Looking for freedom

 

Looking for freedom

Agudengba leads the donkey and walks with his young companion Dawa on the road to Myanmar. Along the way, Agudemba kept talking about his experiences while traveling in India. Another story was told about a king who gave up his throne. That is a folk legend spread in ancient India.

The most unacceptable thing for Agudumba in India is the caste system here.

There has been a class system called caste in Indian society since ancient times. Since ancient times, Indians have been divided into four classes, namely Brahmans (Brahmans monks, priests), Kshatryas (Kshatryas royal family, warriors), Vaishyas (Vaisyas common people), Sudras (Sudras slaves), etc. People of different classes are not allowed to intermarry, occupations are hereditary, and changing classes is strictly prohibited. They must strictly abide by their respective identities. This class system still exists in India today, but its content has become more complex.

Agudumba told Dawa the famous story of a Kshatriya who rose to the rank of Brahmin:

One day, King Vishubhamitra of Karnivikbhaga came to the hermitage of the holy monk Vasishudha on his way to hunt. The saint had a cow that could provide him with anything he desired. He entertained King Vishubhamit with various things provided by the cow. While the king was satisfied with the hospitality, he also became greedy and wanted to take the cow as his own.

The king proposed to exchange 10,000 cows for this cow. The saint rejected him on the grounds that the cow would be used to provide the livestock for the gods and he could not exchange it with him.

However, King Kunshubhammitra insisted on the cow, and in accordance with "warrior custom", he had to seize it by force. But Brother Vasishuda obeyed the "Brahmin law" and could not use force and tried to exercise self-control. At this moment, the cow cried out to him: "Are you really going to abandon me? If you don't abandon me, No one can plunder me."

Vasishuda replied: "I will not abandon you. You can stay as long as you want."

As soon as the cow heard the sage's words "stay", it suddenly stood up, roared loudly, and at the same time raised its hooves and kicked Vishubamitra's soldiers away. Then the cow gave birth to countless barbarians from the bubbles emerging from its tail, pee, mouth, etc., and completely defeated Vishubamitra's army.

King Vishubamitra saw with his own eyes the miracles produced by the power of Brahman, and then he realized that the power of Brahman was stronger than the power of Kshatriya. In order to become a Brahmin, he abandoned his kingdom and practiced strict asceticism, and finally achieved the status of a Brahmin.

After Vishubha Mitra reached the status of Brahmin, he continued to practice severe asceticism. In order to disturb his asceticism, the gods sent the goddess Munaka to give birth to Shagundala with him, and also sent the goddess Lamba. Tempting the saints, leaving many episodes.

Agudumba said to Dawa: Why was this story widely circulated in ancient India? Why did King Vishubamitra give up the throne again? He gave up the throne not to serve the people, but to achieve Brahmin status, the highest caste figure in the caste system. What he realized was that the power of Brahman was stronger than that of Kshatriya. This is the purpose of his asceticism. The reason why this story is so popular is because of the brainwashing propaganda needs of Brahmins to make ignorant people recognize the supremacy of Brahmins.

Agudemba's insights surprised Dawa. She had lived in Bangladesh since she was a child and also received education under the caste system.

In order for Dawa to re-understand this society and improve his understanding of life, Agudenba sang a song "Awakening" that praised freedom:

 

You and I should understand one thing

Rivers can run and ripple freely

Mountains can stand proudly and continuously

Birds and butterflies can fly freely

Fish and frogs can also swim freely

Why are only humans restricted?

The limited power lies with Brahman

Emperors and politicians always wanted to rule the world

 

The caste system divides rich and poor

Wealthy people are always on top

Slaves are bullied and always relegated to the bottom

Why life makes us burst into tears

We grow hope in pain

Find freedom from class oppression

Only with awareness can we not lose our way

From now on, break away from sin and poverty

寻找自由（雪域寓言）

 

寻找自由

 

阿古登巴牵着驴子，与他的年轻伴侣达瓦行走在去缅甸的路上。阿古登巴一路上又不断地讲述着自己在印度游历时的经历。又讲起了一个国王放弃王位的故事。那是一个流传古印度的民间传说。

阿古登巴在印度最不能接受的就是这里的种姓制度。

印度社会中自古就有所谓种姓的阶级制度。自古以来印度人被分为四个阶级，即婆罗门 （Brahmans僧侣、祭官）、刹帝力（Kshatryas王族、武士）、吠舍（Vaisyas庶民）、首陀（Sudras 奴隶）等。不同阶级的人不得通婚，职业世袭，更严禁改变阶级，非严格遵守各自的身份不可。今日印度仍存在着这种阶级制度，只是内容变得更为复杂。

