DYSTOPIA LEH RUAM RAI THURUK

By JH Lalrinzuala
Dr. Lalnunpuia Renthlei

Gregory Claeys-a Dystopia hi dystopian fiction hmasa ber pawl niin a lang a. Kum 1924-a Yevgeny Zamyatin-a We te, Aldous Huxley-a Brave New World (1932) te hi science thiamnaa innghat dystopian fiction hmasa pawl a ni mai awm e. Anni bakah hian George Orwell-a Nineteen Eighty-Four, kum1949-a chhuak chu dystopia thawnthu lar tak a ni. Orwell hian capitalist leh communist lalhrawtna avanga dinhmun tha chang ve thei lo, an chanvo awp behsakte chungchang chu a hawi ber a. Zamyatin-a ve thung chu Russian writer a ni a, ‘Soviet Union’ hun lai chanchina innghat a ni thung. English author Huxley-a hian hun lo la awm tur khawvel pakhat dinin, chuta vantlang inawp dan chungchang chu a ziak a, science thiamnaa innghat a ni. Heng thawnthu pathumte hi dystopia thawnthu than chhoh zelna atana sûlsutu leh, tehfung bera an hman pawh a ni chho ta reng a ni (Routledge 263).
Dystopia thawnthu chhuak tam zawk hi science thiamnaa innghat a ni tlangpui a, hun lo la awm tur puan lawkna emaw, hril lâwktu anga hman te pawh a ni fo bawk. Suahsualna nasa tak emaw, hrehawmna nasa tak emaw chu mihringin a hun hman mêkaa inen lêt nana lantirte pawh a ni thin.
He thawnthu, Ruam Rai Thuruk hi hun lo la awm tura inghat a ni lo va, mi dangte zirtir tum run thawnthu a ni hek lo. C. Lalawmpuia Vanchiau-in, “…lehkhabu zirtir nei kher zawng thin, a tawpa dikna, felna, thatna leh mawina dingchang lai hmuh tum tlat tan chuan phek buai kher a ngai lo vang,” (86) a tih ang tak hi a ni a. Tum nei sa rûna chhiartute, khawiah emaw mi khalh luh tum ang thawnthu kha a ni lo. C. Lalnunchanga ‘masterpiece’ a tih hial (85), Ruam RaiThuruk chu thuruk azawnga thuruk rapthlak ber a tling hial awm e.
Hmun hrehawm satliah leh suahsualna satliah hi dystopia a ni ngawt lo. “…science thiamnaa innghat telin, suangtuahnaa khawvel hrehawm tak dina, kan tun hun boruak, politics, vantlang nun leh thiamna hmanga hun lo la awm tura chhiatna vawr tâwp chungchang tar lanna hi a ni a,” (Abrams and Harpham 414). “Anti-utopia an tih bawk, dystopia hi mihringin a duhthusam ram a din letling chiaha hman a ni tlangpui. Chutih rualin dystopia chuan thil tha lo thleng thei chu tihelna rawng kai deuhin a tar lang bawk,” (127).
Mizo thawnthu chhuak tawhah chuan he thawnthua suahsualna hi a rapthlakin a nasa ber mai awm e tih mai tur a ni. Character pawimawh zingah Selina-i tih loh hi chu vanduaina tâwpkhâwk emaw, suahsualna vawrtâwpa inhnamhnawih emaw an ni deuh vek mai.““He thawnthu hun lai hi rambuai hma kum 20 emaw vel atanga intanin, (Fehkawnga’n a chanchin a sawi a, a pian kum atanga intan tur phei chuan kum 1925 a ni daih mai) kum 1990 chho vel thleng a awh a. A narrative time hi analepsis nen kum 65 vel lai a ni a. Tluanga CDPO dinhmun chelha Bawkpuia a awm kum hi kum 1984 niin a lang. Hetih hun laia suahsualna, he thawnthua lo lang hi a nasain a râpthlak lutuk a, vawiin thlengin hetiang em hi chu Zoram hian a la tawng pawhin a rinawm loh. Mihring nuna suahsualna zawng zawng hi thawnthu ziaktu hian a changtuteah hian bel a tum ta mai emaw tih tur a ni.
