MAYA ANGELOU AND MONICA RUWANPATHIRANA: A COMPARATIVE STUDY WITH REFERENCE TO THEIR STANCE ON THE POSITION OF WOMEN AND SOCIAL INJUSTICE

A research paper presented at VURD – Vidyodaya Undergraduate Research Conference – 2021

Maya Angelou and Monica Ruwanpathirana are two modern women writers from different ethnic, geographical, cultural, and linguistic backgrounds. As a Black American, Angelou is a representative of the ethnic minority whilst Ruwanpathirana belongs to the ethnic majority being a Sri Lankan Sinhala Buddhist. The research aimed to find out the compatibility and points of contestation between the poetry of both writers. Thus, the research problem was ‘What are the similarities and differences between Maya Angelou and Monica Ruwanpathirana in voicing the position of women and social injustice?’ The objective of the research was to identify the universality of social injustice based on gender, race, and class. Under Methodology, a textual analysis was conducted on eight poems from each poetess. Dialectic Antagonism and Marx's theoretical stance on racial discrimination were taken into consideration under Marxist theory whilst Kimberly Crenshaw's theory of Intersectionality and Elaine Showalter's theory on Gynocritricism were utilized as sub-theories under feminism. Both Angelou's and Ruwanpathirana's poems were identified as politically charged works as the former had referred to the Black civil rights movement while the latter had been influenced by socialist realism. Their focus on the predicament of women was recognized with sexual exploitation, domestication, and intersectionality while social injustice was identified with racial discrimination and class struggle. The solidarity of Angelou and Ruwanpathirana under Gynocriticism was explored in the backdrop of patriarchy and female autonomy. Their defiant mode of expression was utilized to manifest how poetry can be instrumentalized to unravel exploitation. Thus, the suggestion of the research was to identify the commonalties between gynocentric writers from various contexts.

 

Keywords: Intersectionality, Gynocriticism, Social Injustice.

 

Dearth of Usable Books for Visually Impaired University Students towards Developing the Literacy Skills.

A research paper presented at VICLIS - Virtual Conference on Library and Information Sciences - 2021 

*1, Kasun Nayanajith, 2 Sathya Nirmani, 3 Warsha Ranasinghe

1 , Faculty of Humanities and Social Sciences University of Sri Jayewardenepura, Nugegoda. 2 Faculty of Humanities and Social Sciences University of Sri Jayewardenepura, Nugegoda. 3 Faculty of Humanities and Social Sciences University of Sri Jayewardenepura, Nugegoda. 

*sjpkasun@gmail.com wsnirmani@gmail.com kusumwarsha@gmail.com

Abstract

Books are valuable sources that improve a person's literacy skills. In particular, using books would enhance the reader’s creativity, writing style and spelling, among many other life skills. The persons with visual impairment and blindness have limited capacity to use books designed for sighted people. Documents presented in the form of brail and audio helps the persons with visual impairment and blindness to overcome this difficulty. Computer based screen reading systems also provides much help in this respect. However, not like in the Western world, books and publications that are useable by the persons with blindness are very rare in Sri Lanka. This situation is not conducive for the academic and other developments of the persons with visual impairment and blindness. Accordingly, this research aims to explore the existing situation with respect to availability of brail books for university undergraduates in Sri Lanka. The focus of the study is on the availability of books in Brail media. The objective of the research is to explore the language errors caused by the dearth of brail books. This research adopted a qualitative approach and adopted the interview method for data collection. In order to represent the study population, 20 university undergraduates each with and without visual impairment and 10 brail translators were interviewed. Data analysis was done during a period of a month in January 2021. Results indicated that there is a total number of 80 university students with visual impairment and blindness. The available number of books for these students is apparently inadequate. For an example, the number of brail books available at library of University of Sri Jayewardenepura is 50 whereas there are around 400 audio books available for the use of university students. To conclude with the significance of these findings, it was identified that the lack of brail books causes the students to make errors in spelling and discourse. 

Symbolic Representations of Water in British and Sri Lankan Poetry – A Comparison of John Keats and H. M. Kudaligama.

