Vvedenie. st., per. s drevneyavansk. and comments by A. A. FURSOVA

Negarakertagama, or Deshavarnana, ¹ is a Javanese court poem (kakavin) of the second half of the 14th century, written on palm leaves called lontar ⁱⁿ Javanese. This is the most important and unique source on the history of the Majapahit State (1293-1527) during its heyday and hegemony in Java and the Malay Archipelago as a whole.

Keywords: Negarakertagama, manuscript, translation, Majapahit, ruler, Hayam Wuruk

The authorship of Negarakertagama belongs to Prapancha, who served as the supreme Buddhist cleric at the court of Hayam Wuruk (throne name-Rajasanagara, 1350-1389). According to the information contained in the poem, its writing was completed in 1365. Negarakertagama, written in the traditional Javanese literary genre kakavina ³, is interesting for us in this case It is precisely as a historical source that contains a large amount of information about various aspects of the life of the Javanese state in the period described. It contains all sorts of historical information, including descriptions of events and their dates, and a systematic analysis of which allows you to extract data on the social, political, and cultural life of Majapahit.

Needless to say, the original kakavin Negarakertagama has not survived to this day. Specialists have at their disposal a manuscript discovered on November 18, 1894 by the Dutchman J. Brandes in Chakranagar, the residence of the Balinese ruler of Lombok Island. ⁴ The Lombok list was kept in the Leiden University Library under Codex Orientalis number 5023 until 1972, when it was returned to Indonesia. According to the information contained in two colophons to the text of the poem, it was copied in 1740 by a certain Arthapamasah from Kanchanasthan on the island of Bali. After the arrival of Islam in Java and its transformation into the dominant religion, the Javanese elite, including the scribes, emigrated en masse to Bali, which retained the features of Indo-Javanese culture. As a result, the written culture of the Balinese people shifted from Balinese to Middle Javanese, and the vast majority of the population of Bali still professes Hinduism, mixed with Buddhism and organically combined with local traditional customs and cults.

¹ I consider it a pleasant duty to thank S. V. Kullanda, who helped me at all stages of translating and commenting on the monument; I also thank my research supervisor M. Y. Ulyanov, who drew my attention to this monument and helped me choose the research topic, and D. V. Dsopik, whose conversations about medieval chronicles and the history of Southeast Asian countries were very interesting. they broadened my historical horizons.

² Yav. lontar goes back through the metathesis of smooth (r-1 > 1-r) to the form rontal, where ron is "foliage" (small dauri), tal is the name of one of the palm species, Borassus flabelliformis.

^Kakawin 3 is a poem, a piece of poetry written in Old Javanese using Indian verse dimensions [Zoctmulder, 2004, p. 476].

⁴ Ya. At that time, Brandiss was assigned by order of the Governor-General of the Netherlands Indies to the Dutch expeditionary force that was conquering Lombok Island, with the task of saving monuments of cultural value (Pigcaud, 1960, p. XI).

The name "Negarakertagama" is not the original name of kakawina. It was assigned to the source after the publication of J. Brandes, who discovered it in the colophons to the text of the poem. There are several ways to translate the term Nāgarakrtāgama into Russian, the most correct one is "A country based on sacred traditions". Prapancha himself in the 94th canto calls his creation "Deśawarnana", which literally means" Description of territories", or"Description of the country".

Until 1979, this manuscript of the Negarakertagama was considered to be the only one, but in 1979, H. Hinzler and Ya. The Schotermans published an article about their discovery of two more manuscripts of the poem in Bali, written on lontar leaves: both were kept in the collections of Balinese brahmins, one in Sideman, the other in Amlapura. The year of their creation is unknown, but both of them are written in a small handwriting with "pointed" akishras (letters), which, according to the authors of the article, is a sign of an old Balinese script. The content of the texts of both manuscripts generally corresponds to the Lombok Codex Orientalis list No. 5023 in form and content, but there are some discrepancies that may be interesting from the point of view of studying the monument. This is especially true for stanzas whose content is unclear from the Lombok list. The authors of the article give some examples of such discrepancies [Hinzler and Schoterman, 1979]. The existence of previously unknown manuscripts is also mentioned by S. Robson [Deśawarnana (Nāgarakrtāgama)..., 1995, p. 12].

