Ngo Pa = เงาะป่า

Ngo Pa 431 They jumped up and down with glee, Crowding in front of old Yangûs hut. But Ngod and Khae were rather hesitant, Being afraid theyûd be caught for past wrongs. They therefore sneaked into the forest, Leaving only Kha-Nang, the youngest, And Din. When the two learned of the news, Being innocent of the upcoming plan, They were so glad and jumped high in the air. Both of them then ran jauntily along. Ô When the boys arrived at Yangûs hut, They took their seats among the villagers. With all the bustling around them, They craned their necks, unblinking, staring. Ô The two accomplices, Yang and Nai Sin-Nui, Sat talking in whispers, Trying to devise a ruse. çYou young children over there, Too small to be crowded together,

432 ‡ß“–ª“É ®–‡®Á∫ª«¥™Õ°´”È √–°”°“¬ §«√¢¬“¬„À¢â πÈ÷ ∫π™“π‡√Õ◊ π ®–‰¥â¥Ÿ°“√‡≈àπ‡ÀÁπ∂π¥— ‡√“™«à ¬°—𧥗 ¥‡Ÿ ∂¥‘ ‡æÕË◊ π ‡√¬’ °≈°Ÿ  “«¡“ ßË— π—ßË ‡µÕ◊ π Õ¬à“‡©¬‡™Õ◊ π‡¥Á°πÕâ ¬§Õ¬¥·Ÿ ≈ œ ˆ §” œ Ô ∫¥— ππÈ— æ«°√«à ¡§¥‘ øíߥŸ√â°Ÿ √–·  ‡ÀπÁ «à“≠°— «¥— ¬—ßÕàÕπ·Õ ‡√’¬°ÕŒ’ Õ≈≈Õ¡·¡àÕ¡âÿ ¢È÷π¡“ Õ’°Õ⓬§”‰≈≈°Ÿ Õ“â ¬‚«– ¬—߇¥Á°‚Õä–‚Õ–ä „ÀâπßË— Àπ“â Õ⓬‰¡à‰ºà·≈§π—ß∑ß—È  Õß√“ æ“°—π¢È÷π‰ª‰¡àæ√Ë—πæ√÷ß œ Ù §” œ Ô ∫¥— ππÈ— ΩÉ“¬æ«°‚π√“æÕ¡“∂÷ß ª‡Ÿ  Õ◊Ë µ—Èß«ß≈߇եÁ Õß÷ ·≈«â æ–‡πâ“æ–π÷ß·µßà µ«— ‡ªî¥≈ÿâߢ≈ÿ°¢≈°— ª√–¥—°ª√–‡¥‘¥ À¬∫‘ ‡∑√¥‘ ¢Èπ÷  Õ¥ «¡À«—

Ngo Pa 433 You might be bruised and aching. So come sit here on the porch, So that you can have a good view. Come, my friend, letûs select the tots.é Then Yang gave his daughter instructions To look after the small children. Ô Yangûs accomplices knew the implication Of his seemingly kind invitation. Seeing that Yak-Wat was rather weak, They told Hol-Lom, his mom, to bring him up. Kham-Lai, the son of Wo, was still a babe, So he was made to sit in the front row. Both Mai-Phai and Kha-Nang, the bosom friends, Went up the porch, showing no sign of fear. Ô After they had waited some time, The Nora troupe finally arrived. Spreading mats, they set up things noisily, Then proceeded to put their costumes on. Opening the containers clumsily, They took out the headdresses to wear.

434 ‡ß“–ª“É π“¬‚√ß√âÕß√—∫°≈—∫æ—πæ—« °≈Õß√«— √°ÿ °√–Àπ”Ë µ“¡∑”πÕß œ Ù §” œ ‡®√®“‡≈πà ‚π√“ Ô ∫—¥π—πÈ æ«°»°°ÁÕ¬πâÕ¬„À≠à∑Èß— ºÕß ¥‚Ÿ π√“√◊πË √¡¬å ¡ªÕß π—Ë߬Õ߬Õß¡Õ߇¢¡âπÕ¬‡àŸ ªìπ«ß æ«°™π—È πÕ°ÕÕ° πÿ°≈°ÿ ¢πÈ÷ ¬π◊ „π™◊πÈ π°÷ Õ√àÕ¬æ≈Õ¬´—¥ àß ∫â“ß∑”¡“â ´Õ¬‡µπâ ‡ªπì «ß°ß „À≈À≈߇æ≈¥‘ ‡æ≈‘π‡®√≠‘ „® œ Ù §” œ ‡®√®“ Ô ‡¡Ë◊ÕπÈ—π ‡ß“–¬—ß´Ë÷߇ªìπÀ«— Àπâ“„À≠à À¬‘∫‡Õ“ ‘ËߢÕß∑’°Ë Õ߉«â ¡“·®°„À‡â ß“–ªÉ“∑’Ë¡“§Õ¬ Ω“É ¬π“ß´‘‡≈¬’ º≈⟠Ÿ° “« À“¡–æ√“â «¢“â «ª≈“°≈⫬ÕâÕ¬ ÕÕ°¡“‡≈È’¬ß‡©æ“–‡ß“–πÕâ ¬πÕâ ¬ æ“°π— °‘πÕ√àÕ¬ ”√“≠ œ Ù §” œ ‡®√®“

Ngo Pa 435 The troupe leader sang to the tune, And drums were beaten to keep the tempo. Ô All Sakais big and small, Gathering to watch the performance, Were entranced by the Nora. They squatted in circles, staring. Those on the outer edge stood up, Dancing along in their joyous mood. Some even trotted around like a horse, Completely enjoying themselves. Ô Yang who was their leader, Proceeded to the piles of articles. He then picked them up one by one, Distributing them to the waiting Koi. The maid Si-Lia, who was his daughter, Brought out coconuts, rice, fish, bananas, And sugarcanes to feed the small children, Who of course ate them with obvious relish.

436 ‡ß“–ª“É Ô §√πÈ— ‡«≈“ ÿ√¬‘ “‡¬πÁ æ¬∫— µ“à ߧπµ“à ß°≈—∫‰ª∫â“π ‡º“‡º◊Õ°‡º“¡—πµ“¡ π— ¥“𠇪ìπÕ“À“√°π‘ Õ¬æŸà «Ÿ “¬ æ«°‡¥Á°‡¥Á°‰¥¢â Õß°π‘  πÈ‘ «‘µ° À≈“¬∑Õ¥À≈“¬¬°Õ‘¡Ë ‡À≈Õ◊ À≈“¬ ¥‚Ÿ π√“ πÿ°¡“°¡“¬ πßË—  ∫“¬‰¡¬à —¥‡¬’¬¥‡∫’¬¥§π µ°æ≈∫§”Ë ‡¢“â °ÁÀ“«πÕπ ¥≈Ÿ –‡¡Áß≈–§√‰¡‡à ªπì º≈ ≈ßæ—ßæ“∫√“∫Õ¬àŸ∫¥— ¥≈ °‡Á ÕπÀ—«≈ß°√πÀ≈—∫‰ª œ ˆ §” œ Ô ‡¡Õ◊Ë πÈ—π Õ“â ¬¬ß— ¬≈™Õ∫Õ™— ¨“ —¬ 欰— ‡√’¬° ‘ππÿ⬇¢“â ¡“„π Õÿ¡â §π—ß ßà „Àâ∑È—ßπ∑‘ √“ œ Ú §” œ Ô ∫—¥π—Èπ  π‘ π¬âÿ ¬π‘ ¥‡’ ªìππ—°Àπ“ „À∫â à“«√—∫§πß— ·∫°§≈“ √∫’ ¡“«¥— ∂”È ∑’ Ë ”π—° œ Ú §” œ ‡™¥‘

Ngo Pa 437 Ô When the sun began to set at dusk, Each Sakai went home separately To roast taros and yams to be eaten As their supper, as dictated by custom. The children, sated, did not worry, Having gorged themselves many times. They watched the Nora in great joy, Sitting in comfort, not being pressed. When night drew near, they began to yawn, Paying no attention to the show. All laid themselves down on the floor, And went to sleep at once with a snore. Ô Seeing the children all asleep, Old Yang was contented his plan went well. He then beckoned Nai Sin-Nui to come in, And handed him the still sleeping Kha-Nang. Ô Once in possession of the boy, Nai Sin-Nui was greatly delighted. He ordered a servant to carry Kha-Nang, Together they hurried to Wat Tham.

