Devlopment of Santali literature

The meaning of santali literature is any collection of written work, but it is also means to be used more narrowly for writings specifically considered to be an art form, especially prose fiction, drama, and poetry. In recent centuries, the definition has expanded to include oral literature, much of which has been transcribed.

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The development of Traditional Santali language and written literature was started from the very beginning of British Rule (East India Company) since 1870-75 over the region by some literary loving British Missionaries, such as L.O.Skerfsurd, Rev. P.O.Bodding, Rev. A. Campbell etc in  Roman script. When the british missionaries came into the Santal community for spreading Christianity, neither they can understand the Santali language nor the Santali people can understand their language. So they started to learn Santali language from them. After learned the santali language they got the knowledge about Santali cultural and traditional things and they got obsessed with their social activities. So they started to write articles and books for understanding Santali language and the Santal community, and started to publish Santali short Stories, Santali folk song, Santali grammar, Santali scriptures through their articles and book from mission press. That's how the written literature of Santali language strated. 

According Santali education consultants, Santali written literature is divided into 9 different parts. They are— 

 

1.  Rhyme or Baouli

 
Rhymes prevalent in society are one of the mainstays of Santali oral literature. Due to the influence of urban culture, the use of rhyme among Santals has decreased a lot recently. Rhymes are used in the context of fun on special occasions, i.e. on the occasion of festivals or weddings. Sometimes rhyme is sung in tune. Conventional rhymes can be divided into three categories. For example—(1) Children’s rhymes (2) Youth rhymes (3) Elderly rhymes.
 
Children’s rhymes: Little children say different kinds of rhymes while playing among themselves. As these are children’s rhymes, the use of various rhymes suitable for children is common in the society. For example, boy forgetting rhymes, sleeping rhymes etc. A few rhymes are mentioned here as examples. First the children’s rhymes—
 
It is still seen in Santal villages that small children, when playing in the dust of the road or elsewhere, utter a word of rhyme to one of the rest of a rhyme group to catch the criminal if someone commits a crime. Whoever stops at the last word of the rhyme is declared guilty.
 
Youth rhymes: Usually young people use such rhymes. But it is not that children do not cut such rhymes. For example, on the day after Kali Puja, the youth of the village organize to drive away mosquitoes from the village. After setting fire to dry straw or some other dry material, they started to run away from the village towards the field or empty space, saying a kind of rhyme. Mosquitoes also escape from it.
 
Sleep rhymes: Like Hindi,  Bengali, English and others, Santali also has sleep rhymes rhymes. The mother cuts her baby and puts her to sleep on her lap or bed. As a result of rhyming, the child gradually falls asleep in the mother’s lap or on the bed.
 
Adult rhymes: Humour between people in special relationships, usually at weddings rhymes are used in context. Groom's parents and bride's parents in Santali their relationship is called 'Balaya'. During the 'Bhojon' ceremony of this 'Balaya' relationship, there is laughter and laughter between them. Then different rhymes are used. Also, when the dance arena takes place on social occasions or festivals, the songs and dances sometimes use a lot of rhymes. Such rhymes are usually one or two syllables. In use, words or phrases are repeated in harmony with the beat or rhythm of songs and dances. These meaningless rhymes have nothing to do with song and dance, yet somehow these rhymes enhance the beauty of song and dance. All these rhymes are usually used by humorous youths. Finally, here is a rhyme that adults say to satisfy the curiosity of children. Of course, young children also use this rhyme among themselves.
 
2.     Riddle or Kudum
 
Riddles or puzzle is called ‘Kudum’ by Santals. It is not known since when riddles is common in Santal society like rhymes, has been used. It is an invaluable asset of Santali literature. This riddles literature has turned various topics and objects related to life and livelihood into simple and juicy poetic works. At one time people did not want or dare to say many things directly. By turning the statement or metaphor the riddles are full of wit and wit.  Ridiculousness like rhyme is gradually disappearing today.
 
Shri Dhirendranath Baskey also said - "Though modern literary riddle word is very popular but the word 'Heyali or Kudum' is very popular among rural people. When telling a riddle, the Santals start the riddle by saying “Kudum re Kundit Kundit”. Therefore, the use of the word riddle instead of the word riddle is appropriate.” There are no restrictions on the manner of expression of hypocrisy.  Prose or verse can be said in any way.  Riddles are gradually disappearing today.  There is a need to preserve and document them because they paint a perfect picture of the life flow of the Santal society.  The true nature of the nation is caught between them.
 
