Inayat Khan on Voice for World Voice Day 2018

For World Voice Day I want to share the profound wisdom of Sufi Inayat Khan, the founder of the Sufi Order in the West in 1914, and teacher of Universal Sufism. Historian Edward Foreman has declared that Khan’s essay on voice is one of the single most important writings on the voice – which is rather laudatory when you consider the sheer volume of material that Foreman has read and covered in his research on singing. You may not find a more fully-fleshed, contemplative view of the voice’s role in our human experience than Khan’s remarks below.

Khan’s text is a meditation to savor, consider, re-read, contemplate and enrichen one’s philosophy of voice. As he concludes so beautifully, “If there is any real trace of miracle, of phenomena, of wonder, it is the voice.”

The voice is not only indicative of man’s character, but it is the expression of his spirit. The voice is not only audible but also visible to those who can see it. The voice makes impressions on the ethereal sphere, impressions which can be called audible; at the same time, they are visible. Those scientists who have made experiments with sound and who have taken impressions of the sound on certain plates — which impressions appear like forms — will find one day that the impression of the voice is more living, more deep, and has a greater effect. Sound can be louder than the voice, but sound cannot be more living than the voice.

Knowing this the Hindus of ancient times said that singing is the first art, playing the second art, and dancing the third art which make music. The Hindus who have found that by these three different aspects of music one attains to spirituality much sooner than by any other way, have discovered that the shortest way to attain spiritual heights is by singing. Therefore the greatest prophets of the Hindus were singers: Narada and Tumbara. Narada inspired Valmiki who wrote the Ramayana and the Mahabharta, the great Hindu scriptures.

There are three principal kinds of voices: the jelal voice, the jemal voice, and the kemal voice. The jelal voice indicates power; the jemal voice indicates beauty; the kemal voice indicates wisdom.

If you take careful notice in everyday life, you will find that sometimes before a person has finished his sentence you have become annoyed. It is not because of what he has said, but it is his voice. And you will also notice — perhaps not every day in your life, but sometimes — that you once heard someone say something that has always remained with you: it gives always a beautiful feeling, it is always soothing, it is healing, it is uplifting, it is inspiring.

A doctor coming to see a patient may, by his voice, frighten the patient and make him more ill if his voice is not harmonious. And another doctor may, by his voice, treat the patient so that before the medicine is brought he is already feeling better. The doctor gives the medicine, but it is the voice with which he comes to the patient that counts.

In the history of the world have not men marched hundreds of miles with strength and vigor, not knowing what they were going to face, on hearing the voice of their commander: “Quick march!’? It seemed that all fear, all anxiety were taken away, and all vigor and courage were given to them, as they were going to march. And again have you not heard of commanders who said: “Fire!”, and the soldiers turned back and fired at them? That is the voice too.

The voice, therefore, is a wine. It may be the best wine, and it may be the worst liquor. It may make a person ill, or it may uplift him.

There are five different qualities of the voice, which are connected with the peculiar character of the person.

  1. The earth quality of the voice is hope giving, encouraging, tempting.
  2. The water quality is intoxicating, soothing, healing, uplifting.
  3. The fire quality is impressive, arousing, exciting, horrifying; at the same time it is awakening, because very often warning is given in the voice of the fire quality. The use of the words “tongues of flame” in the Old Testament is narrative of that voice and word which were warning of coming dangers. It was alarming for the people to awaken from their sleep, to awaken to a greater consciousness, to a higher consciousness.
  4. Then there is the air quality of the voice. It is uplifting, raising a person, taking him far, far away from the plane of the earth.
  5. And the ether quality of the voice is inspiring, healing, peace giving, harmonizing, convincing, appealing; at the same time, it is most intoxicating.

Every Jalal voice, Jamal voice, or Kamal voice has one or another of these five qualities predominant in it, and according to that, it creates an effect.

The most wonderful part in the study of voice is that from the voice you can find out a man’s particular evolution, his stage of evolution. You do not need to see the person, just his voice will tell you where he is, how far he has evolved. There is no doubt that the character of the person is apparent, is evident in his voice.

