Gajendra Thakur
A PARALLEL HISTORY OF MAITHILI LITERATURE- PART 14
Final Conclusion
Audre Lorde writes in *The Transformation of Silence into Language and Action*: *"Poetry is not a luxury. It is a vital necessity."* For Dalit poetry this is literally true.
Videha's Dalit literature translation project from this comprehensive perspective works simultaneously on **five levels**:
**Linguistic level**: **Bridge-building** between Telugu, Gujarati, Odia, and Maithili.
**Literary level**: **Entry of the Dalit voice** into the Maithili canon with new poetic principles.
**Cultural level**: **Preservation** of the cultural memory of various Dalit communities the Qalandars' bear-dancing, the cobblers' Laanda-knowledge, the Dalit woman's sari's edge.
**Political level**: Showing the Maithili reader the **pan-Indian reality** of Dalit oppression with the message that the **Dalit of Mithila** and the **Dalit of Andhra** are partners in the same fate.
**Historical level**: The **planting of seeds** of a Maithili Dalit literary tradition which will not itself be Videha's translations, but the Maithili Dalit writing inspired by them.
In Basudev Sunani's words this is the literary form of that **vow**:
*"Here a seed has vowed to germinate *
*with the wish to make everything green."*
**This seed has been sown.**
The soil in which it has been sown is the soil of Mithila. The seed that has been sown is the seed of **truth, of justice, of human dignity, and of the Dalit voice**.
And the tree that will grow that will be the tree of **Maithili Dalit literature** with its roots in the soil of Mithila, its branches in the thought of Ambedkar and Bhimanna, and its leaves made green by the energy of Videha's Parallel Literature Movement.
Annexure-1- Vidyapatis verses, from the Vidyapati Padavali edited by Nagendranath Gupta
Translation from Maithili: *Vidyapatis Bidesiya* [Original Maithili Gajendra Thakur; English Translation: Gajendra Thakur] (The Exiles Song)
There exists a parallel universe to Vidyapati's *Bidesiya* the Maithili plays of Vidyapatis *Nach* tradition. This universe includes the Ramkhelavan Mandal of the village Katghatra, in Shivajinagar block, Samastipur district, along with Bindeshwar Mandal. There, the Maithili chorus would rise with songs like "Mother, oh Mother, get me a gun, for I shall be a soldier"a sentiment that still echoes in peoples hearts. This troupe would stage verse-plays such as *Reshma-Chuhar*, *Sheat-Vasant* (Winter-Spring), *Alha-Udal*, and *Natua Dayal*.
From Purnia, the team performing *Piya Desantar* (Maithili *Bidesiya*) would travel to places like Supaul, Saharsa, and Samastipur. They would perform plays like *Hasan Husan*. The Ramraksha Choudhary Natyakala Parishad, from the village Gayaghat, Kariyan Panchayat, Post Vaidyanathpur, Samastipur district, took Vidyapatis plays all the way to Gorakhpur. Other plays staged by this troupe include *Laungiya Merchai*, *Vidyapati*, *Chini ka Laddoo*, and *Basat*.
While Bhojpuri literature is less rich than Maithili in terms of *quantity*, in terms of *quality*, it surpasses Maithili in several domains. I speak of this in the context of Bhikhari Thakurs *Bidesiya* from Bhojpuri. Bhikhari Thakur lived as a migrant in Calcutta, and when he returned, he wandered from village to village, singing his sorrows with such poignant force that his *Bidesiya* play was born. In Mithila, migration is a recent phenomenon; villages stand deserted. The people of Mithila have spread to every corner of the country. But earlier, the kind of mass migration seen in the Bhojpuri region was unknown in Mithila. Migration was largely limited to Morang, which is part of the Mithilanchal region of Nepal. Consequently, there is a significant lack of detailed folk narratives in Maithili. What exists is not the story of a folk hero, but rather the elaborate, often cumbersome, depictions of epic heroes in Maithilinothing comparable to Bhikhari Thakurs *Bidesiya*. Consider the narrative of *Salahes*. It transcends regional boundaries: Salahes transforms from king to thief, and from thief to king. Similarly, Chudamal crosses regional limits; where Salahes becomes king, Chudamal becomes a thief, and where Salahes is called a thief, Chudamal is known as a king or a powerful figure. Yet, no research has been conducted on these figures.
