Hamangkoe Boewoenoe Senopati Sahadin Panoto Gomo Kalif Patelah Kandjeng VII, Ruler of the World, Spike of the Universe, and Sultan of Djokjakarta, is an old, old man, yet his brisk walk and upright carriage betrayed no trace of the worries which might be expected to beset one who is burdened with the responsibility of supporting three thousand wives and concubines. When one achieves a domestic establishment of such proportions, however, he doubtless shifts the responsibility for its administration, discipline and maintenance to subordinates, just as the commander of a division delegates his authority to the officers of his staff. The Sultan, who is now in his eighty-ninth year, is a worthy emulator of King Solomon, the lowest estimate which I heard crediting him with one hundred and eighty children. These are the official ones, as it were. How many unofficial ones he has, no one knows but himself. The youngest of his children, now five years old, was, I imagine, a good deal of a surprise, being sometimes referred to by disrespectful Europeans as "the Joke of Djokjakarta."

Djokjakarta, or Djokja, as it is commonly called, is set in the middle of a broad and fertile plain, at[190] the foot of the slumbering volcano of Merapi, whose occasional awakenings are marked by terrific earthquakes, which shake the city to its foundations and usually result in wide-spread destruction and loss of life. It is a city of broad, unpaved thoroughfares, shaded by rows of majestic waringins, and lined, in the European quarter, by handsome one-story houses, with white walls, green blinds and Doric porticos. There are two hotels in the city, one an excellently kept and comfortable establishment, as hotels go in Java; a score or so of large and moderately well-stocked European stores, and many small shops kept by Chinese; an imposing bank of stone and concrete; and one of the most beautiful race-courses that I have ever seen, the spring race meeting at Djokja being one of the most brilliant social events in Java. The busiest part of the city is the Chinese quarter, for, throughout the Insulinde, commerce, both retail and wholesale, is largely in the hands of these sober, shrewd, hard-working yellow men, of whom there are more than three hundred thousand in Java alone and double that number in the archipelago. Beyond the European and Chinese quarters, scattered among the palms which form a thick fringe about the town, are the kampongs of the Javanese themselves—clusters of bamboo-built huts, thatched with leaves or grass, encircled by low mud walls. Standing well back from the street, and separated from it by a splendid sweep of velvety lawn, is the Dutch residency, a dignified building whose classic lines reminded me of the manor houses built[191] by the Dutch patroons along the Hudson. A few hundred yards away stands Fort Vredenburg, a moated, bastioned, four-square fortification, garrisoned by half a thousand Dutch artillerymen, whose guns frown menacingly upon the native town and the palace of the Sultan. Though its walls would crumble before modern artillery in half an hour, it stands as a visible symbol of Dutch authority and as a warning to the disloyal that that authority is backed up by cannon.

Between Fort Vredenburg and the Sultan's palace stretches the broad aloun-aloun, its sandy, sun-baked expanse broken only by a splendid pair of waringin-trees, clipped to resemble royal payongs or parasols. In the old days those desiring audience with the sovereign were compelled to wait under these trees, frequently for days and occasionally for weeks, until "the Spike of the Universe" graciously condescended to receive them. Here also was the place of public execution. In the days before the white men came, public executions on the aloun-aloun provided pleasurable excitement for the inhabitants of Djokjakarta, who attended them in great numbers. The method employed was characteristic of Java: the condemned stood with his forehead against a wall, and the executioner drove the point of a kris between the vertebrae at the base of the neck, severing the spinal cord. But the gallows and the rope have superseded the wall and the kris in Djokjakarta, just as they have superseded the age-old custom of hurling criminals from the top of a high tower in Bokhara or of having the brains[192] of the condemned stamped out by an elephant, a method of execution which was long in vogue in Burmah.

