DHIVEHI BAS: 

A SHORT HISTORY OF THE PRIDE OF MALDIVES.

                 American poet and lecturer Ralph Waldo Emerson once wrote that, ‘Language is the archives of history.’ It is indeed true since all nations have their history known and shaped from what is written about them. Maldives, despite its size and length, is unique in this perspective since it has enjoyed a unique language called Dhivehi for centuries.

                Dhivehi is an Indo-Aryan language spoken by the Maldivians alone though a dialect of it is also spoken by the islanders of neighboring Maliku (Minicoy). Most people believe that Dhivehi is a descendent of the ancient Sinhalese but in 1969 a Srilankan Philologist DeSilva proposed the idea that Dhivehi had actually descended from Maharashtri – an old Medieval Indian language. Dhivehi has been influenced by many languages such as Hindu, Malayalam, French, British and most notably Arabic yet it retains its sense of originality and authenticity, which is hard to find anywhere else in the world.

                Since Maldives is a nation comprised of widespread distributed islands, different dialects and variations had developed over decades. The mainstream of Dhivehi used by the majority is called ‘Male’ Bas’ but other dialects are found in Haddhumaathi, Huvadhoo, Fua Mulaku, and Addu atolls. There are slight variations in other islands as well but these four main dialects found in the country. Each of these atolls has their own sense of uniqueness in culture as well as Language which makes Maldives impressively diverse and beautiful. Peeking into the dialects, it is safe to say that ‘Huvadhoo Bas’ dialect spoken by the inhabitants of Huvadhoo, retains a more older form of Dhivehi and some Sinhala words than any other region. This is mainly because of the geographical isolation of Northern Atolls from the capital and other areas. However ‘Addu Bas,’ spoken by the inhabitants of Addu is the most different from all the dialects yet most educated islanders from these two atolls and Fua Mulaku, who speaks a dialect known as ‘Molokai Bas,’ use ‘Addu Bas’ as their main form of communication. This shows the level of sophistication and moderation of ‘Addu Bas’ alone. Nevertheless these dialects are used mostly in spoken language rather than writing as ‘Male’ Bas’ remains to be the dominating dialect in the language. It would certainly be an incredible experience for any visitor travelling all over Maldives to hear the sounds of so many variations in a country as small as ours.

                Although the spoken language of Dhivehi has been around since its first inhabitant the history of writing, according to historical sources, in the Maldivian islands is not more than 1400 years old. In Dhivehi letters of the alphabet are called ‘Akuru;’ there are three main scripts used in Maldives over different periods of time. The earliest form of script used by the Maldivian Buddhist Kingdom was called ‘Dhivehi Akuru,’ and was later renamed as ‘Eveyla Akuru,’ by H.C.P Bell (a British archeologist) in 1922. The script was used by the Maldivians up to a century after their conversion to Islam. This script is also seen in the oldest inscription found in Maldives at an archeological site in Landhoo Island of South Milandhummathi Atoll. It is a coral stone that dates back to the 6^th century AD. According to local historian Naseema Mohamed these are the early forms of ‘Eveyla Akuru’ where hence the later form are found on the Loamaafaanu copper plates (official records) of the 12^th and 13^th centuries.

                After the conversion ‘Eveyla Akuru’ underwent changes and emerged as a new form now known as ‘Dhives Akuru.’ It was sued as the main script until 70 years ago. These letters are found beautifully engraved in ancient gravestones, old monuments such as the pillars and walls of Hukuru Misky (Friday Mosque). At the beginning of 18^th century, however, ‘Dhives Akuru,’ was abandoned in favor of a new script called ‘Thaana.’ This is the first Maldivian script written from left to right. The need to change this script was due to the religious awareness engulfing Maldivians at that time and the desire to use Arabic while writing Dhivehi. Some people in the Northern Atolls, believe that ‘Thaana’ was introduced to Male’ by the Maldivian national hero Mohammed Thakurufaanu.

                ‘Thaana’ it self has evolved over decades and it no longer contains as much Arabic as before but has found letters to compensate for it. In 1976 President Nasir attempted to make a modern script known as ‘Dhivehi Latin,’ to pave a smooth way for modernization but this was matched with hardship for the ordinary Maldivians and ‘Thaana’ was reinstated by President Maumoon Abdul Gayoom in 1978.

                Despite its rich history Dhivehi Language faces new challenges and problems today. Over the years it has stagnated, failing to develop rapidly to meet the new and fast demands of the modern world. As a result its confrontation with an alternative language rich in its properties and history such as English has reduced Dhivehi to sideways in its own nation. 

