CHAPTER I

THE PARADIGMS OF CONFLICT IN H.W. STEN'S

KA SAMLA NONGKYNDONG

H.W. Sten's novel, Ka Samla Nongkyndong (The Village Maiden) is

an artistic work of transcreation of the Biblical story of the book of Ruth

written in Khasi and published in 1981. The author himself has stated in

Ka Jingthmu, his introductory preface, regarding the source, "Nga la

pynshong nongrim Ta kane baroh na ka KITAB KA RUTH kaba don ha

ka Kotbah."^ (/ have based all this on the book of Ruth which is in the

Bible)^

The book of Ruth, one of the many books of the Bible, was written to

"describe events in the life of an Israelite family during the time of the

judges circa 1375 - 1050 B.C. The geographical setting of the first part

of the book of Ruth, i.e.. Chapter 1, Verses 1 to 18, is in the land of

Moab while the remainder of the book is located in or near Bethlehem of

' H.W. Sten, Ka Samla Nongkyndong, (Shillong: The Don Bosco Press, 1981), p. III.

2

3

Henceforth, Sten, Ka Samla Nongkyndong. The translations, here and later, if not specified, are by the researcher. Donald C. Stamps, (ed), "Ruth", The Full Life Study Bible, New International Version, (Michigan: Zondervan Publishing House, 1984), p. 370.

55

Judah."^ The full title in Hebrew is n n ri'7'An, Megillat Ruth, or "the

scroll of Ruth", which places the book of Ruth as one of the five Megillot

or scrolls,^ viz., Solomon's Songs, Ruth, Lamentations, Ecclesiates, and

Esther, which form the third part of the Hebrew Bible, the Hagiographa.^

The author of the book of Ruth has not been identified in the book but

authorship has been traditionally attributed to Samuel/

Set in historical perspective, that the events of life took place "in the

days when the Judges ruled" (Ruth 1.1), the book of Ruth is a fictional

and literary narrative, which achieves its goals in entertaining and

teaching its audience, the success of which is attributed to the plot

construction with complications, suspense and denouement.^ Biblical

scholar, Goswell, argues that while Naomi is the central character of the

book, Ruth is the main character, and so the book "can be considered

aptly named."^

•* Donald C. Stamps, (ed), op.cit., p. 370. ^ Web page: en.wikipedia.org/wiki/Book_of_Ruth

* Ibid., p. 370. Also,... "An Exposition, with Practical Observations, on the Book of Ruth," Matthew Henry's Commentary on the Whole Bible, Vol. 2, (Chester: Hendrickson Publishers, Inc., 1996), p. 197. "Hagiographa" means "Holy Writings", and "Megilloth" means "volumes" or "scrolls".

^ Donald C. Stamps, (ed), op.cit., p. 370. Also ... "An Exposition, with Practical Observations, on the Book of Ruth," Matthew Henry's Commentaty on the Whole Bible, Vol. 2, (Chester: Hendrickson Publishers, Inc., 1996), p. 197.

' Alice L. Laffey, "Ruth", The New Jerome Biblical Commentary, ed., Raymond E. Brown, et al., (Bangalore: Theological Publications in India, 1990), p. 553.

' Web page: en.wikipedia.org/wiki/Book_of_Ruth.

56

The Biblical book of Ruth narrates that during the time of the Judges

when there was a famine, the Israelite family of Elimelech, his wife and

their two sons, Mahlon and Chilion emigrated to the nearby country of

Moab. Elimelech died, and the sons married two Moabite women;

Mahlon married Ruth and Chilion married Orpah. (Cf. Ruth 1.1-4).

After the death of her two sons, Naomi decided to return to

Bethlehem. She told her daughters-in-law to return to their own mothers,

and remarry. Orpah reluctantly left but Ruth pledged to go with her

mother-in-law pronouncing the immortal words, "Don't urge me to leave

you or to turn back from you. Where you go I will go, and where you stay

I will stay. Your people will be my people and your God my God. Where

you die I will die, and there I will be buried. May the Lord deal with me,

be it ever so severely, if anything but death separates you and me."

(Ruth 1:6-17 Quotation from NIV Bible).

The two women returned to Bethlehem during the time of the barley

harvest, and in order to support her mother-in-law and herself, Ruth

went to the fields to glean. The field she went to belonged to a man

named Boaz, who was kind to her because he had heard of her loyalty

to her mother-in-law. Ruth told her mother-in-law of Boaz's kindness,

57

and she gleaned in his field through the remainder of the harvest

season. (Cf. Ruth 1.19-2.21).

Boaz was a close relative of Naomi's husband's family who was,

therefore, obliged by the levirate law^° to marry Mahlon's widow, Ruth, in

order to carry on his family line. Naomi sent Ruth to the threshing floor at

night and told her to "uncover the feet" of the sleeping Boaz. Ruth did

so, Boaz awoke, and Ruth reminded him that he was "the one with the

right to redeem." Boaz stated he was willing to "redeem" Ruth through

marriage, but informed her that there was another male relative who had

the first right of redemption. (Cf. Ruth 3.1-13)

The next morning, Boaz discussed the issue with the other male

relative before the town elders. The other male relative was unwilling to

jeopardise the inheritance of his own estate by marrying Ruth, and so

relinquished his right of redemption, thus, allowing Boaz to marry Ruth.

(Cf. Ruth 4.1-8).

'" Web page: en.wikipedia.org/wiki/Levirate. Also, ... The Jerusalem Bible, (New York: Double Day, 1999), p. 253. Levirate marriage is a type of marriage in which a widow is required to marry one of her husband's brothers after her husband's death, if he died childless, in order to continue the family line of the dead husband. Translating from Hebrew, yibbum or yabam, the term is a derivative of the Latin word levir, meaning "husband's brother" i.e. brother-in-law. Levirate marriage has been practiced by societies with a strong clan structure in which exogamous marriage, i.e. that which is outside the clan, was forbidden. In Judaism, a levirate marriage is mandated by the Torah, Deuteronomy 25.5-10, which obliges a brother to marry the widow of his childless deceased brother, with the firstborn child being treated as that of the deceased brother.

58

Boaz and Ruth got married and had a son named Obed, who by

[evirate customs was also considered a son or heir to Mahlon, and, thus,

Naomi's grandson. In the genealogy which concludes the story, it is

pointed out that Obed is the descendant of Perez the son of Judah, and

the grandfather of King David. (Cf. Ruth 4.9-22).

The beautiful Biblical story of Ruth has been transcreated by H.W.

Sten with a particular intention as he has stated, "Nga la jied khnang Ta

kane ka khana ba la tip Ipa ban pyni nuksa Ta ki nongpule haduh katno

ka dawa Ta u nongthoh ban pynlong novel Ta ka parom ba lyngkot ba la

don Ipa." ^ (/ have purposely chosen a story which is known in order to

show to readers how much it demands of an author to transfonv an

existing short story into a novel). The intention of the author of the novel

gives a hint that the novel is to some extent an experiment in novel

writing; ^ it is an experiment specifically in the art of transcreation.

According to Shannon Appelcline, the word transcreation is new,

though in practice, "transcreations have been going on for thousands of

" Sten, Ka Samla Noitgkyndong, p. III. ' I. Warpakma, Ka Pyrshiaw Bynta 2, (Shillong: St. Anthony's College, 2006), p. 33.

Henceforth, Warpakma, Ka Pyrshiaw 2.

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years, pretty much since the birth of literature".^^ In the opinion of

scholars, transcreation is applied mainly in literature and in marketing.^''

"When a text is rewritten in a foreign language for a foreign culture, this

is called a transcreation, or creative translation. The text is adapted to

the target culture and does not smack of translation."^^ The translated

text may be very different from the original, but it will be perfectly

appropriate and meaningful to the target culture and just as effective in

conveying the original message. The concept falls in line with the idea of

Malathi Nidadavolu, who had spent over twenty years in translating

Telugu stories into English, that "cross-cultural translation is

transcreation." ^

The meaning will be clearer when the word, "transcreation" is

analysed. "Trans" is a Latin noun or prefix, meaning "across", "beyond"

or "on the opposite side".^'' Thus, transcreation in literature would refer

to an act of creation which is across or beyond the normal practice.

Apart from the practice in literature, transcreation is more often

referred to services in the advertising sector, which consists of the

" Web page: http://www.skotos.net/articles/TTnT_151.phtml. '" Web page: www.studiointra.it/transen.html. ' ' Ibid. '^Ibid.

" Lesley Brown, The New Shorter Oxford English Dictionary, (Oxford: Clarendon Press, 1993), p. 3365.

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complete set of translation, localisation and copy editing services. On

account of that, transcreation is a more complex service as it involves

the creativity and discipline of professionals whose core activity is

content adaptation.^^ In the field of advertising campaigns and marketing

projects, word for word translation may not be effective. This is where

the concept of transcreation comes into effect. Transcreation is the

creative adaptation of marketing, sales and advertising copy in the target

language. Successful transcreation is based on a thorough knowledge of

local environment, culture, business practices and details specific to a

given market, culture or country.^^ The application of the concept in

marketing, sales and advertising, throws light on the operating systems

of transcreation. It involves importing an idea from a particular source

and recreating it in a different language and culture to suit the need of

being effective and appealing in the new environment.

The novel, Ka Samla Nongkyndong {The Village Maiden) is a work

of transcreation in the real sense of the term being a reconceived,

transformed and recreated product in a form different from its source,

the Biblical book of Ruth. The four chapters and eighty five verses

altogether of the book of Ruth have been transcreated into a novel of 17

chapters with 144 pages wherein the aspect of the technique of novel

'* Web page: www.studiointra.it/transen.html. " Web page: http://www.proz.com/pro/1514.

61

writing is shown as practiced in relation to life. Conscious of the

relatedness of the two, H.W. Sten skillfully intermingled art and life,^°

with the result that the realities of life are more prominently shown in the

novel than in the Biblical book of Ruth. The far too sketchy Biblical

narration of the events of marriages and deaths of the sons of Naomi

has been transformed into a series of dramatic action and interaction

with powerful images of joy and sorrow and the mental conflict arising

from the emotional crisis due to shocks at the death of loved ones.

Similarly, the Bible's story of the return to Bethlehem and the events

leading to the marriage of Boaz and Ruth, which have been condensed

into the bare minimum just sufficient to patch events together to achieve

the Biblical objective of showing "how through self-giving love and the

righteous fulfillment of God's law, a virtuous and devout young Moabite

woman became the great-grandmother of Israel's King David"^^ have

been transcreated into a detailed and minute description of the events

leading to the final happy ending. Taking into consideration the

transformation in the process of creation, it is found that H.W. Sten has

taken the scantily clad story of the Bible and clothed it in the best of

robes and ornaments. Having been crafted in the best fabric of the art,

the novel is powerfully effective in conveying the original message of the

^ Warpakma, Ka Pyrshiaw 2, p. 37. ' Donald C. Stamps, (ed), op.cit., p. 370.

62

Biblical book regarding the faithful and filial devotion of Ruth to her

mother-in-law.

As part of his art of transcreation, H.W. Sten chose to give the title Ka

Samla Nongkyndong to his novel on Ruth. When the Khasi title is

translated to English, it would mean The Village Maiden or The Rural

Maid. On analysis of the English words village and rural, it is found that

the noun village means a group of houses in the country, larger than a

hamlet and smaller than a city or town,^^ the adjective rural means

connected to the countryside.^^ The title, Ka Samla Nongkyndong {The

Village Maidenf^ has been aptly given on account of the idyllic rural

setting of the novel with the picturesque natural scenes of the

agricultural country of Moab and Bethlehem as locales of events. The

pattern of conversation and thought is also set in the rural background.

Right at the start of the novel itself, the first sentence of the prelude

powerfully depicts the beautiful scenes of nature:

U KAITOR um pah shuh, ka mariang hi ka la sngap jar la

ka i samla ha ka jingshai balung u bnai uba pel lyngba

^ Web page: www.yourdictionarv.com/village. " Ibid. '' The translation The Village Maiden is preferred as personal choice of this researcher and on

account of aesthetics.

63

shaduh ka kamra thiah miet hapoh trep shoh kew ha ki

thain ka shnong ba ki khot Bethlehem Judia.^^

{U Kaitor^^ does not coo any more, nature is silent ttiough

it looks fresh in the light of the moon which penetrates up

to the bed room in the harvesting hut in the village called

Bethlehem Judea).

The natural setting of Moab is portrayed through the consciousness

and expression of Ruth:

YNDA la dep ka bam ka dih mynstep, ka Ruth ka khmied

sha ki lum ka ri Moab, ka da phai sha mihngi, shatei bad

shathie katba ki saw ngut ruh ki dang Tashong kai ha

phyllaw. "Nga itynnat Ta kitei ki lum bajrong; khmih u Nebo

u dap da ki dieng bajngum, ki dieng ba la sawbthuh ruh."

Ka sngi ruh ka doh Ta ka ri baroh kawei kat shaba ka Ruth

ka lah ban phai.^''

{After breakfast, Ruth looked to the hills of Moab, to the

east, the north, and the south while the four others were

sitting in the courtyard. "I like the high hills; look Nebo is

full of brown trees and the greyish red trees too." The sun

too kisses the whole land wherever Ruth turns).

25

26 Sten, Ka Samla Nongkyndong, p. I. U Kaitor is a type of a bird which produces a beautifiil and distinct sound. In the Khasi context, the term is applied to a poet or writer who has made distinct contributions through his or her works. In the context of the novel, the silence of the bird or the lack of a distinct voice, which is able to make a difference, symbolises the time of waiting for the arrival of a change.

