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48-591: Bujangga Manik is one of the precious remnants of Old Sundanese literature. It is told in octosyllabic lines — the metrical form of Old Sundanese narrative poetry — in palm-leaf manuscript kept in the Bodleian Library of Oxford University in England, since 1627 or 1629 (MS Jav. b. 3 (R), cf. Noorduyn 1968:469, Ricklefs/Voorhoeve 1977: 181). Bujangga Manik altogether consists of 29 palm leaves, each containing approximately some 56 lines of 8 syllables. The final part of

96-624: A few details are mentioned here. One is that once he has climbed the Puncak Pass , he takes time, like a modern tourist, to sit down, ‘fan his body’ and enjoy the view, in particular the Great Mountain (Bukit Ageung, still known as the Gunung gede ) which he calls ‘the highest point (hulu wano) of the realm of Pakuan ’ (59–64). From the Puncak Pass he travels on; by crossing the Cipamali river he enters

144-407: A lengthy speech explaining the outstanding quality of the gift (456–546). In fact she mentions many more articles that were early described. In particular the specification of the quids in 470–493 is remarkable: they are said to be prepared by forming, folding and rolling them on the thighs and the breast of the lady who prepared them, and by binding them with fringe threads of her frock, so “as to bind

192-413: A life of a man of religion. As a hermit he made two journeys from Pakuan Pajajaran to central and eastern Java and back, the second one including a visit to Bali. After his return he practiced asceticism on a mountain in western Java, where his bodily existence came to an end; in the final part of the text the journey of his soul to the heavenly regions is described in great detail. A considerable part of

240-473: A new passage, with a formula which is more commonly used in RR: “let us leave them chewing betel, we shall now talk about ….” (234–235). The story switches to Jompong Larang, the servant of Princess Ajung Larang Sakean Kilat Bancana. Jompong Larang leaves her palace, across the river Cipakancilan and comes to the palace. There she sees a stranger chewing betel in the guest-house. She recognize him as “a priar coming from

288-652: A place for me to die, a place to lay down my body” (663–666). With these dramatic words he leaves the palace and begins his long wandering, never return home again. He continues his journey eastward, mentioning a large number of place names and pointing out the high mountains in Central Java which he sees in the south, some of them bearing the names which are used until the present day. Old Sundanese language Old Sundanese ( Sundanese script : ᮘᮞ ᮞᮥᮔ᮪ᮓ ᮘᮥᮠᮥᮔ᮪ , Old Sundanese script : [REDACTED] , Buda script : [REDACTED] , Roman script : Basa Sunda Buhun )

336-416: A ship from Malacca . The Sultanate of Malacca from the second half of the fifteenth century until its conquest by Portuguese in 1511 was the dominating trading power in the area. This was probably the time the story is set (was written). The departure of the ship from the harbour is described as a festive ceremony (96–120): guns ( wedil ) are discharged, musical instruments are played, several songs,

384-418: A variety of special betel quids, using exquisite materials and preparing them with the utmost care. The lady adds a collection of costly perfumes , “all of the perfumes from overseas”, as well as beautiful cloth and a kris . Jompong Larang is sent to the prince with this expensive gift; her mistress explicitly requires her to explain that if the gift is accepted the lady herself will follow. The servant leaves

432-411: A young man, to excite a bachelor's desire” (470–478). It is clear that by this practice an extra sexual charge is loaded to the betel. A number of quids are identified by a specific name. The mother urges her son to accept Lady Ajung Larang's offer; adding that if he agrees “there is no more than just that”; she mentions “symbolic gifts” (sesebutan 518–522) and ends her strong recommendation by describing

480-610: Is a large conglomeration of districts in Bogor Regency , such as Cisarua , Ciawi , Megamendung, Cipanas , etc. All of those districts are unified by the main road, Jalan Raya Puncak. Puncak ( Old Dutch : Poentjak ) is the name of a pass on the Indonesian island of Java , between Bogor and Bandung . The highland, being cooler than Jakarta , is a popular resort area for the inhabitants of Jakarta who are looking for cooler air. Many Swiss-type chalets were built around Puncak during

528-416: Is apparent from parallel lines in the other texts. The stereotypic character is also clear from the fact that it is a passage deviating from the general narrative perspective which is focused on Bujangga Manik. It is a narrator's text, which ends with line 229. in 230 we return to the first person narrative: “My mother said”. The son accepts the betel quid which his mother offers him. Then the text switches to

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576-426: Is clear from the text itself that it dates from pre- Muslim times of West Java, precisely from the era of Hindu Sunda Kingdom . The script used in the manuscript is the usual Old Sundanese variety of the Indonesian family of Indic syllabaries, which fell into disuse after the penetration of Islam into western part of Java island . The language represents an older stage of Sundanese. It does not contain one word which

