TAKATOO Issue 1 Volume 1 3 January- June 2009
Bilingual / Bi-Annual Pashto English Journal
TAKATOO
Chief Editor: Dr. Nasrullah Wazir
Editor: Dr. Naseebullah Seemab ([email protected])
Co-Editors: Javed Iqbal Iqbal Qari Abdul Rehman Barkat Shah Kakar
______Department of Pashto University of Balochistan, Quetta.
E-mail: [email protected]
TAKATOO Issue 1 Volume 1 4 January- June 2009
Editorial Board 1. Prof. Dr. Parvez Mehjoor, Research Officer Pashto Academy Peshawar. 2. Dawood Azami, Program Manager, BBC UK, London. 3. Naseebullah Seemab, (Ph.D) Assistant Prof. Department of Pashto, University of Balochistan, Quetta. 4. Prof. Raz Muhammad Raz, Principle Govt Degree College, Pishin. 5. Dr. Razaq Pahalwal, Kandahar. 6. Ali Kumail Qazalbash, (Ph.D) Govt Degree College Pishin. 7. Dr. Khushal Roohi, Germany. 8. Anil Zaib Babar (Ph.D) Endeavour Research Fellow, Monash Asia Institute, Monash University, Clayton, VIC 3800, Australia.
Office Staff: Composer Pashto: Hafiz Rehmat Niazi Composer English: Murtaza Khan Bazai
Journal: Pashto Publication: Bi-Annual Serial No: One Publisher: Department of Pashto University of Balochistan, Quetta. Press: United Printers Quetta.
______Department of Pashto University of Balochistan, Quetta.
E-mail: [email protected]
TAKATOO Issue 1 Volume 1 5 January- June 2009
Department of Pashto University of Balochistan, Quetta.
The bi-annual and bi-Lingual Research Journal TAKATOO is an academic and research endeavor of the Pashto Department which caters standardized contents with internally recognized approach and diction. Higher Education Commission of Pakistan is intended to financially support the research journal and approve it as one of the authentic source of knowledge construction and dissemination. No part of the material published in the journal be copied, reproduced or printed with out the prior permission of the editor.
Disclaimer: Authors of the published material have their independent perspective, agreement of the journal
TAKATOO Issue 1 Volume 1 6 January- June 2009
Guidelines for Contributors
TAKATOO, Department of Pashto University of Balochistan, Quetta welcomes papers in English and Pashto on Pashto language, literature, history, art and culture. Manuscript should not exceed 7000 words (including end notes and references). Quotations from foreign texts must be translated in the body of the paper, and accompanied by the original in the endnotes. The author‟s name, e-mail and mailing addresses and institutional affiliation should appear on a separate title page. Each paper in Pashto / English is to be preceded by an 80-100 worded abstract in English. Submission for concideration for publication in Takatoo, 2 hard coppies and a soft copy, may please be mailed to the Editor.
Paper in English must be in accordance with the MLA / APA style.
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List of contributors:
1. Abdul Karim Baryalai Govt Civil Servant. 2. Dr. Nasrullah Jan Wazir Chairman Department of Pashto U.O.B Quetta. 3. Dr. Naseebullah Seemab Assistant Prof. Department of Pashto U.O.B, Quetta. 4. Dr. Muhammad Zubair Subject Specialist Hasrat Text Book Board, Peshawar. 5. Ahmed Shah Durrani Chairperson Social Sciences B.U.I.T.E.M.S , Quetta. 6. Razia Gul Associate Prof. Govt Girls Degree College, Quetta. 7. Dr. Hanif Khalil Lecturer NIPS Quid-e-Azam University, Islamabad. 8. Javed Iqbal Iqbal Lecturer Department of Pashto U.O.B, Quetta. 9. Barkat Shah Kakar Lecturer Department of Pashto U.O.B, Quetta. 10. Mehmood Ayaz Associate Prof. Govt Degree College, Quetta.
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Contents
Mawlana Rumi and Mwlawiyyah Order 10 Ahmad Shah Durrani The Social construction of Tragedy in the 32 Pashto Folk Romance narratives. Barkat Shah Kakar Khan Shaheed Abdul Samad Khan Achakzai 49 A Political Leader and His Literary Contributions. Razia Gul
TAKATOO Issue 1 Volume 1 9 January- June 2009
Message of the Vice Chancellor
In the leading scenario of globalization, the research has evolved as a discipline and as well as cross cutting theme and instrument for producing true knowledge with its pragmatic premise. The research has gradually gained an inevitable space in the domains of natural sciences. Similarly it has now become core determinant in the academic domains of social sciences and humanities. Several paradigms of literary research and criticism are evolved which are primarily aimed at unpacking the reality in an objective fashion. The need of regular research production and publication in departments of humanities and arts has always been felt. Secondly, it is a prime Priority of a higher degree awarding academic institutions to unfold spaces and opportunities for high value knowledge production through refined research methods and approaches. The idea of publishing the Research Journal from the faculty of Languages was shared two years before, now at this end I am very pleased and proud while seeing an idea materialized. The Bi-Annual Pashto Research Journal “Takatoo” is an outstanding addition in the area of literary research especially regarding Pashto literature, language, history and culture. The Quality of matter is impressive both in terms of message and its presentation. I congratulate the Pashto Department, University of Balochistan, its faculty and chairman for their outstanding academic and research endeavors which will certainly enhance the knowledge body and scope of research in the larger groups of readers and scholars. I pray for them to continue their research and scholastic contribution for a peaceful, learned and self reliant Pakistani society.
Prof. Dr. Masoom Yasinzai Vice Chancellor University of Balochistan Quetta.
TAKATOO Issue 1 Volume 1 10 January- June 2009
Mawlana Rumi and Mwlawiyyah Order Ahmad Shah Durrani
Abstract:
The paper discusses the past and present of Mawlawiyya Order of Sufism which is named after Mawlana Jalaluddin Rumi, one of the most famous Sufi masters and celebrated poet. Mawlana Rumi (born 1207) was not the head of an order during his lifetime but the Order was gradually organized by his immediate successors, especially his son, Sultan Walad and his friend and disciple Celebi Hussam-ud- Din. Based on Rumi‟s message of love as being the motive force of the universe, the Order soon spread throughout the Ottoman territory. Although Sufi Orders are legally banned in modern Turkey, Mawlawiyya is considered one of the largest Sufi Orders in the country. The paper also explores Rumi‟s message of love and brotherhood and discusses the tradition of Mawlawi Sama (Whirling Dance) which has become popular in many Western countries. Each year, different groups from Turkey perform the Sama ceremony in some of the most famous cultural venues abroad. Rumi‟s family is still holding the seat of leadership of the Mawlawiyya Order. A number of individuals and groups seek direct guidance from the descendants of Mawlana. While discussing the current situation of Mawlawiyya Order, the paper also discusses the origin and ban on Sufism in Turkey.
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Mawlana Rumi: Jalaluddin Muhammad Balkhi Rumi, named “Mawlana” (Our Lord or teacher) is regarded as one of the greatest poets, thinker and mystics in the Islamic world. He was born in the city of Balkh (historical city near Mazar-i-Sharif) in the north of Afghanistan on September 30th 1207. Mawlana‟s father Sultan-ul-Ulama Baha-ud-din Waled was a renowned scholar of his time who migrated with his family to Turkey from Balkh; apparently due to the Mongol threat over Balkh and the region. After staying in the Turkish town of Larende for few years where he established a Madrassa and attracted a wide circle of students, Baha-ud- Din Waled eventually settled in Konya, the Seljuk capital, and continued teaching. When Mawlana Rumi‟s father died in 1231, his followers attached themselves to Rumi. Mawlana Rumi‟s Madrassa became a center of learning and he became a leading authority. But he himself was not satisfied with the extent of his knowledge and understanding and began gradually to move towards a mystic approach. The meeting of Mawlana Rumi with a wondering ecstatic dervish proved to be the beginning of an extraordinary relationship between the two of them. The dervish, Shams-ud-Din of Tabriz, became his teacher and they remained together for days, even weeks, deep in philosophical discussions and meditation. It is said that Shams set his heart alight with the rapture of Divine Love and Gnostic ecstasy. Both of them exchanged their views on a range of subjects and became inseparable as they were convinced they had found the level of mystical understanding of Almighty God. Rumi expressed what he had experienced and learnt during his time with Shams in a truly remarkable literary outpouring in verse. His greatest
TAKATOO Issue 1 Volume 1 12 January- June 2009 work is the six-volume long poem, known as Mathnawi, contains some of the most beautiful passages of mystical verse ever written. His poetry, which is in Persian, has been translated in a number of annotated and prose versions into several modern languages, including English. Rumi is said to be the best-selling poet in the United States and a massive increase has been noted in the sale of copies of his translated poetry especially after the events of 9/11. He was named by Time Magazine as the Mystic of the 13th Century. (1) In recognizing year 2007 as the 800th anniversary of Rumi‟s birth, the United Nations Educational, Scientific and Cultural Organization, UNESCO, called Rumi an “eminent philosopher and mystical poet of Islam” whose “work and thought remain universally relevant today.” (2) This true devotin of God and a follower of the Prophet of Islam died when he was 66 years old on December 17, 1273 in Konya, Turkey. According to him, death was a form of rebirth into the devotion and the ultimate reality. He described the night of his death as the night of union “shab-i-arus”, as he regarded it as the instant when his physical entity attained union with the Universal Entity and thus with everlasting life. Members of all sects, inclinations and religions were present at his funeral and considered him as one of mankind‟s greatest leaders. He saw life as a corridor to meet with God and defined death as being the meeting time as he described in this poem: On the day of death, when my coffin is on the move Do not suppose I have any pain at leaving this world. When you see my hearse, say not “Leaving! He is leaving!” That time will be for me union and encounter.