3.     Idiom or Bhenta Katha
There are idioms used in Santali language like proverbs. Thousands of idioms passed by orally are gradually disappearing due to disuse. Of course, recently, rhetoric is also being applied in the practice of written literature.
 
4.     Mythology or Binti
Every dominant societies and indigenous communities of  world holds a treasure trove of myths, legends, and stories that reflect their history, values, and worldview. The Santali people, an indigenous community hailing from the regions of India, Nepal, Bangladesh, and Bhutan, possess a captivating mythology that beautifully portray their beliefs and traditions. With a history stretching back centuries, Santali mythology offers a unique window into their spiritual and cultural identity.
 
 
Deep within the lush forests and rolling hills of Eastern India, santali people troves many myths, mythological stories, and legends. Which is deeply rooted to their culture and history. One of India’s oldest indigenous community Santal tribe’s mythology offers us a captivating insight into their beliefs, values, and understanding of the world around them. With a pantheon of deities, spirits, and supernatural beings, Santali mythology reflects the connection between the Santali people and the natural world.
 
Although from the beginning, like other religions, the Santals did not have any religious books due to the lack of script, but they preserved their myths orally. The Santals realized the need to preserve them in writing ever since the British came to rule in India. Because Britishers started spreading their religion not only in governing India. But the basis of the religion of the Santals was not so strong at that time. Because there was no written document were available for their mythological scriptures. Then they started looking for scripts to make these mythological scriptures into written documentation. But they did not find the script at that time. So they were obedient to preserve them in Devanagari, Bengali and Roman scripts which were prevalent at that time. The first mythological written document or book of Santals is “Kherwal Vansha Dharam Puthi” authored by Majhi Ramdas Tudu. It was probably published in 1854-56 and was written in Bengali script
 
There after in 20^th century Pandit Raghunath Murmu invented “Ol Chiki”. The writing script for Santali language. And now approximately  all the Santali mythological scriptures preserved as novels and poems.
 
5.     Folk Songs
Music is inextricably linked with Santal public life. So we see, the story of cosmology is also sung in the form of music. Not only this, all religious ceremonies have the use of music. Many songs that are common in Santal folk life are still spoken by orally. Song is the main form of oral literature. There are numerous songs of various tunes based on various religious events and festivals. Santali songs from that distant past till today can be divided into four phases.
 
·        Traditional song.
·        Song with a slightly different tune from the traditional song.
·        Developed songs with new ‘words’ based on traditional tunes.
·        Modern Santali songs.
Santali is the conventional melody song in the context of song in the discussion of oral literature comes into discussion. Conventional tunes can be divided into three categories—
(1)   Religious songs
(2)   Social songs
(3)   Love songs

 

 

 

 [Only For Santali Readers]