438 ‡ß“–ª“É Ô ‡¡ÕË◊ π—πÈ §πß— µ◊ËππÕπµ°„®Àπ—° π‘ßË µ–≈÷ßÕÈ÷ßÕ¬‡Ÿà ªπì §√Ÿæà —° ‰¡ªà √–®—°…«å à“Õ¬Ÿ·à Ààß„¥ æÕ√⟠÷°π÷°°≈«— ®πµ«— ·¢Áß ¥È‘π‡µÁ¡·√ߧπÕÿ¡â ∑π‰¡à‰À« °âπ°√–·∑°‡æË◊Õπª–∑–‡¢“â ∑“π‰«â  “¡ ’Ë§π‡¢“â ‰ª™à«¬°π— ¬÷¥ ∂’∫∑–≈ßË÷ µ÷ßµ—߉¡¬à —ßÈ À¬ÿ¥ ™à«¬°π— ©¥ÿ ‡À«Ë’¬ß –∫—¥«—¥º÷¥ ‚¡‚À‡À–À–Œ—¥Œ¥÷ ª≈”È °π— Õ¥— Õ÷¥¡“ à߇µπÁ ∑å œ ˆ §” œ ‡™‘¥ Ô ‡¡ËÕ◊ ππ—È ºâ√Ÿ —ßÈ πßË— Õ“à πÀπ—ß ◊Õ‡≈àπ ∫π‡°“â Õȇ’ °»°¡â ≈¡‡¬πÁ ‡¬Áπ ‡ß¬Àπ“â ¢Èπ÷ ‡ÀÁπª≈È”≈°Ÿ ‡ß“– ¥’„®ÕÕ°‰ª√—∫‡¢“â ¡“ ™¡«à“√Ÿª√à“ß™à“߇À¡“–‡®“– ‡ÀπÁ ®– ¡∑ª’Ë √– ß§å®ß®”‡æ“– 查ª–‡À≈“–‡Õ“„®„ÀâÀ“¬°≈«— À¬∫‘ ‡ ÈÕ◊ ºâ“¡“·µßà µ—«„Àâ„À¡à À“‡æËÕ◊ π‡≈πà „À♫π¬‘È¡À«—

Ngo Pa 439 Ô Waking up after a long sleep, Kha-Nang was really astonished. He remained stunned for a while, Not realizing where he was. When fully conscious, he froze with fright, Struggling wildly until his bearer fell With buttocks bumping against the ground, To be promptly picked up by his friends. It took three or four men to hold the boy, Who kept squirming and kicking around. Kha-Nang, frustrated, lashed out in rage. Fighting all the way, he was brought to the tent. Ô The governor was relaxing himself, Sitting in an easy chair, reading, While a gentle breeze was blowing. Looking up, he saw the struggling Koi. Feeling glad, he rose to welcome him in, Praising his well-proportioned body, Which perfectly met his requirements. He spoke soothing words to abate his fear, Finding new clothing for the boy to wear. New playmates were found to amuse Kha-Nang,

440 ‡ß“–ª“É ®¥— ¢Õß°π‘ ¡“„À®â “°„π§√—« §¡ÿ µ«— °°— ‰«â„™ªâ ≈Õ∫‚¬π œ ˆ §” œ ·¢° ÿÀ√—» Ô ≈à«ß‡«≈“¬“¡°”¥—¥¥÷° §π—ßπ÷°∂ß÷ ∑—∫¢¬—∫‚ºπ æ«°∑Ë’Õ¬Ÿà√°— …“æ“°—π‚®π ‡¥π‘ ‡¥’¬«‚∑π·∑∫‰≈à¡‘„§√à∑π— ‡¢â“ª≈Õ∫擧π◊ À≈ß— ¬—߇µπÁ ∑剥⠧√“«π·È’ °≈âß„ à‰§≈â„Àâ¢∫¢—π ∑”πÕπÀß“¬‡∑â“ßÿâ¡Àß‘°¬—π πÈ”µ“ππ—È ‰À≈À≈ß—Ë æ√—Ëßæ√“¬ ·µà‡Ω“Ñ ÀÕ∫ª≈Õ∫‡∑à“‰√°Á‰¡àπß‘Ë ‡À¡Õ◊ π‡ªπì ≈¡™°— ®√‘ßπ“à „®À“¬ 楟 ‡æâÕæ°øíòπ‡øÕó π‡À¡Õ◊ π®–µ“¬ ‡ÀπÁ §π√“¬√Õ∫®Õâ ß√âÕß«à“≈‘ß „ÀÀâ «“¥À«πË— æ√π—Ë µ—«°≈«— ‰ªÀ¡¥ ®–ª≈Õ∫ª≈¥‡ª≈ÈÕ◊ ߇∑à“‰√°Á‰¡àπßË‘ ∑π‡Àπ◊ËÕ¬ÕÕà ππÕπ¡—«À«— ‡ÕπÕß‘ ‡°≈◊Õ°°≈‘ßÈ °≈Õ°°≈∫— À≈∫— ‰ª œ ¯ §” œ µ√–

Ngo Pa 441 And food from the kitchen was given him, To help ease the pain of being detained. Khaek-Surat Ô In the depth of the night, though, Kha-Nang, thinking of his hut, sprang up. The guards all ran after him, And could hardly catch up with him. Consoling him, they took him back to the tent. Then Kha-Nang feigned some antics, Sprawling on his back with bent feet, And tears streaming down like rain. He kept shaking, and the men could calm him not, His symptoms all pointing to a seizure. He spoke incoherently as if dying, Seeing people surrounding him, he cried, çMonkey,é and became frightened of everything. No matter how the men soothed him, he stirred, Until he was overcome by fatigue, And then sprawled down, fast asleep.

442 ‡ß“–ª“É Ô §√—Èπ‡«≈“√àÿß√“ß «“à ßøÑ“ º√Ÿâ ß—È ‡√¬’ °™“â ß¡“À“™â“‰¡à „Àâ‚∑√¡≈ßµ√ߢÈπ÷ ‰ª©∫— ‰«  —ßË „À â ßà §π—ß¡“πß—Ë ‡§’¬ß ‡¥Á°πâÕ¬°≈—«π°Ë’ √–‰√‰¡à‡§¬‡ÀπÁ À«— Õ°‡µπâ µ“æÕß√âÕß ¥ÿ ‡ ’¬ß æÕ∂ß÷ À≈ß— π—ßË ®âÕ߇ΩÑ“¡Õ߇¡’¬ß ‡¥π‘ ‚¬°‡Õ’¬ß°≈«— µ°µ√–Àπ°„® œ Ù §” œ ‡™‘¥ ¡Õ≠√Õâ ߉Àâ Ô æÕ‡§¬ÀπÕà ¬§Õà ¬ ∫“¬À“¬À«“¥‡ ¬’ « §πß— ‡À≈¬’ «À≈—ß°≈◊π –ÕÈπ◊ ‰Àâ ‡ ¬’ ¥“¬∑—∫π—∫«π— ·µà®–‰°≈ · πÕ“≈¬— «ß»å«“π«à“π‡§√◊Õ À«à ߇∂ÕË◊ π∂”È ≈”∏“√™“π‰»≈ ‡æË◊Õπ‰¡â‰ºà§Ÿà™«’ µ‘ §¥‘ ∂ß÷ ‡À≈◊Õ ‡§¬‡ªÉ“π°®∫— ª≈“¡“®“π‡®◊Õ ®–πßË— ‡∫Ë◊Õ∫πà √Ë”∑ÿ°§Ë”§◊π ‚Õâ∂‘Ëπ∞“π≈“πªÉ“®–≈“·≈«â πÈ”µ“·∂«∂—ßË ‰À≈‰Àâ –Õ◊πÈ ºâŸ√ßÈ— ª≈Õ∫§πß— πÕâ ¬§Õà ¬°≈È”°≈π◊ ·≈â«™«π™◊πË ™È™’ ¡æπ¡«—π œ ˆ §” œ

Ngo Pa 443 Ô In the morn when the sun lit the sky, The governor called for his elephant. Making it kneel down, he mounted the beast, Ordering the men to put Kha-Nang beside him. Never having seen an elephant before, The boy, heart pounding, eyes bulging, yelled. Sitting on the elephantûs back, he kept staring, And became frightened at each swaying step. Mon-Rong-Hai Ô Once he became accustomed to the motion, Kha-Nang lost his fear and looked back. Missing his hut, he stifled a sob, Yearning for all his kinsfolk. He also missed the forest, caves, streams And mountains, and his bosom friend Mai-Phai. They used to share birds and fish for meals, Now he would be bored, complaining every night. Seeing that he must leave the forest behind, Kha-Nang sobbed, his tears streaming down. Soothed by the governor, he tried to calm down, While the forest scenery was pointed out to him.

444 ‡ß“–ªÉ“ ™¡¥ß„π Ô ÕÕ°™“¬‰æ√·≈‰ª ÿ¥ “¬‡πµ√ ‡ÀπÁ ¢Õ∫‡¢µ¡‘‰¥â¡’∑Ë’°’¥°πÈ— π”È ≈”ª“É §¥§âÕ¡ÕâÕ¡‡«’¬π§√—π ‡¢“≈Ÿ°π—πÈ Õ°∑–≈ÿª√‚ÿ ª√ßà µ“ ∂È”§ŸÀ“ «√√§åµ√ßπÈ—π·πà ‡¥‘π‡√«Á ·∑Àâ πàÕ¬Àπß÷Ë ∂ß÷ æ“π ≈“ ‡ÀπÁ §π—߬—߇Àß“‡»√“â Õ√ÿ “ À¬‘∫‡ ◊ÈÕº“â À¡«°„À¡à„Àâ„ à≈Õß ·µºà ≈—¥‡ª≈ˬ’ π‡«¬’ π‰ª‡ªìπÀ≈“¬Õ¬à“ß ‡ÀÁπ‡ ÕË◊ ¡ √“à ßÀßÕ¬‡Àß“∑‡Ë’ »√“â À¡Õß ¢—∫™“â ߺà“π∫â“π «π™«π‡¬¬Ë’ ¡¡Õß π—Ë߬ȑ¡¬Õà ߇æ≈¥‘ ‡æ≈π‘ ‡®√≠‘ „® œ ˆ §” œ ‡™‘¥ √à“¬ Ô §√πÈ— ∂÷ß®«π¥à«π≈ß®“°§™ “√ 擧π—߇¢“â ∫“â πÀ“™“â ‰¡à  Ë—ß∑π“¬∑ßÈ— π—πÈ ∑—π„¥ ‡√“®–„Àâ∑”¢«≠— „π«—ππÈ’ ®¥— ∫“¬»√π’ ¡·¡«·≈⫇√¬’ °À“ ·µ∫à √√¥“ºŸâ„À≠à„°≈â∑Ë’πË’ ¡“™à«¬°—π‚À√à âÕß∑ȗ߶Õâ ßµ’ Õ¬“à „À∑â π— √“µ√’‡√à߇µ√’¬¡°“√ œ Ù §” œ

Ngo Pa 445 Chom-Dong-Nai Ô At the edge of the forest wide, there was No barrier, as far as eye could see. A stream wound its way through the land, And Ok-Thalu Mountain came into view. Khuha-Sawan Cave must be situated there, A quick walk took them to Phan-Sala. Seeing Kha-Nang still full of grief, The governor made him try on new garb and hat. After he had tried on several sets of clothing, Kha-Nang began to lose his melancholy mood. When the elephant walked past an orchard, Kha-Nang fed his eyes on the fruits, smiling. Rai Ô Reaching his residence, the governor alit, Taking Kha-Nang inside the house at once. He then issued orders to his aides To have a propitiatory rite prepared, With an offering of cooked rice, Topped with boiled eggs. Headmen who lived nearby Were to help with the cheering and gong-beating. All preparations must finish before nightfall.

