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Majallah Tahqiq

Research Journal of the

Faculty of Oriental Learning

ùVol: 40, Sr.No.116, 2019 pp 115 - 132

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/eZË¢Ÿi{yAbstract:

In the given Article an effort was made to judge Schimmel's study

about Meer Dard r.a and Shah Abdul Lateef Bhataiy r.a. For this

we meticulously examine one of Schimmel's best book 'Pain and

Grace- A STUDY OF TWO MYSTICAL WRITERS OF

EIGHTEENTH-CENTURY MUSLIM INDIA' about said

renowned mystic personalities who not only casted a great shadow

on Urdu and Sindhi literature but they also attracted masses, at

large. In fact, these Spirituals, enthralled their era and left a rich

Sufi legacy to be followed. Schimmel did best, to give a vivid

picture of that time in which these personalities embarked their

Sufi traditions and enlightened their milieu. How were these

Giants? What best they produce? And what impact made their

writings? These all notions were marvelously echoed, in the

mentioned book. Although, there is a little talk about Shah Abdul

Lateef's life but his work was comparatively and eloquently

presented by Schimmel. It is one of the best work, did by an

Orientalist, who had had a natural likeness for Muslim Mysticism. KEY WORDS: Dr. Annemarie Schimmel, Meer Dard, ShahAbdul Lateef Bhataiy, Mysticism, Sufi Traditions, Muslim India,Sassi, Sindh folk stories, Sacchal Sarmast, Shah Abdul Kareem,Shah Jo Risaalo, Delhi, Moinuddin Chisti, Nizamuddin Aulia,Gasu Draz, D.J. Mattew, Fariduddin GunjShakar

Study of Two Mystical Writers of –A GRACE AND PAIN

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~§qÝc™_÷X DIMENTIONSMYSTICAL Â[ Zk!*"$ZK|]pZz÷ŠgŠò:ÜsZgŠzZŠ[~Ã:÷á²~ÉŸ&tÆZ,ß°

),gv÷�ZLZ°gzìÑ]Zzg™ŠZg~Zz™sÆ:LZVgƒ,œ~{~Å‡&ÿELŠg,ŒÛZgŠb‰XZû',kÅ/~Šgz7Z(g™äzZà�)1(qeZË±†Zv™r#èqwZzg™8ïEL‡wÆ´z{ZgŠzÆ¬!*‡°{ß°÷á²ŒÛZgŠï÷Æ“{»t¬Ýåāz‰ÜÆ

Zq-(,~XŠ]Y…¸XZgŠzÔÃgÏÄzZŠ[ÔZzgñu~Ì , qÁÌZyÆŠg6,q¢~u:¥ziÇg¸Zzg¦sÅ¹Ï‡&ÿELf™Â1VÆ!í³¸X~ZuZgZÅ}Òð W>ÔzZgŠZ]ÔD

ŠgŠÔWÓuŠÔ\.üI

LÀZzgŠg›Šw÷áï÷ZzgPÂÁ)Î¯ŠwÔzZu‹ŠgŠZzgw!ïGL ? Z2[Ô**!æ(ß.Æ:LZyÐ™[ƒNZzgq¹Ð›Šg>ZyÅÃCD÷X)2(

tÂ[LLŠgŠZzg]½ð ILN{óó˜VZVgƒ,œ~{~Æ](ÏZ@*gm JƒZzg¹Ðß5™Zx»¬gs7™Cìz÷ÃgÏi!*yÆ¬!*‡°{ß°¬gsÆŸ~LLÙ

¼Å!*"$SyÅtgZñOW,Áì: ? ZÅ+ABðE[óó»f™{mîgÐ™C÷XŸ

óó The most influential among them is Khwaja Muinuddin Chisti

(d.1236) from Eastern Iran, who settled in Ajmer in the heart of

Rajasthan that had just been conquered by the Delhi kings. His

strong personality, his preaching of love of the one God and love of

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the Prophet, reflected in love of mankind, won over considerable

numbers of Hindus to Islam. His disciples and later members of the

order wandered through the whole of India, from the Punjab

(Fariduddin Shakarganj of PakDpattan, d.1265)to the Deccan(Gisudaraz of Gulbarga, d.1422). One of the centers of the

Chishtiyya was Delhi, where Nizamuddin Auliya (d.1325)

spiritually guided the population during the reign of seven

rulers. LL (3)!*]ÃWÐ(,JDƒñ\)ÿ

IZk³J-B÷āt&~ŸÅ]»zØV»

YÆŒÛd$ÔZzggd$ÅzÃ]Æ—y»Zq-Zzgz*ÔèIZ°gÅF,−Æ 0071 qÝìāaˆlHŠHZzgtÃgÏ6,„0*Dƒñi!*ÈZgŠzÅßg]oƒZX)4(

ZgŠzi!*yÆ:©~XŠvZ�ÛZŠz†]»jZ!MìÔ\)ÿI

äZyÆ¬gs~�ÛZq»bCÙ{HªÄZv+ÔŠgŠ"ÆzZÉåLHx|]pZz**ÜÃ2"Ô÷ŒZzg÷á{zàZv&CåO_ŠŠ~Æ‚B%iZ1Y�**V»f™{mîgÐñ�ŠìÔ¾n\)ÿ

Iä(,~ÜZs#Æ

‚BZgŠzÅzq5+k,~Ã7HZzgZq-Z,ñçqÐf[ÃÙ‚™äÅÃÒÅT]4™.ð G˜Z²Zn„',@*ŠHXf[~|]pZz÷ŠgŠ"Å,ZzgZyÆZ°gÃ¹ÁY+ÅÃÒƒðÔZkZ±gÐtZq-Z(÷á0+Zg¬g°ZÖg

4-BøXGEä:Üs\)ÿ

IÅó[Ãz‡gõÉ÷ŠgŠ"

Åß5:Ù|#~{§pZ{ZŸ†ÌHXZyÆSk¶Å!*"$fsÅ„g]Zëì:óó Schimmel's study points out that the Sufis, by stressing unity andthe greatness of the Prophet Muhammad and his family in their

mystical poems, were more effective in spreading Islam in India

than the theologiansLlawyers. The themes of unity and love areexplored with great sensitivity to the nuances of Sufism, Islam,

