CEYLON NATIONAL MUSEUMS MANUSCRIPT SERIES

VOL. VI

S I N H A L A VERSE
(KAVI)

ETHNOLOGY—VOL. 3

Collected by the late

H U G H NEVILL, F.Z.S.
(1869-1886)

Edited by
P. E. P. D E R A N I Y A G A L A

1955

Printed at the Government Press, Ceylon

SINHALA VERSE
(KAVI)

Collected by the late

HUGH NEVILX, F.Z.S.
(1869-1886)

Edited by
P. E. P. DERANIYAGALA

PART 3

1955

CEYLON NATIONAL MUSEUMS MANUSCRIPT SERIES VOL. VI

 Published: July, 1955

Price: Rs. 6 Postage: 75 cents.

 PREFACE

THIS the third and final volume of Hugh Nevill's Kavi comprising 311 poems
concludes the publication of his work on the 911 poems he had collected.

Several of these deal with domestic and artisan's rituals that are of the
greatest ethnic interest, for little or nothing is known about many of them today.
Future generations of Sinhalese will be deeply indebted both to Hugh Nevill
for making this collection and working it out, and to Sir Deraniyagala Paul E.
Pieris for securing this work, putting it together and presenting it to the nation.

The laborious work of checking up the printed text against the original was
undertaken by Mr. C. M. A. de Silva, Librarian of the Colombo National
Museum.
P. E. P. DERANIYAGALA,
Director of National Museums, Ceylon.
National Museums Department,
Colombo 7, March 23 1955.

iii
a——J. N. B 40739—2,005 (11/54)
 CONTENTS

D i v i R a j a K a v i — B a l l a d of D i v i R a j a
D a e d i m u n d a kavi, N o . 1—Ballad of D a e d i m u n d a
D a e d i m u n d a avatara—Manifestation of D a e d i m u n d a
D a e d i m u n d a prala—Inspiration of D a e d i m u n d a
D a e d i m u n d a w a r a m a — D a e d i m u n d a ' s warrant
W a n d a n a S o l o — W o r s h i p verses

K o t a h a l u u p a t a k a v i — H y m n of the origin of purification

T o t a K u m a r a Santiya—Incantation of T o t a K u m a r a
K a d a v a r a u p a t a — T h e K a d a v a r a legend
K a d a v a r a Sirasapada—Kadavara " head-to-foot "
T o t a K a d a v a r a upata, N o . 2 — S t o r y of T o t a K a d a v a r a
K a d a v a r a w l d i y a — K a d a v a r a ceremony
Amusiri K a d a v a r a k a v i — B a l l a d of Amusiri K a d a v a r a
Riri y a k kavi, N o . 2 — B a l l a d of Riri Y a k a
Ratikan-madana Bisawage kavi—Ballad of Queen R a t i k a n m a d a n a
Ratikan K u m a r i baliya kavi—Ballad of offerings to R a t i k a n K u m a r i
Riri Y a k kavi, N o . 6—Ballad of Riri Y a k a , N o . 6
Riri y a k kavi, N o . 5—Ballad of Riri Y a k a
Tanipola Riri Y a k k a v i , N o . 2—Ballad of Tanipola Riri Y a k a
Tanipola Riri Y a k k a v i , N o . 3—Ballad of Tanipola Riri Y a k a
Riri Y a k kavi, N o . 7—Ballad of Riri Y a k a
Pitiye devi kavi, N o . 2—Ballad of Pitiye D e v i
Riri Y a k kavi, N o . 8—Ballad of Riri Y a k a
R a t i k a n baliya kavi, N o . 1—Ballad of offerings to R a t i k a n
R a t i k a n baliya kavi, N o . 2—Ballad of offerings to Ratikan
K a d a v a r a kavi, N o . 1 — T h e K a d a v a r a ballad
K a d a w a r a kavi, N o . 2 — T h e K a d a w a r a ballad
K a d a w a r a kavi, N o . 3 — T h e K a d a w a r a ballad
Amusiri K a d a w a r a k a v i — A m u s i r i K a d a w a r a ballad
T o t a K u m a r a baliya, N o . 2—Offerings to T o t a K u m a r a
Riri upadesa—Advice on Riri
D a l a K u m a r a asne—Story of D a l a K u m a r a
D a l a raja santiyr,—Blessing of D a l a raja
Giri D e v i u p a t a — T h e Giri D e v i legend
D a l a K u m a r a puwata—S'-ory of D a l a K u m a r a
Uparatna m a l a y a — G e m garland of proverbs
Aehaelepola wamnanawa—Disquisition of Aehaelepola
Sulu Mahabinikman, I I — T h e lesser Great Renunciation ballad
B u d d h a adahana—Cremation of B u d d h a
K a l u n d a w a sinduwa—The Kalund&wa song
A t a magala santi—Blessing of the eight favours
K u s a l a l a n k a r a — B e a u t y of Virtue
K a n a w a e n d u m h a t a n e — T h e widow trouble
Jiwaka alankaraya—Jiwaka's renown
B a l o w a d a y a — A d v i c e to the young
Kirimaenikige k a v i — B a l l a d of Kirimaeniki
 PAGE

W a d u r u M a D e v i k a v i — B a l l a d of W a d u r u M a D e v i .. 50
I n a m a l e — G a r l a n d of love spells .. •• . . 5 1
P a n a n devi k a v i — B a l l a d of Panan deva .. . . . . 52
K a p u t u B a k a m u n u sindu—Song of the crow and owl .• . . 54
H e n h a b e — T h e Chena trouble .. .. •• . . 55
Y u g a hatara kavi—Ballad of the F o u r A g e s .. •• . . 56
Sakwala wistara tarange—Dialogue describing the Sakwala .. 57
Sutasoma Jataka kavi—Ballad of the Sutasoma Jataka .. 58
A n u h a s deviyanne k a v i — B a l l a d of A n u h a s devi . . •. . . 59
W i j a y i n d u p u w a t a — H i s t o r y of K i n g W i j a y a .. •• . . 60
Anclare, or N o k k a d u M a l a — T h e acacia thorns, or Garland of Reproaches . . 61
A n k o t a hatane—The short-horn quarrel .. •. . . 63
K a m a c h c h i naeflma—The dance of K a m a c h c h i .. .. 64
V e d e h a sinduwa—The Vedeha song .. . . . . 65
G o n a Maeru sinduwa—Song of the bullock killing . . .. 66
W e t a l a n k a t a w a — T h e W e t a l a n story .. .. . . 67
Tahanchi K a v i — T a b o o verses . . .. •• . . 69
Gira Jataka kavi—Ballad of the Parrot birth .. .. . . 70
K l r t t i Sri Rajasinhage wiraha k a v i — L o v e lament of king K i r t t i Sri Rajasinha . . 71
Kalagedi warnnanawa—Adoration of the water-pot .. .. 72
D i w a salu santiya—Incantation of the celestial cloth . . •• 73
Siri M a B o wistara—Account of the Glorious Great Bo-tree . . . . 74
N a n d o p a n a n d a sindu—Song of Nandopananda .. .. . . 75
Brajita sinduwa—Song of Brajita .. . . . . 76
K a t u s u prasnaya sindu—The lizard question song .. •• '7
Mahabinikman sinduwa—Song of Mahabinikman .. •• 78
Tambalagollaewa vihare sinduwa—Song of Tambalagollaewa vihare . . 79
S a m b a Jataka sinduwa—Song of the Samba, birth .. . . 80
P a d m a v a t i sinduwa, N o . 1—Song of P a d m a v a t i . . . . 81
Padeniya sinduwa—The Padeniya song .. . . . . 82
W e s s a n t a r a Sinduwa—Song of Wessantara .. . . .. 83
Palanga Maerawima Sinduwa—Song of Palanga's death .. .. 84
Mahabinikman Sinduwa I I — S o n g of the mahabinikman . . .. 85
P a t m a v a t i sinduwa I I — S o n g of P a t m a v a t i . . .. . . 86
W e s s a n t a r a Sindu I I — S o n g of Wessantara . . .. .. 87
R a e l a p a n a w a Vihara warnnanawa—Commemoration of Raelapanawa vihare . . 88
Dividos santiya—Incantation of the perjury-plague .. . . 89
Dolos Giri dew-liyage p u w a t a — S t o r y of the twelve Giri the celestial ladies . . 91
Sat bisaw yaga—Ceremony of the Seven Queens . . .. . . 92
R a t a n a Sutra santi—The R a t a n a sutra blessing . . .. .. 93
Suwisi alankaraya . . . . .. . . 94
P a n d a m pali—The torch course .. . . .. . . 95
P a n d a m k i m a — T a l e of the torch . . .. .. 96
R a w a n a hatana—The R a w a n a W a r . . . . . . 97
R a w a n a p u w a t a — T h e history of R a w a n a . . .. . . 98
Sri W i c k r a m a raja maedura alankare—Story of Sri W i c k r a m a raja's palace . . 100
K a l u d a e k a d a kumara kavi-—Ballad of K a l u d a e k a d a kumara .. 101
H a t R a j a K a v i — B a l l a d of the seven-fold king . . .. .. 103
W a s waesuma kavi, N o . 2 — B a l l a d of the " W a s " abodes .. . . 106
W a s waesuma kavi, N o . 3 — B a l l a d of the " W a s " abodes .. . • 107
Pas B u d u p a m a n a k a v i — B a l l a d of height of the five B u d u s . . . . 108

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Makaradlrwaja—The dragon flag . . . . 109

N a n d i y a welanda w a t a — S t o r y of the merchant N a n d i y a .. 110
Tisara Sandese—The tisara's message .. .. . . I l l
H a n s a sandese—The goose's message .. .. . . 1 1 3
G a j a Bfi p u w a t a — S t o r y of G a j a Bti .. .. . . 1 1 4
K a n n u r a n k a t a w a — K a n n u r a n tale .. .. . . 1 1 6
M a y u r a S a n d e s e — T h e peacock's m e s age .. .. . . 1 1 8
K o w i l a pewima—Purification of t h e t e m p l e .. .. . . 1 1 9
Pattini y a g a kavi—Pattini y a g a kavi . . . . 121
K a w - m i n i - p a h a n a — T h e g e m stone o f p o e t r y .. .. .. 122
Mini ran d a m a , or R a b e l W a r n n a w a — T h e gold garland of g e m s , or E u l o g y of R a b e l 123

G a n g a rohane—The river journey . . .. 125

C h a m p e y y a Jataka k a v i — B a l l a d of the C h a m p e y y a birth .. 126
B u d u m u l a upata—Origin of Budu-ship .. .. . . 1 2 8
Panoha m a h a wilokana piijawa—Offering to the five great insights .. 129
M a y u r a Sandesa (abinawa)—Peacock's Message (new) . . . . 1 3 0
A l u t D e v i raja k a v i — B a l l a d of A l u t D e v i raja .. .. .. 131
Mahabhinikman P u j a w a l i — T h e offering of the great departure .. .. 132
D a h a m s o n d a J a t a k a k a v i — B a l l a d of D a h a m s o n d a J a t a k a .. . . 1 3 3
K a h a kurulu S a n d e s a — T h e Oriole's message . . . . 134
N i l a K o b o S a n d e s a — T h e green dove's message .. . . 135
Mihiripaenne kavi sangarahawa—Collection of Mihiripaenne's p o e m s .. 136
Bali saerasuma—Celebration of bali .. .. . . 1 3 7
Sudarisana bali—Bali for Sudarisana .. . . .. 138
H a t Pattini K a t a w a — S t o r y of the Seven Pattini . . . . 139
Pattini sirasa p a d a — T h e Pattini h e a d to foot exorcism . . 140
Pattini Dolos raes s a n t i y a — T h e P a t t i n i h y m n of the twelve Zodiacal signs .. 141
PantiskSl m u r a — T h e t e m p l e of ritual of 3 5 . . . . 142
T u n y a h a l u k a t a w a — S t o r y of three friends .. . . 143
R a t a w a t i k a t a w a — S t o r y of R a t a w a t i . . .. 144
G a n a r u w a — T h e pure image .. . . .. .. 145
W i t t i h a t a — T h e ceven events .. . . . . 146
W a e d i p i i j a w a — T h e offering of V e d d a s . . . . 148
Pandi n a l u w a — T h e p a n d i dancing . . . . 149
Pattini Paetim a — T h e prayer of Pattini .. .. . . 1 5 0
Toran B a e n d l m a — T h e tying of the arch . . . . 151
M a h a t a p a s a — T h e great penance .. . , . . 152
Udawarna—The dawn . . . . . . .. 153
D a l a d a sirita—Customs of the tooth relic . . .. . . 154
A n a g a t a W a n s a — T h e future life . . . . . . . . 155
Ganan taranga—Catechism of Statistics . . . . . . 156
A s h t a g a n e taranga—Catechism of the eight feet . . . . .. 157
Ganan sivupada—Quatrains of statistics . . . . . . 158
Gange Bandara K a v i I I — B a l l a d of Gange Bandara .. . . 159
D e v a t a Bandara K a v i I I — B a l l a d of D e v a t a Bandara . . .. 160
K u m a r a Bandara K a v i — B a l l a d of K u m a r a Bandara . . . . 161
Sulu M a h a b i n i k m a n K a v i I I I — T h e lesser great departure ballad . . 162
Ritt-a w i t t i y a — A c c o u n t of R i f t a . . .. . . .. 163
W a n d a n a s a t a k a — A hundred verses of reverence. . .. . . 1 6 5
D a l u m u r a upata I I — O r i g i n of betel .. . . . . 166
R a g a siwupada I I — P a s s i o n verses .. .. .. 167

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Chandrabarane—The m o o n weapon .. . . . , 168

S a m S g a m m a l yahan—Flower altar for t h e hosts .. . . 1 7 0
R a n d u n u p r a l a y a — T h e inspiration of the golden-bow .. .. 171
R a n d u n u K a v i — H y m n of the golden-bow .. . . 1 7 2
R a n d u n u upata—Origin of the golden-bow .. . . . . 1 7 3
Terun m a l e — G a r l a n d of explanations .. . , . . 1 7 4
Pattini w i l a p a y a — T h e pattini lamenting . . . . . . 175
K a r m a sivupada—Quatrains on Conduct .. .. . . 176
Mutukeliya—Pearl g a m e .. . . . . . . 177
K u w e n i A s n a y a , and M a h a A s n a y a — S a g a of K u v e n a , and great Saga . . 178
Giridevi Asne—Saga of giridevi .. . . .. . . 179
H e l u K u w e n i A s n a — H e l u K u w e n i Saga . . .. . . 180
Sagalpura A s n a — S a g a of Sagal C i t y . . .. . . 182
XJpuluwan A s n a y a — S a g a of U p u l u w a n . . .. . . 1 8 3
Iri p a e n u m kavi—Ballad of stepping over the line . . . . 184
Giranda k a t a w a — S t o r y of the Stanzas .. .. . . 1 8 5
D o n A n d a r a puwata—Praise of D o n A n d r e . . . . . . 186
Ratnawallige siwupada—Quatrains t o R a t n a w a l l i . . . . 187
Ratnawallige Siwupada—-Quatrains t o R a t n a w a l l i .. . . 188
Terawili siwupada, I I — Q u a t r a i n riddles . . .. . . 189
D a l a d a maligawa Sinduwa—Song of the Palace of the T o o t h Relic . . 190
Swarna hansa sinduwa—Song of t h e Golden Goose .. .. 191
Wirandagala vihare Sinduwa—Song of the W i r a n d a g a l a vihare . . 192
Dipankara wiwarana sinduwa—Song of t h e designation b y D i p a n k a r a . . 193
Sokari naefama I I I — D a n c i n g of Sokari . . . . . . 194
N a m a n a e t i D e v i n d u k a v i — S a g a of N a m a n a e t i D e v i n d u . . . . 195
Jwara widiya—Fever ritual . . . . . . . . 196
Sokari k a t a w a — S t o r y of Sokari . . . . ,. . . 197
Mangala k a v i — T h e propitous h y m n . . .. . . 198
Set kavi—Song of peace .. .. .. . . 1 9 9
Salu S a l e m a — T h e w a v i n g of t h e robes . . . . .. 200
Barasa k a v i — T w e l v e verses . . . . . . 201
G a j a b a kavi.—Ballad of G a j a b a h u . . . . .. 202
V i n e Sivupada—Discipline verses . . .. . . 204
N a n d a p u w a t a — S t o r y of the g h o s t N a i d a . . . . .. 205
K a p p i l i h a t a n e — T h e Caffir trouble . . . , . . 206
Mayyangana wandana—Worship at Mayyangana . . . . 207
Piriniwan m a n g a l a — T h e N i r v a n a O d e . . . . .. 208
R a n taliya k a v i — B a l l a d of the golden platter . . .. .. 209
J a n a n a n d a n a y a — F o l k ' s delight . . . . . . 210
Sinhala w i s t a r a — A c c o u n t of Ceylon . . . . 211
TXdaekki u p a t a — O r i g i n of the udaekki d r u m .. .. . . 2 1 3
D e v i d a t w i l a p a y a — L a m e n t of D e v i d a t . . . . 214
Pirittuwa, I I — E x o r c i s m . . .. . . 215
K o t a h a l u y a d i n n a . i l — T h e purification of prayer .. .. 216
G a n a n siwupada—Statistic verses . . . . 217
V a i k u n t a alankara—Description of V a i k u n t a . . .. 218
K a l u d a e k a d a k u m a r a k a v i , I I — B a l l a d of K a l u d a e k a d a kumara . . . . 219
Soli k u m a r a k a v i — B a l l a d of the Soli Prince . . . . . . 220
K u m a r a devi upata—Origin of K u m a r a devi . . .. 221
M a d a n a y a k yadinna—Prayer t o M a d a n a y a k . . . . .. 222

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Parale k a v i — B a l l a d of possession .. .. .. 223

Tahanchi kavi, I I — E x o r c i s m verses .. .. .. 224
L a n k a bandane, I I — T h e L a n k a spell .. .. .. 225
W a e d i santiya.—The W a e d i blessing .. .. .. 226
A y y a n a k a devi k a v i — B a l l a d of A y y a n a k a devi .. .. .. 227
D a h a n a k a devi k a v i — B a l l a d of D a h a n a k a devi .. .. .. 228
K a l i naelawilla—The K a l i lullaby .. .. .. 229
A m b a w i d u m a n a — T h e shooting at the m a n g o . .. .. 231
M u t t u m a r i k a v i — B a l l a d of M u t t u m a r i .. .. .. 232
Muttumari k a v i — H y m n of Murttumari .. .. .. 233
Wickramasinha M u d a l i k a v i — B a l l a d of Wickramasinha Mudali .. .. 234
Maenikpala k a v i — B a l l a d of Maenikpala .. .. .. 235
Oddisa y a g a y a I I .. .. .. .. 236
S a m a y a n paedura, I I I — T h e watch m a t .. .. 237
Tedalankara, or K a d a w a r a wistare—Ornament of glory .. .. 238
K a d a w a r a gotu pidawila—Offering of K a d a w a r a scoops .. .. 239
Riri y a k kavi, N o . 9 — B a l l a d of Riri Y a k .. .. 240
Pilli w i d i y a — T h e w a y to bewitch .. .. 241
Y o g i guru yadinna—Supplication of the Y o g i Guru .. 242
A b i m a n a yadinna—Supplication of A b i m a n a .. .. .. 243
Tirima sarana k a v i — B a l l a d of the marriage of Tirima .. .. 244
Ashtanari sandesa—Message of the eight women . . .. .. 245
B e v e l yadinna, II—Supplication of Devel .. .. .. 246
Aehalepola n a e t i m a — T h e Aehalepola dance .. .. .. 247
Subhaset kavi—Verses of blessing .. .. . . . 248
Ginijal y a k k a v i — B a l l a d of Ginijal Y a k a . . .. .. 249
Patrakali k a v i — B a l l a d of Patrakali .. .. .. 250
K a l i devi upata—Origin of K a l i devi .. .. 251
K a n c h i k a t a w a — S t o r y of K a n c h i .. .. .. 252
Satdina mangalle, I I — S e v e n - d a y ode .. .. ... 254
Oddisa wldiya—Odissa ceremony .. .. .; 255
Senkadagala wistare .. .. •. .. 256
U n a Santiya, I I — F e v e r incantation .. .. .. 257
G a n g a rohane—Floating on the river .. .. .. 258
W i j a y i n d u hatane, N o . 2 — T h e struggle of king W i j a y a .. .. 259
K a w m i n i m a l d a m a — T h e flower garland of verse gems .. .. 260
K a w m u t u hara—Pearl garland of verse .. .. .. 262
Dhrishti m a l a — G a r l a n d of faith . . .. .. .. 264
Upades sangarawa—Collection of instruction .. .. .. 265
W i n a kepun kavi—Exorcism of spells .. .. .. 266
Aeldeni alanka.raya—Praise of Aeldeni .. .. .. 267
Graha walalla—The planet course .. .. 268
Graha walalla, N o . 2 — T h e planets course .. .. .. 269
R a s i pala k a v i — P o e m of the result of the zodiacal signs .. .. 270
Pilisun dasawa—The ascendancy at birth .. .. .. 271
A b h i n a w a taranga m a l e — T h e new dialogue garland .. .. 272
N a w a graha pala—Results of the nine planets .. . . .. 273
N a w a graha dasa, pala—Result of ascendancy of the nine planets .. 274
M a h a dasa pala sindu—Song of the result of the chief ascendant .. 275
Graha walalla sindu—Song of the planet course .. .. .. 276
K o t a h a l u upata, N o . 2 — H y m n of the origin of purification .. ... 277

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L o k a uppattiya—Origin of the W o r l d .. .. 279

K o t a h a l u upata, N o . 2 — H y m n of the origin of purification .. .. 280
K o t a h a l u u p a t a k a v i — H y m n of the origin of purification .. . . 281
K o t a h a l u m a g u l k a v i — T h e K o t a h a l u festival h y m n .. .. 282
B u d u g u n a alankara N o . 3—Praise of Budu's virtue .. . . 283
K a l i n g u - b o da—Ballad of Kalinga-bodhi .. . . .. 284
D a h a m s o n d a jataka kavi, N o . 2 — T h e D a h a m s o n d a birth . . . . 286
Giri devi upata, N o . 2—Birth of Giri devi .. . . . . 287
Giri devi kavi, N o . 2—Ballad of Giri devi .. . . . . 288
G a e b a salakuna—Conditions of the w o m b .. . . . . 289
A b h i m a n a dola—Sacrifice to A b h i m a n a .. . . .. 290
H a n s a raja mangalle—Ode to t h e Goose king .. .. . . 292
N a w a graha m a l baliya—Flower sacrifice t o t h e N i n e Planets .. . . 293
Tira hata mangalle—Blessing of the seven curtains .. . . 296
Tis paeye k l m a — T h e thirty p a e y a saga .. . . . . 297
Malalu K u m a r u kavi—Saga of Malalu prince .. . . .. 299
A m b a widamana, N o . I V — T h e shooting of the m a n g o .. . . 300
A m b a vidamana, N o . V — T h e shooting of the m a n g o . . 301
Panikki Bandara k a v i — B a l l a d of Panikki B a n d a r a . . . . 302
Ayyana. devi kavi—Saga of A y y a n a devi .. . . .. 303
A b u t a devi kavi, N o . 2—Saga of A b i i t a devi .. . . . . 304
Patrakali a m m a kavi—Saga of Patrakali a m m a .. . . . . 305
Senevir tna D e v i K a d a w a r a k a v i — B a l l a d of Seneviratna D e v i K a d a w a r a . . 307
K a d a w a r a kavi—Saga of K a d a w a r a .. .. . . 3 1 0
Yantra kavi—Yantra poem . . .. . . 313
Ratnawallige siwupada—Quatrains to Ratnawalli .. . . 317
Saewul y a g a y a — C o c k sacrifice .. .. .. .. 318
K a m b i l i D e v i k a v i N o . 1—Saga of K a m b i l i D e v i . . . . 319
K a m b i l i D e v i kavi, N o . 2—Saga of K a m b i l i D e v i .. . . 320
K a m b i l i D e v i kavi, N o . 3 — S a g a of K a m b i l i D e v a . . 321
K a m b i l i devi kavi, N o . 4 — S a g a of K a m b i l i D e v i .. .. 322
K a m b i l i D e v i kavi, N o . 5—Saga of K a m b i l i D e v i .. . . 323
K a l u dewata k a v i — S a g a of K a l u dewata .. .. 324
K a d a w a r a k a v i — S a g a of K a d a w a r a .. . . .. 325
H u n i y a n y a k k a v i — S a g a of H u n i y a n Y a k a .. .. .. 327
D i v i dos pirittuwa—Protection from the perjury sickness . . .. 328
Sandun k u m a r a k a v i — B a l l a d of Sandun k u m a r a .. . . 329
H u n i y a n yakunge k a v i — S a g a of the H u n i y a n yakas . . .. 330
Malawara kTma—Exorcism for impurity .. .. 331
Pattini yadinna—Prayer to Pattini .. . . .. 332
Devil yadinna—Prayer t o D e v i l . . . . . . .. 333
H a t a d i y a wina kaepima—Cutting the spell b y seven steps .. . . 334
N a i n a t a w a n a k a v i — H y m n for dancing cobras . . . . .. 335
M a l a y a h a n k a v i — S a g a of t h e flower couch . . .. . . 336
Sandun K u m a r a kavi, N o . 2—Saga of Sandun K u m a r a . . . . 337
Sandun k u m a r a kavi, N o . 3 — S a g a of Sandun k u m a r a . . . . 339
W i j a l i n d u divi dos upata—Origin of the curse sickness of king W i j a y a .. 340
Pinidiya alattiya, N o . 2 — T h e rose water sprinkling . . . . 342
Dehi upata, N o . 2—Origin of limes . . . . .. 343
Ilandari devi kavi—Saga of Ilandari devi . . . . .. 344
G a m e devatS k a v i — S a g a of G a m devata .. . . .. 345

X
Ilandari devi kavi, N o . 2—Saga of Ilandari devi . .
Mawuli mala, or O t u n u m a l a — T h e crown garland
Maeti bali yagaya—Sacrifice of the clay offering ..
Walalu wina k a e p l m a — C u t t i n g t h e spell b y hoops
Otunu was haranaya—Loosing t h e crown spell
Walalu widiya, N o . 1 — T h e fashion of hoop-binding
Walalu widiya, N o . 2 — T h e fashion of hoop-binding
K a n d a m a l e — G a r l a n d for K a n d a
A l u t surindu k a v i — S a g a of A l u t surindu
 600. Divi Raja Kavi

Ballad of Divi Raja

THIS is on the same theme as Nos. 34 and 599. It commences by relating that
in Upatissa Nuwara, the king's son had a wooden peacock, which was so con­
trived that it could traverse the air. For this legend see Dandu monara katawa,
No. 111. When the princess of Baranaes had taken refuge in the forest, her
child was born, and a Busi gave her shelter. While she was collecting herbs,
the same things happened, the child falling under the bed, and the Rusi creating
a substitute from a water lily, but not a third one in this form of the legend.
The two children found their father, Suramba Raja of Upatissa, and were
similarly adopted by him, and Chandrawati their mother restored to her hus­
band. The flower-born child became Mala Raja. When the two princes set out
in search of their father, the Rusi created a third prince to accompany them,
from a bundle of arrow grass. He became known as Divi Raja. The subsequent
history of the three, is not related. My copy is here followed by the legend
of Sita devi, and her three children, as related in No. 599, apparently these
being a re-birth of the others, though it is not clearly stated. Her three children
are Kistiri, Sadalindu, and Malaya Nirindu. The Panduwas legend is also given
here. Kistiri answers to the Divi Raja of the first episode. This saga seems three
or four centuries old in its present form. My copy has 123 verses.

Example :

E nuwara waenjabeti
Divi raja itanayen upaditi
E wara un pasuweti
Me wara Sita upata asa niti.

They live in that city,

The Divi raja is born from the sword grass,
At that time they are dwelling,
At this time hear often " Slta's story " .

I J. N. B 40739-2,005 (11/54)
 601. Daedimunda kavi, No. 1

Ballad of Dae&imim&a

THIS embodies more or less the theme of No. 36, and notices the Mara episode,
and the god's arrival in Ceylon, with powers of Tjpulwan Surindu, or Vishnu.
He resided at Alutnuwara, and cut the rock there. He holds a cane, with beads
or gems strung on it, and cures sickness. He is an avatar of Vishnu. The ballad
is an old one, two centuries or so old. My copies have 55 and 51 verses
respectively.

Example:

Purudukano pera siri Laka wanda

Wiridu kale mata e luhubanda
E bandu tedaeti Daedimunda surinda,
Me bandu ruwa alia, gini kanda.

Eormerly on the day the Portuguese came to Siri Laka,

Ohasing around, (he) vexed them !
Of such glory is the god Daedimunda !
Afire-flamethat caught such foes as these.

2
 602. Daedimunda avatara

Manifestation of Daedimunda

THE origin of this god, Daedimunda, will be found in No. 36. The present saga
tells us that he came to Lak diva to protect the religion (Buddhist) for five
thousand years. He effaced the black rock edifice, the kalu-gal paya, an allusion
I have not heard explained. The share he took in the struggle against Mara,
is here also told. His followers are the Pretas, Nagas, Kali, Kannadi Raga-nada,
Gopalu Yaka, Pilli, Ginijal, Lawudi, Ginibradi, Mallava, Baga, Devel, Watuka,
Omari, and Mangra Yakas. He effaced the golden pavilion on Meru with his
bow, to prove his power. He has a Gini Kadavara god on each side of him as
guard. He is also called Devata Bandara. This short saga is about two centuries
old, and my copy has 24 verses.

Example :

Asura bawana diva netin balagana

Kelina widuli wera hada nawatagana
Wadina saere Kirimuda giligana
Sumana surindugen gana ran dunu labagana.

Looking into the Asura world with divine eyes,

Staying the loud noise of the playing lightening,
Swiftly coming, diving in the Milk sea,
Receiving from Sumana Surindu a pure golden bow,
 603. Daedimunda prala

Inspiration of Daedimunda

THIS prala or pralaya is intended to invoke the god Daedimunda of No. 36.
It mentions that Sudu-mal Kumaru who became Daedimunda, terrified the
Yakas by his roar. It mentions the Mara episode. He rules over the other Yakas.
of various Indian lands. He came to Ceylon in a ship, which was wrecked, and
landed in a stone boat provided by Saekra, at Sinigama, a village on the
S. W. Coast. This appears to be about two centuries old ; my copies have 31
and 32 verses respectively.

Example:

Maru bala devi utuma. piriwara yak senaga haema

Moruwa pirisat bohoma gal pahurata na eg! haema
Ma devi Siri Patini yoma Sini e gan totehi tama,
Maha teda Daedimunda utuma baesapuwa yak sen bohoma.

Watching opportunity, the supreme god escorted by all the host of

yakas,
Many mighty followers, all mounting the stone raft,
Having seen the great goddess Siri Patini, at that very Slnigam port,
The supreme Daedimunda of great glory landed with the great host of
yakas.
 604. Daedimunda warama

Daedimunda's warrant

THIS describes how the god Daedimunda, the subject of No. 36, obtained the
waran or support of Budu, Narayana, Visnu, Saekra, and Kanda Kumaru ;
also Wesamuni. It relates his arrival by sea in Lanka with a golden cane, and
the wreck of his ship. In this version he is said to have landed at Devundara,
or Dondra Head. When Somavati Devi was cremated, being then pregnant,
the child was formed again by Daedimunda from her ashes, and was named
Dapulu. He became king of Devinuwara. The god afterwards landed at Sini-
gama, and went to Uggal nuwara, and then to Dambadeni nuwara, and resided
at Raja-giri rock cave. The Dewana giri wehera was on the Western Hill. He
ordered a bower to be made for Wat-himi raja, and he placed an image of Visnu
at the Ran-deni gala lena. This is apparently two centuries old, and my copy
has 33 verses, apparently about 12 verses being lost from the commencement.
It is bound with No. 605.

Example :

Devinduge teda bala pamin e kala

Aju pita kumarek udaye mawala
Waediwiya paemina ehi rajakan dila
Saekkra pura se ehi nuwarak mawala

Showing then the glorious power of the god,

Having created a prince in the morning on the ashes,
When he came of age, there having given the king-ship,
Like Saekkra pura having created a city there.

5
 605. Wandana Solo

Worship verses

THIS is a poem in sloka or solo metre, being in " malini " verse. It praises the
Various excellent acts of Budu, and is a serious religious composition, and ortho­
dox. The verse is correct, and pleasing. It may be some three centuries old ;
my copy has 18 stanzas, and seems to be complete. It is the only copy I hav&
seen, and is bound up with several Pali gathas. It is about 150 years old.

Example :

Piyawara tunakin dew lo gosin Sak rajunge

Waeda hinda pandupul sel asane tun masak kal
Sakawala dasa dasin raes suran sit satoswa
Wadahala abidam Sak Dam rajanam wandim mam.

Going to Sak raja's celestial world in three strides,

Sitting on the pandupul stone throne for the space of three months,
Contenting the mind of the gods assembled from the ten thousand
Sakwalas,
I reverence Dam raja who preached Abidam to Saka.

6
 606. Kotahalu upata kavi

Hymn of the origin of purification

THIS is intended to be recited at the purification festival, held when a girl

attains full age. It first relates the history of former ages. Badura kalpe, or
Bhadra kalpa, was 18 yugas ago. In the Awu-atta yuga the world was destroyed,
and the devas knowing that the world would be filled with water, left for the
Bamba region. The Sakwalas were wrapped in darkness, and for seven days
rain fell without ceasing ; on the first day as fine as needles, and on the last
day as thick as palm trunks. In seven days the rain of seven hundred years fell,
and water covered the face of the world, and overflowed as far as the face of the
Bamba region. Upulwan devindu dived into the water, from which a lotus
blossomed with two Bambas in it. When the earth appeared, the Bambas came
out upon it, and fed upon the tasty mud. For sixty thousand years they thus
lived, and then the Devas created plants, and trees, and fungi of excellent
flavour grew out of the earth. The Kalpa tree also appeared, and sayan jata,
or spontaneous rice. The sun appeared, Maha Sammata was born, and crowned
as king. Isura and Ma devi then existed, and Sarasvati and Uma angana, were
their daughters. Nila, devi their son was born from blood. When Uma angana
was seven years old, and Sarasvati still younger, she asked her mother for a
celestial robe. Her mother informed Isuru (Iswara) of this. Nila deva was then
ordered to go to the Bamba region, and fetch a cloth for his younger sister.
He did so, taking a sword in his right hand, and an iron mace in his left, and
adorned like a Yamaya. He departed with a shout which filled the Bamba and
Deva worlds, and caused the Bambas and Devas to tremble and weep. The
Bamba raja knowing the cause, sent a devangana, or celestial maiden, with a
celestial cloth, both of which Nila deva took back with him. The cloth was
sixty cubits long, and dividing it into two, this two younger sisters robed
themselves in it. He himself married the devangana goddess, who was known
as Ridi, or " Silver " . On the seventh day after Uma angana was robed, she was
married to her father Isuru. Subsequently when she attained the full age of
maidenhood, an astrologer told Nila, deva how she should be purified. His sister
asked him to get her robe washed for her, and Nila deva washed it in the
Anotatta lake. A Rakusa living there, concealed himself in the rock on which
the robe was to be kneaded, to washit. There is a long altercation between these
two, at the end of which Nila Deva struck the water with his mace, driving
away so much of the water that fish were left on dry land, and the Rakusa
trembled with fear. While spread out to dry the robe disappeared, and Nila.
began to weep. Sura raja then appeared in the skies, and told Nila, to sprinkle
the rock with water. He did so, and the cloth which had dried over the rock so
finely as to become invisible, when saturated with water, again became visible
He then placed it in a casket, and took it home, authorising the Rakusa to
receive offerings when maidens attained full age and were purified. From the
time of his marriage with Ridi, their descendants were to remain a distinct race.
Apparently this intends to convey that the washers of Rada caste, descend from
Nila, deva and his wife Ridi; Ridi is the title of women of Rada, or Washer
caste at the present day. Such an explanation however is not clearly made,
perhaps from fear of offending their employers, always very jealous of any
assertion of independence by the working classes.

This poem contains much very ancient matter in an authentic form, so far
as such myths can be called authentic. It is particularly important to notice

7
 the accepted existence of whole races of beings, Bambas and Suras, before th&
present cycle of gods and goddesses came into existence. In other words whole
creations of living beings, of a different physical organisation, preceded the
first laws of physical existence of living things, in physical conditions known
to man. These first laws are typified by the creation from Isuru and Ma devi,
or cause, and matter, of the greatest gods of the present divine cycle. These
gods are headed by Nila devi, Sarasvati, and Uma angana, not by the later
Brahmanic myth of Brahma, Vishnu, and Siva. We must conclude that the
Washer caste were once priests, who retain their sacerdotal function only in
domestic ceremonies. Also that their religion recognised under Iswara and Ma
"devi, a primal Saivite duality, and a trinity of one great god and two goddesses,
created by them. In this trinity Nila devi represents Vishnu, of whom his wife
Ridi now Laksmi, is a subordinate form, Sarasvati is the chief form, of which
her Brahmanic husband Brahma is the later and subordinate complement.
Uma angana is Parvati; and Siva or Isuru, the ever-existent, merely changes
his relations with her from those of father to husband, in the myth symbolising
the progress of creation by laws partly known to us. It is a Saivism distinct
from that of the present day. It is no part of my scheme to analyse such myths
here, but when the myth student might from the local guise they assume, pass
them over, it seems prudent to attract his notice. In its present form the poem
is about three centuries old. My copy A has 137 verses. I give as example two
very obscure verses, not characteristic of the poem as regards its poetry, to
illustrate the evidently archaic and obscure form the myth had assumed when
the poet adapted the story. Nila is the form chiefly used for trie god's name in
this poem, but Nila also occurs.

. Example :

Ekalata Isurut Ma deviyo nan

Saraswati sonda Umayangano nan
Dedenek pahalawa sonda rusiro nan
Samagawa sawu siri saepa wind ino nan.

Isurut Ma deviyanne kumaru

Eyinut Nila devi teda kumaru
Ladinut radahata pahalawa kumaru
Sondinut upaniya uriren kumaru.

. At that time were Isuru and Ma devi,

The good Saraswati and Umayangana,
Both appeared of good beauty.
AH together enjoying all fortune and happiness.

The children of Isuru and Ma devi,

Of them too the mighty prince Nila devi,
, The prince having appeared received royalty,
And well was the prince bom from blood.
 607. Tota Kumara Santiya

Incantation of Tota Kumara

THIS is addressed to the god of fords, who is the subject of Nos. 45, 474 and
610. His human history is not described in this, but he is invoked as the god of
river fords, with his 36 attendants, to cure the sick person. He is asked to come
with his eight spirits in one place, and with 36 in another. Wali Yak Kadavara,
and Kosomba Kadavara are also invoked, as are Waedi Yak Kadavara, Daedi
Yak Kadavara, Awara Yak, Devel and Bhuta Maha Kadavara, Aliyama and
Perayama Kadavara, Maddima Kadavara. These are all asked to come from
the 18 directions together with Le and Mas Kadavara, AbhGta Kadavara,
Riri Pulutu Mai Kadavara, Hapumal and Gini Kadavara. Of these names
Aliyama means the fore-dawn, Perayama the after-twilight, and Maddima
midnight.
This incantation may be about two centuries old. My copy A has 39 verses,
B has 17 verses only.

Example :

Dasa ata dese kela aewidinne

Dasa ata mayam nibanda karanne
Dasa ata desen me rata enne
Tota Kadavara samayamata warenne.

Erom the eighteen lands he comes playing,

Constantly the eighteen deceits he is doing,
From the eighteen lands he comes to this land,
Come Tota Kadavara ! to the watch-offering.
 608. Kadavara upata

The Kadavara legend

THIS saga commences by stating that Kadavara was Agapat, or Chief under
the Maha Raja surrounded with Yakas in Malaya-hala desa. By leave of this
Mala Raja he receives offerings. He came with Mala raja to Santana pattana,
and receives offerings. The celebrant, as in No. 496, is ordered to wear a red
cloth, and carry a torch, red cock, and arrow.
When he appears, Kadavara takes the avatar of a golden peacock. Quite
a different ceremony is here described. The offerings are given on a staged
altar or shrine of three stories, made of plantain bark three spans and a quarter
long. The middle story is divided into sixteen receptacles ; five pusul gourds,
are arranged around it, and it is decked with flowers of five kinds.
The sanctuary or ayila is to be two carpenter's cubits three fingures wide,
and seven carpenter's cubits high, with arches formed of plantain trees at its.
gates. There are to be four nooses, one at each corner, as ordered in No. 496 ;
but these verses add that a fowl is to be offered in the upper noose, so that
presumably there should be five. Flowers should be offered upon a pusul gourd.
Something is to have four " petman " , apparently four flights of steps, with
twelve enclosures ; perhaps the ayila is to stand on a sort of stylobate, with a
flight of steps to each entrance, and the raised floor be divided by four paths
crossed by four, into twelve reserved spaces. The present saga then gives eight
verses, which recur in No. 496, describing the offerings. It invokes Gini Kada­
vara, Mai, Sapumal, Andi, Gobi, Bihiri, Devel, Buta, Abuta, Sirime, Tota
and Mul Kadavaras ; also Tel Kadavara. It alludes elsewhere to a Gopalu
Kadavara, and Pulutu, Anda, Manda Kadavaras.
This appears to be about two centuries old, my copy has 63 verses.

Example :

Bima saerasille lakunu asanne

Wadu de riyan tunangul aeraganne
Wadu sat riyanak usa aeraganne
Kadavara ayile upata asanne.

Ask the methods of decorating the ground,

Take two carpenter's cubits, and three fingers,
Take seven carpenter's cubits for height,
Ask the origin of the Kadavara platform.

10
 609. Kadavara Sirasapada

Kadavara " head-to-foot"

THIS is an head-to-foot exorcism of the Kadavara god, who has afflicted a

sick woman. The verses call on Saman Deva, Dipankara Buddha, the Twenty-
eight Munis, to inspire the dancer celebrating the cure. Buddha's preaching
of dharmma is invoked, to exorcise the spirit from the patient's head. It then
cries out that it is in her hair, and is exorcised by the help of all Devas and
Buddha. It then cries out that it is in her forehead, and is exorcised by the
Dharmma, and so on.
The Kadavaras exorcised are Mul, Sellan, Le, and Kahigal Kadavaras.
This appears to be about two centuries old, my copy has 78 verses.

Example :

Kakusanda muniduge ana pawatinne

Devu Iowa Bamba Iowa ana pawatinne
Topahata Isiwara ana pawatinne
Dasangili niya aga aera palayanne.

The power of Kakusanda Muni continues,

The power of the Deva world and Bamba world, continues—
Eor you the power of Iswara continues,
Be off from the nail tips of the ten fingers.

11
 610. Tota Kadavara upata, No. 2

Story of Tota Kadavara

THIS saga differs a good deal from No. 45 of the same name, and gives a variant
history of the Tota Kadavara or Ford god ; No. 474 also differs in particulars.
He is here said to have been a Haluwa or washer-man, named Ratna-pedi,
at Bimba Nuwara, a city of Kasi rata. The king's cloth blew into the sea,
and he absconded to Soli rata. There he passed himself off as the son of the
king of Bimba Nuwara. The king gave him his daughter in marriage, and she
bore twin sons. These two took to sewing, as their favourite play. Two other
sons were born, and these played at washing clothes. The king discovered the
imposture as related in No. 45, but the washer's quarter is here placed at the
Isana or North East, and not at the North. The execution follows the same lines,
but when the executed man becomes a demon, he possesses his wife and four
children, on their visit to the ford. The spirit refused to be exorcised by offerings,
but when the princess and her four sons, in festal dress, visited his tree, he made
the four princes Yakas or demons. The Four Guardian Gods then allowed the
•demon, his wife, and four children to receive offerings throughout Damba-diva,
or India. No. 474 treats this legend in the same way, but 'states explicitly
that the demon makes the princess his wife, as well as her four children, into
demons, a matter only inferred in this version.
The present saga is about two centuries old, and my copy has 73 verses.

Example:

Yaka tosa uniya e wita

Maka nasa mawa ruwata
Daeka tosa kumarunhata
Duka nisa yak kala wita

The yaka was delighted thereon,

Obliterated and destroyed, beautifully created,
Having seen delightedly the price,
For affection, then made (him) yak.

12
 611. Kadavara wldiya

Kadavara ceremony

THIS prescribes a sanctuary or ayila of dimensions differing from those

elsewhere ordered ; it curiously orders nine false nooses to be attached to the-
ayila, and garlands of flowers. It is to have four entrances, as in the others.
Andi Kadavara is then described as born of Bahun Devi-du, his father was
Deva-anga Raja. Mai Kadavara is invoked, and Gini, Ratikan, Mul, Devel,
Tota, Abimana, Andi, Pilli, Kalu, Le, Siri, Pulutu, Mas, Sapumal, Andun r

Sandun, Pattiya, Totapala, Abuta, Gopalu, Kili, Anda, Manda, Golu, Bihiri,
Buta, Kadavaras, are invoked as some of the Eighteen Kadavaras and their
thirty-two attendants.
The saga appears to be about two centuries old, my copy has 32 verses.

Example :

Andi me Kadavara rate upanne

Bahun Devige gaebe upanne
Devanga Rajuhata da wenne
Kadavara nam upata ahapanne.

This Kadavara was born in Andi land,

Born in the womb of queen Bahun,
Conceived to Devanga raja,
Hear the birth of him called Kadavara.

m
 612. Amusiri Kadavara kavi

Ballad of Amusiri Kadavara

AMU Slri, " raw blood ", is a form of Riri Yaka the subject of No. 24, q.v.,
and other ballads; he is here called Kadavara, or god. He is said to come
through the sky, and to lighten the sakwala, or ends of the earth. He is said to
rest on a lotus flower, and to twine garlands of costly flowers, surrounded by
thousands of attendants. He is lord of this world. He has stations at Udawatta,
and Gampala wela. He kills people, and brings them to life. Blood, and rice,
are the offerings to him. He carries cotton, or sword grass in his right hand,
and is authorised by Mala Raja. He wears a gold collar, and loves hunting.
Kuda Marugala is another haunt, and the Kalugomuwa tota or ford, is also one.
This evidently was composed for use in the Uda rata, or Kandian district;
it may be one to two centuries old. My copy has 36 verses.

Example :

Slri me Kadavara sirida ganne

Gal mul gasamin bayakarawanne
Landun liyan yana taena wimasanne
Amu Slri Kadavara devi natawanhe.

Does this Slri Kadavara accept blood ?

Casting stones and roots he terrifies,
Searching where girls and women go,
Amusiri Kadavara deva causes (them) to dance.
 613. Riri yak kavi, No. 2

Ballad of Riri yaka

THIS is another saga to Riri, the subject of No. 24, q.v. It differs in several
respects. He holds commission from Sumana Deva, and Kanda kumara Deva.
He lives at Le-mal kowila ; he was born in a clot of blood, and is called Riri.
Kumari. This ordinarily means " princess ", but he is not female, and kumari
must be either a mistake or an obsolete form of the masculine kumaru, analogous
to Devi, as in Saman Devi, &e. He wears a blood red cloth, carries a mace,
assumes a wali guise, whether that of a monkey or of a forest man ; he bathes
in the Le-wila or Blood Lake. He tied the Sun's orb with his noose, and tortured
him. He rides on a goat; again at the end, a bull is ascribed as his vahana or
vehicle. His height is one span six inches. At the conclusion are instructions
for a bali or sacrifice in his honour. This saga is a few centuries old in its present
form ; my copy has 45 verses.

Example :

Naera waesena Le-mal kowila tula

Naerama le mal gaeba se nikasala
Gora ruduru le kaetiye pera kala
Riri kumari upaniya awa mangala.

Constantly dwelling within Le mal (Blood flower) temple,

Constantly pure as the womb of the blood-flower,
In former times in a lump of blood, the cruel fierce
Riri princess was born under evil auspices

M
 614. Ratikan— madana Bisawage kavi

Ballad of Queen Eatikan-madana

IN this ballad the word queen is used, and yakini seldom occurs for it; the
name means Lust-inflaming. It invokes the queen as one of seven ; these queens-
are Rati, Ina, Mala, Irddhi, Riddhi, Siri, Madana. They are invoked to cure
the sickness of their votary. They chiefly afflict handsome men. The place for
the offerings should be four cubits square, with three posts on each side, and
decorations of plantain bark, flowers, and scents. It is to be of three stages or
stories. In another place Avara Biso is invoked in addition to the other seven,
so that they seem to be eight in all. Ina Madana Yaka frequents rocks near
fords, whence he inflames people with carnal desires. The origin of these Yakinis.
or queens is not related. This ballad seems one or two centuries old ; my copy
has 78 verses.

Example:

Sat dena bisawun kelana wadina

Gat bili saewulan siri pulutu gena
Irddi wela ena bisawun sat dena
Riddi bisawu samayan kaepakaragana.

The seven queens come dancing,

Taking the coeks offered as victims, blood, and fried offerings.
The seven queens come by irddi power,
Riddi queen accepting take the offering (of the watch).

Samayan, here and elsewhere in such songs is no longer a part of the day or
night, literally a " time", which " I translate as a "watch " , but is the offering
appropriate for that time or watch.

16
 615. Ratikan Kumari baliya kavi

Ballad of offerings to Ratikan Kumari

THIS ballad gives no particulars of the Ratikan Yakini's history but is merely
intended to explain the form of making offerings to her. The tray for the image
should be seven spans long and three spans wide. The chief image should be
of the Ratikan Kumari, with two children in her lap, and a husband on each
side, each embracing one of her breasts. Two cobras above her head, and at
her two feet golden cocks. A cock standing on a rock should support a Kaila-
sanam throne. The Yaka should have a red hat, golden face, blue body, and
black feet. Many more details are given, but I am not sure how many representa­
tions are contemplated ; there seems to be more than one. The suitable offerings
are described, and the sicknesses to be cured are indicated.
The composition seems two centuries or so old, my copy has 52 verses, and
it is probable that the text was here and there defective and is patched together
in its present form, causing some doubt and confusion as to the images to be
formed.

Example :

Pas pulutuda pas kaewilida ganne

Kasturu kapuruda suwanda pudanne
Pas patin mal gena sarasanne
Pandam dolasak wata awulanne.

Taking five fried things, five cakes—

•Offering musk, camphor, and perfume—
Taking and decorating with flowers of five colours—
Lighting twelve torches around.

17
2
 616. Riri Yak kavi, No. 6

Ballad of Riri Yak, No. 6

THIS differs somewhat from the other ballads of Riri Yak, described under
No. 24 q.v., and others. The present ballad states that he was born in Saurashta
desa of Uturukuru divayina ; from a boat of blood, at the Blood lake or Riri
wila. Riri Yakini was born with him. The Blood lake was formed by the blood
which fell from the Sun's orb, when Rami Asurendra seized it. Again a verse-
states that the Blood lake was formed from the blood which fell on the day that
Ravana carried off queen Sita, in the stone chariot. The Riri Yaka visited
Wadiga rata, and quenched the pyre of the seven dead daughters of Malala
Raja, who were being cremated, and restored them to life. He joined with Kalu
Yaka after he reached Ceylon ; he came to Ceylon with Devel deva in a stone
boat. He possesses beautiful girls, and causes them to utter mad noises. Here-
he is said to have been conceived by the Yakini of the Riri wila, at the cemetery
where Le Kama Rishi was cremated.
The details of this legend are not given. This ballad is probably two centuries
old ; my copy has 65 verses.

Example:

Le wil Yakini yana

Kuse pilisinda me lesina
Le Kama rusiyena
Dawa upannayi me Yaku me lesina

Of the Yakini called Le-wil (Blood-lake),

Conceived in the womb thus wise,
To Le Kama Rishi
Bom, this Yaka is born thus wise.

18
 617. Riri yak kavi, No. 5

Ballad of Riri Yalca

THIS saga is in honour of the Riri Yaka already noticed under No. 24, q.v.
In this he is said to be the son of Queen Letali of Sairashta nuwara, and one
Kaira, but whether Kaira was a king, god, or Yaka is not related. His foster-,
mother was Ginirashta, he was born after seven days on a Kuja dina or Tuesday,
under the planet Guru or Jupiter ; he obtained commission from Yama Rajas
and became a Yaka. On his head he carries the sun and moon, and Budu rays
radiate from his eyes, which was red. His face is blue, his ears emit smoke, his
nose emits blood, his mouth is full of human flesh sacrificed, or " nara billa "
He has a red jacket on his shoulders, and a blood pool on his breast. He wear
a red waist-cloth, and rides a red bull. He holds waran from Saman Deva,
Sidda Pattini,the Rishis or Rusiwaru, the Seven Pattini, Devel Deva,Wesamuni,
Sidda Mangara, Avarakeli Yaka, Madanakeli Yaka, Suniyan Yaka, and
Mul Sanni Yaka. Instructions are given for the offerings to be made to him,
in detail. He will then cease to inflict the sickness for which the ceremony is
made.
This ballad seems about one or two centuries old, in its present form. My
copy has 44 verses.

Example:

Oppu gattu eka taenakin nitte

Gal mul gasamin baya unu waette
In oda kusa tula daru biju naette
Riri yaka kala ledamayi satte.

Ever accepted from one place—

Casting stones and roots, at the time "ihe fear came—
Therefore in the womb is no seed of offspring—
Surely the disease is made by Riri Yaka.

19
 618. Tanipola Riri Yak kavi, No. 2

Ballad of Tanipola Riri Yaka

THIS is another incantation for the demon to whom No. 238 q.v., is addressed,
as well as No. 619. The present version is an invocation to him. He is separately
invoked from the eight directions as follows. As coming from the Riri wila or
Blood Lake, with the riri manda, or blood noose, and commissioned by Saman
Deva, he is invoked from the East; from the S. E., as dwelling at the Ririgal
Dewala rock, and commissioned by the Kataragama god ; from the W., as
born of Rairagiri Queen, and commissioned by Vishnu Deva. From the S. W.,
as howling at the junction of three roads, and receiving offerings of sandal scent
and fried grain, by order of the rishis ; from the Sawuma as laughing with a
heron's cry at the Blood Lake, and beating his hands together, with commission
of Devel Deva. From the S. E., he is a second time invoked as dwelling in the
eastern amu-sohona cemetery, with blood oozing from his mouth, and com­
missioned by Yama. From the N., he is commissioned by the Seven Pattini,
and dwells in the great Ruduru Parvata. It is evident that these points are
corrupted in this and No. 619, as they doubtless agreed in the original saga.
He burst the earth and sprang forth ; he spreads snares ; he haunts the
junctions of three roads ; his face is the colour of blood.

This saga is a few centuries old, and my copy has 22 verses.

Example :
Derana pala, polowen paena naegapu yaka
Le wila maeda at polasan karana yaka
Devel devindugen awasara gattu yaka
Me ata konen wara Tanipola Riri yaka.

Yaka, that rose springing from the soil, having cleft the Earth !
Yaka, clapping hands amidst the Blood Lake !
Yaka, that got sanction of Devel devindu !
Erom these eight sides come, Tanipola Riri Yaka.

20
 619. Tanipola RIri Yak kavi, No. 3

Ballad of Tanipola Riri Yaka

THIS is a third kavi on the same subject as No. 238, q.v. In tne presenG compo­
sition he is invoked to receive a red cock, offered to him. Here he is said to have
been born from the wan aela, or left ribs. He is invoked together with a Yakini,
and red rice and blood are said to be ready for them. He is described as having
a blood lake on his breast, running over on both sides. He tears up a fowl with
his hands ; he wears many golden jewels. Here also he is described as having
the face of a waliya, and carrying a yama mugura, or mace. Wesamuni of
Kuvera pura ordered him to Earth. He appears as an infant to women asleep,
and in their slumber they suckle him.
He is invoked from the eight directions ; in the East he appears by Devel
Deva's favour, in the S. E. by Yama's leave, in the South by that of Isiwara
Devindu, in the West by that of the Seven Pattini, in the N. E., by that of
Vishnu Devindu, and is addressed as born of Rairagiri Bisawa or queen. On the
N. W., he appears by leave of Saman Deva, on the Sawuma or south s ide by
that of Kataragama, and on the South he sports in the seven ponds.
This saga is a century and more old, and has 34 verses.

Example :

Rairagiri bisawun kusa upan yaka

Vishnu devindugen awasara gattu yaka
Sahita kara dunnu puda kaepa ganna yaka
Isanayen wara Tanipola Riri yaka.

Yaka, born in womb of Rairagiri (Blood rock) queen !'

Yaka, who got sanction of Vishnu devindu !
Yaka, accepting offerings collected and given !
Come from the North-East Tanipola Riri Yaka..

21
 620. Riri Yak kavi, No. 7

Ballad of Riri Yaka

THIS ballad does not differ from No. 24, q.v., and the others, in any very
important matter. It attributes however to Riri Yaka two companies of inferior
yakas, 500 in each. He is described with the wali face, either monkey or forest
man; he carries a yama club, and was born from a " riri oruwa ", whether
vessel, or boat, of blood. One obscure line seems to speak of him as in league
with the crocodile of the Riri wila or Blood lake. From the left side or rib
((aela) the Yaka is born, from the right side or rib the Yakini, so that it would
appear to be in the Blood Boat birth that he had the female associate. They
arrived at Kalugal-godaella in Ceylon.
Directions are given for offerings.
It appears to be a few centuries old. My copy has 69 verses.

Example :

Siri wila waesena

Sitina kimbulekut daena,
Wan aelaya pirena,
Upan Yaku ehi me sak warena.

2. Knowing that a crocodile lived,

1. Haunting the Siri (Blood) lake,
3. Filling the left side,
4. The Yaka was born there by this Saekra's leave.

22
 621. Pitiye devi kavi, No. 2

Ballad of Pitiye Devi

THIS god, Pitiye Devi, is also the subject of No. 23. In the present ballad he is
said to have dwelt in a temple with golden roof, having come to Siri Laka from
Soli desa, and settled at Amunugoda ; he formed a retinue of followers, by
making men into yakas. He visits Kalu Mkawaewa, Hunnasgiriya, Karuna
galpota, Urugalpota, and other places in Ceylon. Amongst them Aeta-waetunu-
taenna, a name familiar in Ceylon in its Tamil form Anai-vilandawa. Kiwula,
Kosgama, Oratota, are amongst them. Riti-gala Deviyo are asked to bless
some one, left vague. The Lama Bilindu Bandara or young child-god is vaguely
invoked, this is a Vaedda god ; he is said to wear a black cloth, and to accept
silken offerings, and to be near a painted picture ! He lives in a stone-fence-
palace, like a full moon. Pitiye Devi came from Soli pura, to Sinha pura, and
went to Vellassa, and thence to Dumbara. At this temple in Dumbara were
rare silken offerings. He had a new temple at Butawatta when the poem was
written, and at Amunugama he made darkness by day, an allusion not explained.
This ballad is two centuries old, or more, in its present form, but from the obscu­
rity of its allusions, it evidently preserves a shadowy record of much more
ancient sagas. My copy has 112 verses, and is at least 100 years old.

Example :

Irata natana monarindu se we nitte

Pvatata utun gamawada Sirimalwatte
Noyek pata panduru di yeti kaemaette
Aluta taenu kSwila Butawatte.

He is ever like a king peacock dancing to the Sun,

The chief village in the land is Sirimalwatte,
Many silken gifts being given, he goes willingly,
'The newly built temple is at Butawatte.

23
 622. Riri Yak kavi, No. 8

Ballad of Riri Yaka

THIS differs from No. 24 in several details. Here we are told that Riri Yaka
was born to Ela Rakshi, and again to Letali bisawa, or Queen Blood-dish.
Across the seven seas, at the Makara-kata sea (whence water goes down to
Hell), at the city Sawurashta, he was born, and named Bahirawa Riri. He killed
his mother at birth, and drank her blood ; he went to the Nara Iowa or human
world on a lodael pahura, which literally means a bronze-net raft. Crossing
the seven seas they reached Kataragama, there they told the god they were
Riri Yaka and Riri Yakini, and obtained his " waran " or warrant to use
their powers during the first seven paeyas of each of the three watches of the
night. Saman Deva however caught them, and tied them to a pamburu tree
(Atalantia Missionis), and began to flog them with his gold-diamond-spear.
Afterwards he forgave them, and allowed them to cause sickness, and receive
bali offerings. He has a wali face, and " bamburu ", or curly, hair. The suitable
offerings are then described, pas pulutu, or five fried grains, seven kinds of
curries or hat malu, cakes, antimony, sandal, blood, milk, oil, flowers. The
celebrant should wear red clothes, and a cap on his head, and the offerings
should be served on the west of the site selected. The saga then changes, and
invokes him, going over the same ground, in different metre. In this part Teda
Pattini is said to tie the Yaka and Yakini to the ela pamburu tree. The first
part occupies 32 verses, and is a sort of incantation, while the invocation
occupies 26. The saga thus consists of 58 verses, in my copy. It appears to have
been written in its present form a few centuries ago.

Example, :
Riri wilewada kela aewidinne
Pamburu gase wada wasakaranne
Mama dena pidawili disti helanne
Riri yaka dolaganta warenne

Do they not wander sporting at Riri lake (Blood lake) I

Do they not dwell in a pamburu tree ?
Casting a glance on the offering I give,
Riri yaka come to take the sacrifice.

24
 623. Ratikan baliya kavi, No. 1

Ballad of offering to Ratikan

THE theme of this ballad is an extraordinary allegory, for it can scarcely be

treated otherwise. There was an ascetic living under a " nuga " banyan tree
in the Isi giri forest. He sat at the root of the tree, and only ate such leaves
as fell within his reach, never moving from his seat. Gradually the roots of the
tree twisted round him, pythons coiled on his waist, crows perched on his head,
squirrels and rats made their nests in his beard, but still he stirred not at all,
Sak deva, disguised as a lovely girl, came to tempt him, and he yielded. Then
Sak created seven lakes, and a lotus in each, and from each lotus flower a
beautiful maiden, and then married the seven to the amorous ascetic. Their
names were Rati Kami, Ruti Kami, Andun Girl, Sandun Giri, Tel Kami, Mai
Kami, Madana Giri. These may be translated into personifications of Lust,
Sensuality, Antimony for blacking the eyes, Sandal dust, Ointment, Flowers,
Desire. With the leave of Sak Deva they all descended to earth, and afflicted
mankind with headaches, pains in the body, 98 forms of disease, 98 lesser sick­
nesses, and 36 forms of accident. The bali image is described as follows, a red
hat on head, a golden face, the stomach blue, the feet black. His wife has her
arms and neck entwined with cobras; gold bangles covering her arms, and
wears a loose robe on her body, the name for it being " oliyal ", perhaps
" muslin " .
My copy is followed by twelve verses of " yadinna " , addressed to the-
Kadavara Devas, but with no special features. This ballad appears to be two
centuries or so old, in its present form ; my copy has 46 verses. The same legend-
will be found in Nos. 57 and 575.

Example :

Niti lesa keli puda sarasa dunne

Matu me mayan nuba nokaranne
Rubara rati liya sarasa dunne
Ratikan alaya aera palayanne.

In fitting wise dance and offering is adorned and given

Hereafter do not you do this trickery !
A lovely enticing woman is adorned and given,
Ratikan, abandoning desire, go !

25
 624. Ratikan baliya kavi, No. 2

Ballad of offerings to Ratikan

'THIS is a second ballad on the same theme as No. 623, and indeed it catches up
four verses of that. In the present version, after the ascetic yielded to Saka's
temptation, he wandered off to Madanagiri parvata, or the Mountain of the
Desire-rock. There he met the seven Madana-kama enchantresses, and received
the form of a Rakusa from Saka, together with leave to afflict mankind assisted
by these seven companions.
The bali image should be made on a tray seven spans long, and 3J spans
wide. He has a red cap, a golden face, a blue body, black feet, and the appearance
of a Rakusu. Around it kanya rupa, or girls figures each with a golden water
pot in the right hand, and rattling bangles on her hands and feet, her whole
figure bright red. The last part is a yadinna or invocation, and further states
that Rati Madana Yaksaya, Madana Giri Yaksaya, Awara keli Yaksaya,
£>ohon Giri Yaksaya, Mal-madana Yaksaya, Le-madana, Gini-madana, and
Tota-madana Yaksaya, were all nine born from the dead body, apparently of
the dead ascetic, though this is not clearly stated. In his search for the vanished
form of Saka, disguised as a woman, he visited the following lands, Gujjara,
Bankala, Kasi, Kaberi, Malawa, Telingu, Urumusi, and Gawuda. Mistaking
the Malawa king's queen for the form he was in search of, he afflicted her with
possession, and she was cured by a ceremony.
The ballad in its present form seems one or two centuries old. My copy has
74 verses, the Yadinna occupying 24. I have a second copy, B, of the yadinna.

Example (from the yadinna).

Kama sit loba wela

Himaya wata wimasala
Nedaeka istri ane
Andona kiyanne.

The mind bent on concupiscence,

Having searched around the waste,
Not seeing the woman—alas !
Uttering lamentation.

26
 625. Kadavara kavi, No. 1

The Kadavara ballad

'THIS saga is intended to accompany a dance to exorcise the god. The help is
invoked of the Nagamala pint, Buddha's power, the merits of the Ata-natiya
sutra, the power of Boksael, and of Wesamuni, and by their aid the dancer
seeks inspiration. The following Kadavara gods are invoked, Pilli, Dala, Sellan,
IMal, Kalu, Waedi, Gini, Sirime, Sohon, Sora, and Wali Yak Kadavara.
The verses may be two centuries old, my copy has 37 verses.

Example, :

Wega now! yaku eli baesapanne

Roga site duk at aerapanne
Yaga pirit Gawutama munidunne
Naga mala anuhasen natanne.

Be not hasty yaka, depart out!

Abandon the sickness and sorrow of mind !
The sacrificial protection is Goutama Munidu's,
By power of the naga mala, dance !

27
 626. Kadavara kavi, No. 2

The Kadavara ballad

THIS is an unimportant ballad ; it alludes to the god's visiting the dancing

arena at Bolagala, and catching some one at the Gurudeniya field, which is-
near an extensive Buddhist rock-monastery a few miles from Kandy, and now
in ruins. He is Adikari or Chief Officer to Mala raja ; he landed at Puliyan-
kulama. Aliyam Kadavara is invoked, and the Three Kings, intending Mala
Raja, and his brothers Kitsiri and Sandalindu. Kadavara was bom in Malavara
desa, and speaks the Tamil tongue. Sellan and Sirime Kadavaras are invoked,
and there is an allusion to the Boar ravaging the orchard of the Mala Raja,
and his pursuit of it to Santana gala, and the cure of the divine-sickness of
Panduwas.
He is described as wearing a silk cloth, a jacket, and chain, and turban,,
almost in the same words used in No. 625.
It appears to be about two centuries old ; I have combined the account from
two defective copies of 28 and 23 verses respectively.

Example:

Waenda waenda deviyantayi duk ganne

Yaeda yaeda haema rata pandurut ganne
Ada sonda naetumen penata enne
Aliyam Kadavara yakuni warenne

Bowing, bowing, serving the gods,

Praying, praying, taking gifts from all districts—
Come today with good dancing to speak with inspiration,
Oh Aliyam Kadavara Yakas come!

28
 627. Kadavara kavi, No. 3

The Kadavara ballad

THIS saga is an invocation of the Kadavara Yakas, to attend a ceremony for

their propitiation. They are described as now residing on Santana gala, but
formerly resident at Sitana Bintaenna. Bala hela is a hill to which they resort.
The gods of the various directions of the compass are invited to cure the sick
jnan, afflicted by the god. Le, Gini, Pilli, Devel, Sohon Kadavaras are here
invoked. The kavi is perhaps two centuries old, my copy has 43 verses.

Example :

Mula Sitana Bintaenna kiyanne

Namaskaramayi Iowa pawatinne
Udata bimata paena naetumata enne
Kadavara Yakune hanika war enne.

The chief seat is called Bintaenne,

The word exists by worship,
Leaping above and below, come to the dance,
Kadavara Yaka come soon.

29
 628. Amusiri Kadavara kavi

Amusiri Kadavara ballad

THIS is a saga of Amusiri, or " Raw-blood ", one of the Kadavara; gods o r
devils. He is invoked as Amusiri Deva, lord of this world, and called on to-
descend from the skies. He kills men and restores them to life again ; great is-
his rage. He wears a silk cloth, jacket, and a silk turban. He holds the authority
of the Mala raja for his acts. He carries a blade of iluk or sword grass, and hunts-
at Kalugomuwa ford. Solman Kadavara or the " Sound " god,- and Sirime
Kadavara are also invoked. Crowing cocks, blood, and parched grain are offered,
to him.

This kavi is perhaps two centuries old, my copy has 36 verses.

Example :
Wali yak tun kattuwagen waran labagana inne
Nomara wada kara haemagen mal bali aeraganne
Pachcha-wadan ura-banduwa dewure dilisenne
Lensu kadamalakwat aeyi mata nolaebenne.

Receiving leave of the three Wali yak, and staying,-

Punishing without killing, taking flower offerings from all,.
A red cloak shining on both shoulders—
Why is kerchief, or bit of cloth even, not received by me?

30
 629. Tota Kumara baliya, No. 2

Offering to Tota Kumara

THIS is a short saga on the same subject as No. 474. The present versions
does not give the god's history, but describes the image that should be made,
for bali or offering to him. He is to have a cobra's hood over his head, and he
enthroned on a cobra's coils. A cobra should entwine his body. He rolls two
weeping children beneath his feet, and beats them. His wife is seated in the
coils of a cobra and suckles the other two children. A dhoby's basin (haeli).
and a clothes post should be arranged for the offering, apparently at a ford,
and a dish of food should be placed for the twelve Giri. The sickness he has
caused may thus be dispelled. The saga exorcises the following followers of the
god ; Samayan Kadavara, Pilli Kadavara, and Riri, Kalu, Sellan, Daedimunda,
Mal Kadavaras ; with Tota Kadavara these make eight. Eight forms or persons
are obscurely invoked also in Tota Kumara santiya, No. 607. This seems two.
centuries or so old, my copy has 38 verses.

Example :

Riri me Kadavara yakuni asanne

Riri tibena taenamayi waeda inne
Ririda amu mas nibanda kanne
Riri me Kadavara samayan ganne.

Oh Riri Kadavara Yaka hear !

Staying at the place where blood is,
Always eating blood and raw flesh,
Oh Riri Kadavara accept the offering.

31
 630. Riri upadesa

Advice on Riri

THIS is a saga on the same Yaka as No. 24, q.v. It states that he dwells at
Riri wila or Blood Lake ; he appears to have come from Sri Go Rashta, from
Riri-gal totamuna, Raja gal parvata, but the context is obscure. He was
commissioned by Saman Deva ; and was born to Letali bisawa or the Blood-
dish-queen. From the time he came to earth, he afflicts men with sickness.
Once he was born at Asurapura, with two red tusks ; his mother Letali died
on the day of his birth, as he burst through her breast. Red rice is offered to
him, and the usual offerings for such demons. He assumes the fierce waliya
form, either a forest man or monkey. He was tied to a white pamburu tree,
Atalantia Missionis. He resides at Le-mal kowila ; his height is one span and
six inches. Details are given for the offerings and invocations to him, and the
sicknesses he causes are described. Ayilakkandi Yakini is also invoked to break
his spell, and Kushta Rakshi, and Nila Rakshi, and Mayilakkandi, and Kama-
kandi, and NisS Kandi and Naga Rakshi, Mini-his-Kandi are asked to accept
offerings.

This saga seems two or three centuries old, my copy has 75 verses.

Example:

Sri G5 Rashta nam mese

Riri gal totamunayaka mese
Raja gal paravatayaki mese
Madak pawasan Riri upadese.

Thus is it named, Sri Go Rashta ;

Thus is the haven point, Riri gal;
Thus is the rock, Raja gal;
Shortly relate the story of Riri.

