A STUDY ON THE BISHNUPRIYA MANIPURI
JOURNALS
Dils Lakshmindra Sinha
THE
HISTORICAL BACKGROUND
THE LAND MANIPUR:
The great Indo Aryan Race that started sojourn in the east
from the shore of the Caspean Sea, passed on thousands of miles, through the
difficult terrains and the icy mountains, the great rivers and Sindhus in
search of the “Sun” – the source of light, the prime energy. One day they
stopped in a plain and lush green valley, surrounded by the foggy mountains, on
the bed of a vast water base that allures all the senses. They found that the
“Sun” rises from the other side of that lake in an enchanted smile. They
thought: “This is the place for which we have taken such a long painful
sojourn”. That place is the plain valley
of Loktak India
that is “Bharatabarsha”. They feel struck with wonder at the scenic beauty of
the land of sunrise and the paradise on earth where they found Mother Nature is
extraordinarily generous to shower all the wealth from her womb. They settled
down in the plain valley sorrounding the lake and looking at` its splendid and
glitering beauty they named the land --“Manimayapuram”, meaning “City of Jwelles ”. This process of
Aryan settlement in the valley had started in the pre-historic days
particularly during the Epic Age. In this connection, the footnote at page-15
of the “Gazetteer of Manipur” compiled by Capt. E.W.Dun, B.Sc, under the orders
of the Quarter Master General of India is found interesting:
“We have no direct proof of
Hinduism having existed in Manipur previous to the 18th century; but
there can, I think, be no reasonable doubt that a great Aryan wave of very pure
blood passed through Manipur into Burma in pre-historic times. I
often think I see traces of this in the finely cut features seen now and then
among the Manipuris. The Hinduism of these remote times was probably free from
cast prejudices, and very different from what it is now: but I think it
extremely probable that a tradition of it remained when the new missionaries
from Bengal arrived. These latter for their
own purpose distorted the history of Manipur; the Burmese invasions put the
finishing touches and killed off the old traditions.”
The existence of Manipur can be
traced almost 3000B.C. T.C.Sarma, an eminent archeologist says, “ an analysis
of the pre-historic cultural material from Manipur reveals that there is scanty
evidence of Old Stone Age (Palaeolithic) and New Stone Age (Neolithic) cultures
in the state. Prominent Manipuri historians in and outside Manipur are well
convinced of the fact that the present Manipur had its intimate connection with
Hastinapura (Delhi ).
It is established through the marriage of the third Pandava Arjuna with
Gandarva lady Queen Chitrangada as referred in the Mahabharata, the Vishnu
Purana and in Srimad Bhagavata. This event as depicted in the Mahabharata and
referred to in other Puranas has been accepted, as a matter of fact by many writers and scholars. The Sanskrit Puranas
in Manipur like Dharani Samhita, a nineteenth century Purana also highlights
this Aryan establishment in Manipur. Another nineteenth century Purana in
Meitei language, Vijay Panchali by L.Moni Singh and L.Mangi Singh and
translated in Bengali by Gunendra, also hold this view. The Khumal Purana, the
Royal Chronicle of the eighteenth Century of the Khumals by Pandit Navakhendra
also highlighted this fact. Reported that there was a Royal Chronicle of the
Moirangs of the eighteenth century but it has not yet come to light.
The eminent historian, R.C.Majumdar, is of the
opinion that from the pre-historic days different Aryan waves passed through
this land towards the far-east countries like Java, Sumatra
and Bali etc. Proff N.N.Acharjee says: “Indian influences were exerted in early
Upper Burma, Yunnan, and Sse-Chonan and some factors in the early Indian
colonization of Indo-China were based on the role played by Manipur as a
connecting link, indeed, the Manipur route through Chindwin Valley was an
important light way for passage and communication of peoples, communities and
ideals between the Indian Sub-continent in the west and China and other parts
of Southeast Asia in the East”. (Manipur: in the eye of Foreign Historians).
This trade link extended in the west upto Greece and other European
countries.
NOMENCLATURE OF THE LAND:
As per the historical records and
Hindu Puranas the land Manipura was known by different names. Dr. N.N.Acharjee
observed: “In early times, Manipur was known by different nomenclatures as
forming part of Aryavarta”(New Light on the sourcesof history of Manipur and
adjoining areas). Prof. Gangmumei Kamei observed in his “Glimses of Land and
People of Ancient Manipur” – “ There were myths created and popularized by the Brahmin
scholars to give a Puranic derivation of Manipur”. “Vijay Panchali” mentioned
that the land was called Aranyanagar, Mohendranagar, then Mekhali and finally
Manipur. Thus as per Puranas and popular belief Manipur was known as Devanagar,
Aranyanagar, Gandarvadesha, Madhyadesha, Mekhali, Udaygiri, Cassey or Kathe and
Monglu or Moglai etc. The last name applied after Meitei invasion was Meitei
Leipak and Kangleipak etc.
Manipura: The Bishnupriya
Manipuris consider Manipur as a sacred land. It is a “Hunar Leipak” or a “Suvarna Bhumi” to them. In Bishnupriya
Manipur “Leipak” means Devabhumi and the word might have been derived from the
coining of words Lai and Pak. ‘Lai’ means god and “pak” means earth (Sanskrit
panka > pak). So the word Leipak carries the meaning that the land of the
gods. The word Manipura has derived from the expression “ manimayapuram”
meaning “City of Jwelles ”.
This expression might have originated due to splendid natural beauty and
abundance of natural resources. In Kautilya’s “Arthasastra” the land was
referred to as “Suvarnakunda” (Manikunda or Manipur). There are many popular
legends prevailing upon the origin of the word. According to one belief the
king of the Nagas (serpents), Ananta or Sheshnaga, illuminated the land with
his jewel overhead. R.Brown says that: The name “Manipur” is thus accounted for
by the Manipuris, who quote the Mahabharat in confirmation of its accuracy:
they say- The name is from a mani, a jewel; this jewel was formerly in
possession of the rajas of the country ages ago. The country was at one time
named Mahendrapur or Mahendrapahar (name of a high hill situated but a short
distance to thje east of the capital), but once a raja, by name Babra Baha,
coming into possession of the jewel, which formerly belonged to a Naga Raja, or
Serpent King, and the gadi, he changed the name to Manipur.”(Statistical
Account of Manipur , p-2)
The great Sanskrit epic
“Mahabharata” of Jaimini refers to Manipur in its Adi Parva :
Mahendra pavatam
dristva tapa sairupa shobhitam
Samudra tirena
sanaih Manipuram jagamaha.”
(Mahabharata ch 213)
Seeing the beauty of the Mahendra
Hills slowly he went into Manipur by way of sea-shore. The death of Arjuna, the
Pandava hero, in the hands of his own son, Babhrubahana, figures in the
Asvamedh Parva of the epic. The Samhita literature of Manipur also refers to
the early civilization of Manipur:
Manipuram tatah
khyatam tatonanyadhi Bharata.”
Manipur is so famous as the
Bharatvarsha or India .
The Markhendyeya Puranas,
Bhavishya Purana, Parasara Purana, Brihat Samhita and Tantra literature ( i.e.
Kamakhya Tantra, Yogini Tantra, Rudra Yamaha, Parasara Tantra and Brahma
Tantra) and Krita Kalpadruma refer to the location of Manipur and its adjoining
areas. Some of the writers are of the view that the present Manipur has no
relation with that of the Mahabharata. They prefer to locate the place
somewhere in Kalinga or Orissa. Particularly they point their fingers to the
Monfur port in the Ganjam district of Orissa. But this view is far from the
reality. As R.C.Majumder writes – “ In the Ashwamedha Parva the three countries
where Arjuna had to fight for the horse were successively named Pragjyosha,
Sindhu and Manipura Whether Manipur is identical with the present Manipur in
eastern India or located in Orissa (Kalinga) then mention of this place between
Pragjyotisha in Assam and Sindhu or Sindh i.e. two extreme limits of Norther
India seems to be an anomaly. It is not unlikely that Sindhu is an
interpolation and in that case a juxt-apposition of Pragjyotish (Assam ) and
Manipur certainly favours the identification of Manipur with the present state
of that name in Eastern India .” He further
adds that –“there is a living popular tradition in the present Manipur that it
represents the kingdom mentioned in the birth place of Chitrangada and
Babhrubahana. No such tradition exists in any part of Orissa and no memory of
the locality Manalur survived.” 1. The Bhabhishya
Purana (Brahmanakhanda) also mentions it along with Louhitya (Luhit
or Assam ),
Traipura (Tripura) and Jayanta (Jaintia Hills).
Devanagara: It is believed
that the “Dyou” or gods, led by Lord Vishnu, first occupied this land.
So it was known as “Dyou-Nagara” or Devanagara, the abode of gods (City of Gods ) and the capital of
“Dyou-nagara” came to be known as Vishnupura. The word “Leipak” carries this
meaning too. The Bishnupriya Manipuri orthodox people living outside the state
still pay deep respect to Manipur as a sacred land.
Gandarvadesha: The next
occupants in the land were the Gandarvas, the demi-gods who were famous for
their love of music and dance and other heavenly practices. The Dharani Samhita
mentions that Parameshwara Shiva in his earnest desire to introduce Aryan
Culture and civilization in the land transferred sovereign power to the
Gandarvas of Solar dynasty. T.C.Hodson mentioned the line of Ningthouja or
Royal clan having Sanskrit names such as Kings Narayana, Brahma, Kashyapa,
Surya, SuvarnaMuni, Indu Muni, Chitraketu, Chitradhwaja, Chitrabija,
Chitrasarva, Chitrabhanu or Chitrabahana – the father of Chitrangada and
contemporary of Bhagadatta of Kamrupa (about 1000 B.C.). But this line seems
representing Gandarva dysnaty of Manipur. In “the Mahabharata” and Sanskrit
Purana “Kritakalpadruma” it is mentioned that Chitrabhanu was a Gandarva King
of Manipur.
Aranayanagara: There is a
sloka in Manipur Purana named “Dharani Samhita”:
Aranyashobhanam
dristvabibidha kusuma yuktang
Shankarena
niruktastyadaranya nagaram nripam”
Looking at the scenic beauty and
colourful flowers the Lord Shiva himself has christened this name. Ihe land was
also known as Brikshadesha, land of trees.
Madhyadesha: The country
that lies at the center of the earth. Pandit Atambapu Sharma is of the view
that Manipur is situated at the “naval circle of the earth”. The traditional
belief in support of the Sanskrit Puranas like Vishnu Purana is that Lord
Vishnu had saved his wife Dharitri from the hands of Hiranyakshya, the king of
the Asuras or demons in Patal, presently Barak Valley of Assam, and kept her in
this land that was referred as Madhyadesha. There is a line in Dharani Samhita
and it reads thus:
Madhyadesha
maharanyam anantena binirmitam”
Ananta, the king of the Nagas,
has built Madhyadesha, land of deep forests.
According to Vijay Panchali, Lord
Shiva created the land for culture of dance and music.
Mekhali: Another very
popular and ancient name of Manipur was Mekhali. In Ahoom Buranjis or
historical records it is Moglu or Moglai. According to R.M.Nath, a renowned
scholar the word Mekhali or Meckely is derived from the Chinese word Meung-Kha-
Lai or the country of the Lais or Kachins.He added further that “ The big lake
is called Kha-la (Kha = Closed water, lake; la = wide) by the Chinese; and the
country of the wide lake was called Meung-Kha-La, which has gradually been
transformed into Mekhali or Meckley.” He further added that “This Meung-lai has
been transformed into Moglai or Mogloo”. (The Background of Assameese Culture,
page- 83).
There is a popular legend
prevailing in Manipur where it is said that the dead body of Shiva’s consort
Sati was cut into pieces by the discoid of Lord Vishnu and the torso of the
Sati with mekhala (female wrapper or garment) fell down in the land. Thus it
came to be known as Mekhaladesha. (Manipur Past and Present Vol 1 page – 4.)
Another legend prevailing by tradition is that the cloud over the mountains
that wraps up the whole land seems to be a mekhala. This natural phenomenon
gave birth to the word Mekhali in time. Such cloudy weather also gave birth to
another name Meghadesha or the “Land of the Clouds” like present Meghalaya.
Sanskrit Puranas like Kalika Purana and Dharani Samhita also popularized such
legends. In the Seventeenth Century the first Meitei King of Manipur, Pamheiba
or Garib Niwaj, was known as Mekhaladhipati. In 1762 A.D. 14th
September Gaursham Singh, King of Manipur, used the same name referred to his
kingdom i.e Meckley and was documented in the treaty with the British
Government.
Mahendranagar: The highest
mountain of Manipur
Udayagiri: This word
carries the meaning the mountains from where the sun rises. The Samkhyayana
Grihya- Samgaha describes the land as a sacred one. It was the land of
Sun-rise. This signifies that the land lies in the easternmost boundary of the
Aryan settlement in Bharatvarsha. It is probable that the boundary of Manipur
was extended more in the eastwards. The name “Udayagiri” is referred in the
great Sanskrit epic the Ramayana. In Sanskrit “Kathasaritsagara” of Samadeva
(1063-81) it was referred to as “Udayagiri”(identified as Udayachal). The
famous traveler Alberuni of Ghazni “refers to Udayagiri (Manipur) as one of the
eastern countries of India .”
(Manipur in the eye of the foreign historians, Dr. N.N.Acharjee, Manipur Past
and Present, vol 1, edited by N.Senajaoba).
Cassey : To the Burmeese
people Manipur was known as Cassey or Kathe meaning the land of the Kshatriyas.
The Khatriya kingdom was established in the land during the Mahabharata Age
when Babhrubahana, son of the Khatriya hero Arjuna and Gandarva lady
Chitrangada was corronated the king of Manipur. In his reserches on Ptolemy’s
Geography of Eastern Asia Col. Gerini mentions the ancient Khatriya Kingdom of
Tagaung of Hastinapura in the Addenda and Corrigenda of which we read “ according to the Burmese Royal Chronicle
(Maharajavamsa) Dhajaraja, a king
of the Shakya race, settled in Manipur about 550 B.C. and later on conquered
Tagaung (old or Upper Pagan).
R.M.Nath holds the view that,
“The coarse cloth used for covering the body during the cold weather is called
the Kassey, or the Khesh cloth meaning the cloth prepared by the Kachins,
though it generally prepared by the Manipuris.” ||
Meitei Leipak: After the
fall of the Manipuri King Telheiba of Moirang in 1850 in the hand of the Meitei
King the annexation became complete and the Meitei King and his followers
preferred to call the land “Meitei Leipak” in place of its age-old name
Manipur. They mean to say by the term “the land of the Meiteis”. As Dalton
says –“By degrees the Meiteis became dominant and that name was applied to the
entire colony.”It came to be known as Kangleipak following the name of a Meitei
king Kangla.
Some says that the first
occupants of the valley were the Dravidians, then the Nagas and the last are
the Gandarvas, a part of the great Aryan race. But from the above discussion it
is clear that the land originally occupied by the Aryans who had relation with
the mainstream of the Aryabharta or the Norhtern India. The Dravidians and the
Austrics are the next immigrants.
THE
PEOPLE:
PANCHA-BISHNUPRIYAS
The Bishnupriya Manipuris prefers
to call themselves Manipuris. The Bristish Govt. recognized both the Meiteis
and the Bishnupriyas as Manipuris as they are culturally and socially identical
to each other. Both the communities were known to in and outside Manipur as
Manipuris for a long time. But the rift between these two communities started
when a few Meitei intellectuals tried to establish that Meitei means Manipuri
and vice versa. This rift widened more at the instigation by some Meitei
leaders who began to oppose the demand for introduction of Bishnupriya Manipuri
language in Assam .
Their argument was “one community one language”. They overlooked the instance
of the Nagas with the sole intention to suppress the Bishnupriya Manipuris in Assam , Tripura
and Bangladesh
like their counterparts in Manipur. But the general Manipuri people do not
believe in such propaganda and prefers to maintain their social relation with
the Bishnupriya Manipuris. Owing to the untiring efforts and ceaseless
struggles by them the Govts in the states of Assam and Tripura and the Govt at
the Centre were forced to recognize Bishnupriya Manipuri nomenclature. After
the pronouncement of historic Supreme Court judgment on 8th March 2006 , the undue
controvery has come to an end.