India, and poetry. Pain and Grace is a valuable contribution study

of religion that focuses on a poignant moment in the turbulent

relation Islam and Hinduism in northern India. LL (5)pZz÷ŠgŠ"6,!*]™Dƒñ\)ÿ

Iä‚ZÑkyÃÒÅāËizZt�ðU:

gìX÷ŠgŠ"ÅaZöÔZyÅ½zF,šMÔzZ−pZz**ÜÃ2Å{mÂzZzgQ÷ŠgŠ"ÅZyÐzZA:zZÕÔaçO~ß°kË]zŠ!*]Ô¾nzZgŠZ]èÐ¢Ý]Å,Ðá™

(Åzz SNOWTHEUNDERNITINGHALES) ' ',¢5é EEg~~M ' ZLÄ~ù´

lJ-ÆjZáñ�Š÷XŠgŠ".~\)ÿI

ÅWgZY¼ŠñZV6,‡g~ÃOW,™Cì:óó He became the undisputed master of Mystical Urdu poetry, and is


probably the only poet who has achieved a complete blending of

Mysticism and verse. His poems are short, often composed in short

meters, too, and their imagery, though following traditional

loveDlyrics, reflects the loneliness of the great mystic. LL (6)ŠgŠ"ÅZÆ~{mîgÐÂ[»ñçqk�„zgÎZkg\)ÿ

IÅW~zóZôo»

Z0+Zi{HYYìZzg…z„›ëŠÚÔ7,"ÃX÷�ŠgŠ"Å!*"$RÂ1V~ñ�Š÷XãCŠ~îg6,Â[˜VrÆapŠWÇ„»Zq-zaìz÷tZ3ÿXLf[Ãyz*yZzg{mîgÐÑàyz*yZzg�|Å÷á0+Zgß°gzZe$Ð¾{q™CìXÂ[Æz{{{mîgÐŠAYäÆÑë÷˜VFiZ-VÐß5:gñiÅ¤/{¤ðÅˆìX¯»÷á²~»¾ˆl™äZzgÄ~gzZe$ÐWÙðÅ'g]CÙzgt6,OW,™Cì:

óó We find a great number of verses with this imagery in DardLsPersian and Urdu lyrics and he has commented upon this imagery

in a longDwinded paragraph…; the morning, bearing the shirt of

night is like the poetLs breast out of which the heart comessunDlike…; but the longer the more he sees in the whiteness of

dawn a reminder of the shroud. LL (7)¦s\)ÿ

I»Ih+{ñçqìT6,!*]™Dƒñz{

²£ÿL

ZÀ÷ZzgZk6,"‚yp&W™$Ë÷X÷ŠgŠ"Å!*"$Z#z{ZC¶7™C÷ÂZkÆ:©~›´Ã:gzZe$ÀŠU9~ÃWCìZzggzZe$Åtqg]ZkŠg6,“{ìā…"Z(gŠZŠŠ¶

ÃYeLìX\)ÿI

»ZÝ“c*gixÇ{¸Ã:WÇ„ì&ãCŠ¯™Zsx»:ÜsGZ‚k)1Cgz\…gZÉZÐeàÐ”gsÌ™Zc*:

óó The Mystics of Islam summarized during the Middle Ages in two

wellDknown sentences.óHe who knows God becomes silent(=óhistongue becomes shortL) and óHe who knows God becomestalkativeL(= óhis tongue becomes longL). In the last bewilderment ofunion, or in the amazement of him who recognizes himself as the

mirror of the radiant and ineffable Divine beauty, speech is no

longer possible, and the mystic remains óbreathless withadoration Lor ódrowned in the sweat of bewilderment like amirrorLwithout opening his mouth. LL (8)

ëƒ�Y…÷ā÷ŠgŠ"Æ;VÓÅ´#Ö{]ZEwƒðìZzgZk(t~Zkß5:�d$ÃŠ¬YìT»Zq-g8-èÃg{!*ÑZ½k~ñ�ŠìXŠgŠ"ÆZy¼ŠÄzV


ÆjZ!ŠbYMh÷X~ÓÅ´#ÖZyÅfZ]Ða ™Zq-].Zƒ»:Lk�ìXgZ]Z#à~ZkÆgz',z C�Vi!*ÈÓËåæ¬

c*ÓÆâ#ëZk),x~ C

8gê FILßWñÔŠZðF,−

\)ÿI

äŠgŠ"ÆZkizgWzgZ7gZCÒ#/õ EGÃ¾w'g]Ð¢HìXñÑ**gzxòÔ¸�"ÔZgŠzZzgÃgÏ´Ã:gzZe$ÔZyƒ�»ÒyZkŠgÜZs#aƒñìāZyÆr_¬6,g—W@*ì:

óó He is like the candle, not only as the radiant light of the assemblybut also in his constant melting from the fire of love, weeping with

his eyes widely open…, and the reed of his pen is changed under

the flow of inspiration, into a complaining reed flute Dareminiscence of the immortal introductory poem of Jalaluddin

RumiLs Mathnawi, theóSong of the Reed,Lwhich has furnishedinnumerable poets with symbols….But it is only those who have an

eye to see with whom such a candle can speakDit is silent for thosewith blind hearts. By shining for them, the candle Dard has become

an affliction and consuming pain for himself. But that means that

he needs no longer candles for his meetings :he brings the burntscars of his heart which will unfold into fireworks, as Ghalib would

say a century later. LL (9)ZgŠzi!*y~|]pZz÷ŠgŠ"6,¹¼–Y[ìXZyÅ,ZzgZyÆZ°gÅ

!*"$¹Ð6,g£Ñ]ŠÚÃX÷Zzg¼ŠiZ-VÐW\òÅ,ÃKZzgY+ÅÃÒƒðÔpZq-{Âyàt»ZyÅ!*"$¤/ZVŠg_·7™**ÔZgŠzÆ‡g~ÆaFªÂV»ñZ#ìZzgtYy™pÙƒðāZq-f!{Âyøg}¯»ß°ZŠ[»!*g¾H„ÐZVñƒñìX÷ŠgŠ"»_·Zq-åß°:©Æ‚B‡g~Ðk?™@*ìX_54è

