Chapter -4

Reflection of Vaishnavism on the folk Culture in Nineteenth Century Bengal

4.1 Reflection of Vaishnavism in the writing of rhymes

4.2 Reflection of Vaishnavism on Jhumur songs

Folk song, folk dance, folk art, folk tales, folk proverb, and folk culture, the word ‘folk’ is used as

a special meaning. Here the word folk means neither villagers nor the deprived section of the

society, not the peasant, but all classes of the society, who mortally inhabits in a special section,

nourishes our early culture, rituals, believes, and mentality carefully. These so called simple, poor

people are titled as the pioneer of the folk culture. Folk culture is the culture of these people. Folk

culture in written form becomes folk literature. If the writer of folk literature is an outsider to the

folk world, then the writers needs special learning, but if the writer belongs to the folk world then

he / she does not need any special education, but in this case he must control his own humor and

creative power, he must write whatever he sees and hears, but not his own understandings.

The great poet Rabindranath had written about the relationship between the higher literature and

folk literature that like the root of tree is related to earth and his head stretched out into the sky,

everywhere the stem of the literature is covered mainly within its own country specially in a

narrow way only the countrymen enjoy it and plot it there, no outsider get allowance to enter. The

universal port of the literature stands on folk literature. The link between the folk literature and

higher literature had a relation with lower class. There is no comparison among the fruits, flowers,

branches to the high with the stem of the roots but above all to the oncologist their comparison

and relation has not end.1

1
This comment of Rabindranath Tagore is used by Ashutosh Bhattacharyya in his book Banglar Lok Sahitya
Pratham Khanda, Kolkata: Calcutta Book House, 1963, page 26 for an analysis of the relation between folk literature
with other literature.
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4.1 Reflection of Vaishnavism in the writing of rhymes

In modern times, on the discussion of modern poetry’s collection, the name of Rabindranath

comes first because he is the one who lifted the face of folk literature and made it special to the

people. He expressed the rhymes in the magazine Sadhana and Sahitya Parishad from 1301.

About this he mentioned in the essay, Grammya Sahitya that he had taken the responsibility for

whom to collect village’s poetry them informed him.

Now-a-days, this kind of poems in the girls who are different from is not interested to hear. They

did not know it not even have any interest to know it. Old women numbers are very little, among

them some are unknown. If one or two people know but all are not known. So to collect five

poems we have to reach five women from five different villages. In this country we see one or

two Vaishnav spreading the poem while begging. Their speeches are all about the love of Lord

Radha and Krishna. These types of Vaishnavi’s are not found all the time, and if found they all

sang same poems. In this circumstances to collect various new poems, we need more Vaishnavis.

But by the mercy of out green cultivated mother land there is no doubt, we found two or more

new foreigner Vaishnavi utters ‘Jai Radhe’. 2

In the collection of Rabindranath’s poetry there are two kinds of poetry we found and also three

kinds of lyrics. Among the two kinds of poems there are one which is used as children rhymes for

pampering, and children rhymes for playing, and the three types of songs are the songs related to

Hara Gouri’s Radha Krishna’s love and general love songs. It is through that Rabindranath gets

the inspiration among the folk literatures because he mentioned his poems ‘Bristi Pore Tapur

Tupur Nade Elo Ban’ as his childhood’s ‘Megh Doot’. But there was a common difference

between these two types of poems, children rhymes are composed by their mother and their nurse

so there is a smell of their body, spirit and intellects touch. Children did not understand its

2
Asutosh Bhattacharyya, Banglar Lok Sahitya, Dwitya Khanda, Kolkata: Calcutta Book House, 1963,p. 11
163
meaning but he felt pleasure by hearing the music of their mothers’ voice. This subject is learned

by the collection of Rabindranath poems

মাসি সিসি বনগাাঁবািী বননর মনযে ঘর ।

কখননা মাসি বনেনা যে খই যমাযাটা যর ।।

সকনির মাসি সকনির সিসি সকনির বৃন্দাবন

এত সিনন জাসনোম মা বড়যন ।3

Scholar Ashutosh Bhattacharyya has shown in his discussion that they did not recite except the

children playing rhymes and not composed another also All mother and governess have recited

and composed. About children, he mentioned poem son children eating, children dancing,

children going to mother home. Jashoda’s Dulal Sri Krishna gets the special regards.

The touch of Vaishnavi’s rhymes are seen in line to line. In the above mentioned poem use of the

word ‘Brindaban’ is very dedicative and useful. Among the rhymes of children sleeping, one is

very important as ‘Dolnar’ rhymes, which is known as cradle song in English. The child is lying

in the cradle and in harmony with swinging the cradle these songs are sung. Among these songs

Vaishnavi’s effects or impressions are present. At Shantipur in the district of Nadia these rhymes

are commonly heard,

চাাঁি যিানে িূসেেয যিানে

যিানে নিীর জে ।

যিানে আমার যগািাে মসন

যি যিাে যি যিাে ।। [শাসিিুর, নিীযা]

3
Asutosh Bhattacharyya, Banglar Lok Sahitya, Dwitya Khanda, Kolkata: Calcutta Book House, 1963, p. 11

164
Many times, these rhymes are composed with balancing of a child centric speech to satisfy them.

Here milk becomes ‘dudhu’, rice as ‘Vatu’ and ‘Bhota’ becomes ‘bhatu’. But in his case words

like Gopal’s mother reminds the affection and love of Mother Jashoda towards Srikrishna here

mentioned this type of rhymes found from them divided 24 Parganas in Bengal

যিানে মা জননীর যগািাে ।

কো সিনয িুযু ভাতু খায ।।

ভুতু ভুতু গাে ।। [২৪িরগনা]

