It started with pictography. Script evolved gradually and consisted initially of whole words. Later those were broken into alphabets. Still, in many languages, one has to memorise the word shapes — in the Mandarin or Chinese, for example. We too don’t analyse the spellings but pronounce the whole words as we recognise them without breaking them into alphabets.

Various scripts have been adopted and developed over the centuries in different parts of the world. Many ancient languages have died, yet the scholars have managed to decipher some of them just as the cuneiform script and, later, with the help of Rosetta stone the Egyptian script were deciphered. It is hoped that the pictographic script from Indus Valley steatite seals too will be decoded one day.

Kharoshti from Gandhara and the Buddhist edicts as engraved on Ashokan pillars are intelligible. In the subcontinent of South Asia, numerous languages and their dialects were spoken and written in different scripts. Many religious groups maintained secrecy with regard to of their scriptures just as many Muslims did not want the Holy Quran to be translated. It was translated by Shah Waliullah into Persian. Two of his sons translated it into Urdu.

Higher-caste Hindus too did not want the mantras to be intelligible to the lower-caste people. It was for the same reason that the Portuguese offer to set up a printing press was rejected by Akbar’s court. The Ottomans too did not permit printing of books; they considered it blasphemous to print books with the (printing) ink, though the paper-making technology had been acquired by the Arabs through some Chinese prisoners. This resulted in handwritten books on various disciplines of science. Some ancient Greek manuscripts were also translated and transcribed. Yet, the denial of printing technology kept the Muslims in dark ages for too long. They still have to catch up.

In the South Asian subcontinent, with the coming of the Muslims, Arabic alphabets were adopted. Eventually the nastaliq style became the most popular. The word ‘Urdu’ too is from Turkish language and means army. Maybe it developed into a mixture of local and foreign words. Earlier, it was referred to as Hindvi and Rekhta. It was at the Fort William College that the word Urdu was popularised.

Incidentally, it was during this period of political decline that the greatest literature and cultural activities were noticed. English too was promoted because not many Britons could be spared to handle the clerical work. Moreover, European pay scales would make them expensive. Sir Syed Ahmad Khan’s endeavours to promote English language deserves a separate citing.

In the meantime, some white men also learnt Urdu, albeit using Roman script. This practice continued well till the time of Independence. My father’s friend, the late Sheikh Zafar, taught to the British soldiers what is called Roman Urdu, during the WWII.

The use of Devnagri and Gurmukhi obviously had religious and nationalistic overtones, especially during the Arya Samaj Movement when Urdu with Arabic alphabets was declared alien.

It may be noted that some of the greatest writers in Urdu were Hindus. All college-going students during the Raj were well versed in this script including the late Pran Neville who would always collect some books during his visits to Pakistan.

The point I am trying to make is that only the scripts are different between Urdu and Hindi while the pronunciation and grammar are the same. During my visits to India, I had no difficulty in communicating with any locals not knowing English. The dialects may be different but remain intelligible. However, I could not read the signboards in Hindi. Old Delhi’s Chandni Chowk was the only place where I saw shops with some boards in Urdu, announcing the availability of Pakistani currency and visa forms.

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Mustafa Kamal Ataturk imposed, or adopted, and adapted Roman alphabets for Turkish language. His point was that the Western alphabets had greater legibility and hence were easier to learn.

Arabic script was prohibited for the Turks. During my visit to Syria and Lebanon, I was able to speak with the older generation of the Arabs in Turkish language written in Arabic script. They fondly spoke of the Ottoman times when Turkish was the lingua franca.

The conflict between the Arabs and the Turks, especially during the breakup of the Ottoman Sultanate, to facilitate the creation of Israel was a deep conspiracy. The adopted alphabets, however, brought Turkey closer to the European nations which also have a more homogenous climate. Though, many Turks resent the Crusades mentality that is still prevalent among most Europeans — as is evident from the way the Turks have been denied entry into the European Community.

Turks too suffered a great setback when they were cut off from their past literature which is all in olden script. I had the privilege of reading their old manuscripts in Topkapi Library, as part of my doctoral dissertation. They have even transcribed the Holy Quran in Latin script which is easier for them to read because it omits the ‘silents’. Yet, many orthodox Muslims reject this. Turkey’s President Erdogan has expressed regret that many Turks cannot read the names of their ancestors recorded on their tomb/gravestones. So they have recently introduced the old Turkish as another language, called Osmanlica.

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In his book (discussed earlier in these columns), titled Trek to Pakistan, Professor Ahmad Saeed has devoted an entire chapter to the Congress’s insistence on adopting Hindi written in Devnagri script for the new state after Independence. The same problem had come up during the time of Sir Syed when he concluded that Hindus and Muslims were different people and could not reconcile.

Now that the script has become the real divide, efforts are needed to move forward.

Fortunately, some enlightened literary figures are engaged in translating the literary works from across the border, both in India and Pakistan. But that is limited to using the different scripts. Very few scholars across the divide are trying to learn the Urdu and Devnagri scripts, which would not be much difficult to do once their respective alphabets are comprehended. After all, they boast the same phonetics and same grammar.

In India, somebody transcribed my father’s autobiography, Guaachiyyan Gallan, without seeking my permission, which I certainly have given, gratis. The title too was changed. If they had retained the original design, even those not versed in Gurmukhi would’ve easily understood that this is the same book transcribed.

Early this month, a book in Punjabi — Tawaaf, by Baldev Singh Greval — transcribed by Dr Amjad Parvez’s Saanjh Publications, was launched at the spacious auditorium of the PILAC. The ceremony was presided over by Dr Sughra Sadaf, the PILAC director general.

Tahira Sira, who wrote the book’s introduction in the folders of its dust cover, spoke about the contents of the novel. Sabir Ali Sabir gave his critical analysis.

Though Arshad Hussain has designed a good title, the original one should have been reproduced for reasons mentioned above.

The attendance at the launch was thin and ‘masked’. The book is a good read and a welcome addition to my collection. More of these books should be translated and transcribed to make the cultural and political borders more porous.

(This dispatch is dedicated to Dr Sughra Sadaf, DG, PILAC)

The writer is a painter, a founding member of Lahore Conservation Society and Punjab Artists Association, and a former director of NCA Art Gallery. He can be reached at ajazart@brain.net.pk