In 2009 I wrote two essays concerning the issue of plagiarism that Mr. Imran Shahid Bhinder had raised concerning Prof. Gopi Chand Narang’s book Sakhtiyat, Pas-i-Sakhtiyat Aur Mashriqi Shi’riyat (“Structuralism, Post-Structuralism, and Eastern Poetics”), for which Prof. Narang had received the Sahitya Akademi award in 1995. Both appeared at Outlookindia.com, the first, ‘Plagiarize and Prosper,’ in July, and the second, ‘The Emperor’s New Clothes,’ in August. While Prof. Narang did not respond personally in public, either to Bhinder’s detailed analyses or to my much shorter essays, a young Urdu academic, Dr. Maula Bakhsh of Delhi took up his defense, and published in response a long diatribe against me and my motives, available in the ‘Comments’ section to my second essay.
I didn’t respond. I don’t like to get into arguments with those who comment on my essays, and usually respond only to thank or clarify if an error is pointed out. But a year later I wrote an essay in Urdu entitled ‘Manzur Hai Guzarish-e Ahval-e Vaqi’i‘ (‘Desiring to state the truth’). In it I explained my past relationship with Dr. Narang and how I had no reason to be biased or jealous now, that Dr. Maula Bakhsh had mentioned matters so old and obscure that only Prof. Narang could have brought them to his attention, and that in fact l had some documentary evidence from Prof. Narang—a couple of letters—that contradicted what the two claimed or implied. I sent the essay to a quarterly published from Mumbai; it kept it for over an year, at which time I withdrew the essay and sent it to a Delhi magazine. It declined to publish it.
Below I reprint the two English essays, with links to the original site where other links may be found more easily, followed by my Urdu essay, published here for the first time.
PLAGIARIZE AND PROSPER
There was a time when people wrote a literary piece and then ascribed it to someone whom they held in high esteem out of love, admiration, reverence or some other strong sentiment. Jalaluddin Rumi wrote a magnificent volume of ghazals but did not put his name to it. It has always been known as Diwan-i-Shams-i-Tabriz (The Diwan of Shams of Tabriz). An unknown poet wrote another, smaller diwan of ghazals and ascribed it to Khwaja Mu’inuddin Chishti of Ajmer. Later some other people concocted ‘table-talks’ of
some of the Chishti Sufis and circulated them as genuine collections. In Urdu literary history, two examples of something similar immediately come to mind. When Muhammad Husain Azad desired to publish a definitive edition of the ghazals of Shaikh Ibrahim ‘Zauq,’—the first poet laureate of Bahadur Shah ‘Zafar’—he felt no qualms in composing new ghazals and verses to fill in the gaps he felt his beloved master would have filled in himself. Then there is the fascinating case of one of the foremost modern poets in Urdu: when Sana’allah Dar took on the name “Miraji” after a woman named Mira whom he obsessively loved, he might have had in mind the exemplary bond between Rumi and Shams.
Urdu literary culture, however, has known many more cases where someone took the work of another person and claimed it as his own. Particularly among the poets. The practice of ustadi/shagirdi in Urdu poetry encouraged it. Many an ustad or master poet earned his meager living by giving away his verses to his pupils or shagird, who in turn provided for his needs. Some ustad openly sold verses to anyone who came with money the night of a musha’ira (a gathering of poets). A nawab or king would appoint some good poet as his ustad and then quite as a norm expect him to put together a volume of ghazals in his name. It also happened in prose. Imam Bakhsh ‘Sahba’i’, a contemporary of Ghalib and teacher at the famous Delhi College, reportedly wrote for a Mughal prince a tazkira or account of the poets of his time. The book, Gulistan-i-Sukhan, carries the name of Qadir Bakhsh ‘Sabir’ as its author, but Ghalib always referred to it as “Sahba’i’s
tazkira.” Much later, when the Anjuman-i-Taraqqi-i-Urdu (“Association for the Development of Urdu”) published The Standard English-Urdu Dictionary in 1937, the organization’s Secretary, Maulvi Abdul Haq (a.k.a “Father of Urdu”), put his own name on the cover as its editor, instead of the Anjuman’s. But at least he was honest enough to clearly acknowledge in the Introduction that the work had mainly been done by Dr. Abid Husain of Jami’a Millia. Since then, however, things have been going downhill in Urdu, particularly in its academia. The late Azhar Ali Farooqui of Allahabad earned his living by writing Ph.D. dissertations for others, with the full knowledge of the university’s professors. I personally witnessed how he worked.