The Balinese text, transcription, and translation of another Negarakertagama manuscript are contained in the book Kakawin DśSa Warnnana uthawi Nāgara Krtāgama. Masa keemasaan Majapahit " ("Kakavin " Deshavarnana", or "Negarakertagama". The Golden Age of Majapahit") by Balinese Professor And Ketut Rian. This manuscript, as stated in the preface to the publication, is kept in the Mpu Tantular Museum in Sidoarjo, East Java. Like other manuscripts, it is written on lontar palm leaves and is almost identical in content to them, with the difference that this literary work is the result of a revision of several texts that the scribe considered insufficiently complete [I Ketut Riana, 2009, p. XI]. This copy of the Negarakertagama is also accompanied in its final part by two colophons modeled on those written by Arthapamasah in the 1740 manuscript. From these colophons, it is possible to learn that the copyist is Ida I Dewa Gde Gatra from Sideman, Bali, who completed the revision of the existing manuscripts on January 3, 1991 and compiled his copy of the text of the poem, intended for storage in the aforementioned Mpu Tantular Museum, September 29, 2005 city of He, like Arthapamasah in the colophon to the Lombok list, apologizes to readers for all " shortcomings and lack of professionalism in writing kakavin, which was compiled on behalf of the Ruler of Bali." The latter refers to the then acting Governor of Bali, Prof. Ida Bagus Oka, who made efforts to preserve cultural heritage ⁵. The very fact of the monument's correspondence on the island of Bali in our time testifies to the living tradition of transmitting texts in Balinese society.

This version of the text, stored in the Mpu Tantular Museum, can be considered a kind of literary and artistic copy of the Negarakertagama, since it is mechanically compiled from several lists without using textual methods, although some of the readings given there are of interest. Based on this, the list of monuments found on Lombok Island is still more reliable. The translation published below is based on the Lombok manuscript published by T. Pizho, taking into account the discrepancies given by S. Robson in the comments to this translation, contained in other lists and sometimes giving a more coherent text.

It is not surprising that "Negarakertagama" attracted the attention of many researchers of the history and culture of Indonesia and the peoples of Southeast Asia. We will mention here only those works that are devoted directly to the translation and publication of the source text.

The monument became known to Indonesian scholars after its publication by J. Brandes (written in Balinese script)⁶. The first work on its study belongs to X. Kern [Kern, 1917-1918], who published the text of the poem in transcription, providing it with a translation into Dutch and comments. However, its translation is more of a literary nature, since it does not always accurately reproduce the Lombok list and Old Javanese texts are not always accurately translated

⁵ During my stay in Indonesia, I was lucky enough to talk to Prof. And Ketut Riyana. During the conversation, he confirmed the existence of several copies of "Negarakertagama", which are kept on the island of Bali in personal collections.

^{Verhandelingen van Bataviaasch Genootschap van Kunsten en Wetenschappen.} 6 Batavia, 1902.

realities (titles, positions, etc.) [Shaub, 1992, p. 10]. Several years later, N. Krom prepared a revised and revised edition of the Negarakertagama (Krom, 1919) ^.7

The most significant work on the study of "Negarakertagama" belongs to T. Pijo (see [Pigeaud, 1960]). It was published in five volumes in the early 60s of the XX century. The work includes a transcribed text of the source from the Lombok list, its literal translation into English, detailed commentaries and an Old Javanese-English glossary to the text. In addition to the Negarakertagama, the paper contains literary and epigraphic monuments from the time of Majapahit, which supplement the information contained in this text. Thus, this paper summarizes the ideas about the history and culture of Java in the XIV century.

Next, we should call the work already mentioned above X. Hinzler and I. Schoterman, who discovered new manuscripts of the Negarakrtagama in Bali [Hinzler and Schoterman, 1979].S. Robson prepared a new commented translation of the monument into English, taking into account previously unknown handwritten readings [Deśawarnana (Nāgarakrtāgama)..., 1995].

In Indonesian historiography, one can distinguish the work of R. M. N. Purbocharoko, which contains the translation of certain parts of the monument into Indonesian (Poerbatjaraka, 1924). A complete Indonesian translation of the source was first performed by Professor Slametmuljono of Jakarta University in 1953 (Slametmuljana, 1953).

In Russian historiography, the Negarakertagama itself is the subject of an article by L. M. Demin [Demin, 1971], a general description of the source is contained in B. B. Parnikel's monograph [Parnikel, 1980], and A. K. Shaub devoted his work to the study of Negarakertagama as a source on the history of early Majapahit [Shaub, 1992]. Unfortunately, Soviet historians did not speak the Old Javanese language and worked with translations of the monument into English and Indonesian.

