CHAPTER
IV
RAHASARASVATI12
65 FOLK ELEP1ENT5
*
4
3
AS REVEALLED IN RESPECT OF GROWTH OF STORY
It has already been mentioned that the skeleton of
the main story of the Plahabharata was in oral tradition.^
In course of1 verbal transmission from generation to gsnaration 2 the story imbibed some other incidental stories
to grow voluminous. The first name of the epic was Jaya
3
and it contained 8,800 verses of Vyasa.^ Vyasa taught it
/
to his son Suka and four other disciples namely Sumantu,
Jaimini, Paila and Vaisampayana.
Vyasa himself was pre­
sent in the great snake-sacrifice of king Janmejaya, the
great grandson of Arjuna.^ Being requested by t* ’ king,
Vyasa commissioned his disciple Vaisampayana to recite
the story of the Kauravas and the Pandavas, i.a., the
1. Supra, PP.46-47
Bhattacharyya, H. (ed), Hahabharatam, I.LV.22
2. Ibid : I.1.26
3. Ibid ; I.LVII.20
4. Ibid : I.1.81
Gairola, Vacaspati, Sanskrit Sahitya Ka Samksipta
Itihasa, PP.189-90
50 Bhattacharyya, H.(ed), op.cit.. I.LVIII.128-29
6. Bhattacharyya, H.(ed), op.cit., I.LV.1
(89)
J a y a - k a v y a to the king.
7
In cou r s e o f the recitation
J a n m e j a y a put certain qu e s t i o n s
for more clarification;
e
V a i s a m p a y a n a had to ans w e r t hem by extempore creation of
some o t her stories
m a ted
and episodes.
with the original
And these
were amalga­
J a y a - k a v y a which took the form
9
o f the B h a r a t a and it c o n t a i n e d 24,000
yarses only.
was l ik e l y that the sage el a b o r a t e d the story
king,
haying heard it,
It
as the
r e q uested him to do so.
/
Soon a f ter the snake-sac r i f i c e ,
Saunaka,
the son
o f L o m a h a r s a n a p e r f o r m e d a Yajna in the N a i m i s i r a n y a
where
sage Sauti was also p r e s e n t , ^
Sauti to recite the story
S a u n a k a requested
which he had heard previo u s l y
from V a i s a m p a y a n a at the s n a k e — sacrifice.
He did it
a c c o r d i n g l y with c e r t a i n m ore ad d i t i o n s and alterations.
Thus the Bha r a t a g r e w more bulky to be k n own as the
Hahabharata
verses.
12
and it c o n t a i n e d
1,00,000
y
s l o k a a , i.e.,
13
7.
Bhattacharyya,
H.(ed),
op • c i"t • • I .L V . 21-22
8.
B h attacharyya,
H.(ed),
op.cit., I.LVII.3-11
9.
Bhattacharyya,
H.(ed),
o p . c i t . , I . 1.64
Gairola,
Vacaspati,
op .cit.,
P. 1 90
10 • B h a t t a c h a r y y a , H . (e d ), o p . c i t .,
I . 1.1-2
11 . B hattacharyya, H . ( e d ), o p •c
I . I . 17-21
Vacaspati,
••
12.
Gairola,
op. c i t . , P .190
13.
B h a t t a c h a r y y a , H . (e d ), o p , c i t . , I . I . 63
L
,L I V . 2-9
(9 0 )
P.L.Vaidya and A.D.Pusalker observe : "The present
text of the flahabharata, the ’Great Epic of India', pass­
ing through the stages of 'Jaya' and 'Bharata', came to
be developed from a small beginning, first incorporating
the story of the triumph of the Pandavas over the Kauravas,
then the narrative in detail of the entire Bharata race,
and finally the present encyclopaedic satasahasri samhita
(a compilation of a hundred thousand stanzas),"^ And it
"must have been composed during the period, say, from the
fourth century B.C. to the fourth century A.D."
15
Rightly does observe flonier Williams : "The work,
as we now possess it, cannot possibly be regarded as re­
presenting the original form of the poem. Its compilation
appears to have proceeded gradually for centuries,” 1 6
About \/yasa, who is supposed to be the original author of
the epic, the same scholar asserts that it is nothing but
"a mere epithet derived from the Sanskrit verb vy— as,
meaning 'to dispose in regular sequence', and therefore
would be equally applicable to any compiler," 17
14, Vaidya,P.L. and Pusalker, A, D., The Flahabharata : Its
History and Character, The Cultural
Heritage of India,Vol,II(ed).S .K .De, U.N.
Ghoshal, A ,D, Pusalker, R.C.Hazra,
P ,
51
15. Ibid : P.53
16, Quoted from Rai Promatha Nath Flullick Bahadur's The
flahabharata As It Was Is and Ever ihall
A Critical Study, P,341
17. loc.cit.
B
e
,
(91 )
We have seen "that "the epic, as we have it at present
underwent many changes,
mostly additions* It is ot cou­
rse, the fate of all natural epics; the Illiad or the
Odyssey is no exception* The tradition of" alteration was
•followed in the regional recensions of" both the Indian epic: .
Regarding the regional recensions of the flahabharata,
5.N.
Sarma observes that in Oriyi literature Saral'ii Dasa, one
of the major poets of Oriya language composed the Plahabharat
in the first half of the fifteenth century A.D. Sarala Das.'
monumental work is not a faithful or literal rendering of
the original epic* He retells the great epic keeping the
Oriya life and society constantly in his view. As a result,
we may notice considerable deviations in his version from
the original epic. 18 Similarly the Bengali Flahabharat a com­
posed by Kasiramadasa is not a literal rendering of the
original Plahabharata. To substantiate our hypothesis we can
t
set forth a comment made by S.N.Sarma : ”... on the one
hand he (Kasiramadasa) deleted many stories and episodes
of the original version and summarised many long episodes,
on the other hand he has not failed to incorporate some
popular stories current amongst the masses of Bengal in
his times."
Ramasarasvati also retells the Plahabharata
in a different way to serve his purpose of catexing to the
taste of the masses and imparting some teachings of naot/aasnavism to the folk.
• i
18. Sarma,S.N., Epics and Puranas in Early Assamese
Literature, P.4
19. Ibid ; P.5
( 92)
With his penetrating psychological insight Rimasarasvati very well feels the pulse of his readers and listen­
ers. Having deviated from the original Hahabharata, he
introduces various folk elements at different occasions
which have not defeated the true spirit of the ox'iginal
epic. On the contrary, the new moulding of the story has
an undeniable fascinating appeal to them for whom it is
meant. The elements gathered from the contemporary society
and incorporated in the Assamese rendering have given it
a new. colour* The poet openly confesses that he versifies
the Hahabharata from memory. He writes:
sridharma nirayana /
ajna paya ranga mana //
racilo payara ito /
manata parila yito //
—----—
20
Having received the command of Sri Dharmanarayana,
I gladly composed these verses from whatever came
to my mind.
