සැළලිහිණි සන්දේශය - තොටගමුවේ ශ්‍රී රාහුල හිමි 1934.pdf

The Selalihini Sandesaya (සැළලිහිණි සන්දේශය) යනු කෝට්ටේ යුගයේ වැඩවිසූ ෂඩ්භාෂා පරමේශ්වර තොටගමුවේ ශ්‍රී රාහුල මාහිමියන් විසින් රචිත සුප්‍රකට සන්දේශ කාව්‍යයකි. මෙම සංස්කරණය නන්දදේව විජේසේකර (N. D. de S. Wijesekera) මහතා විසින් සිසුන්ට පහසුවෙන් කියවා තේරුම් ගත හැකි වන පරිදි සරල සිංහල පදගත අර්ථය (paraphrase), ඉංග්‍රීසි සටහන් (notes) සහ ඉංග්‍රීසි පරිවර්තනයක් ද සහිතව සම්පාදනය කරන ලද්දකි.

ග්‍රන්ථයේ දීර්ඝ ඉංග්‍රීසි හැඳින්වීමක් (Introduction) අන්තර්ගත වන අතර, එහි සන්දේශ කාව්‍ය සම්ප්‍රදායේ මූලාරම්භය, ශ්‍රී රාහුල හිමියන්ගේ චරිතාපදානය, උන්වහන්සේගේ අනෙකුත් කෘතීන්, කාල නිර්ණය සහ සැළලිහිණි සන්දේශයේ සාහිත්‍යමය අගය විස්තරාත්මකව විමසා ඇත.

• Introduction
• Selalihini Sandesaya (මූල පාඨය)
• Paraphrase (සිංහල අන්වය/පදගත අර්ථය)
• English Notes
• Translation (ඉංග්‍රීසි පරිවර්තනය)

මෙම ප්‍රථම මුද්‍රණය 1934 වසරේදී කොළඹ එම්. ඩී. ගුණසේන සමාගම මඟින් මුද්‍රණය කර ඇත.

PREFACE.

In editing the Selalihini Sandesaya I have attempted to introduce to the students a book that can be easily read and understood by them. Thus, with the introduction, notes, easy paraphrase and the English translation they should find no difficulty in studying this book.

All the proper names and most of the difficult words have been explained. I have followed the commonly accepted text. Some of the words admit of more than one form. Sometimes the common form has been replaced by a rare form. The frequent occurrence of the “ඇ” at the end of words will be strikingly noticeable. I have not gone deeper into that question. In all instances my general rule has been to follow the form commonly accepted by recognised scholars. Therefore I have allowed such things to remain since they make no change in the meanings of the verses. Whether these forms were used by the author or later introduced by editors I am still not in a position to say.

My obligations are due to the various editors who have preceded me. I am indebted to Mr. H. Samaranayaka, more than I could express, for the great trouble he took in assisting me in various ways.

N. D. de S. WIJESEKERA.
“CHINTAMANI”,
WELIPENNA,
5th January, 1934.

INTRODUCTION.

1. The origin of the idea of all Sandesa Poems can be traced back to Kalidasa’s beautiful little poem Meghaduta (cloud-messenger). Not only in India but also in Ceylon Meghaduta gave rise to a crop of imitations. Some of these compositions can bear comparison with Kalidasa’s standard work whilst others fall far below it in point of deep sentiment, accuracy of construction and purity of thought.

Even Kalidasa seems to have derived this pregnant idea from the Rig Veda. For the prayers of the imprisoned Panis closely resemble the lament of the Yakkha in Meghaduta. As the passage of Sita through the air offered to Valmiki a grand opportunity to describe in detail the beauty of the landscape so Kalidasa too made use of the cloud for the same purpose.

Messages of the Sandesa type may have been sent by wise men in the past. Trained birds may have been employed as the medium of conveyance. That this form of communication prevailed is a genuine feature.

2. One cannot fail to notice that the message was always sent through the air. This was for a special purpose. It was to profit by the rare opportunity offered for vivid descriptions of the natural beauty of the lakes, gardens and hilly forests.

3. Eastern poets always possessed the patience and wealth of words for such descriptions. At the same time it is a matter for regret that this kind of portraiture became conventional more so in the poetic composition than in any other species of literature.

Stock similes with similar descriptions filled the different volumes of the poems only to add to the regular monotony of laboured details. The structure of the mythological allusions and their settiug were never changed. The consequent result of such a practice was the suppression of originality, checking of a new growth and development. In a word the whole organism of this species of literature became paralysed.

4. The famous Sandesas were composed during (1400—1500 A. D.). At this time lived some of the greatest Sinhalese scholars and poets whose names are household woids e.g. Sri Rahula and Vidagama Thera.

