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Home , Battle of Miani, Bhit, History of Sindh, Jam Tamachi, Khafif, Mirza Kalich Beg

Sindh /sɪnd/ is one of the four provinces of , in the southeast of the country. Historically home to the Sindhi people, it is also locally known as the Mehran. It was formerly known as Sind until 1956. Sindh is the third largest province of Pakistan by area, and second largest province by population after . Sindh is bordered by province to the west, and Punjab province to the north. Sindh also borders the Indian states of and Rajasthan to the east, and Arabian Sea to the south. Sindh's landscape consists mostly of alluvial plains flanking the , the in the eastern portion of the province closest to the border with , and the Kirthar Mountains in the western part of Sindh. Sindh's climate is noted for hot summers and mild winters. The provincial capital of Sindh is Pakistan's largest city and financial hub, .

Sindh is known for its distinct culture which is strongly influenced by . Several important Sufi shrines are located throughout the province which attract millions of annual devotees. Sindh also has Pakistan's highest percentage of Hindu residents.] Sindh's capital, Karachi, is Pakistan's most ethnically diverse city, with Muhajirs, or descendants of those who migrated to Pakistan from India in 1947, making up the majority of the population.

Sindh is home to two UNESCO world heritage sites - the Historical Monuments at Makli, and the Archaeological Ruins at Moenjodaro.[13]

History Prehistoric period

Extent and major sites of the Indus Valley Civilization in pre-modern Pakistan and India 3000 BC.

The Priest King from Mohenjo-daro, more than 4000 years old, in the National Museum of Pakistan, Karachi

Excavated ruins of Mohenjo-daro, Sindh, Pakistan Sindh's first known village settlements date as far back as 7000 BCE. Permanent settlements at , currently in Balochistan, to the west expanded into Sindh. This culture blossomed over several millennia and gave rise to the Indus Valley Civilization around 3000 BCE. The Indus Valley Civilization rivaled the contemporary civilizations of Ancient Egypt and Mesopotamia in size and scope, numbering nearly half a million inhabitants at its height with well-planned grid cities and sewer systems. The primitive village communities in Balochistan were still struggling against a difficult highland environment, a highly cultured people were trying to assert themselves at . This was one of the most developed urban civilizations of the ancient world. It flourished between the 25th century BCE and 1500 BCE in the Indus valley sites of Mohenjo-daro and . The people had a high standard of art and craftsmanship and a well-developed system of quasi- pictographic writing which remains un-deciphered. The remarkable ruins of the beautifully planned towns, the brick buildings of the common people, roads, public baths and the covered drainage system suggest a highly organized community. According to some accounts, there is no evidence of large palaces or burial grounds for the elite. The grand and presumably holy site might have been the great bath, which is built upon an artificially created elevation. This indigenous civilization collapsed around 1700 BCE. The cause is hotly debated and may have been a massive earthquake, which dried up the Ghaggar River. Skeletons discovered in the ruins of Mohen Jo Daro ("mount of dead") were thought to indicate that the city was suddenly attacked and the population was wiped out, but further examinations showed that the marks on the skeletons were due to erosion and not of violence. Sindh finds mention in the Hindu epic as being part of Bharatvarsha. Sindh was conquered by the Persian in the 6th century BC. In the late 4th century BC, Sindh was conquered by a mixed army led by Macedonian Greeks under Alexander the Great. Alexander described his encounters with these trans-Indus tribes of Sindh: "I am involved in the land of a lions and brave people, where every foot of the ground is like a well of steel, confronting my soldier. You have brought only one son into the world, but everyone in this land can be called an Alexander." The region remained under control of Greek satraps for only a few decades. After Alexander's death, there was a brief period of Seleucid rule, before Sindh was traded to the Mauryan Empire led by Chandragupta in 305 BC. During the rule of the Mauryan Emperor Ashoka, the Buddhist religion spread to Sindh. Mauryan rule ended in 185 BC with the overthrow of the last king by the Shunga Dynasty. In the disorder that followed, Greek rule returned when Demetrius I of Bactria led a Greco- Bactrian invasion of India and annexed most of northwestern lands, including Sindh. Demetrius was later defeated and killed by a usurper, but his descendants continued to rule Sindh and other lands as the Indo-Greek Kingdom. Under the reign of Menander I many Indo-Greeks followed his example and converted to . In the late 2nd century BC, Scythian tribes shattered the Greco-Bactrian empire and invaded the Indo-Greek lands. Unable to take the Punjab region, they invaded through Sindh, where they became known as Indo-Scythians (later ). By the 1st century AD, the annexed Sindh. Kushans under Kanishka were great patrons of Buddhism and sponsored many building projects for local beliefs.[22] Ahirs were also found in large numbers in Sindh.[23] Abiria country of Abhira tribe was in southern Sindh.[24][25] The Kushan Empire was defeated in the mid 3rd century AD by the Sassanid Empire of Persia, who installed vassals known as the Kushanshahs in these far eastern territories. These rulers were defeated by the Kidarites in the late 4th century. It then came under the after dealing with the Kidarites. By the late 5th century, attacks by Hephthalite tribes known as the Indo- or Hunas (Huns) broke through the Gupta Empire's northwestern borders and overran much of northwestern India. Concurrently, Ror dynasty ruled parts of the region for several centuries. Afterwards, Sindh came under the rule of Emperor Harshavardhan, then the around 478. The Rais were overthrown by Chachar of Alor around 632. The Brahman dynasty ruled a vast territory that stretched from in the north to the Rann of Kutch, Alor was their capital. Arrival of

Arab Muslim rule in Pakistan region

Sindh captured by the Umayyads:

Expansion under , 622–632

Expansion during the Rashidun , 632–661

Expansion during the Umayyad Caliphate, 661–750 In 711, Muhammad bin Qasim conquered the Sindh and Indus Valley, bringing South Asian societies into contact with Islam. Dahir was an unpopular Hindu king that ruled over a Buddhist majority and that Chach of Alor and his kin were regarded as usurpers of the earlier Buddhist Rai Dynasty, a view questioned by those who note the diffuse and blurred nature of Hindu and Buddhist practices in the region, especially that of the royalty to be patrons of both and those who believe that Chach may have been a Buddhist. The forces of Muhammad bin Qasim defeated in alliance with the Jats and other regional governors. In 711 AD, Muhammad bin Qasim led an Umayyad force of 20,000 cavalry and 5 catapults. Muhammad bin Qasim defeated the Raja Dahir, and captured the cities of Alor, Multan and . Sindh became the easternmost State of the Umayyad Caliphate and was referred to as "Al-Sindh" on Arab maps, with lands further east known as "Hind". Muhammad bin Qasim built the city of Mansura as his capital; the city then produced famous historical figures such as Abu Mashar Sindhi, Abu Ata al-Sindhi,[31] Abu Raja Sindhi and Sind ibn . At the port city of Debal most of the Bawarij embraced Islam and became known as Sindhi Sailors, who were renowned for their in navigation, geography and languages. After Bin Qasim left, the Umayyads ruled Sindh through the Habbari dynasty. By the year 750, Debal (modern Karachi) was second only to Basra; Sindhi sailors from the port city of Debal voyaged to Basra, Bushehr, Musqat, Aden, Kilwa, Zanzibar, Sofala, Malabar, Sri Lanka and Java (where Sindhi merchants were known as the Santri). During the power struggle between the Umayyads and the Abbasids. The Habbari Dynasty became semi independent and was eliminated and Mansura was invaded by Mahmud Ghaznavi. Sindh then became an eastern most State of the ruled by the Dynasty until the Siege of (1258). Mansura was the first capital of the Soomra Dynasty and the last of the Habbari dynasty. Muslim geographers, historians and travelers such as al-Masudi, Ibn Hawqal, Istakhri, Ahmed ibn Sahl al-Balkhi, al-Tabari, Baladhuri, Nizami,[32] al-Biruni, , Ibn Battutah and Katip Çelebi[33] wrote about or visited the region, sometimes using the name "Sindh" for the entire area from the Arabian Sea to the Hindu Kush. Soomra dynasty period When Sindh was under the Arab Umayyad Caliphate, the Arab Habbari dynasty was in control. The Umayyads appointed Aziz al Habbari as the . Habbaris ruled Sindh until Sultan Mahmud Ghaznavi defeated the Habbaris in 1120. Sultan Mahmud Ghaznavi viewed the Abbasid Caliphate to be the caliphs thus he removed the remaining influence of the Umayyad Caliphate in the region and Sindh fell to Abbasid control following the defeat of the Habbaris. The Abbasid Caliphate then appointed Al from Samarra; 'Soomro' means 'of Samarra' in Sindhi. The new governor of Sindh was to create a better, stronger and stable government. Once he became the governor, he allotted several key positions to his family and friends; thus Al-Khafif or Sardar Khafif Soomro formed the Soomro Dynasty in Sindh; and became its first ruler. Until the Siege of Baghdad (1258) the Soomro dynasty was the Abbasid Caliphate's functionary in Sindh, but after that it became independent. When the Soomro dynasty lost ties with the Abbasid Caliphate after the Siege of Baghdad (1258,) the Soomra ruler Dodo-I established their rule from the shores of the Arabian Sea to the Punjab in the north and in the east to Rajasthan and in the west to Pakistani Balochistan. The were one of the first indigenous Muslim dynasties in Sindh of Parmar Rajput origin.[35] They were the first Muslims to translate the into the . The Sammas created a chivalrous culture in Sindh, which eventually facilitated their rule centered at Mansura. It was later abandoned due to changes in the course of the Puran River; they ruled for the next 95 years until 1351. During this period, Kutch was ruled by the Dynasty, who enjoyed good relations with the Soomras in Sindh. Since the Soomro Dynasty lost its support from the Abbasid Caliphate, the of wanted a piece of Sindh. The Soomros successfully defended their kingdom for about 36 years, but their dynasties soon fell to the might of the Sultanate of Delhi's massive armies such as the Tughluks and the Khiljis. period

Makli Hill is one of the largest necropolises in the world. In 1339 Jam Unar founded a Sindhi Muslim Rajput Samma Dynasty and challenged the Sultans of Delhi. He used the title of the Sultan of Sindh. The Samma tribe reached its peak during the reign of Jam Nizamuddin II (also known by the nickname Jám Nindó). During his reign from 1461 to 1509, Nindó greatly expanded the new capital of and its Makli hills, which replaced Debal. He patronized Sindhi art, architecture and culture. The Samma had left behind a popular legacy especially in architecture, music and art. Important court figures included the famous poet Kazi Kadal, Sardar Darya Khan, Moltus Khan, Makhdoom Bilwal and the theologian Kazi Kaadan. However, Thatta was a port city; unlike garrison towns, it could not mobilize large armies against the and Mongol invaders, who killed many regional Sindhi Mirs and Amirs loyal to the Samma. Some parts of Sindh still remained under the Sultans of Delhi and the ruthless and the sacked Thatta during the rule of Jam Ferozudin. Migration of Balochs According to Dr. Akhtar Baloch, Professor at , the Balochis migrated from Balochistan during the Little Ice Age and settled in Sindh and Punjab. The Little Ice Age is conventionally defined as a period extending from the sixteenth to the nineteenth centuries, or alternatively, from about 1300 to about 1850. According to Professor Baloch, the climate of Balochistan was very cold during this epoch and the region was inhabitable during the winter so the migrated in waves and settled in Sindh and Punjab. Mughal era In the year 1524, the few remaining Sindhi Amirs welcomed the and Babur dispatched his forces to rally the Arghuns and theTarkhans, braches of a Turkic dynasty. In the coming centuries Sindh became a region loyal to the Mughals, a network of forts manned by cavalry and musketeers further extended Mughal power in Sindh. In 1540 a mutiny by Sher Suri forced the Mughal Emperor Humayun to withdraw to Sindh, where he joined the Sindhi Emir Hussein Umrani. In 1541 Humayun married Hamida Banu Begum, who gave birth to the infant at Umarkot in the year 1542.[44][46] During the reign of Akbar the Great, Sindh produced scholars and others such as Mir Ahmed Nasrallah Thattvi, Tahir Muhammad Thattvi and Mir Ali Sir Thattvi and the Mughal chronicler Abu'l-Fazl ibn Mubarak and his brother the poet Faizi was a descendant of a Sindhi Shaikh family from Rel, Siwistan in Sindh. Abu'l-Fazl ibn Mubarak was the author of Akbarnama (an official biographical account of Akbar) and the Ain-i-Akbari (a detailed document recording the administration of the Mughal Empire). Shah Jahan carved a subah (imperial province), covering Sindh, called Thatta after its capital, out of Multan, further bordering on the Ajmer and Gujarat subahs as well as the rival Persian Safavid empire. During the Mughal period began to flourish and historical figures such as , Sulatn-al-Aoliya Muhammad Zaman and became prominent throughout the land. In 1603 Shah Jahan visited the State of Sindh; at Thatta he was generously welcomed by the locals after the death of his father Jahangir. Shah Jahan ordered the construction of the Shahjahan Mosque, which was completed during the early years of his rule under the supervision of Ghazi Beg. During his reign, in 1659 in the Mughal Empire, Muhammad Salih Tahtawi of Thatta created a seamless celestial globe with and Persian inscriptions using a wax casting method. Sindh was home to very famous wealthy merchant-rulers such as Mir Bejar of Sindh, whose great wealth had attracted the close ties with the Sultan bin Ahmad of Oman.[49] In the year 1701 the Nawab Kalhora were authorized in a firman by the Mughal Emperor to administer subah Sindh. From 1752 to 1762, Marathas collected Chauth or tributes from Sindh.[50] Maratha power was decimated in the entire region after the Third Battle of Panipat in 1761. In 1762, Mian Ghulam Shah Kalhoro brought stability in Sindh, he reorganized and independently defeated the Marathas and their prominent vassal the Rao of Kuch in the Thar Desert and returned victoriously. After the Sikhs annexed Multan, the Kalhora Dynasty supported counterattacks against the Sikhs and defined their borders. In 1783 a firman, which designated Mir Fateh Ali Khan as the new Nawab of Sindh, and mediated peace particularly after the Battle of Halani and the defeat of the ruling Kalhora by the Talpur baloch tribes.[52]

Talpurs The Talpur tribe migrated from in Punjab to Sindh on the invitation of Kalhora to help them organize unruly Baloch tribes living in Sindh. , who learned the Sindhi language, settled in northern Sindh. Very soon they united all the Baloch tribes of Sindh and formed a confederacy against the Kalhora Dynasty. The Talpur Baloch soon gained power, overthrowing the Kalhora after the Battle of Halani to conquer and rule Sindh and other parts of present-day Pakistan, from 1783 to 1843. British Erast India Company forces led by General overthrew the Talpur Baloch in 1843.

Sindh became part of the in 1909. In 1802, when Mir Ghulam Ali Khan Talpur Baloch succeeded as the Talpur Nawab, internal tensions broke out in the state. As a result, the following year the declared war on Sindh and Berar Subah, during which Arthur Wellesley took a leading role causing much early suspicion between the Emirs of Sindh and the British Empire.[53] The British made its first contacts in the Sindhi port city of Thatta, which according to a report was: "a city as large as London containing 50,000 houses which were made of stone and mortar with large verandahs some three or four stories high ... the city has 3,000 looms ... the textiles of Sindh were the flower of the whole produce of the East, the international commerce of Sindh gave it a place among that of Nations, Thatta has 400 schools and 4,000 Dhows at its docks, the city is guarded by well-armed Sepoys". British and Bengal Presidency forces under General Charles James Napier arrived in Sindh in the mid-19th century and conquered Sindh in February 1843. The Baloch coalition led by Talpur Balochs under Mir Nasir Khan Talpur Baloch was defeated at the during which 5,000 Talpur Baloch were killed. Shortly afterward, Hoshu Sheedi commanded another army at the Battle of Dubbo, where 5,000 Baloch were killed. The first Agha Khan helped the British in their conquest of Sindh. As result he was granted a lifetime pension. A British journal by Thomas Postans mentions the captive Sindhi Amirs: "The Amirs as being the prisoners of 'Her Majesty'... they are maintained in strict seclusion; they are described as Broken-Hearted and Miserable men, maintaining much of the dignity of fallen greatness, and without any querulous or angry complaining at this unlivable source of sorrow, refusing to be comforted". Within weeks, Charles Napier and his forces occupied Sindh. After 1853 the British divided Sindh into districts and later made it part of British India's Bombay Presidency. Sindh became a separate province in 1936. Sibghatullah Shah Rashidi pioneered the Sindhi Muslim Hur Movement against the British Raj. He was hanged on 20 March 1943 in , Sindh. His burial place is not known. During the British period, railways, printing presses and bridges were introduced in the province. Writers like compiled and traced the literary . Pakistan Resolution in the Sindh Assembly

Muhammad Ali Jinnah, who spoke three languages: Gujarati, Kutchi, and English The Sindh assembly was the first British Indian legislature to pass the resolution in favour of Pakistan. Influential Sindhi activists under the supervision of G.M. Syed and other important leaders at the forefront of the provincial autonomy movement joined the Muslim League in 1938 and presented the Pakistan resolution in the Sindh Assembly. In 1890 Sindh acquired representation for the first time in the Bombay Legislative Assembly. Four members represented Sindh. Those leaders and many others from Sindh played an important role in ensuring the separation of Sindh from the Bombay Presidency, which took place on 1 April 1936. The newly created province of Sindh secured a legislative assembly of its own, elected on the basis of communal and minorities' representation. On 1 April 1936 the British government appointed Sir Lancelot Graham as the first governor of Sindh. He also served as the head of the Council, which comprised 25 members, including two advisors from the Bombay Council to administer the affairs of Sindh until 1937. The British ruled the area for a century. According to English explorer Richard Burton, Sindh was one of the most restive provinces during the British Raj and was, at least originally, home to many prominent Muslim leaders such as and Muhammad Ali Jinnah (neither of whom were Sindhi) who strove for greater Muslim autonomy. At the 27th Session of the Muslim League at Lahore on March 23, 1940, Sir Haji Abdullah Haroon was among those who spoke and endorsed the Pakistan Resolution. Independence of Pakistan On 14 August 1947 Pakistan gained independence from the British Raj. In 1947 the Sindh Assembly passed the Pakistan resolution.[57] The province of Sindh attained self-rule for the first time since the defeat of Sindhi Talpur Amirs in the Battle of Miani on 17 February 1843. The first major challenge faced by the in the city of Karachi involved the settlement of over 2 million mostly -speaking Muslim refugees who fled from persecution in northern India. Sindhi Culture Sindh is a region with an ancient civilization, the most concrete proof of which is seen in the finds from the excavations of Mohen-jo-Daro, Chahoon-jo-Daro, Jhakkar or Jhukkar, Aamree, Kot Diji and other similar areas. So much has been written about the civilization of Mohen-jo-Daro that my discussion of this subject will not yield anything new. Here I will only present a brief sketch of the entire Sindhi civilization that will enable us to judge it as to how great and rich in all aspects was this civilization. I start this sketch from a modern and internationally recognized reference. “The civilization of the Mehran* Valley had found the interpretation of the dream of Utopia, where the world had achieved the ideals of world peace and prosperity; where not even a small measure of their wealth was spent on defense or weaponry required for war – that was the paradise, that is the dream of every sane man.” (1) This was the paradise where no one died of hunger, where means of alleviating one’s pain and worry like dance, music, painting, sculpture and wines made of honey were available, where man hated filth, where every man was a friend and a brother; where every produce of the country was their collective property; where religious bigotry and war were considered the greatest sin; where hurting someone was considered inhuman, where war with neighbouring peoples and countries was forbidden; that was the Sindh (Sindhi civilization) of Mohen-jo-Daro. Sumerian and Semetic, Babylonian and Egyptian people admired that Sindh, some called it the region of deities and Ziasutra, while the Egyptians considered the waters of Mehran as a remedy for leprosy. In that Sindh, the writers and artists who sang stories of their rich heritage were admired; where a could pose in a studio of an artist for carving her statue and the sculptor after carving that would fall in love with his artistic creation rather than falling for the girl’s beauty. (That dancing girl is on the title cover of this book). Where a woman, in order to adorn herself, had created beautiful jewellery which can not be made even in this day and age; where houses were neat, clean and well-ventilated, where sewerage system 144 was one of covered drains, the example of which is only found in certain European countries in the 20th century; where every household had aesthetic things like statues, paintings, toys etc that were considered as signs of good artistic taste; where painting beautiful artistic pictures on the household utensils was considered essential, and this cultural mode went on for thousands of years. (See pictures of a plate from Mohen-jo-Daroand Harrappa, and a painted Huqqa of the 19th century period on page ).

From an anthropological point of view, it was a matriarchal society where the chief of the clan was a woman because she had invented agriculture. The man of this region saw that in addition to being an interesting person, she was the mother of all creation. Not only did she produce beautiful children, she also grew crops. Therefore this creative prowess of a woman was considered as an adorable quality. She was given the status of a goddess because she was the raison d’itre for every creation. If someone wanted to start making a garden, a woman’s lying on that soil was considered a good omen. This “female principle” is a sign of very ancient civilization; and since all her creative powers were in her body, expressing her physical features was considered a natural thing to do. The genitalia and breasts of a woman were considered an expression of her creative powers, and therefore these two body parts were thought to be the most adorable things. Her creative part was called peek, meaning “small beloved”, which was represented by a lotus flower. Artists presented this part with different artistic symbols. Some showed flowers and plants arising from it while others drew different forms of the lotus flower as a simile. Such sketches have been found from the Stone Age era of Sindh, long before the period of Mohen-jo- Daro. Mr. Carter found from Mool Valley near Karachi, very large stones where lotus flowers are carved on them as a sign of the “female principle”. Similar such sketches carrying the same concept have been found at other places and countries. One of the pictures carries the symbol found by Mr. Carter on a stone, and the other has different shapes of the lotus flower. The idea behind these was the one I have just elaborated. This can be supported by opinions of numerous scholars (2). In this context an interesting stanza of Shah A.Latif can be presented here:

[Meaning: let us go and see virgins and lotuses of Kaak river] Mohen-jo-Darohad a matriarchal state of society in the beginning. In one of picture shows a seal found from Mohen-jo-Daro, in which a plant is seen growing from the genitals of a woman, which shows that a woman was considered as a symbol of creation. The other pictures show seals from Sindh 146 and other countries and they too are depictive of the same matriarchal society. (3) These pictures and sketches are from an era when agriculture was only recently invented, and it was mainly looked after by women. In this era of Sindh, there was no concept of personal property and the society was at a stage that has been considered as Primitive Communism. But human society has never been permanent. It always keeps changing politically and socially due to the changing modes of possession of the product and for economic reasons. In some period of Mohen jo Daro, approximately 4000 BC, due to the consolidation of the agricultural system, its society changed from matriarchal to patriarchal. In this period the concept of personal property became so rampant that it perhaps gave rise to slavery. Tribal life was destroyed and the means of production and wealth, instead of remaining state property in the form of gold and copper coins, started to be possessed by a few people. And this wealth gave rise to an organised religion, in which the pundits and monks maneuvered to make this new class the most influencial class. This was the beginning of the caste system, which forced a lot of tribes to move from this region. These tribes took their language both spoken and written, and their culture with them and spread it in other countries.

In Sindh, this culture persisted in one or the other 147 forms and even though the tribal life came to an end, it gave rise to a new class system; but art and skill continued to progress in the same manner. The excavations of Chahoon-Jo-Daro, Brahamanabad, Jhakkar, Aamri, Nangerparker and Bhambore prove the existence of this chain of culture where art and skill has always had its own importance; and from every period such sculptures and other artistic finds leaves one amazed. You must have seen the cradles and beds/charpoys from Hala made with jandi (a special type of artistic design on wood); exactly similar designs and patterns have been found that are 3000 years old. There in picture, in which shows that jandi with lacquer pattern design clearly. Mr. Belasis thinks that these are chess pieces but Mr. Cousins says that these are blocks of a cradle (4). Whether they are chess pieces or blocks of a cradle, they prove that this artistic skill of Sindh is thousands of years old. Whether it is the four-faced copper idol of Nangarparker or the statue of a Buddhist monk from Mirpurkhas, the magnificent idols of Gautam Buddha or the old statues of other deities found from the temples, you will find them master pieces of sculpture and painting. On the other hand the architecture was also very advanced. In the next few pictures one of the citadels of the Buddhist temples can be seen, and the architectural design can be compared to the architecture of Thatta. This shows that the architecture of Sindh dates back to thousands 148 of years. This era of fine arts continued for hundreds of years, during which there were many invasions of this territory by Greeks, Iranians, Sythians etc but they could not curb the artistic ways of Sindh. But when the entered as conquerers, they started demolishing instead of constructing. The Arabs were not really at fault, but it was their cultural state at that time which made them to do so. In a very short time, Sindh was in such a state that is best narrated in Henry Cousin’s words:

“Sind is a land of sepulchers and dust of ‘holy’ shams and ‘holy’ humbug. When the good old times under Hindu rule gave way to Mohammadan domination, the principal concern of its rulers seems to have been for the pleasures of the living and the glorification of their dead”-(Henry Cousins-“Antiquities of Sindh” pp 1).

He goes on to say, “The Arabs destroyed but they did not build…… (pp 10).

As I said earlier, as a nation Arabs were not at fault. They had come with a new sentiment, to give the world a message of mutual respect and security; and the ideal of worshipping only one God, for which they thought it was essential. This was perhaps their historical necessity and the history will not blame the Arabs for that. Their main purpose was to break idols, 149 and destroy statues and any art that smelt of idolworship. The Arab era is also a link in the chain of evolution of human life, and so it can not be called a historic mistake. Whatever measures they took, were necessary historically. What Tartars did to Baghdad and Alexander to , the same was done by Arabs to Iran and Sindh. The reason why the Arabs tried to destroy the fine arts, was that they considered it their religious duty in the early period. Every religious invader has done the same, and this has happened in every religion. In every country and society, religion has tried to ban fine arts. Christianity, and Islam, in their own way, have done the same. We can see that after some time, the Arabs had at least tried to spread knowledge throughout the world. The had inculcated in them the love of reading and writing, and had taught them the numbers, arithmetic, astrology and other subjects. Later they took Sindhi scholars to Baghdad and Damascus as their teachers and tried to learn subjects of science and arts from them. The sternness in Arabs was calmed by Sindhi culture and many Arabs lived in Sindh to teach the natives a better religion in exchange of the rich cultural elements of Sindhi society. This harmony later gave rise to Sufism, where and religion were amalgamated (giving rise to ‘Sufi Music’.)

