3194?

Classical Sinhalese Texts Translation Series: No. 1

:• SALALIHINI SANDESA

of

TOTAGAMUVE SRl RAHULA THERA

TRANSLATED INTO ENGLISH

BY

EDMUND JAYASURIYA

POSTGRADUATE INSTITUTE OF ARCHAEOLOGY AND CENTRAL CULTURAL FUND 2002 319430 SALALIHINI SANDESA

gay , , ,, „ TOTAGAMUVE SRl RAHULA THERA !J

TRANSLATED INTO ENGLISH

BY

EDMUND JAYASURIYA

POSTGRADUATE INSTITUTE OF ARCHAEOLOGY AND CENTRAL CULTURAL FUND 2002 8V ^

ZMLALIHINI SANDESA

Totagamuve Sri Rahula Thera

First Print 2002

Published by the Central Cultural Fund for the Postgraduate Institute of Archaeology under the UNESCO Chair, which has commenced the project of translating into English the classical Sinhala texts.

Copyright Postgraduate Institute of Archaeology and Central Cultural Fund

ISBN-955-613-144-2

I lit fyyii /{0M

NATIONAL LIBRARY AND DOCUMENTATION CENTRft CCF Publication No. 3*

Printed at the State Printing Corporation Panaluwa, Padukka and 130 C, Pagoda Road, Pitakotte.

ti 319430 1 FOREWORD

Salalihini Sandesa of Totagamuve S I J|a|iyj0c.Th

As the Translator of Salalihini Sandesa suggests, 'Kalidasa's Meghaduta seems to have been known to our poet'. The classicial norms of descriptions of the different parts of the woman's figure (sisi vana uvana, moonlike face, tisara tana, swanlike breasts, etc.) are direct loans of Classical Indian aesthetics. The sandesa poet appears to have taken a bold step by breaking away from the earlier blank verse style so very prominently shown in the Sigiri Graffitti and commenced an era of using the rhymed quatrain in the 'samudraghosa' rhythm.

Such observations and many other aspects are of immense import in assessing the quality of a translation of classical poems of this nature. It is an accepted truth that even the best translation of a phrase or a whole text would never reach the same level of perfection of the original. The works of Shakespeare and Tennyson are not the same in their editions even in the same language., ie., English . Nor shall an English translation would reach similar heights of a classical Sinhala text, whether verse or prose.

It is in this light that we have to evaluate the present English translation of the Salalihini Sandesa. To begin with, the Translator wisely adopts the blank-verse style, which creates in the mind of the English reader an atmosphere of flowing reading and enabling easy comprehension at the same time. In this process, the proper use of words apparently recreates the rhyming rhythm that obviously marks the soul of the Sinhala verses of this text, eg.,

iii Valandina adahasin men suraganga angaria Nala bala sasala dala rala pela nuba ndgena Vela lasa gdvasi mutu sak pabalu babalana Bala maha muhuda ema sanda uturen penena

(Verse 27)

Translation:

Behold now, the great sea in the north With pearls, conches and corals glistening on the shore Where rows of waves swirled up by the wind Swell up towards the sky, As if to embrace the lady, the Celestial River.

Sisi vana uvana inga sunga gata hdki mitina nisi pululukula riya sakayuru tisara tana disi rana liyev rusiri yut mepurangana asi piya helana pamanin noveti devangana (Verse 13)

Translation:

Like golden creepers are the damsels of this city, Of face moon-like, waist so slim as the fist could hold, Swan-like breasts, well proportioned hips, like chariot wheels, Differ they from goddesses, Solely because they do blink.

The Translator himself expresses that 'the arthadhvani (suggestions by sense of words) and sabdadhvani (suggestions by sound of words) in poetry is untranslatable.' Yet, the attempt made by the Translator to provide a correct translation while maintaining a befitting rhythm, is praiseworthy. This style evidently facilitate the reader to comprehend the purpose or the objective of the poem-to beseech the god king Vibhlsana to bestow upon queen Ulakudaya a son worthy of protecting the lineage of the Royalty.

The translation shows a high degree of maintaining the poetic diction of the original, thus sustaining a qualitative analysis required from translations of this type of literature. More often than not, the English reader would be a novice to the Sinhala classical works. As mentioned earlier, the translation should fulfil the need of such novices in absorbing the correct meaning of the contents of the text. The

iv Translator of Salalihini Sandesa has succeeded in this exercise to a great extent.

The Introduction to the English translation, too, provides a concise but clear picture of the history of Sinhala poetry from the beginning. In the general section of the Introduction, he traces the history of the development of poetry through the centuries, and eventually paints a fair picture of the sandesa literature in general and the Salalihini Sandesa in particular. Thus, this introduction will no doubt provide a suitable scenario for the understanding and appreciation of classical Sinhala literature, more particulary, the poetic works, by the English reading scholar.

The elaborate notes of significant words added at the end of the translation, too, helps the English reader to understand the otherwise difficult terms. The different topics dealt with separately, eg., The city of Jayawardenapura, Departure, Good Omens, Sacred Tooth Relic, The Royal Palace, King Parakumba, The Route, The Temple of Kitsirime, The Kalani river, Entering the Vihara, Worshipping the Statues, The Temple, Dancing Girls, and finally the Message, would enable the reader to go through the text intelligently.

The translation leaves some of the proper names of flowers and trees untranslated in order to highlight the significance of such words. However, the notes on these words enable the novice reader to comprehend their meanings.

This publication is the first in the series of translations of Sinhala Classical texts into English by competent scholars. This project is being handled by the Postgraduate Institute of Archaeology under the UNESCO Chair.

We congratulate Mr. Edmund Jayasuriya for having prepared this translation for the satisfaction of scholars both local and foreign. We trust that this publication will satisfy the needs of Western scholars particularly in widening their knowledge of Asian literature of the past.

Leelananda Prematilleke Ph. D, FSLCA Chairman Translations Committee 08 March 2002.

v PREFACE

I am grateful to the UNESCO Chair of the Postgraduate Institute of Archaeology and the Central Cultural Fund of Sri Lanka for commissioning me for this translation.

I wish to thank Prof. Leelananda Prematilleke for his editorial assistance and Prof. Chandra Wikramagamage for reading through the proofs and making many valuable suggestions.

My thanks are also due to Ms. Gnana Maldeniya, Assistant Director of the Central Cultural Fund and n?r officers for all the assistance given in the preparation of the manuscript for the press.

Almost all the available editions of the Salalihini Sandesa of Totagamuve Sri Rahula Thera were consulted for this translation, but I mostly depended on Raipiyal Tennekoon's edition. (M. D. Gunasena & Company Limited, Colombo, 1956).

Edmund Jayasuriya

vi CONTENTS Page

1. Foreword iii

2. Preface vi

3. Introduction 1-36

4. Salalihini Sandesa - English Translation 39-55

5. Salalihini Sandesa - Notes 59-105

vii INTRODUCTION

General

Although Sinhalese poetry could be traced back to the earliest period of Sinhalese civilisation, it is only from the eighth century onwards that we can discuss Sinhala poetry with extant examples. Some early inscriptions have been cited as containing the earliest of Sinhala poetry. One such found in Kossagama near Maradankadavala in the Anu- radhapura district reads as follows:

Maharajhaha gamani Abayaha devanapiyasa (Ra)ma(ni)ba(ri)ya milakatisa Vihare ka(ri)te katiya

As interpreted by Senarat Paranavitana it means: "The Milakatisa temple was built by the beautiful wife of King Gamani Abaya, beloved by the gods". There seems to be a conscious attempt made here to put the words into some order but this falls far short of the classical definition of poetry.

Although there are references to twelve poets in the sixth century, none of their works is extant. Therefore, the earliest available examples of Sinhala poetry are the Sigiri graffiti (sixth to thirteenth century) and the eighth century treatise on Sinhala poetry, Siyabaslakara. In fact, the evidence of a comprehensive literature is seen only after the 11th century.

The beginning of the Sinhala language can be traced back to the time of King Devanampiyatissa in the third century BC when Thera Mahinda arrived in Sri Lanka as an emissary of King Dharmasoka of India. Thera Mahinda introduced Buddhism to Sri Lanka and the king was converted. Scholars believe that the Sinhala language begins with the activities of this group of emissaries led by Thera Mahinda.

The language of Thera Mahinda and his emissaries, according to scholars, was a kind of Magadha Prakrit. But what he brought to Sri Lanka was Pali literature as compiled by the third council held in Patna. When he preached in Sri Lanka he had done so 'in the speech of the island' and two such specific places are mentioned in the

1 chronicles, namely, the 'Royal Palace' and 'the hall of the state- elephant'.1 This shows that the 'speech of the island' at the time was developed to such an extent that it was possible to explain the Dhamma in that speech. While Thera Mahinda taught the Dhamma, the local monks learnt it in their own language. This led to the beginnings of Sinhala literature.

But nearly two centuries had to elapse before the Dhamma learnt by rote by the monks was committed to writing in the first century BC during the reign of King Vattagamani at Aluvihare in Matale. Several reasons led to this; one was that difficulties arose in the oral transmission of the teaching because of the influence of Mahayanism, which was in conflict with the earlier Theravada tradition. The other was the acute famine that set in during Vattagamani's reign, which left hundreds and thousands of people and animals dead. Physically and mentally fatigued, monks found themselves unable to commit the teaching to memory. The fear that the Theravada tradition might be polluted by other sectarian teachings was also a factor that led to the committing of the Dhamma to writing. In the words of G. P. Malalasekera: "They (the Aluvihara monks) systematised the canon and arranged it, so that the study of it became easier and simpler. And this writing down of the literature helped its advance in great measure; for a written literature can develop in a shorter time than one that is handed down by word of mouth, when each single text requires generations of teachers and disciples to be preserved at all. The service done by the Aluvihara Council in this respect was invaluable".2

King Vattagamani's reign marks an important period in the history of Sinhalese literature. It was the first time that the teaching was committed to writing and it was in this period that the writing of Sinhala commentaries began, which is considered the first kind of writing in Sinhala.

The period of three centuries between Vattagamani and Mahasena was a tumultuous period in not only the religious but also the literary history of this country. This was a time when the influence of Mahayanists was greatly felt. Local scholars began to be influenced by Sanskrit literature, which also saw the growth of sciences such as

1. MahSvanisa, Geiger Wilhelm, ch. 65. 2. Malalasekera, G. P. The Pali Literature of Ceylon, Kandy, 1994, p. 47.

2 medicine and astrology. Apart from such activities, there is no record of any other kind of writing during the period.

When Buddhaghosa arrived in Sri Lanka in the fifth century AD some Mahayana elements had already penetrated the Theravada doctrine. He came to translate the Sinhala commentaries into Pali and take them back to India because at the time there was an interest in the Theravada doctrine there. Buddhaghosa's exercise was much to the liking of the Theravadins because at the time Sanskrit, which was the vehicle of Mahayana doctrine, had taken pride of place over Pali.

Consequent to Buddhaghosa's work there was a resurgence of Pali literature. As Malalasekera comments: 'But even greater than this, for Ceylon, was the immense influence which his writings exerted on the development of the literary faculty among the Sinhalese Buddhists. The impetus he gave to Pali learning was very great"3 It was because of this resurgence that the chronicles Dipavamsa and Mahavamsa based on Sinhala commentaries emerged. Later the monks began to write even on subjects other than the Dhamma. This tendency was not without its bad effects. With the growth of Pali literature, Sinhala writing was relegated to the back burner, which impeded the progress of Sinhala literature.

With the growth of Pali literature in the fifth century, and Sinhalese literature consigned to the lumber-room, Sanskrit literature gradually rose to prominence. This was the time when Hinduism in South India and Sanskrit literature were in the ascendant. King Mahanama (468- 490 AD) and King Moggallana (552-570 AD) maintained close relations with India. The latter's son Kumaradasa (570-579 AD) was a famous Sanskrit poet held in esteem even by contemporary Indian scholars.

The Sanskrit literature of the Hindus had held sway until the end of the Anuradhapura period. These works have come into common usage over the Mahayana Sanskrit texts. Perhaps the reason is that they were not written for the purpose of religious propagation but for such other purposes as disseminating knowledge in medicine, astrol­ ogy, and literature.

The use of Mahayana texts was different. They were written with the sole purpose of propagating a doctrine, which was resisted by

3. ibid. p. 101.

3 Theravadins. Therefore, the Mahayana texts never took root in indigenous soil. As a result, the Vaitulya texts brought here during the reign of Silakala (590-603 AD), the texts brought by the Mahasanghikas during the reign of Sena I (887-907) and the texts containing the Nilapatadarsana were never accepted by the people.4 With the resurgence in Pali literature as noted above, monks had written more in Pali than in Sinhala. The apathy that began in the fifth century had continued up to the eleventh century for nearly 600 years until the beginning of the Polonnaruva period.

During this hiatus, we hear of laymen writing in Sinhala. So from the sixth century onwards we come across the graffiti on the mirror wall at Sigiri and about the twelve poets who lived during the reign of Aggrabodhi I (564-579 AD). This must have been a period of great activity in the field of poetry. In fact, Mahavamsa says that Moggallana II had 'poetic gifts without equal' and that he 'composed a poem in praise of the good doctrine which he, the best of men, from the height of his elephant, recited at the close of the sermon, in the town'.5 Scholars believe that some examples quoted in the treatise on grammar, Sidat Sangarava, have been taken from some contemporary works of poetry, particularly from a work called Asakdakava and a Miyuru Sandesa. The former is believed to have been composed by a poet called Asakda who was among the twelve poets that lived in the reign of Aggabodhi in the sixth century. But these works are now extinct.

Apart from the Sigiri graffiti, we find some early examples of poetry in the treatise on Sinhala poetry called Siyabaslakara believed to have been written by King Sena I in the mid ninth century. It is based on the Sanskrit work Kavyadarsa written by Dandin, the Indian Aesthetician, who lived in the seventh century in India. It codified the alaiMra theory. Many scholars were inspired by this work and they tried to absorb ideas in it into their own literature. It thus helped to build the alafkara theory in Sinhala literature as well. It is interesting to note here, that at about the same period, a book called Kavi Raja Marga was written in Kanarese (in India) based on Dandin's work on poetics.

However, Siyabaslakara should not be considered as a mere translation of Kavyadasa; it is an independent work and an adaptation

4. For details see P. B. Sannasgala's Sinhala Sahitya Vatn&iya, P. 38. 5. Geiger Wilhelm, op. at., ch. 41, vv. 60,61.

4 of the alarikara theories to meet the requirements of the indigenous literature. For instance, although Sanskrit theoreticians endorsed that only a king or a Hindu god should be the hero in a Maha Kavya, Siyabaslakara recommends that the descriptions of the character of the Buddha should be the central theme of a Maha Kavya. And Sinhala poets, making further modifications, always selected a birth story of the Buddha as the central theme. It also reveals that the Sinhala language was then rich enough to express subtle ideas.

The Polonnaruva period makes a decisive break with the past. During the last phase of the Anuradhapura period, Sri Lanka main­ tained close relations with South India. There was a rich literature in the local languages there, which was influenced by Sanskrit. This tendency seeped down to Sri Lanka too and literary works here began to be influenced by Sanskrit and alarikara theories. This was a period during which there was much activity in the field of Sinhalese literature, and according to MahSvamsa King Vijayabahu himself was a poet. 'To many authors of poems he gave, himself an eminent poet, great possessions with heritable villages. Did he hear verses composed by the sons of royal officials and by others, this prince of poets gave them befitting gifts of money. The highly gifted king stood in the composition of Sinhala poems at the head of the Sihala poets,.6 Unfortunately, no example of such poetry is available now except the two GJ Kavyas, Muvadevdavata and Sasadavata composed later. It is possible that such works were destroyed when Kalinga Magha destroyed the libraries in the latter half of the Polonnaruva period.

Muvadevdavata, a work of poetry composed during the twelfth century is the first extant work showing the influence of Sanskrit alarikara theories on Sinhala poetry. This appeared at a time when there was a dearth of works in Sinhala poetry and was based on a birth-story of the Buddha. It is about a king - Makhadeva who sees a grey hair on his head and decides to renounce the lay life and become a hermit. The Jataka tale is a brief, simple one, but the poem based on it indiscriminately follows Sanskrit alarikara theories, consequently losing the trend of the main theme. Scholars find fault with it for its heavy borrowings from Sanskrit literature.

The next GI Kavya is the Sasadavata composed in the twelfth century in the reign of Queen Lilavati. Explaining the reasons that

6. Mahavamsa, op. cit., ch. 66, vv 75, 76, 79.

5 led to the composition of the poem the poet says that he wished to praise the virtues of the Buddha and that the peaceful reign of Queen Lilavati was conducive to it. Here too the poem is based on a Jataka tale. The Bodhisattva in one of his births as a hare meets a man in hunger and jumps into a fire so that the man may satiate his hurger with its flesh. Seeing this selfsacrifice sakra, the king of the Gods, draws its picture on the moon.

But the poet apparently had another motive. He had tried to accommodate most of the alankara theories in his work for which he devotes a good part of the poem. This obsession with Sanskrit theories has marred his work with the result that the central theme lacks in poignancy.

However, scholars do not regard the two GI Kavyas mentioned above, as works of great literary merit. The two poets have selected two short birth stories of the Buddha as the central theme, but instead of dealing with the theme, they engage themselves in a fanciful exercise of creating conceits and hyperbole that have little or no nexus to the theme with which they are dealing. Extensive dependence on Sanskrit aesthetic theories has marred their work simply because those rules that were more suited to the evocation of ideas of love and passion (srrigara) were totally unsuited for a theme describing the character of the Bodhisattva.

Scholars consider Kavsilumina composed in the thirteenth century in the Dambadeniya period by King Parakramabahu II as a far superior work than the earlier two GI Kavyas. The poem is again based on a Jataka tale, the Kusa Jataka, which conforms to the tradition followed by the earlier works of poetry. It is generally believed that with this work the Sinhala poetic tradition that evolved from the Sigiri graffiti, Muvadevdavata through SasadSvata reaches its zenith. In fact, its name means 'the Crest Gem of Poetry'. In its composition, the poet had followed the Maha Kavya tradition as dictated in Sanskrit poetics. Essentially, it is court poetry written in a sophisticated language, and time was when the ability to read and understand it was considered the hallmark of a learned man.

According to Punchibandara Sannasgala, it is 'the inestimable, incomparable fruit that sprang up on the creeper of poetry that grew over the centuries in this soil.'7

7. Prof. P. B. Sannasgala, op, cit., p. 159.

6 The poet accommodates all the ingredients of a Maha kavya in his work, but succeeds in making his own contribution revealing his poetic skills. He does not let the main theme of the work get lost in a jungle of extraneous description and the innermost feelings of the human mind are portrayed with poignancy. Such scholars as Martin Wickramasinghe and Munidasa Kumaranatunga have commented upon his memorable description of the drunken revelry. In describing the state of mind of Pabhavatl lamenting over her husband the poet writes some outstanding verses perhaps unsurpassed by any other similar description in Sinhalese poetry.

The GI Kavya seems to have gone out of fashion during the following centuries. During the next period in Sinhalese literature known as the Kurunagala period, what is found is prose work. The Dambadeni Katikavata, a code of discipline for monks, enjoins that 'one should not learn low forms of knowledge like poetry, drama, etc. nor should one teach them to others.' Was this directive taken too seriously and poets kept off from writing? Alternatively, did the tradition die out, as it was largely court poetry far removed from the range of experience of the common people? Such are the questions that remain unanswered.

Although the GI Kavya thus declined, a new poetic tradition soon evolved during the Gampola period (1347 AD - 1412 AD). The sivupada form of poetry (quatrain) came into existence with the appearance of the Sandesa Kavyas. Although these were not entirely devoid of the Maha Kavya tradition, the poets nevertheless asserted their independence. The structure of the Sandesa Kavyas was different from that of the Maha Kavya, and the Sandesa poets found scope to display their talent independently adding local colour when they had to describe the route taken by the courier.

Apart from the Maha Kavyas and Sandesa Kavyas there are some other notable works of Sinhalese poetry to which category belong the Budugunalarikaraya, Guttilaya and Kavyasekharaya composed during the Kotte period.

Budugunalarikaraya composed by VTdagama Thera is considered a radical work. It holds to ridicule the faith in Hindu gods, which was in vogue at the time and criticises the royalty and the polity. Although the poet has sought inspiration from a theme in an earlier prose work, Butsarana, he asserts his independence in his intrepid social criticism.

7 After the Kotte period, Sinhalese poetry was diversified. Parakumbasirita is an example. It eulogised the king describing his heroism and chivalry. In fact, a striking feature during the period was the coming into existence of a kind of eulogistic poetry (Prasasti Kavya) describing the heroism of selected celebrities and their skills in combat. It was full of sound and fury but had little poetic consequence.

There was also a kind of didactic poetry marked by such works as LovMasangarava, Subhasitaya and Lokopakaraya. While the former offered advice for a better next world, the other two had some homely wisdom. Most of the ideas were borrowed from Pali, Sanskrit, and Tamil works with which the erudite poets were undoubtedly familiar.

Sinhalese poetry during its long voyage had passed several land­ marks reaching its zenith in the Kotte period in the 15th century. Although the excellence reached during this period remains unparal­ leled, Sinhalese poetry can justly boast of a proud lineage and several works of undoubted merit.

