The Hangeul Alphabet (한글)

Origin of writing in Korea

Chinese writing has been known in Korea for over 2,000 years. It was used widely during the Chinese occupation of northern Korea from 108 BC to 313 AD. By the 5th century AD, the Koreans were starting to write in Classical Chinese - the earliest known example of this dates from 414 AD. They later devised three different systems for writing Korean with Chinese characters: Hyangchal (향찰/鄕札), Gukyeol (구결/口訣) and Idu (이두/吏讀). These systems were similar to those developed in Japan and were probably used as models by the Japanese.

The Idu system used a combination of Chinese characters together with special symbols to indicate Korean verb endings and other grammatical markers, and was used to in official and private documents for many centuries. The Hyangchal system used Chinese characters to represent all the sounds of Korean and was used mainly to write poetry.

The Koreans borrowed a huge number of Chinese words, gave Korean readings and/or meanings to some of the Chinese characters and also invented about 150 new characters, most of which are rare or used mainly for personal or place names.

The Korean alphabet was invented in 1444 and promulgated it in 1446 during the reign of King Sejong (r.1418-1450), the fourth king of the Joseon Dynasty. The alphabet was originally called Hunmin jeongeum, or "The correct sounds for the instruction of the people", but has also been known as Eonmeun (vulgar script) and Gukmeun (national writing). The modern name for the alphabet, Hangeul, was coined by a Korean linguist called Ju Si-gyeong (1876-1914). In North Korea the alphabet is known as 조선글 (josoen guel).

The shapes of the consonants are based on the shape the mouth made when the corresponding sound is made, and the traditional direction of writing (vertically from right to left) most likely came from Chinese, as did the practice of writing syllables in blocks.

Even after the invention of the Korean alphabet, most Koreans who could write continued to write either in Classical Chinese or in Korean using the Gukyeol or Idu systems. The Korean alphabet was associated with people of low status, i.e. women, children and the uneducated. During the 19th and 20th centuries a mixed writing system combining Chinese characters (Hanja) and Hangeul became increasingly popular. Since 1945 however, the importance of Chinese characters in Korean writing has diminished significantly.

Since 1949 hanja have not been used at all in any North Korean publications, with the exception of a few textbooks and specialized books. In the late 1960s the teaching of hanja was reintroduced in North Korean schools however and school children are expected to learn 2,000 characters by the end of high school.

In South Korea school children are expected to learn 1,800 hanja by the end of high school. The proportion of hanja used in Korean texts varies greatly from writer to writer and there is considerable public debate about the role of hanja in Korean writing.

Most modern Korean literature and informal writing is written entirely in hangeul, however academic papers and official documents tend to be written in a mixture of hangeul and hanja.

Notable features of Hangeul

• Type of writing system: alphabet
• Direction of writing: Until the 1980s Korean was usually written from right to left in vertical columns. Since then writing from left to right in horizontal lines has become popular, and today the majority of texts are written horizontally.
• Number of letter: 24 (jamo): 14 consonants and 10 vowels. The letters are combined together into syllable blocks.

• The shapes of the the consontants g/k, n, s, m and ng are graphical representations of the speech organs used to pronounce them. Other consonsants were created by adding extra lines to the basic shapes.
• The shapes of the the vowels are based on three elements: man (a vertical line), earth (a horizontal line) and heaven (a dot). In modern Hangeul the heavenly dot has mutated into a short line.
• Spaces are placed between words, which can be made up of one or more syllables.
• The sounds of some consonants change depending on whether they appear at the beginning, in the middle, or at the end of a syllable.
• A number of Korean scholars have proposed an alternative method of writing Hangeul involving writing each letter in a line like in English, rather than grouping them into syllable blocks, but their efforts have been met with little interest or enthusiasm.
• In South Korea hanja are used to some extent in some Korean texts.

Used to write

Korean (한국어 / 조선말), a language spoken by about 63 million people in South Korea, North Korea, China, Japan, Uzbekistan, Kazakhstan and Russia. The relationship between Korean and other languages is not known for sure, though some linguists believe it to be a member of the Altaic family of languages. Grammatically Korean is very similar to Japanese and about 70% of its vocabulary comes from Chinese.

The Hangeul alphabet (한글)

The double consonants marked with * are pronounced fortis. There is no symbol in IPA to indiciate this

Note on the transliteration of Korean


There are a number different ways to write Korean in the Latin alphabet. The methods shown above are:

1. (first row) the official South Korean transliteration system, which was introduced in July 2000. You can find further details at www.mct.go.kr.
2. (second row) the McCune-Reischauer system, which was devised in 1937 by two American graduate students, George McCune and Edwin Reischauer, and is widely used in Western publications. For more details of this system see: http://mccune-reischauer.org

Sample text in Korean (hangeul only)




Sample text in Korean (hangeul and hanja)

Transliteration
Modeun Ingan-eun Tae-eonal ttaebuteo Jayuroumyeo Geu Jon-eomgwa Gwonrie Iss-eo Dongdeunghada. Ingan-eun Cheonbujeog-euro Iseong-gwa Yangsim-eul Bu-yeobad-ass-eumyeo Seoro Hyungje-ae-ui Jeongsin-euro Haengdongha-yeo-yahanda.