The Bishnupriya Manipuris are
living in a scattered way in Manipur, Asssam, Tripura, and in other states of India and in Bangladesh . A
sizeable population of this community, numbered estimated to be more than a
lakh, also live in Myanmar
(Burma
or Brahmdesha). The total population in India and in Bangladesh is
around 4 lakhs.
They are part of
a great Indo Aryan Race who ruled the country for thousands of years starting
from the Mahabharata Age to the middle part of the Nineteenth Century. The
eminent scholar R.M.Nath has found them as’ the first cultured’ & ‘ruling
race in possession of Manipur’. They are the only Aryan people who
traditionally believed to be the descendants of Babhrubahana.
Like the Greeks who were known as
Athenians, Ionians, Aeolians etc. the Bishnupriya Manipuris were also known as
Moirangs, Khumals, Angoms, Luwangs, Mangangs that represent clan names and
these names indicate different regions in Manipur where these clans ruled over
their respective regions. By tradition all of them are believed to be the
descendants of Babhrubahana and Chitrangada. At the beginning there was a
single kingdom named Khumal. As the “Khumal Purana” narrates: “The Khumal king
ruled there for a long time. In course of time this Khumal kingdom was divided
into five principalities, namely (1) Mangang, (2) Luang,(3) Khumal, (4)
Mairang, and (5) Angam. (Khumal Purana by Navakhendra and translated into
English by Nabadwip Sinha).
There were continuous flow of
Aryan people to Manipur from different parts of the Aryabarta , from the
Northern plain, Middle
Gangetic Valley
From their clan names it can be
easily be ascertained that the word
“ang” is common to all groups. In Bishnupriya Manupri the word “ang”
means the opening or direction. T.C.Hoson observed: ‘ Among the Manipuris, at
the time when Colonel McCulloch wrote his remarkable account of the valley,
there were extant legends which induced him to believe that “From the most
credible traditions, the valley appears to have been occupied by several
tribes, the principal of which were name Koomul, Looang, Moirang, and Meithei,
all of whom came from different directions.” (The Meitheis, page–7). If we
analyse the names of the principalities we can presume the locality from which
these groups entered into Manipur in the following way:
Khumals:
This word has originated from Khumang. Khum or Kum in Bishnupriya Manipuri
means blackness or darkness. It indicates their origin from a dark race or the
Dravidians. It indicates they were the followers of Kala Raja, who was their
chief. Sushil Sinha observed that Kala Raja was originally the king of
Kolasthana of Kaladon and it was situated in the Arakan ranges. Some says that
the word ‘ khuma’ is derived from the word “Soma”(Soma means the moon). It indicates
their origin from the Lunar Dynasty. This may in one way explain that they are
the descendants of Arjuna, who was belonged to the Lunar Dynasty. Due to this
reason the kings of Manipur particularly of Meitei stock at a later stage also
claimed themselves to be of Lunar Dynasty. Renowned historian Mahendra Kumar
Sinha, however, is of the opinion that the word Khumal or khomul is derived
from the words “mul Khatrya” or the original Kshatriyas.
Moirangs: The most
powerful group of original inhabitant of Manipur is Moirang. Moirang is famous
for hoisting of first Indian National Flag by the INA under the leadership of
Subhash Chandra Bose in 1945. From the pre-historic time the Moirang people are
great warriors and lover of preserving their seoveriegn power or independence.
L. Ibuhal Sing opines that the word Moirang is derived from Mauriya, the clan
who ruled India
for many centuries B.C. So it is highly probable that the word Moirang is
derived from Mauriya-ang meaning people coming from Maurya Desha. However,
Mahendra Kumar Sinha opines that this word is derived from Mahiranga Danav, the
first king who ruled over Assam .
The Moirangs belonged to be of Solar Dynasty. They were the worshipers of the
Sun or Thanjing. Accordingly, to some of
the historians the word Moirang indicates the colour of the Sun in the Agnikona
or direction of Agni.1. (Manipurer Prachin Itihas, page- 70). By
tradition the Moirangs believe that they were the first occupant of the valley
led by their diety, Thanjing Sararel. If we go through the history of Moirang
we are sure that they were famous for music and dance and excellence in warfare
and physical valour. They hardly bow down to external forces. That is why they
could preserve thair sovereignty till 1850. Like the Khumal Purana there was
also a Moirang Purana and it has yet to be come into daylight.
Angoms: The people coming
from the Angadesha or present Bihar and
Jharkhand.
The word might have been derived
from “Anga-ang”. On the other hand “Om-om” in Bishnupriya Manipuri means plenty
or large numbers. So the word Angom means people coming from the region where
population is large. Another version says that these people might have migrated
from the foot of the Kailash Hill, a part of the Himalayas
and that was always covered by snow for all the seasons. ‘Gom’ in Tibetan
language means snow. The Vedic people of this place had to move eastwards and
at a later period they settled in Manipur after the Moirangs, the Khumangs and
the Luwangs.
Luwangs: “Lu” in
Bishnupriya Manipuri means deep. So Luwangs had come from a very low land,
Patal. Mahendra Kumar Sinha opined that Pataldesha was located in the present
Barak Valley of Assam. Some of the historians are of the view that these people
have migrated from Bali .
Mangangs: “Mung” in Bishnupriya
Manipuri means the east. These people might have migrated from a region east to
Manipur. They were supposed to have migrated from an Aryan locality of
Brahmadesha. It may also be derived from the word ‘Mong-ang’ or ‘Monga-ang’.
C.M.Rajkumar says,“ In olden days the people of Burma used to add ‘Mong’ before
their name as the Hindus use ‘Shri’. There was also a class of people named
‘Mongas’. They were hired as astrologers by the king of Burma . Owing to
the influence of Buddhism these Vedic people had to be back to Manipur. They
also lived around the lake along with similar Vedic people - Moirang, Luang,
Khomang and Angams. It is said that the ‘Mongas’ went upto Bihar from
Brahmadesha and settled there. Monga Brahmins are also found amongst the Mismis.
They use ‘Mong’ before their names and act as priests.
From the Khumal Purana it appears
that there is a close relationship amonst the Khumals, Luwangs and Mangangs. As
the opening line of the book says – “I bow down to the holy feet of Radha and Krishna and to those of Shiva and Durga, I also salute
both Day and Month, and pray obeiscance to those august personages – Khumal
Guru, Luang Guru and Mangang Guru.” Etc.
(“Khumal Puran” translated ino English by Nabadwip Sinha)
Nomenclatures
As per historical records the
Bishnupriya Manipuris are known by different names i.e Khalachais or Kalachayas
or Kalisa Manipuri, Meiungs or Mayangs, Bangals and Bishnupriyas or
Bishnupurias or the Bishnupriya Manipuris. Let us discuss the source or origin
of these nomenclatures.
Khalachais: Meiteis call
it Kalisha and use the word in a derogatory sense by tradition meaning the
animal (in Meitei ‘Sha’ means animal) that sacrificed in front of Goddess Kali.
It may mean a black animal. But the present writer has strong reservation over
this explanation. The Meiteis prefer to use this meaning in hate towards the
Bishnupriyas for condemnation. Moreover there is no tradition associated with
it. Dr. G.A Grierson mentioned about ‘Kalisa Manipuris’. The Bengalis of Barak
Valley call them Kalachai Manipuri or Kalachaya. In one sense the word means
the shadow of Kala or the followers of Kala (Lord Krishna). In other sense it
may mean black as a shadow for their dark complexion compared to the Mongoloid
people like Meiteis. If we go through the views of Col Gerini on “Ptolemy’s
Geography” (page-29) we may come to the conclusion that “the children of
Koladan or Kolasthana acquired Kalachaya who ruled over the Kale, the valley of
the Arakan river and Pegu proper round the Gulf of Martaban and king was called
either Kan Raja-gyee or Kan Raja-ngya whose descendant was Mayang Ningthou
known more popularly as Kalaraja of Kalachayas”. But the most reasonable
explanation forwarded by Rajmohan Nath, an eminent scholar and member of
Asiatic Society of Bengal on the origin of the term in his “The Background of
Assameese Culture”. According to him the term has derived from the Chinese
words – Kha-la-chais meaning children of the wide lake (Loktak). (Kha= closed
water, lake; La= wide; Chai= children). The people of the Southern
China used to call the original inhabitants of Manipur as
Kha-la-chai. Kalisha or Kalachai or Kalachaya etc are derived from Kha-la-chai.
It is confirmed by the note of an unanimous Greek writer as mentioned by
Dr.N.N.Acharjee in his paper “ Manipur in the eye of foreign historians” which
reads thus: “ An unanimous Greek writer who was a merchant and who made a
voyage on trade in the Indian Coast in the first Century B.C. mentions about a
people name sesatae {Sesatae: Kha-la-chais(Children of wide lake)} refers to
the people who lived in the plane portion of the Manipur Valley.
Mayang or Moyang: The term seems to have derived on coining of
the words “Mei-yum” meaning the worshipers of Angi (Fire).1.(Charyagitir Bhasha
baroh Vishnupriya Bhashar utpottir kal,
Khumal Mohidev Sinha,”Panchajanya Arjuni( fifth year collection 1975).
The word might have derived from “Moirang” which bears the same meaning
(Manipurer Prachin Itihas, M.K.Sinha). It may be “Mi-yum”meaning people in
large numbers. The word might have derived from the Chinese word “Meung” or
“Meiung” meaning country or people. Traditionally the Bishnupriyas believe that
at a time the Meiteis live in the hills in a scattered way whearas the
Bishnupriyas live in the plain valley
of Manipuri Delhi ).
At present the Meitheis mean by
the word, Meyang, a foreigner in a derogatory sense with a tone of hate and
condemnation. This was due to the “Nongkhrang Iruppa” episode stated earlier.
But this view, i.e. Meyang means a foreigner, holds no merit in it as Dr. M.
Kirti Singh observed with confirmation in his book entitled “Religious
Developments in Manipur in the 18th and 19th Centuries
that, “The Brahmans, the Mayangs, the Muslims were included within the
framework of Manipuri society.” (pp- 89-90) He further added the meaning of
Mayang in the “Glossary of some Manipuri Terms” in his book that it means “a resident
of Cachar, Tripura and Bengal ” (page III).
Here he indicated by the word, the present Bangladesh where more than a lac
Bishnupriya Manipuri people is living uptil now. The king of the Khumals was
known as Mayang Ningthou or the king of the Mayangs.
It is possible that originally the word
indicated the Bishnupriyas only but later on the meaning of the word expanded
and it stood for ‘the other people or westerners’. Like the Mizos call the
non-Mizo and non-tribal people in Mizoram “bai” derived from the Bengali “bhai”
meaning the other people and originally the word meant to the Bengalis only.
The Mizos looks down upon the “Bais”. Bishnupriya Manipuris also call the
Bengalis especially the Bengali Mussolmans “Miang”different from the word
‘Mayang’.
Bishnupriya : The word
‘Bishnupriya’ is said to have derived from coining of the words “Vishnu priya
manu”or the people that devoted only to Lords Vishnu or “Vishnur priya manu”
meaning “the dear people of Lord Vishnu”. Khumol Purana says that Lord Vishnu was
so much dear to them that they even denied King’s (first Meitei King Pamheiba)
order for their dear Lord. This has promted Santodash Goswami to apply the name
‘Bishnupriya’ to the people of the Khumol, Angom and the Luangs etc. However
the most acceptable and logical explanation is that the word Bishnupriya” has
derived from “Bishnupuria’ meaning the people of Bishnupur, presently a
Sub-Division of the Imphal district of Manipur, which is supposed to have been
the Headquarter of Manipur in ancient times. According to Padmanath Vidyabinode
the place was referred by Chinese traveller, Hu-ent-Sung, as Isangopul. There
is a traditional legend current in Manipur that King Vabhrubahana had installed there the image of Lord Vishnu
which he received as a gift from Maharaja Yudhisthira. That place came down to
be known as Bishnupur at a later period. M.Kirti Singh included the Vishnu
Priyas among the Khatiryas within Manipuri society. “The Khatriyas consisted of
the people of the seven salais, the Rajkumaras and the Vishnu Priyas.” Sir G.A.Grierson recorded the people as
“Bishnupuria Manipuris” and stated that their headquarter is at Bishnupur.
Bishnupriya is a coinage form of Bishnupuria.
Bangal: A Bishnupriya
Manipuri sometimes identifies himself as a Bangal to another person of his
group. So Bishnupriya Manipuri language is also known as Bangal-thar or the
Language of the Bangals. In his Report on “Asiatic Researches comprising
history and antiquities, the arts, science and literature of Asia Vol.V.
Comparative Vocabulary of the Language of Burma Empire” Jamestone has observed:
“The last dialect of the Hindustanee of which I shall mention, is that of a
people called, by the Burmese, Ayrobat, many of whom are slaves at Amarapura.
By one of them I was informed that, they called themselves Banga and that
formerly they had king of their own, but that in his father’s time their
Kingdom had been overturned by the king of Munnipore who carried away a great
part of the inhabitants to his residence, when that was taken last by the
Burmese which was about fifteen years ago, this man was one of the many
captives who were brought to AVA. He said also that Banga was evendays journey
South West from Munnipore.” Pundit Dhajaraj Sinha, Sahitya-Sastry, is of the
opinion that the word has been derived from “Pingala”, the land that situated
in the Northern India near Hastinapura
(present Delhi ).
The group of people who migrated in Manipur from that area came to be known as
“Banga” at a later stage. But Dr. K.P.Sinha holds the view that the word
originated from a group of people from Bengal
who were assimilated amongst the Bishnupriya Manipuries. But this view holds no
truth. Because it is the fact the King of Manipur did not overthrow any King of
Bengal. Moreover the Kingdom
of Banga Eastern India who were known to the Ayrans
as “Banga” in the Vedic Age. (Hrishikesh Choudhury, “Srihatter Prachin
Itikatha,pp-64) And this Kauma people might have migrated from “Pingala”. In
this context it may be mentioned that the Khumols were divided into two groups
– Anoubam or “new King” or Khumols and Aribam or Old King (Kalaraja).The
Bangals were a part of the Khumals the chief of whom was known as Kala Raja.
(The Bangal chief of that village was called Kala Raja who had son named
Maratal Atal (Maraton Atomba)………. The name Bangal remains applied to Bangals
and proto Bangals upto the time of Kiyamba (1467-1508 A.D.). the Bishnu Temple
of Lamangdong is said to have been constructed by King Kiyamba for the golden
image of Vishnu Chakra presented to him by the Pong King Khekhomba. Since the
installation of Vishnu temple, Lamangdong became a center of Vishnu cult and
Lamangdong was renamed Vishnupur by the Bangals and proto Bangals – “Histrory of Manipur”, W.I.Singh, page-
190.)
THE FALL OF MANIPUR AND BISHNUPRIYA
EXODUS:
The growing competitions for
supremacy to one another might have weakened their unity and strength and in
turn it had paved the way for the external forces to win over them one by one
in the battleground. As Dalton
says, –“By degrees the Meities became dominant and that name was applied to the
entire colony”. The region that the intruders have won at last is Moirang, by
defeating the king Telheiba in 1850. Due to historical reasons the last one of
the above five clans merged with the Meities and a new clan known as
Khwairakpham, said to be the descendants of King Parikshit, Son of Arjuna,
merged with the Bishnupriyas in the eighteenth century. As a result the
Bishnupriya Manipuris have come down to be known as Pancha-Bishnupriyas
consisting of Moirang, Khumal, Luwang, Angom, and Khwairakpham .
