[DE-SBB] Schoemann II 21 — Carita Sinden — Carita Sinden

İsim	[DE-SBB] Schoemann II 21 — Carita Sinden — Carita Sinden
Basım Tarihi:	copy: 1847
Basım Yeri	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz - Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Konu	region
Tür	Diğer
Dil	Belirlenmemiş dil
Dijital	Evet
Yazma	Evet
Sayfa Sayısı	116
Fiziksel Boyutlar	Bd. a: 33,5 x 10,5 cm Bd. b: 33,0 x 20,5 cm
Kütüphane:	Kalamos
Demirbaş Numarası	Schoemann II 21
Kayıt Numarası	DE1Book_manuscript_00007764
Lokasyon	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Tarih	copy: 1847
Notlar	kept together in a flat cardboard box provided with a lid, 37 x 22 x 5 cm — well written and clear title and the date on the backside of part a are written with large quadratic stylized Javanese characters — black — paper — The present work contains the explanatory text for a pantomime theater performance, which was performed in 1847 at the court of Sultan Kanoman at the court on the Cirebon in honor of the Governor-General of the Dutch East Indies, Rochussen. Band a is a libretto in Javanese language and writing, which is modeled in the outer form of a palm leaf manuscript. Band b contains a Malay translation. The first part (in a: p. 3-8; in b: p. 5-7) contains two lists of Javanese names of postures and gestures belonging to theatrical dancing, accompanied by gamelan music; male and female dancing are described separately. The title is in Schoem. II 21 a (p. 5) / 21 b: punika babanggen tandak jaler, kalaning medal saking kobong, lalaku majeng ingayun ... and (b p. 6): punika tandak histri, yen medal saking koboy, lalampa, nunten majeng liemba papatet, nunten limbe... In the Cerbon Court idiom the word babanggen seems to be a technical term of music referring to the combination of dancing and gamelan music. In Schoem. II 21 b а Malay note written with Javanese characters is added, saying: ini namennya pelajarannya horang mengibing The Malay summary seems to be incomplete. At the end some fighting of a monkey and a griffin (gragasi) is mentioned. Schoem. I 21 b (European script) continues the story of the fighting a little further than part a, but still there is no conclusion. The play seems to be a romance of a prince of Tawang Langenan winning the princess of Pakung Aji. Perhaps it is related to the Panji tales, or folktales, though the names Panji or Raden Mantri are not mentioned. Although the text does not mention masks it is highly probable that the performers were masked dancers. Specifications referring to walking and standing which occur in the text are indications that the performers were dancers, and the designation pantomime in the provisional German catalogue should probably be understood as referring to a dumb masked show. It is known that theatrical performances of wayang plays by masked dancers were en vogue in Cerbon in the 18th and 19th centuries. The art of carving wooden masks for the theatre was of a high order of excellence. The performances consisted of numerous danced scenes. Between and during the scenes the dalang, the only speaker, sitting in the first row of the gamelan orchestre, directed the music, recited Javanese descriptions of situations, sung songs borrowed from Old Javanese poems, and said the speeches which the masked dancers were supposed to address to each other. The dancing and the music, instrumental and vocal, were the principal features of the performance, the plot of the play was of minor importance (see Pigeaud, “Javaansche Volksvertoningen”, Batavia, 1938). The Malayo-Javanese idiom used in the major part of the text is characteristic for the North Coast districts of Java (Pasisir). The negation trada or tra and the pronouns guwa and lu are used regularly. The European script of part b is stiff but sufficiently clear. The transliteration of Javanese and Malay words is old-fashioned. Beside the common use of the Dutch oe instead of u, as a rule ie was written instead of i (die instead of di). It seems probable that part a, in Javanese script, was originally written by а Cerbon Court scribe for the use of the European guests, to be offered to the Governor General as a present. Therefore it is for the greater part in the Malayo-Javanese idiom which was in common use at the time. Several leaves of part a, containing the conclusion of the play, are lost. Perhaps the text written in Javanese script proved too difficult for European use, and so a transliteration was ordered to be made (at a time when part a still was complete or nearly complete). The remarkable structure of part a, resembling a palmleaf ms., suggests that it is an imitation of the real palmleaf ms. which contained the original Javanese text of the libretto. Cf. Pigeaud § 31.150 (Lit. of Java, I, p. 252) and VOHD XXXI, 48.
Sınıf numarası	Schoemann II 21
Koleksiyon	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Editör	Grubauer
Lisans	CC0 1.0
Çoğaltma	Scan, Digitalisat dienstlich IIIE (09/18), Mikrofilm, Hs or sim 03135
Düzenleme durumu	First input complete
Katalog	VOHD 31, 48, Titik/Hanstein (Seite 529 - 531)

