My boyish excitement

 For the past few days,I have been boyishly excited!

Excited at the prospect of getting to know the last mile personification of our book distribution network.But this does not mean that I was not terribly let down by the moments that follows those excitement--moments facing me and telling me in no nonsense term that I should be able to go out and get acquainted with those last mile fellows only on Saturdays and Sundays.(Of course,I am assuming that the cunning psychopaths would loosen their lawless but still, operative under the radar of our justice system,siege on me for the book publishing time period--I do think that the possibility of this happening in this world is very slim).Of course,the villain is the boyish excitement!

This excitement,though boyish,happened to be immune even to the news of Government of India's regressive effort to control the digital news sector.

I am also terribly surprised by the timing of the announcement.It happened almost simultaneously with the announcement of the 48 hours strike by the journalists of Manipur.Why such 'coincidence' fail to  bring forth conspiracy theorists of many interesting hues! I wonder!! 

But the first thing first.

My monograph should be a good buy.There should be absolutely no compromise on this front.

I have,at least,three doable but extremely risky plans to disrupt the last mile part of our book distribution network.But I would not 'talk' about it because I would like to see myself rather 'walk the talk' very shortly.( Boyish excitement,again!).But I may also end up losing all my money.And I am feeling sad at the prospect leading some of my friends to a path where they also would lose some parts of their money.

But I would like to talk about micro payment.A micro payment system, organically aligned to our society.I always find that I have been perennially put off by the currently available micro payment system when I was totally determined to subscribe to several news sites,when I was certain particular stuff,a good buy etc.

If we can start a little beginning in this direction,three sectors would have the chance to induce transformation  unto themselves --cinema,songs and books.

I think we have already the local networks in 'marups' and self help groups.The only thing lacking is the overarching network so as to enable it to reap the network effects of all these already existing and very energetic local 'marups' and self help groups.

I think that it is now just the right time to erect this overarching network.

I am excited.(But,is it,still, that boyish excitement of mine?1?).

Of expansion and contraction of land.

 This lockdown has taught me how to go to bed early.My usual habit is to go to bed at around midnight.It really surprises me that I am now comfortable going to bed at around nine in the night!Sometimes,I do it at around 8.30 pm!! Surprise,surprise!!

And,I used to hate radio transmission carrying AIR Imphal programme,firmly believing that it is government propaganda machine.I still think it is a propaganda machine--but I now sense that some employees,fully realistic about its nature,manage to squeeze in gems of Manipur-specific knowledge in their progamming.

Some of those kind of programmes are the ones dealing with our prophesies and stories from Puya.

Last night,I came across two more prophesies.I had had the chance to listen to that programme several times in the past but failed to note down the two prophesies.Last night,as I was midway through  that programme,I ran for paper and pen,determined to note them down! I was ready with pen and paper and here is the proof of them!!(And,the prophesies kept me awake well past the new bedtime of mine but when I was awakened at around 2 in the morning by the desire to go the toilet,the outline of the prophesy began to form in my mind.I saw the prophesy in a hazy three parts--it seems that our brain never stops working in its subconscious state.But it was only at around 10 this morning that I began to gain a more clearer picture of the prophesy).

A) Manipurgi ninghtoudi Bhuvan chingda turani.

B) Paatki tharoina sana konungda mahum thurani.

I suspect that the first one is of recent origin.Besides,I am more attracted to the second one because of its association with 'Paat',which I had discussed in my post,entitled "The soul of a paat and experiments in pictorial syntax".I am excited to find the above prophesy because I will get the chance to test my deduction I had tried in my Feb 10 post.

1) I am keeping the interpretation of a 'Paat' same as I did in my Feb 10 post.In that post,I deducted that the soul of a 'Paat' is 'multiplication'.

2) Next comes the key term of our prophesy--'Tharoi'.

a) The best logical step is to compare it with 'Thammoi'.

b) Here the 'Th(a)' energized an enclosed space of flesh (ie 'Moi') to act as a pump,by its expansion and contraction modes.(Going further with this logical step, 'Moi'[fart] metaphorically,is something that indicates good health;so,'Moirang' becomes a place enabling good health).Trying to dig deeper through the riddle here,we are likely facing an actor who can make 'contraction and expansion' of expanses of land at its will.(The literal meaning of 'Tharoi' is the actor which can 'expand' out of,and 'contracts' into,its shell). 

c) It sure sounds like imperialism.

d) Now,combining (1) and (2),it is the 'imperialism coming out of a land which has a huge population'.( As we are living in a state plagued by land disputes,this might also indicate the imperialist taking advantage of our society's historical weakness).

