Importance of translations to literature

Given the greater degree of proliferation of literatures across the cultural and linguistic frontiers, the role of translations in a given literary culture, as means of enriching literature cannot be undermined. The fact remains that most of the great works of literature were and are made accessible to larger audience through translations.

Classic examples for qualitative translations are the English translations of Russian literary works; great literary works which are undoubtedly masterpieces in literature such as Leo Tolstoy's "War and Peace", Nicolai Gogol's "Dead Souls" were made accessible to global audience through their English translations. Another landmark in this area is the translation of Boris Pasternak's "Dr. Zivago" into English. First, it was rejected by the Soviet journal Novye Mir. It was published first in Russian and in Italian translation by the publisher Feltrinelli in Milan in 1957, after the Italian journalist Sergio D'Angelo had smuggled the manuscript out of Russia. The English translation appeared in 1958 and the same year Pasternak was bestowed with Nobel Prize for Literature though he did not accept the award.

One of the important aspects of this process is that such translations will enrich the host language. English, Lingua franca of this milieu is the preferred language into which most of original literary works written in host of languages were translated. English translations were subsequently rendered into local and regional languages such as Hindi, Sinhala and Tamil etc. Byproduct of this bi-directional process is raising the standards of the host language into which original literary work were translated.

For instance, the standard and idioms of Sinhala translations of Russian literary work are often higher than some of the original literary work in Sinhala. However, it does not mean that original literary works such as those of Martin Wickremasinghe are inferior to Sinhala translations of Russian literary work. The important point I want to make here is that Sinhala translations over the years have made into a different genre of literature which in turn, had made a positive impact on local literary culture.

The influence of world literature in general and English translations of Russian literary works in particular on Sinhala writers such as Martin Wickremasinghe and Gunadasa Amerasekara is a well documented. In fact, world literature had influenced the origin and evolution of Sinhala novel.

Rich Sinhalese tradition of translations

Examining the early works of Sinhala translations, one may come to the conclusion that Sri Lanka had a rich tradition of translations with perceptive translators. For instance, almost all the Russian literary works which had been translated into Sinhala are equally good literary works in Sinhala. One of the attributes of the qualitative Sinhala translations is the bi-lingual perceptive translators. Translators such as Dadigama V Rodrigo and Padmaharsha Kuranage who translated Russian works directly from Russian to Sinhala. A new generation of a writer who is continuing this tradition is tri-lingual Dr Palitha Ganewatte who is domiciled in Sydney, Australia. He has translated a collection of Anton Chekov's short stories directly into Sinhala from Russian language to commemorate Chekov's 100th death Anniversary.

Martin Wickremasinghe, Reggie Siriwardene and K.G. Karunatilaka were bi-lingual translators and on some instances, multi-linguals. One of the important facets of those translators was that they were well versed in both Sinhala and international languages. They had a thorough grasp on the Sinhala literary culture and literary theories of the milieu. An important characteristic of their work is the tapestry of rich idioms and metaphors in Sinhala. In essence, they have captured the quintessential characteristics of Sinhala language. In the process of translating English literary and non-literary works into Sinhala, they have, on some instances, invented Sinhala words which enriched the Sinhala vocabulary. Literary giants like Martin Wickremasinghe, Munidasa Kumaratunga and latter day translators such as Edwin Ariyadasa have invented Sinhala words for English terms. For instance Sinhala words such as Parinamaya (evolution) and Antharjalaya (Internet) were introduced by Martin Wickremasinghe and Edwin Ariyadasa respectively. Wimal Dissanayake has coined new words such as Alochana (insights) and Sthana Vinnanaya (sense of place).

Sri Lankan literature in English

Although Sri Lankan Literature in English seems to have little or nothing to do with translations, tradition of translations particularly of Sinhala literary work into English has a domino effect on the Sri Lankan literature in English. It seems that most of the Sri Lankan authors in English albeit they are fluent speakers of both Sinhala and English languages, are entertaining erroneous notions that some of the culturally specific Sinhala terms can be adapted either in their original form or a form which is closer to the original, in literary works in English. Direct translations of such Sinhala terms into English have greatly reduced the literary value of the work in English though they are not translations. Instead of translating such terms into English, what Sri Lankan writers in English should have done, is to device a diction which is quite capable of expressing authentic Sri Lankan experiences in English. Surely the answer to this predicament is not to promote substandard version of English called 'Sri Lankan English'.

Parlous state of translations

Over the years the once rich Sri Lankan tradition of translations has, unfortunately, reduced into a proverbial pulp making industry. Although there are exceptional translations, most of the translations both from English into Sinhala and vice versa belonged to the above category. They are marked for their inferior quality of language, causing irreparable damages to the original author. For instance, in some of the Sinhalese translations, original works often in English have been indiscriminately reduced into one third offering only the part of anatomy of the work to the Sinhala readers. The important questions are that what is the right of the translator to reduce the original work into one third of it? Has the translator done justice to the readers? Or is the translator a traitor to both the original writer as well as to readers who are eagerly waiting for quality translations?

Translating Sinhala literary work into English

Sri Lankan translators, particularly, those who translate from Sinhala into English, seem to have been suffering from lack of words and idioms' syndrome. Symptoms of this are manifested in works of Sri Lankan Writers in English in general and translations of Sinhala fiction in English in particular. Since the awards can no longer be considered as criteria, for obvious reasons, in determining the quality and standards of Sinhala fiction in English translations, it is pertinent to look at the work at disposal and to pose the question "why Sri Lankan translations in English have not travelled beyond our shores? And why so called translators have not reached the international audience?" Though lack of exposure of Sri Lankan literature in abroad may play a role in this regard, it is obviously not the sole and exclusive reasons for this sorry state of affairs.

Semi-literate Nanny in translations

Instead of bi-linguals who dominated translation industry in a land, contemporary literary landscape is dominated by semi-literate tribe concealing their naked ignorance under the glittering garments of awards.

For instance, an infamous Nanny who recently won an award or robbed an award thanks to her daughter who was one of the judges in the panel, had came out to defend a 'Meditating Author' who won an award for her unreadable text.

The Nanny's outburst was resultant in her tribal affiliations with the 'Meditating Author' and few others who had robbed awards. This semi-civilised tribe is marked for its capacity of the cranium which is different to other tribes.

It should be stated here that particularly this Nanny in translations is famous for her 'Award winning' English translations of fiction written in her mother tongue. Predominant characteristic of those so called fiction in English translation is the process of converting sense into nonsense. Her work is crawling with structural defects and particularly marked for turning of phrases into English in their rudimentary forms. This in turn had produced an idiom which is neither her mother tongue nor English.

Future of translations in English

The future prospects of translations in English rest on the competent bi-lingual translators who could translate Sinhala fiction into English, expressing the authentic native experiences in English. Such translations have the potentials of reaching out to international audience. If the present trend would continue it would not only destroy original literary work in Sinhala but also tarnish the names of Sri Lankan authors in the eyes of readers in a globalized world.