Baca PDF (OCR): The Sa'dan Toradja Chant for the Deceased

THE SA.'DA.N TORA.DJA. CHA.NT FOR THE DECEA.SED

VERHANDELINGEN

VAN HET KONINKLIJK INSTITUUT VOOR TAAL-, LAND- EN VOLKENKUNDE

H. VAN DER VEEN

THE SA' DAN TORADJA CHANT POR THE DECEASED

'S·GRAVENHAGE- MARTINUS NU HOFF-1966

PREFACE

I wish first to express my gratitude to the Koninklijk Instituut voor Taal-, Landen Volkenkunde, which has kindly arranged for this book to be printed.

My thanks also include Professor Dr. C. Hooykaas, who has interested himself in this treatise and has accorded it his support.

I should like to render my sincere thanks to Dr. J. Noorduyn, Secretary of the Institute, who has given me a miscellany of good suggestions for the compilation of the editorship of the Introduction.

Further I desire to thank my former assistants, Mr. J. Tammu and Mr. L. Pakan, warmly for their work in noting down the text of the Chants for the Deceased and for their help in seeking for an explanation of various difficult places in it.

Once more I owe a very great debt of gratitude to Jeune Scott-Kemball, who has been able to accomplish casting my Dutch translation in prose of the lines in trochaic metre of the Chants for the Deceased into a very elegant English verse form. This was not always very simple in view of the metaphorical manner of expression in the Toradja lines of verse.

The spelling used for the South Toradja text is that of present-day Bahasa Indonesia with the following exceptions: the glottal check, found in South Toradja only as a syllabeor word-final, is not written as k but indicated by an apostrophe, for example, mampu' not mampuk ; and the velar nasal, because it is sometimes protracted in speech and must then be duplicated in writing, is not written ng but '3, for example, llnJÏ' not langi', ta'3'3a not tangnga.

The spelling of the South Toradja words in the translation and notes differs from this system in one respect: y is used in stead of j, for example, kayu = kaju (text).

Leiden, August 1966

H. VAN DER VEEN

CONTENTS

page

INTRODUCTION 1. The badOfj as a part of the death feast . 1 2. The contents of the badOfj. . 3 3. The performing of the badOfj. . . . 10 4. The rettefj . . . . . . . . . . 16 5. The metrical form of the badOfj and the Tetter} . 17

TEXTS AND TRANSLATION

I A. Ossoran badOfj to dirapa'i, Traditional chant for the deceased for whom the elaborate ritual for the dead is 19 carried out (version from SaJ}polobWJin) I B. idem (version from LalJda) 37 1 c. idem (version from Tikala) 47 60 1 D. idem (version from KalindUIJan) U A. BadOfj malolo to NonOfjan, Chant for the deceased as 65 sung in NonOllJan UB. BadOfj malolo to Pafjala', Chant for the deceased as 66 sung in the PatJala' territory . U C. BadOfj to Sa'dan, Chant for the deceased as sung in 68 the Sa'dan territory U D. BadOfj malolo to Kesu', Chant for the deceased as sung 70 in the Kesu' territory . U E. SimbOfj podo', Chorus that is interrupted . 71 U F. Pa'sakkun mario, Restraining grief (?) . 72 72 U G. Pa'randen-randen, Speaking the word 'alas' twice U H. Passim ban, Making allusions 73 U J. Bolu gatta, Betel and gambir 73 UK. BadOfj to sofjlo', Chant for the deceased as sung by 73 those who go downward in procession

R 1. Rettefj dipokada lako to sugi' ke den mate, Improvized verse for a man of high rank 74- R 2. Rettefj to barani ke den mate, Improvized verse for a courageous man . 75 R 3. Rettefj lako to masokan ke den mate, Improvized verse for a generous and noble man . 77 R 4. Rettefj lako to minaa ke den mate, Improvized verse for a to minaa. 78 R 5. Rettefj lako Sia Lai' Toban, bainena Sia Rombelajuk, Improvized verse for Lai' Toban, the wife of Rombelajuk 80 R 6. Rettefj napokada TUafj guru Kadafj, Improvized verse recited by the school teacher KadaIJ . 81 R 7. Rettefj napokada Sa'pafj, Improvized verse recited by Sa'pa13 81 R 8. Rettefj napokada to minaa So' Sere, Improvized verse recited by the to minaa So' Sere 82 R 9. Rettefj napokada to minaa So' Sere, Improvized verse recited by the to minaa So' Sere 83 RIO. Pa'le-le, The exclaiming of 'hey, hey, hey' . 84 R 11. Rettefj lako to merok, Improvized verse recited at the merok feast 86 R 12. Rettefj lako to la'pa', Improvized verse recited at the la' pa' feast . 87 LIST OF SA'DAN TORAD]A WORDS . . .... 89

INTRODUCTION

1. The badoq as a part of the death feast

One of the major features of the religion of the Sa'dan Toradja 1) is the cult of the dead. The death ritual, aluk to mate 2), in the elaborate form as carried out for a deceased person of rank, consists of a great number of different rites and ceremonies. Many buffaloes and other offering animals are slaughtered. Numerous people attend either as spectators or as participants in the ceremonies which grow into a great death feast that lasts for several days and nights. In the evenings the badorj = the chant for the deceased, is sung by a group of people attending the feast who while they sing perform particular dance movements. This singing of the chant for the deceased is a constituent part of the feast 3).

It depends upon the rank of the dead personen which form of the ritual is performed for him and whether the chant for the deceased is sung. In some adat communities it cannot be sung unless a minimum of three buffaloes is killed. This form of the death ritual is called dipatallufJ borji = it is performed in three days. The chant is then sung on the evening of each day on which a specific rite of the death ritual has been carried out.

A more elaborate form is the dipalimafj bOfji = it is perfonned in five days, when a minimum of five buffaloes must be slaughtered. The supreme form of the death ritual is the dirapa'i: at least nine buffaloes are killed and in the course of the ritual there is an interval during which no part of it is held and the dead person is laid in a coffin shaped like a ricestamping block, dirapa'i = he is laid to rest, and there he is left until the next part of the ritual is commenced. When a major rite of this elaborate ritual has been performed, the chant is sung, if possible, in its entirety on the evening of the same day. When minor rites are perfonned, only a part of it is sung.

The chant for the deceased which is always sung at the feast for the de ad person of rank for whom this supreme form of the ritual is to be carried out, is the badofj diosso'mo, the traditional chant for the deceased 4). This chant is the longest and the most important. It is sung only by men.

It tells of the heavenly ancestor of the deceased; of all kinds of happenings in the life of the deceased himself; describes his soul's journey to Puya, the Land of the Souis; and its final ascent from there to the firmament.

Within this general framework, the contents of the chant may he varied according to the circumstances of the person at whose death feast it is being sung. For, though the badofj diosso'mo is the traditional chant, it need not always be sung in exactly the same form. In fact, there is much local and individual variation, the latter introduced by the leader of the singers. To what extent several versions of the chant may differ from each other can be seen from the four texts I A-D. These were taken down from informants living in different regions: two in villages of the NonOl3an village-group, Kesu' territory; one in the Madandan territory ; and one in the Tikala territory.

In addition to the traditional badOfj, there are a number of shorter non-traditional chants which can be sung instead of the traditional one and can be repeated as of ten as the singers wish. They are, first, the badOfj maloIo = the 'young' or simple chant for the deceased, of which again four texts, 11 A-D are given here. Text 11 A comes from the NonOl3an village-group; 11 B from the Pa'l3ala' territory, Rantepao country; 11 C from the Sa'dan territory, the area near the source of the

Sa'dan River; and 11 D from the Kesu' territory, Rantepao country. 11 A and B are in the nature of an introductory chant to the traditional chant.

Then there are the simbOfJ podo' = chorus that is interrupted (11 E) ; pa'sakkun maTio = restraining grief(?) (11 F); pa'Tanden-Tanden = the speaking twice of the word Tanden = alas (11 G); passimban = maldng allusions (11 H); and bolu gatta = betel and gambir (11 J), a brief chant in which the performers ask for betel and gambir.

The badOfJ to so1jlo' = the chant for the deceased as sung by those who go downward in procession (11 K), is sung when the corpse of the deceased is being borne from the house in which it has been lying to the place of the feast, called Tante = field, where the buffaloes are to be slaughtered and the continuing part of the ritual is to be carried out. When the people carrying the bier need a rest during the joumey from the death house to the Tante they lay the bier on the ground and sing this chant. It can he repeated as of ten as the singers desire. The .first strophe which is repeated, is always the same. The strophes that follow are chosen at random from the traditional chant. The text given in 11 K is simply an example.

2. The contents of the badoq

The badotJ is a communal chant. Anyone who moums the death of the deceased can take part, those who are not his kinsmen as weIl as members of his family. People are summoned to the badOfJ with the words: sae nasafj to maTintin = let everyone who moums now come.

Generally speaking, two different themes can be discemed in the badat3: the expression of grief at the death of the deceased and the veneration of the dead person.

The first of these themes is to be found in specific parts of the chant and its significance is further heightened by the singers' use of the word batitJ = lament, for, though the chant as such is called badort}., this word does not occur in the chant itself; instead, the word batitJ is always used: for example, when the singers of the chant request the leader to prompt them loudly, they do so by saying the words: umba nakua batitJ = now teIl us how the lament goes.

The batitJ is the personallament with which the family and friends of the deceased show their grief. Their sorrow is expressed by wailing and sobbing at those times when they are in close proximity to the corpse, i.e., in the death house and when the bearers of the bier start to carry the deceased from the Tante to the rock grave.

In the badOfj, the beginning of mourning is announced as follows (see Text I A):

1. Where are those of our village now, The ones who of our hamIet are?

2, Come, let us weave the lament (batÏ13) now That we may start the mourning song.

3. Let everyone who mourns now come, All of his kin from everywhere,

4. A dirge for our father to chant To mourn the one who begat us.

In the badot} to sot}lo', those who carry the bier express their grief in the following words (see Text 11 K) :

9. We are the ones who mourning are We are lamenting everywhere.

10. Our father has forsaken us, Has left us he who begat us.

11. Now from his village has he gone His house behind him he has left

12. The clouds behind him he has left Enveloped in the mists is he The morning mist between us stands.

The other theme of the ehant for the deeeased - the veneration of the dead person - is expressed in several of the short ehants; for example, in the opening lines of the badot} to s013lo' (Text 11 K) :

Look at that exceptional man

Who was ereated by the gods.

The element of glorifieation of the deeeased is given its fullest expression, however, in the traditional ehant for the deeeased, the badOfj diosso'mo. Text I A is an example of this ehant, which was sung for a dead person who belonged to the clan house that is spoken of. In flowerv language the ehant tells of the deseent of the deceased from a heavenly aneestor, tu nene' mendeatanna, to dolo kapuatylnna = the aneestor who was divine, the forefather revered as Lord. This aneestor deseended to earth, ereeted a large clan house and held the bua' feast. He moved his clan house many times in the eourse of his journey from the south to the north. One of his desc.endants finally reaehed Siguntu', the site of an old clan house of the people of NonOl}an, which lies on the right bank of the River Sa'dan.

The chant then goes on to mention the birth of the deceased (str. 108-121) and his qualities (str. 135-141). He is spoken of as someone who had a golden character; as someone whose sagacity was like a golden necklace; who was exceptional in all things; as one to whom the gods had given everything. He had only to stretch forth his hand and the riches in it poured out, the possession in it poured forth. Then he became ill (str. 142) and his life's thread was cut (str. 145). The elaborate ritual was performed for him and he was interred in the rock grave. This is briefly described (str. 148-171). When the ritual had been completed, his spirit made its joumey to the Land of the Souls. From there, it went westward where it rose on high like a coconut palm and reached the firmament. There, "The Great Bear took him in its arms; The Pleiades embraced him; the shining stars pressed him to them" (str. 192).

The chant ends with a wish for a successful life, prosperity and many children.

According to this chant, since the deceased was a person of high rank, his spirit occupied a place in the firmament. It became a constellation lying between The Great Bear and The Pleiades. These constellations are considered as seasonal indicators for agriculture. So, people keep a look out for the appearance of the constellations of the spirit of the deceased in the sky as it is a sign that the rainy season is about to set in and they can begin sowing the rice. The growing rice is under the protection of this constellation.

It is thus clear that the chant for a deceased person of rank portrays his personal image, representing him as a hero, as a divine being enthroned in the firmament.

In accordance with this idea, the deceased for whom the supreme form of the ritual is to be carried out is given another and more illustrious name. Men are given names composed with the word 'sun' or the word 'heaven'. For example, Ta'dun Allo = Sun Hat; Kambuno Larji' = Sun Hat of the Firmament (the kambuno is the frond of the fan palm and is wom as a hat by the adat chief) ; Batara Lafji' = The Zenith of the Firmament; Lalofj Kila' = Sharp as Lightning. The last name is given to a courageous warrior. Women are also given such names: Datu Manurun = Princess Who Descended from Heaven; Datu Memonto = Far Famed Princess; and names composed with the word 'sea', for example: Liku Tasik = Deep Place of the Sea; Tiku

T asik = She Who Encircles the Sea; T asik M embida = Prolific of Progeny. The last name can even be given to a childless widow af ter her death.

Af ter de ad persons of station in life have been interred and af ter the ritual for them has been completed, their spirits go to the Land of the Souis, Puya, which, according to the Sa'dan Toradja, lies in the south of the Toradja country in the vicinity of Mt. BambapuaIJ, between Kalosi and Enreka13' From there their spirits ascend to heaven.

That this is not accepted as applying to people belonging to the lower class of the to makaka = freemen, was brought home to me once af ter I had spoken at an Evangelical gathering in one of tl.~ villages about the life hereafter as outlined in the Gospels. In the discussion at the end of the talk, one of the guests, an old man who was of the lower rank of the to makaka class, said to me: "That life in heaven about which you spoke, is not for such as us who are not of high rank. Our spirits do not ascend to heaven when we die; but only those of people of high rank who have held the great bua' feast during their life and for whom the ritual of the dirapa'i has been carried out."

Though, in general, the spirits of the dead of all classes are said to be revered as ancestors, in reality, this does only apply to people of rank for whom an elaborate ritual has been carried out. It is thought th at their spirits become lords, gods, membali puafj.

The following ceremony, conducted in the Kesu' territory, confirms that the spirits of deceased people of rank are believed to ascend to heaven and are thought to be taken into the circle of the deified ancestors. During the harvest period, a number of rites are performed some years af ter such a person has been interred in the rock grave. These rites are called mafjrara pare = to sprinkle the rice with blood. During these ceremonies, an offering of food, which has been placed on banana leaves, is made to the deceased. This offering is put down by the offerer at the north-east, the direction to which one turns when the offerings are made to the gods. Normally, when the food on the banana leaves is offered to an ancestor, it is laid down in the southwest. This change of direction when an offering for the dead is set down, is called dibalikan pesufjna = the offering meal is reversed for him.

The veneration in which these deified ancestors are held is also apparent from the following ceremony.

A considerable time af ter the death ritual for a person of rank has been completed, af ter a year or more, the members of his family go to the grave to invoke a blessing. On this occasion, a pig is offered; people of high rank offer a buffalo. This offering is called ma'nene' or ma'- tomatua = to go to the ancestors; in some adat communities it is called mafJeka'. It is made af ter the harvested rice has been stored in the granaries at the end of the agricultural year, i.e. the period during which the rice is cultivated.

A special fonn of such a ma'tomatua ceremony is that in which the entire adat community participates and the people address their prayers to the founder of the village, the pafjala tondok.

For the details of such a ceremony, I am able to draw on the following data from the Tondon territory, to the east of the capital, Rantepao.

First people gather at a place close to the rock grave. There, the leader of the offering, the to minaa, he who knows the adat prescriptions, speaks to the ancestor for whom the offering is intended, as follows:

"Oh, ancestor, thou who hast founded the village in its fullest extent 5), we desire blessings, for the good day has dawned, upon which we, thy golden descendants, appear before thee."

The to minaa then makes it known that in three days' time the path must be consecrated, i.e. the path leading to the rock grave where the deceased has been interred.

When the three days have passed, an areca nut, a sirih leaf, a quid of tobacco and some viscous rice are taken to the rock grave at PagasOll3an, in the Tondon territory. Three days later, a buffalo is taken to be offered to the ancestor, direndenanni tedOfj = a buffalo is led to him, i.e., to Ne' Malo', one of the war leaders, the to pada tindo 6), who conducted the war against the king of Bone and his Buginese invaders in the seventeenth century. Three more days pass and the rock grave is opened and the beasts are then offered by different descendants of Ne' Malo'. The high adat chief of Tondon finally offers a buffalo.

In another three days an offering is made to the gods: ma' palandoanlandoan = to put an offering on the small shelf, which resembles the palandoan 7), of the offering tabie. Another three days pass, and in each clan house a pig is offered to the gods: ma' palflfjtln para = to put an offering meal on the shelf above the hearth. When three years have passed, the ritual is concluded by holding the merok feast 8).

From the spirits of the people of high rank for whom the elaborate ritual for the dead has been carried out, great blessings are thought to flow for the whole adat community the members of which are the descendants of the heavenly ones who descended to earth in the time before memory. The family of the dead person also feel that their welfare is closely linked with him. So, they will endeavour to carry out the fitting death ritual in its entirety, even if this cannot he done until some years af ter his death. If at the time of the demise of this member of bis family a man could not dispose over the requisite number of buffaloes that had to be slaughtered for the deceased, those he did have would be killed and the slaughtering of the remainder would await a suitable opportunity in the future. Later, when he has been prosperous for some time, he can make good that part of the ritual he had not carried out earlier by slaughtering a buffalo or buffaloes at the dead person's grave. By this means he seeks to express his gratitude to the deceased for the blessings he has been able to enjoy through him or her.

It is worthy of note that the veneration of the ancestors is in several ways connected with the cultivation of rice: among the blessings bestowed by the divine ancestors, an abundant rice crop, which is the chief means of subsistence of the people, is the most important. This association between a dead person of rank and rice is clearly shown by the mafjrara pare, the offering ritual I have already mentioned on p. 6. When the rice grains begin to form, an offering is taken to the rieefield of a person who had died sorne years previously and for whom the supreme form of the death ritual had then been carried out. A pig and a hen are offered. The offering is made by the to indo', the leader of the rice cultivation. A dog is also killed but it is not offered; it is eaten by the people of lowest rank, the slaves. Af ter the offering has been made, the rice plants are sprinkled with the blood of the pig and the hen.

When the time arrives to harvest the rice, a hut is built on the plaee

where the rice is to be dried and a connection between it and the rice1) palandoan = the shelf over the fire-place, where the fire-wood is placed.

field is provided by a rope, which is made of bamboo. A daughter, a granddaughter, or a sister of the deceased is responsibie for tbe care of tbe hut and attends to the rites performed tbere.

A second offering is taken to this ricefield and af ter tbat either four or six people, each of whom carries a torch, go to the field and tben the rice is sprinkled with the blood of a pig that has been offered. Some of tbe rice is then cut and made up into either two or four sheaves which are then tied up with strips of the outer skin of the stalk of tbe dt#JfJ-datyz flower (a kind of gladiolus); normally, the rice is tied up witb strips of bamboo. These sheaves of rice are tben laid in the hut.

The following day, an offering is taken to the hut and the people go to tbe field and continue harvesting the rice. The first two or four sheaves of rice that are added to those in the hut are also tied up with strips of tbe outer skin of the dat)a-datyz flower. These sheaves are tben taken to the rice granary when the rice is ready to be stored in it. They must be taken to tbe granary by a daughter, a granddaughter, or a sister of the deceased. The sheaves are laid in a corner of the granary and must be left there. They may not be taken from it to be used as food. From these sheaves of rice flows tbe magical influence which protects all tbe rice in the granary.

In tbe chant for the deceased, it is noteworthy that the word bombo = spirit of tbe deceased, does not occur. The dead person is still thought of as being in tbe world of the living. The Sa'dan Toradja concept of a human being's spiritual nature is that he has a sunga' = life force, in the sense of span of life, and a sumat)a' = life force, spirit, in the sense of his consciousness. In addition, they also speak of a man's deata = his vital force and his more or less personal spirit, his alter ego. Furthermore, a man also has a bombo = personal spirit, tbough usually this term is given to his personal spirit af ter his death. This bombo can leave a man's physical body during his life and there are people, such as a seer, who can see a man's bombo, can take hold of it and direct its actions, and can then return it to his body. But when a man dies, his bombo becomes restless and frightened and then it can no longer be controlled. Af ter the bombo of the dead man has left his body it goes to the buffaloes and the pigs that were slaughtered for him and takes the spirits of these animals away.

The spirit of the deceased does not immediately go to the Land of tbe Souls af ter the corpse has been laid in the rock grave, but it wanders around the village and goes to the place where a feast is being held and importunes the people who are there. The spirit attaches itself to other spirits and they all gather in the open space under the house in which there is a dead person awaiting intennent.

The spirit of a dead person only takes the path to the Land of the Souls when the entire death ritual has been carried out and the period of mourning is over and the last group of those who observe the moUfning customs again eat rice, kumande tampak = the last to eat rice. Rice for the deceased as well as the thigh bone of a pig, is then thrown from the house into the space beneath it, mafJTondonan bota = to throw down crumbs of cooked rice. Af ter that, the spirit is led at night southwards out of the village, one or two hours walk. The spirit then continues to sojourn outside the village. Only when the death ritual has been concluded with an offering to the gods, which act severs the connection between the world of the living and the world of the dead, does it proceed on its way to the Land of the Souis. There it leads a life corresponding to life on earth.

Should the dead person be interred without any ritual, then the spirit has amiserable existence outside the Land of Souis. It feeds on kambola fruit, a kind of lefJkuas, a plant with long broad leaves and with fruit like that of the djambu.

