HMAR LITERATURE; ITS GENESIS AND GROWTH
THROUGH THE AGES.
We are all aware of the
fact that literature deals with the values of life. These values are focussed
through different forms and trends through the ages. The various forms are
poetry, drama, novel, essays, stories and short stories. Man and his age and
environment are the epicentre of literature. Both life and reality are
reflected in poetry, drama and novel. The short stories explores the
traditional life of the human race from past times. In the beginning it was the
folktales which were oral grand mother’s tales, telling about kings, queens,
princes, princesses, shepherd boys, giants and animals. Gradually from the oral
form came the written form which we find in all the tales of different
countries around the globe. Here one gets the reality and the truth of life.
Imagination plays a crucial role in explicitly going into the facts through
stones and symbols. Every age has its owm impact on man which helps him to
bring his world to the universe. Such is the meaning and significance of
literature in the life of a man and his world.
Given the basic concept
and meaning of what literature is, let us now briefly discuss the genesis and
growth of Hmar literature from historical perspective. For the sake of
convenience, Hmar literature can be broadly divided into two: oral literature
and written literature. Oral literatures are by nature pre-Christian in origin
and content. Written literatures are the product of Christianity and modern
education. The first half of this chapter deals with oral literatures in
pre-Christian era and the second half with the growth of written literature
after the introduction of Christianity and modern education among the Hmars
since 1910.
Though devoid of letters
to express their feelings and impressions of life, the Hmars had a poetic bent
of mind and employed verses to narrate their likes and dislikes, their joys and
sorrows, their memorable adventures and experiences in the course of their
wanderings from China to their present habitats in different parts of North
East India. These verses were treasured in the storeroom of their memory and
were orally transmitted from generation to generation. In this connection, L.
Ruoivel Pangamte, in his ‘The Hmar Literature: A Critical Review’, observes
thus: “The fact that the Hmars had a poetic bend of mind is clearly
demonstrated by the numerous songs and verses that have been orally transmitted
to the present generation from their forefathers. They employed verses to
narrate their experiences, to express their feelings, to communicate their
thoughts and to describe what they had seen and done in life. They also prayed
and worshipped their god or gods in the language of poetry. It was this same
language which was applied to tell what they valued and held in high esteem in
their social, economic, cultural and political life. As verses played the most
important vehicle to convey the mind of the Hmars, it became the most important
and only source from which the social, cultural, religious and economic history
of the Hmars can be reconstructed.”
Poetry is the foundation
of Hmar oral literature. Any important happening, epoch-making events, natural
calamities like famine and war in their life were recorded with beautiful and
meaningful verses which are easy to remember and easily passed down orally from
generation to generation. Let us briefly refer to some popular folk songs sung
at different occasions of a Hmar’s life in the pre-Christian era.
Sikpui Lam (Sikpui Dance); Hranglam
Hla (Song of the Valiant Feats): What the Hmars admired most in the past
were successful accomplishments in tribal wars and hunts. The heads of wild
animals and enemies they killed were big trophies. The Sikpui and Hranglam Hla
contain 44 verses.
Other folk songs which
were sung on specific important occasions are – Darlam Hla (Songs of the Gong Dance), Lo Neina Hla (Songs of agricultural activities), Lohma Hla (Songs of Jhum-field work), Lenglai Hla (Songs of the youths), Semruk Hla (A special song of the
youths), Sakhuo Hla (Religious
songs), Hlado (Songs of victory), Inhnelna Hla (songs sung during games),
etc. Suffice it to say that all these songs graphically depict the different
stages of life, which the Hmars passed through in their long sojourn from China
to their present habitats. To quote Lalruoivel Pangamte again, “the songs tell
many things with a few words. The words used are simple but effective. The
similes applied is also very appropriate and they instantly strike our
interest. As they are short and rhythmical, one is able to memorize and chant
them with least minimal effort. In short, these folk songs reflect the Hmar’s
attitude towards life, his aspirations, his happiness and sorrows, his
religious beliefs and practices and, above all, the values that he cherished.”