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When you commit me the grave, Say not “Farewell! Farewell!” For the grave is a veil over the reunion of paradise. (3) As he embraced everyone regardless of religious belief and social status, Rumi‟s teachings have been playing a great role in the harmony of Turkish society. Konya is still a centre of pilgrimage for those in search of mystic truths as it was in the life of Mawlana Rumi. Every year thousands of people from every corner of the world came to Konya and pay their respects to this universal poet. An international Mawlana congress is also held tri-annually in Konya where academics from all over the world gather and discuss the works of „great Mawlana.‟ At the entrance of his historical and unique mausoleum, is an inscription bearing his Persian couplet with Turkish and English translation. “Come; come whoever you are….. Wanderer, idolater or worshipper of fire… Come even though you have broken your vows a thousand times, Come and come yet again Ours is not a carvan of despair…” (4) Sufism and Sufi Ways (Orders): Sufism or Islamic mysticims seeks to avoid conflicts and confrontations, calls for love and peace and serving humanity. It seeks a brotherhood among human beings. In the middle of this confusion of civilizations, Sufism, the most accessible, tolerant and pluralistic incarnation of Islam, and a uniquely valuable bridge between east and west at this moment of crisis finds itself suppressed by the Islamic world's two most pro-western governments: the Saudi Wahhabis, who see it as a heretical threat to their own harsh and literal interpretation of the Qur'an; and secular Turkey,
TAKATOO Issue 1 Volume 1 14 January- June 2009 which regards it as a token of their embarrassing, corrupt and superstitious Ottoman past. (5) The Sufi spirit softens the message of the Qur'an by emphasizing the sense of love, and the passionate relationship between the believer and the beloved, God, of course being the ultimate beloved. So in the eyes of Rumi and the Sufis, God becomes not the angry God of punishment, nor the God of revenge, but the God of love. The number of different Sufi Orders or Sufi Brotherhoods is thought to have reached to more than two hundred now. While commenting on the nature and the need for the different Sufi Brotherhoods, the following verse of Mawlana Rumi is mostly quoted. “Though the many ways (diverse religions) are various, the goal is one. Do you not see there are many roads to the Kaaba?” (6) Origin of Mawlawiyya Order: Mawlawiyya Sufi order is named after Mawlana Rumi who was not the head of an Order during his lifetime. Ibn-i- Batoota says in his „Safar Nama’ that followers of Mawlawiyya Order are known as Jalalia as Mawlana‟s nickname was Jalaluddin but this Order is known as Mawlawiyya in Minor Asia, Syria, Egypt and Constantinople. (7) The foundation of Mawlawiyya Order was laid in 1273 by Rumi‟s followers after his death. His first successor in the rectorship of an Order was Rumi‟s close friend and disciple, Hassamuddin Chelebi. After Hassamuddin‟s death in 1284, Rumi‟s younger and only surviving son Sultan Walad (died 1312) became the master of the Order. (8) Risale-i-Sipehsalaar, one of the most reliable historical accounts of Rumi‟s life, tells us that Rumi followed the teachings and character of his father, Sultan-ul-Ulama Baha-ud-din Walad (died 1231). From this
TAKATOO Issue 1 Volume 1 15 January- June 2009 account it is understood that Rumi‟s first spiritual guide or sheikh was his father. After the death of his father, Syed Burhan-ud-Din Muhaqiq Al- Tirmizi, one of Sultan-ul-Ulama‟s deputies -- became Rumi‟s spiritual guide and sheikh. Both Sultan-ul-Ulama and Burhan-ud-din Tirmizi were members of the Kubrawiyyah Sufi Order. Hamdullah Musevifide writes that Rumi‟s father was one of the deputies of Najam-ud-Din Al-kubra, who was the founder of Kubrawiyyah Order. (9)The Mevlawiyya became a well-established Sufi order in the Ottoman Empire by realizing a blood relationship with the Ottoman sultans when Devlet Khatun, a descendant of Sultan Waled, married the Sultan Bayezid I. Their son Mehmed I Celebi became the next Sultan, endowing the order, as did his successors, with many gifts. (10)Many of the members of the order served in various official positions of the Ottomon Caliphate. The centre for the Mawlawiyya order was in Konya where their 13th century guiding spirit, Mawlana Jalauddin Rumi is buried. But Mawlawi Houses (called Mawlawi Khana, pronounced as Hane in Turkish) were established in many parts of the Ottoman Empire. Even today, there is also a Mawlawi monastery or dergah in Istanbul, near the Galata Tower, where the sama (whirling ceremony) is performed and is accessible to the public.During the Ottoman period, the Mawlawi Order spread into the Balkans as well as in Syria and Egypt. It is still practiced in these countries. The Bosnian writer, Meša Selimović wrote the book "The Dervish and Death" about a Mawlawi dergah in Sarajevo. (11) During Ottoman times, the Mawlawiyya Order produced a number of notable poets and musicians such as Sheikh Ghalib, Ismail Rushuhi Dede of Ankara, Esrar Dede, Halet Efendi, and Gavsi Dede, most of whom are buried at the Galata Mawlawi Hana in Istanbul. (12)
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The Mawlawi Order has some similarities to other Sufi orders, such as the Qadiri (founded in 1165), the Rifaa'i (founded in 1182), and the Qalandari.
Ban on Sufism in Turkey:
With the foundation of the modern secular Republic of Turkey, Mustafa Kamal Ataturk, the first president of the country, removed religion from the sphere of public policy and restricted it exclusively to that of personal morals, behaviour and faith. On December 13, 1925, a law was passed closing all the tekkes and zawiyas (Sufi lodges) as well as the centers of venerations to which pilgrimages were made. Istanbul alone had more than 250 tekkes and other small Sufi centers for gatherings of various Sufi fraternities. Before the First World War, there are said to be almost 100,000 disciples of the Mawlawi order throughout the Ottoman Empire. But, as part of his desire to create a modern, western-orientated, secular state, Kamal Atatürk banned all the Sufi Orders. Charitable Waqfs were suspended and their endowments expropriated; Sufi hospices were closed and their contents seized. In addition, all religious titles were abolished and darvish clothes outlawed. Turkish intellectuals were encouraged to study western classics, while Rumi's writings, along with those of all his Sufi peers, were treated as an intellectual irrelevance. Two years later, in 1927, the Mausoleum of Mawlana Rumi in Konya was allowed to reopen as a museum. In 1937, Atatürk went even further, prohibiting by law any form of traditional music, especially the playing of the ney, the Sufis' reed flute. (13)
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Sufis were suppressed in modern Turkey for decades. Today, one can see that discreet expressions of Sufism are tolerated and pictures of Whirling Dervishes are prominently used in Turkish government tourist brochures. But the open practice of the Sufi mysticism that Rumi represented can still technically result in prison sentence of several months.
Spread of Mawlawiyya Order:
In 1950s, the Turkish government legalized the Mawlawi Order as an association and began allowing the Whirling Dervishes to perform the ceremony. These darweshes are chosen among the members of Mawlawi sect, to perform annually in Konya on December 17, the Urs or anniversary of Rumi's death. The followers of Rumi have also performed in the capitals of several Western countries. In 1971, they performed in London with Kani Karaca as lead singer. In 1972, they toured North America for the first time with Kani Karaca, Ulvi Erguner, and Akagündüz Kutbay among the musicians. They performed in France, for Pope Paul VI, and at the Brooklyn Academy of Music and other venues in the United States and Canada, under the direction of the late Mawlawi Shaikh Suleyman Hayati Dede. In April of 2007 the Order initiated another tour of the US, where they performed to sold-out crowds, in places such as Denver and San Francisco. (14)
As far as the Turkish State is concerned, the Mawlawis are little more than a museum culture to be exploited as a tourist attraction. This process apparently began in mid-60s when the wife of a senior US army officer came to Konya and asked her government escorts about the dervishes. The officials were thrown into a panic. The local mayor eventually found
TAKATOO Issue 1 Volume 1 18 January- June 2009 an old dervish and forced him to teach the local basketball team how to turn; soon a “folkloric” festival began to be mounted in the Konya sports hall every year to attract foreign tourists. For a while, there was even a brief attempt made to replace the Sufi musicians who accompanied the dancers with the town‟s brass band, which was judged to be more modern. For over seven centuries, Rumi‟s teachings have traveled from Afghanistan to Andalusia, from Egypt to the Balkans. The fame of Mawlawi Order had reached to all parts of the Eastern World. The Order is still active and exploring the new frontiers in the Western world. Rumi‟s teachings are now spreading in Europe and America.
