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Again a woman's voice is heard within, and Tirta emerges, in a magnificent dress, green, scarlet, gold, and purple, with a head-dress like a Gamboeh prince. He was very elegantly danced by a girl. He explains in a dismal cadence that he left home naked (i.e. very young) and now returns a marriageable boy, but does not want to marry. His father addresses him in ringing tones, in a scolding, threatening voice. How is it that if he ran away naked he has returned so well dressed? The reply takes a very long time. During the simple statement, 'I ... went ... away', they wind many times over the stage in a duet of mingled rage and melancholy, while the son rehearses his reasons against marriage and the father whirls him round and flings him to the ground at each fresh refusal.

The violence appears terrifying, but he always settles as lightly as a failing leaf. This was dynamically a typical Ardja scene, though with a rather unusual context, and ended by the weeping hero asserting himself and driving his father to tears in his turn. They go off together to Sokasti's house.
After a short introductory scene between Njoman Karang and his two daughters, in which he urges them to marry, Basoer enters, and shortly after, Tirta's father, and the rival fathers interview the father of the girls. This scene is interrupted by a very long comic passage between Tigaron's servants, the Widjil giving a burlesque performance of Djanger, taking all the parts in turn and shifting his position with amazing velocity by one low leap over the ground. Among other wonderful turns was a dance in which he whirled round and round like a dervish at a prodigious speed, as though on the outer edge of a skate, always just contriving to keep his balance

The violence appears terrifying, but he always settles as lightly as a failing leaf. This was dynamically a typical Ardja scene, though with a rather unusual context, and ended by the weeping hero asserting himself and driving his father to tears in his turn. They go off together to Sokasti's house.
After a short introductory scene between Njoman Karang and his two daughters, in which he urges them to marry, Basoer enters, and shortly after, Tirta's father, and the rival fathers interview the father of the girls. This scene is interrupted by a very long comic passage between Tigaron's servants, the Widjil giving a burlesque performance of Djanger, taking all the parts in turn and shifting his position with amazing velocity by one low leap over the ground. Among other wonderful turns was a dance in which he whirled round and round like a dervish at a prodigious speed, as though on the outer edge of a skate, always just contriving to keep his balance

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