EGE

~}·z]ƒ$ËìÔ**ñVÆÒy~}Ãð�Ûz¦/Z“�ƒ$Ëìpß°e»ZzgZy~ñ�Š„~Ÿ�VÅ!*"$¥â]Å�ÛZb6,Z¶úðe7XCÙu~z£„~ÍÅzŸs#Zzg,~ñ�ŠZOŠtU*"$™@*ìā!í2äZkñçq6,ZVäÐI›ß°


@*gõZzgZy~ñ�ŠÃ~Z%Ã]ÃCÙgcÐ™™!*]WÐ(,JðìXZÏa»tIŠg„�ì: D.J.MATHEW

óó The innumerable crossDreferences to the Arabic and Persianworks of those who preceded and influenced the two poets under

discussion, which are often outside the grasp of many scholars who

attempt such studies, but which are essential to a complete

understanding of their works, form the most valuable part of this

book. LL (10)\)ÿI

Æß°¦ZzgÑ$þJ

Lf™¶6,fsÅ„g]ŠZwì:óó Uninformed people think that only the immature Sufis talk toomuch and open their lips to show the DivineDmysteries, whereasthose ówith mature brainsLare silent. This is however, according toDard Ls opinion, not correct; for those who are spirituallyenlightened are always prone to explain their experiences with the

purpose of guiding people the right path….In short, each limb,

each hair of his is a witness of GodLs creative power and GodLsUnity'…the expression for indexDfinger is angushtDiDshahadat,containing the expression shahadat,óprofession of faithL;ótune oftauhidLcontains a pun on maqam, which means not onlyótuneLbut likewiseómystical station.LThus, not only his words, but his wholestate,óHalL, speaks of God and witnesses His Unity. LL (11)

ZkâqÆ¼ŠdkË]Â[Å„~H,M~çzy÷XW\Â[7,_−YNÐÔZzg%æFNZW,$¹é EL]ÔW\ÆìÑ]ÃZq-—R6,',Z',Wµ2.ç

YGEHJNÐ;FZ+6ZñgÌ

‚tWNÐ�¹Ág¶ƒñc*7,"ÃAÔ}÷ŠgŠ"ÆjZ!ÐË®)»çnZq-5„~›MaƒñìXë›y/wù¦ÑZ™x~VÃ©3ü

IEGLS�go{Ôt™D÷ZzgW\å]»zaâ…÷²÷ŠgŠ"ZkK~èÃg{›o{ ? ÅfZ‹ZŠk„ÃZLa�]z',Z

gppÆ!*z�ŠZLzZÉåLHxÃÌZLa�]»:LŒÛZgŠï÷X\)ÿI

ä¾w'g]ÐZkZ‹ÈŠgŠ"Ã¶KyiŠHì:

óó In DardLs case, the problem of intercession becomes slightlycomplicated because he usually adds the hope for his fatherLs helpto normal expressions about intercession :he takes refuge not onlyin the Prophet but also in theóPrince of the Muhammadans L' .and

hopes that God will not leave him with blackened face in the


presence of the lightful personality of his father, whose grace and

help is implored'As much as Dard trusts in GodLs absoluteforgiveness as much does he repeat his relation with his

fatherD. LL (12)\)ÿI

ÅŠgŠ".»Zq-ZzgdiZztZy»Ä~_·ZzgQZk»Zôm,~F,ÀìXZkK~ëÜsZgŠzÆ¢{ZÃg„»ZN[™,ÐāÃgÏZÃg6,×zïgZ¶Æ%YCZ…ŠÐ!*CÙ»çnìZzgZk6,£g~dZq»ZÖgÃgÏÆZ‚E+{z>„™Mh÷Zzg-VÌZgŠzzÃgÏZ[].Ze»Æîg6,ZKºmÙ|#gnp÷ZzgŠzâVÆZ@Zsz!©3{5é

GGEG]»

·z]ÌZ3ÿXLDÅÃ~ìXOçgZ¶ZL¶ÅuÈ~!*"$6,ZOŠìZzgZkaŠvdzZŠ!Zzg—ã‡VÐ"Y¬gnÐZA[ÃZÌŠêìXfs~9QyZÃg»ZN[

HŠHìq\)ÿI

äpŠZôm,~~F,ÀHZzg�ŠgŠ"ÆZëZzgúÒ{ZÃg¾YMh÷X‚Ã�c*Vā{�Ûâ:Š¬

',Z',ìŠ*ÃŠ¬:Š¬)31(\)ÿI

ZkÄ»F,À¼-V™C÷XIf we not see Thee in Thy manifestation,

It is alike whether we see the world or not. (14)

ÃZk ' c*V ' á9êEM^·~»ZˆkƒZÔZzgz{tāŠgŠ"äÂ gZ¶ÃZkÄÆ¬Š*Ô»Ñ]Æ!š-ö

EW~',@*ìZzgtÂZyÅ÷á²~~¼ŠñZV6,èÃgìXŠgŠ"ZkÐZq-

{mâq»�xŠï÷ZzgŒV\)ÿI

Zkºm„~iZztÃÇîgÐ‚tÑä~**»xÃÔ' Z´y ' �Zq-½7gYìÂìÆ!š-ö

EW óó Manifestation WC÷XZôm,~i!*y»ÂLL

ŒVŠgŠ"Å„Ã»ˆúc*V™ä~**»xgLìZzgz{ZkaÌāÄ»~ ' ¥ô ' c*' zŸs# '

¼ZzgìZzgZkZôm,~Â»æ¬¼Zzgì:óó An event, action, or object that clearly shows or embodiessomething abstract or theoretical. LL (15)

