සංදේශය

  හංස සංදේශය

කෝට්ටේ යුගයේ වනවාසී නිකායෙන් (උතුරු මුල) රචනා වූවා යැයි සැළකෙන එකම සංදේශය හංසයයි. මෙය වීදාගම මෛත්රීත හිමියන්ගේ රචනයකැයි විශ්වාස කෙරේ.  සංදේශයේ කිසිම තැනෙක ඒ හිමිගේ නම සඳහන් නොවුවද උන්වහන්සේ කළ ලෝවැඩ සඟරාව, බුදුගුණ අලංකාරය යන කෘතීන්හි භාෂා විලාශයන් අනුව මෙය මෛත්රී් හිමියන්ගේ යැයි සැක කෙරෙති. මෙම සංදේශය ජ’පුර සිට කෑරගල පද්මාවතී පිරිවෙන් වැසි වනරතන මාහිමියන් වෙත යවන්නේ උන්වහන්සේ මගින් උපුල් වන්, සමන්, කඳකුමරු හා විභීෂණ යන දෙවිවරුන් ලවා පැරකුම් රජුත්, රජ පවුලත්, රට වැසියනුත් ආරක්පෂා කර දෙන ලෙස ඉල්ලමිනි. පරිසර වර්ණනය නිසාම හංසයාට ජ’පුර සිට කෑරගලට යාමට දින දෙක් ගතවී ඇත.  පරිසර වර්නණයෙහිලා ශෘංගාර රසය දැනවීමෙහි කතුවරයා තුළ තිබූ අභිරුචිය නිසා මෙය වනවාසී මෛත්රී  හිමියන්ගේ කෘතියක් විය හැකිදැයි සමහරු ප්ර ශ්න නගති.

