The chancellor gives instructions ⓐ The gamelan plays the vigorous Srĕpĕgan slendro nĕm.
No longer blind to the blending of the spirits
Tan samar pamoring suksma
Conceived and exercised in solitude
Sinukmaya winahya ing asĕpi
As the gamelan proceeds to the high-register section of Srĕpĕgan, the dhalang lifts the kayon from the trunk and holds it near the lamp so that it casts a large shadow.
Put away deep in the heart
Sinimpĕn tĕlĕnging kalbu
While making it quiver continually, the dhalang inclines the kayon alternately to the left and the right.
The dhalang moves the kayon to the right-hand edge of the screen, spins it round forcefully four times, and plants it in the lower trunk.
Chancellor Sangkuni, his left hand on his hip, enters from the right. Putting his right hand above his eyes, he gazes into the distance. He sits down on a chair, tightens his belt, rests his left hand on his hip , and with his right hand presses down his cap. Then he waves, indicating to the Kurawas waiting in the Place of the Ranks, outside the Delicate Pavilion, that he is ready to receive them.The dhalang raps the chest and strikes the kĕpyak to signal a slight accelerando.
DURSASANA [off-screen]: Hehehey!
DURSASANA: Hehehey!
Prince Dursasana enters left, swinging his right arm, dancing. The drum and kĕpyak accentuate his vigorous movements.
DURSASANA: Oi!
DURSASANA: Oe!
Hahaha! [etc.]
Hahaha! [etc.]
Dursasana dances exuberantly before Sangkuni, swinging his arm, striking the ground, shouting, laughing. He touches Sangkuni’s right hand by way of a greeting, then carries on dancing. Finally he sits down in a chair, facing Sangkuni. With elaborate gestures he tightens his belt , twirls his moustache, presses his helmet firmly on his head. As he rests both hands on his hip, the gamelan returns to a relaxed tempo.
Prince Durmagati enters left, wiggling his body and gesticulating rhythmically. He performs a sĕmbah before Sangkuni. Having taken his place on the floor in front of Dursasana, he gesticulates a bit more, then rests his hands in his lap.
Prince Citraksa appears from the left, his nose in the air, swinging his left arm. Citraksa strolls past his two brothers and past Sangkuni, turns round off-screen, and strolls back to the left. As he passes Sangkuni, arrogantly he takes hold of the chancellor’s hand and shakes it briefly. Behind Dursasana he turns and seats himself on the floor, both his hands on one hip.
Lord Jayadrata enters left. When he is in front of Durmagati, Sangkuni extends his arm in greeting. Jayadrata salutes, turns, and moves to the left. He turns round, salutes a second time, and takes a seat behind Dursasana and Citraksa. He puts both hands in his lap.
Prince Kartamarma is the next to emerge at the left. He approaches Sangkuni and performs a sĕmbah, which Sangkuni acknowledges by extending an arm. Kartamarma makes another sĕmbah, walks past Sangkuni, turns, and seats himself on the floor behind the chancellor, his hands in his lap.
With the signal • ❏ the dhalang cues in an accelerando. Swatama appears from the left, moving rather nervously. Before Sangkuni he makes three quick sĕmbahs . He looks round at the princes behind him, turns to Sangkuni again, and performs two more hasty sĕmbahs. He turns to the left and moves to the edge of the screen, where he turns again. As Swatama makes a final sĕmbah to Sangkuni, the dhalang signals a further accelerando and sforzando. His hands clasped together in his lap, Swatama sits down on the floor behind Citraksa and Jayadrata.
Srĕpĕgan comes to a fast conclusion.
TENSE MOOD SONG:
ADA-ADA MATARAMAN SLENDRO NĔM:
Racket all around everywhere tumultuous
Ridhu mawur mangawur-awur wurahan
The battle-signals
Tĕngaraning ajurit
Rolls on gongs and cymbals crashing forcefully
Gong maguru gangsa tĕtĕg kaya butula
Horses and elephants twisting and turning banners fluttering
Wor panggriting turangga esthi mywang dwaja kang kĕkitir
The ripping of banners and streamers torn
Rĕkatak ingkang dwaja lĕlayu sĕbit
DURSASANA: U—HUHUHUHAHAHA! • • • •● • • • • [...]
DURSASANA: U—HUHUHUHAHAHA! • • • •● • • • • [...]
Hahahahahaha! •●
Hahahahahaha! •●
U—huhuhuhuhuh! • • • • •
Ĕ—hĕhĕhĕhĕhĕh! • • • • •
Uncle—, Uncle Sĕngkuni. • • • • •●
Ma—n, Man Sĕngkuni. • • • • •●
Uncle Sĕngkuni, you appea~~r before me and sit down in the lobby, let me have your story!
Man Sĕngkuni, sampeyan mĕda~~l njawi lĕnggah pĕndhapi, Dursasana nyuwun wĕrti, la!
Hahahahaha! •
Hahahahaha! •
Uncle Sĕngkuno. • • • •●
Man Sĕngkuna. • • • •●
Uncle Sĕngkuno, you’ve appeared and come below you sit down in the portico I request some info.
Man Sĕngkuna, sampeyan mĕtu njaba lĕnggah pĕndhapa Dursasana nyuwun wĕrta, la.
Hahahahaha! •
Hahahahaha! •
Uncle Sĕngkuning, • • • •
Man Sĕngkunar, • • • •
you have left the meeting and sit down on the landing I would like a briefing. • • • •●
sampeyan mĕtu nglatar lĕnggah ndhampar Dursasana nyadhong kabar. • • • •●
What was the subject of the audience as you were seated close to my brother the king, while I attended from a distance. • • • • •●
Mĕnapa wigatosing pasewakan Paman ingkang cĕlak lĕnggahipun kaliyan Kaka Prabu, tĕbih nggen kula ngabyantara. • • • • •●
I am all ears Uncle, I your son the knight of Banjar Junu—t,
Kula aturi njara talingan kula Man, kula kĕng putra satriya Mbanjar Junu—t,
Hahahahaha! •
Hahahahaha! •
A—hahahaha! Uhuhuhuhuh! • •●
A—hahahaha! Ĕhĕhĕhĕhĕh! • •●
DURMAGATI: Well well,
DURMAGATI: Lha lha,
Uncle. • • • •
Man. • • • •
Uncle. • • • •
Man. • • • •
Bob’s your uncle? • • • • • •
Saiman? • • • • • •
A long long time and you didn’t come down. • • • • •
Sudhah lama sekali ndhak turun ndhak turun. • • • • •
While we rushed into Uncle Bob’s presence. • •
Justru kami tĕrgopoh-gopoh kĕ hadhapan Saiman. • •
Perhaps there’s good info. • • • • •
Mungkin adha info baik. • • • • •
Tell me, Durmagati, Uncle,
Bĕritahulah kami Durmagati, Man,
Durmagati, Uncle. • • • • • • •●
Durmagati, Man. • • • • • • •●
KARTAMARMA: I too beg to be enlightened Uncle, on the subject of the audience. • • • •●
KARTAMARMA: Kula inggih nyuwun katrangan Paman, mĕnapa wigatosing pasewakan. • • • •●
Be so kind as to disclose it to me your son the knight from
Kula aturi mbabari putra jĕngandika kula satriya sangking
Tirta Tinalang named Kartamarma, Uncle.
