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Third part · Pathĕt manyura
SERENE MOOD SONG:
PATHĔT MANYURA WANTAH:
Dawn was near, the godly sun glowed red
Meh rahina sĕmu bang Ywang Haruna
[The dhalang takes the kayon and plants it centre-screen in the bottom trunk, inclined to the left.]
Like a lovesick woman’s eyes; the birdsong in
Kadi netraning oga rapuh sabdani kukila ring
e
e
The flame trees brought to mind the trills
Kanigara sakĕtĕr-
o
o
In a suitor’s serenade
Ni kidungning akung
Like the chatter of the audience
Lwir wuwusing pinipànca
Was the wildfowl’s cackling in the fields
Papĕtoging ayam wana ring pagagan
Peacocks called and bees beset the blossoms in
Mrak hanguwuh brĕmara ngrabasa kusuma ring
The fragrant garden retreat
Parahayasan arum
[...] «»
[...] «»
NARRATION: Many have been slain, among the band of giants. «»
CARITA: Kathah ingkang pĕjah, sanggya para dĕnawa. «»
Fallen bodies lie sprawled on the ground topsy-turvy all around like a field of cane flattened by elephants. «» [The gĕnder starts playing in pelog barang.]
Bangke rĕbah njĕrbabah hambĕlasah pating balengkrah kaya glagah kang kapidak ing gajah. «»
Now that the ogres are dead swiftly the noble Pĕrmadi continues his journey his mind set on a speedy return to the kingdom of Amarta.
Sapĕjahing rĕksasa sigra ing mangke sang Pĕrmadi nglajĕngakĕn lampah kang cinipta enggala wangsul marang nagari Ngamarta.
Enough about the one on his way,
Sinigĕg ingkang lumawat,
he must be passed over it is told. «»
nĕngna kang kinocap. «»
Now none are more notable than those – gathered in the city of Amarta;
Ing mangke datan kadi ingkang – tĕtĕbĕngan wontĕn ing praja Ngamarta;
clearly visible is the first light of day.
katingal sumilak bangbang wetan.
Audience in Amarta
The gamelan plays gĕndhing Bangbang Wetan in the scale pelog barang.
CANTILLATION: CANTILLATION:E
KOMBANGAN: KOMBANGAN:E
e
e
The dhalang takes the kayon, spins it round twice, and places it at the far right.
Lady Kunthi and King Puntadewa enter from the right, Puntadewa slightly behind his mother. As she reaches the right gawang, Puntadewa walks past her and turns. She seats herself, Puntadewa lowers his body and makes a sĕmbah. She touches his shoulder. Puntadewa makes another sĕmbah, walks past Lady Kunthi, turns, and seats himself in a chair behind her, facing left . He places his hands reverently in his lap.
The dhalang raps the puppet chest, cueing the gamelan to accelerate.
King Krĕsna appears at the left. Lady Kunthi extends her right arm , Krĕsna approaches and bows. Lady Kunthi puts her hand on his shoulder. He performs a sĕmbah at her feet.
As the dhalang strikes the kĕpyak in a pattern signalling the gamelan to play slowly and pianissimo, King Puntadewa extends both hands. Krĕsna salutes him and takes a seat in the left gawang.
RECITATIVE: In a further fragment of the story. «» «»
JANTURAN: Minangka gĕmpalaning carita. «» «»
This then is the lie of the kingdom of Amarta. «»
Hanĕnggih mĕnika ta gumĕlaring nĕgari Ngamarta. «»
Or the land of Endraprahastha, or the city of Batanakawarsa, or the realm of Cintakapura. «» «» «»
Ya nagara Ngendrapråhastha, ya praja mBåtanakawarsa, ya nagari Cintakapura. «» «» «»
It is named the kingdom of Amarta for this carries the meanings: site of coolness
Mila awasta nagari Ngamarta ingkang mĕngku wĕrdi papaning pangasrĕpan
and palace of the water of immortality. «» «»
inggih kĕdhatoning tirta marta. «» «»
It is called the land of Indraprahastha,
Sinĕbat nagari Ngindrapråhastha,
for the city of Amarta has already attained one eighth of the tranquillity of heaven. «» «»
katĕntrĕmaning praja Ngamarta ingkang sampun pikantuk sakprawoloning ka­swargan. «» «»
[Prince Nakula enters left, moves to the centre, and performs a sĕmbah at his mother’s feet.]
It is named the land
Awasta nagari
of Batanakawarsa,
mBåtanakawarsa,
which carries the meaning: place where
ingkang mĕngku suraos papan pĕpuntoning
rills of rainwater become entwined. «» «»
ilen-ilening toya jawah. «» «»
[Nakula turns and performs a sĕmbah at King Krĕsna’s feet.]
It is called the country of Cintakapura,
Sinĕbat nagara Cintakapura,
because it is there, that a pandanus flower has its palace.
nĕnggih ing mriku, minangka kĕdhatoning sĕkar pudhak.
[Nakula turns and crawls to the right.]
And it is the site of those with the nature of brahmans. «» «»
Inggih papaning para kang sami mahambĕk brahmana. «» «»
[At the far right, Nakula turns and seats himself on the floor behind King Puntadewa, his hands in his lap.]
At night it shines like day, due to the hosts of jewels that serve as adornments. «» «»
Lamun dalu kaya rahina, labĕt kathahing sĕsotya ingkang minangka rĕrĕnggan. «» «»
For the inlays
Katitik sarasah
and skirtings are all of deep green agate
klawan batur pan sĕdaya akik wilis
[Prince Sadewa enters left, moves to the centre, and performs a sĕmbah at his mother’s feet.]
framed in yellow braced with purple, as if a rainbow arches them.
linis pita gĕgapit wungu, lir kuwung-kuwung hangawĕngi.
The manifold flowers placed in pots are arranged family by family, fashioned in groups the blossoms bloom,
Wanguning kĕmbang-kĕmbang ingkang jinĕmbangan sami, pinĕtha sapantha-pantha, pĕpanthane sarwa sari,
[Sadewa turns to King Krĕsna, makes a sĕmbah at his feet, turns again, and starts moving to the right.]
plants are set out on the sides to serve as hedges each allotted their own place.
pĕthetane pinatut hanut pinggir mangapit-apit pininta sĕpapan-papan.
[Sadewa turns at the right and sits down beside his twin brother Nakula, his hands in his lap.]
Palm trees have been placed in pairs, the gateway is topped with an emerald the size of a coconut. «» «»
Papane taru tiris sinusun sĕpasang-pasang, pasanging gapura pucak jumĕrud sa­cĕngkir gĕdhene. «» «»
Viewed from a distance it radiates its rays containing a deep green,
Saking mandrawa angĕkuwung kĕkuwunge nawung wilis,
like a heavenly gleam comprising stars.
lir teja ngĕmu sudama.
As it faintly shines exquisite is the sight of the land of Amarta. «» «»
Rĕnyĕp-rĕnyĕp katingal asri madyaning nagari Ngamarta. «» «»
The one who graces the city, he is
Ingkang ngrĕnggani praja, nĕnggih
the first-born Pandhawa called King Puntadewa,
pambayun Pandhawa ajĕjuluk Prabu Puntadewa,
or King Yudhisthira. «»
ya Prabu Yudhisthira. «»
Or King Gunatalikrama, or the noble Sadha Dwijakangka.
Ya sang Prabu Gunatalikrama, ya sang Sadha Dwijakàngka.
Or King Darmaputra,
Ya Prabu Darmaputra,
Darmaraja, Darmawangsa, or the noble Anjathasatru. «» «»
Darmaraja, Darmawangsa, ya sang Anjatha­satru. «» «»
Now he appears in the audience hall escorting his mother namely the noble Queen Kunthi Talibrata.
Nalika mangke miyos ing pandhapi ndherek­akĕn ingkang ibu nĕnggih sang Ratu Kunthi Talibrata.
Or Kunthi Naliwrata, or Lady Prita.
Ya Kunthi Naliwrata, ya Dewi Prita.
Though advanced in years she radiates a power that
Nadyan ta sampun kĕladuk yuswa parandene kĕtingal pĕrbawa kang
inspires obedience in all the subjects. «» «»
dados sumuyuding sĕdaya para kawula. «» «»
[Prince Pĕrmadi enters left , moves to the centre, and makes a sĕmbah at his mother’s feet.]
Now he is also
Nalika mangke datan kantun
attended by his brothers,
kahadhĕp ingkang rayi,
the twin jewelled knights,
satriya kĕmbar kĕmanikan,
from Sawo Jajar and Bumi Rahtawu, «»
saking Sawo Jajar klawan Bumi Rahtawu, «»
[Pĕrmadi turns to King Krĕsna and performs a sĕmbah at his feet. Meanwhile the gamelan, still playing pianissimo and in slow tempo, plays the transitional phrase leading into the second movement of Bangbang Wetan.]
named Prince Nakula and Sadewa or the noble Pinten and Tangsen. «» «» «»
kĕkasih Radyan Nakula lawan Sadewa ya sang Pinten kĕlawan Tangsen. «» «» «»
[Pĕrmadi turns to his mother and moves backwards slowly. He sits down on the floor behind Krĕsna, makes a sĕmbah, and puts his hands in his lap.]
Queen Kunthi and her sons have been seated for some time,
Sawĕtawis lĕnggahing sang Ratu Kunthi klawan ingkĕng putra,
when suddenly the ruler of Dwaraka the divine King Krĕsna makes his appearance.
kasaru sowanipun nalendra Ndwåraka Prabu Sri Bathara Krĕsna.
Coinciding with the arrival of Pĕrmadi,
Kaduradasih klawan sowaning sang Pĕrmadi,
who bows
ingkang rĕpepeh-
again and again like a cockerel courting a hen.
rĕpepeh yayah sata manggih krama.
CANTILLATION: CANTILLATION:E
KOMBANGAN: KOMBANGAN:E
When the dhalang has sung this kombangan and rapped the puppet chest once, all instruments join again, playing at normal volume. The gamelan goes into the second movement of Bangbang Wetan.
The dhalang cantillates further:
o
o
e
e
He saw the charms of the domain; gleaming lamps set out
Myat langĕning kalangywan aglar pandam muncar
Appeared like fireflies
Tinon lir kĕkonang
e
e
With a rapping pattern the dhalang signals an accelerando. Bangbang Wetan is concluded with a pronounced ritardando.
SERENE MOOD SONG:
PATHĔT PELOG BARANG NGĔLIK:
King Krĕsna spoke softly
Nata Krĕsna alon ngandika
Oh Royal Brother do not
Dhuh Yayi Prabu haywa
Feel apprehension
Sungkaweng tyas
For your younger brother
Solahe rinira
The noble Wĕrkodara
Ki Harya Wĕrkodara
o, o
wo, o
Though you may discern deceit
Nadyan wruha yĕktining pangapus
e
e
Perfidy in the Korawas’ deeds
Tingkah Korawa cidra
o
o
You should submit
Den apasrah
To the exalted gods
Mring bathara luhung
o
o
For he means to become a student
Wong nĕdya puruhita
e, o
e, o
KUNTHI: Royal Son divine Krĕsna—,
KUNTHI: Anak Prabu Bathara Krĕsna—,
upon your arrival your mother offers her sa­lutations and respects may they be placed before Your Majesty, dear Royal So—n.
sarawuh Paduka pun ibu ngaturake pambagya panakrama muga katur ana ngarsa Paduka, ngger Anak Prabu—.
KRĔSNA: As you command as you desire Aunt,
KRĔSNA: Kula nuwun nun inggih Bibi,
held high is your gift of greetings Royal Aunt Queen Kunthi;
dhatĕng kapundhi paring prĕmbagenipun Paduka Bibi Ratu Kunthi;
in return I extend my homage, may it be placed underneath Your Majesty’s feet queenly Aunt.
wangsul kula ngaturakĕn pangabĕkti, mugi konjuk wontĕn ing sahandhaping pĕpada Paduka Bibi Ratu.
KUNTHI: Yes yes my dear royal son, it is acknowledged great is my gratitude,
KUNTHI: Iya ya ngger Anak Prabu, wus ndaktampa bangĕt panarimaku,
for my royal son’s offering of homage may it apply evenly to all.
jĕnĕng para Anak Prabu ngaturake panga­bĕkti tumibaa sĕpadha-padha.
PUNTADEWA: By your leave Royal Brother,
PUNTADEWA: Kula nuwun Kaka Prabu,
upon your arrival I offer a wish of well-being, hoping it may be placed before my royal brother of Dwarawati.
sarawuh Paduka, kula ngaturakĕn karaharjan, mugi konjuk wontĕn ngarsa Paduka Kaka Prabu ing Ndwarawati.
KRĔSNA: As you command Royal Brother,
KRĔSNA: Kula nuwun inggih Yayi Aji,
I acknowledge the words of welcome from Your Majesty my royal brother;
sampun kula tampi, paring prĕmbage saking Paduka Yayi Aji;
in return I extend my compliments.
wangsul pangastawa kula katur.
PUNTADEWA: As you command as you desire Royal Brother I hold your gift of blessings high as a talisman, Royal Brother.
PUNTADEWA: Kawula nuwun nun inggih Kaka Prabu sangĕt anggen kula mundhi saengga jimat, paring pangestunipun Kaka Prabu.
NAKULA: Royal Brother I extend my homage.
NAKULA: Kaka Prabu kula ngaturakĕn pangabĕkti.
SADEWA: Royal Brother I extend my homage.
SADEWA: Kaka Prabu kula ngaturakĕn pangabĕkti.
KRĔSNA: Brothers Nakula and Sadewa it is acknowledged, great is my gratitude; receive my blessings, Brothers.
KRĔSNA: Yayi Nakula Sadewa wus taktampa, bangĕt panarimaning pun kakang; pĕng­estuku tampanana, Yayi.
NAKULA: I hold them high, Royal Brother.
NAKULA: Sangĕt ing pamundhi kula, Kaka Prabu.
SADEWA: I hold them high, Royal Brother.
SADEWA: Sangĕt ing pamundhi kula, Kaka Prabu.
KUNTHI: My son my dear Pĕrmadi—,
KUNTHI: Anakku lanang ngger Pĕrmadi—,
are you well?
padha raharja.
PUNTADEWA: Brother Harjuna are you enjoying well-being, Brothe—r?
PUNTADEWA: Dhimas Harjuna padha kanthi raharja, Yayi—.
PĔRMADI: As you command held high are your gifts of greetings venerable Mother and Royal Brother.
PĔRMADI: Kula nuwun inggih dhatĕng kapundhi paring prĕmbagenipun Kangjĕng Ibu saha Kaka Prabu.
[With a sĕmbah:] May my homage be offered.
Pangabĕkti kula mugi konjuk.
KUNTHI: Yes yes Pĕrmadi—,
KUNTHI: Ya ya Pĕrmadi—,
it is acknowledged.
wus ndaktampa.
PUNTADEWA: Brother Arjuna it is acknowledged.
PUNTADEWA: Dhimas Arjuna wus ndaktampa.
NAKULA: Elder Brother, my obeisance.
NAKULA: Kakang Mas, sungkĕm kula.
SADEWA: Elder Brother, my respects.
SADEWA: Kakang Mas, bĕkti kula.
PĔRMADI: Yes yes jewelled twins, my acknowledgements.
PĔRMADI: Ya ya Yayi kĕmbar kĕmanikan, wus ndaktampa.
KUNTHI: My royal so—n, my royal son.
KUNTHI: Anak Prabu—, Anak Prabu.
Like a scorched leaf that has longed for a drizzle and is showered when the monsoon arrives at last, thus was the relief I felt,
Yayah ron langking anyĕnyadhang dhu­mawahing riris, satĕmah kĕjawahan ing mangsa labuh asrĕping pikirku,
when your mother received Your Majesty upon your arrival dear Royal Son of Dwarawati.
dupi pun ibu nampa marang praptaning Paduka ngger Anak Prabu ing Ndwarawati.
KRĔSNA: As you command, queenly Aunt, before and afterwards, I beseech your forgiveness,
KRĔSNA: Kawula nuwun inggih, Bibi Ratu, sakdereng saha saksampunipun, kula nyuwun pangapuntĕn,
it took rather long for me to arrive, be­cause I had to leave instructions with my subjects in Dwarawati first, queenly Aunt.
ngantos ragi randhat pisowan kula, inggih labĕt kĕdah mranata dhatĕng kawula Ndwarawati langkung rumiyin, Bibi Ratu.
And hence, without more ado your son begs you to declare
Ingkang mĕnika, daya-daya ingkĕng putra nyuwun dhawuh,
what important matter made Your Majesty my royal aunt so greatly desire my at­tendance.
wontĕn wigatos ingkang pundi, dene Paduka Bibi Ratu sangĕt anganti-anti dhatĕng sowan kula.
KUNTHI: Royal So—n,
KUNTHI: Anak Prabu—,
your aunt and brothers were awaiting Your Majesty’s arrival,
marmane pun bibi lan para kadangira ngĕn­teni marang rawuhing Anak Prabu,
for no other purpose than to ask my royal son to dispel the darkness that besets your mother and your siblings the Pandhawas,
ora liya mung kajaba Anak Prabu ndakaturi madhangake pĕpĕtĕnging pun ibu lawan kabeh para adhi-adhimu Pandhawa,
for we contine to worry about your younger brother Bratasena,
anggone tansah mrihatinake marang lĕkase adhimu si Bratasena,
who is never far from the sage Druna. «»
ingkĕng tansah cĕcakĕtan klawan Pandhita Druna. «»
Youthful Majesty—, youthful Majesty, if Wĕrkodara abandons caution he will surely be swept away by the Kurawas through the agency of the sage Druna.
Kaki Prabu—, Kaki Prabu, yen ta nganti Wĕrkodara mĕngko lena tan wurunga bakal sirna saka pakartining Kurawa lumantar Pandhita Druna.
Therefore I leave it at my royal son of Dwarawati’s discretion,
Mula kang mangkono mangsa bodhoa marang Anak Prabu ing Ndwarawati,
to find a way of making Wĕrkodara regain his bearings.
kĕpriye nggone minangkani supaya Wĕrkodara eling ing purwa duksina.
PUNTADEWA: Indeed Royal Brother,
PUNTADEWA: Inggih Kaka Prabu,
who other than
sintĕn malih ingkang
my royal brother of Dwarawati could be capable of brightening up the Pandhawa brothers?
paring pĕpajar dhumatĕng para kadang Pandhawa namung kajawi Kaka Prabu ing Ndwarawati.
PĔRMADI: Royal Brothe—r,
PĔRMADI: Kaka Prabu—,
it is not that Pĕrmadi wants to echo the others,
mbotĕn nama pun Pĕrmadi rĕbah-rĕbah pisang,
[with a sĕmbah:] but I have just visited Sapta Arga.
nĕmbe kewala kula sowan saking Sapta Arga.
According to our grandfather of Sapta Arga,
Awit saking sabdanipun Eyang ing Sapta Arga,
we should put this predicament before our royal brother of Dwarawati.
lĕlampahan mĕnika kahaturan masrahakĕn Kaka Prabu ing Ndwarawati.
My brothers and I will abide by whatever Your Majesty decrees.
Kula sakadang amung andherek sapaken Paduka Kaka Prabu.
KRĔSNA: Brother Pĕrmadi is that so?
KRĔSNA: Yayi Pĕrmadi mĕngkono.
PĔRMADI: As you command as you desire.
PĔRMADI: Kula nuwun nun inggih.
KRĔSNA: Fine,
KRĔSNA: Inggih,
queenly Aunt,
Bibi Ratu,
and my brother fellow king.
tuwin Yayi Sami Aji.
I shall not refuse.
Kula mbotĕn badhe suwala.
I pledge to do my utmost;
Sagah mbudidaya;
to make my younger brother Wĕrkodara regain his bearings,
ingkang supados Dhimas Wĕrkodara puruna engĕt ing purwa duksina,
so that he is willing to return to the land of Amarta.
tĕmah kĕparĕnga wangsul dhatĕng nĕgari Ngamarta.
Sheltering myself under our grandfather of Sapta Arga’s words,
Kanthi hapĕpayung sabdanipun Eyang ing Sapta Arga,
I shall find a solution, Aunt. «»
kula badhe minangkani, Bibi. «»
Humbly but insistently I urge my royal brother of Amarta;
Namung mawantu-wantu panyuwun kula dhumatĕng Yayi Aji ing Ngamarta;
that you should not continue to feel apprehension,
sampun ngantos Paduka tansah sungkaweng tyas,
when observing Brother Wĕrkodara’s actions. «»
aningali dhatĕng solahipun Dhimas Wĕrkodara. «»
Although in truth you have discerned deceit,
Nadyan ta Yayi mĕnika yĕkti wruh ing pĕng­apus,
in the deeds of the perfidious Kurawas; nevertheless «»
hawit sangking tingkahing Kurawa cidra; nanging «»
I urge and implore you to submit to the exalted gods.
mawantu-wantu kĕparĕnga den apasrah dhumatĕng bathara luhung.
For in point of fact, Brother Wĕrkodara merely means to become the sage of Soka Lima’s student. «»
Ingkang mangka nyatanipun, Dhimas Wĕrkodara namung nĕdya puruhita dhatĕng pandhita ing Soka Lima. «»
Because if
Awit mĕnawi ngantos
an attempt were made to restrain Brother Wĕrkodara,
Dhimas Wĕrkodara mĕnika (ingka) dipun suwalani,
I dare say, the outcome would be unpleasant. It is just that I trust in
kula kintĕn, malah kirang prayogi ing wingkingipun. Namung kula pitados,
the universal entreaty that mentions: first fate, second spouse, third ability, fourth fetish, fifth fortune.
sĕsantining jagad nyĕbatakĕn: siji pĕsthi, loro jodho, tĕlu wahyu, papat jimat, lima donya.
All these matters are in the hands of the Lord Who Has Made the World.
Sĕdaya kala wau wontĕn astanipun Gusti Ingkĕng Akarya Jagad.
Hence
Mila
what will my queenly aunt gain by worrying about her son Wĕrkodara’s behaviour, Aunt?
pedah mĕnapa Bibi Ratu nguwatosakĕn dhatĕng lĕkasipun ingkĕng putra Yayi Wĕrkodara, Bibi.
KUNTHI: Yes you are right dear Royal So—n,
KUNTHI: Ya iya ngger Anak Prabu—,
I have absolute trust in
pun bibi hamung pĕrcaya lawan
my royal son of Dwarawati’s discernment. [...]
kawaskithaning Anak Prabu ing Ndwarawati. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT PELOG BARANG:
At that time King Krĕsna
Tatkala Narpa Krĕsna
Refrained from flinging his discus at
Tan tulus anyakra ring
o
o
The sage Jahnawisuta
Rĕksi Wara Jahnawisuta
Then both mounted the chariot
Kas munggah sira kalihing rata
And repeatedly aimed their arrows at
Tĕtĕr umiyangakĕn i
e
e
NARRATION: The ARRIVAL of Wĕrkodara!
