of silence, the dhalang raps the puppet chest • • • • • • •• •, signalling the gamelan to commence the accompaniment for the opening scene.
First part · Pathĕt Nĕm
The gamelan plays gĕndhing Kabor, the first piece in every play that begins with an audience at the court of Astina. Kabor is in the slendro scale and the mode nĕm.
The dhalang executes the elaborate sequence of opening movements. On the stroke of the large gong that concludes the first musical phrase of Kabor, he gently extracts the kayon from the trunk and raises it about a foot while keeping its tip pressed against the screen . He lets it slide down to its earlier position where he holds it still for a second. He makes it quiver, lowers it further, and removes it from the screen towards the left. The kayon off-screen, he squeezes its tip with his left hand while inaudibly pronouncing a prayer. He moves the kayon underneath the lamp (so that no shadow becomes visible) towards the right-hand side of the screen, where he spins it vertically five times. Finally he plants it in the bottom trunk at the very right, covering the ornamental row of puppets there.
The dhalang simultaneously brings out two maidservants into the audience hall from the right (the direction of the palace), pressing them against the screen in the right gawang on the next gong stroke, then lowering them to depict that they squat down.
They advance to the left gawang in a crouching position. There they turn round and face in the direction of the palace. The dhalang plants them in the lower trunk to represent their sitting down on the floor. Simultaneously they perform two sĕmbahs (a gesture of obeisance: putting the hands, palms pressed together and fingers pointing upwards, in front of the face), then sit waiting with their hands reverently clasped together in their laps.
King Duryudana enters from the right. Exactly on the next gong stroke of Kabor he is planted in the top trunk in the right gawang to depict that he seats himself on the throne . He puts his left hand on his hip as a sign of authority and strength and with his other hand motions to the maidservants that he is ready to receive his guests.
The maidservants make two sĕmbahs. Meanwhile the dhalang starts to intone a verse from an ancient poem, matching the melody of his cantillation to the tune of the gamelan piece.
Enchanting was the delight of the
Lĕnglĕng ramywaningkang
The maidservants rise and in a crouching position move backwards towards the left until they are off-screen, to convey to those waiting outside the audience hall that the ruler is ready to receive them.
The maidservants reappear from the left and shuffle forward one after the other until they reach King Duryudana.
Moon shining
Sasangka kumĕnyar
Simultaneously the maidservants make two quick sĕmbahs to the king.
The maidservants move towards the right and exit.
Adorning the sweet-scented palace
Mangrĕngga rumning puri
One after the other the dhalang places them in the lower trunk against the kayon behind the king, facing left, their hands together in their laps.
The sage Durna enters left. King Duryudana invites him to sit down by pointing to a seat with his right hand while supporting his right elbow with his other hand . Durna acknowledges the welcome with a bow followed by a sĕm­bah karna – a salute from a senior to a junior person that consists in putting the right hand against the ear while bowing slightly. Durna takes his seat and salutes again.
Ever more sublime
Mangkin tanpa siring
Next to appear is King Karna. He enters from the left, decorously holding the fold of his waist-cloth with both hands, and halts in front of Durna. King Duryudana greets him with both hands; Karna acknowledges the welcome with a bow and returns it with a salute .
Karna takes his seat behind Durna, his hands in his lap.
Became the beauty of the building
Halĕping kang omah
Chancellor Sangkuni enters, politely holding the fold of his waist-cloth. When he is in front of Durna, he makes a bow to King Duryudana .
Golden like the glowing firmament
Mas lir murubing langit
The king greets the chancellor by putting his right hand on his heart.Sangkuni bows deeper, then salutes.He sits down on the floor (that is, his puppet is planted in the lower trunk) next to Durna and rests his hands together on his thigh.
King Duryudana puts his left hand back on his hip . Meanwhile the dha­lang raps the puppet chest to signal an accelerando and sforzando in the gamelan. At the appropriate point in the structure of the piece he raps the pattern •• • as a cue to the gamelan to play slowly and pianissimo. The drum and the soft-sounding and punctuating instruments continue playing; all others and the female singer pause.
RECITATIVE: Vanish be still be brought to a close. «»
JANTURAN: Swuh rĕp data pitana. «»
Which city then is prime among the eminent decad of antiquity: «» «»
Anĕnggih nagari pundi ta kang kaeka adi dasa purwa: «» «»
prime stands for first, eminent for excellent decad for ten, antiquity for the beginning. «»
eka marang sawiji, adi linuwih dasa sapuluh, purwa wiwitan. «»
Though many are the gods’ creatures overlain by the skies supported by the earth, enclosed by the oceans and many are enthralling in the extreme «» «»
Nadyan ta kathah titahing jawata ingkĕng kaungkulan ing akasa sinangga ing pratiwi, kinapit ing samodra kathah kang samya anggana raras «» «»
still the state now extolled has no match. «»
nanging datan kadi nagari ingkang ginupit ing mangke. «»
Where to find a single land that bears ten names: «»
Pundi ta nagari satunggal darbea nama sĕdasa: «»
such could only be the land of Astina, or Gajah Oya or Liman Bĕnawi; «» «» «»
muhung, nagari hing Ngastina, inggih ing Ga­jah Oya ya ing Liman Bĕnawi; «» «» «»
it is named the land of Astina, for it was founded by the late King Hasthimurti. «»
mila hawasta nagari Ngastina, labĕt ing nguni yasaning sawargi Prabu Hasthimurti. «»
It is called Gajah Oya or Liman Bĕnawi: «»
Sinĕbat Nggajah Oya ya Liman Bĕnawi: «»
before it came to be a city, on the site it occupies stood the remains of an elephant’s palace. «» «»
sakderenge dumadi praja, yĕkti papan ing kono duk kunane tilas kĕdhatoning dwipàngga. «» «»
It is made the opening of the story. «»
Kinarya pambukaning kandha. «»
For though one search a hundred lands one
Tĕtela angupadya nĕgari satus tan antuk
could not find two in a thousand not even ten. «» «»
kĕkalih sewu tan jangkĕp sadasa. «» «»
As the land is long
Dhasar nagara panjang
and lofty, littoral alpine, fecund abundant bustling
punjung, pasir wukir, loh jinawi gĕmah
prosperous. «» «» «»
raharja. «» «» «»
Long: extensive its repute, lofty: exalted its grandeur, littoral is maritime alpine mountainous «»
Panjang dawa pocapane punjung luhur kawibawane, pasir samodra wukir gunung «»
truly the city is backed by mountains, flanked on the left by a river.
tuhu nagari ngungkurakĕn pagunungan, ngeringakĕn bĕnawi.
Flanked by rice fields to the right.
Nĕngĕnakĕn pasawahan.
It faces a great port. «» «»
Ngayunakĕn bandaran agúng. «» «»
Fecund: all that is planted thrives and bears fruit. Abundant: all that is bought is cheap, bustling: the throngs of foreigners «»
Loh tulus kang sarwa tinandur dadi. Jinawi murah ingkang sarwa tinuku, gĕmah kathahing para jalma ngamanca «»
who have made the city their home crowd and huddle roof-beams meet verandas touch «»
ingkang samiya gĕgriya lĕbĕting praja ka­tingal jĕjĕl hapepet abĕn cukit tĕpung taritis «»
open spaces appear cramped on account of the city’s prosperity. «» «»
papan wiyar katingal rupak inggih awit sa­king raharjaning praja. «» «»
It is opulent
witness the trains of merchants sailors and skippers making their way by day and by night, «»
tandha lakuning para dagang layar nangkoda ingkang samya lumintir siyang ta­napi ratri, «»
flowing along endlessly due to the absence of dan–ger on the roads. «» «»
ndalidír datan wontĕn pĕdhote labĕt tan wontĕn sang–sayaning dĕdalan. «» «»
It is secure witness the villagers feeling tranquil and peaceful, «»
Karta tandha kawula padhusunan samya hayĕm tĕntrĕm atine, «»
they engage in cultivation no livestock is tethered; during the day they roam the pastures when the sun sets:
mungkul pangolahing tĕtanen pitik iwen tan wontĕn cinancangan; wanci hawan ngandhar ing pangonan suruping arka:
they return each to its prope~~r coop or pen. «» «»
wangsul marang kandhange~~ dhewe-dhewe. «» «»
There are no such things as pens barred; «»
Datan wontĕn carane kandhang pĕpalangan; «»
doors locked, due to the absence of evil and falsehood. «» «»
lawang kinancingan, labĕt datan wontĕn dursila juti. «» «»
Prosperous: it is shunned by foes its principals and ministers famed for their virtue:
Raharja tebihing parangmuka para mantri bupati samya kontab kautamane:
righteous, valiant incessantly striving
dibya, wirutama tansah hambudidaya
to aggrandize the ruler and enhance Astina’s magnificence. «» «»
luhuring sang nata twin wibawaning nagari Ngastina. «» «»
Since it is a land whose torch is great.
Dhasar nagara gĕdhe obore.
Its sphere luminous its smoke rising high its fame reaching far and renowned in neighbouring countries. «» «»
Padhang jagade dhuwur kukuse adoh marang kuncarane tur kasusra ing manca­praja. «» «»
Indeed it is not just the lands to its right and left that submit themselves even beyond the seas «»
Sayĕkti datan ngĕmungakĕn nĕgari kanan kering kang samya sumuyud nadyan ta tanah sabrang «»
many pay obeisance not on account of warfare,
kathah kang sami sumawita tan karana banda­yuda,
but simply enchanted by the tidings of excellence. «»
amung kayungyun pĕpoyaning kautaman. «»
In the intercalary months they supply their tribute in the shape of tree-trunks for charring. «»
Pĕndhak antaramangsa samya pasok bulu bĕkti kang awujud glondhong pĕngarĕng-arĕng. «»
Treasures valuables materials and artefacts. «»
Peni-peni rajapeni guru bakal guru dadi. «»
They proffer maidens to requite the love and affection. «»
Ngaturakĕn putri tandha lintuning sih ka­trĕsnan. «»
And not a few of the rulers of neighbouring countries,
Tuwin datan sakĕdhík nalendra saking mancapraja,
send their ambassadors, in token
angentunakĕn duta agĕng, minangka cihna,
of the ties of brotherhood. «» «» «»
tĕtangsuling kĕkadangan. «» «» «»
The appellations of the king who graces the city may be pronounced. «»
Wĕnang kinucapna jĕjuluking sang nata kang ngrĕnggani praja. «»
He is called His Majesty King Duryudana.
Ajĕjuluk sang nata Prabu Duryudana.