3) SANA.

a) Going by several deductions in my past posts,it is 'beastly appendage'.Metaphorically,it is coercive device.In its literal meaning,it is gold--what a play of words in our prophesies!

4) KONUNG.

a) 'Ko' is an enclosed room.

b) 'Nung' is the one I described in my post entitled "Stones afloat!".I will reproduce the  two sentences here.

--We had already discussed (in several of my earlier posts) 'Na' as to mean an appendage,sound,sound waves or as to mean that societal coalition which does not read.It has already deducted that the literal meaning of 'Nung' (stone) might come from the last concept.--

c) Combining (a) and (b),we have 'the room which deals with the popular mandate of a society'.The literal meaning of 'Konung' is palace.

5) Combining (3) and (4),we get 'the room which embodies the popular mandate of a society,possessing coercive devices'.( Going by the recent political development, we should  not discount the possibility of our prophesy indicating this 'room' as having already co-opting the members of our own royal families).

6) MAHUM.

a) I have already tried proposing a rule for  word formation of such types of terms in my mongraph.But it would be too lengthy to describe it here.It indicates the existence of 'Hu' in both in its singular and plural states.'Hu' is 'devilish' 'Ha',which denotes strategies.Metaphorically,it indicates ongoing formation of substantial numbers of devilish strategies--both,brilliant and dumb.

7) THURANI.

a) As already been discussed in my post "Stones afloat!",'Thu' is the 'Th(a)' is in its anchored state,ready for its value extraction.So,it indicates the existence of 'heightened state of activities'.

8) Combining (6) and (7),we have the statement-- 'there is the heightened state of activities in devising devilish strategies--both,brilliant and dumb'.

Now,combining these three parts,we have the full prophesy in front of our own eyes,It can be described as follow:

--The imperialist(of a vast population), in collaboration with actors(who happen to posses coercive power as well),thrown up by the popular mandate,which,in its turn, teaming up with the members of our own royal family,will start devising devilish strategies-both,brilliant and dumb.--

'Wa' --- the perfect symbol of life-giving balance.

 I have been trying to find the exact wording of the second prophesy ( My last post).I have several books listing most of our prphesies.But all of these books were taken away by friends who wanted to read them but those books were never returned.I am still all for loaning of books but everyone should also think of returning them to the owners.

So,I am still unable to find those exact wording but it is something to do with making a lot noise(including lamentation) from the pole-tops of bamboo.

Sitting on the pole-top of a bamboo is impossible,let alone,making a lot of noise from there.

So,the word,'bamboo',which is 'wa',is the keyword.

I should start this discussion straightaway from the concluding part of my monograph where I tried to play away with a lot of  words which are coined by me.

There,I propose the newly-coined,'Awai', to mean a philosopher and 'Niwai',a poet.

Let me reproduce the logical steps I traveled to coin the term.'Niwai'.

A) 'NIWAI' 

a) 'Ni' is imaginative world.

b) 'Wai' is seen as a common usage in terms like,'Asiwai' or 'Aduwai'.It denotes the stage which is in the cusp of reaching the goal but yet not there.

c) Now,let's hang up the pictorial renditions of both 'Ni' and 'Wai' on a wall and try to read up the message sent out jointly by these two terms.

d) The most plausible message is the picture showing us an actor in the space which is about to reach the imaginative world but not yet there.When it touches the shore of that world, it is only for some fleeting moments,just like the waves of water touching the shore for a fleeting moment (Note: We always say--the water strikes the shore with a 'Waiwai') and then,retreat from there and trying for another fleeting moment of union with the shore.

e) Just like this, a poet,in his poetic trance,manages to get fleeting moments of union with his imaginative world.

f) Most importantly,the essence of 'Wai' is to maintain the delicate distance between those different worlds.(The supreme necessity of maintaining that life-giving distance is illustrated by 'Fou' and 'Wai'.When together, maintaining that delicate distance,we have the ultimate in what a exhibition should be--'Fou'.But divested of that life-giving distance,we have 'Wai'--the useless).

B) 'Wa'.

a) 'W(a)' is the energy enabling someone/something to position himself/itself inside the state which is nearing the goal but yet not there--when it is there at all it is only for some fleeting moments.

b) 'Wa' is something which is energized by 'W(a)'.

c) When discussing 'Wa',the bamboo,I am facing a lot difficulty because I am not conversant with the full story of bamboo in its anatomical,historical aspects etc.A few thing I know is that it is in the family of grass--but a grass which can be utilized as something which is in the cusp of reaching the property of wood but not yet there.

