|
The method that Temple adopted to gather his material was both
logical and simple. He searched out bards in various regions and
villages of Punjab, and thus came across the various categories
of bards- the bard proper, at the courts of kings, singing of
national legends and warlike feats and family histories of his
patrons. The swangs were semi-religious metrical plays
sung by Brahmins about the sacred legends of Hindus. Then were
the professional ballad singers or mirasis who
accompanied dancing girls and sang for hire at various joyous
ceremonies. Temple met " the wandering jogi, the mirasi,
the Brahmin, the faquir, and such folk in the streets and
roads and stopped them and made them divulge all they
knew."
The largest
portions of the legends were recorded under the supervision of
Temple himself. He trained munshis of his own to do the
work of the recording in the Persian script and as authentically
as possible, the outpourings of the bard. Temple himself then
transcribed it into Roman characters and translated it in
consultation with the munshis.
In the preface,
Temple seeks to examine the general trends, salient features and
devices in the folklore that occur and reoccur, their origins
and usage, for example miracle workers. "They perform any
and every miracle that man can conceive or want". Of the
miracles recorded in The Legends, we come across Namdev,
raising a dead cow to life, of Puran Bhaghat, restoring life to
a dried up garden, of Sakhi Sarwar turning the gold of an
unfaithful follower into brass, of Rode Shah making the dry
grass green and sweet forever in reward for furnishing him with
a bed of itself, of Ranjha transporting a saint by holding his
hand. Another recurring feature is stepmothers who appear in
most of the tales and are generally the enemies of the heroes
and heroines. " Sometimes they are surviving co-wives, and
sometimes successors to deceased wives"
The device of
metamorphosis is often used- the metamorphosis of the dead into
the living, dead into inanimate objects, deities into animate
objects, of superhuman creatures like ogres, angels, vampires
into beautiful women, flowers or birds. Marriages occur in every
tale, usually after a considerable ordeal and are often the
trigger behind the purpose of the story. Temple explores the
characters, the movement, the features, the customs and the
motifs of the tales under scrutiny.
Before each
legend commences, a brief description of the mode of its
requisition, plus an overview of the historical significance of
hero of the legend is given. References to other works wherein
accounts of this hero maybe found are also given. Details of the
bard who recited the folklore are meticulously recorded.
Though titled Legends
of Panjab, the book contains tales of Padmini and Raja
Rattan Sen of Chittor, about Namdev, the celebrated bhakti poet
and Marathi poet who vastly influenced the founder of the Sikh
religion and Sakhi Sarwar of Multan among others. The text is in
authentic Urdu; Punjabi, Brajbhasha or the vernacular
used by the bard who sang it for Temple. This fits in with
Temple’s ‘favorite theory that the average villager one
meets in Punjab and North India is at heart, "neither a
Mohammedan, nor a Hindu nor a Sikh, nor of any other religion,
such as is understood by its orthodox exponents, but that his
‘religion’ is a confused unthinking worship of things held
to be holy, whether men or places."
The two volumes
contain 38 legends including those of Raja Rasalu, Princess
Adhik Anup Dai, Raja Mahi Prakash of Sirmaur, Raja Nal, the
genealogy of Lal Beg, the tale of Raja Chandrabhan and Rani
Chand Karan, a hymn to Abdul Quadir Jilani, the marriage of Heer
and Ranjha. The English translations strive to be as true to
letter and spirit as possible but, as is the tragedy with most
translated works, lose out on some of the veritable essences in
so doing.
Doubtless, The Legends
of Panjab is a work of significance, compiled, as it was, in
1883-1885. It puts together significant poems and ballads handed
down through the centuries, which could, with the dying out of
the bardic traditions, too easily be forgotten.
|