32
 631. Dala Kumara asne

Story of Dala Kumara

THIS is another saga on the theme to which references are quoted under
No. 3 8. In this instance he is son of Dantasiva Raj a of Dantapur a of Dam badi va,
and his mother is Nawaratnawali. Giri devi is his sister, and at her birth the
astrologers predicted her union with Dala Kumara, and so she was reared in a
giri ge or rock house. A woman described her beauty to the prince, who secretly
determined to marry her. He then went out as if to prough near a forest, and
pretended to be seized with a dangerous illness. He then sent to beg to see his
sister, who was allowed by her parents to go. He seduced her, and from shame,
that very day, she hung herself on an aesala tree. Saekra rendering her body
invisible, the prince wandered through the four continents, five hundred lesser
tracts, the Himala, the Seven Lakes, the Naga world, the Asura world, the shore
of the Seven Oceans, the great rock of Mahameru, and everywhere throughout
the world. At last he went to the Saekra world, and there challenged Senasura
or Saturn to dice. Senasura lost seven times. The prince then demanded his
sister-wife of Saekra, who promised to restore her to him, at the aehala tree,
and sent Senasura with amrita or nectar to be given to her. He however, after
giving her that, and curing her, threw poison onto the prince, who assumed
thereby the guise of a Rakusu, or Rakshasa. He had a blue complexio n hi
forehead was enormously wide, and his head like a water-pot. He had huge
eyes, and a prominent nose like a black mountain. His belly was enormous, and
his two feet were short, like stumps of plantain trees. He and Giri devi then
received offerings, and after a time came to Ceylon also.

This appears to be an ancient saga, and is probably quite three centuries old,
and well composed. My copy has 40 verses.

Example :

Yut Rakusu ruwa somda

Pahala wiya me leda
Giri devi piyobanda
Piyasa kara mana nada

With good Rakusu form,

Appeared (he) in this way,
The beloved Giridevi
Making dear, with pleased mind.

33
 632. Dala raja santiya

Blessing of Dala raja

THIS is another saga on the theme to which references are quoted under
No. 38. In this version the verses describe how the gods image should be
made. It is to be seven spans seven fingers long, and four spans five fingers
wide. Above his head are three cobras with expanded hoods, " todu " ear-
jewels in his ears, two tusks projecting from his mouth, his beard of copper
colour, a chain on his neck, rattling bangles or giri walalu on his arms, and a
girdle on his waist. On each side a Giri Devi, wearing jacket, pearls, and
jewels.
Five kinds each of yams, cabbage or hearts, parched grain, milk, flowers,
and a robe of five colours must be offered to this. No live sacrifice is required.
Head-ache, stomach-ache, swelling of the stomach, nausea, disorders of women,
are cured by this offering, and the god assists barren women to bear children,
and aids them in dangers of child-birth, and pregnancy.
This appears to be about two centuries old; my copy has 34 verses, and is
very corruptly copied.

Example :

Daela dekin e Giri landun ran paeyen sudu wata babalala

Malawalin mutu patiyen abaranin saettaya bablala
Alawemin landa dakimin rati saepatin Giri landa lobalala
Bala nangun ruwa dakimin yaku satutu sita weminilala.

White cloth shining on the two gold coloured sides of that Giri lady,
Bright with chains and pearl girdle, ornaments, and corset;
Seeing the lady and coveting, he desired the Giri lady in possession ;
Seeing the younger sister's beauty, the yaka was of contented mind.

34
 633. Giri Devi upata

The Giri Devi legend

THIS is another saga on the subject already quoted under No. 37. The
present saga is about two centuries old, but my copy though complete in
itself, seems to be only one section of a larger work ; it is well composed. The
story commences abruptly by stating that Hansavati Devi became pregnant,
and was seized with a longing for all kinds of wild fruit, and ate also little bits
of potsherd, clay, and gravel. In due course Dala Kumara was born to her,
and afterwards she had a daughter named Giri Devi. This daughter was
confined in a cave, the reason is here omitted. Her beauty is described at
length. Her nurse reported this to prince Dala, and so inflamed his imagina­
tion that he pretended to fall dangerously ill from thinking of her. This
becoming known to his parents, they decided to send his sister to him, to
save his life. Accordingly she was decked in royal array and sent to her
brother, the mother Queen Hansavati making pathetic lamentation over the
horrible sacrifice, and asking " how can I call my daughter daughter-in-law " .
The princess herself was not informed that her chastity was threatened, and
believed that she merely went to see her brother, as a sister. He then seduced
her, as told in all the sagas, and while he slept, she went out and hung herself
on an aehala tree. The prince went out with lamentation to search for her.
Here the section ends. It seems clear that there should be an introduction,
and sequel, but I have not yet met with them.

My copy has 58 verses.

Example :

Waralesa pil kalambak se dilenne

Net deka nil maenikak se dilenne
Mukayada banduwada peti se dilenne
Bellada ran kanda lesa babalanne.

The hair is bright as a bunch of peacock feathers,

The two eyes are bright as a sapphire gem,
The mouth is bright as scarlet hibiscus petals,
The neck glitters like a golden trunk.

35
 634. Dala Kumara puwata

Story of Dala Kumara

THIS is another saga on the theme quoted under No. 38. It describes a bali
offering to the god, and to his sister-wife Giri Devi. It describes the sickness
caused by the god, as noticed under No. 201, and the bali is thus described.
The kapuwa or priest is to purify or make pe a white ants nest, on the north,
presumably of the patient's house, and then take the clay for an image. The
table for the figure should be eight spans long, and four spans four fingers
wide ; the figure is to have three cobra hoods above the head, " todu " jewels
in the ears, pearls and jewels on the neck, and wear a jacket, and belt. A
Giri Devi is to be on each side, and the god is to be depicted holding them by
the hair. He has the face of a Rakusu, and four hands. This image must
be placed to the west, presumably of the patient's house, in the nearest
cemetery. Among the offerings should be given, young cocoanuts.
The table for the figure of Giri Devi is to be seven spans two fingers long,
sour spans one finger wide. Her form is that of a woman, with a Rakusu
on each side, with their arms on her neck, and entwining her body. She holds
a child on her hip. This is to be put on the west, presumably of the patient's
house, and made of the clay of a white ants nest on the north.
During the ceremony for the god, a pirit cord is to be tied, and charms
murmured from a distance. My copy is preceded by 12 verses of the Pirittuwa,
No. 35, and presumably the cord is to be consecrated by this at the beginning
of the ceremony.
This appears to be about two centuries old; my copy has 50 verses, and is
in a very bad state ; the greater part of two verses is broken off, in one leaf.

Example :

Taembili kurumba kikili bijut gati

Naewun kale dola pideni aeragati
Pas pulutut noyindul ema karagati
Pirit nula baenda dura sita maturati

Having taken king-coconuts, and fowls eggs,

Having taken a new water pot and offerings,
Having taken five kinds of fried food, not making it refuse—•
Trying the protection thread mutter charms from afar.

Any food, or other article part of which has been taken, tasted, smelled, etc.,
becomes " indul " or refuse.

36
 635. Uparatna m&laya

Gem garland of proverbs

THIS contains a number of proverbs in verse, such as " one's own gums are
better than the teeth of another, though as sharp as hatchets ", " like drinking
from the river, and thanking the sea ", " like changing pillows because of
headache " , and so on. This is a very interesting little collection of proverbs,
and seems to be some two to three centuries old. My copy has seventeen
verses, and is bound with Karmma Sivupada, 755, and Mutu-keliya 756, of
about the same age. Though very short, they are useful as specimens of
the short poetry of two or three centuries ago.

Specimen :

Winde saepata sawu isuren saebaewina

Inde samaga an taena rasa angawemina
Sonde me Iowa anganange guna nuwana
Gangen diya bibi mudata awadana.

Enjoying prosperity with all success truly,

Whilst living (with one), praising excellence elsewhere,
Good is the virtue and wisdom of women in this world,
Drinking water of the river, they bless the sea.

37
 636. Aehaelepola warnnanawa

Disquisition of Aehaelepola

IN this poem, we are told that Aehaelepola was Yuwa Raja, and conquered
many Tamils. At S. 1729, A. D. 1807 a Tamil became king of Siri Laka and
destroyed it, killing men, torturing Arawwa Maeti and Denagomuwa Maeti
to death, and seizing their wealth. He killed many and seized their wealth,
taking even the property of Buddha and the Devas. He went to Badulla,
taking with him men, women, and children related to the former kings, and
there at Kudaluwana he killed them, ninety persons in all. He raised up new
nobles, and destroyed B5 trees, images and preaching halls. Fetching over
hosts of Wadiga men (Tehigus) and calling them his relations, he over-powered
and neglected the Sinhalese army. He impaled thousands and thousands of
headmen and chiefs. Their clothes and jewels he gave to the Tamils. He
collected thousands of men and forced them to work on the bund of his tank.
In order to make changes at Maha Nuwara (Kandy) he destroyed the houses
and gardens of the inhabitants. He distrusted the people of all the districts
except the five Ratas, Hewahaeta, and Dumbara. The ancient guards and
officers were replaced by men from Dumbara. He executed Arawa Adikaram,
Lewuke Disapati, Palipana Disapati, Ratwatte Disapati, Dawulagalagama
Rate nilame, Wattala Maeti, and Galagoda Adikaram's son Appuhami, and
gave their lands, cattle, wealth, and slaves to Wadiga men. He impaled sixty
chiefs from Kurunegala, when attending the perahaera. He cut off the hands
and noses of ten traders from Siyanae Korle. When Aehaelepola Yuwa Raja
was in charge of Sabaragamuwa, he sent for him, intending to kill him, and he
escaped to Kolamba. Then his wife and children were pounded in mortars and
killed. The Yuwa Raja informed the English, Ingirisi, and with Robat
Brawunrig Loyitanan Janaral Govaernnar (Robert Brownrigg Lieutenant
General Governor) and others, he assisted in deposing the king. The invading
army was welcomed by the people with yound cocoanuts and refrechments.
The king absconded, but was arrested and deported. The details of this are
rather full. It concludes with an eulogy of the Yuwa Raja.

This poem is well written, and fully justifies the action of the English towards
Aehaelepola. These crafty verses by calling him Yuwa Raja, a title to which
he could never presume with reason, were clearly intended to prepare the way
for his own elevation to the vacant throne, amongst villagers of distant
provinces, to whom his pedigree was unknown. He is posed before them as
the national hero, avenging the Sinhalese upon their Telugu tyrants.

38
 There are 217 verses in my copy, which is probably an original one. The
author is Kavisundara Mudali of Waeligala.

Example :

Ekalata apa Yuwa Rada tuma Sitawaka Kadayima paena

Satanata ena muladaeniwarunta liyaman aeri taena
Eka wita eka naekatin watatama siti aya kadayin paena
Nuwarata ena lesin nikmuno samudura goda gat mena.

At that time our Yuwa Raja himself rushing to the Sitawaka pass,
Having sent letters to the chiefs coming for the war,
At once, at one time, all who were around rushing to the pass,
When forth in order to come to the city, like the ocean coming on
shore.

Yuwa raja is the title of the lawful heir apparent of the reigning Sinhalese
king, and its arrogation for Aehaelepola, an ordinary feudal baron, was a
deliberate act of treason.

39
 637. Sulu Mahabinikman, II

The lesser Great Renunciation ballad

THIS, and Nos. 327,743 are on the same subject, and give a brief account of the
life of Buddha. The present poem begins with his birth at Kimbulwatpura,
and briefly summarises the chief events of his career, until the preaching of
the Dam Sak sutra at Baranaes. It is good poetry, with no special features,
and may be three centuries or so old. My copy has 48 verses.

Example:

Gana andurak mawamin balaminne

E maeda babalana pun sanda waenne
Karapuwa yuda muniduta me lesinne
Nawa wida warusha min daena ganne.

Creating a thick darkness, looking,

In midst of that shining like the full moon,
Thus wise against Munidu was made.
The nine forms of rain, know by this—

40
 638. Buddha adahana

Cremation of Buddha

THIS is a little poem composed to celebrate the cremation of Buddha, aa

related in the Maha Parinibbana sittta atthakatha, and other commentaries.
The pyre is here called gini ge or fire house, a term new to me. There are no
new features in the story as versified. It is probably two centuries or so old ;
my copy has ten verses.

Example :

Porowa ran siwuru min waedi dahasa wati

Andana, tun madulu Budu raes saepata wati
Bindawa Mara senanga ran mera paetalu saetl
Dukin Ananda aenduwe siri pada waeti.

The golden robe worn and shoes are worth a thousand,

The three parts draped are worth the bliss of Budu rays,
The Mara host broken, (he is) overturned like the Golden Meru,
Sadly Ananda wept falling at the glorious feet.

41
 639. Kalundawa sinduwa

The Kalundawa song

THIS is a song which notices the romantic early history of Parakrama Bahu
of Dambadeni, A. D. 1236 and celebrates a temple founded by him. It says
that at Udukaha-maeda of Seven Korales the Kalundawa vihare was built by the
king, and given to Wepatiruwe Tera, and that it was subsequently repaired
by Hetti-gedara Tera, one of his successors. Yati and Yatindu are used for
tera. It says that the Suriya Naranidu of Kalinga rata ruled over Ceylon,
and that Ms descendant was living in disguise at Kalundawa, when he dreamed
that he washed his ploughshare in a smith's tempering bath, and then the state
elephant came, and lowering its tusks, saluted him as king, at the field called
Nambambara to this day. He and his wife, the maiden Siriwadana, seem to
have founded the Kalundawa Temple on that spot. The poet gives his name as
Wirakodi maeti, but does not afford a clue to the period at which he wrote.
It does not seem more than a century or so old. My copy has about 15 verses,
but I have not exactly counted them, as they are written like prose.

Example :

Eda kumaru dutu slnaya pawatiya

Kumbure nama tawa Nambambare
Nida pibida gos siwaela sedu Borapatulu wature
Lada isuru saepa balawat mema gan atare.

The dream seen by the prince that day is remembered,

The field is still named Nambambare,
After sleeping he awoke and washed the ploughshare in the
Borapatalu water,
Supreme prosperity was greatly received at this village.

42
 640. Ata magala santi

Blessing of the eight favours

THIS is composed partly in prose, and partly in verse, to exorcise evil spells,
and sickness. The eight magala are the eight chambers formed by a yantra
design to exorcise evil. The prose precedes, and then the theme of this is
again given in verse, so that there is a prose and verse version in one book.
As Wije Raja was guilty of perjury to Kuveni, divi dos, the perjury curse,
arose. Anoma asked the Rishis how it should be cured. The Rishis created
a tolabo or crinum plant; when that had got seven leaves, they gave the first
to Anoma Rishi, the second to Wije raja, the third to Sudarsana the younger
brother of Wijaya, the fourth to the Four Guardian gods, the fifth to Budu,
the Pase Budus, and Maha Rahats ; the sixth to Iswara, the seventh to the
devas and devatars of the Sapta-Kfita parwata, or Seven-peaked mountain.
Each leaf had its own resident deity or devatawi, the first was Mulatan, and
then in order Chitrapoti, Laksmi, the Four Guardian gods or Hatara Waran
deviyo, Pase Budus and Great Rahats, Iswara, Nila Kantawa or the lady
Nila.
A mat should be laid near the patient's feet, and the eight magala should be
drawn on it, and the tolabo leaf placed over them.
Next the exorcism turns to the hiraessa vine, Vitis (cissus) quadrangularis.
This arose at Kayilasa from a ray issued by the right nostril of Iswara. This
was put at Wijaya's feet. Vasuki naga raja dwells in that vine, and at its four
angles the Four Guardian gods, and at the eight angles the eight great,
Gajendrayo, or elephant lords.
A leopard's skull comes next. There is a play here on the word diwi, leopard
and diwi, swearing on oath. The legend is noticed of Rahu as a boar enticing
Mala raja to Pandipura to exorcise Panduwas deva's spell. The Mala raja-
dwells in the right side of the leopard's skull, the Swarga gods in the orbits and
nostrils, the Suras and Asuras in its four limbs. Ramahasti Devatawa
resides in its back, and Balabadra Devatawa in its soles, and the top of its
feet. Walakul Devatawa is in its tail.
A yellow cocoanut follows. This was created from the head of Gana Deva
when cut off by Iswara. In the prose we are also told that Gana Deva burst
his way to birth through the right side of Parvati. One eye of the cocoanut
is like the eye of Hanuma, one is like the mouth of Saraswati, and the third
is as the eye of Sriya devi. Gana deva dwells in the cocoanut.
Next comes a rice pestle or M5la. This was created from a divi kaduru
tree (Tabernaemontana dichotoma) which sprang from the false oath of the
Brahman YagasSman of Weluwaran nuwara under the influence of a woman.
Viskam Deva (Visvakarmma) cut down that tree with a four edged sword.
At one end he put a golden band, and at the top a silver one ; in the middle
of red and orange paint a polished band like a zone of crystals. In that pestle
Kanda Kumara, Gana Deva, and Mahakela naga raja reside.
Lastly the mat or kalala ; in this when stretched in the midst of a house, the
Awagraha, Wiwagraha, Titigraha, Tudusgraha Devas and the Four Guardian
gods, all eight dwell in the four corners of the mat. Amaya, Pamaya, Hemaya,
Puspakumudaya, Ritta devatawi, Bimbawati, Umawati, Parwati, these

43
eight goddesses dwell in the eight magalas and the eight corners. Sahampati
Maha Brahma's foot print is in the midst of the eight magalas. By the power
of these the evil is exorcised.
This incantation is in many details quite obscure to me, and must originally
belong to a cult which I have not adequately studied, if I have met with it
all. It appears to be about three centuries old in its present form. My copy
has 52 verses. It is self evident to the adept, after hearing the verses, that
the design or yantra to be adopted is a square, divided by two lines at right
angles to each other, so as to divide it up into four equal squares. Within this
a second square is drawn, also divided into four equal parts by the same two
lines. This affords eight chambers. The four angles of the outer square, and
the four points where the diameters bisec the sides of this outer square form
the eight corners (ata kona) in which the goddesses reside.

Example :

Topage wimane koyi divi kiyati

Apage piya raja raja kula paewati
Saepase dawas aera indinuya kaemati
Obage divi dosa ada dura damati.

" W h a t ' divi' is in your abode ", is said,

Our father-king belongs to the royal race,
He wishes to live passing the days in health'
Your ' divi' sickness today is cast off !

44
 641. Kusalalankara

Beauty of Virtue

THIS is a very important and beautiful poem, almost equal to the Lowaeda
Sangraha itself, but it seems quite unknown to the present generation of
Sinhalese scholars. The theme is the beauty of " kusal ", meritorious conduct
and virtue, treated from the Buddhist view. Birth in the heavens, birth
as a sura or god, as a Sakwiti raja or Chakravartti, and so on, are attributed
to the performance of kusal. Those who reject beggers, and give them no
alms, are reborn to pass a life without obtaining food. Dutiful conduct to
parents and teachers, is like dutiful conduct to Buddha himself. Birth in
the deva world is the reward of those who give cloth for robes in alms to the
priests. Those who disrespect the law of Buddha will be reborn in the
Wetarini hell, and so on.
My copy is an excellent and old one, bound with Lowaeda Sangraha. It
has 137 verses. The author is Kirimaetiyawa RajakarunS Mudalindu, as
stated in verse, and he composed the poem at S. 1621, A.D. 1543 with 132,
verses, so that five have been added. The composition, the verse, and the
subject are equally excellent.

Example :

Bo kara Muni desu dahamata noyadi

Anadara kara ki satahata waradi
Nowitara yama palu yama paharaya di
Wetara nam maha niraye upadi

Greatly not conforming to the doctrine preached by Muni,

Acting and speaking harshly, doing wrong to mankind,
The Yama guards having given yama scourging freely,
Born in the great hell named Wetara.

45
 642. Kanawaendum hatane

The widow trouble

THIS is a comic song or poem, of no great age, but a good specimen of the
popular muse. In a wealthy family there was no son, and for its destruction
only a daughter was born to it. She is described as of most aggravatedly
bad disposition. Her lovers were disgusted by her conduct. Her parents
died when she was sixteen and she was divorced by her husband. Then she
tried to live with six more husbands, one by one, so she was called the " seven­
fold widow ", and bore it as a nickname. When her neighbour married, she
deceived and mislead his young wife, and broke up the marriage. She used
to steal cakes on pretence of helping the woman of the house. So she was
called kaewum-hera, or cake-thief, and so on. It was probably a satire on
some village woman, but is older than the present generation, and her indivi­
duality is replaced by the type of her character, that of a vicious, mean, greedy,
mischief-maker.

My copy has 45 verses.

Example :
Taka tari kita kanawaendum landuni asanawata
Hari haetiyata diga yanda daen aeti sita yata
Kita tari kita me kavi kiyamin indagana pila pita
Sita piriyata me kavi asawu daenamiti wennata.

Widowed women listen ! take tari kita !

To go in marriage in suitable way is now under your thought.
Kita tari kita ! saying this song, sitting on the house-front,
Hear this song with pleased mind, for advice.

46
 643. Jiwaka alankaraya

Jiwaka's renown

JIWAKA was the son of the prostitute Salalawati or Salawati, who exposed
the child on a rubbish heap. Bodhiraja Kumara a son of king Bimbisara
adopted him. He grew up to be a great physician, as related in the Maha
Vaggo. He cured the seven-year-headache of a Situ lady ; he cured a certain
sore tumour for king Bimbisara, by touching it with medicine smeared on his
nail; he cured two worms in the head of a nobleman of Rajagaha, when other
physicians had despaired of his life, by trepanning the skull, and extracting
them from near the brain. He opened the abdomen, and adjusted the bowel
which was twisted, and so cured a nobleman. He cured king Chandapprajota
of jaundice, though it was dangerous to inject oil into his nose, as he became
so passionately angry. The physician applied it to the royal nose, and escaped
on the royal elephant, before the king could visit his rage upon him.
The composition and verse have not much merit, and the poem may be two
centuries old. My copy has 121 verses.

Example :

Paemini narapotiyot
Senevirat aematiyot
Lowa sakala janayot
Baetin bisanguttama raeka det.

May the kings arriving,

General and ministers,
And all people in the world,
Faithfully protect the physician.

47
 644. Balowadaya

Advice to the young

THIS is a poem written to instruct the young, in good conduct. At five
years old they are advised to begin learning their letters, and their teachers
should then teach them the pas pawu or five sins, and their consequences.
General good advice follows. This has no special merit of verse, but the advice
is excellent. It appears to be at most two centuries old, and I have not met
with it in the low-country. The author is not known to me. It is taught to
children in the North-Central Province, who learn parts of it by heart.
My copy A has 75 verses.

Example :

Rasa aeti naeti saetiyata kapanne

Redi aeti naeti saetiyata aendapanne
Saepa no pata tada duk windapanne
Ugat ayata matuwata saepa denne.

Eat whether it be tasty or not,

Dress as clothes may be or not,
Not craving for prosperity, endure strong sorrow,
To one who is learned prosperity will hereafter be given.

48
 645. Kirimaenikige kavi

Ballad of Kirimaeniki

THIS is a satirical village ballad of the Anuradhapura district, holding up to

public scorn a woman who committed incest with her brother. Kirimaeniki is
reminded that when Giri devi was violated by her brother the god Gara Yaka,
she hung herself; and is asked whether there are no men in the world, except
her brother. The incident occurred some forty years ago. There are twelve
verses.

Example :

Ratata nogos unne nubage awagune

Mari sita nisa Dala Kumaruta kal baendune
Giri landa numut laejja aeti lesa saedune
Kiri-maeniki misa naeta wesiyak wene.

Staying without going abroad, is your evil conduct—

Because of insane mind though united to Dala Kumaru,
The Giri lady, conducted herself as one ashamed—
Besides Kirimaeniki there is no other prostitute—
(equally shameless).

The sense of the first line is, •' and the worst of you is that you have not
left the country " .

49
 646. Waduru Ma Devi kavi

Ballad of Waduru Ma Devi

T H I S is an incantation, to be used at ceremonies to exorcize small-pox or

waduru. The goddess is described as acting with the authority of Vishnu,
Kanda Kumaru, and Pattini. She holds a bangle in her right hand, a sun
shade in her left, and a silk kerchief. She resides at the southern gate of the
house of Pattini, and crosses the waters with bangles on both hands, and
tinkling anklets. During a plague of small-pox she is the refuge, and chases
the Yakas with fiery rays. This goddess appears to differ from Waduru Ma
Kali of No. 256, but may be only another aspect of the same goddess. The
invocation contains no more information about her, and is about three centuries
old. My copy has 20 verses.

Example :

Dulla mutu mala sawari tuna inga wata dilisenne

Nilla banda osari dama inata halamba andiminne
Galla gata sandun suwanda neyiyadan kehminne
Allagena napuru yakun gini raes dl elawanne.

A girdle of glittering pearl strings on the slim waist, you shine,

Wearing a robe (across one shoulder) of the blue body, you wear a
bangle on arm,
With sandal and scent smeared on the body, you dance posturing,
Catching, you chase the evil yakas, emitting rays of fire.

50
 647. Ina male

Garland of love spells

INA is applied to the use of philtres and spells of all kinds to secure love by
illicit means. The Ina Yaku or spirits of such spells are here invited to dance,
and it is supposed that if their influence causes the possessed person to dance,
while this invocation is chanted, they will leave her. These spirits only attack
women. The Yakas hidden in hot water are also summoned to dance. They
are asked to descend to the flower altar. They are then invoked by the power
of Kakusanda, Kasyapa, the Vidurasne or diamond throne, and Gautama Muni
or Budu. Also by those of Vidura Pandit, the Daham, Sat Patini, Pirit, and
Mugalan Tera.
This invocation seems to be about two centuries old, my copy A, has 82
verses, and I have a shorter one B, reduced to 28 verses.

Example ;

Lakunu aetuwa Budu unu bawa danida yaku

Dakunu atin Budu raes wihidunu yaku
Me kunu kayata rae sinen penunu yaku
Kakusanda muni anayen nata Ina yaku.

Do you know that possessing signs he became Budu, Yakas ?

Did Budu rays radiate from the right branch, Yakas ?
Yakas that appeared in night dream to this corrupt body,
By power of Kakusanda muni dance, Ina Yakas ?

51
 648. Panan devi kavi

Ballad of Panan deva

THIS name Panan deva, means in modern language " coin god ". In the
ballad we are told that a procession in his honour is formed at Senkadagala,
with a golden umbrella. He afflicted the elephant Konda-raja with sickness.
Kataragama Deva gave him charge of the country. He visited the Hat Raja
god. Prom Senkadagala, or Kandy he strikes people with sickness, in great
numbers. He is a raja over rajas. He is also addressed as Panan Bandara.
A verse of torn torn sounds is addressed to him. He carries a walking cane
in his right hand. He rides on gawaras around the twelve islands. He
carries a golden sword, and a club. He wears a topparama or hat. He
breaks up the armies of the Yak. He carries a round rattling club, and an
elephant goad with three crooks (tun mal henduwa). There is a bangle on
his arm, and a silken canopy is over him. He wears a pleated robe. He is
lord (aramudali) of the twelve islands perhaps the islands in Minneri tank.
The Kaludaekada Hat-raju gave him his approval, and authorised him to
cure small-pox and leprosy. Milk is boiled in his honour, and betel is offered
to him. He drives off the Pilli Yaku. He receives double torches. When
angry he creates sounds (solman) which cause sickness. At Katugastota he
overturns all boats ; this refers to the Katugastota rapids, on the river near
Kandy. At Dumbara-eliya he breaks the breast bands of the women ; these
bands are no longer worn by the women of Dumbara, and the custom has been
long abolished. It refers to a narrow band of cloth or bark worn anciently
across both breasts and fastened at the back. He killed sixty Buddhist
priests in the forest near Kataragam, and appeared as the ten avatars of
Vishnu, who is called Rambara, an obsolete name. He visits the tank at
Minneri and the stone well at Ganneri, he thence goes to Kadirapura or
Kataragam, and thence to Senkadagala or Kandy. From Gurubaebila he
wasted Senkadagala. This ballad preserves tradition of a god worshipped
at Minneri, Kataragama, and also at Senkadagala before it became the capital
of the later kings. It must certainly be four or five centuries old, in the main,
though probably re-edited in more modern style, about three centuries ago.
The ballad may refer to the worship of some god, favoured by the Giri wansa,
a royal dynasty which held the country round Kandy ; Abaya raja of this
race was expelled by Dutugaemunu to the neighbourhood of Tammankaduwa,
in which Minneri is situated, where he formed a new principality. His daughter
apparently married Dutugaemunu, and was mother of prince Sali, so very
popular in Sinhalese tradition. The main allusions may belong to the time
of those princes, but the subject requires further elucidation. The name
Panan may in reality have no connection at all with panam, money. There
is a hill once sacred to the god in the Trincomalee district, and his worship
exists there, but obscurely. I have heard no tradition about this god around

52
Kandy itself, where he seems to be quite forgotten. The name Dumbara
eliya, or the plains of Dumbara, is no longer applied to Dumbara
locally. Panan probably comes from a root allied to the old Persian root, pri,
to protect, and Panan Deva means the protecting god.

In its present form the ballad is about three centuries old. My copy has
24 verses.

Example :

Dumbara eliyata waedala sititi

Pembara anganan tanapota kadati
Pin bala sanga saeta namakut marati
Rambara dasa awataren waditi.

Having come he stays at Dumbara eliya,

He breaks the breast-bands of loving women,
He kills sixty priests of great merit,
He comes in ten delightful avataras.

The breast-band is removed after child-birth, when the mother commences

to suckle her infant, and the allusion probably means that the god grants to
his votaries the boon of children. With the suggested name of the god may be
compared such Persian names as the well known Tissa-phernes. With the
suggested perivation we may compare Avertic, panm, Pehlvi, paneke,
protection.

58
 649. Kaputu Bakamunu sindu

Song of the crow and owl

THIS song relates that some owls made their home in a cave in a certain
forest. A crow in search of fruit visited the forest, and called his companions
to go and live there. One day the crow robbed the nests of the owls of their
eggs, and killed the owls, and by night the owls went and killed the crows, and
ate their eggs. A crow then suggested to his companions a trick, in accordance
with which they plucked out all his feathers, and then left the place. When an
owl came to attack the crows, he saw this pitiable object, and asked what had
happened. The cunning crow replied that as he had praised the virtue of the
owls, the other crows had so cruelly treated, and then discarded him. Telling
the helpless crow to hold on to a stick, with his beak, two owls flew off with
him, to their cave, where they fed and supported him with great kindness.
After his feathers had grown, the crow pretended to be cold, and persuaded
the simple owls to fetch him firewood, which at his request they piled up at
the door of their cave. He then set fire to it, when they were all inside, and
they became giddy with the smoke, and finally were killed by the fire. It is
thus that the wicked requite those who show them kindness and shelter them.
The poet gives his name as Mawule Yatindu, or priest, and the poem may be
a century or more old. My Copy occupies 8 small leaves.

Example :

Gini dalu dun saema gal geta gos wadiminne Gal ge rat wenne
Bakamunu igili wata kaeraki balanne Dorakada balaminne

All the fire flame and smoke entering the cave,

The cave becoming hot,
The owls flying around in circles, looking,
Searching for the door.

54
 650, Henhabe

The Chena trouble

THIS is a modern song, which I found amongst the villagers of the North-
Central Province. It describes how certain men made a clearing in the Crown
forest, and grew tasty vegetables there, and grain. But a prosecution was
taken, on information from one Kiribonda, and all seven fell into gaol, after
conviction by the Court. The miseries of gaol are expatiated upon. They are
sleepless with sorrow, early in the morning as soon as they have eaten they
must go to work, they have to drink well water. The people of that district
have a rooted dislike to any but tank water, with its peculiar taint, and this
punishment of well water is evidently heavily felt. From the fact that the
prisoners then only bathed once a week, and at the river, the verses are 20
years old at least.
It is a good specimen of modern popular verse, amongst villagers little
affected by the general progress and education of their countrymen. There are
16 verses.

Example :

Basa kara bojun api sadena kaewata

Sita yata gini kanda aewuluni kuse yata
Netayata ninda naeta taena taena api haemata
Rata aera yanda hit uni api hadenata

For having eaten tasty food we seven,

In mind and breast a fire-flame is lighted,
For the eye there is no sleep, here or there for us all,
To depart leaving the land was the thought of us seven.

55
 651. Yuga hatara kavi

Ballad of the Four Ages

This is arranged as a dialogue, or catechism, with question and answer. Regard­

ing the Kreta Yuga we are told that it consists of 1,002,970 years ; it commenced
on a Friday, on the 13th day of the month Nikini, under the constellation Ma.
The Treta commenced on a Tuesday, on the 3rd of the month Nikini under
Punawasa, and was of 1,070,000 years. The Dwapara Yuga commenced on
a Wednesday, on the 9th day of the month Durutu, under Puwaputa, and was
of 8,010,400 years; the Kali Age began on a Thursday under Utraputupaya,
on the 15th day of the month Nawam, and consisted of 403,000 years. These
figures appear to me to be nonsence, but it may serve a useful purpose to point
out the occurrence of nonsence.
Flowers, leaves, and fishes were made from the eyes of Yama raja of Yama
pura. Silk cloths grow on a damba tree in Uturukuru ; this may be explained.
The damba has small purple-black fruits, very juicy, and is evidently confused
with the mulberry. It is a species of Eugenia. Demala vyakarana, and Sangis-
kirita, or Tamil grammar and Sanskrit, were created by the Ashta gana, or
eight feet in prosody. The four former names of Anuradhapura, were Abayapura,
Sirimanda pura, Nawasalpura and Sakkitu pura, but at what time these names
were applied to it, is not stated. The four former names of Lankawa, were
Wara dipa, Oja dipa, Manda dipa, and Tamra dipa. This Sirimanda, as a former
name fo Anuradhapura is not taken from any work known to me, and I should
be tempted to regard the passage as idle invention, did not this word remind
one of the Palai-si-munda of Pliny, then the capital according to the envoys,
of the king of Ceylon, and a city with two hundred thousand inhabitants.
The number of people, two laks, shows, that the envoys spoke in round numbers,
or conjecturally, but indicates a large city. Whether there is any authority for
Sirimanda, Nawasal, and Sakkitu, remains to be discovered. In the Mahawansa
Mihinda states the city Anuradhapura had in the times of the former Budus,
been successively known as Abayapura, Vaddhamana, and Visa-la nagara ;
Mihintalawa was the first dagaeba, and it contains the gem given by Saekra
to King Kusa ; this is an important record also ; for the ashta wanka manikya
is now thought to have been enshrined in a Sela Chaitya at Anuradhapura,
and not in a Sela Chaitya at Mihintalawa.
Basawa kulama was the first tank. There were four universal storms of rain
over the earth during this Kalpa. Four times in this Kalpa the Daeduru Oya
has overflowed its banks. Four times all seas have been filled up. This poem
seems to be about two centuries old, and composed by some village worthy
with no great learning ; my copy has 26 verses.

Example :
Palamuwa Anuradhapurata sakiyani nama Abayapuraya
Dewanuwa Anuradhapurata sakiyani Siri Manda puraya
Tunwenu Anuradhapurata sakiyani Nawa sal puraya
Siwwenu Anuradhapurata Sakkitu nam e raja puraya
Firstly friend, the name of Anuradhapura was Abayapura,
Secondly friend, Anuradhapura was Siri Mandapura,
Thirdly friend, Anuradhapura was Nawa-sal pura,
Fourthly friend, Anuradhapura was named that Sakkitu-raja pura.

'56
 652. Sakwala wistara tarange

Dialogue describing the Sakwala

THIS is a dialogue on the same subject as No. 196, and Terun malaya, No. 753.
It describes the ten thousand sakwalas, in the usual manner. Each sakwala
has its own sun and moon, its own Mahameru, its own six Deva worlds ; and
similarly each has 16 Brahma worlds, and one Sak Deva, each with his retinue ;
also one Maha Bamba with his retinue for each. Pour guardian gods, or hatara
waran devas to each. Each sakwala has two thousand kodewu or small islands,
forming divisions of its four continents. Each sakwala has a Sapta kiita or
seven peaked mountain, and each has seven oceans.
Dambadiwa consists of 4,000 yoduns of ocean, 3,000 yoduns of Himala, and
3,000 yoduns of inhabited land between those two.
Details are given of the circumference of the Sakwala, and so on, of no real
value. The sakwala rock is 42,000 yoduns above the sea, and 42,000 below it.
The seven peaks, the seven lakes, are described, and so on, the description
•consisting of mythical statistics. The ten kinds of elephants, the four kinds of
lions, are noticed, as usual, see Nos. 321 and 509, but the lions are here termed
trina or reed, kala or black, p&ndu or pale, and kesara or maned, answering
to the lions of Mesopotamia, Barbary, East Africa, and North India.
In Ruhunu rata are 700,080 villages; in Maya rata are 200,050 villages :
in Pihiti rata are 400,050 villages.
This dialogue is well composed, and is two or three centuries old. My copy
A, has 69 verses, and B, has 59.

Example :

Kalawa kula gange kula pandara kula tamba me kula

Pingala kula gandaya kula mangala kula hema kula
Uposata kula chaddanta kula yana me kula
Aeti piliwela kiya me kula wen wen kala haeti pera kala

Kalawa kind, gange kind, pandara kind, tamba, these kinds,.

Pingala kind, gandaya kind, mangala kind, hema kind,
Uposata kind, chatdanta kind, these said kinds,
These kinds are said to be classed separately, as was done in ancient
times.

The names of these breeds or kinds of elephants will not always bear trans­
lation, but kalawa may be taken as black, gange river, pandara pale, tamba
copper-coloured, pingala brown.

•57
 653. Sutasoma Jataka kavi

Ballad of the Sutasoma Jataka

THIS poem is called Kividipani at the conclusion. The poet was Siri Buddha
rakkhita Tera, pupil of Sitinamaluwe Tera of Dikwelle, near Matara, at B. 2321'
A. L\ 1778. It is an excellent poem, with rhyme in the last two syllables of
each line, if not in three syllables. The story is that of the Sutasoma birth,
related in prose 622. The poet writes during the reign of Kirtti Sri raja, and
praises the town of Kolamba, and its governor or Govaernadoru. He also
refers to Wijegunaratna Siriwardana Mudali, son of Ranhulu Dines of
Madampe. This Mudali married the daughter of Nanediri Mudali of Galle,
and their son held offices at Colombo, and became a chief minister under the
name Abayavira Siriwardana Mukaveti. They were of Mahabada caste. My
copy has 965 verses, but the poem itself says that it contains 905 verses so that
60 verses must be additions. I have to thank H. C. P. Bell, Esqr., for bringing
this poem to my notice.

Example:

Eka basa sawanayen mama ohu damana kala

Wigasita pawitu harawami ehi piwisi kala
Duka waedi siti siyak raja diwi raeka me kala
Saeka nowa emi nobawa Widurawi se awi kala.

By hearing one word, I subdued him,

Quickly cause the crime to depart, having reached there,
Preserving the life at this time of the hundred kings suffering pain,
Without hesitation I come, fear not, resembling Widurawi (Saekra).

58
 654. Anuhas deviyanne kavi

Ballad of Anuhas devi

THIS is an invocation to Anuhasmata or the Power-mother, to dispel epidemics

of janapada or plague, udara or dropsy, kushta or leprosy, and to protect
mankind. Her golden foot-jewels, anklets, tinkling anklets, and bangles, are
praised, as well as her sun-shade (awupat) and silk head dress (pata oliyal).
With gold, gems and pearls on her neck, and her false hair on her head, she is
invoked to be present, surrounded by her attendants. From sporting in the
waves of the ocean she is asked to come, and be present at the Peramiyankulam
tank. With silver cane in her hand, she utters mantras in the Telugu speech.
She chases away the yakas. She mutters mantras and kawachas. Coming to
this land, at Bulankulame she received endowments (aramudal). She wears
golden sandals (miriwaedi), and carries a silk kerchief in her hand. A consecrated
(puna) thread crosses her neck. With her silken robe she clears away sickness
and sorrow. She cures murrain amongst cattle. This poem is addressed to the
goddess whose magnificent stone statue has been removed from below Pera­
miyankulam tank, near Anurajapura, to the Kachcheri there. She is represented
with a stern face and aquiline features, loaded with jewels, a high head-dress,
and radiated halo and she is bare to the waist, except for a narrow zone across
the breasts. She has eight arms two of which are natural ones, and empty
handed, while she holds in the other right hands a flaming and radiated disk,
held edgeways, as if passing in front of her, a sword, and a sceptre or decorated
mace. In the left hands she has a chank, a bow, and a shield.
The invocation in its present form seems to be about three centuries old,
more or less. There is nothing in the poem to show what relationship the
Power goddess may bear to Pattini, but in her figure and face she reminds
us of Pallas Athene and not of any Indian goddess. She appears to have had
an oracle at Anurajapura, the deliverances of which were controlled by a Telegu
speaking priest. The idea of a Power goddess quite reminds one of the Homeric
Athene, who inspired " power " of endurance, intellect, perseverance, as well
as physical power.
My copy has only 12 verses, and is bound with No. 256 Waduru Ma Kali
upata.

Example :

Satara dipa mulu sakwala sitina pisas haema yakunda

Witara nowana tada bas dlgena ena peramuni yanda
Atara no sita maha mude raela pita kela kela wadinda
Satara ru aeti waewu daeka Perimiyankulame waeda sitinda

To all yakas and ghosts living in the four continents and the whole
sakwala,
Speaking strong words without measure, coming to go in front,
Not staying meanwhile, come sporting upon the waves of the great sea,
Seeing the tanks of great beauty, stay at Periyankulam.

59
 655. Wijayindu puwata

History of King Wijaya

THIS is a poem by Kiviraja Aeduru, a pupil of Widagama Tera, and as that

poet flourished about A. D. 1450 to 1470, the present work must date more
or less about that date. It mentions a Paerakumba Nirindu as then king,
which we may safely take as a reference to Parakrama VI, whose reign ended at
A. D. 1462, which gives us A. D. 1450 to 1460 in round numbers for the present
poem. The poem describes the glories of Sinhaba Nuwara, where king Sinhaba
reigned, with his wife, a queen of the Riwi kula or solar line. Her beauty is
described. She first bore twins, Wijaya Indu and another, and within 16 years
she bore 32 sons in all. The story of Wijaya proceeds as related in the Maha-
wansa, and other books. The following particulars alone deserve mention
here. The children were drifted to Selu rata ; Wijaya first landed at Suparu-
patuna, and thence went to Lakdiva or Ceylon. His arrival at Tammanna
adawiya and the rest of the legend proceeds as usual, including the shrivelling
of the third breast of Kuveni. My copy does not extend beyond the exile of
Kuveni, and her children, and appears to be defective. My copy A, has with
33 verses restored from another copy, 188 verses. The author gives his name
in a verse at the commencement.

Example :

Satara denek tungu naegemin e rukata

Nohaerama balamin wimasa wata pita
Nudum dumak daeka gamakaeyi sahatuta
Edina aewit daennuwa Wijayindu hata

Eour climbing that lofty tree,

Looking closely, having sought around,
Seeing a smoke near, rejoiced (thinking) " it is a village ",
Having come, informed Wijayindu that day.
 656. Andare, or Nokkadu Mala

The acacia thorns, or Garland of Reproaches

THIS poem commences with verses which profess to be Wiridu or extemporary

ones, and which challenge all rivals. The subject abruptly changes, and the
queen is described as on the upper floor of her palace, and like a goddess.
During his childhood he used to play with the queen, and now they are separated.
Rather a disconnected verse is interposed in which the king is spoken of as
a Narendra, and it is said that he came to Siri Laka like the sun. A stern
order was given, and the river is in flood, carrying all before it. In a vague
lamentation he speaks of the king as his father. He speaks of having always
lived in one city, presumably with him, from early childhood. With his two
children he throws himself at the feet of the queen for mercy, and says that
he had known her from his childhood. This is followed by some verses of a
lover's lament for enforced absence from his mistress, not in keeping with the
tone of the preceding verses. In the early part there was an obscure allusion
to Bogambara, the place of execution for state criminals at Kandy, and the
suffering inflicted by the king, that was more than the singer could bear.
This allusion is now carried on by a plaintive lament that he must be taken,
it is said, to Bogambara, Taken together, we may suppose that the
singer is to be executed shortly at Bogambara, through the contrivance of a
priest.

This again is followed by verses sung by a woman to her lover, asking

whether he is angry with her. They are followed by verses from a lover to his
mistress, and vice versa. After a good deal without sense than might be expected
in a sentimental love letter, in trammel of conventional poetry, one verse
from the lady plainly admits her illicit guilt, and laments that her lord is now
at Bogambara. Another says that the king of the supreme city has made a
stern order, and this verse is addressed to the lady, by the lover. The next
verse is addressed by the lady to Narendra Sinha of Solar race, with whom
she shares one bed. She says that she joyfully received the necklet around
her neck, and asks if Bogambara belongs to her ; whether suggesting that
her wedded state should privelege her to plead for a criminal, or that she
herself was in danger of execution. A later verse again speaks of the king's
anger, apparently the lover singing it. Another verse says that one hour after
the order was given to Lewuke Bandara, the poet was killed. A later verse
speaks of Gaskon, as having written verse that would endure for five thousand
years, like this Andare. These are followed by some love verses of no special
signification.

Alwis has noticed that this poem is attributed to Gascon Adikar. He has
given the story of that noble's fatal intrigue with the queen of Rajasinha,
see P. 214 in the introduction of his Sidat Sangarawa. It would seem that he
and the queen were playmates, were detected in their illicit love, accompanied
by exchange of love songs, and after an appeal by the poet to the king, and
some urgent verses to the queen, the guilty lover was executed at Bogambara
by Lewuke Bandara, so quickly that no time was afforded the king in which
to change his mind. The present poem is a confused collection of the poet's
plea for mercy, the guilty correspondence, the queen's plea for mercy, and

61
the poet's entreaties to her, for her help with the king. They are perhaps
intentionally so arranged that the one should spoil the effect of the other, and
render forgiveness impossible, when they were read together.
The fourth verse states that this very poem is Andara, so named because
it is like an Andara thorn, and will surpass the verse of all rivals but Lokuru-
guru, and will throw sand in the mouth of naluwo, or dancers who extemporise
verses. It would therefore seem to purport to be an extemporised collection
of verses.
My copy B of this poem has evidently been written from an illegible original
for in one line we find Vira Vrapakrapa Narendra Sinha swamine, and the
same fine in A is, Mita Divakara wansa Narendra Sinha swamine, and this
confusion would lead any one correcting B to write the fine Vira Parakrama,
when the chronology would be abruptly thrown forward to Vira Parakrama
Narendra Sinha of A. D. 1701. It becomes evident that Narendra Sinha is the
king better known as Rajasinha II, as he is addressed as Nirindu Sinha by
Lokuru Pandita, in his Tunsarane No. 42, and that poet is here spoken of by
Gaskon as a contemporary.
The poem must be treated as a posthumous edition of the correspondence
between the king, the queen, and Gaskon Adikar, edited by some person
unknown, who has recorded the execution of the poet. The name Gaskon is
now corrupted to Daskon, and my copy B further develops it into Dasgona.
Alwis quotes two verses exchanged between the queen and Adikar, but they
are not in the present collection. This poem is called Andare in its verses,
from the hard thorns of the Andara, a sort of acacia ; it is however now spoken
of as Nokkadu mala, or " Garland of reproaches " . My copy A has 48 verses
B has 69 verses. The poem is not often met with.

Example :

Kata andana andado himi sandine

Gota baenda sapu maldam lesine
Pataganda baeri uni mata itine
Aeta sema himihata maru penune

To whom best lord do you cry, crying ?

Like a garland of sapu flowers twisted and twined—
Thus it was not possible for me to pray—
Death appeared like an elephant to the lord.

62
 657. Ankota hatane

The short—horn quarrel

THIS is an account of the invasion of Soli rata by King Gajaba.hu. It relates

that in the days of Wallabha raja, the kingdom of Ceylon was in a lawless
state, and the short-horn buffaloe of a poor village was forcibly used by his
wealthier neighbours for their ploughing. One day when he expostulated,
he was beaten. He complained of the king, who gave an impish decree. He
then left Ceylon and went to Soli rata, and worked as a hewer of wood, and
so on. After working there for twelve years, the women of the country took
pity on him, and asked their husbands to report the case to the Soli raja.
That king then invaded Ceylon, and defeated Wallabha Raja, who took refuge
with his queen in the forests. The poem is here defective, in all the copies I
have yet seen, including that in the Colombo Museum Library. As elsewhere
told, the Soli king deports 12000 Ceylon captives, to work in Soli rata, and
Gajaba.hu recovers them, and takes 24000 Soli captives to Ceylon.
I know of no other authority for Wallabha raja, as a title of Tissa maharaja,
as he is called in the inscriptions of his son, or Wankanasika Tissa, Tissa
crook-nose, as he is called in the Mahawansa. The name however means
" lord ", and Tissa also probably had much the same conventional sense,
and it may well be a correct title of king Tissa Crook-nose. It is most desirable
that a perfect copy of this poem should be recovered. It appears to be about
three centuries old in its present form. My copy A has 82 verses ; in the same
proportion the complete story should fill at least 200 to 300 verses. The story
is told rather fully in prose No. 687, Rajawalli (awul).

Example :

Lakal Munidu dahamata sita noyedu

Nokala lowata tama anasaka purudu
Ekalata e purehi raja kala me bandu
Saela kele Wallabha nam e nirindu

Not conforming the mind to the beautiful doctrine of Munidu,

Not having made customary to the world his power,
At that time, in that city, ruling in such wise,
They made representation to that king named Wallabha.

63
 658. Kamachchi naetima

The dance of Kamachchi

THIS is a poem describing how Kamachchi danced. Kamachchi is a TamiJ

name, and the poet describes her dancing on the tight rope. The poem was
composed at S. 1760, A. D. 1838, and belongs to the fugitive class of village
poesy. My copy has 38 verses.

Example :

Katakarana kota e landa muwarada mukulena

Gota damana at maldama sulangata leladena
Patagayak men guwane lanu pita kaerakuna
Ita widuli saeratat waedi kamba pita dilihena

When the maiden speaks with mouth and teeth smiling,

Entwining her arms (like) flower garlands waived in the breeze,
Like a flag in the sky she turns upon the line,
Exceeding much the swiftness of lightening, she glitters upon the
rope.

64
 659. Vedeha sinduwa

The Vedeha song

THIS relates briefly the legend of the Umagga Jataka, in which Buddha was
the Vedeha raja's pandit. It is rather ancient for a sinduwa, as these seldom
survive many generations. It may be two centuries old. My Copy A has about
40 verses.

The refrain or wanama, is,

Samayaka Bosat Gawutama nam ape Munidu

Wedehi rata purudu
Rajahata pandita Mawusada nam ape Munidu
Pada namadin sinidu.

Once on a time our Munidu was named the Bosat Gawutama,

Accustomed to the Wedeha land,
Pandit to the king was our Munidu named* Mawusada,
I bow to (his) tender feet.

€5
5
 660. Gona Maeru sinduwa

Song of the bullock killing

THIS song celebrates an accident that from time to time overtakes the unwary
sportsman, who shoots a bullock instead of a stag. The bullock was named
" chamarawalliya " , or " yak-tail " , and its death causes both loss and regret
to the poet, who treats the matter very seriously. It may be a century old
or less ; my copy has about 8 long verses.

Refrain:

Mata unu padu ane

Aesuwot sakiyani nubata daene
Rata aera yana lesine
Waedunu duk Mahamera usa pamane.

Alas the loss that happened me !

If you asked friend, will be known to you,
So that I go abandoning the land,
Sorrow has come, as high as Mahameru.

66
 661. Wetalan katawa

The Wetalan story

I'HIS is a Sinhalese version, translated from the Tamil, and Alwis says that the
work is popular in Bengal under the title of Baital Pachisi. We are told by the
poet that he translated it from the Tamil into this verse, during the reign of
Rajasinha raj a of Senkadagala, probably Rajasinha II, A.D. 1627, as Rajasinha I
A.D. 1503 to 1592 is usually spoken of in connection with Sitawaka as capital.
The introduction states that Iswara and Umayanganawa were happily living on
Kailasa, where one day Uma asked her lord, to tell her a story, that even
Devas and Brahmas had never heard. He amiably consented, and related such a
story. A Brahman who stood high in Iswara's confidence, overheard this,
unknown to the god. When he went home, he repeated it to his wife, and she
having learnt the story, one day repeated it to Uma, when on a visit to the
goddess. Uma was now very angry with Iswara, and boldly reproached him with
falsehood and deceit, in passing off to her a tale which even the Brahman's
wife knew, as an entirely new story. He failed to satisfy her, and whenever they
retired to rest, she persistently turned her back upon him, as they lay in bed.
Iswara was very annoyed at this, and looking into the matter with his divine
thought, recognised the facts, sending for the Brahman, he angrily reprimanded
.him, and ordered him to be reborn with his legs in the air and his head down­
wards, as the Biita Wetalan. Moreover the monster was never to hear songs
again. He was accordingly reborn in a dense forest of thorns, hanging like a bat
on an erythrina tree with thorns a foot long. At the wretched being's entreaty,
Iswara relented, and said that he should endure this fate only until a king named
Wikrama Kesari came and released him. The Biita had its skeleton and gristles
bare of flesh and blood, but covered by a skin, and the form was that of a bat.
As time went on, akingnamed Wikrama Kesari came to the throne, and the rusi
or rishi Santasila, became his friend, residing near his city. Whenever this rishi
came to see the king, he presented him with a pomegranate, until the king's
palace was full of a collection of these fruit. One day a pet monkey of the king's
bit one of these, when it was found that they were filled with the seven kinds of
gems. The king then enquired why the holy man had made him such costly
gifts, and the rishi said that if the king would bring him the Biita Wetalan, it.
would be a gift equal to the whole world. He then explained that if the king would
come on the fifteenth or darkest day of the waning moon, to the forest near his
hut, he could catch the Biita. On that day dressed in black clothes the king went
to the rishi, and by his direction proceeded to search in the thorny forest for the
erythrina tree on which Wetalan was hanging. He was warned by the rishi not
%o speak a word, no matter what might happen, and no matter how enticingly
the Biita should speak. The king found the tree, but when he had climbed it,
Wetalan flitted to another. However on climbing the third tree he secured and
caught the monster. The Wetalan then asked if he should tell a tale, and when
the king requested him to do so, he told a tale, and flitted back to a tree. The
king giving a suitable reply, reclimbed the tree and captured the Biita, when the
same events occured again. In this manner 16 stories are related one after
another by Wetalan to the king, and there all the copies I have seen are defec­
tive. There are said to be 25 stories in the Baital Pachisi, and besides the eight
apparently missing, the conclusion of the adventure of the king, the rishi, and
the monster would take up some considerable number of verses. Alwis (Sidat
Sangarawa page 75) quotes authority that the stories in the version current in

.67
Bengal are grossly indecent. Such is not the case with these. The second story
will suffice as an illustration, the whole series being arranged to convey in a
pleasant and light form, the importance of moral judgment not being led away
by mere appearances.
In the story we are told that four Young Brahmans sought the hand of Chan-
drapati the daughter of a Brahman atPiramaDese. The father rejected them all,
but told each, he might apply again for her hand if he had learnt a science.
They left for their own lands and each learnt a science. The first learnt to inter­
pret omens, the second to cure snake bite, the third to restore the dead to life,
and the fourth learned to fly through the air.
They all met on their way back to apply for the maiden's hand, at a certain
halting place. There a lizard chirped, and the first told his friends that by the
chirp he knew that Chandrapati was dead, bitten by a snake, and was now being
carried to the cemetery. They resolved that the fourth should go through the air,
and stop the funeral. This was done, and on arrival of the others the second
cured the snake's bite, and the third restored the maiden to life. "Now " said
the Buta, and again he flitted off and hung himself on the top of the thorny tree,
" which deserved to marry the girl " The king replied, " he who learned the
meaning of omens ", and climbed up, and secured Wetalan once more. My
copy A has 586 verses and is about 100 years old.

Example:

Dira balaeti e naraniduhata sonda

Tara e pati maeda aendi sanda lapa leda
Virakaya yana sewakayek sonda
Naera e raju langa duk gena siti sanda.

-To that mighty powerful good king,

Like the hare-sign drawn upon that Star-lord,
The good warrior named Virakaya,
Whilst staying, serving with that king constantly.

I have preferred to give the lines as they stand, to show how very obscure^
such verses may be. Virakaya is like the hare's image on the orb of the king
like the moon.

68
 662. Tahanchi Kavi

Taboo verses

THIS is intended to be used at weddings, as if to exorcise evil influences from

the betel to be eaten, from the gate of the garden, the torch, and the four
sides of the garden, the pawade, or piyawili, or cloth laid along the path, the
seats, the building in which the ceremony is to be performed, and the kotale
or water vase for lustration. The house party are supposed to bar the way of
the bridegroom's party by some verses, and that party reply with verses
overcoming their protest. The object seems to be to delay the advance by
the song, a little, and not seriously to exorcise by it. It seems to be about
jthree centuries old, and is elegantly composed. My copy A has 59 verses.

Example :

Udu wiyane Iri devindu wesenne

Wata tiraye Sak devindu wesenne
Pawade Mihi devindu wesenne
E anayen mama maduwata enne.

In the awning the Sun god is dwelling,

In the side curtains the god Saka is dwelling,
In the foot-cloth the Earth god is dwelling,
B y that power I am coming to the room.

69
 663. Gira jataka kavi

Ballad of the Parrot birth

THIS story is the Salikedara Jataka of the atuwa, that word meaning a rice
field. In this birth the Bodisat was a parrot, chief of five hundred. He cherished-
his blind mother, keeping her in a cave in the wilderness. One day his com-,
panions spoke of a field of rice, they had found, on a clearing in the forest.
He forbade them to go to it, but at last yielded to their entreaties, and they
all were feeding on the rice, when the watcher went and informed the king,
to whom the field belonged. Nooses were tied, and the Bodisat was caught,
and taken to the king. There the parrot spoke sweetly to the king, and ever*
preached. The king was so delighted that he gave the field to the parrots,
and released the Bodisat. This version is orthodox ; the poetry is simple,
and may be two centuries or so old. My copy A has 234 verses, B has 157,
C has 140.

Example :

Ema wita maha raja ketata wadinne

Keta maeda maha raja waeda sita ganne
Maetiwaru aewidin wata sita ganne
Depatula gawa karal kapanne.

At the same time the Maharaja enters the field*

The Maharaja standing in midst of the field,
The ministers coming standing around,
Near (his) feet, cut the ears-of-grain.

70
 664. Kirtti Sri Rajasinhage" wiraha kavi

Love-lament of Icing Kirtti Sri Bajasinha

THIS love song is stated in the final verses to have been composed by the
Laka Maharaja at S. 1698, A.D. 1776, and the king therefore was Kirtti Sri
Rajasinha. The royal author has left us an elegant song, lamenting the
moments of his absence from his mistress, and expatiating upon her grace and
beauty. From the tone, it was probably addressed to one of his queens, but
there is nothing explicit on the subject. My copy has. 39 verses, and is bound
with No. 665 Kalagedi warnnanawa, and the rather similar love song of his
royal predecessor, Sri Narendra Sinha, No. 390.

Example :

Lawana surata rasa gena bi monawata

Sawana miyuru kara gela raewu di tuta
Pawanata inda rati keli kela haema wita
Dewana karunu kima wiyo ganga landa mata.

Having drank well the taste of the bright-red lips,

Having given in your throat sound of contentment sweet on the ear,
Sitting in the breeze, having played love's play constantly,
For what cause are you giving me, maiden, a river of separation.

71
 665. Kalagedi warnnanawa

Adoration of the water-pot

THIS like Nos. 56, 71, and 113 is a song to aecompany the dance, in which
water-pots are tossed about by the dancers, or blown into to produce a dull
roar. It is a far more important poem, being a masterly work of this class
of verse, but my own copy has only 13 verses, and has probably lost several
at the commencement. It may be three centuries old, or less. It introduces
no fresh subject-matter, but is merely an invitation to join in the dance.

Example :

Laesi gamanin ranga madalata piwise

Nisi lesa kalagedi pimbina digase
Wisituru wara apasarahata nidose
Aesi piya hena misa naeta wena wenase.

Beaching the dancing place with lingering gait,

Women blowing the pitchers in proper wise,
Without wrong to a fair good Apsara,
Beyond the wink of an eyelid there is no other difference.

72
 666. Diwa salu santiya

Incantation of the celestial cloth

THIS song appears to be about three centuries old, and is an incantation to

.avert evil sorcery by a celestial cloth, or diwa saluwa. The celebrant is supposed
to take this cloth in his hand, perfume it, and invoke the Devas. Then he should
put it on his head, and obtain warrant from Oddisa Raja. The Yakas will then
take fright. The cloth was given by Goutama Buddha, and wards off illness.
'Tanhankara, Medankara, Saranankara, Kondanna, Mangala, Sumedha, and
all the other Buddhas are spoken of as giving the cloth. The four guardian gods
gave it, Saekra and Brahma gave it, the Devaraja Devi gave it, Sir! Visnu
Devi gave it, so did Saman and Vibusana Devi, and Kanda Kumara Devi,
Sidda Pattini Devi, Wesamuni raja, and all Asuras and Bambas, Desa Devel
and Sidda Devel Deviyo. By its virtues all evils are warded off. This is an exor­
cism used apparently as a remedy against the influences of the Devel Devi.
'My copy has 43 verses.

Example :

Desa Devel anuhasayenne

Basa kiya devi gini jal dunne
Ahasata aewilena gini jal maewenne
D5sa durala deviyani raeka denne.

By might of the foreign Devel,

Speaking foreign tongue the god gave fire flames,
Creating fire flames blazing to the sky,
Having expelled the disease, oh god, give protection.

73
 667. Siri Ma Bo wistara

Account of the Glorious Great Bo-tree

THIS is a sort of hymn to be sung in honour of the great Bo tree at Anuradha-

pura. It relates its arrival in Ceylon, very briefly, its miraculous flight through*
the air, to Samanala or Adam's Peak, Mayyangana, Hunnasgiri kanda, Santa-
nagala, Taeligala, Alagala, and Dematagomuwa Kanda and its final establish­
ment at Anuradhapura, in a golden vase. The eight holy places at Anuradhapura
are then invoked. The poem may be some two centuries old, and has no great
merit; My copy has 75 verses.

Example :

Sala bolu payi sada Bamuno suba mohot la gana kale

Bala sat wisi naekat yodamin Aesala masa pura lat kale
Bala nuwanin mula naetuwama kalaha pita waedimuni bale
Bala Kuja dina utun piyarata pihiti Siri Ma Sinhale.

Having shaken the bags of counters; having arranged", Bamunas taking"

an suspicious time calculated,
Having looked at the 27 constellations, adjusting, at the full moon day*
of Aesala month,
Having looked wisely without negligence, upon a vase it came by power
of Muni,
Having seem the best time of shadow on Tuesday it was planted in.
Siri Ma Sinhala.

3%
 668. Nandopananda sindu

Song of Nandopananda

THIS song recites the subjection of Nandopananda, a naga raja of the Anotattai
wila by Mugalan Mahatera, and by direction of Goutama Budu. This is related
in Amawatura, and in the Dampiya atuwawa. When Budu went to the lake
with 500 rahats, the naga raja grew angry that they should rise above him, ra­
the air, and spouted poisonous smoke at them. Then the Mahatera was sent to
subdue him, and when the naga raja spouted poisonous smoke, the Tera retalia­
ted with more poisonous smoke. He entered by the nostrils the body of the naga
raja, and came forth again, resisting his fiery breath by dhyana. Afterwards^
assuming a gurulu form, he seized the naga raja, and on his supplication released
him. This is preceded by a few notices of events in Goutama's life. The song is-
well composed and may be three centuries old. My copy is a very old one, and
has 27 verses.

Example :

Haema mahanun nasamaeyi mage eka wisa duhumen Si'.a. inda

Me dingu karana hasthamalakaya wilasin Muni daeha
Waeda sitina kala Rattapalaya Terindun Ekat pasu
Dohot mudun di palamuwa himisanda dakimin Me Maha mem.

1
Having thought let all the priests be destroyed by my one poisonous
breath,
Seeing as if an amala fruit on an outstretched hand,
Whilst Rattapala Tera was standing on one side,
Placing his two hands on his head, first looking at his lord, This Maha<-
mera.

A curious feature in this example is the word duhuma, for duma or duma,
smoke. I have often heard it pronounced by Kandian villagers in this way but
I do not know authority for the written word. Duhuma would mean a probable-
form dusuma, and may have etymological value, and account for the vowel
being long or short at option, in duma.
Written as above, it will be seen that the verse is really one of eight lines,
though only four are allowed by prosody, this is evaded by writing each long:
and short line as a single line.
It will" be seen however that the subject runs on from verse to verse, and each
verse does not, as in kavi, contain a completed sentence, so> that we might,
ever say there were no verses in it at all.

19
 669. Brajita sinduwa

Song of Brajita

THERE is a report spread, here repeated, that a king named Brajita will appear
in Ceylon, and establish his rale over the whole sakwala. He will be of Manu
wansa, and Suriya wansa, and will come from Dambadiva or India. He will
appear at 6754, era not stated, and figures expressed in Tamil, with a mistake
over the word for thousand. He will destroy the unjust, and cause justice to
prevail, and will renew Buddhism and destroy the heretic religious, as fortold
by a priest of Siamese sect. This song is modern, and bears a corrupted date in
Tamil, ending in 32, evidently meant for 1832. It is one of a collection of songs
bound together in my 681A. and as old sindu are scarce, it is useful to record a
few of the modern examples still current, like this, amongst the peasantry in
remote villages. It has about 20 verses written like prose.

Example :

Lowa saema taena waeduna

Pancha graha yogayakut e langa yeduna
Graha apalak yeduna
Me lowa saturu yudak men patwena—

The refrain is,

Swasti sri Manuwansa utum naraninda.
Devi diwas balanda
Nara lowa kumaruge siribara maha guna kanda.

It spread everywhere in the world,

Next to that a conjunction of five planets happened,
A planetary evil-influence happened,
This world became like war with enemies.

The swasti sri supreme king of Manu race,

The Devas seeing with divine sight,
The great heap of virtue of the fortunate prince of the human world.

76
 670. Katusu prasnaya sindu

The lizard question song

THIS refers to an incident in the TJmagga Jataka atuwawa, and relates the
story of the lizard which used to run down from the arch, out of respect to the
king. However, after the king's servant put golden ornaments on it, it refused to
descend, puffed up with pride. The sindu is written within the last century,,
probably. My copy is written like prose, and has about eight verses. My copy is>
bound with a collection of sindu under my No. 681.

Example :

Digat palala rata walangu wechchi

Rajut mamat eka saetiyata wechchi
Mamat karami ratran pawichchi
Mahat sitin umba udata naegichchi.

The refrain is,

Tirisan bawa narana
Me gat pada
Kaliyuga nam daenuna

A long and wide land has become my own,

The king and I have become of one state,
I too make use of gold—
With proud mind mounted up aloft.

The condition of animals, oh king,

In these stanza lines,
If in the Kaliyuga, is known.
 671. Mahabinikman sinduwa

Song of Mahabinikman

THIS is bound with the collection of Sindu in my volume 681A. The present
song briefly reviews the life of Gautama, noticing his designation by Dipankara
Budu, and the Wessantara birth. It is well composed, and may be two centuries
xAd ; my copy has about 10 verses, written like prose.

Example :

Mahana wenta yamu asu gena Channaya kiwe

Ewita maeti Kantaka nam asu sarasa genamin paewe
Easu pita ara gosin sat pawuren pitata paenala
Ekal mama tis yodunak duru katara gewa ganga daekala

The refrain is,

Satata Potata naema Padma Surasura Na naran
Hari kirulu muduna daeru
Pada patma namadin baetin sitini.

We go to become priest, bring the horse, Channaya, he said—

Thereon the minister having adorned the horse named Kantaka,
brought and showed (it).
Going mounted on that horse, having leaped beyond the seven walls,
At that time I havingfinishedthe distant journey of thirty yoduns,
saw the river—•

3. I bow with faithful mind to the lotus of the feet,

2. Born on the top of the crowns of Hari,
1. The Seven-handed Book-handed (Brahma) and all, Suns, Suras
Asuras, Nagas and men.

.78
 672. Tambalagollaewa vihare sinduwa

Song of Tambalagollaewa vihare

•THIS is bound with the collection of Sindu in my volume 681 A. It relates the
^erection of a preaching hall at Tambalagollaewa temple, in Hurulupalata by
the Nuwarawaewe Nilame, during the incumbency of the Pihimbiyagollaewe
Nayaka Samindu. The sinduwa was composed by Hondanaluwa of Namba-
dawaewa in Hurulupalata. It seems to have been written early in this century.
My copy has about 12 verses, written like prose.

Example:

Uden taenu bana maduwe laksana

Bimen saedu karuwala tuli gon aes
Pokurun pekara ruwaeti e waguraeli
Pelin pelata neraminne.

The refrain is,

Suwarnna naemati guna ratna Munidu guna warune Pamanak kavi
kerune
Dharmma balaeti sonda dhatu peti pilimat saedune
Pa wati mulu derane.

The form of the preaching hall built up—•

Beams and rafters and pillars fixed in the earth,
Clustered capitals, those beautiful arches
Carving from row to row.

Virtue like a golden gem, praise of the virtue of Munidu

Somewhat in verse is made^—
Mighty dharma (books), good relic boxes,
and images are made,
Existing in the whole earth.

,79
 673. Samba jataka sinduwa

Song of the Samba birth

THIS is one of the sindu in my book 681 A, q.v. It relates that in this birth the-
Bodisat was a deer, Saeriyut was a flying squirrel or samba, and Ananda was a
hhini bird, tern or swallow ; Saekra was a woodpecker. These four lived together
near a lake in friendship, but a hunter caught the Bodisat in a noose. Thfr
woodpecker then went to the hunter's house, and'delayed him, by giving cries-
of evil omen, and finally flying against him. Meanwhile the flying squirrel gradur
ally gnawed through the noose. The Bodhisat is spoken of as a kuru muwa,
or dwarf deer, in the Atuwawa. This is the Kurunga miga jataka.
There are 6 verses in my copy, and the song is probably a century or so old. !
consider it decidedly clever.

Example:

Bosat wigasin kurumuwa raja manden asu wenne

Eyatat gune utun Bosat polusan dena sadde
Aesunu wita wane sitina kaeral lihiniya hima maedde
Udin yana ane me Bosat galawanne kawuruda sidde

The refrain is,

Asarana sarana
Tirisan baweni
Upanne warin wara.

The kuru stag-king Bosat is quickly entangled in the noose,

For that the Bosat supreme in virtue crying out noises,
As soon as this was heard the woodpecker living in forest in midst o f
the waste,
Going aloft (cried) " alas who will release this Bosat ? May it be !-"

Refuge to the refugeless,

In brute estate,
Born from time to time.

80
 674. Padmavati sinduwa, No. 1

Song of Padmavati

THIS is one of the sindu in my book 681 A, q.v. It briefly relates the story of
Padmavati, noticed in sufficient detail under No. 152. Padmavati katawa,
and Saddharmmalankara, prose No. 115, Section 10.
The present song is not more than a century old, and has about 8 verses.

Example :

Ewita Dasi Budun Waendala

Wilanda pan siya kalo puja
Nelun mal saha dewati puja
Paetun balayen sidda wewa.

The refrain is,

Gati nitta kumarinda me
Lankara chitra
Paetu Patmawati Deviya me

Then having bowed to Dasi Budu,

Having offered five hundred parched grains,
With lotus flowers giving the offering,
By power of prayer, may it be accomplished.

Ever to the princess this state,

Of loveliness and beauty,
Prayed Patmawati Devi thus.

81
6
 675. Padeniya sinduwa

The Padeniya song

THIS is one of the sindu in my book 681 A, q.v. It relates the erection of a
vihare at Padeniya, with images of Budu, Vishnu, Sahampati Deva, Saekraya,
and Nata Deva. The poet gives his name, Veda-kaluwa of Amunukola. It seems
to have been written within this century, and has about 10 verses written like
prose.

Example :

Mewan Munidu saesana maewu mahimaya

Utun tilawa Padeniye ramaya
Satun etara kara naewu naegi ruwalaya
Niwan purata yana e ran hinakmaya.

The refrain is,

Ratne disimini nawa ratne
Swarnna jalayata
Maha Bamba piligat ratne

Mighty work created by this such religion of Munidu,

Padeniya temple chief of the three worlds !
A sail set in the ship to take living beings across !
That golden ladder going to nirvana !

Jewel bright with the nine gem jewel,

In a golden net
Jewel caught by Maha Bambu.

The refrain alludes to the birth of Goutama Budu as prince Siddharta, or

Siduhat.

82
 676. Wessantara Sinduwa

Song of Wessantara

THIS is one of the Sindu in my book 681, A, q. v. It relates some of the chief
events of the Wessantara Jataka. It seems to have been written within this
century, and has about 12 verses written like prose.