Like Srikrishna’s eating of butter by stealing which gets a place in Vaishnav Padabali, the same

we find in Rabindranath’s discussion,

ঘুম োনর ঘুম োনর ঘুনমর োিুমসন ।

ঘুম রথুন উঠিনে োিু কত খাইবা েনী ।।

ঘুম োনর ঘুম োনর ঘুনর বাছামসন ।

ঘুম যগনে করাইযা সিমু যিানার বাজুমসন ।।

ঘুম োনর চাতকীর বাছা ঘুম োনর তু ই ।

ঘুম রথুন উঠিনে বাছা েনী সিমু মুই ।।4 [চট্টগ্রাম]

Here ‘Loni’ or ‘Lonee’ is used as butter but the use of the word ‘Bajumani’ are not found

frequently. At this point Rabindranath said just like the colourful shoes of a child’s colourful legs,

the bajumani is the child’s ornaments.

4
It is a traditional rhyme, collected from Chattogram, Bangladesh by Asutosh Bhattyachariya

165
The theme bajumani comes from the various ornaments used to decorate the body parts of Gopal.

From the collections of Rabindranath’s poem, the themes of banamali reminds us of the Vaishnav

poetry. The poem where banamali is mentioned are

যখাকা ঘুমানে সিব িান

িাব ফুনের ডাসে ।

যকান ঘানট ফুে তু নেনছ

ওনর বনমােী ।। [রবীন্দ্রিংগ্রহ]

The poems which are found from the areas of Bankura, Purulia and Birbhum, are not free from

the Vaishnav’s effects. Below is a poem from Bankura

িটে যগনছনর যখোনত যতসে যমনযনির িাড়া

যতসে যমসেনর গাে সিনযনছ এে মাখন যচারা ।।

ননী যখনযনছ ভাাঁড় যভনেনচ তার যিব যগা িাম ।

যননম আয যর মাখন যচারা তু ই সক গোর হার ।। [বাাঁকুড়া]

Poems which is fund from Bankura the words like ‘butter stealing’, butter which gives the

impression of ‘Vaishnav’. Another poem from Bankura here also found a large number of using

Vaishnav’s words like

সখনিয যগািাে কাাঁনি

যি যগা মা তু ই নবনী ।

যকাঁ নিা না যকাঁ নিা না বািা যকানে এি আিসন ।

তু সম আমার যন

যকানে কনর সননয োব শ্রীবৃন্দাবন ।। [বাাঁকুড়া]

166
Sri Ashutosh Bhattacharyya said about this poem that it is composed by a matured writer so in it

the smell of ‘Kasturi’ chandan from Brindaban melts together. To taste the purity of home and the

affection of mother Lord Sri Krishna came from the heaven and took birth on the earth as the

mother’s child and with his holy touch the home became holier and the affection of mother

becomes sweeter. That is why the shadow comes in the poem.

In Bengal, children are compared always with Gopal. For these at the time of rhymes composed

little Krishna Murli or Brajangana mixed up in as one in the poem,

একবার নানচা চাাঁনির যকাণা,

আসম মুরেী বাাঁসযনয যিব কত োনগ যিানা,

আবার যতামার নাচন আসম জাসন জানননা ব্রজােনা । [রবীন্দ্রিংগ্রহ]

In this rhyme it is said that though this dancing is not known to the brajangna but ‘I’ knew it.

Here ‘I’ refers to the child’s mother and the child was dancing to the rhythm of flute at

kadamtala. We get Sribas, a recognized Vaishnav, also dancing in the yard to have Chaitanya

Mahaprabhu in Vaishnav’s literature, like as Bengali’s mother thought to the rhythm of the

child’s dance, the whole world are dancing. Following is a child’s dancing poem from 24 Pargana

and Hooghly,

সশব নানচ ব্রহ্মা নানচ আর নানচ ইন্দ্র

যগাকুনে যগাযাো নানচ িাইনয যগাসবন্দ ।।

ক্ষীর সখরাি ক্ষীনরর নাড়ু মতযমাননর কো ।।

নুঠটনয নুঠটনয খায েত যগানির বাো ।

ননন্দর মন্দন্দনর যগাযাো এে যযনয ।

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 তানির হানত নসড়, কাাঁনয ভাাঁড়-

নানচ যথনয যথনয ।।5 [২৪িরগণাওহুগসে]

A famous quote from Vaishnav Padabali, ‘Saper mathay vekere nachai’ echoing similar words

can be heard in the collection of Rajsahi and Pabna. The rhymes are

কুকুর বাজায টুমটুসম

বানর বাজায য াে,

টুন টুসননয টুন টুনানো

ইাঁিুর বাজায যখাে ।

িানির মাথায বোঙ নাচুসন

যচনয যিখনব যখাকনমসন ।। [রাজশাহী ও িাবনা]

In another poem from Chattagram we find that the rhythm of Nandarani Gopal’s dancing is

compared to the composing of children rhymes of Bengal.

