Already the last streaks of crimson and gold-shot opal have faded in the western skies, and the grey of dusk begins to deepen into nocturnal blackness. The evening breeze is astir in the tall tree-tops, waking a drowsy bird here and there among the branches; it chirps sleepily and is still again. Aloft, a single star is seen limpid and tremulous, like a dewdrop about to fall. And the garrulous groups around the wayang-screen gradually cease their talk.
Now the "dalang" rising, disposes, on an improvised altar, the sacrificial gifts—fruit, and yellow rice, and flowers, and lights the frankincense that keeps off evil spirits. Then, as the column of odoriferous smoke ascends, sways, and disperses through the thin, cool air, a volley of thunderous sound bursts from the "gamellan," and the dancers appear.
Slowly they advance, in hand-linked couples, gliding rather than walking, with so gentle a motion that it never stirs the folds of their trailing robes, gathered at the waist by a silver clasp. Their bare shoulders, anointed with boreh,[C] gleam duskily above the purple slendang that drapes the bosom. Their soft round faces are set in a multi-coloured coruscation of jewellery, a play of green and blue and ruby-red sparks, that chase each other along the coiled strands of the necklace and the trembling ear-pendants, and shine with a steadier light in the richly chased tiara. A broad silver band, elaborately ornamented, clasps the upper arm; a narrower bracelet encircles the wrist; the fingers are a-glitter with rings.
Scene from a Wayang-Wong Play.
Arrived in front of the wayang-screen they pause; with the tips of their fingers take hold of the long embroidered scarfs and stand expectant of the music that is to accompany their dancing. The "gamellan" intones a plaintive melody: a medley of tinkling, and fluting, and bell-like sounds, scanded by the long-drawn notes of the "rebab," the Persian viol. Following the impulse of its rhythm, the dancers raise their hands making the scarf to float along the extended arm, and waving about the glittering silk they drape themselves in its folds as in a veil. Then, standing with feet turned slightly inwards, and motionless, they begin to turn and twist the body, bending this way and that way, with the swaying movement of slim young trees that bow beneath the passing breeze, tossing their branches. And, with arms extended and hands spread out, they mime a ballad which some of their companions are singing, the prologue to the play. This may be a fragment of that ancient Hindoo poem, the Mahâ-Bhârata; or a myth of which Brahma, Vishnu, and Shiwa are the heroes, such as there are recorded in the Manik Maja; or, again, some episode of the Ramayana; the "wayang poerwa" being dedicated to the representation of these three epics. A favourite subject, popular with the men on account of the many battles occurring in the course of the drama, and with the women because Ardjuna, the gentle hero, has the leading part, is the rebellion and defeat of the Titans.
In the first scene the gods appear on either hand of the "gunungan"; Indra and Brahma hold anxious counsel as to what course of action shall be pursued, now that the audacious Titans have dared to march against the abode of the gods; for already their armies occupy the four quarters of Heaven, and the insolent Raksasa, their king and general, fears not the arms of the gods, their deadly swords, and intolerable lances, for, his huge body—all but one hidden spot—is invulnerable. And none may conquer him, except a mortal hero, pure of all passion and sin. Sorrowfully, Brahma lift his hands. "Such a one exists not." But Indra bethinks him of Ardjuna, the gentle prince, who, having utterly forsworn the glories of warfare, the pride of worldly rank and station, and the love of women, has retired to a cavern on Mount Indra Kila; and under the name of Sang Parta—assumed instead of the kingly one of Ardjuna—leads a life of prayer and penitence, mortifying his flesh, and still keeping his constant thought fixed no Shiwa, the giver of Victory. "Maybe Sang Parta is the hero destined to overcome Niwàtakawaka."
"Topeng" played by masked actors.