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to the sphere of popular literature (see 31.380) . In Javanese-Balinese literature, however, lyric erotic poems were well known (see 30.170). In a way the Pasindèn Bëdaya may be comparable with the Javanese-Bali nese songs of female dancers called Gëndii) Sarjyat} (30.184). 31.161 Pasindèn Bëdaya, songs belonging to the bëdaya performance at the Surakarta Court: cod. NBS 94 (= 10.629 = BCB 75), NBS 200. 31.170 Lyric Songs, Music. In Javanese civilization music, both instrumen tal and vocal, has been important at all times. It was seldom noted down, however (see 42.500). The Surakarta renaissance of letters of the nineteenth century brought also an increasing interest in Javanese music. The house theatricals of Surakarta and Yog- yakarta noblemen (see 31.150) always con tained musical performances. At the Court of Prince Maijku Nagara IV of Surakarta, in the last quarter of the nine teenth century, music was very much ap preciated and cultivated. Lyric poems were made especially to be sung. Warysalans (see 31.380) , the well-known Javanese literary charades based on assonance, rhyme and enigmas, occupied an important place in this kind of poetry. Marjku Nagara IV was an author himself (see 31.360). A collection of lyrics was published by a local printer of Surakarta. The Matjkunagaran princes even took an interest in European (military marching) music. Lëlaijën Éropah is an endeavour to harmonize Javanese and European vocal music.

31.171 Sëndon Lai)ën Swara, lyric songs, Surakarta: cod. KITLV Or 32. 31.172 Lëlaayën Éropah, Javanese songs, adaptations of European military marching music: cod. KITLV Or 35. 31.173 Rërëpèn Gandrurj Asmara, lyric erotic poems: cod. 11.091. 31.190 Wayat) exorcism. Of old, in Java, exorcism of malignant spirits was an important element in religious practice, though probably less so than in Bali, where fear of witches and concomitant exorcist rites were very much in evidence (see 12.400 and 30.225). Exorcist rites may have been the origin of most of the wayai) theatre. In the Islamic period of Javanese cultural history exorcism by means of a special wayatj purwa performance has survived the decline of Old Javanese religion. Wayai) exorcism probably is the most outstanding instance of the sur vival of a pre-Islamic rite without any Muslim influence in evidence. Exorcist wayat) plays contain tales of the origin of the malignant spirit Kala who is considered the cause of evil. Therefore the plays are called Murwa Kala. Javanese wayat) exorcist texts have not been registered in Part One, Religion, of the Synopsis, like the Javanese-Balinese exorcist texts (12.400 ff.), because in the Islamic period of cultural history exorcism is no longer associated with religion. With good reason Murwa Kala exorcism might be called a magic practice, and therefore discussed in Part Four, under the head magic. But then, Javanese authors seem to be unanimous in