624-422: Is dressed in negligee and has an imported Chinese box placed besides her (284–290), sees from the corners of her eye the hurried return of Jompong Larang, who ascends the stairs and seats herself. The lady asks her what her message is; the servant tells that she has seen an exceedingly handsome man, “a perfect match” for Lady Ajung Larang. At the latter's question she tells that his name is Ameng Layaran and that he

672-407: Is going east. He is quite succinct in explaining his departure. Of his costume we learn that he wears a haircloth (saceundung kaen 36); perhaps this haircloth is an indication of the religious state which Bujangga Manik assumes for his travel. He refuses to answer questions of the public about the purpose of his journey (38–41). Then he starts his first trip, which he describes in great detail. Only

720-399: Is more handsome than Banyak Catra or Silih Wangi, or that “your Lady's nephew” (321), whoever that may be. The friar is the ideal lover, and moreover he is well versed in the scriptures and speak Javanese (327). Lady Ajung Larang is immediately overwhelmed with love and desire. She interrupts her weaving and enters her house. There she engages in preparing a gift for the young man, consisting of

768-900: Is not so strict. Texts containing Sundanese in prose include Sanghyang Siksa Kandang Karesian , Amanat Galunggung , Sanghyang Sasana Maha Guru , and Sanghyang Raga Dewata . The following are examples of sentences used in the Amanat Galunggung . "Awignam astu. Nihan tembey sakakala Rahyang Ba/n/nga, masa sya nyususk na Pakwan makangaran Rahyangta Wuwus, maka manak Maharaja Dewata, Maharaja Dewata maka manak Baduga Sanghyang, Baduga Sanghyang maka manak Prebu Sanghyang, Prebu Sanghyang maka manak Sa(ng) Lumahing rana, Sang Lumahing Rana maka manak Sa(ng) Lumahing Winduraja, Sa(ng) Lumahing Winduraja maka manak Sa(ng) Lumahing Tasikpa(n)jang, Sang Lumahing Tasik pa(n)jang (maka manak) Sa(ng) Lumahing Hujung Kembang, Sa(ng) Lumahing Hujung Kembang maka manak Rakeyan Darmasiksa." Puncak Pass Puncak

816-408: Is often considered monomorphemic. The following words are often not perceived as interpolated words such as sumebar which consists of sebar and -um- , cumeluk which consists of celuk and -um- or tinangtu which consists of tangtu and -in- and pinareng consists of pareng and -in- . The last is the use of insertion -ar- which serves to make a noun or adjective plural, for example in

864-410: Is repeated in identical form somewhat later (176–196 = 338–358). The mother prepares the usual welcome for her son, which consists of a tray of all the ingredients for preparing betel quids, combs her hair, makes herself up and puts on expensive clothes. She then descends from her bedroom, leaves the house, seats herself under the palanquin and welcome her son. Again we have a formulaic description, as

912-477: Is the earliest recorded stage of the Sundanese language which is spoken in the western part of Java, Indonesia . The evidence is recorded in inscriptions from around the 12th to 14th centuries and ancient palm-leaf manuscripts from the 15th to 17th centuries AD. Old Sundanese is no longer used today, but has developed into its descendant, modern Sundanese . Old Sundanese is recorded in stone inscriptions such as

960-453: Is traceable to Arabic, the language of Islam . In the content of the story, too, Islam is completely absent. More specifically the mention of Majapahit , Malaka and Demak allow us to date the writing of the story in the 15th century, probably the later part of this century, or the early 16th century at the latest. During his return from Pemalang to Kalapa , he boarded the trading vessel from Malacca with crew hailed from various parts of

1008-462: Is why it has come to this”. Therefore, he feels compelled for good to take leave from his mother (649–650). Bujangga Manik takes up his bag containing the great book (apus ageung) and the Siksaguru, as well as his rattan walking stick and his whip. He then declares that he is going east again, to the eastern tip of Java where he is going “to look for a place for my grave, to look for a sea to float away,

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1056-878: The Kawali inscription in Ciamis , and the Batutulis inscription in Bogor , as well as in inscriptions made from copper plates such as the Kabantenan inscription from the Bekasi Regency . Other remains documenting the use of Old Sundanese are palm-leaf manuscripts from the Bandung , Garut , and Bogor regions. The manuscripts are now stored in several institutions, including Kabuyutan Ciburuy in Bayongbong Garut , Sri Baduga Museum in Bandung ,

1104-670: The National Library of Indonesia in Jakarta , and the Bodleian Library in London. The vocabulary used in Old Sundanese is still mostly recognizable for speakers modern Sundanese , either with the same meaning or having undergone a change of meaning. The use of Sanskrit which is adapted to the pronunciation or writing of the ancient Sundanese is mixed quite clearly. This is because of

