Peacock Princess

Last updated
Peacock Princess
E Bing Yu Sang Luo 131316.jpg
A music play of Chao Sisouthone and Nang Manola.
Folk tale
NamePeacock Princess
Mythology Hinduism
Tai peoples
Region Southeast Asia
South China Craton
Origin Date Middle Ages
Published in1960
Related Manimekhala

The Peacock Princess or Chao Sisouthone and Nang Manola [1] is a Tai legend and directly related to agricultural culture. This story features in the folklore of Myanmar, Cambodia, [2] Thailand, Laos, Sri Lanka, northern Malaysia, Indonesia, Vietnam and China. [3] [4] [5] [6]

Contents

History

The tale originated within the people of the Dai ethnic group who worshiped peacocks. [7] [8] The Dai people worship peacocks as being messengers of peace, kindness, love and beauty. [9]

The Pannasjataka, Pali text written by a Buddhist monk/sage in Chiangmai around AD 1450-1470, also told the story of Sudhana and Manohara from ancient India. [10] There are also many similar versions told in China (where it is known as Chinese :悅意; pinyin :Yuèyì), Japan, Korea, and Vietnam, including the Chinese story of the Princess and the Cowherd. In these stories, seven women who can fly descended to earth to take a bath, the youngest and prettiest of whom was captured by a human, and subsequently became a wife of a male human (either her captor or the prince-hero of the story). Later in the stories, the heroine put on some magical thing that enabled her to fly or transform into a bird, and flew away; prompting the quest by the hero in pursuit of his flying wife.

Plot

Typically referred to as Princess Manohara and Prince Sudhana (Khmer : ព្រះសុធននាងកែវមនោរាហ៍), [11] the legend appears in the Divyavadana and is documented by stone reliefs at Borobodur. [12]

Shows a fantasy story of a young prince who falls in love with the peacock princess and they marry. On their wedding night, the evil wizard puts a spell on the king and starts war. The young prince leaves for battle and while he is gone his princess is sentenced to death by the king. Before she is killed she takes on peacock form and escapes. When the prince returns he kills the evil wizard and releases the king from the spell, everyone lives happily ever after.

Manohara, the youngest of seven daughters of the Kinnara king, lives on Mount Kailash. One day, she travels to the human realm. She is caught by a hunter (using a magic noose in some versions) who gives her to Prince Sudhana. Son of King Adityavamsa and Queen Chandradevi, Sudhana is a renowned archer and heir to the Panchala kingdom. The prince falls in love with Manohara, and they get married.

Later, when the prince is away in battle, Manohara is accused by the royal counselor of bringing bad luck to the city and is threatened with death. She flies away, back to the Kinnara kingdom. She leaves behind a ring and the directions to reach the Kinnara kingdom so that Prince Sudhana can follow her.

Prince Sudhana returns to Panchala and follows her. From a hermit, he learns the language of animals to locate the Kinnara kingdom, and the necessary prayers to win back the princess. The journey takes seven years, seven months, and seven days. Along the way, Sudhana confronts a Yaksha (ogre), a river of flames, and a gigantic tree. After the long and arduous ordeal, he meets the Kimnara king who asks the prince to prove his sincerity with various tests assessing strength, perseverance, and wit. In the first test, Sudhana is made to lift a stone bench in the garden. The second task tested his skill with the bow and arrow. The final test is to identify which of seven identical women is Manohara, who he recognizes by the ring on her finger. Satisfied, the Kinnara king consents to their marriage and the couple returns to Panchala.

Ngày xưa, ở nước Lào có một hoàng tử tên là Phonnavong, rất đẹp trai, tài giỏi và có đạo đức. Vua và hoàng hậu rất yêu quý.
Em là Kinnari, con gái út vua nước Champa  ; Còn tôi là Phonnavong con trai vua nước Lào. Gặp nhau đây âu cũng là duyên trời, tôi muốn cùng nàng kết nghĩa vợ chồng. Chẳng hay nàng có vui lòng không ?
Ở nước Champa có tục lệ ai bị xử tội chết đều được mặc áo lông công múa hát chúc phúc cho mọi người ở lại. Xin phụ vương ban ơn cho con được theo tục lệ đó.
Hôm bước lên giàn thiêu, Kinnari mặc áo lông công lộng lẫy múa điệu Lào Phên chúc phúc cho mọi người và nói lên nỗi oan ức của mình. Điệu múa uyển chuyển và giọng hát du dương làm cho người xem ai cũng mê say và xúc động. Bất thình lình, thuận đà, nàng vỗ cánh vút lên cao, nhắm hướng nước Champa bay thẳng.