^ Sten, Ka Samla Nongkyndong, p. 18.

64

As a work of transcreation, the novel displays the ability of H.W. Sten

to reconceive the events and to transform his vision and to recreate the

story of Ruth as a fine finished product in another language with

originality, new insights and in a very attractive form. The work is

beyond translation since it is not bearing any trace of translation - it is a

new creation altogether because, having taken into consideration the

known cultural backgrounds of Moab and Bethlehem, there is a

complete adaptation to new situations and environments. Taking the cue

from the Latin etymology (trans-across), the characteristic of

transcreation is that it is a creative work across or beyond normal

practice of creation. The novel, Ka Samla Nongkyndong, fits exactly

into that mould of the art having been reproduced in a language different

from the Biblical book of Ruth which was originally written in Hebrew^^ or

from the available English versions of the Bible.^^

Though the novel has been transcreated to the Khasi language to

cater to the readers of that culture, the Jewish traditional systems of

faith, customs and practices as pertaining to the story about Naomi and

Ruth have been faithfully portrayed, e.g. the custom of levirate system

* Web page: www.jewishencyclopedia.com/view.jsp?artid=71 l&letters=j ^' The Khasi version of the Bible is available but H.W. Sten's work as a novel is different from

the Biblical book in the Khasi Bible. Moreover, it has been written with a different purpose and for a different audience.

65

has been both referred to and practised. After his marriage to Ruth,

Mahlon introduced his brother along with a reference to the Jewish

practice:

"Une u del u para jong nga, u Chilion. Un long u para jong

phi de. Phin ieit phin burom Ta u kum la la u para. Ha ka

dustur Jiw jong ngi mynta, tip lano kein kan kylla, lada jia

ba nga Tap ma nga, un long u tnga jong phi; hynrei lada u

loh tnga shwa Ta kata, phi la sah khunswet wat lada phin

laitluid ruh."^°

{This in my brother, Chilion. He will be your brother too.

You will love and respect him like your own brother In our

Jewish custom at present, who knows when it will change,

if I happen to die, he will be your husband; but if he

marries before that, you will remain a widow though you

are free).

The levirate custom has been fulfilled when Boaz the second nearest

next of kin married Ruth after the refusal of Zadek the closest surviving

relative of Elimelech.

"Te ha khmat jong phi baroh, bad katba im u Trai, e" u

twad la ka shkor kumban wad Ta ki kyntien ban Tadei dur,

"Nga pynbna a-a-a ba nga long u kur bajan tam mynta Ta

'" Sten, Ka Samla Nongkyndong, p. 6.

66

u Elimelek namar u Zadek u la kyntaid. Ngan slew noh hi

Ta ka tyngka ruh. Nga la siew spah ruh Ta ka na ka Ruth.

U Boaz u bteng, "Ka Ruth kan long, ka long naduh mynta

ka sngi, ka tnga jong nga ban pynmih symbai Ta kiba la

thiah hapoh jingtep ba ka kyrteng jong ki kan ym jah na

ka khyrdop jong u Elimelek. Ruth ale sha nga, phi la long

ka tnga jong nga. Phi long ka baieit jong nga naduh

mynta."^^

("So, before all of you, and as the Lord lives," he touches

his ear as if to look for fitting words for the occasion, "I

announce that I am the closest relative of Elimelech since

Zedek has renounced. I will also pay the redemption. I

have redeemed it from Ruth. ...")

{Boaz continues, "Ruth will be, is my wife from this day

and I will raise a seed for the dead so that their names will

not disappear from the doors of Elimelech. Ruth come to

me, you are my wife. You are my darling from today.")

Though H.W. Sten has not directly hinted in his novel, Ka Samla

Nongkyndong, the application of the Jewish levirate custom in this

transcreated novel draws attention to a practice permitted in the Khasi

society and elsewhere too, where a man is allowed and encouraged to

' Sten, Ka Samla Nongkyndong, p. 141.

67

marry his deceased wife's sister. Commenting on the practice in his

book. The Khasis, Major P.R.T. Gurdon writes, "A Khasi cannot marry

two sisters, but he can marry his deceased wife's sister after the expiry

of one year from the wife's death, on payment oijingsang (price of sang,

or taboo) to the wife's clan."^^ However, Major Gurdon has not given

reasons which motivate such a marriage. Yet it is a reason on

humanitarian ground, for a better care of the children, the wife's sister is

a preferred woman for the father. It is also reasonable that the aunt who

has a blood relationship with the children is a better choice as her

position can more easily and naturally transform into a maternal

identification as compared to a stepmother who starts out as a complete

stranger to the children.^^ Thus, the motivation is a practical reason

since it is the most convenient option connected with the task of nursing

and taking care of the children.

The novel introduces other Jewish traditional practices like the seven

months compulsory service of the bridegroom in the house of the bride's

father, which Mahlon fulfilled before his marriage to Ruth. '* Apart from

educating the reader on certain aspects of the Jewish culture, the Khasi

customs and practices are, to a certain extent, reflected or integrated

'^ P.R.T. Gurdon, The Khasis, (Delhi: Low Price Publications, 1990, rpt. 1996), p. 78. " Web page: www.hughie.com/Stories/Taboo.htm - 9k -''' Sten, Ka Samla Nongkyndong, p. 3.

68

along side by side. The integration makes the novel more appealing to

the reading group. The similarity of customs and practices reveals the

fact that human nature and humanity is universally the same and that

the basics of culture and practices are the same or similar in every

aspect. The idea is summarised in the narrator's comment on the mental

condition of Naomi when she dreamt,

Ka Naomi ruh kum ki para briew, la ha Moab, ha Israel ne

ri Khasi ka Tohi ei ei kaba kan ym klet shuh.^^

{Naomi like otiier fellow human beings, whether in Moab,

in Israel or in the Khasi land, saw something which she will

never forget.)

The introduction of some of the aspects of the Khasi culture marks

the success of the novel as a work of transcreation based on a thorough

knowledge of local environment and details of the culture and which has

been adapted to suit the Khasi environment. With that in mind, the

author has taken the liberty of creating new word pictures and images to

make the novel attractive and effective with the result that there is a

reflection of the Khasi culture in different aspects. The Khasi pattern of

life and thinking is strongly reflected in different ways particularly in the

popular Khasi expressions which have been appropriately used in the

' Sten, Ka Samla Nongkyndong, p. 119.

69

novel in the form of imitative or akin words, comparisons, etc. Moreover,

the appearance of words, which are very commonly used, brings the

Khasi environment more prominently through the use of language. Thus,

over and above the task of connotating meanings and carrying fonward

the plot and story, language also performs the task of communicating

the face of the culture.

The use of akin words or imitatives enriches the Khasi atmosphere of

the novel. It is sufficiently clear enough for the purpose of understanding

the novel that simple words are used, but these Khasi expressions

enhances the cultural setting of the book for example,

i) arsap-arphong (p.3); ii) jingkynshew kyndiap (p.4); iii) Tabia-

Takhap (p.14); iv) ki kti ki kjat, ka khmut ka khmat (p. 72); v) ka

riam ka belt (p. 144); vi) ki jain ki nep (p. 142)^^

[i) hypocrite, ii) savings, iii) marry, iv) hands, face, v) dress, vi)

clothes]

In the prayer of blessing of the bridegroom and the bride, there is a

reflection of both the Jewish and the Khasi culture.^^

* The numbers marked inside the brackets indicate the pages in the text of the novel, Ka Samla Nongkyndong.

' ' The idea of prayer and the blessing of the newly wed couple in the novel is similar to the Khasi thought and practice on such an occasion. S.P. Swer, Ki Jingduwai Ha La Ka Niam Khasi, (Shillong: Scorpio Printers, 1996), p. 27. Also, H. Onderson Mawrie, Ka Pyrkhat u Khasi, (Nongkrem: ..., 1994), p. 39.

70

".... To ki blei ka ri Moab kin da bud la phi lynter jingim

jong phi. Kin ai Ta phi ka jingshem bha shem miat ba phin

Toh khun shynrang bad kynthei ba phin roi parum pareh.

Phin ym Tanujor Va la u tnga bad uno uno uwei pat u

briew...."^^

("May the gods of Moab follow you. May they give you

peace and prosperity and that you will get many children.

You will not compare your husband to any man.")

The description of the care of the wheat fields reflects the Khasi

farmers' pattern of thinking regarding weeding and harvesting. On

account of the neglect, the fields are full of weeds which if not weeded,

would grow together with the wheat and at harvesting would cause

problems for separating the two.

"Yn ot da kumno? Sa tang ka niut suda. Yn thiew ruh da

kumno, la lait sa ka por thiew niut."^^

{"How to harvest? It is full of weeds. How to weed, the

season is also over')

Another aspect which very characteristically sets the novel in the

Khasi atmosphere is linguistic expression. The use of images and

* Sten, Ka Samla Nongkyndong, p. 4. ^' Ibid., p. 36.

71

comparisons, in conversation and in narration, in order to express and

explain a point or an idea in a clearer and more emphatic manner very

prominently brings the Khasi milieu into the novel, for example:

a) "U moina um don shuh." (p.33). {The myna is no

more).'^°

Finding that Mahlon is very seriously ill, Naomi uttered the words, "U

moina um don shuh." It is a common expression about the imminent

death of some one. The myna is generally kept in a cage which attracts

the attention of one and all especially if the bird is able to talk. Once the

myna is gone, the cage has no more value. Khasi elders used to speak

of "ka ruh khiem moina," that is, "a cage without a myna". This

expression means that the cage has no more value once the myna is

gone. The idea of the expression when related to a seriously ill person is

that his body is like the cage which is without the myna because the

person is dying, that is, the principle of life is no more.

b) "To ngin Tapyneh snieh pathaw". (p.37). {Let us harden

ourselves like pumpkin skin).

*" The mynas are a type of hill birds which are common in the Khasi Hills. Richard Grimmett, Birds of the Indian Subcontinent, (New Delhi: Oxford University Press, 2007), p. 260. The birds are known to be able to talk by imitating people. They can also learn from specific training. On account of their ability to talk, mynas are regarded as valuable birds.

72

Aware that they are all three widows, Orpah acts 'like a teacher'

("kum ka nonghikai").*^ and exhorted that they should determine to be

hard like pumpkin skin. It is a common expression regarding a

determination to remain firm in spite of all odds. The expression

originates from the physical image of the pumpkin that has a hard cover

though the inner portion is soft.

c) "Ngan ktha lang bad kpu bad pudina mynta" (p. 110).

(/ shall chew and eat both bread and 'pudina' (mint)

together now).^^

The expression is an ordinary statement of Naomi regarding her

decision to eat both bread and 'pudina' (mint) at the same time.

However, the statement is significant considering food habits which are

conveyed by the expression. The idea of eating bread brings into the

picture the food habit of the Hebrews whose staple food even today is

bread which is made from wheat. On the other hand, eating 'pudina' the

crushed form of mint is typically a Khasi food habit.

"' Sten, Ka Samla Nongkyndong, p. 37. '' This researcher prefers to use the Khasi word as it is because the food item "pudina" is a

preparation which is typically of the Khasi people. It is a product from crushing the leaf of the plant called 'mint' (botanical name is 'mentha arvensis')- "Pudina" is eaten as appetizer during the main meals. The habit of eating 'pudina' with rice or other items is common among the Khasis.

73

Apart from adorning the novel with freshness and originality,

H.W. Sten has created a microcosm of the realities of life through the

various situation of action and interaction of the characters. It is, in fact,

from this point of view that the novel is able to achieve universality

because of the universal realities of life. Having keenly observed life,

H.W. Sten presents the novel as a mature work skilfully created with

elaborate details of action and dialogue magnificently located in the

backdrop of the countryside of Moab and Bethlehem. The challenges of

life with all its ups and downs are poignantly portrayed mainly through

the experience of Ruth who was finally rewarded for having been faithful

to her mother-in-law. Her piety (Ruth 2:11), her spirit of self-sacrifice,

and her moral integrity were favoured by God with the gift of faith and an

illustrious marriage whereby she became the ancestress of David and of

Christ.

Conflict as part of the reality of life is powerfully and artistically shown.

Practically all the characters undergo mental conflict at one time or

other. However, the mental conflict arising from the circumstances faced

by the family of Naomi is prominently shown. Ruth was poor, a foreigner,

and a woman, and ail this counted against her, but she was helped by

the older woman to overcome the difficulties she faced. She had the

good sense to listen to the advice given to her by Naomi, and the older

74

woman was rewarded by Ruth's unfaltering loyalty. Her story illustrates

the triumph of courage and ingenuity over adverse circumstances.

In the introduction to the novel, the author'*^ very clearly states the

artistic efforts to portray the realistic aspect of life with regards to

challenges, pain and suffering:

la ka jingeh, ka jyn/vit jynwat, bad ka jingdap lyoh ka jingmut

la ai ka jaka bakongsan, namar ha kum kine ki jait Va kiba la

pynshong nongrim na kaba la don Ipa, ka lad ban leh Ta kata

ka duna shibun eh.'*'*

{Life's challenges, complications and mental agony are

given a prominent place, because in works such as these

which are based on an existing story, treatment of such

themes is limited.)

