Ram ei dit tak tak a ni chun-

R L Muon Inbuon

3^rd December 2014

Ngaituona seng man um nghal lo chuh, ramtin ka ngaituo ve hlak a. Tu mi hril hranpa ngai lovin, Hmar hnam hi ngaina ding le hmangai dingin thisenin a mi hril a. Hmarhai hin mani \awng ngei hmangin, int$mna um d>r lovin, mi hmusitna karah ni lovin, “a lien ta’m a ch$n ta’m, ram hang nei ve reng reng inla” ti hi iengtiklai khawma ka duthusam a ni rawp hlak. Chuong ang peiin, “iengtin am hm^ la inla ei hnam le \awng dam zing a ta?” ti le “iengtin am ram ei nei thei ding?” ti khawm hi ka ngaituona a hin nitin deuthaw a um hlak.

Hmar hnam \obul le ahnung peia hnam politics chungchang chu hril nawng ka ta. Hi thusep tiemtu hin, ka hriet ang chie i hriet naw a ni khawma, iemani z^t b>k annawleh ka hriet l>t tamtak i hriet ngei ka ring. Tiem nghawkum hman lo dingin, Hmarhaiin ram ei nei ve theina dinga hm^ ei lak dan ding ka ngaituona a um hlak hai inhrawl deu deuin zuk th^i lang ka tih.

Pakhatna a chun, Hmarhai hin ram ei dit tak tak a ni chun, ei tawng a dam a tul ti hi hre nawk zuol ei tiu khai. Chuleiin, Hmar mi taphawtin ei nau-le-te le tu-le-tehai Hmar tawng inthiem tir vawng ei tiu. Chuonga Hmar tawng hmangthiem mi an pung pei chun Hmar population kiem ngai naw nih a; a tama tam na na chun, a var le an v>t deu khawm inpawl nawk ei ta. Chuong lai zing chun, “Nga’n an tam an thipui a, Mihriem ruok chun ei tam ei dam pui” ti hi an dik zie ei ni ah khawm hung chieng a tih.  

Pahnina a chun, Gandhi method- Non-Violence- hi Hmarha’n ram ei nei thei dan ding \hatak a ni leiin, inhril hm<ng ei tiu. Mizoramah ADC ei demand khawm hi lekha-a inziek, sirsan ding tha deu ei nei a, chu chu MoU 1994 a mi kha a nih. Interim period kum 2 ding ti a ni laiin, a sawt ta khawp el! Hmarmi Dan thiem iemani zat ei um ngei ring a um a. Chuonghai anthawk chun thurawn dam la inla, Assembly House ah put lut a ni ngei dan ding hi zawng tak tak inla nuom a um takzet. Ka hriet suol naw chun, Assembly House ah bill put lut ning a ta, passed a ni chun Act ah inchang a ta, chu chun ADC chu a pieng ding a nih. Tharum thawlo le buoina siem lovin sawrkar nawr tak tak ei tiu, ei theida \awng hmang taphawt hai ni lovin.

Pathumna a chun, mawl leia \itna le mi hmusitna ei pumpel theina dingin lekha ei thiem a ngai. Chu ding chun, taimak insuong ei tiu. |hang lang ei tiu. Bei tak tak ei tiu. Tharum thaw a ngai nawh. Mi lekhathiemin a hnam, a \awng, an z^pui ngai nawh. Mi’n an hmusit ngam bawk nawh. Milekhatiem chun nuom pawngin mi a hmupeinaw ngai nawh. Inhriethiem nawna a lo um a ni chun, ‘iem ana a zung?’ tiin a zawng a. Chu hnungah, ‘tuomdam dan a um am?’ ti a ngaituo nawk hlak. Hun liem tahnung thil leia lungsen el lovin, tharum thaw lova ram l^k dan a ngaituo lem hlak.

