28 THE MALAY PANTUN. 
Anak ayam turun tiga Anak ayam turun tiga 
Mati sa-ekur tinggal dua. Mati sa-ekur tinggal dua, 
Che’ kélasi baharu-lah suka Kapal bak bérlayar juga 
Bongkar sauh bérlayar sa-mula. Haluan ménuju tanah Jawa. 
Anak ayam turun dua Anak ayom turun dua 
Matt sa-ekur tinggal satu. Mati sa-ekur tinggal satu. 
Bongkar sauh bérlayar sa-mula Baluan ménuju tanah Jawa 
Héndak ménuju gédong batu. Sudah naik di-atas batu. 
Anak ayam turun satu Anak ayam turun satu 
Matt sa-ekur habis sudah. Matt sa-ekur habis lalu. 
Héndak ménuju gédong batu Sudah naik di-atas batu 
Jual barang harga yang murah. Di-pukul ombak bértalu-talu. 
Anak ayam habis lalu 
Tali rotan ambil di-chabut. 
Di-pukul ombak bértalu-talu 
Ségala kapitan kélam kabut. 
The examples given above of pantuns with different first and 
identical second couplets, and on the other hand of quatrains with 
identical first and different second couplets may tend to show that 
_ the connection between the first and the second pair of lines is not 
very strong, and that often the picture contained in the first coup- 
lets is not conditional or depending on the thought expressed in 
the second lines. Such pantuns therefore seem to follow rather 
the ‘‘ clever arabesque” of some Chinese poetry than the way of 
the picture strictly illustrating the thought of the Indian sloka.* 
It would be interesting to know if other peoples besides the 
Malays and Sundanese have verses similar in structure and use to: 
the pantun. Dr. Winstedt in his preface to “ Pantun Mélayu ” 
speaks of the pantun as the love-verse and lampoon of Indonesian 
peoples, and a comparison with songs from the Philippines, Fiji,. 
New-Zealand should give interesting results. Perhaps the learned 
societies there could furnish the necessary material. 
1. The writer has since found in Menangkabau tales six-lined pan- 
tuns, of which the Ist and 4th, the 2nd 5th and 3rd and 6th lines rhyme. 
Particulars will be given in another paper. 
