The multifaceted gem of Munidasa Cumaratunga

The 64th death anniversary of scholar Munidasa Cumaratunga falls today March 2.

By K. A. I. Kalyanaratne

Since the demise of Munidasa Cumaratunga, literati of the country have been, thus far, commemorating the late scholar with constant regularity, year in year out, and even during unsettled socio-political situations in the country its continuity had not been disrupted. In this sense, the late scholar stands as a beacon of light, shedding light on all important facets of Sinhala literature.

Whether it be an exposition, a review, criticism, poetry, classical literature, grammar, or linguistics, creative writing, usage of idioms and writing-styles, Cumaratunga's works have been oft-quoted, and his points of view have received highest consideration, and recognition. Any serious treatise on Sinhala literature and language, would otherwise, create a lacuna in such works. So much so that his works, and views have been so impacting.

In this backdrop the writer thought it apt to concentrate on one specific work of the late scholar, namely, the Piyasamara (Remembering Father), and more importantly, to view it from a different perspective. The objective of the endeavour is to open a door that had hitherto been shut to the contemporary readers, and to apprise them of one of the real literary gems that need to be identified, read, appreciated, admired, and taken cognizance of, for self-enrichment.

Fortunately, Visidunu Prakashakayo Private Limited has in recent years rendered a yeoman service to our society by re-publishing most of the works of Munidasa Cumaratunga, coupled with the reviews of contemporary scholars. One such publication is the late scholar's Piyasamara. The publication has been enriched by reviews of Professor P. B. Meegaskumbura, and scholars of repute, namely, Gunadasa Amarasekara and Shri Nath Ganewatta.

Gunadasa Amarasekara in a recent article on "Cumaratunga Munidasa - the Poet" (Visidunu Vimasuma, Visidunu Publication, 2004:411-418), says,

"I can realize one being amazed to hear when I say that from among contemporary poetic works I get real poetic taste from the poems of Cumaratunga, and more specifically from the poems of the Piyasamara. Only a handful reckon Cumaratunga as a poet. For contemporary youth he was a pundit who clung to a distasteful grammar".

In the same treatise, Gunadasa Amarasekara, a mellowed literary figure, comments that from among the verses of the Piyasamara he could recite by-heart, the following, which richly display Cumaratunga's poetic prowess and his poetic language.

Where shall I begin?

It will take a long, long time

To tell of you, as stored up in my mind,

A thousand thoughts come flooding in

How am I to marshal them?

Impossible! (verse 3)

* * *

Pointing at the stars, the sky, the clouds,

Moon, shade, trees and creepers,

The tales you told me quietly

To give me Wisdom

Shaped my life in this fashion. (verse 9)

It appears that Cumaratunga's father was a veteran in child psychology as well. He was a renowned physician. Children, by and large, are mesmerized and fascinated by nature. For them the stars, the sky, the clouds, moon, shade, trees and creepers, had tales that had descend through many generations. They had, in fact, robbed and glued the minds of children. Their yearning for 'nature-study' is insatiable. It was this tradition that Cumaratunga fervently followed in his creative works. He was also an intimate observer of 'Mother-Nature'. He was also minutely accurate when was describing nature. His power of observation had been so intense. The nursery rhymes (Kumara Gee), composed by him on themes like 'the rain-cloud', 'morning', 'the rose plant', 'Tick-tikiya - the clock', 'Foowers talk' (mal bas), and 'The huge animal - the elephant", are continuation of the same tradition, in a more rich and vibrant manner, when he became a father. How impacting, and influential had been the father on the sun!

All things on earth are brittle,

Transient and suffering,

To us indeed it was not different,

The fault is that we have a mind

To recall the past, and to repent. (verse 104)

The above manifests how economically the words have been used, putting even the translator into embarrassment. I firmly believe that through the Piyasamara Cumaratunga was experimenting a poetic language, poetic style, and above all, a poetic mode hitherto not attempted by any predecessor; the mode being to compose a poem.

(i) on a theme constructed on a few incidents of the poet's personal life,

(ii) adopting a language of brevity; and compressed meanings (brevity being the hallmark of his compositions),

(iii) with calmed-emotions, serenity, and tranquillity, born out of mellowness, maturity and experience and

(iv) sans exaggeration, traditional poetic embellishments, and distracting descriptive poetic techniques of yesteryear.

A majority of critics and reviewers were/are toying with the idea that if a poem is based on truth and reality, it will be short of a true poem. In such a context the writer dispels the unfounded imagination and wishful thinking of Martin Wickramasinghe, that the Piyasamara is ideal as a sketch for an epic-poem. Piyasamara, is indeed, a unique contribution to Sinhala literature that demands a more intimate and insightful study. Cumaratunga creates/performs a miracle, similar to the one performed by Gurulugomi in Dharmapradeepikava (describing Ditthamangalika in Sulukalingudavata), when he in a verse of four lines creates a mental picture of his father's character/personality in a nutshell. This is a feat only a poet of his competence could perform.

The look in your eyes

Prevented what was improper

And pointed out what was proper.

Your words were few, being meaningful,

With equanimity you treated

Both friend and foe.

Father, when will you enliven me again. (Verse 1)

Isn't this verse apt to impress upon us what was stated in (i) to (v) above. What more illustrations are necessary to drive home the intentions of composing the poem.

