Genius?

I’ve often been fascinated by the way economists work—how their theories are formed; how, in the complicated world that we live in, with nothing certain and true, they manage to still come out with theories that substantiate empirical data. Even more fascinating is how, when confronted by conflicting data, economists with completely contradicting theories can win Nobel prizes. At some level, I think it has a lot to do with assumptions they make: some realistic, some based on popular consensus, some iffy, some downright hilarious; but mostly contrived, to justify some ends and backed by, they all claim, “sound logic”. So, I thought, I’d try my luck at an analysis, pick up a question, a puzzle, a debate and see if I could make sense of it.
Most questions in my life stem from the world of cricket. Even the most existential ones: Who am I? (A dispassionate cricket-lover or an India fan?); what am I doing here? (And not someplace where there's a TV so I can watch my Test Match in peace?), Where do my roots lie? (Why do I support Hyderabad? Would I choose Hyderabad over even Bangalore?) But, I am beating about the bush. In essence, this is a piece on genius. Who qualifies as one? Most importantly, is Laxman one?
In order to justify that inexcusably long first paragraph, I begin by paying obeisance to my economic roots and making a few assumption/statements (none too far-fetched in my opinion): a genius is someone who is special; who, if in an academic field, thinks and acts and theorises at a level that the normal man can only dream of; who, if an artist/sportsman, is someone blessed with infinite amounts of “creative power or natural ability” (OD); who, therefore, is a pioneer of sorts; who is far ahead of his times—innovative, inventive and different.
Laxman’s a man who’s hard to catch or just isn’t flashy enough to be under constant media glare. Interviews come at a trickle. And in the precious few, he’s never verbose, not even close. But, he’s not as soft or as silent as the media portrays him to be: he does say what he wants to say, perhaps more politely than most of the younger lot. What interests and appeals to the cricket-lover in me is his take on any cricket-issue—his comments on the state of the game, the pitch, batting, slip-catching—they are mature, intelligent and incisive, indicative of a man who is a sound cricketing brain. Cricket-wise he is an extremely good strategist—Azharuddin, one of India’s best captains ever, still believes he should be made captain and it really is a pity that we haven’t seen enough of Laxman the Captain. But, based on what little we have seen and know, it would far-fetched to term Laxman a genius, purely on academic terms—as someone who has the ‘vision’, who sees the game from a level above the modern-day thinking cricketer.
“Creative power or natural ability”: both interesting terms. Laxman has wrists of God—his flicks and clips of, not merely his pads but deliveries a good two stumps away from his off-stump are special and unparalleled (no, even Azhar couldn’t produce the shots he does). Blessed with tremendous amounts of natural ability, he’s managed to “create” his own range of strokes: different, silky and very, very special. Every batsman has his own style and in a way, it may be argued that every batsman “creates” his own style based on what comes naturally to him. But, what makes VVS stand apart is how different his predominantly wristy style is: the scale of the deviation from the batting manual is immense, far too much to be in the “permissible” range; and yet, unorthodox as it is, it is still extremely effective. It is a manner that is new comprising of shots that are outrageously distinctive—testimony to his creative powers that can only be derived from his phenomenal natural ability. He definitely will not be a pioneer, simply because his batting is impossible to replicate. And he is different, though not a man ahead of his times (in fact, some may argue that he is slightly behind given the difference in his test and one-day records).
If being innovative is bringing to the game something that it has never seen before, then Laxman, perhaps, just fits the bill. His stroke-play is unique, “ground-breaking” even( a cruel adjective for such a soft batsman). But, in a broader sense, innovation might also imply a continuous tendency to adapt, to learn, to change. And though, even after so many years of watching him bat, some strokes still leave me awe-struck, I can safely say that it is pretty rare that they’ll shock me. The fact that he continues to retain his place in a line-up so star-studded shows that he’s made adjustments—some technical, some mental—to the way he approaches his batting; the fact that he will always remain, in many eyes, someone of unfulfilled potential probably indicates that he hasn’t done enough (or couldn’t do enough) to continuously adapt to bowlers who began to see more of him. He’s still managed to stay a couple of steps ahead, but it probably isn’t quite enough to catapult him into Genius Inc.
Purely on natural ability, Laxman would make the cut. But, otherwise, taking all other grounds of qualifying into account, he’d probably classify as a “limited genius”: who probably requires a whole set of pre-requisites to actually come into his own. Most important, amongst those, is an opposition who is unashamedly attacking, a fielding captain who is not too familiar with his game and Laxman in a mood to be instinctive, to bat with abandon. There are few occasions where this happens: the most recent being that brilliant 109 at Australia, but otherwise, by and large, bowlers have learnt not to feed his strengths. Laxman’s response has been to mellow down, to solidify his defence, to let his instincts be guarded—in a strange way, in a quest to maintain his place in the side, he has limited his genius: it has proved productive, his innings are still punctuated by those magic flicks, but whole innings of magic are few and far in between. He’s realised that the costs of continuing to try and live by the sword greatly outweigh the benefits of curbing his natural instincts. You won’t see those beautiful but frustrating twenty-eights anymore— it’s the gritty seventy-two that’s become his trademark, valuable contributions, running around with the tail.
There’s a lot to VVS’ batting that’s brilliant: his timing, his much-praised hand-eye co-ordination and when in full flow, his invincibility against even the greatest of spin-bowling. It’s not just his wrists that have got him to where he is. But, those very wrists have made him special--that have separated him from other greater mortals; that have flummoxed, with their snapping bite or their yummy roll, the best of bowlers; that have taken him to the brink of genius. He’s there. Almost. And that’s how it should be.