Translation
All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.
(Article 1 of the Universal Declaration of Human Rights)

Hong's Hangul Conversion Tools

[Korean Transliteration Tools]

http://sori.org/hangul/conv2kr.cgi

Transliterating English Words into Hebrew

Hebrew, unlike English, is spelled exactly as it sounds (or conversely, it sounds exactly as it is spelled). Therefore, to represent an English word, you first must spell the word in simplified English phonetics and then convert this into Hebrew.

1. Hebrew consonants with the same sounds:

Some Hebrew consonants sound alike in Modern Hebrew. In those cases where you are unsure which letter to use, follow these guidelines:

• For a “v” sound, always use Vav (ו) and never Vet (ב). Note that if the Vav would likely be mistaken for a vowel, use Yod Yod (װ).
• For a “t” sound, always use Tet (ט) and never Tav (ת).
• For an “s” sound, always use Samech (ס) and never Shin (שׂ).
• For a “k” sound, always use Qof (ק) and never Kaf (כּ).

2. English sounds with no Hebrew equivalent:

There are some English sounds that have no Hebrew equivalent. In those cases where you are unsure which letter to use, follow these guidelines: 

• For a “th” sound, use Tav (ת).
• For an “x” sound, use Qof Samech (קס).
• For a “w” sound, use Vav Vav (װ).
• For a “qu” sound, use Qof Vav (קו).

Some English letters have no exact equivalent in Hebrew. In this case, a small mark similar to an apostrophe (called a Geresh) tells the reader that there is something unusual. With certain letters in a foreign word, the Geresh indicates these foreign sounds:

• For a “j” sound, use Gimmel-Geresh (ג׳).
• For a “ch” (as in "Charlie") sound, use Tzade-Geresh (צ׳).
• For a “zh” (as in "garage") sound, use Zayin-Geresh (ז׳).

3. Indicating vowels:

Foreign words need special hints to show the vowel sounds, especially without nikkudot (vowel marks). Short, unstressed vowels are not usually represented with vowel letters, and usually can be easily guessed. When a more significant stressed or long vowel is used, it should be indicated:

• For “o” and “u” sounds, use Vav (ו).
• For “ee,” “y,” and short “i” (as in "pit") sounds, use Yod (י).
• Occasionally, an Aleph (א) can be inserted to represent an “ah” sound to add clarity.
• To represent long “i” as in "find" or diphthongs like “ai” as in "aisle" or "ay" as in "pray," use Yod-Yod (יי).
• For an ah sound at the end of the word, use Hey (ה). (This usually indicates that a noun is feminine. If it needs to be masculine, use Aleph (א) instead.)
• To begin a word with a vowel, use Aleph (א) or Ayin (ע).

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Source :

http://www.hebrew4christians.com/Grammar/Unit_One/Transliteration2/transliteration2.html

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Ten Egyptian Plagues For Ten Egyptian Gods and Goddesses

Moses, Prophet of HaShem

Moses, called of HaShem to be the Deliverer.

The God of Israel is greater than all other Egyptian Gods and Goddesses.

Moses was a great prophet, called by God with a very important job to do. As an instrument in HaShem's hand he performed many signs, or "wonders", attempting to convince Pharaoh to allow the Israelites freedom from their bondage of slavery to the Egyptians. These "wonders" are more commonly referred to as "plagues" sent from the God of Israel, as a proof that the "one true God" was far greater than all of the multiple Gods of the Egyptians.

These Egyptian Plagues were harsh and varied to correspond to the ancient egyptian gods and goddesses that were prevelant during Moses time in Egypt.

The number ten is a significant number in biblical numerology. It represents a fullness of quantity. Ten Egyptian Plagues Means Completely Plagued.

Just as the "Ten Commandments"become symbolic of the fullness of the moral law of God, the ten ancient plagues of Egypt represent the fullness of God's expression of justice and judgments, upon those who refuse to repent.

Ten times God, through Moses, allows Pharaoh to change his mind, repent, and turn to the one true God, each time increasing the severity of the consequence of the plagues suffered for disobedience to His request. Ten times Pharaoh, because of pride, refuses to be taught by HaShem, and receives "judgments" through the plagues, pronounced upon his head from Moses, the deliverer.

Yeshua HaMashiach





Savior and Redeemer of the world.


The Ten Egyptian Plagues testify of Yeshua HaMashiach and His power to save.

Moses and Aaron are sent as messengers of HaShem, to Pharaoh, to instruct him to let the children of Israel go "so that they may serve HaShem." It is further stipulated that they must be allowed to travel a three days journey so that they may offer their sacrifices as a means of worship.

Pharaoh responds simply, "Who is HaShem, that I should obey his voice to let Israel go? I know not HaShem, neither will I let Israel go." Soon however, Pharaoh will find out who this God is, and why he should obey His voice. He will understand His power over all the other Egyptian gods and goddesses.

These ten Egyptian plagues not only demonstrated the power of God to Moses, the children of Israel, the Egyptians, and Pharaoh, but they were of such magnitude that they would be remembered for all generations, throughout the entire world. They again testify, as does both the Old and New Testament alike that salvation, from beginning to end, is only accomplished through Yeshua Hamashiach, "the author and finisher of our faith." (Heb 12:2)

Corresponding Egyptian God and Goddess to the type of plague and type of plague that God pronounced upon Egypt:

Hapi - Egyptian God of the Nile





This Egyptian God was a water bearer.