The Kotte period in Sinhalese Literature is without doubt one of the most momentous. The end of the Gampola period was marked by political instability. In addition to the internecine squabbles for power, the Tamils in the north created enormous problems. As Rajavaliya records: 'Aryachakravarti [king of Jaffna], whose army and wealth were superior to those of the other kings, caused tribute to be brought to him from the hill and low districts and from the nine ports.'8

When King Vijayabahu was taken captive by the Chinese, his wife Sunetra Devi left to Vidagama with her son. He was brought up by the Vidagama monk as he foresaw that the prince 'would one day rule beautiful Larika.' In course of time he manoeuvred to raise the prince to the throne of Larika under the name of Parakramabahu VI in 1415 AD and henceforth Sri Jayavardanapura Kotte became the capital of Lanka. The king reigned for 52 years and it was the first peaceful reign Lanka saw after the Polonnaruva period. It was a prosperous time for the country and the last golden age in Sinhalese history.

Literary activities too developed during this period. The peaceful environment and the royal patronage probably encouraged the writers.

8. The Rajavaliya, ed. B. Gunasekera, 1900, Reprint 1954, p. 57.

8 Poetic compositions far exceeded other works; in fact, judging from the extant works of Sinhala writing it was during the Kotte period that the highest number of poetic works has been composed. Sandesa Kavya that emerged in the Gampola period reach their zenith and we find new forms of poetry introduced. Thus, we get eulogies like Parakumbasirita and silo poetry.

Elusildsatakaya is the first example of the latter. 'Silo' means poetry and 'sataka' means hundred. A work containing hundred verses was called sataka. Sanskrit scholars started this kind of poetry and in Sri Lanka its history can be traced back to the Polonnaruva period. Diverse were the purposes for which these works were composed. Suryasataka was composed as a thanksgiving for the Sun God for self-purification. Paramisataka speaks of the bodhisattva as having fulfilled the ten paramidharmas (Buddhist ordinances). Arista and Yoga sataka are respectively on the diagnosis of diseases and pharmacology. Pratyasataka and Hitopadesa are didactic manuals. And Bauddhasataka and Namastasataka are works praising the virtues of the Buddha.'

Another feature that was introduced into literature was the practice of praising the virtues of the Buddha in poetry. Both Budugunalarkaraya and Guttilakavya have been written with this aim in mind. Thus, the Kotte period, without doubt, is memorable in the history of Sinhalese literature.

Although Sinhalese poetry has been evolving since the Anuradhapura period the practice of narrating stories from the Dhamma, (the Buddha's Teaching), began only during the Kotte period. With the growth of the quatrain in Sinhalese poetry, the poets perhaps saw a new break, which may have resulted in using this form to narrate Jataka tales.' Such a work is Sri Rahula Thera's Kavyasekharaya composed in the mid fifteenth century.

Kavyasekharaya is the second Maha Kavya in Sinhalese literature, Kavsilumina referred to earlier being the first. The author tells us that he composed it for Ulakudaya Devi, the daughter of Parakramabahu VI, who wished to read a Jataka tale in poetry.10

The poet selects the Jataka tale, Sattubhatta, for his poem. The story centres on a domestic problem where an old man marries a young

9. P. B. Sannasgala, op. cit., p. 254, 10. Kavyasekhara, Canto 1, v. 22.

9 woman who, when the husband is away, associates with a paramour. All through the poem, the reader feels the remarkable poetic skill of the author who has the gift of expressing in a few words various events in life with cinematic detail. Notwithstanding the criticism that the poet has borrowed from Sanskrit and earlier Sinhalese works, the fact that the poet is supremely gifted is indisputable.

Another work of poetry in this category is the Guttila Kavya that is classified as a khanda kavya because it is not divided into cantos. Again, this is based on a Jataka tale, Guttila, which describes the dilemma of a pupil who tried to outdo his teacher. Where the easy flow of the story and the perceptive narration of events are concerned it is unsurpassed among other works of its genre. Although no indication is found in the work itself legend has it that it is the work of Vattave Thera who was a pupil of Sri Rahula Thera. It also shows that the poet followed Indian alarikara theories but what is remarkable is that he makes use of them to create a uniquely independent work of excellent literary merit. No one who has not read the Guttila Kavya will ever understand the true Sinhala poetic tradition and its spirit.

What the above synopsis would clearly show is that the earliest record of Sinhala poetry that could be discussed with confidence is the Sigiri graffiti. SIgiri is a rock situated in the central planes of Sri Lanka that was used in the fifth century AD as a fortress by King Kassapa I. As the Culavamsa records: 'he (King Kassapa) betook himself through fear to Sihagiri, which is difficult of ascent for human beings. He cleared (the land) round about, surrounded it with a wall and built a staircase in the form of a lion. Thence it took its name (of Sihagiri) Then he built there a fine palace, worthy to behold, like another Alakamanda and dwelt there like (the god) Kuvera.'11 Sigiri is world famous for its frescoes and graffiti; but, it also 'presents a unique concentration of fifth-century urban planning, architecture, gardening, engineering, hydraulic technology and art.''2

SIgiri was first discovered by Major Forbes in 1831, the frescoes by Rhys Davids in 1875, and the graffiti by archaeologist H.C.R Bell in 1894. In 1956, Paranavitana published his monumental work on Sigiri Graffiti; a complete edited version of the 685 verses.

11. Culavanjsa, ed. Ch. W. Geiger, xxxix, p. 42. 12. Seneke Bandaranayake, The Cultural Triangle of Sri Lanka. 1993, p. 112.

10 Visitors to SIgiri from all parts of the country had inscribed these graffiti on the wall. According to Paranavitana, these belong to the period between 8-10 centuries. The verses express the feelings of the visitors on seeing the frescoes (figures of ladies) and the environment.

The graffiti reveal the status of Sinhalese poetry in the 8th to 10th centuries; and, it is evident that it was a developed form of poetry with features of a grown art form. Various rhymes, metres, and local metaphors have been employed in the composition when the treatise on Sinhala poetry, Siyabaslakara, or the Elu Sandas Lakuna had not yet appeared on the scene.

The embryonic form of the Sinhala verse visible in early inscriptions reaches a more tangible form with the SIgiri graffiti. The stupendous rock-fortress and the frescoes moved the Sigiri poets; so, triey speak of love and the beauty of the women. However, sometimes some of them turned philosophical too. Thus one writes that 'to have one's mind enthralled by a beautiful woman is like placing on one's head a jewelled elephant-goad' (v. 306) and another 'when a thing is taken excessively that has been taken wrongly' (v. 539.) We also find the earliest known literary critic among the graffiti. Writing anonymously (a practice not unknown to modern times!) he complains: 'Though he thought of this composition (of poetry), is that a poem which a certain person sat there and wrote? When he looked at this, did he not write empty songs? (Poetry) was composed by him, (taking things) as (they) appear when one looks at (them),. He seems to say what most modern literary critics affirm: that an artist must not only represent but also interpret.

As the poet was restricted by space, he had to express himself in a couplet or two; and, he was probably inspired by what he had heard from court poetry and what he had observed in his own environment as the following verses reveal:

Nil-ka(t)rola maleka dvunu vdtkola mala sey sdnddga sihi venne-y mahanel-vana (ha)y ranvana hun

(Like a vatkola flower entangled in a blue katrola flower, the golden-coloured one, who stood together with the lily-coloured one will be remembered at the advent of the evening.)13

Topa nuyuna mini-vitni vamhena paha dise(y) No kele ta(ma)n te[mam] e in (da) nim topa sura bava.

13. S. Paranavitana, Sigiri Graffiti, v. 334.

11 (In your eye (there) appears the effulgence which shines forth from jewel lamps. (And) that stillness (of the eye) has not been feigned by you. Therefore, I know that you are celestial beings.)14

Notwithstanding the fact that these verses show some affinity to Sanskrit and certain dialects of India, Paranavitana believes that they possess an individuality of their own because evidently the poets have studied the metrical system of their own language without being influenced by foreign elements.

An interesting feature here is that the quatrain (sivupada) though developed to its fullest scope during the Kotte period is found in its incipient form among the Sigiri poems. The Sigiri poets did not distinguish between the two forms using the common term gl for both, and they evidently favoured the depada or unrhymed couplet. Prof. Paranavitana also points out that certain poetic terms such as 'ayala- sit' or 'ubabas' cannot be traced back to the name of any poetic figure used in Sanskrit and that 'even before the tenth century poetics was a subject of study among Sinhalese men of letters and the system that was in vogue among them was a phase of that science earlier than that designated the Alankara, probably introduced from India and naturalised in Ceylon.'15

We shall now leave the Sigiri poets and come to the next work of Sinhala poetry, the Muvadevdavata. Even during the earliest period there was a tendency among Sinhalese writers to write books showing their faith in the Buddha, which was largely a Mahayana practice. This developed during the Polonnaruva period when the Triad of Hindu gods found accommodation there with the patronage of Chola kings. It was because of this new awakening that poets began to write books showing their faith in the Buddha. For this purpose, there were enough Jataka tales from which to select. Muvadevdavata was written for the common man who had no access to similar works in either Pali or Sanskrit. The measure of faith the writer had in the Buddha can be gauged by his statement:

Do I think of singing the praises of the Buddha? As well might I succeed in wearing a necklace Of dew drops Strung together with lotus-thread, (v.4)

14. Ibid., v. 50 15. Ibid, Introduction, p, cxc.

12 The work consists of 164 verses and is based on the Makhadeva JStaka. In one of his births, the Buddha lived as a king, happy and content. One day he saw a grey hair on his head and immediately decided to renounce the world and to lead the rest of his life as a hermit in the jungles. The story, though short, provides an intense psychological moment for a gifted writer to exploit. Unfortunately, the author of the Muvadevdavata was hamstrung by his excessive depend­ ence on Sanskrit literary theories and the main theme of the work diffuses consequently.

It is well known that poets in the Polonnaruva period resorted to Sanskrit theories when they composed their works. Therefore, they indulged in hyperbole and conceit in their various writings. As Hemapala Wijewardena points out 'For instance, the author of Muvadevdavata sees the moonlight as milk oozing out from a fountain on a sapphire floor. The glistening white dew on a green lotus leaf is like pearls on an emerald dish. For the author of Sasadavata, the gentle wind in front of the Buddha is a dutiful attendant sweeping the floor and strewing flowers for him on it. For the modern reader some of those expressions may seem rather facetious. How else do we take it when the author of Muvadevdavata says that the mark on the moon was made when it came into collision with the golden umbrellas atop tall mansions in the city of Mithila? Or that the ground near the entrance to King Makhadeva's palace was muddy even during the dry season because the must-mucus of elephants on whose back gifts were brought to him fell on it?'16

Nonetheless, the author of Muvadevdavata is capable of remarkable poetic imagery. Here are two instances:

Lalana kiyumbu vdlin Galata'shi sinduvara ron Etara nudutu hu piyo Pahasara vajtora sepiyan - v. 80

[Pollen from flowers On the flocks of hair on their foreheads Irritated the lovers' eyes So they were denied the sight Of their companions' round thighs.]

16. Hemapala Wijewardene, Sambhasa, vol. 4, 1992.

13 Feeling shy when the man looks at her thighs the woman would embrace him and kiss him so that the pollen from flowers on her flock of hair on the forehead would irritate his eyes making him unable to see her thighs!

Vata mandiya da laba Kalun kan mahanel mal Mana dola piri piyan Rasan damhi mini meraja. (v. 82)

[Albeit the lamp was blown off, With the water lily on women's ears The lovers' longing was fulfilled By the rays of gems in women s girdles. ]

When the men look at their naked hips the bashful women blow off the lamp with the petal of the water lily adorning their ears. But to no avail because the gems in their girdles throw enough light for the men to see their hips!

The next work, Sasadavata, followed on the heels of Muvadevdavata. The work itself says that it was composed during the first phase of Queen Lllavati's reign (1197-1200 AD) when the powerful General Kitti was her Prime Minister. Here again the author reveals that his devotion to the Buddha led him to compose this work, but a closer look at the work shows that he had other motives. In fact, the work is an attempt to go further on the lines of Muvadevdavata and conform to as many Sanskrit theories as possible in his work.

After the reign of King Parakramabahu the Great the administration was seized by rulers who came from Kalinga, which seems to have been a thorn in the flesh of Lankan rulers. So they always revolted against them and it was during such a period that General Kitti deposed Ruler Codaganga and enthroned Queen Lllavati who was the consort of Parakramabahu the Great.

The first phase of Queen Lllavati's reign was apparently peaceful, as endorsed by the author of the Sasadavata itself, and it is probable that the author was one who was loyal to both the queen and her Prime Minister. This work is also based on a Jataka tale. The Bodhisattva in one of his births as a hare meets a man in hunger and jumps into a fire so that the man may satiate his hunger with its flesh. Seeing this selfsacrifice sakra, the Chief of the Gods, draws

14 its picture on the moon. Just as in the earlier work, here too the theme provides room for intense psychological analysis. The reactions in the mind of the hare when it sees the man in hunger, its self questionings and yearnings, and the final determination to jump into the fire to provide his flesh as food to the man. Unfortunately, the poet has missed such opportunities because his urge to emulate Sanskrit theories overrode all other considerations.

In fact, his main concern has been to compose poetry in Sinhala but follow the rules of Sanskrit poetics to the marrow. Descriptions of the city, weather, and nature take a greater part of the poem comprising 293 verses. Moreover, for the first time in Sinhalese literature he accommodates Sanskrit poetic forms as kavata, ekasvara, kulaka, etc. in his composition.17

Sasadavata clearly shows the extent to which the Sinhala writers of the Polonnaruva period were influenced by the Sanskrit tradition. Another noteworthy factor is the language of Sasadavata, which could not have been the language in common parlance as evidenced by the contemporary commentary to it that was written to explain the words.

The GI Kavya tradition continues and reaches its zenith in Kavsilumina, a work by King Parakramabahu II of Dambadeniya. The work is as usual based on a JStaka tale, the Kusa JStaka, although the poet has modified it to suit his needs. It is a very popular story among the Buddhists, which represents the escapades of a very ugly man (Prince Kusa) trying to capture a very beautiful woman (Pabhavati). Prince Kusa's antics at the elephant kraal, the stable, and his manoeuvres in the lotus pond and as a cook have always captured the imagination of the Sinhala reader. Hailed as the only Maha Kavya in Sinhala it is undoubtedly the work of an unusual talent.

According to Sanskrit alahkara theory, a Maha Kavya is classified into two forms: Maha Kavya and Khanda Kavya. The latter is short and is not divided into chapters while the former should be long and should contain several chapters; in addition, it should also contain descriptions of specified features, Kavsilumina is considered a Maha Kavya that meets all the demands of alahkara theory. It is also important in the study of the development of poetic diction from the earliest times through SIgiri graffiti, Siyabaslakara, Muvadevdavata and Sasadavata.

17 P. B. Sannasgala, op. cit. p. 111.

15 Kavsilumina is also credited with providing contemporary social information and as a lexicon of many rare words; it also uses the same word in various contexts thus displaying the potential of the language. Commenting on its achievement Martin Wickremasinghe writes thus: 'Though full of the usual paraphernalia of alankarists, the Kavsilumina still deserves to rank as one of the greatest works in Sinhalese Literature.... While the Kavyasekhara of a later time may be regarded as the product of a happy synthesis of the Sanskrit Kavya style with native poetic tradition, the Kavsilumina is the highest product of an unmixed classical tradition.',s

Although the poet's imagination sometimes runs to absurd lengths (as when he says that the fame of Prince Kusa made women's faces shine like the moon and also covered their nudity, canto 1, v. 57 or when he compares the drops of water pouring down the breast of a woman washing its unguent to bloody pearls off the forehead of an elephant split by the blow of a lion, canto 11, v. 16) he writes some remarkable verses.

Here is an example of superb poetic imagery almost cinematic in expression:

Sidin van nala'nu - mini data lamba kusum dam vatupu saratasa maruyen - piya devhu du hida gat. (Canto 7, v. 6)

[The wind that blew in Through the gold mesh in the window Swung the garland in the room Which covered the light And dispelled the fatigue Thus endearing itself to both the lover And the beloved.]

The idea here is that when the wind blows into the room it swings the garland hung on the canopy of the bed; when the garland swings it covers the light from the lamp which is hung in between the garland and the window. When the lamp is covered thus there is darkness and the woman likes it because it covers her nudity; and the wind dispels the fatigue of the man. Therefore, the wind 'endears itself to both the lover and the beloved.'

18. Martin Wickremasinghe, Sinhalese Literature, p. 37.

16 Daka pavasin tama - saratasa ukula's dahara vehelin'du nuvana gabini-la miyul kala mini odam. (Canto 8, v. 38)

[The young pregnant doe Made the eyes of the deer Tear-laden by seeing her fatigue A gem-chalice.]

It was hot and the doe was fatigued by thirst. But there was no water for her. Seeing this the deer's eyes fill with tears. The doe sees this, and she comes near him and sucks the tears. The deer's eyes become a gem-chalice because its eyeball is so bright and shines like a sapphire when it fills with tears.

Among the verses in the Kavsi[umina are some embodying worldly wisdom.

Examples:

Duma'siri vat pul - liya ve bamara pirivala nirksiri pavat vat hot - nusudusuda ka madamata? (Canto 11, v. 42)

[When the creeper with flowers climbs onto a tree bees will surround it. If it remains on the ground, anybody may trample it.] Anyone must behave in the way most appropriate to him; if not he must bear the consequences.

Miyuru rasa vasana van - padathi nova hidathi ma (Canto 13 v. 22)

Taste in food lies in the mind, not in the food; a very close statement to 'beauty lies in the eye of the beholder.'

Tana'gi hem barana bara - kinu mut kanavan nat (Canto 12, v. 23)

[Howsoever is a woman's breast adorned with gold ornament, nipples will be black, never golden.]

Sandesa Kavya

The basic concept of the Sandesa Kavya could be traced back to pre-Christian times. For instance, a bitch called Sarama was used as courier in a story in the Rg Veda. The asuras stole the cows belonging

17 to the suras and hid them in a cave. But Indra found them through Sarama who was used as a courier. When King Ravana confined Rama and Sita in separate places, a monkey called Hanuman carried their messages to each other according to the Ramayana story. A swan takes a message by King Nala to Damayanti in the famous Mahabharata story. In the Kama Vilapa Jataka, a man enters the Royal Park to steal flowers to satisfy his wife's longing to wear a garland of vanuk flowers. The watcher seizes him and takes him to the king who orders him to be impaled. The grieved husband sends a message to his wife through a crow.

However, Kalidasa's Meghaduta is considered the first Sandesa Kavya.

The poet himself created a plot of love and compassion, which may be briefly related as follows: A youth was employed to look after the water lilies in the pond called manasa belonging to the King of Yaksas, Kuvera. The youth after marriage devoted his time to his young wife thus neglecting his task. In the meantime, elephants entered the pond and destroyed the water lilies. Enraged by this, Kuvera uttered a curse on the young man and imprisoned him for one year away form the city and his wife in a temple called the Ramagiri. Separated from his young wife the youth led a lonely life, and noticing a cloud that was drifting overhead he appealed to it to carry the news of his plight to his forlorn wife.

Meghaduta is not only the first of its kind but also considered to be the best which inspired later poets. Local scholars also held it in esteem. But a matter for surprise is that there is not a single Sinhalese Sandesa that has an inanimate object as courier. Incidentally, Kalidasa does not seem to be the first person who used a cloud as a courier. In a translation of a work by Nagarjuna, a Chinese writer Hsukan (196-221 AD) mentions of a husband sending a message to his wife through a cloud. Even the contemporaries of Kalidasa and his followers have used the cloud as a courier, which goes on to show that it was a common convention in Indian literature."

Ananda Kulasuriya suggests four reasons for the importance of sandesa poetry in the field of Sinhalese Literature.20

19. P. B. Sannasgala, op., cit., p. 3. 20. Ananda Kulasuriya, Sinhala Sahitya 4, 1997, p. 380.

18 1) Appearance of poetic literature after a long period of prose literature, which takes a new form.

2) (a) Difference in the themes of the Sandesa Kavyas, (b) Such themes are closer to reality and worldly matters.

3) Appearance of rhymed quatrains instead of unrhymed couplets.

4) The importance of Sandesa Kavyas in the changed context in the field of literature.

We have already seen how Sinhalese prose literature that began in the Polonnaruva period continued for about 400 years. During this period, only three works of poetry appeared, namely the GI Kavyas; Muvadevdavata, Sasadavata and Kavsilumina, and the general ten­ dency of the writers was to resort to prose. This trend continued until the latter half of the Gampola period when sandesa poetry appeared. It is still not clear why this poetry took the form of sandesas. It may be noted that some scholars based on certain references in the Sidat Sangarava and Elu Sandas Lakuna have argued that sandesa poems existed even earlier. Unfortunately, those works are now extinct.

Unlike the earlier works of poetry that mostly dealt with Buddhist religious themes, the Sandesa kavya mark a clear turning point in that they deal with mundane subjects. Through them, we could understand the changes in the political arena and the aspirations, beliefs and other religious tendencies of the elite.

By purpose and design, the sandesas fulfilled a worldly desire like seeking the blessings of a god or some other divinity for the welfare of the king, the royal family or the members of the sangha. To that extent, the purpose of the sandesas was purely secular. But they are not entirely devoid of religious feeling or emotion. In fact, the courier is always directed to pay homage to the Buddha in various temples on his way and such descriptions are as a rule touching and poignant.

