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OSMANIA UNIVERSITY LIBRARY
Call No. ~J g if . 49 ^ i 3 Accession No. "^ 2 ?"
Author D</^
Title
This book should be returned on or before the date last marked below.
FIELD SONGS OF
CHHATTISGARH
Other Books in the Same Serieb.
1. SNOWBALLS OF GARHWAL.
3. FOLK-SONGS OF MIRZAPORE. ( in press )
Ethnographic and Folk Culture Society
U. P.
President
The Hon'ble Sir Sita Ram Kt., M. A., LL. B., D. Litt
Vice-President
Mr, Gopinath Srivastava M. A., LL. B.
Members
The Hon'ble Mr. Justice Harifch Chandra I. C. S.
Mr. B. D. Sanwal L C. S.
Mr. L. M. Sen A. R. 0. A.
Mr. Mukundi Lai M. A. (Oxon)
Dr. Naresh Chandra Ph. D.
General Secretary
Dr. D. N Majumdar M. A., Pb. D. (Cantab.), F. N. L
Assistant Secretaries
Mr. D. P. Bahnguna M. A.
Miss Esther Newton B. &.
Folk - Culture Series
Edited by Di N. MAJUMDAR Lino cuts by L- M. SEN
FIELD SONGSOF
CHHATTISGARH
By S. C. Dube
The Universal Publishers Ltd.
LUCKNOW.
Pfinted in 1947
All Rights Reserved
Published & Printed by Govind Ram at the Universal Printing
Press, for the Universal Publishers Ltd., Hazratgunj, Luck now.
CONTENTS
The United Provinces A Cultural Mosaic
by D. N. Majumdar iii
Field Songs of Ohhattisgarh by S. C. Dube 1
Some Folk Tales of Kolhan by D. N . Majumdar 64
The United Provinces-A Cultural
Mosaic.
It was midday in the month of May. The sun was hot
and the earth steaming. I was winding my way through
a field towards an aboriginal village in Singbhum in
Bihar, my camp for the day. There was none to be seen
anywhere, even the cattle were resting under the mango
trees in front of the village. Another furlong to go and I
was very thirsty. I had no water on me as I was
travelling light 'that day. The dark outline of the village
in front made me speed up. As I neared the village, I
heard a dull and confused noise coming out, and I hastened
towards the village in the direction of the noise. Two
brothers were quarrelling, their wives trying to pacify
them while the children gathered round were crying in
fear. It was an usual brawl in which the neighbours did
not take any interest. I entered the courtyard and asked for
a glass of water. The scene changed, the brothers forgot
their quarrel and joined in their request to one of the
women present to get the water. An earthen pitcher was
brought out, a brass lota was handed over to the woman by
a child, the woman started cleaning the lota, she made it
shining and then washed her hands. When everything was
ready, I was asked by her to pour water from the pitcher.
I asked the woman to do it, she looked round, there was a
smile on every face and the water flowed sparkling into the
glass, the whole crowd anxious to help. 'One more lota
asked the woman, 'One more lota 1 echoed the husband and
I thanked them all, sat with them, chatted with the
brothers. There was no sign of bitterness between the
latter, perfect little hosts, were they not ? I thought it
vpas culture, it was sweetness.
jv The United Provinces- A Cultural Mosaic
On another occasion, I was late in reaching a Gond
village in the Bastar State, Central Provinces. My
luggage was following me. It was midnight. The village
was on the bank of a river, the othereide was a thick forest
and onr route lay through the latter. I decided to rest in
the village for the night. There was no house to accom-
modate us, not even a hut. It was October, the cold was
on its way down the plateau and the chill of the night
gathering. I looked round 'and found a group of Gonds
that had assembled there and were watching me. They
belonged to the Dandami Maria clan and were infamous
for murder and human sacrifice. That was the traditional
story about them, -handed over by generations of officials
who administered these people. One man in the crowd,
about 30 years of age, more communicative than the rest
asked me to follow him. I looked at my assistants, they
looked at me and we followed together. The man entered
his house, whispered something to his wife who was in bed,
there was a rustling of the cloth and a jingle of trinkets,
she walked out with her husband, gay and happy, all
smiling. We were then showed the room. There was
nothing in it, no furniture, no bed, a few utensils f all made
of earth and two low stones, these serving as pillows which
nightly breathed sleep to the couple and shared the little
joys and sorrows, the cooing and humming of songs. We
were delighted at the prospect of a snug little corner where
we could rest our tired legs but we were sorry to deprive
the couple what we so eagerly looked for. We slept all of
us, such sleep as we never slept before, and the couple also
slept coiled round under a tree in the courtyard, the gloom
of the night coupled with the quiet of a lone hut spread its
canvas to receive their tired bodies. Early in the morning
the lady of the house was waiting outside with a pitcher
full of water for our wash and brush up, a pot containing
national beer, a substitute for tea, all this and more
fhe United Provinees-A Cultural Mosaic v
they did for us. If this is not culture what is it ?
Like the word race, culture has also been uged i?i
various senses. Alathew Arnold defined culture as 'sweetfr
ness and light'. Some have used culture as syuonymoua
with civilisation, others its efflorescence If culture is the
efflorescence of civilisation, those who do not COIDB within
its ken must necessarily be without culture. The differed
betwoen man and animal is culture, for man is $ 'tool
making' and 'institution making 1 animal, the latter aa we
know have neither to>ls nor institutions. The qualities
that distinguish man from other animals are his cap^cHy to
learn by experience, his group life and his power of speech
or language which conveys his thoughts and eraotipps, If
culture is sweetness or reasonableness, the savage is very
often the embodiment of both, for ungoverned violence m
savage society is a myth, on the other hand there is 9
spontaneity and uniformity in tribal life however remote ft
may be from civilisation. This is why anthropologists
define culture as the sum total of our knowledge, beliefs
customs, practices, law, religion, morality and all other
capabilities of man and ascribes culture to the most savage
of tribes and the role of anthropology is to study people at
all levels of cultural development,
Civilisation in its accepted sense begins with the inven-
tion of writing and with literary records and is preceded
by barbarism and savagery. Whether such sahei^es of
cultural evolution could be worked out is a matter of
opinion and the distinctions outlined in such schemes, are
taken to be too arbitrary to have aijy practical ^ppUc^ipQ.
Civilisation has started with the control of tood supply as
without the production of food and the necessaries of life on
a scale adjusted to the requirements of the people, no cultu-
ral progress is possible. Civilisation must also include the
production of comforts, works ot art, literary and plastic,
building up of scientific knowledge, development of par*
vi The United Provinces-A Cultural Mosaic
\
sonality, rise of world industries and world trade and in-
creased tempo of life characteristic of urban life, incidence
of diseases, insanity and other cacogenic factors as they
are known today.
No civilisation has sprung up out of a vacuum and none
can ignore the foundation which is deeply rooted in
the cultural life of the people whatever levels of deve-
lopment the various social groups may represent. Each
particular stage of culture is the product of an earlier one
in which the germs of progress could survive and flourish
to produce the tree and foliage that provide the canopy of
peace. The direction of progress also is not arbitrary
though chance variation and mutation must have deter-
mined the character and personality of particular cultures
as we find them today. Violent catastrophies, like earth-
quakes, volcanic erruptions, climatic changes, such as
continual dessication, or shifting of sands from the sea
which has buried cities and ruined civilisations, soil ero-
sion and excessive precipitation, all natural or physiographic
causes have destroyed cultures or scattered people; but in
any particular region which has been inhabited by successive
generations of people, from the savage to the civilised,
there must be a continuity of cultures each of which must
have assimilated customs and practices from its predecessor
or built on a foundation more primitive and original than
itself. To ignore such realities is to divorce cultures from
thair moorings which ultimately must disintegrate or dege-
Derate to a level inconsistent with the status which they
bave a legitimate claim to belong.
II
In India, the political divisions into provinces do not
correspond to culture areas or linguistic zones. The needs of
administration and the historic relations between territories
The United Provin&a-A Cultural Mosaic vif
decided the formation of provinces and each province today
represents different racial groups, blends and combinations
out of them, and various levels of culture inbred or out-
bred. Except Orissa which has recently been curved out on
linguistic and cultural basis and Bengal where more than
fifty millions of people speak the same language and share
more or less the same cultural heritage, the rest of the
Provinces are bilingual or polylingual. Nor is it the
difference in language alone that is to be reckoned with.
Each linguistic group has its cultural heritage which it has
preserved by isolation achieved through language. The
United Provinces is also a bilingual province where Urdu
and Hindi are the spoken languages, the urban centres
having developed a common dialect with two distinct
scripts, in some Urdu dominates over Hindi, in some
Hindi dominates over Urdu -while in the rural parts
either Hindi or Urdu is spoken though more people speak
Hindi than Urdu. The castes or social groups which had
been more associated with the Muslim rule still speak Urdu
while the cultivating Thakurs or Brahmins speak Hindi,
Purviya or otherwise.
The United Provinces contain two distinct political
regions, viz., Agra and Oudh and there is a lot of historic
ties between the two areas, though there exist differences
which are geographical, social and economic. Oudh has a
distinct culture, an agrarian system and a sedentary popu-
lation with a feudal social hierarchy. Climatically the eas-
tern United Provinces is more damp and moist than the
western parts of the province. The eastern districts pro-
duce rice, the western wheat and this fact alone must
produce cultural differences of great significance. Rice
cultivation is determined by abundant rainfall while wheat
flourishes in dry parts, the world's wheat belt being all
located in areas with a rainfall below 32 inches per annum*
Rioe raising parts are more densely populated and that is
titi The United Provinces- A Guttural Mosaic
why the eastern districts hare a higher density than those
of the wefct, the reason being that rioe with its possible two
or three crops a year can maintain more people than wheat
barley of sago put together.
The northern districts of the United Provinces border
the cis-Himalayas; the cold and bleak hills of the north
provide home to a thrifty and conservative population whose
affinity with the rest of the province is political rather than
cultural or even racial. The high caste people of these
parts, the Brahmins and Rajputs are ths Khasas whose
migrations and achievements are recorded in the Vedas
and the Epics while a large section of the Brahmins can
claim their origin to Maharastra and Gujarat from where
they have filtered in by families during the last three
hundred years or so. The Khasas still show traces of a
matriarchal social organisation, practice inter -caste marriage
and stick to fraternal polyandry, an unique institution which
id probably Aryan in conception and not borrowed from the
non-Aryan people as is commonly supposed. The eastern
districts affiliate both in racial complexion and in culture to
the western parts of Bihar and under the influence of a rice
economy and an agrarian distribution based on it, it has
developed a pattern of culture which is very much different
from the central or western districts. Rice cultivation has
everywhere produced a sort of joint tenure of land, a coopera-
tive farming* a joint living and worship, while wheat with
its prospects as a commercial crop has developed indivi-
dualism which has been reflected in the customary rules of
succession and inheritance. The moist damp and inhospi-
table climate of the Tarai which fringes the eastern border
of the province as far as Nepal has had an enervating
influence on the people and the poverty and incompetence
thbt one meets in these parts result from inertia and fatalism
that stiffle human initiative. The rich soil and wet climate,
however, have encouraged cultivation of sugarcane and
The United Provinces-A Cultural Mosaic ix
localisation of the sugar industry in these parts has reorien-
ted the economic life of the peasantry in recent years.
The southern districts, particularly Mirzapur is coter-
minous with the Chota Nagpur plateau and provide home
to innumerable tribal groups which are racially akin to the
main stem of proto-Australoid people inhabiting the plateau.
The distribution of forests in the United Provinces is
extremely sparse and uneven and the percentage of the
area under forests is certainly insufficient, but where forests
are found, remnants of primitive races have scattered them-
selves, and today they live either as segregated tribes, or
they have been assimilated by invading groups or live an
emasculated; life by adopting an economy to which they
have been forced consequent to their maladaptation or
disintegration of their indigenous cultural life,
The western districts of the Province bordering the
eastern Punjab are culturally linked based on a wheat
economy, so much so that there is hardly anything that
distinguishes the people of the two provinces. The shortage
of women in the eastern districts of the Punjab, due pro-
bably to hypergamy is normally met by migration of
women from the western districts of the U. P. as the census
figures (1931) showed the extent of casual migration by
marriage, for more women migrate to Punjab than men, a
fact which is not explained by the peculiar conditions of
Indian demography. In India racial status descends from
the west to the east and the custom of hypergamy practised
by those with a claim to higher racial status who prefers
to take women from those they regard as inferior to giving
their own women to the latter reduces the normal parity
between the sexes to an artificial disparity.
In the centre of the province and in its domed cities
and larger towns dwell a mixed population of Hindus and
Muslims, the latter partly because of their inferior numeri-
cui strength and partly because of their status as the ruling
t The United Provinces- A Cultural Mosaic
classes, filtered into cities and towns where they built up
an urban civilisation encouraged art and architecture and
worked out a common political sroal.
From a racial point of view, the United Provinces
possess a mixed population. From the Brahmins to the
Doing and Chamars, there is a gradual lowering of the
racial status till we come to the aboriginal tribes of proto-
Australoid stock in Mirzapur and the Mongoloid Tharus of
the Tarai. Again, as we ascend the scale of cultural pre-
cedence from the tribes to the castes, from the most primitive
Korwas of Mirzapur or the cognate Cheros and the Bhuiyas
who share the same land with the former, to the Brahmins,
we find the racial difference taking shape till the Brahmins
appear to belong to a distinct racial constellation. But
between the Brahmins and the militant Thakurs or the
trading Khattris, between the latter and the Ahirs, Kurmis
and other artisan castes and between the Kahar and the
tribal groups there is little to constitute them as separate
racial constellations, a fact that made Sir Herbert Risley
describe the people of this province as Aryo-Dravidian, a
mixed population whose social status varies with the shape
and form of the nose.
The tribal Korwas and other aboriginal groups repre-
sent one culture area or zone characterised by a system of
territorial organisation, a primitive economy based on hunt-
ing superseded in recent years by a crude type of agricul-
ture combined with magical rites and practices, animistic
beliefs that keep the people constantly alert and attentive
to the imaginary needs of a hostile spirit world, and a
communal life whose solidarity is reflected in communal
feasts and festivals, in folk culture, farmer dances and songs
that still lull the people into security. The eastern districts
provide a culture largely rural in character with the eastern
Doms and the Mongolian Tharus and Bhoksas providing
the two tribal outposts, the rest of the people belong to a
The United Provinces-A Cultural Mosaic xi
number of inferior castes, largely mixed with the tribal
elements, while the apex of the social pyramid is held by
the cultivating Brahmins who conform to the pattern of
culture that has developed by the intermixture of cultures
with or without racial admixtures. While the Doms claim
a mythological descent, the Tharus trace themselves from
mixed marriages between the Rajput women and their
servants probably of Bhil origin. The folk art of the
Tharus depicts the full and free life they had lived in their
premigration homes and the freedom of movement to which
the women were accustomed to still survives in the
amazonian life the Tharu women find delight in. They
hunt, they fish, they move freely from village to village
and people the markets and fairs, keeping their menfolk
in suspense and subservience. The various layers of culture
that one finds in these parts can be traced to successive
migrations of races from all directions, and the conflict of
cultures must have resolved itself by the spread of Buddhism
which united the various cultural groups into a mosaic as it
were. A survey of the cultural stratigraphy of this part
may help towards reconstruction of the social history of the
various castes of the area as many of the castes from their
physical features appear to have a mixed descent
The mountainous belt to the north of the Province
winds itself through the Tarai to the foothills of the Siwalik
and include Garhwal and Kuinaon, the entire cis -Himalayan
region inhabited by three racial strains; the Mongolian from
the north and the Indo-Aryan from the west, probably from
the foothills of the Hindukush, have mixed in varying pro-
portions with a proto-Australoid element which is the basic
racial strata in these parts and is known by the generic
name, Dom. We are not sure if the matriarchal matrix
without which the polyandry of this area could not
have developed should be traced to the Doms or the Mongo-
lians but that can be ascertained by a closer study of the
xii The United Provinces- A Cultural Mosaic
customs and practices of the area The polyandry of the
Khasas which includes the Brahmins and the Rajputs, the
system of inheritance which puts the eldest son in virtual
possession of the ancestral property, the feudal type of social
economy, the spirit of freedom and abandon that the folk
songs of these parts so faithfully depict, all are reflected in
the folk culture, in the professional and institutional dances
of the Naik women, in periodical fairs and festivals while
the majesty of nature, the lofty crowns of the hills, the
periodical blizzards on the hill tops and the terraces they
have so skilfully dug out for agriculture, all have contribu-
ted to a sense of sublimity and devotion reflected in a
multigod pantheon which is at once their strength and
weakness. The rigid adherance to customary life, the
tenacity with which they cling to their traditional rites and
rituals, find their echoes in masked dances and recitals, in
their folk art and architecture, the storeyed houses and stone
walls and in their moral code one for men and another for
women.