তা থথযা তা থথযা নানচ বনে নন্দরাণী,

হাত ত্তাসে সিযা নানচর আঙার োিু বাছামসন। [চট্টগ্রাম]

Grazing the cow is a common incident among the children of Bengal because they are compared
with the baal Gopal.
By the collection of Rabindranath’s a rhymes like these in Vaishnav, grazing the cow, Mohan

chura, flute etc. are words mingled with the children’s rhymes of Bengal,

আমার যখাকা োনব গাই চরানত,

গাইনযর নাম হাসি ।

5
It is taken from collection of Rabindranath Tagore. Although it is used in the districts of 24 Pargana and Hooghly

but Tagore collected it from 24 Parganas

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 আসম যিানা সিনয বাাঁসযনয যিব

যমাহন চূ ড়া বাাঁসশ ।। [রবীন্দ্রিংগ্রহ]

Bhagbat, the most respected to the Vaishnav religion described those naughtiness of Lord Sri

Krishna’s childhood as the basis of rhymes in Bengal. For the eating of butter the naughtiness of

Sri Krishna’s are caught in this rhyme

যখাকা োনব যবড়ু করনত যতসেমাগীনির িাড়া।6

যতসেমাগীরা মুখ কনরনছ যকননর মাখন যচারা।।

ভাাঁড় যভনেনছ, ননী যখনযনছ আর সক যিখা িাব ।

কিম তোয যিখা যিনে বাাঁশী যকনড় যনব ।। [রবীন্দ্রিংগ্রহ]

Butter is not to be found in the area of ‘Tali magi’ but to expresses the naughtiness of the children

these words are used in Rabindranath’s collection. By the collection of Rabindranath a rhyme is

presenting here like as where it would be seen that mother Janani compared with the beautiful

flower garden or the holy place of ‘Brindaban’ with her own child. It is said in the following

rhyme,

যখাকা মাসণক যন,

বাসড়র কানছ ফুনের বাগান

তানত বৃন্দাবন।। [রবীন্দ্রিংগ্রহ]

A child is holy to a mother like the beautiful flower garden or the holy place Sridham Brindaban.

The mockery of the word ‘Brindaban’ creates an atmosphere of Vaishnav’s impression in these

rhymes with these impression another written rhyme the ‘company’ is also very meaningful.

6.
Butter is not to be found in the area of ‘Tali Magi’ but to expresses the naughtiness of the children those words are

used in Rabindranath’s collection.

169
 যগািাে যবড়ায অসে গসে,

ছাতা যরনব বনমােী ।

ছাতার যভতর যকাম্পানী,

যকান কাঙানের যন তু সম? [বযমান]

য

In the above rhyme ‘Company’ is carrying the memory of East India Company as pointed out by

Ashutosh Bhattachariya. Vaishnav Padabali and rhymes are affected by each other and to

describe that besides Chandidas’s notes, Mymensingh songs are presented. In the Vaishnav

Padabali written by Chandidas we get,

এ যঘার রজনী যমনঘর ঘটা

যকমনন আইো বানট,

আসেনার মানে বাঁযুযা সভন্দজনছ

যিসখযা িরান ফানট ।

Similar expressions are seen in Mymensingh Gitika

আিমানননত কাে যমঘ ডানক ঘন ঘন

হাই বন্ধু আন্দজ বুন্দে না হইে সমেন ।

..... ..... .....

বৃঠি িনড় টািুর টুিুর বাইনর যকন সভজ,

ঘনরর িানছ মাননর িাতা কাটো মাথায যর ।

সভন্দজে যিানার অে রান্দি সনশা কানে

অভাগী সনকনট থাকনে মুছাইতাম যকনশ।

In above mentioned Vaishnav Padabali and Mymensingh Gitika the main subject of saying is the

sadness for not meeting the waiting lovers with their beloved. Like the main subject of

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Chandidas’s Padabali are mingled with the composer. In this way the spirit of Vaishnav’s

religion Radha and Krishna are mentioned in the rhymes given below. Radha and Krishna is

placed among the couple of village lover

রাযা োয যগা জে ভসরনত হীরার কেসি েইযা,

কাে িানি মারনছ যিাকর কিম তোয বইযা ।

ওো থবসিে নাই-যগা িোনশ জীবননর নাই আশা,

কৃষ্ণ শাসি রি আনো যিও যগা অনে ঘিা ।7 [ াকা]

In this context, tulsibrata from Murshidabad is worth mentioning,

তু েিী তু েিী মাযবী

কও তু েিী কৃষ্ণ কথা ।

কৃষ্ণ কথা শুসন মনন,

যকাঠট যকাঠট প্রণাম তু েিী চরনণ । [মুসশিাবাি]

য

The maiden girls of Bengal while performing the rituals of tulsibrata recited these rhymes. It is

the effect of Vaishnavism which cannot be denied. When Chaitnyadev started Vaishnav religion

in Bengal, its idea gave high impression among the literary world of this country’s Bengali

inhabitants. Therefore, in the creation of Bengali literature a new inspiration is spread. Bengali

folk literature is no exception from it. A famous quote known in Bengal is ‘there is no song

behind Kanu in the country’ means all song in this country are dedicated in the name of ‘Lord

Krishna’. Rhymes for children mainly do not identity one particular community so it affected all

communities and divisions of the society. There is no comparison between children’s rhymes of

Bengal and Bal Gopal of Vaishnav’s. Therefore, no distinction could be made among the child

who is swinging in the cradle and mother Jashoda’s beloved son, a similar rhyme from Bankura is

7
Asutosh Bhattachariya, Banglar Lok Sahitya, Dwitya Khanda, Kolkata: Calcutta Book House, 1963, p. 119

171
 যিাে যিাে যিাে যিােন হসর,

যক যিনখনছ হসর ।

যোেনানত েুেনছ আমার ঐ সগসরযারী ।। [বাাঁকুড়া]

The child who is rolling in the dust, in him is also seen the figure of Janani Nanda Kishor’s Sri

Krishna,

যুোয যূির নন্দসকনশার যুে যেনগনছ গায ।

যুনো যেনড় যননব যকানে প্রাণ জুড়ানব তায।। [রবীন্দ্রিংগ্রহ]

The mother does not care about the black complexion of the child because she can see the dark

blue combination of Vrindavan’s Sri Krishna in her child’s dark combination.