In 1980, Sheikh Jalaluddin Loras began Mawlawi training in Northern California. He was sent to America by his father Hazrat Murshid Suleiman Hayati Dede, a Mawlawi Sheikh of Konya. Besides the traditional Mawlawi teachings and practices (i.e. “Sama”, the turning ritual, circles for “Zikr-Allah” (divine remembrance), and “Sohbat” (sacred discourse), Sheikh Jalaluddin has instituted new expressions of the traditional dervish teachings appropriate to North America. (15)
Besides regular classes, seminars, and public zikr ceremonies, the Mawlawi Order of America produces public celebrations for “Shab-i- Arus”, the anniversary of Mawlana‟s passing, each year. The „samazens‟ (whirling dervishes) prepare throughout the year to “receive from God and give to people”, the sacred responsibility of those who embrace this practice. The “Shab-i-Arus”, ceremony is offered annually in various American cities, usually on the West Coast. As many as 60 -70 samazens turn, accompanied by a score of Mawlawi musicians. Also participating
TAKATOO Issue 1 Volume 1 19 January- June 2009 in the ceremony are Sheikhs from different Sufi and dervish lineages, as well as senior representatives of other spiritual traditions.
Classes in Sama, the “Turning” are currently held at locations throughout the United States. The practice of “Zikr Allah”, the Divine Remembrance, is conducted by several circles that also meet regularly. Everybody, regardless of his/her religious or spiritual background, is welcomed to participate in these practices and classes.
For more than seven centuries, the Mawlawi Tradition has held the light of the religion of love, offering spiritual refuge and enlightenment for those who wished to develop their human-ness to the highest level. In Ottoman times, the Mawlawis cultivated not only spiritual attainment but cultural and artistic excellence as well. Mawlawis have always been progressive and liberal in spirit while at the same time conserving the best of tradition. Today, the Mawlawi Tradition is reviving in the West to offer spirituality adequate modern times.
In 1990, Kabir Helminski was honored with the title and responsibility of Mawlawi Sheikh by the late Dr. Jalaluddin Celebi of Istanbul, head of the Mawlawi Tariqa (Order) and direct descendant of Mawlana Jalaluddin Rumi. In May of 1996 at an international conference on “Rumi and Goethe,” Kabir Helminski was awarded an honorary doctorate in literature from Selcuk University in Konya for his writings on Mawlana. In 1999, Camille and Kabir Helminski moved from Putney, Vermont to Aptos, California. Under Camille‟s and Kabir‟s direction, “The Threshold Society” is working to apply traditional Mawlawi principles to the requirements of contemporary life. In addition to their continuing
TAKATOO Issue 1 Volume 1 20 January- June 2009 work as spiritual teachers, they are now involved in several creative projects in writing, recording, and educational consulting. Kabir introduced the Mawlawi Dervishes of Turkey to more than 100,000 people during their four tours of North America. (16)
Current Status of Mawlawiyya Order:
Mawlana‟s family is still holding the seat of leadership of the Mawlawi Order. A number of individuals (both among ordinary dervishes and sheikhs) and certain groups seek direct guidance from the descendants of Mawlana. The 22nd generation descendant of Mawlana Rumi, Farooq Hemdem Celebi, practically represents Mawlan Rumi and issues recommendation and permission letters to those whom he thinks are suitable and capable enough to be a Sheihk of Mawlawi Order. Farooq Celebi and his sister Esin Celebi live in Istanbul and both are active in promoting Sufism and the teachings of their great-grand father, Mawlana Rumi. The descendants of Mawlana are called by the honorific title Celebi (Pronounced as Chelebi), meaning “worthy man of God.” (17) There are several other groups and individuals in Turkey trying to promote the Rumi‟s message of love and harmony. Mawlana Education and Culture Association in Istanbul is run by Mr. Abdul Hamit Cakmut and his wife, both in charge of male and female wings respectively. The group works for the promotion of Mawlana‟s teachings and trains their male and female members in sama, the ritual dance. They also have sama ceremony once in every two weeks in the famous Mawlawi Sama Khana
TAKATOO Issue 1 Volume 1 21 January- June 2009 of Galata, Istanbul, and have separate groups of male and female „sama zan‟ (whirling dervishes). The Contemporary Lovers of Mawlana Society‟ is another Mawlawi group in Istanbul, formed in 1989 under the guidance of its spiritual leader Hassan Cikar. Most of the members of this group are young, both male and female, who whirl and play music together without any distinction of sex. The group has taken few steps towards changing some of the traditional practices in order to make it more contemporary. They have brought men and women together in the sama ceremony and also introduced colorful ceremonial dress. These things have made the group somehow controversial in the eyes of other Sufis and Mawlawis in Turkey who argue that such changes are against the spirit of the Mawlawi Order. These critics say that Mawlana‟s teachings and the principles of Mawlawi Order, most of which are symbolic, are well preserved in writing. They say that the symbolic meaning might be affected with a slight change either in costumes or practice. But the head of this group, Hassan Cikar defends his revolutionary steps and stresses that all this is according to the spirit of Malwawi teachings. This group also presents a sama ceremony twice a month in Galata Mawlawi Temple in Istanbul which has become a tourist attraction where one has to buy an entry ticket before attending the ceremony. (18) Sama (Whirling):
The Mawlawis, or "Whirling Dervishes", believe in performing their dhikr (Zikr) in the form of a "dance" accompanied by music ceremony. This ceremony is called „sama‟. „Sama‟ means listening to music, and entering into ecstasy and excitement induced by the music. The Sama represents a mystical journey of man's spiritual ascent through mind and
TAKATOO Issue 1 Volume 1 22 January- June 2009 love to the "Perfect." Turning towards the truth, the follower grows through love, deserts his ego, finds the truth and arrives at the "Perfect." He then returns from this spiritual journey as a man who has reached maturity and a greater perfection, so as to love and to be of service to the whole of creation.
Sipeh Salar writes that one day when Rumi was walking in front of Salah-ud-Din goldsmith‟s shop and by hearing the regular and harmonic hammer strokes, he suddenly became ecstatic and began whirling there. When Salah-ud-Din saw this, he kept on hitting the gold without thinking that the gold under the hammer would be wasted. Aflaki has given more details in this regards and syas, “When Salah-ud-Din saw Rumi coming to his shop, he left the work to his apprentices and came out of the shop. When Rumi saw him, he embraced and kissed him and they started whirling together. But the old goldsmith, Salah-ud-Din, who was weakened by asceticism noticed that he couldn‟t whirl with Rumi. He excused himself and Rumi did not insist. Upon returning to his shop, Salah-ud-Din ordered his helpers to hit the gold not thinking of what is going to happen with the gold. This way Rumi whirled from noon until evening, and while whirling, he recited an ode beginning with the following couplet: A treasure of meaning appeared to me in this goldsmith shop. What a luminous motive, what a pleasant meaning, what beauty, what beauty!(19)
It is believed that Rumi heard the word Allah (God) in this rhythmic sound, and this had inspired him; this inspiration put him into a state of ecstasy, which resulted in his whirling.
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Sama was not performed in an orderly format during Rumi's lifetime. It started with Rumi's son, Sultan Walad, and Ulu Arif Celebi, and evolved slowly until the time of Pir Adil Çelebi. It was at that point when the form started to be taught and learned. It took on its final form in the 15th century, with the Naat Sharif (eulogies that praise the Prophet of Islam) being added to the Sama in the 17th century. The Sama symbolizes the creation of the universe, the creation of the human being and our birth into this world, the progress of the human being after the realization of servanthood, which is supported with a love for God, and our ascendance toward the ranks of Insan al-Kamil (Perfected Human). (20) The Sama starts with the Naat, accompanied by music composed by Bahurizade Mustafa Efendi, which is known as the Itri. This Naat is sung by the Naat khawn without any musical instruments in a standing position.
Naat Sharif is followed by a drumbeat (on the kudum) symbolizing the Divine command: “Kun!” (Be).
The Naat is followed by an improvisation on the ney (reed flute). This expresses the Divine breath, which gives life to everything, and perfects them.
During the Sama, other traditional instruments like the tambur, the ud, the kemençe, the kanun, and the bendir are also used along with the kudum and the ney.
Vocal and instrumental music, especially the ney (flute), plays an important role in the Mewlawi ceremony and famous composers, such as Dede Efendi, wrote music for the ayin (cycle of Mawlawi ceremonial
TAKATOO Issue 1 Volume 1 24 January- June 2009 music). The ayin text is normally a selection from the poetry of Mawlana Rumi. (21)
The Sultan Walad Walk, which is accompanied by the peshrev music, is a circular procession that consists of three turns around the middle space. The greetings of the semazens during the procession represent the salutation of soul to soul concealed by shapes and bodies.
A virtual line that stretches between the entrance point and the red fleece divides the Sema platform into two. This sacred line is called „Khatt al- Istiwa‟ and it is never stepped on.
During this circular procession, the samazens greet each other three times. This visual greeting symbolizes the salutation of the spirits. The samazens come from the right side of the platform up to the red fleece, without stepping on the khatt-al-Istiwa and without turning their backs to the red fleece, then step to the other side, and face the samazen behind them. The two samazens face each other, bow and greet each other at the same time; this is called Muqabala. At the end of the third procession, after the Sheikh sits down on the red fleece, the Sultan Walad Walk, which symbolizes reaching the Truth (God), finishes.
Standing and leaning into one another, the samazens, after a short ney improvisation, straighten their sikke (long woolen hats that resemble an Ottoman tomb stone in shape), and take off the black coats. They then become separated from this world, symbolized by their pure white gowns, and become spiritual, opening their eyes to the truth. By holding their left shoulder with their right hand and their right shoulder with the
TAKATOO Issue 1 Volume 1 25 January- June 2009 left hand they symbolize the number one, which reflects and witnesses the unity of God.
