By Dr Upul Wijayawardhana

Forty years ago, on 20th April 1983, we lost for ever the genius of the Sinhala wordsmith extraordinaire, whose life was cut short suddenly and prematurely at age of only 52 years. It is said that those with creativity, like him, reach their maximum potential in their fifties but, sadly, it was not to be although the legacy he left behind makes us feel as if he lived a century!

Considering his prodigious productivity in a span lasting less than four decades, it is hard even to imagine what he would have achieved had he lived at least a decade more, as he requested. Interestingly, in a moving poem printed in Kalpana in October 1982 six months before his death giving the impression that he had a premonition, titled ‘Ayachanayak’ (Request), he makes an appeal to the ‘Life-giver’ for an extension of 10 years, so that he may see his son grow up and can contribute to Sinhala literature in many ways, writing for the unity of the nation. It is not without humour either, as he states that all he wants is the extension and does not care even if it makes him look aged!

He is a wordsmith extraordinaire indeed, as he excelled in both the written and the spoken word; a rare achievement. He showed his talents in the written word by being among the great poets of the ‘Colombo Era,’ a sought-after scriptwriter for Sinhala cinema and, most importantly, a lyricist of lasting influence; perhaps, the greatest we ever had. He demonstrated his prowess of the spoken word as a newsreader, a presenter of programmes and concerts but he is best remembered for his unforgettable commentaries, the way he moved the entire nation to tears at SWRD’s funeral becoming part of broadcasting legend.

He was born in Ratmale, a little village south of Matara on June 3, 1930, the eldest of 10 children of Podiappuhami and Premawathi Abeysekara. The family moved to Colombo where his father started a small business but they moved back temporarily to their village during World War II which gave Karu the opportunity to study Sinhala, Pali, and Sanskrit under Venerable Ananda of Galkanda Vihara, which laid the foundation for the mastery with words.

On return to Colombo, he entered Nalanda College where his teacher was the poet U A S Perera, better known as “Siriayya” who conducted “Lama Pitiya” in Radio Ceylon, which was a life-changing event. This drew him to broadcasting, taking part in “Lama Pitiya” from the age of 12. He continued to study oriental languages under Venerable Dehigaspe Pannasara of Vidyodaya Pirivena whilst continuing his studies in English at Nalanda.

Karunaratna Abeysekara became a pioneer in many fields having faced the most crucial decision of his life in 1950, when he had to choose between admission to Peradeniya University, for a degree, or join Radio Ceylon as a relief announcer, earning seven rupees a day. He opted for the latter as he felt that was the only way he could support his younger siblings, his father’s business being not lucrative. This move not only allowed him to support his siblings admirably but also build a very successful broadcasting career.

He was a brilliant newsreader but outshone all others as a commentator. In the era before television, we were at the mercy of commentators to visualise any important event. Whereas others described what was happening, he painted the picture in our minds with his unmatched eloquence. I still remember listening to his commentary when Queen Elizabeth visited us in 1954 and painting the picture of the procession in my mind.

What has often been overlooked is the fact that it was Karunaratna Abeysekara who pioneered cricket commentary in Sinhala, the very first being a report on the Anada-Nalanda Big-match he gave on Saraswathi Mandapaya. He quickly switched to live commentary and is credited with coining many Sinhala cricket terms which are in current usage. No doubt the enthusiasm for and the popularity of cricket, the ‘coloniser’s game,’ in the villages is in no mean measure due to the commentaries in Sinhala which he pioneered in his inimitable style which enabled the listeners to visualize the game long before the advent of television.

Invariably, due to the inspiration from Siriayya, he was drawn to children’s programmes and Saraswathi Mandapaya, he hosted on Sunday evenings, became the star of children’s programmes and to me and my generation he became our beloved Karuayya. I had the fortune of participating regularly and helping Karuayya from 1957 to 1964, being introduced to him by his brother Daya and my good friend Buddhadasa Bodhinayaka. We would help by sorting out letters, writing features and reading scripts live etc. which gave us the grounding in broadcasting.

Karuayya

arrived about half an hour before the programme goes live on-air and penned a couple of songs, which were set to music by Master D D Denny to be sung by the children who became the leading musicians later. Saraswathi Mandapaya was the incubator for a generation of not only budding singers but also lyricists and script writers, far too many to mention by name. Just one example: Nanda Malini’s famous song “Budusadu, Budusadu, Sandun gasak wennam” written by Asoka Colombage with music by D D Danny, she sang first in Saraswathi Mandapaya.

He is rightly credited as the creator of the genre of Sinhala children’s songs and his compositions like Sarungale, Lenage pitameda iri tuna ende kauda mage amme, Dan nivadukale hinda ne iskole, Mamai Raja kale vihilu keru Andare, Surathal ape denila vana mal kele pipeela are perineal favourites. Some of his children’s songs have become so popular, adult singers have recoded them subsequently.

On retiring from the National Service, he joined the Commercial Service of Radio Ceylon where he revolutionised advertising by coining catchy slogans and introducing memorable jingles which are played even today. He was ethical to the core, ensuring that products he advertised stood to scrutiny, often visiting the manufacturers to make sure. This, unfortunately, is a practice unknown today, with celebrities selling their souls for cash, endorsing any product.

