THE FIRE OF SONAKHAN “SONAKHAN KE AAGI” – AN EPIC HEROIC CHHATTISGARHI VERSIFICATION OF BRAVEHEART VEERNARANYAN SINGH BY LAXMAN MASTURIYA
Dr Vineeta Diwan1 Mr Arun Jaiswal2
Assistant Professor, English, Department of Arts and Humanities, Kalinga University, New Raipur e mail- diwan.vineeta@gmail.com,9340666247
Assistant Professor, Department of Journalism and Mass Communication, Mandsaur University, Mandsaur e mail- arunjgzp@gmail.com, 9026053870
ABSTRACT-
Veernarayan Singh, the benevolent landlord of Sonakhan, spearheaded the revolt of 1857 in Chhattisgarh. He was leading the rebellion of Sonakhan against selfish feudal lords and their illegal hoarding of grains during the severe famine. The rebellion was finally crushed by Deputy Commissioner Eliot. Veernarayan Singh, the brave heart and a man of fiery character, kissed the noose on 10 December 1 1857 and gave away his life by confronting the British army in order to save the life of his fellow rebels. The long narrative versification of “Sonakhan ke Aagi” by Laxman Masturiya, an eminent literary figure, lyricist, singer , poet and writer of Chhattisgarh chronicles the valour and heroism of Shaheed Veernarayan Singh in the form of an epic heroic poem in Chhattisgarhi language. The poetic narrative sings the glory of the land of Chhattisgarh and martyr Veernarayan Singh who emerged as a fire of revolt from the land of Sonakhan. The composition of poetry in the language of the soil enhances the beauty of the narrative and propels the essence of nativity and ethnicity of the region. The inspiring poem and the signature art of Laxman Masturiya highlights the iconic persona of Veernarayan Singh as an unforgettable saga, an inspiration for the future generations as an exemplar for ages to come.
keywords– language development, Apabhramsha, Indo Aryan , Bhakti, medieval, modern phase
Chhattisgarhi language, just like other languages has evolved from old Aryan language. The language of the Aryans gradually changed with advancing times and underwent great transformations leading to the formation of many modern languages and dialect. Chhattisgarhi language is also one of the language developing from the Aryan as parent language. Chhattisgarhi emerged as a dialect with advancing time. According to the eminent linguists the linguistic development of Indian languages is divided into three categories-
[1] Classic Indo- Aryan language era- 1580-500 BC
[2] The Medieval Indo- Aryan language era- 500BC- 1000 BC
[3] The Modern Indo- Aryan language era- 1000 BC- till date
The Classic era language is evident in the vedic literature, scriptures and first stone tablet of Sanskrit known as Girnar stone tablet of 150 BC credited to Rudradaman. With the advent and emergence of Buddhism in Chhattisgarh the usage of local language also came into play along with Pali as the common medium of exchange. The later dialects denominated as Apabhramsa meaning corrupt or non grammatical language was the one that deviated from the norms of the Sanskrit grammar. Apbhramsa is a prominent source to study the linguistic history from the period spanning from 12 to 16 th century. Chhattisgarhi language is believed to develop from Ardhamagadhi Apabhramsa that also led to the development of East Hindi, Awadhi and Bagheli. Chhattisgarhi is a dialect evolving from East Hindi having no literary works created in olden times, but in recent decades the language acquired richness with literary works glorifying the Chhattisgarhi indigenous and evolutionary cultures.
The Saga era literature in Chhattisgarh was infused with gestures of courage and love which did not follow any scripting rules and succeeded orally as folklores from one generation to another. Later in the modern era these oral forms came under scripting which included Kevla Rani, Ahiman Rani, Rewa Rani and Raja Veer Singh’s sagas which were some of the leading and exceptional works. The mythical narrations included Phulbasan and Pandwani. The sagas were written were written as treatise poetry which described occult practices, life of people , fundamental desires and helplessness of womankind. The medieval saga showcased Fulkunwar devi, Dholamaru, Lorik Chanda as prominent works. The compositions of this time reflected Bhakti literature and the advent of Kabirpanthis in Chhattisgarh. Some of medieval literary figures included Babu Revaram, Prahlad Dubey, Gopal Mishra and Makhan Mishra. The modern age of Chhattisgarhi literature started from 1900 onwards which included novels, short stories plays and much more.