After kissing the Sheikh's hand and attaining permission to proceed, the samazens start the Sama. In this kind of whirling, the lover of God escapes his imaginary existence, his ego, and he is annihilated in God. The annihilation of the particle in the whole is like the shivering and whirling elevation of an atom to the sun.
Every detail of Mawlawi Sema possesses a symbolic meaning. For example, the bow which each dervish accords to his fellow, both before and at the end of whirling, symbolizes the respect which they feel all men should have each other.
The upturned palm of the raised right hand is open to the sky during the whirling and symbolizes the dwelling place of God. The down turned palm of the left hand is directed towards the earth, the dwelling place of man. The dervish thus himself can be viewed as a conduit of grace from above which he channels to the world below.
“From God we receive, to men we give”
The Sema consists of four greetings: “Being conscious of one's servant hood,” “Being awed before the greatness and power of the Lord,” “The transformation of this awe into love,” “Return to the highest rank possible for the human which is servant hood.”
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These are symbolized by the first, second, third and fourth greetings, respectively.
When the recitation from the Qur'an starts the samazens finish the Sama and they take their places and sit. The Sema ritual finishes with the greetings of the Sheikh, the samazens and the musicians toward the red fleece.
Many people have explained the whirling. Many nice things have been said about the whirling. But the one who best explained, felt, and made others feel the whirling has been Rumi himself, as in the following ode: Do you know what the whirling is? it is hearing the voices of the spirit saying “yes “ to God’s question “Am I not your Lord?” it is deliverance from ego and reunion with the Lord. Do you know what the whirling is? It is seeing the Friend’s states, states of God from across the curtains of the unseen. Do you know what the whirling is? It is escaping one’s existence. Continuously tasting the everlasting existence in the absolute non- existence. Do you know what this is? It is making one’s head a ball in front of the Friend’s kicks of live and running to the Friend with out head and feet. Do you know what the whirling is? It is knowing Jacob’s sorrow and remedy; it is smelling the smell of the reunion with Joseph from Joseph’s shirt. Do you know what the whirling is? It is swallowing Pharaoh’s spells just like Moses’s staff every moment.
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Do you know what the whirling is? It is a secret from the Prophetic Tradition: “There is a moment for me with God where no angel or no prophet can cone in between God and me.” It is reaching that place without any means where no angel can fit. Do you now what the whirling is? It is, like Shams-i-Tabrizi, opening the eyes of the heart and seeing the sacred lights. (22)
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Notes
1. Azami, Dawood. “Survival of Sufism in Turkey” Onassis Bursary Project 2003/2004. British Broadcasting Corporation, London, UK. p: 19 (unpublished research paper) 2. Curiel, Jonathan. (April 01, 2007) “Can Rumi Save Us Now?” (San Francisco Chronicle) http://www.sfgate.com/cgi- bin/article.cgi?f=/c/a/2007/04/01/INGA7OTN521.DTL (Accessed on March 09, 2008) 3. Seker, Mehmet “Rumi and the Sema”, (http://www.umass.edu/gso/rumi/sema2.htm (Accessed on March 05, 2008) 4. http://www.sufism.org/society/mevlev.html (Accessed on March 09, 2008) 5. Dalrymple, William, “What goes Round…” (The Guardian, Nov. 5, 2005)) http://books.guardian.co.uk/departments/classics/story/0,6000,163 4757,00.html (Accessed on March 10, 2008) 6. Azami, Dawood. Op cit. p: 6 7. Nomani, Shibli. (2007) “Sawaneh-i-Mawlana Rum” Nigarishat Publishers, Lahore. P: 43 8. http://en.wikipedia.org/wiki/Jalal_ad_Din_Muhammad_Balkhi- Rumi#The_Mawlaw.C4.AB_Sufi_Order (Accessed on March 9, 2008) 9. Can, Sefik. (2005) “Rumi‟s Thought” The Light Inc. Sumerest, New Jersy. P: 293 10. http://en.wikipedia.org/wiki/Whirling_Dervishes. (Accessed on March 9, 2008)
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11. Ibid 12. Ibid 13. Dalrymple, William. Op cit 14. http://en.wikipedia.org/wiki/Whirling_Dervishes, Op cit 15. http://www.hayatidede.org/V1/about_moa.html (Accessed on March 7, 2008) 16. http://www.sufism.org/society/mevlev.html Op cit 17. Azami, Dawood. Op cit p: 20 18. Ibid. Pp: 21-22 19. Can, Sefik. Op cit. Pp: 70-71 20. Seker, Mehmet. Op cit 21. http://en.wikipedia.org/wiki/Whirling_Dervishes, Op cit 22. Can, Sefik. Op cit. Pp: 205-206
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References:
Azami, Dawood. (2004) “Survival of Sufism in Turkey” Onassis Bursary Project 2003/2004. British Broadcasting Corporation, London, UK. Pp: 6-19-20 (unpublished research paper) Can, Sefik. (2005) “Rumi‟s Thought” The Light Inc. Sumerest, New Jersy. Pp: 70-71-205-206-293 Curiel, Jonathan. (April 01, 2007) “Can Rumi Save Us Now?” (San Francisco Chronicle) http://www.sfgate.com/cgi- bin/article.cgi?f=/c/a/2007/04/01/INGA7OTN521.DTL (Accessed on March 09, 2008) Dalrymple, William, “What goes Round…” (The Guardian, Nov. 5, 2005) http://books.guardian.co.uk/departments/classics/story/0,6000,163 4757,00.html (Accessed on March 10, 2008) Nomani, Shibli. (2007) “Sawaneh-i-Mawlana Rum” Nigarishat Publishers, Lahore. P: 43 Seker, Mehmet “Rumi and the Sema”, (http://www.umass.edu/gso/rumi/sema2.htm (Accessed on March 05, 2008) http://www.hayatidede.org/V1/about_moa.html (Accessed on March 7, 2008) http://en.wikipedia.org/wiki/Jalal_ad_Din_Muhammad_Balkhi- Rumi#The_Mawlaw.C4.AB_Sufi_Order (Accessed on March 9, 2008) http://en.wikipedia.org/wiki/Whirling_Dervishes. (Accessed on March 9, 2008)
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http://www.sufism.org/society/mevlev.html (Accessed on March 09, 2008)
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The Social construction of Tragedy in the Pashto Folk Romance narratives.
Barkat Shah Kakar
Abstract:
The oral tradition of Pashto language has been a vital source in the formation of the collective social and historical consciousness, cultural education, imagination and particular forms of expression through poetics and prose. Romance narratives are one of the composite proses cum poetic genre of Pashto folklore which have been transferred from one generation to others over the period of hundreds of years. While stepping in the modern literacy and development arena, one can see that some of the particular romance stories have survived as part of the collective memory of most of the Pashtun pertaining to cultural and traditional backgrounds. This trickledown from the treasure of oral tradition of poetics and prose is due to its particular construction. Characterization and the very tragic ends of the lives of both the lovers. Tragedy or Gham is perceived as a compulsory value for life. The Tragedy occurred in the romance narratives is crafted over the social conditioning of women and the ideals of masculinity and male superiority, therefore one can see that in all the popular romance narratives woman has to die after her beloved to prove her true love. This paper is going to unpack the reality that, the tragedy in the popular romance stories is stemmed in the ethos and norms of social structure and its value system. This paper unfolds the tragic patterns of the popular romance stories which are the great source of oral folkloric prose in
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the Pashto language. The tragedy reflected in the popular romance stories posses commonalities in terms of the vantage position of male protagonists and his beloved heroin.. but it also posses a true replica of the construction of the social order, which awards specific and selected role to the different social classes and sexes.
