Wonderful representation of the nation's soul

Reviewed by Manuka WIJESINGHE

Shortly after Michael Meyler's Dictionary of Sri Lankan English was released, one of the first remarks made to me by a fellow Lankan was, does this chap have nothing else to do?

In retrospect, it is not the ignorance of a fellow countryman that saddens me, but my own inertia in not giving an adequate response.

What would have been an adequate response?

That it was about time that someone made a dictionary of Sri Lankan English, which is spoken by a linguistic minority of an ethnically diverse nation of 18 million people extremely protective and vocal about a supposedly archaic Indo-European mother tongue. Every son and daughter born and bred in this soil longs to speak Sri Lankan English which, despite all the connotations of colonialism, elitism, favouritism and nepotism is undoubtedly colonialism's greatest gift to Sri Lanka. It is our window to the world.

It is Sri Lankan English that enables the upward mobility of the Lankan Everyman. It is that which facilitates the Lankan's comprehension, participation and integration in a changing world. It brings a Lankan in contact with changing technologies, changing trends and changing moods. And it opens the world of study, offering a wide spectrum of literature and research material on any given subject in the world. Sri Lankan English is that which gives us access to the lingua franca of the modern world, English. And it is our lingua franca!

The concept of 'murdering the King', which is completely outdated in BSE, survives in SLE, though it is probably restricted to the older generation.

Sri Lankan English is not the Queen's English. It is the English that has grown from British colonial legacy. It is the language that has taken its own life and form from the historical diversity of a geographical entity, with its brand of humour, its soul of pluralism, its tolerance between creeds and the diversity of its culture.

Malay pickle, a mixed pickle traditionally served with buriyani! (achcharu)

As Michael Meyler writes in his introduction, SLE includes many non-English words, the majority of which are of Sinhala and Tamil origin.

Others derive from Dutch and Portuguese, the languages of the pre-British colonial powers; from Hindi and other Indian languages; or from Malay and Arabic. Maldive fish (umbalakada) a type of dry fish commonly used for flavouring dishes.

Michael Meyler has proved that SLE is as mutative and adaptable as British Standard English (BSE), whose vocabulary has become so dense not merely by its numerous colonial expeditions, but due to its amazing ability to integrate exotic words into its expanding vocabulary. Thereby giving the English language not just new words; but a greater spectrum of expression and comprehension that expands the human mind.

Muspenthu means miserable or morose; noun: muspenthuwa (Sinhala) (moosala). E.g.: He has a muspenthu look. He's such a muspenthuwa.

Words such as anaconda (from Sinhalese), bonsai (Japanese), sequin (Italian) and tsunami (Japanese), have enriched the language. The Sri Lankan English dictionary is the first step in giving Sri Lankan English its own place in the sun. By establishing our vocabulary and nuances in the pages of the Sri Lankan English dictionary, Michael Meyler has raised our island jargon to the status of established language with its own body of grammatical, literary and lexical documentation.

'Naki visey' , is an expression used to refer to an old man flirting with younger women (Sinhala)

To quote Prof. Ryhana Raheem of the Open University of Sri Lanka:

This dictionary is an important contribution to the development of English in this country. It charts the social and the cultural nuances and the words and phrases that we use. It pinpoints the Sri Lankan use of grammatical structures and compares it with British usage, vividly demonstrating that our English is distinct in a number of ways. It reflects and illustrates Sri Lankan phonology, reinforcing the notion that our variety of English is a variety with its own features. It is a language shaped by its users, bringing in to it Sri Lankan habits, customs, expressions, interests and experience. It is a timely contribution for it attempts to introduce uniformity and accuracy to the multicultural vocabulary of Sri Lankan English.

Michael Meyler even goes beyond a traditional lexicographer. He has not just documented 'Sri Lankan English vocabulary' but he has also highlighted the way a word has been used with many illustrative examples using books by renowned authors of Sri Lankan English. As in the example below which describes that typically Lankan garment which covers and accentuates the bodies of Lanka's women purifying themselves in our numerous public bathing places: 'Diya redda', a cloth worn by women for bathing (Sinhala) (redda) She undressed by the well, unstrapped her watch and got into the 'diya redda' cloth, and dropped the bucket into the depths. (AG 90)

Michael Meyler shows that Sri Lankan English is the unique creation of Sri Lanka. It has no 'Made in England' tag. One can proudly ask the 'Juki girl' to sew upon its lapels not the tag 'Made in England,' but 'Made in Sri Lanka.'