The Sandesa poets broke tradition in that they used the rhymed quatrain in their compositions. Why and how such a difference took place is not clear. Was it a sudden change or was it the result of a gradual evolution over the years? Though there is controversy on this matter, the latter proposition seems more likely. As we have already seen, the quatrain existed, even in an incipient form, among the Sigiri graffiti inscribed between the 8th- 10th centuries.

19 Kalidasa's Meghaduta seems to have been known to our poets. In fact, some have suggested that the Indian poet may have inspired the Sigiri poet writing the following verse:

Vandimi himi vala to gosin dya nivesnqta piribun - paga malayuna - divota to hadahava kiya kiyay

(My Lord, the Cloud! I worship thee, go thou to her house and, speaking (again and again), do thou cause her, whose courage is shattered and whose tongue and lips are dried, to have faith.)21

Although the basic idea of the Sandesa was borrowed from Kalidasa there are many noteworthy differences. Meghaduta is essentially a message of love describing the pangs of separation of a youth from his beloved. The plot in it is pure fiction and an inanimate object, the cloud, takes the message.

But in the Sinhala Sandesas we see quite a different picture. There are no invented plots in them nor do they embody any personal grievance. They are much more realistic as far as the main message is concerned and seem to have been prompted by existing socio­ political condition. Secular love receives no place in them. And the courier is always a bird, never an inanimate object.

It is not clear why a bird was selected as the courier. Scholars suggest that our poets perhaps followed the practice from Kerala particularly because there were close relations between the two regions in the 14th - 15th centuries. In fact, the idea of the Sandesa itself may have come from there. However, let it be noted that the Sinhala Sandesas are unique in that none of them was composed to get a personal wish fulfilled, none carried a message of secular love, and none was pure fiction. All couriers in the Sinhala Sandesas carried a message having a direct bearing on some socio-political issue of public interest.

The faith in gods was the vogue at the time the Sandesas were written. The people believed that four gods, namely, Kihirali Upulvan, Saman Boksal, Natha and Savat Kataragama were entrusted with the responsibility of protecting the country and the religion. Among them, a favourite god of the sandesa poets is Upulvan. Four out of the first eight sandesas namely, Mayura, Tisara, Parevi, and Kokila, invoke him. Lord Buddha in his deathbed entrusted the protection of the

21. S. Paranavitana, op., cit, v. 134.

20 religion and Lanka to God Sakra who in turn handed over the protection of Lanka to God Upulvan. The Mahavamsa records: "When the lord of gods heard the words of the Tathagata he from respect handed over the guardianship to the god who is in colour like the lotus".22

The word Sandesa is a derivative from Sanskrit, and it means 'successful communication'; but it has been used to convey many meanings like 'news', 'information', 'message', 'errand', etc. The word is not found in Sinhalese literature before the eleventh century. The first appearance of the word to mean a message occurs in the prose work, Saddharmaratnavaliya, written in the thirteenth century. In the Maha Sutasoma Jitaka too the word appears in the same meaning. The word comes into usage with Vidagama Thera's Hansa Sandesa written during the Kotte period in the fifteenth century.

The Sandesa Kavya as a literary genre is well known in the ancient literature of the east. Works composed by the poets in North India were known as duta kavyas while those by the poets in the South were known as Sandesa kavyas. The first Sandesas written in Sri Lanka were known as 'asnas' or 'hasnas'. Probably due to South Indian influence, the word Sandesa began to be used in the Kotte period.

A Sandesa is recognised by the presence of four features: a sender, a courier, a recipient, and a message. Further, Indian aestheticians have enjoined several requisites as obligatory upon its composition; that the hero or the heroine should be a celebrity, the poem should start with a blessing, the courier must be praised, the destination must be mentioned, the route must be outlined describing distinguished persons on the way, the message must be narrated and the courier must be blessed.

The first Sandesa in Sri Lanka appears to have been composed in the Pali language. Known as Manavulu Sandesa and composed during the Polonnaruva period it is really a reply sent by Nagasena Thera in the city of Manavulu to a letter sent by a monk in Burma. Although it does not conform to the classical definitions, it has however been regarded as a Sandesa. The second Pali Sandesa appears in the fifteenth century and is called the Vuttamala Sandesa Satakaya. The poet is supposed to be Gatara who is believed to have lived in a temple by the same name. This work is noteworthy because it is the first time that the Sandesa has been used to invoke the blessings

22. Mahavamsa, op., cit., ch. vii, v.5.

21 of god on a person. The third one is the Rama Sandesa composed in the first half of the nineteenth century by Kunkunave Sumangala Thera invoking the blessings of Sri Visnu on King Sri Wickremarajasinghe.23 Mayura Sandesa is now generally accepted as the first Sinhala Sandesa. Written in the fourteenth century in the Gampola period during the reign of King Bhuvanekabahu it invokes the blessings of God Upulvan on the king, the royal family, Buddhist Sangha, and the people. The author is not known but there are suggestions that one Kavisvara, a nephew of the famous writer Gurulugomi, has composed it. As a pioneer work, it shows considerable literary merit. An intriguing feature in the work is that although its intended purpose is to invoke the blessings of Upulvan on the king and the royal family, a disproportionate number of verses has been devoted to sing the praises of Alagakkonara, the viceroy.

The next Sandesa, Tisara, was composed to invoke the blessings of God Upulvan at Devundara on Parakramabahu of Datigama. After slaying Alakesvara, Sri Parakramabahu of Kotte waged war against Parakramabahu of Datigama. The people of Datigama met the challenge but they could not hold for long. It was apparent that they were fighting a losing battle. The Chief Monk at Devinuvara was devoted to Parakramabahu of Datigama and he invoked the blessings of Upulvan on his friend. After doing so, he conveyed the fact to Parakramabahu through a courier who was a swan (tisara). Although the author is not known by name some believe that it was the work of Gatara who composed the Vuttamalasataka in Pali invoking blessings on the same king. (However, this is a highly controversial subject.)

Parevi Sandesa is the first Sandesa composed after Parakramabahu VI became king at Kotte. Its author is the famous Sri Rahula Thera. The king had two daughters named Chandravati and Lokanatha. The elder Chandravati was of marriageable age and Sri Rahula Thera, who was her brother, invoked the blessings of Upulvan to find a suitable partner for her. This is the theme of the Parevi Sandesa so called because the appeal is conveyed to Upulvan through a dove (parevi). The young Rahula probably grabbed the opportunity to exhibit his budding talents before the king and the country!

Although the year of composition of this work is not known, many scholars believe that it must have been written before Kavyasekhara,

23. P. B. Sannasgala, op., cit, p. 8.

22 that is before 1449 AD, and is probably the poet's debut. It contains 203 verses and though certain descriptions in it are somewhat lewd, as is understandable in the work of a young man, yet they undoubtedly reveal the talents of a gifted poet.

Salalihini Sandesa is the next work written during the reign of King Parakramabahu VI. At the time the Sandesa was composed the second daughter of the king, Lokanatha, was married to Nannurtunaya and was childless. Parakramabahu had only daughters and a male was necessary for succession. Sri Rahula Thera who had poetic talents and faith in the gods invoked God Vibhlsana at Kalaniya to bless Ulakudaya Devi, as Lokanatha was known after marriage, with a son. It is this invocation which is known as the Salalihini Sandesa and, without doubt, the best of its genre.

Earlier in the Parevi Sandesa the poet invoked Upulvan to find a husband for the king's older daughter. This time he invokes Vibhlsana who is at Kalaniya. Was it because the earlier appeal to Upulvan went unheeded? Or was it that Vibhlsana was the appropriate authority vested with the power of blessing women with children? Whatever the reason the route that the courier had to take was the shortest compared to all the other Sandesas, but let it be said without any hesitation that it is the best description of a route in the entire gamut of Sandesa poetry.

Next comes the Giri Sandesa with two notable differences. One is that the poet himself does not invoke the god but requests another to do so; the other is that for the first time a Bodhisattva, Natha, is invoked to protect the king and the country. Apparently, the Bodhisattva had also been deified at the time.

The author of this poem is not known but internal evidence suggests that it must have been a monk as the courier (parrot) is sent on its mission from a temple. It is asked to deliver the message to the head of the Vijayaba pirivena who is believed to be the famous Sri Rahula Thera; the message is a request made to Rahula Thera to invoke the blessings of Natha on the king and Buddhism. The manner in which praises are showered on Sri Rahula Thera shows that the author must have been much devoted to him. The specific year of writing cannot be exactly fixed but as the wars waged by the king are given as bygone events, it is likely that is was written during the latter period of his reign.

23 It is the work of a gifted poet in the Kotte period. His compositions are fluent, lucid and his descriptions of the landscape are remarkable; they are simple, yet in a few words he creates vivid word pictures of unusual beauty and charm. Consider the following description of a temple scene:

Turuyatiyen hunu pati lehenun rdgena situatiyen pimba anga pirimdda semena malagotuyen pan povamin atinatina sitipatiyen heranungen vey sobana

(Behold the temple where monks Picking up baby squirrels fallen from trees Cause them to drink water from leaf-cups Fondly stroking their bodies.)

Or consider the following verse describing the dawn:

Sandaras vaturu lova piremin basina sanda turuhis aturu rdndi pena pela lesa vihida edavas udaya vana kusuman ddka nomanda sitatos vada manda tan tagosin sabahda

(Be happy watching the forest flowers of the dawn Like the foam retained scattered on tree-tops When the water of moonlight filtered through Filling the world.)

Hansa Sandesa in a way may be considered a reply to the Gira Sandesa. While Gira S. sang the praises of Sri Rahula Thera Hamsa S. sings the praises of Venerable Vanaratana, Head of the Padmavati Pirivena, Karagala. The contents reveal that the author (yet unknown) was against faith in gods, and that he was championed by a group of monks probably of the Vidagama sect. In place of faith in gods, what it highlights is the authority of Buddhist sutras. Hamsa S. assails the Gira S. in two observable ways; firstly, it takes verse by verse and tries to emulate the poetic features (alahkara) and do better, secondly, it challenges the ideas and concepts expressed in them.

Harnsa S. is known for its independent use of language and the unique style of description. Language is simple, not burdened with alahkara frills, and describes events in a candid manner, but within this simplicity lies depth of meaning and emotion. For instance:

24 Minisek diya pina yey etera ta anganak diya pina ey tnetera ta paharak duna saranin ohu sirasa ta anikak dnduva esandehi dura si ta

(Swims across a man to the further bank A woman swims across to this bank She gave a kick on his head And then, from afar, another woman wept.)

The perceptive reader will not miss the pathos underlying the apparent simplicity of this verse. Why did someone from afar weep?

Following is another verse displaying his sensibility:

pksey nibahda suvandal ketvat avata asey lama vasu patiyan handa avata disey vehera ehi sura vimanak lesata rasey ami rasamaya c piyasa duta

(Green fields the region forever surround Where the cry of calves abound The temple there a heavenly mansion Pleasing the eye in sweet abundance.)

Two other Sandesa Kavyas appeared during this period, namely, Parevi and Kokila Sandesas, but they do not show signs of maturity or poetic skill. Sri Rahula Thera composed the former when he was young and it shows heavy dependence on Sanskrit aesthetics and borrowings from the earlier Gi Kavyas, though there is some evidence of his innate talent.

The Kokila Sandesa is the last work composed during Kotte period and the longest among its genre. It is replete with borrowed similes and metaphors and bears no evidence of the poet's independent creative skill. In fact, he has borrowed from the Hamsa Sandesa not only the meaning but also the metre of the verses.

The practice of composing Sandesa Kavyas does not seem to have continued during the following periods. The only Sandesa of some merit that followed was the Sdvul Sandesa composed during the Sitavaka period. But it certainly is of lesser literary merit and shows a tendency to borrow from earlier Sandesas and resorts to hackneyed metaphors. In a sense, it marks the beginning of the decline of the Sandesa Kavyas.

25 The other works that followed do not demand special mention here other than to note that they marked a period of decline when the genre was used to invoke the blessings of various gods for personal ends, a feature unknown to the best Sandesas. The poets, lacking competence and skill, resorted to various forms and devices that revealed little creative ability.

Sandesa Kavyas have to be studied within a particular literary convention and what is expected of them. Most other literary works were written with the aim of disseminating moral values while providing literary entertainment. But the Sandesa Kavyas were different in the sense that they were mainly written to invoke the blessings of god or of some other divinity. There were other aims like pleasing the king and providing entertainment.

Traditional Sinhala poetic imagery invests the simplest incident with a complex series of events; but behind it is a vivid picture that captures the reader's mind. For instance, here is a verse from Tisara Sandesa:

Lahiru piyahu vasa vasanata karate de ta kesaru tudin manda manda pa epa pa ta tamburu muvin senu sena sandehi vil ka ta sonduru sabanda in yaganna mava ta

This is a simple incident of sunlight falling on the water in the lake. But the poet 'humanizes' it, so to say, and describes it thus: Sun is the husband whose rays are his hands. The lake is his wife and the water her garment. The falling of the rays of the sun on the water in the lake is like the husband taking the edge of her garment in his hand. When the husband does so the wife (the lake) smiles. Her face is the lotus and its pollen her teeth. The gradual opening of the lotus revealing the pollen is like the gradual parting of her lips in a smile.

Hamsa Sandesa is famous for lucid poetry where alahkara features when used are not prominent. It contains no amorous descriptions and its courier is requested to spend the two nights on its way listening to Buddhist chanting and viewing the beauty of a temple unlike others who were asked to spend the night love-making! Some verses read almost like folk poetry of which the followig is an example:

Sayurata divena maha gan navati tan nata andurata biyava rivi sandu hitapu tan nata vidinata bariva viduravi pdkili tan nata yudayata pamina menirindu paradi tan nata

26 (Nowhere have the rivers flowing to the sea stopped Nowhere have the sun and the moon stopped in fear of the dark Nowhere has God Indra faltered unable to shoot Nowhere has this king lost in battle.)

When the poet describes something, he depends more on his own observation than on conventional imagery and mataphor. Here is how he describes an evening offering in a temple:

Amatdna karana muni puda narambana lesa ta tanatana sdvul gana paminena turn sira ta dilihena muni mandura pahanin ehi nosi ta divayana andura men vavulan nikut vi ta

'The fowls come to treetops as though to catch a better view of the offerings made at various places; when the lamps are lit one by one in the shrine room bats leave as lumps of darkness that retreat.'

The comparison of bats retreating from the light to lumps of darkness is a memorable line that shows the creative skill of the poet.

According to the works now extant, the Sandesas could be broadly divided into several periods of Sinhalese literature as follows:

Gampola period - Mayura Sandesa - Tisara Sandesa Kotte period - Parevi Sandesa Kokila Sandesa Salalihini Sandesa - Gira Sandesa - Hamsa Sandesa

SItavaka period - Sdvul Sandesa

Although these Sandesas follow an unvaried structure, each poet's talent has added variety and diversity into them as works of poetry. Scholars consider the Mayura Sandesa, the oldest of the extant Sandesas, to be of notable literary merit. Salalihini Sandesa is the shortest and the most successful work composed during the Kotte period. The Gira Sandesa and the Hamsa Sandesa, in addition to being good poetry, also provide rich source material for those interested in contemporaneous academic and religious conflicts.

Some of the best poetry in Sinhala literature is found among the Sandesas written during the Kotte period. The various poets who

27 exploited this medium made the best of the quatrain (sivupada) in addition to exploring new avenues in subject matter and poetic expression. Although they invariably show their allegiance to Sanskrit aesthetics, they have certainly established their identity not only in the use of language but also in the delineation of individual obser­ vation.

Living as we do in the twenty-first century the world of the Sandesa kavyas may seem simple, unsophisticated, and yet quaint. Similes and metaphors used by the poet are directly transported from legend and myth far removed from the range of experience of the modern reader. Though some of them may now seem bizarre, they have been meant for a particular society in a particular period of time when life was simple and every visible phenomenon fell into a meaningful pattern. What Senerat Paranavitana observed in another context may be appropriate here: 'These verses were composed on a particular occasion, in circumstances of a peculiar nature, and were addressed to an audience who were in a certain frame of mind. What was considered effective and striking in such circumstances will cease to be so under different conditions. Certain allusions, and the particular associations evoked by certain words, on which the effectiveness of a verse depended, would have been obvious to those to whom the verses were originally addressed.'24

Yet, the beauty and achievement of the Sandesa kavyas are such that several centuries later we continue to return to them and invariably come back richer for the experience.

Salalihini Sandesa

Sri Rahula Thera composed Salalihini Sandesa during the reign of King Parakramabahu VI of Kotte. According to internal evidence it was composed in the 35th year of the king's reign, which would establish that it was composed in the year 1450 AD. At the time of the writing of the Sandesa, Lokanatha, the younger daughter of the king, was married to a Tamil prince called Nannurtunaya. After marriage, she came to be known as Ulakudaya Devi; both she and her husband were pious and well versed in the Sinhala language and Buddhism.

As the king had no children of his own only a son of the above couple had the right of succession to the throne; but Ulakudaya Devi

24. S. Paranavitana, op., cit., Introduction, p. clxxxix.

28 had no children. Sri Rahula Thera who apparently had unshakeable faith in the gods decided, on behalf of his sister, to invoke God Vibhlsana of Kalaniya to bless the princess with a son. This invocation, sent through the bird Salalihini, is known as the Salalihini Sandesa.

The courier on his mission had to cover only a short distance, from Kotte to Kalaniya, and he had to lodge but one night and that too because he set forth on an evening. The description of this route is one of the most memorable poetic compostions found anywhere in the works of this genre.

Obviously, this invocation was successful because Ulakudaya Devi was blessed with a son who was named Vijayabahu. After the death of King Parakramabahu in 1467 AD, Vijayabahu became king of Lanka.

Although renowed as a poet and scholar, little is known about the personal life of Sri Rahula Thera. It is known that he was brought up as a son by King Parakramabahu VI, belonged to the Maurya clan, and was a nephew of the Uttaramula Chief Monk, which establishes his relationship to that institution. But no mention is made of his teachers or where he studied. Legend has it that he became a monk under the tutelage of the VIdagama monk, studied under him, that at the age of sixteen, as a result of uttering an incantation, he was graced with a boon from God Skanda Kumara and that due to drinking an overdose of sarasvati oil (an oil supposed to have the power of improving the memory) belonging to his teacher he developed an extraordinary memory power.

Further information tells us that he was the Head of the Vijayabahu Pirivena at Tqtagamuva and was the Chief of Sangha. Because of his competency in languages he was conferred with the title of sadbhasaparamesvara and was known as Vacissara Rahula because of his fluency in both writing and speaking.

Among his extant works are the Parevi Sandesa, Kavyasekhara, Salalihini Sandesa, all works of poetry, Pahcikhpradlpa and Buddhippasadani TTka. The latter two are commentaries on Magadhi and Pali grammatical works that reveal his erudition.

Salalihini Sandesa is Sri Rahula Thera's second work of poetry, the first being the Parevi Sandesa written when he was a young man, which though it shows signs of a budding poet does not reach the heights that the Salalihini reaches. The latter displays his poetic skills,

29 mastery over language, his supremacy as a poet, and his keen sense of observation of even the seemingly simple events in life.

But the reader may be forewarned. Sandesa Kavya in Sinhala literature is a distinct class of writing with an identity of its own. The poets were enjoined by tradition to follow certain requisites as obligatory and the scope did not give much leeway for the poet to assert his independence and let his imagination free play. Within a restricted space the poet had to work and make the best use of a medium that was, so to say, somewhat hidebound. The reader must be mindful of this fact; he must not expect 'lofty thought' or 'profound analysis' of life in this class of poetry. Sandesas promise only rasa (aesthetic flavour) for the reader and that, at times, in abundance.

With the Sandesa kavyas we enter a strange but a fascinating world. In a way that is a world lost to us because modern thought does not permit us to indulge in certain beliefs and assumptions that were so natural to the world of the Sandesas and those who inhabit them. Most metaphors and similes used come from legend and myth that seem foreign to us. Yet, a certain enthralling quality in them binds the reader and makes him respond. But as in the case of most poetry and art, 'a willing suspension of disbelief is called for here.

Everything described in the Sandesas was perfect: celebrities, women, or cities. A celebrity was always as learned as Jupiter and had a flawless physique; a woman has a face like a moon, eyes like blue water lilies, breasts like swans and her hip was so symmetrical that it resembled a chariot wheel! Cities had mansions whose roofs touched the moon; they invariably had moats around them and parks were always green and blooming. Courtesans roamed the cities at night, their hair decked with flowers and breasts adorned with cosmetics and strings of pearls. In fact, our courier, the Salalihini, is asked to awaken one morning listening to the call of the lapwing carried by the wind charged with the fragrance of cosmetics on the breasts of courtesans. It was a wondrous world where adversity dared not enter. Perhaps the writers of yore composed for a particular audience as dictated by the economic and social system of the time.

To introduce Salalihini we may quote from one of the foremost Sinhala scholars of modern times: 'There is nothing original in conception in the Salalihini Sandesa. It is a string of everyday sentiments about the bird whom the poet selects as his courier, and

30 about its flight through the Ceylon countryside. The success of the poem lies in the way in which the poet communicates his sentiment in words which have an emotional content which is not lost even to the reader of today. His vocabulary is, therefore, poetical in the real sense, unlike the dead and artificial vocabulary of many an earlier writer, or the prosaic and matter-of-fact language of some later poets. His images are always subservient to the main task of creating the appropriate mood, and even in his use of stock figures of speech, he displays the restraint that comes of maturity and learning. He seldom spins metaphors or weaves rhythms as a mere exhibition of skill. Sometimes by the introduction of subtle variations within the conven­ tional pattern of the Samudraghosa metre, he transports the reader from one plane of feeling to the other.'25

Of all the sandesas, Salalihini is the most concise, a virtue that is discernible throughtout the work. Even in description, the poet was precise and brief, and had the knack of creating a vivid image with economy of language.