There is also an idea among the Sa'dan Toradja that the spirits of the dead become ants which of ten take to plants called fly traps or sundew (Drosera) . The Sa'dan Toradja call those plants suke bombo = vessels for the spirits of the dead. When these ants die, they become the clouds which rise in the west and in due course give the rain that makes the rice grow.

3. The perfonnlng of the badol)

The singing of the chant for the deceased, accompanied by the perfonning of particular dance movements, is called ma' badofJ (verb) or pa'badOfJ (noun).

A good description of the rhythmic movements of the dancers during the singing of the chants is to be found in Claire Holt's Dance Quest in Celebes 9 ), pp. 52-54,115. This book contains also some beautiful photographs of the dancing during the singing of the chant for the deceased.

The usual form of singing the badOfJ diosso'mo, the traditional chant

for the deceased, and of performing the accompanying dance move9) Les Archives Internationales de la Dance, Librairie G.P. Maisonneuve.

ments, is called ma'badOfj mbati'J = perfonning the chant for the deceased as a lament. I t is as follows.

A group of dancers who are to sing the chant form a circle. Each dancer places his left hand on the shoulder of the man next to him. Slowly the dancers circle round in an anti-clockwise direction, keeping time to the chant with their steps and continually making a scooping movement with their right arms as they speak each line of a strophe to stress the rhythm 1()). Each step to the right is accompanied by a scooping movement to the left.

Two or three of the singers who are facing north and south, act as leaders and start the singing. Another singer acts as a prompter 11 ).

When the chant is about to start, one of the singers will ask: "Now tell us how the lament goes." Then the prompter asks: "Have you already heard it?" The one who asked the question replies: "Not yet." The prompter then speaks the first line of the first strophe which line is then sung by all the singers. When ihey have finished it, one or two of the leaders sing the second line of the strophe. Af ter that, all the singers sing the first line of the second strophe. Again someone will ask: "Now tell us how the lament goes." The prompter then speaks the second line of the strophe, and the same procedure as before is followed.

The singers then sing a number of strophes until they decide that they want to change to a different manner of dancing. One of them will then say: "Let us change this for another", and someone will say, for example: "Let it he the pa'solli" 12), whereas the chant is then continued according to this form which is as follows.

The performers stand in a circle as hefore. Each man places his left hand on the right shoulder of the man on his left. His right hand he slaps against the chest of the man on his right. He then removes rus hand and makes a scooping movement with his right arm.

When the chant is again about to start, someone will ask: "Now tell us how the lament goes." The prompter then speaks the first line of the strophe following that at which the chant was broken off. All the singers then sing the line while making the scooping movement, the ending of the movement coinciding with their uttering the word solli.

Again the prompter speaks the next line and the singers sing it. They then continue to sing the strophes following until someone again expresses a desire to change the form of dancing.

One will then say, for example: "Let us follow the manner of singing of the people of Pai'."

This form comes from the village of Pai' on the south side of Mt. Napo 13). The performers stand in a circle with their left hand hanging straight down. The scooping movement is also made in this form but thc hand is brought to rest on the chest of the next man in the circle. Again, one of the singers will ask: "Now teIl us how the lament goes," and the prompter takes up the first line of the strophe following the one at which the form was changed. The singers sing this line and this pattern is followed until they decide to end it, which they do with the words: ambe' to safJlembfl13 14) = father of the whole adat community, when the chant is being sung for a man, and: simbolot'j renden 15) = noble sister, when it is for a woman.

In addition to the ma'badot'j mbatifJ, the pa'solli and the pa' toPai', just mentioned, there are several other ways of performing the movements that accompany the singing of the chant for the deceased:

a) pa'toSe'pon: this form comes from the village of Se'pon in the Lolai village-group which is on Mt. Lebusan in the PaIJala' territory, to the north-west of the capital, Rantepao. The performers hold hands and swing their arms up and down, taking steps at the same time. The pa'toSe' pon is performed with quick movements.

b) pa'toPiot'jan = doing it in the manner of the people of PiOlJan. This is the name of a territory to the west of the Rantepao country. The dancers hold hands and swing their arms slowly to and fro. The leaders stand opposite each other in two and three. They start the song, singing softly such of the strophes of the traditional chant as come to mind, then the rest join in singing loudly. Each group of the leaders sings a strophe alternately.

c) pa'toBala = doing it in the manner of the people of Bala, a village in the MeIJkendek territory, Ma'kale country. The dancers form a circle and move in an oblique direction. They make a scooping movement with their right arms. They raise them three times, then swing them to the left and then again raise them three times. These movements are repeated throughout the singing. As the dancers make the scooping movement they take a step sideways.

d) pa'sokko' tata' = doing it in the manner of the red Bonean pointed cap. This form originated with the people of PiOlJan (see b). It bears a slight resemblance to the pa'toBala (see c). In the latter, the scooping movement is made with the arms: in the pa'sokko' tata', the dancers hold hands, their knees are bent and they make jigging movements.

e) pa'lape-Iape = hanging limp. This form is that of the people of Lolai (see a). The dancers form a circle and place one arm on the shoulder of the next person. The left foot is raised and the hand, of which the fingers are stretched out but bent inwards, is then raised three times and the left foot lowered. The dancers make a scooping movement with their right arms, raise the right heel and take a step forward. The scooping movement of the arms is made af ter a strophe has been sung. Af ter the singing of a few strophes, lines containing jocular allusions are interpolated between them and the strophes following. For example, when the singers want to chew sirih-pinang, they sing: rio-rio malia puduk to lamban anna puduk to ma'badot) = the mourning lament recalls that the lips of the ones who have passed on were redder than those of us who sing the chant for the deceased. This form is concluded with the words: 'nobie woman', or 'beloved woman', or 'most youthful one'.

f) pa'toKe'pe' = doing it in the manner of the people of Ke'pe', a village in the Lolai-village-group (see a). The dancers hold hands. The knees are not bent, the steps being made with the legs straight. A long scooping movement is made with the arms. The following is the concluding strophe:

maloen-Ioen londe to Riu

daen datu to Ta'ba'.

The chant of the people of Riu 16) goes to and fro. There is the Lord 17) of the people of Ta'ba' 18) • g) papa oda' (= ?): this is a form from the PalJala' territory (see a). The movements are those of the simbo1'.h the chorus which is sung at the bua' feast and also at the maro feast, both of which are offering feasts held for the gods. The dancers hold hands and move their bodies up and down twice and then take a step sideways.

h) badCJt3 disimpoi = the chant for the deceased at which the participants are not on the same level, i.e., some are sitting and some standing (simpo = dissimilar in height and length: the one is high, the other low). The dancers hold hands and make a scooping movement with their right arms; this movement is made when part of the words have been sung. Some of the dancers then leave the circle and sit outside it. Af ter those who continue the chant have again finished a part of it and the dancers have again made the scooping movement with their arms, those who have been sitting stand up and those who have been standing go and sit down. When it is time for this form to be concluded, everybody stands up. H, af ter that, it is the general wish that the chant should be continued, someone will again ask: "Now tell us how the lament goes", etc.

i) pa'rdna = the speaking of the word ra'na = alas, woe. Here the dancers stand in a circle and hold hands. Slowly they take a step and stamp their feet, following the stress of the words. When the dancers are about to start, the mourning lament is begun, as follows:

ra'na mario-riokan kami,

makarorofJ silelekan.

Alas, that we now mourning are,

All here, are solitary now.

Af ter the dancers have circled round for a considerable time, they break the circle, one part forms an outer circle, the other an inner circle. At the end of the chant, the dancers join together again and make the scooping movements with their right arms. The pa'ra'na can also be sung and danced in the form of the badofJ disimpoi (see h) but the dancers do not then form a circle.

j) the Ne' Bura form: the dancers stand in a circle and place one hand on the neck of the person next to them. In the other hand each dancer holds a piece of wood which is waved slowly to and fro. In this chant also, there are people who start the singing. The chant is concluded with the words: bendo' = frightful!

k) barande' to mafjkambi' = the song of the buffalo herders (barande' has the same meaning as pa'bare-barean = light-hearted song). The dancers stand in a circle and hold hands but they do not make the scooping movement with their arms as they circle round. The chant concludes with:

indeko te, bolu gatta!

now let there be sirih, gambir!

Formerly, the object of singing these words was to ask for sirih and pinang.

I) simbot) podo' = chorus that is interrupted. The performers sing this chant (see Text 11 E) while standing in a circle. Each man places his left hand on the shoulder of the man next to him. During the singing, theright hands are raised. When the performers have sung the last strophe, they drop their arms and all of them say: "Frightful, frightful!"

m) pa'randen-randen = the speaking twice of the word randen = alas, woel (see Text 11 G). The direction of the dance is anti-clockwise. The performers stand in a circle. Each man places his outstretched arms on the shoulder of the man on either side of him. The singers take a step and then drop their arms. Again they place them as before and take a step to the right. When the song is finished, the performers say the word randen, alas.

n) passimban = making allusions (see Text 11 H). The performers stand in a circle and hold hands. They raise their hands at the same time taking a step sideways and stretching their arms towards the centre of the circle. This sequence of movements precedes the singing of each word. Af ter the last word of the second strophe has been sung they say: dikkan ambe' = "Oh, father" , or dikkan indo' = "Oh, mother", depending upon whether the chant is sung for a man or for a woman. When the chant is sung for an old person, the concluding words are: nakua induk = he has become as old as the heartwood of the sugar palm; for a child, the words are: bintoen ronno' = he is like a star that has fallen.

0) ma'badot) ma' palao = performing the chant for the deceased when his corpse is being carried. This is sung when the bier is being taken from the death house to the rante; and also when the deceased is being carried from the rante to the rock grave. In this latter case the words are sung quickly to the accompaniment of jigging movements. The strophes sung are selected at random from the traditional chant by the leader.

p) badOfj to sOfjlo' = the chant of the people who go downward in procession to the place of the feast carrying the bier (see Text 11 K). This is a kind of ma'badOfj ma'palao and is sung when the people carrying the bier need a rest and lay it on the ground. The bearers, and some of the people with them form up into two rows facing each other and while those in the one row take four steps forward, those in the other take four steps backward. Af ter the first strophe, which is always the same, has been sung and repeated there follow a number of strophes that are chosen at random from the traditional chant. Someone starts off, singing the words quickly and the others then sing the rest of the words of the strophe.

Whereas the ma'badOfj mbatifj, the ma'badofj ma' palao (0) and the badOfj to sofjlo' (p) are performed by men alone, the other forms of the chant that have been mentioned can also be performed by women or by children or by men and women together. The younger generation sing the words quickly to amuse themselves at the feast for the dead.

4. The retteq

In addition to the texts of the chant for the deceased, some examples are given of the kind of verse that is called rettet} (Texts R 1-12).

A rettet} is an improvized verse which is recited by the person who composes it. The subject matter must bear on the occasion on which it is spoken and is selected by the composer; the number of strophes varies according to his ability.

Rettet} are recited at the merok least - of which the clan house is the focal point - in the evening of the day of the great feast when the women, dressed in festival attire, sing in chorus (ma' dan dan ; see The Merok Feast, p. 9); at the bua' or la'pa' feast which opens the new agricultural year and which is held to ensure fruitfulness in man, livestock and plants; and at a death feast.

A rettefj that is recited when the chant for the deceased is being sung is introduced at an arbitrarily chosen place in the chant. During the course of the singing of the chant it may be one of the singers who wants to recite a rettefj or it may be someone taking part at the feast. Before the to ma'rettefj, the person who is to recite a rettefj, commences, he picks up a short stick, bandafjan, to which goat hair is attached. This stick he holds in his hand while he recites his verse.

A rettefj is spoken in a monotone and all the words are drawn out. When a rettefj has been recited there should be one given in reply.

Rettefj spoken at a death feast may treat of a variety of subjects. In them, the deceased can be praised; those against whom he had a grievance can be criticised; satirical reference can be made to a person with whom he was associated in life; matters concerning the deceased can be alluded to; and people mayalso make verses referring covertly to each other.

Texts R 1-10 are examples of rettefj spoken at a death feast; an example of a rettefj recited at the merok feast is given in R 11; one recited at the la' pa' feast, in R 12.

In the Ma'kale territory, a particular procedure, called pa'Ze-le, is folIewed when a rettefj is to be recited at a death feast. When the singers of the chant for the deceased want someone to recite a rettefj they sing the first line of a strophe chosen at random from the chant, repeat it, and follow it with the exlamation: Ie, Ze, Ze!, "hey, hey, hey!" This is meant to encourage someone to recite a rettefj. While they are singing, each singer has his left hand on the shoulder of the man next in the circle; in his right hand he holds a piece of wood which he raises and lowers to the rhythm of the words.

When the desired rettefj has been given, the singers sing the second line of the strophe and repeat it and again follow it with the words Ze, Ze, Ze!, in the hope that another rettefj will be forthcoming.

Text R 10 is an example of a rettefj recited in this way.

5. The metrlcal form of the badoq and the retteq

Each line of the badOfj and of a rettefj contains eight syllabies, making four trochaic feet. Each syllable contains one vowel. This scheme can be said to be consistent; only rarely is it broken by a line having one syllable more or less than eight.

These octosyllabic lines are combined into strophes of, in the main, two lines each. Only occasionally does a strophe consist of three lines. In a great many cases, the two lines of a strophe are linked by parallelism, i.e., more or less the same content being expressed in both lines though with different words.

This twofold form, octosyllabism and parallelism between two lines, is also found in a number of other songs such as the gelO'tJ maro, the gelotJ pare and the bugi' which, in common with the bad0f3 and the rettCtJ, are sung during certain religious feasts or rituals. The same form is also used in the sitJgi recitative, which is recited, not sung, by to minaa at the great bua' feast.

Other litanies that are recited at certain feasts, the merok feast, for example, are not, however, in metrical form and the lines are of varying length. Such litanies are constructed of strophes, with parallelism between one line and another.

IA

Ossoran badoq to dlrapa'i

IA

Traditional chant tor the deceased tor whom the elaborate rituaI tor the dead is carrled out

The informant was Ne' No'ra of the village of Sal3polobUl}in in the NonOlJan village-group, Kesu' territory, Rantepao country. The words were written down by Mr. ]. Tammu.

Umbamira sal}tondokta, to mai sat}banuanta?

2 Ke'de'ko tatannun batÏtJ, tabalandul} rio-rio.

3 Sae nas3.t} to marintin, mairi' t3.t}ke tikunna.

4 La marintin lako ambe', mario lako ma'dadi.

5 Ambe', perangiimo' mati', ambe', tandil} talil}ana'.

6 La kulolloan rara'ko, la kutendCl} bulaanko.

7 La kulambi'mo dadimmu, kudete'mo garagammu.

8 Daa sal}t3.t}kena 13.t}i', sa.t}sumindUl}na batara.

9 S3.t}sapa' to paluIlul}aD nanai lol}ke dikombol}.

10 Tambu lebu' didadian, tumaj3.t} dikianakan.

1 Where are those of our village now, The ones who of our hamIet are?

2 Come, let us weave the lament now That we may start the mouming song.

3 Let everyone who moums now come, All of his kin from everywhere

4 A dirge for our father to chant To moum the one who us begat.

5 Now, father, pay thou heed to me, Indine, father, thine ears to me.

6 Let me laud thee, as jewels lauded, Let me praise thee, as gold is praised.

7 The time of thy birth have I reached, To thy genesis I have come.

8 At a heaven branching northward In the wide sky's down-arching vault,

9 A space there in the firmament, There was he formed, the high bom one

10 There came he forth in full extent, Was bom there the exalted one.

2 tatannun = let us weave.

tabalanduJJ rio-rio = that we may take the larnent with us.

3 taJJke tikunna = all branches everywhere.

6 rara' = neck chain; worn by women. It consists of three oblong wooden beads overlaid with gold leaf with, between each of the beads, other beads made of dark brown resin.

7 garagammu = the forming of thee.

S sumind~ = having the shape of an inverted funnel.

9 saJJSapli = a space between two poles; a room between two watis. to palullUJJan = the all-enfolding.

lo~ke = visible from afar.

11 Randuk ke birromi allo, ke dollokki sulo padat}, ke kapana' -panaranna.

12 Lat}I}an ditambuli gandal}, disu'bak pa'paredean.

13 Anna dadi pole' todil}, nakombOf} pole' paIJloli.

14 Rokko ditambuli laIJi', dibuak pekali bassi.

15 Dipantananni lolona, diosok rambo-rambona.

16 Mampu' sat}Sesena lal}i', nasarombon tauninna, nabissik rambo-rambona.

17 Tu nene' mendeatanna, to dolo kapuaIJanna.

18 Umbat}unan lando 10IJa, unnosok salIe a'riri.

19 Dipatendanni patal}do, diosok lumbaa padat}.

11 Just at tbe time the sun rose up, Just when the earth's torch could be seen, Just as it fierce began to glow,

12 Then was the caul pierced there on high, Then broken open was the womb.

13 And then came forth the high born one, Then was born the glorious one.

14 A hole was then in heaven dug, The ground with an iron spade was turned

15 And then his cord was therein placed, Ris afterbirth was in it laid.

16 The firmament, its half was scorched Ris afterbirth did powder it Ris placenta bespattered it.

17 The ancestor who was divine The forefather revered as lord

18 Built that which has a roof high-pitched, Set up that which on tall poles stands,

19 The bua' feast stone set in pI ace The ritual bamboo planted.

20 Nanai 10lJke ma'bua', tumajat} ma'balinono, lil}gi' ma'kasea-sea.

21 Ma'kebua' tat} dilambi', menani tal} didoloi, la'pa' tat} disirantean.

22 Ta'bu sat}lampa nasura', sal}paraan naaI}gilo, sat}pati' nasora pindan.

23 Umbal}unan ala' -ala', bendan susi anak dara.

24 Dipepalat}kai dao, dipesondol} bulaanni.

25 Dibaju bat}goi lako, dibidakki pio bamban.

20 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave.

21 No one that bua' could attain, That menani feast was matchIess, That la' pa', unsurpassable.

22 A sugar cane node he incised, He cut designs on part of it Carved arrows, as upon a dish.

23 He set up the adorned bamboo The anak daTa then stood there.

24 It was affixed there, high above, Like a house front cornered, splendid.

25 With blouse of beauty was it dressed A girdle coarse and fine hung there

ma'kebua' tuntlln lalan,

menani lako-lakoan.

He always held the bua' feast,

menani rites he always did.

sirantean = to be the equivalent of.

bulaan = golden.

26 Dilampa-Iampa darandat}, didandanni bUl}a rea.

27 Mendolok api daona, ra'rari tisea' dio13.

28 Disal3gil3an pao makkan, ambajal} katarananna.

29 Nametamba rekke buntu, meolJli' rekke tanete.

30 DeJ}ka buntu tal} natende!}, tanete tal} naloIloan, lombok tal} nasiri-siri?

31 Anna turun sae baan, anna lumaIle bugiran.

32 Tae' dikita lumalle, tal3 kojo13 passirukanna.

33 Seba makkan di01J to'na, ia umpamal}kai, dipa'anak deatai.

34 Tonna ke'de' daja mai, bu'tu lamban diot} mai.

35 MeIlao disorol} pindan, ke'de' dirande banaa.

26 Coloured stripes were in it woven And tufts of grass upon it drawn.

27 Fire hung there at the top of it, Flying ants spread at the bottom.

28 Green mafjga were for them cut thick, The embatjafj their sour fruit was.

29 His voice he sent North, to the hilIs, Called he northwards, to the mountains.

30 No hilI invited was unpraised No mountain called but was extolled No valley mentioned but with care

31 That parakeets would there descend Bugiran birds in number come.

32 Their numbers great, uncountable, The food placed there showed no inroad,

33 The apes disposed of what remained, They ate up everything there was; They are as children of the gods.

34 And then he from the North set out, From yonder was he seen to start,

35 The ritual dish was moved as weIl The rites' tray held on flat of hand,

36 N adoloan burakena, naturu' pal}laananna.

37 DipaseJ}gOl}i garatUl}, didedekki kuli' saa, rorel}na tandilo uia'.

38 Dao paty"antena pUal}, kala'paranna deata, kasipulu' -puluranna.

39 Pa'tol}koanna nene'na, esUl}anna to dolona.

40 U mpalele tOf3konanna, umbe'do kapajUl}anna.

41 Tu nene' mendeatanna, to dolo kapual}aDna.

42 Tonna ke'de' daja mai, tonna lao sambalin mai,

43 Karua gello natakin, annan gajaJ} diaakna.

44 N apa'petaIJkean uran, nasembaJ}an pini-pini.

36 His burake preceded him, His people followed on behind.

37 The bead-hung drum was struck for him, The python skin was hit for him, Resounded the snake instrument

38 On that plain of the heavenly, At the godly bua' feast place, The plain where close around they pressed,

39 At the dwelling of his forbear The seat of his progenitor.

40 And then his clan house did he move, His shielding force he took elsewhere.

41 His ancestor who was divine His forefather revered as lord.

42 Now, when he from the North set out, When from the other side he went

43 Eight kris girded, patterns winding And six gold ones were at his waist.

44 He hewed the rain's boughs off with them, He cut the drizzIe's twigs with them.

45 To dao to' lemo laa', pa'tol}koanna nene'na, eSUl}émna to dolona.

46 U mpalele tol}konanna, umbe'do kapajUl}anna.

47 Tonna ke'de' daja mai, tonna lao sambalin mai,

48 N adoloan burakena, naturu' pat}laananna.

49 Napaset}gorJi garatul}, nadedekki kuli' saa, rorel}na tandilo uia'.

50 To dao to' taba.t3 tua, pa'tol}koanna nene'na, eSUl}anna to dolona.

51 U mpalele tol}konanna, umbe'do kapajUl}anna.

52 BUI}kako ba'bana lal}i', pentiroanna deata.

53 La napolalanko batÏl}, la naolako mario.

54 Kurapak allo nanai, sumbal} bulan naesUl}i.

55 Pa'torJkoanna nene'na, eSUl}anna to dolona.

56 Lalan tal} lalan naola, ta.t3 lemboan napolalan.

57 Lalan magel}ge magial}, lalan ma'posa.t3a-sal}a.

58 Tindak sarira naola, mian kila' napolalan, sundallak napolambanan.

45 There by the sour one did it stand The dwelling of his ancestor The seat of his progenitor.

46 And then his clan house did he move, His shielding force he took elsewhere.

47 And when he from the North set out, When from the other side he went

48 His burake preceded him, His people followed on behind.

49 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument.