Tirta Tinalang pun Kartamarma, Paman.
JAYADRATA: Also I your son of Bana Kĕling named Jayadrata. • • • •●
JAYADRATA: Kula ingkang putra Mbana Kĕling pun Jayadrata. • • • •●
SWATAMA: I your son Swatama beg your instructions.
SWATAMA: Kula kĕng putra pun Swatama nyuwun dhawuh.
CITRAKSA: Uncle! • • • • •
CITRAKSA: Man! • • • • •
N n n noble Uncle! • • • • • •●
M m m Man Harya! • • • • • •●
U Uncle – Su! • •
M Man – Su! • •
Suzuki! • • • • •
Susuki! • • • • •
I be be beg your instructions Uncle. • • •
Ku ku kula nyuwun dhawuh Man • • •
Wh wh wha wha what! • •
M m mĕn mĕn mĕnapa! • •
we—we—wen! • • • •
wi—wi—wiwik! • • • •
SANGKUNI: Wendy hasn’t shown up so don’t ask about her. • • • • ●
SANGKUNI: Wiwik ora mĕnyang aja toktekokke. • • • • ●
CITRAKSA: Went on a-a-at the audience! • • • • •
CITRAKSA: Wi ga to-o-osing pasewakan! • • • • •
Plea please d d d disclose it to m m me •
Ku kula aturi m m m mbabari pu pu putra •
y y your so so so son! • • •●
jĕ jĕ jĕ jĕngandika kula! • • •●
I – seek. Seek. • •
Kula – sĕs. Sĕs. • •
I – seek. • • • • •
Kula – sĕs. • • • • • [some reactions]
SANGKUNI: Don’t go on about cigs, if the organizers notice it, they’ll think you’re asking for a smoke, my boy. • • • •●
SANGKUNI: Kowe aja sas-sĕs, ngko panitiyane krasa, dikira njuk rokok, lho le. • • • •●
CITRAKSA: We’re n n n n not allowed to smoke Uncle! • • • • •
CITRAKSA: Kula m m m m mbotĕn entuk udud kok Man! • • • • • [hilarity]
SANGKUNI: That’s right, so you’d better hold your tongue.
SANGKUNI: Lha ya, mula kowe mĕnĕnga wae.
CITRAKSA: Er—,
CITRAKSA: Ĕm—,
it’ll get sou sou sour! • • • • • • •●
yen kĕt kĕt kĕcut! • • • • • • •●
SANGKUNI: My Kurawa children who are all present, you mustn’t drown each other out. • • • • • • • •
SANGKUNI: Anak-anakku Kurawa kabeh kang padha ngadhĕp aja padha saur manuk. • • • • • • • •
When receiving my commands, proceed from the three – A’s. • • •●
Jroning kowe nampa dhawuhku, lambarana aksara nga – tĕlung pĕrkara. • • •●
The first A is for attention,
Nga kang sĕpisan, ngrungokna,
the second A is for awareness,
nga kang kaping pindho, ngrasakna,
the third A is for application. • • • • • •
nga kang kaping tĕlu, nglakonana. • • • • • •
If you attend without awareness, that’s useless. If you’re aware without application that too is futile and of no avail.
Tokrungokake, yen ora tokrasakake kwi, tanpa paedah. Tokrasakake, yen ora toklakoni kuwi ya muspra tanpa guna.
DURSASANA: RIGHT, Uncle. • • • • • • •
DURSASANA: NGGIH, Man. • • • • • • •
SANGKUNI: As to the subject of the audience,
SANGKUNI: Wigatining pasewakan,
His Majesty was considering
Sinuwun mĕnggalih
the Bratayuda Jayabinangun. • • • • •
marang Bratayuda Jayabinangun. • • • • •
Seeing how strong the Pĕndhawas are, His Majesty felt fear. • • • • •
Yen nonton kĕkuwataning Pĕndhawa, Sinuwun rumangsa miris. • • • • •
They’re only five in number, but in fact they’re all outstanding. • • • • •
Nadyan cacahe amung lima, ning nyatane las kabeh. • • • • •
Puntadewa Wĕrkudara Janaka,
Puntadewa Wĕrkudara Janaka,
Nakula and Sĕdewa are all blessed with invincibility. • • • •
Nakula Sĕdewa kabeh padha kasinungan kadigdayan. • • • •
Unlike the Kurawas, dear boys. While there are a hundred of you, • • •
Beda karo Kurawa, ngger. Ingatase cacah satus, • • •
not even three are invincibile. • • • •
sing digdaya, kok tĕlu wae ora gĕnĕp. • • • •
Those are few and far between. • • • • •●
Kĕna dietung. • • • • •●
Therefore, he felt that there was cause for alarm,
Mula kang mĕngkono, rumangsa nguwatirake,
in fact, His Majesty was going to return the land of Astina
yen pancena, Sinuwun bakal maringake bali praja Ngĕstina,
to the Pĕndhawas, so that the Bratayuda could be averted. • • • • •●
marang Pĕndhawa, sing tanpa nganggo Bratayuda. • • • • •●
But luckily, your father of Soka Lima and your brother of Awangga managed to talk him out of it. • • • •
Nanging rahayune, kĕna sinapih dening kĕng rama Soka Lima, lan kĕng raka Ngawangga. • • • •
The means being that your father of Soka Lima promised to remove the strength of the Pĕndhawas. • • •●
Kanthi srana, kĕng rama Soka Lima saguh bakal ngilangi kĕkuwataning Pĕndhawa. • • •●
Now the Pĕndhawas’ strength is wholly concentrated in the second of them, that is to say Bratasena. • • • •
Mangka kĕkuwataning Pĕndhawa kwi, mung dumunung ana Pĕndhawa sing angka loro, yaiku si Bratasena. • • • •
Once Wĕrkodara is dead,
Yen Wĕrkodara kuwi mati,
o—h, the others
o—, liyane
are easy to kill. • • •
gampang mateni. • • •
DURSASANA: Right! • • • • •
DURSASANA: Nggih! • • • • •
SANGKUNI: Therefore, my brother of Soka Lima was prepared to strive for Bratasena’s death. • • • •●