In the old literary culture plagiarism of the ordinary kind was also common and not made much of. The stakes were not high then. But now the stakes are quite high in the academic world. Ambitious university teachers no longer can make do by merely taking care of their patron’s grocery shopping and milk cows—I witnessed both at Aligarh. Now they must publish “research” in order to get coveted promotions and titles. Sadly, quite a
few take to plagiarism as the shortest route. I became involved in the case of one such ambitious academic at Aligarh back in the early 1980s. The Department of Urdu, Aligarh Muslim University, had obtained some money from the government for a professorship in Aesthetics, and advertised the job. One of the candidates was a Reader in the department, who was far better known for his fiction than research—he wrote at least one
superb novella that will always be admired. In no time that gentleman managed to publish a volume on Urdu Aesthetics. I was most surprised when I came across the book in our library at the University of Chicago. Having known the person since our shared college days, I couldn’t imagine him as the author of the book. A couple of hours of digging around in the library solved the mystery. The talented academic had taken a well-known book on Aesthetics in English by a Bengali scholar and diligently translated most of it into Urdu. Dutifully I prepared a short article, presenting page-and-line references to the original. It was published in Urdu, and received plenty of notice. But nothing actually happened. The gentleman didn’t get the job—no one did, as I remember—but he went on to become a full professor, and soon chaired the department for a while. Needless to say he received—justly, I must add—a ‘Padma Shri’ as a fiction-writer.
Presently the Urdu literary/academic world has been violently shaken by what must be termed “the mother of all plagiarisms” in Urdu. Instead of the out of fashion field of Aesthetics, it is the currently much more fashionable field of Literary Theory that is at issue, and the person at the ‘heart of darkness’ is no less than Dr. Gopi Chand Narang, Professor Emeritus, Delhi University, who from 2003 to 2007 presided over the Sahitya
Akademi and has received two “Padma” awards from the Indian state—the latest being “Padma Bhushan” in 2004. (A full list of his honours and publications may be seen at his website http://gopichandnarang.com/. At the center of the scandal is the book Sakhtiyat, Pas-i-Sakhtiyat Aur Mashriqi Shi’riyat (“Structuralism, Post-Structuralism, and Eastern Poetics”), for which Dr. Narang received the Sahitya Akademi award in 1995. Though the title suggests that it might be a comparative study, bringing out the commonalities and oppositions between two contemporary Western literary/linguistic theories and their counterparts in Sanskrit and Urdu—a rather curious undertaking—but in reality it only describes and explains the three topics in the book’s title, and the major thinkers who contributed to them.
