Yajnadevam's Indus Valley Script

Reading about the meanings and significance of the figures & inscriptions on Indus Valley seals is one of the enduring areas of my interest. It all started a couple of decades ago when I read some papers by Prof. Maurizio Tosi, head of archaeology department of Bologna university, and one of his researchers, Dennys Frenes. I have already written about it many times, especially in my Hindi blog.

Since then, every time someone claims to have understood those figures and signs from the Indus Valley, I try to read their papers. Most such papers are written by people who are passionate about the subject but do not have formal training to do such analysis.

This post is about a new paper by Bharath Kumar (Yajnadevam) on the deciphering of Indus Valley inscriptions, which seems interesting.

Yajnadevam Paper on Indus Valley Language

The researcher uploaded a 99 pages long paper titled "A cryptanalytic decipherment of the Indus script" on Academia website on 13 Nov. 2024. In the summary of this paper, he explains that through cryptographic analysis, he has found that "Indus script is a proto-abugida segmental" language, which means that it is a writing system that groups consonants and vowels into units.

He also explains that "Indus inscriptions are in grammatically correct post-Vedic Sanskrit" and through his analysis of more than 500 signs provide, he provides their understandable meanings. He also shows connections between the Indus Valley and the Brahmi scripts.

The Indus Valley alphabet is in allographs, which means that each letter of the alphabet can have some or many variations. I think that developing allographs over long periods and vast territories is to be expected, because there were no printing presses and scripts needed to be copied manually. Sometimes there can be also be made for practical reasons by making conscious changes in the way some letters are written (for example, related to the surface of writing materials).

One difficulty of deciphering Indus Valley inscriptions has been the short number of signs in the Indus Valley seals - the median inscription length is about 5 signs and there are only about 50 inscriptions that are 10 signs or longer.

Yajnadevam explains that the oldest inscriptions are about 6000 years old, while the most recent ones are about 1700 years ago, and among the more recent ones, Indus Valley signs are sometimes mixed with Brahmi script signs. He also mentions a 3500 years old inscription in Belpahar, Odisha (Vikramkhol cave), which is half-way between Indus Valley and Brahmi scripts. About 83% of the inscriptions are from right to left.

Allographs of specific signs can lead to mistakes of 2 kinds - two different signs may be thought of as allograph of same sign; and, allographs of same sign can be interpreted as two different signs.

He underlines similarities between Indus Valley to Gupta period seals, and links them with specific shlokas from the Vedas. For example, he writes, "The contents of the Indus inscriptions are similar to Janapada coins and Gupta-era seals that they resemble. Long seals seem to use a concise Vedic concept as a motto or slogan." At the same time, he looks for origins from other languages such as Sumerian and old Akkadian.

The image below, presents the different allograph variations for some of the alphabet characters from his paper (click on images for a bigger view).

He concludes his paper with the following: "This is the only cryptanalytic decipherment and the only one that uses well-established mathematical models and methods instead of guessing sign values based on their appearance. This decipherment is the only full decipherment and the only one where every sign and every stroke has been resolved, the only one that is programmatically reproducible, the only one where the decipherment can be followed sign-by-sign by the reader ... We also show how the constraints and habits of the Indus script carry on to Brahmi inscriptions of the early historic era." 

The image below, presents his analysis of a standardised Indus Valley alphabet, along with Brahmi and Devnagari alphabets from this paper. You can draw your own conclusions if there are similarities between the 3 alphabets - personally, I am struck by the similarities in the 3 alphabets for different letters. I am also struck by his assertion that this analysis provides meaningful results for the all the epigraphs he has looked at.

In Conclusion

This paper on the decipherment of the Indus Valley script is almost 100 pages long, out of which around 50 pages are descriptions of individuals inscriptions. I do not have the domain-skills needed to judge its scientific validity.

Probably, over the coming months and years, linguists, philologists and experts of Indus Valley civilisation will look at it and decide if his ideas and results make sense.

I am not sure how reliable can be papers uploaded on Academia, without being presented on a peer-reviewed journal. I do hope that Mr Bharat Kumar (Yajnadevam) is working on such a paper for a peer-reviewed journal.

We have limited understanding about the languages and cultures of people living under Indus Valley civilisation. It will be good for someone to finally solve this riddle, so that even from the limited seals and inscriptions, we can learn more about that period of India's history.

With AI, many persons have started saying that AI will help us in understanding Indus Valley script. I am not sure that AI has already reached such a level of expertise. However, AI may also help in expanding the findings of researchers and making sense out of them.

