What kind of a language is Kashmiri?

I want to begin a series of posts on Brown Pundits on culture, history, language and politics of the Kashmir valley – a bit of an insider’s account. When writing about Kashmir it is unfortunately very easy to get drawn into, rather inextricable, India-Pakistan political tangles that the Valley has suffered from. I will try to describe the modern Kashmiri politics too (against the larger Indo-Pak backdrop) and its evolution since the early medieval period in one of my posts. However, for the rest I’ll try my best to steer clear of such political discussions when discussing the local culture and people.

Please note that when I speak of Kashmir, I speak only of the Valley of Kashmir – for that is what Kashmir really is. It is not Jammu, it is not “Azad” Jammu & Kashmir, it is not Gilgit-Baltistan and it is not Ladakh.

So, with that little introduction, let me begin by discussing a topic that is after my heart – my mother tongue, Kashmiri, or as we call it in Kashmiri: Koshur

Kashmiri language is primarily spoken in the Valley of Kashmir and by Kashmiri ethnic diaspora communities in other parts of India or abroad. It is one of official languages recognized by the Indian state and typically written in three scripts: Sharada (the original and oldest-known script used for the language), Devanagari (used today mainly by Kashmiri Pandits with some vowel modifications) and Nastaliq (used by both Pandits & Muslims). Due to its Constitutional status, one can find Kashmiri written (in Nastaliq) on any Indian banknote along with a dozen other languages. The use of Nastaliq for Kashmiri differs markedly from its use for, say, Urdu or Persian, in that the modified-Nastaliq used for Kashmiri always marks vowels and diphthongs.

Kashmiri is not similar to Hindi/Urdu (or to Punjabi, Pahari or other north Indian languages) at all. Needless to add that it isn’t mutually intelligible with any of them. Kashmiri is a member of the wider Indo-Aryan family of languages – but the kinship almost ends there. In terms of its development from early Vedic dialects, Kashmiri (and Dardic branch in general) split off very early compared to the Sauraseni Prakrit – which gave rise to modern-day Punjabi/Pahari/Hindi/Urdu/Gujarati etc.

Kashmiri preserves many archaic features of Sanskrit speech – lost in a majority of languages of the plains. Kashmiri is semi-inflected, more like Sanskrit, and unlike Hindi.

E.g.

Skt. “drakshaH khadam” > K. “dachh khyeim”

Compare with “Mainey angoor khaye” in Hindi. Note that Kashmiri, like Sanskrit, inflects the verb “khyon” (to eat) and there is no need of the pronoun equivalent of Hindi “mainey”.

Skt. “tatra ma gatchha, tatra aast siMhaH” > K. “tot ma gatshh, tatyi aos suh”

Compare with Hindi “wahan nahin jao, wahan sher tha”. Again Kashmiri uses the verb “gatshh” (to go) in imperative tense just like in Sanskrit.

Kashmiri has a very different and much more extensive vowel system and uses the schwa and diphthongs (i.e. combinations of vowels) a lot compared to Hindi/Punjabi, which makes it sound very different (some say like Russian/Slavic languages).

E.g. no word in this ordinary Kashmiri sentence has a simple vowel – they are all long vowels or diphthongs:

“tsooraa, daeris dyoo shyenah-shyenah tsyal, makaana-maelyikh ha bozyee”

Trans.
“O thief, to-window give slowly push, (or else) house-owner may-hear”

Note how the non-native Arabic loanword “malik” (lord/owner) has been changed in Kashmiri – by changing /a/ to the diphthong /ae/ and /i/ to /yi/.

Kashmiri also changes all word-final /k/, /t/ and /p/ to aspirates /kh/, /th/ and /ph/. Hence the final -k in “malik” changes to /kh/.

