By Raphael Warjri
Strengths: The article provides a compelling mythic framework that is richly symbolic and culturally specific—fitting for the Khasi world.
It links cosmic themes (divine assembly, creatures, gifts) with social themes (human pledge, kinship, power).
It includes folk performance: the maryngod, the tale of the farmer, birds, parasites—this grounds the myth in lived cultural practice.
It offers a narrative arc: a golden age → human act → loss of divine protection → enduring struggle.
Gaps / Questions: The matrilineal dimension: while implied (honour maternal and paternal kin, youngest daughter as heir in Khasi culture) the article could more explicitly engage with how the myth intersects with matriliny: e.g., the pledge to maternal kin, the youngest daughter, the role of women in the ‘golden age’, etc.
The article does not fully address how these mythic narratives are translated into contemporary social practices or contested in practice—e.g., how matriliny is being challenged, how youth engage with these myths, how Christianisation or modernisation affects them.
It would benefit from more explicit linkage between myth and ecological or material practices (e.g., land, forest, animals)—since the myth deals with creatures, it invites an ecological reading.
- Implications for preserving Khasi heritage and matriliny
Given your interests (folk-inspired story, dialogue-based concept, public statement on preserving Khasi matriliny), the article offers the following affordances:
Symbolic resources: The myth gives you powerful symbols—divine assembly, gifts, serpent/tiger envy, the creature Thlen, the protector-role for humans, the stamped stone at Nongkhrah, the maryngod, the bulbul’s red tail. These can serve as motifs or metaphors in your film, monologue or poem.
Narrative structure: Golden age → rupture → consequence → endurance. This lends itself to screenplay structure: Act I (golden era of Morba & Shibet), Act II (incident of folly/curiosity), Act III (vernacular collapse, struggle, re-affirmation).
Social message: The myth emphasises stewardship (“tipbriew tipblei” – honour mother/father, conscience), right living, the consequences of greed (Thlen), of unchecked curiosity (Syiem Nongklung). You can align this with contemporary issues: the erosion of matriliny, patriarchal encroachment, environmental degradation, cultural forgetting.
Material heritage: The maryngod and associated folk tales provide a concrete heritage link. You could adapt the mourning-tune narrative into a visual poem or voiceover, showing how music/ritual encode communal memory.
Matrilineal preservation: Link the mythic pledge (to maternal/paternal kin) with the matrilineal institution, showing how the human/human-animal divine order mirrors or informs the social order in Khasi society. Perhaps show how forgetting the pledge (or human folly) leads to breakdown—not just of divine protection but of matrilineal values (inheritance, clan continuity, women’s roles).
- Suggested academic references to deepen your grounding
Here are a few academic works you may want to consult to anchor your commentary, writing and film in rigorous scholarship:
Wattanagun, Kanya. “The Divine Ancestress in a Matrilineal Society: The Imprints of Khasi Matriliny on the Legend of Ka Pahsyntiew.” Thammasat Review. (analyses Khasi myth and matriliny) (Thai Journal Online)
Shangpliang, Rekha M. “Khasi matrilineal kinship: The ideology ‘Long jait na ka kynthei’ (From the woman sprang the clan).” NEHU Journal Vol. XIX No.2. (North Eastern Hill University)
“Matriliny: The Cultural Cradle of Khasi Kinship System” (East India Story). (East India Story)
“Matrilineal society of Meghalaya” (Facts and Details). (Facts and Details)
You might also review colonial-legal critiques of matriliny (e.g., Warjri’s Mei: Matrilineal Exogamous Institution) though I did not locate full open-text here.
- Concluding reflections
The article you shared is both poetic and culturally grounded. It presents the Khasi world as one deeply embedded in mythic imagination, where the divine, the natural, the human and the social converge. But as you are aware (and as the academic literature underscores) matriliny is not simply a cultural relic—it is a living system under pressure. The golden age narrative metaphorically invites reflection on the “age” of cultural harmony, and the human act of curiosity or greed marks the shift to our present, less protected, more vulnerable condition.
In your work on preserving matriliny and addressing emerging patriarchal aspirations, you might use this mythic frame to argue: that the erosion of matriliny is akin to the withdrawal of divine protection—the social pledge is broken, vulnerability sets in, meaning is lost—but cultural resilience lies in remembering the original pledge, re-asserting the logic of “tipbriew tipblei bad tipkur tipkha”.
Khasi Heritage: The Cradle of Khasi Culture
The interconnection of nature is deeply ingrained with spiritual significance, with energy flowing from the elemental forces shaping and sustaining life. From the radiant warmth of the sun to the tranquil influence of the moon, from the refreshing breezes of the air to the life-giving flow of water, and from the transformative power of fire to the awe-inspiring might of thunder and earthquakes, each element plays a vital role in the tapestry of existence.