阿古登巴给达瓦讲了一位刹帝力跻上婆罗门之列的著名故事：

有一天，卡尼维克布伽的毗舒巴密特拉王在狩猎途中来到圣者婆西舒达修士的草庵。圣者有一头能如愿供给任何东西的牝牛。他以这头牝牛供应出来的各种东西款待毗舒巴密特王，王受款待在心满意足之余，又心生贪念想将这头牛占为己有。

王建议以一万头牛来交换这头牝牛，圣者以向众神贡献的供牧都要由这头牝牛供给，不能和他交换为理由而拒绝了他。

然而，昆舒巴密特拉王非要这头牝牛不可，他依照 “武士的惯例”，要凭武力来夺取。但是婆西舒达修士却遵从 “婆罗门的律法”，不能使用武力，尽量自制，就在这时，牝牛哀声向他说道：“你真的要舍弃我吗？要是你不舍弃我，谁也不能将我横加掠夺的。”

婆西舒达答道：“我不会舍弃你的，只要你愿意，尽可以留下来。”   

牝牛一听圣者 “留下来” 这句话，忽地猛然站起来，大声吼叫，同时举起蹄来把毗舒巴密特拉的兵士踢得四散开去。接着牝牛又从尾巴、尿口、嘴等处冒出的泡泡中，生出无数的蛮族来，把毗舒巴密特拉的军队彻底击溃。

毗舒巴密特拉王亲眼目睹由婆罗门之力所产生的奇迹，才彻悟到婆罗门的力量是强于刹帝力的。为了要成为一名婆罗门，他弃王国如敝屣，奉行严格的苦行，最后终于升达婆罗门的地位。

毗舒巴密特拉在达到婆罗门的地位后，仍继续奉行严厉的苦行，众神为了要打扰他的苦行，就派遣天女目奈卡与他生下了夏庚达拉，且又派天女兰巴来诱惑圣者，由此而留下许多的插曲。 

阿古登巴对达瓦说：这则故事为什么会在古印度广泛流传？毗舒巴密特拉王为什么又放弃了王位？他放弃了王位并非是为了服务于人民，而是为了达到升达婆罗门的地位，成为种姓制度中的最高阶层人物。他彻悟到的只是婆罗门的力量强于刹帝力。这才是他的苦行目的。这个故事之所以能广泛流行，那是婆罗门的洗脑宣传需要，让无知的民众承认婆罗门至高无上的地位。

阿古登巴的见解让达瓦非常惊诧，她从小生活在孟加拉国国，同样也接受到种姓制度下的教育。

阿古登巴为了让达瓦重新认识这个社会和提高对生活的认知，他便唱起了一首歌颂自由的歌《觉悟》：

 

你和我应该明白一个道理

河川能自由地奔腾和荡漾

高山能自豪地耸立和连绵

鸟儿和蝴蝶都能自由飞翔

鱼儿和青蛙也能随意游泳

为什么只有人类会受限制

限制的权力掌握在婆罗门

帝王和政客总想统治世界

 

种姓制度将贫富划成等级

富贵达人总是高高地在上

奴隶被欺总是屈居于底层

生活为何让我们泪流满面

我们在痛苦中滋生出希望

远离阶级压迫去寻找自由

只有觉悟才能不迷失方向

从此与罪恶贫穷一刀两断

The ring in the belly of the fish

 

The ring in the belly of the fish

 

Agudemba told another story to Dawa who was leaning next to him. That is a folk legend spread in the Himalayas.

King Dufu Shanda of the Pulu tribe went out hunting. In order to chase a deer, he came to the nunnery of Ganpo monk in the Himalayas.

Brother Gampa had an adopted daughter here. She was born to the goddess Menaka and monk Vishupa Mitra. Her name was Shakungdala. She was beautiful and lovable.

King Dufu Shanda and Xia Gengdala fell in love at first sight. They fell in love with each other and finally made a private engagement for life. However, King Duf Shanda had to return to the capital, so before returning to the capital, he took off the ring on his hand and gave it to Xia Gengdala as a souvenir.

After King Duf Shanda left, Xia Gengdala thought about only King Duf Shanda every day and night. Even the visit of the angry monk Dabasas turned a deaf ear. The monk lost his temper and thought that Shakengdala was extremely rude to him. He cursed: "King Dufu Shanda must forget this bitch!"

