خوشحال جاګېردار، زميندار که منصبدار · 16. abdul rehman kakar...

TAKATOO Issue 13 Volume 7 January – June 2015

1

Bilingual/Bi-Annual Pashto/ English Research Journal

Issue No. 13 Volume No. 7

January- June 2015

TAKATOO

ISSN: 2075-5929

Editor: Dr. Javed Iqbal

Department of Pashto University of Balochistan, Quetta

E-mail: [email protected]


2

Department of Pashto University of Balochistan, Quetta.

Patron in Chief: Prof. Dr. Javeid Iqbal, Vice Chancellor,

University of Balochistan, Quetta

Patron: Dr. Faizullah Khan Panezai

Editor: Dr. Javed Iqbal

Co-Editors Abdul Rehman Kakar

Dr. Barkat Shah Kakar

Composer: Hafiz Rehmat Niazi


3

International Editorial Board

1. Prof. Dr. Lutz Rzehak, Central Asian Department, Humboldt University

Berlin, Germany

2. Prof. Dr. Heinz Werner Wessler, Department of Lingustics and Philology,

Uppsala University Sweden

3. Prof. Dr. Jonny Cheung, Department of the languages and cultures of the

near and Middle East, University of London

4. Dr. Anders Widmark, Faculty Member, Department of Lingustics and

Philology, Uppsala University Sweden

5. Dr. James Caron, Faculty Member, South Asia School of Orientel and

African Studies, University of London

6. Prof. Dr. Halil Toker, Chairman, Department of Urdu language and

literature, Faculty of Letter, University of Istanbul, Turkey

7. Dr. Dawood Azami, Program Manager, British Broadcasting Corporation

(BBC), London

8. Prof. Dr. Zarghona Rishteen, Department of Pashto, Faculty of Languages

and Literature, University of Kabul, Afghanistan

9. Prof. Dr. Muhammada Jan Huqpal, Department of Pashto, Faculty of

Languages and Literature, University of Kabul, Afghanistan


4

National Editorial Board

1. Prof. Dr. Fazal-ul- Rahim Marwat, Vice Chancellor, Bacha Khan University

Charsada

2. Prof. Dr. Muhammad Ibrahim Khattak, Vice Chancellor, Khushal Khan

Khattak University Karak

3. Prof. Dr. Pervaiz Mahjoor Kheshkay, Pakhtunkhwa Study Centre, Bacha

Khan University Charsada

4. Prof. Dr. Nasrullah Jan Wazir, Director Pashto Academy University of

Peshawar

5. Prof. Dr. Khadim Hussain Amir, Managing Director, Bacha Khan Trust

Educational Foundation (BKTEF) University Town Peshawar

6. Prof. Dr. Hanif Khalil, National Institute of Pakistan Studies (NIPS), Quaid-

e-Azam University Islamabad

7. Prof. Dr. Abdullah Jan Abid, Incharge, Department of Pakistani Languages,

Allama Iqbal Open University Islamabad

8. Prof. Dr. Badshah.i.Rome (Ali Khel Daryab), Chairman, Department of

Pashto and Oriental Languages, University of Malakand

9. Prof. Dr. Noor Muhammad Danish Betanai, Pashto Academy,

University of Peshawar


5

Dear authors, co-authors and readers,

Department of Pashto University of Balochsitan has been regularly publishing the Bi-

Lingual Bi-Annual Research Journal TAKATOO since 2009. The Higher Education

Commission of Pakistan (HEC) has recognized the Research Journal "TAKATOO" in

August 2011. The published material in TAKATOO can be utilized for scholastic and

academic purposes.

Disclaimer:

The published material in the journal TAKATOO contains

exlusive/independent opinions of the authors. The journal‟s agreement to the

analysis/opinion of the author is not necessary to be the same.

Subscription Rate:

Domestic Rs. 300/-

Outside Pakistan US $ 07


6

Guidelines for Contributors

The prime objective of the Research Journal "TAKATOO" is to provide a forum for

the scholars engaged in the research of Pashto language and literature. Following are

the guidelines for the scholars/researchers contributing articles to the bilingual/bi-

annual Pashto research journal TAKATOO.

1. The authors are required to send their research papers both in English and

Pashto on the themes pertaining to Pashto language, literature, history, art,

culture, linguistic, sufism, anthropology and archeology.

2. The research paper must be typed on A-4 size paper having an abstract in

English about 100-150 words.

3. Manuscript should be between 4000- 6000 words (including end notes and

references).

4. Quotations from foreign texts must be translated in the body of the paper, and

accompanied by the original in the endnotes.

5. The author‟s name, e-mail and mailing addresses and institutional affiliation

should appear on a separate title page.

6. Two hard coppies and a soft copy of the research paper may please be sent to

the Editor.

7. The authors are required to use MLA citation styles.


7

List of contributors:

1. Abdul Karim Baryalai Writer/intellectual, Faisal Town Quetta

2. Dr Faizullah Khan Chairperson, Department of Pashto,

UoB, Quetta

3. Dr. Kalimullah Bariach Assistant Professor, Department of

History, UoB, Quetta

4. Shoukat Tarin Subject Specialist, Government

Elementary College Loralai

5. Dr. Usman Tobawal Director, Pakistan Study Centre, UoB, Quetta

6. Yousaf Khan Jazzab Ph. D Scholar, Central Asian Department,

Humboldt University Berlin, Germany

7. Dr. Abdul Manan Bazai Chairperson, Department of International

Relations, UoB, Quetta.

8. Mirwais Kasi Assistant Professor, Department of International

Relations, UoB, Quetta

9. Dr. Naseem Achakzai Assistant Professor, Department of English

Literature, UoB, Quetta

10. Dr. Hanif Khalil Assistant Professor, National

Institute of Pakistan studies (NIPS),

Quaid-e-Azam University Islamabad

11. Dr. Badshah-i-Rome Chairman, Department of Pashto

(Ali khel Daryab) and Oriental Languages, University of

Malakand

12. Dr. Javed Iqbal Assistant Professor, Department of Pashto,

UoB, Quetta

13. Dr. Noor M. Danish Betani Assistant Professor, Pashto Academy, University

of Peshawar

14. Dr. Sherzaman Seemab Junior Research Officer, Pashto Academy,

University of Peshawar

15. Dr. Barkat Shah Kakar Lecturer, Department of Pashto,

UoB, Quetta

16. Abdul Rehman Kakar Lecturer, Department of Pashto,

UoB, Quetta

17. Hafiz Rehmat Niazi Ph D Scholar, Department of Pashto,

UoB, Quetta

18. Abdul Karim Amir Lecturer in Pashto, Government

Degree College Loralai

19. Ghulam Murtaza Kakar Ph. D Scholar, Department of Pashto

UoB, Quetta

20. Saliha Bazai Lecturer, Department of English, SBK

University, Quetta

21. Shifa Kakar M. phil Scholar, Department of Pashto, UoB, Quetta


8

Contents (English Portion)

S.No. Researcher Title Page

1. Yousaf Khan Jazzab Personal suffixes of Baniswola

(Ba.), Wazirwola (Wa.),

Khatakwola (Kh.) and

Marwatwala (Ma.)

9

2. Dr.Abdul Manan Bazai

Dr. Faizullah Khan Panezai

Mirwais Kasi

Countering Terrorism through

Pashtunwali/ Pashtu

Dr. Hanif Khalil

19

3. Dr. Naseem Achakzai Syntactical Acquisition of

Musical and Human Language

29

4. Saliha Bazai Thematic Analysis of „Angai‟,

the Voice of a Pashtun Bride

55


9

Personal suffixes of Baniswola (Ba.), Wazirwola (Wa.), Khatakwola (Kh.)

and Marwatwala (Ma.)

Yousaf Khan Jazab

Abstract: Personal suffixes follow verbal stems. In this research paper, Pashto personal suffixes

are studied with reference to the varieties of Baniswola (Ba.), Wazirwola (Wa.),

Khatakwola (Kh.) and Marwatwala (Ma.). These suffixes are bound morphemes and

cannot maintain their existence alone. The question to be answered is whether or not

these suffixes are different from Marwatwala (Ma.) and Peshawari variety (PP). Are

these differences the result of phonological or morphological developments? This paper

sheds light on such questions and their answers. Data were collected for some Karlanri

varieties, i.e. Baniswola (Ba.), Wazirwola (Wa.), Khattakwola (Kh.) of the districts

Bannu, Karak and FR Bannu. A Non-karlanri variety, Marwatwala (Ma.), has been kept

under consideration for the purpose of comparison because this variety is spoken in the

same region.

1: Introduction:

Personal suffixes exhibit two separate features: they present information on the

person, and they are suffixes. The former refers to persons, i.e. 1st, 2nd or 3rd person,

whereas the latter refers to the process of suffixation, a type of affixation that is “a

morphological process that adds phonological material to a word in order to change

its meaning, syntactic properties, or both.” (1) An addition to this, these morphemes

cannot stand alone, and therefore, they can be classified as bound morphemes. Trask

defines affixes as follows: “A grammatical element which cannot form a word by

itself. Affixes are bound morphemes, in the sense that they are meaningful units

(morphemes) which cannot exist independently of another morpheme to which they

must be attached.”(2) Simply, we can say that an addition to the stem or root is called

affixation, and suffix is the type of affixation in which addition is made to the end of

the stem or base. Correspondingly, a personal suffix is the grammatical element that

is attached to the stem of a verb at the end. These have been called “

” „connected personal pronouns‟ and “ ” „verbal pronouns‟ in

Pashto. (3) Penzl treats these suffixes under the title “verbal endings”. (4) However,

Boyle terms them as verbal suffixes. (5)

In this paper, such kinds of suffixes are studied with special reference to Baniswola

(Ba.), Wazirwola (Wa.), Khatakwola (Kh.) and Marwatwala (Ma.). The first three are

Karlanri varieties whereas the last one is a non-Karlanri variety.

Ph D Scholar, Central Asian Department, Humboldt University Berlin, Germany


10

2: Transliteration:

The following transliteration table shows the correspondence between the phonemes

of the varieties under study and the letters of the Pashto-Arabic script.

Phoneme Name of

theletters

Grapheme Phoneme Name of the

letters

Grapheme

a zabәr x xin ښ

ā alif ‟ ayn ع

b be ġ ġayn غ

p pe f fe ف

t te k kāf ک

ṭ ṭe g gāf ګ

ğ ğim l lām ل

ʣim m mim م

č če n nun ن

c tsim ñ nun ġuna ں

h he ṇ nuṛ ڼ

x xe ō mağhul wāw و

d dāl ū marūf wāw و

ḍ ḍāl h he ه

r re ә zwarakay ۀ

ṛ ṛe ay prata ye ے

z ze ī marūfa ye ي

ž že ē mağhula ye ې

g ge әy muanasa ye ۍ

s sin әy fely ye ێ

š šin


11

3: Personal suffixes for Karlanri varieties:

Personal suffixes for Baniswola:

Persons Singular Plural

1st -әñ -ī

2nd

-e w sta -īye

3rd

Present M -ī -o

3rd

Present F

3rd

Past M -ә -ay -әl

3rd

Past F -(әl)a -(әl)e

Table: 1

Table 1 shows that /-әñ/ as in most Karlanri varieties is the allomorph of /-ә m[a]/ of

Peshawari Pashto. The 1st person plural morpheme /-u/ of PP that has its form here as

/-ī/, is the result of the general phonological sound shift from /-u/ → /-ī/ e.g. līr

„daughter‟, tī ra „sword‟, sīr „red‟, [c.f. lūr, tū ra, sūr of GP respectively etc. This

development can also be seen in Wa. Since the 1st person plural suffix /-ī/ is similar to

the 3rd person suffix, the verbal stem with this suffix alone would not be sufficient to

show the person, but rather the context defines the relevant person e.g. ž wә ī ‘We

are eating‟ and day xwә ī „He is eating‟. Baniswola is the only variety where the morpheme is present. For the 2nd person

plural two morphemes exist which are /-īye/ and /wosta/ c.f. /yā / in the western

dialects of General Pashto. Remember that /yā / of GP has its past / ā / but in Ba.,

only the above mentioned form is used as the examples below exhibit. According to

Ziyar, the suppletive stem /-ast/, the counterpart of two other suppletive stems [/y-/

and /w-/], is related to әl/ әl/ edәl c.f. hast of Persian. (3) These units have

agreement with /-әy/ of the Peshawari variety. The important morpheme ta

becomes a part of colloquial speech by replacing /ī ye/ c.f. yәy, when it is in isolation.

In other words, the aforementioned mentioned allomorph does not combine with the

stem of the verb i.e. copula as in ә k [You are good people]. But if /-

ī ye/ is not in isolation and constitutes a part of the verbal stem then a slight change in

verbs occurs for example, a Banisay would greet another by saying: ә ē līye [Welcome i.e. may you have arrived well] and having replaced the allomorph with

the utterance will be: ә ē ә . For its usage in the past, we say:

ә li [Yesterday, you had come?] but it is never used in

imperative sense and it has very limited usage as compared to its other variant /īye/.

The table indicates that the 3rd person M and F and plural in present has /-o/

morpheme as well. In this connection, Ba. and Wa. are on the same page. More

discussion about the morpheme follows below in table 2.


12

In the 3rd person masculine, in the past tense, contrary to PP and Wa., there is no zero

morpheme as is the case in Peshawari Pashto. Two allomorphs, i.e. /-ә/ and /-ay/, are

used here.