Example :

Aetun rata wahanat dan di himayata gos waditi

Sak devindu dakiti
Mawa pansal dekak sonda ruwaeti
Bosatun dakiti.

The refrain is,

Pura peruman gewa waedi wilasin
Wesaturu nirindun
Dara mudunat kara mama namadin.

Having given in alms elephants, chariots, carriages, going to the wilder­

ness he enters—
Sak devindu sees!
(He) having created two leaf-huts of good beauty—
The Bosat sees (them).

Having completed and fulfilled the paramita to the manner (in which)
came,
King Wessantara,
Hands borne on head, I do reverence.

83-
 677. Palanga Maerawima Sinduwa

Song of Palanga's death

THIS is one of the Sindu in my book 681 A, q. v. It relates that Ananda naga
raja, and Wata devindu fought together, and Wata deva caused a great storm,
while the naga enfolded Mahamera seven times with his coils, but the wind god
succeeded in bursting his adversary's body. At his third blast, the naga's hood
was broken off, and fell at the city of Baranaes, in the pond of an ascetic. The
holy man picked it up, and kept it in a jar. Patini, was born from it, like a
golden image. She married Palanga, who was killed by the treachery of a
tarahalu or goldsmith. This legend differs from the usual story of Pattini. It
was probably composed within the last century, and has about twelve verses
written like prose.

Example :

Anandanam maha na raja samagina

Wata devinduhata targgaya karamina
Wata megayak aerikala nolasina
Bindagana yeyi Sulangin patraya pena.

The refrain is,

Patidam rakiminne
Sumeragiri mudunata waejembenne.

The great naga raja named Ananda with

The Wata devindu (Wind god) making a struggle—
When a wind storm was sent swiftly,
The expanded hood was broken by the wind.

Observing the law of chastity,

Dwelling on summit of the Sumera rock.

84
 678. Mahabinikman Sinduwa II

Song of the mahabinikman

THIS like No. 671, is bound up with my book 681 A, q. v. It briefly relates
the usual events, as in No. 671. It was probably written during this century,
and has only eight verses, written like prose as usual.

Example :

Dipankara Munidu nohaera

Siyalu wastu gena nomahaera
Siyalu satun hata dan dl
Matu Budu bawa gena.

The refrain is,

Nila warnna guna babalana
Sila ratna men wandim dinen dine

Not omitting Dipankara Munidu,

Bringing all the wealth without exception,
To all people having given alms,
Receiving the condition of future Budu.

Bright with virtue as blue colour,

Of the precepts as a gem, I bow to (him) day by day.

85
 679. Patmavati sinduwa II

Song of Patmavati

THIS is a Sinduwa on the same subject as 674, but does not mention her former
birth as the dasi or servant girl. It was probably written within this century,
and has 12 verses.

Example:

Deranata mihitala piyum pitata wadiminda

Kumariya ruwa menda
Ran rasu kumariya ran dada mini handa lesine
Gi nada pawasamina

The refrain is,

Waramut samudura mal gaeba un kumarinda

Walking on the earth's surface upon lotuses,

The princess like an image,
The golden anklets of the princess like a golden flag, were in sound
like bells,

Uttering sounds of song.

Princess born in the womb of a flower in the great waters !

86
 680. Wessantara Sindu II

Song of Wessantara

THIS like No. 676 is bound up in my book 681, A, q. v., and treats of the same
subject. It is probably about a century old, and has only 6 verses.

Example :

Utun kumaru kela aewadit

Tamun paelandi abaranat
Galawa kiri mawuta dewat
Wesaturu jatiye upadit

The refrain is,

Namadin me utun kumarun
Me wanduwa pa piyum

The supreme prince wanders playing,

The ornaments worn by him,
Having taken off, he gives to the foster-mother
Born in the Wessantara birth.

I bow to this supreme prince,

Worship the lotuses of these feet!

87
 681. Raelapanawa Vihara warunanawa

Commemoration of Raelapanawa vihare

THIS is a vihare in. Hurulu Palate, the ancient Surulu rata. I found a
collection of the sindu, & c , in use amongst the villagers here, as sung at their
festivals, and this forms the volume of olahs 681 A. In this are the following
songs, Nos. 669, 771, 670, 671, 672 and Rajasinha sinduwa, a short song of
only three verses. Also Basava Kulama sindu, a new song composed at
A.D. 1877 to celebrate the restoration by Government of that tank; 768,
673, 674, 675, 770, 676, and some love verses, or wiraha sinduwa. Also
Nos. 677, 678, 679, and 680. These will give any enquirer a good idea of the
class of songs in use now in one of the most remote Sinhalese divisions, perhaps
less affected by European influence than any other. These songs are all
composed by local poets, unaffected by the centres of progress in any direct
•degree. It would serve very little use to collect fugitive songs without discrimi­
nation, and catalogue them here, but I thought that at least one such collection
would be instructive. The present poem is in kavi metre, and records the
restroration of the vihare, and erection of a statue of Budu, and of Visnu,
at S. 1753, A.D. 1831. It contains 70 verses.

Example :

Kala panak lesa patunak sondaru

Jala pane karawana satu no saturu
Bala p&na somi pula guna no saturu
Raela pana waewe vihare wisituru.

Like a lamp made (alight) is the good town,

Causing people not hostile to drink water,
Showing might of excellent great virtue, not hostile,
Is the beauty of the vihare at the tank at Raelapana.

It would seem that the poet intends the first line to refer to the town, the
second to the tank, and the third to the vihara or temple.

S8
 682. Dividos santiya

Incantation of the perjury-plague

THIS story is only about four centuries or so old in its present form, but is
doubtless of extreme antiquity. My copy appears to be the survival of some
very old incantation, and from its confused state I should surmise that it was
one orally perpetuated, reduced to writing about four or five centuries ago.
The theme arises out of " the hunting of the Boar ", one of the chief sagas of
Sinhalese Mythology, and refers to many Vaedda spirits, such as those which
are said to have absolved king Panduwas from the " perjury sickness " or
divi dos, with which he, like his uncle Wijaya, was afflicted, and which was
only cured by absolution from the Mala Raja attended by his Vaeddas,
evidently prince Jiwahatta, son of Wijaya, and the Yaka princes under him
in the Malaya rata, or hill district of Ceylon, where he is said to have reigned
and founded a dynasty.

Koramini Vaedda is invoked ; he was so named, a verse tells us, because

when he climbed a tree, to avoid the boar, he fell down into a rock, rage or
koroda paralysing his limbs. The twelve Vaeddas of Kitsiri Nirindu, armed
with tep or javelins, are invoked. The twelve Vaeddas of Mala Raja armed
with lances (konta) are invoked. The twelve Vaeddas called Kuda Riri-bonno,
or Lesser Blood-drinkers, armed with bows, are invoked. Mala Raja is
invoked with his seven thousand kelas of Vaeddas, and is asked to exorcise
evil. Kitsiri raja is asked to grant protection, and Sandalindu raja also.
The person to be protected and cured is spoken of as an Utuman or Excellence,
and also as Raja or King, but for what Raja was intended is not stated. In
all probability the incantation was used for any royal sufferer, for whose
danger the protection of the three divine brothers Mala Raja, Kitsiri, and
Sandalindu was desired. Gopalu Vaedi is invoked, and another spirit named
Parandal-solanna, or Dry-leaf-rustler. Golu Vaedi, Bihiri Vaedi, Ridi-walalu
Vaedi, Ran-walalla, are also invited to assist. The name Golu Vaedi may
be translated as Dumb archer, and is apparently the spirit of gruesome
silence ; Bihiri Vaedi is Deaf archer. Deafness would expose a hunter in the
forests to much danger from wild beasts, and prevent communication to him
from his friends by the far-reaching hoot or shout used by wild races. The
other two are Archer of the Silver Armlet, and Archer of the Golden Armlet,
and doubtless these names always refer to the spirits of Moon-light and Sun.
light. Gopalu is connected with cattle-herding, and he greatly haunts the
plains and glades cleared in forests for pasturage. Anyone who has spent a
night in the forests can understand the awe which personifies the spirit of
leaf-rustling. Among the Vaeddas dry leaves are sometimes scattered round

89
such a night camp, to give alarm by their rustling should any enemy or wild
beast approach the sleepers. Thus the Leaf-rustler would be a spirit of
friendly warning, rather than a source of terror, to wanderers in the forests
of Lanka.

My copy is the only one I have as yet succeeded in procuring, and came
from Dumbara. It is about 80 years old, and has 39 verses. I have not
met anyone who recited the incantation from memory.

Example :

Wesesin giri lena tula waeda indiya

Rahasin sorakamut waedikam daniya
Maha sen piriwarin raju daeka indiya
Satosin raki Parandal-solannaya.

Often living entering inside rock caves,

Secretly knowing thieving and hunting,
With escort of much people attending to see the king,
Joyfully protecting, Leaf-rustler !

90
 683. Dolos Giri dew-Iiyage puwata

Story of the twelve Giri the celestial ladies

THIS is an invocation to the twelve Giri ladies, to remove the evil they have
caused. This myth has been referred to already under No. 332 Giri liyo dolaha
pidawili, and is a part of the myth treated also in Nos. 271, 633, 859, and 860.
The twelve are here invoked in the following order Patti Giri, Mudun Giri,
Andun Giri, Molan Giri, Saman Giri, Okanda Giri, Totahaeli Giri, Ratna Giri,
Wana Giri, Bala Giri, and the names of two are defective in my copy.
The following forms of Gara are invoked, Kila Garae, Molan Garae, Sandamal
Garae, Patti Garae, Okanda Garae, Honalu Garae, Sohon Garae, and the
names of the other four, making up twelve Garae, are defective in my copy.
Okanda Giri rushes here and there with her hair down, singing verses, and
at the least offence inflicts sickness. Wana Giri touches the wall plates of
the house with her hand while her feet are on the floor, and frequents the
skirts of a wilderness. Saman Giri rocks herself to and fro on the roads, and
afflicts passers by with sickness. Mudun Giri sits on the top of lofty trees,
and utters cries, she watches for girls. Bala Giri passes by with coquettish
graces, and bewitches the young. Totahaeli Giri frequents fords where people
wash clothes. Ratna Giri haunts the houses of jewellers, delights in pots and
vessels, and receives gourds and raw rice as offerings. Molan Giri haunts
roads ; Patti Giri dances, and throws her glance upon passers, she causes
excessive corpulence. Andun Giri affects those who use andun or antimony.
From this it appears that Okanda should be translated as joy, Mudun as
topmost, Wana as forest.
Kila Garae carries a coloured cloth and a torch, and wears a string of ratmal
or red ixora flowers in his hair. Molan Garae has rough coarse hair, and
carries a fowl, riding on a cat. He utters cries near molan kada or sewers.
Sandamal Garae carries a shield, and ties up his flowing hair in a knot, he
constantly plays the vina or guitar. Patti Garae haunts cross paths at cattle
folds, and milks the cattle. Okanda Garae brandishes an iron mace, wears
flowers, and swings on an okanda creeper. Honala Garae haunts cemeteries,
and eats cakes by the heap. Sohon Garae lives in tombs, rides a cock, and
carries a cock in his hand.
This appears to be about three centuries old, my copy has 28 verses.

Example :

Selayi pandama Rakusu lesinne

Nilayi rat mal isata bandinne
Me lakunen gos keli puda ganne
Kila Garae kala leda haera yanne.

He brandishes a torch like a Rakusa,

Binding blue and red flowers on the head,
In this guise going, receiving dance and offering,
Kila Garae be off, removing the sickness caused.

91
 684. Sat bisaw yaga

Ceremony of the Seven Queens

THIS is at present an obscure subject to me, as it is an isolated notice, which

I have not had time to investigate sufficiently. The Seven Queens are spoken
of as Ratmal, or Red-ixora-flower ; Riddi; Nayaka, or chief;
and three are not named. It is doubtful whether these Seven Queens belong
to either of the myth cycles of Pattini, or Kali, each of whom is seven-fold.
The student of myth should not overlook in this connection a possible affinity
with the seven Titanides, daughters of Chronos and Astarte, also called the
seven Artemides ; these are part of the Sidonian mysteries of the son of Thabion,
as reported by Sanehoniathon. The poem invokes them to bathe in a flowery
pond, and describes their dancing on the mountain top, each with a golden
dish in her hands. A thousand golden flasks are brought by them, filled with
oil for their hair. They caught an elephant in the wilds, and killed it, sawing
off its tusks with a golden saw to make a comb for Usangoda Bisaw. They
cross the seven oceans from the seven lands. All seven Queens are spoken of
as the Maenikkan or Gem-eye Queens, who use a gem mirror. This stands
isolated at present, in 23 verses, some four centuries old. The allusion to a
comb occurs twice. Nayaka Bisaw wears golden ear-jewels, perhaps these
were the sun and moon, which are worn as ear jewels by some ancient gods
and goddesses. I have not succeeded in connecting the myth yet with another
which would fix its true sense ; it probably is a scrap of old lore of some worship
now obsolete in Ceylon.

The poem is full of obscurity, such as occurs in old nursery rhymes, and such
verses as the example can hardly be translated as they stand ; wihidu has
the palatal instead of the usual dental d. Aran may be the name of the god
Aran, worshipped by the Jainas, but literally in Sinhalese means " taking ".
Kanda may have a sense of shining, light, or Kanda, the Tamil name of
Skhandha, as well as the trunk of a tree, a body. Wat may be " face ",
" cloth ", or a mere expletive. At the end of my copy is written, Yaga widiya,
as if it was the title, hence I have termed the poem Sat Bisaw yaga.

Example :
Aran aran kandan se wat ran todu
Purnna ridi dunne teda raes wihidu
Oya yana gaman Ratmal nuwarin nadu
Nayaka bisawu kana laewe ran t5du.
This must, I think, be amended as follows, and it may be useful as showing
the corruptions to which such verses are subject.
Aran ran kandan se wat ran todu
Purnna tarindunne se teda raes wihidu
Oya yana gaman Ratmal nuwarin nadu
Nayaka bisaw kana laewe ran todu.

Taking round golden ear-studs, like golden trunks (of trees),

Spreading strong rays as of the full moon—
On that journey going angrilly from Ratmal city,
The golden-ear studs were placed in ears of the nayaka Queen.

92
 685. Ratana Sutra santi

The Ratana sutra blessing

THIS poem describes the epidemic which caused great distress at Vesali or
Wisala Maha Nuwara, and its alleviation by Buddha, who visited the city
and recited pirit at request of the Lichchavi princes. The subject is taken
from the Ratana Sutra of the Kudugot Sanghiya. The poem takes the first
word of each of the seven gathas, and brings it into a separate verse, and invokes
the word quoted to dispel the sickness. The whole gatha is also quoted,
after the verse which announces it. This santi is intended for any exorcism
of sickness, and has no special application.
It is fairly well composed, and my copy has 66 verses. I do not know the
author's name, but his work seems to be two or three centuries old in its present
form. At present I have only seen my own copy, which is 50 or 60 years old.

Example :

Bosat bala waediye Budu bawa maharu

E at bala giya mara sen duren duru
Me set kramayen haema dosa weya duru
Ye puggala yana gatha tedin duru.

The Bosat went, having looked for the glorious Budu state,
Having looked on that side, he distanced afar the Mara host,
By this act of peace, all evils are sent afar,
Distanced by the might of the gatha, " ye puggala " .

9a
 686. Suwisi alankaraya
THIS poem is composed in simple language, but the verse is good. The subject
is the 24 wiwarana or designations of Goutama by the former Buddhas, approv­
ing him as Buddha designate. It commences with a verse that also occurs in
Wadan kavi No. 20, and then works up the nawa guna gathas, into two more
verses. Further introductory verses next invoke the Sahampati Brahma,
Pattini Devi, Sflriya, Sandu, Kanda Kumaru , and Gana Devi.
The author gives his name, in a verse, as Sumangala Yatindu, but does not
give a date, or any clue to one.

My copy has 96 verses.

Example :
Sarana met guna ape Bosat Sumedaya nam muni sanda
Porana Dipankara munidu daeka gattu wiwarana ema sanda
Sara'sankhaya pura peruman munidu baewu lat ema sanda
Me wara nuwanak dl rakin man utun Goutama muni sanda.

When our kindly Bosat the Sarana, was the Muni named Sumeda,
Seeing the ancient Munidu Dipankara, he received designation at
that time,
Having completed the paramita through four asankhas, received the
Munidu state through that,
At this time giving wisdom may the supreme muni Goutama protect
me.

94
 687. Pandam pali

The torch course

THIS is an incantation to be sung at ceremonies in honour of Devel Deva,
apparently, though not very clearly dedicated for his worship. Wesamuni,
the Seven Pattini, and the Pour Guardian gods are invoked, also Gini Pattini,
Visnu, Rama and Kanda Kumara. Devel Devindu is said to give the torch
to the dancers right hand. The Sakwala Devas created the torch, Pattini
created the fire. The torch is then asked to exorcise the evil.
My copy has 28 verses, and appears to be about three centuries old.

Example :

Ama Devel api yamu welandamata

Kapa diwul dandu naewakata nisi kota
Mawa dunnu pandama gena suratata
Nama, sirasa waendemi deviyanhata

Glorious Devel we are going for trade

Having cut divul planks for a ship fitly,
Taking in right hand the torch created and given,
Having bowed the head, I reverence the gods.
 688. Pandama kima

Tale of the torch

THIS differs from Nos. 687 and 170. It relates that when Gini Pattini, the
Isiwaruor Rishis, Visnu Deviyo, Mihikat or the Earth goddess, and Uma Deviyo
were at the Eire rock or Gini parwata, in the midst of the Seven Seas, they
created a mass of fire. Pattini stroked the sky, and created the mass of fire
below the Fire rock. The Devas gave the pandama or torch for the cure of
man. Devel Devi saying " let us go on trade ", got into a boat made from a
diwul log. The diwul tree is the elephant apple, Feronia elephantum. A
storm arising the boat was wrecked, and Mihikat created a fresh one of stone,
in which Devel Devi reached Panadura in Ceylon. There, as he got ashore,
Pattini Deviyo created a fiery blaze, into which he leaped, and began to dance
the fire dance (gini keli). He gave torches to the Yakas, and to Nanda Rusi.
Kanda Kumaru approached, and gave a torch to Riri Yaka for the Kila gini
keli, or resin-powder fire-dance. When Pattini plucked off her breast, and threw
it into the Pandi city, torches were lit by it.
The verses seem intended to be sung while torches are whorled about at
ceremonies in honour of Devel Deva, but no special god or yaka is named as
the recipient of this worship.
Hanumanta gave the coconut spathe (hanassa) for torches. Vikara Devi
gave celestial cloths for them. Ananda Maha Tera gave oil. Gini Pattini
gave the light.
My copy has 60 verses, and seems to be complete. It is about three centuries
old in its present form.

Example :

Tama teda pae pandi nirinduge abimada

Laema piyayuru kadamin gasamin teda
Ema teda Pandi pura gini-jal kanda seda
E gini jalayen aewulu pandama wada.

Showing her might (over) the Pandi king's pride,

Tearing off and mightily casting her tender breast,
That famous Pandi city was like a fire flame,
The torch is lighted by that fire flame.

96
 689. Rawana hatana

The Rdivana War

THIS ballad differs from Nos. 177 and 690 though all three adopt the same
subject. This version speaks of Rama as Visnu, throughout, but does not
differ in any important manner from the outline of thejstory as related in
No. 177. It appears to be of about the same age, perhaps three centuries old.
My copy A, has 89 verses, B, has 63.

Example :

Bisawun maliga aetulata yanne

Etakota deviyo s&du kiyanne
Maliga aetule gosin sitinne
Hanumata dena de mokada asanne.

The queen goes into the palace,

Then the gods cry " sadu ",
Going and standing inside the palace,
" What should be given to Hanuma " , asking.

97
7
 690. Rawana puwata

The history of Rawana.

THIS poem differs interestingly from Nos. 177 and 689, in several details.
It commences with an account of Visnu going to bathe at the pond in his park,
and finding the purple lilies plucked, and the water turbid. Determined to
sift the outrage, he concealed himself, and watched the pond. Seven Devan-
gano or goddesses came to bathe there, leaving their celestial cloths on the bank.
Unperceived by them Visnu stole one cloth, and when upon seeing him six of
fair nymphs flew away, one whose cloth he had secured was left behind. This
goddess was Sita, and Visnu took her away with him, and made her his wife.
The only important variant in the rest of the legend, from that related in 689
and 177, is that Rawana's sister on being rejected by Visnu when she offered
herself as his wife, abused him so coarsely, that he lost his temper and struck
her breaking her leg. Nothing is said here about the cutting off of her nose.
Both in this and No. 177 the offer of herself as wife is related in a bold manner,
which causes the listener to realise the unmaidenly conduct of the great king's
sister. I think this is important, and an ancient and intentional feature. It
probably represents the contempt felt by the people of Northern India, for
the ancient and matriarchal custom still kept up by the Nairs and others, in
Southern India, by which the wife has full authority over her affairs, selects
her own husband, and gives her son the right of inheritance to his mother's
brother's estate. A connected custam exists amongst Sinhalese, called a binna
marriage, under which the woman selects and discards her husband at her will.

The legend of the goddesses bathing, is only one variant of the Swan Maiden
tale, with all its variants, that beguiled my own English childhood.

I may perhaps be pardoned for digressing to point out a few of the

resemblances between this tale and others of its class. I will confine my notice
to examples quoted by Hartland in " Science of Fairy Tales ". In the Pomera­
nian tale the enchanted princess bathes in a forest pool, and the hunter steals
her shift, without which she cannot escape. A Syrian tale describes the
descending damsels as dressed in light green silk, and one is detained by the
loss of her robe. In the New Hebridees there is a legend of seven winged women
whose home was in heaven, and who came down to earth to bathe ; when one
was detained by the loss of her wings. This is strangely like the legend of
our poem. I am quoting almost the words of Hartland throughout this notice.
The Bulgarians call the supernatural ladies Somadivas, and they are captured
by means of their raiment. The ancestress of the Bantiks, a tribe in Celebes,
came down from the sky with seven companions to bathe ; a man who saw
this, possessed himself of the clothes of one of them, and thus obliged her to
marry him. Among the Santals of India there is a legend of the daughters
of the Sun descending to bathe, when one of them is thus captured. I know
other tales, but one further quotation from the same authority suffices. In
our poem, Visnu surprises the maidens, by watching the pool in his park the
lilies of which are broken by mysterious visitors. So in the tale from South
Smaland, a peasant finds the grass of his meadow trampled down, and surprises
one of three maidens, who throw off the plumage of doves, and dance on the
green grass. He was the youngest of three brothers who had watched, but
the other two had failed to detect the visitors. Can they be Lakshman, and

98
Bharata ? and can our tale be an ancient Vishnu myth, buckled on to the
legend of the Vishnu birth as Rama ? May not Siva, Brahma, and Vishnu,
have become Lakshman, Bharata, and Rama ? and Sita. of our poem be
Lakshmi herself, in some earlier avatar of Vishnu and Lakshmi before they
became Rama and Sita.
This ballad in its present form seems to be about three to four centuries old,
and has been composed by a very skilful poet. My own copy has 40 verses,
and was written 20 or 30 years ago. No. 275 should be compared.

Example :

Dew lowen deva'ganan sat dena baesapi nolasin uyanata

Sama sitin diva salu tiyala baesapu wila isananeta
E wigasin teda Visnu deviyo gatiya diva saluwak sits
Devi rajun daeka anit sadenama giye diva pura yannata.

From the Deva world seven goddesses descended swiftly to the park,
With common thought having laid aside the celestial robes, they.
descended to the lake to bathe,
At that instant Visnu deva being present seized one celestial robe,
Seeing the Deva raja the other six departed to go to the celestial city.

99
 691. Sri Wikrama raja maedura alankare

Story of Sri Wiclcrama raja's palace

THIS relates the construction of a palace for the last Telugu king of Kandy,
at Talwatta on the further bank of the Mahawaeliganga. In his ninth year,
on a visit to Dumbara, he caused a field to be made there by Puswaelle Maeti
and the palace was put up in the middle of the field. It was probably a
temporary building, as the king went there to hold some sports. There are
31 verses.

Example :

Sura ana kula Siri Wickrama Nara pawara

Pura rata waesi saha gena haema aetulu pura
Wara saena keliyata wadinata ketata tara
Karawa, yeduni maetinduta nuwarak pawara.

The great king Siri Wickrama of race of divine power,

With all the people of the city and district, taking all the harem,
To go to the great field for excellent sports of the season,
Caused the minister to make a great city.

100
 692. Kaludaekada kumara kavi

Ballad of Kaludaekada kumara

THIS is a saga, used at the Minneri dewala formerly. It relates that the Sat
raja or Seven Kings came from beyond seas in a stone ship, and Avatara Deva
attended them with a golden torch. They brought a great retinue, and arrived
at Yapapatuna totamuna, whence they went to Sellan-duwa, and went ashore.
They proceeded to Anuradhapura, and when they wished to erect a dagaeba,
but could get no relics, Saka allowed them to cut off part of the girdle
relic, and it was enshrined in the dagaeba named JetawanSrama. Hence they
went to Ritigala, to reside, but a short homed cow used for milk at the royal
kitchen was lost, but found again at Patane, and recovered. The searchers
had taken cattle, as if selling Sesame, to disguise their object, and having found
the cow, they sowed the Sesame. Then a flood came down the stream, and the
emissary thought the position very favourable for a tank. Just then he saw
three Vaeddas, who threatened to shoot him. He conciliated them, and asked
them to come and see the king. They replied, exactly as their descendent
would today, that they could not go there, but he might bring the king to see
them. The minister then informed the king, who visited the place, conciliated
the " Vaediput " with rich gifts, and asked whose the land was. They replied
that it was theirs, and they sowed small millet on it from time to time. How­
ever they gave it to the king, who ordered the breaches to be cleared and built up.
The new work, however sank, and seven times it had to be renewed, as it sank
into the earth. The astrologers then declared that a prince must be sacrificed
to the Yakas. The king refused, but they insisted, and finally he consented
to allow a prince to be sacrificed. Ratran Devi, or Gold Devi then took the
prince to the breach, and placing him in a golden vessel, concealed him, and
sacrificed a bear, kaludaewa, instead. The breach was filled up, a storm came,
and the tank filled like a great Sea. The king caused fields to be made, and
called them Baj japatuna. However, reflecting on the loss of his child, he asked
for Ratran Devi, Chaddiwane, and Avatara Deva, who reported that the child
was given to the Yaka. He ordered Avatara Deva to recover it, but he was
unable to do so. He then asked Waewe devindu, or the god of the tank, to
recover the child, but he was unable to, saying it had been sacrificed to the
Yaka. Then Ratran Devi recovered and restored the child, concealed by him.
Passing Pakulama, Ihakuluwela, and Kumara Kada, he brought him to the
king. The child became known as Kaludaekada Kumara from his device.
When he grew up he subdued and repressed the Yakas. He is then invoked
as Kaludaekada raja, or the Bear king. This legend evidently alludes to the
restoration of Minneri Lake by King Mahasen, about A.D. 275. King Mahsen
was himself worshipped after his death as an incarnation of Mahasen or
Skandha the god. I discovered in thick forest on the bund, the ruins of an
ancient house or temple, now marked by the stone piles on which it was raised,
near the pond at the western end of the Minneri bund, which pond and its
vicinity are the traditional home of the Kaludaekada god. The Vaeddas
residing still in that district, assured me that their ancestors had given the land
to King Mahasen, and helped to construct the bund, while the Mahawansa
says that the king was helped by Yakas and Bhutas. We may conclude that
this legend dates from a very ancient period ; in its present form the saga is
two or three centuries old. My copy has 90 verses. Mahasen is here identified
with Hat Raja, and not with Mahasen or Kataragama Deva. An ancient
image of him, in stone, still exists on the bund, and has seven cobra hoods

101
spread out as a halo behind the head, whence the name. Ignorant peasants,
however, often consider the Hat Raja as Seven persons, and not as it really is,
a sevenfold person, analogous to the Hat Pattini goddess. In Sinhalese,
Hat Raja may be singular or plural. Whether the god Mahsen was originally
identical with Kataragama Deva or Skhandha, or whether he was a distinct
god arbitrarily combined, is a question I have not yet studied sufficiently.

Example :

Suttaren ran denak kapala

Mattaren kaludaewaku alia
Ratriye kumarun sangala
Kaludaewa idame induwala.

Having cunningly cut out a golden coffin,

Having stealthily caught a bear,
By night having hidden the prince,
Placed the bear at the spot.

102
 693. Hat Raja Kavi

Ballad of the seven-fold king

THIS differs from the Raludaekada kavi, Nos. 692 and 795, but treats of the
same subject. The only copy I have obtained is probably defective, and
contains 35 verses, some of which are very abstruse. It is wrongly preceded
by five verses of still another Kaludaekada kavi, and one of a poem called
in it Pattra alankare. In the present poem the king asks his queen to give
her son to be buried on the bund as a sacrifice, but she flatly refuses. The
king's sister then gives her child. One obscure verse seems to imply that
the Panclia-waruna Kambili Yaku who caused the bund to break, requiring
the scarifice, were tricked by the ministers after pretending to bury the prince
Part of the poem is quite obscure, it is probably about four centuries old, and
even then was re-edited from a much older form which the editor could scarcely
understand. The verses at the end seem to refer to king Mahasen as Skhandha,
and I quote the last three in my copy as an example though I cannot fully
explain them. If kadiyama was an obsolete term for a kiinama or litter, the
third line of the second of the verses might be translated, but angan of the
second line is still obscure, and no such word as kadiyama is known to me.
In the third verse, without some clue to the allegory, myth, or tradition it is
impossible to translate " kanda " beyond dispute, as it may have many senses.
I give my own conjectural reading of " ran kanda " as a term for the " wae
kanda", tank bund or dam, but " r a n " , golden, and even in a secondary
sense glorious, does not seem well applied to a bund or dam. Ran kanda or
golden body would be more national, but then the king would not sit on it to
sharpen his arrows. Except as Mituru, the sun, the Persian Mithra, I know
of no sense that can be assigned to Mituru here. On the whole then I believe
it is a very ancient verse, which makes the sun rise over the dry tank, sharpening
its rays on the bund, and plunge into it at sunset, when it had filled with water
through his divine favour. Amongst the Buddhist ruins, and the remains of
the ancient fortified city on the hill above the tank, to the east of the sluices,
is a rocky peak which has anciently been socketed to hold a small altar or other
erection, on its very pinacle, this seems to have once been used either for sun
worship or as a beacon tower. The site commands a vast view. It is there­
fore possible that this was an altar of Mituru, whose fame is thus obscurely
mingled with the construction of the Minneri tank by king Mahasen, an avatar
of Skhandha, about A.D. 275. The third verse from the end says that Patini
gave her warrant to "Mituru yakunhata ", or to the Mituru Yakun, whose
action seems to be related in the final verse. This term is exceedingly archaic
and quite consistent, because to the Persian Mituru worship all Devas are
devils, not gods, and as with the modern Vaeddas the word Yaka must stand
for god in Sinhalese where Deva is, devil, though it conveys the reverse sense
to a modern Sinhalese.

103
 It is most important that other copies should be recovered. My copy was
taken from one which the owner refused to part with, but the copy he made
was checked with it for me.

Example :

Naegenahire ginikona daeka waedala

Patini langata gos bala pennala
Me pura rakinnata waran labala
Mituru yakunhata waran labala.

Raelbae waessak widuliya kotati

Mai angan kudayak aellu weti
Nilmini ratran kadiya men yeti
Pil bara monarek irata muwa weti.

Watura naetuwa ran kanda matu ununda,

Mituru dukin waewa dutimiya waenda
Ran kanda pita inda ital maenda
Watura yatin ran kanda aeriya nirinda.

Looking at the east, and south east direction, having come,

Going near Patini, having shown the power,
Having received leave to guard this city,
Having received leave for the friendly Yakas.

Lightening flashes in the rain falling heavily,

A flower umbrella is held up,
Of sapphire and gold he goes like a kadiya,
A peacock with train, shades from the sun.

On the day the gold bund stood out, the water gone—
(I, the sun, having gone, sadly saw the tank),
Sitting on the gold bund (or trunk) having sharpened the arrows,
The king sent the gold bund (or trunk) beneath the water.

In the second verse I cannot explain mal angan, and my copy is perhaps
corrupted from mal andan, flower form : mal angan if it meant anything,
would be flower parts. Kadiya is a black ant, but this does not apply to the
epithets sapphire and gold, and some obsolete word may well be intended.
However, as the black ant darts about swiftly, it may just possibly mean,
*' of sapphire and gold he darts like a kadiya ant". But the fourth line
suggests that Kataragama Deva is intended, as he rides on the peacock with
expanded train, and the peasants may have substituted kadiya for Kadira,
an old name of that god, equivalent to Tamil Katiravan, though in Tamil
the word means the Sun, and not the god Skhandha.

104
 In the third verse I would suggest dutimaya for dutimiya as the original
reading, " Mituru having come saw the tank sadly " . The change to dutimiya,
which means " I saw ", makes mituru, whether Mithra or a " friend " speak
in the first person, and is evidently a corruption, but I leave my only copy
uncorrected. In the fourth line the word " yatin " implies the Kanda was
pushed away under the water, and the writer evidently regarded kanda as a
tree trunk, not a tank bund. But if we restore it as " yata ", we get back the
right metre, which with yatin is an instant in excess. The line scans correctly,
with yata, and we have good sense, in the natural translation, in accordance
with the context, " The king sent the golden bund beneath the water ", with
the simple sense of, submerging it, conveyed by yata. The epithet " golden "
is merely in honorific. The example is quoted for its archaic and mythological
interest, as well as to show how greatly such sagas may suffer by correction
from time to time.

105
 694. Was waesuma kavi, No. 2

Ballad of the " was " abodes

THIS like Nos. 695, and 314 gives an account of the 45 " was " or rainy seasons,
passed by Goutama Budu.. Of these the first twenty were passed in various
places, nineteen in the Dewuran or Jetawanarama, the last six at the Wisaka
vehera. The twenty are described as follows: at the Isipatana one season,
the Weluwana three seasons, VisSla, Vipula parvata, Pandupul asana, Sun-
sumaragiri parvata, Kosamba. nuwara, the Parileyya wana usually spelled
Paraleyya, Nalaka the Bamunu or Brahman village, the village of Weranja
Brahman, Saliva Parvata, the Jetawana, Kimbulwat pura, Alawu pura,
Weluwana, Saliya parvata for two seasons, one after the other, then Rajagaha
nuwara. The information regarding these is given in the Anguttara atuwawa.
The present poem is three or four centuries old. My copy has 36 verses, and
is bound with Nos. 295 and 296. Here and there parts of the last line of
verses in this poem, resemble lines in No. 314.

Example :

Nasala keles saturan mulu wadda

Desala daham tun lowa parasidda
Asala daham Devi Bamba sita sudda
Wisala nuwara pas weni awrudda.

Having destroyed and cast off lust like enemies,

Having preached the dharmma famed in three worlds,
Having cleansed the mind of Devas and Bambas who sought the
dharmma,
At Wisala city was the fifth year.

106
 695. Was waesuma kavi, No. 3

Ballad of the " was " abodes

THIS like Nos. 314, 694, gives a brief notice of eighteen of the 45 occasions
upon which Budu passed the " was " season, or season of retirement during
the rains. Eighteen of these are mentioned ; they are as follows : Isipatana,
Jetawana, Tuna gama, weluwana, Visala, Kosambae, Alawu, Sudasun Parvata,
Visala, Paraleyya, a Patunu gama, Saliya Parvata, Dewuran vehera, Alawu
nuwara, Kimbulwat pura, Alawu uyana, Weluwana, and the last is defective
in my copy. I do not know the source for this arrangement, but it is not correct
according to the Anguttara atuwawa. It may be about three centuries old.
My copy A has 35 verses, and is bound with Nos. 696.

Example :

Sara asankaya Muniduge guna warune

Pina samudure naewu yana ena lesine
Tora ape Munidu Budu wena lakunu pene
Deweni wara was waesuwa Jetawane.

For four asankas Munidu's virtue is extolled,

Having swam in the sea like a ship going and returning,
Having chosen, our Munidu shows the signs of becoming Budu,
The second season he passed the " was " at Jetawana.

107
 696. Pas Budun pamana kavi

Ballad of height of the five Budus

THIS is a short poem, which after a brief introduction relates the height of the
last four Budus, and Maitri Budu. One verse asks the height of each, and the
next verse gives the reply. It may be about two centuries old. My copy is
bound with No. 695. Waswaesuma kavi, No. 3, and contains 18 verses.

Example :

Alankara lesa palamuwa kiwa aedda

Sawan mihiri handa tun Iowa aesuwa aedda
Mara yudaya kala haeti aesuwa aedda
Kakshapa Budunge usa koyichara aedda.

In elegant fashion was it first told ?

Was the sound sweet on the ear, heard by the three worlds ?
Was it heard how the Mara struggle was made ?
What is the height of Kakshapa Budu ?

108
 697. Makaradhwaja

The dragon flag

THIS is a very elegant poem, without any special story or subject matter.
It extols the poet's art, and then develops into a sort of lover's plea. It was
written by Disanayaka Mudali, to whom Alwis in his Sidat Sangarawa assigns
the date A. D. 1768.

My copy has 100 verses.

Example :
Sanda kaen gimana deyi yugat'aga riwi lesina
Dadayut mihiri raewu nomihiri wiya sawana
Kondapat tula yahana katu muna lesa wadina
Adawat me duka nawata en himi sandina.

The moon's light gives out heat at the end of a yuga like the sun—
The sweet notes of cuckoos, are unsweet on the ear—
Jasmine petals studded on the bed, prick like thorn points—
Even today staying this sorrow, come dear lord !

109
 698. Nandiya welanda wata

Story of the merchant Nandiya

THIS is an elegant poem, well composed, and takes as its theme a story given
in the Rasavahini, which will be found under Saddharmmalankara No. 115, tale
No. 91. I have not ascertained the authorship of the poem, which appears
to be three or four centuries old, though it is difficult to form a definite con­
clusion as such poems of literary excellence, affect the style of and follow
ancient models. My copy has 109 verses, and was written at A. D. 1853.

Example :

Nomada anata duk pilikul kaeta wana

Munidu wiyat Budu sawwan garahana
Me bandu kayen topa maetinduta nunuwana
Kebandu waedek weda yawa daen wigasina

Being of great endless sorrow, impurity and uncleanliness,

Despised by Munidu and the skilled disciples of Budu,
Prom such a body as this, to your unwise minister,
What profit will there be ? Be off now quickly.

110
 699. Tissara Sandese

The tisara's message

I must decline to follow Sinhalese pandits in confusing tisara with hansa ;

it is quite a distinct term, and may probably be the ancient Sinhalese name
for crane. These huge birds are well known in Northern India though now
quite unknown in Ceylon. At one time they must have been occasionally
imported for the royal parks, but no trace of any name or allusion exists, so far
r
as I know, unless I am right in proposing tisara as originally the name f o
cranes. At the time our poem was written, it had probably like hansa become
-a term for an unknown bird, often referred to in ancient folk lore.

This poem is addressed to Paerakumba Nirindu of Jatigama pura, or the

city of the village in which he was born. It purports to be sent from Dewi-
nuwara or Dondra, in south Ceylon, and after expatiating upon the glories of
that city and its god TJpulwan Deva, the bird is directed to proceed by
Waellemadama, the Kohon tree pond, Ukgalbaewula, Mapa patuna, and
crossing the Nilvala ganga to visit Matota. Thence by Panguranwel eliya,
Kamburugamuwa, Maha Waeligam Patuna, the Maha Naeviya pond, the
Agrabodhi vihare, and the image house built by Sena Laka Adiyara Aga
Maeti, thence by Pekarapitiya, Kataluwa, the Lanumodara Arama, Mihiri-
paenna, Galla, Ginganga, Eatgamgane, Udugampitiya, Totagamuwa, Madampa
modara, Waelitota, Asungala, Parataraka, Bentota, Alutgama, Beruwala,
Matgona, Payiyagala, Kalutota, visiting the Gangatilaka vehera, and resting
at the Dewala there. Thence he was to proceed by Panadura, Moratuwa,
Ulgamuwa, Wanagamuwa, Muwadora, Alut Patuna, Wattala, Kaelanipura,
and there to rest for a time at the temple of Vibisana. Thence proceeding by
Maskeliya and its forest, to Wilgama, Uruwela eya, and Pan Aela with its
round relic house, and octagonal image house. Eleven verses are here inter­
polated, referring to Kaelani, and probably borrowed from No. 700, as they
here seem out of place. The king's city is thus indicated as Jayawardanapura
or Kotte, though not named. A queen is mentioned, and is called Somituru
Biso. The Sena Laka Adiyara, or Sena Adikara, who built the image house at
Weligama, is doubtless the minister Kalu Parakrama, who built the Weligam-
gane temple, and adopted son of Bhuwaneka VI, A. D. 1464 to 1471. This
poem was therefore written at a later date, as is also indicated by the names
of towns along the route. This makes it probable that the poem is addressed
to Dharma Parakrama, son of Vlra Parakrama Bahu, formerly k n o w as
Aembulugala Kumara. The new Portuguese settlement at Colombo, is alluded
to as the Alut Patuna on New Port, the old Sinhalese port having been at
Mutwal near the mouth of the Kaelani river. It would thus seem to have
been written about A. D. 1508, but I have not met with a copy bearing the
author's name, or the date of composition.

Ill
 It is an elegant poena, not quite so archaic and obscure in language as the
Hansa Sandese, No. 700, and distinctly more modern in general style.

My copy has 179 verses.

Example :
Somituru Biso sanda daeka kulunaesin udu
Weminoda nitora saera dena lesa Laka pasindu
Deminaema isuru rakinuya kara siri purudu
Mamituru yatindu sanda aya diwa suranidu.

4. My friend let the venerable high-priest pray that god,

1. Bright with kindly-eyes to regard the gracious queen Somituru,
2. That he grant (her) ever long life, so as to gladden famous Laka,
3. Giving (her) all prosperity, causing (her) to be protected in accustomed
glory.

112
 700. Hansa sandese

The goose's message

THIS purports to be a message sent by a hansa or goose to Wanaratana Maha

himiya of Kuragala vihare, from Jayawardana nuwara. It alludes to the king,
Paerakumba Raja, with the usual eulogy, and as one verse towards the end
speaks of him as Siri Sanga Bo Siri Paerakum Ba, we may identify the poem
with the reign of the Parakrama who ruled from about A. D. 1415 to 1462.
This verse invokes for the king the protection of Pulwan, Saman, Boksael,
Sawat, and Vibisana ; here Pulwan stands for TJpulwan or Vishnu, the blue-
water-lily coloured, and Sawat for Deva of Katiragam, as sa six, and wat
faces, the six faced, a Sinhalese form of the Tamil Aru-mukham, as if a Palii
Chhawatta, or a Sanskrit Shatwaktra. Whether it is an ancient name, or
coined by analogy, I cannot yet say, but it is commonly used in poetry of this,
class, and perhaps deserves this notice.
The poem speaks of the Hansa jataka, and then the course of the messenger
is directed to Kuragala vehera, the beauty of which is expatiated upon. There
the Maha Himiya Wanaratana was dwelling; he is also spoken of as Sangha
raja. Maha Himiya is a poetical form of the title Maha Sami borne by chief
priests of Ceylon before the term Sangha-raja was introduced. The hansa
is to visit the temples of Sawat Surindu, and the Dalada before leaving the
city, and then to attend the audience of the king, on either side of whose;
throne are the princes, while Ekanayaka Maeti is on one side, and Sahas-
liyana Kulatiriwaranga Mukaveti Maeti also, as well as Wikramasinha Adi-
karan Aga Maeti who had received the rank of Bandaranayaka. The Sena-
nayaka, Aramudali Lekama and Wasala Mukaveti ministers were also assembled.
These officers correspond to generals, treasurers, and recorders or scribes..
Thence the messenger is to go by Kontagantota, Ambalamtota, the Udayadi-
wakara pond made by Udayadiwakara Maeti, Gurubaebili Maha Vehera,,
Gonatuwa, Welandagoda, Kitsirimewan Vehera, Maskeliya, and Kaelani..
There he will visit the temple of Vibisana, and also the illustrious Tera Himi,
or high priest, Buwaneka Buja, of the family of Ekanayaka Maeti.
Thence he is to go by Weliweriya, Senegama, Kandupalagama, to Kuragala-
The poem speaks of the numerous pupils studying there under the Sangharaja-
It is an elegant poem, and not often met with. It should be distinguished
from the Tisara Sandese No. 699, some confusion arising from the name,
tisara and hansa being terms now applied to the same bird, though doubtless
incorrectly confused.
My copy has 228 verses, of which eleven occur also in the Tisara sandese
No. 699. These eleven form a eulogy of Kaslani.

Example :
Sita saeka haera daena kiwi nalu sanda lakara
Siri Laka haema kiwidungen lat adara
Dili saka kiri himakara lesa yasa wisara
Buwaneka Buja tera himi waenjabena nitora.
Doubt leaving the mind, knowing the prosody of song and dance r

Who received the love of all bards in Siri Laka,

Bright as milk in a chank, or the moon, with great fame,
The lord Buwaneka Buja tera ever dwells.
113
8
 701. Gaja Ba puwata
Story of Gaja Ba

THIS poem relates that during the reign of Bamba raja at Kaeliyapura, the
Soli raja carried away 12,000 prisoners from Ceylon, and when prince Gaja Ba
was sixteen years old, on the death of Bamba raja, he became king. King
Bamba was working in his field, ploughing, as a young man, and during the
heat of the day, slept with his head in the lap of his wife, who had brought
ihim his food. He awoke with a dream, which they interpreted as boding great
honour, the more so that a swarm of bees had actually settled on the plough.
Just then a sound of music was heard, and shortly afterwards the late king's
State Elephant, followed by all the Court, came into the field, and gave its
leg to the husbandman, who thereupon mounted its back, and was taken to the
city, where he became king Bamba. This looks like a mistaken addition to the
•Gajabahu legends, of the legend relating to Nambambara Parakrama Bahu
'of Dambadeni. The poet then relates how one Hatahe had a short-horned
buffalo, which his neighbours used to use forcibly, without his leave. Upon
his expostulating on one occasion, he was severely assaulted, and informed
the king. The guilty persons however denied his ownership, and informed
the king that he spoke idly, being an habitual drunkard. The king hastily
decided against him. Hatahe then went away to Soli rata, where he was
•employed as a workman at the palace. Having gradually ingratiated himself
with the king, he suggested that a dam should be thrown across the Kaveri
river. This was being done, when a flood damaged the work, and Hatahe
was given an army by the king, to collect workmen in Lanka. He landed at
Mahagam-muna tota, and defeated the army which opposed him, and removed
12,000 prisoners to Soli rata. There is, I may note, a proverb still current
amongst village folk, Hatahege gona wage, " like Hatahe's bullock ", interesting
in connection with the tradition here preserved. King Bamba's wife had a
dream, which announced the future glory of her child, still unborn. At the
moment the prince was born, the warrior Nila, or Nils Yodaya was also born.
.So fer the poem occupies 74 verses. From this it adopts the ancient poem,
*Gaja ba parasindu, No. 445, but without acknowledgment. At the close, there
is a verse which says that Wld&gama Maha Tera composed this poem, showing
how king Gajaba defeated the Soli King, in 82 verses. Now this verse, excepting
the word Wldagama, for Wilgammula, occurs in No. 445, which has 73 verses
in my copy445 A, and .81 verses in this. So that the first 74 verses here evidently
have nothing to do with Wilgammula Tera's poem in 82 verses. The verse
recording this occurs here, but is wanting in 445 A. It seems clear that some
one absorbed the older poem, and expleted it with the first 74 verses of this
poem. The same editor not recognising the name Wilgammula, has probably
without intending a fraud, changed it to Wldagama, though there may also
have been,a fraudulent intention to raise the value of his manuscript.

After reading .critically some of this poem, I remarked to my pandit that

I found no resemblance of style to that of the elegant Wldagama, and possibly
it was a work by some other poet of that name. This led to the discovery
that it was Wilgammula's poem, with a long prefix, and the substitution of
another name in the author's memorial verse. My copy is a recent one from the
Matoa District. There are seventy-four verses of the later preface, and 81
of the older poem, 445. Taking this discovery, with the remark recorded by

114
 me before making it, that the episode of Bamba raja, resembled that of Nambam-
bara Parakrama, I think we may now accept it as positive that the episode
as borrowed. The writer of the preface, aware of the proverbial Hatahe tradition,
•expleted it with another folk tale of King Parakrama, and the Nambambara
field, unaware that the two referred to kings and dynasties widely separated.
The father of Gajabahu is called Bamba raja in Gaja Ba, kavi No. 780, and
the existence of that legend, and a similarity of sound to Nan-bamba-ra,
may easily have led the writer of these additional verses to attribute the
legends of Parakrama to Bamba raja.
There are therefore 155 verses in the present poem, and I quote an example
from the preface.

^Example :

Miturukameka mihi pita naeti ruwame

Bambaraya daeka wiyagasa tibu arume
Muwa rada kara landa kiwu wadanaya me
Me pura isuru saepa at we niyame.

There is no such form as this of friendship upon earth,

Seeing the wonder of a bee-comb on the plough yoke,
The smiling girl spoke this speech—
Assuredly the supreme state of this city will be gained.

115
 702. Kannuran katawa

Kannuran tale

THIS is one of the poems of the Pattini cycle, and is part of the Pantis kolmura
of Dondra. The present poem commences at the point when Palanga has
squandered all his wealth on the dancing girl Madevi, and is reduced to poverty.
Pattini consents to go into exile with him, recollecting the example of King
Wessantara's wife, and of King Sottisena's wife. They visit the Diya-na kowil,
and the Mudu or Sea vihare, and worshipped at a kowil there also, sleeping
there. They then passed a gawa beyond the Kaveri river, and there Palanga
told Pattini they would go to a land five gawas off, so they rested at the
Pansala of queen Kawunti. When they reached the river Vaita, full of sharks
and crocodiles, Pattini threw her ring into the river, which parted, and left
a path for them. Manimekalawa, the sea goddess, restored her ring to Pattini.
They passed Nelluran pattana and Nankaru nuwara, Kollurama, and reached
Kannuran pura near Madura. There Palanga left her while he went to see the
raja, a relation of his father's. The raja went out to meet Pattini with great
pomp. His name is sometimes given as Sa, raja, and sometimes as Ya raja,
the poet or scribe not knowing which to accept positively. At the King's palace,
Pattini drew herself up, and refused to embrace the King's mother, but what
that conduct has to do with the tale I do not see. The king's mother was greatly
offended. When the king went to conduct Pattini to his city, she fancied he
had killed her husband, and wished to appropriate her as his own wife. She
therefore emitted flames from her ten fingers, and half his escort, elephants,
horses, and men, were burned up. On realising his friendly intentions, Pattini
created a pool of nectar, and sprinkling the dead, they were restored to life,
as if they had only been sleeping. Pattini reads Palanga a long lecture on a
first visit, and so they set out for Madura. She then reads him further lectures
on omens, and the rascality of the goldsmith race, before allowing him to enter
the city to sell her bangle. As he approaches the city, a crow croaks thrice
upon a dead tree, but he does not heed the omen, further than to cut his
thigh, and take a little blood. This he mixed with rice, and gave to the crow.
In the city he is arrested on the evidence of a goldsmith or Jarahalu, and
taken before the king. This goldsmith had a previous grudge against Palanga,
and resolved to charge him with having a bangle, lately lost by the queen,
to which he saw the bangle of Pattini bore great resemblance. The queen
protests that the bangle is not the one she has lost, but the goldsmith accuses
her of trying to screen a lover, and Palanga is condemned. The elephants
let loose to kill him, bow down to him. The hounds are loosed to tear him to
pieces, but they wag their tails, and sniff his feet. Then the executioner is
ordered to kill him, but his wife adjures him not to, being warned by a dream.
He is executed, however, after some unseen influence in vain held back the
executioner's sword. We are prepared for the next episodes by a few lines
which say, Pattini is coming, she will burn the city, she will relate the " witti " .
These lines are added to introduce the Wittihata, the next rhapsody in the
Dondra series. I think this legend holds a striking lesson for the student of
myth, there can be no doubt it is not affected by the Christian record of the
death of Christ, and yet it would be very plausible to draw up parallels, as is
done between the lives of Goutama and Christ, and build fantastic theories
upon them. The crow and the cock gave their warning thrice, there is an
unjust king in each case ; Pilate's wife, and the executioner's wife, are warned

116
in a dream, and I dare say if I wasted a little thought upon the poem, I could
add to these. I am even while writing struck with the treacherous goldsmith,
and the covetous Judas, as easily twisted up into the theory. There is another
feature which I notice as instructive. The few words introducing the next
episode, Wittihata, are evidently added by the person who arranged the
various poems into the Pantiskol-mura collection. If these were slightly
increased, and similar connecting links introduced uniformly between every
two poems, each quite complete in itself, we should have a grand epic poem
assuming a uniform appearance, out o f a collection of separate hymns. We
have in fact here a living example, caught in its first step from disjointed
rhapsodies to a great epic.
The poet's name is not quoted. The poem is fairly elegant, probably about
three centuries old in its present form.

Example ;

Ma me dine gos ena turu saraya

Rae nidi nenuya neta ida naeraya
Bo tadine guna yutu saru saraya
Ya rajune mun obatama baraya.

Until I, going this day, return prosperously,

At night not giving the eye opportunity so that sleep come not,
Blessed very mightily of virtue and success,
Oh Ya raja ! this one is in your charge.

117
 703. Mayura Sandese

The Peacock's message

1 HIS poem purports to be a message conveyed by a peacock from Gangasiri-

pura to Dew nuwara or Dondra, and is addressed to Upulwan Dewraja, or
Vishnu, for whom there was a celebrated temple at Dondra. It praises the
king Bhuvaneka Bahu, who reigned at A. D. 1347, speaking of him as a pious-
supporter of Buddhism, and alluding to his queen Jayasiri Biso as a Kalpa
tree of generosity. It alludes to the Aepa Oraniswara also. The peacock is
told to pass by Ambuluwakada, and Bulangamuwa, thence by_Dikpitiya,.
Alapala wela, Gurugoda, Arandora, Dorawaka, Attanagala, Opat aela,,
Kaelaniya. There he is told to invoke the protection of Vibhisana for the king,
queen, princes, ministers, and army. Thence by the Maskeliya Vihare, to-
Jayawarddana pura, and Rayigam pura. There it is told to regard the glory
of Alakeswara Prabhu-raja, who is also spoken of as Alagakkonara, and his,
brother the Mantriswara is also alluded to, as if his name was Dew-himi, or
Tevasami. Thence visiting Widagama dagaeba, and worshipping the relics,,
he is to visit Bolagoda, and Kalutara. Thence by Welapura, Beruwala, Ben-
tota with dewalas on either side of its river, Paratarake, Waelitota, Tota-
gamuwa Sandy point, Gala, Lanumodara, Mihiripaenna, Manawiya pokuna,
Waehgama, Matota, the Nilvala river, Uggalbawela. The beauty of the
forest at TJggalbaewla is expatiated upon, and thence by Mawat maduwa the
peacock is to reach Dewnuwara.
It then states that Alagakkonara himi, Upaguru himi, and Dewhimi were
the three great lords of Lanka, or Laka tun ma, himiyo. Dahamkit or Dharmma-
kirtti Maha himisanda was head of the priesthood, which is spoken of as ubaya-
wasi, or dwelling in two communities. Unfortunately the allusion is very
curt and obscure. Blessing is invoked upon Senanayaka Aemati, and Ranhas
Aemati, but no particulars are given in regard to them.
My copy has 171 verses. The poem is an elegant, and celebrated one, but
I have not ascertained the name of the author. It is the oldest of the group
of sandesa poems, as yet known to me, and is rare ; a printed edition has been-
published.

Example :

Sobaman yowun Manyon saeti andunwana

Dena nan ruvan wan sataman nadunwana
Isuren atin dat Dasa-sata-nuwan wana
Niridun me wan andunawa 15 mudun wana.

Known for bright youth like Manyon,

Delighting the mind of men, giving many jewels,
Kake Dasa-sata-nuwan in prosperity and intellect,
Know the king is such, being chief of the world.

Manyon is Ananga, and Dasa-sata-nuwan is a name of Saekra, as the

Thousand-eyed.

118
 704. Kowila pewima

Purification of the temple

THIS is one of the 35 poems or hymns collectively known at the Dondra temple
by the title Pantis-k5l mura. I have not ascertained the author's name. The
poem is intended to be a sort of introduction, and invokes the Three Saranas,
Kataragama Deva, Pattini Deviyo. It then states that Palanga Kumaru fell
in love with Madevi, and used to give her eight thousand gold kalans a day.
It then briefly relates the story of his execution at Madura, and the reduction
of the city to ashes by Pattini, his outraged and forgiving wife. She restored
him to life. Her births in a kandula or torrent, a flame of fire, a lotus flower,
in the womb of Yasawati, in a mango fruit, are briefly alluded to. In the latter
she blinded the eye of the Pandi king. She upbraided the Pandian king after
the death of Palanga, reminding him of the quail or kaetakirili story, the
story of the two lizards that killed ten elephants, the story of the stick cater­
pillar and the Soli king, the story of the Soli king who saw a frog caught by a
cobra ; the story of the dove, the Soli king, and the Vaedda ; the seven stories
of the Soli raja's son and the calf. The intercession of the Pandi king follows,
and the ci-eation by Pattini of a cow from the hide used as parchment for a
drum made in her honour by the king, and the healing of the people after its
calf had suckled this cow, is the next subject. The creation of the Pandi pura,
and its assignment to the care of Waduru Ma Devi follows. Orumala Pattini
1
is briefly invoked, Jala Pattini, and Gara Yaka. Pattini has gone to the Tusita
heaven, and will become Buddha within seven kalpas. Vira Pattini, and
Siddha Pattini are invoked. Pattini is asked to prevent small-pox, and cure
the Parangi or Frankish sickness. Towards the end the following persons
are invoked, apparently followers of Pattini, besides Patma Pattini: Kitsiri
Sata Raja, Golusan Raja, Madi Raja, Salama, Raja, Kanda Raja, Suwa Raja,
Adaya Raja, Olamali, Nilamali, Jalapati goddess or Devu landa. A sirasa
pada exorcism concludes the poem.

It is probable that this saga was composed from materials collected about
three centuries ago for use at the Dondra temple. The Tamil influence was
strong under Sri Sanga Bo deva Sri Vijaya Bahu who was reigning at A. D. 1505,
Dondra inscription, and 1515 Tirukovil inscription, and the legends here
alluded to, may have been introduced then, or earlier. The unusual allusion
to the Parangi or Frankish sickness, probably records the first ravages o f
that disgusting disease, which has now assumed a very complicated and
obscure type. The Sinhalese name recalls the English name of the allied
"Spanish " sickness, the Spaniards and Portuguese being alike " Parangi
My copy came from the Kapurala of the Dondra or Devinuwara Dewala,
and has 126 verses. The author's name is not mentioned.

Example:
Taruna kirana teda yasasada nimall
Rakina patini patidan situ lobali
Taruna e Palanga sahasiri wipuli
Sarana magul me geta we siyali.

Pure as the glory and fame of the rising sun,

Attached, observing in mind chastity, of Patini,
With that youthful Palanga of great glory,
Of the marriage may all the blessings be on this house.

120
 705. Pattini yaga kavi

Pattini yaga kavi

"THIS is not one of the 35 hymns or sagas that make up the Pan-tis-kol-mura
book of the Dondra temple, but is closely connected with them in use. This
invokes Orumala Pattini, and the golden bangle, it also invokes the Wahala
-deviyo, Madusura raja, Kanda raju, Ambe Pattini, Alut-teda Pattini, Golusan
raja, Salama raju, Nila malini, Vaedi raju, Kidi biso, Teda Pattini, Nawa-
gamuwa Teda Pattini, Mal Pattini, Gini Pattini, Viramunda Malala sami,
Rama Nayaka, Sata raju, Sirima Pattini, Irugal surindu. These are each
invoked to exercise sickness, and give health to all. There is no indication of
special age in this kavi, but it may be one or two centuries old. It is referred
to in the memorial verses which summarise the contents of the Pan-tis-kol-
mura, or " thirty-five " hymnal. My copy has 120 verses.

Example :

Lol sit Pandi nirindu oda sinda nalala

Kulmat wemin dasa ata rata senaga raesa
Walmat wu wilasa adayata wida wehesa
Mal Pattini me geta asiri niti salasa.

Crushing the pride of the forehead eye of the covetous Pandi king,
Confounding the assembled host of the eighteen lands,
As-if lost in the woods, enduring the fatigue of the forest,
May Mal Pattini ever give blessing to this house.

The word is here very distinct, and I treat adaya as a form of adawiya, a
forest of great extent, a wilderness ; the word, however, is new to me.

121
 706. Kaw-mini-pahana

The gem stone of poetry

THIS is an elegant poem, taking as its theme the Dighakosala Jataka. In that
birth the Bodhisat was prince Dighayu. At that time Bambadat king of
Baranaes deposed the king of Kosala, and annexed his territory ; while the
king and queen of Kosala were living in obscurity at Baranaes, Dighayu was-
born to them. While the mother was pregnant she conceived a longing to
drink the water in which the arms of a four-fold army had been washed, and
to behold the army. As the deposed king had formed a friendship with the=
purohita Brahman of the king of Baranaes, that Brahman persuaded the
king to hold a review, and let the army wash its weapons, and so gratified
her longing. When the son began to grow up he was sent to another place,,
for fear of discovery. Subsequently king Bambadat discovering the king and
queen of Kosala in their disguise, ordered that their hair should be cut, and
that they should be beaten through the city, and taken out of its southern
gate, and quartered. As they were being taken to execution, their son arrived,
but was powerless to rescue them. The deposed king recognising his son, gave
him advice enigmatically, so as to escape detection, repeatedly saying, " do-
not look close, look afar", and again "anger by anger is not appeased, anger
is appeased by quiet " . During the night the prince gave drink to the guards
placed over the corpses, and cremating the bodies during their intoxication,,
made his escape. Some time after he engaged himself at the royal elephant*
stables. There he attracted the king's attention by his playing on the vina,
and was promoted to the position of a royal musician. In this position he
gained the king's confidence, and accompanied him to hunt. One day when,
hunting the king outstripped his attendants, and feeling tired, went to sleep-
with his head upon Dighayu's lap. At first he drew his sword to kill the sleeping,
king, but recollecting the advice of his father, subdued his longing for revenge.-
Suddenly the king awoke, terrified, and said that he had dreamt that a son of
Dighatissa, the executed king of Kosala, named Dighayu, had drawn a sword,
and cut him in two. The prince drew his sword, and disclosed his real name and.
rank, but after terrifying the king, begged for pardon. The king thereupon
forgave him, and restored him to the Kosala territory, giving him his daughter
in marriage. The prince's parents were afterwards Suddhodana and Maha-
maya.
This poem was written at A. D. 1840 by Welihitiya Sumana Tera of Dikwelle
near Matara. He also wrote a new Mayura Sandese, No. 712, and a Sambula.
Jataka kavi. He composed a small glossary upon this poem, Kavya mani pradipa.-
My copy is one taken from the author's copy about forty or fifty years ago,,
and contains 288 verses.

Example :
Werayen wera no sanhinde
Kiyamin yali tawa nomade
Noweren wera harinu sonde
Me lesin mata kiwa wade.
" Anger is not quenched by anger " r

Saying—"again, much more

Is it good to dispel anger by absence of anger ",.
In this wise was I advised.

122
 707. Mini ran dama, or Rabel Warnnanawa

The gold garland of gems, or Eulogy of Rabel

THE hero of this poem is addressed as Rabel aedurindu, or chief master, and'
we are told that his ancestor was Pahituppat Ulaka Mana, a wealthy man o f
Matota who knew the 18 languages, of Mahante wansa, who had accompanied
king Dapulu Sen when he came in a ship to Devinuwara or Dondra. Ulaka
Mana was chief workman for the temple there. His son became headman of
Galarambe, and was called Ulalnahe. His son again received the honorary title
of Arumuha Naranahe, at Dondra. His son was Wayitalanahe, and he married
a woman of the Patinigama to the east of Devinuwara, and lived there, as the
head stone-mason. His name was Donattandi Randa. His son Muttunahe
also became head stone-mason. His son was Vela-iran, who married Velachchi
and became head stone-mason with the title of Giri-hapunahe, and at that
time the Olanda king ruled the land, and paid tribute to the king of Maha-
nuwara. Olanda is Hollander, or Dutch. Vela-iran's son was named Rabel,
who took to trade. One day he found a sailor, mariya, senseless on the shore,
and procured cocoanuts and restored him ; the sailor who evidently suffered
from sun stroke, gratefully writing down his name in his pocket book. This
sailor afterwards became Raja (Governor) at Colombo, and remembered Rabel,
sending for him to Colombo. The Disawa of Matara, mistaking the order to-
send Rabel up quickly to Colombo, sent him up as a prisoner, but at Kalutara
the Governor sent to meet him. Rabel could not recognise the sick mariya in*
the governor, who explained their acquaintance, and created Rabel the Korala
of Giruwa, Dolosdas Pattuwa, and Vlbadu nilame or rice collector, as well as
Aetbandanaya or head of the elephant catchers, and Gate Mudaliyar of the
Governor's Gate. He also gratified an early grudge borna by Rebel, by making
the people of Nakulegama, his hewapanna or attendants. This was at S. 1553,
A.D. 1631. The king of Kotte approved of this, and gave him further a flag,
and lion standard, state slippers, a sword, and a gold chain. He was of Nawan-
danna or Smith's caste, and so he used the Hanuma flag (kodiya), and against
the wish of the chiefs, who said that his caste could not use it, the Court allowed
him to use a ' sawarama " ensign. He then claims to be descended from
Manudevi, who placed the crown on the head of king Maha Sammata, and so of
Manu wansa. The poem states that he was very successful in repelling the
attacks of the enemies of the Dutch, and was victorious in fights at Nalagama,
Dunumuna, Muruwak korale, Godawela, Walawe, and Kolonna korale. I have
seen a gold medal, given to this Rabel, and now in the possession of his descen­
dants, of Matara. It bears the following inscription —Door den Admirael
Ryckloff Van goens-voor goede diensten vereert aen Meester Anthonio Rabel
Opper Vidane vande Betmesen Corale vande dolos das Corla 1661. He died
at S. 1583, A.D. 1661, the year in which he received his gold medal. Such
ennoblement of the family of a master smith, was probably an unprecedented
event for their race in Ceylon, and in consequence they caused this poem to be
composed. The poet gives his name as Malawara Sekara of Devinuwara, and
it is traditionally said that he was of the Durawa race. This poem is followed
by a continuation in praise of Rabel Korala's son, Don Andara, to which the
separate title Don Andara puwata is given, see No_ 764.

123
 There are 280 verses in my copy A, which was given to me by the family,
and is about 40 years old. B, is a much older copy but very much mutilated.

Example :

E Jayawarddana pure naranidu tuma mohuhata aneka tutu wiya

Dajaya saha sinha kodida miriwaedi sangal kastanaya paelanda wiya
Nijaya kara maha ruwan damakut palandawa raja tuma tutu wiya
Wijayasingha Don Rabel aedurindu Giripada rata palamuweni wiya.

The king himself at that Jayawarddhana pura was very pleased with
him,
He decorated (him) with a flag, lion banner, pair of sandals, and sword
Making them his own, and the king was pleased to adorn with a large
gold chain.
Wijayasinha Don Rabel, master smith, became head of Giripada rata.

124
 708. Ganga rohane

The river journey

THIS is a poem in various Sloka metres, composed by Samarasekara

Disanayaka Arachchi, generally known as Don Thomes Mohandiram. The
subject is the beauty of Matara, and eulogises the Mudaliyar of the Gangaboda
Pattu there, Wijesekara Jayatilakaratna de Saram, who made a great festival
in honour of Buddha at Matara at A.D. 1806, forming highly decorated rafts
on the river, for the religious ceremonies. This poem is considered one of the
most beautiful in the Sinhalese language, but the author instead of writing
more poems, became entangled in a puerile and bitter quarrel with his volumi­
nous rival Miripaenne Tera. An interesting notice of this dispute is given by
Alwis, in the introduction to his Sidat Sangarawa, page CCXL. The work
consists of 100 slokas, and is hence called the Ganga rohane sataka. A printed
edition now exists, accompanied by a paraphrase.

Example :

Anagi saepa sirin yut me sabe bo satun met

Budu bawata waedum kalhi gosin bo mul asne
Yudatena Wasawat man bun kerewa patala
Paehada situ hangim Sak Dew pidu sak saepatyayi.

This hall with costly wealth and glory I regard as the Saekra bliss offered
by Sak Deva with contented mind, to the Bodhisat who prayed " May
I break the pride of Wasawat, coming to the fight, when proceeding in order
to become Maitri Buddha, going to the seat at the Bo root " .

This is a very involved and obscurely arranged verse, which cannot be

translated line by line satisfactorily.

125
 709. Champeyya jataka kavi

Ballad of the Champeyya birth

AT one time there was a Naga raja named Champeyya, who lived in the Naga
world under the river. At that time the king of Angu and the king of Magadha
were constantly at war with each other, with various success. After a defeat,
the king of Magadha leaped into the river upon his horse, preferring that death
to being taken captive. At that time Champeyya and the other nagas were
making a pleasant drink, in a palace, and the king fell down through the river
into the palace. The Naga raja gave him a throne, and food, and kept him
there seven days. At the end of that time, the Naga raja and his forces went
to the king of Angu, conquered him, and established the king of Magadha
-over his own land and Angu. -In gratitude the restored king made an annual
festival, and gave offerings in a bower on the river's bank inhonour of the Naga
raju. At that time the Bodhisat was a poor man, and followed the king's people
to the festival, and seeing the gorgeous splendour of the Naga raja who attended
to receive the offerings, resolved to practise virtues and become a Naga raja.
Afterwards Champeyya Naga raja died in due course, and the Bodhisat was
reborn as the Champeyya Naga raja who succeeded him on the Naga throne.
Trom this it seems that in the original legend Champeyya was the territory
over which the Naga raja ruled. The Bodhisat, however, felt disgust when
he saw his long naga form stretched on the throne, and wished that he might
die, and be reborn in some other state. Just then, however, he fell in love with
the lovely Naga maiden or Naga kanya, named Sumana, and assumed the form
of a Deva, and enjoyed great happiness with her. After a time, however, he
recognised that he was practising no virtues that earned merit, and went every
poya day to the human world, to avoid temptation to carnal desire, through
the charms of Sumana. In the world of men, the people began to treat him
on these visits with great homage, and erected a room for him. At that time a
Manawakaya of Benares, who had learned charms by which to catch nagas,
at Taksala nuwara, happened to come to the village, and seeing the Bodhisat,
charmed and tamed him, and carried him about to dance. The Naga raja has
here become a mere cobra. He gained enormous sums by the dancing of the
cobra, and at last exhibited him to Uggasena, king of Baranaes. Meanwhile
as the Bodhisat had not returned to the Naga world, as was his wont, Sumana
assumed the form of a goddess, and went in search. Seeing her at a distance,
whilst he was dancing, in shame the Bodhisat crept back into his basket. The
king observing the apparent goddess, asked who she was, and learning that she
was a Naga kanya, asked why she wept. She explained that the cobra was
her husband, and a great king in the Naga world. The king then ransomed the
Bodhisat for a great sum, and set him free. He crept away into a heap of flowers,
and then assumed the form of a deva, and invited the king to the Naga world.
The king accepted, and went there in great state, and received enormous wealth
from the grateful Champeyya Naga raja. The Bodhisat explained that it was
better to practise the sil, or religious observances of Buddhism quietly on the
poya days, than to possess riches and power, however great. The poya days
are the fifteenth days of each half of the month.

126
 This poem may be two centuries or more old, and is well written, if we allow
for copyist's errors. My copy is the only one I have seen, is about 60 years
old, and has 138 verses. The poet gives his name in verse as Kumbukwaewa
Samin, or priest.

.Example :

Nikma devangana na lowin himi' tuman duk wimasana lesin

Raekma Baranaes purata wan taena ahasa siti widuliya lesin'
Wikma pena siya dahas mawamin keliya na rada wili biyen
Ikma tama Wimalawa deaka ran pettiyehi gos saenga wemin.