50 It stood there by the dark red plant The dwelling of his ancestor, The seat of his progenitor.

51 And then his clan house did he move, His shielding force he took elsewhere.

52 The gate of heaven open thou The window of the godly ones

53 To let the song of grief go through, To give the lament passage there.

54 Placed at a branching of the sun, Set in the region of the moon

55 That dwelling of his ancestor That seat of his progenitor.

56 He trod a way which no way was, He walked a path that no one walked,

57 A way of dread and frightfulness A path of danger, needing care.

58 He chose the rainbow as his path The flashing lightning was his way, He walked along the kindled forks.

59 Sae mellese iPoIJko', mentunannan riLebukan.

60 Pa'toIJkoanna nene'na, esuIJanna to dolona.

61 Umpalele t013konanna, umbe'do kapajuIJanna.

62 Tu nene' mendeatanna, to dolo kapuatJanna.

63 N adoloan burakena, naturu' palJlaananna.

64 DipaselJgOl3i garatuIJ, didedekki kuli' saa, rore!3na tandilo uIa'.

65 Sae mellese iSepatJ, mentunannan riKaratJan.

66 Pa'tolJkoanna nene'na, eSUlJanna to dolona.

67 Umpalele tOl3konanna, umbe'do kapajulJanna.

68 Tiumba'mo BambapuatJ, dollokmo Pintudewata.

69 N adoloan burakena, naturu' paIJlaananna.

70 NapaselJgOl3i garatUIJ, nadedekki kuli' saa, roreIJna tand ilo uIa'.

59 POIJko' he reached and trod thereon, There on Lebukan did he live

71 Sae mellese iRura, mentunannan riLellua.

60 In the dwelling of his forbear The se at of his progenitor.

61 And then his clan house did he move, Ris shielding force he took elsewhere.

62 Ris ancestor who was divine Ris forefather revered as lord.

63 Ris burake preceded him, Ris people folIewed on behind.

64 The bead-hung drum was struck for him, The python skin was hit for him, Resounded the snake instrument.

65 Sepa13 he reached and trod thereon, There on Karal3an did he live

66 In the dwelling of his forbear The se at of his progenitor.

67 And then his clan house did he move, Ris shielding force he took elsewhere.

68 Showed BambapuaIJ suddenly, Came swiftly Pintudewata.

69 Ris burake preeeded him, Ris people followed on behind.

70 The bead-hung drum she struek for him, The python skin she hit for him, Resounded the snake instrument.

71 Rura he reaehed and trod therein, There in Lellua did he live

72 Pa'tOl}koanna nene'na, esul}aJlna to dolona.

73 Tonna ke'de' lao' mai, tonna lao sambalin mai,

74 mellao disoro!} pindan, ke'de' dirande banaa.

75 Sae mellese iDuri, mentunannan riEndekan.

76 Pa'tol}koanna nene'na, eSUJ3anna to dolona.

77 U mpalele tOl}konanna, umbe'do kapajul}anna.

78 To nene' mendeatanna, to dolo kapua!}anna.

79 Sae mellese iSe'ke', mentunannan riSinadi.

80 Umbaf}unan lando 1000a, unnosok salIe a'riri.

72 In the dwelling of his forbear The seat of his progenitor.

81 N anai lol}ke ma'bua', tumajaf} ma'balinono, liJ3gi' ma'kasea-sea.

73 And when he from the South set out, When from the other side he went

74 The ritual dish was moved as weIl The rites' tray held on flat of hand.

75 Duri he reached and trod therein, There in Enreka13 did he live

76 In the dwelling of his forbear, The seat of his progenitor.

77 And then his clan house did he move, His shielding force he took elsewhere.

78 His ancestor who was divine His forefather revered as lord

79 Se'ke' did reach and trod thereon, There on Sinadi did he live,

80 Built that which has a roof high-pitched, Set up that which on tall poles stands.

81 The bua' held the high born one, Sublime, he strode there in the row, The mighty one the great feast gave.

82 Ma'kebua' taf} dilambi', menani taf} didoloi, la'pa' talJ disirantean.

83 Tonna ke'de' lao' mai, tonna lao sambalin mai,

84 nadoloan burakena, naturu' paf}laananna.

85 Napaset}gof}i garatUl3, nadedekki kuli' saa, roref}lla tandilo uIa'.

86 Ma'tete Batumo batif}, unnola landa Sarira.

87 Kasirimpuf}anna batÏf}, kakendenanna mario.

88 U mpalele tof}konanna, umbe'do kapajul3anna.

89 Sae mellese iKesu', mentunannan riBaf}kudu.

90 Pa'tof}lmanna nene'na, esul3anna to dolona.

91 Umpalele tOl}konanna, umbe'do kapajul3anna.

92 Sae mellese iBatu, mentunannan riSiguntu'.

82 No one that bua' could attain, That menani feast was matchiess, That la' pa', unsurpassable.

83 And when he from the South set out, When from the other side he went

84 Ris burake preceded him, Ris people followed on behind.

85 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument.

86 The song of grief walks on the Rocks, Walks upon the curved Sarira.

87 The songs there form their union, The mourning laments upward rise.

88 And then his clan house did he move, Ris shielding force he took elsewhere.

89 The Kesu' reached and trod thereon, There on Bat}kudu did h~ live

90 In the dwelling of his forbear The seat of his progenitor.

91 And then his clan house did he move, Ris shielding force he took elsewhere.

92 Batu he reached and trod thereon, There on Siguntu' did he live

Bal)kudu is the name of a region situated on the spur of the Kesu', hard by the village of Ba'tan.

93 Pa'tolJkoanna nene'na, esul}3.I1na to dolona.

94 U mpalele tolJkonanna, umbe'do kapajul}anna.

95 Tu nene' mendewatanna, to dolo kapual}anna, sae mellese iSil}ki'.

96 Pa'tor}koanna nene'na, esUt}anna to dolona.

97 Umpalele tot}konanna, umbe'do kapajuf3anna.

98 Tu nene' mendewatanna, to dolo kapual}anna.

99 N adoloan burakena, naturu' pal}laananna.

100 Napaset}g0!3i garatulJ, nadedekki kuli' saa, rorel}na tandilo uIa'.

101 La rampo indete tondok, kenden indete pal}leon.

102 Pa'tol}koanna nene'na, esUt}anna to dolona.

103 Dipatendanni patal}do, diosok lumbaa pada!}.

104 N anai IOl}ke ma'bua', tumajal} ma'balinono, lilJgi' ma'kasea-sea.

105 Ma'kebua' tal} dilambi', menani tal} didoloi, la'pa' tal} disirantean.

93 In the dwelling of his forbear The seat of his progenitor.

106 Tu nene' mendewatanna, to dolo kapual}anna.

94 And then his clan house did he move, His shielding force he took elsewhere.

107 Sundun sal}tat}kena bati.l}, Sa!} paraanna mario.

95 His ancestor who was divine His forefather rcvcred as lord Sil}ki' did reach and trod thereon,

96 In the dwelling of his forbear The scat of his progenitor.

97 And then his clan house did he move, His shielding force he took elsewhere

98 His ancestor who was divine His forefather revered as lord.

99 His burake preceded him, His people followed on behind.

100 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument.

101 And when he reached the village here, When to this hamIet he did come

102 To the dwelling of his forbear The seat of his progenitor,

103 The bua' feast stone set in place The ritual bamboo planted.

104 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave.

105 No one that bua' could attain That menani feast was matchless That la'pa', unsurpassable

106 Of his forbear who was divine His forefather revered as lord.

107 Ends now a part of this lament, A section of this song of grief.

108 La kulambi'mo dadinna, kudete'mo garaganna.

109 lari tonna dikombol}, tonna dibassei baju,

110 tal} kembuarika lal}Sa', taIJ tarri'rika durian,

111 Anna tal} kanderi indo', anna tal} onta-ontari?

112 Bulajan paIJidenanna, rara' elo' -eloranna.

113 Dao bulan sal}tampana, bintoen saIJgaraganna, allo sal}ba'na-ba'nanna.

114 Pada didadian bulan, pada kombol} BUI}a'lalan.

115 Tonna randuk didadian, tumajaIJ dikianakan,

116 randuk ke birroi allo, ke dellekki sulo padal}, ke kapana' -panaranna.

117 Anna dadi pole' todil}, nakombol} pole' pal}loli.

118 Lal}'3an ditambuli gandaIJ, disu'bak pa'paredean.

119 Rokko ditambuli padaIJ, dibuak pekali bassi.

120 Dipantananni lolona, diosok rambo-rambona.

121 Mendadi maa' lolona, kombol} sari ta uninna.

108 The time of his birth have I reaehed, To his genesis I have come.

109 Now, at the time when he was formed, The baju hung a eurvéd line.

110 Did not the laf'jSat tree bear fruit Did not the durian produee

111 That them the mother would not eat Then would not swallow in her greed!

112 She only fancied things of gold, A gold neeklet did she desire.

113 Ris form was as that of the moon, Re had the brightness of the stars, Ris beauty as that of the sun.

114 Bom as an image of the moon, Ris shape just as The Pleiades.

115 The time of his birth then drew near For the sublime one to eome forth,

116 Just at the time the sun rose up, Just when the earth's toreh eould be seen, Just as it fieree began to glow

117 Was then eome forth the high bom one Then was bom the glorious one

118 Then was the eaul piereed there on high, Then broken open was the womb.

119 A hole was then dug in the earth, The ground with an iron spade was tumed

120 And then his eord was therein plaeed, Ris afterbirth was in it laid.

121 Ris eord, it was a tjindai cloth, Ris afterbirth a blue white weave.

122 Unnarre-arre ambe'na, sumapuko ma'dadinna.

123 Ganna'mi tallu bOl}inna, ganna' bilal}-bilal}anna,

124 mellao rokkomi alal}, diOlJ landa' beloanna.

125 Diamparanomi ale, dilante-Ianteanomi.

126 Dilolloan anna lobo', ditende' anna kasalle.

127 Pada kasalle rundunna, pada lobo' beluakna.

128 Randuk ke birromi allo, ke kapana' -panaranna,

129 mellao lakomi bubun, to dio to' peIlal}iran.

130 Anna balik dio mai, napole sambalin mai.

131 N abaa rampo itondok, napakenden dipal}leon.

132 Pada kasalle indo'na, pada lobo' ma'dadinna.

133 Kasalle nairi' al}in, lobo' nasimbo darindil3.

134 Anna kasalle madomi', nalobo' tÏ1}kara-kara.

135 Ma'doke-doke ralJka'na, ma'pasoan tarunona.

122 Ris father was exultant then, The war cry his begetter yelled.

136 Tu bulaan banne ba'taIJ, tu rara' ral}ga inaja, ponto passasaran tuju.

123 Then when he was but three days' old When in full had passed that number

124 They brought him down to his rice house Below, to his storehouse adorned.

125 A mat was spread out there for him A sleeping place was made for him

126 Lullabies sung for his thriving Cradle-songs sung for his growing

127 That he should thrive just as his hair, Grow weIl, as that upon his head.

128 Just at the time the sun rose up, J ust as it fierce began to glow

129 Re was taken to the weIl there, There yonder, where folk wash their hair.

130 And then he came back from that place, He was again brought back from there.

131 Then to this village was he brought, Then to this hamIet he was fetched.

132 Big as his mother had he grown, Just as his father he had thrived.

133 The cool wind blewand made him grow, The mild breeze stirred and so he thrived.

134 And then it was he swiftly grew And then it was he quickly thrived.

135 Ris fingers, they were just as spears, Ris toes as shafts of lances were.

136 Ris many thoughts were just as gold Ris ideas a gold necklace were Ris advice as an armband was.

137 Sanda sia malaenni, sanda nabenni dewata, sanda napatoeanni.

138 To roJ3ko' patalo dio, sitondon tindo boIJinna, sola mamma' karoenna.

139 Patarimako pala'mu, la natibolloi sugi', natikembo13i ianan.

140 Anna ma'sumpu matua, anna banu' karuru13an.

141 Piranmi allu'na pasa', bilaIJ-bila13na tammuan, anna laori ma'pasa'?

142 Sule masaki ulunna, sule ramban beluakna.

143 Dipalimbol}ffii to bara', sol a anak to makaka.

144 U13kaIJkananni pesuru', sola to ma13aku kumba'.

145 Tu Ne' Sarami patalo, sol a to massaro13 kumba.

137 Unusual in all was he, The gods had every gift bestowed To him they had presented all.

138 Good fortune did on him attend As dreamed in dreams he had at night As in his evening sleep he saw.

139 The hollow of thy hand prepare The riches shall pour forth therein, Increase shall the possessions, too.

140 He reached the greatest age there was The heartwood of the sugar palm.

141 How many passed the market days What number gone the days of sale Since he came to the market here?

142 He had retumed with he ad in pain, And rumpled did his hair become.

143 Were summoned then the adat chiefs Together with the notables.

144 They made the cleansing rites for him, Rites for his confession willing.

145 But it was Ne' Sara who won; He wears the dried areca Ie af.

143 to bara' (Mal. berat) : in the Sa'dan country, this is the term for the prominent adat chief who acts as the offerer. Among the To Seko, in the former Masamba division; the people of Kalumpa13 on the lower Karama River; and the Ta M akki in the basin of the River Karataul}, the term to bam' is the title of the chief of the adat community.

anak to makaka: the notables of the adat community who, as weil as the adat chiefs, the to parefJ13e', occupy an influential position. In the Toradja mountain district called Ranteballa, in the former division of Palopo, and in the ROI}kOl} district in the Masamba country, the chief of the adat community bears the title of to maka.ka. In the Sa'dan region, to makaka = freeman, as distinct from a slave.

144 The atonement offerings are carried out to atone for the transgression which is the cause of the sickness. The nature of the transgression is determined by divination.

maIJaku kumba': to confess guilt with a heart as weak as the pith of the high palm with the ringed horny trunk, Oncosperma jilamentosum, BI.

145 Ne' Sara is the name of the to mebalun, preparer of the corpse who, in NonOl}an, the region from which this chant for the deceased originates, directs the rites carried out when

146 Anna matindo isondol}, anna mamma' ibanua.

147 Matindo sisule pata', mamma' sitandi ban ua, untÏt3ara sel}O' papa.

sola to massarol3 kumba.

149 Urrundunanni alukna, unteteimi bisaranna.

150 To mamma' lan lembal} [sura'na, to matindo lan lopi bulaanna.

146 There, in the house was he stretched out There, in the dwelling did he lay.

147 Across the main beam was he stretched, Athward the house, there he did lay, Up to the bamboo thatch he looked.

148 Ditambaimi Ne' Sara, 148 Ne' Sara, he was summoned then; He wears the dried areca leaf.

149 They followed all the rites for him The adat ritual for him.

150 He lay there in his curvéd prau, He rested in his golden boat.

sC'Jo' papa: the slots in the roofing. The roofing of a Toradja house is made of bamboo culms split lengthwise. Two slots are cut on the convex surface of each piece of bamboo and a long narrow pin, made of a bamboo culm that has been squared off, is pushed through these slots to hold the pieces of bamboo together. The ends of the pin are tied to the laths resting on the rafters. sitandi = lying across each other.

At the commencement of the death rites, the deceased is taken from the sleeping room at the south of the house to the central space in the house and is there laid with his head towards the W e~t, the point of the compass associated with the dead. The houses !ie on a north-south axis; the corpse of the dead person is laid across this axis.

151 Siajo-ajo tombinna, sidoloan banderana, sola tombi to Luwunna.

152 Randuk ke birromi allo, ke dollokki sulo padat},

153 mellao rokkomi al al}, diol} landa' beloanna.

154 Susi passura' to Bone, pa'katadan to Belanda, pal}ugi' to tana Bugi'.

155 Mellao rekkemi bamba, to daa to' sali-sali.

156 Nadoloanni Ne' Sara, sola to massarol} kumba.

157 Sumol}lo' rante kalua', diot} tandlll3 sea-sea.

158 N adoloan banderana, naturu' pal}laananna, sola tombi to Luwunna.

159 La natibolloi sarol}, natikembof}i kambuno.

151 His banners stood out, fluttering, His flags and Luwu' pennons flew.

152 Just at the time the sun rose up, Just when the earth's torch could be seen

153· They brought him down to his rice house Below, to his storehouse adomed.

154 As of Bone were its caIVings With buffaloes there of the Dutd Engravings of the Buginese.

155 To the gateway, North, they took hiul, To the platform to the northward.

156 There Ne' Sara preceded him; He wears the dried areca leaf.

157 Below, to the wide plain went they, Down to the spread out field they went.

158 And there his flags did precede him, His people followed on behind, They borc his Luwu' pennons, too.

159 Protecting hats were then brought out, The fan palm leaves were widely spread.

160 Kambuno to randan laI3i', ta'du!} to tetean uran.

161 Ul}garaga leppo'-leppo', sola to lempo bumarran.

162 Nanai mantaa lal}Sa', ussearan bua kaju.

163 Sandami ka'panan bala!}, sol a usuk penamile.

164 Tae'mi ma'kada boko', to mai bati' tikunna, sola daI3a' sariunna.

165 Randuk unte!}kai kalo', ullamban pasala dua.

166 Unnola tampo maloio, randanan t3.IJ kelok-kelok.

167 Anna ma'tendanan eran, anna ma'bul}karan ba'ba.

168 Anna ma'amparan ale, anna pandanni allonan.

169 Matindo sisura guntu', mamma' sitandi takia' .

170 Anna ma'tuturan ba'ba, anna ma'sedanan saro!}, anna ma'bental}an eran.

171 Anna balik dio mai, napole sambalin mai.

160 The fan palms from the sky's far rim The shielding from the place of rain.

161 A platform small they then put there, The stage to smell of meat was placed.

162 The la1jSat were divided there And there the tree fruits were spread out

163 Meat for the forbears held in hand The kerbaus' ribs were given too.

164 There was not one who made reproach Not one descendant anywhere, Ris offspring who were Iimitless.

165 And then over the ditch he stepped Across both channels did he go

166 Along the ricefields' straight dyke went, The bank's length where there is no bend.

167 The ladder was set up for him, They opened up the door for him

168 The sleeping mat spread out for him Head cushions there put down for him.

169 Read-to-toe to some he lay there, Ris arms across the others were.

170 And then the door they shut on him, His hat they hung, the steps removed.

171 Then they turned away from there, The people then went back from there.

172 Apa t~? Malemo sau', apa to? Membuleammo.

173 Malemo naturu' gaun, naempa-empa salebu'.

174 Llambi' tambuttana tallu, sola pol}ko' siannanan.

175 Nanai torro ma'palJf3an, unnesUl} ma'lea-Iea.

176 Anna saile tondokna, anna tiro banuanna.

177 Make'ri tal} tumal}i'ko, tal} ma'paidu-iduko?

178 TumaIJi' uran allo, si'dan pini-pinioi.

179 Apa to? Malemo sau', apa t~? Membuleammo.

180 Umpotedol}-tedol} batu, ma'pasilaga lolanan.

181 Nakua kada to Duri, randan puduk to Endekan :

182 Temmi to allo iol}Ï', anna lendu' daa mai, anna messa'de banua.

183 Ditambai, tal} mebali, diol}li', ta!3 sumu-sumu.

184 Pala' lentekna mebali, kambutu'na mekaio.

185 Tinau'mo Bambapual}, leakmo Pintudewata.

186 Sal}tOlJkonammo nene'na, satJesWJan to dolona.

187 Parannu-rannu nene'na, sende-sende to dolona.

172 What's to be done, he's southward gone, What shall we do, he's there ahead!

188 Napa'parampoi sau', napa'baen-baenanni.

173 The clouds have closed, behind him now, Enveloped in the mists is he.

174 The fallen's three grave mounds he [reached The ones which were in number six.

175 Sirih-pinang he stood chewing. He sat there making his mouth red.

176 Towards his village then he looked To his house here he sent his glance.

177 Now, could it be you would not weep, That all the time you would not sob!

178 His weeping is the morning rain His sobbing is the drizzle fine.

179 What's to be done, he's southward gone, What shall we do, he's there ahead!

180 With stones as buffaloes he played, While on his way he made them fight.

181 In Duri people spoke the words In EnrekaIJ lips uttered them:

182 "It was at this time yesterday That he passed by here from the North And walked between the houses here."

183 "We called him, but he answered not, We shouted, but he spoke no word."

184 "The sole of his foot answered us, His heel it was that made reply."

