Studying Lalla Ded

Lalla Ded's poetry has been extensively analyzed, with most scholars interpreting her work through their personal lenses—whether depicting her as a staunch Hindu or a devout Muslim. This speaks volumes about the universal appeal of her poetry, making her a revered "Ded" (grandmother) for both Hindus and Muslims. However, she remains an under-explored poetess of profound experience.

To truly grasp the essence of Lalla's poetry, observes Prof Rehman Rahi, one must analyze her unique expression, which has been largely overlooked. Prof Bashar Bashir says that a poet's work should be critically examined to determine whether it reflects inner experiences or moments in time.

Expressing disappointment over the lack of in-depth research on Kashmiri literature, Dr TN Gunjo emphasises that Lalla has not been examined in a holistic manner.

Known as Lallaeshveri and Lalla Moj, Lalla Ded is a pivotal figure in Kashmiri literature and language. Her poetry is a rich tapestry woven from diverse cultural, spiritual, and philosophical influences, shaped by the political and religious upheavals of her time. While her poetry is undoubtedly a cornerstone of present-day Kashmiri literature, scholars agree that Lalla Ded's work represents the pinnacle of an era rather than the foundation of Kashmiri literature. As learned scholar TN Raina notes, Lalla's Vaakhs clearly signify the evolution of our language.

The distinguished scholar and notable contributor to Kashmiri literature, known for his works "Studies in Kashmiri" and "Lal Ded," Prof Jayalal Kaul, writes: “In the absence of all external evidence, we have to fall back upon the internal evidence of the text itself, whatever its probative force. There are no allusions or references in Lalla Vaakh to contemporary events or to any events that can be firmly dated."

Contrary to most, Lalla’s Vaakhs are not indigenous. Vaakhs have roots in many cultures and countries.

Importance of etymology in studying Lalla Ded

For such a study, the foremost requirement is to understand the etymology of the words, which is vital in comprehending the depth and richness of the poetry. Etymology provides insights into the historical and cultural contexts of words, revealing layered meanings and enhancing the symbolic and imagistic value of a poet's language. By uncovering the roots and evolution of words, etymology helps readers appreciate the phonetic resonance and intertextual references that poets often employ. This understanding enriches the reader's experience, allowing for a deeper connection with the poet’s artistic expression and the era in which they wrote.

Prof Shafi Shoq, in his work "Kashri Adbuk Tawreikh," following his predecessors, writes that the origin of the word "Vaakh" is the Sanskrit word "Vaakyani”. The etymology traces back to Proto-Indo-Iranian "waks" (speech, voice) from Proto-Indo-European "wokws" (speech, voice), from "wekw" (to speak), cognate with Avestan "vaxs," Ancient Greek, Latin "vox," Persian "avaz," and English "voice" (via Latin and Old French). While it has 25 definitions, none cover the currents and undercurrents of Lallaa’s "Vaakhs."

Sanskrit poetry has a rich tradition of poetic forms and genres, such as Shaloks, Sutras, and Stotras, but "Vaakh" as a distinct term is unique to Kashmiri mystic poetry in the sub-continent. The Sanskrit language, despite its vast history, remained confined to rulers, elites, and monks for centuries. It was never the common man’s language, and historical references indicate if a person from the lower strata of society ever tried to speak in Sanskrit, they were admonished as this language was considered "Dev-bhasha" made by the gods for the high strata only. Lalla’s language is not Devbhasha and is for all.

In "Shivamat te Qadeem Shari," Dr TN Gunjo notes that delving deep into this reveals surprising roots that emerge from elsewhere. Prof Rahi has written that Dina Nath Nadim once expressed "Vaakh" might have some relationship with Roman Oracles. Moti Lal Saki suggests Lallaa was well-rooted, her poetry's roots may emerge from somewhere else.

Considering this background and the etymology to ascertain parallels of "Vaakh," this paper adopts the principle of comparing sister languages in the Indo-European Language group to find out the tradition of this genre of verses, including Sanskrit, having a common ancestor. The comparison revealed fascinating insights into why the Kashmiri language and culture are considered unique.

In the absence of historical documentation, language and literature are crucial for understanding historical contexts as they provide a window into the cultural, social, and political life of a particular period. There is a rich tradition of Valk poetry in sister languages of Sanskrit but not in Sanskrit itself. The parallels between Lalla Ded’s "Vaakhs" in Norse "Valkyrie poetry" and "Sagas" of Germanic traditions, as well as the Albanian "Valk," are evident. Relationships are always seen through similarities in vocabulary, grammar, and syntax of different languages.

In Kashmiri, the word "Valk" is pronounced as Vaakh, with the 'L' sound dropped, similar to the silent 'L' in words from other languages, such as "calm" in English. This phonetic evolution reflects the natural linguistic shifts that occur over centuries and the specific phonetic developments in Kashmir.

