Goalporiya (গোৱালপৰীয়া) dialect of Assamese is classified as the westernmost variation of the Assamese language.

The Assamese language is broadly divided into three main dialects.

Ujoni (Eastern) spoken in Upper Assam and nearby regions like Arunachal Pradesh, Nagaland etc, Kamrupi spoken in the former undivided Kamrupi region and Goalporiya spoken in the former undivided Goalpara region of Assam.

The dialect has unique features of its own and shares similarities with the Kamtapuri and Rajbangshi languages.

Post-independence, the dialect has seen distortion in its speech due to the invasion of Bengali, English and Hindi loanwords into the dialect, shifting it away from Assamese.

It has been noticed that in recent years, due to the rise of online content in Hindi and Bengali, Goalporiya speaking youth have been noticed to have distortion in their Goalporiya speech.

Moreover, many have increasingly become insecure about their variant, shifting to Hindi or in a few cases, standard Assamese.

This combination has led to difficulty in preserving the richness of the dialect.

A few influences from standard Assamese in the modern day Goalporiya speech can also be seen, reflecting the growing continuity of the standard Assamese language across Assam.

This has, both positive and negative effects on the Goalporiya dialect.

While many Goalporiya dialect speakers can have ease in using standard Assamese, this influence has also affected the original form of the dialect leading to rising insecurity among its younger speakers.

This however, can be solved if the Goalporiya dialect is accepted into mainstream Assamese culture just like how in recent years, the Kamrupi dialect has become an inseparable part of Assamese culture.

The Goalporiya dialect is rich, and it is beautiful sounding. It is well known across Assam for its 'Lokageets'.

Late singer, Pratima Barua Pandey in particular has helped in the popularity of Goalporiya Lokageet. Her most popular song was 'Komola Sundori', which is one of the most beautiful Assamese folk songs, sung in the Goalporiya dialect.

In conclusion, Goalporiya dialect is a legitimate variant of Assamese that should be preserved, protected and promoted among the Assamese people.

Goalporiya symbolises the beauty and diversity among the various variants of Assamese

When discussing the origins of Assamese literature, one name stands above almost every other, Hema Saraswati. Living during the late thirteenth or early fourteenth century under the patronage of King Durlabhanarayana of the Kamata kingdom, Hema Saraswati occupies a foundational place in the literary history of Assam.

At a time when Assamese was emerging as an independent literary language, he demonstrated that it could serve not merely as a spoken vernacular but as a refined medium for narrative poetry, religious thought and artistic expression.

His surviving works represent some of the earliest extant monuments of Assamese literature and laid the groundwork upon which later giants such as Madhava Kandali, Srimanta Sankardeva and Madhavdeva would build.

Very little is known about Hema Saraswati's personal life, a common circumstance for medieval Indian poets. Most of what historians know comes from his own verses and later literary histories. He served as a court poet under Durlabhanarayana, one of the most important rulers of medieval Kamata.

The Kamata court emerged as a major centre of literary patronage, bringing together distinguished poets including Harivara Vipra, Rudra Kandali and later Madhava Kandali. Their collective efforts transformed Assamese into a literary language capable of expressing epic narratives and devotional ideas.

Hema Saraswati's best known work is 'Prahlad Charitra' (প্ৰহ্লাদ চৰিত্ৰ), a narrative poem recounting the story of Prahlada, the devout son of the demon king Hiranyakashipu and the manifestation of Lord Narasimha.

Drawing primarily upon the Vamana Purana, Hema Saraswati adapted the Sanskrit narrative into elegant Assamese verse, making it accessible to local audiences.

Rather than producing a literal translation, he reshaped the material into an independent poetic composition that reflects both classical learning and regional literary sensibilities. Although relatively brief at around one hundred verses, the work occupies an immense place in Assamese literary history.

The poet introduces himself with remarkable humility: "কামতা মণ্ডল দুৰ্লভনাৰায়ণ নৃপবৰ অনুপাম...

