Sunday, July 6, 2014

Macaulay and the Medium of Instruction in India

The reason I decided to send my reactions, my comments, to a wider Indian audience than just to the author of the essay entitled “Macaulay, Again”, written in Marathi, is that the process Macaulay’s Minute started almost two hundred years ago – to be precise in 1835 -- has been being re-enacted and continued with even greater vigor in today’s India.

(A) First, I want to congratulate the author for writing the article in Marathi and to express how gratified I am for the language chosen as the medium.

(B) Second, I want to get one reaction out of my system right away even though the sentence that has triggered my reaction is only incidental, rather tangential, to the essay: “{The British} gave us a unified law and order” – my informal translation.  I have heard and read such a sentiment so often that it has jaded me, made me weary and sick.  I may humbly point out that such an assertion absolutely makes no sense.  Every society, civilization, or nation has law and order.  No society, worth the name, can last or persist even for a few decades without law and order, let alone for centuries.  (Somalia may be lawless, Nigeria or Sudan may be lawless; but they have been in the midst of a civil war).  So there are Mosaic Law, Manu's Law, Hammrabbi's Law, Sharia Law, etc.  Some of us may not like these systems of law, and they may be unjust or oppressive; but they are “law and order”, nonetheless. 

As far as the law and order being “unified” or consistent throughout the political entity, let me say that all strong empires do that.  Romans, Arabs, and Turks did that in their empires; and, I am sure, it was so in Ashoka’s Mauryan empire too, which by the way extended into today’s southern and eastern Afghanistan, known as Gandhara in ancient India.  Witness Ashoka’s inscriptions all over South Asia.  

I am not presenting these comments in any particular order.  They are mostly “general”; however, they are fully applicable to the present-day Indian situation: 

1.     There seems to be great confusion caused by the use of the Marathi word “saahitya” to mean bothlalit vaangmay” (creative/imaginative – a poor choice of words in English – literature or “belles lettres” (in French) and  “shaastra/ vidnyaan-vishayak likhaan ”, meaning discursive, ratiocinative writing related to science and technology.  I do not know what word Macaulay used in his Minute on Education; but if he did use the word “literature” to mean two quite different animals, then he is the father of this confusion.  It has sadly continued in the present essay and, maybe, in India even today. 

2.     If, on the other hand, we restrict the use of the word “saahitya” to consistently mean only “lalit vaangmay” (creative or imaginative literature), then Sanskrit had plenty of it.  But, the Chair of the General Committee of Public Instruction, T.B. Macaulay, had no inkling of it because, as he himself confessed, he did not know Sanskrit or Arabic (and, I bet, not Persian/Farsi, either).  He had, however, no excuse for this ignorance because Sir William Jones had already translated Kalidasa’s Shakuntala; and Goethe, the German poet, who died three years before the date of the Minute, was familiar with it.  In fact, in my judgment, just three Sanskrit plays -- Bhasa’s one-act-play Urubhanga, Shudraka’s The Little Clay Cart, and Shakuntala -- are superior to the entire “imaginative” literature, say, created in the U.S. from before its birth to this date.  In this sense of literature or saahitya (lalit vaangmay), it never becomes “kaal-baahya” or outdated.  A classic is forever.

3.     As far as science and modern knowledge (technology) are concerned, they can be taught and promoted in any language.  If (and when) you do not have this specialized knowledge in your mother tongue, it can be translated (Incidentally, I learned Math, Physics and Chemistry in Marathi when I was in high school).  In other words, one needs to separate, distinguish between, the two issues -- the medium of instruction and the content of instruction, bhaashaa and vidyaa.

4.     If superstition is parading as science or “knowledge” in any country or at any time, it (undha-shraddhaa) can be challenged and demolished in any language.  Our Maharashtrian reformers did just that.

 5.  The essay states that Macaulay was aware of the difficulty (the expense, perhaps) of teaching English to the large native population of Indians.  (a) He, therefore, proposed to train a small group of Indians in English who could act as a link, an intermediary, between the British and their subjects.  (b) He also said the old (ancestral) languages need to be preserved (and nourished) as a duty even when a new language is learned (“navee bhashaa shiktanaa aplyaa junyaa bhaashaanche jatan karane aaple kartavy aahe”).  I applaud both these ideas.