Within this vast tapestry, certain natural features are believed to be inhabited by spirits of various dimensions, imbuing these landscapes with sacred significance. Rivers, mountains, forests, caves, and other natural wonders are seen as the abodes of these spirits, each with its own character and influence on the world.
Human society, too, plays a role in shaping the spiritual landscape, with deities being harbored and revered according to the desires and needs of individuals, families, and communities. Landmarks such as Sohpetbneng peak, Diengiei peak, Shyllong peak, and Ka-Meikha peak are believed to be inhabited by Sylvan deities, each associated with different aspects of human life and the natural world.
Rivers like the Kupli, Kynshi, and Umngot are seen as the homes of spirits, both major deities and minor spirits, whose influence can be benevolent or malevolent. In ancient times, it is said that all spirits were revered as bountiful deities, but mischievous spirits were eventually condemned to the subterranean realms.
In this way, the spiritual and natural worlds are intimately intertwined, with each aspect of the environment imbued with meaning and significance, reflecting the rich tapestry of beliefs and traditions that have shaped the cultural landscape of the region.
The mythology surrounding Mawlongsyiem at Sohra is rich with tales of familial relationships and divine retribution. Mawlongsyiem is revered as the major deity of Mawsmai territory, and is believed to be the father of Ka Ngaid, Ka Shwar, and Ka Taro. Ka Ngaid, in turn, is the mother of U Thlen, who famously married the toad ‘Ka Hynroh’.
According to legend, Ka Hynroh gave birth to a creature that was inadvertently devoured by her husband, U Thlen. Upon realizing his mistake, U Thlen was consumed with fury and remorse. He made a solemn vow before the divine council that he would sustain himself by feeding on human blood and amass great wealth. As a result of this pledge, U Thlen was condemned to the subterranean realms.
Ka Shwar and Ka Taro, siblings of U Thlen, are associated with virulent substances known as Ka Lasam and Ka Bih, respectively. These substances are believed to be wielded by the keepers of these spirits, who can infect their victims with their effects. Ka Lasam is said to cause bleeding of the gums and affects the interior portion of the mouth, while Ka Bih leads to swelling of the lips and affects the outer portion of the mouth.
These aspects of Khasi mythology highlight the complex interplay between familial relationships, divine intervention, and the consequences of one’s actions. Further elaboration on these themes may shed light on the cultural significance and symbolic meanings associated with these mythological figures and their attributes.
Thlen, the mammon-serpent, remained dormant for countless ages during the golden age or ‘Aïom Ksiar,’ a time when the earth thrived with vitality and harmony. Despite his occasional curiosity, he held a deep reverence for Ka Meihukum and U Thawkur, the omnipotent and omniscient divine beings. However, as humanity established itself on earth and some neglected their spiritual duties, it created an opening for Thlen to exploit vulnerable beings.
This neglect provided Thlen with the opportunity to emerge onto the surface of the earth, or ‘Ryngkew,’ seeking to satisfy his desires. In the Khasi worldview, humanity is seen as composed of seven clusters of inhabitants, akin to the seven continents of the world in modern interpretation. According to Khasi mythology, humanity descended from heaven at the summit of Sohpetbneng, also known as the Heavenly Umbilical peak.
The mythological narrative of human origins at Sohpetbneng finds archaeological support in the work of scholars like Dr. Marco Mitri, whose excavations have uncovered ancient settlements at sites such as Lawnongthroh and other areas surrounding the Sohpetbneng peak in Meghalaya’s Ri-Bhoi district. These discoveries lend credence to the traditional Khasi beliefs and provide a tangible link between mythology and historical reality.
Among the seven divine families, the democratic imperial deity, U Syiem Lakriah, leads the delegations, while the domestic imperial deity, Ka Lukhimai, oversees the transitory settlement on earth. Ka Lukhimai attends to all domestic matters, while Syiem Lakriah and his sons, Sormoh and Sorphin, supervise affairs beyond the domestic sphere. After completing their divine duties, the seven divine families ascend the golden vines to return to their celestial abode.
During the golden age, temporal and celestial beings coexist harmoniously, and communication is clear and perpetual. Stone and soil understand the language of birds and insects, just as plants and trees comprehend the voices of animals, water, and stars. Tangible and intangible elements interact seamlessly throughout the universe. Truthfulness and compassion prevail among creatures, but enmity and vengeance are embodied in the mammon serpent, known as ‘U Thlen’ in Khasi mythology.
The seven divine families represent esoteric spiritual beings from the celestial orbit, descending upon earth to enlighten temporal attributes. Syiem Lakriah, Lukhimai, Sormoh, Sorphin, and all members of these families were in harmony with the entire universe until the mammon serpent, U Thlen, disrupted the harmonious rhythm on earth.
(To be continued…)
Also Read: https://highlandpost.com/a-commentary-on-khasi-folklore-8/