A research paper published at ICMA - International Conference on Multidisciplinary Approaches – University of Sri Jayewardenepura - 2021

Abstract 

Poetry is enriched with different manifestations of water. The symbolic representation of water in the poetry of British Romantic era and the poetical works of the second wave of Colombo Age is investigated in this research. The study is conducted with reference to John Keats and H.M.Kudaligama. The objectives of this research are to identify the metaphoric manifestations of water while exploring the compatibility of both poets in this regard. The references to water in their poems were extracted from a qualitative investigation of secondary materials. Purity, ferocity, power and resilience of water in their poetic manifestations can be identified as a symbolic representation which respectively draws upon impermanence, transience, fluidity, changeability, non-stagnation, renewability and complexity of life. Thus, it can be argued that there is an allegorical perception of water in both poets despite the temporal and special distinction both poets. 

 Keywords: Water, Romanticism, Symbolic Representation, Keats, Kudaligama

1.INTRODUCTION

 

Water has been vastly referred to in various contexts in almost all the genres of literature among which Romanticism holds a pivotal position. This study intended to conduct a comparative study on the concept of water in relation to British Romantic Era (End of 18^th and the beginning of 19^th century) and the second wave of Sri Lankan Romantic period (End of 19^th century). It should be noted that the latter era was influenced by the former era to a certain extent.

 

John Keats and H.M.Kudaligama can be respectively identified as representatives from each period. Despite the geographical distinction, both Keats and Kudaligama belong to the romantic period of literature in their countries. The objectives of this research are to identify the concepts related to water and to explore the points of compatibility in the representation of both poets.

 

2. METHODOLOGY

 

A comparative reading was conducted on poetry of John Keats and H.M.Kudaligama with reference to their dwelling on water. Secondary materials were utilized to collect information. Keatsian poems were explored online whilst ‘Manbandi Panhinda: The Anthology of Collected Poems of Kudligama’ was referred to find the relevant instances in the poetry of H.M.Kudaligama.

 

3. RESULTS AND DISCUSSION

 

Among the vast scope of imagery and concepts which are abundant in Romantic poetry, water plays a pivotal role. Both Keats and Kudaligama have made several references to water in the form of direct expression and symbolism.

 

The concept of purity of water runs through the works of both of them. As manifested in the following line by Keats; ‘The moving waters at their priestlike task - of pure ablution round earth’s human shores’ (Perry,2021) whilst Keats explores the purification effect of water in that manner, Kudaligama’s portrayal of purity is related to Buddhism. The line which brings forth a poignant metaphor which equates water to the sense of salvation, ‘Nudutumi ama mahaa nadiyak oba vithara’ (Kudaligama, 2007) exemplifies it.

 

Bringing forth the soothing effect of water as ‘Kaviyak wela ohu nalawanu manavi kalu’ (Kudaligama, 2007)  Kudaligama simultaneously shows how close water is to life. It refers to the life-giving effect of water as well. Such comparisons between life and water are abundant in Keatsean poetry. The following lines by Keats recall the oriental concept which equates life to a dewdrop. ‘Life is but a day; A fragile dewdrop on its perilous way from a tree's summit.’ (Bridges,n.d.)

 

The sentence engraved on Keats’ tomb; ‘Here lies one whose name was writ in water’ (Perry,2021) is one of his most exemplary references to water. Instead of carving a name on stone which signals permanence, the act of writing on water suggests impermanence, transience of life and fluidity at large. The concept of fluidity of water has also been utilized by Kudaligama to symbolize the never-ending flow of life. His following poem;

‘Sama thanithalawala hamu wei alasakama

Nirasai atharamaga avahira nodutu bima’(Kudaligama, 2007)  further reveals the non-stagnant quality, changeability and resilience of life.

Further, the complexity of life and water is equated in the following line;

‘Kisiyam gatalu sithuvili samuduraka gili.’ (Kudaligama, 2007)  Keats introduces a metaphor of diving in water in relation to poetic inspiration as follows. ‘A poem needs understanding through the senses. The point of diving in a lake is not immediately to swim to the shore; it’s to be in the lake, to luxuriate in the sensation of water.’ (Preller, 2010) which manifests the above discussed complexity at large.

