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its own tune; the names given to these tunes are generally taken from one or two words which appear in some well-known pantōn which is habitually sung thereto (e.g. lagèë[1] siwaih ladō, lagèë dua lapéh), or from some peculiarity in or the origin of the tune itself (e.g. lagèë jawòe barat Malay tune of the West Coast, lagèë ranchaʾ = merry, lively tune) or from one or two nonsense words with which the pantōn commences (e.g. lagèë taʾli aʾli ōn).
Most, nay indeed all these verses are in the ordinary sanjaʾ metre[2], and in the opening of the two verses which contain the response, the opening of the preceding question is often repeated.
Some exhibit departures from the rule and follow the rhythm of a special dance; as for example the first four pairs of verses of the set sung to the tune taʾli aʾli ōn, which are given below.
D. Taʾli aʾli ōn, glutinous rice folded up in a young plantain leaf.
The day of judgment has come; where shall the women now get pantōns from?
A. Taʾli aʾli ōn, glutinous rice in a punteut-leaf[3].
The day of judgment has come; where shall the women now get words invoking blessings (on the Prophet)?
D. A little, a little keupula (= sawo-tree), a little keupula grows on the gampōng-path.
The wind blows a little, the sweet savour spreads over the whole gampōng.
A. A little, a little keupula, a little keupula grows in the corner.
The wind blows a little, the sweet savour spreads over the whole land.
D. There is a dove, she lays her eggs in the grass.
Alas! they have smitten my darling; but she has escaped from the point of the sword.
A. There is a dove, she lays her eggs on the edge of the plank (which is set against the wall to lay things upon).
Alas, they have smitten my darling; but she has escaped from the point of the javelin.
D. Alas, I see a plantain which was thriving but a moment ago, but whose sprouting leaf has perished.
Alas! I see earrings; but while I gaze, she who wore them is dead.