Rosangpuii leh Remsangpuii nu, Pi Tluangi (Zatluangliani) thil tawn hi a râpthlakin a uchuak mang e tih tur a ni. A tleirawl thianghlimna chu ama pu ngeiin a thliahsak a. A hnuah pawh zalen leh tenawm takin a pu khan a nupui ang maiin a cheibawl a, mi dang hnenah pawh thim lal hnena inthâwinaah te a la phalrai ve ta zel a ni. Ama fa ngei chu thim lal hnena inthâwi nan zai hlum a nih hnuah hal ral a ni a, a duh vang reng ni hauh lovin vawi thum lai mai pasal nei lovin a rai a. Hmuhsit leh tihduhdah, endawngna zawng zawng chu a tuar a, a pain a sawisakna zozaite kha hmeichhe chak lo deuh tana thihpui tham a ni awm e! A hmangaih ve ber chu a chhungten an hmusit em em a, ani avanga a tawrhnate chu nasa tak a ni.
Russian-American author, Vladimir Nabokov-a thawnthu lar zet mai, Lolita-ah chuan Humbert tih hming invuah professor pakhatin a fahrawn a ngaizawng hle mai a. A hnuah phei chuan humsual daiin hmeichhiat mipatna sualah a tluk luhpui ta nge nge a, nupa ang deuhthawin an khawsak chang a awm bawk. Mahse, thisena inzawmna nei lo an ni. Georgian erotic movie, 27 Missing Kisses chu Nana Djordjadze direct niin, kum 2000 khan tihchhuaha ni a, Swedish hmeichhe naupang hmingchawi tleirawl Sybilla chuan a thianpa pa a ngaizawng tlat mai a, ani lah pathlawi niin hmeichhe hrang hrang a kawp lâwr a, he film-ah hian hmeichhiat mipatna chu uirena nen, tenawm tak leh zalen taka lantir a ni a; chuti chung chuan Tumvuaia suahsualna ang em ema mipat hmeichhiatna hman sual a awm lo. Heti ema he mihring sualna hi a hun lai ngaihtuah chuan thil theih a nih pawh a rinawm lo hial a; mahse, thawnthu ziaktu hian awihawm takin, thil thleng ngei angin a ziak thiam lawi si!
Tumvuaia suahsualna leh a tunu Zatluangliani tawrhna hian mihringa suahsualna tâwpkhâwk leh vanduaina tâwpkhâwk a hril a. Heng character pahnihte hi causal character a tling awm e. Thil thleng hi anni atanga intan leh innghat a ni si a. “He mite putu inlaichinna lai tak hi nawh reh pawh tum ila, thawnthu bu laimu, a lailum changtute an nih si avangin thai bo a remchang lem lo.” (Tapchhak 85) Satanism pawh hi kum zabi 21-na hnu lam thleng hian, Tumvuaia anga kalpui leh buaipui pawh hi an awm hriat a ni lem lo mai thei. He khawvel hmawr tawh takah hian nausena inthâwi emaw, nausen thlan hai leh dawi hmanga mi eng emaw zat tihhlum hi he ramah hi chuan sawi tur a la vang viau mai. Thawnthu ziaktu hian suahsualna zawng zawng hi he character hmang hian tar lan a tum emaw tih mai tur a ni a. Chuvangin, Ruam Rai Thuruk vawngtu, he putar, character ngaihnawm tak hi vaukhanna atana hmangin, chapona suala tluk luh pawizia leh satanism hrin chhuah chu a tawpa chhiatna râpthlak tak a ni tih lantirna turin, a hun lai ngaihtuaha awm thei pawha ngaih loh suahsual na lalpa ni tur leh, mite rikrâp turin dystopian character rapthlak tak hi thawnthu ziaktu hian a din a ni mai lo maw?