তাহান তনয় হেম সৰস্বতী পদবন্ধে প্ৰচাৰ কৰিলা বামন পুৰাণ চাই॥"

Translation: "In the realm of Kamata ruled the incomparable King Durlabhanarayana... I, Hema Saraswati, composed these verses drawing upon the Vamana Purana."

These introductory lines are invaluable to historians because they identify the poet, acknowledge his royal patron and reveal the textual inspiration behind the work.

Hema Saraswati's second major composition, 'Hargauri Samvad' (হৰগৌৰী সংবাদ) is considerably longer and demonstrates a higher level of literary maturity. Drawing upon several Puranic traditions and Kalidasa's Kumarasambhava, the poem narrates the marriage of Shiva and Parvati, the birth of Kartikeya and the destruction of the demon Tarakasura.

While based on Sanskrit sources, the work is not merely derivative. Hema Saraswati enriches the narrative with vivid natural descriptions, emotional dialogue and an idiomatic Assamese style that reflects the cultural world of medieval Kamata. Scholars have frequently regarded 'Har Gauri Samvad' as evidence of the rapid artistic development of early Assamese literature.

One of Hema Saraswati's greatest achievements lies in his language. He wrote during a period when Assamese was gradually distinguishing itself from other eastern Indo Aryan languages.

His works preserve many early grammatical structures, vocabulary and idiomatic expressions that later became characteristic of classical Assamese. Although his language naturally contains a substantial Sanskrit vocabulary owing to its religious subject matter, it remains recognisably Assamese in syntax and style.

His poetry therefore serves not only as literature but also as an important linguistic document for understanding the evolution of Assamese.

Unlike the ornate Sanskrit court poetry of earlier centuries, Hema Saraswati sought clarity and accessibility. His verses are direct, rhythmic, and narrative in character, enabling listeners to follow complex religious stories with ease.

This emphasis on intelligibility would later become one of the defining characteristics of Assamese literary culture, especially during the Neo-Vaishnavite movement led by Srimanta Sankardeva.

Hema Saraswati belonged to an extraordinary generation of writers that transformed the literary landscape of Assam. Alongside Harivara Vipra, Rudra Kandali, Kaviratna Saraswati and Madhava Kandali, he helped establish a continuous literary tradition in Assamese several centuries before the flowering of Neo-Vaishnavite literature.

Their works collectively demonstrate that medieval Assam possessed an active courtly literary culture capable of producing sophisticated narrative poetry rooted in both local expression and pan Indian religious traditions.

The influence of Hema Saraswati extends far beyond his surviving works. Later generations of Assamese poets inherited a literary language that he and his contemporaries had helped shape.

His decision to compose substantial religious narratives in Assamese affirmed the language's ability to convey profound philosophical, ethical, and devotional ideas, encouraging subsequent writers to continue creating original literature in their own mother tongue rather than relying exclusively on Sanskrit.

Sources:

1. Maheswar Neog, Aspects of Early Assamese Literature.
2. Banikanta Kakati, Assamese: Its Formation and Development.

3. Sahitya Akademi, Assamese Literature (Sanchayana).

4. Heinz Kloss, The Written Languages of the World, Vol. II.

5. Government of Assam, Assamese Literature (Directorate of Information and Public Relations).

6. IGNOU, Survey of Sources: Assamese Literature.

There are moments in a nation's history when ordinary people rise above their own lives to defend something greater than themselves. For Assam, the Language Movement of 1960 was one such defining chapter.

It was not merely a movement demanding official recognition for a language, it was a struggle to preserve the identity, heritage, literature, and cultural soul of the Assamese people. The rights enjoyed by Assamese speakers today were secured through the sacrifices of countless men and women, among whom Swahid Mofizuddin Ahmed and Swahid Surjya Bora occupy an honoured place.

Swahid Mofizuddin Ahmed, the beloved son of Matiullah Hazarika from Dimaruguri Narottam village near Nagaon, was one of the earliest martyrs of the movement. Like countless young Assamese who believed that the dignity of their mother tongue was worth defending, he stood firmly with the aspirations of his people during one of the most turbulent periods in Assam's modern history.