CARITA: PRAPTANING sang Wĕrkodara!
The gamelan plays Sampak in pelog barang. Krĕsna moves slightly backwards.
Suddenly Bratasena leaps on-screen from the left. Kunthi puts her hand above her eyes and exclaims:
KUNTHI: My son my dea—r!
KUNTHI: Anakku ngge—r!
She rises and speeds towards Bratasena. The gamelan accelerates.
Bratasena sits down. Kunthi puts her hand on his ankle and leaves it there. Bratasena raises his right arm to salute his relatives, then puts both hands on his hip . Puntadewa raises his hand to greet Bratasena, then touches his heart.
The dhalang raps the chest and strikes the kĕpyak to signal the end of Sampak.
SERENE MOOD SONG:
PATHĔT PELOG BARANG JUGAG:
Its water clear, the lake was like the sky
Jahni yahni talaga kadi langit
A drifting tortoise matched the moon
Mambang taspas wulan upamaneka
e
e
Resembling stars the flowers floated
Wintang tulywa kusuma ya sumawur
e, o
e, o
KUNTHI: My son my dea—r, my son Bratasena, my sturdy boy, my son my handsome boy,
KUNTHI: Anakku ngge—r, anakku Bratasena, bocah gagah, atmajaku bocah njĕnthara,
for quite some time your mother has been looking forward to your return Brata­sena—, Bratasena. «»
sawatara nggone pun ibu ngarĕp-arĕp marang balimu Bratasena—, Brata­sena. «»
When you my boy set off from the city,
Nalika sira kulup lunga saka praja,
and stayed away so long your mother made a vow, «» [The gĕnder starts playing in slendro manyura.]
suwe ora bali nganti pun ibu nduwe nadar, «»
if you my boy Bratasena were to return I vowed I would take you to pay our respects in the hermitage of Sapta Arga. «»
sakdhasara sira kulup Bratasena bali pun ibu nduwe nadar sira kulup arĕp ndakkanthi sowan marang pĕrtapan Sapta Arga. «»
From Amarta to Sapta Arga,
Wiwit saka Ngamarta tĕkan Sapta Arga,
Bratasena—, I would hold your hand and therefore my dea—r,
Bratasena—, arĕp takgandheng tanganmu mula kang mangkono ya ngge—r,
now quickly comply with your mother’s vow, Bratasena—.
ayo enggal turutana nadare pun ibu iki, Bratasena—.
PUNTADEWA: My little brothe—r, my brother Bratasena.
PUNTADEWA: Adhiku Dhi—, adhiku Bratasena.
The same holds for your elder sibling,
Nadyan pun kakang sĕmono uga,
when you set off from the city, your brother made a vow,
nalika si adhi budhal saka praja, pun kakang darbe nadar,
were you to return in safety, I would take you to pay our respects in the palace of Wiratha,
yen si adhi bali kanthi raharja, si adhi bakal ndakkanthi sowan marang karaton Wiratha,
and present ourselves before our venerable grandfather King Basu Matswapati. «»
marak ana ngarsaning Kangjĕng Eyang Prabu Basu Matswapati. «»
Therefore little Brothe—r,
Mula kang mangkono Dhima—s,
now do as I say and let me take you to visit the palace of Wiratha.
mara manuta ayo ndakkanthi sowan marang ing kraton Wiratha.
KRĔSNA: The same holds for your elder brother.
KRĔSNA: Nadyan pun kakang sĕmono uga, Yayi.
When you left Amarta headed for Astina and stayed away so long, a vow occurred to your elder brother.
Nalika si adhi budhal saka Ngamarta prap­teng Ngastina mangka suwe ora bali, nganti tuwuh nadare pun kakang.
If you were to return in well-being,
Sakdhasara si adhi bali kanthi rahayu, si adhi
even if it were for no more than an instant I would seat you on the throne of Dwarawati, Brother.
ora ketang amung sakgĕbyaring thathit bakal taklĕnggahake ana ing singangsana praja Ndwarawati, Yayi.
BRATASENA: Yeah,
BRATASENA: Yoh,
great is my gratitude. «»
bangĕt panarimaku. «»
For the vows of Mother Kunthi and my first-born brother as well as Krĕsna my elder brother. «»
Nadaring Babu Kunthi klawan mbarĕp ka­kangku hapa maneh Krĕsna kakangku. «»
All of which,
Ingkang kabeh mau,
attest to your love and affection for Bratasena. «»
mujudake rasa sih trĕsna marang Bratasena. «»
But before all else, Mother Kunthi,
Ya mung sakdurunge Babu Kunthi,
may my respects be offered.
bĕktiku katura.
KUNTHI: Yes they are acknowledged.
KUNTHI: Ya wus ndaktampa.
BRATASENA: My first-born brother, I offer my politesse.
BRATASENA: Mbarĕp kakangku, basaku katur.
PUNTADEWA: Yes yes little Brother, it is acknowledged.
PUNTADEWA: Ya ya Dhimas, wus ndaktampa.
BRATASENA: Swarthy Krĕsna my brother, I offer my politesse.
BRATASENA: Jlithĕng Krĕsna kakangku, basaku katur.
KRĔSNA: Yes yes little Brother, acknowledged.
KRĔSNA: Ya ya Dhimas wus taktampa.
PĔRMADI: Big Brother I have been looking forward to your arrival big Brother.
PĔRMADI: Kakang Mas sawĕtawis anggen kula angajĕng-ajĕng rawuhipun Kakang Mas.
NAKULA: Oh big Brothe—r, big Brother,
NAKULA: O Kakang Ma—s, Kakang Mas,
I am so pleased that you have returned at last.
bingah manah kula dene Kakang Mas sampun kondur.
BRATASENA: Yes. «»
BRATASENA: Hiya. «»
But you must be indulgent,
Nanging aja kurang pangapura,
Mother Kunthi,
Babu Kunthi,
first-born Brother, swarthy Brother too. «»
mbarĕp kakangku, lan jlithĕng kakangku. «»
If you want me to comply with your vows now, I must refuse.
Yen aku kinen nuruti marang nadarmu saiki, haku durung bisa.
KUNTHI: Why is that?
KUNTHI: Sababe apa.
BRATASENA: Because Bratasena’s aspirations have not been fulfilled.
BRATASENA: Karana durung kasĕmbadan pang­ajaping Bratasena.
KUNTHI: Hasn’t the sage of Soka Lima taught you my boy the science of the whence and whither of being?
KUNTHI: Apa sira kulup durung diwarah marang pandhita ing Soka Lima kawruh sangkan paraning dumadi.
BRATASENA: He hasn’t revealed anything, because: the requisites are still incomplete.
BRATASENA: Babar pisan durung diwĕdharake, sabab: abon-abone durung gĕnĕp.
KUNTHI: What does your teacher demand?
KUNTHI: Gurumu darbe (p) pamundhut apa.
BRATASENA: He will reveal the science of the whence and whither of being to me,
BRATASENA: Aku bakal diwĕdharake kawruh sangkan paraning dumadi,
if I am able to present the holy lustrating water,
waton aku bisa ngaturake banyu pĕrwita suci,
the holy water.
ya banyu suci.
Therefore I will SEEK the holy water as a payment for the science that I have asked for.
Mula kang mangkono aku harĕp GOLEK banyu suci kanggo pitukon kawruh sing dakjaluk mau.
KUNTHI: And where is the holy water to be found?
KUNTHI: Mbanjur ana ngĕndi papaning banyu suci.
BRATASENA: According to Durna my father, it is in the depths of the ocean,
BRATASENA: Manut warahing Durna bapakku, jare mapan ana tĕlĕnging samodra,
within the sea.
ya jĕroning sĕgara.
Therefore, Mother Kunthi I request your blessings.
Mula kang mangkono, Babu Kunthi haku nyuwun pĕngestu.
My first-born brother, swarthy Krĕsna my brother, I ask for your blessings.
Mbarĕp kakangku, jlithĕng Krĕsna ka­kangku, aku njaluk pangestu.
Pĕrmadi,
Pĕrmadi,
twins, I ask for your good wishes.
kĕmbar, aku njaluk pamujimu.
I will plunge into the ocean to seek the holy water.
Aku arĕp njĕgur samodra nggolek banyu suci.
KUNTHI:     MY CHILD MY DEA—R, MY CHILD!
KUNTHI:        ANAKKU NGGE—R, ANAKKU!
The gamelan commences a very fast Sampak in the scale slendro and the mode manyura. At once the dhalang sings:
CANTILLATION: CANTILLATION:O
KOMBANGAN: KOMBANGAN:O
to signal that the gamelan should play the version of Sampak known as Sampak Tlutur, which has a tune that suggests extreme sadness. Kunthi puts her hand on Bratasena’s shin. Puntadewa runs towards Bratasena and sits down beside his mother, holding Bratasena with his right hand. Pĕrmadi hurries to the centre, turns, and sits beside Puntadewa, taking hold of Bratasena’s waist-cloth . Nakula and Sadewa rise simultaneously, run towards Bratasena, and sit beside Pĕrmadi and Puntadewa. Bratasena is now hemmed in by his relatives. The dhalang raps the chest to signal a fast conclusion to Sampak Tlutur.
SAD MOOD SONG:
SĔNDHON TLUTUR SLENDRO MANYURA:
Its lustre lost the sun was sad, as if it wished to kiss the fallen one’s body
Surĕm-surĕm diwangkara kingkin lir manguswa kang layon
o
o
Whose charm had disappeared
Dennya hilang mĕmanise
His face without colour dim and dull
Wadananira landhu kumĕl kucĕm
The blood had run
Rahnya maratani
o
o
o
wo
All over his body
Marang saliranipun
He seemed to be gleaming with blood
Mĕlĕs dening ludira kawangwang
The sky lit up a brilliant red
Nggĕgana bang sumirat
o
o
[interlude]
[umpak]
e
e
KUNTHI: Bratasena—, Bratasena, you mustn’t chafe my heart, Bratasena—, Bratasena. «»
KUNTHI: Bratasena—, Bratasena, mbok kowe aja nggĕgasah marang atiku, Brata­sena—, Bratasena. «»
If you want to plunge into the ocean you may but you must wait until I am dead, Bratasena—, Bratasena my son.
Manawa kowe bakal njĕgur samodra aku lila yen aku wis dadi kuwandha, Bratasena—, Bratasena anakku lanang.
PUNTADEWA: My little brothe—r, my brother Bratasena.
PUNTADEWA: Adhiku Dhi—, adhiku Bratasena.
Why is my little brother so infatuated with a sage who in reality is being used as a vehicle for deception?
Mbok aja bangĕt-bangĕt nggone si adhi gandrung marang pandhita ingkang sĕjatine iku tinumpakan marang paracidra.
Wĕrkodara,
Wĕrkodara,
be sensible.
elinga.
Does my little brother lack faith in our venerable grandfather of Sapta Arga’s discernment?
Apa si adhi kurang pĕrcaya marang ka­wicaksanane Kanjĕng Eyang ing Sapta Arga.
Does Bratasena lack faith in our royal brother of Dwarawati’s ability; why then is it that my younger sibling wishes to study with a sage
Apa Bratasena kurang pĕrcaya marang kawasisaning Kaka Prabu ing Ndwarawati; kĕna apa dene si adhi mĕguru marang pandhita
who
iku
belongs to the enemy, little Brothe—r?
darbeking mungsuh, ya Dhi—.
You mustn’t go. «»
Kowe aja mangkat. «»
PĔRMADI: Big Brother,
PĔRMADI: Kakang Mas,
your teacher father is leading you astray, big Brother.
Paduka dipun loropakĕn Bapa Guru, Kakang Mas.
NAKULA: O—h, big Brother,
NAKULA: O—, Kakang Mas,
I don’t want to stay behind big Brother if you wish to enter the ocean; I am coming along.
kula mbotĕn purun kantun Kakang Mas mĕnawi badhe mlĕbĕt samodra; kula ndherek.
SADEWA: Oh big Brother,
SADEWA: O Kakang Mas,
I won’t be separated from my big brother, I am coming along.
kula mbotĕn sagĕd pisah kaliyan Kakang Mas, kula ndherek.
KUNTHI: Bratasena—, Bratasena, have you no feeling for the welfare of the land of Amarta which is still in need of your power Bratasena—? [...]
KUNTHI: Bratasena—, Bratasena, apa kowe ora mĕsakake marang kahananing nĕgara Ngamarta kang isih mbutuhake tĕnagamu Bratasena—. [...]
The gamelan plays Srĕpĕgan Tlutur.
CANTILLATION: CANTILLATION:O
KOMBANGAN: KOMBANGAN:O
Rapping the pattern , the dhalang cues the gamelan to play pianissimo.
PUNTADEWA: Bratasena,
PUNTADEWA: Bratasena,
be sensible, won’t you?
elinga, ya Dhi.
The strength of the land of Amarta resides in you alone Bratasena.
Kĕkuwataning nagara Ngamarta kwi mung ana Yayi Bratasena.
If it were to lose Bratasena then what would become of the land of Amarta, Brothe—r?
Yen ta nganti nĕgara kelangan Bratasena mbanjur kĕpiye kahananing nĕgara Ngamarta, Yayi—.
BRATASENA: Yeah.
BRATASENA: Yoh.
Be still.
Mĕnĕnga.
Don’t cry. «» «»
Aja nangis. «» «»
Mother Kunthi.
Babu Kunthi.
KUNTHI: What is it?
KUNTHI: Apa.
BRATASENA: When I was little, what kind of person did you wish me to become?
BRATASENA: Nalika kowe nduwe anak aku, haku tokkudang dadi wong apa.
KUNTHI: I wished you would become a man of honour.
KUNTHI: Kowe ndakkudang dadia satriya ingkang utama.
BRATASENA: And what is a man of honour like?
BRATASENA: Satriya sing utama kuwi sing kĕpiye.
KUNTHI: For a man of honour word and deed must be one.
KUNTHI: Satriya kang utama iku lathi lawan pakarti kudu nyawiji.
His yes is yes, his no is no.
Yen iya ya ya, yen ora ya ora.
BRATASENA: That is what I am doing. «» «»
BRATASENA: Iki, sing taktindakake. «» «»
I am really eager, to be a man of honour.
Kĕpengin bangĕt, aku dadi satriya kang utama.
And I happen to have made a pledge to my teacher.
Ing mangka aku wis kĕbacut saguh karo guruku.
If I do not realize my commitment, it means my honour is flawed.
Yen nganti aku ora mujudake kĕsaguhaku, bakal thethel kautamanku.
What is it that people seek in life?
Wong urip, sing digoleki apa.
What they seek is only a name.
Sing digoleki mung jĕnĕng.
They may be rich in worldly possessions, but if their name is bad, their life is futile.
Arĕpa sugih bandha raja donya, yen jĕnĕnge elek, tanpa guna uripe.
Even when they own nothing at all, if their name is good,
Nadyan ora nduwe apa-apa, yen jĕnĕnge arum,
it means their life in this world is not in vain.
tĕgĕse ora muspra uripe ana ndonya.
If but a trifle they make a contribution,
Ora ketang amung sakglugut melu udhu,
during their life in this world.
nalika urip ana ndonya.
KUNTHI: Bratasena—,
KUNTHI: Bratasena—,
if you so stubbornly refuse to listen to your mother I would rather be dead, Bratasena—, Bratasena.
manawa kowe wangkot ora nggugu marang ibumu luwung aku patenana wae, Bratasena—, Bratasena.
I was the one who raised you from birth but now that you are big why are you going to disobey my wishes, Bratasena—?
Kowe cilik takgĕdhekake nanging barĕng gĕdhe kĕna apa, kowe bakal ora mituhu marang dhawuhing pun ibu, Bratasena—.
PUNTADEWA: Know Brothe—r,
PUNTADEWA: Ngĕrtia Yayi—,
a child’s heaven lies underneath the soles of his mother’s feet.
swarganing anak kuwi ana sakngisoring dlamakaning sukuning ibu.
Therefore, Bratasena—,
Mula kang mangkono, Bratasena—,
[sad tone:] you mustn’t go, little Brothe—r.
[sad tone:] kowe aja mangkat, ya Dhi—.
Please have pity o~n me Bratasena—, Bratasena.
Mĕsakna kla~wan pun kakang Bratasena—, Bratasena.
PĔRMADI: Big Brother, I beg you to kill Pĕr­madi first.
PĔRMADI: Kakang Mas, kula aturi mĕjahi rumiyin pun Pĕrmadi.
NAKULA: I do not want to stay behind, big Brothe—r.
NAKULA: Kula mbotĕn purun kantun, Kakang Ma—s.
SADEWA: I am coming with you, big Brother.
SADEWA: Kula ndherek, Kakang Mas.
BRATASENA: A—h.
BRATASENA: Wha—h.
Right.
Hiyoh.
I am not going.
Aku ora mangkat.
I am not going after all!
Aku ora sida mangkat!
KUNTHI: Really, Bratasena—?
KUNTHI: Tĕnan, Bratasena—.
BRATASENA: Really!
BRATASENA: Tĕnan!
I’m not going!
Ora mangkat!
There,
Wis konoh,
now go and sit at your ease don’t all hold on to my waist-cloth.
lĕnggaha sing prayoga aja padha nggondheli kampuhku.
KUNTHI: My son my dea—r, Bratasena, so happy
KUNTHI: Anakku lanang ngge—r, Bratasena, bungah
is my heart.
rasaning atiku.
NAKULA: O—h, big Brothe—r, happy is my heart because my brother
NAKULA: Wo—, Kakang Ma—s, bingah manah kula Kakang Mas
is not going after all.
mbotĕn saestu tindak.
[Nakula and Sadewa let go of Bratasena and move away from him. They sit down on the floor at the far right.]
PĔRMADI: Indeed, Brother.
PĔRMADI: Inggih, Kakang Mas.
I am relieved that my elder brother is not leaving after all.
Rumaos lĕga manah kula dene Kakang Mas mbotĕn saestu jĕngkar.
[Pĕrmadi lets go as well and walks to the left. He turns and sits down on the floor behind King Krĕsna.]
Please pity our venerable mother, she has been waiting for Brother Bratasena for such a long time.
Kula aturi wĕlas kaliyan Kangjĕng Ibu, sampun dangu nĕngga kaliyan Kakang Mas Bratasena.
PUNTADEWA:     Yes yes my little brother.
PUNTADEWA:        Ya ya adhiku Dhi.
As you are no longer going, I will cede Amarta to you little Brother; reside in it Brother.
Gandheng si adhi wis ora mangkat, nĕgara Ngamarta ndakpasrahake marang si adhi; nggonana Yayi.
[Puntadewa lets go of Bratasena, moves backwards, and takes his seat.]
KUNTHI: If the land of Amarta is too cramped for you, Bratasena—, find any place,
KUNTHI: Manawa nĕgara Ngamarta isih kurang jĕmbar, Bratasena—, goleka papan,
[Kunthi rises and moves backwards.]
whatever the cost I shall produce it as long as my children all find happiness.
pira rĕgane pun ibu kang bakal mujudake waton anak-anakku padha nĕmu mulya.
[She seats herself in front of Puntadewa .]
I am prepared to suffer misery as long as my children encounter well-being. [...]
Aku sangsara taklakoni waton anakku kabeh padha manggih yuwana. [...]
NARRATION: THEN IT CAME TO PASS! [...]
CARITA: KATALIKA KAYA MANGKANA! [...]
Queen Kunthi, King Punta, as well as Pĕrmadi and the twins have withdrawn from their posi—tions. [...]
Sang Ratu Kunthi, Prabu Punta, tuwin Pĕrmadi dalah kĕmbar sampun mire sangking pa—pan. [...]
The noble Bima’s mind is lucid and clear, for no-one is holding on to his waist-cloth. [...]
Sumilak padhang panggalihing sang Bima, labĕt datan wontĕn kang anggondheli marang kampuhe. [...]
On the surface Bima no longer intends to depart from the city, HOWEVER [...]
Tata gĕlar sang Bima tan arsa jĕngkar sangking praja, HANANGING [...]
it is in Bimasena’s temperament [...]
wus dadi wataking sang Bimasena [...]
to feel profound shame if he does not fulfill a commitment. [...]
rumaos lingsĕm lamun ta tan (ang) mujudi marang kĕsaguhane. [...]
He declared that he would not leave only as a pretence to set his mother’s mind at ease. [...]
Anggennya matur tan bidhal namung kangge sĕngadi hangenaki panggalihing kĕng ibu. [...]
Now, once all is clear and no one is holding on to the noble Bima: [...]
Ing mangke, dupi wus suwung tan wontĕn ingkang anggĕgondheli marang sang Bima: [...]
he glances right;
noleh nganan;
he glances left!
noleh ngering!
In his mind he does homage to his mother;
Ing batos bĕkti marang ibu;
pays obeisance to his elder brothers.
sungkĕm marang para kadang wĕrdha.
WITHOUT A FAREWELL, WĔRKODARA LEAVES!
TANPA PAMIT, JĔNGKAR SANG WĔRKODARA!
The gamelan changes abruptly to a very fast and loud Sampak Tlutur. In a flash Bratasena leaps off backwards to the left .
KUNTHI: My child my dea—r, my child!
KUNTHI: Anakku ngge—r, anakku!
Kunthi steps forward and faints. Puntadewa rushes to the centre and turns towards her, Nakula and Sadewa sprint towards Kunthi as well. All three sink to the ground around her . Pĕrmadi runs to the centre, sits down behind Puntadewa, and puts his right arm across his chest in sadness. King Krĕsna touches his chest. The dhalang plays a rapping signal and Sampak Tlutur is finished.
SAD AND TENSE MOOD SONG:
ADA-ADA TLUTUR SLENDRO MANYURA:
Why then is my jewel
Punapa ta mirahingsun
So sad she sheds so many tears
Prihatin waspa gung mijil
o
o
Surely it is of no avail
Tuhu dhahat tanpa karya
To break your ear-studs, lady, to crush the flowers in your hair
Sĕngkang rinĕmĕkan Gusti gĕlung rinusak sĕkarnya
Scattering jasmines and melatis
Sumawur gambir mĕlathi
e
e
[...]
[...]
PUNTADEWA: Venerable Mothe—r,
PUNTADEWA: Kangjĕng Ibu—,
please come to, venerable Mothe—r.
kula aturi emut, Kangjĕng Ibu—.
Why have you collapsed like this Mothe—r?
Malah Paduka dhawah kamtaka kados mĕ­katĕn Ibu—.