Which carries the meaning, a ruler forceful in his worship. «»
Ingkang mĕngku wĕrdi, nalendra rosa ing pamuja. «»
And also His Majesty King Jakapitana. «»
Ya sang nata Prabu Jakapitana. «»
To commemorate, when still a youth he
Minangka pemut, nalika maksih jĕjaka
already held the reins of the state. «»
sampun ngasta pusaraning praja. «»
And His Majesty King Jayapitana.
Ya sang nata Prabu Jayapitana.
Denoting a king who is the jewel of warriors. «»
Nelakakĕn nalendra dados musthikaning para prajurit. «»
And the illustrious Gĕndarisuta.
Ya Sri Nggĕndarisuta.
For His Majesty was born to Lady Gĕndari,
Labĕt sang nata atmajaning Dewi Gĕndari,
and the noble Drastarastrasiwi.
ya sang Drastarastrasiwi.
For the noble Drasta­rastra begot him. «»
Labĕt pinutra sang Drastarastra. «»
And His Majesty King Kurupati. «»
Ya sang nata Prabu Kurupati. «»
Because His Majesty «»
Karana sang nata tasih «»
reigns over the House of Kuru,
angratoni bangsa Kuru,
and His Majesty King Kurawendra. «»
ya sang nata Prabu Kuråwendra. «»
Which conveys – the meaning
Minangka – suraos
that he ties together the one hundred siblings
(dĕdad) dados tangsuling para kadang satus «»
their number completed by one woman to wit Lady Dursilawati who is married; «»
ingkang kasasaban wanodya sajuga yaiku Dewi Dursilawati ingkang sampun dhaup; «»
to the ruler from Bana Kĕling namely the honourable lord Jayadrata. «»
kalayan nalendra sangking Mbana Kĕling hanĕnggih sang hadipati Jayadrata. «»
And King Tripamangsah. «»
Inggih Prabu Tripamangsah. «»
To commemorate that His Majesty was born
Minangka pemut, nalika sang nata lair
as one of triplets of different sex. «»
dhampit tĕtiga. «»
Namely Prince Kurupati, Prince Dursasana and Lady Dursilawati. «» «»
Yaiku Raden Kurupati, Raden Dursasana klawan Dewi Dursilawati. «» «»
Considering that the ruler of Astina «»
Engĕt-engĕt nalendra Ngastina, «»
is a son of the noble Drĕstarastra it is no wonder, «»
atmajaning sang Drĕstarastra mila datan mokal, «»
that he possesses the qualities of subtleness, fairness, firmness,
lamun ta dĕrbea watak tanuhita, darmahita, sarahita,
and prudence. «»
samahita. «»
That is, he delights in practising scholarship.
Lire, karĕm olah kapandhitan.
He takes pleasure in exercising justice
Rĕmĕn olah pangadilan
is fond of military matters devotes himself to etiquette. «» «»
sĕngsĕm olah kaprajuritan marsudi rehing tatakrami. «» «»
A ruler more skilled than the skilful without suppressing the skills of others exalted without aiming to excel lowly yet unsurpassed by his fellows. «» «»
Nalendra guna hingaguna tan ngĕndhak gunaning jalmi luhur tan ngungkul-ungkuli handhap tan kasor ing sĕsami. «» «»
His Majesty’s merits are that he clothes the naked feeds the hungry aids with a walking-stick those in danger of slipping
Lalabĕtaning sang nata paring sandhang wong kawudan haweh pangan wong kaluwen tĕtulung tĕkĕn wong kalunyon
restores the sick to health, those who suffer distress he makes happy. «»
maluyakake wong sakit, kinarya suka kang samya kĕtaman prihatin. «»
And he maintains the parity of the unequal in largess and penalties, awarding largess or castigation as justice demands
Sarta ngasta sama beda dhana dhĕndha, lampahing pangadilan, nindakakĕn dana wĕsiyasat
meaning that he shuns favouritism. «» «»
lire datan hambau kapine. «» «»
Further he is beneficent and dependable. «»
Tur ta nata berbudi bawalĕksana. «»
Beneficent means that he rewards and raises in rank, dependable: whatever he commands
Lire berbudi hangganjar ngulawisudha bawalĕksana apa ingkang kadhawuhakĕn
is ineluctable and cannot but take place. «» «»
datan kenging oncat tĕtĕp kĕlampahan. «» «»
If the monarch’s eminence and the extent of his dependencies were set forth in full, the whole night might be filled it is brought to a close by the poet and ended. «» «»
Lamun ta ginunggunga luhuring sang katong tuwin wiyaring jajahan, kaya saratri datan wontĕn pĕdhote pinunggĕl kang hamurweng kawi sinigĕg. «» «»
On a Monday, it pleases him to hold court on the Elevated Ground evenly paved with stone while seated on the ivory throne bordered with gold studded with the nine gems. «»
Nuju hari Soma, kĕparĕng miyos siniwaka aneng Sĕtinggil binatu rata lĕnggah dhampar dĕnta kinapiting kancana pinatik ing nawa rĕtna. «»
Furnished with a carpet strewn with flowers scented with perfumes, oil of civet and musk. «»
Kagĕlaran pĕrmadani sinĕbaran sari-sari ginanda wida, lisah jĕbad kasturi. «»
Waited on by attendants who are holding the regalia.
Kahayap para parĕkan kang ngampil upa­cara nata.
Consisting of the golden teal, the golden duck, the puppeteer’s goose the fighting-cock. «»
Arupi bebek mas, menthog mas, banyak dhalang sawung galing. «»
The eagle-serpent, the golden cone the elephants of solid gold. «»
Hardawalika, kacu mas dwipàngga ingkang sarwa rukmi. «»
One sees the king being fanned with peacock plumes right and left the sovereign’s scent spreads and disperses as far as the Place of the Rosters. «»
Katingal sang nata kinĕbutan lar badhak kanan tanapi kering kongas ngambar gandaning sang katong ngantya prapteng Pangurakan. «»
Gone is his humanity he may be liken~ed
Sirna kamanungsane cinandra~ pan yayah
to God Praban—cana incarnate, waited upon by the heavenly nymphs. «» «»
Sang Ywang Praban—cana ngejawantah, kahayap para hapsari. «» «»
Tranqui—~~l still and silent. «»
Rĕ—~~p sidhĕm pĕrmanĕm. «»
Not a single cricket makes a chirp, the leaves do not stir, the wind does not blow. «» «»
Tan ana baneke walang salisik, gĕgodhongan datan ebah, angin tan lumampah. «» «»
Just faintly audible, are the delicate sounds of the gamelan played in concert with the alluring high tones of the songstresses «»
Amung lamat-lamat kapiyarsa, swaraning pra pradangga angrangin binarung pangliking widuwati kang nganyut-anyut «»
joined by the chatter
kasambĕt ocehing
of birds perched on the railings and by the artisans braziers blacksmiths, gamelan makers and goldsmiths. «»
kukila kang mencok ing pancak suji tuwin abdi, kriya gĕmblak pandhe, gĕndhing myang kĕmasan. «»
Each doing their work clanking and tinkling all around in interlocking patterns. «»
Hanambut karyane sowang-sowang pating calĕngkrang pating calĕngkríng imbal ganti. «»
Like the sound of the mole-cricket that is known as the enamoured. «»
Lir swaraning cĕnggeret nong ya kang sinĕbat mandyaraga. «»
Enhancing the lustre and charm of the audience. «» «»
Amimbuhi marang asri, rĕnggĕping pa­nangkilan. «» «»
As to those given leave to gather before the ruler, now this is their appearance: «»
Wondene ingkang kĕparĕng, sumewa ing ngarsa nata nĕnggih mĕnika ta warnane: «»
the court scholar the sage from the hermitage of Soka Lima named the divine Druna. «»
pujangganing praja pandhita saking pĕr­tapan Soka Lima pĕparab Dhahywang Druna. «»
Or the divine Kumbayana or Baradwajaputra or the noble Wipra, or the eminent Dwija. «» «»
Ya Dhahywang Kumbayana ya Baradwaja­putra ya sang Wipra, ya sang wara Dwija. «» «»
Directly behind him,
Sumambung pungkur,
on his guard against predicament this then is: the ruler of Angga, «»
yayah prayitneng kewuh anĕnggih mĕnika ta, nalendra ing Ngàngga, «»
named the noble Karna Basusena. And also Bismantaka.
jĕjuluk sang Karna Basusena. Inggih sang Bismantaka.
Arkasuta. And Suryatmaja. «» «»
Arkasuta. Ya sang Suryatmaja. «» «»
A ruler with manifold powers valorous victor in battle. «»
Nalendra sĕkti mandraguna prawira jayeng palugon. «»
Hence it is little wonder,
Mila datan mokal,
that in Astina he is celebrated as a champion defender in the field always hardened and encouraged. «» «»
wontĕn ing Ngastina kinarya gĕdhig gul-agul tanggulanging adilaga anggung ginala-gala hingulig. «» «»
Now also seen in attendance is the scabbard of the state. «»
Ing mangke datan kantun katingal pisowaning warangka praja. «»
Who happens to be the ruler’s uncle.
Kalĕrĕs ingkang paman klawan sang nata.
He who is knight of Plasa Jĕnar. «»
Ingkĕng anyatriya wontĕn ing Plasa Jĕnar. «»
Named the noble chancellor Sangkuni, or noble chancellor Suman. «»
Kĕkasih Rĕkyana Patih Harya Sangkuni, ya Patih Harya Suman. «»
Or the eminent Trigantalpati or Prince Swela­putra. «» «» «»
Ya sang Trigantalpati ya Radyan Swelaputra. «» «» «»
Outside the officials in attendance crowd row~~ upon row. «»
Ing jawi andhe~~r balabar pisowaning para narapraja. «»
From the senior ministers who are called your highness.
Wiwit sangking bupati sĕpuh kang sĕsĕbatan kanjĕng.
Down to junior ministers; magistrates, superintendents,
Lumereg bupati anom; wĕdana, pĕnewu,
regulars and so forth. «»
jajar sakpanunggalane. «»
All are ready to receive
Samya cumadhang marang
the words of His Majesty King Duryudana. «» «»
pangandikaning sang nata Prabu Duryudana. «» «»
Thus far it has remained undisclosed that King Duryudana. «»
Mangkana tĕlĕnging pagĕdhongan Prabu Duryudana. «»
Is most apprehensive about the universal prophesy which states that the Baratayuda Jayabinangun is to erupt before long. «» «»
Muhung mrihatosakĕn dhatĕng jangkaning jagad ingkang anyĕbatakĕn mbenjang badhe timbul Baratayuda Jayabinangun. «» «»
Meanwhile the noble King Duryudana feels fear
Ing mangka sang Prabu Duryudana rumaos miris
whenever he perceives
manawi ngwuningani dhatĕng
the strength of the Pandhawas. «»
kĕkiyataning para Pandhawa. «»
Hence it is little wonder, that King Duryu­dana
Mila datan mokal, sang Prabu Duryudana,
has convened the state mentors, «»
anyakĕtakĕn dhatĕng parampara praja, «»
wishing to confer with them. «»
arsa kakanthi wawan pangandikan. «»
Ever more crowded are the officials in attendance. «»
Saya ngangsĕg pisowaning para narapraja. «»
And thus.