SANGKUNI: Mula kang mĕngkono, Kakang Soka Lima kĕparĕng bakal mbudidaya patine Bratasena. • • • •●
It so happens that Wĕrkodara has become a student of your father of Soka Lima. • • •
Kĕbĕnĕran bangĕt, wĕktu iki Wĕrkodara lagi mĕguru marang kĕng rama Soka Lima. • • •
He wants the science of the whence and whither of being to be revealed to him. • • • • •
Ingkĕng disuwun, bakal nyuwun wĕdharing kawruh sangkan paraning dumadi. • • • • •
My reverend brother said he was willing to reveal it, if Wĕrkodara asked permission from your elder brother of Astina. • • •
Kakang Bĕgawan kĕparĕng mĕdharake, waton Wĕrkodara nyuwun palilah marang kĕng raka ing Ngĕstina. • • •
●Just now, Wĕrkodara came to pay his respects in Astina. • • •
Iki mau, Wĕrkodara wis sowan marang praja Ngĕstina. • • •
He asked to borrow Brother Durna; your elder brother allowed him to do so. • • •
Nyuwun ngampil marang Kakang Durna; kĕng raka uga wus maringake. • • •
When Brother Durna had talked with Wĕrkodara, • • • •
Sawise Kakang Durna ngĕndikan klawan si Wĕrkodara, • • • •
Brother Druna promised to reveal the science of the whence and whither of being. • •
Kakang Druna saguh mĕdharake kawruh sangkan paraning dumadi. • •
Provided Wĕrkodara can produce the payment for it; namely: the tall tree, nest of the wind. • • • • •
Waton Wĕrkodara bisa mujudake pitukon; wujude: kayu gung, susuhing angin. • • • • •
If Wĕrkodara is able to present the tall tree nest of the wind,
Mĕnawa Wĕrkodara bisa ngaturake kayu gung susuhing angin,
then and there he will be instructed in
ing kono bakal diwĕdharake
the science of the whence and whither of being. • • • • •
kawruh sangkan paraning dumadi. • • • • •
As to its whereabouts, it’s on the peak of Mount Candramuka, Mount Wrĕksamuka. • • • •
Wondene mapane, ana pucuking Gunung Candramuka, ya Gunung Wrĕksamuka. • • • •
While as you know, dear boys, • •
Mangka kowe dhewe ngĕrti, ngger, • •
this Mount Candramuka is a place of no return a place • • •
Gunung Candramuka kwi, papan pĕngalapan papan(ing) • • •
of evil omen a place that •
kang wingit papan kang •
no human wants to set foot in. Because that would really be dangerous. • • •
tanpa mĕnungsa gĕlĕm saba ana kono. Sabab pancen kuwi mbĕbayani. • • •
Anyone who climbs this mountain will DEFINITELY be unable to return. • • •
Sapa munggah nyang gunung, MĔSTHI ora bakal bisa bali. • • •
But Wĕrkodara didn’t give that a thought. • • •
Nanging Wĕrkodara ora metung bab kuwi. • • •
He set off, he’s going to climb Mount Candramuka. • •
Dheweke mangkat, bakal munggah marang Gunung Candramuka. • •
With Wĕrkodara actually leaving, we may rest assured that his time is drawing near. • • • •
Kanthi budhaling Wĕrkodara iku, wus nelakake yen mung sĕmene pĕsthi uriping si Wĕrkodara. • • • •
Wĕrkodara won’t be able to return to the city of Amarta,
Wĕrkodara ora bakal bisa bali nyang praja Ngamarta,
because no doubt he’ll DIE up there on Mount Candramuka, dear Dursasana. • • • •
awit mĕsthi bakal MATI ana ing Gunung Candramuka kono, ngger Dursasana. • • • •
Therefore my dear,
Mula ya ngger,
since this is our last chance to see Wĕrkodara alive,
gandheng kĕpĕthuk Wĕrkodara mung kari sĕpisan iki,
come along with me lads, to honour him on his departure. • • • •
ayo kulup, kowe takkanthi ngurmati budhaling Wĕrkodara. • • • •
And also to offer our condolences on Bratasena’s imminent death, when he climbs Mount Candramuka. ●
Idhĕp-idhĕp layat bakal patine si Bratasena, nggone bakal munggah marang Gunung Candramuka. ●
DURSASANA: He—y, well well well. •
DURSASANA: E—, lha lha lha. •
Hahahahahaha! •
Hahahahahaha! •
Huh huhuhuhuh. • • • •
Whĕh hĕhĕhĕhĕh. • • • •
Uncle—, Uncle. How can a mere human be so certain of what’s going to happen in the future? • • • •
Ma—n, Man. Mĕnungsa kok dhĕmĕn mĕsthekke barang sing dereng kĕlakon. • • • •
Let me tell you something, Uncle. • • •
Sampeyan kula kandhani, nggih Man. • • •
The Pĕndhawas know no dangerous places. • •
Pĕndhawa niku, mbotĕn tĕpung papan gawat. • •
The Pĕndhawas know no ominous places. • • • • •
Pĕndhawa niku, mbotĕn tĕpung papan wingit. • • • • •
Take any dangerous place, if the Pĕndhawas arrive there, it turns prosperous. • •
Ĕndi papan gawat, tĕkani Pĕndhawa niku, dadi rĕja. • •
Take any ominous place, if the Pĕndhawas arrive there, it turns peaceful. • •
Pundi papan wingit, ditĕkani Pĕndhawa niku, malah dadi tĕntrĕm. • •
Why do I say that:
Buktine napa:
wasn’t Marta Forest dangerous enough, or what? • • •
Wana Marta biyen niku kurang gawat, napa? • • •
GHOSTS and DEVILS all lived in Marta Forest. ●
JIM, SETAN padha mapan tĕn Wana Marta. ●
BUT, in fact, the Pĕndhawas managed to clear and cultivate it!
NING, nyatane, Pĕndhawa kĕlakon mbabadi Wana Marta!
