• Supported by her husband, Allama I. I. Kazi, she bridged vast linguistic and cultural divides to capture the rhythm, imagery, and mystical spirit of Bhittai’s work, pioneering a legacy that inspired generations of scholars and translators.

Rafia Bukhari

Elsa Kazi (1884–1967), affectionately known as “Mother Elsa” in Sindh, holds a high esteem in the literary and cultural history of the region. A German-born writer, poet, translator, and a painter, she was the wife of the eminent philosopher and scholar Allama I. I. Kazi. Although she was not a native speaker of Sindhi, her profound dedication for Shah Abdul Latif Bhittai and her deep association with Sindh enabled her to engage closely with the spiritual and philosophical dimensions of Bhittai’s poetry.

Elsa Kazi’s literary contribution extends beyond her translation of Shah Abdul Latif Bhittai. Nevertheless, her English rendering of Shah Abdul Latif Bhittai’s Risalo (Selections), published in 1965 remains one of her most noteworthy literary achievements. Although the work contains selected verses rather than the complete Risalo, it occupies an important position in the history of English translations of Bhittai’s poetry.

For a reader familiar with Shah Jo Risalo in the original Sindhi, Kazi’s rendering exposes an evident attempt to reproduce not merely the literal meaning of Bhittai’s verses but also their poetic and mystical dimensions. She transforms the substance of the original verses into an English poetic form in which rhythm, imagery, and musical notes contribute to an effect reminiscent of the original poetry. Translating poetry is inherently challenging because the translator must negotiate between linguistic meaning and poetic form. The difficulty becomes even greater when the source text is mystical poetry deeply embedded in a particular cultural and spiritual tradition.

Elsa Kazi as a Poet and Translator

Kazi’s own poetic sensibility appears to have played an important role in her approach to Bhittai’s poetry. Her ability to appreciate the aesthetic and spiritual dimensions of poetry allowed her to approach Shah Jo Risalo not merely as a text material but as a work of mystical and philosophical significance.

One of the notable examples of her poetic rendering appears in her translation of a verse from Sur Suriraag:

“Those who kept up all night

To adore Glorious One;

Latif says: E’en their dust

Became with honour dight;

Scores to their resting site

Flock, homage there to pay.”

(Kazi, 1965, p. 106)

The translation proves Kazi’s endeavor to preserve the devotional atmosphere of Bhittai’s poetry while presenting it in an English poetic structure. The imagery of devotion, honour, and spiritual reverence remains central to the translated passage.

Another striking example is found in Sur Marui, where Bhittai evokes the pre-creation pledge between God and human soul:

“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.

(Kazi, 1965, p. 179)

The passage refers to the Qur’anic concept of the compact, in which the human soul responds affirmatively to the divine question, “Am I not your Lord?” In Bhittai’s poetry, the episode acquires a mystical significance, while Marui turns out to be associated with spiritual fidelity and commitment.

Kazi’s rendering attempts to preserve this spiritual dimension. Her translation therefore demonstrates that her engagement with Bhittai was not confined to lexical equivalence. Rather, she sought to communicate the mystical resonance underlying the original verses.

The Role of Allama I. I. Kazi

The role of Allama I. I. Kazi in Elsa Kazi’s engagement with Shah Jo Risalo be worthy of attention. Since Elsa Kazi was not a native speaker of Sindhi, her husband’s knowledge of Sindhi language, literature, philosophy, and Islamic thought provided valuable assistance in understanding Bhittai’s poetry.

Their intellectual and literary partnership appears to have contributed significantly to the development of Elsa Kazi’s translation. Her familiarity with English poetic expression, combined with Allama I. I. Kazi’s understanding of Sindhi and Islamic philosophical traditions, created a unique perspective for the translation.

Her work can therefore be viewed not simply as a linguistic transfer from Sindhi into English but as an intercultural literary endeavor. Her dedication to Bhittai and her admiration for Sindh appear repeatedly in accounts of her literary life. Her famous admiration for Bhittai is reflected in the exclamation attributed to her: “Oh! There is no poet like Latif.”

This statement illustrates the profound literary appreciation that she cherished in her heart for Shah Abdul Latif Bhittai.

Preservation of Poetic Form

One of the notable characteristics of Kazi’s selected translations is her attention to poetic form. She attempts to reproduce elements of rhyme, rhythm, imagery, and musicality, while simultaneously conveying the semantic and spiritual content of the source text.

Such an approach presents a considerable challenge because Sindhi and English differ substantially in their linguistic structures, poetic conventions, cultural associations, and systems of imagery. A translation that seeks to reproduce both meaning and poetic effect must consequently negotiate between fidelity to the source and creativity in the target language.

Kazi’s work validates such negotiation. Her translation suggests that she was concerned not only with what Bhittai conveyed but also with how his poetry could be knowledgeable in English. Her poetic background appears to have supported her in creating an English poetic form capable of conveying aspects of the original’s aesthetic and spiritual atmosphere.

Elsa Kazi’s influence on other women

Elsa Kazi’s translation also occupies an important place in the subsequent history of translating Bhittai’s poetry into English, because she was the first woman who translated Shah Jo Risalo preceded by Amena Khamisani’s The Risalo of Shah Abdul Latif Bhittai (1994).

Khamisani herself acknowledges the significance of Kazi’s work, stating:

“Mrs. Elsa Kazi’s Selections of Shah Jo Risalo and Brohi’s introduction to it, were of a great help to me.”

(Khamisani, 1994, p. 16) .  Elsa Kazi also played a pivotal role in my research on the English translations of Shah-Jo-Risalo. As a poet myself, I felt a particular affinity with her literary work and exploring her translation of Bhittai’s poetry. Further my aspiration to understand how her poetic vision shaped her approach to translation drew me deeply towards her work.

These acknowledgements indicate that Kazi’s translation constituted an important point of reference for the later translators/researchers of Shah Jo Risalo. Her contribution can therefore be considered within the broader development of women’s engagement with the English translations of Bhittai’s poetry.

A Foreign Voice in Sindhi Literary Tradition

Elsa Kazi’s contribution is particularly interesting because she approached Bhittai’s poetry from outside the linguistic and cultural tradition in which it originated. Her achievement raises an important question concerning the relationship between cultural belonging and literary understanding.

A translator does not necessarily need to belong to the culture of the source text to respond deeply to its literary and spiritual dimensions. At the same time, the absence of native linguistic and cultural competence creates particular challenges for translation. Kazi’s work is significant precisely because it represents an attempt to cross these linguistic and cultural boundaries.

Her engagement with Bhittai demonstrates the possibility of literary dialogue across cultures. Through her translation, aspects of Sindhi mystical poetry became accessible to English-speaking readers beyond the immediate cultural and linguistic environment of Sindh.