Owing to the endless tortures
inflicted upon them by the first Meitei King Pamheiba or Garib Niwaj (1714-54)
in the eighteenth century most of the people from Khumal, Angom, Luwang regions
fled away to the neighbouring countries. It was due to the fact that the people
from the Angom, Luang and the Khumols under the leadership of the Khumol King
refused to save their heads and to take bath in a pond known as Nongkhrang” in
the ceremony known as“Nongkhrang Irruppa” for “Prayaschitva” (as a gesture for
confession of sin) before conversion to Vaisnabism. Whereas King Pamheiba
himself had prformed such an act, at the instance of Santodash Goswami, a
religious preacher of the Ramandi Sect of Vaisnabism from Kanauj, followed by
his kinsmen, the Meiteis. But the Bishnupriyas refused to do so. Their argument
was that they would not perform any such act of confession as they have been
practicing the worship of Lord Vishnu from time immemorial. Although the King
acknowledged the fact in front of Goswami and ordered to convert them in his
path of Vaisnabism without taking bath etc., but privately he felt insulted and
began to torture them both physically and mentally. Even the Royal princes were
engaged in his stables and to other humble works. Another community who had to
flee from the country due to his tortures was the Daaloos. They are at present
in a survile condition in the southern parts of the Garo Hills of Meghalaya.
They are in the verge of losing theire own linguistic, cultural and religious
identity.
:The inner conflict amongst the
Royal families of Manipur and the subjugation of the Cachar and part of Tripura
by Marjit Singh, Sarjit Singh and Gambhir Singha etc had led to the exodus for
both the Bishnupriyas and the Meities.
The last cause but not the least
was the three consecutive Burmese attack over Manipur, popularly known as AWAR
DHAWA (1819 –1850) which has caused the fall of the Moirang Kingdom in 1850. It
forced most of the Bishnupriya Manipuris to leave their own homeland and they
were in exodus to the neighbouring countries like present Assam , Tripura , Bangladesh Myanmar .
However, the successive Burmeese invasion to this land at the instigation of
Metei King of Manipur had forced a large number of the people from the above
five clans fled away to the neighbouring countries i.e. Assam , Tripura , Bangladesh
Those who left Manipur had to
struggle against all odds in a new environment. In those days of dismal darkness
they were on the verge of losing their culture, language and racial identity.
Bishnupriya
Manipuri Culture:
For their common
culture, customs and food habits and long association with each other the
Meiteis feel the Bishnupriyas as their next kinsmen and vice versa. And for
that reason both the sections of Manipuri reside side by side in various
localities outside Manipur. From social point of view they are almost identical
to each other as pointed out by Dr. G.A.Grierson.
Religion plays
the pivotal role in the cultural development. The Bishnupriya Manipuris had
been practising the Vedic rituals, customs etc. They are the worshipers of
Rig-vedic gods, Indra, Agni or Surya and Vishnu. Their belief in the almighty
Deva-raja or King of Gods Indra is till in their memory through the folk songs
and tales as found in the Rain Invoking Song and Madoi-Sararel songs.
“Sararelte rajaro leipak kumou koilo” meaning “Oh Sararel, the Almighty, god of
all the rivers and seas, see the land of our dear King has filled in darkness!”
Indra was believed to be the god of all rivers and seas. The word ‘sara’ is
derived from Sanskrit ‘sarita’ meaning water.
The Bishnipriya Manipuris still
preserve ‘Agni’ or ‘zee’ in the midst of their household to whom they believe
to be the protector of their house as well as the family members from all kinds
of evils or illness. The ‘Apokpa-ghar’ built in the premises of the head of the
‘lokei’ (derived from Sanskrit ‘Loka’ with the suffix ‘–ei’meaning closely
blood-related group of people) resembles the “Sun-temple” at Konarak in Orissa.
Traditionally the front side of a temple is facing the southern direction but
in case of the Apokpa-house it always faces the east from where the Sun rises.
As per tradition, the god of fire (Agni) and god Sun became identical in course
of time.
Among the Rig-Vedic gods Lord
Vishnu found a permanent place in the heart of this people. The people even
came down be known by His name i.e. Bishnupriya at a later stage. They
worshipped Him who has discovered this land for them from the time immemorial
even before the Mahabharata Age. With the installation of the image of Vishnu
by Babhrubahana during the age of Dwapara the Vishnu worship has got its
momentum and importance of other deities got reduced. With the introduction of
Neo-Vaishnabism of Chaitanya
School
In Manipur the Dravidians
introduced Lingo worship or worship of Lord Shiva and that was also accepted by
the Bishnupriya society with great devotion. Lingo worship is prevailing in the
society at present also. Lord Shiva is regarded as a great Vaisnaba or a
devotee of Lord Vishnu. In every Radha-Govinda temple Shiva Lingo is placed just
outside the main temple where milk is pour down on it with devotion. In some
areas separate Shiva temple still exists. The worship of Goddess Sakti as a
“Vaishnabi” or devotee of Lord Vishnu is also there in the society. The Durga
Puja is often performed in the society traditionally in the month of Chaitra,
in the season (ritu) of Basanta (spring). Devi Durga is worshipped as a
‘Mother’. Such Puja performances are offered by individuals due to their
‘manasa’ with the belief that she will save him/her from imminant difficulties
or dangers. However, no animal sacrifice is done as it is strictly prohibited
in the Vaishnaba system.
A section of the Bishnupriya
especially the Luwangs, at a later stage, were converted into Buddhism. The
practice of worshiping the trees especially “Khoinang” or Banyan tree
represents the ancient practice of tree worship and influence of Buddhism. A
few of the verses (charyapadas) in the language specially meant for children’s
game prevailing in the society bear the deep Buddhist philosophy.
Here it is very important to note
that after the conversion of the Meiteis into Neo Vaisnavism and the
Bishnupriya’s too being converted from their old Vaisnavism to Neo Vaisnavism
of the Ramandi sect at the instance of the King Pamheiba, both these sections
have come down to be known as Manipuri at a later stage. It was due to the
broader outlook on the part of King Jaychandra who took initiative for
establishing closer ties in both the communities. The reason was that once he
took shelter in Khumol kingdom while the Moirangs driven him out of his own
kingdom. He had friendship with the Khumol King and also got married to a
Khumol princess who gave birth to a lone daughter for the King. The Bisnupriya
Manipuris, by tradition, believe that King Jaychandra was transformed into
Bhagyachandra, an epitome of Manipuri Culture, who introduced Rasaleela in the Govindajew Temple Krishna , which is a deep
philosophical and spiritual concept on one hand and the manifestation of true human
love on the other. Here I would like to name some of the Masters or Gurus
namely Guru Nileswar Mukherjee, Guru Senarik Rajkumar, Guru Bipin Sinha, Guru
Nilamadhab Mukherjee, Guru Babusena Sinha, Guru Chandra Kanta Sinha, Guru
Basanta Sena Sinha, Guru Rathindra Sinha, Guru Devendra Sinha and Guru Banamali
Sinha etc. Amongst them Guru Bipin Sinha’s name dazzles like a pear for his
unique contribution to this dance form. His scientific approach, methodological
teachings, research and comparative studies with other classical dance forms in
the light of Bharatmuni’s Natyasastra gave a new dimension to this Classical
dance form and this has prompted many of his admirers and disciples to brand
his method and style by his name i.e. Guru Bipin Sinha Gharana.
The
Bishnupriya Manipuri culture cannot be elaborately discussed and understood
unless we have a close look to their festivals and rituals observed in their
day-to-day life and on various occasions. The popular festivals are Cherou or
Bishu, Kang or Rathayatra, Jhulanyatra, Krishna-jarma or Janmastami,
Radhastami, Mahalaya, Niyamar Pali, Dipandi, Rasotsab, Hari-Utthan, Gobardhan
Puja, Sangkranti, Jarma or Dol (Holika daha).
Cherou
is observed from the last day of a year extended upto five days and concludes
in the fourth day of the succeeding year. It is also known as “Bishu”. The word
is derived from the Sanskrit word “Bishuba”. The Assamese people call it
‘Bihu’. However, the festival is associated with the month of Baisakh or Bohag
as per Indian calender. All the households, guru-sang (stables), the whole area
within the boundary of the house, the roads, the cattles etc are cleaned. Food
is offered to the new coming and outgoing deities (dyous). The popular belief
is that old deities are going away replaced by new one with the change of
season and year. The game of dice or dharmapanchha is played keeping in mind
the sweet memory of Dice game played by the Pandavas and Kouravas during the
age of Dwapara. Gillakhela, and Kangchei or hockey is played merrily. But this
type of game is found to be rare at present. Sometimes Basak, Fangnas or
dramatic presentation of songs by different artistes, in a competitive manner,
are orgnised for mass amusement.
The
Kang festival is observed, generally, in the month of “Ashada” or in the month
of June-July. The festival is observed for seven to nine days as per Lunar
calendar or as decided by the astrologers. The devotees draw the chariot of
Lord Jagannatha (along with his brother Balabhadra and sister Subhadra) on
streets with great devotion. At Patherkandi area of Assam , the villagers from seven
villages draw the chariots from their respective villages with pleasure and
glee and assemble in the midst of a paddy field and perform songs and dances,
in the last day of the Rathayatra period, as prayer to Lord Jagannatha. The men
and women and youths perform karatali dance at the evening hours of every
nights during this period. The “Dashabotar stotra” from Sanstrit poet
Jayadeva’s “Sri GitoGovindam” is sung along with others religious and moral
songs by the devotees while dancing.
LANGUAGE:
The Bishnupriya Manipuri
language:
The language belongs to Indo-Aryan family of
languages. It is a Sanskrit derivation. The language is popularly known as a
Bishnupuria, Kalachai (Kalisha), Mayang or Bangal Thar. “Thar” means language.
The official nomenclature is Bishnupriya Manipuri as recognized by the Govts of
India, Assam
and Tripura. The Bangladesh Govt has recognized it as a Manipuri (Bishnupriya).
The Scholars like G.A.Grierson, C.I.E, PhD,
D.LITT, I.C.S., grouped Bishnupriya Manipuri language under “Eastern group of
Indo-Aryan family.” (Linguistic Survey of India , Vol –V pt- I). E.T.Dalton
observed that this language is a Sanskrit derivation (Descriptive Ethnology of
Bengal, Calcutta, 1872,pp-48). But “both in vocabulary and grammar, it is
strongly infected with the Tibeto-Burman languages spoken in the Manipur state.
Major McCullock (An Account of the Valley of Manipur, Calcutta, 1849) accounted
it as a dialect of Hindi. Some of the scholars from Bengal
like Dr. Suniti Kr. Chatterjee recognized the language “being an independent
Branch in the Bengali- Assamese group of Indo-Aryan – neither a dialect of
Assamese nor of Bengali”. On the other hand the Scholars from Assam like Dr.
B.K.Kakoti, Upendra Nath Goswami try to establish it as an Assameese dialect.
It was due to the fact that they did never go deep into their study in the
peculiar characteristics of this language. Dr. S.S.Tunga found the language
“Bengali-Assamese-Manipuri hybrid” but his views seems to be very parital and
not free from prejudices. Before their
study in the language Sir G.A.Grierson made a survey on it and his findings
seems to be most impartial and nearer to unearth true character of the language
and he says “…The language possesses characteristics of both languages (Bengali
and Assameese) and at the same time differs widely from both. Dr. K.P.Sinha,
who had done first PhD in the language under Dr. S.K.Chatterjee, established the language as an independt
language and grouped under Magadhi Apabhramsa languages. But some of the modern
researchers finger it’s origin in the Sauraseni Apabhramsa.
Speakers of the language:
Bishnupriya Manipuri language
formed in the soil of Manipur. The speakers of the language were forund in
Manipur in the places like Mayang Imphal, Khangabok, Heirok villages on the
eastern side of the Loktak valley, and Bishnupur, Ngaikhong, Ningthoukhong etc
in the western side and Moirang region. The language was spoken till the middle
part of the Twentieth Century in those places. Though the people of these areas
forgot the language at present and accepted Meitei as their mother-tongue under
political compulsion but they still preserve their racial identity i.e.
Bishnupriya very privately.
Grierson has recorded 1000 people
in Manipur as speakers of the language in his Linguistic Survey of India in
1891 A.D.and found their Headquarter was Bishnupur.
Outside Manipur the speakers are
found mainly in the three districts of South Assam ;
NorthTripura, Dhalai and West districts of Tripura; different parts of
Meghalaya; Moulaviazar and Sylhet districts in Bangladesh Myanmar
The total number of speakers are
estimated to be around 4 lacs.
Formation of the language:
The language spoken in
Manipur in its early period was Vedic Sanskrit as was spoken by Gandarvas. The
Gandarvas were the first Aryan settlers in the land. Manipuri historian RK
Jalajit Singh says ,- “History reveals us that the first Prakrit speaking
people from Middle Gangetic Valley reached Manipur in the first or second
century B.C. and the spoken Prakrit was Maharastri. (1) (A History of Manipuri
Literature, Imphal, 1987, page –16, by R.K.Jalajit Singh).The Souranseni
Prakrita speaking immigrants followed them. According to Dr. M.Kirti Singh,
“while spoken language occurred very, it was in 33 A.D., that written language
really began among the clans of Manipur, specially among the Luwangs, the
Angoms, the Khumans, and the Moirangs.” (1- Religious Dev. Of Manipur,
page-25). This view is supported by most
the historians from and outside Manipur.
In his book “Introduction to Manipur”
L.Iboongohal Singh has set an exmple of early Manpuri Words, - Malem(earth),
Unabi(mind), Sengoi (brass), Tara(Rice), Khenjang(veranda), Minsen(Looking
glass) etc. According to him these words are not intelligible to the present
Maniprui (Meitei) people and has gone out of use. But it is the fact that these
words are still in use in Bishnupriya Manipuri having almost the same meaning.
The present forms of these words are – malem(earth), hunabi or
hounabi(behaviour), Sengoi or senseng (brass), Chara(rice), Khenjang(veranda),
mengsel (looking glass) respectively.
W.Ibohal Singh in his “ History of Manipur”(page- 447)
quoted a few words from the Khumal and
the Moirang dialects as examples. The Moirang words with their meaning are –
Loklou(water); Kongkei(dryland); Nao(shoulder); Seng (thigh) etc. Similarly the
Khumal words with meaning are : kon (lake), Khomlen (sleep); Shanou
(boy/friend) etc. Although the above words are found to be obsolete in Meitei
language bu these words are still in use in Bishnupriya with a formative
variation.
The language spoken by those Aryan
settlers in Khumal, Moirang, Angom, Luwang and Mangang people has in time might
have formed a Prakrita form of the Manipuri (Bishnupriya) language at the
instance of the Maharastri and Souraseni which are very closed in form to
Classical Sanskrit. Bishnupriya Apabhramsa must have originated from it. Later
on people from Kamrupa in the seventh century and in succeeding years from
other parts of the Eastern India have
catalised the formation of the present form of the language. The charyapadas or
the Sandhya Sangit bearing the Buddist philosophy also played an importation
role in nourishing the language. The last group of Aryan people that entered in
Manipur are 62 families of the
Khwairakphams or Koireng Khullakpas under the leadership R.K.Dhanapati Singha.
They have also contributed a lot in developing the language in its present
form.
Dr. K.P.Sinha, an eminent
linguist of this community, to whom I pay deep respect, opines that the
language has been originated from the Magadhi Prakrita. But he has failed to
put up the Linguistic Paleantology in a logical way. Moreover his arguments on
the basic characteristics of the language are far from convincing. Let us
discuss:
From the geographical position of
the Bishnupriya Manipuri dominated places, lying in the eastern part of India , one can
easily summarise that their language belongs to Prachi or Magadhi Prakrita. But
if we study seriously on the sources of the various groups forming this
community as per the above discussion, we can esily draw the conclusion that
the origin of the language lies in Maharastri or Souraseni Prakrita as observed
by Pundit Dhajaraj Sahityasastry (1. Bishnupriya Bhashar Arupi Bisareya,
Panchajanya Arjuni). On the other hand, for the long cultural relations of
Manipur with Kamrupa and Bengal , Maghadi
languages have exterted their influence in reshaping the Bishnupriya Manipuri
language comparatively at a later stage. This is quite evident from an anlysis
of the “Rain Invoking Song” and “Madoi-Sararel Song” the language of which have
undergone many changes from time to time depending upon the cultural and
linguistic pattern in the respective periods.