As far back as 1997, an Indian Urdu critic named Fuzail Ja’fari had explained in some detail how Dr. Narang’s book shied away from original thinking and analysis, limiting itself simply to what X wrote and Y said in Western languages (Zahn-i-Jadid, Delhi, #22-3). In fact, he described the book as a “compilation” (talif), adding that it was not an original piece of writing (tasnif). Now a young scholar Imran Shahid Bhinder, a doctoral
candidate in the Department of English at the University of Birmingham, U.K., has made a much more serious charge. Bhinder published in 2006 in the annual issue of Nairang-i-Khayal, a Pakistani journal, an essay entitled “Gopi Chand Narang is a Translator, not an Author.” A year later, a revised and expanded version of the essay appeared in the journal Jadeed Adab (July–December, 2007), which at the time was printed at New Delhi—now allegedly stopped under pressure from certain people—and published from Germany. (It is also available on the web: http://www.jadeedadab.com). In 2008 Bhinder published two more articles in Jadeed Adab, the first in its January–June issue, entitled “Plagiarism in Urdu Literature – How Long will it be Defended?” and the second in the July–December issue, entitled “Gopi Chand Narang’s ‘Truth’ and ‘Context’ [as] Thievery.” Both articles found plenty of circulation in both India and Pakistan, and excerpts were
reproduced in a couple of Indian journals. Now a Pakistani journal, ‘Akkas, published from Islamabad, has brought out a special issue devoted to Dr. Narang’s oeuvre and career, including a more detailed analysis by Bhinder. (Also available on the web: http://www.urdudost.com/library/index_mutafarriqat.php )
In summary, Bhinder has most convincingly established that Dr. Narang’s achievement in that award-winning book is not that of an author but only of a translator, and that too of a reprehensible kind. According to Bhinder, Dr. Narang did not read the original authors—Ferdinand de Saussure, Claude LeviStrauss, Roland Barthes, Jacques Derrida, Jacques Lacan, Michel Foucault, and others). He read only their well-known interpreters,
and then transferred the latter’s analyses and interpretations into Urdu, doing so verbatim and without giving the reader any indication of what he was doing. In his third article mentioned above, Bhinder has given extraordinary details of the Dr. Narang’s “authorial” enterprise. He has quoted excerpts from the Urdu book and then placed them next to their unacknowledged English original. Further, he has listed with precision the countless pages in Dr. Narang’s book that correspond almost word-for-word with the English pages of American and British scholars. For example, pages 79–106, 234–240, 243–267, and 288–329 of Dr. Narang’s book, according to Bhinder, are exact translations of pages 27–42, 149–158, 86–103, and 49–70, of Raman Selden’s book, A Reader’s Guide to Contemporary Literary Theory (1985). The other exploited scholars that Bhinder similarly identifies are Terence Hawke, Catherine Belsey, John Sturrock, Jonathan Culler, Christopher Norris, and Robert Scholes. (I must add that Bhinder’s critique has some other dimensions too that are important and relevant for all academics in a general manner. See: http://pakaffairs.com/about-2/.)
The evidence Bhinder presents is quite irrefutable. When, for example, I checked the pages he points out in Selden’s book, they indeed turned out to be the unacknowledged source of Dr. Narang’s remarks. I also stumbled upon something equally interesting. Dr. Narang has a note on Michel Foucault (pp. 193–8) in the second chapter in his “Book Two,” i.e. the second section of his book. The text on pages 194–6, as pointed out by Bhinder, is merely a translation of pages 158–9 in Selden’s book. I checked the “sources” that Dr. Narang’s has helpfully listed for each chapter, and found that he does list Raman’s book as a source for that particular chapter. And gives exact page numbers too: 79–84 and 98–102. The first reference, however, turned out to be where Selden discusses Bertolt Brecht, Theodor Adorno, and Walter Benjamin The second was equally curious: in Selden’s book, page 98 deals with Frederic Jameson, but pages 99–102 contain only a bibliography. Again, the opening paragraph of Dr. Narang’s note on Jonathan Culler (pp.318–9) is, as per Bhinder, entirely Selden’s (p. 62). But in the sources, Selden’s name is listed with page numbers 106–27! In other words, while Dr. Narang twice went to the trouble of indicating precise—though unrelated—pages in Selden’s book, he somehow failed to include the pages he had actually abused.
