Plate 22.—Kuda Sĕmbrani.
Magic flying horse (kuda sĕmbrani) used in the shadow-play by ’Che ʿAbas. It is said to be able to swim through the water as well as to fly through the air.
Page 514.
“The show seems to be of Hindu origin, if we may judge from the strong resemblance the figures bear to the representations of gods and goddesses worshipped by the Hindus of India; it is probably obtained from Java.
“The figures are made of buffalo hide, and the arms alone are movable; they are moved by slips of wood attached to them, which are very clumsily contrived, and as their shadows are seen with the puppets the effect is very much destroyed. Various scenes of a domestic nature are exhibited, and they take the shape of a play, but with no definite plot running through or connecting the different scenes.
“The following is a specimen:—
“An old man appears weeping for a long-lost son, and moves to and fro for some time bewailing his loss; the showman speaks each figure’s part, and alters the tone of his voice to suit the age of the speaker; a second figure comes on, representing a young man armed with a kris, who endeavours to pick a quarrel with the first comer, and the conversation is witty and characteristic, eliciting roars of laughter from the lookers-on; a fight ensues, and the old man is wounded; he falls and cries out that were he a young man, or if his lost son were present, his adversary should not thus triumph over him. In his conversation he happens to mention his son’s name; the young man intimates that his name is the same, an explanation ensues, and it ends by the old man discovering in his late adversary his long-lost son. The old fellow weeps and laughs alternately, caresses his son frequently, and declares they shall never part again; the scene ends by the youth shedding tears over his late inhuman conduct, and he finally walks off with the old gentleman on his back.
“The conversation is carried on solely in the Malayan dialect. Warlike scenes please most: a warrior comes on the stage and challenges his invisible enemy to mortal combat; suddenly another figure comes on at the opposite side and a desperate fight ensues, which lasts for a very long time, and ends in one of the combatants being killed. Occasionally a battle in which ten or twelve figures join takes place, and for hours will the Malays look on at such scenes.
“The show concludes with an exhibition of various animals—deer, horses, tigers, crocodiles, etc., also birds and fishes. The figures are perforated to represent the eyes, shape of the dress, etc.
“At the back of the shed, concealed by the sheet, sit the musicians, who keep up an incessant din on drums and cymbals.”[194]