Sindhi Sufi Poet Shah Abdul Latif Bhittai

[swamidada_2]

The Eternal Love of Sassi Punnu

By Mahlia Lone

The lyrical folk tale of Sassi Punnu does not merely tell the tragic tale of two lovers but also speaks of the lilting romance of the River Indus, the resounding echo of the arid Baluch mountains, the dry, hot, sandy air wafting in the Thar Desert and the pleasing fragrance of the city of Bhambhor as described by Shah Abdul Latif Bhittai, the 18th century Sindhi Sufi poet, scholar, mystic and saint in his poetic compilation Shah jo Risalo. The story of Sassi Punnu is the most famous of the seven tragic Sindhi romances that Shah Latif immortalized in his work. In keeping with Sufi tradition, he penned the tales not just as earthly love affairs but as examples of eternal love and divine union. Having lived during the golden age of Sindhi culture, Latif is considered to be the greatest Muslim poet of the Sindhi language. In fact, Seyyed Hossein Nasr, Professor of Islamic studies at George Washington University, called Shah Latif “(the) direct emanation of (the Persian poet) Rumi’s spirituality in South Asia”


As with all folk tales, there are many versions of this romance. This version has been adapted from the tale written by Shafi Aqeel in his book Pakistan kee Lok Dastanain (The Folk Tales of Pakistan) by Professor Muhammad Sheeraz Dasti, a lecturer at IIU in Islamabad and the University of Colorado at Boulder.

During Raja Dilu Rai’s rule in 11th century AD in Sindh, in Brahminabad on the bank of Bhambhor Canal near Gharo district, Thatta lived a Hindu Raja called Tania with his wife Mandhar who were childless. Desperate for a son, they visited temples, presented offerings and supplicated pundits, pujaris, yogis and faqeers for their blessings. Finally, one day the couple was fortunate enough to have a baby girl. Though they had prayed for a son, they rejoiced at the birth of their beautiful baby. As per Brahmin traditions, the parents went to an astrologer to foresee their daughter’s future. The astrologer carefully studied the birth-chart, made planetary calculations, and in a portentous manner declared that their daughter would bring disgrace to their royal house by marrying a Muslim boy.

The strict Brahmin couple was devastated. But they couldn’t kill their precious baby. For the sake of family honour and their upper caste status, they made a difficult decision. They put their baby daughter in a wooden box and, early one morning when it was still dark, floated it on to the River Indus, hoping she would be rescued by a kind soul.

By afternoon, the box floated into the dhobi ghaat (riverside laundry) of Bhambhor, a busy trading city at that time. The laundry owner Atta was a prosperous businessman employingscores of washermen serving the entire town. Atta and his wife too were childless and had made pilgrimages to the shrines of saints, dervishes and Sufis, donated charity and fed the hungry in the hopes of being blessed with a child.

The box was fished out of the river and a beautiful baby girl, sucking her right thumb, was found inside. The washerman took it to Atta. As soon as he looked inside the box, the baby smiled at him. Atta was instantaneously smitten; he picked her up, hugged her and took her home to his wife.

“Look, God has given us a daughter, bright and beautiful as the moon,” he announced happily. His wife was equally thrilled. They named their adorable newly adopted daughter, Sassi, the moon.

Sassi was raised in the lap of luxury. Atta spared no expense to bring her up. She was cosseted and petted as the only child of a prosperous dhobi. Sassi grew up to be absolutely beautiful.

Proud of his daughter who had a regal mien, the dhobi built a splendid new mansion teamed with maid servants to do her every bidding. Artisans decorated the interior with colourful tiles imported all the way from Central Asia. In Sassi’s bedroom a mural depicted the legendary Arab tale of Qais and Laila. Hence, she dreamt of love and romance whether sleeping or awake. Horticulturists and landscapers cultivated the garden with fruit trees, both indigenous and exotic as well as colourful fragrant flowers. She daily roamed her garden like the princess she was and distributed alms amongst the needy as a sweet, charitable girl. Soon Sassi’s fame spread far and wide.

Bhambhor lay on the route to various mercantile cities. Caravans from far off areas camped here to sell goods and restock. Atta owned a camping site behind his garden where he welcomed the travelers since the business they brought was welcome to the town. Occasionally, the lucky amongst them enjoyed the relaxing garden and even got to feast their eyes on the nubile Sassi. Tales of her beauty the foreign traders took back with them wherever they went.

One day, a caravan from Kech Makran camped there and some of the travelers chanced upon Sassi roaming blissfully unaware in her garden. On their return to Kech Makran, a mirasi (folk singer) related the tale of “drinking from the flood of (her) beauty.”

“Sassi is the prettiest of all girls in the world. Oh prince, she is absolutely matchless. She is a fairy from Koh Kaaf. Her eyes are deeper than oceans on the earth, her cheeks are brighter than stars in the sky, her voice is sweeter than the cuckoos in the jungles. Whoever sees her smiling loses heart to her,” he described the teenager reverently.

Punnu became agog to see the famous beauty for himself. “Think of the best plan to reach the famous beauty of Bhambhor. Let me know of your advice by tomorrow,” he told his advisors to concoct a plan for him to be able to see the beauty for himself.

One advisor devised a plan that the prince could not only see but interact with the well guarded Muslim girl: “A caravan should take a variety of perfumes to Bhambhor and you should go along with it as a musk trader.”

Punnu got permission from his father, the Raja Aari Jam, to travel incognito. He put together a caravan carrying exotic imported perfumes that would tempt a fine lady to acquire. As the caravan of the perfume sellers reached Bhambhor, the whole city was bathed in the fragrance of its wares. Even Sassi heard that a handsome trader called Punnu had arrived from Kech Makran hawking special perfumes.

All the Bhambhor residents and merchants from neighbouring areas flocked to where Punnu’s caravan had set up shop. Leaving the business of selling to the rest of the traders, Punnu kept his eyes peeled towards the entrance of the camp throughout the day waiting for a glimpse of the fair Sassi.

Finally, in the afternoon, accompanied by her friends, Sassi visited the site on a shopping expedition. As soon as Punnu spotted Sassi amidst her friends, he knew she was The One. She was far more beautiful than his imagination had pictured. In her turn, Sassi as she dealt with the trader, the Prince in disguise also fell in love with him at first sight.

“Back home, Sassi discovered that Punnu was now in her veins. He was everywhere: in the air, on flowers, in the mirror, on her tongue. She could not like anything, experienced a strange restlessness in sitting, discomfort in sleeping, unease in walking. She didn’t know how to describe this self, this no self. Had no idea of how to cure herself, not sure if she really wanted to cure herself of the sweetness of pain. Finally, she sought her best friend’s council. ‘I love the young musk trader. Think of some way that he is mine—mine forever.’”

A guileless female always confides tales of her love to her best friend who tries to help her win in the game of love. Likewise Sassi confided to her best friend who went to Punnu to guage his intentions. He readily admitted that that the sole aim of his life was to attain Sassi. Then, she went to convince Sassi’s parents to marry her to the young man. “Sassi is unable to live without him. And I must tell you, Punnu isn’t an ordinary man. He is the prince of his tribe in Kech Makran, and is the handsomest of men,” argued the girl earnestly.

But Atta would have none of it. He replied, “Punnu is a traveler. We know nothing about his caste and family. How can we give our beautiful daughter’s hand to a stranger? She will marry someone from our own fraternity, a dhobi,”

Sassi’s friend thought on her feet, “Actually, I have heard that Punnu too belongs to a tribe of dhobis, they only trade in perfumes. You can ask him to wash some clothes as a test.”

So Atta agreed to invite him to their house. Punnu, a prince in reality, went over pretending to be a laundryman. Atta bid him to wash a sack full of clothes to test his veracity.

At the time, clothes in the Subcontinent were washed by beating them on a stone at the edge of a water body. Prince Punnu beat the clothes against rocks besides the mighty gushing Indus River, hurting his hands and tearing the clothes. When Sassi got to know that he had torn most of the clothes were torn, she told her friend to carry a message:

“Tell Punnu to fold the clothes and place a coin of gold in every torn piece. The people of my town will be happy to see gold and won’t complain to my father.”

Punnu folded gold coins in the folds of the clothes. The townspeople demurred and Atta gave his permission reluctantly. He made Punnu promise that he would not take away his only daughter but would take up residence with them in Bhambhor after his wedding to Sassi. Punnu readily agreed.

Punnu’s brothers and friends came from Kech Makran for the wedding. Atta threw an extravagant and magnificent celebration in honour of his only daughter’s wedding.

While they were enjoying Atta’s gracious hospitality, Punnu’s brothers urged him to return to Kech Makran where their father was waiting for him, but Punnu refused to leave his ladylove’s side. When he wouldn’t budge, they returned home without him.

Upon reaching Kech Makran, brother Chunru told this to their father Aari Jam. Punnu, being his youngest son, was the baby of the family. Their handsome prince abandoning his life in the palace for the life of a dhobi, it was unthinkable! His parents wanted their bewitched son back at all costs.

Aari sent a messenger to tell him to immediately return. The messenger tracked down Punnu washing clothes sitting at the dhobi ghaat with other dhobis. “My Lord, this job is beneath your dignity. You are our prince. Come back to home and lead a life that suits your stature,” he said.

“Go back and tell my father and brothers to forget me. I will never be able to go away from here. My home is where my Sassi lives,” the erstwhile prince replied.

The messenger explained how worried his father was, and how the Prince had lowered himself to the level of an ordinary worker by washing clothes. But when Punnu paid no heed.

Aari Jam was so upset when he heard his messenger’s account that he felt dizzy and fell unconscious with worry. Seeing their father sicken, Punnu’s brothers, Chunru, Hoti and Noti put their heads together.

“We must do something to save our father from this agony,” said Hoti, the eldest. “I can’t see him suffer anymore.”

“Yes, we must bring Punnu back to Kech Makran, no matter what price we have to pay,” said Noti.

The brothers strode swift camels and rode toward Bhambhor to bring their brother back in any way possible.

Not being aware of their true design, Punnu and Sassi were thrilled that his brothers had finely accepted his marriage and were visiting them.

Nightly they laid out grand feasts and entertainment for them with mehfil (gathering) of singing, dancing and drinking. Hoti, Noti and Chunru bided their time. First they tried to convince Punnu to return by telling him how their father suffered, how sick he had become pining for him, “If you don’t come back soon, our father will no longer be alive.”

Punnu said categorically that he would never return.

One night, Chunru, Hoti and Noti did not get drunk but let Punnu have his fill and pass out. As Sassi kept waiting for Punnu in their bedroom, she applied henna to her left hand. She eventually fell asleep with the henna stick in her hand. The stick was to be planted in soil in the morning according to the custom in those days.

As soon as Punnu passed out, his brothers picked him up and flung him across a camel’s back. They quickly and quietly left for Kech Makran without disturbing the sleeping household.

In the morning, Sassi woke up to find herself alone in bed. Punnu was nowhere to be found. “My Punnu has been abducted by his brothers. They have deceived me,” she shrieked.

Devastated at her loss, she dashed out without even putting on her shoes, wailing his name. Her parents and the servants ran after her.

“Where is my Punnu?” She kept repeating inconsolably. “I’ll find him. I will find him.”

Threatening to kill herself if they stopped her, Sassi ran towards the jungle outside Bhambhor. Her parents and servants followed her but they lost track of her when twilight fell in the thick jungle. Sassi ran madly crossing the jungle, over the barren land, sandy dessert and craggy mountains. Her feet got cut over the thorns, branches, rocks and hot sand, but she didn’t even notice.

All are enemies, camels, camel men and brother in laws,

Fourth enemy is wind that removed the foot prints of Punnun,

Fifth enemy is sun which delayed its setting,

Sixth enemy is sky which did not make travel easy,

Seventh enemy is moon which did not shine longer

(Shah Abdul Latif Bhittai, as translated by Muhammad Sheeraz Dasti)

Sassi walked another few miles before her blistered and bleeding feet became too sore and painful to walk on. She had reached the Harho mountain range where she was spotted by a shepherd from a distance. “Where is my Punnu? Have you seen my Punnu?” Sassi asked the uncivilized goatherd.

The lascivious man sought to take advantage. “You are searching for one Punnu? In this world everyone is a Punnu for you. I am Punnu for you. My father, my grandfather, my seven generations are Punnu for you. My sheep, my donkey, all the animals are Punnu for you.” He flung himself on her, desirous of raping her and fulfilling his baser animal urges.

“O merciless man, I am dying of thirst and you assault me. Fear Allah and get me something to drink,” Sassi begged him.

As the shepherd relented enough to get her some milk from his goats, Sassi beseeched Allah to order the ground to open and swallow her up. “O Almighty, the One who listens to the helpless, help me out in this moment of trouble. I am Punnu’s trust. Protect my honor from the wickedness of this shepherd. You and only You can hear me in this barren land!”She moaned with tears streaming down her face.

Her prayer was heard.

Suddenly the ground beneath her shook and split open. The crevice widened to engulf her into its protection and closed over her again, leaving only the border of her duppatta as a trace above ground. The shepherd got so scared to witness this miracle that he fell in a sajda and begged forgiveness from Allah.

To atone for his sin, he became the caretaker of Sassi’s grave. To mark it, he placed stones around where the spot where she had disappeared into the ground and built a small hut for himself nearby.

Meanwhile, the brothers had reached Kech Makran without incident. Punnu didn’t get a chance to escape because they had tied him to the back of a camel.

Punnu kept protesting, “I won’t go to Makran. Leave me here. I have to go back to my wife, my love. Don’t try to separate us, you can’t do that,” but they were adamant.

Though his old sick father Aari Jam felt so happy to finally see him home, Punnu didn’t care and said, “Release me. Let me go to my Sassi. She would be worried. She will die without me. I have to go to Sassi. I have to go to Sassi. Please release me.”

After failing to convince him, Aari Jam, a wise, thoughtful man, feared Punnu might harm himself if they didn’t relent. Eventually, he sent for his elder sons and told them, “Take him back to Bhambhor and bring both Punnu and Sassi here. He can’t live without his woman, and we can’t see him in this condition.”

Lying to Punnu that they were going to leave him to live with Sassi in Bhambhor, the brothers prepared for their journey.

Aari told them, “Bring Sassi to Kech Makran at any cost, and come back at your earliest possible. We’ll live to see the woman, who thieved a beautiful chamber of our heart.”

“Don’t worry, father. We’ll follow your wish and wisdom,” chorused all three in unison.

Punnu was desperate to get back as soon as possible. “Had he got wings, he would have flown to her. Since the time they had separated him from his Sassi, Punnu behaved like a stranger.”

When they reached the spot where Sassi had been “veiled under the earth,” Punnu’s sixth sense averted him. Pulling the reins of his camel, he looked around to detect her by now tattered dupatta border peeping out from the ground surrounded by stones. What was Sassi’s dupatta doing her and why did he feel her presence? He saw the shepherd squatting down on his haunches at the entrance of a nearby hut and asked him politely “Whose grave is this?” He had an ominous feeling in the pit of his stomach that he already knew the answer to his own question.

The shepherd burst out crying and sobbed, “She is the devoted lover of someone called Punnu. She was running about madly, calling out his name. and took refuge here in this rock.”
His worst fears had come true. He fell down on his knees and folding his hands together in supplication offered Fateha for his beloved Sassi casting his streaming eyes upwards. “O You the Creator of love and of the lovers, O the Greatest Healer of the injured souls, send me to where Sassi is, to where Love is,” he prayed to God.

All afternoon he repeated his prayer. Finally, in answer, the ground shook again, the rock split open and Punnu hurriedly fell in calling out Sassi’s name. The rock closed behind him, reuniting the lovers that no one again could put asunder.

Punnu’s brothers stood stock still terrified. The shepherd dissolved in tears; he was now the custodian of a single grave of the two lovers, and the tale of their miraculous and divine love. The brothers realized how wrong they had been to try to come between a love sanctioned by Allah; how grave a sin they had committed in their shallow, earthly considerations. After pondering over their grave mistake, they recited a Fateha for the lovers and, with a heavy heart, departed for Kech Makran.

Sassi Punnu’s alleged grave is located near Lasbela, 45 miles away in the Pub range to the west of Karachi. Haji Muhammad, an affluent resident of the area, constructed a simple mausoleum in 1980, which is visited by those from near and far. Ruins of Punnu’s fort are likewise located in Turbat.

[swamidada_2]

Seeking the Beloved- In the spirit of Shah Abdul Latif
Sarfaraz Mulla

It is exhilarating to know that in these troubled times for Muslims, Sufi scholars of yesteryear are distinctly revered by people of all communities, faiths & sects. Gyaan Adab organized a book reading session by Author Anju Makhija, of her book of poetry. This book is an English translation of Shah Abdul Latif sur ( or couplets) from the Sindhi language .
Shah Latif, a mystic & poet from erstwhile Sindh, that extended from Sindh in Pakistan to Kacch in present India. Shah Latif of Bhittai, a place in Sindh were his mausoleum is built, wandered these areas during his lifetime in the quest of God. His followers now are pastoral nomads are rendering his tradition with folk tales, poems & recitals of his couplets .
So what is that Sufi’s spoke about that still reverberates with current generation?
Well, its imperative with all the references to wine, love & the beloved it was about annihilation of self/ ego, sacrificing the self for the love of Allah ( beloved). More we see engulfed in the wars, fueled by greed, over-consumption & urge to have more couplets of Shah Latif make immediate sense :

Their ego the ascetics have killed,
They wish their unity with God to be fulfilled .

Or if we were to contrast that with the lives of new age godmen in the modern era, who roam around in private jets, carry their own cavalcade of personal body-guards & enjoy a luxurious life, to them Shah sahab said :

Those jogis who treasure Food and cloth for their pleasure,
From them God will stay Still farther and away .

Sufi’s spoke of universal love & brotherhood and their teachings transcended through different religions . For them being “Good” was more important without attaching strings of religion. In short they loved humanity & so does humanity still loves them .
As you would have understood by now, they spoke the universal language of Love for all.
An important theme of Sufi poets of subcontinent, has been their emphasis on correcting the inner spiritual self & purifying it from within :

Faith does not in that direction lie that the Kalima you day and night cry,
Your heart is imprisoned in falsehood With Islam you mask your face Within, many idols hold their place?

What are you waiting for ?
The inherent qualities of spiritual masters has always been, once the inspiration strikes, to go out & seek their true love , i.e. God or as Shah Latif said :

Do not care about hot or cold weather,
Do not think about rest,
You should push forward without wasting your time because if you become late,
darkness will spread all around and you will not be able to see the footprints of your beloved .