Flow forth the words that hitherto have not issued from His Majesty King Duryudana’s tongue. «» «»
Wijiling pangandika ingkang dereng kawiyos ing lesan saking sang nata Prabu Duryudana. «» «
The dhalang intones this vocable and raps the puppet chest once on the gong stroke to cue the gamelan to resume playing at normal volume. All loud instruments and the singer join again. Kabor is accelerated.
Via a transitional phrase in the high register the gamelan proceeds to ladrang Krawitan, the second movement of Kabor. Initially this is played in a loud and fast style, with shouting by the musicians at the end of each gong phrase. Then the tempo is slowed down considerably and Krawitan is continued in a calm and soft style. The dhalang cantillates further:
And my gesture of obeisance
Dyan sĕmbahnireng ulun
Is first directed to the Creator of the world
Kapurba ring Sang Murbeng Rat
And all that exists
Who loves his servants
Nikanang sih ing dasih
Providing all with sustenance
Maweh boga sawĕgung
Loving till the end of time
Masih ring dĕlahan
And further praises
Dyan kanang mamujwenga
To the noble guide of humankind
Ri njĕng nayakaning rat
The ultimate messenger to the world
Duteng rat kotama
May he find favour as well as the priests
Mangguha manugraheng len sewa sogata
Who have attained eminence
Tang huwus minulywa
The dhalang raps the chest to signal an accelerando. Then the gamelan slows down and Krawitan comes to a calm conclusion.
Still was the assembly
Sidhĕm jroning pasewakan
The scores of warriors did not stir
Wadya gung tanpa sabawa
o, e
o, e
Amazed by the ruler’s radiance
Kapraban dening sang narpa
Whose nature was like the eminent nectar
Kang mahambĕk martotama
He seemed to look up towards the gods
Saksat manĕngeng jawata
Irresolute, engrossed in longing
Mangu mangun kahonĕngan
Irresolute, engrossed in longing
Mangu mangun kahonĕngan
His fiery eyes inspired awe
Sĕsumuking netya wingit
As he contained his sorrow
Pangĕmoting duka cipta
The heart of the king cooled down
Kasrĕpan tyasing narendra
He excelled among his fellow beings
Punjul samining tumitah
Beneficent, dispensing harmony
Berbudi mandana raras
Beneficent, dispensing harmony
Berbudi mandana raras
[...] «» «»
[...] «» «»
•• […]
•• […]
Silent were those in the audience hall
Tidhĕm jroning panangkilan
His countenance revealed
Sĕmune kawuryan
The urgency of his will
Wigatining karsa
King Duryudana’s disposition
Kaparĕng Nata Duryudana Prabu
As he appeared in audience
Kang miyos tinangkil
Was out of the ordinary
Beda lan saban-saban
He radiated power
Akanthi prĕbawa
Fear was felt in the hearts
Kĕkĕs gĕtĕring tyas
Of those in attendance
Kang sami sumewa
None uttered a sound
Tan ana nyabawa
[...] «» «»
[...] «» «»
DURYUDANA: By your leave, «»
DURYUDANA: Nuwun, «»
a short while after
dereng sawatawis dangu,
your – arrival, Reverend Holy Father Durna; «»
sarawuh – Paduka, Bapa Panĕmban Bĕgawan Durna; «»
I extend my welcome of salutations and respects,
kula ngaturakĕn pasĕgahan panakrami prĕmbage,
presented over and over before you,
mawantu katur, wontĕn ngarsa Paduka,
Reverend Holy Father of Soka Lima.
Bapa Panĕmban Bĕgawan ing Soka Lima.
DURNA: As you command,
DURNA: Kawula nuwun,
as you desire, Majesty. «»
nuwun nun inggih, Sinuwun. «»
By your leave I greatly esteem and appreciate Your Venerable Majesty’s affectionate salutations. «»
Nuwun dhatĕng kadahat katĕdha kalingga murda sih panakramenipun, Paduka hingkĕng sinuwun. «»
In return may the compliments of your father of Soka Lima be placed
Wangsul pangastawanipun pun bapa ing Soka Lima, mugi konjuka,
under Your Royal Majesty’s feet. I am at your service,
wontĕn ing sahandhaping pada Padukendra. Kawula nuwun,
at your service.
DURYUDANA: Yes Reverend Father,
DURYUDANA: Nggeh Bapa Panĕmban,
I receive them in both hands and hold them above the head,
kula tampi tangan kĕkalih kapundhi wontĕn mĕstaka,
may your gift of blessings «»
mugi dadosa jimat paripih, «»
serve as a talisman,
paring pangestu saking Paduka,
Reverend Father of Soka Lima. «»
Bapa Panĕmban ing Soka Lima. «»
By your leave, Royal Brother,
Kula nuwun, Kaka Prabu,
Royal Brother Basukarna.
Kaka Prabu Basukarna.
Upon your arrival I extend a wish of well-being,
Sarawuh Paduka kula hangaturakĕn ka­raharjan,
hoping it may be placed before you my royal brother of Awangga.
mugi katur, wontĕn ing ngarsa Paduka Kakang Prabu ing Ngawangga.
KARNA: As you command Royal Brother,
KARNA: Kawula nuwun inggih Yayi Prabu,
I have come in safety without disturbance,
lulus raharja pisowan kula,
in return I offer my compliments, Brother.
wangsul pangastawa kula katur, Yayi.
DURYUDANA: Yes, Royal Brother,
DURYUDANA: Nggeh, Kaka Prabu,
I receive them in both hands, [placing his hand on his heart :] press them against my chest,
katampi tangan kĕkalih, kapĕtĕk wontĕn ing prĕnaja,
may my princely brother’s compliments enhance the prosperity of my blood and flesh.
anyĕmbuhana, rah daging ingkang yuwana, pangastawa saking Paduka Kakang Adipati.
Now then Uncle—,
Mangko ta Pama—n,
Uncle Chancellor, noble Suman.
Paman Patih, Harya Suman.
SANGKUNI [saluting]: Humbly I await your commands, Majesty—,
SANGKUNI: Kula nuwun-nuwun wontĕn tim­balan ingkĕng adhawuh, Sinuwu—n,
you have summoned your servant of the chancellery. «»
animbali dhatĕng abdi Paduka hing kĕ­patihan. «»
DURYUDANA: That I have called upon you, Uncle, to approach, should not be a cause for fear, my uncle of the chan­cellery.
DURYUDANA: Marma pakĕnira Paman, manira piji marak mangayun, haywa dadi kagyating ati, pakĕnira Paman hing kĕpatihan.
SANGKUNI: As you command,
SANGKUNI: Kawula nuwun,
as you desire. [Salutes.]
nuwun nun inggih.
When I received Your Majesty’s summons,
Dupi kula tampi timbalan Padukendra,
my heart felt «»
raosing manah «»
like a blade of jungle grass planted in the palace square, struck by a mighty storm it quivered and trembled in a state of distress. «»
yayah alang-alang salamba pinanjĕr wontĕn ngalun-alun, katĕmpuh ing maruta gung dahat kumĕjot kumitir carub wor kaliyan maras. «»
[Saluting:] But once your servant reached the royal presence,
Nanging dupi patikbra marak wontĕn ngarsa Padukendra,
I felt cool at heart as if
raosing manah asrĕp yayah
sprinkled at dawn with water chilled through­out the night, not in the least distraught. «» «»
siniram tirta wayu wanci enjang, tan pisan anggadhahi raos kĕmarasan. «» «»
[Saluting:] Why was this: because I realized, «»
Mĕnapa ta sababipun: hawit hàmba ngru­maosi, «»
how lowly my position is while I have served my sovereign for some time. «»
andhap panggenan kula tur ta sawĕtawis anggen kula suwiteng narpati. «»
[Saluting:] So that if your chancellor has erred, and will have to suffer pain or even death,
Hambokbilih pun apatih anandhang dosa, alit sakit agĕng dumugining pĕjah,
who would graciously pass judgement over me, but Your Venerated Majesty?
sintĕn ingkang kĕpareng murba amasesa, muhung Paduka ingkĕng sinuwun.
[Saluting:] As the saying goes I shall face up to it though I might be prostrated on the block and struck with a sharp weapon;
Tĕmbung tadhah wadana kakurĕbna wontĕn ing abahan kapanduka warastra ingkĕng lungid;
not only by daylight but even by night, I would submit myself before Your Royal Majesty. «»
sampun ta ingkang siyang nadyan ta (ta) ratri, sampun kula unjukakĕn wontĕn ing ngarsa Padukendra. «»
flotsam and jetsam on the sea,
sarah ungguhing laut,
food lying on a plate;
lawuh munggwing rampadan;
[saluting:] please – deal with your chancellor as Your Majesty sees fit.
sumangga anggen Paduka badhe – murba dhatĕng pun apatih.
I am at your servi—ce,
Kawula nuwu—n,
at your service.
DURYUDANA: Uncle Chancellor Suman, «»
DURYUDANA: Paman Patih Harya Suman, «»
you take this too hard,
kĕjĕron panampa,
commending your life and death to me, you make it appear as if you had sinned. «»
munduran kaya anandhang dosa, pakĕnira Paman ngaturake pati urip. «»
It is said that however wild a tiger,
Ana binicara sakgalak-galakaning sardula,
it will be unable
kaya datan kuwawa,
to devour its own young. «»
mangsa marang wĕkane dhewe. «»
Even more so where I and you Uncle are concerned,
Apa maneh tumraping manira mĕnyang pakĕnira Paman,
there would still seem to be much royal mercy.
kaya maksih akeh ambĕk parimarmaning karaton.
For who has been charged with the task of
Hawit sapa ta ingkang kawogan,
cutting down thickets, shining a torch in the dark, unravelling a tangled moustache,
mbabadi rĕrungkut, ngobori marang pĕpĕtĕng, ngĕjum gumbala ruwĕt,
none other than you Uncle of the chancellery.
amung kajaba pakĕnira Paman hing kĕ­patihan.
SANGKUNI: As you command as you desire, Majesty.
SANGKUNI: Kawula nuwun nun inggih, Si­nuwun.