নন্দ সকনশার যূোয যূির যূো যমনখনছ গায,

যচানখর কাজে মুনখ যমনখ িাড়া বুেনত োয ।

িাড়ায আনছ জটা বুসড় কটমঠটনয চায ।

সশনবর জটাকঠট ছাই মাখাননা গায ।

বৃন্দাবননর েত-রূিিী, রূনির েত আনো

বৃন্দাবননর কানো শশী যিনখ এোম ভানো। [যমসিনীিুর]

To give the example of these rhymes there is not scarcity. Where the rhymes are affected by

Vaishnav’s impression then rhymes current in this country, among those many get place in

Rabindranath’s collection that reflects the words that ‘in this country there is no song behind

Kanu. Therefore, the discussion at this stage mainly focuses to a special direction that on the

discussion of Ashutosh Babu’s rhymes whatever he said in his book Banglar Lok Shahitya

(second part) published in 1963, I disagree with him. He mentioned on page 200 of the Book that

‘in this country, in discriminately which ordinary love song is current, among all those heroes and

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heroines are Sri Krishna and Radhika. In the districts of Manbhum among the tribal sections

which Bengal love song can be heard also these the hero and heroine is Sri Krishna and Radhika.

Among the ordinary love song of Muslim society Radha and Krishna is granted as the only hero

and heroine.8

Among the tribal communities of Manbhum and Muslim society in Bengal, Asutosh Babu did not

mention about this and did not find any book which can say if the tribal communities of

Manbhum or Bengal Muslim society accepted Radha and Krishna as hero-heroine of their love

songs.

Consequently, I disagree with the same opinion with Prof. Bhattacharyya. But in the rhymes of

Bengal, there is a great impression of Radha Krishna or Vaishnav literature, he discussed about

this and in this case I agree with his opinion and it is an universal truth.

8
Asutosh Bhattachariya, Banglar Lok Sahitya, Dwitya Khanda, Kolkata: Calcutta Book House, 1963, p. 200

173
4.2 Reflection of Vaishnavism on Jhumur songs

মননর ভাষা হৃিনযর িুর

সমনে েুমুর ।

(Traditional Pada, Purulia)

This language may be lack and need, love and affection, got and lose or hope and despair but all

are related with mind and the rhythm is from heart then jhumur takes birth. About the source of

jhumur song, the famous Amulyacharan Vidyabhusan said that, ‘in those days jatra was related

with Sri Krishna’s mischievous tricks, and little children danced by wearing anklets in jatra. They

danced with the rhythm of the song and therefore, a sweet jhum jhum sound was produced. This is

how the song jhumur derived its origin’. According to Sukumar Sen, ‘jhumur is a kind of drama

song or folk theatre’. He further stated that ‘jhumur is a sub kind of ancient jhombrar’. But

another point to be noticed in Ashutosh Bhattacharya’s comment on jhumuris that he said in

ancient times jhumur song was mainly limited within the Santhal tribal community, but with time

it mingled and united with Bengali speaking communities. It got transformed into its present

form, got famous and extended a lot.9 But with the song of Santhal there are much differentiation

of jhumur song. Even they could not think it is the main elements of their culture. Therefore, I

cannot think that jhumur is a kind of Santhal or tribal communities song.

Once upon a time, jhumur song is popular in the districts of Burdwan, Birbhum Bankura and

Purulia. With the harmony of dance young ladies sing ‘Jhumur’ in the show.

On the discussion of jhumur song and the singers of this song, scholar Vinod Mahammad Ayub

Hossain says that in his childhood, in the Burdwan district at Ketugram Police Station, in the fair

of Dadhia Bairagyatala, he heard jhumur songs during special shows, also heard jhumur singers

singing in the village.

9
Jhumur, Shibaprasad Chattopadhayay, Jela Lok Sanskriti Parichai Grantha, Lok Sanaskriti O Adibasi Sanaskriti
Kendra Tathya O Sanaskriti Bivag, Pachimbanga, 2011,p. 91

174
But in those days female singers of jhumur song prostitutes due to poverty”.10 At present, jhumur

is little practiced in Bankura, but in Burdwan and Birbhum it is not heard, but in Purulia practice

of jhumur is very popular. In the book Sangeet Damodar there is a definition of jhumur which is

প্রায়ঃ শৃোর বহুো মাধ্বীক মযুরা মৃিু

ঐনকেব েুমরীনোনকয বণাসি

য সনযনমাজ ন্দেতা ।

Variation like the uniting moments of softness like the wine made from honey and no principles

on complexions are the symptoms of jhumur. And Sri Rajeswar Mitra says in his book Sangeet

Samiksha that ancient jhombara songs are jhumur, jhombara. The combination of three types of

alankara like upama, rupak and slesh is called Brahma. Possibly at present renowned jhumur’

sancient figure or shape is jhombara.113 Harekrishna Mukhopadhyay commented on the book Sri

Krishna Kirtan that it was written on Brahma in jhombara song. Sri Krishna Kirtan is written in

the shape of jhumur songs by reading it. Taking with by making relation is the general

characteristic both of jhumur and Sri Krishna Kirtan. Ancient shape of jhumur is ‘tad jhumur’ or

‘haka jhumur’. By collecting wooden things or grazing cows young couples sing jhumur loudly.