[swamidada_2]

MU(N)H MEIN AAHEE(N) TU(N) AJRO QALB MEIN KAARO
BAHRAA(N) ZEB ZABAAN SEIN DIL MEIN HAAN(N)JHARO
UNN PER VECHAARO WEJHO NAAHEY WASAL SEIN

With a face brighter than a mirror but heart so black
An unimpeded tongue outwardly but sinful inside
Such a wretched person have no union with the beloved

ASHIQ 'AZAZEEL BHIYA MIRRYOI SADHRIYA
MUNJHA(N) SIKK SABEEL LA'NATI LAAL THIO

Azazeel (satan) was a true lover, other lovers only wished
Due to his extreme love he was condemned

THIYA RASEELA RAHMAN SEIN SAGHAR SU(N)HEEN JEY
AAIYU(N) TINEEN KHEY VADHAYU(N) WISAAL JUU(N)

Those who could find the right path have joined Lord
They deserve mubarakbad for their union with Him

DHINEY DHIKHOYA AN(N) DHINEY RAAZI THIYA
SUFI SEY THIYA KEEN KHAYAU(N) PAAN(N) SEIN

They are distressed if something (worldly) is offered to them, and are pleased if nothing is offered
They have become sufis (ascetics) by carrying no desire with them

JO TU(N) DHOREI(N) DHUUR SO SADA AAHEY SAAN(N) TU(N)
LAALAN LAI LATIF CHAVEY MUNJH HEE MA'ZUUR
MUNJHA(N) PAVEY PARUUR TOU MUNJH AAHEES TAKYO

Whom you are searching so far, He is always with you
O you imbecile, says Latif, look for beloved within
You will come to know His abode is within you

[swamidada]

JA BARAAD BATAN JI SA U(N)JH BUKH ADESEEN
ROZA RIND RAKHAN EID NA ODHAA KAAPARI

Hunger and thirst is like a feast for Ascetics
They keep fasts but never celebrate Eid

MUU(N) KHAHORI LIKHYA SUMHAN KEEN PAEI
SEER KAYAAU(N) SU(N)JH MEI(N) DHURI DHATH LAHI
VIYA UUTT WAHI JITT NIHAAYAT NAAH KAA

I have seen wanderers (ascetics) who do not sleep
They wandered in wilderness acquired ascetic knowledge
They happened to wander there, where there is nothing except nothingness

PAAN(N) PAHER DU PAAN(N) KHEY TALIB SUN(N)JH TU(N)
NAKA HAA(N) NA HUU(N) PARDA SUBB PAASEY THIYA

O seeker listen, egoism acts as a casing against you
Preclude all ego and arguments, all the veils then be removed

KHAHUREIN KHAFI SEE(N) SUJHEY LADDO SUBHAAN
AASHIQ AHREY AKHRIYAN LUNGHIYA LA MAKAAN
HU MEI(N) GHADHJI HU THIYA BABU JE BHARBAN(N)
SUBBOI SUBHAAN AAYO NAZAR ATHAN JE

The ascetic seekers sought the Lord through secret devotion
This way the lovers passed through a space less place
Those ascetics who roasted themselves in love
United with beloved, They saw the Lord's manifestations every where

[kmaherali]

United with beloved, They saw the Lord's manifestations every where

Indeed they attained the goal of life and everywhere there is Light.

ejee sab ghatt ekaj rahemaan dise,

to shaane shaane shaan...ab to...............................3

In every heart One Lord appears,

Its glory's Glorious Glow.

http://ismaili.net/heritage/node/22791

[swamidada]

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Thursday, September 10th 2020

These glimpses of poet Shah Abdul Latif Bhitai’s work shows his greatness cannot be grasped fully
‘I Saw Myself’ features new translations of the Sindhi Sufi poet’s works by Shabnam Virmani and Vipul Rikhi.

Kabir says the well is one
Water bearers many
Their pots are of different shapes
But the water in them in one
Kabir

I thought the path was one
But there were a thousand million
Whoever took whichever one
Made it across the ocean
Mekan Dada

One palace, one million doors
Countless windows in between
From wherever I took
The Beloved is before me
Shah Abdul Latif

The beauty of language, the inwardness of the translation, in the three verses above tell us of the many journeys pursuers-translators have made. It exemplifies not only the continuity of syncretic thought but also a co-habitation of different regions (through Kabir from north India, Mekan Dada from Kutch, Shah Abdul Latif from Sindh) that refuse to stay fixed.

In my mind Shah Abdul Latif collapses with an unforgettable visual I remember from my visit to Jerusalem. After days of witnessing the hostile intimacy with which the Jewish, Christian and Muslim sides in East Jerusalem cohabited, I encountered a view through a glass window that overlooked the structures of all three religions, but was divided and distorted in the window frame. What that brought home was how no narrative is available in the singular; that choosing one over others is possible only through a manipulated vision. Between the villages of Kutch on the Indian side of the border and those in Tharparker across the international boundary resonate with the voice Shah Abdul Latif.

A passion project
As I hold I Saw Myself : Journeys with Shah Abdul Latif Bhitai, it’s difficult not to feel somewhat infected by the passion that must have accompanied Shabnam Virmani and Vipul Rikhi when they undertook the project. Each time I say “project” in such a context I am reminded of Farid Ayaz’s words to Virmani recorded in the film Had-Anhad, “Isko zindagi ka project banayein.” And that’s exactly what Kabir and now Shah Abdul Latif Bhittai are – life projects.

And just as we don’t live life alone, this book is also not alone, with a single author or translator, but one that gives a sense of collectivity in its approach and design. Mine and not mine, as Gandhi said of Hind Swaraj. After the enormous value that the Shabnam Virmani-led Kabir project brought to our understanding of the continued relevance of Kabir and his multiple lives in parts of India and Pakistan, enhanced further by the impeccable translations of Linda Hess, we now have with us a new voice and new collection.

This voice is not from the heart of India, but from its frontiers, parts of which are in Pakistan and parts, in Rajasthan and Gujarat. The book is more a journey than a final and comprehensive compendium to the Sindhi Risalo by Shah Abdul Latif. It has verses from the previous compilations, in addition to ones that Virmani and Rikhi hear as a part of the oral tradition in Kutch. In that sense this is an unusual, almost quirky book in that it mimics, despite being textual, the spontaneity of an oral tradition.

A daily presence
The name of Shah Abdul Latif Bhitai is not unknown anymore to those who follow Sufi thought and music even in the most rudimentary manner. Details of Shah Abdul Latif’s life and the arrangement of the Risalo in surs and dastans, and the forms of bayt and wai, are too well known and accessible to bear repetition here. Equally well-known and recorded are the influences of Rumi and of the Quran, of the yogis and of Vedic learning.

These acquire different emphases depending upon ideological positions of the commentators. The stories of Moomal and Rano, of Noori and Jam Tamachi, are dispersed across the western region – Junagadh, Jaiselmer, Barmer, Thar, and Hinglaj. The singing is found in the repertoires of Abida Parveen, Allam Faqir, and Coke Studio.

In Sindh and Banni (Kutch) no conversation of any kind, literally, is possible without someone quoting a bayt from the Risalo. It is so common to hear, “Shah saab chayo aa..” and then a verse that can explain anything from the absence of rain to the betrayal of a lover, from the names of plants to the dilemmas of a spiritual life.

I remember hearing this about an aspiring politician: “andar vihareen kaunv, baaher boli hunj jee,” which means, “with a crow inside you, you speak the language of a swan” and that should give us a gist of the universality of Latif’s themes. But Latif is essentially and firstly a Sufi, who believes in an austere life, a meagre existence and retreat inside. Given below is a famous verse with my rendering in Hindi:

chup kar, chap-a-ma chore,
poore akhyoon dhuka kana
rah udhooru un
ta who moorat
munjharaan man
tunhijo mushahido maneean

chup kar, hoth na hila
aankhe bandh, kaan bandh
paani pee, pet na bhar
kha anaaj bas thoda sa
taaki woh murat ubhar aaye
jo basi tumhare andar

This life of austerity is not without yearning for a beloved, until the lover and the beloved are experienced as one. Words like “pirin” and “supreen” in the Risalo evoke references to friendships and nations of soulmates. Here’s one more verse, again in Hindi.

shukr hai jo mile
jeete dino mein yaar se
baithe jinke pahlu mein
mile hame kitna qaraar
maalik na karna juda
iss pirin ki pados se

or this,

Sufi ne saaf kiya
thoya panna vajood ka
phir jua iss kaabil
dikhi jhalak yaar ki

A presence across communities
When Sassui looks for Punhoon only to realise that she has become Punhoon herself, or when Marvi longs for her homeland Malir, Sufism ceases to be an inaccessible form – it acquires in the popular imagination stories of love, wisdom, politics that co-exist with the mystical. This combination makes Shah Sahib very unusual and explains his presence across different communities.

Amena Khamisiani, one of the translators of Risalo mentions how “the peasant ploughing his field, the herdsman and the shepherd tending to the herd of cattle or flock of sheep, the fisherman casting his fishing net in the water, the village housewife at her daily chores and the villager amidst his companions at leisure time, sings, recites, or hears this poetry...”

Another translator mentions how his father, a bus conductor, gave him the Risalo, saying in Siraiki, “...aba hi wada kitab tedi wadi madad karesi (my son, this great book will help you greatly).” It is a different and crucial matter that Shah sahib himself was a Syed and one may argue that his lineage leaves a caste-blind mark on the Risalo.

Recent scholarship by Sufi Hussain draws attention to this phenomenon, and there is no reason why a new assessment of this iconic figure should not take place. My own knowledge of the Risalo is built through memories and versions of people and a textual tradition starting from Ernest Trumpp to HT Sorley, from Elsa Kazi to Kalyan Advani, from Christopher Shackle to Annemarie Schimmel and, now, to Virmani and Rikhi. These are mere glimpses, but we need to be humble and reconcile with the fact that greatness is not graspable fully.

https://scroll.in/article/947358/these- ... sped-fully

[swamidada]

277th Urs celebrations of Shah Abdul Latif Bhitai commence in Bhitshah
22 hours ago

BHITSHAH: 02, OCTOBER, 2020: The 277th Urs celebrations of great Sufi Saint Hazrat Shah Abdul Latif Bhitai will commence in Bhitshah, Sindh province from today (Friday) with enthusiasm and religious fervour.As per sources, the three-day ceremony of the Urs will be started with poetry marathons, literature conferences, and other activities to celebrate the poetry of the sufi saint.The vast numbers of devotees of the Sufi shrine are arriving in Bhitshah to attend the 277th Urs of great poet of Sindh.Strict security measures have been taken in this regard to avoid any untoward incident. CCTV cameras have been installed while devotees will enter the shrine after passing walkthrough gates placed at all entry points. Thousands of police officials along with Pakistan Rangers personnel will perform security duties on the occasion.The Sindh government had announced a public holiday today (October 2) to commemorate the 277th Urs of Shah Abdul Latif Bhittai. A notification had been issued by the Sindh administrative department in this regard.According to a notification, signed by the Sindh chief secretary, all offices, autonomous and semi-autonomous bodies, corporations and local councils falling under the Sindh government, except essential services, will remain closed on the 2nd of October. Educational institutes will also be closed to mark the Urs of the saint.

https://onlineindus.com/english/277th-U ... shah/40964

[kmaherali]

Qalu Balaa | Life and Poetry of Shah Abdul Latif Bhittai | Episode 2

Video:

https://www.youtube.com/watch?v=nZ5t2FHEiO0

In this session, Alwaez Akbar Huda and Alwaez Yusuf Noorani explore the soulful poetry of Shah Abdul Latif Bhittai and take us through his enriching life journey.

[swamidada]

Elsa Kazi

By: Ali Ahmed K Brohi

Mrs. Allama Kazi who called by all as Mother Elsa Kazi,
was a remarkable woman indeed. She was German by birth,
but a Sindhi by spirit and God had bestowed upon her the
grace of being one of the greatest poets of her time. She was
not only a poet of very high caliber, but painter of great
distinction, besides she was a writer of repute,
she wrote one act plays, short stories, plays, novels and history.
She was acomposer and a musician of considerable attainments.
Indeed, there was hardly any conspicuous branch of Fine Arts that
she did not practice to perfection. Although she did not know
Sindhi language directly but still she managed to produce
translation in English verse of the selected verses of Shah
Abdul Latif after the pith and substance of the meaning of
those verses were explained to her by Allama Kazi. She has
successfully couched the substance of those verses in a
remarkable poetical setting which, in musical terms, reflects
the echo of the original Sindhi metrical structure and
expression in which Latif had cast them. Her's remains the
best translation so far in English of Shah Abdul Latif's
Shah-jo-Risalo

Elsa Kazi (Elsa Gertrude Loesch) was born in 'Rudel Stadt' a
small village in Germany on 3rd October, 1884, in the house of
a great musician, who ultimately migrated to Dulwich
London. She was a daughter of prosperous German Eldermn.
He had property in London which was destroyed in world
War-II. After war, compensation was paid to her in respect of
such property. Her paintings are often seen in many
distinguished family homes. She also painted the famous
courtesan queen of Khairpur Mirs, “Bali”.
It was in London that she met Allama I.I. Kazi, just by sheer
chance. It so happened, that once Allama Kazi, having arrived
at a railway station, just in time, while the train had already
started moving. He was however able to board in, in the last
compartment which was empty, excepting a solitary young
lady occupying a corner quarter. Reared in a traditional family
background of saints & sages, Mr. Kazi felt very much
embarrassed and kept standing near the door with his back to
the lady. Elsa was amazed, astonished and amused to meet a
man, who would not take seat, despite repeated offers and
would only repeat apologies. For a man who was so innocent
chaste and interesting, she sought his address and thus
developed a life long association. The couple was married in
Germany in 1910 A.D.
The fate had so ordained that a Sindhi scholar should get
joined in wedlock with a German poetess, to make a versatile
couple of scholarly eminence. The couple lived in London from
1911 to 1919, and occasionally came on short visit to Sindh.
Altogether, the couple spent 30 years of life in England,
during which they remained engaged in research, tracing the
evolution of religion through the ages up to the advent of
Islam. Both of them contributed numerous essays, articles
and addresses in various vital branches of modern knowledge,
beside preaching Islam under the aegis of Jamiatul
Muslimeen. In the year 1919, the couple returned to Sindh,
and Kazi Sahib first entered Government Judiciary Service on
deputation. After two years stay, because of some difference
with His Highness Mir Ali Nawaz of Khairpur, he resigned
and the couple left for London.
The couple continued propagation of Islam in London till
April 1951, when Allama was offered the post of
Vice Chancellorships of University of Sindh, they returned to Pakistan.

Some translations of Shah-jo-Risalo in Verse By Elsa Kazi.

SUR KALYAAN(N)
1
The One Creator, the all greats;
Lord of the universe
The living, the original;
Ruler with power innate;
The giver, the sustainer,
the unique , compassionate;
This master praise, to Him alone
thyself in praise prostrate..
The generous, who does create
the universe in pairs..
2
None shares His glory, "He was..is,
shall be"..who this doth say
Accepts Mohammad as 'guide'
with heart and love's true sway;
None from amongst those lost their way
or ever went astray.
3
“He is without a partner” , when
this glorious news you break
With love and knowledge, Mohammad
accept ..as cause him take
Why would you then obeisance make
to others after that?
4
From One, many to being came;
'many' but Oneness is;
Don't get confounded, Reality
is 'One' , this truth don't miss
Commotions vast display - all this
I vow, of Loved-one is.
5
The Echo and the call are same,
if you sound's secret knew
They both were one, but two became
only when 'hearing' came.
6
A thousand doors and windows too,
the palace has ..but see,
Wherever I might go or be
master confronts me there
7
If you have learnt to long, by pain
be not distressedSecret of love's sorrow must be
never confessedSuffering is by the heart caressed,
and there it is preserved.
8
The poison-drinking lovers, lured
by poison sweet, drink more and more;
To bitterness of fatal cup,
the poison-drinkers are inured,
Though wounds are festering, and uncured,
no whispers to the vulgar goes
9
All from Beloved's side is sweet
whatever He gives to you.
There is no bitter, if you knew
the secret how to taste.
10
There is a call to gallows, friends,
will any of you go!
Those who do talk of love may Know
to gallows they must speed.
11
If you a draught desire
to tavern find your way;
Thy head do sever, and that head
beside the barrel lay;
Only when you this price do pay
then few cups you may quaff.
12
The genuine lover, for his head
care and concern has none;
He cuts it off---joins it with breath
as gift then hands it on ;
Carves down to shoulders, form loved-one
then begs for love's return.
13
To guard and to preserve the head,
the lover's business is not this---
One of beloved's glance is worth
so many hundreds head of his---
Flesh, skin and bone, and all there is ,
the 'least ' of loved-one , equals not.

[swamidada]

Sur Kedaro of Shah Abdul Latif Bhittai

SATURDAY, 15 OCTOBER 2016
English Translation of Sur Kedaro By: Zulfiqar Ali Bhatti

This piece of work is translation of Sur Kedaro which is one of the 32 chapters of Shah Jo Risalo, the great poetry book of renowned mystic poet Shah Abdul Latif Bhittai form Sindh Pakistan which narrates the story of battle of Karbala in which Hussain, the grandson of the Prophet Muhammad was martyred along with his 72 companions and family members by the Army of tyrant ruler Yazid.
Canto 1
1
The month of Muharram arrives, heart for the princes sinks
God knows better, as he does whatever he likes, thinks
2
The month of Muharram returns but the Imams did not,
I might meet the lords of Medina, God I pray thee a lot.
3
The stalwarts left madina and they did not come back
Am in Plight for those went away, dyer, dye clothes in black
4
Plight of martyrdom was nothing but blessing
Yazid knew not about their eternal love, passion
To sacrifice their lives for their ultimate love
And die for their word their way, their fashion
5
Plight of martyrdom is nothing but pride pure
Stalwarts to know the Karbala’s tragedy obscure

Canto 2
1
The Imams leave Madina when the moon sets there
Equipped with swords, lances, axes and eagles along
To the battle field went the sons of Ali where
They will take the field with iron weapons strong
2
Settled in Karbala, the field of fierce battle
Faced Yazid’s army with great vigor and whim
With stunning strikes and with their teeth rattle
Fierce battle couldn’t make their passion dim
3
The Prophet’s siblings came to the land of Karbala
Their fine swords downcast the enemies to slaughter
No doubt the un fearing and undaunted in the battle
Were the sons of the Prophet’s beloved daughter
4
Stalwarts came to the land of Karbala
Brave, worthy of praise , undaunted
Earth jolted, and skies too shivered
With valor they their enemies enchanted
5
He gets friends slaughtered, beloved ones killed
And puts his closer ones into pain and plight
He does whatever wishes and whatever likes
Of course there lies some secret of deep insight

Canto 3
1
Is there any, saw gallants fighting in the field with valor great
Blood all around and death, feel the way fair, where life under threat
2
Gallants shine axes, swords and holding lances erect high
They relax them not, eager for martyrdom, ready to die
3
Charging and marching and fighting are the gallants’ trends
They keep on assaulting and, too, take care of friends,
4
The warriors came across with deafening sword strikes
And the stalwarts one after the other came down dead
Bloodshed all around, bloodstained bodies scattered
All around is hue and cry, and the field is all red
5
Warriors in the war shout and charge
And here cried one there the other breath
Trumpets cry at high on either side
Heroes and horses embraced the death
6
Heroes and horses shorter lives lead
Either at home or in the battle field
7
Martyrs’ bodies are brought back
In the battle field is hue and cry
Wives mourn for’em in the shack
With soiled hair on death of ally
8
Clad in wedding clothes, get ready and come along, groom
And fear not in spears strikes till you earn martyr’s bloom
9
Say not the husband fled away the field,
Pleased if hear, killed with wounds in his face
But If he bears in the back, I would die
Of unbearable pain, plight and disgrace
10
With out-thrust neck, proud wife sing aloud
Whose husbands were in the field martyred
“Such brave and undaunted warriors” they say
“With their blood red they their clans honored”
11
I’d love If you die fighting and I for you cry
But. dear husband flee not of the field
Life’s nothing but a very short ally
Shame forever which carping taunts yield

