ARROTFAT A RITUAL FOR PREVENTION OF ACCIDENTS

http://www.youtube.com/watch?v=Yl6q4PtUz2Y

"Sakyoo Rum Fât" thanks giving ceremony , prayers and offerings after harvesting

Nye Mâyel Kyong, a Paradise on Earth

In accordance to the Lepcha mythology, there is a Lepcha-village in the Sikkim Himalayas called ‘Nye Mâyel Kyong’. The Lepcha meaning of Nye Mâyel Kyong is as follows: Nye - holy; Mâ - hidden; yel - eternal, immortal and Kyong - village; meaning a hidden village that is holy and eternal, a paradise on Earth.

There lived seven Lepcha couples in this village. They lived in seven traditional Lepcha houses (Kâden Mo Lee). They wore the traditional Lepcha dresses made of nettle plant threads and hats made of bamboo and cane splits. They were immortal. In the morning they became children, at midday they became youths and in the evening old men and women. It is said that once the road to this holy, hidden village was open but is now closed forever. In Nye Mâyel Kyong, crops grew many times bigger than elsewhere and it is from that place that all the seeds of present crops originated. The migratory birds called ‘Mâyel-Fo’ (cuckoo) are sent out by these seven immortal couples to indicate the seasons and the actual time for commencing various agricultural works.

The village is so mysteriously hidden and barred that no one can go there. If by accident, any one reaches there, as soon as he/she leaves the village, the path and the village disappears and to try to reach the village for a second time is futile. About this a Lepcha story runs that once a Lepcha hunter went tracking a wild boar. He tracked on and on and felt that he was always getting closer to the boar. Days and nights passed but he could not reach or catch it. In the night he sheltered in the caves and again in the morning followed the boar. He lost his way so badly that he could not go back, so he thought it would be better to follow the boar. After several days he came to a village where the boar had come and disappeared underneath a house. He marvelled that he had been running behind a tamed pig all this time. He put the arrow back in its quiver and went inside the house to ask shelter for the night as the sun was setting by that time. He found an old couple inside the house and they enquired of him how he had managed to find their house. He told them about the boar and his tracking etc. The old man said to him, “You have done well because it was our tamed pig and sometime it goes astray. You can stay for the night.” They prepared food and Chi for him and a straw bed.

Next morning when he woke, the Lepcha hunter could not find the old couple; when he entered the next room in search of them, to his surprise, he saw and found two small babies lying down on the bed, kicking their two feet and smiling at him. At midday, they turned into beautiful young couple and prepared food, Chi and fed him well. The young couple took the hunter around their village and introduced him to the remaining immortal couples. Nye Mâyel Kyong, he found, was incredibly beautiful and emancipated from hunger, desire, greed or sin. It was a land of eternal beauty, peace and prosperity, a heaven on earth. They also gave him different types of grains, fruits, and vegetables seeds to take home and distribute among the Lepchas.

The couple showed him a staircase to go down and told him that he would find his way at the bottom of the staircase. The Lepcha hunter went down to the ground and turned back to see the staircase and the house that he had came from just a moment ago, but to his surprise, the staircase had disappeared from sight and he could not make out the house where he had stayed. He found himself in the middle of a jungle close to where he had first started the tracking of the boar.

Thus the Lepcha hunter came back to his own house and narrated this story to the Lepchas. It is believed that the hunter was no other than Thikoong Men Salaong, a famous Boongthing, wizard, and above all the great Lepcha literateur.

The Lepchas observe ‘Sakyoo Rum Fât’ each year after harvesting. It is a thanks giving ceremony and prayers and offerings to those seven immortal Lepcha couples of ‘Nye Mâyel Kyong’ who gave them cereals, fruits, vegetables seed to plant in Mayel Lyang. It is also predicted that these seven immortal Lepcha couples of Nye Mayel Kyong will come to the Lepchas’ rescue and save them from a major natural or man made catastrophic disaster in this part of the world in the future.

Lepcha Gallery

‘NAAMTHO-NAAMTHAAR’, THE LEPCHA MANUSCRIPTS

The Lepcha manuscripts are called ‘Naamtho-Naamthaar’ in Lepcha. Here ‘Naam’ means a year and ‘tho’ means registration of records. ‘Aakep’, a companion word in Lepcha, is often used in the Lepcha language to beautify their expression; therefore, the word, ‘Naamthaar’, is derived from two syllabic sounds, ‘Naam’, again, meaning a year and ‘thaar’ means to cut a bamboo cylinder or wood slantingly, to sharpen and beautify it. Metaphorically, ‘Naamtho-Naamthaar’ can be defined as a record and refined literary tradition of the Lepchas. Some of the ‘Naamtho-Naamthar’ are holy to the Lepchas.

Most scholars and linguists who have done some research work on the Lepcha manuscripts, ‘Naamtho-Naamthaar’, harp the same tune that ‘Naamtho-Naamthaar’ are but translation work from the Tibetan Buddhist text books into Lepcha. Yes, there are many Tibetan Buddhist text books which are translated into Lepcha but we must also know and understand that there are also ‘Naamtho Naamthaar’, Lepcha manuscripts, that are purely based on the Lepcha subjects, topics and issues. These kind of Lepcha manuscripts are mainly found in Damsang Lyang i. e today’s Kalimpong Sub-Division, West Bengal. Lieutenant General G.B. Mainwaring has very aptly remarked that the Lepcha manuscripts existed before the arrival of the Tibetans into the Lepcha land and the Tibetans collected and destroyed the manuscript books of the Lepchas; and translated into Lepcha parts of their own mythological works, in his famous book, A Grammar of the Rong (Lepcha) Language, as it exits in the Dorjeling and Sikkim Hills, Calcutta, 1876.

