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The problems of life

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(from Venerable Nārada Mahāther’s THE BUDDHA AND HIS TEACHINGS)

Who? Whence? Whither? Why? What? are some important problems that affect all humanity.

1) Who is man? is our first question.

Let us proceed with what is self-evident and perceptible to all.

Man possesses a body which is seen either by our senses or by means of apparatus. This material body consists of forces and qualities which are in a state of constant flux.

Scientists find it difficult to define what matter is. Certain philosophers define “matter as that in which proceed the changes called motion, and motion as those changes which proceed in matter.”

The Pāli term for matter is Rūpa. It is explained as that which changes or disintegrates. That which manifests itself is also another explanation.

According to Buddhism there are four fundamental material elements. They are Pathavi, Āpo, Tejo, and Vāyo

Pathavi means the element of extension, the substratum of matter. Without it, objects cannot occupy space. The qualities of hardness and softness which are purely relative are two conditions of this element. This element of extension is present in earth, water, fire and air. For instance, the water above is supported by water below. It is this element of extension in conjunction with the element of motion (Vāyo) that produces the upward pressure. Heat or cold is the Tejo element, while fluidity is the Āpo element.

Āpo

is the element of cohesion. Unlike Pathavi it is intangible. It is this element which enables the scattered atoms of matter to cohere and thus gives us the idea of body.

Tejo

 is the element of heat. Cold is also a form of Tejo. Both heat and cold are included in Tejo because they possess the power of maturing bodies, or, in other words, the vitalising energy. Preservation and decay are due to this element.

Vāyo

 is the element of motion. The movements are caused by this element. Motion is regarded as the force or the generator of heat. Both motion and heat in the material realm correspond respectively to consciousness and Kamma in the mental.

These four powerful forces are inseparable and interrelated, but one element may preponderate over another, as, for instance, the element of extension preponderates in earth; cohesion, in water; heat, in fire; and motion, in air.

Thus, matter consists of forces and qualities which constantly change, not remaining the same even for two consecutive moments. According to Buddhism, matter endures only for 17 thought-moments. [2]

At the moment of birth, according to biology, man inherits from his parents an infinitesimally minute cell 30 millionth part of an inch across. “In the course of nine months this speck grows to a living bulk 15,000 million times greater than it was at outset. [3] This tiny chemico-physical cell is the physical foundation of man.

According to Buddhism sex is also determined at the moment of conception.

Combined with matter there is another important factor in this complex machinery of man. It is the mind. As such it pleases some learned writers to say that man is not Mind plus Body, but is a Mind-Body. Scientists declare that life emerges from matter and mind from life. But they do not give us a satisfactory explanation with regard to the development of the mind

Unlike the material body immaterial mind is invisible, but it could be sensed directly. An old couplet runs:-

“What is mind? No matter.What is matter? Never mind.”

We are aware of our thoughts and feelings and so forth by direct sensation, and we infer their existence in others by analogy.

There are several Pāli terms for mind. Mana, Citta, Vijgana the most noteworthy of them. Compare the Pāli root man, to think, with the English word man and the Pāli word Manussa which means he who has a developed consciousness.

In Buddhism no distinction is made between mind and consciousness. Both are used as synonymous terms. Mind may be defined as simply the awareness of an object since there is no agent or a soul that directs all activities. It consists of fleeting mental states which constantly arise and perish with lightning rapidity. “With birth for its source and death for its mouth it persistently flows on like a river receiving from the tributary streams of sense constant accretions to its flood.” Each momentary consciousness of this ever-changing life-stream, on passing away, transmits its whole energy, all the indelibly recorded impressions, to its successor. Every fresh consciousness therefore consists of the potentialities of its predecessors and something more. As all impressions are indelibly recorded in this ever-changing palimpsest-like mind, and as all potentialities are transmitted from life to life, irrespective of temporary physical disintegrations, reminiscence of past births or past incidents becomes a possibility. If memory depends solely on brain cells, it becomes an impossibility.

Like electricity mind is both a constructive and destructive powerful force. It is like a double-edged weapon that can equally be used either for good or evil. One single thought that arises in this invisible mind can even save or destroy the world. One such thought can either populate or depopulate a whole country. It is mind that creates one’s heaven. It is mind that creates one’s hell.