C. Lalawmpuia Vanchiau pawhin, “Tumvuaia leh a tunu a khawsaktir dan hi, ‘a lutuk mah mah deuh lo maw?’ kan ti a nih pawhin a mawh hran lo ve,” a ti a.
A thih dawn hnaiah meuh chuanTumvuaia chu a mangang ve ngang mai. “Aw, ka thlarau ka han hralh ta kher kher hi chu a van pawi tak em! Ka dam chhung nun tawi te chu dawi leh aienthiamnain mai maiin ka hralh a. Bumna thang a ni tih ka hresa vek a, a va han manhla lo em! He dawi thiamna no hian eng lai mahin hlimna leh lungawina min pe ngai lo va, huatna leh itsiknain ka khat a. Setana hian ka thlarau hi sawisak atan chauh loh chuan a duh lo… tawp thei lo tihnawmnahna leh thinurna no chu ka hmaah a inhung a, chu chu ka lo in ta mai si a. Thiam loh chantirna no chu ka chanvo tur a ni. Khawiah mah inhumhimna tur a awm lo. (444)”
Ani chauhvin a thlarau a hralh lo va, a tunu, a fate nu ni ta bawk leh a fate, a tute ni bawk chu Setana hnenah a hlan a, a vohbik ni turin a hlan a ni. Chuvangin, he putar suahsualna hian raltiang a kai tak meuh va, mi suaksualte avanga a tunu tawrhna râpthlak tak hian, vanduai vêk vêk tan chuan khawvel hi lei ‘ânchhe dawng’ a ni tak meuh a ni tih a lantir a. Hmun hrehawm vâwrtâwp leh a hringtu ânchhe lawh chak hial khawp tawrhna chu dystopia ziarang pakhat a ni.
Sailiana, protagonist Tluanga thian tha ber mai hi confidant character tih tur chi niin a lang a. Heti khawpa protagonist tana pawimawh ni si hi, a thawnthu zidinga a pawimawhna hi a nêp viau mai. A thianpa thlavang hauh na viau mah se, a thianpa tan hian supporting character erawh a ni lo. Chu ahnehin harsatna thlentu a ni mah zawk. Zai thiam a ni a, a lar a. Nula mi tak a ni a, hmeichhe tam tak tichhiain thinlung nain a siam a. Hna mumal nei lovin hmeichhe kah thluk chu a inawm tlei vena a ni a, Don Williams-a’n, “I shot down every young girl I found,” a tih ang deuh khan, a kalna apiangah hmeichhe hrang hrang a kawp kual a. “Nangmah phuartheitu awm reng reng thil kha i duh lo va… chhungkaw din tur mi erawh chu i ni lo. Thil ngaihtuah leh vei i nei ngai lo va, mi dang tu mah i ngaihven peih bawk lo, nangma hma chauh i thlir lutuk fo mai,” (195) Mahruaiin a tih hian Sailiana nihna chu a sawi chiang khawp mai. Chumiin a hrin chu a tawpa chhiatna, hmeichhe ânchhia hi hlauhawm ve deuh a ni tih thlengin. A ngam loh hmeichhe pakhat, hmel tha elkhen, hlauhawm tak a chhaih kawlh ta si a.
He thawnthu hian a hun lai nula leh tlangval nun, hnam dang entawna zalen leh serh leh sang pawh nei vak lo a tar lang chiang hle mai a. A hun lai nena inmil lo deuha lang ni mah se, a chronological setting nen chuan a inrem viau si. “Mizoram chu U.T a ni a, pawisa leng vak a tam a, nula leh tlangval nun pawh a zalen a, zana party siam an uar hle a.” (62) An uar hle lah tak a. Birthday party leh kum hlui thlah party tih angreng te, zu leh sa nen… chu chu a ni Selina-i pawhin humsual a daina leh, a vanduaina lo ni ta chu. “Hmeichhiate hian pawngsual hi kan hlau em em a, mahse tunah tak hi chuan ka hlau miah lo,” (68) Rita-i’n Tluanga hnena a ti mai hian mipat hmeichhiatnaah pawh an zalen viau tih a tichiang awm e. Zalen taka hmeichhiat mipatna hman leh, zu leh sa nena nawm chen hi suahsualna lantirna pakhat a ni ve reng reng. Zu chu dawrah duh hun hunah lei tur a awm a, bar-ah duh hun huna in theih a ni a, a sehhmeh tur a lam theih bawk. Hetih laia Aizawl khawpui nun hi, a kawtthler khu leh changkang lo tih lohah chuan, Jazz Period an tih mai huna American thalai, culture hlui leh thar inbuan chhoh laia nun zalen hulh, serh leh sang pawh nei vak lo ang mai kha a ni awm e.