PĔRMADI: Venerable Mothe—r,
PĔRMADI: Kangjĕng Ibu—,
please come to, venerable Mother. You still have several sons left.
kula aturi emut, Kangjĕng Ibu. Putra Paduka taksih kathah.
NAKULA: Oh Mothe—r, what to do, you have fainted.
NAKULA: O Ibu—, kados pundi Ibu, Paduka kamtaka.
SADEWA:     Oh Mothe—r, please come to Mothe—r.
SADEWA:        O Ibu—, kula aturi emut Ibu—.
PUNTADEWA: Royal Brothe—r, what can we do about our venerable mother?
PUNTADEWA: Kaka Prabu—, kadospundi mĕnika Kangjĕng Ibu.
KRĔSNA: I already knew it Brother,
KRĔSNA: Kula sampun pitados kok Yayi,
it was UNTHINKABLE, that Wĕrkodara wouldn’t go was unthinkable.
MOKAL, mĕnawi Wĕrkodara mbotĕn bidhal mĕnika mokal.
Because such is his temperament. A TEMPER is easy to soothe, but a temperament, that is inseparable from the person, Brother.
Awit sampun dados watakipun. Mĕnawi WATUK gampil jampinipun, ning mĕnawi watak, mĕnika sarĕng kaliyan tiyangipun, kok Yayi.
Therefore,
Ingkang mĕnika,
Royal Brother, please,
Yayi Aji, mangga,
quickly have my royal aunt
kĕparĕnga Bibi Ratu enggal
taken care of as appropriate.
rinukti ingkang prayogi.
Twins?
Kĕmbar?
NAKULA: We are at your command.
NAKULA: Kula wontĕn dhawuh.
KRĔSNA: Quickly tend to my venerable aunt so that she quickly recovers.
KRĔSNA: Kangjĕng Bibi enggal rawatana ka­rĕben enggal sĕnggang.
[To Puntadewa:] I shall now take measures
Mangke kula badhe mbudidaya (kados pi)
to ensure that
supados
my younger brother returns soon, Brother.
Dhimas tumuli enggal wangsul, Yayi.
PUNTADEWA: Yes I put the whole matter entirely in your hands Royal Brother. [...]
PUNTADEWA: Inggih sawĕtahipun namung kula sumanggakakĕn dhatĕng Kaka Prabu. [...]
The gamelan plays Srĕpĕgan slendro manyura. Puntadewa, Nakula, and Sadewa lift up their mother and carry her off to the right, into the palace.
Pĕrmadi rises, turns to Krĕsna, and sits down on the floor centre-screen as the dhalang raps the puppet chest, cueing the gamelan to play pianissimo.
KRĔSNA: Pĕrmadi.
KRĔSNA: Pĕrmadi.
PĔRMADI: I am at your command.
PĔRMADI: Kula wontĕn dhawuh.
KRĔSNA: If I am not mistaken, Bratasena is not Durna’s only pupil. «»
KRĔSNA: Saelingku, muride Durna ki ora mung Bratasena dhewe. «»
My little brother Pĕrmadi too is among the sage of Soka Lima’s favoured students.
Nadyan ta Yayi Pĕrmadi uga kalĕbu dadi siswa kinasih marang pandhita Soka Lima.
PĔRMADI: As you command.
PĔRMADI: Kula nun inggih.
KRĔSNA: Now, as it happens I once heard
KRĔSNA: Mangka, biyen pun kakang nate mirĕng,
the sage Durna’s promise.
prasĕtyane Pandhita Durna.
On the surface,
Tata lair,
the Holy Durna would side with the Kurawas,
Bĕgawan Durna kuwi melu Kurawa,
but internally Durna’s
nanging kĕbatinane Bĕgawan Durna
love and affection for the Pĕndhawas would be stronger.
trĕsna asih abot nyang Pĕndhawa.
But why is it, that nevertheless the sage Durna is now so HEARTLESS as to tell Bratasena to plunge into the ocean,
Nanging kĕna ngapa, dina iki Pĕndhita Durna kok mbanjur WĔNTALA kongkonan marang Bratasena njĕgur samodra,
on the pretext of having him seek the holy water?
sĕngadi kon golek banyu suci.
Consequently my younger brother,
Ingkang mangkono Dhimas,
you must quickly go and meet your teacher Durna.
mara si adhi enggal nĕmonana marang gurumu Durna.
Ask him to explain
Nyuwuna katĕrangan
what it means, that Durna is so heartless as to bring misfortune on Wĕrkodara.
mĕngku karĕp apa, dene Durna kok wĕn­tala nyedrakake marang si Wĕrkodara.
If indeed it is Durna’s design to
Yen ta pancen pamrihe Durna bakal
reduce the Pĕndhawas’ strength; let it not just be Wĕrkodara whom he kills. My little brother too
ngĕlongi kĕkuwataning Pĕndhawa; aja mung Wĕrkodara sing bakal dipateni. Kalĕbu si adhi,
should ALSO ask to die.
UGA nyuwuna mati.
PĔRMADI: As you wish.
PĔRMADI: Ngestokakĕn dhawuh.
KRĔSNA:     I’ll observe you from a distance, Brother. [...]
KRĔSNA:        Takawat-awati, Yayi. [...]
The gamelan resumes its normal loudness. Pĕrmadi makes a sĕmbah, rises, and speeds away to the left. Krĕsna rises and goes off left as well, turning as he exits.
Pĕrmadi speeds past from right to left.
Krĕsna enters right. He stands still in the right gawang , then ascends vertically into the air and flies off towards the left.
The dhalang raps the chest to cue in an accelerando. Bratasena leaps on from the right and stands at ease, both hands on his hip. The dhalang signals a conclusion to Srĕpĕgan.
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA:
Bees came to kiss him, buzzing busily
Brĕmara reh manguswa amung ambrĕngĕngĕng
Like people in anguish moaning
Kadi karunaning kaswasih
o
o
All along the way he was fired with desire
Aneng marga mĕmalad kung
The noble Gandawakstratmaja was
Risang Gandawakstratmaja
Engrossed in his desperate search; at the hour of the sweltering sun
Lĕnglĕng lalu angulati surya mangrangsang wayah
e
e
[...]
[...]
BRATASENA: Mother Kunthi,
BRATASENA: Babu Kunthi,
please be forgiving for I was compelled to mislead my mother Kunthi.
aja kurang pangapura paripaksa aku ngapusi marang Babu Kunthi.
Because if I did not go,
Sabab yen nganti aku ora mangkat,
Bratasena’s name would be flawed.
bakal thethel jĕnĕnge Bratasena.
Mother Kunthi, I ask forgiveness; my first-born brother, I ask forgiveness.
Babu Kunthi, aku njaluk pangapura; mbarĕp kakangku, aku njaluk pangapura.
Krĕsna my brother, I ask forgiveness, I was compelled to leave, to look for the holy water.
Krĕsna kakangku, njaluk pangapura, paripaksa aku mangkat, arĕp golek banyu suci.
I feel the urge to plunge into the southern ocean.
Pĕnĕting atiku arĕp njĕgur marang samodra kidul.
Because I sense that the holy water could only be in the southern sea.
Marga pangrasaku, ya mung sĕgara kidul, nggone banyu suci.
Pandhu, my father, protect your son; I shall seek the holy water.
Pandhu, bapakku, ngayomana anakmu; haku bakal golek banyu suci.
NARRATION: THE ARRIVAL of Anoman!
CARITA: PRAPTANING sang Anoman!
The gamelan plays Sampak slendro manyura. The white monkey Anoman flies on from the right, turns in the air, and lands opposite Bratasena. Anoman briefly raises his right arm. Bratasena returns the greeting with the same gesture, touches his chest, and puts both hands on his hip .
The dhalang plays a rapping pattern to signal a conclusion to Sampak.
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA:
At once the Pandhawa troops
Tandya bala Pandhawa
Surged forward pursuing the hundred Kurawas
Byuk gumulung mangungsir ingsata Kurawa
o
o
Routed cowed and wholly overpowered
Kambah kongkih sru katitih
Swept away wiped out, so too were the kings
Merut larut katut para ratu
As well as all the lords
Twin pra dipati
e
e
[...]
[...]
ANOMAN: My little brother Bratasena,
ANOMAN: Adhiku Dhi adhiku Bratasena,
that explains why your elder brother felt ill at ease in his hermitage,
layak ta layak pun kakang ora krasan manggon ana pĕrtapan,
it was so hot due to the force that flows from you.
hawane panas kapĕrbawan saka si adhi.
Bratasena—!
Bratasena—!
BRATASENA [curt]: Hanoman my brother, what is it?
BRATASENA [curt]: Hanoman kakangku, apa?
ANOMAN: You stand still in the palace square,
ANOMAN: Si adhi jumĕnĕng ana ing alun-alun,
alone without companions,
ijen tanpa rowang,
where are you heading, little Brother?
kuwi arĕp mĕnyang ĕndi, Yayi.
BRATASENA: Anoman.
BRATASENA: Anoman.
ANOMAN:     What?
ANOMAN:        Piye?
BRATASENA: You’re said to be a sage.
BRATASENA: Jare kowe pĕndhita.
ANOMAN: I am!
ANOMAN: Iya!
BRATASENA: A sage is a person with vision.
BRATASENA: Pĕndhita kuwi wong awas.
A sage is perceptive.
Pĕndhita kuwi waskitha.
So why do you have to ask about the reason why I am here?
Nanging kĕna apa kowe ndadak takon sĕbab apa aku ana kene.
ANOMAN: If someone asks a question it’s only fair to answer.
ANOMAN: Wong takon kuwi adile kudu di­wangsuli.
BRATASENA: No need to ask; if indeed you have vision
BRATASENA: Ora usah takon; yen pancen awas
you should know.
kudune kowe ngĕrti.
If indeed you have lost your vision, better stop being a sage.
Yen pancen wis ora awas, aja dadi pĕndhita wae.
ANOMAN: He—y, he’s reproving me.
ANOMAN: We—, malah dileh-lehke.
I have heard that my little brother is studying with the sage Durna.
Aku krungu kabar, jare si adhi mĕguru marang Pandhita Durna.
BRATASENA: Right.
BRATASENA: Hiya.
ANOMAN: To seek what?
ANOMAN: Golek apa?
BRATASENA: The science of the whence and whither of being.
BRATASENA: Kawruh sangkan paraning dumadi.
ANOMAN: Is the knowledge you got from your teacher the divine Lord Bayu not good enough?
ANOMAN: Apa kurang kawruh kang wus toktampa saka gurumu Pukulun Båthara Bayu.
Are the teachings of your grandfather of Sapta Arga not good enough; is the advice of your brother of Dwa­ra­­wati not good enough?
Apa kurang wĕjangane kĕng eyang ing Sapta Arga; apa kurang pituduhe kĕng raka ing Ndwarawati.
Why then is it, that you’re studying with a half-witted sage,
Nanging kĕna ngapa, dene si adhi mĕguru marang pandhita klumprúng,
a confused sage, namely the sage Druna?
pandhita bingung, wujude Pandhita Druna.
BRATASENA: How outrageous that you as a sage, should speak so slightingly of a colleague of yours.
BRATASENA: Dĕstun tĕmĕn ingatase kowe pĕn­dhita, kok ngelek-elek kancamu padha pĕndhita.
If indeed you claim to be a sage let me ask you how many are the qualities of a sage, and what they are called.
Yen pancen kowe ngaku pĕndhita aku arĕp takon pĕndhita kuwi hambĕke pirang pĕrkara, jĕnĕnge apa.
ANOMAN: A sage has eight qualities; first he is modest, second loving and kind to his fellow beings.
ANOMAN: Pĕndhita kuwi, hambĕke ana wolung pĕrkara; siji hambĕk hanuraga, loro trĕsna asih mring sĕsama.
Third gentle is his bearing and friendly his glance, fourth he aims to be helpful.
Kaping tĕlu tanduk haris ulat manis, kaping papat ing cipta dhĕmĕn tĕtulung.
Fifth he avoids committing evil sixth he may not destroy, in the seventh place he may not annoy.
Kaping lima adoh pĕnggawe cidra kaping nĕm nora kĕna gawe rusak, kaping pitu ora kĕna gawe sĕrik.
Eighth and last, he is complaisant and far from pride; those are the qualities of a sage.
Gĕnĕping kaping wolu, ngalah tan hanggunggung dhiri; kuwi hambĕking pĕndhita.
BRATASENA: Why isn’t there a single one of these eight that you abide by?
BRATASENA: Kĕna apa hambĕk wolu mau siji wae ora ana sing tokĕnggoni.
ANOMAN: Hey.
ANOMAN: Ĕlho.
On what grounds do you say that?
Buktine apa?
BRATASENA: It turns out that you slight Durna my father, while he is a colleague of yours.
BRATASENA: Nyatane kowe ngelek-elek klawan Durna bapakku, mangka kuwi padha pĕndhita.
This clearly shows that you are a sage who can’t find customers, and that’s why you slight your fellow sage.
Yen ngono gĕnah ngetokake yen kowe ki pĕndhita ora tau payu, mula ngelek-elek kancamu pĕndhita.
ANOMAN: Hey the—re, don’t talk like that, little Brother.
ANOMAN: Lho lho—, aja kaya ngono, Yayi.
I am just reminding you.
Aku mung ngelingke marang si adhi.
BRATASENA: I haven’t lost my reason so don’t remind me.
BRATASENA: Aku ora lali aja mokelingake.
ANOMAN: WHO is Durna?
ANOMAN: Durna kuwi SAPA?
BRATASENA: He is my teacher.
BRATASENA: Kuwi guruku.
ANOMAN: He is leading you astray!
ANOMAN: Kowe diloropake!
BRATASENA: You speak of leading me astray,
BRATASENA: Kok kowe kandha ngloropake,
on what grounds?
buktine apa.
ANOMAN: I have heard that he told you to look for the holy water.
ANOMAN: Aku krungu kabar jare si adhi kon golek banyu suci.
To be found in the depths of the ocean.
Mapane na tĕlĕnging samodra.
BRATASENA: Indeed that is where it is.
BRATASENA: Pancen kuwi nggone.
ANOMAN:     Aha!
ANOMAN:        Wahah!
It’s clear that my little brother is being –
Wis ketok, yen si adhi di–
led astray by his teacher.
loropake marang gurumu.
It makes no sense! To have someone fetch water, and tell him to plunge into the sea.
Rak wis ora kĕtĕmu nalar! Ingatase kon go­lek banyu, kok kon njĕgur sĕgara.
How on earth
Ngĕndi ana,
could anyone
wong
plunge into the sea and return alive?
njĕgur sĕgara bali bisa urip.
BRATASENA: No need for you to talk so much; now clear off and stop standing in my way.
BRATASENA: Ora susah ndadak akeh sing tok­rĕmbug; kowe minggata aja ngalang-alangi aku.
ANOMAN: I am your elder sibling; if you don’t turn back, I won’t leave this place either.
ANOMAN: Aku iki kadangmu tuwa; yen nganti kwe ora bali, aku ya moh lunga sĕka kene.
BRATASENA: Are you waiting to feel my anger?
BRATASENA: Apa kowe arĕp ngĕnteni nĕsuku.
ANOMAN: If you get angry I will CONFRONT you!
ANOMAN: Upama kowe nĕsu arĕp TAKTANDANGI!
BRATASENA: You’ve met your MATCH.
BRATASENA: SĔDHĔNG bobotmu.
ANOMAN:     COME ON, spar with your brother.
ANOMAN:        HAYUH, gladhen karo pun kakang.
The gamelan plays a quick but soft Sampak slendro manyura. Anoman tightens his loincloth and pulls it fast. He leaps off backwards to the left but immediately enters again and, uttering the high-pitched snarl typical of a monkey, approaches Bratasena, who deals him a mighty blow on the top of the head. Emitting a shout of pain, Anoman whizzes off left. Bratasena sets off in pursuit.
Anoman falls on from the right, turns at the left, and crouches down. Snarling and hissing, he swings his arms about in the air simian fashion, then rushes off in Bratasena’s direction.
Bratasena enters right and Anoman left. Anoman deals Bratasena a blow in the chest. Bratasena is pushed slightly backwards due to the force of the blow. Anoman leaps at him, grabs him around the neck, and pulls him off to the left. (Off-screen he pulls Bratasena round so that he faces right.)
Bratasena stumbles on from the left, Anoman strikes him in the back. Bratasena sinks to the ground, but rises and whirls round, kicking Anoman, who falls flat on his back with a shout. Bratasena jumps on top of Anoman, takes hold of him, and twice slams him against the ground at the left. He pulls Anoman towards him and hurls him away to the left. His arm extended before him, he strides after Anoman.
Anoman falls on from the right and lands in the left gawang, facing left. He turns and, his arm extended straight before him, speeds off to the right.
Anoman enters left, Bratasena right, and Anoman strikes Bratasena in the chest (figs. 3.17, 3.18) so that he sinks to the ground while Anoman steps back . As Anoman charges again, Bratasena moves aside and kicks him in the chest (figs. 3.21, 3.22). Anoman falls on his back. Bratasena tries to grab him, but he very quickly regains his footing and whizzes off backwards to the left so that Bratasena misses him. From outside the screen, Anoman leaps at Bratasena and strikes his chest. Bratasena does not stir. Anoman jumps at Bratasena and, hissing, bites him in the neck. Bratasena pushes him away and he falls on his back. Anoman charges again, Bratasena steps aside and kicks him down. Bratasena takes hold of the monkey, lifts him into the air, slams him against the left-hand kayon, and spins round, hurling Anoman away to the right. Bratasena strides after him.
Anoman falls on from the left, lands on his feet in the right gawang, turns, and crouches down. Bratasena appears at the left. Hissing and growling, Anoman jumps up and down and spins about. Bratasena stands looking at him. The drum player signals the gamelan to play even more softly (so that Anoman’s hissing is heard more clearly). In a flash, Anoman jumps at Bratasena, who backs off. As Anoman spins about, springing back into the right gawang, Bratasena lunges at him, but misses. Anoman jumps at him in turn and Bratasena backs off. As he charges at Anoman again, the monkey spins round and returns to the right gawang. Bratasena misses him.
They face each other, Anoman turning round and jumping up and down in the right gawang. Anoman leaps at Bratasena, who steps back. Anoman spins back into the right gawang as Bratasena charges at him, but misses. Bratasena withdraws. As he charges again, Anoman jumps over him and lands in the left gawang. Both turn and Bratasena kicks Anoman away to the left. Bratasena leaps off after him.
Anoman falls on backwards from the right, landing on his back in the left gawang. Bratasena jumps on top of him, grabs him by the middle, and slams him against the left-hand kayon twice. Anoman yells. Bratasena spins round and pulls Anoman to the right. He slams him against the right-hand kayon twice, lifts him up, swings him back and forth several times, slams him against the kayon twice, and finally hurls him away to the right. The gamelan accelerates. Bratasena backs off left, turning as he exits.
Bratasena speeds past from right to left.
Anoman flies spinning through the air and lands in the kayon at the right (which represents a tree). He falls from the tree and sinks to the ground facing left in the middle of the screen, gasping for breath. He rises, looks behind him, and faces left again. The dhalang cues in an end to Sampak.
ANOMAN: Oh little Brothe—~r, my brother your elder sibling’s kinsman; Brata­sena—!
ANOMAN: Hadhuh hadhiku Dhi—~, hadhiku kadange pun kakang; Bratasena—!
You have never been able to change your temperament! It is tough and ab­rasive Wĕrkudara.
Watak wiwit biyen mula ora bisa mareni! Pĕcĕl alu gudhang rĕmpĕlas watakmu Wĕrkudara.
You choose to disregard the dangers confronting you, just because you want to fulfill your teacher’s request. O~h, little Brother!
Tan metung bĕbaya kang sumandhing marang si adhi, mung sabab kĕpengin nuruti marang pamundhuting guru. O~, Yayi!
You run as fast as sound,
Si adhi sipat kuping layumu,
headed for the sea.
bakal nyakĕti marang sĕgara.
Your brother won’t go back to Kĕndhali Sada; I shall meditate on the uppermost clouds!
Pun kakang ora bali nyang Kĕndhali Sada; aku arĕp tapa ana mega malang!
I shall not cease my meditation, until you are back WHETHER DEAD OR ALIVE!
Ora bakal udhar, yen si adhi durung bali MBUH MATI MBUH URIP!
The gamelan plays Sampak slendro manyura. Anoman ascends into the air and flies off right, turning as he exits.
He flies past from left to right.
Bratasena enters right. He stands still and puts both hands on his hip. The dhalang raps the chest; Sampak is concluded.
TENSE MOOD SONG:
ADA-ADA WĔRKUDARA BADHE MLUMPAT:
The winds bluster ahead
Manganjur lakuning hangin
Torrents on the mountain tops
Guntur hanggraning arga
Terrible, thundering dreadfully
Gora gurnita kagiri-giri
Utter confusion as the earth quakes
Horĕg bumi prakampita
And dirt is banking up
Padhola mangambak-ambak
Dense rainfall mingling with whirlwinds
Udan dĕrĕs wor klawan lesus
o, That seem to be stirred
o, Kadya pinusus
Rainstorms raging all around
Sindhung riwut magĕnturan
Booming turning sloshing, emitting thunderclaps
Gumuruh mawalikan kumocak mawĕtu gĕlap
In a spurt a bridge is built for flight, o
Situ-situ-banda layu, o
The gamelan plays a fast Sampak slendro manyura. Bratasena tightens his loincloth and pulls it fast with a single powerful jerk of both hands. He rests his hands on his thigh, steps back, and leaps off to the left.
Bratasena lands in the left gawang, steps back, and leaps again.
The dhalang takes both kayons, one in each hand, and moves them around in the left gawang. They depict the surf on the coast. He plants one of them in the trunk, slanting to the left.
Bratasena leaps on from the right and lands centre-screen. A kayon moves horizontally towards him (representing a wave); he steps back to avoid it . This happens twice more. The dhalang plants this kayon over the other one in the left gawang.
Bratasena stands still, gazing at the surf, and puts both hands on his hip. The dhalang raps the chest and Sampak is concluded.
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
At once the Pandhawa troops
Tandya bala Pandhawa
Surged forward pursuing the hundred Kurawas
Byuk gumulung mangungsir ing sata Kurawa
e
e
NARRATION: In a mere three leaps he has already reached the southern coast.
CARITA: Amung tigang lĕlumpatan sampun dumugi gisiking sĕgara kidul.
The noble Bima stops in his tracks when
Kandhĕg lampahing sang Bima sabab
he perceives the rolling and tumbling of the waves, each as high as a house.
nyumĕrapi marang gulung-gumulunging ponang alun, ingkĕng sakgriya-griya.
