Page:Journal of the Straits Branch of the Royal Asiatic Society (IA journalof555719101911roya).pdf/13

 will give those who are unable to read the original an insight into the style of a genuine Malay legendary romance.

The story opens in the kingdom of Tanjong Bunga, the Raja of which is called Sĕri Rama, married to the Princess Sa-kuntum Bunga Sa-tangkai (a single blossom on a stalk). Sĕri Rama's peace of mind is disturbed by the fact that, though he has been married for three years, he has no child, and for three months and ten days he ponders over this want of an heir, An idea occurs to him one night, and on rising in the morning he goes into the outer hall of his palace and ringing the alarm- hell brings all his people together. A metrical passage in which a tropical daybreak is described is not without some beauty of expression. The following is a somewhat free translation:—

Long had past the hour of midnight, Lingered yet the coming day-light; Twice ere now had wakening infants Risen and sunk again in slumber: Wrapped in sleep were all the elders, Far away were pheasants calling, In the woods the shrill cicada, Chirped and dew came dropping earthwards. Now lowed oxen in the meadows, Moaned the buffaloes imprisoned, Cocks, with voice and wings, responded. And with feebler note the murai. Soon the first pale streak of morning, Rose and upwards soared the night birds; Pigeons cooed beneath the roof-tree, Fitful came the quail's low murmur; On the hearth lay last night's embers, Foot-long brands burned down to inches, Heralds all of day's approaching.

The palace is described with the usual oriental exaggeration The length of the outer audience chamber is "as far as the flight of bird, as far as the eye can see, as far as a horse can gallop at a stretch." Part of the art of the story-teller consists in piling up similes and synonymous descriptive phrases in this