In this context, while examining the verses of Vidyapatis *Padavali*, a variety of songs appeared before me. Most of them contained descriptions of the pangs of separation between loversfar removed from the core concept of *Bidesiya*, which is migration born of economic necessity. It was then I found some pure *Bidesiya* verses, which Vidyapati called *Piya-desantar* (Beloved gone to another land). Most of these were naturally found in Vidyapatis *Nepal Padavali* and one in a collection edited by Nagendranath Gupta. Morang, being a part of Mithila located in Nepal and historically known for out-migration, is a likely reason for this.
Based on this foundation, this conceived play is presented.
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Vidyapatis *Piya Desantar*
Scene 1
On stage, our *Bidesiya* (the migrant) is bidding farewell to go work abroad, while a woman (the wife) sings. Amidst the song, a traveler appears. On another side of the stage, thieves are lurking. On yet another side, the *Kotwal* (constable) sits with a superior air, his hands placed on his belly, clad in a spotless white dhoti.
**In Raga Dhanashi** (from the Vidyapati *Padavali* obtained from Nepal):
*Ham yuvati, pati gelah bides.*
*Lag nahi basae padausihu les.*
I am a young woman, and my husband has gone to a foreign land. Not a trace of a neighbor remains nearby.
*Sasu nanand kichuao nahi jaan.*
*Ankhi rataundhi, sune na kaan.*
My mother-in-law and sister-in-law understand nothing. Their eyes are clouded, and their ears do not hear.
*Jaagah pathik, jaah janu bhor.*
*Rati andhar, gaam bad chor.*
O traveler, stay awake, thinking it is dawn. The night is dark, the village is full of thieves.
*Sapanehu bhaaor na dea kotbaar.*
*Paolehu lote na kare bichaar.*
Even in a dream, the constable does not keep watch. And if you trip, he gives no thought.
*Nrip ithi kaahu karathi nahi saati.*
*Purakh mahat sab hamar sajaati.*
The king here punishes no one. All the great men are of my own kin.
*Vidyapati kavi eh rasa gaab.*
*Ukutihi bhaav janaab.*
The poet Vidyapati sings this rasa. Through this verse, the emotion is made known.
Vidyapati, the poet, enters. A man in a white dhoti arrives, accompanied by a poor man. The *Kotwal* instinctively delivers a judgment in favor of the man in the white dhoti. The young woman seated at the other corner of the stage wails in despair. The last four lines of the song are sung by the poet Vidyapati.
Scene 2
The young woman has opened a shop, symbolically. From the other side, the mother-in-law and sister-in-law depart. As a traveler approaches to make a purchase, the young woman begins to sing. After each line, Vidyapati appears on stage, explains the meaning, and then dissolves into the darkness. However, for the final line, Vidyapati sings, and the young woman then elaborates on its meaning.
**In Raga Malava** (from the Vidyapati *Padavali* obtained from Nepal):
*Badi juri ehi taruk chhaahari, thaame thaame bas gaam.*
The shade of this tree is most cool. Villages are settled here and there.
*Ham ekasari, pia desantar, nahi durajana naam.*
I am all alone, my beloved is in a foreign land; the name of no wicked person is known here.
*Pathik he, etha leh bisaraam.*
O traveler, rest here.
*Jat besaahab kichhu na mahagh, sabe mil ehi thaam.*
Whatever you wish to buy, nothing is expensive. Everything is found here.
*Sasu nahi ghar, par parijan nanand sahaje bhor.*
My mother-in-law is not at home, my relatives are far away, and my sister-in-law is simple by nature.
*Etahu pathik vimukh jaab tab anaaiti mori.*
Even after all this, if you were to leave disappointed, then I would be truly helpless.