Due to certain unpleasant traits in the Arab mindset, the natives were sometimes wary of them. The Sindhi 150 bards and folk poets have depicted them as Bedouins, which for them did not carry a good meaning. The verses given below display the state of mind of the Sindhi poets, how they thought of the Bedouins (5). The verses of some folk poets from the compilation of Dr Nabi Bux Baloch include:

An isolated example would probably not have meant much but since such examples are found at many places in our literature, it tells us about the image the natives carried in their subconscious.

No nation is bad in a collective sense. The blending of cultures erases the historic unpleasantness, and now we have in Sindh an invaluable gift of Islam that the 151 Arabs brought to this part of the world. At the same time, fine arts are progressing anew in the entire Arab world, which is certainly due to the Sindhi influence of the past. Today we are under the influence of the European knowledge and culture and it would be prudent for the Sindhi nation to take only the best from all the cultures, in order to enrich their own culture. History of Clothing: Traditional Sindhi kancha (shalwar) (Man dress)

The traditional Sindhi drawers are the shalwar[10] style adopted from Iraq[11] and neighbouring countries. The Sindhi shalwar, also called kancha

Lengha choli (Female dress) the traditional dress was lengha (jablo) choli which is still worn by women in various parts of Sindh. Women in the Thakparkar district wear a ghagra, a heavier version of the lehnga, with either a loose or fitted choli, or a kancera, a fully embroidered, backless blouse, held on by small cap sleeves and strings.

Modern Traditional Dressing: Man wear Shalwar (lower) Kameez (upper) with which is traditionally designed cloth and with Topi which is traditional Hat

Ajrak

Topi

Woman Traditional Modern Dressing: Choli (shirt) with embroidery, Shalwar or Ghagra and Rao (Scarf) cloth to cover head.

Sindhi Choli

Sindhi Ghagra

Khusa shoes Traditional footwear of pakistan is khussa. Khussa is the hand made shoes made in Sindh. Khussa are worn for casual use as well as khussa is worn by people in functions and parties. In pakistan it is worn by the groom in his marriage.Khussa shoes are made with leather and are hand stitched. Khussa are made in different type of designs and styles. Khussa shoes are famous and liked by people for their finest and beautiful embroidery works. This embroidery is done by the artisans of pakistan with the hands. they do not use any kind of machine for embroidery and stitching. Embroidery is done with beads, sequins, thread, dabka, tilla and other such materials. These embroidery works gives khussa a perfect look and match with any type of dress. Khussa are comfortable and are easy to wear.

Sindhi Traditional jewellery

Rilli Rilli is a typical part of Sindhi culture, it is famous handicraft but, difficult to make. It is made by pieces of different size and color of old or new fabric. mostly Sindhi women make Rilli in beautifully in their houses, it is a local handicraft used as bed sheet, shawl or as a gift item. Rilli is mostly used as bed sheets, quilts, wall hangings and shawls. These days Rilli is also used in interior designs as decoration item or in upholstery. Inspirations of Rilli can be seen in textile and fashion garments these days.

WALL HANGINGS These are the wall hangings made in Sindh. There are many types of wall hangings. some are made on clothes and some are on woods and also the different made is use in different designs. The handcrafted embroidery traditional folk wall hanging made by the women artisans in the Sindh. wall hanging can also be made with the brown thick sticks, these sticks are joint together and then the embroidery will be done to make a design on that through mirror, thread or any other material.

Cushion cover: The hand embroidered cushions covers are handcrafted by the craftswomen with attractive designs and many color choices. These hand embroidered cushion covers will give fantastic look to your sweet home. these are for any type and size of pillow. the same design can also be made for bed sheets and other type of clothes.

Handmade fans These fans are 100% hand made, made by the people in Sindh. These beautiful fans are portable and lite weighted.These fans are widely use in daily life specially due to the problem of load shedding. In the picture below there are also hand made plates which mostly used by people in rural areas.

Churiyan:

Churiyan are Christal bangles that are made in various designs and shapes. In Hyderabad there is a big market of Churiyan

Pictures of Other Sindhi Handi crafts

Sindhi Language: we would demonstrate on cultural grounds as to how did Sindhi relate to other foreign languages. And internally we will have to explore how the internal grammatical structure of Sindhi connects it to other languages.

Cultural and territorial proximity has a major influence on the similarities of languages. There was a time when Sindh was a sovereign country and was a lot bigger than its present geographical boundaries. It included parts of present day Punjab and , Lasbela (Balochistan), Kachh (India) and some southern parts of present day Balochistan. That is why Sindhi has very deep relations with languages of these regions. In fact one can say that the dialects and sub- dialects of this region ie Punjabi, Multani, Seraiki, Kachhi etc are greatly influenced by Sindhi and in a way can be considered akin to it. In addition to the local languages, Sindhi is also closely related to languages of the neighbouring regions. In the pre- historic and even the historic period, for a long time India was a common social and political entity, and in this period the court languages, indigenous as well as foreign, must have influenced the regional languages. Such a conclusion would not be unscientific. Taking the Moghul period for example, their Darbari or court language, Persian, was able to influence a pure language like Bengali; and this influence can easily be noticed all over the Indian peninsula. Likewise the dominated for a long period of time in India, therefore most of the words, idioms and arrangements of Sanskrit (both classic as well as Vedic) are found in nearly all the languages of that region. Many of them are derived directly from branches of Sanskrit, Prakrits or their spoilt forms. Therefore nearly all the languages of India seem informally influenced by this phenomenon. And almost certainly there has been a reciprocal influence of these local languages and Prakrits onto classical and may be more ancient forms of Sanskrit. S.M.Katre has discussed this in detail in his book, “Prakrit Languages and Their Role in Indian Culture” (1). One can find thousands of words in all these languages that can be proven to have originated from Sanskrit. Even Dravidian languages could not avoid such an influence and countless words of Sanskrit origin got absorbed in these languages. Even the word Dravid can be proven to have Sanskrit origin, for argument’s sake. Although it is true that since Dravidian languages were native to India and were widely spoken in India, a lot of Dravidian words can be noticed in ancient Sanskrit.

Before describing the relationship of Sindhi with languages outside India, it would be better if I gave my own theory, because this is the theory that basically determines Sindhi’s relationship with other languages. And the theory is that in the pre- historic era, there was a period in which a nation existed in the region extending from Harrappa to Mohen-jo- Daro i.e. from present Sindh and some areas of Punjab in its north, that was civilized in all aspects and possessed a fully developed civilized culture and had a spoken as well as written language. The people were disciplined, cultured and more prosperous than other nations in the world. A glimpse of their civilization is clearly seen in the remains of Harrappa, Mohen-jo-Daro, and Kahu jo Daro. Approximately in 5000 BC this nation had a language that, with some exceptions, till prevails in the present day Sindh region. It was a purely indigenous language which was free of any foreign influence. Between the civilizations of Mohen-jo-Daro and Harrappa there was a period, when certain factors like civil war, some social evils, issues of personal property, social customs, strict religion and caste system became responsible for destruction of such a magnificent civilization. And this period of destruction was not a short one. It must have taken centuries. Perhaps the civil war and other social evils resulted in a trend in which people of various tribes, started moving out of Sindh; some went to the East while others towards the West, using sea and land routes in search of new homes. Those who moved West, settled wherever they found an accommodating atmosphere but with an attempt at continuing their traditional values. Some of these tribes moved to Sumer and Babylon where they built houses and started living a peaceful life like their ancestors. Wherever they moved, they must have had to face enormous difficulties and must was a land of gods, of silver and gold from where they got horses, ivory, clothes etc for a long time. But at the same time, the conditions that had forced them to leave their homes made them bitter and they started cursing their own brethren (of their previous homeland) and predicted their destruction. Historically too this proved to be true and over a short period of time, due to civil war and a sudden turn in the course of the river Indus, Mohen-jo-Daro and Harrappa were destroyed and buried forever. This is also the opinion of Dr Noah Crammer who is considered an expert on Sumerology in USA. After reading the inscriptions on the tablets from Sumer, he has put forward this theory that the people of

Sumerian civilization who praise a country Dilmoon, calling it the land of gods, were no doubt referring to the land of Mohen-jo-Daro. He has given historic and cultural proofs. He says that it is proven that Sumer, Urr and Susa had trade and commercial relations with Sindh by land and by sea, the signs of which can be seen in the fact that some 30 seals from Indus civilization have been found from Sumerian excavations. And likewise Sumerian seals have been found in the remains of Mohen-jo-Daro. These findings prove the political and economic trade between the two civilizations. Findings of items of ivory from Sumer and its mention in their literature strongly prove that Dilmoon civilization is the name of the country or civilization where they got the ivory from and that country is mentioned to be in their East. One of the tablets has this writing inscribed on it:

“The country, that is to the east of Sumer and from where a lot comes here by ships; that is the country from where the sun rises and it is like heaven, where there is no disease, no widows and orphans and all the countries send their goods to Dilmoon”.

These words must have been spoken out of reverence and compassion, and the background was that Mohenjo Daro’s civilization was in fact the source of Sumerian civilization. Probably some of their ancestors had come from that land. Dr Crammer goes on to write (later) that some scholars consider Dilmoon as the land in Persian Gulf; but in my opinion that cannot be true as there is no trace of elephants found in that region now or even in ancient times. Numerous Danish anthropologists have, for years dug the ancient cities of Bahrain without any luck and have now given up. (2) The opinion of Dr Crammer supports my theory. Among the seals found from Mohen-jo-Daro three or four are such that (according to my decipherment) contain the words “Kot Moon”, “Kot Thul Moon” and “Kot Mohn”. In my view, some city in the 2nd or 3rd layers at a previous stage of Mohen-jo-Daro was called “Thul Muhn’ or “Thul Moon’, which the Sumerians (in 1800 BC) appear to have called “Dil Moon” (Dilmoon). Postponing the explanation of the decipherment of these seals, it suffices to say that on the basis of cultural and other evidences, one can claim with reasonable surety that Indus civilization was the source of Sumerian civilization.

Several Sindhi tribes moved to Sumer and Babylon, while others set forth eastwards and passing through Punjab settled in the Ganges-Jamna delta and started reorganizing their civilization—and since the availability of water was a benchmark for civilizations, to quite an extent these Sindhis while on the move, left impressions of their culture on the banks of Sindhu/Indus river. The signs of their civilization can be found on stones and rocks in in district Cambelpur and on the banks of the river in that vicinity. Scholars are of the opinion that such pictographic writings of a later phase of Indus civilization found on stones at a distance from each other, are possibly because at that stage these people were constantly on the move. The inscriptions on these stones are similar to the pictographic signs of Mohen-jo- Daro and Harrappa. There are pictures of elephants, cows, oxen, human skeleton, man with a shield and a man carrying something on his shoulders.(3). Their continuous migration was spread over centuries. The Sindhis that settled in the Ganges-Jamuna delta soon overshadowed the locals socially and politically, as they were culturally stronger than them. But they too, with time, had developed certain weaknesses and cultural gaps. They had already developed differences related to caste system and personal property and in a new country, in order to maintain their social and economic position, they created such an artificial society where locals could not progress. Their traditions transformed to such a disciplined religion which, with the passage of time, took the shape of Vedic religion. But since they had a rich cultural heritage and were educated, they preserved the history of their past, ancient places and people in written forms. And whereas from the Vedas one finds narratives of the past admiring and praising their original country--Sindh and their savior, the river Sindhu/ Indus. They named their brave men as “Sindh” and “Sindhu”. One can find numerous brave Rajas with names like Sindh and Sindhu in the Vedic literature.

One cannot confidently say about the condition of languages of India at that time. But the assumption is that Sindhi was the principal language of India—the other being Dravidian. The excavations of Mohen-jo-Daro have proved that some Dravidian tribes also lived in Sindh. Although some skeletons of Dravidians have been found but just because of that it cannot be claimed that the whole civilization was Dravidian. The Dravidians dwelled in South India— and these tribes had connections with some Australian tribes through sea voyages. Anyway, linguistically one can confidently say that in those times there were two chief languages: one was Sindhi that is still spoken in present day Sindh and parts of Punjab, and the other was Dravidian that was present in India in different forms. Surely in Northern India too there were various forms of Apabhramsas and local dialects. But it is hard to say what they were like. When people from Sindh moved to the east towards the Ganges-Jamna delta, they took their language with them. This language was a mature language that had a writing system. This Sindhi language with the admixture of local dialects became a new language— and with the passage of time due to development of a strong and disciplined society and culture, the language got maturity and individuality, the record of which can be found in the most ancient Vedas. If the words are carefully examined, we find the words of original Sindhi to have a very close relation to Vedic Sanskrit. One can draw two conclusions from these findings: Sindhi was born from Sanskrit or Sanskrit from Sindhi. For the former, the theory of Aryans’ coming from outside and spreading throughout India is quoted as a proof (that they came from outside and later spread all over India). And it is assumed that the Aryans brought the language with them.

The concept of Aryans having come from outside this region has been rejected now. And at the same time Professor Langden, Dr Hunter, Haranzee and other scholars have proved that the earliest records of Vedic writings show that they have a Brahmic or Devnagri script and that this script was derived from the pictographic language of Mohen-jo-Daro. If these Vedic people got the written form of the language from the script of Mohen-jo-Daro, one can certainly say that the Vedic people not only got their script from the Indus civilization but even their language originated from there. Since I believe that these people were the progeny of Sindhis so this was their ancestral language and it assumed a different form due to a new atmosphere. One has to keep in mind a difference of at least 1000 years between Mohen-jo-Daro and Vedic civilizations—and changes in language over a period of 1000 years are quite understandable. With the passage of time the similarities among these languages must have decreased. An early indication of this situation is found in the ancient Sanskrit syntax. Whenever prefixes and suffixes were added to make new words of Sanskrit, that process was called “Sindhi” which later was pronounced as “Sandhi”. And now even European scholars have started using this word Sandhi as a technical word in English and other languages. It is not unthinkable to see that the change of the character of vowels from ‘i’ to ‘a’ can occur. We have incidences where such forms have changed and taken a different shape. The root of this word is “Sidh” > Sid (Sanskrit—Seenad) (meaning flowing, joining, striking, limiting etc) from which the words with ‘i’ vowel like Sindhi, Sindhu, Sidho (straight), Seendh (of hair parting), are formed while on the other hand the ‘a’ vowel results in words like Sandhhan (to pickle), Sandh (joint), Sandaan (‘anvil’, which some scholars have tried to prove to be Arabic in origin), Sandho (marking of limit) etc. Only from this root I believe there are about 131 words of pure Sindhi that are in usage.

It can now be concluded that a long time before the Vedas were written, some tribes of this newly settled and disciplined people, had started moving from Sindh and Northern India by means of land and sea because of various reasons like mutual differences, caste system, search of better facilities and resources etc. The main cause as mentioned earlier may be the injustices of the caste system. Most of them were Weysh and Sudras who were so mistreated by Brahmins and mischievous Khatris that they had to leave their abode to find other greener pastures. These Wyesh and Sudras went through Asia, Iran and formed some dwellings in Turkmenistan etc. They might have moved futher to different parts of Europe. The increase in population must have been great as in those days, there was no concept of population planning that is responsible for controlling the population. In the beginning sexual practices were of a general pattern and based on collective groups, where there was still no concept of one to one relationship or marriage. All the men and women of a tribe were free to have relationships with each other. The concept of rape and adulterous relations was not present, because sexual contact was considered, in addition to reproduction, as a good omen for increase in the yield of crops. At the time of sowing the seeds, men and women of the tribe engaged in such acts as they considered them a productive power of nature to make the land more fertile yielding better crops. Because of the absence of any taboos and social curbs on human realtionships, the population increased quickly and because of lack of agricultural acumen, the crops must have fallen short of the demand of the tribes. And so an important cause of peoples’ movement or migration was a need to find better resources of food. These Indian (Sindhi) families kept spreading in Asia and Europe, the signs of which have been found in Iranian Avistian civilization, in Hittite folks and Phoenicians. It is these Phoenicians or “Panni” folks who produced the present script of all the European languages. The strange uniformities and similarities found in the Indo-European languages are due to the fact that their basic source was the Sindhi language and other languages of India that sprang from it. The Europeans have propounded an entirely opposite theory based on racial bias.

Before discussing the intrinsic structure of a language, the most important thing to be kept in mind is that Sindhi is a very mature and phonetically rich language. A Sindhi can pronounce most of the sounds present in almost any language of the world; because his language contains all those sounds, and because Sindhi was one of the sources of sounds of IndoEuropean languages. It is very difficult to accept sounds from other languages and sometimes it may take centuries to adopt certain peculiar sound from an alien language. Sindhi, being the source of most of the sounds of Indo-European languages, has retained them, whereas the other related languages lack some of them. To prove this point I will give the kh-χ) is (خ example of Balochi language: Balochi is considered to be in the Indo-Iranian group and the sound of kh-χ) is commonly present in Avestan, Pehlvi, Persian and Pashto) but the (خ commonly found in the latter; (the sound of khuda= god) and - (khar = donkey) are- (א kh-χ) sound; and even today words like (خ -Balochs could not absorb this kh-χ) are pronounced with ‘h’ sound. Therefore a (خ pronounced “huda” and “har” respectively; all the words having language that contains all the common sounds and phonetic forms can only be the source for other languages that do not have some of them, provided that a very close relation between these languages is proven. Any suggestion contrary to this would be against common sense.

Such a contrary opinion was given because these European linguists had tried to compare the Indian languages with European languages using Sanskrit as a base. The European scholars found out about Sanskrit in the beginning of the 18th century, a time when the British ruled the political scene of India except Sindh. And so the English scholars could only study the languages of the areas that they controlled. Sindh came under their rule in 1843-1851 and they came to know about Sindhi even much later than that. During this time, they had already postulated attractive linguistic theories based on Sanskrit, thereby strengthening their racial supremacy by propounding the Aryan myth. Hemchander and Markundia had proposed that Sindhi came about from a Prakrit of Sanskrit and that too from its corrupt form i.e. Apabhramsa. The rest found nothing wrong in supporting this theory because they had a common background and purpose. But there were a few amongst these experts, who found it difficult to sacrifice their knowledge for their political goals. Dr Trumpp was the first among European scholars who pointed out that

“this (Sindhi) language although definitely appears to be related to Sanskrit, but it contains certain original qualities that Sanskrit does not possess and not only that but if seen in detail, it has a very individual and separate flavour”.

Trumpp knew the original stature of Sindhi but kept rather quiet in order to avoid confrontation. And when some other experts studied the Vedas they could not avoid asking why these Vedic do people (who the European scholars had started calling ‘Aryans’) praise the Sindhu/Indus River and the Sindhi people so much in their Vedas! The state of our own scholars was such that they could not hold the double-edged sword of religion and Sindhism. If they were to call Sindhi as original, it would undermine the importance of Sanskrit and the Hindu religion; on the other hand they could not keep themselves from being proud of being Sindhis. Therefore while they sang praise of Sindh and the Sindhu/Indus River, they accepted Sindhi as being the daughter of Sanskrit. Even people like respected Bherumal while praising the grandeur of Sindh and its ancient language, did it in a way similar to the Europeans, that Sindhi must have originated from Sanskrit; in fact he went all the way to call the original Sindhi words to have originated from Sanskrit.

There is a confusion of ‘r’ and ‘l’ sound in the main Indo-European languages. Many a times a word in Sanskrit is found in both the forms ending in ‘r’ and ‘l’ i.e. the word that originally has the ‘r’ also exists in a form with ‘l’, and again with a ‘r’ in the old Vedic literature. All such words are present in Sindhi in its original form with ‘r’ sound.

On the other hand words that originally had ‘r’ are present with ‘r’ sound both in Sindhi and Sanskrit. In the language of Rig Vedas and in ancient Iranian, usually the ‘r’ and ‘l’ of the Indo-European are used only as ‘l’. (4)

In the examples quoted below, words of Greek, Latin and other Indo-European languages have been used instead of the artificial Indo-European form, and since these languages are considered the latter’s offshoots, so in principle the presence of ‘r’ and ‘l’ in them is just like in the Indo-European. First we will take the example of those words where Sindhi ‘l’ has changedc by Sanskrit to ‘r’, but in all other Indo-European languages they appear with a ‘l’ sound just like in Sindhi. In the most ancient periods of history, Sindhi and Sanskrit in their own bounds, have been evolving, growing, becoming intricate and muddled up. Because of their common source they have uniformity as well as differences. These differences arose due to regional influences and time differences. In some forms they appear very similar to each other while at places they look absolutely different. But since in the Vedic era and afterwards Sanskrit was the only religious, political and social language of the entire India, it along with its newer forms must have left an impression on Sindhi. Sindh has had the Vedic religion at some period of time, in fact the origin of Vedic religion was traceable to Sindh, and therefore a lot of words are common in the cultural and religious circles of both the languages. One can surely say that Sindhi was the language of Sindh in those times. Many plays were written in the period of classical Sanskrit and one comes to know that although these plays were dominated by Sanskrit; many characters seem to speak various Prakrits in addition to Sanskrit. It has 82 already been mentioned that the characters like poets, Brahmins and Rajas in these plays speak Sanskrit while the characters belonging to lower classes converse in Prakrit.

Due to foreign invasions and their devastating effects on education, literature and fine arts and due to their putting to torch of learning centers with stocks of literary and religious books, it has become impossible to prove our point. This was the reason behind the speculations about Sindh and its language. It is not possible that while in all the Prakrits of India, from 4th century BC to 12th century AD, books on literature, grammar, dictionaries and even on sexology are found, then how come it was only Sindh region where no such literature was ever produced!

Now let us have a look at the literature of these Prakrits. From ancient times, Prakrit literature is found in religious and literary forms. Describing every Prakrit would be outside the scope of this book. Only a brief account of the literature of main Prakrits is given below:

1- Pali—This Prakrit has been the religious language of the Buddhists for a long time. Its written record is found on the pillars of Ashoka, which started from about 250 years in the Christian era. In addition to this some religious literature of Buddhism is also found before that. That religious literature includes musical notes that usually have rhyming pattern called “Gathas”; and these can be found only occasionally in the religious narratives.

We find that Pali religious doctrines are found in the form of “Ti Patak” which means ‘three baskets’. This literature is divided in three parts: ‘Wanee-patak’, ‘SutPatak’ and ‘Abhedhum-Patak’. These Pataks are further subdivided into different “Pistaks” or chapters, famous amongst which are Maha Wbhang, Bhikoni Wbhang, Mahawag, Chalwag and Parivar. In addition to these, the Sat- Pisatks are divided into 5 collections (Nikayins) i.e. Degh-nikaya, Majh-nikaya, Samyotinikaya, Angtar-nikaya and Khadaki-nikaya etc. This was about the religious literature. The non-religious literature has these main chapters (Pistaks):

Nitepkaran, Petkopadesar, Sutsumagh etc

Malandpinh is their most famous pistak, Various other ancient Pistaks are also there and Pali literature from around 500 BC to 500 AD is found in both religious and non-religious forms.

2- Ardhmagadhi-This was the other Prakrit that was used by Mahavir (the leader of Jain religion) for his preaching and that is why all the ancient religious writings of Jain religion are in this language. From the times of Mahavir to about 500 AD, literature kept progressing in this language. There are numerous religious writings; famous among them are Ayar, Sooyagood, Thaan, Samvaya, Wyahipanti, Nayadhamkao, Osugdasu, Antagdasu, Anotrovoaeedasu, Pinhawajinhaim, 84 Vovagsoya and Duthevaya. These are termed “Twelve Aspects”. “Oung” is the name of another set of twelve religious principles. In addition to these ten Panya are also in the form of religious principles. Others like six Cheeyasut, four Moolsut and two separate books Nandee and Anvaogadara are also included in the religious writings. These are the earlier books of which the first twelve are based on the sayings of Mahavir. The writings after this period are thought to belong to the times of Chandra Gupt Morya. 3-Jain Maharastry-In this language too, principles of Jain religion were written in the form of Pistaks from the beginning. Mr. Herman Jacoby gave this name to the language and got these hymns published after editing them by the name of Erzalungan, the age of which is definitely proven to be atleast before the 2nd century AD. The main author was Poom Charaya and the book was Vimal Sooree, the history of the book is thought to date somewhere in the 2nd century. A book of stories called Aweshak is even older.

3- Jain Shorseeny- Some of the religious inscriptions have been found to be in Shorseeny Prakrit. Pischeland W. Denecke had examined some books that are: • Molachar of Witcker Acharya • Kategyanipeka of Kartickisuman • Chapahid, Samesaar and Panjthikaya of KandKand But the most famous book called Pawayenesar belongs to Kand Kand and is from the 1st century AD.

In addition to these religious books, many plays were also written in Pali, Maharastry and Shorseeny that are very ancient. Not only that; it is now known that famous playwrights like Kalidas, Asho Ghosh, Bhaas, Serarka and others had many of their characters conversing in Prakrits. And these conversations are an essential part of these plays. Perhaps that is why these are called Dramatic Prakrits. In the 3rd century AD, numerous melodious lyrics of various poets were collected. “An Anthology of Lyrical Poetry” has been proved to be of the 3rd century AD, and commentaries were also written about this collection. The commentaries of Hall, “Satsui” and “Vijalag” of Jeolubh have given the names of twelve poets.

Another literary inscription is said to be in Pushachee. A German expert Ludwig AlSedorof has proved that a very old Puschachee book (pistak) called “Brahtkatha” had a great influence on the language and myths and this volume (pistak) belongs to the beginning of the Christian era.

Similarly it has been observed that the religious writings were very common in all the Prakrits of India. Sindhi too was a revered language of those times, but the literature cannot be found because all the libraries had been destroyed by invaders.

In the 12th century, a Muslim named Abdul Rehman (Apabhramsa name: Adhmaan) wrote a book in Apabhramsa called “Sandesh Rasik”(5) that has been discovered recently. This in fact means that up to the 12th century, not only but even Muslims produced literary writings in Indian Prakrits, but surprisingly there was no one who could write in Sindhi! There could only have been one reason and that was the fact that in the Arab period all the scholarly, literary and other works of the ‘infidels’ were destroyed by torching their libraries. And on the basis of which our scholars, in order to protect the Arabs from this valid allegation, started saying that Sindhi language was born in the 11th century!