And also he adds certain folktales, myths, legends current
from mouth to mouth and adds something from the Yamalasamhita and the Hamsakaki; he says:
yamala samhita
hamsakakicaya
aru mahantara katha /
•• ••
____________ _____ ___
20
.
••••
••••
karilo ito racana //
••••
21
Dutta Baruah, H.N. (ed), Asamiya Plahabharata,
(Sindhuyatravanaparva), V .16650
21. Ibid : (Kulacalavadha). V.17162
(93)
________I composed this according to the Yamal -a-samhita,
the Hamsakaki and the narration of the religious
instructors.
It can also be conjectured that the poet borrows some epi­
sodes from various, scriptures. He writes:
bahuta sastrara
3 an m at a ac h ay a
rahasya ati parama /
mukhya mukhya cai
biracilo ami
_
kari ati anukrama //
22
________ There are many scriptures or books (sastra) in
which these episodes are narrated; but I com­
posed a few major episodes from those ones.
So Ramasarasvati has not given stress in faithful transla­
tion of the original Hahabharata; he very often deviates
and introduces some episodes of his. own. A urite i collects
his material from the society in which he lives. UJe there­
fore can guess that the stories which he has narrated are
picked up from his contemporary society of Assam.
/
_
The story of Dusyanta and Sakuntala is not found
in the original epic as its present popular form. Vyasadeva
/
describes how Sakuntala, the adopted daughter of sage Kanva
married Dusyanta after the Gandharva-style marriage without
the knowledge of Kanva. But the Gandharva-style of marriage
has never been popular in the folk society of Assam; Rama­
sarasvati is aware of that. That is why he commingles local
22. Dutta Baruah,H .N .(ed), op.cit..(Vanaparva), V.B443
(9 4 )
colour with the original story. An Assamese girl does not
marry secretly, rather she elopes; the -Father usually has
something to do in the marriage of his daughter, (aruj<
sudhi caul sijowa, the proverb shows that the opinion or
consent of a girl is not important while finalising a
matrimonial relation. In the vernacular flahabharata of
✓
_
.
. L
A 23
Assam Kanva gives 5akuntala in marriage with Dusmanta;
the sage, of course, asks the daughter of her consent;
and it is. perhaps because Ramasarasvati wants to portray
him as a generous and friendly father; --- a man throbb­
ing with real sainthood.
Ramasarasvati changes the story relating to Sikhandi.
/
In the original epic, Sikhandi is born as a girl. But the
parents conceal her sex; and publish that a son is born to
them. The son is married with the daughter of king Hiranyavarmi. When the reality comes out, Hiranyavarraa comes with
his soldiers to attack the kingdom of Sikhandi's father,
Drupada, who has cheated him giving a girl in marriage with
another girl.
It makes the son so humiliated that he leaves
home. On the way through a jungle he meets a yaksa named
Sthunakarna who lends his sex to the depressed stranger.
Kuvera, the master of the yaksa becomes angry to know it;
he curses that the yaksa will not get back his male organ
so long as Sikhandi is not dead.
The Assamese poet omits
23. Dutta Baruah ,H .N . (e d ) , op.cit. , (Adiparva), W . 275-81
24. Bhattacharyya, H. (ed),
op.cit. . V/.CLXXVIII.1 3-1 9 ,
V.CLXXIX.9-24, V/.CLXXX. 17-21
V.CLXXXII.1-59
(95)
the story; ha simply says that Sikhandi is born as such
out o-f the yajna-fire of king Drupada.
25
Carriage between two girls is an absurdity unaccep­
table in any society. And sexual union with a borrowed
male organ is likely to be understood as a pervation. The
Assamese poet avoids such possibility by making Sikhandi
born out of yajna-fire as an eunuch.
The scope of the Vanaparva of Ramasarasvati is very
much extensive than the original. The Assamese poet incl­
udes the following upaparvaa into the Vanaparva, such as:
Adivanaparva, Puspaharanavanaparva, flanicandraghosavana•
•
i
•
parva, Vijayaparva, Vanaparva. BaghUsuravadha, YajtYaparva.
Khatasuravadha, Asvakarnavadha, Janqhaauravadha. Kulacala•
»
vadha, and Sindhuyatra. The poet very often calls these
^
26
—
kavyas Vaisnavaparva.
In their exile the Pandavas had
••
**
many more encounters with demons} their heroic feats have
unquestionable appeal to the people} — — they feal thri­
lled and excited. What is important in this context is
that the poet imparts certain moral teachings to his lis­
teners. The morals are, of course, befitting to the Vaisna• •
vite faith. No evil can ever flourish} it is destined to
be punished. The stories of the Vadha-kavyas justify this
long-cherished conviction of the illiterate folk. The
demons killed by the Pandavas are representatives of car25. Dutta Baruah,H.N.(ed), op.cit.,(fldiparva),VV.933-34.943
26. Dutta Baruah,H.N.(ed), op.cit.,(Adivanaparva).V.3300,
(Baghasuravadha),VV.10314-15,
(Yajnaparva). V«1?fl?3
(
96 )
tain aspects of the evil.
V In order to expand the story of the Assamese .
irlaha—
bharata, Ramasarasvati introduces the \Zadha-kavyas, In
the Vanaparva of the original epic it is clearly stated
that the first ten years of the exile of the IIndavas
27
were almost peaceful and undisturbed.
But Ramasarasvati
makes them encounter untold adversities in the form of
demons and asuras from their start of the exile. He does
it obviously to dramatise the term of exile to arrest
folk-taste. The Assamese poet asserts that the exile of
the Pandavas was for lessening the burden of the earth by
« •
killing the agents of evil.
26
His objective is perhaps to
warn the people against sin and also that destruuLion
awaits the sinners. It is a kind of ethical teaching.
Ramasarasvati avoids detailed rendering of many
stories from the original epic. In the original Vanaparva
Arjuna is said to have spent five years in the court of
29
Indra where he has advanced training of weilding weapons.
Arjuna is cursed by Urvasi there to be an impotent.
Ramasarasvati makes a passing reference to it only in one
verse in the A^vakarnavadha,31 while the episode has been
27. Bhattacharyya,H.(ed), op.cit.,111.CXLVII.5
26. Dutta Baruah,H.ij.(ed), op.cit. , (Adivanaparva),
VV.3560-62,3601 ;
(Vanaparva),7V.7878-79
29. Bhattacharyya,H.(ed), op.cit. ,111.XXXVIII.35-37
30. Bhattacharyya,H.(ed), op.cit. ,III.XXXIX.65-67
31. Dutta Baruah,H .N .(ed),op.cit.,(Asvakarnavadha ),V ♦14872
(
97)
described in different places of the original Plahabharat.a.
The famous story of Savitri and Satyavana of the
Janaparva has not duly translated in the Assamese I'lghabharata; the poet treats it in a small independant kavya
_
33
in the style of Savitri-upakhyana.