E.g.
Skt. “taapa” (heat) > K. “taaph”,
Skt. “ropya” (silver) > K. “roph”
Skt. “taraka” (star) > K. “taarukh”
Skt. “prati” (every) > K. “prath”
Skt. “shata” (hundred) > K. “hath”
Skt. “pata” (fallen, behind) > K. “path” (behind, trailing, remote)

Also, notice the addition of the schwa, i.e, the (semi-vowel) -a ending, as in “makaan” > “makaana”. This is another feature that Kashmiri preserves from Sanskrit. Hindi, on the other hand, tends to delete the schwa endings in Sanskrit, e.g. Skt. “yoga” > Hindi “yog”.

And K. “shyenah-shyenah” is also from Skt. “shanaiHi-shanaiHi”, which translates to “slowly-slowly”.

Another overwhelming characteristic of Kashmiri is its frequent use of the voiced sibilant /z/ in native words (i.e. words it has not borrowed from any other language). Hindi-Urdu also uses /z/, but only in non-native (borrowed) words.

So, the verb “bozun” (to hear or see, to perceive) used in the above sentence is just the Kashmiri form of Skt. ‘bud/bod’ – 1st conj. parasmaipada (transitive) verb. cf. Skt. ‘bodam’ (I perceived) > K. ‘boozum’
Similarly, we have many other examples of Skt. /d/ or /j/ (and sometimes /s/) changing to /z/ in Kashmiri:

‘adya’ (today, now) > ‘az’ (today)
‘dvi’ (two) > ‘za’
‘raja’ (king) > ‘raza’
‘bhaja’ (cook) > ‘vaza’
‘vajra-mala’ (lightning) > ‘vuzmal’
‘puja’ (worship) > ‘pooza’
‘jivha’ (tongue) > ‘zyav’
‘jnana’ (knowledge) > ‘zaan’
‘jana’ (to generate, give birth) > ‘zyon’
‘jeeva’ (life) > ‘zoo’, ‘zuv’ [Cf. Greek ‘zoo’ which also means life and is a cognate]
‘dhyana’ (consciousness) > ‘zoan’ [Interestingly that the same Skt. word gives rise to Japanese ‘zen’]
‘jala’ (water) > ‘zal’ (urine)
‘maMsa’ (meat) > ‘maaz’
etc.

Finally, Kashmiri has no voiced aspirates /bh/, /dh/ or /gh/ – all of which change to /b/, /d/, /g/.

E.g. Skt. “bhavami” (I am) > K. “ba” (I)
Skt. “bhrhaspativara” (Thursday) > K. ‘brasvar’
Skt. “bhruma” (brow, eyebrow) > K. ‘buma’
Skt. “dhuma” (smoke) > K. ‘duh’ [Note Hindi “dhuaN” preserves /dh/]
Skt. “ghana” (viscous, thick) > K. ‘gon’ [Again Hindi “ghanaa” preserves /gh/]
Skt. “gharma” (warmth, sunshine) > K. ‘garm’ [Note Hindi “garmi” is via Farsi, not Skt.]
etc.

While there are many other aspects and complexities of the Kashmiri language which I have not mentioned here, the above details are enough to give most people a flavour of the language: how it sounds and why it sounds so different from Hindi or Urdu. I would urge people to visit the following extensive resource on the Kashmiri language for more details:
An Introduction to Spoken Kashmir

There are some differences in the usage of Kashmiri depending on whether the person speaking it is a Kashmiri Pandit or Muslim. Nonetheless, this division is not nearly as material as say that between (Sanskritized) Hindi and (Perso-Arabized) Urdu. The dialectical categorization of Kashmiri is more based on region (e.g. Anantnag vs. Srinagar) or economic/social status (as spoken in cities vs. as spoken in villages) rather than religion.

Of course, there are specific words in the language that specify religious concepts – and they are bound to be different for Pandits and Muslims. But for non-religious concepts the words used by Pandits or Muslims are essentially the same.

As an example of what spoken Kashmiri sounds like, I will end with a fantastic rendition of classic Kashmiri love poetry, sung by the inimitable Shameem Dev Azad – considered to be one of the best singers Kashmir has ever produced. She is married to ex-CM of J&K State, ex-Cabinet Minister and senior leader in the Indian Congress party, Ghulam Nabi Azad (whence Azad), though she was unmarried at the time this programme was produced.