5. More than the scholars and learned men one dominant personality was mainly responsible for this awakening in Sinhalese literature.

This was no other than that of the king himself whose influence and assistance caused the forests of poets to blossom forth into flowers of poetic expression. He was a scholar and a great patron of learning and art.

6. The purpose of the majority of Sandesas was the transmission of a message or beseeching the favours of a deity. The famous Sandesa poems are the following: Sela-khini, Paravi, Hansa, Kokila, Mayura and Gira Sandesa.

7. The term Sandesa is used in Sanskrit and Pali in the same meaning as in Sinhalese. Sk. Sandesa > Pa. Sandesa > Sn. Sandesa or Sandesa. But for the change of sibilants no transformation occurs in the process of borrowing.

8. Sam+desa that which is well-spoken. The commentators give the following explanation in Sanskrit.

Sandisyati ti Sandesah. The root dis=to declare, or to see; and Sam = well.

9. It means a message. Anything that is well spoken or seen can be given this name. In Sinhalese the word became stereotyped, and was appplied to this particular type of compositions.

10. Sandesa (සන්දෙස), Sandesa (සන්දෙස), hasna (හස්න) asna (අස්න), asun (අසුන්), hasun (හසුන්), panividaya (පණිවිඩය), liyuma (ලියුම)

11. Sandesa is also called a dutakavya (දූතකාව්‍ය). This type of poem is always addressed to a messenger who happens to be a bird ir this case. It may be any other person for instance a human being. A Duta kavya begins with either an historical passage, blessings on the messenger or a description about him. Then follow the details of the route with the different places to be visited and sheltered in. Finally the all important message is disclosed. A farewell verse concludes the poem (kavya).

12. The message having been composed couched in exquisitely refined language. correct versification and poetic embellishments is sent through a noble man, woman or animal. Only trustworthy persons endowed with noble virtues were employed as messengers.

13. It became customary for poets to name the whole composition by the person to whom it was addressed as the message of such and such a creature. Selalihini Sandesa derived its title from the name of the bird employed for carrying it to God Vibhisana.

14. The poets in Lanka as in India never cared to acquaint the readers with any information either about themselves or about their works. They thought that if their works were studied and appreciated that would be sufficient tribute to their memory. Their unselfish devotion to the pursuit of literature precluded the future generations from studying the lives that may have been worthy of emulation. Sri Sanghabodhi Sri Vijayabahu Parivenadhipati Sadbhasaparamesvara Tripitakavagisvaracarya Sri Rahahula Sangharaja the author of the Selalihini Sandesa was no exception.

As regards our author the dates of his compositions can be fixed with a fair amount of certainty and precision. His childhood yet remains clouded in obscurity and myth whilst his old age is wrapped in mystery.

15. It is certain that he lived during the reign of Parakramabahu VI of Kotte. Parakrama ruled from C. 1415—1467 A. D. (1958—2010 B. E.)

බුදුවැසි තෙක් දහ ස නවසිය අට පනස් ව ස රිවිසඳ තෙද යස ස පහල නිරිඳෙක් විය ලෝකු ස (Kavyasekara verse 6.)

The date of Parakrama is important because he gives the dates of composition relative to this date of accession to the throne. Moreover many stories refer to Rahula as the adopted son of the King (Girasandesa verse 223).

Luck or some unforeseen influence seemed never to have been liberal in bestowing male-issue on this race, Parakrama adopted three princes Sapumal, Ambulugala and Rahula. The last named is believed to be our author. His unfailing reference to the king may be grateful acknowledgment of the early attachments between them. He even goes to the extent of invoking God Vibhisana to bestow a son on Candravati the king’s daughter. This book too is written for a similar purpose.

16. A certain story has it that when Parakrama was ruling at Rayigama a powerful prince named Vikramabahu of Dematana (දෙමථාන) died suddenly. The King of Rayigama hastened to the spot and won over the people. Vickramabahu’s beautiful wife and child also became the spoils of victory. The Princess who happened to be of royal birth was made his queen. The child was brought up as his son. This was Rahula. At the time of his capture the child must have been at least one or two years old. And Parakrama too must have been about twenty. Therefore one cannot be far from right if one accepts the year C 1410 A.D. as the date of Rahula’s birth.

Girasandesa verse 231 says:

මනරම් මුල්ලිසසුන් වැඩපිණිස නිකස ල පැරකුම් රජු විසින් සුනපෙමිනි ඇනික ල

Some want to make out that he was a poor prince who grew up in the king’s palace. Whatever the tradition may be he was adopted by the king. This must be true. For Rahula tells us in his Pancikapradipa that he was brought up by Parakrama.