Tharum thaw ngai d>r lova Hmarhaiin, abikin Mizoramah, ram ei nei/siem thei d^n ding ni a ka hriet ve hai chu:

1. Tuta inthawka Hmarnau pieng taphawtin Hmar \awngin Hming Phuok/Ziek nachang hre ta inla. Tu’m Hmar tu’m Hmar naw hre el ei tih. “Inhma an’thawk tah khan Mizorama Hmar popo hin Hmar \awngin Hming lo ziek inla chu aw, Hmar iengza’m ei um ti hi hriet a awl hle ding bah” ka ti hlak. Ringthu-a “ei tam a nih” ti ringawt hin kawngro a suk nawh. Sorkar Census ei en lem chun lungsen b^k thaw ding a um nawh. Hmar i ni a, Hmar tawnga i hmang a, i hming Hmar \awnga i ziek leia sawisel I tuok a ni chun, a tul danin, tharum thaw \hak lovin, hma la rawh, hnena chang em em i tih.

2. Mani insungah Hmar \awng hmang ei tiu. Hmar \awng b^nsan nawng ei tiu. I Hmar chanpui chu Hmar \awngin be la. A pi le puha’n an zir naw leia a lo thiem ta naw a ni pal chun hrethiem rawh. I lungsen rak khan iengkhawm chawkdawk naw nih. Hmar tawng a thiem dan ding ngaituo pui lem rawh.

3. Hmar i ni leia hmusitna i lo tuor pal a ni khawma hrethiem rawh. Nang a thawsuol an nawh a, i pi le puhai lo thawsuol lei a nih. Nang chun var takin hma la lem ta la, i hnam sanhim tum ngei rawh. Hnam dangin i hnam kha hung ng^is^ng pek naw nihai che ti hi hre zing hlak rawh. Chuleiin innui hieuin be lem rawh, ruol\ha a i siem thei lem chun i hnam ngirhmun hril la inhmin rawh. Chuong lai zing chun, a chunga i thaw ding umhai ruok khi chu mathei lovin thaw rawh. I hnam hmusit uma i siem s<ng chu hmusitin um hrim a tih. Chuong ang bawkin, hnam inzauma i siem s<ng chu inz^ in um zing hlak a tih.

Mizoram puotieng a um hai khawmin ei nakawr le ei n^k khel em em \awng hmangtuhai a pawng a puia ei hn^m ringawt hin iengkhawm chawk dawk naw nih. Mizoramah ei um naw lei hin Hmarrama um dam ei insawn deu hlak am a ni ding, FB ah ei lut lem chun zamaw leh thang elin ei nuom a ningin ei inhrosa a. A ni na taka lem chu, Hmarhai hin khaw lai hmuna khawm ram ei nei nawh. Lekhathiem ei tam t^k vei an leh, tienlai anga a khuo ang zawng le a tawng hmang ang zawnga ram lak dam ei la tum a hawi. Hieng ang zawng hin hang thaw tak tak hrim khawm ni inla, Hmarcha deng khawp cho ei ni el khel ah, ei sung le kuohai thisen tho lang ei tih. Tu midang thisen rak la naw mei nih. Sorkar vawngtu chu mihriem tho an ni lai zingin, sorkar va nawr hi mipui mimir va nawr leh an ang nawh ti khawm hi ei la hriet naw zing khawm a hawi ie. Sura’n a \iel taphawt sakei a sawn ang deu khawm kha ei hawi hlak. Mizoram mi taphawt i theida hin Mizoram sorkar a deng kher nawh ti hi hriet a tha.

Chuong ang bawkin, Mizorama umhai ta dingin, Hmar ka ni tho anawm ka nauha’n Hmar tawng an hriet naw khawma i ti khan Hmar hnam hi la thi de nih i tina a nih.   

Ei hmazawn sengah hma lang ei tiu, mi va theida a, va’n halpui a \ul hran nawh. A hminga lekha inchuk i ni ve lem chun nuom nuoma inphawt nekin, chu lai hmun kha lai hmuna chun chu chu kha kha an ziek ti zat zat thei dingin lekha tiem rawh. FB a hun tamtak i hmang khawm ku kha lekha tiemna’n hmang lem la Hmar hnam ta di’n thil tangkai tiem dawk lem mei i tih.  

