96 JOURNAL, R.A.S. (CEYLON) [VOL. XVIII. 
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Timirayata pehedimaya dipamen Eluwadana wrata terunwa 
sihiparikshagena nena 
Pemetituta pera pevati puwata dena savandi mahatwA man- 
priya wadawana 
Elupadata pratama kit Vidagama Totagamada kaviswara pa- 
bandavii wadanena 
Natakayata serasu kiviragayen Si^hawalli nataresta vanami 
sabe betiyena 
Having heard with great delight and loving satisfaction the venerable 
story, and understanding it as clearly as if a lighted lamp had dispelled 
darkness, I sing with pleasure in public the story of Sinhawalli, 
dramatized in the language of Widagama and Totagamuwe, the great 
poets renowned for their knowledge of Elu verses. 
As regards Ehelapola Nadagama, if the author had not 
been so hopelessly ignorant and uneducated he would have 
been in a position to know the incidents connected with 
the deposition of the last Kandyan King. Sri Wikrama 
Raja Sinha is depicted in the work as a cruel and inhuman 
monarch hated by the Sinhalese. The one note that is struck 
throughout the whole work is that the king, being a Dra vi- 
dian Waduga, the Sinhalese were disgraced by allowing him 
to ascend the throne ; he is continually mentioned as the 
Waduga foreigner. The imposition of new taxes and the 
undertaking of large and useless public works are attributed 
to the king as having specially pressed on the people. The 
drama brings all incidents — the capture of the Kandyan 
King, the banishment of Ehelapola Adigar, and the rising 
of the people under the Chiefs Madugalle and Keppetipola — 
together as events succeeding each other within a few days. 
There are a few other nddagam works. The Kusa Nada- 
gama and Wessantara Nadagama are based on the two 
familiar Jataka stories. They display a certain amount of 
literary skill in their composition. A nddagam play is not 
divided into acts and scenes, and commences with a prologue. 