1. ආදිච්ච වංසකමලා කරභාකරෙන ............................................ ලද්ධිස්සරෙන ජයමනූපමෙමවුඩ්ඩා සංව ඩ්ඩිතො පිනුපදා ධිගතෙන යෙන

17. That he was the grandson of the great elder Uttaramula (උත්තරමූල) of Dematana (දෙමථාන) who lived at Totagamuwa needs no discussion since the author himself mentions this in his Kavyasekara verse 23.

කුලග මිණි පිවිතුරු රු දෙමථාන ගම කඳවුරු රු තොට ගමු වැසි සොඳුරු රු උතුරුමුල මහ තෙරිඳු මුනුබුරු රු

Kokila Sandesa also proves this

වැඩකරු උතුරුමුල මහ තෙරිඳු මුනුබු රු (verse 81)

The village Dematana has puzzled many a scholar. Opinions on the subject differ. It may have been the modern Dematagoda (දෙමටගොඩ) near Kotte or Maradana. A spot near Sitawaka is also identified as Dematana. No evidence can be adduced for these statements. Paravi Sandesa verse 203 says that he lived at the village of Totagamuwa.

කඳවුරුකුල උපන් රැඳිතොටගමුපියෙස ස

18. He frequently mentions his dynasty as Skandhavara (කඳවුරු) which means the family of Kotte. This was a sub-division of the famous Maurya dynasty to which famous Emperors like Candragupta and Asoka belonged.

Kavyasekara verse 23 refers to this. Selalihini Sandesa verse 111 has “කඳවුරුකුල මැදුරු මිණි...”. Kokila (8) and Paravi Sandesa 203 also mention this fact. Further interesting evidence is supplied by a Brahamin contemporary named Sri Kavi Candra Bharati. “මෛත්‍රෙයි කුලාබ්ධි ප්‍රභව සුධාංශුර්”—The moon sprung from the ocean of the Maurya Dynasty.

19. The young prince Rahula grew up under the affectionate care of the King himself. The mutual respect and love can be learnt from this verse which was uttered spontaneously in reply to a question of the King.

“මාවැනි බිළින් වර වර ළඟට කැන් දුක් සැප කුමන් අසන නිරිඳෝ වෙන කොයින්”

20. Such early signs of the child’s ability convinced Parakrama of the future in store for him. In addition the prince evinced a strong desire to join the order. Therefore Rahula was sent to the famous Vidagama Thera who was also his Guru. Rahula possessed remarkable powers of memory. Whatever was said once, he could remember. As a novice he learnt quickly. Wishing the brilliant scholar’s success the Elder sent him to the famous Uttaramula Elder at Totagamuwa.

During his fifteenth year he is supposed to have received a boon from God Skandha. Thus he writes in his Paravi Sandesa last verse 203.

කඳ සිරිදුන් වර ලැබු පසළොස් වයස

It may be due to this reason that he was afterwards known to belong to Skandhavara dynasty. The word means he who received Skandha’s boon.

It is no wonder that under such distinguished teachers such a distinguished pupil would master all arts and sciences. By the time he was twenty years he became master of the Tripitaka. In profane literature too he was well-versed. The Elder Uttaramula Chief of the Vijayaba Pirivena brought Rahula to Kotte in order to confer the higher ordination (උපසම්පදා). He was about twenty-five years old then.

Uttaramula Thera acted as teacher and Vidagama Thera as preceptor. The king was so pleased on this occasion that he conferred on him the title of Vacissara (lord of speech).

21. The following are his works in order of composition. The 203rd verse of the Paravi Sandesa is clear proof that Rahula’s first work was the Paravi Sandesa. According to the verse the year of composition falls in his fifteenth (C. 1427 A. D.). His next work was the Kavyasekaraya which falls in the 34th year of the King’s Coronation C. 1449 A. D. The gulf that separates the two is too wide. Hence the first work cannot have been so very early. Paravi Sandesa was composed before he became the chief of the Vijayaba Pirivena. He does not mention it. Whereas in the later works he never fails to mention it. Kavyasekara verse 25; Selalihini Sandesa verse 111 and many other compositions of contemporary writers give this title. At the time he wrote the Paravi Sandesa he did not hold this rank.

By the time he composed the Kavyasekara in the 34th year of the Kings Coronation (1449 A.D.) he had succeeded his grand father the Elder Uttaramula at the Vijayaba Pirivena.

The Selalihini Sandesa was composed next. This was in the 35th year of the King’s Coronation (in 1450 A.D.) Then he must have been about 45 years of age.

22. As he advanced in years he devoted more and more attention to exegetical and grammatical works. He did not undertake to write any poems. That is true. But who can be certain of this. Some of the later compositions may have been irretrievably lost.