Lalla’s verses are revered for their spiritual wisdom and guidance, emphasizing divine truth and the pursuit of enlightenment. For instance: “He is the name, He is the truth, He is the light, He is the word.” In Afrikana, “Valk” (Falc) symbolizes vision and precision, a metaphor linked to Lallaa’s ability to perceive and articulate profound spiritual truths. For example: “The pot of my heart was boiling, and the sound of its bubbling was heard.”

The shared Indo-European linguistic heritage provides a foundation for understanding the similarities between words like Vac (Sanskrit), Vaakh (Kashmiri), and Valk (Albanian), closely related to Valkyries (Norse) and "Walkure" (German). These connections underscore common themes of communication, expression, and spiritual wisdom across different cultures.

The Greek impact on Kashmiri life has been direct, as endorsed by Sir Mark Aurel Stein. Archaeological finds in Sinthan and Bijbehara validate chronicles highlighting Kashmir’s connection to the Greek world. Lallaa’s poetry contains clues to this closeness. Terms present in the Vaakhs, categorized as authentic and not mutilated "by itinerant minstrels," as stated by Prof Koul in his monograph on "Lal Ded," include:

Zeus: the king of gods and supreme deity, protector and father figure of both gods and human

Aagure: a king-priest of ancient Rome, maintaining the religious and spiritual well-being of the state.

Hall: often referred to Valhalla in Norse mythology, where slain warriors chosen by Odin reside after Death. These terms have been overlooked in translations.

Here are excerpts of Valk poetry from each culture, focusing on themes like bravery and crossing the ocean favourite themes of Lallaa.

Afrikaans  Text:

Ek het 'n huisie by die see,          

  'n plekkie om te wees,

waar ek kan droom en vry wees,

en die golwe my siel kan genee    

( I have a little house by the sea,

a place to be,

where I can dream and be free,

and the waves can heal my soul)

Albanian Text:

Trimëria është si një det i trazuar,

që kërkon zemra të forta për ta kaluar,

me guxim dhe shpresë për të arritur,

në bregun tjetër, ku ëndrrat janë të vërt         

(Bravery is like a stormy sea,

requiring strong hearts to cross,

with courage and hope to reach,

the other shore, where dreams are true.)

Old Norse:

Fara skal hver,

er á frama vill,

ok óvíst, hvar feigð várir,

en hugrinn skal sterk vera     

(Everyone must travel,

who wants to advance,

and it is uncertain where death awaits,

but the mind must be strong.)

Germanic :

Hwæt! Wē Gār-Dena in geārdagum,

þēodcyninga, þrym gefrūnon,

hū ðā æþelingas ellen fremedon,

oft Scyld Scēfing sceaþena þrēatum.

(Lo! We have heard of the glory of Spear-Danes

in the old days,

the kings of the people,

how those noblemen performed courageous deeds)

Dutch  text:

De zee roept, en ik antwoord,

met moed in mijn hart,

en de horizon als mijn gids,

vaar ik naar het onbekende,

(The sea calls, and I answer,

with courage in my heart,

and the horizon as my guide,

I sail into the unknown.)

These excerpts give a better sense of the meter and structure in each language.

Lalla’s use of Zeus, Aagure, Hall, and Agard

Lalla’s Vaakhs are deeply rooted in the Shaivite tradition, also resonate with Sufi mysticism and Buddhist philosophy, reflecting a universal quest for truth and unity. The exploration of the etymology of Vaakh and its parallels with Valkyrie, Walküre, and similar terms in Afrikaner and Albanian traditions underscores the interconnectedness of human expression across cultures. This linguistic journey not only enriches our understanding of Lalla’s  work but also highlights the shared heritage of poetic and spiritual traditions worldwide.

Moreover, Lalla’s use of terms like Zeus, Aagure, Hall, and Agard, related to Greek and Roman civilizations, further illustrates the closeness of the Kashmiri culture with these ancient civilizations. This cross-cultural vocabulary in her poetry emphasizes the universal nature of her spiritual insights and the interconnectedness of human civilizations.

Her verses transcend the confines of religious identity, advocating for a humanity that rises above the distinctions of Hindu and Muslim. Her poetry, a blend of personal struggle and profound spiritual insight, challenges orthodoxy and invites readers to seek inner purity and devotion. Despite the tendency to label her within parochial religious frameworks, her true legacy lies in universal message of love, unity, and spiritual awakening.

In celebrating Lalla Ded, we honour a poetess whose work continues to inspire, bridging divides and fostering a deeper appreciation of our shared human experience.

The author is a former director of CBS, Radio Kashmir Srinagar.