Epitome of versatility

Ruwini JAYAWARDANA

“I steep myself in the work to be translated, look at the phrases and words in their idiomatic contexts, then look into similar works in English and I consult standard dictionaries and works of reference. I think a lot about the ‘sound’ of the original and enjoy finding equivalents”

Professor Ashley Halpe. Picture by Udeni Rajapaksa

If Lester James Peries is the legend of cinema, Chitrasena is the dancer par excellence and Prof Ediriweera Sarachchandra is the principal playwright, then Professor Ashley Halpe can fittingly be called as the Doyen of English Education in Sri Lanka.

He was the youngest professor in Sri Lanka according to the system prevailing then, commencing his work at the university at the age of 31. He served in academia holding many positions including those of Dean, Faculty of Arts at the University of Peradeniya, Head of the Department of English for over 25 years and the Head of Fine Arts for several years. He was also a visiting lecturer for numerous foreign universities.

Having authored a wide variety of books ranging from translations of Sinhala works into English, creative writing and academic papers, Professor Halpe has directed over a dozen theatre productions. He is also a gifted painter whose work has been displayed aboard and in many publications related to art.

Q: At times it is difficult to locate a word denoting the same meaning in diverse languages. What were the challenges you faced in translating Sinhala works into English?

There are, undoubtedly, difficulties. They arise, for instance, from differences in the very natures of the two languages, for they belong to two different language families and cultures. I steep myself in the work to be translated, look at the phrases and words in their idiomatic contexts, then look into similar works in English and I consult standard dictionaries and works of reference. Further, I think a lot about the ‘sound’ of the original. I enjoy finding equivalents.

Q: Criticism is a subjective process.

Criticism indeed has a large subjective element by its very nature. The critics’ task is to make educated comments on works, bringing to bear their knowledge and experience to enable readers to make their own evaluations.

Q: The criteria of the Gratiaen prize has been a continuous topic of debate. What are your views on this matter and do you stand by the judges’ decisions?

It is inevitable that there will be differences of opinion and we rely on the panel of judges to make intelligent and responsible decisions regarding the criteria. Yes, I do stand by the judges’ decisions on the whole. Besides, we do not have access to all the entries.

Some of Professor Halpe’s paintings

Maria I - Tess St Clair and Maria II - Shavera Seneviratne in Twelfth Night

Q: You are mostly known for your contribution towards literature. Your talent as a painter is unsung though you have exhibited your work at the Sao Paolo Biennale in Brazil and at the Royal West of England Academy. Do you too feel that your artistic talent had been camouflaged by your academic achievements?

It is simply a matter of relative focus. I enjoy my writing, my painting and drawing and my academic work all equally. I throw myself heart and soul into all three activities. Perhaps, since I do not have frequent exhibitions, the public do not know me as a painter and I might be known better as an academic. Even my creative writing only reaches the public from time to time.

Q: Publishing poetry collections is not lucrative and many budding poets tend to turn to short stories and novel writing.

Yes, it is true that poetry does not sell. However, a writer must have his or her own artistic integrity and hence the choice of form should not depend on salability alone. The writer must express himself in the fullest and richest way possible.

Q: According to your opinion, what is your greatest achievement?

My life has flowed into many channels: academic work, creative writing, painting and drawing, reviewing, student welfare activities, national cultural activities, not forgetting my family life. All are equally ‘great’ to me.

Q: Could you recall some of your memories with the university Dramsoc?

The University Dramatic Society, the Dramsoc, has been a major part of my life and I have enjoyed all my activities with it doing everything from cleaning toilets, to editing, performing, lighting, set designing and directing. We have done productions of every period and every kind of drama, from classical tragedy to avant-garde drama. I recall The Insect Play by the C(ç)apek Brothers, Major Barbara by Bernard Shaw, The Petit Bourgeois by Maxim Gorky, The Father by Strindberg, Shakespeare’s Macbeth, The Tempest and Twelfth Night, Zoo Story by Edward Albee, Graha Tharu in Sinhala by Asoka Colombage and many others.

Today the Dramsoc seems to be satisfied with running the annual One-Act Play competition. I wish they would return to undertaking full-length plays!

Q: Are you satisfied with the work done by university English departments and is there any room for improvement?

The work of academic departments can never be considered over nor should they ever cease to reach out in new directions.

The Department of English at Peradeniya has been no exception. It has constantly restructured its programmes and activities. I have enjoyed and am proud of my own contributions in this regard.

Q: Except for Peradeniya, all the other universities in the island do not offer English Masters in Literature. Is this due to a resource scarcity?

I am not sure about the situation in all the Universities. But my own experience has been that I have supervised Masters’ theses in Literature for universities like Sri Jayawardenapura, and Colombo in addition to Peradeniya.

Q: In recent times there seem to be an enthusiasm towards Sinhala dramas so much so that they are continuously staged in Colombo and around the island. This is not the case regarding English dramas because they are staged only for a couple of days and are rarely taken to any other part of the country.

The enthusiasm for an activity in Sinhala drama is quite natural, for it is one of the major indigenous forms of expression in this country and it relates to a larger public. Drama in English could never achieve the same sort of involvement and output since it is inevitably a minority activity. However, activity in theatre and drama has been steady and plentiful with constant infusion of creative energy by young directors and performers such as Jehan Aloysius, Jerome de Silva, Mohamed Adamaly, Jehan Bastian, Neidra Williams and Tracy Holsinger to mention a few.

Toby – Dr Neil Halpe, Feste - Namali Premawardhana and Sir Andrew - Simon Cotton in Shakespeare’s Twelfth Night done for the E F C Ludowyk Centenary Celebration at the Namel Malini Punchi Theatre in 2006

Q: There are many more issues existing in the society today compared with the Elizabethan era yet dramatists of Shakespeare and Prof Ediriweera Sarachchandra’s calibre have failed to make an appearance today. Do you agree?

I do not like to make pontifical pronouncements on such matters. There are many young dramatists active today and comparative evaluation is best left to posterity. I would also like to point out that a lot of talent in this field has moved into the cinema.

Q: Don’t you think having a State English Drama Festival is the answer to this problem?

No, it is not the complete answer. But it would certainly help, especially if the same State assistance is made available as is given to the Sinhala and Tamil drama. For example, subsidies can be given for productions of approved scripts islandwide as is done for Sinhala and Tamil drama, the finals heavily subsidized and handsome cash prizes awarded.

Q: We heard that apart from teaching your students you had to even bail them out of trouble during the inevitable politicization, the group rivalries and the tense times while you were working at the university. Recall some of your memories.

Yes indeed! My wife Bridget and I have been fully involved and still are, in the lives of the students. It has included bailing them out when in trouble, visiting them in prisons, counselling and keeping open house for them since we both agree very much with Sir Ivor Jennings that the University is a place that one never leaves. Though I have retired from Peradeniya, I continue to have close contacts with students past and present.