Revisiting Pacha's Imphal with critical prism
- Part 1 -

Ronid Chingangbam *

Literary trends in Manipur do reflect the idea of decadence in a society and its environment. The problem with an eminent Manipuri literary work like Imphal Amasung Magi Ising Mungshitki Phibam by Pacha Meitei is the misplaced allegorical employment of the imageries of a fallen woman's morality to represent the aggregate ills that afflict the same society he belonged too. This smacks of the hardened patriarchal conception of what constitute Manipur civilization and development.

Pacha Meitei's Imphal Amasung Magi Eesing Nungshitki Phibam is one of the most celebrated modern novels in Manipur. It makes a wonderful attempt to reflect and unfold the real imageries of 1960s and 1970s Manipur. The period was considered the beginning of rampant corruption, immorality, general depravity and degeneration of the society.

The so called 'decadence' of the society was at its peak. The novel touches the cultural sensibility and daily tension of lower middle class strata of Manipur. The first edition of the novel was published in 1972.

The timeline of the novel is an interesting as well as important aspect of the novel. The 1960s and 1970s were a time of drastic changes and major upheavals in Manipur literature; from idyllic and romantic writings of Dr. Kamal, Hijam Anganghal, etc, to realism and modernism spearheaded by Shri Biren, along with Thangjam Ibopishak, Yumlembam Ibomcha, etc.

It was the time of popular discontent of the people with the Indian political system. Many political outfits were formed like the Revolutionary Government of Manipur (RGM), Pan-Manipuri Youth, etc, to resist the imposition of Indian rule in Manipur. It was also the time of major movements for revival of the indigenous religion, i.e. worship of Sanamahi and rejection of the 'alien' culture and religion - Hinduism.

However, more than two hundred years of Hinduism had already made un-retraceable inroads into the lives of the Manipuri people, especially the Meiteis. Therefore, culturally too it was a period of 'crisis' for the people.

Pacha Meitei took full advantage of this historical backdrop in his novel. He felt the need to present a new Manipur to the people; the other side of Manipur, which is ignored or not seen by the people as a part of the social system. This is the reason why the protagonist of the novel, Thanil, is born and brought up in Silchar. Thanil's dream is to visit Imphal once as his family for generations believe that "Manipur is a holy Place, It is a land of Govindajee, and lives of the people are very pure".

Imphal to him is a Utopia – a "Golden" ideal land where nothing can go wrong. He romanticizes the idea of Meitei Chanu as the perfect Thoibi in Moirang Kangleiron. But, the reality of Imphal was something else. Thanil reaches Imphal and stayed in a hotel. In no time, his dreams and ideas of Holy Utopian Manipur shattered.

Many critics and readers hail Pacha as one of the most revolutionary modern Manipuri writers. There is no doubt that he has set a new trend of writing by using flashbacks and expressionistic narrative style, steam-of-consciousness, realism, etc.

However, the thrust of this article is to examine his treatment of the women. There is a considerable corpus of secondary material on Pacha's Imphal Amasung Magi Esing Nungshitki Phibam, however, there is no mention of Pacha's perspective on Manipuri women in his works.

Women:

Pacha laments the victimization of women but from a Meitei patriarchal perspective. He conforms to certain hegemonic patriarchal structures that we see in most Manipuri male. It is no surprise that our critics have missed this pertinent aspect as patriarchy and patriarchal structures are considered 'natural' in Manipur. Indeed, this gives us ample evidence/reason/logic to draw inferences about the Manipuri society and the critics, who belong and subscribe to this larger mind-set of the patriarchal society.

Just after Thanil reaches Imphal, from his hotel room, he overhears a drunken husband accusing his wife, Sunita of an extramarital affair. The wife felt guilty as she had relationship with one of her husband's friends before marriage. Later the friend joined the husband for drinks and when they were drunk, they called out Sunita to judge the arguments.

The two men wanted her to serve them. The entire episode made Sunita cry helplessly. Here, through Sunita, Pacha portrays the helplessness of housewives in Manipur who are victimized by their husbands/in-laws for petty reasons. Strangely, in the case of Sunita, it was her past life.

During his stay in Imphal, Thanil often remembers his love Ketukee, a helpless rural girl from Silchar, who sought pity and favour from Thanil for her illiteracy and for being born a woman. He remembers embracing her on the last night they met and their last conversation.

Therefore, I am asking you something that you want – Tell me, … phanek?

She looked down and started laughing before I could complete

Why are you laughing?

That's sacrilegious! How can you say such a thing?

How true it is? 'phanek'! Initially, I saw nothing wrong in it. I also laughed. (Imphal Amasung Magi Eesing Nungshitki Phibam, Page 30)

The conversation shows how Thanil who is a professor, feels a distinct discomfort when he utter the word phanek (Traditional Sarong). His deep-seated patriarchal notions come to the fore again when he was invited to a local businessman's party. He found everyone speaking English - which he felt was a betrayal of one's mother tongue Manipuri - women wearing saris, cropped hair and consuming alcohol. He found it highly objectionable that there were women in the party. He is shocked that women in his 'golden motherland' are consuming alcohol.

Thanil, who has never touched alcohol in his entire life, came back to the hotel room drunk and unconscious. He, then, remembered his colleague Priyalata's words: "People say, Manipuri Meitei women are very beautiful", Thanil, who has visions of beautiful Meitei Chanus in phanek, mild and docile, was utterly shocked.

Again, in the room next to Thanil, stay a middle aged woman and her daughter, Rose who hailed from the hills. He noticed Rose going out every evening and being driven back to the hotel in cars late in the night. Thanil saw Rose as a girl influenced by western lifestyle. He questioned himself as to how the mother and daughter earned their living?

He got suspicious and even followed her one evening. He tracked down Rose in the shady market area and found her naked in a bed with another man. He also found out that his friend hotel manager was sleeping with Rose. One evening, he asked Rose's mother where Rose was. The mother said she had gone out for work. Further he asked, "Is your husband still alive?" She did not reply instead she said, "We who live in the hills, have a very miserable life." Then he murmured to himself.

I don't know.

The kind of clothes Rose and her mother wear, the way they live their life – their activities – moral conduct, I have to be eyewitness to them- diseased and infested with the prevalent moral order of the day- and stop! Unable to do a thing….if that was the case than the hills would be civilized beyond imagination. This is the truth. Surely, there would be big bars, big roads, motorcar, taxi, etc…

The wonderful creation of the Almighty.

(Imphal Amasung Magi Eesing Nungshitki Phibam page 70)

Finally, when the mother and daughter left the hotel, he could tell himself that Rose was a commercial sex worker, yet strong willed and resolved.

To be continued..