Hmar hnam dam zing raw seh!

Go and catch a falling star: My appreciation

Go and catch a falling star: My appreciation

BY JOHN DONNE (1572-1631)

Go and catch a falling star,

    Get with child a mandrake root,

Tell me where all past years are,

    Or who cleft the devil's foot,

Teach me to hear mermaids singing,

Or to keep off envy's stinging,

            And find

            What wind

Serves to advance an honest mind.

If thou be'st born to strange sights,

    Things invisible to see,

Ride ten thousand days and nights,

    Till age snow white hairs on thee,

Thou, when thou return'st, wilt tell me,

All strange wonders that befell thee,

            And swear,

            No where

Lives a woman true, and fair.

If thou find'st one, let me know,

    Such a pilgrimage were sweet;

Yet do not, I would not go,

    Though at next door we might meet;

Though she were true, when you met her,

And last, till you write your letter,

            Yet she

            Will be

False, ere I come, to two, or three.

This poem by John Donne, a Metaphysical poet, is perhaps the first English poem I appreciate on my first reading. I read it for the first time in my college days. It was included in our course. At that time I was not familiar with the Metaphysical poets. Neither was I familiar with the style and characteristics of the so-called Metaphysical poets. However, I love the poet’s direct and straightforward exposition of his disbelief in the existence of a woman with an honest mind. Might be I have experienced or I would later experience what the poet has experienced, I unhesitatingly agree/d with the idea of the poet.  In a word, the poet’s main idea is that it is difficult or rather impossible to find a woman with an honest mind.

Addressing a silent listener, as in Dramatic Monologue, the poem may be called so, the poet tells the latter to go and catch a falling star which is impossible for a normal human being. He also commands his friend to get with a child a mandrake root, which is used for medicinal purpose, again an impossible task for a child. A child will not be able to differentiate which is and which is not a medicinal plant. Next the poet asks his friend to tell him where all the past years are or who cleft the devil’s feet, again impossible for any person, if he is not a superhuman.  Then he asks his friend to teach him mermaid’s singing, which is again an impossible task, if the person is not a mermaid himself. The poet further asks his friend to teach him how to keep off envy’s stinging, which again is impossible, because no one as a human being would be able to do away with an inherent nature of his being, here, envy. The last part of the first part of the poem seems to be an affirmative statement rather than an argumentative question. The poet tells his friend to find whether at all any wind advances an honest mind. In other words, it is impossible to find an honest mind just like the tasks listed out are all impossible to accomplish.

In the second part of the poem, the poet put forwards his idea with another argument. Here the poet tells his friend that by chance there may be a woman with an honest mind just like he (his friend) may be some an extraordinary person with superhuman power that he may be born to see strange sights, things invisible to see, and have the strength to ride ten thousand days and nights till his old age. Then, on his return from his journey the poet would willingly listen to all the marvels that he would have encountered during his long journey. But lo! The poet again declares with confidence that even his superhuman friend will not find a single woman who is both fair and true.

In the last part of the poem, the poet tells his friend that even if he has come across at least one fair and true woman, then he was fortunate enough. But quickly the poet says that the woman would not yet be an ideal one but only seeming and only on the face of it and maybe because of the shortness of time. To strengthen his argument, the poet tells his friend that he would not set out to meet that woman who seems to be honest even if he would meet her next door. The poet tells his friend that even if the woman was true when he met her and perhaps till the time he writes his letter to her.  Yet, the poet will not trust her because the woman would have lied to two or three persons already before he comes to meet her.

Shakespeare might have the same idea with John Donne when he says (in Hamlet) “Frailty, thy name is woman”.

