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rule no actual connexion, in so far as meaning is concerned, with the two last, or with one another, and have for their raison d'etre a means of supplying rhymes for the concluding lines. For instance:—. Senudoh kart di-rimba Benang kdrap b&-simpul puleh: Sunggoh dudok ber-tindek riba, Jangan di-harap kata-kan buleh. The See also:

RHODODENDRON

rhododendron is a See also:

wood of the See also:

JUNGLE (Sans. jangala)

jungle, The strings within the See also:

FRAME

frame-See also:

WORK

work of the See also:

LOOM

loom are in a tangled See also:

knot. It is true that I sit on thy Iap, But do not therefore cherish the See also:

hope that See also:

thou canst take any other See also:

LIBERTY (Lat. libertas, from liber, free)

liberty. Here, it will be seen, the first two lines have no meaning, though according to the Malayan mind, on occasion, these " rhyme-making " lines are held to contain some obscure, symbolical reference to those which follow them. The Malay is not exacting with regard to the correctness of his rhymes,and to his See also:

EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear rimba and raba rhyme as exactly as puleh and' buleh. It should also be noted that in the above example, as is not infrequently the See also:

case with the Malay pantun, there is a similar See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at rhyme between the initial words of the lines as well as between the word with which they conclude, senudoh and sunggoh, benang and jdngan, and kdrap and harap all rhyming to the Malayan ear There are large See also:

numbers of well-known pantun with which practically all See also:

MALAYS

Malays are acquainted, much as the commoner See also:

PROVERBS, BOOK OF (Heb. Mishle Slzelomoh, " Proverbs of Solomon," abridged by the later Jews to Mishle; Septuagint, irapotpiai or II. EaX.; Lat. Vulg. Parabolae sal. and Liber proverbiorum)

proverbs are See also:

FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar tows all, and it is not an infrequent practice in conversation for the first See also:

LINE

line of a pantun viz.: one of the two lines to which no real meaning attaches—to be quoted alone, the See also:

AUDIENCE (from Lat. audire, to hear)

audience being supposed to possess the necessary knowledge to See also:

fit on the remaining lines for himself and thus to discover the significance of the allusion. Among cultured Malays, more especially those living in the neighbourhood of the See also:

RAJA

raja's See also:

court, new pantun are constantly being composed, many of them being of a highly topical See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and these improvisations are quoted from See also:

man to man until they become current like the old, well-known verses, though within a far more restricted See also:

AREA

area. Often too, the pantun is used in love-making, but they are then usually composed for the exclusive use of the author and for the delectation of his See also:

LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady-loves, and do not find their way into, the public stock of verses.

" Capping " pantun is also a not uncommon pastime, and many Malays will continue such See also:

con-tests for See also:

HOURS, CANONICAL

hours without once repeating the same verse, and often improvising quatrains when their stock threatens to become exhausted. When this See also:

GAME

game is played by skilled versifiers, the pantun last quoted, and very frequently the second line thereof, is used as the tag on to which to hang the succeeding verse. The " pantoum " as a form of verse was introduced into French by See also:

Victor See also:

Hugo in See also:

Les Orientales (1829). It was also practised by See also:

Theodore de See also:

BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville and Leconte de See also:

LISLE, ALICE (c. 1614-1685)

Lisle. See also:

Austin See also:

Dobson's In See also:

TOWN

Town is an example of its use, in a lighter manner, in English. In the French and English imitation the verse form is in four-line stanzas, the second and fourth line of each verse forming the first and third of the next, and so on to the last See also:

STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza, where the first and third line of the first stanza form the second and fourth line. (H.

End of Article: PANTUN (PANTOUM)

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