Canto 4
1
Dew fell or the twisters made them reach a weald
There came night over Ali’s children in the battle field
2
Yazid, put not Ali’s children in the quarrel’s plight
You will never avail whatever will be Hussein’s delight
3
Cruel Kufains came to the tyrant’s fold
Imam determined not to give up faith
Though under the impure people’s hold
And gladly braced a martyr’s death
4
Cruel Kufians sent word in the name of Lord
We your slaves, you the master of us all
Must you come once, we for your wait here
Be our saviour and listen to our eager call
5
Cruel Kofians allow not drink water in Karbala
There the children remember Ali, their father
And look around for Muhammad, the Prophet
Ask for aide from tyrants around that gather
6
Early in the morning there came a bird
At the Prophet’s shrine cried with painful moan
From the land of Karbala with saddening word
Seen swords striking, aide the children own

Canto 5
1
Hassan not there to aide Hussein in plight
And he is far, far away from his natal sod
Where Yazid assaults over him day and night
With his well trained, equipped warrior squad
2
Hassan not there to help the brother in the battle
If were there would have helped and sacrificed
Now, no one else is there to offer some aide,
Who could for Hussein his enemies have sliced
3
Not all in the battle field remain bold and brave
But only who care not life and for death they crave
4
He yet loves life if he does take shield
Gallant waits for none but marches ahead
Among all the warriors in the battle field
Stalwart all alone jumps to fight instead
5
Make doubt free heart, if want thee victory
Assault and wrestle and take not shield
Strike with spears with cries and shouts
Lumber cut enemies, take the battle field
6
Hur, the sturdy stout came straight and said,
Am but a slave to your grandfather, the Prophet nice
May I get his blessings as I am here to present
Myself, my soul and body for you sacrifice
7
Hur, though came from the other side to fight
He was with Hussien from the core of his heart
“My life is for you dear lord” said the true knight
Allah doesn’t burden a soul more than his sort
And I will do whatever I can against the plight”
Then braced martyrdom and well played his part
8
Wearing combat hamlet, audacious stalwart proud and sure
Stood undaunted though turned red with his blood pure
9
Beard bloodstained, teeth too, read like pomegranate flowers
Turban in the battle field shone like the full fourteenth moon
His mother to feel proud in the company of Muhammad, the prophet
Praise is for the vigorous gallant , martyred on the tenth’s afternoon
10
The mother cleansed the Karbala’s dust, and Ali wounds of the martyr
The Lord Almighty pardoned for the gallant’s brave blood’s barter

Canto 6
1
O warrior lord! throw thee onto the spears till thy last breath
For such an adorable sight for the years waits the death
2
As the goats cover mount, the vultures on the battle field
The warriors charge and chase and follow and fight
Widows of martyrs to raise the price of blue in numbers
They are to wear the mourning clothes after the plight
3
Vigorous warriors can’t stop fighting in the field
They battle in the name of Lord and sacrifice
Their lives before Imams, and warmly welcomed
With flowers’ wreathes by virgins in Eden so nice
4
Heaven is the home to stalwarts where they go
To Eden they move then, and meet the Lord
Bless me with a chance great , O, dear God,
And show me their face with your kind accord
5
Hassan and Hussien mourned by three clans
Men and brutes and angels in skies
Birds, too, cried, the beloved ones depart
Oh lord, eternal honor for them apprise
6
Those heartily adore not, Hassan and Hussein
The Creator Lord will never forgive them

[swamidada]

Soni Wadhwa 18 July 2018

“Risalo” by Shah Abdul Latif, edited and translated by Christopher Shackle

The Sindhi diaspora, whether in India or around the world, have a warm spot for the name Shah Abdul Latif, an 18th-century Sufi poet from Sindh, Pakistan, and a contemporary of the better known Punjabi Sufi poet Bulle Shah.

Very little is known about Latif, except that he was a pir, or a holy man, and his title Shah hints at his possible direct descent from the prophet Muhammad. An ancestor of his, Shah Karim, is considered to be one of the earliest poets writing/composing in Sindhi. Latif is hailed as Shakespeare of Sindhi literature.

Christopher Shackle’s edition of Risalo—Latif’s collection of his songs; the title means “the message— forms part of the respected Murty Classical Library of India published by the Harvard University Press and is an easily accessible bilingual edition of the entirety of Latif’s works in Sindhi original and English translation.

It also comes at a special moment: at a time when Sindhi language is fast disappearing from even the isolated pockets of several Indian cities where the Sindhis live, and when the schools teaching in Sindhi are shutting down, the Risalo stands as a revived icon of the esteem and the heritage of the community.

A word about Sufism and the language would be in order here. Sufism, or tasawwuf, is a mystical tradition of Islam often quite different from what might be considered “orthodox” practices. The movement spread to South Asia with the Muslim conquest; its literary express came with the consequent contact with Persian literature.

The Sindhi language’s relation with Islam goes back to at least the 9th century when tradition has it that Quran was first translated in Sindhi. The language has more recently been political: there was a row in the Victorian colonial period about which script to write it in and more recently about its lack of status as an “official” language”. In Sindhi, the Sufi message is seen at its subtlest and most powerful in the words of Latif.

Latif’s Risalo speaks of love and the beloved and incorporates metaphors of wine and yogic practices, highlighting traditions that belie Islam’s characterization as a monolithic faith.

The verses or lyrics in the Risalo are grouped under thirty surs. While a sur is understood to be the way a particular raga or scale is sung, in the Risalo, the surs are mostly named after the theme that the majority of the verses deal with. The surs do not come with a musical notation but the musicians performing at the shrine of Latif sing them in specific ways. Some surs are dedicated to regional legends like Suhini-Sahar or Sasui-Punhun. Some speak of love in general. Some offer praise to God. But within all subsumes the idea of the beloved as God and God as beloved. In “Sur Yaman Kalyan,” Latif says:

Mother, I do not believe those who shed tears and show people how their eyes water. Those who truly think of the beloved do not weep or say anything.

And a little later:

If you think of being united with the beloved, then learn from the way that thieves behave. They celebrate by keeping awake and taking no rest all night long. When they deliberately do come out, they do not utter a word. When they are chained together and put on the gallows, they say nothing. Although they are cut with knives, they reveal nothing of what has really happened.


The idea of love as a silent phenomenon is not unusual across cultures but the way it is blended here with thievery seems unique and shocking. Also unusual is the way Latif incorporates contradictions in the way he defines Sufi ways of love and devotion:

They are grieved by being given, by not being given they are happy. True Sufis are those who take nonexistence with them.

Latif speaks of love as suffering and pain, even in terms of violent images:

False lovers escape the arrow and never let themselves be struck. Those who make themselves a mark are killed by the first shot.

Or:
On the field of love, do not care about your head. If you mount the gallows of the beloved you will find perfect health.

Sufi thought and practice conceive of love as self-sacrifice. Latif spells it out very clearly when he says that desire and death begin with the same letter. The only way to love is be ready for death, to cease to exist, to trade with one’s head. These are the pre-requisites to union:

The self is a veil over yourself; listen and mark this well. It is existence that stands in the way of union.

Misery, unbearably cruelty—such are the ways of love and what it demands:

My beloved tied me up and threw me into deep water. He just stood there and told me not to get the hem of my clothes wet.


Latif also uses local romantic stories as analogies for devotion. There is one about Suhini who is married to Dam, but crosses the river Indus or Sindhu every night to meet her lover Sahar. Someone from Dam’s family conspires to kill her by replacing the pot she uses to cross the river with an unfired one. Suhini drowns but Latif uses her journey to draw parallels with the quest for the divine beloved. The husband and the society stand for the world that stands between Sunhini and God:

Her route lies in whichever direction the river flows; only insincere girls inspect the riverbank. Those who are filled with desire for Sahar do not ask about entry points or landing places. Those who thirst for love think the river is a mere step.

Loving becomes a journey and the act of pursuing the divine. Latif turns something as illicit as extramarital love into piety. Suhini screams:

Love rages at me every day. Beloved, why do you not come and restrain it?

Besides these ways of refreshing the way trueness to God/beloved is conceived of, there is also an element of transcending religious boundaries in Latif’s poetry. Latif says that the practice of seeking God is not in any way exclusive to the pathways dictated by any religious scriptures. That is why he can see what the Hindu yogis who journey towards the Eastern sites of pilgrimages are up to:

For what purpose do the yogis follow this path? Their hearts are not set on hell, nor do they desire paradise. They have nothing to do with unbelievers, and they do not have Islam in their minds. They stand there saying: “Make the beloved your own.”

The way the Sufis and the yogis love is the same in this vision. Both are consumed by a passion for the beloved and both quietly go about their business of seeking him/her:

Ram dwells in their soul, they speak of nothing else. They filled the cup of love and drank deeply from it. After that they closed their lodges and left. With matted braids over their foreheads, the yogis are always lamenting. No one has ever spoken to ask what makes them grieve. They spend their entire life in suffering.

This kind of identification and camaraderie across religious practices is not discernible in South Asian literary traditions except, perhaps, in the work of the Indian Bhakti poet Kabir, or Latif’s contemporary Bulle Shah. Christopher Shackle’s translation goes a long way in reminding readers across communities that faith moves people and torments them too in the same way irrespective of their religiosity.

The Risalo might be held as the Quran of Sindhi literature, Shackle suggests. It is perhaps no coincidence that among the works inspirational to Latif himself was the Persian poet Rumi’s Masnavi, which in turn is idolized as the Quran of Persian literature.

Sindhi writing is among the least known regional expressions of South Asian literature. This edition brings to light an important voice from an intersection of a literary tradition and a syncretic practice. The new Risalo is invaluable for reintroducing the poet saint’s message and creating a context for reading about the ecstasy of divine love and revisiting the ways one can love.

Soni Wadhwa lives in Mumbai.

https://asianreviewofbooks.com/content/ ... r-shackle/

[swamidada]

Zulfiqar Ali Kalhoro
August 28, 2020

Be it morning or evening, the faqirs of Shah Abdul Latif Bhitai may be found dressed in black and sitting in a semi-circle before the door to his tomb, singing his poetry on the tamboura. The Shah Jo Rag at his dargah enthrals the audience, who come from different parts of Sindh to pay respects to him. This practice of Shah Jo Raag continues from the days of Shah Abdul Bhitai when he himself used to sing with his faqirs. The shrine complex of Shah Abdul Latif is always full of his devotees: led by his faqirs who enter his dargah reciting his Sufi poetry. Many faqirs are to be seen leaning against the outer walls of the shrine and reciting his poetry. The Shah’s shrine provides succour to downtrodden segments of Sindhi society, who come to find some solace praying and sit leaning against the outer walls of the shrine which are decorated with blue and white tiles. These oppressed sections of society throng the Shah’s shrine to pay homage to him and spend their most of time at his dargah feeling the mystic milieu. For instance, at almost any time, it is possible to see families of Hindus from marginalized castes at the shrine, reflecting its popular appeal as well inclusiveness.

The Shah Jo Risalo, which has 30 surs (and ‘sur’ refers to a mode of singing that corresponds to the subject matter), was first published by German scholar Ernest Trumpp in 1866 in Leipzig, Germany. This publication missed a few surs, which were later added by other scholars.

In his poetry, women find a premier place. Shah reflects in his verse the suffering, sorrow and honesty of the woman of the land

Born in the small village of Hala Haveli in 1689, Shah Abdul Latif received early education in the village from his teacher Noor Muhammad. Amena Khamisani, who translated the Shah Jo Risalo into English, believed that although Shah Abdul Latif received a scanty formal education, the Risalo gives ample proof of the fact that he was well-versed in Arabic and Persian languages. The Holy Quran, the Hadith, the Masnawi of Maulana Jalaluddin Rumi and the collection of Shah Abdul Karim’s poems (his great-grandfather, who died in 1623), were his constant companions. He was also presented a copy of the Masnawi of Maulana Jalaluddin Rumi by Mian Noor Muhammad Kalhoro to win back his favour, as he had been estranged from Shah Abdul Latif. Mai Gulan, the wife of Noor Muhammad Kalhoro, was an ardent devotee of Shah Abdul Latif. Her son Mian Ghulam Shah Kalhoro was also Shah’s admirer. When Shah Abdul Latif Bhitai passed away in 1752, Mian Ghulam Shah Kalhoro (1757-1772), then the ruler of Sindh, built his tomb. Mian Ghulam Shah Kalhoro also built the tomb of his father Shah Habib and a mosque at Bhit Shah. Later Mian Naseer Khan Talpur also made some extensions.

Today, the shrine of Shah Abdul Latif Bhitai is visited by his Muslim and Hindu devotees alike, who come to seek the blessings of the saint. This is one of the few Sufi shrines in Sindh where people of different faiths come to seek solace transcending all religious boundaries. Bhitai rejected the religious bigotry of his time and travelled with Hindu yogis to their pilgrimage centres in Sindh and Balochistan. He also mentioned other holy places of jogis in Kutch, Girnar, Dwarka and Rajasthan, some of which he might have visited himself. From his Risalo, one learns a lot about his poetry on the sectarian affiliation and holy places of yogis. Shah Abdul Latif makes references in his poetry about some of the popular Hindu sacred spaces which he visited with wandering ascetics. The two surs of his Risalo ‘Sur Ramkali’ and ‘Sur Khahori’ are devoted to yogis. In fact, yogis found a good place in Sufi poetry of Sindh. Before Shah Abdul Latif Bhitai, Shah Lutfullah Qadiri (1611-1679) was the first Sufi poet who mentioned them in detail in his poetry. Miyon Shah Inayat (1620-1708) also referred to yogis in his poetry, and even devoted two surs, Ramkali and Purab, to them. He mentioned Veer Nath in his poetry – who was an eminent 17th-century Nath Yogi. He was also the founder of the Veernathi Sampradaya. Veer Nath Ji Marhi at Ratokot in Khipro taluka was once an important centre of the Nath Jogis of Rajasthan, Gujarat, Punjab and Sindh. It still attracts both ascetics and common people.

The name of Shah Abdul Latif Bhitai is synonymous with Sindh identity. In every nook and corner of Sindh and beyond, a majority of Sindhis identify themselves as the followers of Shah’s message of love, harmony, devotion and tolerance. The Shah’s mysticism is a many-splendoured jewel. Like many other subjects in his Risalo, Shah Abdul Latif also utilized the main features of the folk romances of Sasui and Punhun, Suhni and Mehar, Umar and Marvi, Leela and Chanesar, Moomal and Rano, Nuri and Jam Tamachi, Sorath-Rai Dyach and Bijal etc. to expound the spiritual journey that one has to undertake on their way to God.

In his poetry, women find a premier place. Shah reflects in his verse the suffering, sorrow and honesty of the woman of the land. In Marvi’s case, for instance, Shah depicts how her longing and love for her homeland were not changed by Umar’s wealth, affluence and luxury.

Through Shah Abdul Latif’s poetry, these romances also inspired the Sindhi painters who painted scenes from them in tombs. All the folk romances that Shah Abdul Latif used in his Risalo to convey his mystic thoughts became part of the later artistic repertoire of Sindhi painters – which they could draw upon to express their feelings and emotions in the form of murals. Instead of painting the entire story, the painters focused on the important episodes of the story.

Apart from the romantic tales, the folk tale of King Rai Dyach and Bijal also became an important theme in Sindh’s art – which was again derived from the poetry of Shah Abdul Latif. In this legend, as depicted in tombs, the famous musician Bijal is shown asking for the head of King Rai Dyach who was known for his generosity. Word had it that nobody returned empty-handed from his palaces. When Bijal insisted on demanding nothing short of the king’s head, Rai Dyach proceeded to cut his head with a sword and presented it as a memento to the musician.

Apart from Rai Dyach’s generosity, Shah Abdul Latif also composed poetry on various other generous (dattar) and brave persons including Jadam Jakhro, Samo, Abro, Rahu etc. in Sur Bilawal.

Today, the shrine of Shah has become a symbol of religious harmony and tolerance, where people of different faiths interact and intermingle – shedding their bigotry by engrossing themselves in the Sufi music and poetry. Both his Muslim and Hindu devotees are likely to promote this message to their progenies for posterity.

The writer is an anthropologist.

https://www.thefridaytimes.com/the-shahs-shrine/

[swamidada]

UMAR MARVI

It is a story of the times when Umer Soomro used to rule over THAR. In the village of Malir (this is the Malir in THAR, and it is not the Malir 14 miles from Karachi city) a shepherd named Palini used to live with his wife Maduee. They had a small farm also. They used to look after their herd, cultivate their small piece of land and led a contended life. They had hired a farm boy named Foghsen.
They had a daughter named Marvi. Even at the time of birth she was as beautiful as a fairy and as she grew in years she grew in beauty also. Her fame as a very beautiful girl spread far and wide. As she entered her youth Foghsen was infatuated by her. In spite of being a mere farm hand he had the audacity to ask for the hand of Marvi. This infuriated Palini and he was immediately sacked and Marvi was betrothed to Khetsen. Thus spurned and guided by fire of jealousy and to seek revenge for affront suffered.

Foghsen approached Umer Soomro the ruler of Umerkot (fort Umerkot) which was known after the name of its ruler Umer though in fact this fort was founded by Amarsingh Rathore.
Foghsen incited the rulers’ lust by giving vivid descriptions of
the beauty of Marvi. He said that the place of such a beautiful lady was only in the palace of the ruler where due to all the comforts and luxuries her beauty would bloom.
The ruler was naturally quite impressed by Foghsen’s narration of Marvi’s beauty. He wanted to posses her. Umer Soomro the ruler guided by Foghsen went to Malir in disguise. When they reached outskirts of Malir incidentally at that exact time Marvi was going towards the
well to fetch water. At the sight of her beauty Umer was quite intoxicated; while Foghsen hid behind trees, he approached Marvi as a thirsty traveler. As Marvi came near to give him water he immediately picked her up on his camel and quickly rode to Umerkot.

At Umerkot she was kept virtual prisoner. She was enticed, cajoled and threatened, but to no avail. Ruler Umer Soomro praised her beauty, professed deep love, promised to make her reining Queen, but all the allurements of good –luxurious clothes, food, status and all luxuries failed to shake her resolve that she belonged to her clan, her own native people and she would not marry any one else except Khetsen a person to whom she was betrothed to.

In the word of Shah Latif the immortal poet of Sindh:

I will not accept any other husband,
For me that, wearing coarse garments is handsome,
Even if uncouth he occupies the place in my heart.