Her contribution should therefore be understood as part of the wider history of intercultural literary exchange surrounding Shah Abdul Latif Bhittai.

Mother Elsa and Her Legacy

Elsa Kazi passed away in 1967 at the age of 82 and was laid to rest beside her husband, Allama I. I. Kazi, at the University of Sindh in Hyderabad. Although she did not have children of her own, she developed a devotional bond with students and the people of Sindh, who affectionately came to know her as “Mother Elsa.”

Her association with Sindh extended beyond her marriage to Allama I. I. Kazi. Through her literary and artistic work, she became associated with the cultural and intellectual life of the region. Her translation of Bhittai’s poetry remains an important part of this legacy.

Read: Life-long Love Story of Sindhi and German Scholars

_______________

Rafia Bukhari, an English-language poetess and writer from Larkana, was born on June 15, 1982, to the Syed family. Her two English poetry books, “The Painful Payment” (2021) and “A Flight of Broken Wings” (2023), have already been published. 

The post Elsa Kazi: Sindh’s German Literary Icon first appeared on Sindh Courier.

Naveed Sandeelo

​The greatest question of human life is: Why are we born? Is the purpose of our existence merely to eat, drink, sleep, reproduce, and then quietly pass away? If that were the case, there would be no fundamental difference between humans and other animals. A Sindhi proverb also emphasizes true humanity: “Cattle desire satisfaction [food], but humans desire humanity.” The greatness and perseverance of a human being are not based on their property, wealth, or money, but on their consciousness, intellect, insight, wisdom, creative endeavors, revolutionary path, moral courage, self-sacrifice, encouragement, confronting falsehood, awakening others from the deep slumber of unconsciousness, and the values for which they live and, when necessary, die.

​The Yogi awakened me; I was fast asleep,

Only then did I attain the vision of the Beloved while still alive.

— (Shah Abdul Latif Bhittai)

​It is commonly said, “ٻُڏيءَ جا ٻيڻا” (Double the value of the drowned)—meaning that whoever sacrifices themselves for a noble cause or for their nation is remembered with immense pride. Those who do nothing and die in the comfort of their beds leave behind an existence as though they never existed at all. Latif Saien says:

“The dust settled over those who remained seated.”

The person who, in pursuit of their goal, challenges the obstacles in their path, refuses to surrender, stays ahead of the rest, adopts a courageous attitude, and drowns in the middle of the deep currents while crossing the river’s waves—their physical death attains immortality and lives on in history. Some people definitely perish physically, but their thoughts, their voices, and their principles are reborn with double the strength. They die physically, but their ideas live on from generation to generation. Such people are not defeated by death; rather, death itself becomes the source of their eternal survival.

​The greatest and most just trend of modern history is that it has now forgotten kings, conquerors, and vast empires, but it forever remembers those foot-soldiers, the humble workers, the brave, the makers of history, creators, poets, artists, intellectuals, painters, and sages who suffered hardships in the path of truth but kept its banner flying high. The individuals who were labeled as criminals, rebels, or infidels in their own eras were declared benefactors of humanity by succeeding generations.

​The ancient Greek philosopher Socrates is a shining example of this. Walking barefoot through the streets and marketplaces of Athens, he taught young people to question, to think logically, and to seek the truth. When he was accused of corrupting the youth, he was given several opportunities to save his life. Had he wished, he could have apologized and lived a comfortable, luxurious life in another country. Instead, he chose to drink the cup of poison rather than abandon his principles. His body died, but he lives on today in the world of philosophy. The names of those who leveled false accusations against him have been buried in the dust of history, but the name of Socrates has become a metaphor for human consciousness.

​Similarly, Giordano Bruno refused to bow before the religious tyranny of his time. He was burned alive, but the fragrance of his thoughts continues to expand human knowledge. Today, those ideas are part of the journey of modern science. The fire could burn his body, but it could not singe his intellect. His scientific thinking mirrors the thought of the modern era.

​The same fate befell the great scholar of Alexandria, Hypatia, who was a magnificent teacher of mathematics and astronomy. Her only crime was that she taught the books of Plato and mathematics, which were then labeled as impurity and infidelity. Furthermore, like the tradition of philosophers, she walked the path of understanding and explaining the universe through her own eyes. Consequently, religious fanatics burned down her academy, imprisoned her father, stripped her naked, tore her body into pieces, and finally threw her into a raging fire. Yet, her name stands today as a symbol of independent research and intellectual freedom.

​In human history, the sacrifice of Imam Hussain and his family stands before us. Fighting for the right, he refused to allegiance to the tyrant of his time, Yazid. By giving his life along with his innocent children and his entire family before spears and swords on the battlefield of Karbala, he held the head of truth high and became immortal.

​In the world of spirituality, the example of Mansur Al-Hallaj is even more astonishing. He raised the chant of “Ana al-Haq” (I am the Truth), which was not an expression of arrogance but of spiritual unity. Even when he was put on the gallows, the peace and smile never faded from his face. He knew that the body would perish, but the fire of love would never be extinguished. Because of this, despite the passage of centuries, Hallaj remains a living metaphor for Sufi love.

​The land of Sindh is also not devoid of such immortal souls. When Shah Inayat Shahid raised the slogan “He who tills has the right to eat,” it was not merely a question of land distribution; it was a declaration of human justice. It was the first challenge to the yoke of tyranny and inequality, laying new foundations for social coexistence. The tyrannical Mughal rulers beheaded him, but they could not eliminate his thought. Today, in every debate on social justice, his name is taken with reverence, and the followers of his philosophy travel far to pay homage to his soil.

​Jesus Christ came to this earth as a messenger of love to turn it into a paradise. He gave people the vision of wisdom and taught them to love their neighbors. When they brought a courtesan (Mary Magdalene) to be stoned to death, he told the crowd that he had come not to take life, but to give life. Because of his message of love, the contemporary clergy crucified Jesus. In every era, the Jesus of that time is crucified and stoned in exchange for love. Yet, centuries later, Jesus’s message of love and call for truth remains the heartbeat of millions. Jesus, who healed the pain of suffering humanity, was uniquely addressed in the Holy Quran as “Ibn-e-Maryam” (the Son of Mary). In the words of the great poet Mirza Ghalib:

ابن مریم ہوا کرے کوئی

میرے دکھ کی دوا کرے کوئی.

​Would that someone be like the Son of Mary,

Would that someone cure my grief!

​Sarmad Kashani was another dervish-souled man who refused to bow before worldly power. Even when he was brought out to be executed, words of love, not fear, were upon his lips. Such people do not die; they remain awake in the human conscience.