Symbolically,'Wa',the bamboo, is the prefect example ( in our 'Ya') of showing off that existential exhibition of maintaining that life-giving distance.

So,the prophesy says that our society,at some of time,would fail to maintain that life-giving distance.

We all know that a society is never homogenous.To have a thriving and lively society it should have a lot of internal competition.To enable those competition,we should have networks of societal coalitions.There should be that life-giving distance between, and amongst,these coalitions.

So,our prophesy is talking about a society which fails to maintain those life-giving distance amongst its networks of  societal coalitions.

Stones afloat!

 I have just heard over the radio a discussion over two prophesies.As I was listening to it,my mind was already in an overdrive to understand the prophesies.

After only a few minutes,it struck me with a great (even,a mysterious) coincidence--at least,one prophesy cannot be decoded without the knowledge of 'Tat'.And,we have just bumped into the concept of 'Tat' only four days back !!

The prophesy runs like this:

Nung taorani

Lashing luplarani

Roughtly translated,it runs like this:

The stones would come up afloat

The cotton balls would go down sunken into the depth.

The generally accepted version is that the truth would be eclipsed by the untruth.This version can still find its place in the general narratives of our society.But that does not prevent us from trying to go a little deeper or to find more specific properties.

1) We had already discussed (in several of my earlier posts) 'Na' as to mean an appendage,sound,sound waves or as to mean that societal coalition which does not read.It has already deducted that the literal meaning of 'Nung' (stone) might come from the last concept.

But we are faced with the irreconcilable logical gap in trying to understand term 'Nungsiba' (love).I have also found out the term is one of the most intricate and difficult to handle.Nevertheless,I have already tried my best in my monograph and it runs like this:

a) 'Nu' is the sound very specific to me.Generally, the suffix 'U' enables a term to mean  ' being in an anchored  condition,for their value extraction',like in 'Puya' or 'Lu'.Furthering the logical steps,it can be used to mean the most desirable--some sort of sound which we are ready to die for!

b) 'Nung' ( a 'Nu' to which life is bestowed) is the stage of its existence when it reaches the auditory cortex of our brain.

c) The next step would demand us to hang up the pictorial renditions of 'Nung',together with that of 'Si' and try to read up the message sent out by these two terms.( The 'Si',as was discussed in several my past posts, means the existential stage of occupying the middle ground or,metaphorically,in the acute sense of being destabilized.)

d)  So,the most plausible message sent out by these two terms--the desirable voice has come to me but it,immediately,puts me into  an acutely destabilized state! ( Is this some type of 'forceful' treading of the logical steps?)

If my deduction holds,I have this feeling that this particular 'Nung' is something to do with propaganda.

Viewed from this context,'Nung Taorani' would mean that our society would,at some point of time,face with a situation in which the people (including its leaders!) would have a lot of problems in distinguishing information from propaganda.And,the most importantly,this inability would overwhelm our society.

2) The next part of the prophesy throws up a lot of problem for me.

In one of my posts trying to decode another of our elegant prophesies,we had used the term 'lashing' as to mean the collection of failed strategies espoused by the populist leaders of our society.Now,as we begin  to try understand the 'Lashing' in this particular context,we are aghast in finding ourselves in the uncomfortable situation of grasping 'Lashing' as to mean the exact opposite of the first usage in my past post.(But this is understandable.All prophesies are riddle--the exquisite play on words,that too,on all of their conceivable dimensions).

The reasons to try to extricate ourselves from this uncomfortable situation run like this:

a) I am still working on the picture which is likely to help us in finding the holy grail of our worldview.( My last post)

b) One preliminary finding which I am confident in sharing in a public space is the likelihood of the 'Tat' taking the physical property of a 'Dot'--the 'Dot' in  a constant motion.Both 'Lei-e'  and 'Elei' can be understood as the physical manifestation of a 'Dot' in a constant motion.And, 'Tatpa' happens when the 'Dot' is confused in travelling from the point of its journey towards the endpoint in the straight line piggybacking a circle.

c) Going further towards the physical manifestation, 'La',('a' pronounced shortened,with a 'v' above 'a') is the energy enabling the properties of 'La' ('a'pronounced long).

d) This is the 'La' in our 'Lashing'--'Sing',being knowledge,is derived from 'Asingba'.

e) So,'Lashing',in this context,is the knowledge suffused with 'Tat'.

Thus,the last of the prophesy would mean that our society,being already overwhelmed by propaganda,would discard all of its priceless knowledge,made possible by the concept of 'Tat'.

Two rotations -- one inside the another.

 Please come to the second finding on the early morning(ie at 4.29 am) of the 16th day of this month.(My last post).