There is another most wonderful thing to be found in the science of the voice: that the fortunate person has a different voice from the one who is not so fortunate. If you gather five persons who have really proved to be most fortunate, and you hear their voices, you will find what great difference there is between their voice and the ordinary voice. When you compare the voice of great people – no matter what their line may be – with the voice of others, you will find that there is a difference.

But what is meant here is the speaking voice. When we come to singing it is quite different, because today the art of singing has become as artificial as can be. The whole idea is to train the voice and make it different from what it is naturally. The training of the voice does not develop what is natural in it, it mostly brings into it something which is not natural to it. Therefore when a person sings according to the method of the day he has a different voice. It is not his voice, it is not his character. He may have a great success, he may be audible to thousands of people, but at the same time he is not singing in his natural voice. You cannot see his stage of evolution in his voice. Therefore the real character of the person is to be seen in his speaking voice.

Then there is another thing to be understood: that is the softness and the loudness of the voice; that there are times when the voice is softer, and there are other times when the voice is louder. Naturally that shows the condition of the spirit at that particular time, because sometimes the spirit is tender, and with the tenderness of the spirit the voice becomes softened. Sometimes the spirit is harder, and with the hardness of the spirit the voice becomes hardened. In order to scold a person you do not need to put on a hard voice; the voice becomes hard naturally. In order to sympathize with a person, in order to express your gratitude, your love, your devotion, your affection to someone, you do not need to soften your voice; your voice is soft before you can feel it, before you can think about it. This shows that the voice is an expression of the spirit. If the spirit is soft, the voice is soft; if the spirit is hard, the voice is hard; if the spirit is powerful, then the voice has power; if the spirit has lost its vigor, then the voice loses its power.

Furthermore, I should like to tell you an amusing thing on this subject. Sometimes a person comes to you and begins to speak about something; and then he says: “Hm, hm”; next he says another word and then continues to say: “Hm, hm.” It may be that he has a cold, but it may be that he has not. Yet at that time he is doing this. Why? Because there is something that he is bringing forth from his mind, and it does not come quickly. The same condition that is going on in the spirit is manifesting in the voice. He wants to say something, but he cannot say it: the voice does not operate, because the mind is not operating. If in the mind there is some obstacle, some hindrance, then in the voice there is also something hindering.

Inspiration chooses its own voice, and when a speaker has to change his voice in accordance with the hall where he is going to speak, then inspiration is lost. Because the inspiration begins to feel: “It is not my voice”, it does not come. Then the speaker has to struggle twice: one struggle is that he must speak without inspiration, and the other struggle is that he must be audible to the number of people present. That cannot be done!

Nowadays people have adopted a new method of elocution. A person who has learned elocution can shout as loudly as ten people shouting at the same time, and everyone will think: “How wonderful!” But what impression has it made? None!

Nowadays radio technicians have made a kind of horn which they use at stations in the United States. A person takes that horn and on speaking into it his voice becomes twenty times louder. It is all right for trade and business purposes, but when you come to life itself, and when you come to conversation, to speaking to your friends, it is different.

It is a most psychological occasion when you speak to one person or to many persons, because something is taking place which has its echo in the cosmos. No word ever spoken is lost; it remains, and it vibrates according to the spirit put into it. If a person makes his voice artificial in order to convince people, in order to be more audible, and in order to impress people, it only means he is not true to his spirit. It cannot be. It is better for a person to be natural in his speech with individuals and with the multitude, rather than that he should become different.

Now coming to the subject of singing: there are certain things which must be retained in the voice. However much the voice may be developed, however great its volume, however far reaching it may be and should be made by practice, at the same time one must feel responsible for keeping one’s natural voice through every stage of development – that the natural voice is not hurt by it. It does not mean that one should not have a far reaching voice, it does not mean that one should not have a voice of a larger volume, that one should not have a voice that is vigorous and flexible. Everything that enriches the voice is necessary and must be developed by practice, but all the time keeping in view: “I must not sacrifice the natural quality of my voice.” For every person, every soul must know that there is no other voice like his. And if that particularity of its own voice which each soul has is lost, then nothing is left with it.

