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Professor Sunanda Mahendra
Rediscovering the essence of Sigiriya verses: Some observations
The late professor Senarat Paranavitana (1896-1972) well known for
his archaeological findings as well as his interpretations on such
aspects as literature, history, culture and folklore, still remains the
best Sri Lankan interpreter and critic of Sinhala poetry with special
reference to the Sigiri Grafitti.
His venture is seen as a practical guidance and applied approach to
the understanding of the contents as well as the structure of the Sigiri
poems which is mentioned as a compilation of Sinhala verses of the 8th,
9th and 10th centuries (volume one and two published for the government
of Ceylon by Geoffrey Cumbridge, Oxford University Press, 1956)
In the long preface to the volume of poems collected by him,
Paranavitana states that they are a sort of 'free verse' that could be
stated as 'muktaka kavi' written by those who had visited the place. The
sensitivity of the poets who so visited the place and wrote poems could
be understood mainly via the contents which could be categorised
basically into four groups as mentioned by Buddha in Anguttara Nikaya
(PTS edition Volume One 230pp).
The classification and the categorising goes as follows: (1) Cinta
kavi, (2) Suta kavi. (3) Attha kavi and (4) Patibana kavi. According to
professor Paranavitana, the text does not explain these terms nor does
it afford any clue as to what it means.
Furthermore the earliest commentator on Buddhist texts Buddhagosha's
explanations of the terms are meagre and not convincing enough.
Professor Paranavitana in this context refers to him in Manoratha Purani
(volume three p211). But an attempt has been made by Paranavitana to
throw light on these four types of versifications. This is how the
interpretation is presented by him. The modern reader of Sinhala poems
may touch upon a new territory of categorisation in this direction.
(1) Cinta kavi, means verses with 'thoughts' or ideas. They may be
mere feelings on some worldly matter, subject or an object of interest.
The word sitanava comes from cintanaya or thought and as such the poems
of ideas could be categorised as 'cinta kavi'.
(2) Suta kavi means the verses which contain 'what is heard' or 'thus
have I heard' (evan me sutam); this also means 'learning through
hearing.' The Suta kavi is a poet whose imagination is restrained by
learning from the past and a poet who is fond of mythological allusions.
He is also a person who strives to make his work conform to the
models of the past creators whose ideas and imagery owe much to poets of
old. This may also refer to the term 'well versed' or 'bahusruta'. Many
'suta kavi' could be culled and interpreted from various sources such as
history, religion and folklore.
In European terminology this may mean a 'classicist'. (3) Attha kavi
may mean the verses with meanings. His poems may derive from various
sources generating knowledgeable meanings from such sources as nature,
observation, love, hatred and death. He may also derive inspiration from
the religious sources.
(4) Patibhana kavi refers to poets who utilize their creative skills.
The term 'patibha' or 'pratibha' means intuition and/or knowledge in the
act of creation. The compositions of the poets of this category are the
best according to Paranavitana, for they make the reader imagine
intuitively. From a Buddhist point of view this category represents the
highest type of poet. In European terminology he is a subjective poet.
The theory according to which poets are classified in the Anguttra
Nikaya it will thus be observed is one which requires the freedom of the
poet's imagination to be balanced by responsibility engendered by his
learning, his observations of the external world, or his own intuitions.
Professor Paranavitana gives examples to each of the categories
mentioned above in the following manner. The verse number 147 is an
example of the 'cinta kavi' 'Svasti,
taralpa vasi sirina pavijjemi nirindai sita baharata nomeyama paraviti
evanvi navata balamin sitiyavun vanno'
The English meaning is as follows;
'Hail, I am Friar Sirina, a resident of Taralpa. Having lived in the
king's harem, we shall certainly not go outside in his absence thus
reflecting they are as if they have stopped and are standing, looking
(forward) (90pp)
The following is an example for Suta kavi.
'Svasti,
Muniradhu sarahu mundalin sihigiri nam
Pavsiribar nilabusu managanni dutvan men'
Rendered into English by Paranavitana, the general meaning is as
follows:
'The resplendent rock called Sihigiri captivates the minds of those
who have seen it as if (the mountain ) Mundalind ,which was adorned by
the sages (i.e. the Buddha) had descended to the earth) (17pp)
An example for the Attha kavi goes as follows
'Svasti,
agboy limi, nilkatrol maleka avunu vatkoilmala se
sandaga sihivennei mahnel vana hai ranvana hun
The English translation by Paranavitana goes as follows:
'Hail, I am Agboy. I wrote this. Like a vatkol flower entangled in a
blue katrol flower, the golden coloured one who stood together with the
lily coloured one will be remembered at the advent of the evening (verse
334) (205pp)
This is an example for the Pratibhana kavi
'sasara katara bava minis piya nosulababava
nokisi vijannahun ata
asatu novanba nayennata
kannami limi'
'There are those who know (counting it) as nothing that the
phenomenal world,is (like unto) a desert and that the state of a human
being is difficult of attainment .be nit attached (to them) to ruin
(yourself) Kanna wrote this (verse 99) (60pp)
Space does not permit to present more Sigiri poems in these
categories. But may it be stated with honour that Professor Paranavitana
with a keen sense of a critical discrimination tried his best to select
the poetry as suited for these four categories.
For the modern reader I am sure this interpretation may lead to a new
innovative critical application to versifications of varying types.
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