In the centre and in the sparsely inhabited plateaus f
in Bundelkhand and adjacent areas are found scattered a
large number of nomadic, vagrant and criminal tribes who
number about two millions and , whose menace to the coun-
tryside has always baffled police vigilance. The problem
of rehabilitating the tribes and weaning them away from
their career of crime are being tackled by the administra-
tion. The heroic struggles, the people of these parts have
waged against the Muslim power in Delhi have been
immortalised in their folk songs and much of their cultural
life finds expression in their folk literature, all awaiting to
be put together and recorded before they are lost or for-
gotten. The achievements of the Rajputs which find men-
tion in earlier accounts, in the Aunals of R-ijasthan, for
example, the bravery and fortitude displayed by them in
the medieval days, the sufferings that their womenfolk
The United Provino*8-A Cultural Mosaic xiii
went through, are sung even today all over the countryside
and any nation would feel proud of this oral literature that
pass from mouth to mouth to instil confidence in their
strength and give direction to their cultural life.
The rest of the province is inhabited by a medley of
castes, interior and exterior, who own kinship both in race
and culture to one another. Anyone who moves from dis-
trict to district, from its modern cities to the smaller towns
from the urban centres to the rural parts, must find the
culture of the province a bit paradoxical. On the one hand
we find a highly urbanised life with its infinite attractions,
its varieties of gaieties, from the lazy fight of the Abater 9
and 'tetar to the Mushaira and Kavi Sammelan, and serious
lyrical poetry competitions which attract admiring crowds,
on the other, we have a solid and confident rural life with
its conservative moorings deeply rooted in history. The
paradox becomes more clear when for example, one com-
pares the highly conventionalised Lucknow life with its
leisurely pace and flippant recreations, the formalities and
gossips skilfully woven into highly flown Urdu spoken
with sonorous and sweet accents and cadences, the immac-
ulate dress of men in 'Sherwani and Pyjama 9 , the customs
of elaborate feasts and festivities sprinkled a with 'attar'
and a liberal distribution of 'pan and tamaku', with the
militant Thakurs of the villages in the neighbourhood who
care for little or no education but are the proprietory bodies
in the villages, or say with the cultivating Brahmins whose
outlook has not changed since the days of the epics when
the plough was the symbol of peace and the tool of security.
Again, we find the same paradox when we compare the
traditional ways of the castes and tribes, the wild Rajis of
Ascot in Almora with their indigenous system of invisible
barter or the inbred Korwas who do not respect any prohi-
bited degree of relationship in marriage, the Tharus whose
women control their menfolk and even maltreat their hue-
xiv The United Provinc*s-A Cultural Mosaic
bands, the Khasa who share wife with their brothers, the
Kayaathas who have adopted the court manners, dress and
food of their Muslim masters whom they served and who
even today maintain a dominant share in the services and
the professions as the most literate caste in the province,
and lastly the orthodox Brahmins who would not touch food
without a dip in the Ganges, and the hundred and one
religious sects, mendicants and Sadhus whose annual meet
dn the banks of the Ganges has inspired millions to service
and sacrifice.
On the one hand we have the tempo of industrial life
aa in Cawnpore with its palaces and giant factories, crowded
Bustees, insanitary dwellings, high infant mortality, trade
unions and a growing middle class poised between perpe-
tual strifes and labour unrest and a contented class of em-
ployers and enterpreneurs, a panorama of life from the
cradle to the grave, on the other hand we have Benares, the
holy city of the east, the citadel of ancient learning, where
knowledge is sought for the sake of understanding, where
peace of mind is still compatible with poverty, where
the soul of man has been freed from the mire of supersti-
tions and sensuality and where ignorance gives place to the
splendour of resplendent knowledge, 'the nothingness of the
uttermost withdrawnness' as Sister Nivedita has described
Siva's eternal pursuit. Nowhere in India, there is such
poverty and competence as in Benares, nowhere perhaps
the stature of man has been higher than in the city of the
Gods, the trident of Vishwanath embracing the mineret
of the great mosque, proclaiming to the world the fact of
spiritual unity of mankind.
Such is the mosaic that the United Provinces represent
and in any scheme of cultural reconstruction the spirit of
the Province mast be rehabilitated in flesh and blood to
infuse and enthuse the people with all that culture stands
for.
The United Provinces-A Cultural Mosaic *v
III
The Next Step In Folk Culture.
The first thing that strikes a field investigator who
goes to a people to study them, armed with theories, dog-
mas and may-be preconceptions as Prof. Maiinowski put
it, is the conflict that exists between what he knows al-
ready and what he sees in actual life. There are two
alternatives for him, either he must set down to clear the
debris of unsound dogmas and undefinable concepts from
the floor of historical reality which must be an up-hill task
and may be difficult to achieve, the other is to unlearn what
he has learnt and immerse himself in reality, the imponder-
ables of life as they are lived by the people he wants to
know of. The latter method is advocated by some, parti-
cularly in the field of art and music, as the novice is first
made to unlearn what he has learnt or mislearnt and then
proceed to learn what he should. In the study of culture
whether it be primitive or advanced there is a continuity
of existence, so much so that the past is often understood in
terms of the present and the present in terms of the past so
that a divorce from the past can hardly be conceived. The
prepotency of the past is so great in tribal society that
some tribes do not and will not do anything that was not
done before by the ancestors of the clan or of the tribe.
The past of a tribe can only be known from what has been
recorded of it as most of the tribal or backward groups
do not have a script and have not themselves recorded their
achievements. It is therefore necessary that the field worker
must be well versed in the literature on tribal life and cul-
ture and must be prepared to verify his knowledge by test-
ing what he knows, ao that he can throw new light or new
interpretation to what is known. The first requisite of a
field investigator is a thorough knowledge of literature
on the people he wants to study. It may be that a
The United Province$-A Cultural Mosaic
cular tribe he choses to investigate may not have any lite-
rature on it, but that does not absolve him from the obliga-
tion as there must be similar tribes whose cultural life must
have been the subject of intensive study by competent
field investigators*
The second requisite is a knowledge of the methodo-
logy he should follow. There are various approaches to
the study of culture. A good deal of attention has been
paid by early anthropologists to the study of culture which
could throw light 011 the past history of a people. The
historical school aimed at the reconstruction of the hypothe-
tical past and although the efforts of the school did not lead
to very tangible results the accounts of savage societies that
were compiled by them give us not merely the 'quaint and
grotesque' customs and practices of primitive people, but
also a picture of the historical transition or culture change.
The diffusionist school has studied the migration of culture
from particular centre of origin and though we may dis-
count the non-serious charge against the school that drink-
ing of water originated in Egypt and spread to other parts
of the world, a lot of data on historic and protohistoric mig-
rations of our culture can be picked up which would illu-
mine the dark corners of our cultural life. The functional
approach to culture again, has its limitations but if proper
care is taken to avoid pitfalls as it must be taken, any
tribal culture will be an absorbing interest for the field
investigator and he can work out an integrated system
of culture by linking trait with trait and evaluating
the role of specific items of culture. The methodology
developed by the Boas-Benedict school in America is also
full of significance as the study of the pattern of a culture,
its configuration, may fortify a field investigator against
rash and uninformed generalisations, for each cultural item
can be tested against the background of the pattern and its
strength and weakness with reference to the pattern may
The United Proviiices-A Cultural Stosate xvit;
be assessed with competence.
The third requisite of the field worker should be his
capacity for discrimination. This is possible by an objective
evaluation of customs and mores of the people he is studying
but even if all care is taken to do so, the field worker is often
at the mercy of his interpreters or the people to whom he
directly approaches for evidence. Many a field investi-
gator has paid dearly for indiscriminate reliance on their
informants. Two methods are often found to meet this
danger. One is to document the statements of the
informants giving date and time of recording, the name
of the informant, his social status, whether he is paid for
his services or not, whether he gives information in his offi-
cial capacity or in his personal capacity, whether he hate
volunteered the news himself or he has done so in answer
to querries. The second is to test such evidence by record-
ing multiple statements from different people and request-
ioning the original informant.
The fourth requisite of a field investigator is patience;
he must not come to hasty generalisation or rush to print
before finally scrutinising his data. Much of what we know
of primitive people and backward cultures would not have
been written at all had the authors exercised reticence and
caution against rash publication of data.
The last but the most important requisite of a field inves-
tigator is his knowledge of the language and dialect of the
people he wants to study as it is impossible to obtain any
idea of t^e fundamental springs of culture, the motivation or
the ethos without which many of the customs and practices
remain unexplained. This has been sadly ignored in a
large volume of literature on primitive peoples. There ar6
gome who have a genius for language. The late Professor
Malinowski, for example, knew a large number of langua-
ges and could express himself fluently in all of them*
Even if all the precautions are taken, if all the nectssary
xviii The United Provinces' A Cultural Mosaic
equipments are there, the investigator may be fully trained
in methods and techniques, his at titude must be and remain
scientific. The greatest harm to the science of man can be
done by competent scientists who willingly misread their
findings. In India as we are situated, there are only a
handful of field investigators competent for the task. It is
hardly possible to expect that two investigators would study
the same people so that we have to rely on the available data
and therefore the responsibility of the field investigator
assumes a greater magnitude than is otherwise warranted.
In one of my investigations among a people on whom a
learned monograph has been published by an otherwise
competent field investigator. I found that the village
mentioned in the text exists but the people whose family
trees are described do not. Instances like these can be
multiplied. They are there and it is for the field invest-
gator to see that such accounts do not multiply*
IV
I would now introduce you to the Field Songs of
Chhattisgarh ably compiled by my friend Prof. S. C. Dube
of Hislop College, Nagpur. Prof. Dube is already known as
a competent folklorist and his publications in Hindi are
widely read. The songs that he has presented in this short
anthology breathe a close parallel to the folk songs of
Mirzapur and when the latter is published, probably in the
next volume of the series, they will show a family
likeness. We intend to present the originals of the songs
in this volume as also of the Snow Balls of Garhwal in
our forthcoming publications. We invite you to the
songs presented by Prof. Dube and we want you to tell us
what they are worth.
Anthropology Laboratory, D. N. Majnmdar,
Lucknow University,
20th March, 1947.
FIELD SONGS OF
CHHATTIS6ARH
By S. C. Dube.
Introduction
The South-eastern region of the Central Provinces
is known as Chhattisgarh, the land of thirty-six forts. This
area comprises the present districts of Raipur, Bilaspur,
Drug, Balaghat and Bhandara, and a number of adjoining
states forming the Chhattisgarh block of the Eastern States
Agency. Historically and linguistically only the first three
districts and the adjoining states come in Ghhattisgarh
proper; Balaghat and Bhandara having only a very minor
fraction of Ghhattisgarhi pDpulation, naturally fall outside.
The great plains of Ghhattisgarh, watered by the
Mahanadi and her tributaries, are inhabited by a large
number of agricultural castes and tribes. The hills and
forests are the abodes of a number of primitive people living
at varying levels of culture. Important among the people
inhabiting the plains are the Rawat, Teli, Satnami, Kewat,
Ganda and Panka, with a sprinkling of many others tribes*
The principal primitive tribes living in tliis tract are the
Gond, Baiga, Binjhwar, Kainar, Bhunjiya, Dhanwar and
Korwa. Improvomonts in the system of communication
have brought a continuously flowing stream of alien popu-
lation from the North and the South, and the Brahmin
Marwari, Punjabi and the Kachchhi notably have infiltrated
even into some of the remote villages of Chhattisgarb.
Barring the small section of immigrants who have
settled here in the past few decades, the people of Ohhattis-
garh have, in general, a distinctive culture, In their vill-
ages they share together their appalling poverty, misery
and suffering; for although the forests and agricultural lands
of Ohhattisgarh are rich, her people are unbelievably poor.
They suffer from the ruthless oppression and exploitation of
an alien government, rapacious land-lords and corrupt officials,
The 'Field Songs' are the songs of these people of
Ohhattisgarh. They may be regarded as truly represea-
tative of their culture. They picture their joys and sorrows.;
They graphically describe their changing moods. These
songs play a part of considerable importance in their dull
and uneventful life and occasionally lighten their burdens,
cheer up their hearts and impart mirth and enjoyment to
their dreary existence.
The study of folk-tales and the folk-lore of India
started many years ago but it has yet to be put on a scien-
tific plane. Little effort has so far been made to collect
and publish the treasure of India's rich folk-poetry on a
nation-wide basis and on scientific and systematic lines.
Much valuable work has, however, been done by individual
field- workers and their collaborators, and it is largely
through their efforts that some of the wealth of India's
woodland poetry has been put on permanent record. In
Hindi, Pandit Ram Naresh Tripathi was the first to devote
himself to this work. He toured extensively in the United
Provinces.
In the different provinces lovers of folk-songs have
undertaken the work of collection individually, and have
published many valuable collections of songs recorded by
them in their respective languages. Meghani in Gujarat,
Parikh in Rajasthan, Ram Iqbal Singh Rakesh in Bihar
and Devendra Satyarthi have done very valuable work.
Meghani's writings have popularized the folk-songs of
Gujarat. In the work of the late Suryakaran Parikh
are preserved some of the precious gems of the folk-
poetry of Rajaethan. Ram Iqbal Singh Rakesh has
produced a very fascinating collection of the Maithil
folk-songs of Bihar. In Bengal, Maharashtra, and South
India keen interest is also being taken in the study
of folk songs, and besides a few collections in book form a
number of articles relating to them appear in periodicals
from time to time.
Folk-songs hare also received the attention of field
workers engaged in sociological and anthropological rese-
arch. In many monographs detailing the life of different
tribal people, specimens of their oral poetry have also been
included. Some others have made an independent study
of the folk-songs themselves. Archer has published a
charming collection of the folk-songs of Bihar. Miss. A. R.
Bhagwat of the School of Economics and Sociology,
Bombay, has specially studied the Ovis of Maharashtra
and has published an extensive paper on the subject in the
journal of the Bombay University. In the Central Provi-
nces, work of far-reaching importance has been done in
this direction by Shamrao Hivale and Verrier Elwin. They
first brought out their Songs of the Forest: later, in his
monograph on the Saiga, Elwin included a large selection
from the folk-songs of the tribe. The next to come from
them were the Folk-tales of Jfahakoshal and the Folk-songs
of the Jfaikal Hills. Miss Durga Bhagwat, a research
student of the Bombay University studied the folk-songs of
the Satpura region, and has published a very interesting
paper in the Journal of the Bombay University. The snow
Balls of Garhwal edited by D.N. Majumdar depicts the folk
songs of an interesting culture area.
The author is perhaps the first to undertake an exhaus-
tive study of the folk-songs of Chhattisgarh. Touring
extensively in parts of the Eaipur, Bilaspur and Drug
districts, he collected over twelve hundred songs and a
dozen ballads. In 1940, a collection of the representative
folk-songs of Chhattisgarh was published in book form f
and in the same year the full text of the famous legend
of Dhola-Maru was also separately published, The author
has contributed a number of articles on the rural, tribal and
ballad poetry of Chhattisgarh. This little book includes
some representative songs from his collection. Verrier Elwin
3
has also worked in Chhattisgarh and has recently published
his Folk-songs of Chhattisgarh.
The Field Songs of Chhattisgarh are the songs of the
people; and are themselves uncertain, as the quickly chang-
ing moods of those who sing them. They do not admit of
any formal classification, although, they can be roughly
divided into certain more or less well-marked groups :
(i) General Songs (ii) Dance Songs (in) Caste- Songs
(iv) Songs for Special occasions (v) Tribal Songs (vi) Legends.
General songs
The Songs belonging to this class can be sung by all
people at all occasions irrespective of their caste. The
Dadariya is certainly the most popular and the most im-
portant of the Chhattisgarhi folksongs. In its two simple
lines, one of which is often only lor tuning, it conveys some
eternal aspect of their life. People may sing it in fields
and forests, mountains and rivers; women may sing it when
they sit by the fireside; a pretty maid may sing it to her
lover when they are alone together, for loveiis generally the
central theme of this type of song. The Chhattisgarhi dada-
riya is rich in fancy and poetic concepts, and stands apart
as a class by itself. Its lighter vein is sometimes crossed
by a sudden outburst of spicy and penetrating observations
on life as these people know it.
Dance songs
In this category fall the Karma Nachori and Sua-geet 9
which are sung only to the accompaniment of particular
dances. The great Karma dance is always accompanied
by suitable songs which determine its rhythm and pauses.
The dance indeed becomes a splendid sight when
the Madar and Chhaddi are played well together,
and the songs are suitably chosen. These songs are very
sweet and beautifully express the sentiments of love. In
some of the older Karma songs there is a philosophic
reflection on life. It is indeed tragic that tho people are
now giving up their beautiful Karma songs, and are disfi-
guring their otherwise lovely dances by importing cheap
and drab cinema songs.
Nacha is the commonplace popular folk-danco of Chha-
ttisgarh, which together with its music consists of many
humorous dramatic dialogues and pleasant lyrics. Nachari
songs always accompany this dance. Each line of the
song is repeated twice by the main singor and is then
followed by a chorus and vigorous dancing.