 

The mighty power of water is explicated by Keats via the following lines; ‘The open sky sits upon our senses like a sapphire crown - the Air is our robe of state - the Earth is our throne, and the Sea a mighty minstrel playing before it. (Perry,2013) while in the form of following lines;

‘Gas gal pawa peralagena maha badde

Ada maha gangak vee muwa dorakada edde’ (Kudaligama, 2007) ferocity and power of water are collectively symbolized by Kudaligama.

 

Thus, both Keats and Kudaligama have dwelt upon several concepts of water in relation to its’ purification effect, ferocity, power and resilience etc while treating water as a metaphor for life in terms of impermanence, transience, fluidity and complexity at large. Even though a linguistic distinction in the discourse of Keats and Kudaligama is visible, the discussed poems are inter-connected with a compatibility of concept of water in its multiple forms.  

 

 

4. CONCLUSION

 

Through the above comparative analysis of the poetry of Keats and Kudaligama, it was unravelled that both of them have explored different concepts related to water. Thus; it can be concluded that water plays a pivotal role in the genre of Romantic poetry; as manifested by the works of Keats and Kudaligama; two major poets from British and Sri Lankan Romantic period.

 

 

REFERENCES

 

 

Kudaligama, G. (2007) , Manbandi Panhinda, 189, 190,192, 267, 305, 355.

 

John Keats quote. (n.d.). A-Z Quotes. https://www.azquotes.com/quote/684988. 

 

(2020, November 25). The Berkshire Edge. https://theberkshireedge.com.

 

On poetry: The point of diving into a lake is to be in the lake. James Preller's Blog. (2020, April 14). http://www.jamespreller.com/2010/08/04/the-point-of-diving-into-a-lake-to-be-in-the-lake/.

Featured poem: 'on the Sea' by John Keats. The Reader. (2019, August 15). https://www.thereader.org.uk/featured-poem-on-the-sea-by-john-keats-2/.

 

THE IMPACT OF BUDDHIST MORAL PHILOSOPHY ON SINHALA POETRY : AN ANALYTICAL STUDY COCERNING WIMALARATHNA KUMARAGAMA'S POETRY

 A research paper published at ICBS - International Conference on Buddhist Studies – 2021

This research which investigates the impact of Buddhist moral philosophy on Sinhala poetry was conducted under the analytical method. The impact of Buddhism on Sri Lankan culture is a pivotal factor. It is perceived in ancient and modern literature as well. The objective of this study is to analyze the impact of Buddhist moral philosophy upon the aesthetic quality of poetry. Religious influence often tends to restrict poetic freedom and thus decreases the quality of a poetic work. Yet, it is different in terms of Sinhala literature. Instead of setting limitations, Buddhist moral philosophy has contributed to developing an artistic value. Wimalarathna Kumaragama, who belongs to the second wave of Sri Lankan Romantic poetry, was immensely influenced by Buddhist philosophy. Generally the poetry of this era attempts to protect religious ideologies and morality at large. Likewise, most of Kumaragama's poems are based on a Buddhist social background. His poetic works; 'Walas Dadayama', 'Ayyanayaka' and 'Herathhami' are such instances. Kumaragama has incorporated moral philosophy into his poetry in an artistic manner instead of a mere direct expression. There is a mature and literary-critical reading on immoral activities including killing, robbing, and telling lies. Thus, it was unraveled through this research paper that Kumaragama's poetry is impregnated with a sense of Buddhist moral philosophy.

Keywords: Moral Philosophy. Sinhala, Kumaragama. Poetic Quality

On Oxford - An Analysis

 'On Oxford' is a poem composed by John Keats. (1795- 1821) It first appeared in a letter that John Keats wrote to John Hamilton Reynolds in 1817. 

 In the poem, ‘On Oxford’, John Keats has encapsulated the ambience of the contemporary education system in reference to Oxford University. Yet, this poem cannot be considered as a mere manifestation of the negativity of one particular university as suggested by the title. 