Aw Kan Hmar Ram

‘Aw Kan Hmar Ram’ ti ding ei nei naw hi

Kei chu ka lunglai a na;

Mi'n ropui an rel an ram ngeiah

Eini chu ei leng run riengah.

Tiena Israel ei ieng ei tih

Tiemram chu van a ra?

Tak changlo ding duthusamin,

Ram ropui a min tlun di’m ?

Nga’n an tam an thipui

Mihriemin ei dampui;

Sienkhawm, Unau Suopui hmel ei hai

Ei chan reng hril a hai

Sakhming ziekdan identity

Pal ang thleng chu mawlna;

Chite sukhmawntu chu bangba,

A tawpah tluksietna. 

Hmar hnam I sukdam thei

Hmar tawng hmang la;

Hrietna, Varna sukpung la

Zamsan rawh mawl leia titna

Vankhuo’n a relsa am lo nih?

Hmarnau ar ang an vai lawina;

Chengrang am tha, ziekfung?

Phawi ka nuom a zung.

R.L. Muon Inbuon

7^th October 2014, Kolasib

Mi \awng khawm, ei \awng khawm thiem ei tiu

‘Goodbye Party for Miss Pushpa T.S.’, Nissim Ezekiel (1924-2004), Anglo-Indian poet, a i ziek ka hang tiem nawn chu, exam ding ngaituo r^na tiem hunlai kha a liem ta bawka, a poem-in a tarlanghai khelah, inzawmna nei tho si, ngaituona dang a mi hung pek chu tie. Chu ngaituona chu ieng dang rak nilovin, ka lo ngaituo rawp hlak ei \awng-Hmar \awng- hmangdanah, a bikin Duhlian \awng (Mizo \awng ti a official-a hriet tah) le thiemkawp haiin ei hmang danah], felhlel ni-a ka hriethai chungchang thu a nih. Chuong ang ngaituona mi hung petu chu vawikhat hang tiem khawma hrietthiem thei nghal a nih. Hieng hin:

Goodbye Party for Miss Pushpa T.S.


Friends,

our dear sister 

is departing for foreign 

in two three days,

and 

we are meeting today

to wish her bon voyage. 


You are all knowing, friends, 

What sweetness is in Miss Pushpa.

I don't mean only external sweetness 

but internal sweetness. 

Miss Pushpa is smiling and smiling 

even for no reason but simply because 

she is feeling. 


Miss Pushpa is coming

from very high family. 

Her father was renowned advocate 

in Bulsar or Surat, 

I am not remembering now which place. 


Surat? Ah, yes,

once only I stayed in Surat

with family members

of my uncle's very old friend-

his wife was cooking nicely…

that was long time ago. 


Coming back to Miss Pushpa

she is most popular lady 

with men also and ladies also. 


Whenever I asked her to do anything,

she was saying, 'Just now only

I will do it.' That is showing

good spirit. I am always 

appreciating the good spirit. 


Pushpa Miss is never saying no.

Whatever I or anybody is asking

she is always saying yes,

and today she is going 

to improve her prospect 

and we are wishing her bon voyage.

Now I ask other speakers to speak

and afterwards Miss Pushpa

will do summing up. 

Hieng ang Indian English (Vai Sap\awng ti inla chieng mei a tih) hi vawisun chen khawm hin hriet ding le ngaitlak ding a la tam khawp el. Indian News Channel \henkhata politician-hai debate ei ngaitlak lem chun hriet ding a tam zuol. College kaihai khawma ei ruol-vaihai le ei inbiek hunah hriet ding tam bawk a tih. Present Simple tense hmangna dinga Present Progressive tense hmang tlat dam; Adjective thumal ‘foreign’, Noun anga hmang dam; Vai\awnga hril nisien chu indik si ding, sienkhawm hieng-two three days hang ti dam hi (entirnan-Ek do din me ho jayenge) Sap\awng hmangdan kalhmang ruok chu a ni der si nawh. Sap\awng kalhmanga chu ‘two or three days’ ti ding a nih. Conjunction ‘or’ hi a um ding a nih. ‘Just now I will do it’ ti khawm hi, ‘I will do it just now’ ti lem ding a nih. A tawi zawngin, hieng anga Sap\awng hmang a ni pha hin, Sap\awng kalhmang a hraw nawh a, Vai\awng kalhmang zuiin Vai\awng thumal aiah Sap\awng thumal inbukin a uma, chu chun Sap\awng nuizatum, apuopa a hung siemdawk a nih.  Hieng anga \awng palzut hlak mihai hin, \awngtinin umzie neia inremkhawm dan/rurel (organization/structure) an nei seng ti reng an hriet phak nawh. Hril sei dal ei tih, ei thupui petsan pal ei tih.  