​In the folklore of Sindh, the tale of Sohni gives a new meaning to the philosophy of immortality. Even when she discovered that her clay pot was unbaked, she did not turn back. She prioritized her love over her physical life. Eager to meet Mehar, with an anxious yet passionate heart, she waded through the whirlpools on a pitch-black, freezing winter night amidst falling dew, and was eventually swept away by the deep currents, finally uniting with her beloved, who was sweeter than honey. Bhittai Saien portrayed Sohni not just as a lover, but as a fearless, brave character who challenged every obstacle, becoming a symbol of spiritual freedom. Therefore, though Sohni drowned in the river, she became eternally alive in literature and human emotions. Shah Latif beautifully expresses this philosophy of gaining double the value through drowning in the character of Sohni:

​How would she be renowned, had Sohni not entered the deep currents?

Life here was not to last forever anyway.

The cup given by the Beloved drove her ecstatic,

Sayeth Sayyid [Latif], love sacrificed Sohni,

She would have died regardless, but by drowning, her worth doubled.

​In the struggle for national liberation, the example of Hemu Kalani is identical. Accepting the gallows at a young age, refusing to name his comrades, and choosing death over slavery made him a permanent part of the national consciousness. The British Empire came to an end, but Hemu Kalani’s name became immortal in the history of freedom.

​Human survival is tied not only to sacrifice but also to creation. Shakespeare, Pushkin, Dostoevsky, Tolstoy, Rumi, Shah Abdul Latif Bhittai, Mirza Ghalib, Miraji, Sahir, Faiz Ahmed Faiz, and Kahlil Gibran are no longer physically with us, but their books, poetry, and thoughts continue to influence the lives of millions of people today. A creator lives more in their creation than in their physical self.

​Existentialist philosophies also teach us that humans create their own existence through their choices. Freedom, responsibility, and standing firm on principles are what elevate a human being above a mere biological existence. The person who lives only for the survival of their own self is forgotten with time; but the one who lives for collective consciousness, national survival, truth, justice, love, and knowledge becomes an indelible part of history.

​Ultimately, “ٻُڏيءَ جا ٻيڻا” (Double the value of the drowned) is not just a proverb, but a philosophy of human values. Driven by a fearless will and free from greed, some people—like Sohni—drown in the middle of deep waters for noble causes; some—like Jesus—adorn the cross; and some—like Mansur—ascend the gallows. But through their sacrifice and virtuous legacy, they attain immortality in history and rise with double the glory. Their bodies return to the dust, but their intellect illuminates the path of humanity for centuries. For such people, death is not an end, but the beginning of a new life. Their existence does not perish; it lives forever in history, literature, philosophy, science, and the human conscience. Their love is not that of ordinary people, but is uniquely miraculous. For such magnificent souls, the gallows feel as comfortable as a bed of roses. In the words of Shaikh Ayaz:

​Love performed miracles, turning infidelity into faith for the heart,

The moment your memory arrived, my Beloved, it made the gallows look easy.

Read: Topography of Memory and Resistance

____________________

​Naveed Sandeelo is a poet, writer and critic, and Lecturer at Department of Philosophy University of Sindh Jamshoro. He is author of five books: three books are on the subject of philosophy. Doing PhD at the department of Philosophy University of Karachi.

The post Double the value of the drowned first appeared on Sindh Courier.

• Anyone aware of Bhittai’s thought and art would understand the masterfulness that this saintly artist poet put in his literary creations

By: Raphic Burdo

Many might dispute presenting Shah Abdul Latif Bhittai as the greatest poet in the world. However, anyone aware of his thought and art would understand the masterfulness that this saintly artist poet put in his literary creations. There are many threads of his message, there is variety of his thoughts, and there is amazing celebration of human spirit in the poetry of Shah Latif.

Shah jo Risalo, the compilation of Bhittai’s poems is divided by experts in surs (chapters or musical raags). Saarang is the chapter that sings rain, clouds and joy that water falling from sky brings to people in Sindh. Shah is universally acknowledged as national and representative poet of Sindhi language for many reasons, one of them being his masterful capturing of Sindh’s tone and tenor, in his poetry.

Today, I am taking up only one poem, a triplet or three-liner, of Shah from his Sur Saarang. Let us first read the poem in Sindhi script, then render it into Roman script of Sindhi for facilitating diaspora that is not literate into Arabic Script of Sindhi. I am not very familiar with Devnagri script and Shah Mukhi script of Sindhi, hence I am not attempting those two scripts.

First, the poem as it appears in various versions of Shah jo Risalo:

سارنگ! سار لهيج، الله لڳ اُڃين جي؛

پاڻي پوڄ پٽن ۾، ارزان ان ڪريج،

وطن وسائيج، ته سنگھارن سک ٿئي.

شاھ عبداللطيف ڀٽائي

Now, the poem in Roman Script of Sindhi. Following is the transliteration that preserves the Sindhi sound while allowing an English-speaking reader to hear the music could be:

Saarang! Saar lahej, Allah lag unyan ji;


Paani poj patan mein, arzaan an karej,


Watan wasaaej, ta sanghaaran sukh thiye.

(Shah Abdul Latif Bhittai)

I will not translate the given poem word for word. Instead of literal translation, here I attempt to render it as a poetic reimagining that seeks the inner music and spiritual pulse of the verse. Shah says:

Dear Clouds!,

remember the thirsty.

Come carrying mercy.

Pour your water

into the cracked hands of the fields.

Please be generous.

Let abundance fall

without measure.

Bring the bloom back

to our homeland,

so the farmers,

the shepherds,

the ordinary people,

the country folk,

may once again

witness peace and prosperity.

The literary critics always say, art lies in concealing art. Shah is supremely deep in meaning wherever he is astonishingly simple in articulation. Here, in this poem too, behind the veneer of description of everyday phenomena and a simple prayer, closer residing reveals the deepest layer of Shah’s verse. This is not merely a prayer for rain. It is a prayer for the entire chain of life. The genius of Shah Abdul Latif Bhittai lies in simplicity of presentation and the order of his prayer.

I invite you to read the poem again and notice how the prayer expands in widening circles.

Circle One: Compassion for the Living:

Saarang! Saar lahej, Allah lag unyan ji;

Latif begins not with land, wealth, production, or power. He begins with suffering. The first concern of civilization is not prosperity but people and their food. The ‘thirsty’ in the first line of poem are not only human beings. They are also cattle, birds, trees, streams, and every living thing waiting for relief. The prayer starts with empathy. Before asking for abundance, Latif asks us to recognize need. Indeed, a society becomes humane when it can hear the cry of the thirsty.