We, however, have the
story of king Suparna created after the model of Savitri
and Satyavana. As Savitri went to Yamaloka to bring her
dead husband back to life so also king Suparna ransacked
Yamaloka, Brahmaloka and finally Vaikuntha to recover his
. , son. 34
dead
In the Puspaharanavanaparva, Ramasarasvati descri­
bes how Bhima, during the term of the exile of the Panda—
vas has destroyed the blooming mustard flowers in the
field of a Brahmana named Kanva. Yudhisthira leaves Dhima
with the Brahmana to serve him to compensate the destruc­
tion caused by Bhima. He does all the works in the field.
He kills the wild jungle animals which come to graze on
—
.
the crops. Once Bhima kills an elephant named Sankhadhavala; the elephant has been a cursed Gandharva named
Pusparatha. He goes to heaven after his death in the hands
of Bhima. Being impressed by the feats of Bhima, Brahmana
Kanva asks for his real identity and he reveals the truth.
Then the Brahmana sends him to his brothers; and finally
32. Bhattachaxyya,H.(ed), op.cit.,IiI.XXXII-XL, III.CXLV
33. Planuscript No. 1821, Preserved in the flanuscript Section
of the K.K.Handiqui Library, G.U.
34. Dutta. Baruah,H.N.(ed),op.cit.,(Adivanaparva),
W . 3630-3732
(
96)
he meets them in the Jhau -forest. On his way tn the Jhau
forest, Bhima kills a yaksa. In the Bhasma forest, Arjuna
kills a ya^sa, Agniketu. When they enter in the Lauha
forest, a three-headed tiger abducts Draupadi. Arjuna
kills the tiger. The tiger is the cursed son of Aryama,
named Namadevamalla. The episode of the Puspaharanavanaparva is still popular with our village folk. What pleases
them is that Bhima, the strongest of the Pandavas works
like an ordinary servant, he works for food and cloth;
they find their own image in him. The respect shown by
Yudhisthira to a. cultivator and Bhima's loyalty to the
Brahmana have no less appeal to them. In rural Assam a
Brahmana is still held in high esteem and the people want
to be in his good book.
In the Danicandraghosavanaparva, the Pandavas take
*
*
*
'
shelter near a lake called Astika which is in the Bhavarnava forest. There lives the venomous snake Pundarika;
the snake bites the Paindavas avid Draupadi except Bhima
who has been away in hunting expedition. After his return
Bapu, an accursed fairy in the form of a bird tells Bhima
how he can revive his brothers and Draupadi. According to
the suggestion of the bird Bhima goes and meets a mongoose
and the mongoose carries him to Nagapura to bring the life
giving gem (Sanjivanimani) from the snake—king Dhrtarastra
Bhima is defeated; a snake named Kusaka bites him in his
secret organ and he dies.
\Jayu,
the god of air becomes
(99)
enraged; because Bhima is his son* \Iayu stops air circula­
tion in the Nugapura and the inhabitants there feel suffo­
cated.
It compels Dhrtarlstra to surrender.
He compromises
and gives not only the precious gem but his daughter Acuki
to Bhima as his wife.
He does it to fortify his relation
with the Pandavas and their benefactors the gods.
sarasvati narrates that Bhima,
Rama-
with the help of the gem
succeeds in giving a new lease of life to his brothers and
Qraupadi as wall. Bhima goes back to Nagapura to return
the gem and to bring his newly married wife. The l« i.ng pre­
sents the couple with plenty of wealth and many snakesoldiers.
It has the bearing of the dowry system.
Contemporary history shows us that many small kingdoms are founded in different parts of Assam.
35
Because of
his deep sense of history Ramasarasvati describes, how a
/
_ 36
new kingdom named Dasadhani is founded for the snakes.
The story of the Flanicandraghosavanaparva has grea•
»
tly contributed to the growth of story.
Ramasarasvati
links it up with the Baghasuravadha. Without the Nagaratha,
i.e., the chariot of the snakes Bhima could not have been
able to do away with Baghasura. Being advised by Purandara
Bhima goes to Dasadhani to bring four chariots^^ and ultimately succeeds in killing the demon.
38
35. Sarma, N .C . (e d ) , Darranga Rajayams'avali.Preface ., P.12-13
36. Dutta Baruah ,H.N.(ed), o p . c i t . , (Hanicandraghosavanap a r v a ) . W . ,;444-48
37. Dutta Baruah,H .N .(e d ), op. c i t . ,(Baghasuravadha),
W . 1 1087-88
33. Dutta Baruah ,H .N .( ed ) , o p . c i t . , (Baghasuravadha ),'7.12093
( 100)
Ramasarasvati creates an incidental story which he
describes in the Vijayaparva. The story is about the vic­
torious campaigns of king Dhrtarastra who having borrowed
eye-sight for four months from Narayana,
and being accom­
panied by Vidura vanquishes many powerful kings like
Gajaketu and Tri^ira. The story has direct connection
with the content of rianicandraghosavanaparva
of considerable length of 1085 verses.
39
which is
It is because of
the friendship which Dhrtarastra has developed with the
*
•
»
<
snake-king Dhrtarastra that the snake-king refuses to give
—
40
the life-giving gem to Bhima.
In the Vanaparva, we find how< the Pandavas,
on
their way to the Nikunja forest come across Kalakunja and
y
/
_
SQsaka mlecchas. Sdsaka sucks life out of all the Pandavas
save Draupadi who finally kills them.
Then Indra appears
in the scene and brings the Pandavas back to life.41
In the Baghasuravadha the Pandavas,
leaving the
Bhavarnava forest set out to Brahmaksetra to see sage
Agasti. They, on their way come to the lake Astika and
then to the Sriphalavana and take bath in the Vindutirtha.
Here Flahamaya presents Draupadi with a dish by virtue of
which she will ever have nice clothings and ornaments.
Further Draupadi receives a boon from her to the effect
39. Dutta Baruah, H.N. (ed) , op . c i t . , (Vi.iayaparva) ,V'V.78 13-1 4
40.
Dutta Baruah,H .N .(e d ), o p . c i t ., (Planicandraghosavanap a r v a ) ,\ J ' J .5 2 17-1 0
41.
Dutta Baruah,H .N .( e d ) , op . c i t . , (Vanaparva) ,'
.B 30 5-0 5
( 101)
that she will never be a widow and old. After Sriphalavana,
the Pandavas arrive at the hermitage of sage Galava who
tells them of the way to sage Agasti. On their way, the
sun appearing in the form of a Kirata, helps them to climb
the Valuka mountain. The Pandavas come to the Taraga
forest and the Halaya mountain and finally to the hermi­
tage of sage Agasti. Agasti tells the Pandavas about the
depredation of Baghasura, his origin and his conflict with
king Curatana. At the time of departure of the Pandavas,
sage Agasti gives a necklace to Draupadi. The necklace has
divine power of overcoming of disease, old age, and of
reviving youth and of giving life back to a corpse of twe­
nty days old. The Pandavas go to the Wasanta mountain
where they meet Parasurama. Then they return to Brohmaksetra and stay at the hermitage of sage Satananda where the
sages, and the gods, request them to kill Baghasura. Having
agreed to their proposal, the Pandavas set out in quest
of Baghasura, A great battle is fought between Baghasura,
the tiger—faced demon and his army on the one side and
the Pandavas on the other. The Pandavas, excepting Yudhisthira who has not joined the battle, are initially defe­
ated and killed by Baghasura, but they are revived back
to life by the magic necklace given by Agasti to Dr’aupadi.