185 From sight had BambapuaT} gone Behind was Pintudewata.

186 He sits now with his ancestors, His seat is with his forefathers.

187 His ancestors are joyful now His forefathers are gladdened now.

188 Now southward do they go with him They go from place to place with him.

189 Tibaen rokko matampu', dio!} kalambunan allo.

190 Bendan kalukumo dio!}, la ma'induk tumajal3mo.

191 La lao la!}l3anmO laIJi', la dao to palullul}an.

192 Manda' natakia' Lemba, nasalu'l3ku BUII3a'lalan, nasipi' mendila-dila.

193 La ditiro ke mal}ambo', ke umparokkoi banne.

194 Ke massea' -searanni, anna tal} messala pare.

195 La sipasakkemo' batil3, la sibenmo' tuo-tuo.

196 Masakkeko kumasakke, tabassÏl} makole-kole.

197 Mukeanak kukeanak, tabassi!} tumakin pia.

198 Anakmu disat}a Dael}, anakki disal}a RippUl}.

199 Anna dael}-daet3 sugi', anna ripPU!} bala tedOlJ.

189 Now westward does he pass from view Below, there where the sun descends. 190 A coconut palm he is there, A sugar palm, high over all. 191 There shall he to the heaven rise, There in the all-enfolding dweIl. 193 We look for him to sow the riee, When time it is to strew the seed 194 When we should seatter it about So evil shall not strike the riee. 195 In this dirge let us blessings ask, Let eaeh for eaeh a long life wish. 196 May you prosper, may I prosper, May we eaeh a long life have. 197 May you have ehildren, may I, too, May we bear offspring on the hip. 199 Riehes may they gather to them Buffaloes eolleet in number.

192 The Great Bear holds him in its arms The Pleiades clasp him to them The shining stars around him press.

198 May your ehildren be ealled Da~, May your offspring be ealled Rippuf'j.

200 Sundun sal}ta.t}kena batÏt3, saIJparaanna mario.

200 Now ends a part of this lament, A section of this song of grief.

IB

Ossoran badoq to dlrapa'l

Traditional chant tor the deceased tor whom the elaborate rltuaI tor the dead Is carrled out

IB

The informant was To' Bua' of the village of LarJda, Madandan territory. The words were written down by Mr. J. Tammu.

1 Unnola ba'bana lal}i', pentiroanna deata, pentoenna to palullUl}an.

2 Bu'tu tibaen todil}Da, tipailan samaranna.

3 Lalan ta.1J lalan naola, tal} limbuan nalimbui.

4 Tindak sarira naola, sundallak napolambanan, borroI} natete lumil}ka.

5 Sae mellese iPOI}ko', Kalebu' natirandukki.

6 Umbal}unan lando 10I}a, unnosok salle a'riri.

7 U mpalele toI}konanna, umbe'do sissareanna, tol}konan kapajUl}anna.

8 Sae mellese iRura, Malino natirandukki.

9 Umba.1Junan lando IOI}a, unnosok salIe a'riri.

10 Disurial} roroanna, ditallUI} kambaroanna.

1 Then he had passed through heaven's door Through the window of the godly, That by the firmament embraced.

2 Then it was men saw his brightness His lustre then it did burst forth.

3 He trod a way which no way was, He went where others did not go.

4 He choose the rainbow as his path, He walked along the kindled forks He trod across the fiery ones.

5 POIJko' he reached and trod thereon, On Kalebu' did he settle

6 Built that which has a roof high-pitched, Set up that which on tall poles stands.

7 And then his clan house did he move, That which he leaned on, moved elsewhere His clan house that was as a shield.

8 Rura he reached and trod thereon, In Malino did he settle

9 Built that which has a roof high-pitched, Set up that which on taU poles stands.

10 For its cross laths were uséd swords The three he summoned, slats became.

11 Kala'ka' tandi eanan, gajal} gumello pata'na.

12 RindÏl} tibaIJko lola'na, petuo lellua lal}l}an.

13 Bara'na bulian la'bi', pamp~ para dolo borrol3.

14 Sumu'duk ma'lana-Iana, kaso manik dao mai.

15 Tindak sarira randanna, mian kila' pamiril}na.

16 Sundallak rampanan papa, passel}oran illol} tedol}.

17 Kidilr3-kidil} tarampakna, papana roto bintoen.

18 Lotol} boko' bubUl}anna, darrak mlllJimba IDrJana.

19 Bendan law~-lawal} sugi', ke'de' patarJdo bulawan.

20 Natalimbu13 kulu-kulu, naapun arre barani,

sola sapuko londol3na.

21 Ke'de' nadodoi pusuk, naparembonan pelole'.

11 lts floor board joists of value were, The long main beam a waved gold kris.

12 lts walls were made of curved armbands, The middle poles rose high above.

13 lts cross beams were as blowpipes fine, The facade beams there shone aglow.

14 The ridge, it was a flaming red, The beadwork rafters downward stretched.

15 The edge beams there a rainbow were, The sloped vcrge baulks as lightning were.

16 The under roofing edges flashed, The slit roof cane, kerbaus' noses.

17 The bamboo roof tips, shining points, I ts roofing was like sparkling stars.

18 The ridge shield was a black-backed cloth, The sloped porch a swoln fabric old.

19 The adorned bamboo seat was placed The golden stone set on the court.

20 Thc kulu-kulu circlcd there, Brave were the shouts that there were [heard

The cheers of their courageous men.

21 They clothed themselves with opened fronds Adorned themselves with leaves still closed.

22 Nadedekki kuli' sawa, roreJ}na tandilo uIa'.

23 Natibulantei ra'tuk, natikemboJ}Ï mariri, lindaJ3 barra' sajoanna.

24 DisalJa alukna bua', bisaranna balinono.

25 Ma'kebua' tal} dilambi', menani tal} didoloi, la'pa' tal} disirantean.

26 Sundunmo alukna bua', bisaranna balinono.

27 Tipalele pessaratu', tibe'do pemmanaJ}pulo.

28 Sae mellese iBatu, MarindÜJ natirandukki.

29 Pa'tol}koanna nene'na, nal} inan kapajuJ}anna.

30 Nanai sumio' aluk, untawa timba bisara,

31 UssassaJ} tallu kalo'na, tipalele susukomo, tibe'do katonanomo.

32 Tipalele pessaratu', tibe'do pemmanal}pulo.

33 N adoloan burakena, naturu' pal}lalananna, berylU sanda saratu'na.

22 The python skin they hit for him, Resounded the snake instrument.

34 NapaseJ}go13i garatu13, nadedekki kuli' sawa, roreJ}na tandilo uIa'.

23 Rice, roasted unhusked, thrown on them On them was rice made yellow strewn, They danced about, like scattered rice.

35 Natibulantei ra'tuk,

24 His bua' rites, they were extolled The adat ritual for him.

25 No one that bua' could attain, That men ani feast was matchiess, That la' pa', unsurpassable.

26 His bua' rites he finished then The adat ritual for him.

27 He moved it yet a hundred times, He took it three score times elsewhere.

28 The Rocks he reached and trod thereon, In MarindÜJ did he settle

29 In the dwelling of his forbear, It was indeed his shielding force.

30 There he the rites did regulate The ritual parts he assigned.

31 His channels three did walk across, The house changed, like a bound'ry post Moved it, as one would a landmark.

32 He moved it yet a hundred times, He took it three score times elsewhere.

33 His burake preceded him, His people followed on behind The ones possessed, they were five score.

34 The bead-hung drum they struck for him, The python skin they hit for him, Resounded the snake instrument.

35 Rice, roasted unhusked, thrown on them natikembOl}i mariri, lindaJ} barra' sajoanna.

36 Nadoloan burakena, naturu' parYalananna, bet}su sanda saratu'na.

37 Sae mellese iKesu', Ba13kudu natirandukki.

38 UmbaJ3unan lando lorya, Unnosok salle a'riri.

39 Pa'tot}koanna nene'na, nal} inan kapajuryanna.

40 Sae mellese iTampak, Nonoryan natirandukki.

41 UmbaJ}unan lando 1000a, unnosok salle a'riri.

42 Bendan lawarylawaJ3 sugi', bendan pataJ3do bulawan.

43 NatalimbWJ kulu-kulu, naapun arre barani, sola sapuko 10ndo13na.

44 Disarya alukna bua', bisaranna balinono.

45 Natibulantei ra'tuk, natikemboryi mariri, lindat} barra' sajoanna.

46 Nadedekki kuli' sawa, rore't}na tandilo uia', napasel}gOl3i garapury.

47 Sundunmo alukna bua', bisaranna balinono.

48 Umpalele tot}konanna, umbe'do sissareanna.

49 Napalele pessaratu', nabe'do pemmanarypulo.

50 Sae mellese iPo'po13, To' Let}ke' natirandukki.

36 His burake preceded him, His people followed on behind The ones possessed, they were five score.

37 Kesu' he reached and trod thereon, In Bal}kudu did he settle

38 Built that which has a roof high-pitched, Set up that which on tall poles stands.

39 That dwelling of his ancestor, It was indeed his shielding force.

40 Tampak he reached and trod therein, In NonOl}an did he settle

41 Built that which has a roof high-pitched, Set up that which on tall poles stands.

42 The adomed bamboo seat was placed The golden stone set on the court.

43 The kulu-kulu circled there, Brave were the shouts that there were [heard The cheers of their courageous men.

44 His bua' rites, they were extolled The adat ritual for him.

45 Rice, roasted unhusked, thrown on them On them was rice made yellow strewn, They danced about, like scattered rice.

46 The python skin they hit for him, Resounded the snake instrument, The bead-hung drum they struck for him.

47 His bua' rites they finished then The adat ritual for him.

48 And then his clan house did he move, That which he leaned on, moved elsewhere.

49 He moved it yet a hundred times, He took it three score times elsewhere.

50 Po'pOt} he reached and trod therein, In To' LetJke' did he settle.

51 La rampo indete tondok, indete sa'de banua.

52 Tau manoka ditambuk, melJkailil} dibannean, moka dibassei dodo.

53 To dadi dao pussakna, kombol} lan matalabona.

54 Apa nakande indo'na, apa nakasuallai?

55 Tal} ambajal} tal} dadeko, tal} pao, tal} ilu-ilu.

56 Bulawan pal}idenanna, rara' elo' -eloranna.

57 Anna kombOl3 pole tau, narende pole to lino.

58 N alambi' kanna bOl}inna, sola bilalJ-bilalJanna.

59 Untambai kaunanna, dua' maleke-Iekena.

60 Nasumurruk tama komborJ, to lajan pantanan nene'.

61 La ussembaJl} ao' gali, to bane' situal} bombol}, anna ti'pa' daun induk.

62 Nabawa lako barira,

51 Now, let us to this village come, Here, to the compound of this house.

52 He would not enter in the womb, To such conception, shook his head Wished not the baju to hang curved.

53 He came forth at the sky's far rim The zenith of the firmament.

54 What was it that his mother ate, In plenty, what did she take in?

55 No mafJga large, no mid-sized ones, No mafJga small, not any sour ones:

56 She only fancied things of gold, A gold necklet did she desire.

57 And then it was she bore a man, A child of earth did she bring

58 Exactly on the proper day Just at the precise point of time,

59 It was just then she called her slaves, Her nimbie servants summoned then.

60 One went into ancestral trees In the wood by forbears planted

61 To chop a yellow bamboo down Banana leaves complete to get To cut leaves from the sugar palm.

62 One took them to the circling wall,

53 matalabona: the rounded extremity of the firmament; talabo means a flat round armband of copper, cf. strs. 113 & 114, I A, in which the deceased is said to have had the radiance of the sun, moon and stars.

56 pll1Jiden.an = the state of having the fancies of a pregnant woman.

57 narende (rende) = she smelted.

58 kanna = being of middle length, i.e., not too short and not too long.

60 komborJ: the plantation of bamboo and sugar palms that belongs to the clan house and to the produce of which all its members are entitled.

61 ao' gati, is a word used in the chant for the deceased for a kind of thick yellow bamboo, Bambusa vulgaris. In the rites performed at the death feast, the term daun gali is used to denote a kind oi thick liana: at the bua' feast, the liana is defined by the word bamba/u.

bomborJ: the main rib of the banana leaf when the latter is complete, i.e., before it has been torn in half.

62 barira : fence of bamboo culms split in half and placed rOlmd the open space under a

to dio tetuk banua, umpolilÏt} kalumbassik.

63 Napao'tonni palJl3anna, dipandan lantona pud u', sola te ta'bano lentek.

64 NatatJkean piso rof}ko', to bajak batu lapparan.

65 N apealla' tu usukna, naola pa'rua1J3llna.

66 NadikillatJ tarutunna, diblU}ka' sanda ilanna.

67 Limbo!} tOI}anmo pa'dunna, bannal} kandunmo ura'na.

68 Tuo lampa'mo buana, mef}kepakmo to bajana.

69 UlatJna takinan pia, to semberan loto!} ulu.

70 Napantiti'mo mammi'na, nasadi'mo marasanna.

71 Napantitiran to dolo, nasadiran to matua.

72 Randuk napatama suke, tallal} ma'buku bulawan.

73 Namanasu na malifJe', randuk naserekan bane'.

There to the corners of the house Surrounded by split bamboo culms.

63 One heaped up the sirih-pinang, Laid down that which goes in the mouth And put the dirty-Iegged one down.

64 One took the fortune-bringing knife The sharp blade of prosperity.

65 He thrust it there between the ribs, There in the midriff stuck it in.

66 And then he lifted up its breast, And everything therein was bared.

67 lts gall bladder, round like a lake, lts muscles, as a stretched thread were,

68 lts heart rose, as a cone-shaped sack lts spleen was thereto firmly fixed,

69 A sign of children borne on hip Black haired ones carried in a scarf.

70 And then the choicest parts he took, Selected portions finely cut,

71 The small parts to the forbears gave To ancestors the morsels gave.

72 He put it in an internode, In thin bamboo with golden nodes.

73 Now, when it was completely cooked, He tore apart banana leaves,

house.

74 Napasisola belundak, sola kaledo sirapi', sola to babona bo'bo'.

75 Nadandanan lako nene', nabato' lako to dolo.

76 NamasiaJ3 dio mai, nakulla' birro te allo.

n Untambai kaunanna, dua' maleke-Iekena.

78 Nasumurruk tama komboJ3, to lajan pantanan nene'.

79 La ussembaJ3 ao' gadiJ3, tallaJ3 ma'buku bulawan.

80 Natibalik lajan mai, nasule sambali' mai, umpobabu' duri bal3a.

81 NapalaJ3l3an banuanna, umpolilU} kalumbassik.

82 Umpandan lantona pudu', Nnampa' bane' situ3f3 bomboJ3.

83 NakaJ3kanan bassi rOl3ko', to bajak batu lapparan.

84 Napealla'i usukna, naola pa'rual3anna.

85 Saba' tOJ3anmo rarana, la saba' te patJriwanna, lellua pantaranakna.

86 Nabul3ka'i to dadanna, nakillaIJi taru tunna.

87 Pal3so tOl3anmo pa'dunna, tuo lam po' to buana, bendan patuku ma'dandan.

88 UlaJ3na mendaun sugi', sola tuma'bi ewanan.

74 Beside put rice in palm leaves cooked lts partner, in banana leaves, Placed that which on cooked rice does

75 A row for the forbears set down [come. In line put for the ancestors.

76 And on the text day af ter that When the shining sun had risen

n lt was just then she called her slaves, Her nimbie servants summoned then.

78 One went into ancestral trees In the wood by forbears planted

79 To chop a yellow bamboo down, A thin bamboo with golden nodes.

80 And when he went back from that place, And when from there he did return His back with palm thorns was then [clothed.

81 One took it to her house above Surrounded by split bamboo culms.

82 One laid down what goes in the mouth, One spread banana leaves complete.

83 One took the fortune-bringing iron The sharp blade of prosperity.

84 He thrust it there between the ribs, There in the midriff stuck it in.

85 lts blood then spurted like aflood, That many she would hold on lap, Many children she would cherish.

86 And then he opened up its breast, He bared its chest to look therein.

87 lts gall bladder was very long, lts heart rose, as a cone-shaped sack Like sheaves of rice set in a row.

88 A sign as leaves would be his wealth Possessions be as flowers of trees.

89 Natunu pole api, natolla ma'lana-Iana.

90 Namanasu na maliIJe', napantitiran dewata, nasadiran To Menampa.

91 Randuk napatama suke, tallat}. ma'buku bulawan.

92 Namanasu na maliIJe', naserekan pole bane'.

93 Nadandanan lako pUaJ3, nabato' lako dewata.

94 Napantitiran mammi'na, nasadiran marasanna.

95 Nadoloan pesUIJna, sola to paIJurandena.

96 Dikombai pole bannat}, dibeke' pole mariri.

97 Sundunmo alukna tau, te bisaranna to lino.

98 Kasalle pole madomi', nalobo' tikara-kara.

99 Narandan matua induk, sola te mando karuruIJ.

100 Masaki-saki ulunna, maroramban beluakna.

10 1 Kuan nasat}mi to bara', mintu'na kambuno Iele.

102 Natoeanni pesalu, pessalossok ulelean.

89 He roasted it then in the flames, He tumed it in the glowing ones.

90 Now, when it was completely cooked The small parts to the gods he gave, The morsels The Creator gave.

91 He put it in an internode, In thin bamboo with golden nodes.

92 Now, when it was completely cooked Again he tore banana leaves.

93 A row he set down for the lords, In line he put them for the gods.

94 For them he took the choicest parts, Selected portions finely cut.

95 But first, she took her off'ring leaves, Her off'ring gave on flat of hand.

96 A white thread round her arm was bound A band of yellow round her head.

97 The rites for mankind reached their end, The ritual for those on earth.

98 And then it was he swiftly grew And then it was he quickly thrived.

99 His age was as the sugar palm, Old as its heartwood he became.

100 Then fevered had become his head, And rumpled then his hair became.

101 They told it all the adat chiefs, The notables from far and wide.

102 They sought his transgressions to find To wash him clean of all of them.

103 Ta!} lakomi te pesalu, tal} tOl)an te pessalossok.

104 Tu patalomi nene'na, ma'budamo to dolona.

105 Male tiba!}ko lentekna, tirimbak pessojananna.

106 La dipatumbari lako, la didual} diapari.

107 Ke patalomi Pua!}ta, ma'buda To Tumampata?

108 Nakuan kada to Duri, sumbal} puduk to Endekan :

109 "Tenna lendu' daja mai, mental}l}a sa'de banua.

110 Ditadoi lako pal}!}an, dibel}an lako baolu.

111 Ditadoi pal}l}an moka, diben kalosi unnilit}."

112 Anna lendu' pole sau', lao' rumombena langi'.

umpura!}anna salebu'.

113 Lao' tumal}kena gaun,

114 N anai torro ma'pa.tV3an, unnesW} ma'lea-Iea.

115 Kuli' kalosi pasondok, limbo!} berak naoro13i.

116 Lao' tambuttana tallu, lao' p013ko' siannanan.

103 The ill they sought they failed to find, The washings clean had no effect.

104 His ancestors, their will prevailed, Successful his forbears' desire.

105 And then with bent knees he went forth, His arms were swaying to and fro.

106 What was there that could then be done, What was there then that they could do?

107 Now, when Oud Lord's will did prevail, When our Creator had success.

108 In Duri people spoke the words In Enreka13 lips uttered them:

109 "When he passed by here from the North And walked between the houses here

110 "Sirih-pinang him we offered, To him was given betel leaf.

111 "No sirih-pinang would he have His head shook to areca nut."

112 And then he passed here towards the South Where fringe the firmament the clouds

113 Southward, where the clouds start [branching Where mists like twigs do separate,

114 Sirih-pinang he stood chewing, He sat there making his mouth red.

115 Areca shells reached to his knees He swam in red juice from the quid,

116 South at the fallen's three grave mounds, The six of them there in the South

117 Lamban lian peamboryan, sambali' petanantian.

118 Umpotedory-tedory batu, umpokarambau tempe'.

119 Anna lendu' pole' sau', tary nalambi' tama mata, dikolak pentiro sau'.

120 Sa!!3t01}konammo nene'na, séUJesu'3an to dolona.

121 Bendan kalukumo lao', tuo induk tumajarymo.

122 Tibaen rokko matampu', sOll3ka rokko kalambunan,

123 La lao laf}f}anmo laJ}i', la dao to palulluI}an.

124 Dadi dewatamo dao, la kombol} to palullul}an.

125 Manda' natakia' Lemba, nasalul}ku BUf}a'lalan, naapun merykidi-kidi.

126 La ditiro ke mal}ambo', ke umparokkoki' banne, ke massewa' -sewararyki'.

127 Masakkeko kimasakke, anta pada marudindil}, kianakko kikianak.

128 Anakmu disarya Dael}, anna daeIJ-daeIIJ sugi'.

129 Anakki disal}a Reppul}, anna reppUJ'3 bala tedOlJ·

130 Pakianakko to belary, al}ki ma'sompo ma'kepak, ma'takia' patomali.

117 Where men fetch amb01J, there he went, To where men get tananti from.

118 With stones as buffaloes he played, The ricefields were kerbau to him.

119 And then on southward he passed here, Beyond the eyes' sight did he go But looking hard, South might be seen,

120 He sits now with his ancestors, His seat is with his forefathers.

121 South he stands, a coconut palm, A sugar palm, high over all.

122 Then westward does he pass from view, He goes down where the sun descends.

123 There shall he to the heaven rise, There in the all-enfolding dwell.

124 A deity shall there become The all-enfolding shall he be.

125 The Great Bear holds him in its arms The Pleiades clasp him to them The shining stars encompass him.

126 We look for him to sow the rice When time it is to strew the seed When we should scatter it about.

127 May you prosper, may we prosper, May each of us good fortune have, May you have children, may we all.

128 May your children be called Daet'J, Riches may they gather to them.

129 May our children be called Rippu'3, Buffaloes collect in number.

130 May you the childless children give For us to bear on back and hip For us to clasp within our arms.

IC IC TEXTS AND TRANSLATION 47 He was one born out of the field,

Ossoran badoq to dlrapa'l Traditional chant lor the deceased lor whom the elabonte rltoal lor the dead Is carrled out

The informant was Ne' Tunna who lives in the Tikala territory. The words were written down by Mr. J. Tammu.

Umbamira sal}tondokta, to mai saIJbanuanta?

