Alha Khand is a popular folk-epic in North India consisting of many gathas (folk ballads). It is presently known as Alha, and its reciters are called alhait. Tradition says that the name of its composer-poet is Jaganik. Alha was, perhaps, composed between 1182 and 1203 CE.
In 1865 CE, Sir Charles Elliott employed one of three or
four Alha singers to compile Alha. It was published for the first time by
Munshi Ram Swarup. Portions of its Bhojpuri version were collected and
published by Sir G.A. Grierson and a few portions of its Bundelkhandi version
were published by Vincent A Smith (Linguistic Survey of India, Vol. IX, I, page
502.)
W Waterfield translated a few portions from Elliott’s collection
and Nine Lakh Chain or Maro Feud was published in installments in Calcutta
Review (Vol. No 61 and 63) of 1875-76 CE. The Lay of Alha was published in 1923
CE by G A Grierson in which he gave translated portions by Waterfield and
abstracts of untranslated portions. These valuable collections led to the later
publication of Alha Khand by many publishers.
The composition is replete with references which
problematize the text. The historical changes in the time period of the original
composition resulted not only in a number of battles but introduced changes in
weaponry such as the introduction of cannons, pistols, etc., in the battles.
These had been unknown to the Chandelas and Cauhanas of 1182 CE.
There is the depiction of a ritual problem in the present
plot of Alha. Prithviraja’s sister Bela was married to Paramala’s son Brahma,
but Prithviraja Cauhana demanded Paramala’s daughter Candravali while besieging
Paramala’s fort at Mahoba. This incident involved a moral question as to
whether the demand for Candravali was just or improper. Thirdly, the linguistic
problem of using such modern words as kachari (court), salam (good bye), kursi
(chair), sipahi (policeman), etc., have also complicated the problem. Taking
into account all these problems in dealing with an Alha text, an authentic text
which might be considered nearest to the original, has been editec by Narmada
Prasad Gupta in the course of a special project offered by Madhya Pradesh Lok
Kala Parishad, Bhopal.
Alha’s text in Mahoba style is the oldest one from which
different styles of Sagar, Datia, Pucchi, Karganva have sprung up in
Bundelkhand. The texts in Kanauji, Braji, Bhojpuri, Awadhi and other regional styles
have used elements of their regional folk culture to redesign the plot. Hence
these texts are original in their own. All the texts collected together reflect
the widespread folk culture of India. In this respect, Alha Gathas are an
example of regional epics for their vigor and vitality.