Dialects of the language:
The language has two dialects –
the Rajar Gang (Ningthounai) and Madoi Gang (Leimanai). The traiditonal legend
current among the Madoi Gang is that once upon a time a Manipuri king (King of
Nao Thing Khong) married a princess of the Tekhao kingdom (Kamrupa), Mayang
Leima Chinguremi in 663 A.D. But this legend cannot explain the causes for
formation of this dialect. However the dominant popular belief is that Rajar
Gang is the dialect spoken by the followers of the king and the Madoi Gang is
the dialect spoken by the followers of Queen, i.e. the Tekhao princess. While
Rajar Gang is more akin to Sanskrit oriented languages like Hindi, Bengali and
Assameese etc and Madoi Gaon is more influenced by Meitei and other tribal
languages. Madoi Gang dialect is more pleasing and melodious than the Rajar
Gang. If we go on traditional belief then we may summarise that Rajar Gang
dialect is developed out of the changes in Maharastri and Souraseni Prakritas
in Manipur and Madaigang has developed out of the Kamrupi language of Magadhi
prakrita.
However, at present a standard
Bishnupriya Manipuri language for creative writing has eveolved out of the two
dialects with development of its literature. It is also a fact that some
writers still prefer writing in their own dialects.
Characteristics of the
language:
Dr. G.A.Grierson, in his LSI, Vol V Pt I (pp- 419) says:
“The language possesses characteristics of both languages (i.e. Assameese and
Bengali), but at the same time differs widely from both”.
Chapter – I
PRE-MODERN AGE:
RENAISCENCE
IN BISHNUPRIYA MANIPURI LITERATURE
JAGARAN
The soul of the Bishnupriya
Manipuris which was in a slumbered state, - forgetting its glorious past, its
own rich culture and traditions, store of its ancient and folk literature for
more than two centuries,- woke up in a fine morning in the year 1925 when a few
number of young personalities, being well versed in modern English education,
assembled in the premises of the Murari Chand College, in the heart of the
Syhlet district of present Bangladesh. The leader of the young Turks was Arjun
Singha, the first Law Graduate amongst the whole Manipuri Community. The other
leading personalities were Nilmoni Singha, Haridas Singha, Babuchand Sinha ,
Nitaichand Sinha and others. Historian Mahendra Kumar Singha, being an elder
member of the group was also present to guide them. The well thought plan of
the group was to publish a regular monthly journal, captioned “JAGARAN” meaning
“awakening”.
The Editor of the magazine was
Arjun Sinha and Nilomoni Sinha was his Assistant Editor. It was published and
printed at Islamia Press, Sylhet by Nitaichand Sinha. The first issue was
published in the month of Magha, 1331 Bengali Era (January 1925). On the cover
page there is a Sanskrite quotation from the Upanishadas – “ Uttistata,
jagrata, prapyabaran nibodhata”. This sloka clearly exhibits that the noble aim
of this group was to wake up the people of the Manipuri Community (both
Bishnupriyas and Meiteis). On the top of the first cover page this line is
printed – “Sri Gourachandraya namah”. Being the followers of Neo-Vaishnabism of
Sri Chaitanya School
Most of the
articles were published in Bengali as both the sections of the Manipuri
Community could not understand each other’s language. Moreover, the writers
stressed more on the need for publicity of information on the historical,
social and cultural background of the Manipuris to the non-Manipuris as some of
the writers from the then Bengal engaged themselves to write wrong information
on the community. Those writers tried to establish that the Manipuris belong to
the Tribal groups, -uncultured and uncivilized. Writers like Tanu Singha,
Krishna Kumar Singha, Mahendra Kumar Singha Nitaichand Sinha , Nilmoni Sinha,
Lalit Mohan Sinha and Haridas Singha and others raised their pen to counter all
such baseless information and wrote many articles on the glorious past of
Manipur and Manipuris. As far as I have collected the informations and on
available records I am sure that this journal could have published upto it’s 2nd
year 1st issue, 1332 Beng, Magha, January, 1926.
In the 1st year 2nd
issue , Falguna, 1331 Beng, Sudhanva Sinha composed the cover poem “Jagaranam”
in Sanskrite. It may be mentioned here that the Bishnupriya Manipuri community
has deep love and respect for and a sound knowledge in Sanskit language from generation
after generations. The first essay published in this issue is “Bharatiya
Sabhyatar Prachinatva” in Bengali by Mahendra Kumar Sinha discusses at length,
citing examples from various references by the scholars and researchers like
MxMuller and William Jones etc., on the antiquity of the Indian civilization.
He has drawn the example of latest explored Mahenjo-daro-civilisation that
establishes the fact that the Indian Civilisation goes back to 6000 B.C. The
essayist sincerely observed that, once upon a time, India was leading in expeditions,
physical valour and excellence, illuminating the world with sound knowledge,
scientific ideas, philophical concepts, in art and literature. She was the
“Mother of Religions”.
However, in the eighth issue
of “the Jagaran”, M.K.Sinha wrote an
article captioned “Jatia Bhasha Samasya” or “Problem on national language” of
the Manipuris where he had advocated in favour of the Meitei language so that
unity be established amongst the Manipuris. But this view had seriously hurt
the sentiments of the Bishnupriya Manipuri intellectuals who sharply reacted
over it. Even the editors raised question at the footnote of the article. The
Bishnupriya Manipuri intellectuals were divided over the matter and it has a
far- reaching effect on the history of the Manipuris as a whole. From this time
onwards the B.M. intellectuals began to think separately over culturing their
own mother tongue for its enrichment. Even Mahendra Kumar Sinha had to re-think
over this view and he had corrected himself at a later stage when he
established from historical facts that Bishnupriya Manipuri is the oldest
language of Manipur commonly known as “Lairol” or Language of the gods
(Devabhasha) and this language should be duly honoured. Meanwhile the sudden demise
of Arjun Sinha forced the journal to stop publishing.
Chapter
– II MANIPURI(1933-41)
In the year 1933 the Bishnupriya
Manipuri writers undertook another venture to publish a new monthly tri-lingual
journal, “The Manipuri”. This was the first attempt in the pre-independent India that a
journal was published in three languages i.e. Bengali, Bishnupriya Manipuri and
Meitei Manipuri. At the outset Samarjit Sinha, B.Sc.,B.L., District and Session
Judge of the then Cachar District was the editor of it for a couple of years.
Published by Rajbabu Sinha, being the manager of the journal, the first issue
of which appeared in the month of Bhadra( September-October, 1933)at Silchar.
Banshibadan Sinha was the cashier of it. After sudden demise of Rajbabu, who
was killed by the antagonists in the darkness of a new moon night on the way
home to Machughat, on the bank of the river Barak, Nadiya Chand Sinha replaced
him. Rajbabu was declared as “Martyr” by the people and he is still regarded
with deep respect. To popularize the journal amongst the Meiteis, the name of
Dr. Lairen Singha (Meitei Manipuri),M.L.P was associated with it to edit the journal jointly with Samarjit
Sinha. From the sixth year onwards Gournitai Sinha was the manager of it
On
the declaration page of the first issue there is a sloka in Sanskrit quoted
from Upanishadas—“Uttisthata, jagrata, prapya boran nibudhoto”.In the sixth
year 2nd issue, in addition
to this sloka, there is a quotation in Sanskrit:
“ Manipuri
somajanang sukhobho samriddhaye.
(L)Dhanosinha
bachaspateh smriteh sonraksmonayo cho.
“Manipuri” iti
khyatopotryah sribriddhoye totha-
Somutsorgikritohschayong srijugendreno dhimota.”
From the Sixth year onwards there
is a declaration in this page that journal was dedicated by Jamini Devi for the
welfare of the society. From the reports available in the Manipuri it can be
understood that Jamini Devi, wife of Nishikanta Sinha (the then D.S.P), donated
Rs. 200.00 only for the continuation of the journal. At that time it was, of
course, a considerable amount. This fact will ever be remembered with
reverence.
Before the
publication of the journal there was a new development in the socio-political
periphery of the Manipuris when the British Government issued notifications
giving the Manipuris status under Scheduled Tribes. This has prompted a strong
resentment amongst the Manipuris. Particularly the Bishnupriya Manipuri
intellectuals, being infuriated over the issue, as they felt it derogatory to
their social status, rose their arms to vehemently protest the notification and
they organized public meetings where a new organized body was formed under the
name of the “Surma Valley Manipuri Association”(25th September,
1932) which in turn has taken the shape of the present “Nikhil Bishnupriya
Manipuri Mahasabha”(30th September 1933).
“The
Manipuri” became the sole platform for the intellectuals to express their views
on social, literary, cultural, economy and historical perspectives. News on the
political developments in both national and international front was also
published regularly. Writers like Krishna Kumar Sinha, Mahendra Kumar Sinha, Haridas Sinha, Nilamoni Sinha, Kirti Sinha,
B.L., Naradhwaj Sinha, Dr. Krishna Prasad Sinha, Kamala Kanta Sinha, Sudhanya
Sinha(Byakaran-Tirtha) contributed a lot with their valuable works for the
continuation of the journal. Among the
notable articles published in the journal we may name “Manipurer Itihas” by
Krishna Kumar Sinha and “Mahabharater
Manipur” by Mahendra Kumar Sinha
that brought a new light on the history
of Manipur; “Bishnupriya Bhasha” by Haridas Sinha is an first attempt on the
study of some of the characteristics of
the Bishnupriya Manipuri Language from
the linguistic point of view , after Sir G.A.Grierson, highlighting the
influence of the tribal languages , specially the Naga and Kuki languages, on
the formation of it. The most remarkable thing was the presence of the woman
writers namely Radharani Sinha , first lady
writer of poetry in Bishnupriya Manipuri language (Manipuri, 1st
year 2nd issue, Aswina, 1933), Imanu Bala Sinha and Indira Sinha who wrote poems and their
writings bear literary value. Lalbabu
Sinha, Vidyabhusan, Leikhomsena Sinha and Guru Bipin Sinha wrote songs in the
language which are worthy of reference. Dhira Chandra Chattopadhyaya translated
Srimad Bhagavat Gita in the language for the first time that appeared in the
pages of the journal serially in different issues.
The importance of “The Manipuri”
is that it has acted as a guiding force behind social development. Apart from
giving us information on literary activities, we come to know about the
contemporary socio- political activities of the community and country as a
whole.
Chapter
– III MEKHALI(1938-41)
In 1938, the two-monthly journal
“Mekhalee”, first published in Grisma-Ritu of 1344 Bang, being edited by
Phalguni Sinha and Krishna Prasad Sinha
as the Cashier of it, appeared in the field following a sharp difference
of opinion of the protagonists with the editor and publishers of the
“Manipuri”. The title “Mekhalee” was chosen
from a line from each of “Dharani Samhita”and “Chandranvaytaru” citing
quotation of couplets related to it from
the respective books. It appears from the editorials and essays published in
different issues of the journal that the Mekhalee- group was not satisfied with
rather were critical to the autocratic style of functioning of the Mahasabha
and the “Manipuri” group. Moreover attempts were made by this group to maintain
unity amongst the Manipuris. The essay “
Manipuri Grihadite Aryatta” by M.K.Sinha was of much importance concerning the
historical background of the Bishnupriya Manipuri social customs. Phlguni
Sinha, Bihari Sinha & Sanat Kumar Sinha wrote poetry in Bengali, while Sena
Sinha, Basanta Sinha, Nishikanta Sinha and Paramesh Sinha (of Calcutta ) wrote in their own tongue which are
commendable for their literary value. Manik Sinha Kavy-ratna, Krishnadas Babaji
and Golap Sinha etc wrote prose on social and cultural aspects. Many more writers and readers took their part
in the publication of the journal continuously for many years.
KSHATRIA-JYOTI(1941)
It was in the year 1941, a
compromise was made between the two groups and publication of Manipuri was withdrawn and a combined effort
was made for publishing “Mekhalee” with a
new title “Kshatriyajyoti” under the editorship of Phalguni Sinha. It
was also a two- monthly journal published in each Ritu of a year i.e. Grishma,
Barsha etc. and published in three languages.. It has lasted for one year only
and when there was the outbreak of the Second World War it was forced to stop
publishing.
.
MODERN
PERIOD
AGE OF
BISHNUPRIYA[1956-57]
After India ’s independence new efforts
were made from time to time. In the year
1956 a resolution was passed in the Andorgang session of the Nikhil Bishnupriya
Manipuri Mahasabha to publish a journal, under title “Bishnupriya”, in
Bishnupriya Manipuri Language only. It was a historical attempt at national
level. The editorial task was bestowed upon Mahendra Kumar Sinha while Madan
Mohan Mukhopadhyay was attached to him as Assistant Editor. The writing of
Mahendra Kumar Sinha is of much importance concerning his opinion on
Bishnupriya Manipuri language, culture, history and society. In the pages of
this journal we read prose writings Jagat Mohan Sinha (in the guise of Dalaan
Chauba), Gopi Mohan Mukhopadhyay and many others. This has lasted only for a
couple of years.
THE
AGE OF PHAGU(1960-69)
In 1960 an individual effort was
made by Madan Mohan Rajbanshi to publish another monthly journal “Phagu” from
Dullevcherra. Although officially Kunjababu Sinha Rajbanshi was the editor of the journal but practically
Madan Rajbashi was all in all in this venture. He was serious and more
systematic in editing the journal for the all round development of the
Bishnupriya Manipuri literature and language. A number of new faces appeared in
the field of literature through its pages and he let everybody to publish their
writings. The importance of this journal lies on the fact that a serious step
was made for the compilation of grammar and a dictionary in the language for
which a number of workshops, symposiums organized by himself. Moreover the
editor advocated in favour of and stressed the need for the introduction of
Bishnupriya Manipuri language as a medium in Baishnav Palakirtan used to be
performed in Sanskrite, Brajabuli and Bengali. Although Gokolananda Geetiswamy
had started the movement in the late thirties and fourties of the last century,
but his venture was limited to Pada-kirtan only i.e. maan , mathur, basak, besh
etc. It was due to Madan Rajbanshi that it got its momentum and he was
successful in introducing it in the seventies of the last century through
pada-writers cum performers like Brajakumar Sinha(Pacha), Madanchan Sinha,
Senarup Sinha, Manimohan Rajkumar, Sonani Sinha and Nabakumar Sinha(Godoi)etc.
Practically it was Phagu that
brought new outlook on society, - on it’s culture, literature and language.
Lalit Sinha’s “Bishnupriya Abhidhan” and
Harekrishna Mukherjee’s “Maniupurar Itihas” published continuously in
successive issues of Phagu. Writing of modern poetry started in Phagu where the
gifted and prolific writers namely Madan Mohan Mukherjee, Brajendra Kumar
Sinha, Senarup Sinha, Kaliprasad Sinha and Gopinath Sinha, Krishnadhan Sinha,
Gostha Behari Sinha and Ruhini Rajkumar etc enriched the pages in this journal.
Among the successful story- writers we may name Indra Kumar Sinha, Amar Kumar
Sinha and Kalasena Sinha etc. Gopinath Sinha first made an attempt to write a
novel in the language “Got Nei Phool” of which only a few chapters published in
Phagu. Jagat Mohan Sinha attempted to translate Kalidasa’s “Meghadutam” which
was left incomplete. Among other notable writers we may name Gourmohan Sinha,
Sushil Sinha.
The Phagu has continued for long
ten years creating history in its invaluable contributions towards society in
many ways.
