Ediriweera Sarachchandra:

Home-grown Shakespeare

By Kalakeerti EDWIN ARIYADASA

"The original style is not the style which never borrows of any one, but that which no other person is capable of reproducing."

- Francois Rene'de Chateaubriand

In the ever-evolving landscape of human culture, dramatists of high stature, have continued to play a lasting and pronounced role. Shakespeare proved to be the sustaining soul-force of England, as that Island community struggled to emerge into vigorous nationhood. English became the language, that "Shakespeare spoke," strengthening the image and the identity of the nation, firmly set, to assert itself in the awakening new world.

Capturing the spirit of Cultural Imperialism, ensured by the penetrating influence of the impactful body of Shakespearean plays, Ralph Waldo Emerson once effusively stated: "In climes beyond the solar road, this planet is probably not called Earth, but Shakespeare."

Creative leaders

It is universally axiomatic, that many nations in their difficult formative eras, have turned to their creative leaders for a sense of direction and purpose. Their works - particularly their dramatic products - functioned collectively as a keen instrument to sharply define those vaguely felt urges, that agitated the community's soul.

At the turn of the twentieth century, Sri Lanka's national leadership was sorely troubled by the tightening grip of the imperial rule, that threatened to squeeze the life-breath out of Sri Lanka's age-old cultural traditions. Those at the helm of the nationalist movement, experienced a devastating sense of desperation and helplessness. At this dark hour of the nation, the dynamic inspiration necessary to enliven the flagging spirits of the masses and their leaders, issued dramatically from Tower Hall - almost a cathedral of Theatrical revival.

The presiding genius at this crucial Institution - Drama - Guru John de Silva, Attorney-at-Law, produced an extensive repertoire of plays, throbbing with a palpable patriotic fervour. They were mostly, dramatisations of the lives of heroic personalities, from the nation's glorious past. With a missionary zeal, Dramatist John de Silva, prefaced most of his theatrical presentations, with eloquent addresses, that drove unerringly home to the audiences the need to be patriotic.

Tower Hall became the rallying point for the leaders of the nation - and their watering hole as well. New national ideals emerged on this stage.

Dramatists

As a singularly compelling dramatist Ediriweera Sarachchandra, performed a more profound nation-building service, though at surface level, it may not have appeared in that guise, at that time.

We could consider the social-texture of the days of Sarachchandra's epoch-making drama - Maname. In 1956, at its debut, there was no external threat to challenge our patriotic zeal. But, there was a mega-social agitation, aiming at toppling established arrangements of governance.

The masses seemed to be lured by a vague nationalistic urge. Feelings ran high. Tempers were red-hot-minds could easily be whipped up to tumult and turmoil.

It is into such a shaken and quivering social vortex, that 'Maname' arrived. Strangely enough 'Maname', immediately registered a change. Its impact was instant. The drama, derived from the traditional folk-play repertory, seemed to give a wholesome meaning to the current social agitation. It provided a rhythm and lilt, that seemed our own. It filled the national soul, with an organic experience. To the seasoned urbanites, this was delightfully exotic. Here was a rare item of indigenous entertainment, adapted to the two-hour slot, to which they have been used through years of film-going. Its rhythmically sung dialogue, had a hypnotic grasp over their attention.

Mannerism

Above all, the carefully stylized streets and gaits, dramatic mannerisms, raised the total play into a status that was larger-than-life. The effect on the audience was totally overwhelming.

The play became an integral part of the youth ethos - due to its impressive difference. I had a university student, who could recite Maname in toto, by rote. "Maname" and such subsequent creations as Sinhabahu Bhavakadaturawa, Premato Jayathi Soko established themselves in the indigenous culture, as well ensconced leaders in the ranks of popular entertainment.

In hindsight, one cannot help but wonder at the vast variety of sources he dipped into to produce that unparalleled gallery of plays. He was perhaps the first among the modern in the field of theatre and fiction, to cull themes from ancient literature, Buddhist scripture, folklore and folkplay. He ushered in sophisticated dramatic culture, enabling those at the level of higher education to enrich their aesthetic personalities, by living with theatrical traditions. In the instance of Shakespeare drama, generations of Thespians could prove themselves by their interpretations of such characters as Hamlet and Lady Macbeth.

Opportunities

Sarachchandra, provided identical Thespian opportunities, by casting various players in such roles as Maname, Dhanurthara and Sinhabahu.

Sarachchandra's Malagiya Attho became legendary in the field of Sinhala fiction. His other works of fiction, though, they do not approach the Malagiya Attho stature, are valuable material in one particular area - that is, the methodical exploration of the evolution of the Sarachchandra psyche. This is a field that has received but scant attention even from his ardent disciples.

If we took a quick glimpse at the life he led, we see an individual who had seen pulled about by a series of multifarious pre-occupations. He was in the South of Sri Lanka as Eustace Reginold de Silva. He passed away at 82, going through a whole series name - changes. Today, he is generally, referred to as Ediriweera Sarachchandra. To satisfy his father's whim, he faced civil service, and emerged with the batch-top accolade. Displaying the legendary restlessness of the southerners, he took to various activities. He studied at Shantiniketan. He imbibed Buddhist psychology deeply, earning academic recognition for his work in that directions.

Pre-occupation

To my mind, with all those pre-occupations and their ramifications at heart, his cherished ambition has been to pursue inner tranquillity. Aesthetic pleasure of the production of plays and books, I think, was foremost in his mind than the search for shekels. When he got entangled in the complex of obligations, he may have felt that his approach to inner peace was retarding. With all that, he possessed a peculiar brand of sardonic wit to pride the bubble of bloated egos.

With all those inner complexities, he produced a body of work, that will escalate in value with the passage of time.

The world should be grateful to Lalitha Sarachchandra, for protecting this heritage as committed custodian and careful curator, keeping those cultural marauders away who would mar and sully the works - given a chance.

But, there is a challenge. In numerous fora, Sarachchandra's works are endlessly looked at, from various points of view.

What is essential is to trace the inner soul-voyage of this strange man who, to my mind was bent on seeking an inner stillness.