Circle Two: Fertility of the Land:

‘Paani poj patan mein, arzaan an karej,’

Once human suffering is acknowledged, Shah turns our attention and the attention of the Weather System, to the source of sustenance. The fields are where life is transformed. Water becomes grain. Grain becomes bread. Bread becomes civilization. Latif understands a truth that economists would later express in different language: production precedes distribution.

Without fertile land, compassion alone cannot feed people. Thus the prayer moves from human need to the means by which that need is met.

Circle Three: Abundance, Not Mere Survival:

‘arzaan an karej’

Shah Latif is not praying merely for survival. He is asking for abundance. There is a profound distinction between a society that survives and a society that flourishes. Scarcity breeds fear, conflict, hoarding, and competition. Abundance allows generosity, culture, learning, beauty, and peace. Bhittai, the poet, therefore asks not for a few drops but for overflowing grace.

Circle Four: The Nation

‘Watan wasaaej’

This is perhaps the most remarkable leap. Shah’s poetic prayer now rises from the individual and the fields to the nation itself. A nation is not made prosperous through slogans, monuments, or political speeches. Instead, a nation flourishes when its people flourish.

The homeland becomes prosperous when its children are fed, its farmers are secure, its water flows, its land bears fruit, its villages are alive. Latif’s conception of patriotism is rooted in human welfare, not political rhetoric.

Circle Five: Happiness of the Producers

‘ta sanghaaran sukh thiye’

The poem ends with extraordinary humility. The beneficiaries of prosperity are not kings, courtiers, generals, or merchants. Latif ends with the ‘sanghaar’, the farmer, shepherd, and ordinary working person. This reveals the moral philosophy of the poet-saint lovingly called Laal Latif.

The success of a nation, in fact, should be measured by the wellbeing of those who work closest to the earth. If the farmer is distressed, the nation is distressed. If the farmer is secure, the nation is secure. Surprisingly, centuries before modern development economics, Latif placed the common producer at the center of national prosperity.

In modern language, this verse of Shah Abdul Latif can almost be read as a development framework:

1. Care for people.
2. Invest in productive resources.
3. Ensure abundance and opportunity.
4. Build a flourishing nation.
5. Measure success by the wellbeing of ordinary citizens.

At another level, rain is not only rain. Water is grace. The thirsty are souls. The fields are hearts. The homeland is the human community. The prayer then becomes:

O Lord,

remember those who thirst:

for meaning,

for hope,

for justice,

for love.

Pour Your grace into barren hearts.

Let generosity replace scarcity.

Let the world become habitable again.

Let ordinary people find peace.

This is why this verse of Shah feels timeless and lovingly recited all across Sindhi community. It is simultaneously a prayer for rain, a prayer for economic prosperity, a prayer for social justice, a prayer for national development, and a prayer for spiritual renewal.

Latif begins with a thirsty creature and ends with a flourishing nation. In between those two points lies an entire philosophy of civilization: the prosperity of a country begins with the wellbeing of its people, and the wellbeing of its people begins with mercy.

A fuller appreciation of this poem of Shah Latif requires us to look not only at what it says, but how it says it. Shah Abdul Latif Bhittai’s greatness lies as much in his craftsmanship as in his wisdom. The poem is structured as a direct address:

‘Saarang! Saar lahej…’

The poet is speaking to the rain-bearing cloud as though it were a conscious being capable of hearing, understanding, and responding.

This technique, known as apostrophe, is common in mystical and classical poetry. The poet addresses an absent or non-human entity as if it were present.

Yet the cloud is more than a cloud.

It is:

• Nature,
• Providence,
• Divine Mercy,
• The unseen source of sustenance.

Thus the poem operates simultaneously on literal and symbolic levels.

Read aloud:

Saarang! Saar lahej,

Allah lag unyan ji;

Paani poj patan mein,

arzaan an karej,

Watan wasaaej,

ta sanghaaran sukh thiye.

One immediately notices the repetition of soft consonants: S, L, P, W. These sounds create a flowing movement resembling falling rain and moving water. There are no harsh sounds or abrupt stops. The poem itself behaves like rain. It descends gently.

Shah Latif also employs subtle alliteration. Consider:

Saarang! Saar lahej.

The repetition of the S sound creates a musical invocation. The word Saarang is immediately echoed by Saar.The effect resembles the first distant rumbling of clouds.

Similarly:

Paani Poj Patan

The repeated P sound creates a rhythmic pattern suggestive of drops striking earth. The words seem to pour from the mouth.

Notice the line endings:

lahej

karek

wasaaej

The repeated ‘-ej’sound binds the lines together. This is not a strict end-rhyme in the English sense, but a musical echo. The repeated sound creates continuity and gives the verse its prayer-like quality. One can imagine a gathering of villagers or Shah’s singers repeating these lines in unison. The recurrence of the sound produces a sense of longing and supplication.

The rhythm of the poem is remarkably balanced. Each phrase is short. No line is overloaded. The poem breathes.

For example:

Saarang! Saar lahej

It is a call. Then after a pause:

Allah lag unyan ji

It is a plea, a supplication. Again after a pause:

Paani poj patan mein

It is a request. And after a pausr:

Arzaan an karej

This line intensifies the prayer. Again a pause. The movement resembles waves or rainfall. The poem advances through successive petitions. Each line adds a wider horizon to the previous one.

In my view, one of the most beautiful formal feature in Shah this verse from Sur Saarang is its expanding scope. As discussed earlier, the architecture of the verse resembles concentric circles. This creates what might be called a spiral structure. The poem continuously widens its embrace. The movement is from Need to Resource to Prosperity to Nation to Human Happiness. Thus the structure of the verse itself embodies generosity.

As I said, art lies in concealing art.  The imagery used in the poem is simple yet powerful. There are no elaborate metaphors. No decorative language. Instead we encounter elemental realities: Thirst, Water, Fields, Homeland, and Farmers. These are archetypal images. Every agrarian civilization understands them. Because this imagery of Shah is universal, the poem remains fresh centuries later.

Another highly astonishing feature of the poem is compression. Many poets require pages to express what Latif has expressed in three lines. The verse contains Ecology, Economics, Politics, Ethics, Spirituality, and Patriotism. Yet there is not a single unnecessary word. This is one of the hallmarks of great classical poetry: maximum meaning with minimum language. Shah Latif qualifies this litmus test.

If one listens carefully, the poem’s phonetics mirror its subject. The recurring vowels: ‘aa, ee, oo’ create liquidity.

Words ‘Saarang, Saar Paani, Poj, Watan, Wasaaej’ flow into one another. The poem does not merely describe water. It sounds like water.

Finally, the question: why the poem has survived? Many poems about rain merely celebrate weather. Shah Latif transforms rain into a philosophy.

The music is gentle.

The imagery is elemental.

The structure is expansive.

The symbolism is profound.

