In an Antique Land (32 page)

But that only served to bring me back to that mysterious acrostic: B-M-A. After puzzling over those three characters for a long time, one last possibility suggested itself to me. In Judæo-Arabic (as in Arabic) a doubled letter is often represented by a single character. It was possible then that the single ‘M' in the name was actually doing duty for two of its kind. If that were so, it would mean that there were actually four letters in the name: ‘B-M-M-A'. If I then filled in a short vowel after the first letter, the result was ‘Bomma' or ‘Bamma', names which I knew to be common in certain parts of India.

Proceeding on that premise I began to look through the names in medieval inscriptions from Tulunad and its surrounding regions. The results were immediately gratifying.
I discovered, for instance, that a man called Mâsaleya Bamma, who had worked as a servant for a group of warriors, had been killed, not far from Tulunad, just a few years before Ben Yiju arrived in India. His masters had caused an inscription to be carved in his memory: it was dated 15 June 1126, and it was discovered in a village about two hundred miles north-east of Mangalore.
Another inscription from the same region records the name of one Se
i Bamma, a man from a merchant family, who married a pious wife. From those, as well as other sources, it was soon clear to me that ‘Bamma' had been a common name in that region in the Middle Ages.

Slowly the
indications mounted, and just before leaving for Mangalore I came to be convinced that the Slaves name was actually ‘Bamma' or something of the sort. Exciting as the discovery was, it also brought me to a standstill: I did not know whether the name was derived from the Sanskrit word ‘Brahma' or from some other source, and I had no idea at all whether it might reveal anything about the Slave's origins by linking him to any particular caste, religion or social group.

And so it was not without reason that I found myself balancing on the edge of my seat, as I waited for Professor Viveka Rai that morning in Mangalore: it was as though the identity of an elusive and mysterious acquaintance were soon to be revealed.

P
ROFESSOR
R
AI PROVED
to be a soft-spoken, youngish man, tall and bespectacled, with an air of gentle abstraction that hid a precise and immensely erudite mind. He quickly became absorbed in my account of my unravelling of the Slave's name, and it was not till I reached the end of the story that he broke in to correct me.

I had come very close, he said, in fact I was only fractionally off the mark: the Slave's name was probably ‘Bomma' rather than ‘Bamma'.

The name Bomma had once had wide currency within Tulu culture, he explained, and even until a generation or so ago it was commonly encountered in and around Mangalore. Over
the last few decades it had passed out of general use as a personal name, but it was still preserved in the titles of various groups and clans in Tulunad. As for the derivation of the word, he said, it was a matter of critical importance to the story of the Slave, but the trail that led to its source was a circuitous one, traversing a wide swathe of Tulu culture and history.

The people of Tulunad were divided, by tradition, into several castes, ranging over a broad expanse of the social hierarchy—from immensely rich and powerful landlords, to poor peasants and Untouchables.
But divided as they were by rank and occupation, the Tuluva still shared certain aspects of a common culture: they all spoke Tulu, for one, and they also followed matrilineal rules of inheritance for certain kinds of property.
Equally, they shared in the worship of certain spirit-deities known as Bhûtas.

By tradition, each of the Tuluva castes and communities played a designated role in the Bhuta-cult, one providing financial support, for instance, one tending the shrines, others performing the ritual dances and so on. The cult was closely tied to the land, and those who did not own or work on the land—Brahmins, for example—were generally excluded from its rituals and celebrations. These rites were not just occasional events; they followed closely upon each other, even weekly in some seasons, and so the people who participated in them were thrust together at frequent and regular intervals. As a result they stood apart, in some ways, from the other people in the region: their rites, their language, and their matrilineal institutions gave them a distinct identity within the diverse population that had drifted into Tulunad over the centuries.

The Brahmins, on the other hand, played an important role in an altogether different aspect of the religious life of the region;
they were the standard-bearers of
the Pan-Indian Hindu tradition which formed the complementary other half of the folk-religion of Tulunad. As in much of India, the religious fabric of Tulunad was woven from an equal mixture of local forms of worship (the Bhuta-cult, in this case) and the high Sanskritic tradition. Along with its innumerable Bhuta shrines, Tulunad had its fair share and more of temples dedicated to the gods of the Sanskritic pantheon, and most of the Tuluva people participated enthusiastically in the worship of both sets of deities.
There was no contradiction in this, of course, for to them Bhutas and Sanskritic deities represented aspects of divine and supernatural power that shaded gently and imperceptibly into each other. Indeed, under the benign cover of that shade, there was a good deal of trafficking between the two pantheons: some Bhuta deities would occasionally appear within the mists of high Sanskritism, while others fell from favour and vanished into the netherworld.

It is somewhere in those dark and shaded regions that the pedigree of the name Bomma takes a sudden and unexpected turn and leads away from the Brahma of classical Hindu mythology towards a deity of an altogether different character.

And, by an extraordinary coincidence, said Professor Rai, I could, if I wanted, have a glimpse of that deity, a darshan, that very night.

‘How?' I asked, imagining a night-time vigil at a lonely shrine in a deserted and wind-tossed palm-grove. ‘Is there going to be a secret exorcism?'

Professor Rai cast me a quizzical glance. ‘On television,' came the laconic answer. ‘In a film that's going to be broadcast this evening.'

The film was in black and white; it had been made some ten or fifteen years earlier by some friends of Professor Rai's, and
besides serving as an advisor for it, he had also written some of the songs. It was one of a small number of films made in the Tulu language, and it was based upon the most celebrated folk-epic of Tulunad, a legend that recounted the deeds of two heroic brothers,
Koti and Chennaya.