Also,kindly note that I have been working on the subject for barely 10 hours.So,what I am doing right at this moment is to prepare a report on my efforts.

But why?

The reason is that,during this 10 hours efforts,I had been overwhelmed by mysterious 'coincidences'.I want to put on record these 'coincidences' as it is happening at the present moment.

A) The title of my monograph--"Elei Lei-e Toyaba : Ung-um-lei".It was more than 12 months ago when I came up with the name.

--At the fag end of nearly 10 hours of my effort,about the time I hopped into my bed last night,a diagram suddenly popped up in front of my eyes which is the pictorial rendering of 'Ung-um-lei'.I was totally taken aback by this 'coincidence'.

B) Now,the title of my monograph.

-- What exactly 'Elei'is? 

-- Besides the coming discussion on the above term,I do not particularly like to reveal,and discuss,the title of monograph before its publication.

-- But I gradually comes to grip of my predicament-I cannot go any further in my effort unless I start to have a re-look at the title of my monograph.Is this not another mysterious 'coincidence'? More so,in the middle of my effort to understand the the picture of 'Rotation' and its significance in our language,that too,after successful discussing the significance of 'Oscillation' and 'Wave'.

-- Isn't it the case of me going back a full circle in trying to understand the picture of 'Rotation' in our language? Some sort of a full circle in finding of another circle? Rotation and circle!!

C) It is also more than 12 months ago when I started to debate with myself if I should go for the publication of my monograph with the initial output of 10,000 copies minimum.The main reason to go for this misadventure is that I already had an inkling of the scale of disruption my monograph would bring about in our society.Being at that threshold,why not go for another disruption aimed at the last mile part of  our book distribution system?

I still firmly believe that,with the right blend of technology and innovation,we can aim for total disruption at the point of last mile part,which would result in a creative interaction with the book buyers of our society,triggering the factor to co-opt the magical critical mass number of our book buyers.If we can bring about that disruption,we can definitely aim for 10,000 copies of initial print and,then, scale up to 50,000 to 100,000 copies.I am fairly certain that our society would support their writers;but printing books and depositing them in a bookshop and waiting for our book buyers to come is a failed model.

I already have set aside some portion of my saving for the purpose.My aim is to look for a matching amount from some of my friends.And,I also have the list of my friends and I am fairly confident that the said friends would bring in the matching amount.(I will pursue my point that their matching amount will make it possible to reach the point where we can reap the benefits of the economy of scale).

Then,what's stopping me?

I have been encircled by a bunch of psychopaths for the last six years! Six  years already!

Not simple psychopaths--they are moneyed and networked psychopaths.

These psychopaths has already installed informers at the two pharmacies at the left side of my gate.They have another two informers working as a retailers at two retailing shops at the right side of my gate.Besides them,there are three households near my gate,whose members pick up their phones as soon as they see me at my gate.

They are fairly organized!

As soon as I step out of gate,at least four people grab their phones to call the psychopaths,with the possibility of another sets of,at least,three people picking up their's,some minutes later.

So,the psychopaths would come to know that I come out of my house within minutes of my stepping out of my gate.

Then,these psychopaths would spring into action.They did actually broke into my house and put chemicals in my drinking water.How do they get hold of their master key--in actual world situation,it is fairly certain their master key can unlock all the locks which are commercially available in Imphal.I am fairly certain these master keys are military grade.

In case of my inability to break free of this stranglehold,there is zero chance of the above scenario coming to a fruition.

Then,should I publish my monograph as an e-book?

I do not like this option but I will be forced to think of this in near future,because,beginning the early morning of the 16th day of this month,I am already in the process of designing the strategically framed questions which would form the concluding part of monograph.I think that it is not job of my monograph to go at length to try to answer the questions.

For my monograph,it will do its job if I can  frame the questions incorporating an intelligent design which would lift them into a strategically meaningful plane so as enable the readers to pull off the answers themselves.

The question are listed below.

a) How to continue the logical discussion guided by the principle of 'mayekna taba'?

b) Elei--why is this term so significant?

c) What is 'Lai'?

d) How to initiate the  discussion on 'Lai Haraoba'?

e) How to find the 'Tillam' of 'Ngou' and 'Atiya' ?

f) How to capture the messages coming out of pictures hung on a wall?

g) Is this a limited ideogram?

h) Makha kari leiri?(I would initiate the discussion with the supply of some of my  choicest collection of recently created terms).

This post has already become too long.

But I need to to make a neat conclusion by re-visiting the questions I put forth in the beginning of this post.

1) 'Lei-e' is a straight line (besides,being a word).

2) 'Elei' is the curved line.