Highlights of Hansa Sandeshaya By  Somapala Arandara Hansa Sandeshaya authored by Weedagama Maithriya Thera is outstanding as one of the few Sandeshayas of poetic value. This is said to have been composed in the reign of King Wiru Perakumba, the eighth who ascended the throne in 1484. All poems of the Sandesha genre are chips of the same block. The messenger of every Sinhala Sandeshaya is a bird and one is only a slightly different from another. Without sending the message directly, every Sandesha composer has followed the common rituals ending up with the message as follows: Invocation and welcome to the courier; praise of courier; mention of the recipient of message; elaborate eulogy of city departure and its lord; instructions on how to start errand; stating the itinerary and connected details; subsequent description of recipient's place of residence and recipient; thereafter directing him on how to convey the message with a final blessing on messenger. Hansa Sandeshaya starts off with an Invocation: "Saerada hasa rada sanda......" (Welcome Oh noble swan!) As in the case of all other Sandeshayas, the poet follows tradition. He, however, fulfils the job of welcoming the courier amusing it with a pleasant image of plump breasts of young maidens: "Piyakaru piyan piri piya Piyowuru lesin hobana" Praise Unlike the other past poets, Weedagama Thera goes a bit further in the act of praising the courier in referring to several Jataka stories where Bodhisatva born as a swan helped others: "Thopa un taembata pita di widi sara sathara Thopa genae ethiyi yethi diwae bimae hena athara" "Four skilful archers leaning against a pillar, shoot four arrows in four directions. And the swan perched on top of that pillar flies fast and picks up all four arrows in the air and brings them back". (Jawana Hansa Jathaka); "Methin nogenae un gen wana ayapatha gathin genae didi ramwan piyapatha" Ignoring the impending danger through compassion, the swan gave its golden feathers a day each". (Swarna Hansa Jathaka); "Baendi maleyi un raju wethaemae pem bandi Bindi nogiya hasa daekae waedi malen midi" "The second-in-command (another swan) did not desert its king (leader swan) who was trapped in the snare. Having heard of it (the swan's loyalty), the king of the land set it free." (Maha Hansa Jathaka and Chula Hansa Jataka) Probably he may have been inspired by the poets of Thisara Sandeshaya and Gira Sandeshaya. Those references, however, heighten the nobility of the swan. Message Having praised the messenger, the poet says that there is a message for the swan to convey. Here Weedagama Thera gives vivid details of the recipient and his monastery. Dinu bimae mahima aethi muni marabala Wanu thaenak wan satha pin sarapala Thaenu noyek keth wath saru sarapala Danu pasindu wehereki saedi kaeeragala" "Imbued with influence equivalent to Sri Maha Bodhi, resulting from merits done, luxuriant with fresh vegetation and heavy with its profuse harvest, stands a famous monastery at Keragala. Do visit it." He does not fail to mention the adorable Wanarathne Thera, the chief incumbent of that Viharaya: "Nithi Wanarathna mahimi himi sanda pawathi" Departure Next the poet reserves 15 stanzas to describe the place of departure and its lord. Stanza 12 is melodious with a pleasing rhythm, full of meaningful analysis and composed with exciting alliteration. This is nonetheless hackneyed as evident below: "Gaya waddana purae siri sara bala monara" (Mayura Sandeshaya: 46) "Jayawaddanapura wara danu mithuruthuma" (Selalihini Sandeshaya: 7) "Jayawaddanapura wara me yae danu... mithura" (Gira Sandeshaya: 13) "Jayawaddanapura wara meyae me laka thura" (Hansa Sandeshaya: 12) The swan leaves Kotte or Jayawaddanapura, then ruled by Wiru Perakumba, the Eighth. The poet skilfully portrays elegant ladies of Jayawaddanapura in the following manner: "Nethininduwara wathinindu siri duru kerethi Githinindupurae suragana ruwa paradawathi Susinindu thunu pahasin satha gaeti kerethi Parasidu purangana ruwa kawuru pawasathi". "When the eyes of these beauties are close to Mahanel flowers, they outshine the blue tint of the flowers. Their faces outdo the residence of the moon. Their bodies undermine the grace of their celestial counterparts. They entice men by their sprightness. Whoever can properly depict their gracefulness? Next comes a description of the King of Kotte: "Sathara digathae yasa hara lamba purudu Nithora wajambi Siri Paeraekumba nirindu". "Having expanded his power in all four directions, ..... king Parakumba lives in overwhelming glory." The following stanza shows four noble qualities of a great ruler: "Sith nithiyen muni pudayata nama liyae, Sath gunayen satha sithae thosa ama liyae, Gath wikumen rupu nirindun dama liyae, Meth sililen mulu thediyatha thema liyae". "King Perakumba always venerated the Buddha, pleased the people with his good nature, defeated his opponents valiantly and showered all the world with his compassions." Route The route of the journey from Kotte to Keragala covered Konthagantota, Gurubewula, Gothatuwa, Welandagoda, Maskeliya, Kelaniya, Pamunuwa, Webada, Veliweriya, Henegama, Madelgasgama and Nakandapala. The swan is directed to a point in route thus: "Wanasaewule dena piya nada asa gene Mangathaewule haerae siti thopata sabandine Bawa awule duraelana mok puraya pene Gurubaewule sariyata maha wehera pene". "Dear friends, after your tiresome flight, take a rest listening to the sweet songs of wild fowls at Gurubaewula and you will descry the lofty dagaba (Kithsirimewan Kelaniya Dagaba) just like espying the state of Niruana which annihilates suffering". Here, the poet helps the courier with moral support and visual pleasure from religious ardour. The description of water sports in the Kelani river is a typical scene existing even today but it is enlivening" "Lelena nan dada waedae pura ahase Sitina pura anganan ganga depase Kelena lada liya gangaediya sithase Dakina thage netha sitha weyi sathose". "You will be delighted to see numerous flags flying high in the