Powered By Blogger

Friday, 14 September 2012

THE BRITISH TRIUMVIRATE OF GREAT INDOLOGISTS

THE BRITISH TRIUMVIRATE OF GREAT INDOLOGISTS

V.S.Gopalakrishnan
Quite often India does not recognize itself, and when foreigners discover it we obtain our own recognition! This has been particularly so in respect of our ancient heritage!  The ancient Sanskrit texts lay beyond the ken of the common man for whom Sanskrit had become a dead language, and some of our English ruling lords were responsible for sensitizing us to the glory of this heritage.

Many Britishers have been responsible for researching into our ancient Sanskrit texts and also translating them. But I consider that special praise belongs to three British Indologists who played a critical role in our reawakening. They are Sir Charles Wilkins (1749-1836), Sir William Jones (1746-1794) and Sir James Prinsep (1799-1840). These were men of extraordinary intellect and extraordinary vision blessed with remarkable talent and capacity for diligence. The three men came to India during the age of the East India Company which the Victorian Government superseded after the Mutiny of 1857. A few other great Indologists such as Henry Thomas Colebrooke (1765-1837) who was really an Orientalist more than an Indologist, and Horace Hayman Wilson (1786-1860) and Max Muller (1823-1900), who never visited India, were also essentially products of the East India Company period. I am not sure if I will be wrong to say that such a high level of Indological scholarship was sustained after the British Government got replaced as our masters.

SIR CHARLES WILKINS (1749-1836)

We must remember that the East India Company headed by Robert Clive got to rule firmly from Calcutta only from 1757 although the Company had got trading license at Calcutta in 1690. How soon the British scholars arrived in Calcutta is a matter of great wonder and amazement! Charles Wilkins was born in 1749 in Somerset, and was trained in youth as a printer. He arrived in India (Calcutta) in 1770 to work as a printer and writer in the Company. He quickly learnt Bengali and Persian and became so fluent in them that he later was appointed as a translator of Bengali and Persian (to English) in the Office of the Commissioner of Revenue. He also became the Superintendent of the Company’s Press.
 Sir Charles Wilkins
Wilkins spent some years in Benaras where he learnt Sanskrit from a Brahmin Pandit named Kalinatha. He obtained sufficient proficiency in it as to be able to translate Mahabharata from Sanskrit to English, but thanks to the huge volume it remained an unfinished task. It is remarkable that Warren Hastings, the Governor, fully lent his support to Wilkins in such activity. However, in 1785, Wilkins at the age of only 36 attained a remarkable achievement by translating Bhagwat Gita from Sanskrit into English. As a typographer, Wilkins set up the first print type for Bengali and came to be known as “Caxton of India”. He also designed the Persian type for bringing out printed books in Persian.

Wilkins left India for good, back to his homeland, in 1786, in the very next year after he had translated the Gita, as his patron Warren Hastings had also left India. Back in England, he translated the Hitopadesa. He became the Director of the India House Library (which later was known as India Office Library and presently as “British Library-Oriental Collections”). In 1808, he published “The Grammar of the Sanskrita Language”. He was knighted in 1833 and he died in London in 1836 when he was 86.

SIR WILLIAM JONES (1746-1794)

Jones had a much shorter life than Wilkins but achieved much more than Wilkins. Born in London in 1846, three years before Wilkins, he was a “linguistic prodigy” and his youth went in learning Greek, Latin, French, Persian, Arabic and Hebrew. It is said that by the end of his life he knew 13 languages thoroughly and  15 more languages reasonably well! After graduating from Oxford, he did law from Middle Temple, London. Initially he worked as a Circuit Judge in Wales. He worked with Benjamin Franklin in untangling the issues of the American Revolution with which his sympathies lay. He arrived in India (Calcutta) in Sep 1783 to take up his appointment as a Judge of the Supreme Court of Bengal at the young age of 37.
 Sir William Jones
The linguistic scholar in Jones overtook his reputation as a Judge. He began to learn Sanskrit. He realized that India had a wealth of heritage to be unraveled to the world. Most astonishingly, within a year of arrival in India, he founded the Asiatic Society of Bengal in 1784 to encourage Indological studies.  In this work he was assisted by Wilkins and Colebrooke.  Jones himself came out with various studied works on Sanskrit, Law, Music, botany, geography etc. Jones was the first to conceive and propose that Sanskrit, Greek and Latin have common roots. He declared that the Sanskrit language is more perfect than Greek and more copious than  Latin. He translated “Manusmriti” into English. He translated Kalidasa’s “Sakuntalam” and “Ritu Samhara”, and Jayadeva’s “Gita Govinda” into English.