Having pointed out right in the beginning, H.W. Sten proceeds with

the theme and treats life realistically in real life circumstances with all its

joys and sorrows, limitation and short comings and coupled with

uncertainty in the midst of expectations. The painful experience of the

^^ H.W. Sten preferred to be called 'author' (u nongthoh) rather than a dramatist or novelist or poet. M.B. Jyrwa, Halor ka Burom Ba La Jah Bynta - I, (Shillong: Ha Sharing Cottage, 1998), p. vii. In an exclusive and unpublished interview on 11* January 1997 with H.W. Sten at the Shillong Club, he expressed the displeasure of being called a novelist, a dramatist, a poet, a critic, a linguist. He simply called himself, "u nongthoh".

*^ Sten, Ka Samla Nongkyndong, p. IV.

75

characters has been summarized by Dr. S. Lamare in his critical work

on the novel, thus.

Ha ka novel u nongthoh u wanrah Ta ka jinglynga ka

jingpisa jong ki tyngshop ki puron bad da kata, u la

pynlynga bad pynpisa la ki nongpule ruh.'*^

{In the novel, the author brought in the pain and agony of

the characters and with that, he agonises the readers too.)

The novel is a portrait of life and it depicts people's real action dealing

with the realities and battling with the challenges of life. The struggle in

Ka Samla Nongkyndong is mainly an inner mental conflict. As stated

earlier, all the characters undergo mental conflict of one sort or another

and at varying levels of emotional intensity. H.W. Sten's ability to portray

his characters in the most realistic manner has added fabric and colour

to his work. It is his theory that the characters should be given particular

characteristics which should facilitate recognition of them.

In his technique of characterisation, H.W. Sten, uses idiosyncrasy as

a tool to identify particular characters from their specific mannerisms or

from their peculiar modes of actions. He clearly reveals this technique in

his letter dated 2"'^ October 1996, to Rev. I. Warpakma, published as

S. Lamare, Ka Jingbishar ia Ka Samla Nonskvndons, (Shillong: ESES Plus, 2004), p. 54.

76

part of the appendix in the latter's book of literary criticism,

Ka Pyrshiaw 1.

I have reason to believe that you feel at home with my

technique of individualising a character after yesterday's

conversation on phone. We do have many such characters

in real life; we have simply to listen carefully when they

speak. I wonder if a literary critic could ignore this aspect

of life; but as a creative writer I could not till yesterday.'*^

The aspect of characterisation is further explained in H.W. Sten's

book Shaphang ka Novel. His view is that a character's personality and

individuality can be identified from the description by the writer.''^ A

character can also be known from his or her own descripton about

himself.''^ A character's position in the novel or drama can be also

identified from his or her action or self-descripton.^^

The peculiar action of Ruth is an indication of her character and

specifically her inner mental condition. The mental confusion of Ruth is

noticed in her idiosyncrasized action of scratching the back of her neck,

biting the lips and mumb silence:

*^ I. Warpakma, Ka Pyrshiaw 1, (Shillong: Sacred Heart Boys' Higher Secondary School, 2000), p. 84. H.W. Stan,

"''Ibid.,p. 41. •*' Ibid., p. 42.

'*'' H.W. Stan, Shaphang Ka Novel, (Shillong; Akashi Book Depot, 1982, rpt. 1989), pp. 40 - 41.

77

Ka phai mynta da ka ryngkhi sha la ka kiaw bad ka trud Va

ka lyngthohdoh. Ka shait leh kumta haba ka jingmut jong

ka ka jyn/vit eh. Ka dait Ta ka rmiang shyntur rum, bad kam

shym kren shi kyntien.^°

{She now turns her back to her mother-in-law and

scratches the back of her neck. She used to do so when

her mind is in confusion).

Naomi's family though living in a foreign country, Moab, did not

forsake the Jewish culture nor abandoned the traditional religion.

However, living side-by-side and rubbing shoulders with the Moabites,

the family was open to other traditions as well with the result that the

sons decided to marry non-Jewish women and, thus, bringing

displeasure due to culture consciousness.^^ The fact that the marriage of

Mahlon brought displeasure among fellow Jews^^ shows that there were

possible choices from among their daughters or if there were none,

Mahlon could have sought a partner from his homeland in the pattern of

Abraham's son, Isaac, who married Rebekah (Gen. 24:1-67).^^ It is clear

that the decision to marry local Moabite women came out of a free

'° Sten, Ka Samla Nongkyndong, pp. 115-116. " Ibid., p. 5. " Ibid., p. 5. " . . . The New Jerusalem Bible, (New York: Doubleday, 1985), p. 43 - 45. In Geneis 24. 1-

67, it is narrated that when Abraham was old, being unhappy that his son would marry a Canaanite woman, he sent his chief servant to his own country to choose a wife for his son Isaac from among his own relatives. Rebekah agreed and was brought to marry Isaac.

78

choice. Having lived in the Moab country, Naomi's family became liberal

and accommodating and the cultural difference was narrowed down. In

fact, Chilion the enlightened thinker, being a good conversationalist and

also a smart and lighthearted person who wants to bring harmony in the

family and the society, suggests the abolition of cultural customs and

traditions:

"Ngam da ngeit eh Ta kita ki dustur barim Ta kiba ym lah

ban pynshisha da ki sakhi. Mano ba tip loh ki dei kiba shu

thaw u kynja khwan myntoi aVu re uba khein ba ka khun

jong u ka long tang ka kynja mar khaii! Ngam kwah ruh

ban loh Leah ha ka jaka ban Toh Rakhel. Ngam kwah

shong kurim arngut shipara. Dustur pa dustur! Ka dei ban

kylla katba kum ka jingdawa ka por keiii ban biang lang Ta

baroh."^

(7 do not believe much in tiie old traditions which cannot

be proved with facts. Who knows they might have been

creations of a selfish man who considered his daughter

just like a matehal for business! I do not want to get Leah

instead of Rachel. I do not want to marry two sisters.

Traditions all the time. Things must change with the time in

order to suit all').

54 Sten, Ka Samla Nongkyndong, p. 9. Chilion, the speaicer, expressed his feelings in connection with the attachment of some of his family members to their Jewish cultural customs and traditions.

79

Though Chilion is liberal in his trend of thought, some of his family

members were attached to their own traditions. However, though there

was conflict of opinions, the family remained broadminded as it is clear

from the fact that both the brothers, Mahlon and Chilion married outside

their clan a practice which is against their own traditions.

Naomi battled with life after the death of Elimelech, her husband. With

the arrival of Ruth after the marriage of Mahlon, Naomi's face brightened

up in the company of the caring daughter-in-law. However, the illness of

Mahlon brought back intense feelings to Naomi who battled with herself

to understand the realities of life. The pain of separation due to the

unexpected death of Elimelech was intense for her. She struggled to

cope up with life that, later on, when Mahlon was ill, she was in a state of

guilt complex and blamed herself that he suffered because of her

prolonged grief over the death of her husband:

"Imat del namar ba nga leh khuslai eh ba leit long kumne

sa Ta u khun jong nga! U la ngiah Ta nga imat, hynrei urn

kren, bad mynta ka jingsngew ka la trei kam kylla Ta u

khun jong nga bapli."^^

("It seems because I was so sad that it turned out to be

like this also for my son! Perhaps, he got fed up with me,

55 Sten, Ka Samla Nongkyndong, p. 29.

80

though he did not speak, and now the feeling has affected

him that he is like this').

The untimely death of both Naomi's sons, Mahlon and Chilion brought

incomprehensible suffering and pain to the family. Apart from the fear

that since the bread earners had gone, the family would be in starvation,

the pain of the shocking separation was too much especially for Naomi

because of the repetition of death in her family. For the daughters-in-law

too the mental pain and agony was severe. The loss of loved ones, the

imminent starvation and the feeling of pity for the mother-in-law brought

immense emotional tension to Ruth and Orpah. Naomi was worried

more about her daughters-in-law as Ruth has rightly pointed out:

"... Nga tip i kiaw i khuslai shaphang jong ngi mynta, ym eh

na ka bynta jong i shi met."^^

("... / know that mother-in-law is wonied about us now, not

so much about herself")

Coincidentally, the causes of the mental tension of both sides are

similar. Ruth and Orpah shared with each other regarding the future:

* Sten, Ka Samla Nongkyndong, p. 41.

81

"Ym don nongkamai bam shuh! Kan long ka basangsot la

ngi ban im hangne. ... Nalor kata im don u kur u jait ban

khmih la i hangne ne ba in shaniah ha uta.... Ngin trei aiu

ba ngin im bad kiaw bad pyrsa?"^^

{"The bread earners are no more! It would be miserable for

us to live here. ... Moreover, she does not have any

relative to take care of her here or on whom she can trust.

... What work shall we do to survive mother-in-law and

daughters-in-law?")

Thus, anxiety and worry was gnawing both the old woman and the

young ladies. In the midst of fearful circumstances, what was more

powerful was the feeling of pity for the mother-in-law who has become

just like their mother. With poverty at the door step, anxiety and worry

increased and mental conflict is intensified. The mental conflict in Ruth

and Orpah increased with the constant reminder of Naomi to both of

them to go back to their families, get married and begin a new life. The

mental conflict of Ruth is mainly because of her concern for her mother-

in-law. Moreover, the battle in her mind grew on account of the conflict of

options, whether to listen to her mother-in-law and go home or to

continue to help her since she is in real need of help as she is growing

old,

' Sten, Ka Samla Nongkyndong, pp. 40 - 41.

82

"Ngam lah rai," ong sa ka Ruth, ka peit seh sha kper.

"Lada phi la iwit ne isih la nga te kan long da kumwei pat;

hynrei lada ngan dang lah ban jied Ta kaba ngan leh, nga

don kam ban dang shakri Ta phi haduh ba phin da khiain

bha. Hadien kata te ngin sa Ta peit pat. Ngam lah ban

pyrkhat sa shaphang kawei pat ka jingiakhlad mynta hi."^^

("/ cannot decide," says Ruth as she looks straitht to the

garden. "If you do not like me or if you hate me then it is

different; but if I can choose what to do, I still need to help

you till you are strong enough. After that we shall see. I

cannot think of another departure for the time being.")

As a keen observer of life, the author is able to penetrate to the

condition of human psyche and as he watches every action of Ruth, the

battle in her mind is very clear that in spite of her composure as she is

often portrayed, she lost control of herself on account of the strong

emotional currents, and she throws a tantrum:

Katba ki arngut ki dang Takren Ta kane katai, ka Ruth ka

Taid marwei ha kper hapoh ki syrngiew dieng ... "... Ko

jingkynjah, pham don thapbniang? Wa kitei ki la Taieng ban

rung sha Ting." Ka shong syngngeit Ta lade ha khap ki

syntiew, "Mahlon, ieh noh seh wat pynshitom shuh Ta nga!"

Ka niad la ki ummat.^^

58 Sten, Ka Samla Nongkyndong, p. 44.

' 'ibid., pp. 5 0 - 5 1 .

83

{While the two are talking about this and that, Ruth is

walking alone in the garden under the shade of the trees...

"O loneliness, don't you have wings? I see, they are

entering the house." She throws herself down in the middle

of the flowers. "Mahlon please go and do not torture me."

She wipes her tears.)

The narrator observed Ruth who walks alone musing on the

possibilities of the future. In the process she experiences intense tension

of psychological conflict as she weighs things in order to make

decisions. The expression of Ruth, "Mahlon, ieh noh seh wat pynshitom

shuh Ta nga" {Mahlon please go and do not torture me) comes from

deep anguish situation of anxiety and worry.

Naomi, too, has a battle of her own to fight - to make a final decision

to go back to Bethlehem or to stay in Moab. In the midst of the battle of

Inner conflict when she was cornered with many choices, she finally

made the decision to go back to Bethlehem.

Ka pyllew khmat jong ka ka pynpaw la ka jingkhuslai, ki

khmat baiong jngum ki khih bad kita baroh ki paw haba ka

shitom jingmut ban kan ei ei, bad ka pynhiar mynsiem na

84

shyntur haduh ba la sngew sa kiwei, "khun ! Nga la rai ban

leit noh, ban leit phai sha Bethlehem."^°

{Her pupils reveal her worry, her dark eyes move and all

reveal when she suppresses something inside, and she

breathes out from the mouth loudly that others too hear

and says, "daughters! I have decided to go, to return to

Bethlehem).

With the decision made, apparently, Naomi had overcome the trying

moments though the anxiety for the uncertain future began to loom large

in her mind. Her focus shifted to her two daughters-in-law and their

future. Time and again she had advised them to go back to their homes

and to begin a new life. After breaking the news about her decision to

them she expected them to make a decision to go back to their kith and

kin and start a new life. It was at that time that the most intense mental

battle was fought in the mind of Ruth.

