PECULIAR KEEPERS OF THE ORAL TRADITION

Manipuri literature till the 17th century has been said to constitute its early period. Ritual songs and hymns composed before the advent of the Manipuri script[²] form part of the corpus of the literature of the early period.

These songs and hymns are not treated as folk songs or part of folklore as they were not widespread amongst the people. Neither were they handed orally through successive generations. They were confined to a certain erudite section of performers whose performances were limited to 'particular ceremonial functions, ritual observance and festive occasions.'[³]

The manuscript Panthoibi-Khongkul gives an account of the religious and social festival known as the 'Lai Haraoba' where the Khaba community paid homage to the deity Nongpok Ningthou and his consort Panthoibi.

This festival, believed by scholars to be part of the cosmological theory of creation in Meetei myth, is a repository of numerous songs. Significant among these Lai Haraoba songs found in Panthoibi Khongkul are the 'Ougri', 'Khencho', 'Anoirol' and 'Lairemma Paosa'.

'Ougri' and 'Khencho' are much more archaic in diction and steep in historical allusions. 'Ougri' is also mentioned in the manuscript Laisra Pham as a coronation song on the occasion of the ascension of Nongda Lairen Pakhangba in AD 33.

The royal chronicle known as Cheitharol Kumbaba begins with Nongda Lairen Pakhangba's ascension to the throne in AD 33. Another manuscript titled Naothingkhong Phambal Kaba refers to the 'Ougri' as an important aspect of Meetei culture and tradition. The lines of the first part of 'Ougri' comprise of six syllables each while those in the second part comprise of eight syllables.

Noted for its cadentic quality, 'Khencho' remains as an obscure and unintelligible literary piece to the modern generation. Still considered as one of the most important components of the Lai Haraoba festival, this immensely rhythmic song is characterized by its archaic diction. It consists of lines of six syllables each. 'Lairemma Paosa' and 'Anoirol' are based on the theme of love.

Diction appears to be comparatively simple in these songs with a lyrical flow created through alliteration and rhythm. Another song associated with the festival is the 'Hijan Hirao', a long narrative poem extremely lyrical and sentimental.

Some other prominent songs associated with rituals are 'Ahonglon', 'Yakeiba', 'Pakhangba Langyensei', 'Langmailon' and 'Kumdamsei'. 'Ahonglon' is important as it is mentioned in the manuscript Loyumba Sinyen, a written codification of laws and customs dating back to the twelfth century.

Another important aspect of the literature of the early period was the treatment of heroism. Rivalry and clashes between the clans resulted in the development of martial skills. Bravery and courage remained central to the numerous conflicts that created a martial culture.

It dominated the spirit of the society till the late 19th century. Anonymous writers[⁴] of the early period dealt with the saga of heroism in numerous works like Chengleiron, Tutenglon, Numit Kappa, Thawanthaba Hiran, Chainarol and Nongsamei.

Chengleiron stands as one of the earliest known text in Manipuri literature whose style has been widely followed. Opening with a dedication to the patron king, the lyrics are meant to be recited or sung. It is a narrative that spans three generations of kings of the Chenglei clan.

Interesting narrations are found in Numit Kappa, an allegory with a strong political overtone which still commands a wide practicality in today's Manipur where there are inter and intra ethnic clashes over power.

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