It’s a beautiful city to this very day. Well there you have it! • • • •
Malah wujud nĕgara bĕcik ngantos dumugi sĕpriki. Lho niku! • • • •
That’s the power of the Pĕndhawas. • • •
Niku dayaning Pĕndhawa. • • •
Because: the five Pĕndhawas really form a MIGHTY power. • •
Marga: pancen Pĕndhawa lima niku, mujudake daya sing AMPUH. • •
Whoever is prepared to identify with the spirit of the five Pĕndhawas, O HOHO,
Sintĕn sing purun njiwa tĕng jiwaning Pĕndhawa lima, O HOHO,
they live in bliss in this world, and they’ll live in bliss later in the beyond. • • • •
mulya ndonya, lan mulya mbenjing tĕng mrikane niku. • • • •
BUT, on the other hand, •
NING, kosok baline, •
if someone MERELY speaks ILL of them,
sintĕn sing CILIK ngrasani ELEK,
LET ALONE if he tries to achieve the Pĕndhawas’ death,
GĔDHE ajĕng mbudidaya patining Pĕndhawa,
I tell you he’ll be miserable all his life. • • • •
cilaka sakjĕge urip kula kandhani. • • • •
And what’s more, you’re saying,
Luwih-luwih, sampeyan ngĕndika,
that if Wĕrkodara climbs Mount Candra-muka,
Wĕrkodara munggah tĕng Gunung Candramuka,
his days are numbered, •
wis tĕka garise, •
he’s bound to die there. O—h, don’t be too sure, Uncle~~, don’t be too sure. • • • •
bakale mati entĕn ngriku. O—, dereng karuwan, Ma~~n, dereng karuwan. • • • •
And what’s more, it’s Bratasena, Pĕndhawa number two, who’s the strongest force in Amarta. •
Luwih-luwih, Bratasena, Pĕndhawa sing angka loro, sing dadi kĕkuwatan tĕn praja Ngamarta. •
It’s really hard to get rid of him. • • •
Niku uangel digoleki patine. • • •
Don’t you remember what happened • •
Napa sampeyan mbotĕn kelingan, • •
at the time of the lacquered pavilion? • • • • •
nalika jaman bale gala-gala biyen. • • • • •
The Pĕndhawas were invited to a feast in Pramanakoti Forest; •
Pĕndhawa dikanthi pista entĕn (m) Wana Pramanakoti; •
Brother Duryudana invited them, the COMPLETE Kurawa family joined in the feast. • • •
sing nganthi, Kakang Duryudana, KOMPLIT para Kurawa padha melu pista. • • •
Halfway through the meal,
Sĕtĕngahe padha mangan,
the pavilion was set alight!
balene diobong!
The idea was to kill the Pĕndhawas. BUT what came of it? •
Pĕrlune, ajĕng mateni Pĕndhawa. NING buktine napa? •
The Pĕndhawas didn’t die:
Pĕndhawa mbotĕn mati:
Wĕrkodara even found himself two wives in a single night. Just imagine. • • • •
malah Wĕrkodara, sĕwĕngi rabi ping pindho. Lho niku mang pikir. • • • •
First he got Goddess Nagagini, •
Sĕpisan entuk Bĕthari Nagagini, •
second, he got Arimbi.
kaping kalih, pikantuk pun Arimbi.
How about that! • •
Lho niku! • •
And so, Uncle—, Uncle, you would do well not to spread venom, not to spread sin. • • • • •
Mila, nggih Ma—n, Man, mbok nggih ampun ndhĕdhĕr wisa, ampun ndhĕdhĕr dosa. • • • • •
IT’S BETTER just to BE NICE to Wĕrkodara. • • • •
LUWIH BĔCIK Wĕrkodara DIAPIKI mawon. • • • •
And besides, this grandpa Durna, how can he, as a teacher, be out to deceive a pupil of his? • •
Kalih mĕlih, Mbahne Durna niku, wong dadi guru kok ajĕng ngapusi muride. • •
As a teacher how dare he lead a pupil astray? While the planter shall REAP, the debtor shall redeem. • •
Dadi guru kok ngloropke muride. Mangka, wong nandur bakal NGUNDHUH, wong utang bakal nyaur. • •
People shall reap as befits their deeds. • • •
Mĕnungsa niku, bakal ngundhuh uruping pakarti. • • •
Well now if he goes as far as to •
Lha yen nganti niki (ngu) •
plant evil, there’s no QUESTION that later he’ll reap evil as well. • • • • •
nandur ala, mbesuk ngundhuhe mbotĕn WURUNG nggih ala. • • • • •
The law of karma, it will take its course, it won’t come to a halt. • • •
Ukum karma niku, bakal lumaku, mbotĕn badhe mandhĕg. • • •
So Uncle, while it still isn’t too late we’d better warn Wĕrkudara. • • •●
Mila Man, mumpung dereng kĕlakon Wĕrkudara dielikke mawon. • • •●
And besides is there a lack of clever men, that he wants to study with the Holy Durna of all people? • • • •
Kalih mĕlih napa kurang wong pintĕr, mĕguru kok tĕn Bĕgawan Durna niku. • • • •
What knowledge does grandpa Durna have? • • •
Mbahne Durna niku, nduwe kawruh napa? • • •
Father Durna is not
Bapa Durna niku, (u) sanes
a teacher • •
gurune (b) • •
a teacher of fighters. • • •
guruning wong pĕrang. • • •
If someone wants to be INVINCIBLE, and they STUDY with grandpa DURNA,
Sintĕn kĕpengin DIGDAYA, MĔGURU tĕn Mbahne DURNA,
they’re sure to succeed. • •
mĕsthi kĕlakone. • •
But as far as knowledge is concerned, he’s COMPLETELY HOLLOW he contains nothing at all. • • • •
Ning nek bab pĕrkara kawruh, niku mbok KOTHONG MLOMPONG mbotĕn isi napa-napa. • • • •
And he wants to edify Wĕrkodara: what has he got to teach him? You must be joking, Uncle~~, Uncle. • • • •●
Lha kok ajĕng mĕjangi Wĕrkodara: sing diwĕjangke napa. Oalah, Ma~~n, Man. • • • •●
SANGKUNI: Dursasana.
SANGKUNI: Dursasana.
DURSASANA: Yes.
DURSASANA: Kula.