How I come to this formation? Arbitrarily?

I did that by following of logic of two primary words--mother and father.

'Ipa' comes from the term 'pai'--from  which the term to denote 'to fly'(metaphorically,the oscillating movements of the eyelashes) comes forth.

Now,re-allocating the 'I' as the starting letter,we have 'Ipa',which,in effect,denotes the actor who physically obstructs the oscillating movement of the eyelashes.

Deploying the logic of sexual analogy,father is the one who penetrates.

In the same way,'Ima' comes from 'Mai'.For brevity,we can rush in to say 'Mai' as to mean a face.So,'Ima' is faceless.'Ima' is a mystery.Nobody,in particular,the male population,would ever come near to the vicinity of that metaphysical real estate of trying to decipher what motherhood is or what femininity is.Looking from that context, the word formation of 'Ima' is super elegant. 

In the course of the writing of my monograph I have found out that 'Elei-Lei-e' should be starting point of our logical steps to follow in trying to decipher our language.

What I had found on the early morning of 16th Feb 2021 helps to formulate the premise that the 'the five thawai' is blocked from our grasp in being locked up by 'Elei'.( Finding the pictorial rendering of the 'thawai ma-nga' is like unveiling the holy grail of the Meitei worldview),Going upto that point,my natural tendency is to negate the 'Elei' puzzle by using the power of a 'Lei-e'.

To my surprise,the resulting picture is a straight line piggybacking a circle.

Instantly,I came to know that I stumbled upon the pictorial rendition of the term 'Tatpa'.

Yesterday,I came up with another premise--'Tat' is never stationary.Then how to create a picture depicting the 'Tat'?As of now I have improvised by forcing the 'Tat' inside the circle of the 'Tatpa' rendition--but it is not sufficient.I have to make the circle surrounding the 'Tat' as constantly rotating.It is the only improvisation I think of in trying to tie down the ever moving 'Tat' so that we can have a pictorial rendition of it.

But,last night itself,I did stumble upon the idea that the above premise is not sufficient. Another picture of a rotation suddenly popped up in my mind.I have already tried putting this circle inside the 'Tatpa' circle.

Right now,I have the picture of a spinning circle inside the already spinning circle.I have this feeling that this is the picture we have been looking for so long--the holy grail of our worldview.

But,to my disappointment,I have found out that the two circles are spinning in the same direction.

What's the meaning of this?

I am trying to find out.

Finding the 'Tat'.

 We need to briefly revisit my last post.

We need to give our attention to this sentence of the first paragraph.

--It turns out the architects of our language were not bogged down by the 'Ya' stuff(my last post) but instead were trying to sneak behind and made a fruitful encounter with what constitute the soul of a lake.(The lesson here is the we should not get bogged down by the 'Ya' stuff but instead try to the find the soul behind the worldy things).Let's try to track down the path they might have taken to get to the soul of a lake.--

So,the architects of our language refused to be bogged down by the 'Ya' stuff.At this very moment,we have this overriding desire to say that our architects are more inclined to pursue the 'Ye' stuff.

But I have just found out that it should be 'Tat' stuff--not 'Ye' stuff.

The idea suddenly flashed into my mind when I was still my bed.

Quickly,I jumped out of my bed and noted down the time--it was 3:45 am.

The common usage of 'Tat' is usually by young girls--it hints at the desire to nuke out any cozying up efforts.Hinting at nuking something out?How the term like this made me jump out of bed and note down the time of finding it?I have the exact  answer and  will incorporate it in my monograph.As in previous instances,it would occupy disproportionately large space here in this blog in attempting to explain it. ( The young girls are effectively saying that "Not a tiny bit of a chance in this 'ya'--may be,in another dimension!".This facet of 'Tat' that can carry the meaning of 'another dimension' is of main interest for us here.Here,we must not fail to note the huge sense of humour of our architects.They had the foresight to sense that most of our intellectual,in some point of time,would start acting like a 'leima'--this 'leima' reference should be read together with some earlier of posts of mine which clearly states any mention of this term does not imply any inferiority of a 'leima'.So,the architects manage to hide a gem of a term,in plain sight,camouglaged as a slang,mostly used by giggling young girls!).

Then,again I had to jump out of my bed and noted down the time--it was 4:29 am.

This time another idea flashed into my mind.The idea is the diagram representing a rotation--we have already found out what it means by oscillation and waves in our language.

I am still trying to figure out the significance of the second finding.

But I am totally sure of the significance of my first finding early this morning.

The purpose of this particular post is  purely to record the date and timing of my first finding.Is this an ego boosting exercise?

At one time,I answered 'yes' and decided not to publish this post.