 TENNYSON'S MORTE D' ARTHUR
AND WHAT WE CAN LEARN FROM IT.

            Alfred Lord Tennyson (the poet Laureate of the Victorian Age) was a poet of range and variety excelling in romantic narrative, lyric and dramatic monologue. One of his most remarkable and powerful poem was Morte d' Arthur (passing of Arthur) which dealt with the final moments of the legendary King of Britain - Arthur. He was a subject of great interest to Tennyson who went on to produce 'IDYLLS OF THE KING' reinforcing the majestic King in all his grandeur.

An artist portrayal of King Arthur from the movie
Arthur (2004)
by: http://dmkozicka.deviantart.com/

           In my analysis I am going to focus primarily on the interaction between the dying King and his last remaining Knight Sir Bedivere. This part of the poem for some reason deeply affected me. The poet gives a rather detailed and melancholic description of the Arthur's dying state 'his face white and colorless' like the 'withered moon' and compares it to his prime when he in his youth was the 'star of the tournament,' bright and mighty, so very energetic and enthusiastic symbolizing all that was brave and courageous. By constructing two contrasting pictures of the past and the present there is no doubt that Tennyson is recalling the prime of the Victorian Age, where Britain developed and reached the pinnacle of success as a world power, her empire glorious and enlarging, giving way to the famous quote that summed up its strength for centuries - 'the sun never set on the British empire'  and comparing it to the the melancholic and tragic degeneration of the British society and polity at the end of this Age. The strength, valor and might of Arthur, which the poet describes as as 'shattered' is a representation of the mood the British public to the changes taking place in Britain at the end of the Victorian Era. It is the this same feelings of anxiety and despair which is revealed by Arthur's faithful knight Sir Bedivere.

           The bold knight cried out in anguish, 'Ah my Lord Arthur, whither shall I go?' revealing how much he feared a world without his dear King who has been his faith, his friend and guide, without whom he felt lost and had no sense of direction. With a the heartfelt pain he reveals how frightened he is of a world which had none of the stability that he had known. his world was falling apart and he must face it alone. 'I, last go forth, companionless.' By using the word 'bold' Knight cries, the poet is skillfully showing how even the best of men will break and the fear of an uncertain future is an inevitable one. The death of Arthur was for Bedivere, the reality that 'true old times are dead.' By bringing this element of fear and confusion in Bedivere and using a tone that is melancholic but not overtly dramatic, I believe that the poet is also revealing his own sympathy to his society which was also in the same state of mind as that of Sir Bedivere. This can also been seen in the light of situations today, where so many different countries and communities who now faces the fear of radical yet inevitable change and who has come to be confused and dejected by it. As the world around us become confusing and foreign like it was for the British people at the end of the Victorian age, (with the challenge of Darwin, growth of doubt and skepticism, industrialization and modernization and social upheaval) the whole framework of society begins to crumble, as Sir Bedivere's did with the passing of Arthur.

           And yet it was the poet's depiction of Arthur's own response to this cry that what is truly impressive. His declaration, 'the old order changeth yielding place to new', is one of optimism and positivism. Change is inevitable and it can neither be halted nor resisted. And it is not necessary that change will be destructive. If an old order changes, it does provide the opportunity for a new one to emerge. And it is with great sense of humility that he reveals that it is important to have faith because, according to the poet, God always have a plan for mankind. Through Arthur, the poet calls for prayer, 'more things are wrought by prayer than this world dreams of.' And in doing so, the poet does not only reinforce the majesty of Arthur but he also addresses the spiritual question plaguing his society at that time. The growth of Darwinism changed the modes of the belief system and there was such a immense solicitation against the notion of God that people became bereft of spirituality. This call for prayer can therefor been seen as Tennyson's own call to his people to keep faith. It also reveals the humility of Arthur; it shows him to have made peace with his death and this was quite remarkable for a ruler of such grandeur. And this is perhaps the central element of the poem. the refinement shown by Arthur in his deathbed (more rightly, the depiction of such refinement in this legendary King by the poet) can be seen as yardstick of measuring spirituality and practicality in leadership, a lesson needed for leaders of today who are resistant to change and who aims to rule the people from beyond. Arthur with his kind words reinforces his role as a true king and invokes in the heart of Sir Bedivere the strength to move on. Bedivere of course does not start jumping in jubilation but the lines 'long stood Sir Bedivere,' indicates to us that this silence which is overwhelming reveals a contented spirit rather than a tumultuous one.