Twilight 2

NightThe City has acquired a gossipy feel to it. I can see whispers and rumours everywhere—on the outer walls of the city, atop sentry towers where my colleagues and I stand guard; in houses, both unpretentious and lavish; on roads a buzzing noise persists even though some time has elapsed since the Sun has set; in temples, where even the clangs of the bells or the chants of the priests aren’t able to sway one’s minds or mouths for too long; in theatres, where the poor actors are at their wits end as the crowds seem restless and distracted; even the forests seem twitchy, with more owls hooting and insects screeching.

Gradually, the last lanterns in the houses are put out—darkness engulfs homes but not the City. The street lamps are ablaze—they tend to burn out only just about the time when the moon is three-fourths done with his journey. A couple of rooms in the western wing of the palace—the section frequented most by me as a love-stricken lad in my teens—have lights burning. The Queen is preparing for her journey. I know it is madness, but my legs want to sprint at full-throttle towards the palace, to get one final glimpse of my Queen.

We play the Aim-Game again. I lose horribly—my first two shots don’t even hit the boulder.

I hear the familiar call of the conch and make my way down to the all-night open-air canteen on the city-side of my tower. The soup-maker is a nice man: one of those rotund, jovial sorts. More importantly, he is brilliant at his job. Nearly every sentinel or gate-keeper is here. With soups to refresh sleepy heads and sagging minds, the topic of discussion invariably veers towards the expulsion of the Queen. I enter in the middle of a discussion:
“... And the King has decided to ask the washer-man to stay for longer in his palace away from the angry eyes of protesters who think he has deprived them of their Queen”
“Is he hurt? Did the mob get to him?” I ask.
“Where were you? I heard it was all happening in your lane?” asks Narendra.
“He must have slept through it” someone else says and everyone laughs. My sleeping abilities are legendary in this circle, most of us having gone to the same school of archery. I never sleep on duty though. I wait for the laughter to die down and ask again—
‘Well, what did happen to him?”
“Nothing happened to him. He is capable of taking care of himself. The two mobs clashed and he got away. Not many were injured seriously though”
“Why did he say such an atrocious thing?” asks a soldier who I only know by face and continues, “And look at his audacity: he approached the King directly!”
“The King is easily accessible” chips in Jayendra, famed for his kindness, and continues, “Even you can approach him directly. As for your first question, as you can well see, opinion is divided. I personally feel that it was right of him to suggest to the king that she might be impure. The demon was the epitome of evil. He could have done anything with her”
“The Demon loved her with all his heart” says Siddhartha, as calm as Varuna when appeased. “He would never have harmed her. I hear, from no less that the Monkey-God who visited the demon’s gardens where she was held captive, that she was never even laid a finger upon by the Demon”
“Rubbish! What about during the war when he was losing? Wasn’t he getting increasingly frustrated with the goings-on? Couldn’t he have just taken out his frustration on her?”
“No he couldn’t! He loved her and even his wildest of urges could never have been able to break the shackles of his tormented Love. He wanted to win her, you see. He never wanted to steal her. Most, importantly, he wanted Her to accept Him as her husband, as her Lord. He needn’t have died—he could have just run away from the battlefield with her in tow. But, he fought, naively hoping that if he did beat our King, she might just accept him as her beloved. It was foolish, but that’s how love is. If our King loved her half as much, he wouldn’t really be sending her away. Why should he care if half the city sees her as a fallen woman?”
“How dare you say such stupid things about our King?”
“Now, my friends, don’t have a fight here” says Anantha, looking skyward, “I think its time we got back to our posts”
“I have one last question” I say, picking up my courage, “What if the Queen is impure? Why can’t the King take her back? What is wrong with a man being married to a woman whose chastity is disputed, but whose love is true?”