This skill is obvious from the very first verse, the ten-line stanza, the dasapada-sahalla. Some scholars consider it as the best of its kind in any Sandesa poem. There is a perfect blend between meaning and metre. The description of the bird as 'fashioned of flowers' and the fairies trying to grab it on its flight through the sky creates a memorable picture revealing the sureness of the poet's hand in the use of language. It also establishes the special relationship between the poet and his courier, which is one of affection more than one of employer-employee. The bird's feet were golden-hued like pollen of flowers, beak was pink like a sapu bud, and its wings blue like water lilies. So it looked 'fashioned of flowers'. We almost see the poet stroking its body lovingly and asking him: 'Are you all right, dear? Did the fairies create any problems on your way? Oh, I am so happy now that you are here.'

Another gift that he possessed was his ability to work through the same metre and capture different moods and movements. As observed by Wickremasinghe he employs only the samudraghosa metre, but he manipulates it to create various moods by the skilful^ use of either artha dhvani (suggestion by sense of words) or Sabda dhvani. (Suggestion by sound of words.) This quality in poetry is, alas, untranslatable, but in his description of the bird, Salalihini, it strikingly comes through:

25. Martin Wickremasinghe, op., cit., p. 151.

31 'lapa nomavan sanda men somi guna gihini opa vadi gata helmali siyumali pamini

'As gentle as a spotless moon, Of frame radiant and soft as lotus'

Sri Rahula Thera, shows his unmistakable skill in poetic delineation and precision in the sensitive handling of language. It is mostly free from lengthy descriptions and overused similes and metaphors as are customary in sandesa poetry, and with a few brush strokes, as it were, the poet creates impressions in his own inimitable style:

Perava sanda kirana pipi kumudu mal vatin parava tambara peti gili diyatala pitin tatava sihi ativa paraterata yana atin karava piyasara saki kontagan totin

[Over the sheet of water where kumudu flowers Lie wrapped in moonlight all around Where fallen petals of red lotus float; From this, the kontagam ferry, take wing, With vigilance to reach the further bank.]

Freeing himself from Sanskrit poetic theory, the poet evokes vivid sentiments in us with such simple word pictures. Here he describes the Kontagam ferry in moonlight. He refers to white kumudu flowers that bloom at night as 'wrapped in moonlight' and contrasts it with fallen petals of red lotus floating on the water. Some commentators have observed that his warning to his friend to exercise his foresight and fly over the stretch of water to reach the further bank as an allusion to the emptiness of life and that one should always be alert to free oneself. Or are we breathing too much meaning into an otherwise simple statement?

At times he resorts to suggestion made by the sound of words (sabda dhvani) in evoking sentiments as in the following example:

Valandina adahasin men sura ganga afigana nala bala sasala data rala pela nuba nagena velalasa gdvasi mutu sak pabalu babalana bala maha muhuda ema sanda uturin penena

[Behold now, the great sea in the north With pearls, conches and corals glistening on its shore,

32 Where rows of waves swirled up by the wind Swell up towards the sky, As if to embrace the lady, the Celestial River.]

Here the poet wants his friend to watch the sea. But he invests the sea with a memorable word picture. The second line in the original verse, whose alliteration does not render itself into English, conveys by the sounds of the words how the waves roared and rose towards the sky. The waves are hands constantly rising trying to embrace the lady, the Celestial River.

Sri Rahula Thera was gifted with a keen sense of observation of nature. He saw beauty in everyday simple events and had the consummate skill in delineating such impressions into exquisite poetry. Read how he tells of a bird enjoying a fruit:

Manga nilamin siti na domba ni piyala piya salamin mala'gehi kela roninavala tatuda lamin biMa vilikun miyuru pala isumbu lamin ya sola damba panduruvala

[Flapping your wings O, Salalihini play on Before pollen-laden flowers Of na, domba, bakmi and piyala trees, Standing on either side of the road shading it; Split the sweet, ripe fruits with your beak, Move on, then, resting on damba shrubs.]

A similar word picture that the poet creates is the description of Maskeliya village.

Dana kan gena damana godurata no panimin diyen ovunovunagehi peraliya lehelun ke.lana kara pena pindu ra.la rajiya etanin piyasara kara daku mas ke.liya

[Fly on, and see Maske.liya Where the Lehel fish scuffle, Splashing the water and making foams, Scrambling at titbits thrown in by the people.]

Employing words of a particular sound pattern the poet suggests the movement of the fish and the sound of splashing water and creates a vivid poetic picture out of a humdrum event.

33 An aspect that comes out strongly in the present work is the poet's deep faith in the Hindu god Vibhlsana.

For the modern reader the description of the god may perhaps seem exaggerated and far-fetched but it reveals the nature of awe and admiration with which the poet regarded God Vibhlsana. His metaphors and similes are drawn from myth and legend. He sees the god's crown as the "chariot of the Rohini constellation atop mount Anjana." Describing his forehead-band, the poet says, "the lightning, confused and separated by the rain cloud turning white, alighted on the forehead of this god to shine forever." From time immemorial people believed that lightning, rain, wind, etc. were supra-mundane powers, regarded them with awe, and paid homage to them. Thus, it is not difficult to understand why the poet compared the forehead to a rain cloud and the band to lightning.

The poet compares the god's hand to the Kalpavraksa, the heavenly tree and sees a striking similarity. The tree has clusters of flowers like the rays diffused by the gem-studded bangles in his hand; the tender leaves in the tree are like nis long fingers; just as the branches of the tree confer people's wishes so do his hands! The poet concludes the description with the following verse:

Tun Id tama natu kala ravulu sohovuru tun kal bala ramiMuta vu itu mituru tun ve aduru pulatisi kula mini mituru tun vitekama vandu e suriUdu pa tafnburu

[Brother to Ravana, Conqueror of The Three Worlds, Made friends with Prince Rama, Taking heed to past, present and future events, A gem-lamp unto the dynasty of Pulasti, Master of the Three Vedas, Worship thrice this god's lotus-like feet.]

Urging his courier, the Salalihini, to worship the god 'thrice' sums up, as it were, the poet's total dedication to the god.

The poet was certainly enamoured by nature and had the knack to present its essence to the reader with warmth and feeling:

Sihil sapu suvaMa gena ena nyanvala sihil nelen handavana mini kikini kala vipul rat semera banda ran dada sasala Jakal me pura tula valaha rivi tdvula

34 [In this gorgeous city, large, golden flags With red whisks and tinkling bells Fluttering in the breeze charged with the cool fragrance Of sandal, and sapu flowers from the city parks Subdue the heat from the sun.]

With a few words the poet paints a picture of the city with its parks full of flowering trees, the gentle breeze charged with the fragrance of flowers and large flags with whisks and tinkling bells flapping in the wind subduing the heat of the sun. Note how he adds colour and sound: golden flags with red whisks and tinkling bells.

Sri Rahula Thera was a master in the use of language to evoke feeling and emotion. The following verse creates for us a scene in the countryside, but finding a place for the courier to relax, he almost transfers the feeling of shade, warmth, and security to us because of his sensitive handling of language:

Sannan sihingendi sevanalu villi telena tantan vala ma satapi siyumali bavina ranvan karal gena ena giravun atina yan man tosin manga toraturu niyama dana

[Tender as you are, Repose often on sandy plateaus Under the shade of Hinkenda trees. Know your exact way From Parrots bearing golden pods in their beaks, And merrily move on.]

The shade, the sandy plateaus, the trees, parrots bearing golden pods in their beaks evoke in us a touching scene. Do we not almost feel the tenderness and the soft sand under our feet?

Little can be known about contemporary social conditions from the Sandesa literature. One reason for this is that the particular poetic convention restriced the poets, and they tried to achieve excellence of description at the expense of true to life portrayal. In fact, Salalihini Sandesa is the only work that is largely free from this defect, a fact borne out by the description of the route. Apart from some infrequent padding for the sake of rhyme, the description is so realistic that even the present-day reader would readily respond to it.

35 To conclude the essay we may quote from Punchi Bandara Sannasgala: 'Like the sun, the Salalihini shines with its own light. It is the only work of poetry that reveals Sri Rahula Thera's genius. In its composition, he did not depend on poetic convention; did not think of Sanskrit literature; did not go by what the earlier poets had said. He said what he had to say as he saw it in simple, well-suited words. It was thus that the entire work was composed; thus it became a reflection of his genius.'26

Edmund Jayasuriya

2-C/52, Mattegoda N, H. S. Polgasovita, Sri Lanka.

26. P. B. Sannasgala, op., cit, p. 86.

36 SALALIHINI SANDESA - SALALIHINI COURIER English Translation Salalihini Sandesa - English Translation

1. Hail thee, Salalihini, the Noble Friend! Eloquent and melodic of speech, Privy to the secrets of Royalty, yet discreet May you live long with your kin!

2. Like the pollen of flowers golden-hued are your feet Your beak, pink and elegant as a sapu bud Your wings, blue like the petals of nilupul.

Your figure seems of flowers fashioned, Thus, in your flight through the air,

Did the siddhanganas not grab you to adorn their long, blue hair? Did the bees hovering in the lotus grove not surround you?

Did the sylvan nymphs not grab you to adorn their ears? Was there any such hassle, dear friend, on your way? What other delight is there, indeed, Than seeing you who never forsake But increase the love where it has arisen.

3. As gentle as a spotless moon, Of frame radiant and soft as white water lilies, Gifted with pleasant speech as situmina Blest are we to have seen you!

4. In times both adverse and prosperous Loyal friends do not turn their back on Just as paintings on a wall; Possessed of such values are you Adorable friend, Listen intently to my words That would serve well hereafter.

5. This message may you deliver to God Vibhisana Who dwells in the city of Kalyani Replete with heaven-like prosperity, Of fame like flowers on the Tree of the World; Its trunk Mt. Meru, roots in the NSga world With branches unto the four cardinal points spread.

39 6. Friend, you enthral me As a rain-cloud in the sky would the peacocks Expound later I shall the message, its flavour intact: Now, learn the signs of your route from this point onwards.

The City of Jayavaddana

7. Know you friend, The City of Jayavaddana where live the elite, Pious, devoted to the Triple Gem; A city beside whose affluence heaven pales, Justifying its name by deed.

8. With its red lotuses and golden swans Lake Diyavanna seems ever like a silk garb, Worn by Lady Jayavaddana; Its swirling stream as her waist-fold, And the continuous ripples the garb's pleats.

9. The City Wall with gates firmly locked Stands like a gem-studded breast band Now cast aside, Worn earlier, in the prime of her youth, by Lady Lanka With Mount Samanala for her coiffure And the ocean for her girdle, manimekhala.

10. With sounds the city ever resonates like a second sea, The sounds of tinkling bells around horses' feet, Their hoofs clattering, And of elephants' ears, with yak-tail fans, flapping And the victory sounds of conch shells.

11. In this gorgeous city, large, golden flags With red whisks and tinkling bells Fluttering in the breeze charged with the cool fragrance Of sandal, and sapu flowers from the city parks Subdue the heat from the sun.

12. Here the enchanting balconies of lofty, storeyed abodes, Adorned with figures of fairies, and other celestial beings Seem like mansions descended from heaven, To view the colourful, perpetual city festivals.

40 Like golden creepers are the damsels of this city, Of face moom-like, waist so slim as the fist could hold Swan-like breasts, well-proportioned hips, like chariot wheels; Differ they from goddesses Solely because they do blink.

This city lying opposite the North holds hundreds of treasures; Where demigods and nocturnal spirits dare not enter, Leaders of men, the rich, live here: Thus, by its splendour, it outplays Alakapura, The city of Kuvera, the King of the North. Departure

When Jupiter illumines the sky, And the moon, from the constellation of asvida, Appears overhead, It is time for you, friend, To set forth from this city Paying homage to your guardian deities. Good Omens

Behold yonder, omens more auspicious: Fragrant breeze, brimful water-pots, Mangoes sweet, and white flowers, Damsels of speech tender, golden pitchers, Yak-tail whisks and parasols dazzling white And playful elephants. Sacred Tooth Relic

In the three-story temple, Worship the Sacred Tooth Relic, Which, like the moon, fills the world with its silvery radiance; And renders divine benefits and bliss of Nibhana Being associated with the Teaching, the Dhamma, Which was in His mind. The Royal Palace

From there quickly enter the Royal Palace Whose walls are of sparkling quartz built, And whose jewel-capped golden spire

41 Diffuses radiance around, While scallops of soft pearls under its eaves Swing in the gentle wind. King Parakumba

19. Behold, Friend, His Majesty King Parakumba, Who's like the sun unto the lotus-pond Of the dynasty of Manu On whose shoulders the Goddess of Wealth forever dwells And who's as comely as the consort of Goddess Ramba.

20. Seated in his throne like the manifest Vishnu Adorned with the full sixty four ornaments, and the crown, His Majesty hails from the unbroken lineage of Manu Worship his holy feet, And take your leave of him.

21. Over the sheet of water where kumudu flowers Lie wrapped in moonlight all around Where fallen petals of red lotus float; From this, the Kontagam ferry, take wing, With vigilance to reach the further bank.

22. Rest a while in the charming Temple of Isvara Where rows of flags flutter Amidst the rising fumes of aloe and camphor, Where Tamil prayer-songs sung by the devotees, The drum-beats, the blowing of conch shells, And the tinkling of bells intermingle.

23. As the sun rises, and the breeze sweeps across Carrying the scent of cosmetics On the full breasts of courtesans, Along with the sweet voice of lake-swallows; Awake, listening to the five-fold music at dawn.

24. When the sun, Shining atop the golden pillar of Mount Morn Illuminates the world like a lamp, Watch the ritual offerings to Isvara; But, tarry not, and spread out your wings To sail across the blue sky.

42 To the east, Noble Friend, is Mount Samanala Where lies the imprint of the Buddha's hallowed foot In lotus-like splendour; Worshipped by God Saman and goddesses Offering radiant madara and parasatu flowers.

To the south of our king's city, Jayavaddana, Is the temple of God Mahasen, Imposingly bedecked, lustrous with gem-like rays of the sun Where flags with the fowl emblem flutter On golden poles.

Behold now, the great sea in the north With pearls, conches and corals glistening on its shore, Where rows of waves swirled up by the wind Swell up towards the sky, As if to embrace the lady, the Celestial River

Tender as you are, Repose often on sandy plateaus Under the shade of hlnkenda trees, Know your exact way From parrots bearing golden pods in their beaks, And merrily move on.

Behold, General Sapumal arriving, On horseback with his troops, After victory over Yapapatuna; In splendour like the Sun God, Under the white parasol Lit up by his gem-set ornaments.

Descend and tread on the white sandy path, Strewn with the pollen of fallen flowers; Where groves of idda are in blossom And king swans gather in lakes full of flowers.

Espy the soldiers Armed with thousands of shining bows, spears and swords On guard at Kaikavala, Resolved to stop even the Great Elephant, Airavana; And quickly fly over the forest of flowering trees.

43 32. On the sand, bright as moonlit, Watch the lissom sylvan nymphs, Playing about on flowery couches Amidst festooned, scrolled creepers; Rest, then, on a young sal tree, Among its refreshing tender leaves.

33. Watch the Valambalama resting place, Near the pond, banks shaded by the kollam trees, And damsels with garlanded, perfumed hair, Refresh themselves in its cool waters, And then, move on.

34. At noon, enter the Sumutana forest, Where sprightly young men With musk-spots on their suave foreheads, And garlands of red lotus on their heads Make merry romping.

35. Play on, O Salalihini, flapping your wings Before pollen-laden flowers Of na, darnba, bakmi and piyala trees, Which, standing on either side, shade the road, Split the sweet, ripe fruits with your beak, Move on, then, resting on darhba shrubs.

36. Bewilder not and pass Gurubavula Where appear ponds overspread with water lilies Flowered by the sun, And where lovesick cuckoos call in the arbour, While jungle-fowls fight by the road.

37. Watch on your way the brook of icy cold water, Full of multi-coloured lotus, bees hovering over them Surrounded by dunuke and muruta in full bloom Like ruby-studded gold jewellery Worn by the Forest Goddess.

38. On your way, watch and pass through Guruluketa, The paddy field in harvest, Where women guarding it gaily play on; Their breasts glistening with the pollen of red lotus, With blue water lilies their ears adorned.

44 39. The line of kumuku trees laden with flowers and fruits Seems like a necklace of corals, pearls and emeralds Worn by the Lady Village; Attract will it your mind, so pause a while, But move on from the village, Velendagoda.

40. O, worthy friend, pass through the paddy field, Veralana Arrayed with red ears of paddy, ripe and bent, Surrounded by forests of blossomed sapu, dunuke and hora Wherein echo the calls of the jungle fowl and the lapwing

The Temple of Kitsirime

41. Repose with your kin on a pleasing dariiba tree Thick with foliage and flowers; Enjoy the fragrant breeze and rid yourself of fatigue: In the afternoon, visit the Temple of Kitsirime

42. Worship the stupa, Poised like the crystallised glory of the Buddha, The sacred Bodhi tree, sparkling with the lustre Of His dark blue eyes; And the Statues radiant, Like the moon through evening clouds. The Kalani River

43. Pause a moment on the banks of River Kalyani Where on either bank stand Blossomed groves of sal, sapu, kma, damba and na, Projecting cool, refreshing shadows.

44. Naga maidens of manner enchanting With kadupul flowers on their blue hair, Around their hips the gem-studded girdle, Their breasts graced with pearls and sandal paste dabbed on, Dart glances out of the corners of their long, blue eyes-

45. Sing they sweet, holy songs seated on the soft sands In praise of the Buddha, Playing with their finger tips The harp-strings in fine melody; Lend your ears to them.

45 46. Damsels with sapu and madhavi flowers in their hair, Wearing, on their breasts, Strings of bright young damba fruits, And na flowers in their ears After playing with young men in the parks-

47. When they, the damsels, Like golden creepers moved by the wind Eyes as bright as blue water lilies And smiles as white lotus Lotus-like face and red lips Have finished their bathing in the river replete with gems-

48. The sun appears like a ripe red fruit about to fall From the Stalk of West Shaken by the wind rushing through the branches Of the sapphire-blue Tree of Sky.

49. As if signifying the nature of virtuous men That loyal friends, when in distress, Should not be forsaken The daytime followed the setting sun.

50. As evening clouds in the west horizon gather Like a red-carpeted stage of rubies, Laid by the sea-dwelling God Varuna, To receive with affection the Sun, his kinsman, -

51. As stars appear like flowers Strewn on the nuptial bed of sky By the longing Bride of Night, To receive her consort The radiant and bright Moon-

52. Fly on, and see Maskeliya Where the Lehel fish scuffle, Splashing the water and making foams, Scrambling at titbits thrown in by the people. The City of Kalaniya

53. Descend, O Salalihini, on the elegant city of Kalyani Which moves with the times, not growing old; Flags with tinkling bells grace its mansions, Whose gem-studded spires radiate light around.

46 54. Friend, behold the lamps on its highway Like the amazing array of sparkling gems, Which were visible in the ocean-bed When sage Agasti took its water into his palm, Which, then, looked like nectar in a lotus.

55. As the moon appeared in the east Reflecting the colour of rubies of the eastern rock And the lustre of the evening Water from the moon-gem walls of city mansions Poured forth into the Celestial River Which made her rejoice with pride in her fidelity.

56. Admire, O friend, the moving golden creepers Blue clouds, new moon, and blue lotus Corals, conch shells, elephant heads Concave drums, sandy planes, plantain trunks, Peacock necks, pearls, and tender leaves.

57. As Lady Night pleased by the city's dazzling festivals Offered the Silk Fabric of Moonlight Drawn from the Receptacle of Moon to Lady City She in turn covered the Garment of Sky of Lady Night With the gem-studded girdle Drawn from the Chest of the Shining Mansions.

58. In that city repose cheerful couples, In balconies in the moonlight, With minds to each other devoted Wearing fragrant garlands; kokum and sandal paste dabbed on their bodies.

Entering the Temple

59. Move on, Friend, along the inner city paths Past coconut and plantain trees laden with fruit, And attractive home-gardens, Then, turn right, and reflecting on The nine virtues of the Buddha enter the temple.

Worshipping the Statue

47 60. Reciting the great virtues of the Buddha, Acclaimed the world over, Worship, resting your wings on the floor, The regal image in the Lankatilaka Image House, And receive heavenly bliss and deliverance Pleased as if you've seen the Buddha with your own eyes.

61. Worship the lotus like holy feet of the Stone Statue Radiant in the colour of the sea, Which God Sakra created to protect the people When in the past the sea submerged the land.

62. Behold, if you can, O friend, The effulgent gems of the five storeyed mansion From where Thera Maliyadeva preached, And saved sixty bhikkhus from drowning In the Sea of samsara.

63. In the Circular Relic-House, worship the stupa, Which shines like the bubbles that rose When Visnu stirred up the sea with Mount Mandara, Spreading its brilliance, In all directions, like the moon.

64. Worship the reclining Statue in the west mansion Whose long eyes shine as blue lotus And lips as red coral, Face as charming as the full moon, In radiance supreme in the world.

65. From sixteen points, worship the Great stupa Erected sixty-cubit high to mark the place Where Lord Buddha, On the invitation of the Naga King Maniakkhika, Arrived by air and preached amidst arahants Seated on the Gem-Throne.