The Lepcha manuscripts, Naamtho-Naamthaar, can be divided into two main categories and they are:

1. Lepcha manuscripts purely based on the original Lepcha subjects, topics and issues.

2. Lepcha manuscripts purely based on the translation work from Tibetan Buddhist text books into Lepcha.

1. LEPCHA MANUSCRIPTS PURELY BASED ON THE ORIGINAL LEPCHA SUBJECTS, TOPICS AND ISSUES.

The Lepchas firmly believe that it was Men Salong, a Lepcha scholar, adventurer and ‘Boongthing’, a great Lepcha priest, who invented the Lepcha alphabets and scripts and compiled the ‘Lazaong’. What is Lazaong? Lazaong, literally, means a syllabic scheme. ‘Lazaong’ is strictly based on the fundamental principles of the traditional Lepcha language structure and not based upon the Latin Grammar as is the case with numerous other languages of the world. It can also be described as the ‘Power of Words’.

‘Lazaong’ has the following features and characteristics:

a) It is the Lepcha alphabetical primer.

b) It is a book of syllabic scheme of forming mono-syllabic words; a work book having each syllable pronounced with distinct and correct stress, sound, tune, voice and uniformity. It is a book of ‘tongue twister’ also.

c) It is a Lepcha primer of phonetics pertaining to speech sound and their production and phonetic spelling of words.

d) It is a book of Lepcha glossary, lexicons and a list of words in alphabetical order.

e) ‘Lazaong’ is a book of Lepchas’ weapon of speech; it gives fluency, force and rhythm in Lepcha speech.

From the letter ‘K’ alone, the Lepchas produce 540 (five hundred and forty) different sounds and words which can be perfectly used in sentences to express one’s thoughts. If we carry on with other Consonants, Conjunct Consonants, Vowels, Diacritic marks, signs and symbols, it will give us 6,660 (Six thousand six hundred and sixty) words from this ‘Lazaong’ alone and which can be used in the Lepcha language. ‘Lazaong’ is very systematic, scientific and exhaustive.

‘Lazaong’ is the most wonderful, invaluable, unique and rare, ‘Naamtho-Naamthaar’ of the Lepchas. To master the Lepcha language and literature, ‘Lazaong’ is a must.

‘Lazaong’ is found both in the manuscript and printed forms today. The Lepcha children study ‘Lazaong’ in their Lepcha Night Schools and homes in the remote Lepcha villages in the Darjeeling Hills. ‘Lazaong’ is a compulsory elementary book for them.

Another original Lepcha manuscript which may be of some interest to you is called ‘Nyung Yung Mun’ or ‘Nyolik Nyoosong Mun’. It deals with the origin of Lepcha ‘Mun’, priestess, and the origin of ‘Chi’, Lepcha fermented beer.

Another diverse subject is ‘Kyon Chhyo’ which deals with Lepcha astrology.

Mother Nature. The Indigenous Lepchas are basically nature lovers and worshippers, therefore, they are in possession of the following books:

a) Chu Rum Faat - Prayers and offerings to Kingtsoomzaongboo i.e. Mt. Kanchanjanga, their Guardian Deity and other important mountains found in the Sikkim Himalayas.

b) Lyang Rum Faat - Prayers and offerings to mother earth and soil.

c) Tungrong Hlo Rum Faat - Prayers and offerings to Mt. Tungrong now known as Mt. Tendong.

d) Sakyoo Rum Faat - Prayers and offerings to ‘Mayel Kyong’ and the seven immortal Lepcha couples who live in this paradise. It is also a thanks giving ceremony and a cultural festival on prosperity.

e) Muk Zek Ding Rum Faat - Prayers and offerings to Mother Nature. It deals with ecology, environment and surroundings. It also speaks about fishes, reptiles, insects, bees and birds, trees, bushes, shrubs, wild edible vegetables, flowers, fruits and roots etc. that are found in Mayel Lyang.

f) Tungbong Faat - It deals with birth, naming and weaning ceremonies.

g) Nyoo Thing Laom Fron - It deals with burial and death ceremonies.

There are other Lepcha manuscripts based on Lepcha subjects and topics which it is not possible for me to include in this short article.

2. TRANSLATION WORK FROM TIBETAN BUDDHIST TEXT BOOKS INTO LEPCHA

To attract the simple Lepchas and convert them into Lamaism, the Tibetan Buddhist text books were translated into Lepcha in the 17th Century. These Lepcha manuscripts are to be found in the Van Manen Collection, Kern Institute of Leiden University, Neitherland, in hundreds, some are kept in Vienna Museum, School of Oriental and African Studies, London, British Library, Namgyal Institute of Tibetology, Sikkim, and other lesser known institutions.