Hmawnglian ram, Ngurbawng ngawa Tluanga a kal tuma putar pakhat, Fehkawnga, mi zawng zawngin Tarthangkama tia an sawiin a chanchin thui deuh mai a sawi hi, amah Fehkawnga tak hi pawimawh viau mah se, a chanchin sei tak hi a thawnthu zidingah hian pawimawhna a nêi nep viau va, a thawnthu a khawih danglam phak lo a ni. Tin, he putar vanduaina pawh hi vanduaina zawng zawngah a râpthlakin, mi pakhat tawrh atan chuan a na lutuk a, thim lal ânchhia emaw tih mai tur a ni. A nu chu Kaipeng hnam a ni a, Mizo tawng a pai avangin mite hmuhsit a ni a, a pa lah a bawrhsawmin eng han ti theizia a ni lo va, ram hnathawhah a lak tlak lo va, a sumdawn lahin a ‘dawng’ haw ziah bawk a. Fehkawnga vanduai intanna turin a pa sumdawng chu sakeiin a seh hlauh mai a. Fahrah a ni ta a, “ ‘Fahrahlukhengpa, Fahrahlukhengpa,’ tiin min lo chhaih a,” (88) a nuin pasal dang nei leh mah se, a hnampui, tawng pai ve tho a nih avangin mite nuihzat an ni a, “Kan khuate chuan kan chhungkua chu nuihza siam nan min hmang fo va.” (89) Chutiang a nih avang chuan Feha tih loh chu a pahrawn te khua, Reng ramah an pêm ta daih a, ani chu a pute bulah a awm ta a ni.
A nutei lah chu a lakah chuan a tha lo hle mai a. Chutiang chuan a naupan lai atang rengin vanduaina hian a khalh fàl emaw tih turin a nun a hmang chhova. ‘Lushai Scout’-a a tan hnuin dinhmun thaah a han ding dawn a, Zoram buai chu an chhungkua chuan an tuar hle a. A nupui, a fanu leh a monu rai no lai chu an pafa hmuh lai ngeiin vai sipaiin an pawngsual a, chu zet chu a nâ a ni ang, “Chu meuh chu patling tawrha tan pawh a na lutuk a.” (104) a ti hial a. Assam-ah rei tak tan inah a tang a, a rawn haw leh chu an hlim dawn chauh va, leiminin an in a hnâwl avangin a chhungte a chân leh vek a, a fapa rammu lah sipaiin an kâp hlum a, a tunu Hliaptei nen chauh an dam chhuak a ni. A tunu lah a ni pasal avangin a nite bula awm thei a ni lo va, an putuin huan enkawlin ramah an khawsak a ngaih phah ta a ni.
He putar tawrhna hi capitalist leh communist lal hrawt tuartute tawrhna tluk tho a ni, a aiin a na mah mah ang. Heti ema mihring vanduai an han awm thei hi chu thil awihawmah pawh a kal lo ve, ti dawn ila, a thawnthu nen a inmil viau lawi a. Ani tan hi chuan lei hi ânchhe dawng a tling tak meuh a ni. He putara tawrhna hian dystopia ziarang ken tel a neiin a lang bawk.