The goddess issuing from the naga world to search out the sorrow of
her lord,
When she came to the guarded city Baranaes stood in the sky like
lightening,
The naga king dancing, creating by his might a hundred thousand
hoods, in fear of shame,
; Departing, seeing his Wimalawa, going, hid in the golden basket.

127
 710. Budu mula upata

Origin of Budu-ship

THIS poem commences with an account of the 24 designations of Gautama*

by his predecessors, and then relates the history of his birth, until he became*
Buddha. It has no special merit, and may be a century or so old.

My copy has 106 verses.

Example :

Karume neweda me loke karanne

Darume neweda matu para Iowa pawatinne
Budun upan pura nuwarayi maewenne
Mawu piya kawuda Dipankara Budunne.

Is it not karmma that is done in this world ?

Is it not dharmma that in future continues in the other world ?'
The town of Budu's birth is created a city—
Who were mother and father of Dipankara Budu ?

128
 711. Pancha maha wilokana piijawa

Offering to the five great insights

THE five great insights were seen by Budu in Tusita heaven, when requested by
Brahmas and Devas to be born in the human world, and become Budu. He
then replied that he must see into it in five ways. These form the five great
insights, and are whether the time is ripe; in what continent he should be born ;
if in Dambadiva, then in what land ; what was the supreme race there ; whether
his mother's life would end at his birth. They are briefly termed, kalaya,
time; dipaya, continent; desaya, land; kulaya, race; mawu sha mawuge
wayasa, mother and mother's age. These are taken from the Pujawali. The
mother of a Budu should not survive his birth, as she ought never to have
another child.

The poem is well written, and may be two or three centuries old, but I have
no information as to the author. It is simply, written, so as to leave the sense
clear. My copy has 377 verses.

Example :

Met sit kara me tun lowata

Dugatiya pat satun namata
At aera bawa duk sihikota
Budu wennata kiwu me lesata.

Having friendly thought for these three worlds,

On account of creatures suffering distress,
Having resolved to abandon the sorrow of existence,
In this way told to become Budu.

129
»
 712. Mayura Sandesa (abinawa)

Peacock's Message (new)

THIS is not the old Mayura sandese or Peacock's message No. 703, but a
modern poem by Waelihitye Sumana Tera of the Waewurukannala Pansala
•at Dikwaella^ He also composed Kawmini pahana No. 706, and Sambula
^Jataka kavi No. 131. The present poem is dated in verse S. 1781, A. D. 1859.
M y copy is the original manuscript of the poet with his original emendations
and alterations. It is on this account very instructive to the general student
of literature, owing to the information it affords in regard to the composition
of such elegant poems, showing how much was due to the old gift of improvi­
sation, and how much to the later art of correcting and touching up a written
manuscript.

The message is sent to Kataragama Deva on behalf of Baban Appu Upasaka,

Who suffered greatly from eye disease, invoking the god's influence for his cure.
After expatiating upon Dikwaella, the messenger is directed to proceed by
Pehembihya, Dodanpahala, Kemagoda, Waellewatta, Mahawela vehera,
Morakaetiyawa, Sihinmodara, Unakuruwe, Godaelle wela, Goyan bokka,
Rangalu kotuwa or Tangalle, Henakadu vehera, Marakolliya, Godigamuwa,
Polmote, Netolapitiya where Gotaimbara the hero lived, Wadigala, Banna,
Dolawela, Bata-ata, Maeda eliya, Hatagala, Kiwula, Lunawa, Nonagegama,
Tawalu wila, Ambalantota and the Walawe ganga, Walawa, Maedagama,
Payibokka, Mihiripaenwala, Waeraella winna, Paragan ara, Indi wimma,
Hambantota, Maha Lewa ehya, Koholankala, Mala ara, Kiripattiya, Palle-
malala, Waeligatta, Andalla, Wirawila waewa, Kirindi ganga, Tammanna
adawiya, Paelaessa, Detagamuwa, Maenik ganga, Kataragama. There he is
to visit the temple of Mahasen Dewurada, or Skhandha, and the Kiriwehera.
The god is then invoked to cure Babun Appu's eyes ; Babun Appu is described
as of Gowi kula, or Goyiya cast. I have quoted all these village names, as
they will illustrate on comparison with those in the other Sandese poems, the
change or persistency of place names, without the doubt whether they have
been selected to support a theory. There are two very ancient Sinhalese terms
preserved in south east Ceylon ; vinna, a form of vana, a forest or grove, and
ara, a river, which is very liable to be confused, and treated as a corruption of
Tamil ar, a river, whereas in greater probability they are the Sinhalese and
Tamil forms of one older term, but neither derived from the other. There
are 204 verses. This poet composed very elegantly and with great fluency
and spirit. He died in 18

Example:

Ran liya se rusiraeti landa kalaya

Pun sanda se piri uwanin dulaya
Gan depase kela kela siti dalaya
Yan satose Walawe siri balaya.

130
 713 Alut Devi raja kavi

Ballad of Alut Devi raja

THIS~is"anmvocation to Alut Devi, and addresses him frequently as Alut Devi-

raja, On Sunday he takes possession of men, on Monday he bathes. He is asked
to grant'a young doe, to his votary. Bo leaves should be tied to the instruments
intended for his use. At Kiwalegedara he built the Mfllika dewale or temple,
Devel, Divas raja, and abarapoti, are invoked. Divas Devi is asked to cure
the sickness; Bala Divas Devi is with his elder sister and is invoked; Divas
Kiriamma is also invoked. Divas Raja of Alagolle is blessed. He was bom
at Alagolle. Maenik raja is also blessesd. Kosgama Deviyo, who bewitched
Kosgama Rala is invoked. Kumara Deviyo is also invoked, he comes in a ship.
The whole is obscure, and does not embody any special legend, but catches
together disjointed scraps of lore. It may be one or two centuries old; my
copy has 53 verses.

Example:

Uda buwane sita waedi Kiri amma

Baendapu wiyan yata sakman wemma
Heppuwa aeragena penata emma
Mewaediye Abarapoti mamma.

Kiriamma comes from the upper world,

Beneath the suspended awnings I am walking,
Taking the casket to prophecy I am come,
Abarapoti who came here, am I !

131
 714. Mahabhinikman Pujawali

The offering of the great departure

THIS poem has already been noticed under No. 121 Mahabhinikman jataka kavi
and the reader is referred to that for a brief note of its contents. The original
poem No. 121 was based on the Nidhana Katha, and treated of the life of prince
Siddharttha up to his attainment of Buddha-ship. The further details added
by Walmoruwe Mohottala seem to be largely taken from the Pujawali, which
is based on the atuwa legends. The author however, adds, a note that he has
consulted the Bodhisatwa charitaya, the Pali Rajawali, three ancient poems,
the Pali Mahabhinikmana, Buddha wansa, Anagatawansa, and Yasodhara wata.
The word pali is perhaps used carelessly for the text of Pujawali, as these are
all sections of that classical work. The author tells us that he added to the
older work, and he gives his name as Walmoruwe Kivindu, of Matale TJdugoda,
Lekama of the Nalande Kadawata, or outpost. His work is dated S. 1669,
A. D. 1747.

His style is assimilated to that of the older author.

My copy A, is about 80 years old, and has 1,565 verses. B, is a little older and
has 1,564 verses.

Example :

Dakune aes sangalin aera gini kanda

Wamine aes sangalin aera diya kanda
Saedune eka taen diya kanda gini kanda
Arine siyalanga lomin mema leda.

From the right eye sending a volume of fire,

From the left-eye sending a volume of water—
Composed at one place of a volume of water and fire,
He sends it in this wise from the hair of the whole body.

132
 715. Dahamsonda jataka kavi

Ballad of Dahamsonda Jataka

THIS takes as theme the story, in which the Bodhisat was Dhammasondaka or
Dahamsonda, as related in Saddharammalankara and RasaVahini, but it does
not occur in the Jataka pota. It relates that after Kaksapa Budu had reformed
religion, in the third Budu interval, Dahamsonda was king of Baranaes. He
•erected a hall, and desired to hear bana, or preaching. As no one could be
found, an elephant load of treasure was offered, in vain, and even the whole
royal estate, but no one could be found who knew how to preach. Becoming
a hermit, he met Sak dew disguised as a Rakusa, and they agreed that as the
•one was hungry for food, and the other eager to hear bana, Dahamsonda should
leap into the giant's mouth, while the giant preached. This was carried out,
but Sak caught the Bodhisat in his arms, and took him to the Sak dew Iowa, an
there preached to him. He was then restored to Baranaes by the god. The
same subject will be found treated in No. 157 and No. 858. I have only one
copy of this poem, bound with others in a book quite 150 to 200 years old.
It has 200 verses. I have not yet met with a second copy, and my own does
not record the author's name. The style is simple, and it seems to me quite
300 years old, but presents no very salient features. My copy is full of copyists'
errors.

Example :

Bosat ebasata tada rosa wela

Pawasat sita rakusage desa bala
Bana asane (wada) pana aeti kala
Danitot bana pawasawa ki kala.

The Bodhisat at that word having become very angry,

Standing looking in direction of the rakusa, speaks,
Is not bana heard whilst there is life,
If thou knowest bana, speak ! when said.

The third line of my copy having lost two instants, I have supplied " wada "
to complete it in accordance with the style and context.

13:3
 716. Kaha kurulu Sandesa

The Oriole's message

THIS is a message supposed to be sent by a golden oriole from Jalawasna to

Kataragama, and has nothing of special interest in it. It celebrates the praise-
of Devamitra Tera of Galagama Vihare, who was the poet's teacher. I have
not ascertained the author's name or date, but the poem was probably written,
about a century ago. My copy has 220 verses.

Example:

Sitangi lesin apa sidukara dena satuta

Sitada hasin maga turu gewamin satuta
Tidiwa lesin Sawatindu pura daeka satuta
Situ satosin ganga siri narambawu satuta.

According to our wish, allowing to happen gladly,

At the mind's intent,finishingthe journey gladly,
Like heaven, the Six-faced-god's city seeing gladly,
With delight in mind, see the river's fortune gladly.

134
 717. Nila Kobo Sandesa

The green dove's message

THIS message is sent from Hitinamaluwa of the Matara district to Kataragama,

praying the god to cure the rheumatism of the poet's friend Sarjjana, perhaps
intended for a title like " sergeant". Nothing special occurs in the list pf
places which the messenger passes on his road, but we are told that king
Minikita erected a halting place at Hitinamaluwa, whence its name. The
name Minikita is quite obscure to me. The poem was apparently written about
a century ago, but I have learned nothing as to the authorship. It is written
in kavi, mixed with a little saehaella verse. My copy has 154 verses.

Example:

Ehi sitina gaja girikul yutteyae

Paena kelina taena taena paeti rotteyae
Dutuwotina sirisara me paewatteyae
Weda kewana minisek akamaetteyae.

The elephant staying there is like a mountain—

A crowd of children leaping and playing here and there—
If the fortune and plenty existing here should be seen,
What man will be discontented,

135
 718. Mihiripaenne kavi sangarahawa

Collection of Mihiripaenne's poems

THIS is a collection of the poems of the celebrated scholar Mihiripaenne

Samanera, who flourished during the reign of Rajadi Raja Sinha, A. D. 1780,
and lived on into the present century. This poetry is considered very elegant.
The poems are ail short, often of a few verses only, while the longest does not
exceed twenty-eight verses. Many of these are verses of congratulation to
friends and patrons, others are devotional verses. The learned poet was not
allowed to receive upasampada ordination, as the priests of the two fraternities
at Kandy refused to ordain any but persons of Goyigama caste or race, and the
poet was a Durawa. The principal poems are as follows :—Budun waendima,
in kavi and solo, 28 verses. Galapasa Vihare solo, slokas addressed to the
king concerning that temple, verses 23. Apaduk kavi, solo, verses 12.
Giniwaelle vihare pinkama, solo, verses 20. Sri pada wandana solo, verses 11.
A petition to the king, Wikrama Sinha, or Wikrama Si as he paraphrases the
title, complaining of the refusal of the Goyigama priests, to ordain as priests
persons not of their own caste ; it occupies in solo metre, eleven verses. The
shorter poems, of two or three verses, are usually in kavi metre. In solo and
kavi metres combined, there are in all 502 verses in my copy.

Example:

Arada mituru dana konda nadana sekara

Sirada lesa lopara maeti kirindu pakara
Dirada wadana naeninsuru tilina bokara
Saerada Mudali maeti sanda Ubayasekara.

Like a moon rejoicing kind friendly men like jasmine,

Like a lion dispersing hostile ministers in the world like elephants,
Chief in wisdom like the Elephant-faced (Ganesa), increasing gift-
giving,
May the illustrious Mudali Ubayasekara live long !
 719. Bali saerasuma

Celebration of bali

THIS is intended to be recited at Bali ceremonies to propitiate the planets.

It may be termed Buddhist bali ceremony, and suggests as suitable subjects
various Buddhist principles, events, and influences. Instructions are given
for a building for the ceremony, for offerings, which are made by nines, and so
on. Six maidens are to stand, three on each side, to salute the sacrifice, and
fowls, goats, buffaloes should be offered as victims. This will propitiate the
Nine Planets, and avert their evil influences. A representation of the nine
planets is made for the occasion. This seems to be a compromise between the
astrological ceremony usually called bali, and an ordinary Yak towil, or demdn
ceremony. The mythology, or ordinary Bali myth, is here omitted, and the
elaborate exoteric and esoteric ritual is reduced to a mere sacrifice to the
planets. I have not met with this ceremony in present use. The poem is at
least three centuries old and has 43 verses.

Example :

Porana sirit nowa kisiwan mella

Puda piliwet mada nokota siyalla
Gena sudu wat baenda wiyanut dulls
Kaenati bulat mal wadamut ella.

Not neglecting in any respect ancient custom,

Not lessening all the offerings and ceremonies,
Bringing white cloth, fastening a streatched canopy,
Having hung up tufts of betel and flower garlands.

137
 720. Sudarisana bali

Bali for Sudarisana

THIS purports to relate how bah was performed for prince Sudarisana, a son
of Maha Sammata. This prince fell on to the ground while dreaming about
a snake. Eight Brahmins decided that a ceremony was necessary to exorcise
the evil influence which had seized him ; the ceremony was to be the 35 bah
produced from the mouth of Kalagiri the Yakini.

Sixteen carpenters put up the building for the ceremony; and 1,000 goats,
1,000 gawaras, 1,000 cocks, were tied for sacrifice. Maha Sammata scattered
gold coins for the celebrants, and the Rishis, Vishmu, and Maha Kela Naga Raja
all gave great treasure to them. The Munidu cut off his head, and gave
it as alms. The evil influence is then exorcised from the sufferer, through
twenty-two verses, forming a sort of Sirasa-pada exorcism. The whole
occupies 54 verses, and is about three centuries old.

Example :

Rahasa no wl wak magulata waediye

Ahase damba pawane waeda sitiye
Bohose duk gena Sudasun waediye
Nase dosa pandurata duralaye.

It is not secret, he went for the sowing feast—

He stayed in the air in the damba tree's shade—
Suffering great sorrow, Sudasun came—
May the evil of the nose be expelled by the gift.

138
 721. Hat Pattini Katawa

Story of the Seven Pattini

THIS poem has an older title in No. 724 Pan-tis-kol mura, where it is given
as Lak Hat Pattini katawa, or story of the Hat Pattini of Lanka. These were
worshipped at the celebrated sanctuary of Hat Pattini, at Wattapola, near
Mulaitivu in Ceylon. The Tamils from Jaffna now worship Kannaki there, and
have substituted their own epic for the Sinhalese hymns, during the last century
or so. The Sinhalese have almost ceased in consequence their ancient pilgri­
mage to Wattapola.

In this poem she is addressed as Alut Gini, Parasidu, Teda, Rila-wesa-lat,

Bak-mi-gaha-deskiwu, Jala or New Pattini, Fire Pattini, Glorious Pattini,
Mighty Pattini, Pattini who assumed the monkey form, Pattini who adjured
the Bak-mi tree, Water Pattini. The poet unfortunately does not tell us the
circumstances under which the goddess became a little red monkey or macacus.
He states that she waited for Palanga under a Bakmi tree, while he went to the
city to sell her bangle, and the passers by imputed bad motive to her. She then
adjured the tree to testify her innocence.

The Seven were no doubt those usually worshipped in Ceylon, but these names
differ somewhat from the usual Sinhalese traditions and denote either an
attempt by a Tamil to account for the Sinhalese title Hat Pattini, or some local
temple with a separate line of tradition. Compare with this, Sat Pattini yaga
549, which follows the usual Sinhalese tradition of the others. Of Parasidu
Pattini we are told that when a prostitute threw a child into the Well, it welled
up, presumably throwing the child out of its depth onto the earth. Of Teda
Pattini we are told that hearing her husband's voice while drawing up a pitcher
of water from the well, she left it to attend him, and on her return found that
the rope had stiffened and held its place during her absence. It is decidedly
obscure, and evidently the composer had no complete materials for the legend
before him. My copy is from Dondra, and has 35 verses.

Example :

Bala, giyen himi desakata ena turu sama sitine

Dula, wadana salelun eti pahasata sita lobine
Dulawamin adara bowa unnemu sama sitine
Rila wesa lat Pattini namayayi kiwu itine.

Watching with constancy the direction in which the husband went

until (his) coming,
Handsome youths keep coming wishing for embraces,
Lovely, I stayed increasing my love with constancy,
Pattini who assumed the monkey form am I, (she) then said.

139
 722. Pattini sirasa pada

The Pattini head to foot exorcism

THIS follows the regular head to foot exorcism, citing for each member of the
body, the influence of Pattini. The destruction by Pattini of the Pandian city
by fire, and attendant circumstances, her ascetic observance of pati or chastity,
i e r putting out the eye of the Pandian, setting fire to the Sakwala, assisting
Devel Deviyo in his landing, and other such incidents are recorded. This
^particular sirasapada is used at Dondra, in exorcisms. My copy has a colophon
stating that it should be sung after Yaga kavi No My copy has
28 verses and is two or three centuries old. It is bound with No. 721 A.

Example :

De tane ekak genatin' gasuwa udahasa

Patane sema gini gati Madurapura tosa
Etane gini niwu Teda Pattini anuhasa
De tane siyalu piripata dura harin gasa.

Taking in hand, she cast one of the two paps, angered,

Gay Madurapura caught fire like a glade,
There the fire was stayed by power of Glorious Pattini,
May all evils be cast off afar from the two paps.

140
 723. Pattini Dolos raes santiya

The Pattini hymn of the twelve Zodiacal signs

THIS is a little hymn to the twelve Zodiacal signs, one verse being allotted to
each. It introduces the legend of Pattini observing pati dharmma on the
Andun Giri parvata, or Black Bock mountain ,and Saekra obtaining the
miraculous alms from her, to avert the evil of Mesa, the ram. Her birth as the
mango in the Pandian king's orchard to avert the evil of Vrasaba, the bull.
Nothing with which the reader is not already familiar, occurs among these.
The hymn is two or three centuries old in its present form, and comes from the
Matara district. There are twelve verses. My copy A is bound with 721 A

Example :

Dun nisa piwituru Budunhata katinayak pera satosina

Men nisakara me Dambadiva haema satunhata yasa pamina
In nisa Iowa sawu satunne siyalu uwaduru harimina
Karrni raesayen denna Pattini guna daham kanda balamina.

Bejoiced because a katina robe was formerly given to the pure Budu,
Like the moon showing favour to all people in this Dambadiwa,
On that account zemoving all the misfortunes of all people in the
world,
Under the sign Virgo, grant propserity Pattini, regarding the dharm-
maskhandhas.

141
 724. Pantiskol mura

The temple of ritual of 35

THIS is a ritual of 35 poems selected to be sung at the Dondra dewala, at some

period now forgotten. The present is a little set of memorial verses, as it were,
to prevent changes in the 35. The present poem consists of 12 verses only, but
I have thought it useful to catalogue it, and so bring the title and subject into
my index. The collection consists of poems on the same subject as the Tamil
Kavyam, Silapattikaram, and treats of the adventures of Pattini in her birth as
Kannaki, through her unfortunate marriage with Palanga guru, or in the
Tamil legends Kovalan. This is probably an anthropomorphic form of a very
ancient religious myth, common to one class of the ancestors both of the
Sinhalese and Tamils, before they reached their present seats in Southern Asia.
The myth now is that of a young man who neglects his wife, one moment
a powerful goddess, and at the next a helpless neglected woman. In her place
he lavishes his wealth and love on a dancing girl Madevi or Perunkali who in
her turn also is at times a mere strumpet, and at others a goddess, as when she
is able to tell Pathini, wandering disconsolately in search of her lost husband,
where she will find his soul and how she may recognise it, in its new form.
I will not here encumber my pages with the analysis of the myth, and its
variant forms, but I will state that I feel satisfied it represents in a widly
divergent form our own English myth of Balder dividing his time between
his human, and yet divine wife Nauna, and the pale goddess of the dead Hella.
It has, however, undergone great changes as a story legend, and probably both
Sinhalese and Tamil have acted, and reacted on each other. As at present
developed the scene is laid at the mouth of the Kaveri river in Taiyore, and at
Madura, with real and precise localities for each incident, and how far a real
historical event is blended with the ancient myth, no one can tell until the
subject has been exhaustively worked out, along many lines of theory. In
these verses the poems are arranged as follows :—

Madupura, Dankatine, Pandi naluwa, Patase, Soli Rata sagata, Pattini

paetima, Ambawidamana, Wanawistara, Kaveri ganga diya helima, Kavi tala
upata, Ganga baendima, Diya keli katawa, Kowil pe wima, Turanguri naegima,
Pandu keliya, Wiwakata, Dun awawada, Mini puwan naluwa, Tapase havi,
Madevi raengum, Dukeli Katawa, Wali badaya, Kannuran katawa, Vesi-
mada-ma, Palanga maeruma, Udra ipaedama, Gi witiya, Lak Mat Pattini
katawa, Waedi pura, Ganaruwa. These appear to be 29, but Gi witiya,
elsewhere called Witi hata, is taken as seven, at present, and so 35 is complete.

We must conclude that there were seven ancient gi, representing the seven
speeches of Pattini, which became obsolete, and were replaced by one modern
Kavi. The names differ here a little from those grouped in No. 7271 and these
appear to be older. I believe that at some period not fixed, it was decided to
form a cycle of Pattini hymns as a ritual, under the influence of Silapattikaram,
and probably some poems were then composed to complete the section, whilst
older existing hymns were adopted. The language and style present no decisive
features, but suggests an age of three centuries, more or less, for the collection
in its present form, and the present verses.

142
 725. Tun yahalu katawa

Story of three friends

THIS is one of the stories of Rasavahini, and Sahassavatthu. In it we are

told that during a great drought at Baranaes, there was a pit full of foul water,
covered with rubbish and growth of sorts. A man fell into this, and a parrot
drinking at it, also got wet and could not fly out. A cobra also fell into it.
A good man seeing their condition, got all three out of the deep pit, and restored
them. One day the man went to his friend the parrot, being in want, and the
parrot stealing the king's pearl necklace while he bathed, gave it to his visitor.
He then went to the house of the man he had also saved, and left the necklace
in his charge. On proclamation being made regarding the theft of the necklace,
he gave up his benefactor, and received a great reward. The kind man was
condemned to death, and recollecting the cobra he had saved, called on him
by name, Dirghaya. The cobra assuming ahuman shape, came and ordered the
executioner in the king's name to respite the sentence. Then assuming his
cobra shape he bit the queen, and again becoming a man, as such told the king
that the prisoner under sentence of death could cure snake's bite. The prisoner
was sent for and by the cobra's advice sprinkled the queen with water, the
cobra sucking out the poison, evidently in an invisible form. The king then
rewarded the man with wealth and honours, and he built him a mansion near
the corpse ground, or cemetery, at which the parrot and cobra lived. This
poem appears to be about three centuries old. My copy has 64 verses.

Example :

Yahapat himitumek edina

Deyaksoya himayata yana
Handak aesi lindata ebuna
Marana bayen mun tundena

A certain good man that day,

Seeking something going to the forest
Having heard a cry, peeping into the well,
In fear of death these three.

143
 726. Ratawati katawa

Story of Ratawati

THIS ballad relates that a Brahman of Baranaes, renouncing his wealth went
to the Himala, and lived there in a hut of leaves as a hermit. A thousand
kinnara were living in the caves all around his solitary hut. In that wilderness
was a spider, as large as a carriage wheel, which used to spin its net across the
caves of the kinnaras while asleep at night and catch the first that came into
his toils the next morning, and eat his brains. The kinnaras asked the hermit
to kill it, but he refused, as it was wrong to take life. Then they cunningly
dressed a beautiful kinnara maiden named Ratawati, with all her ornaments,
and sought through her to entrap the sage. He fell into the snare, and yielded
himself to her love. Then at her request he killed the spider. There is a moral,
a man gives up the world and retires into solitary life, but even then such things
happen. Then why be surprised that ordinary men fall into such snares \
The poem is very elegant, and may be a century or so old. I have not learned
the poet's name. My copy has 16 verses.

Example :

Dingu nil muhulasa konda mal kinihiri mali loli

Manakal de sawana domba mal kaekulewu eh dili
Sapumal damas siriyal silakewu eh dili
Suwisal pululura mutu dael nalangana mali doli

Loving flowers of kinihiri and jasmine bloom for the long blue knotted
hair,
The buds of domba flowers ghttering at pleasure in the ears,
A garland of sapu flowers ghttering like a patch of orpimeut,
With pearl network on the broad wide breast, dancing girls love
flowers.

144
 727 Gana ruwa

The pure image

THIS is one of the Pan-tis-k5l-mura sagas, and described how king Gajabahu
got an image of Pattini made by Viskam Deva, out of red sandal wood. In
time of Kasyapa Budu king Gajabahu was born as a situ, and offered scented
milk-rice to the Budu, and an iron staff. He was reborn through that merit,
in Kseliya nuwara. When 17 years old, his father Bambaraja died, and Viskam
Deva created a palace for the prince, at Kaeliyapura. He then caused a temple
of gems to be built for Pattini, to enshrine, her image of red sandal wood, and
he also erected a dancing hall for the ceremonies in her honour. By invoking
Pattini the headache of the Sera-man king was cured. The kings of the eighteen
lands, together with Gajabahu worshipped her. Details follow of the poems to
be recited in her honour.

A Tamil book with 7,100 verses, another book with 12,000 verses, a book
of 500 slokas, a ritual or yaga pota with 9,800 verses. The yaga pota or ritual
is called the Pan-tis-k51-mura, or ritual of 35, and contains the following poems.
Visituru yaga, Gajaba puwata, Madupura, Dan katina, Pandi upata, Patasa,
Sagata, Patiwarta uppaetti, Amba upata, Lanka wistara, Wana wistara,
Ganga-heli-soli upata, Ganga diya keliya, Wandapawukowila, Taranga katawa,
Sendu keliya, Walalu katawa, Salamba puwata, Tapasata giya puwata, Dukeli
katawa, Wali nada, Kannuran, Wesanga aendima, Tarahalu boru has kiya
maerima, Pattini pana gennu puwata, Wittihata, Sat kalpedaena kima, Waedi
puda, Dewmewan puwata. The Witti hata sounds as seven.

This poem is said in the last verse to be the composition of the Pandit Jaya-
weda, grandson of Maliya Maha Terindu, composed in 45 verses, in my copy
these have been increased to 53 verses.

Example :

E wiata Gaja Ba nirindun kiyana base

Lowata utun Pattini Devimaeyi yasase
Pihitana lesa mulu Dambadiwa diga yase
Satuta gal maenik kowila karawu mese

Then at the word spoken by king Gaja Ba.

Famed as chief of the world is Pattini Devi,
So that the fame should long be established in all Dambadiwa.

The reader will notice that the Yaga pota here referred to differs in its con­
tents from thte Pan-tis-kol-mura, as denned by the memorial verses, No. 724,
though some of the poems, sagas, or hymns occur in both.

145
10
 728 Wittihata

The seven events

THIS is a poem, forming seven sections of the Pan-tis-kol-mura of the Dondra

Temple. The seven events, relate respectively to a quail, two lizards, a cobra
and frog, a Hon and hare, a wood cutter, a cow and a dove. The ballad relates
that when Pattini rebuked the Pandi raja who had killed her husband Palanga,
she related these to the king, and then burned down part of the city of Madura,
and the palace, but afterwards spared the residue of the city on the king's
supplication.
The first story relates how a quail pleaded with the Bodhisat who was then
the chief of a herd of elephants, for her young. The elephant chief graciously
stood over these, until his herd had passed, to prevent their being trodden on ;
afterwards another herd passed, but its leader trod upon her young, disregarding
her entreaties. The quail to avenge their fate, persuaded a crow to peck the
eyes of the elephant. Then she got a fly to lay its eggs in the sores caused by the
crow, and also persuaded a frog to decoy the blind elephant up a rock by its
G r o a k i n g . The elephant followed, expecting w a t e r , and was decoyed over a
precipice by the frog.
The second story relates how two lizards by climbing up the trunks of a
thousand elephants, and attacking their brains, caused their death, in revenge
for the want on destruction of their young by the elephants.
The third relates how the Soli raja, seeing a cobra about to swallow a frog
cut off a portion of his own flesh and redeemed the frog. The king is not named.
The fourth relates how a Hon captured a hare, but was tricked by the hare
into leaping down into a well, mistaking his own reflection for a rival, and the
echo of his roar, for that rival's reply.
The fifth story relates that a learned man of the Soli court, falling in love with
a wood cutter's wife, took possession of her, and drove out the wood cutter.
One night when the Soli king was going about his city in disguise, he heard of
this injustice from the bereaved husband, and going to the man's house, he
slew the woman and her paramour.
The sixth story relates that the son of the Soli raja killed a calf with the wheel
of his chariot, when he drove over it in his hasty course. The cow, its mother,
complained to the king, who caused the prince to be executed similarly. The
name of the king and his son are not mentioned. This is a well known legend
of the Soli country, and is sometimes but erroneously fathered upon Elala, a
childless king of Ceylon, of Soli race. We are here further told that Saekra
appeared and restored both the calf and the prince to life.
The seventh story relates how Saekra assumed the guise of a Vaedda, and
one of his companions that of a dove, to test the Soli king. The seeming dove
sought refuge with the king, pursued by the Vaedda archer. The Vaedda
claimed the dove, and the king offered to ransom it by its weight in flesh. The
Vaedda refused unless the king's own flesh was given. The king agreed, but the
pigeon's weight was miraculously increased gradually, until the king's flesh was
exhausted. Afterwards Saekra renewed the king's flesh and restored it. This
king ruled at Kevaripura, but is not named.

146
 The authorship of this poem is not known to me.

It is stated that after burning part of Madura, Pattini went to Welliambalama,

and thence to the Vaedirata, where the Vaediraja of Ilanke made offerings to
her, and on his earnest supplication Pattini allowed Dala Kumara to receive
offerings in Ilanke. Ilanke would seem to be the Tamil name of Lanka, not
recognised as such by the Sinhalese poet who adapted the legend.

My copy has 291 verses, and like the other sections of the Pan-tis-kol-mura,
it is difficult to say how many centuries old it may be, as it has doubtless been
re-edited, and slightly modernised from time to time.

Example:

Dakimin raekawalu kiwu nuba kage

Kawurun koyi sita awuda wege
Ebaewin Pattini salamba sorage
Mama nam ambuyayikiwu welandage.

The guards seeing (her), said, whose are you ?

Who ? whence have you come hurriedly ?
For that, Pattini, of the " bangle thief "
Termed merchant, the wife am I.

147
 729. Waedi pfijawa

The offering by Veddas

THE saga is one of the Pan-tis-kol-mura. It relates how Pattini, with dis­
hevelled hair, salamba bangles on her feet, and bangles on her wrist, decked
in her jewels, descended from Sura pura or heaven to the city where Maduru
Ma-devi dwelt, at midnight, emitting rays of flame. Ma-devi enquires why she
has come, and Pattini replies that she has fulfilled the Law of Chastity, patidam,
and burned the city of the Pandian. Madevi is spoken of here, not as a dancing
girl or harlot, but as a Devi-du, or daughter of the gods ; she protests, that she
knows the past, present and future. Pattini then asks why if she has such
knowledge, she had not saved her husband Palanga, from his unjust death.
The daughter of the gods explains that he had to undergo this fate in expliation
of a sin he had committed in a former birth as a merchant prince at Kapilapura,
and even Munidu, Buddha himself, could not avert it. She consoles the goddess
by telling her that Palanga is now amongst the Devas, where she can recover
him. Pattini asks by what she can recognise him in his new creation, and is told
that at next dawn she will find him, and as asign the brest she had torn off
and hurled at the Pandian city in her avenging wrath, shall grow again as her
husband approaches her.
The goddess leaves, and vaeddas hearing that she is coming to their land, by
order of the Vaedi raja, their king, clear and decorate a path for her, and pre­
pare a great sacrifice. This she accepts, and then transfers it to Dala Kumara,
a mighty Rakusa or giant, sent there by Saekra for this purpose. Thence the
goddess sets out in a chariot for the Deva world, and on her way encounters
Palanga, driving his chariot also. Her breast is restored, and Pattini with grief
assuaged, hands over the charge of Earth to Madura Mi-devi, and wends her
own way to Tusita pura, the Tawatimsa world.
In this poem the allegorical side of the myth is quite uppermost. Madevi is
purely the goddess of terrestrial darkness, to whom Pattini, like her kindred
forms Isis, and Ishtar, repairs in search of her lost husband. At the conclusion
are verses many of which also occur in Wittihata, No. 728, notably that which
refers to the Vaedi raja as Ilanke Vaedi Raja, or the Forester king of Lanka.
My copy has 79 verses.

Example:

Usata yodun ganan digaeti mugurak ganimin suratata,

Lesata rakusu wesak mawa kela dekaki mukaya de pita,
Basata taman boru nowamin rakusu gennawa me rangata,
Lasata pasindu Pattini devi waran kepu puda gannata.

Taking in right hand numbers of yoduns high and long,

Creating a form like a Rakusa, with two torches at the two corners of
the mouth,
Not being false to her word, having brought the Rakusa to this spot,
Brightly famous Pattini devi gave leave to take offerings.

Perhaps for lasata we should read Lakata, or " i n Lanka "

.148
 730. Pandi naluwa

The pandi dancing

THIS forms one of the collection of songs known as Pan-tis-kol-mura, used at

the Dondra dewala or temple. The introduction states that the poet was Siri
Bhuwaneka Raja Tera of the Kaelani temple. He here states that he was pupil
of the priest of the " maha net pa mula ", by which is intended the Mahanetra
Prasada, mentioned also in Vratamalakhyawa. This priest is mentioned as
living about A. D. 1470 in Tisara sandesa, No. 699. The present poem is closely
connected in the cycle of Pattini sagas with Patasa No. 244.

It says that the father of the three eyed king of pandi married, and his queen
dreamed that a water lily with three petals was given to her. This was held to
foretell the birth of her son, with three eyes, and in due course such a prince
was born, and he was named Dewwappandi. Viskam Deva built a palace for
him, with eight entrances. The festival of inauguration is described in detail.

It is an elegant poem, but has no other special features. My copy has 180
verses.

Example :

Diyayai yana nama jiwita namakl

Mahanil nam pirisindu daru keneki
Ebaewin mehi pala asame keneki
Peti tuna nam dilihena aes tunaki.

The name it is " water " is a name for " life ",
The lotus is an illustrious child,
Therefore the fruit of this a peerless one,
The three bright petals are three eyes.

149
 731. Pattini Paetima

The prayer of Pattini

THIS is one of the Pan-tis-kol-mura collection used at the Dondra temple.

The subject is the birth of Pattini as daughter of Tirima Kulangana, queen of
Manimega nuwara, and the Situ Bolanda. When she was seven years old, she
went to bathe with a thousand maidens, and on her way heard that a merchant
of Kalinga was giving Buddhist robes in alms, and she desired herself to give one.
There were in those days a thousand Bambas or Brahmans in Manimega nuwara,
who received alms from the citizens, as did Kakusanda Budu and his rahats.
Pattini then offered in alms one thousand katina robes, and three thousand
ordinary robes, herself. At the same time her maidens brought a honey mango
as a gift for the priests. As one mango was useless, Pattini planted it, and it
grew miraculously and produced ripe fruit, which she offered to Kakusanda
Budu and his rahats. She then formed the wish that by the merit of the honey
mango alms she might be born in a golden mango, and subdue the pride of a
mighty king, becoming greater than gods and men, able to emit flames from
her ten fingers, and again to quench those flames with nectar. The merchant
from Kalinga prayed that he might become the king of Pandi.

After this, by permission of Kakusanda, and of her parents, she became irddi
on the Anduu Giri, or Black-rock mountains.

I have not ascertained by whom this poem was composed, but it appears to
belong to the same period as Pandi naluwa No. 730. The legend of Kakusanda
has not been identified, by me in the Buddhist commentaries. My copy of the
poem has seventy six verses.

Example:

Me dun ml ambe pinen

Eran ambe ipadawamin
Tedin mahat rajakuge man
Me pin balen bindimiutum

By merit of the sweet mango here given,

Being born in that golden mango,
The pride of a king great of glory,
By might of this supreme merit I will break.

150
 732. Toran Baendlma

The tying of the arch

PATTINI ascended to the peaks of the m mntains (giri) to practise austerity,

and there made offerings to the Pase Budus, who granted as a boon that her
wishes should be accomplished. At one time the Seraman raja suffered from
headache, and to cure it erected a gan-madu, or village-house for ceremonies.
The arch before this was put up in honour of Pattini, with great magnificence.
The evils of the seven days of the week are then exorcised, and those which
afflict the body from the head to the feet.

This form one of the Pantis-kol-mura, of the Dondra dewala. The arch for
purposes of ex rcism should be seven spans and four fingers width in height,
and six spans three fingers width in breadth. The sufferer to be cured by this,
should be placed seven cubits off it, and made to regard it. The allusion to the
Sera-man, or king of Chera, shows that this saga has a Malabar origin. This
poem is well composed, and is probably as old as Pandi-naluwa, and Pattini
paetima, and similar sagas of the Pantis-kol-mura. My copy has 49 verses.

Example:

Porana gi aeduru ruti lesa nowa wega.

Urana nowi asa sata pera paewiti ranga
Perat puwata mehi danno adda waga
Torana daekkuwe Bamuno kala yaga.

The usual fashion of ancient master poets was not hasty—

Not being angry, hear the way that people formerly adopted—•
Are there here those that know the facts of former affairs ?
The Bamunas that performed sacrifice showed the arch.

151
 733. Mahatapasa

The great penance

THIS opens with recognition of the Three Gems of Buddhism and alludes
briefly to a " metmahatrindu ' , who may or not be the person on whom Siri
Buwaneka Bahu Tera speaks in the Pandi naluwa.

At K&veripatuna of Dambadiwa or India, lived Machatuwayara, who one

day looked at his reflection in a jewelled mirror, and saw a grey hair. He then
reflected on the instability of life, and leaving his wife and children, became
an ascetic, against the pleadings of his wife. Ultimately they became ascetics
together, after blessing and advising their son Palanga Kumaru. The king and
queen left secretly, at night, by sea. Their son however saw a vision, which he
explained to his wife Kannaki, who interpreted it thus. The Danapati was a
Kalpa tree, Kulangana was a golden creeper, and the blue sky was the sea the
eagle a ship.

They set out together, to try and stay the parents, but the ship had already
started. Kannaki however miraculously drew it back, but the parents prevailed
in their wish to depart for penance. They went to Kanchipura, and lived there
in religious peace.

This is one of the legends of Pattini in her birth as Kannaki, a form of which
is the subject of the very ancient Tamil saga Chilappatikaram, and the prose
version known as Kovalan kathai. This Mahatapassa is one of the Pantis-kol-
mura of the Dondra temple. My copy has 79 verses.

Example:

Kaptura nam Danapatiyaki

Rana liya nam Kula-anganaki
Nilabara nam nil muhudaki
Gurulaku nam saedu naewaki.

The kalpa tree is the lord of wealth

The golden creeper is the high-born lady,
The blue cloud is the blue sea,
The kite is the ship built:

152
 734. Udawarana

The dawn

THIS poem belongs to the Pantis-kol-mura of the Dandra temple, and des­
cribes the chief features of the sun s dawn, such as the crowing of cocks, and
howling of monkies, the opening of lotus flowers, the change of the sky to blue,
and the dancing of peacocks, spreading out their trains. It also alludes to the
sundispelling win and darkness. At the dawn the husband of Pattini quits the
brothel in which he has passed the night, and seeks his lawful wife, Pattini.
Milk in a thousand bowls is boiled, and flowers bloom through the forests, lilies,
open on the waters. By the sun s help the peak of the Dawn-rock, Udayagiri,
is lighted up. Pattini at this dawn offered to Munidu or Buddha. She prepared
a stately paya or pavilion, and creating a celestial cow with its calf, she milked
in into a thousand bowls. She blesses all creation.

This poem is most interesting and important for the scrap of mythological
lore, which treats the reduction of Palanga by the harlot Madevi, as the sun's
passage through the night or brothel, to his lawful wife, and the day. It is
probably of the same age, and resembles in style Nos. 730, 731, 732, and 733.
My copy has 28 verses.

Example,

Patini himi sandini siya waelandiya se

Wetini wenwa aerala wesamba wase
Nitini awata no gosin dinidu pae se
Himi niyatin yanu weta anduru nu se

Dear lord of Patini, as if one's own was enjoyed

Having abandoned living with harlots, separating from their neigh­
bourhood,
Ever not going from the orbit, as when the sun shone,
Lord may you ever go ! as when darkness is dispelled.

153
 735. Dalada sirita.

Customs of the tooth relic

THIS differs from No. 447, and contains only a short history of the relic, and
much surplus matter. It starts with an introductory account of Buddha s life
and then relates that Kema Tera gave the tooth relic to the king of Kalinga.
It remained with his dynasty until the reign of Guhasiva. The usual amount
is given of the struggles for its possession, and of the miracles it manifested at
Paelalup or Pataliputra. Its transport to Ceylon is stated without details
of that romance. While the kings of Ceylon were worshipping it, there arose the
Ariya-sak-witi aemaeti, who destroyed the world and religon, and during that
time the relic sprang into the air, in the form of a Buddha. This aemati or
Minister refers to one of the Ariyachakravarti, rajas of Jaffna, a branch of the
Soli dynasty. King Wijaya Bahu established its worship at Dambadeni nuwara,
and Polonnaru, while his younger brother Loka Bahu caused it to be worshipped
at Sundaragiri Pawa. In this poem we have a different form of the legend related
in No. 173, Dagot pradipe, and we are told that on its arrival in Ceylon a Yaka
named Sena got possession of it, and kept it in a rock. In my copy the following
lines are obscure, but it is evident that some legend once existed, which has
taken widely different forms, perhaps for the reason given in the Dathawansa
that the orginal Sinhalese poem, composed in the third century, had become
unintelligible. It alludes finally to the worship of the tooth by Kirti Sri Raja-
sinha, in whose reign, A. D. 1750 it was doubtless composed. The kavi verse is
followed by some gi verse, in my copy, which has 121 verses in ballad meters.
It is in good verse.

Example :

Sinhala dipeta wadina, gamane

Sena nam yaku gal kara edine
Pinamen at podi tula waedune
Ewa sandahan kara namadimine.

On the journey of arrival at Sinhala dipa

Turning the yaka named Sena to stone that day
As if (it) swam, (it) came into the little hands
Remembering these, I worship.

154
 736. Anagata Wansa

The future life

THIS is a summary in verse of the Anagata wansa, and is composed in a simple

unaffected style, and apparently is two or three centuries old. I have only seen
my own copy, which seems at least a hundred years old and has 74 verses, but
has probably lost a leaf or two at the end.

Example:

Anagiran ruwan mini panduru e pure

Sawu waranin mahasen waejambeti nitore
Nawa ruwanin pura haema taena dili paetire
Rae dawal waenasak naeta epura ware

In that city of invaluable gold jewel gem offerings,

The great host of four races ever dwells.
The city everywhere glitters with the nine jewels,
Night and day there is no difference in that great city.

155
 737. Ganan taranga

Catechism of Statistics

THIS taranga is composed to teach certain matters, as follows. The height of

the stars above the earth is 42,000 yoduns. The sun and moon are 178,000
gavas above the earth. The distance is computed in miles, and fathoms, cubits,
spans, inches, paddy seeds. The circumference of the Sakwala is also treated.
This composition is probably about two centuries old. My copy has 33 verses.
I have not tested its accuracy.

Example:

Mahat polowa sita sandu wimanata danne

Ahit nowi hai taekma daena ahapanne
De saettae dahas pas laksaya wanne
Kisitboru naete kiwinduni ahapanne

Know the extent from earth to the moon's abode,

Not being unwilling, now enquire the miles,
They are five laks and twenty two thousand,
There is no falsehood, bard ask.

156
 738. Ashtagane taranga

Catechism of the eight feet

THIS is composed to teach the eight feet of Sinhalese prosody, which I have
noticed in the introduction. It first treats of numbers from ten to an asankaya.
A verse is then allotted to each of the eight feet. Verses follow on the alphabet,
and physical conditions of the earth in space, such as the depth of the
atmosphere, the watery envelope of the earth, the Sakwala circle, the mahamera
rock or pole, the Yugandara rock surrounding mahamera, and the Isadara,
Karawika, Sudarisana, Nemindara, Winataka, and Asivakaruma, which are
concentric rings of mountain, one outside the other, around Mahamera. The
Himala is discussed and the seven lakes. The four continents are then noticed,
here called Purva Videsa, Apara Godanaya Uturu Kuru, Dambadiva. The
heavens are also enumerated. Visaka, her 20 children and 400 grand children,
and 8,000 great grand children are noticed, but whence this information is
derived I do not know. Some miscellaneous statistics follow. The poem may
be two centuries or so old. My copy has 97 verses.

Example :

Daruwan waeduwissak aeti e Visakawanne

Taruno munubura sara siyak aeti daenaganne
Peruwen munuburo ata dahak inne
Boruwen umba daen mokawat kiwot hoku tika pussanne.

Twenty children were born to that Visaka,

Know that the little grandchildren were four hundred,
The great grandchildren are eight thousand—
If you should now tell anything false, (your) mouth shall be burned.

157
 739. Ganan sivupada

Quatrains of statistics

THESE verses begin with the Sumedha legend of Buddha, and then discuss
the inches between the Aka ishta world and the Naga world; the number of
drops of rain that fall during 30 years in the seas of the four continents; the
number of legs for a thousand millepedes ; the number of hours and minutes
in a thousand years. The composition may be two centuries old. My copy has
14 verses.

Example :

Dahasak kankum baluwanne at pa kopamanaki

Delaksa nahuta siya kambeki sat keleki
Kama baeluwctin waediyen kotiyaki
Baelu diwa netin Tissaya Muni rajakl

Looking at a thousand millepedes how many are the arms and legs ?
Two laks, a hundred nahutas, a kamba, seven keias,
If the saying is looked into it is more by a koti
It is Tissa Mum-raja looked into (it) with divine eyes.

158
 740. Gange Bandara Kavi II

Ballad of Gange Bandara

THE birth of this god is not related here. He visited Yakshagiri divayina,
in the midst of which was the Gira wilderness. On the top of the Kantala Kuta,
and three gawas (twelve miles) beyond that, he created the Devel giri wilderness
or Himaya. He created twelve Yagal pawu, or Iron-stone mountains. He
created the 60,000 Devel Pattini, and Wadiga Kurumbara Yakas 60,000 in
an hambana ship. They arrived at Hambantota, and Kanda Kumaru broke
up their stone boat. They strated for Ceylon from the Kaveri river, where the
Gange Bandara had dwelt. After his ship was broken, he formed one of plantain
stems, and passing Madakalappu, and Talivita watta, he saw the Mahawaeli
ganga, and rowed his boat up its stream to Dastota rapids. Thence he passed by
Weragantota, Mayyangane, Bintaenne gantota, the Rantaemba aele, Dandupola
aele, Kundasale, Iluk Modara, Lewaelle, Alutgantota, and other places near
Kandy, such as Katugastota, and Sohonsalawa, Gampala, as far as the
Samanala Hima or Adam's Peak forest. He made yak a boy named Nayide
who was drowned, and another named Malhami, but these yakas have no
special name or duty assigned to them. He planted his plantain trunks on
a rock, and in three days they formed 67 clumps, which bore fruit of seven
clusters to the bunch, a golden plantain tree bearing pearls and gems stood in
the centre of this grove, and from this the village Kehelgama, plantain village,
took its name. A dewala was built there, and a pagoda of nine stories was
created at Uswaeli for the god. Another dewala was made at Pasbage. He is
apparently also called Alut Bandara, Maenik Bandara, and Devata Bandara,
as there are invocations in that name.

This appears to be about three centuries or so old, my copy has 92 verses.

Example:

Paewati utun Mahawaeli gangaweka

Tedaeti Gange, Bandara surindeka
Waditi gange diya kela Pawanaeleka
Balati gosin sa unu taena oya deka.

There exists the supreme Mahawaeliganga (river),

Gange Bandara is a mighty god !
He passes along the river sporting in the water at Pawanaela,
He goes and sees the place where the two streams joined.

159
 741. Devata Bandara kavi II

Ballad of Devata Bandara

THIS is addressed to the same god, as No. 297. He is invoked as a friendly

power, but no facts of interest are stated, nor does it appear why he is invoked.
It appears to be two or three centuries old, and consists of fourteen verses
only, in my copy.

Example:

Tedaeti mahat Devata deviyanhata

Pudati dano pandurut gena nisi kota
Dewati isuru saepa ro duk durukota
Weseti me lesa e purehi karuna kota

To very glorious Devata deva

People offer gifts suitably brought
He gives great prosperity, having dispelled sickness and sorrow,
He lives in this wise in that city kindly.

160
 742. Kumara Bandara kavi

Ballad of Kumara Bandara

IN ,this legend we are told that the Pandi queen had two sons, who were sent
to learn letters. When Pattini came to enquire into the fate of Palanga, she
met these two children, and the younger child told her that Palanga was
executed. She created a great blaze to burn the city, but rescued the little
prince from the flames, and took him with her to Sinhala desa, Ceylon. She
settled him at Ridigama. A gold image was sent to Ceylon from Madura pura,
and she placed that also at Ridigama, in his charge. She named him Kumara
Bandara, the child god. He dispels sickness. This is a saga of the god as
worshipped at Ridigama, but he was doubtless originally a form of Skhandha,
although in this legend it is expressly stated that he acts by authority of
Pattini, and Kataragam Deva or Skhandha. The poem is about three centuries
old, my copy A has 25 verses.

Example :

Pema wadana soratal kumarunne

Lama kumaru daeka santosa wenne
Uma patini devi waramut dunne
Kumara Bandara nam pata bandinne.

Oh cherished prince, developing love !

Being gladdened seeing the child prince.
Uma patini devi gave privilege,
The name Kumara Bandara is granted.

161
 743. Sulu Mahabinikman Kavi III

The lesser great departure ballad

THIS, and Nos. 327, 637 contain a brief history of Goutama Buddha. The
present poem begins with his descent from the Sura world, to be born of Maya
devi. His life is briefly stated, from the orthodox commentaries, until his
piri-niwan or death, in the 45th year of his Buddhaship, and the eightieth year
of his life. This poem is not quite so elegant as the other two, and may be
about two centuries or so old. My copy has 67 verses ; three metres are used.

Example:

Dili rane ruwa wilasine dutu sura naran wandimin lole

Balamine digu nuwanine e waeda un Budun Ajapal mule
Mudamine muhulasa saenekine maeli une mada hasa kale
Kima ane himi bae une waejabenda do winda duk bale.

Bright like a golden figure increasing the love of gods and men that
see,
Looking with long eyes at that Budu seated at the root of the ajapal
tree,
Loosing the hair suddenly, having smiled on (him who) was indifferent,
Why alas beloved lord, do you exist enduring strong sorrow.

162
 744. Ritta wittiya

Account of Ritta

THE ritta are the six auspicious days of the lunar month, being the 4th,
9th, 14th, 19th, 24th and 29th days. The poem regards these as a woman,
and says she was born to Jaksha raja (Daksha) at Jaksha nuwara, by his
queen Ginika Devi, and was named Yama duti. She resides on an unbeautiful
mountain, and receives offerings from nine laks of lands. When approached
she becomes invisible. Her body is covered with black down. She in nothing
benefits the world. Her head is red her ears are deaf, her body is copper-coloured
and leperous. Her hair is like fire, and she has no eyes. She wears no cloth,
but twists leaves round herself. During the Zodiacal signs, gon, the bull, elu,
the goat, makara, the dragon, and kataka, the crab, she resides in the Deva
world. During kanni, tula, dhanu, mituna, or the virgin, the scales, the bow,
and sexual intercourse, she is in the 'Naga world. The goat replaces our
ram, and a male and female in sexual intercourse replace our twins. During
mlna, ali, sinha, kumba she is on earth. These are the fish, the scorpion, the
lion, and the water-vase, our Aquarius. On Sunday she is on earth, on Monday
in the forests, over-turning the trees, on Tuesday she kindles fires on the
South-east, on Wednesday she is on the West-side of cities. On Thursday
she is at Maha Mera, on Saturday she lurks at the places where three roads
meet. My copy is obscure as regards Friday, and says " yasaluwa nuwana
wadanne ". The nearest approach to sense that I can make of this, is, that
she becomes a little more sensible on Friday, but the text must be corrupted.
She has a child, named Paraya, which never ceases whimpering, its eyes are
long, its cheeks like eggs. She reads a book of golden leaves, and eats bad
cakes, and dwells on a white rat-snake. Every two paeyas she has bad
influence ; her bad influences are twice thirty. On Sunday 300, on Wednesday
800, on Thursday 106 cubits, on Friday 800, on Saturday 900—presumably
cubits, but what this may mean I do not know. Though we were told that
she had no eyes, we are now told that on Sunday antimony is smeared on one
eye, and one ear hangs down. One breast is filled with milk, and one is withered,
one leg is crippled.

On Monday one eye is red, both eyes are diseased ; she shivers with hunger,
and has only one arm.

On Tuesday her breast has boils, there is a boil on her left shoulder, and
her body is emaciated.

On Wednesday she visits Sikura or Friday's planet.

For Thursday, Friday, Saturday there are no details in my copy.

On Sunday she makes shops, on Monday she grinds up leaves for medicine,
on Tuesday she does barber's work, on Wednesday she learns the 64 arts,
on Thursday she poisons her husband, on Friday she strays about for sport,
on Saturday she lights a fire around the kapa, which means kalpa, and may
refer to the Sakwala, or a kap or standard post. On Sunday she weaves cloth, on
Monday she builds houses, on Tuesday she breaks up ships, on Wednesday
she observes " tapas " or asceticism, on Thursday she cooks gravel, on Friday
she destroys love, on Saturday she looks at a mirror, or kaedapata.

163
 On Sunday she makes gold coloured leaves. On Monday white leaves. On
Tuesday she hunts. On Wednesday she wanders about in the guise of an Asura,
on Thursday she kills herself, on Friday she arranges marriage, on Saturday
she puts on her ornaments.

I present the summary of this Saga, to the student of myth, there is so

much of it that it might form a study by itself. It is regarded as serious, and
not as idle fiction, and therefore probably is allegorical. The poem is some
three centuries old, at least, and I have only seen my own copy, which may
be 60 to 100 years old. It has 26 verses.

Example :

Irida biimiye pita aewidinne

Sanduda wanaye wal peralanne
Angaharu agniye gini molawanne
Buda dina nagare waruna wesenne

On Sunday wandering upon earth,

On Monday overthrowing the woods of the forest,
On Tuesday on the south-east kindling fire,
On Wednesday haunting the west of the city.

164
 745. Wandana sataka

A hundred verses of reverence

THESE verses are in solo or sloka metres, and there are 102 of them. They
are partly in the malini metre, and then in syardula wikrijita, with two verses
in wasanta tilaka metre, and are very elegant indeed. The subject is praise of
Budu quoting of the orthodox tripitaka doctrine. It is many centuries old,
and the poet must have been a very distinguished scholar. His name is not
stated, but he tells us that he wrote at request of Panikki Maeti, a person I
have not identified. He also invokes blessing on the King Siri Paerakumba,
and as he gives no qualifying title, it probably refers to Parakrama Bahu of
Dambadeni nuwara, A. D. 1236 to 1266. The work is now unknown to native
scholars, and I have only seen my own copy, which is about 100 years old.
I give an example in syardula wikrijita metre.

Exampls :

Sit men e ajapala nam nugahi mul un kal tilo net seyin
Yut sit mat kara wan dam rasa tepul di at nagala naetum
Wet pat e mara kal udan binda lamin sit gat surange nomin
Pat mat got guwane sandak sadisi wfl tun 15 tuman mam wandim.

At pleasure when he who is an eye to the three worlds sat at root of

the Indian fig named Ajapala,
Fit to intoxicate the mind, having beauty, uttering sweet words,
raising the arms in dance,
Subduing the pride of those Mara women who come near, greatly
gaining the esteem of the gods,
Of Sun race, equal to a moon in the sky, I bow to the Lord of three
Worlds.

165
 746. Dalumura upata II

Origin of betel
THIS is distinct from Nos. 192, 199 and 250. It first relates the Sasa Jataka
or hare birth of Buddha, as in No. 192, and the painting of the hare's figure by
Saekra on the moon disk. The paint brush fell to earth, burst through its
crust, and fell into the naga world, dropping into the Naga rajas throat, through
which it burned its way out, and grew as betel under the constellation Puse.
Sonuttara Tera brought a casket of the relics of Buddha, from the Naga world,
which the Devas distributed. When the nagas pursued him, they sheltered
their heads with sprays of betel, and reached NSlanda, where they threw
them away. Those grew up as maetipala, a prostrate growth of betel. In time
of Kakusanda it was called pandipulpatra, in time of Konagama sri patra,
and in time of Kasyapa Budu it was called nagawalli, and is now called daehaet.
The nagas keep watch over it in their world.

This may be used at any ceremony when betel is offered, and seems to be
two or three centuries old. My copy has 54 verses.

Example :

Akunu widuli lesa dishti waeteti

Lakunu bala nai darane waeteti
Ha kiyamin na, raja muka hariti
Giriya ira, gos darane waeteti.

It falls like the glance of thunder-lightenings,

Observing the signs, it falls on the cobras coil—
Saying " ha " , the naga king opens the mouth,
Going tearing the throat, it falls on the coil.

166
 747. Raga siwupada, II

Passion verses

THIS is the lamentation of a lover whose mistress is parted from him, and
describes his longing for her. It is not at all indelicate, and is a graceful poem.
It may be three centuries, or less old ; my copy has 20 verses.

Example :

Ekwena kota rasa miye paeni sema

Wenwena kota yak debare wada sema
Gosin gosin katu atte aga sema
Itin lande karawila tibbatu sema.

When together like the taste of honey in the comb,

When separated like the nest of the yak-hornet,
As time passes, like the tip of a thorny branch,
Now, woman, like bitter solanum berries.
 748. Chandrabarane

The moon weapon

THIS poem is an invocation to cure sickness by the power of the moon. The
evil aspects of the moon are considered to cause sickness, and it is such mis­
fortune that the poem exorcises. When the moon is new, it is a little child ; he
has only one eye on this first day, but he rides on horseback. May the evils
caused on his first day be avoided. He is Bala chandra.

On his second day he has two faces, and two eyes, and drinks milk from a
golden bowl. He is seated on waters of milk, and holds a dabarawa, or flask of
milk. He is Kumara Sandu.

On his third day he has three faces, three eyes, he sleeps on a couch of flowers,
and rides on an elephant. He holds a book and standard. He is Kirana Sandu.

On his fourth day he has four faces and eyes, he is in a chariot, and holds a
water-jar. He is Jala Chandra.

On his fifth day he has five faces and eyes, he holds a book, stile, and rosary
of beads. He is Bhuta Tarindu.

On the sixth day he has six faces, six eyes, and the figure of a woman. He
holds a gem and umbrella, he rides on a conch shell. He is Kanya Sandu.

On the sventh day he has seven faces, seven eyes, the appearance of Visnu,
six hands, and holds a book and diamond. He rides a red horse, in a red light.
He is Visnu Chandra.

On the eight day he has eight faces, eight eyes, holds a rosary of nine or
Nawaguna waela, wears the eight fold robes, and preaches on a throne as a
Buddhist priest. He is called Muni Chandra.

On the ninth day he has nine cobra hoods, his head is red, he has an eye in
his forehead, nine beads, nine hands, a sword, and his hair is dishevelled in
tangled tails. He rides a leopard, and is called Ashta Tarindu.

On the tenth day he has ten faces, ten eyes, ten hands, and preaches Abhi-
dharmma. He is seated on ten seats. He is Dasa Sandu.

On the eleventh day he has eleven faces, eleven eyes, eleven hands, wears a
Brahmanic cord, and turban, he sits on a flowered cloth, and is called Brahma
Sandu.

On the twelth day he has twelve heads and eyes, holds a quoit or chakra and
a trisula or fork, has twelve hands, has a wheel jewel or chakra ratna. He is
called Saekra Sandu.

On the thirteenth day he has 13 heads, eyes, and hands, rides on a Makara ;
his name is not stated.

On the fourteenth day he has 14 heads, and assumes the form of a bujanga or
cobra. He holds a sword.
 There are no particulars for a fifteenth day. This, of course, applies to each
half of the moon's month, or the periods of the waxing and waning moons.
This composition may be three centuries or so old, my copy has 18 verses. The
myths involved would require great detail for even primary elucidation, it will
suffice here to say that I believe they are ancient and valuable, as a survival of
the exoteric teaching of a sect which made the phases of the moon replace in
symbolism a whole pantheon of gods and goddesses.

Example :

Maewune nuwa muna deheki deweni data de netin

Bomine kiri ran taliyaka kiri jala pita waeda un
Atine kiri dabarawaki de kal&wahi bilindun
Rakine diya waka dosa haera kumaru Sanduge balayen.

A form is created on the second day with two faces, two eyes.
Drinking milk from a golden bowl, seated on milky water,
In hand a milk flask, a child at the second division,
The second day is protected, avoiding evil by might of the Moon child.

169
 749. Samagam mal yahan

Flower altar for the hosts

THIS is an invocation to the yakas, and devas, Alut Devi, Kalu Kumara, the
three Kosamba gods, Kalu Bandara, Devata Bandara, Kiriti or Kirtti
Bandara, Wanni raja, Abimana Devi, Kadawara Devi, the Twelve gods (not
named), Soli Kumara, Soli Raja, Pallebaedde Devindu, Gange Bandara, Devel
Devei, and the 67 Kadavara devas. Few details are given as to most of these
and they are merely invoked to come to the altar. Pitiye Deva, however, is said
to have come with a Rama arrow, to Dumbara, and have sent Nata Deva across
the river. He came there in a golden chariot. Of Soli Kumaru we are told he
was son of the Soli maharaja, and the Kaligaduli kumari. Of the Soli maharaja
his father, we learn nothing from the verse invoking him. This is two or three
centuries old, my copy has fifty verses.

Example :

Wiriya Danagomuwe sira wemina

Soniya waeda gala mudunen damana,
Dairiya kara wela aswaddamina
Kiriti Bandara dalumura metana.

Living fortunately in mighty Danagomuwa,

Throwing from summit of Soniyawaeda gala,
Using exertion, preparaing the field for irrigation,
The betel of Kirtti Bandara is here.

170
 750. Randunu pralaya

The inspiration of the golden-bow

THIS is an invocation to Rama Surindu to come with his golden bow and inspire
the sick person. When inspired, the sick man in such ceremonies is questioned,
and informs the questioner what has caused his illness, and by what spirit
it was inflicted, and how it may be cured. Vishnu shoots his arrow, and the
Yakas are subdued. At dawn he visits the Uda giri, or dawn rock, and with
golden bow in right hand, he shot the Asuras, and reduced them to ashes.
The power of the golden bow is extolled.

This is two or three centuries old, my copy has 56 verses. Other poems on
this subject are Nos. 108, 428 and 751, 752.

Example :

Alia ran dunu saera akasen

Solla ran dunu nadakara kelimin
Galla pinidiya parahada sandunen
Alia ran dunu yaku baehae dakimin.

Having held the golden bow and arrow in the sky,

Having waved the gold bow, twanging it and dancing,
Having annointed with rose water, bright with sandal,
Having held the golden bow seeing the yaku submit.

The word parahada in this verse, and one quoted under No. 751 is not
understood clearly. I take it to be a form of prasada.

m
 751. Randunu Kavi

Hymn of the golden-bow

THIS is an invocation to Visnu, with the golden bow, on behalf of a sick man,
to exorcise the evil influences. It throws little light on the myth. Nos. 108,
428 and 750, 752 are on the same subject. It invokes Visnu and Saman Deva.
It concludes with an exorcism in sirasapada, or head to foot form of exorcising
the evil stage by stage from the sufferer's body. It is about two centuries old,
my copy has 17 verses.

Example :

Ahase randunu paniwida karagena maha mera pita sitiyo

Dahase chamara kuda kodi sesat tewa karati deviyS
Rahase nowa mini dunu dandu parahada sala giman haeriyo
Tirase bandana unukara gini deti ratna Saman Deviyo.

Carrying out the order, in the sky, the gold bow stood upon Maha Meru,
The gods reverence it with thousands of chamaras, umbrellas,
flags, and round white standards,
Not secretly the bright gem bow shaft, having fanned, they cooled
the heat—
Precious Saman Deviyo gives fire, heating the strongly possessing
(one).

This is an extremely difficult verse to translate, but it uses parahada, also

seen in No. 750, an uncertain word. The last line seems to apply to exorcism
of a spirit by the god.

172
 752. Randunu upata

Origin of the golden-bow

THIS is used at ceremonies to exorcise evil influences by the might of the golden
bow of Visnu. It invokes Isiwara, Visnu, Pattini, and Mihikat. It relates
that Visnu fell into the Golu muhuda or dumb sea, and stirs up its waters
from the depth, the seven golden bows circling in them. Siri Narayana
descends into the waters, and takes up the bow, and returns in triumph. The
waters of ocean become hot. All the devas fly in terror from him, and
do homage. The Rama giri parvata or mountains tremble in the midst of the
Kiri muhuda, milk sea, he passes—he looks at the sun, and the moon. He hides
from the sun, and shoots his arrow. He hides from the moon and shoots his
arrow. He crosses the Le muhuda, or blood sea.

When wasawat bewitched the king, Mahasammata being intended, Visnu

went to Vaikunta, with his bow, and exorcised the spell.

This saga is probably two centuries or more old, there are 29 verses in my
copy.

Example :

Siri Narayana jalaka basinne

Pirisidu karamin dunna daranne
Waerasaera karamin devi nikmenne
Perahera karamin dunu matu wenne

Siri Narayana plunges in the waters,

Cleansing, he bears the bow,
Showing fierce might the god emerges,
With state the bow rises up.

173
 753. Terun male

Garland of explanations

THIS is arranged to teach the physical geography of the Sakwala System,

arranging the verse in the form of question and answer. The details present no
unusual feature of importance. The size of the sun is stated as fifty yojuns,
and that of the moon as 49 yojuns. A yojun being sixteen miles, or four
gawas. Thus the sun is of 800 miles diameter, and the other details are equally
puerile. This may be two or three centuries old, and represent the most
ignorant phase of knowledge on such subjects in the Buddhist countries. My
copy has 73 verses.

Example :

Awurudu dolos marsa tun siya saeta dineka

Ehi maeda waesena ritta haettae deheka
Lowu sata rakina poyada hatalis ateka
Ehi pae ganan wisi eka dahas sa siyeka.

For a year, twelve months, three hundred and sixty days,

Amidst those dwell seventy-two ritta,
The poya days observed by people in the world are forty-eight.
The number of paeyas in it, are twenty-one thousand six hundred.

174
 754. Pattini wilapaya

The pattini wailing

THIS is one of the many legends based around the story of the goddess Pattini,
and her ill-fated husband. It first speaks of Pattini, however, by her other
name of Kannaki, and relates how Palanga went to see the dancing of Madevi,
against his wife's advice, and how he fell into her toils. The gift of her gem
bangle, mini halamba, as her last tribute of duty and affection when he had
squandered all his wealth and hers upon the harlot related. Together they
set out to sell it, and getting near Madura, Pattini waited at Gopalu village,
whilst he went to sell it. As he did not return, on the appointed day, she
set out in search of him. She asked her way from Kalkodi, who told her the
city was a gawa off. Meanwhlile she had seen a terrible dream, and hastened
on with gloomy forboddings. On the way she learnt that Palanga was executed
as a thief, from a girl returning from the City, and hurried on, questioning men
and animals as to what had happened. She met the king's children returning
from school, and questioned them also giving them some cakes, and persuading
them to show her the place of execution. There she found her husband's body
beneath a kohomba tree (margosa, or dyadirachta indica). Her lamentations
are then described. Nothing is here said about her vengeance. This ballad
has been well composed, and seems to be an important one, and some two or
three centuries old.
My copy has 128 verses.

Example :

Pawanin Iela ran liyayak lesini

Waenemin kalawikalawa sita dukini
Himiyan giya ma wata daeka netini
Me lesin piliwisiyayi landa Patini.

Like a golden creeper shaking in the breeze,

Staggering, with mind confused by sorrow,
Seeing by eye the road her husband went,
In this wise the lady Patini enquired.

175
 755. Karmma sivupada

Quatrains on conduct

THIS is a short but earnest httle poem, in twelve verses only, bound with 635
and 756, and useful as a specimen of this class of poetry two or even three
centuries or so ago. We are advised not to commit the five sins, these are : kill­
ing, stealing, committing adultery, lying, and intoxication. We are to preserve
the five " sil", observe the righteous, enquire into the doctrine, practise alms,
and merit, and strive to reach mok-pura or nirvana; not to covet wife and
children or wealth but to desire merit. When death comes, houses, wife,
children are left; the three gems are : Budun, Daham, Sanga, or Budu, his Law»
his Priesthood.

Example:

Ganna. kenek naeta Lowuturu muni sarana

Tanha wela sudano ambu daru rakina
Tanha kala dano wastuwa podi bandina
Danna kenek naeta me divi yana gamana.

Is there no one to take refuge with Lowuturu muni ?

Good men having coveted, protect wife and children—
People who have coveted, tying the wealth in bundles,
Is there no one who knows the road this life goes ?

176
 756. Mutukeliya

Pearl game

THIS is a little poem, my copy of which is bound up with Nos. 635 and 755.
It seems to be about two centuries old. Two sisters-in-law are supposed to be
playing against each other ; and they expatiate upon each other's bosoms,
and beauty in rather sensuous language. The game is one played now with the
little red and black seeds of the olinda, abrus precatorius, but pearls may have
been used at court when they formed a royal tribute. This game is also the
subject of olinda male No. 294. The poem may be looked upon as a sort of
love song.

Example:

Kelimu olinda api de pila bedila

Kiyamu miyuru bas rasa angawaia
Balamu dese daeka baeri pitipala.
Pirimi sititi kiwu de pila bedila

Let us play olinda divided into two sides,

Let us speak sweet talk, pleasantly arranged,
Let us look, regarding a direction, unable to turn the back—
It is said the men stand divided into two sides.

177
12
 757. Kuweni Asnaya, and Maha Asnaya

Saga of Kuvena, and great Saga

THIS little work is written in a difficult style of Sinhalese, introducing words

derived from or resembling Sanskrit as much as possible. The subject is the
repudiation of Kuweni by Wijaya, the arrival of Panduwas Deva, and the
chase of Rahu as the Varaha boar, by the Malaya raja. These are combined
together, but the latter alone forms the Maha asna. The little work seems to
have been written during or after the Dambadeniya dynasty, I can find
nothing in it that denotes a special source of ancient tradition. The " Chase
of the Boar " is a subject popular in sagas.

The object of the writer evidently was to give some popular legends so
arranged as to sound like Sanskrit. This he has done with very even and well
sustained text, and must certainly have been some one of talent, unless we
can suppose it was anciently arranged for the ceremonies of the Exorcisers,
or Devil priests, who use Sanskrit sounding charms, & c , as having traditional
efficacy. I am not aware by whom it was written.

Among my copies I note an excellent old text, bound up with Dambadeni

Asna, and carefully written as if both were prized by the writer. This belonged
to the private library of a learned priest who died nearly a century ago, and
it is older than his time. I have a much older and more curious version, No. 181
in my library which I call Helu Kuweni Asna, for distinction, under which
name the reader will find it described. That is evidently a very old work, and
must have been popular once. It is clearly the original from which the present
little work was developed.