Ãúc*V™ä~çzyì@*ë´Åse$» ' ā{�Ûâð ' Zq-uJ-Å©ûEELèÃgZq-z÷zsìX

gZ¶¢èE

ELF,Àóg~ÃZq-Z•ðÂZzgë{zqY}ìXŠ*ÅCÙ(,~i!*yZL


ŠZð~Zq-½7gpÄZzgÕyÃœƒñìXQki!*yÃ1%zZ1zg¹Ï~Ô¹Ð´VZzg'Z5ðèV~ËƒMh÷XZyÆ�Z+zÃc*]Ô§¯1Šz!*lZzggzbJ-ZƒMh÷XZKãpZ[ÔpsZzgZyÆZò[ZzgZk**]tƒ�Zq-i!*y~¾YD÷ZzgZ¹ÇîgÐz„ßvY…÷�ZÐ',-÷ZzgZÐZzh−–**¯D÷ÔZka»ˆZq-i!*yÆ¢�Šzu~i!*y~v™**�ñèÑä_5ÀêG7ÔZzg‰Zz‡]Z(eÌ7ƒ@*;¸:LåāZ#yz*yc*Š*ÆŠv´VÃf!¤!VäZLi%æGL$hÒû

GOÑ**e;Âƒ�Ð¬—yÃZÌŠ~ˆāz„Zq-zaåTÆ:LÄºmÆ!*í~ZF,ZYYåÔZzgZkZ%~z{ßv»x[ƒñX

\)ÿI

Æ;VZ¤/™Kõ]ÅâÎ©àìÂZyÐZq-uJ-Ü½ÃHYYìZzgz{ZkaāZy»mZq-$++�d$zçÑ]ÐìpZ¤/Ä.~u}„Ðƒz

»ñ�ŠìÂQZk6,¤/Äƒ**Ì**¦/k,ìXZq-Zzgi!*yi›¬xÄŠ&ÀŸ/õ GG:

Šg›ŠwÆzZWaZHZKVÃzg:¤®)Æa¼Á:¸™zÒV)61(

\)ÿI

»Zôm,~F,À¼-VìXóó Man Thou createdst for the pain of loveDThou has Thy angels for obedience !LL (17)

PAIN ÅF,I»F,ÀL ' Šg›Šw ' F,À(,~uJ-oƒ�ìZ%¬´~ñ�Šó&CÿOÃìXZzgQèÃg{ŠzâVZÃg~fZ‹',hÆaZEwƒäzZáŠa LOVEOF

¯oZÖpZ•ðñizV¥xƒD÷Xczs',¤â~àt·âgâe-u&ÀŸ5ÿ FG

MUHAMMAD MARMADUKE PICKTHALL (1936-1875)

THOU, THY ÌZ#ŒÛWÈˆ»Zôm,~F,ÀHÂZ�Z˜fZ‹',hZzgW\åÆa äZ,ŠaZÖpZEwKX\)ÿ

IÌZ�ZxÆZy£â]Ðl!WÇ{‰Zzg-VÌ YE Zzg

¹Ðà:»»xZyÆ‚tåZ,~Zôo»çn¼Zzg(,|ŠHŒVJ-ā·§~ZØ!*]Ä~F,ZW~ŠgWñZzgŒVÌZy»Òy¯Ð{à7XZ%‡g~»ZyZÖpÆ

LLâèÆZZŠzZg~zZuZzg¦ŠzâVQV~ ye :oøÐWÇ{ƒ**¢zg~ì}ÂóóÙg;XZkK~fs»tZ½k‡&ÿELŠg¥â]�ÛZë™@*ì:


óó The history of the use of ye is complex. In the earliest period itwas used only as the plural subjective form. In the 13th century it

came to be used in the singular, equivalent to thou. In the 15th

century, when you had become the dominant subjective form, ye

came to be used as an objective singular and plural (equivalent to

thee and you). Various uses survive in modern dialects. LL (18)|‹ŠgŠ"»Zq-ZzgÄ5±�Ûâ�X

æg�c*Šk,åc*~c*"${:åëX¶y¸zZVÔÂ„™8ïEL{:å)91(

\)ÿI

»á9êEMZ½k¼-VìXWhether madrasa or monastery, whether KaLba or idolDtempleThey were all guest houses, but you are the owner of the house.(20)

ŒVáWZôm,~Ô].h+e$»¼g8-aƒñìZzg…fZ‹',hÆaZ[L»ZEwÃWg;ìÔZ[t™Ð you ŠÚÃ7XZzg‚ŠÏÐó Ye c*Thou ¯oZÖp

XYou ìÂQ} Thou !*ÑìāYV™Zq-„áWŸ‚ZkZ%~ºm:ƒeZzg}ZzgtÂ"$ÅtCÙ¦/7XŠzâV/VÆZßZ]zZDw~·z]ìXZkÄ~ŠzuZ·

They »F,Àó ' ëX¶y¸zZV '!š-ö

EWÆZ±gÐ¼].Z¥xƒ@*ìX´»ªz

LdCkƒ@*ìÍs~ƒ~Ãð(,ZÜÃ7W@*pF,À were all guest houses

”{Zôm,~ZÖpÔÄÆZk{ÐZ÷XZzgZk»™i+^Zq-uJ-á9êELÃY@*ì�ZÖpÆOƒ~ZKßZ$+h+6,¿cZìZzgÄÆF,ÀÐ−Ì™g;ìXZÏ§bëŠgŠ"ÆZq-Šz'×h+ZÃgŠNMh÷X»F,ÀZq-uJ-ñizV¥xƒ@*ìX

u@*Šxi!*y÷�VÓÍāë6,t¹VWw�¼W™,)12(

We are all tongues from head to feet, like candles,

But where would it be possible to talk? (22)

'' ÓÍ '' Ä»F,ÀŠ¥xƒg;ìXZzgŠgŠ"ÆÄ»ª^·ZzgZkÅZq-F,IÅƒF,À~®ŠìXr3šï EGLZŒx»Z¤/f™:ÌHYñÂÁZiÁZq-ÐiZZ+ÜZs#»ûÔ¾qwñ�ŠåXZq-ZzgÄÑëèÂzìX


zZñ**ŠZãāz¢ïGGL%vU*"$ƒZpZ[å�¼āŠ¬�‹ZY:å)32(

Woe, ignorant man, at the time of death this truth will be proved

Adream was, whatever we saw, whatever we heard, was a tale.(24)

