Re-reading G. B. Senanayake:

Medha -A novel that could mark Sri Lanka on the international literary map

By Ranga CHANDRARATHNE

There is an ongoing debate in different media both in Sinahala and English about the form, the content, and the language of contemporary Sinhala novel. Some of the aspects of this debate are focussed around new and emerging literary theories such as deconstruction and post modernism. Therefore, it is pertinent to examine some of the early Sinhalese novels and to re-read them to gain further insights into the debates on shape and form of the contemporary Sinhalese novel.

G.B Senanayake

Although genre of novel has been defined in diverse terms, for me, the following definition stands out among them; “Fictional prose narrative of considerable length and some complexity that deals imaginatively with human experience through a connected sequence of events involving a group of persons in a specific setting.”

The part of the definition ‘specific setting’ and understandably at a specific time, albeit limit the novel for a specific period in which it is written. However, an important aspect of any good novel is, its relevance to mankind and depiction on universal values such as suffering, love, hatred, jealousy, and the subtleties and complexities associated with life in general.

Early Sinhalese novel

Examining the early phase of the evolution of the Sinhalese novel, it is obvious that the dominant discourse was not the universal appeal or to explore the complexities of human life but to employ novel as a propaganda tool or provide some moral value emphasising how to lead a good life. Although the Sinhalese fiction was pioneered by group of writers such as Reverend Issac de Silva (1844-1907), Bentota Albert de Silva (1974-1920) and M.C.F Perera (1879-1946), it was Piyadasa Sirisena (1875-1946) who popularised the genre. However, Piyadasa Sirisena’s intention was not to explore life or human condition but to generate a kind of a cultural nationalism.

Prof. Wimal Dissanayake in his ‘Sinhala novel and Public Sphere’ writes ; “The cultural subjects that Piyadasa Sirisena envisaged were subjects of resistance who were antagonistic to alien ways of life. Their subject formation was determined by antipathy to colonial modernity and loyalty to the traditional Sinhala culture.”

However, the position of G.B Senanayake in Sinhalese literature both as a novelist and poet is unique. It is unknown how many of his works which have potential to establish Sri Lanka on the international literary map have been translated into English. His rich cannon like a gold mine which could yield invaluable benefits by providing insights into the craft of the novel. In my view, among his novels, one which has universal appeal and relevance most is the novel titled Medha.

Although Medha has a plot, the novel stands out for the masterly representation of social realities and human condition which supersedes the primary sense generated by the narrative prose. G.B Senanayake once said, “Most of my writings explore complex mental conditions. They cannot be paraphrased like idioms such as ‘think before jump’, ‘fast and loose’. Reader should understand them only through reading them.”

However, any good novel has the potential of going beyond this definition. The zest of the novel is in the implied meaning and idiomatic usages which have been well integrated into the plot. The scope of appreciation for both writer and reader is unlimited. The essence or the spirit of the novel reveals when the redundant parts have been removed from it.

The novelist’s subject of human nature or character portrayal could be extremely complex. It is this human complexity which is portrayed subtly in G.B Senanayake’s work. From the very beginning of humanity, mankind has raised many issues regarding survival. Who is the man? What is the nexus between reality and humanness? Do the natural instincts only influence the man? What is the influence of the environment in terms of his plight in a given geographical area?

The concept of individuality and its relevance has been challenged following the European literary theories such a post-structuralism and deconstruction came into being. However, it is difficult to find evidence as to the complete change of human needs and aspirations. However, there is no need for us to look up to theoretical frameworks to appreciate universal feelings of human nature. Human feelings and creativity and literary productions carry this commonality or universal appeal. Therefore, it should be wise not raise accusing finger at writers that they have copied from some other writer’s work. Some of the similarities may purely be coincidental although there may be instances of plagiarism.

Prof. Wimal Dissanayake explains this phenomenon as “The story of claiming a child by a real mother and fake one and the fate of the child is determined by a judge is there in Ummagga Jatakaya, in the Bible and in Bertolt Brecht’s play. However, the story is narrated in accordance with each culture based on which the story is written.”

(Navavichara Sankalpa-Wimal Dissanayake)

So universal issues with regard to humanity may take place in any historical phase of humanity and in any place and may be captured by novelist or short story writers or playwrights in any given society.

Medha as a psychoanalysis

Medha is a novel in which the influence of the subconscious mind has been aptly incorporated into the plot perhaps under the influence of theories described by Sigmund Freud.

The characters of Medha represent the internal struggle that one may have to put up in suppressing one’s natural instincts and how it may adversely affects one’s wellbeing. It manifests how one would internally collapse in one’s attempt in shaping life according to ideals, religious beliefs or sacred writing.

It is this universal truth which is vividly realised within the texture of the novel Medha. The novel is set against pre-Buddhist era, ninety eight years before the birth of the Buddha. The story takes place in the city of Kosambi. Medha is the wife of a wealthy man named Sooma. In the very first passage, the author G.B Senanayake is giving hints on the nature of the main protagonist Medha.

“A rich man named Sooma was jotting down something in the bed room, sitting on a low bed. He heard a painful screaming of a woman from the kitchen. He understood that she was being caned. He could not tolerate caning of women slaves.

