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 gsna-

ration 2 the story imbibed some other incidental stories

3
to grow voluminous. The first name of the epic was Jaya

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)

7
J a y a - k a v y a to the king. In cou r s e o f the recitation
e
J a n m e j a y a put certain qu e s t i o n s for more clarification;

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 and episodes. And these were amalga­

m a ted with the original 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. It

was l ik e l y that the sage el a b o r a t e d the story as the

king, haying heard it, 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 , ^ S a u n a k a requested

Sauti to recite the story 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

12 y
Hahabharata and it c o n t a i n e d 1,00,000 s l o k a a , i.e.,
13
verses.

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 L ,L I V . 2-9
12. Gairola, Vacaspati, 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
 (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
15
fourth century B.C. to the fourth century A.D."

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 B e ,

A Critical Study, P,341

17. loc.cit.
 (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 nao-
t/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 Rimasara-

svati 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 /

20
manata parila yito //

—----— 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 Yamala-

samhita and the Hamsakaki; he says:

yamala samhita hamsakakicaya

aru mahantara katha /

•• •• •••• •••• ••••

karilo ito racana //

21
____________ _____ ___
20 . 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 Hiranya-

varmi. 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

25
out o-f the yajna-fire of king Drupada.

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 car-

25. 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

« •

26
killing the agents of evil. 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'lgha-

bharata; 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 Sankhadha-

vala; 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 Puspaharanavana-

parva 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 Bhavar-

nava 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. Rama-

sarasvati narrates that Bhima, 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 snake-

soldiers. It has the bearing of the dowry system.

Contemporary history shows us that many small king-

35
doms are founded in different parts of Assam. 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 ulti-

38
mately succeeds in killing the demon.

35. Sarma, N .C . (e d ) , Darranga Rajayams'avali.Preface ., P.12-13

36. Dutta Baruah ,H.N.(ed), o p . c i t . , (Hanicandraghosavana-
p 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

39
with the content of rianicandraghosavanaparva which is

of considerable length of 1085 verses. 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 ., (Planicandraghosavana-
p 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 Brohmakse-

tra 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 Yudhi-

sthira 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.
43
When Yudhisthira asks for its reason to sage Satananda,
• «

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

e * •

_ 4g
a dreadful bird who has blown away Draupadi to the sky.

The episodes of flahisadanavavadha and Kalaj angha-

vadha 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
50
stomach by piercing the demon's left arm have had popular

appeal. Similarly, the destruction o'f the sacrifice of sage

-51 c52
Gautama by Kalajangha 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. Draupadi is alone in their house.

Khatasura, a demon happens to see her; and her beauty makes

him passionate. He comes to Draupadi and proposes to marry

her. 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, Draupadi

fights against him; 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), 7.14025
53. Bhattacharyya,H.(e d ), 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 (Barto-

kola) 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 »
rii. -
-
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. Asva-

karna 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 rela-

tivea 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. Jangha-

sura 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
•«• and declares that the Pandavas
•• succeeds to do

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. Karna-

datta 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 incense-

stick; 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 stoni-

fied 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

59
all axe brought back to life by the touch of Lord Krsna. » • *

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 . - ,r -

tavu hate V3dha yai 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 Indra reveals the true identity of Sindhura;
62
/ “ —• — 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 pre-
64
vailed. S.N.Sarma observes: "Though the spirit of devo-

61. 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 Vadha-

kavyas 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

69
stock." 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 trangre-

ssing 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, Janghasura is

• 1
the product of the culpable union of the sage Pladhu and
— Raksasi.
Sarana - - 74 What is more, S.N.Sarma observes: "is that

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-sacii-

fice 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 //

/* 78
nakariba asvamedha badhilo torolka /

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 inimi-

79. 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

• • t

83
the time when the Kuruksetra wax is about to break out.

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 "“*■Ull,r '■■l“nn"-1 111111 -1

— — — I tell you secretly, 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—Comman-

der. 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 Ramasara-

svati, 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

87
Thompson and Roberts).

The l/ylsasrania is *Itihasa— Purina on account of many

episodes and narratives that have been woven into its

88 _
fabrics". 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 Kau-
ravas 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 begging-

bag 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 culti-

x _
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 3him-

chaxit is popular and Bhima, in fact, is partly modelled on

the Assamese cowherd, a pet of the family but withal pert,

resourceful, and mischievous. Hahadeva appears as a folk

god, 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