Egyptian Plague - Water Turned to Blood

The first plague that was given to the Egyptians from God was that of turning the water to blood. As Aaron, the spokesman for Moses, touched the "rod" of HaShem to the Nile River it immediately turned to blood, all the fish died, and the river stank. Partially able to duplicate this miracle, the magicians of Pharaoh also turn water into blood, leaving Pharaoh unimpressed with this great wonder from God.

Seven days the water throughout all the land of Egypt remained in this state, unsuitable for drinking, the perfect length of time to demonstrate that HaShem was superior to all the other Gods of Egypt.

Heket - Egyptian Goddess of Fertility, Water, Renewal





Heket the Egyptian Goddess, had the head of a frog.


Egyptian Plague - Frogs coming from the Nile River

Still, Pharaoh refused to let the children of Israel go from the presence of Egypt.

The second plague that was extended upon Egypt, from the "rod" by Aaron, was that of frogs. The frogs came up from the river and were in their houses, in their food, in their clothing, in every place possible. From the greatest to the least, no one in Egypt escaped the plague of frogs. Pharaoh's magicians were able to bring more frogs in their attempt to imitate the power of God, but only Moses was able to make the frogs go away. This was another attack on a famous Egyptian Goddess, Heket.

Geb - Egyptian God of the Earth





The Egyptian God Geb, was over the dust of the earth.


Egyptian Plague - Lice from the dust of the earth

Still Pharaoh would not concede, even after this display of power from HaShem, or magnificent plague, he would not let them go.

At the command of HaShem to Moses, Aaron was told to stretch forth his rod and smite the dust of the earth. When he did the dust became lice throughout all the land, on both people and beasts. The very dust that was referred to in the creation process of man is now used to plague men, as a reminder of his mortality and sin which both lead to death.

Finally, the magicians of Pharaoh are humiliated, being unable to compete with this power that was so much greater than themselves and the powers that they had from their Egyptian gods and goddesses, and they profess, "this is the finger of God." This was the last plague that required Aaron's involvement, as the next set of three plagues are issued by the word of Moses himself.


Khepri - Egyptian God of creation, movement of the Sun, rebirth





Khepri, the Egyptian god had the head of a fly.


Egyptian Plague - Swarms of Flies

With the fourth Egyptian plague, which consisted of flies, begins the great miracle ot separation or differentiation. Moses met Pharaoh at the Nile River in the morning and made the demand, speaking on behalf of HaShem, "Let My peole go, that they may serve Me." Again, Pharaoh hardened his heart and disregarded the request, resulting in a pronouncement of swarms of flies.
This time, however, only the Egyptians are affected by the judgement, or plague, and the children of Israel remain unscathed. This wonder also moves the Egyptian plagues to a different level, adding destruction as well as discomfort to the consequence of their decisions.

Plagued by flies, Pharaoh tried a new tactic and begins bargaining with HaShem, showing his desire to maintain power and authority over God. He tries to dictate the terms and conditions of the offer, telling them they may sacrifice but only "in the land" clearly not complying with the requested "three days journey" that HaShem required. Moses wouldn't budge, and Pharaoh relented allowing them to leave, but telling them not to "go very far."

This temporary allowance is made solely to have Moses "intreat HaShem that the swarms of flies may depart", at this point Pharaoh has learned in part who HaShem is and asks for His assistance over the Egyptian gods and goddesses. As soon as the request is granted by HaShem, Pharaoh reneges on his promise and will not let them go, and continues to worship his Egyptian Gods.

Hathor-Egyptian Goddess of Love and Protection



Usually this Egyptian Goddess was depicted with the head of a cow.


Egyptian Plague - Death of Cattle and Livestock

Moses once again demanded of Pharaoh, "Let my people go, that they may serve me", revealing also the next Egytian plague to occur on the condition of continued disobedience to the request. This plague was given with an advanced warning, allowing a period of repentance to occur, which goes unheeded.

"Tomorrow" the hand of HaShem would be felt upon all the cattle and livestock, of only the Egyptians, as"grievous murrain." This means that disease and pestilence would fall upon their livestock with so severe a consequence as to cause them to die. This plague affected the Egyptian by creating a huge economic disaster, in areas of food, transportation, military supplies, farming, and economic goods that were produced by these livestock. Still Pharaohs heart remained hard and he would not listen to HaShem but remained faith to the Egytian gods and goddesses.

Isis - Egyptian Goddess of Medicine and Peace





Egyptian Plague - Ashes turned to Boils and Sores

Unannounced the sixth Egyptian plague is given, for the first time, directly attacking the Egyptian people themselves. Being instructed by HaShem, Moses took ashes from the furnace of affliction, and threw them into the air. As the dust from the ashes blew all over Egypt, it settled on man and beast alike in the form of boils and sores.

As with the previous two, throughout the remaining Egyptian plagues the division is drawn between the Egyptians and the children of Israel, as God gives protection to his covenant people. The severity of the judgment of God has now become personal, as it is actually felt by the people themselves.

Cleanliness being paramount in the Egyptian society, this plague pronounces the people "unclean." The magicians who have been seen throughout the previous plagues are unable to perform ceremonially rituals to their Egyptian Gods and Goddesses in this unclean state, not allowing them to even stand before Pharaoh; they are seen in the scriptural account no more. It is great to notice the contrast shown as Moses and Aaron are the only ones left standing in front of Pharaoh, with the "One True God" as their support.