SANGKUNI: You needn’t have doubts about Wĕrkodara. • • •
SANGKUNI: Ora pĕrlu kowe maido marang Wĕrkodara. • • •
Because Wĕrkodara is clearly bent on studying with your father of Soka Lima. • •
Wong nyatane antĕping pikir Wĕrkodara, mĕguru marang kĕng rama Soka Lima. • •
Therefore, there’s no need to drag this out any further. • • • •
Mula kang mĕngkono, ora pĕrlu kuwi dawa-dawa dinudut. • • • •
What counts is that I have received His Majesty’s command that you and your brothers must
Ingkang wigati, aku entuk dhawuh saka Sinuwun, kowe saadhimu kinen
honour Wĕrkodara on his departure. • • • •
ngurmati budhaling Wĕrkodara. • • • •
And not just honour him, dear, you should keep –
Ora mung trima ngurmati, ngger, di–
an eye on him from the mountain pass. • • •
tonton saka lĕngkehing wukir. • • •
If Wĕrkodara has climbed the mountain, but it turns out he doesn’t die, • •
Yen nganti Wĕrkodara munggah nggunung, mangka durung katon patine, • •
the Kurawas must gird up their loins,
Kurawa kudu cancut taliwanda,
charge at Wĕrkodara from outside the wood,
ngrocok gĕgaman saka njabaning alas,
with daggers and spears. • •
mĕnyang si Wĕrkodara. • •
To make sure that he does die there in that place. ●
Pamrihe dheweke karĕben enggal mati ana kono. ●
DURSASANA: Ha—, haha,
DURSASANA: Wha—, hahah,
that’s even worse. • • •
saya mĕlih. • • •
The Kurawas are supposed to kill Wĕrkudara while he’s done nothing wrong. O—h, what’s going to befa—~ll us now? • • • • •●
Kurawa malah ken mateni Wĕrkudara sing tanpa luput. O—, arĕp nĕmoni lĕlakon apa—~ iki. • • • • •●
SANGKUNI: Therefore my boys the Kurawas you mustn’t loosen your attire, but rather you must tighten it. • •
SANGKUNI: Mula kang mangkono kulup kabeh para Kurawa aja mokkĕndhoni nggonmu dandan kĕpara kĕncĕngana. • •
Now come along with me, we set out today.
Ayo padha enggal takkanthi, budhal dina iki.
DURSASANA: Oh right! • • •●
DURSASANA: O inyih! • • •●
Without more ado, let’s go, I will accompany you uncle. • • • •
Mbotĕn langkung, mangga, kula dherekakĕn Man. • • • •
SANGKUNI: My boy Swatama.
SANGKUNI: Kulup Swatama.
SWATAMA: I am at your command.
SWATAMA: Kula wontĕn dhawuh.
SANGKUNI: Go outside now. • • • • •
SANGKUNI: Mara kowe mĕtua njaba. • • • • •
Give orders to the lads of the Carangan, Saragĕnen, Stabĕlan, Prangtandang, Jagabela, Rajĕgwĕsi and Singanĕgara corps. • • • •●
Prentahna bocah Carangan Saragĕnen, Stabĕlan Prangtandang, Jagabela Rajĕgwĕsi Singanĕgara. • • • •●
Let them treat rusty swords with arsenic, clean out blocked rifles, replace the shafts of broken lances.
Pĕdhang abang kinen marangi, bĕdhil buntĕt kinen ngoroki, tumbak pothol kinen nyalini landheyane.
SWATAMA: I am at your service as you desire. • • • • •
SWATAMA: Kawula nok-non nuwun nun inggih. • • • • •
SANGKUNI: Secondly my boy,
SANGKUNI: Kaping pindhone kulup,
strike three signals on the gong, the first to kit up the second to assemble the third to march.
nataba tĕngara bĕndhe kaping tĕlu, sĕpisan dandan pindho nglumpuk ping tĕlu bodhol.
SWATAMA: Please allow me to leave the meeting, Uncle. • • • • • [...]
SWATAMA: Kĕparĕng madal pasowanan, Paman. • • • • • [...]
TENSE MOOD SONG:
ADA-ADA ASTAKUSWALA ALIT SLENDRO NĔM:
The noble Swatama withdrew
Mundur sang Swatama
To order the troops to stand ready
Undhang ing pra wadya bala sawega
Gongs and kettledrums resounded
Umyung swaraning bĕndhe beri
Bells chimes and also
Gubar gurnang kalawan
[
Swatama performs a sĕmbah.]
Cymbals tabors and pipes; the pennoned pikes and streamers
Poksur tambur mywang suling pĕpandhen daludag
[
He rises and exits left .]
Flags and banners of many colours
Bandera muwah kakandha mawarna-warna
Were like the sea
Pindha jaladiyan
A joy to behold
Asri kawuryan
• • • [...] •● ● • • •●
• • • [...] •● ● • • •●
TENSE MOOD SONG:
ADA-ADA ASTAKUSWALA AGĔNG SLENDRO NĔM:
Stumbling it came to a standstill
Grĕg grĕg handhĕmaning kang
The horse wildly neighed
Jaran ngrik magalak
In turn he mounted
Gĕnti manitih
With might and main did the noble
Pamĕkakira risang
Sudarsana attempt to restrain it
Sudarsana dahat
The bit was sharp and it pierced
Kĕndhali rangah manjing
It pierced the roof of the horse’s mouth
Manjing lak-lakaning kuda
As it neighed the blood welled out
Ngrik mijil rah
Like a spring brimming over
Kadya tuk sumarambah
[interlude] • • • • • • •
[umpak] • • • • • • •
Booms and jangles
Mung jiriririririririr
Booms and jangles
Ung jiriririririririr
Like a giant
Yaksa tĕmahan
[
Swatama reappears from the left and performs a sĕmbah to Sangkuni.]
[
Swatama sits down before Durmagati, makes a sĕmbah to Sangkuni, and places his hands in his lap.]
It snapped at him in a fury
Krura sru manaut
The prince was on his guard
Yitna sang Narpatmaja
[...] • • • •●
[...] • • • •●
SWATAMA [with a sĕmbah]: I beg leave to address my uncle chancellor whensoever we march there shall be no failing, the troops are set for action and ready for anything. • • • • •
SWATAMA: Kula nuwun kĕparĕng matur dhumatĕng Paman Patih sĕwanci bodhol mbotĕn nguciwani, sampun samapta ing gati sawega ing dhiri para wadya bala. • • • • •
SANGKUNI: Fine fine excellent a myriad good wishes. • • •
SANGKUNI: Iya ya sokur sĕkĕthi jumurung. • • •
Come along Swatama you precede and march at the head.
Mara Swatama sira ndhisikana, dadi wĕdananing laku.
SWATAMA [with a sĕmbah]: As you command allow me to be the first to withdraw Uncle. • • • [...]
SWATAMA: Nuwun kĕparĕng madal hangrumiyini Paman. • • • [...]
TENSE MOOD SONG:
ADA-ADA BUDHALAN MATARAMAN PELOG NĔM:
In the morning they marched from Astina with thunderous clamour
Enjing bidhal gumuruh saking Ngastina nagri
[
Swatama rises, makes a sĕmbah to Sangkuni, and turns.]
The vastness of the troops, their attire shining
Gunging kang bala kuswa bra busananira
[
He moves to the left, turns and makes another sĕmbah to Sangkuni, then exits.]
