THE GREAT TRANSLATION ENTERPRISE

Literature as a social entity conditioned by historico-political, material circumstances naturally did not remain unaffected by these drastic changes. Restrictions on the practice of the indigenous faith and widespread patronage of the newly imported alien faith saw a marked rise in the influence of literatures of Indo-Aryan languages, especially Sanskrit and Bengali.

Apart from the changes that can be seen in the formalistic domain of writing, thematic engagements were heavily influenced by the new religion. The two Hindu epics, the Ramayana and Mahabharata, came to assume a central space in the Manipuri literature of the period.

Garibniwaz patronized one Kshema Singh Moiramba to compose the Ramayana in Manipuri. Five young scholars were engaged in the project, viz. Pramananda Nongyai Khumanthem, Mukundaram Khoisnam, Laxmi Narayan Soiba, Ramcharan Nongthomba and Lakhmi Narayan Saikhuba.

Parikshit, a part of the Mahabharata was translated by one of the King's Vaisnavite teachers, Gopaldas. Virat Santhuplon was another work from the Mahabharata produced by crown prince Nabananda. He engaged two eminent writers, Wahengbam Madhabram and Mayengbam Brindavan, to produce this work.

In the sphere of fiction, contact with Indian culture brought about new trends in terms of theme and narration. Mention can be made of Wahengbam Madhabram's Sanamanik, Dhruba Charit, Ananda Pukhrambam's Dhananjoy Laibu Ningba, the anonymous Rupaban and Lalananda Das' Bhakta Gunamrita.

Translation of the Bhagavad Gita is also a notable feature of this period. Repressed and marginalized writers who retained the traditional indigenous faith also worked hard, in the face of severe constraints, to produce remarkable literary works anonymously.

Several manuscripts written during the period extolled the need to protect and nurture the indigenous faith and culture of the pre-Hindu period. A text known as Sanamahi Laikan stands out distinctly with its rich historical, legendary and mythological references woven in an intricate narrative pattern. Many critics have noted the poetic quality of this work. The other great works of this strand are Khagemba Langjei, Sanamahi Laihui and Chingoiron.

The close of the 19th century marks another significant turning point in the history of Manipur. British victory in the Anglo-Manipuri War of 1891 brought the land under British control. This marked a long chapter of foreign rule, the second in Manipur's history since the Burmese occupied it during 1819-1826 in what has come to be known as Chahi Taret Khuntakpa (Seven Years' Devastation).

The British were not only responsible for introducing a new administrative system but also other things like new roads, new judicial system, new modes of trade, schools based on Western system of education, etc. Apart from the technological changes, the British also made inroads in the social landscape of the land with their religion. Christian missionaries played a crucial role in proselytising the non-Meetei people living in the hills.

It seems that the literary domain has not been able to fully capture the long British colonial interlude. Instead, mainstream Manipuri consciousness continued to be steeped in Vaisnavite Hinduism and the rhapsodical art forms it spawned like Sankirtan and Raslila. There was a lull in creative and critical efforts in the field of writing as dance and music enthralled and captivated the collective mindset.

An important literary personality of this transition period, Haodijamba Chaitanya, published four significant works -

• Khamba Thoibigi Warini (1899);
• Khagi Ngamba (1900);
• Takhel Ngamba (1902); and
• Chingthangkhomba (1902).