Nut - Egyptian Goddess of the Sky





Egyptian Plague - Hail rained down in the form of fire

Again warning is given before the enactment of the plague takes place. Pharaoh is warned of the impending doom that will be faced if he does not listen to HaShem, and forget his own Egyptian gods and goddesses.

Hail of unspeakable size and ability to destroy, would rain down from the sky and turn to fire as it hit the ground. HaShem, in showing Pharaoh that "there is none like Him in the Earth", allows those who are willing to hear His word, and do as He commands, to be saved.

A division is now felt between the Egyptians in the form of those "converted" to HaShem, as shown by their obedience and willingness to escape to the protection of their "houses." Similarly we are warned to make our houses a place of refuge from the world today, we have been warned.

Interestingly enough, the crops that were destroyed by the hail consisted of flax and barley, which were ripening in the fields. These two particular crops were not the mainstay of their diet, but were used more specifically for their clothing and libations. This destruction would make their life uncomfortable, but as far as effecting their food supply , the wheat still survived. This gave the Egyptians still another chance to turn to "the One True God", and forsake their own Egyptian gods and goddesses, thus showing His mercy and grace even yet.

Seth - Egyptian God of Storms and Disorder





Egyptian Plague - Locusts sent from the sky

Still Pharaoh would not listen to the message of HaShem, still he relys on his own Egyptian gods and goddesses.

The eighth plague issued by HaShem had an even greater purpose than all the others, it was to be felt so that Pharaoh would tell even "his sons and son's sons" the mighty things of HaShem, thus teaching even future generations of the power of the "strong hand of God" over all the other Egyptian gods and goddesses.

Moses and Aaron approached Pharaoh with the same request, "Let my people go so that they may serve me", and pronounced the judgment of locusts if not heeded. This is the second wave of destruction to follow the hail, and whatever crops were left in tact after that display, were now completely consumed by the swarms of locusts that were unleashed from the sky. This wonder definitely affected their life source. By hitting them in their food supply, HaShem displayed the possibility of eminent death if a change of heart did not occur. Yet still, Pharaoh would not listen.

Ra - The Sun God



Egyptian Plague - Three Days of Complete Darkness

Darkness now fell upon Egypt, unannounced, as a prelude to the future fate to be felt by the Egyptian empire when the message of HaShem was not heeded, and they still turned to their own Egyptian gods and goddesses. Three days of palpable darkness, that was so immense it could be physically felt, covered the land of Egypt.

The sun, the most worshipped God in Egypt other than Pharaoh himself, gave no light. HaShem showed that he had control over the sun as a witness that the God of Israel had ultimate power over life and death. The psychological and religious impact would have had a profound influence on the Egyptians at this point. Darkness was a representation of death, judgment and hopelessness. Darkness was a complete absence of light.

Pharaoh - The Ultimate Power of Egypt



Egyptian Plague - Death of the Firstborn

Pharaoh, the king of Egypt, was worshipped by the Egyptians because he was considered to be the greatest Egyptian God of all. It was believed that he was actually the son of Ra himself, manifest in the flesh.

After the plague of darkness felt throughout the land was lifted, Pharaoh resumed his position of "bargaining with HaShem" and offered Moses another "deal." Since virtually all of the Egyptian animals had been consumed by the judgments of HaShem, Pharaoh now consented to the request made, to let the people go, but they must leave their animals behind.

This was a totally unacceptable offer, as the animals were to be used as the actual sacrifice to HaShem. HaShem is uncompromising when He has set the terms.

Enraged by the refusal, Pharaoh pronounced the last deadly plague to be unleashed upon the land from his very own lips as he warns Moses, "Get thee from me, take heed to thyself, see my face no more; for in that day thou seest my face thou shalt die."

And Moses said, "Thus saith HaShem, About midnight will I go out into the midst of Egypt: And all the firstborn in the land of Egypt shall die, from the firstborn of Pharaoh that sitteth upon his throne, even unto the firstborn of the maidservant that is behind the mill; and all the firstborn of beasts. And there shall be a great cry throughout all the land of Egypt, such as there was none like it, nor shall be like it any more."

At this point the passive obedience that the children of Israel have shown is now moved to a level of active obedience. They are given strict instructions to follow so that they do not also feel the judgment of this last plague sent by HaShem. These instructions are known as "The Feast of Passover", "The Feast of Unleavened Bread", and "The Law of the Firstborn." In these rituals are displayed the law of sacrifice, the law of the gospel, and the law of consecration, all necessary requirements to receive ultimate salvation from spiritual death.



"Let My people go that they may serve Me"

As God's children today we have learned through this great show of power that ultimately it will require "active obedience" to receive salvation from the "One True God."

Looking back over the instructions that were given to Pharaoh to "let my people go that they may serve me", this principle is manifest throughout. Service to HaShem is the requirement of His people, and the blessing for this show of obedience and sacrifice is the ultimate salvation not only from physical death but from spiritual death as well.

Copas From : http://inthedoghouse.hubpages.com/hub/Ten-Plagues-For-Ten-Gods

TEHILLIM 23 (תהילים פרק כג)

תהילים פרק כג

א ׃ מזמור לדוד יהוה רעי לא אחסר
ב ׃ בנאות דשא ירביצני על־מי מנחות ינהלני

ג ׃ נפשי ישובב ינחני במעגלי־צדק למען שמו

ד ׃ גם כי־אלך בגיא צלמות לא־אירא רע כי־אתה עמדי שבטך ומשענתך המה ינחמני

ה ׃ תערך לפני שלחן נגד צררי דשנת בשמן ראשי כוסי רויה

ו ׃ אך טוב וחסד ירדפוני כל־ימי חיי ושבתי בבית־יהוה לארך ימים

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TEHILLIM 23

  Mizmor of Dovid

1 : HaShem is my Ro'eh (Shepherd); I shall not lack.