Largest number of these Lepcha manuscripts are in possession with the Lepcha traditionalists in the Darjeeling Hills, West Bengal. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, on request from the National Mission for Manuscripts, Ministry of Culture, Government of India, collected and catalogued 227 (two hundred and twenty seven) Lepcha manuscripts from the vicinity of Kalimpong town alone and sent the data sheet on 31 May 2007 to the National Mission for manuscripts. Both categories of Lepcha manuscripts were included in these data sheet.

Characteristics of the Lepcha Manuscripts:

i) Names of the original writers, authors or translators and dates are absent in the old and ancient Naamtho-Naamthaar.

ii) These Lepcha manuscripts have been copied and recopied generation after generation. The names of copiers and dates are also absent in the old Lepcha manuscripts. Did you know that there existed professional copy writers of the Lepcha manuscripts?

iii) Since the end of 19th Century, some of the professional copy writers, scribers of Naamtho-Naamthaar, have started giving and writing their names and dates and the names of the persons who hired, commissioned them to copy the books at the end of the manuscripts.

iv) Even in the 21st Century, the Lepcha traditionalists and enthusiasts continue to copy Naamtho-Naamthaar in the old fashion although we have the Lepcha font.

Some of the well known professional Lepcha manuscript copy writers found in the Kalimpong Sub-Division are:

a) Mr. Mansing Lepcha - Lower Byong

b) Mr. O.T. Namchu Lepcha - Mayel Kyong, Mani Gumba

c) Mr. Samden Lepcha - Prektaam

d) Mr. Sampoo Lepcha - Prektaam

e) Mr. Chhyodup Lepcha - Prektaam

f) Mr. Dup Shuzong Lepcha - Lower Bom

g) Mr. Kuten Lepcha - Lower Bom

h) Mr. L.T. Lepcha - Ngasey

i) Mr. P.T. Lepcha - Ngasey

v) The Lepcha manuscripts, Naamtho-Naamthaar, are not like pieces of artifacts lying unused at a corner of a museum. They are read, listened and used during various Lepcha ceremonies and functions from cradle to grave. Lepcha children, youths and old people, male and female, sit together, read together, listen together, discuss together on the merits of Naamtho-Naamthaar. There is no restriction and discrimination among the Lepcha men and women, boys and girls to read and study the Lepcha holy books. Today the Lepcha children are very much encouraged to read and study Naamtho-Naamthaar in their Lepcha Night Schools in remote Lepcha villages in the Darjeeling Hills, West Bengal. Naamtho-Naamthaar is the base of Lepcha literature.

‘Chhyo Naamtho-Naamthaar Aabong Sam Sa Saknyim’ meaning the Lepcha Manuscripts Study Day is observed on Chha Sam, Ra Lovo, (October 13) each year. On the day, Naamtho-Naamthaar are displayed on a decorated table or bamboo platform with flowers and fruits. The Lepchas, men and women, boys and girls, sitting together read, listen, and discuss on the Lepcha manuscripts with interest, respect and devotion. ‘Naamtho-Naamthaar; is alive and well in the Lepcha world.

vi) 99.9% of the old Lepcha manuscripts are in the possession of individual Lepcha traditionalists living in remote Lepcha villages especially in the Kalimpong Sub-Division, Sokhyam (Darjeeling Sub-Division), Seethong (Kurseong Sub-Division), West Bhutan and Illam in Nepal.

LEPCHA PRINTED BOOKS

St. Mathew’s Gospel was translated into Lepcha and published in 1845. This was the earliest printed book in Lepcha. Sadly, not a single copy of it can be found today in the world. The Baptist Mission Press, Calcutta, published ‘The Book of Genesis and part of Exodus’ in Lepcha in 1949 and it was printed by J. Thomas. This was the beginning of an era in Lepcha printed book production. Translation of the Bible from English to Lepcha was, once again, carried out to convert the simple Lepchas into Christianity.

Ecological Linguistics, Washington D.C., USA, to keep the record straight, pioneered the Lepcha font (computer), ironically, thinking that the Lepcha language was an extinct language; it was written and stated so in their manual to the Lepcha font. A copy of the Lepcha font was very kindly presented to the writer of this article, free of cost, by the Ecological Linguistics, Washington D.C., USA, in 1995. There were a couple of minor shortcomings in the Lepcha font which the Mani Printing Press, Kalimpong, with the help of Lepcha language experts were able to correct and rectify them.

Today, thanks to the Ecological Linguistics, Washington D.C., USA, Lepcha text books, magazines, prose, poetry, drama, novel, folklore etc. are being published using this Lepcha font in Kalimpong. ‘Naamtho-Naamthaar’ are also being published in the printed form using this font in Kalimpong for wider circulation and readership.

Some of the ‘Naamtho-Naamthaar’ were also translated from Lepcha to English by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, way back in early 1990s but these translated books in English still remain unpublished.

The Lepcha manuscripts, Naamtho-Naamthaar, in hundreds, were taken away and are lying unused in Europe and else where in the world. The die hard Lepcha traditionalists, today, guard their Naamtho-Naamthaar with zealously and are very reluctant to part with the information on their Lepcha manuscripts. They really feel insecure and fear that their ancient Lepcha holy books, Naamtho-Naamthaar, may be taken away from them and lost forever if shown to others. Access to the Lepcha manuscripts, Naamtho-Naamthaar, is not simple and easy in the Lepcha world today.