This infuriated Umer Soomro and she was consigned to prison. She was abducted during winter season; nearly six months elapsed and rainy season came. She would sadly count the seasons and would picture the life of her kinsfolk at her village of Malir and pine for them. She bore her adversity with stoic fortitude for she knew that her poor kins were not able to rise against the King. She did not waver in her resolve. She did not change into royal garments, to this she became utterly oblivious.
In the words of Shah Latif Marvi said:

I would not use your oil; my heart is attached to my kin,
Why should I listen to any one, ultimately I belong there.
This is not the way of my kin folks,
To exchange daughter for the sake of Gold,

While at Umerkot I shall not sour this tradition,
The love of hutment cannot be exchanged for a palace.

Having failed in all his endeavors Umer resorted to shaming her by saying. “You crave so much for your kin folks but all this time they have not even cared to send any message to you. It is futile for you to continue to remember them, pine for them and entertain any hope of rescue from them.” Marvi was unshaken in her resolve. She did not even look at all the allurements and luxuries kept before her. She would prefer her simple food to the royal feast and the wild flowers to costly scents offered by the ruler.
In the words of Shah Latif:

My bare threads are more than the gold chain,
Don’t offer silks to poor cowherds O, Umer!
Even a fold of my own upper garment is dear to me.

She entreated Umer to free her so that she may return to her native place and pour water of her soil on herself. She further told Umer that when she would die in his captivity her body should be sent to her people so that she may be buried in her native soil.
In the words of Shah Latif:

While pining for my land, were I to breathe my last,
My body be handed over to my people,
May the creepers of my native soil cover my body,
I would live though dead, if buried at Malir.

All this exasperated Umer. He was all the more sullen. At that time his nurse who came to know of the situation rushed to Umer and told him that Marvi and he had par taken the milk from the same wet nurse and thus they are in a way brother and sister. On hearing this Umer was horrified at the enormity of the crime he was to commit. Immediately he sent a camel rider to Malir to Marvi’s parents and asked their forgiveness and gave money and gold to Marvi as behooves a brother.

Marvi returned to Malir with her parents. As Marvi had remained with Umer at his palace her betrothed Khetsen was suspicious about her chastity. Even in the community Marvi could not get the respect due to lingering doubts.

When Umer heard this he came with army to Malir. This led to her people abandoning their huts. Marvi went to Umer and told him that he had first committed the crime of abducting her and on the top of it he has attacked them which is totally unfair. Even if they suspected me they were not wrong. How would they know that I am still pure? Now you must go back to your palace.

Hearing this Umer felt ashamed and offered to undergo any trial to prove the truth. Marvi said I am the one who is under suspicion therefore I will face the test. An iron rod was put into fire when that rod was red hot Marvi stretched her palm and held the same in her hand and emerged unscathed. Then Umer the ruler also insisted on the same test and emerged pure.
This convinced every one and Marvi and Khetsen lived happily ever after till ripe age.

[swamidada]

Religious extremism and Sufi literature
Published April 28, 2009

Though much has been written on Shah Abdul Latif Bhitai and his Sufi poetry, there are some misconceptions about him and his poetry. One of the reasons for this misunderstanding is that due to a dearth of good books on him in Urdu and English those who do not know Shah's native Sindhi cannot reach the heart and soul of his poetic works. His poetry, truly a great piece of literary heritage, is deeply rooted in Islamic Sufism that shunned narrow, bigoted approach towards religion and welcomed everyone with open arms regardless of their colour, caste or creed. And this kind of all-embracing openness is not limited to Shah Sahib alone but almost all the Sufi poets of the sub-continent practiced what they preached and wrote about humanity, love and approbation.

Some are under the false impression that Shah Abdul Latif was a reclusive Sufi who uttered couplets under trance which his disciples wrote down as he himself was not literate. Many underrate his works and do not grant him a position beyond the status of a folk poet and think that the focus of his themes and poetry is Sindh alone. Manzoor Ahmed Qanasro has strongly dispelled these misconstrued impressions in his recently published book, 'Shah Abdul Latif Bhitai hayaat-o-afkaar', a book written in Urdu and backed by considerable research.

Compiled with a view to understanding Shah's message of humanity and love against the backdrop of his contemporary social and political milieu, the author has devoted a good portion of the book to highlight Sindh's history and the events that surrounded Shah's life and ultimately exerted their influence on his poetry. Qanasro has also cast some light on the hitherto little-explored aspects of Shah's life and his poetry and that include the 'bhit' or the mound, Shah's tomb, the famous Lake Karar, the rituals performed at his tomb, the tradition of 'sama'a' or qawwali music, genres of Sindhi poetry, the folk tales and folk characters that appear in Shah's poetry with symbolic and allegorical connotations. Some colour photographs of these places and characters adorn the book.

Qanasro says Shah was not only properly educated but also knew many languages including Arabic, Persian, Seraiki, Punjabi, Urdu/Hindi and Balochi, not to mention Sindhi. In Shah's poetry, there are scores of metaphors and allusions that refer to the Quran, Hadith and Mathnavi of Maulana Rumi. He used to carry with him all the time, says Qanasro, a copy of the Quran, the Mathnavi and 'Bayan-ul-arifeen', a collection of Sufi poetry of Shah's great-grandfather Shah Abdul Karim of Bulri. According to Ernest Trump, the famous scholar who first published the collection of Shah's poetry 'Shah jo risalo' in 1866 from Germany, his poetry is enough evidence to prove that Shah was an educated and well-read person, writes the author.

Shah was not only a great poet or a great Sufi, he was also a great connoisseur of music. Though he never played a musical instrument in his life, his entire poetry is based on classical ragas and is sung according to the decorum these ragas demand. Qanasro has given the details of the ritualistic music-playing and singing at Shah's mausoleum and has described the significance it carries.

What makes the book more adorable for the readers of Urdu is the Urdu translation of Shah's selected poetry along with the original Sindhi verses and the Sindhi pronunciation mentioned in Urdu script, thereby closing in the gap between the speakers of the two languages that has, unfortunately, existed till today. The author has done another favour to the readers by giving the abstract of every chapter first, explaining the metaphorical and symbolic meanings of the verses that follow. Prof Sahar Ansari is right when he says in his intro to the book that Qanasro has not only opened the vistas of new meaning for modern readers but has tried to decipher 'the meaning of the meaning' in Shah's poetry. Agha Saleem, in his foreword, stresses that we have lost our cultural identity and the re-discovery of our poets like Shah Abdul Latif, Baba Fareed, Bulleh Shah, and Sachal Sarmast etc will lead to our own rediscovery.

In Shah's poetry we find certain symbols that denote metaphysical ideas. Love in Shah's poetry does not necessarily refer to worldly love and the material world may be an allusion to the spiritual. For instance, in 'Omer Marui' in 'Shah jo rislao', during her imprisonment Marui constantly focuses her thoughts on 'Marus', her fellow tribesmen, and according to Anne Marie Schimmel, “the plural form 'Marus' is used here, as elsewhere, to denote the One True Beloved who manifests Himself in the most varied forms while still eluding all concrete description”. In other words, Shah Sahib, like many other Muslim Sufis, believed in 'wahdat-ul-wujud', a kind of Islamic pantheism. This invariably resulted in the belief that everybody should be loved since everyone and everything is but a manifestation of the One True Beloved, a thought well-presented in Sufi poetry.

Sufi poetry has a long and unbroken tradition in the sub-continent and it, therefore, is surprising for some that a society that had a continuity of Sufi thought that has stressed peaceful coexistence and religious harmony to the point of loving virtually everyone has become so extremist as to shun everything except its own brand of religious faith. For a better understanding, let me quote Schimmel again who says “... simple Quranic precepts have been interpreted more and more narrowly over the course of time. Moreover, customs and attitudes lacking any and all Quranic foundation have become increasingly rigid”. But, then, she is equally aware of the sensitivities of Muslim societies and points out “On the other hand, we have to be careful not to look upon our ideas that stem from a liberal, frequently from an 'uninhibited' interpretation of the concept 'freedom', as ideals applicable and valid for all the world. We have to be equally wary not to dismiss or condemn outright as being old-fashioned customs and habits we happen not to like. Muslims easily reject the transposition of certain 'modern' ideals onto the Islamic world as being just another new attempt to colonization. Such perceptions do little more than engender sharp resistance”.

Somehow I feel that this aspect of Muslim sensitivity has largely been ignored, igniting a sharp resistance.

Published by Karachi's Sindhica Academy, the book is just a reminder that Sufi poetry is a voice against extremism.

https://www.dawn.com/news/921194/religi ... literature

[swamidada]

What scholars say about Shah Latif

Tradition relates that Shah Abdul Latif was born by the
benediction of a certain holy man and so named in
accordance with his desire. In Tuhfat-ul-Kiram, Shah Habib,
the poet’s father, is described as a ‘Perfect Man of God’,
devoted to a life of piety and contemplation. At times, he
used to be so completely lost in meditation as to be
unconscious even of his beloved son’s presence in his
chamber. Tuhfat-ul-Kiram was written by Mir Ali Kana’ of
Thatta, a disciple of Shah Abdul Latif, in 1181 A.H. (1767
A.D.), i.e., fifteen years after the Poet’s departure from this
world.
It is stated that Shah Habib sent his son for academic
instruction to Akhoond Noor Mohammed Bhatti of the
village Vai, a village situated six miles from Bhit and four
miles from Udero Lal. Shah, it is said, declined to learn
anything beyond ‘Alif’, the first letter of the alphabet, and
also that of ‘Allah’, The Supreme One.
Learn the letter ‘Alif, forsake all other learning;
Purify thy heart, how many pages shalt thou turn?
When Shah Habib learnt that his son had declined to
learn anything beyond the first letter, ‘Alif’, he felt elated
and warmly embraced his son. He, however, remarked:
‘Verily, thou art on the path of Truth. This mystic truth
is also known to me but worldly prudence dictates that
one should not abhor secular education.’ Tuhfat-ul-Kiram,
however, records that Shah did not receive any school
education.
There are two opinions as to whether the poet was
‘Ummi,’ i.e., ‘illiterate’ or otherwise. The scholars, who
regard him as ‘the unique man of letters of his age’, are,
however, unable to produce any reliable or authentic
evidence in support of their view. At best, theirs is an
equivocal verdict.
Dr Trumpp, the eminent European scholar, who was the first man to compile and publish the poet’s Risalo, writes in the Introduction:
‘It is said that he had never studied, which is however
sufficiently refuted by his Diwan, where he exhibits a deep
learning in Arabic and Persian.’

Dr Gurbuxani writes in his ‘Muqqadama-Latifi’
(Introduction in, Sindhi to Shah Jo Risalo) : ‘It can be stated
with certainty that Abdul Latif, according to his times, was
highly learned in every branch of knowledge—partly due
to his academic pursuits and partly due to his personal
observation and study. He was a scholar of Persian and
Arabic and had a complete mastery over his mother tongue.
Not only this, but he was also conversant, to some extent,
with some other languages such as Balochi, Saraiki, Hindi,
Punjabi, etc. ... he seems to have made a deep study of the
Koran and Traditions, Theology and Philosophy, Sufism
and Vedantism, Syntax and Grammar, etc. The Holy Koran,
Rumi’s Mathnawi, and Shah Karim’s Risalo were always
with him... he has touched in his Risalo a variety of subjects
originating from the study of these three books and also
of the aforementioned branches of learnings; at certain
places he has given literal renderings of some of the verses
of the Koran and Rumi’s verses... this bears undisputable
testimony to the fact that Shah Abdul Latif was a unique
scholar of his own time. . . the “true knowledge”, however,
which he imbibed, dawns only on a few rare souls. There
is only one way of acquiring this knowledge—
contemplation of the beauty and majesty of Man and
Nature and reading the Book of Self. Undoubtedly, Shah
had made this study and this is what accounts for his being
the Sovereign of Poets.’

Mirza Kalich Beg writes in his work in Sindhi—An
Account of Shah Abdul Latif Bhitai: ‘It is but certain that
he received no instructions under any school teacher;
perhaps what he learnt was by his own personal zeal. He
was well versed in Persian and Arabic. There are several
Koranic Verses, Traditions and other Arabic Sayings in his
Risalo, which can be quoted with such elegant aptness by
none except a man of deep learning. There is, however,
12 Shah Latif An Account of the Poet’s Life 13
nothing on record to testify that Shah had received any
regular academic training. Had he learnt to scribe, a few
remnants of his hand would have surely been on record.
Shah possessed manuscripts of three books—the Holy
Koran, Rumi’s Mathnawi and the Risalo of Shah Karim of
Bulri. Nothing is written in hand on the copies of these
books—whether on their covers or in the margined space
of their pages to exhibit any specimen of the hand of the
poet. In all faith, we submit, that on Perfect Men, God
bestows Divine Knowledge, of which mortals know
nothing.’

Professor Jethmal Parsram in his Life of Shah Bhitai also
expresses the belief that Shah had made a deep study of
Arabic and Persian. He (Professor Jethmal) refers to the
wealth of Persian and Arabic phraseology contained in the
Risalo.

Dr Sorley writes in his Shah Abdul Latif of Bhitt: ‘How
far Shah Abdul Latif was an educated man has proved a
great puzzle to scholars. The popular tradition is that he
had no regular education but taught himself everything.
Popular tradition in this respect is, however, unreliable.
His poems show clearly an acquaintance with Arabic and
Persian far beyond the ordinary accomplishments of his
time. It is certain that he was familiar with the work of
Jalaluddin Rumi. . . The mystical form of his poetry could
never have been achieved without a deep and sympathetic
understanding of the mystical development of Islam that
came to India through the work of the great Persian poets.
Thus, whatever the facts of Shah Abdul Latif s education
may have been (and it is a typical conceit of hero worship
to pretend that all knowledge came to him as a sort of
special revelation), it is clear that his education was neither
superficial nor contemptible.’

Mian Din Mohammed Wafa’i writes in his work in
Sindhi, Lutf-ul-Latif: ‘Such is the sublimity and grace of
his poetry that none can believe that Shah Sahib was an
illiterate man or an ordinary individual ; but those who
know that through self-purification and penance man gets
knowledge of those mysteries of which common men are
absolutely ignorant, will surely believe that God bestows
upon some illiterate persons such treasures of knowledge
as fill the minds of the wise and the learned with
amazement.’

Saiyid Mir Ali Sher Kana Thattawi, a disciple and
contemporary of Shah, however, writes in Persian in
Maqqalat-ul-Shuara: ‘Although the much revered Shah
Sahib was illiterate, yet all the knowledge of the Universe
was inscribed on the hidden tablet of his heart.’
Some of the foregoing scholars have laid stress on
Shah’s knowledge of Persian and Arabic and, on that basis,
they pronounce the verdict that Shall had acquired
scholastic training. In order to establish the truth of the
thesis that Shah was educated, scholars invariably argue
thus : Had he been illiterate, he should never have retained
with him a copy of Rumi’s Mathnawi—a golden-lettered
and golden-edged attractive manuscript presented to him
by Mian Noor Mohammed Kalhoro, the ruler. Shah had
a profound faith in Rumi, who is the only mystic poet of
Persia quoted by him in his poetry. Sachal also was a
disciple of Attar, the great Persian mystic poet of Mantaqut-Tair fame. Being an Awaisi, Shah probably had some
pre-destined spiritual connection, with Rumi (Awaisis
receive spiritual Grace from living as well as departed
Masters). It was, therefore, perhaps out of reverence for
Rumi, that Shah had always with him a copy of the great
Persian mystic’s Mathnawi. Persumably Mian Noor
Mohammed presented it to him in the light of his knowledge
of the poet’s faith in Rumi. Shah makes mention of no
other poet in his Risalo except Rumi. He quotes him by
way of authority in a string of half a dozen couplets, one
of which may be cited here by way of illustration:
The whole diversity (creation) is His seeker and He
the Fountain Source of Beauty—thus says Rumi.

http://sahitya-akademi.gov.in/pdf/Shah-Latif.pdf

[swamidada]

Sindh Assembly pays rich tribute to Shah Latif on 278th urs
Tahir Siddiqui Published September 22,

KARACHI: The Sindh Assembly on Tuesday paid glowing tribute to Hazrat Shah Abdul Latif Bhitai and passed a unanimous resolution to mark the 278th urs of the great Sufi saint.

The resolution, initially tabled by Pakistan Peoples Party’s Heer Soho, was later adopted and read by Mohammad Hussain Khan of the Muttahida Qaumi Movement-Pakistan, Nand Kumar of Grand Democratic Alliance and Pakistan Tehreek-i-Insaf’s Firdous Shamim Naqvi.

The resolution read: “This house pays homage to most renowned mystic Sufi and great poet Hazrat Shah Abdul Latif Bhittai on the occasion of his 278th Urs Mubarak. Bhittai was a beacon of Sufi enlightenment. The virtue of peace, patriotism and love in his poetry make him the greatest advocate of harmony and social tranquillity. He not only prayed for the prosperity and stability of Sindh but also for the well-being of whole mankind in the words.”

BhittaiPedia app being developed:
Speaking on the resolution, Culture Minister Syed Sardar Shah said that his department was working on an app, “BhittaiPedia”, from where poetry collection of Shah Latif Bhitai would be one click away.

He said that BhittaiPedia was being developed by the Abdul Majid Bhurgri Institute of Language Engineering at Hyderabad.

“The entire collection of Shah Abdul Latif Bhitai’s poetry would be available at BhittaiPedia,” he said and added that would be the first application, having entire collection of any poet.

He said that the culture department would suggest to the United Nations Educational, Scientific and Cultural Organization (Unesco) to declare his collection a part of intangible cultural heritage of the world.

The minister said that the culture department had already translated Bhitai’s collection in Urdu, English, Arabic and Persian, adding that translation in Chinese would also be completed soon.

He said that a ceremony to present Latif Award to those who conducted research and contributed in highlighting the message of the Sufi saint globally would be held on Sept 24 in Bhit Shah.

PPP’s Heer Soho, Tanzeela Ume Habiba, Ghazala Siyal, Parveen Qaimkhani, Imdad Pitafi, Ghulam Qadir Chandio, Munawwar Wassan and Jam Shabbir Ali, MQM-P’s Hussain, Rabia Khatoon and Mangla Sharma, GDA’s Kumar, Nusrat Sehar Abbasi and Abdul Razzaq Rahimoon, PTI’s Naqvi, Jamaluddin Siddiqui and dissident Shaharyar Shar and Muttahida Majlis-i-Amal’s Syed Abdul Rasheed also spoke on the occasion.

Published in Dawn, September 22nd, 2021
https://www.dawn.com/news/1647697/sindh ... -278th-urs

[swamidada]

Weather wisdom in Sindhi literature: Exploring human-nature interactions in Shah Jo Risalo
Weather remains an essential component of physical experiences of the environment, as well as people’s expressions of emotions, in fact and in fiction.
Atoofa Samo | Aqdas Fatima Published August 5, 2022

Weather stories and folklore are one avenue through which people have historically expressed their interactions with the environment.

They not only capture the ways in which people interact with their environments, but also provide a force of imagination that influences understandings of the self, the universe, and broader perceptions of the human condition.

