Sinhala in South Asian literary culture and contemporary Sinhala literature

Although Sinhala language is more or less confined to Sri Lanka and spoken by a relatively small group of people in South Asia, Sinhala is considered as one of the first local languages (desabhasa) used for literature in South Asia. The rudimentary evidence of Sinhala poetry and criticism is found in as far as the 17th century.

It seems that earlier on, Sinhala literati have considered, like their Tamil counterparts and audiences that the Sinhala language has all intrinsic properties that it is almost equal to Sanskrit in terms of its literary capabilities. One of the significant factors, which is noteworthy here, is that Sinhala literature came into being almost at the same time the theorisation of poetry began in Sanskrit literature (*Kavya*). However, Sanskrit theory did not even recognise local languages like Sinhala that were even capable of literature. Judging by the work of literature like sixth-century *Janakiharana* (Theft of *Sita* in Sri Lanka), it is clear that by that time Sri Lanka already belonged to the world created by Sanskrit literary culture. Sinhala language provides the earliest evidence for a literary culture in South Asia for using local language. It is also clear that this choice of local languages (Desabhasa) must have evolved through a conscious effort avoiding, at least, some of the norms that defined literary works and persons in the predominant Sanskrit literary culture.

Literisation of local language

One of the significant developments in earlier form of Sinhala language was the process of transformation of Sinhala from a local language to a literary language which was evidently intentional. For instance, the 19th century poetic handbook, *Siyabaslakara* (poetics of one's own language) advocates poets to be aware of poor expressions and unintentional vulgarity that it could have the danger of being perceived as acceptable.

Siyabaslakara which is one of the earliest literary texts in Sinhala is concerned about removing faults (dosa) in individual phrases and sentences albeit contrary to the historicity of Sinhala which allows greater freedom of flexibility and change. Gradually this conservatism institutionalised in education. For instance, twelfth -century *Kavisilumina* (Crest jewel of poetry) has been cited in works like *Sidatsangarava* (Compilation of methods) and *Elusandaslakuna* (Character of meter in Sinhala). Like in Pali and Sanskrit, it received pedagogical commentary (*Sannaya*). Although all these pedagogical works are from the 13th century, they have been widely used in literary education for centuries. Even in ad hoc anthologies meant for working poets, there were works on prosody from the 15th century.

Sinhala literary culture was influenced by not only Sanskrit literary culture but also literary cultures of Tamil and Pali. Particularly from the 15th century on, Tamil literary influence was evident on Sinhala poetry.

It is a known fact that Sinhala authors in the 15th century such as Totagamuve Sri Rahula, the author of the Kokilasandesaya (The cuckoo's message) were fluent in Tamil and sometimes referred to Tamil literary work.

There were ethnically Tamil authors who wrote in Sinhala. For instance, Nallurutunumini, royal minister in the court of Parakramabahu VI and the author of *Namavaliya* (garland of nouns). The categorisations of Sinhala literary cultures are mainly done in two manners; first according to the shift of capitals over the time and thematising period in terms of predominance of particular genre or style. P.B Sannasgala in his monumental work *Sinhala Sahitya Vamsaya* (History of Sinhala literature) divides the Sinhala literature into three; ancient, medieval and modern while in Martin Wickremasinghe's *Landmarks of Sinhala Literature,* the history of Sinhala literary cultures are divided as "The Age of Prose", "The poetry of a New Age". However, this is a generalization of the history of Sinhala literary cultures. Among other factors that influenced Sinhala literary cultures over the years were Buddhist monastic tradition and Sinhala literature associated with Sigiriya.

Post independent era

The post independent era marked important developments in Sinhala literature and culture of criticism. Without doubt, the Peradeniya School led by academics like Prof. Ediriweera Sarachchandra introduced modern technology of criticisms into Sinhala literary landscape. A significant aspect of this era was that personalities who dominated the period were bilinguals, if not multilinguals.

They came under the influence of international literature. Perhaps, it is not an exaggeration to state that they derived the best from the oriental as well as occidental literary traditions. Along with Sinhala literature, Sinhala theatre flourished leading to the production of *Maname* and * Sinhabahu*. Almost all authors such as Munidasa Kumaratunga, Piyadasa Sirisena, W.A Silva and Martin Wickremasinghe were bilinguals who came under the influence of international literary trends of the day and dominant authors. Given the quality and depth of content of their literary work and the power of imagination, the literary works such as those of Martin Wickremasinghe stand the test of time. For example, 'Gamperaliya' the film made by Lester James Peries based on Martin Wickremasinghe novel Gamperaliya has recently been rated as the second most popular film in France when the restored version of the film was released there. However, the situation changed for worse following the change of medium of instruction in education from English to Sinhala. It was the point of time at which the cross cultural breeding was virtually stopped. Comparing the present Sinhala work of fiction with their earlier counterparts, it is clear that there is a marked decline in standard of language and content of the work.

Contemporary literary trends

Unfortunately the contemporary Sinhala literary landscape is dominated by proverbial literary buffoons who fancied on their ill-gotten awards which are not worth even a penny. Owing to the gangsterism and cronyism prevalent in literary circles, awards which were meant standard setters, have virtually reduced to badges of shame rather than fame. Given the recent on-the-stage gimmicks at literary award ceremonies, it can be concluded that such award ceremonies are meant to trot out awards to friends rather than recognising best literary works of the past year. However, the fact remains that extremely poor quality of the literary works cannot be concealed under the glitter of ill-gotten awards which may be 'golden', ' ungracious' or ' Stated'.