This particular clip is from an episode of a series called Anhaar that was produced by Doordarshan Srinagar and ran from 1978-1980. The conductor (also the producer of this series) is Padma Shri Pandit Bhajan Sopori, a santoor maestro of the sufiyana mousiqi gharana of Sopore, Kashmir.

The song itself is a poem composed by the 19th century Kashmiri poet Rasul Mir. It expresses a sentiment very common in Kashmiri love poetry, about the woman pining for her beloved (K. madano < Skt. madana lit. beloved, god of love). In that respect, Kashmiri literature clearly continues the Sanskrit tradition of love-poetry (ghatakarparaH*, vikrama-urvashiyam etc) where it is always the woman singing about lost love, as opposed to, say, Persian poetry (of Khayyam or Sa’adi) which is typically from the male’s POV.

 

[*] A correction to meghadutam, which, as Pramathanath Sastry points out below, is from the male’s POV.

Author: Slapstik

I was born in Kashmir and a strange turn of events spanning over 2 decades led me to London, where I now live and work. I have a deep interest in linguistics, geo-political history, Science and philosophy of Science and occassionally my writings reflect that interest. I am an ardent Popperian, a technophile, a trekkie and a below average cook. Twitter: @kaeshour

4 thoughts on “What kind of a language is Kashmiri?”

  1. What are some of Kashmir’s favorite texts? Which are written in Kashmiri? Which are written in Sanskrit or another language?

    What are the names of your favorite ancient Kashmiri poets and authors.

    I love Kashmiri Shaivite texts (the second oldest, arguably of the 6 Shaivite orders . . . the other famous and oldest ones being Siddha Siddhanta and the Nath Sampradaya).

    1. Influential works in Kashmiri mainly include a lot of poetry, though there’s some prose too. There’s a long tradition of poets who wrote exclusively in Kashmiri. The most common being Lalla Vaakh (cf. Skt. ‘vAk’ as in utterance) by Lalleshvari (known as Lalla dy’d in Koshur) whose poems are philosophical in nature. Other early Kashmiri poets include Arnimal and Habba Khatun (a contemporary of the Moghal emperor Akbar, who wrote love poetry pining for her husband banished to faraway Bihar by Akbar after his conquest of Kashmir).

      Latter day Kashmiri poets include Rasul Mir, Mahmud Gami and Dinanath Nadim. Nadim is also known for spearheading the Kashmiri language revivalist movement.

      However, my favourite work by far is the magnum opus Rajatarangini of Kalhana. While it is in Sanskrit, it also records the earliest known usage of Kashmiri – an emotional outburst by a land official who protests against an illegal land-grant by the King to one of his wife’s relatives!

  2. “In that respect, Kashmiri literature clearly continues the Sanskrit tradition of love-poetry (meghadutam, vikrama-urvashiyam etc) where it is always the woman singing about lost love, as opposed to, say, Persian poetry (of Khayyam or Sa’adi) which is typically from the male’s POV.”

    A friend reminded me that Medhadutam is surely from a male POV. A moment’s thought and I agreed. The yaksha is male. Also the friend mentioned Bilhana. And Bilhana was a Kashmiri male who wrote Caurapâñcâśikâ, which is also a love poem, from the male (actually Bilhana’s) POV.

    1. That is a valid correction. I believe I was thinking of ghatakarparaH (rather than meghadutam), a work that the Kashmiri author & poet Abhinavagupta wrote on and attributed to Kalidasa (actual provenance unknown). It is from the woman’s POV and the first work of sandesha kavya.

      The Indic metaphor of using the female POV in love poetry is not just common in Kashmiri literature, but a feature of Hindi/Urdu as well as Tariq Rahman brilliantly illustrates here:

      https://youtu.be/fl4xppek2gY

      Bilhana was of Kashmiri origin, but an emigrant to Southern India, where he wrote much of his work.

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