Personal suffixes for Wazirwola:


1st Present Past -ī

-ә (M. Bk. J.)

/-әñ (Kk. Sa. Et.)

Ø(M./Bk./J.)

/-әñ (Kk. Sa. Et.)

2nd -e -әy (Kk. Sa. Et.)

/-e (M./Bk./J.)

3rd Present M -ī -o

3rd Present F

3rd Past M Ø/-ә -ay -әl

3rd Past F -(әl)a -(әl)e

Table: 2

The above table shows that the 1st person SG. suffix has two allomorphs /-ә/ and /-әñ/

following the distinction of Waziri tribes into upper and lower tribes. In this

classification, upper tribes encompass Mamenkhel (M.), Bakakhel (Bk.) and

Zonikhel or Janikhel (J.). The lower tribes consist of Sperki, Sarkikhel and Ethikhel.

The former drop nasalization and utter the morpheme /-ә/ in present tense but in past

tense they drop the whole morpheme. For example an informant, Gohar, from

Bakakhel tribe, says: ә k k k l ә [I belong to the Bakakhel

tribe]. Shaker Wazir of Zonikhel omits the nasalization such as in: ә k ә

kә l ә [I have got charge of that school and I am running

it]. And Hamid Wisal from Mamankhel drops it in the present aorist aspect when he

says: ә k ә ә ә ә kә [I will speak with special reference

to my own area]. Unfortunately, I was unable to find any example in my interviews of the total drop of

the allomorph /-әñ/ in past continuous or aorist aspects, but during my second period

of field-work, I confirmed the omission from my informants when I gave them model

sentences i.e. ә ē k lә l [I was going to school every day]; ә

ә r ālәl [Just now, the school-master beat me]. In such a situation, the verb

conjugation for the 1st person, in past continuous and aorist aspects as described

above, is identical with the 3rd person PL. in the past tense. For further explanation,

consider the two examples: ә ә r ālәl [Just now, the school-master beat

me] and ә ē ә r ālәl [Just now, the school-master beat them].

The table also shows that the forms for the 3rd person M and F in present has /-o/

morpheme side by side with /-ī/ morpheme. The former is not in accordance with

Peshawari variety of Pashto but it is limited to the verbalizer kedәl of the denominal

verb in present tense in aorist aspect; for instance, k ә ә k k kē


13

ēk k ә kō ē [One, may be, would not agree to sell this place at less than

9 lakh per kanal to someone].

Zero morpheme, Ø, was also observed i.e. k ә wәš [Children

would need food]; yīš tay [This thermos is placed here] and

ә ә e [In the meantime, the concept of score disappeared].

Personal suffixes for Khattakwola


1st Present Past -ī(Ta.)

/-ū (Kh. Te.) -әñ Ø (Ta.)

/-әñ

2nd -e -ey(Ta.)

/-o[y](Kh.)

/-әy(Te.)

3rd Present

M

-ī

3rd Present

F

3rd Past M Ø/-ay/-ә (Ta.)

/-al (Kh.)

/-e/-o (Te.)

-әl


Table: 3

Table 3 sheds light on the fact that like Wa. and contrary to the Peshawari variety,

Khattakwola, at least for the Nasrati variety (Ta.), behaves differently in the 1st person

present and past tenses. All sub-varieties of Kh. utter allomorph /-әñ/ in present

tense, but in the past the allomorph is dropped in Ta. Of course, the Nasrati area is

attached to the Thal area where Waziri people reside but in this lower part the

allomorph is pronounced, unlike in the upper Waziri, in aorist and continuous aspects

of the present tense.

The /-ī/ plural allomorph of Ta. is in agreement with Ba. and Wa., which is a

phonological process discussed above. But its other variant /- /, articulated in Kh.

and Te., shows agreement with the Peshawari variety of Pashto. The 2nd person plural

morpheme has three variants here and only Te. is identical to GP. The other two

allomorphs, i.e. /-ey/ and /-o[y], are specific to Ta. and Kh. respectively.

For the 3rd person masculine, in past tense, there are six allomorphs. GP has three

morphemes, i.e. /-Ø/, /-ay/ and /-ә/, in this regard as is the case in Ta. While

Peshawari variety has only two morphemes i.e. /-o/ and /-e/ that can also be seen in

Te. of Khatakwola. However, Kh. has its own distinct allomorph for all cases that is

/-al/. For example, the conjugations of verbs could be seen below.


14

Personal suffixes for Marwatwala:


1st -әñ -ū

2nd -e -ō

3rd Present M -ī

3rd Present F

3rd Past M -ә -ay/-Ø -әl


Table: 4

The allomorph /-әñ/ [c.f. /-ә m[a]/ of PP] is present in Ma. although as discussed

above this is a non-Karlanri variety of Pashto. The unique allomorph /-o/ [c.f. /-әy/ of

Peshawari variety] for the 2nd person plural exists in Ma. which in some cases is

identical to the main Khattakwola allomorph /-oy/ if we assume that the /-y/ segment

of the allomorph is dropped. The 3rd person masculine morphemes, for the past tense,

are in concordance with Kandahar variety.

The tables of personal suffixes for Baniswola (Ba.), Wazirwola (Wa.), Khattakwola

(Kh.) and Marwatwala (Ma.) presented above that throw light on variation in person,

number and gender. The tables also show that these personal suffixes differ between

present and past tenses only for the 3rd person whereas for the 1st and 2nd person they

remain the same. However, in Wa., they also change, as discussed above.

Note that the 1st person singular suffix /-әñ/, a nasalization of ә, for Ba., Wa. and for

Kh. is a prominent feature of all Karlanri varieties which are studied here. No other

variety of Pashto manifests this characteristic, but we can observe that Ma., a Non-

karlanri variety, behaves similarly as table 4, above shows. So, it seems that this is an

influence of Karlanri varieties, i.e. Ba. and Wa., that share boundaries with it. It is

worth mentioning that another variety, i.e. Bettani that traditionally belongs to Ma.,

also exhibits this feature. Therefore, we can safely conclude that in this respect the

classification is not tribal but regional in nature.

While writing note 1 on Waziri and Dzadrani, Boyle remarks about this morpheme:

“The Waziri and Dzadrani first person singular suffixes -әm and -әma are in free

variation. They occur in both poetic and non-poetic contexts, in contrast with GP

dialects, where the suffix /-әma occurs more often in poetry. As in GP, meter

determines which form is used in the poetic contexts, but Septfonds (1994: 81)

speculates that even in non-poetic speech, 'the melody of discourse' can play a role in

which form is used.”(4)

But contrary to the above description, the evidence of my interviews with ten

informants does not indicate the /-ә m[a]/ suffix in these varieties. Possibly, Boyle

bases the conclusion on her own fieldwork. She could have encountered Waziri

speakers from Afghanistan or from somewhere else although she makes no mention

of this. Nonetheless, Boyle, with reference to Lorimer, has given /-ã/ for the personal


15

suffix for Wa.(5). Lorimer‟s /-ã/ clearly indicates a nasalized /-a/ although it must be

a nasalized /-ә/ if we take into consideration the present-day phonological theory.

Regarding the 1st person singular suffix, all these varieties act alike, but for the 1st

person plural suffix Karlanri and non-Karlanri varieties differ, as in Ma. and

Kh.,[main and Te.] /-u/ is used instead of /-ī/. Khattak of Ta., under the influence of

Wa. pronounce this morpheme similarly. Here, Ma. and Kh. [main and Te.] are in

accordance with GP. Another important difference lies in the 2nd person plural

personal suffix where only Wa. and Te. of Khattakwola are identical to PP and others

behave differently. But it must be mentioned here that according to my recordings,

Sperki, Ethikhel and Sarkikhel tribes pronounce /-әy/, while other tribes, for instance

Mamenkhel, Bakakhel and Zonikhel, pronounce the suffix as /-e/ as table 2 shows

above. In Kh. [main and Ta.] and Ma., the suffixes are /-oy/ and /-ō/respectively,

whereas in Ba., the diphthong has become tripthongized, e.g. /-ī ye/.

As far as Lorimer‟s /-ay/ is concerned, Boyle has rightly concluded:

“Lorimer (1902: 18ff.) reports the Waziri second person plural suffix as -ay/ (/ai/ in

his Romanization), but it does not occur in any of our field data. This discrepancy

could be due to the vowel a having changed to ә over the past hundred years or to

Lorimer‟s transcription methods, which predate phonological theory.”(5)

3: Conclusion:

This study reveals some phonological and morphological developments regarding the

personal suffixes. The phonological process involves / / → /ī/ in 1st person plural in

Ba. and Wa.; /әy/ → /īye/ in 2nd person plural in Ba.; /әy/ → /ē/ in 2nd person plural in

Wa. [upper Wazir]. However, the morphological study of the topic indicates the

presence of: morpheme әñ [c.f. әm[a of PP in 1st SG for all varieties; 2nd PL

morpheme in Ba.; 3rd person /-o/ morpheme in the verbalizer of denominal verbs in

Ba. and Wa., in some varieties of Wa., 1st SG distinguishes present and past tenses

contrary to PP and other Karlanri varieties; zero morpheme in past in Wa. and in

Ma.; in 1st SG difference between present and past tenses resulting Ø in past tense in

Ta. contrary to PP; 3rd M /-al/ morpheme in Kh.; /-o[y]/ morpheme in 2nd person plural

in Kh.; 2nd PL /-o/ morpheme in Ma. To have a complete understanding of the topic,

the conjugation of different verb classes should be taken into consideration.


16

References:

1. Strazny, Philipp, Encyclopedia of Linguistics, Vol: 1, Fitzroy Dearborn, New

York, 2005

2. Trask, R.L., Language and Linguistics, Routledge, New York, 2007

3. Rishteen, Sadiqullah, Pohand, Paxto Grammar, University Book Agency, 1994,

P: 144

4. Penzl, Herbert, A Grammar of Pashto, a descriptive study of the dialect of

Kandahar, Afghanistan, American Council of Learned Societies, Washington

DC, 1955, P: 95

5. David, Anne Boyle, Descriptive Grammar of Pashto and its Dialects, Gottingen,

2014, P: 191

6. Zayar, Mujawer Ahmad, Dr., Paxto Pxoya, oxford, 2005, P: 146

7. David, Anne Boyle, Descriptive Grammar of Pashto and its Dialects, P: 191

8. Ibid, P: 193

9. Ibid, P: 191


17

Countering Terrorism through Pashtunwali/ Pashtu

Dr.Abdul Manan Bazai1

Dr. Faizullah Khan Panezai

Mirwais Kasi2

Abstract:

Terrorism has been regarded as sin in all civilizations of the world, like other

civilizations Pashtuns a g c v ’ g

observed that in most of terrorist acts Pashtuns got involved. This article will highlight

what wrong has been done with this nation which made them like injured loin whose

presence may affect around him. This article mainly focuses on codes of Pashtunwali

through which terrorism can be curbed in Pashtun society. This article is significant in the

sense that it will highlight peaceful solution of problem through Pashtunwali rather than

countering it through use of force which failed to gave a desired results since 9/11 event.

Introduction:

“The United States Department of Defense defines terrorism as “the calculated use

of unlawful violence or threat of unlawful violence to inculcate fear; intended to

coerce or to intimidate governments or societies in the pursuit of goals that are

generally political, religious, or ideological.”(1) Similarly terrorism can also be

defined as violent attack against the noncombatant innocent civilians. Interestingly,

“terrorism is not new and even though it has been used since the early times of

recorded history,” (2) however after 9 11 event the term terrorism became prominent

in global politics. The United States of America along with its allies followed various

counter terrorism options but they failed to crush the terrorism in Pashtun dominated

regions of Afghanistan and somehow in Pakistan. In changing regional and global

politics the international actors must change the strategies to counter terrorism; one

1 Chairperson Department of International Relations UoB, Quetta.

Chairperson, Department of Pashto, UoB, Quetta 2 Assistant Professor, Department of International Relations UoB, Quetta


18

of valid & practical solution of terrorism can be dealing it through Pashtunwali and

not through bullet or use of force option in Pashtun dominated areas. Thus terror and

extremism therefore in Pashtun dominated areas can be countered through local

means in which Pashtunwali can play tremendous role.

Understanding Pashtunwali:

Pakhtunwali or Pashtu or Pokhto are the name of living ethical codes & set of

moral codes which are in unwritten form that transferred from one generation to

other and became a traditional lifestyle that the Pashtun people follow. “The

Pashtunwali is one of the larger “quasi-legal & Social systems in the world in terms

of the number of people subject to it, and it may be the largest such system of any

stateless society. “(3) It is the core of social behavior of Pashtuns which is never

away from their minds. “Pashtunwali embodies all the principles of a self-sufficient

social group. It also embodies social principles that ensure a society‟s progress

through competition; and survival through co-operation. The elements of conflict

and co-operation are evenly balanced in the make-up of Pashtunwali.”(4).

Principles of Pashtunwali which can facilitate in countering Terrorism:

Faith: “Believe in God -known as "Allah" in Arabic and "Khudai” in Pashto.

Merely believe in God isn‟t required but believe in oneness of God is also

required. The notion of believing & trusting in the one creator generally

comports to Islamic monotheism and tawheed.” This became the base of

Pahtunwali in post-Islamic era, by this notion one can easily understand that

this nation can‟t bow their heads before any authority, institution or force

other than God. Thus any measure in regard of forcing Pashtun for their

subjugation before any other power than God will result in their reaction, so

non interference with their faith will keep them peaceful.

