Showing posts with label books. Show all posts
Showing posts with label books. Show all posts

Wednesday, August 29, 2012

William Jones aka Yunis Uksfardi, Oxford and Persian


William Jones urf Yunis Uksfardi, Oxford and the Persian Language


Most people know of William Jones' superhyperparanormal command of scores of languages, precocious childhood and ever more prodigious adulthood. Most also know that he was the founding father of the famous Asiatic Society of Bengal. However, few are aware that William Jones also went around by the nom de plume Yunis Uksfardi.







In 1771 William Jones wrote a book on Persian Grammar. On the inner title page of this Persian Grammar, William Jones wrote his name in Persian text as Yunis Uksfardi. The sheer sense of wow which I got the first time I encountered this Persian rendition of William Jones' name can not be described. I think it was akin to suddenly finding a small fantastic treasure buried under one's bed. 

Uksfardi obviously comes from Oxford and refers, perhaps, to the deep sense of attachment that William Jones may have had for the University of Oxford. He seemed to treasure his association with the University of Oxford so much that he selected Oxford rather than his place of birth, Westminster, as his last name in Persian. Perhaps he took up Uksfardi as the second part of his pen name because it was at Oxford that he learnt Arabic and then Persian under the tutelage of a Syrian native, Mirza of Aleppo, whom William Jones chanced upon in London and requested him to help him learn these tongues. William Jones was very highly regarded at Oxford and won quite a few accolades during his time there. In 1780 he even contested in the Parliament for the seat from Oxford.

Why did William Jones choose Yunis as his first name though? Some are of the opinion that Jones is a Welsh contraction of John (or of son of John). In this case William Jones had two choices for rendering John into Persian (Arabic):
Youhanna - the Christian Arab version of the name John
Yahya - the Islamic Arab version of the name John 

He swept aside both options in favour of Yunis. There has to be a reason for this choice.



But why Yunis, why?


One gets an idea of William Jones' inclination towards the re-discovery of Ancient Oriental knowledge from the (celebrated) Preface to his Grammar of the Persian Language. The Preface is truly an introduction to the Persian language as it goes into the details of describing the Persian language as well as of the development of the language. He extols the virtues of Oriental knowledge and also denies any validity of the various excuses the British of his time used to make for not showing an interest in Persian culture; ranging from being too busy to waste time on Persian to Persian being a language of barbarians and or of believers in Mahomet,  to everything else in between. Bear in mind that in 1771, warfare between the fractious European powers and the Ottoman Empire was still very common indeed and also that European imperialism was now taking firm shape. William Jones cites Voltaire's unbridled appreciation of Persian literature in support of his ideas. He goes on to explain how Persian has started becoming very important for the British in India for good governance and politics as all court correspondence, firmans and petitions are in Persian and every British official in the Indian courts must be able to hold his own when it comes to reading and writing in proper Persian without resorting to Munshis. This book on Persian Grammar is clearly targeted at the British officials in India. I think I remember reading somewhere that William Jones wrote this book at the request of a director of the East India Company who wanted a Persian manual for the EIC officers. Earlier they had to rely solely on the Indian Munshis for learning Persian and other Indian languages. However, soon after, the British realised the importance of employing local dialects rather than Persian or Sanskrit while conversing with the commoners. To this end, Fort William College was established in Calcutta at the turn of the 19th century. The British of course, sounded the death knell for Persian in India when they outlawed its use as an official language of British India around half a century after the publication of the first edition of William Jones' Persian Grammar.

In his Preface, William Jones laments the fact that he does not have enough time to write an accompanying history of Persian literature. William Jones, of course had earlier already translated many books on Persian history from Persian into European languages. Perhaps in the title pages of these texts also he may have given his name as Yunis Uksfardi. He gives pointers to Europeans on which intermediate and advanced texts to study in order to extend their basic learning ("the first book I would recommend is... Gulistan, the Bed of Roses..."). William Jones informs the reader that if the learner follows his advice then he will be able to correspond with any prince in India and with any commoner within a year of starting his studies. He also suggests that mastery of the various aspects of Arabic (Arabick) will be completely essential for attaining truly dizzying heights in the knowledge of Persian.