The love for literature in the Arabs and their desire to preserve the Indian and Greek literature in Arabic came quite some time after the invasion of Sindh, perhaps in the Abbassid period.

The Arabs destroyed the libraries at the time of invasion of Sindh. At that time literature was mostly held by Pundits and Buddhist monks and their books were kept in their temples. The Arabs destroyed these temples considering them places of idol worship bringing them to extinction. And this is not a new phenomenon. Every invader destroys the land, places of worship and cultural centers of the captured region. The Arabs did nothing that was unknown in the human history. In those times man was at such a level of civilization that destruction of everything that belonged to the enemy was something to be proud about. Arabs had done to Sindh what the Tartars later did to Baghdad. Due to such activities the literature of Sindh went to ashes along with the temples and other places of worship. According to Henry Cousins.

“The Arabs destroyed everything, and built nothing”(6).

These words summarize the complete scenario in a very effective way. It is not true that no sign of those scholarly and literary works can be traced. Arab historians themselves vouch for the literature of Sindh. It could be inferred from Abu Nadeem’s reference about presence of at least 300 scripts (or ways of writing-?) in Sindhi, may have meant that at that time there were around 300 alphabets/letters (phonetic or pictographic type) in the Sindhi script. Although this might be an exaggeration but at the least it proves that he had seen many books written in different styles in Sindh. Even though the old literature had been destroyed, nothing can keep a nation from the love of reading and writing and so the people of Sindh got busy in producing literature. At the same time, because of the companionship of Sindhi scholars, the Arabs too developed an appreciation of literature. After that Sindhi scholars were invited to Baghdad, Damascus and other centers of the Caliphate and were asked to write books about 88 general knowledge, science and literature. There are many evidences of this occurrence. A book on Astronomy by a famous astronomer of Sindh, Bhoongar, upon orders by the Caliph Mansoor, was translated into Arabic by Muhammad Ibrahim AlFizari, in which he describes different planets, stars and their details and movements. Al-Fizari named this book as “Sindh-Hind”(7). This book is mentioned elsewhere too. Al-Beruny thinks that this book was written long before Mansoor’s time and he has named the author as being Phygar. The early Arab writers and scribers must have mis- spelt an original Sindhi name like Bhoongar as Bookar which later was further mis- spelt as Bugar, Fugar and Phygar by the European scholars, but in fact the name is Bhoongar. (8)

The purpose behind this entire story is to show that in Sindh, like in other parts of India, there must have been plenty of literary works and books and had that escaped the destruction at the hands of invaders, our present scholars could not have alleged that Sindhis were taught about culture by outsiders.

Sufism The substance of Sufism is the Truth and the meaning of Sufism is the selfless experiencing and actualization of the Truth. The practice of Sufism is the intention to go towards the Truth, by means of love and devotion. This is called the tarigat, the spiritual path or way towards God. The sufi is one who is a lover of Truth, who by means of love and devotion moves towards the Truth, towards the perfection which all are truly seeking. As necessitated by love's jealousy, the sufi is taken away from all except the Truth. The main idea in Sufism is that people can have 'personal knowledge' or oneness with God in their lives. In order to be one with God, you have to destroy your idea of yourself, or your ego. This is known as fanaa (annihilation). Apart from saying Sufi prayers that vary according to different orders you should be humble, considerate, and only act in order to control your desires. After fanaa is achieved, you are reborn to live with, in, through and for God, (baqaa, and permanency). This is the state where you have achieved the divine love of God, and come ever closer to a unity with God. You should now strive to be one with God Teachings of Sufism: - Sufism teaches respect and adhere to the life style and values held by the Prophet Muhammad - Sufism teaches respect and reverence for others and equal treatment for all; - Sufism teaches love for human beings, animals, flowers and fruits, leaves and trees, day and night, earth and skies, and all the creations of God; - Sufism teaches polite speech so no one is hurt because love is the religion of Sufis; - Sufism teaches purity of sight so as to ensure the purity of soul; - Sufism teaches us to avoid the forbidden; - Sufism teaches purity of head to avoid arrogance in accordance with teachings of Qura’an; - Sufism teaches us not to hear ill words against any person so as to avoid harm to other human beings; - Sufism teaches us not to use hands in any wrong-doings; and - Sufism teaches us not to move the feet in a direction where one may lose consideration of mankind.

SUFISM IN SINDH Sindh (also called Bab-ul-Islam) is the birthplace of Sufism in Pakistan. Sufi were instrumental in spreading Islam with its message of tolerance and forbearance. Sufi saints of Sindh(known as ‗the land of 124,000 saints and dervishes) have a large and devoted following among both Hindu and Muslims and it is striking that many Hindus cross the border from India to pay homage at the shrines, despite political obstacles and social stigma associated with stepping into ―enemy‖ terrain. As Sachal Sarmast, a Sufi , downplaying the religious divide, says:

―Sachu Supreme is one- no doubt no question, Witnesses his own show- resplendent royally, Sometimes recites scriptures-sometimes Koran, Somewhere as Christ, Ahmed or Hanumaan, Astonished and bewildered at all Himself.” Sindh has been under the grip of the land owning feudal class, who have amassed power in their own hands and shamelessly oppressed the peasantry. Amidst this backdrop, Shah Inayat (the Mansur of Sind) launched a campaign against feudalism, calling for greater social justice and equality. He proclaimed, much to the collective anger of the ruling elite, ―Land belongs to God and its yield to the tiller.” This proclamation made the saint a threat to the ruling élites. By attempting to transform a feudal society into an agrarian egalitarian society, he earned many enemies. On the orders of the King, Shah Inayat was executed, becoming an iconic figure in the history of Sufism in Sindh.

In Sufi shrines, all ethnic, class, religious, social distinctions are blurred; everyone prays, sings and eats together. Sufi saints emerged as the savior of the masses, providing charity freely, speaking up for the rights of the impoverished and rebelling against the feudal class system.

Sufism offers the prospect a society without sectarian, ethnic and communal differences. The pervasive influence of Sufism in Sindh has translated into a populace that is more tolerant, accommodating and compromising, much of which explains why extremism is markedly less pronounced in Sindh, as opposed to other provinces. Hindu-Muslim union in Sindh provides modern day lessons for policy makers, striving to battle against the rapid spread of extremism.

Sufi saints have, time and again, challenged the Mulleh community, who espouse a strict reading of religious texts and who consider the Sufis as being non-Muslim, deviant individuals, basking in music, which for them is Haram. Now, I shall cite the poems of Sufi saints that clearly show acceptance of the fact that the Divine Reality is one, which in turn has engendered a degree of tolerance in Sindhi people.

Shah Latif (greatly influenced by ) is one of the greatest poets of Sindh- his work is replete with calls for religious tolerance and adoption of humanistic values. There is also a degree of pluralism in the recognition that while the path to the reality may be plentiful; the destination is same for all. As he writes:

From one it became many, from many it became one. Reality is in unity, you should not forget this That there is unity behind diversity. There ore lahks of your forms, you are one with them, but having different forms. Oh my beloved! How many signs of your beauty am I going to count.” Shah Abdul Latif Bhittai was against religious dogma, as is manifested in the following poem:

“If you are seeking , Then keep clear of religious formalities. Those who have seen Allah Are away from all religions! Those who do not see Allah here, How will they see Him beyond? Consider the case of Gulan, a dancing girl who came to Shah Latif seeking guidance. The considerate Latif blessed her, and the girl later married the ruler of Sind. This story showcases how the saints did not condone or berate sinners, but rather, out of mercy and compassion, pray that they are shown the Right Way. The Taliban could learn a lot from this short example.

Shah Latif encapsulates his teachings in the below text:

“The Truth is one, the Beloved is one, why fight over names? They asked him: “Oh Latif, what are you, a Shiah Muslim or a Sunni one?” He replied: “Between the two.” They said: “But between the two is nothing.” “Yes, yes,” he replied, “that `nothing’ I am.” Blighted by conventional thinking, priests and the ulema decried the message of these Sufi saints, calling them heresy and Kufr (with a special emphasis on the Sufi penchant for music). The priests of Islam said, ―Satan is the worst of the damned.” Latif defied them. “Satan is the only lover, all others are prattlers. Out of the great love of the Lord, the shining one (Satan) embraced disgrace.” In his recognition of Unity of the Lord, he came to associate every form of Creation with the Divine Essence: “This and that, life and death, beloved and lover, enemy and friend are all one.” Sachal, another great poet, in the same vein as Shah Latif, criticizes formal religion when he articulates.

“Love forgives all religion. The Lover never entangles himself in either Islam or Hinduism” The Mullas read traditions and the Koran, They look like Mussalmans, They are the very devil, These will defeated die In the poetry of Sachal Sarmast, one finds examples of Sikh references, which is a token of his profound tolerance for spiritual teachers, casting religion aside. Some of his poems manifestly are on Sri Krishna and Hindu Yogis. The Union of both these elements in his songs helped foster harmony and a mutual appreciation of each other‘s culture. As Sachal writes:

Again and again he emphasizes this, “neither a Muslim nor a Hindu”. The priests could not tolerate this, but Sachal poured ridicule upon them. “Look at these priests! How sanctimoniously they read lengthy prayers merely to fill their stomachs. “For a trifle of bread they cry their prayers, with uncomely faces, with ugly beards, these raw ones read blessings! To the world they boast they keep fasts, in reality they are great eaters A crucial element of the evolution of Sufism in Sindh (and the lesson it provides for today‘s divided world) was the blurring of religious lines, in that there were even Hindu Sufi fakirs who preached tolerance, practiced Sufism and enjoyed a large following, of both Hindu and Muslims. Even during the partition of 1947, Sindh was not engulfed in communal tensions, of the levels seen in Punjab and Bengal. In the political arena, fundamentalist parties have fared poorly in the province.

The central essence of Sufi thinking, as preached by saints over the ages, has been to reform orthodox Islamic thinking. The conjoining and assimilation of both Hindu and Muslim cultures in Sindh has not resulted in an intolerant and bigoted society.

Ruhal Fakir, in his assertion that God is one, downplays the religious divide that breeds hatred and resentment: ‗In Kufir and Islam they are out of step, One Hindu, the other Musalmaan and third enmity in between, Who can claim truly that the blind can’t find darkness, Ruhal, on the path of Beloved, realise its vastness, God was only one- no traps, no twists, Where can she point her feet in the abode of Allah!’

References: http://historypak.com/sindhi-culture/ http://www.nimatullahi.org/what-is-sufism/ https://simple.wikipedia.org/wiki/Sufism SHAH ABDUL LATIF BHITTAI, POET, PHILOSOPHER, MYSTIC, SAINT Shah Abdul Latif Bhittai (also referred to by the honorifics Lakhino Latif, Latif Ghot, Bhittai, and Bhitt Jo Shah) (1689 – 1752) was a Sindhi Sufi scholar, mystic, saint, poet, and musician. He is widely considered to be one of the greatest poets of the Sindhi language. His collected poems were assembled in the compilation , which exists in numerous versions and has been translated to English, Urdu, and other languages. His work frequently has been compared to that of Rūmī: , Professor of Islamic studies at George Washington University, described Shah Latif as a ―direct emanation Rūmī‘s spirituality in the Indian world.‖*Ref He settled in the town of Shah in Matiari, Pakistan where his shrine is located. The major themes of his poetry include Unity of God, love for Prophet, religious tolerance and humanistic values.

Shah Abdul Latif Bhittai was born in 1689 in Hala Haveli‘s village Sui-Qandar located near Hyderabad, Pakistan. Shah Abdul Latif was son of Syed Habibullah and grandson of Syed Abdul Quddus Shah. Bhittai’s ancestry

According to most scholars, Shah Abdul Latif Bhittai‘s lineage goes back to the Khwarizim , others claim he was a descendant of Mohammad and grandson of Mohammad. He however used the term ―Shah‖ as a surname.

His ancestors had come from in to Sindh, after it was sacked by and his Mongol forces. (1600s), whose mausoleum stands at Bulri, about 40 miles from Hyderabad, a mystic Sufi poet of considerable repute, was his great, great grandfather. His verses in Sindhi are existent and his anniversary is still held at Bulri, in the form of an Urs.

His father Syed Habib Shah, lived in Hala Haveli, a small village, at a distance of about forty miles from Matiari and not far from the village of Bhitshah. Later he left this place and moved to Kotri, where Shah Latif spent some part of his adolescent life. The early life

Most of the information that has come down to us has been collected from oral traditions. A renowned Pakistani scholar, educationist, and a foremost writer of plays, dramas and stories, Mirza Kalich Beg has rendered a yeoman service to Sindhi literature by collecting details about the early life of Shah Bhittai, from the dialogues that he has constantly held with some of the old folks, still living at that time, who knew these facts from their fathers and grandfathers for they had seen Shah Latif in person and had even spoken to him.

He was born around 1689 CE (1102 A.H.) to Shah Habib in the village Sui-Qandar a few miles to the east of the present town of Bhit Shah (named after him), on Safar 14, 1102 A.H. i.e. November 18, 1690 CE. He died at Bhit Shah on Safar 14, 1165 A.H., i.e. January 3, 1752 CE. In his memory, every year, on 14th Safar of the Hijri Calendar, an Urs is held at Bhit Shah, where he spent the last years of his life and where his elaborate and elegant mausoleum stands.

Latif got his early education in the school (maktab) of Akhund Noor Muhammad in basic Persian (the government language at that time) and Sindhi (local spoken language). He also learned the Qur‘an. His correspondence in Persian with contemporary scholar Makhdoom Moinuddin Thattvi, as contained in the Risala-i-Owaisi, bears witness to his scholastic competence. The Urs

The Urs is a grand festival in Sindh, where people from almost every village and town of Sindh and from different cities of other provinces of Pakistan – rich and poor, young and old, scholars and peasants – make a determined effort to attend. The Urs commences every year from 14th Safar (2nd month of Hijra calendar) and lasts for three days. Along with other features, like food fairs, open-air markets selling Ajrak and Sindhi Caps among others, and entertaining and competitive sports, a literary gathering is also held where papers concerning the research work done on the life, poetry, and message of Bhittai, are read, by scholars and renowned literary figures. His disciples and ascetics, singers and artists, gather around and sing passages from his Risalo. Scholarly debates and exhibitions of his work and traditional Sindhi artefacts are also organized.

The mausoleum over his tomb was built by Mian Ghulam Shah Kalhoro, to commemorate his victory over the Rao of Kuchh a Maratha ally in the Thar Desert. Education

Young Shah Abdul was raised during the golden age of Sindhi culture. His first teacher was Noor Muhammad Bhatti Waiwal. Mostly, Shah Latif was self-educated. Although he has received scanty formal education, the Risalo gives us an ample proof of the fact that he was well-versed in Arabic and Persian. The Qur‘an, the Hadiths, the Masnawi of Maulana Jalaluddin Rumi, Shah Inayatullah, along with the collection of Shah Karim‘s poems, were his constant companions, copious references of which have been made in Shah Jo Risalo. He is also known for his famed Calligraphic, and hand written skills he made several copies of the Qur‘an. Shah Abdul Latif Bhittai, received his higher education in the Maktab of Akhund Noor Muhammad in basic Persian (the official language of the Mughal Empire) and Sindhi. He is also known to have memorized vast passages of the Qur‘an. His correspondence in Persian with contemporary scholar Makhdoom Moinuddin Thattavi, as contained in the Risala-i- Owaisi, bears witness to his scholastic competence. In his poems he writes about Sindh and its neighbouring regions, he mentions the distant cities such as Istanbul and Samarqand, he also writes about Sindhi sailors (Samundi) their navigation techniques voyages as far to the Malabar Coast, Sri Lanka and the island of Java. Appearance and characteristics

In appearance, Bhittai was a handsome man, of average height. He was strongly built, had black eyes and an intelligent face, with a broad and high forehead. He grew a beard of the size of Muhammad‘s beard. He had a serious and thoughtful look about himself and spent much time in contemplation and meditation, since he was concerned about his moral and spiritual evolution with the sole purpose of seeking proximity of the Divine. He would often seek solitude and contemplate on the burning questions running through his mind concerning man‘s spiritual life:

Why was man created?

What is his purpose on this earth? What is his relationship with his Creator?

What is his ultimate destiny?

Although he was born in favored conditions, being the son of a well-known and very much respected Sayed family, he never used his position in an unworthy manner, nor did he show any liking for the comforts of life. He was kind, compassionate, generous and gentle in his manner of speech and behavior which won him the veneration of all those who came across him. He had great respect for woman, which, unfortunately, the present day Vaderas (the landlords) do not have, and he exercised immense reserve in dealing with them, in an age when these qualities were rare. He hated cruelty and could never cause physical pain to any man or even to an animal. He lived a very simple life of self-restraint. His food intake was simple and frugal, so was his dressing which was often deep yellow, the colour of the dress of sufis, jogis, and ascetics, stitched with black thread. To this day, his relics are preserved at Bhitsah (where his mausoleum stands), some of which include a ―T‖-shaped walking stick, two bowls, one made of sandal-wood and another of transparent stone, which he used for eating and drinking. His long cap and his black turban are also preserved. Quest for religious truths

In quest of religious truths, Shah Abdul Latif Bhittai traveled to many parts of Sindh and also went to the bordering lands as far as Multan. He became well known to the rulers at height of the power and rule of Kalhoras in Sindh. However he independently traveled with Sufi brotherhoods visiting towns and cities, to preach the teachings of Islam. Throughout his travels he went to hills, valleys, riverbanks, fields and mountains where he met the ordinary simple people. He is known to have traveled to the Ganjo Hills in the south of Hyderabad, Sindh.

He also writes about the adventures of Samundis (Sindhi Sailors) and how they voyaged to Lanka and Java, in the Sur Surirag and Sur Samundi, he writes a detailed account on Thatta and the port Debal. He is known to have traveled with Baloch nomads and tribes into the mountains in Las Bela, Balochistan. For three years, he traveled with these jogis and sanyasis, in search of the truth, peace, and harmony. At several places in the Risalo, mention has been made of these jogis and of his visits to these wonderful, holy and peaceful places. He also traveled to such far away places in the Thar Desert such as , Jaisalmer. Piety and Ascetic habits

By the time he was a young man of twenty one years, he began to be known for his piety, his ascetic habits and his absorption in prayers. Observation and contemplation were chief traits of his character. A number of people flocked round him adding to the already large number of his disciples. This aroused jealousy of some powerful, ruthless, tyrannical persons – landlords, Pirs, Mirs, and Rulers – who became his enemies for some time. Later, seeing his personal worth, and the peaceful and ascetic nature of his fame, abandoned their rivalry. At this time he was living with his father at Kotri, five miles away from the present site of Bhitshah. It was here that his marriage was solemnised in 1713 CE with Bibi Sayedah Begum, daughter of Mirza Mughul Beg. She was a very virtuous and pious lady, who was a proper companion for him. The disciples had great respect for her. They had no children.

In the true ascetic spirit, Shah Latif was now in search of a place where in solitude, he could devote all his time in prayers and meditation. Such a place he found near Lake Karar, a mere sand hill, but an exotic place of scenic beauty, four miles away from New Hala. This place was covered by thorny bushes surrounded by many pools of water. It was simply and aptly called ‗Bhit‘ (the Sand Hill). On the heaps of its sandstones he decide to settle down and build a village. As it was sandy, he along with his disciples dug out the hard earth from a distance and covered the sand with it to make the ground firm. After months of hard labor, carrying the earth on their heads and shoulders, the place was now fit enough for the construction of an underground room and two other rooms over it, along with a room for his old parents. A mosque was also built and the houses of his disciples properly marked out. In 1742, whilst he was still busy setting up a new village, Bhit, he got the sad news of the death of his dear father.. Soon after this Shah Latif shifted all his family members from Kotri to Bhitsah, as the village now began to be called. His father was buried there, in accordance to his will, where his mausoleum stands only eight paces away, from that of Shah Abdul Latif, towards its north. The final years

For the last eight years of his remarkable life, Shah Latif lived at Bhitshah. A few days before his death, he retired to his underground room and spent all his time in prayers and fasting, eating very little.

After 21 days in there, he came out and having bathed himself with a large quantity of water, covered himself with a white sheet and asked his disciples to sing and start the mystic music. This went on for three days continuously, when the musicians, concerned about the motionless poet, found that his soul had already left for its heavenly abode to be in the proximity of the Beloved for who he had longed for, all his life, and only the body was there. He suffered from no sickness or pain of any kind. The date was 14th Safar 1165 Hijra corresponding to 1752 CE. He was buried at the place where his mausoleum now stands, which was built by the ruler of Sindh, Ghulam Shah Kalhoro. His name literally means ‗the servant of the Shah‘. He, along with his mother, had adored and revered Shah Latif and were his devoted disciples. The work of the construction of the mausoleum was entrusted to the well-known mason, Idan from . The mausoleum, as well as the mosque adjoining it, were later repaired and renovated by another ruler of Sindh, Mir Nasir Khan Talpur. A pair of kettle drums, which are beaten every morning and evening even till today by the fakirs, jogis and sanyasis, who frequent the mausoleum, were presented by the Raja of Jesalmeer.

According to Sindhi historians young scholars such as Abul Hassan Thattvi (author of the Muqadamah as-Salawat, Hanafi Compendium) also wrote and sought advise from the elderly Shah Abdul Latif Bhittai and frequently traveled to Bhit Shah.

Political Ideas of Shah Abdul Latif*

However, the truth is that the political ideas of that time did not come into the knowledge of people with evident fundamental principles, as it is possible today. It was the period of autocratic rule in Sindh. Education was limited to a few people. People were not familiar with the Western culture and civilization; there existed no conception of assemblies, ministries and elections, of getting votes on the basis of programs and formation of political patties on the basis of principles. In the country the political term like socialism, nationalism, Pan-Islamism, communism, capitalism and fascism did not exist. The system of government, which was prevalent in Sindh at this time, was in accordance with the feudal system and religious slogans. Therefore it would be inappropriate to see any resemblance between this system with the political system which exists today. But at the same time it would not be an exaggeration to say that although the above mentioned ideas were not prevalent in their present form, the germs of these ideas were definitely present in those days. During this period if there is an evidence of the existence of feudal lords and the tenants serving in their fields, it is a proof of the presence of the material, which ultimately brings about the evolution of socialism. If in Sindh there are instances of the Sindhis putting up resistance against the foreign invasions, plundering and wielding power over them and struggling for their independence, then any effort to deny the existence of the spirit and movement for the establishment of socialistic system in Sindh is futile and useless. The battle which the Samba and Soomro rulers fought against the foreign invaders, and the Sindhi poets applauding and eulogizing them, is a clear reflection of the spirit of nationalism which existed at that time. In the movements of Syed Miran Muhammad Jaunpuri and other Muslim leaders there are clear and evident indications of Pan-Islamism. The support extended by Qazi Kazan to his religious guide Bhai Shah Baig Arghoon is the practical evidence of this thought and spirit. It is true that no organized form of capitalism existed here, but even today it does not exist in Sindh in the form as it is found in the West. The basic quality of fascism is that a few individuals deprive the people of their freedom, simply for their personal or class interest. Through the use of power they try to influence every department of the people‘s life, and through suppressive and coercive measures try to mold the country according to their point of view. If in the light of these characteristics we analyze the past, we shall find a clear evidence of the presence of fascism during the reign of the Kalhoras. To implement the religious dictums of Makhdoom Muhammad Hashim Thattvt by the government, to have such venerable religious guides as Mian Abdur Rehman and Shah Inayat Sufi martyred, are the clear indications of the influence of fascism. Moreover imposing such restriction upon the Muslims to keep a beard of a specific shape, to wear the trousers in accordance with Muslim religious law and to impose instructions upon the religious customs of Hindus, were the kind of‘ practices which clearly indicate the reflection of fascist tendencies. The theory of communism did not exist in its present form at that time, but the elements promoting such tendencies were present. Just as there is an element of fire always present in the wood, itself appear when there are causes of its burning and flaring up, in the same manner the existence of naked, hungry, homeless, oppressed and helpless people is an evidence, that there existed a serious need even at that time of a people‘s revolution as a consequence of the events resultant from the class system. In the light of the facts stated above I would be perfectly justified in forming the opinion about the political tendencies of Shah Latif with the help of his poetry that he was a great advocate of:

1. 1. Nationalism 2. Democracy 3. Had a tendency toward socialism 4. Had nothing to do with the concept of Pan-Islamism 5. Opposed dictatorship or fascism. 6. Was disgusted with capitalistic system.

Now by quoting references from Shah Latif‘s poetry, I would try to explain the conclusions I have drawn above. 1. Advocacy of Nationalism There are two specific conditions for nationalism: Conception of a country from the geographical and lingual point of view and nationalism on the basis of a homeland. Those who entertain any doubts about it they should generally study the entire poetical work of Shah Latif and especially Sur Marvi. Their doubts will be removed quite easily.

2. Advocacy of Democracy There is no denying the fact that Shah Latif was the standard bearer of the support to the common man and the unity of the oppressed and the impoverished. He felt deeply grieved at the lack of courage and disunity among the people. Thus giving them the example of birds he says:

Birds fly together; they never separate from each other. Look, how the birds love one another more than man can ever do.

At one place addressing by one of the famous titles given to the people of Sindh he tries to arouse a consciousness among them, and says that it is not the custom of the patriotic people to direct the entire attention toward achieving selfish interests, abandoning the spirit for the betterment of the nation:

You lead a life of shepherds and then you wish to live apart from your friends, relations and the fellow-professionals. This is neither proper nor sensible. Once you will have to drive your cattle to the jungle. At that time you will be concerned with the protection of your cattle from the thieves and highwaymen. Because, you never know, when they can create trouble for you.

Not only was there lack of unity between the common man and the wealthy class due to the miserable life of the people of Sindh, the terrorist activities of the feudal lords, the prejudices of the priests and the selfish attitude of the religious guides, but there was also a state of absolute disintegration of the nation. Expressing his sense of grief over this situation he says:

There was a time when we were united like the seeds of grain in the ear of corn. Alas disunity has separated us from each other. Who knows when the separated ones will be united again.

At one place mentioning the advantages of unity and fraternity. Shah Latif says: If you desire to lead a happy life, learn to live with your relations and friends. If you can do this, you will never have the reason to complain of grief, anxiety and trouble.