Bhima brings four Naqarathas. i,e,, the chariots of the
snakes from Dasadhani to fight with Baghlsura and ulti­
mately Baghasura is killed by Bhima, When killed, white
( 102)
blood spurts out of him to create a lake. Baghasura is the
son of sage Birinci born of raksasi Asarika; that is why
hs has white blood in his person. After killing the other
demons also a scion of" the old royal family is placed on
the throne of Vaiduryagiri which the demon has forcibly
occupied earlier.
Sahadeva, on behalf of Bhima tells Yudhisthira about
the terrible fight of Baghasura with them. He also informs
about the unnatural white blood of Baghasura and the lake
42
which has been created with the white blood of Baghasura.
When Yudhisthira
asks for its reason to sage Satananda,
• «
43
the sage reveals the true identity of Baghasura. Baghasura
is a Brahmin by birth. And the Pandavas have to atone for
the sin of brahminicida (killing a Brahmin) by performing
a yajna, described in the Yajnaparva of the Assamese recen- 44
sion of the PIah abh arat a .
The Pandavas have not have the necessary require­
ments for the yajna. But Lord Krsna appears on the scene
to help them.^"* Krsna
asks for the requirements of the
• • •
Pandavas from Yaduraja, one of his sincerast devotees; and
*
»
Yaduraja himself comes to Brahmaksetra with his subjects
42. Dutta Baruah,H.N.(ed), op.cit..(Baqhasuravadha).
VV.12261-65
43. Dutta Baruah,H .N .(ed), op.cit.,(Baqhasuravadha),V.12267
44. Dutta- Baruah,H.N.(ed), op.cit..(Yajnaparva),
W . 12670, 12680
4 5 . Dutta Baruah,H .N .(ed), op.cit.,(Yajnaparva),V. 12730
( 103)
and "the Material asked f o r . ^ Ramasarasvati imparts certain
lessons through the stories. That a Brahmin must not be
killed; killing any Br^unin is a great sin which leads to
destruction.
' The story has obvious association with the
incident of cleaving the thumb of a Brahmin for white blood
✓
-
described in the Darrang Rijavamaavali.
Krsna has been the friend, philosopher and guide of
• • •
the Randavas. Even then they have to perform the yajna to
wash off their sin. A sin is atlways a sin; and it can be
removed only by obeying the soriptural guidance, no matter
how close one is to God. What is implied in the story is
that God helps the devotees to get rid of any sin. Ue have
seen that without Krsna's
help, the performance of the
««#
yajna would have been impossible; and the sin of killing
a Brahmin would have always haunted the Pandavas. Sin is
natural to man; but repentance cleans it away.
After completion of the yajna. Arjuna kills two
demons namely Plahisa and Kalajangha; and Ytidhisthiru kills
_
4g
a dreadful bird who has blown away Draupadi to the sky.
e
*
•
The episodes of flahisadanavavadha and Kalaj anghavadha are introduced only for dramatic purpose. The killing
46, Dutta Baruah,H.N.(ed), o p .cit.,(Yajnaparva).
VV.13099-13100
47* Dutta Baruah,H.N.(ed), op.cit. , (Yajnaparva).W . 12662-83
48. 5arma,N.C.(ed), op.cit. . W . 2 7 5 - 7 6
49, Dutta Baruah,H.N.(ed), op.cit.,(Yajnaparva).
W . 13607,14206,14293-94
(
104)
o'f Plahiaa danava by Arjuna and the escape of BHinia from his
stomach by piercing the demon's left arm
appeal.
Similarly,
50
have had popular
the destruction o'f the sacrifice of sage
-51
Gautama by Kalajangha
c52
and his running away with Draupadi
have obviously been dramatic.
Destruction o f religious
rites and humiliation o f women are still looked down upon
with horror;
and Ramasarasvati shows that total annihila­
tion is the final fate of such notoriety.
In the Khatasuravadha, the exiled Pandavas have sta­
yed at the Naimisa forest.
One day Bhima,
Arjuna,
Nakula
and Sahadeva have gone out for hunting while Yudhisthira
has gone to a hermitage.
Khatasura,
a demon happens to see her;
him passionate.
her.
Draupadi is alone in their house.
and her beauty makes
He comes to Draupadi and proposes to marry
Draupadi refuses,
and calls for Yudhisthira.
Yudhis-
• »
thira arrives and is killed by Khatasura.
•
•
Then the other
*
four Pandavas are also killed one by one. At last,
fights against him;
Draupadi
and with the advice of Krsna succeeds
»
•
*
in killing Khatlsura with the bangle of her right hand.
Krsna brings the dead Pandavas back to life.
With this story Ramasarasvati adds the story of the
53
king Nahusa of the original Hahabharata. He recomposes it
50.
Dutta Baruah ,H .N .{ed ), op. c i t . , ( Ya.j napa r v a ) ,77. 1 361 7-1 6
51. Dutta Ba r u a h ,H .N .(e d ), o p . c i t . ,(Yajnaparva), 7.13961
52. Dutta B a r u a h ,H . N .(e d ), op . c i t . ,(Yajnaparva),
53. Bhattacharyya,H.(e d ),
7.14025
op, c i t . , I I I .CXL7III-CLII
V.XI-X7II
(
105)
according to his own way. The Pindavas have left for the
Kalyana forest. Being thirsty Yudhisthira sends Bhima to
bring water. There lives a python in the lake from which
Bhima attempts to collect water. The python swallows him
up; the other Pandavas except Yudhisthira have also fallen
victim to the python. At last Yudhisthira goes there. The
python puts four questions to Yudhisthira, and he gives
correct answers. The python recognises Yudhisthira as the
son of Pandu. The python comes to the shore, and he opens
• •
up his mouth so that Yudhisthira can pull out the brothers
one by one from its stomach. The python prays Yudhisthira
to put his hand upon its hood; Yudhisthira does it and the
python, being emancipated turns into king Nahusa who has
long been accursed.
In the original Hahabharata, Nahusa, the python
—
54
_
_
coils round Bhima.
But Ramasarasvati changes the episode.
He describes how the python swallows up four of the Panda—
vas namely Bhima, Arjuna, Nakula and Sahadeva when they
have gone to the lake. The questions put to Yudhisthira
are modelled after riddles, a very popular genre of folk­
lore orally transmitted through mouth to mouth, and reply­
ing to riddles has been a favourite practice among the
folk. Even now, riddles are popular with them. Such riddles
are not found in the original story. Ramasarasvati adds
this folk-element to the story to make it appealing to
the village people,
54. Bhattacharyya,H.(ed), op0cit., III.CXLIX.27
( 106)
The description of the story reminds us of a common
experience of the villagers. When a gigantic crane (Bartokola) devours many ducklings, it cannot fly or move fast.