Most importantly, the poem never loses sight of the ordinary person. The verse begins with compassion and ends with human wellbeing. That movement from mercy to prosperity is the secret rhythm beneath all the visible rhythms of the poem.

The music of the words is beautiful, but the deeper music is moral: a vision of a just and flourishing society where divine grace falls first upon the thirsty, then upon the fields, and finally upon the nation as a whole. In three short lines, Latif composes not merely a lyric but a complete symphony of life.

Read: Shah Latif and Authentic Living

___________________

Raphic Burdo is a student of Literature, Psychology, Public Policy and Entrepreneurship. He writes on the subjects where all four intersect.

The post Shah Latif -The Poet of Life first appeared on Sindh Courier.

By: Raphic Burdo

We are not short of time. We are short of presence. Modern life does not always fail through chaos or crisis; more often, it fails through continuity. Days pass in orderly succession, responsibilities are fulfilled, calendars are managed, and yet something essential quietly recedes from awareness. We remain functionally alive, but existentially absent. We keep moving through life as though it were already understood, already exhausted, already known. This is the subtle tragedy of mindless living: not that we do nothing, but that we do everything without fully ‘being’ there.

Here, I would like to emphasize that in a world increasingly governed by speed, repetition, and quiet distraction, the most profound crisis is not technological or political but existential. We are alive in the biological sense, yet often absent in the experiential one. Days pass in habitual cycles, as though time were infinite and attention renewable. Beneath this condition lies a silent assumption: that there will always be more time to reflect, to love, to become.

It is precisely this illusion that mindful traditions, both ancient and modern, seek to disrupt. Against this drift stands a different injunction, ancient and severe in its beauty. The Greek poet Pindar speaks not of survival, but of intensity:

“O my soul, do not aspire to immortal life, but exhaust the limits of the possible.”

To live, in this sense, is not to extend time, but to deepen it. Not to preserve existence, but to fully enter it. It is here that philosophy, psychology, and mysticism converge: in the shared insistence that life is not to be prolonged in abstraction, but awakened in experience. This is not a rejection of life’s continuity, but a radical reorientation of how it is to be lived. Immortality is displaced as an ideal; intensity of presence becomes the aim. Life is not to be stretched endlessly in time, but deepened fully within finitude. Modern life, however, is structured to evade this confrontation. We postpone meaning, defer difficult decisions, and inhabit routines that require function but not awareness. This is what may be called mindless living. It is not ignorance, but, it is unexamined continuity.

The Danish philosopher Søren Kierkegaard diagnosed this condition as ‘despair’: a state in which the self fails to become itself. One may appear socially integrated, professionally competent, and biologically alive, yet remain inwardly absent. This is what Kierkegaard implies when he distinguishes between outward existence and inward becoming. The greatest danger, he suggests, is not death but not having lived while alive. In this sense, there exists a subtle form of existential death: life without awareness, choice, or inward engagement.

The contemporary psychologist Ellen Langer offers a cognitive framework for this condition. In her work ‘Mindfulness’, and widely heard lectures such as “Counterclockwise” and “The Power of Possibility,” she identifies mindlessness as the dominance of fixed categories and automatic behavior. We do not see reality as it is. We see it as we expect it to be. Mindfulness, for Langer, is the continuous creation of new distinctions. It is a way of remaining psychologically alive to novelty, uncertainty, and change. Where mindlessness closes possibility, mindfulness reopens it. In this sense, psychology and philosophy converge: the failure to engage possibility is a form of lived constriction.

It is in the spiritual poetics of Shah Abdul Latif Bhittai that this philosophy becomes lived experience rather than abstraction. In the ‘Shah Jo Risalo’, mindfulness is not conceptualized. It is enacted through longing, journey, and surrender.

Latif does not speak of awareness as detachment, but as burning presence. His seekers are not observers of life; they are consumed by it.

One of his most resonant themes appears through the voice of the wandering beloved, Sassui:

“The path of love is not for the weak;

it burns the heart and breaks the self.” (Shah)

In the spirit of relentless becoming, at another place in Shah jo Risalo, Shah Latif, says:

“I wandered in search of the Beloved,

leaving behind comfort, shelter, and name.”

In Sassui’s desert wandering, we encounter mindfulness as total immersion. She does not resist suffering; she inhabits it fully. Each step across the barren land becomes a moment of awareness intensified by longing. Shah Latif’s desert is not empty. It is saturated with presence.

Another recurring motif in his poetry captures this existential surrender:

“He who seeks the beloved must lose himself first;

only then does the path reveal itself.”

Mindfulness, in the sense of Shah Abdul Latif Bhittai is no longer cognitive awareness but existential dissolution. The self is not strengthened. It is stripped. Awareness becomes indistinguishable from love.

In contrast to Latif’s mystical intensity, Pindar frames the human task as the exhaustion of possibility within finitude. The goal is not escape from limits, but full realization within them. Søren Kierkegaard deepens this by warning that unactualised possibility becomes despair. A self that does not choose, does not commit, and does not become is a self in stagnation. Thus, possibility is not neutral. It is ethical. To fail to realize it is to diminish being itself.

Ellen Langer complements this with empirical clarity: mindlessness is not the absence of thought but absence of present engagement. When we act on autopilot, we collapse the richness of reality into fixed categories. Langer’s insight is simple but profound: uncertainty is not a threat; it is the condition of vitality. To remain mindful is to remain alive to possibility.

From these perspectives, a deeper philosophical proposition emerges. It is that mortality is not merely an endpoint, but a structuring principle of meaning. The real danger is not death, but living as though we are not dying. Mindlessness thrives on the illusion of endless time. Mindfulness dissolves it. Mindfulness is

To exhaust the possibility is not to do everything; it is to do what is real, fully. It is to refuse postponement. It is to inhabit each moment as irrevocable.

In Shah Latif’s universe, this exhaustion of possibility takes the form of love in its highest and purest form. Awareness is not neutral observation; it is surrender, longing, and transformation. Sassui’s journey, in this context, again becomes central:

“The desert did not end her path;

it revealed her truth.”

Suffering, here, is not avoided but transfigured. The desert becomes a mirror of consciousness. Latif’s essential teaching is that mindfulness is not calmness; it is intensity. Not control but surrender. Not detachment but total presence.

When read together, Pindar, Kierkegaard, Langer, and Shah Abdul Latif converge on a single insight: to live without awareness is to remain half-alive. Pindar calls us to exhaust possibility. Kierkegaard warns us against existential non-becoming. Langer teaches us to remain cognitively awake to novelty. Shah Abdul Latif calls us to burn with love until the self dissolves into presence. The synthesis of these voices leads to a simple but uncompromising truth:

To be mindful is to refuse the comfort of postponement.

To be mindful is to recognize that time is not infinite.

