Essays

Ancient oral traditions, European poetic forms and the Internet combine to lend an unusual and variegated character to the developing Mizo poetic landscape writes Margaret Ch. Zama.

The trend of poetry writing in Mizo literature may be said to be a recent one. Earlier references to poetry included song poems influenced by the oral traditions of songs and chants of the Mizo forefathers. The move to establish a tradition of Mizo poetry christened ‘hlahril’ meaning ‘song to narrate’, is also a recent one. James Dokhuma coined the term in 1980 with his first collection of poems titled Ka Hlahril (My Poems). Since 2005-06, another new term, ‘hlachham’ or ‘chhamhla’ meaning ‘song to recite’, has also been in existence.

The reason for this late poetic trend, in the contemporary sense, is that printing arrived in Mizoram only after 1894, when missionaries first introduced the Roman script here. This factor, along with the deeply entrenched oral song tradition, may be attributed to the late development of modern Mizo poetry.

Other poets of note, besides Dokhuma, who have published collections of their poems include Lalzuahliana (Lungmawl Selin¹ , 1992) Lalsangzuali Sailo (Kulva² , 1993), R.L. Thanmawia (Senmei³ , 1997), Mafaa Hauhnar (Chawlhna Tuikam⁴ : A Juvenilia, 1997), Capt. L.Z. Sailo (Awmkhawhar Suihlunglen⁵ , 1998), and C. Chhuanvawra (Zo Kung⁶ , 2005). Other than Lalzuahliana and Mafaa Hauhnar, these poets, although contemporary, belong to the more traditional school of poetry in the light of their linguistic styles and thematic approaches. Human life and its attendant complexities, expressed in traditional poetic diction and imagery, and often with Christian overtones, is the general trend that is followed.

As with most periods of transition, an overlap of preceding and new forms or trends may be seen. This is especially evident in the works of Lalzuahliana and Mafaa Hauhnar. Lalzuahliana is among the first Mizo poets to experiment with postmodernist trends, and a key feature of his poetry is the use of language in an uncommon, subversive and provocative manner, eliciting surprise. Meanwhile, Hauhnar is one of the first Mizo poets to introduce innovative language, word play, internal rhymes, rhyme schemes, sonneteering, and the use of wit and satire, in his works.

The influence of Laltluangliana Khiangte, an established poet and writer (Rochuam⁷, 2006), is seen in the approach of some of the new generation poets whose works demonstrate changing trends in technique, poetic language and thematic content. The Christian influence is also visible. These poets, F. Lalzuithanga [Thinlung Luangliam⁸ , 2012], C. Lalhruaitluanga (Chhamhla⁹ , 2013), Hr Chhangte (Lungtui¹⁰ , 2015), and Laltlanthangi JH (Leikapui Zaiva¹¹, 2015) are predominantly concerned with rhyme, technique, structure and form while thematically inclined towards nature and social issues. The collection Leikapui Zaiva, by Laltlanthangi JH, may be taken as a case in point. It covers the gamut of most poetic forms like the ballad, ode, satire, elegy, rondel, acrostic poem, epic, dramatic monologue, and sonnet, as listed in the Contents section of the book In Chhamhla, C. Lalhruaitluanga indicates the various forms employed, such as the villanelle, rondel, sonnet, madrigal, and quatrain. He also provides the rhyme scheme of his sonnets, even sub-titling two of them as Shakespearean sonnets. 

What is clearly evident is the influence of traditional poetic genres and practices borrowed from English literary traditions, which most of these poets have been exposed to in the course of their studies in literature. 

Parallel to these non-indigenous poetic trends, there has been a different kind of spurt and development in Mizo poetry, facilitated by electronic media. Two Mizo Poetry Facebook groups have been active since 2012-13, and another called ‘Zaituahrem’ has been showcasing Mizo poetry since 2014. This new trend has generated a growing number of poets from all walks of life, whom I label ‘online poets’ and whose works in the conventional sense, remain unpublished.

What distinguishes the poems of the online poets is a sense of liberation from the rigid confines of form and structure. Their poems are composed mainly in free verse or three line stanzas, dealing mostly with the social and secular while exhibiting a sidelining of rhyme schemes, and a prosaic flow rather than a poetic one, a predominance of word play, and so on. ‘Flair Mizo’, found on YouTube, has ventured into performance poetry, while incorporating rap elements into it. The future and status of these new and innovative trends vis-a-vis mainstream Mizo literature and the world of publishing remains to be seen. But one thing is certain – Mizo poetry is here to stay.    

References

1. Someone made foolish or unreasonable due to love or some other reason, and criticised for it.
2. Name of the bird known locally as ‘vakul’ or ‘bhimraj’, distinguished by its long tail. Mizo poetic terms often tend to arrange words in this manner, placing the first syllable at the end.
3. ‘Red fire’. The poet believes or hopes that his poem will be like the purifying fire that will purify or purge the ills of his world.
4. ‘Resting place by the sea (or by the waters)’.
5. ‘Alone and lonesome’. A common poetic term used by poets and songwriters to express such a feeling – one that urges them to compose.
6. Literally translated, it means ‘the tree of the Mizo’. Here, it implies the poet’s sense of nationalism and identity in his work. By extension, it is also a claim that his work may be considered central to, or to represent, all those who identify themselves as Mizo.
7. ‘A treasure that is particularly valued’.
8. ‘Wings of poesy’.
9. ‘A song to be recited’.
10. Lungtui is a combination of two words – ‘lung’ or the heart, and ‘tui’ or water/ tears. The word denotes tears provoked by, or a melting of the heart caused by, some strong passion or emotion.
11. Leihkapui refers to the open platform in traditional Mizo houses where individuals or groups of young men gather on a moonlit night, to sing songs of nostalgia or longing for one’s beloved. Zaiva means songbird, but in this context, it implies the sentimental singing of a group or individual on the platform.

Excerpts of the poems mentioned in this essay may be found in:

• In Dancing Earth: An Anthology of Poetry from North-East India, Ed. Robin S. Ngangom, Kynpham Singh Nongkynrih. Penguin, 2009.
• Indigenous Writers of India: North-East India. Ed. Ramaṇikā Guptā. Ramnika Foundation, 2006.

References (Mizo):

• Journals Thu leh Hla published by the Mizo Academy of Letters (MAL), and Mizo Studies, published by the Department of Mizo, Mizoram University.
• Online resources: ‘Zituahrem’ and ‘Mizo Poetry Group’ on Facebook.