Laxman Masturiya was an eminent poet, lyricist, singer and literary genius of the modern literary age of Chhattisgarh. He was also the editor cum publisher of the monthly magazine “Loksur” and was awarded ” Aanchlik Rachnakar Samman” by the former Governor of Madhya Pradesh. Apart from literature, Laxman Masturiya was also interested in politics and fought elections on the behalf of Aam Aadmi Party from Mahasamund in the year 2014.
The literary art and poetic style of Laxman Masturiya is a pen picture and realistic portrayal of the simplicity of rural life of Chhattisgarh, its people and their culture. His poetries voiced the true essence of Chhattisgarhi life, its social and religious traditions, the myths and beliefs of the region that placed him in the category of ” Jan Kavi” or ” The People’s Poet” . Though he composed some of his literary works in Hindi also but it was his outstanding contribution in Chhattisgarhi language and literature that brought an overwhelming response from the audience and popularized his works. On one hand his works convey the helplessness of the poor, downtrodden and dejected and on the other hand Masturiya strongly voiced the fury and blazing flames of India’s freedom fighters by depicting the heroic character of Shaheed Veernarayan Singh, the first freedom fighter and revolutionist from Chhattisgarh who threw a tough challenge against the British rule.
“Sonakhan ke Aagi” or ” The Fire of Sonakhan” is an adoration and a glowing tribute to the martyr Veernarayan Singh through an Epic Heroic versification in the form of a block poetry depicting his life journey, right from his birth to the last breath of his life which was infused with patriotic feelings and revolutionary ideas against injustice towards mankind. The poem showcases visual imageries, metaphors and similes to the zenith of ornamental language chosen to highlight the infuriating character sketch and biography of Veernarayan Singh. The poem greatly appreciates the land of Chhattisgarh blessed with the bounties of nature generating a favourable atmosphere for its growth and cultural diversity. The poem Sonakhan k Aagi begins with the glorification of Chhattisgarh state and its rich cultural diversity, its position in India and its proud factor:
( translated in English for this research work by the contributor)
Dharam Dham Bharat Bhuiya k
In the holy land of India
Manjh ma he Chhattisgarh Raj
The central region is of Chhattisgarh raj
Jihan k maati Sonha dhanha
This land’s soil is as rich as gold
Loha Koyla ugle khaan
And the mines disgorge coal and iron
Jahan Sihawa k maatha le
There from the facade of Sihava
Nikle Mahanadi k dhaar
springs out the Mahanadi
Paavan Pairi Shivnath teer
And near the holy Pairi and Shivnath
Sahar pahar k mangalhaar
Cities garland like Mangalhaar
Jonk nadi Indravati tak le
From river Jonk to Indravati
Gadh Chhattisgarh Chhati kas
looks like broad chest of Garh Chhattisgarh
Utti bar Sarguja katakat
The North lined by furious Sarguja
Dakkhin Bastar baagi kas
And Bastar is the rebel rising in South
Purab le Sarangadh garje
Sarangarh roars from the East
Pachhim le Rajnandgaon
And Rajnandgaon from the west
Ek na ek din rar machahi
to announce that one day he will revolt
Beta Mor Son pankhin k
My son riding on the wings of gold
In the above four stanzas the poet begins with the glorification of Chhattisgarh as state situated in the centre of India. He regards India as the holy land of which Chhattisgarh is a crucial part. He denominates Chhattisgarh as the ” Chhattisgarh Raj” to highlight its rich legacy of Princely states on which the denomination of the state has been done when it boasted of thirty six forts and their rule. He glorifies the rich mineral deposits of Iron and coal as they are abundant in the Bastar, Korba and Chirimiri region. The soil of the state is rich soil due to which Chhattisgarh is also known as the “Paddy Bowl” of the country. Masturiya maintains the theme of glorification of land and its people throughout the poem and personifies Chhattisgarh as a brave mother of a brave son, about who she predicts that one day he will bring a revolutionary change in the state, a turbulence by riding on the “golden wings” which is a metaphorical expression of Sonakhan, the birth place of martyr Veernarayan Singh.