RHYHMIC TONES IN READING LEPCHA MANUSCRIPTS, NAAMTHAAR

‘NAAMTHO-NAAMTHAAR’

THE LEPCHA MANUSCRIPTS

One of the oldest and richest languages of world, the Lepcha language also boast of having seven different rhythmic tones and skills in reading Lepcha religious books. They are as follows:

1. POMIC-POTONG NYUMJYO:- As the name suggests Pomic-Potong Nyumjyo rhythmic tone in reading Lepcha religious book is derived from the sound of bamboos. In the morning and evening, when the wind blows, bamboos swing to and fro and rub each other, and as a result, a rhythmic sound, tone is produced. Imitating the sound, the Lepcha of the old introduced Pomic-Potong Nyumjyo in reading Lepcha religious books.

2. FODONG-NAZAONG NYUMJYO:- The Fodong-Nazaong Nyumjyo is the second rhythmic tone in reading Lepcha folklore, it is a lamentation of the first Lepcha primogenitors, Fodong Thing, the male, and Nazaong Nyoo, the female. This tone is sad, and melancholy. It draws the attention and minds of the Lepcha towards a peaceful path.

3. LAKOK-LANYEN NYUMJYO

4. KOYING-DUREN NYUMJYO

5. LAFO-LADONG NYUMJYO

These three different rhythmic reading tones are adopted from the chirping sounds of a male ‘Cicada’. There are no less than fifteen varieties of Cicada found in the Sikkim and Darjeeling Hills and have their own peculiar rhythmic tones. They start to chirp form the first week of March to the last week of December. These chirping tones were adopted by the Lepchas in reading books in Mayel Lyang.

6. NYULIK-MUNDONG NYUMJYO:- It is believed that this Nyulic-Mundong Nyumjyo was first given to the Lepcha priest and priestess by God Himself. This tone is peculiar and unique in the Lepcha world. Initially, it starts in a slow rhythm but as the reading progresses it gains such momentum that a reader begins to pant and gets exhausted at the end. This rhythmic tone is so attractive that it iscommands an immediate attention from the audience. Few knowledgeable Lepchas only know this admirable rhythmic tone in the Lepcha world.

7. SHIMVONMU UNG TUKSOT NYUMJYO:- This is the seventh and last rhythmic tone in reading Lepcha Books. It is taken, derived from the constant bubbling or running, flowing sounds of small rivulets, streams. This rhythmic tone is more or less known and used by all the Lepchas in reading books. Although the tone is not so attractive, it is easy to read and can be clearly understood by all.

Ren lapun

ipod

The Lepcha-English Encyclopaedic Dictionary

The Lepcha-English Encyclopaedic Dictionary
Second Edition


The indigenous Lepchas are constantly demanding for the introduction of Lepcha language in schools and colleges for their children as a subject in the Darjeeling Hills, West Bengal, for the last 60 (sixty) years or so but, unfortunately, the basic human rights to education in their own mother tongue enshrined in the Constitution of India have been denied to them even in the 21st Century. Undeterred, the indigenous Lepchas of Darjeeling Hills, West Bengal, have opened up 40 (forty) Lepcha Night Schools on their own and have prepared and published the necessary Lepcha text books from Primary to Higher Secondary Education levels for the Lepcha children in order to preserve and foster the very rich and ancient Lepcha language, literature and culture. We felt it necessary to update and bring out the second edition of ‘Lepcha- English Encyclopaedic Dictionary’, compiled and written by Aathing K. P. Tamsang, at this crucial juncture to show as a sign of our strength.

Additional Lepcha words connected with ‘Mun’ and ‘Boongthing’, Lepcha priestesses and priests, respectively and indigenous Lepcha herbal medicinal plants have been incorporated into the dictionary in the second edition. Some Lepcha words accidently left out in the first edition are now included in the second edition.

Ren Dup Shuzong Lepcha, Renue Marmit Lepcha, Miss Claire Innes, Miss Deirdre Westgeest, Miss Bridget May, Miss Catherine Mitchell and Mr. Alastair Couldrey all read drafts and offered many useful suggestions for improvement. The success of this monumental work owe a great deal to the people mentioned above and I am very grateful to them for their contributions.

Lyangsong Tamsang
Editor
Second Edition
Lepcha-English Encyclopaedic Dictionary

3 October 2009

GENERAL INTRODUCTION

Lepcha mythology says that the Lepcha language is the language of God, the language of Fodong Thing and Nazaong Nyoo, the first creation of God and the primogenitor of Lepcha race and therefore, it is the sweetest and oldest language of the world.