These songs are not more than two or three lines, generally, ‘tad jhumur’is mainly an illiterate

class but at present it has become literate and takes the name of jhumur and is placed on a high

quality among songs in the world. Around 1850 to 1950 it is considered as the age of jhumur

poetry. Famous poets in jhumur poetry are Dina Tanti, Uday Kamar, Bhabaprita, Ramkrishna

Ganguly, Jagat Kabiraj, Sitanath Patra, and Prahalad Das Jhumur, written in those times gained a

high position in literature. Though there are differences in opinion among experts about the

source of jhumur song, but they all admitted that jhumur is a song, literary art of the western side

Rarh region. Jhumur is related with the soil and people of this country side. Its human

contribution is also granted.

10
Prasanga Sri Krishna Kirtan O Jhumur Gan Mahammad Ayub Hossain Chaliyama, Purulia: 2001, p 15
11
Rajeswar Mitra, Sangeet Samiksha, Kolkata: The Book Company, pp. 165-166

175
Jhumur has many types by subject, seasons, and festivals. According to its variations jhumur

mainly divided the types, those are Loukik Jhumur, Darbari Jhumur, Dad Salia Jhumur,

Bhadaria Jhumur, Chhau Jhumur, Tad Jhumur and Radha krishna Jhumur. During the time of Sri

Chaitanya Dev, the story of Radha-Krishna’s entered into the jhumur song, for the spreading of

Vaishnav’s religions revolution. But many years ago, Jhumur had written and sung on the basis of

popular love or affection. Concentrated on culture and rituals, religious belief, customs, dreams

and imagination written jhumur is known as popular jhumur. This kind of jhumur gets expression

the hearts’ and speeches of hero heroine in the Rarh country side. There are instances where the

pain of the beloved is ignored, this type of Jhumur is

আনর িরে যি(ই)যখ যপ্রম কসরনে

আর এতসিনন সনিুর হ(ই)যে

যিখা িা(ই)যে মুনখও ত শুযাও না ।

ওনহ তু মার তনর মসর আসম

তু সম সফনর আ(ই)যে না ।

Here I argue that it can be noticed or found in the impressions of Vaishnav Padabali After the

departure of Sri Krishna towards Mathura, the same words were heard from the mouth of

unhappy Radha which are discussed in this subject. At the beginning, the main elementary subject

of jhumur is popular love, which is only physical but later in this case for the reason of Sri

Krishna’s entered, the place of Sri Chaitanya Parikar Srinibas at Bishnupur in the district of

Bankura and the interest of the King Malla to Vaishnav’s religion is worth mentioning. King’s

thoughts are reflected in the thinking of the subjects which is natural and this is why once upon a

time, a flood of Vaishnavare ligion have been seen all around Mallabhum. For its effect, among

the popular song of jhumur, the thinking of Vaishnav’s religious belief has got reflected.

A special concept of jhumur song is ‘Darbari Jhumur’. Once upon a time in Bankura and Purulia

districts, among the communities like Bhumij, Sardar, Kurmi, and Bhuinga there was a custom to
176
keep dancers. In the ‘Darbar’, ‘Rooms’, ‘Ballroom’ or on the terrace of the Temple, during the

time of festival, dancers performed. Song sung in this type of dancing performance, is called

‘Durbare Jhumur’. Jhumur language is humorous, lively, and sportive like the green woodland of

Rarh areas.

Quest for love has been described in jhumur. In this kind of jhumur, also Radha-Krishna’s love

associated with love affection. This kind of jhumur is

োইনত েমুনার জনে

যিখা হয কিম তনে

কেসি ডুবানত যিই নাই ঘানট

মাইসর, িই, ব(ই)যে িাওনা যক বনট ।12

There is a kind of dance, Dan(e)d or Dand Salia dance is proclaimed among the men of Bankura

and Purulia districts. This dance is also performed on various occasions or festivals.

Worker people of village and group of peasants practice this kind of dance at the end of the

working day to the stadium or a crossing of four divided way. With the rhythm of dhamsa and

madal they dance in rounds putting their hands together.

This jhumur is has a little taunting tone in it as some real truth is uttered in this song. Simplicity

and characteristics of folk songs are present in this song. In this kind of song there is no sign of

the modern society. These are not rose, jinia or dahlia, these are the wooden flowers of western

Rarh areas. Forest resources and cultivated resources are the main components of living for the

people of Rarh areas in West.

12
Jela Lok Sanskriti Parichai Grantha, Loko Sanaskrit O Adibasi Sanaskriti Kendra Tathya O Sanskritik Bibhag,

Pachim Banga: 2011, p. 98

177
This cultivation is fully dependent on nature so the monsoon season is very important to these

people. Like ‘Barshamangal’ song was written centering this monsoon season in the same way in

association with the Bhador’s raining and poverty the songs which are written are known as

‘Bhadaria Jhumur’.

The month ‘Bhadra’ is a month of lack and poverty, during is time corn and cereal is the only way

to fulfill hunger. But the ordinary people of Rarh areas are happy with these little, and in this

happiness in the tone of Bhadaria

ভাির মানির গাির জুনার

আই(ই)যড় ব(ই)যি খাব যহ

যে আ(ই)িনবক ছাতা ফুটাইাঁ

তার িনে োব যহ ।13

Most people in Bankura and Purulia are worker, although peasant. Field, farm and forest are their

main workshop. In these workshops men or women, some where both sang in together in

harmony is called Ta(e)d Jhumur Generally this song is not sung in the localities or common

areas because the language of this song is not refined language. Men and women who are trust for

lust would sing this song.

But in the songs of Jhumur, the talking about Krishna’s entered before the birth of Chaitanya. The

arrival of Chaitanya Dev and his journey towards Mathura on feet over the western Rarh areas

introduced a large change in the field of jhumur songs.