However, under the mediation of many friends of the monk Dabasas, a condition was added to this spell: that when King Duf Shanda saw the ring as a commemoration, he would think of her.

Since King Dufu Shanda returned to the capital, there has been no news from him. Shakengdala was pregnant with King Dufu Shanda's child. She didn't know what to do, so she had to live with an old woman in her adoptive father's thatched hut. Later, she left the hut and went to the palace, but King Dufu Shanda had lost his memory and did not remember that she was a child. who.

She wanted to show the commemorative ring to King Dufu Shanda, but on the way there, she lost the ring in the pond. King Dufu Shanda no longer remembered her and only thought that she was here to cause trouble. After scolding her, Xia Gengdala could only leave sadly. But when she left, her whole person was shrouded in light, which gradually faded away as she walked away.

Agudemba continued:

There was a fisherman who was selling a special ring taken out of the belly of a fish on the road to the capital. He was questioned by the guards because the name of King Dufu Shanda was engraved on the ring.

The guard took the ring and presented it to King Duf Shanda. When King Duf Shanda saw the ring, he immediately recovered his memory. He regretted very much that he had scolded Xia Gengdala and forced her to leave in despair. King Fushanda was troubled and didn't know what to do.

At this time, the messenger of God Indra from heaven appeared, and Daoming wanted to use the power of King Duf Shanda to conquer the devil.

Soon, King Duf Shanda finally conquered the devil. When he was driving his chariot across the sky, he suddenly found a boy playing with a little lion in the Black Magic Mountain. This child was Balada, the son of King Dufu Shanda and Sharigendala. At this time Xia Gengdala also came, and the two finally happily reunited.

The story was not long, but Dawa, who was nestling next to Agudumba, was fascinated by it.

After Agudengba finished telling Dawa a story, he sang a snowy love song "Prayer of Love":

 

I stand under the high snow-capped mountains

I pray to the blue sky,

Thank God for giving me happiness

Even though I have nothing, I still have love

 

There are countless powerful people in the world

There are as many kings among men as there are floating clouds

But who has ever received true love?

In their eyes love is a game

 

God let you walk into my arms

You are already the only one in my life

I want nothing but you

I will share all your sorrows

 

If I turn gray one day

My soul is still with you

I will ask God to bless you

I wish you all happiness

 

鱼腹中的戒指（雪域寓言）

 

鱼腹中的戒指

 

阿古登巴对依偎在身边的达瓦又讲起了故事。那是一个流传喜马拉雅山的民间传说。

普鲁族的都夫香达王出外打猎，他为了追逐一只鹿而到了喜马拉雅山的甘婆修士草庵中。

甘婆修士在这里育有一名养女，她是天女目奈卡和毗舒巴密特拉修士所生的，名叫夏庚达拉，长得美丽动人，惹人怜爱。

都夫香达王与夏庚达拉一见钟情，彼此情投意合，终于私订终身，但是都夫香达王必须返回都城，于是他返回都城前把自己手上的戒指取下来，送给夏庚达拉当纪念。

夏庚达拉自都夫香达王离去之后，每天朝思暮想，只念着都夫香达王一人。连爱生气的多婆萨斯修士的来访，也置若罔闻，修士为此大发脾气，认为夏庚达拉对自己极端失礼，他诅咒道：“都夫香达王要忘了这个贱人！”

不过在多婆萨斯修士的众多好友的斡旋之下，这句咒语被加上一个条件：就是当都夫香达王见到当做纪念的戒指时，就会想起她来。

自都夫香达王返回都城之后，便音讯全无。夏庚达拉身怀都夫香达王的孩子，不知如何是好，只得和一个老婆婆住在养父的草庵中，后来她离开草庵前往王宫，但是都夫香达王已失去记忆，根本不记得她是谁。

她想拿出纪念的戒指给都夫香达王看，却又在来时途中，将戒指遗失在池塘里，都夫香达王既已不记得她，只当她是前来惹事生非，而臭骂她一顿，夏庚达拉只有黯然神伤地离开了。但当她离去时，整个人被笼罩在一片光明中，走远了才逐渐消逝。