*****

Amrit Lal Nagar: Creative Inspirations

Hindi writer and playwright Amrit Lal Nagar has left an incredibly vast testimony of his creative powers expressed in works ranging from short stories to fiction, satire, memoires, plays and screenplays.

In this article, I want to focus on some insights about his creative inspirations based on his book “Jinke Saath Jiya” (My Contemporaries), published in 1973. In this book Amrit Lal Nagar ji had brought together vignettes and memoirs about important figures of the 20th century’s Hindi Literature, some of whom inspired him and others, who were his friends.

Sharat Chandra Chattopadhyay

Sharat Chandra, the famous Bengali author, had died in 1938. Nagar ji wrote a vignette about him. At that time he was 22 years old. In the memoir, he wrote, “I had learned Bengali to read his books and he truly had a great influence on me”. Nagar ji had gone to meet his idol a few times.

Sharat Chandra had a house in Panibash village, about 2 miles from Devalti railway station near Hawrah, and it was there that Nagar ji went to see him during his last days. He wrote a moving account of this visit, in which he described Sharat Chandra’s deteriorating health and artistic loneliness . He concludes this account with the following words:

“To go back, after kissing his feet, as I was going to the palaki for the station, he said, “Wait Amrit, I want to show you the splendour of Roopnarayan pond”. The sky had a few stars and perhaps it was a full-moon night. He pointed towards it and said, “When the water is high and it touches my house, I love it.” Standing at the edge of pond, it was the last time that I saw that great artist.”

Surya Kant Tripathi “Nirala”

Nirala appears multiple times in different writings of this book. Nirala had died in 1961. Here I want to share a few impressions from Nagar ji’s essay from 1962, in which he had written about the first Nirala Jayanti celebrations in his village Gadhakola near Purwa town in Uttar Pradesh.

Nirala was born in a Brahmin family in Midnapore, now in Bangladesh, but had arrived in Gadhakola as a child. He grew up here, choosing to live closer to the marginalised groups and wrote some of his iconic stories regarding those persons in this house. It was here that he was tormented by the high caste rich landowners and he left it vowing to never come back.

Nagar ji writes effortlessly creating a vivid picture of different persons who had been a part of Nirala’s life when he was a poor villager, who now wished to claim a part of his glory as a renowned poet. His words express his reverence for Nirala, even while he observes the complexity of human egos and emotions. About Nirala’s closeness to the poor and the excluded he wrote:

“I started to think, why would the higher castes remember Nirala? He had never accepted their caste-superiority. He had refused their false-ideas of religion. He had listened to the voices of the poor and marginalised, fought for them and was a part of their joys and pains. That was why such a large group of his followers was a part of the procession, to show their disdain for the higher castes. I loved it. Lord Shiva has to be accompanied by his marginalised bhoot-gana.”

The Farmer Poet “Padhees”

Balbhadra Prasad Dikshit “Padhees” was Nagar ji’s contemporary and friend, famous for his poetry book “Chakkalas”.

Like Nirala above, Padhees had also chosen to move away from his Brahmin clan to become a farmer himself and to write about the lives of the poor farmers and the landless peasants in his poetry. In his book, Nagar ji dedicates a big chapter to this farmer-poet to express his own ideals of being close to the marginalised persons.

With extensive quotes from different poems of Padhees, Nagar ji’s essay explains the popularity of those words among the poor farmers because he was giving voice to the voiceless. He wrote, “Padhees’ call was like a spark to light the fire in a heap of straw. His poetry was the voice of the mute farmers of the 7 lakh villages of the country.”

Lamenting the death of Padhees at a young age, Nagari ji wrote:

“Farmer-poet Padhees was a great word-smith. Every language would be proud to have a poet like him. The beautiful, alive and heart-touching depictions of nature, villages and the village life that he presented in his Avadhi language poems would be difficult to find elsewhere … Those who had the good fortune of knowing him from close knew that he was even a far better human being.”

Jaya Shanker Prasad

Eminent Hindi writer Prasad had died in 1938, when Nagari ji was just 22 years old. Prasad was one of the early influences on the young Nagar ji.

In his essay on Prasad, Nagar ji describes the hardships he had faced when his family wealth was lost and he was crushed under the burden of debt. Yet even in those trying times, Prasad did not lose his dedication towards writing.