Origin of the story: Story is perceived as the very initial imaginary creation of human being after the origination of language. Max Muller the reckoned linguist has pointed that, “Language is the very initial creation in the entire universe, while mythology and legends come on the second number i ”. In this context, the correlation of language with legends and stories is very essential and chronologically both are equally old. Both language and myth have traveled side by side. Myth has enriched the language and as well has influenced the imaginary creation particularly on the folk tales including epic, romances, tragedy and comics. Dr Qazi Javed also connects both folk tales and the old mythological stories. Supporting the Muller‟s hypothesis he also states that, “Mythology is old as compare to the folk talesii” but then he also finds its very usual connection in terms of both thoughts and techniques. The Greek fables are rated as the initial imaginary creations of human being some of these are known as “Aesop fables iii”. Analysis of the contents and techniques of the Greek fables indicates that it has laid strong foundation of the mythology as a collective human inheritance. Fables have grown through perpetual inter-cultural and intra-cultural interactions of the people. Tahir Afridi, the known short story writer of Pashto shares his views in this regards, “fables have grown through a rich
TAKATOO Issue 1 Volume 1 34 January- June 2009 interaction of the people of diverse background, the carvan (seeking their trade markets and routs) used to settled and then for their imaginary and emotional catharsis, the story tellers1used to sit in the middle and then started the fable, they also played Daf2, rabab3along with story which created a space for story tellingiv. The well known and reported Pashto folk romances starts from seventeenth centuryv, while tallying the much stretched history of Pashto- in the Bakhtar (being migrated from Ariana Veija during 2500 BCvi) as the third sister language of Awista4 and Sanscrit5 one can easily assess that a huge treasure of fables is extinct and has not become part of the collective memory and consciousness of Pashtoons. Ghani Khan the great poet and thinker of Pashto presents his views as, “The Pathans have no written history but they have thousands of ruins where they carved stones, tell their story to any one who would care to listenvii” The Oral Tradition and Pashto Folk Tales: The oral tradition is as old as human being. People‟s collective memory registers certain events and tales as part of its inheritance from the previous generation and then passes it on to the new generation with substantial subtraction and additions. Thus stories and poetics travel from place to place and generation to generation mainly through verbal communication. The oral tradition of Pashto language has been a vital source of the creation of the collective social consciousness, imagination and
1 Dastan Gou 2 Locally made Drum mainly beaten by women in the recent dominant Pashtun culture 3 Rabab is a traditional Pashtun instrument mainly analogous to Gittar. 4 The Old Persian from indo-Eurpean group of languages 5 The sacred language of Hinduism enfolding the grand narrative and mythology of Hinduism
TAKATOO Issue 1 Volume 1 35 January- June 2009 expression through poetics and prose. The various forms of poetry and prose have grown spontaneously and have diversified and magnified the canvas of Pashto literature. Story telling and narrations regarding the routine life are still part and parcel of the average traditional Pashtoons man and woman. The evolution of story in the folk spaces has been very identical to the emergence and growth of the fabulous oral literature. The study of contents and techniques of the Pashto folk tales indicate immersed influences of various languages and cultures. The influence of Greek tragedy, Arabian Alf-laila6, Persian classics and Vedic fables of Hindu warriorsviii are felt and verified through various means. Ghani Khan the reckoned Pashto poet and thinker have also quoted an analogy of the Pashtoon and Greece literature. But the framework of Pashto folk tales has been diversified through various sources and cultures. Sulleman Laiq verified this outcome in following words, “In spite of all characteristics of its formation, our (Pashto) folk stories are very identical to that of the other languages, it posses Romances, Epics, war narratives, religious tales and diverse other forms”ix. S. Sthorburn the known Orientalist has collected several short stories and has made his account entitled “Banu or our Afghan Frontier”. This is the very first book containing the folk stories of Pashtun. S. Sthorburn has classified these stories in the following manner. Class1 Humorous and moral Class2 Comic and Jocular Class 3 Fables x The Popular Folk Romances:
6 Alf-Laila is the legendry Aabian fable continued for thousand nights.
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Some of the folk Romances have survived in the collective memory of Pashtoons through oral tradition of story telling and due to its compilations by Pashtoon scholars and some orientalists. These stories cater an interesting representation of the various geographical, socio- cultural and lingo-diction differences. But inspite of all these dissimilarities some of the folk romances are equally popular and contain social acceptance at all levels. The folk tales that are evaluated in this paper are from different geographical and tribal backgrounds. Though one cannot presume the accurate period yet some of the poetic references pertaining to specific events and characters can be instrumental as historical determinants. Adam Khan-Durkhaney also known as Rumeo Jullet of Pastho were from Bazdara-Malakand, they lived before the arena of the great scholar,poet and warrior, Khushal Khan, who instructed his son Sadar Khan Khattak to compile this romance story in a poetic formxi. Momin Khan-Sherino are also reported as living during the Mughal reign. They belong to Kandaharxii, similarly Yousaf Khan-Sherbano from one referencexiii were from Swat, While Aseer Mangal reports them from Sawabi xiv ,Share Alam –Memooney from Bajawarxv Musa Jan –Gul Makkai Harnaixvi district adjacent to Ziarat and Loralai districts. Similarly Talib Jan- GulBashra, and Shadi Khan-Bebo are from the diverse geographical and tribal backgrounds. The Folklorist Habibullah Rafi has deduced the history of Momin Khan from one of the Tappa7 by the Mughal princes whom he rescued from being entrusted to a Dracula.
7 Tappa is a popular folkloric form of poetry.
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These stories are equally popular in the diverse areas where Pashtoons dwell, interestingly the Folk narrators/story tellers of different areas have translated the story into their own diction and have interknitted the story through the dominant poetic style. Like in some areas where Tappa is the dominant form of folklore one can see the poetic aspect in this particular form. This also reflects the significance of these romance stories which has created a culture of reproducing and reshaping the deep romantic experience into their own style, one can also deduce that its has motivated the general public to be a poet and story teller. While a holistic study of the folk narratives/stories will reveal that these posses the characteristics of Drama, Novel and Short story at a time. As novels deal with postulates, short story gives an imaginative dynamics to the story and drama infuses soul in the dead characters of the storyxvii. The art of story telling is stemmed in the Pashtoon tradition, one can easily guess it through the detailed sharing of people when they return from another place or they even come from their daily duties in other towns. The analogy, that every Pashtoon is a poet also fits here, we can easily say that an average Pashtoon male and female are the good narrators and story tellers. The folk romances are mainly shared by the specific and some how professional story tellers. One of the key qualities of a good story teller is his excellence of having a good throat for signing and skill of playing the local music instruments. The listeners get around the story teller; one of the persons is assigned to keep the story on the track that is mainly called Shepard, in terms of guide. The story is consisting of narrations and
TAKATOO Issue 1 Volume 1 38 January- June 2009 poetics some times the over all story is shared in the poetic framework with singing. Professor Muhammad Nawaz Tahir in his research paper on “Adam Khan-Durkhanai elaborated, “this is a particular form of tragedy which has found space in the hearts of all the children, young and old male and female. People share this story at various places like in the Hujra, Dera and around the heating fire, during journey or in the common sitting this story is listened with equal zeal. Adherence to such tragic romance is the true reflection of the nature of the emotions of Pashtunsxviii. The listeners most of the time in the traditional gathering spaces (hujra, baitak, wattak)8 used to weep along with the progression of the story towards the catastrophic conclusion. The observers and listeners reports that the sighs of the listeners rises when the end of this particular tragic romance stories come. The romances are concluded with prayers for lover‟s souls. Similarities in Folk romances: The progression and construction of story follows an identical trajectory. A heart breaking event enters in a community through a reporter with required zeal, and then the story is further formulated through the people‟s deep feelings of Gham (tragedy). One of the identical points in all the stories is that almost all the popular romance stories posse‟s is deepest feelings of Gham and have the very tragic ends to the lives of both of the lovers. Gham is one of the core determinants of folk romances popularity while the other core determinant is the particular pious and virtuous portrait of the Heroine of these romances. Almost all
8 The traditional spaces of gathering and hospitality named differently in different areas
TAKATOO Issue 1 Volume 1 39 January- June 2009 the heroes except Talib Jan are warriors and proven their skills and courage as warrior and brave. Almost in the entire protagonist has to travel to other areas especially for increasing their power, wealth and influence while winning over their rivals or equalizing with the socially higher class Habibullah Rafi, the reckoned Pashto folklorist has quoted in his account on the folklore. Momin Khan has finally intended to go to Hindustan for increasing his power and wealth, his fiancé assures him a firm commitment. Do not lose your heart while being abroad My love will be for you till my deathxix Musafari pa jama xdra ka Khulgai mi sta da ka za khawri sam maiena The Esthetics of Gham in Folklore; Gham is not created for the unwise purpose 9 It is the standard differentiating the gallant and coward . KHUSHAL
KHAN KHATAK Tragedy (Gham) is not an unusual phenomenon in the lives of the ordinary Pashtoons, like an Bedouin Arab is familiar with desert, camel and thirst similarly a common Pashtoon is familiarized with the experience of Gham. Gham is mainly taken as a value and dealing the tragic consequences of life, a common man expresses it in a particular poetic form. Therefore one can see the very deepest feelings of the tragic experiences in the folklore poetry and prose.
9 (Gham e Bey Hikmatta na day paida Karey- Da Namard aw Mard pa munz ki Gham Mahaq dai).
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Gham has been one of the socially accepted values, the folk proverbs and expression in the folk literature also reveals that it must be acknowledged as one of the closest companion of one‟s life, therefore the tragic romance stories in this context are very much highlighted. The story teller strives to connect the listener to their own stories therefore they can easily contextualize the relevance of these stories with their lives and experiences of Gham. The ethnographer Benedicte Grima (1992) shares her findings regarding Gham, “ Gham is a major criterion among Pashtun critics, writers and audiences, when discussing the plot in novels, romances, television or radio drama, folktales and poetry, as one Pashtun scholar (Purdal Khan Khatak) put it, “TV Dramas are good example, if they do not have a lot of suffering, then we say they are unnatural we do not appreciate thatxx”. Gham/tragedy is taken as a source of healing from within. The very popular folk poetic genres of Tapa, Kakarai Ghari and the poetics of the romance stories show very deep connection of these people with Gham as a source behind the production and creations of immense value of literature. Reckoned Scholar Qalander Momand in his interview with Benedicte Grima for her ethnographic study has put that, “Man‟s greatness is judged from the point of view of his Gham, not of his joy but his reactions to tragedy make him greatxxi The beauty and esthetics of Gham is also acknowledged and suggested by the classical Pashto poets like, Rehman Baba, Hamid Baba, Kazim Khan Shaida and Mirza Hanan Barakzai. On the famous couplet of Mirza Hanan Barakzai is as under Until the heart is not broken, love cannot enter into it Like the nib of the pen, takes ink while broken downxxii
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Similarly Rehman Baba has rightly expressed about the nexus of Gham and poetics as compulsory entities for each other. It is a law that sighs are generated through pain Otherwise, Rehman had nothing to do with poetry10. Portrait of the Virtuous Heroine of Romances; Contrary to the beautiful seductive women in the grand narratives (The Arabian folk story told in 1000 nights), Qisa-e-Chahar Darwesh 11 or Bagh W Baharxxiii12 The heroines of the romances reflect a perfect picture of the women who fulfills the standards of Pashtunwali. Therefore one cannot see their seductiveness and lust for fulfilling sexual desires. Shadi Khan one of the representative Romance heroes leaves his land because his lover refused to carry out any form of romance which is perceived an illicit relation socially. While comparing the romances of Pashto folklore, one also finds that there are minimum contribution of the supernatural forces and magical influences over the lives of the protagonist and his lover. Analysis of the Romance narratives reveals that the stories are knitted over the canvas of the social structure and ideals of the Pashtunwal 13 which demands demonstration of high character and ethos from the protagonist and his beloved fiancé. There are several romance stories, but the romance narratives that are concluded with particular tragic ends have become part of the collective social memory.