Ouspensky writes: “Concerning the latent energy contained in the phenomena of consciousness, i.e. in thoughts, feelings, desires, we discover that its potentiality is even more immeasurable, more boundless. From personal experience, from observation, from history, we know that ideas, feelings, desires, manifesting themselves, can liberate enormous quantities of energy, and create infinite series of phenomena. An idea can act for centuries and millennia and only grow and deepen, evoking ever new series of phenomena, liberating ever fresh energy. We know that thoughts continue to live and act when even the very name of the man who created them has been converted into a myth, like the names of the founders of ancient religions, the creators of the immortal poetical works of antiquity, heroes, leaders, and prophets. Their words are repeated by innumerable lips, their ideas are studied and commented upon.

“Undoubtedly each thought of a poet contains enormous potential force, like the power confined in a piece of coal or in a living cell, but infinitely more subtle, imponderable and potent. [4]”

Observe, for instance, the potential force that lies in the following significant words of the Buddha:

— Mano-pubbangāma dhammā ? mano – setthā – manomayā.Mind fore-runs deeds; mind is chief, and mind-made are they.

Mind or consciousness, according to Buddhism, arises at the very moment of conception, together with matter. Consciousness is therefore present in the foetus. This initial consciousness, technically known as rebirth-consciousness or relinking-consciousness (Patisandhi vijnna), is conditioned by past kamma of the person concerned. The subtle mental, intellectual, and moral differences that exist amongst mankind are due to this Kamma conditioned consciousness, the second factor of man.

To complete the trio that constitutes man there is a third factor, the phenomenon of life that vitalises both mind and matter. Due to the presence of life reproduction becomes possible. Life manifests itself both in physical and mental phenomena. In Pāli the two forms of life are termed Nāma jivitindriya and Rūpa jivitindriya — psychic and physical life.

Matter, mind, and life are therefore the three distinct factors that constitute man. With their combination a powerful force known as man with inconceivable possibilities comes into being. He becomes his own creator and destroyer. In him are found a rubbish-heap of evil and a storehouse of virtue. In him are found the worm, the brute, the man, the superman, the deva, the Brahma. Both criminal tendencies and saintly characteristics are dormant in him. He may either be a blessing or a curse to himself and others. In fact, man is a world by himself.

2) Whence? is our second question. How did man originate’?

Either there must be a beginning for man or there cannot be a beginning. Those who belong to the first school postulate a first cause, whether as a cosmic force or as an Almighty Being. Those who belong to the second school deny a first cause for, in common experience, the cause ever becomes the effect and the effect becomes the cause. In a circle of cause and effect a first cause is inconceivable. According to the former life has had a beginning; while according to the latter it is beginningless. In the opinion of some the conception of a first cause is as ridiculous as a round triangle.

According to the scientific standpoint, man is the direct product of the sperm and ovum cells provided by his parents. Scientists while asserting “Omne vivum ex vivo”--all life from life, maintain, that mind and life evolved from the lifeless.

Now, from the scientific standpoint, man is absolutely parent-born. As such life precedes life. With regard to the origin of the first protoplasm of life, or “colloid” (whichever we please to call it), scientists plead ignorance.

According to Buddhism, man is born from the matrix of action (kammayoni). Parents merely provide man with a material layer. As such being precedes being. At the moment of conception, it is Kamma that conditions the initial consciousness that vitalizes the foetus. It is this invisible Kammic energy generated from the past birth that produces mental phenomena and the phenomenon of life in an already extant physical phenomenon, to complete the trio that constitutes man.

Dealing with the conception of beings the Buddha states:

“Where three are found in combination, there a germ of life is planted. If mother and father come together, but it is not the mother’s period, and the ‘being-to-be born’ (gandhabba) is not present, then no germ of life is planted. If mother and father come together, and it is the mother’s period, but the ‘being-to-be-born’ is not present, then again, no germ of life is planted. If mother and father come together, and it is the mother’s period, and the ‘being-to-bc-born’ is also present, then, by the combination of these three, a germ of life is there planted.”

Here Gandhabba (= gantabba) refers to a suitable being ready to be born in that particular womb. This term is used only in this particular connection, and must not be mistaken for a permanent soul.

For a being to be born here a being must die somewhere. The birth of a being corresponds to the death of a being in a past life; just as, in conventional terms, the rising of the sun in one place means the setting of the sun in another place.

The Buddha states: “a first beginning of beings who, obstructed by ignorance and fettered by craving, wander and fare on, is not to be perceived.”

This life-stream flows ad infinitum as long as it is fed with the muddy waters of ignorance and craving. When these two are completely cut off, then only does the life-stream cease to flow; rebirth ends as in the case of Buddhas and Arahants. An ultimate beginning of this life-stream cannot be determined, as a stage cannot be perceived when this life force was not fraught with ignorance and craving.

