Actual literary culture of the BPM language began during the second quarter of this century. No written document of the BPM literature prior to this period has yet been found. There are, however, some rudiments of folk literature of this language, which are older in origin and are handed down to this day through oral tradition. These elements of BPM literature originated during the period from the middle of the 16th century to the 1st quarter of the 20th century. Thus, the history of the BPM literature can broadly be divided into two periods, manely, (i) Ancient or Folk BPM literature (from the middle of the 16th century to the 15 quarter of the 20th century) and (ii) Modern BPM literature (from the 2nd quarter of the 20th century on wards). The Ancient or Folk literature of BPM is represented by folk- stroies, folk songs,. folk rhymes and proverbs. Among the folk-stories, those relating to Apãñ or Fool, those relating to imaginary kings and queens, princes and princesses and those relating to the seven daughters of Sarahāl or Saralel are most important. Of the folk songs, the most important are the Rain-Invoking song and the Mädai-Saralel song. The Rain-Invoking song represents a non-Vaisnavite early religion with Pakhanpā or Pähänpa and Saralel as the most prominent gods. The language of the song is also archaic and is replete with words of Tibeto- Burman origin. Moreover, this song depicts a horrible and long- standing famine caused by draught. Such a famine occurred in Manipur during the 1st quarter of the 16th century. From these and other facts, the present writer thinks that the original Rain-Invoking song was composed during the first quarter of the 16th century. The Madai- Saralel song represents a religious and cultural conflict in the Bishnupriya society. Saralel represents a society which is against the practice of taking meat and wine. The language of this song is clearly understandable. From these and other facts, the present writer thinks that it was composed during the middle of the 18th century i.,e., after the propagation of the Bengal Vaisnavism in Manipur. These two songs are very important for the study of the cultural and linguistic history of the Bishnupriyas,* Besides these, there are songs which were sung by women while working in the field. Among the folk rhymes, the most important are those sung as craddle songs and those recited by children while playing. Proverbs form another important factor of BPM folk literature. Proverbs are very numerous and are multi-various in nature. They exhibit the sense of metre, poetic ornaments, minute observation, witticism etc. of the people. The modern BPM literature may be divided into two stages or, more logically, into two types: (a) Early and (b) Late. The BPM literature of the Early Modern period is marked by devotion to God and love for the BPM language and culture. The BPM literature of the Late modern period is marked by the loves and feelings, hopes and desires and joys and sorrows of the writers.
The Early modern BPM literature was initiated during the second quarter of this century by four writers, namely, Leikhomsena Sinha of Singari, Madan Mohan Sharma of Sanicchara, Amusena Sinha of Ciparsangan and Gokulananda Gitiswami of Ratacchara. Leikhomsena Sinha is the author of a drama entitled “Manipur Bijoy’. Madan Mohan Sharma is the author of the number of ‘Kirtana’-type* works, namely, ‘Balipinda’, ‘Hariscandra’, ‘Subal Milan’, ‘Tilottamā’, ‘Basak’, ‘Sudāmā Bipra’ etc. Amusena Sinha also wrote a number of ‘Kirtana’-type works based on the Ramayana, namely, ‘Angada Raybär’, ‘Śaktiśel’, Taranisen Badh’, ‘Nagapas’, Mahiraban Badh’ etc. Gokulananda Gitiswami produced different types of works. He composed (a) a few “Kirtana’-type works, namely, “Naukā-Bilās’, ‘Bāsak’, ‘Mathur’ etc., (b) a number of songs relating to social reformation, (c) a few poems, and (d) two dramas, namely ‘Matrmangal Gitā bhinay’ and ‘Samaj-Saňskär. Of these four writers, Gokulananda Gitiswami is the most popular because of his depth of feeling and refined taste as revealed in his ‘Kirtanas and songs relating to social reformation. The Rāmāyaṇa songs by Amusena Sinha and the drama by Leikhomsena Sinha are really enjoyable. The songs by Madan Mohan Sharma are also enjoyable, but they lack the refinement we find in Gitiswami’s writings. It has been heard that some Durgacharan Sinha of Patharkandi wrote a drama named ‘Babhruvähan which was staged during the thirties of this Century. In Singla, there flourished two writers of songs, namely, Naku Aja and Funei Pandit. They are said to have composed a number of songs relating to the worship of Trinith. There are some living writers who are even now following the Early Modern trend. They are, Krishnadhan Sinha, Gandharaj Sinha, Rohini Rajkumar and Gaur Mohan sinha. Rohini Rajkumar has, of course, written some poems of Late Modem type also. The poems of Early Modem type of these writers do not generally appeal to men of literary taste, as the social make-up has undergone a speedy and remarkable change by now.
A branch of Modem BPM poetic literature, namely, Vaisnava padivali”, which is to be included in the Early Modern type, deserves special mention. At present, a keen endeavour is being made by some “padakartas” or writers of “padavali’s to present the Rädhä-Krsna lila in BPM language. The most remarkable of these “padakarta’s are, Gostha Bihari Sinha, Chanmani Sinha, Senarup Sinha, Kartik Chandra Sinha, Bijay Sinha, Sudhanva Sinha, Birendra Sinha, Gadai Sinha and Braja Kumar Sinha. It is, however to be noted that most of the padivali’s excepting a few by Senarup Sinha, Bijoy Sinha, Birendra sinha and Braja Kumar Sinha, lack the depth of felling, as is expected in a bhakti-cult. The ‘padakarta’s pay their attention more to the form or language than to the rasa or sentiment. They are inclined to use airy and vulgar words which cannot express the deep sentiment of the divine love of Radha and Krsna.