The prime Diwali attraction in rural Chhattisgarh is
the 5wa-dance of the Ohattisgarhi women. A group of
about twelve young women participate in this dance. Their
leader, the first in the Hue, has a basket fall of the golden
paddy of the recent crop t with a pair of earthen parrots, in
it. With the opening line of the song the women divide
themselves into two groups. While the first sings, the
second bends down and begins clapping and dancing, and
while the second sings, the first in turn bends down and
dances, The bulk of these songs concern the women them-
selves, and vividly reflect their joys and sorrows. Many of
them have a sad note, and many others have a tragic ending.
Caste songs
Caste-songs include the Danda-geet and the Bans-geet
which are exclusively the songs of the Rawats and the
numerous '^legends and songs of the wandering Dewars,
Tradition has secured to the Rawats the monopoly oi
the Diwali Danda-dance of Chhattisgarh. Dressed in
beautiful red and yellow clothes, decorated with cowries and
peacock feathers, the Rawats participate in the ceremonial
dance in batches of twelve to twenty. The Vanda-geet is
5
sting to the accompaniment of this dance. Some of the
comparatively recent Danda-songs have religious touch
about them; but the others are beautiful love- songs which
charm the people when they are sung with proper pause
and jhunjhunfya dance.
The Bans-geet is also a song only of the Rawats. While
they sing it, they also play on a huge bamboo flute which
they call the bans. This is song for the hours of leisure
when the Rawats have nothing else to do. Many of these
songs are in praise of Lord Krishna, who is specially
worshipped by the Rawats. Many others are in the form of
dialogues, chiefly between husband and wife. They truly and
vividly depict the domestic scenes of rural Chhattisgarh.
The nomadic Dewars of Chhattisgarh are a very poor
tribe, and many of them are professional beggars and
singers. They have a very rich store of folk-songs, legends
and ballads. Their songs provide many evenings of enjoy-
ment to the Chhattisgarhi village-folk, end many of their
legends continue night after night for weeks together.
Songs for special occasions
Special occasions call for special songs. Child-birth
provides an occasion for the Sohar, and the Bihaw-geet
provides a musical back- ground to marriages.
The advent of the new-born is an occasion for unmixed
rejoicing, while the sentiments in the marriage songs are
mingled. They express sorrow for the girl's break from
the past, and joy for her step forward in the future. Some
of the marriage-songs of Chhattisgarh are very pathetic.
Many of them contain the lofty ideas of the past; acd many
others are the bitter-sweet stories of women in love. Many
of them express in a simple and vivid style the feelings of
the bride at the time of her separation from her parents.
The Goura-geet are the songs relating to Parvati, sung
daring the days preceding Dewali when goddess Goura is
worshipped in Chhattisgarh. The Mata-Sewa songs are
sung in honour of the Mata. Small-pox, from times imme-
morial has been propitiated as a Mother-Goddess by the
Hindus to please her, to expedite the recovery of the patient
affected by small-pox. There are various other worship-
songs for different occasions.
Tribal songs
Many of the recent monographs on Indian primitive
tribes turn upon the subject of their folk-songs. Chhattis-
garh has a large aboriginal population, and some of the tribes
even to-day retain different dialects of their own. Because
of the stress of modern life, most of them have become bi-
lingual, and their legends and songs are fast disappearing.
The Gond and the Baiga have a sufficiently advanced folk-
poetry, but the folk-songs of the Kamar and Bhunjia are
disappearing quickly. Not many of their songs are rich in
poetic value, but they are still of great interest to the
scientist. The tribal songs of the Kamar recorded in this
volume point to the importance which the folk-songs of a
people may have for anthropological field-workers.
The legends
The importance of the legends and ballad poetry of
Chhattisgarh has not yet been sufficiently recognized. The
legend of Rasalu Kuar is perhaps the only one, besides the
legend of Dhola-Maru, which has been published in full by
Verrier El win. Chandeni, Lachhman jati, Pandwani and
Parghania have not been published so far.
Chandeni is claimed to be an original legend of Chat-
tisgarh. Near Arang in the Raipur district, there stands a
monument commemorating the memory of the beautiful
princess Chandeni, her gallant lover Lorik and their loye.
In wealth of imagery and subtle descriptions, Chandeni can
easily win for itself a place of honour in the folk-poetry of
India. In fact, the legend of Lorik and Chandeni has
already travelled far and has captured the hearts of village-
folk in Bundelkhand and a] so in other parts of the United
Provinces.
The legend of Dhola-Maru, originating perhaps in
Rajasthan, has come down to Chhattisgarh in a modified
form. Although its atmosphere is alien, it holds people
spell-bound and is universally popular in Chhattisgarh.
Next comes the legend of Rasalu Kuar. the hero who starts
on matrimonial adventures and marries the princesses of
seven different kingdoms after braving considerable difficul-
ties in each adventure. Lachmanjati is the legend of ascetic
Lachman who, on being alleged to have illicit connections
with Seeta, proves his innocence and purity by passing
through the ordeal of fire. Similarly, Pandwani is the
Chhattisgarhi version of the Mahabharat with Bhim as its
legendary hero whose deeds and adventures form a major
part of the legend. Pargbania is the long legend of Good
heroes. Chandeni and Dhola have been included in this
book as typical specimens of the legends of Chhattisgarh.
The Field Songs of Chhattisgarh do not represent the
folk-culture of Chhattisgarh in all its aspects; yet, they do
give us a glimpse of it. Through them we can visualize a
picture of the life lived in rural Chhattisgarh, a life of little
love and perpetual struggle, crossed by a sullen note of
uncertainty and pessimism.
Life is precious, only once we get it
Its pleasures too we get only once
Never shall we get them again.
********
For how many days more shall we live?
Life is short and we may not have much
How shall we escape
When death comes over our head ?
8
Life
"Born are we on this earth to live,
And BO shall we pass our life merrily and playfully;
For how many days more shall we live ?
Life is short and we may not have much,
How shall we escape
When death cornes over our head ?
Youth
The lamp needs a wick,
And the wick needs oil,
The two eyes want sleep,
And youth -longs for romance
The eager heart
Shall I be able to meet my sweetheart,?
Who knows !
I adorn myself with fineries,
Dress my hair beautifully,
And admire my beauty in the mirror,
But God only knows
If I shall meet my sweetheart!
Separation
eister! My sweet heart is in a distant land,
He neither writes a letter to me,
Nor does he send me a word,
For whom should I apply mekndi?
For whom should T dress my hair?
And for whom should I cook vegetables and rice ?
My sweet-heart is in a distant land.
Sister ! I do not like my father-in-law's house,
When my sweetheart is in a distant land.
Friendship
A hard piece of wood it is,
Easily you can not break it ;
Very old, indeed, is our friendship,
Only at our death will it end.
Tears will move him
When the rains come ;
Green grass grows on the Earth.
Moisten with tears the tale of your woe :
Then will they move him, girl 1
10
Eager steps
Peep from the window,
An hour for sun-set, there is yet
My sweetheart is coming homeward
With hasty eager steps.
The magic of her charms
In the nights we sleep,
And work throughout the day ;
The magic of her charm keeps me alive,
Only for her I live, friend!
I am pining for you
Oh foreigner ! Oh man from Doomerkhol,
You shot the arrow to my heart ;
The whole of me is pining for you.
For you I went astray
You sealed my fate, Oh you sealed my fate!
King, the whole of me is pining ;
Only to have a glimpse of you.
To the government I will pay a fine ;
And to the caste I'll give a penalty feast
O King ! But I will never leave you.
foreigner ! man from Dhoomerkhol,
Yon shot the arrow to my heart ;
The whole of me is pining for you.
11
The love girl
There stands the mango tree in the forest,
The ripening fruit is full of juice;
Lone is the girl in her blooming youth
There is none, none to console her.
The unhappy man
In the forest there is no animal
And in the pond no fish ;
Life to him is a miserable burden,
There is none to console his heart.
The unfortunate girl
My father died,
And my mother also is dead;
Only my brother loves me,
But my sister-in-law ;
She is very jealous of me.
What a life, I lead!
12
The happy man
The crops are rich,
Every evening the drum beats,
How happy is the village?
0, how happy is the man,
Whose pretty wite has firm and rounded breasts.
They make me mad
The graceful leap of the deer;
And the thrill of the tiger's roar,
The firm and rounded breasts of my girl
They make me mad, friend!
Love songs
The tarai flowers in the evening!
How slender IB your waste?
It befits you only!
Garry the manure to the field,
In the broken cart.
My JRajal you proceed ahead
I will follow you soon.
Sometimes I pur on a red sari,
And sometimes pink
The pardeskt meets me only for a little while.
Over the temple there is a blooming flower,
On you only, my bird!
I have set my heart.
From silver we make ornaments,
Tell me, Raja!
Where should I wait for you.
I went to the market,
And bought a Dhoti,
My heart was in you,
My Raja\ I remembered you every moment.
In the months of Sawan and Bkadon;
There is such an abundance of Karela
Friend! I never knew
That so soon we would part company
Come, let us go fishing,
Ever in my eyes looms that face
The face of my Raja.
Bit by bit, look, how I burn for you?
Oh ! you never told me before.
A place in my home,
14
Love Song* (Contd.}
I would have given you willingly.
Cook the chana-bhafi for the meals to-day,
Be in complete readiness, my girl!
I will come at the usual time.
Eat some more sweets, my friend !
Why at a distance you stand from me?
Come near me, my girl !
Homeward I was coming,
And you were going away,
Its good we met here,
Let us have a parting embrace, friend 1
To cook the fish there is no butter-milk !
Speak your heart freely, my love !
None can overhear us.
Comb your hair
And put vermilion at their parting
For you, my bird !
I will come again in the night.
How shall 1 shake the mango branch?
0, so small are my breasts,
How shall 1 let him fondle them?
This gram! you can not fry it !
We made friends when we were young,
How can we forget each other?
The well is there
How to draw water ?
I forbade you repeatedly,
And yet you fell on my body !
Take your bath
And change your clothes
you look so beautiful
In your silk so,ri.
The plum on the tree is ripe
How shall I pluck it?
15
Love Sengs*- (Concluded.}
He is standing in the neighbour's courtyard,
How shall I call him?
In the evenings everyday,
When the Shukwa appears in the sky
I see you always on the path
With a beautiful basket on your head.
The roti on the frying pan was burnt
So engrossed was I in your thoughts !
Balaml with a single masric word
You have captured me entirely.
Pangs of separation
My mind is unsteady,
And melancholy is the heart,
There is water all around me,
Yet I am thirsty,
Without you, my love !
Only a few words you said to me,
They got stuck in my heart.
I am rnad after you,
It's for you I am wandering in the jungles.
The boat is damaged,
And there is no one to row it !
0, I may die,
But none will weep for me, for
My balam is in a distant raj.
The forests are green,
And so are the hills,
The man with the cap is nowhere to be seen,
I will offer a coconut,
If I find him soon.
Pour the oil on the earth !
It will be a simple waste.
I weep and weep
And narrate to him my sufferings
No heed he pays to them.
On his body he wore a fatuht\
And over it his Kurta,
I remember him so often.
The water in the well,
0, it is there I
My pardeshi is going away,
17
Pangs of Separation (confrf.)
I feel like crying for him.
Eat drink and make merry,
But never, never should you remember me, my girl!
Brutal are the pangs of separation,
In remembrance, my bird!
Bit by bit you will perish.
When you smoke a chongi,
It burns little by little.
My love! in your remembrance I am gradually burning.
The house is broken and its roof is destroyed;
He was to return within a couple of days.
But it is long since, that I have not seen him, friend!
I do not know what I did unconsciously
My love! I do not even care for food in your absence.
God! I never knew
That I would feel the pangs of separation so much
My father is in Ratanpur, and father-in-law in Orissa,
And between the two parts is the Koeli river
To-day, I am what the rice plant is without water,
Father-in-law is suffering from tijera arid his daughter from
fever,
And my Dewar is laid down with Kkarfarha,
To-day I am what a leaf is after falling from the tree.
The legs of the cot are broken,
And now it is useless
Gori has lost her lover
And she weeps till dawn
God! I never knew that I would feel the pangs of separa-
tion so much.
A courtyard without a tree,
And a village without a dog are lonely.
A woman without her lover weeps till the dawn
God! I never knew that I would feel the pangs of
separation so much.
18
Pangs of Separation (Concld.)
"I have come here from my father's home for the first time.
Sweetheart! why are you going out leaving me alone?
With whom shall I play?
With whom shall I eat ?
And how shall I console my heart?' 7
"Plant a tuhi in the court-yard,
And console your heart with it
If you find it green,
Imagine your husband engaged in trade;
And if you find it yellow,
Think that he died in war."
The cat goes from this roof to that;
We are foreigners
People of a far distant land
To-day let us love each other with all our heart
For tomorrow comes separation,
And I have to depart with a Ram Earn for ever.
It was a bamboo stick,
With which was the snake killed!
You have gone away luaviu
All my life
1 will be sorry for it
19
Complaints
How beautiful was the leaf
When it was fresh;
It is yellow now.
How sincere were you to me
When we were children
In youth, you have deceived me now.
In the leaves there is no flutter.
Nor do the branches move
Sweetheart, you regard me as an enemy,
You don't speak a word to me.
It is a full moon night,
Yet the moon is nowhere to be seen.
My sweetheart has become mad,
He is not coming back.
Across the river
There is a mine of red clay
By your sweet words
Why did you mislead me?
0, I was so innocent!
The evenings are disturbed,
Always by the crows
Here you made love to me
And went away to a distant village.
The moon rises,
And brightens the night!
you are a woman!
You deceived me and went away.
The night is moonlit,
And the stars are twinkling
My tiafa has become my enemy,
20
Complaints (Condd)
He does not speak to me.
In the mango leaves
There is no flutter
My Raja has taken to silence,
He does not speak even a word to mo,
I plucked the mango fruit,
Avowedly to eat it.
He deceived me,
By promising that he will come
The rope you left tied to the cart
0, 1 have newly come to you
For the first time;
And you have stopped talking to me,
21
A warning
Behold the mango tree!
The solitary fruit is ripening there
Note it, take care my girl
Nowhere can you elude my notice
Not even by drowning.
Passion
I went to the market,
And bought a tuma there
I will make you sleep in my lap.
And kiss you.
Massage your body,
With the til oil,
I am alone here, my Raja,
Make me sleep with you.
Ripe was the lemon
Its juice was gushing out!
He wanted to have me by the road-side,
And 1 was hesitating so much.
Mother-in-law went to the market,
Father-in-law to the field
0, look to the girl!
When she was alone in the house,
She got herself involved.
It is a Keru tree,
Garlands will you make from its flowers?
No more has she a place in my heart,
Now I don't like her.
22
Two wives
In the leave? of the Pipal tree
There is a constant flutter
In the house of a man having two wives
Always, always there is quarreling.
You eat the betel,
And your lips become red;
Do not develop fascination.
It will take your life.
The dadaria
The pongs from field and forest,
They are the songs of our life,
The whole world may leave us
But the Dadariya is our precious heritage.
In the pot there is last night's rice,
And in the hand a pinch of rice I have,
I am singing the Dadariya,
Lend your ear to it.
23
Englishman's Raj
In the leaves of the Pi pal tree
There is a constant flutter
In the Englishman's Raj
Everyone is unhappy.
A dialogue
Wife :
We will sell the goat and the sheep,
And the buffalo also we will sell;
We can live by working hard,
And sleep restfully ia the night stretching long our legs.
Busband :
Neither will I sell the goat, nor the sheep.
Nor will I sell the buffalo
Pll get my living by selling milk and butter-milk*
But you will I sell.
Wife :
Who will do the cooking for you?
And who will serve you meals?
Who will spread the bedding on your cot?
And who will await you at home?
Husband :
My mother will do the cooking for me,
And my sister will serve me my meals,
The maid will spread the bedding on my cot,
And my flute will await me.
24 /
A Dialogue (Concld.)
Wife :
Your mother is old and will die,
And sister will go to her husband,
The maid will be sold in the;market.
And the flute will float away in the river.
Husband:
I will make my mother immortal,
On nector will I feed her,
And will keep my sister for six months,
Will keep the maid tied with a rope,
And will ever keep the flute in my heart.
25
Child birth
In the first month changes begin to appear,
The body becomes yellowish
And face becomes pale
It appears she is pregnant.
In the second month,
The mother-in-law recognizes it,
Doubtless it is pregnancy!'
When she walks
Her right leg lags behind.
Doubtless it is pregnancy!
In the third month the nanad laughs
'Let the newcomer come,
I'll get a present of munga and moil
In the fourth month the mother-in-law laughs
'Let the newcomer come
I'll distribute pearls?/
In the fifth month the expectant mother says:
*The whole body aches badly
I don't like the betel'.
In the sixth month she requests her Lord:
'Now I can't serve your bed
My body is heavy'.
In the seventh month she requests her mother-in-law:
'Now I can't cook
My whole body aches?
In the eighth month the eight limbs are developed
With all her care
Never can she wear her clothes properly
In the ninth month
The mother-in-law sleeps in the neighbouring courtyard
The daughter-in-law is having pain,
Call the nurse soon!