To be mindful is to live as though each moment is both first and last.

In the end, the question is not how long we live, but whether we ever truly arrive in our own lives. As Shah Abdul Latif Bhittai quietly suggests through the wandering of Sassui, the path is not outside us, it is the awakening of presence within us. And as Pindar reminds us, we are not here to be eternal. We are here to exhaust the limits of the possible. The question is not how to escape mortality, but how to inhabit it so fully that nothing essential remains untouched. And so the final question is not philosophical, but intimate: Are we living as though time is infinite or as though every moment is unrepeatable?

Read: Lose yourself for Greater Cause

_________________

Raphic Burdo is public policy expert focused on impact of digital technologies on leadership, governance, education and markets

The post Shah Latif and Authentic Living first appeared on Sindh Courier.

Naveed Sandeelo

Through the character of Marui, it has been evaluated and analyzed the importance of human existence and its liberty. While explaining the main motto of this sur it has been also widely evaluated that how liberty is more important than slavery. It is necessary to have the cognition of human existence and desire for freedom.

This musical tune is replete with the spirit of patriotism, love of the people, maintaining old traditions, abstaining from tempting offers of strangers, and never to submit to the power and arrogance of strangers.

It is said that to defend their existence, people have many challenges. In this way they have to struggle and it requires sacrifice. In spite of it, Marui as an important character in the Risalo of Shah Abdul Latif Bhittai, to defend her existence has many challenges, whether it is from herself or out of herself especially Umar, the king.

It is commonly known that human being will never be satisfied with what he has already got. It can be seen that without feeling satisfied, human being always asks for something more. Not only this but one desires to live a life of liberty, without other’s enforced. For this he will always attempt to make everything better than present state. He will struggle to make himself liberate and to fit his imagination of what one should be. This condition shows human being superiority as it also means that human existence is always being, not as a finished or static one.

Marui was a poor ordinary rustic girl from the district Tharparkar. For her beauty and innocence, she was abducted and imprisoned by a nobleman, who fell in love with her. She is already betrothed to Maru. King Umar offered every kind of comfort what human hearts can crave or desire to win her love but utterly fails in. She rejects all and only wants to be free from his mansions. While remaining inside palace Marui cognizing reality of her existence says:

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

Then my relationship began,

my recognition too.

(E. Kazi 1981: 179)

Bhitai tends to say that, during imprisonment in the fort of Umer she comes to self-cognition of her origin, and thus she links her existence to that time when there was no existence of universe or Adam was created, her kinship started there. That, she promised with her land and people. She still bears this recognition of her existence. Like Sartre, Bhittai also overemphasizes the priority of existence over essence. Moreover, being a mystic-existentialist Bhittai goes beyond than Sartre an accepted concept, and re-associates Marui’s existence and promise with her people prior to coming into the world. She had cognition that she will never exchange her love of cottages to palaces. Here Bhittai provides Holy Quran’s verse to strongly support his concept.

When God was creating souls in the beginning He asked to them about Himself. When she heard the sacred and clear words of Him she promised with her Marus that moment she will never separate from them till last.

The voice on the day of creation,

as soon as I did hear,

“Am I not your God?”

“Yes you are” I said clear,

With a bond I did adhere,

That moment love to my compatriots.

(Adwani 2006: 341)

For Heidegger human existence “Dasien” is always in three modes: “Thrownness”, “historicity” and “facticity”. Same is happening with Marui. After kidnapped by Umar she finds her presence in “thrownness” situation inside the congested walls of king’s palace, she encounters facticity of the world and thus links her existence with its historicity where in actuality she belongs to. She realizes her own-self with different angle as compare to her prior position.

Here Bhittai divides Marui’s existence in two situations:

One with her people – Maru, when she lived a smooth and common life. But later on there comes a second phase in her life when she finds herself in confinement of Umar king. She is forcibly seized and taken away by king from her people to his palace. Thence, it begins to realize herself; from there she starts to fill the essence of liberation and emancipation in order to re-associate with her origin.

For Sartre the essence of man precedes his historically primitive existence in nature. A being whose existence comes before its essence is man, and in Heidegger’s words, the human reality. Moreover, Sartre states that, existence is prior than essence. It means that existence has priority over essence. Man first exists, comes into existence then he fills his essence through his struggle. He materializes in the world, encounters himself and later on defines himself (Sartre 2007: 22-23).

Sartre aims to stimulate in man the sense of his or her existence that how human beings becoming self-aware fill their essence. For Sartre, human existence has more meaning and priority over essence. Man’s definition comes after taking birth. As Mirza Ghalib rightly says that “Admi Ko Bhi Muyasar Naheen Insan Honan” (It’s not predestined to man to be human). There is nothing pregiven to male or female. But by their act all human beings shape themselves in the world. Here Bhitai coveys this message through Marui that while existing in the world every person has to be conscious of one’s thrownness situation, facticity and historicity. How to encounter everydayness like Marui that is a symbol and representing character in Risalo of Bhittai, and she has been created as a role model for every girl’s liberty and existence.

In the case of Marui Bhittai reveals a broader perspective and condition of human existence. The life of comforts and luxuries which create hurdles before genuine and free life are worthless. Human existence is the source of essence, that essence one lives according to one’s own choice as a subjective being. After coming into king’s mansion Marui becomes fully aware about her own existence and its authenticity. Coming up its reality she determines to free herself at any cost. The iron chains of slavery become the cause of her self-cognition and emancipation. She praises those days when she was in pains and torturous life. It seemed rains and storms roared above her threateningly.

Good were the days I passed in prison,

Thunder storms and rains on palatial,

My cries for help went undone;

How tortuous was that prison?

But lo: my love by chains of iron,

Was chastened and purified.

(Adwani 2006: 370)

Bhittai in the mouth of Marui tells that, those painful days proved to be good for me. While in prison all the deadly panic creating storms and my cries for help were meaningless. Those iron chains purified and renewed my love. Bhittai states that, pains and chains played an essential role to Marui’s life which made her revolutionary and prepared to fight for her liberation. Here Bhittai being an existentialist aims to bring out other dimensions of human life. That, it is not only name of comforts but in actual sense life is full of pains and tortures, every human being encounters during its journey. Being captivated inside the mansion walls Marui not only becomes aware about the reality of her existence but same time she knows the importance of pains and sufferings. She is fully determined to destroy and set on fire all these evil doers, hurdles and confining houses and slavery bound palaces, where not only Marui herself is confined but other females are also imprisoned. She seeks to liberate herself from the shackles of misery, unhappiness and injured condition.

