Two novels of Marguerite Duras in Sinhala
 

by Prof. Sunanda Mahendra

It is observed that a number of works written in the original languages appear from time to time as the main sources of translations as against those from the ones translated from English, as it is the easiest accessible common source.

This indeed is a step ahead in the translation process. The latest in this direction is the translation of two works by the well-known French writer Marguerite Duras (1914-1996) into Sinhala by a senior lecturer in French at the University of Kelaniya, (Modern languages Department) Niroshini Gunasekara.

She in the first instance translated from French 'Unbarrage Contre le Pacifique, titling in Sinhala as Sagarayata Vellak. (Vidarshana 2004).

This novel in English is titled as The Sea Wall (1950). The second is the translation of the novel titled L'Amant (the lover) titled in Sinhala as Adaravantaya (Samayawardhana 2005).

A reader of both these works will see a certain degree of similarity and dissimilarity in the treatment of the theme of a self seeking suffering woman and the various aberrations in her life in order to achieve the unachievable entity hidden in mystery.

Though perhaps the reader may not know but the gradual revelation of the human experience is actually about the personal feelings of the writer Duras herself more in a creative cum biographical form in its varying complexities and subtleties exposing the inner nature of a woman and the conflict between her attitudes and those of her mother's.

But this is far too much of a gross generalization to understand Duras, as she goes even beyond that plane by intermixing those personal factors with the wider issues of the world as seen in socio political war torn nature of the world together with the dark sinister human issues one encounters from birth to death.

In a certain sense the world that Duras picturises comprises a world of an inner private nature in conflict with the outer world which is dark and dismal with manifold misgivings that bring pains and sufferings.

The two novels for a Sinhala reader will be visualised as inter connected from that point of view and the trilogy will be completed with the appearance of the third one in line titled L'Amant dela Chine du nord (1991).

Apart from the translation of the two works Sagarayata Vellak and Adaravantaya into Sinhala, the translator Gunasekara gives us a penetrative outlook pertaining to her creative process and her special place she had carved in the contemporary literary world where she is shown as a most dedicated creator who had left no stone unturned to express her experiences in the most sensitive manner as possible.

To the best of expression she utilises the thought streams and innerness in her feminine 'characters via dialogues', monologues and a bare minimum laying down of long drawn commentarial harangues which eventually tires the reader.

In translation as well Gunasekara tries her best to retain that trend and utilises as far as possible a simple spoken language devoid of tongue twisters with Sanskritised mahapranas as is usually found in Sinhala translations. But this does not mean to state that the translator has not adhered to the rules of a classical tradition.

I observe that the first attempt (sagarayata vellak) is packed with a classical grace in the expression and to a more refined layer in the second (Adaravantaya) Quite a number of words, from the day to life are fused to express the original textual meanings which could not have been achievable via a traditional form of expression.

In the work Sagarayata vellak the terms such as 'jarama kramavalin' (174), bambugahagattave (186), pissuhadena vadak (187), kehelmal ayitiyak (189), naki pissiyak (191), sahodariyak ekka budiyagannavavage (205) are used with meaningful nuances in order to grip the reader to the original sense.

The second translation Adaravantaya in the best sense of the term is a work packed with a stream of consciousness and a narrative layer that shifts its focal point from one cultural milieu to another and from one social structure to another blending and diversifying human relations giving vent to a fresher and wider reading experience culminating in the understanding of the place of the person or the individual in the turbulent world.

This short novel is out of the usual narrative pattern where the reader encounters a young girl attempting to overcome the layers of poverty where she fails herself responsible for acquiring money to help her impoverished mother. Dressed like a child prostitute, she journeys to school across her city, Saigon, a head mistress's daughter, who is nevertheless up for sale.

She quickly attracts an elegant Chinese lover a rich man's son, and the intensity of their erotic exploration remains the central experience in both their lives. Devoid of any vulgarisations Duras makes it a point to reveal the pains of existence which is more religious and spiritual than a mundane matter of realistic _expression.

We have much to gain from Duras and her creative works, and this is a pioneer effort on the part of the translator Gunasekara with a mission to introduce the original flavour to the Sinhala reader. Duras was associated with the New Wave French writers of the 1950s and 1960s.

She was born in Indo China (Vietnam) and at the age of 18 came to Paris where she studied mathematics, law and political science. According to the translator Niroshini Gunasekara, the writer Duras has written about 40 novels of which most are translated into English.

These two works translated by Niroshini Gunasekara happen to be the only instance where the Sinhala reader gets the opportunity to capture the essence of Duras. With the test of time and the acceptance factor the translator ought to bring out more of Duras especially in order to bridge the gap of cross cultural issues.