1152-456: The Javanese territory (alas Jawa 82) and wanders through various districts of Majapahit and the plain of the region of Demak ; via Jatisari he arrives at Pamalang , still a well-known coastal town halfway between Tegal to the west and Pekalongan to the east. Here he is overcome by longing for his mother (89) and he decides to go home; however, this time he prefers to travel by sea and boards

1200-436: The archipelago. This means the story took place prior to the fall of Malacca to Portuguese in 1511. After a brief introduction the protagonist, prince Jaya Pakuan, is introduced in line 14. This princely name is not mentioned later on; the name Bujangga Manik occurs for the first time in 456, and only from 854 on it is regularly used to indicate the protagonist. In lines 15–20 he takes leave from his mother, telling her that he

1248-492: The beautifully adorned pavilion and seats himself there. The first person narrative style is once interrupted in line 156 where the protagonist is called tohaan “lord”. He finds his mother engaged in weaving, various aspects of its technique being described in five formulaic lines (160–164). She is surprised and excited to see her son back. She immediately leaves her work and enters the house, passing through several layers of curtains, and ascends to her bedroom. This formulaic passage

1296-402: The cemetery, and ultimately to hell (608–624). He goes on to explain his background as a fatherless child, with a mother who went the wrong way, as a consequence of the fact that his grandmother did not uphold the taboos (pantang) when his mother was pregnant: she ate banana flowers and beunteur fish, as well as fish about to spawn, and she suffered from “squirrel convulsion” (625–640). “That

1344-423: The east”. Jompong Larang immediately becomes enamoured of his beauty, which is conventionally described in a passage of narrator's text (267–273). The servant is in utter confusion and hastens back to the palace, kadatuan (277); there she goes to meet the princess (tohaan), who happens to be busy weaving; the formulaic description is partly identical with the earlier description (279–282 = 160–163). The princess, who

1392-446: The exceptional beauty of the princess and her eagerness to give herself to the young man; has she not said: “I shall give myself, I shall dive like a hawk, leap like a tiger, asking to be accepted as sweetheart”? (530–534; the mother is exaggerating, we have not heard these words from the lady herself). But Ameng Layaran is shocked by his mother's enthusiasm which he calls “forbidden words” (carek larangan) and resolutely refuses to accept

1440-494: The form of a verb (verb) and a subject in the form of a noun (noun) which is quite consistent. Another characteristic feature is the use of ma particles which can act as reinforcement for previous phrases or clauses. In sentence construction, the particle ma functions as a marker that separates the clauses, and serves to introduce new information. Writing systems that use the Old Sundanese language include Old Sundanese script and Buda script . These two characters can be seen from

1488-422: The form of the text, namely poetry and prose . Some of the ancient Sundanese manuscripts that contain texts in the form of poetry include Sewaka Darma , Carita Purnawijaya , Bujangga Manik , Sri Ajnyana , Kawih Pangeuyeukan and Sanghyang Swawarcinta . The old Sundanese language written in the form of poetry texts generally uses an eight syllable pattern, although in some texts this rule

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1536-420: The gift in an equally lengthy declaration (548–650); he reveals the negative meaning of the sesebutan, which predict illness, tears and physical infirmity (563–574). His love is with the instructions which he received from his teacher (575–577). He requests her therefore to go together with Jompong Larang in order to return the gifts to the princess and to comfort her. He prefers to life in celibacy and to keep to

1584-531: The harbour in West Java takes half a month (121), which suggest that the ship may have stopped at various places in between. The protagonist takes on a new name, Ameng Layaran “the sailing priar”, which also later on is used occasionally. From Kalapa Bujangga Manik comes first to the place of customs (Pabeyaan) and then proceeds to the royal court of Pakuan , in the northern part of the present-day town of Bogor (Noorduyn 1982:419). He enters Pakancilan (145), goes to

1632-458: The inscriptions and ancient manuscripts stored in a place called Kabuyutan. These two characters has different functions. Old Sundanese script usually can be found on the inscriptions describing important events that occurred in the Sundanese region , while the Buda script is widely used to write things that have a high level of sacredness in lontar or gebang manuscripts. The following is an example of

1680-456: The lessons which he received during his recent trip to Central Java, in the district of religious schools on the slopes of the Merbabu (here called gunung Damalung and Pamrihan), where, as one of the friars, he communicated with hermits and ascetics, following the teachers indicated as dewaguru, pandita, and purusa (593–606). What his mother requests from him is bad, she shows him the way to death and

1728-470: The main Puncak road, and the activities available here include paragliding, tea plantation walking, or just relaxing with the views. Puncak has served as a location for films, including the 1984 German-Indonesia production No Time to Die  [ de ] . In addition, Puncak also has several landmarks and tourist attractions, such as Puncak Pass and Kota Bunga. Another tourist attraction, just south of