*Bhan Vidyapati sun tane yuvati je pur parak aas.*
Vidyapati says: Listen, O young woman, you fulfill the hopes of strangers.
Scene 3
Vidyapati is not present in this song. The young womans sister-in-law is seen turning away a traveler. Seeing this, the young woman is reminded of her own beloved, gone to a foreign land. Addressing her sister-in-law and a friend, she sings. A friend interprets the meaning after each line.
**In Raga Dhanashi** (from the Vidyapati *Padavali* obtained from Nepal):
*Paratah parades, parahik aas.*
*Vimukh na kara, abas dis baas.*
In a foreign land, one is always at the mercy of strangers. One should not turn anyone away. Shelter must certainly be given.
*Etahi jaana sakhi piatam-kathaa.*
O friend, understand this as the tale of my beloved.
*Bhal mand nandan he mane anumani.*
*Pathike na bola tutali baani.*
O dear sister-in-law, judging right from wrong in your mind, do not speak harshly to the traveler.
*Charan-pakhaaran, aasan-daan.*
*Madhurahu vachane kara samadhaan.*
Wash his feet, offer him a seat. With sweet words, console him.
*E sakhi anuchit ete dur jae.*
*Aor kara jat adhik badai.*
O friend, it is not right for him to go so far away. Instead, sing his praises even more.
Scene 4
The young woman and her sister-in-law have arrived in the city. When a traveler comes seeking shelter, the young woman sings, and the sister-in-law explains the meaning after each line. In the middle, four lines are sung from backstage without explanation. Then the young woman continues singing, and the sister-in-law again provides the meaning. At the end, Vidyapati appears and sings the final two lines. As the scene ends, the sister-in-law remarks, The day I was turning away the traveler, you did not approve. But today, why did you not give shelter to this traveler?
**In Raga Kolara** (from the Vidyapati *Padavali* obtained from Nepal):
*Ham ekasari, piatam nahi gaam.*
*Te mohi taratam deite thaam.*
I am all alone, my beloved is not in the village. Therefore, I am torn about where to offer shelter for the night.
*Anatahu katahu deaitahũ baas.*
*Dosar na dekha padaosio paas.*
If anyone were nearby, I would show you shelter somewhere else.
*Chhamah he pathik, kara hame kaah.*
*Baas nagar bhami anatahu chaah.*
Forgive me, O traveler, and go. Seek shelter elsewhere in the city.
*Aantar paantar, saanjhak ber.*
*Parades basa anaaiti heri.*
The frontier is vast, it is evening time. Staying in a foreign land, one must consider the future.
*Mora man he khanahi khan bhaang.*
*Jauvan gopab kat manasij jaag.*
My mind breaks from time to time. How long can I hide my youth while desire awakens?
*Chal chal pathik kara pa kaah.*
*Baas nagar bhami anatahu chaah.*
Go, go traveler, do... what? Seek shelter elsewhere in the city.
*Saat pach ghar tanhi saji del.*
*Pia desantar aantar bhel.*
I had prepared the house for him, seven or five homes worth. But the beloved went to a foreign land, and distance has grown between us.
*Baarah varsh avadhi kae gel.*
*Chaari varsh tanhi gela bhel.*
He was to be gone for twelve years. Four of those years have now passed.
*Ghor payodhar jaamini bhed.*
*Je karatab taa karah pariched.*
The clouds are thick, the night is deep. Whatever is to be done, decide accordingly.
*Bhanai Vidyapati naagari-riiti.*
*Vyaaj-vachane upajaab piriiti.*
Vidyapati says: Such is the custom of the city. With seemingly harsh words, love is actually fostered.
Scene 5
Vidyapati is not in this scene either. A traveler arrives, but the mother-in-law and sister-in-law, seeing no one, hesitate to offer shelter and move on. The young woman sings.
**In Raga Ghanashi** (from the Vidyapati *Padavali* obtained from Nepal):
*Uchit basae mor manmath chor.*
*Cheria burhia kare agor.*
My situation is fitting for the thief named Cupid. An old female servant keeps watch.