Although William Jones' Persian Grammar is good as a book for learning Persian but it's not the best.. Perhaps it was the best book of its kind in English when it came out but then it was soon eclipsed by other Persian manual. Lt. Col D C Phillott's magnificent book comes to mind immediately as a later day example of a much more exhaustive text, but there is no doubt that William Jones's book was the path finder for learning Persian through English. William Jones' Persian Grammar proved so useful and famous that it has to date never really gone out of publication (latest edition 2010). For me, the true value of the book lies not so much in the main didactic section but rather in the Preface, which William Jones uses very well to converse with his reader and to put forth his case for the study of Oriental subjects.

I end by quoting the last paragraph from Yunis Uksfardi's Preface to his Persian Grammar:

" As to the literature of Asia, it will not, perhaps, be essentially useful to the greater part of mankind, who have neither leisure nor inclination to cultivate so extensive a branch of learning; but the civil and natural history of such mighty empires as India, Persia, Arabia and Tartary, cannot fail of delighting those who love to view the great picture of the universe, or to learn by what degrees the most obscure states have risen to glory, and the most flourishing kingdoms sunk to decay; the philosopher will consider those works as highly valuable  by which he may trace the human mind in all its appearances, from the rudest to the most cultivated state. and the man of taste will undoubted be pleased to unlock the stores of native genius, and to gather the flowers of unrestrained and luxuriant fancy"


I still can't get over Yunis Uksfardi being the nom de plume of William Jones. I think it would have been fantastic to meet him.


To know more about:

Yunis Uksfardi, I mean about...William Jones

LSR Krishna Sastry's quick read of a book on Sir William Jones

Wikipedia on William Jones

The collected works on Sir William Jones at Archive.org

A Grammar of the Persian Language (1771 edition)

A Grammar of the Persian Language (1828 edition) - this one has some useful footnotes to the Preface and the font is more legible.


Asiatic Society of Bengal
The official website - They have done a decent job of ensuring that some of the old manuscripts of India and scholarly papers remain in circulation.
Their history in their words

Learn Persian
Lt Col D. C. Phillott's fantastic book of Persian - Higher Persian Grammar (1917). Make sure you read the Introduction.
And while you're at it, also consider reading his true treasure, a book on Hindustaani Idioms,  Khazana - i Muhaawaraat (Treasure of Idioms) - highly highly recommended.

Or just check any of the 50 trillions websites which help you to learn Persian.










Thursday, July 19, 2012

Dastangoi Perfomance - Dastan e Chouboli

My Recording of a Dastangoi Performance of Dastan e Chouboli

I had the good fortune of attending a very entertaining and engaging Dastangoi performance of  Shri Vijaydan Detha's Rajasthani folk tale: Dastan e Chouboli in Feb 2012. The performers were Danish Husain and Mahmood Farooqui and the performance was held at Epicentre, Gurgaon.

I had decided to shot this performance as my first-ever video. Apart from the learning I gained in shooting and editing I also gained hand on experience with concurrent sound recording (a tough job indeed).

Camera: Nikon D7000
Quality: Full HD 1080 29fps
Run Time: 68 minutes+
Mic: Shortgun mic mounted on camera body



This performance is based on a great Rajasthani folk tale by Shri Vijaydan Detha. You can learn more about Princess Chouboli and her vow of silence here at Katha's website which have published a fantastic cloth bound two volume translation of the Chouboli stories.

I love stories and Dastangoi is a great traditional Indian form of story telling. Other than the traditional Dastangoi tales, these days one can see Dastangoi performances based on modern themes as well.

You can read more about the great Dastangoi art tradition here at the Dastangoi blog and at the Facebook page to keep updated about Dastangoi events you may like to attend.

This reminds me I should start reading that copy of Bagh O Bahar I've had with me since the beginning of time...

Thursday, January 19, 2012

Daastaan - e - Amir Hamza and Hamzanama



A sketch I made quite a few years back, copied out from a miniature painting on Dasatan - e - Amir Hamza, an epic story of the trials and deeds of prophet Muhammad's uncle Hamza. All Islamic sources unanimously agree that the real Hamza idb Adb Al Muttalib, the Prophet's coeval uncle , died in the Battle of Uhud in 625 A.D. However Hamza's swashbuckling-hero-like qualities and the narratives of real journeys he may have made all over the Middle East, Iran, Turan and the Indian Sub-Continent have lived on in the tradition of Dasatan - e - Amir Hamza in Persian literature and other literatures which have a Persian influence.