Lieutenant General G.B.Mainwaring, Bengal Staff Corps, the one and only westerner who thoroughly mastered the Lepcha language and, to this day, remains unsurpassed and supreme amongst foreigners on the Lepcha language and literature, in his Preface and Introduction and Remarks of ‘A Grammar of the Rong (Lepcha) Language’ in 1876 he wrote -

“Of the Lepcha language, I cannot speak too highly. The simple and primitive state in which the Lepchas lived is admirably shown by it. Their peaceful and gentle character is evinced by their numerous terms of tenderness and compassion, and by the fact that not one word of abuse exists in their language. Nevertheless, the language itself is most copious, abounding in synonyms and possessing words to express every slightest change, every varying shade of meaning, it admits of a flow and power of speech which is wonderful, and which renders it capable of giving expression to the highest degree of eloquence. The language also attests the astonishing knowledge possessed by the Lepchas. Of all the inconceivable diversity of trees with which the hills and dales are covered; of all the almost incalculable variety of plants and flowers with which the forests are filled; the Lepchas can tell you the names of all; they can distinguish at a glance the difference in the species of each genus of plants, which would require the skill of a practised botanist to perceive, and this information and nomenclature extends to beasts, to birds, to insects and to everything around them; animate or inanimate; without instructions, they seem to acquire their knowledge by institution alone.

It is impossible that a people with a language so comprehensive, with manners, though primitive, so superior, as to entitle them to rank high among civilised nations, could be engendered amidst the wild and vastness of the Himalayas. They retained, in so marked a degree, all the simple ways and habits of the partriarchs of old, as to lead to the conclusion, that they must have remained isolated ever since such customs were in vogue.

The Lepcha language is a monosyllabic and di-syllabic one and is unquestionably a very ancient language. It is preeminently an Ursprache, being probably, and I think, I may, without fear of mis-representation, state it to be, the oldest language in existence. It is a most comprehensive and beautiful one, and regarded alone, as a prolific source of derivations and etyma of words; it is invaluable to the philological world. It, however, recommends itself to us on higher grounds; it possesses and plainly evinces the principle and motive on which all language is constructed’.

The Lepcha language is formed in a syllabic manner, in which letters, vowels, finals, and circumflex signs are combined and arranged in alphabetical order, forming syllables and comprehending all the forms that words in the Lepcha language can take. It is called Lazaong, literally meaning syllabic scheme. Each Lepcha alphabet when joined with consonants, with vowels, with finals and circumflex signs affixed, will give 7180 monosyllabic words. Lepcha language is essentially a monosyllabic language, for though it has words of more than one syllable, these are words which are formed by compounds of two different words, or by the same words reduplicated or connected by an epentheses, or by certain prefixed or suffixed syllables common to many words; which may be abscindable or inabscindable, commutable or immutable, according to the nature of the words. By addition of these particles, the sense of the word may be completely altered, or may remain unchanged, may be slightly modified, or may be transmuted from verb to substantive or to adjective. Thus, if the order of the scheme be carried out to its full, with the syllable prefixed or suffixed to each word, it will give 5,32,800 di-syllabic words alone, all of which can be used and expressed in Lepcha language. Also there are hundreds of tri-syllabic words in the Lepcha language. And therefore it will not be an exaggeration to say that the Lepcha language is the richest language in the universe though spoken by over 100,000 Lepchas only.

In the structure of the Lepcha language, I have discovered the system on which, I considered, all language is based. By an exegesis which I have, in part, prepared, the root and true significance of all words in all languages, are, at once, rendered apparent.

Observe the Lepcha word MO, a particle of magnitude, with the Latin suffix word-super-mo, extre-mo, pri-mo, ulti-mo and also with the Saxon MO, as in more, most, etc. This MO is simply the basic M, with the vowel O affixed.

In Lepcha the letter M, forms a number of verbs-is, am, was; it means also, to pray, to create, to make, hence

Lepcha MO-AMO = mother

Hebrew AM = a mother

English AM = being

Anglo-Indian AMA = a nurse, esp. a wet nurse

Latin A-MO = love, makes

In Tibetan, M represents an indefinite article-a, an = being, matter hence mother.

Arabic MA = water, semen-hence a mother

Persian MA = we (beings)

Lepcha MO = a female sex

Chinese MO = mother

Saxon MODER = mother

Latin MATER = a womb, a mulicar, a genetrix- productive force flowing from MATER: the production source - Mother.

Dutch MOEDER = mother

German MUTTER = mother

Icelandic MODHIR = mother

Hindi MATA = mother

Sanskrit MATAR = mother

The word man is a compound of above creative M with the basic formative N, flowing with primitive force, hence MAN.

Chinese MIN = men simply signifies the creative being emphatically, above all other AM-MA = mother

It was formerly, like the Lepcha MARO applied to either sex, as HE-MEN, SHE-MEN, etc, so also WOMEN (root, Lepcha W = to be worthy, worth, primative)

Saxon WA = sorrow, we in sorrow shalt thou bring forth children.

Sanskrit W = weave

Saxon WEFAN = to weave, wif = a woman, a wife, a weaver.

so Lepcha WOMOO = a spindle, a spinning wheel-symbolised flow of life, and work of a woman.

Saxon WER = a man, the primitive flow of W is applied to the male.

The same word of MAN is seen flowing with primitive force in the:

Lepcha MAN = to want, to be minus, to be less, adverb-no, not

Sanskrit MA = no, not, none.

Hebrew MAN = to refuse, to deny

Arabic MAN = to forbid

Saxon MAN = sin, evil

Latin MAN = mal, malus, bad, wrongful

We have it again with primitive power in:

Sanskrit MAN = honour

In Latin we find MO as suffix to HO. HOMO signifying man.