La ieh Ta ka Ruth marwei ha kamra shet ban pyndep noh

Ta ki kam basah; hynrei ka shong pyrkhat shan ngab la

kumban kyrshan Ta ka khiieh ban neh. Ka pyrkhat Ta kata

ka jingkylli ba eh. Ki khmat ki peit sha dpei. Ka jingkylli ka

long kumno yn Ieh mynta: hynrei kam pyrkhat Ta kaban bha

Ta lade, namar ka jingmanbha jong ka Naomi ka long kaba

ka ju ieit eh ban puson. Kawei ka jingmut hadien kawei ki

60 Sten,KaSamltt Nongkyndong.p 55.

85

tynnian ha ka khiieh jong ka. Kawei ka ong, nga dang don

la u kpa la ka kmie bad ki khmih lynti i'a nga ban poi noh hi

sha ling. Ka bor kynmaw pat ka pasiaw ha ka ba u Mahlon

u la kren shi sien ha lyngkha kew ba ka lah ban trei hi ban

kyrshan la lade lada donkam. Ka miet ka nang rben; hynrei

Ta ka samla ba don jingkit khiieh kum ka Ruth, ban shu ong

'ngan Taleit bad phi' kam biang satia. Ka pyrkhat haduh ba

ki rmiang shyntur ki khih bad ka sawa ka mih mian mian,

"kan ym myntoi satia la ka ne la nga ruh. Nga dei ban rai

noh hi shen."^^

{Ruth was left alone in the kitchen to complete the

remaining works; but she sits supporting her head as if it

would fall. She reflects on that difficult question. Her eyes

gaze at the hearth. The question is what to do now: but

she does not think about her own good for Naomi's good is

what she loves to think. One thought after another rushes

through her head. One says I still have parents and they

expect me to reach home. Memory whispers to her that

once Mahlon has said in the wheat field that she is able to

work to support herself if needed. The night becomes

darker; but for a responsible maiden like Ruth, to say, 7 am

coming with you' is not enough. She concentrates so much

that her lips move and sound escapes softly, "it does not

benefit her or me at all. I have to decide soon.')

Sten, Ka Samla Nongkyndong, p. 56.

86

Picked from the Biblical source, H.W. Sten has endowed Ruth with a

noble mentality of selfless self giving and always thinking only for the

good of her mother-in-law. Eventhough, she faced the trial of

circumstances when confronted by many choices as the author

observed about her mental condition which he states clearly, "Kawei ka

jingmut hadien kawei ki tynnian ha ka khlieh jong ka." {One thought after

another forced into her mind). Clearly, in the midst of alternatives, which

come one after another, Ruth faced the problem of choices. The

tempting warmth, comfort and undaunted support of her own family

members beckoned her strongly to return to her father and mother. In

the midst of the uncertainty of life, the security of her father's home,

which she remembered, is far superior to the call of duty in an

impoverished family of Naomi. On the other hand, the feeling of pity for

Naomi and the desire to attend to her well-being surmounts her mind

along with other thoughts. In the midst of the tug of war, the words of her

beloved husband, Mahlon, encouraging her to be self-sufficient, kept on

ringing in her ears, "Ka bor kynmaw pat ka pasiaw ha ka ba u Mahlon u

la kren shisien ha lyngkha kew ba ka lah ban trei hi ban kyrshan Ta lade

lada don kam." {Memory whispers to her that once Mahlon has said in

the wheat field that she is able to work to support herself if needed). The

conflict in the mind of Ruth, which was brought by memory, is so strong

that her lips moved unconsciously and mechanically thoughts took

87

sound and escaped from her lips "kan ym myntoi satia la ka ne la nga

ruh. Nga dei ban rai noh hi shen." {it does not benefit her or me at all. I

have to decide soon). The inner conflict in Ruth is also clearly shown in

her expression to Orpah:

"Phim sngew ba in mih noh lashai noh hi? I la Tathuh la

kata. In ym sngewbha ba ngin bud la i. Dei hangta ba ka

sohsat ka thain biang Va nga. Ban ieh ruh kumno, ban

pynsngewsih ruh ym long. Kabym long satia. I kwah Ta ngi

ban Tit tnga noh.^^

{"Didn't you hear that she will leave tomorrow itself? She

said so. She will not like us to follow her. There lies the

complication for me. How to leave her, to displease her is

also not good. Whatever is not good. She wants us to look

for husbands)."

It is a crucial matter to make a decision, for both the choices have

negative impact on the mother-in-law - leaving her to herself is bad for

her and following her is to displease her. Ruth is sensitive to the

feelings of her mother-in-law and battles with herself in the midst of the

choices.

* Sten, Ka Samla Nongkyndong, p. 57.

88

After the decision of Naomi to go back to Bethlehem, Ruth faced a

conflict in the mind when she thought of the future life in Bethlehem. To

some extent, Ruth faces experiences of disillusionment when when she

visualises the future life in Judah. The type of T.S. Eliot's Magi

experience was flashing through her mind, and as if "voices are singing

in her ears, saying, that this was all folly"^^ she says,

"Kaban bud ka del ban khein duh Ta lade, ym ban ang Ta ka

bainong, bad ka la dei ban kloi ban pdiang Ta kat kaba wan

shoh ha ka ha ri Judah, wat ban shah ring mraw ruh kam

pher. Ka lah ruh ban wan phai ynda i tymmen i la Tap

noh.^

{To follow her is to consider oneself as lost, not to expect

any reward, and it is the willingness to accept whatever

happens to her in Judah, even to be exiled. She can go

home when the old woman is dead).

In a subtle manner, there was a war of words between Naomi and her

daughters-in-law as she insisted that they should leave her,

"Kam lah long. Khie leit phai noh katbym pat jngai na

shnong. Ka jingshakri jong phi Ta nga bad ka jingshah

jynjar jong phi bad nga ka la biang katto. La dei ban

" M. Jain, T.S. Eliot: Selected Poems, (Delhi: Oxford University Press, 1992), p. 89. " Sten, Ka Samla Nongkyndong, p. 57.

89

pyrkhat sa Ta ka lav ei de. Khmih shatei sha ka sngi! Kam

ap shuh Ta ka thma ktien jong ngi."^^

{It is not possible. Go back while it is not so far from the

village. Your service for me and your suffering is sufficient.

It is time to think of your own future. Look at the sun! It

does not wait for the end of our war of words).

Naomi is noble and fair to her daughters-in-law when she exhorted

them to go back home and to begin a new life. Having lived in Moab for

ten years she has become broad minded and does not become

unreasonably attached to the levirate law and, thus, is able to be open

to the promising lives of the daughters-in-law. On the other hand, the

daughters-in-law too have been very noble in understanding the need of

their old mother-in-law and their attachment to her is for her own sake.

The altruistic mutual concern has led to the conflict of persuasion - the

mother-in-law persuades her daughters-in-law to leave her for their own

sake; the young ladies too insist they should go along with her for her

own sake. The care and concern shown between the mother-in-law and

the daughters-in-law led to the "war of words" ("ka thma ktien"), which

actually displays their mutual love.

' Sten, Ka Samla Nongkyndong, p. 66.

90

The continual reminder of Naomi to her daughters-in-law, that they

should go back home, caused turbulence in their minds. As Naomi's

physical journey back to Bethlehem became a reality, the inner journey

of all the three, the mother-in-law and the daughters-in-law assumes

greater significance on account of the increasing tension in their minds.

For the mother-in-law who actually needs them badly but wants them to

be free to live according to their Moabite custom of marrying again, it is a

tremendous sacrifice. On the other hand, Naomi's incessant insistance

wounds the sensitive core of their heart as they were both attached to

her. However, amidst mental struggle, after repeated reminders, Orpah

was finally convinced and yielded to the desire of their mother-in-law that

she should return to her parents as she clearly expresses her decision

after a series of mental deliberation:

Ka Orpah ka la sngew bieit shibun eh ban shu bud haba la

phah Ta ki bun sien. Ka sngewieit bad sngewkynjah haba

ka pyrkhat Ta la ka kiaw, hynrei ba ka Ruth kan leit ka

pyrkhat mynta da kumwei pat.

Ynda ka Orpah ka la hiad ummat ka ong, "Khublei. Mynta

ngan kohnguh Ta phi ba phi la Taiban eh."^^

66 Sten, Ka Samla Nongkyndong, p. 68.

91

{Orpah felt embarrassed to continue to follow having been

sent back many times. She loves her mother-in-law and

feels dejected when she thinks about her, but since Ruth is

going she changes her mind.

When Orpah has wiped her tears, she says, "Thank you.

Now I shall obey you since you have emphasised so

much.')

The exit of Orpah from the group thrusts more responsibility on Ruth

in relation to her mother-in-law, because being sensitive to her need, it

would not be possible to leave her in the absence of any one to look

after her. The pain of Orpah's departure is prolonged by the thought of

being alone as a supporter of the mother-in-law. It is also at that point of

time that the greatest trial for Ruth's constancy and faithfulness comes

when Naomi plays the devil's advocate as she repeated her advice that

her daughter-in-law should go back:

"Ruth! Phim leit phai? Khmih ka para jong phi ka la leit noh

sha la ka kmie, she la u kpa, sha la ki para briew, sha la ka

jaka, bad sha la ki blei ruh: phai noh mynta shwa ba kan

jngai than."^^

67 Sten, Ka Samla Nongkyndong, p. 69.

92

{"Ruth! Aren't you going back? Look your sister has gone

to her mother, to her father, to her people, to her place and

to her gods: go back now before it is too far").

The inner conflict in Ruth is easily noticeable as identified by the

narrator:

Ka Ruth ka dait Ta ka rmiang shyntur bastang narum katba

ki khmat baTong sngur ki dang peit hi la ka syrwet ba ieh

ka Orpah na ranab u Nebo. Ka jingiakhlad bad ka Orpah

ka pyntmang Ta ka. Kumno mo kan long lada ka hap

Takhlad sa na ka Naomi pat? Ka dur ka ijai-jai; hynrei ka

dohnud ka kyndeh hapoh ki jain ba ka phong.®^

{Ruth bites her thin lower lip while her dark eyes gaze on

the trail of Orpah in the valley of Nebo. The departure of

Orpah has left her forlorn. What will it be like if she were to

part with Naomi? Her face looks serene; but her heart is

thumping inside the clothes she wears).

Ruth's act of biting her lower lips is an external sign of fighting on

account of her inner struggle as rightly commented by the narrator, 'ka

dur ka ijai-jai; hynrei ka dohnud ka kyndeh hapoh ki jain ba ka phong.'^^

** Sten, Ka Samla Nongkyndong, 69. ' ' Ibid., p. 69.

93

{her face looks serene; but her heart is thumping inside the clothes she

wears).

The heart of Ruth, which is thumping due to the mounting pressure of

the need to make a decision on Naomi's suggestion for her to go home

and leave her to manage her own life, has been deeply wounded by the

continuous attack of the words of her mother-in-law. It has been an

agonising ordeal for Ruth to undergo the tedious moments of being

advised emphatically and repeatedly to go back home. From another

point of view, the suggestion to Ruth, which is very true and valid, has

been a challenge to make a decisive choice in life. It is a valid point for

Naomi as she stresses on the life and promising future of Ruth:

"Khie khun! Peit ngim Tohi shuh, ka la hiar ban poi sha

shnong. Kan sa roi parum pareh, bad nga angnud ia phi

ruh kumta."^°

{"Daughter, go! Look, we can't see her anymore, she has

descended to her village. She will increase and multiply

and I wish the same to you').

The strong and convincing words of Naomi have been tempting Ruth

to give up her keen sense of nobility of feeling for her mother-in-law. The

™ Sten, Ka Samla Nongkyndong, p. 69.

94

trial is so strong that Ruth has to extract her extra-ordinary element of

strength of character as observed by the narrator: "Ka Ruth ka kan

mynsiem shiphang" {Ruth took a deep hold of breath). The gesture is

Ruth's final act of decision making after which she pronounces the

immortal words as a pledge of loyalty which finally convince her mother-

in-law not to remind her (Ruth) again about returning to her parents:

"Mei wat Teng pyrshah Ta nga. Wat khang Ta nga ban bud

Ta phi. Phin tmang, phin sngew marwei. ... Nga la khein

duh ia lade ban suk ma phi katba phi dang im. Kat shaba

phin leit, nga ruh ngan leit; kat shaba phin poi, nga ruh; kat

haba phin sah, hangta nga ruh ngan sah. Ki kher ki mer

jong phi, kin long ki jong nga ruh; bad u Blei jong phi un

long u jong nga ruh. Hangno ma ba phin Tap, hangta nga

ruh nga hun ban Tap. Hangno ma ba kin tep Ta phi, Ta nga

ruh hajan jong phi hi ki dei ban tep."^^

{"Mother do not stand against me. Do not prohibit me to

follow you. You will be lonely. ...I considered myself lost

so that you will be happy as long as you live. Wherever

you go, I shall go; wherever you reach, I shall; wherever

you will stay, there I too shall stay. Your relatives will be

mine as well; and your God will be mine too. Wherever you

die, I too will be happy to die. Wherever they bury you,

near you they shall bury me too').

71 Sten, Ka Samla Nongkyndong, p. 70.

95

In the midst of trying moments of the insecurity in her family and the

uncertainty of the future, Ruth made the mighty decision to stay faithful

to her mother-in-law. Her action proves that inspite of the fragility of the

befogged and befuddled humanity one can make a decisive choice

having been motivated by a worthy cause. Ruth's choice has been

appreciated by Orpah who eulogised her good qualities of head and

heart while at the same time regretting that even such a good person

has to face difficulties and heartaches in life. She even prophetically

eternalises the beautiful life of Ruth:

"Ka briew te kaba da bha shisha. Kum ma ka ruh ka mad

la ki jingshitom, la ka khuslai kaban ym kut shuh. ... Ha

Moab bad ha Judah ne hangno hangno ki del ban Talap Ta

ka jinglong babha ka Ruth kaba tang na ka bynta ka kiaw

kan jied ban shah shitom Ta lade."^^

{"She is really a good woman. But even a person like her

has to face endless difficulties and anxieties. ...In Moab

and in Judah or anywhere people should speak about the

good character of Ruth who just for the sake of her

mother-in-law has chosen to suffer").