|awng hmang indik kawngah, ei lamr$k d^n- an s^ng an hn<oi haiin umzie inth<ktak a nei zie, sienkhawm chuong chu iengah ei ngai nawzie chu hrillo, ei \awng ngei ei hmang pawl^wt zie hi, tulai Hmar social networking \awng takin ‘A Nasha’ ‘Ei Nasha’. Social networking zuk hril kai taka chun, ‘ninga tih’ tina dingah ’nieng  tih’, ‘ting ei tih’ tina dingah ‘tieng ei tih’ ti hai hin mit an sukkham thei hle. Punctuation hmang indik lem chu ‘Kaha se’ a ni ringawt el. An hrietsa-a an hmang indiknaw vel mei mei am ni ka sawn leh, thenkhat chun an lo hrietnaw tak tak a lo nih.

Ei thupuiah lut ei tih. Ka nakawra lo lut tah le cham zing hlak \henkhathai chu: ‘Ring a um nawh’ tina ding hmuna Duhlian \awng tl<ka ‘A ring um nawh’ ti dam; ‘programme a fe zing/ programme a fe lai zing a nih’ tina ding hmunah ‘programme a fe mek’ ti dam; ‘In l^n ding a ni?’ zuk ti a, Hmar \awng tl<k indik, a thumalin a hung fen el ding laiah, Duhlian \awng tl<k ^wna ‘I l>l^ng ding a ni? ti dam; ‘mi hung sir ro’ tina ding hmunah ‘mi hung tlaw ro ti dam’; ‘mi hung sir malam ro’ ti dingah ‘mi hung sir pa ro’ ti dam; ‘I (dawr thuomhnawhai/thilhai) i zawr thei am ie?’ tina ding hmunah ‘I’n zawr thei am?’ ti dam; ‘ka khatin ka thaw thei nawh’ tina ding hmunah ‘keiman ka thaw thei nawh’ ti hai hi an nih. Ka notebook-ah ka lo inchik pei naw leiin ka hrietdawk el thei talo tamtak a um.

‘A ring um nawh’ ti hi Duhlian \awng ‘A rin awm loh’ ti a inthawka hung suok a nih. Hmar \awng chun ‘Ring a um nawh’ ei ti hlak. ‘Programme a fe m>k’ ti khawm hi Duhlian \awng hmanghai ti dan hlak ‘Programme a kal mek’ ti anthawka lak a nih. ‘M>k’ ti thumal hi Hmar \awng le Duhlian \awngah a kawk a’n ang nawh.  Hmar \awnga chun ‘m>k’ ti thumal hi hieng hun/hmuna hai hin ei hmang deu tak hlak: ‘Programme an \an m>k, hung inhmaw deu ro’; ‘Bu an lo f^k m>k an tah, muong taluo naw ro’. ‘M>k’ ti hi ‘v>l chie’, ‘sawt la fe lo’, hrilna’n ei hmang hlak. Duhlian \awnga ruok chun, thil fe lai zing hrilna’n hmang hlak a nih (a hmangna dang khawm chu a um tho.) ‘I l>l^ng ding a ni? ti khawm hi ‘Duhlian \awnga an ti dan ‘I l>hl^ng dawn a mi/em ni? ti anthawka l^k a nih. Hmar \awng chun, ‘I’n l^n ding a ni?’ ei ti el hlak. ‘Mi hung sir pa ro’ ti lem hi chu nuizat a um; Duhlian \awng ‘Min rawn tlawh pah r’u’ ti anthawka l^k a nih. Hmar \awng chun ‘Mi hung sir malam ro’ a nel.  ‘I’n zawr thei am’ hang ti lem hi chu a kawk a dang ie. D^wr kan nei ve a, nu pakhatin ka nu kuomah ‘I’n zawr thei am’ a ti ka hriet hmasatak chun ka pang an za rak el. Duhlian \awnga ‘I inhralh thei em/ I inhralh thei bawk maw? an ti hlak anga, ieng uksak s> s> lova Hmar \awnga mi \henkhatin an lo inlet a nih.

