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A Comparative Study of Gender Notions in Conceiving Divine Devotee Relationship in Verses of Baba Sheikh Farid and Piro Preman

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A Comparative Study of Gender Notions in Conceiving Divine Devotee Relationship in Verses of Baba Sheikh Farid and Piro Preman Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Gender and Divinity: A Comparative Study of Gender Notions in Conceiving Divine Devotee Relationship in Verses of Baba Sheikh Farid and Piro Preman Aarushi Kumaria Research Scholar, Christ (Deemed to be university) ([email protected]) Abstract - Baba Sheikh Farid was the pioneer of Sufism in Punjabi literature. The patriarchal society that existed during that time could be seen through his works till it was challenged by the first female Sufi poet of the 17th century, “Piro preman.” The objective of the paper is to study the biased portrayal of women in Punjabi Sufi poetry. For this it looks at the works of “Baba Sheikh Farid” and “Piro Preman”. This study investigates the divine and devotee relationship from the time of “Baba Sheikh Farid” to the first female revolutionary poet “Piro Preman.” The verses of Baba Farid and the devotional verses based on Piro’s life written by her have been taken for study. A comparative literary approach was taken for the analysis of the paper. The paper also looks at the Sufi movement’s transformation into the 19th century in Punjab. Keywords: patriarchy, sufism, Punjabi literature, divine devotee relationship, Baba Sheikh Farid, Piro Preman Past has its own elusive and dynamic ways of constructing memory. The history of Sufism in Punjab hardly mentions any female writer even though Sufi and Bhakti movements are feminised where a devotee is always referred to as feminine. Most of the earlier works of our time have been written by men who are full of defence against men and the patriarchal structure. Punjabi language is written in several scripts like Shahmukhi and Gurmukhi. Punjabi in the form of literature was first found in the works of Sufi poet Fariduddin Ganjshakar who is also called Baba Farid by his followers. Puran Singh stated how the saint of Bhakti and Sufi movements in Punjab were more rebels than followers (Singh 117) Beginning from Baba Farid who spoke for the deprived and dispossessed to Piro Preman’s dehumanization of women, Punjabi literature became a journey of self expression and finding identity for the minorities. Through her works, she captured the essence of womanhood. Literature clearly establishes the position women held in the society. In the 12th century poetry, women have often been depicted as a hindrance between the union of the man with god. Forgetfulness of the god by the devotee is often compared to desertion of a husband’s house. “0 Farida! Had I known that my 'veil' shall be in tatters soon 1 wouldn't have tied the 'knot' so hard and strong” (Translated by Rana Nayar). The imagery of veil, bride groom and regret of a groom on the union are recurrent images in Baba Farid’s works. Many metaphors of impressing the husband just like god is to be impressed by man have been used repeatedly in Punjabi literature. Literature has witnessed the roles of women evolving through ages. Most of the writers earlier were men and the portrayal of women in literature was biased since the society was looked at through their eyes. This very bias forms the motif of the paper. The idea that no work of art can be a complete reality and, hence, the representation of women could be biased and half-represented truth can be investigated in this paper focusing mainly on poetry. The paper argues how the notion of conceiving the divine and devotee relationship on the grounds of gender also changed from the first male Punjabi Sufi poet “Baba Sheikh Farid” of the 12th century to the first revolutionary female poet “Piro Premar” of the 19th century. For too long, men have written about women. Najm Hosain Syed stated this power of the written word “She stands outsides the cycles of time and society” (Awan). The objective of the paper is to look at how women were represented in the oral and written form of poetry and the difference between male and female perspectives of poets. This paper analyses gender roles where women are seen as submissive and obedient, whereas the men are considered to be prominent and strong. Gender images created by folk songs can, reveal a great deal about the societal attitudes toward gender (Mahan). Sufism played a major role in forming the history of Punjab. The absence of a female voice in Punjabi literature since the 12th century to the 19th century is surprising. Of many Sufi orders which flourished in India, three main