In the folk tale of Rai Diach and Bejal in Sur Suratth he has emphasized the truth, how the public opinion can force even the kings to bow before it: Gradually even death makes the kings its victims. The beggar has entered the palace with his musical instrument, which produces melancholy tunes. He has started playing such tunes on his instrument, which will shake the foundations of the palace. Oh Bejal, you are the only subject of discussion among the people. There will be lamentation and morning in Junagarh and bewailing in this palace.

Addressing the patriotic elements who seek seclusion or leave the country after being disheartened by unfavorable situation, he says:

If you isolate yourself from your dear ones and choose a corner of seclusion, don’t you recall the pleasant ways of your dear ones?

All these allusions in his poetry are a clear evidence of his love of democracy.

3. Shah Latif’s inclination toward socialism Shah Latif entirely advocated the cause of the poor and wanted to see the oppressed people united. Many instances in this connection have already been quoted earlier in this book. Here by giving further example of his love of socialistic tendencies, I would make an effort to explain, that although Shah Latif used to pray generally for a revolution for the independence and prosperity of the homeland, but his main objective had always been to see the poor people prosperous and happy. In very clear manner he appeals to Sarang (symbolizing revolution) that he should direct his attention toward the care of the hungry and the thirsty. Let there be food in abundance so that people are prosperous:

Oh, the rainy season you are a Divine blessing, be merciful to the people of this country, and take care of them. Let it rain heavily so that the land has abundance of water. Make this land which is full of grief and sorrow, happy and prosperous. Let there be plentiful grain in this land that the poor can have a few moments of comfort and The rains have come, the sky is overcast The birds are chirping with joy, The farmers and other laborers have prepared their implements. To day my beloved (God) desires to shower all his blessings upon us.

The fact is quite evident that the greatest desire of Shah Latif was to see the land prosperous and people living a comfortable life, and considered together, the interest of the people and poor farmers. He believed that the revolution in the society, which comes through the national independence, it is essential that poor class of the farmers should reap its benefits. He was firmly opposed to the hoarders, profiteers and relentless and chief landlords, and wanted to see them destroyed. He believed that the blessing of true economic independence will alleviate and eliminate all their sufferings:

The clouds were commanded by God to prepare for the rains. In a moment there were thunder and lightening. The hoarders of essential commodities will sell them at a higher price, but they will have to repent, because there has been tremendous increase in the food grains. May these greedy and avaricious people never exist. All are praising Almighty God, because He is the one who sustains the needy and the poor.

He always prayed for the people of Sindh when he observed their misery and deprivation and wished them also to share the blessings of a prosperous life, and wanted to see them liberated from a nomadic life to live a civilized life:

He prays for his poor and grief stricken countrymen to live a settled life. He prays that when others find a permanent home may the poor homeless Sindhi people may also have permanent homes.

He has also not overlooked half-starved fishermen, partially clad laborers. So praying for them as well he says:

The People, whose dress is made from the plant growing in the lake, the Raja had presented this lake Kenjhar to them as a gift.

Shah Latif has projected as a symbol of a true people‘s leader, in other words he is not arrogant about his position, does not try to prove himself superior to others, and looks like a common man when he is in the midst of the people. He does not attach any importance to gorgeous Samma and Soomro princesses and does not care for anyone except for the inhabitants of ―Kenjhar‖. He exhibits a spirit of cordiality with the fishermen who are usually clad in dirty and tattered clothes and their dark skin and unattractive women carrying ill-smelling fish baskets on their heads. He has no place in his heart for the people who rule the country. Rather be prefers to show his love and generosity toward the poor and the miserable people: The fishermen, of Lake Kenjhar are aware of the condition of Jam Tamachi, they are his confidants. Look, all the great and the small are heading toward his palace. Whether they are the citizens of Rome are the inhabitants on the shores of Lake Kenjhar, all are made prosperous through the gifts of Jam Tamachi.

These poor, dark skinned fisherwomen do not possess any distinction of character, who takes their seat on the roadside to sell fish in their ill-smelling baskets. No one cares for such poor women except Jam Tamachi.

4. Pan-Islamism I have already mentioned in the earlier chapter that there has been a group among Muslims which considers the Muslim possessing the right of superiority over the rest of humanity and leadership of the world, and has the conception of establishing the power of a caliphate in the name of the domination of Islam. According to this conception it is essential to have the faith about (jihad) holy war, the superiority of the Muslims over others and domination of Islam. If we have faith in these ideas, then the fundamental principles of Islam, peace and security, equality and democracy prove false. But every one having any claim to has been opposed to this idea. Shah Latif had firm faith in pantheism. Therefore he was never prepared to give any ideas contrary to this faith a place in his heart. Moreover he was fully aware of the fact that for the last many centuries the people who profess faith in these ideas have caused more harm than any good to Islam due to their conduct, and these people, confining Islam to certain restrictions have made its usefulness doubtful. Whereas the ideas which Shah Latif believed in are expressed in the following verse:

Everything which emerges from God is beautiful sweet and tasteful. There is never any bitterness in it. The only condition for you is that you taste it with love.

5. Opposition to Dictatorship When there is no individual freedom in society, when the reins of power are in a few hands, who misuse it for their personal and class interest, and impose their ideas, rules and regulations, and orders forcibly upon the people, the government which uses such measures is called fascist or dictatorial. This form of government is totally contrary to the democratic system. Shah Abdul Latif who desired to see the oppressed people united, could never support such a system of government Moreover every Sufi (mystic) deeply believes in and desires individual freedom, that some of the mystics drift toward ―anarchism‖ because of their extremist views. They are opposed to every form of oppression and cruelty, whether it is perpetrated in the name of religion or society. Thus addressing the oppressors and the tyrants Shah Latif says:

Oh the hunter, may you become the victim of death. All your hunting gear will be destroyed. You came only yesterday and succeeded in creating a gulf between those who love one another, which may take a long time to fill.

When a dictator, drunk with power, loses control of his senses, considering the people no more than worms, spurns at their feelings and sentiments, Shah Latif giving a warning to him describes his condition in the following manner:

Oh crocodile, you have become strong and fat, and you continue to hunt and kill people. The water, which has made your survival possible, will be dried. The verse signifies that the oppressors cannot continue always to commit acts of injustice.

6. Opposition to Capitalism It has been explained above that Shah Latif was inclined toward socialism, it was therefore a natural consequence of his views that he was opposed to any system of government as a result of which his people should lead a life of poverty, hopelessness, hunger, nakedness and be compelled to lead a nomadic life, and the wealthy class should lead a life of ease and luxury. Through the example of Marvi he desired to remind that she was not prepared to accept any personal comforts and benefits out of greed or fear, until and unless her people were given the opportunity to lead a happy life, and despite every tempting offer by a ruler or class of rulers could never feel happy unless her people were. How could she choose to sleep in a comfortable bed when her people made the grass growing on the land their beds. He says:

It is not the tradition of our poor people to Change or desert their dear ones a result of greed and avarice. I shall never adopt such an evil practice when I come to Umer KOL I shall never sacrifice my love of a poor dwelling over the comforts of palaces.

Shah Jo Risalo” the message of Shah His poetry was first translated into German in 1866 [a hundred years after his death] by Ernest Trump a German scholar and missionary when in 1860‘s he became fascinated by Sindhi language and culture and the jogis and singers who sang Shah Latif‘s verses ith the help of Sindhi scholars he compiled a selection of the original verses and called it ―Shah Jo Risalo‖ [the message of Shah]. Later in 1940, D.H. Sorley an English scholar learnt Sindhi, and published selections from the Risalo by the entitled ―Shah Abdul latif of Bhit – His Poetry,Life and Times‖. The most recent work [ 1994], from which most of the translations given here are taken from , is that of Amena Khamisani a professor in English Literature at the Sindh University. Much of Shah Bhitai‘s poetry expresses the individual seeking for God in terms of well-known ballads and the negation of the ego. In Islamic tradition the seeker and the sought are both males. Shah following the Indian tradition made his individual a female. Shah‘s heroine‘s come mainly from the lower strata than the heroes, and yet they outshine the men. The divine is the beloved, with the feminine form associated with earth fertility, nurture, wisdom, and intuition and the masculine with rationality an logic.

The Surs of Shah Jo Risalo The word ‖ Sur‖ means a mode of singing .In all there are 30 Surs in Shah Jo Risalo. In Indian classical music, its‖ Rag‖ and Raginis‖ are sung at different times of day and night. In Risalo the Surs are named according to their subject matter. The underlying theme is how the individual is to cultivate the godly attributes, negate his ego so as to evolve to a better human being. Bhitai art is ―impressionistic‖. He uses the plight of the poor, the peasantry, the fisherman, the weavers, and the helpless needy women in his work. The ancient folklore names of his stories and episodes such as Sasui , Marvi, Sohni , Bilawal become the means by which he attains his end – namely that of the evolution of better human beings in society. In many verses the virtues of patience and the evils of arrogance, anger are stressed Examples of the Surs:

— ―Sur Hussaini‖ glorifies the martyrdom of Hasan and Hussain.

— “Sur Samundi” sings of the trading traditions of Sindh. The Monsoons are over and the sailors get ready to catch the receding monsoon winds. Shah gives this poetry a metaphor of worshipping the ―Deep‖ sea [God] if one is to gain rubies and pearls.

— “Sur Ramkali” is devoted to Yogis/ Jogis, ‖ they carry nothing , not their ego, …. Shah Latif says : ‖ Sorrows are the ornament of joys; I have no use for joys unmixed with sorrows…. don‘t follow the well beaten path ; people float downstream , you should swim upstream..‖

— ” Sur Sarang” is an cry and ode for the Monsoon Rains in the parched Sindh countryside ,

— “Sur Sasui” is on the tragedy of Sassi and her lover Punhu,

— ” Sur Bilawal” sings of the golden period in Sindh under the Sammas and the tragedy of Bilawal a liberal scion of the royal , who was killed [ crushed in an oil press] by the fanaticism of the orthodox Sammas. Look at the weavers, delicate is their love, they join every day, and learn not to part. Sufi is not limited by religious bounds, He discloses not the war he wages in his mind, Helps and assists those who with him fight.

[ Sur Yaman Kalyan] ‖ Go not far , sasui , nor give up the quest, walk not with your feet, yet sit not quite content, All connection with joys of life snap, Walk with your heart , that the journey may soon end.

[ Sur Sasui ] Shah Latif‘s Sasui-Punhu [ a tragic romance of the Sammas period 1250-1350.]

[ Sur Sasui Abri] The poetry has descriptions of how all the birds and animals in the desert were saddened by Sasui‘s tragedy .

Shah Latif‘s compassion was such that one story relates to his adoption of two puppy dogs who were abandoned . He called them ―moti‖ [pearl] and ―khenu‖‖ [a ball] . These two dogs followed him around his travels with the fakirs and jogis in Sindh.he had adopted Shah Latif‘s Suhni – Mehar : [a tragic romance of the Sammas period 1530-1550] The Arghun great descendants of Genghis Khan were pushed out of Kandhar by Babar and descended on Sindh around early 1520 and were assimilated into the Sindhi culture. The Arghuns defeated the Sammas . The Sammas are believed to be originally J/Yadavas who settled in Gujarat after the early [ 900 AD ] Arab invasion and later drifted back into Sindh and fought the Khiljis alongside the Soomros. When later peace was made, the result was that the Hindu chiefs of lower Sindh lost power. For a while Sindh was shared between the Arghuns and the Tarkhan. Humayaun married an Arghun Sindhi girl Hamida Banu at a village Patt in Sindh in 1541 and Rana Birsal of Amarkot gave shelter to Humayun. Here Akbar was born on October 15, 1542. Isa Khan Arghun in 1655 invited the Portuguese for help against the local tribes. Thatta was sacked. It is in this period of darkness that the episode of Suhni -Mehar is set in .

The story here that Shah Latif‘s poetry sings of is the tragedy of Suhni [the beautiful one ] – it is also known in Punjab as Sohni – Mahiwal . Sohni is the daughter of Tula, a potter of Shadapur . Izzat Beg a merchant-prince of Bokhara , falls in love with Sohni. . He forgets his business and Bokhara and settles down as a buffalo-herd by the name of Sahir across the river .Every night Sohni would swim across on her pitcher till one day her angry and jealous sister in-law replaced the baked pitcher with an unbaked one. As Sohni enters the river the pitcher melts and Sahir hearing her cries also jumps in to save her , and both meet a watery grave.