I will briefly describe the structure and content of the monument. The main structural unit of Negarakertagama is the song (sarga). The poem consists of 98 songs, which are divided into stanzas. Each stanza consists of four lines, and the line, in turn, is the smallest structural unit of the text.

The content of the monument is diverse. The compositional construction is based on the story of the ruler's journey. This is the core of the poem, and other storylines are strung on it, which can be considered as separate completed episodes.

The source text can be divided into 16 chapters:

(I) Praising the ruler (Canto 1).

(II) Description of the ruling Majapahit dynasty (Cantos 2-7).

(III) Description of the capital of Majapahit (Cantos 8-12).

(IV) Subject territories, territories and neighboring States under the authority of Majapahit (Cantos 13-16).

(V) The ruler's journey to Lumajang in 1359, pilgrimage to Hindu and Buddhist temples in East Java, and return to Singasari (Cantos 17-38 / 3, 92).

(VI) An account of the Rajasic rulers of 1182-1343, and a description of their funerary temples (Cantos 38/3-49).

(VII) Hayam Wuruka hunting in the vicinity of Singasari (50-54).

(VIII) The return of the ruler to Majapahit in 1359. (Songs 55-60).

(IX) An account of the ruler's journey in 1360 to Tirib and Sempur and the journey in 1361.

(X) A detailed description of the memorial ceremony for Rajapatni (Hayam Wuruk's grandmother), a description of her funeral temple (Cantos 63-69).

(XI) The ruler's journey to Simping and back in 1363. (Canto 70).

(XII) An account of the demise of the mapatih (Chief Minister) Majapahit Gajah Mada and the appointment of new officials (Cantos 71-72).

(XIII) List of possessions of the ruling dynasty and possessions of religious communities (Cantos 73-78).

(XIV) Description of the organization of the clergy and the authority of the ruler (Cantos 79 82).

(XV) Description of the monthly court festival in Majapahit Songs (83-91).

(XVI) Conclusion. Panegyric to the ruler. Prapancha talks about himself and the fate of his compositions (Songs 92-98).

⁷ His monograph concludes with an article by Rouffard entitled "The Content of the Negarakertagama Songs" (Rouffacr, 1919). Krom wrote another work devoted to the study of the content of the monument as a literary work, its compositional structure and genre specifics (Krom, 1929).

Below are the first seven songs of Negarakertagama (Chapters I and II) translated by the author of the article from Old Javanese into Russian. In the near future, it is planned to finish translating the entire text of the poem and prepare its full edition with comments.

TRANSLATION OF NAGARAKRTAGAMA

Song 1

(92a) ¹ Let there be no obstacles

1. Om to the Lord (or: master)! Obeisance to you ²: Ever praising the humble at the feet of God, Most refined in deep meditation, Shiva-Buddha (92b), he is embodied in the material and immaterial, He is the Lord of the Mountain ³, the patron of those who have no patron, he is the lord of the lords of the world, the God of gods ⁴, on whom the thoughts of [adepts]are directed, the unknowable of the unknowable ⁵, being and non-being (or: being and non - being) - its embodiment in the world ⁶.

2. All-embracing and omnipresent, nameless to the followers of Vishnuism, lord to the Yogis, world spirit to Kapila, Jambhala incarnated as the god of wealth, Vagindra ⁷ the god of all sciences, Manasijah ⁸ in the art of love, In the art of removing obstacles, King Yama ⁹, the fruit of which is prosperity of the world ¹⁰.

3. That is why I lay down my praises at his feet, trying to lay down a word about the Ruler ¹¹, the Great ruler of Majapahit ¹², the lord of Rajasanagar, the supreme ruler ¹³, He is truly the incarnation of God-the Ruler who eradicates the vices of his subjects. The whole land of Java is subject and devoted to him, and even other countries ¹⁴.

4. In the shaka seasons-arrows-of-the-sun (1256, 1334 A.D.)¹⁵, in the year of his birth, the ruler was already destined ¹⁶ to become Prabhu, Born ruler of Kahuripan ¹⁷, omens of his miraculous divine (pre - human-non-human) origin: Earthquake, thunder, rain of ashes, thunder, etc. lightning split the sky, Mount Kamiuji erupted, and all the villains were destroyed before they could breathe.

