Profiles of Russian writers
As far back as 1950s I was interested in reading the novels and short
stories of Pearl S Buck. She created history through her widely read The
Good Earth, the Sinhala translation of which followed later. The
translation by the two scholars Professor Hemapala Wijewardhana and Ven
Urapola Hemaloka Thera too were widely known by the Sinhala readers.
Several other abridged translations followed which were not too good and
the inner essence of the original was lost.
As a schoolboy I was interested on knowing who Pearl S Buck was and
how she happened to gather experience to create such fascinating human
narratives. Gradually I was pressed to find whether there is a biography
or an autobiography available.
It was only via the Encyclopedia Britannica that I gathered
biographical material of the writer concerned. I was reminded of the
incident when I read through the pen portraits of 11 Russian writers,
some widely known and some lesser known in our country especially among
the Sinhala readers. The compilation is titled Rusiyanu Sahityata
Hendinveemak (An Introduction to Russian Literature) by Sunil
Mihindukula, is a flimsy booklet running to 54 pages.
 The
booklet devotes three pages to substantiate as to why the need to
present these profiles. One reason being the wide Sinhala readership of
pre-Russian and Soviet literary works devoid of much information on
those who created the literary works. The compiler commences his work
with Alexander Pushkin (1799 – 1837). I would have preferred to see at
least the mention of a few Sinhala translations of Pushkin as a matter
of courtesy. If I remember correct it was the late Ven Udukandawela Sri
Saranankara Thera who first introduced Pushkin to the Sinhala reader as
far back as 1945, through his periodical Nawalokaya.
Even today some of the best stories that had appeared in Pushkin’s
collection of short stories The Tales of Ivan Belkin came to be
translated from time to time. But his magnum opus Eugene Onegin is still
not translated. Perhaps this is a must for comparative literary studies.
Surprisingly enough although we had a number of Russian scholars who
were trained in the universities of Russia, we are at a loss to
understand why most of the well known translations did not appear from
the original Russian rather than from English translations.
Then we come to know about Nikolai Gogol (1809 – 1852). If I remember
right, Gogol was introduced in the Sinhala translation by Cyril C
Perera. That was the Sinhala translation of Dead Souls translated as
Mala Minissu. Even the well known Tolstoyan work War and Peace had been
translated into Sinhala from the English translation.
The third in the profile list is Mikhail Lermantov (1814 – 1841). He
seems a lesser known writer in our literary circles. But according to
the profiles presented by Mihindukula there lies a treasury of works
created by Lermentov. Through the English translations Lermentov is
observable as a well reorganized Russia writer whose works had had an
impact internationally.
The writer who follows Lermentov is Turgenev (1818 – 1883). Regarded
as a pupil of the French writer Flaubert Turgenev had been one of the
liberal thinkers who expressed the tragic inner feelings and the dismay
of the emerging pre revolutionary rich nobility in Russian.
As a young reader I was enthralled by reading her widely known novel
Fathers and Sons which appeared as a Sinhala translation in the 60s.
Some regard Turgenev as the D H Lawrence of Russia. But I disagree, as
Turgenev had a deeper insight into the human entrapment of the rich
class of people who live amid luxuries.
The compilation of Mihindukula ought to be a subject of discussion
suitable for a discourse on the creative process of the Russian writers,
especially during the pre-revolutionary Russia. This handy little
booklet on the lives of Russian writers may kindle an interest on
finding more material and enhance more reading material by way of
research. The compiler Mihindukula is quite brief in his presentation.
Perhaps he could elaborate them later.
Though not mentioned here, almost all the major and minor plays of
Anton Chekhov are translated into Sinhala. His widely known play The
Cherry Orchard was translated in the first instance by Mendis
Rohanadhira and secondly by Ranjith Dharmakirthi. This play was also
transformed into a Sinhala film titled Wekende Walauva by Lester James
Pieris. We also brought on to the stage an assortment of his life and
minor works titled as Chekhov Sandhyava as an experimental exercise on
the part of amateur theatre artiste.
Perhaps the student of literature may find this booklet a simple
guide to more findings. As such I felt hat Mihindukula’s attempt to be
too brief but had not gone a waste.
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