Literary portrayal of power at work

By Ranga CHANDRARATHNE

"Power is a basic phenomenon which has interested humanity from Homer and Greek tragedies until our day. The struggle for political power is one of the main features of history and dominant themes of literature. Statementship is the art of using political power adequately. Revolutionists sometimes devote their whole lives to the 'gaining of power'…, of getting dominant position in a larger social group. "-N.S Timasheff on the Power Phenomenon.

A rare literary fiesta where the prominent Sri Lankan writers and linguists converged was recently held at the M.D Gunasena Auditorium at No 14, Mihindu Mawatha , Colombo. Will the flames that were lit by veteran writers such as K.Jayatilake, Gunadasa Amerasekara, Prof. Sucharitha Gamlath and Dr.Saman Chandra Ranasinghe at the launch of Dhara be the flames that brighten the future of Sri Lankan literature?

"To know the pains of power, we must go to those who have it; to know its pleasures, we must go to those who are seeking it."

- Charles Caleb Colton (1780 - 1832), Lacon, 1825

Although the above quotations shed light on the two prominent aspects of the phenomenon of power, the phenomenon of power at work in the novel Dhara by Kathleen Jayewardene is subtle. For the first time in the history of Sinhala novel the author Kathleen Jayewardene explores the phenomenon of power at work at different levels of social strata in broadest possible manner, extending the scope into the universe and how it unprecedentedly influences the primordial human relations such as love and relationships.

At the rudimentary level, the narration is centered on the killing of a journalist and his mother's search for the killer. The author observes the power at work not only in the sphere of politics but also how it functions in the human mind, within the household and the complex relationships that man maintains with the environment and the animals. For instance, the politician father of the killed journalist, Thilakawardene is not interested in finding out the killers of his son. Instead he is worried more about gaining power.

"She looked at her husband as if she was trying to identify a stranger….." Thilakawardane's role at the funeral and thereafter is a passive role. Except the killed journalist's mother Wandana, for others, Damsak's killing is a passing incident.

"Now she does not entertain the attitude that Thilakawardene has done injustice to her. She had got rid of these ideas a long time ago. It was after that the pain of mind lessened and despair overwhelmed her heart. Since then, her feelings about him were blank as a white paper and once again, it was turning into dark with the death of the younger son. She could not, at all, satisfy with his behavour at Damsak's death. She had only an unpleasant memory of him gathering courage at the funeral to bear up the grief" .

Use of an intermediary or a spirit

A noteworthy device of the author is the use of an intermediary to narrate a considerable portion of the novel which particularly deals with the human conscience, communication with the spirits and animals. The author has stressed that the device of an intermediary has been used to 'open up hearts of the animals'. The author states "A part of Dhara (novel) is allocated to open up hearts of the animals; to file their indictments. They (animals) question that this murderous culture is perpetuated only to taste the human tongue….here an intermediary communicates with animals…this intermediary is created for the purpose…". The intermediary which is the spirit of the killed journalist hovers around the world. This is a novel experience for Sinhalese readers to venture into territories hitherto has not been explored in this manner.

Kathleen Jayewardene

"A judge who created evidence to convert a minor offence into an indictment has been solidified as a comet. He is detained in an empty area beyond the truth. Though he was not manacled, his astral body could not go beyond the boundaries of truth. He made a confession…I knew everything before the verdict. The verdict was my pre-determination. I slowly nodded my head as if trying to understand something new, letting the two lawyers present the arguments….."

Another instance where the intermediary has been successfully used is the instance where a bull about to be killed speaks out his heart. The animal questions the notion of justice. Primarily animals are used to describe the injustices man caused to them and how animals are being killed in a cruel manner for human consumption.

The death of the Head of the State has been a major incident where the function of the power is amply manifested.

The omnipotent leader has suddenly been reduced to a mere commodity at the hands of the doctors. The Head of the State searches for the powerful enemy who virtually nullified his powers: "He thought who had nullified his powers …he wanted to see the enemy and betrayer..Soon he got hold of a mirror….immediately he could see the enemy ….he helplessly gazed at his own image frowning at him in the mirror…"

Apart from the power, other principle theme of the novel is spirit or intermediary. A large part of the narration is by the intermediary of the killed journalist. Here the author uses the 'stream of consciousness' in order to overcome time. Damsak's spirit which travels through the continents meeting other spirits and speaking to animals has lost sense of time.

"In a few seconds, they have got rid of my fear: I was freed; I was taken to my usual place.

The timeless and space-less this territory was created to ensure a rest without troubles of the earth. This is my centre, place of stay; an area where the absolute truth is. Therefore, I have no enmity with them. Not even a slightest hatred is in the person who enters this against those who split, separate and killing that solidified structure of body…"

The intermediary speaks throughout the narration taking the readers to the desolate poles, into the bottom of the ocean, into the worlds of animals, corridors of power where politicians enjoy the comfort of concubines cum secretaries, to the newspaper offices and into the sphere of social service.

One of the prominent features of the novel is the attempts on the part of the author to apply the concept of power in ethnic relations between diverse ethnic groups. The author has made use of some of the reports on incidents associated with the conflict in an objective manner. The author has exercised extreme care either not to personalise or to depict the incidents to the advantage of the parties to the conflict.

Post modernist aspects of the novel

The novel also manifests some of the prominent post modernist aspects. For instance, the use of an intermediary as a narrator is a novel approach even in the Western novel. Shifting of the narration to peripheral incidents such as turbulent political environment, death of the Head of the State, corruption has widened the scope of the novel touching on many aspects. Kathleen has experimented with a new narrative technique unique to Sinhala novel.

It is a technique demanded by the story. Since the novel deals with many subjects at different levels in in-depth manner, it can be subjected to different readings from diverse perspectives. For example, through the complex character of Vandana, the author questions the social validity of some of the age old notion on ideal mother and wife particularly in Asian society. So the novel can be subjected to a reading from a feminist perspective. What manifest in the amalgamation of the so many different aspects of socio-economic life is the author's wide understanding of the Western novel, modern literary theory and familiarity with latest developments in the field of literature.

Apt language

The novel Dhara stands out for its narrative sensitive diction. The author skillfully manipulated and exploited the intrinsic properties of Sinhala language. Language takes the course of narration and at times it assumes highly philosophical tone and at other times, it becomes almost colloquial. However, the author has used classical Sinhalese idiom enriching the contemporary Sinhalese language. As the taste of the sugarcane is while it's being munched up in the mouth, it is up to the readers to enjoy the novel Dhara. An outstanding feature of the novel is contextual clarity though dealt with a web of concepts and an impressive syntax. The novel in terms of material and the presentation maintains very high standards, it can reach audiences beyond our shores due to its universal appeal.