The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795
The Global Journal of English Studies I September 2016 I Vol. II, Issue III I ISSN : 2395 4795
Gujarati Folk Literature: A Melodious Facet of Philosophy and Spirituality
Pooja Prafulbhai Vithani
Research Scholar Department of English School of Languages and Literature Gujarat University Ahmedabad, Gujarat, INDIA.
Abstract
The oldest literature of any civilization is folk literature which is a common emotional and ideological creation of people. Traditions, rituals and customs are found in this structure. It is the truest reflection of the society. The folk literature is mainly created by indigenous people of rural areas and so the folk literature is colloquial. However, the official periods of the emergence of Gujarati language is equally applied to folk literature. It is the fact that folk literature of Kāthiyāwād has been receiving the earnest attention.
A part of “common heritages” is found in folk literature of different regions of India as Sanskrit is the parent language of these regional languages (Jhaveri 357-8). Among many subjects, spirituality and philosophy have occupied a vital position in folk literature and it is always knitted with religions in India. These kinds of sensations are mostly found in verses and we find, in Gujarat, such forms as Garbā, Garbi, Chhand, Pad, Bhajan, Duhā, Sākhi, Ākhyān and so on. These verses are not fully philosophical or spiritual but it is woven with moral values, socio-domestic guidelines, and such supernatural elements as Gods and Goddesses like Rādhā, Krishna, Rāma, Sitā, Shiva, Ganesh, Meladimātā (considered as an inauspicious Goddess), Ambā (known and addressed by various names), and so on. These works frequently combine lyrics with music and dance. Rhetoric, music, dance, spirituality and philosophy are not artificially taught or learnt but these are highly natural expressions and it comes out of experience and churning of the soul.
Keywords: Gujarati, Folk, Spirituality, Philosophy, Verse
The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795
Introduction
The oldest literature of any civilization is folk literature which is a common emotional and ideological creation of people which is simply defined as “of the people, by the people and for the people” by many folklorists (Jaymall Parmar 87). According to Oxford English Dictionary, “folk is related to or shares some attributes of a group based on kinship, tribe, race, religion, profession, environment, etc.” In English, William John Thoms coined the term “folklore” in 1846 which simply meant “the lore of the people”. This term replaced what was earlier understood as “popular literature” or “popular antiquities” (Lalita Handoo 8). Similarly in Guajarati, Ranjitram Vavabhai Maheta coined the term “lok” (lok) which replaced the term “deshaj” (dexj) in 1905 (Meghani, Loksāhitya ane Chāraṇi Sāhitya 71 ). Here Zaverchand Meghani sees the possibility of the root of the term “lok” in the term “folk”. In this context, Khodidas Parmar rejects the application of the term “folk” by stating that the term “folk” is employed for uncivilized people and the producers of oral literature might be uneducated but not be savage (6). Later, in Maghani’s view, the oral tradition was neglected and taken as kitsch most of the time by the purists. On the other hand, Alan Dundes suggests the folklorists to be far from “the folk in monolithic terms as a relatively homogeneous group of peasants living in a symbiotic relationship with an urban centre” (8). He adds that the term “lok” is used in Saurāshtra or Kāthiyāwād province of Gujarat for the castes of farmers and literature of oral tradition is not of these limited numbers of castes (7). Lalita Handoo also takes the view that “folk” conceived as the unscientific, informal, and rural based and primitive (3). However, she computes that the Indian notion of “lok” (folk) is followed in a broader conception of “universe” or any “division of it”, “the inhabitants of the world”, “mankind”, “worldly affairs”, and “common practices” in context of Sanskrit (10-11). Jawaharlal Handoo supports this notion, “the point is that there is no known human society which does not possess folklore” (8). Alan Dundes opens the criteria of the definition of the term “folklore”:
Folklore, as a discipline, will never be adequately defined unless or until all the various genres or forms of folklore are rigorously described. Attempts to define by means of criteria external to the materials of folklore are doomed to failure... Perhaps the most common external criterion used to define folklore is the way in which folklore is transmitted. Folklorists are wont to say that folklore is or is in ‘oral tradition’. Yet many forms of folklore are not transmitted orally at all. (22)
According to Ved Prakash Vatuk, at this point Richard M. Dorson indicates, “the term ‘tradition’ is more important than ‘oral’, he essentially defines folklore as oral tradition texts” (22). Moreover, Jhaveri calls it “traditional learning” (355). Jawaharlal Handoo uses William R. Bascom’s term “verbal art” in order to describe oral tradition of folk literature which are “spoken, sung, and voiced forms of traditional utterance” (9). Generally oral tradition and folk literature are treated as one by Jawaharlal Handoo and
The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795
other folklorists (13). But then in Indian context, whatever, is considered today as Indian literature, was once an oral tradition. It was bought in the written form later and now it is dissimilar from folk literature in India. The folk literature is mainly created by people of rural areas who were away from education and so folk literature is colloquial. It is also argued that all oral traditions are not folk literature and folklore is not totally captured in oral tradition; and this can be also applied to the non-verbal folklore. Alan Dundes takes a prevalent view, “nonverbal folklore such as gestures, games and folkdances cannot be said to be truly in oral tradition” (22). The term “nonverbal folklore” can also include tone, pronunciations, symbolism, and minor dialectal characteristics and differences. In this context, Hasu Yajnik says that folk literature and tribal literature are disparate essentially (Guajarati 90).
