chiefs are called upon in the song to attend, and even the spirits in Hades; and last of all Singalang Burong. To him henceforward the song is almost entirely confined.
We must suppose the scene to be laid in Kling's house. Kumang, Kling's wife, the ideal of Dyak feminine beauty, comes out of the room and sits down on the verandah beside her husband, and complains that the festival preparations make slow progress. She declares she has no comfort either in standing, sitting or lying down on account of this slack- ness; and by way of rousing her spouse to activity, says the festival preparations had better be put a stop to altogether. But Kling will never have it said that he began but could not finish.
Indah keba aku nunggu,
Nda kala aku pulai lebu,
Makau benong tajau bujang.
Indah keba aku ngaiyau,
Nda kala aku pulai sabau,
Makau slabit ladong penyariang,
Indah keba aku meti,
Nda kala aku nda mai.
Bulih kalimpai babi blang.
Indah keba aku manjok,
Nda kala aku pulai inchok,
Bulih sa-langgai ruai lalang,
Kitè bisi tegar nda besampiar untuk tulang.
Kitè bisi laju ari peluru leka bangkong,
Kitè bisi lasit ari sumpit betibong punggang,
Sampurè nya kitè asoh betuboh ngambi ngabang.
"When I have gone to fine people,
"Never did I return empty handed
"Bringing jars with me.
"When I have gone on the war-path,
"Never did I return unsuccessful
"Bringing a basketful of beads.
"When I have gone to lay pig-traps,
"Never did I return without
"Obtaining a boar's tusk.
" When I have set hind snares.
"Never did I return unfruitful
"Getting an argus pheasant.