Orpah's comment on Ruth, apart from being a tribute to her character,

serves as a witness to the life of pain and suffering which they endured

' Sten, Ka Samla Nongkyndong, p. 75.

96

together in Moab. At the same time the comment indicates that Orpah

too has been part and parcel of the challenging life together with Ruth in

the house of their mother-in-law, Naomi.

Having come to Bethlehem/^ the mental conflict for both Naomi and

Ruth was for survival. Back in her homeland, which has become strange

for her, Naomi had to live in a rented house. The anxiety is clearly

understood from Ruth's expression at Lamet's hotel where Naomi and

Ruth stay, "Dei ban leh ei ei mynta, mei. Ka bam ka dih kan dap tang

haduh ka Sabaton. Nga dei ban Toh kam ban trei."^'* {"Something should

be done, mother. The foodstuff will last only up to the Sabbath day. I

have to get work'). The approach to the solution is different for the two

women. While Ruth is for contributing positively to supply the need,

Naomi is for disposing off whatever is in hand. Ruth's approach of

bringing in something from outside to answer the need is opposite to the

suggestion of Naomi to shed away even things in their possessions.

Moreover, her long time of anxiety and suffering has made her very

indifferent, as observed by the narrator, "Ta ka briew ba la ban slem da

^' The 1981 edition of the novel has a reference to Bethlehem as "ka shnong u David" (city of David) as spoken by Naomi to Ruth on reaching Bethlehem. The paragraph has been omitted in the 1982 edition of the novel when the author noticed the inaccuracy since David was bom much later. H.W. Sten's reference to Bethlehem as the city of David came from the repeated use of the term "city of David" in the Bible. For example, 2 Sam 5:9; 1 Chr 11:7; IKi 22:50; Isa 22:9; Lk 2:4, 11. On account of the common use, the Bible readers and scholars tend to associate the town's name with David without even verifying the correctness of the term in the context of time and place.

''* Sten, Ka Samla Nongkyndong, p. 87.

97

ka khuslai, ka eh ban pynshait bor kyndit."^^ {It is difficult to enthuse

someone who has been immersed in anxiety for a long time). Thus, the

enthusiasm of Ruth to go to work in Boaz's fields has not been initially

accepted by the mother-in-law. On account of her tender love and rather

over protectiveness for her daughter-in-law, Naomi was facing an inner

conflict when Ruth decided to go to look for work in the farm of Boaz.

She had a reservation on the ground that his employees, who are all

young men, might ill treat her:

"Em, em. Wat leh kumta ... Ruth kohnguh seh Ta nga tang

Ta kane shi sien. U Boaz, nga iohsngew ba kiba Taid

nangne ki Takren, u la ai kam shibun ki khynraw shynrang.

Uwei pa uwei un Tapmat Ta phi. Ki shakri kynthei jong u kin

bishni Ta phi. Kata kan kham sniew ban Ta kaba sah ha

shnong la jong Ka khun bhabriewjong ngaf^

{"No, no. Don't do that ... Ruth please obey me this time.

Boaz, I heard from passers by, has employed many young

men. Every one will fall in love with you. The young female

employees will be jealous of you. That will be worse than

being in your own village O my beautifull daughter!').

Stylistically, there is a repetition of the prelude of the novel in Chapter

XI, which may be called, the second prelude, with the introduction of the

^ Sten, Ka Samla Nongkyndong, p. 87. '* Ibid., p. 88.

98

mysterious supernatural power interplaying with the human elements.

The stylistic repetition in the art pattern marks the important transition in

the development of the novel with a new beginning. The prelude marks

the beginning of a new life in the background of the romantic Moab

atmosphere which echoes the marriages of Mahlon and Chilion which

also brings back a happy smiling face to Naomi with the arrival of the

daughters-in-law.^^ The second beginning in the Bethlehem background

signifies the birth of hope for a new life after the struggle and pain. The

beginning of Chapter XII which follows the second prelude has a

powerful allusion to the narration of the ressurection of Christ:

DANG STEP ha ka lah Sabaton ka Ruth ka khie bad

hadien ki jingpynkhreh baroh ka leit sha khyrdop shnong

bad hangne ka ap Ta ki Jiw kiba leit trei lyngkha. Ka kylli,

"Dei lynti mo nangne ban leit sha ka lyngkha u Boaz?" ka

peit da ki khmat bashisur sha ki ar ngut ki rangbah ba leit

lyngkha.^^

{EARLY after the Sabath, Ruth rose after all the

preparation to go to the entry to the town and waited there

for the Jews who went to their fields. She asked, "Is this

the way to Boaz's field?" She looked with innocent eyes to

the two men who are on their way to the fields).

77 Sten, Ka Samla Nongkyndong, pp. 3 - 11. * Ibid., p. 92.

99

The first paragraph of Chapter XII echoes the Biblical passage

regarding Christ's resurrection in John 20.1 - 2 :

Early on the first day of the week, while it was still dark,

Mary Magdalene went to the tomb and saw that the stone

had been removed from the entrance. So she came

running to Simon Peter and the other disciple, the one

Jesus loved, and said, "They have taken the Lord out of

the tomb, and we don't know where they have put him!"^^

The similarity in style serves as a hint to the similarity in meaning of

the two narrations. The allusion of Chapter Xll's first paragraph to the

Sunday morning event of Christ's resurrection throws light on the future

events in Bethlehem. However, just as the Easter event of the

resurrection comes after the bitter experiences of Good Friday, Naomi's

and Ruth's experience would be a journey from the cross of Good

Friday to the empty tomb of Easter Sunday.^° The dimension of life

pointing to the reawakening of hope in the possibility of rising to life after

death evokes a sense of expectation of change and transformation

towards a time of joy which is the significance of Easter. ^ The allusion

™ Donald C. Stamps, (ed), "John", The Full Life Study Bible, NIV, (Michigan: Zondervan Publishing House, 1972, rpt., 1984), p. 1625.

'" Pheme Perkins, "The Gospel According to John", The New Jerome Biblical Commentary, ed., Raymond E. Brown, et al., (Bangalore: Theological Publications in India, 1990), pp. 982-983.

*'Ibid., pp. 982-983.

100

to the Biblical narration of the resurrection is significant as it marks the

beginning of new chapter in the life of Naomi and Ruth who have left

Moab and are determined never to return to it. Just as the resurrection

of Jesus Christ, which happened on the Sunday morning, marks the

beginning of new hope and new life,^^ the life of Naomi and Ruth would

be revitalized and invigorated. However, joy comes with dawn after the

dark night of anxiety and worries. The sudden reaction of the deer which

loudly barks '"hek - hek" kumba tied da u tyrnem heh ha ka lyntang ba

la tyrkhong'^^ {"hek - hek" as if a dry plank has been hit by a huge

hammer) and scares Ruth followed by a calm relief prophetically

symbolises the turn of circumstances in life.

The thought about the future pinches the core of Ruth's heart

because of the uncertainty, which though it is characterististically human

life's common feature, it is extraordinary in their life on account of the

unfortunate events. The responsibility^'* thrusted upon her out of love

and pity for her mother-in-law brings immense pain and anxiety to her

life. Boaz's kindness gives a welcome to the wavering heart of Ruth.

However, during the time of her work in his field, she faced an acute

* Commentary on Matthew 28.6, in Donald C. Stamps, (ed), op. cit. The resurrection of Jesus Christ on the third day after being buried, points to the possibility of rising to life after death.

" Sten, Ka Samla Nongkyndong, p. 93. *'' Ibid., p. 82. "Ka Ruth kam lah ban leh sting la ka jingim." {Ruth cannf,

irresponsibly.)

101

mental pain as she steps into the wheat field to glean^^ when she

remembered Mahlon, a picture which has been depicted powerfully by

H.W. Sten who has delved deep into the psyche of Ruth. The flash back

into the past when Mahlon was alive melts her heart when she is face to

face with the kindness of Boaz in the midst of an uncertain future. Such

moments of remembrance intensifies the pain and shakes her heart and

her lips as well,

Ka sngew kumban Tarn namar ki jingpyrkhat bakhleh ki

kyntur sha ka dohnud, bad ki rmiang shyntur ki khih jumai

bun sien, ka sngew. Ka jingkynmaw ieit Ta la u lok ka thar

kum ka syrti khi tmain, ka jingsngewnguh ba ka la Toh leh

ei ei ruh ka shiei. ^

{She feels like crying because the mixed thoughts rush

into her heart, and her lips move like an earthquake many

times, she feels. Loving memory of her husband is sharp

like the razor, gratitude too, that she is allowed to do

something wells up in her heart).

Boaz's meeting with Ruth opens a new chapter in his life as well

through a process of metamorphosis that would take place in course of

' Gleaning is also practised in the Khasi and Jaintia Hills where poor people go to collect the remains after the treshing of paddy. The act is commented by Ruth, "Ban da u Mahlon u dang im, i'a kane ka kam ngam ju mlien. Ka kam basangsot jong ki khunswet ki rangli bapli." Sten, Ka Samla Nongkyndong, 95.

**'Ibid., p. 9 4 - 9 5 .

102

time. The vision of the revered holy man has provoked an honest prayer

from Boaz.®^ The foreboding warning of Chapter XI has been brought

into a reality in the unexpected meeting in the wheat field. The night's

vision has provoked extraordinarily kind gestures from Boaz in his

treatment of Ruth. However, Boaz's mental agony begins with the actual

confrontation with Ruth the object of the vision. His anxiety Is directly

linked to Ruth for he has been thrusted with a duty in the vision to treat

her and her mother-in-law with kindness. Faithful to the Jewish custom,

his first duty is to approach the closest relative of Elimelech, Naomi's

dead husband, who has the immediate right of redemption of Naomi's

properties with a duty to marry Ruth. Boaz finds it difficult to break the

news to the next of kin since he already has children,

U pyrkhat tang kumno ba un leit Tathuh ha u hynmen

arkmie jong u uba dang kham Tajan shuh shuh bad u

Elimelek, lano, bad kumno un leh Ta kata ka kam haba uta

u hynmen ruh u la don la ki khun.®^

(He thought only how he would tell his elder cousin brother

who is closer to Elimelech, when and how he would do

that since his cousin has children already).

87 Sten, Ka Samla Nongkyndong, pp. 90 - 91. Ibid., p. 100.

103

Boaz's wrinkled forehead appeared during his first meeting with Ruth

at harvest time in his field^^ and his workers who have known him quite

well read anxiety and preoccupation in the appearance of his forehead,

"Baroh ki shynrang ki pule ha ka shyllangmat u kynrad jong ki Ta ka dak

ba ikhuslai."^° {"All the men read in his forehead signs of anxiety'). The

anxiety is related to the matter of his night vision, which though directly

linked to a dream, it has a direct association with the reality of his life. As

he muses on the possibility of him being the man who has to take care

of the family of Naomi, he is worried about the future. He has come to

know about Noami and Ruth from other people as H.W. Sten has clearly

indicated. Naomi is known in the village to the men and women from the

way that they ask about her identity after she came back from Moab,

"Kane kam del ka Naomi?"^^ {"Is not this Naomi?'). The indication shows

that people in the village, Bethlehem, know one another. Moreover, the

fact that Boaz could assemble the village elders by calling them in the

morning^^ itself, shows that Bethlehem village was not a large town at

that fime and it was possible for people to know one another.

*' Sten, Ka Samla Nongkyndong, p. 97. '"Ibid., p. 101. ' ' lbid.,pp. 78, 81. ' 'Ibid., p. 135.

104

The circumstances point in the direction that Boaz had already heard

and sufficiently known about Naomi and Ruth from people about them

though he had not met them as he was preoccupied with his work. The

quick reply on the part of Boaz on the night of nights followed by the

quick action on the following day shows that Boaz has already planned

what to do in the event of being confronted by the case of Naomi and

Ruth:

"Ka dei shisha shisha ba nga long u kur bajan jong u

Elimelek. Nga don ruh ka hok bad ka kamram ban

siewspah la ka Naomi bad Ta phi ka pyrsa kurim jong ka."

U pynhiar mynsiem jylliew, bad ka kpoh ka ran sha dien.

"Tang ba dang don uba kham jan shuh shuh ban la nga."^^

U leit sha shnong. U kynmaw ba u la bthah Ta ka Ruth ba

kan ap haduh lashai, bad mynta ka lah da shai noh hi, sa

shi phang kan shit sa ka sngi. U Taid Ta pyrkhat kumta • 9 4

manwei.

{"It is really true that I am a close relative of Elimelech. I do

have the right and duty to redeem Naomi and you her

daughter-in-law." He breathed out deeply that his stomach

sinks. "But there is one closer than I."

93

94

Sten, Ka Samla Nongkyndong, p. 129. Ibid., p. 135.

105

He went to town. He remembered that tie tiad directed

Ruth to wait till tomorrow, and now the morrow has come

and it is bright, after some time the sun too will hse. He

walked alone in deep thought).

Thus, it is clear that Boaz has already gathered sufficient knowledge

about Naomi and Ruth and their situation before meeting them. The sad

story of the unfortunate happenings in their lives has touched the noble

sentiment of the nobleman and has brought a feeling of pity towards

them. He also feels a sense of responsibility for them knowing that they

are related to him from the side of his cousin brother, the husband of

Naomi. On account of all that, Boaz was preoccupied with the thought

and it occupied the unconscious area of his mind. Based on Sigmund

Freud's psychoanalytic theory of dreams, Boaz's dream was the result of

the invasion of the preoccupied thought which was so powerful that it

surfaced from the level of the unconscious to Boaz's daily life in the form

of a dream. Freud's fundamental conclusion about dreams is that "wish-

fulfilment is the meaning of each and every dream, and hence there can

be no dreams besides wishful dreams."^^ According to Freud, dreams

are not meaningless; they have a basic link to the realities of life. Freud

further asserts that even anxiety dreams and dreams that seem

'^ Web page: http://www.enotes.com/interpretation-dreanis.