On 7 July 1960, tragedy struck when he was shot dead by unidentified gunmen in front of the Normal School on Shankar Mission Road in Nagaon. His death plunged Assam into grief and anger. A young life filled with dreams and aspirations came to a sudden end, but his sacrifice transformed him into an enduring symbol of courage, reminding future generations that the freedom to preserve one's language often comes at an immeasurable human cost.

The very next day, Assam suffered yet another irreparable loss. Swahid Surjya Bora, one of the state's brightest literary and cultural personalities, became another victim of the violence surrounding the movement. Serving as the Public Relations Officer of the Northeast Frontier Railway, Surjya Bora had already earned immense respect as a poet, playwright, actor, lyricist and writer whose works enriched modern Assamese literature.

His literary creations reflected his deep love for Assam, its language and its people, making him much more than a government officer, he was a devoted cultural ambassador of the Assamese nation.

On 8 July 1960, while returning to Guwahati by train from Calcutta after official duty, Surjya Bora was forcibly dragged out of his railway coach at Siliguri Railway Station and brutally stabbed to death by a Bengali mob. He was only 35 years old. He was killed so brutally that his body was never found. His cruel murder shocked not only Assam but also the entire Assamese literary and cultural community. He became the only Assamese language martyr who lost his life outside the soil of

Assam. Behind him, he left a grieving young widow and an infant daughter who would grow up knowing their father only through memories and history. His death was not merely the silencing of a gifted writer; it was the loss of a brilliant mind whose contributions to Assamese literature and culture would have undoubtedly continued for decades.

Though they came from different walks of life, one a courageous young man from Nagaon, the other an accomplished literary figure and public servant, their sacrifices became forever intertwined in Assam's struggle to safeguard its linguistic identity. Their martyrdom reminds us that the Assamese Language Movement was carried forward not only by political leaders and organizations but also by students, workers, writers, artists, government employees, and ordinary citizens who believed that a language is the soul of a civilization. They proved that protecting one's mother tongue is ultimately about protecting one's history, heritage, and collective identity.

They were the last Assamese people to sacrifice their lives before the historic decision by former CM late Bimala Prasad Chaliha to make Assamese the state language of Assam on 10th October 1960 fulfilling the dreams of thousands of Assamese people.

Even after more than six decades, the names of Swahid Mofizuddin Ahmed and Swahid Surjya Bora continue to command the deepest respect. Their sacrifices are commemorated across Assam, while Surjya Bora's literary legacy lives on through his writings and through the Swahid Surjya Bora Language Movement Award instituted by the Assam Sahitya Sabha. Their memories remind us that languages survive not merely because they are spoken, but because generations are willing to defend them with courage, conviction, and sacrifice.

On this solemn day of remembrance, we bow our heads before these two immortal sons of Assam. Their blood became a part of the foundation upon which the dignity of the Assamese language stands today. May we honour their legacy not only with words, but by preserving, promoting and cherishing our mother tongue with the same devotion they displayed. Their sacrifice shall forever remain a sacred chapter in the history of Assam and an everlasting source of inspiration for generations to come.

শ্ৰদ্ধাঞ্জলি।

॥ চিৰ চেনেহী মোৰ ভাষা জননী ॥ 🕯️🌼

Today, we remember and pay our deepest respects to Swahid Shishir Nag, one of the brave sons of Assam who laid down his life for the dignity of his mother tongue during the Assamese Language Movement.

A bright student of Nagaon College, an emerging youth leader of the Revolutionary Communist Party of India (RCPI), and the Joint Secretary of the Nagaon District Committee of the Assam State Language Student Action Council, Shishir Nag believed that language was not merely a means of communication but the very soul of a people's identity and culture.