5. At that moment, the God Girinatha incarnated, transformed into the supreme ruler, ¹⁹ Such was his authority that the whole of Java bowed down in reverence without a murmur, the Brahmans, kshatriyas, vaisyas, sudras, [all passing through] the four ashrams, ²⁰ were equally perfect in their concentration on performing [their dharma], The evildoers finally gave up the task. criminal intentions only out of fear of the ruler's power.

Song 2 ²¹

1. And Sri Rajapatni ²² was the revered grandmother of the Great Ruler, Like the incarnation of the goddess Paramabhagavati ²³, the best umbrella of the world, Practicing yoga and Buddhist meditation, dressed as a venerable nun, In the shaka vision-seven-suns ([1] 272, 1350 AD) she rested, freed (from earthly limitations). uz) and returned to the abode of the Buddha ²⁴.

2. Upon Sri Rajapatni's return to the abode of the Buddha, the world was left in a state of sadness and doubt,

On the accession of the Great Ruler, the distraught Majapahit became happy and full of devotion, the ruler's mother Tribuvana Jivayottunga Devi ²⁵, took over, and in the palace of Jivanapura ²⁶, she raised the Great Ruler.

Song 3

1. And she was devoted to Sri Rajapatni as her mother, ²⁷ she devoutly follows Buddhist rites, performs ceremonies in honor of the deceased, and Lord Kertavardana, ²⁸ the father of the great ruler, is inseparable from her, As a married couple, they steadily follow the path of the Buddha, bringing happiness to the universe.

2 ²⁹. The illustrious ruler, the father of the ruler, is firmly established in Singasari, ³⁰ He is truly the divine Vava Ratnasambhava, unwavering in his service to the welfare of the universe, Firm in his efforts for the stability of the world, sincerely devoted to the ruler, constantly and tirelessly supervising affairs, very experienced in management.

Song 4

1. Again, the mother of the ³¹ rulers, the younger sister of the ruler of Jivana, Known as the ruler of Rajadevi Maharajas, is blameless, She rules in Daha, she has no equal in her appearance and six qualities, Together with the ruler of Jivana they are like the forked Sudevi ³².

2. The husband of the ruler residing in Vengkera is like the divine descendant of Upendra ³³ who descended from heaven, the ruler of Vijayarajas, incomparable in his omniscience, Together with the ruler of Singasari, they are at the same time, He knows everything about agriculture in all Java.

Song 5

1. And this is the younger sister of the ruler of Majapahit, the ruler. She is residing in Lasem, admiring her beauty, the daughter of the ruler of Daha, known as Sri Rajasaduhitendudevi, the immaculate one.

2. But Sri Vardanaduhiteshwari is the youngest daughter, ^the Ruler residing in Pajang, incomparably beautiful and charming, the daughter of the ruler Jivana, known as the ruler's true younger sister.

Song 6

1. Also the sons-in-law of the ruler have already received the anointing of the kingdom, the Ruler of Matahuna, the husband of the ruler of Lasem, the fearless one, Sri Rajasavardana, famous for beauty and the wisest in ruling, The marriage of these rulers as [marriage] Smars and Pingals are often praised in the world.

2. The ruler of Paguhana, the royal husband of the ruler residing in Pajang, Known by the name of Sri Singavardana, handsome and young, steadfast in virtue. Their marriage is like the union of Sanatkumara and the goddess Ida, Loyal to the ruler and loving his cousins, he contributes to the well-being of the state.

3. Further, their child is the monarch residing in Virabumi, the ruler Known as Sri Nagaravardani, the peerless virgin queen, Her younger brother, the ruler of Matarama, as the divine Kumara descended (from heaven), Lord Sri Vikramavardana ³⁶-a title bestowed upon him by the great ruler.

4. The youngest child of the ruler of Pajang is honored in the Pavwanawwan Palace, Princess Surawardani is still a child, beautiful as a picture, All the rulers who have their own capitals,

A single seat (residence) in Vilvatikt, in the arms of the supreme ruler.

Song 7 ³⁷

1. May we sing of the ruler who is glorified as the sun - like victorious prabhu, The enemies are destroyed like darkness - everything in the universe is swept away by the great ruler, The noble people, the day lotuses, are happy and calm, while the villains, like the night lotuses, are submissive and devoted ³⁸, The villages constantly present their wealth as water, providing them according to custom ³⁹.