But I suddenly remembered that I had announced that I should be ready to begin work in the collaborative effort of out society to start to fully understand our language.Considering this context,I am fairly certain that finding the 'Tat' is a huge high water mark of this journey.

So,finally,I have decided to publish this post.

The soul of a 'Paat' and experiments in pictorial syntax

 This series of discussion was sparked off by the curiosity over the term 'Paat',which is,of course,denoting a lake.That was a week ago.Now,I have just come upon an exciting insight.If we fly a drone over a lake,we would have the picture of the lake proper as the 'Eyeball' and various streams and rivulets draining into the lake as the 'Eyelashes'.But why giving this disproportionately large emphasis on the 'Eyelashes' when the beautiful water body itself is front of everybody's eye?It turns out the architects of our language were not bogged down by the 'Ya' stuff(my last post) but instead were trying to sneak behind and made a fruitful encounter with what constitute the soul of a lake.(The lesson here is the we should not get bogged down by the 'Ya' stuff but instead try to  find the soul behind the worldly things).Let's try to track down the path they might have taken to get to the soul of a lake.When two 'Eyelids' met (or make contact with each other) how many contacts are there among the 'Eyelashes'--may be,30 to 40 contacts(Should we Google how many eyelashes are there on an adult eyelid?).One contact makes it possible for another 40 contacts.This is essence of multiplication,which we call 'Purinaba',which,of course,comes from the root word.'Pa'.So,the soul of a 'Paat' is 'multiplication'.A 'Paat' gives human society a lot of benefits--in its multi-faceted dimensions,that too,in a multiple ways.This must be the reason why there is currently great buzz of the urgency of saving and reviving lakes and wetlands.The architects of our of our language were  super creative and innovative.(By the way,'Paat' is the 'Pa' oscillated--in other words,the 'Pa' in the re-incarnated state--'Ta' is the only root word,besides,'Ka',which necessitate a diagram simulating an oscillation to make any headway in interpreting it--here,'Ta' as a suffix to 'Pa' denotes the 'Pa' in its oscillated state).

To make our statement implying the great ingenuity of the architects of our language more robust,let's take another discussion,letting a 'Ya' stuff taking the centrestage of it.As was discussed in my last post,'Cha' should be on the x-axis and 'Che',on the -x- axis.Why do we visualize the journey of 'Cha',along the positive plane towards the negative one? One possible way of visualization is to make the 'Cha'(the nutrient) to coalesce and the, beaten flat.That,of course,produce our 'Che'--the paper.This deduction is easy because 'Che' is 'Ya' stuff.The exercise becomes more complex when we try our hands at the stuffs which are not in the domain of 'Ya'.Suppose,'La'(the expanse) is on the x-axis and 'Le',on the -x- axis.Following the path taken by 'Che',how we let the 'La'coalesce into itself and then,we beat it to make flat?Of course,this makes our heads spin.For us,lesser mortals,the best escape route is to find some clues in our common usage.The first one that comes to mind is 'len',which is hailstone in English.As was discussed in several of earlier posts,'Len' is either small 'Le' or an individual 'Le'.If we replace the 'Na' in 'Len' with 'E',we get 'Le-e'.If we take 'E' in its anatomical facade,we have a 'Le' which is flowing.This makes us to think of 'Le-e-cha',which might have corrupted to 'Laija'.I am not yet sure of this deduction.But this deduction holds,we have 'Laija' to mean potable water.The great innovation here is that the architechs of our language went to 'Laija' without ever mentioning 'Eshing',which is the main term denoting water.Potable water is made connected with the 'expanse' before our eyes.What makes them to do so?Is it something to do with human health? It is pretty reasonable to see that we cannot make any 'expansion' to any sphere without the basic potable water.Of course,this explanation of mine is terribly lame.And,I am confused at the moment but I will keep trying to find some insight in the days to come.Instead of feeling intimidated,let's try to find some inspiration from the architects of our language and try our hands in some basic steps in trying to see how pictorial syntax works.(my last post).In my blogspeak,we should be active members of 'Chindamba party'.In my post 'Heirangkhoi' and 'Chindamba',we have seen that someone executing a small is far better than the one who is prone to lecturing--in Mao Ze dong worldview,we should not be paper tigers.So,let's get to work!

1) Tomba ki Lairik ni.