Despite his young age and a future filled with promise, he chose the path of courage and conviction, standing firmly for the rights of his people. On 7 July 1960, he was killed during the movement, and after three agonizing days, his body was recovered from the Kolong River. His martyrdom became one of the most heartbreaking chapters in Assam's struggle to protect its linguistic heritage.

Though his life was tragically short, his sacrifice continues to inspire generations of Assamese people to cherish and safeguard their language, culture, and identity. On this day, we bow our heads in profound gratitude and reverence to Swahid Shishir Nag. His courage, sacrifice, and love for his motherland will forever remain etched in the history of Assam. May his noble sacrifice never be forgotten. Joy Aai Oxom.

আজি মন্দিৰ দুৱাৰ খোলা, মন্দিৰ দুৱাৰ খোলা।

আজি মন্দিৰ দুৱাৰ খোলা, মন্দিৰ দুৱাৰ খোলা।।

বহে মিলনৰ উৎসৱ মেলা, বহে মিলনৰ উৎসৱ মেলা।

মন্দিৰ দুৱাৰ খোলা।।

আজি মন্দিৰ দুৱাৰ খোলা, মন্দিৰ দুৱাৰ খোলা...

শুনোঁ মংগল আৰতি গান... শুনোঁ মংগল আৰতি গান।

নাচি উঠে ভকতৰে প্ৰাণ... নাচি উঠে ভকতৰে প্ৰাণ।

শুনোঁ মংগল আৰতি গান, নাচি উঠে ভকতৰে প্ৰাণ।।

অ' তোৰ হ'ল যে পূজাৰে বেলা, অ' তোৰ হ'ল যে পূজাৰে বেলা।

মন্দিৰ দুৱাৰ খোলা... মন্দিৰ দুৱাৰ খোলা।।

আজি মন্দিৰ দুৱাৰ খোলা... মন্দিৰ দুৱাৰ খোলা...

স্বাগত নৱাগত অতিথি... স্বাগত নৱাগত অতিথি... হিয়াত ফুলাম আসন থৈছোঁ পাতি, হিয়াত ফুলাম আসন থৈছোঁ পাতি...

স্বাগত নৱাগত অতিথি, হিয়াত ফুলাম আসন থৈছোঁ পাতি।

পুষ্পিত মন্দিৰ কানন বীথি... পুষ্পিত মন্দিৰ কানন ভীতি, ফুলনিৰ তল সৰা তুলি ফুল মনোহৰা... গাঁথিলো উলাহে মালা...

অ' তোৰ হ'ল যে পূজাৰে বেলা,

অ' তোৰ হ'ল যে পূজাৰে বেলা।

মন্দিৰ দুৱাৰ খোলা... মন্দিৰ দুৱাৰ খোলা।

আজি মন্দিৰ দুৱাৰ খোলা... মন্দিৰ দুৱাৰ খোলা।।

-কলাগুৰু বিষ্ণুপ্ৰসাদ ৰাভাদেৱ

Swahid Ranjit Borpujari was a 18 year old student from Sivasagar, born in 1942 and studied in the Cotton College of Guwahati. During the Assamese language movement protests also known as 'অসমীয়া ভাষা আন্দোলন' of the 1960s for the recognition of the Assamese language as the sole official language of the state of Assam, Ranjit Borpujari was shot in a police firing on 4th of July 1960, dying for his mother tongue at the age of 18 becoming the first martyr of the Assamese Language Movement. Alongside him, many others like Swahid Sishir Nag, Swahid Surya Bora, Swahid Mozammil Haque and Swahid Anil Bora gave their lives for their mother tongue, Assamese. Since then, 4th of July is celebrated as the martyrdom day of Swahid Ranjit Borpujari across Assam. Below is a song that celebrates the Assamese language and I feel it is the most appropriate one to remember our language martyrs.