446 ‡ß“–ªÉ“ Ô ∫¥— π—πÈ ∑𓬧”π∫— √—∫∫√√À“√ ‡√àß√¥— ‡µÁ¡∑µË’ –≈’µ–≈“π ¡‘∑π— π“πæ√âÕ¡°—π¥ß— ∫—≠™“ œ Ú §” œ Ô ‡¡Ë◊Õπ—πÈ ºâ√Ÿ —Èß¿√‘ ¡¬Àå √√…“ ®Ë÷߇√¬’ °§πß— π—ÈπÕÕ°¡“ „Àâπ—ËßÀπ“â ∫“¬»√’π¡·¡« º∑⟠”¢«—≠π—πÈ πË—ßµ√ß∫“¬»√’ πÕ°πÈ’„Àâπß—Ë ‡√¬’ ߇ªìπ·∂« §√È—πæ√âÕ¡ ”‡√®Á ‡ √®Á ·≈«â  ßË— „Àâ®ÿ¥·«πà ·°â«·««‰« œ Ù §” œ Ô ∫—¥ππÈ— µ“‡≤“à º√Ÿâ §Ÿâ √Ÿ„À≠à √—∫‡∑’¬π™π«πµ‘¥‰ø ¡“®¥ÿ ‡∑’¬π™—¬©—∫æ≈—π ·≈«â πßË— ª√–π¡¡◊ÕÀ≈∫— µ“ ‚Õ¡Õà“π§“∂“«à“∑”¢«≠— ®∫≈“¶âÕß≈π—Ë ‡ªπì  ”§≠— ‚À à ππË— ‰ª∂«â π “¡§√“ œ Ù §” œ «à“∑”¢«—≠

Ngo Pa 447 Ô Receiving the governorûs orders, The aides hurried to carry them out. It did not take them a long time, Before everything was ready as commanded. Ô Seeing all his bidding carried out, The governor was very satisfied. He then called Kha-Nang forward, To sit before the offering. The spirit man sat by the offering, With the rest sitting in a row. When everything was ready, the spirit man Ordered a fire lit with a magnifying glass. Ô When the fuse had been lit The revered aged spirit man Took it from his assistant To light the ceremonial candles. He sat with eyes closed, palms pressed, Reciting the propitiatory spell. When he finished, a gong was sounded, And all present cheered three times.

448 ‡ß“–ªÉ“ ¡À“ƒ°…å Ô ·≈«â ¥—∫‡∑’¬π™¬— ‚∫°§«—π °√–·®®ÿ≥®—π∑π‡å ®‘¡Àπ“â ‡®‘¡ Õ߉À≈àÀ≈—ß·≈–Õÿ√“ ¥“â ¬¢Õ¥°≈“ß¡“º°Ÿ ¢Õâ ¡◊Õ ‡ √Á®·≈â«Õ”π«¬Õ«¬æ√ ‡®√≠‘  ¢ÿ ∂“«√Õ¬“à ¥ß÷ ¥◊ÈÕ „Àâ∑”¥’¡¬’ »‡≈◊ËÕß≈Õ◊ ÕÕ°™◊ÕË √–∫◊Õπ“¡ ∫◊ ‰ª œ Ù §” œ ¡À“‰™¬ √à“¬ Ô ‡ √Á®°“√∑”¢«≠— 𓬧π—ß º√Ÿâ Èß— ¬‘È¡·¬â¡·®à¡„   —ßË ∑𓬉ªæ≈π— ∑—π„¥ „Àâ·µßà ‚√ß≈–§√æ√ßàÿ πÈ’ ‡¢“«“à ≈–§√§π™√“ ¡“·µ°à √ßÿ ‡∑æÕ¬Ÿ∑à Ëπ’ Ë’ À“¡“„À‡â ≈àπ‡ÀπÁ ®–¥’ ‡√◊ÕË ß√“«‡¢â“∑‡’ °’¬Ë «°—∫‡ß“– ®—∫‡¡◊ËÕ∑—ÈßÀ°‰ªÀ“ª≈“ ‡ß“–∂Õ¥√Ÿª¡“æÕ‡À¡“–‡®“–

Ngo Pa 449 Maha-Rirk Ô Then all the candles were extinguished, And the smoke was fanned away from the body. The spirit man anointed Kha-Nangûs forehead, Shoulders, back, and chest with fragrant paste, Tying knotted cords around his wrists. Blessing the boy, he told him to be obedient, If he behaved well he would be rewarded, And his fame would spread in time to come. Rai Ô When the rite for Kha-Nang was over, The governor was in a joyous mood. He gave his aides an order at once To have the playhouse ready for the morrow. It was rumored that a troupe of old players From Bangkok was staying in the town. It would be proper to have them perform, Since their story had to do with the Koi, With the six sons-in-law in search of fish, And the Sakai taking off his disguise*. * A reference to Sang Thong, a popular play composed by King Rama II

450 ‡ß“–ª“É ‡¢“«“à √Õâ ß√Ë”√”‡æ√“– ÕÕ°¡“‡©æ“–æâÕ߇«≈“ œ ˆ §” œ Ô ∫—¥π—πÈ ∑π“¬√∫— §”‡Àπ◊Õ‡°»“ √’∫‰ª®¥— °“√µ“¡∫≠— ™“ ‰ª«à“À“≈–§√æ√âÕ¡‰«â œ Ú §” œ ‡ ¡Õ Ô §√È—π‡«≈“ “¬· ß √ÿ ‘¬“ ≈–§√¡“≈ß‚√ßÀ“™â“‰¡à ®∫— ∫∑µ“¡°”Àπ¥∑—π„¥ ‡≈àπ¥π’ °Ë’ √–‰√≈â«πµ—«‡ªπì œ Ú §” œ ‡≈àπ≈–§√ Ô æ√–π‘æπ∏å‡ß“–ª“É «à“µ“¡‡§“â §πß— ‡≈à“·µßà µÕà ≈Õâ ¡π— ‡≈πà „™¿â “…“‡ß“–ª“É «“à ¬“°‡¬Áπ ·µàæÕ‡ÀÁπ‡ß◊ÕË π‡ß“‡¢“â „®°π— ∑”·ª¥«π— §√—πÈ ¡“∂÷ß«—π»ÿ°√å  Èπ‘  π°ÿ ‰¡¡à ∑’ Ë¢’ Õâ ¢π— «π— ∑’Ë ÕߢÕ߇¥Õ◊ π°¡ÿ ¿“æπ— ∏å »°√âÕ¬¬Ë’ ‘∫ ’¡Ë —Èπ®∫À¡¥‡Õ¬

Ngo Pa 451 It was said the songs were melodious, And the play would be very opportune. Ô The aides heeded the governorûs bidding, And went forth to arrange the playhouse, And also to engage the performers, To have them ready for the proposed play. Ô Late the following morning, The play was speedily enacted, Each player acting out his role, All of them very superb. Ô çThe play Ngo Pa has been composed In lightness from what Kha-Nang has told me. Sakai words are difficult to write, But they should be comprehensible. Itûs taken me eight days to write. Come Friday, Thereûll be no more fun to keep me entertained. On February Second, Rattanakosin Era One Hundred and Twenty, the play is fully completed.