[Salutes:] I am delighted that your chancellor is singled out among his fellow servants. «»
Sakĕlangkung bingah raosing manah dene pun apatih kinacek sĕsamining adasih. «»
[Salutes:] But as I am now in attendance before Your Majesty, I beg you to disclose
Namung anggen kula marak wontĕn ing ngarsa Padukendra, kaparĕng kula nyuwun dhawuh,
the subject of this audience. [Salutes:] I am at your servi—ce,
mĕnggah mĕnapa ingkang dados wigatosing pasewakan. Kawula nuwu—n,
at your service.
DURYUDANA: Uncle Chancellor noble Suman.
DURYUDANA: Paman Patih Harya Suman.
Though many are my companions whose moustaches fill a fist on either side,
Nadyan akeh para kadang, ingkang sakkĕpĕl sisih gumbalane,
whose beards fill an embrace,
sĕprangkul jĕjenggote,
even so:
whenever I fail to exchange thoughts with you Uncle,
manawa manira datan wawan pangandikan karo pakĕnira Paman,
it appears to me
kĕna ndakibaratake,
as if I am cutting at rice straw without a foundation.
kaya wong kang ngĕthok mĕrang tanpa landhĕsan.
The result is only frustration and discontent.
Anane hamung gĕla klawan cuwa.
Therefore Uncle,
Ingkang mangkono Paman,
come a little closer,
radi kapara arsa,
I shall reveal to you
manira babari,
the subject of today’s assembly Uncle.
wigatining pahĕman ing dina iki Paman.
SANGKUNI: I am at your service as you desire I shall obey your commands.
SANGKUNI: Kawula nuwun nun inggih dhatĕng sĕndika ngestokakĕn dhawuh.
The fragrant flowers lay scattered
Hanjrah ingkang puspita rum
[The chancellor salutes King Duryudana.]
Strewn by a gentle breeze
Kasiliring samirana mrik
The gadung blossoms
Sĕkar gadhung
Gave off their scent
Kongas gandanya
Stirring the heart to rapture
Maweh raras rĕnaning ndriya
DURYUDANA: Noble Uncle Suman,
DURYUDANA: Paman Harya Suman,
as to why I beckoned you from afar and once you were near drew you closer still, «»
marma Paman adoh ndakawe cĕdhak kaya ndakrakĕtake, «»
the subject of this audience is nothing but the worries I feel
ingkang dadi wigatining pasewakan mung kajaba anggoningsun mĕnggalih,
about the universal prophesy stating that a great war will erupt,
marang jangkaning jagad ing tĕmbe bakal timbul pĕrang gĕdhe,
which is called: the Baratayuda Jayabinangun. «»
ingkang sinĕbut: Baratayuda Jayabinangun. «»
The Baratayuda Jayabinangun
Baratayuda Jayabinangun,
will be put on by the world,
ingkĕng duwe gawe jagad,
while those who fight it will be the Pandhawas and the Kurawas.
wondene ingkang bakal hangayahi, Pandhawa klawan Kurawa.
The sole reason for it is the land of Astina. «»
Ingkang kinarya sabab mung kajaba praja Ngastina. «»
When I call to mind that the Baratayuda is impending,
Manawa manira engĕt marang bakal tĕkaning Baratayuda,
I feel fear, in my heart. [Touches his chest.]
rumangsa miris, tyas manira.
Why is that?
Sabab apa.
In view of the Pandhawas’ strength. «»
Nitik saka kĕkuwataning Pandhawa. «»
Though the Pandhawas number only five,
Nadyan Pandhawa kuwi cacahe amung lima,
the fact is they are all outstanding. «»
nyatane las kabeh. «»
Nakula, Sadewa.
Nakula, Sadewa.
All are blessed with invincibility. «»
Kabeh padha kasinungan kadigdayan. «»
Unlike the Kurawas, Uncle.
Beda klawan para Kurawa, Paman.
There are a hundred of them, but still:
Ingatase cacah satus, parandene:
those with magical powers
ingkang sĕkti mandraguna,
do not even number THREE. «»
TĔLU wae ora gĕnĕp. «»
They germinate and grow they flock and overflow, so to speak. «»
Kĕna ndakibaratake kumrĕmbyah kakehan cacah ngĕrda kakehan jiwa. «»
Ingkang mangkono,
it is most unlikely that the Kurawas will be able to defeat the Pandhawas in the Baratayuda. «»
tangeh lamun, mbesuk Baratayuda Kurawa bakal mĕnang tandhing klawan Pandhawa. «»
Rather than – having to watch my brothers the Kurawas die,
Katinimbang – manira nyumurupi marang patining para kadang Kurawa,
it is better if this very day
luwih prayoga dina iki praja Ngastina,
I just return the country of Astina into the hands of the Pandhawas,
bakal manira balekake wae marang tanganing para Pandhawa,
in order to prevent the outbreak of the Bratayuda,
ing pamrih, aja nganti sida (ngan) dadi Bratayuda,
I would be satisfied with what
manira hamung trima nampa,
our Pandhawa cousins are willing to concede.
paweh saka para kadang Pandhawa wae.
noble Uncle.
Paman Harya.
SANGKUNI: Oh dear Nephew,
SANGKUNI: Adhuh angger,
my soul and lord my dear. «» [Salutes.]
nyawa gusti kula angger. «»
Of course Your Majesty’s words are held in reverence. «»
Mila kaluhuran pangandikanipun Sinuwun. «»
Thus it pleases Your Majesty to CALL OFF the Baratayuda, by
Mĕkaten kĕparĕng Paduka badhe MURUNG­AKĔN Baratayuda, kanthi srana
returning Astina into the hands of the Pandhawas?
mangsulakĕn Ngastina dhatĕng astaning para Pandhawa.
DURYUDANA: Uncle Chancellor, so it is.
DURYUDANA: Paman Patih, hiya.
SANGKUNI: Majesty,
SANGKUNI: Sinuwun,
because the omnipotence is vested in Your Majesty, your chancellor can only concur with your wish. «»
gandheng panguwaos tunggal, wontĕn asta Paduka, pun apatih namung sumangga ing karsa. «»
But I would request, Majesty, that before Your Majesty decides «»
Namung panyuwun kula, Sinuwun, sak­derengipun Sinuwun badhe «»
to call off the Baratayuda,
murungakĕn Baratayuda,
I may, first, invite Your Majesty to join me,
langkung rumiyin, mangga Sinuwun kula dherekakĕn,
in observing and examining
amirsani saha analiti,
what could be the reason the Pĕndhawas are blessed with invincibility,
mĕnapa ta sababipun, dene Pĕndhawa kasinungan kadigdayan,
while the Kurawas are not. «»
Kurawa mbotĕn. «»
It is my feeling
Saking pangraos kula,
that this is someone’s doing,
mĕnika kok wontĕn ingkang ndamĕl,
that this is someone’s design. «»
wontĕn ingkang mbudidaya. «»
I feel justified in saying this, because I am aware
Mila kula sagĕd matur mĕkatĕn, hawit kula ngĕrtos
that the Pĕndhawas and the Korawas have but one teacher. «»
bilih Pĕndhawa kaliyan Korawa mĕnika, gurunipun namung sĕtunggal. «»
Given that they are all pupils at Soka Lima,
Ingatasipun sami-sami siswa Soka Lima,
why is it that the results are so different? «»
kenging mĕnapa tĕka dadosipun bentĕn. «»
I fear that what we are seeing here is a teacher who nurses some in a silken sling and others in one of matting. «»
Kula kuwatos, mangke gek taksih wontĕn tumindaking guru ingkang mban cindhe mban siladan. «»
Hence because Father Dwija appears in attendance,
Mila gandheng Bapa Dwija sampun kĕtingal ngadhĕp,
may it please Your Majesty
kaparĕnga Sinuwun
to demand clarification from Father Dwija, as to what
mundhut katrangan dhatĕng Bapa Dwija, mĕnggah kados pundi,
the honourable teacher has in mind;
karsanipun sang guru;
whether he inclines towards the Pandhawas,
awrat Pandhawa,
or towards the Korawas. «»
mĕnapa awrat para Korawa. «»
DURNA:     O—h, BO—Y oh boy, moon OH BOY moon and shackles fickly clinging trees turn into fore—st, forest into trees.
DURNA:        O—, LOLE— lole, soma LOLE soma rante dhut neng dhumpul wana dadi ala—s, alas dadi wana.
Glutted be possessive, a sunbird with a basket-tail, a mole upon the eye, don’t look at it don’t try,
Njĕbĕbĕg howĕloh, prit gantil buntut kisa, handhĕng-andhĕng ana mripat, yen dipandĕng nora kuwat,
rest upri—ght, rest upright.
jogrehe—g, jogreheg.
By your leave Majesty,
Kawula nuwun-nuwun Sinuwun,
your father feels compelled – to INTERRUPT your conversation with the noble lord Sĕngkuni,
paripaksa pun bapa – MUNGGĔL hawit saking pangandika Paduka tumrap dhatĕng Adipati Harya Sĕngkuni,
DURYUDANA: Yes what is it, Reverend Father?
DURYUDANA: Nggeh kados pundi, Bapa Pĕnĕmban.
DURNA: I am a veteran, my dear, in the realm of feeling and sensation.
DURNA: Kula mĕnika tiyang sĕpuh, ngger, panggenan raos pĕngraos.
Merely shot a glance your father of Soka Lima will sense it straight away, LET ALONE when his name is brought up.
SAMPUN ta ingkang dipun dumuk nami kula, nĕmbe sinanjata liring sampun tanggap raosing pun bapa Soka Lima.
In effect, I admit it.
Dhasaripun, kula mĕnika ngakĕni.
To be forthright and frank, candid and clear, earnest and honest, I AM their teacher,
Bares kures, blaka suta, blak kotang tĕrus tĕrang, KULA gurunipun,
I AM their mentor.
KULA dwijanipun.
Nevertheless, Your Majesty should not rush into suspecting me, and think of me as a sage who nurses some in a silken sling and others in one of matting,
Namung, Sinuwun sampun ngantos daya-daya andakwa dhatĕng kula, dipun kintĕn kula mĕnika pandhita ingkang mban cindhe mban siladan,
a sage who follows the family system.
pandhita ingkang sistim pamili.
O—H, far from that, my dear.
WO—H, babarpisan mbotĕn, ngger.
Kula mĕnika GURU.