Equality: “Every man is equal within the tribe. It is this concept which has

necessitated the development of a Jirga system, whereby decision making

takes place with the participation of all members of the society or tribes.

http://en.wikipedia.org/wiki/Ethical_code

http://en.wikipedia.org/wiki/Tradition

http://en.wikipedia.org/wiki/Lifestyle_(sociology)

http://en.wikipedia.org/wiki/Pashtun_people


19

Every man wants a say in his future and he will fight for his right to have his

opinions heard. All people must therefore deal with each other, with the

proper civility or respect and no one can try to impose their will on to

another.” (5) An unequal treatment is always taken as insult by pashtuns, for

them even those leaders or governments are not acceptable where equality &

respect is missing for them, so another peaceful option in discouraging

revolts, terror& bloodsheds in Pashtun‟s society is assuring equality in their

societies particularly between leaders and masses.

Justice and forgiveness - If one intentionally wrongs another, the victim has

the right, even an obligation, to avenge this injustice in equal proportion. If

one has intentionally wronged you, and you did not seek justice nor did the

wrongdoer ask you for his/her forgiveness, then a debt, is owed to you by

him/her, which can only be fulfilled once justice has been provided to

recompense the wrong done.(6) Keeping this principle infront one thing

clearly indicates that steps like drone strikes won‟t abolish terror in Pashtuns

society rather if innocents are being killed then their family members will

take guns to avenge the injustice, however they won‟t resist if any one being

trialed after being proved guilty through courts or even jirga‟s.

Jirga: “The institution of the jirga is the most important element of Pashtun

culture and it has played an influential role over Pashtun society for centuries.

The jirga system, with its deep roots in Pashtun culture, which is the product

of Pashtun tribal society, operates according to the inclusive code of conduct

of Pashtunwali, which the indigenous Pashtun people from Afghanistan and

Pakistan follow.”(7) Interestingly, “in Pahtuns Jirgas every man is equal. It is

this concept which has necessitated the development amongst Pashtuns of a

Jirga system, whereby decision making takes place with the participation of

all members of the Pashtun society. Every man wants a say in his future and

he'll fight for his right to have his opinions heard. All people must therefore


20

deal with each other, with the proper civility or respect and no one may

impose their will on to another.”(8)

Pashtuns have a rich history and culture and peace can‟t be bring in their

societies through unfamiliar, dictated systems or imposed legal systems,

however through Jirga system old and young generation sit together and they

work for problems resolutions and conflict resolutions. Thus even terrorism

and terrorist can be countered through Jirga systems in Pashtun societies, the

same objective can be achieved through peaceful means rather than violent

and use of force options.

Melmastia” (hospitality): “It is a key component of Pashtunwali. “Melma”

means a guest. However, hospitality is not to be interpreted in the manner a

Westerner would interpret it. It means offering hospitality to a guest;

transcending race, religion and economic status. It also means once under the

roof of the host, a guest should neither be harmed nor surrendered to an

enemy. This will be regardless of the relationship between the guest and the

host enjoyed previously, so even the enemy who comes seeking refuge, must

be granted it and defended against his pursuers.”(9). However this doesn‟t

means that Pashtuns will give asylum to criminal and terrorists and they

won‟t hand over such kind of people to governments etc, but before any such

act the refuge seekers must have been proved guilty through Jirga or courts

only then they may hand over such kind of individuals otherwise they will

rather die for protecting his guest instead of handing over him to others..

Family – Families have been regarded as important segment in Pashtun

society. The family is taken as responsibility and duty with respect for wives,

daughters, elders, parents, sons, and husbands. The Pashtuns will live & die

for their families. Assuring respect, equality, security will keep Pashtuns in

peace otherwise they may stand in different way.


21

Fight evil – “Evil is at constant war with good. Evil must be fought and good

must prevail over evil. It is a Pashtun's duty to fight evil when he/she comes

face to face with it.”(10) Particularly in post Islamic period, the Islamic

religious teachings also became important element in this regard in Pashtun

society where it is believed that one shall try to counter evil through physical

actions, expressions and through feelings/thinking in heart & mind.

Honesty and Promise – “A pashtun is known for keeping their promises and

being honest at all situations and times. A true Pashtun will never break their

promise.”(11) Once they make promise they will die for fulfilling it and they

will assist the one whom they promised at greatest extent possible. However

they may compromise their promise for collective good or honor but

compromising before evils they will prefer to die rather than sacrificing

honesty and promise.

Land: Pashtuns love their land and they may go to any extent to defend their

frontiers and land, e.g. Afghanis never surrendered before any foreign

aggressors when they came to invade Afghanistan. The Pashtuns regards their

land and country as their mother and they may compromise to any extent

when question of its honor and defence comes. So in order to keep Pashtuns

calm it‟s better not to mess-up with their land or territory.

Protecting Pashtun culture: “It is obligatory for a Pashtun to protect

Pashtun culture from dilution and disintegration. Pashtunwali advises that in

order to successfully accomplish this, a Pashtun must retain the Pashto

language since Pashto is the prime source of Pashtun culture and its

understanding is therefore essential. Not being able to speak Pashto to

Pashtun society often translates to the inability to understand the Pashtun

culture, values, history and community.”(12) Interestingly, Pashtunwali does

not offer the map to control Pashtun tribes but it is serves like a magic where

it helps to understand the Pashtun culture, and within its framework can help


22

in formulating a strategy for engaging with the tribes located anywhere in the

world to promote values under Pashtun culture and protect it at maximum

level. Any attempt of changing Pashtun culture is seen as cultural imperialism

and tolerating it has no room in their society.

Additional codes of Pashtunwali which can help in countering terrorism:

Terrorism can automatically be countered by assuring following additional features

of Pashtunwali;

Brotherhood

Good Thoughts, Good Words, Good Deeds

Freedom and independence

Compassion and cooperation

Unity

Taking care of neighbors regardless of race, color, religions etc.

Hospitality

Non-interference

Competition for achieving the heights of good and abstaining evils.

Avoiding blame games.

Respect for Humanism.

Conclusion:

After understanding Pashtunwali one may want to ask that if Pashtuns have such

rich culture where everything revolve around peace and majority of it follow Islam

which by itself means peace then why this nation is at war for many decades, the

answer is simple the more anyone interfere with Pashtunwali codes the more violent

Pashtuns will become. This nation has psyche they can jump in hell when they are

being taken with honor while they may disregard going to paradise when use of force

is there & honor is missing around them.


23

There is notion that poison kills poison, likewise Pashtuns can be in peace when

they are dealt with peace, they will honor any when they see honor from them, they

will show love when they received the same, they will become brutal when they are

treated likewise, they will be in war when any one is in war against them, they will

become terrorists when they are treated in same way, so if International community‟s

want to curb terrorism in Pashtun societies they must deal Pashtuns in peaceful way

it will led towards peace otherwise violent, brutal means against them may lead

towards more violence and terror . Once the international actors convey the message

of live and let us live to the Pashtuns, the positive outcome will be visible in short

span of time.


24

References:

1. What is Terrorism? Available in http://www.terrorism-research.com/

Accessed on 02.11.2014.

2. Ibid.

3. Tom Ginsburg,“An Economic interpretation of Pashtunwali.” University of

Chicago Law School: Forthcoming, University of Chicago Legal Fourm,

Draft April 15,2011, p-19.

4. “Pashtunwali.” Available in

http://www.kpktribune.com/buner/index.php/en/pashtunwali. Accessed on

02.11.2014.

5. Ibid.

6. Ibid

7. Sultan Yusafzai, Zeeya A.Pashtoon, “Jirga A Pashto Culture Reader.”

Available on http://www.dunwoodypress.com/products/-/329. Accessed on

12.11.2014.

8. Pastunwali as a Demoratic system. Available in

http://waziristanhills.com/FATA/Pashtunwali/PashtunwaliasaDemocraticSyst

em/tabid/134/language/en-GB/Default.aspx. Accessed on 12.11.2014.

9. Yasmeen Aftab Ali, “Understanding Pashtunwali.” August 06,2013,

10. Pashtunwali, op.cit.

11. Ibid.

12. Ibid.

http://www.terrorism-research.com/

http://www.kpktribune.com/buner/index.php/en/pashtunwali.%20Accessed%20on%2002.11.2014

http://www.kpktribune.com/buner/index.php/en/pashtunwali.%20Accessed%20on%2002.11.2014

http://www.dunwoodypress.com/products/-/329.%20Accessed%20on%2012.11.2014

http://www.dunwoodypress.com/products/-/329.%20Accessed%20on%2012.11.2014

http://waziristanhills.com/FATA/Pashtunwali/PashtunwaliasaDemocraticSystem/tabid/134/language/en-GB/Default.aspx

http://waziristanhills.com/FATA/Pashtunwali/PashtunwaliasaDemocraticSystem/tabid/134/language/en-GB/Default.aspx


25

Syntactical Acquisition of Musical and Human Language

Dr. Naseem Achakzai

Abstract:

The study of music within structural treatment from note to notes, or beat to beats is

syntactical. Music, being compared, synchronized (Radio, stage, Television levels) and evaluated

with outer world from Nature, Colours, Sense, Social and Cultural elements is semantic, and on a

critical and higher-linguistically treated Music and its appreciation is pragmatic treatment. This

empirical task will broaden the oblivion terrain of music and human language system in its

cognitive dimension. It is a „tuned mood‟ that welds science with fine arts, but „mood‟ here, does

not mean a normal, common, physical, mental or psychological disposition, but is an experiential

sequence from Aristotle to Jacques Derrida offering a systematic chain. It is not only a matter or

question of connectivity or resemblance of music-language to the language of human being, but

is purely a comparative or co-relative dynamics of our present time to pulsate current „tuned‟

scholarly minds to link the communicative devices, designs and structurally generating standards

in between music and human language to bring about an approachable strings of discussion with

all accessible present devices from medical and neuroscience to methodological and theoretical

prospects. A methodological „mood‟ doesn‟t stop. It shifts a scholar from each part of sound

(sign) to the solidity of an occurring subject (ground or a figure) that must be carved, engaged,

engraved, and excavated to be explored professionally with the help of a scientific behavior.

Music, supplying a systematic mechanism, is multi faceted that its each portion like human

speech-parts acquires a complete empirical inquiry in form of a book. The task of this undertaken

paper is merely to sketch out musical language to collect an empirical outline of „wholeness‟ that

in image, the language of music reflects the same grammatical rules of human speech. Many

portions of music in „sound‟ and „beat‟ determine to be explaining a syntactical requirement of

human language from tuningi to performance. The range and delimitation of this paper will

thoroughly and strictly vibrate post-modernist attempt to enhance the significance of the musical

composition and its relevance to the human speech only and its base is entirely woven from

structuralism in a variety of floral impact. This paper is generally distributed into two axis:

„sound‟ and beat (vibration level, either in form of the instrument, voice, or drum) making a

„figure‟ on the calculated measurement of „distance‟ (ground for a movement from the sound of

note to notes, or beat to beats), shaping the outline of „time‟ and „space‟ or a figure-ground

reality. Note and beat both, on vertical axis, can be treated, either space, or time.

Keywords: Sign, sound, structure, music, human language

Introduction

Music, played on a given situation can theoretically be functionalized through

linguistic treatment in form of an undeviating impulse of cognition. Music and

human language is thoroughly explored on a neuroscience intensity, which is totally

medical portion, giving a kind of ambiguity to follow human creativity to human

mind and is purely based on cognitive psychology with its medical portions from ears

Assistant Professor, Department of English Literature, UoB, Quetta


26

to mind‟s different regions. The vein of structure principally moves both in musical

and human language simultaneously.

Creativity and literary errands, in social sciences, particularly in the portion of arts

were flourished, enjoyed, conveyed, interpreted and appreciated from all

philosophical, social, medical and psychological grounds all over the world from

16th century onwards – but there remained three branches of fine arts that needed the

same critical and analytical safeguards what language and literature had, while these

artistic figures, dance, painting, and music, didn‟t receive any specific attention from

scientific altitude. Especially, after Saussure language and literature received the

zenith of appreciation on different axis of investigations from semiotics to cognitive

poetics, but the portions of dance, painting and music didn‟t get the modern touches

of scientific explorations.

Structural Terrain

Nothing stays dead, if activated and vibrated structurally, even if that is space, time, a

piece of sound or is beat. Everything that generates the outline of a figure revolves

musically in space (ground), even if that‟s a piece of heaven, a word, or is a musical

sound (note), becomes a „sign‟ in curves and density. The theoretical analysis of

musical structure can take start with the practical and result-producing language

theories. A linguistic relative approach can define music to us too, whatever in form

music is, either in form of Aerophones,ii Chordophones,iii, covering the field of

stringed-bow or organ musical instruments, while the second musical family are

called Idiophones,ivMembranophones,v, covering the field and family of rhythm

zone, where we stand right now within the framework of sign from signifier to

signified. We have to treat musical frame in sense of a code to decode it. We can

categorize music like an „actant‟ on micro stage. A musical „note‟ in a code-form can

chiefly be recognized from its classical stream of „structuralism‟. The process of

forming an idea of musical „language as a system‟vimust be examined carefully at a

number of standards or qualities at the slightest rank of musical note with its specific

pitchvii outlining a „sign‟ or at the largest amount on the range of „structural‟ graph.