In the tenth month Kanhaiyalal was born
Music was played and Sakhis began singing Sahar.
26
Marriage songs
The baratts are standing under the neem,
And the bride, with her lord, is going round the marriage
poet.
Musical instruments are being played
Beeram ! the girl is going round the marriage post with
her lord
Baratis are standing under the neem.
Mother ! under the bar are the bride and bride-groom.
Amongst five brothers there is one sister,
Oh Mother, she will go away with her lord today.
Father and mother are unhappy,
But the bhaufi indeed is happy.
0, do not send her thib year,
You may send her next year.
'Get I nath for my nose,
Mother I will go away in a dola
Get a pairi for my legs,
Mother I will go away in a dola
Got a tttri for my ears.
Mother, I will go away in a dola
There is a lemon tree in my lord's house,
And all birds return to it in the evening
1 grew to youth in my father's house in happiness
But now my pride will be shattered to pieces.
On the high platform ie seated the father,
And with him are his companions,
There is a thick bush of tulsi^
Under which is seated the bride,
Nearby is the goldsmith hingul,
She gets a har, a tikuli and a nat h,
And yet she weeps!
27
Marriage Songs (Contd.)
c ls it silver or gold-
That you did not get, my girl? Asks the father,
'Why are you sorrowful?
'Neither it is gold, nor it is silver
Nor yet am I sorrowful
Father! I am fair and beautiful
And my lord is dark
For this 1 am sorry father!
Talk not about the colour, daughter!
Dark or fair! colour is not of our making
Lord Krishna even is dark
The Mother's womb is like a pot maker's ava,
Some pots coming out from it are fair,
And others are dark.
Raja Janak has one daughter,
And she is to be married.
Which prince deserves to marry her?
To whom should we send the coconut?
In Ayodhya there is King Dashrath
Four princes he has
Playing in the streets of Ayodhya.
The eldest of them is Rama,
He will be Seeta's husband.
Father, have a bamboo fencing
And let it have four gates.
Cover it well, my father!
Let not swans and pigeons enter it;
Let the Chowk be decorated with pearls,
And the lamp be of manik,
Father, call a priest from Benares to write
Stand with folded hands, Father,
When Raghuwar. comes for marriage
To him give all attention you can,
28
Marriage Songs (Condd.}
And when you serve him food
Forget not to place a few tulsi leaves,
Be not dismayed by his dark colour, father,
Many in the world have a dark colour;
Lord Krishna is dark in colour,
Yet he enchants the world with his charming flute,
The rod of the plough is broken,
And now it is useless;
To her Sasural I have seat my daughter
After her marriage,
And here I am sitting
Laden with grief,
Eat drink and make merry, girl!
Only a day more for you,
To take you away, the people have come
All your way you'll have to weep.
De war- Bhauji
Slightly he twisted my fingers in the night,
And woke me up!
parrot, in the night he woke me up.
'Dar dur' said I,
Is it a cat or a dog
Or a sinner that opened the door?
'Not a cat, nor a dog
Nor even has a sinner opened the door,
It is Nandlal, your Dewar } Bhauji
Who has opened the door 1 .
'Come you may, Babu
But go and sleep on your brother's cot*
'Not there Bhauji
There the mosquitoes will eat me up
With you will I sleep
I'll sleep happily on your cot!
'Not here, not here, Babu
There are sharp knives on my cot,
And there is a deadly she-cobra
Which will take your life'.
'How then, Bhauji ',
Does my brother save his life?'
'Great is the magic of your brother, Babul
Powerful is his spell
It is through that he saves his life
parrot, His magic makes this cot his own/
30
The obstinate jogi
From the North has the jogi come,
And there he is at the door steps
There he is! sitting at the door, parrot!
'Give him a handful of rice, parrot!
He will leave the door'
'Not a handful of rice, Sister
Have that for yourself
Never will I leave the door/
'Give him a plateful of rice, parrot,
He will leave the door'-
'Not a plateful of rice, Sister
Keep that for yourself
Never, never will I leave the door',
'Give him the eldest nanad, parrot
He will leave the door.
Give him the second natiad, parrot
He will leave the door'.
'Not the eldest, nor the elder too
Keep them for yourself, sister
Never, never, never will I leave the door'.
'Give him the youngest nanad, parrot,
He will leave the door*.
parrot!
So happy was the jogi to hear this,
Not a moment did he lose,
And brought a dola to the door
To take away the youngest nanad
For the dear one
My mother is out,
And sister is in Sasural,
parrot! ray lord is in a far-off land
Alone am I here, parrot!
Cheerfully the bride in that, house asks:
{ Froin where did you get, betel, my love?'
Joyfully the man replies:
'In in} 7 father's house there are twenty slaves,
They gave me the bate!'.
Cheerfully the bride in that house asks:
'From where did you get the garland, My love?'
Joyfully the man replies:
'In my father's house there are twenty maizes
They gave me the garlands'.
parrot! look at me,
How unhappy am I in separation;
'1 hey talk and sing and are happy,
But my sweetheart has forgotten me;
For my dear one I weep.
Hunger
In hunger we have forgotten the Dadariya and the karma
In poverty did we lose our Dance.
Such a burden has life become to us
Even in youth we don't have cravings of love.
Life
This broken chongil
0, we smoke it only once.
Life is precious only once we get it;
Its pleasures too we get only once,
Never shall we get them again,
TRIBAL SONGS OF THE KAMAR
A 'Dadur' song
I caught the fish in the pool,
Tell me if you will eat it or not?
In a day or two I shall leave this Raj,
Tell me will you go with me or not?
A dance song
Tastefully did I cook the rice,
And came to you at mid-night.
Alas! nowhere did I find you, my love!
For the rest of my life I will weep for you,
A marriage song
Whither are you going, Erother!
You have the bow ou your shoulders;
The axe in your hand,
And behind you is your wife,
With a basket on her head.
Whither are you going, O Erother!
To the neighbouring village we go
There to attend a marriage, boy!
Come not with us
Eat and live here, Boy!
When the rains of * Asar' set in,
34
A Marriage Song (concld.)
And the whole forest is aglow with flowers;
Then will 1 come, to take your daughter
With a crown of flowers on her head.
Here is a headload of bamboo
Will you lift it or not?
The rice for you is cooked
Will you eat it or not?
There is a marriage in the neighbouring Kamnr village.
Will you go there or not?
A 4 Hana' song
Uice on the fire is boiling,
A nd the child tied to her waist is crying,
Cook the rice and let the child sleep.
Where are you going? (She is asked)
To dance, she says, where the drum is being beaten.
After the dance her whole body ached
Was it the evil eye on her body?
The magician is called,
And he will look it up.
1 may die or live, (She says)
Look after the child,
And don't quarrel with any.
Be careful when speaking to the sirkar
Get not yourself beaten,
And be courteous to the panchayat I
The charm of the magician worked,
And she was all-right again.
'You are well, (he says)
And now let us not quarrel,
Let us live and eat'.
35
A Turi' love song
'0 Sister! Give me your dewar >
'No, no, even if I lose my life-breath, my life,
I can not give him.
My husband you have instead*.
The water in the pot on fire boils,
And the little bird with its tiny beak is in agony.
'What shall I do with your husband? (says she)
Give me, give me, your dewar I
The elder sister's husband was in Raja's be gar
And the dewar was in her heart.
'Wherever I go, he follows;
To the market for tobacco, and to the forest for tendu leaves.
In the path- ways, and near the tank
Every where, everywhere he is present.
He will get a pair of ornaments for my ears,
And then shall we leave for a distant Raj.
Another Turf love song
On the bank of the river they met-
The young man and his girl.
This was the place where they met at dusk.
'The third day, before day-break we leave 1 (he said)
Returning from the tank, she laid by the pots,
And awaited the third day-her man's call.
One day passed, and BO did second,
The third day at the appointed moment he came, and came
out she.
And together they went to a distant Raj,
Crossing the twelve mountains,
Where no man's sight could reach.
A happy couple they were.
36
A song regarding incest between
father and daughter
An ugly wretch was he,
And she a handsome maiden,
The two lived alone
The old widower and his lovely daughter
The old man cast his lustful eyes on her,
And when the fiery finger touched him,
He caught hold of her and enjoyed her-
Enjoyed her breasts, and body and youth.
They lived secretly, and openly they lived
As man and woman - as wife and husband.
For some time it was calm,
But then came the great rains, the thunder and storm,
Then suddenly the rains stopped;
The whole year was dry.
The dahi failed, I
Animals left the forest.
No fish was there in the ponds and pools,
Edible roots too were scarce.
One sin
Of the old wretch, and the lusty girl,
And such was the penalty.
A song regarding incest between
brother and sister.
The young girl and the young boy-
Brother and sister they were - brother and sister.
They danced together,
And for the whole night they danced.
37
A Song regarding incest between brother and sister
(Oontd.)
They decided to elope -
After five days- before day-break
Before the cock heralds the dawn of the day,
They decided to run away -
To run away to a distant 'Raj'
Til go with you;
But will go for the whole life.
Desert me not, or I shall be ruined'
'Before the cock crows, we start,
And shall be in' 'Boda Sambhar Raj before the dawn,
There we shall work, and eat, and live happily.
The night passed,
And the appointed moment came.
She took five katas of rice,
A handful of tobacco, and a score of tendu leaves for chongi.
She took two pice, a plate and some pots,
She arranged all these things
And at the appointed time they started.
At dawn they crossed the tract ;
And reached the l Boda-Sambhar ? raj.
Nine months passed ;
And she began to feel miserable,
Every limb of her body ached.
Helpless she was utterly helpless,
*0 Father ! what can I do ?
For what I did, I must suffer.
Her agony increased,
And she had none to help her.
They pormised to offer presents to spirits ;
But the spirits would not be pleased !
They invoked the family God,
But He too was hostile.
38
A Song regarding incest between brother and sister
-(Concld.)
Death seemed the only alternative,
The punishment for his sin,
The sin of eloping with her brother.
None of their relatives had any thing to do with them.
Nor did any of them smoke with them!
Such was to be their life !
Song regarding the origin of
the Tribes.
God created the Earth.
And then created a couple.
A man and woman, wife and husband.
To them were born two children,
One son and one daughter.
And as it happened.
The mad jackal offended God Mahadeo.
A deluge a mighty deluge he sent to drown it.
Apprehending the danger impending,
The couple placed the children in a box,
A box of wood, and therein
They kept provisions for them.
To last till the deluge ended.
The greater thunder came.
And came the roaring winds,
In the deluge were drowned all living things, the old couple.
Twelve years passed - and
God Mahadeo created two birds;
AroUnd the world they flew to see,
39
Song regarding the origin of the Tribes fCondd.)
If the jackal - Mahadeo's enemy was dead.
Over the endless ocean of water they flew,
And not one creature was alive!
Yet, in the wooden box they heard,
Low voice of human children,
Provisions enough for three days we have (said they)
Soon the birds flew back;
And reported to God Mahadeo.
In surprise,
God Mahadeo sent for the box; opened it and found the children.
There Mahadeo the Great God-
Ordered the flood to subside,
And all was well again.
The children were brought up by him;
And pleased with them one day;
He asked them to marry;
Marry they did; and had children.
To each of their children,
The Great God gave the name of a tribe,
And thus were descended the many, many tribes,
40
I
Chandeni
Here is Ohandeni beautiful !
With youth brimming from all her body-
Her face like the beautiful full moon,
This is Chandeni
The beautiful princess the fairy princess.
Her nights are damped with tears
And days she passes in sorrowful musing.
She with all her beauty and youth
Has to pass restless nights and mournful daya
POO
Behold 1 Here she goes
Like lightning she passes
The fairy princess - the beautiful Ohandeni!
In her ears falls the soft melody of the flute
Enchanted by it she looks around.
None, none can her eyes discover.
Her heart aches,
And a tender thrill passes through her whole body
Who can he be -
This maker of sweet music ?
Behold! There he is
Seated under the shadow of the mango tree
The maker of music
The most perfect youth on the Earth !
Spell-bound, Ghandeni stands there
Self-forgotten, she looks at the youth
His is the magic that is wonderful
His is the charm that is perfect.
He has charm in his eyes,
And magic in his turban ;
41
Chandent (Cortd.)
He has charm in every limb,
And magic in every word,
It was the triumph of his magic
That Chandeni lost herself.
The proud Chandeni
0, she was proud no more.
O .
The queen of beauty
0! she is the one woman in the world,
The one perfect woman !
But how unlucky?
Indeed, unfortunate is she;
Life to her is a desert and youth a waste
Bawan - her husband,
01 he is not a man
For him her youth and beauty and charm have no meaning;
No curse would have been worse
With her blooming youth
And the fire of passion eternally burning in her heart.
None, none she has to console her
! there is none to quell her eternal burning
And Bawan is helpless
Magic is helpless - spells don't work
Nor do medicines succeed ;
Terrific is the curse of God Mahadeo
Which caused the loss of his manhood.
Unhappy, indeed, is the woman
In whose youthful heart there is perpetual burning
The poor girl,
Her mental agony is eating her away,
And now I
Now look to her
Our Chandeni is changing,
Slowly, darling Chandeni is changeing
42
Chantim* (Contd.)
To-day again she has come to the forest*
The magic of that flute has dragged her hera
Her beautiful lips today
She has coloured them with betel
And her dress: how beautiful ?
Indeed, she is Chandeni
The princess (As beautiful as the full-moon.
Lorik is putting new life into her.
Coy and beautiful
So shy was she !
Not a word could she utter,
When Lorik approached her.
'Speak, speak to me
Chandeni, beautiful', said the man.
How could she? the shy girl
! she wanted to speak
But she was lost in her own thoughts.
Lorik, only Lorik could make her happy.
Speak, speak to me
Chandeni, beautiful said he again.
But she only smiled,
Not a word did she utter.
'Speak speak to me
Chandeni, beautif uP said he again.
Behold! her lips move,
She is speakipg to her love.
Unknown, unknown are you to me 1
tell me, how can I speak?
* *
That flute is wonderful,
Wonderful indeed is his sweet voice,
Wonderful is the music that brings her into the jungle.
Behold! what Lorik has done?
0, it is a madai
48
It is a work of magic -it touches the sky.
'No* he said ;
'Not unless you give me your betel'.
Take pearls, take gold
Take a whole kingdom from me
But don't take the betel. Lorik'
'What of pearls and wealth and gold?
Nor a kingdom, I want
All that I have myself got
It's only your betel that I want*.
'How headstrong are you ?
Indeed cruel are all men 1 .
Take what you like, Lorik
But do give me the magic Swing."
And look !
Here is Lorik, virile and vigorous,
And coy Cbandeni -the beautiful !
He takes her in his lap
And seats her in the magic madai
The madai that touches the sky.
Behold him !
0, give a push,
And up goes Chandeni
she is in the sky.
And there Chandeni, in the sky
she was bewildered
'Catch me, catch me Lorik
Catch me in your arms'.
'No Ohandeni dear
Call me once 'my dear', 'my lord'
Then only will I save you/
Lorik! when?
If I fall to the ground, Pll surely die
How cruel you are!
44
Chandeni(Contd.)
I call you my father, my brother,
save me from death, Lorik/
But adamant was he
'Address me as your husband* he said
How cruel !
Indeed you are cruel
Save me, Lorik, dear, save me
You are my lord, my love, my husband 7 ,
Vigorously he extended his arms
And down came Chandeni
Behold ! she is there
Behold ! they are locked in each other's arms.
o o
0, Chandeni rise up,
0, sweet, feel not so frustrated ;
1 am here, my love,
Your Lorik is by your side,
And when Chandeni looked up,
Her body like the tender moon of the second night.
Glowed with joy,
She was all smiles !
Her Lorik was there by her side,
And now she need fear none,
The strength of his muscle will protect her,
And his flute will soothe her heart.
One, only one remedy was there for all her suffering
And that she had by her side,
Lorik, her man, her love.
o o o *
Happy indeed was she now,
But without Lorik her life was a misery,
Her fire was kindled,
Her passions rose
Bawan - the impotent
46
Chandeni (Contd.)
0, he was her enemy.
Her eternal fire -
Will it burn her to ashes?
Or will she get Lorik, her man ?
Sleepless were her nights
Full of tears and suffering were the moments of separation.
Who would not pity her?
Her youth is being wasted.
000
'Come Chandeni
Let us run away run away to a distant land.
To a land of happiness
Where we will satisfy all our desires. '
*0 Lorik dear
Do let us run away
Without you I cannot be happy
Only in your bed will I get comfort'.
Let us not delay then, Chandeni;
Let us fix the date and time, now
We will not be happy here,
Till we drink the water of an impotent man's kingdom.
Only when we two are together, alone and free,
We will be happy.
And they decided to run away
They thought, they would
But at that moment there was an ill omen !
Would there be an obstruction in their way ?
She was anxious
The malin had overheard them
And they knew nothing about it.
* *
The appointed hour came
And the two met together
'Let us leave this land for ever they said,
46
Chandeni~~ (Cantd.)
And started on their journey.