452 ‡ß“–ª“É ®∫ ∫∑ª√–¥…‘ ∞·å °≈ßâ °≈“à «°≈Õπ ‡√◊ÕË ß À≈“°‡≈àπ≈–§√ °Á‰¥â ‡ß“– °ÁÕ¬‡°‘¥„π¥Õπ ·¥πæ∑— ≈ßÿ ·Œ ª“É ‡ªìπ‡√Õ◊ 𬓰‰√â ¬Õà ¡√Ÿâ√°— ‡ªìπ

Ngo Pa 453 çThus concludes my poetic endeavor, A tale which can be turned into a play, Of Sakais born on the high land of Phatthalung, Wild forest their home, how to love they do know.é

454 ‡ß“–ª“É §≥ÿ §à“¢Õß∫∑≈–§√‡√◊ÕË ß‡ß“–ªÉ“ Ò. æ√–√“™ª√– ß§å„π°“√∑√ßæ√–√“™πæ‘ π∏å æ√–∫“∑ ¡‡¥Á®æ√–®ÿ≈®Õ¡‡°≈Ⓡ®â“Õ¬àŸÀ—«∑√ßæ√–√“™π‘æπ∏å ∫∑≈–§√‡√Ë◊Õ߇ߓ–ªÉ“¢È÷π ‚¥¬¡’æ√–√“™ª√– ß§å∑’Ë®–„À⇪ìπ∫∑≈–§√ „π·π«·ª≈°‰¡à´È”·∫∫∑’ˇ§¬¡’¡“·µà°àÕπ ¥—ß∑’ˉ¥â∑√ßæ√–√“™ª√“√¿‰«â „π§”π”æ√–√“™πæ‘ π∏«å à“ çÀπ—ß ◊Õπ’È ‰¡à‰¥âµÈ—ß„®∑’Ë®–·µàß„Àâ∂Ÿ°∂â«π ·≈–‰¡àµÈ—ß„®∑’Ë®–‡¥‘𠵓¡·∫∫ ‰¥â‡¢¬’ πµ“¡πÈ”„®∑Ëπ’ °÷ ®–∑”Õ¬“à ߉√°∑Á ” ‡æ√“–‡«≈“∑Ë’‡¢¬’ ππÈ—π ‡ªπì ‡«≈“∑’˵âÕß°“√®–‡ªî¥ ‰¡à„À¡â Õ’ –‰√∫—ߧ—∫„®...é æ√–√“™ª√– ß§å¢âÕπ’ȇªìπªí®®—¬ ”§—≠∑Ë’∑”„Àâ∫∑≈–§√‡√Ë◊Õ߇ߓ–ªÉ“ ¡’§ÿ≥§à“∑“ß«√√≥§¥’‡¥àπº‘¥°—∫∫∑≈–§√‡√◊ËÕßÕ◊ËπÊ Õ“∑‘‡™àπ ∫∑≈–§√ æ√–√“™πæ‘ π∏å„π√™— °“≈∑Ë’ Ò ‡√◊ËÕß√“¡‡°¬’ √µ‘Ï ∫∑≈–§√æ√–√“™π‘æπ∏å „π√—™°“≈∑’Ë Ú ‡√Ë◊ÕßÕ‡‘ Àπ“ ‰™¬‡™…∞å §“«’ ‰°√∑Õß ¡≥’摉™¬ œ≈œ ‡æ√“– ∫∑≈–§√æ√–√“™πæ‘ π∏å„π√—™°“≈ ∑Ë’ Ò ·≈–∑’Ë Ú πÈπ— ‡ªπì ·∫∫≈–§√√”µ“¡ ·∫∫·ºπ ‡πÕÈ◊ ‡√◊ËÕ߇°Ë’¬«°∫— °…—µ√‘¬åÀ√Õ◊ ∫ÿ§§≈™Èπ—  ßŸ À√Õ◊ Õ¬à“ßπÕâ ¬ °‡Á ªπì ∫ÿ§§≈∑’ˇ®√‘≠·≈â« ·µàæ√–√“™π‘æπ∏å∫∑≈–§√‡√◊ËÕ߇ߓ–ªÉ“πÈ’ ‡ªìπ‡√◊ËÕß ‡°’ˬ«°∫— æ«°‡ß“– ´ß÷Ë ‡ªπì æ«°Õπ“√¬–Õ¬ŸàÀà“߉°≈§«“¡‡®√‘≠ ·¡°â √–πÈπ— ¥â«¬æ√–ª√’™“ “¡“√∂¢Õßæ√–Õß§å °Á‰¥â∑√ß∑”„Àâ𑬓¬æ‘»«“ ¢Õß æ«°‡ß“–ªÉ“πÈ’¡’§ÿ≥§à“∑“ß«√√≥§¥’¢È÷π‰¥â ·≈–‡¡Ë◊Õ∑√ßæ√–√“™π‘æπ∏å ‡√Ë◊Õ߇ߓ–ª“É  ”‡√®Á ‡ªìπ√ªŸ ≈–§√·≈«â æ√–Õߧ°å Á‰¥â· ¥ß§«“¡æÕæ√–∑—¬ ‰««â à“

Ngo Pa 455 The Merits of the Play Ngo Pa 1. The royal purpose in writing the play King Chulalongkorn wrote the play Ngo Pa with the intention of making it a unique play unlike those that had been written before, as evident in his Preface to the play. çIn writing this book, I did not intend it to be accurate or to follow any tradition. I wrote according to my whims, for when I was writing it I kept my mind open, not allowing anything to control it.é This intention is an important factor that gives Ngo Pa distinct literary merits unlike those of other plays such as Ramakian, by King Rama I, and I-nao, Chaiyachet, Khawi, Krai Thong, Mani Phichai, and other plays by King Rama II, since the plays by King Rama I and King Rama II are traditional dance dramas with plots involving kings or high-ranking characters, or at least civilized persons. In contrast, the play Ngo Pa deals with the Sakai, a primitive tribe living far from civilization. However, King Chulalongkornûs ingenuity has given literary merits to the romance of the wild Sakai. After he had completed the play, His Majesty expressed his satisfaction as follows: çThis text was not meant to be acted out on stage and I did not know whether it was good enough, for it was about people who lived in the forest,

456 ‡ß“–ª“É ç À π— ß  ◊ Õ ∑Ë’ · µà ß πÈ’ ‰ ¡à ‰ ¥â µÈ—ß „ ® ”À√— ∫∑’Ë ® – ‡≈à π≈ – §√ ·≈–‰¡à√Ÿâ«à“®–¥’‡æ√“–·µà߇√◊ËÕß ™“«ªÉ“ ´Ë÷ß°—π¥“√ ‡À≈◊Õª√–¡“≥ ‡À¡◊Õπ§ÿ¡‚µ–ä ¡·’ µà™π‘È °–≈“ ·≈â« ¢“¥°’Î ¢“¥‡∑â“‚¥¬¡“°®–§¡ÿ „Àßâ “¡°¬Á “°Õ¬Ÿà ·µà§√Èπ— ‡¡ÕË◊ §¡ÿ ‡¢“â ‡ √®Á ·≈«â ¥¡Ÿ π— °ßÁ “¡¥’ ª√– “‡§√Õ◊Ë ßπ”È ‡ßπ‘ ‡§√◊ÕË ß·¥ß À√Õ◊ ™”È ‡≈◊Õ¥™”È ÀπÕß...é Ú. «∏‘ °’ “√∑∑Ë’ √ßæ√–√“™π‘æπ∏å æ√–∫“∑ ¡‡¥Á®æ√–®ÿ≈®Õ¡‡°≈Ⓡ®â“Õ¬àŸÀ—« ‰¥â∑√ß°≈à“«‰«â„𠧔π”æ√–√“™π‘æπ∏å‡√ÕË◊ ߇ߓ–ªÉ“«à“ çµÈ—߇√◊ÕË ß¢π÷È µ“¡§«“¡§‘¥π÷°‡Õ“„À¡à ·µà𔧫“¡®√‘ß¡“‡®◊Õ≈߉«â‡ªìπµÕπ æÕ„Àâ§àÕ¬·¬∫§“¬¢È÷π —°ÀπàÕ¬ §«“¡®√‘ß´÷Ë߇°Á∫‰¥â·µà‡≈Á°πâÕ¬ ‰¥â‡¢’¬π‰«â„π§”∫Õ°√ŸªµàÕ‰ª¢â“ßÀπâ“π’È ºâŸ´ßË÷ ®–Õ“à π§«√®– ß— ‡°µ„À⇢“â „® ®÷ß®–√Ÿ«â “à ·µàßÕ“»¬— À≈°— Õ¬à‡Ÿ ∑“à „¥é 秫“¡®√ß‘ é ∑∑’Ë √ß°≈“à «‰«â„π∑πË’ È’‰¥·â °§à «“¡‡ªπì Õ¬àŸ„π™«’ µ‘ ª√–®”«π— ¢Õßæ«°°ÁÕ¬ ‡™πà °“√À“Õ“À“√ °“√·µßà °“¬ °“√ √“â ß∑ËÕ’ ¬Ÿà °“√ ·µßà ß“π °“√À“‡≈’¬È ß™æ’ °“√‡≈πà  πÿ°√π◊Ë ‡√‘ß ·≈–§«“¡‡™◊ËÕ∂Õ◊ ‡√ÕË◊ ߺ ’ “ß µ“à ßÊ œ≈œ ∂⓺Ÿ»â ÷°…“√®Ÿâ °—  ß— ‡°µ °Á®–‡ÀÁπ«à“¡ ’ ß‘Ë ‡À≈à“π’ È Õ¥§≈âÕß·∑√° Õ¬Ÿà„π‡π◊ÈÕ‡√Ë◊Õßµ“¡§«“¡‡ªìπ®√‘ß  ”À√—∫‡πÈ◊Õ‡√Ë◊Õßπ—Èπ ª√“°ØÕ¬àŸ„π 秔‡√¡Ë‘ é æ√–√“™π‘æπ∏å«à“ 笓¬≈¡ÿ¥‡≈à“§«“¡µ“¡‡Àµ°ÿ “√≥å §≈⓬π∑‘ “π‡°à“‡À≈◊Õ‰¡à‡∫Õ◊Ë ‡≈¬ ®÷ß®¥®”¡“∑”‡ªìπ°≈Õπ‰«â À«ß— ¡‘„Àâ≈¡◊ §”√Ë”‡©≈¬...é