10 Da dastoor dai chi la darda Zgirwai Khixi‟ Kane Sa Da Rehamn La Shaerai 11 The reckoned fable “Story of the four saints”\ transmitted from Persian to Urdu and Pashto 12 Garden and spring 13 Pashtunwali is the cultural code of life, determined and constructed by the Pashtun society over the years, which covers detailed jurisprudence, values and norms of the Pashtuns.
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Nexus of Tragedy, Romances and Social Structure; One can see that the woman lovers die after their beloved male protagonists, Durkhaney dies after having a visit to the grave of Adma Khan in Baz Dara-Malakand, while her death over the grave of Adam khan is also acknowledged by Payo Khan the anti-Protagonist and rival of Adam Khan who forcibly strived to get marriage with Durkhaney. Similarly Mosa Jan is killed by King Suhail who forcibly abducted Gul Makai. She put forward a condition for wedding the Suhail if he builds a tomb over the grave of her beloved. Suhail orders and the tomb is built. Gul Muhammad Noori compiler of the romance story has written it in following manner, “In the morning, King Suhail along with his men took Gul Makai to show her the glorious tomb he made over the grave of Mosa Jan. Gul Makai entered the Ziarat14, and made a cold sigh, and fell over the grave of Mosa Jan, she prayed from Allah for ending her life and as she was the true lover so her pray was admitted, Suhail‟s mouth remain open with sorrow and surprise, it is said that she is burried beside Mosa Janxxiv”. In the case of Talib Jan and Gul Bashra and Yousf Khan Sherbano both the couples of lovers get through series of hardships and then get marriage, but the tragic romances only survives when the lovers die their hearts filled with desires. Talib Jan was to complete his religious scholarship, he lefts his loving princes wife and goes for seeking knowledge, after completing his Scholarship he starts coming back to Gul Bashra but the hardships of continuous journey makes him ill and finally dies. Gul Bashra like her sisters woman lovers fell upon his grave and leaves this mortal world.
14 Ziarat is the grave of a saint or spiritual person.
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The tragedy of Yousaf Khan and Momin Khan is alike when one lacks man power and wealth to protect his family, lover and land, while the later lacks wealth to pay Walwar 15 (dowry) for his beloved Sherin, spelled as Sherino.Therefore both of them traveled Hindustan where they demonstrated high skills and courage as wise warriors and leaders. In the rewards of his services the King of the particular state gave him wealth and men power to fulfill their right desires. Yousaf Khan took over his cousin at the day of the Sherbano‟s by force wedding to Yousaf‟s cousin but in the very initial days of their marriage he dies while hunting in the stormy night. Momin Khan comes with Walwar the dowry money but makes haste while not having a control over his emotions. He reaches at night, stay his men outside the village, jumps over the castle of Zabardast Khan the Sherino‟s elder brother and go straightly to the bed of his fiancé Sherino who is sleeping deeply and is surrounded by her seven brothers. He strive to kiss her meanwhile she yelps and Zabradast Khan aims at him with his long knife, Momin Khan dies and Shrino along with Gul Ghutttai the daughter of the King of an Indian state also dies at the eve of the burial of the Momin Khan. Shadi Khan and Beabo the cousin lovers are separated due to the ego of Beabo‟s parents, Shadi Khan leaves home and goes Asfahan where he encounters with another woman Sharin who fells in love with him, he strives to avoid her and escapes from there to a desert where he dies, Beabo becomes ill and requested her father to get her to Asfahan, she reaches the place where Shadi Khan dies and then an end to her life concludes the story.
15 Walwar is the money to be paid by the groom family to the family of bride.
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The tragedy in Folk Romance narratives of Pashto is identical to the tragic frameworks of the mainstream love stories of Arabic and Persian languages like the eternal stories of Laila-Majnoon and Shareen –Farhad. But there are some general differences mainly in the nature tragedy and gender roles. Both Majnoon and Farhad dies after their Beloved while all the woman lovers like Gul Bashra, Gul Makai, Durkhaney, Sherbano and Beabo are died after their beloved man. The desires of the entire Pashtoon women to die after their lover are social norms, particularly woman who loves with their husband cannot think beyond their existence as countless miseries opens after the husband eyes are shut. Like the tragic custom of Satai in orthodox Hindu faith in which wife is doomed to ablaze herself with her died husband, the inner feelings of the Pashtoon romance heroine are also the same but she gave her soul with her spiritual power and the Karishma of true love. Analysis of the tragic romances and the particular role adopted by woman lovers it is interesting to know that the co-incidence of issuing all the same role determines demands of the social order and social role of woman. From the study of the romance stories, Anthropologist Charles Lindholm has deduced that “In death romance lives while in marriage romance is dead” as quoted by Benedicte Grima (1992) in her ethnographic study. The death of the women after their beloved is a common drop scene of the romance tragedies. It is a social demand from woman to prove her love as cultural stereotypes are woman is blamed as hypocrite, disloyal and wicked. When we analyze the romance narratives, one finds interesting similarities, presence of a woman or young girl is essential in all the
TAKATOO Issue 1 Volume 1 45 January- June 2009 stories, which is a bone of contention amongst various male lovers. Like in Drama or Noval one finds both tragic and comic aspects similarly we can see the very tragic end of the story with the death of one of the lovers which causes the death of the second. They are burried separately but while digging graves some days later they are found togetherxxv… Conclusion: The collective memory of Pashtoons possesses a short span of its history while an unprecedented treasure of folklore is either deformed or extinguished. The folk tales are still great sources for unpacking the cultural and historical questions. The contemporary social scientists strongly believe that folk tales posses the treasures of meaning for understanding and unpacking the social systems and its construction.xxvi The Pashto folk romances are the true reflections of the social order, in which particular roles are assigned and expected to be displayed through the acts of their protagonist. The demise of all the Heroine after the tragic death of their lovers is perceived as a standard of Wafa ( loyalty to the male lover) and one cannot find a popular romance story which does not fulfill the typical characterization and patterns. Hero is a complete warrior and representative of the traits of Pashtunwali, while heroine is also conditioned to the particular values and virtue. Tragedy only completes when woman dies for her lover.
