Translation of the Puranas was a path breaking event during the Ahom age which opened new doors and vistas to the pathway of Religious literature.There was much activity during this period in the direction of translating the Indian Puranas, and of composing kavyas on different themes of these texts. The translation of the Puranas provided kings and common people with not only a mythology, a magnificent sacramental literature, and a series of love-romances, but also a code of law which the Ahom kings needed very much.

Translation of Vishnu Purana
A portion of the Vishnu Purana was translated at some time in the seventeenth century A.D. by Bhagavat Misra who was also known as Raghunath Misra. He made metrical renderings of the Satvata Tantra also. A complete and literal translation of Visnu Purana was made by Parasu Ram Dvija in the first half of the- 19th century (1836). Though the author imitated the Vaisnava poets in language and method of narration, his work on the whole shows no literary skill or accomplishment. The Visnu Parvan of the Harivamsa was rendered into Assamese by Kavi Sekhar Vidyacandra Bhattacaryya during the reign of the Ahom king, Rajeswar Singha (1751-1769). The work gives an account of Krsna`s birth and his subsequent doings and exploits amongst the cowherds at Gokula or Vrindavan. But one noticeable feature of the work is the presence of Radha as the mistress of Krsna. In the original Sanskrit version, the Rasa-krida of Krsna at Vrndavana with the milkmaids is described in the twentieth chapter of Visnu Purana, but the name Radha is singularly absent there. The Assamese poet, in course of his description of the Rasa-krida episode, narrates the pangs of separation and the love at first sight of Radha and Lord Krishna. The introduction of Radha as the devoted mistress of Krsna was perhaps made under the influence of Brahmavaivarta Purana, which gained popularity in the contemporary Ahom Court. Under the orders of King Siva Singha (1714-1744) and his queen Pramatheswari, Brahmavaivarta Puranawas translated by the Court Poet, Kaviraj Cakravarti. Kaviraj Cakravarti`s work is not a complete translation; the poet adapted only the episodes relating to Krsna`s early life.

His" description of the Rasa-krida episode with erotic sentiments and suggestions is rather pleasing. Kaviraj Cakravarti alias Ram Narayan Cakravarti was the most outstanding poet of this period. He was Poet-Laureate under several Ahom Kings. Cakravarti`s important literary contributions are Sankhasura-vadha, Geetagovinda and Sakuntala-kavya .The episode of Sankhasura-vadha was taken from the Prakrti Khanda of the Brahmavaivarta Purana. The Sankhasura-vadha begins with the birth of Tulasi and then gives a detailed account of her marriage with Saftkhasura, the demon king, and of the exploits of the latter.

The rape of Tulasi by Krishna, the fight between Sankhasura and Mahadeva, and the eventual death of Sankhasura and his metamorphosis into a conch-shell are narrated in an entertaining manner. Kaviraj Cakravarti`s version of the Geeta Gobinda is done in the stereotyped hexameter couplets and does not have the same songs and speeches as in the original. Consequently, it fails to bring out the intense lyrical feeling of the original, and the intimate sentiments of the characters. Kaviraj Cakravarti is considered to be the translator of the Madhava-Sulochana episode occurring in the fifth chapter of Kriya -yoga-sara appended to the Uttara Khanda of the Padma Purana. The story is narrated with a view to showing the merits of bathing in the Ganga-Sagara-Sangama. It should be noted that a complete translation of the entire Brahmavaivarta Purana was made under the patronage of Prince Hayanarayan, a Koch king who ruled in Darrang District. The work was done in collaboration by four poets, namely, Ratikanta Dvija, Nandesvar Dvija, Norottama Dvija and Khargesvar Dvija, at some time in the Sakaera 1717. Rucinath Kandali is the first translator of the Candi episode from the Markandeya Purana. In this translation, made during the reign of King Rajeswar Singha, Rucinath introduces episodes from Kalika Purana, Vamana and Brahmavaivarta Puranas to fill the rifts in the story narrated in the Markandeya Purana. Another book, Kalki Purana, is also ascribed to Rucinath Kandali. King Siva Singha and his consort Ambika Devi patronized Kavicandra Dvija and set him to translate Dharma Purana. Dharma Purana is a voluminous work describing eloquently the duties of men and the need of their observance. Along with these, the work narrates many a didactic story. Some of the incidents of this Assamese version, such as the origin of the Ganges, the fight between Andhakasura and Siva, the quarrel of Kadru and Vinata, the stealing of nectar by Garuda, are drawn from other Puranic lore. These Assamese versions of the Puranas are not literal renderings of the originals. Mostly they are epitomes or free adaptations with emphasis on the story (akhyana) element. Many of the translators and adaptations came from the common people and were in perennial contact with the soil. Therefore they wrote in a simple style and enshrined in their writings many popular myths, legends, folklores, and cultural traditions. Highly philosophical disquisitions were avoided, but, where given, were interpretative. Their works were interspersed with devotional songs to replace the metaphysical elements, and these rendered the Puranas popular. The authors` paid little attention to literary decorations as their principal aim was only to popularise the Pauranika akhyanas and Hindu ideals. Portions of these translations are breezy and racy but not because of quaint humour: a feature rare in earlier literature. These poems may not have high literary merit but they are read by our village people even now with avidity as they are rich in didactic passages and embody popular philosophy.