阿古登巴继续说道：       

有一名渔夫在通往都城的路上叫卖一枚由鱼腹中取出的特殊戒指，因而受到警卫的盘问，因为戒指上刻有都夫香达王的名字。

警卫便把戒指拿去呈给都夫香达王看，都夫香达王一见戒指，立刻恢复了记忆，他非常后悔曾对夏庚达拉的臭骂，逼使她怏怏离去，也为此都夫香达王烦恼不已，不知如何是好。

就在此时，出现了由天界而来的因陀罗神使者，道明要借助都夫香达王的力量去征伐恶魔。

不久，都夫香达王终于征服了恶魔，当他驾着战车在天空飞驰时，突然发现在黑魔克达山中，有一个男孩子正在和一头小狮子嬉戏。这个孩子就是都夫香达王和夏庚达拉所生的儿子巴拉达。这时夏庚达拉也来了，两人终于高兴地庆幸重逢。

故事并不长，但依偎在阿古登巴身边的达瓦却听了很着迷。

阿古登巴为达瓦讲完故事后，便唱起了一首雪域情歌《爱的祈求》：

 

我站立在高高的雪山下

我对着蓝蓝的苍天祈求，

感谢天神恩赐给我快乐

一无所有的我也有了爱

 

世界上有数不清的权贵

还有多如浮云的人中王

但谁又得到过真正的爱

在他们眼中爱是场游戏

 

上帝让你走进我的怀抱

你已是我生命中的唯一

我除了你已经别无所求

我会分担你的所有忧愁

 

如果我有一天变白了头

我的灵魂依然伴随着你

我会祈求上帝为你赐福

愿你能夠得到一切快乐

 

 

You do not know

 

You do not know

Agudenba and Dawa, who was full of youthful vitality, were on their way to Myanmar. When they were resting on the way, Dawa danced the "Baur" dance and sang the love song "Life and Death" written by Rabindranath Tagore.

When Dawa snuggled next to Agudengba, Agudengba recited Tagore's love poem "I Have Never Forgotten for a Moment":

  

I haven't forgotten it for a moment,

I've been on this road countless times.

Are weeds overgrown now?

Erased all traces of this road?

But I feel in my heart that there is no need to be sad,

Who knows when a favorable wind will blow,

You will recognize me when you come back,

I recognize you right away too.

A man walks on the road holding a lantern

A gust of wind blew out the lights.

But I feel at ease and know

Your address written in the stars shines brightly.

I know, the clusters of flowers blooming on both sides of the road

Flowers will correct my walking mistakes

There is a faint hint in the floral scent.

 

Agudumba told Dawa that Tagore's poems are very popular in China. In fact, many folk stories in China also came from India. The prototype of China's Sun Wukong comes from the legend of the Indian monkey god.

Stories, ballads, aphorisms, proverbs and riddles are all human reasoning, memory and imagination of folk tales. Stories are passed down from past generations. A thing that has been said by ten people can become a story in ancient times, so the Chinese say "ten mouths are ancient". Stories are "ancient", and telling stories is "telling the ancients." Stories can be roughly divided into three types: myths, legends, and wild stories.

Myths are "explanatory stories", which means that no matter how bizarre and unbelievable the content of the stories is, neither the people who tell them nor the people who listen to them have deep belief in them, but they are used to explain phenomena such as the universe, life and death, humans, beasts, men and women, etc. The difference is just the origin of etiquette, customs, etc.

A legend is a "narrated story". It does not necessarily explain the origin of a thing, but only describes the process of something. Regardless of its content, it is believed to be true by those who speak and hear it. It is also obviously different from myths. Most of the owners of myths are not human beings. Legends are historical figures, including heroic stories and love legends.

What is "Nojoyori"? It includes fairy tales, fairy tales and folk tales or fables. The protagonist of the story often has no name; the time and space where the story takes place are not remembered. The protagonists of Bangladeshi folk tales are mostly kings, princes and Brahmins. Indian folktales often talk about kings and Brahmins. But their "kings" are not all rulers. Rich households who own land can also be called kings or rajas. Therefore, many kings in ancient India are not real kings, and "king" is just an emblem. In terms of content, every time a king, prince, or Brahmin encounters a Rakshasa or other ghosts, or rescues a princess in the Rakshasa country, most of them have all kinds of joys and sorrows due to the marriage relationship. People who did bad things were often buried alive. Rakshasas often shapeshift into humans and other creatures. Their breath is like the wind. Rakshasa women also like to eat people just like Rakshasa men. She often transformed into a beautiful girl and beguiled people on the roadside. Sometimes she occupied cities and forced officials and people to sacrifice humans and animals for her food. They sometimes marry humans and have children like humans. In Bangladesh, this type of Rakshasa is called "Mando".