Not only the creators of folk literature but also the time of creation and changes in the original creations are not known. Even the possibilities of modification in the original creation are high as everyone, who consume, modifies according to his or her own treasure of emotions, culture and tradition. It is also notable that Sanskrit is the mother language of regional languages of India. This is why the factors in folk literatures of regions of India are discovered similar. Moreover, Indian culture and folk literature resemble and share, for example in Indian and Greek mythology (Umeshkumar Yajnik), with many cultures, languages, traditions, and customs of other provinces of the world (Jhaveri 357-8). In respect of this, Lalita Handoo produces her thought:
The proponent of the polygenesis theory advocated the multiple origin of folklore, based on the principle of psychic unit of mankind, and the uniform and similar evolutionary process from savagery to civilization stage of mankind. This proposition implies that folklore originated and flourished in the savage, barbaric or less civilized societies and ceases or dies in more advanced societies. (8)
For ethnic communities, folk literature is higher in grade than the main stream literature. Folk literature is a tool which was used as an only medium of demonstration of sentiments of indigenous people who were away from education and also used as a medium of amusement while toiling. The main stream literature cannot be a true picture of society by portraying brains and experiences of selected writers only; it can be just a reflection. But folk literature is a mirror of time and place which captured without any bias or prejudice. Hasu Yajnik is of the opinion that creation of folk literature of any nation is linked with cycle of season and life (Guajarati 1: 16). Rajesh Dabhi talks of six Indian seasons as six beauties, i.e. varshā, sharad, hemant, shishir, vasant, and grishma. In India and Gujarat, festivals are not only based on the cycle of seasons and life but also on traditions, customs, supernatural beliefs, the moon, phases of the moon, the incidents of gods’ and goddesses’ life, etc. Jawaharlal Handoo (13) and Hasu Yajnik (Guajarati 1: 16-17) analyze that folk poetry or oral poetry is connected extremely with ritual and rites, i.e. the sixteen saṁskāras, commonly found in almost all parts of India.
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Jawaharlal Handoo compares, “and in both the cases the West does not offer that variety and richness in the area of performing folk arts as does India or Asia (90-91)”. “The Dravidian cultures of southern India seem very rich in the genres of folk dance and drama,” in his view, “than the Indo-Aryans of northern parts of the country; who seem to have thrived in narrative forms” (8). The geographical position of Gujarat has enriched it with a harmonious compound of all art forms. Diversity of performing arts and literary genres has created a rainbow of vitality in Gujarat. Jawaharlal Handoo also denotes that oral poetry or folk poetry is the predominant sub-division of folk literature. Folk poetry is not only the production of mourning and celebration of festivals but also of day-to-day chores of females, hard works of males and plays (Jhaveri 356).
Thus these verses are treated like a beloved child of the family in the society. Hasu Yajnik depicts his view that folksongs are the monopoly of women rather than men in Gujarat and the compositions, which are depended on life cycle, also prove the same (Guajarati 1: 17). Harivallbh Bhayani puts a thought that folksongs, a catalyst of expressing emotions of life, are significant for psychology of women (Lokgitomā Krushnacharit 4). Zaverchand Meghani signifies that the root of musical expression in the families of Gujarat came from women. But then he is disappointed that some social variability and problems of life have toppled this magnetism (Loksāhitya: Dharatinu 4-5). A tight-knit of arts, crafts, performing arts and literary forms of folklore is the complete circle of life in Gujarat. Among all, Guajarati and Kāthiyāwādi folk poetry is a precious treasure which is expressed in such literary genres or gems as garbā, garbi, rās, chhand, pad, bhajan, prabhātiya, duhā, sākhi, ākhyān, chhappā, padya-vārtaā, khand-kāvya, hālaradā, bhavāi and so on. Jawaharlal Handoo expounds it, “this sector, as is clear is full of dance, drama, music and at the same time also has a little of myth, folktale, song, riddle or a proverb” (92).