»ZgŠz$+w ignorant man ZkÄ~™Kõ]zZãîg6,‡gì÷XZzwtāÄ~u}Ð„ñ�Š7ZzgQâèZzgwÃZ\™Šc*ŠHì�Ä»°ŠCÙ¦/7X¬^´»mqwz¢ïGGLñ�ŠÐì&\)ÿ

IwÐ�hg„÷;pZkÆ!*z�Š…Zk

Z%»Z‹Zsìā\)ÿI

ÅŠgŠ".ÜsZÃgÆF,À„J-özŠ7Zzg-VÌF,Àóg~Ë÷á²ÔZŠd$Æ®ÃY+Å&?çEOŠ−7X\)ÿ

IÅŠgŠ".CÙ§bÆ—zµÐ!*ÑìZzgëZk

K~Z$¹é EL]Ð”gnƒ`÷;Z%�Zôm,~\)ÿI

äZkÂ[~',Cc*�Z|[',@*ŠHZk6,**Š+b ),÷:

óó Although the material will be of great interest to all who read thebook, the most obvious defect is the style in which it is written.

Many of the sentences are so laboriously and clumsily constructed

that they have to be read several times before their meaning

becomes clear, and in some cases the grammar and syntax of the

English is vitiated to the extent of giving the text a comical

appearance. Afew random examples will suffice. LL (25)\)ÿI

ÅZôm,~°ÐZyÅÃgÏƒJ-¹ÐZ‹Zn‚tWñZzg÷áh+ZkÅZq-(,~zzZy»ZZ‡qi!*âV~r7,−ZzgQZy~¼Šñç¬]6,_°]7™**å�$¨45é GGGESZ3ÿXLDÃ‰Zñg~ic*Š{OW,:™nXZzgZk6,eZŠtā\)ÿ

IäpŠÃËZq-ñçqÐ

0:g3X!*]Z¤/¦sZzgZ�]J-ñsgSÂRöòWCpZyÅZZ…Š~ózW~»z/ZzgZŠ!˜V¤/Š~äZyÃ7Òû ELƒ~Z{c*ZzgZy6,¤/ÄÌƒðXeZËd

~ '' Z+÷~\)ÿI

¨¸�"ÙkXPczŸ] '' ~>Zy ' It# ' �ÛZ¹äZLÑg}DSPARKSOFDANCEA \)ÿ

IÅÃgÏŠZãÅp[¸àXZy»t*y\)ÿ

IÅÂ[Ð0ìXŒVëÜs\)ÿ

IHgŠzi!*y s Poetry LImagery of Fire in Ghalib

zZŠ[Ða }$|BúGE

Ã&4øFGILÃgOÐzg:ñçqÆÌZzgZkÐ!*CÙòYäÆZk**]

zZã÷XZkÂ[Æ‰Šv™Kõ]Å¶K0+„e~XZ!-Ÿ3ðG

Gä¼-VÅì:


óó One may wonder, for instance, why the Hasan Dihlavi ' sweeterand more tender ' than Amir Khusraw, or in what way the Persian

poems of Gesu Daraz are thought to have been 'exuberant '.

Moreover, the popular theory presented without question in the

argument that the latter was 'the author of one of the first works in

Dakhni Urdu'has long since been disproved. LL (26)(,]Ã” 632 Zq-ÎZ»zy)151(ÐŠzÎ¤) '' ]½ð ILN{ '' ZkÂ[»ŠzuZz

ìXSkÆ&f~!*[÷X~÷á{†Zƒ•ðòÆß5:Z°gÃƒÃz¯c*ìZzg!*ƒXgx�Šg|!*ƒÞ4-)4è

XGGW»qÝ7HŠHìXÂ[ÆZkzÃZ¤/Z)iŠ¬YñÂ!*ƒQ�Zk{»ª!*[ì÷á{†Zƒ•ðòÅi0+ÏZzgx]Ð045Ò5½èXGGEZk!*[~@zbÅi0+Ï!*"$¹Á¥â]ÅàðI÷Zzg!*[»¸z

ª!*[ZzgZy~ ' aç N' Ã%œ/è×¯@*ìXZkà{WÃtß5:xÆZ ' ÷á{�g‚ß ' •ðòÆñ�Šß5:gñiÅ4Z0+Zi6,¤/{¤ðQìXZzgQZy»»©Y,{ÌŠh+ãìā\)ÿ

Iä

ZŠc*yÔ—yZzgu¹EVÆ:oø~¹ÏçVÃ‚ƒñ¤/Z×g¥â]�ÛZëX~ÔIŠ~ ' ÷á{�g‚ß ' Zzg“ƒñ›¦sÃÔSîzu]Zß�Š~Z°gÃ•ðòÆk^§õ IE

w~»g�ÛâŠ¬XtÓxIt#Zk!*[~7,"ÃX÷@*ë•ðòÅi0+ÏÅ!*"$W„gSì@*ë}}Z,Z½‚]ÃÐ¦/gD÷:

óó Shah Abdul LatifLs greatDgrandfather Shah Abdul Karim of Blurri(1536D1623)is the most important figure in the next century;in hisPersian malfuzat 93 verses in Sindhi are preserved, which contain

all the ingredients of later mystical poetry. He seems to be the first

one to use allusions to Sindhi folk tales in his verses. LL (27)6,' ÷á{�g‚ß ' czs ðàtZgêR,"Ö2Vä•ðZzgZyÆ¯x

{mîgÐ»xHZzg0681Y~¼Š_°]7KZyÅ!*"$\)ÿI

ÅgZñZ•ðµìāÅ ' ÷á{�g‚ß ' (Ð Leipzig ZyÆ:L•ðò»»xÎZÑZòR6,”gsƒZZzg *)

Z¤/pR,"ÖZKèI”]I~Æ:L•ðÆß5:x )82( Y~eƒð 6681 Z÷á®)Æ**ŠpZ¹ÌtZ‹Zs™**7,Z:

óó Reader will find many verses which amply repay him for thedifficult labor of going through the whole text. LL (29)