ᱩᱱᱩᱨᱩᱢ(Definition):- ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱠᱷᱚᱱ ᱦᱮᱡ ᱟᱜᱩ ᱟᱠᱟᱱ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮᱭᱟᱜ ᱱᱟᱱᱟ ᱦᱩᱱᱟ.ᱨ ᱨᱟᱭ ᱨᱤᱛ, ᱞᱟᱠᱪᱟᱨ, ᱥᱮᱨᱣᱟ ᱠᱚ ᱜᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱞᱮᱠᱟᱛᱮ ᱵᱚ ᱞᱮᱭ ᱫᱟᱲᱮᱭᱟᱜ- ᱟ᱾ ᱯᱟ.ᱦᱤᱞ ᱫᱚ ᱱᱚᱣᱟ ᱥᱟᱱᱟᱢᱟᱜ ᱜᱮ ᱢᱚᱪᱟ ᱢᱚᱪᱟ ᱛᱮ ᱪᱟᱨᱪᱟᱣ ᱦᱤᱡᱩᱜ ᱠᱟᱱ ᱛᱟᱦᱮᱡ, ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱥᱟᱦᱮᱵ ᱠᱚᱣᱟᱜ ᱟᱢᱚᱞ ᱨᱮ ᱯᱩᱭᱞᱩ ᱛᱮ ᱥᱟᱦᱮᱵ ᱠᱚᱜᱮ ᱨᱳᱢᱟᱱ ᱦᱚᱨᱚᱯ ᱛᱮ ᱥᱟᱱᱛᱟᱲ ᱠᱚᱣᱟᱜ ᱟᱭᱢᱟ ᱨᱟᱭ ᱨᱤᱛ ᱟ.ᱨᱤᱪᱟ.ᱞᱤ ᱠᱚ ᱠᱚ ᱚᱞ ᱪᱷᱟᱯᱟ ᱞᱮᱫᱟ᱾ ᱟᱨ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱱᱟᱜ ᱚᱞ ᱛᱚᱞ ᱛᱟᱞᱟ ᱛᱮ ᱪᱟᱨᱪᱟᱣ᱾ ᱚᱱᱟ ᱛᱟᱭᱚᱢ ᱮᱛᱚᱦᱟᱵ ᱞᱮᱱᱟ ᱵᱟᱝᱞᱟ ᱦᱚᱨᱚᱯ ᱛᱮ ᱟᱨ ᱜᱩᱨᱩ ᱜᱚᱢᱠᱮᱭᱟᱜ “ᱚᱞ ᱪᱤᱠᱤ “ ᱦᱮᱡ ᱮᱱ ᱛᱟᱭᱚᱢ ᱫᱚ ᱥᱟᱱᱛᱟᱲᱤ ᱯᱟ.ᱨᱥᱤ ᱛᱮᱦᱚ ᱥᱟᱶᱦᱮᱫ ᱪᱟᱨᱪᱟᱣ ᱮᱛᱚᱦᱟᱵ ᱞᱮᱱᱟ᱾ ᱚᱱᱟ ᱛᱮ ᱥᱟᱱᱛᱟᱲᱤ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱯᱩᱭᱞᱩ ᱛᱮ ᱵᱟᱨ ᱦᱟ.ᱴᱤᱧ ᱛᱮ ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱱᱟ ᱢᱤᱫ ᱴᱟᱝ ᱫᱚ ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱟᱨ ᱢᱤᱫ ᱴᱟᱝ ᱫᱚ ᱚᱞ ᱥᱟᱶᱦᱮᱫ᱾

A.ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱺ- ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱚᱱᱟ ᱠᱚ ᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ ᱡᱟᱦᱟ ᱠᱚᱫᱚ ᱦᱚᱲᱟᱜ ᱢᱚᱪᱟ ᱢᱚᱪᱟ ᱛᱮᱜᱮ ᱪᱟᱨᱪᱟᱣ ᱦᱮᱡ ᱟᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱞᱮᱠᱟᱛᱮ ᱱᱚᱶᱟ ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱟᱨᱮ(᱙) ᱞᱮᱠᱟᱱᱟᱜ ᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱠᱚᱫᱚ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ- ᱢᱮᱱ ᱠᱟᱛᱷᱟ, ᱵᱷᱮᱱᱛᱟ ᱠᱟᱛᱷᱟ, ᱠᱩᱫᱩᱢ, ᱜᱤᱫᱽᱨᱟ. ᱵᱟᱣ.ᱣᱞᱤ, ᱦᱚᱲ ᱥᱮᱨᱮᱧ, ᱡᱷᱟ.ᱨᱱᱤ, ᱵᱟᱠᱷᱮᱲᱟ, ᱢᱟᱱᱛᱟᱨ,ᱦᱚᱲ ᱠᱟ.ᱦᱱᱤ ᱾