Nagar ji describes the lesson learned from Prasad with the following words:

“He kept his poetry hidden, he liked to keep this passion for himself. This habit meant that he kept working on his literary efforts in solitude. In Prasad’s literary journey, the stamp of this focused effort is evident. As a poet, playwright, and author of stories, books and essays, in all his different works, you can see his undivided and attentive thought-process. A creative work can be small or big, but for a serious author, they all merit equally careful attention.”

Sumitra Nandan Pant

Nagar Ji starts this vignette with Nirala in Lucknow during the 1930s. Nirala had a deep reverence for the Hindi poet Pant, and had introduced Nagar ji to his works. My favourite part of this vignette is the part when they both, Pant and Nagar ji, were in Madras (Chennai) in 1946, working with Udayshanker on his film Kalpana. This episode illustrates the source of the poet’s creativity:

“Pant ji was writing the songs for that film. He had just recovered from a long illness and often seemed lost in thoughts. There was a light in his serious face. One day, standing in the garden with his hand on my arm, he suddenly raised his head up to stare at a tree. His eyes seemed lit from inside. Clutching my arm, he said with enthusiasm, “Look my friend, the poems are raining down.” Some days after this, he started writing the poems of his book ‘Swarn Kiran’.” 

Conclusions

The sixteen portraits of contemporary authors and poets in Amrit Lal Nagar’s book “Jinke Saath Jiya”, refer to some of the iconic figures of Hindi literature of 20th century. All the portraits, while they tell about their subjects, they also throw light on their relationships with Nagar ji. They also indicate which aspects of their personality and literary efforts were perceived as significant by Nagar ji. In this sense, a critical reading of these essays provide some invaluable insights about Nagar ji, such as his admiration for those who were speaking for the poor and marginalised and fighting for their dignity.

There is so much in these essays that can be starting points for critical research on Nagar ji’s own creative works, to see how these inspirations were developed and manifested in them. For example, his admiration for some of these persons’ optimism and resilience, their knowledge of Upanishads, their respect for our cultural heritage, heritage and knowledge-systems and so on.

At the same time, one can appreciate that in these memoirs and vignettes, there is a touch of levity, humility and self-deprecation about his own creativity.

***

Notes:

1. I have translated from Hindi the different excerpts used in this write-up, trying to respect the sense of his expressions instead of making literal translations.

2. This article was published in the August 2024 issue of the magazine "DFTT" (Documentary Films & Theatrical Trust) of the Indira Gandhi National Centre for the Arts (IGNCA), a special issue to commemorate the 108 years of Amrit Lal Nagar, edited by Savita Nagar & Rajesh Amrohi.

#amritlalnagar #hindiwriters #hindiliterature #indianliterature

 

Learning Sanskrit or German?

The columnists seem almost unanimous - making Indian children learn Sanskrit is a fundamentalist-obscurantist, Hinduttva conspiracy, while learning German is something forward looking-progressive and modern.

I feel that learning and knowing different languages is culturally enriching, a wonderful way for us to know the world. Thus in my opinion, learning German is fine. However, I also believe that India has neglected teaching Sanskrit to school children, depriving them of a wonderful tool in knowing their own cultural roots.

THE DEBATE

Lord Meghnad Desai, a member of House of Lords in UK, wrote about it in Indian Express:

Sanskrit is today a dead language which is spoken rather badly by a few. How often have we all heard Vasudhaiva Kutumbakam murdered by bad pronunciation. Sanskrit is and was, throughout history, an elite language which only Brahmins were privileged to learn... in India, the forward-looking, development-oriented people want to learn German. But the obscurantists want the country to go back to its ancient roots and learn Sanskrit.

Outlook clarifies that the order of Education Minister Ms Smriti Irani is not just about Sanskrit but it asks Kendriya Vidyalayas (Central schools) to replace German, taught as third language, "with Sanskrit or any other modern Indian language". In a letter, Ashok Aggarwal, writing on behalf of All India Parents' Association has written that the decision of education minister is "unfair, illegal, unconstitutional and unjust".

I don't know if legally Ms. Irani has taken a wrong decision and if it is unconstitutional - I hope not. However, I wonder if media and columnists, by making it a "German versus Sanskrit" debate, are perhaps deliberately creating some confusion? Would it not be more appropriate to pose it as the "foreign language versus an Indian language" debate?

The three language education formula (mother tongue + English + an Indian language) was created to promote unity of India. I feel that today there are many persons in India, especially those who speak English, who think that in the globalized world using school time to learn another Indian language is a wastage of time while learning French, German, or any other "foreign" language is much more important for the future job prospects of their children.