6.     There also seems to be confusion between “education” and “training”.  In my view, they are not the same.  In order to get jobs, we train.  In order to be “cultured”, we educate.  If employment were the (only) goal of education, no body would study liberal arts and humanities.  Maybe, that is the reason hardly any of my younger relatives have majored in those subjects.



7.     Another related issue that bothers me is that most of these English-medium trained/educated younger relatives of mine have perhaps not read (to take just some examples) even ten sonnets, a couple of classic plays and a few outstanding novels in English.  And, if I am right, what good is their English medium except for a narrowly utilitarian purpose?  (By the way, following the lead of Sanskrit rhetoricians, I use the word “poetry” very broadly to cover all the genres of imaginative or creative literature).

Sunday, May 18, 2014

The Little Clay Cart (Mrcchakatika): The Construction of Gender and Emotion in Act V, “The Storm”

The Little Clay Cart (Mrcchakatika): The Construction of Gender and Emotion in Act V, “The Storm”
Mohan R. Limaye, Emeritus Professor, Boise State University
With the Assistance of Ms. Kim Price, Honors College, Boise State University
Abstract

In Act V of The Little Clay Cart, a Sanskrit play written in India about 1600 years ago, the playwright Shudraka constructs a poetic duet between Vasantasena, the heroine, and a Vita, her male companion, as they walk to the house of her lover Charudatta in a raging stormIt has been recognized that this verse exchange provides the audience with “a feast for the ear” through a cascade of lyrical and descriptive exuberance. What has not, however, been appreciated is that it also creates an enriched gender-specific persona for Vasantasena and develops more fully the dominant emotion of the play, erotic love. The poetic images and figures of speech employed by Vasantasena and the Vita as they describe the storm portray their differences in gender and mood.  Generally speaking, while Vasantasena expresses her nuanced feelings for Charudatta and the pangs of love in separation, the Vita describes the storm in manly images of power and harsh-sounding syllables.  Shudraka, a skillful dramatist, reveals in Act V more facets of Vasantasena’s personality with all her charm, anxieties, vulnerabilities, and sensuousness than anywhere else in the play, and all of this through her poetic description of the storm.  As a result we, the receptive and appreciative ( rasik and sahrudaya) audience, know her, love her, empathize with her and cherish her all the more.  This is the dramatic and aesthetic significance of the poetic duet between Vasantasena and her Vita.  In the Storm scene, Shudraka thus connects the form with the content and the style with the character.  This is how lyrical poetry in a play can serve a dramatic purpose.    

Kālidāsa’s Shakuntala and Shakespeare’s The Winter’s Tale: The Child as Redeemer

Kālidāsa’s Shakuntala and Shakespeare’s The Winter’s Tale: The Child as Redeemer
Mohan R. Limaye
Professor Emeritus
Boise State University

This paper attempts to demonstrate that, though the three-member family (father, mother and child) is celebrated in Shakuntala and The Winter’s Tale, the child is thematically the most important of the three members and that the child serves as an archetype of “savior” or “redeemer” in both these plays. The child occupies a central place as far as the two plays’ narrative and thematic architectures are concerned. The quest of Dushyanta and Shakuntala, the hero and the heroine, is on a deeper level for a child. The king needs an heir to the throne, and so do his subjects for a stable order. Similarly, in The Winter’s Tale, the stability of Leontes’ kingdom rests on Perdita, his daughter, after Prince Mamillius dies. In Shakuntala, the birth of a son with regal insignia on the palm of his hand not only leads to the reunion of the separated couple, Dushyanta and Shakuntala, but also confers social approval on their match, restores his mother’s reputation, and concludes the play with subdued happiness. Notably, both Perdita and Bharata are discovered and recognized first; and then their respective mothers are “resurrected.” As his name “All-Tamer (Sarva-damana)” indicates, he symbolizes the maturation of his parents’ irrepressible passion into deep and steady conjugal love. The son, born to a king but raised in a hermitage, also resolves another thematic conflict in the play – country versus court. In The Winter’s Tale, Perdita also brings together the court and the country in a similar fashion: born to royal parents but raised by a shepherd, she too harmonizes this opposition between town and country. This is how the child serves as a redeemer in both these plays.

