Me And My Manipuri Things

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Boron Dahanir Ela
(Rain Invoking Songs, বরন ডাহানির এলা) is the most renowned ancient folk song in Bishnbupriya Manipuri, which has been handed down through oral tradition. This song was composed at a time, when the story of the epic became very popular. The song is addreesed to Soralel, the king of Gods.It is believed that this song is endowed with the power of calling-forth rain. Accordingly, in times of dearth, this song is sung at night in chorus by males and females with a view to calling forth rain.

These songs are composed in Medieval Bishnupriya Manipuri Language, 1450 A.D.

 

1.

Soralelelete rajaro leipak kumou koilo
liepake marai makhonge khoimure jangal dilo
khumolor mati hukeilo boron diyade douraja
lukong mahei lukulil boron diyade douraja

English Rendering: O Saralel, the King of the gods, the land of the Khumals has become sandy because of dearth. Khaimu is making a dam with grass and other things. O King of the gods, the land of the Khumals has dried up i pray, send us rain.

 

 

2.

Horio ramo leimelte kunggoi pit kore
leimel mana nungsipa donlo loya benur ate dilo
rabonor puto birbau birbare bukor dhian koilo
bukor dhian korernai losmone phulor leirang dilo
leikeiro kalaro dahiau dei kadiau kheinaro

English Rendering: O Rama, who will eat and drink in this sorrowfully condition ? I have given an offering of all my joys and, sorrows together with wealth to Benu (Pahampa), just as, Birabao, the son of Rabal(Ravana) Practised penance ( as a result of which ) lasman favoured him with flowers. O Kala, living in the neighbourhood, please call other and offer, please weep together and eat.

 

3.

Tampharo aparo horeigo dole dumeye yeichil koilo
hilong lalong e hilro sora gongai laloiliye
najeiga ghate buliyaho karong leimai doriya thameilo
habi dou e huno moirang pachai nahunoka nungsiye hoyo
monjar khanir tolete sirio ramo gurure lekhat doilo

English Rendering: O Father Tamphi, Dumei has consulted astrology (and has visualised that) Gahga is rushing down through mountain tribulets, but Karanga, the daughter of Pahangpa, bars the on-rush. May all the gods realise our condition, but Moirang-shouId not hear about it.

 

4.

Antara giriro jilok yeimapire antara
tampake huna peitega leilenge huna chaore
leitenge hirire mengko koilo
jomjomade jeiriga doner koirengore

English Rendering: Astrologers say that the rainlessness has been caused by Pahangpa, who is angry because of the insult shown to Chamel by the King. They advise the people to bring Chamei and Beti back to the kingdom. The second daughter of Giri (Beti) is being brought. When she reaches the vast field. she is welcome with various auspicious things and, consequently, she proceeds gorgeously like the God of Wealth (Kuvera).

 

5.

Phijapina langjapi madoi wang khele
madoi wang khele ho hunar langchak beror jalat thoile
ailide bela eilinai, denu moire bela beilonai
hoibanar matao nuarlo, chinchi nanchak diao nueilo

English Rendering: O Midai, a woman, has suspended her weaving and speaks of Beti. Bela comes and speaks ill of Denu.

 

6.

Chomeio beti thokurare
kohonilo dore dibangta jonom aro
kala kala angara dola dola lengoulo hoyo
donete chari chilalo Pahangpai bario nadilo

English Rendering: Chamei is hesitating to come. The women are ,abusing him, and the angry old persons tell them to welcome him with coal and sand, instead of incense. It is his good luck,, they say, that though he is very poor, Pahangpa has not punished him.

 

7.

Choha jura bado senarei pidia naso
Choha jura dabo ho Moirang e leirir tole homeil
Hiliri bilor pohon chakauda kene alojarga
borbilor dola touthara nalade lusu boheila

English Rendering: Rain is coming gradually. Pahangpa is also glad and is coming over the big lake(Loktak). Women are glad and are proposing to dance with their hair locked and with flowers in their ears.

8.

Nalade lusu boheila, garbage solut doreila
kala chingkheir borone kmne tala nanluga
udai dilo tingla tala pahuri gore beli ailu
batiye ali karere maje khongneme
muthi muka cheiluta sena changninge
kochur pata na bader liksaro sena moichamre
Pahangpai bokor henou maglo
bokor henou karirina, Pahangpai chone hodabello
Deinai dilo donukhan chirtei nachirer
uthanro agar bekurinai dorteo nadorer

English Rendering: Rain is falling cats and dogs, and persons are catching fiihes from the canals with various instruments. Persons are out to catch fish before dawn. They have forgotten to ,bring umbrellas offered by their friends. Some are tying the rice-plants. into bundles, in which silvery water-drops are seen. The leaves of arum cannot bold the rain-water. The people cannot return home owing to heavy rain. They are anxious to return home and pay offerings of mango demanded by Pahangpa, but the rain does not stop.