Sohni Mahiwal o Sohni Mehar , also known as Suhni Mehar, forms one more love stories with tragedy, which has the motif of a leader and a hero. Sohni is the heroine in this saga, who has been married unhappily to a man, for whom she has despise and crosses the river to meet her Mehar, her beloved, who grazes buffaloes. One eventful night, the earthernware pot, which Sohni used to swim across, is replaced with a pot made of unbaked clay, by her sister-in-law, which gets dissolved in water and Sohni meets a tragic death amidst the waters of the river where it is swirling the most. The story starts in a very dramatic manner in which cries of help from a young female are heard from the cold water, and she is being attacked by crocodiles. Rest of the narration is about the events leading up to this particular situation and then the tragic end, where the vessel collapses and is hoped by the readers that everything goes well, but at the end, Sohni, being faithful to her love for Mehar, goes through after life to unite with Mehar. Sohni’s story has become one of the most favored folklores in India, Pakistan, Sindh and Punjab regions. Love Story And Its Character Potter’s Daughter During the time of 18th Century, when Mughal period was prevalent, Sohni was born as a beautiful girl into a family of potters, named Tulla. Her family belonged to the caste of Kumhar, who were living in Gujarat, under the Punjab province of Pakistan. During those days, Gujarat was located along the banks of and was basically serving the purpose of resting place for the caravans, which went for trading between Delhi and Bukhara. When Sohni was grown up, she started helping her father by decorating the pots made by him. It is said that the shop of her father was close to the Rampyari Mahal along the river banks. When the water pitchers or Surahis as well as the mugs were took out from the rotating wheel, she used to put imaginative but beautiful drawings and designs and these were then put up for sale. Izzat Baig of Bukhara Shahzada Izzat Baig belonged to Bukhara, who was a rich tradesman from Uzbekistan and had come to Punjab, particularly for trade purposes and stayed for some time in Gujarat. During his stay here, he chanced to see Sohni and was completely in awe of her. The lore defines that this businessman went around with love in his pockets, instead of gold coins. Every day, he used to buy some of the mugs and pitchers, just to have a glimpse of Sohni. At the same time, Sohni also fell for Izzat Baig. While she was structuring designs on the pots, she also lived in a dream world of love. When the time came for Baig to go along with his caravan, he chose to stay back and worked as a servant in Tulla’s house, the house of Sohni. He took the buffalos to the fields for grazing. He was then nicknamed as Mehar or Mahiwal, meaning buffalo herder. Sohni’s Marriage After the news of Sohni and Mahiwal’s love went around, the local people in the community of Kumhar got disturbed. They couldn’t accept the fact that a daughter from Kumhar community would get married to an outsider and therefore Sohni’s marriage was immediately solemnized with another person of the same community. Suddenly one day, the designated potter, along with his family arrived for marriage at the house of Sohni. She was quite lost and helpless but nonetheless went off to her husband’s house riding on a doli. After this turn of events, Baig renounced the materialistic world and lived the life of a hermit or faqir. He started living in a little hut, in front of the house of Sohni, across from the river. For him, the earth on which Sohni lived was respectable as that of a shrine. In love for Sohni, he had forgotten everything, his land, people and his own world. When the darkness sets in and people were asleep, both the lovers would meet by the side of the river. Izzat waited for Sohni along the river banks, while she swam across, sitting on an inverted pitcher, which was hard baked, so as to prevent it from sinking. Everyday, he would bring a fish which he caught. According to folklore, once Mahiwal couldn’t catch a fish due to high tide and therefore he baked a piece of his thigh muscle. On tasting it, she didn’t find it having the taste of a fish and when she kept her hand on his thigh, she could know what Mahiwal had done and cried a lot. Tragic End As days passed, this rendezvous between Sohni and Mahiwal spread out. One day, Sohni was followed by her sister-in-law and came to know about the place where she hid her earthen pot to swim across. She replaced it with the one which was unbaked. The same night, when Sohni went on the pitcher which was unbaked, she started drowning. Mahiwal saw this from the other side and immediately jumped into the water, but both of them drowned, meeting the same fate hand in hand. ------Lilan Chanesar Raja Chanesar was a well known ruler of the Soomra dynasty, who ruled Deval kot,an ancient city of Sindh near Thatta, Pakistan. He had a beautiful queen Lilan, who was very fond of Diamonds and Jewellery. Contemporary to him was Rao Khengar, who ruled Lakhpat in Kutchh, in India. He had an only daughter Kaunru, who was very beautiful and engaged to her cousin Utmadi. Being the only daughter of Rana Khanghar and Mirkhi, too much love had spoiled her. She was proud of her beauty and was always worried about her looks. One day her friend Jamni who was the sister of Utmadi teased Kaunru about her attitude, saying she was behaving as if she would be the queen of Chanesar. Kaunru was hurt and told her mother that either she would have to marry Chanesar, or she would commit suicide. Her parents were alarmed, but they were aware that Chanaesar was married and loved his queen Lila very much. After consulting her husband, Mirkhi and Kaunru disguised themselves as traders and left for Dewal. There they managed to consult Jakhiro the king’s minister and asked him to help them. He promised he would persuade Chanesar to marry Kaunru. When Jakhiro spoke to Chanesar about Kaunru, the king lost his temper and told him that he should not talk like that in future. In Lila’s presence he could not even think about any other woman. Jakhiro offered his apologies to Mirkhi and Kaunru and told them that there was no hope, and that it was therefore useless for them to try. Kaunru and her mother put on ordinary dresses to disguise themselves and went to Lila’s palace. There they asked Lila to employ them in her service, as they had abandoned their country because of poverty. Lila felt sorry for them and employed them as personal servants. Kaunru was asked to arrange Chanesar’s bed every day. Time passed without any hope of success. One day as Kaunru was preparing the bed for Chanesar, tears dropped from her eyes. Lila, who had entered the room unnoticed, saw Kaunru’s tears. She asked the reason for the tears. Kaunru told her that at one time she had also been a princess and had lived a luxurious life like her. She told her that instead of using lanterns and lamps she used to light her palace with ‘Naulakha Har’ (a necklace worth 900,000 rupees). At first, Lila was hesitant to believe her but she soon became anxious to see that necklace. When Kaunru showed her, Lila asked her for what price she was prepared to part with it. Kanuru told Lila that she would give her necklace free to her but on one condition. Lila became impatient and asked for the condition. Kaunru told her that the necklace would be hers if she would just let her spend one night with Chanesar. When Lila spoke to Chanesar he did not approve of her idea. One day, Chanesar came home after a party and was heavily drunk. Lila considered it her best opportunity and she allowed Kaunru into her bedroom. In the morning when Chanesar woke up, he was shocked to see Kaunru instead of Lila sharing his bed. He was very angry and was about to leave the room, when Mirkhi (Kaunru’s mother) told him that Lila had sold him to Kaunru in return for the ‘Naulakha Har’. Chanesar considered it an insult and humilitation to be exchanged for a mere necklace. As his revenge, he deserted Lila and married Kaunru who had given so much sacrifice for him. Lila tried to apologize, cried and begged but Chanesar refused to listen to her, saying that she had preferred jewellery to him and that he did not Love her any more. Lila after giving up all hope left his house and went to her parents. There she spent her days in misery, solitude and repentance. Jakhiro who was the minister of Chanesar was engaged to one of the girls from Lila’s family. But they refused to give her hand to him after the fate of Lila. The minister approached Lila who intervened but asked him to bring Chanesar on his wedding, to which he happily agreed. On the occasion of Jakhiro’s wedding Chanesar came along with the bridegroom party. Lila with other girls welcomed the party with dancing and singing but her face was Veiled. Chanesar was pleased at their performance and he was especially fascinated at the dancing and the voice of the one whose face was veiled. Chanesar begged the girl to unveil her face as he could not tolerate the situation any more. As soon as Lila opened her veil Chanesar fell down on the floor and died. When Lila saw this she also died. ------Noori Jam Tamachi There once lived a woman named Noori who had spent all her life in a small fishing village next to a beautiful lake. All the villagers there lived in huts made out of straw and got their living from fishing on the lake. The daughter of a humble fisherman, Noori loved the little village and all things to do with life by the water. What she loved best was simply to go out on the lake no matter what the reason and just watch the blue waves shimmering in the sun. She thought she would spend her whole life in that little fishing village, but things have a way of changing… A VERY STRANGE THING One day while Noori was helping her father unload some nets from the boat a great clamor arose in the village. The news traveled fast from person to person: “The King is coming!” and all the villagers rushed around to make their houses and garments as presentable as possible. The woods surrounding the village were great hunting grounds and King Jam Tamachi had been spending time there doing some hunting. Now he was ready to relax for a while by the lake before returning back to his palace. A picture of fishermen in boats on Kenjhar Lake illustrating the story of Noori Jam Tamachi.Noori was quite curious because she had never seen the King before, or really anyone of royal status for that matter. The villagers around her whispered that he would be wearing clothes made of gold as well as the finest jewelry. She thought the idea of someone wearing clothes of gold to be kind of strange and reminded herself to look and see if this was actually true. But as soon as the handsome King came near to where Noori was she forgot all about that, his eyes met hers and it was love at first sight for both of them. It was a very strange thing for a king to fall in love with a poor fisherman’s daughter, but many people in the village weren’t surprised when they learned it was Noori that the King had fallen in love with. She was quite beautiful and had a face that people said shined bright like the full moon. She had been given the name Noori, which means ‘bright light’, in honor of her unusual beauty. HAPPILY EVER AFTER? Depiction of King Jam Tamachi for the famous folktale and legend Noori Jam Tamachi. Not too long after the first meeting of Noori and the King came something even more unusual though, the King asked her to marry him. This was pretty much unheard of because the culture there was very obsessed with status, and someone with the status of royalty would never mix with someone who lived in a poor fishing village. Until now. Noori was deeply in love and accepted the King’s marriage proposal happily, though when it came time to go she looked back at her beloved fishing village and felt sadness at having to leave. But she knew it had to be done, her new life and home was ahead of her in the royal palace. Now in most tales this is where the story stops and everybody celebrates a (mostly) happy ending. The poor fisherman’s daughter becomes a queen and lives happily ever after in a golden palace right? But this wasn’t the case for Noori. THE SIX QUEENS Picture depicting Noori Jam Tamachi alone in the palace thinking about the six queens plotting against her.The King may have looked beyond Noori’s status as a fisherman’s daughter but when she arrived at the palace she found out that most people there could not do the same, or just plain chose not to. And she had a big problem: the other queens. There were 6 of them and they burned with hatred for her, their new favorite thing to do soon became trying to poison the mind of the King against “that simple girl from the fishing village”. Mostly the King ignored the hateful rumors that the 6 queens tried to pass on to him but there was one particular rumor that they said so many times it actually started to make him worry. What if Noori wasn’t the person he thought she was? For months the queens had been whispering about how Noori was constantly stealing jewels from various rooms of the palace and giving them to her brother when he visited, so that he could sneak the jewels back to the fishing village. In fact the King had heard from other more trusted people that she had often been seen secretly handing a box to her brother as he was leaving the palace. The King knew that these people wouldn’t lie to him, so it was with a heavy heart that he decided to finally see with his own eyes what was happening. THE WOODEN BOX Picture depicting King Jam Tamachi jumping out at Noori and her brother while they were holding a wooden box.Imagine Noori’s surprise when the King and his guards jumped out of the shadows as she was handing a small wooden box to her brother! The King demanded that she instead hand the box to one of his guards, and he looked so betrayed while he said this that it stung her heart. Before she could say a word he walked over to the box and lifted the lid to see just how many precious jewels she had tried to steal from the palace this time. You’ll never guess what he saw in the box… It was nothing but a few fish bones and bread crumbs. “What is this?” he said in complete surprise. Noori saw that it was a happy kind of surprise though, because he smiled as he said it and turned to her. Noori explained to the King that she was afraid if she got used to the kind of food that was served in the palace she’d stop being able to enjoy the kind of food that she grew up eating in the village. So she asked her mother to send a bit of fish and village bread along with her brother each time he visited. She had been trying to keep this from the King because she didn’t want to seem ungrateful for all the lavish food he provided. Well after this the King never listened to another rumor from the 6 queens again, no matter how hard they tried to convince him. Seeing that Noori longed for the village by the lake he agreed to go with her and visit it as often as possible, Picture of a boat on Kenjhar Lake that goes to Noori Jam Tamachi's tomb memorial in Pakistan.and through his great love for her he started to appreciate beauty of the lake and the little village as she did. THE TOMB IN THE LAKE It probably won’t surprise you to hear that over the years Noori became very famous and well- loved by the people of her country, she was an unusually humble and kind queen that never forgot what really mattered in life. And even now many generations later people still enjoy talking about Queen Noori and the love story of Noori Jam Tamachi. After she died the King had her buried in a white tomb in the middle of that same lake where they first met. And when you climb up to the tomb you get a spectacular view of the shimmering blue lake that Noori loved so much all through her life. A picture of Noori Jam Tamachi's tomb in the middle of Kenjhar Lake.The lake is called Kenjhar Lake and every day hundreds of people go there to pay their respects to Noori and celebrate the kind of love that she and the King had for each other. Some people will take pictures, some will pray, and some people have even been known to sprinkle rose petals over the monument. One thing is for sure though: they will all talk about the remarkable story of Noori, the fisherman’s daughter who married a king. ------Momal Rano The king of , Hameer Soomoro, along with his ministers, Rano Mendhro, Seenharro Dhamachanni and Daunro Bhatyanni, used to go for hunting in the far flung areas of Umerkot and sometimes could even cross the boundaries of their little country for the adventure. Once during a hunting spree, these four men were encountered by a person, who came across them accidentally. They did not disclose to the fellow who they were and what they did. But the fellow engaged them in the story of what happened to him in the preceding days. He was basically a prince from the area near , who had heard the legend of Momal's beauty and charm and got so inspired that he pursued the adventure, but when he approached the area where Momal lived, he was not only overpowered by her enchanting beauty but also the tricks and schemes played by her female servants/sisters, who not only robbed that prince of his wealth and material but also confused him in so multiple puzzles that he could do nothing else but save his life and run. The story told by this prince was sufficient to intrigue those four friends. They extracted information from the prince about Momal's whereabouts and decided to pursue the same adventure. The place where Momal lived was near Lodhruva, in the north-east of Umerkot. She lived with her seven (some historians say, nine) sisters including two famous of them, Somal and Natir (some consider her to be Momal's servant rather than sister) in a palace called Kak Mahal (The Palace of Kak). It was a magical palace with labyrinths, puzzles, fake ponds, illusions and much more. It was a legend that anyone who wanted to be a suitor for Momal would undergo several obstacles, and the one who succeeded in reaching the palace unharmed would possibly be accepted as her consort. As the history suggested, almost everyone who approached Momal and her sisters/servants was robbed of everything including their lives excluding a few like the prince from Kashmir who told the stories of his devastation. Momal enjoyed legendary beauty. Somal was famous for intelligence; while Natir was known as a schemer. They worked collectively to enchant the suitors and overpower them. They could not let the suitors experience an easy task of puzzles they designed for them. As the luck would have it, Rano Mendhro, who was famously intelligent and brave, was the only person to successfully reach the palace, utterly unharmed. Momal was fairly impressed and that led him to be accepted as her consort. The King Hameer, along with other two ministers, left Rano Mendhro at Kak and left for Umerkot. Rano and Momal kept meeting each other for long and their love story gained profundity of feelings from both sides. However, King Hameer felt jealous about Rano to have succeeded in overpowering the most beautiful woman in the world he personally knew. So he kept a check on Rano and asked him not to meet Momal. Rano being his minister had to abide by the orders of his King friend. But his passion about Momal did not let him stay peacefully away from her. So usually he left for Ludhruva on his camel in the evening after work and returned to Umerkot by the next morning. Whenever he did that, which he did pretty often, he tried to stealthily go and meet Momal, it was pretty long distance though. Somehow he was caught one day and the king imprisoned him. But for the old friendship sake the king released him with conditions not to meet Momal again. But this had not to happen. He continued the same pursuit. Once Rano was unable to reach Kak, so Momal, out of passion and extreme wait for her beloved, asked her sister Somal to wear clothes like the ones Rano used to wear and slept by her side. The moment Rano arrived, he mistook Somal as Momal's lover (paramour) and in utter disgust left the palace for Umerkot leaving behind his cane (walking stick). As Momal woke up, she saw his cane and realized Rano had been to her room and seen her with Somal, rather mistaken Somal to be some man, and perhaps gone for good. This was too much for her. Momal waited for his return but to no avail. At last, when the push comes to shove, she resorted to go out for Rano in Umerkot. Disguised as a man, she finally searched him and stayed in Umerkot for some time. In a short span of time, Rano came to learn it was Momal, who had disguised herself. So he tried to go away from her. Then she pleaded him to forgive her for her mistake, which was basically not an intentional trick but an outburst of passionate feelings about Rano, and nothing else. Rano was too obstinate to forgive her. Out of desperation, she jumped in raging fire. When Rano came to learn this, he followed her in the same flames and got consumed by the same. ------Sorath Rai Diyach Birth of Beejal The only sorrow which was disturbing Junagad King Rai Diyach’s sister was even after many years of married life, she was child less. She loved his brother King Rai Diyach to such extant than she always try to remain cheerful before him. Once a sufi saint came to her and forecasted that soon she will give birth to a boy child, listening to this she become happy but the next prediction of the saint proved water for fire of her happiness, as saint said this is the pre written destiny that King Rai Diyach will be killed at the hands of this boy. She kept the news of her pregnancy secret from every one and when boy born she kept the newly born baby in a basket allowing basket to afloat in the river. She has done this, scarified her own son, just when he was born, for the sack of her love for brother as she thought this will help to prove false the prediction of saint and her beloved brother will remain safe. The basket swims to nearby area and was found by Shepherd Dami and his wife. They adopted the boy and gave name “Beejal” or "Bijal". Birth of Sorath Nearby area of Kingdom of Rai Diyach was ruled by King Bhog, who already have six daughters and this time also his queen has given birth to a girl child. Dejected and annoyed queen of Bhog did the same thing with this newly born, unwanted girl child, i.e. the baby was kept in basket and allowed to afloat in the river. The basket was found by a potter named “Ratno” from the Kingdom of Rai Diyach as the potter was child less so he and his wife decided to take the girl as their own child. They named the girl child as “Sorath”. Young Beejal Beejal was growing in years and with time started to go to forest for feeding animals. Once he heard divine musical notes and found that this music was being generated from the dried intestine of a Deer, hanging on a tree and sound was produced when wind was striking to it. Beejal took that and made an instrument like Bansuri [flute] from it, the only difference was that to produce music Beejal has to touch the strings of the instrument. At the appropriate time Dami and his wife arranged marriage of Beejal. Beauty of Sorath Sorath was still in her teen age when the entire area has become filled with discussion about her unmatched beauty and this has forced King Annirai to send proposal for marriage. Considering the difference within them father “Ratno” happily agree to this proposal and decided to take Sorath in a procession for marriage with Annirai. Marriage of Sorath and Rai Diyach When the Marriage procession of Sorath was passing through the Junagad, Rai Diyach came to know about this and as the result Ratno, father of Sorath was forced to merry Sorath with Rai Diyach. Hearing this news Annirai felt insulated and made attacks on Junagad but was failed to take revenge of his humiliation. Finally he made announcement that one who will bring head of Rai Diyach will be entitled and owner of plate containing a lot of Diamonds, Jewels and other precious, which announcer was showing while announcing Annirai’s proclamation. Beejal’s wife was a greedy woman though she had a great trust with musical powers of her husband, she asked announcer to hand over that precious plate and promise that her husband will beheaded Roy Diyach. She was warned that if her husband fails to fulfill the promise entire family will have to face death. Confusion of Bijal When Annirai’s proclamation was announced in the village of Bijal, he was not home. On returning when he came to know what his wife has done, he felt shocked and stunned as the Ray Diyach was King who takes care of all the citizen of his Kingdom as his own sons and was famous for donating or giving the things to needy people. In the Sindhi language giving means “Diyan” probably because of this instead of original name “Khnghar” he was known as the Rai Diyach. King Ray Diyach also has fame of being a music lover king and a person remaining behind his words, he always fulfilled promise made by him. Bijal didn’t want to be reason for beheading of such generous King, but he has to face the death if he fails to do so. Greedy wife was also persisting for to complete the job finally Beejal came out of confusion and decided to go to Junagad. Killing Rai Diyach On reaching to Junagad Bijal sat near the fort and started playing his musical instrument. According to his hopes he was called by Rai Diyach to his Palace and performs there. Beejal sings and played the instrument for six continuous nights [this story is included in Shah Jo Risalo as the Sur Sorath, one among the 30 surs or the chapters] and every time Rai Diyach was offering a lot of wealth to him which was refused by Bijal. Finally Rai Diyach give word that he will fulfill wish of Bijal and will give whatever he wants. Beejal asked for the head of Rai Diyach. Ministers of Rai Diyach and even Queen Sorath requested Bijal for taking anything else. On refusal of Beejal, Rai Diyach himself cut his head which was given to Bijal. Tragic end of Story With the head of Rai Diyach, Bijal reached to court of Annirai Rathor. Looking at the head of Rai Diyach instead of being pleased Annirai angrily asked Bijal to leave his Kingdom for Killing such a generous King. Bejal was so unhappy that he rushed back to Junagad, where Sorath who in love of her husband has decided not to live without him and about to enter pyre prepared for the funeral of Rai Diyach. Bijal handed over the head to her and she entered into fire. This is said that Bijal also ended his life by entering the same fire. ------UMAR MARVI The King Umar soomro, who ruled Sindh from year 1355 A.D, was a very handsome, kind hearted and a just king. During his rule, the people enjoyed full liberty on equality basis and were quite happy in villages, towns and cities. His capital was Umarkot where he lived in a castle. According to the Islamic traditions, the King was very cautious in his behavior. But as a man he was a lover of beauty and grace in women. Once a man named Pohg came to his Darbar(Court) to seek audience with the King. When he was granted audience, he praised the beauty of a village girl Marui in such a way that the King was very much impressed and desired to have this jewel of extra ordinary beauty in his harem. Phog told the King that Marui lived in Malir village and could be seen filling water pitcher with other girls from a well outside the village early morning every day. The King who had a passion for beauty could not wait to see the girl, so incognito; he mounted a fast camel, guided by Phog and reached the well on the outskirts of Malir village. They found the girls filling their water pitchers from the well. Phog pointed out Marui. The girls saw the strangers approaching, thought that they were thirsty and wanted to drink water so they did not panic. An aura of brilliance surrounded Marui; King Umar Soomro lost his senses stricken by her beauty, he asked her to marry him and she refused, he then grabbed Marui, put her on his camel and brought her to his palace in Umarkot. Fear gripped Marui to see the palace and the finery of the Maids who attended upon her. A girl accustomed to open blue skies, green pastures and sand dunes, felt herself like a bird in a cage. She kept crying, and will not stop even though, the Maids tried their best to console her. The King sent to her clothes, jewels and delicious dishes but she did not even look at these gifts and kept asking to be sent back to her village, her parents and Maroos(village people, her kith and kin) to whom she belonged. The King was informed of this alarming situation and he came himself and talked to Marui, telling her about the desperate situation she was in and the only solution was that she should consent to marry him and become his queen. In this way, she will not only rule the country but will be able to help her parents and Maroos. Nevertheless, Marui kept crying and repeating that she must be sent back to Malir. The vehemence of her grief was so intense that the King was alarmed least she may harm herself. The King therefore left her to the Maids and returned to the palace. Alas! The destiny had played her part for both, the king and the Marui. Marui’s parents, villagers and the people of the kingdom knew what had happened and nobody could do anything about it. The king kept coming and sending gifts to Marui but she refused to accept anything and wanted to go back to her Maroos. The king had to attend to the affairs of his kingdom and forgot about Marui. The readers will be surprised as to why a King had to wait for the consent of Marui to marry him. The answer is that as a Muslim king, he was ‘The defender of the faith’ and the faith only permitted him to marry the girl with her consent. He was powerless to avert the destiny, but he had all the power to control his passion and act according to Islamic law. Where the king’s character is praise worthy, the patriotism of Marui, a village girl, for her country, her parents and her Maroos and her fiancé is much more praise worthy. She thwarted the King’s offer and kept her honour and that of her Maroos, intact, suffering hardships imposed upon her by the King. At last, when the King after about a year remembered Marui, he visited her. He was shocked to see how weak and emaciated she had become. He was full of regret. Marui asked him to send her body to Malir to be buried there when she dies. This cut King Umar to the core of his heart and he ordered that Marui should be released immediately and sent back to Malir and to her Maroos. When the King’s men brought her to her parents with King’s Message that she must be treated with due respect as she was untouched by him; and that She was as chaste as when he had taken her away. Her people, even her fiancé had doubts and everybody shunned her company. She could do nothing but to cry her eyes out day and night without any result. To Check up, the King sent his men, to see whether Marui was being treated with due love and honour or not. The King’s men returned with the news that Marui was not been treated with due honour and love. The King became very angry and came to Malir, called for the village elders to decide the matter of Marui’s innocence. The village elder showed their doubts and said that the only way to prove Marui’s innocence was to take the test of fire ordeal. Marui immediately agreed to this test. Accordingly, a long trench was dug and filled with burning coals. Marui was asked to walk from one end to the other and if no burns appear on her feet, she will be declared innocent. Without hesitating Marui walked on the burning coals from one end to the other. Her feet were examined and burns were found on her feet. It is said that King Umar Soomro also took this test there and then and no burns were found on his feet as well. Thus, both were declared innocent. Great rejoicings took place and preparation set a foot for her marriage to her fiancé Khet Sen. There is no parallel, to the above historical act of the King Umer Soomro, in the world. ------SASSI PUNNHUN Punnu Mir Punnhun Khan (Mir Dostein Hoth) is the son of Mir Aali, son of King Mir Hoth Khan, ancestor of the Hoths, a famous Baloch tribe in Balochistan. King Hoth was son of Mir Jalal Khan, ruler of today's Balochistan (Pakistan) region in the 12th Century, and father of Rind, Lashari, Hoth, Korai and Jatoi. Sassi Sassi was the daughter of the Raja of Bhambore in Sindh (now in Pakistan). Upon Sassui's birth, astrologers predicted that she was a curse for the royal family’s prestige. The Raja ordered that the child be put in a wooden box and thrown in the Sindhu. A washerman of the Bhambore village found the wooden box and the child inside. The washerman believed the child was a blessing from God and took her home. As he had no child of his own, he decided to adopt her. When Sassui became a young girl, she was as beautiful as the fairies of heaven. Stories of her beauty reached Punhun and he became desperate to meet Sassi. The handsome young Prince therefore travelled to Bhambore. He sent his clothes to Sassi's father (a washerman) so that he could catch a glimpse of Sassi. When he visited the washerman's house, they fell in love at first sight. Sassui's father was dispirited, hoping that Sassi would marry a washerman and no one else. He asked Punnhun to prove that he was worthy of Sassui by passing the test as a washerman. Punnhun agreed to prove his love. While washing, he tore all the clothes as, being a prince, he had never washed any clothes; he thus failed the agreement. But before he returned those clothes, he hid gold coins in the pockets of all the clothes, hoping this would keep the villagers quiet. The trick worked, and Sassui's father agreed to the marriage. Punnhun's brothers Punnhun’s father and brothers were against his marriage to Sassui (Punnhun being a prince and she being a washerman's daughter) and so, for their father's sake, Punnhun's brothers traveled to Bhambore. First they threatened Punnhun but when he didn't relent, they tried more devious methods. Punnhun was surprised to see his brothers supporting his marriage and on the first night, they pretended to enjoy and participate in the marriage celebrations and forced Punnhun to drink different types of wines. When he was intoxicated they carried him on a camel’s back and returned to their hometown of Kech. The lovers meet their end The next morning, when Sassui got up, she realized that she was cheated. She became mad with the grief of separation from her lover and ran barefoot towards the town of Kech . To reach it, she had to cross miles of desert. Alone, she continued her journey until her feet were blistered and her lips were parched from crying "Punnhun, Punnhun!". The journey was full of dangerous hazards. Punnhun’s name was on Sassui's lips throughout the journey. She was thirsty, there she saw a shepherd coming out of a hut. He gave her some water to drink. Seeing her incredible beauty, he tried to force himself on Sassui. Sassui ran away and prayed to God to hide her and when God listened to her prayers, land shook and split and Sassui found herself buried in the valley of mountains. When Punhun woke in Makran he could not stop himself from running back to Bhambore. On the way he called out "Sassui, Sassui!" to which the shepherd told Punnhun the whole story. Then Punnhun also lamented the same prayer, the land shook and split again and he was also buried in the same mountain valley as Sassui. The legendary grave still exists in this valley. Shah Abdul Latif Bhittai sings this historic tale in his sufi poetry as an example of eternal love and union with Divine. Kech Makran The Kech Makran is located along the Makran Coastal Highway in Baluchistan, Pakistan. The fort of Punnhun whose construction dates back to 6000-8000 BC[2] is located there https://en.wikipedia.org/wiki/Sassui_Punnhun https://thesalientfeaturesoftheruleofsoomradynasty.wordpress.com/2012/05/13/the-king-and- the-village-girl-umar-marui/ http://www.discoveredindia.com/punjab/love-legends-of-punjab/sohni-mahiwal.htm https://www.sindhidunya.com/lilan-chanesar-a-heart-touching-sindhi-love-tale/ http://thesindhuworld.com/sorath-raidiyach/ http://anitasnotebook.com/2013/02/the-story-of-noori-the-fishermans-daughter-who-married-a- king.html