Rosangpuii hi chu a pu ang a ni a, ani ang em chu ni lo mah se, thim lal rawng a bawl a, mihring a ru bo va, thisenin a inthawi a, a chan tur dik tak a chang a ni. Ngaihtuah tithui chu a laizâwnnu Remsangpuii, protagonist nupui ni ta leh protagonist ngaihzawng, a rilrua thi thei reng reng lo, a tawpa an thianpa thlana inpum leh ta Selina-i hi an ni. An pahnih hian hmel tha tak an ni ve ve a, an that dan a inang lo. An nungchang a mawi ve ve a, an mawi dan erawh a inang lo. An fingin an hawiher a dik riau va, an inang hauh thung lo. Mi fel tak ni chungin mite suahsualna avanga an tawrhna hi a na em em a. Chhantu nei lo, thisena indemna leh thiam loh inchantirna sernung lian tak pai ve ve an ni. Selina-i tak hi chu a ziaawm a, a vanduaina hi ama thiam loh a ni ve bawk.
Remsangpuii hi a ni lainatawm ber mai chu. A nu ang em chuan tisa leh thlarau nghaisakna tuar lo mah se, a pu, a pa ni bawk Tumvuaia suahsualna chuan hlimthla ang maiin a ûm zui reng a, mite hmuhsit leh elrel an ni a, amah heltute chu amah bum tumtute an ni a, hlim ni tawng ve mah se, chhiatna bawkin a lehthal leh thin. A pasal nen chuan inhmangaihin induh viau mah se, a pasal thu a hnial thei lo va, a pasal tan chuan ‘hmeichhia’ a ni ringawt mai a ni. Amahah hian awp beh, vanduainain hlimthla ang maia a zui a nihna hi a lang a. Bible meuhin a lo sawi, thlahtute tihsual chu an fate mai ni lo, an tuchhuante thlenga an tawrh turzia chu a nunah hian a lang chiang em em mai a ni. Vanduaina satliah hi dystopia ziarang a ni hauh lo va; amaherawhchu, awp beh leh ama tihsual ni hauh lova mite avanga tuartu a nihna hi dystopia ziarang pakhat a ni.
Postmodern narrative ziaranga tel ve tlat, intertextuality chu he thawnthuah pawh hian hmuh tur a awm. A lehkhabu dang ang thovin Mizo history nena inlaichinna nei a ni a, rambuai chungchang a lang a. Shakespeare-a te, The Lost Horizon te a lang nawk. Khawthlang lama voodoo sakhaw kalpui dan zirin, thawnthu ziaktu hian he lehkhabuah hian a thawnthu innghah nan a hmang a. History thui tak a chhui theih a, hnam nun leh ziarang thui tak a chhui theih bawk. Khawvel changkanna chi hrang hrang, lirthei te, rimawi te, radio te, cinema leh television te chenin a lang a, hnam inchiah piahna hlimthla pawh, ‘Kawl’leh‘Vai’ nen an lang. “Postmodern novel chu hmasawnnain khawvel hnam hrang hrang a phuar khawmnaa innghat a ni thin,” (Postmodern3) Aizawl boruak en hian, hnam dang ziarang nasa tak hmuh tur a awm a, an rimawi ngainat ber berte pawh khawvel hnam dang rimawi a ni nawk mai. A plot hi science thiamnaa innghat ni lo mah se, damdawi leh bawlhlo chawhpawlh erawh hmuh tur a awm. Dystopia hi postmodern narrative pakhat a ni.