Sonakhan is a small town in district Raipur, tehsil Baloda bazaar is also a Panchayat abounding in large scale tribal population basically consisting of Gond, Binjhwar, and Kanwars. The land of Sonakhan still buries in its heart the fire of rebel when Naxalism broke out during 1967 at Naxalbari district of North Bengal. The spirit of revolution is depicted to be deeply embedded not only in the land of Sonakhan but also in regions of Rajnandgaon and Bastar which was the pivot of the multiple freedom movements against Britishers in Chhattisgarh including names like Thakur Pyarelal, and Tribal rebellions including the Halba, Maria, Muriya, Rani rebellion and the famous Bhumkal revolution lead by Gundadhur, the brave fighter of Bastar. The names of the places allude the stories associated with the acts of bravery performed by great revolutionaries and freedom fighters from Chhattisgarh during the war of Independence. The proud Mother Chhattisgarh (Chhatisgarh dai) is confident that one day her son from Sonakhan will surely bring about a turning point in the historical chapters of Chhattisgarh. Laxman Masturiya’s style establishes a strong connection between Veernanaryan Singh and his native state.
The lines further indicate some of the most renowned cities of Chhattisgarh and the reasons behind their credit and fame. Not only the descriptions talks about places but also the culture of Chhattisgarh and places of spiritual significance. The stanza reflects the prominence and spread of Shaivism among the common people who worship Lord Shiva not only for his wrath but also as a a benevolent God who drank poison for the sake of humanity. There have been allusions of Sage Valmiki and Raja Harishchandra and Dharamraj Yudhishthir who have close connections with Chhattisgarh.
Jahan Bhilai Korba Thade
Where Ghilai and Korba exist
Patthar sirmit bhare khadan
And have rich stone mines and cement plants
Tamba, peetal, tin, kaanch ke
Where brass, bronze, tin and glass
Ihi maati ma thathi khan
This is the soil where they are found in abundance…
Shiv base jihan mankhe man ma
Where Shiva rules the mind of his people and is worshipped
Amrit baat karen bispaan
Who after distributing the elixir of life to all gulped poison
Maya me maate mud katawe
Who out of his wrath had cut the head ( Lord Ganesha)
Daya ma jeev tak de dai daan
And who out of love can even do charity of life
The mythology tales of Ramayana and Mahabharata are strongly connected with the region of Chhattisgarh or Dakshin Kosala. The state has a significant role in the life of Lord Rama, whose maternal home is situated here and is the birthplace of his mother Mata Kaushalya. It is believed that Lord Rama along with his wife and brother Laxman had started their exile in the Dandakaranya region of Bastar where they spent more than ten years out of their fourteen years of exile. Presently the work is in process for the Ram Van Gaman tourism circuit which aims at developing such places which were linked with Lord Ram including nine locations – Sitamarhi Harchauka, Ramgarh, Shivrinarayan, Turturiya, Chandkhuri, Prayagraj, Sihava, Chitrakoot, and Sukma with a budget provision of Rs 137 crores 45 lakhs.
Shaivism is regarded as one of the oldest religious beliefs in Chhattisgarh which is a large number of Shiva temples in the region. It is believed that a particular religious sect was at times promoted by the rulers of the state and in this context the Kalchuris who ruled Chhattisgarh for loner times promoted Shaivism who is believed to be their ideal God. During their rule they constructed large number of Shiva temples and also Shaivism is evident in the coins, scriptures and images at temples. Through the legendary and mythological references of Lord Shiva and Lord Ram, Masturiya highlights the rich and strong ethical grounds of the people in Chhattisgarh deeply influenced with the preaching of Ramayana and deriving inspirations from the life of Lord Ram and Lord Shiva, who for the sake of the world drank the poison and distributed the elixir of life to all. If Shiva’s wrath can destroy, his love has the ultimate credit of creation.
