Published: 12:27 AM, 07 May 2026
Bengali Folklore’s Gemstone ‘Mohua’ Unveils the Translator’s Ambidextrous Attributes
Professor Dr. Mohit Ul Alam and his translated work Mohua. -AA
The Mymensingh Geetika are a compilation of folk narratives that were orally composed and transmitted among rural communities of eastern Bengal. These ballads were collected and edited in 1923 by Dinesh Chandra Sen, who published them under the title Mymensingh Geetika. Professor Dr. Mohit Ul Alam introduces his English translation of Mohua in the following words “Mohua is a 755-line balladic drama of unfulfilled love, originally meant to be sung. It is arguably one of the best songs that belongs to a tradition of oral culture that flourished in the northeastern region of Bengal from 10th or 11th century until the middle of the nineteenth century, before the advent of the Bengali Renaissance”. The Bengali version of Mohua which Mohit Ul Alam translated into artistic English language was, according to the translator, written by Dvija Kanai during the early 17th century. Mohit Ul Alam named the Bengali title of the ballad like this “The Mohua Pala: An Old Folk Drama”.
Mohua is considered one of the finest examples of Bengali folk literature. It typically revolves around themes of love, sacrifice, social conflict and human emotions. Many of the stories like Mohua are centered on strong female protagonists, reflecting a unique narrative tradition where women play central roles in shaping the plot. Composed between the 16th and 18th centuries, the ballads capture the social realities of pre-modern Bengal, including class divisions, religious influences and community life.
Among the ballads, Mohua (also known as Mohua Sundori) stands out as a tragic love story. It was composed by the poet Dvija Kanai and remains one of the most emotionally powerful narratives in the collection. The first few lines from the Song 1 of Mohit Ul Alam’s Mohua can be cited here. The Song 1 is titled Humra, the Gypsy Leader.
“Northward is the Garo Hills, six months to go
Further north, the Mountain Himalayas stand in a row
Further north on the edge, what one sees
A vast area of water is the Seven Seas.”
The above lines have striking similarities with ancient Greek poet Homer’s Iliad. Let’s take a look at the following extract from Homer.
“Achilles’ wrath, to Greece the direful spring
Of woes unnumbered, heavenly goddess, sing!
That wrath which hurled to Pluto’s gloomy reign
The souls of mighty chiefs untimely slain.”
The couplets and the diction in Mohua and Iliad look very much identical and analogous if the above two excerpts are closely perused. Both Iliad and Mohua are classical poems and have stood the test of time. Mohit Ul Alam’s masterfulness as a translator has won the challenge of being an archetype because as far as I know this is the first poetic translation of Mohua. The earlier translated versions of Mohua were written in the form of prose works reportedly. Thus Mohit Ul Alam has added a dimension of novelty to the classicism and imperishability of Mohua.
The storyline of the poem begins with a dramatic event: a baby girl is abducted by a leader of a nomadic Bede (snake-charmer) community named Humra. The child, originally born into a Brahmin family, is raised among the Bedes and grows into a beautiful and talented young woman named Mohua.
As Mohua matures, she becomes skilled in dance and acrobatics, reflecting the cultural practices of her adopted community. During one of their travels, the Bede group arrives at a village where Mohua meets Nader Chand, the son of a wealthy landlord. Their encounter quickly blossoms into a deep and passionate love.
However, their love faces strong opposition. The Bede community refuses to accept a marriage between Mohua and someone outside their group. This conflict between personal love and social norms becomes the central tension of the story.
Ultimately, the narrative takes a tragic turn. Unable to reconcile their love with societal restrictions, Mohua sacrifices her life, and Nader Chand also meets a tragic fate. Their deaths symbolize the destructive power of rigid social boundaries and the intensity of forbidden love.
The region of Mymensingh has long been known for its vibrant cultural heritage. Its geographical setting—rich in rivers, fertile land, and diverse communities—contributed to the flourishing of folk traditions.
In ancient Bengal, storytelling was an important form of entertainment and education. Ballads like Mohua were performed by local singers and storytellers, often accompanied by musical instruments. These performances were not just artistic expressions but also a means of preserving history, values, and collective memory.
The ballads also reflect a blend of Hindu and Muslim cultural influences, evident in language, themes, and characters. This syncretic nature is a hallmark of Bengali folk literature. Despite its ancient origins, the story of Mohua continues to resonate with modern audiences. It has been adapted into plays, dance-dramas, and theatrical performances in Bangladesh and beyond. Mohit Ul Alam’s English translation of Mohua comes on equal terms with literary masterpieces like Kahlil Gibran’s The Broken Wings, Emily Bronte’s Wuthering Heights and Leo Tolstoy’s Anna Karenina.
Modern interpretations often emphasize the universal aspects of the story—love, identity, and resistance against societal constraints. The enduring popularity of Mohua demonstrates the timeless appeal of folk narratives and their ability to connect with different generations. To quote another few lines from Song 9:
“I am leaving this house with my father and mother
But wish you and I lived in a far country from each other.
My dear, this must be the last meeting between us
How will I endure my days by without you thus?
Mohua kills herself at the closure of the poem while Naddyer Chand was murdered by a gang of snake-charmers. The ballad of Mohua is more than just a tragic love story; it is a window into the cultural and social life of ancient Bengal. As part of the Mymensingh Geetika, it represents a rich tradition of oral literature that continues to influence Bengali culture today.
Mohit Ul Alam has taught English language and literature for more than four decades in University of Chittagong, University of Liberal Arts Bangladesh (ULAB), Jatiya Kobi Kazi Nazrul Islam University and currently he is working for Premier University, Chittagong. His superb knack for writing ambidextrously in both Bengali and English languages is without doubts a venerable quality.
Mahfuz Ul Hasib Chowdhury is a
contributor to different English
newspapers and magazines.