If the bird is caught and cleft, most of the ducklings can
be recovered alive as Yudhisthira does in case of his bro­
thers. It is quite likely that Ramasarasvati thought of
such a spectacle so common in rural life particularly in
Assam at the time of describing the episode.
In the Asvakarnavadha, Rimasarasvati describes that
amma. mu ir
ir ia
»
r
ii. J n«
—
m
rn
the Pandavas
have stayed on the bank of the river Godavari.
•
•
Once Bhima and Arjuna who have gone out for hunting have
seen a fairy in a hole. When they have tried to pull her
out, the fairy takes both Bhima and Arjuna to Patala, i.e.,
the nether region. The fairy and the kidnapped Pandavas
have introduced themselves; The fairy is Hema Sundari, born
X
/ —
/
in the womb of a fairy from the Saivite king Usina. Asvakarna the demon has killed king Usina and has brought Hema
forcibly as his adopted daughter. Hema has learnt magic
there. She tells that she has brought Bhima and Arjuna only
to kill Asvakarna. She gives them hint to have the necessary
weapons from Varaha-Uisnu to kill the demon. There occurs a
terrible fight and Asvakarna is killed. Hema leads them to
Siva and Parvati. On the way Bhima and Arjuna kill the relativea of Asvakarna for their attack. Siva hands over Hema
to Arjuna and he finally accepts her as his wife.
Janghasura is a demon with thousand heads; a sincere
/
devotee of Lord Siva, He imprisons all strangers in his
( 107 )
kingdom Vaidarbha and sacrifices them before Siva. Janghasura has already received a boon from Siva that none but
he who has not sucked milk from mother's breast will be
able to kill him, and that too, with the ring of a chaste
woman given by god. One day Bhima, Arjuna and Nakula have
entered the Kusumavana of Janghasura for collecting fruits
and vegetables. There they confront Janghlsura who having
defeated Bhima, takes him as captive. Bhima prays to Krsna
for succour; Krsna. sends Garuda for his, release. There
follows a war, and Janghasura is finally discomfited by
Sahadeva with the ring of Draupadi. Sahadeva has not sucked
his mother's milk as the mother died in his infancy. In the
concluding verse of the Janghasuravadha Ramasarasvati glori­
fies Krsna
succeeds to do
•«• and declares that the Pandavas
••
away with Janghasura, the conqueror of the three worlds
only with the help of K r s n a . H e
does it to impress upon
the folk that Krsna and Krsna alone should be prayed to get
rid of troubles and dangers.
Then the Pandavas have arrived at the hermitage of
sage Galava. The sage advises them not to go northward to
avoid danger of encountering Dhumraksa or Kulacala; a noto­
rious demon king. Being questioned by Yudhisthira the sage
tells that Dhumraksa
is the son of a vaisnava
king named
«
• •
Karnadatta.
On one occasion, Dhumraksa
has arrived at a
•
•
yajna performed by sage Agasti. He has devoured all the
55. Dutta Baruah,H.N.(ed), op.cit.,(Janghasuravadha),
W . 15777-78
(
100)
articles kept apart to be offered to the gods. The sage
grows angry and curses Dhumraksa to be Kulacala, i.e.
,
a goat-headed demon. It is because Dhumraksa has taken
the prasada, i.e., oblations in the guise of a goat. Karnadatta comes with his soldiers to punish Agasti, but he is
petrified with a curse. Kulacala is given a territory to
rule over; it is also 3aid that he wall be killed only with
an incense stick and that too, outside his kingdom. The
Pindavaa have decided to kill Kulacala, a great oppressor;
and they enter Ksiravana. The Pandavas are attacked by the
.
■
1
••
followers of the demon-king; Bhima kills them all. Kullcala
himself comes with hia soldiers and kills all the Pandavas
• 4
except Yudhisthira. Yudhisthira prays to Krsna for help
•
•
•
*
•
•
•
who appears there and brings all the dead back to life.
Kulacala faces Krsna
to be killed and be relieved of his
• • •
earthly existence. Krsna kills Kulacala with an incensestick; he also brings stonified Karnadatta
back to human
«
form with the touch of his feet. This is the story of the
Kulacalavadha.
The story of the Kulacalavadha reminds us of the
story of Ahalya in the Assamese Ramayana. Ahalya was stonified and her salvation was brought about by Ramacandra who
C g
touched her with his feet.
In the Kulacalavadha, K a m a -
datta and his soldiers are stonified by Agasti; 5 7 and they
all axe brought back to life by the touch of Lord Krsna.
»
•
59
*
56. fladhavadeva, Asamiya Ramayana, I.XXX\/III.2-4
57. Dutta. Baruah,H.N .(ed), op.cit.,(Kulacalavadha),V.16055
58. Dutta Baruah,H.N.(ed),op.cit.,(Kulacalavadha),W .17419-22
(
109)
Here too, Ramasarasvati glorifies Krsna.
The story of Kulicala is. conspicuously framed with
a view.to preaching Vaisnavite faith among the masses.
Ramasarasvati narrates how kulacala kills four of the
Pandavas; and how Krsna appears on the scene to help Yudhi*
•
•
•
*
sthira to overcome the unprecedented misfortune, KulUcala
fights with Krsna, and prepares himself to welcome death
in the hands of Krsna, He says:
•
i •
isvara purusa tumi
savahara pujya svimi
vadhi moka nakariba rana /
'f
• -U 1 , r
.
tavu hate V3dha yai
- ,r
-
tayu nija rupa pli
—
_ —
59
cakra hani mara etiksana //
■ .............................. —
.................
..................................- ..................... ............. ! ---------
-------- 0 Krsna, you are the Ultimate Reality, 0 my Lord,
you are the only adorable, I am eager to be killed
by your Sudarsana-cakra (i.e., the discus of Krsna)
in this moment.
But Krsna fails to kill Kulacala for the boon of sage
Agasti. Then the sage himself and the gods come there to
provide Krsna with means of killing the opponent, klhat the
poet's aims at is that even a devotee, if oppressive, and
if kills other devotees is sure to be ruined, Krsna himself
says:
mora bhakataka kone nasibaka pare /
bhakatadrohika ami maro sare sire // ^
________ No one can kill my devotee, I surely kill those
who are malicious to the devotees,
59, Dutta Baruah,H.N.(ed).op.cit.,(Kulacalavadha),V.16981
60, Outta Baruah,H .N .(ed),op,cit,,(Kulacalavadha),7.16992
(
110
)
Atrocities and devotion cannot go hand in hand. A
true devotee must not be arrogant and proud of" power.