We can also enhance musical understanding or the height of a complete notations

(symphony-song-ghazal) of few minor or major notes within fixed boundaries of

rules in form or a distinction based selection and combination – that must be

standardized on International plane where the excellence of an identity must show its

energy of standard that must present a system of „sign‟ which is composed on a

specific „ground‟ of vibration, a sign system in form of an „actant‟ or a „figure‟

generates.

For the first and most simple ability of matching twelve notes of music with twelve

classical tenses of human language does not fulfill the basic criteria of our theoretical

treatment yet. On the other hand, if we could just discover a kind of resemblance or

dissimilarities between language of music and human language will never ever

satisfy a scientific quest that needs more analysis to dive into the kaleidoscopic

pattern of the science of music and human language. We need an experimental


27

authenticity of our main current to both music and arts, not only providing us a skill

but to award us one of the disciplines of our modern scientific tools to bring music

nearer to our methodological treatments.

Music, performing the role of a figure, can structurally be explored and played on the

„ground‟ of human language and human language can also be practiced, discovered

and engaged on the ground of music embracing the eminence of a „figure‟, to convert

and functionalize one of them, either in space or in time. There is a direct

correspondence between visual and audio focus and linguistic coding in musical and

human languages which depends on the shifting attention of the addressee. So far

musical language (in form of a communicative and meaningful activity is concerned)

is a knowledge based activity. The relationship between musical and human language

through hearing system offers „grounds‟ for different analytical outlooks. The

relation between language and the cognitive-course activities are medically related

with the other regions of human sensitivity that seems rather closer when we try to

investigate and connect them both outlining the image of „figures‟ on the „ground‟ of

structural and syntactical principles.

There, internationally and cosmically are, twelve notes in the cosmos of music

composition that musicians use what a structural field demands all over the world

from past to present. If we purely select a group of seven either major or minor notes,

makes a „form‟ for a song or melodyviii from East to West, and from North to South.

There can also be a group of a musical ground within the combination of either minor

or major note or notes that depends on the selection of a composer to develop a

ground for a song that can simply be called a musical grammar.

Tuning & Level of Vibration: vertical (NP)

Each musical „note‟ and an individual „beat‟, may be different in excellence from

human speech-sound, by itself twists to be a „noun‟ and rhythmically rotates into a

„verb‟ when is activated by vibration - but its meaning within the movement from

note to note, beat to beat or scale to scale vary with the variations of space and time.

The altitude-pitch of vibration separates one note or beat-sign from the others. If we

examine, now and then a single musical note or beat, or even a single note or beat in

a repeated sequence can pulsate a typical human sound of „yeah‟ which will

synchronize human language in treatment and is also a sound repetition of vowels or

consonants in a sequence of vibration – if we change the same sign „yeah‟ into a


28

continuous musical vibration-density within the curves-scale of selected note and

beat will be transformed into a musical „yeah‟: a single yeah giving the meaning of

„yes‟ will certainly be changed into a figure of a „scream or cry‟.

If there is a universal grammar of human language then with the stroke of same

structural findings, there certainly exists the string of a universal-grammar of music

we can have an empirical approach to.

If music, like human language, speaks then they (music and human language) in their

foundations are the same. They are both structurally composed and performed under

same structural rules and regulations. It may appear strange or ambiguous to

European or American scholars, because their musical performances are mostly

based on a chord-produced-song system that does not give the production or

compositions of a complete word or sign forms. This complete word or sign form,

playing by a musical instrument is available herein Indian, Afghani, Pakistani and

mostly Asian countries‟ musical instruments, where chord plays its role in the

background, while few selected notes, chosen from the boundary line of twelve-

notes,ix make a complete speech circle or circuit, pronouncing a human language in

musical notes. This kind of musical performance is not only from a note to note

performance, but speaks in a „repeated‟ single note. The world of music is just like

human language that stems from NP and VP. The language of music is exactly the

mirror of human language that imitates human verbal communication on same

empirical rules, out of the womb of „minor‟ and „major‟ notes with a combination

and selection of „horizontal‟ and „vertical‟ parts.

The function of „noun‟ and verb in music move from note to note and beat to beat

generates an activity of musical language, imitating and finding an ability to deliver

the figure of human speech.

If an object or subject must contain an active verb in human language then each

selected note in music possesses its typical movement of rhythmicalx vibration (taal

in Hindi language), produced on tabla in Asian music. Or if meanings exist in the

mechanism of „structure‟ then it can clearly be identified in the structure of music

that its (musical structure) movement produces exactly the signs of human language,

not only from communication to human feelings and emotions but from the signs of

any spoken language, used by any nation of the world. Music is only a standardized


29

vibration of an instrument, that is dumb, but this consistent intensity of vibration

produces signs with meanings when is acted within the graph or circle of structural

notes, from single beatxi to double, produced-beat from string or drum.

If cognitive poetics is called science of reading then cognitive music can certainly be

identified at the same time a „science of music-reading‟. If we call the level of

„tuning‟ in form of either musical „notes‟ and „beats‟ an acknowledged „noun‟ then

the movement of each „beat‟ of drum, or tuned-note (from beat to beat and note to

note) can grammatically be called a musical „verb‟ that produces a specific digits of

specific vibration from beat to beat with its mechanism of „timing‟ within same

structural standards.

If we consider a strike of „note‟ or‟ beat‟ a noun then its specific measurement of

„timing‟ from note to note or beat to beat is a verbal musical „act‟, generating its own

structure from its own space (vibration) and time (distance between beat to beat and

sound to sound even in genders). A musical body, either in form of „beat‟ or „note‟ is

a figure that is entirely based on vibration-surface of curves (figure) and density

(ground of tuned numbers of selected notes within twelve notes) of either minor,

major or a combination of both via an instrument, a human voice or a combination of

both, create a space of performance. Any sound pattern, either musical or human

when turning into a communicative meaningful linear achieves the vibration-

eminence of a language that crosses the essence of a structural ground.

Beat& Rhythm: horizontal (VP)

Beat, in its sound pattern giving a vibration-level is a „noun‟ and by itself is

horizontal and flat like the surface of a drum or table (in Asia), but a piece of beat it

is an object that enhances the vertical worth of its function (with a rhythmical

importance) from the point of vibration and turns to be functional, to be called a

„verb‟ from beat to beat enhancing the significance of „selection‟ of different sounds

that vibrates its own language, though synchronized and balanced with the vibration-

level (tuning: a vibration-ground scale) of other accompanied instruments or

orchestra that does not only produce a language, but gives a balanced, rhythmical

„scale‟xii of mathematical „timing‟. A sense or skill of „timing‟ empowers human


30

word-sign, and sentences in the same way a sense of seven days, a week, twenty four

hours a day can be paralleled with the seven selected notes out of twelve notes like a

„week‟ out of „twelve months‟. In music a „selection‟ within notes, makes a kind of

single circle of a timed ground for a specific melody. This selection creates a specific

kind of mood, if a sense or skill of „timing‟ is applied to a specific notation of music.

A scale or skill of timing, if used into a single human sentence will certainly change

human mood and behavior via single speech circuit, even if that takes place within

the scale of one of the twelve tenses (time), touching the excellence of a paradigm or

within a single sentence, or from a sentence to sentence that creates a syntagmatic

move. This change in „mood‟ can also be shaped with the change of a rhythm of

„beat‟ effects in music.

Beat can cognitively be either silent or audible like an act of „reading‟ that enhances

the ability of radiant ignition to revolve a „note‟ directly in the density of an action

(vertically and horizontally), to enlarge the scope of interpretation and punctuation in

music and verbal communication, encoding a musical note to (sign-structure) play its

ground.

One of the vital divergences that plays an important role in separating music from

human language is phonological activity, particularly in the sounds of „vowels and

consonants‟, that the coming scholars and musicians will bridge it on neuroscience

and theoretical axis we call them a „timber based differences between phonemes‟xiii.

Beat, that creates a pace for the equipment of time becomes essential vertical height

of vibration, while space in music plays an important role in form of a pause or

distance in between one to the other beat, or note: the interplay of time and space

does not play its role in music only, but contains a considerable amount of rhythmical

balance of meaningful stresses even in human spoken delivery system that sheds a

musical effect of human speech.

A musical language produced within the space and time of musical sound (notes) and

rhythm (beat) produces the similarity, proximity, continuity and closure with a circle

of human language that depends on the human-hearing-trained system of specific

language to read musical lines vibrated systematically on a musical language-line.

The universe of musical-language is two dimensional in its „note‟ and „beat‟

designing an identifier of sound pattern to their concepts (Sign and Concept), to be

identified in human language. „Note‟ and „beat-sounds‟ are vibrations of „vertical‟

(selection) and horizontal (combination) in their structural principles. A musical

sound turns into a language when its stroke or single note finds a movement from

selection of note to notes within the mechanism of „length and width‟xiv that can be


31

termed „nouns‟ and „verbs‟ according to our structural standards. When „beat‟ and

„note‟ are balanced on their vibration-level, produces an identified sound pattern

which can „imitate‟ human words and sentences. The „vibration-combination‟ of

notes (instrument: horizontal in sequences) and beats (rhythmical instrument or drum

family) follows human language in form of a „selection‟ (paradigmatic, and vertical

with choices) that structurally is an axis.

Sound

Musical sound is a compositional shape, vibrating the domain of a „figure‟ and is

horizontal. This musical sound is flat like the surface of harmonium, piano or guitar

from start to end for Sa, Re, Re, Ga, Ga, Ma Ma, Pa, Da, Da, Ni, Ni: twelve notes. If

we select any musical graph that provides a ground for specific performance of

action of a song, then this flat and horizontal „selection‟ turns to be a „vertical‟ force,

because this „selection‟ performs a specific movement within selected ground, when

a singer or a musician twists it into the combination of specific pattern of musical

language or speech. It cannot be denied that pure human language also contains the

vigor of musical notes and beats in its essentialities. A musical performance from

pause to stress and syllables is a part of human structural principles that needs to be

worked out. One point is extremely clear that in its structural ideals music is nearer to

human language. But does music speak human language? This question to some

extent can be answered in a way that music does not speak human language directly

or explicitly, but music implicitly and structurally can follow any language of the

human being spoken on Planet Earth that is why music is called, a universal

language. For example CC, GG, AA and FF, EE, DD, C do not have any meanings in

a human language, until and unless it is played on a musical string or organ to show:

Twinkle, twinkle little star, how I wonder what you are. The same notes speak the

same twinkle, twinkle little star in Hindi notes: SS, PP, DD, P and MM, GG, RR, S.

One point is important to be identified here that the above words in music will never

ever shed any meanings for the listeners whose memory does not contain an explicit

identification of the above mentioned signs. The listeners must already be

familiarized to the above signs.

winkle Twinkle Little Star

C C G G A A G

How I wonder what you are

F FE E D D Cxv

In Hindi it turns to be as:

Twinkle Twinkle Little Star,

S S P P D D P - -

How I wonder, what you are.

M M G G R R Sxvi


32

Twinkle, twinkle, little star: CC, GG, AA, G are selected notes from seven-notes-

pattern of C, D, E, F, G, A, B, and the second line: How I wonder what you are, takes

start from F and performs the combination of F, E, D, C,. we can find an exact

pattern of selection and combination of a language patterns in music that are the main

axis of human language in sound patterns done in the selection and combinations of

human language‟s vowels and consonants which compose musical „ground‟

phonology for the „figure‟ of specific song or melody. This structural assessment can

linguistically be improved in near future. Musical language in its structural ground

contains more vastness, freedom and cosmic relativity than human language from

syntactical to semantic and pragmatic zones. A musical language does not depend on

human language but human language depends on musical „effects‟ and awaits

musical ground from grammatical functions to its pronunciation delivery that

improves human sound pattern movements from stress, pauses, to the last impact of a

single sound of phonemes or the last part of morphemes. Only one single musical

pattern (selection) either in minor or major notes can provide space (ground) to

hundreds and thousands of human thoughts, both in implicit and explicit treatments

of human language moves to design the density and curves of musical VPs and NPs.

Music provides space to synchronize the domain of human experiences and

represents its „source domain‟xviiworth, enhancing and germinating the vibration-

outlines of a „targeted domain‟ of human language that promotes human International

and cosmic intimacy in allowing a focus-attention in physical (vertical) and mental

(horizontal) dimensions. The musical intimacy and relationships involve not only

human language on its structural mechanism but also activate signs of human

thinking about musically-produced thoughts and words. Music is the source domain

of human language and human language carries music in form of a curve promoting

an essentiality in the field of human-language-performance that is musically

structured. Music in reality is a leading ingredient of the cognitive dimensions that

human language or even the languages of birds and animals with human thoughts are

interwoven in, that cannot be separated at all. A musical sound revolves to be a

„verb‟ when it creates the shape of human language. A figure is made out of that flat

ground of an object and here „object‟ is either the overall pattern of twelve, or is

selection of few minor or major notes that works in a pattern of horizontal and

vertical axis producing a language or musical speech of thoughts and signs. If we

select western C minor or flat like Indian Sa, then Eastern Surgum (selection of seven

or few selected minor of major notes that can be called a structural path with other

accompanying linexviii of action) in Western notes becomes like:

C: Sa. D, d: Ri, ri. E, e: Ga, ga. F, f: Ma, ma. G: Pa.A, a: Da, da. B, b: Ni, ni:

(Twelve notes in Eastern and Western music)

The structural capacity of musical sounds synchronizes human language-based-

hearing system to follow musically vibrated sounds (signs) of a language (figure) on

the ground of musical composition. It can empirically be justified that music speaks


33

human language and human language structurally designs and contains the capability

of producing musical language.