2 : He maketh me to lie down in green pastures; He leadeth me beside the mei menuchot (tranquil waters).

3 : He restoreth my nefesh; He guideth me in the paths of tzedek l'ma'an Shmo (righteousness for the sake of His Name).

4 : Yea, though I walk through the Gey Tzalmavet (Valley of the Shadow of Death), I will fear no rah (evil); for Thou art with me; Thy shevet (rod) and Thy staff they comfort me.

5 : Thou preparest a shulchan before me in the presence of mine enemies: Thou anointest my head with shemen (olive oil); my kos runneth over.

6 : Surely tov and chesed shall follow me kol y'mei chaiyyai (all the days of my life): and I will dwell in the Bais HaShem l'orech yamim (for length of days, whole life long, forever).

(OJB = Orthodox Jewish Bible)

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Mazmur 23

1 : Mazmur Daud. TUHAN adalah gembalaku, takkan kekurangan aku.

2 : Ia membaringkan aku di padang yang berumput hijau, Ia membimbing aku ke air yang tenang;

3 : Ia menyegarkan jiwaku. Ia menuntun aku di jalan yang benar oleh karena nama-Nya.

4 : Sekalipun aku berjalan dalam lembah kekelaman, aku tidak takut bahaya, sebab Engkau besertaku; gada-Mu dan tongkat-Mu, itulah yang menghibur aku.

5 : Engkau menyediakan hidangan bagiku, di hadapan lawanku; Engkau mengurapi kepalaku dengan minyak; pialaku penuh melimpah.

6 : Kebajikan dan kemurahan belaka akan mengikuti aku, seumur hidupku; dan aku akan diam dalam rumah TUHAN sepanjang masa.

 

