Masters
of Language
Subhash
Kak
Sulekha Columns
The events of September 11 remind us how words can
convert ordinary people into mass murderers. But there are good words and bad words.
Here we speak of three people whose words have done a lot of good for more than
two thousand years. One could even say that these three people transformed the
world.
Although most ancient narrative is as myth, a code
language intermixing history, psychology, astronomy and metaphysics, three
ancient sages wrote about language with great directness. Euclid (c 300 BC) in
his Elements describes the language of mathematical ideas, Panini (c 450
BC) in his Ashtadhyayi describes the language of universal grammar, and
Bharata Muni (c 450 BC) writes about the languages of gesture, dance and music
in his Natya Shastra. Of these three we are reasonably certain of the
dates of Panini and Euclid but much less of Bharata.
Euclid, educated in Plato's academy, did his work in
Alexandria. He presented Greek mathematics and geometry in terms of axioms and
theorems. His approach was so elegant that his book remained the textbook of
elementary geometry and logic up to the early twentieth century. Its formal
method became the standard to be emulated for every new discipline. The idea of
a short constitution to which all pay allegiance may ultimately be traced to
Euclid's framework.
Panini described the grammar of Sanskrit
algebraically in complete detail, an achievement that has not been matched for
any other language until today. Panini's grammar is as intricate in its
structure as the most powerful computing machine. The scope of his achievement
qualifies Panini as one of the greatest geniuses who ever lived. Not only did
he influence attitudes in the East for centuries, his ideas led to the
development of the subject of philology in the West.
Sadly, good ideas can be used for evil deeds.
Philology became the underpinning of a racist attitude to history that was used
to justify European colonialism, leading ultimately to Nazism. This racist
attitude persists today in many departments of Sanskrit and Indian studies. It
was embraced by the left in India, where it remains an ugly underside of the
political discourse. Arcane philological controversies can garner headlines in
the left's political magazines in India.
Bharata Muni's Natya Shastra not only presents
the language of creative expression, it is the world's first book on
stagecraft. It is so comprehensive that it lists 108 different postures that
can be combined to give the various movements of dance. Bharata's ideas are the
key to an understanding of Indian arts, music and sculpture. They provide an
insight into how different Indian arts are expressions of a celebratory
attitude to the universe.
Five of the thirty-six chapters of the Natya
Shastra are devoted to music. Bharata speaks of the 22 shrutis of
the octave, the seven notes and the number of shrutis in each of them.
He explains how the vina is to be tuned. He also describes the dhruvapada
songs that were part of musical performances.
The concept of rasa, enduring sentiment, lies
behind the aesthetics of the Natya Shastra. There are eight rasas:
heroism, fury, wonder, love, mirth, compassion, disgust and terror. Bharata
lists another 33 less permanent sentiments. The artist, through movement,
voice, music or any other creative act, attempts to evoke them in the listener
and the spectator. This evocation helps to plumb the depths of the soul,
thereby facilitating self-knowledge.
Euclid and Panini are well known to scholars and the
general public. Euclid's formal system became the exemplar for European
science. Panini's algorithmic approach to knowledge was the model for
scientific theories in the Indic world, extending from India to the east and
Southeast Asia. The ideas of the Natya Shastra make intelligible the
sculpture, temple architecture, performance, dance and story telling of the
culture of east and Southeast Asia.
Sadly, Bharata's great text lay forgotten in India
for almost a thousand years, his ideas remembered mainly through secondary
sources. This is surprising considering this work has a sweep broader than that
of Euclid or Panini. It is easy to understand success in devising a method of geometrical
reasoning or finding the algebra of grammar as they are inherently structured.
But imagine the audacity of creating a language for gesture, dance and music!
Also, Euclid and Panini wrote for the scholar, whereas Bharata's work
influenced millions directly or indirectly. For these reasons alone, the Natya
Shastra is one of the most important books ever written.
To appreciate the pervasive influence of the Natya
Shastra, just consider music. Bharata's work helps us see that ancient Greek
music was similar to Indian music. The comprehensiveness of the Natya
Shastra forged a tradition of tremendous pride and resilience that survived
the westward movement of Indian musical imagination through the agency of
itinerant musicians. Several thousand Indian musicians were invited by the
fifth century Persian king Behram Gaur. Turkish armies used Indians as
professional musicians.
The large Roma exodus from north India as a
consequence of the Ghaznavid invasions gives us a clearer link between Indian
music and the West. The Roma in Europe, living as tinkers, craftsmen, horse
traders and entertainers -- a despised minority in the fringes of society --
were able to maintain cultural continuity, especially in music.
Their devotion to their ways earned them grudging
respect for exemplifying 'freedom' which by the late 18th century had caught
the imagination of Europe fighting the suffocation of the Church. Slowly, the
Roma (Gypsy) singers began to enjoy the patronage of the middle-class and the aristocracy.
According to Linda Burman-Hall: “Gypsy bands...
travelled from village to village accompanying the 'strong' dancing of soldiers
who recruited continuously for Nicolas the Magnificent's military operations.
The style of this verbunkos (the so-called 'recruiting' music), -- a
deliberate fusion of earlier Gypsy music (such as the 16th century works
preserved in organ tablature) and elements of the western European tradition,
-- influenced Haydn and other classical composers because it was favored by
public taste. As a national fashion this style remained popular through the
19th century with composers such as Beethoven, Hummel, Schubert, Brahms, von
Weber, Doppler and especially Liszt writing in a 'style Hongrois' influenced by
the jagged rhythms and fantastic cadences of the verbunkos style.”
Bharata stresses the transformative power of creative
art. He says, “It teaches duty to those who have no sense of duty, love to
those who are eager for its fulfillment, and it chastises those who are ill-bred
or unruly, promotes self-restraint in those who are disciplined, gives courage
to cowards, energy to heroic persons, enlightens men of poor intellect and
gives wisdom to the learned.”
Our life is spent learning one language or another.
Words in themselves are not enough, we must learn the languages of
relationships, ideas, music, games, business, power, and nature. There are some
languages that one wishes did not exist, like that of evil. But evil, resulting
from ignorance that makes one act like an animal, is a part of nature and it is
best to recognize it so that one knows how to confront it. Creative art show us
a way to transcend evil because of its ability to transform. This is why
religious fanatics hate art.
Modern inquiry began as a search for the language of
inanimate nature. Science slowly expanded into living systems and now with
investigations into behavior and cognition it has come close to the ancient
meaning of the term. The languages of cognition and music may be seen as the
pinnacle of this journey of science. Bharata Muni's text is a most useful guide
to the weary traveler on this path.
Resources: To understand
the milieu in which Panini and Bharata Muni arose, read G. Feuerstein, S. Kak,
D. Frawley, In Search of the Cradle of Civilization: New Light on Ancient
India. (Quest Books, 2001)
The best translation of the Natya Shastra is by
Manomohan Ghosh (Manisha Granthalaya, Calcutta, 1967). Unfortunately, it is out
of print. I am hoping this column will inspire some reader to arrange for its
reprint.
© Sulekha