Sadly Jones passed away in Calcutta from inflammation of liver, when he was only 48 and he lays buried South Park Street Cemetary.

SIR JAMES PRINSEP (1799-1840)

James Prinsep was the son of John Prinsep who came to India as an indigo farmer, made a lot of money and returned to London. James was very good at drawing, engineering, architecture and chemistry. For some time he was an assistant to the assay master at the Royal Mint in London. Assaying is the art of assessing the extent of gold and silver in coins.

He arrived in India (Calcutta) in 1819 and worked as assay master at the Calcutta mint and at the Benaras mint. He was a great numismatist . He deciphered Bactrian and Kushan coins. By studying the post-Alexander coins of the North West which contained Greek on one side and Kharoshti on the other side, he deciphered the Kharoshti script itself. He deciphered the Asokan rock edicts in Brahmi script.
 Sir James Prinsep
Prinsep was a great scholar in a variety of subjects. He was adept at and wrote extensively on metallurgy, meteorology, astronomy, architecture, mineralogy and chemistry. He was an artist of great merit and produced a large number of lithographs and water colours. He has an established name amongst the galaxy of Colonial painters.
 a lithograph (drawing) made by Prinsep.

In 1832, he succeeded H.H.Wilson as the Secretary of the Asiatic Society of Bengal and became the founder-editor of the “Journal of the Asiatic Society”.

It is said that the over-exercise he gave to his brain to the neglect of his body led to his early death. He suffered from headaches. He left for England in a poor physical condition in 1838 and died there in 1840.
===============

Saturday, 8 September 2012

VIOLIN AND INDIAN CLASSICAL MUSIC

VIOLIN AND INDIAN CLASSICAL MUSIC
V.S.Gopalakrishnan
Today I came across an observation on a music page on internet that credited a very famous Mumbai gynaecologist with having introduced violin in Hindustani music! I was astounded by such extraordinary insight! And I searched and searched on google only to find no connection between the famous gynaecologist and violin! Anyway, that put me on a new track. I wanted to write on how violin came into Indian music.

Violin came into Carnatic music around 1800 and later into Hindustani music around 1930 after a gap of many generations. In Carnatic music it replaced essentially veena and flute as the accompanying instrument. In Hindustani music it replaced sarangi as the accompanying instrument but later harmonium came to replace violin. However, in both systems, violin attained a solo status in due course.

I remember that in my young age if any musician was made fun of, it was the violinist and not so much the singer or mridangist! We used to say, “Why can’t he use a cutting-saw instead of the bow?”! Quite often the violinist seemed to get into making “whining” noises that the uninformed youngsters could not take in!  

Often, in those old days and not nowadays, violin was called “fiddle” in common parlance. Luckily the player was not called a fiddler but a violinist! In actual fact, fiddle and violin is the same instrument. One calls it fiddle when used in traditional folk music in the West, and violin when used in Western classical ensemble. You might have heard the quiz, “What is the difference between fiddle and violin?” The answer is “You cannot spill beer on violin”. Got it?

If violin made inroads into Carnatic music, we must thank the East India Company for it. It was part of British “bands”, and the word “band” was used by Tamilians even to refer to Western Classical Music Ensemble! But the clever Tamilians adopted only violin but not its relatives namely viola, cello and bass. You can put it into a small box and scoot fast unlike when you have a cumbersome veena or tanpura.

CARNATIC MUSIC:
Writings on the subject sometimes refer to three or four musicians as responsible for introducing violin into Carnatic music. But I will refer to the two most credible names here. One was Baluswami Dikshitar and the other was Vadivelu of the famous Tanjore Quartet.
Baluswami Dikshitar (1786-1858):
Baluswami was the younger brother of Muthuswami Dikshitar, one of the Carnatic music trinity. Baluswami was multi-faceted and he could play the veena, sitar and mridangam. Baluswami and his brothers received immense patronage from Muthuswamy Mudaliar of Manali. The latter introduced Baluswami to a visiting European violinist from whom Baluswami picked up the instrument and adapted playing it to Carnatic music. Baluswami became the asthana vidwan of Ettayapuram Raja in 1825. He received many accolades from several patrons of music.