 


Summury of the Rain Invoking Song

A Khumal King was defeated by a Moirang King, several times. Once more, he wanted to try his fortune and proposed in his ministerial council to attack the Moirang kingdom. His younger brother Cha mei objected to this, where for the enraged King insulted him and ousted him from the meeting hall. Chamei, thus insul ted ,left kingdom alone. Seeing him thus leaving, a maid-servant (beti) followed him with a few clothes for him. When the prince noticed her, he asked her to go back. But as they, were by then far from human habitation, it was not possible for her to go back. The prince, followed by the maid-servant,, reached the Kabru hill where he was cordially received by the Kukis. After a span of time, Chamei had an issue through, the maid-servant. Gradually, three years passed away. During this period, there was no rain in the Khumal kingdom, as a result of which a severe famine came upon the land.

SOURCE AND REFERENCE :
DR. K.P SINHA, THE BISHNUPRIYA MANIPURIS, CALCUTTA, 1984

Bangla Version: ষোড়শ শতকের একটি বিষ্ণুপ্রিয়া মণিপুরী বৃষ্টি ডাকার গান ও তার বাংলা অনুবাদ

 


Madoi Soralelor Ela’
s (Madoi Soralel Songs, মাদই সরাহালর এলা) are the ancient folk songs composed in Medieval Bishnupriya Manipuri Language, in between the period 1650 A.D. -1700 A.D. These are one of the most renowned ancient folk song in Bishnupriya Manipuri, which has been handed down through oral tradition. This song was composed during the last part of Chorai Rongba’s reign, i.e., during the first part of the eighteenth century, when the Vaishnavism of Sri Caitanya entered into the society, as a result of which a cultural conflict arose therein.

This song has a clear reference to drinking and eating of meat – custom which goes back to a period anterior to the conversion of these people to the school of Lord Sri Chaitanya. This song, therefore, points to a period when Vaishnavism or Sri Chaitanya or any other sect of Vaishnavism had not struck its roots into the hearts of the people.

1.

Madoi gidei saloili, boksabadiya saloili,
koiou durei oilita
tengara sinchat laloili, babaro matiou na deklo,
kotou durei oilita
pampol tingdiya kadiri, ima bulia dahiri,
kotou durei oilita

English Rendering:

(Madai, a maiden of the Alakga family has been given in marriage to Saralel, the king of the gods.) She starts for Soralel’s place. She stretches her hands, cries loudly, crosses over hills and dales and goes far away. (Thus, she goes above in heaven.)

2.

Hunorta raja hunorta, hunorta raja hunorta
babro gorgo pureko, jeikga raja jeikga
najeiga madoi najeiga, tor babaro gorgo napurer
jeinga raja jeinga, hunarkeirak lama diyade
babaro gorgo purerko, jeinga raja jeinga
najeiga madoi najeiga, tor babro gorenajeiga
tor babro gore gelega huror pohu kheiteiga
huror pohu kheiteiga, modro sorap piteiga
modro sorap napitou, huror pohu naheitoi
hunar keirak lamade, jeingaraja jeinga
korifaba kheya jaga, hunarkeirak amadilu
tor bar gore gelega digali pirak naboheiga
modro sorap napisga, huror pohu naheisga

English Rendering:

(One day, Madai hears a loud noise coming from below and, looking downwards, finds that a mass of smoke is rising from her father’s house.) She tells the king that her father’s house is in flames and requests him to allow her to go to her father’s house. Saralel first tells her that her father’s house is not on fire. When Madai expresses her strong desire to go, he says that he, apprehends she may take meat and wine if she goes to her father’s house.
Madai promises that she will not take meat and wine there. Then Saralel proposes that Madai should keep Kari Phaba, her son, with him and go to her father’s house alone. Madai accepts the proposal. Saralel warns her not to sit on long couches. He then stretches downwards a golden ladder.

3.

Madoi gidei keirak lamaniye
dakou kurung bareitara, belao kekruk rhoeitara
madoi gidei keirak lamaniye
ningolo jethi ahili, digali piranikalei
naboitou baba naboitou, digali pirat naboitou
rajaro mana napeilu, naboitou baba naboitou
ningolo jethi ahili, modlo sorap nikalei
modro sorap nikalei, huror pohu radhedei
huror pohu neheitou, modro sorap napitou
modro sorap napitou, digali pirat naboitou

English Rendering:

Madoi descends along the golden ladder. All look at her joyfully. When she comes, her father orders the family-members to offer a long couch to her. Midai declines to take her seat on the couch. Then, the father ,orders them to offer her drink and meat, of boar cooked. Madai declines to take wine and meat of boar.

4.

Nadektoi ima nadektoi, tambul hathan tangtou e
mohori hathan khalkoro, homaga madoi piga
lomoilu baba lomoilu, lomoilu baba lomoilu
rajaro keirak tulloko, lomoilu baba lomoilu
na kadi karifaba, leipak thipi kariphaba
madoi gidei khamna laloiliye

English Rendering:

Then, the father proposes to offer her wine at a place ,covered by seven mosquito-nets, so that Saralel does not see her taking wine. (Madai accepts the proposal. When she is just going to take a sip of wine, Saralel spits from above, and the spit, passing through the seven mosquito-nets, falls upon the wine-pot. Madai understands the matter.) Looking behind, Madai finds that Saralel is lifting the golden ladder. She is greatly shocked, cries loudly, consoles Kari Phaba from below and passes over hills and dales.

 

 


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