[Assamese Sex Story In Assamese. Language.
Virginie Fayad
The first reference to the language of Assam was found in the account of famous Chinese monk-cum-traveler Huen Tsang. He visited the Kamarupa Kingdom during the reign of Kumar Bhaskara Varman of Varman dynasty. While visiting Kamrupa in seventh century, Xuanzang noted that the language of the region was slightly different from the language of Middle India (Magadha). He was able to identify the phonetic differences evident in the region.[6] Even though systematic errors in the Sanskrit of Kamarupa inscriptions portray an underlying Pakrit in the pre-12th century period,[7] scarce examples of the language exist. The Charyapadas, the Buddhist ballads of 8th-10th century some of whose composers were from Kamarupa and the language of which bear strong affinities with Assamese (besides Bengali, Maithili and Oriya), are considered the first examples of Assamese literature. The spirit of the Charyapadas are found in later-day Deh-Bicaror Geet and other aphorisms; and some of the ragas found their way to the 15th-16th century Borgeets.[8] In the 12th-14th century period the works of Ramai Pundit (Sunya Puran), Boru Chandidas (Krishna Kirtan), Sukur Mamud (Gopichandrar Gan), Durllava Mullik (Gobindachandrar Git) and Bhavani Das (Mainamatir Gan) bear strong grammatical relationship to Assamese; and their expressions and their use of adi-rasa are found in the later Panchali works of Mankar and Pitambar.[8] These works are claimed as examples of Bengali literature as well. After this period of shared legacy, a fully differentiated Assamese literature finally emerged in the 14th century.
The earliest known Assamese writer of this period was Hema Saraswati, whose well known works include Prahlad Charita and Hara Gauri Samvada.[9] The story of the Prahlad Charita is taken from the Vamana Purana and the Hara Gouri Samvada includes the myth of Hara-Gouri marriage, birth of Kartik etc. Kaviratna Saravati's Jayadratha-vadha; Rudra Kandali's Satyaki-pravesa are prominent works of this era. Harivara Vipra, a court poet of Kamata Kingdom, composed Vavruvahanar Yuddha (based on the Mahabharata),[10] Lava-Kushar Yuddha (based on the Ramayana) and Tamradwajar Yudha. Though translated works, they contain local descriptions and embellishments, a feature that describes all translated work of this period. His Vavruvahanar Yuddha, for instance makes references to articles of the Ahom kingdom,[11] which at that time was a small kingdom in the east, and describes the undivided Lakhimpur region,[12] and in Lava-Kushar Yuddha he departs from the original and describes local customs for Rama and Sita's pumsavana ceremony.[13] All these works are associated with Durlabhanarayan of Kamata and his immediate successors..mw-parser-output .noboldfont-weight:normal
The pada form of metrical verse (14 syllables in each verse with identical two syllables at the end of each foot in a couplet) became a standard in Assamese kavya works, something that continued till the modern times. Though a translated work, it is infused with local color, and instead of the heroic, Kandali instead emphasized the homely issues of relationships etc. Among the two kinds of alamkara's, arthalankaras were used extensively, with similes and metaphors taken from the local milieu even though the original works are set in foreign lands; whereas the shabdalankara (alliteration etc.) were rarely used.[19]
In the pre-shankari era, a renowned mathematician, Bakul Kayastha from Kamarupa Kingdom, compiled Kitabat Manjari(1434), which was a translation of the Līlāvatī by Bhāskara II into Assamese.[20] Kitabat Manjari is a poetical treatise on Arithmetic, Surveying and Bookkeeping. The book teaches how accounts are to be kept under different heads and how stores belonging to the royal treasury are to be classified and entered into a stock book. The works of Bakul Kayastha were regarded as standards in his time to be followed by other Kayasthas in maintaining royal accounts.[21]
Madhavdeva, a disciple of Sankardeva, has a large scale contribution to Assamese literature. His Magnum opus, Naam Ghosa is based chiefly on the Bhagavata Purana. The Naam-Ghosa is known by the name of Hajari Ghosa as well, as it contains one thousand verses (ghosas).His Guru Bhatima, a long poem of praise to his Guru Sankardev, is also popular. Bhakti-Ratnavali is another notable work, rendered by Madhavadeva from the original work by Visnupuri in Sanskrit. Other prominent works include Naam Maalikaa, Assamese rendering of the Adi Kanda of Valmiki's Ramayana, Janma Rahasya, 191 Borgeets and several plays.[30][31][32][33][34]
Bhattadeva, another notable writer of this period, is acknowledged as the father of Assamese prose.[38] Katha Bhagavata, Katha Gita, Bhaktiratnavali, Bhakti Viveka (Sanskrit) etc. are his prominent works. BhattadevBhattadeva's erudition in Sanskrit grammar and literature, and his command over the Bhagavata earned him the title of Bhagavata Bhattacharya.[39][40]