Masturiya further highlights the significance of Valmiki’s ashram located at Chandkhuri and where Sita is believed to spend her life with her sons Luv and Kush who gained education at Valmiki’s Gurukul. He also regards the legendary tale of Raja Harishchandra who was the son of Chhattisgarh and who for the sake of truth and charity was even ready to give away his life. He regards the soil of Chhattisgarh as gold and no less magical than touchstone which transformed every normal or inferior thing into gold when he praises
Saran pare bhikhmanga aaen
Beggars came here for refuge
Chhin bhar ma hogin dhanwan
And in no less time they became rich
Tapsi aaen ihi maati ma
Hermits came to this land
Mya karin ban gin bhagwan
And became demi Gods when they loved this land
Praising the soil of Chhattisgarh Masturiya further adds that changing times in the history of the state also changed the circumstances and situations and everything became topsy turvy. A time came when the honest suffered hand to mouth condition whereas the dishonest and cheats led a luxurious life. He expresses sorrow over the people who came here to seek rfuge in their worst time and after they became self sufficient they exploited the people of the state who once pitied them and gave them shelter. In other words Masturiya strongly criticizes the outsiders coming to the state and later exploiting the natural resources, bounties of nature and the local people whom they eyed as the inferiors and low class.
Land acquisition is the core of political and social disputes in the tribal areas of Chhattisgarh. On one hand the Naxal extremists enforce their justice by supporting land alienation and on the other hand the government’ s definition of development is industrialization which follows the policy of moving tribal people out of their land and expose the rich subterranean territories. Masturiya also exposes the exploitation of th local people by landlords, zamindars and extortion of money from the poor as taxes.
Masturiya shifts the subject steadily from exploitation of the locals to the exploitation of the nation when he contextualizes the Revolt of 1857 and its heroic figures from all over India. e presents the big picture of the revolt all over India and depicts how it was led by Veernarayan Singh at Chhattisgarh who took the command of the state :
Foonkin sankh san santawan ma
In the year 1857 they blew the conch
Kaapin bairi ge ghabray
The enemies were frightened
Sah Bahadur Laxmibai auw
It was Shah, Bahadur, Laxmibai and
Nana Tope Surinder Sahay
Nana Sahib, Tatya Tope, Surinder and Sahay
Mandsaur le Khan Firoza
From Mandsaur it was Khan Firoza
Gwalior k Baija Rani
From Gwalior it was Baija Rani
Saheed Kunwarsingh Aarawaale
Shaheed Kunwarsingh from Aara
Maanpur k mardan baaghi …
And Mardan Baagi from Maanpur
Uhi samay ma Chhattisgarh k
At that time only from Chhattisgarh
Garajis Veernarayan Singh
Veernarayan Singh roared
Ramrai k baghwa beta
The lion cub of Ramrai
Sonakhan dharti k dheer
Was the brave heart of Sonakhan
Masturiya portrays Veernarayan Singh and his string contribution in the revolt of 1857 when the central state also led the movement. He discusses the drought of year 1857 when the villages starved and numerous people died. He reflects the intensity of the draught and famine by using the phrase “even root cultivations were not there to eat”. The severe famine even made the birds and animals also migrate. At this time the business class people had their coffers full of money and Godowns full of grains. In order to help the poor Veernarayan Singh nearly begged before the landlords to give him grains on credit so as to help the poor and needy. The rich and selfish landlords refused to help Veernarayan, in turn of which, he robbed off the entire grain and distributed evenly among all villagers. The business class and the feudal lords complained the British officials who immediately got Veernarayan arrested and later brought to Raipur for keeping imprisoned. However Veernarayan did not give up before the British and absconded from the jail with the help of one friend. After coming out Veernarayan was again reminded of his liability towards his people who called him his “Mukhiya”.