ISTILAH-ISTILAH DALAM SASTRA JAWA

• Babad  : sastra sejarah dalam tradisi sastra Jawa; digunakan untuk pengertian yang sama dalam tradisi sastra Madura dan Bali; istilah ini berpadanan dengan carita, sajarah [Sunda], hikayat, silsilah, sejarah [Sumatera, Kalimantan, dan Malaysia]
• Bebasan  : ungkapan yang memiliki makna kias dan mengandung perumpamaan pada keadaan yang dikiaskan, misalnya nabok nyilih tangan.
• Gancaran  : wacana berbentuk prosa.
• Gatra  : satuan baris, terutama untuk puisi tradisional.
• Gatra Purwaka  : bagian puisi tradisional [parikan dan wangsalan] yang merupakan isi atau inti.
• Guru Gatra  : aturan jumlah baris tiap bait dalam puisi tradisional Jawa [tembang macapat].
• Guru Lagu  : [disebut juga dhong-dhing] aturan rima akhir pada puisi tradisional Jawa.
• Guru Wilangan  : aturan jumlah suku kata tiap bait dalam puisi tradisional Jawa.
• Janturan  : kisahan yang disampaikan dalang dalam pergelaran wayang untuk memaparkan tokoh atau situasi adegan.
• Japa Mantra  : mantra, kata yang mempunyai kekuatan gaib berupa pengharapan.
• Kagunan Basa  : penggunaan kata atau unsur bahasa yang menimbulkan makna konotatif; ada berbagai macam kagunan basa, antara lain tembung entar, paribasan, bebasan, saloka, isbat, dan panyandra.
• Kakawin  : puisi berbahasa Jawa kuno yang merupakan adaptasi kawyra dari India; salah satu unsur pentingnya adalah suku kata panjang dan suku kata pendek [guru dan laghu].
• Kidung  : puisi berbahasa Jawa tengahan yang memiliki aturan jumlah baris tiap bait, jumlah suku kata tiap baris, dan pola rima akhir sesuai dengan jenis metrum yang membingkainya; satu pupuh kidung berkemungkinan terdapat lebih dari satu pola metrum.
• Macapat  : puisi berbahasa Jawa baru yang memperhitungkan jumlah baris untuk tiap bait, jumlah suku kata tiap baris, dan vokal akhir baris; baik jumlah suku kata maupun vokal akhir tergantung atas kedudukan baris bersangkutan pada pola metrum yang digunakan; di samping itu pembacaannya pun menggunakan pola susunan nada yang didasarkan pada nada gamelan; secara tradisional terdapat 15 pola metrum macapat, yakni dhandhang gula, sinom, asmaradana, durma, pangkur, mijil, kinanthi, maskumambang, pucung, jurudemung, wirangrong, balabak, gambuh, megatruh, dan girisa.
• Manggala  : "kata pengantar" yang terdapat di bagian awal keseluruhan teks; dalam tradisi sastra Jawa kuno biasanya berisi penyebutan dewa yang menjadi pujaan penyair (isthadewata), raja yang berkuasa atau yang memerintahkan penulisan, serta--meskipun tak selalu ada--penanggalan saat penulisan dan nama penyair; istilah manggala kemudian dipergunakan pula dalam penelitian teks-teks sastra Jawa baru.
• Pada  : bait
• Parikan  : puisi tradisional Jawa yang memiliki gatra purwaka (sampiran) dan gatra tebusan (isi); pantun [Melayu].
• Parikan Lamba  : parikan yang hanya mempunyai masing-masing dua baris gatra purwaka dan gatra tebusan.
• Parikan Rangkep  : parikan yang mempunyai masing-masing dua baris gatra purwaka dan gatra tebusan.
• Pepali  : kata atau suara yang merupakan larangan untuk mengerjakan atau tidak mengerjakan sesuatu, misalnya aja turu wanci surup.
• Pupuh  : bagian dari wacana puisi dan dapat disamakan dengan bab dalam wacana berbentuk prosa.
• Panambang  : sufiks/akhiran
• Panwacara  : satuan waktu yang memiliki daur lima hari  : Jenar (Pahing), Palguna (Pon), Cemengan (Wage), Kasih (Kliwon), dan Manis (Legi).
• Paribasan  : ungkapan yang memiliki makna kias namun tidak mengandung perumpamaan, misalnya dudu sanak dudu kadang, yen mati melu kelangan.
• Pegon  : aksara Arab yang digunakan untuk menuliskan bahasa Jawa.
• Pujangga  : orang yang ahli dalam menciptakan teks sastra; dalam tradisi sastra Jawa; mereka yang berhak memperoleh gelar pujangga adalah sastrawan yang menguasai paramasastra (ahli dalam sastra dan tata bahasa), parama kawi (mahir dalam menggunakan bahasa kawi), mardi basa (ahli memainkan kata-kata), mardawa lagu (mahir dalam seni suara dan tembang), awicara (pandai berbicara, bercerita, dan mengarang), mandraguna (memiliki pengetahuan mengenai hal yang 'kasar' dan 'halus'), nawung kridha (memiliki pengetahuan lahir batin, arif bijaksana, dan waskitha), juga sambegana (memiliki daya ingatan yang kuat dan tajam).
• Saloka  : ungkapan yang memiliki makna kiasan dan mengandung perumpamaan pada subyek yang dikiaskan, misalnya kebo nusu gudel.
• Saptawara  : satuan waktu yang memiliki daur tujuh hari  : Radite (Ngahad), Soma (Senen), Buda (Rebo), Respati (Kemis), Sukra (Jumuwah), dan Tumpak (Setu).
• Sasmitaning Tembang  : isyarat mengenai pola metrum atau tembang; dapat muncul pada awal pupuh (isyarat pola metrum yang digunakan pada pupuh bersangkutan) tetapi dapatpula muncul di akhir pupuh (isyarat pola metrum yang digunakan pada pupuh berikutnya.
• Sastra Gagrak Anyar  : sastra Jawa modern, ditandai dengan tiadanya aturan-aturan mengenai metrum dan perangkat-perangkat kesastraan tradisional lainnya.
• Sastra Gagrak Lawas  : sastra Jawa modern, ditandai dengan aturan-aturan ketat seperti--terutama--pembaitan secara ketat.
• Sastra Wulang  : jenis sastra yang berisi ajaran, terutama moral.
• Sengkalan  : kronogram atau wacana yang menunjukkan lambang angka tahun, baik dalam wujud kata maupun gambar atau seni rupa lainnya yang memiliki ekuivalen dengan angka secara konvensional.
• Singir  : syair dalam tradisi sastra Jawa.
• Sot  : kata atau suara yang mempunyai kekuatan mendatangkan bencana bagi yang memperolehnya.
• Suluk  : [1] jenis wacana (sastra) pesantren dan pesisiran yang berisi ajaran-ajaran gaib yang bersumberpada ajaran Islam; [2] wacana yang 'dinyanyikan' oleh dalang dalam pergelaran wayang untuk menciptakan 'suasana' tertentu sesuai dengan situasi adegan.
• Supata  : kata atau suara yang 'menetapkan kebenaran' dengan bersumpah.
• Tembung Entar  : kata kiasan, misalnya kuping wajan.
• Wangsit  : disebut juga wisik, kata atau suara yang diberikan oleh makhluk gaib, biasanya berupa petunjuk atau nasihat.
• Wayang Purwa  : cerita wayang atau pergelaran wayang yang menggunakan lakon bersumber pada cerita Mahabharata dan Ramayana.
• Weca  : kata atau suara yang mempunyai kekuatan untuk melihat kejadian di masa mendatang.
• Wirid : jenis wacana (sastra) pesantren yang berkaitan dengan Tasawuf.

Sejarah Huruf Jawa, Hanacaraka

(http://njiwanijawi.wordpress.com/2011/10/24/kaligrafi-aksara-jawa-berbentuk-garuda/)

HANACARAKA, salah satu bentuk perkembangan tulisan Jawa yang terdiri atas 20 huruf. Menurut para ahli epigrafi, tulisan Jawa berasal dari suatu bentuk tulisan sansekerta Dewanagari dari India Selatan, yang terdapat pada prasasti-prasasti dari zaman dinasti Palawa yang menguasai daerah pantai India Selatan pada abad ke-4.

Demikian, tulisan itu juga di sebut tulisan Palawa. Tetapi dalam jangka waktu berabad-abad tulisan itu telah mengalami perubahan. Prasasti Jawa tertua memang menggunakan tulisan Palawa ini, sehingga huruf yang digunakan para pujangga Jawa Timur dari abad ke-10 hingga 11 dalam ciptaan-ciptaan kakawihan mereka sudah mempunyai ciri khas Jawa.