The mechanism of musical language on micro level (grammar of music) that is

universal and same with human language that vibrates the rate of thought and

communication, from signifier to signified. Each tuned vibrated musical note like

human word (paradigmatic) within the limit of its performance (syntagmatic)

identifies its individuality to make a communicative speech circuit.xix

Musical noun is a certain quality produced from tuning-vibration that by itself is a

force from within binary stage and is vertical. Any movement or activity on the

surface of a single note or beat with a single or hundreds of stokes or strikes, or if

that is a „movement‟ from note to note, or notes, or is a move from octave to octave

within its minor or major quality, is a verb and is horizontal.

Language defines music in a written and music portrays language in a sung and

composed form. If music and human language both possess and share the

compatibility of co-relative communicative skills and if they both generate the worth

of „thought‟ will certainly and linguistically mean that they are both human language

that may only be different in their vibration-quality of space and time. Their

difference can only be overcome or be activated with the mechanism of structural

similarity, proximity, continuity and closure. If we select language-teaching from

teacher‟s body-language to the last enunciation of the final sign of his or her delivery,

the entire composition of grammatical-choices of a class-level from text‟s selection

to the manipulation of sound (figure) practice is a musical activity, where „rhythm‟

and „tuning‟ from pronunciation to the applied points of structural methodology in

form of a lecture or teaching plan is over all musical in an implicit and explicit forms

– even though music in its explicit track can skillfully be used like an individual-

element in language teaching and will show more strength if accompanied by songs

of language-domain-or-targeted action. Music is not only an activity in a teaching

class but the entire teaching class can be turned into a musical-domain-or-framed

performance from a teacher to students‟ response, even in the smallest doings of a

„tag questioning‟ activity.


34

The understanding of music language is still on that stage in which the understanding

of human language once was before Saussure, while the insertion of Structuralism

put a kind of meaning that works inside a text now which tries to find out the very

center of essence in Derrida‟s play.

Music, fundamentally, is a force of immediate enunciation of directly achieved

„effects‟ of human subjects from human culture to the culture of human-mind and

human-body that certainly is coded into a kind of communicative-discourse which

sheds a powerful „image‟ or creates „an image‟ of „life‟ actually is. Music juxtaposes

„reality‟, if it does not directly describe „reality‟ in its essence. Each part and particle

of syntactical, semantic, and pragmatic zone of a planned-teaching-class can

musically be composed like a picked up minor or major notes in their density and

curves. Musical density and curves in frames of rhythm and beat play its importance

from a pedagogical step of mapping the subject to the last breathing phonological

execution to let the focused-and-taught language move like a living and performing

body, from teaching-mind to the reception of students‟ mind, to identify himself

(teacher) an experienced language teacher.

But there is a vital differencexx to speak language and to know linguistically what

language really is, and how it is spoken – though the same happens here in music,

how to play, or understand music empirically rather than merely to listen to it, or play

it. The same nuance occurs how to speak a language is rather what or how we are

speaking, though merely playing music is not enough today, but is the demand how

and what we play in music. And the same happens in writing portion that merely

writing is rather more different than to „how‟ and „what‟ to write empirically that

provides the umbrella of system to a empirical minded writer to write with a

scientific approach, that should be happened now in music on the very edge of the

21st century. May be, by means music and language are different but the language of

music can also be understood well via scientific theory how and what we try to

understand human language in.


35

A musical note turns into an action when is pushed with an activity of „beat‟, that can

be done on staying (but continued in moving strokes) on a single note, or moving

from note to note.

Beat, is a rhythm that transforms itself into a mathematical counting syllables in

Asian musical and poetical language that is vertical, where the performance of music

or poetry twists to be horizontal. Beat, either silent or with a specific sound awards a

„figure‟ of an individuality to a specific mode of „note‟ that also works like a „verb‟

inside the movements from notes (noun) to notes. The sounds of beats in Hindi

language can easily be identified in the sound-pattern of human language and one of

their examples is Ektal of an Indian beat-line.

Ektal:

1 2 3 4 5 6 7 8 9 10 11 12

Dhin dhin dhage tiraki ta tunakat ta dhage tirak ita dhin naxxi

X O 2 O 3 4

Music speaks, if linguistics talks, because both are structure based ideals – or if they

do, then why don‟t they communicate and articulate their properties as substances

with one another. Isn‟t musical language „co-native‟ and „emotive‟? The horizontal

layer of „chord‟ (C,G,C) that is called „sa‟, „pa‟, sa‟ in Hindi covers simultaneously

the background of Eastern and Western music, but is mostly used in a structure of

foreground for a complete song in Western musical compositions, while Eastern

musicians or singers use „chord‟ to empower a selected ground (background) of a

song, not to cross the boundary of tuned space.

And Eastern musicians and singers usually use chord to cover main figure

(foreground) of the selected musical performance in form of a song which is suitable

to all Eastern musical instruments, particularly to guitar. A singer or an artist has to

keep his or her voice balanced in between „tune‟ and „beat‟ line to frame the

vibration level in signs of human language. The beat sound by itself contains the

structural quality of vowels and consonants like an organ or stringed instrument. A

drum or tabla player makes a rhythmical pattern that contains the structural quality of

human words, of dhin, dhage, tirkita, tu, na, kat, and ta. If we select tabla to cover a

ground quality and human language to offer a figure quality then we can get human-

silhouetted signs through tabla. On the other hand the same „effect‟ can be achieved

from all organ-and-stringed-bow musical instruments to vibrate the cognitive impacts

of silhouetted-figures in their similarity, proximity, continuity, and closure. So far as


36

the performance of a chord in musical activity, on its structural floor, is concerned,

we can get a mixed sound in a continuity that can only show a background of a tuned

frame or a boundary of musical line, containing the vowel-consonant-silhouetted

sign, aroused by the mixture of three different notes that covers an octave which

depends on the „selection and combination‟ of the poetical human language European

singers and artists fix their songs in. It depends on the musician and singer either to

give a vertical or a horizontal importance or space to a „chord‟ to promote a „figure‟,

or „ground‟ reality.

Chord (horizontal) covers any selected melody to support the outline of a

background, in Western and Eastern music both, but is perfectly suitable to guitar

and piano playing.

Melody in this kind of situation can be fixed to supply a vertical move mostly by

Western musicians and singers to create an impact of a foreground composition. But

the combination of „a‟ and „b‟ are simultaneously used by Hindi and Asian musicians

in classical ragxxii and melodies, particularly in Ghazal forms.

A single musical note starts giving cognitivexxiii imaging-synchronization of form of

language when it moves within two dimensional sphere of „beat‟ or rhythm. Beat

transforms „note‟ into a rhythmical activity that becomes meaningful. No musical

note-or-beat (noun) can ever get an action without a specific measured continuity of

an „act‟ of “rhythm” (verb).

Stay, pause, gap, distance, space in a rhythmical note produces structural (meanings)

musical graph that turns into „timing‟ in between note to note, sound to sound and

sign to sign: the selection and combination of notes with beat in musical composition

creates complete and solid form of a „sign‟. The same action is performed in human

words when the selection and combination of vowels and consonants do and perform

the same action where stress and stay (sense of timing) play an important role in the

synchronic and paradigmatic axis of human language – that may vary on semantic

ground which contains the quality of a „figure‟ but in syntactical sphere they (music

and human language) follow the equation of same structural ethics.

A piece of music either classical, folk, or modern is mathematically calculated and is

figured out „ground‟ within the scale of structure, engendering its significance from

time to time, and from mood to mood within a circle of a day, week, month and

years. Music wouldn‟t exist in form of a „making energy‟ without its structural


37

foundations. At this stage the involvement and coherence of linguistics

accompanying cognitive psychology, cognitive poetics and cognitive linguistics,

designs a rich „figure‟ of implication in music. Music blends human feelings and

emotions with human language rhythmically on the highest category of verbalization.

A piece of music either in musical instrument, a drum beat, or in form of a song of

human voice generates the intensity of measured and tuned notes (within specific

international scale of vibration) on its initial phase that is a mechanism hidden from

general and common listeners and on the higher part a piece of music displays a

„form‟ of complete discourse which sets up a coherent whole of communication in

social, physical and psychological orders, touching and forming human „mind‟ and

„body‟ on different levels of diverse strings of scientific altitudes. On the other hand

a piece of music of human voice (ground) elucidates a piece of „selection and

combination‟ in which all musicians, composers, singers, listeners exist in the format

of „figures‟ where another „reality‟ in a type of an „image‟ emerges that describes an

interaction of social-cultural uniformity with human-body-culture-mind. A musical

performance becomes an essential expression of all human languages that may not

explicitly translate or utter original human sounds in their proper vowels and

consonants, but to a larger scale makes an „actuality‟ of ground of relations of

universal communicative body with perceptive correspondence – or this

performance, may be, in a rhythm-synchronizing velocity generates the quality of

perceptive „tunes‟ or „beats‟ within one of the zones of human „body‟ or „mind‟.

Now, the authenticity of linguistics‟ tools provides a lot of space to identify music in

a structural plane of an effective element with all syntactical, semantic, and

pragmatic manipulations that can certainly be explored in a type of complete

language by itself, composing an organic-whole in its entirely woven selections and

combinations to speak any language of the world.

Language in its structure is complete in itself, if we explore music in its micro

(structural) level. Music, on macro level juxtaposes human language on many

cognitive dimensional axis, providing „time and space‟ to human language, to

express and motivate human language on a social, cultural, and psychological

grounds. Secondly, music, an element of „tuning and rhythm‟ provides practical,

artistic, and qualitative chunks to human languages from a lesson-plan, in teaching to

learning and reading on a readers‟ or listeners‟‟ or learning process, from class room

to study-room activities. Musical tuning and rhythm play an important role even in

the fields of phonemes and morphemes of human language. Human language is

structurally located in musical frame from a child‟s first-birth-cry to the last sound of

his or her death that implicitly (normal and common usage of language) and

explicitly (music used in human performance) designates human language and

human thoughts on social, cultural, mind-body, body-mind and International

grounds.

It will regularly be said that language „speaks‟ music, holding musical elements and

rhythm in its entire speech process (sound patterns of phonemes and sign-portion of


38

morphemes) of their (sounds as signs) selections and combinations. It will also be

established that music „plays‟ human language (song performances) but in dissecting

and exploring music structurally acquires a linguistic-treatment to tag an opposite

axis to declare that language „plays‟ music and music „speaks‟ human language to

pull out the „essence‟ of language from music and music from language. If language

is music-based „stroke‟, then music is certainly a language-based „domain‟. If

language is music-based „domain‟ then music is language-based „container‟. If one

language communicates, dissolves, intervenes, inserts, and translates other languages

of the world on translation-based-acquisition-patterns, then music „does‟ certainly

display, activate, perform the same „containing‟ activity what language „does‟. Now,

it is not the age to find out what music „is‟, but is the moment to prove empirically,

„how‟ and „what‟ music „does‟. If an artificial intelligence is part and particles of all

languages of the world, then why shouldn‟t we include music as one of its

components that gives us a graphical figure on all statistical and mathematical levels

from the higher to lower pitch values and volumes in its (music) internal and external

„cause and effect‟ acquisitions.

Conclusion

Musical and human languages have many elements in common from structure to

their functional applications. Human language contains music and musical language

provides space of expression and frame of display to human language. There must be

„music‟ as long as „silence‟ exists. Linking of linguistics with language of music

must scientifically be attached to the sphere of stylistics which must be at least

explained and improved to help us all over the world in teaching language and music

classes on subject either micro or macro-step treatments. Most probably, both

structuralism and its relationship on micro level with human grammar have to say

something about the relationship of language to musical-language. We can relate and

practically prove scientific relativity about the role of solid scientific and objective

activity from a theory orientation and can take an authentic flight of progress what a

scientific approach can provide to the linking-edge of musical terrain. Musical and

human language is one of the essential ingredient and frames for each other. They

activate and create grounds of energy to support each other on a specific „tuning and

beat-vibration‟ (vertical) to embrace an axis of „action‟, combining language

(horizontal) with music and music (horizontal) with human language. A structural

treatment providing one of the means of linguistics can essentially supply a linking

bridge in between human and musical language that has no autonomous province of

its own. One can perform enquiries of theoretical sphere using musical field and the

scholars of musical field can use the equipments of scientific attachments in music,

to promote scientific credentials. It will also help us in exploring lexical items of

musical vibration. Now, the domain of music must be unlocked, in the same way and

treatment we open other bodies of living and non-living objects to observe and record

„how‟ and „what‟ musical sounds do, or at least to show how far they (sounds) can

perform together the interplay of „nearest companions or components‟ of human


39

language. This scientific credential must be awarded to the domain of music if a

musician or an instrument player has an understanding in linguistics and a linguist

must have essential qualifications in musical notes and its practices, to shield and

develop the language of music on the intensity of same standard what has empirically

been awarded to the understanding of human language.