In the Late Modern BPM literature, we meet a number of poets, dramatists, short-story-writers, novelists and essayists. Of the dramatists, the most popular are: (1) Golapsena Sinha, the writer of “Manipur Vijay’ and ‘putra Paricay’, (2) Asvini Kumar Sinha, the writer of “Hariscandra, Säbitri-Satyaban’, ‘Pratyabartan’ etc.. (3) Indra Kumar Sinha, the writer of ‘Haribalá E-hari’ ‘Kailase Lailat, Jarasandha’, ‘Sensas’ etc., (4) Sudhanva Sinha, the writer of a number of comical dramas and founder of a dramatic association called Făgiram, (5) Birendra Sinha, the writer of ‘Kalantik Däkät’ Manur Kathay Ghar Na Bhagiyo’ etc. (6) Debadatta Sinha, the writer of ‘Sumati, and (7) Chandra Kanta Sinha, the writer of “Barunir Kirti” and “Bhrgu O Puloma’, Almost all the dramas are successful and reveal the refined taste of the writers.
Short story writers are very small in number. The most successful short story writer is Brajendra Kumar Sinha, the writer of stories like ‘Sikadeini’, ‘Uttara’, ‘Leimatol’, ‘Belihaan Homaanir Pore’ etc. After him, mention may be made of Indra Kumar Sinha, the writer of ‘Postaphis’ ‘Dhala Cithi’, ‘Chabi’, ‘Hunar Arifi’ ete. All these short stories bear testimonies to the minute observation, deep feeling and refined taste of the writers. Of the younger generation, Shyamananda Sinha, the writer of ‘Aja Babulok (a collection of stories) and Smriti Kumar Sinha, the writer of stories like “Kauhall, ‘Kethakpi, ‘Gat Nei Phul’ etc., are the successful short story writers.
Easayists are also very small in number. The few essayists found are: (1) Kali Prasad Sinha, the writer of a number of essays on social problems and BPM linguistics and (2) Brajendra Kumar Sinha, the writer of a number of valuable eassays on chanda or metre and grammar. After them, the name of Barun Kumar Sinha, the writer of a few essay of literary criticism may be mentioned. Srimati Kumkum Sinha, the writer of ‘Soviet Dese Mi’ deserves special mention as the only sucessful writer of ‘accounts of travel’.
Among novelists, Nangkupi, the writer of ‘Macuhänar Näh Tenuwalah and Smriti Kumar Sinha, the writer of ‘Jaya” are worthy of reference,
Poets of this period are numerous. Of them, the most successful ones are: (1) Madan Mohan Mukhopadhyay, the writer of “Tenna Kakak’, ‘Thaiga’ etc., (2) Senarup Sinha, the author of ‘Satanir Khaurang’ and a number of ‘Padavali’s of high rate, (3) Brajendra Kumar Sinha, the author of ‘Lehão Fulgare,” “Elär Khuttal’ etc., (4) Dhananjay Rajkumar, the translator of ‘Omar Khaiyam’ and (5) Chandra Kanta Sinha, the translator of Kalidasa’s Meghaduta and (6) Kali Prasad Sinha, the author of. Elar’ Mäla and Kavita-Mála”. Besides them, Chandra Badan Sinha and Sashi Kumar Sinha are to be mentioned as successful poets. After them, the names of Chandra Mohan Rajkumar, the author of “Cinkheir Ela’ and ‘Bhut Bhabisyatar Lehä’, Gopinath Sinha, the author of ‘Ningsing, Arati and Kanak Methel’, Kalasena Sinha, the author of ‘Manjuri’ and Acin Pähiya’, Kalu Sinha, the author of ‘Madhu-Malati’, Nil Madhab Mukherjee, the author of ‘Suror Mingal’, HareKrishna Mukherjee, the authorof Meirik. Shyamananda Sinha the author of ‘Kanak Mathou’, Abhay Kumar Sinha, the author of Kavyamay E Raati Ehaan’, Bimal Sinha, author of ‘Aparajita’, Barun Kumar Sinha, Sribas, Amar Sinha, Lakas and Samarjit Sinha are worthy of reference. The poems of Madan Mohan Mukhopadhay, Senarup Sinha, Brajendra Kumar Sinhaand Dhananjay Rajkumar are really appealing. Their poems speak of their depth of feeling and cultured literary taste. Fine and vivid imageries are specially noticed in the poems of Senarup Sinha, Brajendra Kumar Sinha and Dhananjay Rajkumar. From the viewpoint of metre, Brajendra Kumar Sinha’s poems are matchless.
If, however we are to separate a type of latest Modern BPM poetic literature, in harmony with those of Bengali and Assamese, then Brajendra Kumar Sinha and Dhananjay Rajkumar are to be credited as the only successful writers of this type of poetry., After them, the names of Sashi Kumar Sinha, and Chandra Kanta Sinha maybe mentioned. Madan Mohan Mukhopadhy and Gopinath Sinha also partially belong to this class. Of the younger generation, Samarjit Sinha, Shyamananda Sinha and Bimal Sinha may partially be included in this class.
In conclusion, it can be remarked that, though not wide in range, Bishnupriya Manipuri literature has by now developed to a considerably high standard. Despite its short history of about 35 to 40 years, it can stand up in comparision withthe literature of neighbouring languages.
Src: The Bishnupriya Manipuris – Their Language, Literature & Culture, Dr. Kali Prasad Sinha