They crossed one forest,
And then they crossed another ;
While they were entering the third forest.
A fierce tiger came rushing on them
'Pooh' said Lorik, it is a dirty cat.
One arrow from his bow, and the tiger was dead,
But Chandeni, 0, she was really afraid,
I'll omen ! she had it, once again
What is to happen?
Lorik braced her up, and they crossed the forest.
On came the forces of Bawan,
His soldiers and horsemen.
c All our dreams are shattered 1 whispered Ohandeni
C A frustrated life only shall we have' she said in a low tone.
'0 Chandeni ! how timid you are I
Be not afraid,
Your Lorik is by your side 1 .
'No, Lorik ! you are brave, I know
But they are forty and you are one.
How will you fight them all?.
Don't worry dear* said he
Til fight them all
With only one of my arms, I'll fight,
The other will protect you
With only one arm I'll beat them all',
ooo
Behold him fighting
The gallant hero, the brave Lorik
His one arm is protecting Ohandeni
And with the other he is fighting.
He is one and they are forty
And he is fighting with only one arm!
Behold! How swift is he?
47
ffattfmi-" (CowcW)
His sword moves like lightening
And his arrows pour like the rains,
He is one, and they are forty.
Behold the gallant hero in action.
He defends himself and also attacks.
see, the enemies are falling,
One, two, three, ten of them are dead
And there is not a scar on Lorik 's person
0, see how strong is he !
Not for a moment does he rest
He is killing them all, one by one
Behold! half the enemies are dead
And the others are running away
He was one, and they were forty
And yet he beat them.
* t *
Happy was Chandeni by his side
She had got him, got the man of her dreams.
No more tears will she have -
And no more of sorrowful brooding!
She will not have restless nights.
Her passions have got their reward -
;That fire will burn her no more.
|pae has got her Lorik by her side
The craving of youth will burden her no more.
Happy indeed is she,
She has got her Lorik, the man of her dreams !
48
II
Dhola-Maru
In the fort of Narhula lived King Nala,
And in the Pingala fort was King Ben
In the palace of Nala was born a son
And in Pingala, Maru, a girl.
Happy were the kings to hear the news!
Overwhelmed with joy, Nala called his queen, and said:
'In half our age a child is born;
Let us name him Dholalal.
'Hear me, Raja' said the queen
'From Pingala has come the news
There to Ben a daughter has been born
For their marriage let a word be sent,
Pleasant, indeed, was the idea!
The king called for paper and ink,
And wrote a letter to Ben.
'In your palace is born Maru, a girl,
And in my palace, Dholalal.
Marriage of the two we propose
If you approve the idea, send us word/
The messenger took the letter,
And went to the Pingala fort
There, in his court was seated King Ben
Happy, very happy, was he to read the letter
In joy he called his queen, and said:
In Narhula Dhola has been born,
For him they ask our Maru in marriage'.
Happy was the queen to hear the offer.
Together the two wrote the reply-
Back came the messenger to Narhula with the reply,
49
Dhola(Contd.)
There, in his court, was seated king Nala
Saluting him respectfully he gpve the letter
Happy was everyone in Narhula
Preparations for the marriage started.
o o 9
The time for marriage has corae
In the streets the nagarq, is being be^tep,
Its beauty cannot be described !
The first call was giyeju,
And all he baratit ^ere ready,
Twelve pairs of musical instruments ^re f b^g played ip.
the streets,
Its beauty cannot be describe^ I
The barat started from Najrhula,
It is going towards
0, they have reached
And are resting in the gardens on the pot,skptg,
Hearing the news, Ben ordered everyone 4 to
And went out to meet King Nala.
The two samdhis met together ;
And the parghani was performed
Together they started for th<? Pipg^la paj^ce,
To the baratis a feast yr^s giye^,
And then the priest was callecj,
The bride and bride-groom were carried m l ; ap,
And were taken roui|(| the marriage jtoty seven times
The ceremony epded
And together they all retm;^ .to ^arh
,..,. . / L .: ,-,
Widespread was magic through out
It was evil magic!
The King called the queen;
And asked her to keep Oh$a jp a guarded roonj.
'There should always oe a strict watch 1 said r the 'king.
50
jDk/a (Contd.)
'Nowhere should the child go , . - .
Lest an evil eye fall on. him 1 .
There in the guar4ed*ijoom Dhola grew up.
For some time he was an infant,
And then a boy!
Some time more, and Dhola was a youth;
* * *
Q, Dhola's youth has approached
Who can describe its beauty?
Enclosed within the four walls of the palace,' thought I
'Ever since my birth I have been here,
Enclosed within the four- walls,
Nothing, nothing whatever I have seen of the world;
Nor do I know anything about my own Kingdom!
Thus he thought and mused
And in the dead of the night
He determined to go out-to see the wide worid.
In anger he ground his teeth,
And kicked the doors fiercely;
Behold! the doors are shattered to pieces,
The watchman are fast asleep;
They do not hear anything*
* * '
Dhola came out of the palace,
look, how handsome he is!
He is wearing the shoes of velvet,
And is going about in the town.
His dhoti is of gaja-moti^
And round his head is a Benarsi turban;
Who can describe his beauty?
'Zummum Zummum'
Came the sound from his shoes,
Even those who were asleep woke up to see him,
Old women paused to glance at him,
51
Dkola-(C<mtd.}
And the young looked at him with longing.
Brides peeped through the windows,
And the young ones came out on the road to see him*
0, never have we seen such a person
Roaming in the street of the bazaar!
Every limb of his body is proportionate-
As if they had been weighed by the creator.
As if some goldsmith had moulded him on the pattern of
God,
He looks like Narayan
0, he is so akin to the image of God!
He passed the palaces of the rich,
And then crossed the fifty-two markets,
He crossed the quarters of the businessmen,
and goldsmiths 1 houses.
He crossed also the bazaar of the girls.
And reached the tank!
There, in the garden adjoining the tank,
He began to roam about, here and there,
Looking all around,
* t
Behind a mango tree was Rewa
The woman with potent magic.
From her right hand she took out some dirt,
And a parrot out of it she fashioned;
From her magic bag she took yellow and black rice,
And began chanting her spells.
'Ram Bam' said the parrot
0, it came to life!
'0 Parrot! Hear me', said Rewa,
'Dhola has come to the tank,
Go, go and sit on a branch laden with flowers,
When Dhola sees you, utter the words 'Ram Ram\
He ie the son of a king-he will shoot at you 9 .
52
The parrot Sew and sat amidst the flowers.
'Teho' Teho 9 said the parrot,
And Dhola's eyes were turned to it;
He took out his gulel,
And aimed at the bird.
The parrot escaped the first shot,
And the second too it escaped-
Hiding behind the leaves
But with the third it came down, say ing 'Ram Ram 9
Seeing this, Rewa Malin was happy-
Within herself she was very happy,
'I found out the one, I wAttfed'- she exclaimed with jbjr.
She laughed heartily!
Running, she went to Dhola,
Her head was uncovered.
And a part of her sari was flying in the aif,
Her hair was swinging here and there
Her fair body was beautiful.
One cannot describe her beauty.
She collected all her sixty four sets of magical charmB,
And armed with them, she Went to Dhola,
And caught him by his arm.
'From where do you come, Pardeshi?' she asked.
f l am Dhola of Narhula' replied he.
'0, you killed this poor woman's parrot;
You must bring it back to life
Or else it will be a difficult affair 9 .
How can the dead parrot come back to life 9 aftked he.
Try your sat, and bring it back to life 1 said she.
Dhola remembered his Guru
And with his inner force he asked the parrot to come to life.
Behold! so potent was the name of his Guru!
so potent was his sat.
That the dead parrot came back to life!
**
fihola (Cmtd.)
But Rewa once agarin chanted her spell
And the parrot fell dead again.
'This won't do' exclaimed Rewa.
I won't let you go till you bring it back to life,
'By mistake did I kill your parrot' said he.
'Do forgive me for it.
Take the price of your bird from me,
And do let me go*.
The parrot must come to life',, said she.
And Dhola was helpless;
He had no powers left with him.
'See Dhola, I'll do the needful' said Rewa
'But if I succeed in giving it life.
Til catch you by your arm
And take you for all your life'
Helpless was Dhola; nothing more could he say
'Do as you like' was all he said.
'You swear by the water of the holy Ganges
That you will become mine for life,
If I give life back to the parrot'
Dhola did swear by the water of the Ganges
And when she saw him do this;
She smiled within herself.
4 You have been trapped' she said
* How can you escape now ?,
She took out black and yellow rice,
And chanted again her spells
Behold the parrot came back to life
Dhola was stunned,
Rewa caught him by his arm ; and said
* Pardeshi ! Now come along with me to my country ',
Within himself Dhola thought
'0, I could have escaped this misfortune,
Had I not come to the tank to-day'.
54
Dhola Jfaru (Contd.)
She sent her charms and magic in advance,
Ordering some to make palaces,
And the others to make beautiful gardens,
With Dhola she went to live there.
00*9
Leaving here the thread of Dhola's story
Turn your attention to Maru now
Her youth has approached.
And she is feeling its cravings.
Letter after letter she writes,
Addressing them all to Narhula
l Maru's lemon is ripe, its juice may flow away,
If Nala's Dhola comes now, he will get brimming youth,
If he comes late, he will get nothing
And will have to return disappointed/
Such a letter she wrote to him
And sent it through a messenger.
In Narhula, nowhere could he find Dhola,
From the maid he got the news,
Of Dhola's captivity in Rewa's domain,
Back came the messenger with the news
Which brought only sorrow to Maru's heart.
hi the dead of the night she began to cry,
4 0, my childhood's partner was he,
He is in Rewa's captivity.
What enmity had I with her?
That witch Rewa! what had I done to her ?
The Moon is the enemy of darkness
And the sword is the enemy in war
Rewa is Maru's enemy
She has held her companion in captivity'.
Hearing her weeping,
The parrot asked her,
"Tell me, sister,
Dhola Waru(Contd.)
Why are you weeping to-day?
What misery has befallen you, Maru?
Why are you weeping at mid-night?"
'What shall I tell you?' replied she
4 You are a bird, a parrot,
How can you be of any use to me?"
'Always, always were you kind to me, my sister
You cared for me so much;
And always gave me ghee and gur
I'll not be ungrateful, nor unfaithful,
Tell me, sister ! I may be helpful to you".
4 My beloved is in captivity, parrot !
He is iu Rewa's prison,
I'll write a letter to him
Go brother ! deliver it to him,
In the dead of the night she began to write
Tearing a piece from her sari's end
She used it as paper.
Of the colerium in her eyes she made ink
And with her second finger she began to write.
'In childhood we constructed a tank,
Its dam is being destroyed,
If Raja Nala's Dhola comes now,
He only can repair it,
Or else, the water will flow away.
In childhood we planted a mango tree,
Its fruit is ripe,
If Raja Nala's Dhola comes now,
He can enjoy its juice,
Or else, it will be lost to him,
Somebody else may come and partake of it.
If Dhola has royal blood in his veins,
He will come and meet me soon.
If he is the offspring of an impotent wretch
56
Dhola Maru(Contd)
He will stay away ?
Such was the letter which she wrote,
And sent it through the parrot
To her beloved.
3
Twice Dhola tried to escape but failed. From Maru he
received two more messages. They inspired him to
make a final effort.
f a % o
'I don't get food to suit my taste', said Dhola,
'To-day I will prepare Rusumba myself.
If you don't allow me to do so
Nothing, nothing whatever will I eat/
'No, my Raja,
No cause to worry should you have,
When I am with you
Order what you like
And I will cook it for you.'
But Dhola was adamant
And again and again he insisted;
Rewa had to yield,
And he joyfully set to work
Twelve paseries of ganja he got
And twelve paseries of opium and dhatura
These he mixed with twelve paseries of gur
And prepared a poisonous Kusumba.
Then, in a different pot
Some more Kusumba he made ;
This without poison.
In one plate he brought the Kusumba with poison,
And in another the sweet one,
Before himself he kept the plate with poison
And before Rewa the sweet one.
Full of suspicion as nhe was,
Dhola Xarufflontd.)
She took up Dhola's plate
And gave her own to him.
Behold ! The girl is lying intoxicated
Behold! She has lost her senses.
0, look at her, she is fast asleep.
Dhola knew, the moment had come,
He took out a rope and tied her up,
And threw her on her cot;
Kicking her seven times he said;
'Meet your death, you witch,
May lightning strike your head.
He locked her in her palace,
And came to the camel Juiha
'Gome friend, carry me to Pingala' he said
'Not I, I'll never go/ the camel replied
But Dhola entreated; and Jut ha agreed,
And instantly they started.
When Rewa regained her consciousness
She became anxious.
Dhola has escaped! She must find him
She ran as she was
She had to run fast, and long,
For Dhola had traversed a lon^ distance!
And when at last he came in sight,
He was in the middle of the river Rewa
A step more, and he would cross the limit
Beyond which her magic would not work;
Desperately she ran,
And reached the middle of the river,
Alas! Dhola had crossed her boundary,
Only Juthas tail was in her reach,
She cut it mercilessly
On the bank of the river Dhola alighted,
He knew he was safe
58
Dhola Maru(Contd.)
He knew that here the evil magic of Rewa would not wofk.
* *
There in Pingala, a royal reception was he given
After twelve long years of captivity he was free,
Free to meet his beloved.
Everyone rejoiced at his escape
His father was happy, and so was his father-in-law.
And Maru? 0, who oan describe her feelings?
How happy were they all?
Ben's only daughter was Mara
And Dhola was Nala's only son
Happy was th^ir meeting,
After twelve long years of separation,
In Narhula was Rewa's evil magic,
Reigning supreme over one and all
Dhola knew her powers,
Never again did he want to be her captive.
Together they all sat and decided
To make Pingala, Dhola's permanent abode
And there he lived and ruled with Maru
For many long years.
NOTES.
Life A Gond Karma from Raipur Dis-
trict.
Youth A Dadariya from Bilaspur district.
The Eager Heart A Karma from Sarangarh State.
Separation A Nachori from Raipur district.
The Chhattisgarhi women use
.\lehndi leaf paste to decorate their
hands and feet with its yellowish
red colour.
Friendship A Dadariya from Raipur district.
Tears Will Wove A Dadariya from Raipur district.
him
Eager Steps A Karma from Raipnr district.
The Magic Of her A Karma from Drug district.
charms
I am pining for A Karma from Raipur.
you
Doomerkhol is the iiarne of a village.
The Lone Girl A Dadariya from Raipur district.
The Unhappy man A Dadariya from Bilaspur.
The Unfortunate A Nachori from Raipur.
Girl
The happy Man A Nachori from Raipur.
They make me mad A Karma from Bilaspur district.
Love Songs Dadariya from Raipur and Bilaspur.
Taroi is the name of a creeper.
Sari is the ordinary dress of Indian
women.
Pardeshi literally means a foreigner,
Pafa literally means King.
Dhoti is a man's loin cloth.
Sawan and fihadou are the names
of two months falling in the rainy
season.
80
Notes (Contd.)
Karel is the bitter gourd.
Chana-bhaft is the vegetable prep-
ared from the leaves of gram-plant.
Suktoa is the name of the bright
star Venus, which is the first to
appear in the sky every evening.
Roti means bread* Balam means
Sweetheart.
Fangs of Separation A Dadanya from Bilaspur and
Raipur.
Raj means a kingdom.
Fatuhi means an under-shirt.
Kurta is an Indian type of shirt.
Chongi is the village smoking pipe
made of tender leaf.
Tijera is a type of fever which
comes every third day.
Dewar IB husband's younger brother.
Kharjarha is type oi fever.
(jtori literally means fair-complexi-
oned.
Tutsi is the basil plant sacred to
God Vishnu.
Ram is the name of Hindu God. It is
customary for the village folk to
wish each other saying Ram- Ram,
Karma and Dadariya from Raipur
and Bilaspur.
A Dadariya from Raipur,
Dadariya from Raipur and Bilaspur
Tuma is a sweet gourd.
Karma from Raipur.
Pipal is ficus reltgiosa,
A Dadariya from Raipur.
Complaints
Warning
Passion
Two Wives
The Dadariya
61
Englishman's Raj
Dialogue
Child Birth
Marriage Songs
Dewar Bhanji
The obstinate Jogi
For the Dear one
N'otcs (Contd.)
A Dadariya from Nandgaon state
A Bansgeet from Raipur
A Sohar from Sarangarh.
Nanad is the term for husband's
sister.
Kanhaiyalal is derived from the
name ot Lord Krishna.
Sakhis are women friends.
A Bihaw-geet from Raipur. *>
Baratts, persons going in a marriage
procession.
Neem, a tree
Bhaufi, Elder brother's wife
Nath, an ornament for nose
Pairi, an ornament for legs
Tttri, an ornament for ears.
Tar t a necklace.
Tikuh\ an ornament for the head.
Ghowk, rectangular designs made in
various colours on the earth for
special ceremonies.
Lagun a document fixing the
marriage written by a priest at a
special cer&mony. Raghuwar^ God
Ramchandra.