If we look at language within the graphs of linguistics, or observe linguistics to

perform the role of a talking language, then the same happens in music that reflects

to be a talking-music, if we look at musical notes and vibrations from linguistics

point of mechanism, will certainly open a field of not display only, but will certainly

give us a space to play and interpret musical language on scientific basis. We can at

least inject linguistics (figure) into musical body (ground) to observe its functional

ups and downs, if music that acts and defines one of the essential channels of fine

arts, which structurally generates the assessment of „thoughts‟ to accompany and

strengthen a human related language. Or if we cannot apply the appliances of

linguistics totally to musical body, then we can at least use one of the means of

linguistics to pave a path for an academic discussion for the coming scholars. Even

though there is a vital difference of verbal and noun based stages of musical-and

human language particularly from outside on macro level silhouetted view, but

inside, on micro point the universality of grammatical and structural design links

music with human language. Language also contains the vibration excellence of

music in a variety of an essence of human language though that is slippery, but is

maintainable. Neither the function of music in language, nor the function of language

in music can ever be separated, that its linkage neither on syntax, nor semantics, nor

even on pragmatics height can ever be over sighted. It is, now, the age and time to

redefine music on structural grounds to make it one of the important dimensions of

linguistics. Musical related subjects, or subject related music must be used in our

academic syllabus designs to use music to perform the mechanism of our scientific

modern approaches of human perceptions. In this regard cognitive equipments from

cognitive linguistics to poetics can help us to improve and interpret our over-sighted

fields of painting, dance and music.

Language of music is still on the same stage that what human language once was till

19th century when thousands of languages were spoken by hundreds of Nations all

over the world, but knowing nothing what a language really and scientifically was.

They all spoke human languages without understanding, and dissecting what really

human language was in its structural dimensions. The same happened to the language

of music that thousands of musicians and artists used and are using millions of

musical notes without knowing what these musical notes really „were‟ or „are‟ in

their structural dimensions which must linguistically be opened, decoded like sacred,

and secret sphinx and pyramids to be observed, understood and thought on normal-

school-class levels, to open the body of musical-language like human mind or human

brain or any part of human body on medical and scientific grounds – though music

has historically been called a magic, but this magic or spell must be broken in


40

thousand pieces to be explored now at least to experiment it or merely to leave few

questions unsolved for the coming scholars. This experimental level may, to some

extent, develop a kind of relationship between music and linguistics. Music must be

explored more deeply that music on the one hand speaks its own language, and on

the other it speaks the languages of Nature, colors, senses, feelings, emotions,

gestures and all existing Nations and tribes.

Music, either folk or classical, travels time and history as a subject. It is a

communicative solid object in juxtaposition with different human cultures and

languages, crossing, experiencing, and surviving all kinds of social and cultural

fortitudes of all human kinds.


41

References:

Arnold, V. A. (1989). Tapestries (Vol. 14).Macmillan/McGraw-Hill School.

Cangro, R. M. (2005). Cooperative Learning and Music Learning Theory.The

Development and Practical Application of Music Learning Theory, 441.

Catlin-Jairazbhoy, A., & Rees, H. (2011).Nazir Ali Jairazbhoy: Bibliography,

Discography, and Filmography. Ethnomusicology, 55(2), 306-317.

Fedorenko, E., Patel, A., Casasanto, D., Winawer, J., & Gibson, E. (2009). Structural

integration in language and music: Evidence for a shared system. Memory &

cognition, 37(1), 1-9.

Green, K., &LeBihan, J. (2002).Critical Theory and Practice: A Coursebook.

Routledge.

Hallam, S. (2010). The power of music: its impact on the intellectual, social and

personal development of children and young people. International Journal of Music

Education, 28(3), 269-289.

http://www.sacredscience.com/ferrera/numbertwelve.htm-6:50-15-10-13

Jairazbhoy, N. A. (1995). The rāgs of North Indian music: their structure and

evolution. Popular Prakashan.

Landon, H. C. R. (1989). Mozart, the Golden Years, 1781-1791 (p. 156). Thames and

Hudson.

Lee, David. (2001). COGNITIVE LINGUISTICS AN INTRODUCTION. Oxford,

New York. Oxford.

McMullen, E., &Saffran, J. R. (2004). Music and language: A developmental

comparison. Music Perception: An Interdisciplinary Journal, 21(3), 289-311.

Moore, A. (Ed.). (2002). The Cambridge companion to blues and gospel

music.Cambridge University Press.

Unicef. (1976). MUSICAL INSTRUMENTS OF THE WORLD.United Nations

Children‟s Fund. Oxford, England. Toppan Printing Co.



42

i“Time to Tune: Whatever type of music you play – even if you‟re in the thrashiest of noise bands

– the first rules of the guitar is to make sure your instrument is in tune. One of the most difficult aspects

of learning to play any instrument is the ability to hear tiny vibrations in pitch and recognize when the

intonation is correct. You may not be gifted with a “musical ear”, but tuning is something that can be

learned just like any other skill.” (TOTAL ELECTRIC GUITAR TUTOR, by Terry Burrows, p.22)

iiAerophones: Aerophones are instruments in which the sound is produced by the vibration of air.

They are classified according to how the vibration is generated, and include flute, reeds, cup

mouthpiece instruments, and free aerophones. Since the Stone Age, flutes have been endowed with

magical significance, and some people still use them in ritual associated with storms, crops, and death.

Reed instruments originated in the East. More complex than flutes, they are less widely distributed,

appearing today in Europe, Africa, and the East. Cup mouthpiece instruments have a very ancient

history. Found in varying degrees of sophistication throughout the world, they are today most

commonly used for ritual, military, and signaling purposes. Free aerophones, typified by the bull-roar,

are still used by some tribes as magical instruments. (MUSICAL INSTRUMENTS OF THE WORLD,

United Nations Children‟s Fund, p.14)

iii Chordophones:

Chordophones are instruments in which the sound is made by the vibration of strings. There are five

basic types: bow, lyres, harps, lutes, and zithers. Of these, the oldest and simplest is the musical bow

which is still common in Africa and the Americas. Harps and lyres both appeared about 5000 years ago

in ancient Egypt and Sumeria. The harp survives in many parts of the world, although the lyre is now

confined almost exclusively to Africa. Plucked lutes also have a long history and are among the most

popular of all folk instruments. The bow was fist applied to the lute in the 10th century AD, and from

these early bowed lutes developed the members of the modern violin family. Zithers appear in a wide

variety of styles, ranging from simple tube zithers to the sophisticated keyboard instruments of Western

Europe. (MUSICAL INSTRUMENTS OF THE WORLD, United Nations Children‟s Fund, p.164)

iv Idiophones: Idiophones are instruments made of naturally sonorous material, sounded in a variety of different

ways. Their development began many thousands of years ago when early man first clashed together

sticks, stones, and bones to emphasize the rhythms of his clapping hands and stamping feet. Similar

primitive idiophones made of natural materials are today used by many people to accompany singing

and dancing and to act as signaling instruments. Interest in the different sounds and pitches produced

by objects of varying sizes and materials led to the xylophones and gong chime. The Western

symphony orchestra includes, ranging from the simple wood block to tuned instruments like the

tubular bells and glockenspiel. (MUSICAL INSTRUMENTS OF THE WORLD, United Nations

Children‟s Fund, p.90)

vMembranophones:

Membranophones are instruments in which the sound is made by the vibration of a stretched

membrane, or skin. There are two basic types-drums and, much less important, mirlitons.

Evidence from art proves the existence of drums at least 4000 years ago in Mesopotamia and

Egypt, but the perishable nature of the materials from which drums are made has meant that

few ancient examples survive. Today, drums are enormously popular throughout the world, and


43

are made in a great variety of styles. Many people consider drums to have magical and

ritual significance, using them to ward off evil and to appeal to good spirits.

(MUSICAL INSTRUMENTS OF THE WORLD, United Nations Children‟s Fund,

p.140)

viCritical Theory & Practice, p.xix.

vii “The pitch of any musical note is determined by the frequency of sound waves

travelling through the air. This frequency is dependent on three different factors: the

length, thickness and tension of the string. Although guitar strings are the same length

in relation to one another, each open string is of different thickness. The fattest strings

give lowest notes and the thinnest strings the highest. The pitch of a string can be

altered by turning the machine head. This increases or reduces the tension and thus

allows you to alter the pitch of the notes played on the strings.” (TOTAL ELECTRIC

GUITAR TUTOR, by Terry Burrows, p.22)

viii„Main melody line. The Indian musical scheme is essentially monodic__it has a

single melody line with an accompaniment. The voice is usually thought to be the most

effective carrier of the melody line, not because it is also capable of conveying verbal

content, but because of its flexibility and expressive properties. However, any

instrument can be used for this purpose, some naturally being more suitable than

other.‟) (THE RAGS OF NORTH INDIAN MUSIC: Their Structure & Evolution, LOK

VIRSA PUBLISHING HOUSE ISLAMABAD _ PAKISTAN 1971.p.27.

ixThe number twelve is symbolic of the creation of the universe as it represents the

division or fractionating of unity (God) into twelve individual distinct vibrations or

tones. This is most readily seen in music. If you take a string instrument, much in the

same manor that Ptythagorus did with the monocord, you will find that there are

exactly 12 notes or tones before the series repeats. All repeats or octaves are related to

the original note or vibration by powers of 2. That is to say that if you take a note and

double its vibration-frequency or cut it in half you will manifest exactly the same note

in a higher or lower octave respectively. The notes have been named: a, a -sharp, b, c,

c-sharp, d, d-sharp, e, f, f-sharp, g, g-sharp in chromatic fashion. If I was trying to

teach music, I would have included flats instead of making the notes all sharps but this

is not important as the vibration or tone is the same. For example, c -flat is the same

sound or note as b. Now that we know that there are twelve and only twelve notes we

can start to see or imagine the process of creation as a fundamental division from unity

into 12 unique qualities. These fundamental qualities can also vibrate at faster or

slower frequencies through the powers of 2 or duality. This is similar in concept to

water existing as a gas, liquid, or solid based upon temperature.


x „Indian classical music has two fundamental elements: rag, the melodic framework,

and tal, the time measure.‟) (THE RAGS OF NORTH INDIAN MUSIC: Their

Structure & Evolution, LOK VIRSA PUBLISHING HOUSE ISLAMABAD _

PAKISTAN 1971. p.28.



44

xi Beat, as a paradigmatic part of pronunciation can be used in teaching English as a

foreign language. Beat, that is rhythm, transforming itself into a syllable, is used rather

different from native English, American or European musicians, as well as speakers

which make a vital difference in speaking English in Asian speakers. For instance, sign

„information‟ is used in a four beat or syllable in most of Asian countries, particularly

in Hindi, Punjabi, Siryaeki, Urdu, Pashto and Persian speaking people „as in-for-ma-

tion‟, but in typical English sign information must be delivered in two syllables only as

„infor-mation‟: the same „beat‟ difference in pronunciation occurs as a change in native

and non-native English speakers. In „beat‟ sequence word „information‟ in Asian

languages occurs as na__din__din__na, and in English it must be pronounced as na -

din__din-na, in two strokes (beats), or if a sign is delivered in two strokes only in

Asian language, then the same word in English language must be executed in a single

stroke as a native English beat. It is not a matter of dispute at all, but these kinds of

examples can be used in Western and Eastern English-teaching, or any other foreign-

language-teaching classes to understand the acquisition levels of various languages of

the world, particularly to follow the sound system-beat of a language as a „figure‟xi on

the ground of music, or music as a „figure‟ on the ground of language.

xii„Percussive line. This is usually produced on the tabla, a pair of small

kettledrums struck with the hands. Occasionally, a two-ended barrel-shaped drum,

pakhvaj (pakhavaj) or mridang, may be used instead. The shahnai is generally

accompanied by another type of kettledrum, the khurdak ordukar, also played in pairs.

The percussive instrument serves primarily as a time keeper, but is also used for

rhythmic variations and improvisations.‟) (THE RAGS OF NORTH INDIAN MUSIC:

Their Structure & Evolution, LOK VIRSA PUBLISHING HOUSE ISLAMABAD _

PAKISTAN 1971. p.28.

xiii The Power of Music: its impact on the intellectual, social and personal

development of children and young people, by Susan Hallam, Institute of Education,

University of London.

xivArnold, V. A. (1989). Tapestries (Vol. 14).LIFE IN FLATELAND, adopted from

Flatland, by A. SQUARE. P.514.

xvhttp://sari-gama1.blogspot.in/2012/08/twinkle-twinkle-little-star.html-10:20-4-10-13

xvihttp://swarlipi.blogspot.com/2012/07/twinkle-twinkle-little-star.html-10:20-4-10-13

xvii COGNITIVE LINGUISTCS AN INTRODUCTION, by David Lee, p.6.

xviii„Accompanying melody line. A vocalist is accompanied by a secondary melody

line, usually played on a sarangior a harmonium, which echoes the phrases produced

by the singer. The sarangi is usually played by an accompanist, while the harmonium is

often played by the singer himself. When the vocalist pauses, the accompanying

instrument assumes momentarily the role of the main melody.‟ (THE RAGS OF

NORTH INDIAN MUSIC: Their Structure & Evolution, LOK VIRSA PUBLISHING

HOUSE ISLAMABAD _ PAKISTAN 1971 P.28.

http://sari-gama1.blogspot.in/2012/08/twinkle-twinkle-little-star.html-10:20-4-10-13

http://swarlipi.blogspot.com/2012/07/twinkle-twinkle-little-star.html-10:20-4-10-13


45

xix (It has been argued that the domains of language and music share a number of

similarities at the sound level, at the structure level, and in terms of general domain

properties. First, both language and music involve temporally unfolding sequences of

sounds with a salient rhythmic and melodic structure. . . „(Structural integration in

language and music: Evidence for a shared system, by Evelina Fedorenko.p.1.)

xx It‟s another task of another research to identify in between either listening, learning,

or playing music or merely to sing, is like speaking a native language or „knowing

about‟ the structure of a native language are both quite different from one another.

xxi (THE RAGS OF NORTH INDIAN MUSIC: Their Structure & Evolution, LOK

VIRSA PUBLISHING HOUSE ISLAMABAD _ PAKISTAN 1971. p.29.

xxii„The term rag has no counterpart in Western musical theory. The concept of rag is

based on the idea that certain characteristic patterns of notes evoke a heightened state

of emotion.‟ (THE RAGS OF NORTH INDIAN MUSIC: Their Structure & Evolution,

LOK VIRSA PUBLISHING HOUSE ISLAMABAD _ PAKISTAN 1971. p.28.