Growth of
Written Literature in the Post-Christian Era:
With the coming of two pioneer Christian
missionaries, James Lorrains and F.W. Savidge, the Lushai (Mizo) language was
soon reduced to writing in 1894. As a result, all scripture and literary works
were first written or translated into Lushai. This is to say that the three Rs
and preaching were done solely in Lushai language. Moreover, the Lushai
evangelists and pastors dominated the church leadership and its movement even
outside Mizoram. When the missionary movement was extended among the Hmars in
Manipur in 1910 on the initiative of Watkin Roberts, a young man from Wales,
all the evangelists were recruited from Mizoram. Even all the proceedings or
minutes of the presbytery or assembly were recorded in Lushai. It was also
insisted that the new convert had to say his prayers only in Lushai. There was
even a circular that no new indigenous hymn or song should be composed in any
other language than Lushai.
While leadership of the
mission was confined to those Lushai-speaking leaders who came from Mizoram, a
remarkable change came in the presbytery at Senvawn where a new leader was to
be elected for the newly established NEIG Mission. A group of selected
delegates which did not include Hmars met in secret at the kitchen garden of
Pastor R. Dala. This garden was popularly known as Arthatzawl/Arthakzawl as it
was a sacrificial site where the villagers used to bring hen or cock to
propitiate evil spirits that could cause harm or illness to them. It was here
that a conspiracy was hatched to elect as field superintendent of the Mission
from amongst one of the three names - Lalnginglova, Rohmingliana and
Vanchhunga. H.K. Dohnuna (father of H.K. Bawichhuaka) was deliberately not
included in the panel simply because he was a Hmar. One of the most important
results of this leadership conflict was that it marked the emergence of a Hmar
leadership and the birth of Hmar modern literature. Commenting on this
incident, L.Keivom writes thus: “Had the leadership continued without any
conflict, the Hmars would definitely be heading for cultural and linguistic
extinction. By then, everything including the Bible and hymns were written in
Lushai language only. Had the mission continued without a leadership conflict,
there would not be any single book written in Hmar and as a result, the Hmars
would not have a literature of their own, and therefore consequently lost their
language and culture. Therefore, the survival and development of Hmar language
is the paradoxical outcome of the conflict over the leadership in the Mission”.
Though the Hmars wanted to have their Bible translated and published in their
own language through the Bible Society of India and also to bring out hymnal
books in Hmar, there had been strong opposition particularly from the Lushai
leadership.
The first publications in
Hmar language was the Gospel according to St. John and the Independent Church
Hymn book (Independent Hlabu) in 1921
and 1923 respectively. The next books were Buhmasa,
Inchukphut Bu; Sierkawp Bu, Thuthlungthar (New Testament Bible),
1946, Hmasawnna (Hmar monthly news
magazine),1941, Sikhawvar (Morning
Star-news magazine) and Inchuklainun (News
magazine for students) 1952.
Modern
Religious Songs (Sakhuo Hla):
Even after the
introduction of the Christian faith among the Hmars, they retained their
inherent poetic bend of mind. Noted
composers and hymn writers began to emerge among the Hmars after 1917 and
played a remarkable role in the development of Hmar modern literature. The lead
in this endeavour was taken by Thangngur who may be called the “Father of Hmar
poetry”. Thangngur, in his lifetime, composed about 80 odd hymns of high
literary and spiritual quality. These hymns are a continuous source of
spiritual inspirations to Hmars and other neighboring tribes. Thangngur died on
December 20, 1943. In deep appreciation of Thangngur’s works, L.Keivom
succinctly comments thus: “Thangngur will never die. He left behind an
imperishable monument built not of bricks and stones but by the tip of his
spiritually inspired and powerful pen. Every one of his 80-odd hymns is a
classic by itself.” Let us quote some verses of his famous poems with their
English renderings by L.Keivom:
Thina khurpui, thina khur thim,
Hnein a tho nawk tah;
Thina leia an rienghai chun,
Hringna thar par ang an lawm;
Mihrang tlanta zarin;
Hringna khawpui ram mawi an hluo tah ie
He conquered death’s deep and dark grave,
And rose again in triumph;
For the hero Saviour’s victory,
Death’s condemned miserable souls
Celebrated new life,
And gained the beautiful city of life.