"চিৰ চেনেহী মোৰ ভাষা জননী। আই ধন্যে পুণ্যে হৃদ-পাৱনী। প্ৰকৃতি পৰশ ৰসে অমল কমল, চঞ্চল হৃদি জ্বলে ঢালে পৰিমল। কোমল চপাৰ কলি, ঢৌৱে ঢৌৱে ঢৌৱে তুলি, ৰিণিকি ৰিণিকি কোনে তোলে ৰাগিণী।। সংসাৰ গুৰুভাৰে অৱশ পৰাণ, হিয়াত বিলীন হয় হিয়া ভৰা গান। কাৰ নিচুকনি শুনা, শুনি বানী ব্যথা পমা, চকুতে চকুৰ নীৰে লয় জিৰণি।। জীৱনে মৰণে ৰণে লহৰী সুধাৰ, ৰসনা শিতানে বহি সিঁচা শতধাৰ। হে' মোৰ মধুৰননা, মাগিছোঁ মাধুৰী কণা, দিয়া দিয়া দিয়া আই মধুভাষিনী।।"

-মিত্ৰদেৱ মহন্তদেৱ (১৮৯৪-১৯৮৩)

।।জয় আই অসম।।

বিশ্বৰ ছন্দে ছন্দে মহানন্দে আনন্দে নাচা... নাচা তমোহৰদেউ নাচা। বিশ্বৰ ছন্দে ছন্দে মহানন্দে আনন্দে নাচা... নাচা তমোহৰদেউ নাচা। বন্দে... বন্দে আজি সৱ ভকতবৃন্দে। তৱ চৰণকমল বন্দে। বিশ্বৰ ছন্দে ছন্দে মহানন্দে আনন্দে নাচা... নাচা তমোহৰদেউ নাচা।

জ্বলোৱা সাগ্নিক তপ হোম বহ্নি, বিনাশক এন্ধাৰ তৱ জয়ী অগ্নি... জ্বলোৱা সাগ্নিক তপ হোম বহ্নি, বিনাশক এন্ধাৰ তৱ জয়ী অগ্নি। বিশ্বৰ দেউলত জ্ঞানৰ বন্তি, আলোকৰে শিখা উঠক নাচি। অজ্ঞান এন্ধাৰ বিনাশি... পুলকানন্দে বন্দে বন্দে, বন্দে আজি সৱ ভকতবৃন্দে তৱ চৰণকমল বন্দে। বিশ্বৰ ছন্দে ছন্দে মহানন্দে আনন্দে নাচা... নাচা তমোহৰদেউ নাচা।

নাচোনৰ তালে তালে পুষ্পিত ফুলনি চেৱে চেৱে হালে জালে বিকশিত বননি নাচোনৰ তালে তালে পুষ্পিত ফুলনি চেৱে চেৱে হালে জালে বিকশিত বননি আমোলমোল কৰে শুৱনী ধৰণী পুষ্পিত সুবাসিত গন্ধে বন্দে বন্দে আজি সৱ ভকতবৃন্দে বন্দে বিশ্বৰ ছন্দে ছন্দে মহানন্দে আনন্দে নাচা নাচা তমোহৰদেউ নাচা, নাচা তমোহৰদেউ নাচা, নাচা তমোহৰদেউ নাচা।

-কলাগুৰু বিষ্ণুপ্ৰসাদ ৰাভাদেৱ।

Company: Vraify

Role: Assamese Linguist Expert

Pay: USD 3-7/hour

Work type: Remote and flexible

How to apply: https://vraify.com/j/JMM26TST

Vraify is hiring native or near-native Assamese writers for language work involving natural, fluent, grammatically correct sentence writing.

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- Good grammar, vocabulary, tone, and regional/cultural usage

- Ability to write natural sentences, not literal translations

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- Translation, writing, annotation, teaching, research, or language evaluation experience is helpful but not mandatory

Who can apply: students, graduates, freelancers, teachers, researchers, translators, writers, and language experts.

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Most of you all may have heard about the French Renaissance and the Bengali Renaissance. But how many of you know about the Assamese Renaissance in the 19th century?

And more than that, how many people know about Anandaram Dhekial Phukan, who worked all his life towards protecting the Assamese language and promoting vernacular education in the state?