Vadivelu (1810-1848):
The young musical genius Vadivelu and his brothers Chinniah, Ponniah and Sivanandam formed the famous Tanjore Quartet. The Quartet had initial music training under Muthuswami Dikshitar. After this training they were appointed asthana vidwans in the Tanjore Court. From there, later on, they shifted to the Court of the Travancore Maharaja, Swathi Thirunal. Vadivelu learnt violin at Tanjore from a European missionary. He popularized it considerably. Vadivelu excelled as a violinist, vocalist, composer and bharatanatyam dancer. The famous saint Tyagarajar personally visited his house and honoured him.

Many others followed these two musicians and violin got recognition as an accompanying instrument in concerts. The way it was held by the seated violinist was different from the way the standing Western violinist held it. The manner of playing and the kinds of notes used were also changed to suit Indian music. It had three octaves to exactly follow the vocalist’s range of three octaves. The sound was very pleasing and close to the human sound. The sound was continuous and the possibilities of gamakas added to its beauty. Thus the stringed fretted instrument Veena lost its place as an accompanying instrument, and so was the case with flute also. Later on, both Veena and Violin became solo concert instruments on their own merit.

M.S.Gopalakrishnan and Smt N.Rajam are the two well recognized violinist names in the recent decades. Their expertise covered both Carnatic and Hindustani. Chowdiah was a big name to reckon with before them. In fact, Lalgudi Jayaraman and TN Krishnan  too deserve a mention as modern giants.
HINDUSTANI MUSIC:
Hindustani music has had very many bowed instruments for accompaniment such as sarangi, dilruba and esraj before the advent of the new bowed instrument, violin. Sarangi means hundred colours (sau rang) which denoted the versatility of the instrument which is hard to learn and hard to play.

The credit for adaptation of violin in Hindustani music is generally ascribed to the initiatives of Alauddin Khan,  Vishnu Digambar Paluskar, SN Ratanjankar and Gajananrao Joshi.  Pandit DK Datar and Pandit VG Jog came to be outstanding violinists in the Hindustani shaili.
India is known for re-exports too! We have the famous brothers L.Shankar and Dr.L.Subramaniam making international waves with their varied violin skills.
========================

Saturday, 1 September 2012

WHY DO COINS GIVE ME A HEADACHE?

WHY DO COINS GIVE ME A HEADACHE?

V.S.Gopalakrishnan

From the time we are nearly 5 years old, we handle coins. We handle them every day of our life, the way we handle tooth brush, tooth paste, comb, hair oil etc every day. In the recent years, coins have become a source of headache for me!

I am unable to differentiate between coins. They all look alike despite different denominations. The size is very similar. The bright silvery colour is uniform since perhaps no brass or bronze is used nowadays and I guess they are all made of stainless steel.  In olden times, colour variations were there due to the use of brass and bronze, apart from the size variations. Often, I am in no mood to go searching for my reading glasses. It is then that when paying out some changes, I grope like a blind beggar. The coins confuse me and I go into a headache! I congratulate the Marxist mentality of the present day RBI coin-minters who believe in near-perfect equality in the colour and the sizes of coins!

To avoid hassles in selecting the right coins to pay, I usually have been paying in rupee notes. That way, I take the change from the vendor, rather blindly without verification! And over a period of time, I have now made a huge collection of change weighing half a kilo! So, I am now compelled to think of letting the half-kilo load of my coins vanish! For that, I have to make payments in coins. I am at square one again! I hate to invite headache by having to select from the confusing coins!

When I was a youngster I loved coins. Not just for their purchasing power in buying “kamarkat” ( a kind of sweet) but for their lovely variety too. The quarter anna had a fascinating hole in it! Sixteen annas made one rupee. The one anna was strong  and had a wavy circumference. Blindly touching the quarter anna or one anna coin, you can tell the denomination. The two annas were square in shape. I suppose the designers and minters had a much higher IQ in those years than now. A sightless person now would find it hard to differentiate between the denominations.


  above:one pice coin (a quarter anna)


  one anna coin


 two anna coin

I must have started handling coins from 1945 or so. I clearly remember the size, colour  and shape of those coins. But the minters used to change the metal composition and the sizes once in a few years. Nothing was static.