1. ᱢᱮᱱ ᱠᱟᱛᱷᱟᱺ- ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱱᱟᱜ ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱱᱟᱜ ᱢᱤᱫ ᱦᱟ.ᱴᱤᱧ ᱠᱟᱱᱟ ᱢᱮᱱ ᱠᱟᱛᱷᱟ᱾ ᱢᱮᱱ ᱠᱟᱛᱷᱟ ᱢᱮᱱ ᱛᱮ ᱫᱚ ᱚᱱᱟ ᱠᱚ ᱠᱟᱛᱷᱟ ᱵᱩᱡᱷᱟᱣᱚᱜ-ᱟ ᱡᱟᱦᱟ ᱠᱚ ᱠᱟᱛᱷᱟ ᱛᱟᱞᱟ ᱛᱮ ᱯᱟ.ᱦᱤᱞ ᱦᱟᱯᱲᱟᱢ ᱠᱚ ᱟᱠᱚ ᱨᱮᱱ ᱯᱚ-ᱯᱚᱝᱲᱟ ᱠᱚ ᱴᱷᱮᱱ ᱟᱠᱚᱣᱟᱜ ᱟᱠᱤᱞ ᱜᱮᱭᱟᱱ ᱠᱚ ᱪᱟᱞ ᱟᱠᱚ ᱛᱟᱦᱮᱡ᱾ ᱫᱟ.ᱭᱠᱟ. ᱞᱮᱠᱟᱛᱮ ᱢᱮᱱ ᱜᱟᱱᱚᱜ-ᱟ- ᱚᱠᱟ ᱞᱮᱠᱟᱢ ᱮᱨ-ᱟ ᱚᱱᱠᱟ ᱜᱮᱢ ᱮᱨ-ᱟ᱾ᱠᱟᱛᱷᱟ ᱨᱮᱭᱟᱜ ᱢᱮᱱᱮᱫ ᱫᱚ ᱡᱟᱦᱟᱱᱟᱜ ᱠᱟ.ᱢᱤ ᱞᱟ.ᱜᱤᱫ ᱟᱢ ᱚᱠᱟ ᱞᱮᱠᱟᱢ ᱥᱟᱯᱲᱟᱜ-ᱟ ᱚᱱᱠᱟ ᱜᱮ ᱚᱱᱟ ᱨᱮᱱᱟᱜ ᱠᱩᱲᱟ.ᱭ ᱦᱚᱢ ᱧᱟᱢ-ᱟ᱾ ᱚᱱᱠᱟ ᱜᱮ ᱟᱭᱢᱟ ᱢᱮᱱ ᱠᱟᱛᱷᱟ ᱠᱚ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫᱟ ᱡᱮᱞᱮᱠᱟ- ᱢᱟ.ᱱᱢᱤ ᱢᱤᱭᱚᱱ ᱛᱚᱢᱵᱟ ᱫᱟᱜ, ᱦᱟᱴᱟᱜ ᱛᱮ ᱦᱟ.ᱛᱤ ᱰᱟᱭ ᱫᱟᱯᱟᱞᱚᱜ-ᱟ, ᱦᱳᱲᱳ ᱜᱮ ᱯᱮᱴᱮᱡ ᱟᱱᱟ ᱦᱚᱲ ᱫᱚ ᱵᱟᱝ ᱮᱢᱟᱱᱟᱜ ᱠᱚ᱾

2. ᱵᱷᱮᱱᱛᱟ ᱠᱟᱛᱷᱟ ᱺ- ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱛᱟᱞᱟ ᱨᱮ ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱞᱮᱭ ᱟ.ᱜᱩ ᱟᱠᱟᱱ ᱱᱚᱝ ᱠᱟᱛᱷᱟ ᱠᱚ ᱡᱟᱦᱟ ᱫᱚ ᱞᱮᱭᱚᱜ-ᱟ ᱢᱤᱫ ᱴᱟᱝ ᱟᱨ ᱵᱩᱡᱷᱟᱣ ᱦᱚᱪᱚᱭᱟᱠᱚ ᱢᱤᱫ ᱴᱟᱝ ᱚᱱᱠᱟᱱ ᱠᱟᱛᱷᱟ ᱠᱚᱜᱮ ᱵᱷᱮᱱᱛᱟ ᱠᱟᱛᱷᱟ ᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱫᱟᱜ.ᱠᱟ. ᱞᱮᱠᱟᱛᱮ ᱢᱮᱱ ᱜᱟᱱᱚᱜ-ᱟ ᱞᱳᱵᱳᱜ ᱢᱩᱡ ᱜᱮᱨ ᱥᱚᱡᱷᱮ ᱠᱟᱛᱷᱟ ᱛᱮᱫᱚ ᱢᱩᱡ ᱜᱮᱨ ᱵᱩᱡᱷᱟ.ᱜ ᱨᱮᱦᱚ ᱱᱚᱣᱟ ᱨᱮᱭᱟ ᱢᱮᱱᱮᱫ ᱫᱚ ᱦᱳᱭᱳᱜ ᱠᱟᱱᱟ ᱫᱟᱠᱟ ᱨᱮᱸᱜᱮᱡ ᱾ ᱱᱚᱣᱟ ᱞᱮᱠᱟ ᱟᱭᱢᱟ ᱵᱷᱮᱱᱛᱟ ᱠᱟᱛᱷᱟ ᱠᱚ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫᱟ,ᱡᱮᱞᱮᱠᱟ- ᱛᱳᱭᱳ ᱫᱮᱨᱮᱧ, ᱨᱚᱴᱮ ᱢᱟᱲᱚᱢ, ᱱᱟᱱᱦᱟ ᱦᱚᱴᱚᱜ, ᱛᱳᱲ ᱪᱩᱯᱤ ᱮᱢᱟᱱᱟᱜ ᱠᱚ᱾