For increasing the effect of Vaishanav’s religion in the court of Bishnupur, its impression also

seen among the state site Manbhum.

13
Jhumur, Shibaprasad Chattopadhayay, Tathya O Sanaskriti Bibhag, Pachim Banga: 2011, p. 95

178
Naturally, For this, it also affected the special song of this areas ‘Jhumur’. In this time, the tale of

Radha krishna and the rhythm of kirtan entered into the jhumur song and gave it another

looking.In jhumur song, in circumstances with Vaishnav’s affection and its language structures

this period been identified as jhumur poetry era. In this time of jhumur, the symptoms of poetry

literature clearly noticed. In this type of jhumur is

বে যগা নাম সফনর সফনর বে

জগত মানে প্রনবসশনয আমার প্রান কনর শীতে ।

আহা সক মযুর ধ্বসন

িকে ধ্বসনর সশনরামসন

নব আিার তরসেনী

আমার রিনায ডুবাে,

নাম এমন তার স্বরূি যকমন

যিখাও যিসখ জুড়াক নযন

কৃষ্ণ নানমর এসক আকষণয

আমার িব কনর সবকে ।14

At the end of the eighteenth century, jhumur poets Binandia Singha and Gourangya Singha

appeared in Manbhum. Poet Bindiya Singha, to keep his own talent and personality had written

jhumur songs related with Radha krishna’s love affair, among those important are ‘DutiSambad’,

‘DahiSambad’, ‘JalSambad’, ‘SubalSambad’, ‘BanshibalaSambad’, ‘Ram Pala’, and ‘Mathur

Sambad’.

14
Jela Lok Sanskriti Parichai Grantha, Lok Sanskriti O Adibasi Sanaskriti Kendra Tathya O Sanskriti Bibhag,

Pachim Banga: 2011, p. 97

179
Except Bindiya Singha, jhumur poets of this time are Dina Tanti, Chamu Kamar, Pitambar Das,

Bhabaprita Nanda Ojha, and Barjuram At the end of 19th century, the name of jhumur poet

Bhabaprita became memorable in the world of jhumur. He introduced his uncommon talent in

describing the pain of Srimati Radha. Sri Krishna promised Radha that he will come to her for

united for this Radha Rani put on fine dresses and decorated fine bed and had been waiting for Sri

Krishna, but Krishna did not arrive. For this separation pain of Radharani, Bhabaprita Nanda had

written jhumur which is applicable for this

যহসর িহচসর োই সবভাবরী

এনোনা কিনটর মূেনর

যকাসকে কুহনর সবাঁযনচ অিনর

মিনন সবরহ শুেনর।15

We found in Vaishanav literature, in the case of love affairs of hero and heroine ‘emotions’ place

in a special corner. And the next stage of this emotion is self-dedication. This self-dedication

Feeling is described very beautifully in both jhumur and Vaishnav’s literature. Comparing with

Sri Radha’s self-dedication had written a jhumur song is

আসম যহ রজনীগন্ধা, গন্ধ সবোব িারা িন্ধো

মযুছন্দা আসম যতামার সপ্রয, ভােবািাসনও

আসম যহ বনসবহেী খুনাঁ জ যবড়াই প্রাণিেী

অযাসেনী
য কনর আমায সনও যহ সনও ।

আমার মযু যমৌচানক বাঁযু যহ মযুছে যক

চুসহ, চুসহ, মযু সিও যহ সিও ।

15
Sahitye Upekhita Jhumur Sangit Ebong Amader Dabi, Suvash Roy in the Introduction of Jhumur O Tar Nana Dik,

Pratham Khanda, 2001,p. 11.

180
The description of Radha Krishna’s love affairs, in Padabali literature created a new era in the

history of literature. This impression of Padabal literature also entered into the world of Jhumur

and gave it a new form. If we see the history of Bangladesh, we can see that since this time for

peaceful living, exchange of emotions, languages and culture was going on but its speed was

slow. At the end of the Sen dynasty and after the arrival of Vidyapati Jaideb’s Padabali Sahitya

get a new form. It cannot be rightly said that Vidyabati followed the footsteps of Jhumur, but the

impression or effects of Jhumur on Sri Krishna kirtan admitted the important person. On the other

hand, to create the separation pain of Radha, Jhumur poet Bhabaprita introduced that talent which

is not in anyhow little important than Vaishnav poet Chandidas or Gyan Das. Another famous

poet in Jhumur song is Pitambar Das who was also immemorial to Radha Krishna in composing

Jhumur poetry. At the time of creating Sri Krishna’s Brajalila he crated kutila who said Radha

that

যিাড়ার মুখী কেন্দিনী রাইনো ।

যতার মনতা যকউ কূে মজানী যগাকূনেনত নাইনো ।।

েমুনার জে আননত যগনে, রনির যখো কিম তনে

যিনখ এনি যোনক বনে, িকে শুননত িাইনো

------------------------------

আমসর সক রূনির ছটা, কযো হনতও মযো যিটা

তার িানথ যতার যপ্রনমর ঘটা, োনজ মনর োইনো ।।16

Somehow it is difficult to consider that jhumur song and Sri Krishna kirtan are two different

things to see the similarities of lines in Sri Krishna kirtan with Jhumur song’s mood. One line

from Sri Krishna kirtan Dankhan is as follows,

16
Jhumur O Tar Nana Dik, Suvash Roy and Sadhan Maji edited, Pratham Khanda, Cheliyama, Purulia, Anriju

Prakasani, 2001, p.12

181
 েমুনার তীনর কিনমর তনে

কাঞ্জুেী সভসেআাঁ যগে ঘানম

হংনি যেহ্ন িনরাবর সবগুসেত বড়াসযে

যতহ্ন রাযা সবগুসতে কানহ্ন ।।

Gotten from Mallarpur in Birbhum district, jhumur song’s language is a little different, but its

mood mingled with the Sri Krishna kirtan’s passions. Jhumur found from Mallarpur is

