Madol Doova is a children’s
novel and coming of age story written by Sri Lankan writer Martin
Wickramasinghe and first published in 1947. The book recounts the disadvantages
of upali giniwalla and his
friends on the southern coast of Sri Lanka during the 1890s. It latter
describes the efforts of upali and his friend Jinna to lead their lives
in a small deserted island. The novel has been translatered into several
lanvagus.
Martin
Wickramasinghe is writings on the culture and life of the people of Sri Lanka.
His work explored and applied modern knowledge in in natural and social
sciences literature, linguistics, the art, philosophy, education Buddhism and
cooperation religion. Wickramasinghe is often acclaimed as the father of modern
Sinhala literature.
I quote part
of it here.
“Mother died when I was about seven years
old. At least,
that is what I have heard
father and my Stepmother say. I can still remember how father and my aunt the
other relative wept at the funeral. I cried because everyone else was doing so
when my aunt carried me out in to the garden, a women stroked my head and
kissed me, and said “Aney! The poor motherless thing!”
One day, some time later, father brought my
stepmother and a crowd of relatives to the house in a fleet of horse carriage.
I remember very clearly how father climbed down form the carriages with my
stepmother and come up to the verandah. She kept her eyes on the ground and father
walked so close to her that their bodies almost touched. It was much later that
I learnt from the gossiping of the women that father married time about a year
after mother died a second.”
(story paragraph-
Madol doova)
Martin
Wickramasinghe is Madol doova novel is the language used by the althorn to make
it more popular among young children upali and Jinnah are the main characters.
After Upali’s mother died, his father
carries a minor mother. He than leaves the house due to petty resentment with
his father. The novel begins with this change in upali’s life. Due to the loss
of the mother or the father’s insolence, he leaves for Madol’s Doova. Madol
Doova is rich in blithe escapades of rural boyhood. The spirit of youthful
mischief comes vividly to life in such episodes dish of live frogs. Grown-up
opposition only add spice to the narrative, while there is delightful account
of the exploits of a confidence trickster. Viewed in this light, Madol Doova is
a sequence of lively, neatly shaped episodes with a plausible and very human
connecting story, the hunt for the floating flame forming the climax of what
might be called the adventures of Upali Ginivella and his follower Jinna. As
the cadju raid, the veddah game or the somberly. The story begins too, with
Upali recalling his mother’s death and the consequent changers in the pattern
of his relationships. The placed in a might yet Madol Doova ends soberly, even
adventure element and the scenes of mischief are realistic context; the
lifeblood of Madol Doova, one say is the detail of life in the rural-south half
a century ago. Given persons, places and the vicissitudes of daily life are
fullness and worm immediacy, while in every episode there is a deft balance of
the unusual and the typical. It is in relation to these realities that the
connecting tale gains an added dimension of human relevance, a taste for our
outdoor life, a love of independence and even sheer boyish venturesome lead
Upali and Jinna away from the accustomed paths of the rural middle class. The
strike out for themselves. In doing so, and without consumers choice they meet
reality on their own terms. They stake out a new life on.
The author provides an invaluable insight into the lives
of today’s society, illustrating the life story of a struggling youth.
MAPT/19/B1/22
HIRUNI PREMARATHNE
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