Many concepts and theories of philosophy, spirituality and religion are same in the West and the East. For example, the doctrine of rebirth of the soul was accepted by Pythagoras and Plato which as well as most of the schools of Indian philosophy (Umeshkumar Yajnik 207-8). All these are seen in folksongs as allusions, calques, pastiche, or in the original form. In Jhaveri’s view, these folksongs of women also underline Hinduism which is exhibited in the daily routine of indigenous people (364). Religions, spirituality and philosophy are deep-rooted ingredients in the minds of all communities in India. Among many subjects, this is why, spirituality and philosophy have occupied a vital position in folk literature and it is always knitted with religions in India. Distinctions of religion, spirituality, and philosophy do not matter for indigenous people; these are treated as one in their lives and literature. Sometimes superstitions are mingled as well. The boundaries between Indian schools of philosophy are very sharp. Dualism, monism, dualism-monism, ekeshwarwād, saguṇa dhārā, nirguṇa dhārā and many more contrary theories are tied in the same bunch. But the divergences are lost in Gujarati folk literature. Jainism, Buddhism,
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Śramaṇa and Cārvāka or Lokāyata are entirely dissimilar from other schools of Indian philosophy. These schools rejected the authority of the Vedas and at some extent consist of nāstika system (atheism), agnosticism, fatalism and many more inverse beliefs. Nastika system rejects the existence of Supreme Godhead, but Gujarati people never accepted this system. However, these two schools, i.e. Jainism and Buddhism, have changed the basic scenario of the province. This is why, all religious, spiritual, and philosophical creations are always theists. Religions are nailed deeply in the human psyche of all classes and castes in India and Gujarat. Manubhai Pancholi indicates that it is also introduced which kind of variability is carried in the forms of deities in a flux of folksongs (3). In Jhaveri’s view, these kinds of sensations are mostly found in verse as it comprise their charm and these folksongs of women also emphasize Hinduism which recount spiritual bliss (358-364). Manubhai Pancholi wrote, “smajnI ]Nnit- Avnit ke Agitkta tem>a$aI jo{ xkay. Aava gIto ke vataRAo sama+k ruuuuuicbdla ne kdac tenI pa05na kar`ona dStavejo p` bnI xke” (Development-degradation or immobility of society can be seen in these songs. These songs and stories can be also the documents of changes of social choices and its reasons; 4). Curt Maury beckons,
“the present effort, therefore, endeavours to explore the countenance of the Divine by the witness of its living evidences in folk imagery and folk symbology, popular cult and semantic evolution; to explore it in terms of the immediate monuments to indigenous India’s own vision and definition of it” (5).
These verses are not fully philosophical or spiritual but it is woven with moral values, ethics, virtues, socio-domestic issues and guidelines, superstitions and such supernatural elements as Gods and Goddesses in order to make the society better. Thus, in Gujarati folk literature, the literary compositions are representations of insights, virtues, moralities, and goodness of the soul. Goodness and badness are two sides of the coin. Thus, these compositions lead the society towards brightness of spirituality from darkness. “All folk groups have folklore and the folklore of such groups provides a socially sanctioned framework for the expression of critical anxiety-producing problems,” Alan Dundes agrees with the point, “as well as a cherished artistic vehicle for communicating ethos and world-view” (9). Hasu Yajnik gives folksongs which blend god-goddess like Rādhā and Krishna with socio-domestic complications in Lokgitomā Krushnacharit.
Rādhā thinks a matter in heart, what to tell you wise. When a son is born to mother, the parents are happy...... When the son goes to marry, the parents rush to see. When a wife comes to the son, the parents are expelled.