A teacher instructing his pupils,
Tumindaking guru ingkang mucal dhatĕng murid,
may be likened to a farmer who is sowing seeds;
kenging kula ibaratakĕn kadosdene bapak tani ingkĕng anyĕbar wiji;
it all comes down to the soil. «»
namung gumantung wontĕn sitinipun. «»
If the soil is «»
Nadyan ta sitinipun mĕnika «»
and the seeds are
wijinipun mĕnika
when they are planted, of course the result is gratifying. On the other hand,
dipun tanĕmakĕn; dadosipun nggih ngrĕmĕnakĕn. Kosok wangsulipun,
if the seeds are good,
nadyan ta wiji mĕnika sae,
but the soil is arid,
mĕnawi sitinipun mĕnika cĕngkar,
we may count ourselves lucky if they sprout in the first place, dear Royal Son.
sagĕd tuwuh sampun bĕja agĕng, ngger Anak Prabu.
Now then, what could be the reason the Pĕndhawas are successful, the Kurawas are not? It turns out,
Lha ing mangke, mĕnapa ta sababipun, dene Pĕndhawa dados; Kurawa mbotĕn? Mĕnawi ngatĕn,
to put it in terms of soil, that the Pandhawas are fertile, while my very own children the Kurawas are arid. Well, there you have it, my dear.
cara sitinipun ingkang loh mĕnika para Pandhawa, ingkang cĕngkar mĕnika malah anak kula Kurawa piyambak. Lho, mĕnika, ngger.
SANGKUNI: Hold on a moment,
SANGKUNI: Mĕngko dhisik,
Uncle Cling-to.
Wakne Nggondhel.
DURNA: What’s up? «»
DURNA: Eneng apa? «»
SANGKUNI: Uncle cling-to is saying that the Pĕndhawas can be compared to fertile soil, and the Kurawas to arid soil.
SANGKUNI: Wakne Nggondhel paring dhawuh Pĕn­dhawa disanepakake lĕmah ingkang loh, Kurawa sanepane lĕmah ingkang cĕngkar.
That means that my reverend brother is the farmer.
Tĕgĕse, Kakang Panĕmbahan, dadi bapak among tani.
SANGKUNI: Now if the farmer knows the soil is arid, how come he doesn’t see to it that it turns fertile? «»
SANGKUNI: Ingatase bapak tani ngĕrti yen kwi lĕmahe cĕngkar, kĕna apa moh ngupakara supaya dadi loh. «»
Now if the farmer knows the soil is
Ingatase bapak tani ngĕrti kuwi lĕmahe
barren, how come he doesn’t make an effort so that it turns good?
ora subur, kĕna apa moh mbudidaya supaya dadi bĕcik.
As things stand, he’s a farmer who’s reluctant to make an effort.    
Yen ngono, tĕgĕse bapak tani sing ora kĕparĕng mbudidaya.       
DURNA:     HE—Y, hold on a moment. «»
DURNA:        LHO—, mĕngko dhisik. «»
My younger brother shouldn’t be so quick to
Si adhi aja gumampang
cast doubt on his elder brother’s motives.
maido marang pun kakang.
Between achievement and skepticism the latter is easier by far. «»
Wong sing nglakoni karo wong sing maido, luwih gampang wong sing maido. «»
As a matter of fact, your elder brother has made every possible effort to cultivate his children the Kurawas.
Yen pancena, ora kurang-kurang nggone pun kakang mbudidaya ndadek-ndadekke nyang anak-anakku Kurawa.
On what grounds do I say that? «»
Buktine apa? «»
I’m a sage and guru who teaches without taking account of the hour, because I want to cultivate my children the Kura­was.
Aku iki pĕndhita guru kang mulang tanpa metung karo wanci, sabab kĕpingin ndadekke nyang anak-anakku Kurawa.
But what more can I do because as pupils the Pĕndhawas and the Kurawas show a great deal of difference.
Ning kĕpriye wong cara bocahe sĕkolah bedane wis akeh ing antarane Pĕndhawa klawan Kurawa.
When the teacher is teaching the Pĕndhawas all listen,
Pĕndhawa yen pinuju ana guru mulang padha midhangĕtake,
they all pay attention to the teacher’s lessons.
padha nggatekake marang wulanganing guru.
So it’s hardly remarkable that my children the PĔNDHAWAS absorb them quickly.
Mula ora jĕnĕng aneh yen mlĕbune gĕlis nyang anakku PĔNDHAWA.
UNLIKE my children the Kurawas. «»
BEDA karo anak-anakku Kurawa. «»
When the teacher is teaching, they’re all
Yen guru mulang, malah padha
grinning, all cracking jokes.
cĕngengesan, padha gĕguyon.
They don’t LISTEN to their teacher’s lessons.
Ora NGRUNGOKKE marang wulanganing guru.
For instance: when there happens to be a lesson on virtue, of course they should BRING BOOKS
Upamane: yen pinuju piwulangan bab ka­utaman, kwi kudune lak ya NGGAWA BUKU sing
on the subject of virtue.
isine buku kautaman.
The PĔNDHAWAS will never
PĔNDHAWA kwi ora bakal
take lightly
nglirwakake marang
their teacher’s lessons.
piwulanging guru.
Whenever he
Anggĕr dhong
to be TEACHING on virtue, all of them – bring BOOKS
MULANG ing bab kautaman, kabeh padha – nggawa BUKU
about virtue.
isining kautaman.
If they don’t understand they ask the teacher; that’s the Pĕndhawas.
Yen ora ngĕrti ditakokake marang gurune; kwi para Pĕndhawa.
UNLIKE your children the Kurawas.
BEDA marang anak-anakmu Kurawa.
When there’s a lesson on virtue what they bring is books with all sorts of odd pictures.
Anggĕr dhong wulangan kautaman sing di(b)gawa malah buku sing gambare wĕrna-wĕrna.
They bring pictures that breed indecency, I ask you.
Gambar sing marakke ora ilok e kok dadak digawa.
They peruse them.
Dililing-liling. [some laughter]
Well, there, isn’t that typical of my children the Kurawas?
Lho, kuwi, pa ra anak-anakku Kurawa.
[To Duryudana:] Still, dear Royal Son, «»
Namung, ngger Anak Prabu, «»
humbly but insistently I urge Your Venerated Majesty, «»
mawantu-wantu panyuwun kula dhatĕng Paduka ingkĕng sinuwun, «»
that my royal son should not rush into returning Astina to the Pandhawas so that the Baratayuda can be averted.
sampun ngantos Anak Prabu daya-daya mangsulakĕn Ngastina dhatĕng para Pandhawa ingkang tanpa mawi Baratayuda.
Why is that? «»
Kĕrana mĕnapa? «»
If such were to happen what smiles would my royal son raise, for the public would think that Your Majesty had failed to take a stand.
Mĕnawi ngantos kĕlampahan mĕkatĕn mendah esĕming akathah tumanduk dhatĕng Anak Prabu, dipun kintĕn Paduka nguci­reng ing patrap.
KARNA: Indeed, Royal Brother, «»
KARNA: Inggih, Yayi Prabu, «»
please allow your elder brother to join in with a few words. As the saying goes albeit no more than a bagatelle I am able to contribute.
kĕparĕnga sĕkĕdhik rakanta ndherek matur. Wontĕn paripaos mbotĕn ketang klung­su-klungsu mĕnawi kula mĕnika ndherek udhu.
Oh Royal Brother, «»
Dhuh Yayi Prabu, «»
I should think Your Majesty is well aware that I myself however unsightly am also a king.
kula kintĕn, Padukendra mbotĕn kĕkilapan, bilih kula mĕnika awon tanpa rupi inggih ratu.
Why then do I creep and crawl like a lizard here in Astina?
Punapa ta sababipun dene kula kĕkadhal wontĕn Ngĕstina?
It is the dedication in my heart, Brother,
Ujubing manah kula, Yayi,
what I am waiting for is the moment the Baratayuda breaks out.
ingkĕng kula ĕntosi mbenjang mĕnapa, tumapaking Baratayuda.
Because by my reckoning
Hawit petangan kula
when the Baratayuda erupts,
sĕwanci-wanci dados Baratayuda,
I dare say, there will be no need for King Duryudana himself to march out.
kula kintĕn, mbotĕn pĕrlu, ndadak njĕngkarake Yayi Prabu Duryudana.
I am willing to ELIMINATE my brothers the Pandhawas. «»
kula sagah NYIRNAKAKĔN dhatĕng para kadang kula Pandhawa. «»
Should Your Majesty be afraid of the Pĕndhawas,
Mĕnawi Yayi Prabu mĕnika ajrih dhatĕng Pĕndhawa,
who is it you fear, Brother?
sintĕn Paduka ajrihi, Yayi.
Could it be that Your Majesty is afraid of Puntadewa who on no account engages in warfare?
Punapa Yayi Prabu ajrih dhatĕng pun Puntadewa ingkang sĕlaminipun mbotĕn nate bandayuda.
Oh Brother,
Dhuh Yayi,
Puntadewa will meet his death
pĕjahipun pun Puntadewa,
at my hands, Brother.
wontĕn tangan kula, Yayi.
Should Your Majesty be afraid of Wĕrko-dara,
Mĕnawi Yayi Prabu mĕnika ajrih dhatĕng pun Wĕrkodara,
oh Brother,
dhuh Yayi,
Bima’s force, so mindless and artless after all, is easily eliminated. If the resources are lacking,
karosanipun pun Bima ingkang tanpa akal tanpa ukil kala wau, gampil dipun sirnakakĕn. Kirang pirantos,
may all be entrusted to your elder brother.
kapasrahna dhatĕng pun kakang.
The following day,
Dintĕn benjing enjing,
still before the crack of dawn, I pledge, I shall present Wĕrkodara’s torso.
dereng wontĕn plĕtheking surya, kula sagah ngaturakĕn gĕmbungipun Wĕrkodara.
Let alone Janaka, Nakula and Sadewa. O—H, it will take more effort to squash a tomato, so to speak, Majesty.
Langkung-langkung Janaka, Nakula Sadewa. WHO—H, dangu punwĕstani amijĕt wohing ranti, Yayi Prabu.
DURYUDANA [touches his chest]: O worlds, o gods and deities.
DURYUDANA: Ya jagad, ya dewa bathara.
Royal Brother I am most thankful,
Kaka Prabu sangĕt ngaturakĕn panuwun,
that your commitment is so great,
sĕmantĕn agĕnging kĕsagahan Paduka,
that you aim
ingkang wigatos,
always to be King Duryudana’s shield.
tansah dados tamengipun Prabu Duryudana.
KARNA: I am at your service.
KARNA: Kawula nuwun nun inggih.
DURNA: In addition to that my dear royal son, «»
DURNA: Kajawi saking mĕnika ngger Anak Prabu, «»
may your father be permitted to speak. «»
kĕparĕnga pun bapa munjuk atur. «»
Actually I think there is a way for my royal son, to emerge
Mĕnika kula kintĕn wontĕn mĕrginipun anggenipun Anak Prabu, supados mbenjang
the VICTOR from the Baratayuda battlefield.
