Madhab Kandoli - first regional Ramayan composer in Eastern India

 

That day I was reading a fiction by a young author from Assam. Based on rural Assam in nineteen nineties, the work is highly acclaimed. The plot and characters and in the modern fiction satisfied my expectation, but on top of that the reference to Madhab Kandoli’s name in the novel made me remember the glorious days of Assamese literature pioneered by the poet. 

Photo from The-Global-Encyclopaedia-of-the-Ramayana_full-Interactive

Old Assamese literature shares legacy with Bengali, Maithili and Odia literature. However, literary works in medieval era shows distinct regional character though most of the works were translations or adaptations of Sanskrit literature. Madhab Kandoli was born during this early medieval period (also known as Pre-Shankardev period) that spans between fourteenth and fifteenth century CE. His Saptakanda Ramayana precedes all other Ramayanas in eastern region of India. Yet the verses show significant linguistic as well as poetic development in that era. Of course there were other significant poets in his era, but his translation of Ramayan built the foundation of Assamese literature.

Madhab Kandoli did not give self introduction in his work – or that part is lost. Though the sentence “Saptakānda Rāmāyan padabandhe nibandhila lambhā parihari sāboddhrite” confirms his complete compilation of seven kānda (parts), only five of those are available after sixteenth century. Other two parts, ādi and uttarkānda are not found again. Some say that when post-Sankardev poet Ananta Kandoli started translating own version of Rāmāyan, Madhab Kandoli appeared in his dream and requested him to follow his version. Ananta Kandoli kept five Kandas written by Madhab and added beginning and end - ādi and uttarkānda on his own to suit the choice of Vaishnab sect, which was dominant in 16^th century Assam. Vaishnab emphasizes devotion, not heroism or aggression.

Literary historians like Kanaklal Barua, Madhabchandra Bordoloi, Hemchandra Goswami, Kaliram Medhi, Upendrachandra Lekharu and many more researched a lot to verify information about him from other literary sources and came to conclusion that Madhab Kandoli’s patron was Barahi king Mahamanikya. Barahi clan is a branch of Kachari clan.  They ruled the area washed by southern part of Brahmaputra to central Assam in 13^th-14^th century CE. According to a Kachari chronological data, the king Mahamanikya had imperial seat in Sonapur in 14^th century. Probably same person is associated with Madhab Kandoli who was probably from Nagaon area. Other two branches of Kachari clan who ruled in Tripura and Jayanti also used the title Manikya.  The origin or the surname Kandoli is difficult to determine though several medieval Brahmin poets had the same surname. Among them some famous names are Rudra Kandoli, Ratnakar Kandoli and Sridhar Kandoli. Also Madhab was Brahmin - “Dwijaraja Madhab Kandoli nigadati” is the determining line in the preface ( Bhonita) of his Ramayan text. He was probably awarded the title Kaviraj (king of the poets) by king Mahamanikya. The title justifies his excellent poetic skill. His language proves the high linguistic growth accomplished in Assam region already in 14^th century while the rhetoric too flourished to its full bloom. The sheer number of translations done during that period proves the knowledge of literary Sanskrit among educated Assamese people but also remarkable that they felt the need to adopt that literature for the population that speaks a full-grown vernacular.  Similarly, the poetic expression of Kandoli Rāmāyan shows a simple yet distinct local style of metrical verse. In fact the same poetic standard was followed for several hundred years by all Assamese poets. Shankardev rightly appreciated this earliest bird of classical Assamese literature calling him “Purva kabi apramādi”.

Madhab Kandoli kept both the poetic excellence and popular taste in mind while composing his verses. Hence the language is lucid and translation is liberal. The verses are not meant of any particular religious sect or community but appeals to all through its local flavour. He followed Valmiki Ramayan, yet the composition became very Assamese. Check the very local idea of heroism illustrated in this verse of Ayodhyākānda (10-47-49):

Madhab Kandoli’s Kaikeyi expresses her emotion in East Indian middle wife of a king, non like the elegant Ayodhya queen when she tells her desire to award her maid Manthara for her help in making her son, Bharat the king in Ayodhyākānda (5-6-14):

In his own words, “Kavisara nibandhaya loka byabahāre \ kato nijā kato lambhā kathā anusāre.” Valmiki’s characters follow the graceful manner of Sanskrit while Madhab Kandoli’s characters become local; they language as per individual social and emotional standard. The humour he created is to satisfy local taste; also his Ram becomes little boastful comparing to that of Valmiki's. A regional translation, even though true to original, illustrates regional culture, society, people and their daily life, their natural environment and their way of expression. Check this verse describing Ayodhya after the departure of Ram in Ayodhyākānda (40-50-55):

 

The work is unique considering many aspects. Most important for us is to understand that the work is a valuable proof of the magnificent development of Assamese language and literature six hundred years ago.