But, though certain peculiarly barbarous customs which were practised under native rule have been abolished by the Dutch, I have no intention of suggesting that life in Djokjakarta has become colorless and tame. Au contraire! If you will take the trouble to cross the aloun-aloun to the gates of the palace, your attention will be attracted by a row of iron-barred cages built against the kraton wall. Should you be so fortunate as to find yourself in Djokjakarta on the eve of a religious festival or other holiday, each of these cages will be found to contain a full-grown tiger. For tiger-baiting remains one of the favorite amusements of the native princes. Nowhere else, so far as I am aware, save only in East Africa, where the Masai warriors encircle a lion and kill it with their spears, can you witness a sport which is its equal for peril and excitement.

On the day set for a tiger-baiting the aloun-aloun is jammed with spectators, their gorgeous sarongs and head-kains of batik forming a sea of color, while from a pavilion erected for the purpose the Sultan, surrounded by his glittering household and a selection of his favorite wives, views the dangerous sport in safety. In a cleared space before the royal pavilion several hundred half-naked Javanese, armed only with spears, stand shoulder to shoulder in a great circle, perhaps ten-score yards across, their spears pointing inward so as to form a steel fringe to the human [193]barricade. A cage containing a tiger, which has been trapped in the jungle for the occasion, is hauled forward to the circle's edge. At a signal from the Sultan the door of the cage is opened and the great striped cat, its yellow eyes glaring malevolently, its stiffened tail nervously sweeping the ground, slips forth on padded feet to crouch defiantly in the center of the extemporized arena. Occasionally, but very occasionally, the beast becomes intimidated at sight of the waiting spearmen and the breathless throng beyond them, but usually it is only a matter of seconds before things begin to happen. The long tail abruptly becomes rigid, the muscles bunch themselves like coiled springs beneath the tawny skin, the sullen snarling changes to a deep-throated roar, and the great beast launches itself against the levelled spears. Sometimes it tears its way through the ring of flesh and steel, leaving behind it a trail of dead or wounded spearmen, and creating consternation among the spectators, who scatter, panic-stricken, in every direction. But more often the spearmen drive it back, snarling and bleeding, whereupon, bewildered by the multitude of its enemies and maddened by the pain of its wounds, it hurls itself against another segment of the steel-fringed cordon. After a time, baffled in its attempts to escape, the tiger retreats to the center of the circle, where it crouches, snarling. Then, at another signal from the Sultan, the spearmen begin to close in. Smaller and smaller grows the circle, closer and closer come the remorseless[194] spear-points ... then a hoarse roar of fury, a spring too rapid for the eye to follow, a wild riot of brown bodies glistening with sweat ... spear-hafts rising and falling above a sea of turbaned heads as the blades are driven home ... again ... again ... again ... yet again ... into the great black-and-yellow carcass, which now lies inanimate upon the sand in a rapidly widening pool of crimson.

Like the palaces of most Asiatic rulers, the kraton of the Sultan of Djokjakarta is really a royal city in the heart of his capital. It consists of a vast congeries of palaces, barracks, stables, pagodas, temples, offices, courtyards, corridors, alleys and bazaars, containing upward of fifteen thousand inhabitants, the whole encircled by a high wall four miles in length. Everything that the sovereign can require, every necessity and luxury of life, every adjunct of pleasure, is assembled within the kraton. As the Sultan's world is practically bounded by his palace walls, the kraton is to all intents and purposes a little kingdom in itself, for there dwell within it, besides the officials of the household and the women of the harem, soldiers, priests, gold and silversmiths, tailors, weavers, makers of batik, civil engineers, architects, carpenters, stonemasons, manufacturers of musical instruments, stage furniture, and puppets, all supported by the court. The Sultan rarely leaves the kraton save on occasions of ceremony, when he appears in state, a thin, aristocratic-looking old man, somewhat taller than the average of[195] his subjects, wrapped in a sarong of cloth-of-gold, hung with jewels, shaded by a golden parasol, surrounded by an Arabian Nights court, and guarded—curious contrast!—by a squadron of exceedingly businesslike-looking Dutch cavalry in slouch hats and green denim uniforms.