JAYA ing palagan klĕbĕting Baratayuda.
The means being, that you must remove
Kanthi srana, kĕdah angicali dhatĕng
the power and strength of the Pandhawas beforehand.
daya kĕkiyataning para Pandhawa langkung rumiyin.
You should realize dear Royal Son,
Kawuningana ngger Anak Prabu,
that the strength of the Pandhawas is wholly concentrated in the second of them, that is to say in Bratasena or Wĕrkodara. «»
kĕkiyataning para Pandhawa mĕnika namung dumunung wontĕn Pĕndhawa ingkĕng angka kalih, inggih mĕnika pun Bratasena nggih pun Wĕrkodara. «»
If Bima were to die, o—h, I dare say the Pandhawas’ strength would be reduced to weakness.
Mĕnawi pun Bima mĕnika kĕlampahan pĕjah, o—h, kula kintĕn, badhe ringkih kĕkiyatanipun para Pandhawa.
Now as it happens, my dear, «»
Mangka ing nyatanipun, ngger, «»
last Friday-Lĕgi
nalika dintĕn Sukra Manis kĕpĕngkĕr,
your father received a visit
pun bapa kasowanan
from your younger brother Wĕrkodara,
kĕng rayi Wĕrkodara,
he visited Soka Lima
sowan dhatĕng Soka Lima,
in order
ingkang wigatos
badhe NYUWUN
the science of the whence and whither of being. «»
kawruh sangkan paraning dumadi. «»
At that time, your father agreed in principle,
Kala sĕmantĕn, pun bapa anyagahi,
only Bima should
namung kĕdah Bima
come and pay his respects to my royal son beforehand;
sowan dhatĕng Anak Prabu langkung ru­miyin;
to request Your Majesty’s permission.
nyuwun palilah dhatĕng Paduka.
Because I am aware, that
Awit ngrumaosi, bilih
I live under the feet of Your Venerated Majesty.
gĕsang kula tasih wontĕn sahandhaping pada Paduka ingkang sinuwun.
Hence, Royal Son,
Ingkang mĕnika, Anak Prabu,
there is no need to worry.
sampun mĕnggalih kuwatos.
If and when Wĕrkodara indeed comes to pay his respects here,
Mangke sĕwanci-wanci pun Wĕrkodara (s) saestu sowan mriki,
I pledge to do my utmost,
kula ingkang sagah mbudidaya,
to remove the strength of the Pandhawas that is to say Wĕrkodara.
angicali dhatĕng kĕkiyataning para Pandhawa inggih mĕnika pun Wĕrkodara.
I shall
Kula badhe
strive for your younger brother Bratasena’s death, dear Royal Son.
mbudidaya pĕjahipun kĕng rayi pun Bratasena, ngger Anak Prabu.
DURYUDANA: O worlds, o gods and deities.
DURYUDANA: Ya jagad, ya dewa bathara.
Reverend Father, I am most thankful.
Bapa Panĕmban, sangĕt ngaturakĕn panuwun.
That my father has given a pledge to do his utmost
Karana Bapa sampun hanyagahi badhe mbudidaya,
to eliminate
Wĕrkudara who represents the strength of the Pandhawas.
Wĕrkudara ingkĕng dados kĕkiyataning para Pandhawa.
Ingkang mĕnika,
if Wĕrkodara can indeed be done away with,
mĕnawi pancen Wĕrkodara sagĕd pĕjah,
I am prepared to wait for the outbreak of the Baratayuda Jayabinangun.
kula sagah ngĕntosi tumapaking Baratayuda Jayabinangun.
Therefore, Fathe—r,
Mila ingkang mĕnika, Bapa—,
if and when Wĕrkudara comes to visit,
sĕwanci-wanci Wĕrkudara sowan mriki,
I commend his elimination to my father of Soka Lima. [...]
sirnaning Wĕrkudara kula sumanggakakĕn dhatĕng Bapa ing Soka Lima. [...]
The heart bewildered, hesitant
Lĕnglĕng ing ndriya mangu-mangu
Burning with passion overcome with love
Mangun kung kandhuhan rimang
As if dying though unwounded
Lir lena tanpa kanin
As if dying though unwounded were he to fail
Lir lena tanpa kanin yen tan tulusa
To gain the excellent maiden and thus
Mĕngku dyah utama mangkana
And thus His Majesty spoke gently imploring
Mangkana Sri Nalendra wuwusnya lon ngrĕrĕpa
NARRATION: So at that point in time.
CARITA: Lah ing kana ta wau.
King Duryudana has been speaking to the sage of Soka Lima for some time.
Sawĕtawis pangandikaning Prabu Duryudana tumanduk pandhita ing Soka Lima.
It is not long before
Dereng kantaran dangu,
those in the audience hall are struck by a GARUDHA WIND.
madyaning pasewakan katĕmpuh HANGIN GARUDHA.
A mighty wind enters the audience hall,
Hangin agĕng manjing ing pasewakan,
a token of the force flowing from the noble BIMA who ARRIVES in the audience hall.
tandha iku pangaribawaning sang BIMA ingkang PRAPTA ana madyaning pasewakan.
The gamelan plays the vigorous piece Srĕpĕgan in the scale slendro and the mode nĕm. The dhalang takes the kayon from the trunk at the right. As Srĕpĕgan moves into its high-register section, he sings:
Making the kayon flutter while holding it close to the lamp so that it projects a large shadow, the dhalang moves it thrice across the screen from left to right to depict the wind . He then spins it twice at the right and places it back in its original position.
King Duryudana motions to Chancellor Sangkuni, ordering him to go and see what is causing the commotion.
Sangkuni rises from the floor and bows while saluting, turns, and moves crouching to the left.
He turns to salute the king again, then exits.
Durna rises, turns to glance left, turns back again, and walks past the king, swinging his arm, the drum in the gamelan accentuating his gait. Behind the king he turns and takes a seat facing left. King Karna remains seated.
With a rapping signal, the dhalang cues in an accelerando. Suddenly Bratasena enters from the left.
The dhalang intones this syllable and plays a kĕpyak pattern as a signal to the gamelan to move into Ayak-Ayakan in the scale slendro and the mode nĕm. The musical atmosphere changes at once into a calm and melodious one. King Duryudana raises his right hand to greet Bratasena .
Bratasena approaches Duryudana, who rises and embraces him. Bratasena steps back and shakes hands with the king.
The heart bewildered, hesitant
Lĕnglĕng ing ndriya mangu-mangu
Bratasena salutes Duryudana by putting his right hand above his head.
Bratasena turns round and salutes King Karna, then faces Duryudana again.
Burning with passion overcome with love
Mangun kung kandhuhan rimang
Bratasena takes a seat in front of Karna and places both his hands on his left hip.
As if dying though unwounded
Lir lena tanpa kanin
Chancellor Sangkuni reappears at the left, salutes King Duryudana, and sits down on the floor next to and slightly to the rear of King Karna, resting both hands on his thigh.
Were he to fail to gain the excellent maiden
Yen tan tulusa mĕngku dyah utama
The dhalang cues the gamelan to conclude Ayak-Ayakan. The piece ends with a slight ritardando.
In a row the nymphs sat gazing at the sage
Atap para hapsari tumonton ing sang dwija
It seemed they desired union at once
Kadya ngge wor jiwa
They saw the difficulty of their task
Kagagas ing tyas dahat kewran ing karyanira
In which they failed; they beheld the mountain’s splendour
Datanpa ntuk samya myat rĕngganing prabata
The flag bush leaves that fluttered as if the sage was beckoning
Roning kadhĕp kumĕlap pindha pangawening sang dwija
The gadung tendrils bending touched by the gentle breeze
Lunging gadhung malĕngkung katiyup ing maruta manda
• • • • • • • • • • • • • • • • • • • • •• •
• • • • • • • • • • • • • • • • • • • • •• •
DURYUDANA: Oh my little brother your elder sibling’s kinsman. «»
DURYUDANA: Hadhiku Dhi hadhiku kadanging pun kakang. «»
It appeared to your elder brother
Pangrasaning pun kakang
as if the city of Astina
nĕgara Ngastina kaya
was descended upon by God Yama, desiring
katĕdhakan Bathara Yama, bakal
to take the lives of all its inhabitants. «»
hambanjut marang kabeh isining praja. «»
This was due to the strength of the wind that struck the audience hall. «»
Karana saka gĕdhening angin, ingkang tu­mĕmpuh ing pasewakan. «»
As it turns out it was the force flowing from my brother of Jodhipati who has come. «»
Jĕbul iki pĕngaribawaning adhiku ing Jodhipati hingkang prapta. «»
Little Brother Bratasena—,
Dhimas Bratasena—,
are you enjoying well-being upon your arrival? [...]
padha kanthi raharja sapraptaning si adhi. [...]
BRATASENA: Z————. [He takes his hand from his hip; it trembles.] «»
BRATASENA: Z————. «»
Kurupati my brother,
Kurupati kakangku,
I acknowledge my brother Kurupati’s words of welcome, great is my gratitude.
ndaktampa, bangĕt panarimaku prĕmbage saka Kurupati kakangku.
May my politesse be offered.
Basaku katura.
DURYUDANA: Yes yes little Brother, it is acknowledged I am flattered.    
DURYUDANA: Ya ya Dhimas, wus ndaktampa gawe gĕdhening atiku.       
DURNA:     WELL I never.
DURNA:        WE— lha dalah.
My son and pupil has come to pay his respects in Astina.
Hanakku murid sowan marang nĕgara Ngastina.
Now then dear Bratasena,
Mĕngko ta ngger Bratasena,
you have come in well-being haven’t you my dear boy? «»
padha kanthi raharja saksowanmu ya ngger. «»
BRATASENA: Druna my father yes my acknowledgements great is my gratitude.
BRATASENA: Druna bapakku ya ndaktampa bangĕt panarimaku.
I offer my homage forthwith.
Ora liwat, bĕktiku katur.
DURNA:     O—h yes yes it flatters me that you accord your respects to your father, my dear.
DURNA:        O— ya ya gawe gĕdhening atiku sira kulup ngaturi bĕkti marang pun bapa, ya ngger.
KARNA: Brother Wĕrkudara, are you well?
KARNA: Yayi Wĕrkudara, padha raharja.
BRATASENA: Karna my brother it is acknowledged.
BRATASENA: Karna kakangku ya ndaktampa.
SANGKUNI: Pri—nce, are you well?
SANGKUNI: Rade—n, sami raharja.
BRATASENA: Uncle Chancellor Sĕngkuni yes my acknowledgements.