Saturday, January 11, 2014

Weighing the Gita

Mohan R. Limaye

Professor Emeritus
Boise State University

The following are strictly my opinions, my interpretations, and my reasons why I believe the way I do.



Even though I have some admiration for the Gita, to me, it is a mixed bag.  

The Gita has always raised more questions for me than has provided me with solutions/answers.  I think the Gita is simplistic in its treatment of ethical dilemmas.  Krishna gives a formulaic answer to Arjuna’s question and doubts, when the latter is troubled by a fine conscience and sensitivity at the start of the Mahabharata war.  Arjuna seems to challenge blind pursuit of caste-based duty. Therefore, saying to him, “You are a Kshatriya; so it’s your duty (Dharma) to fight” is a cavalier, shallow, and not-very-intelligent response.  It’s like the U.S. insisting that (patriotic) Americans fight in Iraq without questioning whether the war is just, worthwhile, or even necessary.  Only a robot will be satisfied with such an answer.  The Mahabharata, the epic itself, however, takes a lot more sophisticated stand and problematizes the issues of good and evil, and duty.  Its characters are a mixture of good and evil, shades of gray.  That’s why the Paandavas (except Yudhishthir), and even Krishna, end up the way they do, and die a not very “noble” or glorious death. 

Additionally, to drive his point home and to “convince/persuade” Arjuna, what does Krishna do?  He has recourse to his power (vishwa-roop-darshan)!  Again, reminds me of a typical American response-- intimidation!  Of course, in the Gita there are his lectures/sermons on various yogas, schools of philosophies, and multiple paths to moksha or liberation.  After such a show of “shock and awe”, and dazzling erudition (vidvattaa), no wonder Arjuna didn’t dare ask Krishna what the relevance of all this discourse was to his initial query.  Arjuna had to respond in the last chapter, “My delusion is all gone, and now I understand (nashto mohaha, smrutir-labdhaa).”   Talk about being bludgeoned into fighting! (I’m indebted to a good friend of mine for some of the ideas in this paragraph.)

When krishna argues that the soul is indestructible and it's only the body that dies or can be killed (to relieve Arjuna of any anxieties or niceties of conscience), the same argument could have been made by the Kauravas also to "justify" their wanting to kill the Paandavas.  The question still remains unresolved: Whose claims to the throne were ethically tenable -- those of the Kauravas or the Paandavas?      

One must bear in mind that none of the Paandavas was a biological son of Pandu.  If this was not common knowledge then, it at least may have been rumored.  So, their case for a share in the kingdom was certainly not an open-and-shut case.  It’s funny that the Paandavas should be looking down upon Karna as a low-caste person (saarathee-putra), while totally “oblivious” (?) to the illegitimacy of their “origin.”  Apparently, low-caste (and premarital?) birth is worse than being the progeny of adulterous relationships among the high-born and the gods!

Anyway, in my opinion, challenging the message and authority of well-respected mainstream texts (like the Gita) is a mark of Hinduism, of independent thinking and inquiry; having to surrender or unquestioningly conform is to me monotheistic tyranny.  Similarly, relying on one text as the sole authority (in this case, the Gita) is quite non-Hindu.  May I repeat that Hindus have many very well known and authoritative “sacred” texts, unlike the monotheists?

Though I’ve always felt that the Gita is overrated for its thought content, I do admire the power and poetry of the first few chapters (adhyaayas).  “As a man discards worn-out clothes (vaasaansi jeernaani)”, II, 22; “Your right is only to work/action, never to the fruits of your action (karmani-eva-adhikaaras-te)”, II, 47 “When it’s night for all others (yaa nishaa sarva bhuutaanaam)”, II, 69, etc.

P.S. In case somebody wonders about my credibility/credentials for criticizing the Gita, let me humbly point out that I studied it in the original Sanskrit in my third year at Ferguson College in Pune.  I owe some of this knowledge , thus, to my studying in a Liberal Arts/Humanities college and to my unorthodox upbringing.