I remember I was most upset when India went into metric system of coinage in 1955. One ”naya paisa” became the basic unit and a hundred naya paisas made a rupee. I considered the use of the Hindi word “naya” as a needless infliction of Hindi on the South! The “naya” was dropped in 1964. The two rupee coin was introduced in 1982. Now we have five rupee coins too. There was a time when 5 paise, 10 paise and 25 paise coins came in handy for us but nowadays I don’t see even 50 paise coins. The basic denomination of exchange has become the one rupee coin! So much for inflation and devaluation!

Today, in a bit of a research mind, I segregated firstly the two rupee current coins from my half-kilo coin collection. I examined them closely. Some years ago, a cross-mark appeared in the coins as shown below.
 2-rupee coin with a cross

Some people said that it was Sonia Gandhi’s idea of spreading Christianity. Then, I find that a hand appears in the 2-rupee coins of 2007 to 2011, with two fingers raised! Some people saw the hand-emblem of the Congress party there! Art-wise the quality is absurd! It is a female hand with bangles showing  a dance mudra without taste! The fingers are stiff and the owner of the hand is perhaps asking by gesture permission to go to the toilet! (please see below)
  2-rupee coin with dance mudra

The latest 2012 two-rupee coin bearing the new “rupee emblem”  has shrunk in size, resembling the size of the common one rupee coin.

The design pattern of one-rupee coins has been similar. Half-a- decade ago, you saw the cross. Then the dance mudra with just the thumb raised, looking unaesthetic! (please see below). The size of one-rupee coin has shrunk in the last one year, to that of 50 paise! The 50-paise coin shows a closed fist and I wonder if there is any such dance mudra at all or it could be the fist of a woman boxer!
  one rupee coin with just one thumb up!
  closed-fist dance mudra? Or boxing?


So, now, you realize my confusion that leads on to headache when I handle our coins!

=====================================

Wednesday, 29 August 2012

TUM MUJHE YUN ~~~~

TUM MUJHE YUN ~~~~


Original singer: Mohd.Rafi
Here is my version/rendition.
Vs gopal
19 Aug 2012
This lovely, powerful and fast-paced song was from the movie PAGLA KAHIN KA (1970) and the on-screen singer is Shammi Kapoor who has an audience in Asha Parekh.
Music was by Shankar-Jaikisan and lyrics were by Hasrat Jaipuri.



LYRICS:
Tum mujhe yun bhula na paoge
Haan tum mujhe yun bhula na paoge
Jab kabhi bhi sunoge geet mere
Sang sang tum bhi gungunaoge
Haan tum mujhe yun bhula na paoge
Ho tum mujhe yun
(1) Woh baharein woh chandani raatein
Humne ki thi jo pyar ki baatein
Woh baharein woh chandani raatein
Humne ki thi jo pyar ki baatein
Un nazaron ki yaad aayegi
Jab khayalo mein mujhko laaoge
Haan tum mujhe yun bhula na paoge
Ho tum mujhe yun
(2) Mere hathon mein tera chehra tha
Jaise koi gulab hota hai
Mere hathon mein tera chera tha
Jaise koi gulab hota hai
Aur sahara liya tha baahon ka
Woh sama kis tarah bhulaoge
Haan tum mujhe yun bhula na paoge
Ho tum mujhe yun
(3) Mujhko dekhe bina karaar na tha
Ek aisa bhi daur gujara hain
Mujhko dekhe bina karaar na tha
Ek aisa bhi daur gujara hain
Jhoot maano to pooch lo dil se
Main kahonga to rooth jaaoge
Haan tum mujhe yun bhula na paoge
Jab kabhi bhi sunoge geet mere
Sang sang tum bhi gungunaoge
Haan tum mujhe yun bhula na paoge
Ho tum mujhe yun

HUM AUR TUM AUR YEH SAMAA

HUM AUR TUM AUR YEH SAMAA

Original singer: Mohammad Rafi...Here is my version/rendition.
vs gopal
27 Aug 2012
-———————
This is a simple song and yet is so stylish, melodious and enchanting. I have always loved this. On-screen, Shammi Kapoor sings this to Asha Parekh. Movie was DIL DEKE DEKHO (1959). Usha Khanna composed the lilting music and the lyrics were by Majrooh Sultanpuri.