He was in great demand to present concerts and, in fact, many attended to see Karuayya as much as for the concert itself. When he commenced the proceedings, immaculately dressed with hair combed with Brylcream and a wide smile below the thin moustache, crowds roared with applause as he raised his hands and said “Ayubowan” His introductions were crisp and concise, describing a lot in a few words.

Of course, he is best remembered as a lyricist though he did not get universal acclaim. Some critics took objection to his style whilst others attempted to belittle him by saying he writes lyrics for Hindi tunes, disregarding the fact that often lyricists write words to a tune created by a musician and that doing this is more difficult than writing free lyrics. He had the remarkable ability to pen a song in a few minutes and the complimentary remarks, referring to this, made by Dharmadasa Walpola and Milton Perera in interviews, that he often wrote songs for them by the side of his car, on a piece of paper kept on the bonnet, were used by critics to belittle him. He disregarded them by saying: “I write my songs not for critical acclaim but for the sole purpose of the enjoyment of listeners, without them having to turn the pages of a dictionary!” Paradoxically now, 40 years after his death, critics are falling over each other to praise his lyrical style; simple though beautiful and musical words, arranged rhythmically to subtly convey, meanings often very deep, which brought about a sea change in Sinhala music for the masses!

He coined many new words and phrases but his genius was in the ability to transform even harsh words to be musical as illustrated by the Jothipala song “Sal Sapu Na Kumudu Saman Nilmahanel mal athare, Kidaram male pava suwanda digahere”. Leaving aside the simple but philosophical message conveyed later in the lyrics of this haunting song, the genius is in the introduction so beautifully to the lyric of Kidaram mala, the flower of the Stink Lily! The songs he penned still dominating the airwaves, despite the vast changes in the broadcast media since his death, stands testimony to his philosophy. The young, who have no idea whose compositions they are, join the old in singing his songs, made immortal by the vast number of talented Sinhala singers, most of whom he nurtured.

In my humble opinion, Karunaratna Abeysekara is the best lyricists Sri Lanka has ever had as his versatility is beyond compare. Even doubters would agree that his versatility remains unchallenged as he had the capability to suit the lyric to the singer’s style and even to suit the actor, for film songs. His lyrics could be anything from children to classical, funny to provocative but he was at his best when it came to romance, probably because of his own turbulent love affair with Raniakka before marriage. Erani Herath, like many millions in the country, had fallen in love with his voice initially which later blossomed into a romance, objected to by her elders who kept her a virtual prisoner. Her mother prevented her from listening to the radio first and then kept newspapers away from her, when she realized that he was communicating through poems in newspapers! One day, Tilakasiri Fernado has been waiting in studio 10 of Radio Ceylon for Karuayya as he was one song short for his programme the same evening. When the plight was explained, Karuayya vented the pent-up feelings by writing immediately ‘Enna mada nale, gos pawasanna duka mage; Yannata heki obata pamani sirageyata ege’ which has become a classic, wherein he requests the wind to convey his sadness and love to her as it is only the wind that can reach her prison uniterrupted!

In turn, Karuayya extended a helping hand to others in romantic difficulties too. When there were problems with Sanath Nadasiri’s romance with Malkanthi Pieris, he wrote the beautiful song “Ma hada asapuwa, kusumin sarasuwa, e Malbara dethai” Malbara hinting at Malkanthi! When Milton Perera had difficulty in expressing his love to Kalyani and appealed to Karuayya, he obliged with “Kalyaniye oba nasu kathawak kiyannam” with Milton declaring his love over the airwaves and thousands of lovers using it since to overcome their difficulties of romantic expression!

When Dileepa was born, after a gap of ten years, Karuayya was overjoyed and had been lying down on a mat between the two beds occupied by his wife and mother, when he got the sudden urge to pen a song. He got up and wrote “Dileepa podi puthu, saneepayata nidi, Mawage ukul yahane” which was printed in Silumina. Seeing this Clarence Wijewardene has approached Karuayya and had said he will pay anything for the song! In an interview Karuayya mentioned that this and “Enna mada nale” are his favourite songs. Shortly before his death, Karuayya had been listening to a radio programme where they had discussed “Enna mada nale” and Raniakka mentioned in an interview that Karuayya was very pleased and had commented “It is a haunting song.” It is a small mercy that he could listen to his favourite as the last.

No one knows how many songs Karunaratna Abeysekara wrote in his short but fruitful lifetime as he wrote songs for many including my wife, Primrose and even he did not keep a count. The figure of 2000 often quoted is a gross underestimate and may refer only to film songs as he wrote lyrics for over 300 films. Though he was paid for film songs, he never charged a cent from the multitude of artistes he wrote songs for. Almost every artiste of that era had the career launch or their breakout with a song penned by Karunaratna Abeysekara. He must have written thousands for radio musical programmes, Saraswathi Mandapaya and for recordings by artists which remain uncounted. Before the introduction of television, more than half the songs in SLBC library had been written by him.