POETRY OF SHAH ABDUL LATIF BHITAI

ENGLISH Sorath-IV (King and Minstrel) Chapter-I 1 The minstrel came to Junagarh and here took out his lyre; With his entrancing melodies he did all hearts inspire; With his bewitching magic-strings he set whole town on fire- But palace-servants, princesses, were struck with anguish dire; "That Raja's head was bard's desire, lute spoke in accents clear." 2 The bard at though a living string played with humility; The Raja in his palace fine, to hear him did agree; He mercifully called him in, and met him graciously- Then prince and bard, one harmony, one single 'self' became! 3 "I travelled many foreign lands, and have arrived today; Poor minstrel I, no treasures crave but for your life I pray- To win this favour, let me play, Oh Sir, the time is short.-" 4 "Leaving all other doors, O king I wandered to your door! Blest Sorth's husband, see my need a beggar doth implore, His empty apron fill once more and happiness restore!" 5 The king sat on his glistening dais, the bard below him played; The faintest note of music sweet up to the Raja sped- To private folks that could not come the minstrel too was led;- Fine horses were produced, rare gems, before the bard were spread, Who said: “no wealth like this, but head of Raja do I claim!” 6 No jewels can the minstrel please no wealth, no property- From riches and from great rewards His only wish is, near to be the giver of this wealth. 7 prince said: “I'll gladly sacrifice My head for thee O Bard, Although this is a small reward For all thy music's worth... own a hundred heads And weigh them with thy strings- Behold the scale, how down it swings On side of strings divine! 9 “O Friend, my head is only bone: An empty, empty bone- If thousand heads my neck would own I'll cut them all for thee!” 10 The strings, the dagger and the neck were reconciled all thee- King said: “nought is so lovely than your wish to come to me, My head you craved...most heartily I do thank God for that...” 11 “But singer, it astounded me, That while you played your strain. How could its sweetness you survive And could alive remain? Last night, my being all in twain was by your music cut.” Chapter-II 12 The flower of Girnar plucked; The town is plunged in mourn and pain, Hundreds like Sorath stand and raise Their lamentations all in vain- The minstrel, holding lock, receives The prince's head adorned again- While virgins chant the sad refrain; "Last night the Raja passed away." 13 Sorath is dead; and all is peace- Ruler removed his tents- There are no singings and no shows, no tuneful elements.- And after this, artist presents The head again to king! 14 Sorath is dead, and all is peace- Raja pitches his tents; Music is heard again...the show goes on with merriments- Echo sounds song's sweet sentiments... Behold, the happy king! ------SPANISH Sorath-IV (Rey y Minstrel) Capítulo I 1 El trovador vino a Junagarh Y aquí sacó su lira; Con sus melodías encantadoras Hizo que todos los corazones inspiraran; Con sus encantadoras cadenas mágicas Puso toda la ciudad en llamas, Pero los sirvientes del palacio, las princesas, Fueron golpeados con una angustia extrema; "La cabeza de Raja era el deseo de la bardo, El laúd habló con acentos claros ". 2 La bardo en una cuerda viva Jugado con humildad; El Raja en su palacio bien, Para oírlo estaba de acuerdo; Él lo llamó misericordiosamente, Y lo encontró graciosamente- Entonces príncipe y bardo, una armonía, Un solo "yo" se convirtió en! 3 "Viajé muchas tierras extranjeras, Y han llegado hoy; Pobre trovador I, no hay tesoros que anhelen Pero por tu vida yo rezo- Para ganar este favor, déjame jugar, Oh señor, el tiempo es corto. 4 "Dejando todas las demás puertas, oh rey ¡Vine a tu puerta! El esposo de Blest Sorth, vea mi necesidad Un mendigo implora, Su delantal vacío se llena una vez más Y restaura la felicidad! " 5 El rey se sentó en su estrado reluciente, Jugó el bardo debajo de él; La nota más tenue de la música dulce Hasta el Raja sped- A gente privada que no podía venir El trovador también fue conducido; Bellos caballos fueron producidos, gemas raras, Antes de la difusión de la bardo, ¿Quién dijo: "no hay riqueza como esta, pero la cabeza De Raja do I claim! " 6 Ningunas joyas pueden el minstrel por favor Ninguna riqueza, ninguna propiedad- De riquezas y de grandes recompensas Su único deseo es, cerca de ser El dador de esta riqueza. 7 Príncipe dijo: "Con mucho gusto sacrificaré Mi cabeza para ti O Bard, Aunque esto es una pequeña recompensa Por todo lo que vale tu música ... Posee cien cabezas Y pesándolos con tus cuerdas, He aquí la escala, cómo cae En el lado de cuerdas divina! 9 "Oh amigo, mi cabeza es sólo hueso: Un hueso vacío y vacío, Si mil cabezas tuvieran mi cuello ¡Yo los cortaré a todos! 10 Las cuerdas, la daga y el cuello Fueron reconciliados todos ustedes- King dijo: "nada es tan encantador que Su deseo de venir a mí, Mi cabeza que anhelaste ... de todo corazón Yo gracias a Dios por eso ... " 11 "Pero cantante, me asombró, Eso mientras que usted jugó su tensión. ¿Cómo pudo sobrevivir su dulzura? ¿Y podría quedarse vivo? Anoche, mi ser todo en dos Fue por tu música cortada. " Capitulo dos 12 La flor de Girnar arrancó; La ciudad está sumergida en llanto y dolor, Centenares como Sorath se levantan y levantan Sus lamentaciones en vano, El trovador, sosteniendo la cerradura, recibe La cabeza del príncipe adornaba de nuevo, Mientras las vírgenes cantan el estribillo triste; Anoche el Raja falleció. 13 Sorath está muerto; Y todo es paz- El gobernante quitó sus tiendas, No hay cantos ni espectáculos, Sin elementos melodiosos.- Y después de esto, el artista presenta La cabeza de nuevo al rey! 14 Sorath está muerto, y todo es paz- Raja pone sus tiendas; Se escucha de nuevo la música ... el espectáculo Sigue con los merriments- Echo suena los dulces sentimientos de la canción ... ¡He aquí el rey feliz! ------ENGLISH Sohni-XXIX Chapter-I 1 Currents have their velocity, rivers their speed possess- But where there's love, a different rush its currents do express, And those that love fathomless ness, are steeped in depth of thought.- 2 Master the lesson thoroughly that law doth teach Sohni- Then contemplate and meditate till 'truth' comes near to thee- But "Reality's Vision" will be reward of lovers true. 3 So many, many line the banks- "Sahar! Sahar!" they cry- Afraid some to risk life, and some Renouncing would die. But Sahar meets, who without sigh joyfully waters seek. 4 The rivulets are not yet deep; the depth is far ahead, O friends, relations are secure When one at home doth keep But had you seen my Sahar's face you would no longer sleep- Nor stop me,-but take float and leap into the running stream. 5 If you his features were to see you could no longer rest; Nor by your husband's side, would you so comfortable be But earthen-jar, long before me, you would pick up and plunge. 6 If you had seen with your own eyes, what I have seen and know- For that you'd surely sacrifice your homes and husbands too. 7 Ah! those who do their eyes and face Adjust to Sahar sweet, Behold! if e'en without support They plunge in whirlpool's maze- They are immune from river's ways For waters drown them not. 8 In wintry night and rain Sohni seeks flood with jar of clay- "Oh let us go and ask Sohni who knows of love's true way; Whose thoughts with Sahar always stay throughout the night and day." 9 From Sahar, Sohni drank with zeal, life-giving draught of love- Intoxicated with its taste she still its charm doth feel- By pointed arrow, sharp as steel of cupid, she was sruck.- 10 From "Dum", who chides, she has no fright her spouse he never was;- See,-even muddy, gurgling stream her beauty cannot blight! For Sahar, she in darkest night will plunge in eddies wild. Chapter-II 11 O sisters, tinkling cattle bells my every limb have stirred- The love, by bell-music aroused one not to strangers tells- The friend, my main-stay, far he dwells yet sends his solace sweet. 12 All round the herdsman's bells I hear the tinkling sattle bells; When sleeping, echoes of their chime from far did reach mine ear. How could I sleep when travelling near this music rent my heart? 13 Stirred by the bells, how could I sleep restfully and in peace? When I a hundred times the day for Sahar long and weep! In chains of love Sahar doth keep my being till I die. 14 On this side of the stream, the strain of echoes reaching me- From loving Mehar's bells, old wounds began to bleed again; To go to him and soothe my pain incumbent then became! Chapter-III 15 Young buffaloes she seeks, her woes with them she doth confide; "My Mehar of the Buffaloes oh have you met him yet?" 16 She puts her arms, by grief opprest around their necks and weeps.- "Coarse grasses that you eat, I'll place against my aching breast, And with your voice I shall be blest and ever happy be." 17 The sun is setting, and the crows in trees at rest now are; The call for prayers Sohni hears and she picks up the jar, To float across the river far, and see where Sahar is. 18 She need not ask for slopes, she finds a slope at any place; An easy slope and easy ways are for the fickle minds- But those whom love to Sahar blinds need neither slopes nor ease.- 19 The false ones seek for sloping banks, and only seek for show; But those who Sahar truly love where they must enter, know For those who with love's thirst do glow whole river is one-step. Chapter-IV 20 Blest be dark night, the moolit night be now so far away, So that except Mehar's, I may not see another face.- 21 Go without 'Self', seek no support, and forget everything, Sohni, thy love alone thee to the other side will bring; "Longing",thy guide, the thundering river shalt eas'ly cross. 22 A call sounds from the other side, clearly: "Come!" it doth say.- The river overflows with waves, skies overcast and grey- I know that with whom God doth stay shall never, never drown. 23 A call sounds from the other side, clearly "Come!" it doth say- River in spate, and weak one with an unbaked jar of clay- I know, nought yields to water's sway that upheld is by 'Truth'.- 24 A black full night, and from above sky, rain in torrents sends- On one side fear of trackless ness On other, lion stands- "If even life in effort ends I shall keep tryst of love." 26 She's neither here nor there, alone in midst of roaring stream- On dry banks only Sahar stands all else is flooded zone- Oh seek the waves! mercy is shown only to drowning ones 27 She took the jar...she plunged so deep may God the maiden save Her leg in mouth of dog-fish and her neck the shark will have- Her bangles, garments in the mudher hair floats on the wave- The fishes big and small, all round are crowding, food they crave; And crocodiles prepare a gravepoor Sohni will be sliced. 28 A drowning man, by feeble grasses at the banks will hold, Look at the wondrous chivalry the tender straws unfold, To hold him up, they will make hold, or else with him will sink. 29 I knew not that the jar was faked its colours were the same- My heart beyond control, I thurst myself on jar unbaked; The thing on which my life I staked in midstream landed me. 30 By help of which the longing eyes did see Beloved's face; The jar, how could I sacrifice as dear as life to me? 31 My heart exhausted is and weak, no strength my limbs have now; "O Sahar, thou dost know all this, O help me, cast thy tow- I am so ignorant, and thou my love so great thou art." 32 The jar, the means to reach, did break, alas, the maiden drowned, But only then she heard the sound of Sahar's voice draw nigh. 33 The means on which she had relied, did thrust her in the flood; And only after she had died she heard the herdsman's call.- Chapter-V 34 “The jar is broken! let it go obstructive screen it was mere- My real being is singing still soul-music still is here And still I seek my Sahar dear, though without 'action' now." 35 My heart, you keep on swimming, the jar let break and go... My eyes, I train them every day more of control to know; The herdsman led me, and did show to me friend, the 'straight' path. 36 Suggest no rafts to those who love nor ask boat-men around; Sohni that is for Sahar bound enquiring doth not need. 37 Hundreds were by the river drownedbut river drowned was by this maid; The current broke itself instead, by knocking bluntly 'gainst the banks. 38 As long she was alive,-she ne'er sat down, did never rest Now she lies underground,...her quest in silence still goes on. 39 If loved-ones met on judgment day that would be very near, But ah! so very far away, tiding of 'Union' are. 40 Sahar, Sohni and sea inseparably 'One'- This ineffable mystery no one can ever solve. Chapter-VI 41 “On what count am I here? O why bereft of loved ones face? ”You preach: “Deflect from sin”, but I your virtue do deny- ”Moral control I do not need nor do for music sigh.- ”Keep closed your lips, and from within yourself you'll beautify- ”These that on 'Top' of waters flow are bubbles that belie.- ”Feed on selflessness, for your love Mincemeat to be, then try- ”If headlong into dirt you rush yourself you'll purify- ”Nought does possess more wealth than dust nothing with dust can vie,- ”Who runs by stirrup of the guide the other side will spy.- ”Falcon, pick up your greedy self and fly with it on high. ”Don't lose sigh of the friends, walking in veils that mystify. ”More than Oneness in love, is like splitting two-lettered tie ”Those who do long for wine of love with purest them supply.“ ”These ravings are the vain reply of tortured, sickly one. On what count, am, I here oh! why? Bereft of loved ones face.” ------SPANISH Sohni-XXIX Capítulo I 1 Las corrientes tienen su velocidad, Ríos que poseen su velocidad, Pero donde hay amor, una prisa diferente Sus corrientes sí expresan, Y los que aman la insondable ness, Están llenas de profundidad de pensamiento.- 2 Dominar la lección a fondo Esa ley enseña a Sohni- Luego contemplar y meditar Hasta que la "verdad" se acerca a ti- Pero la "Visión de la Realidad" será Recompensa de los amantes verdad. 3 Tantos, muchos alinean los bancos, Sahar! Sahar! ellos lloran- Miedo a que algunos arriesguen la vida, y algunos Renunciar moriría. Pero Sahar se reúne, quien sin suspiro Con alegría las aguas buscan. 4 Los riachuelos aún no son profundos; La profundidad está muy por delante, O amigos, las relaciones son seguras Cuando uno en casa mantiene Pero, ¿habías visto la cara de mi Sahar? Ya no dormirías, Tampoco me detengas, pero toma flota y salta En la corriente corriente. 5 Si sus rasgos fueran a ver Ya no podías descansar; Ni por parte de tu marido, Tan cómodo estar Pero vasija de barro, mucho antes que yo, Que recoger y zambullirse. 6 Si lo hubieras visto con tus propios ojos, Lo que he visto y conocido- Para eso seguramente sacrificarás Sus hogares y maridos también. 7 ¡Ah! Los que hacen sus ojos y cara Ajuste a Sahar dulce, ¡Mirad! Si e'en sin apoyo Se sumergen en el laberinto del torbellino, Son inmunes a los caminos del río Porque las aguas no las ahogan. 8 En la noche de invierno y la lluvia Sohni Busca inundación con tarro de arcilla- "Oh vamos a preguntar Sohni Quién sabe del verdadero camino del amor; Cuyos pensamientos con Sahar siempre se quedan Durante la noche y el día. " 9 Desde Sahar, Sohni bebió con celo, Esbozo vitalicio de amor- Intoxicado con su sabor Ella todavía su encanto doth sentir- Por flecha puntiaguda, afilada como el acero De cupido, ella era sruck.- 10 De "Dum", que rechaza, no tiene miedo Su cónyuge nunca lo fue; Vea, -mucha corriente barrosa y gorgoteante Su belleza no puede dañarse! Para Sahar, ella en la noche más oscura Se sumergirá en remolinos salvajes. Capitulo dos 11 O hermanas, tintineando campanas de ganado Todos mis miembros se han agitado, El amor, por la música de campana despertó Uno no a los extraños dice- El amigo, mi principal estancia, lejos mora Sin embargo, envía su consuelo dulce. 12 Alrededor de las campanas del pastor se oye Las campanas de tintineo de sattle; Al dormir, los ecos de su carillón Desde lejos llegó a mi oído. ¿Cómo puedo dormir cuando viajo cerca de Esta música de mi corazón? 13 Revuelto por las campanas, ¿cómo podría dormir? Tranquilamente y en paz? Cuando yo cien veces al día Para Sahar largo y llorar! En las cadenas del amor Sahar doth keep Mi ser hasta que muera. 14 En este lado de la corriente, la cepa De ecos llegando a mí- De amar las campanas de Mehar, viejas heridas Comenzó a sangrar de nuevo; Ir a él y calmar mi dolor Entonces se convirtió en titular! Capítulo III 15 Jóvenes búfalos que busca, sus males Con ellos ella confía; "Mi Mehar de los búfalos Oh, ¿ya lo conociste? " dieciséis Ella pone sus brazos, por opprest del dolor Alrededor de sus cuellos y llora. "Las hierbas gruesas que usted come, voy a colocar Contra mi doloroso pecho, Y con tu voz seré feliz Y siempre feliz. " 17 El sol se pone, y los cuervos En los árboles en reposo ahora son; El llamado a las oraciones Sohni escucha Y ella recoge el frasco, Para flotar al otro lado del río, Y ver dónde está Sahar. 18 Ella no necesita pedir pistas, ella encuentra Una pendiente en cualquier lugar; Una pendiente fácil y formas fáciles Son para las mentes volubles- Pero los que aman a las persianas Sahar No necesita ni pendientes ni facilidad. 19 Los falsos buscan bancos inclinados, Y sólo buscan espectáculo; Pero aquellos que Sahar realmente aman Donde deben entrar, conocer Para aquellos que con sed de amor brillan Todo el río es de un solo paso. Capítulo IV 20 Bendita sea la noche oscura, la noche moolit Estar ahora tan lejos, Así que, excepto la de Mehar, puedo No ver otra cara.- 21 Ir sin 'Yo', no buscan apoyo, Y olvidar todo, Sohni, tu amor solo contigo El otro lado traerá; "Anhelo", tu guía, el trueno Cruz del eas'ly del shalt del río. 22 Una llamada suena desde el otro lado, Claramente: "¡Ven!" Doth decir. El río desborda con olas, Cielos cubiertos y gris- Sé que con quien Dios se queda Nunca, nunca se ahogará. 23 Una llamada suena desde el otro lado, Claramente "¡Ven!" Doth decir- Río en espolón, y débil con Un tarro sin cocer de arcilla- Lo sé, nada rinde al dominio del agua Que se mantiene es por 'la Verdad' .- 24 Una noche negra completa, y desde arriba Cielo, lluvia en torrents envía- Por un lado, el miedo a la ausencia de rastros En el otro lado, "Si incluso la vida en el esfuerzo termina Me mantendré en el amor. 26 Ella no está ni aquí ni allá, sola En medio de la rugiente corriente- En los bancos secos solamente los soportes de Sahar Todo lo demás está inundado zona- ¡Oh busca las olas! La misericordia se muestra Sólo a los ahogados 27 Ella tomó el frasco ... se hundió tan profundo Que Dios la doncella ahorre Su pierna en boca de perro-pescado y Su cuello el tiburón tendrá- Sus brazaletes, prendas de vestir en el barro Cabello flota en la onda- Los peces grandes y pequeños, todo ronda Se apiñan, alimento que anhelan; Y los cocodrilos preparan un gravepoor Sohni se cortará en rodajas. 28 Un hombre que se ahoga, por hierbas débiles En los bancos se celebrará, Mira la maravillosa caballería Las pajas tiernas se despliegan, Para sostenerlo, harán asimiento, O bien con él se hundirá. 29 No sabía que el frasco estaba falsificado Sus colores eran los mismos, Mi corazón más allá del control, yo thurst Yo en el tarro sin cocer; La cosa en la que mi vida aposté En medio de la corriente me aterrizó. 30 Por la ayuda de la cual los ojos anhelantes Vio la cara de Amado; El frasco, ¿cómo podría sacrificar Tan querida como la vida para mí? 31 Mi corazón agotado es y débil, Ninguna fuerza que mis miembros tengan ahora; "Oh Sahar, tú sabes todo esto, Oh, ayúdame, Soy tan ignorante, y tú Mi amor tan grande eres. " 32 El frasco, los medios para alcanzar, se rompió, Por desgracia, la doncella se ahogó, Pero sólo entonces oyó el sonido De la voz de Sahar se acercan. 33 Los medios en que se había basado, La empujó en el diluvio; Y sólo después de que ella había muerto Oyó la llamada del pastor. Capítulo V 34 ¡El frasco está roto! Déjalo ir Pantalla obstructiva era mero- Mi ser real está cantando todavía La música del alma sigue estando aquí Y todavía busco mi querida Sahar, Aunque sin 'acción' ahora. " 35 Mi corazón, sigues nadando, El tarro deja que se rompa y vaya ... Mis ojos, los entreno todos los días Más de control a conocer; El pastor me guió, y me mostró Para mí amigo, el camino "recto". 36 No sugerir balsas para aquellos que aman Ni preguntar a los hombres de la barca alrededor; Sohni que está para el límite de Sahar Indagar no necesita. 37 Cientos estaban al lado del río ahogados, pero Río ahogado por esta doncella; La corriente se rompió en cambio, Golpeando sin rodeos con los bancos. 38 Mientras estuviera viva, ella no Se sentó, nunca descansó Ahora ella se encuentra bajo tierra, ... su búsqueda En silencio sigue pasando. 39 Si los seres queridos se reunían el día del juicio Que estaría muy cerca, Pero ¡ah! Tan lejos De la Unión. 40 Sahar, Sohni y el mar Inseparablemente 'One'- Este misterio inefable Nadie puede resolver. Capítulo VI 41 "¿En qué cuenta estoy aquí? Oh por qué Despojado de los seres queridos cara? "Ustedes predican:" Desvían del pecado ", pero yo Vuestra virtud niega, "Control moral no necesito Ni hacer por la música sigh.- "Mantén cerrado tus labios, y desde dentro Usted mismo embellecerá- "Estos que en 'Top' de las aguas fluyen Son burbujas que creen- "Aliméntate en el desinterés, por tu amor Mincemeat a ser, entonces try- "Si te precipitas en la suciedad te precipitas Usted mismo purificar- "Nada posee más riqueza que el polvo Nada con polvo puede competir, "Quién corre por estribo de la guía El otro lado espía.- "Falcon, recoge tu codicioso yo Y volar con ella en lo alto. "No pierdas el suspiro de los amigos, caminando En velos que desconcierta. "Más que la Unidad en el amor, es como Dividiendo el lazo de dos letras "Los que quieren vino de amor Con el más puro suministro. " "Estos desvarios son la vana respuesta De torturado, enfermizo. En lo que cuenta, estoy, yo aquí oh! ¿por qué? Desprovisto de seres queridos. ------ENGLISH Marui-XXVIII Chapter-I 1 When 'Be' was not yet said, nor was there flesh-bone scheme or plan; When Adam had not yet received his form, was not yet man; Then my relationship began, my recognition too. 2 “Am I not thy Lord?” came a voice; a voice so sweet and clear; And I said: “yes” with all my heart when I this voice did hear; And with a bond I did adhere that moment to my love 3 Ere God created souls, by saying; ”Be”,-all one they were; Together were they-and behold my kinship started there I still this recognition bear with thee, Beloved mine. Chapter-II 4 A prisoner I by destiny... or who would want, these forts ”We nearer than thy life's vein are” to that home I will flee When will I be from mansions free and reach my Maru sweet? 5 I'll burn these houses...Mansions tall that shorn of loved-ones are ”All things return to their origin” that's my longing's call; May I walk home, away from all and see my land 'malir'. 6 No news, no dream vouchsafed to me no messenger doth come; From 'there to here', there's no reply, no answer to my plea- Princes, I know not what must be accounts you did render. send the messenger who will my message bear- I do belong to them, although to own me they don't care... I hold the pen within my hand, may some one paper spare; Tears check my writing, in despair O'er pen they fall and fall. 8 Scores of patches my bodice shows, my head with rags is decked- I to my people hoped to go and all robes did reject; My shawl from Dhat, may God protect its virtue to hide my shame. 9 In the condition that I came, could I return in same- What glory, like a seasonal rain what joy would I reclaim. God, let it not be that I in bondage die Enchained my body night and day, doth weep in misery- O let me first my homeland see and then my days let end. 11 O where is my distinction gone? my beauty and my grace? My homeland I can never seek in this condition base; If beauty granted be then face I dare Beloved one. 12 , my face so dirty is, my beauty now is done; And yet, I have to go where none without beauty's received. Chapter-III 13 Fair Marui does not wash her hair, She does not smile or eat, On Omar's justice relies she who robbed her freedom sweet;- "The havoc you have wrought, you'll meet at your arrival 'there'." 14 Fair Marui does not wash her hair, clotted it is, ugly The nomad folks of desert land live in her memory- "Omar, parted from them, unfree I'll ne'er in forts reside." 15 Fair Marui does not wash her hair, for Malir longeth she... Only when prince doth set her free balance restored will be... Whole desert will drink milk, for glee when 'trust' is safe returned. 16 There is no force to make them pine,- no taxes in their land, They gather lovely flowers red for mangers of their kine- Malir with lustrous smiles doth shine there priceless marus are. 17 Loved-one I never can forget; my mind with him is filled- Nothing you see is like Him, so to sight he does not yield; Because, loved-one His house has built in negativity. 18 Omar, for me your mansions grand a double torture are; Here you torment me...there, so far loved-ones accuse me too. 19 To Maru needle joined my breath, a needle, oh so fine, My heart is there, my earthy flesh must here to force resign; My breath is in the thatch divine my body's to mansions bound. 20 The needle's Beauty, ne'er shall I compare with kingliness; The needle covers naked ones but not 'itself' doth dress; The twice-born only can possess knowledge of its loveliness. Chapter-IV 21 "Palatial doors and windows I will build for thee, Marui- But here now...lovely canopies I shall raise over thee... Those who did ne'er enquiries make why so continously You weep for them? something must be wrong with the desert-folk.” 22 "How to forget him, whom my memory holds for ever more?" Since: "am I not thy Lord?" was uttered, or e'en long before; Ere: Born He's not...gives birth to none from the inane did soar.- Remembering Him-Marui so sore may die today or tomorrow. 23 Threads Maru round my wrists tied...gold fine gold they are for me; Omar, don't offer silks to rustic maid, they leave me cold- Because much dearer I do hold my worn ancestral shawl. 24 Were I to breathe my last, looking to my home longingly- My body don't imprison here in bondage and unfree- A stranger from her love away not bury separately; The cool earth of the desert let the dead one's cover be; When last breath comes, O carry me to Malir, I implore. 25 As oyster long for cloud, and cranes long for their native-hills. So deepest longing my heart strains till nought of life remains.- How would I sit here, if not chains held me a prisoner? 26 The wounds that happy rustics left today fester again- Sumro, sorrow dwells in me of every joy bereft; From Maru's separation, cleft is every bone of mine. Chapter-V 27 My girl-friends in reproachful mood, today sent word to me: "Silly one, you perhaps have eaten much of princely food, Abd friends, and your relations good you have forgotten all.” 28 In corners of the fort, to quell her grief Marui doth mourn Remembering Malir, she doth weep, makes others weep as well O may the maid reach home and dwell amongst her Marus soon. 29 "Would that I never had been born, or died at birth"...she says; "O what a torture, shame and scorn to Marus I became.” 30 Destiny brought me here...reside I do unhappy here; My body's here-my heart is there where Maru doth abide; May God now turn this sorrow's tide and let me meet my love.- 31 The lightening are now newly dressed, the season doth return; Mine eyes do not stop drizzling...for ancestral land they yearn- I would not with such sadness burn if they would think of me. 32 If looking to my native land with longing I expire; My body carry home, that I may rest in desert-stand; My bones if Malir reach, at end, though dead, I'll live again. Chapter-VI 33 A messenger arrived' this day authentic news conveys; ”Do not forget your distant love and do not die”, he says, You shall reach home; only few days in this fort you may stay? 34 The one who from my homeland came, oh at his feet I fall And to this traveler, my heart did open, telling all- An instant more behind this wall to be, how I abhor. 35 "Don't cry, don't weep and fret; shed no tears of dismay; Whatever days appear, O let them pass away,- For after sorrow, joy O Marui, comes to stay- Desert maid know, your chains by destiny's own sway Are moved, and now you may throw them into the fire.” 36 Omar, a traveler I did meet today, with news for me.- And as he stood and message gave from the Beloved sweet I felt all sufferings did retreat and my chains all did fall. 37 My iron shackles all are gone.- Love's chains unyielding are. Unhappy days without Marus in mansions, life did mar... My countrymen, they are too far reproach them I cannot.- 38 Good were the days that I in pain in tortuous prison passed; Storms roared above threateningly, my cries for help were vain; But lo: my love by prison chain, was chastened, purified. 39 The days I passed in deep despair, away from homeland mine,- My tribesmen will reproach me, if my face looks washed and fair- So to their thatches I'll repair to wash off mansion dirt! 40 “Don't weep, nor cry in agony but when the world's asleep; At night raise both your little hands to God, and hopeful be Where you wedded were, brave Marui 'that homeland' thou shalt see,” ------SPÁNISH Marui-XXVIII Capítulo I 1 Cuando 'Be' no se dijo todavía, ni fue Plan o plan de huesos de carne; Cuando Adán aún no había recibido Su forma, todavía no era hombre; Entonces mi relación comenzó, Mi reconocimiento también. 