The Buddha has here referred merely to the beginning of the life-stream of living beings. It is left to scientists to speculate on the origin and the evolution of the universe.

3) Whither? is our third question.

Where goes man?

According to ancient materialism which, in Pāli and Samskrit, is known as Lokāyata, man is annihilated after death, leaving behind him any force generated by him. “Man is composed of four elements. When man dies the earthy element returns and relapses into the earth; the watery element returns into the water; the fiery element returns into the fire; the airy element returns into the air, the senses pass into space.

Wise and fools alike, when the body dissolves. are cut off, perish, do not exist any longer. There is no other world. Death is the end of all. This present world alone is real.

The so-called eternal heaven and hell are the inventions of imposters.

Materialists believe only in what is cognizable by the senses. As such matter alone is real. The ultimate principles are the four elements — earth, water, fire and air. The self-conscious life mysteriously springs forth from them, just as the genie makes its appearance when Aladdin rubs his lamp. The brain secretes thought just as liver secretes bile.

In the view of materialists the belief in the other world, as Sri Radhakrishna states, “is a sign of mendaciousness, feminism, weakness, cowardice and dishonesty.”

According to Christianity there is no past for man. The present is only a preparation for two eternities of heaven and hell. Whether they are viewed as places or states man has for his future endless felicity in heaven or endless suffering in hell. Man is therefore not annihilated after death, but his essence goes to eternity.

“Whoever,” as Schopenhaeur says, “regards himself as having become out of nothing must also think that he will again become nothing; or that an eternity has passed before he was, and then a second eternity had begun, through which he will never cease to be, is a monstrous thought.”

The adherents of Hinduism who believe in a past and present do not state that man is annihilated after death. Nor do they say that man is eternalized after death. They believe in an endless series of past and future births. In their opinion the life-stream of man flows ad infinitum as long as it is propelled by the force of Kamma, one’s actions. In due course the essence of man may be reabsorbed into Ultimate Reality (Paramātma) from which his soul emanated.

Buddhism believes in the present. With the present as the basis it argues the past and future. Just as an electric light is the outward manifestation of invisible electric energy even so man is merely the outward manifestation of an invisible energy known as Kamma. The bulb may break, and the light may be extinguished, but the current remains and the light may be reproduced in another bulb. In the same way the Kammic force remains undisturbed by the disintegration of the physical body, and the passing away of the present consciousness leads to the arising of a fresh one in another birth. Here the electric current is like the Kammic force, and the bulb may be compared to the egg-cell provided by the parents.

Past Kamma conditions the present birth; and present Kamma, in combination with past Kamma, conditions the future. The present is the offspring of the past, and becomes in turn the parent of the future.

Death is therefore not the complete annihilation of man, for though that particular life span ended, the force which hitherto actuated it is not destroyed.

After death the life-flux of man continues ad infinitum as long as it is fed with the waters of ignorance and craving. In conventional terms man need not necessarily be born as a man because humans are not the only living beings. Moreover, earth, an almost insignificant speck in the universe, is not the only place in which he will seek rebirth. He may be born in other habitable planes as well. [6]

If man wishes to put and end to this repeated series of births, he can do so as the Buddha and Arahants have done by realizing Nibbāna, the complete cessation of all forms of craving.

Where does man go? He can go wherever he wills or likes if he is fit for it. If, with no particular wish, he leaves his path to be prepared by the course of events, he will go to the place or state he fully deserves in accordance with his Kamma.

4) Why? is our last question.

Why is man? Is there a purpose in life? This is rather a controversial question.

What is the materialistic standpoint? Scientists answer:

“Has life purpose? What, or where, or when?Out of space came Universe, came Sun,Came Earth, came Life, came Man, and more must come.But as to Purpose: whose or whence? Why, None.”

As materialists confine themselves purely to sense-data and the present material welfare ignoring all spiritual values, they hold a view diametrically opposite to that of moralists. In their opinion there is no purposer — hence there cannot be a purpose. Non-theists, to which category belong Buddhists as well, do not believe in a creative purposer.

“Who colours wonderfully the peacocks, or who makes the cuckoos coo so well?” This is one of the chief arguments of the materialists to attribute everything to the natural order of things.