TÆZgêR,"Ö%A$Zzgá9êEL÷Zzg�|Z])yz*y(ÆZq- ' aç NÎgZ¶ '

lkNh~e)kHg&¤/~ôÌ¹Y@*ì(Ð0ì6,!*]™DƒñR,"Ö›ZzgÅ!*"$ÌZq-c ' ÔfZ] ' yz�d$Å!*"$¹ÏŠ!*'Ì™YD÷XZzgŒV

ñ�Šì-VŠBÂR,"ÖZkK~ZDw"Æ7gz÷āZgŠzZŠ[~«!*gÔfZ]ÐZm]fZ]Å!*"$WÔ‘:R6,eZË™r#„äÅXZyIt#Æ]āZ]Zzg:©Å!*"$R,"ÖÅWZÌÅqïì:

óó It is barely necessary to say a word about this black aspect ofIndian life, which can find certain consolation only in individual

extinction. Those local tales are for us important in so far as we

learn from them something about Indian thinking and life style at a

time when there are barely any historical reports available. The

outlines which this tale offers us are indeed melancholy enough

and show us Hinduism in its complete decomposition and deepest

moral decline;it is a picture of crime and absolute obtusity, nothing

else. We can very well recognize from the Muslim elaboration of

an originally Hindu tale how much even the strong monotheistic

deism of Islam has become modified and corrupted in Sindh, as in

other parts of India, by its contact with Hinduism. LL (30)Zkz~9Æ‡è‡Šy)á°1551Y(»{mîgÐf™Mì��Si!*y

Æ¬(,}÷á²tKYD÷Zzg�¦·�zg~)á°5051Y(Æ!3š¨å GGL{m¸ZzgZkK~ŠN¥â]�ÛZëÅ÷āù‡è‡ŠyÆZ°gZ1ZZzgëÆzaÐZºÃOW,™DgìX¦·�zg~@*gõ~Zœ¬ñuûPÆjZ!Ðà]gnp÷2Vä

)13( |(~~»îZs™DƒñpŠÃuûPñúŠŒÛZgŠc*X 109 Y) 6941÷á{†ZÆ*ò�•ðòÆZ].ZŠÆZë),gv÷ä«!*g�Sßu¹EVÃZK

÷á²~»z¯c*Zzg\)ÿI

ä¾w'g]Ð•ðÆ¯x~Zy»Å`ÎDƒñZq-pzg]Vw¼-V7Å:

Like a jar poised on woman waterDcarrier,And a bird on the water,

Our beloved in the same way

Has been close to our Soul.(32)


ñçqÐ?Ø™Ì\)ÿI

ä‰ñZV6,¹Ð¤/Z×g@*g]›ë7,"zZßVJ-Åàñ}tC**ā51Yœ~ÆW¸i~yz',aæ¹Xw~ñÑ**gzxòÅš~

ŒÛWyŠgi!*È ' !*‡°ÏÐ7,kåZzgZkÅÑ²:ÜsÃgÏi!*y~Š_545é GGE[‰ÉZk²-,çGEO+

$g÷

ENEsƒ4èGELŠ‹ÆÇ~»gƒñZzgZkÆ‚B‚B£òi!*âV~Ìb z~ ' U~

ZzgåF,ZW7K‰X(HAUNT \)ÿ

IÆ_°]~ŠziV¢zgZ+Q÷�CÙQ™\)ÿ

IÃ;.$)

™C÷Zy~ñÑ**gzxò�\)ÿI

»GÌ÷ZzgquÿLGÌZzgŠzu}@0µgò'`�\)ÿI

ÃFiZz-VÐOW,™D÷XtiV\)ÿI

Å„ÃïŠî÷Zzg6˜È!š-öEWÐWÙÌ

gBb÷XZyÐ\)ÿI

H°g~×`ÌìÔZzgCÙ!*g\)ÿI

Zy»f™™ÆZq-Í:úqÝ™C÷X\)ÿ

Iä•ðÃèÃg{†]Ð�hä~ÌZK„~ù]»ZÖgHXªñÑ**gzxòZzg

•ðÆ;VÃyÏ�RZzgÃ:Šg,œu÷Zzgz{ÃyÐiZzt;ñÃ÷�Zy−VÆâÎÑZ•�»Šgzgnp÷?Zk!*"$ZyÅÅ`Ñ$þ

JL*öì:

óó The most touching, for most unexpected, quotation is that inSassuiLs story….where one of the deepest lines from the Mathnawi

is translated in simple Sindhi:Not only the thirsty seeks the water,

The water well seeks the thirsty.

'One may ask to what extent Shah Abdul LatifLs musical imagerywas influenced by Rumi. The expression that all veins have

become rabab…on which pain and grief play their tunes, is not rare

in traditional Sufi poetry. LL (33)ZÏ§bµg'òÌ•ðòÆZ°g6,qz~gT÷ZzgZk»:Lt45Âî XG–w

\)ÿI

Ô@0µgò�|ŠOC6,905Y~ñ�Š¸XŒVÅ£òW!*Š~ZyÐ¾ŠgOW,ƒðZk»ZÖg�|ŠOCÆß°ÄZYÆ¯x~l!ƒZ@*ëµg'òZkêÅ�d$zçÑ]Zzg�Z+zÃc*]Ð¾Šg#pƒ×zgHZW,Z]aZk»Å`ÎDƒñ**Š+»

)ÃY©8ì²\)ÿI

Æ;Vzu]Zß�ŠÆZzB› PANTHEISM Ò6yzbCÙ6,4)ß°ŠZ›gZzg÷ágb�[Z−+Z#èEEL²!)á°:61âÞ0421Y(÷2VäZsxZzg"3™-.ç FGEEL


}.Z~VÅ§]»_·)1Cg8-~HXµg'ò»èIZ‹yÌzu]Zß�Š~ZW,Z]IZkZ%Ã÷á@ìāz{zZÝ!*/ƒ

"5½3™)ÕäEGGS‡b¸XZ¤/p�ZŠÅ ' Z**Z/ ' aƒñìZzgZy»