2 Ke'de'ko anta umbatÏt}, anta tannun rio-rio.

3 Sae nasaIJraka gandal}, tae'ka pa'de bombolJan?

4 La mekutanapa' lako, Ia meosik paramena' .

5 Ba'tu Ia tetena batilJ, ba'tu salunna mario.

6 InalJ iamo sirenden, nal}, Ia tenmo sibalajan.

7 Sibalajan kenna pondan, sirenden kenna pamuso'.

8 La kulambi'mo dadimmu, kudete'mo garagammu.

9 lari tommu dikombolJ, tommu dipapore tampa.

10 Tal} ambajalJ tal} dadeko, taIJ pao, tatJ iIu-iIu.

1 Where are those of our viIIage now, The ones who of our hamIet are?

2 Come, Iet us sing the lament now That we may weave the mourning song.

3 Are those who know the adat here, Has not one leader been left out?

4 A question I would put to them, And calmly would I ask of them

5 What kind of lament we should sing, Of what kind is the mourning chant?

6 Those Hnes that foIIow each on each That are so that they do relate

7 Though not as pineapples' seed caps Or kapok that is purified.

8 The time of thy birth have I reached, To thy genesis I have come.

9 Now at the time when thou wert formed When robust and weII-shaped thou wert

10 No ma1jga large were, no mid-size, No ma1jga smaII, not any sour ones.

11 Tal3 membua'rika laIJsa', taIJ tarri'rika durian,

12 anna tal3 kandei indo'mu, anna taIJ onta-ontai?

13 Barra' diral3ga-diral3ga, bobo' didatui manna.

14 Nakande untampa lalo13, uITende-rende kakojan.

15 Ero-ero ponno pindan, manuntun la'bi banaja.

16 Dikande untampa lalol3, uITende-rende kakojan.

17 lari tommu dikombo13, tommu dipapore tampa,

18 marempa-rempa dadimmu, maga'gun mentolinomu.

19 Ditambai to minaa, diindan ral3ga inaa.

20 Sae umbille alukmu, umpemal}San bisarammu.

21 Anna randuk didadian, nakombol3 mentolinona.

22 Rokko ditambuli pada13, disu'bak pekali bassi.

23 Dipantananni lolona, dipaga' rambo-rambona.

24 Mian api lolona, borrol3 bia' tauninna.

25 La napandan anna sugi', naanna anna lellua.

26 Anna taIJ disirantean, anna ma'kasea-sea.

27 Anna kasalle dadinna, anna lobo' garaganna.

11 Did not the latJSat tree bear fruit Did not the durian produce

12 That them thy mother would not eat Would not them swallow in her greed?

13 Prepared was rice of many hues Cooked rice made in a princely way.

14 She ate and brought the brave one forth, She gave birth to the fearful one.

15 A dish that was of horse-flies full A wooden dish brimful with wasps

16 Were eaten at the brave one's birth When she brought forth the fearful one.

17 Now at the time when thou wert formed When robust and well-shaped thou wert

18 Thy birth, it difficult became, Thou very slowly camest forth.

19 They called the ones who adat knew, Took those whose minds were very rich.

20 They came thy special rites to choose, The right ritual to select.

21 And then it was that he was bom, A human being he came forth.

22 A hole was then dug in the earth, The ground with an iron spade was turned.

23 And then his cord was in it laid, Three sticks put round his afterbirth.

24 His cord, it glowed just like a fire A flaming torch, his afterbirth.

25 For his welfare they placed it there, There put it, that his name should grow

26 That unsurpasséd he should be His wealth be able to display

27 That fine and stalwart he should grow, His body speedily mature.

28 Naria tal3kean suru', to mai passara'kasan.

29 Ke lao rokkoi alaJ}, diol3 sembaJ} uru nal}ka'.

30 Anna marumbo dadinna, anna lobo' garaganna.

31 Naria taJ}kean suru', to mai passara'kasan.

32 Ke lao lakoi bubun, anna kasalle dadinna.

33 Naria sakke malino, anna kasalle dadinna, anna lobo' garaganna.

34 Randukmi pal3laja tedol3, anna kasalle dadinna.

35 Naria peJ3kalossoran, to mai mal3aku kumba'.

36 TumaJ}ke-mal}ke suru', tumetaJ} passara'kasan.

37 Natole tumal3ke suru', tumetaJ} passara'kasan.

38 Suru'na rampanan kapa', sola pa'sullean allo.

39 Turumi rampanan kapa', tumampa-mampami rara') rumende-mende sarapal3.

28 The off'ring rites protected him And the atonement ritual.

29 When down to his rice house he came Below, to his storehouse of wood

30 So that he would there develop Ris body speedily mature,

31 The off'ring rites protected him And the atonement ritual.

32 And when they took him to the weU That fine and stalwart he should grow,

33 The limpid water cherished him, That fine and stalwart he should grow Ris body speedily mature.

34 Re started buffaloes to guard That fine and stalwart he should grow,

35 By the atonement off'ring watched, To his transgressions confessing,

36 The off'ring ritual he performed, Then the atonement rites he made.

37 Again the offerings he made Atonement rites he then performed.

38 The marriage offering he made, The rites of union he performed.

39 And then he was in marriage bound, And daughters did he then beget And sons he gave unto the world.

40 Dadi taruk bulaanna, 40 To him were golden offspring bom, sola lolosu manikna. They were for him his splendid crown.

41 Natole tumaIJke suru', 41 Again the offerings he made 45 Anna la dadi susinna, 45 Is there one who is his equal, 46 To Goa manna susinna, 46 The Goanese did equal him 49 Ia umba'gi redekki, 49 He paid it out in pieces smalI, tal'jkena dikulea'i = rus branches that one swims overarm towards.

tumetaf} passara'kasan. Atonement rites he then performed.

42 VnnoroJ} tiku tal3kena, 42 His branches stretched out everywhere lamban tasik uaka'na. His roots, across the sea they went.

43 Vaka'na diorof}i, 43 To his roots men did turn for help, taIJkena dikulea'i. And from his branches they sought aid.

44 Orof}-orOlJan to topo, 44 The starving turned to him for help pessimboJ}an to taJ}dia'. The hungry made their way to him.

la sipalinpa daona? Exists there on sublime as he?

datu lamban lian manna. And princes from across the sea.

47 Anna la denda susimmu, 47 Is there one who is thine equal, la sipalinpa daomu? Exists there one sublime as thee?

48 Panduluk bassi naanna, 48 He watched it like an iron wedge ka ju asik naruranni. Like hardwood, kept it in the house.

napaindo' tamanaf}i. He kept watch, like a childless one.

50 Anna la denda susimmu, 50 Is there one who is thine equal, la sipalinpa daomu, Exists there one as thee sublime, la pada tintianammu? Exists there thy equivalent?

51 Vmbarana' landi tondok, 51 The village banyan, such was he, rumoJ}le landi paf}leon. Throughout the region he did spread.

52 To laen-laen dadinna, 52 He was a man of special birth to serJa' paIJidenanna, A man whose mother's needs were strange; kombof} kamasugiranna. And so his wealth it did increase.

53 To dadi dao pussana, 53 He came forth at the sky's far rim ombo' dao talabona. The zenith of the firmament.

54 Pada didadian bulan, pada ombo' pariama.

55 Rokko ditambuli laI3i', disu'bak pekali bassi.

56 Dipantananni lolona, dipaga' rambo-rambona.

57 Malea api lolona, borrol} bia' tauninna.

58 Napandan anna sugi', naanna anna leIIua.

59 Anna taI3 disirantean, anna kasaIIe dadinna, anna lobo' garaganna.

60 Anna sol}lo' dao mai, nalao sambalin mai.

61 Rekke ditetei pusuk, dipelalanni pataI3do, diembe' lumbaa lal}Ï'.

62 Anna lao daa mai, nalao sambalin mai.

63 N adoloan burakena, nalalan raI3ga inaa.

64 Untandai padal} bal}la', padaI3 mariri Iitakna, til}gi OI}an banuanna.

65 Napantananni pamuntu, naosokki manik riri, napatundukki tadoran.

66 Napa'baI3unni banua,

54 His birth was as that of the moon His coming as The Pleiades.

55 A hole was then in heaven dug, The ground with an iron spade was turned.

56 And then his cord was in it laid, Three sticks put round his afterbirth.

57 His cord, it glowed just Iike a fire, A fIaming torch, his afterbirth.

58 For his welfare they placed it there, There put it, th at his name should grow

59 That unsurpasséd he should be That fine and stalwart he should grow His body speedily mature.

60 Then he descended from on high, Then he came from the other side.

61 Upward, open leaves as steps placed The bua' stone a ladder was The ritual cane, a climbing rope

62 So that he should from on high come, Come from the other side he should.

63 His burake preceded him, He folIowed those whose minds were rich.

64 He put his sign upon new ground, The soiI, it yeIIow was in hue, Shade for his house were dark red beads.

65 A piece of cast iron he put there A yeIIow bead he planted there An inclined offring stake put up.

66 And then he built a house thereon, napa'marof3ka-rOl}kai.

67 TumaIJke-ma1J.kei suru', tumetat} passara'kasan.

68 U13gala-gala bambana, u1J.kalampaIJ sulunanna.

69 N agala-gala pemala', nakalampaIJ kuli' piof3.

70 Natole tumafJke suru', tumetat} passara'kasan.

71 Suru'na rampanan kapa', sola pa'sullean allo.

72 Turumi rampanan kapa', sola pa'sullean allo.

73 Natole tumaIJke suru', tumetat} passara'kasan.

74 Suru'na mellolo tau, sola to takinan pia.

75 Anna kasalle dadinna, anna lobo' garaganna.

76 Natole tumaIJke suru', tumetat} passara'kasan.

77 Suru'na tClJko tiranduk, sola ajoka panoto.

78 Kendekmi tef3ko tiranduk, sola ajoka panoto.

79 Nabaja rampo itondok, napakenden ripaIJleon.

80 Iato sesa nakande, ra'dak napatama kurin.

A pleasant place did he make there.

67 The off'ring ritual he performed Then the atonement rites he made.

81 Nabaja rampo ipasa', napakenden ditammuan.

68 The court's enclosure he then built And then he put the gate in place.

69 With offerings he fenced the court, In bamboo vessels offered them.

70 Again the offerings he made Atonement rites he then performed.

71 The marriage offering he made, The rites of union he performed.

72 And then was he in marriage bound, Then in the union he was tied.

73 Again the offerings he made Atonement rites he then performed.

74 The offering offspring to bear, To carry children on the hip

75 That fine and stalwart they should grow Their bodies speedily mature.

76 Again the offerings he made Atonement rites he then performed.

77 The off'ring for the tu ming plough That straight the yokéd ones should go.

78 The ploughed worked ground its harvest [bore Straight had the yokèd ones there gone.

79 To the village he then took it To the hamIet bore it upward.

80 What was left when his needs were met Left over from the cooking pot

81 That he then to the market took, To the place of sale he bore it.

77 ayoka = yoke. panoto = to touch properly. This strophe refers to the cultivation of the ricefields.

78 kendek = to rise up.

82 Ditadoi pisil}-pisÏ1J, diben panampa to Bone.

83 Sulemi ponno sepu'na, sule la'bi garopi'na.

84 Nasukun tu tama uma, nasukun lu tama tedol3.

85 KabidlUJammi umanna, kabidal}ammi tedOll}na.

86 Kendekmi daun sugi', ia tuma'bi eanan.

87 Tedol3 marapu iBuntal}, makurul}an diEndekan.

88 Rokko nakambio santUl}, nao'bi' pa'pairusan, talo dondan diol3 mai.

89 Tallu ratu' sall}ke'deran, sa'sa'bu sal}tial}karan.

90 TedOll} ma'inaa tau, sipaela' to ke aja', sita'tan ke kadakean.

91 Dolo pampal} undi pampal}, laUeu taJ)lI3a palepu' .

92 Misari bulan merrau, tanda pasal}nara to.

93 Ma'kalulJkW} sora pindan, massape-sape bulaan.

94 Iko to torro itondok, to kenden dipal}leon.

82 Old coins did they give him for it Gave that made by the Bone folk.

83 Returned he with fuU sirih bag Came back with box with money topped.

84 On ricefields did he lay it out And buffaloes he bought with it.

85 His ricefields increased one by one, His buffaloes in number grew.

86 As leaves on trees, he rich became He prospered in his property.

87 In Buntal} massed his buffaloes, In herds gathered in Enrekal3.

88 He signalied them to downward come, To drinking pool he beckoned them. With speed that herd then trotted out

89 Three hundred were the ones that left Three thousand were the ones that went.

90 The mind of men had those kerbau, Along steep slopes they slowly walked Each other warned when near ravines.

91 The first and last had right shaped horns Those in between a huge knot formed.

92 A light-skinned one among them mixed, Of that herd there he was the sign.

93 As arrows on a dish their hoofs The clefts in them were just as gold.

94 Now, you who in this village dwell Who in this region come and go

95 Balamoko dua lombok, 95 A fence around two vaUeys place, rompoko taUu tanete. Set an enclosure round three hills

96 Dipa'parampoi tedol}, 96 So that kerbau can be led there, dipa'palin-palinanni. In number now can there be brought.

97 Tedol} tal} mate anakna, 97 They did not die those kerbau calves, talJ marantan sumal}a'na. Their vital force did not depart.

98 Tallu ratu' edo' -edo', 98 Three hundred kerbau calves there were, tal} sanda kambu bulaan. Gold muzzles for them feil far short,

99 Kambu kapipei pira, 99 A rush basket on mouth had some pal}ka gajat} sarapat}i. Mouth guards of others were gold kris.

100 Tedol} manoka didaja, 100 Those kerbau, they would not be cpaxed manoka dikira-kira. They simply could not be cajoled.

101 Iapi anna mellao, 101 And every time that he went forth anna tumel}ka isulu'. When from the bolted one he strode

102 Tampat} rurapi nanai, 102 Stayed by a ricefield water filled panompok doke-dokean. A dyked one full of water plants.

103 Tal} nauma ke marat}ke, 103 He made no ricefield on dry ground ke nakalat}kai kalo'. When water ditch was far away

104 Bu'bu' -bu'bu'pi rrandanni, 104 But when small wells were near its banks saruran tiku biril}Oa. Water channels round its edges.

105 Padat} ma'lompo masapi, 105 lts soil was rich, just like the eel, ma'ilalan bai tora. lts texture as a tusked pig, fat,

106 Lendu' rokko makatanna, 106 Tbe poor earth was there far beneath kendek to kapareanna. Soil where the rice grew was above.

107 Kendek patuku ma'dandan, 107 lts harvest, sheaves of rice in rows sola lampo' sielol}an. Bunches in a winding line set.

108 Urria ponnoan alat}, 108 He took care the rice house was fuU iami ma'telal} baluk, In order to trade constantly ia ma'kande silambi'. And every day to eat of it.

109 Iato sesa nakande, 109 His sustenance he looked to first, ra'dak napatama kurin. In cooking pot he had it placed.

110 Pare manoka didaja, manoka dikira-kira.

111 Iapi anna mellao, anna tumel3ka iampal}.

112 Natingarapi lal}gesa', Nailal}pi b<>l3a'-bol}a'.

113 Ke lao tama ipasa', te lajan kasirampunan.

114 BOI}a' -bo13a' sal}ke'deran, sambao' saJ}tiaJ3karan, todi' sal}pembalabaran.

115 TibaliaJ} sarol} pondan, tibibi' pallolo datu.

116 Untiro ambana londot}, pa'kaleanna muane.

117 Pa'kaleanna diarru', ambana dimaa-maa, ditoio' riti bulaan.

118 Natole tumaJ3ke suru', tumetal} passara'kasan.

119 Suru'na lemba kalando, sola karandaJ3 kalua' .

120 Nasulean dio mai, nabalik sambalin mai.

121 Randuk masaki ulunna, madaramban beluakna.

122 Ditambai to minaa, diindan ral}ga inaa.

110 That rice, it would not be coaxed, I t simply could not be ca joled.

123 Sae umbille alukna,

111 Now, every time that he went forth Now when the threshhold he did cross

112 He only saw there young kerbau, He pushed his way through fleckéd young.

113 When he into the market went When at the place of sale did stay

114 The young flecked kerbau went in groups Grey buffaloes then started out Above climbed those with white marked [brows.

115 The woman of low rank glanced back Young women of high rank turned round

116 To gaze upon that stalwart form The strong form of that mighty man.

117 His shape, it had a gracefulness, His carriage, it was elegant, His form, composed as necklet gold.

118 Again the offerings he made Atonement rites he then performed.

119 The ofrring for a lengthened pole And for a basket that is large.

120 And then he brought it back with him, And then from there he bore it back.

121 Then fevered had become his head, And rumpled then his hair became.

122 They called the ones who adat knew, Took those whose minds were very rich.

123 They came his special rites to choose

124 The breaking of the ribs of sugar palm leaves: tbis is a process by wbich the to minaa endeavours, by divination, to determine whether the offence that is the cause of the sickness is one that is against the gods, the ancestors, or the adat prescriptions. ma'rampe = he put aside.

125 "The rusbing water" and "the swirling stream" are figurative expressions used to denote the period of crisis in a sickness. natumpumi = he pushed against.

nakasa = he grazed against.

126 In another version of the chant for the deceased, the second line reads: sibokoran darindirj naselle' = he and the wind he had witbin him separated from each other; he breathed bis last. These expressions are also used in ordinary speech in respect of the dead.

128 A dead man of rank is always c10thed in trousers and jacket, wears the stately folded head c10th of a cbief, bas a gold neck chain and is girded with a gold kris. A dead woman of rank is dressed in a beautiful jacket and a coloured sarong, wears a necklace of wooden beads overlaid with gold, called rarrl, and a gold bracelet.

129 "the Iiver of the house", is a poetical expression for a drum.

130 kaiatJ is a poetical word for kapua = great.

131 pantanan nene' = that planted by the ancestors ; patjosokna to matua = that driven into the ground by the forefathers. These expressions mean that the ancestors established ths order of the death ritual, that the form and extent of the rites are fixed. A variant of the expression disembOl'j pantanan nene' is diparandukmo sembatjan a/uk = they began to determine the rituaI.

132 The family of the deceased decides how many buffaloes are to be slaughtered. Some are given by various members of the family, some may be reciprocal presents, some may be redemption for a pledged ricefield.

134 Randuk dipassare pal}Clen, dipatukku andelen.

135 Ditananan bua lajuk, diosok kalintaro tua.

136 Dis3l}kinan bete tondok, biladol} sa'de banua.

137 Dipati' p3!}alukanna, bisara sitimajukna.

138 Namasial} to makale' , nakulla' birro to allo.

139 Ditambai to mebalun, umpati' patJalukanna, te lajan rampe matampu'.

140 NamasÏal} to makale', nakulla' birro te allo.

141 Rampomi lembal} sura'na, sola lopi bulaan.

142 Dipasanda to ma'dudtUJ, bendan bandera leko'na.

143 Bendan bala'kajan duku', sola to lempo bumarran, te lajan rante kalua'.

134 Placed in a posture gently leaning In a position pleasant bent.

135 They planted the high fruit for him, The old areca palm put in.

136 "Fish of the village" tied to it, The bilad0f3 of the forecourt.

137 They fixed the order of his rites The adat forms befitting him.

138 On the next day, in the nwrning J ust as the glowing sun arose

139 The priest of death they summoned then To fix upon the rites for him Which are assignéd to the West.

140 On the next day, in the morning Just as the glowing sun arose

141 He came there in his carvéd prau, Arrived he in his golden boat.

142 The head-cloth wearers stood in line, For him the flags hung of the left,

143 The platform for the meat stood there, The stage that smelt of flesh was there There on the wide plain, there it was.

144 LololJIIli bati' tikunna, sola mana' sariunna, 1010J3lllÎ metua' ponno.

145 Nasundun to alukna, to lajan rante kalua'.

146 Mamma'mi lan lembal} [sura'na, ilan lopi bulaanna.

147 Nalambi" tanda aHu'na, sola pa'indaoanna.

148 Bendanmi lakkean sura', te lajan rante kalua'.

149 Bendan tau-tau lampa, sola to bombo dikita.

150 Lolot}mi rante kalua', tama tanduf} kalonaran.

151 Ke'de'mi tekkenan doke, to lako toJ3konan bara'.

152 Nasundun to alukna, to lajan rante kalua', mamma'mi batu dilobaf}.

153 Male titeJ3ka lentekna, tirimba pessojananna.

154 Unnola barana' rombe,

144 From everywhere the offspring streamed And the descendants numberless, For blessings crowded they that place.

145 The ritual was fully done There on the wide plain carried out.

146 He lay there in his carvéd prau,

He rested in his golden boat.

147 The rites decided on were reached, The highest form they held for him.

148 The small carved house to hold his corpse Was on the wide plain then set up.

149 His bamboo image they set up, Was then his spirit manifest.

150 That wide plain people overflowed When entering that huge feast place.

151 Then came the right to hold the lance Of the clan house having power.

152 The ritual was fuHy done There on the wide plain carried out, Then in the opened grave he rested.

153 And then it was his feet strode forth, His arms were swinging to and fro.

154 He to the spreading banyan went, sola tambuttana tallu. 155 Tileak lembamo lao', tidollo panta'daranna. 156 Tipae'-pae' tombinna, tipailan banderana. 157 Tipae' lako matampu', dio kalambunan allo. 158 Tuo kalukumo dio, la ma'induk tumaatJmo. 159 La lao laIJ'Janmo lat3i', te dao to paol}anan. 160 Tindak sarira naola, mian kila' napolalan. 161 La ma'banuamo bulan, la ma'tondokmo bintoen. 162 Manda'mo naoli' Lemba, nasalWJku Pariama. 163 La dipopa'taunammo, la ditiro ke mal}ambo'. 164 Ke diparokkoi banne, ke massea' -searat}ki'. 165 N akuanna' dao mai, kada napatuleranna': 166 "Patarimako sambu'mu, balla'ko lindo bajummu. 168 Nakuanna' dio mai, kada napatuleranna'. 169 Masakkeko kumasakke, TabassÎl} makole-kole.