From the Sixth decade onwards we
get “Malaya ”, an annual house journal of the
N.B.M.Students Union, contributed a lot in literary activities. The first issue was in a manuscript
form that was edited by Kaliprasad Sinha (Dr.) in the year 1962. The Second
issue (1963) edited by Manikanta Sinha and it appeared in printed form. This
issue bears a great significance in the history of Bishnupriya Manipuri
literature as most of the serious and established writers of the day paid
contributions for the journal. The most important interesting topic was a prose
and a serious study and a research work
titled “Bishnupriya Tharar Nikulani Baro Tar Ajikar Rup” -(The formation of
Bishnupriya Manipuri language and it’s present form) by Sahitya-Shastri
Dhwajaraj Sinha which may be highlighted as the first attempt on the in depth
study on the formation of Bishnupriya Manipuri Language from the linguistic
point of view. The scholar-essayist has discussed elaborately on various
characteristics of the language in the light of its Souraseni origin. However
comparison was made with the Magadhi group of languages to demonstrate their
difference in characteristics and to arrive at his own conclusion. As for
example he had demonstrated that in Magadhi Prakrita pronunciation of ‘s’ and ‘sh’ is similar to ‘sh’ whereas in
Bishnupriya Manipuri pronunciation of ‘s’ is clear as in ‘setya’. The
pronunciation of ‘sh’ is also clear as in ‘sheng’. Moreover he had shown the
affinity of the language with that of Souraseni Prakrita in declensions,
formation of words, phonemes etc. Moreover some of the unique characteristics
of the language and its close affinity with Sanskrit are also elaborately
discussed. The work seems to have published continuously in different issues of
the magazine. Unfortunately only the second part of the work is available to
us. The remaining parts are reported to have preserved by Dr. K.P.Sinha. I
hope, a respected scholar like Dr. Sinha will bring these unpublished parts of
the work into daylight for further study on the language.
“Amar
Sahitya Aluchana” by “Malaya Sahitya Chakra” is a critical assessment on the
literary works on the time by a group of experts of the Malaya .
It is a first attempt in such type of discussion. The first line of the essay
indicates the pauper condition of the Bishnupriya Manipuri literature. “Amar
sahitya aluchona karanir samaihan ebakau nahese”—the time for a critical study
on our literature has not yet come. The reason is the age of modern
B.M.literature did not cross the limit of a century. The reviewers extended
their good wishes for a long life of
“Phagu”. There is reference of other magazines – Bishnupriya and Numius.
Although the reviewers expressed
their modesty and humble submission for their inability to discuss but
practically they have demonstrated their worthiness in the matter. They were
mature enough to feel it proper that the Bishnupriya Manipuri literature has
not yet been achieved its own brightness, own form and own quality and
excellence. In spite of these defects the reviewers have gone at length in
their discussion on literature.
Discussing on poetry they
quoted the Greek and Sanskrit poetics and alankariks respectively. The essence
of poetry is ‘rasa’ that creates a life in beauty. For a poet it is essential to have some knowledge
on poetics and “Alankara” but at the same time it is essential to have a sense
of beauty too. They have critically viewed Madan Mukherjee’s poem “Heicha”, and
“Manpahiya”, Brajendra Kr. Sinha’s poem “Mousumi” and “Rupabati Ningal agar
monhan”, Gopinath Sinha’s “Tor Khourange”, Amarendra Sinha’s “Asha” and Mahidev
Sinha’s “Tar Mor Basantahan” in the light of romantic poetry. The poems of
Mahendra Kumar Sinha’s “Bindu Ao Khuwar Panilo”, Manikanta Sinha’s “Chaitrar
Khorai Doha E Trithivi” and Gourkishore
sinha’s “Dharmar Adale” bear realistic
ideas. In their discussion they have included many more poets with quotations
from their respective poems.
“Champaklatar jivanhanor rati
ahan”(A night in the life of Champaklata) by Panchajanya is a good story.
Autobiographical story “Prabas-Milon” by Indra Kumar Sinha is commendable for
its literary expression.
The concluding column is the
editorial – “Katha dwi-akchuti” or a few lines (from the editor) that has
manifold significance. At the beginning the editor expressed his gratitude to
all who have contributed for the Malaya .
Secondly a note of protest and condemnation has been extended for the barbarous
attack by the communist China (1962)
over our motherland. The Malaya group
expressed their solidarity with the national govt and urged all the citizens
especially to the youths and students to stand united to save the country as it
is their prime duty.
In the third paragraph emphasis
was laid on the development of the language and its usage in everyday life. The
Silchar Bishnupriya Manipuri Bhasha Parishad is taking up the matter with the
Linguistic Commission.
“Education through mother tongue
is the real education. In our society a group of people is of the opinion that
no literature could be produced through our language or education through our
language has no value. For this reason and with a view to establish that this
language is worth enough being used as a vehicle of literary activities we are
publishing this literary magazine, Malaya .”
The editorial thus put forward its challenge to other antagonistic groups who were against the culture and development
of the language.
In the fourth paragraph the
students, the backbone of society, were addressed as the prophet and creator of
an age. They were advised to take care of the development of the language,
preservation of culture etc.
In the concluding paragraph the
editorial expressed their gratitude to all who had contributed in the
publication of Malaya , - the writers, the
financers etc. Especially Bimal Kumar Sinha, the renowned artist, has been
thanked for designing the cover page.
Publication
of Malaya ceased for many years. It is in the
year 1981-82 it woke up from its dormant stage. It was possible only due to the
active support from the body of the Nikhil Bishnupriya Manipuri Students Union.
Especially Mr Anil Kumar Sinha, the president of the body patronized it for its
publication. The editorial board consisted of the following: Chief Editor- Champalal Sinha, Joint Editors-
Bijoy Sinha and Jotikanta Sinha, Advisor- Chandrasekhar Sinha. Most of the
poems, stories and essays published were from the students. At the outset there
are reports on the Students Union activities and on Relay Hunger Strike by the Union demanding the introduction of the language and
other demands of the seven-point charter of demands. The writers in this Vol
are: prose by Narendra Ch. Sinha (Tebo Pachattar paisa rin thail), Yaima Ipu (
yaima ipur yarau), and drama by Gobinda Rajkumar; poems by Harekrishna Mukherjee ( O mor asangpa
dhanhani), jyotsna Rajkumari ( amar swabhab), Birendra Sinha (Homeilga
belihan), Sukanta Rajkumar (pidtau
tore), Lakshmindra Sinha(amar heicha), Chandra Sekhar Sinha (Malaya), Amal
Kanti Sinha (abibekar nikhut) and Birendra Sinha( Nartei). . The
Fourth Issue of Malaya published in 1983-84. The chief editor was Krishna
Sarma. Members of the the editorial board are—Anil Sinha Goutam, Haridas Sinha,
Namadev Sinha, Champalal Sinha, Dils Lakshmindra Sinha and Hareswar Sinha
Manav. The writers of this Vol are: prose writers - Krishna Sarma ( Sahid
Rajbabu), Rasamay Sinha( Chatra, Samaj baro desh), S.K. Birendra ( Bijnanar mai
masel baro puranna Bharat), Yaima Ipu (Hinglalat akdin), Brajendra Kumar Sinha
( Chatra samaj ahan hongoite), Mahendra Sinha (Sangothanar kame Manipure) and
poetry by Champalal Sinha (Ebakau), Sudhanya Sinha (Kshobh), Padmabati Sinha
(Jagaran), Shibenra Sinha (Homeil jharhan), Anil Sinha Goutam (Meyekar Chhada),
Goutam Sinha (Kitar Dor), Lalfam Sinha (Kitar lalfam), Ranju Sinha (Kisade mi
liktau kabita), Umakanta Sinha (Ima), Mihir Sinha( Ghathan), Matilal Sinha
(Jiban).
The
Fifth Issue published in the year 1985-86. The editorial board is as under :
Malaya Sub-committee:
Chandrasekhar Sinha, President(Kachubari); Sudhanya Sinha- Editor(Kalinhar),
Members are- Rajendra Kumar Sinha( Bihara), Lakhikanta Sinha (Lakhipur),
Jatikanta Sinha (Dudhpur), Namadev Sinha (Shillong). This issue was dedicated
to late Jagat Mohan Sinha who was renowned for his manifold talent, - a poet, a
lyricist, essayist, a dramatist, a good prose writer and a social worker. The
editorial highlighted the various activities of the departed leader cum writer.
A brief sketch on his life from the editors desk is also set at the outset. Among the writers we may name:
poets – Sudhanya Sinha (he pathikar- Jagat Mohan), Manimohan Sinha (Phoolgore),
Abhay Kumar Sinha (Ajikar mi), Sanyasi (Sukanta Rajkumar), Uttam Kumar Sinha
(Ima Bhramarare), Smriti Sinha (Asha), Shibendra Sinha (Pahurani naitai); Prose
– Dilip Sinha (Bismritir hadit), Jatikanta Sinha (Sadhuthakur baroh amar
Samaj), Anil Sinha Gautam (Samaj jibane Students Unionionor gurutva) and
Ramkrishna Sinha (Sangathan baro sanhoti).
The sixth issue of Malaya was published for the period 1987-89 at Luwarpoa
Session of the Students Union. The editorial board consisted of the following: Editor- Dils Lakshmindra
Sinha, Sub-editors – Gitesh Sinha and Prabhat Sinha (Tripura), members- Krishna
Sarma, Sudhanya Sinha, Shibendra Sinha, Rasamay Sinha, Kalasena Sinha and
Santababu Sinha.
In this volume Rasamay Sinha’s
Essay “ dusra July: Bhasha dabi divas” explains on the significance of the 2nd
July being the Language Demand Day observed by the Students Union every year.
Another essay “Ajikar Sou kalikar tera” (to-day’s child are tomorrow’s stars) by
Sudhanya Sinha lays much importance on child development and students
participation on social upliftment. Debajit Sinha’s essay “prakrita sikshat
imathar”(role of mother tongue in true education) stressed on the need of
mother tongue for proper education. Among the poets we may name Jayalakshmi
Sinha (Sadhubaba), Sadhan Kumar Sinha
(ami ki manu), Paramesh Sinha (Manipuri Bishnupriya andolonor ela), Shibendra
Sinha (satabdir antime) and Samarjit Sinha (tor sale).
The editor has expressed his
serious concern in his editorial as under:
- Unavailability of good writings and paucity of funds for the publication of a magazine.
- Increasing tendency in lack of sense of responsibility among the students as well as guardians.
- What are the main problems of the society? –the
answer political and socio-economic . This is a diversion from the
traditional thinking of the old guards of the
- The students lack knowledge. They have least interest to know their tradition, their present, their language and culture. They are not so advanced in their regular studies too.
- The editors thanked to all the writers and students
body for their cooperation to publish present issue of the
THE
AGE OF PRATISHRUTI[1966-
The publication of “Pratishruti” edited by the
poet-critic-essayist-story writer-dramatist Brajendra Kumar Sinha has opened a
new ear in Bishnupriya Manipuri literature. It was an annual literary
collection. The first issue was published in the year 1966 (1374 Beng Era).
This was the first and serious attempt made by any editor to raise the level of
its magazine up-to a certain standard in selection of articles, editing,
proof-reading and overall get up of the magazine in a finer way, with all
sincerity, which has remained unsurpassed till this day. Emphasis was given on
the translation of world literature especially the western literature. Moreover
collection of “Pourei” or proverbs has set an example to store Bishnupriya
Manipuri ancient literature.
The Second Volume (January’1968)
contains invaluable writings of Madan Mohan Mukhopadhyay, Senarup Sinha,
Nanigopal Sinha, Dhananjay Rajkumar, Gopinath Sinha, Brajendra Kumar Sinha and
Chandrakanta Sinha.
In the first poem “Teipang” (Reality) by Madan
Mohan Mukherjee, the poet tries to draw our attention towards the real world
away from the world of ideas:
Pinjurar
maina
‘Radha
Krishna bul’—
Ere he
teipang
Unga he
bul.
n
Oh! caged bird, pronounce the name of Radha and Krishna ,
look to the world in which you have your birth.
Senarup sinha wrote the poem “
Santana” which is purely a piece of romantic poetry.
Nani Gopal Sinha’s “Heicha” is
another romantic poem but in a different direction.
Gopinath Sinha’s romantic poetry,
“ dhupor chhanda mileya” bears great imagery and it has a lyrical sound with a
pleasant note:
Banai banar
latbereya –
Mangkaresu –
morang mi neyasu
He Shibani,
Mor monor
kunjabanar duwar khuliya
Habitar girigohe ti
Kunjaraj aitai
bulil pou
Hunia
…kanpatia…
:jugal aratir
taltanjalo
Ngakkorani leilek
nakori
n
Love embraces the creepers of love, I have lost
myself in me; o, Shibani, open the door of kunjaban or grove of my mind. You
are the lord of all. Just you hear the news, opening your ears, of the arrival
of Kunjaraj, the king of the groves: receive him in his dual form (jugol rupa)
reciting holy praises and let there be no carelessness in it.
Brajendra Kumar Sinha’s “tor
salede” (For you) is a beautiful piece of poetry considering it’s form and
content. All lines in the poem are written in Hexameter or
Syllables of six numbers in
Aksharbritta Chhanda arranged in three divisions in each line:
Tor
salade dukho jwala habita pana
Tor salede mor bukede jamer bana
Tor
salede jonomhan mankorani
Tor
salede ahi dwiyogi mam korani.
n
For you one has to get all pain and sadness; for
you love remains in one’s heart; for you one has to waste his life; for you
only one has to lose the brightness of his eyes.
Dhananjay Rajkumar has started a
new experiment in form and technique and introduced a new pattern of poetry in
the language commonly known as prosaic-poetry. His choice of words, selection
of ideas and style of expression were unique and it had a revolutionary change
in the field of B. M. Literature. His diction was completely in an urbanized
form away from the literary style employed by the contemporary writers and
naturally his poetry could not be appreciated rather condemned by general
readers as an artificial exercise. However such type of allegations against
modern poetry persists in all languages.
Dhananjay’s poem “Bukgor pouhan”
is the beginning of an experiment of modern poetry that is prosaic in nature.
The poem begins in rhymed verse form and after a quartet it destines to its
prosaic form:
Nuwa boron peya tite
dangar oile khanta,
Ki fulgore upama
ding khanik kore changta;
Nounouase tor garigo
satail aro kiya—
Tor ahigi kitarkate
tharta ko nangiya.
Prithibir
habi sotyor esade kore poriborton or. Akdinkar kumari ningolgo aji purno
jubotigo oya morangto ahigi secheiri. Mi
oubaka matouri
Moharani! Mi tor
hukumor chakorgo oya asu.
Torka ful bisareya
ane diluga,
Tor jangor nokhe rong
gose dilu. Nupur pidadilu
Tul tul korer
khoyahan sokoya.
Tor salede mi gupone
ahir pani bellu.
Ascharya!
Kobita ikorlei rani naile nari. – ar kuno kotha nei. Kanthi hane tebilhanor
fuldanigo bagiya churmar oil. Rani baro nari kotha diyohanite asole akhan. Habi
nariou rani oitara.
n
Having possessed a new bright colour you have
become proud, let me see to which flower may I compare you. Why your body in
its budding state blossomed fully? My eyes remain steady looking downwards.
n
All the true things in the world transforms in
this way. That a young girl, once upon a time, matures and takes away her eyes
from me. Then I tell her
n
O, the Queen! I am a servant to carry out your
orders. I have brought flowers for you searching outside. I have polished your
nails with colours. I have fitted nupur touching at your tender feet. I have
shed tears for you privately.
Unbearable! A queen or a woman is
must to write a poem. No alternative. I
have broken down the flower stand on the table in anger. The meaning of a queen is synonymous to a
woman. Each woman becomes a queen.
In
the prose section of this issue only a single essay captioned “Kalidasor
Meghdoot” (The Meghdoot of Kalidasa) by Chandrakanta Sinha is available. Where
the author discussed at length on various aspects of this poetic work by
Kalidasa with quotations from the original Sanskrit text. This is a first
attempt in Bishnupriya Manipuri literature that any important poetic work from
the classical language has been discussed in details and elaborately.
Next
item is “Bishnupriya pourei sangraha” or “Collection of Bishnupriya Manipuri
Provers” which is very significant in terms of ancient literature in the
language. Smt. Nilomonjuri Devi of Siborangan, Senarup Sinha of Bikrampur and
Bishnupada Rajbanshi have contributed in this noble task. Some of the proverbs
are:
1.