Indians believe that rakshasas live in trees. If someone offends them when passing under a tree at night, they will suffer from vomiting and indigestion. They are the most gluttonous and often confuse passers-by. If the light suddenly goes out while a person is eating, the food will be snatched away by Rakshasa, so he must quickly cover it with his hands. If people meet them, they are often eaten by them. Fortunately, they are very stupid. If they respectfully call them "uncle" or "aunt", they like them very much, show friendly behavior, and do no harm.

Dawa snuggled next to Agudemba, just like a child listening to his parents telling stories.

After Agudumba told the story, he followed the custom and read a poem "You Don't Know" by Rabindranath Tagore:

 

you do not know

Your tenderness fills the cup of my life.

you do not know

its value.

it's like a tuberose

Spread the fragrance in the dreamland of quiet night.

you do not know

All the songs you sing are in my heart.

unconsciously

It’s time to part again,

Lift up, lift up your joyful face,

at your feet

I dedicate a heart intertwined with sweet farewell sentiments.

you do not know  

The desolate night of your dull pain has faded away.

 

你不知道（雪域寓言）

 

你不知道

        

阿古登巴与充满青春活力的达瓦，在前往缅甸的路上，途中休息的时候，达瓦跳起了“巴乌尔”舞，唱起了泰戈尔所写的爱情歌《生死相伴》。

当达瓦依偎在阿古登巴身边时，阿古登巴朗诵起泰戈尔创作的爱情诗《我一刻也没有忘记》：

        

我一刻也没有忘记，

这条路上我走过无数次。

如今难道野草丛生，

抹尽了这条路的痕迹？

不过我心里觉得不必伤心，

说不定哪时吹来一阵顺风，

你归来一眼就认出我，

我也一眼就认出你。

一个人擎灯走在路上

一阵风吹灭了灯火。

不过心里踏实，知道

星光写的你的地址闪闪发光。

我知道，道路两边盛开的一簇簇

鲜花会纠正我行走的错误

花香中透出隐约的暗示。

 

阿古登巴对达瓦说，泰戈尔的诗在中国很流行。其实，中国有许多民间故事也是从印度辗转流入的，中国的孙悟空原型地是来自印度神猴的传说。

故事、歌谣、格言、谚语和谜语，这些都是人类对于民间故事的推理、记忆、想象。故事是从往代传说下来的。一件事情，经十个人说过，在古时候就可以变成一段故事，所以中国人说“十口为古”。故事便是“古”，讲故事便是“讲古”，故事大体可以分为神话、传说、野乘三种。

神话是“解释的故事”，就是说无论故事的内容多么离奇难信，说的和听的人对于它们都没有深切的信仰，不过用来说明宇宙、生死等等现象，人兽、男女等等分别，礼仪、风俗等等源流而已。

传说是“叙述的故事”，它并不一定要解释一种事物的由来，只要叙述某种事物的经过。无论它的内容怎样，说的和听的对于它都信为实事。它与神话还有显然不同之处，神话的主人多半不是人类，传说为历史人物，有英雄故事，也有爱情传说。

“野乘”是什么？它包括童话、神仙故事及民间故事或寓言。故事的主人常是没有名字的；也不记故事发生的时间与空间。孟加拉国民间故事的主人多半是王、王子和婆罗门人。印度的民间故事常说到王和婆罗门人。但他们的“王”并不都是统治者，凡拥有土地的富户也可以被称为王或罗阇，因此，印度古代许多王都不是真正的国王，“王”不过是一个徽号而已。从内容方面说，每是王、王子，或婆罗门人遇见罗刹或其他鬼灵，或在罗刹国把一个王女救出来，多半是因结婚关系而生种种悲欢离合的事。做坏事的人常要被活埋掉。罗刹常变形为人类及其他生物。他们的呼吸如风。罗刹女也和罗刹男一样喜欢吃人。她常化成美丽的少女在路边迷惑人，有时占据城市强迫官民献人畜为她的食品。她们有时与人类结婚，生子和人一样。在孟加拉国地方，这类的罗刹名叫“曼多”。

印度人，信罗刹是住在树上的，如果人在夜间经过树下冲犯了他们就要得呕吐及不消化的病。他们最贪食，常迷惑行人。如果人在吃东西的时候，灯火忽然灭了，这时的食物每为罗刹抢去，所以得赶快用手把吃的遮住。人如遇见他们，时常被他们吃掉，幸亏他们是很愚拙的，如尊称他们为“叔叔”或“姑母”等，他们就很喜欢，现出亲切的行为，不加伤害。

依偎在阿古登巴身边的达瓦，就象孩子在听家长讲故事。

阿古登巴讲完故事就按习俗，念了一首泰戈尔的诗《你不知道》：

 