BRATASENA: Paman Patih Sĕngkuni ya wis ndaktampa.
DURYUDANA: Brother Bratasena,
DURYUDANA: Adhimas Bratasena,
your arrival at the assembly startles your elder brother.
karya kagyating pun kakang si adhi prapteng pasewakan.
What is the reason, I wish to be enlightened at once.
Ana wigati apa, daya pun kakang mundhut katĕrangan.
BRATASENA: Duryudana my brother, «»
BRATASENA: Duryudana kakangku, «»
I have come here
tĕkaku ana kene,
firstly, to enquire about your well-being.
sĕpisan, tilik marang karaharjanmu.
In the second place,
Kaping pindhone,
for a long time already I had not seen
wis suwe nggonku ora ngwuningani
the lie of the city of Astina. «»
marang gumĕlaring praja Ngastina. «»
Third and last, «»
Gĕnĕping kaping tĕlu, «»
my visit here is above all else to
sowanku mrene mung maligi bakal
ask permission to borrow Durna my father. «»
nyuwun ngampil, marang Durna bapakku. «»
Because some time ago I paid a visit to Soka Lima,
Awit, nalika sĕmana aku sowan marang Soka Lima,
in order to
ingkang wigati aku bakal
request that the science of the whence and whither of being be revealed to me.
nyuwun diwĕdharake kawruh sangkan paran­ing dumadi.
Durna my father promised to reveal it,
Durna bapakku saguh mĕdharake,
but he told me to ask Kurupati my brother for his permission first. «»
nanging aku kinen njaluk palilah klawan Kurupati kakangku luwih dhisik. «»
Therefore Kurupati my brother,
Ingkang mangkono Kurupati kakangku,
will you allow me
apa hana lilaning atimu,
to borrow Durna my father?
yen aku bakal ngampil klawan Durna bapakku.
DURYUDANA: Oh my brothe—r, my little brother Bratasena. «»
DURYUDANA: Adhuh adhiku Dhi—, adhiku Bratasena. «»
I am prepared to relinquish him,
Pun kakang ora bakal owĕl,
if indeed you want to
yen ta si adhi bakal
borrow our father of Soka Lima. «»
ngampil lawan Bapa ing Soka Lima. «»
even though the Reverend Father resides in Astina,
nadyan ta Bapa Pĕnĕmban lĕnggah ana Ngastina,
in fact,
nanging nyatane,
Father Druna is honoured not only by the Kurawas,
Bapa Druna kwi sĕsĕmbahaning para Kurawa,
but also by our cousins the Pandhawas.     «»
ya sĕsĕmbahaning para kadang Pandhawa. «»
Accordingly I entrust him wholeheartedly to
Ingkang mangkono sakwutuhe ndakpasrah­ake klawan
my little brother Bratasena.
Adhimas Bratasena.
BRATASENA: Great is my gratitude for Kurupati my brother giving me permission
BRATASENA: Bangĕt panarimaku, dene Kurupati kakangku wus ngĕparĕngake,
to borrow Durna my father.
Durna bapakku bakal ndaksuwun ngampil.
DURYUDANA: Reverend Father.
DURYUDANA: Bapa Pĕnĕmban.
DURNA: By your leave I am at your command.
DURNA: Kawula nuwun wontĕn dhawuh.
DURYUDANA: Please Father have the grace to converse with Brother Bratasena.
DURYUDANA: Mangga Bapa kĕparĕnga sapĕ­jagong kaliyan Adhimas Bratasena.
Please comply with his request, whatever it may be.
Mĕnapa panyuwunipun, kĕparĕnga mitu-ruti.
DURNA:     O—h yes, thank you my dear,
DURNA:        O— inyih, ngaturakĕn panuwun ngger,
for so graciously allowing your father to attend to his son Bratasena. [Durna rises and approaches Bratasena.]
pun bapa dipun kĕparĕngakĕn manggihi dhatĕng anak kula pun Bratasena.
My dear son my boy Bratasena? «» [He sits down face to face with B. .]
Anakku ngger kulup Bratasena? «»
BRATASENA: What, Durna my father?
BRATASENA: Durna bapakku apa.
DURNA: Your elder brother has given your father permission to attend to you dear boy Bratasena.
DURNA: Kĕng raka wus nglilakake pun bapa manggihi marang sira kulup Bratasena.
Therefore, my dear,
Ingkang mangkono, ngger,
are you my boy indeed going to request the science of the whence and whither of being? «»
apa sida, sira kulup bakal nyuwun kawruh sangkan paraning dumadi? «»
BRATASENA: That has been my plan for a long time, «»
BRATASENA: Pancen wis ndakgĕgantha wiwit biyen mula, «»
I feel I will not be content,
kaya ora bakal lĕga rasaning atiku,
before I have received Durna my father’s teachings, on the science of the whence and whither of being. «»
lamun aku durung nampa wĕjanganing Durna bapakku, mungguh kawruh sangkan paraning dumadi. «»
Now that Kurupati has kindly given leave,
Gandheng Kurupati kaduga wis marĕngake,
do quickly reveal, Durna my father, what the science of the whence and whither of being is like. «»
mara enggal wĕdharna, Durna bapakku, kĕpiye wĕdharaning kawruh sangkan paraning dumadi. «»
In case this matter is secret,
Yen pancen bab iki digawe wadi,
I will borrow a private chamber for it,
bakal ndaksilihake sanggar pĕlanggatan,
here in the city of Astina.    
saka praja Ngastina kene.
DURNA:     We—ll I never.
DURNA:        O— lha dalah.
of all the sciences I command not a single one is secret, my dear.
kabeh kawruh kang takwĕngku kwi ora ana sing wadi, kok ngger.
EVERYONE may HEAR the science you are asking for, my boy;
KABEH kĕna KRUNGU marang kawruh sing sira suwun iku, kulup;
because the science of the whence and whither of being is not a heavy science,
dhasare kawruh sangkan paraning dumadi kwi kawruh sing ora abot,
it is the very lightest science. «»
kawruh sing entheng dhewe. «»
To put it in terms of a stack, it’s at the very TOP and easy to reach.
Upama wong dokok-dokok, dokokane mung ana NDHUWUR dhewe gampang dijupuk.
Therefore my boy Bratasena, no need to worry.
Mula kang mangkono kulup Bratasena aja kuwatir.
Your father is prepared
Pun bapa bakal saguh,
to reveal the science of the whence and whither of being.
mĕdharake kawruh sangkan paraning dumadi.
Just one thing my dear.
Ya mung wae ngger.
There is the saying,
Ana tĕtĕmbungan,
insight is attained by exertion,
ngelmu iku, kĕlakone kanthi laku,
my dear, «»
ngger, «»
in order to underpin your initiation into the science of the whence and whither of being,
pinangka dadi lambaran nggonmu bakal nampa wĕdharaning kawruh sangkan paraning dumadi,
first you must go at once and produce the payment for it, my dear.
luwih dhisik dina iki mara enggal wujudna pitukone, ya ngger.
BRATASENA: If a payment is required, tell me what it is, and I will present it.
BRATASENA: Yen pancen ana pitukone, wujude apa, bakal ndakaturake.
DURNA: You my boy promise to present it?
DURNA: Sira kulup saguh ngaturake?
BRATASENA: Yes, I promise to produce it.
BRATASENA: Ya, saguh mujudake.
DURNA: In the way of a payment by which
DURNA: Pitukon dadi srana
you may secure this science,
nggonmu nampa kawruh mau,
you my boy must find the tall tree, nest of the wind. «»
sira kulup kudu bisa golek kayu gung, susuhing angin. «»
If you my boy manage to find the tall tree, nest of the wind,
Manawa sira kulup bisa golek kayu gung, susuhing angin,
and you present it to your father,
ndokaturake marang pun bapa,
then and there your
ing kono pun
father will at once reveal the science you are asking for, my boy Bratasena.
bapa enggal bakal mĕdharake marang ka­wruh kang sira suwun, kulup Bratasena.
BRATASENA: Durna my father wants
BRATASENA: Durna bapakku mundhut
me to present
supaya aku ngaturake,
the tall tree, nest of the wind?
kayu gung, susuhing angin.
DURNA: That is right my dear.
DURNA: Ya pancen mĕngkono ngger.
BRATASENA: I am willing to look for it,
BRATASENA: Aku saguh nggoleki,
willing to search for it.
saguh ngupaya.
Now tell me
Mara tuduhna,
where this tall tree, nest of the wind can be found.
ngĕndi papan panggonaning kayu gung susuhing angin.
DURNA: The tall tree, nest of the wind is to be found on the peak of Mount Candramuka also known as Mount Wrĕksamuka;
DURNA: Kayu gung, susuhing angin iku, mapan ana ing pucuking Gunung Candramuka ya ing Gunung Wrĕksamuka;
THAT is where it is, my dear. [...]
KONO panggonane, ngger. [...]
The earth trembled fiercely the sky seemed to flicker
Bumi gonjang-ganjing langit kĕlap-kĕlap katon
[Bratasena’s arm trembles.]
Like the quivers of her who enkindled his ardour
Lir kencanging sang maweh gandrung
[Bratasena places his hand on his heart.]
Wherever he looked he saw
Sabarang kadulu
The mountains swaying to and fro
Wukir moyag-mayig
Due to the turmoil in his heart
Saking tyas mbaliwur
He wandered on, raving his anguish
Lumaris anggandrung
BRATASENA: As Durna my father’s words are clear to me,
BRATASENA: Gandheng wus tĕrwaca sabdaning Durna bapakku,
why linger, without more ado I ask leave
mbesuk ndadak ngĕnteni apa, haku daya-daya njaluk pamit,
to depart at once and climb Mount Candramuka to look for the tall tree, nest of the wind.
enggal mangkat munggah marang Gunung Candramuka golek kayu gung, susuhing angin.
I request Durna my father’s blessings, to protect me on the way.
Pangestuning Durna bapakku ndakjaluk, ngayomana marang lakuku.
DURNA:     O—H, yes yes my dear yes.
DURNA:        O—H, ya ya ngger ya.
Like the gurgling gush of water from a pitcher, the gurgling gush of water from a JUG, thus are your father’s blessings to you MY BOY Wĕrkudara.
Paribasan sok glogok banyu nggĕnthong, sok glogok banyu NGĔJUN, pangestuning pun bapa marang sira KULUP Wĕrkudara.
May you achieve your end Wĕrkudara.
Bisa lĕbda ing karya kulup Wĕrkudara.
BRATASENA: Durna my father yes.
BRATASENA: Durna bapakku hiya.
Kurupati my brother I take my leave I am going to climb Mount Candramuka.