2. As the god Indra bathes the earth with rain, so the ruler averts the misfortunes of His subjects, He is like the Lord of the ancestors (Yama) punishes the evildoers, as Varuna increases wealth, He is like Vayu (Wind), constantly present everywhere by means of messengers, As the god Prithivi, who rules the world, He protects kraton, whose appearance is like that of a human being. god Chandrama (god of the moon).

3. When he is the incarnate god Kama, who descended from heaven to admire the beauty of the palace, All the women in the palace and the wives of the ruler are like the incarnation of the goddess Rati, And the chief wife of the ruler, the natural daughter of the ruler Vijayarajasa ⁴⁰, is the most wonderful, like the goddess Susumna, who has no equal in beauty, truly a match for the ruler.

4. Moreover, they have a daughter, the ruler Kusumawardani, an Immaculate young ruler, who is revered in the court of Kabalan, she is the most beautiful, ^Sri Vikramawardana will look like a perfect match for her, as they say throughout the state, Together they will be like a god and a goddess when they get married, pleasing the hearts of people.

comments

¹ is the page number of the only manuscript known at that time. There were also other works, so the numbering is not from the first page. In total, Codex Orientalis No. 50-23 includes 11 texts, including some other important kakavins, such as Lubdhhaka, Kuñjarakarna; all texts are accompanied by colophons and are dated between 1659 and 1662. Shaka (1737-1740 AD) [Grccsc, 2009, E. 524]).

² Up to and including this point, the text is written in grammatically correct Sanskrit.

^Parwatanatha 3, "Lord of the Mountain", occurs again in stanza 1.5.1 in the form of Girinatha, another synonym found in Nsgaraksrtagams (hereinafter - Nag.), - Girindra. It is generally accepted that Parwatanātha and all

its synonyms found in Nāg. and other ancient Javanese writings, - epithets of the god Shiva (Siwa). In Nag. Parwatanātha et al. its synonyms refer to Hayam Vuruku (Rajasanagars). Later in the text of the poem, the founder of the Ranggah dynasty, Rajasa, is referred to several times as "son of the Lord of the Mountain" and all his descendants are called "descendants of the Son of the Lord of the Mountain" (44.3), but only Rajasanagara is directly called not only a descendant, but also an incarnation of the "Lord of the Mountain" (1.5; 51.6) [Supomo, 1972, p. 287]. However, there are differences of opinion about who is really meant by these names: whether it is synonymous with the god Shiva or whether it is an independent deity, an expression of the syncretic essence of Shiva-Buddha. In all probability, in Majapahit, this was the definition of the highest deity, the "God of the Mountain", i.e., the center of the universe.

^{Hyang, san hyang} 4 means not only belonging to the divine essence, but also the possession of supernatural powers, can be translated as "spirit, spiritual, sacred" [Pigeaud, 1960, p. 3]. in kakavins, śrī, hyang, saŋ hyang, and bhafāra are often used interchangeably to create the necessary verse size. The term hyang is used equally in relation to any deity or sacred object of any religion (Supomo, 1972, p.291-292). Hyang can also indicate that a given deity is the patron saint of a particular place or sacred object of a religion (Zoctmuldcr, 2004, p. 373). In this case, saŋ hyang nin hyang means "god of gods".

^{Na waya} 5 - "existing and non-existing". It can probably be interpreted as "dwelling in two worlds" - the divine (heavenly) and the earthly.

⁶ Thus, in the first stanza, Prapancha says that Hayam Wuruk is an incarnation of the supreme deity" God of the Mountain " Parwatanatha, in which the divine essences of Shiva and Buddha, the supreme gods of the pantheon of the syncretic religion that existed in Java at that time, are combined. The ruler, being the supreme deity, has no protectors over him, he is the protector of the whole world, the "god of gods".

^Wāgindra 7-god of science, knowledge. The one who excels in the ability to conduct a conversation, in eloquence [Zoctmuldcr, 2004, p. 1366]. The male equivalent of the goddess of wisdom and writing Saraswati (Robson, 1995, p. 97).

^Manasija 8 - " Born in the soul "(skt.). One of the names of Kama (Kata, or Smara), the god of love [Robson, 1995, p. 97; Zoctmuldcr, 2004, p. 641].

^Yama 9 - king of the dead.

¹⁰ In the second verse, Prapancha once again emphasizes that the essence of the supreme ruler combines the essence of the supreme god and other gods, and therefore he is equally revered by followers of various religious trends and sects. It permeates the entire world space.

