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| Sunday, 2 October 2005 |
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State Sahithya Awards 2005 for Tamil poetry by Thava Sajitharan This year's State Sahithya Award for Tamil poetry has been granted to two books. 'Oviyam Varayatha Thoorihai (Brush that does not draw paintings)' by Anar - a Tamil Islamic poetess and 'Pinam Seiyum Thesam (Corpse Making Nation)' by Ilaya Abdullah - a Tamil Islamic poet are the ones that share the award. My intention here is to give a brief introduction to these two books and the poets. Ilaya Abdullah who started his writing career in 1985 has written many short stories as well as poems. In his award winning poetry compilation, he attempts to explore the deep-rooted national question of our country. It is apparent that he procures the source of inspiration for his poetry from what is happening around him. Even though Ilaya Abdullah declares himself as a 'mere human being without an identity of belonging to any group', he is not hesitant to speak on behalf of the Muslim community from which he claims to come from. He, in his foreword, severely criticises and vehemently raises his voice against people killing each other. In his view, eviction of Muslims from the North is by no means pardonable and he goes on to describe it as a 'historical betrayal' caused to the Muslims in the island.As a person who has travelled to various parts of the country and lived in London for many years, he has utilised his poetry effectively to convey his experiences. Having lived in a country where everyone is compelled to be obsessed by worries, woes and perhaps lingering fear, Abdullah has been able to transfer these emotions into poetry. As for Anar, her 'Brush that does not draw paintings' has succeeded in presenting exquisite poetry. Most of her poems depict the plight of womanhood immured by social restrictions and chauvinism through vivid images such as 'unheard song waning away inside a flute' and 'waves rushing to escape from encroachment setting in respite after bashing the rocks'. There runs an echo of wistful yearning in Anar's poems blooming from the heartache of being deprived of entitled privileges. Gloomy lines like "people who were unaware of the truth, looked on the painting crucified by surrounding frames and called it an 'animate art'" abound in 'Oviyam Varayatha Thoorihai'. Anar makes her poems free from obscurity by choosing a lucid and smart language. Her vibrant wordings bravely defy the arrogant constraints imposed upon women. She too is against Muslims being subjected to oppression and does not fail to offer a voice for such people through her poems. And it is significant that Anar has accomplished this milestone at the age of 29. ############### Meepura Keerthidharayo, pride of Negombo Author-Bernard Sri Kantha "Meepura Kirthidharayo", the latest work of Bernard Sri Kantha, the well-known writer from Negombo, is an endeavour that makes his countrymen proud of their birthplace. it also provides a wealth of information that would be appreciated by others in Sri Lanka as well. The book deals with 20 colourful personalities from Negombo who have shined in various spheres and brought fame to the place. Negombo which is called "Little Rome" with about 90% Catholics is being honoured as the place that produced the first and so far the only Cardinal in Sri Lanka. The book begins with a comprehensive account of Thomas Cardinal Cooray. The book then presents the biographies of other Catholic dignitaries from Negombo, former Archbishop Nicholas Marcus Fernando, Bishop Edmund J. Fernando and Bishop Anthony de Saram. It reveals some unknown facts about them. The Buddhists in Sri Lanka would welcome the articles on two great Theras from Negombo - Ven. Sri Medankara and Ven. Meegomuwe Jinawansa who have radiated the light of Dhamma in "Little Rome". The accounts on them adorn the book. The outstanding services rendered to Negombo in the past by greats like Gate Mudliyar A. E. Rajapakse, Mudliyar T. David Mendis, A. N. D. A. Abeysinghe and H. de Z. Siriwardena are well presented in the book. The book discloses that a colossus in the field of journalism - D. F. Kariyakaravana and the renowned cartoonist Camillus Perera are from Negombo. It gives a true assessment of their achievements in their respective fields. Although Negombo is a Catholic stronghold it has produced some pioneer Leftist leaders and independent thinkers. The reader would be enlightened on this aspect when you read the accounts on Dr. Hector Fernando, Santiago Fernando and W. T. A. Leslie Fernando. In the articles on Thomas Cardinal Cooray and Warnakulasuriya Santiago Fernando, you find that both were bright and outstanding students who were contemporaries in a school in Negombo. Cardinal Cooray entered the Seminary, was ordained a priest, obtained his PHD, became the Archbishop and ended up as a Cardinal. Santiago Fernando became a teacher, the highest position that could be aspired at that time by a Catholic layman of his class. Later he turned out to be a rebel and revolutionary in the Catholic Church but made his mark as a courageous and indomitable fighter for the oppressed and underprivileged. The account of Santiago Fernando is a translation of an English article by the veteran leftist writer Basil de Silva. The author has got