Ranjith’s rich structure and characterization
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Ranjith Dharmakeerthi
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No! Never ever. I could never crack up to plunge headlong in
laudation. Simply because this novel Ginisiluwaka Sanda Eliya -
moonlight in a flame - has been authored by my good old friend Ranjith
Dharmakeerthi, the dramatist and writer for the simple reason that
literary criticism never sanctions unwarrantable laudation or
denunciation. Such is the constitution of this holy domain - olive
groove? - of literary criticism, where in the shades sits the literary
critic with that ‘deep sworn vow’ of honourable honesty burning live and
hot in his heart.
Ranjith Dharmakeerthi who made his mark on the Sinhala stage as a
noteworthy playwright, has, during the last few decades, shown his
prowess in many a field such as the short story, the essay, translation,
and also the novel which obviously is my present concern.
It cost him only a few investigatory peregrinations in the precincts
of the art of fiction writing before he hit upon the egress proper and
then on, it was smooth wheeling: from Sath Mahala of a yesteryear to
Ginisiluwaka Sanda Eliya of yesterday. Yes, Dharmakeerthi stands big
among the giants of the Sinhala novel.
Let me try to track down some attributes which would really have made
Sanda Eliya shine titian red against the ‘intended’ flaming red social
background if not for certain reasons. Thus this endeavour of mine will,
I presume, tout-de-suit ferret out the pluses and minuses too of
Dharmakeerthi’s novel.
Sanda Eliya carries in it a very charming love spreading over, may
be, half of the novel, which continues to enchant the reader from the
start to the finish. As both reader and critic I am compelled to own up
that the story and characterization of a novel are requisite which fact
is overlooked rather consciously and ‘fashionably’ too, by some callow
modern day local critic in order to proudly signify a note of their
allegiance to post-modernism.
Be that as it may. Dharmakeerthi’s rich story at once contributes
largely to both structure and characterization of the novel so much so
that the three aspects are welded together into an inseverable oneness -
a distinct sign of the novelist’s expertise in handling the art of the
novel.
The author’s mastery of the craft bestows on both main characters
such entrancing lovabilities though different in themselves, which
finally become the true catalyst force of the aforementioned fusion. the
homespun rustic Nandani, the hospital nurse. Coming from an impoverished
family with aristocratic leanings and Dr. Anandan, a traditional Hindu
by birth and conviction too, who despite his western educational
training remains, without any conscious effort, what he is.
Their love affair trudges on not without vacillations, hesitations
and even repudiations with Nandani struggling with her own family
problems resolutely, untiringly and even daringly. While her much more
blessed counterpart seems to be poorly lit and indulging in only
theorizing and that too in a field alien to him - the socio-political!
Having helped her sisters in their marital problems, Nandani feels
relieved but soon gets a transfer to Colombo hospital where, quite
unexpectedly, she meets Anandan who by now lives in Australia and has
come to Sri Lanka for a short stay.
Now their maturity acquired from age, experience and broadening of
social outlook would not consent to any racial inclinations or
attitudes; neither would they look forward to their parents’ advice or
approval. Thus the novel ends in a happy and positive note with the
emplaning of a new couple to a new country in search of a new life.
Let me go back to the ‘fusion’ I spoke of in a few earlier lines for
therein lies the most gripping and perhaps the most innovative modus
operandi in the work: a strategic manipulation rarely seen in a
contemporary Sinhala novel. The striking contrast found in the two main
characters, Nandani and Anandan glow flame-red and titanium red
alternatively: when one vacillates, hesitates or repudiates the other
reacts quite contrarily (for respective examples see pages 33-34, 84-85,
190-191).
These many instances of accords and discords run down deep into the
three layers of the body of the novel in the plot, structure and
characterization - producing a convulsive movement which in turn becomes
symbolic of the long and synchronous existences of the two ethnic group.
And here it would be relevant to mention that these convulsive
movements of the accords and discords running deep into the substructure
of the novel hold it together like sinews to form one entity suggestive
of a “nation” - the light at the end of the tunnel. It is only a flicker
of the genius of Dharmakeerthi which could have brought to fruition such
a brilliant depiction of the existing reality with all its complexities.
True that the glittering thread of lovability (of Nandani And Anandan)
runs through the whole texture of characterization of the novel. It is
also true that the ethnicity of the couple could be interchanged without
causing any imbalance. This interchangeability is easily and equally
applicable not only to these two individuals but also to families
themselves of the two ethnic groups.” This is only plain and obvious
common sense!” One could easily comment.
Yet the manner in which this delicate and seemingly simple concern
has been handled by the novelist in this novel is only exceptional and
it bears testimony to Dharmakeerthi’s elegant taste and subtle knowledge
of the art of the novel.
The most conspicuous flow in the novel seems to be the author’s
failure to have depicted the escalating terrorist activities at a closer
range for it is one major thematic concern of our writer; though the
Sanda-eliya (moonlight) has been remarkably handled - as I have already
shown - in relation to all the important aspects of the novel like a
plot, structure theme etc. the Ginisiluwa signifying the imminent threat
of terrorism whose flames have already begun to lick the social web of
the country has been viewed from the far end of the telescope.
This distancing of the objectively of the action packed drama may
well be a postponement of the writer for I feel that Dharmakeerthi is
obliged to write a sequel to his novel. His ending itself is verily
suggestive of two anticipatory contemplations: the sequel and the much
more symbolic and humane transformation of the Ginisiluwa to Sanda-eliya.
- Hemaratne Liyanarachchi
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