Pir-o-Murshid Inayat Khan now applies the musical understanding of harmony to the ways in which we talk with others. The previous post in the series is here.

There are nine different aspects of feeling, each of which has a certain mode of expression: mirth, expressed in a lively tone; grief, in a pathetic tone; fear, in a broken voice; mercy, in a tender voice; wonder in an exclamatory tone; courage in an emphatic tone; frivolity, in a light tone; attachment, in a deep tone; and indifference, in the voice of silence. 

An untrained person confuses these. He whispers the words which should be known and speaks out loudly those which should be hidden. A certain subject must be spoken of in a high pitch, while another requires a lower pitch. One should consider the place, the space, the number of persons present, the kind of people and their evolution, and speak in accordance with the understanding of others; as it is said, ‘Speak to people in their own language’. With a child one must have childish talk, with the young only suitable words should be spoken, with the old one should speak in accordance with their understanding. In the same way there should be a graduated expression of our though so that everybody may not be driven with the same whip. It is consideration for others which distinguishes man from the animals.

It must be understood that rhythm is the balance of speech and action. One must speak at the right time, otherwise silence is better than speech. A word of sympathy with the grief of another, and a smile at least when another laughs. One should watch the opportunity for moving a subject in society, and never abruptly change the subject of conversation, but skillfully blend two subjects with a harmonious link. Also one should wait patiently while another speaks, and keep a rein on one’s speech when the thought rushes out uncontrollably, in order to keep it in rhythm and under control during its outlet. One should emphasize the important words with a consideration of strong and weak accent. It is necessary to choose the right word and mode of expression, to regulate the speed and to know how to keep the rhythm. Some people begin to speak slowly and gradually increase the speed to such an extent that they are unable to speak coherently. The above applies to all actions in life.

The Sufi, like a student of music, trains both his voice and ear in the harmony of life. The training of the voice consists in being conscientious about each word spoken, about its tone, rhythm, meaning and the appropriateness for the occasion. For instance the words of consolation should be spoken in a slow rhythm, with a soft voice and sympathetic tone. When speaking words of command a lively rhythm is necessary, and a powerful and distinct voice. The Sufi avoids all unrhythmic actions; he keeps the rhythm of his speech under the control of patience, not speaking a word before the right time, not giving an answer until the question is finished. He considers a contradictory word a discord unless spoken in a debate, and even at such times he tries to resolve it into a consonant chord. A contradictory tendency in man finally develops into a passion, until he contradicts even his own idea if it be propounded by another.

In order to keep harmony the Sufi even modulates his speech from one key to another, in other words, he falls in with another person’s idea by looking at the subject from the speaker’s point of view instead of his own. He makes a base for every conversation with an appropriate introduction, thus preparing the ears of the listener for a perfect response. He watches his every movement and expression, as well as those of others, trying to form a consonant chord of harmony between himself and another.

To be continued…