W. A. Abeysinghe to write the article on W. T. A. Leslie Fernando, former High Court Judge and man of many parts. The fascinating article by W. A. Abeysinghe endorses that Leslie Fernando, son of Santiago Fernando is a worthy son of an illustrious father. The book contains the biographies of other outstanding men of achievement from Negombo like N. Denzil Fernando, N. S. Godamanne, Mohammed Thaha, Jude Muttiah and Clifford Murray. The knowledge of this writer about Negombo may be lesser than that of the author who is born and bred in Negombo. Nevertheless I see the commission of the biography of the great patriot Walisinghe Harischandra is a drawback in the book. When one reads the passage in page 48 of the book "The renowned Buddhist leader and patriot Walisinghe Harischandra was born in Thimbirigaskatuwa, Negombo. A leading school in Negombo, Harischandra Vidyalaya is named after him", one wonders why his biography is not included. In a future edition, the book should be revised to include an article on Walisinghe Harischandra to cover the lapse and put things right. The large number of photographs in the book depicting various episodes of the great personalities enhance its value. The book printed in glossy paper with an attractive cover has a good finish as a whole. ############ Informative inquiry of Sri Lankan English scribes Title: Sri Lankan English Literature and the Sri Lankan People 1917-2003 Author: D.C.R.A Goonetilleke Publisher: Vijitha Yapa Publications Price: Rs. 750.00 This series of in-depth studies of varied aspects of Sri Lankan Literature in English results in a richly detailed presentation of the field from its beginnings to the present day. The canvas is crowded with a host of writers whose work reflects the contributory forces, historical and social, which shape their output. The history of Sri Lankan English Literature is viewed in the context of the history of the Sri Lankan people and such major events as Independence, the social revolution of 1956, the Insurgencies of 1971 and 1988-89, and the ethnic conflict as recorded in the literature are comprehensively examined. Literature is considered here in its widest sense as it appears in newspapers and journals as well as in books. While the central focus is on literature after Independence, the literature from 1917 onwards is analyzed to provide a complete understanding of the subject. Professor Goonetilleke's inquiry is informative and penetrating. It is meant for general readers who wish to be acquainted with the English literary scene in Sri Lanka as well as those who take a specialized interest in the field. ############## Rhetorics of Jataka stories by Dr. Senarath Tennakoon The Kurunegala Period in Sinhala literature covers the period between 1293-1347 B.C. Though the period was short when compared with the Anuradhapura or the Pollonnaruva periods respectively, it was a period of considerable literal activity. A literate society was in existence. The king who ruled over during this era was none other than king Panditha Parakkramabahu, the second who was greatly interested in literary works. Pansiya Panas Jatakaya, Ummanga Jathakaya, Sinhala Bodhiwansaya, Dalada Siratha, Dalada Pujawaliya, Anagatha Wansaya, Dambadeni Asna and Sada Kiduru Da Kava are the main literary works during this period. Except for Sada Kiduru Da Kava which is a book in verse the others are written in prose. The outstanding book among all these is the Pansiya Panas Jataka Potha. It has been compiled not by a single author. It is believed that a committee of literary experts comprising, two ministers of the king Pandita Parakkrama Bahu (Minister Parakkrama and Minister Weerasinghe Prathiraja), Lankan Buddhist priests spearheaded by Rev Medankara and a group of Indian high priests, under the guidance of the king himself were responsible for the compilation of this great literary work. Actually this massive task was completed in the early years of the Kandyan Period. The learned buddhist high priest, Tibbutuvave Sri Siddartha's name is associated with the compilation of the final chapter of the Jataka Potha during the reign of the Kandyan king, Kirthi Sri Rajasingha. Although the Jataka Potha was compiled by drawing the resource material from the Pali Jatakattha Katha, of the Indian society it is not a word to word translation of the Indian text itself. The translators have been careful and insightful to follow a variety of styles employing familiar simile, metaphor, idiom and proverbs that are acceptable and are easily comprehensible to the Sinhala people of this country. The style of Jataka Potha is in contrast with other works during the Kurunegala period. For instance, the Dalada Siritha is profusely in alliteration, in Dalada Pujawaliya it is largely sound rheotrics; Sinhala Bodhiwansaya is teeming with high sounding words and Ummanga Jatakaya contains quite a few Tamil words too. But the Jataka Potha, may be because it is a collective work, is not a direct translation of the original Pali text but could be looked upon as an efficient and flexible adaptation of the Pali text. However, it is more eleborative and exploratory in the sense that the composers have been aware of the need for presenting it to be read by the local Sinhala people; largely the simple and humble local villagers of that time. As such, some words and expressions in