Dosana Iboe Rama he condemns forced marriage by depicting the marriage of a young woman to a wealthy man who is old enough to be her father; this ultimately leaves the woman an outcast, reaping the "sins" of her parents. Both Moegiri and Neng Jaja, meanwhile, dealt with young women who were overly free in their interactions with men, and thus faced a sorrowful fate: divorce, abuse, and infidelity. Legacy Joehana's works were commercially successful, and often adapted to the stage. His Rasiah nu Goreng Patut, for instance, was adapted into a variety of forms, including as a Malay-language lenong, and a stage performance of Tjarios Eulis Atjih is recorded in Ciamis. Three films have been adapted from novels by Joehana, two from Tjarios Eulis Atjih and one from Rasiah nu Goreng Patut. The first, Eulis Atjih, was directed and produced by G. Krugers and released in 1927 to popular success. The second, generally referred to as Karnadi Anemer Bangkong, was adapted from Rasiah nu Goreng Patut by Krugers and released in the early 1930s; it is known to have been a commercial failure, reportedly raising controversy for depicting a Muslim man eating frog meat. The third adaptation of a Joehana novel, also titled Eulis Atjih, was completed by Rd Ariffien in 1954. Stage performances of Rasiah nu Goreng Patut continued as late as 1980, though by that time the work was considered by the general public as part of folklore. Little academic discourse on Joehana was published until the 1960s; according to Kartini et al., this is attributable to Joehana's use of non-formal Sundanese. This renewal began with the republication of two of his works: Rasiah nu Goreng Patut in 1963 as a standalone book by Kiwari, and Moegiri as a serial beginning with the 15 October 1965 edition of Sunda magazine. Rosidi, that magazine's editor, included discussion of Joehana in his 1966 book Kesusastraan Sunda Dewasa Ini (Contemporary Sundanese Literature). Some more discussion, by authors such as Yus Rusyana and Rusman Sutiamarga, was published in magazines such as Wangsit or included in university lectures. Until 1979 Joehana's works had not been taught in Sundanese-language courses in schools. Modern critical reception of Joehana's output has generally been negative. Sumardjo writes that his greatest weakness was a lack of in-depth exploration of characters' psyches, as well as a tendency to include an unclear social background. Kartini et al. note Joehana's