Dressed in a white cloth, which covers the circular inscription in Arabic characters on breech and cascabel, while the priming hole is decorated in square ornament, with five solid rings to facilitate conveyance if she prefers being carried to moving by her own exertion as of yore, anointed and salved with _boreh_,[5] the spouse, expecting the summons in the fragrance of incense and flowers, _kananga_ and _champaka_, is often surrounded by fervent devotees, muttering their _dzikr_ on their prayer-mats, grateful for bounty received or hopeful of future delivery from bondage. Husband and wife will meet and then a third cannon, far away in Central Java, in the _aloon aloon_[6] before the _kraton_[6] of the Susuhunan of Surakarta, inhabited by a ghost, dispenser of dreams, the _sapu jagad_, will vindicate that name, “broom of the world”, by sweeping all infidels into the sea. Though the scoffing unbeliever counts this a dream of dreams, to the confiding children of the land it is a disclosure of things hidden in the womb of time, not the less true because Kiahi Satomo has an older mate, Niahi Satomi, the wife of his youth, the robed in red of the Susuhunan’s artillery park, which glories in many _maryams_ renowned in myth and history, among them another married couple, Koomba-rawa and Koomba-rawi, who shielded the ancient Sooltans of Pajang, being the official defenders of their palace. But Kiahi Satomo’s heart is in Bantam, at Karang Antu, as Niahi Satomi has reason to suspect since she, the more legitimate and more advanced in age, cannot keep him at her side. It avails nothing that the Susuhunan’s retainers chain the reluctant head of the family to the Bangsal Pangrawit, the imperial audience-chamber constructed after a heavenly model in gold; always and always he flies back to Batavia, anxious to be ready where the beloved _bini muda_ (lit. young wife) has trysted him for sweet dalliance, from which victory will be born and release.