“Eat, drink, and be merry, for death comes to all, closing our lives,” appears to be the ethical ideal of their system. In their opinion, as Sri Radhakrishna writes: “Virtue is a delusion and enjoyment is the only reality. Death is the end of life. Religion is a foolish aberration, a mental disease. There was a distrust of everything good, high, pure, and compassionate. The theory stands for sensualism and selfishness and the gross affirmation of the loud will. There is no need to control passion and instinct, since they are nature’s legacy to men. “

Sarvadarsana Sangraha says:

“While life is yours, live joyously,None can escape Death’s searching eye;When once this frame of ours they burn,How shall it e’er again return? [8]”

“While life remains let a man live happily, let him feed on ghee even though he runs in debt.”

Now let us turn towards science to get a solution to the question “why.”

It should be noted that “science is a study of things, a study of what is and that religion is a study of ideals, a study of what should be.”

Sir J. Arthur Thompson maintains that science is incomplete because it cannot answer the question why.

Dealing with cosmic Purpose, Bertrand Russell states three kinds of views — theistic, pantheistic, and emergent. “The first”, he writes, “holds that God created the world and decreed the laws of nature because he foresaw that in time some good would be evolved. In this view purpose exists consciously in the mind of the Creator, who remains external to His creation.

“In the ‘pantheistic’ form, God is not external to the universe, but is merely the universe considered as a whole. There cannot therefore be an act of creation, but there is a kind of creative force in the universe, which causes it to develop according to a plan which this creative force may be said to have had in mind throughout the process.

“In the ’emergent’ form the purpose is more blind. At an earlier stage, nothing in the universe foresees a later stage, but a kind of blind impulsion leads to those changes which bring more developed forms into existence, so that, in some rather obscure sense, the end is implicit in the beginning. [9]”

We offer no comments. These are merely the views of different religionists and great thinkers.

Whether there is a cosmic purpose or not a question arises as to the usefulness of the tapeworm, snakes, mosquitoes and so forth, and for the existence of rabies. How does one account for the problem of evil? Are earthquakes, floods, pestilences, and wars designed?

Expressing his own view about Cosmic Purpose, Russell boldly declares: “Why in any case, this glorification of man? How about lions and tigers? They destroy fewer animals or human lives than we do, and they are much more beautiful than we are. How about ants? They manage the Corporate State much better than any Fascist. Would not a world of nightingales and larks and deer be better than our human world of cruelty and injustice and war?

The believers in cosmic purpose make much of our supposed intelligence, but their writings make one doubt it. If I were granted omnipotence, and millions of years to experiment in, I should not think Man much to boast of as the final result of all my efforts. “

What is the purpose of life according to different religions?

According to Hinduism the purpose of life is “to be one with Brahma” or “to be re-absorbed in the Divine Essence from which his soul emanated.”

According to Judaism, Christianity and Islam, it is “to glorify God and to enjoy Him forever.”

Will an average person of any religion be prepared to give up his earthly life, to which he tenaciously clings, for immortality in their ultimate havens of peace?

Very doubtful, indeed!

* * *

Now, how does Buddhism answer the question “why?”

Buddhism denies the existence of a Creator. As such from a Buddhist standpoint there cannot be a fore-ordained purpose. Nor does Buddhism advocate fatalism, determinism, or pre-destination which controls man’s future independent of his free actions. In such a case freewill becomes an absolute farce and life becomes purely mechanistic.

To a large extent man’s actions are more or less mechanistic, being influenced by his own doings, upbringing, environment and so forth. But to a certain extent man can exercise his freewill. A person, for instance, falling from a cliff will be attracted to the ground just as an inanimate stone would. In this case he cannot use his freewill although he has a mind unlike the stone. If he were to climb a cliff, he could certainly use his freewill and act as he likes. A stone, on the contrary, is not free to do so of its own accord. Man has the power to choose between right and wrong, good and bad. Man can either be hostile or friendly to himself and others. It all depends on his mind and its development.

Although there is no specific purpose in man’s existence, yet man is free to have some purpose in life.

What, therefore, is the purpose of life?

Ouspensky writes “Some say that the meaning of life is in service, in the surrender of self, in self-sacrifice, in the sacrifice of everything, even life itself. Others declare that the meaning of life is in the delight of it, relieved against ‘the expectation of the final horror of death.’ Some say that the meaning of life is in perfection, and the creation of a better future beyond the grave, or in future life for ourselves. Others say that the meaning of life is in the approach to non-existence; still others, that the meaning of life is in the perfection of the race, in the organization of life on earth; while there are those who deny the possibility of even attempting to know its meaning.”