Juki girl (factory girl) (coll.), a garment factory worker.

It is a fundamental right of every son or daughter of the nation to be taught Sri Lankan English, despite the nation's pathological fear of losing its mother tongue. A mother tongue and tradition will never be lost, it will mutate according to the spirit of the times. For it is the living language that changes while dead languages remain staid.It is the duty of parents and religious institutions to inculcate and nurture tradition and culture. It is not the duty of schools!

Institutes of modern education are meant to equip these youngsters to fit into the job market and expand their horizons; not make them into temples that nurture nationalism and linguistic atavism.

'Radala', a derogatory term for people who feel socially superior (Sinhala = an aristocratic caste) eg. putting on radala airs.

Unfortunately in Lanka the reversal occurred with the opening chapter of the Bandaranaike trilogy. An Oxbridge son of a wealthy family implemented 'Sinhala Only' in 1956. Fortunately the implementation and enactment did not follow as promised. But in 1960, the part 2 of the trilogy, Mrs. Bandaranaike implemented 'Sinhala Only' with immediate force - 'Sinhala Only in 24 hours beginning on the 1st of January 1960.' Thus began the retardation of the nation and of her youth.

Instead of advancement, the nation faced youth terrorism and linguistic chauvinism. For the tragedy of 'Sinhala Only' was such that every son and daughter who was taught in Sinhalese only yearned to learn the language of the so-called elite, the language of job opportunity and market viability.

Sinhala, Sinhalese (n/adj.) the people and language of the majority community in Sri Lanka, of Aryan/North Indian origin (mainly Buddhist) the Sinhala kings SWRD Bandaranaike's 'Sinhala only' policy a Sinhala-speaking family. He's trying to learn Sinhala. She's a Sinhalese.

For those who may criticise Sri Lankan English let me inform you 'neither English nor the Sinhala language was a result of spontaneous creation upon this island. 'Spoken Sinhala' is that which has evolved from the ancient Dravidian and Indo-Aryan influences. The Sinhalese script on the other hand is the artistically cursive development which has evolved from the angularity of ancient languages; Tamil, and the latter development of Grantha and Malayalam.

Anicut an irrigation channel created by damming a river (Anglo-Indian, from Tamil). Bandicoot, a very large rat (also India, from Telugu) chunam (hunu) lime paste which is used in the preparation of betel; also used for whitewashing houses, etc. (Tamil chunnambu; also India, from Portuguese) (betel, arecanut)

Sri Lankan English is that which was born from British legacy. It is the language that has grown from centuries of Ceylonese pluralism. It has had no parallel developments for geography does not enable that.

But it has grown with the traders and settlers who sailed and rested upon Lanka's shores. SLE is not just a language that opens a door to the world, it is the language that opens our eyes to ourselves to our ethnic diversities. And above all SLE has no tags of linguistic chauvinism or nationalism attached to it. Sri Lankan English is that which encompasses the Lankan spirit, pluralism.

Hooniyam, hooniyama, an evil spell or charm (Sinhala; Tamil sooniyam).

Three things have made this nation unique. The Sinhala language, unique to the island. The Tamil language, distinctly different to that of India; and now, Michael Meyler has given us the Sri Lankan English language. All three languages have developed despite insularity.

Sinhalese and Tamil have taken much from Sanskrit, while Sri Lankan English has taken from everything else under the sun.

'Miris gala' grinding stone - a flat stone used for grinding chillies, spices, etc. (Sinhala)

This dictionary is valuable not only for its lexicographical benefits but a wonderful representation of the nation's soul. Its cover illustrates a mirisgala, the grinding stone, an essential prerequisite for the creation of the island's diverse cuisine. It is an apt representation of the mingling of diverse cultures that has created Sri Lankan English.

The SLE Dictionary is easy to use. In the generous introduction Michael Meyler has explained the features of SLE and the art of using the dictionary. He has also paid attention to pronunciation, spelling conventions, the generation gap and the class distinctions that affect SLE.

There is a bibliography to the literature used by SLE authors and finally a key to the use of the dictionary. Though meticulously detailed, it is perhaps not necessary. For it has been tastefully and simply conceived and illustrated, so that even without explanation anyone of average intelligence is capable of reaping its benefits.

The Sri Lankan English dictionary is a tremendous piece of work. The author keeps renewing and increasing the words through his website www.mirisgala.net. As a SLE speaker and author I commend and recommend Michael Meyler's work - his dedication, his perseverance, and his fondness for this language and its speakers. He has given to us Sri Lankans our third language, Sri Lankan English.