LYRICS
hum aur tum aur yeh samaa
kya nasha nasha sa hai
boliye na boliye
sab suna suna sa hai
hum aur tum aur yeh samaa kya nasha nasha sa hai
(1) beqaraar se ho kyon
hum ko paas aane bhi do
gir padaa jo haath se
woh rumaal uthaane bhi do
bante kyon ho jaane bhi do (2)
hum aur tum aur yeh samaa kya nasha nasha sa hai
boliye na boliye sab suna suna sa hai
(2) aaj baat baat pe
aap kyon sambhalne lage
thartharaaye honth kyon
ashq kyon machalne lage
lipte gesu khulne lage (2)

CE SOIR MON PETIT GARCON

CE SOIR MON PETIT GARCON (FRENCH)

V.S.Gopalakrishnan



link for my singing: http://www.youtube.com/watch?v=-Idwzk-sITo

ORIGINAL SINGER: Serge Reggiani
mY VERSION/RENDITION.
vs gopal
21 Aug 2012

This lovely composition has stayed one of my favourites over 40 years. I got the karaoke track at this link:
http://www.youtube.com/watch?v=GoYPziQgDuE
One can hear the original by Serge Reggiani himself at the following link:
http://www.youtube.com/watch?v=snuhIVoS0nI

LYRICS:
Ce soir mon petit garçon
Mon enfant, mon amour
Ce soir, il pleut sur la maison
Mon garçon, mon amour
Comme tu lui ressembles!
On reste tous les deux
On va bien jouer ensemble
On est là tous les deux
Seuls
Ce soir elle ne rentre pas
Je n’sais plus, je n’sais pas
Elle écrira demain peut-être
Nous aurons une lettre
Il pleut sur le jardin
Je vais faire du feu
Je n’ai pas de chagrin
On est là tous les deux
Seuls
Attend, je sais des histoires
Il était une fois
Il pleut dans ma mémoire
Je crois, ne pleure pas
Attends, je sais des histoires
Mais il fait un peu froid ce soir
Une histoire de gens qui s’aiment
Une histoire de gens qui s’aiment
Tu vas voir
Ne t’en vas pas
Ne me laisse pas
Je ne sais plus faire du feu
Mon enfant, mon amour
Je ne peux plus grand-chose
Mon garçon, mon amour
Comme tu lui ressembles!
On est là tous les deux
Perdus parmi les choses
Dans cette grande chambre
Seuls
On va jouer à la guerre
Et tu t’endormiras
Ce soir, elle ne sera pas là
Je n’sais plus, je n’sais pas
Je n’aime pas l’hiver
Il n’y a plus de feu
Il n’y a plus rien à faire
Qu’à jouer tous les deux
Seuls
Attends, je sais des histoires
Il était une fois
Je n’ai plus de mémoire
Je crois, ne pleure pas
Attends, je sais des histoires
Mais il est un peu tard, ce soir
L’histoire des gens qui s’aimèrent
Et qui jouèrent à la guerre
Ecoute-moi
Elle n’est plus là
Non…. ne pleure pas…. !


 =============

Tuesday, 14 August 2012

PRANAB MUKHERJEE: THE GREATEST CHEAT IN INDIA




PRANAB MUKHERJEE: THE GREATEST CHEAT IN INDIA

I am not saying the above. Mr.Vishwa Bandhu Gupta, an honest retired Commissioner of Income Tax is saying it! Just listen to him in the video above, somewhat longish but worth every second you spend! Hear it three or four times, so that you get the full hang of it. Pranab has meanwhile become our President and is therefore above law till he retires! Yet, the charges will have to hang around his neck!

Mr.Gupta is furious about the treaty which Pranab signed with the Swiss Government last June (2011) according to which treaty the Swiss Government has been exempted from giving any information to Indian Government about the past Swiss account holders! My blood boils too! How did Pranab do it? Why did he not consult the Parliament before this Treaty? Why are BJP and opposition parties sleeping over it? Mr.Gupta is rightly furious about these.

The Swiss Private Banks Association itself had declared that 1.4 trillion dollars were lying with private Swiss Banks and that India had topped the list. All that money, credited by Indians before July 2011 will now become exempt from our knowledge as per the Treaty! Pranab has done this coup to protect the Dynasty and half the Cabinet Ministers at the Centre! Hats off to Vishwa Bandhu Guptaji! He also explains how Kalmadi got caught, and that is an interesting story!

He explains that the Swiss Banks in India (UBS, Credit-Suisse) are not following RBI guidelines. LK Advavi and Nitin Gadkari have gone to sleep!

I bow before Mr.Gupta's sense of patriotism. It is a shame that Pranab is our President.

 =====================