Rising higher and higher EACH as tall as a MOUNTAIN, so colossal are the WAVES.
Saya dangu saya mindhak sakGUNUNG, sakGUNUNG, agĕnging ponang ALUN.
As they strike the noble Bima’s thighs he IS STOPPED IN HIS TRACKS.
Ngantya nĕmpuh marang wĕntising sang Bima dadya KANDHĔG LAMPAHE.
In his mind he wavers; should he PLUNGE
Ing batos malang tumoleh; sida NJĔGUR
or should he not.
apa yen ora.
If not, his honour will be flawed, if he PLUNGES he wagers his life!
Yen ora, thethel kautamane, yen NJĔGUR yĕkti soroh nyawa!
And thus Wĕrkodara now ponders deep down in his heart.
Mila ing mangke metang-metang tĕlĕnging manah sang Wĕrkodara.
While Wĕrkodara stands still suddenly two birds appear overhead,
Jroning jumĕnĕng sang Wĕrkodara kĕdadak ing nginggil wontĕn pĕksi kĕkalih,
named
aran pĕksi
Quail and Woodpecker,
Gĕmak klawan Patuk Bawang,
they fly
mibĕr
above the noble Wĕrkodara. [...]
wontĕn inggiling sang Wĕrkodara. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA:
He saw the charms of the domain
Myat langĕning kalangywan
Gleaming lamps set out appeared like fireflies
Aglar pandam muncar tinon lir kĕkonang
[Two birds appear from the right , fly over Bratasena to the left, and exit.]
Toned down, their light not bright
Surĕm sorote tan padhang
Outshone by the full moon rising in the sky
Kasor lan pajaring purnameng gĕgana
[The birds fly on from the left and hover above Bratasena, then fly back to the left.]
e
e
[...]
[...]
WOODPECKER: Now then, Quail.
PATUK BAWANG: Mĕngko ta, Gĕmak.
QUAIL: What is it, Woodpecker? [They fly past from left to right.]
GĔMAK: Apa, Patuk Bawang?
WOODPECKER: For how many days haven’t we done any pecking?
PATUK BAWANG: Awake dhewe wis pirang ndina ora nyucuk?
QUAIL: Well it’s been some time, ever since leaving home we haven’t had anything to peck.
GĔMAK: Ya wis sawĕtara suwe, saploke ninggalake ngomah ki, sĕprene ora nyucuk. [reactions]
WOODPECKER: Let’s just be strong, and take it as an act of austerity.
PATUK BAWANG: Ya dikuwat-kuwatake, idhĕp-idhĕp karo tapa brata.
QUAIL: Oh fine, fine.
GĔMAK: O ya, ya ya.
[They fly past from right to left.]
Who should we peck anyway?
Witikna, nyucuk sapa? [laughter]
The one who’s brought along something peckable is all right, but you and I?
Sing nggawa cucukan gĕnah kĕpenak, lha barĕng aku karo kowe? [laughter]
WOODPECKER: We’d better resign ourselves to it.
PATUK BAWANG: Ya wis ditrimak-trimakake.
[They fly past, left to right.]
QUAIL: Let’s have a discussion,
GĔMAK: Ayo padha rasanan,
just to while away the time.
sinambi kalaning nganggur.
WOODPECKER: Right; what shall we discuss, Quail?
PATUK BAWANG: Iya; rasanan apa, Gĕmak?
QUAIL: Later when you die, what kind of death would you want?
GĔMAK: Kowe mbesuk yen mati, kĕpengin mati apa?
[They fly past from right to left.]
WOODPECKER: Oh Heaven, Quai—l, Quail, you’re just a bird, how can you ask what kind of death I would like later when I die?
PATUK BAWANG: Oalah Gĕma—k, Gĕmak, ingatase kowe mung manuk we, kok ndadak kowe takon mbesuk yen mati kĕpengin mati apa.
The two of us ought to be grateful if we aren’t killed with a slingshot anyhow.
Kowe karo aku mati ora diplinthĕng uwong ki, wis matur nuwun.
QUAIL: Hey, it’s just to while away the time, nothing more.
GĔMAK: Lho, ning ya sinambi kalaning nganggur, kok.
[They fly past from left to right.]
WOODPECKER: You choose.
PATUK BAWANG: Kowe miliha.
Because: of death there are four kinds; the first is wretched death, the second medial death, the third eminent death, the fourth death on terms at life’s term.
Marga: pati kuwi diperang ana papat; siji pati nistha, loro pati madya, tĕlu pati utama, kaping pate pati janji.
[They fly past from right to left.]
Each has its own meaning.
Kuwi ana karĕpe dhewe-dhewe.
QUAIL: What do they mean?
GĔMAK: Karĕpe priye?
WOODPECKER: Wretched death is death
PATUK BAWANG: Pati nistha kuwi pati (disĕng)
brought about by suicide.
disangkani saka nglalu.
Such as: doing away with oneself,
Kaya ta: ngĕndhat,
by stabbing oneself,
suduk sĕlira,
letting oneself be run over.
mlindhĕs.
[They fly past from left to right.]
These are kinds of:
Kuwi kalĕbu:
wretched death.
pati nistha.
QUAIL: And medial death?
GĔMAK: Yen pati madya?
WOODPECKER: Medial death comes from ordinary illness; that is medial death.
PATUK BAWANG: Pati madya kuwi, disangkani saka lara lumrah; kuwi pati madya.
QUAIL: And eminent death?
GĔMAK: Yen pati utama?
WOODPECKER: Eminent death is the death of someone fulfilling a commitment.
PATUK BAWANG: Pati utama kuwi, patine wong nĕtĕpi marang kĕsaguhan.
[They fly past from right to left.]
A warrior advancing towards the field, for in­stance, does not withdraw before
Upama satriya maju nyang palagan, ora watak mundur lamun durung
he has been able
bisa
to achieve his goal.
kasĕmbadan karĕpe.
He would rather die on the field, because that would be an eminent death.
Kaplalah mati ana palagan, marga kwi pati utama.
It is the death of a warrior who is slain on the field of battle.
Kuwi patining satriya kang gugur ana ing ma(n)dyaning rananggana.
[They fly past, left to right.]
QUAIL: And death on terms at term?
GĔMAK: Lha yen pati janji?
WOODPECKER: Death on terms at term is the death of someone who tries to get rich by magical means.
PATUK BAWANG: Yen pati janji kwi, patine wong sing golek pĕsugihan.
During his life on earth he wants to be rich, and he chooses the wrong way; he takes the way of the devil.
Nalika jaman urip ana ndonya, kĕpengin sugih, njur kleru dalane; mĕtu dalaning setan.
[They fly past from right to left.]
He looks for
Golek
magical means; so when
pĕsugihan; mula barĕng
he dies, his fate is already sealed;
mati, dipĕsthi janjine;
it depends on the agreement he made.
mbiyen janjine piye.
QUAIL: O—h, is that so?
GĔMAK: O—, ngono?
WOODPECKER:     Yes.
PATUK BAWANG:        Hiya.
[They fly past from left to right.]
QUAIL: In that case, I’d go for eminent death.
GĔMAK: Yen ngono, aku pilih pati utama wae.
WOODPECKER: Oh right. [They enter right and hover above Bratasena.]
PATUK BAWANG: O ya.
QUAIL: Because: if I die a wretched death, my re­putation is wretched; for an eminent death,
GĔMAK: Marga: yen nganti aku mati nistha kwi, nistha kocapanku; nek mati utama,
I must carry through with my commitment. My yes is yes, my no is no. [They back off.] [...]
kuwi, aku kudu nuhoni marang kĕsaguhan. Yen ya ya ya, yen ora ya ora. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
The earth trembled fiercely the sky seemed to flicker
Bumi gonjang-ganjing langit kĕlap-kĕlap katon
[Bratasena touches his chest.]
Like the quivers of her who enkindled his ardour
Lir kincanging sang maweh gandrung
e
e
[...]
[...]
BRATASENA: A——h.
BRATASENA: Wa——h.
Birds are trying to make me look silly.
Manuk nggarapi aku.
Birds are alluding to me.
Manuk, nyĕmoni aku.
If even birds can be so resolute were I as a human to do worse than beasts that would be shameful.
Ingatase manuk nduwe karĕp kaya ngono yen aku mĕnungsa kalah karo kewan ngisin-isini.
Grandfather Abiyasa, I ask for your blessings; Mother Kunthi, I ask for your blessings; my first-born brother, Krĕsna my brother, I ask for your blessings.
Eyang Abiyasa, njaluk pangestu; Babu Kunthi, njaluk pangestu; mbarĕp kakangku, Krĕsna kakangku, njaluk pangestu.
Pĕrmadi twins men and subjects of Amarta, pray for me; I will plunge into the ocean, this day. [...]
Pĕrmadi kĕmbar bocah lan kawula Ngamarta, dongakna aku; haku arĕp njĕgur samodra, dina iki. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA:
Then he advanced his sights set on death girded his loins and boldly
Dyan mangsah mahambĕk pĕjah cancut gumrĕgut
[Bratasena puts his right hand on his hip.]
Entered the ocean full of vigour, moving rapidly
Manjing samodra nulya drĕng wiraganya lĕgawa
o
o
The water washed against his thighs
Banyu sumaput wĕntis
Drenching his body
Mĕlĕg ing angganira
It covered him and struck his face; the water came up to his neck
Sumingĕb nampĕgi migĕg jangga kang warih
e
e
The gamelan plays Sampak slendro manyura. Bratasena steps forward and gazes at the waves. The dhalang extracts one of the kayons from the trunk at the left-hand side of the screen but keeps it in the same position, slanting to the left; Bratasena jumps into the ocean and disappears between the two kayons.
The dhalang takes both kayons in one hand and holds them together near the lamp so that their shadows cover the entire screen. The shadows represent the depths of the ocean. Bratasena moves past, descending from top right to bottom left. The dhalang takes the kayons off-screen.
The serpent
The dhalang brings both kayons on-screen, one in each hand, and makes them whirl and turn . They depict the waves breaking on the ocean surface.
The dhalang holds the two kayons together at the left in such a way that their tips form an angle. The head of a serpent pops up between them . The serpent quivers and coils and moves to the right, swimming through the waves.
The dhalang strikes the kĕpyak and Sampak is concluded.
NARRATION: WĔRKODARA DIVES! A serpent appears screeching and growling, flashing forth in a frenzy! [The serpent enters left.]
CARITA: AMBYUR sang WĔRKODARA! Katon naga ingkang kumĕlak angakak, galak kumĕlap!
Mingling with the waves, this then is the ser­pent Nabatnawa also named NĕmBUR­nawa. [It exits right.]
Momor klawan alun, nĕnggih mĕnika ing­kĕng aran naga Nabatnawa ya naga NĕmBURnawa.
It senses that its freedom is under threat, for something is
Rumaos den-ganggu kamardikane, sabab den-
stirring the waters.
obak toyane.
Hence it appears growling the serpent Nabatnawa wants to find whatever it is that threatens its freedom. [The serpent enters left.]
Mila kĕtingal ngakak sang naga Nabatnawa arsa ngupadi marang papane kang ngganggu marang kamardikan.
Now, seeing that a human has plunged into the ocean, the serpent Nabatnawa swiftly SEIZES him!
Ing mangke, dupi mulat wontĕn mĕnungsa kang ambyur samodra, sigra SINAUT marang sang naga Nabatnawa!
The gamelan plays a fast Sampak slendro manyura. The serpent quickly swims away to the right.
The serpent enters left and meets Bratasena, who enters right. The serpent grabs Brata­sena and pulls him off to the left.
Bratasena backs on from the left, the serpent coiled around him. The serpent’s tail is wrapped around his neck and its jaws are clamped around his thigh. A kayon (representing the sea) quivers at Bratasena’s feet. When the puppets are centre-screen, Bratasena attempts in vain to wrest himself loose . They exit right.
The dhalang strikes the kĕpyak and Sampak is ended.
NARRATION: Its jaws are clamped around his thigh.
CARITA: Ponang tutuk sampun ngakĕp wĕntis.
[Bratasena backs on from the left, the serpent coiled around his body and the kayon quivering at his feet.]
Already the serpent’s tail entwines his body, the tip of the tail reaching up to his neck.
Awaking naga sampun mulĕt salira, ngantos dumugi ing jangga pĕthiting naga.
This is at the break of day, the rays of the sun glow red
Nalika mangke wayahe gagat enjang, soroting baskara kĕtingal abrit
as blood.
hangatirah.
They converge on Wĕrkodara and produce a silhouette, it rises to the sky and be­comes the Mighty Bima CONSTELLATION.
Nĕmpuk marang sang Wĕrkodara dadya bĕbayangan, minggah ing akasa dadya LINTANG Bima Sakti.
The gamelan plays a fast Sampak slendro manyura. Bratasena, the serpent coiled around him, rises to the sky, the kayon quivering underneath them. They are held in place for some time to depict the new constellation.
Bratasena and the serpent are lowered and disappear at the base of the screen, underneath the kayon. The kayon is taken away in the same way.
Bratasena, the serpent coiled around his body, enters backwards from the left and halts centre-screen. Still biting his thigh, the serpent lets go of his body. Bratasena has the serpent’s head in both hands .
The dhalang strikes the kĕpyak and Sampak is concluded.
NARRATION: Prince Wĕrkodara is aware that he is entwined by the serpent.
CARITA: Raden Wĕrkodara kraos, yen salirane denpulĕt dening naga.
He feels how the serpent’s jaws are clamped around his thigh.
Ing wĕntis sampun karaos kaakĕp marang tutuking naga.
The noble Bima no longer expects to survive.
Sang Bima tan nyipta lamun badhe gĕsang malih.
Death alone is looming.
Amung pati kang sumandhing.
AND THUS:
MILA:
Wĕrkodara resolves that rather than failing, he prefers to meet his end.
ciptaning sang Wĕrkodara, katinimbang tan angsal damĕl, kaplalah dumugi pĕjah.
The noble Wĕrkodara
Kĕrsane sang Wĕrkodara,
wants
arsa
to REMOVE
ANGĔLIH marang
the serpent’s jaws from his thigh,
tutuking naga saking wĕntis,
and place them on his left temple, which has not been anointed with the oil of invin­cibility.
arsa kapapanakĕn wontĕn ing pilinganipun ingkĕng kiwa, ingkang dereng kĕborehan lisah tala.
However he removes its jaws with excessive force; forgetting about the quintuple NAILS of his thumbs.
Nanging nggennya amindhah tutuk naga kĕ­sĕngkan; tan nggrahita yen ing jĕmpol wontĕn KUKU pancanaka.
Both quintuple NAILS thrust forth from his thumbs,
KUKU pancanaka kalih modod sangking jĕjĕmpolan,
and PIERCE the mouth of the serpent; due to the sudden force that Bima applies,
ANUWAK marang cangkĕming naga; sangking sumĕngka rosaning sang Bima,
the serpent’s jaws are RIPPED APART, it is SLAIN BY ACCIDENT.
dadya SUWEK tutuking naga, PĔJAH TANPA JINARAG.
The gamelan plays a fast Sampak slendro manyura. The serpent tries to squirm out of Bratasena’s grasp. Bratasena lifts it up and pushes it away. The serpent disappears towards the bottom left while Bratasena ascends vertically and leaps off left, turning round as he exits.
The dhalang brings both kayons on-screen, one from the left, the other from the right, and moves them about across the screen. The right-hand kayon has its red side turned towards the dhalang to represent the serpent’s blood .
The dhalang takes both kayons away and strikes the kĕpyak to cue in a conclusion to Sampak.
NARRATION: As the serpent’s jaws were ripped apart, they spouted blood!
CARITA: Suweking ponang tutuk naga, tĕmah nyĕmburakĕn ludira!
[Both kayons are brought on-screen from the left, then one is removed to the left, the other to the right.]
The snake blood mingles with the water,
Gĕtih ula campur klawan banyu,
and spreads over SEVEN ACRES.
nganti sakJUNG pĕsagi ambane.
[One kayon is brought on-screen at the left, the other at the right.]
WĔRKODARA PAYS NO HEED.
TAMBUH SANG WĔRKODARA.
The gamelan plays Sampak slendro manyura. The dhalang moves the two ka­yons about forcefully for some time, then takes one away to the left and the other to the right, spinning them round as he takes them off-screen.
The meeting with Dewa Ruci
The dhalang plants one kayon erect at the left, the other at the right, inclined to the right.
While Bratasena enters left and the tiny figure of Dewa Ruci right, at the top of the kayon there, the dhalang sings:
CANTILLATION: CANTILLATION:E
KOMBANGAN: KOMBANGAN:E
At once the gamelan goes into the calm piece Ayak-Ayakan slendro manyura.
Dewa Ruci descends from the kayon and stands still at its base. He raises his hand to greet Bratasena. Bratasena looks at him, his hand above his eyes. The prince stands at ease. The dhalang raps on the puppet chest, cueing the gamelan to play pianissimo. Bratasena puts his left hand on his hip.
RECITATIVE: At this moment without realizing it the noble Wĕrkodara has already reached the ocean floor. «» [Bratasena puts his right hand on his hip as well.]
JANTURAN: Ing mangke datan nggrahita lamun sang Wĕrkodara sampun dumugi dhasaring samodra. «»
Yet it feels
Ananging karaos
no different from being on land. «» «»
tan pråbeda kaya wontĕn ing ndharatan. «» «»
Wĕrkodara is startled once again when he perceives
Rumaos kagyat malih sang Wĕrkodara dupi wuninga
that on the floor of the ocean there is an island that pleases the eye.
dhasaring samodra wontĕn pulo ingkĕng asri tiningalan.
An island that shines and emits an aura;
Pulo kang mĕncorong mawa praba;
its beauty beyond compare. «» «»
endahe tan wontĕn ingkĕng angungkuli. «» «»
Now in the middle of the island there is
Ing mangke tĕngahing pulo wontĕn
a tiny person,
lare bajang,
with a magnificent radiance. «»
ingkĕng mawa sorot amĕrbawani. «»
Startled is Wĕrkodara.
Kagyat sang Wĕrkodara.
In wide-eyed amazement he stares at the little person.
Kĕdhep tĕsmak dene maspaosake marang lare bajang.
And thus, Wĕrkodara
Mangkana, kaya enggal
feels the urge to speak.
hanabda sang Wĕrkodara.
CANTILLATION: CANTILLATION:E
KOMBANGAN: KOMBANGAN:E
The gamelan returns to its ordinary volume.
He saw the charms of the domain; gleaming lamps set out
Myat langĕning kalangywan aglar pandam muncar
e
e
o, e
o, e
o
o
The dhalang raps the chest; Ayak-Ayakan is slowed down and brought to a conclusion.
SERENE MOOD SONG:
PATHĔT MANYURA JUGAG:
Its water clear, the lake was like the sky
Jahni yahni talaga kadi langit
A drifting tortoise matched the moon
Mambang taspas wulan upamaneka
Resembling stars the flowers floated
Wintang tulywa kusuma ya sumawur
Others scattered like the clouds
Lumrah pwekang kadi jåladha
e, o
e, o
BRATASENA: Though I am not asleep,
BRATASENA: Ingatase aku ora turu,
it seems to me that I am dreaming. «»
rasaku kaya wong ngimpi. «»
Having reached the ocean floor, I find an island that is really nice and beautiful. «»
Aku prapta dhasaring samodra, hiki ana pulo kang bĕcik tĕmĕn lan endah kahanane. «»
In the middle of the island there is a little lad with a radiance.
Tĕngahing pulo ana bocah bajang mawa sorot.
He—y.
He—.
Where are your parents?
Kowe kuwi anake sapa.
What is your name?
Jĕnĕngmu sapa.
DEWA RUCI: My boy
DEWA RUCI: Kulup
Bratasena.
Bratasena.
BRATASENA: A——h.
BRATASENA: Wa——h.
He knows my name already.
Wis ngĕrti jĕnĕngku.
DEWA RUCI: You inquire
DEWA RUCI: Manawa kita pitakon,
about my parents;
ulun iku atmajane sapa;
I was brought into being by none other than the Lord Who Has Made the World.
ingkang nitahake ulun, mung kajaba Gusti Kang Akarya Jagad.
I came into being together with you my boy Bratasena.
Tumitahku barĕng klawan kita kulup Bratasena.
As for my place, it is here. «»
Papanku ya ana kene iki. «»
BRATASENA: A——h.
BRATASENA: Wa——h.
But why do you think you can
Nanging kĕna apa kowe bisa
address me as my boy?
nyĕbut kulup marang aku.
DEWA RUCI: The reason why I address you as my boy,
DEWA RUCI: Marmane ulun nyĕbut kulup klawan jĕnĕng kita,
is that
karana,
in terms of kinship I am your senior, Bratasena.
awune tuwa jĕnĕng ulun, katinimbang kita Bratasena.
BRATASENA: You claim to be older. «»
BRATASENA: Kowe ngaku tuwa. «»
On what grounds?
Apa tandhane.
DEWA RUCI: I claim to be your senior, because I am familiar with those from whom you are descended. «»
DEWA RUCI: Marmane ulun ngaku tuwa katinim­bang kita, karana ulun nyumurupi marang sapa kang anurunake jĕnĕng kita. «»
BRATASENA: Whose son am I?
BRATASENA: Aku iki anake sapa.
DEWA RUCI: You are the son of Pandhu borne by Kunthi.
DEWA RUCI: Kita iku atmajaning Pandhu pa­tutan klawan Kunthi.
Your brothers number four in all,
Sĕdulur kita kabeh kuwi ana papat,
two with the same father, another mother.
kang loro tunggal yayah, seje rena.
The first-born is Puntadewa, the second you, the third Pĕrmadi.
Pĕmbayun Puntadewa, kang angka loro jĕnĕng kita, angka tĕlu Pĕrmadi.
The sons of Pandhu borne by Madrim number two, namely: Pinten and Tangsen, or Nakula and Sadewa.
Atmajaning Pandhu patutan klawan Madrim ana loro, yaiku: Pinten lawan Tangsen, ya Nakula klawan Sadewa.
BRATASENA: A—h, really accurate.
BRATASENA: Wa—h, pĕrtitis tĕmĕn.
DEWA RUCI: That is why, my dear boy Bratasena,
DEWA RUCI: Mula kang mangkono, kulup Bratasena,
you must at once pay me obeisance.
mara di age nyĕmbaha marang jĕnĕng ulun.
Speak courteous language to me.
Matura basa klawan jĕnĕng ulun.
BRATASENA: A—h, this lad is really big-headed.
BRATASENA: Wa—h, nggĕmbelo tĕmĕn bocah iki.
I am a tall and powerful man, and yet a little boy expects me to bow and scrape and grovel to him. «»
Ingatase aku wong gĕdhe dhuwur wong gagah, kon nyĕmbah ndhodhok basa karo bocah cilik. «»
No way.