„The word rag is derived from the Sanskrit root ranj or raj: to color or tinge (with

emotion)‟ (THE RAGS OF NORTH INDIAN MUSIC: Their Structure & Evolution,

LOK VIRSA PUBLISHING HOUSE ISLAMABAD _ PAKISTAN 1971. p.28.

* xxiii „It is common for scholars in cognitive science and cognitive neuroscience

interested in music to draw comparisons with language. Why is language the domain

most likely to be considered as a contrast to music? Unlike other universal domains of

human expertise such as vision or social organization, both music and language

(included signed languages) are organized temporally, with the relevant structures

unfolding in time.‟(Music and Language: A Developmental Comparison, by ERIN

McMULLEN& JENNY R. SAFFRAN.pp.289,290)


46

Thematic Analysis of „Angai‟, the Voice of a Pashtun Bride

Saliha Bazai

Abstract: The primary purpose of this research is to determine the themes portrayed in the bridal

songs of Pashtun woman. This research employed qualitative research design using

ethnographic case method in which only Pashtun bridal songs were included. The data was

obtained from nine bridal songs which were chosen because of their acute fame among

Pashtun people. In order to analyze the data, thematic analysis was carried out so as to

determine the most influential themes in the poems. Edward and Weller have

recommended employing thematic analysis when researcher aims to identify key topics

and patterns in texts in order to create interpretive meaning. The findings revealed that

there were four dominant themes: grief and departure, masculinity and gender Imagery,

patriarchy; patriarchy and Gender Imagery. The findings also disclosed the fact that

Pashtun culture is massively dominated by males. The findings of the study have

implications on creating profuse awareness among different cultures pertinent to the

feelings of Pashtun brides on the eve of their weddings. This paper also benefits all those

researchers who are interested in cross cultural studies.

Key Words: Bridal Songs, Pashtun Culture, Thematic Analysis.

1. Introduction

Rich set of literary discourse be it oral or written has been produced, preserved

and transferred from one generation to another generation through different means

and medium. These set of literature is replete with themes which gives us an

understanding of the people, their society and their lifestyle. Pakistan, which is a

Multicultural State, has four dominant Cultures: Sindhi, Balochi, Punjabi and Pashto

Culture. Pashto writers, who stand in creative relation to their Culture, have produced

a valuable literature since ages. In such literary heritage not only Pashtun Man but

Pashtun Women have also played a significant role. The present Research Paper aims

to determine the themes of Pashto Folk genre, i.e. „Angai‟, the Bridal Songs of

Pashtun Bride of Baluchistan. These all songs meant to highlight the feelings and

emotions of Pashtun brides which also reflect the existing norms being practiced in

the said culture.

Background of the Study

Pashtun, historically called the Aryans, resides mainly to the North and South of

Durand Line that forms the Pak- Afghan border. The language of Pashtuns i.e.

“Pashto” is one of the unifying forces that has given them an identity in the whole

world. Caroe (1976) in his book “the Pathans” clearly mentions that Pashto language

is one of the indispensable attribute of Pashtun identity. Almost all of the Pashtuns

would agree with assertion that Pashtun and Pashto language are inseparable. The

interplay of semantics and lexemes of Pashto language and of Pashto behavior and


47

mannerism is embodied in a belief that „Pashtun is the one who does Pashto‟, not

merely who speaks Pashto‟. (Bartlotti, N. 2010, p.115).

Pashtuns, the ruggedly independent people, are distinguished from other groups in

the region by adhering to Pashtun code of ethics known as „Pashtunwali‟. It includes

the following main tenets:

Badal : Revenge in case of any injustice.

Melmastia: Hospitality

Tureh: bravery. Savings one‟s honor and respect of family

Ghayrat: dignity and honor

Namus: respect for women

Jirgha : assembly of the tribal leaders for solving grave issues.

Sabat : loyalty

Rogha : reconciliation of the disputing parties (Wright, D. 2010, p. 10-11).

These are the fundamentals which demand almost every Pashtun to observe and

abide by. All of these points shall be given due consideration prior to analysis of

Pashto literature. It is these aspects which form the background for understanding the

aesthetics and spice of Pashto literature. (Abid, Abdullah Jan., 2008).

Angai or Chaghian originated by Pashtun women of the Sanzaerkhail subtribe of

Kakars. This form of folk poetry is practiced in Qilla Saifullah, Zhob, Loralai and

Ziarat districts of Baluchistan. In Loralai Angai is also known as „Chaghian‟. It is a

part of the wedding ceremony. Pashtun bride on the last day of her wedding just

before the departure to her husband‟s home sits on a special place known as „Takht‟

wearing a new dress and a special flower embroidered colorful veil known as „Gul

Tikray‟ starts singing „Angai‟. While singing, friends of the bride and her relatives

also weep and take turns singing. It is must for the bride to sing herself in case if she

does not, she loses her status and reputation for social competence. Those who sings

the best „Angai‟ are considered as socially competent, who can express her protest in

front of everyone without the fear of opposite gender. (Kakar, Syal. (1987). It is sung

in a special mournful melody form in which the bride weeps with the halting voice

inserted regularly in the common place In this form of poetry she remembers the

deeds of her parents, siblings and relatives but she may not necessarily praise them

for the perceived mistreatment if she had any. (Claus, P.J., 2003, p.17).

2. Literature Review:

Pashto literature comprises of two streams and is laden with rich world of cultural

representations of Afghanistan and Pakistan. In order to understand Pashto literature

it is important to clarify the difference between Afghan literature and Pashto

literature. The former represents national heritage of Afghanistan whereas the latter

represents the literature that developed on either side of Pak-Afghan border. A lot of

research has been done to find out the exact date of the advent of Pashto literature,

but the knowledge and notification of local traditions claim that Pashto literature


48

dates back to Eighth century, which is preserved in a compendium of Pashto popular

poetry known as „Pata Khazana‟ (Hidden Treasure). Thus it was and is oral in terms

of all primary sources, modes of expression, transmission and in context of

performances. It is the oral and not the written form of Pashto literature which is the

major form of Cultural representation and expression. (Bartlotti, 2010)

In the domain of oral literature, Pashtun culture has been depicted in a popular

folk poetry known as „Tappa‟. It covers up the diversity of Pashtun‟s social

organization, civilization, values and traditions of the Pashtuns. It speaks volumes

about the Pashtun history. It is also known as „misra‟ and „landai‟. According to

researchers of Linguistics, all languages have been originated from their poetic genre,

which is folk poetry. So in this opinion Pashto researchers and Linguists concluded

that Pashto poetry originated from „Tappa‟, the most popular genre. There are a

number of folk poetic genres which has played a significant role in enriching the

literature of Pashtun culture. It includes „Naara‟, „Kakari Ghara‟, „Angai‟,„loba‟,

„charbetta‟, „sundaray‟ and „ghazal‟. (Abid, Abdullah Jan., 2008)

2.1 Contribution of Women to Pashto folk Literature

A Pashtun woman is in no way different in her abilities and talents from the

women of the rest of the world. Be it the land of agriculture or a land of battle, she

has always played her significant part. Though in most of the social set ups and

organizations she is considered a domestic commodity and a production machine, but

it will not be wrong to say that even in the primitive societies we will exceptional

cases of Pashtun Women who has set examples that of outstanding conduct. And this

is so true about a Pashtun woman who is the author of thousands of Tappas, landais,

kakari gharra, sundarey, naara, charbeyta, loba, Angai or chaghiyan and many more.

The mind of a Pashtun woman is replete with volumes of poetic treasures. She has

made classic and outstanding contributions to Pashto literature. The popular folk

genre „tappa‟ is often associated with women. „landai‟ is another folk poetry which is

also and mostly sung by female party of Pashtun tribe. In Afghanistan women sing

„landai‟ which is accompanied by musical instrument tambourine (tsamba), and they

sing it when no men are around. There are two reasons for not singing in front of

men. The first is the rules of purdah have limited such performances of female and

the other is connection of low status being attached to class of performers. Grimma

found that, Pashtun women sing it in occasions like weddings or working in the

fields. (as cited in Heston, Wilma, 2010). „Qessa‟ which is another form of folk

poetry carries feelings and emotions of Pashtun women. Grimma whose main

concern was to research on the poetic genres founded by women observed that all of

the poetic genres in one way or another represent role of a Pashtun women in Pashtun

culture. In this regard Heston, by scrutinizing the available cassettes, chapbooks and

narratives authored by Pashtun women analyzed gender imagery in “Angai” one of

the folk poetries. (Heston, Wilma, 2010)


49

2.2 Bridal Songs in Other Parts of the World

Women performances and their role in imparting literary treasure to their

respective cultures include fables, legends, riddles, proverbs and songs both ritual

and occasional. They are passed from generation to generation. Literary heritage of

songs and stories provide an easy access to the past and it also gives rich information

regarding particular culture and expected role of a woman as a mother, daughter,

sister and wife. Women of Africa have covered up almost every occasion of life like

wedding, declaration of war, announcement of political resistance or lamentation on

a military loss. The bridal songs of African women as observed by researchers found

several themes including, grief, sexism, gender imagery and patriarchal social

system. (Daymond et al., 2003)

2.3 South Asian Bridal Songs

South Asian women have played a significant part in contributing to the South

Asian literary heritage by producing life cycle songs according to occasions and

situations. Hindu and Muslim women have documented thousands of weddings songs

sung either by the bride or sung by her friends and relatives. In the realm of oral folk

poetry there is a continuous addition of new bridal songs encompassing the topics

which include, express of joy, gloominess, teasing, taunting and protesting. Kangra,

Himalchal Pradesh, India, is a region where women sing “Suhag Songs” in which

expresses the gloominess of the bride. One of the examples is as follows:

“Father sought and brought a groom

From a distant land,

My tender heart is breaking

Look look girlfriend my hands are decorated

My hands are decorated with henna

Look look girlfriends my palanquin is setting off

My girlfriends weep from the palace balconies”

(Nettl, B., (2000), p.414-415

3. Research Design:

In order to achieve the objective of the present study cited below, a qualitative

research design was employed in which thematic analysis was used so as to

determine the most influential dominant themes in the Pashtun bridal songs. Edward

and Weller (2012) have recommended employing thematic analysis when researcher

aims “to identify key topics and patterns in texts in order to create interpretive

meaning” (p.205). This method moves beyond the explicit counting of words and

phrases and focuses on both explicit and implicit underpinnings of the concepts or

themes hidden in between the words which expresses ones feelings and all together a

complete culture. (Byram, 2006). The frequencies of each theme were calculated so

as to determine their influence in the songs


50

This study is aimed to determine the most dominant themes in Pashto folk genre

„Angai’

3.1 Data Collection:

Nine of the bridal songs were extracted from the compilation of famous Pashto

writers Syal Kakar and Late Abdul Khair Zalaand. These songs were included in the

research due their wide fame among Pashtun people.

Theme Frequency

Grief and Departure 10**

Masculinity and Gender Imagery 7*

Patriarchy 4

Patriarchy and Gender Imagery 3

**First most influential theme *Second most influential theme

4. Theme of Grief and Departure:

Balya di wakhlam Zamana Wrora

Topak darwakhla kartoos par gora

Da zra par sar ma wala pa zora

Shadi war gham ka da zma la lora

Explanation. In the above mentioned Angai, a bride asks her brother to take out

his gun and shoot her; so that the marriage procession converts into funeral

procession. The grief stricken bride expresses her „grief‟ of getting wed and being

„departed‟ to her in-laws. Da spinni khuni pa wra wrazhe

Na da khor yam na ma khor ye

Na ma la mora zo kargi ye

Ta ba tar gurdu urmai rathle

Ta da badaanu malgari ye

Explanation: In most of the Pashto Bridal songs, it is found that Pashtun bride

express her „grief‟ and anger by calling her own father, sister, brothers and relatives

as some unknown beings who shows no concern for the one who is going away from

her homeland. In such bridal songs „grief‟ and „departure‟ are the dominant themes.