Example :

Sat siyak yodayan

Samaga sawu siri piri
Me Siri Laka raja isuru
Saepathara demi me daen
Ae wisin ki wisin
Yahapataeyi'sipata gena
Saepata kota yodayan
Gtennawa ae mawa
Dun wimana rae inda.

" I give now, supreme prosperity making (you) king of this Siri
Laka filled with all fortune, together with (your) seven hundred
warriors " .
By her because said, assenting, taking the sword-blade, having
sworn, causing the warriors to be brought, staying the night
in the bower she created and gave—

178
 758. Giridevi Aslie

Saga of Giridevi

THIS is a renowned legend. Giri Devi was born as daughter of Dalakesvara

Brahmana and Hansavati Devi, at Dantapura. Her brother was Dala Kumara,
and was seven years older. As the astrologer foretold her marriage with him,
she was confined in a dungeon. Afterwards, when grown up, the prince got
access to the captive by stratagem. The inevitable accomplishment of prophecy
followed, she went out, and in shame hung herself on an aehala tree, the Indian
Laburnum. Sakra then intervenes and renders her body invisible, the prince
searches for her, and after wandering over many lands, by the help of Senasura
(Saturn) with whom he plays dice and wins, he finds her body, by Sakra's
help and permission. Sakra sends senasura with medicine, and she returns to
life, but Senasura in revenge for his loss at dice, puts poison on Dala Kumara,
who thereby assumes the form of Rakshasa. They are married, and all the
gods contribute wedding gifts.

The whole is a mythological allegory of great antiquity, and the subject

of many sagas. The present asna occupies 13 small leaves, 6 lines to a page.
It forms part of the popular literature of the country folk. One cannot but
wonder why the morality of the gods is among all nations so much below that
of mortals. The wanderings of Dala Kumara form a sort of Indian Odyssey.

Example :

Kala waelak kadagena

Aesala turakata naege
Waelen kara aya baenda
Kalamba widuliya lesin
Ananga mal kehellen
Wilas pae waeni waeni.

Breaking a kala (derris) creeper,

Climbing an aesala tree,
Pulling tight and trying the neck by the creeper,
Like a cluster of lightening,
Of the flower flag of Ananga
As if showing the form, swinging, swinging.

179
 759. Helu Kuweni Asna

Helu Kuweni Saga

THIS is the only copy I have yet seen of a very old edition, developed into the
ordinary Kuweni Asna. It is written with ease in excellent Helu, and was
evidently composed when that form of the language was the vernacular. It
is partly in asna, partly in verse. The impression given is that an old saga
existed, which became mutilated or obscure, and the present text was arranged
to modernise and restore it in the vernacular of that time. The following
verses will give a good idea of these scraps of saga, which are vigorous in a
remarkable degree.

Itu mituru wan gune

Himiyeku me dutu saene
Laemada tana tunakine
Maeketi kiwu laema tane,
or again,

Welamba wes gena e da

Yakunge pura maeda
Mara un luhu baenda
Raja saepat windina da.

The former is part of Kuweni's passionate appeal to Wijaya, for herself and
children. It alludes to the shrivelling away of her third pap, on meeting her
future husband, the sign foretold to her.

I adjoin a translation of each, but it is impossible to give an exact reproduction

of the grammar.

At the spot where this dearly-loved-like excellent lord was met, of the
three breast paps, it was said the bosom-pap would shrivel away.

and again,

Assuming a mare's guise, that day,

In the midst of the city of the Yakas,
Having killed, having chased after them,
The day of enjoying royal welfare.

180
 The swing in these old sagas, could only come from a joyous, reckless, lip,
and is a strange contrast to the lifeless, though elaborate and flowery composi­
tions of the later school of poetry. The second verse shows the difference
between a saga composed like this by a scholarly poet, though in familiar
words, and the worthless imitations of such ballads. The reader will notice
how cleverly" that day " of the first fine, is caught up again in the " the day "
of the last.

I took a mare's guise that day,

When in midst of their city,
I chased and slew Yakas—
The day you became king.

This is a freer treatment, which, however, more correctly conveys what the
original verse conveys to a Sinhalese. The legend occupies only a few small
olahs, and I regret to say that only snatches of the saga are preserved in it.

Example :

Ek dineka siri yahan

Mastakayehi saetapemin
Sopnayen divi wesak
Dutu heyin divi dosa wana
Chatrayehi wasana Sura
Wadhu Sura purata gos.

On a certain day of the state bed

Upon the top sleeping
In dream the form of a leopard
Because seen, perjury sickness happening,
The goddess dwelling in the umbrella
Going to the city of the gods—

181
 760. Sagalpura Asna

Saga of Sagal City

THIS is a short account of introduction of exorcism by cutting lime fruits,

which it tells us was introduced by Bharadwaja and other Rishis, to cure the
king of Sagalpura of sickness. Visvakarmma erected a beautifully decorated
bower for this ceremony. It occupies four quite small leaves. Like the last work •
it is only useful to show the scope of such literature.

Example :

Ran ridi mutu maenik

Pudawamin pabulu mini
Pudawamin ran kalas
Ridi saha maeti kalas
Ruwan saha kiri barada
Suwanda hael rat haelda
Ora hael mutukiri hael
Morakkan hael pinna hael.

Gold, silver, pearls, gems,

Offering coral gems,
Offering golden water pots,
Silver and earthen water pots,
Jewels and loads of milk,
Scented hill-rice, red hill rice,
Ora hill-rice, pearl-milk hill rice,
Morakkan hill-rice, pinna hill-rice.

182
 761. Upulwan Asnaya

Saga of Upulwan

THIS is a short celebration of Upulwan or Vishnu. This name means " Blue
water-lily coloured " . The asna or legend states that he bears ten names, Sri
Vishnu, Maha Vishnu, Ahali, Raji, Vasu Devata, Nala Devata, Damora,
Govinda, Harihari Raji, Pulwan Surinda. He is stated to have assumed the
form of a red-backed wood-pecker, a frog, a cormorant, a wara boar; in the
Kreta age he was white, in the Treta age golden, in the Dwapara age red,
and in the Kali age blue. He took charge of Lanka by order of Saekra, and
deputed his younger brother Sumana Divya Raja to keep watch over it. At
Buddha's attainment of Nirvana he took charge of his religion in Lanka, and
his image is worshipped in the Viharas. He dwells on the Vaikunta Mountain,
at the right gate of Saekra's home, at the Milky Ocean, and is encircled by the
coils of the Nagaraja Narada. He will become Buddha himself as Rama Buddha
hereafter. He conquered Bah and Ravana, and converted the seeds of water
lilies into pearls. He has four hands, and holds a bow, and chank. His shrines
are Samanala (Adam's Peak of Ceylon), Makkama, Kaelani, Diwa-guhawa
(a cave near Adam's Peak), the Dalada Mandira, the Jaya Siri Maha Bo, Dambula
Gala, and Ran Dambulu, and Aetakada. He cures sickness.

This appears to be about two centuries old, and I have only my copy, which
is about 50 years old, and occupies four leaves.

Example :

Krhira e sagare balana

Narada mandire sitina
Him&la Vaikunta daena
Ran wimane niti waejabena
Sak raju Nadunuyana sondina
Satweni doratuwe sitina.

Looking on that Milk ocean,

Staying in the Naga raja's coil,
Knowing Himala and Vaikunta,
Ever dwelling, in a golden mansion,
In Sak raja's pleasant Nadun park,
Staying at the seventh gate.

183
 762. Iri paenun kavi

Ballad of stepping over the line

THIS is used to exorcise. A line is drawn on the path by which a person is

to pass, and charms muttered, then when he or she steps over the line, the
spell seizes them. To exorcise this line, iri, and its spell, a diagram is drawn,
and the celebrant makes usual offerings, reciting these verses. It relates that
Wasawat Naraya first practised this spell, and to exorcise it, offerings were
made, and the suvisi mangale, or lucky mark of the 24, drawn with trisulas
or tridents around it. The celebrant invokes Mipi devi, Iri devi, Sandu devi
or Earth, Sun and Moon, and Sakwala deviyo, as well as Suras and Bambas,
and subjects himself to the ten dharmmas. The spell made on Sunday, was
due to Randael Kumari, or the Lady of the Golden Net. The spells made on
the other days of the week are exorcised by acts of Buddha, but that of Sunday
is simply exorcised. This ballad is two centuries or so old, my copy has 18
verses.

Example:

Irida dawaseka iri aenda mihi pita

Rat mal matura damamin iri pita
Randael kumarige baelmayi etanata
Irida iri paennun naeta ada sita.

On a Sunday day drawing a line on the earth,

Having charmed red ixora flowers, placing on the Une,
The glance of Randael Kumari is there—
There is no crossing line on Sunday from today,

(// wished Bandael kumari may be translated into Princess Gold-net)

184
 763. Giranda katawa

Story of the Stanzas

•GIRANDA here stands for Kiranta or grantha, a Sanskrit Stanza written in

Grantha alphabet. The story relates that a king of Kalinga had a son who
learned sciences under a Brahman. Being sick to death, he sent for his royal
pupil and taught him four more stanzas before dying. In sorrow over his
death, the prince and a companion left the country secretly, taking with them
the seven kinds of jewels for trade. They first reached a city, where the people
conspired to murder the supposed trader, by spreading a seat for him over a
pit in which sharp instruments were placed to impale liim. Recollecting one
of the stanzas, he followed its advice, to enquire before sitting on a strange
seat, he did so, and detecking the attempt, made his escape. He next arrived
at the city Kottaya, and there the people prepared poisoned food to kill him
and secure his treasure. Recollecting another of the verses, not to eat without
enquiry, he gave some of the food to a dog, which instantly died. Escaping
secretly, he reached Kampila, and there found that the princess had lost her
husband, and was a widow. Her late husband had, however, been reborn as a
Naga raja, and used to visit her every night, unknown to her. One hundred
kings and princes had sought her hand, but on their wedding night the Naga
raja had bitten them, and they were found dead the next morning. The
prince recollected a third stanza, which said, when travelling far off, if you
fall asleep, you die, after the princess had fallen asleep, he stayed awake, and
at last cut off the head of the Naga raja as it was creeping into their room
through a grated window. He became king. After that he went to see his
father, leaving his own queen pregnant. He was detained so long, that their
son was born, and was seven years old when he returned to his capital, Kampila.
Thinking to look into things by surprise, he returned secretly, and entered
his wife's room at night, to find her asleep, with some one cuddled in her
arms. In an instant he drew his sword to kill them, but recollecting the fourth
stanza, which advised that one should not act quickly under the influence of
passion, and happily restraining himself, he learned that it was his own child,
the queen was embracing. All now ended happily, I do not know the source
of this story, and have only seen my own copy which is about a hundred
years old and on palmyra leaf. The poem itself is two or three centuries old
and good poetry, but my copy has suffered greatly from mistakes by writer's
copying from one book to another.

Example :

Bat mehewara kota nimawana lasse

Sattira boru wala kapamin dasse
Sit lesa ul sadamin nowalasse,
Yut asana paenawu boru maesse.

Having eaten rice, whilst finishing,

Cleverly cutting a treacherous pit strongly,
At pleasure fixing stakes without delay,
Raised a fitting seat on a treacherous platform.

185
 764. Don Andara puwata

Praise of Don Andre

THIS is partly kavi, and partly sindu or song, occupying 13 olah pages,
and forms a continuation to the kavi or ballad Rabel Warunanawa No. 707.
Andara stands for Andre, or Andrew. They are by the same poet, and he calls
himself Mahawara—sekara of Devinuwara. No doubt the two were composed
under the patronage of Don Andara, and they must have been written some­
what before A. D. 1700, as Rabel Korala died at A. D. 1661. The Don Andare
puwate is purely complimentary, and contains no matter of biographical
interest. There are 32 kavi verses, followed by 13 olah pages of the Sindu
with about 3 verses to a page, except the first two verses which take a page
each. It is written like prose, and praises Rabel, the father of Don Andara.

Example (Sindu).

Indra sri sesa piriwan tihi wata diri sundara sisi kusuma bana piriwanta
wilasin sugata pratapa guruwanta me Rabel Aeduru jata.

The above is one line of the first sindu verse, such lengthy lines bring the
sindu very near to asna, as one must stop for breath at intervals in each line,
which practically divides it into several lines.

Like the fortune of Indra fully fortunate, the face (like) the good full moon,
delighting like Kusumabana, of good form, famous, virtuous, born to this Rabel
master.

Kusumbana means " flower-bodied ", and is one of the names of Anangaya,
the god of love.

186
 765. Ratnawallige siwupada

Quatrains to Ratnawalli

THESE verses are addressed to the ancient goddess in whose honour No. 355
is composed. She is addressed as daughter of Paerakum Ba raju Nawaratna-
walli, as well as by the ordinary name of Ratnawalli. The king is warned of the
consequence of coverting her telabu tree for the Ratna dagoba. At the con­
clusion she is told that the Rodi have come from Maha nuwara, dancing for
seven days. There are only seven verses, but the first five, invoking the goddess,
are very elegant. Other hymns to Ratnawalli will be found under Nos. 355,.
766, 877.

Example :

Irat nopayayi Ira-ratnawalli

Sandat nopayayi Sanda-ratnawalli
Nalale ad a sandayi baema Tilakawalli
Paerakumba rajuge duwa Nawa-ratnawalli.

The sun too shines not, Lady of the Sun gem !

The moon too shines not, Lady of the Moon gem !
The brow on the forehead of Tilakawalli is a half moon,
Daughter of Paerakum-ba, Lady of the Nine gems.

In this verse the goddess is invoked as wearing the sun, moon, and nine
planets as her jewels. Paerakum ba represents in modern Sinhalese Parakrama
Bahu, now understood to mean " of the mighty arm ", but probably " the
mighty begetter in its archaic usage, from a root ba or pa , to beget.

187
 766. Ratnawallige siwupada

Quatrains to Batnawalli

THIS differs from Nos. 355, 765, 877, though an invocation of the same goddess.
It is well composed in melodious verses, and invites Ratnawalli to descend
from her green telabu tree, also alluding to her as daughter of Paerakum Ba
raju. The cutting of the sacred tree to make way for the Ratna dagoba, or
Ruwanweli saeya is given very clearly in two verses of which I quote one as
example. It is an invocation widely distributed, and well known, with
thirteen verses.

Example:

Satahata nirinduge yasa teda paetirenda

Loba kota Ruwanwaeli dagoba baenda ganda
Madakata telabuwen bumiya ida ganda
Ema wita ma, ruke unnayi daena ganda.

To spread amongst men the king's fame and glory,

Having desired to build the Ruwanwaeli dagoba,
Somewhat from the telambu to gain a land site,
Know at that very time the Great tree existed.

188
 767. Terawili siwupada, II

Quatrain riddles

THESE are riddles in verse, not quite like No. 366, but rather arithmetical
puzzles. Thus, if there are nine water pools, and nine buffaloes in each, how
many buffaloes will be there in all nine, reply, eighty-one. Again the question
is asked how many goddesses has Sak raja got; the reply being adu tun kela.
This should be understood, not as " less than three kelas " , the literal sense,
but as 50 lakhs and two kelas, 50 laks or \ a kela being deducted, by idiomatic
usage. There are eight such arithmetical puzzles, occupying 16 verses, and two
or three centuries old.

Example :

Daediyen e lesa asatot kiyami eka range

Waediyen me nuba uda nopanin elami dange
Naduwen jaya gattu lesa kiyami eka range
Adu tun kelak sura angano Sak rajuge.

If asked strongly in that way, I speak in one fashion ;

Do not you jump too high, I set a snare ;
As if having gained a lawsuit, I speak in one fashion ;
Two and a half kelas are the goddesses of Sak raja.

189
 768. Dalada Maligawa Sinduwa

Song of the Palace of the Tooth relic

THIS song celebrates the erection of the temple or palace of the tooth at Kandy,
or Senkadagal nuwara. It speaks of the ivory door, alluding no doubt to
ivory panels, and to the two golden finials. It is scarcely doubtful that this
refers to the rebuilding of the temple after the Dutch raid of A. D . 1763, and
not the Portuguese raid of A. D. 1594. There are 12 verses.

Example :

Suddha Munidu siri Laka pawatinne

Sudda karapu malaya nimawanne
Parana maliga ehi pura maedde
Derana maliga ehi pura maedde.

The refrain is,

Sudda munidu dalada me mandira suddha karapu mahima.

Pure Munidu continues in Siri Laka,

The palace being cleaned is finished,
The old palace is there in midst of the city,
The terrestrial palace is there in midst of the city.

The excellence of the cleansing of this palace of the Tooth relic of pure
Munidu.

190
 769. Swarnna hansa sinduwa

Song of the Golden Goose

THIS is one of the sindu bound with my book No. 681, A, q.v. It relates the
legend of the golden goose with 500 followers which roosted on an inaccessible
rock, and thus escaped the hunter. One day a belated crow asked leave to roost
there, and after much entreaty was allowed to roost on the edge of the rock.
This crow had been feeding on banyan fruit, and from a seed dropped by it
while roosting, a tree grew, by which a hunter climbed up, and caught the
golden goose. This however became invisible, when caught, and vanished.
The singer then prays, " may the chief's evil disappear in the same way
This may be a century or so old, and has 8 verses, but there is no refrain.

Example :

Hansa raja e dine

Pan siya piriwara raegene
Parwata mudune
Saetapena bawa daeka e dine

4. Seeing that day the fact that

1. The Goose king slept that day
2. Taking an escort of five hundred,
3. On summit of the mountain.

191
 770. Wirandagala vihare Sinduwa

Song of the Wirandagala vihare

THIS is one of the Songs bound up with my 681 A ; it records the erection of a
vihare at Wirandagala, with images of Budu, and Visnu. The song was
composed by Salukula Henaya, a washerman, but the date is not recorded.
It appears to be written within this century, and has 12 verses. It is well
composed.

This song is older than most of its class in use, and must date from the reign
of Narendra Sinha or Kirtti Sinha, in last century, when the little dagoba now
completely wrecked and gutted, is said to have been repaired. In the example
quoted manga for maga a path is obsolete, only mang, the plural being now in
use. I do not think it is a mistake. Giranga is also a scarce word almost
obsolete. Owindu as the name of the god is not used now ; Uwindu, a form of
Upendra is the form used. I do not think Owindu is a mistake, however, but
regard it also as an obsolete local form. Such a mistake could scarcely arise.

Example :

Pasindu tilawa agra pihiti rame waeda Wirandagale

Patara giranga mudunata manga lawa, kala wipule
Agin wangi gaeba aetula taba kala wipule
Pangu peru naetuwa kale dagobe waeda Wirandagale

The refrain is,

Pasindu tilawa agra pihiti rame waeda Wirandagale
Devindu Owindu saema murugana siyalu dosa haera wipule.

The great temple work established at Wirandagala is famed in three

worlds,
On top of a great rock having formed a path, made largely,
At the end of the curves having placed the receptacle inmost, made
largely—
Without shares and turns, the work of the dagoba was done at
Wirandagale.

The great temple work established at Wirandagala is famed in three

worlds,
Uwindu devindu and all the host of gods, mightily despel all evil.

192
 771. Dipankara wiwarana sinduwa

Song of designation by Dipankara

THIS is one of the songs bound with my 681 A. It relates the designation
of Sumeda the ascetic as a future Budu, by Dipankara Budu. It follows the
atuwa story, and was probably written during this century. It has 12 verses.

Example :

Daham desana wilasin

E Rambagam nuwarata wadina lesin
Nisikota bima bedamin
Ekanda raeli saesa pisa binda harimin

The refrain is,

Nisi somi guna naenayen Tapaswara
Raeki sanda sil balayen.

For purpose of preaching dharmma,

For the coming to that city Rambagam,
Correctly dividing the ground,
Cutting those ruts, cleaning, breaking up and levelling.

With fitting wisdom of gentle virtue,

Becoming ascetic,
When he observed the precepts mightily.

193
13
 772. Sokari naetima III

Dancing of Sokari

THIS is a somewhat different version from the Story related in Nos. 179,
377, 775.

The present version relates that a Guruwa lived near Baranaes, and his wife
was named Sokari. They engaged a Paraya as their servant, and as there was
scarcity there, they all set out for Lanka. Their dress is described, and the
effects taken with them on the Paraya's back. Sokari eloped with a Vedarala
or doctor in Ceylon, and the Guruwa searched for them, viating numbers of
out of the way places in Ceylon, all enumerated. At length he found them,
but the ooctor abused and assaulted him, so that he nearly died, ard the
neighbours forced the vedarala to attend on him as physician. This is
intended to be recited while the characters dance. It seems to be about two
centuries old. My copy has 81 verses.

Example:

Paedana ruwal giya kala Sinhalayata

Edina Wedek ek weyi mage Sokarita
Indina me apa aera yeti wena dlgeta
Sarana samaga yeti wena an basata.

At the time (we) went to Sinhala, setting sail,

That day a physician joins my Sokari,
Deserting us who are here, she goes to another union,
She goes in marriage at the word of another.

194
 773. Namanaeti Devindu kavi

Saga of Namanaeti Devindu

THIS ballad is addressed to the Nameless god, or Nama-naeti Devindu. He

is invoked as the powerful god who shakes the earth, and beats down the
Waduru yaku, the evil inflioters of epidemics; he is asked why he did not
attend to assist Buddha against Mara in their struggle. His oracles are truth­
ful and he is stronger than the king's Councillors. He restores sight to the
Mind aring to the deaf, and causes the cripples to walk. He chasses the
thief and his name dispels fear of serpents. This god is probably intended
for the God of the Jews, Christians, and Mohamedans. My copy is two
or three centuries old, and bound with No. 181. It has 14 verses, and is well
composed.

Example :

Wenda e Budu bawa Muni waeda inda

— Noma —
Denda e Wasawatu Mara yudu wanda
Denda baetaya Nama naeti me Surinda
— Noma —
Yanda une kotanaka waediyenda
To Muni seated to become of that Budu state,
Not,
To allow* to that Wasawatu Mara come to fight
To give blows, this Nameless god,
Not,
To go, where was he having gone ?

To give a clear sense, the following arrangement is necessary.

Where was the Nameless god gone, that he did not go to battle with Wasawat
Mara, who had come to fight, not to allow the seated Muni to become of that
state.

195
 774. Jwara widiya

Fever ritual

THIS is a very learned and elegant sacred poem, evidently composed for
recitation as an exorcism of fever. It invokes Buddha, and exorcises fever
from the head by the Silumini Saeya, the relie shrine in Sackra's heaven.
The urnna roma or fore-lock of Budu's hair is invoked for the forehead, and
the sixth satiya for the ear. The right jaw relic and the Thuparama are
invoked for the eyes, shoulders, teeth, and face. In this way fever is exorcised
from the whole body, with praise of Budu's virtue. There are 86 verses in
my copy, which is an excellent one, about a century old.

The poem may be two or three centuries old, and I am surprised to find
it so little known, that I have only seen my own copy.

Example :

Satara arisana desen amayuru

Satara waturu para tera lu narawaru
Satara wisarada naenayut lowuturu
Satara e himi oba raeka den niraturu.

By preaching the four noble truths, (like) nectar,

Men were placed on the further side the four waters,
Having knowledge of the four vaisaradya, supreme in the world,
May that All—wise lord ever give you protection.

196
 775. Sokari katawa

Story of Sokari

THIS differs from Nos. 179, 377, 777 but is a short and important version
of the drama or Comedy. This tale says that when the Parawa boy adopted
by the Guru and Sokari grew up, Sokari fell in love with him. At Migamuwa
of Ceylon they landed, the Guru in front with his crook, followed by Sokari,
and the Parawa following with their goods in a pack. This describes the order
in which they move round the stage. Sokari dances, and the lookers on
gave her gifts, which she hands to the Guru. Being pregnant she gets longings
for Java or mandarin oranges, and other things which the Guru procures her.
She has great trouble over her confinement, and Guru is bitten by a dog
whilst going to the astrologer. He consults a doctor. Sokari has a son safely,
but Sokari says it is son of the doctor, and not of her husband the Guru. She
elopes with the doctor, and again dances. Being hungry, she pounds paddy
for rice. My copy has 26 verses and appears to be about two centuries old.

Example :

Awalu sonda Maha Nuwarata

Denawalu badu Sokari Landata
Naetuwalu sonda raga kamata
Denawalu badu guru hamita

It is said they came to good Kandy,

It is said they give goods to the girl Sokari,
It is said she danced well in voluptuous manner,
It is said she gives the goods to her Guru master.

197
 776. Mangala kavi

The propitous hymn

THIS celebrates the praise of Budu in learned and elegant verse,

citing instances of his actions from the orthodox Scriptures. It appears to
be two or three centuries old in its present form, but coming from Matara
district, has doubtless like most of the poetry there, been revised and
published to date, from time to time. My copy has 22 verses, and is bound
with 721 a.

Example :

Kaladewara tapasuge isa siripata gaesu mangalan

Bala Siduhat kumaru Budu weti tapasu k! suba mangalan
Ala sitwama e Sudasun raja siripatu dutu mangalan
LUa nowa me maetindu obahata weya suba jaya mangalan.

Having struck the feet on the head of Kaladewara the ascetic

blessing!
The ascetic having seen, said, " prince Siduhat will become Budu "—
Blessing!
That Sudasun raja with loving mind saw the feet—blessing !
Without deficiency to this your ministership may there be good
victorious blessing!

198
 777. Set kavi

Song of peace

THIS invokes first the Kaelani Deva raja, or Vibisana, to bless the house, and
the hymn is intended to be recited at ceremonies to avert evil from a house.
The Siri Waran Deviyo or Four Guardian gods are invoked, and Sak raja, the
Sun, Moon, Mihikat or Earth, Uma, Gana devi, and Siri devi. The Tunu
Ruwan or Three Gems are invoked.

Pattini and the Welanda, Palanga, are invoked, and the evil caused by their
twelve companions is exorcised. This verse is repaated three times, for some
occult influence. It is rather remarkable as one of the slight indications still
surviving of the light and darkness myth upon which the human history of
Pattini and Palanga is grafted. The twelve companions were probably the
twelve signs of the Zodiae first, and then the twelve months of the year, and
are more fully described in Salu Saelima, No. 778, at conclusion of which
this hymn is now sung. It appears to be two or three centuries old in its
present form, my copy has 26 verses and is bound with 778 a.

Example :

Pattini sonda ruwe

Welanda Palangayaru we
Dolosa piriwaeruwe
Dolosa kula leda adin duru we.

Pattini is of good beauty,

Palangayuru is a Merchant,
Twelve are the attendants,
May the twelve sicknesses caused today be exorcised.

I notice here, as affecting the myth history, that Palanga is now only known
as the name of the husband of Pattini to Sinhalese, while Tamils exclusively
call him Kovalan. Notwithstanding this, there survives in this verse, a
remarkable and isolated use of the Tamil honorific, in the " yaru " affixed to
Palanga, which name if written in Tamil would be Palarikayar, the last
sound with a final roll of sound.

199
 778. Salu Salema

The waving of the robes

AT the worship of Pattini the celebrants take white cotton cloths, or robes,
and wave them in her honour, as if fanning her. The present poem alludes to
this custom. She is first invoked to wave them. Palanga, her lord, is here spoken
of as Suwa raja, or Prospering King, and is invoked to wave the robes. In the
Pattini Yaga it is said that the Suwa raja was executed by the Pandi king,
establishing his identity with Palanga. Their attendants not named in 777,
are next invoked, and Ya raja is asked to wave robes also. Nanda raja is asked
to cure fever and chills, Salama raja to avert evils, Kalakot raja to grant good­
ness, Nadi raju to bless, Nilamali to cure sickness ; Kidi bisawa, or the Kidi
queen, to cure Sickness and sorrow. What Kidi may mean is obscure, but it
probably is a form of Krida, sport, which is connected with Sinhalese Keli,
play or sport. Sata raja is invoked to cure pains in the joints of the body.
Agrajalapati is asked to cure boils, sores, dropsy and bile. Viramunda Maeti
is invoked to assuge evil, and Garuwa raja to cure elephantiasis (baruwa).

There seems to be one of the twelve omitted here, and in Pattini Yaga, No. 705,
we find another, Golusan raja, whose verse has dropped out of my copy,
and others of the same descent. The names here are evidently ancient and re­
liable, but in No. 705 several local gods are introduced, and the twelve are
increased without reason. The connected poem No. 723, Pattini dolos raes
Santi, and this poem, and No. 777 Set Kavi, are all used in the Matara District
at the same ceremony to propitate Pattini.

At the conclusion of the present poem various extra powers are named and
invoked. Wasawatu, Ganga devi, Suriya, Chandra, the Satara-waran gods,
Deva raja, Kataragam deva, Sama deva, Gana Deva, Na raju, Ml devi or the
Earth, Ayirandan Patini, Baemini Patini, and Orumala Patini.

This poem is two or three centuries old in its present form. My copy has 88
verses.

Example:

Daeka diwasin lowa ganaduru

Duka dura la wemin miyuru
Me kalata deviyan waedakaru
Raeka seta den Deva rajjuru

Seeing with divine eyes the darkness of the world,

Having banished sorrow, being merciful,
At this time may the gods be beneficent,
And the king of gods protect and bless.

200
 779. Barasa kavi

Twelve verses

THIS is a celebrated poem of great elegance, and exceptional skill. It is written

in such recondite though correct words, that it would be unintelligible without
the author's paraphrase. The very title illustrates this ; barasa is a recondite
word admitted in poetry, and believed to be an ancient Elu word for " twelve "
which in ordinary Sinhalese would be " dolos " Pandits explain it as a changed
form of dwa dasa, of Pali and Sanskrit, and if so, its pedigree is dva-dasa,
ancient Sinhalese form, occurs in Pali. The word barasa is still in use in the
Punjuub, as in Baiti Kilah, the Twelve Ports at Kasur, and it is strange it
should be so rare in Sinhalese.

Much of the poems paraphrase is gibberish to the hearer. The twelve verses
are so composed, that the letters forming them can be inserted in a design or
Yantra, and then read in various ways, as illustrated by Alwis at P 108 of his
Sidat Sangarawa.

The Author was Dhamma Raja or Karatota Tera, who wrote it at S 1108,
A. D. 1786, in the sixth year of Sri Rftjadi Rajasinha. Besides the twelve verses,
two verses form a colophon mentioning this data, so that there are 14 in all.

Example :

La lalala widasi ka kakaka nagana dada dada

La ka sata durama rasa piyabidama nama pada
Lasa nawa sanda se nasadana sawanamatapada
La kulunu nidi samapana wisakana dana nada.

By thought reaching minds and examining, not valuing even an

akaka the miserable body a flag to fools—•
Despising men of bad mind, fond of the Abhidhamma as a flavour,
Shining as new moon, homeless, giving nirvana,
Having the mind a treasure of kindness, skilled in attaining samadhi,
rejoicing creatures, bow to the feet of the all—wise.

In this ridiculously far-fetched puzzle, namapada, and sawana must be

taken from the second and third lines with the sense of which they have nothing
to do, and be brought in at the end. An akaka is a small copper coin of little
value.

201
 780. Gaja ba kavi

Ballad of Gaja bdhu

THIS little ballad is short, containing only ten verses, but I catalogue it for the
historical interest it may possess, as it is doubtless two or three centuries old,
and was found still current amongst isolated villagers in the Anuradhapura
district. The story relates that Bamba raja reigned in Siri Laka as chief king
with great luxury and wealth. The solipura raja however invaded Ceylon, and
carried off 12,000 captives. Afterwards Gaja Ba became king. One day whilst
out at night, he heard a widow lament, and marking her door with lime, sent for
her next day, and enquired into hsr grief. She then told the king that her two
sons, just passed their sixteenth years, were taken captive by the Soli raja.
The king then promised that next day ha would set out for Soli rata. An army
assembled, but taking his mace, and accompanied by Nila Yodaya, he set out
from Yapa patuna, dividing the water with his mace, and passing over on foot.
After showing his miraculous power to the Soli raja, as usually related, and
breaking that king's leg by merely resting his mace on it, he recovered the
12,000 Sinhalese captives, and carried off 24,000 Soli captives to Ceylon,
recovering also the gem bangle of Patni.
Patni is the form used here, she is also called Patini, and Pattini, all three
forms being admissable by the license of the Sinhalese language. Patni is a very
unusual form at least now. Its delibrate occurence in a fairly authentic and
ancient legend, such as this, suggest to me that the name Pattini does not
really derive from " pati " and mean " chaste ", but may be related to the
well known Conventional Greek epithet of Athene, as potnia or " mighty " ,
and have originally had a sense of " power " . Such a sense if confirmed some
what by two conventionalised names, Teda Patini, and Anuhas devi. The word
teda has a combined sense of glory, fame and power, while the word " anuhas"
means " power " . My catalogue notices so much bearing on the myth of the
great goddess, that I feel justified in making this digression over an obscure
epithet, to indicate a possible line of myth derivation to those who study such
matter in its wider scope. Patini in Sanskrit, following the popular etymo­
logy should appear as Pativruta, and in Pali Patibbata, and both words acquire
the secondary sense of " chaste " , from " pati " , a master or husband, inflected
so as to give the general sense of " devoted to the husband " .
On his return to Siri Laka, king Gaja ba reigned for 19 years, and departed
for the other world.
Short as it is, this ballad preserves an excellent account of the legend, and in a
very reliable form, if we accept the miracles. These were just possibly suggested
to some ancient poet, as an embellishment of his tale, bv t h e miracles of Moses,
and his passage through the Red sea, and account of which would certainly
reach Ceylon, through the early Arabian trade, if not through the Christians.
I again digress to notice this in connection with this little poem, because real
events, were largely preserved by poems like the present one, and would naturally
be embellished by succeeding village poets, and would afterwards from time
to time be adopted by some historian, and pruned into what he considered
an authentic shape.

Moses and Gaja ba divide the sea, and cross its bed, the one with his army
and the other without it, while Patini and Elishah divide a river and cross it.
Eurther one race has borrowed from the records of another or whether one race

202
actually did what another race idly talked of, I will not attempt to theorise
upon. Small as it is, much may be learned from this little poem, on the general
principles which underline myth and history, and if the reader has waited on
for this apology, I hope he will accept it as sufficient for my digressions.

The name Bamba raja, may be explained perhaps as popular form of Tissa
Maharaja, the name given by Gajaba in existing inscriptions to his father.
In the Ankotahatane, No. 657, he is called Wallabha raja. This use of Bamba
raja doubtless led to the mistake by the writer of the first part of Gajaba puwata,
No. 701, when he adds on to the legends of Gaja bahu, the nam-bamba-ra
legend of Parakrama Bahu of Dambadeni.

Example :

Keli nalu aet as gon mi gon pora

Arawat daeka daeka sata saenaset
Eta kota Soli pura raju sen me karata
Caesa gat, hira alia baenda gat
Dolos dahas hira alia me raten gena yat
Soli puraye baesagat
In pasu Gaja Ba, naranidu kadu baenda
Yahapat dada wadinata loba wet—

Whilst the people rejoiced with constant sights of sport,

dancing, fights with elephants, horses, bulls and buffalos,
Then the army of the Soli pura king alighted on this shore,
captured prisoners, and took them into bondage,
Having caught 12,000 prisoners and taken them from this land they
returned to Solipura.
After that king Gaja Ba girding the sword (of royalty)
happily delighted in going out hunting.

203
 781. Vine Sivupada

Discipline verses

THIS is a poetical manual for the use of priests and deacons, giving in verse
the offences which should be avoided by them, and warning them that the sins
of the priesthood are destroying the religion of Buddha. Priests instead of
studying religion study medicine and astrology. They have ceased to beg for
their food, and eat only what is so obtained, and instead of eating from their
beggar's bowl like Buddha, eat off leaves. They should not watch the crafts
or associate with women, or chew tobacco, or eat at unseasonable times. They
should only ware yellow robes. They should not practise pharmacy. It is wrong
to have a basket for betel, a priest's betel should be kept in a bag. Such offence
will secure retribution in hell. Lending on interest is forbidden, and hiring out
of cattle. The poem is probably about three centuries old, and still hits off the
faults of the ignorant part of the priesthood. My copy has 38 verses. The poet
styles himself, grandson of Gaedumbagas-waewe Mudalindu.

Example :

Tedat Upulwan devi hamuduruwane

Edat baeri deta aeyi oba bara une
Adat Kiri muhuda maeda naga asane
Medat muni saesna naeta Iowa anumane

Oh glorious lord, the blue-lily-coloured god,

Why where you then entrusted with the thing you could not do ?
Today on the naga throne amidst the milk ocean
What doubt that the Saint's religion is lost to the world.

204
 782. Nanda puwata

Story of the ghost Nanda

THIS is a poetical version of the story of the ghost Nanda as related in the
Pretawastu text. Nandasena Upasaka lived in the village not far from Saewaet
nuwara (Sravasti). His wife Nanda was very beautiful, but neglected and
scolded her husband. This shrew was reborn after death as a Preti, or as it is
here expressed, Pe-duwa. Her sufferings are described. One day she appeared
in a wilderness to her husband, who was terrified at her awful appearance. On
learning that she was the ghost of his scolding wife, and being so advised by her,
he offered alms to the deciples of Buddha, and assigning the merit to the ghost,
released her. She appeared as a Devi when released, to her husband. This poem
appears to be about four centuries old, and is very elegantly composed. The
age of such polished poetry is however always doubtful, since a slrilful modern
writer may affect and reproduce an ancient style. Unfortunately I have only
seen my own copy, which does not mention the author's name. So good a poet
deserved to have his name recorded. My copy has 38 verses.

Example :

Pawara uwasu daeka surangana ita satutuwa saekayena

Ambara atara turu maeda disi pun sanda wilasin babalana
Sondura me topa kawarakdaeyi piriwisi sanda uwasu wisina
Nohaera taman tatu aeti lesa paewasi wesesawa surangana.

The eminent upasaka gazing doubtingly at the goddess very delighted

by-
Bright like a full moon glittering amidst the stars in the sky
Who art thou ? dear ! when it was asked by the upasaka,
The goddess without omitting related fully according to the fortune
befallen her.

205
 783. Kappiri hatane

The Caffir trouble

THISpoemis interesting because it preserves the ancient name of Caffir, Kappiri

though also using the more modern term Kaberi. It enlogises Senkadagala
nuwara or Kandy, and the Kings Court there, and relates that Kappir people,
with hair like a burned white-ants hill, eyes like inflamed boils, mouths like
she sore left by a boil that has burst, and breath of horrible stench, and slob­
bering tongues, had come to Lanka. Once they tore a child from the mother
tuckling it, and ate it. All the gods are reproached for allowing their existence.
They burn down barns, break into houses and plunder, cut off the hair of cap­
tives, and impale them. One day when a Sinhalese soldier shot one at Tamara-
waewa, he fell like a buffalo. One man wounded there escaped as far as Gan-
talawa, and then died. Once some Sinhalese soldiers surprised a party of Kappiri,
at play in a cave, and fired on them, killing one. They plunder the crops, rob
the villages, even taking the food cooking on the hearths. Some of them were
waylaid when straggling, here and there, and shot, their heads were then cut
off. This evidently refers to the terrible ravages of the Caffir regiments employed
by the English, when they first occupied Ceylon at the close of last century,
and early years of this. The poem evidently was composed in the Nuwara
Kalawa district, where I procured an old copy, as it refers to Tamarawaewa the
seat of an influential noble of those times. The same gruesome tradition of the
Caffirs, also lingers in the Trincomalee district. My copy is about 40 years old
and has 65 verses.

Example:

Mayiyamakata yak sen piriwarala

Kayiyata dili ran salamba wadala
Sayiyen Kappiliyan enu daekala.
Ayiyana deviyot aerapuwa nobala.

For a boundary surrounded by the yak host,

On the arm a glittering golden bangle born,
Having seen the Kappili coming swiftly,
Ayiyana god too disregarded and departed.

In the first line mayigama is dragged in, merely to furnish the rhyme in the
first word, of each line, and for the second line, the Tamil word kai, is developed
into kayiya.

206
 784. Mayyangana wandana

Worship at Mayyangana

THIS is a pilgrim's song, and notes the places passed by the pilgrims between
a stream called the Geli oya, and Mayyangana, and the return journey to
Angunawala, near Kandy. They are supposed to pass from the Geli oya by Tel-
deniya, Maedivaka, and Bintenna, and to worship at Mayyangana, both the
dagaeba eighty cubits high, and the Bo tree. Thence they return by route of
Gantota, Saragam, and Gurudeniya. They cross the river at Waeragamtota,
pass the Dalumurapidu oya, or stream where betel is offered, Maedarupe and
at Belungala, worship at the dagaeba there. They pass Saerasungala, and Maha-
walagama Iawula oya, where they reverence the Bo tree, and pass on to lodge
at Maediwaka. Thence by Karandagolla, Balakaduwa, Katudiya-wala, Bala-
haruwa Ambalama, Doraliyadda, Galkaduwa, Bilamula, Teldeniya, and they
worship the image of Buddha at Bambaragala. Thence by Gal-aluwa ambalama,
to Degaldoruwa, where they worship, and cross the river again at Lewaelle,
to worship at Gan-garama, and reach Kandy, where they worship at the Dalada-
maligawa, and pass by Peradeniya and Iriyagama to Angunawela. After wor­
shipping at Mayyangana, offerings are made at Sorabora dagaeba. Mayyangana
dagaeba emits Budu rays in the Wesak month, it is 116 cubits in circumference
and has four stone couches or slabs for offerings.

The dagaeba as described by the poet, is that seen also by Admiral Spillberg
on his way to Kandy, to visit king Wimala Dharmma Suriya at A. D. 1602.

The author is Wickremasingha Mudali-ratna of Siduruwana in Udunuwara-

It must have been written about A. D. 1600, as the author is evidently the great
noble, spoken of in 809, and it is most interesting to find that he also was a poet.
I have only seen my own copy, procured near Kandy, and about 100 years old.
The Wickramasingha family still resides at Siduruwana, but has lost its great
prestige.

My copy has 55 verses.

Example:

Saedi wata tunu ingata saerasu liya sobana

Baendi ata warala mal patiyen gawasamina
Mediwayinaka naeti pura wara bala angana
Maediwaka game sitiya api nawataena.

Lovely women decked with ornamental cloth round their slim waists,
Tying their hair arranged with a flower garland,
See these women of an excellent city such as is not in this island,
We stayed halting at Maediwaka village.

207
 785. Piriniwan mangala

The Nirvana Ode

This poem follows the orthodox account, in describing the birth, and life of
Budu, up to his nirvana. It appears to be about three centuries old, and is well
composed in simple language. My copy has 65 verses.

Example :

Gan tera waeda paen genewa kiyanne

Terindun gan tera asala wadinne
Borawiya panduwan pata tibenne
Kumana bawada paen borawa tibenne.

Going to the river bank, bring water, saying,

The tera going near the river bank,
Being turbid and of yellow colour,
For what reason is the water turbid ?

208
 786. Ran taliya kavi

Ballad of the golden platter

THIS song describes the episode of Seriwanija Jatake, No. 13, in which Devidat
tera was a trader, who pretended to reject a dirty old golden platter, offered to
him as old brass in exchange for bangles, in order to obtain it at a lower price
than the value of old brass. The Bodhisat however went to the same house,
in the meanwhile, and told the owner that it was gold, obtaining it for all the
property he had, though still worth more, as he admitted to the seller.

Devidat pursued the successful trader, who crossed a river, amidst the curses
of his disappointed rival. The verse is good enough, but it does not seem more
than a century or so old. My copy has 30 verses, and is a written on a long strip
of olahs, 9 feet 4 inches long, about 1$ inches wide, folded ziezac-wise in folds
6 inches long, now rather an uncommon method of making a book.

Example :

Naegani no baena man kl de asawu kiyanne

Napuru welandu giya ata mata hanika kiyanne
Ewita gangata yanta para bilindu kiyanne
Dahasak masuran tibu ura payya damanne

Little sister not abusing, hear the thing I said, saying,

Quickly tell me the direction the wicked trader went—•
Thereupon the child tells the path to go to the river—
Casting down the wallet in which the thousand masuran coins were
kept.

209
u
 787. Janananaanaya

Folic's delight

THIS relates the Kalpa flood, and the survival of a water-lily flower, in which
Bambu or Brahmans appeared after the flood. It describes the three surfaces,
Of air, water, and rock. It speaks of the edible mud that was left by the flood,
succeeded by fungi. The Kap tree, or Kalpa tree, which yields all that one
can desire, then appeared.

The days of the week were fixed by the planets. Angaharu the planet of
Tuesday, is called Mihiput here. The twelve signs of the zodiac, and other
astrological matter follow. Maha-sammata was born. The beasts then
assembled and chose the lion as their king. Lions are of five kinds, as else­
where noticed by me, but here given as trina, kala, pandu, kesara, and elephant-
lions. The trina are described as golden yellow, the kala as dark as black
cattle, the elephant-lions or gaja-sinha are white. Elephant-lions are not
included in the other lists, and are not true lions but half mythical beasts, with
a body a lion, and the trunk of an elephant—perhaps a tradition of the mastodon.

The birds first selected the owl, but rejected him at the suggestion of the
crow, upon which the owl chased, the crow away. Then they selected the
golden hansa or goose as their king. The fish chose as king the ananda eel.
After he had eaten so many of his subjects that they were afraid to appear
before him, the ananda king one day seized his own tail, thinking it was that of
another fish, and swallowed himself up.

The position of Maha Meru, and the oceans is described.

The poetry is of no very high order, and seems to be two centuries or so old.

My copy A has 226 verses, B has 162, C has 192 verses.

Example:

Udayin riwi paewu kala

Mudunin naemi ira baesi kala
Gananin saeta paeya giya kala
Dawaseka sata niyamya kala.

The time that the sun shone at dawn,

The time that the sun descended, bending from the zenith,
The time that paeyas sixty in number passed,
People appointed as a day.

210
 788. Sinhala wistare

Account of Ceylon

THIS describes the three divisions of Ceylon, the story of Wijaya's origin from
a sinha or lion, the names of Lak diva, and the length of the yugas, with various
notices of leading features of Ceylon. The loss of land by encroachment of the
sea, at the time of Ravana, and again of Kaelani Tissa. The visits of Buddha
are also noticed briefly. It speaks of the eighteen great tanks of Ceylon, and
names Manawatu waewa, Galboralu waewa, Minihiri and Mahakulunae tanks,
Ratmalkada waewa, Mahatalawa, Kadiya waewa, Kalabagama waewa, Raba-
talawa, Giri veheraya tank, Gantalawa, Kawudawula, Kalawaewa, Kurunde
waewa. Lekunu, Kuda-sagara, Maha-sagara, but the name of one is omitted
in my copy.

In Pihiti there are forty-two ratas or countries. These are: Kala nuwara,
Magalla, Silawali rata, Ma wata nuwara, Kaeli rata, Mannarama, Karabawalana,
Telawalli nuwara, Dambulu nuwara, Tambungomuwa, Kadurudahas—tota,
Kaduwuda Wallu nuwara, Paluwat nuwara, Moru rata, Pad! nuwara, Kokka-
wali nuwara, Kurundugomuwa, Manawatu nuwara, Waeligam nuwara,
Kachcheri, Marachchi, Balatiya rata, Aelasara, Atbandanaya, Maeladura rata,
Aelasara, Atbandanaya, Maeladura rata, Udugoda, Asgiriya, Siriyal rata,
Magalla Sulugalla, Kadiyawa, Polonnaruwa, Padawa, Kotapiya, Gantalaya,
Muduwalliya, Kanukuniyawa, Minneriya, Kawudawalu nuwara, Welagal
nuwara, Gonawatu nuwara, Anuradhapura nuwara. This perfect list of countries
which for many centuries have been held either by Malabars or Tamils, shows
that the author had access to some very ancient record, certainly four or five
centuries old.

In Maya are 28 ratas, as follows :—

Denawaka, Maniyangamuwa, Kalugalboda, Nawayotna, Pasyotna, Kaelani-
degambada nuwara, Panabunna, Alut-kuruwa, Ambokka nuwara, Dambaden
nuwara, Beligala nuwara, Delanawalana, Dewamaedda nuwara, Kurunaegala
nuwara, Eliya degambara rata, Mirisarumaya, Naranwitriya, Madura rata,
Siduruwana, Waelawita, Matalaya rata, Dumbara-pansiya-pattu, Mayadunna,
Bogambara, Kindagoda, Pagalgolu nuwara, Sandapandunna, Kumbarugomuwa;
these divisions indicate the fifteenth or sixteenth century as the period to which
they should be referred.

Ruhunu is stated to contain 42 countries, but my copy gives only 36 names,

and a verse or two with six names would seem to be defective. Those given
are Deyyfigal danawwa, Kokkagal danawwa, Mawael danawwa, Kinihiri kandu
danawwa, Magal danawwa, Miwel danawwa, Minigal danawwa, Erawulla rata,
Kotmalaya, Matwata, Pasgama, Katubulu rata, Weratibaya, Soragama, Kini-
hiriya, Kotasara, Kaluwael danawwa, Uva, Badulla, Sirigal danawwa, Ruhuna-
gal danawwa, Digamadulla, Mawatu danawwa, Madugal tota, Gal danawwa,
Salbogomuwa, Ridigama rata, Aebalawa, Saedaehae-giriya, Owa, Magal-
madulla rata, Lindaesgomuwa, Dolosdas rata, Kubukundegoda, Ukgala,
Nadungala.

These hsts are of remarkable interest to the antiquary and philologist, and
are an original record, so far as the existing literature is known to me.

211
 The Kreta yuga is said to be white, and of 1,728,000 years; the Treta is
golden, and has 1,210,000 years ; the Dwapara is red, and has 864,000 years ;
the Kali yuga is blue, and has 432,000 years.

Uva was the orchard or park, uyana of king Rawana ; Badulla was his small
park.

Dutugaemunu's chief queen was Anoja devi, daughter of Soma devi, younger
sister of Kawan Tissa ; her son was Saliya Kumaraya.

The names of the kings of Ceylon are given, but in my copy they are evidently
mostly lost, and those that remain hopelessly confused. Kirtti Nissanka is the
latest name mentioned.

The poem appears to be about three centuries old, but the matters in it must
be at least four or five centuries old, and it has historical interest, relating
reliably the traditions and records of that time.

My copy has 150 verses, and is the only one I have yet seen. It seems to be
about 60 years old.

Example :

Siri Laka Wijaya raja Samitta rajaya Panduwasa nam raja utuman
Piriya Motasi Mahadaeliya yana Deweniya paetis nara utuman
Wiriya kala Kawan Tissaya yana Dutugaemunuda Adagaemunu rajun
Siriyada Gaemunuda Elala raja yana Sada Tissaya narapati rajun.

In Siri Laka, Wijaya raja, Samitta raja, and Panduwas the supreme
raja,
Beloved Motasi, Maha Daeliya, Deweniya paetis the supreme man,
Kawan Tissa who made exertion, Dutugaemunu and Adagaemunu
rajas,
And fortunate Gaemunu, Elala raja, and Sada Tissa sovereign king.

212
 789. Udaekki upata

Origin of the udaekki drum

IN this we are told that Kanda Kumaru gave the body of the drum, Rahu the
Asurindu gave the ends, Nata surindu gave the cord, Wanara devindu gave the
parchment. Evil influences are exorcised from it. There is nothing of any
particular interest in the verses, which are chiefly intended to file up the time
at ceremonies. It differs from No. 273, and may be two centuries old. My
«opy A has 22 verses.

Example :

Daete dasangili kawuda wesenne

Patrakali devi wesyi kiyanne
Edeviyanne tedin sondinne
Daeta dasangili baendi sira yanne

In the ten fingers of both hands who resides ?

Patrakali resides they say—
By the good glory of that god,
May the spell affecting the ten fingers of both hands depart.

213
 790. Devidat wilapaya

Lament of devidat
THIS poem describes the schism of Devidat Tera and 500 newly ordained
priests, when Budu refused to make the five observances obligatory, leaving
them optional. The schismatics were recalled to their duty by the Teras Sari
putra and Moggallana ; Devidat Tera going to sleep and refusing to hear them.
Kokalika Tera, a friend of the Devidat Tera's, seeing them depart, and Devidat
still asleep, kicked Devidat on the chest, causing him to throw up blood, and
suffer for nine months. He then tried to see Budu before his death, but was
unable to, and fire from the Avichi hell enwrapped his legs. He then prayed
to Budu, with lamentation, turning to the direction in which Budu then was,
and imploring his help by the ties of their close relationship. Notwithstanding
this the Yama palls came, and took him away to Avichi.

This is well composed, and seems to be about three centuries old. My copy A
has 43 verses, B has 33.

Example :

Kokalika sanga pibida baelu kala kawurut naeti bawa daenaganne

Meka tawa mara nidida kiyala para dekak wilumben aenne
Kokalika sanga aenapu de parata le allak wamane wenne
Me karanay n nawa mas gananak Iedin e Devidat tera unne

The priest Kokalika having awoke, when he looked,

knowing the fact that no one was there,
Having said, this fellow is still dead asleep, kicked two blows with his
heel—
At the two blows kicked by the priest Kokalika, a handful of blood was
vomited—
For this cause for a space of nine months, that Devidat tera was ill.

214
 791. Pirittuwa, II

Exorcism

THIS is an exorcism for general protection, invoking the power of the Three
Saranas, Brahma raja's charm, his necklace ; the Gurulu, Garuda, Saekra,
Asura, and Naga charms and necklaces. The flower, Narayana, Viskam, and
Siri Kata pirit. For the latter a cord of 120 cubits is needed. Vishnu is invoked,
and Budu who placed his sacred feet at Makkama vehera or Mecca, and Sama-
nala or Adam's Peak. The necklace refers to the thread tied round the exorcised
person's neck. It then describes the cord and its reel, to be provided for the
ceremony. It seems to be three centuries or so old, my copy has 35 verses.

Example :

Makkama veherata pita di sitagana

Samanala veherata mfina balagana
Siri padayata de paya tabagana
Ek siya wisi ata nulada kaetagana.

Standing burning the back on Mecca's temple,

Looking with the face towards Samanala's temple,
For the glorious footseps placing both feet,
Twisting a yarn of a hundred and twenty cubits.

215
 792. Kotahalu yadinna, II

The Purification prayer

THIS is used like Nos. 285 and 606 at the purification ceremony held when a
maiden reaches full age. It commences with an account of the destruction of the
previous Kalpa by rain, and the accumulated floods. Upon the flood appeared
a flower, on which Bambas or Brahmas were saved. When the flood abated,
the Bambas descended, and ate the mud which at first was eatable and nutri­
tious. As this disappeared, wild rice grew up, and then men began to divide
into clans and falsehood grew rife in the Land. Viskam deva made a crown of
flowers, and a Bodhisat prince was crowned by him, and is known as Maha
Sammata, Umayangana attained her full age, and the king caused a golden
basin to be brought, and her cloth was washed in it. A separate hut was deco­
rated and put up for her, and a master washer performed the Ceremony. A
washer-woman assisted and a great festival was held. Nila, a warrior or Yodaya,
fetched a new cloth for the queen, offerings were made to Gara Yaku. The
Tvasher-woman conducted the queen to the palace by its northern door, and the
cloth which was washed in the golden basin, was shown to the queen, who gave
.great gifts. There is a mistake here over the queen, Maha Sammata's wife was
Maenikpala, a sister of Umayangana. The ceremony takes its name of Kota­
halu, from Kota, new, in Telugu and salu or halu a cloth. The Telugu word is
written as Keota, but the ti is hardly sounded at all and in the Sinhalese word
has quite dropped out. The festival is therefore that of the new cloth, and the
connection with a Telugu word is significant.

The poem is probably a century or two old, and has about 60 verses.

Example :

Sasiri bara sa dewu Iowa,

Arisi matwana ti Iowa,
Siri mudun guna ti Iowa,
Dasa dahas me sakwala.

Very fortunate are the six deva worlds,

Being wonderful to the three worlds,
In fortune and virtue head of the three worlds,
These ten thousand sakwalas.

216
 793. Ganan siwupada

Statistic verses

THIS proposes various arithmetical puzzles ; thus ten men of Chandra wanka
street in Anuradhapura giving alms daily, the whole of the dwellers will have
given alms in 33 years. How many people were there, and how many rice offerings
were made. The answer is given 12,820 householders, and 81,048 rice, but no
fixed quantity is named, and the answer is unintelligible to me, The questions
refer to the time of Dutugaemunu, and are probably taken from some old work.

It also discusses the alphabet, and speaks of 540 letters, which are merely the
possible combinations of vowels and consonants, and those vowels and conso­
nants themselves. This also does not seem to be reliable. The poet evidently
follows the Sanskrit, and not the old Sinhalese alphabet, but he should give 34
•consonants, which would give 560, and not 540.

It seems to be some two centuries old, and has some merit of verse. My copy
has 25 verses.

Example :

Adiye sitayi pera paewata enne

Sodiya satata waeda awad a wanne
Saedewu mage mitureni bolanne
Hodiya akuru koyicharada dunne.

From of old it comes traditionally,

The alphabet is good and bad for people—
Behave yourselves my friends !
Do you know how many are the letters of the alphabet.

217
 794. Vaikunta alankara

Description of Vaikunta

THIS describes the palace of Vishnu on Vaikunta giri, and then describes the
exorcism of evil influences by the golden bow of Vishnu. It then relates that
Vishnu was born in the Saka year 712, AD 790, in the month Wesak, under the
constellation Anure, on a Sunday, out of the " hare " or heart-wood of a red
sandal tree, as his mother. This alludes to the image of Vishnu at the Devundara
sanctuary, which is said to have been made out of a log red sandal wood washed
ashore there. Vishnu came to Devundara bearing his sun and moon standard.
He caused a Vaikunta pansala or sanctuary to be built there, the beauty of
which is described. He held the padma, lotus, the mace or musala, the chank,
the sword, the chakra or disk, the bow. He appeared in ten avatars, he measured
the earth with three strides, he shook the Maha Mera ; he churned up the ocean,
so that Sak devindu got the jaya saka or conch, Kanda Kumaru the konta or
spear, the Isiwara or Rishis the agni-saera or fine arrow, and Siriya devi arose
out of ocean. Pattini received a halamba or bangle, Saman devi a golden bow,
Pulwan Surindu seven golden bows ; Pulwan Devindu hid his golden bows
beneath the Kiri muhuda or Milky sea, and it plays in the waters, and passes
to the seas of flowers, pearls, chanks, sweet water, and the dumb sea. These are
respectively named Mal, Mutu, Sak, Mihiri, and Golu muhuda.

This is an imporant saga Vishnu worship at Dondra or Devinuwara, and

seems to be some three centuries old. It was procured in the Anuradhapura
district, and not met with in the south of Ceylon by me. I have only seen my
own copy, which is bout 60 to 80 years old, and has 105 verses. As the Dondra
temple was entirely destroyed by the Portuguese, this saga must be a re-edited
version, some three centuries ago, of a much older poem ; it is interesting to
meet with a description of the statue worshipped at AD 790, as such images
preserve the outline of the superstition they embody.

Example :

TJdaya giren hiru paya ena kota

Baendaya chandra rivi kodiyaki mulu rata
Wijaya raegat Asuran rana-keliyata
Ejaya kodiya paewatuni raja waliyata

From the dawn rock when the sun came shining,

The whole land was bound by the moon and sun standard.
Which gained victory at the Asura war,
That victorious standard is perpetuated for the royal race.

218
 795. Kaludaekada kumara kavi, II

Ballad of Kaludaekada kumara

THIS differs from the other poems of that name, and from No. 693. The
present poem resembles No. 692 in its contents, and describes the voyage o f
Hat Raja or the Seven Kings, from Malwara desa, across the Kiri Muhuda, and
their arrival at Yapa patuna or Jaffna in Ceylon. Thence they passed to
Anuradhapura, and Tisgam nuwara, and Ritigala kanda nuwara.

They were crowned as king Mahasen, the seven here being clearly one
person, showing that Hat Raja should be translated Seven-fold king, and not
seven kings. He then went to Mana, kanda, the palaces of which are praised,
as well as the palaces at Kumara gala. As the milk supplied was not good, he
procured a short-horned cow, the loss of which led to the discovery of the
Minneri plain by the searchers. The tank was then built, but as a Yaka
destroyed the bund, the Bamunu or Brahmans said that a royal prince must be
offered as victim. His nephew was given up for sacrifice, and the minister
placing the prince in a coffin, filled in the bund, placing the coffin aside.
Afterwards he killed a bear, and sprinkled its blood on the bund, which became
solid. He concealed the prince in the Maligawa on Kaludae kanda. The
ruins of this palace were discovered by me at the western end of the bund,
and below it, at the spot still called Kaludae kanda. The name Minneri is here
derived from the meneri or small millet sown over the tank, and idle derivation.
The new tank contained twelve islands, and was formed by, or else formed, the
streams Talawatura oya, and Kiri oya, and the Iha-kula waewa or tank.

The king then visited the bund in state and lamented the loss of his nephew.
Then Kirtti Kumaru, apparently the general, prostrated himself, and restored
the prince. The prince was surrounded by a host of Yakas, and when he
approached the Hat-katuwa, or Seven-fold, that king was turned into stone,,
referring to the ancient statue of Mahasen on the bund of the tank.

This saga seems to be some two or three centuries old, my copy has 54 verses-

Example :

Yakek me awatara karana

Raja kumarek bili dewamina
Ehenan waewa hayi hitimina
Naetnam baeriweyi kiyamina

A yaka is causing this eyil-influence,

Giving a royal prince as victim,
If so, the tank staying firm,
If not it cannot, be saying.

219*
 796. Soli kumara kavi

Ballad of the Soli prince

THIS relates the story of the Soli prince, who was put to death by his father.
The Soli raja had erected a bell, the rope of which could be pulled by all who
sought his justice. One day the prince drove his chariot over a calf, killing it.
The cow, its mother rang the bell, and hearing the voice of his son, the king
caused a chariot to be driven over his head. His spirit then began to vex the
land, but exorcisers drove him into the sea. He then came to Ceylon and
wasted Velasse, and Bintenne, attacking the cattle.

He attacked the elephant Konda raja, which lost its appetite, and fell sick.
A vase like a tea pot, without a handle, but with twelve spouts, was filled with
charms, by which the Soli prince became a rock.

Sixty Budhist priests assembled and repeated a charm, then a bull's leg was
thrown in their midst, and they all sprang up striking each other's heads with
their heads. Someone complained to Kataragama Deva, the Nata dewata,
Patini dewata, and to Rasinha rajun.

The ballad is very obscure in places. The allusions to Kondaraja elephant'

and the death of the sixty priests, occur also in Panan Deva kavi, No. 648, and
the verses are identical.

This kavi seems to be some three centuries or so old, my copy has 34 verses.

Example :

Saetak kappawa slri budinne

Sanga saeta namakut eka taen wenne
Etana sitana laksaya purawanne
Gon gate e maedata damanne.

Having caused the sixty to be cut, he drinks the blood—

Sixty priests assembling at one place,
Staying there to complete a lak (recitations),
Casting a bull's leg in their midst.

It would be better to place the first line fourth, so far as the sense goes.

220
 797. Kumara devi upata

Origin of Kumara devi

THIS god was born in due course as the son of Boksael Terinda, the Highpriest
Boksael. His mother was a queen, whose name is not recorded. The
astrologers announced that he would become a priest. One day when the king,
his father was building a wata dage or round relic house, the prince climbed up,
and falling off, was killed. He became a Rakusa. Afterwards he saw a queen
at Anurapura and fell in love with her. After he possessed her, she appeared to
be dead, and her cremation was commenced. Kumara devata however quenched
the fire, and saved the body, and restored her to life. She was named Sonalu
Bisawa, because rescued from the Sohona or cemetery, and on her recovery
the Devata gave her back to the king her husband, who caused offerings to be
made to him, out of gratitude. By leave of Wesamuni his worship became
general. He possesses women. He is also called Wata Kumara or the round
prince, evidently from the round tower off which he fell. He causes people to
dance. This saga seems about three centuries old, and belongs to an ancient
line of tradition. My copy has 156 verses. Kanrati stands for Kama raii in
the example.

Example :

Tammaenna purayata gos lolle

Kan rati keliyata pamin lolle
Dun keli puda gannata situ lolle
Wanbati Anura pura e siyalle.

Going gladly to Tammaenna city,

Showing delight in amorous intercourse,
Gladly minded to take the offerings given with dance,
Descended to Anura pura all those.

The name Boksael terindu may perhaps not refer to a high priest, but be an
obsolete title meaning " chief king ", or " great king ".

221
 798. Madana yak yadinna

Prayer to Madana yak

THIS invocation of the demon of Lust, relates the story of the Ascetic who sat
at the root of a nuga tree, until the roots formed round him, and birds built
nests in his hair and beard. Saekra then tested him, by a beautiful maiden. He
yielded to the temptation, but the maiden vanished. He searched for her,
but could not find her, and became yak on the Madana Giri parvata, or Lust
peak mountain.

Madana yak was son of Sohon yakini and Sohon yaka, Sohon being a cemetery
or ground for disposal of the dead by cremation, exposure, or burial. Rati devi
was the maiden created by Saekra, and she, with Madana yaka, now receive
offerings in the world. They afflict young men and maidens with hysterical
fright and headache. They terrify children left alone. The offering to them
is milk, flowers, blood, sandal, resin oil, and the " pas mal". It should be
made at the junction of three paths. The hymn seems to be some two centuries
or so old, and has 27 verses.

Example :

Madana Yaku upadite

Me lesata pili wete
Kusata wan wena naete
Sohon yak sen aete.

Madana yaka is born ;

In this wise is the ritual;
There is no other was in the womb ;
There are armies of Sohon yakas.

222
 799. Parale kavi

Ballad of possession

THIS refers to exorcism of demoniacal possession; no special demons are

named. The yaka is called upon to dance, preparatory to his being made to
leave his victim, and is invoked by the power of the Three Saranas, Nata deva,
Sidda Patini, Kanda Kumara. Various matters spins out the exorcism, the
yaka is invited to dance on the waters, and so on. He possesses girls, and is
promised a muslin robe by the celebrant, and a red garland. This is some
two centuries old, and has forty verses.

Example :

Melowata Budu unu Muni utumanne

Tilowata Budu raes waedunu yakunne
Keliyata mal dam suratata ganne
Jala pita tisareku sema natanne.

Budu was the supreme Muni of this world,

The Budu rays spread over the three worlds, yaka !
Taking a flower garland in right hand for sport,
Swimming like a goose on the water.

223
 800. Tahanchi kavi, II

Exorcism verses

THIS is an unimportant little poem of 12 verses, but distinct from No. 662.
The evils of the gate are exorcised (tahanchi), recalling the marriage of Mafia
Sammata at which apparently this was observed. The next verse contradicts
the prohibition to cross the gateway. The third verse alluding to Sahampati
Brahma bearing an umbrella over Buddha, orders the advancing party to stop
where it is—The following verse contradicts the order to halt. The fifth verse
speaks of Maha Sammata and alludes to Buddha, and then tells the advancing
party not to cross the garden. The response cancells this. This is intended to
be sung as a wedding party advances to the house of the bride. It may be
a century or so old.

Example :

Muhuda arakgat Mihi deviyanne

Jala purawalayi kotale genenne
Piruwata wasalayi kotale tiyenne
Tahanchi kotale atata noganne.

Of Mihidevi who protectest the ocean,

The kettle is brought filled with water,
The kettle is enwrapped in a napkin
Taboo ! take not the kettle in hand.

224
 801. Lanka bandane, II

The Lanka spell

THIS ciiffers from No. 384, but it is a small poem of only 11 verses. It binds
various objects for the protection of the person on whose behalf it is used.
Puruva and Apara Godana are bound; Uturukuru divayina and Damba diva
are bound. The ti sarana of Budu bind the sky, earth, and two thousand
lesser islands, and so on. Lands, waters, beasts, fishes, are all bound, and
several relics of Budu are invoked to effect this. The verses are about two
centuries old.

Example :

Aetun siha waga walas diwi muwa gona sukara yana siyal
Satun wisa gora na polon karawaelda sabaralu yana siyal
Masun diya goda igili uda yana paksi kuru kuhubuda siyal
Utun Kakusanda Munidu waramin mewan slma lami siyal

Elephants, lions, tigers, bears, leopards, deer, sambur deer, all these,
Poisonous creatures, cobras, vipers, kraits, hamadryads, all these,
Pish in water, birds going on high flying over earth, and all insects,
By warrant of supreme Kakusanda Muni I put restriction of these at
length.

225
15
 802. Waedi santiya

The Waedi blessing

THIS is used as a blessing, to exorcise the evil influences of the spirits named,
who are associated with the ancient Vsedda population, and outlive the Veddas
in popular superstition. It names Male raja, Kuda Siri, Bon raja, Aemati
Waedi, Wiyanboyi, Baeli Bisawa or Bitch queen, Ganaran Siri Walalla, Ridi
Walalla Waedi or Silver bangle Waedi, Ran Walalla or Gold bangle, Gopalla,
Mitichinu Waedi, Tun Bae-raju or Three Brother-kings, Kosamba deviyan,
Yaggal Waedi, Kalu Waeddo, the thrice twelve Wali Yak. Baeli Bisawa
perhaps alludes to Kuveni who took the form of a bitch to beguile the followers
of Wijaya. Male raja is Jiwahatta, her son. Miti dunu Waedi might be
translated as Archer of the dwarf bo"w, but it is more likely to be a corruption
of a name confounded with Mituru (Mithra), like the Mithridates familiar to
Europeans. Yaggal Waedi is Archer of the iron rock, if treated as of Sinhalese
formation, and analysed in modern Sinhalese sense.

This is used in the Anuradhapura district, by villagers interspersed amongst

the remnants of the Vaeddas there. It seems to be two centuries or so old, and
has 28 verses.

Example:

Haeli mana kavi siwupada padat dani

Waeli naetum ge talan padat dani
Kuru sawari kana mewara dunut gani
Baeli bisawa geta set dena lesat dani

Knowing saehaeli, an good kavi quatrains,

Again knowing dancing, song and music,
Taking hairpins, false hair, ear ornaments and bow,
The Bitch queen knows the way to give peace to the house.

226
 803. Ayyanaka devi kavi

Ballad of Ayyanaka devi

THIS hymn or saga states the Pulwan Surindu assumed the form of a celestial,
and went to a forest in which were some Risiwaru, with their saere or arrow.
This probably alludes to the fire arrow obtained by the Rishis, when ocean was
churned. In the womb of this maiden a child was conceived, and pushed his
way through her right side. He was Ayyanaka, chief of the yaku, and lord of
the World. He went to the Deva sabhawa, on the elephant and was welcomed
by the gods. When Munidu, or Buddha, went to the Mallava park, he gave
over this world to Ayyanaka raja ; this refers to Buddha's nirvana. He rides
a white elephant. From Madura pura he came to Sinhale, and thousands of
idle Demala yakas, with five powerful Devatas, accompanied him. They came
in a boat, and the boat which was of stone and forty cubits long, was built in
four months. The stone used was crystal, fetched from many lands by Kambili
Yaka. There was a seven storied pavilion on the boat, in which he came. The
boat however began to sink, and the five Devatas of the Malawa Land, quickly
sacrificed an elephant, and caused it to float. They landed safely at Yapapatuna,
and the god proceeded along the coast on his white elephant, and reached
Kalutara temple. He visited Wirakkuliya, and built a temple, which he gave
over to Ilandari Devata. Four golds at Patti eliya or the Fold-plain, he gave
in charge of Kambili Yaka. To Kadawara he gave Welayuda, which here
seems a place name and not the emblem of that name. He visited Amunekola
and inspired a votary, who erected a post there in his honour.
My copy A has 25 verses, B has 21. This hymn is about two centuries old.

Example :

Patara balaeti Kambiliyata niyama lesata barawela

Atara maginwat yana sata olmatkara gennawala
Katara noyek desawalin palingu genat raeskarala
Satalis riyanak gal naewa sara masata nima karala.

Being given in fitting manner in charge of Kambiliya of great might,

Having brought bewildered the people going on the surrounding roads,
Having collected, he brought crystal from many distant lands,
In four months havirg finished a stone ship of forty cubits.

There is a shrine of Ayyanaka or Ayyanara at Amunekola, where he is

worshipped under the symbol of an Natbondi, or sceptre-like Mace, if not
a sceptre. The old post, said to be several centuries old, still stands there.
Until about twenty years ago, it was usual to tie women possessed by hysterical
or epileptic fits to this post, and there solemnly flog them until they cried for
mercy. So long as they refrained, it was believed that the pain was felt by the
possessing demon alone, but after his departure the woman herself felt it, and
the discipline was stayed. The old people assured me that it was very
efficacious, and the demon seldom returned to the same woman again.

