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"Most Javanese manuscript illustrations of narrative poems and (pseudo)-historical chronicles (babad) depict only one part of the natural world: animals. Animals are portrayed in relation to the characters in the text they illustrate. Some illustrated Javanese manuscripts are discussed below in relation to the way in which they illustrate the natural world: these are the fictive narrative poems Serat Selarasa, Serat Panji Jayakusuma, Serat Asmarasupi, Serat Jayalengkara Wulang, and Serat Damar Wulan, and the poetic (pseudo)-historical chronicle Babad Perang Demak. It appears from the illustrations in the manuscripts discussed that in the narrative poems the wayang style is preferred and they depict animals differently from the babad for which the wayang-style is not used and whose illustrations tend to be more “realistic”. The focus in the narrative poems discussed here is on serpents, crocodiles, and elephants, and in the babad on all the animals featured."

"In the eighteenth and nineteenth centuries, a revival movement of classical Javanese (Kawi) literature arose in the royal courts of south Central Java. As part of this revival, Old Javanese literary works were rewritten in Modern Javanese, giving Javanese people at that time renewed access to their literary heritage. The paper deals with a specific manuscript, Add MS 12279 in the British Library, which contains Modern Javanese word-for-word and line-for-line “translations” inserted between lines of the Old Javanese epic poem Bhāratayuddha. The unique structure of the manuscript reveals the translation strategies used to address the challenges of balancing the transmission of meaning with the modernization of language. Exploring the interpretation of the Old Javanese work in modern Java sheds light on the entwinement of the different languages (Old Javanese and Modern Javanese), different religions (Hindu and Islam), and different times (ancient and modern)."