The trick here is to view the above four words as pictures.We all grew up accustomed to the narrative of subject,verb and object.We should train ourselves to go out of that world.We should try to enter a room which has a prominent wall on which several pictures are hanging.Let's draw Tomba as a balding man.Then,a thick book.My monograph has the pictures of both 'Ki' and 'Ni'.So,let's hang up the four pictures to that prominent wall of the room we have entered.Looking at all the pictures can we figure out some message coming out from them? Here,'Ki' is the existential stage of 'Ka' and 'Ni' of 'Na'.In this particular case we are taking 'Ka' as to denote a room and 'Na',an appendage.One plausible message might run like this--in Tomba's room the thick book is an appendage(a single book).I'm not yet fully comfortable with this model but I should make constant effort,as befitting an active member of 'Chindamba party'!Having said this,I can assure the following five discussions sound positively bizzare.They are purely experimental.Without constant experiments,we cannot go forward.

2) Tomba ki lairik si.

Here,I would take the plausible message as--this might be Tomba's book(not certain about it).The reason is that 'Sa' stands for middle ground.Not announcing one's position in an explicit manner.

3) Tomba ki lairik mi.

These group of books belong to Tomba.It's because 'M' indicates group.

4) Tomba ki lairik li.

These vast numbers of books belong to Tomba.The reason for getting this message is that 'Li' denotes expanse,which again,is taken to mean vast numbers.

5) Tomba ki lairik hi.

This is Tomba's most valuable book.Please remember 'hi-yai'!

6) Tomba ki lairik fi.

These two books belong to Tomba.As was discussed in my next to last post,'Fi' carries the meaning two or twice.We should quickly fold up this discussion!!

Mirror image and exaggerated state.

 Following the footsteps of our ancient word,'Atiya',I propose that we use the newly-created word 'Afiya' to denote the term 'Arts'.

The first thing we conjure up hearing the word 'Atiya' is the ancient incantation 'Atiya Kulu Sitapa'.

On further examination it turns out that the two words,'Kulu' and 'Sitapa',mean the same thing.The first one is said from an affirmation axis and,the other,from the negative one.

Figuratively,we put the word,'Kulu' on the x-axis and 'Sitapa',on the -x-axis.(Of course,'Kulu' is more elegant).

Right in the middle of the two,the term 'Atiya' is left alone, unsaid!

It is as if it is on a widely public exhibition,inviting everyone-'Come,unveil me,if you can!'.

By now,we can deduce that the ones which are left unsaid in our language has the most significance and value.

In my monograph,interpreting 'Atiya' proved to be the most arduous and difficult.I did that by using a diagram.I did everything but every time,I failed.Then,one fine morning,on an impulse,I tried a mirror image of the diagram I was working with.(Yes,I do have a plain mirror and chalks on my table to produce mirror images of stock charts).The mirror image explains everything--it was such a huge relief.

The essence of 'Atiya' is mirror image.

The interpretation of 'Atiya' need three different diagrams and three  pages of words.The journey itself was exceptionally exciting.I do not  want to  kill off that feeling of excitement for every one and,together with the lack of space here,I will jump to the final deduction of mine.(This is another way of saying--'Please stay tuned for my monograph!).

On further examination,I find out that 'Atiya' represents mirror image and the prefix 'A' can also mean metaphysical,exaggerated state.It can make a word to carry a negative meaning  by situating there as a prefix. 

Now,let's come straight to our newly-created word,'Afiya'.

1) Here 'A' is an exaggerated state(and by imitating the word formation of 'Atiya',our 'Afiya' also carries the meaning of mirror image as well).

2) As was discussed in my last post,'Fi or Fee' is the existential stage of 'Fa'.

3) We also discussed 'Fa' on the same post.

4) 'Ya'

a) We are familiar with 'Ya' when we have the incantation in 'Lai Haraoba'--Ho ya ya ya ya.

b) But the most commonplace(and hence,escaping our attention) 'Yahouba'.It is getting up from bed,signifying morning.

c) Reading the above with 'Yachangba',it is clear that 'Ya' means the world as we see with our eyes.(The corollary here is that the night,when there is no light making our eyes,more or less,useless is not the part of 'Ya').

Here,we must not fail to note that the term 'Ya' exhibits strong similarity with the Sanskrit word,'Maya'.But when we begin interpreting the term 'Ya' from our root word,all the Sanskrit scholars of the whole world would feel embarrassed that they happen to be the guardians of the Vedas--murmuring that how our Vedas are so shallow compared to 'ya'(Well,well,this is another of my lame jokes,that nevertheless,hints to say again--'Please stay tuned for my monograph!),

So,we are trying to deploy a newly created word which is the mirror image of 'Fiya'--this mirror image also situates at its exaggerated state.

I fancy that I do take a baby step in the journey of trying to fully understand our language.There is a lot more works to be done.We should do that in a collaborative mode--deploying all the available mind power and creativity of all the stakeholders of this sector.