Ora sudi.
DEWA RUCI: You do not want to?
DEWA RUCI: Ora gĕlĕm.
BRATASENA: No.
BRATASENA: Ora.
Unless you
Kajaba yen kowe
know what I have come to look for here.
ngĕrti karĕpku ana kene golek apa.
And you can show me where it is,
Lan yen kowe bisa nuduhake panggonane,
only then I will speak courteous language to you.
aku lagi gĕlĕm basa klawan jĕnĕng sira.
DEWA RUCI: Let me tell you, my dear,
DEWA RUCI: Sumurupa, ngger,
you have come to this place, because you want to fulfill your teacher’s request.
jĕnĕng kita tumĕka kene ki, sabab nuruti marang pamundhuting guru.
You my boy desire to grasp the science of the whence and whither of being,
Kita kulup kĕpengin nggayuh kawruh sangkan paraning dumadi,
and have gone to study with the sage Durna.
mĕguru marang Pandhita Durna.
The Reverend Durna was prepared to reveal it, if you were willing to search for, first, the tall tree, nest of the wind,
Bĕgawan Durna gĕlĕm mĕdharake, waton kita gĕlĕm golek, sĕpisan, kayu gung, susuhing angin,
second the holy lustrating water.
kaping pindho banyu pĕrwita suci.
Thereupon you ascended Mount Candramuka.
Nalika sĕmana kita munggah marang Gunung Candramuka.
You searched for the tall tree, nest of the wind, but did not find it.
Golek kayu gung, susuhing angin, nanging ora tinĕmu.
Know then, Bratasena,
Sumurupa, Bratasena,
why it is called the tall tree, nest of the wind; this has an explanation.
apa ta sĕbabe, disĕbutake kayu gung, susuhing angin; kuwi ana wĕrdine.
Tree equals arbor.
Kayu iku kayun.
Arbor refers to ardour, ardour is desire.
Kayun iku kajĕng, kajĕng iku karĕp.
Tall stands for great.
Gung iku gĕdhe.
It means that Bratasena’s desire is great.
Mĕngku surasa, Bratasena karĕpe gĕdhe.
The nest of the wind resides in the respiration of the human being,
Susuhing angin iku, dumunung ana ing napas nupusing manungsa,
that is, the entry and egress of thunderbolts and storm clouds.
ya lĕbu wĕtuning bajra herawana.
Even when one’s desire is great,
Nadyan ta karĕpe gĕdhe,
if one’s breath is too weak, it shall not be attained.
yen napase kuwi ora kuwat, kuwi ora bakal bisa kĕcĕkĕl.
And it shall not be found; you will not pro­gress beyond the intention. «»
Lan ora bakal bisa tinĕmu; mung ngandhĕg ana ing karĕp. «»
BRATASENA: Yeah.
BRATASENA: Hiyoh.
That is evident.
Pancen kapara nyata.
DEWA RUCI: Such is the explanation of the tall tree, nest of the wind.
DEWA RUCI: Kuwi mungguh wĕrdining kayu gung, susuhing angin.
As to the holy lustrating water, the holy water:
Wondene banyu pĕrwita suci ya banyu suci:
if you seek it in the middle world, you will never find it; because
ngulatana ing madyapada, yĕkti kita ora bakal kĕtĕmu; sabab
none other is endowed with the holy water than my divine person.
ingkĕng kĕsinungan banyu suci, iku mung kajaba panjĕnĕngan ulun.
If you pay me obeisance,
Waton kita nyĕmbah klawan ulun,
and address me in courteous language,
basa lawan ulun,
I may be disposed to show you the where­abouts of the holy water.
mbokmĕnawa ulun kĕparĕng nuduhake papaning banyu suci.
SERENE MOOD SONG:
PATHĔT MANYURA JUGAG:
Bees came to kiss him, buzzing busily
Brĕmara reh manguswa amung ambrĕngĕngĕng
[Bratasena lowers himself to the ground.]
Like people in anguish moaning
Kadi karunaning kaswasih
[He performs a sĕmbah at Dewa Ruci’s feet and sits down, bent forward respectfully.]
o
o
[He makes another sĕmbah to Dewa Ruci .]
All along the way he was fired with desire
Haneng marga mĕmalad kung
[He folds his hands together in his lap.]
e, o
e, o
«» «»
«» «»
BRATASENA: Divine Lord,
BRATASENA: Pukulun,
[making a sĕmbah:] humbly I extend my homage may it be placed before your feet Divine Lord.
kula ngaturakĕn pangabĕkti mugi konjuk wontĕn ngarsa Paduka Ywang Pada Pukulun.
DEWA RUCI: My dear, Bratasena,
DEWA RUCI: Ngger, Bratasena,
My heart is touched as I perceive
matrĕnyuh panggalih ulun, dupi ulun wuninga,
you paying obeisance and speaking courteously to my divine person.
kita nyĕmbah basa lawan panjĕnĕngan ulun.
Very well my dear,
Ya ya ngger,
I acknowledge
wus ulun tampa,
your offering of homage; receive my blessings.
kita ngaturake pangabĕkti; pĕngestu ulun tampanana.
BRATASENA [with a sĕmbah]: I hold them high may they serve as a talisman.
BRATASENA: Sangĕt anggen kula mundhi saengga jimat.
DEWA RUCI: What just happened should set all earthly creatures an example, «»
DEWA RUCI: Mĕngkono iku mau, kĕnaa kanggo patuladhaning titah mĕrcapada, «»
do not eat when you do not know
aja sok mĕmangan yen durung ngĕrti
the taste of the food,
rasane kang dipangan,
do not put on a garment
aja sok mĕnganggo
if you do not know that garment’s import.
lamun durung ngĕrti wĕrdine kang dienggo.
Do not set out,
Aja dhĕmĕn lĕlungan,
if
lamun
you do not know where you are headed;
durung ngĕrti kang tinuju;
and do no homage, if you do not know the true nature of the object of worship.
lan aja sok manĕmbah, lamun durung ngĕrti sĕjatine ingkang sinĕmbah.
BRATASENA: As you command as you desire.
BRATASENA: Kula nuwun nun inggih.
DEWA RUCI: You paid obeisance for a reason, you wish to be shown the holy water. «»
DEWA RUCI: Nyĕmbahmu mawa karĕp, kĕpe­ngin nyuwun tinuduhake banyu suci. «»
BRATASENA [with a sĕmbah]: Please show it to me Divine Lord I request the holy water.
BRATASENA: Kaparĕnga enggal nĕdahakĕn Pĕkulun kula suwun toya suci.
DEWA RUCI: Know then, my dear,
DEWA RUCI: Sumurupa, ngger,
that the holy water
banyu suci
is to be found here deep inside the cavity of my body. «»
mapane ana ing tĕlĕnging ngguwagarba ulun kene. «»
In order to reach it, you my boy must enter the cavity of my body.
Bisane kĕtĕmu, kita kulup manjinga ing ngguwagarba ulun kene.
BRATASENA: Divine Lord,
BRATASENA: Pukulun,
a bulbul that swallows a fig, a dwarf touching the sky, a blind person counting the stars.
kĕcocak anguntal lo, kĕcebol nggayuh ngawiyat, wuta hangetang lintang.
I will never get at it, if I am required to enter the cavity of your body.
Tangeh kĕlampahanipun, mĕnawi kula ka­dhawuhan manjing ngguwagarba Paduka.
DEWA RUCI: Why is that?
DEWA RUCI: Sababe apa?
BRATASENA: Because I am immensely big; while you
BRATASENA: Atasipun kula mĕnika agĕng birawa; Paduka
are only the size of my little finger.
namung sakjĕnthik.
How ever could I enter the cavity of your body?
Mĕnapa kĕlampahan kula manjing ngguwagarba Paduka.
DEWA RUCI: Bratasena.
DEWA RUCI: Bratasena.
BRATASENA: At your command.
BRATASENA: Wontĕn dhawuh.
DEWA RUCI: Small though I may seem, in truth I am big.
DEWA RUCI: Ulun kuwi katone cilik, ning sĕjatine gĕdhe.
My dear, «»
Ngger, «»
which is bigger, the world and all it contains or you?
jagad saisine kalawan jĕnĕng kita iku, gĕdhe ĕndi?
BRATASENA: The world and all it contains.
BRATASENA: Agĕng jagad saisinipun.
DEWA RUCI: I encompass the world and all it contains.
DEWA RUCI: Jagad saisine wae, wis winĕngku jĕnĕng ulun.
If it is only you, how big are you really, my dear Bratasena?
Yen mung jĕnĕng kita wae, sĕpira gĕdhemu, ngger Bratasena.
Not just one of your size; «»
Aja mung sakkowe; «»
seven of your size «»
pitung kowe «»
ten of your size my boy could in fact enter the cavity of my body.
sĕdasa kita kulup yĕkti bakal manjing ing ngguwagarba ulun.
Thus is the meaning of “big albeit small”.
Mĕngkono mungguh surasane nadyan cilik nanging gĕdhe.
BRATASENA [with a sĕmbah]: I beg forgiveness Divine Lord.
BRATASENA: Nyuwun pangapuntĕn Pĕkulun.
DEWA RUCI: It does not matter, it was because
DEWA RUCI: Ya ya ora dadi apa, sabab
we have not met before this is the first time you set eyes on me.
durung kĕtĕmu klawan kita kĕtĕmben iki kita nyumurupi marang ulun.
Since I appear delicate, you assumed that I am too weak
Nonton saka ringkih ulun, kinira ulun iku ora kuwat
to bear Bratasena’s weight.
nampa marang boboting Bratasena.
BRATASENA: How then should I enter the cavity of your body?
BRATASENA: Lajĕng kadospundi caranipun kula sagĕd manjing guwagarba.
DEWA RUCI: Now quickly observe me with your true gnostic eye.
DEWA RUCI: Mara di age; sawangĕn kanthi netra pramana jati.
Do not use
Aja nganggo
your corporeal eyes but rather: observe me with true gnosis.
netra wantah nanging: sawangĕn kanthi pramana jati.
When you perceive
Lamun kita nyumurupi
my right ear, where a gate has already swung open,
talingan ulun kang kanan, kang wus mĕnga ana wiwarane,
that shall be the way
yaiku dadi srana
by which you can enter the cavity of my body. [...]
anggon kita manjing ing ngguwagarba. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
No longer blind to the blending of the spirits
Tan samar pamoring suksma
[Bratasena performs a sĕmbah.]
Conceived and exercised in solitude
Sinukmaya winahya ing asĕpi
NARRATION: WĔRKODARA LOOKS!
CARITA: MULAT SANG WĔRKODARA!
He beholds with true gnosis.
Kanthi aningali marang pramana jati.
It SWINGS OPEN, and FLASH a light appears in the middle of the gateway that is in the right ear.
MĔNGA, BLAK padhang kĕtingal wontĕn madyaning wiwara kang mapan ing ta­lingan kanan.
At once Wĕrkudara ENTERS the body cavity.
Sigra sang Wĕrkudara MANJING guwagarba.
The gamelan plays a fast Sampak slendro manyura. Bratasena rises, performs a sĕmbah at Dewa Ruci’s feet, strides towards Dewa Ruci, turns left above him , and descends into his body , disappearing at the base of the screen. Dewa Ruci is taken away towards the right.
The dhalang extracts the right-hand kayon, spins it round, and removes it from the screen.
The dhalang brings the kayon on from the left and holds it near the lamp so that it casts a large shadow. Bratasena enters behind it from the left and sits down on the ground in the left gawang . He lets his arms hang limply from his shoulders.
The dhalang strikes the kĕpyak to signal a conclusion to Sampak. He keeps the kayon near the lamp. Its shadow represents the void in which Bratasena finds himself.
DEWA RUCI [off-screen]: My boy, Bratasena.
DEWA RUCI: Kulup, Bratasena.
BRATASENA: At your command.
BRATASENA: Wontĕn dhawuh.
DEWA RUCI: Now you have entered my body cavity,
DEWA RUCI: Sawise kita manjing ngguwagarba,
what do you perceive?
apa kang katon ing kita?
BRATASENA: Divine Lord,
BRATASENA: Pukulun,
I see nothing whatsoever.
kula mbotĕn nyumĕrĕpi mĕnapa-mĕnapa.
I see no directions north or south east or west nadir or zenith.
Mbotĕn nyumĕrĕpi keblat ler kidul wetan kilen ngandhap tuwin nginggil.
Divine Lord,
Pukulun,
here I do not see anything at all but only sense confusion.
mĕnika kula mbotĕn nyumĕrĕpi sawiji-wiji hamung bingung manah kula.
DEWA RUCI: If that is so you my boy must quickly concentrate on my divine person. [...]
DEWA RUCI: Yen mangkono mara sira kulup enggal ngesthia marang panjĕnĕngan ulun. [...]
TENSE MOOD SONG:
ADA-ADA SLENDRO MANYURA JUGAG:
Trembling fiercely the sky seemed to flicker
Nggonjang-ganjing langit kĕlap-kĕlap katon
Like the quivers of her who enkindled his ardour
Lir kincanging sang maweh gandrung
e
e
NARRATION: Let us speak of Wĕrkodara!
CARITA: Kocap sang Wĕrkodara!
At once he concentrates on the noble
Tandya nandukakĕn pangesthi marang sang
Dewa Ruci.
Dewa Ruci.
Due to the intensity of his concentration,
Labĕt panthĕnging pangesthi,
now, in an instant, the noble Wĕrkodara
ing mangke, ndadak sakala sang Wĕrkodara
feels as if he has made his appearance before the divine – Ruci Bathara.
raosira kaya wus ngadhĕpi marang ngarsa­ning Ywang – Ruci Bathara.
The gamelan plays Sampak slendro manyura. The dhalang moves the kayon closer to the screen and covers Bratasena with it. He lets it sink down slowly and takes it away at the base of the screen. Bratasena is seated alone in the left gawang, both his arms hanging down. (The dhalang puts the kayon aside on the lid of the puppet chest to his right.)
The dhalang raps the chest and Sampak is concluded.
DEWA RUCI [off-screen]: Bratasena?
DEWA RUCI: Bratasena?
BRATASENA: At your command.
BRATASENA: Wontĕn dhawuh.
DEWA RUCI: Having concentrated on me,
DEWA RUCI: Sawise kita ngesthi marang ulun,
what do you perceive?
apa kang katon ing kita.
BRATASENA: Divine Lord,
BRATASENA: Pukulun,
now
ing mangke
I perceive the directions,
kula sampun anon dununging keblat,
north south east and west nadir as well as zenith.
ler kidul wetan kilen ngandhap sumawana nginggil.
And I see
Saha kula nyĕmĕrĕpi
a single flame;
wontĕn urub sĕtunggal;
but which has
nanging arupi
an eightfold appearance.
wĕrni wolu.
DEWA RUCI: What are its appearances?
DEWA RUCI: Wĕrnane apa wae.
BRATASENA: One is resplendent emerald green;
BRATASENA: Kĕtingal abra markata;
another one is like an ivory doll;
wontĕn malih kados putran dĕnta;
another one is like a swarm of WILD bees;
wontĕn malih kados tawon GUNG gumolong;
one is a radiant light;
wontĕn cahya maya;
one is a sparkling jewel;
wontĕn rĕtna muncar;
another one is a fine radiant fire-ball;
wontĕn malih ndaru maya di;
another one is like the moon; and yet another is like a twinkling star.
wontĕn malih kados rĕmbulan; tuwin wontĕn malih kados kartika ingkĕng abyor.
Divine Lord,
Pukulun,
seeing this I am very much enraptured, Divine Lord.
dupi kula wuninga mĕnika sangĕt kĕsĕngsĕm manah kula, Pukulun.
DEWA RUCI: Know, Bratasena,
DEWA RUCI: Sumurupa, Bratasena,
those eight forms, in fact
rupa wolu iku, sĕjatine
lead toward the exalted qualities.
nuntun marang sipat ingkĕng luwih.
And those eight forms are divided into two.
Lan rupa wolung wĕrna iku, pinerang dadi loro.
Four among them
Ingkĕng papat
point
karĕpe iku,
toward
marang
the Essence,
Dat,
the Attributes the Names and the Works.
Sipat Asma klawan Apĕngal.
Essence means thought;
Dat iku tĕgĕse cipta;
Attributes are form.
Sipat iku wujud.
As thought and form unite, they yield the exterior and interior of the human being.
Manunggaling cipta lawan wujud iku, dadi lair klawan batin.
The Names;
Asma;
these are the true nature of humanity.
iku sĕjatining manungsa.
As to the Works;
Dene Apĕngal;
they are the true nature of gnosis.
iku sĕjatining pramana.
When the Names and the Works unite;
Manunggaling Asma lawan Apĕngal;
they constitute the Lord and the servant,
iku mujudake Gusti lawan kawula,
the servant and the Lord. «»
ya kawula klawan Gusti. «»
As to
Wondene
the other four;
ingkang papat;
they comprise the passions;
iku manjing marang hawa napsu;
which are,
ingkĕng rupane,
red
abang
black yellow and white. «»
irĕng kuning klawan putih. «»
The red one
Ingkang abang,
delights in anger;
iku dhĕmĕn panasbaran;
envy and jealousy;
srei drĕngki;
it likes to disparage virtuous deeds;
karĕm nyĕnyamah panggawe bĕcik;
it delights in cajolery, and distinction and superhuman powers.
dhĕmĕn ngongrong, tur ta dibya sĕkti mandraguna.
That is what the red one does.
Kuwi ingkĕng abang.
BRATASENA: Indeed.
BRATASENA: Inggih.
DEWA RUCI: As to the black one,
DEWA RUCI: Wondene ingkĕng irĕng,
it
iku
delights in gluttony;
dhĕmĕn mĕmangan;
discontent;
ngangsa-angsa;
lethargy;
doyan turu;
unleashing one’s passions;
nguja hawa;
ill humour,
karĕm nĕsu,
raising one’s voice.
nguja swara sĕru.
Such is the passion that appears as black. «»
Iku mungguh hawa kang rupane irĕng. «»
As to the yellow passion,
Wondene hawa kang rupane kuning,
it delights in stirring up treachery;
iku dhĕmĕn ngububi laku cidra;
due to its greed it indulges in bribery,
saka karĕme melik doyan rĕruba,
and thus it always aims to ward off matters of virtue;
mula tabĕri hanrĕnggulangi barang kang rahayu;
it delights in pursuing things not
dhĕmĕn ngangkah-angkah dudu
its due.
wajibe.
When cornered, it is disposed to resort to evil conduct.
Yen (kĕpe) kĕpepet, iku wani nĕmpuh marang panggawe ala.
Such is the passion that
Iku mungguh hawa kang
appears as yellow.
rupane kuning.
As to the passion that appears as whiteness;
Wondene hawa kang rupane putih;
it delights in ascesis aspiring to sanctity.
iku dhĕmĕn tĕteki murih suci.
Merely resigning itself,
Muhung narima,
provided it can thereby attain perfection.
waton ing kono bisa sampurna.
It is unwilling to trouble itself;
Dheweke moh rĕkasa;
reluctant to join forces; for it is work-shy.
lumuh pakumpulan; jalaran wĕdi pĕgawean.
It submits to nescience for the sake of indolence,
Trima bodho watone ngaso,
it is left senseless and listless whenever it is at a loss.
anane hamung ngĕnglĕng mĕnĕng lamun pinuju kodhĕng.
Hence it is small wonder,
Mulane ora jĕnĕng aneh,
that
lamun
the white passion is opposed by
hawa putih mau dimungsuhi marang
the red black and yellow ones. «»
kang abang irĕng klawan kuning. «»
Bratasena,
Bratasena,
a person’s life is exceedingly difficult if he is aware of these four divisions of the heart; why is that?
wong urip iku luwih ewuh lamun ngelingi marang pratelaning ati kang papat mau; sĕbab apa?
If he does not heed them, he is in error,
Ora ngantĕpi, ya luput,
but if he does, the outcome is uncertain too.
dene yen ngantĕpi, ya durung karuwan.
Thus I advise you my boy,
Mula prayogane kulup,
if you aspire to purity, you must be able to
lamun dhĕmĕn wĕning, ya kudu bisa
isolate these passions.
misahake marang hawa mau.
BRATASENA: Divine Lord,
BRATASENA: Pukulun,
[with a sĕmbah:] having received your words I feel utterly confused.
sarĕng kula nampi sabda Paduka malah langkung bingung manah kula.
Therefore, Divine Lord,
Ingkang mĕnika, Pukulun,
I hope that you Divine Lord are willing to give further instruction
kula nyuwun mugi Paduka Pukulun kĕparĕng nglajĕngakĕn paring pitĕdah
on the purport of the science of the whence and whither of life.
dununging kawruh sangkan paraning agĕsang.
What is its constitution?
Mĕnika mĕnapa kĕdadosanipun.
And I beg instruction on the worth of insight and
Saha kula nyuwun, pitĕdah ajining ngelmu dalah
the sense of communion, Divine Lord.
suruping panĕmu, Pĕkulun.
DEWA RUCI: That is why, my boy Wĕrkudara, you must pay careful heed to the contents of the science of the mystery.
DEWA RUCI: Mula kulup Wĕrkudara, kang waspada nggonmu mandĕng marang surasaning ngelmu ga’ib.
As to your question, my boy, about the constitution of the human being:
Wondene mĕnawa sira kulup pitakon kĕdadeyaning manungsa:
the human being is constituted from the threefold form and the ether.
manungsa iku kĕdadeyan saka trimurti klawan hawa.
The threefold form; this is the
Trimurti; ya iku, cahyaning
solar lunar and astral lights,
surya candra klawan kartika,
or the lights of the sun,
ya srĕngenge,
moon and stars. «»
rĕmbulan klawan lintang. «»
As to the ether,
Wondene hawa,
it is from the quintessence of earth fire water and wind.
iku saka sarining bumi gĕni banyu klawan angin.
This threefold form and the ether come together;
Trimurti lawan hawa iku mau, padha kumpul;
and as the delusionless water trickles down,
nulya barĕng lan tumitising tirta nirmaya,
and blessed by the wording of the Essence,
mbanjur kasamadan ing wirayating Dat,
they become one as the true nature of your condition.
nganti dadi tunggal jatining kahanan kita iku.
Hence the observable macrocosm
Mula jagad gĕdhe kang gumĕlar iku,
is no different in range,
cacahe ora beda,
and has the same contents,
isine hiya padha,
as the microcosm that is inside
karo jagad cilik kang ana ing sakjroning
the cavity of your body, dear Bratasena.
ngguwagarbamu iku, ngger Bratasena.