sky, towns women standing by the river and damsels water - sporting in the river." The poet poignantly evokes the sensual attraction of the sprightly bodies of bathing women glistening with water and their curvaceous features penetrating the wet cloths pressed against their skin. Their bodies are glittering like the waves of lighting eluding from a rain cloud. In the stanza below, the poet recaptures the sporting spree expertly by vivifying the glamour of the bathing scene with a hint of a man's romantic approach to a woman. The man's wife notices her husband's untoward conduct and sheds tears from afar: "Minisek diyae pina yeyi e therata Anganak diyae pina eyi me therata Paharak dunna saranin ohu sirasata Anekak aenduwa e sandehi durae sita." "A man is swimming away to the other bank. And a woman is swimming this way (from the opposite bank). That woman kicks him on the head. On seeing it, another woman cried from a distance." Water sporting is an enjoyable game. People who know the water currents and whirlpools well dive deep in the water, come up with handfuls of sand and show them to the onlookers. Moreover, they lash out the water with both hands making a big boom: "Diya mang diya gathi daenae gath aya nithi Paenae gang iwurin diyaehi gaemburaethi Indimin diya thulae durae gos ipilethi Diaybung diya kokila gasamin yethi." A ten-line stanza is composed in honour of Buwanekaba Thera, high priest at Kelaniya Maha Vihara, the hallowed place for promoting merit: "Pin keth wan me lakae - raja maha Kaelueni veherehi Buwaneka Biya Thera himi waejaembeyi nithora." "He was a celebrated elder preaching and following the teachings of the Buddha. He was well-versed in Betics and Rhetorics, too." Dancing bout After that, the poet recaptures a dancing bout in the Devale. The song being sung to the accompaniment of the thirty six musical notes sending the passionate people crazy is ambrosial like nectar on the ears of the listeners: "Karana sitha umathu janayan ragiya Nagana wena wena mae sathisak ragiya Wayana nadata ek kotae pawasana giya Asana sathun sawanathae amarasa giya." There are two deca-verselets in veneration of God Wibhishana. The former shows how Wibhishana earned his glory by aiding Rama warring against Ravana: "Ekasara kesara sara - eka sarini biyapath kaera Nada piyakara thepulen melesae saela kara." Most stanzas glorifying the ensuing forest scene have two rhymes in each line. stanza 126 has, however, a triple rhyme scheme: "Mhilol bingu sareya wana sareya, Gangulael waedasireya giri sireya, Pipi mal saputhureya wisi thureya, Wana kal banda kereya loba kereya." "Bees are fondly sucking the nectar of flowers in lakes. Brooks running down ravines shoot up frothy foams when clashing against rocks. Blossoms in full bloom on sapu-trees are a sight to see! And the mind gets infatuated on seeing the jungle looking like a lady. Alliteration, assonance and ambiguous phraseology here evoke a fantastically melodious and fast-moving effect." An artistic account of the women in the wilderness is found in this stanza: "Wuwana kamal gatha rana liya siri gatha Ada sanda nalalatha banda mal muthu latha Wiyowaya yuda patha aewidina nithi patha Daekae wanasara katha asa piya rasa katha." "There are women with lotus-like faces, bodies resembling golden creepers, foreheads curved as crescents, wearing pearl-strings and flowers who are loitering in the jungle seeking dionysiac play, eager to enter into a chat. So, why not enjoy yourself?" These libertine ladies prowling all over the forest with their swaying bodies invite the attention of pleasure-seekers. The sound effect displays a dancing rhythm. Once the swan goes past Vebada, Veliveriya and Madelagasgama, there stands Keragala, a flourishing village full of fruit trees like mangoes, rose-apples and plantains and profuse in pure water in the streams and channels flowing down the ravines: "Sara palayae amba damba ramba da wal pita, Mira jalayae aelae dolae kandu pitin bata, Naera lolayae wadawana dutu danan hata Kaera galayae waejaembena me lesin sita." Thereafter the courier reaches Padmawathi Pirivena Keragala. There it enjoys the morally inducing sight of monks studying "Mula Sikaha" and "Sikaha Walanda", books comprising, commandments for the ordained. Those monks hold celibacy in high esteem which is as immaculate as the white of a conch-shell. After a fairly long account of Keragala and Padmawathi Pirivena, the recipient, Rev. Wanarathana Thera is portrayed with a 10-line stanza: Dul siyapathpathul - nirindun mudun mal kala Namadu wana rathna mahimi himi sanduta." "Wanarathana Thera inspires respect from kings, surpasses all scholars in wisdom, resembles the celestial cow and the celestial tree in charity, speaks true words like nectar to all ears and expounds pali texts like a second commentator. Worship him." Thus graphic details of Wanarathana Thera are given in 16 stanzas. Finally the conveyance of message takes two 10-line stanzas. "Ana saka pathala nithi - kela suwahasak sakwala kota" Pirith kiya pin di sitha sathutu "Pawara Siri Sanga Bo - Siri Paerakum nirindu wetha Ayadina lesa selakara e yathi raduta." "Entreat Rev. Wanarathna Thera to call upon Gods Upulvan, Saman, Boksal, Skandha and Vibhisana to bestow their blessings on King Siri Sanga Bo Siri Perakum, to remove all barriers from his foes and to make him thrive as King of Ceylon for a thousand years. Thereafter the poet closes his poem with a thanksgiving to the courier thus: "Udahasa nowi duru maga gewamina gosini Adahasa me apa sidukala hasa rada risini Kadahasa wehesa nowa siya siya sahathosini Thadahasa was pawathu siri winda sithulesini." "Oh Noble Swan, without a grumble, you traversed such a long distance to fulfil Our wish willingly. May you live long and happily with your relatives!" Entailing the thanksgiving, the colophon reveals that Hansa Sandeshaya was composed by the Ven. Maithriya Mahanethra Prasada Mula, well-versed in languages like Sinhala, Pali and Sanskrit, who resided in Veedagama monastery in Raigama.