Sepanjang sejarah kesusasteraan Jawa yang panjang itu, orang Jawa telah mengenal berbagai tulisan asli. Ada suatu legenda mengenai asal mula penduduk Jawa yang tertua, dan mengenai masuknya kebudayaan Jawa di pulau Jawa.

Hal itu sekaligus juga menerangkan bahwa penggunaan tulisan Jawa merupakan unsur penting dari kebudayaan itu.Legenda tersebut menceritakan kisah Pangeran Ajisaka yang digambarkan sebagai seorang pahlawan dari Mekah yang berkelana melalui berbagai negara untuk membawa peradaban kepada umat manusia. Melalui Srilanka, Pantai India Selatan, Sokadana (kemungkinan yang dimaksudkan adalah pulau Sumatera), akhirnya Pangeran Ajisaka tiba di Jawa, yang pada waktu itu merupakan tempat tinggal para raksasa dengan rajanya yang bernama Dewata Cengker.

Dalam perjalanan menjelajahi Nusa Jawa, Pangeran Ajisaka menemukan dua tubuh raksasa yang telah mati. Di tangan kedua raksasa tergenggam masing-masing sehelai daun. Di atas kedua daun tersebut terdapat masing-masing tulisan purwa (kuno) dan tulisan Thai.

Oleh Pangeran Ajisaka kedua tulisan tersebut disatukan, dan dengan demikian ia menciptakan abjad Jawa yang terdiri atas 20 huruf, yang jika dirangkai membentuk suatu kalimat yang berbunyi: ha na ca ra ka da ta sa wa la pa dha ja ya nya ma ga ba tha nga. Arti kalimat tersebut adalah, ”Ada dua orang utusan yang saling bertengkar, keduanya sama kuat dan karena itu kedua-duanya mati”.

Legenda itu antara lain ditulis dalam sebuah buku Jawa yang berisikan sejarah mitologi Pulau Jawa hingga berdirinya Kerajaan Majapahit, kemudian harus mengalami perubahan huruf Jawa yang diajarkan di sekolah di Jawa Tengah dan Jawa Timur sekarang ini adalah yang dipakai dalam karya-karya kesusastraan zaman Mataram dari Abad ke-18 dan 19.

Huruf Jawa Mataram ini agaknya menjadi mantap setelah diciptakan mesin cetak dengan huruf Jawa yang dipakai oleh para penerbit Belanda, awal abad ke-19, dan terbitnya surat kabar berbahasa Jawa yang pertama, yaitu Armartani, 1878.Ada juga buku kesusastraan Jawa yang ditulis dengan tulisan pegon atau gundhil, yaitu tulisan Arab yang disesuaikan dengan keperluan bahasa Jawa. Penggunaan huruf ini terutama untuk kesusastraan Jawa yang bersifat keagamaan Islam, dan tidak pernah digunakan sebagai alat komunikasi sehari-hari.

Hanacaraka tidak hanya dikenal oleh orang Jawa, melainkan juga oleh orang Sunda dan Bali, sebagai dampak pengaruh kekuasaan Kerajaan Jawa pada masa lampau. Dari sumber tertulis dari naskah-naskah Sunda lama, disebutkan bahwa Orang Sunda juga semula mempunyai huruf Sunda.

Namun dalam perkembangan selanjutnya, naskah-naskah Sunda tidak lagi ditulis dengan huruf Sunda melainkan dengan huruf Pegon atau huruf Jawa.

(http://hanacaraka-kang.blogspot.com/)

Makna Dibalik Tulisan Jawa

AJARAN FILSAFAT HIDUP BERDASARKAN AKSARA JAWA

Sebagai orang keturunan Jawa, sedikit kami akan mengupas makna Aksara Jawa sebagai filsafah hidup, suatu upaya kami untuk melestarikan ajaran para pendahulu, sebagai balas budi dan darma bakti kami kepada beliau atas ajarannya akan sebuah arti hidup, lewat karyanya yang sangat besar ini.

Ha-Na-Ca-Ra-Ka berarti ada " utusan " yakni utusan hidup, berupa nafas yang berkewajiban menyatukan jiwa dengan jasat manusia. Maksudnya ada yang mempercayakan, ada yang dipercaya dan ada yang dipercaya untuk bekerja. Ketiga unsur itu adalah Tuhan, manusia dan kewajiban manusia ( sebagai ciptaan ).

Da-Ta-Sa-Wa-La berarti manusia setelah diciptakan sampai dengan data ( saatnya dipanggil ) " tidak boleh sawala " ( mengelak ) manusia dengan segala atributnya harus bersedia melaksanakan, menerima dan menjalankan kehendak Tuhan.

Pa-Dha-Ja-Ya-Nya berarti menyatunya zat pemberi hidup ( Khalik ) dengan yang diberi hidup ( makhluk ). Maksdunya padha " sama " atau sesuai, jumbuh, cocok, tunggal batin yang tercermin dalam perbuatan berdasarkan keluhuran dan keutamaan. Jaya itu " menang, unggul " sungguh-sungguh dan bukan menang-menangan,sekedar menang atau menang tidak sportif.