Seemed like the sun emerging
Lir surya wĕdalira
From within the sea
Saka ing jwalanidhi
About to light the world; intermittently seen on the mountain tops
Arsa madhangi jagad duk mungup-mungup aneng sapucaking wukir
They shone bright red
Mĕrbabak bang sumirat
Struck by the rays of the sun; clouds and mountains
Kĕna soroting surya mega lan gunung-gunung
[...] • • •● ● • • • • •
[...] • • •● ● • • • • •
NARRATION: SWIFTLY the Kurawas marched. • • •
CARITA: SIGRA bidhal para Kurawa. • • •
All along the way they were warned
Turuting marga amung tansah sung pĕpengĕt
[Sings:]You mark my words
[Sings:]Titenana
SINGERS:You mark my words
SINGERS:Titenana
Surely betrayal shall not last
Wong cidra mangsa langgĕnga
ⓐThe gamelan plays lancaran Tropong Bang pelog nĕm in a slow tempo. (Durmagati rises, makes a sĕmbah, and exits left. Kartamarma rises, advances to the middle of the screen, turns to Sangkuni, makes a sĕmbah to him, and moves off to the left. Citraksa rises, makes a sĕmbah, and exits left. Jayadrata rises, moves to the middle of the screen, and makes a sĕmbah.)
While Jayadrata moves off to the left, Dursasana rises and turns in the same direction. He puts his hand above his eyes and gazes into the distance, looking at his brothers leaving. He turns to Sangkuni. His left arm at a wide angle from his body, his right arm swinging rhythmically, he dances about in the left gawang. The drum underscores his powerful and spirited movements. He turns left again and continues to dance for a while, then walks off.
Sangkuni rises. Gently swinging his right arm, he walks across the screen. In the left gawang he waves.
Sangkuni exits while the dhalang plays a dhodhogan pattern to cue in an accelerando. The gamelan proceeds immediately to the fast movement of lancaran Tropong Bang. The dhalang now begins striking the kĕpyak.
Kartamarma enters right, his left arm at a wide angle from his body. He looks into the distance. He steps to the centre and waves. He moves to the left gawang and waves again. He steps backward to the middle of the screen and waves once more. He moves ahead and in the left gawang strikes the ground with his right hand. Then Kartamarma exits left, turning his right arm in a full circle from his shoulder.
Swatama enters from the right. He looks into the distance. He advances to the middle and waves. He steps back and waves again. He walks to the left gawang and waves. He moves back to the centre and waves again. He advances to the left and turns. Stretching out Swatama’s left arm horizontally, the dhalang plants him in the upper trunk. Swatama fastens his armlets, first on the right arm, then on the left. He secures his wristlets as well. Then he tucks in his loincloth and pulls it tight with his left hand. He twirls his moustache, presses his cap firmly on his head with both hands, then puts his left hand on his hip. With his other hand he waves to the right.
The dhalang strikes the cue • ❏ and the gamelan starts playing very loud and fast. The rectangular puppet representing an infantry unit (rampogan) appears from the right. The dhalang symbolizes the clamour of tabor rolls and gongs by rapping rapid triplets on the puppet chest, stressing the heavy notes with the kĕpyak. Swatama takes the salute; his troops march past and exit left. When they are gone, the gamelan starts to play more softly, though maintaining the high tempo. Swatama follows the troops in a flash.
Swatama enters again from the right. He looks into the distance. He moves to the centre and looks into the distance again. He steps to the left gawang, strikes the ground with his right hand, and exits while swinging his arm from his shoulder in a full circle.
Walking backwards, Kartamarma enters from the right. He halts in the left gawang. He tucks in his loincloth and pulls it tight, briefly twirls his moustache, and fastens his diadem. He puts his left hand on his hip and with his right arm waves towards the right. His troops march past in the same fashion as Swatama’s before. Kartamarma follows them in a flash.
Kartamarma comes on again from the right. He halts briefly in the right gawang, steps to the centre and looks into the distance, steps to the left gawang and looks into the distance again. He exits while turning his arm round from his shoulder.
Nervously swinging his left arm, Citraksa runs backwards onto the screen from the right and halts in the left gawang. With awkward movements he tucks in his loincloth, which ends up in a tangle. Hastily he waves to the right. His company marches past and he takes the salute (without the earlier sforzando and fast dhodhogan triplets, but with slow triplets). In a flash, Citraksa jumps off backwards to the left.
Citraksa hurries on again from the right. He makes two little hops in the right gawang, does the same in the centre, again at the right, then in the left gawang, and rushes off to the left.
Jayadrata backs on from the right, halting in the left gawang. He steps to the centre and waves. His troops march on and, walking backwards, Jayadrata leads them to the left. Jayadrata turns and he and the troops exit.
When Prince Dursasana appears on the screen from the right, the gamelan recognizes this as a visual cue to play softly.
DURSASANA: Hehehehe—y!
DURSASANA: Wehehehe—!
ⓐThe gamelan plays more rhythmically and the male singers shout on the beat. Wildly swinging and turning his right arm, Dursasana dances up and down the screen . He laughs and shouts loudly. He strikes the ground and continues his elated dance with various movements of the arms. He strikes the ground again and again and repeatedly looks into the distance. The dhalang plants Dursasana in the right gawang, facing left, and has him continue his dance with rapid and intricate arm movements. The gamelan plays louder and faster as Dursasana repeatedly looks into the distance. Suddenly the gamelan starts playing softly and slowly, and Dursasana, exhausted, exits left. [The audience applauds the dhalang’s skill in manipulating Dursasana’s puppet.] ⓐThe soldiers march on from the right and are planted at the left side of the screen in the lower trunk. Via a transitional phrase the gamelan proceeds to the slow piece kĕtawang Langĕn Gita, with choral singing by the female vocalists. CANTILLATION: E
KOMBANGAN: E
ⓐPrince Kartamarma, mounted on a horse, enters right. He has his horse parade with various elaborate kinds of gait, while the troops – their puppet held underneath the horse, covering its forefeet – escort him . The kĕpyak and the drum accentuate the horse’s pace. Eventually Kartamarma and his men exit left. This sequence is repeated twice, each time with a different gait.
This sequence is repeated twice more with other gaits.
With Kartamarma (on horseback) and the troops still on-screen, the dhalang cues in an accelerando. Kartamarma rides off left; the troops stand still. Via a transitional phrase the gamelan returns to the fast movement of lancaran Tropong Bang. The troops follow Kartamarma.
A carriage drawn by two horses appears from the right and halts in the right gawang. Chancellor Sangkuni follows, swinging his right arm, and walks to the front of the carriage. He turns (fig.1.37), taps the coachman on his shoulder, and motions to the left, instructing the coachman to follow the Kurawa troops. Then Sangkuni climbs into the carriage and it speeds off.