This article considers stories that have been told about weather in the South Asian context. How have they shaped peoples’ engagement with their environments? How have they aided sensorial experiences of weather? And what is the relevance of such stories in today’s climate-change driven context?

The need for management
Among all the novelties experienced by the British as they colonised South Asia, variable climate stood as a particularly perplexing concern. Beyond the obvious differences, the agency of weather in the South Asian context became a prominent source of anxiety.

From Henry Pottinger’s narrations of the “most sultry weather” of Sindh to early descriptions of South Asian weather as “abhorrent”, “violent” and “hellish”, we gain a sense of the region’s weather — and particularly its heat — as something that needed management.

In part, ideas of “the orient” and “the tropics”, along with emerging scientific categorisations of weather, created a new means of controlling environmental processes that were otherwise deemed chaotic.

As meteorological sciences gained footing in the late 19th century, the ability to predict weather patterns and behaviours substantially improved, making weather less eccentric than previously assumed.

Colonial conversations steered away from puzzlement over the agency of weather and its impacts, towards defining it as something rather platitudinous — weather became reserved as a subject of conversation for when there was nothing left to talk about.

Despite this, weather remains an essential component of physical experiences of the environment, as well as people’s expressions of emotions, in fact and in fiction.

From proverbial references of garmi (heat) to anger and passion, to the metaphorical joy of bahaar (spring) and barsaat (rain), descriptions of weather are not only telling of peoples’ perceptions of their environments, but are crucial insights into the way they may be feeling as a result of interacting with such environments.

In what follows, we use poetry from Shah jo Risalo — a collection by Sufi poet Shah Abdul Latif Bhitai — to explore how weather and the environment are used as forces of imagination, and how they reflect a local ethos of human-nature interactions in Sindh, a province of modern-day Pakistan.

We also underscore the difference between weather and climate in relation to the environment — where the former engages with short-term experiences, the latter spans over a longer duration. We choose to focus on weather and base our understanding on Camille Frazier’s definition of weather as embodied experience and interactions with local environments.

Bhitai’s poetry
Shah Abdul Latif Bhitai was a scholar and a saint, considered by many as the greatest poet of the 17th century. Written in the form of ballads, his poetry narrates the experience of individuals seeking God, emphasising negotiations with the ego.

The Risalo contains 30 thematic chapters, called Surs, of which some illustrate the life stories of widely known and culturally significant heroines — Suhni, Sasui, Lila, Momal, Marui, Nuri and Sorath.

Bhitai’s interest and focus on nature set these tales as rich grounds for exploring human-nature interactions and how they manifest in local realities.

Since the 18th century, various manuscripts of Risalo have emerged with slight differences in translation and analyses.

We focus on two translated versions of the Risalo: the revised and annotated edition by Muhamad Yakoob Agha and translations by Elsa Qazi for secondary analysis.

Our particular focus, Sur Sasui, is among the longest series of Surs, including Sur Abri, Sur Hussaini, Sur Kohyar, Sur Mazuri and Sur Desi, bearing on the story of Sasui and Punhoo. We also refer to Sur Sarang (the monsoon), particularly in its notation of the value of water as a symbol of fertility during times of famine.

What makes Sur Sasui particularly relevant for reflecting localised interactions with weather is the significance it grants to elements such as light and shade, the sun and water, heat and the wind.

Such facets of environmental interaction are not only essential in character development and as a means for exploring the character’s emotional states, but are also crucial in defining the story’s progression, particularly its spatio-temporal placement.

Atmospheric metaphors utilising scorching winds, harsh sunlight, and pouring rain are frequently drawn in order to express the state of the beloved (the primary subject of the poet) and the intensity of their circumstances.

Where weather is conventionally understood as scientific, Risalo’s ability to express emotional capacities through various weather elements, and its exploration of how such elements become associated with emotive states are tell-tale signs of locally grounded human-nature interactions, particularly how this dichotomy is understood. Anthropological study of weather tends to establish clear boundaries between what is social and what is ecological, often focusing on humans as subjects that actively interact with a dormant environment, i.e. the object.

Bhitai not only observes the receptiveness of people to nature and vice versa, he builds an image that considers humans in nature, foregoing ideas of defining the two in terms of objectivity and subjectivity, and focusing instead on building exchange and dialogue between the two.

Human-nature synergies in Bhitai’s text thus play an active role in breaking down binaries, suggesting more nuanced approaches to understanding how people position themselves in relation to nature.

In Risalo’s weather stories, we find descriptions of salubrious seasonal rains, intense winds during the summers, and distressing droughts, all of which are expanded on through story arcs of characters such as Sassi and Punhoo, and how their internal states paralleled the environments they inhabited — something that Anderson (2005) described as “weather wisdom”.

Sasui and Punhoo’s characters are also manifested through descriptions of light and shade, darkness and overcast clouds, and most prominently, the sun.

In many verses, shade refers to darkness and light refers to sunshine. Sasui’s emotional state during her struggle to find Punhoo is articulated through the intensity of the weather which leads to the destruction of mountains and burning of trees, rendering the environment uninhabitable.

Among the most prominent themes that emerge in Risalo’s text is that of struggle and hardship, and how those are negotiated using metaphors of heat.

Sasui’s character in particular epitomises struggle, particularly in her quest to find her love Punhoo.

Bhitai elaborates on her agony through descriptions of the prevailing topography of Sindh in the 17th century — the resounding echo of the arid Baloch mountains; the dry, hot, sandy air wafting in the Thar desert; and the suffocating smoke in the city of Bhombore, which he likens to hell.

Sasui’s overarching emotional state throughout her contests are elaborated through her perceptions of the weather that surrounds her, one characterised by the harshness of the sun as it strains her body, blurring distinctions between internal and external perceptions:

While the journey of hardships continues, Sasui musters her strength through her connection with the weather. As her tortuous expedition continues, she fortifies herself with the thought, “you have to keep moving all the time, be it bitter cold or blazing heat”.

In Sur Sasui, the sun is shown as a significant source of the hardship; the sun’s heat exacerbates the beloved’s experiences by making her exceedingly sweaty.

From the heat released from the burning ground, to the feeling of suffocation resulting from the hot winds, for Sasui to cope with the loss of Punhoo, she must prevail through the distress she is subjected to by her environment. Her struggles of love are inseparable from her struggles with the heat.

Sasui lays down in the grove and waits for the perspiration to dry up, just as she tries to remain patient in her search.

On her struggle, Agha writes in his analysis of Shah jo Risalo: “Sasui feels that life without the beloved is gratuitous. Nay, it is a prison worse than hell. She must, therefore, seek reunion with her beloved Punhoo. She is undoubtedly oppressed by the love’s fire, the sun’s heat, the arduous and perilous journey”.

Beyond expressing emotional states through metaphors of heat and weather, Bhitai’s poetry discusses assiduously the economic implications of weather patterns, laying particular emphasis on monsoon rainfalls — a longstanding symbol of hope and prosperity in Sindh.

Aside from experiential understandings, weather is established as a geographical agent, binding spaces across continents under its directional and non-directional movement.

Bhitai especially considers the unequivocal importance of water in his descriptions of economic security:

Rather than making forced attempts to define and patronize weather, these descriptions offer on the ground interactions with the environment that were commonplace in the region. In terms of everyday human experience, weather takes expression through practices, habits, routine, and conversations.

Notably, the only reference to fear in Sur Sarang is made in reference to rain, and it is from the perspective of widowed women.

Widowed women’s helplessness during the rain is compounded by the lack of aid and support from male guardians.

Risalo’s engagement with the gendered implications of monsoon rains shows the use of weather imaginations to address wider cultural norms and concerns, simultaneously complicating the season’s assumed role as a driver of prosperity:

How weather is spoken about has evolved drastically, not only in terms of long-lasting atmospheric changes, but also in the way that people position themselves in their environments, oscillating between conversations about its mystique and mundanity.

It is curious that a strong interest in weather has only now reemerged — under discourses of fear and disasters — in the age of the Anthropocene.

Revitalising stories and narratives of weather that centre around embodied experiences of atmospheric conditions might, we propose, be a starting point for reexamining our fears, and understanding where we stand now, in our weathered environments.

Acknowledgements: This blog is the output of a 3-year project, Cool Infrastructures: Life with Heat in the Off-Grid City, funded by the United Kingdom’s Economic and Social Research Council (ESRC) as part of the Global Challenges Research Fund (GCRF). The publication can be accessed via the Edinburgh Research Archive. We thank Professor Nausheen H Anwar and Professor Jamie Cross for their suggestions and comments that helped improve the blog.

Atoofa Samo is a Senior Research Associate at the Karachi Urban lab. She explores how lower income groups take measures in informal ways to accommodate and react to extreme heat; what are the available resources, vernacular practices and indigenous knowledge through which people satisfy their necessities for cooling.

Aqdas Fatima is a Research Associate at Karachi Urban Lab. She holds a Bachelor of Science in Social and Biological Anthropology from the University of Kent. At KUL, she has been researching medical impacts and perceptions of heat, while also developing an anthropological understanding of heat through an exploration of language, localized cooling practices, and the various sociopolitical intersections of climate change.

https://www.dawn.com/news/1700675/weath ... -jo-risalo

[swamidada]

The Mystical Philosophy of Shah Abdul Latif Bhittai
A Study of Shah-Jo-Risalo
Dr. Ali Murad Lajwani
Assistant Professor,
University of Sufism and Modern Sciences (USMS)
Bhitshah, Sindh, Pakistan

Dr. Abdul Jaleel Mirjat
Research Fellow
Department of Sociology
University of Sindh, Jamshoro

Abstract The mystic poetry of Hazrat Shah Abdul Latif Bhittai was
compiled by his disciples in Sindhi language. It was largely circulated
among common folk due to mystical concepts, the peculiar taste of spiritual
music and cultural stories of seven women. These women were presented as
heroines in the poetry due to their self-awareness and deep insights. The
mystical notions, spiritual themes, sequential melodies promote humanity
and tolerance. It has been translated into Urdu, English, and other
languages. Therefore, readers deeply explore the treasured subject that
promotes equality and discourages the intolerance, religious differences,
and gender discrimination. The creative and multi-dimensional poetic sense of taste awakens the soul to connect the mercy of the divine and promote social fabric in society. The study of poetry is highly needed for the young generation to be lovers of the entire creation. It gives an essence to hinder
social discriminations that cause terrorism and suicide attacks over the
world. Peace and love are the basic needs of present generations.
Favorably, poetry enriches kindness and sympathy among people beyond
the boundaries. The present study covers various mystic and enriching
topics that were discovered from the different chapters of Shah-Jo-Risalo.
The hand-written and printed manuscripts were included in the study that consisted of five thousand three hundred and forty poetic couplets and thirteen hundred thirty fascinating melodies. Thus, the piece of research reat subject of mysticism and Sufism studies.

Introduction:
Explicitly and implicitly explaining, Hazrat Shah Abdul Latif
Bhittai is narrated as a Saint and poet of mysticism. He was born in the
year of 1668, at the small village familiarly known as “Hala-Haveli” in
district Matiari, Sindh-Pakistan. He traveled throughout the subcontinent and conveyed the true meaning of divine and mercy. Finally,
he had selected the mound which was known as “Bhit” in native
language; that surrounded by sandy-dunes green lands and an entire
atmosphere of mystic experience.
Shah Abdul Latif Bhittai has institutionalized the treasure of
mysticism, and composed his poetry in Sindhi language. Further, his
composition of poetry as classified into didactic, devotional, romantic or
epic genres. Besides to this, verses were valued not only for their
syntactical splendor but also philosophical depth and their ability to touch hearts and minds. The melodious chapters (Sur) as framed into the spiritual-music familiarly known as “Shah-Jo-Raag”. According to some oral traditions, Hazrat Shah Abdul Latif Bhittai as engaged two
musicians namely Atal and Chanchal who had both arranged the poetry
into melodious chapters (Sur). The disciples of Bhittai are
acknowledged as “Bhittai-Fakeers”, and enthusiastically involved in
singing the spiritual-music “Shah-Jo-Raag” from the desert to sing the
verses with melodious combination of indigenous musical instrument
“Dambooro”. Shah Bhittai as composed poetry and engaged fakirs to
sing the poetry Manzoor Kanasro.1 While the poetry was arranged in a
shape of book, and regarded as “Shah-Jo-Risalo” into two forms- the
hand-written as well as the published manuscript of the printing press.
Dr. Hotchand Molchand had discovered through the different sources,
and explained that Ernst Trump was the first person who had brought
“Shah-Jo-Risalo” out of obscurity into lime light.2 He got two old
preserved manuscripts which he got compared and corrected by the local
literate to compile his version, then that was printed and published in the
German City Leipzig in 1866. Hence, the following is the detail of

1 Manzoor Kanasro, Legacy of Shah Latif, trans. Anwar Pirzado (Sindh: Sindhica
Academy and Culture Department Government of Sindh, 2007),
2 Dr. Hotchand Molchand Gurbuxani, An introduction to Shah Muqqadmah Latif,
trans. Dr. Habibullah Siddique (Sindh: Institute of Sindhological University of Sindh,
3 The Mystical Philosophy of Shah Abdul Latif Bhittai
published “Shah-Jo-Risalo” that was largely circulated among the
people at the national and international level.
a. Shah-Jo-Risalo complete published 1867 A.D from Bombay
b. Shah-Jo-Risalo by Dr. Hotchand Molchand Gur Buxani 1923
A.D
c. Shah-Jo-Risalo by Kalyan Advani 1958 contains 1577 couplets
and 42 Vaees
d. Shah-Jo-Risalo by Agha Yaqoob 3038 and 195 Vaees
e. Shah-Jo-Risalo by Dr. Nabi Bux Khan Baloch 3320 Vaees
Parting with this, Shah Abdul Latif Bhittai also illuminated the
experience of silence by enriching of the spiritual and social fabric
through attachment with the souls of mankind. In this perspective, the
same fact, the greatest Persian poet Jalal-u–din Rumi great mystic poet
illustrated the concept of silence by dint of mysticism. Irrespective to
this, Coleman Barks explaining that Rumi has devoted much more
attention to silence, especially at the end of poems where he gave the
words back into the silence they had come from (Khamush in
Persian).3This is a real fact that mysteries which flow through him.
Hence, this is the only poet who has paid such homage to silence in this
respect. Further, he was once asked, “Isn’t it a strange that you talk so
much about silence?” He answered, “The radiant one inside me has
never said a word.” Here are some closing lines from this collection that included the silence after the poem as an integral part of the poem. Thedeep silence of Shah Abdul Latif Bhittai turned into the mystic-voice
containing the language of humanity beyond geographic boundaries; the
gender differences, and the religious difference. His poetry being
circulated with the melodious indigenous music and the source of
inspiration of people around the social world.
Literature Review
Dr. Durr-e-Shahwar greatly elucidated that every Sur of Shah-Jo Risalo is divided into the sections that vary in length from the two to
twelve, and covering on the subject matter with respect to such the
Sur. Each section is mystically arranged into the various themes and
metaphors.

3 Coleman Barks, Thoughts upon Silence: Rumi Bridge to the Soul, Journey into the
Music and Silence of the heart (New York: Harper Collins, 2007),
4 Dr. Durr-e-Shahwar, The Poetry of Shah Abdul Latif Bhittai, (Hyderabad: Sindhi
Adabi Board, 1988),

Dr. Ali Murad Lajwani and Dr. Abdul Jaleel Mirjat
For instance, Sur “Marui” is one of the longest Surs covering the
twelve sections each section contains from the nine-twenty-one couplets
(Baits) and ending with one or more melodies (Vaees). The two smallest
Surs including Ghatu (one section), and Ripp (two sections) while the
first part having twenty-eight couplets (Baits) and one melody (Vai), the second portion comprising of nineteen couplets one melody (Vai). In some Surs like Sasui as included the ten melodies. Professor Annemarie
Schimmel has explained in intellectual labor that mystical thought in
Bhittai’s poetry revealing out the human sufferings and well-being of
mankind on social world.
In a similar vein, the Sufis love of yore. Besides to this, Shah Abdul Latif Bhittai realized the purifying power of sufferings; and making the heroines as the example for the soul
purification through the difficult journey of deserts of this social world or through of affliction until they reach union with the Divine Beloved at the moment of death.
Shah Latif Bhittai has close affinity to the original mysticism of
Hallaj that has been condensed in Attar’s story. In the first Sur of “ShahJo-Risalo” Bhittai Latif has expressed the sign of the true lover and symbol of union in this manuscript. In this context, Shah Abdul Latif Bhittai travelled the various parts of Sindh and adjacent areas. However, his poetry amalgamated with depth-feelings as well as the practical experiences and so forth. His poetry is composed in Sindhi language.
Professor Ameena Khamisani gave an opinion that the first manuscript
was thrown in “Karar Lake” with some mystic intentions, but nothing
has been reported for its authenticity.6 Besides to this, there are some,general statements.
Thus, Shah latif’s devotees and disciples felt repent and grieved
deeply at such the action, meanwhile he allowed them to prepare another
manuscript that was taken from two or three manuscripts which were
under custody of his other disciples, but a devoted disciple - Mai Niamat
assisted much more in collection of verse known as “Shah-Jo-Ganj” or
“Shah-Jo-Risalo”. However, “Shah-Jo-Risalo” initiated with
transcendence and immanence of Almighty Allah and praise of the last
Holy Prophet Muhammad (Peace Be upon Him). In addition to this,
every Sur of “Shah-Jo-Risalo” focuses on the spiritual melodies

5 Professor Annemarie Schimmel, Pearls from the Indus, Studies in Sindhi Culture
(Hyderabad: Sindhi Adabi Board, 1986), 115.
6 Professor Ameena Khamisani, Risalo of Shah Abdul Latif Bhittai (Hyderabad:
Bhitshah Cultural Centre Committee, 1994), 21.
The Mystical Philosophy of Shah Abdul Latif Bhittai
including “Kalyan and Yaman Kalyan” are related with the spiritual
journey, peace and soul searching in love of Allah as played the spiritual
melodies in this way. His poetry covers the Divine spirit, spiritual thrust and knowledge; secret of mankind life; love and longing and so forth. Parting with this, Shah Latif’s teachings speak of an opportunity for a social life that is bestowed by Allah to man for purification of soul in this social world. His poetry is a reflection on man’s longing to reach at the higher level in social life so as to meet Creator- Almighty Allah. In
similar manner, His poetry is largely based on the allegorical strategy
and discussing the ordinary folklores and tales including Suhni-Mehar,
Sasui-Punhoon, Marui-Umer, Noori-Jam Tamachi, Sorath-Raidyach,
Moomal-Ranu, and Leelan-Chanesar that were the more common during
his days meanwhile the characters of such tales allegorically illustrate
the mystical symbols and aspects of spiritual life and journey of man in
this earth-Ali Ahmed Brohi.7
Irrespective to this, Elsa Kazi as explained in Sur (Suhni) the relationship between the soul of mankind and Divine spirit, and relied on the entire scarification of life in love of Allah.
Thus, this indicates the union with beloved and shun of worldly lust. In
this Sur (Sasui and Punhoon), Shah Latif Bhittai defined the
predicament of the lover in separation of beloved. In this respect, the
folk-lore of “Leela and Chanesar” expressing the covetous nature of
the queen and sold soul of king for worldly pleasure and further to
accumulate worldly riches instead of heavenly. Thus, the story
symbolized as king’s fall from grace and the Queen’s languishment’s,
repentance and entreaties on account of sold her husband for the
transitory riches of the world. For understanding of mystic couplets
given in Shah-Jo-Risalo” that determine out human soul, mind,
circumstance and so forth are taken as substrata for his Sufic effusions
popular tales and stories that are known through the length and breadth
of the country.