A Sua-geet from Raipur.
A Sua-geet from Bilaspur.
Jogi, an ascetic.
Dola, P^anquin.
A Sua-geet from Sarangarh,
Samrcdj father-in-law's house.
Barais, People dealing inbetel
leaves.
Matins, Women making garlands.
Note$(Concld )
A Dadariya from Raipur.
Life A Dadariya from Raipur.
Tribal Songs of the All these songs have been recorded
Kamar
Chandeni
Dhola Mam
from the Kamars of the Fingeshwar
and Bindranawagarh Zamindaris of
Raipur district.
Beffar, Forced labour.
Strkar, Government.
Panchayat) Tribal council.
Daht, The primitive method of
shifting cultivation employed by the
Kamars. They first fell the trees
and then burn them. The seeds are
sown later on the ashes.
Katha, One katha is nearly equal to
four seers.
Chandeni literally means moon-light
It is a very romantic name.
Nagara, a huge drum.
Samdhis, The fathers of bride and
bridegroom are each other's samdhi*.
Parqhani, Taking the marriage
procession round the village, at least
nominally.
Benarsi, style common in Benares.
Narayan, One of the many names
ol God Vishnu
(ruru, Spiritual teacher
Sat, Truth, inward force.
<rhee, Butter heated and purified.
<7ur, Unrefined sugar.
Kusumba, A beverage.
Paseri, Five seers.
Ganja and Dhatura, poisonous subs-
tances.
63
Some Folktales of Kolhan
(Singhbhum, Bihar)
By D. N Majumdar
Sahadeya Bura Ondo Chutu
reya Kahani.
Munu-reya kaji ehi musing din Sahadeya Bura Siutane-
taikena
Old ttory that one day Sahadeya the old man was ploughing
Ondo sitan-sitante miad chutu sinum tada. E n t e
and while ploughing one rat ploughing found. Then
Sahadeya Bura chutu do goji teya namtaiia, mendo chutu
kaji keda
Sahedya fold) rat to kill wanted, but rat said
A ! Sahadeya Bura alom gqjiuga, ain miad asu bugin budinj
"Oh ! Sahadeya Bura don't kill me, I one very good trick
jagarama". Ente en chutu do lijare tondom-kite oate idi-kia
will tell you/' Then that rat in cloth binding home he took,
Chutu mi chipud leka baba jom-keto kaji-keda, Sahadeya
rat one handful of paddy eating said, Oh! Sahadeya (old)
Bura tising karamcha ko ama chare sim-ko-jom-teyako-
kepaiji
today foxes your house in to eat your fowls pro-
tana, enamente am miad datarom sabakayate simko cha-
duar rey ukua
posing, therefore you one say the holding bowl house on door
kanome ondo bolo-tan redo-ko tombakome" Sahadeya Bura
remain hiding and they entering itrike them/' Sahadeya
enkage rika keda ondo sabin karamchako tomba-ked-koa,
mende
accordingly acted and all the foxes he hit; but
baadia karamcha kaji-keda, Ohuilaraatey aim sodape tana?
tail-loss fox said, when the fowl did peck you ?
Sahadeya Bura cha tombapetana." Ohanab do Sahadeva
Bura *
Sahadeya it was who pecked/' Afterwards Sahadeya
ol'lente sabin karornchako kaki-nir-ked-koa. Eta musing
coming out all foxes put them to flight. Another day
ondoge karamchako bichar-keda chi abu Sahadey Bura
once again foxes planned that we Sahadeya Bura's
obare godra-mindibu kumbua. En kaji chutu aumnda ondo
house-in ram shall steal. That plan the rat heard and
Sahadeya Bura kajiada ohi tising do karamchako ama chare
Sahadeya told that today foxes your house-in
Godra-mindiko kumbua ena mente am rniad mogaru
saba-kayte
ram will steal therefore you one mallet taking
mindi-ko cha duar re ukuakanome ondo bolo-redo ko ente
ram's fold door on remain hiding and enter if they with that
koram kom. Sahadeya rniad rniad-te sabin koy koram
pura ked koa.
strike them. Sahadeya one by one all he struck
ondo chanab te bandia ko bolo-ichitana mendo bandia
and afterwards tail-less one they asked to enter but the tail-
aher tege adana ondoy kajiakotana chi chuilamatey mindi
less beforehand knew and he said that when is it that rams
ro-pe tana? ini Sahadeya Bura cha koram pe tana.
Ohanab do
butt you ? there Sahadeya surely is striking youi Thereafter
Karamcha-ko
the foxes
e-poromogekonreana, Anreage Karamchako kako boroyana
passing stool took to flight. Even then foxes were not frightened
65
Ondo musing din bakaire kakaru kutnba teya ko tik keda-an
and one day in garden pumpkin to steal they planned that
en kaji chutu ayumad koa. En kaji Sahadeya Bura kajiruaia
plan the rat overheard. That plan to Sahadeya re-told
ondo kaji keda, "A Sahadeya Bura, am tising do pura leku
and said, *' Oh ! Sahadeya you today a good deal ot
kakaru-utu amakam ondo kakaru dupila kaete sikaur-baher
purapkin'curry eat and pumpkin on head hanging a rope
haka taete.
to rest on.
en-re dubakanome ondo en kakaru ko huaeteya ko sanang
thereon sit and that pumpkin to bite they want
redo petepetetan ehi me." Sahadeya Bura enkage rika
keda
if you purge, " Sahadeya accordingly acted-
Karanachako seneyana ondo miad ujeyane te kakaru
hua keda.
Foxes went and one jumping pumpkin bit.
En dipilang Sahadeya Bura potopototane ohi adu keda.
In the mean time Sahadeya purged down.
En chi jornkedte kamranaoha esui ransaiana ondo kajikeda
chi
That stool eating the fox very glad became and said that
nen kakaru da esu matakana ondoin boga tab keda.
En kage
that pumpkin was over-ripe and so I broke it. In the same way
sabin karamohako rika keda ondo kaji keda-mendo bandia
all foxes did and said, but tail-less
karamcha kaji keda, "Naha danae kakarutn joman-eni
fox said, " Well now you think to have eaten ripe
Sahadeya Bura cha ohitan-enape jo/n tan." En bandia do
pumpkin, Sahadeya surely is purging, you eating/' That tail-less
66
Saning rege taina ondo eta karamcha kodo esu ko kurkuraia
at a distance stood and the other foxes much got angry*
En Sahadeya Bura's nutura kaji ked rege bandia karamcha do
That Sahadeya's name uttered tail-less fox
esu ko kakia ondo ko huaia. Ente musing karamcha
ko bichar keda,
they chased and bit. Then one day foxes planned
"Nen Sahadeya Bura halteabui ejakad bua, musing-bu
This Sahadeya Bura us out wits, one day,
baigoia " Nen kaji kapaji tan re chuti aumad koa ondo
we will kill him by black art. While talking about this
plan the rat overheard them and
Sahadeya Bura jagarada-ente chanab do chutu Sahadeya
buri
Sahadeya Bura informed them afterwards the rat Sahadeya's wife
te kaji samjao taiyal chi am musing din haming gojerjana
explained to that you one day your husband's death
mente ra-ra me. Buri era ankage musing din ra-a tana ondo
bewail. The old woman accordingly one day mourned and
karamchako ayumaia. Eute karamchako buri era ko kulitana,
foxes heard her. Then foxes old woman asked,
"Ohia jianj okoye gojeyana-anam ra-a tana." Buri era
well grand mother who is dead that you weeping? The old woman
kaji keda, "Haming cha gojeyana." Karamchako kajikeda,
replied, ' 'My husband died. " Foxes said
"Enredo jiang aleole ra-ra ondo hasa gara reole ur-denga
meya."
Then grand ma' we also shall mourn and grave help digging
Ante buri era ehad ko gehae. Karamchako ondo buri era
Then old woman said 'yes' to them. Foxes and old woman
ser jati te eu potom tadah miad mutu ko topa keda. Ante
torn mat wrapped one long they buried.
67
chanab do sabein rea key diliad koa, Sahadeya Bura do
afterwards aubsin ceremony invited them. Sahadeya Bura
ukuakante menae gea. Dilikan somae tebayan re sabin
remained hidden. Fixed time having come all
karamohako seter lena. Buri era orakente oiido mundekete
foxes arrived* The old woman bathing and cooking rice
omad koae. Ente nelko tanae chi sabin ko repe tana,
served them. Then she saw them all snatching one another's share
Buri era metad koa chi apedo nekape repaya ena mente
Tfre old woman told them, you this way snatch, therefore
tangan tangau nein tol tapeya en redo esu bugilekatepe
separately I will tie you. Then only much peacefully
jomeya. Buri era tol tad koe te raadi amad koa. Tik
kojom
will eat. The old woman tying them rice gave them. Just when
sikao tan dipilang Sahadeya Bura mogaru sabakaete oa
bitarete
they finishing Sahadeya Bura mallet holding from within house
ol lena ondo sabin karamcha koe koram goe ked koa*
came out and all foxes struck them dead'
Sikuar baer rope to rest on.
pete pete tan with the sound l pete pefe 1
poto poto tan with c poto poto' sound.
sera jati te eu potara fcadah adj. clause, qualifying log.
meaning, a log which was wrapped up with an old mat
Sabsin-sradh ceremony
68
Masuri Jang Rea KahanL
A Masuri Seed the Story of
Esu din rea kajichi mido doba hon oado barandi honlo king
Long ago of story that one Dhobi's son and a barber's son they
sapakiana. Musing doba hon esu ko erang kia ondo eni
had same name. One day Dhobi's boy was much scolded and he
ohaete sta-dismn-te nir teyae namtana-Enkage barandi hono
from home to other land to flee wanted. In the same way barber
boy
erang ki teko nir tana, Ohanabdo musing din midtareking
being scolded was fleeing. Afterwards one day at one place
bapetaeyana. Doba hon kaji keda, * l chia saking! okon tern
tana?"
met each other. Dhobi's son said, "Well my name sake, where to?'*
Barandi hon kaji keda chi ain ko arangintana anamentein
Barber boy said that 1 am scolded therefore I
nir-tana ondo am saking okoa tern tana? Doba kaji keda chi
am fleeing and you name sake where are you going?, Dhobi's son said
ainyo ko arang kiding tein nir tana. Ente chanabdo midte
1 being scolded am fleeing/ Then afterwards together
nir tea king kaji keda. Huring saning king senoeyan re
to flee both agreed. A little distance having gone
miad ro-masuri Jang king beta tada ondo ana holad-te
one dry masur seed both met and that with razor
had chata kedte miad miad chata king hating keting jotn
keda.
splitting each one piece dividing ate
Barandi hondo holad, nepelupurum, racham eman sabine
edakada
Barber boy razor* looking glass, scissors, etc took with him,
69
mendo doba hondo sama tege eenotana.
but Dhobi's boy empty went
Seno seno te miad esu marang buru reking tebaeyana
Going one vast forest in both reached
En buru re miad munda lekan kulaha undu taikena ondo eni-
In that forest one headman-like tiger's den was and he
aya undutarege dubakante porja koa bichare bichara. Doba hon
near his den sitting was administering justice, Dhobi's son
ondo barandi hon king giti teya taed nam namtetik en kula
and barber boy sleeping place in search of just tiger's
undu king nam keda ondo nida do anrege king taiken Tik-
den both found and night therein passed. Just
nida dipilang do kula hujulena ondo chadlom do undu-re
in the night the tiger came and tail in den
adutaete dubeana. Anpa undu bitar re doba hon ondo
barandi
placing sat* There den within Dhobi's son and barber's
hon lo king kapaji tana. Barandi hon menkeda, ''Alangnen
son were talking. Barber's son said, '* We both
kula chadlom lang hadia." Nen kaji ayum ked te deba hou
this tiger tail will cut,*' This speech hearing DBobi's boy
kaji keda, "Kalanga, neko nentare nitnin kulako duba
kana, ondo
said "We wont, these here so many tigers and sitting and
nilang-hadiredo alang doko hua gos langa " Mendo barandi
if we both cut this one we both shall be bitten to death. 9 '
on kae manatingeyana ondo sakite kajiada, "Earn
But barber boy did not obey and said to his namesake "As you
manatingredo enanga masure jang am ruainme." Ante
doba hon
don't obey masur seed return me* "Then Dhobi's
70
manating eyauaiondo kula chadlomhad ked geyakiag. Kula
agreed and tiger's tail they cut. The tiger
hasu ki redo esui betengeyana ondo sabin kulako nireyana,
with pain much startled and all the tigers fled
Doha hon ondo barandi hon king dida nidage etare tainteya
Dhobi's boy and barber boy also by night other place to
king nameyana. Ente miad marang daru reking rakabeana
lodge went in search. Then one big tree both climbed
Huring gari re burn ren raja joto kula en-daru-suba-rege
Shortly jungle's king the lion under that tree
soba kada. Sabin kula ko ondo had ked baudia kulao
held a meeting. All the tigers and the tail-cut tiger too
seterakaua. Doba hondo kulako nelked te esui boro keda.
arrived Dhobi's boy tigers seeing got very much afraid
Barandi hon doba hon lija te koto re toljuataiya, enreyo
The barber boy Dhobi's boy with cloth to a branch tied him
imine boro keda chi dokol dokol te aye tola kau koto
nightly, even then so much frightened that trembling the
rapudeyana ondo etere hasa hoso tane eueana. Euton-
dipiiang
branch broke and on ground with a crash fell. With
barandi hon daji keda, "Mara talang saking sabkame,
falling barber boy said "Go on my namesake, catch them,
nekogelang nambatana." Nena ayum kedte sabin kula ko
these we seek." This hearing all tigers
nireana. Chanab do sapakia endo eta tiking sen oy an a.
fled. Afterwards both to another place went.
Sen sente musing nida pang miad rakshas oha reking taiy ana
Going one night one giant's house in both stayed.
ondo liora paete kercha kudlam, bid bor baer, Ghacha hata
and in their way worn out spade old rope, winnowing
71
ondo miad sukuri hon king id torsa kada. Angeyan redo
fan, and one small pig both took. At dawn
rakshas huju lean ondoe neletana chi cha do bitar pahete
the giant came and saw that the house from within
hardeda kana. Ente Bakshas okoy meha mente eukeda
Bit are
was shut- Then giant who is there to find out cried. From
teking kaji ruaiya, "Aling mena linga." Rakshas kuli ked
within both replied, we two are." Giant asked them
kinga, "Ghimin ben peana? Aking kaji keda. " Kaling
peana "
both, "How much strength have you? Both said, "We two have no
Bakshas kaji keda, ' Acha, abena datain nel leka." Ante
strength/' Giant said, "Well, your teeth I will see.' Then
Khirki-hora kercha kudlain king udubaiya. Bakshasa
anae nel
through window wornout spade both showed. Giant that seeing
kete leye udub echi-ked kinga. Aking sidboro baer king
tougue told them to show. They both old straw rope
udubaeya, Bakshas kaji keda, "Aben luturnel-teyain-sanang
showed. Giant said " You two's ear I want to see
tana." Ante chacha hata king ududaeya. Chanab re
Then old winnowing fan both showed. Afterwards
Rakshas kaji keda, "Acha sabinein nel pura keda-boren
Giant said, " Well I saw everything of head
miad siku udubainben," Aking tukuri hen king udubaeya
one louse show me. " Both pig's young one showed
Aking Rakshas king Knlikeda, "Alingado Sabinam
nelkeda,
Both giant asked, " Our all thing saw,
ama leye honang jakam nel achialing redo esu bugina."
your tongue if you show us it will be very good/'
72
Rakshas akinga! kaji manatiugeyana ondo leye udubad
kinga
Giant to both's speech agreed and tongue showed them-
Ente barandi hon Rakshasa leye had-teyae-namtana
mendo
Then barber boy Giant's tongue wanted to cut but
doba hon do esui boroye tana. Barandi hon kaji keda, " Da
Dhobi's boy was much afraid. Barber boy said, "Give
anredo holama-nem-jom-ked-masuri-jang am urainme."Doba
then the Masur seed you ate give me back. >f Dhobi's
hon kaji keda, "Acha anredo hadi reom masurijang
okonetein
boy said, l Well then you may cut him, masur seed where
namana." Barandi hon chilika Rakshasa leye had keda
from I shall get. Barber boy as soon as Giant's tongue cut
ankage Rakshas gurean te goeana ondo anta mayom te
pereana.
soon Giant fell down dead that place with blood
Aking chanab do Rakshas oa kata rama, ti-rama ondo lutur
overflowed. Both afterwards Giant's toes, fingers and ears
king had ketj ata tiking senoyana. En Rakshas iminang
cutting elsewhere went. That Giant was so
dustui taikena chi okoyo aya chate sen keya kaka borsaeya
wicked that no one to his house to go dared.
