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I shall conclude this account of the Javanese literature with a short description of the native theatre, and of the wayang. As I have already mentioned, the subjects of the topeng, or Javan drama, are invariably taken from the group of Panji poems. The actors are dressed in the costumes of ancient times, and are gaudily decked with cheap jewellery, velvet, leather, and gold-embroidered cloths.
The circle of poems, partly historical, which recount the adventures of Panji, the "knight" or national hero of Java, and which are called, after his name, "the Panjis;" and the wayang plays. The Panjis are important as alone supplying the Javan theatre with subjects for its representations.
The subjects of the topeng are derived from the Panji group of dramatic poems, the ancient costumes, the curious masks, and the office of the dalang or reciter, whose ventriloquial skill is required for the entire wording of the libretto, comprise a valuable memento of bygone days, otherwise entirely forgotten.
Vreede, after giving Raffles' account of the "Angrene" the title under which the Panjis appear to have been then known says that he has quoted the account of Raffles verbatim "because, notwithstanding the palpable inaccuracies of his conclusions, seeing our faulty information about the origin, the date, the authors, and the compilation of the Panji narratives, his indications may have, for all we know, great value."
In the intricate byways of the crumbling Kraton, a professional story-teller draws a squalid crowd of women from their dark hovels and cellars, with the magic wand of enchantment wielded by the reciter of heroic deeds from the Panji, exaggerated out of all recognition by the addition of fairies and giants, demons and dwarfs, to the simple human element of the original story.
Among the titles of the various works included in the group are such as these: "The marriage of Panji and Angreni," "The History of the Lady Kurana, Princess of Bali," and "Panji and his Amours." There appears to be great uncertainty as to the origin and date of these poems.
A hundred varieties of the weapon are found in the Malay Archipelago, from the gold-hilted and diamond-studded royal kris to the boat-handled dagger of common use, permitted to all but peasants; women of the higher class wear it in the girdle, and though unrepresented in the sculpture of Javanese temples, the kris is ascribed to the days of Panji, a Hindu warrior whose feats form the libretto of a popular drama, though his authenticity appears uncertain.
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