167 Parokkoi tua' sanda, paraja sanda mairi', rOl}ko' todÎl} sola nasal}."

To the fallen's three grave mounds. 155 And then this region southward passed, His spirit flowed as water, fast. 156 His flags were waving to and fro, His banners fluttered up and down. 157 They wave there, going to the West To that place where the sun descends. 158 A coconut palm, he grows there, A sugar palm, high over all. 159 There shall he to the heaven rise, There dweIl in the all-covering. 169 May you prosper, may I prosper, May each of us a long life have.

160 He takes the rainbow as his path, The flashing lightning is his way.

161 His dwelling shall be in the moon His living place, there in the stars.

162 The Great Bear, it embraces him The Pleiades clasp him to them.

163 For us he is the season's sign, We look for him to sow the riee

164 When time it is to strew the seed When we should scatter it about.

165 To me he speaks from high above The words of wisdom he gives me:

166 "For blessings, spread the cloth you wear, Your open jacket, lay it out."

167 "The fortune-bringing gifts lay there, All things that give prosperity, All benefits that are sublime."

168 To me he speaks from high above The words of wisdom he gives me.

ID

Ossoran badoq to dirapa'i

ID

Traditional chant tor the deceased tor whom the elaborate ritual tor the dead is carried out

The informant was Rubak of the village of KalindUl)an in the N onOl)an village-group, Kesu' territory. The words were written down by Mr. J. Tammu.

1 La kulambi'mo dadinna, kudete'mo garaganna, to dolo kapuaf}anna.

2 lari tonna dikombof}, tonna dipapore tampa, anna randuk didadian.

3 To taf} dikandean essun, tal} dileran bua kaju.

4 la nakande indo'na, dikande untampa rara'.

5 Urrende-urrende bulaan, tu la kombof}mi bulaan.

6 Randuk ke birroi allo, ke kendekki sulo padat}, ke kapana' -panaranna.

7 Rokko ditambuli padaf}, dibuak pekali bassi.

8 Dipantananni lolona, dadi sarita lolona.

9 Kombof} maa' tauninna, tu bulajan banne ba'taf}.

10 Anna kasalle dadinna, anna lobo' garaganna.

11 Tu bulajan banne ba'tal}, tu rara' raf}ga inaja, ponto passasaran tuju.

12 Inda ia la susinna, kasalle nairi' al}in, lobo' nasimba darindif}.

1 The time of his birth have I reached To his genesis I have come The forefather revered as lord.

2 Now, at the time when he was formed When robust and well-shaped he was When he was about to come forth

3 For him were eaten no sour things, No fruits were tasted for him then.

4 It was that which his mother ate, Ate, that as a necklet formed him.

5 She fashioned him to be as gold That he in splendour should come forth

6 Just at the time the sun rose up, Just when the earth's torch could be seen Just as it fierce began to glow.

7 A hole was then dug in the earth, The ground with an iron spade was turned.

8 And then his cord was therein, placed, His cord, it was a blue white cloth,

9 A tjindai cloth his afterbirth; His many thoughts were just as gold

10 That fine and stalwart he should grow His body speedily mature.

11 His many thoughts were just as gold, His ideas a gold necklace were, His advice as an armband was.

12 Is there one who can equal him? The cool wind blewand made him grow The mild breeze stirred and so he thrived.

TEXTS AND TRANSLATION 61 te mai peJ3kalossoran. By purifying rituals.

13 Nasindau talimpuru', 13 The cydone whirled itself round him, natende' anna kasalle. It cradled him to make him big.

14 Anna kasalle madomi', 14 And then it was he swiftly grew nalobo' tikara-kara. And then it was he quickly thrived,

15 Kasalle naria suru', 15 By off'ring rites watched swiftly grew, lobo' natandi sara'ka', By deansing rites, supported, throve

16 Tu bulajan banne ba'tafJ, 16 His many thoughts were just as gold, tu rara' rarJga inaja, His ideas a gold necklace were, ponto passasaran tuju. His advice as an armband was.

17 Ma'doke-doke rafJka'na, 17 His fingers, they were just like spears ma'pasoan tarunona, His toes as shafts of lances were sitondon tindo bOl3inna. As dreamed in dreams he had at night.

18 Kalimbaun ma'pagu'gu', 18 Huge doos of earth before him shook, batu napaturu-turu, He made the stones before him plead, nabandafJanni pekali. Used digging stick as goat-haired lance

19 Ke nasalaga rarJka'i, 19 When as a harrow used his hands ke natefJko tarunoi. When as a plough rus fingers used.

20 Natarnbaimi sarJtondokna, 20 And then he called his villagers naoIJli'mi sa13banuanna. His neighbours summoned with a shout.

21 Ma'bajanan anna bekak, 21 They carne, in sum more than parrots, dikki' anna surusiak. Their number greater than all birds.

22 To laen-Iaen dadinna, 22 He was a man of special birth to serJa' pal3garaganna. a) A man strange in his coming forth.

40 BUl3ka'ko ba'bana laIJÏ', 40 The gates of heaven open thou pentiroanna deata. The window of the godly ones.

41 Tindak sarira naola, 41 He chose the rainbow as his path, mian kila' napolalan, The flashing lightning was his way sundallak napolambanan. He walked along the kindled forks.

42 Sae mellese iPol3ko', 42 POIJko' he reached and trod thereon, mentunannan riKalebu', There on Kalebu' did he live, te lajan bambana PoIJko'. There in the region of POIJko'

a) Strophes 23 to 39 inclusive, are similar to a number of strophes in I A and are, therefore, not given bere.

43 Umblll3unan lando lot}a, unnosok salle a'riri.

44 Randuk titel}ka lentekna, tirimbak pessojananna.

45 Sae mellese iTlll3sa, mentunannan riEndekan.

46 Umpalele tol}konanna, umbe'do kapajUlJanna.

47 Sae mellese Marindil}, mentunannan Banua Puan.

48 Umblll3unan lando 101}a, unnosok salIe a'riri.

49 Nanai 1000ke ma'bua', tumajal} ma'balinono, IÏl3gi' ma'kasea-sea.

50 N adoloan burakena, naturu' pal}lalananna.

51 NapasetJg01}i garatu13, nadedekki kuli' saa, rore1}Da tandilo uIa'.

52 Ma'tete Batuko, batÏl3, unnola landa Sarira!

53 Sae mel}kanna iKesu', mentunannan riBlUJkudu.

54 Umb3ll}unan lando 101}a, unnosok salle a'riri.

55 Nanai 1013ke ma'bua', tumajal} ma'balinono, lirJgi' ma'kasea-sea.

56 Randuk titetJka lentekna, tirimbak pessojananna.

57 Sae mellçse iBatu, mentunannan riSiguntu',

58 La rampo indete tondok, indete sa'de banua.

59 Umbal}unan t013konanna, unnosok salle a'riri.

60 Nanai tumlll3ke suru',

43 Built that which has a roof high-pitched, Set up that which on tall poles stands.

44 And then it was his feet strode forth, His arms were swinging to and fro.

45 TlUJsa he reached and trod therein, There in EnrekaJ3 did he live.

46 And then his clan house did he move, His shielding force he took elsewhere.

47 MarindÎIJ reached and trod therein, There in Banua Puan lived

48 Built that which has a roof high-pitched, Set up that which on tall poles stands.

49 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave.

50 His burake preceded him, His people followed on behind,

51 The bead-hung drum she struck for him, The python skin she hit for him, Resounded the snake instrument.

52 Now, song of grief, walk on the Rocks Walk upon the curved Sarira.

53 He reached Kesu' and trod thereon, There on Bangkudu did he live

54 Built that which has a roof high-pitched, Set up that which on tall poles stands.

55 The bua' held the high bom one, Sublime, he strode there in the row, The mighty one the great feast gave.

56 And then it was his feet strode forth, His arms were swinging to and fro.

57 Batu he reached and trod thereon, There on Siguntu' did he live.

58 And then he reached the village here, Came to the compound of this house.

59 And then he put his clan house up Set up that which on tall poles stands.

60 There made the off'ring ritual tumetal} lindo sara'ka'. 62 Minda ia la susinna, la sipalinpa daona? 63 Tu bulaan banne ba' tal}, tu rara' raJ3ga inaa. 64 La lao tamami pasa', te lajan kasirampunan. 65 Sule masaki ulunna, sule ramban beluakna. 66 Ditambammi to bara', sola anak to makaka. 67 UI}kaJ3kananni pesuru', tumetal} lindo sara'ka'. 71 Anna mellao rialal}, diof3 landa' beloanna. 73 Sumolo' rante kalua' , tama tandUf3 sea-sea. 76 Urrundunanni alukna, sal}ka' belof3-belol}anna. 77 Sandami ka'panan balarJ

61 Naria mendaun sugi', sitondon tindo bOf3inna, sola mamma' karoenna.

68 Tu Ne' Sarami patalo, sola to massarof3 kumba.

69 Urrundunanni alukna, sal}ka' beIOl3-belOl3anna.

70 Anna matindo isondof3, anna mamma' ribanua.

72 La male tOl}anmo ambe', male untampe tondokna, umbokoran banuanna.

74 Anna tibolloi sarol}, natikembof3i kambuno.

75 Ul}garaga leppo'-leppo', nanai mantaa laJ3sa', ussearan bua kaju.

61 Thus guarded, his wealth was as leaves, As dreamed in dreams he had at night As in his evening sleep he saw.

The cycle of atonement rites.

62 Who is there who can equal him, Exists there one just as sublime?

63 His many thoughts were just as gold, His ideas a gold necklace were,

64 Then to the market he did go There at the place of sale did stay.

65 Then fevered had become his head, And rumpled then his hair became.

66 Were summoned then the adat chiefs Together with the notables.

67 They made the cleansing rite for him The cycle of atonement rites.

68 But it was Ne' Sara who won; He wears the dried areca leaf.

69 They followed all the rites for him The ritual prescribed for him.

70 There, in the house was he stretched out, There in the dwelling he did lay.

71 They brought him down to his rice house Below, to his storehouse adorned.

72 Now, father really shall depart, He from his village now will go, Behind him he will leave his house.

73 Below to the wide plain they went Down to the spread out field they went.

74 Protecting hats were then brought out, The fan palm leaves were widely spread.

75 A platform small they then put there, The la1J.rat were divided there And there the tree fruits were spread out.

76 They followed all the rites for him The ritual prescribed for him.

77 Flesh for the forebears held in hand, tae'mi lindo menassan.

78 Sandami tallu b013inna, la male tOl3anmi ambe'.

79 Male tite1Jka lentekna, tirimbak pessojananna.

80 Randuk unte1Jkai kalo', ullamban pasala dua.

81 Lambi'mi bamba datunna, pessulunan karael3na.

82 Anna ma'tendanan eran, anna ma'bUlJkaran ba'ba, anna ma'amparan ale.

83 Matindo sisura guntu', mamma' sitandi takia' .

84 Anna ma'tuturan ba'ba, anna ma'benta1Jan lian.

85 Randuk tite1Jka lentekna, tirimbak pessajoanna.

86 Malemo natum' gaun, naempa-empa salebu'.

87 Lao' tambuttana tallu, lao' P013ko' siannanan.

88 Nanai torro ma'pa1313an, unnesul3 ma'lea-Iea.

89 Messaile tumarantan, mentiro ma'uran-uran.

90 Randuk unte1Jkai kalo', ullamban pasala dua.

91 Tileak lembalJmo lao', rokko kalambunan allo.

92 Bendan kalukumo dio13, la ma'induk tumajalJmo.

No faces there displeasure showed.

78 Now, when in full had passed three days Then father really did depart,

93 Tindak sarira naola, mian kila' napolalan, sundallak napolambanan.

79 And then it was his feet strode forth, His arms were swinging to and fro.

80 And then over the ditch he stepped Across both channels he did go.

81 And then he reached his royal abode His dwelling place of majesty.

82 The ladder was set up for him, For him they opened up the door Spread out for him the sleeping mat.

83 Head-to-toe to some he lay there, His arms across the others were.

84 And then they shut the door on him And somewhere else they took the steps.

85 And then it was his feet strode forth, His arms were swinging to and fro.

86 The clouds behind him he has left Enveloped in the mists is he.

87 South, at the fallens' three grave mounds The six of them, there in the south.

88 Sirih-pinang he stood chewing, He sat there making his mouth red.

89 And when he glanced back his tears flowed When he turned round there was fine rain.

90 And then over the ditch he stepped, Across both channels he did go.

91 And then this region southward passed Then went down where the sun descends.

92 A coconut palm is he there, A sugar palm high over all.

93 He takes the rainbow as his path, The flashing lightning is his way He walks along the kindled forks.

94 BUJ3ka'ko ba'bana lalJÏ', pentiroanna deata, te dao palullurYlD.

95 Manda'mo naluaJ} Lemba, nasalut}lm BWJa'lalan, naepun met}kidi-kidi.

96 La ditiro ke maJ}ambo', ke umparokkoi banne, ke massea' -searanni.

97 La sipasakkemo' batÏt}, la sibenmo' tuo-tuo, to mai kamarendet}an.

98 Kianakko, kikeanak, tabassÏt} pekamasean.

99 Anakmu disaIJ.a Daet}, anakki disaIJa RippW}.

100 Anna daet}-daet} sugi', anna rippUf} bala tedot}.

94 The gate of heaven open thou The window of the godly ones The all-enveloping above.

95 The Great Bear, it embraees him The Pleiades clasp him to them The shining stars eneompass him.

96 We look for him to sow the riee When time it is the seed to strew When we should seatter it about.

97 In this dirge let us blessings ask, Let eaeh for eaeh a long life wish, A long life of prosperity.

98 May you have ehildren, may we, too, May eaeh for eaeh for blessings ask.

99 May your ehildren be ealled DaeJ3, May our offspring be ealled RippuJ3.

100 Riehes may they gather to them, Buffaloes eolleet in number.

94 Stro 192c, I A, reads: the shining stars around him press.

nA nA

BadOIJ maIolo to NonolJlLll Chant tor the deceased as song in NonolJUL

Some of the texts II A to II J, inc1usive, were written down by Mr. J. Tammu, others by Mr. L. Pakan.

1 Le, Ie, Ie! tiromi tu tau t013an,

tu to natampa deata.

2 Iatonna dikombo13, randuk dipal3idenanni.

3 To tat} dikandean essun, tal} dilaesan bua kaju.

1 Hey, hey, hey! Look at that exeeptional [man Who was ereated by the gods. .

2 Now, at the time when he was formed When first his mother fancies had

3 For him were eaten no sour things No fruits were tasted for him then.

4 To diparende bumbul3an, to dikombol} pare pulu'.

5 To dadi lan pussakna, komh0J3 imatalabona.

6 Dikkan to malemo sau', dikkan to membuleammi.

7 Lalan sal}bamba naola, sal3bua' pe1Jkaleakan.

8 Mpellambi' bamba suruga, sola tondok to mario.

9 La sal}tol}konan nene'na, sat}islUJan to dolona.

4 As white as milk was he then formed, Like viscous rice he was then shaped.

5 He came forth at the sky's far rim The zenith of the firmament.

6 Alas, he has now southward gone, Alas, he is now there ahead!

7 He has gone where all men must go To that place where men pass from sight.

8 The gate of heaven he has reached The village where they ever grieve.

9 Now lives he with his ancestors, He now dweIIs with his forefathers.

4 diparelldc = iron ore is being smelted.

7 sarJbua': the adat community which as a whole holds the bua' feast.

UB

BadOJ] maIoIo To PalJ8la'

UB

Chant tor the deceased as sUDg In the PalJ&la' terrItory

The informant was Karnbuno, a 10 minaa of the village of Tondon. When this chant is sung for a man of rank the words are as follows:

1 Ambe'ki, umbamira sal3- [tondokna, to mai sal}Saroanna, sito'doan tarampakna?

2 Maiko anta unnondo, inde paJ}fante manikna. 3 Ambe', perangiimo' matin,

1 Our father, where are those of his village [now, The ones who to his group belong Whose eaves drip water each on each? 2 Come, let us start the dancing now On this plain, beautiful as beads. 3 Now, father, pay thou heed to us, inde naslU3mo rapummu, sola mana' sariummu.

4 Perangiimoko batilJIIlu, patananko talÏl}ammu, alenko pa'perangimmu.

5 Anna maleso mural}Ï, tilanta' lan talÜJammu, allen lan pa'perlU3immu.

6 Al}ki tolorlU3ko batÏl}, alJki ba'nlU3ko mario, al}ki etel3-eteIJlU3ko.

7 Battu la tetena batÎIJ, battu lalanna mario.

8 Morol}Ï tal} la tetena, talJ la lalanna mario.

9 Sisalo-salo batÜJna, sikalamban mariona.

10 PanilJomu tommu pea, lollo'mu tommu baitti', tommu randuk Ielelawa.

11 PanÜJo disurasammu, 10110' dialJgiloammu, dibetau-tauammu.

12 PanÜJo disura' selel}, 10110' dimata bulajan.

13 Sundun sal}tlU3kena batÏt3, saJl}parajanna mario.

14 La ditendok temmi batif3, diala temmi mario.

To all thy kinsmen who are here To thy descendants numberless.

4 Hear this chant of mourning, father Indine thine ears and listen now, Let thy hearing take it all in

5 So that thou now dost hear it weIl, That it may penetrate thine ears Within thy hearing shall be dear,

6 That we the lament string for thee The mourning song make beautiful That we like a bunch make for thee.

7 Which kind of lament should we sing, Now, which way goes the mourning chant?

8 Now, should the form unfitting be The mourning chant be incorrect

9 Then would the dirge for him be mixed The lament from its course would stray.

10 This was thy game when thou wert young Thee pleasure gave when thou wert small When with the handrail thou didst walk.

11 Thy game, with its motifs adorned Thy pleasure, with its carved designs, Like something made of betau wood.

12 Thy game, like that with selet} drawn, Thy joy, like sword blade gold inlaid.

13 Ends now a part of this lament, A section of this song of grief.

14 Use this to start to sing the dirge Take it to start the mourning song.

UC

BadOIJ To Sa.'dan

DC

Chant lor the decea.sed as song in the Sa.'dan terrltory

This chant consists of nine groups of strophes, each group containing two or three strophes of two or three Iines; the first group has five strophes.

al Maiko tatannun batÏ1}, tapana'ta' rio-rio.

2 Tiromi tu tau tOl}an, tu to natampa deata.

3 Malulun pada13 naola, ma'ti tomba!} napolalan.

4 Tilewak lembafJIIlo lao', tirabun pa'taunammo.

5 Ta!} diruamo dilambi', direnden dikilalai.

b 6 Inde dao to tUl3ara, rintin to mennulu sau'. umpolo bintanna sali.

7 Matindo situat} timbo, mamma' sitonda patoke'.

8 Dao tal3l13ana sondOl3, dao lisunna banua.

c 9 Anna lendu' daa mai, la messa'de banuammi, la merreke' tarampakmi.

a 1 Come, let us weave the lament now The mourning song, in sequence right.

10 Umpopani' pani' a!}in, umpolentek talimpuru'.

2 Look at that exceptional man Who was created by the gods.

3 The field's grasses has he trod down, The pond he walked across dried up.

4 Then he this region southward passed, Went, like the season, out of sight.

5 Now out of touch and out of reach Led away, but now forgotten.

b 6 He lies above here, on his back, Woe, like one with south pointing head! Across the bamboo floor slats lies.

7 He lies with palm wine holder there He sleeps with pack of viscous rice.

8 There, in the centre of the house The middle point of the abode.

c 9 And then he passed here from the North And walked beside your houses here Y our compounds here he did approach.

10 The wind's wings had he as his wings, The gales, he had them as his feet.

TEXTS AND TRANSLATlON 69

llD

BadOI) maIoIo To Kesu'

llD

Chant tor the deceased as sung in the Kesu' territory

This chant consists of four groups of strophes, each group containing four strophes.

al Iatonna dikomboJ}, a 1 Now at the time when he was formed bUI}a' diparJidenni. When first his mother fancies had

2 To taf} dikandean essun, 2 For him: were eaten no sour things tatJ dilaeran bua kaju. No fruits were tasted for him then.

3 To laen dadinna, 3 He was a man of special birth, dikkan to membuleammi. Alas, he is now there ahead! 8 Taf} marandenkoka iko, 8 Now, are not you affected, too,

to seIJa' patJidenanna. A man whose mother's needs were strange.

b 5 Nabala dambu ma'dandan, ullambi' rombena latJi'.

4 Dikkan to malemi sau', 4 Alas, he has now southward gone,

6 Ullambi'mo POl} Lalondof}, undete' bambana mukkun.

b 5 Beyond the rows of trees he went, The rim of heaven he did reaeh.

6 And POl} LalondOf3 did he meet There where folk ever active are.

7 La satJbanua nene'na, 7 His forbears are his neighbours now la satJtondok to dolona. His forefathers, fellow dwellers.

tae'ka dallo riomu? Do not you mourn in sympathy?

c9 Kami, kami madandenkan, c 9 We, we are the affected ones, dikki' to dallo rioki. Great is our grief and sympathy.

10 Tibaen rokko matampu', 10 Now westward does he pass from view dioI} kalambunan allo. Below, there where the sun descends.

11 Bendan kalukumo diol}, la ma'induk tumajal}mi.

12 La naola lal}f}lln lal}i', la kendek to palullul}an.

d13 Dadi deatamo dao, kombol}ffio to palullUl}an.

14 DitÏlr)ara ke mal}ambo', ke umparokkoki' banne.

15 La mendadi BUI}a'lalan, la kombol} bintoen tasak.

16 La dadi dao pussakna, kombol} lan matalabona.

11 A eoeonut palm, he stands there, A sugar palm, high over all.

12 He to the firmament shall rise Aseend to the all-enfolding.

d13 There he a deity shall be The all-enfolding shall beeome.

