Javanese Poetry - Sekar Madya and Tembang Macapat

Sekar Madya and Tembang Macapat

Sekar madya (Low Javanese: Tembang tengahan; "middle songs") are supposed to lie between the other two genres, but there is no agreement about which genres are considered sekar madya and which are tembang macapat (old orthography: machapat). Both of these, in contrast to sekar ageng, use varying number of lines of varying length, but always in a specific form. Furthermore, the vowel sound of the final syllable must match a specific pattern (note that this is different from syllable rime, as consonants that follow, if any, do not have to match). The pattern of the length of lines is known as guru wilangan, guru pètungan, or guru wichalan, while the pattern of vowels is known as dhongdhing or guru lagu. In the schemes below, the number represents the guru wilangan, while the letter is the guru lagu of the corresponding line.

In addition to these formal structures, each of these forms has a specific mood. The typical use is indicated after the form for many of the structures below.

Padmasoesastra listed 11 types of sekar madya forms used in Surakarta. Many of them, however, are no longer used. The ones in modern use are:

• Juru demung: 8A, 8U, 8U, 8A, 8U, 8A, 8U
• Wirangrong: 8I, 8O, 10U, 6I, 7A, 8A
• Balabah: 12A, 3É, 12A, 3Á, 12A, 3Á

Two meters were classified as macapat forms in the past, but are now considered sekar madya:

• Megatruh (or Duduk wuluh): 12U, 8I, 8U, 8I, 8O
• Gambuh: 7U, 10U, 12I, 8U, 8O (there are a number of variants of this form)

The common macapat forms are:

• Dhangdhang gula: 10I, 10A, 8É(O), 7U, 9I, 7A, 6U, 8A, 12I, 7A; neutral character, used especially for introducing another poem
• Sinom: 8A, 8I, 8A, 8I, 7I, 8U, 7A, 8I, 12A; didactic poems
• Asmarandana: 8I, 8A, 8O(É), 8A, 7A, 8U, 8A; love poems
• Kinanthi: 8U, 8I, 8A, 8I, 8A, 8I; love poems
• Pangkur: 8A, 11I, 8U, 7A, 12U, 8A, 8I; violent passions or fighting
• Durma: 12A, 7I, 6A, 7A, 8I, 5A, 7I; violent passions or fighting
• Mijil: 10I, 6O, 10É, 10I, 6I, 6U; love poems
• Mas kumambang: 12I, 6A, 8I, 8A; longing or homesickness
• Puchung: 12U, 6A, 8I, 12A; neutral character, used for riddles

As an example, consider the following Kinanthi verse, a stanza from the Serat Centhini:

Ki Jayèngraga agupuh

anggamel rebab respati

rebabé langkung prayoga

watangan pinonthang gadhing

kosok pinatra pinrada

batok jamangan balenggin

These forms are the basis of kidung poetry.

The text for these songs is frequently used in works for the gamelan, frequently sung by the gerong. Indeed, many modern gendhing share common macapat texts, especially Kinanthi, fit into their individual melodic pattern. Sumarsam believes that the singing of these forms led to the development of the early gendhing gerong, in the mid-19th century. Wayang performances make use of the Mahabharata and Ramayana in macapat form, created in the 18th and 19th centuries.