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| Wednesday, 13 October 2004 |
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Muvadev Da Vatha The premier Gi poem in Sinhala literature by Somapala Arandara Once upon a time, there lived a king called Makhadeva in Mithila, in the state of Videha, ruling justly and peacefully. One day, he asked his barber to bring to his notice if ever he finds a grey hair on his head. Accordingly after sometime, one day, the barber informed the king of a grey hair appearing on the king's head and at the bidding of the king, pulled it out and put it in the king's palm. Thereupon, the king said, "I've been faced with the presence of death, I've been faced with the presence of death. I've been faced with the presence of death. I've enjoyed all the comforts of life. Now it's time to leave kingship and all other attachments and to lead an ascetic life in the woods." On hearing the king's intention, his ministers implored him not to desert kingship but the king stuck to his purpose, crowned his son with regalia and renounced the worldly life. After observing the four noble precepts of holy life for some time, King Makhadeva died and emerged in Brahma realm. This is the sum total of Makhadeva Jataka where the king was the Bodhisathva. And this serves as the theme of the Gi poem," Muvadev Da Vatha". According to Ven. Rajakiya Pandit, Mayilewe Sri Niwasa Thera ("Sinhala Sahithyavali Vicharaya"), the origins of Gi poetry can be traced back to Vedic literature regarded as the leading one in World literature. The earliest forms of composition in vedic literature are known to be "Bakthi geetha" (Hymns). Even among the fourfold divisions of Veda, viz., "Rg, Yajur, Sama and Atharvan" Rg Veda is the most important division in terms of being the oldest and the foremost work of literary value. It consists mainly of hymns or 'Manthras'. The earliest work of Gi poetry in Sanskrit is Valmiki's Ramayanaya. This may be the reason why our oldest poets resorted to Gi rhythms. Sri Lankan chronicles and stone inscriptions bear testimony to the fact that there had been Sinhala poetry even before Sigiri Graffiti which belongs to the 9th century. Mention is made in "Nikaya Sangraha", etc, of formidable Sinhala poets in the reign of King Agbo I. Writing poetry based on Jataka stories was in vogue from King Agbo's reign. The extant Gi poems - Muvadev Da Vatha, Sasadavatha and Kavsilumina belong to the subsequent period. Technique Muvadev Da Vatha is a 'Khandakavya' just like its successor, Sasadavatha but not a 'Mahakavya' like Kavsilumina. And it is made up of 164 stanzas. In stanza-7 the poet shows in brief his design of the narrative aspect of his poem as a small plant which grows up to be a tree full of leaves, flowers and fruits: "Iti turunu palakev In making it a large tree, he uses the technique like descriptions of the city of Mithila, the king, the autumn, the evening, the night, the dawn, the royal gardens and the Himalayas. The author of Kavsilumina seems to have been inspired by Muvadevda in identifying his narrative style with the growing up of a baby girl into a full-breasted maiden. Theme Muvadev Da Vatha opens with an exhortation to others calling upon them to pay homage to Lord Buddha: "Namav Thilovaka Mithura". Buddha is like the ocean to the rivers of wisdom, "nuvana ni sayura". Here, the monosyllable, "ni", has the meanings of river, law, sound, treasure, wisdom, water, oil, etc. Muvadev Da Vatha is like a treasure trove of words with various shades of meaning. So, anybody who wants to master Sinhala language will find it useful to analyse chapter and verse in this work and its allies, Sasadavata and Kavsilumina. The poet expresses in stanza-4, that it is impossible for him to give a perfect account of Buddha's virtues. Nevertheless, he will make an attempt just as he cannot make a garland of dew drops tied with a string of lotus stalks. There is a striking similarity between this stanza and the metaphysical poet, John Donne's poem, "song" which too offers a catalogue of impossibilities such as: "Goe, and catche a falling starre, "Apa munindek kalak (In a certain previous birth in Samsara while observing the supreme ordinances, our Lord Buddha was living in luxury as a king. No sooner did he see a grey hair on his head one day than did he wish to become an ascetic.) He was ruling the country from the capital of Mithila which shone in all glamour. )This city is said to be the present Jagakpur in Nepal according to Pundit Ranjith Wanarathne.) Stanza - 16 offers a fascinating picture of young maidens excited with their purely youthful exuberance in their bodies brimming with vigour playing (various games) with balls. On seeing that and hearing chinking jingle-bells hanging from their anklets, swans