The Angkara Murka
Book of Pon - Nataprawira
Her full name is Soemarni Nataprawira. His family is not from Pon Hamlet, but from the next village. The innocent-faced petite girl turned out to be extremely violent, contrary to what was emanated from the look of her real-life face. The stubbornness, badness and mischief of this girl is shown by always going to play to the hamlet of Pon every time. The goal is simple, want to visit and meet his lover, a young man named Girinata. His lover, the young man, was the son of the richest man in the poor hamlet of Pon.
Soemarni Nataprawira's father, Sapar Nataprawira, is a famous mastermind in his village. He often forbids girls from acting like that.
"They are rich, Rama, not candala. Later if I marry him, our surname will still be awake, right? Don't worry" Marni told her father. Soemarni Nataprawira was only sixteen years old, but her words were like that of a girl who was not given a tatakrama lesson by her parents. Sassy and brash. Especially considering that the father is a mastermind which means he is a bodyguard and fighter of language and literature, which is in the vanguard of grammar and language rules.
A mastermind is Parama Sastra, who is rich in vocabulary as well as an expert in grammar. One support is Parameng Kawi, who understands the Javanese language of Kawi and ancient. To complete the previous prerequisites, a mastermind is Mardi Basa, which is able to process language for the sake of a beautiful and interesting story. His language skills must be able to be proven in this regard. A mastermind is Mardawa Song, who mastered various songs, gending and karawitan art. A mastermind is soerang Mandra Guna, who mastered various skills in staging, including influencing the psyche and feelings of the listeners and audience. A puppeteer is a Hawicarita, with excellent storytelling skills. Providing a variety of ways to sweep the viewers in the storyline, problems and solutions in the play. A puppeteer is Nawung Krida, who understands the psychology of puppet character and its relationship with humans, and a mastermind must be Sambegana, who has a perfect strong memory of the story sequences and the names of puppet characters.
"What kind of wedhok are you?!" Sapar Nataprawira exclaims in front of his daughter. "You are a woman of good and honorable family, not just rich. Your Rama is the mastermind, the character who becomes a role model, his speech is heard by others. Every ndalang, Rama always slip the moral message, philosophy of life, and man who is right in his life. Lah, you just want to play into the house of men, all this time again, like worthless women, cheap. Not good, Marni," said the mastermind.
Soemarni Nataprawira giggles. How fierce the mastermind tried, the laughter of Soeamarni Nataprawira, the only daughter always broke all the anger and wrath that was on him. Once his love for the girl, so that he does not ignore the supernatural whispers every time he performs his mandatory ritual as a mastermind. There was always a faint figure of a red-clad woman with partially bunned hair and partially unraveled disheveled came to her brushed aside the layers of mist and whispered raucously, "Backed ... Pon ... Magic ...."
The figure of the woman with her pair of eyes dripping with blood and swerving full of anger opened her mouth which was more bitter, clumping like mud. The words he spoke floated on the sidelines of the smoke of offerings incense, bouncing on the surface layer of the skin puppet that was unevenly broken.
Sapar Nataprawira always tries not to ignore words that are mysterious almost without meaning if it is really not understood. In fact, he was clearly living a familiar life with magic. The world of pedal he occupied was not far from my man. A mastermind must lead a life of concern, treachery, asceticism or pilgrimage to the tomb of previous puppeteers to cleanse themselves while opening the soul to the universe and all its creatures.
As a mastermind, Sapar Nataprawira must be able to prepare for the visible or not. It must also be able to ward off invisible distractions.
But love blurs everything.
Sapar Nataprawira cast a spell to make the red kuntilanak who actually wanted to tell something, to come out from before him.
“Aum awignam astu sing lembut pedhayangan sira ing kene kang kekiter kang semara earth bujang babo kabuyutan ..” sabda. This is the first of the five spells mastered by Sapar Nataprawira that he used to recap to prepare the wayang appearance to be smooth from any kind of interference.
Until one day, Soemarni Nataprawira had not returned until evening. He had asked his aides around the village to find his daughter, although deep in his heart, he knew exactly where the girl was going.
So, alone, on foot with a pair of slops that sounded typical flailing his heels, Sapar Nataprawira went to Pon Hamlet. Somehow, there was a supernatural clue directing him to a place by the river. This time he completely ignored what the unseen voice was trying to convey.
The arrival of the puppeteer is invisible to the residents of this neighboring hamlet.
Sapar Nataprawira's heart almost stopped beating watching the scene in front of him. Soemarni Nataprawira, whom he called Marni, the princess, half-naked, was squeezed under the body of a young man, Girinata, the lover, and his wife, next to a yellow white wooden stump on the river bank.
"Celebrate!" sapar Nataprawira. His anger swelled out like volcanic lava, though his speech was not clearly directed toward the young man or his daughter.
However, still he kicked Girinata's body, stepped on it several times and used his cellop to slap the young man's face. As Soemarni Nataprawira clamored at his father's pace, Sapar Nataprawira pulled his arm, dragging the boy home. Marni's loincloth was still left on the riverbank.
Girinata wiped the blood on her lips, took the loincloth of her lover, and looked hatefully at the departure of the mastermind and his daughter. The thoughts of the lover who was also young were so raging that night. Not only was hatred clumping within his chest cavity, but also the way he looked at the world, the way he judged his entire being. There was a latent movement within the soul of this agul youth.
Arriving at home, Sapar Nataprawira locked his daughter in the room until the stubborn girl stopped screaming.
Two days later, at night, the house of the puppeteer was splashing and rumbling. The mastermind was found and the maid had died in terrible circumstances. He allegedly vomited blood with nails and gotri.
It was Wednesday night Pon.