In Chinesew HO is radical and implying a primitive flow:

Ho = to breathe forth

Ho = air

Ho = fire

Ho = sound

Ho = river

Ho = good

Ho = to unite

Ho = grain (the support of life)

Ho = blood (the flow of life)

So Arabic HO = He is (the being)

Hebrew HOA = he (the being)

Arabic HOA = the air (the spirit)

Hindi HOA = was (the being)

Take the examples of ‘H’ in the pronouns (the pronouns primitively, representing the first being)

Lepcha HO = thou, you (the being)

Lepcha HU = he

Saxon and English HE (the being)

Lepcha HUSA = of him, his

Saxon and English HIS (the being)

Inflection, Lepcha HUM = to him

Saxon and English HUM = him

Arabic HUM = of the persons

Sanskrit HUM = we

Saxon HWAM = whom

Lepcha A-YOU = you

Saxon EOW = you

English YE = you

Lepcha HU = he

Saxon HEO = they

Inflective Lepcha HUYUM = them

Saxon HEOM = them

Saxon HIRA = of them (relatively of being)

Comparatively, Saxon HEAH = high

HIERA = higher (appertaining to the beings the gods)

Latin HERES = the heir, the successor

German HERR = honorific for man

Saxon HERRA = a lord

Latin HEROS = a hero (emphatically a man, a being)

So we have Arabic MAI = implying extension

Sanskrit MAHA = great (high flow in life)

In the HO language, Ho means a man. In Lepcha Ho means you (a being, a man.)

In Lepcha word MARO is seen flowing with primitive force;

Hebrew MARA = erect (as man) , high, exalted

Chaldean MARA = a great man

Arabic MIR = a prince, a lord

English MODER = a mother

Latin MARIS = a lake

French MER = a sea (whence the waters, the spirits flow and return)

Hindi MERA = mine (the lords)

Compare also Lepcha MARO, with the Latin word MAS (of or belonging to the being) dropping the ‘R’ and resuming it again in the inflection MARIS, whence MARS, MARTIAL, etc. So also MOS, of appertaining to the way of man = death.

Persian MARA = man

MURDAH = Life flown = death

English MURDER

Note also Lepcha MARUM = The allotted period of life, likewise MARE an evil spirit of great malignity.

Sanskrit MAR = whose influence is fatal

Sanskrit MARU = a desert, without water = without spirit or life.

English MAR = to ruin, to deface

So also Lepcha M = negative, privative, not, without.

Tibetan M = not

Persian MUR = dead

Hebrew MUR = dead

Arabic MO = death, repose and

Lepcha MAK = dead

All these observations, comparisons and facts presented above alone justify publishing this new Lepcha-English Encyclopaedic Dictionary.

The Lepcha-English Encyclopaedic Dictionary is a record of Lepcha language prepared by me to meet the essential needs of the Lepcha reader, speaker and writer who want to know the meaning of a word, how to pronounce it, how to spell it, or some important facts of usage. The LEED is the current usage of the Lepcha language.

The LEED, however, differs from other similar dictionaries in many important particulars. Linguists have made significant advances in the study of language and psychologists have developed techniques of presenting facts which have been neglected by dictionaries prepared today on the same general principles they used one hundered years ago. In order to ensure that the LEED would be carefully planned in accordance with the current knowledge of Lepcha scholars in various fields of Lepcha language study, I secured the service of many Lepcha experts, representing the fields of general linguistics, usage, phonetics, pronunciation and definiton.

This LEED records the usage of the speakers and writers of the Lepcha language, no dictionary founded on the methods of modern scholarship can prescribe as to usage; it can only inform on the basis of facts of usage. A good dictionary is a guide to usage as a good map tells you of the nature of terrain over which you may want to travel. It is not the function of the dictionary-maker to tell you how to speak, any more than it is the function of the map-maker to move rivers and rearrange mountains or fill in lakes. A dictionary should tell you what is commonly accepted usage and wherein different classes of speakers or regions differ in their use of language. I have taken special plans to give accurate records of the distribution of usage so far as I can determine it.

As far as synonym studies, the Lepcha language abounds in synonyms, yet numerous words bear many various meanings, both simple and in combination with other words, effecting great play and power of speech.

For example, the word mDa giving some of its significations: mDa = to do, mDa = to effect, mDa = to suppose, mDa = to make a habit of; mDa = used as in subsatantive, for a thing or action; mDa = only; mDa = till, until; mDa = in addition to, including; mDa = as well as; mDa = sexual relations, intercourse.

All facts have been arranged in the easiest possible fashion for the user. All entries are in one alphabetical list; the reader will not have to look in half a dozen lists to find the entry. All inflected forms of verbs, nouns, etc,. in which the stem is changed in anyway by the addition of a suffix have been entered in this LEED. All definitions are completely explained and clarified. Central or common meanings are put first. I have tried to give the most significant facts, location, or significance of names about each person, thing, place having importance today.

No illustrations have been given as aids to the definitions. Also no pictures of common birds, flowers, fishes, butterflies, etc., have been given as that can be of value only when shown in colour or in magnified detail.

The original plan of the LEED, was drawn up by Mr. Lyangsong Tamsang and also he had the task of seeing the work through the press and to him I am deeply indebted.