relaxing in garden ponds left them to rush in hiding inside mansions. The description of the King starts with stanza - 33 which relates that there ruled in that city, a king called Kakhadeva whose reputation spread far and wide: "Viya muvadev nam The following 14 stanzas enumerate various prominent features of this mighty king. This monarch was great and prosperity dawned on his followers. He wielded power over all his adversaries. The king's prowess outshone that of the sun which looked like a moon sans the sign of hare. His eye-brows caused death to the enemy and bestower bliss on the loyal. He was full of wit and an invincible warrior at war. Charity and hospitality were his forte. Not only did he dominate all others but he also inspired popularity among them as he recognized all their virtues. Along with the portrait of the king, the season of summer regarding his valour is implied. The fourth of Shakespeare's oft-quoted "seven stages of man" ("As you like It") represents the halo of soldier, "Full of strange oaths, and bearded like the pard, jealous in honour, sudden and quick in quarrel, seeking the bubble reputation Even in the cannon's mouth." The poet's talent in versification where the images are meaningful and the pun skilfully employed is noticeable in stanza - 52: "Noladin ekal somi (Having lost the gentle touch of clouds, the mighty rock did not wear the blue lily garland of pretty peacocks in autumn, This means that peacocks did not revel in dances on tops of mountains due to lack of rain in Autumn). Here the poet plays fun with "piyovuru" or 'payodhara" (breasts) by means of pun used effectively and imaginatively. The word "piyovuru" Calls up the image of breasts invariably in one's mind. The poet, however, seems to tease the reader by creating the charming but misleading image of breasts here. For, there are two shades of sense in this double-edged word. "Payodhara" is called such as it generates milk in women's breasts. On the other hand "payodhara" means a cloud because it holds water. The term "payos" implies both milk and water. The beauty of nature and women is smartly juxtaposed in stanza - 59 thus, "Upul netin tamburu Here nature's beauty is appreciated: Lakes full of blue lilies and lovely lotus buds, and teeming with swans enjoy the sun whereas women with blue eyes and steady breasts please their favourites with the sway of their girdles (or hips!). In the description of night in stanza-67, one can observe paronomasiac use of "Sawasa nala" picturesquely employed to suggest two different things: "Sawasa nala men sasinindu The former context indicates "a sigh of breath released" while latter implies "evening breeze". Stanza-82 focuses an inmate character trait of modest women. In spite of their strong desire to indulge in sexual communion covertly, they pretend to be ashamed to do so while being exposed to light. So they put out the light by striking it with the water-lilies worn on their ears, thus allowing their partners to seek satisfaction in the dark! But the radiance of gems studded in the women's girdles let their consorts have a full view! - "Kalun kan mahamil The dazzling dawn of the day is depicted in a dainty manner in stanza - 89. The rising sun emerged over the cliff of the morning mount like a crowning gem. It offered a wonderful view. Winter or fall of life is hinted at in Stanza-93. The fall of dews starts with the rise of the moon in Autumn. Dews make the lotuses fade away. This foreshadows the king's abdication which resembles the decay of his desires in worldly matters. Spotting a grey hair on his head, King Makhadeva decides to abdicate the throne despite the counsel of his ministers to the contrary: "Magul kapu naraninduhata The author points out in stanza -101 the vanity of human wishes: "Paridi behewa balata Religious element Here, the description fits in with the religious element of the narrative quite well. The King propounds the woeful reality of lay-life. If one looks at life seriously, one observes that all those who indulge in pleasures of the five senses are deceived just as the young deer that run after the mirage in vain mistaking if for water. It is pertinent to quote Wordsworth suggesting the mutability of life: "For I have learned to look on nature, not as in the hour of thoughtless youth; but hearing often times. The still, sad music of humanity, nor harsh, nor granting, though of ample power to chasen and subdue." (Tintern Abbey Re-visited) The poet describes hereafter how king makhadeva abdicates the throne and instals his son as king winds his way to the woods among the wailings of his subjects, leads his life observing the four Noble Precepts for a long time and eventually emerges in Brahma Realm. **** Back **** |
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