^Nareśwara 11-ruler. In this case, we are talking about Hayam Wuruksa, but this term, like its other synonyms found in the text of the poem (narendra, narādhipa, nareśwara, nrrra, nĕrpati, narapati), is used not only in relation to the supreme ruler, but also to any member of the royal family [Pigeaud, 1960, p. 4].

^{Nātha wilwatikta} 12-finished. translation-protector, patron of Majapahit. Wilwatikta-skt. translation of the toponym Majapahit: wilwa - another name of the plant maja (Aegle Marmelos), which has bitter fruits; tikta - bitter [Zoctmuldcr 2004, p. 693, 1438].

^{haji, bhupati} 13-raja, ruler [Zoctmuldcr 2004, p. 143, 327]. In the text Nāg. many synonyms for the word "ruler" are used, but only haji and ratu are the original Javanese terms. If haji is used without the subsequent name of the ruler, then most often we are talking about the supreme ruler Hayam Wuruks. Using this term, Prapancha expresses its special relation to the ruler - "my lord, my lord" (Robson, 1995, p. 97).

¹⁴ In this line, Prapancha may be contrasting Java (hnntyaŋ bhūmi jawātibhaktI) with all the other lands (digantara). It is the main one in the center of the universe, and therefore its ruler Hayam Wuruk is not only the lord of Java, but also the supreme ruler of the whole world (other lands outside Java are also subject to him).

¹⁵ In the Old Javanese language, each of the numbers corresponded to its verbal equivalent. Thus, rttu śarena = rttu śara ina (ssm-zrsnis of the sun), i.e. 6-5-2. Read from right to left, i.e. 2-5-6. Thus, we get the year (1)256 of the Shaka era, or 1334 according to our chronology.

¹⁶ Literally inastwaknn (mangastwakĕn) - to put into office, officially admit to power [Pigeaud, 1960, p. 5], derived from astu, the Sanskrit form of the imperative of the 3rd person singular of the active voice of the verb as "to be" - "let it be". Even after his birth, Hayam Wurukuwas "destined" to become a ruler. Prapanchs it is important to show that the forces of nature themselves marked the birth of the ruler, predicting his divine nature. The purpose of Hayam Wuruk on earth is predestined from above.

¹⁷ The text uses the Balinese form kawuripan, while the usual form is kahuripan [Pigeaud, 1960, p. 5].Kahuripan, Jīwana, and Janggala, which occur in the text, are synonyms for the name of the state of Majapahit [Robson, 1995, p. 98].

¹⁸ Mount Xlud (Kampud) is an active volcano in East Java. She announced the birth of the ruler with an eruption, destroying the "villains". Perhaps this means that those who were victims of a volcanic eruption undoubtedly deserved such a fate, since they were killed by divine forces [Robson, 1995, 4d]. Thus, Prapancha emphasizes that from the very moment of birth, the ruler fulfills his destiny, destroying evil and establishing order and justice on earth.

¹⁹ So the ruler is none other than the god Shiva, who descended from heaven and incarnated as Hayam Vuruka.

²⁰ This verse provides an insight into the social organization that existed in Java during the Majapahit period. We are talking about a system of varnas borrowed from India, denoted by the term caturwarna: brāhmana (wipra), kşatriya, waiśya and śūdra. Representatives of each of the Varnas had their own duties to the ruler and the entire society, which had to be strictly observed. It is important for Prapancha to take revenge, because all four varnas lived strictly in accordance with their dharma and had no "criminal intentions". This implies social well-being and stability. Of course, it is difficult for us to judge the extent to which this system has taken root in Java, but the fact that it exists in Bali to this day suggests the reality of such a social organization of Javanese society not only in theory, but also in practice. The ancient Indian caturāśrama system is also mentioned, i.e., the system of four stages of life that a twice-born person should have passed through in theory: the disciple (brahmacārin), the householder (grhastha), the hermit (vānaprastha) and the ascetic (samnyāsin).

²¹ Cantos 2-6 are devoted to describing the ruling Majapahit dynasty, or rather, the current members of the Rajas dynasty, with the exception of the already deceased grandmother Hayam Wuruka.