|awngtinin thumal remkhawm dan/kalhmang an nei seng ei ti ta khah. Thumal tinhai chun k^wk le umzie an nei el cho ni lovin, sinthaw pawimaw tak an nei nawk pei a nih. |awng tl<k an siem/thunun a nih. Hnamkhat sunga hmel dang dang puthaiin \awng tl<k inang ei hmang theina san pakhat chu ei thumal hmanghai an ang lei a nih.

Ei thumal hmanghaiin nasataka ei \awng tl<k an thunun ang bawk khan, ei thumal hmanghaiin \awng pakhat hmang zing siin \awng tl<k in ang naw niei nuoi a min hmangtir thei a lo nih (in ang rawng chu thil thei an nawh). Hienghin hang hril sei met inla. Ei thumal hmanghai a’n ang naw chun, ei \awngtl<k inang naw’ng a ta, chulai karah ei i’nhnaipui unauhai \awng ei lakl<t zing bawk si chun, ei \awng in a hmab^k chu, ch$mrala um le \awng th$ (dead language) a inchang ni mei a tih.

Khawvel hmun tinah \awng le \awng inl^kpawl hi dang ruol an nawh. |awng hausaknaah a’n chang ph^ lem rawp hlak. Thawlo dinga inkhap chi khawm an nawh. Sienkhawm, m$ hnamzie/khawsakzie nuom p^wnga, a \ha a sie thlier lova lo l^k el, a \hatnaw ang bawkin, \awng thuah khawm hin fimkhur hle a \ha. |awng hausakna dinga, laklutna ding ^wmtaka lakl<t chu a \hat vieu laiin, \awng r<r>l le tl<k suksie thei ding khawpa ‘ei inhrietpaw tho annawm’ ti thum^wl changch^wia, mani \awng thumalhai hriet tumna nei der lova um ruok hi chu ‘m^wlna chikhat’ ti inla indik a tih.

Hun s^wttak mani hnam \awng hmang talohai le nu le pa’n an zir naw leia thiemlova lo seilien tahai, \hahnemngaitaka, hung hmang inch<k m>khai hi inp^k an um takzet. Hieng ang mihai hi, lo inch<ktira, keihruoi a, lampui indik kawkhmutu ding chu a lo thiemtasahai ni awm tak ei ni lai, chuongchu ni lova, Mizorama inp>ml<t t^k lei el dam, Vai\awng le Sap\awng hmang thiem lei el dam, Western Music ngaitl^k hlak lei el dama, mani \awng ei inthlada ruok hi chu a zie naw deu a nih. Ho mei meia ei ngai lai hin Hmar \awng hi la th$ng a ta, Hmar \awng a thi chun Hmar hnam hi dams^wt bik naw nih. Chuleiin, m$ \awng khawm thiem ei tiu, ei \awng khawm thiem ei tiu.

R. L. Muon Inbuon

Kolasib, 6^th Oct. 2014


(Hi ka article hi HSA Platinum Jubilee Souvenir a dingin ka contribute a insuo a nih. Editorial Board hai chungah ka lawm hle. )

We know but to forget
We live but to die
Life is futile