The first part of the poem refers to the architecture of Oxford University including pointed arches, ribbed vaults, buttresses and window tracery and claims those to be gothic and solemn. He extends his argument by referring to the plain ‘Doric’ column and the moldering arch. Further, the first stanza encapsulates the conventional atmosphere which prevailed in the university with reference to the old Bishop and his crosier. 

 Shifting the poetic portrayal from the exterior appearance to the interior atmosphere of Oxford University, Keats voices the dominating and morbid manner in which education is conducted. The subjugation of the chancellor together with the black tassell'd trenchers, which symbolize the teachers, manifest the conventionality of contemporary education. The steeple bells and the chantry boy enhance the fact that education at the poet's time could not be distanced from institutional religion. The common hats and pale faces, which contain a symbolic reference to the students, bring forth the bitter reality of the contemporary educational institutions. Correspondingly, Keats has shed light on the larger picture of all the edification centers by specifically pointing out one of the major institutions. 

 The final stanza provides an overview of the easy-going lifestyle of the parsons. He ridicules the parsons by referring to the benison which is purposely shortened due to their utter greed. Although the sarcasm is not antagonistic or offensive, Keats has artfully brought forth the nudity of corrupted religious leaders to the limelight. 

 Accordingly, the hypocrisy of the institutionalization of sacred domains such as education and religion can be mirrored as the major thematic concerns of the poem. 

The poem 'On Oxford' contains three stanzas through which the thematic motifs are brought out. In order to compose the poem; Keats has imitated the meter of a poem written by the great poet; William Wordsworth. Likewise, the rhyming words such as 'Arch-Larch' and 'Trees-Ease' light up the poetic quality. Further, the third person narration has supported Keats in distancing himself from his observation. From the first to the last stanza, the poem is pregnant with literary devices. For an instance, the symbolic references such as pale faces and trenches escalate the literary quality while the symbol of common hat stands as a metonymy as well. 

There is both visual and auditory imagery which reflect a gothic quality at large. For an instance, 'Plain Doric Column' can be manifested as visual imagery while the sound of the bell does its duty as auditory imagery in an effective manner. The personification of 'Gothic', repetition of 'Plenty of' and the enjambment which runs throughout the poem also immensely contribute the literary quality of the poem. Thus, the poetic devices used in ‘On Oxford’ has successfully proven the mastery of Keatsian writing. 

 References 

1. Ebooks.adelaide.edu.au. (2019). Poems, by John Keats : Lines Rhymed in a Letter From Oxford. [online] Available at: https://ebooks.adelaide.edu.au/k/keats/john/poems/lines-oxford.html [Accessed 18 Jan. 2019]. 

2. Keats, J. and Keats, L. (2019). Lines Rhymed In A Letter From Oxford Poem by John Keats - Poem Hunter. [online] PoemHunter.com. Available at: https://www.poemhunter.com/poem/lines-rhymedin-a-letter-from-oxford/ [Accessed 18 Jan. 2019]. Further Reading 1. Matthews, G. (2009). John Keats. London: Routledge. 2. Keats, J. (2009). Complete poems and selected letters of John Keats. New York: Random House Publishing Group. 

3. MIZUKOSHI, A. (2016). Keats, hunt and the aesthetics of pleasure. [Place of publication not identified]: PALGRAVE MACMILLAN. 

4. O'Neill, J. (1986). Critics on keats. [Place of publication not identified]: Univ Of Miami Pr.

 5. Hobsbaum, P. (2004). Keats's Theory of Poetry. The Keats-Shelley Review, 18(1), pp.38-50

Article on Bintenna and Veddas

In each country, the representatives of the aboriginal community are of an immense importance. Similarly, Vedda; the aboriginal community in Sri Lanka plays a vital role in locating the folk-diversity of the island. Vedda, or Veddah, can be defined as island’s aboriginal inhabitants who settled in the island prior to the 6th century BCE. The word vedda also connotes the notion of a forest dweller which is justified due to their dwelling in dry forest areas of the island.