Bhinder’s charges are extremely serious. They are also thoroughly documented. First made three years ago, his accusation has remained unchallenged—unlike in the past when the slightest criticism of Dr. Narang promptly produced a spate of articles in his defense and diatribes against the critic. This time he and his admirers are remarkably silent. And for good reason. They understand that any attempt would only bring more
notoriety. Sadly, they also know that the academic circles in India in general, and the university departments of Urdu in particular, take no notice of inconvenient details. With them it is always “business as usual.” After all, soon after Bhinder’s original article came out in 2006, Dr. Narang received the degree of ‘D.Litt. Honoris Causa’ from the Central University at Hyderabad. Then after two more articles, two similar honorary degrees
were conferred on him in the past six months, by the Maulana Azad National Urdu University and the Aligarh Muslim University.
Sahitya Akademi has an excellent policy of making its award-winning books available in other major languages of India, including English. Dr. Narang’s book received the award some fourteen years ago, but, to my knowledge, it has so far been translated only into Hindi (2000). May I ask the Akademi to do a major favour to Urdu letters? Marathi and Bengali scholars, in my experience, are usually far more knowledgeable about modern and pre-modern literary theories than an average Urdu academic. (I very much include myself among the latter.) The Akademi should have Dr, Narang’s award-winning book translated into both Bengali and Marathi so that it can properly be judged by his peers in India. Given the international protocols on copyright, however, an English translation might not be advisable at this time.
THE EMPEROR’S NEW CLOTHES
My previous note concerning the scandal swirling around Dr. Gopi Chand Narang’s award-winning Urdu book on Structuralism, Post-Structuralism and Eastern Poetics was based on the three Urdu articles by Imran Shahid Bhinder that appeared in various issues of the journal Jadeed Adab (published from Okriftel, Germany, and Delhi, and available on the web at http://www.jadeedadab.com/). Since then I have obtained a copy of the special issue of ‘Akkas International, #9 (2009), published from Islamabad (also available on the web: http://www.urdudost.com/library/index_mutafarriqat.php). Besides a fourth, well-documented essay by Bhinder, it includes some other interesting and revealing articles. (Incidentally, the correct name of Bhinder’s university is: Birmingham City University.)
In one such article (“The Story of Jadeed Adab No. 12”), Haidar Qureshi, the editor of Jadeed Adab, reveals how he was forced to exclude from that particular issue material that was critical of Dr. Narang. “The previous four issues (Nos. 8, 9, 10, and 11),” Qureshi writes, “were published by Mustafa Kamal Pasha Sahib of the Educational Publishing House, Delhi…. I liked Pasha Sahib as my publisher. And so I sent him the final files of the 12th issue. It was printed in October 2008. But before it could go to the binders, Dr. Gopi Chand Narang put pressure upon the publisher by threatening legal action. Pasha Sahib, rightly, did not wish to be dragged into any litigation… And so the binding was stopped. Dr. Narang wanted that Jadeed Adab should not publish anything against him.” And so only a censored version of the 12th issue came out in 2009. (Qureshi informs me that I was in error when I wrote the magazine was no longer published from Delhi. It still is, but under the contract it cannot include any article or letter that is critical of Dr. Narang.) After reproducing the censored letters, Qureshi concludes his essay by appealing to the Government of India to take notice of this act of blackmailing.Qureshi’s article also appeared in the Urdu quarterly Asbat, Mumbai, in its issue # 3, Dec. 2008–Feb. 2009. But it went unnoticed—like Bhinder’s three articles between July 2007 and October 2008—by the academics and authorities at the Aligarh Muslim University and Maulana Azad National Urdu University who conferred honorary degrees on Dr. Narang early this year.
The most interesting thing for me was to discover that, contrary to my earlier belief, Dr. Narang had in fact defended himself in print—in an interview given to Nand Kishore Vikram, the editor and publisher of Adab-i-‘Aliya International (“Classics International”), a magazine infrequently published from Delhi. The interview appeared in its issue for April–June 200; the relevant portion is reprinted in the special issue of
‘Akkas International, (p. 109). I immediately posted a translation in the ‘Comments’ to my first essay; here is a revised version:
Nand Kishore Vikram: People say that those who presented Structural Criticism (sakhtiyati tanqid) in Urdu did so either through translation (tarjuma) or by means of adaptation (akhz) and summarization (talkhis). What do you say about that?