‰Çgß°†]Æ;VtZ%**Ih+{IZZzgµg»Z**/I**ÍZgY**ŠHX¸�"4ið GIcg&ëEYL÷á²~Ì¼Zkâq»*yMìX

¢{ZCÌ|~ìŠgc*p

ëÃ$¨Ò5åGG

GL"5ëGNEø°µg7|]745å EEGL�ZŠ~XÐµgÃÑ½’åÃµgÆZkw6,gôåZzgZÏa

Z#SyÐµgÆOÅ!*"$gZñàˆÂZ,VäªCÙUµgÆOÃoƒ�Y**;pyz*y~Zzg{mîgÐui$4èGEL�|Æg�zZßVÆ;VµgÐZq-Í:ZÛåg„XZkapZ{2uòƒVc*Q•ðòZy−VÆaµgZq-(,}ZzgVàgzZe$

(÷Zzgßð$4h4ð GGVÂZkÐÌWÐ‰÷ÔZzgz{Z¹ZsxÆ ICONOCLAST Œ)ƒ�Ð(,}gzZe$ŒŒÛZgŠï÷X¾nzu]Zß�Š~Z°g]4k5å GE|ŠOCœ-VÐa ~ƒðìÔ=Â•ð¾wzZgqÐtë÷:

Water earth streamDone cry;Tree bush:one call.óIam the Truth !LThe whole country is filled with MansursDHow many of them whilst Thou have executed (`Sohni ix 1D2). (34)

(Ð%ZŠ�|ŠOCìZzg¸z{ZÃg÷�(Ïîg6, COUNTRY ŒVo)' ?ÄyâgzÐXXXX ' LfzZ3gZyÆaÙ÷ª

\)ÿI

ä•ðòZzgµgòÆâÎœuZŠZgúc*V™äÅ[ÅìXZzgZkK~÷á{�g‚ßÆŠ¿Zzg"¾z6g²Zã™ŠZgzVÆjZ!ÐtŠ3c*āG»qÝpŠÐ',F,fZ]~ËƒY**ìZzgZKÔ„~zÝì&Z¤/p¡¾æ

ELZDw"ägŠHXªZy²Zã™ŠZgzV

Æ4,Šq-$4-<é EGXñGtìāZkgZ{~CÙ§bÅù"$Zq-âq»Z™ZxìZzgt2wÆ”wÅZq-ŠZE�ì:

óó In fact, the Hallajian image of iblis was taken up by Shah Latif.Even more pertinent to the general mystical symbolism of the

Risalo and its emphasis on sacrifice is ShibliLs dream aboutHallajLs death in which God proclaimed that He, or His beauty,


would be the blood money for those martyred on his path:Sassui isconsoled with these words…..The fate of the Martyr mystic of

Baghdad becomes a model for ShahLs heroines who pray, as he did,that God might take away theóILthat stands as a veil between thelover and the beloved. (35)

�|Ôº[Zzg†!yz*yÅÄ~ß5:�d$~%œ/~²Zã™ŠZg¬ÔÅßg]Ô¤/tiZg~™DgìÔZzg8ƒÇåZq-%ŠZ:g8-~ÃuÃWc*X%Š�8[ìŠg|h»Z(6,ÂìTÐzÝÔ¸"ìGGLGìZÏaÃzVÃZhZCÔ�xŠîÔ�|ŠOCÅpZ&Zzgº[~l Q»�Ô0*ã½Cš/~ZKäw~(t»·¶gBb÷ÔZzgi0+Ï»Ñ8[ÃåplgZzgZk»ŒÛ[qÝ™**ìXZkK~zàŠ0Ô‚÷á{òÔxV·

jòZzg•ðòÆ¼ŠZÃg7KYMh÷X\)ÿI

Æ4,Šq-›»t²Ããm%ŠZ:$©}ÿGEEOa

ƒñìÔªZk~%ŠZ:™ŠZgÔ�YZ±gÐÔ',F,R6,ÃWD÷ZzgZk:Ltìāäw~th¬\ÅúÒÏ™gì÷X÷á{�g‚ßÆ²Zã™ŠZgÌ¼ZÏâqÆ÷�ZL8[Æa”h+G,\Zzg»_./gnp÷ZzgZyÆ”w~pŠÃSŠbZyÆa™ì:

óó His male heroes are of noble origin :Punhun is a Bloch knight,while Sassui is only a washermanLs )adopted(daughter. He is usedto musk, she is stained with soap. Rano is a Rajput, member of the

warrior class, who is attracted by the courtesan Mumal;Tamachi is

the ruler of Sindh who elects a fisher Dmaid as his consort. EvenMehar, who temporarily serves as a buffalo keeper, is of higher

social standing than Sohni, the potterLs daughter. In a few placesthe heroines feel like being burned on the funeral pyre after losing

their beloved. The lot of the deserted woman is touchingly

described in various chapters of the Risalo… LL (36)›¦s6,!*]™Dƒñ\)ÿ

IåZLZ•ðrZzg–qZ…ŠÆqïx@}

Zzg_¬Ã7èÃgBb÷Xtz{ZÐZŠ~S¤ì�à:Æ;V¹ÁŠÚÃQìZzg¹ÎVÆ;VÂtZq-ë{ZzgŠ"Ð¬g~ZjZw÷XÃLeàÐŒ7YYX\)ÿ

I»t

Z"mìāz{¦sZzgZkÅ]ZŠZgÅ!*"$Z#!*]™C÷ÂCÙiZztÐZyÅƒe¯C÷ZzgQZq-i:©Åö~7©µ™‚tW@*ì=Âß°GÆÒy~z{ËZq-„~'ZBJ-özŠ7g�Ô-V4ìāZŠ[ZzgZ�]Zq-Šzu}Æçzy÷ZzgGÅ


ZkÐtY+~ z=ô~ÓxZë†]zZ�ÛZŠZq-YÔq-WzZiÔœZ—™gì÷;ŠØZg~7ƒCā\)ÿ

I»_·¾Šg¡~�CÙaƒñìXZ,Vä¾'g]Ð‚gº

“ƒñGÆÒ#/õ EGÃŒZzgZkjZ!ÐZq-å�d$\)ÿI

Æ;VWy9~ƒCìZzgQÇg†]Æ;VGÆ¢�Äœu¥xƒD÷!¤/pß°G»Ò6ÌÔŠØZg�pŸ‚Zq-„ìªzZÝ!*/ƒ**Zzg’ˆZi+Ô@*ë)ß°†]¾§bÐGÅse$ÃWDg™D÷Zy6,\)ÿ

I»¶Šh+ãìX•ðÆjZ!ÐZq-ZëZ½k:

óó For while beloved is onlyóin the eyesLin the moment of union, heoccupies the whole heart and mind during the separation and is,

hence, even moreórealLthan in union….With such words, Shah

Abdul Latif is close to a feeling that was expressed, time and again,

by the great representatives ofópersonal mysticismLwho knew thesecret of:

The endless torment

Of love unfulfilled,

The greater torment

Of love fulfilled.