[swamidada]

Book on Shah Abdul Latif Bhittai launched
Peerzada Salman Published January 25, 2022
KARACHI: A book titled I Saw Myself — Journeys with Shah Abdul Latif Bhittai by Indian authors Shabnam Virmani and Vipul Rikhi, reprinted by the Endowment Fund Trust (EFT) for Preservation of the Heritage of Sindh, was launched at the Arts Council of Pakistan Karachi.

Dr Ayoub Shaikh welcomed the guests on behalf of the council which had collaborated in organising the event on Sunday evening. A presentation on ‘Sassui’s Route’ was then given by Gul Hassan Kalmati and Dr Rakhman Gul Palari.

The keynote addressed was delivered via video link by Fakir Syed Aijazuddin, OBE. He said like the two authors of the book he cannot speak Sindhi nor read Shah Latif’s kalam in its original script. Nor can he differentiate between the various ragas, which provide the rhythmic structure to his poetry. But he hoped that he had the sensibility of what the authors describe as the orality, the feeling behind words of our unique inheritance.

Fakir Aijazuddin said Shah Latif’s poetry travels at the speed of sound, the sound of the human heartbeat, the sound of breathless love. Poets such as Shah Latif and his spiritual guide Rumi and Kabir do not belong to one specific area or one measurable standard time. The message that they give through their poetry is as much for their own time as for the future.

The dates that we have of Latif’s life are 1689 and 1752. When he was born in 1689, Mughal Emperor Aurangzeb Alamgir had been on the throne. By the time the poet died in 1752, the Mughal throne had suffered six incompetent emperors and was occupied by Ahmed Shah Bahadur, the son of the infamous Mohammad Shah Rangila. It was a period of political and social turmoil. The authors mention that the latter period of Shah Latif was spent under the rule of the Kalhoras. They describe it as a period of comparative stability.

Fakir Aijazuddin said little is known of Shah Latif’s personal life. His spiritual inheritance stems from his great grandfather Shah Abdul Karim. The authors tell us that he was a man of languages; being proficient in Persian, Arabic, Saraeki, Urdu besides his mother tongue Sindhi. But they do not explain how and where he mastered this linguistic expertise. Shah Latif fell in love with a girl but he had to wait until his father’s death before he could marry her. But his young wife died childless. From then on, poetry became Shah Abdul Latif’s emotional companion.

The keynote speech was followed by the formal launch of the book by Syed Khawar Hussain Shah Latifi (Sajjada Nasheen).

After that a lecture was given by Dr Sahar Gul on how Shah Latif’s protagonists walk from the preliminary stages to the supreme level of consciousness in their pursuit of ishq or love.

She then engaged in a conversation with the co-author of the book, Shabnam Virmani, who spoke via video link from India. Ms Virmani, who before her book on Shah Latif had made documentaries on Kabir, said she’s grateful to the EFT’s Abdul Hamid Akhund for considering the book worthy of getting launched in a province where there are devotees and lovers of Shah Latif. Even the researchers’ work on Kabir did not seek a singular voice. All of their work is to do with moving away from those who create differences (tafawatein) and celebrate our common culture, history and heritage.

“People who point out differences, who are beholden to the project of seeking originality, purity, uniqueness… these are all problematic projects. They may carry some worth, but it is the Sufis who taught us, who had the courage to keep bringing us back to the recognition of our porosity — the porosity of our borders… We are not individuals. ‘You are therefore I am.’ The Sufis made us realise this aspect of inter-being. While discovering Kabir we discovered many such people. Be it Gorakhnath, Mirabai, Shah Hussain or Bulleh Shah. The ordinary people in India and Pakistan who sing [Latif] and deeply love his poetry, they do not create differences.”

Apart from that, the programme included speeches by Ayaz Latif Palejo, Noor-ul-Huda Shah and Dr Fahmida Hussain, followed by live music.

Abdul Hamid Akhund moderated the launch.

Published in Dawn, January 25th, 2022
https://www.dawn.com/news/1671269

[swamidada]

Shah Latif: Sindh’s celebrated reformer

By Syed Mohibullah Shah August 31, 2023

The death anniversary (urs) of Shah Abdul Latif Bhittai, Sindh’s most celebrated poet-reformer will be observed on Friday (September 1) in Bhit Shah (his resting place).

Regarding his poetry, Shah Latif once said, “take my poetry seriously. These verses are not merely for singing but are milestones to guide you to achieve your cherished goals.”

But, instead of celebrating his multidimensional genius — his message of humanism, liberalism, interfaith harmony and strident opposition to totalitarianism — and implementing his reform agenda for an enlightened society, we have reduced his poetry to a single-dimensional interpretation of a Sufi poet.

We have not yet realized what a great reformer he was. And in difficult times — in the age of totalitarian regimes of the medieval Subcontinent when even human life had no meaning if you annoyed the kings and rajas — his clarion call to dislodge such anti-people rulers was the first of its kind, a unique and unparalleled call in the Subcontinent of his time.

The ruthless nature of rule in the Subcontinent is aptly captured by this Urdu phrase: ‘jaan kee amaan paaoon tau arz karoon’ (I will speak or explain my opinion only if you promise not to take away my life, in case my words do not please the lord/ ruler). This was the level of the suffocating serfdom under which people lived for years. The ruler was called ‘Zille Ilahi’, literally meaning the shadow of God on earth, who could commit no wrong irrespective of the heinous brutalities he committed against his people.

That in such an age and time, a clarion call for dislodging absolutist and anti-people rulers was given from medieval Sindh by our polymath poet-reformer is unique in itself. This is how he describes these rulers: ‘Bahar boli hanj jee andar karo kaan, ahro thalli thaan bhajee chhon bhora kaje’ (These rulers are deceptive. On the outside they appear sweet-tongued and friendly but are crow-black (anti-people) from the inside. These are empty vessels (anti-people) and they should better be broken (overthrown/replaced)).

Such calls for radical reforms were heard from his contemporary European thinkers like John Locke, Rousseau, Montesquieu and others but not from within the medieval Subcontinent.

And there are reasons for this. Take another look at the Subcontinent of the 17th and 18th centuries and one would find that writers and poets did not raise their voice for improving people’s living conditions because most of them had attached themselves to the ‘darbars’ of the kings and rajas and were living on their stipends. They showed no interest in what was happening to people under these brutal regimes and were busy entertaining rulers and singing their praises. They wrote ‘shahnamas’ and ‘badshahnamas’ (poems written in praise for kings) but no ‘awaminama’ (a pro-people poem) to talk about the lives lived under those absolutist rulers.

So, how did this miracle of mind happen in medieval Sindh where its polymath poet, called for toppling them instead of singing praises of the rulers? There were four factors that influenced Shah Latif who talked about a reformist agenda of empowering people and creating an enlightened society — similar to European philosophers — but unheard of in the Subcontinent of his time.

The first was his family upbringing and the value system taught by his parents. His religious foundation and teaching regarding the importance of the ethical basis of society came from what he learnt from his parents.

The second factor that influenced his mind were the extensive travels he undertook as a young man with jogis (ascetics) and others all over Sindh and the neighboring regions of Balochistan, Rajasthan, Gujrat etc. Humanism, egalitarianism, Sufism and respect for people of all religions, castes and creeds and his compassion for the poor and the downtrodden reflected in his poetry were products of the life he lived among them.

The third factor that influenced his mind was the peasant revolt in the early 18th century in Jhok, 60 miles away from his home. Led by Shah Inayat Shaheed, the peasants asked for a better share of the produce from the land they worked on and put up strong resistance against feudal lords. Ultimately, the feudals sought help from Mughal Emperor Farrukhsiyar (the grandson of Aurengzeb) and used deceptive tactics and exploited religious feelings to crush it.

They sent a delegation to Shah Inayat Shaeed with the Holy Quran asking for negotiations for the amicable settlement of the issue. Respecting the Quran, he went along with them for negotiations. As soon as he reached their camp, he was arrested and executed and the revolt crushed. This incident shaped Shah Latif’s thinking against exploitative, ruthless and deceptive rulers. His disdain for such rulers is reflected in his verses.

The fourth factor was the life he lived. All through his life he was a free man, unburdened by obligations to any ruler or raja. He was not a ‘darbari’ poet, nor did he live on anybody’s stipends or owe them anything to hide their cruelties and sing their praises. With his unburdened conscience and courage of convictions, he championed the causes of the marginalized sections of society, including religious and gender minorities.

Through his poetry, Shah Latif taught the following values: first, there should be an ethical basis of society, where people should share the value system by consent not by force; second, we must create a just society that eradicates poverty, oppression and injustice and provides wellbeing and dignity to all; three, there should be no discrimination on the basis of race, religion, caste or creed because a common humanity binds us together; four, the rulers must work for the wellbeing of people who should be empowered to hold the rulers accountable and replace them if they work against people’s interests.

If we look around, we will find that these are also the universal values upheld by the UN Charter and reflected in the constitutions of all democratic countries. So why have we neglected his reform agenda and empowerment of people?

It is a tragedy of the colonial mind that we applaud and embrace values that come from former colonial masters but disregard the same values that were advised by our people — our polymaths. Shah Latif’s poetry has also been a victim of this colonial mindset.

It should be clear that Shah Latif is a poet of the future, not of the past. He is a poet of enlightenment, not entertainment. He is a poet of everybody, not just Sindhi Muslims, and he is the first reformer of the Subcontinent.

https://www.thenews.com.pk/print/110526 ... d-reformer

[swamidada]

Tribute: Two German scholars remembered
Speakers say Dr Schimmel, Mother Elsa idiolised everything Sindh had.

News Desk
June 15, 2014

Islamabad-based writers and intellectuals paid glowing tributes to two German women and for their scholarly work and propagation of peace and human harmony — Prof Dr Annemarie Schimmel and ‘Mother’ Elsa Kazi.

According to a press release, at a gathering titled “A tribute to two great German souls”, organised by the Pakistan Intellectual Forum (PIF), Islamabad on Saturday, noted jurist and author Khadim Hussain Abro read out his research paper on Kazi saying she was born in a small village in Germany.

It was in London that she met her future husband, scholar-philosopher Imdad Imam Kazi, and developed a lifelong association. The couple married in Germany in 1910.

He said, “She had no children, but all the students of the University of Sindh, Jamshoro and Sindhis call her Mother Elsa, even today.”

In order to pay perpetual tribute to her, an old campus of the University of Sindh in Hyderabad was named after her.

The Mehran University of Engineering and Technology Jamshoro followed suit and established a girls hostel named after her. She is now buried side II Kazi on the Sindh University campus.”

Research scholar and author Khadim Hussian Soomro spoke about the life and literary contribution of Prof Dr Schimmel, whom Sindhis call “Amarr Schimmel” (sweet ‘Mother’ Schimmel).

He said that she made an unparalleled contribution to culture, mysticism and other areas of social sciences and humanity in Pakistan, particularly in the Sindhi language.

Soomro said that she was a practicing sufi and great disciple of Shah Abdul Latif Bhittai. Her mastery over Sindhi language and literature and her appreciation and interpretation of Shah Jo Risalo made her “sweet mother” of every soul in Sindh.

“Like Mother Kazi, they also idolised each and everything Sindhi and in return the people of Sindh regard them as their mothers.”

Hashim Abro of PIF, recited a famous poem “Neem tree” by Mother Kazi which is reflective of her intense love for trees, herbs, shrubs and environment of Sindh. He also read out a few insightful and thought-provoking paragraphs from Prof Dr Schimmel’s literary and mystic works.

A resolution was also passed at the gathering demanding that the Sindh government establish an educational or literary institute or library in memory of Dr Schimmel.

Published in The Express Tribune, June 15th, 2014.

https://tribune.com.pk/story/721968/tri ... remembered

[swamidada]

RELIGIOUS THOUGHT IN THE POETRY OF SHAH ABDUL LATIF BHITTAI
ASADULLAH MAHESAR M.PHIL. SCHOLAR FROM NATIONAL INSTITUTE OF PAKISTAN STUDIES, QUAID-I-AZAM UNIVERSITY, ISLAMABAD, PAKISTAN.

ABSTRACT: To interpret religion is not the responsibility of common people but they do not give up and illustrate it in their own methods. Because every man has a different approach to understanding the religion and its interpretation due to the distinctive faith and belief they belong to. Hence, it cannot be said that once's elucidation of religion is true and other's is untrue furthermore, once belief never be applied on other either by force or implementation. There are two major classes of people who interpret the religion in their own methods, one is the religious scholars who have different approaches to understand and address the religion and they stress more on the ceremonial practices of religion like fasting and praying only. However, the second class is of Sufi saints, whose analysing and comprehension of religion is contrary is that of religious scholars and they emphasize more on spiritual development rather than ritual deeds. Similarly, Shah Abdul Latif Bhittai is one of the greatest poets of Sindh, Pakistan whose poetry is acknowledged throughout the world and his way of practice and interpretation of religion is uniqueness. This dissertation will try to understand, how Shah Latif addresses the religion through his poetry and how he deals with other religion. What are the implications of Shah Latif's poetry in the present day, weather its applicable or not in modern age.

To understand religion, it is an excessively perilous assignment to illustrate religion. The different people have distinctive approaches to examine the religion thus, it varies from region to region because it concerns the beliefs, faiths, practices, devotion, and more but the central assurance is in God or a supernational force. There is diversity between the religion and religions, although, religion is the foundation of the parent religions. The illustration of one’s religion cannot be applied to the illustration of other religions, and no religion can be segregated from other religion. Therefore, religion and belief are indistinguishable (Howerth, 1903). Moreover, it can be assumed that all the religions are an offshoot of one tree hence, the term religion is extremely vague to define because people die to avert their religion according to their beliefs (Idinopulos, 1998). As we go into depth in the religions, we discover more diversity among them. Shah Abdul Latif Bhittai1 (1689-1751) was one of the great Sufi saint, poet, scholar and humanist of Subcontinent, who transferred his religious message throughout his poetry. He lived during the Mughal empire in the reign of Aurangzeb (d. 1707) and he intensely observed the declination of the Mughal empire.
sufi mystic of 18th century and the national poet of Sindh: Sindh a province of Pakistan was under the rule of the Kalhora family (Verma, 2016) in Shah's time. During this period, Sufi Shah Inayat Shaheed martyred while resisting the brutal rulers, as well as this period was perceived as religious hierarchical in which the Pirs had supremacy over Sindhi society (Sorley, 1940). Therefore, it was rather difficult to promote the true principles of religion in Sindhi society where the religious orthodox had patronage by the state. But like the other Sufi saints, Shah Latif addresses the masses about the true concept of religion through his poetry instead of emphasizing only on ritual practices as do by conservative Muslims. There are several assumptions by distinctive scholars regarding the religious vision of Shah Latif because the poetry of Shah Latif is totally based on love, peace, struggle, and human equality and does not have focus on the exhibition of worship to God. Because he knew that the progress of humankind is more necessary to accede to God by offering ritual practices. Consequently, the poet did not reveal his creed or sect to the people because his only mission was human prosperity. Even Shah Latif used the word Islam once in his whole poetry. He neither visited any sacred places of Islam (Makah and Madinah) nor praised any Pir, ruler, or feudal, etc. (Abbasi, 1987). In fact, Shah Latif's religion was Islam, but the fundamental values of all religions were also existed in his notions as well as his views not at all as communal or narrow-minded. He depicts both Muslims and non-Muslims in his poetry moreover, he traveled with Yogis and Sanyasis for three years (Jotwani, 1963). Obviously, Shah Latif belongs to a Sayyid family and intuitively respected the ritual practices of Islam as well as he recognized all the religions are true and honorable. Pakistani society is divided into several religious sects and the people are perplexed that who should they follow thus, several religious parties or sects proclaim that they are on the right path and the rest are in the wrong direction as well as they criticize each other. So, it is necessary to explore the message of Shah Latif about religion and how does he think about the Islamic teachings as well as to observe the other religions, particularly Hinduism. The present study will attempt to analyze the religious ideas of Shah Latif which he has portered in Shah-Jo-Risalo. The aim of the study is to explore the religious vision of Shah Latif as well as to evaluate how Shah Latif pursue the religion. The study will scrutinize how religion was being exercised by religious scholars and its repercussion in Sindhi society as well as on Shah Latif’s life. Furthermore, the Piri-Murudi system was at its peak during Shah Latif's era, and the religious leaders had auspices from the state even, the rulers of the Kalhora family were too the spiritual leaders of that time. Moreover, the renowned religious assassination of Sufi Shah Inayat Shaheed (d. 1718) and Makhdoom Abdul Rahman (d. 1732) happened in this period. Therefore, in such a condition it was much perilous to interpret the true concept of religion. The present-day of Sindhi society is not much distinct as observed in Shah's period in the sense of religious superiority, where the Pir's or spiritual leaders are still dominated over Sindh. Therefore, it is indispensable to prevent the manipulation of religious narrow-minded by following the message of a great poet, Shah Latif. Thus, this research will analyse how Shah Latif deals with religion and religious elites.