Ingersoll argues that men do not prefer unhappiness to joy. It can hardly be said that man intends permanently to injure himself, and that he does what he does in order that he may live a life of misery. On the other hand, we must take it for granted that man endeavors to better his own condition, and seeks, although by mistaken ways, his own well-being…. Every human being prefers liberty to imprisonment (Ingersoll 1941: 80).

Marui’s longing and craving is for liberate Malir. She wants to emancipate her individuality and same time she aspires other females for freedom till her breath was lost.

In this struggle there are risks one takes on own self to fill the essence. Expressing this she fearlessly says:

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’.

(E. Kazi 1981: 181)

Bhittai states that, the sweet dream of all human beings is to obtain freedom. In the same way, Marui has all the time this dream and longing of returning to her birth place Malir – her desert village. She was betrothed to ‘Maru’ – her connection to her original place. This place is a symbol of peace, freedom and liberty where Marui enjoyed all the seasons of year, playful days freely with her girl- friends.

While remaining inside a palace of Umer she comes to know her captivity which becomes the cause of her grief and nausea. Because she has been deprived of her freedom and she is being exploited as a captive in the prison of suppression. Her body is fastened with chains, all the night she laments and cry for early freedom. In this way she identifies her real existence.

Muhngi aaha iha, kadanhn keraeendee kote khe!

I hope immensely, after all,

my sigh from deep of my heart,

Will destroy very soon slavery wall,

which torture and exploit me.

(Gurbaxani 2012: 335)

Sartre endorses this idea and he says “identity is the ideal of “one”, and “one” comes into the world by human reality. The in-itself is full of itself, and no more plentitude can be imagined, no more perfect equivalence of content to container. There is not the slightest emptiness in being, not the tiniest crack through which nothingness might slip in” (Sartre 1973: 121-22). While detached from her people and loved-one being of Marui discloses to her through the experience of boredom.

The milieu inside the mansion and everything presented around there nauseates her. She weeps and regrets her being here, that reads:

Would that I never had been born,

or died at birth” …. she says;

“O what a torture, shame and scorn

to Marus I became.

(E. Kazi 1981: 187)

Bhittai aims to clearly vivify that while remaining inside the palace Marui repents her existence that, it was better not take birth to be a slave. This has brought shame to her relatives and girl-friends. While detached from her people she feels tortureousness and pain. This feeling not only scorn Maru but this happens all the time to Marui herself. Sartre states, being will be disclosed to us by some kind of immediate access – boredom, nausea etcetera (Sartre 1973: 07).

Marui is overwhelmed by this anxiety that after returning to her native place she would not be accepted with honor and would be rejected. She knows that it is strong tradition of these people when any of their girls either leaves her home by choice or forcibly kidnapped is supposed to fall in adulterous act that brings misnomer or shame to her relatives and whole of the clan. This beautiful girl yearns for her land and her betrothed man and remains chaste up to the last, though her hair is dry and mal-dressed and she has lost her beautiful face. Bhitai very clearly has expressed this situation through Marui:

In the condition that I came

could I return in same –?

What glory, like a seasonal rain?

what joy would I reclaim?

(A. I. Kazi 1993: 724)

In respect of this, Bhittai again expresses the same situation which melts her heart. She thinks that after coming inside the Umar’s fort she has lost her previous position among her relatives and female friends. They will not give her any importance because nothing is worthy or accepted to them without character’s beauty and uprightness. She addresses to king that, your meanest act has doomed and dehumanized me.

Umar, my face so dirty is,

my beauty now is done;

And yet, I have to go where none

without beauty’s received.

(Gurbaxani 2012: 322)

Bhittai very clear brings out this reality that, Marui is fair and there is no mistake or fault from her side, yet she is anxious enough. She is passing a double torture, here in mansion she is oppressed by Umar who enforces her for marriage with him without her consent, and on the other side she is accused by their loved-ones she has betrayed them.

Umar, for me your mansions grand

a double torture are;

Here you torment me…. there, so far

loved-ones accuse me too.

(E. Kazi 1981:183)

At one place Marui gives utterance to her sentiments of love for her homeland and her people in the following manner. Addressing King Soomro she says:

It is impossible to forget my people

and not to cherish then in heart’s core

it is difficult not to remember them,

I feel a deep love and affection more,

my heart is pierced through a lot,

I have seen them long before;

my dears and hut-dwellers.

(Adwani 2006: 350)

Or she says with intense wound:

Marun je firaaqa, hada munhnja kapia.

By this separation of my people

I am cracked in pieces all my bones.

(Gurbaxani 2012: 339)

On other occasion, Bhittai exhibits Marui’s painful fantasy and extremely worried mood. She seems to be in a dubious situation that from her relatives and girl-friends have sent a very serious message.

My companions in reproachful mood,

sent me a message today,

“Oh silly, you perhaps have eaten

much of princely food,

All your friends and relations good

you have forgotten all.

(E. Kazi 1981:186)

Or at another place she is taunting herself says, it was much better for her to commit suicide by taking poison, rather than being blamed for disloyalty to her homeland. Bhittai expresses Marui’s such reproachful condition in this manner:

Hee munhn daee ban, tun wih khaee na mareen

Why don’t you die while taking poison?

for this life is better to die

Rather leading a life of delusion,

and false conscious living.

(A. I. Kazi 1993: 724)

Actually, the function of the kings or rulers are imparting justice to the commons, helping, protecting, and giving them every kind of better life; to provide security and to abide law around the country. Instead of this, strange to say, Umar abducts Marui. He becomes the cause of curse to her life. Enforces her to win her heart by lull and lure her by offering costly things, delicious foods and costumes. She utters thus:

Maru are living in ease,

on their support and trust;

If they oppress and hurt,

to whom would they complain?

(Adwani 2006: 371)

The main interpretation of this sur is already said a human existence and its liberty. In this sur Bhittai also aims to represent Marui the true seeker of her existence and its liberty as a responsible individual. And Umer king stands for tyrants, hurdles and risks in her way of freedom and liberty and Umerkot is a prison of absolute slavery or dark chamber of ignorance for seekers and knowers of their existence’s reality. When Marui becomes aware about this imprisoned state, she says:

Other prisoners are at peace,

we are restless in iron chain;

The guardian’s sword slain

which always is hanging over us.

(Adwani 2006: 350)

By putting these words into the mouth of Marui, Bhittai criticize surprisingly those women who are submissive and unaware of their being. While in chains they appear to be content with their lot without consciousness and freedom, as being-in-itself. Here Bhittai represents the collective conditions of that society where in the bright day poor females are kidnapped and ill-treated by tyrant nobles and feudal lords, but they don’t raise their voice and are content to be confounded with slavery of patriarchic norms, customs and conventions. They don’t complain and are content to bear every kind of debase and mistreat. They don’t feel about their real existence, and are neither restless nor discontented as Marui.