As T.S. Eliot has put it, and as Muhammad Iqbal, following

GhazzaliLs interpretation of infinite longing, has proclaimed in our dayin the IndoDMuslim world. LL 37

\)ÿI

»ŒÛWyzug$»_·Ñëè*öìXz{Z#Ë´Ã:Z%ÃèIjZßVÐÒy™C÷ÂŠ?Æîg6,ŒÛWyÅçzyWe$c*ug$7™C÷ZzgèÃg{We$Zzgug$Zk

MYSTICAL ŠgYöaƒCìāZyÆ_·6,g—W@*ìXZkK~c*MESSANGERHISISMUHAMMADAND Zzg ISLAMOFDIMENSION

Ã{mîgÐŠ¬YYìXÂ[ÆZk GODOFSIGNSTHEDECIPHERING

z~˜VZzg¹Ð—zÈVZ°gÅ@*i{»g~ÃWCìz÷»&ÿELZŠc*y!*Ó¦sZzg•ðÆ]V~²Zã™ŠZgzVÆZÎkÃŒÛWãjZßVÐ7HŠHìX

•ðòÆ„~qÝÃ\)ÿI

äL:»ƒäzZáGÅßg]ÒyHìXG»t**−ìZzg¸Zk»qÝÌXGÅtgzZe$œc*V¦/gYä6,Ìgz×z@*È{ìXZq-**»ƒäzZÑZzg¬ÔÅ**»ƒäzZàmXXX¸ß°G»qÝì�zZÝ!*/ƒäÐI',ŒÛZggSì:


óó Indeed, the major part of Shah Jo Risalo consists of praise of thepath, and of the never ending travelling of the lovers. The Sindhi

poet stands here in the line of AttarLs successorsDsimilar to thebirds in Mantiq ut tair, Sassui crosses deserts, mountains and

valleys :and the seeker who was enchanted by the Yogis, the truesaints, tries to follow them to the inaccessible heights of Mount

Hinglaj. The heat is restless like a camel;Sur Khanbhat is a perfect

description of the Journey of the soul toward the friend'….His

(Bhattiy) mysticism is individualistic, and has as its center only one

story:that of the return of the loving soul to her lord. LL 38

////

jZÙŠgŠX÷ŠgŠ"ÔpZz)!í³(XÑƒg:SŠZg{ZŠ[z ? „Š]',w~ÔeZË)%"ìGOE(X**! 1:

WÔ1980Ym115²Z£ÔeZËXŠ-ZÈŠgŠ"XŠ‹:òÃ±',Zñ�Ûz¼ZgŠzi!*yÔ2003Ym27 2:

3: Schimmel, Annemarie. Pain and GraceDASTUDYOFTWO

MYSTICALWRITERSOFEIGHTEENTHDCENTURYMUSLIM

INDIA. Lahore:SangDeDMeel Publications, 2003.P.4

4: Ibid

5: Martin, Richard C. óó Journal of the American Academy ofReligion. LL Journal of the American Academy of Religion, vol. 46,no. 3, 1978, pp. 391–391., www.jstor.org&stable&1463833.

6: Schimmel, Annemarie. Pain and GraceDASTUDYOFTWO

MYSTICALWRITERSOFEIGHTEENTHDCENTURYMUSLIM

INDIA.P.57

7: Ibid. P.93

8: Ibid. P.103

9: Ibid. P.116

10: Matthews, D. J . óó Bulletin of the School of Oriental and AfricanStudies, University of London. LL Bulletin of the School of Orientaland African Studies, University of London, vol.41, no.2, 1978,

P.391


11: Schimmel, Annemarie. Pain and Grace. P.107, 11712: Ibid. P. 136

2ZÇæO9.è WEŠZƒŠ~XŠ-ZÈŠgŠ"ZipZz÷ŠgŠ"ŠŠ~XÑƒg:

&CÒø ELF,tYZŠ[Ô2010m157 31:14: Schimmel, Annemarie. Pain and Grace. P.14515: http :&& en.oxforddictionaries.com&definition&manifestation.

2ZÇæO9.è WEŠZƒŠ~XŠ-ZÈŠgŠXm184 61:

17: Schimmel, Annemarie. Pain and Grace. P.14018: https :&& en.oxforddictionaries.com&definition&ye

2ZÇæO9.è WEŠZƒŠ~XŠ-ZÈŠgŠXm149 91:

20: Schimmel, Annemarie. Pain and Grace. P. 1392ZÇæO

9.è WEŠZƒŠ~XŠ-ZÈŠgŠXm178 12:22: Schimmel, Annemarie. Pain and Grace. P.110

2ZÇæO9.è WEŠZƒŠ~XŠ-ZÈŠgŠX149 32:

24: Schimmel, Annemarie. Pain and Grace. P. 10125: Matthews, D. J. óó Bulletin of the School of Oriental and African

Studies, University of London. LL P. 39126: Ibid27: Schimmel, Annemarie. Pain and Grace. P.16128: Ibid P. 15229: Ibid30: Ibid P. 15831: https :&& en. Wikipedia.org&wiki&Muhammad_Jaunpuri

32: Schimmel, Annemarie. Pain and Grace. P.16233: Ibid P.16634: Ibid P.18435: Ibid P.18536: Ibid P.17437: Ibid P.178,17938: Ibid P.177,178,187

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