Though the first song he composed for a film was “Kataragame Devige bime, Ruhunu janapade” screening of Sirisena Wimalaweera’s film Asoka was delayed, Varada Kageda being released ahead, two songs of which remain popular to this day: “Dalula prema gase” and “Piyalee kedila wetuna nebul Saman male” both sung by Mohideen Baig. It is said that seven other lyricists failed to satisfy Nimal Mendis for his composition for the film Kalu Diya Dahara but Karuayya succeeded with “Master Sir“

Some critics consider his best lyrics for a film are in Kurulu Bedda, with music by R Muthusamy and sterling performances by Punya Heendeniya and D R Nanayakkara, which include “Aruna Udaye” the first film song of Milton Perera, “Oya belma, oya kelma, nilupul nethe” by Lata and Dharmadasa Walpola. However, my personal choice is Daskama, the only film Edwin Samaradiwakara provided music for. “Ipida mere” sung by Amaradewa is a synopsis of Buddhism and has become a classic but there are many other beautiful songs too, masterfully crafted, and beautifully sung: “Honda Kala ada” by Mohideen Baig, “Goyam paseela kumbure” by Indrani Wijebandara, “Devlova devsepa” by Indrani Wijebandara and Mallika Kahavita, as well as GSB Rani Perera’s “Mada diye pipunata” and “Turu wadulu tule, sandalu thale, kekulu sele surathale; Mukulu obe, vikulu dange, lelena dalu palakale“, a song which demonstrates how simple words could be melodically threaded.

He excelled in writing about inanimate objects; perhaps, the only lyricist to do so. “Awile semada” is about a candle, “Basicale” is about the bicycle, “Sarungale” is about a kite and “Naga lovin gena apu Bulathatha” is about sheaf of Betel, a song that runs through all the associated rituals, reminding us about our old traditions. Often, he made use of life-events to pen a song. Whilst having dinner in a Chinese restaurant, the waiter has dropped a tray earning a public reprimand from the manager which prompted, the moment he got home, to write “Wedakarala ewara nometha deviyane – Mokotada ma duppathwe ipadune“

He wrote songs for artistes with widely varying styles with equal success, few eternal favourites being: “Kedelle ativu kirille wage demapiiyan sevane” for Mignone and Jetliners which has become the favourite at weddings, “Piyumehi peni bothi wanabambaru” for C T Fernando, “Mal yahanawaki loke, nave chandraloke” for M S Fernando, “Sulange pavee ee wetha yawee ma pathu pathum” and “Oruwaka pawena re ganaandure” for Milton Mallawarachchi, “Diya podak wemin thol wiyaluna pipaseta” for HR Jothipala, “Neela jalase rangana hansa kumari” for Sisira Senarathna, “Namal komali” for Indrani Wijebandara though she grabbed the limelight with the song “Hithannako aiye, denwath heddennnako aiye” from the film Suraya, also written by Karunaratna Abeysekara.

He was so proliferous, sometimes, had written different lyrics for the same tune. Having forgotten that he had written “Me bhavayedi mulu diya daye” for Narada Dissasekara, he had written “Tajmahalak thanawanna ne mata” for H R Jothipala, both becoming very popular and, interestingly, both artistes choosing each as their favourite song!

His younger brother, Gunaratna too was a reputed lyricist and one day Jothipala had come to their place to get a song on Anangaya (Cupid) written and as Karuayya was away, Gunaratna wrote him “Anangaya man” which became a hit. When Milton Perera approached Karuayya about this, he had written “Supemlove kusum sara malsara” highlighting the failures of Anangaya which resulted in a rebuttal from Gunaratna. When there were a few exchanges of songs, many began wondering whether there is a rivalry between Jothipala & Milton or Karunaratna & Gunaratna, the speculation being put to rest by the brothers co-writing “Api santhosen inne, Duka sokhaya ne danne, Aiyya malli wage” which was duetted by Jothipala and Milton!

During Vesak, from every Dansela to Pandal “Obe ragi mana kelambedo” sung by Mohideen Baig is heard, this being among many songs with Buddhist themes Karunaratna Abeysekara composed but it is often forgotten that he wrote on Jesus Christ too: “Bethlehem pure, Dilindu gawahale“. Mohideen Baig’s strong voice often amplified the message in songs like “Sinahawen ho kathawen be maninnata minisa” and “Ma oba wenuweni Bharatha menige pa sevane wedune” describes Baig’s life story.

Lata mentioned in an interview that wherever in the world, when she sang “Perdiga muthuetayai me, Loke sirideru Siri Lanka” the audience stood to attention, no surprise as it ends with: “Negisitiya heka eksathwi, Bedigiyoth rata yaye sunwee“. However, Karunaratna Abeysekara’s most opportune message from the grave comes from Mohideen Baig’s song “Giri hel mudune Manel nopipe, Hiru nonagi awaragirehe” which ends with:

“Dinu jathiya vatina Sinhale, Abhimanaya wu deya Sinhale

E niga sirithe galee, Ha noga endinu delee

Parasiritheni oba Hela meni, eida soketa heluwe”