Ngo Pa 457 where everything was lacking. It was like setting a table where there is only the chinaware without the tray: then it would be difficult to make the table look nice. But when everything is finished, it looks good enough as far as the blue and white or the red set is concerned.é 2. The royal method in writing the play King Chulalongkorn stated in his Preface to Ngo Pa, çI have...made up a story according to my imagination, with some facts interspersed to make the tale more attractive. A few facts that could be collected are given in the following explanation. The reader should observe for himself how much of the text is based on fact.é çThe factsé mentioned here concern the daily existence of the Sakai: food gathering, clothes, dwelling construction, a wedding ceremony, occupations, recreation, and beliefs in ghosts and spirits. If the reader is observant, he will see that these elements are realistically interspersed in the story. As for the çploté of the play, it appears in the Prologue as follows: çThe old woman narrated a story, Such a captivating tale it was. I committed it to memory And set it down in verse as a reminder.é

458 ‡ß“–ªÉ“ ‡¡Ë◊Õ∑√߉¥â‡§â“‡√Ë◊Õß𑬓¬æ‘»«“ ¢Õßæ«°‡ß“–‰«â·≈â« æ√–∫“∑  ¡‡¥Á®æ√–®ÿ≈®Õ¡‡°≈Ⓡ®â“Õ¬àŸÀ—«°Á‰¥â∑√ßæ√–√“™π‘æπ∏凪ìπ°≈Õπ∫∑ ≈–§√ ∫“ß·Ààß∑Ë’¡’°“√√âÕß√”∑”‡æ≈ß°Á„™â‡æ≈ß·∫∫‡ß“– ‡™àπ ‡æ≈ß ç‡´àπ‡À≈â“ç §”√âÕ߇ªìπ¿“…“°ÁÕ¬ ·≈–∑√ß„™â™Ë◊Õ §π  —µ«å  ‘ËߢÕß ‡ªìπ¿“…“°ÁÕ¬ Õ¥·∑√°Õ¬Ÿà„𧔰≈Õπ‚¥¬µ≈Õ¥ ·≈–‡æ◊ËÕ¡„‘ À‡â ªπì §«“¡ ≈”∫“°·°ºà âŸÕà“π°Á‰¥∑â √ßÕ∏‘∫“¬§”»—æ∑¿å “…“°ÁÕ¬‰«¥â ⫬ ≈—°…≥–¢Õß∫∑≈–§√‡√◊ËÕ߇ߓ–ªÉ“π’È Õ“®®—¥‡¢â“Õ¬àŸ„πª√–‡¿∑ ∫∑≈–§√ ç‚»°π“Ø°√√¡é ‰¥â ‡æ√“–‡ªπì ‡√Ë◊ÕߢÕߧ«“¡√—°∑’®Ë ∫≈ߥ⫬ §«“¡‡»√“â §◊Õ °“√µ“¬¢Õßµ«— ≈–§√ ”§—≠∑È—ß “¡ ‰¥·â °à ≈”À—∫ ´¡æ≈“ ·≈–Œ‡π“ ∑ßÈ—  “¡§ππµ’È Õâ ß π‘È ™«’ µ‘ ‡æ√“–§«“¡√°— ‡ªπì ¡≈Ÿ ‡Àµÿ æ√–√“™¥”√‘ „π‡√ÕË◊ ßæ‘… ß¢Õߧ«“¡√—°π®’È –‡ÀπÁ ‰¥â„𧔰≈Õπ∫“ßµÕ𠇙πà 祥Ÿ 䧟 «“¡√—°π—°Àπ“ÀπÕ ¡“≈«ß≈Õà ‚≈¡æ“§πÕ“ —≠ ∂÷ß “¡»æ ¬∫‡√¬’ ߇§¬’ ß°—π ≈â«π∑“ √—°∑È—ßπÈπ— Õπ“∂„®...é Û. §≥ÿ §“à ∑“ß¡“π…ÿ ¬«‘∑¬“ °≈“à «‰¥«â “à ∫∑≈–§√æ√–√“™πæ‘ π∏‡å √ÕË◊ ߇ߓ–ª“É πÈ’ ‡ªπì «√√≥§¥‰’ ∑¬ ‡√Ë◊Õ߇¥’¬«∑Ë’°≈à“«∂÷ß™’«‘µ§«“¡‡ªìπÕ¬àŸ¢Õßæ«°‡ß“–Õ¬à“ß≈–‡Õ’¬¥∂Ë’∂â«π ºŸâ∑ Ë’ π„®®–»÷°…“¡“πÿ…¬«‘∑¬“ ¿“§«—≤π∏√√¡ (Cultural anthropology) ¢Õßæ«°‡ß“–À√◊Õ∑‡’Ë √’¬°µ“¡¿“…“¡≈“¬Ÿ«à“ 燴¡ß— é À√Õ◊ ç ‰°é °ÕÁ “®À“  “√– ”§≠— ‰¥â®“°∫∑≈–§√‡√Ë◊Õßπ’È

Ngo Pa 459 When he had conceived the plot about the romance of the Sakai, King Chulalongkorn wrote the play in verse. In places where songs were sung, he used Sakai songs; for example, in the song çSen-Laoé (p. 19), the words were written in the Koi language. He also used Koi names for people, animals, and things throughout the poem. In order not to cause difficulty for the readers, he also provided a glossary of the Koi words. The play Ngo Pa can be classified as a çtragedy,é for it is a romance that ends with the deaths of the three principal characters, Lam-Hap, Som-Phla, and Ha-Nao. Their deaths were caused by love. His Majestyûs comment on the power of love can be seen in a passage from the play: çLook at the power of love, That could lure people to their deaths. Here are three corpses in a row, All of them were slaves of love. 3. Anthropological merits It has been said that Ngo Pa is the only Thai literary work that thoroughly explores the living conditions of the Sakai. Those interested in studying cultural anthropology involving the Sakai, also called çSemangé or çKoié in the Malay language, can find the main points in this play.

460 ‡ß“–ª“É æ√–∫“∑ ¡‡¥Á®æ√–®ÿ≈®Õ¡‡°≈Ⓡ®â“Õ¬àŸÀ—« ∑√ß πæ√–∑—¬„𠧫“¡‡ªìπÕ¬àŸ¢Õßæ«°‡ß“– ®π∂÷ß°—∫∑√ßæ√–°√ÿ≥“™ÿ∫‡≈’Ȭß𓬧π—߉«â ‡ªìπ¡À“¥‡≈Á°√“™Õߧ√—°…å (¥¿Ÿ “æ𓬧π—ß·µà߇µÁ¡¬»µ“¡‡ ¥Á®) ·≈– ‰¥â∑√ß√«∫√«¡»—æ∑å¿“…“°ÁÕ¬‰«â‡ªìπÀ≈—°∞“π ‚¥¬∑√߉≈à‡≈’¬ß®“°§π—ß ‡ªπì  à«π¡“° ·¡æâ √–Õߧ®å –∑√߇ªìπæ√–¡À“°…—µ√‘¬å„π√–∫Õ∫ ¡∫√Ÿ ≥“ ≠“ ‘∑∏‘√“™ æ√–Õߧå°Á¡‘‰¥â∑√ß¡’æ√–∑—¬√—߇°’¬®‡À¬’¬¥À¬“¡æ«°‡ß“– ¬Ë‘ß°«à“π—Èπ¬—ß∑√ß·ºàæ√–‡¡µµ“‰ª¬—ß°≈ÿà¡™πæ«°πÈ’„π∞“π–∑’ˇªìπ¡πÿ…¬å ¡‡’ ≈◊Õ¥‡πÈÕ◊ ¡’§«“¡√Ÿ â ÷°√—° ‚°√∏ ‡§¬’ ¥¢ß÷È À«ß·Àπ ‡À¡Õ◊ π¡πÿ…¬å∑‡Ë’ ®√≠‘ ·≈â«∑—ÈßÀ≈“¬„π‚§≈ßæ√–√“™π‘æπ∏åµÕπ∑⓬‡√Ë◊Õß ‰¥â∑√ß· ¥ß∑—»π–„π ·ßπà È’‰«â ¥—ßπÈ’ ®∫ ∫∑ª√–¥‘…∞·å °≈âß °≈“à «°≈Õπ ‡√Õ◊Ë ß À≈“°‡≈πà ≈–§√ °Á‰¥â ‡ß“– °ÁÕ¬‡°‘¥„π¥Õπ ·¥πæ∑— ≈ßÿ ·Œ ª“É ‡ªìπ‡√Õ◊ 𬓰‰√â ¬àÕ¡√Ÿ√â °— ‡ªìπ „π∑’ËπÈ’®–¬°µ—«Õ¬à“ߧ”°≈Õπ∫“ßµÕπ∑Ë’„Àâª√–‚¬™π凰’ˬ«°—∫°“√ »°÷ …“¡“πÿ…¬«‘∑¬“¥“â π«≤— π∏√√¡ °. °“√·µßà °“¬¢Õß™“¬ .....·≈â«πßàÿ ‡≈“–‡µÍ¬’ –„¬¬Õß  ¥·¥ß· ß Õà ߇撬ß∫“¥µ“ ‰«â‰°æÁÕ°°Õ‡≈“–¥‡Ÿ À¡“–‡À¡ß ‡™‘ßπ°— ‡≈ß°≈∫’ µ°ªÑÕߪ°¢“

Ngo Pa 461 King Chulalongkorn was so interested in the Sakaiûs living conditions that he made a Sakai boy named Kha-Nang a royal page (see illustration showing Kha-Nang in his royal page uniform, accompanying His Majesty). He also compiled a glossary of Koi words, mostly through Kha-Nang. Even though he was a king in an absolute monarchy, he did not scorn the Sakai. On the contrary, he took pity on them as fellow human beings of flesh and blood who know how to love, be angry, vengeful, and jealous, just like civilized people. At the end of the play, His Majesty reflected on this matter: çThus concludes my poetic endeavor, A tale which can be turned into a play, Of Sakais born on the high land of Phatthalung, Wild forest their home, how to love they do know.é The following excerpts are useful for the study of cultural anthropology. A. Menûs clothing çHe then put on a red loincloth so bright, That it quite dazzled the onlookersû eyes, With edges hanging down in front and back, Covering his legs in the manner of a rogue.