106

unpleasant at the surface level are in fact, when analysed, revealed to

be imaginary wish-fulfilments.

Freud postulates the theory of the unconscious when he analysed the

meaning of dreams. The concept of the "unconscious" was not his

invention, however, he developed his theory of the unconscious far

beyond any previous understanding of it. Analysing dreams, he put

fonA/ard his new theory of the psychology of dreams with the conclusion

that even when dreams are of different types like "manifest," or surface-

level, "latent," or "unconscious," "all dreams represent the fulfilment of a

wish on the part of the dreamer and maintains that even anxiety dreams

and nightmares are expressions of unconscious desires."^^ In other

words, Freud proposes that dream reveal the hidden workings of the

unconscious mind.

Thus, applying Freud's psychoanalytic theory, the anxiety of Boaz

precipitated by the dream and effected by the chance meeting with Ruth

in his wheat field, has its foundation in real life and life circumstances.

His dream is fundamentally related to the "wish-fulfilment" that he

nurtures about Naomi and Ruth. When Boaz reached his field he

realised that the dream has started becoming a reality. His anxiety is

'* Web page: http://www.enotes.coni/interpretation-dreains.

107

that there is a closer relative. Nevertheless, Boaz's treatment of Ruth is

shaped by the pattern of the dream.

On the first day of work in the field of Boaz, the favour received from

him is a boost to Ruth's wavering heart and has the power to eclipse the

women's gossip on the way home.^^ On the other hand, as the sun is

setting, Naomi is facing tension in the mind due to the delay of Ruth in

coming back to the rented house. H.W. Sten has vividly described the

action and reaction of Naomi at that moment of anxiety coupled with

fear. The author has the power to insinuate curiosity in the reader as

well as to what she would do next. Her heightened anxiety is clearly

visible in the expression in her face and the way she relates with other

people. Being preoccupied with the late coming of Ruth, Naomi fails to

respond normally to an old woman's questions, "Phim dei ka Naomi?"

{Aren't you Naomi?) and "Phi Taid bam Iyer miet mo?" ^ {Are you taking

an evening stroll?) and, instead, shows tensed gestures of monologuing,

"'Ruth' ... Nga ap la ka."^^ ("Ruth' ...I'm waiting for her"). The anxiety for

Ruth drives her to search and even to think wildly what she would do if

Ruth does not return anymore. The intensity of Naomi's strain and stress

is clearly noticeable with the sudden transformation of her tensed face to

'^ Sten, Ka Samla Nongkyndong, p. 103. 'Mbid.,p. 104. ' 'ibid., p. 104.

108

a note of joy and happiness when Ruth reappears. Lamet's comment on

the change is an explanation of a witness to the psychological tension of

Naomi: "Wow! La katta nga la im, dang mynta ka sngi nga iohi da la ki

khmat... dang mynta, ba ka jingkmen ka da par ha ka briew kumto! Na

ki khmat ha ki ngab, ha shyllang, ha shyntur bad ka pynsting Ta ki kjat

du!"^°° {"Alas! So long I have lived, only today I have seen with my own

eyes ... only now, that joy travels in a woman! From the face to the

cheek, to the forehead, to the lips and it lightens the feet too!').

The wheel of time turns and harvesting in the field of Boaz comes to a

close and the day of days,^°^ that is, the day of threshing and cleaning

before the wheat is transported home has come. Only a few men would

be required for the work while the rest of the men and women would

happily go to their homes. On the last day, harvesting ends earlier and,

thus, the workers including Ruth are able to go home early. For Ruth the

pleasant experience in Boaz's wheat field ends with the generous offer if

she likes to carry one or two sacks of wheat {"shi bymi ar bymf) and the

reference to God's kindness to those who trust in him.^°^

'"" Sten, Ka Samla Nongkyndong, pp. 105-106. "" "Ka Sngi Jong Ki Sngi" (the day of days) is the title of Chapter XIV which is dedicated to

the last day in the field. Sten, Ka Samla Nongkyndong, p. 108. It is the day of days for Boaz being the day of the final collection of the harvesting. It is also 'the day of days' for Ruth and Naomi, for it is the turning point in their life. It is on this day that Ruth will meet Boaz in the hut.

'" Sten, Ka Samla Nongkyndong, p. 108.

109

It is the day of days for the Boaz the owner of the wheat field for on

this awaited day he would gather the fruit of his work. It is also a day of

days for Ruth for on this day she faces the greatest challenge of her life

and decision-making. It is joy for Naomi when her daughter-in-law

reaches home early, but for Ruth, the end of the consoling days in

Boaz's field marks the beginning of another round of anxiety and mental

conflict. Her language and sign language is a clear indication of the inner

battle that is going on inside her:

Hynrei haba ka kVaw ka dang sngewbha ba ka pyrsa ka

wan dang shai ka Ruth pat ka pisa jingmut. Kibym kyllut eh

ki lah ban Tohsngew shai Ta kaba ka kren pasiaw. Ka Teng,

ka peit mynthi khiem daw sha dpei, sha bar, "Kum kaei

kein ka kam ngan trei mynta pat? Ym don shuh!^°^

{But while the mother-in-law is glad that the daughter-in-

law has come home early, Ruth is agonising. Those who

are not deaf can clearly hear what she is whispering. She

stands, looks straight at the hearth, then outside, "what

type of work shall I do now? No more!').

Knowing fully well that the collected stock of food will last only for six

months, the future casts a large cloud in the horizon of the mind of Ruth.

However, though the agonising anxiety is gnawing her violently at that

'" Sten, Ka Samla Nongkyndong, p. 109.

110

point of time, Ruth decided to hide it from the knowledge of her mother-

in-law: "Kam del shuh ban tip la kano kano ka jynwit jyrwat mynta, ha

katei ka rta. Ngan ym ai ksai hi ruh."''°'' {"She should not know about any

problem now, at her age. I will not even give a hint'). Ruth's decision to

hide her worry about the future from Naomi is due to her care and

concern for her mother-in-law. Moreover, the mutual love of the two

widows binds their hearts together and knowing that Naomi had already

suffered much, Ruth does not want her to suffer again.

Though Ruth hides the fact, Naomi reads her body language and the

unexpressed thoughts of the daughter-in-law and is visibly moved

suspecting troubles in the young lady. On the other hand, Ruth is

sensitive to the change in the face of her mother-in-law and asked her:

"Balei phi ithaid kumne kTaw?" ° {"Why do you look so tired mother-in-

law?'). Naomi's answer indicates that she is undergoing a war in her

mind, "Nga shu pyrkhat Ta phi kein Ruth, phi la pynsep ei Ta la ka jingim

banylla"^°^ (7 am just thinking of you Ruth, that you are wasting your

precious life') and while answering Ruth, her mind is in a very active

process of churning different thoughts,

"^ Sten, Ka Samla Nongkyndong, p. 110. ""ibid., p. 110. ""Ibid., p. 111.

i n

Ki jingmut ki thnam hapoh ka khiieh ba la khieh niuhlieh da

ka khuslai kumba thnam ka umsha ha u ketii ka juk

thymmai.^°^

{Thoughts are boiling inside her head grey haired by

worries like the boiling of tea inside the modem day kettle).

The mutual care and concern of the two ladies and their sensitivity to

each other's need has given them strength in the midst of the challenges

of life. Apart from the heartfelt love that the two have for each other, they

are able to share their feelings and aspirations. With an understanding

that expression of one's mind helps in the process of inner healing,^°^

Ruth shows complete openness to her mother-in-law and invites her to

speak out,

"Niuma to, kren shuh katba phi sngew dei, jait ba nga la

poi dang shai. Kan bha hi ruh, namar ka jingkren marwei

ka pynsting Ta ka jingkit ka jabieng bapli; hynrei ruh," ka

bteng, "ym dei shuh hi ban kit than Ta ka khia mynsiem ha

kane ka rta ba phi la kot.""""

{"All right, speak more what you feel you should, since I

am back early. It will also be good, since expressing itself

107 Sten, Ka Samla Nongkyndong, p. 111.

'"* Ibid., p. 112. ""Ibid., p. 112.

112

lightens the mental burden; and also," she continues, "you

should not carry the mental burden at your age.')

Taking full advantage of the openness of her daughter-in-law, Naomi

carefully and cautiously brings her favourite issue of having children,

"To, ale! Ngan kren noh hi syndon kata. Ngam shong thaid shuh naduh

mynta ka miet haduh ba phin long briew."^^° {"All right, come! I shall

speak right now. I will not rest from tonight till you have a good prospect

in life"). Naomi's introduction, which reveals her pro-Ruth intention,

draws the daughter-in-law's complete readiness to cooperate. In fact,

Ruth, immediately agrees to put on the best of dresses, "To katta, ngan

phong noh. Ngan phong da ka phrok thoh pynkiang ban long Zebra noh.

Ngan kup da kane ka sopti rong lyoh."^^^ {"That's it, I shall dress up. I

shall put on the cross-lined frock to look like a zebra. I shall use this

cloud coloured blouse'). In an emotionally charged and nervous tonality,

Naomi invited Ruth to come and listen to her, "ale noh hangne bad

sngap Ta nga."^^^ {"come here and listen to me") and the message is

direct and clear:

"° Sten, Ka Satnla Nongkyndong, p. 113. "'Ibid., p. 113. "Mbid.,p. 113.

113

"Ngan ong kumno kein. Khie khun, khie leit thiah noh

mynta ka miet bad u Boaz. Leit biang sha lyngkha shwa

ban dum. Thiah bad u mynta ka miet," ka ban.^^^

{"How I shall say. Go my daughter, go and sleep with Boaz

tonight. Go bacl< to the field before it becomes dark. Sleep

with him tonight,"she insists.)

The advice to 'go and sleep with Boaz' is like a bomb which has been

dropped into the life of Ruth. It sparks of the most violent conflict in the

mind of Ruth. It is the most startling and unexpected advice of her

mother-in-law which created uproar in her mind and brought her a fresh

upward surge of violent mental conflict. Reacting to the words, Ruth

released herself from the affectionate clutches of her mother-in-law and

confronted her face to face:

"Kaei kum kata phi Toh?" Ka kylli. "Long hi mo ban shu leit

tynruh la u kyieng ba tip sngi? U la dei shwa ban pynmlien

ban Tajuh bad ngi em kiaw?" Katba kawei ka jingkylli ka

mih hadien kawei pat, ka dur bashisha jong ka ka paw

biang. "Thiah bad u!" Ka Ruth ka ban, ka da pynlait

mynsiem haduh ban da lohsngew tang ba ha ka rukom ba

dum buit. "Ka eh, ka eh than! Mei, phi sngewthuh ka eh."^ '

113

114

Sten, Ka Samla Nongkyndong, p. 113. Ibid., p. 114.

114

{"What are you up to? Stie asked. "Is it safe to disturb ttie

dutiful wasp? He should have been friendly with us first,

isn't it mother? While one question after another flashes

through her mind, her real face appears again. "Sleep with

him!" Ruth repeated, as she breathed out loudly that the

sound escaped revealing her confused state. "It's too

difficult! mother, do you understand that it's so difTicult?").

There is an underlying principle in Naomi's suggestion for a drastic

action by Ruth to go and sleep with Boaz. She has seen the golden

opportunity and observes the need to take the extreme step because it

would materialise her long cherished dream for her family. Apart from

redeeming Naomi's property, the action would fulfil her hope of having a

son who would continue the family line^^^ of Elimelech her husband in

the pattern of the Jewish custom since her son died without an issue. In

Ruth, Naomi saw a channel to the fulfilment of her dream of a complete

family which she had been nurturing ever since the death of her son.

The matter of marrying and having children which has been insistently

expressed by Naomi to her daughters-in-law time and again even before

leaving Maob is a mark of care and concern for their lives:

" ' Ruth Chapter 4, Verses 13-22.

115

"Phim pat don khun, ka rta ruh phi dang khynnah. ... Sah

hangne, sa lawad tnga noh na ki samla shynrang ba don

ha kane ka shnong.""^

{"You do not have childen, you are young. ... Stay here,

look for husbands from among the young men of this

town.')

The insistence of Naomi that her daughters-in-law should go to their

homes, marry again and start a new life according to their customs and

traditions echoes the Khasi concern of the mother for her daughters

which is based on the traditional concept of a family. According to the

Khasi philosophy, a family is one which includes the mother, the father

and the children, as explained by Sweetymon Rynjah, "Kumta ki dkhot

jong ka shi-Ting shi-sem, ki kynthup Ta ka kmie, u kpa bad ki khun."^^^

{So the members of a family include the mother, the father and their

children).

Further, the basic assumption of the prospect and function of a Khasi

family is that it is for the preservation and growth of "ka jait ka khong"

(the clan) as it is clear from the following:

' ' Sten, Ka Samla Nongkyndong, p. 61. 117 Sweetymon Rynjah, Tyngkai La KiSymbai, (Shillong: Scorpio Printers, 1995), p. 23.