— Stories for the Grade 3rd, [13] Education publishing, Hanoi, 1995

Etymology

Figures India Kampouchea Laos Siam China Korea Annam
Peacock PrincessManoharaNeang Kev Monorea
នាងកែវមនោរាហ៍		Nang ManolaMani Mekkhala
มณีเมขลา		Nán Mùchuònà
喃穆婼娜		Arang
아랑		Nhồi Hoa
The PrinceSudhanaPreah Sothun
ព្រះសុធន		Chao Sisouthone ?Zhào Shùtún
召樹屯		Mudal
무달		 Lê Tư Thành
The Hunter Halaka  ? ? ?Yánkǎn
岩坎		 ?Tiều phu
The Wizard Brahmin
ब्राह्मण		 Brahmin
ព្រាហ្មណ៍		 Brahmin Brahmin
พราหมณ์		Yayan the Wizard
羅門巫師		 ? Tể tướng
Water God Nagaraja
नागराज		Reachnahka
ណាហ្គារាជ		 ?Rajanaga
ราชานาค		 Lóngwáng
龍王		Yongwang
용왕		 Hà bá
Seven kinnari princesses Kinnaur
किन्नर		Kenorei
កិន្នរី		 ?Kinrī
กินรี		 Xiānnǚ
小仙女		Seonyeo
선여		Tiên nữ
The KingAdityavamsaAtichakvong ? ? ? ? ?
The QueenChandradeviChantea Devi ? ? ? ? ?
Sites India Kampouchea Laos Siam China Korea Annam
Earth Pañcāla
पञ्चाल		Oudor BangchalMɯ́ang BangchalMɯ̄ang BangchalMěng Bǎnzhā
勐板扎		The village An Nam
Central Plains Ocean Lake River RiverHeavenly lake
天池		 Heavenly lake
천지		River
Heaven Mount Kailash
कैलास		 Phnom Preah Someru
ភ្នំព្រះសុមេរុ		 Champa Mount MeruHeavenly kingdom
天國		 Enchanted mountain
금강산		 Champa

Culture

Adaptations

The tale of Manora was adapted as play in Burma (Myanmar), where the character was known as Mananhurry, one of the nine royal daughters that live in a silver mountain, located after "a belt of prickly cane", "a stream of liquid copper" and a "Beloo". Her future husband, Prince Sudhana, was translated as "Thoodanoo", the Prince of Pyentsa. [14] In this version, the princesses fly by the use of an enchanted girdle, and the Manohara-like maiden is captured by a magical slipknot. [15]

The characters of the tale are also known in Southeast Asia as Kev Monorea and Preah Sothun. [16]

The tale was also found in the Sanskrit Buddhist literature of Nepal, with the name Story of Suchandrima and a Kinnarí, where the main couple were named Mahonará and Sudhanusha. [17] In another version from Nepal, Kinnarí Avadána, hunter Utpala captures a Kinnari (unnamed in the tale) with a magical noose. Prince Sudhana of Hastiná arrives with his hunting excursion and falls in love with the Kinnari. [18]

Another translation named the prince as Sudhanu and the kinnari as Manohara, daughter of King Druma. [19]

Legacy

Legend of Chao Sisouthone and Nang Manola at Vat That Luang, Luang Prabang. Legend of King Thao Sithoanh and Nang Manola at Vat That Luang Prabang Laos.jpg
Legend of Chao Sisouthone and Nang Manola at Vat That Luang, Luang Prabang.

According to James R. Brandon, the story of Princess Manohara and Prince Sudhana is a popular theme in Southeast Asian theatre. [20] It may have inspired the Manora [21] type of drama dancing, performed in Thailand and Malaysia. [22]

The Mayilattam (மயிலாட்டம்) is an artistic and religious form of dance performed in the Hindu temples of Tamil Nadu and Kerala [23] in reverence to Lord Subrahmanya. Mayilattam performers wear costumes from head to toe like peacock with beak, that can be opened and closed using a thread, and perform specific dances. The performers dance on a tall piece of wood attached at the end of their feet. This art requires extensive training and practise. This dance is performed in all Murugan (Lord Subrahmanya) temples as a tradition during festivals. But due to the difficulties in practise and less amount of wages for the dancers, the number of Mayilattam performers is decreasing. [24] [25]

The peacock dance or peafowl dance is a traditional Asian folk dance that describes the beauty and the movement of peacocks. There are several peacock dance traditions developed in Asia, among others are peacock dances of Myanmar, and in the western and northern parts of Cambodia, West Java in Indonesia, also peacock dances of Indian subcontinent in Southern India, Sri Lanka, and Bangladesh. In Indonesia it is known as the peafowl dance (Merak dance or Tari Merak) and originated in West Java. It is performed by female dancers inspired by the movements of a peacock and its feathers blended with the classical movements of Sundanese dance. its one of new creation dance composed by Sundanese artist and choreographer Raden Tjeje Soemantri around the 1950s. [26] This dance performed to welcoming honourable guest in a big event also occasionally performed in Sundanese wedding ceremony. This dance also one of Indonesian dance performed in many international events, such as in Perahara festivals in Sri Lanka.