It is impossible adequately to thank all who have helped in the co-operative project of writing the LEED, but I am especially grateful to Mr. D. T. Tamsang for his many helpful suggestions and criticisms at the early stages of the LEED preparation which have materially improved the LEED.

It is not possible to make more than a general acknowledgment of the help received from many quarters, but I would like to express particular thanks to the following for their help on specialised and technical matters: Miss J. Tamsang, Mr. Samdup Tshering Simick and Mr. Ongdup Lepcha.

I also owe thanks to the following contributors and advisors for their kind hard work : Mr. Dup Shuzong Tamsang and Chuling Lepcha.

It is my pleasant duty to say my sincere thanks to Mrs. Mayel Clymit Tamsang for her generous grant to make the publication of the LEED possible.

Finally, I would like to express my appreciation to Dr. Parasmani Pradhan and the staff of the Mani Printing Press, Kalimpong, in particular their Compositor, Mr. Pem Tshering Lepcha, for the great care they have bestowed in printing the LEED. It is hoped that the LEED will help to meet the long felt need of the Lepchas for this kind of work.

Bom, Kalimpong.

December 1980 K.P. Tamsang

AATHING K.P. TAMSANG

Aathing K.P. Tamsang, a distinguished Lepcha scholar and linguist, was born in Kalimpong on 19 January 1915 and was the son of Aathing Sando Tshering Tamsang, the Foundar-President of the Indigenous Lepcha Tribal Association, Headquarters Kalimpong. He was educated in S.U.M.I, Kalimpong. In the late 1940s he was selected as the General Secretary of the Indigenous Lepcha Tribal Association, and held the appointment until the early 1950s when he was selected to work in the Oriental and African Studies, the School of London, in the study of the Lepcha language and literature.

On his return from London, Aathing K.P. Tamsang resumed the appointment of the General Secretary of the Indigenous Lepcha Tribal Association, and devoted his time and energy to the development of the Lepcha language, literature and culture. The following books of his written in both Lepcha and English have been published:

1. A Grammar of the Lepcha Language (1978) (in Lepcha)
2. The Lepcha English Encyclopaedic Dictionary -1980 (First Edition)
3. Lazoang (1982) (a Lepcha syllabic scheme) (in Lepcha)
4. The Unknown and Untold Reality about the Lepchas-1983.
5. Lepcha Proverbs - 1996 (in Lepcha)
6. Lepcha Myths-1996 (in Lepcha)
7. Lepcha Folklore-1997 (in Lepcha)
8. Lepcha Proverbs with their English Equivalents -1998
9. Rong Taom Sung- 1999 (A Treasure of the Lepcha Moral Stories)(in Lepcha)
10. Pho-yu saa Chha-lyu aan Thaambik saa Sakdum - 1999 (Birds and Insects World)(in Lepcha)
11. Rong Sung- 2001 (Lepcha Folk Tales) (in Lepcha)
12. Glossary of Lepcha Medicinal Plants -2004 (Lepcha-English)

The following books of his remain to be published:

1. Trees, Shrubs and Large Climbers found in the Darjeeling District and Sikkim (Lepcha- English)

2. Letters to a Lepcha Son (in English)

Aathing K.P. Tamsang was elected the President of the Indigenous Lepcha Tribal Association, in early 1970s and worked and wrote for the cause of the Lepcha people of Maayel Lyaang until his death in Gangtok, Sikkim, on 23 September 1985.

For delivery of 'The Lepcha-English Encyclopaedic Dictionary' via Post.
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Lepcha songs in a book

Lapon Sonam Tshering Tamsang Lepcha, a Lepcha lyricist, composer, Lepcha folk singer, musician, dramatist of high repute and of national stature, has brought out his wonderful Lepcha songs in a book form. A widely travelled person in the Sikkim and Darjeeling Himalayan region, his songs depict the true Lepcha life from the cradle to grave and from Mount Kanchanjanga to Jolasyee, the present day Jalpaiguri. He being a nature worshipper and nature lover, naturally, his songs revolve round the golden and silver Himalayas, mountains, hills, valleys, lakes, rivers, flora and faona and amazing and unique Lepcha cultural heritage.

Lapon Sonam Tshering Tamsang Lepcha is well known for his ‘Apryaa Vam’, the Lepcha classical folk songs. There are certain fixed rules and regulations to be followed while singing an ‘Apryaa Vam’, therefore, it has been categorized under the Lepcha ‘Classical’ Folk Songs. He is, probably, the only Lepcha today who sings ‘Aamaak Apryaa Vam’, a song of death during a Lepcha death rituals.

He is very optimistic and prolific lyricist and writes and asks the world, ‘Who says the Lepchas are vanishing?’ in his song. He also sings of great Lepcha personalities and leaders like Fadaongthing, Nazaongnyoo, Tamsangthing, Thikong Mensolong, Thikoong Tek and Ngookoong Ngaal, Pano Gaeboo Achyok and Aathing K.P. Tamsang in his songs.

Lapon Sonam Tshering Tamsang Lepcha writes and sings on ‘Faokraam - Takraam’, the present day ‘Dzongu’, North

Sikkim, the sacred and holy Lepcha land in his songs.

You will find him encompassing all aspects of Lepcha socio-cultural life and through his songs he tells the world that the Lepchas are the one and only true master of Mayel Lyang.