সমনসত কসর কাোচাাঁি

আমায আর মানরানা সিচসকসর ।

েমুনার জে আসম সননত এনিসছ

আমার ঘানম সভনজ যগে নীনেম্বরী ।।17

It is said that the description of Radha’s blue saree getting wet in perspiration in both songs of

jhumur and Sri Krishna kirtan and both songs are completed with each other. One part of jhumu is

written in the description of Radha-Krishna’s affairs. This jhumur song was sung at a time in

group that is heard from a leader of Jhumur team. This leader’s name is Sri Bholanath Majhi,

village name is Nirol, Police station is Ketugram in the district of Burdwan.

Along with Sri Krishna kirtan’s languages, there are many similarities among the languages of

Bankura, Burdwan, Birbhum and Manbhum because once upon a time in these areas a vast

popularities of jhumur for the development of modern civilization, changes of taste to the singers

and hearer, locking of patronized jhumur mostly lost in Bankura, Burdwan and Birbhum districts.

17
I know about this Jhumur from the famous Folk culturist Sri Suvas Roy of Purulia. I interviewed him for this

research on 13.07.2017 in Chaliyama.

182
But many singers are alive. In search of them, group songs of jhumur on Radha-Krishna’s affair

can be found.184 A famous jhumur singer and also a dancer of this jhumur song is Kastubala Devi

Karmakar who was rewarded by the West Bengal Government in 2018 in the honour of Lalan.

Famous Vaishnav poet Chandidas mentioned at the stage of courtship the word marame pashila

(entering in the minds) which is also used by the poet Bipin Bihari,

বেঠিত িুজন মানে, সছোম েনব গৃহকানজ

কাননর সভতনর সিযা মরনম িসশে ।

Recently, folk researcher Judhisthir Das found a poet in the name of Radha Das in Purulia district.

The name of Radha Das’s poetry is ‘Krishnaleelamrita Geet’ which was written after the Sri

Krishna kirtan. He mentioned that it is a lyric poetry because Radha Das himself mentioned it as

‘Sadageyond’. This poetry is presented by Judhisthir Maji. These songs are also in types of

jhumur and in this case, the descriptions of Radha-Krishna’s affair has been found. Some parts of

the song of Radha Das is mentioned here,

েমুনার ঘানট কিম্ব সনকনট,

বসিঞা নাগর শোম ।

িূর হনত িনথ যগাসিসন চাসহনত

যিনখ অিরূি িাম ।।

Local poet Radha Das, like the poet Badu Chandi Das did not measure his lyric poetries on

account of Vaishnav’s philosophy. For this reason, in his poetry the love affair of Radha-Krishna

has transformed into the love affairs of men and women in general. Like the jhumur poets who try

to put up the popular essence of affairs, similar attempt is also found in Radha Das’s poetry. For

18
Chhatrak, Sri Subodh Basu Roy, Nababarsha Sankhya, Bangabda 1390

183
instance, the jhumur poet Radha Das’s Radha is also a heroine of illegitimate love. Jhumur’s

Radha says in pain that

যে জনা আমানক ভানোনবনিসছে,

যি যকন যগা িসখ িূনর চনে যগে ?

Radha Das’s Radha also tries to say the same words –

জাসত কূে সিঞা জার শরণ েইেুu যগা

যি যকনন ছাসড়যা োনব যমানর ?

And when Sri Krishna went to Mathura leaving Radha then jhumur poetry’s Radha says in eternal

pain

েুনট সননয জাসত কূে আজ হসে ডুমুনরর ফুে

একূে ওকূে িুকূে সননয করসে ছেনা

শি েম্পট িাগাবাজ যতামার যগে জানা ।19

So, it may Radha Das’s poetry or jhumur singers or jhumur song all of these consider Radha

Krishna’s affair as a special subject. The touch of Vaishnav’s thought makes jhumur more lively.

Because of Vaishnav’s religious announcement and its large stretched Gurubad entered in jhumur

song. Also in jhumur songs the pane-gyric and greatness of Guru is the only way of spiritual

relief. This is why jhumur poets wrote

গুরু ভজ মন কল্পতরু যন

গুরু িনি রাখ মসত যহ ।।

19
Jhumurer Utsa Sandhane, Judhisthir Maji, Chaliyama Purulia: Anriju, Prakasani, 2001, p. 61

184
Two holy things in Vaishnav society is ‘Brindaban’ and the plant ‘tulsi’. In the case of any

activity or song inVaishnav religion using of these two words have been found. Jhumur song is

not exception than that. In a song which is popular in Manbhum has found

গযা োও কাসশ োও আর োও বৃন্দাবন

ঘনর বনি ভজনর মন িুযানর তু েুসিবন ।20

Districts of Bankura and Purulia are affected in summer’s fierce hot. In this fierce heat as the

earth become departed by seeing this jhumur poets remembered the pain of Radha. To give the

description of Radha departed with Krishna famous jhumur poet Bhabapritananda has written that

গ্রীনেনত রসবর যতনজ মাঠট যফনট োয ।

রাযার হৃিয ফানট সবনা শোমরায ।।

জে মসরসচকা হসরনী ভুোয ।

ভুোইে যপ্রম যোনভ রাযানর কানাই ।।

In the fierce summer heat, sparrow prays drops of water to see the sky like the same way departed

with Krishna Radha was shedding tears that is why Bhabapritananda mentioned in his writings,