66. Worship the Statue in the Naga Shrine Room, Displaying before the devotees how the Buddha sits Within the coil of Mucalinda, the Cobra, sheltered by its hood, When, in the sixth week, Heavy showers poured down on all sides.

48 Behold the SamSdhi Statue Like the reflection of the serene Buddha, When he delivered the people from samsara, With the Nectar of the Dhamma; With rapt concentration, worship it.

Worship The Sacred Bodhi Tree That stands like the silver-staffed sapphire parasol Gifted by the gods to the Buddha The day He attained Enlightenment And gain merit.

In the southern gateway Whose dovecotes touch the moon Listen, at ease, to the varied musical offerings And worship the two Tivanka statues of perfect execution

Shining with the auspicious marks-

Then, without turning your back, worship the Robe Stupa Built on the spot, where the undefiled Buddha, After a bath in the cool waters, Of the river resembling the outstretched trunk Of the Elephant of Mount Samanala Donned his three robes.

Worship, O Friend, The statue in the elegant mansion Built with reverence by the devotees Marking the spot where, King Kalymatissa, Driven by mistrust, immersed the faultless arahant In the cauldron of boiling oil.

The Temple

O, benevolent friend, bear in mind the infinite merit You have gained in your worship; To offer it to God Vibhlsana, enter now, his temple, As magnificent as the Vaijayanta, the Indra's Palace.

Dancing Girls

49 73. On the stage, watch the girls dancing: Their hair ornate with fragrant flowers Bright gold ornaments shining in their ears, And their long, blue eyes made up with unguent.

74. Like waving flames are the dancing girls Casting side-glances at their arms Raising and lowering, as they dance; Radiant jewels brighten their bodies As gleaning waist-frills on their broad hips, Fan out as they dance in formation.

75. Behold, O Friend, the splendour of these belles, Dancing to the beat of the drum, Moving their lotus-like feet. As the gem-studded girdle on their comely hips And the gold anklets jingle in concord.

76. Friend; enchant your eyes, ears, and the mind, Seeing these girls singing like divine beings Assembling the seven notes of the flute and the harp, The humming of bees, and the call of the cuckoo In symphonic orchestration.

77. After such dance and song offerings Admire the sight of God Vibhisana Of world-renowned fame, Gaily seated in the centre of the temple.

78. Visible on the head of this god, A refuge to the whole world, Is the golden crown beaming with pearls and gems; Like the chariot of the Rohini constellation, Atop Mount Anjana.

79. Lightning, confused and separated When the rain cloud turned white Seems settled on this god's forehead Which ever resembled the cloud, To shine always as his forehead band.

50 On the ears of this graceful god As two sapphire swings Gold earrings gleam Like the pair of gold mirrors of SarasvatI Who evermore dwells on his face.

His eyebrows, blue and prominent On his forehead manifest as rain clouds, Bestowing showers of comfort on his devotees, Like the rain clouds unto a hill-paddy field; And, on his enemies, the terror of lightning, Like the rain clouds unto a forest.

His eyes shine like two morning suns Forever dissipating with a mere glance, The Darkness of Enemies, Blossoming the Lotus Grove of Friends, And dispelling the Dew of Danger.

The long, prominent nose of this god, Of whose fame do fairies sing Outshines the sapphire bugle; Which, alas, suffers In the service of gods and kings.

The two tusks at either end of the God's red lips Shine like swans in a charming, vermilion lake Or, like two crescent moons, Were they to manifest At either end of a range of evening clouds.

His hand, decked with gem-studded gold bangles, Diffusing rays like clusters of flowers, With its long fingers like copper, tender leaves, Succours his people outshining the glorious branch Of Kalpavrksa, the heavenly tree.

On his broad chest like a sapphire slab, Bathed by the eternal, affectionate glances, Cast by the goddesses, Like applying finishing lines on a painting; Goddess Laksmj sports forever delighted. 87. On the plane of his broad hips Stand his thighs, round and smooth, Shining forth with the rays Of cat's eye gems in his girdle, As though sprinkled with water.

88. Turned red like lac By the radiance of crest-gems of crowns Of gods paying homage to him, His feet stood on a lotus; Seeing which, the tender leaves of Asoka, In fear seem to tremble.

89. Like the sea is this God, Pleasant, dazzling, deep, pure, and blessed; Pleasing those who behold, Yet, at times, frightening, Verily do words fail to express his elegance.

90. As he fulfils all that the people wish With the mere mention of his name, How could he be compared With the Celestial Tree, Cow, or the Gem? Even diseases begotten by sin does he dispel Without a trace as water from a lotus leaf So even Divine Physicians exist but by name.

91. As he bequeaths fame, wealth, glory, wisdom, Armies, victory in war, kingship, offices, Progress, longevity, and power As do the people wish Verily is he the result of all their merits.

92. Brother to Ravana, Conqueror of The Three Worlds, Made friends with Prince Rama, Taking heed of past, present and future events, A gem-lamp unto the dynasty of Pulasti, Master of the Three Vedas, Worship thrice this god's lotus-like feet. The Message

52 Then, when the God is well-disposed And the time proper, Offer him greetings standing on one side, Explain therewith the purpose of your visit, Without hurrying, without contradiction.

O, the steadfast Mount Mem, the Majestic Sun, The renowned deep Ocean, bright blue Sky The gentle Moon, Jupiter the Teacher of Gods, May you, the God of the city of Kalyani, live long!

Like a king swan gliding In the Lotus Pond of Royal Dynasty, Of bearing, gracious as the erstwhile Cupid, Eternally blessed with all wealth, And radiant with the jewelled ornaments Of glory, power, might and virtue-

Nanniir Tunaya, the worthy minister, Who faithfully keeps you in mind offering oblations, Wished that this message be conveyed to you with care, May your lordship be pleased to lend your ears for a moment To that memorandum.

Like the Brilliant Sun in the centre of the Autumn Sky Of the Lambakarna Clan of the Solar Dynasty, Is our king Parakumba Of glory world-renowned Whom Laksmi, the goddess of prosperity, never deserts Whose fame is like a nacklace of pearls, Around the necks of poets-

Well-versed in the Teaching of the Buddha And so free from evil deeds Having made himself master Of the art of using weapons; the poetic and dramatic arts: Vanquish did he the pride of defiant opponents By his strategic skills, And brought entire Lanka under one banner-

Of pleasant bearing is he Like cool unguent on people's eyes, Like God Sakra, manifest in the world of humans,

53 Topmost in valour is our king Parakumba Among kings of Jambudvipa -

100. Ulakudaya Devi, daughter to him Like Goddess Laksmi, font of all prosperity; Like a wish - fulfilling gem to all who entreat. In wisdom akin to Goddess Sarasvati; Like a new moon, ardently revered by the people-

101. Having at heart the welfare of her friends; On her servants, Showering wealth with benevolence; To husband faithful and of manners impeccable, Ever conscious of observing the ten-fold virtues-

102. To the renowed Ulakudaya Devi Soft-spoken, discreet, endowed with poetic gifts Who observes rigorously The eight precepts every full-moon day, With overflowing faith and devotion In the Teaching of the Buddha-

103. O, God, Eye to the Three Worlds! Whose feet are wet with the fragrant nectar Of garlands on the crowns of suras, Gift a precious son With charming looks, long life, wisdom and fame.

104. Earlier, perceiving with your caring, divine eye You bestowed on beautiful Queen Ratnavali A precious son, Parakumba Who later became King of Lanka; What need is there of many words?

105. The king's daughter I mention Worships thine worthy feet The same god, paying homage just as earlier, With jasmine and lilies; Were she to be bestowed with a son, Acquire merit you will, and grow in fame.

106. Thus, convey this message to the God, And respectfully salute him circumambulating, Then, losing no time, meet the Goddess Consort And repeat your request, O friend!

54 107. To the Royal Prince, Who illuminates his lineage Like the moon the milk-sea Mention this message, to be conveyed to God When he finds him in the right mood.

108. Convey this message embellished, Like a lotus awakening in the dawn And, thenceforth, O Salalihini! Live long in peace and happiness With your kith and kin!

55 SALALIHINI SANDESA - NOTES SALALIHINI SANDESA - NOTES

1. Hail thee, Salalihini, the Noble Friend! Eloquent and melodic of speech, Privy to the secrets of Royalty, yet discreet May you live long with your kin!

Notes: A noteworthy feature in this Sandesa is that the poet treats the courier, in this instance Salalihini (starling), an attractive dark blue bird with golden feet and pink beak, affectionately as a friend. Hence this form of address, which in the original goes as 'sdrada salalihini sanda', the word 'sanda' meaning 'excellent' or 'noble'.

'Privy to the secrets of Royalty, yet discreet' The bird is commended for his discretion in keeping the secrets of the king and keeping him informed of what is happening around him. Many ancient stories say that former kings in India had starlings to spy for them, which they carried out with commendable loyalty.

2. Like the pollen of flowers golden-hued are your feet Your beak, pink and elegant as a sapu bud Your wings blue like the petals of nilupul.

Your figure seems of flowers fashioned, Thus, in your flight through the air,

Did the siddhanganas not grab you to adorn their blue, long hair? Did the bees hovering in the lotus grove not surround you?

Did the sylvan nymphs not grab you to adorn their ears? Was there any such hassle, dear friend, on your way? What other delight is there, indeed, Than seeing you who never forsake But increase the love where it has arisen.

Notes: The poet here conforms to the poetic convention, which prescribes that in a sandesa poem the courier must be acclaimed. The metre to this verse is called the 'sdhdli' and some scholars consider this particular one as the best of its kind. 'Nilupul' is blue water lilies.

The body of the bird is compared to a flower, his beak to the bud of a sapu (michelia champaca) flower, feet to the pollen and the wings to the petals of blue lilies. So it is possible that the siddhanganas, sylvan nymphs and bees mistook it to be a flower. According to poetic convention, siddhanganas are a kind of goddesses living in the Himalayan region.

59 3. As gentle as a spotless moon, Of frame radiant and soft as white water lilies, Gifted with pleasant speech as situmina Blest are we to have seen you!

Notes: The poet here states that he is blessed to have seen the salalihini who is as gentle as a spotless moon, which is another way of saying that the bird is gentler than even the moon. Another virtue of the bird is that he is gifted with pleasant speech like the situmina, which is supposed to be a wish-fulfilling gem found in heaven. Obviously, whatever the bird speaks it satisfies the listener, a gift that would make him amply suitable to carry out this mission of obtaining the god's blessing.

Reference to a 'spotless moon' is found in the earlier Kavsilumina:

Kuduvi e tepala - sa pabavat sasara sara Temuva muva sasa leni - ven ven nisayuru yuru ya. (Canto 3, v. 45)

Here the face of PabhavatI is compared to a spotless moon, 'sasa leni ven ven nisayuru yuru ya'.

The idea that seeing someone is a blessing (really that it is the result of a good act done in a previous birth) also appears in the earlier Kavsilumina:

Dana net imahat - pin pele vadarasna maga Pas lo visl e vilas - ma nomanahara vadana'him (Canto 5, v. 27)

Dana net imahat pin pele means that being able to see the beauty of PabhavatI is the result of a good act done by the people in a previous birth.

4. In times both adverse and prosperous Loyal friends do not turn their back on Just as paintings on a wall; Possessed of such values are you Adorable friend, Listen intently to my words That would serve well hereafter.

Notes: Another quality of the bird is praised here. He does not forsake his friends in either adversity or prosperity like a painting on a wall

60 that does not turn its back. Unlike in a sculpted work or an image we see only the frontal of a painting on a wall. The poet requests the courier to listen to his words well because he is now going to relate his errand.

5. This message may you deliver to God Vibhisana Who dwells in the city of Kalyani Replete with heaven-like prosperity; Of fame like flowers on the Tree of the World; Its trunk Mt. Meru, roots in the Naga world With branches unto the four cardinal points spread.

Notes: Here the city of Kalyani is described using a metaphor. If the world is a tree, the city shines just as flowers on its top; its trunk is compared to Mount Meru, a mythical lofty mount of steadfastness, and the stem of the tree goes deep down into the Naga world, again a mythical nether world. The branches of the tree are spread all over, which suggests the supremacy of the city.

6. Friend, you enthral me As a rain-cloud in the sky would the peacocks Expound later I shall the message, its flavour intact: Now, learn the signs of your route from this point onwards.

Notes: The poet affectionately referring to the courier says his sight pleases him as a rain cloud would please peacocks. The Courier, salalihini, dark blue in colour looks, though small, like a rain cloud when he flies in the sky. It is said that peacocks when they sight a rain cloud in the sky sing and dance. The poet in another of his works, Kavyasekhara, says that the kings listened to the preaching of Bodhisattva as pleased as peacocks in the rainy season. (Canto x, v. 135.)

The City of Jayavaddana

7. Know you friend, The City of Jayavaddana where live the elite, Pious, devoted to the Triple Gem; A city beside whose affluence heaven pales, Justifying its name by deed.

Notes: The City of Jayavaddana is described in three ways: firstly, it is a city where the rich people live but who are at the same time pious and devoted to the triple gem. The triple gem means the Buddha,

61 Dhamma (the Teaching) and Sangha (the monks); secondly, in affluence the city outshines even the heaven; thirdly, it justifies its name by attainment because the word Jayavaddana means 'achieving success'. It was a famous fortified city in the past that successfully repelled many enemy invasions. The city is similarly described in two other sandesas namely, Mayura and Gira.

8. With its red lotuses and golden swans Lake Diyavanna seems ever like a silk garb, Worn by Lady Jayavaddana; Its swirling stream as her waist-fold, And the continuos ripples the garb's pleats.

Notes: In traditional poetry, a city is always described as having a wall and a moat around it. The poet here drops such elaborate description and paints a simple, but attractive picture of a lake. The lake is compared to a silk garb with the motifs of red lotus and swans worn by Lady City. Ripples form the pleats of the garb and the swirling waters that move towards the embankment the waist-fold. The latter is a semi-circular fold of cloth left at the waist of a woman when wearing a cloth around her body.

9. The City Wall with gates firmly locked Stands like a gem-studded breast band Now cast aside, Worn earlier, in the prime of her youth, by Lady Lanka With Mount Samanala for her coiffure And the ocean for her girdle, manimekhala.

Notes: The city wall is divided into two units with its lockable doors. A person watching it at eye level will see it as a breast band (an earlier version of the sophisticated brassiere) as the doors are located at a higher elevation. Now it is a breast band cast aside because Lady Lanka earlier wore it when she was young. When Lady Lanka is taken as the country its highest point, the Samanala Mountain, is of course the head; and the ocean around her the girdle. Manimekhala is an ornament decked with sapphires worn as an undergarment around their hips by women in the past when they wore transparent clothes.

10. With sounds the city ever resonates like a second sea, The sounds of tinkling bells around horses' feet, Their hoofs clattering, And of elephants' ears, with yak-tail fans, flapping And the victory sounds of conch shells.

62 Notes: The comparision of a city to the sea is a popular poetic concept. In Muvadevdavata (composed in the 12th century), the following verse occurs: (See Muvadevda Vivaranaya, Munidasa Kumaranatunga. Vidyadarsa Press, 1932, v. 31)

Dala nidu hoi saka no eka no da de gamanhi du sa'hasa bate pura varata guruludadd gurulu rada.

(Mistaking it to be the sea Many times did Garuda Alighted on this city.)

The metaphor appears in Kavyasekhara (Canto 1, v. 37, The Kavyasekhara, eds. Ven. H. Sumangala and Pandit Batuvantudave) composed by our poet and in Vattave Thera's Guttila Kavya.

11. In this gorgeous city, large, golden flags With red whisks and tinkling bells Fluttering in the breeze charged with the cool fragrance Of sandal, and sapu flowers from the city parks Subdue the heat from the sun.

Notes: The verse suggests that the city was always in festive mood. Large, golden flags were hung all over that they quelled the heat; bells hung to them tinkled as the breeze blew carrying the scent of sandal and sapu (michelia champaca) flowers from the city parks. It was a prosperous, well-planned city.

12. Here the enchanting balconies of lofty, storeyed abodes, Adorned with figures of fairies, and other celestial beings Seem like mansions descended from heaven, To view the colourful, perpetual city festivals.

Notes: The abodes here are tall reaching towards the sky; their balconies are painted with the pictures of fairies and other celestial beings. To people looking at them high up in the sky they seem like mansions from heaven descended to watch the city festivals.

The statement that there were perpetual city festivals suggests that the citizens were happy and living a peaceful life.

13. Like golden creepers are the damsels of this city, Of face moon-like, waist so slim as the fist could hold

63 Swan-like breasts, well-proportioned hips, like chariot wheels; Differ they from goddesses Solely because they do blink.

Notes: Here the poet heavily borrows from traditional poetic conven­ tion. Comparison of the face to the moon, breasts to swans, hips to chariot wheels are hackneyed metaphors in Sinhalese poetry. The idea that goddesses and other fairies do not blink is also common. Compare the following verse in Kavsilumina:

Btilu me da vamiyo netu sala una pul turn vana dev du vilas ha dana nethi pirimadiyo. (Canto X, v. 24)

(As the women look without blinking At the trees full of flowers They look like sylvan nymphs To the people.)

The idea is also found among Sigiri Graffiti:

Topa nuyuna mini-vitni vamhena paha dise(y) no kele ta(ma)n te [mam] e in (da) nim topa sura bava.

(In your eye (there) appears the effulgence which shines forth from jewel lamps. (And) that stillness (of the eye) has not been feigned by you. Therefore, I know that you are celestial beings.) Senerat Paranavitana, Sigiri Graffiti, v. 50.

14. This city lying opposite the North holds hundreds of treasures; Where demigods and nocturnal spirits dare not enter, Leaders of men, the rich, live here: Thus, by its splendour, it outplays Alakapura, The city of Kuvera, the King of the North.

Notes: With this verse ends the description of the city. Comparatively, it is a brief description showing that the poet was not unduly overawed by poetic norm.

The term 'Opposite the North' means 'anuturu' in the original, which has a pun on it. It means 'Opposite the North' as well as 'unsurpassable'. Jayavaddana lay in the South and was a city that was unsurpassable in splendour. Several words in this verse have a pun on them, but unfortunately untranslatable.

Alakapura is the capital of the mythical God of Wealth, Kuvera.

64 15. When Jupiter illumines the sky, And the moon, from the constellation of asvida, Appears overhead, It is time for you, friend, To set forth from this city Paying homage to your guardian deities.

Notes: The courier is asked to start on his journey when Jupiter illumines the sky and the moon appears overhead, that is in the evening. The movement of the moon round the earth is divided into twenty-eight days, and the constellation is named according to the group of stars that appears when the moon reaches overhead. Of the twenty-eight constellations, asvida is one.

It is customary for a person to set forth on a mission at an auspicious time and paying homage to the guardian deities. Guardian deities are those whom a family or a clan would invoke for their protection. Good Omens

16. Behold yonder, omens more auspicious: Fragrant breeze, brimful water-pots, Mangoes sweet, and white flowers, Damsels of speech tender, golden pitchers, Yak-tail whisks and parasols dazzling white And playful elephants.

Notes: The courier is asked to watch the more auspicious omens that he will meet on the way. Even today, people believe that when a person sets forth on a mission even at an auspicious time the omens that he meets on the way could be decisive. Therefore, the courier here meets with the good ones. As observed earlier the city was perpetually in festive mood and such good omens could not have been uncommon. All the 'good omens' mentioned here are traditionally considered as auspicious. Sacred Tooth Relic

17. In the three-storey temple, Worship the Sacred Tooth Relic, Which, like the moon, fills the world with its silvery radiance; And renders divine benefits and bliss of nirvana Being associated with the Teaching, the Dhamma, Which was in His mind.

65 Notes: The Sacred Tooth Relic of the Buddha venerated by the Buddhists all over the world was placed in a three-storied mansion. Just as the moon, it filled the world with its radiance, which is another way of saying that it granted divine benefits and bliss of nirvana to the devotees.

The Teaching (the Dhamma) which was in the Buddha's mind encountered the Tooth Relic when he preached. The Royal Palace

18. From there quickly enter the Poyal Palace Whose walls are of sparkling quartz built, And whose jewel-capped golden spire Diffuses radiance around, While scallops of soft pearls under its eaves Swing in the gentle wind.

Notes: The courier is asked to enter the Royal Palace quickly 'from there'. 'From there' means 'from the Tooth Relic Mansion' and as he is asked to enter quickly it is obvious that the Royal Palace was nearby.

Sparkling quartz means 'sahda kdn mina' (in the original text) or candra kmta pasana. It is a kind of quartz that becomes wet in the moonlight due to condensation. King Parakumba

19. Behold, Friend, His Majesty King Parakumba, Who's like the sun unto the lotus-pond Of the dynasty of Manu On whose shoulders the Goddess of Wealth forever dwells And who's as comely as the consort of Goddess Ramba.

Notes: The dynasty comes from Manu who is supposed to be the son of the sun. The sun opens lotus flowers, so the king is like the sun, as the clan shines because of him.

To say that the Goddess of Wealth dwells on his shoulders is a poetic way to express that the king is always prosperous and adversity never visits him.

Ramba is a goddess whose husband is Nalakubara, son of Kuvera. Nalakubara is gifted with perfect physique hence the simile that the king is as comely as the consort of Goddess Ramba.

66 20. Seated in his throne like the manifest Vi.mu Adorned with the full sixty four ornaments, and the crown, His Majesty hails from the unbroken lineage of Manu Worship his holy feet, And take your leave of him.