Lapon Sonam Tshering Tamsang Lepcha’s songs are very popular in the Lepcha world. To hear Lepcha children and youth singing his haunting songs even in remote Lepcha villages is a very revealing experience to us all.

He is very popularly known among the Lepchas as ‘Lapon’ meaning the teacher in Lepcha. He has already been recognized by the Government of India for his outstanding work for the conservation preservation, maintenance and development of the very rich and ancient Lepcha cultural heritage, especially on the Lepcha folk songs and culture with the following awards:

a. Sangeet Natak Akademi Award -1996
b. Padmashree - 2006

I congratulate Lapon Sonam Tshering Tamsang Lepcha for his outstanding work and service for the preservation, maintenance and development of the Lepcha folk songs, dances, music and cultural heritage.

Aachuley!

Lyangsong Tamsang Lepcha
President
Indigenous Lepcha Tribal Association
Headquarters Kalimpong







About the Song Writer

Ren Sonam Tshering Lepcha was born on 3 January 1928 in Bom, Kalimpong. He is a living symbol of Lepcha culture. At the age of 18 years, he enlisted in the 10th Gurkha Rifles as a Rifleman in 1945 at Palampur but he could not enjoy the life of a soldier as his elder brother died in action in the World War II. He was compelled to shoulder the responsibilities of his family.
He felt that the innocent Lepchas were gradually forgetting their age-old culture, tradition, language and literature due to the onslaught of circumstances. He realized that a man without culture is like a man without backbone. An ambitious man like Lopan Sonam Tshering Lepcha then dedicated his life for the cause of Lepchas and its vanishing culture.
The then Chogyal of Sikkim, Sir Tashi Namgyal appointed him as an Organiser for the Lepcha Songs and Dances in 1954. On 14 October 1960, he became the first Lepcha Radio Artist and the first Lepcha song was broadcast by the All India Radio, Kalkota.
In order to popularize the Lepcha literature, the first monthly journal “ACHULEY” was brought out by him which was cyclostyled and circulated on 2 April 1967 and continued till 1969.
With the very strong recommendations of the Lepcha Association, Darjeeling, Sikkim Councillor Mr. Chhyodup Lepcha, all Head priests, Heads of villages of both Darjeeling District and Sikkim, his composition “Lepcha National Anthem” was presented to the Lepcha Community on 6th November 1967.
Subsequently, he presented the popular Lepcha Dance-drama “Teesta-Rongeet” based on the “Lepcha Folklore” on origin of two prominent rivers of Sikkim and Darjeeling Hills for the first time at Darjeeling on 28 December 1967. It was his masterpiece and achievement of his career.
The Winner of “Pantong Palit” (Lepcha Folk Flute) competition in 1956, Lopan for the first time introduced and played the unknown Lepcha musical instrument “Tambuk” and “Sutsaang” on 8 October, 1969 in the All India Programme, Darjeeling.
He compiled centuries old records and did research work for twelve long years in the Lepcha musical instruments and brought out the first Lepcha musical book, “The Lepchas and their indigenous musical instruments” in 1970 in Lepcha language. His selfless contribution made him popularly known as “Rong Lopan”- The Lepcha Master.
Lopan Sonam Tshering has written more than 500 songs and choreographed 102 folk dances and 10 dance dramas. And each song, dance and drama has a history of its own, revealing the versatility of the writer.
He is running his own private Lepcha Museum at Bom, Kalimpong.
The Department of Culture, Government of Sikkim presented him a Citation in recognition of his high standard of excellence and outstanding achievement in 1995.
He is the recipient of highest Lepcha honour “Nur Mayel Kohom” and “ Nur Mayel” awarded by the District Lepcha Association in 1973 and “G. B. Mainwaring Award” by the Sikkim Lepcha Youth Association in 1996 in honour of his selfless contribution towards promotion of the Lepcha language and culture.
In recognition of his high standards of excellence and outstanding achievements towards the preservation of age old Lepcha heritage, the State Government of Sikkim had very strongly recommended his name for the highest National Awards. Lapon Sonam Tshering Lepcha was awarded the Sangeet Natak Akademi on 18 December 1996 and Padma Shree Award on 5 April 2007. He received both prestigious National Awards from the President of India in New Delhi.
The following books of his remain to be published:
1.Vor oT Vsu (Lepcha History)
2. Vor pan pNuid Vsu (History of Lepcha Kings and Queens)
3. mNu VbU:T_Zssa AaiÜ^ Vsu (The Origin of Lepcha Priestesses and Priests)

For Query : Call up Phone No. 9800033650

For delivery of the Lepcha songs book "Vam Jat Ling Chhyo" via Post.
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LEPCHA CALANDER 2010

For dilivery of Lepcha Calander 2011 via Post. Please give your complete postal Address at e-mail : lepchaeducation@gmail.com
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Renu Tsheringmit Rongmit

Vibrant executive member of “Ronp-Ong-Prongzum” ,Renu Tsheringmit Rongmit left us to join her ancestors in Mt Kanchenjunga on the 06th March 2010, “Her loss can never be replaced” , we pray and believe that she has opened her “Lep” (Door) , found her “Da”(lake) ,her “Chu”(The mountain peak )and is resting on the lap of her ancestors.