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Davids versus Goliaths

Pol Athu Thaksalava, Author: Premachandra Magammana, Sarasavi Sevana Pallegama, Pepiliyawala, 144 pp. Price Rs. 220

Dr. Premachandra Magammana's latest novel, "Pol Athu Thaksalawa" (The Cadjan - thatched College) launched during September this year unfolds the saga of a backward village in Siyane Korale East in Gampaha District which lies in the Dompe electorate.

Although it is a sad tale of a particular village, namely, Pallegama, it carries a universal import as it applies to all villages alike during the seventies. This novel, like Earnest Hemingway's "Old Man and the Sea" smells of epic stature.

The main theme of Magammana's novel is the deprivation of a mother's love and care to a gentle child as the mother seeks better pastures in the Middle East eventually ending up in her settling down in India with an Indian who she had fallen in love with while in Saudi Arabia.

Vying for domestic jobs in Arabian households has become a trendsetter among a certain category of married women in our country who desire quick money at the same time and enjoy life as they please. This is more so with nympho-maniacs who are not content with monogamous sexual relations.

In the process of weaving round this theme, the writer exposes the mental depredation of a child. Magammana, however, does not get the child to show his worry often except once, making enquiries of his mother. If the child were to whimper or be in a dejected, gloomy or irate mood, it would have been more effective objectively.

How can such a young boy altogether forget his mother so soon ? But, I feel that the writer may have done so to get others like Champa, the energetic and humane teacher and his own mother, a retired teacher who have been successfully drawn up, to hush up the facts from the child in order to avoid polluting his young mind.

The forbearance, fortitude and thoughtfulness of good teachers and real love and pity naturally emanating from their hearts are well depicted in the novel.

Here, I remember the vivid story of a Japanese lass, "Jotts Chan - The Little Girl at the Window", by the Japanese writer, Tetsuko Kuroyanagi which shows how dedicated teachers as well as thoughtful parents can lustrously lead their children to great heights in life without treating them as robots as evident in the present day society.

In Magammana's novel, Champa, the dedicated and far-seeing teacher acts with wisdom and undaunted courage to educate a boy deserted by his flirting mother in such a manner that he does not seem to miss his mother.

Pathetic plight

Whilst the writer is trying to project the pathetic plight of a child forsaken by his mother, a subsidiary theme which is an analysis of the socio-political situation of the country represented by the constituency of Dompe during the seventies develops.

He treats the subsidiary theme so much so that it appears to outshine the main theme. This analytical study offers a clear view of the period under review. That is the decade of the seventies. The microscopic view of Dompe electorate as presented by the novelist can well be reckoned as a panoramic vista of the whole country at the time. And it reminds the reader, too, of a bitter past.

It was the most prosperous decade for the politicians in power. It was the most precarious decade for the people in abject poverty. It was the most atrocious decade for the young, dedicated and robust, Red supporters of the Government who, when double-crossed by the ruling party, ran riotous and exulted in a devastating spree.

The writer seems to express his views on the breakdown of marriages between incompatible partners through the persona of Suresh. His description of the nature of women who have fallen into disgrace is very convincing and tends to show the depth of his perception.

The following excerpts are graphic: "Suresh associated with people like varsity lecturers and professors whereas Nirmala moved with vagrants in the market, drunkards and scoundrels. We saw a world of difference between the two;" "If you sleep with dogs, you'll get up with their fleas," "Most women don't like men of high principles.

It is said that when Socrates, the great philosopher, was instructing his students, his wife hurled a pail of water at him;" "When a woman loses her sense of morals and manners, she rushes fast to her ruin;" "Suresh never takes alcoholic drinks. He doesn't smoke. Nor does he take part in parties. So some women tend to treat such men as eunuchs." These epigrammatic remarks reveal the writer's high level of understanding of human nature.

Dedicated teacher

When I read the character of Suresh who forgets all his worry at the sight of his students, the picture of Sydney Poitier playing the role of the dedicated teacher in the film, "To Sir with Love" is revived in my memory.

The source of the present day political marauding and plunder goes right back to the seventies as skilfully examined in the subsidiary theme of this novel.

Followers of opponent political parties were harassed. Young people were denied employment if they were reported to the ruling monsters as the plaque according to the whims of brewers of illicit arrack and thugs who were the grass roots level confidantes of the MPs. That was the order of the day.

At present it has grown into alarming proportions. The writer couches this situation succinctly and vociferously thus: "Isn't the Dompe socialism of the manor - house feudals extremely far from that of Karl Marx?"

Down the line of creative works that reveal the horrible facets of the gruesome life of the seventies, I believe, Dr. Premachandra Magammana's "Pol Athu Thaksalawa" comes next to Jayantha Gomes' "Darkness at Dawn" as translated into English by Edwin Ariyadasa.

Somapala Arandara

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