Mor jinagi mor parja khatir
My life is meant for my people
je mola mukhiya maane he
Who have regarded me as their chief
Jameendar main Sonakhan k
I am the landlord of Sonakhan
Sona upje mor maati ma
Gold is the harvest of my land
Jihan k bhuindhar bhookh marat he
But now the landowners here are starving
Aag barai mor chhati ma
Due to this my heart is on fire
The above lines reflect Veernarayan Singh’s belongingness towards his place and people and a strong sense of determination to resolve their problems during the famine. The idea of crops bringing prosperity in the region has been strongly connected with the term ‘golden harvest’ in which the excellent soil quality is responsible for profitable harvest. When Veernarayan saw his people starving he neither begged nor asked for the charity but asked to get grains on credit from the feudal lords who blatantly rejected his idea. An oldest adivasi resident of Sonakhan, Charan Singh speaks on Veernarayan’s self respect and self esteem staying intact even in the moments of crisis-
“He did not seek charity,” says Charan Singh, the oldest Adivasi resident in this largely tribal village.He asked the merchants and lords to open the godowns and let the poor eat.” Like in so many famines, the granaries were full. “And he said that when the first crop came, people would replace the grain they were given. When they refused, he led the poor to seize and distribute the grain.” The struggle that followed spread across the region as the tribals took on their oppressors.” (‘Sonakhan: When Veernarayan died twice, PARI, People’s Archive of Rural India, August 14, 2015)
While Veernarayan was captured in Sonakhan, it was due to the betrayal of his own brother in law who joined hands with General Smith who was instructed not to leave even a single stone unturned in capturing Veernarayan. General Smith called more forces from Bilaspur, Bilaigarh and Bhatgaon, still he could not show down the soaring high spirits of Veernarayan, who despite his starving people did not surrender. He said that dying merely by starvation is a coward’s death, but fighting empty stomach and embracing death is an act of bravery , and through these words he inspired his people to fight against General Smith.
Ghoda Kareliya ma chadhe Narayan
Mounting on his horse
Gali gali kinjre alakh jagaye
Narayan explored every corner of the village to kindle the rebel fire
Bhookh ma to jeev tadpat jaahi
Our soul is restless due to hunger
Ran joojh maro swarag mil jaye
Its better to fight and die with a purpose, so that you go to heaven
Anyayi k anyay sahne
To suffer the exploitation of an exploiter
sab le bade hove anyay
Is also biggest exploitation
kaat k paapi la khud kat jave
its better to kill the sinner and sacrifice one’s life
Dharam karam Geeta gun gaye
As of this kind of death is even praised in the Bhagwadgita
Bina Suraji ka jingani
A life without Swaraj
Murda he tan mare pran
The body is dead with a dead soul
Bina maan sabhimaan k mankhe
Without self respect and self esteem
Gaay garu aud kukur samman
A human is no less than cattle and stray dogs
The rhyme scheme ab, ab is followed throughout the poem in the quatrains, with imageries and similes abounding in the poem. The comparison of a human without Suraaj (Swaraj) self esteem and self respect is just like a body without soul that has no mission, no objective of the life incapable of doing anything for his people. Similarly a human being’s identity is reduced to cattle who with her mentality are always good followers but worst leaders as they lack the decisive power and will power to take initiatives in life. The preaching of Verrnarayn and his ethics have been beautifully interwoven in the Chhattisgarhi language that is highly motivating and inspiring patriotism. The powerful diction of Masturiya’s poetic style arouses strong patriotic feelings in one’s heart and makes an individual realize the true worth and meaning of his birth as a human on this planet. This thought is quite evident in the coming lines when he rebukes his people on humanity and being a superior animal :
Dharam Dham ma Raj karat he
This land of Dharma is ruled by
Kayar kukur dhan lobhi
Coward dogs and greedy rogues
Murda kas jinagi jeetho
You all are like dead bodies
Dhikkar tunhar maanus yoni
Its a shame upon your life as a human
The lines express revolutionary and rebelling spirit of Masturiya against the injustice on the locals inflicted by the selfish moneylenders and feudal lords through the protesting tongue of Veernarayan Singh. Masturiya brings out the true essence of humanity and purpose of human life that is not meant just for taking birth and dying but idea is that even birth and death should have a noble purpose which can be none other than humanitarian outlook and noble actions. The aspects of self esteem, self reliance and self respect have been considered as the qualities distinguishing man from animals. A voice has been raised against herd mentality and following the footsteps with blind faith as it is capable of destroying a whole nation and generation. There is a muscular voice for awakening of the labours and peasants who must understand their worth and fight for their rights:
Jaag Kisanha, Jaag kamaiyya
Be Awake farmers, be awake workers and labourers
Haq bar lado maro jung ma
Fight for your rights and sacrifice your life in the rebellion
Laaj bachale apan kul ke
Save the honour of your clan
Rang matha man rang man ma
Colour your forehead and your thoughts with the colour of war
The pathetic and heart rendering scene of Veernarayan Singh after arrest and blown on the canon mouth brings tears into the eyes of every patriot who lives his nativity, his soil and his people. A mixture of strong pathos, passions and aggression is evident in the lines that convey the tragic demise of Veernarayan Singh. The soil of the land stands personified as a silent witness of Veernarayn’s martyrdom. The lines are quite moving infused with patriotic feelings and sacrificing one’s life for the sake of motherland with an undaunted spirit. The philosophy of karma has also been highlighted as even God can forgive but the motherland will never forgive the ones who betrayed Veernarayan and shook hands with the British. The deadly silence after the order of blowing Veernarayan on the canon mouth is heart breaking and makes the soul restless :
Taan k chhati khade Veersingh
Veersingh stood with his chest erected
Bedhadak dekh rahe muskaye
He had a smile on his face and remained unaffected
Order hot bhaye sannata
As the order was given for killing there was a deadly silence
Chhootis top garaj garjaye
The canon blew with a deep roar…
Mankhe sang gaddari karke
Those who cheat others
Maafi pa jahi beimaan
May be forgiven
Maati sang gaddari karhi
But those who cheat and betray the motherland
Ola nai bakse bhagwan
Will never be spared even by God
These valuable words of Masturiya on karma are significant for all times as betrayal towards the motherland is an unforgiving sin. The martyrdom of Veernarayan Singh was exceptional as he embraced death with a smiling face at the same time with a guilt in his heart that his own people betrayed him for whom he lived his whole life and sacrificed everything.
Hunger is still an issue in Sonakhan which is not a goldmine as the name suggests. One of the tribal Shyamsunder Kanwar says that every year the population is decreasing on account of migration leading to a drop in the literacy drive for the region. Still the land is under the control of those forces which were strongly opposed by Veernarayan Singh, and which includes the merchant class, moneylenders and feudal elements. The politics of the protest which was strongly favoured by Veernarayan has lost with receding times and unfortunately the politics of patronage has won. He was an authentic folk hero who was demolished by the embrace of the elite, but the issues he raised are still alive.
Beer narayan k sapna ha
The dream of Veernarayan
Turat havae adhoora he
Is still broken and unfulfilled
Dhadhke chhati Chhattisgarh k
The chest of Chhattisgarh has still fire buried in its heart
Dukh k badhti poora he
Due to the increasing sorrow
Are naag tai kaat nahi to
Hey Naga, you don’t sting
Jee bhar k fufkaar to re
But at least make hissing sound
Arre baagh tai marr nahi ta
Hey Tiger! do not kill
Garaj garaj dhutakkar to re
But at least you roar loudly
Ek na ek din e mati k
One day again the pain of this land
peera rar machahi re
will again give rise to rebellion
Nari katahi bairi man k
The nerves of the exploiters will be cut
Nawa Suruj phir aahi re
And a new sun will rise again
In the concluding lines of the poetry Masturiya comments upon the helplessness of the people as an intentional passivity whose fire needs to be kindled with changing times and in this context he says indirectly that ‘ Hey Naga, do not sting but at least hiss, hey tiger, do not kill but at least roar’ which reflects the idea that the fire of rebellion which is still buried in the heart of Sonakhan should not extinguish, but stay alive with time, even if it does not show itself it must be retained that “Sonakhan was the place where Shaheed Veernarayan Singh was born”. Though the dreams of Veernarayan Singh are unaccomplished till date , but the fire of Sonakhan will up rise one day and will rebel with all might against the injustice done to the innocent locals who are still the victims of the feudal and merchant class, who still are migrating with a starved face and empty stomach. Standing on the threshold of the past and present the poet is still hopeful for better days to come and the rising of a ‘Nawa Suruj’ or a new sun bringing a better future.
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