For a moment they are taken aback, I can see it in their faces. I see a flicker of hope, maybe I am right, and maybe what I think is actually a valid argument. And then they look at one another and begin to laugh—unfortunately, I was a bit too hasty with my assessment—and in a few moments, they are all roaring with mirth, some holding their stomachs, some even having tears in their eyes; even Siddhartha has a smile on face.Day
Mid-way through lunch, I ask my wife:
“What is your take on the Queen-issue?”
“I think its unfortunate, especially for the King and the Queen”
Uncomprehending, I ask, expecting a slew of belittling comments—
“Why is it unfortunate for the King?”
She smiles a smile I haven’t seen for long and says softly,
“If you had crossed mountains and forests and oceans and then fought a bloody battle with a Demon King all for one person, only to realise that she is not going to be with you for more than a short period, how would you feel?”
It hits me like a fire-arrow from the heavens—I have never really seen it from the King’s point of view. He must be distraught, as though a part of him that just sprang back to life is again being stolen away, but—
“But, isn’t it all his own doing? Why did he have to send her away? Doesn’t he know she is pure? He must, she is!”
“He knows. I am certain. But, how could he keep her? Especially since there is growing discontent against Him for accepting Her”
“What does he care about what some of us may think? And he’s led such a blemish-free life that it is impossible for his name to be tarnished by something as trivial as this”
“Impractical and completely out of touch with ground realities—that’s what you are. A peaceful and content Kingdom is not a reflection of the King’s state of mind, but the people’s. If the people are unhappy, or angry, then how can any progress ever be made?”
“But, doesn’t this decision leave many of us unhappy too?”
“No! You are too small a minority. And many of you will find it impossible to hate a man who has sacrificed his most prized possession with no great hesitation. It takes a brave man to do that”
She must be speaking sense for this is exactly what many in the city and the washer-man are saying. But, I am unconvinced and I think it is more my fault than anybody else’s: I am blinded by a skewed viewpoint stemming from my liking for the Queen; I have developed an impenetrable wall around my own reasoning, nothing anyone says will make any difference. I ask,
“Do you believe she is pure and chaste?
“Yes”
“And you still think the King is right?”
“Yes”
“Then who is to blame?”
“ Fate”

I shake my head in disagreement. The brave man is the one who is able to rise above circumstances. And the King could have easily been the brave man.Night
The Moon is in protest. It rose late, almost reluctantly, and now refuses to emerge from behind the clouds. I take heart from the fact that someone shares my sentiments. I have declined to play our Aim-game today and now haven’t even gone down to the soup-maker. The City is asleep, but will awake in some time. The street-lamps are long extinguished; the sky is transforming—it is a very dark blue now, but it won’t be long before it attains its confused yet exquisitely beautiful state: the sky at dawn sometimes makes me wonder whether God is a child, for only a child can produce such a disorderly mishmash of colours whose beauty and purity even the most talented of painters find impossible to capture.

“Open the gates” says a voice whose calmness seems like it is the result of several emotions, like the colours of the rainbow converging to give a pure white.
I look down. Forty feet below and clad in white is purity personified—our Queen, my Queen.
Most of the sentinels are away at the soup-maker and those who remain are just too sleepy to notice who it actually is, having stayed up for hours at a stretch now. They go about their job mechanically, opening the gates without much of a fuss. I strain my neck to catch a glimpse of the most beautiful face on the Earth.
And the moon surprisingly surfaces in silent obeisance.

And the Queen walks out, neither hurriedly nor patiently, not even without the slightest of jerks, not stooping, not looking back even once; her expressive face is stiff, perhaps the only untoward sign in an otherwise perfect performance. But when she walked, she walked like a Queen—with divine grace and dignity until she is swallowed by the shadows of the trees and her footsteps are lost in the mellifluous songs of the birds of twilight. And it is neither night nor day.