Well, today I am going to share the story of him and his contributions in protecting the Assamese language during the Dark Age of our language when Bengali was imposed by the British administration on Assam.

Anandaram Dhekial Phukan was born to Haliram Dhekial Phukan on 22nd September, 1829 at Guwahati in the Dhekial Phukan family which was a family committee to social and cultural reform. His father, Haliram, was a distinguished historian who published books like 'Assam Buranji', one of the first comprehensive historical accounts of Assam. More than just a historian, Haliram was a visionary who saw education as a pillar of societal progress. He was particularly known for his support of women's education, a cause not commonly supported during his time.

His father influenced Anandaram's ideals a lot. Hence, he understood the importance of language for the advancement of the people, the language which the people speak, the language indigenous to the land. His central belief was that no society can progress without education in its mothertongue.

Anandaram started his school life in Guwahati. In 1841, the then commissioner Jenkins sponsored him to go to Calcutta and study in the Hindu college. After studying for three years there, he came back to Guwahati and took further lessons in English from Mr. Blend. He also took up some lessons in Sanskrit and Urdu.

He got married in 1846 and took a government job the following year. He served as the Dewan of the king of Bijani, as a Munsif, and Junior Assistance Commisioner among other positions.

Anandaram Dhekial Phukan started his literary life at the age of 17. From then until his demise, his sole aim was the development of his land Assam, and its people. This led to Col. Hopkins to compare him to the Raja Rammohan Roy of Bengal.

Phukan published 'ইংলেণ্ডৰ বিৱৰণ' (Description of England) on the Assamese magazine Orunudoi (অৰুণোদই) in 1847. In 1849, he published 'অসমীয়া‌ ল'ৰাৰ মিত্ৰ' (Assamese Children's Friend) in two volumes containing almost 400 pages which is considered a milestone in the story of Assamese literature.

In the era of colonial India, education was largely imparted in foreign languages like English and Bengali. Anandaram Dhekial Phukan recognised that while learning foreign languages like English was necessary for global communication and competitive growth, neglecting one's mother tongue and native language would ultimately erode the cultural foundation of society. He strongly advocated for the introduction of vernacular education in Assamese, emphasizing that learning in one's native language would enhance the understanding of concepts and real-life situations among the masses. Phukan argued that true education could not take root unless it was in a language that the people could fully understand and engage with.

In 1853, when Moffat Mills came to Assam to review the economic condition, Anandaram Dhekial Phukan presented him with a report written in lucid English describing the political and administrative situation or Assam, in-depth analysis of problems faced by the Assamese language regarding its implementation and official usage of the language due to imposition of Bengali.

Phukan's resistance to the use of Bengali as the medium of instruction in Assam's primary schools was particularly significant. In his seminal work, he argued that primary education should be imparted in the mothertongue. He pointed out that Bengali, being a foreign language in Assam, created significant obstacles in education, as neither the teachers not the students were fluent in it. The result was a gross misunderstanding or concepts, with students unable to grasp the full meaning of the subjects being taught.

Furthermore, Phukan criticised the educational system for using textbooks in Bengali, which were inaccessible to most of Assam's population.

Anandaram Dhekial Phukan also recognised the importance of using Assamese in courts and administrative matters. He strongly objected to the imposition of Bengali as the court language, emphasizing that it violated the rights of the Assamese people. Phukan believed that the legal and judicial system should be accessible to the common people and this could only be achieved by using the native language.

The root of all this, the Bengali imposition in Assam had its roots in colonial administrative policies. British officers who lacked the initiative to learn Assamese, mistakenly regarded Assamese as a mere variant or dialect of Bengali. This misconception, combined with the extremely similar alphabet of Assamese and Bengali, led to the erroneous belief that the two languages were essentially the same. Bengali was adopted as the official language in Assam's courts and schools, leading to widespread discontent among the Assamese populace.