Piyasamara in a different perspective

Piyasamara is not only meant for the scholar. Apart from its literary value, it has its 'mundane' values as well. It has lessons for children, parents, as well as for the society. It also has a futuristic focus, which makes one to think, think deep, and apprehend reality. Verse 104, quoted above is a case in point. We rejoice or lament thinking of our past. But we forget the impermanency of things, and the fact that it is mostly the humans who have a mind to recall the past, and to repent.

Till recent times parents found time to be with their children, to glue the unity of the family, and also to give them knowledge over and above what the school would impart. Alas, this tradition is no more, and what a disaster that has befallen the society. It is only a limited time children spend in their schools. Therefore, the major responsibility of building a sound personality lies with the parents. Cumaratunga reminisces how the father "at the going down of the sun, allowing (him) not to sleep, taking (him) by the hand ... would walk the compound long, several times, telling tales". I still recall, My eyes they open" (Verse 8).

At the going down of the sun

Allowing me not to sleep

Taking me by the hand

You would walk the compound long

Several times, telling tales

I still recall, My eyes they open. (Verse 8)

The father's relationship with the son had gone beyond these limits. About his ancestors the father narrated diverse anecdotes, to instill in him uprightness. When they come back to his mind, Cumaratunga says, "Father, my heart heaps up! I cannot check". He also reminisces how the father related Buddhist stories with such relish. Cumaratunga says that "they made me learn of the Buddha, in my reading and in sermons later (Verse 14).

Who will relate Buddhist stories

To me again with such relish?

They made me learn of the Buddha

In my reading and in sermons later (Verse 14)

In Verse 15 the poet also says how the vivid tales that were told by the father of persons who observed good habits and sound behaviour and let exemplary lives, provided substance for the stories which became a means of his livelihood, when he wrote them later. Cumaratunga's poem "Sirimath", the well-nurtured child, could, indeed, be a reminiscence of what the father had described as good habits, and sound behaviour, in his narrations.

To me you told vivid tales

Of persons who observed

Good habits and sound behaviour,

And led exemplary lives

I wrote these stories now

Selling them I earn my penny. (Verse 15)

Cumaratunga refrained from uttering empty words, and this habit protected him well. It had been an advice of the father to utter only meaningful words. These few instances succinctly establish how a father moulded his son to become an exemplary personality. The father was able to read his son's strengths and his future, as he was closely monitoring the son's character and personality. This is an aspect parents have probably unknowingly neglected. It is parental responsibility to be closely watchful of their children, with a view to eliminate their weaknesses, enhance their strengths, build new strengths, as well as inculcate virtues in them. It is then only one can produce a strong, useful and a virtuous person into society.

In the words of the poet, young Cumaratunga could remember how his father observed sil on poya days, and how he behaved as a disciplined personality. "Wearing pure white, symbolizing the purity of (your) mind, you would pace the road with your eyes fixed on the path you trod". The poet also refers to what the people would say looking at his father, "A monk though not in robe".

On poya days observing sil

You would pace the road with your eyes

Fixed on the path you trod

Wearing pure white, symbolizing

The purity of your mind,

People said, 'A monk though not in robe'. (Verse 40)

Children imitate their closest associates, and in this context, fathers become their role-models. Hence, it is very necessary that parents should be exemplary both in their words and deeds. In this verse he refers to an incident where:

One person left his extensive land

For protection in your custody

You heard him ailing,

Went there in haste

And transferred it by deed

Who could describe the moral observed. (Verse 57)

The poet cites in Verse 56 the comments of a litigant who had instituted legal action, "Even if murdered no falsehood will he (father) utter". The poet continues saying that "By virtue of your truthfulness you lost a land. I still hear the elders praise you for the stand you took, in this matter".

'Even if murdered no falsehood will be uttered'

Said a litigant instituting action,

By virtue of your truthfulness

You lost a land

I still hear the elders praise you

For the stand you took, in this matter. (Verse 56)

Cumaratunga does not blindly praise the virtues of the father.

Although his father had caused to build a temple in the village, for the monks who gained his favour, he had been carried away by the monks' seeming piety. (Verse 63) How subtly he hints that in this instance his father was, in fact, swayed by the seeming piety (Vese 63) How subtly he hints that in this instance his father was, in fact, swayed by the seeming piety of the priests! This instance also proves how critically the poet narrates the events. He has not been blindly praising his father.

For the monks who gained your favour

By their seeming piety

You caused the erection of a temple new

It only led to a rift in the village

No other result

Thus even piety has its faults. (Verse 63)

Apart from the literary value, the Piyasamara has its social ramifications as well. However, unlike in didactic poems Cumaratunga never wished to be a social reformer/purifier in the traditional sense. He has followed a more subtle and gentle way of inculcating virtues in the minds of the reader. The method followed is observation and deduction; a more logical and convincing way of uplifting the reader's mind.

Although apparently the main theme of the Piyasamara seems to be the revelation of the father's character through his son, in fact, the work is full of profundities concerning human behaviour. It is in this sense that the Piyasamara has been referred to as a 'multifaceted gem'.

The writer, Manager (Training), Postgraduate Institute of Management, Member, Central Committee, Hela Havula is greatly indebted to scholar P. N. Cumaranatunga, for the yeoman service he rendered by rendering the Piyasamara into English. Indeed, his task has been a profoundly difficult one. The English version of the Piyasamara was published by the Subanda Havula, in May 1984.