BRATASENA [making a sĕmbah]: Divine Lord,
BRATASENA: Pukulun,
now I am beginning to discern some spots of light.
sampun radi srowong-srowong raosing manah kula.
DEWA RUCI: Bratasena,
DEWA RUCI: Bratasena,
if you my boy
manawa sira kulup
request clarification of the worth of insight;
nyuwun katrangan ajining ngelmu;
insight is most difficult when it is in sight.
ngelmu iku angele yen wis kĕtĕmu.
But,
Nanging,
on the other hand,
kosok baline,
you must always bear in mind the regulations;
kudu tansah ngelingi pĕpacuh;
and you may not contravene the laws; and moreover:
sarta nora kĕna nĕrak marang anggĕr-anggĕr; apa dene:
you should adhere to recognition regard resolution and resolve.
kudu nĕtĕpi idhĕp madhĕp tĕtĕp klawan mantĕp.
BRATASENA: What does that entail?
BRATASENA: Mĕnika mĕnapa wĕrdinipun.
DEWA RUCI: Recognition; this means, you must be able to pay obeisance to the Lord;
DEWA RUCI: Idhĕp; tĕgĕse, kudu bisa ma­nĕmbah marang Gusti;
and aggrandize the name of the Lord Almighty.
lan ngluhurake asmaning Pangeran Kang Mahakawasa.
So that thereby it may be said that you
Dadi hing kono kĕna ingaranan
are cognizant of your life.
ngawruhi marang uripe.
As to regard;
Wondene madhĕp;
you should be able to
iku kudu bisa
resist your passions in order to be serene.
nyĕgah hawa napsu karĕben bisa wĕning.
Those who are incapable of resisting their passions;
Sapa kang tan bangkit nyĕgah marang hawa napsu;
shall not achieve serenity.
yĕkti ora bakal bisa wĕning.
As to resolution;
Wondene tĕtĕp;
withstand the pull of iniquity;
aja kelu marang panggawe dudu;
you should desire
ing pĕngajap
to possess integrity, because
darbea budi rahayu, marga
if you give in to greed, it will surely end in disaster.
yen ta nganti melik, ora wurung bakal mbilaeni.
As to resolve my dear,
Wondene mantĕp ngger,
you should realize your intentions.
kudu nglakoni ing sĕdya.
For an intention involves resignation,
Awit sĕdya kang mĕngku panarima iku,
in whatever they do,
mobah mosik,
human beings merely carry out their duty,
manungsa hamung sakdrĕma,
all the servant can do is lean upon the will of the Spirit.
kawula hamung sumendhe marang karsa­ning Sang Suksma.
Which is to say,
Ingkĕng tĕgĕse,
that making presumptions before things are evident invites the Lord’s wrath.
mĕsthekake barang kang durung kasat netra iku bakal kĕsiku ing Gusti.
Thus it is, my boy, as regards the entry into insight.
Mĕngkono kulup, mungguh panjinging ngelmu.
BRATASENA: Indeed as you say.
BRATASENA: Kula nuwun nun inggih.
DEWA RUCI: And when you «»
DEWA RUCI: Wondene mĕnawa kita «»
ask about the sense of communion.
pitakon suruping pĕnĕmu.
The sense of communion comprises:
Suruping pĕnĕmu, yaiku:
first, loyalty and magnanimity;
siji, sĕtya lĕgawa;
second, patience and resignation;
loro, sabar narima;
third, beneficence; fourth, dependability.
tĕlu, berbudi; kaping papat, bawalĕksana.
BRATASENA: What do these things entail?
BRATASENA: Wĕrdinipun kadospundi?
DEWA RUCI: Magnanimity:
DEWA RUCI: Lĕgawa:
shun scepticism.
aja sugih sujana.
Be detached from worldly matters;
Ingkĕng lila ing ndonya;
accept the fact of death.
iklas marang pati.
In order that
Pamrihe, supaya
your life may be happy.
rahayu uripmu.
Always sow good and pure deeds,
Tansah nandura kĕlakuan bĕcik lan suci,
and further
kang sarta
take delight in showing compassion;
dhĕmĕna wĕlasan;
be altruistic towards your fellow beings,
tĕpa-tĕpa marang sapadha,
and always fulfill your obligations.
lan tansah nĕtĕpana marang wajib.
That is what is called magnanimity.
Iku kang sinĕbut lĕgawa.
As to patience and resignation;
Wondene sabar narima;
patience; this means, be self-possessed.
sabar; yaiku, den saranta ing tekadmu.
If you happen to be struck by
Yen ta lagi kĕtaman ing (s)
the Spirit’s anger, you must remain resigned;
dĕdukaning Suksma iku, kudu tansah narima;
you should be receptive, in your heart.
kudu sing rumangsa, jroning atimu.
And resignation;
Dene narima;
this means: always await the Divine Spirit’s love.
yaiku: tansah ngĕntenana sihing Ywang Suksma.
Because you have pledged to undergo
Awit ing tekad wus (n) saguh nglakoni,
luck and misfortune;
bĕgja cilaka;
pain and pleasure; knowledge and naïvety;
lara kĕpenak; pintĕr bodho;
composure and confusion; life and death.
wĕning kodhĕng; urip klawan mati.
As to beneficence,
Dene berbudi,
you should delight in speaking good words;
kuwi dhĕmĕna tutur bĕcik;
delight in brightening up those who suffer dark thoughts;
dhĕmĕna madhangake wong sing padha nandhang pĕtĕng pikire;
and help those who happen to be struck with adversity.
sarta tĕtulunga marang wong kang kĕtaman rĕribĕd.
As to dependability, my dear,
Wondene bawalĕksana, ngger,
be big-hearted;
sing gĕdhe hambĕkmu;
and let your mind be broad.
sarta kang luwih budimu.
Avoid degradation;
Aja nistha;
and let your thinking be adequate.
lan kang bisa cukup pamikirmu.
You must always be watchful and attentive.
Kudu tansah mulat lan awas.
And also always carefully
Uga tansah taliti
coordinate
mĕrnata
the strategic use of language.
basa tanduking karti sampeka.
What you should shun, my dear,
Dene sirikane, ngger,
is ruthless scheming and harming your fellows.
yen dhustha candhala hanganiyaya marang sapadha.
This my boy is the
Iku kulup mungguh
sense of communion you are striving for. [...]
kang kita gayuh suruping pĕnĕmu. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
The earth trembled fiercely the sky seemed to flicker
Bumi gonjang-ganjing langit kĕlap-kĕlap katon
Like the quivers of her who enkindled his ardour
Lir kincanging sang maweh gandrung
o
o
[Bratasena touches his chest .]
[...]
[...]
BRATASENA [makes a sĕmbah]: Now that I have heard your teachings my heart is enlightened Divine Lord.
BRATASENA: Padhang trawangan manah kula dupi kula miyarsa wĕjangan Paduka Ywang Pada Pukulun.
DEWA RUCI: Have you taken them in, my dear?
DEWA RUCI: Wis bisa nampa, ngger?
BRATASENA: I have indeed.
BRATASENA: Nuwun inggih sampun.
DEWA RUCI: Now this is what is called
DEWA RUCI: Ya iku, kang sinĕbut
the holy water
banyu suci
the eminent lustrating water, which you now embody my boy Bratasena.
ya tirta pawitra di, kang wus kasalira kita kulup Bratasena.
It constitutes the science of union, dear Wĕrkudara.
Iku mujudake kawruh panunggal, ngger Wĕrkudara.
BRATASENA: I feel very happy,
BRATASENA: Sangĕt bingah manah kula,
[makes a sĕmbah:] that I have received the holy water at last.
sampun kĕlampahan nampi toya suci.
DEWA RUCI: Since it has come about, my dear:
DEWA RUCI: Gandheng wus klakon, ngger:
you must quickly leave the cavity of my body.
mara di age enggal mĕtua saka ngguwagarba.
BRATASENA: Please forgive me Divine Lord,
BRATASENA: Nyuwun pangapuntĕn Pĕkulun,
I have come to feel at ease in this place.
kula sampun kĕlajĕng kraos mapan wontĕn ngriki.
I have no intention of going back.
Kula mbotĕn nĕdya badhe wangsul.
The atmosphere is pleasant here;
Wontĕn mriki hawanipun sĕkeca;
no frantic feelings in my heart; I am troubled by no thoughts.
mbotĕn kumrungsúng dhatĕng manah; mbotĕn mikir mĕnapa-mĕnapa.
Peace alone is what I have found.
Namung tĕntrĕm ingkang kula panggih.
DEWA RUCI: Bratasena.
DEWA RUCI: Bratasena.
BRATASENA: At your command.
BRATASENA: Wontĕn dhawuh.
DEWA RUCI: Have you no compassion for your relatives yonder?
DEWA RUCI: Apa kita arĕp tega marang kulawarga kita kang ana kana.
If you do not go back, then what will become of your family?
Yen nganti kita ora bali, njur kĕpriye kĕ­dadeyane kulawargamu.
The time for you to indulge in the good life has not come yet, my dear.
Durung wancine kowe ngĕmatake uripmu, ya ngger. [reaction]
For your responsibilities are numerous.
Amarga ijik akeh tanggung jawabmu.
While you are here you may think you are thriving but just wait until you are home again.
Kowe ana kene ketoke mulya nanging titenana yen wis bali marang papanmu mbesuk. [reaction]
No doubt there are many matters to attend to,
Tan wurunga bakal akeh kang kita upakara,
many matters to
akeh kang bakal
consider.
kita pikirake. [reaction]
Therefore my boy, you must not desire to indulge yourself here in this place.
Mula kang mangkono kulup, aja dhĕmĕn nglĕlĕma dhiri ana ing papan kene. [reaction]
Go back at once dear Bratasena.
Mara tumuli balia ngger Bratasena.
If you do not go back,
Yen nganti kita ora bali,
how sad will be your mother Kunthi’s laments.
mendah kaya ngapa panjriting ibumu Kunthi.
And how sad will be you wife Arimbi’s laments,
Mendah kaya ngapa, panjriting garwamu Arimbi,
not to mention your subjects in the land of Amarta. [...]
luwih-luwih para kawulamu ing nĕgara Ngamarta. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
The earth trembled fiercely the sky seemed to flicker
Bumi gonjang-ganjing langit kĕlap-kĕlap katon
[Bratasena touches his chest.]
Like the quivers of her who enkindled his ardour
Lir kincanging sang maweh gandrung
e
e
[...]
[...]
BRATASENA: Then how should I withdraw from here?
BRATASENA: Lajĕng kados pundi caranipun anggen kula badhe mĕdal.
DEWA RUCI: Do as you did before, observe me with your gnostic eye.
DEWA RUCI: Tindakna kaya sĕkawit, wĕspa­dakna kanthi netra pramana.
In my left ear a gate has swung open through which you may withdraw from the cavity of my body.
Ing talingan ulun kang kering wis mĕnga wiwarane kanggo srana kita mĕtu saka ing ngguwagarba.
The gamelan plays Sampak slendro manyura. Bratasena rises, makes a sĕmbah towards the right, and backs off left, turning as he exits.
The dhalang takes the kayon which so far has been off-screen and puts it back at the far right, inclined to the right. Dewa Ruci emerges from it and stands still. Bratasena rises from his body, facing left, and steps into the left gawang, where he turns to Dewa Ruci. The dhalang now uses a different puppet to represent Bratasena: one with a black body and another hair-style. Bratasena makes a sĕmbah to Dewa Ruci and sits down in the left gawang. He makes another sĕmbah and places his hands together in his lap . The dhalang raps the chest and strikes the kĕpyak and Sampak is finished.
DEWA RUCI: My boy Bratasena. «»
DEWA RUCI: Kulup Bratasena. «»
BRATASENA: I am at your command Divine Lord.
BRATASENA: Kula wontĕn dhawuh Pukulun.
DEWA RUCI: You have emerged from within my body,
DEWA RUCI: Jĕnĕng kita wus mĕtu saka ngguwa­garba,
and as a mark your hair is now braced
kanthi tinĕngĕran nganggo gĕlung
in the style of the lobster,
minangkara,
short in front, high at the back.
ĕndhek ngarĕp, dhuwur mburi.
This way of wearing the hair betokens and symbolizes,
Gĕlung iku mau, mujudake pĕsĕmon lan pralambang,
that you my boy have been able to embrace Dewa Ruci’s knowledge.
manawa kita kulup wus bisa nggĕlung marang kawruhing Dewa Ruci.
You have succeeded in
Wis bisa
grasping the union of servant and Lord, Lord and servant.
ngrĕgĕm manunggaling kawula klawan Gusti, Gusti lawan kawula.
BRATASENA [makes a sĕmbah]: Your Divine Majesty’s words are held in reverence.
BRATASENA: Kaluhuran sabdanipun Paduka Ywang Pada Pukulun.
DEWA RUCI: Therefore, my boy,
DEWA RUCI: Ingkang mangkono, kulup,
be assiduous within and without;
kang manthĕng lair batin kita;
act with faith and fortitude,
jĕr tĕtĕkĕn kanthi tĕkun,
and your aims will be attained.
tĕkan kang dadi sĕdyamu.
BRATASENA: As you command.
BRATASENA: Kawula nun inggih.
Divine Lord?
Pukulun.
DEWA RUCI: What is it, my dear? «»
DEWA RUCI: Kĕpriye, ngger? «»
BRATASENA [makes a sĕmbah]: Would you approve if upon my return from here,
BRATASENA: Mĕnapa dipun kĕparĕngakĕn sakwangsul kula saking ngriki,
I did not head for the land of
mbotĕn jumujug dhatĕng nĕgari
Amarta;
Ngamarta;
for instead
nanging
I feel an urgent desire to establish myself as a sage.
esthining manah kula, kĕpengin badhe madĕg dados pandhita.
DEWA RUCI: You want to establish yourself as a sage?
DEWA RUCI: Kĕpengin bakal madĕg dadi pandhita.
BRATASENA: Indeed as you say.
BRATASENA: Kula nun inggih.
DEWA RUCI: What would you wish to achieve?
DEWA RUCI: Pangajabmu apa.
BRATASENA: I want to
BRATASENA: Badhe
disseminate the teachings
numangkarakĕn piwucal
on the science of union that I have received from you.
kawruh panunggal saking Paduka ingkang sampun kula tampi.
I want to spread them among those who are in need of them.
Badhe kula waradinakĕn dhatĕng sok sintĕna ingkang mbĕtahakĕn.
DEWA RUCI: Bratasena,
DEWA RUCI: Bratasena,
I appreciate
ulun ngudaneni
your intention.
apa kang dadi sĕdya kita.
If you want to establish yourself as a sage,
Lamun kĕpengin madĕg dadi pĕndhita,
where would you want to do this?
kĕpengin madĕg pandhita ana ngĕndi.
BRATASENA [with a sĕmbah]: I would want to be a sage in the territory of Astina,
BRATASENA: Kĕpengin madĕg pandhita wontĕn ing laladan Ngastina,
and live deep down inside the well of Jalatundha.
mapan wontĕn tĕlĕnging sumur Njalatundha.
I would wish to correct the Kurawas,
Kĕpengin badhe ndandosi para Kurawa,
and their subjects who have become degenerate,
sakkawulanipun ingkang sampun kĕlajĕng risak,
due to the behaviour of the Kurawas,
hawit sangking tumindaking para Kurawa,
who seem to have lost their humanity,
ingkang pĕrsasat ical bĕbudening manungsa,
because
karana
they always gratify only their outward needs,
namung tansah nyĕkapi kĕbĕtahan lair,
without matching them to their internal needs,
mbotĕn dipun imbang kĕbĕtahan batos,
they just unleash their passions,
namung tansah nguja hawa,
just give free rein to their desires,
namung tansah ngumbar napsu,
corporeal enjoyment and benefit are what the Kurawas are always striving for.
nikmat mupangating raga ingkang tansah dipun gayuh para Kurawa.
If I do not make them aware of this, the kingdom of Astina will be thrown into DISORDER.
Mĕnawi ngantos mbotĕn kula engĕtakĕn, badhe BIBRAH tatananing nĕgari Ngastina.
DEWA RUCI: Yes yes so it is indeed, my dear.
DEWA RUCI: Ya ya pancen mĕngkono, ngger.
Such is the Kurawas’ temperament.
Yaiku watak para Kurawa.
If they did not
Yen ora
give free rein to their desires, they would not be the Kurawas.
ngumbar napsu kwi, dudu Kurawa.
They are reluctant to live a peaceful life,
Mula dheweke moh tĕntrĕm uripe,
rather they are prepared to resort to begging, as long as
kapara direwangi dadi papariman di­lakoni, waton
they can enjoy corporeal pleasure.
bisa nikmat ragane.
Such are the Kurawas. «»
Iku Kurawa. «»
Who are unable
Kang ora bisa
to correct their inner lives.
ndandani marang kĕbatinane.
BRATASENA: As you say.
BRATASENA: Kula nuwun nun inggih.
DEWA RUCI:     So it is.
DEWA RUCI:        Hiya.
If you want to become a sage you may; however:
Yen kita bakal madĕg dadi pandhita kĕna; nanging:
you must first relieve your mother’s longing.
luwih dhisik tambanana kangĕne ibumu.
You must cure your parent’s pain,
Marekna larane wong tuwamu,
because
sabab
she worries about you my boy Bratasena.
anggone mikir marang kita kulup Bratasena.
Later when you have established yourself as a sage, I suggest you use another name.
Mbesuk lamun kita jumĕnĕng dadi pĕndhita, ulun titip jĕnĕng.
When you are a sage you must call yourself the Holy Bima Suci.
Lamun kowe dadi pandhita pĕparaba Bĕgawan Bima Suci.
BRATASENA: As you command.
BRATASENA: Kawula nun inggih.
DEWA RUCI: But later, my dear.
DEWA RUCI: Nanging mbesuk, ngger.
BRATASENA: As you desire.
BRATASENA: Nun inggih.
DEWA RUCI: Therefore it is best to go back to Amarta. [...]
DEWA RUCI: Mula prayogane kowe balia marang praja Ngamarta. [...]
BRATASENA [with a sĕmbah]: I request your blessings Divine Lord.
BRATASENA: Pangestu Paduka ingkang kula suwun Pĕkulun.
DEWA RUCI:     Yes yes my boy.
DEWA RUCI:        Ya ya kulup.
Triumph triumph victory.
Jaya jaya wijayanti.
So that you may travel fast; here my boy,
Karĕben gancang lakumu; kene ngger,
[extends his arm:] mount the palm of my hand, I will lift you up so that you quickly reach dry land. [...]
tumumpanga ing epek-epeking asta ulun, ndaksĕngkakake karĕben enggal prap­teng ndharatan. [...]
TENSE MOOD SONG:
ADA-ADA GRĔGĔTSAUT SLENDRO MANYURA JUGAG:
Trembling fiercely the sky seemed to flicker like the quivers of her who enkindled his ardour
Gonjang-ganjing langit kĕlap katon lir kincang-ing sang maweh gandrung
[Bratasena rises and performs a sĕmbah.]
Wherever he looked
Sabarang kadulu
[He approaches Dewa Ruci, turns round , and stands still, blocking Dewa Ruci from view.]
e
e
NARRATION: Prince WĔRKODARA
CARITA: Raden WĔRKODARA
having already mounted the palm of the noble
ingkang sampun tumumpang ing epek-epek­ing asta sang
Dewa Ruci,
Dewa Ruci,
is lifted at once by mysterious means in no more than a flash Wĕrkodara has already reached the shore of the OCEAN.
enggal kainggahakĕn kanthi srana ga’ib amung sakgĕbyaran sampun dumugi gisiking SAMODRA sang Wĕrkodara.
The gamelan plays Sampak slendro manyura. Dewa Ruci propels Bratasena away: the prince flies up vertically and exits backwards to the right. Dewa Ruci flies off in the same direction.
The dhalang takes the right-hand kayon, spins it, and removes it from the screen.
Bratasena, his left arm at a wide angle from his body, strides past from left to right, his feet in the water (i.e. behind the kayon, held horizontally) .
Bratasena comes past once more in the same way.
The dhalang bring the kayon on-screen from the right, spins it round centre-screen, and moves it to the right. He raps the chest and Sampak is concluded.
TENSE SONG:
SĔKAR AGĔNG WISALYARINI SLENDRO MANYURA:
About to light the world
Arsa madhangi jagad
[The dhalang brings the kayon on-screen from the right, making it quiver.]
Intermittently seen on
Duk mungup-mungup aneng
[He takes it off towards the left.]
The mountain tops
Sapucaking wukir
They shone bright red
Mĕrbabak bang sumirat
[He brings the kayon on-screen again from the right and spins it round once in the left gawang.]
Struck by the rays of the sun
Kĕna soroting surya
[He moves the kayon to the middle and makes it quiver .]
Clouds and mountains The sage Druna appears on-stage
Mega lan gunung-gunung Madĕg Pandhita Druna
The gamelan starts playing Sampak slendro manyura. The dhalang plants the ka­yon centre-screen in the bottom trunk, slightly inclined to the left.
Durna goes after Bratasena
The dhalang takes the kayon. As he removes it to the right, Durna enters behind it. He stands still in the right gawang. The dhalang puts the kayon back in place against the ornamental puppets behind Durna.
Pĕrmadi enters left. Durna extends his arm, Pĕrmadi approaches, Durna touches his head. Pĕrmadi makes a sĕmbah at his feet, moves away from him a little, and sits down on the floor, his hands resting decorously in his lap .
The dhalang raps the chest and Sampak is concluded.
TENSE MOOD SONG:
ADA-ADA SLENDRO MANYURA:
O
O
Soon the troops came into sight
Sigra kang bala tumingal
They clashed and all advanced
Acampuh samywa ngĕdali
e
e
DURNA: O—h, my son my beloved child, my son Pĕrmadi has come to pay his respects in Soka Lima. Pĕrmadi—,
DURNA: O—, anakku lanang anakku kang kinasih, hanakku Pĕrmadi kang sowan marang Soka Lima. Pĕrmadi—,
you are well aren’t you my dear?
padha raharja ya ngger.
PĔRMADI [with a sĕmbah]: Your words of welcome are held above the head (Divine)
PĔRMADI: Dhatĕng kapundhi paring prĕmbage Paduka (Ywang Pad)
Reverend; I offer my homage hoping that you will accept.
Pĕnĕmban; kula ngaturakĕn pangabĕkti mugi konjuk.
DURNA:     Ye—s, yes it is acknowledged, my dear.
DURNA:        Ya—, ya wis ndaktampa, ngger.
What’s up, you seem to be in haste and anxious, my dear.
Ana apa, kok sajak gita-gita mĕngku gati, ngger.
PĔRMADI [with a sĕmbah]: Your son Pĕrmadi has come only to ask for some information from his teacher father.