Notes: Unlike many other sandesa poets, our poet's description of the king is but brief. In the earlier verse, the king was compared to the consort of Ramba in appearance but here he is compared to God Visnu who is renowed for his majesty, strategic skills, and power. The fact that the king hails from the unbroken lineage of Manu is here emphasised.

When the king sits in the throne, he is adorned with sixty-four ornaments, which are variously identified; and are supposed by convention to form the attire of a king or a god. Note that the crown does not come within the sixty-four ornaments. The Route

21. Over the sheet of water where kumudu flowers Lie wrapped in moonlight all around Where fallen petals of red lotus float; From this, the Kontagam ferry, take wing, With vigilance to reach the further bank.

Notes: This is a verse that shows the innate descriptive power and sensibility of the poet. Kumudu (nymphaea lotus) is a kind of white lotus that is found in streams and ponds. The white flower shining in the moonlight is described as wrapped in moonlight. Fallen petals of red lotus float in the water. Here is a vivid evening scene. The water flows along in the moonlight where white kumudu flowers are in bloom while red lotus petals float on the water. Why is the courier cautioned to be vigilant? Because it is night; and there is a stream to be crossed for the courier who is a delicate creature.

Some commentators have interpreted this verse differently taking it as a metaphor for the impermanence of life. They claim that the courier is cautioned not to be dazzled by the shining white lotus (meaning sensual pleasures in life) and reach the further bank (Where lies emancipation). Perhaps this is breathing too much meaning into a simple verse?

67 22. Rest a while in the charming Temple of Isvara Where rows of flags flutter Amidst the rising fumes of aloe and camphor, Where Tamil prayer-songs sung by the devotees, The drum-beats, the blowing of conch shells, And the tinkling of bells intermingle.

Notes: As the night falls, the courier is asked to rest; he set forth in the evening because he had to do so at the auspicious time. Literary records mention that Alagakkonara who built the city of Jayavaddana erected four temples for gods in the city. The Temple of Isvara is probably one of them.

Fumes of aloe and camphor burnt by the devotees rise and cover the flags that are hung on the top of the temple; this suggests that there were large-scale festivals. The prayer songs (stotras which mean stanzas in praise of a deity) sung by the devotees who were apparently Tamils blend in symphony with the sounds of the drums, conch shells, and bells.

23. As the sun rises, and the breeze sweeps across Carrying the scent of cosmetics On the full breasts of courtesans, Along with the sweet voice of lake-swallows; Awake, listening to the five-fold music at dawn.

Notes: Courtesans apply powders of sandal and other cosmetics (like the powdered bark of the kunkuma tree) on their breasts for colour and scent. Here the breeze comes with the scent of such cosmetics and carrying the voice of lake-swallows; so it is perfumed and, as it comes across lakes, cooling. The courier is asked to awake listening to the five-fold dawn music. The dawn-music is the offering made in the morning. It is five-fold because three kinds of drums, cymbals and flutes are played.

24. When the sun, Shining atop the golden pillar of Mount Morn Illuminates the world like a lamp, Watch the ritual offerings to Isvara; But, tarry not; spread out your wings To sail across the blue sky.

Notes: People in ancient time thought that the sun rises over a mountain in the east and sets behind a mountain in the west. When the sun

68 rises the surrounding clouds turn golden and, therefore, it shines 'atop the golden pillar of Mount Morn.' The courier is cautioned not to waste time watching the offerings but to take to the sky with diligence. He is on an important mission.

Isvara is a god belonging to the Triad: Brahma, Visnu, Isvara.

25. To the east, Noble Friend, is Mount Samanala Where lies the imprint of the Buddha's hallowed foot In lotus-like splendour; Worshipped by God Saman and goddesses Offering radiant madara and parasatu flowers.

Notes: Buddhist tradition has it that God Saman is the tutelary god of Mount Samanala where lies the left footprint of Lord Buddha, which he placed on the invitation of the former. Tradition also says that three other gods assist God saman to protect the country: Upulvan, Skandakumara and Vibhlsana.

Madara and parasatu are among the five kinds of trees supposed to be found in heaven: madara, parijata, santana, kalpavrksa, haricandana. Flowers by the name of madara and parasatu are locally available.

26. To the south of our king's city, Jayavaddana, Is the temple of God Mahasen, Imposingly bedecked, lustrous with gem-like rays of the sun Where flags with the fowl emblem flutter On golden poles.

Notes: After describing Mount Samanala the courier's attention is drawn to the temple of God Mahasen, which is another name for God Skandakumara residing at Kataragama. The flags on golden poles carry the god's emblem, the fowl. According to folklore, Mahasen (or Skandakumara) is the son of Isvara and Uma who came to Sri Lanka to destroy Taraka, the king of the asuras (a kind of demons who are enemies of the gods and dwelling beneath Mount Meru) and dispel the fear of suras (the gods). But during his stay here a local woman infatuated him that made him to remain at Kataragama without returning to India. Mahasen, who is Chief of Warfare; is much venerated by kings. He has six faces, twelve hands, and his vehicle is the peacock.

69 27. Behold now, the great sea in north With pearls, conches and corals glistening on its shore, Where rows of waves swirled up by the wind Swell up towards the sky, As if to embrace the lady, the Celestial River.

Notes: Surged by the wind the waves rise towards the sky. As the waves rise, they seem like the hands of the sea reaching up to embrace the lady, the Celestial River. Poetic convention sees the sea as the husband and all rivers as wives. So the poet sees the rising waves as hands that try to embrace the Celestial River in the sky, pure and glamorous. It is, therefore, no wonder that the sea tries to embrace her.

Poets take the Celestial River to be a stream in the middle of the sky, which is meant for water-sports by the gods. But the Indians in ancient time saw the Celestial River as a stream of snow in the Himalayan range that was the source of river Ganges.

Known as The Galaxy or Via Lactea in the western world, Milton refers to it as follows:

A broad and ample road, whose dust is gold And pavement stars, as stars to thee appear, Seen in the galaxy - that Milky Way, Thick, nightly, as a circling Zone, thou seest Powdered with stars. (Paradise Lost, vii, 577 ff.)

The waves being compared to hands is also a common poetic device. It occurs in the Muvadevdavata too:

Pahara Pahara dala rala'tin muhudu manda manda vimala'rnbarorata sunil nanga li ev pun sanda. (v. 70)

(As though the moon was pushed up Into the centre of the bright blue sky By the sea Beating it gently with its hands of waves.)

28. Tender as you are, Repose often on sandy plateaus Under the shade of hlnkenda trees.

70 Know your exact way From parrots bearing golden pods in their beaks, And merrily move on.

Notes: After describing a few scenes, the courier is asked to move on. As he is tender, the poet advises him to repose often on sandy planes under the shade of hmkenda trees. These trees provide a cooling shade and have fragrant flowers. The courier also must make sure of his way and get the necessary information from parrots carrying golden pods in their beaks. Here a placid countryside is suggested: ripe paddy fields, trees with fragrant flowers, and sandy planes shaded by the foliage.

29. Behold General Sapumal arriving, On horseback with his troops, After victory over Yapapatun; In splendour like the Sun God, Under the white parasol Lit up by his gem-set ornaments.

Notes: General Sapu is arriving in splendour like the Sun God, radiant and bright. He is on a dark blue horse and his gem-studded ornaments light up the white parasol under which he sits on horseback; the white parasol is an insignia of Royalty.

In poetic convention, blue and black are the same; ancients believed that the Sun God had seven horses all green in colour. Green also is taken as black in poetic practice.

General Sapumal is an adopted son of King Parakramabahu VI on whose orders he vanquished the ruler of Jaffna (Yapapatun). He is now arriving to convey the news to the king. Pleased at the news the king sent him back to Jaffna as its ruler. Later General Sapumal became king of Jayavaddana under the name of Bhuvanekabahu VI.

30. Descend and tread on the white sandy path, Strewn with the pollen of fallen flowers; Where groves of idda are in blossom And king swans gather in lakes full of flowers.

Notes: The courier is now asked to go along the white sandy path strewn with the pollen of fallen flowers. Around are groves of idda (wrightia zeylanica) in full bloom and in the nearby lakes full of flowers king swans swim. The poet is describing a pleasing bucolic

71 scene. Earlier the courier was asked to take a similar path too. (v. 28)

31. Espy the soldiers Armed with thousands of shining spears, swords and bows On guard at Kaikavala, Resolved to stop even the Great Elephant, Airavana; And quickly fly over the forest of flowering trees.

Notes: Having seen the soldiers on duty at the guard point of Kaikavala the courier is asked to fly quickly over the flowering trees. It is not prudent to tarry because it might arouse the suspicion of the soldiers. There had been a guard point in the forest just beyond the city of Jayavaddana manned by valiant soldiers who would have stopped even Airavana.

Airavana is a tusked elephant having thirty-two frontal lumps and sixty-four tusks, and owned by Sakra, the King of the Gods. It is believed that there are eight elephants in charge of the eight directions namely, Airavana, Pundarika, Vomana, Kumuda, Anjana, Puspadanta, Sarvabhauma, Supratrika.

32. On the sand, bright as moonlit, Watch the lissom sylvan nymphs, Playing about on flowery couches Amidst festooned, scrolled creepers; Rest, then, on a young sal tree, Among its refreshing tender leaves.

Notes: The courier is now asked to rest. The poet creates an idyllic resting-place. On the moonlit sand, lissom sylvan nymphs play about on flowery couches amidst scrolled creepers. Watching them, the courier is asked to rest on a young Sal tree among its refreshing tender leaves. The tree is not a matured one, which itself suggests warmth.

33. Watch the Valambalama resting place, Near the pond, banks shaded by the kollam trees, And damsels with garlanded, perfumed hair, Refresh themselves in its cool waters, And, then, move on.

Notes: Vallambalama is a resting-place (ambalama) so called because it is located in a jungle (val) by the side of an access road to the city of Jayavaddana. It is meant to provide rest to people who walk through the forest on their way to the city or out of it.

72 Kollam trees shade the banks of the pond full of cool water in which the damsels bathe to refresh themselves from the heat; their hair is perfumed and decked with flowers.

Kollam is a small tree with dark green, fragrant leaves.

34. At noon, enter the sumutana forest, Where sprightly young men With musk-spots on their suave foreheads, And garlands of red lotus on their heads Make merry romping.

Notes: It is best to enter a forest at noon to avoid the intense heat; so, the courier is asked to enter the sumutana forest. There young men roam about playfully wearing musk spots on their foreheads and garlands of red lotus on their heads. Wearing spots on the forehead is a Hindu custom, but the elite seems to have adopted it without distinction in ancient times. Obviously, only the rich followed the custom because musk was expensive and difficult to come by.

35. Play on, O Salalihini, flapping your wings Before pollen-laden flowers Of na, damba, bakmi and piyala trees, Which, standing on either side, shade the road Split the sweet, ripe fruits with your beak, Move on, then, resting on damba shrubs.

Notes: The poet is consciously making the courier's path pleasant. There are big trees shading the sides of the road where it could play before pollen-laden flowers, and occasionally split a ripe damba (rose- apple) fruit with its beak and enjoy its flavour. Damba is a fruit of many varieties having luscious flesh, a delicacy cf birds. After playing before flowers and enjoying the fruits, the courier may rest on damba shrubs before moving on!

36. Bewilder not and pass Gurubdvula Where appear ponds overspread with watex lilies Flowered by the sun, And where lovesick cuckoos call in the arbour, While jungle-fowls fight by the road.

Notes: The village called Gurubdvula is here described. Many ponds are there with water lilies blossomed in the sunlight. In the arbours nearby lovesick cuckoos make their mating calls. And by the road,

73 wild fowls fight. The courier must not allow himself to be confused by such sights but move on.

37. Watch on your way the brook of icy cold water, Full of multi-coloured lotus, bees hovering over them Surrounded by dunuke and muruta in full bloom Like ruby-studded gold jewellery Worn by the Forest Goddess.

Notes: Dunuke (pandanus foetidus) and muruta (lagerstroemia flos- reginae) trees in full bloom surround the brook of icy cold water. Dunuke flowers are golden in colour and muruta flowers are red. Therefore, looking at it from above (the bird's eye view) they seem like an ornament worn by the Forest Goddess. Here again a picturesque scene is painted. A brook with icy cold water full of multi-coloured lotus, bees hovering over them, and flowering trees with red and yellow flowers in full bloom.

38. On your way, watch and pass through Guruluketa, The paddy field in harvest, Where women guarding it gaily play on; Their breasts glistening with the pollen of red lotus, With blue water lilies their ears adorned.

Notes: Women guard the paddy field in harvest. While doing so they play on. Their breasts are glistening because they have applied the pollen of red lotus on them and they have decked their ears with blue water lilies. The paddy field in harvest and the women playing on is a symbol of prosperity.

39. The line of kumuku trees laden with flowers and fruits Seems like a necklace of corals, pearls and emeralds Worn by the Lady Village; Attract will it your mind, so pause a while, But move on from the village, Velendagoda.

Notes: A line of arecanut trees (kumuku) laden with flowers and fruits borders the village of Velendagoda. The white flowers look like pearls, the ripe fruits like red corals, and the raw fruits like emeralds. This is a necklace worn by the Lady Village, which will attract the courier's mind. The understanding poet asks him to pause a while, but reminds him to move on because he is on an important mission.

74 The metaphor here is similar to the one in v. 37 where the groves of flowers around the brook is compared to a ornament worn by the Forest Goddess.

40. O, worthy friend, pass through the paddy field, Veralana Arrayed with red ears of paddy, ripe and bent, Surrounded by forests of blossomed sapu, dunuke and hora Wherein echo the calls of the jungle fowl and the lapwing.

Notes: The village of Velendagoda is in between two paddy fields namely, Gururluketa and Veralana. We now understand why the courier was asked to pause at the village because there are no trees for him to roost in paddy fields. The paddy field Veralana has red ears of ripe paddy and a forest of sapu (michelia champaca) and dunuke (pandanus foetidus) in bloom surrounds it. In the forest, the jungle fowls and lapwings call. The Temple of Kitsirime

41. Repose with your kin on a pleasing darhba tree Thick with foliage and flowers; Enjoy the fragrant breeze and rid yourself of fatigue; In the afternoon, visit the Temple of Kitsirime.

Notes: Now the courier is provided with an opportunity to rest a while with his kin. There are darhba trees thick with foliage and in bloom. Thick foliage provides shelter and the breeze with the fragrance of flowers is soothing. In the afternoon, the courier is to visit the temple.

King Kitsirime built the temple of Kitsirime, who was the son of Princess Mit, the daughter of King Vijayabahu. He held sway over Maya Rata, one of the three provinces of ancient Lanka, after the death of Viceroy Manabarana.

42. Worship the stupa, Poised like the crystallised glory of the Buddha, The sacred Bodhi tree, sparkling with the lustre Of His dark blue eyes; And the Statues radiant, Like the moon through evening clouds.

Notes: This verse is important as it gives the order in which a devotee should pay his homage in a Buddhist temple. First, comes the stupa in which is enshrined the corporeal remains (the sacred relics known

75 as saririka-dhatu) of the Buddha. Then comes the Bodhi tree under which he attained Enlightenment (known as paribhogika-dhalu). Finally, the statues built to commemorate him (known as uddesika- dhatu.)

The stupa shines in brilliant white as the crystallised glory of the Buddha; it is a poetic convention to take glory or fame as white. The Bodhi tree is sparkling with the lustre of his dark blue eyes. In the second week after Enlightenment, Lord Buddha spent the entire week paying his homage to the tree, under which he attained enlightenment by gazing at it without blinking, which is known as the animisaldcana puja.

The reddish yellow statue of the Buddha comes in a pleasing metaphor; like the moon through evening clouds. The moon assumes the reddish tint of the evening clouds when seen through them. The Kalani River

43. Pause a moment on the banks of River Kalyani Where on either bank stand Blossomed groves of sal, sapu, kina, damba and na, Projecting cool, refreshing shadows.

44. Naga maidens of manner enchanting With kadupul flowers on their blue hair, Around their hips the gem-studded girdle, Their breasts graced with pearls and sandal paste dabbed on, Dart glances out of the corners of their long, blue eyes-

45. Sing they sweet, holy songs seated on the soft sands, In praise of the Buddha, Playing with their fingertips The harp-strings in fine melody; Lend your ears to them.

Notes: [These three verses do not refer to the identical numbering in the original Sinhala text; the sequence had necessarily to be changed to suit English grammatical structure.]

Before entering the Kalani Temple, the courier is asked to watch the Naga maidens singing songs in praise of the Buddha. They are seated on the soft sands on the banks of the river, their hair decked with flowers and ears adorned with blue water lilies. Around their hips are the gem-studded girdles. Blossomed groves of trees shade the banks projecting cool, refereshing shadows.

76 In ancient times, when women did not wear garments on their upper bodies, they adorned their breasts with strings of pearls, and applied sandal paste or pollen of flowers on the breasts for both beauty and comfort.

They sang the songs while playing the harp-strings with their fingertips producing fine melody. The courier is asked to listen to the songs.

Legend has it that the Naga tribe once inhabited the region near the Kalyani River. There is mention of a Naga king named Maniakkhika in the city of Kalyani during the time of the Buddha. In fact, the Kalyani River was once known as Nagulu River. Nagas are supposed to have lived in the neighbourhood of the estuaries of Arippu, Mahavali and Gal Oya. Naga maidens are credited with exceptional beauty and perfect figure. They are skilful singers and dancers.

46. Damsels with sapu and madhavi flowers in their hair, Wearing, on their breasts, Strings of bright young darhba fruits, And na flowers in their ears, After playing with young men in the parks-

47. When they, the damsels, Like golden creepers moved by the wind Eyes as bright as blue water lilies And smiles as white lotus Lotus-like face and red lips Have finished their bathing in the river replete with gems-

48. The sun appears like a ripe red fruit about to fall From the stalk of West Shaken by the wind rushing through the branches Of the sapphire-blue Tree of Sky.

Notes: About the sequence of these three verses see note above.

Here is a traditional description of an evening when the girls play with young men in the parks and bathe in the river. It is late evening and the sun looks like a ripe red fruit about to fall down. The eyes, smiles and faces of the girls are described as flowers; it is an apt description because the girls are in the pond bathing and their presence mingle with the blossomed lotus flowers.

77 The courier is asked to watch the sun set.

49. As if signifying the nature of virtuous men That loyal friends, when in distress, Should not be forsaken The daytime followed the setting sun.

Notes: The poet uses an illustrative metaphor here known in Sinhala as 'upelakara'. The daytime exists because of the sun; when the sun falls like a ripe red fruit the daytime also follows the sun because it vanishes letting the night to fall in.

The maxim here is that virtuous people do not forsake their friends in distress. So the daytime follows the sun.

50. As evening clouds in the west horizon gather Like a red-carpeted stage of rubies, Laid by the sea-dwelling God Varuna, To receive with affection the Sun, his kinsman,-

51. As stars appear like flowers Strewn on the nuptial bed of sky By the longing Bride of Night To receive her consort The radiant and bright Moon-

52. Fly on, and see Maskeliya Where the Lehel fish scuffle, Splashing the water and making foams, Scrambling at titbits thrown in by the people.

Notes: Evening clouds in the west sky appear as a red-carpeted stage of rubies laid by the sea-dwelling God Varuna to receive his kinsman the Sun. God Varuna is the Chief of the West and the custodian of the sea. As powerful as God Indra he is an Aryan god. When the sun arrives in his domain God Varuna receives him with warmth.

Poetic convention takes the sun and the moon as husbands and the day and the night as wives. So the night prepares the bed of the sky with flowers strewn on it to receive her consort the moon. The flowers are the stars that appear in the night skies.

Maskeliya was a famous ferry at the time. This is a beautiful verse, which shows that the poet could observe minute details and express the movement of the fish, the splashing of water making foams, with

78 a few brush strokes. Lehel is a small fresh-water fish with a reddish brown belly. Many other sandesa kavyas like Tisara, Miyuru, Kokila and Hamsa refer to this ferry.

53. Descend 0 Salalihini, on the elegant city of Kalyani Which moves with the times, not growing old Flags with tinkling bells grace its mansions, Whose gem-studded spires radiate light around.

Notes: This is a description of the city of Kalyani; it is elegant, moves with the times, and remains always new. It has mansions where flags with tinkling bells are hung, and the gemstudded spires of the mansions radiate light around.

54. Friend, witness the lamps on its highway Like the amazing array of sparkling gems, Which were visible in the ocean-bed When Sage Agasti took its water into his palm, Which, then, looked like nectar in a lotus.

Notes: When the bird descends on the city it is night. The street lamps shine like the amazing array of sparkling gems in the ocean bed. The last two lines refer to an ancient story from a Hindu text, Purana; Sage Agasti took the water in the ocean into his hands and drank it. The large volume of water in his palms looked like nectar in a lotus. When the sage took the water in the ocean into his palms the gems in the ocean bed became visible. People in ancient times believed that the ocean bed contained gems. This mythical story is popular among Sinhala poets.

Brahmins allege that the foetus of Sage Agasti grew in a pot and not in a mother's womb. They also say that he tamed Mount Vindhya. In Sanskrit, the term 'aga' means both 'pot' and 'mountain'. Hence his name 'Agasti' meaning born of the 'pot' and the 'tamer of mountains'.