Konthaganthota Port.

This place,

 was established by Nissanka Alagakkonara in 1371 A.D.
When the Sacred Tooth Relic situated in Kotte Kingdom this place was mostly used by general public .
When King Seethawaka Rajasinghe acquired Kotte Kingdom chased out Portugeese troops through this place.
stated in Poem "Salalihini Sandeshaya" (Letter delivered by massenger bird called Salalihinya) by its author Ven. Sri Rahula.
 Prince "Sapumal" departed with troops to capture "Yapa Patuna".( Ancient Jaffna)
King 6th Parakramabahu utilized this place.

Kotte

Before the colonial rule in 1505 AD, there were two kingdoms in the western Sri Lanka, namely Sitawaka and Kotte. Sitawaka, one of the two ancient kingdoms was completely destroyed during the last several centuries. Even though the kingdom of Kotte was also neglected by the rulers since the beginning of 1500’s, some parts of the ancient capital can still be seen. Some parts of the protective wall of Kotte kingdom are still preserved and can be seen in the areas of Kotte Sri Parakumba Pirivena, Alakeshwara road and Angampitiya road. The remains of the wall in Angampitiya road are measured to be around 800 meters in length. The wall had been around 8 feet in width while the exact height is not known. But the archeologists assume that it had been around 7 feet in height. The wall was constructed to protect the inner city of Kotte. The inner city and the protective wall were surrounded by the outer city.  There had been two ditches on either side of the wall with full of water and outer ditch was teemed with crocodiles. Inner ditch can still be seen in the Alakeshawara Road and outer ditch was located in the area of Sirikotha.

The king’s palace

The king’s palace of the kingdom was located in the inner city and it was consisting of 5 floors. The palace was completely destroyed by the colonial rulers of the island. Nothing of the palace can be seen today.

Dalada Maligawa

Dalada Maligawa had been a building with three stories and it was built to preserve the tooth relic of Buddha. Dalada Maligawa was also located in the inner city of Kotte, next to the king’s palace. According to one of the ancient chronicles, Salalihini Sandeshaya, the pinnacle of the temple was constructed of gold. Ven. Sri Rahula Thera had been the caretaker of the temple and the tooth relic. Therefore the Sri Sangaraja monastery complex had been in the vicinity of Dalada Maligawa. Today the grave yard occupies the whole region where these important buildings were built in the past.

The monument of Alakeshwara

Alakeshwara road is located after the archeological museum of Kotte on the Navinna-Kotte main road.  After around one kilometer from the main road on the Alakeshwara road is the Alakeshwara monument. There are three constructions at the site and two of them are identified as parts of the ancient construction. It is believed that it had been the location of the Palace of prominent family of Alakeshwara.

Vehera Kanda Baddagana

Vehera Kanda was a well known area located in the Kotte kingdom. Today Veherakanda is located in Baddagana. Veherakanda is believed to be the place, where the queen of King Parakramabahu of Kotte was cremated. There are two semi-circular (dome shaped) construction at the site. Both constructions are 14 feet in height while the diameter is 30 feet. They are built on a rectangular platform with the size of 97’ * 58’. The platform is more than 5 feet in height. The first excavation of the site was conducted by the archeological department of Sri Lanka in 1949, but no artifacts with historical or religious importance was discovered.

Ganadevi Kovila

The temple is dedicated to the Hindu deity of Ganesh. The historical name of the temple is believed to be Dimutta and it is located on the Kotte-Beddagana main road. According to the historical information the temple was constructed by the king of Parakramabu of Kotte.

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