Along with the expansion of power and border of the Ahom kingdom, literary works other than Neo-vaishnavite centric started gaining momentum in the 18th century. However the tradition of composing works based on Sanskrit scriptures still continued. Raghunath Mahanta was one of the most important figures of this period whose well known works include Katha-Ramayana, Adbhut Ramayana and Satrunjoy- all of them are based on the Ramayana.[41][42][43] Kabiraj Chakravarti's translation of Brahma Vaivarta Purana and Shakuntala, Gitar Puthi of Kabiraj Chakravati mentions several songs themselves composed by the Ahom Rajas Rudra Singha and Siva Singha. Kavichandra Dwija's Dharma Purana, Bishnu Dev Goswami's Padma Purana, Putala Charitra by Borruchi, Ramchadra Borpatra's Hoigrib-Madhva Kahini, Acharya Dwija's Ananda-Lahari, Ruchinath Kandali's translation of Chandi Aakhyana are important works of this period. Among translation of texts related to practical knowledge include translation of Srihastha Muktavali on Dance and mudra by Suchand Ojha, translations of Kaamratna- Tantra, Bhaswati by Kaviraj Chakraborti. Hastividyarnava, commissioned under the patronage of king Siva Singha and translated by Sukumar Barkaith, is based on the Sanskrit text Gajendra-Chintamoni by Sambhunath. Books like Ghora Nidaan, Aswanidaan by Surjyakhari Daivajna were also compiled during this period.[44][45][46]
Attached to the palace of the Ahom Kings there was a set of apartments for the preservation of royal manuscripts, records, letters despatches, and maps in charge of a high official named Gandbia Barua. There was another officer named Likhakar Barua literally the superintendent of scribes who supervised the work of an army of clerks and copyists.[47]
This is a period of the prose chronicles (Buranji) of the Ahom court. The Ahoms had brought with them an instinct for historical writings. In the Ahom court, historical chronicles were at first composed in their original Tai-Kadai language, but when the Ahom rulers adopted Assamese as the court language, historical chronicles began to be written in Assamese. From the beginning of the 17th century onwards, court chronicles were written in large numbers. These chronicles or buranjis, as they were called by the Ahoms, broke away from the style of the religious writers. The language is essentially modern except for slight alterations in grammar and spelling.
The British imposed Bengali in 1836 in Assam after the state was occupied and annexed with the Bengal Presidency. As a result of this language imposition, the progress of education in Assam remained not only slow but highly defected and a lot of Bengalis were imported and employed in the different schools of Assam. Writing of text books in Assamese for school children did not get any encouragement and Assamese literature naturally suffered in its growth.[48] Due to a sustained campaign, Assamese was reinstated in 1873 as the state language. Since the initial printing and literary activity occurred in eastern Assam, the Eastern dialect was introduced in schools, courts, and offices and soon came to be formally recognized as the Standard Assamese. In recent times, with the growth of Guwahati as the political and commercial center of Assam, the Standard Assamese has moved away from its roots in the Eastern dialect.
The missionaries established the first printing press in Sibsagar in 1836 and started using the local Asamiya dialect for writing purposes. In 1846 they started a monthly periodical called Arunodoi, and in 1848, Nathan Brown published the first book on Assamese grammar. The Missionaries published the first Assamese-English Dictionary compiled by M. Bronson in 1867. One of the major contributions of the American Baptist missionaries to the Assamese language is the reintroduction of Assamese as the official language in Assam. In 1848 missionary Nathan Brown published a treatise on the Assamese language.[50] This treatise gave a strong impetus towards reintroducing Assamese the official language in Assam. In his 1853 official report on the province of Assam, British official Moffat Mills wrote:
The modern Assamese literature has been enriched by the works of Jyoti Prasad Agarwalla, Birinchi Kumar Barua, Hem Barua, Atul Chandra Hazarika, Mafizuddin Ahmed Hazarika, Nalini Bala Devi, Navakanta Barua, Syed Abdul Malik, Mamoni Raisom Goswami, Bhabendra Nath Saikia, Homen Borgohain, Birendra Kumar Bhattacharya, D. K. Barooah, Nirupama Borgohain, Kanchan Baruah, Saurabh Kumar Chaliha and others. Moreover, as regards the spreading of Assamese literature outside Assam, the complete work of Jyoti Prasad Agarwala has been translated into Hindi to reach a wider audience by Devi Prasad Bagrodia. Bagrodia has also translated Shrimanta Shankardev's 'Gunamala' into Hindi.
795a8134c1