你不知道

你的柔情斟满了我的生命之杯。

你不知道

它的价值。

它像一朵晚香玉

把幽香散布于静夜的梦乡。

你不知道

你唱的歌全存在我心里。

不知不觉

又是分别的时刻，

抬起吧，抬起你喜悦的脸，

你的足前

我奉献一颗交织着甜美的别绪的心。

你不知道              

你隐痛的凄凉的夜色已经退尽。

Iife and death

Iife and death

 

Dawa bid farewell to his mother Nima, old man Lavani and Pema, and embarked on a journey to Myanmar with Agudengba. With the help of old man Lavani and her mother, the young Dawa girl has now become Agudumba's partner.

Along the way, Agudenba led the donkey, but Dawa sang happily. Dawa said to Agudumba:

I am very grateful to you for accepting me and agreeing to go to Myanmar together to find the father of my best friend Yadan. Yadan was kind to me. She became my best friend after being kidnapped and taken to the island. Her father is a famous man. A musician, she received music and singing and dancing education since she was a child. Yadan not only taught me singing and dancing, but also taught me a lot of knowledge in this area.

Dawa said: Yadan told me that music and dance are very important parts of Bangladesh’s cultural heritage. Bangladesh’s music and dance have various forms, including Baur, Rajpat, Bongo. These music and dances have their own unique characteristics and reflect the rich culture and history of Bangladesh.

Bangladeshi music is as famous as the Carnatic classical music of South India and the Hindustani classical music of North India, but folk music occupies a more important position in its traditional music.

There are many songs related to religion in Bangladeshi folk songs, mainly including "Kaweigan", "Letougan", "Gasila", "Galigan", "Palagan", "Baur" and other varieties. "Gan" means "song" in Bengali, and "Kawe" means "lead singer" or "lead singer". "Kaweigan" is a popular folk group duet singing form. Each group has a leader, and the group sings under his leadership, hence the name. This kind of song sings Hindu mythology in the form of questions and answers, which may last for several hours. "Le Tou Gan" and "Ka Wei Gan" are relatively similar in content and performance form, but with the addition of dance, they are more comprehensive and more attractive to the audience than "Ka Wei Gan".

Dawa continued: In addition to "Kaweigan" and "Letogan", there are also songs related to Hinduism such as "Gasila". "Gasila" is a song in praise of the Hindu god Shiva. It was originally sung when worshiping Shiva, and now it is also a song for worshiping the god. The performance of "Gasila" includes not only songs, but also dance and performance parts. It is a comprehensive art form.

Islam is the state religion of Bangladesh, and "Bayati" is a song sung by Islamic believers about Islamic historical stories and war stories. Its melody and language are closely combined and have the nature of chanting. Another type of rap song sung by "Bayati" is called "Palagan". This kind of song is performed by a lead singer and two or three accompaniments. The accompaniment accompanies the singer with instruments and sometimes asks some questions for the lead singer. The person answered. The main content of "Palagan" is a popular folk hero story in Bangladesh. Its form includes speaking, singing, dialogue, and sometimes some simple dance movements to match the storyline.

Agudemba looked at Dawa who was full of youthful vitality with great joy. He didn't say much along the way, but just listened to Dawa's narration.

In front of a small tree, Agudemba said to Dawa: There is a small river and a piece of grass here. Let's take a rest and let the donkeys drink some water and eat some grass.

During the break, Dawa danced the "Baur" dance. She said to Agudemba:

"Baur" is a folk religious belief in Bangladesh. People who believe in this religion express their beliefs and ideals through singing. When dancing the "Baur" dance, four or five people usually sit together and perform, accompanied by the plucked instrument "Ecotra" and drums.

The lyrics in "Baur" songs are very beautiful and philosophical, and the tunes are also very colorful. The songs written by Tagore combine elements of "Baur" songs and Bangladeshi classical music.

Dawa danced the "Baur" dance and sang the love song "Life and Death" written by Rabindranath Tagore:

      

In my empty heart,

You are the distant and quiet dusk cloud that I explore.

I shape you with my full tenderness

You belong to me, flying in my boundless heart.

My blood stains your feet,

You stroll in my dreamland at dusk.

The arsenic and nectar on your lips

It’s the joy and pain that I crushed

You belong to me, wandering around in my lonely life.

You are at ease in my enchanted eyes,

The eyelids are smeared with the smoke of my dreams.

The song I sing wraps around your waist -

You belong to me and will accompany me through the cycle of life and death.

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