The book is concise, precise and easy to use. A must for teachers and students of English.

A woman poet's anthology

Reviewed by Kalakeerthi EDWIN ARIYADASA

In this quite an intriguing anthology of poems, poet Vinitha Karunaratne, gathers together an extensive series of compositions, that surprises the reader, with its sheer variety.

On taking up this collection of poetry, my initial impression was, it must be, yet another effeminate exercise in sentimental poetry, exuding the enchanting lavender-dell fragrance, that is natural to mere "girlish" writings. But the anthology progresses eventually towards a mature vision.

The opening poem titled, "A Garland of Poems", is a nostalgic piece, recalling the poet's father, who set the poet on the path of poetic efforts, by encouraging her, when she was still a little girl, "to write a line or two on a Greeting Card".

Following the logic of the heart, the book moves on to thoughts about the mother. The poet captures a telling profile of her mother, who the poem shows was an affectionate synthesis of gentleness and sternness at the appropriate moment.

After these two dutiful pieces the poet proceeds to observe the world, that is a varying mix of harshness and beauty.

At a wedding the poet is spellbound by the loveliness of the bride, radiantly entering a new life, full of hope and expectations.

To this lovely word-picture, she adds a realistic note of doubt and hesitation.

"I thought of the weddings I had seen in pomp and ceremony begun

But, just halfway, in wedded life a pathetic song was sung".

The poet goes on to admonish the bride; "I wish you courage that you could ride all waves of trouble in store for you".

She devotes her poetry, in many a piece in this anthology, to explore un-beautiful aspects of life too.

In one poem, the poet views the world, through the eyes of an unwanted street boy, engendering sympathy and compassion for that lost Soul.

In another poem, the poet enters the mind of "A Pickpocket". In it she gives a portrait of the "Pickpocket" from within.

The reader, who takes in these poems, will invariably be struck by the extensive thematic range of the poet. She makes a poetic exploration of the hopes and hesitations of a planter.

To my mind, this is the first time, the life of a planter has been captured in a poem.

The poet's vision penetrates into various strata of society discovering ways of life and personalities that have been rarely recorded or celebrated in poetry.

In the poem entitled "I have come to you, Oh, Lord Buddha", the poet draws the attention of readers to an issue that troubles the mind of most persons in the current context. The poem is composed in the form of a lament, gushing out from the depth of an exploited child's heart.

At a time, when the problem of the harassed and tortured child worker is a global concern, this poem focuses upon an individual child, who endures hardship as a domestic servant. All those who are socially enlightened should specially note these lines.

"If I forget them there's no pardon, A tug at my hair, a slap on my face, O Lord, is poverty all this disgrace".

The thoughts enshrined in this disturbing poem, become still more poignant as the victimised child, pleads with the Buddha, on a Vesak full moon night.

The poem titled "The Farmer to His Wife", is a celebration of the simple, uncluttered way of life of a rural farming couple. Their needs are only a few. Their aspirations are limited. Their happiness is easy to attain. We could describe this poem as "romantic" in its real sense.

The totality of this anthology, is an eloquent tribute to her many-sided vision of life.

Her capacity at role play, entering into the life of a variety of persons, gives this collection of poetry a freshness. The poet's horizon is vast. It extends to all directions encompassing persons and situations, rarely encountered in poetry.

She has a marked religious facet too, to her poetry.

Several pieces in this collection, derive from Buddhist themes. The poet's adoration of the Buddha, is quite vividly recorded in her lines.

The poet has added to her garland, an unmistakably significant flower - Princess Diana. The Poet sees Diana as a monument of love, Royals never won.

When everything is said and done Vinitha Karunaratne's anthology of poetry "A Garland of Poems," is a fascinatingly creative effort. She lives and breathes poetry. Her heart beats to the rhythm of poetry. She is distinguished in that, she can see poetry in all things. This way she possesses an inexhaustible treasure of poetic themes.

May poet Vinitha Karunaratne continue to flourish.

Collection of Sinhala film songs

Reviewed by W.T.A. Leslie FERNANDO

There is no evidence of any serious drama in the ancient past in Sri Lanka. There are references to dramatic performances in the Mahawansa, the Pujavaliya and in some other literary works. There have been some crude forms of folk drama like Kolam, Sokari and Gammadu. They are not considered as drama in the real sense of the term.

Nevertheless there was a rich tradition of music and dancing in our country. The musicians and dancers were endowed with lands given by the kings and the chiefs for their sustenance. They in turn had to perform music and dance on royal occasions, festivals, ceremonies, pageants and also in the battlefield.