The carriage dashes past from right to left.
Swatama, walking backwards face to face with a horse, appears from the right. When he is in the left gawang and the horse in the right gawang, he attempts to mount it, but it evades him by moving backwards. When he tries to jump onto it, it swings round and kicks him with its hind feet . Swatama falls flat on his back and rolls off to the left. The horse runs after him.
Swatama backs on again from the right, facing the horse. It jumps and kicks wildly. Swatama tries to jump onto its back but is kicked away every time. He rolls off to the left but returns. The horse leaps past him and he rushes after it.
The horse enters from the right and halts in the left gawang. Swatama comes after it, takes hold of its buttocks, and jumps into the saddle from behind. The horse carries him off.
The horse gallops past, Swatama on its back.
Citraksa and Durmagati, both on horseback, enter from the right. Durmagati’s horse tries to mount Citraksa’s from behind. Both ride off left.
The dhalang raps the puppet chest to signal an accelerando. Prince Dursasana rides past twice, mounted on a ponderous elephant . The dhalang accentuates its gait with raps on the puppet chest.
The infantry company marches onto the screen. The dhalang takes the kayon from the right and has it gyrate vertically at the rear of the troops to depict a whirl of dust . The troops disappear toward the left.
The dhalang strikes • ❏ to cue a further accelerando and sforzando. Bratasena appears in the top right corner of the screen. He stands at ease in the right gawang and puts both hands on his left hip .
ⓐThe dhalang signals a loud, fast, and abrupt conclusion (suwuk gropak) to lancaran Tropong Bang. TENSE MOOD SONG:
ADA-ADA MATARAMAN SLENDRO NĔM:
With great tumult the marching troops
Umyung swaraning wadya kang lumampah
Advanced by division, orderly and regular
Kumpul sajuru-juru atata tan carub
They took their places
Denira met pĕrnah
With banners and tolling gongs
Dwaja mywang bĕndhe ngungkúng
The noble Swatama stood
Sang Swatama minangka
At the head of the troops
Cucuking pra wadya bala
[...] • • • ••
[...] • • • ••
NARRATION: It has been seen that the Kurawas are ALREADY on the march. • • • • • • • •
CARITA: Katingal SAMPUN bidhal sanggya para Kurawa. • • • • • • • •
Defiling in a narrow train they appeared like an emmet-rock. Rock is the name of stone, emmet is the name of ants. • • • • • •
Angĕlur sĕlur lampahe cinandra pindha sela brakithi. Sela haraning watu, brakithi haraning sĕmut. • • • • • •
Like ants advancing over stones they flowed along without a break. • • • • • •
Yayah sĕmut lumampah ana ndhuwuring watu ndalidír tan wontĕn kĕndhate. • • • • • •
There were those who rode horses, others who rode elephants. • • •
Ana kang nitih turangga, ana kang nitih dwipangga. • • •
Yet others rode in chariots,
Ana kang nitih kreta,
litters palanquins, sedans and carts were not lacking. • • • • • • • • • •
joli jĕmpana, tandhu pĕdhati datan keri. • • • • • • • • • •
Enough about those on the march, they must be passed over it is told that now nothing
Sinigĕg kang lumawat, nĕngna kang kinocap ing mangke datan
is more notable than the one APPARENT in the palace square, •
kaya ingkang MALELA wontĕn ing ngalun-alun, (pinarak) •
standing erect under the mighty banyan trees. • • • • • • • •
jumĕnĕng ana ing sakngandhaping mandera gung. • • • • • • • •
The second of the Pandhawas, Prince BRATASENA, the noble Wĕrkodara. • • • • • • • •
Panĕnggak Pandhawa, Dyan BRATASENA, ya sang Wĕrkodara. • • • • • • • •
From childhood till adulthood, he has refused to mount any kind of vehicle. • • • • • •
Wiwit timur tĕkan dewasa, tan kĕrsa nitih sĕkathahing titihan. • • • • • •
If he mounted a horse its backbone would SNAP, if he mounted a carriage its box would BREAK OFF. • • • • • • •
Nitih jaran PĔDHOT ula-ulaning njaran, nitih kreta SĔMPLOK baking kreta. • • • • • • •
The noble Wĕrkudara, he likes only to leap. • • • • • • •
Karĕmane amung lumumpat, sang Wĕrkudara. • • • • • • •
At this moment Bima has fully equipped himself. • • • •
Nalika mangke wus miranti hagĕmaning sang Bima. • • • •
Swiftly • • • •
Sigra • • • •
he utters the spells Bandung Bandawasa, Ngungkal Bĕnĕr and BLABAG Pĕngantol-Antol. • • • • • • • •
matak aji Bandung Bandawasa, Ngungkal Bĕnĕr BLABAG Pĕngantol-Antol. • • • • • • • •
Bima’s advance is accompanied
Lampahing sang Bima dendherekakĕn,
by attendants in the shape of WINDS,
panakawan wujud ANGIN,
or gusts, SEVEN in number. • • • • • • • •
utawi barat, PITUNG prakara. • • • • • • • •
Having concentrated Wĕrkodara swiftly girds his loins! • • • • • •
Wusnya mĕsu sigra cancut sang Wĕrkodara! • • • • • •
The noble Sena leaps to ascend Mount Candramuka,
Lumumpat sang Sena arsa minggah Nggunung Candramuka,
one leap takes him forward FORTY LEAGUES! ● ● ●
saklompatan sakYOJANA dohe! ● ● ●
ⓐThe gamelan plays the tense piece Sampak in the scale slendro and the mode nĕm. Bratasena takes his hands from his hip. Slowly and carefully he fastens his armbands and wristlets. Then he tucks in his loincloth and pulls it fast with a powerful jerk of both hands. He twirls his moustache and with a bold and elegant flourish puts his hands together on his thigh, where he keeps them.
The dhalang takes the kayon from the right. He has it emerge, slightly slanting to the left, from Bratasena’s body. It depicts a gust of wind. It dashes off to the top left of the screen . This happens three times.
The dhalang gently withdraws the puppet of Bratasena from the trunk but holds it in place. As the dhalang signals a sforzando and accelerando to the gamelan, Bratasena prepares to leap: he leans back in the bottom right corner of the screen. In a single leap he dashes off.
The kayon, depicting the winds, whooshes past twice.
In a single sweeping movement, Bratasena lands in the left gawang, leans back in the right gawang, and leaps away to the left.
Bratasena leaps past in the same manner once more.