the Pali text have been explained or expressed in local terms, so that the meaning and the context have not become distorted, thus avoiding confusion and misunderstanding. The narrative style as well as the preaching style of a Buddhist priest have been retained in most Jataka stories. In the Pali text there is a unique or a uniform format in the presentation of the Jataka story. This format covered the current issue (paccupana), the previous story (atita vattu), the Jataka story (jataka gatha-the concerned stanza), the meaning of the stanza (vaiyakarana) and the exposition (samodhanaya-establishing the linkages between the past and the present events and characters). But in the Sinhala adaptation all these steps are not observed. The Pali (gathas (stanzas) have been reduced to the minimum and the detailed explanation of the meaning of these stanzas is also not observed. The characters and events described in almost every story are down to earth and the events are intimately related to the vicissitude of human existence. Martin Wickramasinghe has observed that these stories are penetrating into human life. For instance in the Nandivisala Jataka, the bull exemplifies the fact that by gentle and soft speech, great deeds could be achieved. In Ummanga Jataka, Pandit Mahausada is portrayed as one with rare qualities of wisdom and insight. In Chullhansa Jataka, we are reminded of the fact that even an evil person could have some good qualities when we find that the Vadda hunter releases the entrapped swan king on hearing the pleadings of the swan king's closest disciple. Further this disciple chooses to sacrifice its life in order to save its king. The swan king happened to be the Bodhisatva and the other swan was Ananda, the Buddha's chief disciple. Although the Mahasara Jataka carries a hilarious tale, it ends in wisdom. Not only does it end in wisdom, it also attempts to reveal the nature of women in general, exposing the behavioural pattern of a she-monkey who stole the queen's Mahasara ornament. The greatness of the Buddha as a psychoanalyst and teacher is illustrated in Chullasetti Jataka where the priest Chullapantaka who was unable to concentrate and learn a stanza even after four long months or learning, was psychologically managed by introducing him to a simple and new way of concentration. In India, there have been assembly halls known as "Santhagarasala" where the people gathered to listen to recitals from Mahabaratha, and Ramayana. In Sri Lanka too especially in the rural areas there have been Banamadu in every Buddhist temple where Buddhist priests used to deliver Dhamma sermons. In Dhamma sermons there are always references made to Jataka stories for explicit and implicit clarifications of life issues. Even today, we observe this style of delivering Dhamma sermons even over the electronic media. The rhetoric or the persuasive communication presented in the Jataka stories is essentially oral communication. It comprises of three key components. Firstly the current situation is presented and examined. The second component is retrospective where the Buddha draws an example or a similar situation from one of his previous births. Finally these two events are compared, examined and positioned with a wiew to educate and enlighten the listeners. In the Buddha's approach towards solving human issues and problems one could observe some principles such as narrative rationality (reasoning out for internal and external consistency), perception (sensory process of constructing ideas), point of view (psychological process whereby the audience makes sense of a narrative) reasoning (the process of moving from one idea to another in the process of critical thinking) and rhetoric argument formation in a rhetoric situation. Since the introduction of Buddhism to this country, Jataka stories have become popular among the masses. These stories have become a means of educating the people, making them faithful citizens equipped with qualities of equanimous, just and honourable in their livelihood, improving their character and making them more and more sagacious. The Jataka stories have been used as resource matter for several classical books of literature. Amawatura, Buthsarana, Ummanga Jatakaya and Guttilaya are some such works. Even the modern writers have imbibed the essence of some Jataka stories in recreating novels, stories, plays and cinema. The Jataka stories are excusitely and extensively displayed among the wall paintings and sculptural works of Buddhist temples. A tradition prevails to safeguard and appreciate Jataka stories in Sri Lanka. Even while the society is on the move towards post modernism it is heartening to observe the Jataka stories have become signifiers of decent and morally ethical lifestyles. The Vesak panadol is such a powerful signifier and its essential feature is that every vesak pandol carries a Jataka story amidst the dazzling colourful electric decorations. References 1. Pansiya Panas Jataka Potha (1995) Buddhist Cultural Centre. 2. Gandara Sumanadha High Priest (1999) Jataka Katha, Suriya Publishers. 3. Educational Publication Department (1995) Puratana Gadya Sangrahaya, 4. Jodi R. Cohen (1998). Communication Criticism, SAGE Publications, USA. 5. Bellanwila Wimalaratne Thera (Buddhist Research Society, Singapore). |
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