3. ᱠᱩᱫᱩᱢ ᱺ- ᱯᱟ.ᱦᱤᱞ ᱛᱮ ᱦᱟᱲᱟᱢ ᱵᱩᱰᱦᱤ ᱠᱚ ᱥᱮ ᱚᱲᱟᱜ ᱨᱮ ᱢᱟᱨᱟᱝ ᱦᱚᱲ ᱠᱚ ᱠᱟ.ᱴᱤᱡ ᱜᱤᱫᱽᱨᱟ. ᱠᱚ ᱟᱛᱮᱜ ᱥᱤᱸᱜᱟ.ᱲ ᱵᱮᱲᱟ ᱢᱤᱫ ᱠᱩᱠᱞᱤ ᱛᱮᱞᱟ ᱨᱮᱭᱟᱜ ᱟᱠᱷᱲᱟ ᱠᱚ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱡ ᱚᱱᱟ ᱟᱠᱷᱲᱟ ᱨᱮ ᱢᱤᱫ ᱦᱚᱲ ᱫᱚ ᱠᱩᱠᱞᱤᱭ ᱫᱚᱦᱚᱭ ᱛᱟᱦᱮᱱ ᱟᱨ ᱵᱟ.ᱠᱤ ᱠᱚᱫᱚ ᱚᱱᱟ ᱨᱮᱭᱟᱜ ᱛᱮᱞᱮ ᱮᱢ ᱞᱟ.ᱜᱤᱫ ᱠᱚ ᱨᱤᱠᱟ.ᱭ ᱛᱟᱦᱮᱡ᱾ ᱚᱱᱟ ᱥᱤᱸᱜᱟᱹᱲ ᱟᱠᱷᱲᱟ ᱨᱮ ᱡᱟᱦᱟ ᱠᱚ ᱠᱩᱠᱞᱤ ᱛᱟᱦᱮᱱ ᱛᱟᱦᱮᱡ ᱚᱱᱟ ᱜᱮ ᱠᱩᱫᱩᱢ ᱠᱚ ᱢᱮᱛᱟᱜ-ᱟ᱾ ᱚᱱᱟᱛᱮ ᱱᱚᱣᱟ ᱛᱮᱞᱟ ᱠᱩᱠᱞᱤ ᱨᱮᱭᱟᱜ ᱟᱠᱷᱲᱟ ᱫᱚ ᱠᱩᱫᱩᱢ ᱟᱠᱷᱲᱟ ᱦᱚᱠᱚ ᱢᱮᱛᱟᱜ-ᱟ᱾

4. ᱜᱤᱫᱽᱨᱟ. ᱵᱟᱣᱞᱤᱺ- ᱯᱟ.ᱦᱤᱞ ᱜᱤᱫᱽᱨᱟᱹ ᱠᱚ ᱡᱚᱠᱷᱚᱢ ᱠᱚ ᱨᱟᱜ ᱟ.ᱲᱤ ᱛᱟᱦᱮᱡ ᱩᱱ ᱜᱤᱫᱽᱨᱟᱹ ᱛᱷᱤᱨ ᱠᱚ ᱞᱟ.ᱜᱤᱫ ᱥᱮ ᱜᱤᱫᱽᱨᱟᱹ ᱵᱩᱞᱟ.ᱣ ᱫᱚᱦᱚ ᱞᱟ.ᱜᱤᱫ ᱡᱟᱦᱟ ᱠᱚ ᱥᱮᱨᱮᱧ ᱛᱟᱦᱮᱡ ᱥᱮ ᱠᱚ ᱞᱮᱭ ᱛᱟᱦᱮᱡ ᱚᱱᱟ ᱜᱮ ᱜᱤᱫᱽᱨᱟᱹ ᱵᱟ.ᱣᱞᱤ ᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾

5. ᱢᱟᱱᱛᱟᱨᱺ- ᱢᱟᱱᱛᱟᱨ ᱫᱚ ᱥᱮᱫᱟᱭ ᱚᱡᱷᱟ ᱠᱚ ᱟᱠᱚ ᱨᱮᱱ ᱪᱮᱞᱟ ᱠᱚᱠᱚ ᱥᱮᱲᱟ ᱟᱠᱚ ᱛᱟᱦᱮᱡ᱾ ᱞᱮᱭ ᱟᱠᱚ ᱵᱟᱝ ᱢᱟ ᱚᱱᱟ ᱢᱟᱱᱛᱟᱨ ᱛᱮ ᱯᱟ.ᱦᱤᱞ ᱵᱷᱟᱜᱤ ᱵᱟ.ᱲᱤᱡ ᱵᱟᱱᱟᱨ ᱞᱮᱠᱟᱱ ᱠᱟ.ᱢᱤ ᱜᱮᱠᱚ ᱠᱟ.ᱢᱤ ᱫᱟᱲᱮᱭᱟᱜ ᱛᱟᱦᱮᱡ᱾

6. ᱡᱷᱟ.ᱨᱱᱤᱺ- ᱡᱷᱟᱨᱱᱤ ᱦᱚ ᱯᱟ.ᱦᱤᱞ ᱠᱷᱚᱱᱜᱮ ᱦᱚᱲᱟᱜ ᱢᱚᱪᱟ ᱢᱚᱪᱟ ᱛᱮᱜᱮ ᱪᱟᱨᱪᱟᱣ ᱟ.ᱜᱩ ᱟᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱡᱷᱟᱨᱱᱤ ᱠᱚᱫᱚ ᱵᱚᱸᱜᱟᱸ ᱵᱩᱨᱩ ᱦᱚᱦᱚ ᱞᱟ.ᱜᱤᱫ ᱠᱚ ᱵᱮᱣᱦᱟᱨ-ᱟ᱾

7. ᱵᱟᱠᱷᱮᱲᱺ- ᱵᱟᱠᱷᱮᱲ ᱫᱚ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮ ᱟᱰᱤ ᱥᱮᱫᱟᱭ ᱠᱷᱚᱱ ᱜᱮ ᱢᱮᱱᱟᱜ ᱟᱠᱟᱫᱟ ᱞᱮᱭ ᱜᱟᱱᱚᱜ-ᱟ ᱢᱟ.ᱱᱢᱤ ᱡᱟᱱᱟᱢ ᱞᱮᱱ ᱠᱚ ᱩᱱ ᱠᱷᱚᱱ ᱾ ᱱᱚᱣᱟ ᱵᱟᱠᱷᱮᱲ ᱠᱚᱫᱚ ᱵᱚᱸᱜᱟᱸ ᱵᱩᱨᱩ ᱚᱠᱛᱚ ᱠᱚᱨᱮᱜ ᱠᱚ ᱵᱮᱣᱦᱟᱨ-ᱟ᱾ ᱱᱚᱣᱟ ᱵᱟᱠᱷᱮᱲ ᱛᱟᱞᱟ ᱛᱮᱜᱮ ᱚᱠᱚᱭ ᱠᱚ ᱫᱮᱵᱟ ᱥᱮᱵᱟᱣᱮ ᱠᱟᱱᱟ, ᱚᱠᱚᱭᱮ ᱫᱮᱵᱟ ᱥᱮᱵᱟᱭᱮ ᱠᱟᱱᱟ, ᱪᱮᱫ ᱛᱮᱠᱚ ᱫᱮᱞᱟ ᱥᱮᱵᱟᱭᱮ ᱠᱟᱱᱟ ᱥᱟᱱᱟᱢᱟᱜ ᱵᱟᱠᱷᱮᱲ ᱨᱮᱜᱮ ᱛᱟᱦᱮᱱᱟ᱾