1776-582: The nuances of the use of ancient Sundanese in Hindu and Buddhist religious texts. In some parts, the same vocabulary is often found, even combined with sentence strings in Old Javanese . In other parts, we also find the use of Old Malay vocabulary and Arabic . The lexicon of Old Sundanese has been collected in an Old Sundanese–Indonesian dictionary. The morphology of word formation can generally be recognized in modern Sundanese with some exclusions, for example

1824-406: The palace, loaden with all the presents: “a chest on her head, a betel-tray on her hands and the cloth on her arms” (411–413). Her route is described again (414–422), she arrives at the house where she finds Bujangga Manik's mother sitting on mattress. She asks Jompong Larang what her message is, and the servant duly reports the instruction given by the princess. Then the mother addressed her son, in

1872-466: The pass, is the Cibodas Botanical Garden . Taman Safari , a wildlife park, is also located in Puncak. There is a volcanic lake Telaga Warna near the main route. Bogor Regency is planning to build an alternative route from Sentul International Circuit -Babakan Madang-Hambalang-Sukmamakmur- Cipanas Palace , Pacet with total length of 47 kilometers, and a carriageway 30 meters wide. Most of

1920-512: The pre- World War II colonial period. Today Puncak Pass is surrounded by hotels and resorts. Puncak rests within the mountains between Bandung and Bogor. Many tourists visit this area of West Java to escape the heat and busy city areas. Puncak is known for its individual private resorts/villas, which can be rented out for individual or group bookings. Schools and companies organize group outings, business conferences, and training in those resorts. There are some tea plantations on either side of

1968-462: The route followed. The total number of such names, including those in other parts of the text, comes to some 450, most of them relating to Java island . The background of Bujangga Manik story had been based on contemporary reality, as is proven by the accuracy of the topographical details of the journeys. These details are therefore of great historical value, especially if the time of writing of this undated story can be at least roughly determined. It

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2016-462: The text has been transmitted in a lacunary form. Not only is the end lacking, there are two other lacunae. The first break occurs after leaf 26, line 1476. The hero of the literature is Prabu (English: Prince) Jaya Pakuan alias Bujangga Manik, a Sundanese Hindu rishi , who, though a prince at the court of Pakuan Pajajaran (capital city of Sunda kingdom , which was located near present-day Bogor city in western part of Java island), preferred to live

2064-462: The text is devoted to a detailed description of the first and the last stretch of the first journey, i.e. from Pakuan Pajajaran to Brebes and from Sunda Kalapa (now: Jakarta ) to Pakuan Pajajaran (about 125 lines out of the total of 1641 lines of the incomplete MS), and to the whole of the second journey (about 550 lines). These descriptions are restricted mainly to a mention of the names of places, regions, rivers and mountains situated on or near

2112-404: The titles of which are mentioned, are loudly sung by the crew; a detailed description of the materials used for the building of the ship is given: various kinds of bamboo and rattan , a mast of laka wood , and an Indian rudder are specifically mentioned; Bujangga Manik is duly impressed and full of admiration for the crew which originates from various places. The trip from Pamalang to Kalapa ,

2160-513: The traces (tapak) (in) Kawali (of) the hometown of His Majesty King Wastu (who) established the defense (reigned in) Kawali, who had beautified the Surawisesa palace, which made a defensive trench around the royal territory, which prospered the whole settlement. To those who are to come, should apply salvation as the foundation of victorious life in the world. The old Sundanese language used in lontar and gebang manuscripts can be distinguished based on

2208-485: The use of the prefix a- in the word awurung . The suffix - keun has a grammatical function similar to that of - kan in Indonesian language . In addition, the use of insertion affixes ( infix ) -in- and -um- in the word ginawé ( word stem gawé;' 'to do') and gumanti (the root word ganti: 'replace') are insertions that are classified as productive used in old Sundanese, now words that include -in- and - um-

2256-487: The use of the old Sundanese language recorded in the Kawali inscription. Diplomatic transliteration was done by archaeologists Hasan Jafar & Titi Surti Nastiti. "nihan tapak walar nu sang hyang mulia tapa(k) inya parĕbu raja wastu mangadĕg di kuta kawali nu mahayu na kadatuan surawisesa nu marigi sakuliling dayĕh najur sakala desa aya ma nu pa(n)deuri pakĕna gawe rahayu pakĕn hĕbĕl jaya dina buana" Translation: These are

2304-437: The word karolot (word stem kolot; 'the elders') which is still used until now. At the syntactic level, in general the sentence form in ancient Sundanese still has similarities with modern Sundanese. One of the features of ancient Sundanese that can be distinguished from the structure of modern Sundanese is the use of the predicate-subject pattern in the sentence structure of the ancient Sundanese language with predicates in

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