Criticising all these views the learned writer says:–“The fault of all these explanations consists in the fact that they all attempt to discover the meaning of life outside of itself, either in the nature of humanity, or in some problematical existence beyond the grave, or again in the evolution of the Ego throughout many successive incarnations — always in something outside of the present life of man. But if instead of thus speculating about it, men would simply look within themselves, then they would see that in reality the meaning of life is not after all so obscure. It consists in knowledge. “

In the opinion of a Buddhist, the purpose of life is Supreme Enlightenment (Sambodhi), i.e. understanding of oneself as one really is. This may be achieved through sublime conduct, mental culture, and penetrative insight; or in other words, through service and perfection.

In service are included boundless loving-kindness, compassion, and absolute selflessness which prompt man to be of service to others. Perfection embraces absolute purity and absolute wisdom.



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Features

Beyond the fiction of Alborada

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By Sarath Chandrajeewa

“No matter how much a work of art is sweet, if it hides the truth and disregards humanity it can only be equalled to a beautiful but empty shell that attracts us.” (L.E. Kerbel – Russian Sculptor)

‘Alborada’ is the Spanish word for ‘the dawn’. In 1984, a music group was born in Peru, South America by the same name and they gained immense popularity. Their music mainly spread among people in North and South America. Their music’s foundation was the traditional music of Native Americans who lived in the Andes mountain range (https://www.youtube.com/watch?v=YTD2VDcxvNc). Likewise, in 2005 a soap opera by the same name was broadcast in Mexico, North America, which became very popular. This story was based on a series of events that took place during the historical period when Panama and Mexico were on the verge of gaining freedom from Spain (https://www.youtube.com/watch?v=8iM5s_d1vls).

In 2021 Asoka Handagama made a film in Sri Lanka by the same name, Alborada. The protagonist of this film is Pablo Neruda (1904 – 1973), the Chilean Consul in Ceylon for two years, from 1929 to 1931. He was very young, only 25, when he was appointed to this post. Ceylon was a colony at the time and he was lodged at No. 56, 42nd street, Wellawatte, Colombo 6, a place close to the sea. He had written down his reminiscences, in his own language, in book form. Later it was translated into English and published under the title ‘Memoirs’. According to this book, he had referred to his house as ‘My solitary bungalow’. It is said that the name Alborada was proposed by Pablo Neruda for the house of his friend, Lionel Wendt (1900 – 1944), who had lived at Guildford Crescent, Colombo 7.

Wendt too was fluent in several languages including English, Spanish and some other European languages. It is apparent, from documents and events that took place at that time, that his house, Alborada, had not been a lonely or tranquil place. It is clear that house Alborada was always full of people, such as painters, dancers, actors, photographers as well as pianists and those who enjoyed music. It was more like a cultural centre where discussions, art critiques and debates took place. (L.C. Van Geyzel, et al. [2000]. ‘Lionel Wendt: A Centennial tribute’. Lionel Wendt memorial fund; Sampath Bandara. [2017]. Lionel Wendt Kalava Saha Jeevithaya, Sarasavi Publication. [Sinhala]).

Though Handagama’s film was titled Alborada, the actual location, where incidents mentioned took place, was the Solitary Bungalow, the Chilean Consul’s official residence (Jamie James. [2019]. ‘Pablo Neruda’s life as a struggling Poet in Sri Lanka: A young poet’s Adventures in the Foreign Service’. Retrieved from https://lithub.com/pablo-nerudas-life-as-a-struggling-poet-in-sri-lanka/). In the 20th Century Sri Lankan context, Alborada was a distinguished active cultural centre. As a Sri Lankan cultural symbol, it directly connects with the character of Lionel Wendt. The creator of a work of art has the total freedom to create his work as he pleases and also to choose whatever name for the particular work. Handagama’s Alborada is similar to a poem, set to inspiring music. It includes a series of artistic figure compositions and features a number of skilled performing artistes. The trailer of Handagama’s film gave me some ideas.

When creating a work of art based on historical events, rather than myth and imaginary incidents, its trustworthiness depends on the people who faced the incident, the actual incidents, exact places, time period and the political and cultural background. Consequently, thorough research is necessary to identify accurate works based on historical incidents. It is difficult to rectify myths or false assumptions ingrained in society by unreliable books, documents, magazines or films. People will always embrace falsity, deception and myth, over the truth. Our culture as well as other cultures are replete with many such examples.