Ramasarasvati incorporates a "Fight between Arjuna
and Sindhura in the story entitled Sindhuyatra. While the
Pandavas are living near the Dharmaksetra lake within the
5iddhavana, Sindhura who is begotten by Kunti as a result
of physical union with Candra, i.e«, floon before her
marriage performs a sacrifice to propitiate Navagraha and
v/isnu. Destruction of some trees around the hut of the
Pandavas by elephants of king Sindhura leads to fight
dealt with in the Sindhuyatravanaparva. The fight between
Arjuna and Sindhura which follows after the killing of
the other four Pandavas is stopped by the intervention of
Narada.
61
62
Indra reveals the true identity of Sindhura;
/
“
—•
—
63
and the Asvinikumar twin revive the other Pandavas.
The purpose of the \Zadha-kavyas is to show that
there is a divine motive behind the exile of the Pandavas
for thirteen years and that the Pandavas are used as ins­
truments for restoring law, order and moral justice in
the forest regions where only the laws of the jungle prevailed.
61.
64
S.N.Sarma observes: "Though the spirit of devo-
Dutta Baruah, H.N.(ed), op.cit..(Sindhuyatravanaparva).
W . 18654-55
62.
Dutta Baruah,H.N .(ed), op.cit.,(SindhuyItravanaparva),
■J,
16661
63. Dutta Baruah,H .N .(ed) , op.cit.,(Sindhuyatravanaparva)t
VV.18686-89
64. Dutta Baruah,H .N .(ed ), op. cit. .(Vanaparva) ,J'J .7676,641 2
( 111)
tion runs throughout as the main undercurrent of the sto­
ries, the heroic sentiment inherent in the description of
challenges and fights apparently predominate the narra­
tives* The rural audience and listeners of these heroic
kavyas are naturally likely to appreciate such demonstra­
tion of physical strength and power, although the triumph
Q-p virtue over vice and oppression ultimately convinces
them of the futility of such physical strength and power
bereft of humility and devotion*"
In this context we
may say that the backgrounds of the stories are described
after the nature of Assam* It helps the folk to appreciate
the stories better.
The stories incorporated in the most of the Vadhakavyas were current in the then Assam in the forms of
tales, legends and myths, Ramasarasvati has made their
necessary alterations to introduce them in the Assamese
rendering of the Hahabharata with a view to imparting tea­
chings to the folk. "Among the various components" says
S.P.Arya, "of folklore, the prose narrative is the most
convenient form and occupies a significant position in the
folklorology. Distinct from the folk-poetry, the prose
narrative or the 'prose-tradition' is capable of communica­
tion in a regional dialect. It is easier to understand and
it can be conveniently reproduced." 66
There are a fairly large number of myths pertaining
65. Sarma,S.N.t op.cit., P.100
66. Arya, S.P., A Sociological Study of Folklore, P.29
( 112)
to Siva and P5r\/at!. The birth of their son Ganesa "is also
supported by different mythical versions of the folktales.
But the folk-strata commonly believe that before her bathe,
—
67
Parvati had produced him as the door-keeper."
Similarly,
/
Ramasarasvati traces the birth of Kalakunja and Sosaka in
/
gg
the mucus of the nose of Siva.
"The tales about animals are concerned mostly with
their mythical importance and are available in a large
stock."
69
It is very likely that such myths were widely
current among the menfolk and the womenfolk of Assam. Even
now such stories, viz., the fox and the monkey, the tiger
and the crab, the tiger's marriage, the monkey and the cro­
codile etc. are prevalent to a great extent. Ramasarasvati
improvises and renovates some of such stories to that extent
so that these can be regarded as kavyas. In this context we
can refer to the fighting of Sarvagaja, the king of monkeys
- 70
with the king Gajaketu of Karnata
and the fight between
/
_
the mighty elephant named Samkhadhavala and Bhima.
The
story of Namadevamalla, a three-headed tiger is modelled
and developed after such animal-myths; but the Assamese poet
67. Arya, S.P., op.cit., P.30
68. Dutta Baruah, H.N. (ed), op.cit. . (Vanaparva).W . 7960.7970
69. Arya, S.P., op.cit., P.40
70. Dutta Baruah,H.N.(ed), op.cit.,(Vijayaparva).W . 6934-47
71. Dutta Baruah,H.N.(ed), op.cit.,(Puspaharanavanaparva),
W . 4080-84
( 113 )
does not forget to attribute a mythical birth to him.
The poet has hardly been consistent in the narration
of the stories; they axe mostly loose-constructed. Having
introduced some other minor stories within the main story,
the poet indulges in deviations which have robbed much of
the charms of the main stories. He of course, does it to
trace the mythical births of the demons, who are emancipa­
ted for their death in the hands of the Pandavas.
The stories of the Vadha-kavyas are almost similar in
their theme and development. Of course, the names of the
adversaries and the background of the conflicts may not be
same, but the causes of the conflicts, the nature and chara­
cter of the conflicting parties and the ultimate result of
such conflicts are more or less similar. The adversaries of
the Pandavas are demons and goblins. They have to lead such
detested life caused by the curse of some sages, for trangressing religion or for oppressing innocent and holy sages.
These hideous monsters are mostly issues of cross-marriages
and born out of wedlock. As for example, Baghasura is born
as the result of the physical union between Asarika, a female
goblin (Raksasi)
with a sage named Birinci,
•
1
Janghasura is
the product of the culpable union of the sage Pladhu and
— Raksasi.
- 74 What is more, S.N.Sarma observes: "is that
Sarana
72. Dutta Baruah,H .N .(ed), op.cit.,(Puspaharanavanaparva),
VV.4338-4409
73. Dutta Baruah,H.N.(ed), op.cit.,(Baghasuravadha) V.895 6
74. Dutta. Baruah,H.N.(ed), op.cit., (Jarighasuravadha ),
\A/. 15771-73
( 114)
almost all the adversaries of the Pandavas in the forests
possessed charmed lives. They could be killed only after
the secret of their charmed lives had been revealed to the
Pandavas."^5 This characteristic, i.e,, possessing of the
charmed life is one of the important motifs of the Super­
natural tales. Hence, the Supernatural tales current among
the non-elite folk may have taken the forms of klvyas in
the skilled hands of Ramasarasvati. Hence, stories of the
Vadha-kavyas are not solid; having digressed from the main
story, Ramasarasvati inserts some other stories within it
to maintain the style of the pauranic narration.
The original Plahabharata opens with the snake-saciifice of king Janmejaya.'
But Ramasarasvati begins his
recension with the preparation of the horse-sacrifice of
the same king. 77
\Jyasa
appears on the scene and forbids
Janmejaya to go ahead with the proposed sacrifice. He says:
kaliyuge asvamedha yajna paila kotha /
yata manoratha mane save haiva brtha //
/*
nakariba asvamedha badhilo torolka /
78
The Asvamedha—yajha does not suit in the age of
Kali. If anybody tries to perform such a yajha,
all his desires shall go in vain. As such, I am
directed you not to perform such a yajna in the
Kali age.