Besides this, every person is an instrument in this orchestra which is the whole universe, and his voice is the music that comes from each instrument. Each instrument is made distinct and particular and peculiar, so that no other voice can take the place of that particular voice. If then – with the instrument that God has made and the music that God has intended to be played in the world – one does not allow that music to be played and one develops a voice which is not one’s own, naturally that is a great cruelty to oneself and to others.

For those on the spiritual path, thinkers, students and meditative souls, it is of the greatest importance to know the condition of their spirit from time to time by consulting their voice. That is their barometer. From morning till evening one can see the weather – the weather created by oneself: whether it is warm or cold, or whether it is spring or winter. One’s voice is that barometer that shows to us what is coming, because what will come is the reaction, the result of what is created, and the voice is indicative of it.

Those who think still more deeply on this subject will be able to see how, step by step, they are progressing in the spiritual path, if only they consult their voice. Every step in the spiritual path brings about a little change. By a distinct study of the voice you will find that it is so. When you go back, you will find by the change: “I had gone so much further, and I have gone back again.” The voice will tell you.

There is another point which is most wonderful about the voice: that once you have worked with the voice and have cultivated it, deepened it, widened it, and it has become invigorated, and then you have left it, you may leave it for months and years, and the voice may take a different shape and a different appearance, but at the same time what you have once developed remains with you somewhere. It is just like a kind of deposit kept in a bank. You do not know of it, you have forgotten it perhaps, yet it is there. The day when you will touch it again, it will come back in the same way and it will take very little to complete it.

If the voice has developed a spiritual quality and one finds later that it has lost that spiritual quality, one must not be discouraged or disappointed. One has not lost it. One must correct oneself and want to go forward again, and be sorry for having gone backward, but never be discouraged, never be hopeless, because it is there; it only wants a little touch. It is just like a little candle which has gone out, but once you strike a match it is lighted again; it is a candle just the same. The voice is light itself. If the light has become dim, it has not gone out, it is there. It is the same with the voice. If it does not shine, it only means that it has not been cultivated. You must cultivate it again, and it will begin to shine again.

Question: Is it advisable to train one’s voice, if one has not much of it.

Answer: One might ask: Is it advisable to do physical exercises when one is very thin? If one is thin, it is even more necessary to do physical exercises. So if there is no voice, it is more necessary that one should develop it.

Question: Does the voice change through the different ages?

Answer: Yes. Every age, infancy, childhood, youth, and more advanced age changes the pitch of the voice. The advanced age is an expression of what a person has gained, and so the voice is also indicative of his attainment. No doubt, as with every step in the age of a person, so with every step forward in spiritual evolution, there is also a difference in the voice. Every experience in life is an initiation. Even in the worldly life it is a step forward, and that experience changes the voice.

Question: Do the words one has spoken in the past continue to affect one’s life?

Answer: Certainly, certainly.

Question: Which is more powerful: to say something mentally or to say it aloud?

Answer: If you say it mentally and do not speak, it is powerful. If you speak and do not say it mentally, it is powerless. If you say it mentally and speak it at the same time, it is most powerful.

Question: Would you say a few words about the modern art of declamation or recitation?

Answer: There is little to be said about it. Very often people think that, when they have to recite, they must have a different voice, they must become a different being. A person does not want to remain what he is, he wants to be different. There is nothing more beautiful, nothing more convincing and appealing and impressive than reciting in one’s own natural voice.

Question: Would you tell us how it was that Tansen kindled candles by singing?

Answer: It is told that Tansen, the great singer, performed wonders by singing. Tansen was a Yogi. He was a singer, but the Yogi of singing. He had mastered sound, and therefore the sound of his voice became living, and by his making the voice live everything that he wanted happened.

Very few in this world know to what extent phenomena can be produced by the power of the voice. If there is any real trace of miracle, of phenomena, of wonder, it is the voice.

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