Sufi poets of Punjab are Farid Shakarganj in the 12th century, Shah Husain in 16th century and Bulleh Shah. There were also some female poets which came but were pushed down by male voices of the times like Dai Phaphal Hafzani (1800-1872) and Jeevan Khatton Nikkami (1835-1898) Volume XII, Issue II, 2020 Page No: 1220 Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Melancholy can be seen in Baba Farid’s works. He equated a soul’s longing for the divine with the women’s longing for her lover. The vocabulary used is also very rustic. After the partition in 1947, the Dalit communities overtook the care of these shrines in the East of Punjab. From the East of Punjab, majority of Sufis were of the lower caste of chamar and shudras. Some of the Dalits connected to the Quadri and Chishtia orders. Piro Preman, who is one of the main focuses of this paper, also belonged to the lower Dalit caste. Piro was a Muslim prostitute who was sold and later changed her religion and identified with the Sikh sect of Gulabdasi. She was first mentioned and established as the first Punjabi poet by Devinder Singh in 1974 in ‘khoj darpan’ with the title “Punjabi di pehli istri kavi.” This was the first article which gave history and culture the chance to be seen from the eyes of a woman. In her Kafis, she calls herself vesva which is a low caste Muslim woman. She then became a devotee and voiced the unjust through her writing. Most of her writings are about herself. She is believed to critique the patriarchal notions of previous Sufi writers such as Bulleh Shah. There is unabashed use of language which adds colourful and powerful dimension to her speech. Piro talks of the miracles of the god in saving her and helping her escape the previous life of abduction and prostitution. “She makes place for herself as shakti (goddess/energy) of her guru” (Malhotra 12). She also compares her state to that of Sita trapped in a world full of Ravana. The manuscript of her verses was later converted into a play based on her life. Such was the power of her poetic words that in Shahryar’s drama, the divine acknowledges her poetry and offering even above him. She talks about the journey of finding her true self away from society which imposes roles and ideal women behavior on her. The divine and her lover (later husband) in her works appreciate her love for poetry and freedom from patriarchy. According to her she is already united to the divine, whereas Baba Farid in his poetry yearns to be united with the divine. She also uses many sexual symbols through the use of metaphors of love with Gulab Das. The attacks she makes on Muslim orthodoxy points to the social scandals that she had to deal with to present her point of view. One can see in her work conflict with her friends, family, relations, and religious leaders who restricted her freedom and prevented her from fulfilling her choices. In the words of Baba Farid, women are seen as silent and veiled and they conform to the male voices and patriarchal notions of society. The devotee is yearning to be accepted by the husband who can finally help her reach the divine. Piro refused to wait for the acceptance of the husband/lover and tried to reach the divine through her poetry. According to her, just like the society, religions also belonged to men. It was believed in Sufism that divine command could not be denied. She challenged this notion which asked her to fulfill the commands of a husband which is repeatedly used in earlier works such as Baba Farid’s as a symbol for divine. In Baba Farid’s work, the soul who craves for devotion is portrayed in a feminine form, whereas the divine is portrayed in a masculine form. Bride groom and wedding metaphors are used by him to signify that for a woman to reach to the divine, marriage is important. On the other hand, for a man, it works as a distraction. The death symbolism is used along with the marriage in order to state that the marriage with the woman will cause him distractions and take him away from divine. The marriage for women is the reach to divine. The death will eventually unite soul with the supreme power. ਜਿਤੁ ਜਿਹਾੜੈ ਧਨ ਵਰੀ ਸਾਹੇ ਲਏ ਜਲਖਾਇ ॥ ਮਲਕੁਜਿਕੰਨੀਸੁਣੀਿਾਮੁਹੁਿੇਖਾਲੇਆਇ॥ ਸਾਹੇਜਲਖੇਨਚਲਨੀਜਿੰਿੂਕੂੰਸਮਝਾਇ॥ That day the messenger of death, which she has only heard about Comes to show its face The time of marriage cannot be avoided Explain this to the soul Dhundhandi – ay suhag ku tao tan kai kaor. Jina naon Sohagni tina chak nah or They who call themselves as wedded, for them there is no place in their mind for infatuation for anything else. The metaphors of impressing the husband and being accepted by him or failing in being accepted have been used in many other verses by Sheikh Farid.
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