Ma-Ga-Ba-Tha-Nga berarti menerima segala yang diperintahkan dan yang dilarang oleh Tuhan Yang Maha Kuasa. Maksudnya manusia harus pasrah, sumarah pada garis kodrat, meskipun manusia diberi hak untuk mewiradat, berusaha untuk menanggulanginya.

MAKNA HURUF

Ha :  Hana hurip wening suci= Adanya hidup adalah kehendak dari yang Maha Suci.

Na : Nur candra, gaib candra, warsitaning candara= Pengharapan manusia hanya selalu ke sinar Illahi.

Ca : Cipta wening, cipta mandulu, cipta dadi= Arah dan tujuan pada Yang Maha Tunggal

Ra : Rasaingsun handulusih = Rasa cinta sejati muncul dari cinta kasih nurani

Ka : Karsaningsun memayuhayuning bawana = Hasrat diarahkan untuk kesajetraan alam

Da : Dumadining dzat kang tanpa winangenan = Menerima hidup apa adanya

Ta : Tatas, tutus, titis, titi lan wibawa = Mendasar, totalitas, satu visi, ketelitian dalam memandang hidup

Sa : Sifat ingsun handulu sifatullah= Membentuk kasih sayang seperti kasih Tuhan

Wa : Wujud hana tan kena kinira = Ilmu manusia hanya terbatas namun implikasinya bisa tanpa batas

La : Lir handaya paseban jati = Mengalirkan hidup semata pada tuntunan Illahi

Pa : Papan kang tanpa kiblat = Hakekat Allah yang ada disegala arah

Dha : Dhuwur wekasane endek wiwitane = Untuk bisa diatas tentu dimulai dari dasar

Ja : Jumbuhing kawula lan Gusti = Selalu berusaha menyatu, memahami sifat dan kehendak- Nya

Ya : Yakin marang samubarang tumindak kang dumadi = Percaya dan Yakin atas titah / kodrat Illahi

Nya : Nyata tanpa mata, ngerti tanpa diuruki = Memahami kodrat kehidupan

Ma : Madep mantep manembah mring Ilahi = Yakin/mantap dalam menyembah Ilahi

Ga : Guru sejati sing muruki = Belajar pada guru nurani

Ba : Bayu sejati kang andalani = Menyelaraskan diri pada gerak alam

Tha : Tukul saka niat = Sesuatu harus dimulai dan tumbuh dari niat yang suci

Nga : Ngracut busananing manungso = Melepaskan egoisme pribadi manusia.

Adanya hidup adalah kehendak dari yang Maha Suci - pengharapan manusia hanya

selalu ke sinar Illahi - satu arah dan tujuan pada Yang Maha Tunggal - rasa cinta sejati muncul dari cinta kasih nurani - hasrat diarahkan untuk kesajetraan alam - menerima hidup apa adanya - mendasar, totalitas, satu visi, ketelitian dalam memandang hidup - membentuk kasih sayang seperti kasih Tuhan - ilmu manusia hanya terbatas namun implikasinya bisa tanpa batas - mengalirkan hidup semata pada tuntunan Illahi - Hakekat Allah yang ada disegala arah - Untuk bisa diatas tentu dimulai dari dasar - selalu berusaha menyatu, memahami sifat dan kehendak Nya – percaya dan yakin atas titah / kodrat Illahi - memahami kodrat kehidupan - yakin / mantap dalam menyembah Ilahi - belajar pada guru nurani - menyelaraskan diri pada gerak alam - sesuatu harus dimulai - tumbuh dari niat yang suci - melepaskan egoisme pribadi manusia

Hanacaraka atau dikenal dengan nama caraka adalah abjad / alat tulis yang digunakan oleh suku Jawa (juga Madura, Sunda, Bali, Palembang, dan Sasak).

Aksara Jawa bila diamati lebih lanjut memiliki sifat silabik (kesukukataan). Hal ini bisa dilihat dengan struktur masing-masing huruf yang paling tidak mewakili 2 buah huruf (aksara) dalam huruf latin. Sebagai contoh aksara Ha yang mewakili dua huruf yakni H dan A, dan merupakan satu suku kata yang utuh bila dibandingkan dengan kata "hari".

Aksara Na yang mewakili dua huruf yakni N dan A, dan merupakan satu suku kata yang utuh bila dibandingkan dengan kata "nabi".

Beberapa buah aksara itu bisa digabungkan secara langsung untuk membentuk sebuah kata.

Bila diucapkan, susunan aksara tersebut dapat membentuk kalimat:

Hana Caraka (Terdapat Pengawal);

Data Sawala (Berbeda Pendapat);

Padha Jayanya (Sama kuat/hebatnya);

Maga Bathanga (Keduanya mati).

Aksara Jawa, merupakan salah satu peninggalan budaya yang tak ternilai harganya. Bentuk aksara dan seni pembuatannya pun menjadi suatu peninggalan yang patut untuk dilestarikan. Tak hanya di Jawa, Aksara Jawa ini rupanya juga digunakan di daerah Sunda dan Bali, walau memang ada sedikit perbedaan dalam penulisannya. Namun sebenarnya aksara yang digunakan sama saja. Demikian kurang lebih arti dan makna yang tekandung dalam Filsafat Aksara Jawa. Semoga bermanfa'at bagi kita semua. Amein.

http://sunangesengkediri.blogspot.com/2009/04/ajaran-filsafat-hidup.html