462 ‡ß“–ª“É ¡“≈—¬Œ“ªÕ߬“«√“« °— «“ °√–À«¥— ™“¬´“â ¬¢«“‡«’ˬ«ß °“√·µàß°“¬¢ÕßÀ≠ß‘ „ÀÕâ “∫π”È ™”√–°“¬À¡¥®¥ ¢¡‘πÈ  ¥ª√ÿߪ√–∑Ëπ‘ °≈Ë‘π∫ªÿ º“ ÀÕ¡™Ëπ◊ √π◊Ë √«¬ «¬°“¬“ πßàÿ ºâ“ŒÕ≈ ’ ’·¥ß À¡à ´‘‰∫‰«√â Õ∫Õÿ√–√—¥  “«°”¥¥— §√¥— ‡§√à߇ª≈àߪ≈“∫· ß  «¡°”‰≈¡–°≈”Ë πâÕ¬√âÕ¬æ≈‘°·æ≈ß ·≈«â µ°·µàß¡“≈¬— „ à «¡µ«— «ß°√–À«¥— √¥— ‡Õ«·≈â«‚Õ∫∫à“ ≈«â π∫ªÿ º“°≈πË‘ °≈∫µ√–À≈∫∑Ë—« À«’‰¡â‰ºà≈“¬™Õà ߉¡Àà ¡Õß¡«—  Õ¥·´¡À«—  ”À√∫— √—∫º¡¡«¬ Œ“ªÕߪɓ®¥— ¡“ Õ¥·´¡º¡ ¢Õß𬑠¡·¥ß‡¥àπ‡ÀπÁ  – «¬ ¥Õ°®”ªŸπ‡ªìπµâÿ¡ÀŸ¥√Ÿ π◊Ë √«¬ ·≈â«∑Õ¥°√ÕàÕπ√–∑«¬¥”‡π‘π¡“ ¢. Õ“«∏ÿ .....«à“æ≈“ß∑“ß·°µâ Õ°π°ÿ ÕÕ° ‡Õ“°√–∫Õ°¡—ππ÷π—Èπ¡“µ—ßÈ

Ngo Pa 463 A red flowery tassel two meters long Girded his neck, left and right ends dangling.é Womenûs clothing çShe told Lam-Hap to take a thorough bath, With flower-scented turmeric as cosmetics. So beautiful and sweet-smelling, The girl put on a red grass skirt. A cloth was wrapped around her bosom, So firm and fair with her youthfulness. A bracelet of Indian licorice seeds she wore. A lei of flowers decorated her body, Winding around her waist and shoulders, Consisting of fragrant and pretty blooms. A bamboo comb with a brightly striped pattern Was daintily placed under her bun. A red wild flower was stuck in her hair, A popular practice among Sakais. She wore jampun flowers for earrings, And gracefully strode forward.é B. Weapons çHe untied the strap on the dart holder And set the container on the ground,

464 ‡ß“–ªÉ“ ‡ª¥î ŒÕπ‡≈¥Á ‡ÀÁπ∫‘≈“≈Ÿ°°”≈ß— ·≈â«°πÁ —ßË ™·È’ ®ß„À·â ®âß„® Õπ— ∫≈‘ “π∑È’ “¬“ßÕ‘‚ª– ·¡âπ‡ªÉ“‚º≈–∂Ÿ°‡πÕÈ◊ ∑µË’ √߉À𠇪πì ¬“æ…‘ ‚≈Àµ‘  ∫Ÿ ´“à π‰ª ‰¡¡à ’„§√√Õ¥æâπ °— §π‡≈¬..... §. ß“πΩï¡◊Õ ‡¡Ë◊Õπ—Èπ π«≈π“ß≈”À∫— æ ‘ ¡¬— ª¥î ª√–µÕŸ ¬àŸ∑Ë∑’ —∫À≈—ß„π ®—°„∫°“¬—ßπßË— µ–∫Õ¬  “π ¡°ÿ „ àÀ¡“°Ω“°‰ª·≈° ¢Õß·ª≈°·ª≈°πÕâ ¬„À≠∑à Ë’„™ â Õ¬ ™—°¥Õ°¥«ß‡¥πà ‡ªìπ≈“¬≈Õ¬ ‡ âππÕâ ¬πâÕ¬ π‘∑¥¡’ √’ “§“ ß. æ‘∏’·µßà ß“π - ¢∫«π‡®“â ∫à“« ∫‘¥“¥”‡π‘π‡¥‘πÀπ“â ∂¥— ¡“æπ’Ë Õâ ß√Õß≈”¥—∫ ‡æ◊ËÕπ∫à“«∑Èß—  Õߪ√–§Õߪ√–§∫— Õ⓬Œ«¬∑âÕ¡°∫— Õ⓬¥Õ‘ ÿß ‡®â“∫“à «‡¥‘π°≈“ßÀ«“à ß Õ߇æ◊ËÕπ

Ngo Pa 465 Opening it to expose the darts inside. Then he gave a thorough explanation. ùThese darts are covered with upas poison. If they hit the flesh anywhere at all, The poison will spread through the veins, Leaving no one alive, whether beast or man.û é C. Handicrafts çAs for Lam-Hap the beautiful, She sat alone in her living quarters, Behind the closed door in her chamber, Splitting pandanus leaves into strips. She would then weave containers for betel, To be exchanged for exotic items. Distinct motifs were woven into them, Using fine strips to increase the price.é D. Wedding ceremony - the groomûs procession çHa-Naoûs father led the procession, Followed by his two valiant brothers. The bridegroom was flanked on each side By his bestmen, Ai-Huai-Thom and Ai-Di-Ung. Moving along in designated order,

466 ‡ß“–ª“É ‰¡§à ≈“¥‡§≈ÕË◊ π´âÕπ´∫—  ≈∫— ¬àÿß æ«°æ√âÕßµ“¡æ√‡Ÿ ªπì À¡àŸ¡ÿß À¡“¬¡àßÿ ¡“¬—ß∑Ë’∑”«‘«“Àå ¢∫«π‡®â“ “« ∫‘¥√¡“√¥“ÕÕ°Àπ“â π” ·≈«â π“ß≈”À—∫¥ß— Àß ‡å À‘π ‡æÕ◊Ë π “«∑ß—È  Õߪ√–§Õ߇™‘≠ ∑ ’ –‡∑πÈ‘ ¬“à ߇¬◊ÕÈ ß™”‡≈◊Õß·≈ ‡À≈à“°√–∫«π µ√’∑§Ë’ Õ¬Õ¬àŸ °æÁ √Ëß— æ√Ÿ·«¥≈âÕ¡ÀâÕ¡·Àà µà“ßøÕÑ π√”∑”°√–∫«πª√«π·ª√ ¢—∫√âÕß´âÕß·´‡à ¥‘ππ“¥π«¬ ‡≤à“·°à ‡¡Ë◊ÕππÈ—  Õ߇ߓ–‡≤“à ™πË◊ ™¡ ¡À¡“¬ µ“à ߮ߟ ≈Ÿ° “«·≈–≈°Ÿ ™“¬ „Àπâ —Ë߇√¬’ ߇§’¬ß°“¬°≈“ß«ß µà“ßÀ¬∫‘ ¡Õ◊ ¡“„Àâ®∫— °—𠇪πì  ”§—≠¬°„Àµâ “¡ª√– ß§å ·≈«â Õ”π«¬Õ«¬æ√‚¥¬®”πß „À¬â π◊ ¬ß§ß§ÕŸà ¬àπŸ √‘ π— ¥√å.....

Ngo Pa 467 There was no complication or error. The hordes of well-wishers thronged after, Heading for the intended wedding site.é The brideûs procession çBoth parents took their places in front, Followed by Lam-Hap, graceful as a swan, Flanked by her two bridesmaids on either side. She walked bashfully, glancing sideways. All the girls waiting for the bride Rushed forth to form a circle around her. Executing various dance steps in unison, They sang in chorus as they moved forth.é The elders çThe two elderly Sakai, Tong-Yip and Yo-Pan, Were pleased that their plan had gone well. Each led his daughter and his son forward, To be seated together in the center. They placed the young coupleûs hands together, Signifying that they were now united. Both of them then blessed the newlyweds, To remain together ever after.é

468 ‡ß“–ª“É ®. æ∏‘ ’∑“߉ ¬»“ µ√å (æ≈’°√√¡) ∫¥— π—Èπ ´Õ¡≈ÿ°º‡âŸ ≤“à §π¢¬—π ®Ëß÷ ‡√‘Ë¡∑”«‘∏’æ≈°’ √√¡å °√–∫◊Õ‡ºÕ◊ °ºŸ°¡—Ëπ°—∫°Õ‰¡â ®—∫ÀÕ°ª√–À“√æÕ´“π≈â¡ ‡¥π‘ °â¡¿“«π“‡¢â“¡“„°≈â ¬π◊Ë π‘«È ‡∑â“®ÿ°®¡Ÿ°‰«â ∫√°‘ √√¡¢—∫‰≈àª√“ߧ«“π..... ©. °“√‡≈’¬È ßÕ“À“√ ∫—¥ππ—È æ«°™“«§√—«µ«— ¥’πâÕ¬„À≠à µ“à ß·≈à‡π◊ÕÈ ‡∂Õ◊ Àπß— µ—∫‰µ ∑”§√—««ÿàπ‰ª‡ªìπ‚°≈“ ∫“â ßÀßÿ ¢“â «µâ¡·°ßªôî߬à“ß ‡πÈÕ◊ §“à ß¡’√ ‡ªìππ—°Àπ“ Õ°’ °√–·µ°√–√Õ°ªªŸ ≈“ ‡º◊Õ°¡π— π“π“æ√Õâ ¡‰«â §√π—È ‡ √®Á °™Á «à ¬°—π¬°¡“ ∑ß—È  ÿ√“À≈“¬À≈“°¡“°‰À µ—Èß„µâ√à¡√ÿ°¢å‡√’¬ß°π— ‰ª  ”À√—∫®–‰¥‡â ≈Ȭ’ ß™—¬∫“π