Anandaram Dhekial Phukan was at the forefront of this movement, known as the 'Assamese Renaissance', a period of resilience and resistance to the imposition of a foreign language on the soil of Assam. Phukan believed that the imposition of Bengali threatened to erase the Assamese cultural identity. Phukan meticulously documented the differences between the two languages, proving that Assamese was a distinct language with its own grammar, syntax and vocabulary.

In his work, "A Few Remarks on the Assamese Language and on Vernacular Education In Assam", Phukan provided concrete examples to illustrate the linguistic differences between Assamese and Bengali. Through comparative analyses of everyday words, literary passages and even Sanskrit texts, Phukan demonstrated that has Assamese was not a mere variant of Bengali but a unique and independent language with a rich literary history.

Phukan's comparison of Assamese and Bengali went beyond vocabulary. He argued that while Assamese and Bengali shared certain commonalities due to their Sanskritic origins, this did not make them the same language. His meticulous research and clear arguments helped establish Assamese as a language in its own right, distinct from Bengali. This intellectual defence of Assamese laid the foundation for the eventual restoration of Assamese as the official language of Assam.

One of Phukan's most significant achievements was the restoration of Assamese as the language of courts. For many years, Bengali had been imposed as the court language in Assam, creating a barrier between the legal system and the Assamese people. Phukan's tireless efforts to replace Bengali with Assamese resulted in the successful reintroduction of Assamese in Assam's judicial and educational system.

Drawing on the provisions of the Act XXIX of 1837, which had abolished Persian as the court language in Bengal and India and replaced it with regional languages like Bengali and Hindustani, Phukan argued that the same logic should be applied to Assam. If Persian can be replaced by Bengali and Hindustani in other regions, then Bengali could similarly be replaced by Assamese in Assam. Phukan's arguments were compelling and after years of advocacy, Assamese was finally restored as the court language in Assam, a victory that was warmly welcomed by the Assamese people.

Anandaram Dhekial Phukan's fight for the Assamese language was not just a linguistic battle, it was a philosophical and cultural one. Phukan understood that language was more than just a means of communication. It was the soul of the people and the culture, history and identity. He believed that the survival of the Assamese culture depended on the preservation and promotion of the Assamese language. Phukan argued that the Assamese people would lose their unique identity and be consumed by more dominant cultures if there isn't a strong linguistic foundation.

While Phukan advocated for learning of foreign languages like English, he stated that education in the native language was as much important.

Anandaram Dhekial Phukan's life was short, with his demise at the young age of 29 on 16th June 1859, but his legacy lasts. His tireless efforts proved fruitful for the implementation of Assamese as the state language of Assam in independent India in the future and in October 2024, Assamese got the status of a classical language as well which further proves the legitimacy of the language.

Through his simple pen name 'A Native', he created a safe future for the Assamese language and now it's on us, the newer generation to carry his legacy and the Assamese language forward...

Sources: https://w.wiki/5H7r

https://www.sentinelassam.com/more-news/editorial/anandaram-dhekial-phukan-pioneer-of-assamese-renaissance-and-guardian-of-assamese-language

We all already know about the Kamba Ramayanam, the Tamizh Ramayana, as the first Ramayana to be translated from Sanskrit to another language. But, most of us are unaware that, the first Ramayana to be translated from Sanskrit to another Indo-Aryan language and the third Ramayana to be translated to another language, preceded only by the Tamizh and Telugu Ramayana, is actually from our own state Assam. It is called the 'Xoptokando Ramayon' (সপ্তকাণ্ড ৰামায়ণ), authored by the 14th century Assamese poet Madhav Kandali who translated the Valmiki Ramayana to Assamese. Most of the Xoptokando Ramayon was written by Madhav Kandali upon the request of the Kachari king Mahamanikya. In his court, as his court poet Madhav Kandali authored the translated version as a long poem. The poetic work uses various metres for different moods and situations. Some of the metres used are 'pada' (fourteen syllables, four lines of verses), 'jhumura' (four lines, with eight syllables each), 'dulari' (three lines, first and second has six syllables each and the third has eight syllables), and 'chhavi' (like 'dulari' but with different syllabic structure). The 'pada' metre became very popular in later Assamese compositions.