In The above mentioned Angai, the line, “Na da khor yam na ma khor ye, Na ma la

mora zo kargi ye” represents bride grief for her sister, and she rejects to be her sister,

because she was the one who helped her at the time of need, but today she is with

those who wants to get her married. Another bridal song in which the bride is angry

with her father who has given his daughter in affiance to Khurasan Groom, a caste

and family considered to be of low status by bride as she herself was from a rich and

high caste family, she expresses her grief and anger in the following lines,

„Za la baba sa khwabadgiyam,

Na ma dai plaar dai na ye lur yam,


51

Wa khurasanoi te war kargi yam‟

4.1 Theme of Masculinity and Gender Imagery Zalima cheeri di walidam

Topak di dak kai wadi wishtam

Pa mra di nakam zakhmi di kam

Wazar mi math su ra wul waidam

Explanation: The above mentioned lines of bridal song, refers to marriage at an

early age, in which bride has compared herself with the bird who has been shot by a

hunter, though she didn‟t die but got injured and lost her wings. The comparison

which the bride has made shows her „grief‟ for getting married at an early age when

those were the days to play with dolls and enjoy nature. In these particular lines we

also find the „hegemonic masculinity‟. A man who plays the role of a hunter and

shoots the independent bird and a man who in a real context plays the role of a groom

who marries a small girl and makes her shoulder the giant responsibilities of a

marital life. This bridal song represents the theme of Gender imagery, in which

Pashtun man has been shown as a hunter whereas Pashtun woman as a victim

4.2. Themes of Patriarchy:

Sur wor di wa kor ta lwazhi

Kwandi yateeman da doi pathazhi

Khwandi de wraari buri garzazhi

Bya ba haal da pashtana khabrazhi

Explanation: The above mentioned Angai is basically sung by a bride who has

lost her dear ones at the time when Pashtuns were in conflict with British Militants.

In this particular Angai she expresses her „gloominess‟ for the loss of her dear ones,

her father, brothers and cousins. In Pashtun society manpower and man existence in a

family is of grave importance. If in any case he is being killed, then the family

members suffer a great deal. In the above mentioned bridal song, the theme of

„Patriarchy‟ has been explicitly elicited in the lines when bride curses British

Militants and wish the same curse of time on their families and female wards so that

they may realize the loss which actually the bride‟s family has been through.

4.3. Theme of Patriarchy and Gender Imagery:

In Pashto language, paternal uncle are called as ‘Tarboor’. T boo ’ has always

been euphemized as evil-wisher or enemy of his nephews and niece. A lot of

‘Angai’ are found to have been sung against them in which they have been cursed for

giving them in wed-locks against their wishes. Ma la Tarbaruna ra nana wazhi,

Zruna ye shadi pa dard gayezhi, Zeezi da bal di na pa zoblazhi.” (Kakar, S., 1987,

Angai 14, p.164.). In the above said Angai bride has portrayed the dual nature of her

Tarbaruna, who apparently portrays a sad face but in actual they are happy because

they have given their niece in affiance to someone without her consent. She being left


52

an orphan has been treated as an animal by her own Tarbaruna. Again the primary

authority figures have played their central role in deciding the fate of an orphan,

which represents a Patriarchic theme and there is a representation of Gender

imagery as well, in which bride, the female ward has been shown as a subordinate

being, who have no other option but to bow her head in front of what Pashtun

Patriarchs have decided about her. Which is why she compare herself with an

animal.

There is another cruel custom in Pashtun society. In a feud when someone is killed

then the ‘ji g ’ (jury) settle the dispute by determining certain amount to be paid to

the aggrieved party as a blood money or girls be given into marriage. This custom is

known as „nek‟ in Pashto language. The victim girl then suffers torment and remains

under humiliation for the rest of her life by her in-laws and leads a life of slave.

Under this custom an innocent girls are sacrificed on the altar of sins committed by

someone else and sometime much earlier than her birth. A girl given in marriage as

‘nek’ to a family whose member has been murdered by her uncle, cries her torment

in an ‘Angai’ as:

“Da spinni khuni tar manz ghanam,

Zma nasiba wrak di sa nam,

La meizho la wazo di za sama kam,

In these lines the bride curses her fate for being considered as a sacrificial animal

and best option for settling blood feuds.

“Bad kako wakral za zobla swam,

Chi pa badai ki war kargi yam”

The Pashtun bride in a very outright manner says that she is being sacrificed for

someone else‟s crime.

“Da dol o surna pa nacha ki khalgu

Halaal e do la ba za war zam

Ta khlass pama sway da marga pora

Za kaak ghundi swazam pa ore”.

Pashtun bride who is being considered a commodity of sacrifice for settling

disputes compares herself with the (kaak, a bread baked in a kiln) who will be

burning in her in-laws till her death. Pashtun (Jirgah, Jury) leaders announced their

decision, fulfilling the role of Patriarchs, and representing Patriarchal theme,

whereas Pashtun girl, stereotypical picture has been portrayed by bride who is being

considered as an animal for sacrifice to resolve disputes. So the image of Pashtun

woman is being represented as an entity or commodity or an animal that must do

what Patriarchs decides.

In Pashtun society a worst king of custom is that of ‘Sarai’ or ‘Mokhie’ in which

a daughter, sister or niece is exchanged with a girl to whom the father, brother or


53

uncle himself desires to marry. Again a clear imbalance between the couple is seen as

the person desirous to marry a girl of his choice does not keep in view the desires his

ward. Sometimes the age difference is twice of the age of bride. The ‘Angai’ in

which bride laments:

“Da spinni khuni tar makh maakhi,

Baba warkam par sarai,

Par ma ye rawasta sha nawakai

Kshaye nawala par sha niyalai

Wus ma war basi sakhta garai,”

In these lines bride sings about the custom of (Sarai) and says that her own father

has brought a young bride for himself and has given his own daughter to an old man

in exchange, both of the brides are young who has been exchanged by their fathers to

get themselves married while fulfilling the custom of Sarai. Both male members who

enjoy being male fulfilled their hidden hideous desires with the help of customs like

Sarai, while giving no preference to the choice of their female wards. The will and

desires of Patriarchs has been sated in the garb of practicing such customs like Sarai,

in which main decision holders are again Pashtun male and the sufferers are Pashtun

female.

Da da bori pa sar ki dewa da

Pa pradai kor ki astoga sra da

Kor ye tanur gaaye lamba da

Bashar pa swazi tar taikh tera da

Explanation: Joint family system is one of the most significant social structures

of Pashtun tribe. In most of the families, be it urban or rural, nuclear family system is

not appreciated and consequently is not in practice. So a newly married Pashtun bride

is confronted with an entirely a complex set of joint social structure where she would

be facing everyone with submission of her being. Above mentioned Angai depicts

Gender Imagery of Pashtun bride in her in-laws. She says that the change of one‟s

social set up is difficult indeed. One would really burn alive in abode of the in-laws

which is like a furnace and their speech a blazing fire. In Angai

“Wa pradai khalgu te warkargi yam,

Pa haryaani ba waliyara yam,

Da kshni ow da loi pa raza ba zam

Ka ma zhagh wakai be plara yam,”

The stereotypical role of bride has been shown in the lines when she says that at

her in laws she will be one of the subordinate being as required by the norms of

marriage in Pashtun society where her wishes be according to the will of her in-laws.

And in any case if she refuses to accept any of their orders or demands then she must

not forget that she is an orphan and is without her father, her strongest pillar that

would then stand by her side and support her is now no more alive. In addition with

the mention of father it is again clarified that how Pashtun daughters are culturally


54

and socially developed dependent on their Male wards. So there is a depiction of

Patriarchy as another dominant theme.

4.4. Implications of the Findings

To create awareness about different cultures and their norms has been the prime

concern of the social researches these days. The findings of the present study provide

the deeper insight into the Pashtun cultural and it also sheds light on the feelings and

emotions of Pashtun brides on the eve of their weddings. The finding also provided

wide and spacious awareness of Pashtun culture among those who are keenly

interested in cross cultural studies. The last but not the least, the findings of the

present study contribute significantly on the existing literature on Pashtun culture.

5. Conclusion

Detailed thematic analysis of ‘Ang i’ revealed that essential tenets of Pashtun

Culture have served the background for producing and shaping this particular folk

genre. It has depicted the stereotype Gender role of Pashtun Man over stereotype

Pashtun Woman. Patriarchy one of the dominant themes has been demonstrated in

almost every line of above mentioned „Ang i’. The stereotype cultural role of

Pashtun man has been clearly marked and defined by cultural traits as Pashtun man

the authoritative ,who holds an authority to each and everything, be it moral issues,

political or economic ones; he has been shown as decisive, who decides the fate of

the opposite gender, in the form of different roles. Sometimes he is a Mullah,

Muslim Priest who decides her fate, sometimes a father who takes a lot of Walwar,

giving consideration to money while ignoring the will of his own daughter.

Sometimes as a „Jirgah‟ leader who considers woman as a sacrificial animal to

resolve blood feuds. Sometimes as a father who with the help of Sarai fulfills his

own wishes, while giving no due consideration to his female wards.

Gender of Pashtun woman has been shown as submissive, a domestic commodity,

who should bow her head in front of the authorities, decisions being taken regarding her

fate and in front of her in-laws where her role is to serve and produce. Moreover she has

been shown as a dependent being who lives a good life only if her father or husband is

alive. Once they are gone, the life of the daughter and wife becomes miserable because

from the very inception she is culturally and socially developed as dependent on her

male gentry. Pashtum male has been shown superior and strong, whereas the opposite

gender has been shown as emotional and weak.

Every culture and society comes up with its basic fundamentals and tenets which

serve to maintain its real essence with peace and development. Tenets of any culture

tend to resolve, to save, to protect and develop in the long run of life in this

vulnerable world. Every fundamental is based on sound principles that come up with

positivity. So is the case with Pashtun culture and its code of life „Pashtunwali‟. It is

not the tenet, the ritual or the custom which is wrong but it is always the hidden

hideous desire of human which are wrong.


55

Favoring man power and man‟s decisions is not wrong if it is respecting woman

and considers her as human being having will and emotions. Though tenets may

appear as cruel if it kills independence and freedom of individuals, in that case it can

prove to be disastrous if they do not maintain a balance among man and woman.

Namus and Nang are the essential tenets that serve to protect and defend the honor

of women at all costs and the Pashtun leader who takes care of his Namus is actually

called Nangyalai, who does not only speak Pashto but does Pashto by taking care of

his female ward. In the end I would say that imbalance and extremity of everything is

dangerous. If Pashtun Culture happens to receive a Nangyalai Leader, then instead

of hues and cries there will be expression of joy and happiness in any genre of Pashto

literature.


56

References:

1) Abid, Abdullah Jan. (2008). Social Structure Value and Norms of Pashtoon

Society In The Light Of Pashtoon Tappa. In Gaur, S.I.D. (Ed.), Popular

Literature and Pre-Modern Societies

In South Asia.(pp.334-338). Delhi :Dorling Kindersley (India) Pvt. Ltd.,

Licenses of Pearson Education in South Asia.

2) Bartlotti, Leonard. N.(2010). Modern Pashto Written Literature. In

Kreyenbrock, P.G., & Marzolph, U.(Eds.). (2010). Oral literature of Iranian

Languages, Kurdish Pashto, Balochi, Ossetic, Persian And Tajik: Companion

Volume II to A History of Persian Literature.(pp.114-131).Available from:

site.ebrary.com/lib/sardar/docDetaul.action?docID=10428815&p00=oral+lite

rature+of+iranian+languages%2C.

3) Baker, Chris. (2012). Cultural Studies: Theory and Practice. London: (4th

edition). Sage Publications.

4) Byram, M., & Feng, A. (Eds.). (2006). Living and studying abroad: Research

and practice (Vol. 12). Multilingual Matters.

5) Castro, R. (2000). Chicano folklore: A guide to the folktales, traditions,

rituals and religious practices of Mexican Americans. Oxford University

Press.

6) Claus, P. J., Diamond, S., & Mills, M. A. (Eds.). (2003). South Asian

Folklore: An Encyclopedia: Afghanistan, Bangladesh, India, Nepal, Pakistan,

Sri Lanka. Taylor & Francis.

7) Caroe, Olaf. (1976). The Pathans, 550 BC--AD 1957. Oxford University

Press.

8) Daymond, M. J. (Ed.). (2003). Women writing Africa: The southern region

(Vol. 1). Feminist Press at CUNY.

9) Heston, Wilma. (2010). Pashto Oral and Popular Literature. In Kreyenbrock,

P.G., & Marzolph, U.(Eds.). Oral literature of Iranian Languages, Kurdish

Pashto, Balochi, Ossetic, Persian And Tajik: Companion Volume II to A

History of Persian Literature. (Pp.135-156). New York, NY: I.B.Taris & Co

Ltd. Available from:

site.ebrary.com/lib/sardar/docDetaul.action?docID=10428815&p00=oral+lite

rature+of+iranian+languages%2C.

10) Edwards, R., & Weller, S. (2012). Shifting analytic ontology: using I-poems

in qualitative longitudinal research. Qualitative Research, 12(2), 202-217.

11) Kakar, Syal. (1987). Angey An Impotant Kind of Pashto Folk Literature.

Quetta: Pashto Adabi Board.

12) Nettl, B., Stone, R. M., Porter, J., & Rice, T. (Eds.). (1998). The Garland

encyclopedia of world music (Vol. 1). Garland Publishing.


57

13) Parvis, L. F. (2005). Understanding Cultural Diversity in Today's Complex

World. Lulu. com.

14) Wright, D. (2010). A Different Kind Of War The United States Army In

Operation Enduring Freedom October 2001-September 2005. US Army

Combined Arms Center: Combat Studies Institute Press.

15) Zalaand, Abul Khair. (1994). Angai, The Lament of Women Volume I. Quetta:

Pashto Adabi Kaarwaan Sreh Ghurgai.

خوشحال جاګېردار، زميندار که منصبدار · 16. abdul rehman kakar...

Documents