227
 804. Dahanaka devi kavi

Ballad of Dahanaka devi

IN the ballad he is called Dahanaka Surindu, Dahanaka Bandara, Dahanaka,

devindu, and Dahanaka Swami, but the Dahanaka god is little known by that
name. With Gale Deva he took possession of the forests. He has a great
retinue. He went to Kahalle in great procession, and left there his golden-
weapon. This is not specified. He caught a wild cow elephant and took away
its appetite, and surrounded it with swarms of " nilayo " or blue-bottle flies-
He chases away the Yakas. With his henduwa, or elephant goad, he restored
the cow elephant to life, who prostrated herself before him. At Namaluwa wa&
a na plant, and leaving the top and bottom unaffected, he possessed the middle
of it, so that it shook with his inspiration, in presence of the nobles, who
witnessed his might. He seized upon Uduweriya, and visits Kahalle. Dahana
is an obscure name in Ceylon for Agni, the Fire god. This legend must be very
ancient, as there has been a herd of wild elephants sacred to the god on the
Kahalle hill from time immemorial. His power to collect flies around a dying;
victim suggests a possible connection with Baal Zebub, the god of Ekron,
and Zevs Apomyios, the Myiodes of Pliny. It would be interesting to know
if the Zebub and miya flies were nilayo or blue-bottles, nilaya meaning literally
" blues " . Dahanaka is an obscure and foreign form of fire myth in Ceylon,
and it is difficult to collect enough material to clear up the myth. He would
seem to be the god of forest fires, and after one of these had swept over the land,
the carcases of the larger animals scorched to death, especially elephants, would
as if miraculously, swarm with blue-bottles when all other life had vanished.
This may be the origin of association between the Fire God as well as Baal and
Zeus, with flies. The proper term for blue-bottle flies is nila-maessa, for which
nilaya or " blues " is a colloquial licence. This maessa is Sanskrit makshi,
Pah makkhika, all undoubtedly connected with the Greek myia. In the great
reed beds of Mesopotamia, and the marshes of the Nile estuary while yet the
hippopotamus found a haunt there, forest fires would be very destructive, and
especially pregnant females would fall victims.
In 829 we are informed that one of the forms in which the dreaded Huniyan
Yaka appears to his victims, is that of a nila maesi or blue-bottle fly. This
may be a connected myth.
One verse says the god carries a golden bill hook, or kaetta. This probably
symbolises that his fire cuts down the trees. The hymn is two or three centuries
old, my copy has 23 verses.

Example:
Uduweriya ra$a alia Kahalle piyasata wadinda
Miyachchi mala kanda aetinna henduwa di naegituwanda
Raja mudali aya sitagana namaskara kara wadinda
Dahanaka devi utuma saenekin penata waedamawanda.

Having taken Uduweriya District, come to Kahalle village, .

Raised the carcase of the dead cow elephant, applying the crook,
Rajas and chiefs standing, reverencing, come !
Supreme Dhanaka devi come instantly to soothsay.

228
 805. Kali naelawila

The Kali lullaby

THE reason why this is called lullaby by the poet while it is an ordinary hymn
to Kali, probably is to soothe that terrible goddess. It says that she comes
Tattling her nine-angled bangle, she sports in the skies, and descends to earth.
She shows her power in rays like those of the sun. She loves flowers, and wears
a golden robe. A bangle is across her shoulders, and a scarf is around her.
On each arm are bracelets. Pattini the mother gave her authority. There
•are seven Kali goddesses. She cures sickness.

Patra Kali was born in Kuhara^pura at the tips of the leaves of a nuga tree.
She wears a blue robe, and a blue scarf. She protects the land like a young
moon. She guards the stem of the sacred Bo tree,and holds the leaves of the
sacred Bo. Five devatavas attend her. She wears the Naga bangle on her
shoulders. At Kalagama she manifested her power. First she was bom in a
Cobra's hood, then at Baranaes city, next in a purple water-lily. A verse or two
seems defective here in my copy, and instead of giving the other four births
it abruptly changes to the birth of Pattini and eulogises that goddess, in the
usual terms.

We are told that Pattini allowed Kali a kol-mura or hymnal, of which this
is doubtless a part.

When I was stationed at Chilaw in 1880, several images of the Kali goddesses
were found at the temple of Munnessaram, destroyed by the Portuguese or
Dutch. It is probable that there were originally seven of them. The images
are rather rude ones, of a black rock, apparently gueiss, and resemble those
imported from Tanjore to Ceylon. The Kali temple at Chilaw is a little to
the west of the celebrated shrine of Siva, at Munnessaram, and animals are still
sacrificed to her by the Sinhalese and Tamils, beneath the trees around the
Tuined temple, which has been replaced by a small building, in which the images
are now worshipped. The temple at Attikulama, was probably similar to
that at Chilaw. Both were ancient seats of the pearl fishery, and while Sila,
vaturai was Muttu Ai-lavam, or Muttu Silama, Salawata or Chilaw is still
called by Tamils, Kalla Silavam. It may be doubted whether there was more
than one Kali kol-mura on this coast, but there may have been other temples
besides that at Chilaw. Kalagam I do not identify, but Atti kulam is no doubt
the abandoned village of that name in the Silavaturai district. In the same
district but at the village Achchaukulam it is said the ancient mythical queen
Alii Arasani landed, to form the pearl fishery, and within a mile of the present
hamlet there still is a temple to Mutumari Amman. As the Portuguese
destroyed all Sinhalese and Tamil temples they came across, and the Sinhalese
have for several centuries left that coast, the original of this poem must be very
ancient, and the hymns must have been used in their present form at least
400 years ago.

229
 The poem is probably four centuries old, but has no special features, and was
evidently composed by a well educated poet. My copy has 24 verses, but may
be very defective.

Example :

Naga halamba kara lama wadimma.

Dekak halamba gena dewura daramma
Ekak halamba banda pita babalamma
Pahanak se ena Kaliammfi.

Placing the naga bangle on the neck, she comes,

Taking two bangles she wears them on the shoulders !
One bangle glittering on the stomach,
Like a lamp Kali amma is coming.

230
 806. Amba widumana

The shooting at the mango

THIS is a short poem of only 12 verses, describing how Saekra shot off the
magical mango in which Pattini was born, in the Pandi raja's orchard or park.
It relates how the juice blinded his third eye, and how the mango was set
afloat down the river. The usual version says that it was enclosed in a pottery
vase, and floated away, but this poem says it was set adrift in an oruwa or
boat. Manayuru found it, and there this copy abruptly ends. It is probably
part of a longer poem, but differs from Nos. 22 and 241. It is written between
Nos. 805 and 807 in my copy. In No. 805 we are told that by permis­
sion of Pattini, Kali was allowed a Kol-mura or hymnal, and it is probable
that these three hymns are fragments of a collection used at the worship both
of Pattini, and Kali. The great sanctuary at Munisseram anciently contained
a lingam, and an elegant and very ancient statu.' of Pattini, which were found,
rather damaged amongst the ruins. The lingam and goddess are of ancient
forms, and not being quite unorthodox to Tamil Sivites of today, who are
gradually ousting the hereditary Sinhalese worshippers, I secured the latter,
which I have since presented to the Colombo Museum. The lingam is preserved
on the spot, together with the pieces of the Yoni stone, by arrangement between
myself and the people. It is kept outside the new temple, so that it can be
seen by antiquaries or others interested. In connection with the Kali hymns
Nos. 805, 807, and the Kali temple close by, the ancient statue of Pattini,
gives some interest to this hymn, which leads me to catalogue it although
only 12 verses are known to me. It may be that the Muttu Silava temple
had nothing to do with these at Chilaw, but the combined worship of Kali
and Pattini at one place must be quite similar.

Example :

Sal uyane amba rukaye kola bara ambayak tiyenda

Kal noyawa dinen dinata madiya kala se waedenda
Sal uyanata giya maetiwaru Pandi nirinduta saela karanda
Golla pirisa senaga raegena Pandi raja eti amba widinda.

In the sal park on a mango tree of thick foliage is a mango,

Without lapse of time from day to day it increases like a great water
pot,
The ministers who went to the sal park, representing it to the Pandi
king,
Taking a host of many people, the Pandi king comes to shoot the
mango.

231
 807. Muttumari kavi

Ballad of Muttumari

THIS contains only eleven verses, in my copy. Muttumari Amman is much

worshipped by the Tamils, but not, at least under that name, by the Sinhalese.
We are here told that the goddess arrived at Wellieliya ambalam, and took
charge of Ceylon. Mannarama, and Muttu Silama are dedicated to her;
the latter is an obsolete Sinhalese form of the name of Silvaturai, near Arippo.
She holds a many-angled bangle, made of five metals, in her right hand. Her
first sanctuary was at Atti-kulama. She stays near Ayyana devi, not knowing
the paths in the land. She landed at Mannarama, to go to Muttu-Silama,
and daily killed men. She is invoked to cure small-pox. My copy is bound with
Kali naelawila, and 12 verses of an Amba widumana, differing in verse from
Nos. 22 and 241, but apparently not a complete poem.

The present kavi seems to be about three centuries old, and I should think
it probable that all three poems are part of a Kolmura, alluded to in No. 805.
Kali-naelawila, for use in honour of Kali Muttumari is probably one of the
Seven Kali of No. 805. The full Kol-mura probably exists somewhere, but
I could not trace it at Chilaw, and this copy was obtained near Anuradhapura.

Example:

Udata wangu halamba raegena daete kisi bisi gigiri

Karata e ran halamba dama. wasa laemada daemu osarl
Me rata me Sinhala haema taena waduru wasangata berl
Purata sadisi pun sanda weni wadina kalata Mutu-marl

Taking a bent bangle on the shoulders, on both hands " kisi bisi "
tinkling bracelets,
Having put that golden bangle on the neck, the robe worn across one
shoulder covering the breast,
Giving release from the small-pox plague every where in this land,
in this Sinhala,
Like a bright full moon on the full moon day, at the time of coming,
oh Mutumari.

232
 808. Murttumari kavi

Hymn of Murttumari

THE goddess whose name is here associated with murttu, death, is no doubt
the Mutumari of 807. Mutu in modern Tamil means pearl, but perhaps
" murttu " shows as the original sense. We are here told, people complain
that their cattle are dying, and the goddess is asked to save them. Mighty is
Murttumari, and she drives off the Yakas. She has 60,000 Avataras, she wears
60,000 ornaments, she broke and destroyed 60,000 ships, and 60,000 are her
followers. Murttumari devi-amma pierces with her javelin, and drinks the
blood. She landed at Alankulam in Ceylon, and made a temple there. She
also landed at Yapapatuna or Jaffna, with permission of Pattini. She went
to Oyamaduwa. She showed her might by small-pox. This identifies her
with the Tamil goddess Mutumari, a form of Kali, and the terrible power
which held small-pox at its disposal. The ballad is some two centuries old,
and has 32 verses in my copy.

Example :

Sun karawa yaggal pahura meru gal binda daemuwemma

Sansun gamanen naewu pita me karata goda baessemma
Nanga mini barana pitin teda res waedikara nimma
Sinhalayata goda baesse Yapa patunen amma.

Having crushed the iron-stone raft, breaking the great rock, (you)
cast it away—
On a ship with leisurely course, (you) alighted on this shore,
Having loaded on it gem jewels, completely caused increase of
glorious rays,
Amma, who alighted in Sinhalaya, at YapS-patuna !

233
 809. Wickramasinha Mudali kavi

Ballad of Wickramasinha Mudali

THIS ballad is of great historical interest, and I have hitherto only seen my
own copy. Wickramasinha Mudali was a powerful baron who supported
Rajasinghe I against his rivals under Portuguese protection. He appears
to have held Sabragamuwa as fief, and to have been almost as important as
the various princes over whom Rajasinha gradually triumphed. He was
apparently married to Timbiripaelala adahasin, Rajasinha's sister, by King
Mayadunne, and greatly assisted Rajasinha against Widiya Bandara. The
story of his treachery to the king, arising out of jealousy of Senarat Mudali,
is told in the Yawu Ra Sin Rajawali No. 691, which ends abruptly at the
point where he joins Dharmmapala and the Portuguese, after a sudden night
attack on Senarat Mudali. We are there told that Konappu Bandara was
sent for from Goa. This poem takes up his history after Konappu had
tricked and defeated the Portuguese, and established himself at Kandy, about
A. D. 1600.

We are told that the great noble bore the title Senanayaka Samaradiwakara
Wickramasinha, Dissava of Sabaragamuwa, and Adigar.

He built a palace at Kandy for the King, by his royal order. He restored
the temple at Alutnuwara. He procured books and relics for Siddharta
Tera. He put down the revolt at Kandy, and received various estates. This
was evidently written during his life by a courtier My copy is a good deal
damaged and seem to be about 200 years old ; it has 65 verses.

Example :

Guna sonda itu mituru sakiyeni supasanna

Tunu banda neka ruwin Ratipati sarilanna
Haema sanda de pasa maha sen piriwaraminna
Kasa nada aese nam enawayi daenaganna.

Of good virtue, very friendly, oh pleasant friend,

The slim body with many beauties equalling Ratipati,
At all times escorted by a great host on both sides,
If the sound of whips (being cracked) is heard, know he is coming.

The cracking of whips refers to the privilege of an Adigar, before whom

long whips made of nuganda fibre are cracked, both to clear the path, and to
give notice by the loud crack, that his highness is coming. The custom is still
kept up on state occasions, by Dulaewa Adigar.

234
 810. Maenikpala kavi

Ballad of Maenikpala

THIS gives a very short account of Maenikpala, sister of the goddess Uma
and queen of King Mahasammata. It differs from Nos. 126, 537 and 538
in the verse, but the subject is the same. Her story is related as far as her
bewitchment by Mara, briefly, and the ceremony to cure her is not described.
At the commencement a verse says that Maliga Tera translated the story
into Elu, but from what language, or when, is not stated. The poetry is good
of its class, and seems to be two centuries or so old. My copy has 28 verses.

Example :

Maha raja wadina kala wasal dorutuwata

Manel mal suwanda wihideyi nuwara wata
Paengiri gandak waedunii bisawune mata
Mokada nodaena dora narinna hanikata.

When the Maharaja comes to the door of the gateway,

The scent of purple water lilies is wafted around the city,
A sour smell has come to me, oh queen !
Not knowing what it is, open not the door quickly.

235
 811. Oddisa yagaya II

THIS differs in verse from No. 595, and the other Oddisa poems, but the
subject is largely the same. Oddi was an ancient district, to the north of
Madras. This version commences with the flood, at the change of the Kalpa,
and relates the invitation sent by Saekra to Mahasammata, inviting him to
the Saekra heaven. The king left his wife safely in a new palace, but Wasauatu
eame and broke the doors and windows, and at last presented himself in the
form of king Maha Sammata. The maid detected his imposture, by his
breath. He then fetched some poison from the Naga raja's fangs, and
proceeded to bewitch the queen. The sorcery is dealt with in considerable
detail. The Rishis assemble to cure the queen, and fail. Vishnu then brings
Oddisa Rishi, who cures her. This version seems to be about three centuries
old. My copy A has 116 verses, and B has 101.

Example :

Apage Maha raja neweyi kiyanne

Yakek katakala handa se aesenne
Ran yaturen dora agula wasanne
Kami bittiyen aetulu weminne.

Saying " it is not our Maharaja " ,

A noise as if a yaka spoke is heard,
With golden lock bolting the door,
Getting inside by a drain-cut wall—

£6
 812. Samayan paedura, III

The watch mat

THIS, like Nos. 89, 188, takes for its title the mat on which an exorciser offers;
himself for possession by a spirit at the ceremonies for each of the three
samayan or watches, of the night. It invites twelve Griri to come from the
Galgiri-kuku himaya or wilderness of Malwara desa, to this shore. Women
gather rushes for mats, and one invites another to come and gather them at
Helangiri lake, making a picnic of it. The weaving of the mats, made for the
twelve Giri from these rushes, is described.

The hymn is some three centuries or so old ; my copy has 30 verses.

Example :

Wilak tiyana taen wicharaminne

Milat ridi ran panduren ganne
Kalak nogos mama klde ganne
Dolos Giri pan wilata warenne

Asking where a lake may be,

Taking presents of silver and gold money,
Without allowing delay accept the thing I said,
Come oh Twelve Giri to the rush lake.

237
 813. Tedalankara, or Kadawara wistare

Ornament of glory

THIS is a Kadavara invocation. The Kadavara invoked are Devel, Son,

Sellan, Tota, Patti giri, Okanda giri, Rukmal, Namal, Mal; and Pilli yaka,
Salita yaka are also invoked. Offerings are to be made to these at a corpse
yard, and the various articles suitable as offerings are enumerated.

Devel Kadawara is said to speak Demala or Tamil. Okanda giri has an

iron stake. Rukmal Kadawara loves the scent of rukmal flowers ; so too Namal
loves the scent of na flowers, Mal loves that of jasmine flowers. The invocation
may be three centuries or so old, my copy has 26 verses, and is followed by
some charms, and a little invocation in seven verses to Gamparaweni Devata,
or the Lord of the village.

Example:

Desawalin yaku mekarata enne

Desa Demala basada kiyanne
Devel naewin mekaratayi wadinne
Devel me Kadavara dola kaepaganne.

The yakas come to this shore from abroad,

They speak the speech of Demala Desa,
In the Devel ship they come to this shore, it is,
Devel Kadawara accept this sacrifice.

238
 814. Kadawara gotu pidawila

Offering of Kadawara scoops

THIS prescribes to whom the gotu or scoops, containing offerings, should be

given. The Kadavara gods invoked are Senewiratna, Dala, Haendae or
evening, Tota, Aliyam or dawn, Le, Mal, Kumara, Hat Hadavara or the
Seven Kadavara, Tani or solitary, Kalu or black, Andun or antimony, Sandun
or sandal. No details of interest occur. It appears to be about three centuries
old, my copy has 25 verses.

Example :

Senewiratna kadawara deviyanne

Senewiratna gotuwayi mama denne
Dunnu me dola daeka diwas balanne
Senewiratna gotu kaepa kara ganne

Oh ! Senewiratna Kadawara god,

I am giving the Senewiratna scoop,
Looking on this offering given, regarding it divinely,
Make acceptance of the Senewiratna scoop.

239
 815. Riri yak kavi, No. 9

Ballad of Riri yah

THIS is a hymn to be sung at ceremonies to propitiate Riri yaka, and the

kavi is followed by a yadinna, to the same god, in 18 verses more. They seem
to be written for joint not separate use, and I have thought one number enough
for the two sections.

The kavi section speaks of the god or demon, as Ririmadana yaka; by

powers of suriya or the sun his influence is removed. He bathes in the Riri
wila or Blood lake, and shouts out " kok " . I n his right hand he holds a scoop
of blood, and a sword. He is also invoked as Riri maru yaka. He was first
born at Riri gal aela, or Blood Rock stream. He has the face of a leopard, a
club in his hand. Again he appears with a cock in his mouth, drinking its
blood, and a noose and goad in his hands. He comes with an iron mace. He has
again the face of a Rakusa, a bow in his hand, he is black in colour. Madana
Riri, Maru Riri, Siva, Kanda kumaru, Mangara devi, Bamanala, and Wesamuni,
all allow him to receive offerings.

He was born to Letali Bisawa, or Blood-bowl queen. He is invoked to come

with Le-mal Bisawa or Blood-flower queen to accept the offerings. His face is
bloody, his club is bloody. Again he has a wali face, either wrinkled, or the
face of a monkey, and blood is on his body. He watches by the wells in deserted
habitations. Yama Riri, and Dala Riri are invoked. He is called Maralu Yaka
in several places.

In the Yadinna he is invoked as born from a drop of blood that fell from
Maru Riri yaka's head. He is an avatar of Vishnu. He carries the maru manda,
or noose of death. A lake of blood, le wilak, is over his face, a bloody cloth is
round his waist, a cock victim is in his hand, he has the wali face, and rides
on a goat. For fear of Saman deva he roared like thunder, and hid beneath a
cloud. The cloud-god, Wata devi raja, with an arrow, shot him, and ama
water was sprinkled so that he was reborn as Maru Yaka.

This invocation or hymn seems to be two or three centuries old. My copy has
43 verses kavi, and 18 verses yadinna.

Example:

Naha Riri wila baesa kok handa hi

Saha wiru gotu deka gena lakulu
Sili Rama anayata Dada saewulu
Pahawi daeta niya gille Marulfl.

Descending to Blood lake, having bathed, uttered a loud laugh ;

Receiving two decorated scoops (of offerings) with blood ;
Supported by might of Rama and Saewul-dada (Skhandha),
Marulu departed from the nails of the hands.

240
 816. Pilli widiya

The way to bewitch

PILLI is the witchcraft effected by some living emissary, impelled to the act
by a spell. The emissary may be a man, or animal, such as a beetle, or snake.
In this we are told that the Pilli yaka came with Devel devi from Bankal
Wadiga desa, and was known as Demala Pilli, or Tamil Pilli. The Naga Pilli
came with the eight Bahiravas from Telingapura. It then describes the method
of performing the charm. A " kulundul " or first born girl, must be found
and her name be written on a betel leaf with a boar's tusk. Some betel refuse
from her chew, six of her hairs, and thread of a cloth she has worn, and a
paring of her nails should be placed on the leaf, and her figure drawn on the
back of it. It should be buried at the threshold, and when she has crossed it
on three days, it should be taken and tied for three days at a hornet nest,
then at a red ant nest. When she is pregnant it should be buried in her path.
Then she will dream of eating raw flesh, and so on. Finally at the full period
a dead child will be born. The sorcerer will go and exhume its body, and lay
it on a stone where washers wash clothes, bathe it, disembowel it fill the stomach
with rice dust, and stitch the stomach together with a silver wire. A turban
should be put on its head, and a leopard's skin wrapped round it, and a woollen
thread tied round its arm. The initial of a person's name being written on the
leopard's skin, and the whole taken to the cemetery, nine scoops of offerings
are made at the three samayam, sunset, noon and dawn. The corpse is then
taken to a house, and placed on a red cloth spread over a chair. Charms are
addressed to the woollen thread, and various offerings made, with a magical
bow, and arrow; then the dead child will dance, and Pilli yaka with a shout
will possess it. After its name has been asked, and it has been beaten, it will
obey the sorcerer, and carry out his orders. Amongst other things it will kill
the calves, and children, of his enemy, or possess and render mad his wife.
This appears to be two or three centuries old, and is intended to be recited at
ceremonies to exorcise the Pilli yaka. My copy has 60 verses.

Example:

Iddara inda lamayin marawanne

Dewanuwa ekage liyata waesenne
Etakota e landa pissi waetenne
Devinduge nameta panduru bandinne.

Sitting at the head, he kills the children,

Next that man's wife he possesses,
Then that woman becomes mad,
In the name of that god, tie offerings !

241
16
 817. Y6gi guru yadinna

Supplication of the Yogi Guru

IN Madura rata the queen of Yogi raja having no child, worshipped at a kowila,
and received twin sons. When they were twelve years old, they defied their
parents, and assuming the yogi guise, went to Kasi rata, Dilaya, Wadiga,
Senkulan, Malala, Gowa, Purudukal or Portugal, Urumusi, Soli, Kannadi,
Doluwara, and Holi Lands. Then they crossed the sea to Sinhale in a boat,
and after seven days arrived at Salawata, with their hair in tangles, chank
rings in their ears, clad in jackets and hats, and began a war against the king,
defeating him and killing his elephant. The king however resumed the war,
and killed the two adventurers. After their death they became yak, and
surrounded the elephant they had formerly killed with nine leaves, sprinkled
it with water, and restored it to life. The king was delighted, and ordered
offerings to be established for them. These consist of toddy, hemp, goduma
(usually translated wheat) made into cakes, butter, eggs, curries, and cakes.
A kowila was built for them at Delwita. The seven Ginikanda Kadawara
left-Ikiriwatupiyasa to go to Dumbara. They were Saragama Rata Sami,
Velasse Bandara Sami, Uduwela Piyasa Rala Sami, Katugampala Rala Sami,
and Kalu Appuhami, With these five they jointly received offerings. The
name of the two intruding adventurers is not stated in the poem. It probably
alludes to one of the half piratical seizures of Salawata for the sake of its pearl
fishery, and the death of the leaders, who in consequence of some pestilence
or murrain occurring shortly after, were defied.

This yadinna seems to be about two centuries old, my copy has about 36
verses, and is bound with Nos. 818, 819 in a book some 120 years old.

Example :

Tun wenuwa satan kara

Paradimin sita e wara
Waetunu me deguruwara
Dewiwa upan e wara.

The third time fighting,

Losing that time,
These two priests having fallen,
Born as devas that time.

242
 818. Abimana yadinna

Supplication of Abimana

THIS god was born of an Andi mother at Baranaes, and has tangled hair,
•chank rings in the ears, pearls on the neck, an axe in his waist, and a blanket
{kambili) wrapped round his loins. A chank shell hangs on his neck, he has a
club, and plays on a reed flute. He wandered through many lands, and swam
over the sea to Sinhala. He visited Kadirapura, but died from eating opium
in excess. He was then reborn as Abimana yaka. He appeared to Jayasundara
•Sami in a dream, and afflicted him with sickness. He cures the deaf, and the
dumb. He causes burnings, fevers and headache. He received as offerings
cakes, hemp, fowls, and eggs. His minister should take a torch and go to a
waste place, and offer these on an altar of three stages, not forgetting a separate
offering to Kadawara. Coconut water should be offered. This seems to be
about two centuries old ; my copu is bound with 817 A and 819. My copy has
14 verses.

Example :

Kadirapura daeka lasin

Abin ka, mat wemin
E wita pana chuta wemin
Abimana yaku upan.

Quickly seeing Kadirapura,

Having eaten opium, becoming intoxicated,
Thereupoin losing the life,
Abimana was born a yaka.

243
 819. Tirima sarana kavi

Ballad of the marriage of Tirima

I have only seen my own copy of this ballad, which copy is more*than 100
years old, and bound with Nos. 817, 818. It has 22 verses but is defective at
each end. It relates that a merchant disguised as a bangle seller, went to the
" mini maedure " or " gem room " in wnich Tirami lived, and lifting a corner
of the curtain, covered both her arms with bangles. During this they fell in
love with each other. The merchant then spoke to his father, ChStuwayara,
and asked that she might be obtained as his wife. Splendid preparations were
made with lavish ostentation and magnificence, and proceeding to the house
of the queen of Manayuru, the marriage was celebrated. Good advice was
given by Manayuru to the bride. The names Pattini and Palanga do not occur
in my copy, but welanda or merchant is a usual name for Palanga, and the
episode seems to be his marriage with the daughter of Manayuru.

Example:

Ranhuya gena atata

Dedena daeta ek kota
E sanda diya wakkota
Sarana pawa dunnu welanduta.

Taking a golden thread in hand,

The two joined by both hands,
Then having poured water,
(She) was given in marriage to the Merchant.

244
 820. Ashtanari sandesa

Message of the eight women

THIS supposes that eight women, whose beauty is described, start on a pilgri­
mage from a village named Natagane to the Gaetulakanda vihare near Anuraja-
pura, and there invoke blessings upon a maeti or officer named Ulagala, to
whom the king Bhuwaneka Bahu had shown great favours, related in some
detail. This may be Bhuwaneka Bahu VII, who was reigning at A. D. 1540.

From Natagane the Sumana giri or Adam's Peak may be seen to the south.
Thence they are to pass various villages and land marks, notably Walpola,
the Kadawata or Border forest, Kolaegala with its image of Budu, Randeni-
wela, Yakdessa gala, Dolu kanda, the Waellagala vihare, the Maguru oya,
Balaluwa, the Moor or Yon village beyond Tisso wella, the Daedura oya,
Kimbulwana oya, Nagolla, the Niyandawana vihare, Yapahugam giriya,
Katabugam giranga, the Mi oya, Napa aela, Urapola, Rana waewa, Gal-
giriya kanda, Kallanchiya, Naegama with its beautiful Moorish women,
Walaswewa, and the Awukona gal vihare ; Puhyankulama, Mayilam-perumawa,
Muda-peruma-gama, Torawaewa, Ritigala kanda, Torankulama, Ulagala
with its flourshing village and gardens, the wimana or house of Ilangasinha
Kalu-kumaru, Orukkuman kulama vihare. They then reach Gaetula kanda,
which is still a great place of pilgrimage, astage south of Anurajapura, on
the main road.

The poem was evidently written about A. D. 1540 to 1560 during the life
•of the chief whose praise it celebrates. The poet gives his name as Maetioluwa,
•of Pihiti rata, who saw Idirisinha raja. Whether this alludes to Ediriwanna-
suriya, Raja of Kondapola nuwara, a contemporary of Mayadunne Raja, or
not, is doubtful, but I cannot otherwise explain the verse. My copy has 109
verses.

Example :

Kawata kam sarupa nowa sita taewulla,

Ruwata laemada peti gomara balalla
E wata dili dimutu mini dam daralla
Uemata gam pitiya me gama bolalla.

Let there be no scorn and abuse, having inflamed the mind—

Having seen the beauty of the white mottlings on the breast—
Around that, glittering bright gem garlands worn—
This village is Dematagampitiya, lo you !

245
 821. Devel yadinna, II

Supplication of Devel

THIS is addressed to Devel devi. It says that there were three in number,
born to queen Triwakkali at Soli pura. They came with their escort in seven
ships and with much property. The ships were wreacked on a reef, and for
seven days they were swimming, when Manimekala took pity on them, created
seven ships, and enabled them to reach the shore. Patini however refused to
let them land, but they defied her, breaking through the rampart of iron,
and of fire, she had created. They then went to Devundara, Muduhu-Rae-
gama, Udugampitiya, Bentota, Kalutota, Unawatuna, Sinigama, and Panadura,
which became their seats.

This may be some two centuries old ; my copy has 30 verses.

Example :

Patini deviyo e wita

Naewen ena yakun hata
Goda basinu nodemaeyi
Kiya targgayak kota.

Patini devi therupon,

To the yakas coming in the ship,
To disembark, I will not allow,
Having said, made dispute.

246
 822. Aehalepola naetima

The Aehalepola dance

THE word for dance is used where we should use drama. These verses are
intended to be recited while the characters alluded to appear in costume.
It is a tragedy formed on the execution of the wife and children of the
treacherous Adigar, who betrayed the last king of Kandy to the English, in
the hope of securing the throne for himself by their aid. It commences with a
dialogue between a tale bearer and Molligoda. They conspire to effect the
death of Buddhassami, a Wadiga or Teluga man fetched to Ceylon by the
king, his relation. The king then sends for a Vaedi nirindu or king of the
Vaeddas, and tells him that Aehalepola has gone to Colombo to raise an army
against him. The queen and the spies, also talk about it, and the traitor's
wife and children are arrested, and executed with all the cruelty which had
formerly stained the Portuguese name in Ceylon, the mother being made to
crush her children's bodies with a rice mortar.

Aehalepola then came with the English, and seized the king, and caused
him to be transported. This is supposed to be related by the original cons­
pirator, who first conspired with Molligoda, but who is not named.

My copy has 70 verses ; this play has become extremely popular with the
people, and was probably written about 50 years ago. It is a sinduwa.

Example :

Eka jammawu api Sinhala kulaye upatayena

Raeka gannata onae yutu kamaki mama karana
Rakine koyi lesine kama pahada mata pawasan
Nogane anumane nuba kisiwat biya noganin

Of one casts we were born of Sinhala race,

What action is necessary for preservation, I do.
In what way you preserve, explaining the act tell me,
Take no ambiguity; take you no fear whatever.

The refrain is,

Tana tamdana tana tamdana tana tamdana tana, imitating the notes
of a drum.

247
 823. Subhaset kavi

Verses of blessing

THIS is a little poem in 25 verses, invoking in Sirasa pada form, various

acts, attributes, and relics, of Budu, to exorcise the evil from the sufferer's
body, stage by stage, from his head to his feet. It is about two centuries old.

Example;

Abhaya dun lesa Aesala punu da Baranaese Isipatana waedala

Bamba piris maeda dilihi dilihi sawan raes dasa digata haerala
Oba gosin dam desa atalos kelak Bamba niwan daekala,
Saebawamin himi ugura wan dos yeya e anuhasin baesalu.

As rendered fearless on the full moon day of aesala having gone to

the Isipatana at Benares,
Shining, shining, in midst of the Bamba men, having sent six
coloured rays to the ten directions,
Going there having preached the doctrine, having shown nirvana to
a kela of Bambas,
Truly lord, may the evil happened to the throat depart destroyed
by that power.

248
 824. Ginijal yak kavi

Ballad of Ginijal yaka

THE name of this yaka, means fire-flame. He emits flames, which encircle
his body. He catches and torments the yakas by the power of the Gini-jal
bisawa or Fire-flame queen. The seven queens give him their power. From
his head issue a thousand flames, and his hair dances like flames of fire. He
takes flames in his hands, and stands in the midst of the fire, flames issue
from his mouth. Pattini is also spoken of as aiding him. He was born under
the ashes of a cremated corpse.

TLere are 73 verses in my copy, which seems to be a century or so old.

Example :

Siri Laka haema taena baelma karanne

Piriwara yak sen baenda lelawanne
Pirisidu nara Iowa saema deriyanne
Waerasaera Gini-jal yakuni natanne.

Regarding Siri Laka every where,

Forming as escort a host of yak, causing to quake
All the pure gods of the human world,
Oh mighty Gini-jal yaka dance !

249
 825. Patrakali kavi

Ballad of Patrakali

PATRAKALI speaks in the eighteen Languages, a shawl is over her shoulders,

from Malawa desa she came to Nuwara Kalawiya in Ceylon, she dances, she
restored the Kala nuwara district, and Ali-madam. She resides at Palaya-
kulame, and at Amunukole. In her right hand is a sun-shade, rattling bangle
is on her arm. She avenged the execution of Palanga, and burned the city of
Pandiyan, the allusion makes her a form of Pattini. When Mahameru was
shaken by the Wind, and the Na raja's hood broken ,from the blood that fell
were born Seven Kali goddesses. She held down his head, and struck Govinda.
She watched at the foot of the Siri Ma, B5 tree, when Budu attained Buduship,
after the alms of Sujata, who gave the mystic golden bowl of rice to Budu.
Waduru Madevi is invoked, holding her golden cane. This preserves a very
ancient tradition, and itself is some three centuries old. My copy has 25
verses and was procured near Kandy, it is some 60 or 70 years old, and the onl
copy I have seen. The allusions are to sanctuaries of the goddess in Nuwara
Kalawa, the district of Anuradhapura, but if that city was not itself, after its
decay, known as Kala Nuwara, the city from which the district is named
remains undetermined.

Example:

Wela damana lesa ata paya dangalawala chalita karati

Mula nowana lesa anasaka iru raes lesa paetira duwati
Sila leka ketu akurak men satahata pihita weti
Kala nuwara rata haemataena Ali madam diwunu karati.

As if entwined, having twisted hands and feet, she causes shivering,

(Her) power without rendering unconscious, like the suns rays, spread
around—
Like a letter cut on a stone record she is helpful to men,
She restores Kaia-nuwara district throughout, and Alimadam.

250
 826. Kali devi upata

Origin of Kali devi

THIS first invokes Pattini, and then Patrakali. When the girl who was showing
the way to Pattini, began to cry on seeing Patrakali, Pattini took her hand,
and either the girl or Patrakali was turned into stone, at Welli-ambalam.
The verse leaves it uncertain which, but presumably Patrakali was turned into
stone. Pattini calling her younger sister, gave into her charge the human
world.

When for eight days the wind blew on Mt. Meru, and the hood of Na raja
was broken, it fell into the K M muhuda, or Milk sea, and from it was born
Patrakali. From the blood scattered from the torn hood, the Eight Kali god­
desses were born. From the bones that were crushed, the eight Bahirawa gods
were born. With their retinue these occupied the eighteen lands, and landed
also in Sinhale. The Kali goddesses and Bahirawa gods speak the 18 languages
and Demala. Bataviya and Olanda or Holland being included among these
eighteen, the ballad is not very old. The kavi may be a century to two centuries,
old, my copy A has 23 verses, B has 27.

Example:

Pe wi sita bandana kala saeti nedanuni Iowa satahata

Patrakali ammage saeti nedane kowila guruwata
Chitra ruwin senaga aewit saedemin dewale wata
Kowila guruwata aenne Payakulame waeta sita.

Haying become purified, is the manner in which he charmed, not

known to the world's people ?
Is the way of Patatakali amma not known to the priest of the temple I
The host with various beauty coming, surrounding the temple,
She pierced the priest of the temple, staying at Payakulame.

251
 827. Kanchi katawa

Story of Kanchi

THIS poem relates that it is translated from the story as related in Tamil.
The king of Pandi nuwara, had a beautiful daughter who was sought in
marriage by the king of Kanchi. His suit being rejected, he went to Pandi
city disguised as a perfume merchant. He made acquiantance with a goldsmith
who worked for the king, and formed a friendship. The smith constructed a
large lamp, inside which he concealed the ardent suitor, and took the lamp to
the king. The king gave it to the princess, with whom the king of Kanchi,
disguised as a goldsmith, had already made acquaintance. The princess had
the lamp taken to his own apartments, and at nights she used to let her lover
out, enclosing him again by day in the lamp. The king suspecting her mis­
conduct, set a watch, and ascertained the facts, arresting the king of Kanchi,
whom he ordered to be executed by the state elephant.

The elephant having been intoxicated for the purpose, advanced furiously to
kill him, but the Pandi princess addressed it with verse of entreaty, and instead
killing her lover, it received him on its back. The lovers were married, and in
due course the queen of Kanchi became pregnant, and was seized with a
longing for some water lily blossoms from the land of the Kurawaru in Dolu-
wara rata. The king went there to procure them, but fell in love with a Kinnara
woman, and remained there. The queen having brought forth her son, lived
alone without husband. When the boy was seven years old, he was reproached
as of unknown parentage, and learning the story from his mother, proposed
to go in search of his father. However, one Pulawara went instead, who at
last came to the Kinnara village, where the king lived. The king received him
courteously, and received with deep grief his wife's letters, but said he did riot
know how to leave his kinnara wife, Pulawara then told him that he would
pretend that there was grit in his rice, and so manage it. Ho did so, and throwing
down his food, left as if in rage. The Kinnara woman suspecting nothing, and
sorry for the supposed accident, sent her husband to call the offended guest
back. The two then made their escape, and went to Pandi rata, where the
Kanchi king was warmly received by his wife. The Kinnara wife, however,
followed him, pretending she was in search of a stray elephant. On this pretence
she approched the palace where the king and queen were playing draughts,
sadirangan, on the upper terrace. The king upon seeing her, began to weep,
and the Kinnari advanced to them. The queen reproached her, but apparently
Telented, because the next line says that a palace was made for the Kinnari in
the city. So we may conclude that the ladies arranged matters amicably to
the relief of the amorous king of Kanchi. My copy is a little defective in places,

252
and contains only 197 verses, though the poet says he wrote 208 verses. He
gives his name as Veda Duraya of Ratmale. The poetry is good,. My copy
gives Thursday of the month Duruto as the date of composition, but the year
is omitted. It appears to be three centuries or so old, judging merely from the
general style.

Example :

Suwanda diyen nibandama nuba nawamma

Nibanda sayan jataka bojana demma
Saema da nubata pin siduweyi kiyamma
Sirasa pita taba, himi tama aragamma

Constantly I will bathe you with perfumed water,

Constantly I will give food of wild rice,
Every day I will ask that merit occur to you,
I receive you, lord, placed on my head.

253
 828. Satdina mangalle, II

Seven-day ode

THIS differs from No. 204, and has 18 verses, which form an introduction
to mantras for each of the seven days of the week. The mantras are in the
usual jargon. The verses allude to Buddhist subjects, and may be three or four
centuries old.

Example :

Munida pilisinda Maha Maya kusa Suddodana raja waliyen

Pirida, gaeba tula loka siyallata ran kaedapota men eliyen
Aeri da, Neranjanayata kiri pidu walanda daemu ran taliyen
Irida dawasata Rusiwaru matule Hanumanta arawaliyen.

The Muni being conceived in womb of Maha Maya, in the royal line of
Suddodana,
Having passed the full period within her womb, like a golden mirror
in light to the whole world,
Send the gold bowl on the Neranjana, having eaten the milk offered,
On the sun's day the Rishis muttered the " Hanumanta arawaliya."

254
 829. Oddisa widiya

Oddisa ceremony

THIS differs in verse from the other Oddisa poems, it describes the construction
made for the exorcism of queen Maenikpala by Viskam Deva. There were
lines forming 16 square inter-spaces, it was 60 cubits square. The first Court
was 30 cubits square, the second 20 cubits, the third 10 cubits, the fourth 7
cubits. I understand by this that one was formed inside the other, thus leaving
•a terrace and three galleries around a central room of 7 cubits. Seventy times
seventy sticks composed the walls. The paths were to be by seven. It waste
have 16 angles and 16 doors each door 2 | cubits wide. The angles were to be
rounded.

There are to bo nine angles, and eight doors, and four gateways, but it is
not said where they are to be. Again it speaks of four corner posts with a three
storied room raised over them. The throne is to be there. Other details are
given at great length, but I see no general interest in them. Huniyan yaka who
caused the spell, appears now as a boar, bear, bull, hornet, bumble bee, scarab
heetle, cobra, viper, hamadryad (mapil), frog, gecko, skink, or in a dream as a
Buddhist priest. He may come as a screech owl north of the house, or as a
gurulu, or as a nila maesi or bluebottle fly, a kindura, a crow, a red cock, In
these forms he appears to those bewitched.

The poem is probably three centuries old, my copy has 71 verses.

Example :

Doratuwalata gatte makara toranaya

Peratuwalata gatte sinha munuya
Janetuwalata gatte hansa munuya
Mese Wiswakarmmaya kala pelapotaya.

For the entrance he took a makara arch,

For the front he took lion faces,
For the " janetu " he took geese faces,
Thus Wiswakarmma made the ceremony.

The words pera tu and janetu are both obsolete as architectural terms ; the
latter is evidently related to the word janelaya, a window, now introduced to
the Sinhalese language, and may be an obsolete form derived from the same
source.

255
 830. Senkadagala wistare

THIS poem treats of Senkadagala or Kandy. It speaks of the town, the

Malwatta vihare, Poya maluwa, Asgiri vihare, &c., and enlarges on the wealth
and prosperity of the town. It praises king Rajasingha, and dates his accession
Saka 36, standing for 1636. It alludes to his victory over the Portuguese, and
appointment of the Landesi or Dutch as guards. He defeated the invasion,
of Ceylon by Sannasi or fakirs from Mannarama.

My copy has 118 verses, and was evidently composed during the Teign of
Rajasingha II. The Ingrise are mentioned amongst conquered races, doubtless
and allusion to the captivity of Captain Knox and others. The poem is fairly
good as verse, but is very deficient in subject matter.

Example :

Siya tun raew piliraew di sondina

Tudagin binda mi amba pala binding,
Pawanin saeli raeli mana men waenena,
Piyambun saha kela kela turu muduna.

Birds chirp chirruping sweetly,

With beak point pecking the sweet mangoes, eating the fruit,
Fluttering fluttering in the breeze, flitting at pleasure,
Sporting sporting with their dear wives on tops of trees.

256
 831. Una Santiya, II

Fever incantation-

THIS like No. 347, Una santiya, I. is composed to cure fever by recitation of
acts in the life of Budu. It contains a sirasa pada or head to foot incantation,
one verse of which, referring to the head, occurs also in No. 347. The poem is
probably three or four centuries old, my copy has 29 verses.

Example :

Balawat jana wana Bohata sasobana

Sirimat ape muni utuma wesesina
Paehapat net puda kala anuhasayena
Nalalat una baesa giya baema sangalina.

Strong victory was due to the beautiful Bo,

Our fortunate Muni is altogether supreme,
By power of the bright eyes offered,
The fever departed from forehead and eyebrow.

257
17
 832. Ganga rohane

Floating on the river

THIS is an account of a Pinkama festival conducted by David de Saram,

Mudliyar, on the Nilwala, ganga at Matara, about 1815 to 1820. The Bana
hall was supported on boats, and posts, on the river, and a great festival
celebrated. The poem is considered elegant and devotes itself to expatiating
on the beauty of the scene. The author was Kiramba Tera, author also of
Siya bas mal dama, Kasun dew wata, Dewdaham da, and perhaps Nanda pe
wata.

There are 99 verses in my copy.

Example:
Porana uragun wisin yahapat pan siyak naewu mawgla
Warana apa Muni Rajuta ganga ru pudakalo ati wisala
Porana Budukuru daham apa aga maetindu ema tatu asala
Karana ganga ru pudehi wisituru asawu tepi kan namala.

By ancient nagas five hundred ships being created,

To our supreme Muni Raja the very great river floating (they) offered.
Our chief minister of ancient Bodhisat conduct having heard that fact,
Hear ye, inclining the ear, the beauty made in offering the floating on
the river.

I do not myself at all admire this poem, and whatever pandits may say public
opinion takes the same view, practically, for copies are hardly ever met with.
Mine was procured at Matara, and is supposed to be quite correct. In the
second line " pudakala " requires a nominative in the plural, which has to be
imagined pudakale would be correct, but my copy has got ka!5, not kele.

258
 833. Wijayindu hatane, No. 2

The struggle of king Wijaya

THIS differs from Nos. 213, 655, and was extracted by me from prose No. 708
as the verse seem to form part of an ancient saga, and not to have been composed
by the author of No. 708. There are 23 verses.

We are told that king Narasiha reigned at Weluran pura, and his Purohita
Brahman, an avaricious man, collected great wealth. The merit of the gem is
not told here, but the gem being lost, the Brahaman's wife swore she had not
seen it, meaning she had not taken it, and he cursed her. The next verses
are missing, but they were reborn as Wijaya and Kuveni. Kuveni is described
as born with the third breast, and living under the nuga tree. The next
verses relate how the ministers blamed Wijaya, and how his father sent him
away in a rotten ship, though his mother bewailed him. Again his arrival
at Tammanna tota, swimming through the surf, is noticed. The bitch whose
form Kuveni assumed, is described. It had a red back and white belly, with
red eyes, and white claws, black hind legs, and blue fore legs, a black head and
golden tail. She is described sitting spinning cotton, in another verse.
Another notices the request that he would be crowned. The appeal of Kuveni
with her children occupies another verse. Amitodana's descendent (Bhadda
Kachchana) comes to Uppatissa nuwara (to marry Panduwas raja). Another
verse describes how Panduwas was troubled by a fierce growling leopard,
diwi, with glaring eyes, terrifying him in his sleep. Again a verse says that
Rahu Aswindu assumed the form of a great boar and went to the part of Malaya
Nirindu. The saga has had its own special features, and may be recovered now
that attention has been drawn to it. It seems to be some four centuries old.

Example :

Arawa daya raeskara un ranga sitanga

Tarawa bella gamanata baswamina ranga
Dirawa yana naewata haema yo bala samaga
Purawa kumaru haeriyo muhuda yana ranga.

Getting rid of the trouble, assembling them according to wish,

As if pushing by neck making them descend for the journey,
On a ship that had gone rotten, with all the warriors,
Having loaded the prince, sent him to go on the ocean.

259
 834. Kawmini mal dama

The flower garland of verse gems

THIS is an elegant poem dated B 2316, A. D. 1773 by Katuwana Mohandiram

of Uruwitigama, in the South of Ceylon. The theme is the Sonaka jataka.
Many verses are arranged as puzzles, as in Kaw mutuhara, No. 835, sometimes-
intended to be written down, and then read in various ways, according to the
figures in which they are distributed. There are 38 of these puzzles, of all
kinds, the most striking consisting in making words of one sound, thus :

Dadadu dada didu dade

Dadada dada dudu dade
Dadada dada dudu dade
Dududu dada do dade

In this by extremely artificial treatment, the apparently silly sound, can be

twisted into a sense, with a key, or gaetapada. Otherwise it is nonsense.
In the Sonaka birth, the Bodhisatwas prince Arindama, son of the king of
Magadha rata, reigning at Rajagaha nuwara. The perawiya or Purohita
Brahman also had a son on the same day, named Sonaka kumaru. These
two grew up as play fellows, and ran away from home secretly to learn the
sciences. They went to Baranaes, and next day were invited to share in a
distribution of alms. A fine white cloth was spread for Arindala, and a red
woollen cloth (palas) for Sonaka. From that Sonaka inferred that Arindama
would become king there, and he would be a Senapati. Seven days afterwards
the king of Baranaes died without heirs. His chariot and state horses were
sent to select a successor, and the horses stopped the chariot in front of
Arindama who was asleep. Sonaka, averse to the lay life, concealed himself.
The prince was awakened, and invited to succeed the vacant throne. Fazzled
by this, he forgot his friend, for forty years. Recollecting him then, he was
stricken with remorse. He then assembled dancers, and in a verse, offered
reward for news of his lost friend ; this verse the dancers and singers learned
and repeated, that it might reach the ears of some one able to give the informa­
tion. Sonaka had become a Pase Budu, and gone to the Nanda-mula
parwata, a mountain reserved for Pase Budus.
Hearing the verse, sung by a boy collecting firewood, he taught him a verse
replying to it, and sent him to Baranaes. There he repeated it to the king,
amidst a great assembly. The king at once repaired to his friend, but at first
was disgusted at his ascetic dress and shaven head. Sonaka then told him
of the crow which floated out to sea, from the river, rather than leave a dead
carcase, and the king after a miracle saw the vanity of sensual gratification.
This miracle was effected by the Pase Budu ascending in the air, so that the
dust of his feet fell on the royal head. He then became an ascetic, handing
over the throne to his son Dighayu.
This Jataka indicates an ancient change of dynasty at Baranaes, and its
replacement by a scion of the contemporary dynasty of Magadha. It probably
refers to the commencement of the Brahmadatta dynasty, so often alluded
to in the Jatakas.

260
 The poet praises king Kitsiri Rajasinha in 15 verses, and compliments
Abayasiriwardana Ilangakon Maha Maetindu in five more. My copy has 723
verses.

Example :

Dilindu kula upanat

Rusiru wisulu wiiwat
Mana sip datahot
Maharu nirindo pawa, e pudat.

Born in poor race,

Though fortune was gone,
If good science be gained,
That one is offered glorious royal state.

The verse is in the pecular metre with 9, 11, 9, 14 instants, to the four lines
respectively. There are several other metres used in the poem.

261
 835. Kavi mutu hara

Pearl garland of verse

THE subject of this poem is the Dasaratha Jataka. It first eulogises Kitsiri
Rajasinha nara, and mentions that the Olandesi reigned at Matara, Galu,
Kolamba, like a host of Suras. He eulogises Matara, and praises Wikumratna.
Disanayaka Mudalidu's daughter, given in marriage to Abayaratna Ekanayaka
Maetindu. Their son Dingi Appuhami died when twelve years old, and the
author Maniratna Yatindu of Kalugala vihare was asked by them to compose
a poem on some sacred subject for the merit of their dead son. A number of
the verses are written with great skill, so that the letters may be inserted in
various diagrams, and then read. These form puzzles, and there are no less
than seventy of them ; a veritable mountain of learned ingenuity, and mis­
directed labour, from my own point of view. After an introduction, the story
of the Jataka is related. In that, the Bodhisat was Rama Pandita, who
with his brother Laksana, and his sister Sita, were children of Dasarata, king
of Baranaes, and his chief queen. After their mother's death, another queen
became mother of Barata kumaru, and she tricked the king into granting him
a boon. When seven years old, she asked that he might succeed his father
on the throne. She gained her object at last, and Rama Pandita and Laksana
were banished. Sita, their sister, went with them. On their father's death,
after nine years, Barata invited his brother to assume the throne, which he
renounced. Rama said that his father had banished him for twelve years,
and he could not return sooner, and asked Laksana, Barata, and Sita to govern
in the meantime. They refused, and finally he sent his sandals to rule the
country. Barata and Laksana took these, and placing them on the throne,
stood on each side, and dispensed justice. After three years Rama returned,
and a queen was consecrated, and he assumed rule.

This is the Buddhist version of the Rama legend. Sita is a sister of Rama,
and not the daughter of Janaka. Whether she married her brother or not,
as happened several times to their kin in the Sakya and Sinhala annals, is not
related. The narrative half suggests it however. Nothing whatever is said
of the Rawana or Ravana war, and it must be concluded that the two traditions
had not been blended into one epic romance, when the Jataka story was
composed. It would be scarcely credible that the Buddhists by this version
attacked an established epic, of popular currency. Rama Pandita reigns at
Baranaes, not Ayoddhya, in succession to his father Dasarata. It seems to
me likely that the Rama of Valmiki, was a prince of Ayoddhya, which I
connect with Multan, and not Oude, whom the poets blended with the
ancestor, Rama Pandita, of the Sakyas of Koliyapura, a branch of a royal
family once reigning at Baranaes. They take the brothers of this prince, for
the Ayoddhya hero, and credit that personage with the invasion of Ceylon,
and defeat of Ravana. It seems to me probable that the name Kasi once
applied to Multan, and helped this confusion. In any case the Vindhyan
cities maned after the sons of Rama must refer to the sons of the Buddhist
hero. There would seem to be three if not four celebrated princes named
Rama, Parasu Rama, Rama Chandra, Rama Pandita, and Bala Rama ; it
is possible that the Rama Chandra is a purely fictitious person, blended out
of sagas relating to Parasu Rama and Rama Pandita. I myself think this
more probable, as in the gradual conquest of the Konkan from Sagara, not the
ocean, but a king of a land with that name, seen as Sawn, in Sawurashta, and

262
 the colonisation of Malabar, attributed to Parasu Rama, we see a part of the
extension of empire, which enlisted the help of Vibhishana, and caused the
disgrace of Suppanakha. The former reigned at the Sveta range of the
Punjaub, and the latter is probably a myth, arising in a fun twisted out of
the name of the city Suppara, governed by a princes of the hostile dynasty.
I would also point out that the conquest of Ravana in Ceylon, is by one line
of tradition attributed to Karttaviriya, who was himself slain by Parasu Rama.
This episode itself may have been worked into the epic romance. But the
origin of the Ramayana epic is a wide digression. The verse of this poetical
version of the Jataka is very elegant indeed, but so abstruse that it is scarcely-
intelligible. There is, however, a glossary, or gaetapada, prose No. 648.

The author dates his poem S 1706, A. D. 1784, and gives his name Miniratna.
yati, that is Maniratana Tera, of Kalugal vihare, in the Matara district. My
copy has 744 verses, but the author says he wrote 734. The extra verses were
probably added by the author, after he composed the memorial verses. My
copy is a very careful one, which I owe with others to the kind help of Jambu-
watte Piyaratna Tera of the vihare at Dondra. The very much respected
Tera is himself a clever poet, and has composed.

Example :

Apamana ewane ne siri balamina

Nupamana pemine ne taena sitimina
Samagawa tedene me gune sapurana
Giya situ seyine ne gangu laeli paena.

In that boundless wilderness, seeing many beauties,

With incomparable love, staying at many places,
The three together, completing many virtues,
Went according to fancy, leaping many stream torrents.
 836. Dhrishti mala

Garland of faith

THIS is a sermon in poetry teaching the conduct fitting for Buddhists. The
poet his work B 7532, Saka 6371, which being read reversely, to satisfy his
whim, affords A. D. 1814. My copy has 92 verses, I have not ascertained the
author's name.

Example:

Nupan akusalut nupadawaminne

Upan akusalut pahakara harinne
Nupan kusal upadawamin karanne
Upan kusal situwa tara karanne.

Unborn demerit, causing to remain unborn,

Born demerit, laying aside and quitting,
Unborn merit, causing to be bom,
Born merit, establishing and strengthening.

264
 837. Upades sangarawa

Collection of instruction

THIS is advice in verse, to children engaged in learning. It notices the

alphabet, the duty of children to their parents, and to their teachers. It
enumerates the ten demerits, and exhorts to good conduct. It was composed
at B 2425, A. D. 1882, by Rayananda Tera, pupil of Widurupola Ratanajoti
Tera. I have included this, though I do not profess to catalogue poems of
this century, as it is useful to bring forward three or four as specimens. There
are 109 verses.

Example :

Kayin tunak siduwanne akusal

Wayinda satarak siduwe akusal
Sitin tunak siduwemaya akusal
It in daniwu mema ki dasa akusal.

Erom the body three demerits happen,

From speech four demerits happen,
From thought three demerits happen,
Then understand these said ten demerits.

If it was not for the known authorship, I should have classed this poem as
two hundred years old, showing how uncertain such approximate guesses
must be, in poetry.

265
 838. Wina kaepun kavi

Exorcism of spells
THIS poem exorcises wind sorcery from the seven days of the week, the twelve
months, the 27 constellations, the fifteen Sithi or lunar days, and the'bright
and dark fortnights of the moon. Also from the seven " karana " of the week,
lion, elephant, cock, leopard, goat, bull, hog, and also from the seven hora,
the four yama or watches, three of the night and one of the evening. The
wina is also exorcised from the eight directions, the twelve influences of the
horoscope or jamma, and from the head to the feet in sirsapada fashion. The
virtues of Buddha, and influence of various devas is then invoked. Mantras
occur throughout the look in Mantara jargon. There are 390 verses, which
seem to be about three centuries old.

Example:

Derana upan saema siwu-pa satugen

Uriruda ganimin winayata yodamin
Saranada Buddhan sarane balayen
Berane naekatin kala wina kapamin.

Of all four-footed creatures born on earth,

Taking the blood, preparing the spell,
By the power of " Buddhan sarane " as refuge,
Cutting the spells made under Berane constellation.

260
 839. Aeldeni alankaraya

Praise of Aeldeni

THIS is a poem which praises greatly a skilled artificer of the village Aeldeni
near Kandy, named Aeldeniye Galladda. This name is applied to master
smiths, painters, carvers, or builders, by Kandian usage as an honorific, and
is a corruption of Gam-ladda, or " who received territory " ; this means both
the privileges of an independent landlord, under the king himself, and a grant
of land. He made a gold sword, set with gems and pearls, and received the
estate of Kurukuttala from the king. For making the forehead band, which
was of extreme beauty, he received a tusked elephant. In recognition of the
excellence of his skill, his lands were registered on a copper sannas. He received
various personal ornaments, as reward for a pae taeti sutra, or watch. For a
" bondikulawa " , a firearm, he received the rank of Hangili wasama, or head
of the artificers. He led a contingent against the Dutch. The poet gives his
name at Kirimaetiyawa kivi, friend of this Galladda, and the poem is dated
Saka 1686, A.D. 1764.

Example :

Pela pela mini mutu ran kam yutu kota

Sulakela un-hisa barana saeduwata
Dula dala bala gijideku Iaeba manatuta
Pala kala mohu tuti kiyati dano sita.

Made row upon row of gems, pearls, gold work,

For having made a very beautiful forehead ornament,
Delightedly receiving a strong elephant with bright tusks,
People are telling his celebrated praise.

267
 840. Graha walalla

The planet course

THIS poem describes an astrological table for prognostications derived from

the nine planets, Iru or Sun, Sandu or Moon, Kuja or Ma.-s, Buda or Mercury,
Guru or Jupiter, Sikuru or Venus, Senasuru or Saturn, Rahu, and Kehetu.
The two last are invisible planets, not recognised in medieval Europe, though
perhaps now known there as Neptune and Uranus. They, however, are outside
the sphere of action of the other planets, and not like them grahayo. They
seem to be also to represent not only two invisible planets, but what we term
the Nadir and Zenith. The consequences to be prognosticated from these are
here described astrologically.

My copy A has the author's name in a verse ; he was Waekeliya Maeti, but
no clue is given to the date, though the language indicates vaguely the 16th
century. This copy has 118 verses and is bound with Graha yoga and Kala
chakra, and is preceded by a page of prose, called In apale kima, pointing out
the astrological portents hostile to the various parts of the body.

My copy B is an excellent one, with 21 verses, and about 100 years old.
It is bound with Paladawaliya, No. 453, Indra Guruluwa No. 106 prose, Pancha
paksha, No. 221 prose, and a Kendra kima discourse, or notes on astrological
fortune-telling, in prose. My copy 0 has 190 verses ; neither B. or C. record
the author.

Example:

Tun wana Saeni saema saepatata pamune

Ran ridiyen l&baya gena demine
Santutu kara silpaya saedemine
Min sata pujita karawayi derane.

When Saeni is in the third, establishing in all prosperity,

Bringing and giving profit of gold and silver,
Bringing gladness, cause success in the arts,
By this, man becomes celebrated on earth.

26S
 841. Graha walalla, No. 2

The planets course

THIS treats of the planetary influence on the horoscope, as in No. 187. This
occupies also 108 verses, being 12 for each planet. The verse appears to be
two or three centuries old, and the author's name is not recorded. The same
poem occurs bound with my Graha walalla No. 1, 187, A, but this copy has
been extended so as to comprise 216 verses. The verses of the original poem
are quoted one by one, followed by a second verse, noting further effects of the
planet in relation to that division of the horoscope. These are evidently by a
later writer, but do not seem less than two to three centuries old. The example
is quoted from the older portion.

Example:

Lagnaya sitiyot diwayuru porana

Isa leda giniyam dayada karana
Piyage isa pinasa leda tibuna,
Kiya dewane irugen tawa asana.

If the sun stood in the first (lagna) as of old,

Head disease, heat, and burning are caused—
There was nasal-decay disease of the father's head,
Tell; Moreover hear of the sun in the second.

269
 842. Rasi pala kavi

Poem of the result of the zodiacal signs

THIS describes the results of birth under each of the twelve zodiacal signs,
the subject occupying 37 verses. It then adds three verses, noting the
influences of the hora of the seven planets of the week.
The horawa answers exactly to the Latin and Greek hora, English Hour,
and is a period of two and a half paeyas, a paeya being the sixtieth of a day,
or 24 minutes, and the hora sixty minutes. The latter is used in subdividing
the day for planetary science, alone ; the paeya is the usual division of the day
for other purposes. The poem appears to be about two centuries old, and is
well composed.

Example:

Yuga raesayen yan satayek upana

Nus nomili bawa daenagan lakuna
Tun denekut saranada weyi nitina
Landun usaeti bawa daenagan lakuna,

At the sign Gemini if any man is born,

Know the fact that the condition is neither short or tall,
With three persons will be the marriage ever,
Know the fact that the woman's state is tall.

270
 843. Pilisun dasawa

The ascendency at birth

THIS treats of the ascendency of the nine planets at time of birth, cUviding
each ascendency into three equal periods, the first, middle, and last, as in Nawa
graha dasa pala, No. 847. It gives a short account of the effects of each planet
on the lagna, or first stage of the horoscope. In all three are in my copy A 64
verses, well composed, and quite 200 years old. I do not know why the
ascendency is named after conception (pilisun) and calculated upon birth.

Example :

Maddima pilisuma Rahuta yeduna

Tun denakut anganan aeta kiyana
Naeta eka putakut Paniduge lakuna
Sita baya karawana rudawa kiyana.

The middle " pilisuma " is allotted to Rahu,

There are three wives, it is said,
There is not even one child, by the sign of Panidu,
It is said there is pain terrifying the mind.

271
 845. Abhinawa taranga male

The new dialogue garland

THIS is in general style resembles other taranga mala verses. It contains a

challenge to rivals to compose verses against the poet. It makes a few
incidents from the previous life of Buddha, such as his rescuing his mother
after shipwreck, subject for many verses, and then takes the alphabet as its
subject for nine more. The rest is made up by the challenge and replies. In
all there are 52 verses. They are well composed, and seem to be some three
centuries old.

Example:

Nek bamba Suran mudunata siripada susaedu

Duk hala satage agapat me apa Sugatindu
Ek laksaya pas wisi dahasaki Munidu
Daekmen kusal kara Budu bawa sitehi raedu.

(Whose) fortunate feet adorned the head of many Bambas and Suras,
Having removed the sorrow of living things, this our supreme Suga­
tindu,
One lak twenty five thousand Munidus
Seeing, performing merit, kept in mind the Budu state.

272
 846. Nawa graha pala

Results of the nine planets

THIS is a poem which describes the effect of the nine planets in each sign of
the Zodiac, taking one verse for each sign, containing twelve verses, and ten
more on miscellaneous effects of the planets. It seems quite 200 years old.

Example :

Dewana Iru agni roga Sandu rajugen bumi labana

Kuja bhargya putra nasa Buda sampat raju daMmina
Guru gowitaen raja karuna Kiwi warigeta nayakawana
Saeni jiwita winasa wana Rahu Ketu sora biya wana.

In the second, the sun (causes) fiery disease, the moon receipt of land
from the king—
Mars destruction of wife and children, Mercury wealth after seeing
the king,
Jupiter agriculture and royal favour, Venus chief place in one's tribe,
-
Saturn loss of life, Rahu and Ketu gear of robbers.

273
18
 847. Nawa graha dasa pala

Result of ascendency of the nine planets

THIS is a short account in verse, noticing the effects of the ascendency of the
nine planets, with one verse for each, and an introductory stanza,. It is well
written, and quite 200 years old. There are 10 verses.

Example:

Elu gaja hasa gawayin laebeteya

Saw siri saepatin nima nokereya,
Raja mahatumen nilama laebeya,
Budahu dasawen me pala kereya.

Goats, elephants, horses, cattle are received,

Of all fortune and prosperity no end is made,
From the king and nobles rank is received,
By ascendency of Buda these effects are caused.

274
 848. Maha dasa pala sindu

Song of the result of the chief ascendant

THIS sindu treats of the result of the chief ascendency of each of the nine
planets, dividing it into the first, middle, and last periods, and attributing
different effects to the planet in each of these three periods of the ascendency.
It appears to be three centuries old, if not more. Graha walalla sindu No. 849
is in the same metre, and seems to be by the same author, whose name is not
recorded. I have good copies following my copy of Graha walalla No. 2, 841A;
but it does not seem that they were composed to form one collection. There
are about thirty verses, and a mudradya or refrain.

Example :

Bhanuge dasawena
Pinasa leda aeta boru nowena
Dayaka giniyamina
Lat taena dasawa me lesina.

In the ascendency of Bhanu (the sun)

There is nasal-decay sickness, it is no falsehood,
Burning with heat—
At the commencement the ascendency is in this wise.

By " lat taena " or " the place received ", is meant the " commence­
ment " of the dasawa ; the idiom is an accepted one.

The refrain is :

Denu rasi-kirana
Me Lak diva
Bhanu lowata sarana.

It is very difficult to translate this line. I may be that Denu rasi-kirana is a

title of the sun, meaning " giving much heat ", or kirana might be the sun itself.
The word denu is sung as if denu, to balance Bhanu. It is incorrect to write
Bhanu in poetry, the verse should obey the old Sinhalese custom, and omit
the aspirate, writing Banu, but I follow my text.

Provisional translation
Giving much radiance to
This Lak-diva—
Bhanu ! refuge for the world !

275
 849. Graha walalla sindu

Song of the planet course

THIS sindu treats of the influence of the nine planets on the horoscope, as
in Nos. 187, 840, 841. It has about 62 verses, and a refrain, which is written at
the end, instead, of the commencement, the usual place for it. It is evidently
by the same poet as No. 848, and is quite three centuries old. My copy is bound
with No. 848 at the end of 841, Graha walalla, No. 2.

Example:

Diwayuru siti lakuna

Lagne aenga isa dayamena
Tunak bumi pamana
Igulun piyata yedunu lesina.

The effect of the sun standing,

In the lagna-the body and head are as if burned,
From about three lands,
It is appointed that the father be expelled.

The refrain is:

Lagna dimutu kirana

Patala kala
Lagna dimutu kirana

Lagna brightened by the radiance

Spread out,
Lagna brightened by the sun.

276
 850. Kotahalu upata, No. 2

Hymn of the origin of purification

THIS is chanted by washers of Radawa caste at the rites performed for girls
who reach puberty. It relates the story of Maha Sammata's coronation as the
first king, but does not allude to his bewitchment by Mara which belongs evi­
dently to another school of tradition. It then treats of the ceremony performed
for purification of his wife on attaining her full age.
In detail, we are told that while men supported themselves by the produce
of the soil, they began to quarrel with each other. The gods then ordered
Viskamdeva to prepare a crown, a celestial cloth, and a throne. When the
crowd assembled before the throne, a boy born on the Sun's day was selected,
and crowned as king. He placed the crown on his own head, when handed to
him by Viskamdeva. As all people were assembled, the name of Maha Sammata
was conferred upon him. Viskam deva erected a palace for him.
Sak raju brought him celestial cloths. Madevi a princess seven years old, was
married to Maha Sammata raja. This Maha Devi attained full age when sixteen
years old, on which occasion a ceremony of purification was performed. Subse­
quently she had two daughters, twins, married to Isuru. Details are given of
the ceremony then performed. Gaemunu skilled in the Veda are brought to
advise the astrological features, and a golden bowl is placed on a heap of paddy,
and the queen is brought, in full dress to the hall erected for the ceremony.
There Brahmans exorcise with chants, and women offer homage to her.
Offerings of food had been arranged beneath canopies in the hall, which itsel
was gorgeously decorated.
One thousand lime trunks were fixed, and a virgin cord or kanya niil drawn
around. A golden dimbul chair was prepared, and foster-mothers or kiri-mawu
placed a golden bowl upon it. A hall was erected over it, 60 carpenters cubits
long, and thirty wide. A curious line follows, await in maeda sata satata bedala.
This my pandit insists must be translated as " the centre around divided into
seven by seven. " An old word occurs just before this, in the fine " wigasin
kola maduwak lesa no wala, " in which she almost obsolete and now vulgar
form, kola occurs for kala, past participle of the verb kora or kara to do. Pan­
dits now repudiate all such obsolete forms, and believe the villagers pronounce
them wrongly, or use them in a wrong sense, and when poems of this nature
pass their hands they are ruthlessly modernised There kola escaped because
the writers not regarding the general context, left it as if kola maduwak, a
leaf shed, though the detains given in other verses forbid this.
For the ceremony were tied gawara or bisons, gona or sambur deer, spotted
deer, peacocks, cocks, pigs, mongooses, civet cats and hares. It does not say
that these nine kinds of animals were to be sacrificed, but we may presume so.
By pigs we must understand wild pigs, and it will be observed all the victims
are wild animals of India, pointing to the ceremony as first invented there, to
appease evil influences that affected Aryan women in India, on attaining
puberty.

277
 Sixty yalas of paddy, was collected in the hall, a golden ladder placed at it,
and the golden bowl set on top. The queen was then escorted with music, and
one thousand gaemunu saluted her an received gifts. In its present form it is
about two to three centuries old. My copy has 73 verses.

Example :

Maha Sammata raja teda bala dairy a

Suwanda paenin is soda nsewiya
Siwu saeta mini abrana darawiya
Andinata saluwak genawayi tepaliya.

Maha Sammata raja strong in glorious power,

Having washed the head with perfumed water, bathed.
He put on the 54 gem ornaments ;
Bring a robe to put on ! he spake.

There is a most important feature in this poem, often repeated; gaemunu

is put wherever we should expect Bamunu or Brahman. There is I think no
doubt that the Radawa washers at this ceremony, continue to perform an
ancient priestly duty, which belonged to them before their fall to their present
inferior position. At that time they were either themselves an hierarchy, known
as Gaemunu, or closely associated with it. Gaemunu was a title born by ancient
kings and nobles of Ceylon ; as Gamini it is frequently seen in rocks inscriptions
in the Brahma alphabet. The Gaemunu as here noticed would seem to have
studied and followed the Veda, and sacrificed animals, including the gawara
or wild bison of India, to appease some local evil influence, which they thought
peculiar to India. I believe the clue to this is given in the first Pargard of the
Vendidad, where we are told that the Evil Spirit, Anro-mainyus, created certain
evil signs, which the Pehlvi gloss treats as periodical impurity of women, at
what was to the Aryans a premature age, before their arrival in Hapta Hendu,
or the Punjaub. If that theory is right, the gaemunu must have been an hierar­
chy, which accompanied this Aryan expansion into India, and the ceremony
treated of, have originated when they had spread to the Terai, where all the
animals used for this sacrifice are found.