Besides, Robam Moni Mekhala (Khmer : របាំមុនីមេខលា, also known as Robam Mekhala-Reamesor) is a Khmer classical dance that portrays the story of Moni Mekhala and Reamesor. It is part of the buong suong dance suite that is among the most sacred of Khmer classical dances, serving a ceremonial purpose to invoke rain upon the land. [27] In Thailand, the Mekkhala–Ramasun dance was performed as a boek rong ('prelude dance') introduction before main performances of lakhon nai or khon dances. [28] [29]

The legend was made into a Chinese film in 1963 and 1982 with the same title.

See also

References

  1. ↑ Diamond, Catherine (February 2005). "Red Lotus in the Twenty-First Century: Dilemmas in the Lao Performing Arts". New Theatre Quarterly. 21 (1): 34–51. doi:10.1017/S0266464X04000326. S2CID   191461101.
  2. ↑ Porée-Maspero, Eveline (1962). "III. Le cycle des douze animaux dans la vie des Cambodgiens". Bulletin de l'École française d'Extrême-Orient. 50 (2): 311–365. doi:10.3406/befeo.1962.1536.
  3. ↑ Jaini, Padmanabh S. (1966). "The Story of Sudhana and Manoharā: An Analysis of the Texts and the Borobudur Reliefs". Bulletin of the School of Oriental and African Studies, University of London. 29 (3): 533–558. doi:10.1017/S0041977X00073407. JSTOR   611473. S2CID   190756276.
  4. ↑ Jaini, Padmanabh S. (2001). Collected Papers on Buddhist Studies. Motilal Banarsidass. ISBN   978-81-208-1776-0.[ page needed ]
  5. ↑ "Sandakinduru Katava | Ceylonese dance-drama". Britannica.com. Retrieved 2017-04-16.
  6. ↑ Yousof, Ghulam-sarwar (1 January 1982). "Nora Chatri in Kedah: A Preliminary Report". Journal of the Malaysian Branch of the Royal Asiatic Society. 55 (1 (242)): 53–61. JSTOR   41492911.
  7. ↑ Yuan, Haiwang (2008). Princess Peacock : tales from the other peoples of China. Westport, Conn.: Libraries Unlimited. ISBN   978-1-59158-416-2.
  8. ↑ Wilcox, Emily (23 October 2018). Revolutionary Bodies: Chinese Dance and the Socialist Legacy. Univ of California Press. ISBN   978-0-520-30057-6.
  9. ↑ Chinese Clothing. Cambridge University Press. 3 March 2011. ISBN   978-0-521-18689-6.
  10. ↑ Terrai, G. (1956). "VI. Samuddaghosajâtaka. Conte pâli tiré du Pannâsajataka". Bulletin de l'École française d'Extrême-Orient. 48 (1): 249–351. doi:10.3406/befeo.1956.1291.
  11. ↑ Schiefner, Anton; Ralston, William Shedden. Tibetan tales, derived from Indian sources. London, K. Paul, Trench, Trübner & co. ltd. 1906. pp. xlviii-l and 44-74.
  12. ↑ "The Story of Prince Sudhana and Manohara". 5 February 2003. Archived from the original on 5 February 2003.{{cite web}}: CS1 maint: bot: original URL status unknown (link)
  13. ↑ Legend of Laotian peacock dance
  14. ↑ Smith, J. (1839). "Specimen of the Burmese Drama". Journal of the Asiatic Society of Bengal. 8 (91): 535–551.
  15. ↑ Hartland, E. Sidney (1888). "The Physicians of Myddfai". The Archaeological Review. 1 (1): 24–32. JSTOR   24707779.
  16. ↑ Porée-Maspero, Eveline. Étude sur les rites agraires des Cambodgiens. Tome I. École Pratique de Hautes Studes - Paris. Paris: Mouton & Co./La Haye. 1962. pp. 657-658.
  17. ↑ Mitra, Rājendralāla, Raja; Asiatic Society. The Sanskrit Buddhist literature of Nepal. Calcutta: Asiatic Society of Bengal. 1882. pp. 129-131.
  18. ↑ Mitra, Rājendralāla, Raja; Asiatic Society. The Sanskrit Buddhist literature of Nepal. Calcutta: Asiatic Society of Bengal. 1882. pp. 62-63.
  19. ↑ The Mahavastu. Volume II. Translated from the Buddhist Sanskrit by J. J. Jones. London: Luzac and Company LTD. 1952. pp. 91-111.
  20. ↑ Brandon, James R. Theatre in Southeast Asia. Cambridge, Mass., Harvard University Press, 1974 [1967]. pp. 23-24. ISBN   0-674-87587-7.
  21. ↑ Plowright, Poh Sim (November 1998). "The Art of Manora: an Ancient Tale of Feminine Power Preserved in South-East Asian Theatre". New Theatre Quarterly. 14 (56): 373–394. doi:10.1017/S0266464X00012458.
  22. ↑ Sooi-Beng, Tan (1988). "The Thai 'Menora' in Malaysia: Adapting to the Penang Chinese Community". Asian Folklore Studies. 47 (1): 19–34. doi:10.2307/1178249. JSTOR   1178249.
  23. ↑ "Tamil Folk Dances".
  24. ↑ http://www.tamilnadu.ind.in/
  25. ↑ "Archived copy". Archived from the original on 2015-08-14. Retrieved 2015-06-29.{{cite web}}: CS1 maint: archived copy as title (link)
  26. ↑ "Sejarah Tari Merak Jawa Barat Beserta Ciri Khas dan Gerakannya". 16 November 2020.
  27. ↑ Cravath, Paul. Asian Theatre Journal, Vol. 3, No. 2 (Autumn, 1986), pp. 179-203 (The Ritual Origins of the Classical Dance Drama of Cambodia) University of Hawai'i Press
  28. ↑ "เรียนรู้เรื่องรำไทย ระบำชุด เมขลารามสูร". natasinsamphan.com (in Thai). Retrieved 15 March 2020.
  29. ↑ Prasert Sontipong (2002). กระบวนท่ารำของรามสูรในการแสดงเบิกโรงละครใน[Ramasura dance patterns in lakon nai dance prelude] (master's thesis). Chulalongkorn University. ISBN   974-17-2465-9.