This illustration shown above has been copied from one of the greatest illustrated books ever produced, the Hamzanama of Emperor Akbar. This book is a truly phenomenal piece of work. The 15 years long production of Akbar's Hamzanama is considered to be a seminal event in the history of Indian art as it initiated the radical propelling of the tradition of Mughal miniatures to the top echelons of world art. While on the Mughal subject,  it is interesting to note that the different Hamza epics frequently refers to Amir Hamza as Sahib - i - Qiraani, which means Lord of the Fortuitous Conjunction. This title was also used by Mughal chroniclers for their founder Timur. I have written a post on the titles used by Timur here. This takeover of Hamza's title by Timur or assigning of a common title to both personalities for reasons of providing an association is something which has always intrigued me.

Stories from Dastan - e - Amir Hamza are regularly performed on the Indian Sub-Continent and in South-East Asia by dastangoi performers and are quite popular with various groups of audience. Be sure to check out a Dastangoi performance of Dastan - e - Amir Hamza whenever you get an oppourtunity, it's worth it.
I didn't want to write much about the Dastan - e - Amir Hamza as it really is quite popular; I just wanted to share my love for a wonderful fantasy story. The following websites give a lot of information about this great epic:

Wikipedia on Dastan - e - Amir Hamza

Smithsonian Institution - Highly recommended, very beautiful and visual website which uses images from the original Hamzanama of Akbar to introduce the story. The illustration above is also on the introduction page of the Smithsonian Institution's website.

Victoria & Albert Museum holds Akbar's Hamzanama. This website gives some details of the book and also provides a glimpse of the great book.

An academic discussion on the format, size and nature of Akbar's Hamzanama. Here (website) and (pdf)

Tilsim - e - Hoshruba - Nice website on a late 19th century Urdu recasting of  Dastan - e - Amir Hamza by Indian writers who vastly expanded and changed the original premise of the Dastan. This work has been recently translated into English.

You can read more about the great Dastangoi art tradition here

And here's a fantastic Dastangoi performance I shot in Feb 2012


Sunday, October 9, 2011

A Yukaghir girl writes a love letter / Semasiographic and Glottographic writing systems




A Yukaghir girl in love with a Yukaghir boy wrote him a letter. The Yukaghir are a North Eastern Siberian tribe who live by hunting and fishing. The letter is given below. This image constitutes the complete letter. Any guesses as to what it says?




A bit tough  to understand, isn' t it? The first I came across this letter, I couldn't understand any of it; in fact I only saw it as a drawing. But it is a letter indeed and what follows below is the explanation. I have highlighted the parts using various colours and then broken down the sequence of events into 9 frames only to explain the chain of thought. The actual letter is just the one colourless image shown above.



 
1. The writer of the letter, the Yukaghir girl, is the tree shape in Blue. We know she is a girl because she has plaited hair.



2.  The girl is in love with a Yukaghir boy, another tree shape, in Green. He is a boy as he doesn't have plaited hair. The letter is addressed to him.



 
3. The Yukaghir girl writes that she and the boy loved each other and this is depicted by the intermingling of their thoughts just above their tree point heads.




 4. The girl further writes that now the boy has left her for another girl, a Russian girl and started living with this Russian girl. The Russian girl is shown to the left of the boy in Red and they are shown together living under one roof (a step pyramid/tent-like structure over their heads). The Russian are ethnically, socially and culturally completely different from the Yukaghir and the writer shows this by drawing panniers on the Russian girl's skirts (which are absent from her own Yukaghir skirt). The Russian girl of course also has plaited hair as she too, is a girl.



 
5. The Yukaghir girl tells the  boy that the Russian girl has destroyed the relationship the Yukaghir boy and girl had earlier. This is depicted by the Russian girl's thoughts emanating from her head and cutting through the thoughts / love shared by the Yukaghir boy and girl earlier shown in figure 1.




 6. However the girl knows that all is not well between the Yukaghir boy and his Russian girl friend. This tension is depicted by crosses between the heads of the Yukaghir boy and Russian girl, highlighted in Red.


 
7. The girl also informs the boy that she is alone in her house and she is sad. Her sad state of mind is shown by the crosses drawn behind her own head. But she tells him that she still often thinks about him and wants to be with him. Her thoughts (shown emanating from her head in Blue) are still.... sort of....drifting towards him.



8. However there has been a development. She tells the boy that now another Yukaghir boy has started making advances towards her. These are shown by a rather persistent and focused squiggly emanating out of this new boy's head towards the girl.