Vantlang inawp dan leh politics inlum let avanga buaina leh harsatna lo lang hi tawi hle mah se, a rapthlak khawp mai. “Khawlaia tlangval an hmuh apiang chu an han kap thlu nghal nghauh nghauh phawt a; chutah, mipaho zawng zawng chu Biak inah an khalh lut a, dimna leh khawngaihna tel hlek lovin an sawisa a, tar leh damlote pawh an thliar chuang lo… hmeichheho chu pitar nen lam sipai rawp pui puite chuan an pawngsual ta a.” (433)A rapthlak nangiang mai le. Hitler-a’n kum 1941 bawr atanga kum 1945 inkara Juda-ho a chimih chiam khan, Juda mi maktaduai ruk vel a tihlum hman a. Auschwitz concentration camp-a Juda mi heti zozai a chimih chungchang hi ziak a tam khawp mai a. Indopui pahnihna laia Nazi-hovin concentration camp-a an hren pakhat, Viktor Frankl chuan a tawnhriat a ziak a, Man’s Search for Meaning (1946) tih a ni. Tin, he insuatna hi Holocaust tih a ni bawk. Nazi-ho chet dan râpthlak chungchang chu holocaust narrative tih a ni chho ta a, holocaust literature hial a lo chhuak a. Holocaust literature chu thil thleng lian tham, râpthlak tak avanga mi tam tak thihna chungchang leh, chutiang tuartuten dam khawchhuah dan an zawn tang tang dan tar lanna a ni pakhat. (Encyclopedia xiii)
Vantlang nun inher danglam leh politics thil avangin MNF-in ‘zalenna’ a sual a, India sipai nen an inkap a, an kap hneh lo hle a. Zalenna suala rammu ve lo, pawi sawi lo nunau leh upate chu a tuar nasa ber ber an ni a. Mi tam tak an kawtkaiah kah hlum leh sawisak hlum an ni a, hmeichhia tawh phawt chu an pawngsual a, an tawrhna kha a râpthlak lutuk. He thawnthuah hian rambuai avanga tuartu eng emaw zat an lo lang a, sipai chet dan nunrawng tak pawh tar lan a ni a, holocaust narrative tam tak ang bawkin a tuartute tawrhna chu a râpthlak em em a. Hun kal tawh hlimthla mah ni se, hetiang hunah hi chuan pawisawi lo leh insaseng ve thei lote hi a tuar nasa an ni a, politics inrelbawl dan fuh lo leh vantlang nun buai avanga tawrhna thlen theih dan tar lanna a ni a, dystopia ziarang pakhat a ni awm e.
Tlipna atan chuan dystopia hian utopia ang thovin he khawvela awm lo, hrehawm thlenna tur suangtuahnaa din khawvel hran a nei thin. He thawnthu ‘Ruam Rai Thuruk’ pawh hi suahsualna zawng zawng bilh khawm nana a ziaktuin a din emaw tih mai tur a ni. He ‘ruam raiah’ hian setana biak a ni a; thisena inthawi a ni a; hmeichhiat mipatna tenawm taka hman a ni a; dawi thil hman a ni bawk. Chumi kal zelin he thawnthu hi a hrin a nih avangin he ‘Ruam Rai Thuruk’ hi dystopian setting pawimawh tak a ni ang e a tih theih. A thurûk zawng zawng hai langtu chuan suahsualnaah pawh a vawrtâwp, Pathian thupek sawm zinga tel, ‘Tual that suh’ tih chu bawhchhiain, mi pathum lai he hmunah hian a that a, an thisen mawh chu a phurh tur liau liau a ni. Chu pawh chu tlangthantir lovin a thup a, he hmun thurûk pakhat a ni chhunzawm ta a ni. Chuvangin, he Ruam Rai Thuruk hi setanism chauhni lovin, dystopian setting a nihna pawh hi a ni mai lo maw? Hun kal tawh ni lovin, an tun hun avanga hun lo la awm tura Zoramin a hmachhawn theih thil anga tar lan ni phei sela chuan, dystopian narrative ropui tak ni thei mai pawhin a lang. Chutih rual chuan dystopia leh utopia ziarang nei kawp thawnthu a awm thei ve bawk. Works Cited
Abrams, M.H. and Jeoffrey Galt Harpham. A Glossary of Literary Terms. 17th ed., Cengage Learning, 2021.
Currie, Mark. Postmodern Narrative Theory. 2nd ed., Palgrave Macmillan, 2017.
Herman, David et al., editors.RoutledgeEncyclopedia of Narrative Theory. Routledge, 2005.
Lalnunchanga, C. RuamraiThuruk. 2007.
Patterson, David, et al., editors. Encyclopedia of Holocaust Literature. Oryx Press, 2002.
Vanchiau, C.Lalawmpuia. Tapchhak Theory. Sabereka Khuangkaih, 2