কাননন চাতকী কাাঁনি হইযা কাতর ।

শোম সবনা কুনে রাযা কাাঁনি সনরির ।।

বাতানি অনে যনর চন্দনন গরে ।

ভবপ্রীতা ভানব হসর চরণ কমে ।।

In autumn, buzzing of the bees can be heard when lotus are seen in pond. By noticing the visit of

bees in the heart of Radha also excited. This form of Radha has been sketched by the poet in this

way
20
‘Jhumurer Addhatya Bhabna’ Kiriti Mahato, in Jela Lok Sanskriti Parichai Grantha, Lok Sanaskriti O Adibasi

Sanaskriti Kendra Tathya O Sanaskriti Bibhag, Pachim Banga: 2001, p. 68

185
 শোম যরণী িনর ফুঠটে যে কাশ ।

মাযব থাসকনে থহত বৃন্দাবনন বাি ।।

কমনে কমনে কনর ভ্রমর সবহাি ।

নবীন যেৌবনন রাযা যপ্রনমনত সনরাশ ।।

In Vaishnav literature, although Radha had been waiting by preparing bed for Sri Krishna but

Krishna did not go. Radha was in pain departing from Sri Krishna. Though former were spell

bound to see the golden paddy in late autumn but not to see Sri Krishna, Radha’s heart was

getting excited. By describing the situation of Radha, jhumur poet had written

একাসকনী শেো োনগ কন্টক যেমন ।

রাসত হনে রসতিসত কনর জ্বাোতন ।।

কৃষক আননন্দ যহসর িসরিক্ক যান

শোম সবনা সবননাসিনী যবযাকুে প্রাণ ।।21

Another noted person of jhumur is Ramkrishna Ganguly many unbelievable stories are popular

even now related with this jhumur. Scholar Subodh Basu Roy discussed about the life story and

jhumur of Ramkrishna Ganguly in his magazine Chhatrak. Another star of jhumur world is Jagat

Kaviraj. He was a long bodied fair complexion and a well-builtman. He had a tuft in his head. He

was a great Vaishnav which was proved from his dress. And those thoughts were expressed in his

writings on jhumur. In the world of Bhagbat the deepness of Kaviraj’s wisdom and a great

Vaishnava thinking came out in his jhumur songs. He wrote,

যপ্রম সিন্ধু শ্রী যগৌরাে সনতাই তানহর তরে

িূণচন্দ্র
য যর িসখ গিাযর তায

21
Bhavapritar Jhumure Chay Ritute Sri Radhar Biraha, Suvash Roy, expert in Jhumur and Folk literature Chaliyama,

Purulia: Anriju Prakasani, 2011, p.57

186
 করুণা বাযুর যজানর য উ উনি ডাো উিনর

তার তৃষ্ণা যর িসখ সনরসখ িাোয

স্বরূি আর িনাতন সিনয নানা রতন

গাাঁনথ মাো যর িসখ ভকসত িূতায ।22

Ramkrishna Ganguly said to tell the importance of Jagat Kaviraj in the contemporary world of

Jhumur songs that ‘Grate or thanked Poet’s world, upon hearing the songs of Jagat, a Feelings

appeared in me’. Jhumur songs of Jagat Kaviraj were popular among few places of south-western

Bankura and south-eastern Purulia.

Some people in the areas like Manbazar, Joykalla, Polma, Pairachali, Lachhipur, Gopalpur were

interested in Jagat Kaviraj’s songs. Persons who lived near Lachhipur who sang the songs of Jagat

Kaviraj, among those noted are Baburam Paramanik, Sudhir Paramanik, Sunil Deshmukh, Sadhan

Deshmukh, Khandu Majhi etc.5 Another star in the Jhumur world of Manbhum is Dina Tanti, his

real name is Sri Dinanath Tantubai, his father name Hiralal Tantubai. He was a devotee poet who

composed songs like three types - mythological, useless and biography. But among all his songs,

the songs related with Krishna’s tricks are most wealthy. He composed those jhumur in groups,

among them are the songs of dating, united, departed and love affairs of Sri Krishna’s kept him

immortal. A Vaishnav jhumur song of Dina Tanti related with Krishna’s tricks in the name of

Banshi Sambad is

শুন যহ কাে শশী সক জনে বাজাও বাাঁসশ,

অবো যর বাঁযু সিনত জ্বাোতন যহ ।

োহার োগনয বাাঁসশ বাজাইনত সিবা সনসশ,

যি যতামানর বাঁযু হনযনছ এখন যহ ।

22
Bijoy Panda, Manbhum Sanaskritir Bibidha Prasanga, (Dwitya Khanda), Chaliyama, Purulia: Anriju Prakasani,

2017, p. 53

187
Mainly the district of Purulia and Bankura, some parts of Burdwan, Jhargram block of West

Medinipur districts are considered as the field of jhumur singers. In the social life of the people of

these areas, the impact of this ancient folk song is also visible. Naturally the affairs of Radha

Krishna’s entered in this jhumur songs along with other important things of Bengal. For the effect

of Vaishnav literature, the love of local people mingled with Radha Krishna’s love affair and

surrendered in the jhumur poets’ writings. Many jhumur has been found in Vaishnav’s affection.

But unfortunately, I do not see any effort to add these songs in Bengali literature. If Mymensingh

Gitika, Kabigan or Baul songs are considered as literature then I argue that jhumur poet Binandia

Singh or Bhabapritananda’s jhumur songs should also be placed in the History of Bengali

literature.

188