278
 851. Loka uppattiya

Origin of the world

THIS is used as a chaunt at the kotahalu ceremony performed by Radawa
washers, when girls of the higher castes attain their maturity. It invokes
the Three Gems, and the Nine planets, and then proceeds to describe the
restoration of the earth after its destruction by water at the commencement
of this Kalpa. The story of the Bambas and their miraculous food, follows the
usual tradition, and the world is repopulated by their means. As they quar r

relied, a king was appointed, and a boy selected and crowned. He is here
selected and crowned with a crown of flowers by his fellow-men, whereas
in Kotahalu upata, No. 850, this was performed by the Devas. He was named
Maha Sammata. Vishnu Deva was sent to build his palace.
Prom blood of Ma devi was born Nila yodaya, and Uma and Saraswati
were also her children. By direction of Ma Devindu their father Nila yodaya
was sent to procure them diwa salu, or celestial robes. He visited the Bamba
world, terrifying the Bamba raja, who sent a goddess or surangana back with
a robe for the king, who gave it to his daughters Saraswati and Uma.
King Maha Sammata was then married to Saraswati, though in the usual
form of the legend he marries Maenikpala devi. In my copy she is called Uma
Saraswati in the verse which relates her marriage.
The queen afterwards attains maturity and becomes subject to seasonal
impurity. The Gaemunu inform the king that evil is associated with this, and
the evil is exorcised by the ceremony now usual. It follows much the same
rules as No. 850, for this ceremony, but with less detail. The hall is 70 cubits
long, here. Further on we are told Bamunu recited the chaunts for the yaga
ceremony. The word Gaemunu having just been used, we see that the obsolete
Gaemunu, found strongly seated in No. 850, is here being ousted by Bamunu,
as if the poet thought them synonymous. Offerings are made to the Rakusu,
and to Kili Gaeraewu. It is about the same age as Kotahalu upata, but that
poem has been adapted from an older one, I think, and at least reserves
fuller details. My copy has 143 verses.

Example :

Pema wadana Maha Sammata nirinduta

Uma Saraswati aga mehesun kota
Samagamaya kota tama sit tosa kota
Ama rasin yahanata waeda un wita.

To king Maha Sammata increasing in love,

Uma Saraswati was made chief queen—
Being united, he delighted in mind,
When they were on the couch, with taste of nectar.

279
 852. Kotahalu upata, No. 2

Hymn of the origin of purification

THIS differs from No. 850 rather widely. Nothing is said of the early condition
of the earth, and the king is called Manu-rada Sinha narawara, or the lion
king Manu-raja, son of Dina rada, the Sun or day-king. He marries Saraswi,
which is a form of Saraswati. When the queen first became impure, wise men
or nipunu were sent for, and they said that good fortune would follow. The
shed was erected, as described in Nos. 850, 851, but fewer details are given
here. The Gaemunu are not alluded to in this poem, nor are Bamunu. At the
ceremony we are told that fireworks were used ! thus proving that this poem
is not more than a century or two old at most. A yodaya was also present,
in front of the ceremonial hall, and he held in right hand a sword, in left a
mace, whilst he exorcised the queen. This yodaya is not named, but Nila
yodaya is evidently intended. The verses were probably composed during
the eighteenth century; my copy has 30 verses. It is used at the Kotahalu
ceremony, performed when girls reach maturity.

Example :

Dina rada put Manu rada siha narawara

Mananada Sarasawi aga mehesun kara
Niti windi pas kam rasayen da was aera
Dutu sanda suba dina mohotin malwara.

Son of the Day-king, Manu raja lion king,

Making charming Saraswi chief queen,
Ever passing the days with enjoyment of mutual inter-course,
When seen on a lucky day and time the impurity.

280
 853. Kotahalu upata kavi

Hymn of the origin of purification

THIS differs from No. 285, but treats of the purification of Maha Sammata's
queen. Purandara or Saekraya caused Viskam deva to put up a hall resembling
his own, for the ceremony of purification, but no details are given which
seem of importance. The foster mothers were guards during the ceremony,
and lime tree posts were fixed around, but the number is not stated. It also
states that Nila yodaya was born from the blood which fell when the thigh
of Ma, devi was burst open. She also had two daughters, not named here.
It then relates with detail the washing by Nila yodaya of a robe worn, by
one of these. A Rakusa then disputed with Nila, trying to prevent his washing
it, but Nila, struck the water with his mace, driving it about so that fish were
left on dry land. The Rakusa then submitted. The altercation between Nila
devi as he is here called, and the Rakusa, occupies 13 verses and may be treated
as the main feature of the kavi.
This saga is pretentious in style, but to my thinking not elegant of its class.
It may be two centuries or so old, A line of one corrupted verse states " mada
kavi kala haeki Daeliwel", which I suppose give the poet's name as a man
of Daeliwela. My copy is a corrupt and confused one, with 42 verses.

Example:

Pawara belen rusiru Ma deviya

Watora pala naegi uriren upaniya
Nohaera saepen wadamin sit pern wiya
Nohaera upaniwada Nila yodaya.

Of beautiful Ma devi with supreme might,

Born from the blood that burst forth from the thigh,
Not leaving bringing up prosperously the mind made loving,
Not leaving was born Nila yodaya.

281
 855. Kotahalu magul kavi

The Kotahalu festival hymn

THE poet also calls this a kotahalu dipawansa, and professes to have learned
the Four Wansa books, of the four castes, and the Dipawansa, or history of
Ceylon, but their influence is fictitious. He notes the first appearance of the
sun, and states that Ma devi and Mehesuru lived together in union. Ma devi
fancied a celestial robe, and Nila, born of the blood of her thigh, was sent to
procure one. He procured her one. When sixteen years old, the wearer of the
robe (else-where stated to be Saraswati) reached manure age, and the robe
was stained with impurity. Nila devi was asked to get it washed, and he
appointed his wife Ridi liya to do this. Ridi liya then adorned herself with
all jewels, washed, and gave back the cloth, at the ceremony of purification.
From her the Rada, caste descend.
A grand hall was erected for the ceremony, but no details of special interest
occur. The Ridi liya mounted the heap of paddy in the hall, by a golden ladder,
to take the clean cloth, from the basin in which it was kept as related in No. 850.

The saga is some two centuries or so old, and my copy has 90 verses.

Example:
Satosin Maha Sammata raja waeda sita
Melesin saerasu magul maduwata
Satosin karawana malwara magulata
Nolesin wisituru kola maduwak kota.

Maha Sammata raja joyfully being present,

In that festival hall adorned in this wise,
Gladly causing to be made for the puberty festival,
Without delay having made a hall made beautiful.

Notice " kola " for the " kala " now used ; it has doubtless escaped the
editor's pen from an idea that a kola maduwa, or " leaf " shed was intended.
The details given show that it certainly was not such.

282
 856. Buduguna alankara, No. 3

Praise of Budu's virtue

THIS differs from Nos. 76, 527 ; it exhorts the listener to merit and aims,
and the various means of securing me jit are brought to notice. It appears
to be two or three centuries old, and it is simply worded, but without much
merit as poetry. My copv has 56 verses.

Example:

Munidun adaha ki bana me dine

Aesuwot kala pawu notibe satune
Sitiyot srl ma bo mula sewane
Nidukin gos dewu Iowa saepa windine,.

Trusting this day in the word told by Munidu,

If listened to, the sin done rests not, oh man !
If one should rest in the shade at root of the fortunate great bo,
Going sorrow-less, he enjoys the bliss of the deva world.

283
 857. Kalingu-bo da

Ballad of Kalinga—bodhi
IN the poem the name is given as Kalingu-b5, in conformity with old Sin­
halese usage. In this birth the Bodhisat was Kalingu Baradija, the Purohita
Brahman of the Kalingu chakrawartti, reigning at Dantapura of Kalinga
rata. Ananda Maha Tera was then the chakrawartti. A former Kalingu raja
had two sons of whom the younger became an ascetic, and it foretold that
he should have a son, who would become chakrawartti. The princely ascetic,
married the daughter of the king of Sagal pura in Madu rata, and the destined
son was born to them, and in due course became chakrawartti, and in after
times Ananda Tera. Once when his state elephant was going as usual through
the air to see his parents in their hermitage, the elephant refused to proceed.
On enquiry the Brahman found that it could not proceed over the ground
below, as it was the destined site on which a Budu would attain his powers.
The king urged his elephant, but it died ; by his merit another was provided,
and the dead one fell to earth. The king then made a great Bodhi festival
there on the spot where in after times the tree of Goutama Budu stood.

In time of Goutama Budu, people bringing offerings were grieved at not

finding him at home, so Ananda Tera was advised by Goutama to have a Bo
tree planted, to which offerings might be made. Anepidu Sudat the Situ
planted a seed, which grew, and received offerings.

This is a very elegant poem, written as the verse tells us at S 1721, A. D. 1799
by Dharmmakirtti Ekanayaka Dunuwila Mudali, and dedicated to Wijesundara
Seneviratna Abayakon Pandita Mudali, better known by his ancestral name
of Pilima-talawwa. This noble is described as Master of the Robes, Master of
the Bedchamber, Diyawadana nilame, Adigar of Three Korales and Seven
Korales, besides holding many more offices, carefully enumerated, under
Rajadhi Rajasinha. This noble he tells us was son of the Adigar of Three,
Pour, and Seven Korales, under Kirtti Sri, and grandson of Pilimatalawwa,
Diyawadana nilame who married the daughter of Monarawila, master of the
robes to Wimala Dharmma II. This noble lady had previously been chief
queen of Narendra Sinha, and had born him a son. This son, half brother of
Pilima-talawwa Adigar of Three, Pour and Seven Korales, never became
king, as Vijaya Rajasinha, brother of his Telugu queen, succeeded. I am not
aware whether the child died, or was set aside as morganatic through jealousy
of each other amongst the Sinhalese nobles.

Pilima-talawwa aspired to the throne, and it is significant that the poet

gives this pedigree, without any tribute to Sri Wikrama Raja Sinha, then in
the second year of his reign. The poem was probably written to further the
claims of the Sinhalese noble, against the Telegu noble elected by the jealousy
of his fellow-chiefs and nobles.

284
 There are 676 verses in the printed edition, which seems to have been care­
fully passed through the press. Copies in m. s. are seldom seen.

Example :

Sobaman Sulu Kalingu kumarindusanda subaesi

Mannaran supirisidu piyasak bala risi
Karamin asapuwak tawasunta wana risi
Satosin tawus wes gena nolasa ehi wisi.

The bright Sulu Kalingu prince of good speech,

Having looked for a suitable pleasing very pure site,
Making a shelter suitable for ascetics,
Gladly assuming the ascetic dress without delay dwelt there.

" Asapuwa " is used in poetry, and is a curious word. It is a tatsama with
Pali assama, Sanskrit asrama, and here seems to come from a root sama,
srama, sapa, with a sense of " assuage ", " content " . It is now only applied
to the huts of ascetic, and Buddhist priests, and is not used in the colloquial.
The upasargga or compounding preposition was probably at first awa, with
a sense of progression, not " a " with a sense of simple affirmation. The word
is in any case a remarkable one, and probably of great antiquity; the sug­
gested derivatio 1 must of course only be treated as conjectural.

285
 858. Dahamsonda jataka kavi, No. 2

The Dahamsonda birth

THIS differs from No. 715, an important poem on the same subject. The
theme is the same, but the present poem also notices the Bodhisat's birth as
Sumana, a prince of Situ race at Saewaet nuwara. At sixteen years old he
emancipated his slaves, gave great alms with his wealth, and resolved to
become Budu. He was reborn as Sumedha the ascetic, and received designation
by Dipankara Budu. He was reborn in the Dew lowa, and sent by Sak raja to
be born in the Nara lowa or Man world, as son of the king of Baranaes. It
then follows the story already noticed under No. 715, it is composed in the
simple and earnest verse, without any effort after artificial effort. The author
describes himself in verse as grandson of Hetti-patirada Maetindu, but does
not record his own name. He says he composed the poem in 340 verses, at
Saka 1633, A. D. 1711. It is now a rare work, and I have only seen my own
copy, which is bound with Wessantara jataka kavi No. 41, and Mahabhinikman,
No. 121 ; this copy is quite as old as A. D. 1711 to 1720. It has however only
120 verses, and judging from the letter of the first page existing, has lost 27
leaves, which must have been devoted to introductory matter, that does
not effect the rest of the poem.

Example :

Gasakin waelakhx paladawakdaeyi

Ratakin genena welendamakdaeyi
Samagin ekwi karana waedakdaeyi
Bana nan yanne kumana deyakdaeyi.

Is it fruit of a tree or a vine ?

Is it merchandise brought from abroad ?
Is it a work made assembling together ?
What sort of thing is called " bana " ?

286
 859. Giri devi upata, No. 2

Birth of Giri devi

THIS saga relates the birth of Giri devi as daughter of the Hansawati king
and Hansawati queen. Their son was Dala kumara, and the Bamunu foresaw
that he would become a mighty Bakusa. The king and queen offered with
fervour at various kovil or temples, in hope of receiving a daughter. The
queen had a dream, in which Devas gave her a golden mirror, or Kaedapota.
This was explained as referring to the birth of a child jewel. When the daughter
was born, the ganitayo or astrologers announced that she would be married
to her brother Dala kumaru. To avoid this disgrace, the princess was brought
up in a cave, unseen by her brother, and received the name Girilanda, or
Rock lady, in consequence. Her beauty is explained upon, and in time reaches
the ears of her brother. He feigns illness, and begs to see his sister. Here my
copy is defective, after 53 verses, and I have seen no other. As it is an im­
portant saga, quite three centuries old, I think it best to catalogue it, hoping
that complete copies may hereafter be found. The complete work probably
extended to some 200 verses.

Example :

Mihiriya kirimawunut salasala

Kumariya giri geyi tulata wadala
Idiriya kumarige aesata nopal a
Giri liyayayi nama kiyati wichala.

Having prepared a sweet-tasting foster mother,

The princess was taken into a cave,
Not shown before the eye of the prince,
The name is Giri liya is said when asked. .

It is very important to notice, in connection with the Gara and Giri myth,
or Dala kumaru myth, that the incarnation occurs at Hansawati nuwara,
or ancient Rangoon. It may have originated there, or been first localised there,
by colonists from Western Asia. In either case it is certain the myth was
attributed in ancient times, by the Sinhalese, to that Hansavati, so famous in
Ceylon.

287
 860. Giri devi kavi, No. 2

Ballad of Giri devi

THIS differs from No. 271, and other sagas of Giri devi. My copy is very
defective, but it is only one I have met with, and as it contains 63 verses, and
has formed a most important and beautiful saga, I think it worth separate
notice. Copies will probably turn up, on enquiry, sooner or later. The
disorder in my copy is only explained by supposing it taken down from oral
recitation by a singer whose memory of it was confused, leading him to displace
the verses. Of the earlier part of the story, is a fragment describing the great
labour pains of the queen at her daughter's birth. There is a verse describing
how her brother caught the princess by the hand, and then others on the
incestuous alliance. The sister Giri devi, steals away from her brother's bed,
whilst he sleeps, and overwhelmed with shame and remorse goes to a tree to
hang herself. The most important part of what survives in my copy, is the
lamentation of Dala kumaru for his lost sister-wife.

There were probably 200 to 300 verses in the original saga, and it seems
quite four centuries old. It has been a very beautiful and well composed poem.

Example :

Kusun mal suwanda peti atula dula yahanate

Susun la tun yamata noya nidi ada nete
Satunhata nepenemin giyeda nuba wanagate
Bin mage diwi raengena baeri inda Giri kate.

On a bright bed strewn with scanted petals of blossoms and flowers.

Uttering sobs through the three night watches, today the eye goes
not asleep,
Unseen by man hast thou gone entering the forest ?
The preserving my life, I cannot be, oh Giri maiden.

This is one of the poems to which with further knowledge of the subject,
we may perhaps assign a much earlier period than I indicate.

288
 861. Gaeba salakuna

Conditions of the womb

THIS treats in question and answer of the condition of a child from conception
to birth in each of the ten months, through which the Sinhalese believe that
development progresses. It seems that this computation is intentionally
made to cover all the months, in even part of which, the gestation lasts. Thus
a child being conceived on the twentieth day of the lunar month,that month
is counted as one, the eight following make nine, and the month during which
birth expected, forms the tenth. It must not be taken as postulating gestation
for ten full months. The head, limbs and skin form in the fourth month;
in the fifth the features begin to develop ; in the sixth the nails form, and
orifices of the body open ; in the seventh the child begins to be conscious;
-
and to breathe ; in the eighth it becomes hungry ; in the ninth it acquires
self-movement; in the tenth it is born.

This may be a century or two old, and has no special merit as verse-

Example :
Yutukota asatot poranun kl basa
Aetuwata kaya-banda at pa kara hisa
Elikota nokiyam haematata me basa
Matupita aeta sama gaebata sara masa.

If fittingly asked the word spoken by the ancients,

Though the body has hands, feet, neck, head,
Do not tell publishing to all this word—
Afterwards there is skin, at the fourth month in the womb.

283
 862. Abhimana dola

Sacrifice to Abhimana

'THIS invokes Uvindu, Guruwaru, Ganidu, and Uma devi, as well as Mihindu
Maha-himi, the Devindu. This Mihindu must be a male form of Mihi kat the
Earth lady, but an Earth god is only noticed in Ceylon in obscure passages,
such as this. Abhimana was born in the distant Kasi Rata, as son of Desa
guru, and an Andi mother. He was born a BMta. Three others, not named,
are associated with him. These four purified themselves, or became pe, for
three days under a shady tree, where three roads met. He comes in the guise
•of an Yogi fakir with matted hair, armed with a club and stick, and wears a
rosary. He kills men. He watches near abandoned dwellings, and coming
first as a friend, betrays people. He is fed on opium, hemp, flesh, and arrack.
He beats men to death, and drinks their blood. He robs the offerings taken to
Katarapura for the god there. At the three yamas of the night he inflicts
disease. Fowls are sacrificed to him. He crossed the sea, and landed in
Lanka. He was born under the star Rewati. He came to Ceylon from Kasi
rata, Gujjara, Wadiga, Dilliya, and Wangu ratas. Abhimana devatS is ever a
yaksha devata.

This saga is intended to be sung at the ceremony to remove the spell cast by
the god or demon on a sick man. The saga may be two or three centuries old,
my copy has 23 verses, in three different metres, respectively short, medium,
and long.

Example :

Talu gewal ganwala raeka inne

Yalu kamak baendalayi rawatanne
!Malu baedtin bSjuna kaepa ganne
Yalu me Abhimana baesa enne.

.Staying watching ruined houses and villages,

Having formed friendship he betrays,
He receives as food curries and fried things,
May this Abhimana come descending as friend.

This is one of the spirits that answer to Avestic ministers of Angro-mainyus.

The Buddhist and Avestic mind holds in horror a banquet of flesh, spirits,
.and opiates, but it is necessary to be civil and propitiate the wicked ones that
indulge in them. Desa guru, is used as if it were a title, like Desapati, and
the distant Kasi, may be Cashmere, or more probably the Caucasus, as the well
.known Kasi of Cashmere is not to be regarded as very distant land. Like
Aeshma, he is the spirit of wrath and violence, he is the advocate of what the
Buddhists and Mazdeans especially contend against, feasts of flesh, with
intoxicants, and narcotics. The name Abhimana or Ayimana, seems to mean
" the very pround " in Sinhalese, but though such a term would apply to the

2.90
 very proud enemy of law, order, and tranquility, yet I do not find an Avestie
form of the name in use. It is curious that he eats " abin " or opium as a
special trait. There are no old words for this in Ceylon, and apparently opium
Was not known to the ancient physicians. The foreign habit agrees with the
-distant land he came from. As the myth is important, I will quote a second
example.

Kasi rata aetawa

Desa gurmvata patawa
Andi mawu kusa ipidawa
Upan Abhimanayaki bhfltawa.

In the distant Kasi land,

Conceived to the Guru of the desa,
Born from the womb of an Andi mother,
Abhimana was born a bhufca.

291
 863. Hansa raja mangalle

Ode to the Goose Icing

THIS is intended as an incantation to remove the spells of sorcery, cast some

sufferer. It relates the story of the Swarna Hansa Jataka, in which the Bodhi-
sat was the golden goose. This follows the Jataka account. It may be two-
centuries or so old, and has fifty-six verses.

Example :

Mana gunaeti Hansaraja anuhasata guru

Sina daekapu bisawata upakara karu
Pana lesata Muni anayata me wina duru
Mima denet nase wina eyin duru.

The worthy good Hansa raja, of worshipful power,

Giving help to the queen who saw the dream—
May this spell be driven off by power of Muni, as by a lamp—
May the spell be driven from the face, two eyes, and nose.

292
 864. Nawa graha mal baliya

Flower sacrifice to the Nine Planets

THIS rather an important saga of its class. We are told that yagaya in this
manner was first offered for king Mahasammata by the Bamunu. Eight
Bamunu were called in to explain a dream that troubled the king, in which
it seemed that a viper struck him, after breaking through the upper story of
the palace. The alter was made of plantain stems, a cubit and four finger­
width square, and a square enclosure made around it. Nine kinds of leaves
rice of nine colours, nine kinds of flowers, betel, nine offerings, were taken for
the offering. The nine coloured rice is for the twelve rasi or zodiacal signs, and
the colours are, red, white, yellow, smoke or grey, black, another red, blue,
golden, and blue-black, The offerings for the planets are to be placed in their
special directions, as in the east for Iru, with imbul or tree-cotton leaves, and
red rice ; for Sikuru in S. E. with karanda leaves, and butter, and so on. The
•evils caused by each planet are exorcised, a verse being allotted to each. The
weapons of the planets are noticed, and their vahana or vehicle.
After the planets, the evil of the four Hin are exorcised. These are Yama
Wayu, Murtu, Kala. To each of these a constellation belongs ; thus Yama,
Ade; Vayu, TJttra Putupa ; Murtu, Hata ; the verse of Kala is defective in my
•copy. The vahana of Yama Hina is a rat, of Vayu a goat, of Murtu a man,
of Kala a leopard. Yama Hina is on S. E., Vayu Hina on N. W. ; Murtu Hina
on N. E., Kala Hina on S. W.
A yaga or incantation follows, praying for the protection of these planets,
•describing their favourite bower and food. For Iru, on E. tree-cotton (imbul)
bower, golden rice. For Kiwi, on S. E. a karanda bower, butter and milk.
For Kuja, on " yawyawa " or south a kolom bower, and golden rice.
The word yawyawa for south is not known to my pandit, but was carefully
identified for me by Mr. Herat when I procured the saga in the Chilaw District.
It is connected with the Arabic word for south,
In another verse it is used in the form yawuma, Yama in colloquial.
For Bamba on the S. W. a bower of pandanus, and sesame milk pudding;
for Saeni on the W a bower of Indian fig or nuga, and blue rice. For Sanda on
N. W. a kosamba bower, and white milk-pudding ; for Budha on N. a wood-
apple (diwul) bower, milk and palm sugar. For Guru on N. E. a bo bower and
golden rice. For Bamba at patala, a bower of plantain, white rice.
The whole are gone over in several fresh sets of verses, noticing the colour
.and weapon, or vahana, and so on.

Graha Colour Weapon Vahan Bower Direction

jru, Sun tawny Siriwasa Horse Imbul E.
Kiwi, Venus white wal widuna Bull or Ele­ Karanda S. E.
phant
Kuja, Mars (red) elephant goad Peacock Kolom S.
Rahu or Zenith; white remasa (salmton]1 Horse Waetakeya
s. w.
Pani
.Saeni, Saturn (blue,) nadawata Garuda Nuga w.
293
 Graha Colour Weapon Yahan Bower Direction
Sandu, Moon (white) girdle Elephant, Kosaba X. W.
Horse
Budha, Mer- grey chank Buffalo diwul N.
cury
Guru, Jupiter golden Water vase Lion or Bull diwul N. E.
Bamba, Nadir (smoke) (grey) a rosary (cloud) ramba Nadir

I have added in brackets, details omitted in this saga.

Verses follow adivising the celebrant to exorcise evils, as originally done by

Nagara Rishi, and to use kavi or hymns, to Muni, Devi, Graha, and those in
Pali, Elu, Sankrit, and Naekat, Dasa, Rusi, Sin kavi, as well as the 35 Graha
kavi, and Titi, Hora, Karana, and Set kavi. The 35 kavi of the Graha give
particulars for 35 bali sacrifices, but I have not met with a pan-tis bali sangra-
hawa, and it refers not to a book, but to the 35 different forms of bali. It names
only 11 of these, wael or creeper, mal or flower, kada or cloth, at or hand, kulu
or winnow, bat or rice, maeti or clay, graha or planets, yuga, was or spell,
wayaseta himi or age.
Some verses follow, referring to king Wijaya, and the order given by Buddha
to Kihiraeli deva to protect him. His divi dos is noticed, and its hereditary
descent amongst men. A bali shed is to be put up for this, and a Graha
ceremony performed.
A lotus is to be designed on the ground, and the ata mangala or square of
eight compartments formed, and then crinum leaves or tolabo, siraessa vine
or cissus quadrangularis, rice, coconuts, a leopard's skull, and a rice mortar,
are to be arranged on the spot, and incense and perfumes offered.
It winds up with a sirasapada invocation to cure the patient by power of the
planets. The whole is arranged with intent to fill up the time during a long
ceremony. My copy has 150 verses. It is probably strung together with many
short invocations, chiefly in nine verses each, which were already known to the
person who arranged it in its present form.. In its present form it may be two-
centuries old, and portions are doubtless much oldsr.

Example :

Lol wadawana ran akusak raegene

Pil bara monarindu wahana pitine
Kal daena Angaharu wayambaya digine
Bella dewura daete dosa harine.

Taking a golden elephant-goad exciting admiration,

Riding upon a peacock with train,
Knowing the time, may Angaharu in the north-west direction,
Release the evil on the neck, two shoulders, two arms.

294
 This saga is characteristic of the greeJy and unscrupulous energy of Planet,
worship, which excited Zarathustra against the Karapans, and has set Buddhism
against the Grahayo. The Bali aedura has dared to introduce even the national
episode of Wijaya, and exorcism of the divi dos, in order to secure gain for the
planets. This ceremony belongs of right to the Yakaduru or exorcist.
It may be as convenient here as any where to point out that the Sinhalese
nine planets, correspond to those of the ancient Jews. Kehetu, the nadir,
represented as terminating in the coils of a vast snake, is Rashith Ha Galgalim,
the primum mobile. Rahu is the Hebrew Mas-loth, the Zenith, as marked by
the zodiacal constellations. Shabbathai is Sani, Tzedek is Guru, Madim is
Kuja, Shemesh is Suriya, Nogah is Kiwi, Kokab is Budha, and Levanah. is
Sanda.

295
 865. Tira hata mangalle

Blessing of the seven curtains

THIS is intended to be sung at exorcisms, or invocations, when seven curtains

are drawn. We are told that this ceremony was performed for Panduwas
Narendra of Srimat Sri Rama Chakrawartti Sri Rama suddha Suriya wansa,
and this Tira hata mangalle was then sung. Seven curtains are sometimes
hung before the images of gods, and they were also drawn before the king when
seated on the throne on very especial occasions. The practice is now obsolete,
but at one time each curtain must have been of allegorical colour. In the
present verses, Munidu, the Devas, and Wadiga Rusi are invoked to bless the
king. Jaya guru, Oddisa Wadiga Rusi are invoked to dissolve a spell. A white
blue curtain is for the Yama rajas. Mihi Kata is next invoked, with a golden
curtain. The next states that the Siwu Waran or Four Guardians, seeing Muni
sheltered from the rain beneath the hood of a cobra, amidst its coils, drew
a curtain round. The naga raja at Kaelani is alluded to, and white sands.
We are then told that a gold curtain, blue curtain, and white curtain was drawn,
before a decorated throne. Mihi Kata spread a blue cloth when Munidu
visited the vajrasana near the river's bank. We are told the blessing or santi
of the seven curtains lasted thirty paeyas. Budu's victory over Mara, and his
past efforts, are invoked to bless the seven curtains. These are spoken of as
arranged in circles, walalu. In this part the incantation follows rather a peculiar
metre, affecting a Sanskrit sound. I have as yet only seen one copy ; it
evidently forms part of a larger saga, the arrangement being now confused
and abrupt, and doubtless defective. Unfortunately the seven curtains drawn
in a circle around the king doubtless had each its own colour. White, blue,
gold are the colours now left, and perhaps bluish-white. It appears quite
three centuries old, and may descend from one used very anciently indeed,
modified from time to time. A red " rat" curtain had. probably become
golden " ran ", in one of the verses of my copy ; the n and t are often confused,
and a " ran " curtain occurs twice over. There are 31 verses in my copy.
I give as example one of the peculiar verses, but it scarcely conveys sense now,
and may be of great antiquity though slightly modernised from age to age.

Example :

Badhra kalpayata adipati sii vibhuti Dharmma Raja

Ugramana alankara kirtti tapa Dharmma Raja
Durjjana teda Maruwan binda Dharmma Arttha Dharmma Raja '
Nirddosa kara naraniduhata ishtarttha Dharmma Raja.

Lord of Badhra kalpa, Dharmma Raja of fortune and wealth,

Dharmma Raja of fierce and lovely fame and glory,
Crushing the wicked renowned Maru Dharmma Raja of Law and
Comment,
Making men guiltless, Dharmma Raja of success.

296
 866. Tis paeye kima

The thirty paeya saga

'THIS is an old saga, intended to be sung when a wina or spell is being exorcised
by the Yakaduru or Yakdessa. It does not state for whom this is performed.
It exorcises for the first paeya by the power of Sak raja, of the induru diga
or east, on his elephant Erawana. For the second by the power of Sandu, on
whom Sak raja painted the hare. For the third by the mighty Sura who has
three eyes, three wives, the trisula, the bull as yahana, and a robe of elephant's
skin, and reduces to chaos the three worlds ; this is Iswara or Siva. For the
fourth, it invokes Naebasara of four arms, golden robe, on the coils of Nata,
or Ananta naga, in the Kiri or milk sea ; this deva is of kindly sight and thought,
and gives blessing.

This is a most curious survival of an ancient name, Padma-nabha or lotus

navel is one form in which it may be used, taking sara as lotus; but taking
. sara in its first sense of abstract water, it is absolutely the ancient Avestic god,
Apam Napat, the navel of the waters. In the Vedas Apam Napat is a name
of the sun. Naeba is Napat sara is Apam. This god, a form of Vishnu,
bscame from Napat, Napat-unus, the Neptunus of the Latins, Nabhi of Ceylon
and Arabia, well known to us as Nebo of Chaldea. The fifth is exorcised by the
god watching at Samana kula (Adam's Peak) over the foot-print of Pasaes,
Five-eyes, or Buddha, and is pasa-yuga, that is Rawana ; this is Saman or
Suman deva. Next is Sawata or Six-face, of barata or twelve arms, twelve
•eyes, a konta or spear, a cock king or saewalindu on his keheli or flag, and a
peacock yahana. He is Skhanda of the later mythology. Seventh is Ganisuru
with elephant face and goad, with one tusk, a crown of gems, a full round
belly, and supreme wisdom. Eighth is Bamba, with eight eyes, four faces,
a glory spreading a yodun around him, seated on a goose throne or hansa
asana, with a hirawarana, or umbrella, in his hand.

Nineth is the sun, which emits thousands of rays, lord of the nine Grahayo
or planets, the foe of the darkness, or Rupa andura, on horseback. Tenth is
Kuja devi, who was born to Mihi liya, the Earth lady, and is of gold colour.
.He has an elephant goad. He is a Planet god, as are the next.

Eleventh is Siriput, or Moon-son, and is Budahu the planet Mercury, who

rides on a mighty buffalo, and holds a white chank, dwelling in a nimba bower.
This is the Aryan name of the kosamba, or margosa tree, the neim of India.
Twelth is Umaganam or Uma, beloved of Hara or Siva. Thirteenth is Mihi
kata who came to help Budu at the attack by Maru, with her golden pitcher.
Fourteenth is Siri Kata, who arose from the Kiri or milk ocean, when churned,
and is clasped to the heart of Wen, or Visnu. Fifteenth is Indraniya, or
IndrSni, beloved by Sahas-aes or Saekra. Sixteenth is Saraswati, of kindly
charity, with her walwiduna, or yak-tail whisk. Seventeenth is Wenuput,
that is Kama, son of Visnu, a golden noose, in his hand, and the fish as an
ensign, if I rightly interpret the difficult line, " masu kon baenda ran pasa ran
atata. " He is mounted on a nala sak, or wind-wheel. The eighteenth has
a " musala " mace and plough share, and I suppose is Bala Rama. For the
nineteenth is the lord of the south-west, with a remasa or salmon in his hand,
a bower of pandanus, born in Lanka.

297
 I cannot explain the planet god's birth in Lanka, unless there is reference-
to that spot on the old meridian of Ujeni and Lanka, as the zenith ; this seems
very far-fetched ! The twentieth is of blue body, nine thousand gows high,
born in S a w rata, with four hands ; Saeni or Saturn is intended. The twenty-
first is Kiwi, with one eye ; he is guru to the Danava race. The twenty-second
is Guru, born at Salinda pura, carrying a golden water-pot, and lord of wisdom..
The twenty-third is Bamba, who gave his head to Rahu, and took the body.
The twenty-fourth is the dewuliya or goddess Manimekala, who was bom from
the ashes of Umagana when cremated. The twenty-fifth is Viskam Devi, of
five colours, with a rayed crown of gems. The twenty-sixth is Daedimunda,
who resisted Maraya, when disputing with Budu for the vidurasana throne.
The twenty-seventh is Venu, who assumed the sukara or boar shape, and
entered the water, and brought up the earth on his tusk. The twenty-eigth
is queen Sita, who was not afraid of the ten-headed one, and created a fence of
fire on the ten directions. The twenty-ninth is Wael-mawa, or Walimata, who
was born from a doe, and became wife to the Diwa Senevi, or Skhanda.
The thirtieth has five eyes, six rays, and is Budu. The evils are then exorcised,
and the 80 forms of wind disorder (rheumatism), the 40 forms of bile, the 20
forms of phlegm, and the complications of such disease, are cured.

This is a very learned and clever poem, consistently using very difficult
words from beginning to end, but I think it is in an artificial language, and.
not an obsolete dialect. It is somewhat in the style of Totagamuwa and his
school, using words reduced to as few letters as possible. It may be three
centuries old, or much more, if it is in an obsolete dialect, and not merely
a tour-de-force.

. The mythology is very correct. The thirty paeyas make half a day, and are:
equivalent to the whole night.

My copy has 49 verses.

Example :

Sararata naebasara rana wata aendu

Nata gata darane wisu kiri sindu
Neta sita adara metin me surindu
Deta seta satara paeye wind sindu

Naebasara with four hands, clad in a golden robe,

Who lived in the coils of Nata's body, in the Milk sea,.
May this god of loving kindness of eye and thought,
Give blessing, cutting the spell on the fourth paeya..

298
 857. Malalu Kumaru kavi

Saga of Malalu prince

THIS is a saga to Malalu, or Mala raja. He is said to be a Bodhisat, and lord?

of the whole world. He receives offerings throughout Lanka. Sandalindu was-
born to his mother, elsewhere called Sita devi, and Rusiru kumaru was born-
from a bundle of sword-grass or i tana ; Malalu kumaru was born from a flower.
Whilst still boys they hunted lions, bisons, and leopards. They destroyed ele­
phants, chariots, and armies. The ministers then complained to their father, who-
ordered them to leave the country. Malala Kumaru started in a stone ship,
gal naeva, with four gateways (wasal). That on the east was in charge of Waduru
Ma Kali, that on south in charge of Kaluwaradevata, that on north in charge-
of Wasala Bandara, and that on the south-east in charge of Gini Kurumbara-
Kambili Kadawara watches with him in the ship. His crew was of men of the
Kannadi Urumusi, Kabaya, Bangala, Gawudiya, Telinga, Mangala, Yurase,
Nawa Kongana, Pandi lands. Also from Demala Doluwara, Kasi, Malala,
Gujjara, W'agu, Yon, Landesi or Dutch, and Jawo or Malayas. They cross the
Kiri muhuda, or Milk ocean. The Sinhala devas assembled to oppose them, but
the ship came to the shore of the Golu muhuda, or Dumb sea, that is the S. E.
coast of Ceylon. Malalu Kumaru seized WirS among the opposing force, and tore
him in two. He cures small-pox and kusbta.
The poet gives his name as Kandegedara kiwi of Diyadara. There are 39 verses r

which may be about two centuries old. The allusion to the Dutch may be part-
of the original poem, or interpolated.
The story sounds like an attempt to indeatify some invader of Ceylon, with an
incarnation of the Mala raja, who had come to cure king Panduwas.

Example :

Ran mini mutu dael derisana nil mini kirulada sirasa darala
Nan sonda diwa dutul jawani ran salu abarana ina wat a babala
Min bala dewata piriwara ran naewa wata kara mura situwala
Kambili Kadawara teda bala wenkota langa mura karawati e kala.

Gold gems, pearl lace, chains, and a crown of blue gems born on the-
head,
Many good celestial cloths, Javanese, gold cloth, shining as ornament
around the waist,
Besides the mighty dewata, the escort stood on guard, surrounding
the golden ship,
Kambili Kadawara of glorious might separately keeps watch near
him at that time.
It would be seen that this invader of south-east Ceylon, introduced the
worship of Kambili Kadawara. This receives support from the fact that Kambili
seems only worshiped in the territories formerly ruled by the Malala wansa
family.

299-
 868. Amba widamana, No. IV

The shooting of the mango

THIS is an important saga, on the popular theme of the mango shot off its
stalk, by Saekra, from which Patini was born, The present saga differs from the
usual version, by saying that when the king looked up at the mango, a drop
of "pini " , dew, fell from it, and put out his third eye. The mango was set afloat
in an oruwa or boat. It was afterwards shot off its stalk as in the usual story.
It is not necessary to report the legend, which occurs in Nos. 22, 241, 548, 806.
We are here told that she was called also Oru-mala Pattini, from the oruwa in
which she floated to Man&yuru, and queen, Marakkali. When Manayuru tried
to take the boat ashore it floated away from him, and came back of itself to
Marakkali bisawa, when she went after it.

The poet tells us in verse that he is Sinhala Kiwi-raja, son of Pandita Perumal
and pupil of Ma-net-pa-mula Maha Terindu, or Widagama Tera, and that he
lived at Gampala. He says he wrote the saga in 136 verses, but my copy has
only 124. He must have lived about A. D. 1470 to 1500.

Example :

Sen mulu Dambadiwa aeti nowalasa

Pin kala Pandi nirinduge nalalasa
Sun ambayata wida wehesawa asa
Daen awemi sagayeni e nisa.

Having heard of the weariness of all the hosts existing in Dambadiwa actively
shooting at the mango that put out the forehead eye of the meritorious Pandi
king,

I have now come, oh friend, on that account.

The poet departs from the old practise of keeping the syntax so arranged
that each line can be understood by itself, and complicates his subject, thu

Of all the hosts existing in Dambadiwa actively,

The forehead of the meritorious Pandi king,
That put out, shooting at the mango, having heard of the weariness,
I have come now, oh friend, on that account.

300
 869. Amba widamane, No.

The shooting of the mango

THIS commences with the verses in short metre, and fourteen others follow,
describing the birth of the goddess as the golden mango. The story is shortly told
with no special features, and in such a condensed form that the last 14 verses
cover the whole story from the birth of the goddess as the mango, through
the episodes of its being sent adrift in a casket, her development into a child
while kept in a golden vase, her marriage, her husband Palanga's death, to
her worship in after ages as Mutumari, a name given as she wore seven rows of
pearls around her neck. Palanga is said to have been killed under a kosamba tree,
the modern kohamba, as usual. The canibal Yakini received her fan, and was
ordered in furutre to protect the man-world, by her, Maduru Ma, dewukata.

It seems to be a few centuries old.

Example :
Malu pawatina teda anasaka halamba hatama bara kala,
Situ lesa gena nara Iowa sata galawa, ro duk durala
Mutu waela belle hat pota watakara tibuna, daekala,
Mutu Mariya namak Patini eda obata niyamakala.

Having given over the seven bangles to continue henceforth the-

glorious power,
Taking according to wish, having rescued beings of the human world,
Having seen there was a string of pearls encircling the neck in seven,
folds,
A name Mutu-mariya, Patini that day appointed you.

301
 870. Panikki Bandara kavi
Ballad of Panikki Bandara

WE are told that this god comes walking over the waves of the sea, and the sea
waves grow still below his feet. He walks around the coast, over the waves.
B e wanders round the salt marsh with his iron mace in his right hand. He
chases the yaku, and breaks up the hamban, naew, and kappara, or junks,
ischoor.ers, and dhows. He dispels sickness, favourably regards Mahawaewa,
and is adipoti or lord of the Sen Wanni rata. He wears a turban. He dispersed
the herd of elephants, riding on a mottled elephant, with yak-tail whisk and
elephant goad in his hand, standards were born by the side of him. Again
he is invoked as riding on a white elephant, with golden goad in his right
hand, and wearing whitened or bleached robes. This ballad was obtained near
Mahawaewa of the Chilaw district, and probably alludes to that village as
•especially favoured by the god. Mahawaewa is not so well known now as the
village on the other side the lagoon or marsh, with its tanks, and called
Madampe. The god is several times invoked as Panikki rala, besides the titles
of Panikki Devindu, Panikki Bandara, and Panikki Bandara Devindu. He is
•evidently an absolete form of Indra, the storm god of the Brahmans.

Example :

Muddarfiweda devi waeda inne

Mude raela nawata wadinne
Mudu waetiya wata wimasa enne
Panikki Bandara Devindu wadinne.

At Muddarawa the god stays,

Having stayed the waves of the sea he goes,
Around the sea coast he comes searching,
Panikki Bandara Devindu comes.

It seems necessary to take Muddarawa as the name of a place. A derivation

suggests itself, of mude arawa, the " roar of the sea ", but it does not account
by grammatical rule for Muddarawa. It is possible that the word means the
" surf", which so often breaks off the coast over coral reefs and rocks, though
I cannot find a word for " surf" known now.

With this god we may confer Panan devi of No. 64-8. The name Panikki not
only suggests as a secondary sense panikkiya, an elephant driver, but like
Panan seems connected with Old Persian, pri, Avestic panm, and almost exactly
coincides with Pehlvi, paneke, protection.

302
 871. Ayyana devi kavi

Saga of Ayyana devi

THIS saga relates that Ayyana kumaru was created like a golden image from
the palm of the outstretched right arm of Visnu. He was given charge of Siri
Laka by the Devindu, after he had conquered Asura pura. He protects Nara or
men. He has great power in the Velasi district, and is addressed as Velasi Ayyana
Devi. He stops the elephant herds. He speaks the 18 languages. He danced
along the shore of Siri Laka. His cane is set with gems. At Diwul waewa he
caused a Kowila to be built. He rides a mottled elephant, and chamaras are
waved on each side. He visits Pallatudalla, and alights on Aetu gala. His power
is like that of Pattini. He had a kowila at Puttalama, with carved wooden
•projecting capitals or gonaes, silk curtains, and a golden spire. This must have
been long ago, at or before the Portuguese invasion however. The Hetti, Marak-
kalu or Moor, Mukkaru, Parangi or Franks, Ja or Malay, Demala or Tamils,
Pratikal or Portuguese, Malaysia, Andi and Kuttadi people all boil milk in nine
vessels there in his honour. It is interesting to find the Franks so specially
•distinguished from the Portuguese, who are usually confused with them.
All these races no doubt frequented the great fort of Puttalama, visited by
Ibn Batuta while in the zenith of its glory, even if they did not worship there.
Persians, Pesa, are omitted, showing that Arabian commerce ruled supreme.
Calling Kalu yak, and Guruma, he visits the ten directions, taking his staff,
and panchayuda, or five-weapon. He visits Kala-tudaella, descending to the
sea, and casts lightening without fire, gini naeti hena, perhaps sheet lightenings
to drive off the Demala yaku. He tied up and banished Gopalu yaka, and causes
herds of cattle to increase. He receives trays of betel sprays, and oil, and flowers.
In three mutti or pots milk is boiled in his honour. This boiling of milk, kiri
utura, is an old form of sacrifice. Omens are drawn from the boiling, which is
allowed to continue until a little flows over. He destroyed the ships, naew, and
dhows, kappara, of the people of Olanda, Jagadara, and Beta we, or Batavia,
The god wrecks ships approaching the coast. He went to Munassarama in a
stone boat. He destroyed the Pisas and yak, and cured sickness. He had cele­
brated temples in the lands of Soli, Pandi, Aramana, Bangali, Kasi. He cures
boils, itches, Frankish disease or parangi, coughs, inflamations, and asthma.
He landed at Nala Karupana. He inspires jointly with Kalu Dewata,
This was probably rewritten or edited from older materials current hi the
Puttalama or Vilachchi districts, shortly after arrival of the Dutch or about
A . D. 1625. My copy has 24 verses.

Example :

Allen Visnuge upan taeneya

Lollen Siri Laka wadina diheya
Nallada daha ata basa daeneya
Sellan kara werale wadineya.

At the place where born from Visnu's palm,

On the day he came gladly to Siri Laka,
Are the eighteen languages well known ?
Dancing he comes on the shore.

303
 872. Abuta devi kavi, No. 2

Saga of Abuta devi

ABTJTA is the reverse of b uta ; the words come from bbu, to be, and literally are-
the non-existent, and the existent. This is understood to mean formless, and.
having form. In prose they may be written bhuta, abhuta. We are here told
that a canopy and curtain being put up, offerings are made on a yakun or couch,
by a celebrant carefully purified. He is invoked as Nayaka devi, or chief god.
Ganidu, Mihikat Isuru, and Sak, and Visnu devi consented to his receiving
offerings. Great precautions are taken to purify all things connected with the
offering, and the couch is sprinkled with saffron water. The celebrant becomes
inspired. The Abuta kumaru came from Malwara rata, to Mannaramaof
Ceylon, and went to the city of the great king Walabahu, and had charge of
his gates, with rank given by the king. For some trifle the king ordered his
execution. He was executed at the gam pisilla, or village spout, whilst bathing,,
his head being cut off with a sword. He became yak. All these agrees very
closely with No. 293, We are then told that he assumes the form of elephants,
and kills people. He haunts a large kumbuk tree, a tree something like a beach.
He frequents streams, and is thence called Oya devindu or Stream god. He
came with a princess to Ceylon, and she also seems to have joined her husband,
as a yakini. They own Panagama, Bogambara, and Dumbara. He has a tiled
temple at Bogambara, but there has been none there since the English occupa­
tion. He frequents the Nine Hills, and received a gold bangle from Pattini. He
is also known as Pallebaedde devi.

This saga is some two centuries or so old, my copy has 47 verses. Some people
think this god is the god of the Jews and Christians, in a local avatar. That
would mean that the prince was a Jew or Christian, before his death. His name
is no where recorded, unless it was Abuta itself. No. 293 refers him to the reign
of Gaja Bahu, who is here is called Walabahu. Gaja Bahu's father is sometimes
called Wallabha raja, and there is some obscurity but not I think any connection,
with Walagam Bahu, or Wattagamini.

Example :

Is5danta gos e gam e gam pisille

Kasa kadak aenda situwa wal!e
Gasa kaduwa gena wen kara bel'e
Nasa e yak wes raegena aesilla.

Going to wash the head at that village spout,

Wearing a saffron robe, staying on the shore,
Having struck, taking the sword, dividing the neck^
Being killed, taking instantly that yak form.

304
 873. Patrakali amma kavi

Saga of Patrakali amma

THIS saga states that when the queen of Dilli raja went to bathe, Patrakali
was created from blood, escorted by the Seven Kali. They wasted seven lands,
and put wayfarers to death with swords, hiding themselves in the forests, and
feeding on the human corpses. They receive nara bill, or human victims. She
went to Wel-eliya, and there attempted to seize Pattini as prey, her lower jaw
touching the ground and her upper jaw the sky. However she was seized with
fear, on discovering whom she was attacking, and apologised. Pattini then gave
her permission to bear various forms of dancer's ornaments, and to receive the
an-keli or horn-pulling ceremony as her right. Pattini also gave her own fan to
the right-hand of Patrakali, and ordered her to protect Lanka, as deweni
Pattini, or second Pattini. She came with Ayyana devi in a stone boat to Man­
narama in Ceylon, and went to Peramiyankulama. Her body shines with rose
water. She visits Amunukola. She watches at the three arches. She restores the
270 " alliya " , stylobates or enclosed precincts, which she has received. This
probably alludes to some resuscitation of her worship about the author's time,
and restoration of the hypaethral shrines of the goddess. By power of the Gini
halamba, or fire bangle, she cleans away small pox. The small-pox bangle or
waduru halamba is on her right arm, and tinkles as she comes. She dispels the
Butas, and Pilli yakas. She has a shrine at Gonawaewa. She has a fan set with
diamonds. Again eight Kali goddesses are spoken of as her retinue, not seven.
The eight Bhairavas accompany her. She watches at the golden arch of
Kataragama.
The saga seems to be two or three centuries old, my copy has 49 verses. It
differs from Nos. 324, 805 and 826.

Example :

Ayyana devi waedi gal naewa samaga obat waediyemma

Mayyama daena Mannarama goda baesala sitiyemma
Ayi tarakara Kara duwa Kallaturata waediyemma
Daen waeda sita Peramiyanma kulamata waediyemma.

You too came with the stone ship (in which) Ayyana dsvi came, oh
mother!
Knowing the situation the mother landed and stayed at Mannarama,
Passing Kara island the mother came reaching Kallatura,
Now the mother has come to stay at Peramiyan kulama.

In this saga the myth has an avestic descent, and Pattini must be regarded
as Cpenta Armaiti, while the converted yakini Patrakali, is her allegorical
daughter, Ashi Vanuhi. In nature myths this Ashi Vanuhi and Patrakali become
the morning and the evening dew, and mist; while in astronomic myth she is
the morning and evening star, or Venus. As the star Venus, she watches the

305
20
golden gate, or rise and setting, of the golden chariot, the Sun, of Mitura, Mithra,
or Kanda kumaru, the god of Kataragama. As the dew of the morning, and mist
of the evening, she shines with pini diya or rose water. It is probable that the fan
of Pattini is the baresma in a modified form, made of palm leaf instead of
tamarisk or pomegranate.

Example:

Kadisara gamanin waedisaera Kadirapura niti murakara

Daedi teda anasaka pae waera Iowa haema janayo biyakara
Kadinamakin karawati leda tada kara allamin ugura
Daedimunda devi waenda laeba wara Siri Laka oba gattubara.

In rapid course quickly passing, ever watching at Kadira pura,

Showing the strong glory and mighty power, terrifying all the people
of the world,
Instantly he causes sickness, tightly gripping the throat,
Thou tookest charge of Siri Laka, receiving warrant, bowing to Daedi­
munda Deva.

306
 874. Seneviratna Devi Kadawara kavi

Ballad of Seneviratna Devi Kadawara

THIS is one of the most important sagas I have recovered as yet, because
it is well written and careful poem, about 200 years old, which follows closely
very ancient tradition. It furnishes here and there side lights, which serve
greatly to link together and clear up other mythological scraps. In one verse
we are told that as he guards the gem gate of Kadira devi or Kanda sami,
that is Skhandha, he was anciently called Wahala Bandara, or Gate god.
His duty is to help the sun to rise through the eastern gate, and he receives
offerings from the whole world at the western gate, or sunset. I will now follow
the course of the poem, while noticing points of interest, as regularly as may be
consistent with brevity.
Kataragama devi is asked to inspire the poet's composition.
We are then told how the god was ordered by Kataragama Devi to defeat
the Asuras as they assembled to prevent the sun from rising. I will translate
a few of these verses, literally.

On the joy-making Dawn rock {Uda giri),

Having seen that the day-maker (dinakara) has come,
So that Mera crumbles,
The mighty Asuras came for the war.

The Katarapura devi seeing

The Day-maker who lightens Laka,
Abating the courage of many Asuras,
A tough battle happened then at Dawn rock !

Fighting but not having gained victory,

Then from the world they dwelt in,
Having pondered with great rage,
Bringing a cock they came to the war.

When the Suras came to the fight,

Thou staying in the sky vault,
" Make war with rage "
Was the order given to this Kadawara surindu.

Kadawara surindu having come,

Having beaten the Asura host that fought,
When the shout was raised,
Arose the sun's orb at that same time.

307
 When going he was making war,
Having shot the powerful Asura host,
" Drying the blood and gore-stream,
Remove their courage " was the order given.

The cock taken for the war,

Gloriously drank the blood and gore,
Having shouted lustily—•
The Asuras escaped running.

After this victory Kadirt devi gave Siri Laka to the warrior, as his own,
and the title of Senevi. Here there is a sort of allegory. Laka means the
" earth ", as well as Lanka, and the Senevi devi, received our whole planet
as well as Ceylon. As Senevi or Seneviratna he is Mahasen of the Brahmans
Lest there he mistake over this, after this verse, with " meweni Siri Laka him
kara ", the next opens with " giving possession of this so glorious Laka ",
comes " Even over this whole Earth " .
He appears to have risen from the waters (jala). To terrible savage Yak
and Pisasu his glory is like fierce fire. He observes the paramitas in order to
become Budu hereafter. He passes easily through the sky, and watches at
the jewel gate. He wanders like the wind and the lightening of the storm
cloud around this Laka.
In the very face of the foe crushing the Asuras, he makes the sun shine on
the world. He wears bright blue silken robes, a golden girdle, a red turban.
In his hand is a cane and a golden armlet is on his arm—at other times
he carries a glittering golden fiery sword. On his shoulder is a golden scarf.
He has been given charge of Siri Laka for the Budu interval of five thousand
years. He is therefore either Vishnu or Saka. He accompanies Kanda surindu.
and they fight for the same cause, and allow the sun to lighten the world.
Daedimunda deva gave his jurisdiction in Siri Laka. When he sees offenders,
he strikes them with sickness, gripping their throats. He gave retribution
to the sixty priests who broke the tank.
When the sun sinks down from the Awara giri, or western rock, the whole
world offers to him, and he watches at the golden gate of Lambodara surindu.
That god is the Brahmanic Ganesa.
With the seven Kadawaras amicably, Seneviratna surapati precedes Kadira
devi, in his hand a panchayuda, or five fold weapon, and a sama saere
or meteor.
When Kadira devindu of the Ten Avataras proceeds on his blue peacock
vahana to the shore of the Maenik ganga, or Gem river, he precedes him with
an arrow and golden torch, and ushers him to the sea shore, stilling the waves
of the ocean.
He is then described as preceding the Kadira god around the shore of Lanka.
Each day he returns before dawn to renew his struggle with the Asuras, and aid
the sun to rise.
He visits the Kirikuru mountain in the skies, and the Himala peaks, the
golden water of the Sidanta sea, and the lake Anotatta, the Saman kuta
mountain or Adam's peak of Ceylon, and that sandy plain of Makkama. He
watches, in other words he has shrines, at Mutiyangana, Mayiyangana, and
Kiri vehera, or Badula, Bintenne and Kataragama, and he looks in at Tudaella,
Karappane, and Munassarama.
308
 As the saga treats Kanda Kumaru as Vishnu of the Ten Avataras, it must
intend to equate Seneviratna devi Kadawara with Saka or Saekraya of the
Buddhists.
Two words occur of unusual interest and rarity. His clelebrant when
frenzied with inspiration, is said to approach " nirohi gamanin", with
frenzied gait ". Another word occurs where it is said the god visits Lewaya,
a. name derived from some obsolete word meaning " salt ", the salt-lagoons
near Hambantota, and there he looks on the eighteen " alan " or salt pans.
In other words, he leads the sun to them, to evaporate the water and form
the salt. " Alan " is not generally known now as a name for salt pan in
Sinhalese, and evidently is formed from " al ", a stem of common origin with
•" hal ", in the Greek, and sal in Latin.
This saga shows us how king Mahasen, deified as Mahasen, a god wrongly
•confused with Skhandha by the Brahmans, appears in Ceylon as Hat Raja,
the Sevenfold king, see No. 693, His statue is that of a god with seven cobra
loods behind his head, as a sort of halo. These answer to the seven Kadawara
with whom he acts in union. These seven again answer to the seven days of
the solar week, and their seven planets.
With his cock we must compare the cock of Woden, given to his son Ballder ;
the celestial cock, Hofraschmoda, & c , of the Zend, which becomes the cock
Hofraschanodad, or the dawn, in Pehlvi. It still shines above the spires of
•our English churches, though now only in allegory, to dispel the Asuras of dark­
ness, and fog. That the Britons refused to eat the cock, and nations of North
Europe once believed it to feed on blood, is explained by the myth that the
•cock drank and licked the blood of the Asuras in the war against the Suras
and the sun. In real esoteric sense the sun's heat merely dried up the fogs
and malarial vapours, as clearly shown in our saga.
Confer also the account of Ratna Kadawara in Pas Dewata kavi No. 182.
That god seems to be a variant form of the present one, and the Zendic Parendi.
But he seems to me merely an after-thought as it were, and I believe the god of
this saga corresponds to the Zendic god Craosha, in an early stage, with Parendi
not yet distinguished from him as a separate spirit. The Kadira devi of Ten
Avataras of this saga is rather Vishnu than Skandha of the Brahmanic mytho­
logy and is Mithra of the Zend.
This mountain Kirikuru, may be equivalent to Girikulu perhaps, but even
then I cannot explain the allusion in the poem.
My copy has 40 verses.

309
 875. Kadawara kavi

Saga of Kadawara

THE god is invoked as watching at the golden arch, with torch, yama club in
left-hand, and a gini saera or fire arrow. He has leave to open the door of the
golden mansion. His hair is in seven coils of matted tangles, his robe is golden.
He carries a gem-sword, and eats the blood of the victim. He adores Kanda.
kumaru with torch worship, arch worship, and the waving of cloths at the
flower-altar. Mal Kadawara seems intended Deva Ratna Kadawara is then
invoked, wearing red silk, with bangles, and apparently spreading a blood
red cloth to keep off the fierce heat, but the sense is very obscure.
Mahabala Kadawara, who watches the topmost stage, udamandala, has &
golden javelin and a mace ; his tangled hair is braided on top of his head,
and he causes terrible roar that makes hearts tremble. Kumara Kadawara
has three eyes, a red robe, the sun and moon flags in his hands, he wears a
golden tiara, mundasana, and carries a golden staff, soluwa, or golden cane.
Gini-kanda Kadawara dewata comes to Maenik ganga, keeping round the
sea coast, after making two flower chains, and carrying a blue cane, muslin,
a horsewhip and golden " punawa " vase.
Dala Kadawara receives blood ; he has tusks, wears a long gold chain, and
brandishes a club, he has a rough red-bearded face, and causes the fierce roar
of thunder in the world.
Riri-ura-bona Kadawara, or the god that pierces with his curved tusks and
sucks and drinks blood, has a Rakusu face, a crooked mouth, an iron club,
his body is swollen with the flesh torn by his projecting teeth.
These seven Kadawara received from Kataragama, the right to receive a
gotuwa or scoop of offerings, and make women mad.
This saga has only ten verses, which are carefully arrnaged to convey the
myth, and is some four centuries old. The seven Kadawara or gods are Mal
or flower, Ratna or gem, Mahabala or very mighty, Kumara or prince, Gini-
kanda or fire-flame, Dala or tusked, Riri or blood. A group of seven devils
opposed to the seven gods is called hat kattuwa in Sinhalese, and the clawed
petroceras shell is used as its symbol, in rice growing ceremonies.
They probably correspond to the anti-Avestic myth, anthropomorphising
Ahura and the six Amesha, and making seven Devas opposed to them, and thus
leading to the later myth of seven planet gods. The word hat katu, seven
claws, is in common use for seven chief yakas, and is represented on threshing
floor by the seven clawed shell. It is the Kliphoth or "shells " of the Kabbalah
of the Jews. The Ameshas were made seven for a short period, now obscure,
between the edition of the present Avesta, and the composition of Boundehesch.
As is Ceylon, the seven had no firm establishment, but yielded in Ceylon to-
older myths of three, six, or nine, though we still preserve a trace on consequence
of the attempt in our seven days of the week, each with its god. There are
two allied myths, in which six subordinates occur, answering to the Ameshas,
and to the Devas opposed to them. Probably in the Hat Raja myth, and in
this, we have the evil side of Deva, and not the Amesha side, of the Severn
With Kada, expleted as Kadawara, I am inclined to identify the god of Chaldea
whose name is read as Gudea. The d is palatal in Sinhalese Kadawara, a

310
 nispaima word. There may be traces of this word in kada-malkada, a tiara
of flowers. Kadawara undoubtedly is Tamil Kadavul, the chief god, also
demigods. Both in Tamil and Sinhalese the word is isolated, imported as it
were, as is the case with Pali gada, a club, but with dental d. I think that
may be a secondary derivation from the same root, as the Kadawara are armed
with a club, though pandits derive it from " ga " bad," da " give, as pain-giver.
The real root of the original word as " god " is very probably seen in the Galla,
uda, great. In such case our own god, Chaldean " Gudea ", Tamil kadavul,
f inhalese Kadawara or Kada, would all mean the " great " one, and suggest
a tatsama with our own " great ", " grand ", and garu, great or venerable in
Sanskrit and Pali, whence guru, seen also as a name of Kanda kumaru, as-
Kadira guruwara, and Guruma, the companion of Ayyana, in No. 871. The
same root perhaps again occurs in Garuda, Garula, or Karuthan, the kite god.
There would be a possible derivation from kad, to tear, cut or divide, as in
kada a breach, kadu a sword, but it does not commend itself to me, unless it
was extended to the divisions, when the sense of the original root had become
obscure.
I have thought a full discursion suitable here, as this Kadawara saga, aims
at being a concise statement of the Sinhalese myth. As the combination of
all seven, the abstract Kadawara is properly called, the Great.

Esample :

Ganda atata pandama muguru gini saera.

Kanta le billa mini kaduwa gena dara
Enta waran dunne Kadira Guruwara
Enta mal yahan salu tewa Kadawara.

To take in hand a torch, club, fire-arrow,

Bringing and bearing a gem-sword to eat the blood and victim,
Kadira Guruwara gave leave to come,
Come Kadawara of the flower couch doing robe (waving) service.

The god thus spoken of, as bearing the club or mace, and accompanied .by
the roar of thunder,. corresponds closely to our English. Thor, from the stem
" thour ".
The toreh symbolises terrestrial fire, the arrow, lightening. Thor bears the
hammer mjoluir, with which he crushes enemies. Rhys remarks that his
corresponds in derivation to Welsh malu, to grind, Latin molo, and molina,
a mill, English meal. We may add that it is identical also with Pali musala,
Sinhalese mot, mohol, a heavy club-like pestle for pounding. This mol is
used as a symbol for the divine activity, and the male principal. I think the
club or mace is no other than the mol gaha, or pounding tree, as the Sinhalese
idiom expletes it, and taken with the thunder of the god, and the position of
Kadawara as the god, we may consider Kadawara and Thor in many respects
are identical, as myths. I conclude that the use of Kadavul in Tamil, and
God in English, was from coincident use of the name of this god, the god "far
excellence " called by our own ancestors not only Thor, but also the Anse, or
as we say in the East, Isuru, or Iswara ; and also the " god of the land " ; the
" mighty god ". This title refers to the unity of the seven Kadawara. But
as he is called the Anse, Gallic Esus, Sinhalese Isuru, S a n s k r i t Iswara, probably
Assyrian, he links with the power symbolised by the pounder, or mohol, musal*
which seems only a form or name of the Chaldean god, Mul.

311
 These may be tabulated thus—

Kadawara Chaldean Jewish Avestic

Mal (flower) II or Ra Kether Akura
Ratna (gem) Ana Chohniah . Bahumans
Maha bala (great power) Bilu or Mul Gedulah Ashi
Kumaru (boy) Hea Tiphereth ., Khshathra
Ginikanda (flame) Sin Netznach ., Armaiti
Dala (tusk) San Yesod Haurvatat
Riri (blood) Iva Malkuth Ameretat

But Thor is not his own mjoluir though it is through it he greatly manifests
his power. So Asohur manifests his power through Bil; and II or Ra the Chal­
dean equivalent, through Mul or Bil, usually called Bel. I conclude that the
Seven Kadawara were introduced to Ceylon from a half anthropomorphic
source identical in myth, with the svvei. chief Chaldean gods. II or Ra being the
chief Kadawara, or Mal Kadawara. Ana being Ratna Kadawara. BilMaha-bala
Kadawara. Hea, Kumara Kadawara. Sin, Gini-kanda Kadawara. San,
Dala Kadawara. Iva, Riri Kadawara. I can adduce numbers of scraps of
evidence, in corroboration, but this is not the place for special pleading. This
Chaldean myth comes from so early a time, that though it evidently led to the
seven planets of the week and their worship, yet they are but Dewata's of these
ealier Devas. It ought not to be ignored that this supports the secondary and
later derivation from kada, as the divisions, of the great one.
This leads us to the same causes in another religion, that of the Jews. Here
Esus, Isuru, Kadawara, occurs in the same form as Maha-bala Kadawara or
Thor, under the name Gedulah or Greatness, a tatsama with the words
" Gudea ", Kadavul, Kadawara, and God, though he is also called Ghesed. Only
is this Jewish form the personified cause is not anthropomorphic, and is probably
even not yet dualised by a corresponding evil form. These Jewish forms
answer to the Ameshas of the Avesta, the good gods, whose action is counter­
acted in later myth by the opposite evil influences.
The identification of the chief Kadawara, to whom this saga allots three
verses, with Kether, the Crown, is seen in No. 904, Mawuli malaya, which
explains that one primal crown was one of flowers, emblems of expansion of
light (the lotus) and darkness (the blue water lilies). He properly has given
three verses by this saga, as he contains and emits the three classes of his six
forms. At Kataragama, where Kanda Kumaru or Kadira guruwara assimila­
ted, or licensed, their worship, as told here, the Arabians worship Kedar Nabhi.
I cannot help thinking that this Kedar is no other but the Hebrew Kether,
in a varied pronounciation, and probably was a red tiara, the kirula, crown,
of modern Sinhalese. With the seven gods here colectively worshipped, we
may compare the seven altars erected by Balaam, doubtless invoking the Gcd
of Abraham, by his seven names, Eheieh, Jah, El, Eloah-va-daath, Jehovah,
Tzabaoth, El Shaddai, and Adonai, which the Jews say were the forms in which
he manifested these seven Sephiroth.
There several gods spoken of as Kadawara in Sinhalese, who must all belong
to this Western myth. This saga gives the original form, in concise account,
and must be descending from one of remote coexposition, probably only
modernised enough to become intelligible, from age to age.
This explanation now explains why flowers are a principal emblem of worship,
for adoration of Buddha, representing also the Ahura of the Avesta. They
are symbols of expansion, used in forming the primal divine crown, Kether,
the mawuli, or kada-mal-kada.

312
 876. Yantra kavi

Yantra poem

THIS ancient kavi gives the particulars required to form yantras or charms,
written and drawn, to secure protection from Patini, 8 verses; Guru deva, 5
verses ; Buddha, 8 verses; Bhaddrakali, 8 verses ; Kali, 3 verses; Yama
deva, 4 verses ; and Maha Kali, 16 verses. For the Patini madala we are told
to make the following picture:-— A mango tree above and amidst or (perhaps
near) a house of three stories. Pattini's dress is described, and her bangles;
Madura Ma. devi is on her right, Waduru Kali on her left. Daedimunda, with
a halamba is attending on the right, at the back. Six Kali holding bangles
are on the two sides, and four nagas carrying a kendi or kettle, a charmara,
and umbrellas, are round the edges. Two Kadawara holding torches are at
her feet. This keeps off irruptive disease such as small-pox, poisons, diabolical
emissaries, and the effects of images of the person bewitched, thorns or pins,
and spells. It also preserves from gawara or bisons, elephants, wild buffalos,
and devils that excite.
Guru deva yantra. At the top is a dumindu or bo tree. In the middle a
figure of Budu emitting rays, on his throne. On either side Vishnu with a bow,
and Yama raja with a sword. Vishnu has divine eyes on his two shoulders,
two soles, two palms. On the top of the very red, curved mahamera five dews
arose ; Chandra Suriya, struggle through those on the four sides of Mera. The
Rusi receive serfs and lands, and ward off plagues.
At the two sides of the throne are elephants, and Siri devi, apparently the
Maitri Bodisat, has a full pitcher Saman devi a spear. Below the throne is the
Three-eyed, with ten eyed hands, and a sword, club, axe, trisula, and kirula
crown with flowing streamer or jata. This Guru deva has three eyes like Siva, I
suspect some corruption of the text in " net at dasaya " ; as eight of the hands
hold weapons, they would scarcely have " divine eyes " on the palms. The
myth of Meru is however peculiar, and it would be unwise to alter the text,
without further material. The verse, which I give as an example, is very
archaic in style, and preserves ki instead of k, for the conjunction " and ".
This god has also in his four other hands, a cobra, a yawla or iron spike, a
flower, and a man. Only two are thus left free to show the " devirie eye "
o f the palm, but with one appears to hold the braided locks of bright Umagana.
He wears a yellow leopard's skin. This Guru deva yantara will keep off all
plagues and sorcery. It is called in my copy Guru deva Ram yantara
apparently an archaic survival.
Yuddha bhange yantara, or " device to destroy war ". This was preached,
the saga says, by Budu to the Siwuwaran devindu. Sidumal devi avoided
the robe of Munidu, or stood aside ; Mihikat avoided the vajrasana ; Kanda
kumaru with attendants stood near the dumidu or Bo, and Munidu recollected
a thousand gatha. Unfortunately these are not quoted, even in part, but we
must suppose the next five verses give the substance of them, then preached
to the Four Guardian gods, as the " Yuddha bhanga yantara ".
This yantara is as follows. Thirty-two devas are represented around, these
thirty-two hold weapons in their hands, and thirty-two yatindun or Buddhist
priests hold rosaries.

313
 Nila Rama and Ananda are smoke coloured, and the robes of Muni are also
of that colour ! Sak is white, Maheswara and Krishna are of one colour—the
context suggests white also, but perhaps black is understoodd. Mahasup
Saeriyut are of golden colour. A makara arch is depicted above, and in the
midst is Lowturu Muni, with a dumindu or Bo tree on each side, and a naga
raja coiled around the vajrasana throne. Saeriyut and Mihindu are near the
right Bo, Ananda and Mahasup are near the left Bo, Vishnu and Sak raja are
near the throne, Brahma and Maheswara are near the disciples, the latter on
the left.
Mihindu is out of place here, and Mugalan is omitted ; but Mugalan is the
left-hand disciple now, and can hardly be Mihindu of the right-hand.
This will prevent attacks from yaku and black bears, or waga walas, literally
tiger-bears, and longings of pregnant women, and sickness.

Bhaddrakdli atlcarama
A duminda Bo at the top, and Buda on the throne in the middle. Sak raja
with his chank on the left-hand, and Ananda Tera on his right with outstretched
arm. On the right of the throne Vishnu with a bow, here spelled danuwa,
not dunna. Daedimunda holds a bow, danuwa, on the left of the throne.
Below the throne is Mihikata with a full pitcher. Munindu preaches three
times the yanida gaya, or gathas beginning " yanidha bhutani" of Ratna
sutta. Gaya is a very obsolete word.
Also Bhaddrakali is represented with three faces, a dewatawa in each
shoulder, four hands, holding a sword, club, axe, trisula. She has a red and
blue robe, and stars are shown around. At the head Siriya devi resides in a
blue water lily, with a full pitcher in her hand, and a chain on her neck.
This will preserve from bulls, elephants, lions, waga walas or black bears,
and from snakes and cobras, and yakas.

Kali atlcarama
Three verses resemble three in No , and perhaps that is derived from
these. A copper plate is used for the device, and Kali has twelve hands wilh
bangles, fifty trisulas in two hands, while sixty serpents surrounded her as
escort. Fifty devas are shown, around ; and 350 dots are added. Her hair
is tossed about in fifty tangled locks, she comes on Hanuma, a goose, or an
elephant. In the other version this Hanuma hasa aetu pita is made into
Hanuma vahanata pita ; but which is right, I cannot say.

Yama Deva yantara

Above a golden chariot and a charioteer on each side, beneath it' Yama deva
with thirty faces in a row, an axe in left-hand, and sword in right-hand ; an
umbrella behind each shoulder. . . .
Again, four damba trees rising out of a vajrasana or throne; above the damba
trees a Kayila kuta; above the Kayila peak, ten faces of Yama raja rising
from it. A gem crown on the head, garlands (maldamba) on the shoulders,
gold jewels on the paps, and a celestial robe. Apparently two extra arms are
streatched upwards from the shoulder, but my copy has.the line, in .a corrupted
state. . .....