Apodor goje kampot
2.
gor cheya nou borani
3.
mekurorang kata magani
4.
uduror kane ful pidani
5.
emari barton bulone kirtan
6.
mapade chapa marani
7.
katalo kata karani
8.
tekade nou bana
It is important to note that the
proverbs store house of ancient literature and bear the testimony of the
originality of a language.
The last forum for discussion is
meant for the children, “konakor Mel” initiated by Sashimohan Sinha. Intelligence test and a brief discussion on a
science topic is the subject matter of this column.
In his note the editor, Brajendra
Kumar Sinha, has raised a number of important points that may be summarized as
under:
1.
The big problem lies before the writer is the problem
in spelling and it is multiplying day by day. There is no uniformity in the
system of spelling amongst the writers.
2.
There is no system to preserve archaic words; stories,
songs and proverbs of ancient literature that have gone out of use day by day.
There is every possibility of forgetting this precious part of literature in
the days to come. It is the duty of every conscious man to collect and to
preserve them as they are having the components of ancient history of the
community as sell as of the language.
3.
We have failed yet to honour any of the senior writers
like Ruhini Rajkumar and Krishnadhan Sinha. The Mahasabha may show their honour
in its ensuing session.
4.
It is a matter of great satisfaction that the first
issue of Pratishruti has received a warm welcome by the thinkers and serious
readers.
In a footnote at the editorial
page the editor has acknowledged the receipt of “Manjuri” (a collection of
poems) by Kalasena Sinha (Hingala).
The Vol.III was published in the
month of July 1969 (Ashad, 1375 Bang). This volume was dedicated to the sweet
memory of Chandra Badan Sinha, a
prolific writer of verse for children
whose sudden demise has caused a great loss in this specific field of
poetry. This volume starts with a poem “Parama” (the great mother) by Barun
Kumar Sinha which reads as under:
Nongil firalhan ajikar
dine
Jonomor sodh dena lagtoi
jesadeu akdin
Parama—imar sade amar
prithivi—
Hine-dukhe, pora-dora,
nirmul ami,
Dou-datoya kalkorani
amarka nagoi.
n
the flag is bent down in this day. One day we
are to pay penalty for life.
n
Our earth is like that of the ‘parama’—source of
eternal power (mother); we are rootless people in great distress. There is
hardly any chance to save us at the mercy of god.
“Hoponor salede” by Dhananjay
Rajkumar is a beautiful poem in prose form. The central idea expresses the
dissatisfaction with the life and the loneliness of the poet. In midst of h
displeasure a note of the bright imaginative power and a hope for life through
dream of the poet is beautifully expressed:
“ajikali ratihan oibotai
hophani greenroome sajiya na bacheitara. Moneil ousade hopn bajare na
nikaltara. Thik napeile hopon ahan arak akhurum bodlani nuariar. Harou harou
nagoi—pap pap nagoi—mrittur mohima nei—janar fam nei.
Jibon ahanat joubon ahanor
din kom. Hopon artau. Kom . Din akeihan bidesar
sade nihsang or.
Mor ahir panitto junakor
mingal peitou buliya koidin kadtu.”
n
The dreams do not wait for (me) well dressed
these days. The wished dreams are not displayed in the market. Undesirable
dreams cannot be changed with a liked one. Happiness is not happiness at all;
sin is not sin; there is no greatness in death; no way to out.
n
The period of youth is very short in a
life. The dreams are shorter. Some days
are lonely like an exile.
n
I have shed tears in so many days to think that
the brightness of the moon be showered from it
A drama for a very short duration
“Krishak samman samiti” by Indrakumar Sinha was highly appreciated by the
readers.
Dr. K.P. Sinha’s treatises on
Bishnupriya Manipuri language and spelling and on other subjects are worthy for
reference. However the content of those essays are not above criticism. The
essays or treatise on Rhythm titled “ Kavitar Chhanda Prabeshika” by Brajendra
Kumar Sinha in Vol IV in June1970( Jyestha, 1379 Beng) is an first and
successful attempt on the subject-matter. The same essayist wrote “Kavitar
Antyamil” or “Rhyme in Poetry(Bishnupriya Manipuri)” in Vol.V, October 1971 is
highly appreciated for the sincere and masterly treatment on the subject
matter. The essay on Bishnupriya Manipuri poetry by Barun Kumar Sinha is also worthy
to be highlighted for its sincere approach and for modesty and simplicity in
language. The poetry of Brajendra Kumar Sinha, Madan Mohan Mukhopadhyay ,
Gopinath Sinha, Senarup Sinha, Dhananjay Rajkumar, Amar Sinha, and Samarjit
Sinha are of high literary value. The successful experiment with poetic forms
by Madan Mohan Mukhopadhyay and Dhananjay Rajkumar has brought a modern
approach in Bishnupriya Manipuri poetry when poetry became prosaic in form.
Among other new but successful story- writers and prose writers, - Prasanna
Kumar Sinha and Gobinda Sinha are worthy of reference.
PANCHAJANYA ARJUNI
The Seventh decade of the last
century is a glorious period for the Bishnupriya Manipuri society and for
language and literature when a number of annual magazines published at
different places. In 1970 the first issue of
“Panchajanya Arjuni”
published by Manipuri Association, Shillong and it continued for seven years.
The prose works of Dhwajaraj Sinha, Sahitya-sastri and Mahidev Sinha on
Bishnupriya Manipuri linguistics, on history
and on other subjects are highly estimated and found invaluable. The man
behind this periodical was Laksmi Kanta Sinha who was a prolific writer by
himself and he wrote a number of good short stories. His pen name was Lo Kaa
So.
A publication of Shillong
Vishnupriya Sahitya Samaj, the literary
periodical “ Chino Ego
Kungo”, edited by V.D.K. Sinha and published and printed by V.R.K.Sinha
from Shillong. Among the notable writers we may name Amarendra Sinha (story),
Gopendra Kumar Sinha (story), Maghal, Srimati(story), Lo Kaa So, Buhur and Sevadas(poem) etc.
The light very short story type
compositions by Buhur, Magidei and Lo Ka So bring laughter and smile to the
general readers.
Declarations by the publishers
are as under:
- We have decided to observe a day for all those social worker who are departed and the day is fixed at Mahalaya on which we pay our tributes to all of our forefathers offering prays (tarapan), flowers and vegetables etc.
- We are unable to publish a number of articles from different writers. But due want of space we could not publish all of them. We are sorry.
- We request all the writers and social workers to increase the number of readers at their respective localities.
- The space provided for poetry is very limited. Publication of any article to be continued in different issues is avoided. Writings on patriotic, social consciousness, and didactic compositions are preferable.
- The agents and readers are requested to deposit their balance subscriptions.
- The subscription for a single copy remains unchanged and is fixed at Rs 2/-.
- This years annual session of the Mahasabha is scheduled to be held at Kailasahar on Sripanchami.
- The Birthday of Gokolananda Geetiswami be observed ceremoniously on 22nd Magha this year.
In the last pages the national
anthem, a story chosen from Grierson’s
LSI by Manala, “ Kachupata baro tempak” and a few quotations are written
in Devanagari script. Probably the noble intention of the editor was to show
how to write Bishnupriya Manipuri Language in Devanagari script which is the
old script of this language when the
speakers ruled over Manipur.
MINGAL(1970)
The
mouthpiece of the Patiala Book bank, - “Mingal” was published as the annual
literary collection in Bishnupriya Manipuri language. Only three volumes of
this magazine came out into daylight since 1970. The editorial board members
were - Nirendra Kumar Sinha, Premananda Sinha and Kalasena Sinha. The third
volume, being published in 1972, was dedicated in the name of those persons who
have sacrificed their life in the struggle for liberation of Bangladesh
In
first page of the vol. III, there is index of the contents along with a brief
introduction to the writers. Considering the importance of the information
available in this introduction I would reproduce it below translating into English
(the name of the author at first and it is followed by the name of the
article within brackets and then the introduction):
Chanbabu
Sinha – (Nuwajina, page-1)
A Marxist writer and a social activist. His first poem “Nuwajina” is written in
the year 1948.
Madan
Mohan Mukhopadhyay- (Disha,
page- 8), poet of “Thoigo” and “Tenna Kokok”
two Collections of Poems.
These volumes of poetry attract the heart of the readers. Besides
writing in his mother tongue, he has established himself in Bengali language
also. He was the editor of the little magazine (in Bengali) “Phalak” published
at Karimganj. He has a great contribution to our society.
Ramosena
Sinha – (Bidruhi Kavi:
Nazrul, page-7), He is known to the members of the Numius Sangha as their elder
brother. He was famous in his student life for his talent but after losing his parents
and his lone brother, he lost his mental balance. Now he lives in a world far
away from the dark reality.
Gopinath
Sinha—(“E Morone : Jonom Chhanda” - a poem) In his personal life
he is known to be a politically conscious person ( of leftist ideology). But he
is famous for his two volumes of poetry i.e. “Ningsing Arati”, a collection of
romantic poetry and “Kanak Methel”, a collection of children’s poems.
Narottam
Misra—(Rukh beiman,
page-21) Besides being a reader and writer, he is a good but silent social
writer. His contribution in “Phagu” and “Numius” is considered less in no way.
Geeta
Mukherjee—(Duswapna) A
sensitive writer. After taking her graduation in Arts stream, she has devoted
herself for the development of literature.
Nandakumar
Sinha—(“Ajite Mi
Pagala”- a poem) For his deep interest in literature he writes in his mother
tongue and at the same time he writes in Bengali too.
Ranjan
Sinha—(“Pocketmar” - a
story) For his technique his short stories yields much pleasure and interest to
the readers. We find in him a great talent.
Nirendrakumar
Sinha—(“Mon pagol” - a
poem) He writes poetry, short stories and novels from his young age. Due to
want of media for publicity his writings remain unattended by the readers. His
poem “Bibhula” is highly appreciated for its maturity in technique.
Haripada
Sinha—(“Batti Kar
Yari,” - a poem) As a younger poet he has attained almost maturity in his
writings. He tries to point out at the superstitions prevailing in the society
and drawbacks in the civilization as a whole. We have a hope from him.
Kalasena
Sinha—(“Sahitya
Sadhanar Dik Ahan” - an essay) A prolific writer of poetry, short stories,
drama and essays etc.
Kalanko—(Abashista Premik) A pen name.
Chanbabu Sinha is one of the
progressive writers who had flourished literature with revolutionary and
communist ideology. In his poem “Nuwajina” he expressed his active
determination to break the prevailing socio-political system so as to bring a
new order in place of it:
Purana dinar pakh sal
kariya
Nartei more cheyat
thona
Nuwa dinar
khouranghane
Monhan mor charta jana
--(You
will not be able to keep me in the shadow of your old opened wings. My mind has
destined to go out with the hope of a new day.)
In
his poem “Disha” Madan Mohan Mukhopadhyay also bring forth his revolutionary
ideas in a more poetic language, replete with imagery and with great mastery
over the language:
Mor deshe
Kurit thaite
Phool jhanger--
Mor deshe
Dwidin naite
Jhom bhager—
Harpeilu mi
Ekhurum esade naitai—
Biplob rakat naile
‘Vietnam
n
(In
my country the flower withers before blossoming, or nests damage in a day or
two. I have understood it will not be in this way,-- ‘Vietnam
Gopinath
Sinha also followed the same path with the above poets in his poem “E Morone :Janam Chhanda”:
Dhritarastrar rajyahan
!
Duryodhan, Duusashan
Sakunimama!
--Napeitarai hama
Tumar bel homeildin
Chanapa puril
Kurukshetra lalphame
Moipung rohil !
Rakatranga jinar bukut
Amar phiralhan
Nongtaihan nagai:
--(Is it the state of Dhritarastra ! O,
Duryodhana, Duhsashan and uncle Sokuni ! –no body will bow down before you ( to
salute ). Days of your warm reception are gone. Now the war- trumpet has been
blown for Kurukshetra !
In midst of the bloody society our flag will
never come down.)
“Bishnupriya
Sahitya Sadhanar Dik Ahan (Singla)” or “The direction of the development of Bishnupriya
Manipuri literature” by Kalasena Sinha is a research-work on the development
of the literature in Singla area i.e. at the places like Dullevcherra, Anipur,
Garerbond etc. This is a serious study and it is an invaluable work.
KAIFAT
(1973-)
A literary quarterly in the
language started to have published from Patiala , Dullevcherra, being edited and published by
Haripada Sinha, bears much importance in the field of Bishnupriya Manipuri
literature. It was first published in the month of Aswin, 1379 (Oct,1973 A.D.).
The poems “Hunar Lehao Manipur” (the golden flower Manipur) by Madan Mohan
Mukherjee, “Nuwa Prithibire Cheya” by Gopinath Sinha and a Children’s poem,
“Baraya” by Kalasena Sinha are highly appreciated as good pieces of literature. Mukherjee expresses his romantic longing for
Manipur, the mother-land of his forefathers in his poem. Gopinath Sinha writes
in a revolutionary mood:
“Bhietnam:
Amar tirthahan
Rakatar Gangahan
Upei Bahese—“
--- Bhietnam, our shrine, there flows the Ganges
of blood ( “Nuwa Prithibire Cheya” or “Looking towards a New
World ”). Here a thought for change or a progressive and
revolutionary thought influenced by the communist international is expressed
from the core of the heart of the poet.
“Baraya” bears a imagery of
devastating nature in the month of April and it depicts a true picture of the
strong current of the North-east Wind (storm) and it’s damaging effect on the
life of the rural people. It reminds us of Shelley’s “Ode to the West Wind”.
But the language and the mode of expression in
“Baraya” is quite different as it is meant for the children and written
in rhymed light verse. However this piece of poetry will remain forever, highly
appreciated by all, for the imagery and nobility in expression. In the same
issue of Kaifat, Narottom Misra first tried to employ Arabic words in his poem
“Jaliyat” successfully. Among other poets we may name Shyamananda Sinha,
Nirendra Sinha, Satyabati Sinha and Moni are noteworthy. The essay “ Baran
Dahanir Kal Nirnay” or “To find out the period of Rain-Invoking Song” by Dr.
K.P. Sinha is an analytical essay in which he has advocated the formation
period of this folk song in between the Second part of the 15th
Century to the first part of the 17th Century. Other essays are
“Ajikar Samaje Chatra-Jubak” of “The Present Day Youths and Students” by
Gopimohan Mukherjee, “Samajhan Kunbede” by Maniraj Sinha and “Samaj Unnatit
Ningolpir Pham” or “The contribution of Women on social Development” by Gita
Mukherjee are commendable for their subject-matter and seriousness in approach.
CHITRANGADA
(1974--)
At Guwahati the literary and
social activities were reflected in the pages of “Chitrangada” an annual house
journal of the Radhamadhav Sevashram Committee and edited by Biresh Ranjan
Sinha. The first issue was published in the year 1380-81 Beng.(1974 A.D.) The regular writers in this house journal are
– Satish Ch. Sinha (poet and essayist), Krishnadhan Sinha, Sri Krishna
Sinha(prose writer), Bratasu (Short story), Biresh Rn. Sinha (poet, story
writer), Manikanta Sinha(poet), Shamasakhi Sinha (story writer), Guru Babusena
Sinha(lyricist), Samarendra Sinha (story teller), Banabir Sinha( essayist),
Gobinda Sinha (story-writer) and Brajagopal Sinha etc. It was an annual
literary collection and only four volumes of the magazine have been published
till this day. Guru Babusena Sinha, Nartan Bisharad(Manipur) and Badya
Bisharad(Lucknow) has prepared the notation of a song “Doshabotar”, for the
first time, a lyric prepared on the idea from Jayadeva’s Sanskrit poetic
composition “Sri Sri Gitagovindam”.