14 We look for him to sow the riee When time it is to strew the seed.

15 He shall The Pleiades beeome Beeome a yellow shining star

16 There, at the far rim of the sky There, at the zenith shall be ehanged.

UE

51mboq podo'

1 Bendo' bulan inde batil}, tibojol}. inde mario.

2 Metituran-turan ba'ta!}, merosso-rosso inawa.

3 Tal} madandenkoka iko, tae'ka dallo riomu?

4 Kami, kami madandenkan, dikki' to dallo rioki.

5 Allo sindi'mora te, lillinan sal}bol}Ïmora.

Bendo' , bendo' .

UE

Chorus that Is interrupted

This mourning ehant is terrible Frightful is this song of grief.

2 The feeling of the mind is ehanged, Dejeeted now beeomes the heart.

3 Should not you now affeeted be, Should not you mourn in sympathy?

4 We, we are the affeeted ones, Great is our grief and sympathy.

5 And now it is but a few days, The darkness of a single night.

Frightful, frightful!

OF OF Pa'sakkun marlo") Bestralnlng grief (?)

These strophes are concluded by the performers singing the words: "sakkun mario".")

1 Malemo naturu' gaun, naempa-empa salebu', natalunduk pini-pini.

2 La sal}banua nene'na, la séU}tondok to dolona.

1 The douds behind him has he left Enveloped in the mists is he The drizzling rain bends over him. 2 His forbears are his neighbours now His forefathers, fellow dweIlers.

Sakkun mario!

") sakkun mario: the following derivatives are Imown from sak kun : md sakkun are = to hold the chin in the hands; ma' sak kun-sak kun puduk = partly to cover the mouth with the hand; pdsakkun mario probably means restraining grief; mario = grief, sorrow.

fiG

Pa'randen-randen

1 Ambe', la lumba minai, anna sanda pakean? 2 Umbai la lu tamamo banua tal} merambu.

Randen, ehe randen! 3 Umbai disalli' leko', ditaruntun salian.

fiG

Speaklng the word '&las' twlce

1 Father, at what place art thou now, Dressed in thy finery complete?

2 Hast thou perhaps gone to that house The one where no smoke does ascend?

Alas, alack! Alas, alack! 3 Was it not locked the proper way, The bolt from outside was shot home?

Randen!

Alas!

UH UH TEXTS AND TRANSLATION 73

Passimban

Tileak bambami 1010', tirabun pa'taunammi.

Maklng alluslons

2 Ullambi' rombena laI}i' simban bembe tirembon.

1 Now south, is he hid from our sight Hid, and now the seasons' sign is. 2 The rim of heaven he has reached, The hanging goat hair hints at it.

2 Here, the text is not c1ear to me but perhaps there is a relationship hetween the fringe of heaven and the goot hair on the staff held by tbe to ma'rette1j; see pp. 17 and 87 (note 17).

UJ

Bolu gatta

DJ

Sando rido', bolu gatta, sanda kapu', sanda rio.

Betel and Gambir

1 Mourning ends: betel and gambir And lime are there: the mourning ends.

1 rido': I could not get a satisfactory explanation of this word. It is possible that it is a variant of rio = mourning. sando may he a variant of sanda = complete. In some forms of the chant for the deceased we find: sando rido' rido' kal la lao: rido' kal la lao is the same as rido' kan Ict lao, the n of rido'kan being assimilated: rido'kan la lao = we have brought tbe mourning chant to its conclusion, let us go.

11K

Badoq to soqlo' a)

1 Tiromi tu tau to!}an, tu to natampa deata.

2 To laen-Iaen dadinna, to sel}a' pal}Ïdenanna.

DK

3 La natibolloi saro!}, natikembo!}i kambuno, ke lajan rante kalua'.

Chant for the deceased as song by those who go downward in prooesslon

4 Kambuno to randan lal}Ï', ta'dUt} to lelean uran.

1 Look at that exceptional man Who was created by the gods.

2 He was a man of special birth A man whose mother's needs were strange.

3 Protecting hats were then brought out, The fan palm leaves were widely spread When he upon the wide plain was,

4 The fan palms from the sky's far rim, The shielding from the place of rain.

5 TatJ ditirorika lako, tal} ta'parika matanta?

6 Malulun buntu naola, ma'ti tombal} napolalan.

7 Umpotedol}-tedOl} batu, ma'pasilaga lolalan.

8 N adoloan burakena, naturu' pal}lalananna.

9 Mario-riokan kami, marorrol} silelekan.

10 Male natampa ambe'ki, naboko'i ma'dadil}ki.

11 Male untampe tondokna, umboko'i banuanna.

12 Malemi naturu' gaun, naempa-empa salebu', napararre' uran allo.

5 Does it not come within our sight, Are not our eyes aware of it?

6 The mountain's grass did he tread down, The pond he walked across dried up.

7 With stones as buffaloes he played, While on his way he made them fight.

8 Ris burake preceded him, Ris people followed on behind.

9 We are the ones who mourning are We are lamenting everywhere.

10 Our father has forsaken us, Has left us he who begat us.

11 N ow from his village has he gone Ris house behind him has he left

12 The clouds behind him he has left Enveloped in the mists is he The morning rain between us stands.

Rl

Rettel) dlpokada Iako to sugi' ke den mate

1 Kita al}ge mal}sal}bara', mintu' to situran dadi.

2 Ke'de'ko anta umbatil}, anta tannun rosso inaa.

3 Tal} marandenkoka iko, tae'ka dallo riomu?

4 Kami, kami marandenkan, dikki' te dallo rioki.

5 Indete bamba to rammal}, tondok to mario-rio.

6 La mekutanana' aku, la meosik paramena' , la mesanda sadasana'.

Rl

7 Lako to matua ulu, sola to banno beluak.

Improvized verse for a man of high rank

1 We who are of the same age group We who were at the same time born

2 Come, let us sing the lament now Come, let us weave our hearts' distress.

3 Should not you now affected be, Should not you mourn in sympathy?

4 We, we are the affected ones, Great is our grief and sympathy

5 In this place of silent mourning In this village of the grieving.

6 Now, let me something ask about Let me a question calmly put Let me now of his kinsmen ask,

7 Of those with heads adorned with age Those with the hair that is so long.

8 Tumbara bulan dadinna, lillinan paJ}idenanna.

9 Dao to mennulu sau', sola menta'du lu rekke.

10 Buda kinaIlo lalanna, dikki' barra' maisona.

11 N apokinaIlo ilalan, to bombo mendeatanna.

12 N apobokol} rilambanan, lalundun kapuaJ}anna, sau' rumombena lal}Ï'.

13 Ullambi' bamba suruga, sola tondok POl} Lalondol}.

14 SlU3tOl}konammo nene'na, sal}esUJ3an to dolona.

15 Torro maelomo 1010', unnesUl} maja-majamo.

16 N atiromo POl} Lalond0J3, sola datunna suruga.

17 Ma'kadamo POl} Lalondol}, sumumi datu suruga:

18 "Buda kinallo lalanmu, dikki' barra' maisomu.

19 "Denmo gai'mu lumÏl}ka, unnola t3.J3l3ana lalan.

20 "Ma'rupa-rupa mubaa, dikki' apa mukaloli', dikki' apa mukaloli'." Bendo', Ie! bendo'!

8 Whieh was the month when he eame forth Which were the nights she fancies had?

9 Above now, with south faeing ones, With those whose feet point to the north.

10 For his journey there is mueh food Mueh riee for him, white and weil brayed.

11 Takes it as food when he goes on His soul whieh is a deity.

12 It uses as he journeys on, His shade that is as lord revered Southward to the rim of heaven.

13 He has now reaehed the hereafter, The village of POl} LalondOl}.

14 Now he lives with his aneestors He dwells now with his forefathers

15 There in the south, he lives in joy His dwelling there so pleasant is.

16 Looks upon him POI3 LalondOlJ Prinee of the region af ter life.

17 Then POl} LalondorJ says to him The Prinee of the hereafter speaks :

18 "For thy journey there is mueh food Mueh riee for you, white and weil brayed.

19 "This journey is one you must do To walk the middle of the way.

20 "You bring with you all kinds of things It is not little you have brought, It is not little you have brought."

Alas! Alaek!

12 rumombena = the hanging as a fringe. Cf. 11 D stro 5.

82

Betteq to baranl ke den mate

Ie, Ie, Ie!

82

1 Kita al}ge te to tOl}kon, mairi' ma'rio-rio.

Improvized verse tor a courageous man

Hey, hey, hey!

All who eome here to sympathize, All of the ones who mourning are

1 tOl'jkon = to sit down; in this context it means to sit down beside the deceased.

2 Mintu' ma'punti disa.t}gil}, al}ga ma'kekeran bassi.

3 Lo'bat} luarampa' sidi', palempe sal}piakanna'.

4 Kunai tumannun batil}, umpana'ta' rio-rio, untannun dosso inaa.

5 Ammi pera.t}iipa' sidi', ammi tandil} talil}apa'.

6 La lamban datumo rettel}, la tumel}ka karael}mi, messojan ampu lembat}mi.

7 Te dao lal}Ï' masa'ga', lalol} ma'kasolat}-solat}.

8 Dendaka buntu tal} nateka', tanete nakalambia', lombok natOl}loi lako?

9 Merambu sal}tanetemi, meumbun sal}leon-Ieon.

10 Pura barana' nalelleJ}, dikki' lamba' siosol}an.

11 Pa'kabua'na te lalOI}, pa'katumat}na muane.

12 Tonna dolonapa lalOI}, piranpara'na muane.

13 Kaluku natual} lamban, pat}i natonti unnorOl}.

2 Who eat banana pieces thick Those who upon the iron do bite

3 Make for me now a space so smalI, Indine your sides towards me now

4 When I the mouming song do weave The song of grief in sequence chant When I now weave our heart's distress,

5 So that you can pay heed to me You can indine your ears to me

6 So that the verse does princely go So that it royally is done Is like a ruler's swinging arms.

7 Might had he who now in heav'n is, A hero who destruction wrought.

8 Wasthere a peak he had not dimbed A summit that he had not scaled A ravine he had not looked in?

9 The smoke rose from surrounding peaks Enfolding all the houses dose.

10 The banyan trees, he hewed them all, The lam ba' trees together feIl

11 By that hero's actions subdued Destroyed by that courageous man.

12 In old times he a hero was, In former times a fearless man.

13 A coconut took as he passed, Bore cord-strung ptWji on his way.

untumQJj (tumQJj) = to lay on one as a burden; e.g. as does a transgression for which no atonement has been made and from which, as aresuit, ill luck will follow.

13 unnarm, (arm,) = floating, swimming, is here the parallel of lamban and meanS to march past. Strophes 13 and 14 teil of the heroic acts of the deceased in battle when he slew his enemies and carried their heads back to the village. pQJji: name of a fruit bearing tree (Pangium edule).

14 Nabakkai tal} kaluku, napiak tal} patJi tOIJan.

15 Denmo gai'na masa'ga', surtU}3llna te malolle', surul}anna te malolle'.

Bendo', bendo', Ie! bendo'!

14 He deft what was no coconut, He split what was no ptlfji fruit.

15 Of benefit his power was, The young here now must take his place, The young here now must take his place.

Alas, alack! Oh, alas!

BS

Betteq lako to masokan ke den mafa

1 Kamu atJga tau buda, mintu' to massola nasarJ.

2 8iparapa'ko mairi', sikuaJ}ko sola nasal}.

3 Indete bamba to rammal}, tondok to mario-rio.

4 La miperal}iipa' sidi', la mitandÜ} talil}apa'.

5 La umpokadana' rettel}, la ussa'bu'na' mario.

6 Lako to sumpu matua, sola to mempuru' lampak.

7 8idi', sidi'ri retteJ}ku, tal} buda te marioku.

8 Apa to bekona' aku, tatJ paissan penaaJ}ku.

9 8idi', sidi', apa mammi' , tal} buda, apa matannil}.

10 TumaI}Ï' tikumo tondok, si'dan nasaryno pa.t}leon.

11 Ta'de to ma'pakaboro', to masokan penaanna, natampekan sola nasal},

BS

12 La kipatumbari lako, la kiduatJ diapai!

Improv1zed verse for a generous and noble man

All you here in your numbers great All in a mass assembIed here

2 Will each warn each to silent be, Will each teIl each to quiet be

3 In this place of silent mouming In this village of the grieving

4 80 that you can pay heed to me You can indine your ears to me.

5 An improvized verse I shall speak I shall a song of grief recite

6 For one whose age was very great For one whose span of life was done.

7 My verse is but a pal try thing My song of grief, it is not great

8 For I am but a dumsy one One who is not skilled with the mind.

9 It is but short, but beautiful, Brief, but 'tis full of melody.

10 The villages all round do weep Communities complete do sob.

11 He ~ho loved us now is no more, That one who was magnanimous He has forsaken all of us.

12 What is there now that we can do What is there that can now be done

13 Ke nalambi'i lampakna, ke nadete'mi garaganna.

14 Nakabe' To Tumampana. sola To Maf}garaganna.

15 Umba ia la susinna, la sipalinpa daona!

16 U mpakande redekkan, la umbarra' karoenkan.

17 Bua'rika dipatumba, bua'rika dipatumba!

Bendo' , Ie, Ie! bendo' !

13 Now that his life's span has run out Now his existence is at end?

14 Ris Creator has taken him, The one it was who gave him form.

15 Who is there who can equal him, Who is there as sublime as he,

16 Who gave to us, our share of food, At eventide gave us brayed rice?

17 What is there that can now be done, What is there that can now be done?

Alas! Oh, oh, alas!

16 During the period when the ricefields are being cultivated, the wor kers in the field are given a meal of cooked rice at the meal hour and in the evening a coconut shell full of unhusked rice as payment for their work.

84

Betteq Iako to mlnaa ke den mate

1 Kita alJga te to Kesu', saf}palili'na NonOlJan, mintu' lemba13na to Salu.

2 La miperalJüpa' sidi', la mitandi13 talÏl} apa' .

3 La mekatabe'pa' aku, la messiman sielle'pa'.

4 Lako te pekaamberan, mintu' te matua ulu, af}ganta massola nasalJ.

5 Tal} marandenkoka iko, talJ masseka penaammu?

84

Improvized. verse tor a to minaa

1 We who are all of the Kesu' From NonOlJan and all about All the adat groups from Salu

2 Will you a little heed pay me Will you incline your ears to me.

3 Let me now for permission ask, Let me the fitting pardon beg

4 Of those as father we address Of those who are the elders here Of all together, to the last.

5 And are not you affected now, Beats not your heart in sympathy?

6 Ta'de gandal} manaral}ta, tandilo pande paliu, sulÏl}ta massola nasa!}.

7 Umba la susi oninna, la silio gamaranna?

8 Susi gamaranna santur\, temme' laal}na tulali.

9 Ma'ba'na-ba'na oninna, pantan laen gamaranna.

10 Susi gandal} randan laJ3i', tandilo lelean uran.

11 Rumel}an-mel}an oninna, gumarissil} gamaranna.

12 la mepa'disan tambuk, umpamasse penaanta.

13 La tapatumbapi to, la tadual} diapai?

14 TumaJ3i'ki' sola nasal}, si'danki' sal}ga mairi'.

15 TumaIJi' sola tondokta, si'dan sola banuanta.

16 Indako pande manaral}, paliu lan penaammu?

17 Unnukkunni kalimbuaJ3, sumillan liku mandalan?

18 Anna ke sulle te gandal}, ke sonda tandilo rante.

19 Ke den upa' tapoupa', to kita massola nasal}.

20 Paraja tapoparaja, al}ganta saJ3ga mairi'.

21 Tama'kurre sumaIJa'mo,

6 Our skilful drum is here no more The stringéd one exceptional The one who was a flute for us.

7 Where was a sound that was like him, That was an equal to his voice?

8 I t sounded like the pluckéd string, It had the clear sound of the flute.

9 His sound, it was in every key His voice had every kind of sound

10 Just like the drum at heaven's rim The stringed one where the rain comes [from.

11 His sound, he made it ring out clear His voice, it was melodious.

12 He made the mind the grief to feel, He made the heart affected be.

13 What is there now that we can do, What is there that can now be done?

14 All of us, we are wailing now To the last one, we are sobbing.

15 The village whoie, it weeps with us, With us sobs the community.

16 Who among you is so able, Who has a mind exceeding rich,

17 Who down into the weIl can dive Can plunge into the pool so deep

18 Can for this drum he suhstitute Succeed the stringed one of the fcasts

19 So that wc should good fortune have, All of us, everyone of us

20 Should with good fortune hencfit All of us, right down to the last?

21 We do our gratitude express, tama'kurre sumaJ}a'mo!

We do our gratitude express.

Bendo'! Ie, Ie, Ie o! bendo'!

Alas! Oh, oh, oh, alas!

BIS

Betrel] Iako Sla Lal' Toban, balnena Sla BombeIaJuk

1 PoperJkammarampa' pia-pia, ta'tanampa' tal} unnissan!

2 Indete tondok to rammat}, inan to mario-rio.

3 Pantan uluanki' batÜJ, pantan tandurJki' mario.

4 Unnola taJ}1)a batirJku, mentialla' marioku.

5 Lolloan melona indo', tatendet} maja-majai.

6 Kuiese tikumo lembaJ}, Kusalol}i sl1l3mo pal31eon.

7 Buda pande dio 1embl1l3, dikki' to banne manaral3.

8 Ma'rupa-rupa alukna, pantan laen bisaranna.

9 Kulambi' bamba N at}gala, pessulunanna Kawasik.

10 Kutiro pande paliuk, lajuk lamba'na manaral3.

11 Sidi', sidi'ri nagirik, tal} buda te napakendek.

BIS

12 Anna kalando Ielena, natiranda karebanna.

Improvlzed verse for Lal' Toban, the wife of BombeIaJuk (a couple who lived in the N3J3gala territory, Rantepao country)

1 The children, make them calm for me Wam for me those who yet know naught,

2 In this place of silent mourning In this village of the grieving.

3 We have all kinds of mourning songs, We have all types of song of grief.

4 M y mourning song is add to them, My song of grief is mixed with them.

5 Let us laud the mother's goodness, Let us praise her at our best.

6 The country whole I have traversed Through all its areas have I gone.

7 The skilled in that region are great, Not scarce the able seed of Earth.

8 Their ritual is various, lts adat customs each does have.

9 And then I came to NarJgala To Kawasik village gateway.

10 I saw there one of skill so rare As clever as a fig tree high.

11 Though small, she turned it to account Though little, she did increase it

12 So that its fame spread far and wide In every place was it renowned.

13 Kareba irandan lal}i', tiranda lelean uran.

14 Sel}a' panatta'na pande, laen kedona manarat}.

15 Sanda nakita ba'tetlIla, natiro pasiruanna, natiro pasiruanna.

Bendo' ! bendo' !

R6--9

BettelJ lako Sla poq Panlmba, kapala lompo distrlk Kesu'

R6

Le, Ie, Ie!

Betteq napokada Toaq guru Kadaq

1 Kada tOIJan toda te, puduk tal} sisala toda.

2 Indena' untolJananni, la unta'pa'i malesoi.

3 Tibambal} kita lamba'ta, sOIJka kita barana'ta.

4 Anna la mindamoto, la umpakande redekki', la umbarra' karoenki' ?

Le bendo' ! Ie bendo' !

R7

Betteq napokada Sa'palJ

Le, Ie, Ie! 1 Kada tOlJan toda to,

13 It was known at the heaven's rim Was heard of where the rains come from.

14 She organized with wondrous skill, She ran her life with perfect ease.

15 Her mind gave heed to everything She gave good thought to all she did, She have good thought to all she did.

Alas! Alas!

Four rette'3 reclted by three different people at the death feast for POIJ Panlmba, district chiel ol Kesu'

R 6-9

R6

Improvlzed verse reclted by the school teacher Kadaq

Hey, hey, hey!

1 This is the word of truth indeed, My lips no contradictions speak.

2 I here state that which is the truth A verity do I make clear.

3 Our fig tree has now fallen down Our banyan, it has toppled down.

4 Who is there now among us here Who can give us our share of food Give us brayed rice at eventide?

Oh, alas! Oh, alas!

R7

Improvlzed verse reclted by Sa'paq (a member of the deceased's farnily)

Hey, hey, hey!

1 This is the word of truth indeed, puduk tal} sisala tot}an.

2 Tibambal} tot}an lamba'ta, sol}ka tOll3an barana'ta.

3 laku te akunna, te kale misa-misal}ku.

4 Tal} kupomadiOl} ba'teJ}, tal} kuporosso inawa.

5 Inat} allu' la sol}kami, ta'bulu' la tibambal}mi.

6 Susi nasal} ia tau, ke nalambi'mi sandana, nadete'mi garaganna.

Bendo' ! Ie bendo' !

My lips no contradictions speak.

2 True, our fig tree has fallen down True, our banyan has toppled down.

3 Now, if I speak just for myself Now, if but for myself I speak,

4 I am not a dejected one I am not grieving in my heart

5 For it was writ that it should fall The time had come for it to drop.

6 I t is the same for all mankind When their life's span has run its course When their existence is at end.

Alas! Oh, alas!

B8

~tteq napokada to mInaa So' Sen

B8

Le, Ie, Ie!

Improvlzed verse reclted by the to mtnaa, So' Sere

1 Popet}kammaranna' pia, ta'tananna' tal} unnissan!

2 Indete tondok to rammal}, inan to ma'rio-rio.

5 Buda gajal} dio lembatJ, dikki' to banne tarapatJ·

(of the village of AlJin-A!)in, Kesu' territory)

3 Anta lolloan te ambe', tatendel} mendadianta.

4 Kulese tikumo lembal}, kusalOlJimo pa13leon.

6 Pada matasakna gajal}, pada du'kunna tarapal}.

Hey, hey, hey!