Further reading

Bibliography

Cites

  • Bailey, H. W. (1966). "The Sudhana Poem of Ṛddhiprabhāva". Bulletin of the School of Oriental and African Studies, University of London. 29 (3): 506–532. doi:10.1017/S0041977X00073390. JSTOR   611472. S2CID   170831109.
  • De Chiar, Matteo (2013). "The Two Recensions of the Khotanese Sudhanāvadāna". Multilingualism and History of Knowledge: Vol. I: Buddhism among the Iranian Peoples of Central Asia. Austrian Academy of Sciences Press. pp. 71–102. doi:10.2307/j.ctt1vw0pkz.7. ISBN   978-3-7001-7274-1. JSTOR   j.ctt1vw0pkz.7.
  • Degener, Almuth (2013). "Mighty Animals and Powerful Women: On the Function of Some Motifs from Folk Literature in the Khotanese Sudhanavadana". Multilingualism and History of Knowledge: Vol. I: Buddhism among the Iranian Peoples of Central Asia. Austrian Academy of Sciences Press. pp. 103–130. doi:10.2307/j.ctt1vw0pkz.8. ISBN   978-3-7001-7274-1. JSTOR   j.ctt1vw0pkz.8.
  • Dezső, Csaba (2014). "Inspired Poetry: Śāntākaragupta's Play on the Legend of Prince Sudhana and the Kinnarī". Indo-Iranian Journal. 57 (1/2): 73–104. doi:10.1163/15728536-05701016. JSTOR   24665889.
  • Foucher, A. (1909). "Notes d'archéologie bouddhique". Bulletin de l'École française d'Extrême-Orient. 9 (1): 1–50. doi:10.3406/befeo.1909.1911.
  • Ginsburg, Henry (1971). The Sudhana-Manohara tale in Thai: A comparative study based on two texts from the National Library, Bangkok and Wat Machimawat, Songkhla (Thesis). doi: 10.25501/SOAS.00029528 .
  • Simmonds, E. H. S. (1967). "'Mahōrasop' in a Thai Manōrā Manuscript". Bulletin of the School of Oriental and African Studies, University of London. 30 (2): 391–403. doi:10.1017/S0041977X00062297. JSTOR   611002. S2CID   177913499.
  • Simmonds, E. H. S. (1971). "'Mahōrasop' II: The Thai National Library Manuscript". Bulletin of the School of Oriental and African Studies, University of London. 34 (1): 119–131. doi:10.1017/S0041977X00141618. JSTOR   614627. S2CID   162819400.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.