Gopi Chand Narang: When I began my work on “Theory” I was aware—my training is in Structural Linguistics (sakhtiyati lisaniyat)—that the fundamental requirement in Philosophy (falsafa) was Scientific Objectivity (sa’insi ma’ruziyat). I had before me many examples where people started with some talk of Philosophy but very soon began to soar on wings of Imagination, eventually becoming victims of their own silly inventions (ijad-i-banda). Many of them toiled to make themselves more prominent than the original texts, while others succumbed to their own writing style and wrote what would be called light entertaining essays (insha’iya). [The problem I faced] was that the needed terminology did not exist in Urdu. Secondly, the style of writing of the New Philosophers was so complex, so brimful with meaning, and so dense that it was a major issue for me to transfer it [into Urdu] with scientific accuracy and objectivity. In order to maintain the “Preciseness” and “Rigour”—[both words are in English in the original]—of their texts it was necessary for me to use all available means in my expositions (afham-o-tafhim; lit. “comprehension and explanation”), all the while avoiding—as it is required in the discipline of Philosophy—any coloration from my own imagination (takhyil ki rang-amezi) as well as any subjective flight of thought of my own (mauzu’i khayal-bafi). The first two parts of my book—[entitled “Structuralism” and “Post-Structuralism”]—are of the analytical kind (tashrihi nau’iyat). The third part—[entitled “Eastern Poetics”] and the final section [of conclusions] are of a very different nature. In my expositions of the New Philosophers and their ideas and insights I have unhesitatingly used akhz (“adaptation”) and qubul (“extraction;” lit. “acceptance”). Where it became necessary I also used talkhis (“abridgment”) and tarjuma (“translation”). In order to retain the force of the argument I have also quoted at many places from the original texts so that the philosophical issue or the insight of the thinker might reach the Urdu reader with its full impact. To every section of the book I have attached a bibliography of all its sources. Further, in the bibliographies, I have marked with a star the books that I used much more extensively than others. Let me make it clear: the ideas are not mine, they are of Saussure, Levi-Strauss, Roman Jacobson, Lacan, Derrida, Barthes, Foucault, Kristeva, Shklovsky, Bakhtin, etcetera. That is why I have dedicated my book to all the philosophers and thinkers whose ideas it consists of. And I have clearly indicated in my Introduction: “The concepts and ideas (khayalat aur nazariyat) are of the Philosophers, the understanding, explanation, and language (afham-o-tafhim aur zuban) are mine.”
Dr. Narang is right about the lack of established terminology in Urdu literary criticism. We must, therefore, take him at his precise word when he claims that the first two chapters of his book were “analytical” (tashrihi), and that what he had done as a whole was to first comprehend (afham) and then explain (tafhim)—in his own language (zuban), Urdu—the ideas and concepts of the people whom he calls the “New Philosophers.” That, however, is exactly what Bhinder has solidly refuted. According to him, only the language (Urdu) is Dr. Narang’s; the analysis and exposition are by other people—Raman Selden, John Sturrock, Catherine Belsey, Terence Hawkes, and many more who find no mention in the interview. Nor are their names mentioned in the “Introduction” and the “Dedication.” They make only desultory appearances in the expository chapters, and seldom when whole lines of their English become Dr. Narang’s Urdu.
To give just one example from the many that Bhinder meticulously identifies, Christopher Norris, in his book Deconstruction: Theory and Practice (3rd edition, London, 2002), writes on Derrida at some length on pages 18 and 19. Bhinder has quoted fifteen lines from those pages (‘Akkas International, #9, p. 87), and identified them as the original of ten lines in Dr. Narang’s book (pp.217–8). One might say that turning fifteen lines into ten was a nice act of summarization (talkhis), but what is one to make of the fact that every Urdu sentence in those ten lines is the exact translation—not a summary—of some sentence in the fifteen lines of English—and the Urdu sentences occur in the original English order? When I looked up the Urdu pages cited by Bhinder, I found that Dr. Narang had actually mentioned Norris’s book two pages earlier, calling it “the best and most comprehensive” book on “Deconstruction.” It is also listed in the bibliography of his sources for the chapter. The book is starred—as explained by him above—but then so is also Ludwig Wittgenstein’s Philosophical Investigations, listed two names below Norris. No page numbers are listed in either case. Are we then to assume that Dr. Narang used Norris and Wittgenstein equally extensively in his “analysis” and “exposition” of Derrida’s ideas?