PĔRMADI: Sowanipun ingkĕng putra pun Pĕrmadi namung badhe nyuwun kĕtĕrangan dhatĕng Bapa Guru.
DURNA: What information?
DURNA: Kĕtĕrangan apa?
PĔRMADI: Whether you have told my brother to seek the holy water, and go into the ocean.
PĔRMADI: Mĕnapa Kakang Mas piniji ngupadi toya suci, manjing ing samodra.
DURNA [to himself]: He knows the answer so why ask, now what can I say?
DURNA: Wong wis ngĕrti ndadak takon, ki likku mangsuli njur piye?
[To Pĕrmadi:] It’s true, my dear.
Pancen bĕnĕr, ngger.
I’ve sent your brother on an errand.
Bapak kongkonan karo kĕng raka.
I told him to get the holy water.
Ndakdhawuhi golek banyu suci.
Because:
Marga:
your brother wants to be shown the science of the whence and whither of being.
kakangmu kĕpengin diwĕdharake kawruh sangkan paraning dumadi.
I’ve promised to reveal it, on condition that he present the holy water to me, his spiritual father.
Aku saguh mĕdharake, waton kakangmu bisa ngaturake banyu suci kanggo Bapak.
It’s in the depths of the ocean.
Mapane tĕlĕnging samodra.
PĔRMADI: Then it is clear that my noble father
PĔRMADI: Mĕnawi ngatĕn tĕtela Kangjĕng Rama
[with a sĕmbah:] wishes Brother Bratasena ill.
sampun tega kaliyan Kakang Mas Bratasena.
It is unthinkable that someone who has jumped into the ocean can return alive.
Mbotĕn wontĕn aranipun tiyang njĕgur samodra sagĕd wangsul gĕsang.
[Makes a sĕmbah:] If indeed the Reverend Father wishes my brother ill
Mĕnawi Kangjĕng Rama Pĕnĕmban sampun tega kaliyan Kakang Mas
it shouldn’t just be my brother who is killed; [moving closer:] please let Pĕrmadi
sampun ngantos Kakang Mas ingkang dipun pĕjahi; mangga Pĕrmadi
share his fate.
kula aturi mbelakakĕn.
[Pulls his dagger:] What use is being alive, if I cannot be near my brother Bratasena?
Mĕnapa pedahipun kula gĕsang, mĕnawi mbo­tĕn ngadhĕp Kakang Mas Bratasena.
[Extends the dagger:] Please, Father,
Mangga, Rama,
I implore you to kill Pĕrmadi Father.
kula aturi mĕjahi pun Pĕrmadi Rama.
DURNA:     Oh, my dear chi—ld!
DURNA:        Oh, anakku ngge—r!
The gamelan plays a fast Sampak slendro manyura. Pĕrmadi puts the dagger before Durna, its blade pointing towards himself, and sits down. Durna rises and embraces him. The dhalang raps the chest and Sampak ends.
DURNA [sits next to the dagger]: O—h, Pĕrmadi—, Pĕrmadi. I must have been out of my mind, I was about to murder my beloved pupil in cold blood.
DURNA: O—h, Pĕrmadi—, Pĕrmadi. Apa pun bapa edan kĕtalibuta, kok nganti pun bapa mĕntala arĕp mateni marang siswaku kinasih.
Pĕrmadi—, Pĕrmadi, don’t play with that dag­ger dear bo—y, it’s sharp and magic­­ally charged, my bo—y, don’t trifle with it. [Takes the dagger.]
Pĕrmadi—, Pĕrmadi, kowe aja dolanan kĕris ya ngge—r, iki gaman landhĕp dhasare ampuh ya ngge—r, aja sĕmbrana.
Had I lost sight of my principles that I wanted to kill my very own son in cold blood; HERE, take it back my dear. [Hands the dagger to Pĕrmadi.]
Apa aku wis mingĕr keblatku aku arĕp mĕntala mateni marang anakku dhewe; NYOH, cĕkĕlĕn bali ngger.
Enough, now cover it my dear. Put it in its sheath.
Wis kono sarungna ngger. Rangkakna ngger.
Put it back in again my dear and don’t
Lĕbokna mĕneh ngger aja nganti kok- [hilarity]
expose it like that, will you dear Pĕrmadi?
oglengake kaya ngono, ya ngger Pĕrmadi.
Oh, what did you think you were doing do you take this for just any dagger it’s clearly Sir Pulanggĕni, a powerful object,
O, rumangsamu iki dikira apa kĕris kĕris lumrahe iki gĕnah Kyai Pulanggĕni iki barang ampuh,
if you... [touches the blade:], er it seems–; the—re, what did I tell you?
yen nganti kowe..., ĕh kaya–; lha—, rak apa ta?
The lightest touch and it burns your skin.
Nyenggol sithik we kĕmramyas nyang tangan. [some hilarity]
There, put it back in its sheath Pĕrmadi you mustn’t be so suspicious of your father, dear bo—y. [Pĕrmadi puts the dagger away .]
Wis kono, rangkakna Pĕrmadi aja kowe mbanjur bangĕt olehmu maido marang Bapak, ya ngge—r.
I do not wish your big brother Bratasena ill, I’d never be so heartless as to lead your brother Wĕrkudara astray.
Aku ora tega marang kakangmu Bratasena, ora bakal mĕntala aku iki ngloropke ma­rang kakangmu Wĕrkudara.
If you really have doubts about my love for the Pandhawas,
Yen pancen kowe kurang pĕrcaya marang ka­tresnaku tumraping Pandhawa,
put me to the test, Pĕrmadi!
mara enggal buktekna, Pĕrmadi!
I am going after Wĕrkodara; if at first light he hasn’t come to the surface, I WILL SHARE HIS FATE AND PLUNGE INTO THE OCEAN Pĕrmadi.
Aku arĕp nusul Wĕrkodara; yen nganti plĕthek surya dheweke durung njĕdhul, HAKU BAKAL MBELA NYĔMPLUNG NYANG SAMODRA Pĕrmadi.
The gamelan plays a fast Sampak slendro manyura. Durna jumps to his feet and rushes off left. Pĕrmadi rises, turns, and runs after him.
Durna rushes on from the right, quickly looks back over his shoulder, and speeds away to the left.
King Krĕsna flies past through the air from right to left.
Pĕrmadi runs on from the right, Krĕsna intercepts him, touching his shoulder from behind. Pĕrmadi halts and turns to Krĕsna, who descends from the air. Pĕrmadi sits down on the ground, Krĕsna stands opposite him.
Petruk enters right and sits down on the ground behind Krĕsna.
The dhalang strikes the kĕpyak; Sampak is concluded.
KRĔSNA: What happened, Pĕrmadi?
KRĔSNA: Piye, Pĕrmadi?
PĔRMADI : The Reverend Father’s resolve is great.
PĔRMADI: Rama Pĕnĕmban agĕng tekad-ipun.
KRĔSNA:     What did he decide?
KRĔSNA:        Tekade piye?
PĔRMADI: Within and without the Reverend Father did not wish my brother ill.
PĔRMADI: Lair batos Bapa Pĕnĕmban mbo-tĕn tega kaliyan Kakang Mas.
In fact when I implored him the Reverend Father left the hermitage,
Nyatanipun sarĕng kula tangisi Bapa Pĕ­nĕmban jĕngkar saking pĕrtapan,
he quickly went after Brother Wĕrkudara.
badhe nungka Kakang Mas Wĕrkudara.
He promised that if he has not come to the surface at first light
Patĕmbayanipun plĕthek surya mbotĕn jumĕdhul
Father Durna will plunge into the ocean, after Brother Bratasena.
Bapa Durna badhe hambyur samodra, sumusul Kakang Mas Bratasena.       
KRĔSNA:     A—h, your teacher’s good side is beginning to show.
KRĔSNA:        Wa—h, katon bĕcike, gurumu iki.
PETRUK: Wo—w, Durna’s really reckless.
PETRUK: We—h, nekad tĕnan Durna iki.
He’s gonna plunge into the sea.
Arĕp njĕgur sĕgara.
Uh, what does he have to look forward to in life anyway,
Ĕh, urip ya arĕp ngĕnteni apa,
he might as well since he’s far away from home.
mumpung adoh nggone. [reaction]
Back there, he’d just be in a tangle all the time.
Bali, ya kisruh tĕrus. [hilarity]
KRĔSNA: Pĕrmadi!
KRĔSNA: Pĕrmadi!
PĔRMADI: I am at your command.
PĔRMADI: Kula wontĕn dhawuh.
KRĔSNA: Let’s check up on him, Brother.
KRĔSNA: Ayo dibuktekke, Dhimas.
PĔRMADI: I will come with you Royal Brother.
PĔRMADI: Mangga kula dherekakĕn Kaka Prabu.
The gamelan plays Sampak slendro manyura. Pĕrmadi makes a sĕmbah. Krĕsna rushes past him and exits left. Pĕrmadi turns and runs after him. Petruk follows.
The dhalang takes both kayons and moves them in a circle at the far left to depict the ocean’s surf. He plants them both in the bottom trunk, slanting to the left.
Durna runs on from the right; he halts and looks at the ocean. He turns and looks up into the air behind him, then turns left and does the same. He stands still, facing right. The dhalang raps the chest and Sampak is concluded.
DURNA [turning left ]: O—h my son Wĕrkodara—, Wĕrkodara, quickly come to the surface my dea—r, come out quickly.
DURNA: O— anakku Wĕrkodara—, Wĕr­kodara, kowe ndang njĕdhula ya ngge—r, kowe ndang mĕtua.
If you don’t come out I’ll have to plunge into the sea and look for you Bratasena—, Bratasena, have pity on your daddy, my dea—r.
Yen kowe ora mĕtu ora wurung aku njĕbur sĕgara nggoleki kowe Bratasena—, Bratasena, wĕlasa karo Bapak, ya ngge—r.
Your little brother Pĕrmadi distrusts me, he thinks I wanted to lead you astray Wĕrkodara—, Wĕrkodara.
Haku dipaido karo adhimu Pĕrmadi, dikira aku ngloropke karo kowe Wĕrkodara—, Wĕrkodara.
[Glances right:] The sun rea—lly takes a long time here.
Hiki— lha kok suwe mĕn srĕngengene. [reaction]
Bo—y, oh boy the night is really long.
Lole—, lole wĕngine kok dawa ĕmĕn. [hilarity]
It’s light for a little while only.
Awane mung sĕdhela.
Bo—y, oh boy!
Lole—, lole!
My son my dear Wĕrkodara—, Wĕrkodara come out quickly won’t you. Hey!
Hanakku ngger Wĕrkodara—, Wĕrkodara kowe ndang njĕdhula ya ngger. Lho!
[Turns right:] Hey!
Lho!
It’s starting to turn red now.
Lha kok wis sĕmburat abang.
O—h, in a while it’ll be coming out, the sun’s about to rise; [turns left:] oh, Wĕr­kodara—, Wĕrkodara.
Wo—, ra suwe iki arĕp mĕtu, arĕp njĕdhul srĕngengene; oh, Wĕrkodara—, Wĕrkodara.
I made a vow that if you didn’t return to land, I’d take the PLUNGE AND GO LOOKING FOR YOU, Wĕrkodara—. [He jumps into the ocean.]
Wis dadi sumpahku yen nganti kowe ora bali nyang ndharatan, haku NJĔGUR NGGO­LEKI NUSUL KOWE, Wĕrkodara—.
The gamelan plays a fast Sampak slendro manyura.
Krĕsna runs on from the right and halts in the centre. Pĕrmadi enters behind him, walks past him, and turns. He sits down very close to Krĕsna. Petruk rushes on, stands on his toes to look over the others’ shoulders towards the ocean, then hurries past them and halts on the shore, looking at the surf.
The dhalang raps the chest and Sampak is concluded.
PETRUK [turns ]: Oh dear!
PETRUK: Wadhuh!
Majesty!
Sinuwun!
KRĔSNA: What?
KRĔSNA: Apa?
PETRUK: Durna’s actually gone into the sea!
PETRUK: Saestu mlĕbĕt laut, Durna!
KRĔSNA: He is clinging to his promise.
KRĔSNA: Dheweke nĕtĕpi marang patĕmbayan.
PETRUK [turns left]: Uh, u—h, dear me.
PETRUK: Ĕh, ĕ—, tobat.
Durna’s putting his life on the line I ask you.
Durna kok ya toh mĕn nyawane horok.
He’s throwing it AWAY, he’s really resigned to get away from it all.
DiCONGke, wis pancen wis eklas ninggal ngomah.
Uh.
Ĕh. [hilarity]
We—ll, well.
I—s, wis.
That explains why he took so many extra clothes with him.
Mula kok nggawa salin pirang-pirang ki. [hilarity]
It’s clear he won’t be back; he’s rea—lly taken the plunge, I ask you. [Turns.]
Wis gĕnah nek ora arĕp bali; lha kok njĕgur tĕna—n, hara.
PĔRMADI: What to do, Royal Brother,
PĔRMADI: Kados pundi, Kaka Prabu,
Father has actually gone into the ocean.
Rama saestu mlĕbĕt samodra.
KRĔSNA: That was Durna’s resolve,
KRĔSNA: Wis dadi antĕping Durna,
he’s a leader whose lead is fit to be followed.
yaiku guru kang kĕna digugu lan ditiru.
PETRUK: Uh, u—h, dear me.
PETRUK: Ĕh, ĕ—, tobat.
What a delight to have a teacher like that.
Guru ki anggere ngono kuwi nyĕnĕngke tĕnan.
He sets his pupils a good example;
Kĕna nggo tĕpa tuladha karo murid;
his lead is fit to be followed.
digugu; ditiru.
He doesn’t lead you up the garden path.
Ora kok guru anggĕre Minggu turu.
KRĔSNA: Right, Petruk.
KRĔSNA: Iya, Petruk.
PĔRMADI [turns]: It is my fault, Petruk, because I pressed the Reverend.
PĔRMADI: Aku sing dosa, Petruk, marga aku nyĕngkakake Rama Pĕnĕmban.
PETRUK:     A—h,
PETRUK:        A—h,
no one’s at fault, he wanted it himself!
dosa napa, niku karĕpe dhewe kok!
It wasn’t what Master wanted it was what he wanted himself!
Niku sanes karĕpe ndara ning karĕpe dhewe!
Actually there was no lack of friends that warned him lots of them did.
Jane mbotĕn kurang-kurang kanca sing ngelikke niku nggih pun okeh. [hilarity]
They tried to stop him, they warned him! There you are; but his mind was MADE UP, it’s his own fault, just let it be. [Turns to the ocean.]
Mpun mĕnggak, pun ngelingke! Lho; ning wong pun NEKAD, pun karĕpe dhewe, pun kajĕnge.
He didn’t even leave a note, o—r...
Kok ya ra ninggal layang, apa—...
Uh, my—, oh my.
Ĕh, ba—t, tobat.
While he still hasn’t paid for my frames, I ask you.
Mangka rancakaku rung dibayar, hara. [hilarity]
[Turns:] And now he’s taken the plu—nge.
Lha wong wis nyĕmplu—ng, hara.
Huh, my—, oh my.
Ĕh, ba—t, tobat.
KRĔSNA: Petruk!
KRĔSNA: Petruk!
PETRUK:     Sir!
PETRUK:        Nun!
KRĔSNA: Walk up and down the beach.
KRĔSNA: Mlaku-mlakua turut nggisik sĕgara.
PETRUK: And then?
PETRUK: Tĕrus?
KRĔSNA: If you see Durna’s corpse come up to the surface, grab it, and bring it back so it can be properly taken care of.
KRĔSNA: Yen katon jumĕdhul bangkene Durna, sautĕn, trus digawa dirukti sing sak­mĕsthine.
PETRUK [turns left]: Oh dear.
PETRUK: Dhuh.
It’s this long, and he tells me to walk along it what does he thi—nk?
Ha gek ambane sĕmono, kok kon mlaku-mlaku ki ok ya—.
This is a watery place, you know.
Kene nggon banyu, e.
PĔRMADI [moves backwards]: Yeah yeah Petruk now get on with it.
PĔRMADI: Ya ya Petruk kana.
PETRUK: Huh,
PETRUK: Ĕh,
too ba—d, he didn’t
wi—s, kok ya tanpa (i)
give it a second thought, old Durna.
dipetung dhuà kali lho, Durna ki.
He’s really put his life on the li—ne.
Kok eklas mĕn nyawane— horok.
[Turns to Krĕsna:] But it seems back at home he was already desperate mind you.
Ha ning niku kira-kira tĕng ngomah nggih pun judhĕg pikire kok niku.
Go one way and he’d get stuck, go the other way and he’d get just as stuck.
Ngetan gadhog, ngulon kok mĕsa gadhog. [hilarity]
He had nothing to look forward to so he chose to put his life on the line.
Ora enek sing diarĕp-arĕp luwung ngeklaske nyawane.
[Turns:] And that while I’d told him already, in case you’re having a hard time at home,
Mangka wis takkandhani ta, nek kira-kira ki neng ngomah rĕkasa ki,
better stay with Mr Hardi, at the Indonesian embassy; that’ll be much nicer.
luwung ndhereka Pak Hardi, nyang KBRI; malah penak. [hilarity]
KRĔSNA: That’s what you think.
KRĔSNA: Rumangsamu.
[Pushes him:] Enough now go quickly.
Wis kana ndang mangkata.
PETRUK [walks to the ocean]: Right! [Turns to the right.]
PETRUK: Nyih!
KRĔSNA: Take a friend who knows the lingo,
KRĔSNA: Ngĕjak kanca, sing isa omong,
if you go out alone before you know it you’re...
kowe ngko mlaku dhewe ngko malah... [hilarity]
Doesn’t know the lingo and he wants to go out alone.
Ora isa omong, arĕp mlaku dhewe.
PETRUK [walks to the left]: Or so it seems. [Steps into a hole.]
PETRUK: Sajake yok. [laughter]
[Turns:] Makes you land in a muddle.
Marakke gĕblĕgong.
KRĔSNA: Take care.
KRĔSNA: Sing ngati-ati.
PETRUK [nods]:     WILL DO!
PETRUK:        NUN INYIH!
The gamelan plays Sampak slendro manyura. Petruk turns and runs off left. Krĕsna and Pĕrmadi back off to the right together.
The dhalang takes the top kayon from the left and removes it from the screen.
He holds it horizontally in the centre of the screen to represent the surface of the sea . Now and again Durna’s head pops up from it .
The dhalang strikes the kĕpyak and Sampak is concluded.
DURNA: O—h, Wĕrkudara! [Goes under.]
DURNA: O—, Wĕrkudorok! [laughter]
[Surfaces:] Where are you Wĕrkudara! [Goes under and resurfaces.]
Ana ngĕndi Wĕrkudara!
[Muffled:] I’m looking for you Wĕrkudara! Ugh. [Goes under.]
[Muffled:] Haku nggoleki kowe Wĕrkudara! Huĕk. [laughter]
[Surfaces; spits:] Oh, pf!
O, pf! [laughter]
Pf!
Pf!
[Goes under:] U—agh!
U—ah!
The gamelan plays a fast Sampak slendro manyura. The dhalang takes the kayon away.
Bratasena walks past from left to right, his feet in the water (i.e. behind the kayon).
Durna, on his back in the water, drifts past from right to left.
The dhalang plants the kayon at the right, inclined to the right. He repositions the other kayon so that it inclines to the left. Together the kayons depict the ocean.
Durna floats on from the right, Bratasena enters left. Bratasena takes hold of Durna, lifts him up, and squats down. He holds Durna, who faces away from him, out of the water. The dhalang strikes the kĕpyak to signal the end of Sampak.
BRATASENA: He—y, I thought it was a fish.
BRATASENA: Wa—h, ndakkira iwak nglangi.
It turns out to be a human corpse.
Jĕbul iku ana bangke mĕnungsa.
Odd he didn’t make it, ’cause it’s only ankle-deep.
Ingatase jĕrone mung sakkĕmiri we, kok ora bisa. [laughter]
A—h, this is the corpse. [Turns Durna towards him.]
Wa—h, hiki bangkene.
Hey!
Lho!
It’s Durna my father;
Durna bapakku;
a—h, what to do!?
wa—h, piye iki!
The gamelan plays a fast Sampak slendro manyura. Holding Durna, Bratasena leaps off right.
The dhalang puts the right-hand kayon in a vertical position again. He keeps the other kayon where it was, at the far left slanting left. It depicts the ocean water.
Bratasena, holding Durna before him, leaps onto the shore from within the ocean. The dhalang strikes the kĕpyak to signal an end to Sampak. Bratasena holds Durna facing towards him.
BRATASENA: A—h, who on earth made Durna my father plunge into the sea!
BRATASENA: Wa—h, Durna bapakku kok njĕgur sĕgara ki sing akon sapa.
His belly’s all puffed up!
Nganti mlĕmbung wĕtĕnge kaya ngene!
Durna my father we mustn’t prolong the agony.
Durna bapakku aja kĕsuwen sing katri­wandhan.
I shall send you force,
Kowe ndakkirim bayu,
if you’re still meant to live, quickly recover, Durna my father.
yen ijik dipĕsthekke urip, kowe enggal waluyaa, Durna bapakku.
The gamelan plays a fast Sampak slendro manyura. Bratasena puts Durna down. The prince crosses his arms and concentrates . The dhalang takes the right-hand kayon and has it emerge from Bratasena and sink into Durna . He does the same once more, then puts the kayon back.
Durna regains consciousness and spins round to the right:
DURNA: Uegh!
DURNA: Wueh!
Durna looks into the distance, then turns round. He starts when he sees that Bratasena is standing there:
A—h!
Wa—!
Durna performs a little dance of joy, hopping about and swinging his arm, then throws himself into Bratasena’s arms. He steps back and goes on capering. Again he throws himself into Bratasena’s arms. The prince lifts Durna up and raises him above his head as a powerful demonstration of respect, then puts him back on his feet. Meanwhile the dha­lang strikes the kĕpyak to signal a conclusion to Sampak.
DURNA: MY SO—N, my son! [Embraces Bratasena.]
DURNA: HANAKKU LANA—NG, hanakku lanang!
OH, bo—y, oh boy!
WO, lole—, lole!
A—H, Wĕrkodara—, Wĕrkodara.
WA—H, Wĕrkodara—, Wĕrkodara.
If Daddy hadn’t been around WHAT would’ve become of you Wĕrkodara?
Aja ana wong tuwa dadi APA kowe Wĕrkodara.
WELL, what luck I followed you and plunged into the sea and went looking for you, my dear.
WE—H, rahayune aku njur nututi njĕgur sĕgara trus aku nggoleki kowe, ngger.
I went groping for you, my dear.
Kowe mau takgogohi, ngger. [laughter]
I went diving along all the holes.