It was Buddhism that guided and moulded the traditional Sinhala culture. The Buddhist viharas were the centres of spiritual life, education and culture. It may be that due to the puritinic attitude of Theravada Buddhism it did not set up a background conducive to the development of serious literary or stage drama in Sri Lanka.

On the other hand the Catholic missionaries who came to Sri Lanka, after the arrival of the Portuguese, made use of drama as a medium of religious instruction and edification of Christians. There had been Catholic passion plays in Sri Lanka from the 18th century. It is now conceded that the Catholics were the pioneers of Nadagam, the earliest form of Sinhala drama with a complete dramatic convention.

Negombo being a Catholic stronghold there had been a rich tradition of Catholic drama in Negombo. There had been passion plays in Negombo from the beginning.

The Duwa passion play had been a popular event in Negombo from the 18th century. In the past the Pitipana passion play was performed with Nadagam traditions. Till recently a passion play similar to the one at Pesalai in Mannar was enacted at the St. Sebastian's Church on Sea Street, Negombo in Tamil.

Bishop Edmund Peiris who has done much research on the origins and development of Nadagam has shown that the first Sinhala Nadagam was Raja Tunkattuwa presented by M.S. Gabriel Fernando of Chilaw. The dramatic tradition of Negombo was continued even during the theatre era.

The Minerva group of players enacted popular shows like Avataraya, Kadawunu Poronduwa, Kapati Arakshakaya, Veradunu Kurumanama, Sangavunu Pilithura and Umathu Vishvasaya' all over the country. The Minerva group was formed by the doyen of Sinhala cinema, B.A.W. Jayamanna and there is an era in Sinhala theatre known as the Minerva period.

The first Sinhala film in our cinema history Kadavunu Poronduwa was presented by the Minerva players. Likewise they screened other Minerva plays like Kapati Arakshakaya, Varadunu Kurumanama, Peralena Iranama, Sangavunu Pilithura and Umathu Vishvasaya. They were very popular at the time. Bernard Sri Kantha, the well-known writer from Duwa, Negombo in addition to his other works like novels and short stories like a true son of the soil has presented many books like Meepura Kalakaruvo, Meepura Kirthidharayo, Meepura Deshapalanagnayo, Duwa passion play and Paramparika Dhevara Krama dealing with Negombo and its leading personalities. His latest work in Sala Ru Gee Piliroo containing film songs of yesteryears of those from Negombo who have either sang or composed them.

The book Sala Ru Gee Piliroo contains 239 film songs. They range from Prema Dya Mage Piyanoo in the first Sinhala film Kadavunu Poronduwa to Gayana Gayum Natana Natum in the Delovak Athara presented by Lester James Peiris. Some of them like Sandayave Shriya Ramya Lesa Pena Insara Mage Soyura, Bandeela Kasi Bamme and Paape Me Jeevithe were real golden hits during their time and would captivate the hearts of those familiar with them.

The book also contains the life sketches of the film artistes in the past such as B.A.W. Jayamanne, Rukmani Devi, Eddie Jayamanna, Hugo Fernando, Letitia Peiris and Eddie Yapa with photographs of most of them. They contain hitherto unknown facts about those personalities.

The life sketches begin with the doyen of Sinhala cinema B.A.W. Jayamanna and highlights how he presented the first Sinhala film Kadavunu Poronduwa on January 21, 1947. The author explains how B.A.W. Jayamanna became the first film actor and Rukmani Devi the first film actress. He gives credit to Jayamanna for introducing many talented film artistes from Negombo such as Rukmani Devi, Eddie Jayamanna, Bertram Fernando, Hugo Fernando, Christie de Mel and Letitia Peiris to Sinhala cinema.

In the life sketch of Rukmani Devi the author emphasises that there had never been any film artist who had been a super star at both acting and singing like her.

Her role in Umathu Vishvasaya was the first dual role as mother and daughter played by an actress in Sri Lanka. Her husband Eddie Jayamanna was crowned as comedy king in Sinhala cinema and the author observes that the roles of Jayamanna contributed much to make Minerva films popular.

In the life sketch of Hugo Fernando it is shown that he had acted in over 70 films; he has excelled not only in acting but also in composing songs and dialogues in films.

It is not well-known that Hugo Fernando was a singer but according to this book he had been a playback singer in films.This book contains valuable information on the Sinhala cinema of yesteryear and would be welcomed by students on the cinema.