^Rājapatni 22-daughter of Kertanagara, the last ruler of Singasari, and wife of the first Majapahit ruler Kertarajas Jayawardan (1293-1309). With the mention of it, the story of the representatives of the ruling dynasty begins. It should be noted that a separate chapter of the poem, consisting of seven songs, is devoted to describing the departure of the sraddha memorial ceremony in honor of Rajapatni and her funeral temple. Her personality is given a special role among the ancestors of the dynasty, her cult occupied an important place in the religious life of not only the court, but also, judging by the text of the poem, the population of the state outside the capital, since temples in her honor were built in many regions of the country. The special place of the Rajapatni cult in the cult of dynastic ancestors is explained by the fact that for the ruler and the royal family, it symbolized the continuity of the Sinhasari and Majapahit dynastic lines.

^{Paramabhagawati} 23 means "great and beloved" goddess Durga (Zoctmulder, 2004, p. 764). Robson suggested that the author might have been referring to the Buddhist goddess Prajnāpāramitā (Robson, 1995, p. 98).

²⁴ Prapanche it is important to mention that, as a follower of the teachings of Buddhism, Rajapatni follows all its tenets and continuously practices yoga and meditation, improving her karma, and therefore the karma of the entire state, which contributes to the prosperity and preservation of order in it. So after her death, as the next verse says, "the world was filled with sorrow and doubt" until Hayam Wuruk came to power.

²⁵ Only in this stanza Nāg. the word gepa is used with the meaning "mother", in other cases-ibu. Perhaps the author meant to express the highest respect for her [Pigcaud, I960, p. 8], and also to emphasize that it was she who was the mother of Hayam Wuruk (the word ibu - "mother" - is also used hereafter in relation to his aunt. - See below, note 30). At the time of Rajapatni's death (1350), Hayam Wuruk was only 16 years old, too young to take over the reins of government, so power passed to his mother Tribuvana, Rajapatni's niece. Tribhūwana (literally translated from Skt. "three worlds") - heavenly, terrestrial and subterranean [Zoctmulder, 2004, p. 1274]. Her full name can be translated as " the lady (goddess) of the three worlds."

^Jīwana 26-Skt. word, a translation of the Javanese word Kahuripan. Both are translated "life" (hurip = Malay. hidup - live).

²⁷ Rajapatni was probably Tribuvana's aunt, not her mother. The word ibu has a direct meaning of "mother", but it can also mean "aunt, grandmother, great-grandmother, etc." (Pigeaud, 1960, p. 10). In modern Indonesian, it is used as a respectful address to any older woman.

²⁸ The origin and family connections of the father of the ruler of Kertavardana, as well as his uncle Vijayarajasa, are not known. However, it is clear from the text of the poem that both of them played a leading role in state affairs [Robson, 1995, p.99].

²⁹ From this verse onwards, the poet mainly describes the present state of affairs, so it seems that the present tense should be used in the translation.

³⁰ In Majapahit times, the administration of the various provinces and territories of the State was generally entrusted to members of the ruling dynasty, who had their own residences in the capital and almost permanently resided at the court. This policy of concentrating power in the hands of the ruling family helped to establish tighter political control and helped to avoid centrifugal tendencies. Members of the ruling dynasty were content with their title and status as the ruler of a particular region, but at the same time they were under the constant control of the supreme ruler, as they lived in the capital and actively participated in the life of the palace. Thus, the ruler of Ksrtawardana was the governor of the Singasari region, while his wife was the supreme ruler of Majapahit. Throughout the story about the representatives of the ruling dynasty (songs 2-6), the first place in importance is given to the representatives of the female line. The story begins by praising Rajapatni, Hayam Wuruk's grandmother, then his mother, then his aunt and sisters, as they represented the official lineage. Obviously, the position and status of women in Majapahit society was similar to that of men, and a woman could be legitimate

the bearer of power, including the supreme one. The cult of Rajapatni was generally elevated to the rank of the most important state cult. The determining factor in the possession of power in this case was belonging to the official dynastic line. Therefore, when Hayam Wuruk was still unable to take over the state, the supreme power passed into the hands of his mother, a representative of the Rajas dynasty.

³¹ In this case, ibu (finished. "mother") it should be translated "aunt".

^Sudewī 32 is probably one of the names of the goddess Laksmī (Robson, 1995, p. 99).

^Upendra 33 is probably another name for Vishnu (Robson, 1995, p. 99).

³⁴ The ruler's own sister is mentioned after the first cousin. The mother and aunt were siblings and were representatives of the official dynastic line, as, consequently, their children. Probably, in this case, the determining factor is not the proximity of kinship with the ruler, but the order of seniority. Hayam Wuruka's own sister was the youngest.