8. ᱦᱚᱲ ᱠᱟ.ᱦᱱᱤᱺ- ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮ ᱯᱟ.ᱦᱤᱞ ᱫᱚ ᱥᱮᱪᱮᱫ ᱟᱠᱷᱲᱟ ᱞᱮᱠᱟ ᱫᱚ ᱪᱮᱫ ᱦᱚ ᱵᱟᱝ ᱛᱟᱦᱮ ᱠᱟᱱᱟ᱾ ᱚᱱᱟᱛᱮ ᱯᱟ.ᱦᱤᱞ ᱦᱟᱯᱲᱟᱢ ᱠᱚ ᱟᱠᱚᱣᱟᱜ ᱟ.ᱠᱤᱞ ᱜᱮᱭᱟᱱ ᱪᱟᱨᱪᱟᱣ ᱞᱟ.ᱜᱤᱫ ᱱᱟᱱᱟ ᱦᱤᱴᱩᱱᱟ.ᱨ ᱜᱟᱢ ᱠᱟᱦᱱᱤ ᱛᱟᱞᱟᱛᱮ ᱥᱮᱪᱮᱫ ᱠᱚ ᱮᱢ ᱟᱠᱚ ᱛᱟᱦᱮᱡ ᱾ ᱱᱚᱣᱟ ᱜᱮ ᱠᱟ.ᱦᱱᱤ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ-ᱟ᱾

9. ᱦᱚᱲ ᱥᱮᱨᱮᱧ ᱺ- ᱯᱟ.ᱦᱤᱞ‌ ᱠᱷᱚᱱ ᱜᱮ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮ ᱡᱟᱱᱟᱢ ᱠᱷᱚᱱ ᱜᱚᱡ ᱜᱩᱨ ᱫᱷᱟ.ᱨᱤᱡ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱱᱟᱢᱟᱜ ᱡᱟᱦᱟ ᱨᱟᱦᱟ ᱛᱮ ᱛᱚᱞ ᱢᱮᱱᱟᱜ- ᱟ ᱚᱱᱟ ᱫᱚ ᱦᱚᱲ ᱥᱮᱨᱮᱧ ᱵᱚᱱ ᱢᱮᱛᱟᱜ-ᱟ᱾

B. ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱺ- ᱢᱤᱫ ᱠᱟᱛᱷᱟ ᱛᱮ ᱞᱮᱭ ᱠᱮᱠᱷᱟᱱ ᱨᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱱᱟᱜ ᱚᱞ ᱛᱚᱞ ᱨᱩᱯ ᱜᱮ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱫᱚᱠᱚ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱟᱭ ᱩᱢᱟ.ᱱ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱥᱟᱦᱮᱵ ᱠᱚ ᱟᱢᱚᱞ ᱠᱷᱚᱱ ᱜᱮ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ᱾ ᱟᱨ ᱠᱚ ᱥᱟᱶᱛᱟ ᱨᱮᱱᱟᱜ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱠᱚ ᱠᱷᱚᱱ ᱥᱟᱱᱛᱟᱲ ᱥᱟᱶᱛᱟ ᱨᱮᱭᱟᱜ ᱚᱞ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱟ.ᱰᱤ ᱛᱟᱭᱚᱢ ᱛᱮ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ᱾

ᱱᱟᱝ ᱞᱮᱠᱟᱛᱮ ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱨᱮᱱᱟᱜ ᱦᱟ.ᱴᱤᱧ

ᱜᱟ.ᱠᱷᱩᱲᱤᱭᱟ. ᱠᱚᱣᱟᱜ ᱠᱟᱛᱷᱟ ᱞᱮᱠᱟᱛᱮ , ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱵᱟᱝ ᱞᱮᱠᱟ ᱛᱮᱫᱚ ᱯᱮ(᱓) ᱦᱟ.ᱴᱤᱧ ᱨᱮ ᱦᱟ.ᱴᱤᱧ ᱟᱠᱟᱱᱟ᱾ ᱚᱱᱟ ᱠᱚᱫᱚ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ-------

᱑ᱹ ᱥᱮᱫᱟᱭ ᱡᱩᱜᱽ-᱑᱘᱔᱕(1845) ᱢᱟᱲᱟᱝ

(Ancient (Oral) literature before 1845)