 According to Mahawamsa; the predominant historical chronicle of Sri Lanka, the roots of Vedda community derives from the descendants of Kuveni; the native queen of Vijaya; the first and foremost king of Sri Lanka. Thus, Vedda people can be historically referred to as the first and foremost people of the country even though this conception is not archeologically theorized. Yet according to the archeological evidence, their roots are directed to far back in history around 10,000 BC. They have a noteworthy resemblance with the Neolithic beings of the stone age as well.

There are three major categories of Veddas as Forest Veddas, Village Veddas and Coast Veddas. The approximate number of indigenous community is counted as 5000. According to C.G.Seligman, there have 2 been 12 vedda colonies which have been limited to a few colonies at present. The Vedda community is diversly located in various places of the island, yet major part of the community is settled in the area of Bintanna. The village Dambana; which is located in Mahiyangana District is the predominant place where Vedda population reside.

Even though the geographical location is surrounded by forest areas their lifestyle is akin to those of a normal village life. Yet it should not go unnoticed that their way of living is uniquely differentiated from the natives. Thus, Vedda clan can be identified as a separate community hence there are visible political, economic, cultural and social distinctions between them and the other parts of Sri Lankan civilization.

Their way of living is apparently simple and contented. Their lives are surrounded by nature to a greater extent away from the hullaballoo of city life. In earlier times, it is said that they lived in caves and made their clothes by utilizing barks and leaves. Their main economic activity has been hunting and gathering from a longer time which were respectively carried out by men and women showcasing a clear-cut gender demarcation which recalls the universal picture of pre-civilized era as a whole. Gathering included collecting plants, herbs and honey. At past, men used to 3 go on month long honey hunts. Even though it has become a distanced activity now, honey still plays a major part of their food intake. Chena cultivation has also been conducted as an economic activity. Coconut cultivation is also closely knitted in their economic network hence coconut palm offers them food as well as row materials for house building and art and craft.

To discuss the social values, marriages happened within the community, mostly they were marriages among relations. Marriage usually takes the form of crosscousin relationships. Even though most of the other clans of veddas are into nuclear family units, Bintenne veddas live either in closely proximity to parents or within the same household. Vedda women have equal status with men in inheritance. Further, the foremost part of any meal is served to women. Even though there was a gender demarcation in household activities as mentioned under economic conditions, there is no patriarchy in the larger picture.

Their cultural activities are still enacted profoundly. For an instance, their singing and dancing tradition including the famous dance 'kiri koraha' are practiced with the same vibrance of earlier times. Many rituals are conducted in an unchanged manner from the past. There are many rituals revolving around child birth too. Kids would be called Kakula and Kakuli in their early childhood, but later proper names will be given to them. 4 In earlier times, dead bodies were covered with dry leaves and left in a cave. The demised are called Yakkha and given a stage of reverence. They are placed in an equal position to gods. They build up shrines for them and prayers are made continuously.

Their religious activities predominantly involves worshiping spirits. According to their animistic perception, the natural inanimate objects said to possess spirits. Many rituals are conducted for these natural objects bearing in the mind that the spirituality exists in these objects. They also worship their deceased relations calling them 'Na Yakku' Their religion is devoted to their own ancestors.

Education was majorly nature bound in earlier times. Yet in 1947, Dambana primary school was opened, and formal education started to flourish in the province. Dambane Gunawardene; who is a well known author and a researcher now was the first person to enter a government university. 

Even though they have a very rich language, some of the Vedda community; especially the younger generations, have adopted colloquial Sinhala language as their mode of communication due to cultural assimilation. Yet, it should be noted that Wanniyalatto, the chief of the community who indeed is an icon of Sri Lankan pride never converses in another linguistic mode other than the native Vedda language. Thus, despite challenges, the 5 original language still remains and passed down from generation to generation. 'Manganchchanawa' for going, 'kotabanawa' for eating are some of the famous phrases that they utilize often. Their unique method of greeting by holding the hands of those who are outside the clan and tourists is followed by the native phrase; 'Mamakachchak kondamai' which resembles 'Ayubowan' in Sinhala or 'Welcome' in English.