Alborada

‘Alborada’ is the name of Lionel Wendt’s house. It is important as it is the house of a great Sri Lankan cultural icon of the last century. It is also important as Alborada was the name given to the renowned cultural centre of modern history, in Sri Lanka. It is from this place that art activities in our country were taken to the international arena. Alborada was situated at No. 18 old Guildford Crescent. Today this street is called Premasiri Kemadasa Mawatha. Six years after his demise, in 1950 his friend Harold Peiris (1905-1981) demolished his old house, Alborada, and built a gallery and a performing arts centre (Lionel Wendt Art Gallery and Theatre) to commemorate him. It was designed by painter Geoffrey Beling (1907 – 1992), Principal Art Inspector, Department of Education, and Bernard G. Thornley (Manel Fonseka. [1994]. ‘Rediscovering Lionel Wendt, Lionel Wendt Photographs’. Deutsche Bank Colombo and Lionel Wendt Memorial Fund).

When Lionel Wendt was alive, renowned upcountry master dancers, Amunugama Suramba and Nittawela Ukkuwa used to lodge at Alborada with their troupes, when they visited Colombo (Dancer Dr. Vaidyavathi Rajapakse, daughter of Master Dancer Suramba, Personal communication, 2017).

A documentary movie ‘Song of Ceylon’, directed by Basil Wright in 1934, was placed first at the Brussels International film festival in 1935. The creative segments of the movie were organized at Alborada. Manel Fonseka reported in an article, ‘Rediscovering Lionel Wendt’ in 1994, that in an interview with Julia Margaret Cameron, Basil Wright had said this about Lionel Wendt; “I think he was one of the greatest still photographers that ever lived. I should place him among the six best I’ve come across”.

As a result of discussions held at Alborada, master dancers Nittawela Ukkuwa and Amunugama Suramba were taken to England for a recording of drum beats, for the movie ‘Song of Ceylon’. This trip was sponsored by painter Harry Peiris (1904-1988). A dance school was established to develop up-country dance, in Gunnepana, Sirimalwatte, Kandy in the 1920s for Master Suramba, as a result of discussions held among a group led by Wendt and George Keyt (1901-1993). This troupe, which included the group of up-country dancers, Ukkuwa, Nittawela Gunaya, Punchi Gura and Sri Jayana Rajapakse, was later upgraded as the ‘Dance Ensemble of Central Lanka’. Jayana’s coming of age ceremony, inclusive of his ‘Ves ceremony’, held at the Degaldoruwa Rajamaha Viharaya, Kandy, in 1939, and Jayana’s dance training in India later, were all sponsored by Wendt (Dr. Vaidyavathi Rajapakse, Personal communication, 2017).

The first art inspector appointed to Sri Lanka, during the colonial era, was Charles Freegrove Winzer (1886-1940), an Englishman. He became close friends with Wendt, during his tenure in Sri Lanka. In the early years, Winzer and Wendt both wrote reviews on exhibitions of George Keyt, Justin Peiris Deraniyagala (1903-1967) and Geoffrey Beling. Wendt also translated Neruda’s art reviews from Spanish to English and published them (Manel Fonseka.

[1994]. ‘Rediscovering Lionel Wendt, Lionel Wendt Photographs’. Deutsche Bank Colombo and Lionel Wendt Memorial Fund).

The first avant-garde art movement in Sri Lanka, the ’43 Group’, was born under the leadership of Winzer and Wendt. The 43 Group consisted of Wendt (Chief Organizer), painters Harry Peiris (Chief Secretary), George Keyt, J.W.G Beling, Richard Gabriel (1924-2016), Ivan Peiris (1921-1988), Justin Pieris Deraniyagala, George Claessen (1909-1999), Aubrey Collette (1920-1992) and L.T.P Manjusri (1902-1982). The meetings of the 43 group were held at Alborada until Wendt’s death.

Afterwards the meetings were held at the house of Harry Peiris, Sapumal Foundation, Barnes Place (Sarath Chandrajeewa. [2010]. ‘Modern Art in Sri Lanka and its socio-political environment’, Artful resistance: contemporary Art from Sri Lanka, ZKF publishers. Germany).

As mentioned above, Pablo Neruda was only 25 when he was in Sri Lanka as the Chilean Ambassador (1929-1931). At 29, Wendt was four years older. In his book ‘Memoirs’, translated from Spanish into English by Hardie St. Martin, published by Penguin, Neruda had written thus about Wendt, on page 93.

“Little by little the impenetrable crust began to crack open and I struck up a few good friendships. At the same time, I discovered the younger generation, steeped in colonialist culture, who talked only about books just out in England. I found out that the pianist, photographer, critic and cinematographer Lionel Wendt was the central figure of a cultural life torn between the death rattles of the Empire and a human appraisal of the untapped values of Ceylon.