           Therefore we must, if we are to analyze this poem keep in mind that Bedivere could be a representation of the British society and Arthur, that of the poet (Tennyson) who uses grand solemnity and sense of tragedy to mitigate the inevitability. Many critics had also seen this poem as Tennyson's own way of comforting himself in Arthur Hallam's (Tennyson's friend and confidante and fellow poet) death. This only proves that this fragment of legend which he perfects in his epic, is relevant to any age and any circumstance. There is a Bedivere in all of us when face with change and uncertainty and our own response to these changes is what dictates the route it takes, be it positive or negative. Few individuals can face changes head on and remain resolute. The poet's projection of Arthur, thereby becomes extremely important for there is always a need of such an Arthur to reassure and calm the Bedivere in all of us. That is why this poem becomes not only medieval  but also Victorian, and not only Victorian but also modern, not only religious but also spiritual. Bedivere's dilemma is the same as that of the British society of that time, and us in the modern times and Arthur's faith as that of Tennyson's own; a beautiful blend of two spiritual dimensions.

A MAN'S WORTH.

                 In today's world where a man's worth is dictated by the fashion he parades, and luxury he exhibit, recalling the great Scottish poet Robert Burns brings a sense of relief and liberation from these bondage of materialism and commercialization of culture and values. Robert Burns, also known as the 'plough man poet' was the most celebrated Scottish poet ever and one of the pioneers of the Romantic Age. His sensational poems like 'For A' that and A' that', 'The Cotter's Saturday Night,' and 'The Mouse' and even 'The Louse'  reflect on his most pressing concern for the downtrodden Common Man, and the inequality and discrimination based on social status and wealth rampant in the society. This can be best seen in the poem 'For A' that and A' that.

                The first stanza itself reveal Burns at his best. The lines 'dare to be poor for a' that', is a direct challenge to the rich and the ostentatious to spend one day in the shoe of a poor man before being dismissive about him. He mocks at how the rich are so proud of their ranks and the titles - what Burns called 'guinea's stamp' like Knight, Lord etc. This same notion of rich versus poor is found throughout the poem - he calls the world of rich a 'tinsel show' which enables them people to 'strut and stare' and mock and jeer at those who cannot match up to their luxury. The poet alleges them to be nothing but fools for no one truly respects a man of no calibre. but the honest man, the poet declares, pitching in a rather graceful  sense of socialism, who toils in labour everyday, and wears poverty stricken clothes is so much better than all that. And for this man the tinsel show would be meaningless for he is a man of self worth. A man whose happiness and luxury, be it minimum, is still built by his own hands. Despite his poverty he has the integrity to not do dishonorable work to climb the ladder of social mobility. And that is why the 'The honest man, tho' e'er sae poor, is king o' men for a' that.' 
                 This reflects well on Burns, who was not only an ardent believer but an advocator of the principles of equality, freedom and unity - all that which became the legendary slogans of the French Revolution later : Fraternity, Liberty and Equality. The honest man, ever so poor, has an independent mind that is incorruptible and indestructible and therefore is slave to none. Thus he deserve the respect of men more than the 'coof' (idiot) who had in most instances, inherited both wealth and power. The lines  from the second stanza are rather rich yet powerful disputes on the notion of how wealth and power measures a man's value. That is why the poet believed that an honest man would be above such false grandeur of tiles, wealth and authority for the value of a man truly lies in his 'pith o' sense, an' pride o' worth,' the values and ethics which makes him so much better. The 'independent man' as he calls is a man who will not fall prey to the glint and glamour of the world.

                The concluding stanza, however, takes a surprising yet beautiful turn. The mood and the tone of the poet changes from the cynical, outrage to a boom of optimism. He calls for a 'Universal Brotherhood'  - 'That man to man, the warld o'er, shall brothers be for a' that'. - a utopia perhaps where mankind will finally rise above hate and discrimination of people on class and wealth. And this was also what was so remarkable about his poetry and about himself. He was amongst the first to denounce the practices of the elite and demand privilege to the underprivileged, abandonment of the standards imposed by the society on freedom and equality. French philosopher Jean Jacques Rousseau once wrote, 'Man is born free and everywhere he is in chains.' Well Burns was amongst the first to advocate the removal of these 'chains' and the cause of the common man. This and the fact that he moved away from the rigidity and decorum of the Neo-Classical writing and showed affection to all that was considered trivial - this can be seen in his poem 'To a Louse', and this marked the beginning of a new era. And this is why Burns remains to this very days the earliest embodiment of the Romantic Age and most importantly as the critic, Catherine Carswell claims 'a People's poet.'

Pic: By Deviantart Appurva.