When I sat down to write this article my mind started to wonder in the memory laden road. Exactly before 13 years I got a chance to participate in a field visit to Dambana organized by a government university. Wanniyalatto, the chief tribesmen took us in to the midst of wilderness. Ranni, his pet deer kept hopping along side us, throughout our journey among the immense beauty of national surroundings. During the night there was a cultural exchange program where university students represented Sinhala culture via their dancing and singing events whilst the vedda community showcased their cultural values through several cultural activities.

Gurukumbura school which distributes knowledge among the youngsters of Dambana does not have a school anthem, but an anthem of teachers written by Mr Dambane Gunawardana . It connotes the immerse 6 dedication the small staff of teachers bear in mind towards the younger generation. As unraveled in the conversations, hunting practice has been changed now. There are vegetarians including Wanniyalatto and Dambane Gunwardena.

High intellect of Wanniyalatto is admired all around the country which is actualized by the fact he is invited by several research conferences to denote key note speeches. The key note speech he delivered at a conference on world climate change brings forth the importance of living closely with nature. He also criticizes the deforestation and reminds the so called civilized society of the importance of coming back to roots.

 The exceeding growth of Sinhala villages and the imposed cultural assimilation has a grave impact on Vedda civilization. It should not be disregarded that there is a threat of them being distinct. The younger generation is adapting to modern ways and means. Their clothing style has been changed a lot. Yet via cultural activities and rituals, they still endeavor to preserve their culture by handing over to younger generation.

Let me end the article by referring to a word of wisdom skipped from Wannilatto's mouth which would pass a beautiful message not only to Vedda community but to any human being around the world. 7 'Inner goodness and beauty of humanity should not be confined to literary texts; they should be written deeply in the 'laya pojjas' or the hearts of human beings' 

 

 

Exploring the Romantic Identitiy of John Keats

A research paper presented at  RASAS - Ruhuna Arts Students' Annual Sessions - University of Ruhuna - 2018

Romantic Identity of John Keats

Ranasinghe R.M.S.K.

Department of English and Linguistics.

University of Sri Jayawardenapura.

  

Abstract The purpose of this research is to explore the romantic identity of John Keats; who belongs to the second wave of romantic period. Romanticism; which paves the way to Art, Literature, and Intellectuality to flourish; is undoubtedly one of the most inspirational movements that occurred in the 18th century. Keats and his fellow poets were keen on bringing romantic elements to their poetry. These significant features are discussed with reference to his most distinguished works including ‘To Autumn’ ‘Ode to Fanny’, ‘Bright Star’, ‘Ode to a nightingale’, ‘O solitude’ ‘What can I do?’ and ‘On Oxford’ etc. Keats is against logical reasoning as he takes pleasure in imagination. There is an overflow of deep emotions and a spiritual depth found in his works. As Keats has often found melancholy in delight and rupture in pain; the intermingling of contradictory emotions can be identified as another predominant issue. Intense romance is the backbone of Keats’s poetry. He always seems to be delicately entangled by romance. Yet at times he fears that would be a hindrance to his poetic capability. Thus, love versus escapism bulks large as another key element. Nature is said to be his greatest inspiration. Hence, nature and tranquillity are idealized in most of his odes. Keats has criticized industrialism and modernism while cherishing pastoral landscapes. Although Keats is said to have less concern on contemporary socio-political issues; some of his poems are in stark contrast to that notion. The direct satire on conventional thinking is found at the core of Keats’s creative works. Nostalgia for the past interconnected with a melancholy tone; Supernatural mystery; Incredible sensuality can be further looked upon as his most significant romantic elements. Thus, a close analysis of the above indicates that John Keats has impregnated almost all of his poems with key romantic features.

 

Keywords: Imagination, Melancholy, Nature, Romanticism, Rupture.

Haritha - හරිතා

When I went to see Haritha, my hair was still damp since I bathed early in the morning.

I assumed it was around 6.15 in the morning. On second thought, I predicted that it must be 6.30 am. No matter what was the time, Haritha was already up! 

She turned towards me as she heard my footsteps. She always recognized the sound of my feet; being the only one to do so. The very thought brought a sudden smile to my lips as it remembered me the way my sister Niwarthana; mocks at my devotion towards Haritha.  