That early passion and ardour had completely left him. It may have been due to the nature of the new office. Apart from imparting instructions to various pupils that flocked from all parts of India no time was left for any creative works.

Pancikapradipa was a clever attempt at explaining the commentary to the Moggallana Pali Grammar. Nothing is mentioned about its time of composition.

With the progress of time he held various titles. The final work was written by way of explaining the Moggallana Grammar. Its name was the Buddhappasadhani or Pada Sadhana Tika.

23. Sri Rahula was a reputed linguist. Many references are made to this fact in his works as well as those of others. Selalihini Sandesa verse 111 says that he was learned in the six languages and philosophy. It also adds a reference to his title of royal preceptor. Paravi Sandesa verse 203 testifies to his proficiency in all poetry and drama. It also speaks of his knowledge of Sanskrit and Pali. Sinhalese of course he had no reason to mention. Later when his circle of pupils widened to such an extent as to include even foreigners then he seized the opportunity of studying their languages. That was how he came to be learned in Tamil and the Prakrts. The belief is that he made a special study of Paisaci (the language of demons and evil spirits). Only this could explain his controlling influence over evil spirits. With their assistance he accomplished whatever he wished.

In the other sciences too his learning was deep enough. A fair believer in the influence of the movements of stars over human action he betrays an advanced knowledge of astronomy. He was very superstitious. Most of his actions were performed under auspicious asterisms. The opportune moment was decided by the lucky movement of the celestial bodies.

Numerous references found in his three verse compositions alone verify the accuracy of such a statement. They are Kavyasekara verse 3, 7, 10, 11, 13, 85 ......

Selalihini Sandesa 20, 110.

Paravi Sandesa 43.

24. Among his learned contemporaries whose literary works testify to their learning was a Brahamin pupil named Sri Kavicandra Bharati. Many others lived. They were mostly famous Elders of well-known Pirivenas: Wimala Kirti, Wettewe Thera and a host of others. But he ranked as the greatest scholar and poet. Numerous praises sung by contemporaries who held Sri Rahula as their leader and Guru confirm this fact.

25. This is all that we hear or read about Sri Rahula. Something quite strange seems to have cut short his career. Three theories have been advanced. The most plausible is that of his passing away in his favourite Pirivena at Totagamuwa.

But no man’s life was considered really great unless it was clothed in a mysterious garb. Here too mystery creeps in to supply the necessary details. One tradition takes him to China whilst the other carries him to India to be identified with the body of the embalmed Saint at Goa. Some truth lies in the mystery. Who can unravel it?

The ostensible subject of the poem is a vivid description of the scenic beauty of the landscape. In striking language are expressed the placidity of silver streams, magnificence of tropical forests, luxuriance of gardens and groves, splendour of jewelled mansions, serenity of holy temples, majesty of royal power, loveliness, of lotus ponds, softness of moonlight, glory of twilight, and the maddening beauty of charming maidens. Many verses are devoted to God Vibhisana. In picturing him even the minute details are not left out. Sri Rahula’s genius lies in his power to take the reader through such a maze of subjects and yet lead him on still eager to listen to the final message.

As already mentioned this Sandesa could be studied for its similes alone. The majority of them are drawn from nature. To a student of Sanskrit literature they present no novelty. But the way they have been introduced into the poem deserve special admiration.

This is nothing less than the offering of a prayer to God Vibhisana asking him to bestow a son on the king’s second daughter Lokanatha (උලකුඩය). His cleverness is displayed in the tactful manner of his approaching the subject. After showering the rains of adulatory verses he scatters the seeds of prayer Watered by the compassionate grace of the God the field becomes prosperous. A son is born to the princess.

The Selalihini Sandesa deserves careful and diligent study not because of the profundity of its ideas, mysteriousness of the subject, religious out look and philosophic nature but for the simplicity of nicely used language and immense wealth of similes. The words employed by the author are those that just express the correct shade of meaning. None can fail to remark the great disservice he did to Sinhalese literature by introducing rhyme. Once it was introduced it never died out. By trying to fulfil this various letters came to be added at the end of words. Nothing justified this except the end.

The whole poem is written in pure Sinhalese. The result is the want of harshness; and production of pleasing sounds. Its correct recitation provides ample music.

In this the choice of metres too play an important part. They are so selected as to fit the time, place and occasion. The clever handling of the metres adds to the ease of movement and grace of rhythm.

To the lay reader such comparisons as breasts like swans, lips like Asoka buds, eyes like blue lilies, teeth like pearls, and face like the moon may sound artificial and uncouth. Stranger by far would be the comparison of girdle bands to streams, hair to rain clouds, eye brows to lightning, feminine waists to cart wheels, and shapely legs to plantain stems. If the reader only