I wonder if all this debate, presented in terms of Hinduttva-versus-Progressive ideas about education, is really about our belief about the inferiority of India's vernacular language speaking majority world?

NEGLECT OF SANSKRIT IN INDIA

I had studied Sanskrit for three years in the middle school. I do not recall those studies with particular pleasure, but that did not mean that Sanskrit was an especially boring subject - rather, I think that in general, teaching in our school was unimaginative and boring, not just in Sanskrit, but also in other subjects like physics and history. Unless we are fortunate to get a gifted teacher, most of Indian education system continues to be like that.

Few decades later, when I was living in Italy and was forced to learn Italian, which included learning the Latin linguistic structures, I was suddenly reminded of Sanskrit - the way of remembering changes in verbs according to the tense, gender and persons in Latin, is very similar to Sanskrit.

Later, my work helped me to learn French and Portuguese. I also studied German on my own for some time, though I was never any good at it. Knowing different European languages, often I am struck by the similarities in the roots of different words in different languages, wondering about their common origins and about how languages intermix and gain from each other.

Learning different languages helped to awaken my interest in different humanistic areas - arts, history, archeology and anthropology. It gave me many opportunities to learn about these areas in the European (and western) context. It also made me understand that while I knew so much about origins of Greek and Roman cultures, I hardly knew anything about India's past - for example, I was unaware of the works of persons like Kalidasa or Shudraka.

For many centuries, learning Sanskrit was barred to majority of Indians - it was reserved for Brahmins. However, in Independent India, what stopped us from democratising Sanskrit knowledge and making sure that all Indians could learn it? Or because it was also the language of exclusion and discrimination in the past, should we ignore it and forget it?

I do not have any ideological love for any language or any desire to prove that ancient Indian civilization was better than any other civilization. But I think that Sanskrit is a part of the Indian heritage and if we ignore it, we ignore our own past. How can we love and cherish who we are, if we decide to ignore and forget where we come from?

NOT JUST SANSKRIT

In the end I don't think that the discussion is about closing our doors to languages like German. Learning German can give us an entry into reading and understanding works of great writers like Goethe, Kant and Hesse. However, I don't think that those who talk of teaching German are worried about not knowing the great German writers. I think that our worries about learning German are more practical - how it can help us to find jobs and make carriers.

I think that as a market-driven society, we are willing to ignore education about literature, art, culture and history, and focus on practical skills that can get us jobs. I also think that it is a short-sighted view.

Today, learning new languages especially European languages, is easier than it has ever been in the history. Internet, free online courses, watching TV channels from other countries, making friends from other countries and chatting with them - if you really wish, you can learn new languages and keep that knowledge alive through internet. Perhaps one day, it will become equally easier to learn Indian languages and Sanskrit through internet.

I believe that learning our own languages and cherishing our own history, literature, art and culture is an important first step for becoming aware and responsible citizens. Only when we know about our own roots, can we explore and appreciate the roots and rich diversities of others.

It is not just about Sanskrit - I wish, our education system could teach our children about the rich works in our "vernacular" languages - from Marathi, to Tamil to Urdu.

Sanskrit may be a "dead" language, not spoken by people, but the language is very much alive for understanding our past. Words from Sanskrit have permeated all the different Indian languages.

I think that this debate is also about a "future-job centric" view of education versus the building of a "cultural foundation" role of education. I believe in a holistic education and not a job-centric education - make our science and maths learning more interactive and practical, but do not give up on subjects like arts, literature, culture and history.

If I were to ask you about the works of Shakespeare or Homer or Dante, probably you would be able to give me some answers. However I suspect that if I ask you about the works of Kalidasa or Banabhatta or Jayadeva, few of you will be able to remember the titles of their works. That is the real tragedy.

***

The Hurt Syndrome

The news came from a Japanese friend. She had forwarded a message from a common friend in the US and the message said:

... I am asking that each of you send an email to Nick Park and Aardman Annimations to object to the manner in which persons affected by leprosy are being portrayed in the soon to be released movie titled, "The Pirates! Band of Misfits." In the event you have not seen the trailer, the characters board a "pirate leper ship" and a body part falls off one of the sailors. This is a cruel portrait of the millions of persons affected by leprosy and negatively creates a lasting image on the minds of the young viewers from throughout the world who will see this movie ...