2 "¿No soy yo tu Señor?", Vino una voz; Una voz tan dulce y clara; Y dije: "sí" con todo mi corazón Cuando oí esta voz; Y con un bono me adherí Ese momento a mi amor 3 Si Dios creó almas, diciendo; "Sé", - todo lo que eran; Juntos estaban ellos, y he aquí Mi parentesco empezó allí Todavía este oso de reconocimiento Contigo, amada mía. Capitulo dos 4 Un prisionero por el destino ... O que quieran, estos fuertes "Nos acercamos más que la vena de tu vida" A esa casa huiré ¿Cuándo seré de mansiones gratis Y llegar a mi dulce Maru? 5 Quemaré estas casas ... Mansiones altas Que despojados de seres queridos son "Todas las cosas vuelven a su origen" Esa es la llamada de mi anhelo; ¿Puedo caminar a casa, lejos de todo Y ver mi tierra 'malir'. 6 No hay noticias, ningún sueño me ha concedido Ningún mensajero viene; Desde "hasta aquí", no hay respuesta, Ninguna respuesta a mi Príncipes, no sé qué debe ser Cuentas que hizo. Envía el mensajero ¿Quién será mi mensaje? Yo pertenezco a ellos, aunque A mí no me importan Sostengo la pluma dentro de mi mano, Puede un poco de papel de repuesto; Las lágrimas revisan mi escritura, en desesperación En la pluma caen y caen. 8 Decenas de parches que mi corpiño muestra, Mi cabeza con trapos está cubierta- Yo a mi gente esperaba ir Y todas las ropas rechazaron; Mi chal de Dhat, que Dios proteja Su virtud para esconder mi vergüenza. 9 En la condición de que yo viniera, Podría volver en el mismo- Qué gloria, como una lluvia estacional Qué alegría yo reclamaría. Dios, que no sea Que yo en la esclavitud mueren Encadenado mi cuerpo noche y día, Llorar en miseria- O permítame primero ver a mi patria Y entonces mis días dejaron terminar. 11 ¿Dónde ha desaparecido mi distinción? Mi belleza y mi gracia? Mi patria nunca puedo buscar En esta condición base; Si la belleza concedida entonces se enfrenta Me atrevo a Amado. 12 Omar, mi cara tan sucia es, Mi belleza ahora está hecha; Y sin embargo, tengo que ir donde no hay Sin la belleza recibida Capítulo III 13 Feria Marui no se lava el pelo, Ella no sonríe ni come, Sobre la justicia de Omar confía en ella Quien le robó su libertad dulce; "El estrago que has forjado, te encontrarás A su llegada "allí". " 14 Feria Marui no se lava el pelo, Coagulado es feo Los pueblos nómadas de la tierra del desierto Vivir en su memoria- "Omar, se separó de ellos, unfree No viviré en los fuertes. 15 Feria Marui no se lava el pelo, Porque Malir desea que ... Sólo cuando el príncipe la puso en libertad Equilibrio restaurado será ... Todo el desierto beberá leche, para alegría Cuando la "confianza" es devuelta de forma segura. dieciséis No hay fuerza para hacerlos pinos, - Sin impuestos en su tierra, Se reúnen hermosas flores rojas Para los gerentes de su kine- Malir con brillantes sonrisas brillan No hay márgenes inestimables. 17 Amado-uno que nunca puedo olvidar; Mi mente con él está llena- Nada que veas es como Él, así que A la vista no cede; Porque, amado-uno Su casa ha construido En la negatividad. 18 Omar, para mí sus mansiones grand Una doble tortura son; Aquí me atormentas ... allí, hasta ahora Los seres queridos me acusan también. 19 A la aguja de Maru se unió a mi aliento, Una aguja, oh tan fino, Mi corazón está ahí, mi carne terrena Debe aquí obligar a renunciar; Mi aliento está en la paja divina Mi cuerpo está atado a mansiones. 20 La Belleza de la aguja, nunca Comparar con el rey; La aguja cubre los desnudos Pero no "se" se viste; Los dos nacidos solamente pueden poseer Conocimiento de su belleza. Capítulo IV 21 "Puertas y ventanas palaciegas I Construirá para ti, Marui- Pero aquí ahora ... hermosos pabellones Yo levantaré sobre ti ... Aquellos que no hicieron preguntas Por qué tan continuamente ¿Lloras por ellos? Algo debe ser Mal con la gente del desierto ". 22 "¿Cómo olvidarlo, a quien mi memoria Para siempre más? " Dado que: "¿No soy yo tu Señor?" Fue pronunciado, O e'en mucho antes; Ere: Born No es ... no da a luz ninguno Desde el inane soar.- Recordándolo-Marui tan dolorido Puede morir hoy o mañana. 23 Hilos Maru alrededor de mis muñecas atadas ... oro Oro fino son para mí; Omar, no ofrecen sedas rusticas Criada, me dejan frío- Porque mucho más cariñoso sigo Mi desgastado mantón ancestral. 24 Si yo fuera a respirar mi último, mirando A mi casa anhelante- Mi cuerpo no aprisiona aquí En esclavitud y no- Una extraña de su amor lejos No enterrar por separado; La tierra fría del desierto deja La cubierta del muerto; Cuando llegue el último aliento, O llevarme A Malir, le imploro. 25 Como la ostra larga para la nube, y las grúas Mucho tiempo para sus colinas nativas. Tan profundo anhelo mi corazón Hasta que no queda nada de vida. ¿Cómo me sentaría aquí, si no cadenas Me hizo prisionero? 26 Las heridas que dejaron los felices rústicos Hoy fester de nuevo- Sumro, el dolor mora en mí De toda alegría despojada; De la separación de Maru, hendidura Es todo hueso mío. Capítulo V 27 Mis amigas en un estado de reproche, Hoy me envió la palabra: "Tonto, tal vez has comido Gran parte de la comida principesca, Abd amigos, y tus relaciones buenas Lo has olvidado todo. 28 En las esquinas de la fortaleza, para sofocar Su duelo Marui llorar Recordando a Malir, lloró, Hace que otros lloren también Que la doncella llegue a casa y mora Entre su Marus pronto. 29 "Si yo nunca hubiera nacido, O murió al nacer "... ella dice; "¡Oh qué tortura, vergüenza y desprecio! A Marus me convertí. 30 El destino me trajo aquí ... residir Hago infeliz aquí; Mi cuerpo está aquí, mi corazón está ahí Donde Maru habita; Que Dios ahora se convierta en la marea de este dolor Y déjame conocer a mi amor.- 31 Los relámpagos están recién vestidos, La estación regresa; Mis ojos no dejan de lloviznar ... por Tierra ancestral que anhelan- Yo no con tanta tristeza quemaría Si pensaran en mí. 32 Si mira a mi tierra natal Con anhelo expiro; Mi cuerpo lleva a casa, que yo Puede descansar en el desierto; Mis huesos si Malir llega, al final, Aunque muerto, viviré otra vez. Capítulo VI 33 Un mensajero llegó este día Las noticias auténticas transmiten; "No olvides tu amor lejano Y no mueren ", dice, Llegarás a casa; Solo unos días En esta fortaleza puede quedarse? 34 El que vino de mi tierra natal, Oh a sus pies me caigo Y a este viajero, mi corazón Se abrió, diciendo todo- Un instante más detrás de esta pared Para ser, cómo aborrezco. 35 "No llores, no llores ni te preocupes; No derramó lágrimas de consternación; Independientemente de los días que aparezcan, ¡Que los dejen pasar! Porque después del dolor, la alegría O Marui, viene a quedarse- La criada del desierto sabe, sus cadenas Por el propio dominio del destino Se mueven, y ahora puede Arrojarlos al fuego ". 36 Omar, un viajero que conocí Hoy, con noticias para mí.- Y mientras estaba de pie y el mensaje Del querido dulce Sentí que todos los sufrimientos retrocedieron Y todas mis cadenas caían. 37 Mis grilletes de hierro se han ido. Las cadenas de amor son inflexibles. Días desdichados sin Marus En mansiones, la vida hizo mar ... Mis compatriotas, están demasiado lejos Los reproches, no puedo. 38 Bueno fueron los días que me duele En una prisión tortuosa pasada; Las tormentas rugieron por encima amenazadoramente, Mis gritos de ayuda fueron vanos; Pero lo: mi amor por la cadena de la prisión, Fue castigado, purificado. 39 Los días que pasé en profunda desesperación, Lejos de la mina de la patria, - Mis tribus me reprocharán, si Mi cara se ve lavada y hermosa- Así que a sus paja lo repararé Para lavar la suciedad de la mansión! 40 "No llores ni llores en agonía Pero cuando el mundo está dormido; Por la noche, levante sus manos pequeñas A Dios, y espero que sea Donde estabas casado, valiente Marui "Esa patria" verás ", ------ENGLISH Mumal and Rano-XXI Chapter-I 1 With love, all unalloyed, is dight Yogi entirely- Like image at rising sun he flutters, he Kak, where with delight virgins enlivened him. 2 The yogi looks like sun so fair, when scaling morning-skies Such sweet entrancing fragrance pours from out his silken hair; Show us the land, where fragrance rare O yogi you obtained! 3 O loin-clothed, one, let us know, the way you virgins met Why from your eyes continuously the tears of blood do flow? O Sami! on us light bestow of beauty that you found! 4 “Go, go, to waters of Kak go where love is made, they say; Where there is neither night nor day all shall Beloved see! 5 Resplendent diamonds gleam within Magnetic Mumal's eyes... Common or uncommon, who tries to see these eyes, is slain. 6 O camel, for such enterprise master bred you with care; With vigilance cross over now to where Ludhana lies; Mumal we have to face this eve, or when the sun doth rise; With her consent on Kak's supplies of blossoms you may browse. 7 Beautiful like the roses sweet are robes of damsels fair... In Jasmin-fragrant coiffuers they have piled their long, fine hair. From Beauty so entrancing, love is kindled everywhere; Wondrous show, damsels spinning there on-lookers dumb-struck gaze. 8 Like fresh pan-leaves are shawls they wear of shimmering emerald silk- Their bodies all refreshed with atter and ambergris rare; From fulsome platis sandal and musk perfume all round the air; And delicate ears, dainty ware of glistening gold do hold- Today Mumal's in glorious from rejoicing, free from care; Because Rano without compare, her fiancée hath become!... 9 Mumal had wounded many, lo she's wounded now instead- A pointed arrow struck her head from knightly Rano's bow.- Chapter-II 10 Although Rano not destined is Mumal to be with thee- This will be clear from Rano's love... still not resentful be, Weep not, but bear it patiently, Be true to kinship new. 11 Kak could not hold those wanderers Castles not tempt their mind... No maid or mistresses their hearts with magic strings could bind For e'er Lahutis left behind myraids of maids as these.- 12 Kak could not hold those wanderers for wealth they did not care,- It was by men of such a mould royal virgins wounded were- Lahutis they could not ensnare with all their coquetry. 13 They passed Kak at the corner, long that corner turned have they... To those who are now far away what shall some 'Natir' do? Chapter-III 14 Ludhana is a hell mere without Beloved mine; Friends, Rano took offence last night and left me torture here... And Kak to me is poison sheer the moment he is gone. 15 O Rano, hardly had you come, you turned and went away But were you not my spouse? why not to wake me did you stay? Then soon you would have known who lay beside me on the bed. 16 Whole night my lamp did burn, but see the dawn is breaking now; Rano without thee I shall die- In God's name come to me Oh-all the crows of Kak to thee as messenger I sent. 17 I trimmed the wick, again, again, oil is consumed at last Stranger-beloved, do return riding a camel fast; Weeping for Rano, night is past, the whole of night I wept. 18 Orion stands above my head; Pleiades have declined... The time is past...he did not come Rano, for whom I pined- Fie on cursed night, without my love it passed, and left me woe-confined- To give me hell, he did not mind now rests he in his dhat. 19 Rano, I weep when I behold the empty places here Dust settled on beds and divans so drab looks all and cold; Unused by master pillows lie, and nought but dust they hold- Without you, trees and flowers fade and never more unfold... Who would bear my freaks mainfold but my Mendharo dear? 20 Continuously I watch your way, mine eyes are at the door- May you come back to me Rano, I heaven do implore; You hold my life, else many more of Rano's world contains. 21 I did not realize my sweet, the faults I did commit; They now recoil on me, and hit me justly in the face. 22 't was by your patience, I became a human being dear- 't was through a whim of mine, my name, myself, you came to know. 23 If Mendharo to my own house would come as guest, to stay with me- To flames I'd give self-consciousness my knowledge and my ancestry; Pride egoism I would throw Into the stove, most certainly My sacrifice for loved-one be the home, parents, myself. 24 Who with a lion doth ally herself, must steady be- Affectionate and vigilant In Rano's wake do lie- O Mumal, not like rain do pour On all that you come by... When resurrection day is nigh you will of Rano think. 25 Go straight ahead, and look not back nor turn this side or that, Or else, a temple-turning smack unwarily you receive. Chapter-IV 26 A messenger! in haste he is By he is sent; With promise: "one you love will reach Ludhana for your bliss; The speedy camel will not miss to enter Kak at Dawn." 27 A message great and new arrived from Mendharo last night; We have received a gift divine, from Giver of all light- "Ask not for caste-all we invite all are accepted here." 28 Where need I drive the camel? when Glory all round is beaming? Kak in my being doth radiate, In me's Ludhano gleaming; Of Rano sweet my soul is dreaming there is none else but 'He'.- 29 Where need one drive the camel? when great radiance reigns all round? In my being is Kak...in me gardens and springs abound; There is no other voice or sound But all is 'Mendharo'. ------SPANISH Mumal y Rano-XXI Capítulo I 1 Con amor, todo sin alear, es dight Yogui completamente- Como la imagen al sol naciente Revolotea, él Kak, donde con deleite Las vírgenes lo animaban. 2 El yogui se ve como el sol tan justo, Al escalar los cielos de la mañana Una fragancia dulce y seductora De su pelo sedoso; Muéstranos la tierra, donde la fragancia es rara O yogi que obtuvo! 3 O vestido de lomo, uno, háganoslo saber, La forma en que las vírgenes se conocieron Por qué de tus ojos continuamente Las lágrimas de sangre fluyen? ¡Oh Sami! En nosotros luz conceder De belleza que encontraste! 4 "Ve, ve, a las aguas de Kak ir Donde se hace el amor, dicen; Donde no hay ni noche ni día Todo lo amado vea! 5 Diamantes resplandecientes brillan dentro Los ojos de Mumal magnético ... Común o poco común, que intenta Para ver estos ojos, es asesinado. 6 O camello, para tal empresa El maestro le crió con cuidado; Con vigilancia cruzar ahora Donde se encuentra Ludhana; Mumal tenemos que enfrentar esta víspera, O cuando el sol sube; Con su consentimiento en los suministros de Kak De flores que puede navegar. 7 Hermosa como las rosas dulces Son túnicas de damiselas justas ... En jazmin-perfumadas Han amontonado su pelo largo y fino. De la belleza tan fascinante, el amor Se enciende por todas partes; Espectáculo maravilloso, damiselas girando allí A los espectadores mudo-golpeó la mirada. 8 Al igual que las hojas de pan fresco son chales que usan De resplandeciente seda esmeralda- Sus cuerpos todos refrescados con atter Y el ámbar gris es raro; De la sandalia y del almizcle del platis fulsome Perfume en todo el aire; Y oídos delicados, artículos delicados De oro reluciente, Hoy Mumal está en glorioso de Regocijo, libre de cuidados; Porque Rano sin comparación, Su prometida se ha convertido! ... 9 Mumal había herido a muchos, lo Ahora está herida, Una flecha puntiaguda le golpeó la cabeza Desde el arco de caballero Rano. Capitulo dos 10 Aunque Rano no está destinado es Mumal para estar contigo- Esto quedará claro por el amor de Rano ... Aún no resentido ser, No llores, sino soporta pacientemente, Sea fiel al parentesco nuevo. 11 Kak no podía sostener a esos vagabundos Los castillos no tienta su mente ... Ninguna criada o amantes sus corazones Con cadenas mágicas podría atar Por e'er Lahutis dejó atrás Myraids de mucamas como estas. 12 Kak no podía sostener a esos vagabundos Por la riqueza que no les importaba, Fue por hombres de tal molde Las vírgenes reales heridas eran- Lahutis no podrían engañar Con toda su coquetería. 13 Pasaron Kak en la esquina, largo Ese rincón se volvió ... A los que están lejos ¿Qué harán algunos Natir? Capítulo III 14 Ludhana es un infierno mero Sin amado mío; Amigos, Rano se ofendió anoche Y me dejó la tortura aquí ... Y Kak para mí es veneno pura El momento en que se ha ido. 15 Oh Rano, apenas habías venido, Te volviste y te fuiste ¿Pero no eras mi cónyuge? Por qué no Para despertarme ¿te quedaste? Entonces pronto habrías sabido quién A mi lado en la cama. dieciséis Toda la noche mi lámpara se quemó, pero ver El amanecer se está rompiendo ahora; Rano sin ti voy a morir- En nombre de dios ven a mí Oh, todos los cuervos de Kak a ti Como mensajero que envié. 17 Recorté la mecha, otra vez, de nuevo, El aceite se consume por fin Extraño-amado, vuelve Montar un camello rápido; Llorando por Rano, la noche ha pasado, Toda la noche lloré. 18 Orión está sobre mi cabeza; Las Pléyades han declinado ... El tiempo ha pasado ... no ha venido Rano, para quien pined- Fie en la noche maldita, sin mi amor Pasó, y me dejó enfermo-confinado- Para darme el infierno, él no importó Ahora descansa en su dhat. 19 Rano, lloro cuando veo Los lugares vacíos aquí Polvo colocado en camas y divanes Tan monótono parece todo y frío; No utilizados por las almohadas maestro mentira, Y nada más que polvo, Sin ti, los árboles y las flores se desvanecen Y nunca más se desarrollan ... ¿Quién llevaría a mis freaks mainfold Pero mi Mendharo querido? 20 Continuamente observo tu camino, Mis ojos están en la puerta- Que pueda volver a mí Rano, El cielo lo imploro; Tú tienes mi vida, o muchos más Del mundo de Rano contiene. 21 No me di cuenta de mi dulce, Las faltas que cometí; Ahora retroceden sobre mí, y golpean Yo justo en la cara. 22 Fue por tu paciencia, me hice Un ser humano querido- Fue por un capricho mío, mi nombre, Yo, tú llegaste a conocer. 23 Si Mendharo a mi propia casa Vendría como invitado, para quedarse conmigo, A las llamas daría la autoconciencia Mi conocimiento y mi ascendencia; Orgullo egoísmo que yo lanzaría En la estufa, con toda seguridad Mi sacrificio por mi amado El hogar, los padres, yo mismo. 24 Quien con un león se alía Ella misma, debe Cariñoso y vigilante En la estela de Rano, O Mumal, no como lluvia para verter En todo lo que pasa ... Cuando el día de la resurrección está cerca Usted de Rano piensa. 25 Siga recto y no mire hacia atrás Ni girar este lado o que, O bien, un giro en el templo Incautos que usted recibe. Capítulo IV 26 ¡Un mensajero! Con prisa él es Por él es enviado; Con promesa: "a quien amas alcanzará Ludhana para su felicidad; El camello rápido no se pierda Para entrar en Kak en Dawn. 27 Un mensaje grande y nuevo llegó De Mendharo anoche; Hemos recibido un regalo divino, De Dador de todas las luces- "No preguntes por casta, todo lo que invitamos Todos son aceptados aquí ". 28 ¿Dónde necesito conducir el camello? cuando ¿La gloria en todo está radiante? Kak en mi ser irradia, En mí Ludhano reluciente; De Rano dulce mi alma está soñando No hay nadie más que 'Él' .- 29 ¿Dónde necesitas conducir el camello? cuando Gran resplandor reina en todas partes? En mi ser es Kak ... en mí Abundan los jardines y los manantiales; No hay otra voz o sonido Pero todo es 'Mendharo'. ------ENGLISH Leela-XX 1 By jewels tempted, necklace bright you craved,....so satan scores did cheat; You lost your spouse through his deceityour era then of weo began. 2 The jewelis no jewel-nay, nor necklace worth to tempt your heart; Its origin is clay and bits of glass it doth betray; Cursed trinket, in its fine array made many from the loved-one part.- 3 Pendant of sorrow was, what you a necklace though to be; Your lord decked your maid with grace which he from you withdrew. May no discord part lovers true and union break in twain. 4 By show she slipped....and by conceit she fell, shattered was she; World came to her, called her a fool reproaches she did meet. They burnt her heart with scorn to deathher downfall was complete.- All her youth's blossoms, fragrant, sweet dried up with in her heart. 5 Exalted amongst friends; I was the wise one in the land; Something upset the balance-and now I must hang my head. 6 I was in Chanesar 's domain first lady, and at social feasts First was I called, and always first, until my heart grew vain; He thrust me off..with shame and pain now lowest in the land I am. 7 With Chanesar's affection let no wanton maiden play; No place for coquetry is this I learnt to my regret- His disapproval doth beget sorrow for happy ones. 8 With zest, all lofty ones have decked, their necks with diamonds fine; Hundred devices they employ before the loved-one to shine; But the beloved dose incline to those who meekly walk. 9 Discard your former ways, be free from all you learnt before; Humility's scarf round your neck do wear...with poverty Do link yourself, Leela, and see He'll never let you down. 10 Wise Leela, you have known so well the nature of your Lord... With diamonds round your neck, you thought to cast on him a spell.- In reading thoughts he does excel Discerner He of hearts. 11 O God, let me not clever be, clever ones sorrows see- Loved-one all favours did to me when I was simpleton. 12 The meeting place of town, Elite my house was formerly- But when I diamonds touched, my spouse did loathe my very sight; All his affection vanished quite and sorrow's reign commenced. 13 The happiness that grows from mind self-centered, cursed it be; Unhappiness seek, which will find the priceless love for thee! 14 Avoid to show off, argue not with Chanesar.. beware- To you nor me beloneth He and many more are there, Who once by Him much favoured were and now weep at his door.- 15 Leela, if by beseeching Him He won't forgive your fall- Keep on beseeching more all more on his compassion call- Despair not, your pains he knows allimmense His mercy is. 16 Despair not, rise and cleanse the house; prepare to sacrifice Ancestors, 'Self' and all, there lies the cleaning process true.------Leela-XX 1 Por joyas tentadas, collar brillante Usted anheló, .... tan satan las cuentas hicieron trampa; Perdiste a tu cónyuge a través de su enojo. Era entonces de weo comenzó. 2 La joya no es joya, Ni collar digno de tentar tu corazón; Su origen es arcilla y bits De cristal traiciona; Baratija maldita, en su matriz fina Hizo muchos de la parte amada.- 3 El colgante del dolor era lo que Un collar sin embargo para ser; Tu señor adornó a tu doncella con gracia Que él de usted se retiró. Que no desaparezcan los amantes de la verdad Y ruptura de unión en dos. 4 Por espectáculo resbaló ... y por presunción Ella cayó destrozada; El mundo vino a ella, la llamó un tonto Reproches que ella tuvo. Ellos quemaron su corazón con desprecio a la muerte de ella La caída fue completa.- Todas las flores de su juventud, fragantes, dulces Seca en su corazón. 5 Exaltado entre amigos; yo era El sabio en la tierra; Algo perturba el equilibrio y Ahora debo colgar la cabeza. 6 Yo estaba en el dominio de Chanesar Primera dama, y ??en las fiestas sociales Primero fui llamado, y siempre primero, Hasta que mi corazón se volvió vano; Él me empujó ... con vergüenza y dolor Ahora más bajo en la tierra que soy. 7 Con el afecto de Chanesar Ningún juego virginal despiadado; No hay lugar para la coquetería es esto Aprendí a mi pesar, Su desaprobación genera Tristeza por los felices. 8 Con entusiasmo, todos los elevados han adornado, Sus cuellos con diamantes bien; Cientos de dispositivos que emplean Antes de que el ser amado brille; Pero la inclinación querida de la dosis A los que andan mansamente. 9 Descarta tus antiguos caminos, sé libre De todo lo que aprendiste antes; La bufanda de humildad alrededor de tu cuello Desgastar ... con la pobreza Hágase enlace, Leela, y vea Nunca te decepcionará. 10 Sabio Leela, que usted ha conocido tan bien La naturaleza de tu Señor ... Con los diamantes alrededor de su cuello, usted pensó Para echarle un hechizo. En la lectura de pensamientos él sobresale Discerner Él de corazones. 11 Oh Dios, no me dejes ser inteligente, Listo los pesares ver- Amado-uno todos los favores me hicieron Cuando yo era simple. 12 El lugar de encuentro de la ciudad, Elite Mi casa era antes- Pero cuando los diamantes tocaron, mi cónyuge Aborrecía mi vista; Todo su cariño desapareció Y comenzó el reinado del dolor. 13 La felicidad que brota de la mente Egocéntrico, maldito sea; La infelicidad busca, que encontrará El amor inestimable por ti! 14 Evite mostrarse, no discuta Con Chanesar .. cuidado- A ti ni a mí le pertenece Y muchos más están allí, Quien una vez por Él fue muy favorecido fue Y ahora lloran a su puerta. 15 Leela, si por Suplicarle Él no perdonará tu caída- Sigue beseeching más todo más En su compasión llamada- Desesperación no, sus dolores él sabe allimmense Su misericordia es. dieciséis No desesperes, levántate y limpia la casa; Prepararse para sacrificar Antepasados, 'Yo' y todo, hay mentiras El proceso de limpieza es cierto.------ENGLISH Sasui: Abri-XV (Tribulations) Chapter-I 1 Now or after, my destiny is my Beloved one- The labour of poor one, O God let it in vain not be I beg for nothing, but to see my loved-one in this life 2 Sasui's heart breaks from pain's torment and rends all hearts around; Immaculate Sasui, her eyes are e'er on Punhu bent; Her virtuous mind on Beauty of the glorious One intent; Faithful up to the last...all spentthe maid in mountains dies. 3 Sasui, undone by longing, yet affects the longing more; Drank deep of Punhu's company and yet for more doth fret; Aye, still more thirsty they do get who drink draughts from this stream. 4 Seeing the flood of Beauty, they who drank a sip from there It all the more increased their thirst their longing and despair; Although they live in mid-stream ne'er this boundless thirst is quenched, before you follow Punhu, feel your utter helplessness; Take naught for granted, attitude unservant like do not possess; Oh, with yourself take only love, and without 'Self' you must progress... Make no approach to Azazil, to save yourself from deep distress; Keep company with hopelessness so that you nearer come to hope. 6 Do not rejoice in comfort, seeing sorrow do not fear... In sacrifice don't crush your own, nor houses new do rear; Dead one, don't die, in no case here try to maintain your life. Chapter-II 7 Ah, those that are from longing free how Kech can ever reach? Such wishful hundreds did I see that ere mid-way gave up. 8 Each doth express a wish, but none ready for hunger is... To walk is not for every one. nor make a trip like this- I take for company, I was, one who not loves the 'Self'. 9 I pledged my troth when innocent; suspecting no torment; Nor knew brothers in law would leave with me longing, lament... The longing one, on seeking bent Must now through mountains roam. 10 O sisters, when my troth I plighted ignorant was I; Or with my mountaineer's subjection how could I comply? A brief talk did my being tie to Punhu for all life. 11 Those, who do husbands own, return- I'll not come without mine; To search the deepest mountain depth and turn each stone, I yearn, To settle love's account I burn with camel-riders there. Chapter-III 12 Frail one, do never slow your pace when seeing mountains high... The threatening mountains do not fear, and keep your love-ablaze; And never give up hope to see your loved-ones lovely face- Don't seek him in a far-off place, he's nearer than your eyes. 13 Those who took off from 'here' their mind and fixed it 'there', they reached; Beloved, Beauty, Truth to find for them one step it was. 14 Kechis are speaking-now Sasui you should become an ear; The breath that comes from them, but silence can distinguish here; Sir silently, and only 'hear', that fire you may acquire. 15 Now be an ear-the Kechis speak; no word must come from thee; And not an iota of your 'I' should in their presence be... Behold, the Kechis cut the tree of being from the root. 16 Sometimes ones should become an ear; sometimes a mouth should turn- Sometimes like knife one should appear sometimes a lamb become.- Chapter-IV 17 Your love is not where you surmise; and where you think he be, Walk not to mounts, the wood you have to cross within you lies; Your being ask for all advice and strangers keep outside. 18 Sasui, within yourself you bear what you are seeking so; No one found ever anything by walking here and there,- As though he your own being were so seek his whereabouts. 19 Why do you go to woods remote? why not your love search here? Believe, not hiding anywhere is your beloved Hoat; Be pure, gird up your loins, faithful upon you loved-one dote Look deep into yourself and note Beloved's home is there.- 20 Not with your feet keep wandering but with your heart do walk A courier's job will never bring you anywhere to Kech. Chapter-V 21 While peeping in myself I was... I with my soul conversed; No camel-man was there to chase, all mountains had dispersed; 'Punhu' I had become...immersed in woe, but 'Sasui' was. 22 I was deceived by my fancyor else Punhu myself I was; I lost myself in presence of the prince's noble majesty; Unless you yourself loved-one see No iota worldy knowledge helps. 23 Once you give up existence, know you are near the unique- Refuge seek in: “ whate'er I saw God was in it”, and lo Then your Beloved cannot go from you one minute mere. 24 Your love is in your lap, and yet you ask: "where is he, where"? O understand, he's in your soul to see him wont you care? No one to the Bazar will fare Beloved there to find. 25 I hunted for my rider-swain; vain was the search I made, The clue of him I got was: “God dose everything pervade; He Himself is in every blade without Him nought exists.” Sasui: Desi-XVI (The Native) 1 I careless was first part of night; so morning brought despair- For while I slept my rider-spouse for travel did repair; For my destruction to prepare at mid-night they did leave. 