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References: vi Abid, Dr. Qazi “Assatier awr Urdu Dastanien” published by “DARYAFT” 2002 by NIML-Islamabad page-180 vi Abid, Dr. Qazi “Assatier awr Urdu Dastanien” published by “DARYAFT” 2002 by NIML-Islamabad page-180 vi Mangal, Aseer “Da Pashto Dastan Paroon, Nun aw Saba” 2007 compiled by Sadiq Xarak page 149 vi Afridi, Tahir “Pa Pashto Ki Da Afsaney Da Irtiqa Jaj” Compilation by Aseer Mangal, Salim Bangash ,Pashto ,Paroon, Nun Aw Saba,2006 Danish Kitabkhana Qissa Khwani Peshawer, vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154 vi Habibi, Abdul Hai , “Da Pashto Adabiatoo Tarikh” Danish Khparandoya Tollanana 2005 , page-35 vi Khan , Ghani “The Pathans” The Frontier Post publication 1947 page- 4 vi Rahbar, Dr. Dawood , Culture Key Rohani Anasir, compiled by Fiction house Lahore, 1999 page 23 vi Laiq, Suleman “Qissay Aw Afsanay” published by “Da Afghanistan da Ullomoo Academy” Page -1 (1361 HIj ) vi Laiq, Suleman “Qissay Aw Afsanay” published by “Da Afghanistan da Ullomoo Academy” Page -1 (1361 HIj ) Page-3 vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-153 vi Rafi Habib Ullah ,Da khalko Sandaree”1349 hij Da Afghanistan Tarikh aw Adab Tollana Kabal Page-1 vi Grima,Bendicte, A performance of emotion among Paxtun Women page 153 Oxford Pakistan Paperback 1992 vi vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154-155 page-180 vi Abid, Dr. Qazi “Assatier awr Urdu Dastanien” published by “DARYAFT” 2002 by NIML-Islamabad page-180
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vi Mangal, Aseer “Da Pashto Dastan Paroon, Nun aw Saba” 2007 compiled by Sadiq Xarak page 149 vi Afridi, Tahir “Pa Pashto Ki Da Afsaney Da Irtiqa Jaj” Compilation by Aseer Mangal, Salim Bangash ,Pashto ,Paroon, Nun Aw Saba,2006 Danish Kitabkhana Qissa Khwani Peshawer, vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154 vi Habibi, Abdul Hai , “Da Pashto Adabiatoo Tarikh” Danish Khparandoya Tollanana 2005 , page-35 vi Khan , Ghani “The Pathans” The Frontier Post publication 1947 page- 4 vi Rahbar, Dr. Dawood , Culture Key Rohani Anasir, compiled by Fiction house Lahore, 1999 page 23 vi Laiq, Suleman “Qissay Aw Afsanay” published by “Da Afghanistan da Ullomoo Academy” Page -1 (1361 HIj ) vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154 vi Rafi Habib Ullah ,Da khalko Sandaree”1349 hij Da Afghanistan Tarikh aw Adab Tollana Kabal Page-1 vi Grima,Bendicte, A performance of emotion among Paxtun Women page 153 Oxford Pakistan vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published “Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154 vi Noori, Gul Muhammad “Milli Hindara” 1987 Muhal Jangi Peshawer , Page 132 vi Dawood, Professor Dawar Khan, “Pashto Tappa” page 131 july 1984 vi Dawood, Professor Dawar Khan, “Pashto Tappa” page 133 july 1984 vi Rafi Habib Ullah “Da khalko Sandaree”1349 hij Da Afghanistan Tarikh aw Adab Tollana Kabal Page- 198 vi Grima,Bendicte, A performance of emotion among Paxtun Women page 147 Oxford Pakistan Paperback 1992 vi Do
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vi Barakzai, Mirza Hanan, “Da Mirza Hanan Barakzai Dewan” compiled and edited by Sayed Khairmuhammad Arif and Saeed Gohar published by Pashto academy Quetta, 1987 Page -23 vi Saleem, Sobia “Urdu Dastanoon min Awrat” Published in “DARYAFT” by NIML-Islamabad 2002, Page 445 vi Noori, Gul Muhammad “Milli Hindara” 1987 Muhal Jangi Peshawer , Page 124 vi Dawood, Professor Dawar Khan, “Pashto Tappa” page 131 july 1984 vi Laiq, Suleman “Qissay Aw Afsanay” published by “Da Afghanistan da Ullomoo Academy” (1361 HIj) Page-2
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Khan Shaheed Abdul Samad Khan Achakzai A Political Leader and His Literary Contributions.
Razia Gul
Abstract:
This paper highlights diverse dimensions of the life and works of the prominent pashtoon leader, shaheed-e-millat Khan Abdul Samad khan shaheed. His praise worthy services rendered for the protection of pashtoon territory, culture, history, language and civilization have also been discussed. The contents of the paper indicate that despite leading hectic life, khan shaheed never ever ignored the literary aspects of Pashto language. He provided a strong foundation to it by reshaping Pashto Alphabets, translating prominent works, and giving due status in media. The writer explores command of Khan Shaheed over eight popular regional languages through which he would easily convey his message to all freedom fighters. It also carries a comprehensive account of his vision and active participation in the politics of the then sub-continent and after the partition of India. The writer evaluates the life of this pashtoon leader who spent half of his life for the rights and dignity of pashtoon. They planned to remove him out of their way. Finally at the age of 67, he was martyred by two hand grenades attack on December 2, 1973.
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BACKGROUND: The second half of the nineteenth century and the first half of the twentieth were the most important periods generally in the political history of the world and particularly for Afghanistan and the sub- continent. This period of one century is characterized by the destabilization of the already existing political system. During the late 19th century, the British imperialists were the mightiest. The most important slave countries in respect of economic, political and strategic point of view came under the occupation of the British imperialism with great number and amplitude when the British imperialist exploiters transferred the whole of the sub-continent into their colony. They latter on occupied the territory of Afghanistan and included it in her occupied territory of subcontinent and named them as North West Frontier province with the capital of Peshawar, which used to be the winter capital of Afghanistan and British Balochistan with the capital at Quetta. At the beginning of the 20th century on the one side the European imperialist countries were busy in preparation for war to distribute the booty by force through the sophisticated arms of that time, on the other side the highest revolutionary class, the industrial workers of the European countries were organizing the labor movement and on the third side the people of the slave and semi slave countries were taking the first step for emancipation from the grip of the colonial exploitation and establishment of self control over their countries. As the sub-continent had completely come under the control of the British, their on going struggle against British government was intensified.
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Khan-I-Shaheed, (A Born Leader) and His Political Struggle. Khan Shaheed Abdul Samad Khan Achakzai was born in tehsil Gulistan district Killa Abdullah of the colonized Afghanistan in 1907.1 His father‟s name was Noor Mohammad Khan. His grandfather, Sultan Mohammad Khan was the son of Inyatullah Khan. He was born in a religious family and started his early education at home and mosque. He was taught Pashto, Persian, Arabic and Islamic education under the supervision of his father and teachers. He took admission in School in 1920. He stood first position at primary level and passed the middle examinations in 1925. After being imprisoned by the then British rulers then, late Khan Shaheed continued his education in prison and passed, matriculation, intermediate, graduation, specialization in Pashto and LL.B from there. Khan Shaheed Abdul Samad Khan Achakzai was only ten years old when his life was greatly influenced by certain incidents that took place in the second decade of the twentieth century. Those incidents included, the First World War (1914) and the Russian Revolution in 1917.2 In the British Balochistan in 1918 at the age of eleven Khan Shaheed Abdul Samad Khan Achakzai headed a procession of School boys at Gulistan in confirmation with the khilafat movement demonstrating against the British rule in the region.3 In those days taking part in the politics against the British was a difficult task, even talking against them was like calling for your own death, but Shaheed Khan Abdul Samad Khan Achakzai took up the challenge and started the struggle for freedom in Balochistan. He created political
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awareness in the people of Balochistan.4 In 1930, Khan-i-Shaheed was arrested immediately after his decision to found democratic political party for freedom on during his struggle. After his release in 1931, he went to Bombay where he met Mahatma Gandhi, who was on his way to London to attend the round table conference. On this occasion Khan Shaheed had the opportunity to meet many other known political figures besides Bacha Khan. As a result of this visit they united the freedom movement of oppressed classes with a special reference of Pashtoons lived in Peshawar and Quetta region with the cooperation of other Pashtoon leaders playing a great role in the organization of the Khudai Khidmat Gar of Surkpossh movment.5 Khan Shaheed Abdul Samad Khan Achakzai, inspired by several revolutionary movements, formed Anjuman-e-watan in 1938, in order to achieve constitutional reforms and democratic rights in Balochsitan.6 Abdul Samad Khan Achakzai was elected president of the party. The members of working committee for the year 1939 were:- 1) Khan Abdul Samad Khan Achakzai, President. 2) Mohammad Hussain Anqa, General Secretary 3) Arbab Abdul Qadir, Secretary. 4) Seth Donomal, Treasurer. Other active members of this organization were Nawabzada Mir Shahbaz Noshirwani, Vadera Mir Muhammad Kusa and Molvi Ghulam Haider7. The main object of Anjuman-e-ewatan were as follows:- To get rid of British imperialism. To demand constitutional reforms for Balochistan like other provinces of the sub-cntinent.8 The Anjuman-e-watan kept itself in touch with Khudai Khidmatgar Movement and Indian National congress. The annual session of the Kalat National Party held in Mastung in 1939, was attached by some influential
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elements of the state of Kalat and its leaders were exiled from the state. Its offices, therefore wer shifted to Quetta, where it collabrated with the Anjuma-e-watan of Abdul Samad Khan Achakzai. In this manner by direct contact and cooperation of Mir Ghous Bux Bizenjo, Gul Khan Naseer and other freedom loving Baloch leaders, the combined struggle of the Pashtoon and Baloch people gained the leadership of revolutionary democratic organization9. Here Khan-I-Shaheed and his Pashtoon and Baloch companions struggled very hard and untiringly against the British imperialist and the tribal chiefs attached to them. He established a platform to complete the aims and objects of his revolutionary struggle to Pashtoon and Baloch masses and people of the sub-continent. A weekly newspaper “Istiqlal” was started by Khan Shaheed Abdul Samad Khan from Quetta in 1938.10. Weekly paper Istiqlal played unforgettable role in the politics of Bolan valley before and after partition of the sub-continent. It expressed the peoples grievances. It created political consciousness among the masses and raised a strong voice against western imperialism. In 1939 Khan Shaheed Abdul Samad Khan Achakzai and Bacha Khan went on political tour of the British Balochistan together and motivated the Pashtoons to make themselves ready for the up coming challenges as the imperialist countries with their fresh ratio of power once more planned the second world war 1939-45 for the redistribution of the world11. There emerged two groups against each other, one led by Germany and the other by British. The second world war had direct effect on the political scenario of the world in general and on sub- continent particular. The India National congress resigned from the
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ministries in order to put pressure on British and started quiet India movement against the British in 1942.12. In the prevailing world events the British were compelled to leave Balochistan, Pashtoonkhawa and the sub-continent through the struggle by the Anjuman-i-watan, Khudai Khidmatgar from Pashtoonkhawa, Kalat National party from Balochistan, and many more from other parts of the region. But Khan-I-Shaheed, Bacha Khan and other freedom loving persons who persisted on the sole aim of putting the British to fight, could not stop the success of the British in their intrigues of those days. It was hoped with the creation of Pakistan the Pashtoon, Baloch, Sindhi, Siraki, Punjabi and Bengali people than emancipated from the British subjection would be the masters of their supreme authority and powers on basis of equality of the nationalities and on this principle would equally share the political authority but these still were the dreams of the people of the country. Within such conditions Khan-i-Shaheed carried on the struggle for the national and democratic rights for the people of Pakistan and with the coming of August, 1947, the series of his arrests and detentions began once more and then he was put behind the bars on orders by the representative of French colonialist rulers, the English agent to the Governor General and he remained in jail till 195413. After his release in 1954 he formed a political party with the name of Wrore Pashtoon (Pashtoon Brothers)14. Khan-I-Shaheed Abdul Samad Khan Achakzai spent a major share of his life in jails. Afterwords again the chain of arrests and dententions began and hardly was set free by Lahore High Court in 1956.15. Abdul Samad Khan Shaheed merged his party in the national Awami Party in 1957.16. National Awami Part (NAP) adopted a free, neutral political policy on
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the basis of the principle of equality of all nationalities. Khan-I-Shaheed, Bach Khan, Kaka Sanobar Hussain Momand and other numerous Pashtoon leaders were runners of the real democratic political party that was anti-imperialist, anti feudal and truly a party for the establishment of power of the toiling peoples of Pakistan. Khan-I-Shaheed was arrested on the second day of Ayub Khan‟s Martial law and then was confined to fourteen years rigorous imprisonment by special military court on false allegations.16. He was released in 1968 after the full term punishment, when Khan-I-Shaheed came to Quetta, the enthusiastic procession of people to welcome his proved to be the first spark of the peoples fury to burn the Ayub despotism and reduce it to ashes.17. Khan-I-Shaheed was again arrested with his some of companions. In 1969 Yahya Khan understanding the demand of time disbanded one unit and restored the previous provinces.18. Khan-I- Shaheed Abdul Samad Khan Achakzai was elected member of the Balochistan provincial Assembly in the General Election of 1970.19.He continued his struggle to further strongthen the movment for the unity of Pashtoons. When Khan-I-Shaheed Khan Abdul Samad Khan Ackazai was sleeping in his room on Jamaluddin Afghani Road, Quetta. The agents of colonialist rulers dropped two hand bombs on him, and the true leader of the masses become a martyr, on 3rd of December, 1974. The great leader of the freedom was buried in graveyard of his native village Gulishtan by about sixty thousand people were present on this occasion.20. Literary Contribution of Khan Shaheed Abdul Samad Khan Achakzai.
