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Timun Mas, a farce. IV (p. 139-259): tale of Dwipaqga Pëtak, White Elephant, Gajah Oya, married with dèwi Oyi. A list of the stories and the illustrations is Provided in p. 5-19. The stories seem to be based on folktales. Gajah Oya is the name of a river near Yogyakarta. The ms. was written for the use of Mr Moens to provide informa tion on elephant stories. The introductory list of contents and the texts were written by cultured hands in Vogyakarta script. They are not so boorish a s most volumes belonging to the Moens collection.

19 lines, thick im port paper, lined, Javanese leather binding (goat), worked, damaged Jaka Lëlana (White Elephant) stories, miraculous tales of Jaka Lelana’s ex Ploits, giving assistance to many epical heroes in their difficulties and leading them t° heaven. The tales are couched in ^ * 20 wayaq purwa plays fabricated by the dalaq Widi for the use of Mr Moens who Wanted information on popular Javanese

ideas on the character of the elephant god (Ganésa) in wayarj mythology. Jaka Lëlana has the function of a mediator between earth and heaven. The Jaka Lëlana stories of dalan Widi seem rather phantastic. No comparable tales in current Javanese wayaij literature are in evidence. Only the tales about Gana found in the Old Javanese Korawasrama, a sixteenth century prose book on mythology, are perhaps compara ble. Jaka Lëlana claims Bima as his father, but Bima does not acknowledge him. JL has many adventures, practises asceticism (tapa) in many places, has erotic connec tions with a variety of beings, and fights with several well-known wayag purwa per sonages. It is a remarkable fact that an elephant headed warrior, sometimes found rep resented in wood-carving on boards, seems to be associated with the Prophet Muham mad. The image is often composed of in tertwined Arabic characters, arabesques, forming a pious sentence, difficult to de cipher but artistically executed. These Is lamic icons of Muhammad (Ali images are also in evidence) are comparable with the tlawiqan or aykitj boards (Mr Moens' kris- planken, see LOr 12.542) of the Central Javanese countryside that had a function in magic rites. The Islamic icons are more sophisticated, sometimes refined. Now adays they are rare. They seem originally to belong to religious communities in centres of ancient Islamic culture, espe cially Cërbon, where they were used as decorations of the walls in inner rooms of the houses. No evidence of their having a function in religious ceremonies or magic