For past couple of decades I have been working in the field of leprosy. One of the key issues that continues to trouble the finding of new cases with leprosy and then ensuring their treatment and rehabilitation is the common image of this disease in public perceptions all over the world. Afraid of the social stigma and virtual social banishment that the disease can cause, people with leprosy often try to hide as long as possible.

However, over the past three decades, the actual situation of leprosy has changed drammatically. Today it is possible to get free treatment all over the world and the persons can get cured easily and completely. Therefore, it should no longer be seen as a disease that causes fear and is seen as "curse of the God".

I can understand the anguish of my friends because when we talk of this disease today, it is about thousands of persons who still get it today and have to face the social consequences of having a "dreaded disease" that are unjustified. Though most persons feel that leprosy is a kind of relic of the past, the reality is that every year there are about 250,000 new cases of leprosy every year. India and Brazil are the two most important countries in terms of number of new cases of leprosy today.

However, I do not believe in banning of films or insisting that they cut the scenes that are wrong in our view. This is what all the groups seem to be asking for when they feel that their depiction in the media is inappropriate. They make protests and ask for changes.

Here are a few examples of fights of other "misrepresented" groups from recent past asking for censorship or banning:

(1) In India, such protests are common place with persons of different religious, caste and social groups getting angry is a person of their community is shown in a negative way or in humour. The protestors frequently threaten violence and often end up destroying public property. Most the the time Indian Government gives in easily to such demands refusing to protect the writers, actors, directors and producers, and hides behind the bogey of "law and order situations".

Similar protests in relation to Islamic symbols/ideas in other parts of the world also has had many violent episodes.

(2) Persons with mental illnesses and persons with disabilities in many parts of the world have been fighting for not using their sterotypes in the different media including TV and films all over the world.

(3) Using caricatures of jews as being nasty moneylenders, and of arabs or Muslims as being terrorists are some other common examples from Hollywood.

I believe that if we go on like this, artists, writers and film makers will always be forced to express their ideas in narrower spaces and the world will be a poorer place for all of us.

I do not believe that banning films or censoring them to cut certain scenes is correct, whatever their provocation unless it is explicity asking for violence or expressing hate about some group.

We all have a right to criticise and if we find depictions in a film to be wrong or derogatory or stereotypes, we have the right to express our opinions, to debate and to discuss, to write about it on our blogs, to organise forums and if we feel very strongly, to promote calls for boycotting. If you don't agree with something don't go to see it, don't watch it, don't read it, and tell all your friends to do the same.

If you feel that it may not be understood by children, ask that it should be only for those above a certain age.

But I believe that no one should be asking for banning of people or their books, art or films or websites just because you feel that it gives a negative view of your religion/caste/community/gods. And no government should give in to such demands.

The only exception  to this, in my opinion, is those expressions that ask for killing, violence and hate against specific group of persons.

***
PS 6 February 2012: I have heard that producers of the film "Pirates the band of misfits", following the protests, have decided to review and modify the parts related to persons affected with leprosy.

About language

I read an article on Chimurenga Chronicle about "Somali invasion of Nairobi" written by a Kenyan writer called Parselelo Kantai, and I was struck by the wonderful way that he describes the "Nairobi English" of a woman:

"For a people for whom ‘negative ethnicity’, the newspaper euphemism for the prevailing ethnic rancour that had shredded the nation into a farcical edifice of a thousand cuts, ‘othering’ the Somalis restored a sense of collective indignation. Hate and rancour were the only things holding us together…

I was surprised at her vehemence. She had always talked in a language that irritated me – the exultant language of the reaspora bubble in leafy-suburb Nairobi. It was a velvety, arriviste Nairobi English, full of possibilities and faux tourist innocence. It was an insider language that walked on water, saw no evil, advertised its privilege with cocktail kisses, intimate nods, bursts of happy laughter. It was used to suggest non-contamination, that one’s head was above the loud sucking sounds of this place, the descent into naked Nairobi calculations, pettiness, desperation. It was not the other thing: that guarded edge in your voice that revealed a loss of independence and optimism, that now your diaspora dollars were running dangerously low and you had recently turned a page in your contact book, and made the call to a powerful uncle for a job, a contract, a deal.

But Kileleshwa, an old mzungu suburb whose civil servant houses were being transformed into apartments for the yuppy beneficiaries of the Kibaki-era economic boom and the returning Western diaspora, exiled for two decades by Moi repression, was now under siege. There was no velvet to couch this new fear..."

Isn't it beautiful?

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