Ngo Pa 469 E. Occult ritual (offering) çOld Som-Luk was then called upon, The ever industrious old man, To begin the sacrificial rite. An albino buffalo, tied to a bush, Was speared till it fell to the ground. Som-Luk approached the beast, praying steadily. Sticking his toes into its nostrils, He chanted a spell to cast out evil spirits.é F. Feast çAll the excellent cooks, big and small, Were busy cutting up meat and innards Of the various animals they had amassed, To prepare succulent dishes for the feast. Some cooked rice, and some made soup, Others roasted delicious langur meat, Chipmunks, squirrels, crabs, and fish, Also taros and yams in abundance. Once finished, the dishes were carried, Together with jars of spirits strong, To be lined up under the takhian tree, Ready for the joyous wedding feast.é

470 ‡ß“–ªÉ“ ™. °“√‡≈àπ√Õâ ß√”∑”‡æ≈ß  “«Àπÿ¡à §¡ÿ §‡àŸ §’¬ß ≈∫— ·´à»æ— ∑ å ”‡π¬’ ߇ ’¬ß¥¥’  ’ √”øÕÑ πÕÕà π√–∑«¬∑ßÈ— Õπ‘ ∑√’¬å  ππË— ¡¢’Ë ∫— ‡æ≈ß∫√√‡≈ß≈“π §√Èπ—  π‘È ∫∑√”√∫— ¢∫— ¢“π °Áª√– “π —ߧ’µ¥¥’  ’ ‚°√àß°√—∫√—∫√π— ‡¿√’ ‡ªÉ“∫°— ´’·≈–Õ·’ π·´ à ”‡π’¬ß ®–‡¢ªâ “É ®“â √—∫°∫— ®âÕßÀπÕà ß ∫“â ߇≈àπ∫Õß∫ß à߇ ’¬ß º‘«ª“°‰ª∫“â ßµ“à ß®”‡√’¬ß °°÷ °âÕ߇撬߇民 ª“É æπ“≈—¬ ´. °“√∑”»æ ·≈â«®ßË÷ µ√‘µ√°÷ ª√÷°…“°π— ®–∑‘ßÈ »æ‰«âπÈ—π‰¡à§«√∑’Ë ‡«≈“æ≈∫§”Ë ‡¢“â √“µ√’ ®–‡ªìπ‡À¬◊ËÕ‡ ◊Õ ’À å ß— ‡«™„® ®–™«à ¬°π— Ωíß»æ∑ßÈ—  “¡ µ“¡¡’µ“¡‡°¥‘ ®–∑”‰¥â ·≈«â ™«π°—π¢ÿ¥À≈ÿ¡∑Ë´’ ÿ¡â ‰¡â °«“â ß„À≠æà Շ欒 ߇√’¬ß°π—

Ngo Pa 471 G. Singing and dancing çYoung lasses and lads paired up in a row, Amid the sounds made by musical instruments. They all performed their dances gracefully, Accompanied by resonant singing.é çWhen the dancing and singing ended, The orchestra commenced playing. Wooden clappers sounded against drums, Flutes and Javanese oboes wailed shrilly, Wild zithers blared in harmony with Jewûs harps. Some musicians played upon instruments Made of coconut shells, and some whistled, So boisterous as to raze the forest down.é H. Funeral rites çThen they consulted each other about what to do. To leave the bodies there was unwise, For twilight was turning into night, Prey they might be to tigers and lions. They would then bury the three bodies, As best as their means could afford. Then they dug a grave under the arbor, Big enough to place three corpses inside.

472 ‡ß“–ªÉ“ §√Èπ— ‡ √Á®´÷Ëß°“√¢ÿ¥À≈ÿ¡ ™à«¬°π— Õÿ¡â »æ¢¡’¢¡—π „ÀâπÕπ¢â“߇§’¬ß‡√’¬ß√—π π“ß≈”À∫— π—Èπ„ÀâπÕπ°≈“ß Æ. °“√¬â“¬∑Õ’Ë ¬‡Ÿà æ√“–¡’§πµ“¬ ‚Õæâ «°‡√“‡À≈à“‡ß“–≈«â π‡§√“–À√å ⓬ ®–µâÕ߬⓬∑—∫À“∑ª’Ë É“‡ª≈’ˬ« ‡æ√“–§πµ“¬√“â ¬‡™πà π’ȉ¡à¥’‡®’¬« ≠“®–‡∑ˬ’ «‡√√à àÕπ§«√ºÕà πª√π Ù. §≥ÿ §“à ∑“ß«√√≥§¥’ µ“¡À≈—°«‘™“«√√≥§¥’ Àπß—  Õ◊ ∑’Ë®–®—¥‡ªπì «√√≥§¥‰’ ¥πâ Èπ— ®–µÕâ ß ¡§’ ≥ÿ ≈°— …≥–¥—ßπÈ’ §Õ◊ ¡’§«“¡‰æ‡√“–„π°√–∫«π√ µ“à ßÊ ¡’≈°— …≥–§√∫ °Æ‡°≥±å·Ààß»‘≈ª°“√ª√–æ—π∏å ®ÿ¥À¡“¬ ”§—≠Õ¬Ÿà∑Ë’µâÕß°“√„À⇰‘¥ Õ“√¡≥å µâÕß°“√„Àâ°√–∑∫°√–‡∑◊Õπ„®ºâŸÕà“πºâŸøíß ‡æ◊ËÕ„À⇪ìπ‡™◊ÈÕ·Ààß §«“¡§¥‘ ·≈–¡’§«“¡®¥— ‡®πµàÕ‚≈° ·≈–™«’ µ‘ ‡ªπì  «à π„À≠à ‡¡◊ËÕ‰¥Õâ “à π‰¥â øíß·≈⫬àÕ¡‡°‘¥§«“¡ªîµ‘·≈–‡æ≈‘¥‡æ≈‘πé (®“°ª√–«µ— «‘ √√≥§¥’ ¢Õß𓬠‡®◊Õ  –µ–‡«∑‘π) À“°æ‘®“√≥“µ“¡π—¬¥—ß°≈à“«¡“¢â“ß∫ππÈ’°Á®–‡ÀÁπ‰¥â«à“∫∑≈–§√ æ√–√“™πæ‘ π∏‡å √ËÕ◊ ߇ߓ–ª“É ¡’§≥ÿ ≈—°…≥–¥ß— °≈“à «§√∫∫√‘∫Ÿ√≥å ®–‰¥·â ¬° °≈à“«∑≈’ –≈°— …≥–¥—ßµÕà ‰ªπ’È

Ngo Pa 473 After the grave had been dug, The brothers helped to carry the bodies And placed them side by side in a row, With Lam-Hap lying in the middle.é I. Relocation on account of a death çHow unlucky we Sakais are! We must move in search of a virgin forest, For these unnatural deaths are bad signs, Their restless spirits will roam ominously.é 4. Literary merits According to the theory of literature, a book that can be classified as literature must have the following characteristics, that is, çbeing melodious in every way and possessing all the requirements of the art of writing. The main objective is to arouse the emotion, provoking the readers or the listeners so as to evoke them to forming their opinions and having experience of the world and life for the most part.é (from A History of Literature by Chuea Satawethin). Judging from the above principle, it can be seen that the play Ngo Pa possesses all the requirements, each of which will be expounded below.

474 ‡ß“–ªÉ“ °. §ÿ≥§à“„π∑“ߧ«“¡ –‡∑◊ÕπÕ“√¡≥å ‰¥â°≈à“«·≈â««à“ ∫∑≈–§√‡√Ë◊Õ߇ߓ–ªÉ“¡’‡π◊ÈÕ‡√◊ËÕ߇°Ë’¬«°—∫ ™’«µ‘ ¢Õßæ«°‡ß“– ¡°’ “√™‘ß√°— À—° «“∑ ®π„π∑’ Ë ¥ÿ ‡√◊ÕË ß°Á®∫≈ߥ«â ¬§«“¡ µ“¬¢Õß≈”À∫— ´¡æ≈“ ·≈–Œ‡π“ ·¡®â –‡ªìπ‡√ËÕ◊ ߢÕß™“«ª“É ™“«¥ß ´Ë÷ß Õ¬àÀŸ “à ߉°≈· ß ’¢ÕßÕ“√¬∏√√¡ ·µà°√–πÈ—πæ√–ºŸâ∑√ßπ‘æπ∏å°Á∑√ß„™âæ√– ª√’™“ “¡“√∂Õ—π‡ªìπÕ—®©√‘¬¿“æ¢Õßæ√–Õߧå∑”„ÀâºâŸÕà“π‡°‘¥Õ“√¡≥剥â À≈“¬Õ¬à“ß„π‚Õ°“ µà“ßÊ °π— ¥ß— ®–‰¥âÀ¬∫‘ ¬°§”°≈Õπ∫“ßµÕπ¡“Õ“â ß „À‡â ÀÁπ¥—ßµÕà ‰ªπ’È Ò. §«“¡√ âŸ ÷°™◊Ëπ™¡„π∏√√¡™“µÕ‘ π—  «¬ß“¡ µ–«—𙓬©“¬π”È Õ√“à ¡µ“ µ°µ“¡´Õ°»≈‘ “´“à °√–®“¬ ∑π’Ë ”È Õ—∫≈∫— ™àÕß¡Õ߇ÀÁπæÈ◊π ª≈“πÕâ ¬πâÕ¬≈Õ¬¥πË◊ ¥Ÿ·À≈Àà ≈“¬ æπà πÈ”ø‡Ÿ ªìπ≈–ÕÕßµÕâ ß·¡≈ßµ“¬ µ°‡√¬Ë’ √“¬‡ªπì ¿—°…“πà“‡ÕπÁ ¥Ÿ ¬“¡≈¡µ°π°√âÕß´âÕß·´‡à  ¬’ ß ‡ π“–‡æ’¬ß≈”𔇩Õ◊Ë ¬©Ë”ÀŸ ≈”¥«π¥ß ßà °≈‘Ëπª√–∑‘πË ™Ÿ π“ß‚©¡µ√Ÿøßí ‡æ≈ß«—߇«ß„® ¬“¡‡™“â Õÿ√–‡√“™πË◊ ·™à¡·®à¡„   ∫⟠°ÿ ª“É ¡“¥¡™¡¥Õ°‰¡â