Lionel Wendt, who owned an extensive library and received all the latest books from England, got into the extravagant and generous habit of every week sending to my house, which was a good distance from the city, a cyclist loaded down with a sack of books. Thus, for some time, I read kilometers of English novels, among them the first edition of Lady Chatterley’s Lover, published privately in Florence” (Memoirs by Pablo Neruda, translated from Spanish by Hardie St. Martin [1997]. Penguin Books).

To be continued

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Features

Politics at its most primitive

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By Uditha Devapriya

Review of Shaveen Bandaranayake’s Groundswell

Sarasavi Publications, 2021, 118 pages, Rs. 300

Half-way into Shaveen Bandaranayake’s novel, the Minister at the heart of the story tells us that the wealth he earned was people, not money. This is what politicians usually say. In the very least, it is what people who dislike politicians imagine they say.

Come to think of it, both amount to the same thing: we’ve turned politicians into objects of hate so much that we’ve come to love them for being who we think they are. Since we can’t control them in real life, we want to dominate them in popular fiction. The number of plays and films that poke fun at Presidents, Prime Ministers, and Ministers testify to how badly we want to be, not like them, but above them.

I am deeply suspicious of satire of that sort. In his excellent review of Pusswedilla, Hafeel Farisz tells us why political parody ends up serving the people and objects being parodied. This is not rocket science. At its best, political satire can move us to anger, disenchantment, and rebellion. At its worst, it can lull us into a sense of complacency with things as they are and as they seem. Farisz seemed to think that Pusswedilla epitomised the latter, reinforcing cultural stereotypes while offering no proper critique of the political establishment and the ruling class. I suppose you can say the same thing of Vijaya Nandasiri’s comedies: at his best, he makes us aware of the corruption of the political class; at his worst, he turns the corrupt into objects of love-hate, full of tropes and clichés but nothing substantive.

Shaveen Bandaranayake’s Groundswell reads as a political satire, though I have my doubts. Interweaving different stories and unfolding like a film, it goes back and forth. I won’t call its ending funny, but then how can any novel involving politics end on a funny note?

What Bandaranayake does in his story, short as it is, is to tell us that nothing good can come out of a system mired as much in corruption as in patronage. Since these people are tied to each other through politics, politics can prove to be their undoing. The way he forays into this theme and explores it, without regurgitating the usual political clichés, puts the novel at a notch or two above what you come across at, say, the Lionel Wendt. Without conforming to crude stereotypes, he attempts to humanise his characters, showing us why connections matter in politics, and why they don’t always work out.

The plot is simple enough. A woman comes across a corpse of a man at the foot of a hill one fine morning. She informs the police. By the looks of it, he seems to have lost his grip and fallen to his death. The story then rewinds to a political rally at that most obtrusive site of political rallies, a temple, where we are introduced to Sarath Aluwihare, a Minister trying to win his next election. We are also introduced to Sunil, a young man endeavouring to land a job. Events will unfold in a way that will bring the two of them together.

We are told that Sarath hails from a family of politicians, and that this family has been in politics for over two generations. The surname tells us as much. Sunil, on the other hand, is so unobtrusive that Shaveen doesn’t grant him the privilege of a surname, which, after all, is the preserve of those who matter. Like other village youths lacking employment and in dire search of a patron from the ruling class, Sunil clearly is not important; even when he finds a job as Aluwihare’s driver, his status rises, but not so much as to protect him from the novel’s ending. He is as destined to his place in life as Aluwihare is to his.

There are other characters though, and they have surnames. There is the head priest of the temple, for instance, an unabashed admirer of Aluwihare who uses him to achieve his not so religious purposes. Then there is Dileepa Jayanetti, who rises “from rags to riches” and ends up becoming the owner of the country’s biggest media house. Dileepa finds his way up by befriending the daughter of another prominent politician, who introduces him to Aluwihare, who in turn becomes his biggest benefactor. You sense the pattern here.

Halfway through the story, Dileepa hires Lasantha Muthukumarana, a journalist who tries to stick to the tenets of his trade. Dileepa does this because he thinks that by hiring the honest, he can keep them from being honest. For someone who is so bright and manipulative, this is far from the most brilliant decision he could have taken: a few pages later, Muthukumarana is investigating a hit-and-run incident which may be connected to Aluwihare.

In Bandaranayake’s world, everyone seems to know everyone else. That is why it comes to no surprise that the man run down by a vehicle in the middle of the night should have been married to a woman Aluwihare just happened to hire at his Ministry, and that she should be rumoured to have formed the object of Aluwihare’s affections. That Lasantha thought for a moment that a news report linking all this to a prominent Minister would make it in a paper linked to and blessed by that Minister is, of course, intriguing. But he tries to get it published it anyway. When the predictable opprobrium follows and he finds he can’t get it in, the story moves to its inevitable and in many ways unsurprising conclusion.