᱒.ᱛᱟᱞᱟ ᱢᱟᱞᱟ ᱡᱩᱜᱽ- ᱑᱘᱔᱕-᱑᱙᱕᱗(1845-1856) ᱦᱟ.ᱵᱤᱡ

(Medieval literature from 1856-1947)

᱓ᱹ ᱱᱟᱦᱟᱜ ᱡᱩᱜᱽ- ᱑᱙᱕᱗(1947) ᱠᱷᱚᱱ ᱱᱤᱛ ᱦᱟ.ᱵᱤᱡ

(Modern literature from 1947 till date)

᱑.ᱥᱮᱫᱟᱭ ᱡᱩᱜᱽᱺ- ᱥᱮᱫᱟᱭ ᱡᱩᱜᱽ ᱢᱮᱱ ᱫᱚ ᱑᱘᱔᱕(1845) ᱥᱟᱞ ᱢᱟᱲᱟᱝ ᱨᱮᱱᱟᱜ ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱥᱮᱫᱟᱭ ᱡᱩᱜᱽ ᱨᱮᱱᱟᱜ ᱥᱟᱶᱦᱮᱫ ᱵᱚᱱ ᱢᱮᱛᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱚᱠᱛᱚ ᱨᱮᱭᱟᱜ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱢᱚᱪᱟ ᱢᱚᱪᱟ ᱛᱮᱜᱮ ᱪᱟᱨᱪᱟᱣ ᱦᱮᱡ ᱟᱠᱟᱱᱟ ᱾

᱒.ᱛᱟᱞᱟ ᱢᱟᱞᱟ ᱡᱩᱜᱽᱺ- ᱛᱟᱞᱟ ᱢᱟᱞᱟ ᱡᱩᱜᱽ(1845-1947) ᱨᱮᱱᱟᱜ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱢᱚᱪᱟ ᱢᱚᱪᱟ ᱛᱮ ᱪᱟᱨᱪᱟᱣ ᱥᱟᱶᱛᱮ ᱛᱩᱢᱟ.ᱞ ᱡᱟᱣᱨᱟ ᱠᱟᱛᱮᱜ ᱪᱷᱟᱯᱟ ᱥᱚᱫᱚᱨ ᱠᱚ ᱮᱛᱚᱦᱚᱵ ᱞᱮᱱᱟ᱾ ᱟᱨ ᱱᱚᱣᱟ ᱚᱞ ᱛᱚᱞ ᱠᱚᱫᱚ ᱯᱩᱭᱞᱩ ᱛᱮᱫᱚ ᱢᱤᱥᱚᱱᱟᱨᱤ ᱥᱟᱦᱮᱵ ᱠᱚ ᱜᱮ ᱠᱚ ᱮᱛᱚᱦᱟᱵ ᱞᱟᱜ-ᱟ, ᱚᱱᱟ ᱥᱟᱶᱛᱮ ᱠᱤᱪᱷᱩ ᱜᱟᱱ ᱥᱟᱱᱛᱟᱲ ᱚᱱᱚᱞᱤᱭᱟ. ᱠᱚᱦᱚ ᱠᱚ ᱛᱟᱦᱮᱱ ᱠᱟᱱᱟ᱾

᱓ᱹᱱᱟᱦᱟᱜ ᱡᱩᱜᱽᱺ- ᱱᱟᱦᱟᱜ ᱡᱩᱜᱽ ᱨᱮᱭᱟᱜ ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱫᱚ ᱢᱤᱫ ᱱᱟᱣᱟ ᱨᱩᱯ-ᱮ ᱧᱟᱢ ᱟᱠᱟᱫᱟ᱾ ᱱᱟᱦᱟᱜ ᱫᱚ ᱚᱞ ᱪᱤᱠᱤ ᱛᱮ ᱢᱤ-ᱢᱤᱫ ᱜᱚᱴᱟᱝ ᱥᱚᱨᱮᱥᱤᱭᱟ. ᱚᱱᱚᱞᱤᱭᱟ. ᱠᱚ ᱦᱚᱲ ᱥᱟᱶᱦᱮᱫ ᱞᱟᱯᱷᱟᱝ ᱠᱷᱚᱱ ᱞᱟᱯᱷᱟᱝ ᱥᱮᱫ ᱪᱟᱸᱜᱟ ᱤᱫᱤᱭᱮᱫᱟ᱾

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