Modern Meitei poetry

**Modern Meitei poetry** () refers to poetic works composed in the Meitei language (also known as Manipuri language) from the 20th century onward, particularly before and after World War II. Marked by a shift from romantic and traditional themes to contemporary concerns, it explores issues such as political unrest, cultural dislocation, and personal identity. Influenced by modernist and postmodernist trends, it features experimentation with form, language, and symbolism, reflecting the changing social and intellectual landscape of Manipur.

The period before WWII saw the birth of modern Meitei poetry. Poets like Chaoba, Kamal, and Angahal used their talents to bring the Meitei language and literature back to life. They blended tradition with new ideas, and even though each had a different style and focus, together they laid the foundation for future Meitei literature.

In his first poem, he praised the natural beauty of Manipur and expressed hope for new poets. He famously said, “Ignorant is he who speaks of the poverty of my mother tongue,” and this inspired others to write as well.

If Chaoba is called a romantic poet, Kamal fits that label even more. He loved nature and wanted peace, often using beautiful Bengali words for his poem titles. His first poem, Abhinandan (), celebrated the revival of Meitei literature. He often pointed out how people were ignoring their language and culture in favor of foreign ones.

His short poems often talked about patriotism, devotion, and moral values. For example, in one poem, he mourned a fallen tree and ended with a lesson. Some poems were satirical, poking fun at pride or foolishness. Others dealt with serious themes like slavery, such as “Wa-Tannaba” () and “Meenai Luhongba” (), which criticized a society that denied freedom even in marriage.

A. Minaketan Singh (; 1906–1995) wrote thoughtful poems often focused on the passing of time. His collection Basanta Seireng () was a school text for many years.

R.K. Shitaljit Singh (; 1913–2007) was active in literary journals and wrote poems about devotion and patriotism.

## Post World War II 
After World War II, some early Meitei literary figures had already passed away or stopped writing. Kamal and Anganghal died before and during the war. Chaoba, who lived until 1950, had stopped writing creatively by 1940. His last major work was Labanga Lata. He only wrote a few essays afterward.

Poets like A. Minaketan and R.K. Shitaljit continued to publish after the war, but their writing styles and ideas didn’t change much, despite the war and the political/social upheavals. Their works, like Ketuki (), Eekhoulangba (), and Vidyai Asirbad (), felt more like they were written before the war, not reflecting the new world.

By this time, Manipur was going through political tension about whether it should join India. The rise of many political parties led to confusion and frustration among the people, especially the youth.

In 1949, E. Nilakanta Singh (), then a student, published the poem Manipur. It captured the uneasy mood of the time—global fears of nuclear war and local political instability. His poem was not very emotional but more intellectual, using images to express complex feelings. However, his later poetry didn't match the strength of Manipur.

### Rise of a New Generation 
Nilakanta’s poem inspired a group of young poets who started expressing frustration with modern life. These poets were urban, educated, and experimental. They used symbols, modern language, and new poetic forms. At first, their poetry shocked readers, but people soon saw the truth in what they were saying.

Notable poets like Thangjam Ibopishak, R.K. Madhubir, and Yumlembam Ibomcha wrote poems expressing sadness, loss of faith, and frustration with modern society. They questioned traditional values, mocked outdated morals, and highlighted feelings of loneliness and disconnection. Their style broke away from emotional, romantic poetry of the past and instead used harsh, sometimes disturbing images to reflect reality.

They were influenced by Western literary movements like Imagism, Symbolism, Surrealism, and the works of T.S. Eliot. For example, Ibopishak's poems like Footpath, Dustbin, and Morgue and Sri Biren’s Rotten Fish reflect this modern, raw style.

Poetry collections by these poets in the late 1960s and 70s marked a clear shift from the old, emotional, romantic style to a new, realistic, and sometimes cynical one.

### Impact 
Some critics feel these young poets tried too hard to be complex or shocking. Their poems could be hard to understand and focused too much on the darkness of life. But they were genuine in their effort and helped modern Meitei poetry grow up. Poetry was no longer about sweet emotions—it now talked about real life, struggles, and the human condition.

New poets were expected to be thoughtful and intelligent, to express their personal experiences, and to use strong, meaningful language and rhythm. The young poets succeeded in pushing Meitei poetry into a more modern direction.

### Other Contributors 
Other poets followed the modern trend but were less focused on society’s problems. Examples include:

* Padmakumar Singh () – philosophical tone in Evening Song.

* Thiyam Ibohal Singh, Kangjam Ibohal Singh, Gurumayum Ranjit Sarma – poetic works in the late 1960s and 70s.

Laishram Somorendra Singh (), a senior poet, wrote satirical and witty poetry about society. His poems often looked cheerful on the surface but had deep meanings. For example, in Black Trousers, he shows how modern youth have lost direction.

He also criticized greedy businessmen and fake politicians, but in a humorous way. His major works include *"The Lotus Blooms in the East"* 
() and *"The Story of a Village."*

### More Young Voices 
Many other young poets also contributed to this new wave of poetry, such as:

Tokpam Ibomcha, Sagolsem Dhabal, Ratan Kumar Thiyam, Nabachandra Hamom, Brajakumar Sarma, Imo Meetei, and Ibempishak Devi. Their themes ranged from personal emotion to reflections on society and philosophy.

Notably, some poets were from outside Manipur (like in Assam’s Cachar District), showing the spread of this literary movement.

### Old Tradition Continues 
While the new style took center stage, traditional poetry was still alive. Older poets like:

R.K. Surendrajit Singh, Khumanthem Ibohal, Minaketan Singh, and Nilbir Sastri continued writing in the older, more romantic and classical style.

Of them, R.K. Surendrajit () stood out. His poetry had rich language, hopeful themes, and influences from Tagore. He encouraged poets not to just dream, but to fight the problems of the real world. He believed both tradition and modernity could coexist.

Minaketan Singh (), a respected figure, tried hard to create a unique style, but his poetry sometimes felt forced. He also translated major works from other languages, but his writing sometimes lacked emotional depth. Still, some of his short poems had real charm.

Others like Kalachand Sastri, Nilbir Sastri, and Sanjenbam Nodiachand also continued in the traditional path, though not always successfully.

## Related pages 
* Ancient Meitei literature
** Ancient Meitei hymns
** Meitei ritual songs

## Bibliography 
* A Catalogue of Manipuri Books, 1891-1969. India: The Parishad, 1970.
* Modern Indian Literature, an Anthology: Surveys and poems. India: Sahitya Akademi, 1992.
* Encyclopaedia of Indian Literature: Devraj to Jyoti. India: Sahitya Akademi, 1988.

## References