Kurupati kakangku aku njaluk pamit bakal munggah marang Gunung Candramuka.
DURYUDANA: Oh little Brother, my brother Brata­sena.
DURYUDANA: Adhiku Dhi, hadhiku Bratasena.
Would it not please you if I took you to the Banquet Hall, to dine with your elder brother beforehand?
Apa si adhi ora kĕparĕng ndakkanthi man­jing ing Sana Pambojanan, kĕmbul dhahar marang pun kakang luwih dhisik.
BRATASENA: Eating is now of no concern what matters is that I quickly produce what Durna my father demands.
BRATASENA: Mangan kĕtĕmu mburi ingkang baku aku enggal mujudake pundhutaning Durna bapakku.
Karna my brother, I ask leave to depart.
Karna kakangku, haku njaluk pamit.
KARNA: Brother Wĕrkudara,
KARNA: Yayi Wĕrkudara,
do not be oblivious, maintain your mindfulness and do not leave your vigilance.
wĕlingku aja lali ya Dhi, duga-duga digawa ngati-ati aja nganti keri.
Uncle Sĕngkuni may you remain at ease I LEAVE this day for Mount Candramuka.
Paman Sĕngkuni prayogakna aku MANGKAT dina iki budhal marang Gunung Candramuka.
The gamelan plays Srĕpĕgan slendro nĕm.
The gamelan moves to the high-register section of Srĕpĕgan. Chancellor Sangkuni rises, salutes, and exits left. King Karna does the same. The Reverend Durna rises, turns to King Duryudana and salutes, turns again, and walks off to the left while swinging his arm rhythmically. His walk is accentuated by the drum.
Bratasena rises, approaches King Duryudana, and touches his right hand . The dhalang signals a forceful accelerando. Bratasena steps back, briefly places his hand on his head, and in a flash moves off backwards to the left. King Duryudana puts his hand above his eyes to watch Bratasena disappearing into the distance, then places his hand on his heart.
Durna backs on from the left and halts in the left gawang, watching Bratasena (who is off-screen) leave. Durna’s entrance is a visual cue to the drummer to signal a sudden ritardando; the gamelan continues in a moderate tempo.
Durna turns and approaches King Duryudana while swinging his arm rhythmically. He embraces the king. Durna walks backwards to the left and takes his seat opposite Duryudana. He salutes and places his hands in his lap.
King Karna enters left. Behind Durna he salutes, takes his seat, and puts his hands in his lap.
Chancellor Sangkuni comes on-screen from the left, bows and salutes the king, and sits down on the floor before Durna, his hands clasped together on his thigh . The dhalang signals a slow end to Srĕpĕgan.
DURYUDANA: Reverend Father.
DURYUDANA: Bapa Pĕnĕmban.
DURNA: By your leave I am at your command.
DURNA: Kawula nuwun wontĕn dhawuh.
DURYUDANA: My heart is joyful,
DURYUDANA: Rumaos bingah manah kula,
because Father Durna is truly and earnestly striving
dene Bapa Durna, estu-estu anggenipun mbudidaya,
to eliminate the Pandhawas’ strength em­bodied in Bratasena.
nyirnakakĕn dhatĕng kĕkiyataning Pandhawa wujudipun pun Bratasena.
SANGKUNI: Oh Reverend Brother,
SANGKUNI: Adhuh Kakang Pĕnĕmban,
I happen to know that this Mount Candramuka is a place of no return. People who go there meet their death,
mangka aku ngĕrti yen Gunung Candramuka iku, papan pĕngalapan. Jalma mara jalma mati,
beasts that go there perish.
sato mara tiwas.
DURNA: Hence, my dear royal son,
DURNA: Ingkang mĕnika, ngger Anak Prabu,
if Wĕrkodara climbs Mount Candramuka, I dare say, he is doomed to vanish on the path of decay.
kanthi Wĕrkodara minggah dhatĕng ing Gunung Candramuka, kenging kula wastani, mĕnika badhe ngancik sirna marga layu.
To vanish means to disappear the path is unsteady decay means death;
Sirna mĕnika ical marga pangĕgil layu mĕnika pĕjah;
Wĕrkodara is bound to die there very soon.
ing mriku enggal pĕjahipun pun Wĕrkodara.
DURYUDANA: Yes, let us hope so, Reverend Father.
DURYUDANA: Nggeh, mugi-mugi mĕkatĕn, Bapa Pĕnĕmban.
Noble Uncle.
Paman Harya.
SANGKUNI: I am at your command.
SANGKUNI: Kula wontĕn dhawuh.
DURYUDANA: Though internally the Kurawas are striving for Bratasena’s death,
DURYUDANA: Nadyan ing kĕbatinan, Kurawa mbudidaya marang patining Bratasena,
on the surface this should not be noticeable; therefore Uncle, quickly go out,
ing tata gĕlar aja nganti kawistara; ingkang mangkono Paman, enggal mĕtua njaba,
and order my brothers the Kurawas,
mrentahake para kadang Kurawa,
to honour Brother Bratasena on his departure, until they arrive in the vicinity of Mount Candramuka.
kinen padha ngurmati budhaling Yayi Bratasena, tumĕka ing tĕpis wiringing Candramuka.
SANGKUNI: Clear is Your Majesty’s decree. [Sangkuni salutes.]
SANGKUNI: Trĕwaca timbalan Padukendra.
Your servant begs leave to withdraw from Your Majesty’s benevolent company.
Kĕparĕng àmba nyuwun pamit; madal pasiyan Padukendra.
DURYUDANA: Meanwhile you must also disperse those in attendance,
DURYUDANA: Ngiras pantĕs mbubarna kang padha maraseba,
I shall retire to the palace.
manira bakal kondur angĕdhaton.
[The gĕnder starts playing in pelog nĕm.]
Reverend Father.
Bapa Pĕnĕmban.
DURNA: By your leave, I am at your command.
DURNA: Kawula nuwun, wontĕn dhawuh.
DURYUDANA: Please Father,
DURYUDANA: Mangga Bapa,
allow me to escort you to the chamber of worship,
kula dherekakĕn minggah ing sanggar pamujan,
let us supplicate the gods,
nyĕnyuwun kaliyan jawata,
that Bratasena may soon
mugi Bratasena enggal
on Mount Candramuka.
wontĕn madyaning Gunung Candramuka.
DURNA: As you desire allow me to accompany you, dear Royal Son.
DURNA: Kawula nuwun inggih mangga kula dherekakĕn, ngger Anak Prabu.
DURYUDANA: Royal Brother of Awangga.
DURYUDANA: Kaka Prabu Ngawangga.
KARNA: By your leave I am at your command, Brother.
KARNA: Kula nuwun wontĕn dhawuh, Yayi.
DURYUDANA: May my princely brother have the grace to stay on awhile, in the city of Astina,
DURYUDANA: Kaparĕnga Kakang Narpati sumĕne sawĕtawis, wontĕn ing nĕgari Ngastina,
in order to await what further tidings may reveal.
sinambi ngĕntosi, kadospundi babaring pawartos.
KARNA: As you desire I shall obey your command, Brother; allow me your elder brother to beg my leave.
KARNA: Nuwun inggih ngestokakĕn dhawuh, Yayi; kĕparĕnga rakanta kula nyuwun pamit.
DURYUDANA: In brief may well-being be with you.
DURYUDANA: Mbotĕn langkung namung han­dherekakĕn raharja.
NARRATION: So at that point in time.
CARITA: Lah ing kana ta wau.
Wus paripurna
is the speech of His Majesty King Duryudana.
pangandikaning sang nata Prabu Duryudana.
The words of a brahman-king, words are speech, brahman is sage, king is ruler.
Sabda brahmana raja, sabda pangandika, brahmana pandhita, raja ratu.
The speech of a ruler, it is irreversible like black fluid dripping on a white leaf, it cannot be erased.
Pangandikaning ratu, datan kĕna wola-wali pindha ĕwe krĕsna tumetes ing patra seta, tan kĕna denicali.
The sovereign wishes to retire to the palace the steps of the feet
Sang katong arsa kondur hangĕdhaton tumapaking pada
do not deviate from the established norm.
datan nalisir saking ugĕring wĕwaton.
The gamelan plays ladrang Salisir, which is in the scale pelog and the mode nĕm. Initially it is played very loud and fast. After one gong phrase there is an abrupt diminuendo and the tempo is slowed down until it settles on a relaxed level.
Karna and Durna simultaneously lower themselves onto the floor. Together with Sangkuni they raise their right hands and salute the king.
The two maidservants rise and advance. In front of the king they turn towards him.
The gamelan moves into the high-register section of Salisir. The singers start singing together on the gong stroke.
King Duryudana rises and turns. The maidservants trailing behind him, he disappears to the right, towards the palace.
Durna rises and salutes in the direction of the king. He turns briefly to look behind him, and then, swinging his arm, follows in King Duryudana’s footsteps. (King Karna rises, salutes, and exits left. Chancellor Sangkuni does the same.)
Karna walks on-screen from the right. He advances a step and puts his right hand above his eyes to look into the distance. In the middle of the screen he halts and looks into the distance again. He takes another step, looking into the distance, and exits left while gently swinging his left arm, his right hand on the fold of his waist-cloth.
Sangkuni enters from the right. His left hand on his hip and his right arm swinging, he walks across the screen.
The dhalang signals a transition by rapping the chest and singing:
The musical atmosphere changes radically as the gamelan moves from Salisir (in pelog nĕm) into Ayak-Ayakan in slendro nĕm. Sangkuni exits left.
The dhalang takes the right-hand kayon and places it in the top trunk slightly closer to the middle of the screen, to depict the palace gate.
King Duryudana enters from the left, the two maidservants trailing directly behind him. He climbs the steps that lead to the gate while the maidservants wait at the foot of the steps .
After the king has entered the palace, the maidservants follow him.
The dhalang takes the kayon from the trunk , spins it twice at the right, moves it to the middle of the screen where he spins it once, and plants it centre-stage in the bottom trunk, inclined to the right . The first scene of the play is finished.
With a rapping pattern on the puppet chest, the dhalang signals the end of Ayak-Ayakan. It is concluded with a ritardando.
NARRATION: The ruler’s retreat is not narrated, it must be passed over let it be told.
CARITA: Tan kinocap konduring sang katong, nĕngna kawuwusa.
Now, nothing is more notable than the one in
Ing mangke, datan kaya kang ana ing
the palace,
seated in front of the doors of the Parasĕdya.
pinarak wontĕn ing ajĕnging kori Parasĕdya.
QUEEN Banowati
Sang RATU Banowati,
is visibly anticipating her husband’s return.
kĕtingal hangrangu konduripun ingkĕng raka.
Loading audio