314
 Maha kali yantara
The goddess has her robe in six " narupota "', by which are now understood
angles of a cloth left to hang out, as a flounce. The goddess with her six
flounces, resembles the queen or goddess on the cylinder of Hrukh, figured
in Five Great Monarchies, Vol. 1, p. 118, or as on p. 133. This ancient Chaldean
dress, with one shoulder free is still worn in Ceylon, and called " ohori" as.
worn by women, uturu or uttara as worn by men and priests, with one shoulder
bare. The former is a Sinhalese, the latter a Pali name.
She wears golden ear-studs, a chain, and a golden girdle. Thirty locks o f
hair are tossed about her back, ten hands on her left, each holding a trisula,
the right hands are omitted. A goose (hansa) is cuddled to her breast. Nine
hundred dots are to be placed around this, and sixty cobras entwine her. Fifty
devi figures surrounds this and golden armlets are on their arms. She has a
throne encircled by a Naga raja, and sits over it, upon Hanuma. Such is the
figure of Kali again. She is represented nursing a boy, kumaru, devas surround
her, a sun is on either side, and the nine planets are shown around. In her
right-hand is the boy, on ber breast is Siri kata, to the right is Senasuru or
Saturn, at her shoulders Nata devi, and Maha Na raja, Rahu is at her head,
and in her left-hand is a sword.
The girdle is fastened as by a lotus, at the waist. Yama raja and Gana
devi are on her two thighs; images of Pattini are on her shins. Kumaru or
the boy is represented in the coils of a cobra. One right hand is held upwards
striking the head. Saraswati is on her forehead. Thirty letters are to be
shown by lines; " hirin akuru tiha andimin gananin ". This strange and
obscure instruction would be exactly explained if we might treat it as " cut
thirty runes ". Perhaps there is an allusion to the Chaldean wiriting, by
scratching wedges, or arrow heads, or even to the early Brahma letters. All
sorts of evils are warded off by this, downing, sorcery, &c. The mantra to
accompany this is " on, hrin, kuru, akara Kali—on hrin, kuru, wikara Kali.
She is finally invoked thus, Jiwan Umma, Jiwan Kali, Sakala Kali, Nayaka
Maha K a l i , and so on.
If the villagers who keep such yantara kavi a strict secret, could be induced
to part with them, much most ancient lore would be recovered, as the drawing
or design preserves the myth unaltered. They are however quite averse
even to own to knowing such protecting verses and drawings.
This saga is probably six centuries old, but modernised here and there, from
time to time.

Example :

Ewajjrasana de kona dnele tana gaja Siri Saman denne

Sugat ena met e pun kalasaki Saman devi kontayaki ganne
Dimut kisulawi asna palle tinet at dasaya unne
Kagat mugarawi keteri trisulavi jata kirulaki sabe unne.

At the two corners of that throne with elephants, placed on each side
are the two Siri, Saman ;
The Maitri Bodhisat takes a full pitcher, Saman devi a spear,
Below the throne is he of the bright trisula weapon, with three eyes,
and ten-eyed-hands
Of a sword, club-weapon, axe, trisula-weapon and crown with pendant
is his state.
315
 The god called Guru devi does not correspond quite to any other myth known
to me. The ten hands suggested the thousand of Virabhadra, but I cannot
connect that myth, with this. As a god armed with a club, and girt with a
yellow leopard's skin, this god might be taken by the Greeks for Hercules,
but Bala Rama is usually considered to have been the Indian Hercules, and he
too does not correspond well. The word translated leopard is diwi, and in
Sinhalese this generic name replaces pit diwi, the spotted leopard. I have
taken handun diwi, which is the " hansa diwi" of this saga, to be the felis
aurata, or golden tiger cat. The handun diwi known to Vaeddas and hunters
by this name, and is said to exist, though exceedingly rare, ii south-east Ceylon.
No naturalist however has seen one yet, there. It now strikes me as probable
that this name is a survival of a tradition of lions, before some race came to
Ceylon. Pali, hari, and several names for lion in the languages of Arabia
and Persia, mean the " Sawny " the " yellow ", and it is more likely that the
yellow diwi skin is that of a lion, than of the rare felis aurata. This lion skin,
or yellow panther, dress is evidently a leading feature of the god's appearance.
Virabhadra wears a raena diwi or tiger's skin. It will be interesting to try
and trace whether this. Hercules, or Guru Devi Rama, may not be the deified
form of the person known as Rama Pandita to the Buddhisats. It may be that
his worship was once very extensively prevalent in Western India, although
little is known to us of it, new.

310
 877. Ratnawallige siwapada

Quatrains to Batnawalli

THIS is addressed to the same goddess as Nos. 355, 766, 767. She is invited
to descend from her telabu tree, with her beads round her neck unshaken.
She is invoked to the sounds of ekasbere or drums with only one end covered,
as ordered by Munidu. The votary says that when twenty years old, she
will not turn back until she receive the massa, or fish-coin. The lines are.

Wissa wayasa pasuwenakota bolanne

Massa anna misa piti pa noyanne.

When thou hast passed the twentieth year,

Unless taking the fish-coin, go not turning back.

There is no custom locally to explain this, but there can be no doubt it alludes
to such practise by the goddess, as that of the votaries of Beltis or Mulitta in
ancient Babylon, recorded by Herodotus. There each young woman sat in
the purliens of the temple, until some man gave her a coin, when she arose,
went with him, and lost what in the eyes of the great goddess, the goddess of
reproduction, was the reproach of virginity. Had the custom arisen in the east,
each girl would have conformed to the law of the goddess before her fourteenth
or fifteenth year. I do not hestitate to refer Ratnawalli to the same myth as
Beltis or Mulitta, in its origin. If this is right, Paerakum-Ba of the invocations,
corresponds to Ana, in whose temple at Huruk of Chaldea she was worshipped
as Lady of Bit Ana. Confer in Ceylon myths the birth of Uma, the Lady,
as daughter and wife of Maha Iswara the great precursor of all the gods.
The verse taken as example exists in variously modified from in all the
invocations to this goddess, and evidently was part of a very ancient version.
It is often quoted among folk lore snatches of song.

Example :

Age wadana mage telabuwa nosita Ioba

Dange waeteyi maha raju nositan asuba
Gange watura men le waekkarana suba
Mage namata baendapan Ratna dagoba.

Think not covetously of my excellent telambu tree,

You fall into the toils, Maha raja, think not wrongly,
Like water in the river, making blood flow propitiously,
Build in my name the Gem dagoba.

317
 878. Saewul yagaya

Cock sacrifice

THIS saga relates that in the head of the Saewul indu or Cock lord, there dwell
a thousand but what these thousand may be is not stated. In its body are
thousand, in its two feet a thousand, while in the whole cock there are 36
lakhs. Sri Visnu created the golden cock, and took it to the Asura war. It
was sent by the devas of the Sura world, and Naga world. At the three watches
of the night it crows. It is offered as victim to the Yakas. It sports in the
sky vault. It has the might of Kanda Kumaru. This is intended to be sung
at ceremonies when cocks are offered, and seems only a century or so old.
My copy has only nine verses.

Example :

Asura yuden jayagattu me kukula

Mura tun yameta andalana kukula
Eda sitama billata ewu kukula
Tnjawu yakuni bili gannata kukula.

In the Asur war this cock gained victory,

Cock crowing at the three yama watches !
Cock sent from that day for sacrifice,
Here, yaka, take the cock as victim !

318
 879. Kambili Devi kavi No. 1

Saga of Kambili Devi

THIS treats of the same god as Nos. 443, 880, 881, 882, 883. The god wears
a red tiara or turban, robes of red, white, blue, and yellow Jina salu, or China
cloth ; also tassels, a long gold chain, and tangled hair in plaits down his back,
like a pigtail. He visited Kadirapura, and broke the back of an elephant,
to show his strength. He watches at the golden arch, visits the sea shore,
and has charge of the four folds for milk. Having sent a leopard, he kills
cattle and drinks their blood. A sevenfold portion of rice, and a pitcher of
milk, are his daily offering. He was born in Kannadi, Doluwara, and Malwara
dese. He kills yaku and drinks their blood. He wears a na-gunawael, or
rosary of the nine virtues of Munidu, for protection. When angry, he breaks
necks of boys. He wears a red robe and turban. At night he drinks seven
pitchers of blood, After his birth in Malwara dese he came to Sinhala desa,
and when the stone ship sank, he floated it up again.

This treats of an altogether more blood-thirsty god than is usual. My

copy was used in the Chilaw district, and has only nine verses. It is two or
three centuries old.

Example :

Ratu sudu nil pita war una Jina saluwa gena wadinda
Getu sawaran saedapalu pita ratu mundasana bandinda
Ratu banda pita isi gomara dewure tawadan kelinda
Matu obahata dakwana kavi asa omari kara wadinda.

Come bringing a China robe or red, white, blue and yellow colour!
With plaited tassel, matted hair on back, tying a red turban,
With white spots upon the red body, a gold chain playing over both
shoulders,
Having heard the verses hereafter shown to you, come sportively.

319
 880. Kambili Devi kavi, No. 2

Saga of Kambili Devi

RATNA Kambili gives inspiration ; lie came to this shore over the sea in a
stone ship. The offerings are sugar cane, a spray of nika (Vitex trifolia),
red ixora flowers, pineapples, seven young coconuts, palm sugar, plantains,
rice, cakes, coconuts, and curry. This is evidently a modernised saga, and
the celebrant does not restrict his wishes. He is invoked to come on his golden
ship, on his red horse, with his red yak-tail whisk. He wears a red silken robe.
He looks like a Setti. He comes with Kadawara, carrying a club. He bursts
through the gneiss rock. He comes to Minneri, end looks at the wild buffaloes.
He is helped by Sri Visnu, Siddha Pattini, and Wesamuni raju. Riding on
a red horse, he is wrapped in a red blanket (ratu kambili). He wears a red
silk hat, and gold chain. He kills men, and wears his matted hair in locks
down his back. He lives on a black rock. He carries a sword in both hands.

Twelve torches are offered to him. Directions follow for arrangement of

the offerings in twelve chambers made with twelve strips of plantain bark.
The celebrant lies down, holding a cock as victim, and the offerings are placed
on his breast. The altar or platform for offerings is on the north side of the place
of celebration. Six long verses of 882 are incorporated. He was born in the
womb of Giri kumari devi. His hair was matted in ten locks. He came from
Malala desa on a red bull, with a red blanket. The stone ship sank, but he
caused it to float again. Passing Sellan diiwa he came to Sinhale. He frightens
men, barking like a dog. He breaks the necks of boys. He guards the golden
arch at Kataragama. He brings a leopard to destroy the fold kept for milk.
By help of Pattini, he came to AnurSpura, and lived at the foot of the Bo tree,
and also visited Pimburuwaelle.

The kavi is probably two centuries old, but verses may have been added
regarding the offerings, at a later date. My copy has 74 verses.

Example:

Ran naewa pita naegl waren

Ratu asu pita naegi waren
Ratu chamara bala waren
Kambili distiyata waren.

Mounted on a golden ship, come !

Mounted on a red horse, come!
Seeing the red yak-whisk, come!
Kambili come for the viewing!

320
 881. Kambili Devi kavi, No. 3

Saga of Kambili Deva

THIS deals with, the same god as Nos. 443, 879, 880, 882, 883, and in this we
are told that he was born in Malayala or Malwara desa. On his head are
tangled locks, he visited Ruhuna desa, and was there called Kambili. He
bore the bow of Visnu, and broke it, so great was his strength. He visited
Puliyan piyasa. He receives yatikawa or prayer on kemmara days. His
worship extends from Kara duwa on this side the Kala oya. He is addressed
as Wira-wikum Ratna Bandara. He offered to the Bo tree at Anuradhapura.
Ratna Kadawara Kumaru watches at the front or eastern gate. He wears
a gem bangle on his arm, and long golden chain on his neck. A fire bangle
is on his two shoulders. He carries a golden bow and arrow. Watches at the
golden arch at Kadira male, and receives warrant from the Kadira devi raja.
He destroys misfortune. He brought a sword with him to Lak diva. He
takes pleasure in the mal bali gala, or stone flower offerings. When they came
in a stone ship, he tried to sink the ship, and the other threw him overboard.
Placing his blanket on the water, he stood upon it.
Kandubada Weda or doctor, offered betel, resin and perfume, and tried to
pierce the head of Kambili kumaru with a charmed steel nail, but the god
broke his spine, leopards ate his cattle, and the necks of his wife and children
were broken. He is addressed as Malbali gala Devi, Ratna Kadawara devi,
and Kambili kumaru. He cures all forms of sickness, epidemic, and insanity.

The saga seems some two centuries old ; my copy has 35 verses. -

Example:
Mituru kamata gal naewayata ekatu wela. waedamawanda
Haturu kamata muhuda maedin naewa paga. yata karanda
Napuru kumaru inda nedi naewen damati jala pewenda
Aturu saenen jala pita kambiliya hela waeda sitinda.

From fiendhsip having assembled to go in the stone ship,

From hatred in midst of the sea trampling to sink the ship,
Not allowing the wicked prince to stay, they throw him in to swallow
the water,
Within an instant having cast the blanket on the water, he rested.

321
21
 882. Kambili Devi kavi, No. 4

Saga of Kambili Devi

THIS deals withjthe same god as Nos. 443, 879, 880, 881, 883. In addition
to some of the matters elsewhere told, we have learnt that the god had several
births. He was born from the Kiri muhuda, or Milk sea; from a kalu nika
bush ; as son of Gini kumari or the Fire princess. He was born as Kalu
Kambili in Kannadi, Urumusi, Telinga, Wadiga, and Malala rata. When he
killed men with a club, he was put beyond seas. He wears a turban or tiara
of blue flowers. The Devas assembled when he came to this shore, but he
divided the sea with his iron mace or yakandawa, and the Devas fled. He
receives plaintain fruits. He visited Kadiramale, and drove in a chariot to
"which a leopard was yoked. He wears a blue turban, and taeli and tawadan
•chains glitter on his neck. When he comes, the tangled plaits of his hair
•whore round. He speaks the Malala speech. As Kalu Kambili he receives
" kaewum " cakes, seven curries, red acid food, rice, and plaintains. He also
receives twelve torches. He comes with the help of Narayana devindu. He
whips and punishes the Yaku, and is invoked in this verse as Seneviratna
Kambili. He visits the jaya ran kanda, or victorious golden trunk, meaning
the Bo tree. He is here called Kambili devi, Kalu Kambili devi, Seneviratna
Kambili, Teda Kambili, and Seneviratna Saeda Kambili.

This version seems to be two or three centuries old ; my copy has 19 verses.

Example:
Emata yakun allagana wada karawanawa
Watata yakun alia saera kasen talanawa
Bimata. adiya dena kota maha polowa natanawa
Seneviratna Saeda Kambili menna wadinawa.

Catching and greatly torturing the yaku,

Catching the yaku around, and beating hard with the whip,
When the foot is printed on earth, the great world dances,
Seneviratna Saeda Kambili come hither!

322
 883. Kambili Devi kavi, No. 5

Saga of Kambili Devi

THIS treats of the same god as Nos. 443, 879, 880, 882. The god is called
both Ratna Surindu or Gem king of Suras, and Kambili devi, Kambili of the
flower-offering slab, or Mal-bali-gala Kambili. He lived in Malwara nuwara,
and set out for Ceylon in a stone ship. He visited Kataragama devi, he wears
a gold chain of state, he was born to Somawalli of Malwara "rata. Passing
Sidu tota, he landed at Yapa patuna or Jaffna. Together with Ayyana devi
he came to this shore, dispersing the yak hosts. He showed his might over
Kala rata. He gave presents to Kadirana devindu, Pulwan devindu, and
Vibisana devindu, and obtained their approval. He rides on a horse, armed
with a golden sword, and visits the flower-offering slab. He became lord of
Pahalos pattu, or the fifteen districts. He wears a red turban or tiara. He
carries a cane mounted with gold. Formerly, of Malala wansa, with Vishnu
he landed at Munessarama.

This saga seems to be some two or three centuries old, and has 18 verses.

Example:
Siri sarapida Malwara Somawalli landa mawu kusa
Piriwara yak sen samagiwa oba waedi pun sandak wilasa
Sari pera giri Sidu tota pasukara naegi ruwan dinidu wilasa
Diri tara teda Ratna surindu Yapa patunata goda baesa.

Born of great fortune in the mother's womb of the lady Somawalli,

Accompanied by escort of Yak hosts you came like a full moon,
Passing Sidu tota like the eastern rock, like the golden rising sun
Ratna surindu of very mighty glory landed at Yapa patuna.

32.3
 884. Kalu dewata kavi

Saga of Kalu dewata

THIS dewata was born to Punnaka raja by queen Irandati, but their country
is not named. When seven years old, his father was offered with him, and
he fled to the wilderness to protect men (nara). He obtained the protection
of Ayyana devi and Siddha Pattini, and was told to accompany the Siri Ma.
Bo from Maeda mandate,. He took charge of Kataragam kanda, and watches
at the arch. Fighting the Asuras, he drinks their blood. He takes a golden
torch in his right-hand. Ayyanna devi made a stone boat, and called Kalu
Kambili to paddle it along the shore. He visits Uggal pura, and Alut Nuwara.
He ties up wild buffalos. He stayed the waves of the sea, and visited Puliyan
duwa, or Batticaloa. He floated the stone ship sunk by Kadawara, and sent
it to the high sea. He chased the Yak at Anurapura, and made a post at which
to flog them. He wears anklets, he visited Wirakkuliya. As Kalu Surindu,
he undertook to make a ship for Ayyana. He watches at the Bo tree over
the jaya ran kanda, or victorious golden trunk. He has charge of the alms,
kitchens, and boiling of milk. He has a two edged sword in his right-hand.
Although he is called Kalu Kambili, he does not seem to correspond to the
god of that name in No. 882, unless indeed he was one of the births alluded to,
but not described.
The saga is some three centuries old ; my copy was used in the Anuradhapura
district, and has 23 verses.

Example:

Irandati kusa pilisinda Pfirnnaka piya raju da kota

Taran wayasa sat aewiridi kumaru keliya pirunu kalata
Nirantarawa piya rajugen udahas yedune kumaruta
Naran rakinnata wal waeda paenne sat, gaw himayafa.

Conceived in womb of Irandati, born to Purnnaka the father-king,

At the time the prince finished play at youth's age of seven years,
Constantly the anger of the father-king was raised against the prince,
Entering the forest for protection of man, he sprang into wilderness
of seven gaws.

324
 885. Kadawara kavi

Saga of Kadawara
THIS saga says that Umayangana created seven sons from a pond, and the
Rishis joined them into one. They came to Lak diva for its protection. SeUan
Kadawara Dewata comes! Sellan means sport. He wears a robe of red,
white, and blue colour, a red turban or tiara, and his tangled locks are plaited
into one. Over his shoulders is a golden chain. He receives offerings in a
acoop near Munidu, perhaps intending the vihare. He passes round the sea
shore, carrying a torch. When Kanda kumara comes, the Pas Dewata or
Five Devatas also come. He carries a fiery torch made of twelve thousand
of iron, and in his left-hand an iron mace. He rides on a white peacock.
JEven Kanda sami cannot stop people offering a scoop to him. He has charge
of men (nara), in this island for the Kali age. He is invoked as Seneviratna
Kadawara. Kalagama, Tirikunamalaya, Puttalama, Mannarama, Halawata,
Yelasi-madan rata, and 15 Wanni pattus, are his allimadan or sacred precincts
in Lanka.
The word alli-madan, has a special usage, and means the temple precincts,
or the fixed site used for worship without any temple. Alliya is also applied
t o a right-angled enclosure, and apparently to the stylobate upon which a
temple has not been erected. Literally " alii " also means a parcel, as applied
to the parcels of land which make up a site laid out by some geometric figure.
In the Anuradhapura district allimadan is sometimes used laxly, as if the name
was the same as dewala. Clough gives alliya as a " place ", but that is too
free a translation. Madan means temporary shelter, a halting place. There
seems to have been a defined sacred site, allimadan, on which for some gods, or
in after ages, a dewala, or a kowila, or vihara, were erected. The old " yards "
may often be seen in the forests, marked out by a lino of small boulders,
apparently intended to warn off the careless passer, rather than to form a
protecting wall. They are still used for Ayyana and other gods.
To return to the saga, a hoe or udella, made of 12,000 of iron is carried in
his right-hand as he walks about. He wards of sickness. He stays a Kadira-
pura. Taking a kotiya he pursues cattle and calves, and tearing them, sheds
their blood. He is told that he must take care of them in future, for men
cannot prevent this. The name " kotiya " is now used almost everywhere
for a leopard, in conversation, but I do not recollect to have seen it in verse
or prose before. Divi or diwi is the word for leopard in writings and songs,
and lingers in the colloquial in some out of the way villages. Kotiya was no
doubt once the name of the hunting leopard or cheetah. Of course modern
colloquial " kotiya " may have crept into verse here, but it is not likely, as the
•context is old fashioned.

325
 The saga is some three centuries old ; my copy has 26 verses.

Example :

RuppSwala kiri ituruma gannata gosin penuni teda awatare

Puppa, niyapotu kotiyeku aragana aewiditi gawa wassan pare
Taeppa semayi aenala balamin gawayinne aenga uriru pere
Appa min matu apen baelma naeta gawa wassan tamuseta bare.

Goin to accept boiling of milk in the glades, appearing in mighty

awatara, .. *
Taking a cheetah with claws unretracted, he wanders on the track
" of cattle calves—
As if showing effort, having struck, looking at the blood flowing
from the body of the cattle!
Alas! after this, there is no looking after by us, the cattle-calves are
in your charge!

The verse is a good example of the common but incorrect written omission
of accent on the last vowel, although it is supplied by the singer. All the
final vowels are long, and should bear the sign of the long vowel, though" by
lax usage it is left out. Taeppa is perhaps an imitative word, suggesting the
thud of the Cheetah's blow; taep lanawa is to bellow like a bull. Tep is a-
heavy javelin, but tep cannot become taep. I have translated it as if taet
pa- but with uncertainty.

326
 886. Huniyan yak kavi

Saga of Huniyan yaka

THIS tells us that the Huniyan yaka receives offerings before the others,
his evil acts are cured by the power of Munidu. His offerings should be placed
on a slab four spans square divided into sixteen chambers, with a gedi ge or
cupola above it. He commenced his ravages by power of Divaguru Muniraja,
or Dipankara Budu, and Wesamuni raja. There is a Huniyan yaka and also-
a Huniyan yakini, restrained by the Pas Dewata, or Five gods. He appears,
in dreams. He carries a human skull, and cobras entwine his body. He
drinks blood, eats flesh, and strews the bones on earth. He gazes upwards.
Seizing elephants, he dashes them on the ground. Taking a human head in
his hand, he licks it. The last verse introduces Tamil words and invokes him
with the words wa wa, t o come on horse back, and accept the offering.
The saga is some two or three centuries old ; my copy has 11 verses.

Example :

Sakala lowe piida labana yakunhata

Me kala Suniyan yaka yakinnita
Dewata pas dena ana lami topahata
Siyalu Huniyan leda naeta ada sita. .

On the yaku receiving offerings in the whole World,

On Suniyan yaka and yakinni of this time,
I place the power of the five Dewata on you!
All Huniyan sickness is not, from today!

•ssa
 887. Divi dos pirittuwa

Protection from the perjury sickness

THIS relates that Munidu on the day of his nirvana sent Pulwan Surindu
with a charmed thread for Wijalindu, or Wijaya. Mala raja exorcised the
di»i sickness of Panduwas raja. The Diwa pirittuwa sent by Sak raja exorcised
the " was" evil. This is intended to be sung at ceremonies, when a protecting
thread, or pirittuwa, is used, but it contains little matter to elucidate the
custom. It seems to be some two centuries old ; my copy has 13 verses.

Example :

Tis yodun maga gewa mahanata asu naegi sita sankalan

Raeswemin Wasawata aewit sita Budu wenda nodemaeyi itin
Aswemin Wasawatuta weta nobalanda anuhas sil belin
Aswenda dos me himi maetinduta pirittuwa suratata wadan.

Having finished the journey, of thirty yodun for priesthood, mounted

on the horse gave sign,
The Wasawata coming and assembling, thinking then I will not
allow to become Budu,
By power of merit Wasawatu departing unable to regard closely,
To drive off the evil from this lord minister I take the pint thread
in right-hand.

328
 888. Sandun Kumara kavi

Ballad of Sandun kumara

THIS name means the Sandal prince, probably meaning that the god's colour
was that of sandal wood. He came from Katarapura with approval of Walli
amma, Deva rajjuru, and Sri Visnu, and also o f Chandra, Suriya, Mihikata,
or Moon, Sun, and Earth lady. He received a golden stile, a new volume of
golden leaves, and the Register, Lekam mitiya, and came to Earth by leave of
Kanda Kumaru. He knows the 18 languages, and the collection of charms,
mantra sankaraya. Bound his waist he wears a leopard's skin, his arms and
shoulders shine with sandal wood, and his bow has a tassel (sawaran dunna).
He carries a sama saera or meteor, and tisula, and wears a gem bangle, and
bracelets. He punishes the yakas, and cures sickness in Siri Laka. He has
a golden bower at Hipirik gama.
My copy has 20 verses, and seems to be some two centuries old. See also
Nos. 896 and 897.

Example:

Chandra Suriya devi deranata Mihikata daenuwayi waediye

Sundra ru aeti ran panhinda swarnna e puhu pot gediye
Indra uda, riwi awareta warnna e lekam mitiye
Kanda kumaruge waramin derana talata devi waediye.

He came having informed Chandra devi, Suriya devi and Mihikata,

A good beauteous golden stile and new golden book volume,
That register is of the colour of the Sun king at rising and setting,
By leave of Kanda kumaru the god came to earth's surface.
 889. Huniyan yakunge kavi

Saga of the Huniyan yakas

THIS contains much the same story as No. 9, but has no allusion to the birth
of the god as son of Vishnu devatavi, related in No. 511. He is here stated
to have been born twice, once from the nostril of Maha Kela naga and once
from the left shoulder of Wasawat Mara. At the latter birth, of which no
Other details are given, he was born with a Huniyan Yakini. At the time of
the Asura war Mahakela naga coiled himself around Mera, and when Isiwara
struck him, Meru became crooked. Vishnu however dived into the sea, and
put it straight. The naga raja spouted a flame from his right nostril, and
Huniyan yaka was born from the poisonous smoke that issued from his left
nostril. It appears that he afflicted many lands, killing and eating men,
and was attracted to Visala when the plague broke out there. Munidu how­
ever subdued him. He carries a mighty yama club, has a crooked mouth,
filled with human flesh. He has twice five hundred followers', and teeps
company with Sanni yaka.

The verses 31, 32, 33, 34, 38, 39, of my copy, occur also, with slight differences
in No. 9. Probably both adapt them from a more ancient saga. There are
27 verses in short metre, 22 in long metre, of which verse 31 is given as an example
in No. 9.' These are followed by two verses, further invoking Daedimunda
Bandara, who also was subdued by Munidu. Huniyan has received his warrant
to act, from Wesamuni.

Example :

Wasawatuge wan uren

Huniyan yaku upan
Huniyan yaku yakin
Pana teda bala sondin.

From left shoulder of Wasawatu

Huniyan yaku was born,
Huniyan yaku and yakini
Show well great power.

330
 890. Malwara kima

Exorcism for impurity

THIS is an exorcism to remove the evil caused by the seasonal impurity o f

women. The hair, head, ears, fingers, and love of Buddha are invoked to effect
this, as well as Sujata's tali, or dish, and Buddha's robes, and patiya or girgdle.
My copy has 13 verses, and seems to be a century or two old. It is apparently
made to supersede the Pattini sagas chanted by the Radawa or Washers at
such ceremonies.

Example:

Atiya wadana Bosat guna gaemburu

Patiya samaga daramin gena siwuru
Sitiyaikumarihata malawara napuru
Patiya datu balayen dosayayi duru.

The love-developing Bosat of deep virtue,

Taking and wearing the robes with the girdle,
The evil impurity which attached to the girl,
By power of the girdle relic may the evil go afar.

331
 891. Pattini yadinna

Prayer to Pattini

THIS refers to the alms given by Pattini on the Andun giri rock to Sakka, and
her birth as the mango. It then refers to the sickness at Visala, in an abrupt
manner, as though much was missing. It has no merit, and seems intended to
fill up time at ceremonies, rather than to convey any information. It may be
two centuries old, my copy has 30 verses.

Example:

KaepI amba guwana pita

Newaeti amba derana pita
Raju aewit baelu wita
Waetuni kiri poda aetata.

The mango cut in the air,

The mango falling not on earth,
When the king coming saw,
A drop of milk fell in the eye.

332
 892. Devel yadinna

Prayer to Devel

THIS saga relates how the hermit gained a boon from Isuru, that fire should,
burst out in whatever he touched. Then N&rayan appeared as a girl in a
swing, and the hermit fell in love with her. He swore to give her what she
wished, and touched his own head in confirmation, forgetting his gift. His
head was consumed below the brain, and his body was on fire, when Teda
Kurumbara burst from it. Bursting a fire flame, giri mal, literally fire flower,.
Mal Kurumbara was born. Bursting a fire circle (wata) Wata Kurumbara
was born. Prom the charcoal Kalu Kurumbara was born. From the ashes
Devel Kurumbara was born. Two verses with the names of two more are lost
in my copy. The seven spirits thus created, each took a ship, and loading
the seven ships with men and goods, set out. The ships were wrecked on a.
reef of rocks, and swimming to seven days, Manimekala took pity on them,
and gave them a stone raft, on which they got to shore, somewhere, apparently
in Lanka. Pattini at first refused to let them land, and created seven fences
of fire, but they trampled on it and landed. They visited Panadura, Iddagama,,
Maedagama, Sinigam devol, Udugampitiya, and received these eight villages,
of which two also are lost in my copy. Devel devi is of Siriwansa or fortunate
race.

This may be two centureis old, and is intended to be sung at ceremonies,

to propitiate Devel devi. My copy has 23 verses.

Example :

Suba nagani umbapalla

Umbata demi situ lolla
Kiya, isa tibi alia
Dada giya mola palla.

Fair sister, I swear to you,

I will give you the minds wish,
Having said, placing the palm on the head,
Burned up below the brain.

333:
 893. Hatadiya wina kaepima

Cutting the spell by seven steps

WITH the first step, frowning, delirium, insanity, heart-burn, disgust to food,
headache, flushes, heat, and dreams of eating, are cut and cured.

With the second step, oppression of the chest, evil dreams, shiverings, are
•cured.
With the third step, unnatural sounds, swelling of the left-leg, pain of the
foot, dreams of women, are cured.

With the fourth step, inability to walk, thirst, craving for food, panting,
are cured.

With the fifth, chills and coughs caught after bathing, spasms of the chest,
and rheumatism, are cured.

With the sixth, burning of the feet, craving for fried food, swelling of the
stomach, bleeding from the lungs, and wasting, are cured.

With the seventh, cramp of the hands and feet, looseness of the teeth,
vomitting blood, possession by devils, are cured and exorcised.

This is followed by a head to foot exorcism, in 24 verses, invoking Buddhist

relics, and various Buddhist matters, to dispel the evils.

This may be a century or so old ; my copy has 31 verses.

Example :

Sayura meyin naewu naegi sita giya kala

Sayaru sitiya naewu giliya ema kala
Ewara gattu pan sil anuhas bala
Dewura me wina kaepuwemi jayamangala.

Hence mounting a ship, when gone on the sea,

The ship that was on the sea sank at that time,
By might of the power of the pan sil taken then,
I cut this spell on the two shoulders. Blessing!

334
 894. Nai natawana kavi

Hymn for dancing cobras

THIS is a song or hymn to be sung while cobras are made to dance. It invokes
the Iri devi or Sun god, and Mihi devi, or Earth god, who is here a male, and
not Mihi Kat, the Earth lady. It invokes Alut-nuwara devi to help the cobra
to dance, and Saman Surindu, the Satara Waran devi, and Iri devi. It says
that the singer has warant or licence from the seven hundred Munidu, from
Piyadassi Munidu, Tarkaya Munidu, and the twenty-eight Munidu. It then
asks the help of the Pati datu or Girdle relic, and allude to the subjection of the
elephant JSTalagiri. It then says the cobra was born in Mangara desa, and
Mangara devi created the earth. The singer is conquered by Ilandari devindu.
There are 32 verses, alluding to the cobra and introducing these matters
here and there. It is two or three centureids old.

Example :

Nakola andam pena akulanne

Bo kola andam pene karanne
Aeli mugatiya daeka pene karanne
Me ruwa kiyatot naga rajunne.

Folding the hood in fashion of a na leaf,

Expanding the hood in fashion of a bo leaf,
Seeing the grey mungous expanding the hood,
Should the beauty be told of the cobra king.

335
 895. Mala yahan kavi

Saga of theflowercouch

A couch in such connection, means an altar of flowers. Nata devindu is asked

to come from the north, to pluck out the flower. Kanda kumaru is invoked
from the north-east, Saman surindu from the west, Sat Pattini from the south­
east, and the Satkattuwa Deviyo or Hat Raja are said to be present, all to
pluck out the flower, mala ugulana, an expression I do not understand.

Hulawali Bandara, who was executed without knowing his rank, and showed
his power to the world like waves, is invoked. Dewata Bandara and all
Deviyan are also invoked. This may be two centuries old, my copy has only
eight verses.

Example :

Uturu digin waedi Nata devindu hata

Dina dina waendemi sirasa nama sita
Sat wita baeha daeka waran laba sita
Nata devindu waenda mala ugulanawata.

To Nata devindu who came from the northern side,

Day by day I bow, staying with bowed head,
Seven times making prostration, having received leave,
Bowing to Nata devindu to pluck out the flower.

336
 896. Sandun Kumara kavi, No. 2

Saga of Sandun Kumara

THIS addresses the same god as Nos. 888, 897, and incorporates a verse
occurring in No. 897. The god or spirit is worshipped by Sinhalese living near
the remnants of the Vaedda race, from Katuragam to Vavunia Vilankulam, but
the worship is now obscure. The god evidently belonged to the Avestic mytho­
logy, and probably represents a combination of Haurvatat and Amaratat, who
are always more or less combined. The opponent of Amaratat is Zairika deva,
the pale yellow devil, and Sandun kumaru is the sandal wood-coloured, or pale
yellow spirit or god, opposed to that devil, and must be thus distinguished from
Zairika deva, his opponent. In these sagas Haurvatat is probably represented
by Ayanar, or Ayyanaka said to have come, to Ceylon in company of Sandun
kumara.
We are told that Saman deva, Namanaeti Upasaka deva, and Sandun-mal
kumaru came to the world to protect men. Sandun kumaru comes like a tisara,
sporting through the air, tisara is now translated as a synonymn of hansa,
goose, by Sinhalese scholars, but in error. I am satisfied that a separate bird is
intended, and believe it is the crane, or grus, probably the sarus crane of India,
for which the Sinhalese now have no name, known to them as such. He speaks
the 18 languages. He wears a golden " puna " cord over both shoulders. He
gazes at the golden peacocok, and golden parrot. He utters yantra, mantra,
basa—the latter meaning unintelligible foreign languages. Rattling bangles,
and an armlet are worn by him. Taking a bow, he holds the rama arrow (rama
saera), and defeats the yakas. He carries a blue cane, and wears " kayisalambu "
on his legs. He sent Ayyana devi in front, and cured the janapada roga, or
epidemics. He ties the yaku to stakes. He carries caskets of pirit tel; this is
protecting oil consecrated by Buddhist priests at a pirit ceremony. He restores
dagobas in the man world. Eight verses also occur in No. 888.
Plutarch describes Amaratat as the god presiding over pleasant things, and
the mythical rama saera, seems to be the Avestic Raman Qaetra, the genius
which causes things to assume pleasant and good flavours and occuls from the
atmosphere.
My copy has 44 verses, and is at least two or three eenturies old.

Example :

Madu pawanata mihiri suwanda gaesu wilasin me nara lowata

Wesamuni raja saerasila ena gamanakdo wilasata
Pera doratuwa siti yak sen bitawela duwapu nosita
Rana hasa gamanin waditeyi Sandun kumaru kala eliyata.

As if having cast a sweet scent on gentle breeze to this man world,

As if a journey of Wesamuni raja coming adorned,
The yak host staying at the eastern gateway terrified fled unstaying,
With flight of a golden goose Sandun kumaru approaches the assembly
space.

33?
22
 The rana hansa or golden goose is often translated as swan, but there
is not any proof, so far as I know. The raja hansa has its beak, and feet red.
The malika hansa has it its beak and legs of dirt colour. The dhatarattha hansa
has its back and legs black. The colour of the rana hansa I have not seen
described.

This god Sandun Kumaru is apparently only an avatar of the god also called
Ilandari devata, and Kaludaekada Kumaru. Mal Kumaru, and Sandun-mal
Kumaru, are other names for this Sandun Kumaru Avatar.

338
 897. Sandun kumara kavi, No. 3

Saga of Sandun kumara

THIS deals with the same myths as Nos. 888 and 896, already noticed under
No. 896 in considerable detail. Of new material towards the complete myth,
I may notice that the god comes to the eliya, open plain or light. His praise is
told at Rama Kadirapura, and over all Damba diva ; Rama Kadirapura is a
name of Kataragam, as the seat of Kanda kumaru in an early form, when the
god was not distinguished from Rama, Rama Kadiran, Vishnu, or Mitura.
Flowers, perfume, and sandal wood are offered to him.
A most curious allusion follows ; the god is said to have received the golden
sword with which the kesa dhatu or hair relic was cut off, and to reside with
it near Kadira male. This alludes either to some event in history of one of the
former Budus, or else to the cutting off by prince Siddharttha of his hair,
before becoming an ascetic. I have never heard of this relie reaching Ceylon, and
the tradition must derive from some ancient source now lost and forgotten.
Evidently there was a shrine, with the relic, near Kataragam. We are here told
that Kanda kumaru gave him charge of the 18 lands. He was born from a handun
mala, or sandal flower. He is Senevi over the host of yak. His form is beautiful.
He obtained permission or " waran " from the gini halamba or fire bangle, and
protects nara or men from evil and sickness. He sends the yak hosts beyond seas.
On his stomach, shoulders, and chest sandal dust is smeared. Many other details
agree with No. 896, but his hair is here described as hanging in tangles down
his back, and not coiled on his head. His cane is mounted with silver. He comes
dancing to the accompaniment of chaunts. He reduces to ashes the Preta,
Pilli, Buta, Pisas and Yaksha. He speaks in the languages Malalu, Telangi,
Dilli, Silli, Watuka, Wadiga. Two verses occur also in No. 888. He holds a golden
stile, and records a registry. He gazes on the Kiri vehera at Kataragama, and
the Golden Peacock, and White Elephant, or aeli aeta. He also gazes at Uda
madama. He watches over the golden sword in the golden hall at Kadirapura.
He visits Kaendaewa, a village near Anuradhapura. He caused Allimadam to
be built first, at Kadirapura. Secondly he caused a kowil to be built in Siri Laka.
Thirdly he caused " idan " and " madan " to be built; this is literally places,
and sheds an obscure allusion. Alii means a space defined by wall or demarcation
possibly here an alii madam is an hyposethral hall, or a stylobate without
superstructure.
My copy seems to be two or three centuries old, and has 38 verses. The three
sagas, Nos. 888, 896, 897, probably all quote from a more ancient and obsolete
poem, one verse of which may be the example I quote here. Long and short
verses occur.

Example:
Walli matawun
Isnanayata wadimin
Gat sandun pidakin
Upan kumara dakunu hasten.
Walli-mata
Going for bathing,
From the fid of sandal taken,
Was born the prince in the right-hand.
The style is old, and effects marked Sanskrit affinity in its choice of words-
It follows the nameless metre with lines respectively of nine, eleven, nine, and
fourteen instants or matras.

339
23
 898. Wijalindu divi dos upata

Origin of the curse sickness of king Wijaya

THIS curious saga relates that Wijaya raja was born from Sinha-ba-denus
navel (naeba), to Sinha Ba raju. Probably some copyist has mistaken " nibul ",
or "niwun ", twins, for naeba or navel, through only one of the twins being
mentioned. This child was Wijaya kumaru. Sinha-ba-denu, must also be a
corruption for Sinha-ba-devi. He took to ill-treating the children he met,
cruelly, torturing and killing children and cattle. Then his father ordered him
to be killed, but instead of this sent him adrift on a Saturday, under an evil
auspice, in a ship made of the perishable trunks of the plantain. He then called
for his seven hundred, born on the same day, and with them set sail. The writer
of my book has made sat siya, seven hundred into " sangiya ". After seven days
the boat sank, and for seven days he swam in the sea. On landing he cut a saw­
fish in three with his sword., and bringing a piece ashore, landed at Tam-
manna wila.
The seven hundred lay about faint and exhausted. Kuveni came as a bitch to
inspect them, and the prince sent his Bamuna or Brahman to look for the village
from which it came. One by one the seven hundred were sent, and detained by
the enchantress. Sak raju then sent Sri Vishnu to Wijaya's help, who tied a
pirit thread on his arm for his protection, disguising himself as a Gurulu. Wija­
lindu then himself went, and met Kuveni, who sat carding cotton on a golden
chair. She denied having seen his followers, upon which he seized her by the
hair, and threatened to cut off her head. She offered to release his followers
if he married her. This was agreed to and done. In the night he heard a loud
noise, which Kuveni explained was caused by her relations who were going from
Laggala to Loggala. She then became a mare, and mounting her he slew the
Yakus, sparing only Wata Yaku, Kota Yaku and Mayilawalana, the brothers
of the mother of Kuveni. Kuveni fainted at sight of the bloodshed.
He then moved that very night thirty yoduns off, and settled at Banda
nuwara. There Wijalindu married Bimba devi, and afterwards moved to KurU-
negala. Thirty rows of guards were kept round the prince, but Kuveni recovering
her senses, and knowing where the prince had gone, created three children,
one walking by her side, one riding on her hip, and one still unborn, and pro­
ceeding to the faithless Wijaya reproached him.
There was evidently a defeat, and many verses lost between the defeat of the
Yaku, and the swoon of Kuveni, on the eve of Wijalindu's marrige to Bimba
devi. Another defeat follows also to the point of her lamentation. We are then
told that from three gawas (twelve miles) off, she created a diwa or tongue,
and piercing seven rock caves with it, streatched it out to Wijaya's heart as
he lay asleep. The minister on guard seeing this,cut it off, but in the act a drop
of blood, fell on the queen's bosom. He removed this with his finger. Some verses
are here missing but it is evident that the queen charged the minister with
outrage, for it continues, making her say that his excuse is false. Sinhaba raja
ordered his execution, and it appears he was a Bamuna or Brahman. My copy
changes the king's name absurdly, and instead of " Sinhaba raja ehi udahas-
wanne ", the ancient copy no doubt had " Sinhaba raja pit udahaswanne ",
or " the son of Sinhaba raja enraged ". The minister pleaded for delay and pro­
duced the end. of the tongue which he had cut off. It then sprang of itself on to
Wijaya's head, and thence the devi dos fell on Panduhas raju.

340
 To cure this, eight inches of a leopard's head, divi hisa, were cut off by a
sword, and placed at the king's feet.
From the blood scattered, doubtless from the tongue of Kuveni, insect pests
were created.
From the blood splashed around, flies, and mosquitos were born, from what
fell on the ground fleas were born, from the drops that fell on the head (of
Wijaya) lice were bom, from those that fell on his waist, waist-lice were pro­
duced.
Though I have only seen one copy, it is evidently taken from an ancient
manuscript which had become scarcely legible, and the writer endeavoured to
follow it with fidelity. It presents some special features, namely, the names of
the three uncles of Kuveni, the presence of the Brahman companion, also noticed
in the Tamil tradition recorded in the Yalpana Vaipava Malai; the fact that
the discarded Kuveni was pregnant; the name Bimba devi of the Pandi princess
The allegory of the diwa or tongue of Kuveni, evidently arose in comparatively
modern times at most a few centuries ago, from a misconception of her curse
or diwi, wrongly read as diwa, tongue. As the curse reached him through his
palace walls, still later writers made this into a viduru diwi, or diamond tongue,
but our poet does not go so far, and speaks only of diwa, with no allusion to
viduru.
Coupled with the other mistakes in this copy I do not hesitate to believe that
its proto-type was the original source of the " diamond tongue " episode, found
in none of the older authorities, but generally repeated now.
My copy was taken down from one written from oral recitation, and I have
not yet seen an old written copy. It was much valued by the owner as an
authentic ancient saga, and may its present form be two centuries or so old.
It uses a ford, powana, to point at, which Sinhalese scholars would often regard
as new in literary usuage, but this no wise a literary work. It is a folk saga, and
the use of the colloquial word does not imply recent composition. Poets of the
elegant school have been accustomed to use the periphrastic " digu kara " .
In modem colloquial, the older powanawa has become panawa, probably to
distinguish it from powanawa, to cause to drink, and in a secondary sense, to
pour out.
I disagree here as a Sinhalese pandit criticising the saga, would class it as
modern from the mistaken idea that powana being now a ^village colloquial
word, was necessarily a new one. The reverse is usually the case, in regard to
such words. My copy, in its defective state, has 38 verses.

Example :

Bade edaruweka lesata mawagana

Ukulen daruweku lesata mawagana
Payen ebilindeku lesata induwagana
Me lesa Kuweni parata basimina.

Creating in fashion of a child in the womb,

Creating in fashion of a child on the hip,
Keeping in fashin of a child on foot,
In this fashion Kuweni goes down the. road.

341
 899. Pinidiya alattiya, No. 2

The rose water sprinkling

THIS differs from No. 387. It is a short hymn in eight verses, and tells us that
Sri Vishnu had charge of all Sri Laka, and causes the Yaksas in his retine
to dance. Pattini with flower bangle in right-hand, comes to the flower site.
With the pinidiya alattiya the spell is dissolved. Sri Narayana gave Pattini
leave, when she came to Ceylon, to wage the war play, and also at the Sudam
hall of the Devas. When the golden halamba rose up, seven treasures rose above
the waves. The Ran-dunu avatara or Golden bow incarnation, came surrounded
by the Devas, to fight the Asuras. It seems to be two centuries or so old, and
is intended to be used at ceremonies of exorcism.

.Example :

As aet teda abarana wadandayi

Daete chamara genat wadandayi
Salu abaranada genat wadandayi
Visnu deviyo e maeda waedaindayi

Bringing horses, elephants, ornaments,

On each side taking and waving yak-whisks,
Taking and wearing robes and ornaments,
Vishnu devi is present in the midst.

342
 900. Dehi upata, No. 2

Origin of limes
THIS is written for use at ceremonies of exorcism, and is arranged in three
sections. The first treats in eight verses of the patient's safe conduct to the
scene of exorcism, the second describes the origin of lime fruit, and the third
is a seven step exorcism. The use of lime is stated to descend from the times of
the Wadiga pura queen. Wasawatu had cast a spell on the queen, and Oddisa
kumaru dissolved it, with the help of limes. Eight limes were found in the Naga
world, beneath seven caskets, and fetched by Walahaka devi. They were called
desi because when Wasawatu assailed Budu, Mihi Kat swore in his favour.
The tree then created bore nine fruit, of which one went to Seru Na dese. The
other eight went to the Naga world and Walahaka and Viskam proceeded
there and procured seven of them, whence the trees on earth were propagated.
The " seven steps " then follows, citing Budu's virtues, for each of them.

In all there are 70 verses, probably two centuries old.

Example :

Topata desi atak dila apata kose

Eyin ekak na lowa tibuni nan yase
Kapitikamak no sitan anadarak ese
Mohuta desi hatak dila haruwu mese.

Having given thee eight limes, how about us ?

If one of those is kept in the Naga world it is good,
So think not with treachery or hatred—
Having given seven limes, thus dismissed this one.

24 $43
 901. Ilandari devi kavi

Saga of Ilandari devi

THIS word ilandari corresponds to our own " lad ", and denotes a youth, from
about 14 years to 21 or so. We are told that when Pattini went to bathe, she left
a sapu flower taken from her hair upon her robe. Afterwards on looking at the
flower she saw a golden boy dancing in it. Then she called him her Ilandari
kumaru, or prince lad, and petted him. He asked for her gem bangle. He was also
known as the flower-born prince. He became mighty, destroying naew and
kappara, or ships and dhows. He took charge of the seven islands in Minneri
tank. He owns all white cattle, and wild gawaya, or bisons. He holds a golden
noose, and casts it over the feet of cattle and bisons. He was also called Kalu-
daekada Kumaru. He watches at Kala-Balalu waewa, Wil-hata, Minneriya.
He carries a golden bow and the Rama seara. He receives boiled milk, and betel
offerings. He sends leopards to destroy white cattle.

The Hat Rajjuru could not stop his depredations at the milk folds of Kanda
Kumaru. He holds sway over the Wannis. Passing Kala-tura, and Mutupantiya,
he took charge of the two Vilachchi districts. He bore a goiden staff, or polla.
He carries a " tomara " pike, and silken " lensuwa " or hand-kerchief.

The saga seems some two or three centuries old ; my copy has 13 verses.

Example:
Me tun lowata teda penna gattu bulat yahan panduru,
Satun haemata karana awul sinen daeka karati wiyaru
Utun obage karunawen pihitawunot niwan sapiru
Aetun maedata kesarindu weni Ilandari Ratna kumaru.

Having shown glory in these three worlds, received as gift couches of

betel,
Making trouble for all beings, appearing in dreams, he renders mad—
By thy supreme grace is there be help, nirvana is gained—
Like a lion-lord amidst elephants is Ilandari Ratna kumaru.

344
 902. Game devata kavi

Saga of Gam devata

GAME or Gam devata, means the village god, the grama deva. He resides in
the village, and helps the villagers. He wears three salu, or shawls around his
waist. In his hand is a club. He drives off yaksas. He is addressed as Game De­
wata Surindu. A flower altar is set apart for him. Offerings are made in a " gotu"
or scoop. He wears a chain of flowers over his shoulders, and carries a club in
his right-hand. This leaves the identity of the god a little doubtful, and I do not
know at which village he was worshipped, with this kavi. The saga seems to be
some two centuries old, my copy has 14 verses.

Example :

Gam kadayin hatara ewata nitarama aewidinne

In ena uwaduru walaka siha raja wilasinne
Man dena dola ganda itin hanikata wadiminne
Pin aeti me game dewata gotuwa bara ganne.

Ever wandering around the four bounds of the village,

Like a lion king warding the evil coming thence—
Then come quickly to accept the offering I give,
Meritorious Devata of this village accept the scoop.
 903. Ilandari devi kavi, No. 2

Saga of Ilandari devi

THIS god is the theme also of No. 901. We are told the god came from Madu
pura on a white elephant, and landed at Yapa patuna or Jaffna. He carries a
stone mace, and leaping amidst the wild elephants, he catches them, and tosses
them about like balls of flowers. With noose in right, and club in left-hand he
rushes amongst the wild cattle and binds them. Milk was offered by him, under
a black knmbuk tree. Giving the prince as victim, the breach was repaired—
Kaludaekada kumaru comes ! At Ritigala he made a city. Lurking in the forest,
and coveting blood, he breaks necks. He came to Kala-eliya in a golden ship,
and wears a long gold chain. At his flower arch the hosts of Yakas watch. He
visits Kataragama. He keeps a registry, with a golden stile. He is addressed
also as Kaludaekada Illandari deva. His noose has a tassel. He stays at Kala
waewa, Minneriya, and Tambalagomuwa. He wears anklets, a leopard skin, and
his weapons are stuck in his waist. He is also called Ruwanwaeli Ilandari deviyo.
He visits Makkama, Mayyangana, Samanala, and the top of Giri-kula. He rides
on a white buffalo. He catches white elephants. He stayed a week at Gonawa.
At Dimbulankada he had a shrine.

This saga seems to connect the god with Kaludaekada kumaru of Nos. 692'
795, and with Sandun kumara of Nos. 888, 896, 897 ; however they are
separated avataras of the god.

The saga seems to be two centuries or so old, and has 30 verses.

Example :
Uda giren awara girata payana iru raes waenne
Obage tedin yak sen binda Kataragomata wadinne
Atata ranen pan hinda gena lekam dakwanne
Apata dewan nisi asiri Ilandari devi rajune.

Like the sun's ray shining from the dawn jock to the western rock,
Dispersing by your glory the yak host, going to Kataragoma,
Taking a golden stile in hand, showing the register,
Give ns fitting blessing, oh Ilandari devi king.

346
 904. Mawuli mala, or Otunu mala

The crown garland

THIS is intended to be used when exorcising spells. The Mawuli-malaya was a
crown of gold, silver, brass, bronze, copper, pearls, and gems. The nagas usually
kept the gold crown concealed, but brought it to Kaelaniya with great proces­
sion, accompanied by their king when they came to worship there. It was made
by the Devas of gold, silver, bronze, brass, and copper, but when the Devas
made it, it fell into the Naga world from the Nilakuta rock. It is spoken of to­
gether with a flower garland, perhaps we may suppose the five metals formed
the crown itself, decorated with flowers of pearls and gems. Brass may be taken
as representing zinc, and bronze as tin, though copper is mixed with each in
use.
At Kaelani the Nagas decided to curse Mara and prevent his injury to the
cause of Buddha, so they offered many gems to the relics, and by the might of
the crown, the spell was dissolved. The crown of itself departed, and rested
on the head of Munidu, his image of course being understood.
This is an important ancient saga, giving one of the legends of Kaelani at a
time when it was the capital of an independent kingdom of Ceylon, but the
legend is omitted from the books of the Maha Vihare sect, like that of the picture
sent by Gautama Buddha himself, to Muktfilata, daughter of the king of Kandy,
and now known to us through the . . . . Mawuli is a Sanskrit name,
otunu a Sinhalese name, for a crown, usually in form of a tiara. It is also
here called kirula, a Sinhalese form of Sanskrit krlta, Pali kirlta, which
probably denotes a radiating crown, or halo, perhaps like the flat hats or
tiaras worn by Sinhalese nobles and chiefs.
With the suppression of such important legends as those which attached to
this crown offering, and the picture gift, we may collate the fact that there has
always been a traditional right of independent ordination, on the river at
Kaelani, which is still kept up in opposition to the ordination of the Malwatte
and Asgiriya fraternities, representing the old Maha Vihare. I deduce that
there was keen rivalry if not schismatic difference, and that very possibly a
line of ordination existed at Kaelani, when Mihindu founded his order at Anu-
radhapura, though the Dipawansa ignored it, as not orthodox and thus misled
later generations of the Pihiti and Ruhuna kingdoms.
The garland made by Vismakarma which I conclude went round the metal
crown we are told was a wreath of blue water lilies, twisted with blue creepers
or twine, and the tiara was crowned with a spreading lotus flower. Such a crown
or tiara of flowers would exactly resemble the tiara worn by Sargon in his chariot
as represented by Botta from the walls of Khorsabad.

347
 The saga was probably intended to be recited when such a tiara was first
worn by a prince, and must be very ancient. All my copies are bound with one
or more sagas suitable for the same occasion, Nos. 906, 907, 908, 909, and one
copy with No. 225. There are 22 verses, partly in short, partly in long meter.
It seems to be quite three centuries old.

Example :

Ewita Na raja Na lowedi saeta kelak nayi piriwaragena

Lowata parasidu Na lowedi ran otunada gena daragena
Lakata Siri Ma utun Kaelaniya eda wandi nata yeti saragana
Ewita eti saeta kelak Na raja e mal malaya gena saragana.

Then the Na raja escorted by sixty kela of Naga from the Na world,
Bringing and wearing the world-famed golden crown of the Na world,
On that day goes in state to worship at fortunate great supreme Kaela­
niya in Lanka,
Then sixty kela of Na kings come, bringing that flower garland with
state.

348
 905. Maeti bali yagaya

Sacrifice of the clay offering

THIS is an incantation to avert sickness caused by the Graha or planets. We
are told to have the house cleared. A frame 13 spans 10 fingers -widths long, 6
spans 5 fingers widths wide should be taken, and on this the bali image is to be
made of clay. Above Iru, Sikuru and Guru are to be shown moulded a relief,
on the right Buda, Sandu, Saeni, on the left Kuja, Pani or Rahu, and Ketu
are to be depicted. When the nine planets are thus exhibited, and offerings of
flowers and betel given, the celebrant is to dance.

If one's body has been fouled, as often happens in thatched huts, by cobras,
geckos, crows, or skink lizards, or if nests of black ants (geri) have come, the evil
will be averted. The evils caused by the planets in their ascendancy will also be
averted. The incantation is two or three centuries old, and my copy contains
only 8 verses of very long lines.

Example :

Tirasa Iru Guru Sikuru ambamin dakuna Budu Sandu Saeni sadala,
Tirasa siwu Sin satara ambamin wamata Kuja Pani Ketu sadala
Mese nawa graha rupa watakara samage bali rukada yodala
Satosa me maeti sanduge piripata duraera gan krodaya bala.

At the head, designing Iru, Guru, Sikuru, on the right making Budu,
Sandu, Saeni—
At the head designing the four Pour Sin, on the left making Kuja, Pani,
Ketu,
Thus having arranged the bah image with the images of the nine Graha
around,
Gladly take and dispel the evil spells of this illustrious minister, having
seen the hostility.

349
 906. Walalu wina kaepima

Cutting the spell by hoops

THIS is a short exorcism, recited as the bits of creepers or vine, which have
been fastened around the spell-bound sufferer, are cut and removed. There
are 108 of these. The spells are exorcised by power of Wesamuni, to the
JUakarakata, or Dragon-mouth. Different kinds of creeper are used for each
tie, from the head to the hands and feet, and in cutting each, the power of various
devas, and Munidu are invoked, as well as Bishis, Sun, and Moon. It seems
quite three centuries old, and is sung with Nos. 904, 907, 908, or 909. The 108
varieties of vines or creepers are a recognised feature in the lore of exorcism,
and after being tied, each hoop is cut with an arecanut cutter.

My copy has 49 verses.

Example:

Nalala madala nara waelalu

Gana deviyange analu
Rade ruda durukaralu
Kapan wine naeta siyalu.

On the forehead is put nara vine,

Placed by power of Gana devi,
The pain of the ache was expelled,
Cut, all spells depart.

The following names of some of the 108 vines occur in my copy:

Niyangala Bambara
Nara Mae
Daesaman Behetwalalu
Telabaeriya Sangilla
Poda Kaesipittan
Madu Yombu
Napiritta Kaekiri
Sewwandi Diya labu
Katarolu Gon kaekiri
Wasawisa Nawahandi
Rasakinda Kindi
Karawila Diya beraliya
Tumba karawila Pus
Kalu Aetpota
Kabarossa Kala
Nlti Anguna
Morawaessa Barandara
Uyala Kumudu puhul
Kirindi
fiaksanda
Pamba

350
 907. Otunu was haranaya

Loosing the crown spell

THIS is intended to be sung at ceremonies when a crown is first worn. My
copy is bound with No. 904. Bambaput Rusi brought creepers or vines, and
Danta-dhatu Rusi gave them power, and Vismakarmma descended to the human
world, and tied them in hoops. Naga-bamba-put Rusi furnished " nawakola "
atu, or sprays of the nine leaf. This tree is not recognised, unless it is the na or
naga tree, as is probable. Both that and the margosa or kosamba are sacred
trees, with leaves like the ash which the North-men revered. The leaf with
nine leaflets seems to have been a symbol. Some people think that the
" nawa-kola " sprays in such context, were garlands of the nine kinds of leaves
sacred aar to each planet. There is however no connection whatever with
planet worship here, nor could the nine planet leaves well be used for such
garlands. Vismakarmma devi made hoops of these, and in presence of Iswara
devi, and the Naguru Rishis they were put on the person from whom spells were
being exorcised, or else around his crown—the verses leave the subject quite
obscure. These were accompanied by various Buddhist invocations.

The ceremony was to remove the " was ", or spell cast upon any new thing,
not yet used. In this case the " was " of the new crown is being exorcised.
The same idea accompanies our own consecration of a new church, house-
warming, blessing of new banners, &c. The saga has 14 verses, and is two
or three centuries old. These Rishis belong to some old mythology the scope
of which I have not yet investigated, sufficiently to explain them.

Example :

Otunu bandinnata kawudaeyi enne

Nagara-bamba-put Rusiya enne
Ema wita nawa-kola atu gena dunne
Wismakarmma devi walalu gotanne.

Who is it coming to tie the crown,

Nagara-bamba put Rishi is coming,
At the same time he brought and gave nine leaf sprays,
Wismakarmma devi twines the hoops.

351
 908. Walalu widiya, No. 1

The fashion of hoop-binding

THIS treats of the same form of exorcism as Nos. 906, 909. Bamba-put and
Nagara rusi are invoked for the shoulder, as well as the pati dhatu, or girdle
relic, and a creeper is tied. The Siw Waran, or Four Guardians are invoked
as the hoop is tied on the left arm, the Rishis help the right arm. Wedapatma
rusi twines hoops as fetters for the two hands. There is no very special feature
in the other hoops and invocations, and this saga is probably more recent than
the other, which must contain very ancient matter.

My copy has 25 verses.

Example :

Bamba put rusi langa sitagana

Nagara rusi ure wesena
Saema dSsayada duru wena
Dakunu ure wael lawamina.

Bamba put Rusi standing near,

Nagara Rusi residing in the shoulder,
Driving away all evils,
Placing the creepers on the right shoulder.

352
 909. Walara widiya, No. 2

The fashion of hoop-binding

THIS refers to the twining of hoops of various creepers or vines, which are then
cut to exorcise spells. Similar matter occurs in Nos. 906, and 907 and 908,
and all seem to have been used with 904. It states that to exorcise the " was "
from the crown, a garland was made by all the Devas. The 28 Munidu, and
the Yogi guru gave " para walalla ", or war quoits for the head; Gautama
Munidu and Sak devi gave others for the forehead ; Saman Surindu gave one
for the eyes ; Munidu's power is invoked for the mouth. A hoop of creepers
is used with the power of 28 Munis, 16 masters or aeduru, for the neck and two-
arms. Uggal Surindu is invoked for the hoop of creepers on the two shoulders.
Hoops of creepers were tied on the arms and elbows, as they had once on a time
been tied on Munida, when bewitched, as well as on the wrists. On the ten
fingers, by power of the thousand Buddhas, ten rings are tied, as was formerly
done for the Bodhisat, before he became Gautama Buddha, by Dalakada RusL

Over the breast a hoop of creepers is tied by power of Ganidu and all Devas,
as well as one round the waist. It is tied over the thighs by power of the defeat
of Wasawat by Muni; over the knees by power of the Na world, Asura world,
Devi, Bambu, and Sura. For the two ankles Saman Surindu and Uggal Surindu
are invoked. In all there are 40 verses, some three centuries old.

Example:

Ata wisi Munidun para walalla

Yogi gurun dun para walalla
Ape gurun dun para walalla
Tirasata limi me para walalla.

War hoop of the 28 Munidu,

War hoop given by the Yogi masters,
War hoop given by our master,
I kept on the head this war hoop.

353
 910. Kanda male

Garland for Kanda

THIS is an account of the founding of the Kataragam dewala by Dutugaemunu
raja. It relates that Isuru told his sons Kanda kumaru and Ganidu that he
would give a mango to the one which would first encircle the three worlds,
and then address him. Kanda kumaru started off on his golden peacock to
carry this out literally, but Ganidu encircled Isuru himself, saying he was the
three worlds, and got the mango. On his brother's return, he was enraged,
and struck Ganidu on the back, who fell, and broke a tooth. His father then
banished him, and he came to the seven hills, by the Maenik ganga at Katara­
gama. He there rescues the earth from the Asuras.
Sinha ba raja, son of Sinha raju and the princess he carried off, settled at
Senkada gala or Kandy. It would seem as if the princess was named Sulaba,
but the line is obscure.

Sulaba ehi namin Riwinduta upata wana.

In after times Dutugaemunu raju made war with the Saediya, and several
times being defeated, he went to Kadirapura, where the river filled with water
at his coming, though no rain fell. The Waedi dano, Waeddas, came with bows
and arrows and asked why the king had come to the forests. The god promised
victory, if a flower shed were put up in his honour. A house of three stories
was erected, and contimies to receive offerings to this day, also an entrance.
It was approached by seven steps. On the south was a shrine for Ganidu, and a
kitchen for preparing offerings, and a flower house. There was also a Bodi
madala, or Bo enclosure, and a bathing place, on a spot pointed out by Sawat
Indu himself, and a kowila for Siri-ma-muni Patini. At the 2218th year,
escorted by a hundred thousand stars, in midst of the Demala rata, he failed.
Afterwards he resided at Devundara, but decided that the top of the seven hills
was a filter residence. The Kirigalpotte maetindu was fetched, and put up a
Kowila some where in seven paeyas, and received the title of Bandara, and
Sura-sanhara deviyo went in procession. Alut Bandara devi wore a gold
armlet and cures the dumb, deaf, and sick, and gives good crops. The Alut
Bandara kowil exists. These are presumably allusions to names of Kanda
Kumaru.
Sidda-parakara Devindu has a bower, and watches at the gate of Kataragam
nuwara. He shot two Asuras. Kumara Bandara was born in Gowe, and
landed at Kolamba, he has a kowila.
An elephant stable was erected at Kataragam, and Dutugaemunu put up
the Kiri vehera in seven days, and made a store-house, with a large madu-ge
or hall, for pounding paddy into rice.
The Vaedi dano cut a chena or clearing for hill paddy, and Valli amma was
the name given her ; the old tales of Kataragama re numberless. The Surindu
and Valli amma left their sri pada or foot steps on the rock, and there was an
ancient cave, called Kiri-karu, where the stake with which Valliamma dug
yams is still shown. The next verse is still more unintelligible and allude to
some man or animal being torn in two, as by the jaws. The god hunts with a
buffalo, and where he crossed the old rock, the mark of the rope, raena, is seen on

354
 it. The place where he cut up the deer is still called " lepatiya ", or " blood-
fold " . The god rests beneath a damba tree, on a bed. The Tamils make daily
offerings. It seems in several of these verses as if each quatrain is made of
single lines of different verses.
He sports in the adawiya or forest. The two not seeing Walli amma, came
upon the couch, and shot. The god was fatigued, and then the saewul-indu
or cock crowed. Hearing the cock's crow the Waedi dana died and Walliamma
wept for them. Then follows the verse, of which the two last lines are :—

" upul karapu Waedi dana siri pada waeda "

" lawul kara klma Na lowata simi sanda "

I suppose from other versions of the story that upul means " restored to life ",
like upata karapu, but it is a word in an unusual dialect. Lawul is not under­
stood by Sinhalese scholars. The Vaedi who had brought her up, then married
Walliamma to the Surindu. The beauty of the uyane or park is described.

The Guru and the beloved Yon people (yon senaga), all came thinking they
could have an heritage, and Pallemadama was built at the end of the street
facing Walliamma's bower.
I will quote this curious old verse, which seems to state that after the marriage,
the Yon guru and Yon people or Arabians came in crowds, as if to their own
heritage, and erected a bazaar at the end of the street facing the Walliamma
shrine. They probably only came for certain fairs, at which the gems, ivory,
cinnamon, and other produce of the district, would be bartered for western wares.
The Mohomedan Moormen, as representing the old Arabians or Yon, still head
the procession at the great festival, with torches, by hereditary right. They
now excuse their conduct by pretending that the festival is really held in honour
of their prophet Kedar Nabhi. It may well be that their pagan Yon ancestors
worshipped Naebisara there, before the worship of Kanda-kumaru was intro­
duced. I will now quote this obscure and archaic verse.

Lolle wadana Yon senaga ta Guru aeta

Golle sawama enne uruma aeti sita
Elle Walli amma wimanata pata
Palle-madama saedi pita widiya agata.

The god is called Guru, as it was in that disguise he married Walliamma.

The first line is an instant short in my copy, and should be corrected to Gurun
aeta or Guru aetta.
Dutugaemunu, in order to destroy the Saedi Demala, made a wimana for
Walliamma in sight of the wimana of the Surindu. By contrivance of Uma
and Isiwara, a Rusi came subterraneously, and formed for them a Samadi-
madama, or pleasure house. A Bahirawa kowil was also put up, to assist the
Surindu in driving off foes from Siri Laka.
The Kawilasahela, or Kayilasa hill of the Surindu was across the river.
On the top most hill the Surindu resides; the paedum-ira or eastern hill belongs
to Gana deviyo. The midmost hill to Walliamma. The next hill belonged to
Parakasaya, and another to Uwindii. The sixth was Bahirava's and the Konat-
mudunhela belonged to Pattini. There are seven parks or uyan at Kataragama,
evidently for these seven sacred hills,.and the Satara Waran Devi watch over
them. . . . .

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 In ancient times the " kap " post, our own May-pole, was fixed in the month
Wesak. In the month Aesala people flock there from all parts, and the pae
taetiya is used to decide the lucky time. " Paeya diya dama " is the expression
used here, for this measurement of time by a vessel absorbing water. The gods
go in procession on elephants through the streets. On the conclusion of the
fifteenth day, the god is bathed.
One day when Dutugaemunu had been a day and a half without food, in the
course of the war, a widow cooked him a little broken rice. He burnt his fingsr,
and licked it. Then the widow laughed, and said, " son, you are like Dutu­
gaemunu fighting the Saediya without understanding his stratagems " . The
prince, whose rank was unknown to the widow, was pleased at this, and asked
what she would have the prince to do. Then follow two obscure verses, which
probably existed as old-time folk lore. The sense is not easy to make out, but
it seems the prince was then in trouble at Kalawaewa, and the widow advises
him to take boats to the two corners, and pierce the bund, when the fort will be
overturned by the sea of mud. The word " man ", now known only as Tamil,
is used, and not the Sinhalese mada.

The line is—

" gala kotuwa man muhudata peraleya ".

The second verse says that this was successfully done, after seven days' work.
Sawat Indu is then asked to forgive his poet any mistakes.
The saga is some three or four centuries old as it is, but represents some very
old world record, otherwise not known to me. It has 68 verses in my copy. The
most strange feature is the careful preservation of the record that the worship
of Kanda kumaru was brought from abroad, in the 2218th year, presumably
of the Kali era, or B. C. 883. This was the very year in which the short reign
of Tiglathi Nin, king of Assyria, expired, and the year in which his son Asshur
idanni pal, B. C. 884-859 commenced his series of foreign conquests. He tells
us that his father had conquered to the sources of the Tigris, but nothing is
known of the cause of his death. It may well be that some fugitive prince from
Elam or elsewhere or a mission from Asshuridanni-pal, came to Ceylon in this
year, and introduced the worship of Sawat Indu, supplanting the older worship
of Naebasara. This Mithraic worship is explained by such theory, and the
collateral testimony is consistent. As the seven gods that replaced the primal
Sawat Indu of six faces, and for whom Dutugaemunu built temples, we may
recognise Mithra, and Avestic gods regarding whom I will speak elsewhere.
The introducer of the new cult, I take it, also brought the knowledge of astro­
nomy, the hundred thousand stars that came with him.

Example:

De dahas de siya daha ata warusayedi

Me dahas ganan waruseta paemununa taena di
Siya has ganan taru piriwara etana saedi
Udahas wi Demala rata maedadi waeradi

In the two thousand two hundred and eighteenth year,

At the time of reaching this reckoning by thousands of years,
There having arranged as escort stars a hundred thousand in number,
Being enraged, going wrong amidst the Demala land.

356
 911. Alut surindu kavi

Saga of Alut surindu

THIS god wears pearls and gems, and is anointed with, perfumes. He resembles
Anangaya. His name will stop death, and increase the cattle in the fold. He
runs quickly around Laka, escorted by hosts o f yaka. His name means the
New Lord. He is adipati or lord of the forests. He loves the scent of flowers.
He sprang amidst the rough strong Parangi, and showed his power. When they
broke his temple, hornets arose out of the earth, and clustered on their heads.
Then they ran shrieking through the mawussa nettles.

He visits Uswaelikanda. He receives ankeli or hornpulling worship there,

and is called Uswaelikanda devindu. He inspires his votary.

There are 18 verses, apparently some three centuries old. He is also called
Dewata Bandara in the saga, and would seem to be a form of the Aembaeli
Dewata Bandara.

Example:

Yasat tedat bala eka gati

Kiwat pena satte aeti
Alut Surindu waediyot niti
Mahat e sura tura siri gati.

Mighty alike in fame and glory,

If speaking by inspiration, it is true—•
If Alut Surindu constantly comes,
The fortune of that great celestial tree is gained.

357