Keeping in view that the mystics and religious scholars always have clashes regarding the interpretations and practices of religion. Meanwhile, religious leaders had enjoyed the key position in the Kalhora dynasty during Shah Latif's period. Thus, Shah Latif and religious conservatives of that era endeavoured to illustrate the true principles of Islam in distinctive ways. Therefore, the main question of the study is to understand how Shah Latif addresses the religion in his poetry. How did religious scholars exercise the religion during Shah Latif's era? What was the relation between religious scholars and the state? How did Shah Latif inscribe the traditional scholars in his poetry? What is the influence of Shah Latif's religious vision on Sindhi society? The exploratory as well as qualitative research is applied to address the research questions for this study. Thus, there are different types of methods to analyse the data collection but in social sciences the exclusive method is content analysis in both qualitative as well as quantitative research methodologies (Bengtsson, 2015). In qualitative research methodology the content analysis is exceptionally appropriate technique to understand the human thoughts, feelings and behaviours either these are in written or practical form. The content analysis is used to explore the data existing in the form written, spoken or cultural artifacts like, audio, video picture, drawing etc. There are two types of content analysis: conceptual and relational content analysis. The conceptual content analysis is used to identify the existence and frequency of a concept is used in the text. Whereas the relational content analysis examines how the different thoughts or concepts related to each other as well as to investigates the acknowledgment of the people to these concepts (Reis, 2021). Therefore, both types of content analysis will be applied to address the research questions. Because Shah Latif has used distinct concepts in his poetry to interpret the spirit of religion. Thus, to examine the feedback of the people towards the message of Shah Latif will be evaluate by using relational content analysis. Moreover, both primary and secondary data sources are assessed to understand the nature of the topic. The primary source is adopted from the 'Shah-Jo- Risalo and the secondary source is taken from different books, journal articles, and research papers. It is necessary to distinguish the previous works on Shah Latif's life, work, and poetry. Before the conquest of Sindh (1843) by the Britishers, Shah Latif was an unexplored personality though, no work had been published on the poet till the mid of nineteenth century. Almost after a century of the poet’s death, it was an English scholar named Richard F. Burton who first introduced the great poet through his book; Sindh, and the Races that the inhabit the Valley of the Indus (1851). Burton explored the poet to compare with Ibn Farazi of Arab and Hafiz Sa'adi of Persian (Burton, 1851). Thus, the seven more renowned works had been published on the life, work, and poetry of
Shah Latif in the second half of the nineteenth century. These seven works are: Sasui (1863) by F. J. Goldsmith, Shah-Jo-Risalo (the first printed book on Shah Latif's poetry) published by Dr Ernest Trump from Leipzig, Germany in 1866, Life of Shah Abdul Latif (1870) by W. Southey, Something about Sindh (1882) by G. Sigma, Life of Shah Abdul Latif Bhittai (1877) by Mirza Qaleech Baig, The Life, Religion and Poetry of Shah Abdul Latif (1890) by Lilaram WatanMal Lalwani and last but not least Notes on Risalo (1895) by Jhamatal Vasvani. In the twentieth century, there are several numbers of books, gazetteers, research articles, and doctoral theses have published at the national and international level on the study of Shah Latif and these works cannot be discussed in this limited section because it requires a separate section to elaborate each. However, the renowned works are the thesis of H.T. Sorley entitled Shah Abdul Latif of Bhitt that was published in 1940 from Karachi, another notable work of Dr Annemarie Schimmel of Pain and Grace (1976) occupied creditable efforts in the study of Shah Latif and his work. Furthermore, the different scholars and authors like, G. M. Sayyid, G. Allana, Shaikh Ayaz, Agha Saleem, Agha Yakub, Dr N. A. Baloch, Deen Muhammad Wafai, Rasheed Bhatti, Tanveer Abbasi, and more have worked on Latifiyat as well as the translation of Shah-Jo-Risalo in different languages.

RELIGIOUS THOUGHT OF SHAH ABDUL LATIF BHITTAI: Man is known by his character either he belongs to any creed or faith, his behaviour reveals his belief. However, it is not easy to declare someone as righteous or pious only by observing his visible deeds. Only God knows the secrets of the heart. Thus, there are several assertions of distinctive scholars of Shah Abdul Latif Bhittai regarding the religious thought of Shah Latif. Because Shah Latif had a company of non-Muslims and he spent several years of his determinative life along with them and visited their sacred places. It is the unique quality of Sufis who are not limited to the sole rapprochement of their own religion, but their approach is wide. They welcome all the people of different walks of life whether they belong to their faith or not. Alike, the doors of Shah Latif had always opened for all the people. Due to his broad-minded and liberal understanding towards the different faiths, the people of different religions or sects, near and far attracted to his circle. However, the central ideas of all Sufis are the same to get the will of Allah. In fact, this reason became the cause of the spreading of Islam in the sub-continent. The religion of Shah Latif was a kind of amalgamation of fundamental and real Islamic beliefs. He neither crossed the limit of any such faith nor criticized to other creeds. Thus, he had a unique rapprochement to the religion, he was not such those Sufis like Mansoor Al Hallaj (d. 922) and Sarmad Kashani (d.1661), who raised the slogan of 'Anal Haq' which would not be approachable for common masses or religious elites. The religious thought of Shah Latif had two features before the ordinary people, but his central aim was the prosperity of human beings whether he or she belongs to any creed, faith, or color. In the first aspect, he was from the Sayyid family and descendant of great mystic poet Shah Abdul Karim of Bulri (d. 1623). He followed the Sharia by performing the prayers, fasting in the holy month of Ramadan, and remembering to Allah Almighty by prayer beads. He used to recite the holy Quran by comprehension, and he always kept it with him. He used to spend alone for the sake of absolute truth and remembering the Creator. These arguments reveal that Shah Latif was proved himself as a true Muslim by exercising these deeds. However, on the other side, Shah Latif spent some years along with his non-Muslim companions of Jogi and Sannyasin through traveling (Mirza K. F., 1980) moreover, he complimented the straight forwardness. The poet also discussed them in his two surs Khahori and Ramkaly. Shah Latif used to visit the sacred palaces of Hindus, too, along with his Jogi companions. It was first time a German scholar named Ernest Trumpp, a British servant in Subcontinent who comprehensively understood the Indian languages like, Sindhi, Pashto, Punjabi and Brahui. During his stay in Sindh, he studied Shah Latif's collection and after his retirement he compiled the collection of Shah's work and published it in 1866 from Leipzig, Germany. He gave the title of 'Shah-Jo-Risalo' to the collection of Shah's poetry. He was the first who introduced Shah Latif to the world, but he could not publish the whole work of Shah Latif. Thus, there were a few surs like, Marvi, Karayal, Purb, and Kamode were excluded from the publication of Shah-Jo-Risalo. Trumpp also chapterized the collection of Shah's poetry and this first edition was called Trumpp's edition. Thereafter Ernest Trumpp, Qazi Ibrahim was the second who published Shah-Jo-Risalo in 1867 from Bombay (Agha, 1985), and this edition is known as the 'Bombay edition'. Afterward, several distinguished scholars like, Ghulam Muhammad Shahwani and Kalyan Advani were published Shah-Jo-Risalo in 1950 and 1958 respectively. There are some other prominent scholars who compiled Shah-Jo-Risalo and published it, in which H. T. Sorley, Allama I. I. Qazi, N. A. Baloch, etc. are salient scholars (Agha, 1985). Hence, due to different research methodologies of distinctive scholars to compile the message of Shah Latif in the form of Shah-Jo-Risalo. Some scholars have included some chapters or verses in their editions whereas other scholars have excluded some chapters or verses from their editions by arguing that these chapters or verses are alien or not from Shah's sayings. Similarly, some editions have more verses or poems, and some have less but most of the scholars accede that, there are thirty chapters of Shah-Jo-Risalo. Each sur (chapter) is entitled according to the subject discussed in the sur and each sur has a different theme or subject furthermore, each sur has divided into sections. The religious thought and Islamic traditions have been portrayed in each sur. The very first is Allah, He is omniscient. Supreme and Lord of the universe By His Divine might He exists since infinity He is the Lord, one and only, fosterer. Merciful and compassionate Praise Him- The real Lord by reciting the admiring verses for Him It is He, the compassionate who planned and perfected the universe. (Munwar Arbab (Halo), p-17) In these verses, Shah Latif praises the Almighty Allah that, He is the Lord of the whole universe, Supreme power, eternal existence, creator of piles of earth and skies, one and only one, etc. Furthermore, the poet gorgeously expresses the power of His existence and depicts the fundamental concept of Almighty Allah which is existence in every religion about God. This poem closely resembles with the explanation of Surah Al-Fathia and sur Kalyan is almost resembling with the first Surah of Holy Quran (Al-Fathia). In which the doctrine of the oneness of Allah and true and untrue paths have been elucidated. “Allah is unique and without a partner’’.
First chapter of Shah-Jo-Risalo:
This is the testimony of His oneness. Those who adhere to duality are the losers. (Munwar Arbab (Halo), In this piece of poetry, the poet articulates the doctrine of Tauheed (oneness of God) that, God is the only one, He does not have kith and kin, He is solely existence. These lines also resemble the verses of Surah Al-Akhlas (Quran) in which the oneness of God has been explicated. On the other side, those who follow the duality and do not believe in one God will off the right track and the punishment of this deed will be unpardonable. Allah says in the Holy Quran that all the sins can be pardoned except polytheism. Another similar verse addresses the oneness of God in this way. Listen O’ Deaf “He is unique and without a partner” Did your ears hear not? the spiritual consciousness inside you? You shall shed tears, on the Day of Judgment, when witnesses shall confront you. (Munwar Arbab (Halo), Once again, Shah Latif utters to his listeners (disciples) that, do you not hear that there is no God except Allah, do you not understand this secret of the inner self? But when you stand in front of God on the day of judgment then you will regret it. Moreover, the poet emphasizes that in all conditions you must have to recognize this concept of the oneness of God and never be resemble anyone to Him, if you do so then who will save you from the punishment of Allah. This brief statement in the above couplet shows the same message as given by Allah in the Holy Quran regarding the unity of God. Hence, the philosophy of the Quran and the message of Shah Latif are not much so disparate which is clearly explained that the oneness of God and the Sharia is very important principles to achieve the human prosperity.
You should always recite and continue to recite: ''Allah is one and without partner'' Do not for sake, much less abandon, any category of Namaz, Simultaneously offer repentance repeatedly on rosary. O! (Ignorant man) put yourself on the straight path, So that he flames of Hell may not approach you. (M. Yakoob Agha, p-11) In these lines, the poet emphasizes those people who relinquish the way of Allah and His Prophet (PBUH) and follow the path which has been proscribed. This time, Shah Latif threats people as do by God-fearing men by giving reference to the fire of Hell that you should always remember that 'Allah is alone and has no partner' and repeat it continually, and never forget the Divine duties (prayers) which are granted by Allah. Moreover, to remember Allah by reading the rosary and at the same time offering penitence to ask for forgiveness of sins. To control the self-desires (nafs) is very difficult for common people because all the sins begin through this. Thus, Shah Latif insists more on controlling it because if it is controlled then the fire of Hell will be away from you. The poet takes a firm stand to obey the proscribed duties to get the will of Allah. This message of the poet is applicable for those people who are on the path of Satan (prohibited path). Those who in lord's peerless Oneness believe, Accept Muhammad (PBUH) guidance, with heart and speech, There is abode of bliss, for they abide God's decree, Never mislead are they to paths that dubious be. (Dr Durreshahwar Sayed, p-13) In this rhyme, Shah Latif admires the Prophethood of Muhammad (PBUH) along with the Creator of oneness. In this chapter, the poet emphasizes more on the unity (oneness) of Allah because it is the first belief in Islamic doctrine to believe in one God and negation of all other lords. Therefore, those who believe in one God and heartedly accepted the Prophethood of Muhammad (PBUH), who becomes the cause of the creation of this world and owner of huge dignity, will never be out of the right path and achieve the massive succession by following this true path. This poem further reveals that if you claim to love Allah then you must love the last messenger (PBUH) of Allah by heart and if not do so then your claim to love Allah is baseless. Here, to love the last Prophet means to accept the program of the Prophet (PBUH) and follow it wholeheartedly. Similarly, the same message has been elaborated in Surah Al-Imran ayat number 31 by the holy Quran. Unity to diversity led, diversity, unity's outcome, Truth is one, be not forgetful of this, I swear, existence tumulus glamour His reflection is. (Dr Durreshwar Sayed, p-21) Here, the poet expresses the next level of the oneness of God by saying, diversity comes from oneness and this diverseness is the oneness of God. It means, there is no God except Allah, and all the universe is created for His beloved Muhammad (PBUH). This perception of Shah is enough to analyze and understand the oneness of Allah and the cause of the creation of this universe. Another similar poem is said in this verse. He is this, He is that, He is the destroyer, He is the creator, He is the beloved, He is the breath, He is the enemy; He is the saviour as well. (Dr Durreshahwar Sayed, p-17) Shah Latif explains the nature of Allah by saying that, Allah is present everywhere, here or there. He has created the universe and He will be destroyed it. He is also the foe as well as helper, friend, or ally so, Allah is everything. He is the dearest, He is the lord of lords. Thus, there are several couplets that reflect the glory of God and His oneness in sur Kalyan. He alone blocks the, He alone the direct, He elevates whom He please, He degrade who wishes. (Dr Durreshahwar Sayed, p-61) In these lines, Shah Latif uses a verse of Surah Al-Imran (Quran) which means He is the supreme in his decision, ‘promote whomever He wants and humiliates whomever He would like’. Allah has superiority in each and everything. But Allah also says in the Quran that, ‘your efforts will never go in vain’. Even, Allah does not ineffective the efforts of theft hence, never despair, this is what Allah has written in our destiny. Always do struggle for positive things as well as such things which become the cause of human prosperity. After harmonizing ideally, the conditions in the universe Allah manifested Himself through the Prophet of Islam, The helper and guide (to mankind), the scion of illustrious tribe of Hashemites, and the leader of Prophets (who preached and glorify the oneness and His unique attributes). It fitted well with his position to be amidst his comrade in that auspicious mosque (at Madinah). His four companions particularly were constantly with him. (M. Yakoob Agha, p-115) Shah Latif does not only glorify Allah and His uniqueness, but he also extols the last Prophet Muhammad (PBUH). The poet very elegantly eulogizes the last and beloved Prophet of Allah in these lines. He says after the creation of this universe Almighty Allah explicates His beloved Prophet (PBUH) and makes him the leader of the leaders. The Prophet was granted the compassions along with the propitious mosque at Madinah and four caliphates (close friends) who were always with him. The poet praises the creativity of Allah, the Prophethood of the last Prophet (PBUH), and his status among the Prophets, the guides, the Hashemite clan, and the partisans. In addition to, he discusses the companions (Sahaba) of the Prophet who directly learned from the Master in the shadow of mosque Nabvi and in last, the four caliphates who later spread Islam and accomplished one of the objects of the Prophet (PBUH) to defeat the atrocious power of Qaisar (Rome) and Qissra (Iran). The poet, furthermore, utters that the last Prophet (PBUH) is the most superior man among all the Prophets, companions, martyrdoms, Aulaya e Allah (friends of God), and all human beings. Similarly, Allah says in Surah Al-Ambiya that, 'Muhammad (PBUH) has sent to mercy for all the worlds'. There is little difference of 'mem' between Ahad (God) and Ahmad (Prophet), The whole world is immerged in that concept. In this couplet, the poet differentiates between God and His beloved Prophet (PBUH) and distinguishes us the position of the last Prophet (PBUH) is. Furthermore, the difference between Allah and His Prophet is just of 'mem' (M), it means the Prophet and His creator does not have much difference and this philosophy is not easily understood by this world. The poet tries to understand the broad concept of Allah and His affection for the last Prophet. To understand this philosophy of Lover (God) and beloved (Prophet) in which the world has immersed, the poet has described this in a very simple way in these above lines. The learned once, page after page turn, Their heart accepts not what they learn, The more page they turn, the more they sin. (Dr Durreshahwar Sayed, p-173) In this couplet, Shah Latif criticizes those scholars who have learned a lot but their hearts do not accept it, so as they more read they more move towards sins. Similarly, the religious scholars, no doubt, have massive knowledge regarding the religion but unfortunately, they emphasize more on that exercise which does not have direct relations to human prosperity. Thus, they only observe ostentatious worship like fasting, praying, etc. but they never struggle for humanity, brotherhood, harmony, unity, etc. Therefore, Shah Latif's this couplet is entirely applicable nowadays. Because through these conservative religious guides, people exploit in the name of religion. These religious scholars instigate the people sometime in the name of Jihad and sometimes in the name of the Islamic government. Moreover, the poet criticizes those who learn more but they do not act on it. Similarly, there is valueless the reading of thousands of books unless you act on that knowledge. Shah Latif's perception is that you should read a little on which you should act on it properly. The knowledge that does not control self-desires has no importance. According to the poet, such knowledge can be cause of a huge loss that cannot guide the path of humanity and goodness. Similarly, another couplet is related to this theme given below. The more leaves you aimlessly trun, The more prone to sin you become, If he himself abide not, Of what you are guide's admonition. (Dr Durreshahwar Sayed, p-175) You pose yourself as the reciter of Kalim the faith is not like that Your heart bears deceit, disbelief and Satan (evil) By face you appear to be a believer inside you are an idol worshipper. (Munwar Arbab (Halo), p-115) Being a Muslim is an easy task, but it is very difficult to be a true Muslim. In this verse, Shah Latif criticizes those who do not follow the real spirit of religion, and instead of it they make the shape of pious men to deceit the others. Alike, Shah Latif's period was a hierarchical span of Holy sruggle for the will of Allah religious guides who exploit the masses in the name of spirituality but, indeed they oppressed their devotees. Resultantly, the poet condemns those religious scholars who created the monopoly with the state to vanquish the trued or God-loving men like Sufi Shah Inayat Shaheed and Makhdoom Abdul Rehman. Thus, these deceivers are also found today where they look like pious men, apparently as very true Muslims having large bread, but they have betrayal from inside. So long as you are conscious of your “self” your prostration to Allah is uncalled for Wipe out all your egoism and then offer your prayers. (Munwar Arbab (Halo), p-64) Shah Latif discourses about how to perform the prayers and what is required before going to in front of Allah (prayer). Thus, the poet provides the broad concept of prayer and its relation to egoism (self-centeredness). He says, first we have excluded the ego from inside and emancipate from it and then should go for prayer. Besides, do not go in front of your Lord (Allah) until you liberate from self-arrogance. Your worship is without benefit unless you eliminate your self-desires. Indeed, the true message of the prayer is also to abrogate the egoism and create harmony among the masses. On the other hand, the Quran says in Surah Al-Nahal that, ‘the prayer prevents from immorality and denial’. But unfortunately, we neither follow this philosophy nor understand the message of Sufi saints, particularly Shah Latif. It is observed that the people have made the prayer as ceremonial deeds and have never focused on its real purpose. The collectivism, that should have developed from the prayer, does not develop after having the large gatherings of prayer. Namaz and Fasting are indeed good deeds but there is some other wisdom by which to behold the Beloved. (Munwar Arbab (Halo), p-69) In this couplet, Shah Latif addresses how to get the will of God by pursuing such deeds by saying that, the performing of prayer and fasting are not enough to please God, but it is something else through which we can get the will of God. The poet responds to those narrow-minded who think that the Sufi poet does not follow the Sharia (Divine laws) for the sake of Allah's will consequently, he does retort that there is no way to please Allah but there are numerous methods through which it can be achieved the will of Allah. As it is said that Shah Latif used to play the music, which has prohibited in religion, along with his devotees thus, he also used to say, he finds comfort in listening to music to purify his soul. Therefore, the opponents of Shah had got this opportunity to blame Shah by taking this subject of listening to music, but it could not affect the gloriousness of the poet. On the other hand, this poem criticizes those who only emphasize fasting and praying but do not behave in a good manner to their relatives and others. And those who interpret the Divine laws and declare that fasting and praying is complete exercise to get the will of God. This poem also criticizes those religious leaders who only advise their followers to focus on fasting and praying only and do not convey the true message of religion, which was spread by Sufi saints whose mission is to get the will of God through different methods. No doubt, fasting and praying is an individual duty to every Muslim but besides it we must do such activities through which the people can liberate themselves from the curse of poverty, corruption, injustice, inequality, etc. So that, Shah Latif's message to please Allah is something else like, to serve the people, treat them well, to help them, to hide people's fault, to understand their compulsion as own compulsion, to struggle for human prosperity instead of race, color, creed, and religion. You are reality not loyal to your faith, Then why do you call yourself a Hindu, This Holy thread around your neck does not be fit you, Only those who are true to their faith possess the tight to use religious symbol. (G. M. Sayyid, p-44) This verse shows that the poet does not only criticizes Muslims, who accept Islam by tongue only and follow the way of Satan, but also Hindus who do not loyal to their religion. As it is known that Shah Latif spent the three formative years of his life along with his non-Muslim companions and he never tried to convert them towards Islam. But he delivered the true message of religion to his non-Muslim friends. When he felt that his non-Muslim friends (Jogis and Sannyasin) do not follow their religion then Shah Latif strongly condemned them. Moreover, the poet says, no matter you belong to which religion but you have to follow your religion by heart whether it is Islam or Hinduism. Therefore, Shah Latif has a strong message in terms of religion, regardless of any religion, it and. So, those who understand that the message of Shah is only for Muslims they are erroneous because his message is universal and for all. Similarly, the poet condemns those who wear the clothes of religion to manipulate the oppressed people in the following verses. Your face is as pure as that of Moses but the character is that of Satan Why don't you throw such worthless deceit from your inner self. (Munwar Arbab (Halo), p-115) Shah Latif addresses in this poem to prevent such people who hide their inner self with the help of religion or pious men (who look like as righteous). Today’s society is a great example of such people who present everywhere to exploit religion for the sake of personal interests. Therefore, the image sketches by the poet in this poem is perfectly fitted to modren society because here most of the people are looking for opportunities to exploit the poor masses. Thus, the poet identifies such deceit people to prevent the poor masses. Moreover, he says people should have to pure their inner self instead of outer shape, which becomes the cause of oppressing of poor masses. If your inner self is unsullied then whatever your outside is, you will be succeeded. Alike, we spend millions of rupees on our outer beauty but never do such efforts to purify the inner beauty. Those who succeed in self abnegation become mortal for the sake of Allah They carry out no prayer neither they bow in prostration Nor do they sit or stand In order to “be” They had to negate their 'self'.
Once more Shah Latif elucidates about egoism but, this time he reaches the next level of spirituality which will come after the abrogation of arrogance. In the previous couplet, the poet talks about the negative impacts of arrogance on the way of Allah but in the present lines, he expounds that what will happen when arrogance is completely abolished. He says, those who put an end to their arrogance and then meet to Almighty Allah then they neither have need to bow down nor they need to prostrate. Here the poet tries to address that vanity or arrogance is the barrier to getting the will of God, if you control it then you do not have a need to follow the Divine exercise. Here, Shah Latif is talking about the next level of understanding which is beyond the comprehension of ordinary masses to digest it. The poet is right in his thought because when the next stage is achieved, which has been accomplished by Sufi saints, then these things become minor, and people think about another next level to get more and more will of Allah. There are three stages to accomplish the spirituality first, you should get the complete companionship from the spiritual guide then get the closeness of Prophet (PBUH), annihilation in the love of Prophet, then in last to obtaining the closeness of Allah.
CONCLUSION:
Consequently, Shah Latif addresses the religion in such a way that no one recognizes what the religion of Shah is. In fact, Shah was a true Muslim and he had practiced the sacred deeds of religion in true way moreover, he has quoted more than eighty verses of the Holy Quran and Ahadith, sayings of Prophet (PBUH) in his collection of Shah-Jo-Risalo that is why Makhdoom Abdul Rahim Girohri (d. 1788) says, God is blessed with Abdul Latif, Who translated the Quran in Sindhi. Shah Latif also says regarding this subject in this way: What you consider to be verses are sign posts, That direct your mind to Lord’s abode. (Saeed Ahmed Soomro Dr Mubarak Ali Lashari, p-23) He used the word Islam once in his poetry and the term Hindu used the same throughout his whole poetry. He also condemns those Hindus who do not follow their religion by heart. He never preached Islam in front of his Hindu compassions because he was broad-minded and liberated soul.

