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over the polychrome illustrations in wayat} style, profusely inserted in the books, are truly illuminating. In many cases it is clear that the plays are made to order, play writing being for dalatjs a familiar mode of expression of traditional knowledge and be lief. The Purwa Kanda which has been listed under the present head contains Yogyakarta Court tradition in Ithe field of epic history. The text was an authority for the writers of the plays which were performed in the great way aw, wot} festivals of the Yogyakarta Court. 31.101 Yogyakarta pakëms of wayat} purwa plays: cod. 6426, 6786, 10.564 (= BCB prtf 48, purwa, gëdog and krucil). 31.102 Yogyakarta Court wayat} woi} fes tivals : cod. 6790 a, b (Bomatara), KHA 0 5, KHA 0 6 (Samba Léna and Sucipta Hënit} Minta Raga). 31.103 Yogyakarta popular wayai} purwa plays, folkloristic information, collection Moens: cod. 10.887 - 10.891 (100 plays, all refer ring to Bima). 31.104 Yogyakarta popular wayai} purwa, gëdog and klitik plays, folkloristic infor mation, collection Moens: cod. 10.921 (16 plays), 10.892 - 10.900 (241 plays, all referring to panakawans). 31.105 Yogyakarta popular wayait} purwa plays, folkloristic information, collection Moens: cod. 10.905 - 10.906 (41 plays, all refer ring to Gatotkaca). 31.106 Yogyakarta popular wayai} plays, folkloristic information, collection Moens:

cod. 10.967 - 10.968 (progeny of panaka wans). 31.107 Yogyakarta popular wayai} purwa plays, folkloristic information, collection Moens: cod. 10.925 (origin of the wayat} lamp), 10.970 (Guntur gëni, etc.). 31.108 Purwa Kanda, epic tales, Yogya karta, Sultan Amët}ku Buwana V: cod. 10.886. 31.120 Wayat} Madya plays. In all respects the wayat} purwa literature of the eighteenth, nineteenth and twentieth centu ries rose high above the plays belonging to the other dramatic cycles, wayat} madya, gedog, klitik, Ménak. The spread of Sura karta art and letters all over the country benefitted only the wayat} purwa theatre. In Surakarta the other kinds have long been insignificant compared with wayat} purwa and so Surakarta influence did not lead to a rich development of wayat} gedog and Ménak theatrical literature in Central Java. Nevertheless, in order to complete the whole of dramatic art, some Surakarta scholars also wrote manuals of plays be longing to the minor wayai} kinds. The idea of historical continuity in the subsequent cycles, wayat} purwa, madya, gedog, klitik and Ménak, inspired them. No doubt the idea emanated from the sense of cosmic and social unity and interrelationship which was preponderant in the Javanese mind. The wayat} madya plays which have been registered under the present head were written by order of Prince Mai}ku Nagara IV of Surakarta. Probably Tanda Kusuma was the author of most of them. They should fill the gap in time existing in the Surakarta