When the heroes appeared on the screen, I noticed they were carrying small sickles around their waists. The sickles were symbols of their caste, Professor Rai explained, for the brothers were Billavas, whose traditional occupation was that of brewing and extracting palm-wine or toddy.

Through no fault of their own, Koti and Chennaya eventually ran afoul of the ruler of their area—a man of the Bant caste, which was traditionally the landowning community of Tulunad. Soon their enmity became very bitter, and the brothers were sentenced to exile and sent away from their native region. Before setting out on their travels, however, they managed to go to the shrine of their personal deity to seek his succour and protection.

‘Now watch this scene,' said Professor Viveka Rai with a smile, as the two heroes went up to the shrine and began to sing a devotional song, their hands joined in prayer.

Listening carefully, I soon recognized a name that was repeated over and over again; it was the only word I could understand, for the song was, of course, in Tulu. This particular word, however, was instantly familiar: it was none other than ‘Brahma'.

Having recognized the name of the deity, I thought I knew exactly what I would see when the camera turned towards the shrine's interior: a four-headed, four-armed image, accompanied by a goose—the traditional representation of the god Brahma according to the rules of classical iconography. But instead, to my great surprise, the camera revealed an elongated wooden
figure, with curling moustaches, holding a sword in one hand. It was an image of a warrior-deity, wholly unrelated to the Brahma of the Sanskritic pantheon.

I knew now why Professor Rai had smiled so enigmatically: the deity of the Tulu myth was evidently not the same as the Brahma of classical Sanskritic mythology.

Later, he explained that the god depicted in the film had originally had a wholly different name: he was Berme or Bermeru, the principal figure in the pantheon of Tuluva Bhutadeities. Over time, with the growth of Brahminical influence, the Tulu deity Berme had slowly become assimilated to the Sanskritic deity ‘Brahma'.

So the pedigree of the name Bomma in the Tulu language probably stretched back to a time before the deities of Tulunad had begun to assume Sanskritic incarnations: in all likelihood it was a diminutive of ‘Berme', the figure who stood at the pinnacle of the Tuluva pantheon of Bhuta-spirits.

It took me a long time afterwards to check the steps in the argument and to work out the consequences that this derivation would have for the history of the Slave. Speculative though it was, the argument seemed to lead to the conclusion that the Slave of MS H.6 had been born into one of the several matrilineal communities which played a part in the Bhuta-cult of Tulunad.

It was thus that Bomma finally came of age and was ready at last to become a protagonist in his own story.

T
HERE IS ONLY
one incident in Bomma's life of which we have direct knowledge. By yet another odd coincidence this story also happens to be the one with which Bomma entered the annals of the Geniza: the letter which recounts it is the earliest known document in which his name is mentioned.

The principal reason why the story has been preserved is that it was set in Aden, and thus earned a mention in a letter written by Madmun.
The letter in question is one of the most important that Madmun ever wrote, for he included in it a description of an unusual and dramatic event: a piratical raid on Aden by the ruler of a small kingdom in the Persian Gulf. Yet in the letter, Bomma's doings actually took precedence over the raid and from the pattern of Madmun's narrative it seems possible that Bomma was actually present, on his very first appearance in the Geniza, at the enactment of a full-blooded historical event, more than a thousand miles from his home in Mangalore.

The events which Madmun described in his letter are known to have occurred in 1135, so the letter must have been written soon afterwards. Bomma happened to be in Aden at the time because Ben Yiju had sent him there on an expedition that appears to have been partly a business trip and partly a shopping jaunt. When he returned to Mangalore, he brought back a large consignment of goods, including a whole array of clothes, household utensils and presents for Ben Yiju and his family. Altogether, the purchases that Bomma made in Aden added up to about ninety-three dinars.
It is worth adding—since it is only human to be curious about other people's shopping expenses—that this sum of money could have paid
the wages of a mason or builder for more than two and a half years, or it could have bought somewhere in the region of 2,000 kilograms of meat or 3,000 kilograms of olive oil.
Alternatively, with the addition of a mere seven dinars it would even have served to ransom the lives of three adult Spaniards at the going rates.

Ben Yiju gave Bomma a fairly generous monthly allowance while he was in Aden—two dinars a month, or about
the wage of any artisan—but the figure was a paltry one compared to the sums of money that Bomma was handling in Aden.
Madmun's accounts show that the consignment of goods that Bomma took with him to Aden fetched about 685 dinars on the market: a sum that would have been large enough to buy Ben Yiju a splendid mansion in Fustat. But of course, Bomma for his part must have been accustomed to dealing with sums of that kind, for it is worth remembering that this small fortune represents the value of just a single consignment of goods sent from
Mangalore to Aden—probably no more than a seasons earnings, and that, too, for a newly established merchant with a business of relatively modest size.

The volume of goods and money that flowed through Aden was evidently huge and it was the prospect of those rich pickings that made the city the object of a raid in the year of Bomma's visit.

The expedition was not perhaps an event that properly deserves to be called ‘historic', yet it did make a deep enough impression to earn a mention in a chronicle written by the historian Ibn Mujawwir a century and a half later. As for Ben Yiju's friends in Aden, at least two of them were moved to describe it at length in their correspondence: Madmun, when he wrote to Ben Yiju, and Khalaf ibn Ishaq, in a letter to their
common friend, the traveller Abu Sa‘id Halfon.

The villains of the piece, by common agreement, were the rulers of Kish (or, properly speaking, Qai
), an island at the mouth of the Straits of Hormuz, which by virtue of its location commanded the sea routes to the Persian Gulf. The Amirs of that tiny kingdom were amongst the most ambitious representatives of a breed that proliferated in the Indian Ocean: pirates, who made their living by preying on the rich merchant vessels that plied the trade-routes.