Pielral nisa ka lungrilah a hung var tah.
Ka thla muongleia kal chawiin;
Ka ringumna lawmnan a hung par,
Pa thununna ka tuor muolsuo zovin
Heavenly
sunshine has dawned on my darkened life,
Walking now
with peace in my soul,
My sorrows
turn into joyfulness,
As I overcame my Father’s chastening trial.
Ka ta dinga ka hring laiin ka lawm ngai nawh,
Ka Lal Krista kona anga;
Isak maichama ka inhlan chun,
Malsawmna tuikhur lawmnan a hung luong.
Never have I been happy to live for my own.
The moment I answered Christ’s call;
And sacrificed on Isaac’s altar,
Streams of blessings and joy flowed mingled down,
L. Keivom again in his
paper on ‘Pastor Thangngur: A poet with a thousand tongues’, pays glowing
tribute to Thangngur thus; “Thangngur ever lives. In death he continues to
serve God through his powerful hymns as he did during his life time. His works
have been translated into many languages; they transcend all geographical and
communal barriers as the love of the Master he served faithfully till his
death. On all important occasions - Christmas, Good Friday, congregational
singing sessions, in the house of the bereaved and also of celebrations -
Thangngur is ever present. For he is a poet with a thousand tongues.” Other
poets who also contributed to the development and enrichment of Hmar poetry are
V.T.Kappu, Thangler, Lienrum, Ngama, Pautinkhup, Hrangkapchin, Hranglien,
Lalneisawi, Ngulsang, Sawikhawlien, Thanher, Zosanglien, Hranglamthang,
Thattinlien, Khuonga, including woman poets like Runchawng, Rosiem and many
others.
Patriotic
Songs (Hnam Hla):
With the dawn of political
consciousness among the Hmars after the Second World War, some educated Hmar
poets began to compose patriotic songs. Initially the Hmars identified
themselves as Mizo and joined the Mizo integration movement during 1946–1950
for integration of Hmar inhabited areas in Tipaimukh, Manipur with the proposed
Mizo Hills District. The Hmars who supported this movement, joined in the
composition of many patriotic songs both in Mizo and Hmar. The Hmar poets of
this period could not cross the boundary set in their hearts. T. Khuma, a noted
poet, sang thus;
Sak le thlang, sim le hmar, ramtinah,
Phung le chang chi le hmang chu tam sienkhawm;
Eichh- em- a- ar HMAR hi a lo nih
Pi le pu chen khawma an lo sak sa.
In the north and the west, the south and north everywhere,
Kin and kindred, class and clan may abound;
It’s Eichh- Em- A- Ar HMAR and nothing else
Which even the forefathers did already sing about.
Of the many patriotic poets, mention may be
made of the following persons- like T. Khuma, L. Keivom, Lalkhum Keivom, Dr. Thanglung,
H.L. Sela, Rev. Hrilrokhum, etc. One of Lalkhum’s immortal verse may be quoted
here:
Aw kan Hmar ram inthim tlang dum duoi,
I sunga Hmar kan leng;
I hming hung mawina dingin,
Nughak tlangval kan theitawp kan suo
I parmawi min suo rawh.
Oh, our Hmar land dark and verdant hills,
In thee, we the Hmars live,
For thy good name and glory,
We all tirelessly strive and struggle,
Reward us with thy bloom.
All these poets thought
mainly in terms of protecting the Hmars’ identity and even dreamt of integrating
all the Hmars who have scattered all over North East India, saying:
Cachar, Haflong, Aizawl, Manipur
Inphumkhata ngirin,
Ei ram lungmawl indar hi,
Kei khawm tuma varna tha zawngin
Hmatieng ke pen ei tiu
Cachar, Haflong, Aizawl, Manipur
Let us stand united;
Striving to seek good wisdom,
To bring together our scattered tribe;
Onward marching we go.
Romantic
Songs (Keilet Hla & Sai Hla):
Closely accompanying these
patriotic songs and poems are the Keilet
Hla and Sai Hla (romantic songs).