In saying all this, I am by no means revealing the plot. In fact, surprising as it may seem, the plot is what least interests me about Bandaranayake’s novel. This is a narrative I have come across many times, in many forms. Bandaranayake takes great pains to make it all relevant to the immediate political situation, i.e. the one we are in, now. Those who manage to draw links between his characters and their “real-life counterparts” should, therefore, be forgiven for thinking that he has attempted political critique masquerading as satire. My interest in it, then, has less to do with the novel than the genre it belongs to.

If Groundswell can be called a satire, it is satirical only to the extent that his characters are caricatures. Yet, as I implied earlier, it is not a satire in the way that a work like Pusswedilla is. The characters fit into preconceived and familiar patterns, but that doesn’t make them the clichéd tropes they turn into elsewhere. These characters are more rounded, certainly more complex. Sarath Aluwihare, for instance, does not possess the overstuffed tummy his counterparts from countless parodies do, while Sunil doesn’t become a Renfield type figure hell bent on catering to his “Master.” Even though Bandaranayake can be facetious, and is pugnacious, he refuses to dabble in the kind of satirical humour which could have turned his story into a Vijaya Nandasiri style parody of politics in Sri Lanka.

Depending on how you view it, this may be the strongest point or the biggest weakness in Bandaranayake’s novel. Groundswell makes several important points, and they should be considered pertinent whether they be couched the language of satire or of serious political critique. The medium is hardly the message, contrary to what people might say, and the way you communicate your ideas should not really impact the importance of those ideas.

And yet, there are one or two episodes which reveal Bandaranayake’s funny side. It is here that the disjuncture between the satirical undertones and the ponderous overtones of the narrative, and the author’s voice, proves fatal to the development of the story.

Bandaranayake is at his best when he is setting up situations, and these situations are, all things considered, effective in setting up the plot. He tries to create atmosphere, and does a good job of laying the context. But when each and every point is prefaced by laboriously long explanations of social phenomena, such as the separation between temple and State in Sri Lanka, or the wretched fate encountered by a million or so menial workers in West Asia, you struggle to distinguish between the narrative and the commentary.

For local readers, these explanations will at best be passé. I suspect they will be for foreign readers as well. Groundswell is a novel, or more correctly a novella, which could have been shorter, tighter, and more effective without them. Not surprisingly, the story gains strength when Bandaranayake cuts to the chase, and loses track when he does not.

I have read this kind of story many times before. What makes this one interesting is that it is Bandaranayake’s first attempt at fiction, and that, for a first attempt, it’s damn good. Even within its limits, he has come up with something enjoyable. That I enjoyed the book, and of course the brilliant illustrations that more than just decorate it*, is why I wish it were leaner, shorter, and tighter. Less can be more. More often than not, it is.

* With one exception: the eighth drawing depicts a scene that, if you think about it carefully, is at odds with the text on the opposite page.

The writer can be reached at udakdev1@gmail.com

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Thirty two little ballerinas win awards at TBSC’s 2021 prize giving

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PRIYAN DE SILVA

Thirty two little ballerinas were presented with certificates of achievements and awards at the 2021 prize giving of The Ballet school of Colombo (TBSC) held recently.

Directors of TBSC Tara Cooke and Romina Gyi said that they were extremely proud of the achievements of their charges and thanked the students and parents for their dedication in attending classes diligently despite the trying conditions.

Certificates of achievement were awarded in the baby ballet, junior ballet and intermediate ballet categories to students who excelled in pre-classical and pre-jazz ballet.

Debbie McRitchie, International Director of the Commonwealth Society of Teachers of Dancing (to which TBSC is affiliated), in her congratulatory message thanked the parents for investing in their childrens dance education and the teachers of TBSC for preparing the candidates. She said that dance is like life and is a journey but not a destination and encouraged all stakeholders to work harder.

The prize giving was a proud moment for both students and parents as it was a parent who presented the certificates of achievement to their child. Five-year-old Shenaya de Alwis Samarasinghe was the youngest candidate at the prize giving, passing with honours in pre-classical ballet.

The Ballet School of Colombo was the former ‘Oosha Garten Sschool of Ballet’ pioneered by the late Kalasuri Oosha Saravanamuttu-Wijesinghe and was instituted as the ‘The Ballet School of Colombo’ in 2016.

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