Ena mente raja hukum tada chi okoye hen Rakshas goia-ini
Therefore the king ordered that whoever that Giant will kill
lo ayain hon arain andi kite ada rajain amaia. Aking-had-
with him my daughter marrying half the kingdom I will give.
ki chanab miad kuntal chatu bari tade te en Rakshas-oha-
Their cutting him afterwards a potter carrying pots past
iapate seno tan taikena. Ghilika en kunkal Rakshas goa
Giant's house was going. As soon as the potter saw the
73
kane nel kia ankage chatu ko taba rapud kete Rakshasoa
dead Giant soon threw away pots in Giant's blood roll-
mayom-ro bati kena ondo osu ransa te ohate rnaena. Ente
ed himself and very gladly to home returned. Then
Kaji biur keda, "Ain (Kunkal) an Rakshas-ain goe kia. f>
declared. ' that Giant killed."
Raja ena-aum-kedte-asui-ransaena ondo kunkal-lo raja-hon-
King hearing that became very glad and with potter
ara loho andi hobaotea din ko din tada, Nepa kunkul do-
princess marriage day was fixed. Now potter to
raja-arain-andi mente aya hon buri sabine ru-nir ked koa.
marry the princess thinking his children and wife all beat
Tik andi-din-tebayan-re doba hon ondo barandi hon kinho
and drove away. When marriage day came up Dhobi's boy and
an raja oha king setereyana ondo king kaji keda, " Aling
barber boy too that king's house arrived and said. " We two
Rakshas do goe taia, hunkal goe tainedo, chikan nisan koe
Giant killed if the potter killed it what signs has he
agutada-aling do ne aya leye, lutur, katarama, tirima
brought ? We two this his tongue, ear, toes fingers
sabina ling agu tade." Neako nel ked redo ko kunkal do
everything have brought/' These seeing potter was
chakad-redo-leka-kia ondo ahako gaha ased taete ru nir kia.
found a liar and sewing up his mouth beat him away.
Ghauab do barandi hon ondo raja, hon era lo andi hobayana
Then barber boy and the princess marriage took place and
ondo asu bugi leka tako taiana.
they lived very happily.
74
Renge Sitiya KahanL
Poor boys' story.
Miaa mido esu range 8itiyae taikena. Aeya engata
Once one very poor boy was. His mother
Buad taikena. En sitia merom gupikete ja bati ko
alone was, That boy goats tending wages they
emaieya entegeking asulentan taikena.
paid him by that both maintained themselves*
Musing din engate baria lad-e baileda, ondo ena mimiad-
One day mother his two cakes made, and that one each
king hating-keda,
both divided.
Sitia lad jomjomte merom gupi senoyana.
By cake eating goats to tend went.
Okontare dimsi goat koa entare
Where daily he penned them
miad kuknruakan daru taikena* En sitia
a hollow tree was. The boy
jomseare-lad na-aye pang jomea men
the cake remaining after eating later on to eat
urukedte en kukuru daru re ema-tuda.
thinking that hollow tree in placed and went*
Ayubpang huju-ura tanre neletana
In the evening while returning found
chi lad do banoa, mendo endar-re miad
that cake was not, but there one
daru harayana ondo en-re lad joa-kana
tree grew up and there-on cakes grew
76
Ena nel kedte en sitia esue ransayatia ondo jo-lad jom-kedte
That seeing that boy very glad became and fruit-bread eating
oa-te eenoyana. Enkage dimsi en sitia meromko
home went This way daily that boy goats
goat taite en dam reya lade joma. Musing dinjoratu-
put into pen that tree of bread ate. One day giantess
en-darusubare seterlena ondo sitiyae kajiatana, *'Aino
under that tree reached and to the boy spoke, ''For me also
talang lad euain me." Sitia daruetege kajikeda,
dear bread drop." Boy from tree spoke,
"Mar ondo ote renj eu-ama," Jomtu-era kaji keda,
41 All right on the ground I drop for you,'* Giantess said
"Kanya, ote-ote-sohano-tedo." Ondo raisa sitia kajikeda,
* I wan't, it will smell like ground/ 1 Once more boy said.
Lija-re ondo atangeme." Jomtu-era kajikeda, "Kanya
"On cloth then receive it " Giantess said. "I won't
lija-lija-8ohanotedo " Atnge agulente ti-rem emain
it will smell like cloth/' You personally coming down in
redo era bugioa." Ente sitia agulente
hand giTe me if will be very good!" Then boy alighting
ti-re emaitan taikena. En dipilang
in hand was going to hand over. That time
jomtu-era sitiya sabki-te bosta-re tolkiya
giantess boy catching in a sack tied
ondo aya oate dupil-id-kiya. Sensente hora-re
and her home carried him on the bead. Walking on way
eni da tetang kiya ondo sitia dona-tui te da nu-te
he felt thirst and boy bringing down from head water
eenoyana. En japa ta rege sitan hoko taikena
to drink went. Near that ploughing men were
76
ondo enko en bosta ko ra keda ondo sitia ko niriehi-kiya
and they that sack opened and boy let run away
Chanab en bosta-re diriko peretira kedteko tol esed keda
Afterwards that sack in stones refilling fastened
eate siuteko ruhayaaa, Jointu-era ruhaleute bosta refya
then to plough returned. Giantess returning sack's
patatn ay a oa*te dupil seter keda, ondo rakedte nele
parcel her home carried on head, and unfastening looked
tan redo sitia kae nam taya. Eate menkeda, "Tisinge
for the boy could not find him. Then he thought " To-day
chakad kidinga, gapado kae poeho-a." Gapater tik
he outwitted me, tomorrow he will not escape/ 1 Next day just
entarege jomtu-era en sitia-e beta-ura-taia. Ayer
on the same spot giantess that boy again met. As
musing leka-ge chakad ki-te sab-kiya ondo bosta-re tol-
before deceiving him caught him and in sack bound
kucha-ki te oate dupilid kiya rneudo netora okontareo ka-e
him to home carried on her head but this time no where
don-keda Ente eni honte era-a kajiado, "Ni
put it down. Then he to her daughter said. " This
tising enj aguakaya ondo isintai-me, ain oraintein
very day I have brought and cook him, I to bathe
senotana. Hoate^era chuila boata-e rakeda en redo
am going. Now daughter when sack unfastened than
sitia honte-era-e subkucbakite basangakan dare udur
boy her daughter seizing boiling water in pushed her
kanju kiya ondo-e nireyana. Jomtu*era orakenete
down and he ran away. Giantess bathing
ruha lea redo honte- era basanga-kan dare goja kan
returned when her daughter boiled water in seeing
nelkite esue ra-honor-heda
her dead much bewailed.
77
Tuyu Ondo Sitanko
P ox and ploughman
Sida nen disutn-re diri, daru, tuyu ondo kula balu-ko
Formerly this earth, stone, tree, fox and tiger bear
kap^ji-tana* An dipilang mido siutan ho ta-te miad
all talked. That time one ploughman to one fox
tuyu huju leaa. Ente metaja chia saking ! Chutu
came. Then said, " Well Saking I rats
kodo-ko si namo tana-chi bano ? Ho kaji kedo-eya
plough out or not? Man said, yes.
saking namogeyako, Enta rege miad bunum taikena.
Saking they are found On the spot an ant-hill was
An bnnum toang kete tuyu do an chetan-re dub ichi
That ant-hill breaking the fox thereon made him
taiya. Huring gari redo tuyua dubui nidir-ko
sit. After seme time fox hip white ants
jom-ptrtu kiya. Ho chanab do miad chutu si-nam-li-te
ate into. Man then a rat ploughing out
jid-tege tuyui amada, Chilika tuyu chutui jom-keda
living to fox gave. As soon as fox rat ate
an-jaked chutu-do dubui-pa horae nir ol tabeyana, Ante
immediately rat hip through ran out. Then
tuyu-do ransa-te ni miad tain, ni miad tain chutu mante
fox through gladness this one my rat understand*
miad ni-ge jom biur tana. Tuyu dubui nelen tan redo
ing the same one ate again and again. Fox hip saw when
aya dubui putuakanae. Ante an hoe kulitana-Chia
his hip was penetrated. Then that man asked-well .
78
Saking dubui-do okoy threiu dalob ichiua. Ho
S/tking hip who will cover. Man
metaitana muchi tare dalob ichin-me. Tuyu muchie
said. " Have it covered by a drum maker." Fox to drum maker
Kajiado-a muchi ain dubui dalob tain-me ondo dimsi
said. You drum maker, my hip cover and daily
mipiad simkoinj aguama. Ohanab-do muchi tuyua kaja
one fowl I will bring you. Then drum maker to fox's words
ayum keda ondo dalob taiyae. Ante tuyu dama sotate
obeyed and covered him, Then fox drum stick with
dubui ru lekan tana.
hip beat,
Musing din tuyu hatute sentana ondo dubui dubu-dubu*tan
One day fox to villages went and his
ru idin tante, eyu idi tanai-chi-ochai paiki parja-ko,
drum. You all people,
sabin nir-atape. Raja-ko huju tana. Nen kaji ayum
all flee away, the kings are coming. This speech hearing
kedte sabin- ko nireana ond tuyu sim-ko aya ji-perejara
all fled and fox fowls to hi* heart's content
kedkock miad-do rnuchi idada. Ankage sabin din sim-ko
eating one he took to the drum maker. In thi& way always fowls
jom jom-te jom chabako tonaye. Musing din sabin ho ko
eating he finished. One day all the people
budi keda. Miad sukuri-oha-re mido buri-ora-ko handed*
devised a plan. One pig-house in one old woman shut .
kur taia. An dipilang-re tuyu dubu-dubu taa ru hujui*
up* That time fox drumming came
tanai ondo dimsi eyui lekage eyu hujui tana. Sabin
and as usual came crying All
lio-ko buriaaa suad-ko bageatuia Okon dipilang tuyu
people women alone left. While fox
seter lena buri era kaji keda "Ne gecha tuyu amge
approached old women said, "There you are ! fox, you
chakad te sabin bimkoin join chabake taaa " Eute tuyu
by deceit all fowls eat up/' Then fox
asui kurkureyana ondo buri-era data-e tuinj rapud kia ondo
very angry because and old woman teeth struck and broke;
sim-ko jom ked koaye. Ohanab-do nireyan horko hujurua
fcnd fowls ate. Afterwards the men who fled re-
t
lened buri era-ko kulikia, "Sari gechi Raja, kodo-ko
turning old women asked, "Was it true that Rajah
huju lena?" Buri- era kaji keda, 4 Su-yu." o
came?" Old women said M Fox"
chanab-do buri-era suku-jang teko tata-rua-liya, ante-ko
Then they old women pumpkin seeds with made her teeth, then
kuli kia ondo buri ara tik-tik "tuyu' mente kaji keda.
they asked and old women Correctly *fox' uttered
Sabin ho-ko bichar keta-chi-abu nen tuyu-bu Sabia.
All the people planned. We this fox will watch,
Ante miad bndi-ko uru nam keda. Ini sabi lagid kit a
then one plan they thought out. To catch him, making
galang tan buri-era murti situad-reya ko bai leda ondo
mat old woman's idol of wax made and
enado tuyu-huju-hora-reko dub tada. Ante tuyu-do huju
on the way the fox used to come seal it. Then while fox coming
tanre kaji keda, buri era! hora atomain-me ban redo dama
said, "Old wpman make way for me otherwise with
o As she lost her teeth she could not pronounce 'tuyu (fox)
but 'suyu' and when artificial teeth were made and fitted
she could correctly say 'tuyu'
sota tern hudnaa meya mendo buri ara jokao kay atomeyana
drum stick hurl at you but the old woman did not move
even a bit
ondo tuyu dama sota-te hud ma kia. Dama sota anrege
and the fox with drumstick hurled at him* The drumstick
in that
atayana, ante tuyu buri-era dama sotaye asi urai tana mendo
stuck, then fox old woman drumstick demanded but she
kaye amaya. Chanab do tuyui kurkureyana ondo buri-era
did not give. Then fox too got angry and old woman
kuam-re tega kia-mendoe atayana. An dipilang sabin bo-
on the chest kicked but was stuck. That time all men
ko nir huju leda ondo tuyu ko sab kia ondo esutikilekateko
came running and fox they caught and very soundly
tarn kia ondo chanab-do tam-tam teko tarn goy rena kia.
beat him and then beat him quite dead-
Raja Hon-Ara Ondo Mantrihon Reya
Kahani.
(King's daughter and minister's son's story)
Asu din reya kaii chi miad raja-a hon ara-ko pura leka-ko.
Long long ago on king's daughters many
taikena ondo miad asu bugin koatani taikena, Sabin
were and one very beautiful. All
koa kui miad school-re geko parao kena Eratan-ko parao
boys and girls in the same school read. For girls the
teya-do chetan mahala-reya ondo koa tan-ko parao teya-do
room was in upstairs and for boys study room was
latar reya. Enka enka-te buring din chanab-re Raja-a
downstairs. in course of time King's
hon-era-ko mantri hon-re esu-ko loveyana ondo eni-lo an din
daughter with minister's son fell in love and with him to
81
teya-ko sanangeyana. Mendo mantri ayer tegaya hon-do
marry wished. But the minister beforehand his son
esu bugilekale kaji samjao taeyae chi Raja hon-era kolo
well instructed him that with king's daughters
alom hepela ondo alom kapajia Enlekage mantri-hon-do
do not meet and do not talk. Accordingly minister's son
aputeya kaji esu tik lekate saitiba keda, mendo enreoge
father's words thoroughly obeyed, but even then
chanab-do perao parao te mantri-hon-do midoRaja-a hon-era
at length during school hours minister's son with one of the
laye apasoraye-ana. Chanab-do baro jakeda mon naiad
sutam
king's daughters came into intimacy. At last both's hearts
were bound into one
re toleyana, Baro jaked king seped hapanumeyan redo
cord Both grew young then to
eta saning disum-te nir teya king sanangeyana. Ente
some distant country to flee they intended. Then
musing tala nida miad sadom-re dubeyan tiking nireyana.
En.
one midnight riding a horse eloped. That
sadoin-do-misa hansa li-re 1 (7) gaudi ujena. Mantrihon
horse once 7 miles galloped. Minister's son
ondo Raja hon-era, jome nuiteya taka poyesa-ko pura-aleka
and king's daughther, for food and drink money ranch
king id keda. Raja hon-era-do miad esu tangan lekan
they took with them. King's daughter one very peculiar sword
torai ida kada. En torai esu lesera ondo ente diri lekan
took. That sword was very sharp and with it anything
kere teya reyo misa ma-a-ke rege odoa. Nepa akinga apn-
hard as stone with one stroke broke. There their par-
82
ko esu-ko nam lekad kinga mendo jan batu reyo kako
beta tad
ents thoroughly made a search for them but in any village did
not meet
kinga. Aking-do misao ka-nelad lekau disum reking
setere*
them. They both a country never seen arrived at
yana, ondo midta redo sen sente da tetang ked kinga. Aking
and at a place in their journey they felt thirty. They
da nam namte miad rakshas-ko oha reking setereyana. En
both water to search a giant's house came to. In
rakshas oha-re ho Kohatan-ko ondo akoa eugaie taikena.
that giant's house seven boys and their mother lived.
I ho-ko bitar-re*te turui ho-ko andia kana ondo sabin koyete
Out of seven six were married and the youngest of
huring ni Damagurguria- do dinda tege taikena. Okon
musing
them all Damagurguria bechelor was. That day
mantrihon ondo raja-honera an rakshas oha king beta
leda, en
when the minister's son and king's daughter to that giant's
reached, that
musing do Damagurguria re era nam lagid Sabin und*
boy a eta
day Damagurguria for bride to search all brothers to a foreign
disum teko sen lena. Mantri-hon ondo Raja-hon-era en
country went Minister's son and king's daughter that
rakshas koa engate da-a nui teya king asitana. Rakshas
giant's mother for water drinking asked. The
Buri era-do Raja-hon-era-e nel ked-te esui ransaeria ondo
old giantess king's daughter seeing became very glad and
aya honte Damagiirguria-re andi teyae sanangeyana.
