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origin seem to be rare. The frequent occur rence of pairs of brothers in romances of the Pasisir period has been mentioned before (30.570, see the General Index under the catchword brothers). 30.831 Jaran Sari Jaran Purnama romance, West Javanese origin: cod. 2001, 2012, 3360-11, DFT S 227-6, DFT S 227-7. 30.832 Jaran Sari Jaran Purnama, exten sive version: cod. 4201 (— 10.728 = BCB prtf 211). 30.840 Evidently the S i 1 i W a 13 i his torical romance is of West Javanese origin, the hero being an ancestor of Kings in Sundanese legendary history. In Javanese books of tales, Sërat Kandas, and histories of the Pasisir period and afterwards, Sili (or Silih) Waqi is mentioned regularly. Probably the present West Javanese Sili Waqi romance is based on a Sundanese original. 30.841 Sili Warp romance: cod. NBS 369. 30.850 Da mar Wulan romances. Among Javanese historical romances written in the seventeenth and eighteenth centuries the most popular, especially in East and Central Java, was the Darnar Wulan tale, the story of the valiant young man who vanquished the Majapahit Queen’s enemy, married her and became King himself. The Damar Wulan romance contains several elements pertaining to folk-tales. Perhaps its extraordinary popularity, just as in the case of Ménak Amir Hamza and Bagénda

Yusup, is due to Damar Wulan’s affinity with a mythic culture hero of Javanese origin. The important place occupied in the Javanese mind by this personage has been discussed by Dr Rassers in his studies on Panji (see 30.360). In the Javanese puppet theatre, wayai} gëdog and wayai} klitik varieties, both Panji and Damar Wulan are much admired characters. Their puppets have many fea tures in common. The same can be said of Arjuna, in Java commonly called Janaka, the most popular hero of the Pandawa cycle of tales, presented in the wayai} purwa theatre (see 30.340). The Arjuna puppet is of the same type as the Panji and Damar Wulan wayai} puppets. The appearance of Damar Wulan, Raden Panji, Janaka (and Ménak Amir Hamza, see 30.460), inter-related characters, in the wayan theatre, is an indi cation of their common affinity with a my thic hero, for the connection between the wayaq theatre and ancient religious rites and myths is indubitable. Without this affinity it is not easy to understand why Damar Wulan, Raden Panji, Janaka and Amir Hamza tales were selected to be represented by means of wayai} puppets and masks which still retained a sacral character (see the present author’s “Javaanse Volksvertonin- “gen”, 1938, index). Probably the connection, established in the seventeenth century by an East Javanese poet, between Damar Wulan and the ancient House of Majapahit, enhanced the populari ty of the tale. Subsequent Javanese scholars considered the Damar Wulan poem as a reliable account of a period of Old Javanese dynastic history. Just as the Panji tales, the Damar Wulan romance was incorporated in