As soon as my monograph is published I will be ready to begin work in whatever position my society delegated to me.

I want to go there with an open mind.

So,it is necessary to talk about what is there in my mind upfront here.I want to proceed in the following steps:

1) Is our language a 'limited but intelligent ideogram'?

2) Deducting from (1),is our language  defined by a syntax which is pictorial,not grammatical?

3) Reading (1) and (2) together and looking ahead,should we try to 'limit' the 'ideogram' journey at the present stage and,from that point of time,try to devise a grammatical approach?

Reining in my stream of ideas to a desired target.

 Today is 'Day for conservation of Lakes'.

How the word,'Paat',comes to denote a lake sets me into a thinking spree.

We have so many words that are too difficult to decode.But that does not intimidate me.

Decoding such words,in course writing my monograph,actually brings me joyous moments.

How could not anybody feel joyous when he/she can find answers to such questions (listed below) in course of writing a monograph?

--Everybody is shouting from the rooftop that we have a 2000 years old history.But how can it be possible when we do not have even a name for our homeland?

--Again,everybody is glowing with super pride declaring that we have such a rich heritage of art and culture.But how can it possible when we  do not have proper words to denote arts and literature?

In the course of writing my monograph,I am successful in finding the answers to these questions.

As a corollary to this,I also think that I finally can put my fingers on what actually constitute the Meitei national character.

Reading between the lines,one can see that my intention is to hint that these stuff situate so near to us that it is difficult for us to find them.We have been looking at some distances for so long that thses stuff seems navigate themselves under the radar of our society.

Let's start with 'Literature'.

1) 'Lei' is tongue,which makes utterance intelligible to us.

2) 'Lei-e' is blood and flesh edition of 'Lei',that is,'word'.(I try applying the same set of rules to decode 'wahei'--it comes to mean 'anti-thesis'--I'm still trying to understand how we come to use a word meaning 'anti-thesis'  to denote the term 'word').

3) 'Lei-e-lik' is a sentence.

4) 'Lei-e-lik-mai' ('Lamai' might be a corrupted form of this) is a page.

5) Going further with our flow of deduction,'Lei-e-lik-mai-lik' should mean a book.

6) But 'Lailik' is book.

7) In several previous posts dealing with prophesies,we had discuused 'Lai' as to mean blood and flesh edition of 'La'.So,'Lai'denotes essence,substance or skillfulness in their sublimes states.So, in the context of 'Lailik',we can say that it is the 'lik' of those which are thoroughly peer-reviewed.

8) Then,the logical step is to come to 'Lairik epa'--to write a book.

9) In my monograph I actually need a diagram to fully interprete 'Epa'.Reproducing that portion here in this blog is not possible at the moment.So,I would come straight to that deduction of mine.

'Epa' means the process or activity of reining in the flow of ideas to a pre-determined or desired target.

9) we all know that 'Lailik' and 'Epa' are closely connected with literature but they are,in themselves, do not denote literature.

10) In my monograph,I make use of 'Fa'(in sync with 'Epa') to come a near a term capable in denoting literature.

11) 'Fa' is a root word suffused with sexual allegory.It means both vagina and clitoris at the same time.

The supreme beauty comes from its ability to represent both the organs at the same time.Because it enbles 'Fa' to denote both beginning and end at the same time.

In our context,we feel like entering a bubble where we can feel both the beginning of a story and climax of it itself,that too,in a fleeting moment.

To put it with a romantic twist,we start with love at first sight,trying to locate ourselves inside a mutually comfortable zone,getting to know one another,intimacy--this part is the start of a story.

Then,a lot of drama should intervene before coming to actual love making.Of seeking consent and predictably, not getting it.The heartburn.

To make the story short,can we take the pang of child birth as a supreme anti-climax?

Of course,we have the climax of everlasting beauty in bringing forth a new living being in this world.

12) The common usages are:'Fuba' comes from the allegory of the penetrative force of a love making--'Fee' is the existential exhibition of two threads in action--'Fungka' is the room where one stone is struck with another,bringing forth a spark and then, a fire.

!2) I'm trying to make sense of an 'Epa' suffused with all the shades of nuances of 'Fa'.

13) The actual term I propose is 'facha-e-pee',where 'Cha' is nutrient,energy or motion.(To make it more clear,I do it in this way--'Fa-cha-epa-e.I also want to note that in performing the above exercise I consistently try to banish my emotion and only follow the logical flow. By this,I mean to underline that I do not give any thought to the possible acceptance or rejection of my proposed term by our society--I just try to do my duty as the logical flow dictates it).