The difference between Keilet Hla and
Sai Hla is that the former adopted
the tune of religious songs and the latter had its own tune which was made in
the context of the Hmars’ cultural ethos and values. Most prominent composers
of these romantic songs are L. Keivom, Darkamlo, Lalruotthang, Sawnglienthuom,
etc. The Keilet and Sai Hlas, as usual, express the ardent,
intense and burning feelings of young lovers and, as in English literature,
they form the foundation of modern Hmar literature.
Growth of
Modern Literature:
Deeply influenced by
English writers and poets, men of letters among the Hmars also began to write
prose, essays, short stories, novels, dramas, grammar and poems based on the
English model. S.N. Ngurte (Retired Director, Adult Education, Government of
Manipur) alone wrote more than 12 novels in Hmar. L. Keivom, (Retired I.F.S)
has also written several novels, dozens of short stories and more than 500
essays. With the introduction of Hmar vernacular paper from class X to degree
level both under Manipur University and Assam University, Hmar writers also
began to write dramas of high quality based on the changing values of Hmar
society through the ages. Modern poems like those of English poems are also
increasing by leaps and bounds.
Translated
Literary Works:
One important trend in the
development of Hmar literature is the increase in translated works of high
literary quality mainly from English or other languages into Hmar. The comprehensive
list of all translated works cannot be made here. But mention may be made of
some important works in this connection. The translation of Holy Bible from
English into Hmar may be said to be the foundation of Hmar modern literary
pursuit. Today the Hmars have four versions of the Holy Bible, namely, Bible
Society of India Version, Bible For the World Version, Delhi Version and Bible
Society of India-CL (Common Language) Version. J.Lungawi, a retired MCS,
Government of Manipur, translated John Milton’s Our Lost Paradise and John
Banyan’s Pilgrim’s Progress. Two Manipuri novels:-Dr.Kamal’s Madhavi and the Khamba
–Thoibi’s immortal love story of Manipuris were also translated into Hmar with
assistance from the Manipur State Kala Akademi, Imphal. Other translated works
are more in the nature of Christian literatures written by well-known writers.
L.Keivom, a retired IFS, had translated Rabindranath Tagore’s Nobel
prize-winning Gitanjali into Hmar which is going to be published soon.
Conclusion:
From what has been
indicated above, it may be concluded that though the Hmars have a rich oral
literature in the form of folklore and folk songs, lyrics and chants, written
literary work worth the name came to be produced only by the beginning of the
20th century. For letters to represent their spoken language was introduced by
the Christian missionaries by the beginning of the 20th century
only. Modern education has brought about remarkable changes in their life. But
their outlooks, visions and thought process tend to be saturated with Christian
beliefs and philosophy. What is, therefore, urgently important is that a clear
distinction between literary pursuit and Christian faith needs to be made. The
Hmar Literature Societies in Manipur, Mizoram and Assam which publish textbooks
and also coordinate the literary activities of Hmar writers should also be made
independent of Church and political influence. Only then, secular literature of
high quality can flourish among them.
References:
Grierson, G.A. : Linguistic Survey of
India, Vol.III, Part 3, 1926.
Keivom,L :Hmar Hla
Suina (History of Hmar Literary Poems) Churachandpur, 1980.
3 Keivom,L :Pastor
Thangngur (A Poet with a thousand tongues (Unpublished article).
Lalruoivel Pangamte :
The Hmar Literature: A Critical Review (Unpublished article).
5 Lenruol Hlabu, Churachandpur.
Chongtho Hmar :
Hmar Tobul Hlabu (Songs of Hmar Origin).
Liangkhaia : Mizo Chanchin
(Mizo History), Aizawl,1978.
Songate, Hranglien :
Hmar Chanchin (Hmar History), Churachandpur, 3rd Edition, 1995.
Lal Dena (editred) : Thuro, July,1983, pp.1-4.
Vara,H.V.
: Hmar Hla Hlui (The Hmar Folk Songs, Lyrics, and
Chants), Churachandpur,1985.
This paper is a slightly modified form of Chapter 7: “Hmar
Literature : Its Growth & Development of my book ‘In Search of Identity:
Hmars of North East India ‘”. Akansha Publishing House, New Delhi (2007) pp. 78
– 87/
No comments:
Post a Comment