As the proud Mount Vindhya began to grow in height, gods including the sun and the moon got scared that it would block their way in the sky. So they appealed to Sage Agasti to help them. Agasti agreed and set forth from the north to the south. As he passed Mount Vindhya it bowed its head in respect. Seeing this the sage enjoined the mountain to remain so until his return. Agasti who reached the south never returned! (See Salalihini Sandesa, ed. Raipiyal Tennakoon, p. 232)

79 55. As the moon appeared in the east Reflecting the colour of rubies of the eastern rock And the lustre of the evening, Water from the moon-gem walls of city mansions Poured forth into the Celestial River Which made her rejoice with pride in her fidelity.

Notes: According to poetic convention, the moon rises from behind an imaginary mountain in the east. As it comes from behind the mountain it assumes the colour of rubies of the mountain and reflects the lustre of the evening. This quality of the moon is not uncommon in poetry. Hamsa Sandesa has a similar line; 'balava sanda velen ratuvu supun sanda' [Behold the full moon reddened by the evening clouds.] Or, in the Kavsilumina; 'Surata de lavanata sadu vahasnen rusiru siri pa la sainda kalme-paha sara sanda vala langa.' [The pleasant smile on {her) dark red lips is like the moon by the evening clouds.] (Kavsilumina, Canto II, v. 34). What is emphasised is the crimson colour of the moon as it appears in the sky.

Moon-gem is a kind of quartz that gets wet in the moonlight due to condensation. The walls of the city mansions are built with it and because of condensation the water pours into the Celestial River. [Regarding the Celestial River see note to v. 28]

Why did the Celestial River rejoice with pride in her fidelity? The poet borrows this complex metaphor from Sanskrit poetry. For the water to pour into the Celestial River the mansions should have been tall. And when the water thus pours into the river it results in high tide. According to the Indian tradition, for a wife to be faithful to her husband she should suffer when the husband suffers, rejoice when the husband rejoices, grow lean when the husband is abroad and sacrifice her life on his death. The sea is the consort of all rivers and when it sees the moon in the east, it rejoices or comes into high tide. Seeing her consort rejoicing, the Celestial River too rejoices when she gets into high tide with the water from the moon-gem walls of the city and takes pride in her fidelity.

56. Admire, O friend, the moving golden creepers Blue clouds, new moon, and blue lotus Corals, conch shells, elephant heads Concave drums, sandy planes, plantain trunks, Peacock necks, pearls, and tender leaves.

80 Notes: Actually, the objects here do not move. This is a description of the women in the city. And each object refers to a feminine feature. For instance, golden creepers are the women; blue clouds their hair, new moon the forehead, blue lotus the eyes, corals the lips, conch shells the necks and so on.

All the metaphors used here are too common in Sinhala poetry.

57. As Lady Night pleased by the city's dazzling festivals Offered the Silk Fabric of Moonlight Drawn from the Receptacle of Moon to Lady City She in turn covered the Garment of Sky of lady Night With the gem-studded girdle Drawn from the Chest of the Shining Mansions.

Notes: This is an exchange of gifts between two ladies. Pleased by the festivals of the city Lady Night gifted the silk fabric of moonlight to Lady City. She in turn presented Lady Night with the gem-studded girdle to cover the garment of sky. In simple terms, as the moonlight fell on the city gem-studded spires of the mansions reflected back the light into the sky.

Here the poet says that the girdle covered the garment of sky, which is inaccurate. Women wear the girdle under the outer garment.

58. In that city repose cheerful couples, In balconies in the moonlight With minds to each other devoted Wearing fragrant garlands; Kokum and sandal paste dabbed on their bodies.

Notes: The poet describes the prosperity of the city by implication. Young couples repose in their balconies in the moonlight. They wear fragrant garlands; kokum and sandal pastes are dabbed on their bodies. They are happy and devoted to each other.

It was a custom in ancient times to wear garlands when you walk or repose in the moonlight. As the following verse from Kavsilumina illustrates;

Maligiya maldam - harangara tavarambarin gat gat sara sisi ras - gi dapiyo purapiyo. [Kavsilumina, Canto VI 15]

81 [The women of that city wearing white garments, idda garlands, pearl necklaces, their bodies dabbed with sandal paste looked stately like the personified rays of the autumn moon ]

Kokum is saffron powder or any such cosmetic dabbed on the body for colour and warmth; sandal paste provides coolness and fragrance. Entering the Vihara

59. Move on, Friend, along the inner city paths Past coconut and plantain treeo laden with fruit, And attractive home-gardens, Then, turn right, and reflecting on The nine virtues of the Buddha enter the temple.

Notes: The courier is led to the temple. He is to pass through the inner city paths watching the coconut and plantain trees bearing fruit and the attractive home gardens. Turning right he then enters the temple contemplating the nine virtues of the Buddha.

In ancient times, just as now in the countryside, there were gardens around houses, which were planted with such trees as coconut, arecanut, mangoes, jak, lime, oranges, etc.

The courier is also advised to follow a custom. At important moments, Buddhists when they are about to embark upon a new venture, or to get over anxiety or sorrow, reflect on the nine virtues of the Buddha.

A gatha (verse) in Pali known by heart even by children in the entire Buddhist world embodies the nine virtues of the Buddha. They are: The Buddha is blessed, exalted, omniscient, endowed with knowledge and virtues, gone beyond, knower of the worlds, a guide incomparable for the training of individuals, teacher of gods and men, enlightened and holy. Worshipping the Statue

60. Reciting the great virtues of the Buddha, Acclaimed the world over, Worship, resting your wings on the floor, The regal image in the Lankatilaka Image House, And receive heavenly bliss and deliverance Pleased as if you've seen the Buddha with your own eyes.

82 Notes: From this verse, it is apparent that there was an image house called Lankatilaka at Kalaniya where a life-like statue of the Buddha was housed. The courier is asked to recite the virtues of the Buddha and he is directed to do so in a particular way. He must rest his wings on the floor. When a Buddhist pays his homage to an image of the Buddha, he places his forehead and palms on the floor. Obviously, a bird cannot do so and he is therefore asked to rest his wings on the floor.

The courier is asked to receive heavenly bliss and deliverance by paying homage to the Buddha. The ultimate aim of the Buddhist is deliverance - release from the cycle of birth and death-but until he gains that stage he usually hopes for heavenly bliss, which actually means that he does not wish to be born in wretched conditions.

61. Worship the lotus like holy feet of the Stone Statue Radiant in the colour of the sea, Which God Sakra created to protect the people When in the past the sea submerged the land.

Notes: The verse refers to a Buddhist legend. The story says that the gods were enraged by King Kalyanatissa when he killed an innocent arahant (Buddhist saint) by immersing him in a cauldron of boiling oil and threw the body into the sea. The gods caused the sea to overflow and it charged towards the land threatening the people and the land. To protect the people from the overflowing sea, God Sakra created a series of stone statues of the Buddha along the coastline. The torrent of water dashing towards the land stopped lest it should submerge the Buddha. The stone statue referred to here is one of those created by Sakra and the Gira Sandesa refers to another that was at the temple at Totagamuve.

62. Behold, if you can, O friend, The effulgent gems of the five storeyed mansion From where Thera Maliyadeva preached, And saved sixty bhikkhus from drowning In the Sea of Samsara.

Notes: The courier is invited to see another important monument in the temple, the fivestoreyed mansion with glistening gems. In Buddhist writings the cycle of birth and death is compared to a sea and is called 'samsara'. Thera Maliyadeva preached the Teaching (the Dhamma) from the above mansion and saved sixty monks from samsara, in other words, delivered them from the cycle of birth and death.

83 Why was the courier asked to see the mansion if possible? Probably because the brilliance of the gems adorning the mansion might dazzle him.

63. In the Circular Relic-House, Worship the stupa, Which shines like the bubbles that rose When Visnu stirred up the sea with Mount Mandara, Spreading its brilliance, In all directions, like the moon.

Notes: Round relic house is an ancient architectural feature, a circular building erected around a stupa.

This verse refers to a legend. God Sakra adorned the head of his elephant with a garland presented to him by Sage Durvasa, which the elephant threw down. Infuriated by this the sage cursed God Sakra whose power began to decline. Realising that it would be difficult for him to defeat the asuras he sought the help of Visnu, who advised him to churn the milk-sea in association with the asuras, drink the nectar in it, regain his strength and fight. Gods struck a deal with the asuras, took the Mandara Mountain as the churning pole and Vasuki, the King of Cobras, as the cord, and began to churn the sea. The gods got hold of the tail of Vasuki that was wrapped around the mountain and the asuras got hold of the head. Annoyed by being pulled on to either side when churning the sea, Vasuki began to expel poisonous fumes, which made the asuras weak. When the sea was churned fourteen objects came out of it including the nectar. The gods drank it and defeated the asuras.

64. Worship the reclining Statue in the west mansion Whose long eyes shine as blue lotus And lips as red coral, Face as charming as the full moon, In radiance supreme in the world.

Notes: Usually, blue lotus, red coral, full moon are similes used respectively to describe the eyes, lips and face of women. But in this instance we are told that it was a reclining statue and supreme in the world in radiance. Probably it was a colourful, unique statue.

65. From sixteen points, worship the Great stupa Erected sixty-cubit high to mark the place Where Lord Buddha,

84 On the invitation of the Naga King Maniakkhika, Arrived by air and preached amidst arahants Seated on the Gem-Throne.

Notes: This again refers to a legend. Customarily when homage is paid to a sacred object, it is done from four, eight or sixteen points. As the poet asks the courier to worship the stupa from sixteen points, it is obvious that he held it in high esteem.

A sister of Naga king Mahodara was given in marriage to the Naga king of Maninaga Island. She was given a gem-set throne as dowry. She gave birth to a son called Culodara and died. Culodara in course of time became the king of Maninaga Island. Mahodara claimed the ownership of the gem-set throne given as dowry as both his sister and brother-in-law were dead. But Culodara asserted that what belonged to his mother belongs to him, which gave rise to a row between Culodara and Mahodara. In the battle that ensued Maniakkhika, the king of Kalaniya, took the side of Culodara who was his nephew. When the battle started Lord Buddha intervened and settled the dispute. The Ndgas presented the cause of disagreement between the Ndgas, the gem-set throne, to Lord Buddha but Lord Buddha gave it back to them and returned to India, Later, on the invitation of king Maniakkhika Lord Buddha returned to Lanka and it was during this visit that he sat on the gem-set throne and preached.

There is no mention who built the stupa but legend has it that this gem-set throne is enshrined in it.

66. Worship the Statue in the Naga Shrine Room, Displaying before the devotees how the Buddha sits Within the coil of Mucalinda, the Cobra, sheltered by its hood, When, in the sixth week, Heavy showers poured down on all sides.

Notes: Naga shrine is so called because it shows how the Buddha sits within the coil of Mucalinda, the cobra. Naga means cobra. After gaining Enlightenment, the Buddha spent seven weeks in meditation at seven stations, a week in each station. In the sixth week, he was under a Midella tree in the Mucalinda Park when there was a heavy downpour. Mucalinda, the cobra, coiled its body around the Buddha and with its hood over his head protected him from the rain. This scene is depicted in the Naga Shrine Room.

85 67. Behold the Samadhi Statue Like the reflection of the serene Buddha, When he delivered the people from samsara, With the Nectar of the Dhamma; With rapt concentration, worship it.

Notes: Samadhi Statue is a statue of the Buddha showing him in the pose of concentration. After he delivered the people from samsara - the cycle of birth and death - by preaching the Dhamma, the Teaching, he spent his time in meditation because he had finished his mission. The courier is asked to behold the statue because it is unique and then worship it. 'With rapt concentration' refers to 'tunsita kara samadi' in the original Sinhala text. It literally means 'bringing your three minds into focus.' The three minds are defined as the mind before one performs an act, the mind when performing an act and the mind after performing the act. Buddhists concentrate on such lines whenever they perform their rituals.

68. Worship The Sacred Bodhi Tree, That stands like the silver-staffed sapphire parasol Gifted by the gods to the Buddha The day He attained Enlightenment, And gain merit.

Notes: Buddhists worship the Bodhi tree as a paribhogika cetiya, that is as an object used by him. Before his use, the tree was known as dsatu (ficus tsiela) and it became to be called the Bodhi tree because he attained bodhi (enlightenment) under it.

Here the use of the simile of the silver-staffed sapphire parasol is appropriate because the trunk of this tree is white in colour and the leaves blue. (In Sinhala usage leaves of trees or grass are always referred to as being blue in colour.) Just as ,1 parasol, the Bodhi tree also provided shelter to the Buddha.

Gods presenting the Buddha with a silver-staffed sapphire parasol is Buddhist legend.

69. In the southern gateway Whose dovecotes touch the moon Listen, at ease, to the varied musical offerings And worship the two Tivanka statues of perfect execution Shining with the auspicious marks-

86 70. Then, without turning your back, worship the Robe-stupa Built on the spot, where the undefiled Buddha, After a bath in the cool waters, Of the river resembling the outstretched trunk Of the Elephant of Mount Samanala Donned his three robes.

Notes: One sentence connects the two verses, which is referred to as 'yugmaka' in Sinhala poetics.

The dovecotes touch the moon because the gate at the southern end is so tall. The tivahka statues are so called because they are executed with three bends (tivahka), which are at the neck, waist, and the knees. One such statue could be seen even today at the Tivanka Image House at Polonnaruva.

In one of his visits to Lanka the Buddha bathed in the river at Kalaniya and donned his three robes. Three robes are the under garment, single robe and the double robe. The under garment is worn while the other two are wrapped around the body. The Robe-stupa was built to mark the spot.

The river has its source in the Samanala Mountain that is compared to an elephant and the river, as it flows down, to its outstretched trunk.

71. Worship, O Friend, The statue in the elegant mansion Built with reverence by the devotees Marking the spot where, King Kalyanatissa, Driven by mistrust, immersed the faultless arahant In the cauldron of boiling oil.

Notes: The legend referred to here is as follows: King Kalyanatissa is the elder son of Uttiya, son of King Mutasiva of Anuradhapura. He had a brother named Uttiya who had a clandestine affair with his (Kalyanatissa's) consort. In fear of the king who had wind of the affair Uttiya fled to the coastal area and lived there. To send a love letter to the queen, he got a man dressed as a monk, gave him the letter and got him to follow the line of monks led by the arahant who went regularly for alms to the palace so that he could hand it over to the queen. The man coming out of the palace after the alms dropped the letter on the floor to be seen by the queen. The king who heard the

87 letter drop on the floor, picked it up, and suspecting that it was done by the arahant put him into a cauldron of boiling oil.

An arahant in Buddhism refers to a person who has reached the last and highest of the four paths to nirvana, when, all the passions being extinguished, there is no further rebirth.

This is the last point for the courier to worship. Already he had paid his homage to twelve sacred objects. In paying homage at the Kitsirime Temple (see v. 42) the courier was asked to follow a certain order: stupa, Sacred Bodhi Tree, and the Statues. But here that order has been overlooked probably because had the courier done so he would have had to follow a circuitous route. To avoid this inconven­ ience he was asked to pay his homage to the monuments one by one as he came across them beginning from the northern side.

The Temple

72. O, benevolent friend, bear in mind the infinite merit You have gained in your worship; To offer it to God Vibhisana, enter now, his temple, As magnificent as the Vaijayanta, the Indra's Palace.

Notes: The courier has now gained infinite (religious) merit by worshipping twelve sacred monuments in the Kalaniya temple. He is now asked to enter the temple of God Vibhisana to offer it to him. When you make various offerings to gods you wrap them in cloth, but here the courier is asked to bear the merit in his mind.

God Vibhisana's temple is as magnificent as the Indra's Palace. Describing this palace, the Guttila Kavya says: 'It is a golden palace 700 cubic foot high, with flags fluttering in a 300 cubic foot long area and inhabited by thousands of beautiful goddesses.'

Dancing Girls

73. On the stage, watch the girls dancing: Their hair ornate with fragrant flowers Bright gold ornaments shining in their ears. And their long, blue eyes made up with unguent.

Notes: In the temple nautch-girls perform. How they are dressed is described in a few brush strokes; fragrant flowers in the hair, gold ornaments in the ears, and long, blue eyes made up with unguent.

88 74. Like waving flames are the dancing girls Casting side-glances at their arms, Raising and lowering, as they dance; Radiant jewels brighten their bodies As gleaning waist-frills on their broad hips, Fan out as they dance in formation.

Notes: The dancing girls are like moving flames because they are golden, thin, and they move in rhythm. Raising and lowering of hands is a popular dance movement; as they do so they look at their hands with the corner of their eyes. Their bodies are brightened by the radiance of their jewels and the waist-frills on their broad hips fan out. Waist-frill is a set of frills that women keep jutting out at their waist when they wear a cloth. It is called a 'narupata' in Sinhala. The idea here is that when the dancing girls jerk their hips the waist- frills fan out.

75. Behold, O Friend, the splendour of these belles, Dancing to the beat of the drum, Moving their lotus-like feet, As the gem-studded girdle on their comely hips And the gold anklets jingle in concord.

Notes: A further description of the dancing girls. Their feet, red and gentle, are like lotus flowers. As they dance the gem-studded girdle on their broad hips and their anklets ring together.

76. Friend; enchant your eyes, ears, and the mind, Seeing these girls singing like divine beings Assembling the seven notes of the flute and the harp, The humming of bees, and the call of the cuckoo In symphonic orchestration.

Notes: The courier is asked to watch the dancing girls and satisfy his eyes, ears, and the mind. Obviously, he is asked to see the beauty of the girls, and listen to their singing that will please his mind.

'Divine beings' in this verse refers to 'kinduraiigana' in the original who are a kind of legendary beings, human in the upper part and bird-like in the lower. They are credited to be sweet singers.

77. After such dance and song offerings Admire the sight of God Vibhlsana Of world-renowned fame, Gaily seated in the centre of the temple.

89 Notes: The Courier must wait until the dance and song offerings are over to see God Vibhisana. His fame is world-renowned and now he sits happily in the centre of his temple.

78. Visible on the head of this god, A refuge to the whole world, Is the golden crown beaming with pearls and gems; Like the chariot of the Rohini constellation, Atop Mount Anjana.

Notes: Here the poet begins to describe God Vibhisana borrowing heavily from traditional poetry. This is also a 'top-to-toe' description; when traditional poets described men they did so from head to feet while in the description of women they resorted to 'toe-to-top' description.

His crown beams like the five-starred Rohini constellation atop Mount Anjana. R5hinl constellation is the fourth of the twenty-eight divisions of the path of the moon round the earth. The group of stars appearing overhead names each such division. In the case of the Rohini constellation, there are five stars and if a line joins them a picture of an ancient chariot emerges. Hence, this group of stars is called 'the chariot of the RShinI constellation.' The crown on the head of God Vibhisana is seen like this chariot because its gems shine like the stars of this particular constellation.

'Anjana' means lampblack. God Vibhisana is dark in complexion and he looks like the Anjana Mountain. His head is like the peak of the mountain, and the crown on his head the chariot-like stars of the Rohini constellation.

79. Lightning, confused and separated When the rain cloud turned white Seems settled on this god's forehead Which ever resembled the cloud, To shine always as his forehead band.

Notes: The rain cloud turns white sometimes. Then '.he lightning, unable to identify it, is confused and settles on this god's forehead, which is always dark and resembles the rain cloud.

As earlier observed God Vibhisana is dark in complextion. The golden band on his forehead is like lightning in a rain cloud that never changes.

90 To change the metaphor, the rain cloud is the husband of Lightning. She identifies him from his colour, which is blue, but he does not remain blue always. When he turns white at times Lightning is unable to identify him and is confused. Going in search of him, she spots the god who never changes his dark colour. Delighted that his colour remains constant Lightning settles on his forehead as a golden band.

A similar comparison of lightning to a forehead band is found in the earliest extant Sinhala Sandesa, Mayura.

80. On the ears of this graceful god As two sapphire swings Gold earrings gleam Like the pair of gold mirrors of Sarasvati Who evermore dwells on his face.

Notes: As the god is dark in complexion, his ears look like sapphire gems; they look like swings because they are long. The gleaming earrings look like the mirrors of Goddess Sarasvati who constantly dwells on his face.

There is some confusion in this verse. Raipiyal Tennakoon, an editor of Salalihini Sandesa, points out that Sarasvati dwells on the mouth of Brahma, and even when she changes her place of dwelling she would not dwell on someone's face. Sarasvti is the consort of Brahma and when it is said that she dwells on someone's mouth it means that he is gifted with eloquence and learning.

Another confusion is the use of the term 'siri sarasaviya' to refer to Goddess Sarasvati. Siri refers to Laxmi, the Goddess of Prosperity and Sarasavi to Sarasvati, the Goddess of Learning who, in poetic convention, as perhaps in real life, do not normally keep company with each other! (See Raipiyal Tennakoon, op. cit., p. 294 ff.)

81. His eyebrows, blue and prominent On his forehead manifest as rain clouds, Bestowing showers of comfort on his devotees, Like the rain clouds unto a hill-paddy field And, on his enemies, the terror of lightning Like the rain clouds unto a forest.

Notes: The eyebrows of God Vibhisana are compared to rain clouds. Just as rain clouds give refreshing water to hill-paddy fields so do

91 his eyebrows grant consolation to his devotees. And just as rain clouds cause scary lightning on forests so do his eyebrows cause alarm among his enemies.

His eyebrows are on the mound of his forehead just as the rain clouds are on the hill, and shine in blue just as the rain clouds; they are prominent on the forehead just as the rain clouds are prominent over the hill. So his eyebrows share similar qualities with the rain cloud.