Bratasena lands in the right gawang, directly followed by the wind (the kayon), which whirls past him. While Bratasena overtakes it again, both move off to the left in a flash. The same happens once more.
The dhalang removes the ornamental kayon from the left. He places the other kayon in the bottom trunk left to depict a tree. Bratasena lands on top of it and it rolls off, Bratasena leaping after it.
The dhalang places a kayon in the bottom trunk at the far left, slanting to the left. He plants the other kayon at the right of the screen. Together they represent the pass at the foot of Mount Candramuka, which looms on the left. Bratasena leaps on, landing in the centre. He puts his hand above his eyes and observes the mountain . Then he stands at rest and places his left hand on his hip.
The dhalang signals a fast conclusion to Sampak.
TENSE MOOD SONG:
ADA-ADA JUGAG SLENDRO NĔM:
Bees came to kiss him, buzzing busily
Brĕmara reh manguswa amung ambrĕngĕngĕng
[
Bratasena slowly puts his right hand on his hip as well.]
Like people in anguish moaning
Kadi karunaning kaswàsih
All along the way he was fired with desire
Haneng marga mĕmalad kung
NARRATION: In a flash Wĕrkodara has ALREADY reached the pass at the foot of Mount Candramuka. • • • • • • • •
CARITA: Amung sakgĕbyaring thathit SAMPUN dumugi lĕngkehing Wukir Candramuka, sang Wĕrkodara. • • • • • • • •
A great forest concealing more forest from sight • •
Wana gung ingkang anglimputi ing wana, • •
is what the noble Wĕrkudara observes now. • • • • • • •
yĕkti ing mangke pinandĕng marang sang Wĕrkudara. • • • • • • •
What could be the whereabouts of the tall tree, nest of the wind? • • • • • •
Baya ngĕndi papan panggenaning ponang kayu gung, susuhing angin. • • • • • •
Without a pause, swiftly • • •
Tan kendĕl, sigra • • •
Wĕrkodara proceeds to climb Mount Candramuka, clearing the wilderness and all it contains. • • •
lumampah sang Wĕrkodara anginggahi Gunung Candramuka, lawan mbubak alas saisine. • • •
The gamelan plays Srĕpĕgan slendro nĕm.
Bratasena goes into action. Stretching his right arm before him, he looks at the mountain. One arm raised, the other at a wide angle from his body, he strides boldly towards the mountain and ascends it, disappearing top left.
While the gamelan moves into the high-register section of Srĕpĕgan, the dhalang sings:
CANTILLATION: O
KOMBANGAN: O
The dhalang takes both kayons and brings them together in the middle, holding them close to the lamp so that their shadow covers the whole screen, to depict the wilderness. Bratasena walks past from right to left through the darkness of the wood.
The dhalang places the kayons erect in the left and right gawangs to represent trees or boulders. Bratasena walks on from the right and halts in the centre. With some effort he lifts up the left-hand kayon; he hurls it away. He turns, lifts the other kayon above his head , and throws it away to the right. He turns and looks to the left. He turns and looks to the right. He turns again and exits left.
The dhalang holds a kayon in the left gawang to represent a tree. Bratasena enters, halts, looks at it, and kicks it away. He glances into the distance and walks off to the left.
The dhalang signals an accelerando and sforzando. He brings the two kayons together in the centre of the screen, one from the left and one from the right, moves them each to a gawang, and spins them round. They depict the turmoil in the wood brought about by Bratasena. The dhalang lets the kayons change places and has them twirl again, each in a gawang.
The dhalang plants one kayon in the bottom trunk at the far left, covering the ornamental row of puppets on that side of the screen. He brings the other kayon on-screen from the right and spins it round once in the centre. He lifts it up high, presses its tip against the screen for a moment, spins it again, and holds it high, its tip against the screen . Then he signals a fast conclusion to Srĕpĕgan.
SERENE MOOD SONG:
PATHĔT KĔDHU, SLENDRO NĔM:
He saw the charms of the domain
Myat langĕning kalangywan
Gleaming lamps set out
Haglar pandam muncar
[
Gently the dhalang lets the kayon slide down until it disappears at the screen’s base.]
Appeared like fireflies
Tinon lir kĕkonang
[
He moves the kayon from right to left while slowly waving it (like a fan) towards and from the screen. It is two thirds visible on-screen and slightly inclined to the left.]
Toned down, their light not bright
Surĕm sorote tan padhang
[
The dhalang repeats this.]
Outshone by the full
Kasor lan pajaring
[
He brings the kayon out in the same way. In the centre he slowly spins it round once.]
[
He raises the kayon and makes it quiver.]
[
He lets it slide down gently and plants it centre-screen in the bottom trunk, inclined to the right .]
Moon rising in the sky
Purnameng gĕgana
For it was the dry season
Dhasare mangsa katiga
Clouds covered
Hima hanawĕng
The foothills
Ing ujung ancala
Glossy, rousing a sense of gloom
Hasĕnĕn karya wigĕna
Thus too the contents of the woods
Miwah sining wana
Tall trees set alight
Wrĕksa gung tinunu
•●•●•●•●•●•●•●•●•
• • • • • • • • •
NARRATION: The noble Bimasena had climbed Mount Candramuka and was seen whizzing along.
CARITA: Katingal sumĕbut lampahing sang Bimasena ingkang sampun minggah Nggunung Candramuka.
He entered the forest that is known as Tribasara.
Manjing wana, kang sinĕbat Wana Tribasara.
He rooted up trees,
Kayu-kayu denrungkadi,
he dug up boulders, in case they CONCEALED the tall tree nest of the wind. «»
sela-sela dendhungkiri, hambokbilih ISI kayu gung susuhing angin. «»
The wilderness roared as the noble Bima made his way through it. •
Gumarubug swaraning alas labĕt kasasak lampahing sang Bima. •
Enough of the one clearing the wilderness,
Sinigĕg, ingkĕng ambubak alas,
may another matter be described. «»
gĕntia ingkang winuwus. «»
Now, nothing is more notable than those who
Ing mangke, datan kadi ingkang nĕmbe
are seated in front of the Gandamĕdana cave,
pinarak wontĕn ngajĕnging Guwa Gandamĕdana,
in the middle of Tribasara Forest. «»
madyaning Wana Tribasara. «»
There are two og–res who happen to be sitting together. «»
Wontĕn rĕk–sasa kĕkalih ingkang nuju lĕlĕnggahan. «»
Considering the nature of ogres,
Eling-eling sipating rasĕksa,
it is little wonder,
mila datan mokal,
that their voices
suwarane
rumble like an eruption in the sky. • •
gumludhug yayah guntur ing akasa. • •