Haku nlusup turut ngĕrong-ĕrong. [laughter]
Small holes and big holes.
Rong sing cilik, rong sing gĕdhe. [hilarity]
Narrow holes and gaping holes.
Rong sing ciyut, rong sing amba. [hilarity]
I groped inside them looking for you,
Takguoguohi aku nggoleki kowe,
[embraces him:] and I found you, Wĕrku­dara—. What luck I managed to rescue you; otherwise you’d be DEAD Wĕrkudara.
lha kok kĕtĕmu kowe, Wĕrkudara—. Tujune kowe kĕna takĕntas; upama ora MATI kowe Wĕrkudara.
BRATASENA: Right.
BRATASENA: Hiyoh.
Durna my father,
Durna bapakku,
with your blessing I am alive.
antuk pangestumu aku urip.
DURNA [jumps up, agitated]: O—h, yes yes, that’s because I revived you, dear.
DURNA:        O—, ya ya, kuwi sing nguripi aku, ya ngger.
You’d better be aware of that!
Kowe kudu ngĕrti!
If I hadn’t
Kowe ki upama ora tak-
helped you onto the shore,
lanting munggah ndharatan,
you would have died just now.
mati kowe mau.
I took hold of you,
Kowe takcĕkĕl,
pulled you out of the water,
takĕntaske,
what luck you weren’t dead yet.
tujune kok hurung nganti mati.
BRATASENA: Right.
BRATASENA: Hiya.
DURNA: O—h, Wĕrkodara I went looking for you my dear.
DURNA: O—, Wĕrkodara aku nggoleki kowe ya ngger.
Your little brother Pĕrmadi distrusted me.
Haku dipaido karo adhimu si Pĕrmadi.
He thought I was leading my pupil astray; isn’t he crazy, this Pĕrmadi?
Dikira aku iki ngloropke marang murid; rak ya edan ta, Pĕrmadi kuwi?
How could I, a teacher, lead a pupil astray,
Lha wong aku guru kok ngloropke murid ki,
no way, my dear.
gak ana carane, ngger.
BRATASENA: Right.
BRATASENA: Hiya.
DURNA: So I told him to witness your father’s resolve and I plunged into the ocean,
DURNA: Mula takkon mbuktekke tekading pun bapa aku njur (n) njĕgur samodra,
to look for you just now and then I
nggoleki kowe mau njur tak-
found you near
tĕmokke ana
the seashore, I rescued you just now.
nggisiking sĕgara, takĕntaske iki mau.
BRATASENA: Wasn’t it the other way round?
BRATASENA: Apa ora kĕwalik.
DURNA: How do you mean?
DURNA: Kĕwalik piye?
BRATASENA: You were dead, I brought you back to life,
BRATASENA: Sing mati mau kowe, sing nguripi aku,
by sending you force.
nganggo ndakkirim bayu.
DURNA [in a little voice]: Huh?
DURNA [in a little voice]: Hĕh?
I was dead?
Aku mati?
BRATASENA: Yes.
BRATASENA: Hiya.
Can’t swim, but plunged into the sea all the same.
Wong ora isa enggak, kok njĕgur sĕgara.
DURNA:     OH!
DURNA:        OH!
[Embracing:] O—h bo——y, oh boy!
Lo—le——, lole!
Oh yes yes my dear yes, Wĕrkodara. Now I remember, actually I had let go of my consciousness just now.
O ya ya ngger ya, Wĕrkodara. Pancen tak­rumangsani, sĕtĕmĕne aku mau wis ora eling apa-apa.
I was completely loosened up.
Haku wis ĕlos sakkabehe.
I had cleared my thoughts.
Pikirku takbĕningke.
I had emptied my thoughts, I didn’t think of anything any more; all I saw was the sea.
Pikirku taksuwungke, s ora nggagas apa-apa; sing ketok mung sĕgara.
All I saw was the expanse of glistening water.
Sing katon mung kimplah-kimplahing banyu.
BRATASENA: Yeah.
BRATASENA: Hiya.
So Pĕrmadi distrusted Durna my father?
Pĕrmadi maido Durna bapakku.
DURNA:     Yes!
DURNA:        Hiya!
That’s why you’ve got to
Mula mĕngko
tell him off, my dear.
srĕngĕnana, ngger.
Flick his ear!
Slĕnthikana!
Don’t ask him along to breakfast.
Aja jak sarapan. [hilarity]
BRATASENA: Yeah.
BRATASENA: Hiya.
DURNA: PUNISH HIM!
DURNA: UKUMĔN!
BRATASENA: Yeah.
BRATASENA: Hiya.
KRĔSNA [off]: We—ll, here they are, Brother!
KRĔSNA: Whe—, lha iki, Yayi!
The gamelan plays a fast Sampak slendro manyura. King Krĕsna flies on from the right. Durna steps towards Bratasena and turns as Krĕsna descends from the air. Durna stands at ease in front of Bratasena.
Pĕrmadi comes on from the right, performs a quick sĕmbah at Bratasena’s feet, steps back, and sits down on the ground before Krĕsna, his hands in his lap . The dhalang strikes a cue on the kĕpyak and Sampak comes to an end.
KRĔSNA: Brother Wĕrkodara has reappeared.
KRĔSNA: Yayi Wĕrkodara wis timbul.
BRATASENA: Yes Krĕsna my brother, with your blessings.
BRATASENA: Krĕsna kakangku hiya, antuk pamujimu.
KRĔSNA:     We—ll!
KRĔSNA:        Wa—h!
My little brother
Si adhi
looks really neat, with his new hairdo.
breset tĕmĕn, kok ngagĕm gĕlung.
BRATASENA: Yeah.
BRATASENA: Hiya.
PĔRMADI: My big brother has reappeared.
PĔRMADI: Kakang Mas sampun timbul.
BRATASENA: Yeah, I have appeared.
BRATASENA: Yoh, aku wis timbul.
DURNA: That’s him, my dear,
DURNA: Kuwi, ngger,
Flick his ear!
slĕnthikĕn kuwi!
Naughty boy, always doubting your elders; here, now look me in the eye! [Bends down to Permadi.]
Bocah karo wong tuwa sĕnĕngane maido; coba, saiki sawangĕn!
Would [flicks his ear:]
Aku
     I—
        apa—
wish your brother ill; how could I?
tega karo kakangmu; rak ora ta?
What did you think!    
Anggĕpmu apa!       
     Naughty—
        Bocah ora—
KRĔSNA: Enough, Reveren...
KRĔSNA: Sampun, Pĕnĕmba...
DURNA:     How do you mean enough?
DURNA:        Sampun, sampun apa?
How could he, doubting his elders!
Wong tuwa e dipaido!
How could you think... [Flicks P.’s ear:]
Rumangsamu apa dikira...
     Hey!
        E!
[Has twisted his wrist:] Hey! hey! hey! Ouch! ouch! ouch!
E! e! e! Adhuh! adhuh! adhuh!
Ouch! My hand!
Adhuh! Tanganku! [hilarity]
My hand! [Bratasena pulls Durna’s arm straight.]
Tanganku! [hilarity]
[Turning to Bratasena:] Oh,
Oh,
my ha-...
ta-...
I had a cramp in my hand!
tanganku kram!
BRATASENA: That’s why you should be careful. [Durna turns to Pĕrmadi.]
BRATASENA: Mula sing ngati-ati.
DURNA: You don’t... [Sprains his wrist again .]
DURNA: Ora...
Ouch ouch ow!
Adhuh adhuh dhuh! [hilarity]
What’s happening!?
Iki piye ki!?
Ouch ouch what’s this!?
Adhuh adhuh piye ki!?
BRATASENA: He—y. [Pulls Durna’s arm straight; Durna turns to him.]
BRATASENA: Wa—h.
DURNA: Ouch!
DURNA: Wadhuh!
[Keeps fidgeting about:] Ow ouch ow! Ouch!
A adhuh dhuh! Adhuh! [hilarity]
Ouch!
Adhuh!
Ouch!
Adhuh! [hilarity]
BRATASENA: Which one now?
BRATASENA: Sing ĕndi.
DURNA: Ow ouch! [Rushes off left.]
DURNA: A adhuh!
KRĔSNA: We—ll, obviously Durna can’t take care of himself.
KRĔSNA: We—, pancen Durna ki, ora isa ngopeni ragane.
PETRUK [enters right:] What’s he up to dashing off to the loo~? [Sits down behind Krĕsna.]
PETRUK: Lho kok nyang twalet ki ngapa kae~? [laughter]
DURNA [backs on from the left]: It’s passed, the cramp’s gone. [Sits down facing Krĕsna.]
DURNA: Wis, rampung likku kram. [laughter]
It’s gone.
Wis mari.
KRĔSNA: Wĕrkodara.
KRĔSNA: Wĕrkodara.
BRATASENA: What?
BRATASENA: Hapa.
KRĔSNA: How did your search for the holy water go?
KRĔSNA: Priye si adhi nggone golek banyu suci.
BRATASENA: I have
BRATASENA: Aku wis
been successful.
antuk gawe.
I have even
Malah
received the teachings of the divine Dewa Ruci.
aku wis antuk wĕjanganing Ywang Dewa Ruci.
KRĔSNA: In that case, your
KRĔSNA: Yen mangkono Yayi, pun
brother would like to hear them.
kakang kĕpengin midhangĕtake.
BRATASENA: Wait until I have become a sage.
BRATASENA: Ngĕntenana yen aku wis dadi pĕn­dhita.
I will reveal all the knowledge I have received.
Aku bakal mbabarake sĕkabehing kawruh kang wis taktampa.
KRĔSNA: In that case, let us not prolong the yearnings of your brothers and of Aunt Kunthi.
KRĔSNA: Yen mĕngkono Yayi, mundhak ka­sĕlak dadi pĕngarĕp-arĕping para kadang lan Bibi Kunthi.
You’d better come along with me Brother, to return quickly to Amarta.
Prayoga si adhi ayo takkanthi, enggal kondur marang praja Ngamarta.
BRATASENA: Yeah; as you wish.
BRATASENA: Hiyoh; amung manut.
DURNA: And I— [Turns to Bratasena and squats down.]
DURNA: Aku—
who should I go with, my dear?
melu sapa iki, ngger?
Whose gang do I belong to, now?
Aku anggotane sapa, iki? [laughter]
BRATASENA: You come with me.
BRATASENA: Kowe melu aku.
DURNA: Yes yes; come with you?
DURNA: Ya ya; melu kowe?
BRATASENA: Right.
BRATASENA: Hiya.
DURNA:     O—h, yes yes Wĕrkudara, I’m your responsibility aren’t I dear, I’m in your hands.
DURNA:        O—, ya ya Wĕrkudara, aku tanggung jawabmu ya ngger, mangsa bodhoa.
[Turns:] I can come with you, can’t I dear?
Haku melok kowe, ya ngger.
BRATASENA: Yes.
BRATASENA: Hiya.
Pĕrmadi.
Pĕrmadi.
PĔRMADI: I am at your command.
PĔRMADI: Kula wontĕn dhawuh.
BRATASENA: Let’s accompany our teacher father to Amarta.
BRATASENA: Bapa Guru ayo didherekke nyang Ngamarta.
PĔRMADI:     Allow me to accompany you Brother.
PĔRMADI:        Suwawi kula dherekakĕn Kakang.
The gamelan plays a fast Sampak slendro manyura. Pĕrmadi performs a quick sĕmbah to Durna and Bratasena. Pĕrmadi and Durna rise together, Pĕrmadi turns, and both walk off to the right, Durna with his typical rhythmical waddle.
Petruk performs a sĕmbah and backs off right in a flash, turning as he exits.
Krĕsna and Bratasena get up simultaneously, Bratasena walks past Krĕsna to the right, Krĕsna turns and follows him.
The dhalang puts the left-hand kayon erect in the bottom trunk in the same place.
Krĕsna and Bratasena enter side by side from the left. Bratasena halts; Krĕsna, hovering above the ground, turns and faces Bratasena . The dhalang strikes a signal on the kĕpyak and Sampak is concluded.
KRĔSNA: Wĕrkodara!
KRĔSNA: Wĕrkodara!
BRATASENA: What?
BRATASENA: Apa.
KRĔSNA: My royal brother Duryudana is coming into view, [The gĕnder switches to pelog barang.]
KRĔSNA: Kledhang-kledhang katon Yayi Prabu Duryudana,
with all the Kurawas; it seems they are headed for Amarta.
jangkĕp para Kurawa; wangune bakal tĕka nĕgara Ngamarta.
Don’t let them threaten our freedom, turn them back, Brother.
Aja nganti ngganggu kamardikan, balekna dhi­sik, Yayi.
BRATASENA:     As you wish.
BRATASENA:        Ngestokake dhawuh.
Bratasena dashes off backwards to the left as the gamelan starts playing a very fast Sampak in pelog barang. Krĕsna backs off right.
King Duryudana whizzes past from left to right.
Duryudana (coming from the left) and Bratasena (from the right) meet. The dha­lang strikes the kĕpyak to signal a conclusion to Sampak.
DURYUDANA: Wĕrkudara!
DURYUDANA: Wĕrkudara!
BRATASENA: What!
BRATASENA: Apa!
DURYUDANA:     I want Durna my father.
DURYUDANA:        Haku njaluk Durna bapakku.
BRATASENA: Durna my father is staying in Amarta now; don’t bother him.
BRATASENA: Durna bapakku lagi cumondhok ana Ngamarta aja ngregoni.
When he feels he’s spent enough time with me I’ll bring him back.
Yen wis mari kangĕne karo aku mĕngko takbalekake.
DURYUDANA:     Return him, or else: the Bratayuda, on the nail.    
DURYUDANA:        Entuk takjaluk, saiki ora entuk: kĕnceng Bratayuda.       
BRATASENA:     The—re!
BRATASENA:        Lha—!
Bratasena kicks Duryudana off to the left as the gamelan starts playing a very fast Sampak in pelog barang. Bratasena rushes after Duryudana.
Duryudana falls on backwards from the right. He rises and retreats left.
Duryudana and Bratasena enter simultaneously and Duryudana deals Bratasena a blow in the chest. He grabs hold of Bratasena and pulls him off to the left. (Off-screen, Bratasena turns.) Bratasena enters from the left, facing right. Duryudana strikes him in the back . Bratasena falls forward, but rises immediately and spins round (fig. 3.65), kicking Duryudana down (fig. 3.66). Again he kicks Duryudana, who flies off to the left. Bratasena gives chase.
Duryudana falls on from the right facing left, rises, turns, and backs off left.
Duryudana and Bratasena meet and stand face to face. Duryudana strikes Bratasena in the belly twice, but the latter is unaffected. The Kurawa king strikes out again, but Bratasena sidesteps him, kicks him away to the left, and runs after him.
Duryudana falls forward onto the screen, Bratasena on his heels. Bratasena kicks him off to the left.
Duryudana falls on-screen from the right, landing on his back. Bratasena comes on after him, grabs him around his waist, slams him against the left-hand kayon, swings him backwards and forwards, and hurls him away towards the left. His arm raised, Bratasena sets off in pursuit.
Duryudana falls on-screen from the right, collapsing face down in the left gawang. He rises and turns, looks, and turns left again. He waves at someone in the distance as the dhalang strikes a cue on the kĕpyak and Sampak is concluded.
DURYUDANA [waving ]: Hey, Kura­was, can one of you fell Wĕrkudara?
DURYUDANA: He, Kurawa, sapa bisa ngrubuhake Wĕrkudara.
I’ll raise your pay; put the Coconut Palm bat­talion in the vanguard.
Ndakundhaki blanjamu; barisan Witing Klapa dokokna ngarĕp.
As Duryudana leaps off to the left, the gamelan starts playing Sampak Witing Klapa in the scale pelog barang.
Prince Kartamarma whizzes past from left to right.
Bratasena enters right, Kartamarma comes on left and deals Bratasena a blow in the belly. Bratasena does not stir, not even when Kartamarma strikes him twice more. As Kartamarma charges again, Bratasena steps aside and kicks him in the face. Kartamarma crashes down on his back in the left gawang. He jumps to his feet and leaps at Bratasena, who wards him off by striking his face with his right hand. Kartamarma attacks Bratasena several times in quick succession, but Bratasena wards him off with his elbow, his hand, his elbow, his hand, his elbow, his hand. Finally he grabs Kartamarma by the hair, holds him fast , and deals him a mighty blow in the face. Kartamarma flies away to the left . Bratasena raises his arm and exits in the same direction.
Bratasena enters right, Swatama left. Swatama strikes Bratasena against the thigh twice. Bratasena jumps on top of his head and Swatama falls flat on his back. Using his foot, Bratasena turns Swatama round. He kicks him in the back. Swatama flies face down against the ground and bounces round. Bratasena grabs him around his waist and slams him against the left-hand kayon, pulls him towards him, kicks him while holding him fast, slams him against the ground, and finally lifts him up and hurls him away towards the left. His arm raised, Bratasena strides off in the same direction.
Bratasena comes on from the right and stands still centre-screen. The dhalang strikes the kĕpyak and via a short transitional phrase the gamelan moves into the vigorous piece Jagung-Jagung in the scale pelog barang.
Bratasena dances his dance of triumph (tayungan). The kĕpyak and the drum underscore his deliberate and powerful arm gestures and steps (figs. 3.70, 3.71).
After several rounds of his dance, Bratasena backs off to the right. The gamelan goes into Ayak-Ayakan pelog barang. It is played in a fast tempo.
Lady Kunthi enters from the right and takes a seat in the right gawang. King Puntadewa enters from the same direction and sits down in a chair behind her, his hands in his lap. Durna comes on from the left and takes a seat opposite Kunthi and Puntadewa. King Krĕsna enters left and seats himself behind Durna with his hands in his lap. Bratasena comes on from the left and sits down in a chair behind Krĕsna; he puts both hands on his hip. Prince Pĕrmadi enters left and sits down bent forward on the floor beside Durna, his hands clasped together in his lap. Prince Nakula enters behind Puntadewa and sits down there, his hands in his lap. Prince Sadewa follows and sits down in the same way behind his twin brother, while the dhalang raps the puppet chest and Ayak-Ayakan slows down slightly and comes to a conclusion.
KUNTHI: All my children,
KUNTHI: Anak-anakku kabeh,
your mother is elated now that the Pan­dhawas have been reunited.
pun ibu rumangsa mulya dene Pandhawa wus padha kumpul dadi sawiji.
For the reunion of the five Pandhawas will render the land of Amarta even stronger.
Ya kanthi kumpuling Pandhawa lima iki saya bisa nyĕntosakake hadĕging praja Ngamarta.
Noble Reverend Holy Durna my childrenand I beg your forgiveness,
Sang Panĕmban Bĕgawan Durna aku lan anak-anakku padha nyuwun pangapura,
for our mistaken suspicion, our impression that the Reverend wanted to do harm to my son Bratasena.
karana nganti kleru ing pandakwa, kinira yen sang panĕmban iku mĕntala marang anak­ku si Bratasena.
DURNA: Oh indeed,
DURNA: Wo inggih,
please think nothing of it, Majesty.
mbotĕn mĕnapa-mĕnapa, Kangjĕng Ratu.
KUNTHI: Wĕrkodara—, Wĕrkodara, it is you who ensures the vigour of your brothers and protects all the subjects.
KUNTHI: Wĕrkodara—, Wĕrkodara, sira kang dadi pikukuhing para kadang lan pĕngayomaning kabeh para kawula.
Therefore dear Wĕrkodara—,
Ingkĕng mangkono ngger Wĕrkodara—,
your mother will express her gratitude to the Lord, seeing that you have returned unharmed.
pun ibu bakal ngunjukake suka sukur marang Gusti, hawit sira wus bali kanthi rahayu.
And your intentions have been realized.
Lan kasĕmbadan kang dadi sĕdyamu.
Therefore,
Ingkang mangkono,
your mother requests
pamundhuting pun ibu,
that Soka Lima and Amarta remain unified within and without.
ing antarane Soka Lima lawan Ngamarta tĕtĕpa manunggal ing lair batine.
Now these my dear,
Ya iki ngger,
are the fruits of faith and fortitude in fact my son Wĕrkodara
wohe kang tĕtĕkĕn kanthi tĕkun nyatane tĕkan gĕgayuhane
has attained his aims.
anakku si Wĕrkodara.
Even if well-being comes at a cost.
Nanging kabeh mau jĕr basuki mawa beya.
Now that you have succeeded my dear, your mother wishes to remind you my boy,
Sakwise entuk gawe ya ngger, pĕpelinge pun ibu marang sira kulup,
that you mustn’t feel you are able,
aja kowe rumangsa bisa,
but you have to be able to feel.
ning kudu bisa rumangsa.
For were you to feel you are able, you would want to lay hold of the world.
Awit yen nganti rumangsa bisa, kuwi jagad mĕsthi tokgĕgĕm.
Whereas if you are able to feel,
Nanging yen kowe bisa rumangsa,
surely you will always strive for the unity of the nation.
yĕkti tansah mbudidaya manunggaling bangsa.
For harmony among nations.
Rukun ing antarane bangsa siji lan sijine.
For benevolence between countries.
Mad-sinamadan nĕgara siji lan sijine.
The Lord Who Has Made the World has created humankind not to destroy the world,
Gusti Kang Akarya Jagad nitahake manungsa kuwi ora kinen ngrusak jagad,
but to fill it,
nanging kinen ngiseni marang jagad,
to establish welfare in the world.
mĕmayu hayuning jagad.
Therefore dear children,
Mula ya ngger,
by way of the cultural course that we all pursue,
kanthi mĕtu marganing budaya kang padha sumandhang iki,
let us jointly improve the world and all it contains,
ayo padha bĕbarĕngan andandani jagad sa­isine,
so that all societies on the face of the earth may live in prosperity.
karĕben bisa mulya uriping kabeh bĕbrayan ing ngarcapada.
Expressing
Kanthi
the wish: once independent,
sĕsanti, sĕpisan mĕrdika,
independent
tĕtĕp mĕrdika
     forever, dear childre—n,
        salaminya, ya ngge—r,
As Kunthi continues her entreaty, the gamelan begins to play a calm Ayak-Ayakan in pelog barang.
may all encounter happiness.
rahayu ingkang samya pinanggih.
The dhalang takes the right-hand kayon and, while spinning it round twice, brings it to the centre of the screen, where he raises it high . He lets it slide down and plants it in the upper trunk between Pĕrmadi and Kunthi . The performance is ended.
The singers sing the choral part of the Ayak-Ayakan. Ki Anom Soeroto removes the microphone from around his neck, wipes his face with a cloth, and lights a cigarette. He turns round , adjusts his clothes, and awaits the conclusion of the piece facing the musicians in the gamelan .
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