THE UNSUNG GIANT OF MANIPURI LITERATURE

Hijam Irabot emerged as a towering personality whose overarching presence was felt in almost all aspects of life and consciousness in contemporary Manipur. His radical vision and activities left an indelible mark in the collective psyche of the Manipuris.

Apart from being the most charismatic and visionary leader in contemporary political history of Manipur, his contribution to Manipuri literature has been immense. A pervasive legacy of marginalising and obscuring this great personality from the Manipuri mainstream consciousness in the interest of the prevailing power structures-from the colonial and feudal period till today-can be seen clearly.

Hailed as the first truly modern poet of Manipur, many of his works were published posthumously. Some have not been published till today.[⁷]

A pioneer in different spheres of life, Irabot was the first to start a literary journal in Manipuri. Titled Meitei Chanu (Meitei woman), the first volume appeared in 1922 with contributions from great poets like Kamal.

His early work titled Seidam Seireng (1924), a collection of poems, was prescribed as a text for schools in Manipur. He wrote the first travelogue in Manipuri titled Mandalay Khongchat (A journey to Mandalay).

As a radical revolutionary leader spearheading organised resistance against feudalism and the British imperialism, he steadfastly refused to be daunted by imprisonment, deportation, banishment and exile.

An interface between Irabot and history took place during his imprisonment in Sylhet Jail (now in Bangladesh) in 1941.[⁸] It resulted in the production of some of the finest poems in Manipuri literature.

Titled Imagi Pujah (The Worship of Mother),[⁹] the poems Irabot wrote during his imprisonment in Sylhet were published posthumously only in 1987. A first glance at these poems immediately strikes the reader with its profound engagement with varied themes like identity, nationhood, patriotism, struggle against injustice, emancipation of the exploited, etc.

His poems in this collection (Imagi Pujah) attempt to capture a historical picture of Manipur since the pre-colonial era to the grim realities of contemporary Manipur. A commonly held view amongst critics of Manipuri literature is that if Irabot's poetry were published during the colonial period, those would have made substantive impact on the revolutionary politics of the day.[¹⁰]

Post World War II Manipuri literature saw a new trend with playwrights like Haobam Tomba and Sarangthem Bormani drawing deeply on the rich ballads and legends of Moirang.

• Tama Salon Saphaba,
• Pidonnu,
• Thainagi Leirang,
• Sajik Thaba and
• Thaja Thaba by Tomba, and
• Kege Lamja,
• Tonnu Laijinglembi,
• Nura Santhalembi and
• Haorang Leisang Saphabi by Bormani