Don crafts historical novel

The 'Don' in this instance is Prof. Chandrasiri Palliyaguru.

The 'Historical novel' referred to here is, his 'Epura Rajayu Aya'. (She who reigned in that city).

Prior to delving into the don's work of fiction, I recognize a logical aptness to speak a word or two about the author himself. Prof. Chandrasiri Palliyaguru, has achieved a high profile presence, in Sri Lanka's on-going discourse, centering upon arts, culture and literature.

The array of works he has produced is distinguished by a surprising thematic variety. He has penned children's stories, and Travel Records.

Some of his books are about aspects of cinema and social processes. Translations too figure in his repertoire.

All this has contributed substantially to enable him to project a somewhat formidable image. In spite of this plump and well-nourished reputation, he maintains a slim and slender ego. A fetching sense of humility is this Don's perpetual hallmark.

As for me, I made friends with him, under dramatic and exceptionally memorable circumstances, at one of the pioneering film-seminars held in Sri Lanka. This was about thirty-five years ago. But, it is an altogether different story.

The Historical Novel, that is being looked at, is his debut in long - fiction. Before this he has written two original works of short-fiction. The historical novel is an immensely popular class of literature. Sir Walter Scott, who is credited as the inventor of the historical novel, stirred a deep interest in his readers, about the by-gone ages, in which he set his stories.

Writing a responsible historical novel, is an exacting ordeal. The authenticating detail of the relevant era, has to be assiduously culled. On the other hand, a historical novelist, without a conscience could give free rein to his untramelled imagination, and could conjure up any place, person or situation that has nothing to do with his chosen historical period. This way, he can build on the reader's ignorance of that specific era.

For his historical fiction, author Palliyaguru has opted to tread an arduous path. The evolution of Pandukabaya, the reign of Hero King Dutugemunu or for that matter, the days of King Devanampiyatissa would have yielded pulsating and popular subject - matter for his historical novel. Instead, in an inspired stroke, he preferred what could be the most scandal-drenched chapter in the long history of Sri Lankan monarchy.

The brief moment, that the present novel focuses upon, extends over the 19 years, from 3 BC to 16AD.

When the reader immerses himself in the novel, the cadenced prose of this work overwhelms him. The author composes his text with utmost care. Words, phrases and the images of the novel, emerge from an exceptional creativity. The pages unambiguously indicate, that the present novelist is heads and shoulders above the ordinary practitioners of the art of writing.

Even before a reader is propelled onwards by the progress of the story-line, the compelling style of writing keeps him totally concentrated.

In a deft display of technique, the author never identifies the main character of the story by her exact name. The individuals always referred to by the pro-noun "She". But it is starkly clear that the person in question is none other than Anula, the notorious femmefatale. (This is how one would describe her, if one were to go along with Mahawamsa).

Mahawamsa, (The Great Chronicle of Sri Lankan History) summarily dismisses Anula and her days as loathsome.

In chapter 34, Mahawamsa records that Coranaga - Naga the Thief - characterized as 'this fool', was poisoned by his consort, Anula. Tissa succeeds Coranaga. Anula becomes his consort. Enamoured of the palace guard Siva, seductress Anula poisons Tissa. The palace guard reigns for one year and two months and is poisoned by Anula. Her next lover is Vatuka the Tamil carpenter (Vadu). His reign too extends over one year and two months. Falling in love with the palace wood-carrier Anula gets rid of Vatuka, through the same process, and places one wood-carrier on the throne. He lasts for one year and one month. He is done in by Anula, who is now 'enslaved by passion' for the Damila brahman Niliya, the palace priest. Niliya's reign is brief just six months. Compelled perhaps by a sense of inadequacy, even after chronicling all these infamous and tragic love episodes of Anula, Mahawamsa parenthetically records, that Anula took her pleasure at will, with thirty-two palace guards.

Once she terminated Niliya with poison, Anula reigned, on her own, for four months, until Kutakanna Tissa proved her nemesis and slew her.

Author Palliyaguru's Novel, set in this historical background, is, in effect, a Tale of Two Cities, pivoting round the erotic hegemony of formidable Anula. The two cities, that figure prominently in the novel are Magama in the deep South and Anuradhapura, the state capital.

Author Chandrasiri Palliyaguru deserves, lavish praise for the intricate structuring of the story-line and for the plotting of the progress of the narration within the limits imposed by historical traditions. The authors inventiveness is fertile. His creative re-creation of styles of life that would have been in vogue about 2036 years ago, is admirable.

The story is narrated through the first person - Singular view-point of the protagonist Sirinaga. He was born during the reign of King Mahaculimaha Tissa. Sirinaga's birth-place is Mahagama,in the neighbourhood of Situl Pawwa. His father, Kapila was a merchant leader, in this ancient Aryan settlement.

According to the story, Sirinaga, meets 'Her' at his father's residence, when she visits him, with her husband Coranaga. (Mahawamsa insists on describing him as Coranaga-Naga the thief. But, the author settles for Mahanaga - Naga the Great.)

At the first meeting itself, she takes a liking for Sirinaga and has a night tryst with adolescent poet Sirinaga, in his bed-chamber.

Eventually Sirinaga migrates to Anuradhapura as Her Protege, to further his education and to refine social graces.

From this point on, the story moves on to a world of intrigue, plot and counter-plot, erotic encounters, assassinations and above all secret love affairs.

Before long, in the capital city, Sirinaga is absorbed body and soul, by the floating world of the urban playboys. The silken thread that runs through this urban routine is his frequent meetings (erotic encounters, rather), with the all-important "Her".

The author reveals, the inner workings of her personality, through what quite often says. In most occasions, she addresses this newcomer from the deep south as 'The Innocent One'. This may, at least to a certain extent, explain her notoriety as an insatiable nymphomaniac.

As the story matures, it reflects his burgeoning affection, bordering on passionate love, for her. The events progress headlong, from an amorous familiarity to a soul torturing love affair.

As a historical novel, the attention is focused to a very great extent on the fluctuating fortunes of her erotic-life.

The novel seems to be fuelled by a deep sense of mission. The author is quite evidently keen to wage a crusade against the injustice done to her by formal history and folk communications.

At one point in the story, the author gets her to talk with feeling about love frustrations she suffers.

As an exquisitely beautiful woman, with a robust passion, her frustration is not only psychological. It has very much to do with the sexual side of her life as well. This perhaps drove her to seek erotic solace in lusty sexual encounters. Most of her poisoned lovers are from brawny classes - carpenters wood-carriers, palace guards.

But, as the author implies she needed, above all an inner tranquillity to set off all these temporary involvements. The author attempts historical sleuthings too. He is fully convinced that she did not resort to the killing of those men.

The question that keeps on nagging at his conscience is 'Who then is the culprit?'

He seems to imply, that the real assassin could be one of her passionate admirers, who resented her lovers from the lower depths.

In a spirited post-script Sirinaga pleads that she deserves to be understood by history.

It could very well be, that the fictitious Sirinaga was the only person she really loved.

Author Chandrasiri Palliyaguru's Novel, Epura Rawayu Aya" (she who reigned in that city) is an adornment to the field of Sri Lankan fiction. It will remain an all-time high achievement in the Historical Novel category in Sinhala.