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Hasu Yajnik presents his view that the two parts are chiefly emphasized when lyrics, based on ancient religious stories or myths, are created. The first is the dramatic element. The second is the condition where the construction of sentimental situation is possible (Lokgitomā Rāmcharit 1). Harivallabh Bhayani confers the relation between people and these scriptures. These narrations have been working as the sources of interest, inspiration and discourse. This is why it was natural to fluctuate the characters and incidents, which were found absorbing, according to their own social ambience, ethos, and customs for folk poets. It is an indispensable proviso that these stories and narratives must be exuberant among social, religious, and cultural shifts. And this process is continued even today (5). Folk literature of Gujarat does not include these Gods in only their devotions but also the celebration of their festivals. Thus, the incidents of Gods’ life are celebrated and sung on regular basis. Hasu Yajnik states in Guajarati Loksāhityani Jivanchakra Antargat Rachanāo: “cmTk My sister-in-law is respected Sitā, you play and stay; Brother-in-law Lakshman, it feels very cold in a jungle. The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795 The fact is that there are two writers of the Rāmāyana, these are Vālamiki and Tulsidās. Such versions are spotted by Hasu Yajnik, in Lokgitomā Rāmcharit ane Pāndavkathā, as Jain Rāmāyana and Bauddha Rāmāyana and the folklore itself (4). Pancholi, here, perceives that Rām is associated as many forms in several stages of common men from birth to burying and his story is the soul of Indian folk tradition (3). Hasu Yajnik in “car p>ac vrsna sIta 4y>a” (21): Sitā is four-five years, Went to the school taking a slate. Here, Sitā is painted in people’s colour. Thus, the themes and incidents of these folksongs are not only taken from the original Rāmāyana or other source but it is stirred with people’s own life and it creates another “independent source” (Lokgitomā Rāmcharit 4). Its composition is also easy to remember and sing for the folk. It is also noted that the same incident is portrayed variously in the same province and many versions are available. In the life-sketch of Rām and Sitā, their marriage is more highlighted than any other stories of the Rāmāyana. Śringār rasa (erotic sentiment) is underscored in folksongs of Kāthiyāwād and Gujarat. Hasu Yajnik gives words to a prevalent feeling that Krishna is more sung than Rām in folksongs (Lokgitomā Rāmcharit 2) as people can easily establish more similarities between them and Krishna than them and Rām. Krishna is spread in all castes and age groups. Hasu Yajnik gives its reasons that any artist can find the availability of emotional components of the creation in Krishna’s life which can talk of his/her own sentiments (11). According to Harivallabh Bhayani, Rādhā is Krishna’s spouse in our folksongs who is not in the Mahābhārata. Even the quarrels and misunderstandings of husband and wife are linked with Krishna and Rādhā. Krishna is most of the time taken as “balk<*`” (Krishna as a child) and “gopIk<*`” (Krishna as a lover); sometimes he is treated as an intimate friend and so in many folk songs, he is called with affection as jnavr (beast), kp3I (cunning), cor (thief), inRlj (shameless), ju#Do (liar), l>u3aro (robber) and so on. Sometimes folksongs are addressed to him in order to give advice and discourse to society. Behaviour, ethics, moral values, virtues and many more are the measurements of noble men who are religious and spiritual in India. So, in the line above written, it is advised to have company of good men, avoid mean deeds, avoid slander, and to chant god’s name with love. All gods and goddesses are not completely derived from the Vedas, Mahābhārata, Rāmāyana, Upanishadas or any other ancient scriptures but some are created as reflections of human psyche. This sector can be a subject of study as spiritual psychology and psychology of religion (Dave 15). The fact The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795 remains that gods, goddesses, festivals, rituals, traditions, and supernatural beliefs are linked with caste system in India and so in Gujarat. In folk literature, there are direct or indirect references of caste system which is also associated with occupation. Furthermore, theses occupations are also associated with gods and goddesses like Vahānvati mātā who protects ships and steamers. It is remarkable that those classes and castes, which are closely connected with ancient Hindu philosophy, adore different religious figures than the other classes and castes. Many differences can be found, although none god or goddess is evil- doer. Gods or goddesses may have a terrible dimension, even though the dimension is expressed in order to protect goodness and the devotees from evils (Jhaveri 201). The Aryan traces are in folk literature which highly resemble with Greek mythology. The nature is worshiped as god and goddesses or the deities are embodied in the nature (Bhandev Yajurveda-Darshan). Snakes and cows are worshipped as Nāgdev and Gau mātā. Similarly pipal tree (ficus religiosa) is worshipped and circumambulated as a holy plant which represents Lord Vishnu. The pipal tree occupies a notable place in Buddhism as Gautam grown into Buddha (Enlightened One) underneath the sacred fig tree. Thus, the province is under the influence of animism in spite of the wide range of schools of Indian philosophy. God-fearing people perform pooja to Shitalā mātā for protection from disease like chickenpox. Thus, indigenous people of Kāthiyāwād and Gujarat have created a group of deities who are expected to protect and take care of their families and community. Speech of saints is in the middle of philosophical, spiritual, religious folk lyrics in Kāthiyāwād in Gujarat. Hasu Yajnik defines it in Santvāni, Lokgit ane Lokkathā Vishe, “loko d\vara wiKtwave gvatI Ane +vnm>a sahijk ke inyimt rIte joDayelI rcnaAo” (the compositions which are intuitively or regularly connected in life, and devotionally sung by people [my translation]; 16). He talks that it is divided into three categories, i.e. Agm (agam), Aagm (āgam), Av5 (aval). In Agm (agam), there is no difference of literary forms but is of vocabulary. The apparent meaning is different than the hidden meaning which is understood by the singer and listeners only. It is not understandable for other common people (20). The second is Aagm (āgam) which is about future and prophecy. It is generally found regarding ki5yug (kaliyuga) and its influence (22). Its first written document is 7Imd\ wagvt (Śrimad Bhāgavata) and folk literature has reproduced it as prophecies as well as eyewitnesses. These compositions suggest that wiKt (devotion) is an extraordinary characteristic of kaliyuga. Eventually the compositions are altered in other devotional literary genres. The third type is Av5 (aval) which means paradox (38). There may be found miraculous and humorous elements apparently but there is a peculiar philosophy and point of view behind this trick. Aval is a genre which is the only philosophical composition in folk literature in true sense. The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795 It is notable that the hostility between two or more religions never appeared in Kāthiyāwād. People of different religions not only respected other religions but also they cared to maintain their dignity. This nature of concord with other religions and sects is visible in folklores which are comprehended by Meghani’s skillful pen. As a rule the term ‘dharma’ is meant as ‘religion’. The Indian culture defines it in many different contexts. In Kāthiyāwād, the term ‘dharma’ means ‘duty’, a duty towards human beings, women, families, community, province, religion, and even animals. On the other hand, ekeshwarwād is also one of the hues of the same civilization. References Bhandev. Yajurveda-Darshan.2nd ed. Rajkot: Pravin Prakashan, 2012. Print. Bhayani, Harivallabh. Introduction. Lokgitomā Rāmcharit ane Pāndavkathā. Comp. Hasu Yajnik. Gandhinagar: Gujarat Sahitya Akadami, 1992. Print. 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Loksāhitya ane Chāraṇi Sāhitya: Vyākhyāno ane Lekho. 1997. Gandhinagar: Gujarat Sahitya Akadami, 2011. Print. ---. Loksāhitya: Dharatinu Dhāvaṇ. 1939. Gandhinagar: Gujarat Sahitya Akadami, 2011. Print. ---. Radhiyāli Rāt. 1925. Gandhinagar: Gujarat Sahitya Akadami, 2010. Print. Pancholi, Manubhai. Preface. Lokgitomā Rāmcharit ane Pāndavkathā. Comp. Hasu Yajnik. Gandhinagar: Gujarat Sahitya Akadami, 1992. Print. Pad-Sangrah-Suchikaran. Parmar, Khodidas, comp. and ed. Gujaratnā Lokgito (An Anthology of Guajarati Folk-songs). New Delhi: Sahitya Akadami, 1981. Print. The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795 Parmar, Jaymall. Lok, Sāhitya ane Sanskruti. Rajkot: Pravin Prakashan, 2011. Print. Raval, Manoj. Lokvāni: Vastu ane Vichār. Gandhinagar: Gujarat Sahitya Akadami, 2015. Print. Dave, Jagdish V. Introduction. Adhyātmavidhyā: Spiritual Essay. By Bhandev. Ahmedabad: R. R. Sheth, 2000. Print. Yajnik, Hasu, comp. Guajarati Loksāhityani Jivanchakra Antargat Rachanāo. Vols. 2. Gandhinagar: Gujarat Sahitya Akadami, 1996. Print. Pad Bhajan Suchikaran-14. Yajnik, Hasu, comp. Lokgitomā Krushnacharit. Gandhinagar: Gujarat Sahitya Akadami, 1990. Print. Pad Bhajan Suchikaran-5. Yajnik, Hasu. Loksāhitya-vijnān. Ahmadabad: Divine Publications, 2012. Print. Yajnik, Hasu. Santvāni, Lokgit ane Lokkathā Vishe. Ahmedabad: Gurjar Granth Ratna Karyalaya, 2015. Print. Yajnik, Umeshkumar A. Greek Philosophy: Plato and his successors. Vol. 2. Ahmedabad: U Book Production Board, 1976. Print. The Global Journal of English Studies I September 2016 I Volume II, Issue III ISSN : 2395 4795