He would never spank them. His younger daughter and wife Medha often tie them up and beat them. He told her many times that they should not beat slaves. He would be furious when she ignored his requests. She did not bother about his anger. ” (Medha, page 1)

Problematics of character formation

Readers identify the main character of the novel Medha and her disposition immediately. With this knowledge, the reader would turn the pages of the novel. Medha’s cruelty reaches its climax towards the middle of the novel. Her selfish nature and arrogance manifests in her love for children.

According to the prevalent norms of the day, she wants to lift up her children to a highest peak of life. She would resort to do cruel deeds to achieve her objectives. She does not consider that it is a crime to split others’ children’s blood for the benefit of her children. But, at a point of her life, she suffers terrible setbacks and would fall down from the mountain of hopes. She begins to repent not because of atrocious crimes that she has committed. She becomes weak sometime after her child died of natural causes.

“Her behaviour as well as her appearance changed. Her body became thin as she consumed a very little food during her sickness. Even after recovery, her body did not grow up well.

A vestige of past cruelty was seen as if hidden in her face. Sometimes, it emerged slowly onto the surface. But, later, there was not even a sign of it on the face. Now, she has a serenity which has never before seen. But, her face betrays an intense pain.” (Medha, page 170)

In my view, the author represents, Medha’s internal struggle in a convincing manner. This becomes problematic to her daughter -in-law, Yasasena. She is aware of her mother-in-law’s behaviour.

Yasasena senses unnatural traits of her mother-in-law who loves her like a daughter. She also observes the superficial nature of her mother-in-law’s kindness.

“She [Yasasena)] observed mother-in-law’s character part by part. Yasasena could not understand her mother -in-law. Medha was very kind. But, Yasasena decided that her kindness was not natural. She thought that Medha deceived her by showing kindness. She did not like that idea. But it arose over and over again. Medha showed kindness to women slaves. She thought that kindness was false.

One day Yasasena got engaged in a discussion with an old woman slave.

“Does Madam treat you kindly?” she asked

“Yes, she treats us well.”

After a while, she said “But in the past, she did not treat us kindly.”

“Was she so cruel?”

“Yes, so cruel that she always hit us, yelled , tied us up and beat us.”

“Then, how did she change?”

“She changed after her son’s death”

After hearing the story, Yasasena realised why she felt Medha’s kindness as artificial. She could not show kindness without suppressing her inherent cruelty. There was a struggle between deliberately forced kindness and inherent cruelty. Yasasena realised it was because of this struggle that she felt Medha’s kindness as artificial.

The adverse influence of her confused mind on her body has been effectively dealt with, in the book. Catching fire on hut with a hay roof in the court yard is an example.

The hut caught fire as two woman slaves made a bonfire after gathering refuse, nearby. Medha learnt that from a woman slave that it was slave Thanthini who gathered the heap of dirt near the hut and set fire.

“Come here”, she shouted at Thanthini.

She slowly stepped up to Medha. Yasasena looked into Medha’s face. She noticed how Medha’s face had changed again. Yasasena realised Medha was trying hard to suppress her constrained anger. Medha was about to faint and Yasasena caught up her by an arm. Medha remained silent for a minute and turned to walk into the house … Yasasena sympathised more and more with Medha’s behaviour. Yasasena thought that she was good. But she thought Medha was more kind than herself. “I don’t need to make an attempt to be good,” she thought. “But mother-in-law’s good nature is a result of a great effort.” (Medha, Page 206)

The above extract amply shows how life would be abnormal when even good habits are imposed on it. It is this predicament is fictionally represented through the character of Medha.

Although G.B Senanayake’s novels such as Medha and Varadatta may be categorised as historical novels, it is obvious when re-reading them that they could also be classified as psychological novels. When observing the complex character of Medha, one may feel as if looking at one’s self image in a mirror.

The striking feature of the novel is not the depiction of the milieu which is pre-Buddhist India, but the masterly crafting of the complex character representation of Medha. The author has not forced upon hard facts or theories of Freudian psychoanalysis into the novel in the form of long exhausted passages but instead has developed a complex character which in a way is similar to legendary characters such as Lady Macbeth as portrayed by William Shakespeare. It is Senanayake’s ability to portray the complexities of human nature which makes the novel Medha of universal significance.

Good novels provide lessons of life and of humanity. In other words, good novels enrich readers’ life; expands their horizon of outlook in life. In particular, good fictions are supposed to enhance our empathy and assist us to be more human through the insights we gain when reading a good novel I see all these qualities when re-reading G. B. Senanayake’s Medha.

Medha - a gift of rare quality

Once D.H. Lawrence said it is the novel which can help living in a way that anything else cannot do. A literary production such as Medha with a universal appeal can be considered as a gift of rare quality left behind by G. B. Senanayake.

Medha is still in book shelves and libraries and forgotten by critics and academics who are now engaging in post structuralism and Lacanian psychoanalysis.

Re-reading Sinhalese literati such as G.B Senanayake is the necessity of the hour in order to infuse much needed sensibility into contemporary Sinhalese novel particularly for those who write “award winning novels” without enriching our life or respecting fundamental rules of grammar and syntax or correct way of spelling a word.

I hope one day, sooner Medha would fall into the hands of a good bi-lingual translator who would be able to translate it into an international language such as English, French or German to prove to the world that the Sinhala literature could offer classic literary products of high calibre.