2 O mountain-, that does stand between my love and me, thy threat is vain- Had there a thousand mountains been my longing would have crossed them all. 3 The sacred knot that love has tied between Punhu and me... Now in beauteous Bhambore to stay Poison for me shall be... Do not advise me sisters, to return to home and glee; Because my breath is property of my beloved Hoat. 4 With longing I lay down, with eyes awake and found no slept, he came and then I could not rise- Sisters I erred, for in what wise is longing kin to sleep? Sasui: Kohiyari-XVII (The Mountain Path) Chapter-I 1 Careless one, drop this drowsiness; no more for slumber seek- O shameless one, drive sleep from eyes and be no longer weak- So that you may not have to shriek in mountains after him- 2 Those who upon their couches lay, with outstretched legs, alas... The company did pass away, leaving such sleeping ones. 3 Reproach comes to unlucky ones who so much sleep desire; Why after Punhu do enquire who sleep from sunset on? 4 Hard-hearted mount, vain was my plea, high-handed tyrant thou; My being you sawed, as wood-cutters do cut the helpless tree; But for decree of Destiny Oh, who would walk thy stones? 5 O mountain, when my love I meet; your tortures I'll relate; Your hideous shadow ghosts at dawn, your winding way's deceit, You did me not with kindness treat but dimmed the loved-one's tracks. 6 O silent mountain, not a clue you give me my love- But yesterday a camel-cade in long row moved through you, This dead one's spouse, did you not view amongst the company? 7 O mountain, to the friend I'll bear at once the gret reproach; That you to shreds the very soles of my poor feet did tear; That your soul is of pity bare and ne'er any worth you know. 8 O mountain, hearts of sorrowing ones you should console and soothe; Instead of that, their feet you bruiseyou stony, callous one. 9 O mountain, each day in sacrifice I throw myself on you- Because there are mysterious ties 'twixt you and my love's tale. 10 O mount, the helpless one in woe now sits with you and weeps; But never anyone lets know the links twixt you and her. 11 O mountain, though you hot have grown you cannot harm me now; You may be made of hardest stone my limbs are iron-made- 't is no one's fault, it is my own my own strange destiny. Chapter-II 12 O Punhu do not leave me here in mountains weird and dire- I'll walk with you on foot, and fire to Bhambore I will set. 13 Reflection of my Punhu, light it doth display and shade; I have to walk the chequered road... O see, the cloth is laid In soda-wash, and clean is made ere colours it receives. 14 Reflection of my Punhu is like cloud and flash, and I Follow this Prince and sob and sigh and weep without respite. 15 Reflection of my Punhu is the acme of all Bliss- For his sake my most luckless day for me comfort it is Calamity my Prince left, his sweetest gift for me. Sasui: Ma'dhuri-XVIII (The Helpless) Chapter-I 1 Hast thou not heard a voice Sasui? or dost at random walk? Hundreds of Sasui's walked behind their lovers before thee- From start Baluchi progeny has no compassion learnt 2 O grieving one; brush pain aside, and comforts do forget- Your eyes on Punhu's footprints set, that you may find him soon. 3 Start on the road denuded, greed, temptations do not keep- And those who are too fond of sleep, their tryst with loved-one miss. 4 Leave all your lovely robes behind, and nothing with you bring; One, burdened not with anything Keeps forefront on the way. 5 One that without a burden walks will soon the loved-one meet- But she has missed her union sweet who affects lovely wraps. 6 She who adorns herself, in vain waits for the meeting true; She is deprived like Leela, who sold her love for jewels. Chapter-II 7 A thousand thorns do prick my feet; they cause me endless woe! Alas, my feet are torn, one toe meets not the other toe; And yet, with bare feet I will go to my beloved one. 8 With hands, feet, knees, and every breath Sasui you must proceed; Your guide will meet you at the stream and give you further lead; As long there's breath, place naught, indeed But Punhu in your heart. 9 I could not my Beloved meet and now you set, o sun! My message to the loved-one bring before my day is done; when you reach Kech say: "Helpless one is dying on the way". 10 I could not reach my loved-one, and my life's already past... Alas, the woeful one did waste her days declining fast- In old age now, her eyes are cast upon her Punhu rare.- 11 Alas, I could not reach my lovealready death appears... Beloved did not come, although I looked for him for years Destroyed by separation's tears I destined am to die. 12 Die and relieve, so that Beauty of loved-one leaves you never; Acceptable you'll be for ever, accepting this advice. 13 Die to be beautiful, life is hindrance twixt him and you,- Helpless one, boldly do pursue, give breath to find the friend. 14 Who die before death, never will destroyed by dying be.- Who live ere second life they see will live eternally. Sasui: Husaini-XIX (The Wailings) Chapter-I 1 O look not back! nor hesitate, for sun declines in West- Thy pace do quicken, do not rest ere sunrise try to reach 2 O sun, make it not hard for me, by setting very soon: The tracks of Punhu let me see ere I in mountains die. 3 A rain is pouring from my brow, hot perspiration's stream; What I thought love, revealed is now consuming fire flame.- 4 The day is burning, she doth move now swifter on her way; This Brahmin girl, an ancient love for the Bluchis has. 5 As long you live, aglow remain; there's no way without fire; In hot and cold, swift pace maintain there is no time to rest. 6 On rising, thought of mountaineers did overwhelm me there; I shall leave Bhambore, nought endears this Bhambore to my heart. 7 Sisters, for pleasures of Bhambore the caravan I missed; Therefore I now with sorrow sore the monutains have to search. 8 Sisters, your freedom do secure by leaving Bhambore now; Our old comrades here did endure much sorrow and much pain. 9 In Bhambore is the smoke of hell; Sisters, from Bhambore part- Sasui take the guide and start early and not delay. 10 Sisters, my heart is sorrow-cleft. and wounded I do live... Of loved-ones all, for whom I long alas, I am bereft; Can I forget those who have left e'en now before my eyes? 11 Bhambore, the town of ugliness, the noble prince adorned; Lord of the mountains, from whole world removed fear and distress, Maids art of printing learnt, model was Punhu,s loveliness- Unrivalled one, Bhambore did bless and decent it became. 12 The Bhambore that not walked behind the Hoat, confounded got; Unrivalled One, the town did not recognize, walked like blind; Those priviledge were, who did find his beauty with their hearts. 13 Who saw him with their hearts, did feel to follow him at once; When Punhu did himself conceal e'en then they followed him. 14 In hot and cold incessantly walk on, and do not wait; At fall of night you will not see the tracks of him you seek. 15 There was a time when princely Hoat my clothes to wash did choose; Now even camel men refuse to take me with themselves. 16 My gown is at my shoulders torn; alas my head is bare- O sisters in your Bhambore fair What have I now to do? Chapter-II 17 From grief and woe she did obtain the lead, to walk the way; It was from guidance of the pain she Punhu found at last.- 18 A hundred comforts I will give and bargain too my head, If in exchange I may instead a single sorrow get. 19 Sweet sorrow, do not you depart as went away my love... To none I may pour out my heart but you, since he has left. 20 Sorrow, joys' beauty constitute; joys without sorrows spurn; By virtue of such sorrow's mood my love comes to my arms 21 We walk in fellowship with 'Care' but keep the world at bay- When even very young we were, sorrow made home with us. Chapter-III 22 Those who are seeking for the friend, one day the friend will find; The seeking ones will at the end reach loved-ones domicile.- 23 No more alive...or dead...yet death I feel is claiming me... Beloved...I give up my breath in longing now for thee.- 24 Had you died yesterday, you'd met your Punhu yesterday, All hale-and-hearty, never yet succeeded finding love. 25 As soon or late I death must see; may I in mountains die... Sisters, so that my death should be on my Beloved's count. 26 Better in mountains cut and sore, striving for Punhu, die- That all the world for ever more thy love shall glorify. 27 She follows in pursuit, calls, criesbut smiles when tracks she finds; Who turns one step back when she dies shall ne'er the loved-one see. 28 As night advances, swifter grows her step and swifter still... Her innocent mind nothing knows but the word: “rider-spouse”. 29 Don't cease to call persistently; keep calling, begging still- Then riding-men may suddenly relax, remembering thee. 30 To whate'er you in life adhere, Links after death remain; And those who cannot see Hoat here How will they see him 'there'? ------SPANISH Sasui: Abri-XV (Aflicciones) Capítulo I 1 Ahora o después mi destino Es mi amado uno- El trabajo del pobre, oh Dios Deja que en vano no sea Ruego por nada, pero para ver Mi ser querido en esta vida 2 El corazón de Sasui se rompe del tormento del dolor Y desgarra todos los corazones; Inmaculada Sasui, sus ojos Son e'er en Punhu doblado; Su mente virtuosa en Belleza de La gloriosa intención; Fiel hasta el último Criada en montañas muere. 3 Sasui, deshecho por el anhelo, todavía Afecta más el anhelo; Bebió profundamente de la empresa de Punhu Y sin embargo, por más tiempo; Aye, aún más sediento consiguen Que beben corrientes de agua de este arroyo. 4 Viendo el diluvio de la Belleza, ellos Quien bebió un sorbo de allí Esto aumentó su sed Su anhelo y desesperación; Aunque viven en medio de la corriente ne'er Esta sed sin límites se apaga, Antes de que usted siga Punhu, Siento tu absoluta impotencia; No tome nada por sentado, la actitud Inseguro como no poseen; Oh, contigo solo toma amor, Y sin 'Yo' debes progresar ... No haga ningún acercamiento a Azazil, Para salvarte de angustia profunda; Mantener compañía con la desesperanza Para que se acerque más a la esperanza. 6 No te regocijes en la comodidad, viendo La tristeza no teme En el sacrificio no aplastar el suyo propio, Ni casas nuevas hacen trasero; Muerto, no mueras, en ningún caso aquí Tratar de mantener su vida. Capitulo dos 7 Ah, los que son de anhelo libre Cómo Kech puede llegar alguna vez? Esos cientos de deseos he visto Que a mediados de camino se rindió. 8 Cada uno expresa un deseo, pero ninguno Listo para el hambre es Caminar no es para todos. Ni hacer un viaje como este- Yo tomo por compañía, yo estaba, Uno que no ama al "yo". 9 Yo prometí mi honor cuando era inocente; No sospechando ningún tormento; Ni sabía que los cuñados dejarían Conmigo anhelo, lamento ... El anhelo, en la búsqueda de doblado Debe ahora a través de las montañas vagar. 10 ¡Oh hermanas! Ignorante era yo; O con la sujeción de mi alpinista ¿Cómo podría cumplir? Una breve charla hizo mi ser corbata A Punhu para toda la vida. 11 Aquellos que hacen sus propios maridos, No vendré sin la mía; Para buscar la profundidad de la montaña más profunda Y gire cada piedra, anhelo, Para arreglar la cuenta de amor me quemo Con los jinetes de camello. Capítulo III 12 Frágil, no disminuya su ritmo Al ver montañas altas ... Las montañas amenazantes no temen, Y guarda tu amor en llamas; Y nunca renunciar a la esperanza de ver Sus seres queridos encantadora cara- No lo busquen en un lugar lejano, Está más cerca que tus ojos. 13 Aquellos que despegaron de 'aquí' su mente Y lo fijaron allí, llegaron; Amado, Belleza, Verdad para encontrar Para ellos un paso que era. 14 Kechis están hablando-ahora Sasui Usted debe convertirse en un oído; El aliento que proviene de ellos, pero el silencio Puede distinguir aquí; Señor en silencio, y sólo "escuchar", Que el fuego que puede adquirir. 15 Ahora sea una oreja-los Kechis hablan; Ninguna palabra debe venir de ti; Y no un iota de su "yo" Debe en su presencia ser ... He aquí, los Kechis cortaron el árbol De ser de la raíz. dieciséis A veces uno debe convertirse en un oído; A veces una boca debe girar- A veces como el cuchillo uno debe aparecer A veces un cordero se vuelve.- Capítulo IV 17 Su amor no es donde usted conjetura; Y donde usted piensa que él sea, Camina no a los montajes, la madera que tienes Para cruzar dentro de ti miente; Tu ser pide todos los consejos Y extranjeros se quedan afuera. 18 Sasui, dentro de ti mismo llevas Lo que usted está buscando así; Nadie encontró nada Caminando aquí y allá, - Como si tu propio ser fuera Así que busque su paradero. 19 ¿Por qué vas al bosque remoto? ¿Por qué no su búsqueda de amor aquí? Creer, no esconderse en ninguna parte Es tu amada Hoat; Sed puros, ceñid vuestros lomos, fieles Sobre tu amada Mire profundamente en usted mismo y observe La casa de Amado está allí. 20 No con tus pies sigue vagando Pero con tu corazón camina El trabajo de un mensajero nunca traerá Usted en cualquier lugar a Kech. Capítulo V 21 Mientras peeping en mí mismo estaba ... Yo conversaba con mi alma; Ningún hombre de camello estaba allí para perseguirlo, Todas las montañas se habían dispersado; 'Punhu' Me había convertido en ... inmerso En desgracia, pero 'Sasui' era. 22 Me engañó mi fantasía De otra manera Punhu yo era; Me perdí en presencia de La noble majestad del príncipe; A menos que tú mismo amas-uno vea No iota conocimiento worldy ayuda. 23 Una vez que abandones la existencia, Usted está cerca de la única- Refugio busque en: "lo que vi Dios estaba en ella ", y lo Entonces tu Amado no puede ir De usted un minuto mero. 24 Tu amor está en tu regazo, y sin embargo Usted pregunta: "¿dónde está él, dónde"? Entiendo que está en tu alma Para verlo no te importa? No habrá nadie al Bazar Amado allí para encontrar. 25 Yo cazaba por mi jinete-swain; Vana fue la búsqueda que hice, La pista de él que conseguí fue: "Dios Todo lo impregna; Él mismo está en cada hoja Sin Él nada existe ". Sasui: Desi-XVI (El nativo) 1 Descuidado fue la primera parte de la noche; Así que la mañana trajo la desesperación- Porque mientras yo dormía mi jinete-cónyuge Para el viaje hizo la reparación; Para mi destrucción para preparar A media noche se marcharon. 2 O montaña, que se interpone entre Mi amor y yo, tu amenaza es vana- ¿Había mil montañas? Mi anhelo los habría atravesado a todos. 3 El nudo sagrado que el amor ha atado Entre Punhu y yo ... Ahora en el hermoso Bhambore para quedarse Veneno para mí será ... No me aconsejen hermanas, a Regresar a casa y alegría; Porque mi aliento es propiedad De mi amado Hoat. 4 Con anhelo me acosté, con los ojos Despierto y no encontró dormido, vino Y entonces no pude levantarme, Hermanas que erré, porque de qué manera Está deseando parentesco para dormir? Sasui: Kohiyari-XVII (El Camino de la Montaña) Capítulo I 1 Descuidado, deja caer esta somnolencia; No más para el sueño busca- O desvergonzado, conduce el sueño de los ojos Y no ser más débil- Para que no tengas que gritar En las montañas después de él- 2 Aquellos que estaban sobre sus sofás, Con las piernas extendidas, por desgracia ... La compañía desapareció, Dejando a los que duermen. 3 El reproche viene a los desafortunados Que tanto sueño desea; ¿Por qué después de Punhu hacer averiguar ¿Quién duerme desde el atardecer? 4 Montaña de corazón duro, vana fue mi súplica, Tu tirano de la mano alta; Mi ser que has aserrado, como cortadores de madera Cortar el árbol indefenso; Pero por decreto del Destino Oh, ¿quién caminaría tus piedras? 5 Oh montaña, cuando mi amor me encuentro; Sus torturas lo contaré; Su sombra espantosa fantasmas al amanecer, El engaño de tu camino sinuoso, No me hiciste con cariño Pero atenuó las pistas del ser querido. 6 O montaña silenciosa, no una pista Me das mi amor Pero ayer una camel-cade En la fila larga movido a través de usted, Este esposo muerto, ¿no viste Entre la empresa? 7 Oh montaña, al amigo que llevaré A la vez el grech reproche; Que te destroce las suelas mismas De mis pobres pies hizo lágrimas; Que tu alma es de lástima desnuda Y no hay ninguno que valga la pena. 8 Oh montaña, corazones de los que sufren Usted debe consolar y calmar; En lugar de eso, tus pies te hacen daño Pedregoso, calloso. 9 Oh montaña, cada día en sacrificio Me arrojo sobre ti, Porque hay lazos misteriosos 'Twixt usted y el cuento de mi amor. 10 O monte, el desamparado en desgracia Ahora se sienta contigo y llora; Pero nunca nadie sabe Los enlaces twixt usted y ella. 11 Oh montaña, aunque te caliente han crecido No puedes hacerme daño ahora; Usted puede ser de piedra más dura Mis miembros están hechos de hierro, No es culpa de nadie, es mi propia Mi propio destino extraño. Capitulo dos 12 O Punhu no me dejes aquí En montañas extrañas y dire- Caminaré contigo a pie, y fuego A Bhambore lo pondré. 13 Reflexión de mi Punhu, luz Muestra y sombra; Tengo que caminar por la carretera a cuadros ... Oh, vea, el paño está puesto En soda-lavado, y limpio se hace Ere colores que recibe. 14 La reflexión de mi Punhu es Como nube y flash, y yo Sigue a este Príncipe y llora y suspira Y llorar sin descanso. 15 La reflexión de mi Punhu es La cumbre de todos los Bliss- Por su bien mi día más desafortunado Para mi comodidad es Calamidad mi príncipe se fue, su El regalo más dulce para mí. Sasui: Ma'dhuri-XVIII (Los Desamparados) Capítulo I 1 ¿No has oído una voz de Sasui? O dost al azar caminar? Cientos de Sasui caminaron detrás Sus amantes antes de ti- Desde el inicio de la progenie Baluchi No ha aprendido compasión 2 ¡Oh, doloroso! Cepillo de dolor a un lado, Y las comodidades se olvidan- Tus ojos en las huellas de Punhu, Que usted puede encontrarlo pronto. 3 Empezar en el camino desnudo, codicia, Las tentaciones no guardan - Y aquellos que son demasiado aficionados al sueño, Su cita con la querida-una falta. 4 Deja todas tus túnicas encantadoras detrás, Y nada con usted trae; Uno, cargado no con nada Mantiene la vanguardia en el camino. 5 Uno que sin una carga camina Pronto el ser querido se reunirá- Pero ella se ha perdido su unión dulce Que afecta encantadoras envolturas. 6 Ella que se adorna en vano Espera que la reunión sea verdadera; Está privada como Leela, que Vendió su amor por las joyas. Capitulo dos 7 Mil espinas pinchan mis pies; Me causan un infelicidad! Ay, mis pies están rotos, un dedo del pie No cumple con el otro dedo; Y sin embargo, con los pies descalzos voy a ir A mi amada. 8 Con manos, pies, rodillas y cada respiración Sasui debes proceder; Su guía se encontrará con usted en la corriente Y darle ventaja adicional; Mientras hay aliento, nada de lugar, de hecho Pero Punhu en su corazón. 9 No podría mi amado satisfacer Y ahora se pone, o sol! Mi mensaje al ser querido trae Antes de que termine mi día; Cuando llegue Kech decir: "Desamparado uno Está muriendo en el camino ". 10 No pude alcanzar a mi ser querido, y Mi vida ya pasó Por desgracia, el lamentable hizo residuos Sus días disminuyendo rápido- En la vejez ahora, sus ojos están echados Sobre su punhu raro.- 11 Por desgracia, no pude llegar a mi amor ya La muerte aparece Amados no vinieron, aunque Lo busqué durante años Destruido por las lágrimas de la separación Yo estoy destinado a morir. 12 Muera y alivia, para que la Belleza De un ser querido no te deja nunca; Aceptable serás para siempre, Aceptando este consejo. 13 Morir para ser bella, la vida es Trastorno twixt él y usted, - Desamparado uno, audazmente persigue, Darle aliento para encontrar al amigo. 14 Quién muere antes de la muerte, nunca lo hará Destruido por el morir be.- Que viven antes de la segunda vida que ven Vivirá eternamente. Sasui: Husaini-XIX (Los Wailings) Capítulo I 1 O mirar no de vuelta! Ni vacilar, Para las declinaciones del sol en West- Tu ritmo se acelera, no descansas Antes de que el amanecer trate de alcanzar 2 Oh sol, haz que no sea difícil para mí, Estableciendo muy pronto: Las huellas de Punhu me dejaron ver Antes de morir en las montañas. 3 Una lluvia cae de mi frente, Corriente de transpiración caliente; Lo que yo pensaba que el amor, revelado ahora es Consumir llama de fuego.- 4 El día está ardiendo, se mueve Ahora más rápida en su camino; Esta chica brahmán, un amor antiguo Para el Bluchis tiene. 5 Mientras vivas, permanecere vivo; No hay manera sin fuego; En caliente y frío, el ritmo rápido mantener No hay tiempo para descansar. 6 Al levantarse, el pensamiento de los montañeses Me abrumaron allí; Dejaré Bhambore, nada más Este Bhambore a mi corazón. 7 Hermanas, por los placeres de Bhambore La caravana que extrañaba; Por lo tanto ahora con dolor dolorido Los monutains tienen que buscar. 8 Hermanas, tu libertad asegura Dejando a Bhambore ahora; Nuestros viejos compañeros aquí perduraron Mucho dolor y mucho dolor. 9 En Bhambore está el humo del infierno; Hermanas, de Bhambore part- Sasui toma la guía y empieza Temprano y no retraso. 10 Hermanas, mi corazón está hundido por el dolor. Y herido vivo ... De los seres queridos todos, para los que me largo Desgraciadamente, estoy desamparado; ¿Puedo olvidar a los que han dejado Ahora ante mis ojos? 11 Bhambore, la ciudad de la fealdad, El noble príncipe adornado; Señor de las montañas, del mundo entero Eliminado el miedo y la angustia, Maids arte de impresión aprendido, modelo Era la belleza de Punhu, Inigualable, Bhambore lo bendijo Y decente se convirtió. 12 El Bhambore que no caminó detrás El Hoat, confundido tiene; Inigualable, la ciudad no Reconocer, caminar como ciego; Aquellos privilegiados fueron, que encontraron Su belleza con sus corazones. 13 Quien lo vio con sus corazones, sintió A seguirle de inmediato; Cuando Punhu se ocultó Y entonces lo siguieron. 14 En caliente y frío incesantemente Caminar sobre, y no esperar; Al caer de la noche no verás Las huellas de él que buscas. 15 Hubo un tiempo en que el principesco Hoat Mi ropa para lavarse eligió; Ahora incluso los hombres de camello se niegan Para llevarme con ellos mismos. dieciséis Mi vestido está desgarrado en mis hombros; Por desgracia mi cabeza está desnuda- O hermanas en su feria de Bhambore ¿Qué tengo que hacer ahora? Capitulo dos 17 De dolor y aflicción que obtuvo El plomo, para caminar el camino; Fue desde la guía del dolor Ella Punhu encontró por fin. 18 Un centenar de comodidades que daré Y negociar también mi cabeza, Si, a cambio, puedo Un solo dolor se. 19 Dulce dolor, no te vayas Como se fue mi amor A nadie puedo derramar mi corazón Pero tú, ya que se ha ido. 20 El dolor, la belleza de las alegrías constituyen; Alegrías sin dolores; En virtud del estado de ánimo de tal tristeza Mi amor viene a mis brazos 21 Caminamos en compañerismo con 'Cuidado' Pero mantener el mundo a raya, Cuando aún muy jóvenes estábamos, El dolor hecho a casa con nosotros. Capítulo III 22 Aquellos que buscan al amigo, Un día el amigo lo encontrará; Los que buscan al final Llegar domicilio de seres queridos.- 23 No más vivo ... o muerto ... pero muerte Siento que me está reclamando ... Amado ... renuncio a mi aliento En el anhelo ahora por ti. 24 Si hubieras muerto ayer te habías conocido Su Punhu ayer, Todos hale-and-hearty, nunca todavía Logrado encontrar el amor. 25 Tan pronto como tarde me vea la muerte; Que en las montañas muera ... Hermanas, para que mi muerte sea En la cuenta de mi amado. 26 Mejor en las montañas cortadas y doloridas, Esforzándose por Punhu, die- Que todo el mundo por siempre Tu amor glorificará. 27 Ella sigue en la persecución, llamadas, cryesbut Sonríe cuando encuentra pistas; Quién da un paso atrás cuando muere No verá el ser querido. 28 A medida que avanza la noche, más rápido crece Su paso y aún más rápido ... Su mente inocente nada sabe Pero la palabra: "jinete-cónyuge". 29 No dejes de llamar persistentemente; Sigue llamando, mendigando todavía- Entonces los caballos-hombres pueden repentinamente Relajarse, recordar a ti. 30 A whate'er que en la vida se adhieren, Vínculos después de la muerte permanecen; Y aquellos que no pueden ver Hoat aquí ¿Cómo lo verán allí? ------ENGLISH Kamod-XIV (Love-dependent) Chapter-I 1 You noble are, I humble am the seat of demerits am I Seeing your queens, O king, your eye turn not away from fisher-folk. 2 You noble are, I humble am scores of defects abide with me When heaps of smelling fish you see, turn not away from fisher-folk. 3 You are king, master of the land and I sell fish, poor fisher-maid, Do not forsake me, for't is said that I, oh king, belong to thee. 4 Those who do feed on smelling fish, and fish is all their property- The king, the noble king, O see! with them relationship has made 5 The basket full of smelling fish, and all the loaded herring-trays- Fishers, whose touch avoided is and such unpleasantness conveys The king strands in their thatch always and gently holds converse with them! Chapter-II 6 Now she longer catches fish, nor cuts, cooks, cures as formerly; She neither holds the scales and weight, not fish-net in her hands we see- Now to the court-modes cleaveth she, such as befits a kingly house! 7 Her hands and feet, her face and form no more of fisher-maid remind- As there's a chief-string in the lute she's queen of all the queens combined; From the beginning all her ways were queenly, noble and refined, The king perceived it and did bind the regal bracelet on her wrist! 8 Fie upon maids of princely caste who walk stiff-necked, so haughtily- Praise to the daughter of the lake, her true love to the king gave she... Out of all royal ladies, he, the pearl bestowed on fisher-maid. Chapter-III 9 Court-ladies now adorn themselves, to win king back with beauty spells- But king midst fisher people dwells, within his hand the fishing-net! 10 The fishing-net in hands of king, and fisher-maid did rudder sway! Upon the lake all yesterday fish-hunting gay was going on!- 11 “On deep, clear waters of the lake, with my beloved now I sail, Of my desires none did fail, all are fulfilled, none went astray.” 12 Upon the waters transparent, along the banks float lotus-flowers, And all the lake rich fragrance showers as sweet as musk when spring-winds blow. Chapter-IV 13 Credit of raising fisher-maid Belongs to Tamachi, He took her in his carriage, and a human-being he Made out of her,...in Keenjhar, see! All say this is the truth. 14 Of those before the 'Jam' was born the fish-maid nothing knows, They don't attend ceremonies, go not to weddings, nor to shows, What hath lake-life to do with those? they only know the head, the king. 15 ...None gave king birth, to no one birth gave He-He's generous,...alone- The fisher women old and young, as His relations He doth own; "He is not born, He gives no birth"- blance unique, to change unknown Tamachi's high eternal throne, so great and oh, so glorious is! ------SPANISH Kamod-XIV (Dependiente del amor) Capítulo I 1 Ustedes son nobles, yo soy humilde El asiento de los deméritos soy yo Viendo a tus reinas, oh rey, tu ojo No se aleje de los pescadores. 2 Ustedes son nobles, yo soy humilde Decenas de defectos convienen conmigo Cuando los montones de pescado que huele que usted ve, No se aleje de los pescadores. 3 Eres rey, amo de la tierra Y yo vendo pescado, pobre pescadora, No me desampares, porque no se dice Que yo, oh rey, te pertenezco. 4 Aquellos que se alimentan de olor de pescado, Y el pescado es toda su propiedad- ¡El rey, el noble rey! Con ellos la relación ha hecho 5 La cesta llena de olor de pescado, Y todas las bandejas de arenque cargadas, Los pescadores, cuyo toque evitado es Y tal desagradable transmite Las hebras del rey en su paja siempre Y suavemente mantiene conversar con ellos! Capitulo dos 6 Ahora ya pescaba más, Ni corta, cocina, cura como antes; Ella no sostiene la balanza y el peso, No la red de peces en sus manos vemos- Ahora, a los modos de la corte, Tal como conviene una casa real! 7 Sus manos y pies, su cara y forma No más de pescadores recuerda Como hay una cuerda principal en el laúd Ella es la reina de todas las reinas combinadas; Desde el principio todas sus formas Eran reina, noble y refinada, El rey lo percibió y La pulsera real en su muñeca! 8 Fie a las doncellas de la casta principesca Que andan de cuello tieso, tan arrogante- Alabanza a la hija del lago, Su verdadero amor al rey le dio ... De todas las damas reales, él, La perla otorgada a la pescadora. Capítulo III 9 Las señoras de la corte ahora se adornan, Para ganar el rey de nuevo con los hechizos de belleza- Pero el rey medio pescador vive, En su mano la red de pesca! 10 La red de pesca en manos de rey, Y pescador-sirvienta hizo timón oscilación! Sobre el lago todo ayer La caza de peces gay estaba pasando! 11 "En las aguas profundas y claras del lago, Con mi amada ahora navego, De mis deseos ninguno falló, Todos se cumplieron, ninguno se extravió. " 12 Sobre las aguas transparentes, A lo largo de los bancos flotan flores de loto, Y todo el lago rico fragancia duchas Tan dulce como el almizcle cuando soplan los vientos primaverales. Capítulo IV 13 Crédito de crianza pescadora Pertenece a Tamachi, Él la tomó en su carruaje, y Un ser humano Hecho de ella, ... en Keenjhar, ¡vea! Todos dicen que ésta es la verdad. 14 De aquellos antes de que naciera el "Jam" La pescadera nada sabe, No asisten a ceremonias, Ir no a bodas, ni a los espectáculos, ¿Qué tiene que ver la vida en los lagos? Sólo conocen la cabeza, el rey. 15 ... Ninguno dio a rey nacimiento, a nadie nacimiento Dio Él-Él es generoso, ... solo- Las mujeres pescadoras viejas y jóvenes, Como Sus relaciones Él posee; "Él no nace, no da nacimiento" - Blance unique, to change unknown El alto trono eterno de Tamachi, Tan grande y oh, tan glorioso es!