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much interested in the wayai} theatre. A Dutch synopsis of the plays, with illustra tions, was written by Kats (“De Wajang “Poerwa”, 1923). A complete Dutch trans lation of a wayair} purwa play has been pro vided by Tjan Tjoe Siem (“Hoe Koeroepati “zich zijn vrouw verwerft”, thesis Leiden, 1938) and Uhlenbeck-Soegiarto (“Aan tekeningen bij Tjan Tjoe Siem’s vertaling “van de Lakon Kurupati Rabi”, Verh. KI, vol. 29, 1960). The General Index contains the names of the plays with references to the manuscripts where summaries can be found. 31.081 Surakarta pakëms of way at} purwa plays, concise epitomes, prose: cod. 1849 (23 plays), 1979 (= 10.662 = BCB prtf 144, 166 plays), 10.831 (72 plays), NBS 112 (= NBS 161, 24 plays). 31.082 Surakarta pakëms of wayai} purwa plays, rather elaborate epitomes, prose, some times rhythmic: cod. 1874 (3 plays), 2043 (2 plays), 2133 (39 plays), 2135 (7 plays), 2137 (10 plays), 3997-11 (= 10.664 = BCB prtf 145, 39 plays), 4284 (= 10.632 = BCB prtf 76 = 4285 = 4286, 11 plays), 6432 (7 plays, and suluks), 6784 (59 plays), 6785 (47 plays), 10.832 (4 plays), 10.833 (2 plays), NBS 14 (39 plays), NBS 15 (3 plays), NBS 17 (45 plays), NBS 18 (= 10.661 = BCB prtf 143-I/II = BCB prtf 59, 56 plays), NBS 19 (10 plays), NBS 106 (3 plays), NBS 162 (7 plays). 31.100 Yogyakarta pakëms of wayat} purwa plays are scarce. Most pakëms are based on the Surakarta tradition. Prob ably this is due to the fact that the nineteenth

century Yogyakarta Court did not possess Court scholars of the rank of the Yasadi- puras of Surakarta. But then, in the second half of the century, the Yogyakarta wayat} wot} theatre developed. Several texts of grand wayat} wot} festivals at the Yogyakarta Court were written down and made into magnifi cent hand-written editions de luxe. Two copies were presented by Sultan Hamëijku Buwana VIII to Queen Wilhelmina; they are in the Royal Household Archives at The Hague. The great wayat}-wot} textbooks are excellent examples of Yogyakarta Court wayaq tradition, which is distinguished from the Surakarta tradition by the number of the panakawans (four) and by numbers and names of secondary personages. In the nineteenth and twentieth centuries the semi-independent princely House Mai}ku Nagara of Surakarta developed a way an wot} theatre and a kind of opera called Lai}ën Driya, which were greatly admired. The popularized wayat} wot} theatre which in the twentieth century spread all over the country was more of a descendant of the Surakarta Mai}kunagaran theatre than of the Yogyakarta Court festivals. The latter were scarcely accessible for outsiders and not well known by the general Javanese public. Moreover their slow movement and long dances made popularization impractible. Approximately between the years 1930 and 1942 Mr J. L. Moens of Yogyakarta, a connoisseur of things Javanese, induced some dalaitys not belonging to the Court to write many wayai} plays referring to subjects indicated by him. As Moens was interested in folk-lore, popular customs and beliefs, the dalais’ work contains much use ful information on these matters. More-