1 The children, make them calm for me, Warn for me those who yet know naught

2 In this place of silent mourning In this village of the grieving,

3 That we the father here may praise May laud the one who us begat.

4 The region whole have I traversed Each settlement have I been t~.

5 Gold krisses have they in a mass, Their huge gold krisses, numberless.

6 Of pure gold all those krisses are, Alike glitter those huge gold kris.

7 Kulambi' bambana Ba'tan, tal}do' la'bi'na Malenol}.

8 Kutiro tompo'na gajal}, membuleanna tarapaIJ.

9 Umbaora la susinna, la sipalinpa daona,

10 Ussioran ra'tuk lal}i', unnambo' bintoen tasak.

11 Ussulissin randan lal}Ï',

Bendo' ! Ie bendo' ! Alas! oh, alas! 89 89

7 When I to Ba'tan district went To MalenOlJ the stately porched

8 The gold kris saw surpassing all The gold kris that was not excelled.

9 Where is there one to equal it Which can in size be matched with it

10 Can constellations strew about Can sow the yellow shining stars,

11 That can the rim of heaven choose ussisik lelean uran? Seek out the place where rain comes from?

Le, Ie, Ie!

1 Tal} muissanraka tau, tae'ka mupeloloi?

2 N akua para' kural}Ï, tilanta' lan ta1ÏlJal}ku.

Retteq napokada to mlnaa So' Sere Improvized verse recited by the to minaa, So' Sere a)

3 Apa to bekona' aku, tal} paissan penaa.IJku.

4 Nakua membua lat}i', menta'bi to palullul}3Jl.

Hey, hey, hey!

People, do you not know of it Now, have you not been told of it

2 I've heard folk say it, havn't I, It's penetrated to my ears?

3 But, I am but a clumsy one, One who is not skilled with the mind.

4 They say the heaven bears its fruit The all-enfolding is in bIoom.

4 A colourful way of saying that the deceased had issue.

5 To la tal} tot}3Jldika, ke naolai mamma'na, nakada!} tindo bol}Ïnna?

6 Susi duka te akunna, te kale misa-misal}ku.

7 Kita at}ga sola nasal}, mintu'ki' te tau buda.

8 Tatajan buanna Kesu', ta'binna bal}kudu tua.

9 Ke den upa' tapoupa'. paraja tapoparaja, rol}ko' todÜ} sola nasa!}.

5 Do people then not speak the truth When teIl them of it do their dreams, Of what their nightly visions caught?

6 And so have I, too, I, myself I, too, myself, my very seIf.

7 All of us who are gathered here All in a mass assembied here

8 The fruits of Kesu' we await The blooms of the old madder plant.

9 When we shall then good fortune have With property we shall be blessed, Sublime will be our benefits.

RIO

Pa'Ie-Ie

1 Iko angga te to t013kon, mairi' ma'tuak essun, angga ma'punti disasa' .

2 Rapa'ko, torroko rokko, unnesul3 maja-majako.

RIO

3 Sialla' ponto lola'ko, sipanapi' balusuko.

4 Ammu peral}iina' mati', ammu tandi!} talil3ana'.

5 Parapasampa' baitti', ta'tananna' tal} unnissan.

6 Al}ku sa'bura13ko batÜJ, kusa'bural}ko mario.

The excIalming of 'hey, bey, hey!'

All who come here to sympathize The many who sour palm wine have All who banana pieces have

2 Stay sitting calmly there beIow Be seated in good order now.

3 Spaced be as the lola's spaces A white shell armband be compact

4 So that you can pay heed to me You can incline your ears to me.

5 The children, make them calm for me Wam for me those who yet know naught

6 That I shall speak this dirge to you The song of grief recite to you.

7 Ba'tu la ia sirenden, ba'tu tenni sibalajan.

8 Sibalajan kenna bannal}, sirenden kenna pamuso'.

9 Kenna pembassean kala', pa'kembol}an kau-kau.

ION a taI}Ïapa sirenden, nata!} tenpa sibalajan.

11 Al}ku pasondai batil}, lU}ku tuka'i mario.

12 N akuanna' inde pia, kadanna inde baitti':

13 "Da naia to mulambi', mudete' mukilalai."

14 Denki'ka tal} nauranni, t3.l} nabissik pini-pini.

15 To makaka nauranni, sabua' natarandakki.

16 Tal} diissan dilendokan, sanda' dipentirefUl}an.

1 7 Ke nasanda simisaki', ke nakanoto-notoki'.

18 Kita toda te to lino, te to kombol} tau mata.

19 T3.I} taissan talendokan, sanda' tapentilindul}aD.

20 Ke nakuamo PU3.l}ta, To mai To Tumampata.

21 Tallal} turananna Pu3.l}, ao' bela' -belaranna.

22 Ina!} to pekajuanna,

7 Would that these lines go each on each Would that it be they do relate.

8 Were they as threads, they would be linked Were they cleansed kapok, would cohere

9 Be like weft upon the heddle Be just like the swelling kapok.

10 Vet still they might not be weIl linked, It might be they would not cohere.

11 The mourning song I would then change The song of grief would alter then.

12 The children here, they say to me, The words of these small ones are such:

13 "Pay great attention to your words, So that they get not out of hand."

14 Does not the rain strike all of us Does not the drizzle touch us all?

15 The rain it does the free ones strike, It falls upon the slaves as weIl.

16 No one can run away from it No hiding place sufficient is.

1 7 It chooses each of us in turn It strikes us at the proper point.

18 We who live here upon the earth We who as living men are fonned

19 We can not run away from him No shelter is enough for us.

20 When our Lord has said it he so He, He who our Creator is.

21 We are the thin bamboo he fells The thick bamboo that he cuts down.

22 We are the place where he gets wood ma'pare rante mairi', sali papan sola nasa!}.

We are the plain where rice does grow A smooth and level wooden floor.

Ambe'! (Indo'!)

The singing of this ,.ett~ is conc1uded by all the singers saying: "ambe' " = father, when it bas been sung for a man, and "indo'" = mother, when the deceased is a woman.

RU

Bettel] Iako to merok

1 Kita a!}ge tau buda, mintu'ta massola naslU}.

2 POPel3kammaréU}ki' pia, ta'tanal}ki' tal} unnissan.

3 Indete rante buplU}den, te tondok busartU3lJu'.

4 Ma!}kamo tal}kean suru', sundunmo bamba sara'ka'.

5 Tarundunan aluk dolo, bisara to piran para'.

6 La umpokadana' rettct}, la ussa'bu' panÏl}oan.

7 Indete rante malona', dipaladan sea-sea.

8 Tumbara tel}ko taturu', batakan tasiullU}i?

9 Tu lat}13an talJl3ana llU}i', dipaladanna batara.

10 Te dao To Tumampata, sola To MalJgaraganta.

RU

11 Nabenki' kamarendel}an, katuoanta sola naslU}.

Improvized verse reclted at the merok feast

1 All of us here in numbers great All in a mass assembIed here

2 The children, make them calm for us Wam for us those who yet know naught,

3 On this plain that is so fragrant On this field that does smell so sweet,

4 The off'ring ritual is done, Ended are all the cleansing rites

5 For ,these we follow rites of old The adat rules of former times.

6 Let me this improvized verse speak This play of words let me recite

7 Here, on this plain that is so wide Here, on this forecourt that is broad.

8 What is the course that we should trace To which line should attach ourselves

9 That does to heaven's centre lead Goes to the firmament's forecourt

10 There above, to our Creator, To Him, who did give us our shape

11 That He give us prosperity And life to everyone of us,

12 Anta keanak, keampo, mintu'ta nasambo lalJÏ', narande tana kal ua' .

13 Nabura' lindo masakke, N api'pik sanda marende13.

14 Anta e matua induk, anta banu' karurutyln.

15 Tasilele tua' sanda, palisu sampe mairi'.

16 R013ko' todif} sola nasaJ3, rot}ko' todÜJ sola nasa13.

1 7 Bela, bela! nakua kadanna todi13: "Kada13mo' bembe manik! kadalJmo' bembe manik!"

12 And children and grandchildren, We who are under heaven's arch By wide earth borne, on flat of hand?

13 May He grace scatter from His face, Prosperity may He pour forth

14 That ag'd as sugar palm we be Old as their heartwood do become,

15 That all of us good fortune have Have portents of prosperity.

16 May benefits then be sublime, May benefits then be sublime.

17 May it succeed, may it succeed, The sign gives forth its own words now: "Grasp me, splendid stick with goat haïr! Grasp me, splendid stick with goat hair!"

17 bembe: stick with goat hair fixed to it, cp. the word bembe' = goat. This stick is carried at feasts.

R12

Retteq Iako to Ia'pa'

1 Kita aJ3ge to melJkita, mairi' to sae b013i, AlJga to ratu malillin,

2 Siparapa'ko mairi', sikualJko sola nasaJ3.

3 La umpokadaki' rettef3, la ussa'bu' karombian.

4 Sae nasaJ3raka ganda13, tae'ka ta'de bombOfJan, tu mati' tandilo rante?

R12

5 lake lalan ba'talJku, pamori' lan penaaJ3ku.

Improvized verse recited at the la'pa' feast

1 All of us here who come to look All who at eventide do come All who appear now it is dark

2 Shall silence of each other pray Shall wam each other to be so.

3 Now improvized verse we recite, We shall the eulogy now speak.

4 Are all the drums now present here And all the gongs, are they here too, The stringed ones of this feasting place?

5 And it is what my heart desires It is what my mind has made up

6 Pada unnoniko gandaI}, pada motokko bomboJ3an, sumuko tandilo rante!

7 Anta 10Uoan te bua', anta tendel} kala'pasan.

8 Ma'misa gajat} didandan, taraplU} ma'paran-paran.

9 Rara' tatif}Oi tama, ma'misa masak didandan, tÏl}gi te ma'paran-paran.

10 La umpanÏt}oi bua', untendel} pa'maruasan.

11 Nakua aku rettet}ku, teen aku karombiaI}ku:

12 To pUaI} talJil}ana laI}i', dima'dikanna batara,

13 Umpondok taI}kean suru', tetaJ3an lindo sara'ka'.

14 UmpamaJ3ka kala'paran, umpasundun bua' padat}, to mai kapenanian.

15 Mintu' burake manakka, sola to bit}su mapato.

16 Anta masakke mairi', madadindÜJ sola nasat}.

17 Silele takinan pia, anta ma'sompo ma'kepak.

18 Ma'da'det} kataa-taa, anta e matua induk, anta banu' karurut}an.

19 Bela, bela, o! bela! Nakua kadanna todit}: "Kadal}IIlo' o! bembe manik!"

6 That drums, together you must sound Gongs, with each other you must strike. Speak, stringed ones of the feasting place

7 That we the bua' feast may praise That we the la' pa' feast may laud.

8 The krisses gold in line now stand Huge krisses gold, they form a row.

9 We turn east, to the necklaces Old beads skilfully set out Those dark red beads, there placed in rows

10 That we may hold the bua' feast This festival may eulogize.

11 My improvized verse, it does say, This eulogy of mine thus reads:

12 Lord of the centre of heaven Of the glorious firmament

13 Has fixed the offring ritual As weIl as the atonement rites.

14 The la' pa' feast he has performed The bua' for the harvest done And the men ani feast as weIl

15 With all the skilful burake The bitJSu, who the right way act

16 So that we have prosperity, That all shall in their lives fare weIl

17 Will carry children on the hip Lift on shoulder, bear at waist,

18 That we may ever laugh with joy Old as the sugar palm become The age of its heartwood may reach.

19 May it succeed, succeed, succeed! The sign gives forth its own words now: "Grasp me, splendid stick with goat hair!"

LIST OF SA'DAN TORADJA WORDS

which are mentioned in the notes attached to the strophes.1

ambayarj: kind of large mango, I A 28. anak ta makaka: the notables of the adat community, I A 143. Bambapuarj = Gate of the Gods, I A 68. banaa: a small wooden dish in which at the bua' feast, unhusked rice is put, IA35. Bal'Jkudu: the name of the region where the clan house Kesu' was situated, I A 90, R9:8. banne ba'tarj = seed of the brain, I A 136. batu lapparan = having scales on the feet, I B 64. Batu: the name of a clan house in the village of Kadundlll3, I A 92. bembe: stick with goot hair fixed to it, R 11 :17. benda' : an exclamation of horror and anger, 11 F 1. be1JSU = b#jsu: the women who are in a state of taboo at the bua' kasalle feast, I B 33. birjsu = be1}Su: R 12:15. bamba,,: the main rib of the banana leaf when the latter is complete, I B 61. bua'feast: a feast to invoke blessings, Introduction 5. bulaan = golden, I A 24. burake: priestess at the great bua' feast, IA36. dae'} = to amass, I A 198. dalia namu = your grief and sympathy, 11 E8. deata = god, spirit, I A 38. dewata = god, spirit, 11 D 2. dikki' = small, scanty, I D 2l.

Dun: a federation of three small kingdoms, Alla', Malua' and Buntubatu, IA75. gandarj = drum, I A 12; it also denotes the to minaa, I C 3. garagammu = the forming of thee, I A 7. garatUJj: a small drum with a python's skin as the drumhead, I A 37. gayarj saraparj = large gold kris, I C 99. Kalebu': according to tradition an island lying off the west coast of South Celebes, I D 42. kambltna: the leaves of the fan palm which are sitched together to make a hat, I A 159; it sometimes denotes the adat chief, I B 101. kapana'-panaran: the time when the heat of the sun is hot enough to bum one, IA 11. kapaYUJjan = the place of the sunshade, I A 40. kapual'Jan = having the status of a god or lord, I A 41. karae'}: a title of princes and members of the nobility, I D 81. karombian: song of praise sung by the participants of the la'pel feast, R 12:3. K esu': the Kesu' Rocks !ie to the south east of the capital, Rantepao, I A 19. kole: a large straight tree with slnall leaves, I A 196. kamba,,: the plantation of bamboo and sugar palm that belongs to the clan house, I B 60. kombo1j = to be formed as, I A 12l.

1 Dnly words that appear frequently in the strophes are given. The list is not etymologically; the words are given in the form in which they occur in the notes.

kulu-kulu: a kind of bird with a melodious call, I B 20. lamba' ; the lamba' and banyan trees denote tbe people in every territory who have power, R2:10. la' pa': conclusion, end, I A 21. lantona pudu': that which is put to the lips but is hard, I B 63. latJSa' = latJSat, a tree having small round yellow fruit, I A 162. Ie is an exclamation used to encourage the persons addressed to reply, II A 1. lempo bumarran: the platform which smelIs of meat, I A 161. leppo'-leppo' = a small platform, I A 161. 101J0: the jutting out eaves at the front and back of the saddle-shaped roof of the Toradja house, I A 18. lt»jke = visible from afar, I A 9. maa': the name of the cotton tjindai c10th introduced by Dutch India Company, I A 121. ma'balinono: to proceed on foot in procession to the place where the bua' kasalle feast is to be held, I A 20. madadindilj = cool, fortunate, prosperous, R 12 : 16; = marudindilj, I B 127. ma' kasea-sea = invincible; to pay out handsomely, I A 20. ma'kebud to hold the bull feast, I A 21. mlllea-iea to make oneself red, I B 114. marudindilj cool, fortunate, prosperous, I B 127; = madadindilj, R 12: 16. matalabona: the rounded extremity of the firmament, I B 53; cp. talabona, I C 53. mendaun mgi' = rich, as the leaves of a tree, I B 88. menani = the singing of the chant at the bud feast, I A 21. mendeata = having become gods, I A 41. me1Jkaililj = to shake one's head, I B 52; = unnililj, I B 111. me1Jkepak = to carry on the hip, I B 68 ; cp. ma'kepak, I B 130. narende = she smelted, I B 57. natÏljara = he looked up, I C 112. lIatirandukki = he pricked, IBS. Ne' Sara: the name of the preparer of the corpse, when it is to be prepared for burial, I A 145.

pamuso': kapok from which seeds have been removed, IC 7. pat'jidenan = the state of having the fancies of a pregnant woman, I B 56. pat'jloli: black buffalo with a tail with a white tip, I A 13. pantanan nene' = that planted by the ancestors, I C 131. passara'kasan: the atonement ritual, IC28. passasaran tuyu = the place where the rushes are cut, 1 A 136. pata' = the middle one of the three beams that run longitudinally under a house, I A 147. patalo = he prevailed, I A 138. patat'jdo: the stone which is put up in front of the clan house, when the bua' feast is to be held, I A 19. pe1Jkalossoran: the atonement offering, I C35. pessulunan: gateway, R 5 :9. pindan = dish, I A 35. pini-pini = fine rain, I A 44. POrjko': according to tradition an island lying off the west coast of South Celebes, I A 59. P t»j LalondrWJ: the Lord of the Land of Souis, II E 6. ponto = armband, I A 136. PUat'j = god, spirit, I A 38. rambo-rambo thread, fringe, fibre, IA 15. rat'jga inaya wea1th of thoughts, I A 136. rara' = neck chain, I A 6. rombena lat'ji': fringe of the firmament, lIES. rumombe = to hang down like fringes, I B 112. Rura: the name of a plain, lying between Enrekang and Kalosi, I A 71. sat'jbanua = those who belong to the same neighbourhood, I A 1. sat'jparaan = a small amount, I A 107. satJSaroan: a group of people belonging to the same hamiet who work the ground on a communai basis, II B 1. sat'jtat'jke = one branch, I A 107. sarapat'j = large gold kris, I C 99 ; = tarapat'j, R 8 :8.

sisura = getting entangled with each other, I A 169. sitaOOi = lying across each other, IA 147. soOOo'J: in poetical language the parallel of banua = house, I A 146. sO'Jlo' = to go down, 11 K nt. a. sumpu matua: a person who has reached the greatest possible age, R 3 :6. takinan pia = the act of carrying children at the waist, I B 69. talabona: the zenith of the firmament, I C 53; cf. matalabona, I B 53.

Sarira: the Sarira Rocks extend from the SaJ}IIlla' territory northward into the Kesu' territory, I A 86.

sarita: a long, narrow blue c10th with white designs on it, I A 121.

sembtll'j: cut off aslant; a shortened form of altll'j sembtll'j, I C 29.

Siguntu': the name of a clan house in the village of KadundUl), I A 92.

sirantean = to be on the same level with, I A 21.

sirenden = to be a guide to each other, IC6.

tambuttana: a small grave mound, I A 174.

tandilo : a musical instrument consisting of half a coconut shell with a cord stretched across it, 1 A 37.

tandU'J: field where the feast is held, R5:3.

ttll'jke tikunna = all branches everywhere, IA3.

tarampak: in the Tikala, Sa'dan and other territories it means compound, IID9. taraptll'j = large gold kris, R 8 :8 ; saraptll'j, I C 99. tatannun = let us weave, I A 2. tau tOrJan: a man in reality, II A 1. terjko = plough, R 11 :8. tete = bridge, made of bamboo culms, I CS. twolloi = it is poured forth, I A 159. tilewak = gone away, II D 4. to bard: the term for the prominent adat chief who acts as the offerer, I A 143. toditj: a distinguishing mark, I A 13. to ma'kadO'Ji: the prompter. tommu dipapore tampa, when thou wert shaped as asolid whoie, I C 9. tO'Jkon: to sit down beside the deceased, R 10:1. to palullU'Jan = the a11-enfolding, I AIO. tumtll'jke-mtlI'jkei = he held in his hand, IC36. tumaytll'j: higher than other things, I AIO. uaka'na diorO'Ji = his roots that people drifted towards, I C 43. ultll'jna = the link between two things, I B 69. umpolilitj kalumbassik = to have an enclosure of arches made of split bamboo, I B 62. unnilitj = to shake one's head, I B 111; = metjkailirj, I B 52. unnoro'J = f1oating, swimming, R 2 : 13.

VERHANDELINGEN

33. H. J. de Graaf, De regering van Sunan Mangku-Rat I Tegal-Wangi, Vorst van Mataram, 1646--1677. I. De ontbinding van het rijk. 1961. 34. H. Myron Bromley, The Phonology of Lower Grand Valley Dani. 1961. 35. J. C. Anceaux, The linguistic situation in the Islands of Yapen, Kurudu, Nau and Miosnum, New Guinea. 1961. 36. G. W. J. Drewes, De Biografie van een Minangkabausen Peperhandelaar in de Lampongs. 1961. 37. J. P. K. van Eechoud, Etnografie van de Kaowerawédj (Centraal Nieuw-Guinea). 1962. 38. Tapan Raychaudhuri, Jan Company in Coromandel, 1605-1960. 1962. 39. H. J. de Graaf, De regering van Sunan Mangku-Rat I Tegal-Wangi, Vorst van Mataram, 1646--1677. 11 Opstanding en ondergang. 1962. 40. C. Skinner, Sja'ir Perang Mengkasar (The Rhymed Chronicle of the Macassar War) by Entji' Amin. 1963. 41. Silvia W. de Groot, Van isolatie naar integratie. De Surinaamse Marrons en hun afstammelingen. Officiële documenten betreffende de Djoeka's (1845-1863). 1963. 42. P. Drabbe, Drie Asmat-dialecten. 1963. 43. S. J. Esser, De Uma-taal (West Midden-Celebes). Spraakkunstige schets en teksten. 1964. 44. J. C. Anceaux, The Nimboran Language. Phonology and Morphology. 1965. 45. H. van der Veen, The Merok Feast of the Sa'dan Toradja. 1965. 46. C. L. Voorhoeve, The Flamingo Bay Dialect of the Asmat Language. 1965. 47. H. K. J. Cowan, Grammar of the Sentani Language. 1965. 48. P. A. M. van der Stap, Outline of Dani Morphology. 1966.