116

Kumba ka pyrkhat u Khasi ka shon Ta ka jingmut jong ka

jingkhaiar khapaid, namar kata ka kam kaba kongsan eh

jong ki long Ting long sem, long katba long, ka long ban

khraw ka jait ka khong.^^^

{Since the Khasi understanding emphasises on the idea of

increasing and multiplying, it is an essential aspect of the

families to increase the clan)

It is, thus, clear that children are an essential component for a group

to be a family. The birth of children to a family is an essential aspect of

family life. The constituents of married couples without children are not

families at all according to the Khasi understanding as observed by

S. Rynjah:

Kumta ki long Ting long sem ki bym don ki syntiew ki soh

ha ki 'mat kylliang kynthei shynrang, kirn long satia kiba

Tadei dur bad ka sain long Ting u Khasi.^^^

{So the families which do not have flowers and fruits in the

form of female and male faces, do not fit the status of the

Khasi family).

"* Sweetymon Rynjah, op. cit., p. 25. ' " Ibid., p. 25.

117

That is, a 'family' without the birth of children is not a family at all. The

reason is that such a 'family' ends only in the couple, "kum kane ka

jingiashongkha shong man ka kut noh tang ha ka shi khmat jong ki shi-

jur."^^° {such a marriage ends only in the single couple). In other words,

the prospect of growth and continuation of such a family ends with them

and the situation is commonly expressed as "sep-ei" (wasted). In the

context of the matrilineal Khasi culture, where the preservation of the

lineage of the clan is through the daughters, when a daughter has not

been born to a family it is also considered as "duh jait" {"lost clan') since

the marriage of such a couple does not help to preserve and continue

the family lineage.

In the admonition of Naomi to her daughters-in-law she has used the

term "sep-ei" {"wasted') when she referred to their young life and

prospect of marriage:

"Khun, phin ym sep-ei hangne lada phin leit phai noh sha

la u kpa u kpa."^^^

"Phai noh nangne, la biang katto. Balei phin Vabud sah Ta

nga. Phim don khmat ban peit ba nga la tymmen. Phim

Tohi ba nga la phuh niuhlieh sa ka khiieh, la ran ki snieh

120

121 Sweetymon Rynjah, op. cit., p. 25. Sten, Ka Samla Nongkyndong, p. 44.

118

baroh la kum ka snep dieng? Hato dang don khun shuh ha

ka kpoh jong nga ba kin long tnga Va phi? Sah ha la

shnong ko khun! Wat pynsep ei Ta lade."^^^

{"Daughters, you will not be wasted here if you go back

each to your own father

"Go back from here, that is enough. Why do you keep on

following me? Don't you have eyes to see that I am old?

Don't you see that my head is greyish, that my skin is

shrunken like the bark of trees? Will there be sons in my

womb to be your husbands? Do not waste your lives." )

Naomi spoke in strong words trying to convince Ruth and Orpah to go

back to their homes and to settle down according to their own customs

and traditions which permit re-marriage with anyone as against her

customs which advocate marriage with a member of the family clan

according to the levirate law. It is on the basis of the same reason that at

the opportune time, Ruth is persuaded by Naomi to sneak into the hut of

Boaz in the hope of attaining his favour which would fulfil her cherished

desire and hope for personal security and the security of the family line

which was disturbed by the untimely death of her son, Mahlon.

' ^ Sten, Ka Samla Nongkyndong, p. 62.

119

While Ruth is fighting a battle with herself as she weighs the validity

and possibility of the advice, Naomi tried her best to convince her citing

her wisdom that comes from age and experience, "Kohnguh Ta nga, bad

leit noh mynta. Phin ap te kam siew. ... la kaba la dep, kaba phi rai ka

long ka badei eh. Hynrei mynta kam long shuh kumta."^^^ ("Obey me,

and go now. It does not pay if you delay. ...In the past, your decision

was correct. But now if you delay it is not so'). Ruth pleads

postponement for making a decision infront of such a difficult task.

"Kaba eh! Kaba eh. To ngin lapyrkhat Ta kata lashai. Lada

ka nia kam don kjat te, ma phi ruh phin ym da la phah hi Ta

nga, namar kan paw bieit ha khmat ka pyrthei."^^^

{"It is difficult. It is difficult. Let us tfiink about ttiat

tomorrow. If the cause does not have feet, and you will not

have sent me, because it would look foolish before

others').

Questions flutter like butterflies and arguments in the mind of Ruth

clash with one another like swords of fighting warriors in the battlefield.

However, though Naomi notices that Ruth is in a dilemma with a mental

' ^ Sten, Ka Samla Nongkyndong, p. 114. ' ^ Ibid., p. 114.

120

battle intensifying she reiterates the advice to go and sleep with Boaz. In

fact, she assumes authority and persuades her to go:

"Ymhm\ Pynkloi, kohnguh bad leit leh Ta kaba nga ong.

Ymhm\ Leit thiah bad u." Ka tynnmen ka sngap bad bishar

Ta ka dak bakulmar jingmut ha ka khmat khangai ka Ruth. 25

CYmhm! Hurry up, obey and do what I have told you.

Ymhm! Go and sleep with him." The old woman then kept

quiet and judged the confused face of Ruth's pale face).

Ruth's body language of turning her back on her mother-in-law and

the idiosyncrasized action of scratching the back of her neck together

with the biting of the lips and mumb silence is an indication of her inner

mental condition as stated by the narrator: "Ka leh kumta haba ka

jingmut jong ka ka jyn/vit eh." ^ ^ (She does so whenever she is in a

confused state of mind). However, in the midst of the muted silence

caused by inner mental conflict, Ruth is heard to have mused loudly on

the matter:

"Kumno mo da nga ka kynthei ngan leit tur khiem rain

kumta? Phi ju leh se mo kumta mynba phi dang samla?

'^' Sten, Ka Samla Nongkyndong, p. 115. ' * Ibid., pp. 115-116.

121

Kumno ngan ong la u shwa ban thiah bad u? ... ani

kynrad, ban leit ong beit belt Ta u 'riew don burom 'ngan

thiah bad phi' te waw! Yn la nai!"^ '

{"How could it be that I a woman should shamelessly rush

like that? Did you do it when you were young? What

should I tell him before sleeping with him? ...oh lord, Just

imagine to directly go to a gentleman and say to him, I am

going to sleep with you! No, I would not do it!')

On hearing the questions and the musing of Ruth, Naomi is filled with

opposite feelings of fear and courage.^^^ She, too, is confused to a great

extent. However, she continues to teach her daughter-in-law even to the

point of displaying the actions. With her practical knowledge of

psychology, Naomi could understand her daughter-in-law's mind, "Ka

Naomi ka pule Ta katai ka rukom peit seh sha suin baphriang jarut ka

miaw. Ka Tohi bad suba ba ka don jingpyrkhat ba kham jwat."^^^ {Naomi

reads Ruth's way of looking at the sky. She sees and suspects that she

is engaging in very difficult thoughts). To convince Ruth to go and sleep

with Boaz, Naomi appealed to the sentiment of love which is the

foundation of her daughter-in-law fidelity to her to the point of leaving her

home country, Moab, for an uncertain future, "Khie leit noh! Lada phi ieit

'^' Sten, Ka Samla Nongkyndong, p. 116. "'ibid., p. 116. ' ' ' ibid., p. 110.

122

la nga leh la kane."^^° (Go! If you love me do this). The onslaught of her

mother-in-law's persuasion is a battle for Ruth on two fronts: first, she

faces her mother-in-law's arguments and puts forward counter

arguments to prove her points. Secondly, the inputs from her mother-in-

law sink deep into her consciousness and touch the core of her being

and existence. Having come to Bethlehem for the sake of her mother-in-

law after sacrificing all the possible comfort of life in her own home in

Moab, the appeal of Naomi to her sentiment of love is the strongest of

all. Ruth is in total confusion of the mind as stated by the narrator, "ka la

kulmar jingmut" {she is confused in her mind) as she weighs the pros

and cons of the venture with many reasons to fear. The conflict in her

mind is intensified because in front of the big task bound by attachment

and duty to the mother-in-law, she is between the devil and the deep

sea. She has chosen to live for her mother-in-law and please her but the

advice is too demanding. She reflects on the facts about herself, that, i)

she is a woman and it is shameful for her to initiate the process in man-

woman intimate relationship, ii) she is in a foreign land and has lived in it

just a few days, iii) it is a strange custom which she is not used to, and,

iv) having been well treated by Boaz how unkind it would be to reward

him with a behaviour of this sort. Ruth wrestles with herself and thinks

"" Sten, Ka Samla Nongkyndong, p. 116.

123

loudly ("ka pyrkhat jam'V^^ while her mother-in-law listens reflectively to

her monologue waiting expectantly to hear her conclusion. ^ Finally the

daughter-in-law reaches the summit of her struggle and speaks out the

reasons leading to the decision:

"Ym dei Ta lade ba nga wan poi shane, em, dei na ka bynta

i kiaw. Ka banyngkong ka kthang, ka baar ka jwat ban law,

mynta sa ka balai! Ka baeh tarn ruh." Ka kyrngah khiieh,

"Ngam tip shuh Ta kaei ngan leh." Ka pynnep la ki rmiang

shyntur, ka pynhap kynsan Ta ki kti baroh ar sharum, ka

pynkhih kawei ka kjat kumba kyndiah haba rwai, "Tang na

ka bynta i kiaw! Ta kane ruh ngan jop mynta."^ '

{"It is not for myself that I have come here, no, it is for

mother-in-law. The first one was bitter, the second was

tough to unwind, and now the third one! The most difTicult

too." She shakes her head, "I do not know what to do."

She sharpens her lips, she drops her hands down, she

shakes one leg like accompanying when singing, "Only for

mother-in-law! I will be victorious in this also').

The process of decision-making is a war for Ruth. Finally, she

decided to do it all for her mother-in-law. She is ready for action at all

costs for her mother-in-law.

' ' ' Sten, Ka Samla Nongkyndong, p. 116. ' ^ Ibid., pp. 116-117. '"ibid., pp. 117-118.

124

Having determined to fulfil the wish of her mother-in-law, Ruth

journeys to the hut of Boaz to accomplish the mission^^ that has been

entrusted to her. The journey to the hut of Boaz has a symbolic meaning

in the backdrop of the broad spectrum of the significance of life as

journey towards an end during which an individual is innately in quest of

a goal irrespective of whether he or she is aware or not, that there is

such a drive. The journey of Ruth from Moab to Bethlehem is the quest

to fulfil the call of the noble sentiment of her heart to accomplish a duty;

the journey from the rented house to the field of Boaz is compliance to

the desire of the mother-in-law in her quest for the fulfilment of the

Jewish practice.

Ruth faces a mental conflict during the journey and in the last phase

of her completion of the wish of her mother-in-law. In her hiding place,

Ruth faces mental turmoil while waiting for the opportune time. The

situation brings her various unstable moments that she makes desparate

remarks, "Hangne te la dep katto," {"Here I am gone'), "U sang kynthei!

They are talking about Boaz. Long katba long, la u sang ne u smat ngan

"* Sten, Ka Samla Nongkyndong, p. 131. The term "mishon" (from the English word, 'mission') has been used by H.W. Sten. A mission is an important task that has been given to an individual or a group of people. Ruth assumes an important task, with a specific objective, entrusted to her by her mother-in-law.

125

Igj ..135 ry woman hater! They are talking about Boaz. Let it be, if he

hates or not I shall go'), "kin kyrsiew Ta u Boaz shiteng synnia lada u ud

suh? Kan long kumno Ta nga?"''^^ {"They shall wake Boaz up in the night

if he has stomachache? What will happen to me?'). As the time of

waiting passes, Ruth falls into a sense of disillusionment with her

mission and battles with herself when an unidentifiable power at the

back of her mind whispers into her ears that she should go back as it is

a futile exercise to be there. However, the motivation of the willingness

to accomplish the objective and desire of her mother-in-law kept her

there on duty. ^^ As she spies the activities of Boaz and the workers in

the hut from her hiding place and as she listens to their conversation,

her anxiety heightens on account of fear lest she is discovered in the hut

at night. She feels as if she is seen and would be caught like a war spy

and the thought escapes her mind and she whispers to herself as if she

is one, "Kane ruh ka dei hi ka thma!"^^^ {"This too is a battle'). She is,

however, victorious in the battle because she is discovered by Boaz, the

man she wants to conquer and the discovery is followed by questions

that would lead to the acceptance of Ruth as an individual. In fact, earlier

the first encounter when she came to the field of Boaz, she was only "the

foreigner" ("ka nongwei") but at the end of the harvesting season, she

"^ Sten, Ka Samla Nongkyndong, pp. 122-123. "^ Ibid., p. 125. '"Ibid., p. 126. " ' Ibid., p. 126.

126

has signigicantly assumed importance and Boaz calls her by name, "ka

Ruth? Ru-u-th!"^^^ {"Ruth? Ru-u-th'). Having grown in stature Ruth gains

confidence to proceed further to the earnest request towards realising

the objective of her mission,

"Pynkup la la ka nep bad ka jain jynsur halor ka shakri

jong phi, namar phi dei ma phi uta u kur u Mahlon uba don

hok ban siew spah Ta ka Naomi bad Ta nga de." '*°

{"Spread your garment over your sen/ant, because you are

that relative of Mahlon who has the right to redeem Naomi

and me too.')