Kaynağa git Kalamos Qalamos

Aramaya Dön

Kalamos

Kaynağa git

[DE-SBB] Schoemann II 21 — Carita Sinden — Carita Sinden

Basım Tarihi copy: 1847

Basım Yeri Staatsbibliothek zu Berlin - Preußischer Kulturbesitz - Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Konu region

Tür Diğer

Dil Belirlenmemiş dil

Dijital Evet

Yazma Evet

Sayfa Sayısı 116

Fiziksel Boyutlar Bd. a: 33,5 x 10,5 cm Bd. b: 33,0 x 20,5 cm

Kütüphane Kalamos

Demirbaş Numarası Schoemann II 21

Kayıt Numarası DE1Book_manuscript_00007764

Lokasyon Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Tarih copy: 1847

Notlar kept together in a flat cardboard box provided with a lid, 37 x 22 x 5 cm — well written and clear title and the date on the backside of part a are written with large quadratic stylized Javanese characters — black — paper — The present work contains the explanatory text for a pantomime theater performance, which was performed in 1847 at the court of Sultan Kanoman at the court on the Cirebon in honor of the Governor-General of the Dutch East Indies, Rochussen. Band a is a libretto in Javanese language and writing, which is modeled in the outer form of a palm leaf manuscript. Band b contains a Malay translation. The first part (in a: p. 3-8; in b: p. 5-7) contains two lists of Javanese names of postures and gestures belonging to theatrical dancing, accompanied by gamelan music; male and female dancing are described separately. The title is in Schoem. II 21 a (p. 5) / 21 b: punika babanggen tandak jaler, kalaning medal saking kobong, lalaku majeng ingayun ... and (b p. 6): punika tandak histri, yen medal saking koboy, lalampa, nunten majeng liemba papatet, nunten limbe... In the Cerbon Court idiom the word babanggen seems to be a technical term of music referring to the combination of dancing and gamelan music. In Schoem. II 21 b а Malay note written with Javanese characters is added, saying: ini namennya pelajarannya horang mengibing The Malay summary seems to be incomplete. At the end some fighting of a monkey and a griffin (gragasi) is mentioned. Schoem. I 21 b (European script) continues the story of the fighting a little further than part a, but still there is no conclusion. The play seems to be a romance of a prince of Tawang Langenan winning the princess of Pakung Aji. Perhaps it is related to the Panji tales, or folktales, though the names Panji or Raden Mantri are not mentioned. Although the text does not mention masks it is highly probable that the performers were masked dancers. Specifications referring to walking and standing which occur in the text are indications that the performers were dancers, and the designation pantomime in the provisional German catalogue should probably be understood as referring to a dumb masked show. It is known that theatrical performances of wayang plays by masked dancers were en vogue in Cerbon in the 18th and 19th centuries. The art of carving wooden masks for the theatre was of a high order of excellence. The performances consisted of numerous danced scenes. Between and during the scenes the dalang, the only speaker, sitting in the first row of the gamelan orchestre, directed the music, recited Javanese descriptions of situations, sung songs borrowed from Old Javanese poems, and said the speeches which the masked dancers were supposed to address to each other. The dancing and the music, instrumental and vocal, were the principal features of the performance, the plot of the play was of minor importance (see Pigeaud, “Javaansche Volksvertoningen”, Batavia, 1938). The Malayo-Javanese idiom used in the major part of the text is characteristic for the North Coast districts of Java (Pasisir). The negation trada or tra and the pronouns guwa and lu are used regularly. The European script of part b is stiff but sufficiently clear. The transliteration of Javanese and Malay words is old-fashioned. Beside the common use of the Dutch oe instead of u, as a rule ie was written instead of i (die instead of di). It seems probable that part a, in Javanese script, was originally written by а Cerbon Court scribe for the use of the European guests, to be offered to the Governor General as a present. Therefore it is for the greater part in the Malayo-Javanese idiom which was in common use at the time. Several leaves of part a, containing the conclusion of the play, are lost. Perhaps the text written in Javanese script proved too difficult for European use, and so a transliteration was ordered to be made (at a time when part a still was complete or nearly complete). The remarkable structure of part a, resembling a palmleaf ms., suggests that it is an imitation of the real palmleaf ms. which contained the original Javanese text of the libretto. Cf. Pigeaud § 31.150 (Lit. of Java, I, p. 252) and VOHD XXXI, 48.

Sınıf numarası Schoemann II 21

Koleksiyon Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Editör Grubauer

Lisans CC0 1.0

Çoğaltma Scan, Digitalisat dienstlich IIIE (09/18), Mikrofilm, Hs or sim 03135

Düzenleme durumu First input complete

Katalog VOHD 31, 48, Titik/Hanstein (Seite 529 - 531)