The first impression which one receives upon entering the inner precincts of the kraton is of tawdriness and dilapidation. Half-naked soldiers of the royal body-guard, armed with ten-foot pikes and clad only in baggy, scarlet breeches and brimless caps of black leather, shaped like inverted flower-pots, lounge beside the gateway giving access to the Sultan's quarters or snore blissfully while stretched beneath the trees. The "Ruler of the World" receives his visitors—who, if they are foreigners, must always be accompanied by the Dutch Resident or a member of his staff—in the pringitan, or hall of audience, an immense, marble-floored chamber, supported by many marble columns. The pringitan is open on three sides, the fourth communicating with the royal apartments and the harem, to which Europeans are never admitted. At the rear of the pringitan are a number of ornate state beds, hung with scarlet and heavily gilded, evidently placed there for purposes of display, for they showed no evidences of having been slept in. Close by is a large glass case containing specimens of the taxidermist's art, including a number of badly moth-eaten birds of paradise. On the walls I noticed a steel-engraving of Napoleon crossing the[196] Alps, a number of English sporting prints depicting hunting and coaching scenes, and three villainous chromos of Queen Wilhelmina, Prince Henry of the Netherlands, and the Princess Juliana.

Thanks to the courtesy of the Resident, who had notified the authorities of the royal household of our visit in advance, we found that a series of Javanese dances had been arranged in our honor. Now Javanese dancing is about as exciting as German grand opera, and, like opera, one has to understand it to appreciate it. Personally, I should have preferred to wander about the kraton, but court etiquette demanded that I should sit upon a hard and exceedingly uncomfortable chair throughout a long and humid morning, with the thermometer registering one hundred and four degrees in the shade, and watch a number of anaemic and dissipated-looking youths, who composed the royal ballet, go through an interminable series of posturings and gestures to the monotonous music of a native orchestra.

Those who have gained their ideas of Javanese dancing from the performances of Ruth St. Denis and Florence O'Denishawn have disappointment in store for them when they go to Java. To tell the truth I found the dancers far less interesting than their audience, which consisted of several hundred women of the harem, clad in filmy, semi-transparent garments of the most beautiful colors, who watched the proceedings from the semi-obscurity of the pringitan. I cannot be certain, because the light was poor and their faces were[197] in the shadow, but I think that there were several extremely good-looking girls among them. There was one in particular that I remember—a slender, willowy thing with an apricot-colored skin and an oval, piquant face framed by masses of blue-black hair. Her orange sarong was so tightly wound about her that she might as well have been wearing a wet silk bathing-suit, so far as concealing her figure was concerned. Whenever she caught my eye she smiled mischievously. I should have liked to have seen more of her, but an unamiable-looking sentry armed with a large scimitar prevented.

By extraordinary good fortune we arrived in Djokjakarta on the eve of the celebration of a double royal wedding, two of the Sultan's grandsons marrying two of his granddaughters. Thanks to the cooperation of the Dutch Resident, Hawkinson was enabled to obtain a remarkable series of pictures of the highly spectacular marriage ceremonies, it being the first time, I believe, that a motion-picture camera had been permitted within the closely guarded precincts of the kraton.

The festivities, which occupied several days, consisted of receptions, fireworks, reviews, games, dances, and religious ceremonies, culminating in a most impressive and colorful pageant, when the two bridegrooms proceeded to the palace in state to claim their brides. Nowhere outside the pages of The Wizard of Oz could one find such amazing and fantastic costumes as those worn by the thousands of natives who took part in that procession. Every combination of colors was[198] used, every period of European and Asiatic history was represented. Some of the costumes looked as though they owed their inspiration to Bakst's designs for the Russian ballet—or perhaps Bakst obtained his ideas in Djokjakarta; others were strongly reminiscent of Louis XIV's era, of the courts of the great Indian princes, of the Ziegfeld Follies.

The procession............