Ngo Pa 475 A. The ability to move the emotions It has already been said that the play Ngo Pa deals with the lives of the Sakai, their love and jealousy. The story ends with the deaths of Lam-Hap, Som-Phla, and Ha-Nao. Even though it is a story of primitive people who live far from the trappings of civilization, the author has employed his genius to stir different emotions in the readers on many occasions, as can be seen from the following excerpts. 1. Appreciation of the beauty of nature çThe evening sun shone beautifully on the water Which splashed against the rocky crevices. The riverbed could be seen in the stagnant water, Where schools of small fish swarmed in plenty, Spitting sprays of water at insects, Which fell down dead to become their food. When the wind was still, birds sang in chorus. Their song was melodious to the ear. The fragrance of wild lamduan drifted by. Listening to the birds, Lam-Hap felt melancholy.é ç ùIt is a very pleasant morning, And my heart is full of joy. It is worthwhile, my trip through the forest

476 ‡ß“–ª“É ¢â“¢Õ∫„®¡“≈’∑‡Ë’ ∫°‘ ∫“π ≈«â πÕ“√’¡‘„Àâ‡√“¡“‡°Õâ ‡º¬‡º¬Õ°≈’∫ª√–∑‘Ëπ°≈‘πË ÀÕ¡À«“π  “¬À¬¥ÿ ¥°¬Õâ ¬ÀâÕ¬æ«ß¬“π °≈‘Ëπ´“∫´à“ππ“ “¥Õ°π“à ‡™¬ Ú. ∫∑§√«≠∂÷ߧ«“¡√—° ‚Õâ≈”À—∫®—∫Õ°¢Õ߇√¬’ ¡‡Õ㬠‰©π‡≈¬®–‰¥ â ¡ª√“√∂π“ ·µà«—π‡ÀÁπ‰¡‡à «πâ ∑°ÿ ¢∑å ÿ°‡«≈“ ¡“µ‘¥µ“‡µÕ◊ π„®„Àâ®”πß ∑√“∫«à“‡¢“¡’§à Ÿ À⟠ⓡÀ—° ¬Ë‘ß√ÕÈ◊ √°— „ΩÉ„®®π„À≈À≈ß ‡¡ÕË◊ ¬“¡πÕπ∂Õπ„®‰¡°à ≈â“≈ß ®–ª≈¥ª≈߇ ¬’ ¥â«¬ß“¡‡æ√“–§«“¡√—° Û. ∫∑√°— ¥«ß «“∑ ß“¡ ‘√«‘ ‘≈“ ‡©≈‘¡»√’ Õ“®‚ºÕ𮑵™“¬™“µ√’ „À â πÈ‘ √°— ™«’ ‡’ æ√“–À«—ß™¡ ·¡πâ ¡“¥æ≈“¥¡Õ◊ ‰¡à‡À¡◊ÕπÀ¡“¬ §«√«“ß«“¬¥’°«“à լয় ≈“¥ Ÿ à ¡

Ngo Pa 477 To see you, flowers; thanks for blooming, And not letting me come here in vain. You are all in bloom with such sweet fragrance. Sai-yut are hanging down in bunches, Petals slightly parted, exuding a sweet smell.û é 2. Lament about love çDearest Lam-Hap, the love of my life, How can I have you as I have desired? Iûve suffered since I laid my eyes on you, Since your face is ever present in my mind. Knowing that you have been spoken for, I try not to think of you, to no avail. At bedtime I keep sighing, unable to sleep, I will certainly die of my love for you.é 3. Love scene ç ù(My beloved wife, With a beauty so exquisite That may inspire a valiant man To scorn his life to enjoy you. If I could not have you as my own, I would rather die than miss you.

478 ‡ß“–ª“É π·Ë’ ≈π”È ®‘µæ∑Ë’ ’Ëπ‘¬¡ ‡°≈’¬«°≈¡°Õ¥ª√–∑∫— À≈—∫‰ª‡Õ¬ Ù. ∫∑·§âπ ‡¡◊ËÕππÈ— Œ‡π“øíß«“à ‡ÀπÁ °≈â“À“≠ ‡√ßà æ‚‘ √∏‚°√∏„®¥ß— ‰ø°“≈ ®÷ß«à“Õ⓬‡¥√—®©“π™à“ßæ“∑’ ¡ß÷ ‰ª©ÿ¥π“ß¡“°≈“ߧπ◊ ·≈«â ·°≈âߢ¡à ¢π◊ °¥¢’Ë ∑”°“√√⓬°“®™“µ‘Õª— √¬’ å ¬—ß¡“Õ«¥¥’«“à π“ß√°— °®Ÿ – ß— À“√º≈“≠™«’ ’ ¡„‘ Àµâ ‘¥∏√≥’Õ¬àŸ„ÀâÀπ°— Õ“â ¬§π√⓬°“®™“µ‘∑√≈°— …≥å „§√¥‰’ ¥âª√–®—°…å°—π«—ππÈ’ ı. ∫∑‚»°°π‘ „® (´¡æ≈“) æË’µ“¬®“°æ√“°‡®â“‰ª∑—ßÈ √—°  ¥ÿ ®–À—°À“â ¡«‘‚¬§‚»°®‘µ ¡“¥·¡âπ™«’ æ’ ’¡Ë ⫬¡‘¥ ®ß§◊𧑥√—°„§√à„πŒ‡π“

Ngo Pa 479 This is how I really feel about you.û He then hugged her and cuddled her to sleep.é 4. Scene of rage çWhen he heard Som-Phlaûs bold words, Ha-Nao became livid with great ire. Enraged as if his heart were on fire, He cursed his rival bitterly. ùYou damned bragging beast! You carried her off in the night, And raped her ever so viciously, Inflicting unspeakable vileness on her, And now you arrogantly boast she loves you! I will most certainly slay you To rid the earth of a vile scum like you. You vicious and obnoxious bastard, We will see who will be the victor today.û é 5. Moving scenes (Som-Phla) ç ùI must part from you, still loving you, Itûs beyond me to suppress my grief. After I depart from this world, Please have a heart for Ha-Nao,

480 ‡ß“–ªÉ“ ‡¢“§ß滑 «“ ‰¡à∫“¥À¡“ß ®ß‡ ◊ËÕ¡ √à“ß«‚‘ ¬§‚»°‡»√“â „Àæâ Ë’µ“¬«“¬æ–«ß¥â«¬π߇¬“«å ®–À≈∫— µ“≈“‡®â“∫√√≈¬— ≈“≠ (≈”À∫— ) ‚Õ«â à“´¡æ≈“¢Õ߇¡¬’ ‡Õ㬠‰©π‡≈¬¡“ —ßË ¥ß— πÈ’‰¥â æÕà ‡¥“®‘µ‡¡’¬º¥‘ ‡ªìπæâπ‰ª ¥â«¬π°÷ «“à π‘ ¬— ‡ªπì π“√’ §ß°≈«— µ“¬À¡“¬·µà®–À“ ÿ¢ ∂÷߬“¡∑ÿ°¢å‡¢“â  °— ÀπàÕ¬°Á∂Õ¬Àπ’ Õπ— Ωߟ À≠ß‘ ®√ß‘ Õ¬Ÿ¬à Õà ¡¡“°¡’ ·µà„®¢ÕßπÕâ ßπ’ȉ¡à‡À¡◊Õπ°—π æÕà µ“¬ƒÂ®–À¡“¬¡’º«— „À¡à „À°â π‘ „®°—π‡ªπì 𵑠¬å§¥‘ À«“¥À«Ë—π «à“‡§¬ ÕߧߪÕß “¡‰¡à¢â“¡«π— √ √°— ππ—È §ß®–®“ߥ⫬À¡“ß„® √°— ¢ÕßπâÕߪÕß·µà„À·â ∑‡â ∑Ë’¬ß ‰¡Àà ≈°’ ‡≈’ˬ߇¢Á¥¢“¡µ“¡« ‘ ¬— ®–„Àæâ àÕ«“¬™π¡åæπâ Àà«ß„¬ ‡¡Ë◊Õ‡°¥‘ ‰Àπ®–‰¥âæ∫ª√– ∫°—π