PHALAL
(1974- )
The unique literary periodical
meant for children and edited by Mathura Sinha, “Phalal”, is worthy for
reference. The first issue was published on “Sri-panchami Tithi”in 1380 Beng,
February 1974. It was a quarterly magazine being published by Smt. Gita
Mukhopadhyaya. Among the notable writers on children’s poetry and literature we
may name Madan Mohan Mukhopadhyaya, Brajendra Kumar Sinha, Senarup Sinha,
Gopinath Sinha, Samarjit Sinha, Dilip Kumar Sinha, Moura Sinha, Surabala Sinha,
Mathura Sinha, Kamalakanta Sinha, Gurmohan Sinha, Barun Kumar Sinha, Nanigopal
Sinha, Satyabrata Rajkumar, Kalasena Sinha, Shyamananda Sinha and Madhabi Sinha
etc. The aim of this magazine was to set a standard Bishnupriya Manipuri
children’s literature. Children’s rhymes, short stories, essays on children’s
poetry, collecting folk literature name Apangar Yari ( the stories related to a
fool), Jatakar Yari (the stories of
Jataka or Lord Buddha) and Pourei(proverbs) etc.were given due
importance. Separate columns like “Prashna Koro: Uttar Ding” by Burima (
Prashna-Munch), and Rang-Berang etc raised very interesting topics giving
information on literature, language, culture and various aspects of the
Bishnupriya Manipuri society. The young readers were also allowed to take
participation in the magazine giving answers to the puzzles or to the questions
or to fill up the blanks set in the G.K. column. It has thus set an example for
growing reading habit amongst the children and at the same time preparing them
as the future reader-writers of the language. A number of new writers appeared
in the filed of literature i.e. Enu Sinha, Gita Mukherjee and Sabita Sinha etc
.The special issue (Third issue,
Sangkranti, 1384 Beng) on Senarup Sinha, the poet and lyricist bears historical
importance. “Senarup Sinhar konakkal” by Aswini Kumar Sinha highlights the life
of the poet who has left this earth forever a few days ago. A number of
Children’s poem by Senarup Sinha, published in this vol., are significant in
form and subject matter suited to the purpose. These pieces represent the
poetic capability of the poet in writing rhymed verses for children. Among
other notable poets there are Gour Mohan Sinha, Brajendra Kumar Sinha,
Nonigopal Sinha, Kalasena Sinha, Harekrishna Mukhopadhyay, Mathura Sinha and
Amarendra Sinha who occupy a respectable position in the field of children’s
literature. “Raja baba” by Gita Mukhopadhyay is a short story of high literary
value. “Apangor yari” by Aswini Kumar Sinha is a collection of folklore and
narrates on the foolish activities of a fool. Moreover there is a collection
from Jataka’s stories. The two columns,- “Rong-berong” and “Prosno Koro” serve
information and provoke interest to the young readers. “Ahanir baxo mukeya” by
jhorna Sinha gives pleasure and provokes unchecked laughter.
PANCHASREE
(1975-)
Two monthly literary magazine
published in each Ritu i.e. Grisma, Barsha etc as per India
calender, by the Panchashree Club of
Silchar established in the year 1975.
Sukumar Sinha, the poet cum essayist has been editing the journal since
its first publication in the Falgun-Chaitra months i.e. Basanta Ritu of 1382
(Bang) 1976 A.D. Nirupam Sinha is the sub-editor of it. The title itself
signifies many things. It may mean Pancha-Pandava, Pancha-Bishnupriya etc at
one level and at the same time it reminds us of “Panchasil”(Five sermons) as
propagated by Lord Buddha. The editorial has highlighted the fact that The
Panchasree Sangha was established with
the vision to enrich traditional
culture, languge and literature of the Bishnupriya Manipuris in the light of
the democratic set up of the country i.e. India. To encourage the young people
for own development in the field sports, education and to grow morality amongst
themselves. It is the moral duty of the Sangha to encourage wearing of
traditional dresses at all level.
The
first issue was published on the occasion of Gandhimela. In this issue the poem
“Madhabi” by Krishnadhan Sinha and “’Chandrakola’r Barta” by Nanigopal Sinha
deserve praise. A number of new faces appeared in it as writers of poetry. Of
them the name of Sukumar Sinha first comes into our preview. His poem “Ratikar
adhar—dinor mingal” (Darknes in night and light of the day) is admirable:
Jonakar mingale—
Premik preyasi
Bastove neyasi
Koti h’opon koti kolpona
Nuwa mingale nuwa
prerana?
--In the moonlight the lover and the
beloved are not in the real world. With so many dreams and imagination, is the fresh
light encourages them?
Among other notable poems we may
name— Nityananda Sinha’s “Imar yathang”, Krishnamohan Sinha’s sonnet “Pancha
Bishnupriya”, Rabindra Kumar Sinha’s “Sachak”, Sanjay Sinha’s “Amar Dada” and
Arati Sinha’s “Jagarani”. In prose section Jagat Mohan Sinha’s “Jayatu Gandhi”
depicts a brief sketch on the life and works of Mahatma Gandhi. Amulya Kumar
Sinha’s “Bharot baro Manipur” is an essay on the history of Manipur in short
especially in its mythological background. “Siemdokha” by Biresh Ranjan Sinha
is a story based on the Kachari folk tales. This story is pleasurably readable
for the simplicity of language and expression. Bela Sinha’s first experience in
writing with her short story “Pathemerake”( On the way) is admirable. Moura
Sinha’s “Sadhana baro puja” is a romantic story in a unique style. The last
topic in this Vol. is “Quiz” initiated by Moura Sinha.
The
second vol. of the first year appeared in the month of September 1976 ( 12th
Aswin 1383 Bang). The beginning article is a translation of Sri Gitagovindam by
Jayadeva of the 11th century.
Only a part of the whole work is available in this issue. This part
bears the testimony of the good command from the author over the Bishnupriya
Manipuri language. The essay “Panchasree” by Jagatmohan Sinha is a humorous but
a serious composition and it explains the various significance of the title of
the journal.
“Obosthar
kotha” by Sashikumar Sinha is a piece of prosaic poetry which both verse as
well as prose forms are employed by the poet maintaining a balance in his
technique. The poet expresses his anguish over the artificiality of this world:
Janam ahanorang jaram naile
uponir sokti nei
Suddha sorol antore jogot palok,
Kotha ahane hajar sobdor malok,
Athali matir mukut pidiya, rong
kora pichumlo muksi muksi diya, hilor murtir munge
Mikup ahano obhinoi koranir somoi
nei
--One cannot understand anything if he is
not born to a life; the world be illuminated through its purity in heart; a
sentence is the mother of so many words. There is no time to show the art of
acting in front of an image of stone, - wearing an earthen crown with smiles
over the coloured eyebrows.
And at the same time it is also true that he
is not frustrated rather he has deep love for life. He says:
Adha-kacha pude pude, more-more
namoria asu, a smoshan ehanor buke til hichediya
Ashirwad thoya jauriga,--mor
sotyo sadhonar gam bindu akeigoi mukta folok
Mrityumoi jogot ahano preme purno
ok, omor chetona sristi ok.
Ajikar mor obosthaehane chirodin
tumar obosthahan,-
Habita pullap kore
Bidai duniya tore !
--Lying in this grave, -burning but incomplete, dieing but not dead,
spreading tils over the heads, with best wishes I am leaving this world; let
each drop of sweats of my true devotion be transformed into pearls. Let this
mortal earth be filled with love. Let the consciousness be grewn forever. This
condition of myself today will last for you ever. Giving all out of me, I bid
you farewell. Oh! sweet world.
The song “Shringar Roso” by
Surachandra Sinha and a sonnet “Akbor” by Promoda Sinha of Katakhal are praise
worthy. The one-act play set in five scenes, “Bhagyochokro” by Nirupom Sinha,
is commendable. “Itihasor jhapsa pata” a story on historical background from
the life of Mughal king Akbar by Moura Sinha is evokes interest to the readers.
“Montrile amar siksha” by Tarani Rajkumar is a report on the Montril Olimpic
games. “Kutir silpot amar asor” by Promode Chandra Sinha is an informative
composition stating the position of Bishnupriya Manipuri handloom in cottage
industry.
Panchasree
second year first issue was published on Twenty Fifth February, 1977 , on the occasion of
the 30th session of the Nikhil Bishnupriya Manipuri Mahasabha at
Rajargaon, Patherkandi. The editor’s note welcomes the Mahasabha session.
Secondly he addressed all to take oath on the following:
- To make a habit using original and archaic words in everyday speech.
- To think our mother tongue as an Aryan and superior language; not to be worried in using it in writing letters, in invitation cards for wedding and for other social ceremonies
- To upgrade the systems and machines in handloom industry.
- To use mother tongue in each embroidery work.
- To encourage the students for submission of articles in Bishnupriya Manipuri language to the Mouthpieces of their respective institutions.
- To encourage the girl students having traditional dresses corresponding to their respective school/college uniforms.
- To organize cultural program in own mother tongue by the students in their respective institutions.
- To collect ancient folklores or folksongs in the language to enlarge the stock of our literature.
- Both the characteristics in the language – Rajargang and Madoigaong words to be used in literature to enlarge the boundary of our language.
- The girls and women are requested to participate in the field of literarure.
- Not to waste a talent with exaggerating praise.
However, the last suggestion is a
point of debate.
The
Panchasree remained silent for 15 years for many reasons. Probably it was due
to the diference in opionion among the workers of the Sangha over the social
coflict within the Mahasabha. However, in its 17th year of formation
of the Panchasree Sangha, the house journal again came back into daylight. The
encouragement it yielded from the Luwarpowa Session of the Nikhil Bishnupriya
Manipuri Sahitya Parishad (9- 10th
October 1992 ). The editor has expressed his special gratitude to
the present writer and Nitu Sinha for his rejuvenation. The seventeenth year
first issue was published on 27th
October 1992 on the occasion of the 123rd Birth Anniversary
of Sri Sri Sadhuthaku Bhuboneswar. Practically it was the fourth volume of
Panchasree.The Editorial Board has been formed as the following:
Editor- Sukumar Sinha; Advisors- Jyotiprakash
Sinha,(Silchar), Nonigopal Sinha,(Gunjung), Sashimohan Sinha(Siborangan),
Jogendra Kumar Sinha(Silchar), Hemkanti Sinha(Kakching) and Barindra Kumar
Sinha(Silchar).
“Panchasree” by Jagat Mohan Sinha
is the continuation of his essay from the previous issue. “Amor sohid Rajbabu”
by Sashimohan Sinha is the biography of the departed young leader, Rajbabu
Sinha, a myrtyr in the hands of enemies who wanted to prevent him work for the
development of this backward community. “K.Juheto Sue” by Sukumar Sinha
highlights the social activities of this Naga leader. “Khatol Pakok”( a kind of bird) by Rasaraj is
a humorous prose composition.”Dolan ipur mankole” by Pagala Oja is of the same
nature. In his prose writing “Sadhuthakur baro Bishnupriya Manipuri Samaj”,
Barindra Kumar Sinha has depicted various directions of the life and works and
activities of Sadhuthakur and establishes his relevance to philogophical and
social field. “Belitik” is a short story by Narendra Thakur.
In
its 18th year 1st issue (5th Vol.) published
on 15th Feb.1993, Swapan Kumar Sinha replaced Nirupam as the
Sub-editor of the journal. The notable writers are: in poetry – Minarani Sinha
of Rupagram(Manu Ago Oitei), Sanatan Misra ( two numbers of Choupadi(quartets)
namely “Acrostic” and “Bhashajnan”) and Swapan Kumar Sinha (Junakor Rati) and
in prose- Pagala Oja (Dolan chaubar
hojokor doha ),
Jogendra Sinha (Teipang), Jagat Mohan Sinha (Chagi lamchik), Rasaraj (Mekur),
Shibendra Sinha (Bangladesh
baro Bishnupriya Manipuri).
GODHOLI[1976-]
Here special mention may be made
of “Godholi” edited by Rabindra Sinha.
BORAK PROBAHO
“Barak Prabaha” a bilingual
journal had contributed a lot for social development.
MATAME (1977—)
This is a unique venture when a
magazine of poetry only published in Bishnupriya Manipuri language. It is
possible only because the editor of the periodical, Champalal Sinha and
sub-editor, Mr. Sudhanya Sinha who are poets by themselves. Only two issues of
this quarterly literary journal published and its first issue appeared in the
month of Aswin 1383 (October 1977). The second vol. published in the month of
Push, 1383 (December 1977). The opening poem is a piece of modern poetry,
“Ghumhan” (Sleep) by Dhananjay Rajkumar and it is highly appreciated for it’s
maturity in technique and use of language, iamagery employed and choice of
subject matter of the poem quite different from the contemporary writers:
Tor ahigit ghum,
garigot ghumhan
Agas
chulor loge ghumhan chepose meithonge.
Uddhata bukgou koti
osohai oya ase
Ghumhanor tole.
--Sleep in your eyes, sleep in your body, sleep remains very close to
your face along with a piece of hair. Your arrogant breast is lying under sleep
helpless.
A dozen of poets whoch attained
maturity in the language had allowed their poems to be published in this
magazine. Their names with their respective poems are as under:
Brajendra Kr. Sinha’s
“Boronhan”(the rain); Harekrishna Mukherjee’s “Jibon- Tragedy”(tragedy in
life); Shyamananda Sinha’s “sour kovita kotohan”(a few lines on childrens’
poems); Champalal Sinha’s “Nari”(the woman); Sukanta Rajkumar’s “Tor bore”(your
blessings); Abhay Kumar Sinha’s “Atripta kamona”(Desires unfulfilled) and
Dwijendra Kumar Sinha’s “Swami Beyapar dharma”.
Jibon-Tragedy is written in verse form and
lines are desined in quartets consisting of six numbers of quartets in total.
This poem is an expression of romantic longing for life with a note of sadness
in it. Sometimes the imagination of the poet has been extended to the
international arena crossing the boundary of his own country as well as his
society:
Rasiar ‘Stepfame’- Pushkinor lame
lame
Epeir lehao fulgo, muksi diya
satose;
Momtajor rupor kotha jibonor
biroho byotha
Hate hate lengkoria tajmohol
banase.
The jasmine flower of this locality has
blossomed smiling in Russia ’s
‘Stepfam’, the country of Alexender Pushkin. It has built a Tajmohol slowly and
slowly mixing the colourful memory of Mumtaz with that of the feeling of pain
due to separation from life.
AMAR
POU
During this decade we find “Amar
Pou”, a weekly journal being edited by Sarojini Sinha and published at
Ishabpur, Kailasahar.
JATRIK
The title of this journal was
replaced by “Jatrik” later on
.
TRIPURA
CHE (1982--)
The eighties of the last century
has brought landmark in the history of the Bishnupriya Manipuri journals when
the Govt. of Tripura has begun to publish “Tripura Che”. Samarjit Sinha was the
editor of the journal and Anukul Sinha was the Sub Editor. At present Anukul
Sinha is the editor of the journal. “Tripura Che” has brought a change in the
literary language. Among other notable writings “Lampoipar Teipang “ by Bimal
Sinha and “Polang Agor Yari” by Indrajit Rajkumar bear high literary value.
NUWA
ELA
“Nuwa Ela”, started in the first
part of the eighties of the last century, has made history for its long twenty
years, leaving apart the period of a break of hardly two to three years from
1993-95, continuous invaluable service to the language and literature and in
other social fields. It has thus set an example and record in the history of
the Bishnupriya Manipuri journals as well as in literarure. At the starting
years it was published as a two-monthly lietary journal being edited by
Rajendra Sinha and published by Sandhya Sinha. But during the recent years it
has taken the shape of a monthly journal. For a couple of years Simu Sinha was
the Managing Editor of the journal. The chief patron cum guiding force behind
this magazine is Chandra Kanta Sinha who is a poet, an essayist, a critic and a
dramatist by himself. A galaxy of new writers appeared in the field of
literature through it. Of them we may name Biswajit Sinha, Bimal Sinha,
Champalal Sinha, Sudhanya Sinha, Dils Debojyoti Sinha, Srikanta Sinha, Sandhya,
Sabita Sinha, Mina Sinha, Manashi Sinha, Nitu Sinha, Ranjit Sinha, Sanatan
Misra, Prabhas Kanti Sinha and the present writer etc.