Buri-era
his son Damagurguria to marry wished. The old woman
keda-ohi an seped (mantri-hon) do Raja-hoa-efa
kumbu lite
thought that youth (Minister's son) king's daughter stole
nira kana ena mente enkinajagar j'agar-te esui gahari ked
away therefore talking to made them very
kinga, enreyo aya hon kodo auri geko Betera. Ohanab do
late, even then her sons did not turn up. Afterwards
mantri-hon ondo Raja-hon-era eta tiking senoyeyana-mendo
minister's son and king's daughter somewhere went-but
senotan dipilang buriera mi chipud leka mani jang eakam-re
at the time of their departure old woman one handful of mustard
seeds in a leaf
chipud kete akinga sadom chadlom te-tol tada.
packing to their horse's tail bound.
manijang okon tare eua, en-ta-re enete miad ba daru
Hilling- saning king senoyana rege
A little distance they had gone when
rakehaeko sabin-ko eeter rua lena, Ente en gate- do
little giants all returned. Then their mother
esui erang ked koa, ondo kajiad koa chi na-age mido esu
scolded them much, and told them just now one very
bugin kuitani mido ho id taeya, anking na-age nir beta
beautiful girl a man took, they two just now run and
kingpe ondo era reye ruai-pe, mani-ba-age otong id-pe-an
reach them and girl snatch, mustard seeds you follow-and
rege be betakinga. Engateya kaji ay urn ked te kau bau ba-
then you will find them. Mother's words hearing hurriedly
followed
a otong otong teko beta ked kinga. Beta ked king redo-ko
the seeds and found them. Where they came over them
both,
mautri-hoa-do ma-a goi teya-ko sanangeyana, Mendo Raja
the minister's son to stay they wanted, But king's daugtr
boa-era esui kaji keda enteko bagetaiya ondo kajia-ko
ter much pleaded then they left him and she said to
tana, 4C Ain am-tege apeloin senoa, mendo ainya miad kaji
them," I willingly with you shall go but my one word
ayumepe" Rakshaeko aya kaji manatinge-yana-ko. Raja-hon
(Damagurguria bage Rete)
listen to", The giants her words listened excepting Damag-
urguria, the
era sabin rakshas-ko panti-re tingu ichi ked koa ondo aya
king's daughter made all the giants stand in a line and her
torai olkete sabin misate ma-a goy ked koa. Ente mantri-
sword drawing all together slew* Then with minis*
hon-lo esu saning taking senoyana. Damagurguria eau
ter's son very far went. Damagurguria in the
renge boa rupre bodola kan-te aking ayer-pa-re aeno tana.
disguise of very poor man before them walked.
Ini nelkete Raja-hon-era esui urui-ana ondo ini sadom gnpi
Him seeing king's daughter was much moved and him to graze
the horse.
lagid king keya kia. Huring din bugi tege senoyana mendo
they took. For some days all went well but
musing din Raja-hon-era-a torai sadom-gupi tani sab keda.
one day King's daughter's sword syce took
Ente mantri-hon doye ma-a goe kia ondo Raja-hoa-era idi
With it minister's son slew and king's daughter to take
teyae sanangeyana. Musing , din Damagurgnria-lo darn
ma-a
he intended. One day with Damagurguria to fell
a tree
teking aenoyana. Darn ma-a dipilang torai-do ote-re em
went. At the time of felling sword on ground
85
ada ondo em-torsa-ge Raja-hon-era aya torai sab rua keda.
placed and immediately king's daughter her sword seized.
Ente chanab-do Damagurguria-ye ma-a goy kia Raja-hon
era.
Then afterwards Damagurguria slew. King's daughter
do aya goya-kan ham-te ta-te senoyana ondo aye japa-re
to her dead husband went and near him
dubakan-te esui ra-a keda. Huring gari rege Singbonga
sitting much wept, Shortly afterwards God in
buri-era rup lene-te huju lenaye. Buri-era kuli kiaye chi
guise of an old woman came. The old woman asked
"Chikan reyam ra-a tana? Ente Raja hon-era aya duku
"Why are you weeping ?" Then king's daughter her sorrows
eabine jagan keda. Chanab-do buri-era esni uruyaua
all related. Afterwards old woman was much moved
ondo enia ham-te jid-rua-kia. Ente chanab-do mantri
and her husband revived. Then afterwards minister's
hon ondo Raja-hon-era-lo en buri-era eeuking manting kia.
son and King's daughter that old woman paid much respect.
Huring gari rege en buri-eraye danangeyana. Chanab-do
Shortly the old woman ranis bed. Afterwards
en disum reking rajayaua ondo esu ransa-te ham- buri king
in that country they became King and Queen and in great
happiness husband and wife
taiyana. *
lived.
Putam Hon. King Rea Kaji
Two Young ones of Dove Story
Munu rea kaji chi miad putam marang daru re bariae jarom
Long ago one dove big tree on two eggs
86
ledk, AIJ jarkm kingete aereeledo raiad aeu bugin andia
laid. Those eggs from the first one very good bull
uri ondo chanabaetedo mido koa tan sitia jonom lena.
and from the second a male child was born.
Koatan sitia do Lita ko nutum kia. Lita marangoin redoe
The boy Lita was named Lita when grew big
andia uri daruite agu kia. An disum rege raja-hon ko
the bull from tree brought down. In that country princes
taikena ondo an ko lo Lita ondo andia uri dimsi king
were and with them Lita and the bull daily both
inunga. Raja-hon ko andia uri chehera nel kite idi tea
played. Princes bull's beauty seeing to take him
ko bichar keda. Musing din raja-hon ko kaji keda,
thought. One day princes said,
**A Lita! tising bu inunga. Am daianredo ale miad uri le
"Aye Lita ! to-day we shall play. You if miss we one bull
emama ondo ale daian redo ama uri le idia", Lita eyad
shall give and we if win your bull we shall take." Lita agreed
k oaye ondo inungean redo ko Lita ge daiana-ante uri maid
with them and when they played Lita won and bull one
nam kia.
he got.
Musing din enka ko kaji teda chi Raja hon-ko dai redo
One day they but princes win if
Lita-bauteya uri ko india ondo Lita daiyan redo barso
Lita-brother the bull they will take and Lita win if two-
takae nameya. Enbetnrango Litage daiyana ondo bar-so
hundred rupees will get. That day too Lita won and two-
takae nam keda, Eta musing Raja hon-ko Lita-a andia-
hundred rupees got. Another day princess Lita's bull
87
uri ondo akoa uri-lo-ko ropo ichi ked kinga, en muaingo
and their bull with made them fight, that day too
aya uri-ge daiyana-ondo pura leka taka-ko emaya.
his bull won and much money they gave him,
Enleka-ge hati-lo misa-ko ropo ichi ked kinga, enreyo
Similarly with an elephant once they made them fight, in that too
Lita-a andia uri-ge daiyana ondo joka leka rajea-ko emaya.
Lita's bull won and a part of kingdom they gave him.
En dipilang Lita-do esui munda-huju-u tana, ente Raja-hon-
That time Lita very rich began to grow, so princes
ko esuko kurkuro tana ondo andia uri idi teya geko sana-
ng7
very much grow angry and bull to take they wanted.
ana* Chanab-te Raja-hon-ko kaji keda, Lita ama uri-lo
Afterwards princes said "Lita your bull with
top-lo bu larsi kinga". En kaji Lita eya kedtege
cannon let us make them fight''. To this word Lita had to agree.
Andia uri kaji keda, U E Lita undi na-do ain top-lo kain
The bull said, "Oh Lita brother this time I with cannon
daigeya enamente am ain gojeyan-re ainya med-king, upnia-
fight. therefore you on my death my two eyes, four
kata-ko ondo chadlorn aguruayeme, ente ama oa duar-re topa
feet, and tail you bring, then on your house door bury
tame. Baria kata-king oa bitar-re, baria baranda pare
them. Two feet within the house, two toward the verandah
ondo med-king-do ayer iiata king japa-re ondo chadlom-do
and two eyes front feet near and the tail
doya kata king ehanab pare topa tame/' Andia uri top-lo
hind feet behind bury them." The bull with cannon
larai kenaye inendo haraoyanaye ondo gojeyanaye. Lita ayer
fought but was beaten and he died. Lita as
88
kajia-kan lekaya rika keda. Raja-hon-ko na-a doko
settled before acted. Princes now
daiyana ondo Lita-a baba-biti-ko reye urai teya-ko
won and Lita's grain and riches to snatch away
bichar keda.
they resolved.
Lita topa tad kataye-te seta-ko, med kinge.te uruking
Buried by Lita from feet dogs, from eyes two black bees
ondo chadlomete aye aye-te hansaoteya hanasa baiyana.
and from tail self-acting ^fc whip was made.
Musing din Raja-hon-ko Lita kulaye toa-ko agu ichi tayeya.
One day princes made Lita's milk bring.
Baria urn-king ayer-tege honan kulaye king nam kiya.
The two bees before hand a hare with youngones and found out.
Chanab-do seta ko, uru-king, jadu reya hanasa ondo Lita
Then dogs bees, the magic whip and Lita
honan tate7o senoyana. Uru-king-do kulaye med king tui-
to the hare with youngones went. Bees hare's eyes stung
tana ; chabuk-do kulaye hansa tana, seta kodo okon pao
the whip whipped the hare, dogs nowhere
kako eeno ichiyaia ondo-ko huaitana. Chanab-do kulaye
allowed her to go and they bit her, Then hare
kaji keda, " Alope gojinga ape janape sananga enageng
said, "Don't kill me, you whatever like that will
emapea." Lita kaji kedo-chi ale janao bono ama toa go
I give you," Lita said 'To us nothing but your milk
ama leme. Kulaye ya keda -ye-ondo Lita toae taue ked*ie
give. Hare agreed, and Lita milking her to the
Raja-hon-ko ta-te id keda. Lita teko kulaye toa taue
princes took the milk. Lita while returning after
89
kete buju Ufa tan dipilang bauakan kulaye-bon kaji keda-cbi
milking the hare the eldest hare's son said
eh ma ainyo iieko loin senoa. Raja bon-ko tate toa-ko id
*'Oh mother I too with these shall go. To the princei they
milk took
keda ondo kulaye bonoy kaji keda cbineko ainya angain
and young hare also s rid, 'These my mother
tayetege toa doko agua kada ondo ainyo nain bujuakana.
from milk brought and I too have come.
Ente Raja hon-ko-sariyatff-ko. Musing din kula toa
Then princes believed, One day tigers* milk
agu lerne ko metaiya Nen dipilango kulaye toa chilika
teKo
to bring they told him- This time too hare's milk as they
agu leda enka rika kede tege-ko aguleda ondo bauakan kula
brought by doing the same they brought and the
eldest cub
honoye huju leiia. Nen dipilango Raja-hon-ko Banyan tege
also came. This time too princes had to believe*
hobayana. JSfen hobayan paiti kore Lita-ge daiyan chi
Raja,
In all these feats Lita having won princes
bon-ko esu-ko kurkureyana ondo larai teya-ko din tada.
were greatly angered and to fight they fixed a day*
Lita-a sepai kodo upnia seta-ko. baria uru-king, miad
Lita's soldiers were four dogs, two bees, one whip* one
banasa, miad kulaye ; ondo mikd kulk ; mendo Raja-hon-koa
hare and one tiger; but princes' soldiers were
sepai kodo pura leka-ko taikena. Lita joko-doy boroy tan
many. Lita somewhat afraid
90
taikena mendo kulaye kaji keda, "E Lita jokao alom
boro-ya
was but bare said, "Aye Lita, even a bit
don't fear
ain-ge sabin goy chaba koa." Larai hobao tar-re kulaye
I all shall kill." In the battle field hare
upun-hisi mon hambal torai-te misa tege Raja-hon-ko ondo
with four-score maund heavy sword at one stroke princes and
akoa sepai koy ma-a goy ked koa. Raja goy-an redo
Chanab-
their soldiers struck them dead. The king being killed
afterwards
do Lita Rajayanaye, Kula-do mantri lekaye taiyana ondo
kodo
Lita became king. Tiger as minister acted, and the others
aye dasi-ko ondo chitra-ko leka-ko taiyana. Lita
became his servants and followers. Lita
ohanab do Raja honte era and! kete esu suku-te pur a- a
eirma
then king's daughter marrying very happily for many years
Lekaye Raja keda.
ruled.
!
Ritui Gondai Reya Kahani
Ritui Gondai s Story
Sida dipilang Jagannathpur-re mido Jagannatheingh nutum
Long ago at Jagannathpur one Jagannathsingh by name
raja taikena. Aya hati-ko ondo sadom-ko pura leka-ko
a king was. His elephants and horses many
taikena. Sangar-te seno redo aye dub hati-re miad sona
were during hunting excursion bis elephant one gold
reya damarkom hakataiya. Kachari oa-do nen barsing
bell hung. His court building the present
91
mena Ganga ram Mankia oa di-re taikena ondo enteyo hati-
Gangaram Manki's housestead was and there to on ele-
re dubakan tege seno tane taikena. En dipilange
phant sitting he used to go. At that time at
Mirgilindi hatu-re Ritui Gondai Sinku taikena. Ni esn
Mirgilindi village Ritui Gondai Sinku lived. He was very
inunda ondo peyaney taikena. Kaji-te ayumoa chi aye miad
rich and strong was. It is heard that he one
ti-tege gel ho koy taba daiya koa. Nen Ritui Gondaia
hand with ten men could figljt. This Ritui Gondai's
hal chal raja-a oa jake setereyana.
news even to king's palace reached.
Musing din Raja-a Gansi hati reya damarkom kumbu kedte
One day King's Ghansi elephant's bell stealing to
Ritui Gondai oa-re uku-te akaring kedaye. Okoy okoy doko
Ritui Gondai's house stealthily sold. Some
meneya-chi en gansige hapate Ritui Gondai oa re haka tuda
say that the Ghansi stealthily in Ritui Gondai's house hung
ente honang Ritui Gondai kumbu sab ichi teyaye bichar
leda*
and to get Ritui Gondai arrested as thief resolved,
Damarkom adeyan re raja sabin hatu ren mnnda manki ko
khabare '
On the loss of the bell king all village Mundas and Mankis news
emadkoa chi okoy sona reya damarkon nam ruainya eni pura
sent that whoever gold bell recover be must
iname namea. Gansi-ko ondo sepai-ko nam tako senoyan-
reward shall get. Ghansis and Sepoys to search went
redo miad abarum-tan sim apir oleyanaye. Apir olen tan
oue sitting on eggs hen flow out. While flying
92
re en sim eona reya aparob-te taki keda. En oaren gnria*
that hen gold bell with wings struck. That house's owner
do Ritui Gondai. En-ho chanab-do kumbu reko sab kia ondo
was Ritui Gondai. That man afterwards as thief was
arrested and
raja ta teko id kia. Raja chanab-do med reya dinkl te
to the King they took him. King afterwards from Dhenki with
rung goji teyaye hukum keda. Gel ho-ko dinki tega keda
to pound to death ordered- Ten men Dhenki paddled
ondo hisi hote Ritui Gondai ko sab kucha kite sel undn reko
and twenty men Eitui Gondai hold and in the hole they
giti kia Eni ai duna-do dinki tela darom keda chanab-do
lay him down. He seven times Dhenki held back, afterwards
aya sanang tege goy ichi kena. Goyki teko dinki-lo-ko
of his own accord allowed himself to be killed. Killing him
with Dhenki they
topa tayeya. Aye topa kan-ta nen barsing jake neloa.
buried him: The place of his burial is seen to this day.
Eni pukuri kuti reko topa tayeya ondo en pukuri-do nen
He was on the bank of a tank buried and that tank even
barsing jaked Ritui* Gondai pukuri-ko nutum tada. En
these days Ritui Gondai Pukuri they have named. That
pukuri-do Jagannathpurete kata chambra pare mena
tank is to the south of Jagannathpur.
Chikate Taniko Hoko Kako Jo-Joma
How the wild dogs men not-they eat.
Misa taniko boko hora sentanko nelad koa.
Once wild dogs men footpath walking saw.
Ente taniko urukeda chi hoko chikate pariya reyo
Then wild dogs thought that men how waste land too
93
sen eenteko bora daiya. Tako menkeda
by walking make footpath. Wild dogs thought
Ohi abu chikate ako leka kabu hora-diaya.
that we how like them not we ean make path.
Abudu bora leka. Ente taniko boray lagidte esu jor
We too try to make path. Then wild dogs to make path very hard
eangiteko jikintana ondo jikijikite dubuiko pora
jointly rubbed their hips on land and by rubbing hips wore
chabayana. Mendo jokao kako bora daiyana.
out completely. But even a bit not they could made path.
Ente taniko urukeda, "Nen paiti re gechabu haratiugeyana,
Then wild dogs thought, "This work in we are defeated,
eta paitire misabu badabadia. Huring din cbanab
other work in once we will compete. Few days after
puraleka boko marang diri garite oretane taniko neladkoa.
many men big stone in a cart drawing wild dogs saw.
En boko en diri sasanre ho teo topa lagidko or-hujuetan
Those men that stone burial-ground dead men in order to bury were
taikena. En paitiko nelkedte taniko kajikeda,
drawing. That work they seeing wild dogs said
"Abuo musing diri orte-bu 8ena." Taniko
We too one day stone will go to draw". Wild dogs
BOtakote diri tari-utab-kete ore-teako
with poles stone raising from ground wanted to
s an an gey an a. Tara tanikodoko tariakada,
draw, Some of the wild dogs raised
ondo tarado ti-kalakoteko udurakada. En
and some with hands and feet pushed That
dipilang tariyakadko laga ked kote a-tada.
time those raising with poles feeling tired let down the poles.
94
Elite udurtanko sabinko diriteko tengqjeyana. Ghanab
Then those pushing all of them with stone pressed to death.
Afterwards*
jid aareyakan taniko kaji, keda "Hon, hon, abu ako-lo
surviving wild dogs said, "No more, no more, we with them
kabn-lapa daiya enamente ako kabu-jom-daiyakoa. En
cannot compete therefore them we cannot eat. That
dipilangete taniko abu-hoko kako jombua.
time since wild dogs us-men do not eat*
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