Comparative Study of Humorous Garhwali, Irish, English and Arabic Folk Songs
Defining Humorous Rapture
There are eight raptures or ‘Ras ‘ in poetic form or and in drama- Love, Humor, Pathos, Wrath, Chivalry, Fear, Abhorrence and Wonder.
The rapture or ’Ras’ communicates a pleasurable joy with a combination of histrionic representation and permanent sentiment.
Wikipedia defines humour as “Humour or humor (see is the tendency of particular cognitive experiences to provoke laughter and provide amusement. The term derives from the humoural medicine of the ancient Greek, which taught that the balance of fluids in the human body, known as humors (Latin: humor, "body fluid"), control human health and emotion.”.
Humor is conveyed in poetry or in drama by unusual happenings, uncouth behaviour, comparison of uncouth persons or goods, odd happenings, odd speeches, wearing odd dresses or ornaments.
Humor rapture creates smile, gentle laughter, laughter, laughter of ridicules, harsh laughter and or excessive laughter emotions
Folk songs create all types of rapture depending upon the contents, symbols and images created by phrases. One of the fascinating rapture of folk songs is Humor. There is no language where we don’t find humorous folk verses.
Humorous Folk song because of age difference
The folk songs related to age differences create laughter. There are many songs in most the the language wherein an old man desires marrying a cute young girl. The narration creates laughter. Here are three folk poems from Garhwal (india), Arabic region and Irish to compare their content and construction
Gar
मैं नि आन्दु त्वेकू , संगरामु बुड्या रम छम I
तेरी फूलीं च दाड़ी, संगरामु बुड्या रम छम I
तू बुड्या ह्व़े गे , संगरामु बुड्या रम छम I
मैं नि आन्दु त्वेकू , संगरामु बुड्या रम छम I
तेरी डूडी कमरी , संगरामु बुड्या रम छम I
तू खंकारा को भोगी , संगरामु बुड्या रम छम I
तू आँख को काणो , संगरामु बुड्या रम छम I
मैं नि आन्दु त्वेकू , संगरामु बुड्या रम छम I
तेरी फूलीं च दाड़ी, संगरामु बुड्या रम छम I
तेरी फूलीं च दाड़ी, संगरामु बुड्या रम छम I
A white bearded old aged person shows his keen desire to marry a beautiful girl in her teen and the girl replies in songs which is melodious and there is tremendous scope for delightful drama in the song
The girl says that she will not marry the old man who has white beard a bent back, , who ha asthma, who is half blind as his one ey is no where on the head. She bluntly refuse to marry with old man
The stage may be on a courtyard, filed, Bisaun (resting place) or in forest or anywhere. It is not necessary that the performers are male and female. In our student life, the child performer used to wear the beard of Syolu (a fiber of Bheemal/Bhyunl) or Fiber of Bhang (hemp)
The act is very laud and female performer may show arrogance of her beauty, tenderness and teen age; scorning or slandering old aged person, . The old performer may perform by showing old age and can bring pathos too by begging her as wife, and this pathos will be converted into ridicules by uncouth behaviour or strange body movements by old person performer which will bring smile, laughter and excessive laughter.
The folk drama clearly shows the sensitivity, social awareness , of folk song creator who are bent to provide realistic picture with a clear message of social reform
Dr Shiva Nand a learned expert of Garhwali folk Literature position this song in Hansodi Folk Song-Dance" or Humorous Folk Song-Dance
(Ref: Dr Shiva Nand Nautiyal, Shyam Chham Ghungaru Bajla, page 50 for folk song
Arabic Humorous Folk Song
Arabic folk songs
I do not want an old man
Even if he shaves his beard
And he cuts his mustache....
I wish to have a young one
To squeeze all the bones in me. (Caspi 1985:49)
I wish not an old man, I wish not
His beard like a horse’s tail
I wish a young one
His teeth like a file. (Caspi 1985:155)
Reference: http://journal.oraltradition.
Never Wed an Old man ( A Irish, English and Scot Humrous Folk Song)
An old man came courtin' me, hey ding doo-rum-die
An old man came courtin' me, me being young
An old man came courtin' me saying would you marry me
Maids, when you're young, never wed an old man.
Because he's got no fal-do-rum, fal-diddle-die-ree-um
He's got no fal-do-rum, fal-diddle-fal-day
He's got no fal-do-rum, he's lost his ding-do-rum
Maids, when you're young, never wed an old man.
When we went to church, hey ding doo-rum-die
When we went to church, me being young
When we went to church, he left me in the lurch
Maids, when you're young, never wed an old man.
Because he's got no fal-do-rum, fal-diddle-die-ree-um
He's got no fal-do-rum, fal-diddle-fal-day
He's got no fal-do-rum, he's lost his ding-do-rum
Maids, when you're young, never wed an old man.
When we went to bed, hey ding doo-rum-die
When we went to bed, me being young
When we went to bed, he lay like he was dead
Maids, when you're young, never wed an old man.
Because he's got no fal-do-rum, fal-diddle-die-ree-um
He's got no fal-do-rum, fal-diddle-fal-day
He's got no fal-do-rum, he's lost his ding-do-rum
Maids, when you're young, never wed an old man.
There are many similarities in all the three songs
1- Tragedy is hidden in all three folk songs
2-if a young girl marries with old man the young girl has to suffer
3-The old man is shown in odd condition in all three folk songs
4-Humror is clearly visible and laughter depends on the time of dramatization of the song.
5- In Arabic and Garhwali folk songs, there are maximum similarities as there is similar culture from respect point of view before the society. The song does not contain sexual words but the strength of the old man is shown in symbolic phrases in both the languages
Differences between European and Asiatic Humorous Folk Songs
Arabic and Garhwali (Indian) folk song has similarities of cultural taboos. However, the Irish folk song has bawdy nature. There is description of meeting for sexual acts. In Arab or Garhwal (India) to talk about sexual act or sexual pleasure openly is not allowed even today’s modern age. .
The English, Scot or Irish folk song shows openness in the society while Arabic and Garhwali (Indian) songs do not tell anything aout dissatisfaction or satisfaction of ant party in sexual acts. Conclusively, it could be said that the cultural differences are clear in all folk songs
Copyright for commentary @ Bhishma Kukreti, bckukreti@gmail.com
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