9. The girl finally lets her ex lover know that if he wants to get back with her he should move immediately, before she gives into the advances made by the new Yukaghir boy and before her ex lover has children with the Russian girl. Two children are shown on the extreme left moving into the house of the Russian girl and the Yukaghir boy.


And so this is the interpreation of this love letter written by a grieving Yukaghir girl to her ex lover.






Amazing isn't it. Suddenly the letter seems so clear after the explanation. This letter is an example of a semasiographic system of writing. Semasiographic writing is when the writing/drawing represents the idea itself rather than any spoken words ie speech. The spoken words which are used everyday by the reader and the writer to communicate are not recorded in the written communication. The idea is recorded.

Actually we all deal with semasiographic writing everyday. Here are some examples:



 

Yup, these and many more semasiographic writings live all over our glottographic world. It is said that written mathematics is a very pure form of semasiographic writing.

Semasiographs are not the same as pictures. They are very much language based communication and are fluid in the sense that they can depict tenses and are very precise in interpretation to those who know how to read them, unlike pictures which are frozen and hence perhaps timeless and are also open to subjective interpretation. But most importantly any person using a semasiographic system will have to represent the same idea in the same way. handwriting differences notwithstanding. Whereas in a picture, there are many different ways to drawing the same idea, eg. a woman sitting next to a tree. This can be drawn in many different highly divergent ways. But the Yukaghir people must write the letter above in the same way. Here in lies the greatest difference between semasiographs and pictures.

This is an example of a picture. Perhaps a grieving lover draws this picture and sends to the one she grieves for. Or perhaps not. She may just be sleeping next to a tree. It is a painting.


However this is clear written semasiographic communication. It's a letter, not a pciture. Those familiar with the Yukaghir language know how to read this letter. Every Yukaghir who wants to represent the idea of this letter in writing will have to write the same letter. 


In both cases an idea is communicated. Both the painting and the semasiographic letter can be very precise if need be. But the two should not be confused.


Now the more prevalent writing system in today's world is not semasiographic but glottographic.This blog post is in English, which is an example of a glottographic system of writing. In a glottographic system the idea is not directly recorded in the communication. The spoken words which represent the idea are directly recorded. The idea to be communicated is not directly shown. Rather the written "speech" has to be read and then the idea becomes apparent. The Yukaghir people have actually now adopted the Cyrillic / Russian script for their languages after the Russification of North Eastern Siberia. Hence the Yukaghir languages have moved from a semasiographic system to a glottographic system of writing.

Obviously both semasiographic and glottographic systems have their respective advantages and disadvantages. Road signs, washing instructions, mathematics all if translated into glottographic writing would become extremely cumbersome and unwieldy. I think I would use neither exclusively if I had a choice. Both could be used in combination or different ones for different languages. That would be fun. And terribly confusing perhaps.In both the semasiographic system and the glottographic system, the writing, the language and the idea are being coded seamlessly and continuously but in different ways.

I came across this Yukaghir letter in a fantastic book on scripts called Writing Systems by Geoffery Sampson. It is a great book and I can re-read it many times. I recommend it to anyone who is interested in scripts and perhaps also in linguistics. Most of the ideas for this blog post have come to me directly from the 2nd chapter of this book. I think I love scripts even more than I love languages. I wished to write a much longer post but I am sure it too would have joined my list of long dead unfinished posts. Perhaps one day I will write on the symbiotic world of scripts and languages as well. God willing.


Know More:

Writing Systems by Geoffery Sampson
The Yukaghir
A study of writing by Ignace Gelb
Russification






Wednesday, October 5, 2011

Who is most fierce animal?

"Qual è il più feroce degli animali?" chiese allora il Poeta. "L'uomo."
"Perché?"
"Domandalo a te stesso..."



Baudolino by Umberto Eco

Thursday, December 31, 2009

Book making binding Pictorial Webster

Book spines, hard bound books, Linotype machines.




Here is a great video on:

1. One man's journey to re-create the Pictorial Webster
2. How books used to be made

By the end of the video I wanted to stand up and applaud.


Pictorial Webster's: Inspiration to Completion from John Carrera on Vimeo.



Here are some other videos on book making


Basic book binding





Playlist of 22 videos on book making on youtube and some tips on how to make books here .


Really inspirational, I intend to make a book of my own in 2010, suggestions are welcome :)