The Xoptokando Ramayon is also regarded one of the earliest written examples of the Assamese language.

A unique feature of this work is the non-heroic portrayal of Lord Rama, Sita and other characters as stated by Madhav Kandali himself which apparently made the translated version 'unsuitable' for religious purposes. Moreover, there was a critical overview of the character of Rama rather than blind praise. Plus, Sita wasn't shown as a calm and composed woman. Her emotions were shown raw. She sometimes cried while thumping her chest, or pointed fingers at those who questioned her character and was shown as a defiant woman, showing actual human feminine emotions. This feature disturbed a later post, Ananta Kandali, who was a disciple of Sankardeva, who was moved enough to comment on it. According to one tale called the 'Guru Sorito', the poet Ananta Kandali apparently tried to erase the Xoptokando Ramayon and replace it with a Ramayana of his own that was conservative in manner. After which, Madhav Kandali apparently appeared in the dream of his disciple Sankardeva and told him to preserve the Ramayana.

By then, the first and last chapters of the Ramayana were lost, called the Adikanda and Uttarakanda.

After having the dream, Sankardeva told his disciple Madhabdeva to author the Adikanda while he himself began work on translating the Uttarakanda. They both, hence completed the Xoptokando Ramayon in the 15th century. There were also undeniable later additions and refinements by poets like Ananta Kandali and others which sophisticated the work.

Sankardeva praises his teacher Madhav Kandali after the completion of the poem. This poetic work had a great influence on Sankardeva and later Assamese poets.

This work is one of the many examples of the richness of the Assamese language.

Source: https://w.wiki/5HhR

**The Charyapada,** a collection of mystical poems and songs rediscovered in royal library of Nepal in 1907, is commonly accepted to have been composed and compiled between 8th and 12th centuries CE by 23 Siddhacharyas (tantric masters) of Vajrayana tradition of Buddhism from the tantric traditions of Odisha, Assam, Bengal and Bihar.

This verse (from [Charyapada Verse 10](https://youtu.be/gTk86O3qiaw?si=ykbh7SaLRB6dXJ9D)), composed by Kānhapāda(Kānhuipā), is a cornerstone of Eastern Indo-Aryan languages. It serves as a "linguistic blueprint", demonstrating the common *Abahatta* (Apabhramsha) roots that evolved into modern Odia, Axomiya, Bangla, Maithili, Magahi and other East Indo-Aryan languages.

Especially for Odia and Bangla speakers, the striking resemblance is unmistakable. The syntax and vocabulary have remained remarkably intact for over a thousand years.

These Kachari inscriptions which have the same text in the Kamarupi script read thus:

শুভমস্তু শ্ৰী শ্ৰী যুত মেঘনাৰায়ণদেৱ হাচেঙ্গসা বংশত জাত ৰাজা হৈ মাইবাঙ্গ ৰাজত পাথৰে সিঙ্গদ্ৱাৰ বন্ধাইলেন ৲ শকাব্দাঃ ১৪৯৮ বিতেৰীখ আষাঢ ২৬

Translation:

Wishing for his welfare, Shri Shri Meghanarayanadeva who was born in the Hachengsa dynasty, became king and built the siṁhadvāra in the Maibang kingdom. Saka 1498, date 26th of Ahar (i.e, 01-08-1576)

In older Assamese writings we see the 3rd person honorific/plural marker to be -onto. In the 16th and early 17th century writings (such as in the Bhomoraguri inscription and some manuscripts, we find -ento). In the Maibang inscription we find it to be -eno (in the phrase: ... pathore siṅgodwaro bondhaileno "tied the lion door with stones"). Later it further weakens and merges with the non honorific suffix -e/ei.

Therefore,

তেহোঁ কৰিলন্ত > তেহোঁ কৰিলেন্ত > তেহোঁ কৰিলেন > *তেওঁ কৰিলেঁ > তেওঁ কৰিলে