Approaching Haritha, I bent and kissed her. She received my kiss with great eagerness. I took one of Haritha's little fingers in my hand and pressed it warmly. The finger was of a very smooth shade of pink. I could not resist falling in love with everything about her - the delicate touch, the perfect combination of green and pink on her body and fingers. 

Hairtha is still very tiny - just a little taller than my knee. The only problem is that Haritha's inability to talk. Yet, I'd rather say it is not a big issue for me hence I could talk to her. And, I do believe that she can clearly understand each and everything I tell her. 

The radiant rays of sun were spreading on the morning sky. The vast blue sky possessed an extremely pleasing view. My eyes were softened with the tender rays. As I felt the moment was too splendid to spend alone; I turned to Haritha, to share the beautiful sight with her. She was already looking at the scenery as if to tell me that she is a significant part of the natural beauty than us, the human beings could ever become.

"Don't always turn your face towards sunlight.'' I warned her. ''Your pretty face will be burnt. I should keep you in a more shady place''

Haritha did not care. She moved her limbs more harder than ever and directly faced the flowing down rays of sun. It made me so angry that I felt a side of my mouth is acquiring the shape of a frown.   

"Why don't you listen to me'' I was unknowingly raising my voice. "Always laughing about everything! You bad girl!"

Haritha seemed to be seriously wounded by my words as she abruptly stopped laughing. 

In a minute, a large tear drop fell near her feet.

I felt like something big and strong is stuffed in my throat. I silently sat near her, reaching for one of her several limbs. As she raised her chin, I spotted colorless tear drops all over her face. 

The sun deepened its rays, at once! 

Being very careful not to hurt Haritha, I wiped off the tear drops in the most tender manner I could. A soft breeze came as to offer me a helping hand to sooth my darling girl.

It worked! Haritha began to smile again!

"I promise never to hurt you furthermore!'' I murmured as I pulled Haritha closer to me. She leaned to me as if to assure that she reciprocated my love. 

The deepened sun rays were lightened by and by. 

The embrace was so soft and warm that it gave me a divine feeling. I simply enjoyed the pure relationship among Haritha and myself. It was something could not be expressed by mere words. A love so divine and selfless!

When the tear drops were all dried, it hinted me that time has come to depart. 

"Can I go, my bounteous lady?"  
I smiled slightly as the words came through my lips.

Haritha, with a sense of royalty, nodded, allowing me to leave. Yet at the next moment, her tender hands were directed towards me which I identified as a gesture to hold her for another moment. I did, with a great pleasure, as her ever green bosom pressed to my cheek. 

I felt something - something I did not notice even when I held her before. I have known Haritha long enough to know the exact touch of her thousands of leafy limbs. I tried to move her aside to see what part of Haritha touched my cheek.

At that very moment, I heard my mother's voice calling out for me.

It was different from the usual voice which wakens me up at morning. It had the beautiful tone of the excitement which possessed whenever we pass an exam with flying colors. Thus, to know the reason what put my mother in such an amusement, I turned my head and caught a glimpse of her happy face.

" Niwarthana has reached puberty!"

As her voice hit my ears, I did not know what to say at first. I simply could not find the right word to speak. Personally, in my view, reaching puberty does not appear as a great accomplishment since I never found the beginning of menstruation as that much of an awesome thing. 

Then, the realization came like a sudden lightning. This means now my sister is an adult - I would say now she could be considered an adult; traditionally though. I suddenly started to like the feeling. 

Now we will be fellow sufferers!

From now on, we could share everything. We would be more intimate with each other. We could talk about the uniqueness our physique, we could share the menstrual stuff, we could talk about art and passion more deeply! 

I was over the moon with realization - She is going to be the person whom I always wanted to talk the beautiful emotions I've always felt with. 

In that light, how amazing is the fact that Niwarthana has reached puberty.

I wanted to break the news to Haritha; who was my fellow sufferer until now; the girl who mutely listened to every thing I shared with her. 

As I was turning to Haritha, I remembered that I came across something strange on her bosom. In order to check it while breaking the good news to Haritha, I turned; and at that very moment; suddenly spotted it!

Haritha's first and foremost flower was peeping through her slender limbs.