This concept of the eyebrows bestowing good and bad on people is common among Sinhala poets. For instance, Muvadevdavata has the following verse:

Naraturu notora vS e naravara bdma liyen vipak supaknata mini kuriru marana piya karana. (v. 39)

(Continually and always, The king with his eyebrows Bestowed death on those he disliked And gifts on those he liked.)

Or, in Kavsilumina:

No di hi da pavare - nirihdu bdma liya somi guna yehen yasa'nu va visl - viridu nirindu diya siyal. (Canto 1, v. 34)

(So long as the king's eyebrows were gentle, in peace lived all his enemy kings.)

82. His eyes shine like two morning suns Forever dissipating with a mere glance The Darkness of Enemies, Blossoming the Lotus Grove of Friends, And dispelling the Dew of Danger.

Notes: God Vibhlsana by birth is an asura; hence, his eyes are reddish like two morning suns. His glance drives away the asuras as the sun dispels the darkness; it inspirits his friends just as the sun blooms the grove of lotus; it banishes dangers as the sun dispels the dew.

These qualities show his grandeur and benevolence.

92 83. The long, prominent nose of this god, Of whose fame do fairies sing Outshines the sapphire bugle; Which, alas, suffers In the service of gods and kings.

Notes: The description of the god's nose. It is long, imposing and would outdo a sapphire bugle. The defeated bugle would curry favour with gods and kings sounding calls before them with the secret hope to taking vengeance from the god's nose!

At the time when there were no clocks, time for various purposes were announced by sounding a bugle, which was done under the king's command.

'Sapphire bugle': as we are repeatedly reminded the god was dark in colour.

84. The two tusks at either end of the God's red lips Shine like swans in a charming, vermilion lake Or, like two crescent moons, Were they to manifest At either end of a range of evening clouds.

Notes: Gods do not have tusks. But according to mythology Vibhisana was born as a raksasa (daemon) who has tusks. Vibhisana was treated as a god because he opposed his own brother and took the side of Rama who was a god.

In Sinhala poetics, both metaphors here are in the category of 'adbhuta' or marvels. One is the vermilion lake, which is non-existant, and the other, the appearance of two crescent moons, which is an impossibility.

The comparision of the tusks to crescent moons is appropriate, they being curved and pointed at the ends.

His lips are red and the tusks white. Hence, the vermilion lake and the swans or the evening clouds and the crescent moons.

85. His hand, decked with gem-studded gold bangles, Diffusing rays like clusters of flowers, With its long fingers like copper, tender leaves, Succours his people outshining the glorious branch Of kalpavmksa, the heavenly tree.

93 Notes: His hand is compared to the shining branch of the kalpa\ i nksti, the wish-fulfilling, heavenly tree. Five such heavenly tree, .ue mentioned; Mandara, Parijata, Santana, kalpavruksa and lun .rondana.

Rays emanating from the gem-studded bangles rc.-emble *he clusters of flowers, long fingers the tender leaves of the branch. How does it surpass the heavenly tree? Because it fulfils people*s wishes here in this world itself while the benevolence of the heavenly tree is subject to one gaining admittance to heaven!

86. On his broad chest like a sapphire slab. Bathed by the eternal, affectionate glances. Cast by the goddesses, Like applying finishing lines on a painting; Goddess LaksmI sports forever delighted.

Notes: The god's broad chest is like a sapphire slab. In poetic convention, broad chest is a desirable masculine feature just as broad hips are a desirable feminine feature.

Goddesses admire his broad chest and cast tender, affectionate glances that seem like the application of finishing touches on a painting. Why finishing touches? His broad chest is blue and when the goddesses glance at the chest with their blue eyes the colour deepens. Hence, the glances are like 'finishing touches' on a painting that improve its appearance. 'Finishing touches' in the original appears as 'nimaham'. q. v. Kavyasekhara, Canto 1, v. 128 by the same poet.

Pdhddum ranga vannaminudu laha Sivusas nimaham yutu nima laha Sitiyam vana me rasa tepa laha Elavi savana saba siya laha

[The Enlightened One Declared before the assembly this pleasant story Like a painting brilliant with the colour of lucidity And finished with the pure lines Of the Four Noble Truths.]

Goddess LaksmI dwells on the chest of Visnu. The statement that Goddess LaksmI lives on someone's chest means that he is living in prosperity.

94 87. On the plane of his broad hips Stand his thighs, round and smooth, Shining forth with the rays Of cat's eye gems in his girdle, As though sprinkled with water.

Notes: The description of his thighs, round and smooth. In the original compared to 'plantain trunks' which when peeled are shiny and smooth. Bluish rays of the cat's eye in his girdle fall on his thighs which look like sprinkled with water. It is said that even milk becomes blue if a cat's eye is dropped in it.

Note the reference to a girdle here, which normally women wear.

The poet uses the same metaphor in Kavyasekhara, another work by him: [Canto 6, v 23]

veralu mini rasambus isinev vatora rambagas mevuldama e vilas lakalakele lela pululukulu des'

[Her waist-girdle illumined her hips As though the water of cat's eye gems Splashed on the plantain trees of her thighs.]

88. Turned red like lac By the radiance of crest-gems of crowns Of gods paying homage to him. His feet stood on a lotus; Seeing which, the tender leaves of Asoka, In fear seem to tremble.

Notes: When gods pay homage to him they bent down to touch his feet, which the crestgems on their crowns illumine. The god stands on a lotus trampling it. The tender leaves of Asoka, (saraca indica) which normally quiver seem to do so lest the god should trample them next.

His feet surpass the lotus in colour, tenderness, and beauty.

89. Like the sea is this God, Pleasant, dazzling, deep, pure, and blessed; Pleasing those who behold, Yet, at times, frightening, Verily do words fail to express his elegance.

95 Notes: God Vibhisana is compared to the sea. All the attributes are common to both. The god is pleasant and dazzling just as the sea. The depth of the sea could be compared to his depth of knowledge and wisdom. The god is pure because he is free from corruption just as the sea is pure because it pushes all dirt onto the shore. The god shares the peculiarity of the sea of being both pleasing and frightening.

90. As he fulfils all that the people wish With the mere mention of his name, How could he be compared With the Celestial Tree, Cow, or the Gem? Even diseases begotten by sin does he dispel Without a trace as water from a lotus leaf So even Divine Physicians exist but by name.

Notes: With the mere mention of his name people can receive succour from this god. He outplays even the divine physicians because he cures even diseases caused by sin. He is great in this sense, as one has to reach the celestial tree (kalpavrksa), the cow (surabi) or the gem (situmina) in heaven to receive help from them.

Regarding kalpavrksa see note to v. 85.

Surabi is a cow that manifested when the Milk Sea was churned during the surasura war. A wish-fulfilling cow living in heaven.

Situmina, a wish fulfilling gem in heaven.

Divine Physicians are twins who are the physicians to gods, Asvin and Nasakya by name. The idea in the verse is that this god is much more effective than even them.

91. As he bequeaths fame, wealth, glory, wisdom, Armies, victory in war, kingship, offices, Progress, longevity, and power As do the people wish Verily is he the result of all their merits.

Notes: Buddhists believe that the benefits they reap in this world are the result of their actions in past births. As this god grants all such benefits, he is indeed the accumulation of all their good deeds in previous births.

92. Brother to Ravana, Conqueror of The Three Worlds, Made friends with Prince Rama,

96 Taking heed of past, present and future events, A gem-lamp unto the dynasty of Pulasti, Master of the Three Vedas, Worship thrice this god's lotus-like feet.

Notes: Here God Vibhisana's magnificence is further described. He is the brother of Ravana who conquered the three worlds: the world of the gods, the world of the humans and the world of the daemons. Having practised asceticism for twenty thousand years, Ravana got a boon from Brahma that he would never meet with his death at anyone's hands. He became king of Lanka and the people of the three worlds served him.

However. Ravana's character was blemished as a person who had robbed another of his wife. Just as the fame of a person would pass on to his relatives so would ill fame. It is to get over this bad reputation falling on him that Vibhlsana, taking heed of past, present and future events, made friends with Rama.

As the famous legend has it, Rama is the husband of SIta whom Ravana abducted. He was the son of King Dasaratha of the city of Ayodhya and SIta was a princess brought up by King Janaka of Mithila. As commanded by his father, Rama went into the jungles to practise asceticism along with SIta and his cousin Laxman. It was when they were practising asceticism near the Pancavati ferry in the Dandaka forest in the South that Ravana seized SIta and brought her back to Lanka and hid her in the Asoka gardens. Rama getting the assistance of many kings in South India with the help of Hanuma, a Monkey King, came to Lanka with his cousin Laxman and waged war against Ravana to get SIta released. In this war, Vibhlsana helped Rama.

He made friends with Rama after considering what happened in the past, what was happening in the present, and what would happen in the future. Vibhi§ana believed that what happened in the past, namely the abduction of SIta by Ravana was a cruel act, which would mar the reputation of his ancestors and the lineage. As what was happening in the present, he concluded that to get involved in a war resulting from a trifling matter like keeping another's wife in custody would impede the progress of the country and the people. As what would happen in the future he surmised that it was his duty to save the people from fighting a useless war and suffering as a result, to restore the wife to her legitimate husband and show the people that

97 he is against misdeeds however powerful the doer is, and put the country back again under his command. Perhaps he was also shrewd enough to realise that siding with Rama was prudent at the moment!

Both Ravana and Vibhlsana are the sons of Visravas who was the son of Pulasti. Thus, both Ravana and Vibhlsana are nephews of Pulasti. Ravana spoiled the lineage of Pulasti by committing an immoral act. Vibhlsana committed a salutary act thus obliterating the stain on the family lineage and illuminating it. This is why Vibhlsana is called a gem-lamp unto the dynasty of Pulasti.

Sage Pulasti is a master of the Three Vedas known as Rg, Yajur and Santa. Vedas to the Brahmins is what Tripitaka is to the Buddhist or the Bible to the Christians. Veda means 'perceived' and it is claimed that what the vedas contain is what the sages have perceived. The Message

93. Then, when the God is well-disposed And the time proper, Offer him greetings standing on one side, Explain therewith the purpose of your visit, Without hurrying, without contradiction.

Notes: The meaning of this verse is obvious. Even from a modern point of view, the poet seems to have been a public relations expert par excellence! After worshipping his lotus-like feet three times the courier is asked to check whether the god is well-disposed towards him, and whether he is in a proper mood to lend a patient ear to what he is about to say. 'Offer him greetings' means much more than what the English context would mean. Traditionally, when meeting a dignitary eulogistic words are uttered, and the courier is here asked to do so. [See the following verse.] When one speaks with a dignitary one ought to stand on one side in deference to him. He should then explain the purpose of his visit and convey his message 'without hurrying, without contradiction.' How many missions have failed because of haste and discrepancy!

94. O, the steadfast Mount Meru, the Majestic Sun, The renowned deep Ocean, bright blue Sky, The gentle Moon, Jupiter the Teacher of Gods, May you, the God of the city of Kalyani, live long!

Notes: Here some suggestions are made for the eulogy. Legendary Mount Meru is known for its steadfastness. By his knowledge, he is

98 as deep as the ocean [see v. 89] and as he is dark in complexion, he is as bright as the blue sky. Gentle as the moon, he equals Jupiter, the teacher of gods, in wisdom.

95. Like a king swan gliding In the Lotus Pond of Royal Dynasty, Of bearing, gracious as the erstwhile Cupid, Eternally blessed with all wealth, And radiant with the jewelled ornaments Of glory, power, might and virtue

96. Nannur Tunaya, the worthy minister, Who faithfully keeps you in mind offering oblations, Wished that this message be conveyed to you with care, May your lordship be pleased to lend your ears for a moment To that memorandum.

Notes: According to Sinhala poetics, here again is a yugmaka, one sentence running to two verses.

The royal dynasty is compared to a pond of lotus flowers, and the Minister Nannur Tunaya to a king swan gliding in the pond. The king swan with red beak and feet is an adornment to a pond full of lotus flowers. Similarly, Nannur Tunaya is an adornment to the royal dynasty. Blessed with all wealth, he is also as handsome as the erstwhile Cupid. [In the original text, 'Malavi', meaning one who uses flowers as weapons, the eastern version of cupid.] Why the erstwhile Malavi? In ancient times, there was a powerful asura named Taraka in Lanka who had a boon from Brahma that he would never die at anyone's hands. Gods who were harassed by him assembled under the chairmanship of sakra and they sent a deputation to Brahma to be advised of a strategy to destroy Taraka. Brahma advised that a son begotten by Isvara from princess Giri could destroy Taraka. Gods then sent Malavi to evoke in Giri's mind a fascination toward Isvara.

At the time, Isvara who was bound by vow to practise asceticism for a period of seven years was living in the Himalayan region. As directed by her father Princess Giri was attending on Isvara daily in the morning and evening performing various rituals. Malavi who was waiting for his opportunity hiding behind a nearby mango tree shot with his bow just as Princess Giri was about to leave after her rituals. The arrow struck Isvara's heart. Opening his eyes by the shock, he saw the figure of Princess Giri leaving, and fascinated by her, lost

99 his trance. Looking around for the person who brought this misery on him, he saw Malavi who was shivering in fear, his hand still on the bowstring. Infuriated, Isvara threw a glance at Malavi with his forehead-eye, which reduced Malavi to ashes.

Isvara, now lost in love for Princess Giri, wandered about in the Himalayan region, and the gods arranged her marriage with him. But love was of no use without passion (i. e. Malavi), so as suggested by Brahma, Isvara created Malavi again with only half of his body. Skandakumara of Lanka is the son of Isvara and Giri who destroyed Taraka.

Having great faith in the god he regularly offers oblations and this message was sent through the courier to be conveyed to the god carefully. Nannur Tunaya is the husband of Lokanatha the daughter of King Parakramabahu VI.

Malavi - Ancient poets regarded passion as a god and named him 'Malavi'. His wife was named 'Rati' meaning desire. Mental states that arise as a result of desire, namely insanity, repentance, aridity, petrifaction, and deception were Malavi's five arrows. These inorganic states were given physical forms as lotus, hopalu (albizzia lebbek), mango, jasmine and blue-lilies. His bow was made of a sugar-cane stick and the bowstring was a line of wasps. Poets metaphorically refer to the darting look of a woman as Malavi's arrow.

97. Like the Brilliant Sun in the centre of the Autumn Sky Of the Lambakarna Clan of the Solar Dynasty, Is our king Parakumba Of glory world-renowned Whom Laxml, the goddess of prosperity, never deserts Whose fame is like a necklace of pearls, Around the necks of poets -

98. Well-versed in the Teaching of the Buddha And so free from evil deeds Having made himself master Of the art of using weapons; of poetic and dramatic arts: Vanquish did he the pride of defiant opponents By his strategic skills, And brought entire Lanka under one banner-

99. Of pleasant bearing is he Like cool unguent on people's eyes,

100 Like God sakra, manifest in the world of humans, Topmost in valour is our king Parakumba Among kings of Jambudvipa-

100. Ulakudaya Devi, daughter to him Like Goddess Laxmi, font of all prosperity; Like a wish-fulfilling gem to all who entreat. In wisdom akin to Goddess SarasvatI; Like a new moon, ardently revered by the people-

101. Having at heart the welfare of her friends; On her servants, Showering wealth with benevolence; To husband faithful and of manners impeccable, Ever conscious of observing the ten-fold virtues-

102. To the renowned Ulakudaya Devi Soft-spoken, discreet, endowed with poetic gifts Who observes rigorously The eight precepts every full-moon day, With overflowing faith and devotion In the Teaching of the Buddha-

103. O, God, Eye to the Three Worlds! Whose feet are wet with the fragrant nectar Of garlands on the crowns of Suras, Gift a precious son With charming looks, long life, wisdom and fame!

Notes: v. 97: Solar dynasty descends from King Manu, a relative of the Sun.

Lambakaftia is a major clan among the groups of people who brought the branch of the Sacred Bodhi Tree to Lanka during the reign of King Devanampiya Tissa in the third century BC.

Autumn is considered as the period between October-November when the sky is free from clouds and so the sun shines brightest.

'Whose fame is like a necklace of pearls around the necks of poets' This is a symbolic expression meaning that the poets sang the praise of this king with much relish.

Laxmi never deserts means that the king never experienced adversity. 91836 v. 98: Teaching of the Buddha - Generally divided into three pitakas (depositories) as Sutta (discourses), Abhidhamma (metaphysics) and Vinaya (discipline). The king was proficient in the Teaching and so led a disciplined life.

Made himself master of these arts. As these arts are considered endless, they are compared to the ocean.

Strategic skills - The four devices or means used by kings to conquer or govern: conciliation (sama) gifts (dana) sowing dissension (bheda) and punishment (danda).

v. 99: Like cool unguent on people's eyes - What is suggested is that the people always enjoyed seeing the king because he was good- looking.

Like God Sakra manifest in the world of humans - The king is majestic, good-looking, and world renowned as though sakra, the king of gods, has visited the world of humans.

v. 100: Ulakudaya Devi is compared to Goddess Laxml because she is endowed with prosperity.

Wish-fulfilling gem - See note to v. 90.

In wisdom akin to Goddess Sarasvati - Sarasvati is the goddess of wisdom and wife of Brahma. As a wise lady, Ulakudaya Devi is like Sarasvati appearing in this world.

Like a new moon ardently revered by the people - Worshipping the new moon is a ritual coming down from ancient times. People consider that doing so would bless them. As seeing Ulakudaya Devi is invariably a blessing, they revere her like the new moon. A verse in the Kavsilumina refers to this practice too:

'Muhulat tamburu vin - danananganan vuvan sanda Samahara disi piyum ra - mini mdnduru si maAdure (Canto 1, v. 17)

[People worshiped the half-concealed face of a woman seen through the window of a mansion made of rubies thinking that it was the new moon.]

v. 101: What is described here is Ulakudaya Devi' generosity and manners. To her friends she seems as some one born with the urge of ever helping them: she showers wealth on her servants.

102 To her husband faithful - the obligations of a wife towards her husband.

'Ten-fold virtues' - alms - giving, observance of precepts, medi­ tation, transfer of religious merit, receiving religious merit, preaching the Dhamma, listening to the Dhamma, paying homage to whom homage is due, observance of rituals, and offering praise to whom praise is due.

v. 102: The eight precepts - abstain from taking life, theft, sexual misconduct, telling of lies, taking intoxicant drinks, eating after midday, singing and dancing, and using high beds or couches. It is customary for Buddhists to observe these precepts on full-moon days, a practice prevalent even today.

v. 103; Eye to the Three Worlds - An eye to the world of gods, the world of humans and the world of daemons, that is a benefactor to these three worlds. Alternatively, another interpretation would be that the eye sees everything, and when people of these worlds are in the dark (i. e. in difficulties), they look up to this king (the eye) for guidance.

'Feet wet with the fragrant nectar' - When the gods worship God Vibhlsana the nectar in the flowers of their crowns wet his feet, which is to say that they actually worshipped his feet, (cf..., v. 88)

104. Earlier, perceiving with your caring, divine eye You bestowed on beautiful Queen Ratnavali A precious son, Parakumba Who later became King of Lanka; What need is there of many words?

Notes: This refers to an earlier invocation made to God Vibhlsana Queen Ratnavali is the elder daughter of King Vijayabahu I who was married to Manabharana her aunt's son. After the death of Vijayabahu, Manabharana fought his son Vickramabahu who became king but was defeated. Manabharana with his wife Ratnavali fled to the south and lived near the city of Kalaniya. As they had only daughters, they made an invocation to God Vibhlsana who blessed them with a son. It was this prince who later became king of Polonnaruva as Parakramabahu the Great.

105. The king's daughter I mention Worships thine worthy feet

103 The same god, paying homage just as earlier, With jasmine and lilies, Were she to be bestowed with a son, Acquire merit you will, and grow in fame.

Notes: This is an entreating appeal. The god once granted a son to Queen Ratnavali who later became an illustrious king of Lanka. This princess also invokes the same god, offering the same flowers and performing the same rituals. If she were to be blessed with a son, the god will not only acquire merit but his fame would grow too.

106. Thus, convey this message to the God, And respectfully salute him circumambulating, Then, losing no time, meet the Goddess Consort And repeat your request, O friend!

Notes: This verse again shows the keen knowledge the poet possessed of human nature, (cf. v. 93) The invocation may be important for the person who makes it but for the god it is just one among so many. So the tendency is that he might forget it or not treat it with the urgency that it requires. This is why the courier is asked to meet the consort of the god and repeat the message to her so that she may remind him of it; a practice still not outdated!

'Circumambulating' - In the original, 'padakunu kota'. A rever­ ential form of salutation, which is to walk round a person with one's right turned towards him.

107. To the Royal Prince, Who illuminates his lineage Like the moon the milk-sea Mention this message, to be conveyed to God When he finds him in the right mood.

Notes: To doubly make sure that the god would consider the message the courier is asked to tell it to the royal prince so that he may tell it to his father when he is free. The prince is a noble son who illuminates his lineage like the milk-sea turns still brighter when moonlight falls in it.

108. Convey this message embellished, Like a lotus awakening in the dawn And, thenceforth, O Salalihini! Live long in peace and happiness With your kith and kin!

104 Notes: This is the final greeting to the courier who has finished his mission. The poet wishes that he lives in peace and happiness with his relatives and friends for hundred years.

'Like a lotus awakening in the dawn' - The courier was told the message in its embryonic form. He is asked to convey it to the god with necessary flourishes 'just as a lotus awakens in the dawn.'

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