Rereading Bhinder’s first article in the special issue of ‘Akkas Intrnational and checking its accuracy, I stumbled upon something else. On pages 29 and 30 of the journal, Bhinder states that Dr. Narang had extensively translated passages from Catherine Belsey’s introductory textbook, Critical Practice. One of the examples he cites is this passage in Belsey’s book: Saussure’s argument depends on the different division of the chain of meaning in different languages. ‘If words stood for pre-existing concepts they would all have exact equivalents in meaning from one language to the next; but this is not true’ (Saussure, 1974: 116). The truth is that different languages divide or articulate the world in different [ways]. Saussure gives a number of examples. For instance, where French has the single word mouton, English differentiates between mutton, which we eat, and sheep, which roams the hills. (pp. 36–37.)
I compared it with the passage he mentions in the Urdu book (p. 68). The Urdu is a meticulous translation of the English—it even includes the page number in Saussure’s book, which, as Bhinder points out, creates the false impression that Dr. Narang was quoting directly from Saussure. As I compared Dr. Narang’s page 68 with Catherine Belsey’s page 39 (a different edition from what Bhinder used), I realized that Dr. Narang had twice done the same injustice earlier. In support of Saussure’s argument Belsey had quoted more examples as given by Jonathan Culler and Louis Hjelmslev in their separate books—properly acknowledged by Belsey. Dr. Narang has translated those examples, without mentioning Belsey, and then cited the page numbers given by her as if he were quoting directly from Culler and Hjelmslev.
But what really surprised me was on the opposite page (p. 69), where Dr. Narang, leaving the safety of translation, offers his own examples for Saussure’s contention. “If we wish to see,” Dr. Narang begins, “there is no lack of such examples even in Urdu where words are similar but meanings are different. Just take [the terms for] kinship. Baba is used in Urdu for ‘father,’ the same as Abba, while in Hindi it is used for ‘grandfather.’” He then goes on in that vein for the next 13 lines, citing how some words mean one thing in Urdu but quite another in Arabic, from which Urdu borrowed them. Apparently, Dr. Narang totally failed to comprehend (afham) Saussure’s radical notion that different languages divide the world differently—even after Belsey futher explained it by citing examples given by Culler and Hjelmslev. (A correct example for Urdu readers would have been how Urdu divides the world of “parents’ siblings” into chacha, phuphi, mamun, and
khala, while English divides the same world into “Uncle” and “Aunt.”)
Dr. Gopi Chand Narang is presently a “Member, Advisory Committee on Culture, Government of India,” which is symptomatic of the bigger, truly serious issue: the utterly cynical and self-serving attitude of a great many people who walk the corridors of power in New Delhi, wearing cloaks labeled “Culture” and “Education” and bartering favours among themselves. The big issue is not the individual, who did what he considered was necessary in order to prosper in Indian academia and win patronage from politicians. Let us also not forget that it was the literati of India who chose Dr. Narang to preside at the Sahitya Akademi over Mahashweta Devi, one of India’s most honest and courageous writers. The rot has settled deep and at many places, and unless more people begin to protest, challenge, and condemn publicly what they shake their heads over privately,
nothing much is going to change in Education and Culture.
My response in Urdu, ‘Manzur Hai Guzarish-e Ahval-e Vaqi’i‘, to the allegations made by Dr. Maula Bakhsh, plus the text of two relevant letters.
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