*Baarah varakh avadhi kae gel.*
*Chaari varakh tanhi gelaan bhel.*
He was to be gone for twelve years. Four of those years have now passed.
*Baas chaahit hoa pathikuha laaj.*
*Sasu nanand nahi achae samaaj.*
The traveler is ashamed to seek shelter. Neither mother-in-law nor sister-in-law is here for company.
*Saat paanch ghar tanhi saji del.*
*Pia desantar aantar bhel.*
I had prepared the house for him, seven or five homes worth. But the beloved went to a foreign land, and distance has grown between us.
*Padeos vaas joenasat bhel.*
*Thaane thaane avayav sabe gel.*
The neighbors house now feels a hundred yojanas away. All my family and relatives have left for far-off places.
*Nukaabia timirak saandhi.*
*Padausini deae phadaki baandhi.*
The crowd of people has vanished into the darkness. The neighbor-woman has latched her gate.
*Mora man he khanahi khan bhaag.*
*Gaman gopab kat manmath jaag.*
My mind breaks from time to time. How long can I hide my departure while Cupid awakens?
Scene 6
In this scene as well, there is no sister-in-law, no mother-in-law, and no Vidyapati. A guest arrives just as the rains begin to pour. The young woman sings.
**In Raga Dhanashi** (from the Vidyapati *Padavali* obtained from Nepal):
*Apana mandir baisali achhalihũ, ghar nahi dosar keva.*
I was sitting in my own home, there was no one else inside.
*Tahikane pahia paahon aael barisae laagal deva.*
Just then, a traveler-guest arrived, and the heavens began to pour.
*Ke jaan ki bolati pisun patausini vachanak bhel avakaase.*
Who knows what the gossipy neighbor will say, now that she has the opportunity to speak.
*Ghor andhaar, nirantar dhaara divasahi rajani bhaane.*
The darkness is deep, the rain incessant. Day seems like night.
*Kanone kahbah hame, ke patiaet, jagat vidit panchabaane.*
To whom shall I tell this, and who would believe it? For the deeds of Kamadeva are known throughout the world.
Scene 7
On one side of the stage, the mother-in-laws body is being carried out after her death, and the stage goes dark. When light returns, the sister-in-law is being taken away by her in-laws. A traveler stands among the audience. Gesturing toward the audience, the young woman sings. Vidyapati explains the meaning after each line. For the final two lines, Vidyapati both sings and provides the meaning, repeating them several times.
**From the *Padavali* edited by Nagendranath Gupta:**
*Saasu jaraatur bheli.*
*Nanandi achhali seho saasur geli.*
The mother-in-law has grown ill. The sister-in-law has also gone to her in-laws.
*Taisan na dekhia koi.*
*Rayani jagaae sambhaasan hoi.*
There is no one to be seen. For conversation, one would have to stay awake all night.
*Ehi pure ehe bebaare.*
*Kaahuk keo nahi kare puchhaare.*
This is the custom in this city. No one asks about anyone else.
*Mori piatamka kahaba.*
*Hame ekasari dhanikat din rahaba.*
To whom shall I tell my beloved? I am alone; how many more days must I live?
*Pathik, kahaba mor kanta.*
*Hama sani ramani na tej rasamantaa.*
O traveler, tell my lord. A woman like me does not long retain her youthful zest.
*Bhanai Vidyapati gaabe.*
*Bhami-bhami virahini pathuk bujhaabe.*
Vidyapati sings. The woman in separation wanders and wanders, explaining the path to the traveler.
As Vidyapati sings, he seems to stumble. As darkness begins to spread, a figure emerges from the shadows towards the young woman. Is it she? The one from *Piya Desantar*?! Yes! Or is it not?!
A blurring occurs*Piya Desantar* dissolvingand amidst the music on stage, a final tableau is struck.
This concept of *Piya Desantar* is thus presented before the discerning audience. Amidst the current plight of the Maithili migrants (*Bidesiya*), this offering is presented with deep respect to the great poet, Vidyapati.
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*(Based on Vidyapatis verses, from the Vidyapati Padavali edited by Nagendranath Gupta.)*
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