³⁵ The ruler of Lasem and her husband are compared to Smara and Pinggalā; the ruler of Pajang and her husband are compared to Sanatkumāra and Idā (6.2.3); the ruler's wife is compared to Susmna (7.3.3). Susmna Pinggalā Idā-in the Tantric system of Buddhism, these are the names of the tubular vessels in the body (central, right and left, respectively) that perform the following functions: an important function in the practice of yoga [Robson, 1995, p.99].

³⁶ Sri Vikramavardana, the natural nephew of Hayam Wurukh, was the next ruler of Majapahit. As stated in Song 7.4, he was married to the daughter of Hayam Wuruk Kusumawardani.

³⁷ One of the foundations of ancient Indian political theory was the establishment of a" functional identity "between the behavior of rulers and the activities of a group of gods - astadikpālaka - "guardians of the eight heavenly countries of the world." Its essence was that the ruler was considered to be created from divine particles and imbued with the essence of the eight guardian gods, his behavior and actions had to correspond to his divine essence, which guaranteed the stability of the ruler's power and the prosperity of the world. This concept of the" functional divinity "of the ruler was known in Java as astabrata -" the eight vows (ways of life)", i.e., the divine qualities that the ruler was supposed to imitate. The classic definition of such a ruler's behavior pattern is found in the Old Javanese version of the Ramayana and some other literary works. The Javanese equivalent of astabrata is saptadewawrtti - the seven or eight qualities of a ruler. It is not known to what extent the Javanese ruler was functionally identified with these qualities, since there are no clear examples of the need to conform to such a model of behavior in literary works. However, in this context, Song 7 Nāg. is interesting, in which Hayam Vurukh is compared to the seven gods and forces of nature: he is like the sun (Dinakhard) pouring light all over the world; like the god Śatamanyu (Indra) shedding good luck on the earth; like Pitrpatni (Yama) punishing evildoers; like Varuna, he keeps riches; he is the god of the world. omniscient as the wind god Vāyu; in defending his capital, he is compared to the earth goddess Prthivī (in Skt. prthivī (earth) - feminine, so the ruler is compared to the Indian deity of the feminine gender-perhaps this is due to the absence of the gender category in old Javanese); his appearance is beautiful as the appearance of the moon god Candramā and the god of love Kant. Prapancha thus once again proves the divine essence of Hayam Vurukh, who possessed all the necessary qualities of a supreme ruler and protector of the world, his actions corresponded to the classical model of behavior of a perfect ruler [Gonda, 1959, p. 172-176; Spellman, 1964, p. 30-33; Wcathcrbcc, 1994, p.414-416].

³⁸ The author again emphasizes that Hayam Wuruk is successfully fulfilling his function as supreme Ruler, bringing justice and peace to the world. In this case, the word is atat ("calm"). It also applies to villains who "stopped doing evil", frightened by the divine power of Hayam Wuruk.

³⁹ Obviously, this refers to the well-established system of taxation of villages, when the peasants presented the ruler with a part of their rich harvest on strictly established terms (the fertility of the land and the abundance of the crop are emphasized, which is one of the signs of the state's prosperity). The author describes Hayam Wuruk as a skillful ruler who established social order in the country and took care of his subjects. The text of the poem repeatedly mentions the welfare and prosperity of villages, and in the 89th canto Prapancha quotes the ruler:"...A city and its districts (swawisaya) are interdependent, like a lion and a forest; if thani ("cultivated land") in poor condition, the country will suffer a shortage of food."

⁴⁰ Prapancha points out that the chief wife of Hayam Vurukh was the natural daughter of Vijayarajasa, the husband of the Daha ruler, i.e. Hayam Vurukh's aunt. It is logical to assume that she was not the daughter of the Daha ruler, otherwise Prapancha would undoubtedly have mentioned se, a representative of the Rajasanagara dynasty (and not her husband), as the parent of Hayam Wurukh's wife. She would also be an older cousin of the ruler, and it would be logical to mention her before the name of his younger cousin, the ruler of Lasem (see Canto 5.1). It is also noteworthy that her name is not mentioned anywhere [Pigcaud, 1960, p. 17; Robson, 1995, p.100].

⁴¹ In this case, the suffix-a (saniruktyanira) is used, which, apparently, indicates the future tense.

5 Vostok, No. 4

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