75. Sarma, 5.N., op.cit., P.132
76. Bhattacharyya,H.(ed), op.cit., I.1.9-13
77. Dutta Baruah,H.N.(ed),op.cit«,(Adiparva),V.5
78. Jutta Baruah,H .N .(ed),op.cit.,(Adiparva),V.20
(
115)
But hs advises the king to listen to the Hahabharata from
7ais"ampayana.79 We can conjecture that the Danasi-cult was
strongly prevalent among the people; and our poet did not
want to antagonise the followers of the snake-cult by des­
cribing the sacrifice meant for annihilating the snakes.
Again, the suggestion of Vyasa is in conformity with the
\/aisnavite faith, which emphasises on chanting of and lis­
tening to Hari-nama for mukti. The Assamese Vaisnavite
poet Hadhavadeva says;
satya—yuge dhyana
trata-yuge yajna
dvapara-yugata puja /
kalita harira
kirtana binai
avara nahike duja // ^
——— ————— meditation suits in the age of Satya and yajna,
i.e., sacrifice suits in the Tretl-yuqa. Puja,
i»e», worship fits in the age of Dvapara, There
is no other means without the chanting of names
of Hari, i.e., Krsna in the age of Kali.
The preaching of Namadharma is conspicuously present
in the change of the opening of the Assamese rendering of
the nah~5bharata.
The Assamese poet knows that the general people are
suspicious; if you are friendly to my enemy, you are inimi79. Dutta Baruah,H.N.(ed), op.cit.,(Adiparva),V. 89
80. Neog, Pl.(ed), Sankaradeva's Kirtana—gh os a and
Hadhavadeva's Nama—ghosa,
Yuga—dharma—nirnaya, V.399
( 116)
cal to me. Asvatthama, who is immortal,
is made the
02
_
General-in-Chief of the Kauraua army.
The Pandavas know
that they will be defeated and ruined if Asvatthima is to
lead the Kauravas. Krsna
cornea to the Kauravas' court at
•
•
83
the time when the Kuruksetra wax is about to break out.
t
Having summoned the Kaurava-leader Asvatthama to him,
Krsna whispers something irrelevant to the impending war
i • •
to his ear. He whispers:
gopya kari bolo toka dronara tanaya /
dhanata tandula have samaste ganaya //
’ ■ll~ l"
■" '
"
'
»
*
patanata kiba hove kaha nista kari /
• •
anna bine pranira iivana yaya raari //
annese dehira sadhya brahma sanatana /
anna bine dehira narahe niranjana //
dharma karma bihina narahe sadlcara /
yata prlni
ache have annese ahara //
•
"r1
—
— —
I tell you secretly,
"“*■Ull,r '■■l“nn"-1 111111 -1
0 son of Drona, that every­
body knows that paddy contains rice. Now tell me
what chaffs contain? Life dies without food.
Food is God (Brahma); without food physical sur­
vival is impossible. Rice is at the root of all
religion and work of all beings. Rice is food
of all.
81. Dutta Baruah ,H .N . (e d ) , op, cit. , (Bhismaparva ).\J, 21 213
82. Dutta Baruah,H .N .(e d ), o p .cit.,(Bhismaparva),V.21215
83. Dutta Baruah,H .N .(e d ), op.cit. ,(Bhismaparva),W . 21250-5 5
84. Dutta Baruah,H .N .(e d ), op.cit. ,(Bhxsmaparva),VV. 21 2 69-7 1
( 117 )
He does it thrice. It rouses suspicion about loyalty and
allegiance of Asvattharoa to the Kauravas. When asked,
Asvatthama repeats what Krsna has whispered to him. But
the Kauravas do not believe; on the contrary, they become
convinced that A/vatthama is in collusion with Krsna to
oc
ruin them.
^
Ramasaraavati shows how Krsna, having exploi•
•
♦
ted the natural human instinct of suspicion, saves the
Pandavas from impending defeat. Because the Kauravas remove
Asvatthama from leadership and make Bhisma the Chief—Commander.
The trick of Krsna must have been to the liking of
the populace. A close parallel to this pseudo-Plahabharata
motif is found in some traditional oral tales current both
in tribal and non—tribal societies of Assam. Like Ramasarasvati, in these tales also the mischief-maker is Srikrsna.
This motif is a very common characteristic of the type
covering The Old Woman as Trouble flaker, (number 1353 in
Thompson and Roberts).
87
The l/ylsasrania is *Itihasa— Purina on account of many
episodes and narratives that have been woven into its
fabrics".
88
_
The book is anachronistic. Bhisma registers
victory over Parasurama and Ravana; Ramasarasvati seems to
*
85. Dutta Baruah,H.N.(ed), op.cit.,(Bhismaparva),7.?1304
86. Dutta Baruah,H .N .(ed), op.cit..(Bhismaparva).7V.21305-07
87. Goswami,P«, Essays on the Folklore and Culture of
North-Eastern India, P.26
88. 5arma, 5.N., op.cit., P.142
(
118)
forget the time-sequence while glorifying Bhisma. The encoun­
ters of the Pandavas in their exile are also included here.
• •
With a beginning of the descriptions of the creation and dis­
solution of the world, the incarnations of Naxayana and the
human activities of Krana Ramasarasvati fails to knit the
• • •
,
89
later stories into an organic whole.
In the Bhima-caritra (or Bhim-carit), an independent
book, Ramasarasvati describes the conflict between the Kauravas and Bhima. As a result of the conflict, the Pandavas
axe exiled from the Jatugrha and they come to the kingdom
of Bakasura, a man-eating demon. There lives a poor Brahmin
family consisting of the old couple and their only son.
Bakasura uses to devour annually one of the human beings
living in his kingdom. It is the turn of the Brahmin family
to give one of them to Bakasura. The Pandavas who have
already taken shelter with the family and have eked out
their livelihood by grazing cow and gathering firewood are
greatly aggrieved to find that each member of the small
family has shown concern for one another; each of the father,
the mother and the son volunteers to go to Bakasura to
be
his food. When Kunti consoles the benefactors saying that
her own son will go to the demon, they are aghast. It is
because a> man does not push a guest of him to obvious danger
for his own good or security. A guest is considered as
89.
manuscript Nos. 2 &. 19, Preserved in the manuscript
Section of the K.K.Handiqui Library,G.U.
Hanuscript Nos,9 5 2 ( A ) &. 9 5 2 ( B ) , Preserved in t h e Dept.
of Historical and Antiquarian Studies, Assam
( 119)
Saksata Damodara, i.e«, God Himself. The unwillingness of
all the members of "the Brahmin family to allow Bhima go to
encounter Bakasura is reflective of Assamese folk—mentality.
Here, Bhima also is a typical representative of those strong
and courageous villagers who are ever ready to face any dan­
ger for greater good of the people.