KAAKAI
Kaakai” edited by Anita Sinha has
stamped their impressions for social development
INGAL NGAL (1986)
Declared as the two-monthly
literary magazine of the Gandiv Sahitya Songsod published at Kailasahar. The
editor and sub-editors are Pratim Kr. Sinha and Ajayendu Sinha (Apu)
respectively. The third volume was published on 6th February 1987 . This magazine has
worked for speeding up literary activities in the state of Tripura as a whole
and particularly in the Kailasahar area. It has thus contributed a lot in the
development of Bishnupriya Manipuri language and literature.
In
the third volume there are a number of writers, who has rich ability in them,
contributed their good writings. Of them we may name - Nandakumar Sinha (writer
of “Nungei” – a light farcical story); Pranprotim Sinha (writer of a biography
of “Ngouba Ojha”- a master performer in musical instrument - Mridanga); Mahendra Sinha (lyricist of
“Cherukadhon”); Benimadhab Sinha (poet of “Ingal ngal”); Ajayendu Sinha
(essayist of “sabhyatar mimange”- “in the light of Civilization”); Nirupama
Sinha (poet of “khongnem”- a children’s verse); Pratimkumar Sinha (poet of “mor
desh”); Anjana Sinha (poet of “mor loge”); Dibakar Sinha (story writer of
“leishigo”) and Bijon Sinha (essayist on “Jai ima Bishnupriyar jai”) etc.
Sadhana Sinha’s “chengi” is a light composition with full humour. Samiran
Sinha’s “Bachhuror talabi” is an essay on how to take care on the calves and
such type of articles on Veterinary science is an first attempt in the
language.
NUWADRISTI
“Nuwadristi” edited by Anjana
Sinha.
KALOR KATHA
“Kalor Kotha” edited by Bhimsen
Sinha,
BELI
Beli” by Anukul Sinha,
ANKUT
(1991)
This literary two-monthly
magazine first published on 1st
June 1991 at Kailasahar edited by Haridas Sinha. The title
signifies a Holy place near Kailasahar in the state of Tripura. Brajendra Kumar
Sinha’s “Koi jug thaya” is a romantic poem. Dils Lakshmindr Sinha’s
“Leirapa”(Pauper) is a piece of modern poetry and it reads as under:
Amatik leira asu ehan
Harnapasu.
Napal thomkoriya paloni monahilu
Janam ehanat.
Somudrore matlu – ‘khamo’
Hakhanore matlu – ‘supoya ay’
Akgoyou nakorla. Nathoila
Mor kothahan.
………………..
………………..
amatik leira asu ehan
agete harnapasu.
n
I did not understand that I am so poor. I sought
to live a lif with pride. Asked the sea – ‘stop’; commanded over the sky –‘come
to a closer’; cried towards the noisy storm – ‘silence’. Nobody obeyed. Nobody
responded. ……… I did not know it earlier that I am so poor.
Other notable
poets are: Benimadhab Sinha (Ningsing), Ajayendu Sinha (udur na tanu), Sagar
(Kungo ti) and Debashis Sinha (Fansi). The prose writers are: Prasanna Kumar
Sinha (Arakou hoipat ahan) and Dibakor Sinha (Fail- a short story). Bijon
Sinha’s full length play, “Mengsel”, is
designed to be published serially.
The third vol.
of Ankut appeared in the month of November 1991. The editorial highlights on
the significance of Birth Anniversary celebration of Sri Bhuibaneswar
Sadhuthakur.
The
poets in this vol. are: Brajendra Kumar Sinha (Pana), Dils Lakshmindra Sinha
(Jina baro jonomor), Benimadhab Sinha (Ima), Debashis Sinha (Tal), Papori Sinha
(Subhasita Boli), Swarna Sinha (Biswas baro asha) and Uttam Sinha (Napal). The
short stories – “Ordery jiput” by Nandakumar Sinha, and “ahir panir khourange”
by Debashis Sinha are praiseworthy.
The
fourth vol. published in December’91- January 1992. This volume bears great
significance as, in the true sense, the biography of Gokolananda Geetiwami was
published for the first time. It was due to the all out and sincere efforts by
Haridas Sinha, the editor of the magazine, that it became possible. It may be
noted that Gokolananda Geetiswami is the first serious and prolific writer
amongst the Bishnupriya Manipuri poets. It is due to him the language has
earned its popularity as a medium of expression of poetic feelings and in other
intellectual exercises. He is the pioneer, prophet, minstrel and harbinger of
new thoughts of enlightenment. Among the prose writers there are: Srikanta
Sinha (buliya ahikga brindabone), Nandakumar Sinha (ras), Manas Sinha
(shraddhaban lobhote jnanam). Stories by Pratim Kumar Sinha (Madam), Kaliprasad
Sinha (Pankalpa Golapgiri), Babulok Sinha (Mahadevor lohong) are admirable.
The
poets are Amar Sinha (Ningsinge), Samarjit Sinha (Somajhan), Dils Lakshmindra
Sinha (Kobitar barota), Sudhanya Sinha (Astitwar Songkote), Purno Sinha
(Punchi) and Santababu Sinha (Huro jina).
After the publication of this
volume “Ankut” remains silent and there is no sign of its re-activation til the
date.
CHINTA
(1992-)
This literary quarterly edited by
Smi. Santi Sinha first published in the month of August 1992 at Silchar by
Sibani Sinha. Cover page of the magazine designed by Sakti Kumar Sinha. It was
published due to a collective effort by a group of young people of Narsingpur
area name Smritikumar Sinha, Nishikanta Sinha, and others in addition to the
names mentioned earlier.
The prominent writers in this
magazine are: Dhananjay Rajkumar
(poetry), Golapbabu Sinha (Prose), Indrakumar Sinha (prose), Smritikumar Sinha
(short story), Dr. K. P.Sinha (prose), Smt. Santi Sinha. Regular writers are:
Nishikanta Sinha, Sibani Sinha, Niti Sinha, Sukumar Sinha etc.
This magazine too did not last
long due to miserable response it received from general readers.
LOKTAK(1992-)
The first issue of “Loktak”, the
mouthpiece of the Nikhil Bishnupriya Manipuri Sahitya Parishad, Central
Committee, was published, as the “Prostabona sangkhya” or “starting issue”, on
9th October 1992 at the Joint Conference of the Sahitya Parishad
(Central and Assam State Committee) at Lowairpowa. The editorial board consists
of Prof. Barun Kumar Sinha, Prof. Birendra Sinha, Dils Lakshmindra Sinha,
Mathura Sinha, Mongolbabu Sinha, and Sudhanya Sinha.
The editorial has highlighted the
significance of the time at which the first issue was published. It is the
season (month of September-October) to remember our forefathers and to pray to
Goddess Durga to have their blessings and strenth so as to fight against all
evil powers. Moreover it is the season of Rasalila, an epitome of festivity and
devotion and of joy both from religious as well as social point of view.
The term Loktak symbolises the
past of the Bishnupriya Manipuris. It represents their love, hope, smiles and
tears, contentment and pain and at the same time it symbilises their continuous
struggle against their antagonistic forces in a black period of history when
they were driven out of Manipur, their homeland. Loketak is not merely a lake
of confined water, it has its own undercurrent through the blood of each and
every Bishnupriya Manipuris.
Literature has its own life-sap,
humour, happiness and wit that make the life witty and colourful.
The editorial has given due
importance on the just concluded Gana-procession and central jamboree at Gandhi
Moidan on 21st September 1992 organised by the N.B.M.Students Union,
Assam State committee.
This
volume starts with a modern poem in prose form by Barun Kumar Sinha captioned
“Boron dahanir ela: matek ahan” (Rain –invoking song: for the time being).
The poem is dedicated to
Gopimohan Mukhopadhyay and it reads as under:
Oudin
amar silchore ahanir planhan dilosil……Manipur,- mor chari pachdinor deha
Manipur—beleya ahanir matamhan kada oil………Mikup ouhanat dukhor chheyago
gojhanat poril para.
Khumolor
mati hukasil akdin. Boron ahanor sale oubaka amar ima indole ela diya diya
sorarelorang bor magesila. Khorar baro khourangor tenna kokosil…..
Houponortao
hounabi matra ahan ase sat. Ouhan laloya janar age ghumhan bager. Tourist
bashanatto dehesilu kachare anar purana pothgo. Ebakau dehuri para: rati- madan
bou nei amar apa bopa habi ou pothgo iloya owar bagone boke khourange aya epei phowoilaha. Hunar
Manipur beleya.
Ebakate
kouli khannai sar oil. Ti more kha kore cheile miou tore ousade cheilu. Bitor
ego huke jarga para: boisakhhan homeite na-homeite jeth ma’r khoranhane lamlose
ebaka……
--That day the departure of our flight was delayed. ….Manipur that I
have visited for four – five days only— the moment has come to a closer to bid
adieu. ….As if a shade of sadness cast on me.
The land
of Khumol
I think there is a limit in cordiality
of a dream. There is a limitation of gentleness of dream. My sleep breaks off
before it crosses that limit. I have seen the old way to Cachar while seating
in the Tourist Bus ( of Manipur Govt.). As if I am looking at present too: in
days and nights our forefathers were in exodus here, coming through this path,
due to Burmeese attack (Owar Dhawa). They left their dear land, Manipur,
forever.
Now quarreling (amongst ourselves) is
the ultimate truth. Whenever you lookdown me in hate I reciprocate it. As if
the my inner soul is drying up: the draught of the month Jyestho(May) has
captured the land before the departure of April.
KALOR
KATHA
NUWADRISHTI
SARAREL
“Sararel” a periodical literary
journal edited by the present writer is also mentioned for statistical purpose.
Apart from the above a number of
other literary and socio-cultural journals are there which lent commendable
contributions for the development of the society. We may name “ “Ingal Ngal” by
Pratim Sinha,” “Numius”, “Angkut” by Haridas Sinha, “Beli” by Bidhan Sinha,
“Sachak” by Monika Sinha, “Houpan”, “Chetana”, “Kalor Katha” by Brajendra Kr.
Sinha, “Sudeshna” by Sukhada Sinha,”Bhuban Mela” by Shamananda Misra, “Arjuni
Manipuri” by Sudhanya Sinha, “Singla” by Nitu Sinha, “Purnima”, “Chinta” by
Santi Sinha,“Pouri” by Uttam Kumar Sinha, “Ebaka” by Subhadra Sinha, “Satyam”
by Nandeswar Sinha (Presdient of the editorial board), “Ningsing” by Kalasena
Sinha , “Lehaunu” by Anita Sinha and “Ithak” by Sangram Sinha, “Jagriti” by
Dipok Sinha and “Kalor Bau”etc.
In this discussion I have
included all sorts of magazines, and periodicals as well as weekly/fortnightly
journals. However, I would frankly admit that there is every possibility of an
unintentional omission to refer a few of the journals and a number of eminent
writers.
Lastly to add that in most cases,
in spite of sincere efforts made by the editors cum publishers, many of the
journals face premature death due to crash in financial support. However in
their
short lives they have rendered a
precious service towards the society in its manifold development and progress.
The journals do not only bear the testimony of the language, literature and
cultural aspects of the society, it represents our past, our present giving
directions for the days to come.
REFERENCE BOOKS:
- Allen, B.C.: District Gazeteer of
- Brown, R.,FRCSE: Statistical Account of Manipur,
1873,
- Chatterjee, S.K.: Bangla Bhashatattver Bhumika,
- Choudhuty, K.C.: History of
- Deb, Ranendranath: Srihatta Parichai, Kolkata, 1997.
- Dun, E.W.Captain: Gazeteer of Manipur,
- Gaite, Edward: History of
- Grierson, G.A.: Linguistic Survey of
- Guha, Upendra Nath: Kachharer Itibritta, Guwahati, 1971.
- Hodson, T.C.: The Meitheis,
- Jonestone, James: My Experience in Manipur and
- Nabakhendra: Khumol Puran, Translated by Sinha Nabadwip
- Nath Raj Mohan: The background of Assameese Culture Ed. Published at M/s Lawyers Book Stall, Guwahati
- Majumdar R.C.: The Aryan Expansion in North Eastern
- Mackenzie, Alexander: North-East Frontier of
- McCulloch, W.: An Account of the
- Pathak Dr. Ramesh,: “Asamiya Bhashar janma aru bikash samparkiyo bitarkito mat”, Assom Sahitya Sabha PatrikaVol.48.,No 1, April-June, 1992.
- Pemberton,B.R.: Report on the Eastern Frontier of
- Purkait, Nikhilesh: Bangla, Assamiya o Oriyar Upabhashar bhougolik jarip, Kolkata, 1989.
- Sastry Gaurinath: History of Classical Sanskrit Literature, Second Edn, 1960.
- Sattar, Abdus: Aranya Janapade,
- Sen Sukumar: Banglar Sahitya-Itihas, Fifth Edn, 2003,
published by
- Sen Sastry, Murarimohan, Dr.: Bhashar Itihas, Part-1, Kolkata, 1991.
- Seram A.K.: Bangladesher Manipuri- Troyee Sanstritir
Tribeni Sangam, First Edn 1996,
- Sharma A.K.: Manipur The Glorious Past,
- Sinha Bhulanath: “Mahasabha Lingkhatar Kheltame”– Sararel 3rd & 4rth year
- Sinha Chandra Kanta:“Purana Patrikar Yari”, Nuwa Ela , 4rth year 2nd issue
- Singh, L.Ibungohal: Introduction to Manipur, Imphal, 1969.
- Singh M.Kirti, Dr.: Religious Developments in Manipur in the 18th & 19th Centuries, Edn.1980 published by Manipur State Kala Akademi.
- Singh, R.K.Jalajit: A History of Manipuri Literature(Vol.1 – from 8th Century to 1709 A.D.), Second revised edn, 1987, Imphal.
- Singh, W.Yumjao: An Early History of Manipur, Imphal, 1967.
- Singha, Mahendra Kumar: Manipurer Prachin Itihas(pt-1), edited by Purna Dev Sinha, Jorhat, Second Edn 2003.
- Singha, J.M & Singha Birendra Prof.: The Bishnupriya Manipuris and their Language, Silchar, First edn, 1976.
- Sinha, Bidhan: Ethnic Culture of Manipur, Guwahati, 2002.
- Sinha, K.P.,Dr: A Note on the term “Bishnupriya Manipuri”,a monograph, Silchar 1975
- Sinha, K.P.,Dr: Bishupriya Manipuri Bhashatattvar Ruparekha, First Edn, 1977, Singari.
- Sinha, K.P.,Dr.: An Etymological Dictionary of
Bishnupriya Manipuri,
- Sinha Nandeswar: Bhashatattvar Ruparekha- Alochona Ahan, Sararel 1st yr.2nd issue, 3rd & 4th year.
- Sinha Mangalbabu: Bishnupriya Manipuri Bhashatattvar Samiksha 1st & 2nd part, Silchar, First Edn 2002 & 2005.
- Sinha, Ranjit Prof:Sinha Swadhinata Sangrame
Bangladesher Manipuri Samaj(1901-1971),
- Sinha, Ranjit Prof: Aksharar uari, Bhanugas, 2003.
- Tunga S S: Bengali and other related dialects of
- The Mahasabha Review, edn, 1970.
Nice Blog! you provide very useful information in it.
ReplyDeleteSupplier of Sandstone
Nice Blog! you provide very useful information in it.
ReplyDeleteSupplier of Sandstone
Mahendranagar: The highest mountain of Manipur is Meghaparvata. The Aryan name of which was, as mentioned in Adi Parva of the Mahabharata (page–213) was Mahendra parvata. The Meiteis translated this name in their own tongue and named it “Nongmaijing”. Mahendranagar or Mahendrapur had been derived from Mahendra parvat. this info is totally wrong.
ReplyDeletenongmeijing is not the highest mountain in manipur get your fact right.
ReplyDeleteWhy did you collecting the wrong information for this blog,don't try to wasting time for readers
ReplyDelete