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Being an educated and literary person himself, Khan Shaheed Abdul Samad Khan Achakzai gave a lot of importance to education, therefore he never ignored this filed. He had a complete command over the following eight languages i.e Pashto, Urdu, Persian, Balochi, Brahvi, Sindhi, Arabic and English. He was also a prolific author, translator and philologist, Khan Shaheed Abdul Samad Khan Achakzai served Pashtoons throughout his life. Being a lover of the Pashto language, he rendered unforgettable services to it, while he was for most of the time behind the bars in different prisions of the sub-continent He was the author of the following books and pamphlets, 1) Pashto Zhaba au likdood. (Pashto Language and its writing). This is a small booklet of forty pages and has been published twice so for due to its rising demand. It is an intellectual attempt of Abdul Samad Khan Achakzai, who completed it after a deep research on Pashto language. In this book he had made every possible effort to standardise Pashto language with respect to its diction. He had tried to make it easy in reading and writing, as was his own belief that no language could make satisfactory progress unless it is easy for readers and writers. The main objective behind his work was to open the way for other researchers and writers and to encourage them to work on Pashto language. 2) Zama Zhwand. (My Life) the autobiography of Abdul Samad Khan Achakzai is a valuable addition to Pashto literature, Khan Shaheed, has seen many ups and downs in life. His biography is comprehensive record of important political and historical events of the recent past. It also contains his political debates and experiences. It also contains Pahstoon‟s ethics and national traditions. 3) Samad-ul-Lughat. (Samad Khani Dictionary) Khan Shaheed was a great patron of Pashto language which
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is evident from his dictionary. His dictionary occupies an important place in Pashto literature. May words which are not available in other dictionaries of Pashto language, can be found in Samad Khani Dictionary. 4. Pashto Zaban aur Rasmul Khat (Pashto language and its script). This is a small pamphlet in which Khan Shaheed has presented his views with arguments. A new key board was proposed by him for the type writer. This pamphlet was first published in 1956 and was presented from the platform of wrore Pashtoon. Khan Shaheed has also written numerous articles in daily newspapers from time to time. He was also translated the work of charlet and discarson (Canadian authers), Imam Ghazali, Shaikh Saad, Abdul Kalam Azad and Shibli Numani. Khan Shaheed Abdul Samad Khan Achakzai translated “Future of Freedom” by Canadian authors charlet and Dicarson into Urdu and entitled it as “Azadi ka Ufaq” is to compare the meaning of freedom, which both the socialist as well as European countries attribute to it. As both the world powers claim that freedom, in its real sense, exists with tem22. The work of Imam Ghazali has gained great popularity in the Muslim Ummah on account of its great demand in Pashtoon‟s areas, Abdul Samad Khan Achakzai translated it from Persian into Pashto language while he was in Mach and Quetta jails. He translated the Persian prose into Pashto prose and Persian verse in to Pashto verse Abdul Samad Khan Achakzai dedicated it to his father Noor Mohammad Khan Achakzai. Khan Shaheed Abdul Samad Khan Achakzai took the pain to translate the work of Abdul Kalam Azad in Pashto on 29th October 1948, while he was in Mach Jail. Maulana Abdul Kalam Azad‟s work “Tarjuman-ul- Quran” was not only a translation of parts of Quran but also a
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commentary on it, which offers a highly pertinent interpretation of its basic teachings. Khan Shaheed Abdul Samad Khan Achakzai is regarded as father of journalism, as he did spade work in the field of journalism in Balochistan after the horrible earth quake of 1935. Khan Shaheed stepped in to the field of journalism, at a time when India was under the yoke of British imperialism23. The British knew about the power of the press, so they took all steps to discourage press and journalism in India and especially in Balochistan. So, he can be called the father of politics as well as the father of journalism in Balochistan. Khan Shaheed Samad Khan Achakzai was busy in his political activities and had not enough time for the press and the Newspaper. He faced difficulties in fulfilling the task of getting the press act. Untiring efforts bore fruit and he succeeded in starting a weekly paper “Istiqlal” which played unforgettable role in the politics of Bolan valley before and after partition of the sub-continent. Abdul Samad Khan was very liberal in the matters concerning journalism. In paper “Istiqlal” Pashto poems and articles were also used to be published in it. It expressed the peoples grievances. It raised a strong voice against western imperialism. Chemya- i-saadat was written by Imam Ghazali who is known to every body. Besides his other works Chemya-i-saadat is an interesting monograph of Imam Ghazali, Abdul Samad Khan Achakzai translated it in to Pashto. Therefore, the literary contribution of Khan Shaheed Abdul Samad Khan Achakzai is really valued by the people of Balochistan.
CONCLUSION:
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Shaheed Khan Abdul Samad Khan Achakzai was a freedom fighter. He was not only anti-British, but also an enemy of all sorts of colonizers. Political Philosophy of Khan Shaheed Abdul Samad Khan Achakzai firmly believed in the freedom of nations from the yoke of British imperialism,. He hated the slavery of his people. He remained in prision for about 32 years but continued his fight for freedom on Balochistan soil. Finally he was martyred and his death was the greatest loss for the people of Balochistan.
REFERENCES:
Akhtar Ali Baloch, Balochistan Ki namwar Siastdan, Royal Book Company, Karachi, 1994, PP.70.
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Paul Kennedy, The rise and fall of the great powers, economic challenge and military conflict from 1500 to 2000, Izhar printers, Lahore, 1988, P.345. Abdul Rahim Mandokhail, Khan Shaheed Seminar, 1991. Pashtoonkhawa Student organization, Khan-I-Shaheed, 2nd December 1985. Sher Ali Bacha, Khan Shaheed Abdul Samad Khan Achakzai: in Khan Shaheed Seminar, Quetta, 1991. Inyatullah Baloch, The problem of Greater Balochistan, Steiner verlage weisbaden GMBH, Stuttgort, 1987, P.158 Ramzan Armani, Khan Shaheed in monthly Sehar, Quetta, 2004. A.B Awan, Balochistan: Historical and Political processes. New centre publishers, London, 1985, P.163. Malik Faiz Mohammad Yousafzai, Yadashtain, United Press, Quetta, 1997, PP 35-38. Abdul Ghani Ghano, Baba-I-Pashtoon and Pashtoon Khawa, volume I, Quetta, 1990, P.38 Ramazan Armani, Op.cit; 2004. SN.Sen, History of Modern India, wiley limited, New Dehli, 1979, P.207. Abdul Rahim Mandokhail, Op.cit; PP.40-41 Akhtar Ali Baloch, Op.cit; PP.74-75 Ibid. Abdul Rahim Mandokhail, Op.cit; PP.49. Ibid Dr. Safdar Mehmood, Pakistan Kiu Tota? Jang Publishers, Lahore, 1990,P.73 Ramzan Armani, Op.cit; P.72. Akhtar Ali Baloch, Op.cit;72.
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