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And when they had done so they threw it into a deep well. The next day it had disappeared from the well; and that same evening a man of Tanah Regat, sifting on the sea-shore, saw the head of Dane Djero Gedi rising out of the water, the broken pieces all bound together. And he carried it back with him to the village. And even to this day, as any one may see, the mask of Dane Djero Gede is scratched and patched up.

In the same temple as this giant are kept the cymbals which the famous Gong Panskoeng, with which Mario has for years danced Kebyar, must borrow whenever it plays in a competition. If ever it has arrogantly or carelessly omitted to borrow the cymbals belonging to the Sanw1an of Dane Djero Gede the result has always been unfortunate. On one occasion a member of the gamelan died, twice it was beaten in competition.

Rangda wants to destroy the power of the students of magic in the village, as she fears they may become dangerous rivals to herself. She therefore splits her own being into ten parts, five watery and five fiery (pancaksharas and pancabrahmas). Two parts, represented by the magic syllables Ing and Yang, she retains within herself. The other eight she exteriorizes. These are the embodiments of the syllables Nang, Mang, Sing, Wang, represented in the Barong play by the Sandarans; and of the syllahble's Sann 'Bang', Tang, Ang, represented by the Djooeks. By her heightened magical power they fuse together in pairs and become the Kande in pats, the four brothers.

In the play this theme is represented by the reconciliation of the at first hostile Sandarans and Djaoeks, who unite in four pairs and leave the stage together. According to this view le prelude with Sandarans and Djoaeks must never be let out.

The hosts on this occasion were the Barony Landoeng couple at Batoeboelan, in honour of whose new masks a Barony performance was given under the full moon of July. The theme was an unusual one for the Barony drama, as it was the fight between Sugriva's twin brother Subali and the rakshasa who was harrowing heaven,' really a theme of Wajang Wong. Indra as a Djaock, Devi Tara his datiolter, who was the promised prize of victory over the rdkshaso, Subali as the Djaoek s second impersonation, the Barong, and two Rangda apparitions were the main actors. Devi Tara's vidyadhari attendants, whom we previously saw as small boys in Djanger dres&,2 were on this occasion three famous comic female impersonators. A small bamboo house on piles, at the end of the dance-ground, which gave the impression of a Tjalondrang performance, was the cave of the rakshasa and shelter of the Rangda masks.

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