According to Alice L. Laffey when Ruth requests Boaz to spread a

"corner of his garment" over her body, she "asks to be put intimately

under Boaz's protection and even into his possession."^''^ Again,

according to Laffey, the Biblical pictures of "Yahweh's protective wings

are symbolically transferred to Boaz's skirt." '*^ Thus, by logical

inference, Ruth is asking for the care and protection of Boaz. The

'^' Sten, Ka Samla Nongkyndong, p. 128. In the Bible, Boaz's first effort to identify Ruth is with reference to her husband "Whose young woman is that?" (Ruth 2.5) and such identification reveals that she was insignificant since her husband is dead. Later on, Boaz's question changes to "Who are you?" (Ruth 3. 9) which symbolically reveals that her status has changed and she has assumed importance. Alice L. Laffey, "Ruth", The New Jerome Biblical Commentary, ed., Raymond E. Brown, et al., (Bangalore: Theological Publications in India, 1990), pp. 557-557.

""Ibid., p. 128. '"" Alice L. Laffey, "Ruth", op.cit., p. 557. "*' Ibid., p. 557.

127

Biblical description of Ruth's action of uncovering Boaz's feet and

H.W. Sten's specification of 'uncovering his blanket from the feet and

placing her head near his waist' {"ka dangle I'a ka nepbahjong u na kjat

bad ka bsuh i'a la ka khiieh ba kan kot haduh ka syngkai u Boaz"^^^) is

sexually provocative keeping in mind the "feet" or "leg" euphemism for

the male sexual organ. " ^ H.W. Sten's repetition of Ruth's plea has a

direct reference to the consummation of man-woman intimate

relationship in sexual act. Moreover, taking into account Ruth's

understanding of the mind of her mother-in-law that the relationship with

Boaz would not be complete without the sexual act, Ruth pleads for

intimate relationship as linguistically symbolized by the request to Boaz

that he spreads his garment over her body. "* The expectation of the

mother-in-law is clear when, on Ruth's return in the morning, she asks:

"Phi wan phai kum ka pyrsa kurim jong nga ne kum ka tnga u Boaz?" '*^

{"Have you come back as my daughter-in-law or as Boaz's wife?').

In her anxiety to fully comply with the wish of her mother-in-law she

faces momentary disillusionment when Boaz refuses to complete all

actions during that night and only gives her the information that

someone who is closer in relationship to Elimelech is the person with a

' ^ Sten, Ka Samla Nongkyndong, p. 127. ''*'' Alice L. Laffey, "Ruth", op. cit., p. 556. Also, Sten, Ka Samla Nongkyndong, p. 127. '" Sten, Ka Samla Nongkyndong, p. 128. "*'lbid.,p. 132.

128

better right to redeem Naomi and Ruth. The desire to complete the wish

of her mother-in-law compels Ruth to go to the extent of shamelessly

expressing the expectation,

"Balei yn ap haduh lashai, a kynrad baieit jong nga? Ym

don shuh mano mano hangne bad ngi. Ki shakri jong phi ki

la thiah katta. Phi lah ban sdang ban pyndep noh la ka

kamram kumba phi don ka hok kumne kumne hi ..." '*^

{"Why wait till tomorrow, my dear lord? There is no one

with us. Your sen/ants are asleep by now. You can start

completing your rightful duty now itself...').

In her enthusiasm to complete her mission, Ruth tries to coerce Boaz

to the point of tempting him to sexual action but he only assures her that

if his cousin refuses, then he would marry her. Ruth muses on his self-

mastery and personal discipline that he restrains self-control even when

he is alone with her in the middle of the night when all is quiet and

asleep. The tempting stillness of the night has been described by the

author as the time when, with the exception of Ruth and the moon, all

are asleep even the river. ** The light of the moon, apart from making

'"^ Sten, Ka Samla Nongkyndong, p. 130. '"** It is a belief in some parts of the Khasi and Jaintia Hills that right in the middle of the night,

rivers too take rest and sleep for some time. It is a short break when rivers do not flow. Aware of the traditional popular belief regarding river Myntang which flows through Mynsoo and Barato the villages associated with his early life, H.W. Sten incorporated the scene into the novel.

129

the night so romantic, has a purpose from the practical aspect that it

serves as a light for Ruth early in the morning on her way home from the

hut.

Ruth's encounter at the hut reveals Boaz as a man of character, a

duty-minded person who really follows customs and traditions above

personal convenience and advantage, as she herself has observed:

"Imat uba da bat dustur riti wat haba tang para marwei ruh. Marwei bad

uba man/vei!" '' {"It seems that tie is really one who keeps the customs

and traditions even when I am alone with him. Alone with a single man').

Ruth's musing on the behaviour of Boaz has a sexual reference implying

that he has not exploited the opportunity inspite of the fact that in the hut

and in the stillness of the night, he is alone and single and she is alone

and single. The escapade has been exciting and adventurous but has

not yielded the desired result. On account of that, Ruth's anxiety is

bound to increase. As a matter of fact, since there has not been any

intimate relationship, Ruth's anxiety remains and becomes deeper as to

how she would disclose to her mother-in-law about the unfulfilled one

night stunt at the wheat field hut. She is also worried about the 'closer

relative' whom she does not know about and how she would develop

relationship with an unknown invidual. "Hynrei uba kum uno pat uta uba

'*' Sten, Ka Samla Nongkyndong, p. 131.

130

dang kham Tajan shuh? la ubym pat Tohi hi da ka khmat te yn Tathiah-

Tashong lang kumno kein?"^^° {"But the nearer relative what is he like?

How to live with an unknown man'). The anticipatory expectation of

Ruth, has led her to make comparison between the unknown man and

Boaz who she has come to know.

Ruth is still anxiously preoccupied and regretted that the mission of

her journey has not completed since Boaz has not become her husband

as expected. However, to a certain extent she is satisfied that at least

she has obeyed her mother-in-law up to the extent of going and coming

to the hut of Boaz. ^^ On the other hand, Naomi, who has sent word

about selling her properties, saw good signs in Ruth and Boaz's story.

She is satisfied and is confident that the drama in the life of Boaz and

Ruth is reaching its conclusion, with the beginning and the middle having

completed, the end would come soon. Meanwhile, since Naomi has sent

word about the intention to sell her husband's fields, she believes that he

would not rest and as remarked by Ruth, he would worry much about the

matter. While Naomi saw only good signs, for Ruth, they are reasons to

worry, and the battle inside her continues.^^^

''" Sten, Ka Samla Nongkyndong, p. 131. ' ' 'Ibid., p. 131. '"ibid., pp. 133-134.

131

While Ruth is undergoing her mental battle about the future and the

outcome of her action, Boaz is facing a physical and mental constraint to

organise the meeting of the town authority, at the town gate {khyrdop

shnong), as is the custom and tradition. Furthermore, Boaz is

undergoing a mental war precipitated by his dream vision which disturbs

his uniform pattern of life challenging him to make a transition in his life.

The condition in his mind is clearly visible to his workers. He is not used

to such a schedule as is clear from his monologue, "Ka rngai phohsniew

ne ka rngai phohbha, ngam tip shuh kane."^^^ ("What is this, a nightmare

or a good sign, I do not know'). Boaz is observed by the youth of the

town to be full of anxiety, 'Ki ruh ki Taap lang ban Tohi Ta ka ban jia ba

kirn ju lap la u Boaz ba un da khuslai jingmut katne katne kumba long

mynta ka step.'^^ {They too wait to see what is happening since they

never saw Boaz so preoccupied and worried as on that morning). While

Boaz and Zadek discussed the matter of redeeming Naomi's properties

and Ruth between them in front of the whole assembly of elders, Ruth

was in whirlwind of anxiety because she was afraid lest Boaz would

disclose her action in the previous night - that she was there at his hut.

'Ki jingkylli ki khih kumba khih ki thyllah hapoh u shhiuh baTong jong ka.

U Boaz un pynbna lehse ba ka par tuh sha ka kyntem jong u.' ^^

' " Sten, Ka Samla Nongkyndong, p. 136. "•'ibid., pp. 136-137. 155 Ibid., pp. 140-141.

132

{Questions arise like a swarm of fleas inside her black hair Boaz may

disclose that she came stealthily to his hut).

While serious discussion is going on at the town gate, there are

others too who are undergoing mental battles of different types which

are linked to Ruth because her personality had affected them all. In a

situation of dramatic irony, two of Boaz's workers who were left behind in

the field discussed his life that on account of his attachment to customs

and traditions, he, who is often considered as "u sang kynthei" {women

hater), is unlikely to be attracted by any woman.^^^ During the meeting at

the gate, Yacub ironically suspected Ruth's hand in the matter and

whispers to his co-workers, "Lehse ka Ruth ka la leh aiu re mo hynnin

shwa ba kan leit phai."^^^ {"Probably Ruth has done something

yesterday before she left the field").

The tragic-comic story of Ka Samla Nongkyndong ends with the

pronouncement of the marriage vows in the Jewish traditional way,

that is, in front of the elders and in a public place. The action has the

atmosphere of the Khasi durbar with the presence of the elders who are

powerful and whose consent makes agreements valid. The Khasi

cultural colour has been painted in the way the elders have been invited

' * Sten, Ka Samla Nongkyndong, pp. 135 - 136. '"Ibid., p. 138.

133

to preside over and validate the decision. The pronouncement of the

marriage covenant between Boaz and Ruth, was witnessed not only by

the elders and the people but by the sun which is at that very moment

exactly at the middle of the sky in a place believed by the Khasis, a

position that is most central or that the sun is at its altar, "... ka sngi ka

shong duwan ha bneng."^^^ {"the sun is sitting at its altar'). Boaz says,

"Ka Ruth kan long, ka long naduh mynta ka sngi, ka tnga jong nga."

Ruth reciprocated, "U Kynrad bad u baieit jong nga!" The chief elder

sealed the marriage vows by pronouncing them husband and wife,

"Naduh mynta, u Boaz bad ka Ruth ki la long shitnga."^^^ The position

occupied by the sun marks the solemnity of the act of the marriage

covenant of Boaz and Ruth. The same solemnity occurs at the

judgement of Ka Mahadei in H.W. Sten's drama, Ka Mahadei. ^ ° The

Khasi expression, "shong duwan ka sngi" which literally means "the sun

sits at the altar" refers to the position of the sun at the central and

highest point of its appearance in the sky as viewed from the earth.

According to the traditional Khasi astronomy, the sun revolves around

the earth, that is, it rises in the morning and slowly goes up into the sky

and sets in the west and appears again in the east on the following

morning. It is believed that at a certain point of time when the sun is at

' * Sten, Ka Samla Nongkyndong, p. 142. '^'Ibid., pp. 141-142. '*° H.W. Sten, Ka Mahadei, (Shillong: Don Bosco Press, 1983), p. 20.

134

the centre and the highest point during the day, the light that it emanates

is the maximum. The Khasis propound transparency and honesty in

actions. Certain actions like judgements which require complete

revelation of the truth are required to be performed in complete

brightness that is "haba shai, haba shit ka sngi" {when the sun shines

and it is bright) which symbolises the expectation of the complete

revelation of the truth without duplicity or reservation. The marriage of

Boaz and Ruth and the judgement of Ka Mahadei and U Manik take

place when "the sun is at the altar" to significantly symbolise solemnity

and importance of the actions in relation to truth.

H.W. Sten's novel, Ka Samla Nongkyndong (The Village Maiden) is

the fruit of his genuine concern of the need to contribute and enrich the

Khasi novel which, as he says, has taken a long time to grow in

comparison to poetry and prose, "Ka novel Khasi ka shim por slem ban

bud Ta ka poitri bad ka prous"^^^ {the Khasi novel has taken a long time

to follow poetry and prose). H.W. Sten was aware of the existence of

such works like Ka Jingi'aid u Pilgrim, Ka Kitab Ka Ruth, Ka Kitab Ka

Esther, Ka Kitab u Job by Dr. John Roberts and U Kausik by Hari

Charan Roy, which have some features of the novel.^^^ He also took

note of the novels of B.C. Jyrwa and W. Tiewsoh which are more mature

'*' Sten, Ka Samla Nongkyndong, p. III. " ' Ibid., p. III.

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works. However, it is his genuine desire that Khasi literature should have

works which really bear the stamp of novels with good plot construction

and good characterisation comparable to great novels. It is the sense of

responsibility for the future of the Khasi novel,^^^ which has prompted

him to write the novel.

H.W. Sten approached the art as a conscious artist with the aim of

producing artistic works of good quality. Having taken the story from the

Biblical book of Ruth, H.W. Sten developed the novel as a work of

transcreation endowed with freshness and originality, appealing to the

new culture. True to his vision of the art, H.W. Sten populated his novel

with people of real life in action and conversation. Journey motif is taken

as one string which links one event to another. Conflict as part of life's

reality is powerfully treated with mental conflict arising from the

circumstances of relationship and emotional stress faced by the family of

Naomi.

H.W. Sten succeeds in presenting life realistically and in real life

circumstances with all its joys and sorrows, limitation and shortcomings

and coupled with uncertainty in the midst of expectations and challenges

' " Sten, Ka Samla Nongkyndong, p. IV. "... da ka jingsngewrit bad jingkit khlieh i'a ka lawei ka novel ha ka ktien jong ngi." ("...// is with humility and responsibility for the future of the novel in our language^).

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of life. The struggle in Ka Samla Nongkyndong v /hich is mainly an

inner mental conflict is shared by all the characters who undergo mental

conflict of one sort or another and at varying levels of emotional

intensity. The ability of H.W. Sten to portray and integrate art and life

gives an edge to the quality of his novel and makes it a work of

exceptional beauty.

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