Next the Pandavas arrive at the Kamyaka forest. Bhima
/
kills a crocodile, an elephant named Sankhacuda and a bird
named Gamiraja. They have been the subjects of Kuvera; and
Kuvera is defeated by Bhima when he attacks Bhima. Failing
to satisfy his hunger with fruits and vegetables collected
from the Kamyaka forest, Bhima, with due permission from
Yudhisthira
goes to the Kailasa to serve Siva as his cowherd
• •
and to earn his livelihood. Parvati assures Bhima of as much
rice as he wants. Bhima together with Kartika and Ganes’a
tend the \/rsabha (bull). Leaving the bull to graze at a cer’"r %
r *
tain spot, Bhima and his two companions go in search of wild
fruits. The bull, on the other hand, enters the hermitage of
sage V/isvamitra and destroys his plantations. When Bhima,
Kartika and Ganesa arrive there, sage Visvamitra accosts
them. Then Bhima catches hold of the bull's tail and whirls
it in the air and drops it finally on the ground. The bull
falls unconscious. Pulling out a Sala tree in hand Bhima
accuses Kartika and Ganes'a of killing the bull. Sage
\l isvi-
mitra defends them. Then Bhima says that the sage himself
has killed the bull as it is lying in his plantations. The
sage smells rat and runs away. Next, Bhima goes to the bull
(
120)
with a stick in hand and the animal in the tear of another
thrashing gets up and runs home quickly.
In meal time Parvati tails to keep her word; and
Bhima gets up halt-ted. He asks her permission to depart
as he tinds there nothing but hemp (bhang) and the beggingbag ot PlaKadeva# Being humiliated Parvati asks her husband
to taka to cultivation. She advises him to procure a plot
ot land trom Indra, the paddy seedlings from Kuvera, the
plough trom Valobhadra and the buttaio trom Yama tor start­
ing cultivation# The buttaio ot Yama and his own bull will
make a nice pair and with his trident as ploughshare he
will be able to plough land and produce a bumper crop.
Flahadeva does what his wife has advised. In3pite ot the
torbidding ot the husband Parvati visits the plantation
and becomes* ecstatic to see the tield with luxuriant paddy
plants. She exclaims Oh? Ah] spontaneously and the two
demons — —
Khoba and Khobi are born instantly. They destroy
the tield#
Flahadeva, being insisted by Parvati cultivates tor
the second time, Bhima is sent to harvest the ripening
crop; he returns only with three shocks. Being unhappy with
the quantity ot the harvest he begins to abuse Flahadeva as
a begger and a hemp-addict who does not know cultivation.
Parvati too, supports Bhima# It enrages flahadeva and ha sets
the paddy on tire, ATter seven days Flahadeva throws a spri­
nkle ot water on it to subdue the tire. It is believed that
__
/
the burnt grains are Ahu and the remaining unburnt are Sali.
( 121 )
Next Bhima goes to the city of Kuvera to collect dry
firewood. He pulls down houses and fastens everything in a
big bundle. He enters the residence of Kuv/era to gather
more; he pulls down the entire palace built with gold and
silver. Kuvera sees him and instantly remembers his past
humiliation in the hand of Bhima. He leaves Bhima at his
sweet will. The big bundle of wood pleases Pirvati and she
gives him rice to his heart's contend.
Parvati is insulted by Kuvera when she goes to him
to borrow money. It is because Plahadeva has not returned
the earlier borrowing of forty thousand rupees; and also
because Bhima has destroyed his property. Bhima prevents
Plahadeva from going to Kuvera personally; he himself goes
to him and brings Kuvera as a captive with six million
rupees on Kuvera's. head. Plahadeva is much moved with the
exploits of Bhima; he asks for his true identity. Bhima
reveals who he is; he further prays Plahadeva for soma
weapons to fight against the Kauravas. Plahadeva gives him
a boon that none will ever be able to defeat him in a
contest of maces. Bhima then comes back to the Kamyaka
forest to his mother and brothers.
Siva is a God extremely popular with the folk. There
is a popular myth in North Bengal and Plithila about cultix
_
vation of Siva and Bhima (a servant, not the one of the
—
90
_
Pandavas).
The story is also found in the Sunya-purana of
90. Chaliha, B.P.(ed), Bhima-^caritra, Preface, P.'10
( 122 )
91
' _
Ramai Pandita (16th century A.D. )
and in the 5iva,yana of
•
*
Ramesvar Bhattacharyya and Raunakrsna Kavicandra (18th century
A . D . ) ^ of Bengal.
In the Bhima-caritra, Ramasarasvati desc­
ribes. the story; but his Bhima is of the Pandavas. The story
presents folklore and folklife o f Assam convincingly. He des_
/
cribes Bhima's gluttony, Siva's, lack of worldly knowledge,
his addiction of gang a (hemp)
and his proverty,
Bhima's fre­
quent use of physical force like a village outrageous young
boy to settle issues — —
all these contribute towards crea­
ting an atmosphere of lightheartedness and humour.
So it is
widely known and popular among all the menfolk and the women­
folk of Assam. P.Goswami writes:
"The great epic lent the
poet the material for several kavyas or epiclets, one of
which waa Bhim— charit, now) a children's classic. The treat­
ment of figures like Bhima, Parvati and flahadeva in 3himchaxit is popular and Bhima, in fact, is partly modelled on
the Assamese cowherd,
resourceful,
god,
a pet of the family but withal pert,
and mischievous.
Hahadeva appears as a folk
a thriftless householder,
loving ease rather than work.
The theme of the k a v y a , but for the episode of the slaying
of l/akasura, has hardly anything to do with the original
_
93
Plahabharata."
J. Handoo observes:
"In all cultures,
it is noticed
that the folk narrators vary their texts according to the
91. Ch&ttopadhyaya, B .H. (ed ), Sunya-purana,Atha casa.V’J, 1-80
92. Chaliha,
B.P.(ed),
op.cit. , Preface, P.'10
93. Goswami,
P«, op.cit» , P.150
(
123
)
demands and preferences of their audience. A narrator can
make the narration shorter or longer or ev/en add, develop,
or leave oui^ "the whole episode#**
The Vaisnav/iiie and the
neo-Vaisnavite poets of Assam incorporate folk elements,
such as folktales, myths, legends, riddles, proverbs etc.
to their writings from their contemporary folk—societies.
Ramasarasvati simply follows his predecessors and re—moulds
the story of the Hahabharata to make room for episodes
which were most likely current among his contemporaries.
P.Goswami writes: "To separate myths from the general body
of oral tales in a class is often difficult, for myths tend
to be confused with hero legends and etiological tales and
even tales of the Harchen type."'
"The Assamese story­
teller's is a world between fact and fantasy and in this
world animals jostle with men, men talk with animals, and
both men and animals find pleasure in outdoing others in
wit and cleverness. It is a world where birds and beasts
think like men and where things change their form whenever
it is necessary. There is humour, horror and pathos, and
there is beautiful weaving of fancy. These are common fea­
tures of Harchen and from these have been derived some of
the major types of the fiction of civilized m e n . " ^ The
observation made by P.Goswami justifies the different sto­
ries that Ramasarasvati describes during the exile of the
Pandavas. Because of their familiarity with such or similar
stories the folk accept them with all their hearts.
94. Handoo,J., Current Trends in Folklore, P.22
95. Goswami,P», Ballads and Tales of Assam, P.82
96. Ibid : PP.84-85