https://www.researchgate.net/publicatio ... IF_BHITTAI

[swamidada]

Unveiling the Spiritual Tapestry: Shah Abdul Latif Bhittai's Poetry and Music

Furqan Hyder
Published Apr 6, 2024

In the annals of literature and music, certain luminaries transcend the boundaries of time and space, leaving an indelible mark on the hearts and minds of humanity. One such luminary is Shah Abdul Latif Bhittai, a revered Sufi poet and musician from the mystical land of Sindh, whose legacy continues to resonate with profound wisdom and spiritual depth. In this article, we embark on a journey to explore the exquisite poetry and enchanting music of Shah Abdul Latif Bhittai, unraveling the timeless truths and cultural richness woven into his works.

At the heart of Shah Abdul Latif Bhittai's literary legacy lies the Shah Jo Risalo, a magnum opus revered as the epitome of Sindhi poetry. Comprising around 30,000 verses, this monumental work encapsulates the essence of Bhittai's spiritual journey and philosophical musings. Through his eloquent verses, Bhittai delves into the depths of human existence, portraying the eternal quest for divine love and enlightenment.

Bhittai's poetry transcends the barriers of language and culture, resonating with readers across generations with its universal themes of love, mysticism, and devotion. Drawing inspiration from Sufi philosophy, he weaves a tapestry of metaphor and allegory, inviting readers to contemplate the deeper meanings hidden within his verses. Through his vivid imagery and lyrical prowess, Bhittai paints a sublime portrait of the human soul's journey towards spiritual liberation, guiding us towards the realization of our innermost aspirations.

One of the distinctive features of Bhittai's poetry is his portrayal of rural life and nature, which serves as allegorical representations of deeper spiritual truths. He evokes the sights and sounds of the natural world, using them as metaphors to elucidate the mysteries of the human soul and its longing for union with the divine. Through his verses, Bhittai invites us to contemplate the interconnectedness of all creation and the divine harmony that permeates the universe.

The Music of Shah Abdul Latif Bhittai:

In addition to his literary genius, Shah Abdul Latif Bhittai was also a maestro of music, enriching his poetry with melodic compositions that resonate with the soul. He composed his verses to be sung in various ragas (musical modes), accompanied by traditional instruments such as the tambura and ektara. The fusion of poetry and music in Bhittai's works creates a mesmerizing auditory experience, elevating the spiritual impact of his verses.

Bhittai's musical compositions exhibit a remarkable blend of classical sophistication and folk simplicity, reflecting the cultural heritage of Sindh. His melodies are imbued with emotive nuances, ranging from the plaintive strains of longing to the ecstatic rhythms of union. Through his music, Bhittai transcends linguistic barriers, captivating listeners with the universal language of melody and rhythm.

Bhittai's approach to music is deeply rooted in Sufi tradition, emphasizing the transformative power of sound as a means of attaining spiritual transcendence. His melodies evoke a sense of spiritual ecstasy, inducing states of trance and ecstasy in both performers and audiences alike. Through the medium of music, Bhittai sought to dissolve the boundaries between the mundane and the divine, forging a direct connection between the human soul and the eternal source of all creation.

Conclusion:

In the rich tapestry of human culture and spirituality, the luminous figure of Shah Abdul Latif Bhittai shines with unparalleled brilliance, illuminating hearts and minds with his timeless wisdom and artistic mastery. Through his poetry and music, Bhittai beckons us to embark on a journey of self-discovery and spiritual awakening, guiding us towards the ineffable depths of divine love and cosmic unity. As we delve into the rich tapestry of his works, we find solace and inspiration, discovering echoes of our own innermost aspirations and yearnings in the sublime verses and melodies of this Sufi sage.

https://www.linkedin.com/pulse/unveilin ... C%20Bhitta

[swamidada]

Fisherwoman And Prince:
Tracing The Last Resting Place Of Two Legendary Lovers
Noori, traditionally depicted by noted poet of Sindh Shah Abdul Latif Bhittai as a humble fisherwoman, is contrasted with Prince Jam Tamachi and his royal upbringing

Kamran Khamiso Khowaja

March 23, 2024

Bringing home the importance of accurately preserving history, a collective of historians, archaeologists, columnists, octogenarian eyewitnesses, and local scholars assert that the grave of the legendary prince and figure of romance Noori is not situated on a tiny island in the midst of Keenjhar Lake's deep waters, but rather lies adjacent to the mausoleum of Sindh's esteemed ruler Jam Nizamuddin, under a canopy at Makli Necropolis in Thatta. This site has long been associated in folk imagination with the tale of Noori Jam Tamachi.

This conclusion, reached after extensive study, site visits, interviews and analysis by a group including former Director General of Tourism and Cultural Department Dr. Muhammad Ali Manjhi, noted environmentalist and history analyst Masood Lohar, columnist Zahid Ishaque Soomro and several elderly locals, aims to rectify the historical narrative for the benefit of future generations.

Noori, traditionally depicted by noted poet of Sindh Shah Abdul Latif Bhittai as a humble fisherwoman, is contrasted with Prince Jam Tamachi and his royal upbringing. Despite their disparate social backgrounds, Noori's unwavering humility and devotion to Jam Tamachi distinguishes her, endearing her to the prince of the Samma dynasty and distinguishing her from other queens.

The enduring love story of Noori and Jam Tamachi gained widespread popularity after being immortalised in the poetry of Shah Abdul Latif Bhittai, particularly in the compositions Sur Kamod and Sur Karayal. This narrative has continued to captivate audiences through the works of poets such as Sheikh Ayaz and Sajid Soomro.

Researchers contend that during the expansion of Keenjhar Lake, the recent island formed outside its present boundaries, housing the graves of Hoondrro Shah and his son and associated spiritual leaders, became surrounded by the lake's waters. Over time, local elders such as Dada Adam Gandhro and Jummo Mirbahar revealed that misinterpretations by tour guides and entertainers led visitors to believe that this island contained the graves of Noori and her spiritual leader Hoondrro Shah, which was inaccurate. They assert that Noori's grave lies beneath the canopy at Makli Necropolis.

As for the Samma Dynasty, it rose to prominence in the region of Sindh during the 14th century. Founded by Jam Unar, the dynasty expanded its influence across the Indus Valley, ruling over territories in present-day Pakistan and parts of India. The Samma rulers, known for their administrative reforms and patronage of the arts, played a significant role in shaping the cultural landscape of Sindh. Jam Nizamuddin, a notable figure of the dynasty, is revered for his contributions to governance and culture, with his mausoleum being a testament to his enduring legacy in the region.

The enduring love story of Noori and Jam Tamachi gained widespread popularity after being immortalised in the poetry of Shah Abdul Latif Bhittai

Now historians are urging writers, media professionals and Sindh's Tourism and Culture Department to ensure historical accuracy and prevent the dissemination of incorrect information by unscrupulous parties among history enthusiasts.

According to historical accounts, Noori was born in the household of King Jasodhan, her mother being Marviyat Rani. Despite her noble birth, Noori was raised in the Gandra tribe. The renowned tale of Noori Jam Tamachi depicts Tamachi's admiration for Noori's beauty during a hunting expedition at the legendary Keenjhar Lake, leading to their marriage and her ascension to the position of queen alongside Jam Tamachi, as immortalised in the poetry of Shah Abdul Latif Bhittai.

It is worth noting that Thatta's historical sites attract over 10,000 visitors every weekend, including casual visitors, picnickers and tourists from further afield.

Note: Once Samma dynasty was considered Ismailis like Summra dynasty.


Kamran Khamiso Khowaja
The author is a practicing lawyer and freelance journalist. His areas of interest are cultural diversity and socio-political issues of Sindh.

https://thefridaytimes.com/23-Mar-2024/ ... ary-lovers

[swamidada]

Sur Karyal
Shah Abdul Latif Bhittai

Vai

I belong to that Baloch, to Him I belong
In reverence unmatched
I bow to Him
And kiss the dust He walks upon
Hold Him dearer than the sight of my eyes

1
The bird is its own cage, the pond itself the floating swan
When I searched within myself, I learnt
The hunter lives within me

2
The cowardly liars defiled the fragrant clear pond
From this disgrace
Heartbroken, the swans have flown away to the mountains

3
All the swans are dead, not a single one survived
Their habitat is now the land of cowards and liars

4
Do not be deceived by the thinness of the cobra
When it leaps to attack
Great warriors face great peril

5
There is a single swan in the pond
Surrounded by scores of hunters
It trusts Allah, look at it floating down the waves fearlessly

6
The birds descended on the pond, deceived by the decoy
Poor simpletons, they were easily beguiled and trapped

7
The lotus has its roots deep down the waters
The bumble bee zooms around in the air above
Listening to their whispered longing
The One who feeds one and all
Brought them together. Bravo to love!
It enjoined both the lovers

8
Swans are just swans; none of them is soiled
Wherever they spend a night
That pond becomes perfumed

9
Awareness of His presence gave the understanding of the pond
In the watery depths, the bird discovered
A treasure trove of sparkling pearls

10
The clear waters were darkened by the crows
The swans are ashamed to fly down to such a pond

11
If ever you have looked at a swan attentively
Never will you make a bond with a heron, full of tricks

translated from the Sindhi by Fahmida Riaz

[swamidada]

If you are seeking Allah

by Shah Abdul Latif Bhitai

English version by D. H. Butani
Original Language Sindhi

If you are seeking Allah,
Then keep clear of religious formalities.
Those who have seen Allah
Are away from all religions!
Those who do not see Allah here,
How will they see Him beyond?

Let us go the land of Kak
Where love flows in abundance,
There are no entrances, no exits,
Every one can see the Lord!

There is no light nor day
Every one can see the Lord!
Those who love the Lord
The world cannot hold them.
Palaces do not attract them,
Nor women nor servants
Nothing binds them:
The renouncers leave everything behind.

A message came from the Lord:
A full moon shone
Darkness disappeared
A new message came from the Lord:
It does not matter what caste you are
Whoever come, are accepted.

Where shall I take my camel,
All is Light...
Inside there is Kak, mountain and valley,
The Lord and the Lord: there is nothing but the Lord.

https://www.poetry-chaikhana.com/Poets/ ... index.html

[swamidada]

About Shah Abdul Latif Bhittai

Shah Abdul Latif, a Syed and a Saint, a great scholar, an observer, a thinker, and a mystic, and an unobtrusive missionary, and more prominently an illustrious spiritualised poet of many dimensions, was born in 1102 A.H. corresponding to 1689 A.D. in Hala Haveli near Khatiyan village in Hala Taluka of Hyderabad District, Sind. His ancestors originally belonged to Herat in Afghanistan. One of them, Mir Hyder Shah, had visited Sind and married and remained at Hala for about 31/2 years. He then went back to Herat. It is said that Shah’s father Sayed Habib Shah had shifted from Matyari, his ancestral place, to Bhainpur to have spiritual contacts with Makhdum Bilawal, a local pious man. He is different from Makhdum Bilal of Dadu district, who had died earlier during the reign of the Arghuns.

The poet seems to have received good education. It commenced at the madressah of Akhund Noor Muhammad Bhatti, situated about 6 miles away from Shah’s residence. Whether it was continued and concluded cannot be ascertained. Some persons think that Shah had no schooling. That is simply absurd. One has only to read his Risalo to admit it. He was proficient in the knowledge of the Quran, and the traditions. His knowledge of the Sindhi language was remarkably extensive and that of the Persian was adequate. He knew to some extent the Sanskrit, Saraiki, Hindi, and even Baluchi languages. He should rank in history as one of the great scholars that Sindh has produced. He always carried copies of the Quran, Masnavi of Maulana Roomi and Risalo of his great grandfather Shah Abdul Karim of Bulri. That is significantly indicative of his literacy.

Before his marriage and settlement on the Bhit (which means a sandy mound), Shah is reported to have met some nomad ascetics on the Ganjo mountain near Hyderabad when he was about 21 years old. He accompanied them in their wanderings to Hinglaj, Jhunagadh, Lahut, Lakhpat, Jasalmere and the desert area of the Tharparkar district of Sindh. He is said to have visited Hinglaj second time too. It was there that due to a disagreement, the ascetics left him while he lay asleep.

Shah believed in the practical learning i.e. in observation and contemplation. He considerably increased his knowledge by personal contacts during his peregrinations. He acquired the basic material for most of his poems during that period. It was these journeys too that helped the poet to reach the conclusion that for spiritual evolution and reunion with Allah, the seeker had only to look within himself, and that wanderings would not be helpful to him.

In 1713 A.D. the poet married Bibi Saedah Begum, a daughter of Moghul Beg, a Moghul noble man of Kotri. It was a love marriage. But Shah had no child though they lived quite happily all their life. Bibi Sahiba died during the life time of the poet. However he did not marry again even though his disciples had offered to arrange for his second marriage.

In 1742 A.D. inspite of some sort of opposition from the then Mukhdum of Hala and Sayads of Matyari, the poet decided to settle on the Bhit or the sandy mound. He constructed some houses there for himself and his disciples. in the same year his father died, and immediately thereafter he shifted to the new settlement.

Shah seems to have been influenced by the Qadri, Chishtia, Suharwardi and Nakshbandi Schools of thought. He strongly supported and dilated on the doctrine of ‘wahdatul wujud’; or Monism, which is the gravitational pull in his poetry. But he presented his views on it in such a manner that not a single protest was raised against it from any quarter. In fact like the Shaikh-e-Akbar Muhiuddin Ibn Arabi, he realized it much too well that Allah remains Allah even if there is chaos in the universe, and the man remains the man despite his progress. To bridge up the distance between them the poet preached love of Allah and of His creatures.

Music however was his chief attraction. He liked to be entertained by music accompanied by instruments in spite of the fact that some times it evoked temporary protests from the orthodox Muslims. Personally too he knew how to sing and play the Yaktaro. In fact he was quite good at both.

He denounced extravagance, aggression and exploitation in all forms and at all levels and praised simplicity, hospitality and cordiality, which, in fact, are the basic fundamentals of a balanced and truly religious life. His verses perching love also carry a message and exhortation for struggle against tyranny and injustice. Simultaneously he stressed.

Universality of the human race and thee interconnection of its parts,
Basic equality of all human beings irrespective of their social status
Dignity of labour and continuity of effort to achieve progress in all spheres, material as well as spiritual, and
Solidarity among different constituents of the society.

Shah had no dissentions with any person. He never advocated a schism in the religion. He believed in Allah, His Final Apostle and in the Divine nature of the Quran. He believed in the Doom’s Day. He never said a word against the first three Caliphs. He followed the teachings of Moulana Roomi. His associates were Shias as well sunnis. Shah was a better type of Sunni with all the traits of a good Shia. According to Mirza Kalich Beg, some body enquired from Shah if he was a Sunni or Shia, He replied “I am between the two”.

On 14th Safar 1165 (1752 A.D). Shah ordered his disciples to play music, and sat wrapped in a sheet of cloth, hearing it, Allah alone knows when his soul departed, when the musicians became exhausted after playing instrumental music for nearly three days, and the poet remained motionless, they realised that he was dead. He was buried on the Bhit and the present mausoleum was later constructed under order of Miyan Ghulam Shah Kalhoro, his disciple and ruler of Sindh. Mir Nasir Khan Talpur extensively repaired it. His nephew’s son, Sayed Jamal Shah, who also lies buried near him under the same mausoleum.

https://www.bhittaipedia.org/about/shah?lang=en