Bhittai discloses that Marui, as a conscious being, being-for-itself is dissatisfied with herself, and desires not-to-be what she is now, and desires to be what she is not. Like Sartre, Bhittai is trying to shed light upon the human condition, the condition of female and to show the crucial differences which separate Marui as a conscious being from other females as the casual, deterministic order of things.

According to Kierkegaard, it is true that a person’s existence is the most significant thing, as said by Wirahadi in reference to Dagun. His existence is not, however, the end. As humans constantly transform possibilities into reality, it is always in the process of becoming something. He enjoys his own freedom, which makes this process possible. As a result, human freedom exists in human activity, which in turn exists in human existence. In addition, he asserts that living involves having the courage to choose and direct one’s own course in life (Wirahadi 2008: 58).

Through the character of Marui, Bhittai aims to question the worst condition of other female’s that, why they have accepted confinement, and without consciousness, without possibility of questions or doubts they are living such a dead life? On the other side he shows that conscious being, in Sartre a concept, which has the power to separate itself from its objects, to distinguish itself from the realm of things, to question, to doubt, to entertain possibilities, to be aware of lacks. Sartre has separated being-in-itself and being-for-itself that, being is what it is… the being of for itself is defined, on the contrary, as being what it is not and not being what it is (Lavine 1984:354).

Therefore, she determines not to give up and challenges to the king. She makes herself strong enough and encourages herself not to be submissive, fragile or fallible but makes herself to be committed with her struggle with consistency. She encounters with every evil and resists to agonies and sufferings of imprisonment.

In contrast of common female, Bhittai’s Marui is a rebel one who not only becomes aware and complains about the bondage in which women are kept but tries to console herself in the atmosphere of injustice and turmoil message in action as a secret project. In this respect she makes herself strong at every step that, how to handle her secret project for a liberate future.

Don’t weep don’t cry don’t shed tears of dismay;

whatever days come to you let them pass away –

For after sorrow, the sweet joy comes to stay –

Oh desert maid know, your chain by destiny’s own sway

are moved, and now you throw them into the fire.

(E. Kazi 1981:189)

Bhittai in the mouth of Marui says, oh desert maid, don’t be disappointed nor regret on your part. Give up this way of shedding tears, weeping and wailing. Let your days pass silently and trust in this dialectical law that, for after sorrow comes joy. So pains and sufferings will stay no more before your greater cause, it will change one day into life of comforts and ease. Surely, you will entertain life of liberty and the chains of your slavery will soon be over.

This means a great deal of relief to her it comforts her to believe that one day assuredly she would meet her people. In this free and smiling desert land there is no force, no taxes but everywhere it looks a pleasant life.

Naka jhala na pal, nako raer deha men,

Aanyon wijhan aahreen, rorio rataa gulla,

Maro pana amula, Maliran markano.

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.

(E. Kazi 1981:183)

This act of constantly reminding oneself of Marui’s ultimate destination is existential awareness. This awareness not only prevents from trafficking into wrong direction and evil course of slavery, but it also strengthens her existential fiber and helps her to reach practically to her higher level of life. Despite many hardships and hurdles infallible Marui doesn’t suspend her decision but maintains herself for long lost struggle. She is tempted to her ultimate goal. She does not compromise her simple life for luxurious life of palace offered by Umar. Her deserted homeland and its every sight is not shame but dear and proud enough for this poor girl. Therefore, with the sense of pride she expresses openly her feelings in these words.

Eea na marun reet, jean sen mataen son te,

Achi Umar kote men, kandas kan kureet,

Pakhan jee pireet, mareen seen na matyan.

It is not the custom of my homeland’s people,

They compromise their love for golden things,

My poor dwelling, for the palatial buildings

I shall never ever to exchange.

(Adwani 2006: 347)

Bhittai as a soothsayer and prognosticator of humans liberate life, consoling her. During this she is made aware that, emancipation is neither gained by crying and shedding tears nor by wailing. It is possibly by action to get rid from shackled bound life. Therefore, Bhittai advises her, oh girl, whatever happens with you face it bravely and endeavour.

Because it is essence of life after sufferings and agonies there comes the life of comforts. All confinements, hardships and iron bars will be quailed and come to destruction. The darkness of ignorance and slavery sooner or later will be over. Nothing stands before lofty goal and incessant strive.

Marui’s association is with her land and people. She belongs in reality with them. Her people like grazing their cattle on wild flowers and tree leaves and are content in their own environment. She enjoys working hard and places little significance on wearing colorful clothing. She can’t wait to visit her fellow citizens. Marui begs her friends to say a prayer for her so she can return to her native Malir.

Karyan bi na kan, weendas watan samhun

I wouldn’t like to hear anything

or listen to any one,

Now it is final, and done,

I will go back to my Malir.

(Gurbaxani 2012: 322)

Bhittai here in Marui awakes that, man should remain steadfast in any difficulty and calamity and face it courageously, rather than cowardly lie idle depending on others. Though other human beings are necessary for change, still man should individually strive own. Even the Holy Quran, vide 53, 39, says: Laes lilnisan ila ma saee That is, there is nothing for a man except attempt. One should first depend on oneself and then rely upon others. The opportunity should not be missed, as a minor slip may cause a hundred hurts.

Marui is determined in her principle that she would liberate herself from the King’s exploitation and slavery of Umer Kot and achieve an atmosphere of freedom. She always considers herself one of the desert people, of whatever nature her people may be, she accepts them all and expresses her sentiment in the following manner:

Jeha je teha moon maroo manjya.

Whatever their defects or merits,

I am always prepared to embrace my people.

(Gurbaxani 2012: 335)

Or at another place she expresses her unique love for desert dwellings.

Thar thar andar thanu, wahiyan wereehan jo

At every place in the desert is destination

and abodes of my people, not small

Oh Soomro! thy name mentions they all,

and keeping chastity of my shawl,

I will go there to my land.

(Gurbaxani 2012: 316)

In remembering one’s land and people every day becomes a new day. Marui experiencing the same, as days are passing by over again it becomes a new love to her land and people; she exhibits this in the following way:

Dinhan deenhn naon, moon khe wirh werheechan jo.

Every day I experience a new love for my homeland.

(Adwani 2006: 361)

Marui is not only immensely desirous of meeting with her people till death but she wants to meet with them even after death. Regarding this, expressing the deep-rooted love for her land and countrymen speaking to Umar Marui says:

If I die here for my homeland,

let not my dead body remains in prison,

And send it to my homeland, Malir

don’t keep it apart from my loved- one

The cold dust shall sprinkle done,

on this deceased of my dear Thar.

(Adwani 2006: 354)

In Sartre a concept we can say that, man or woman is in a true sense a project that has a subjective existence that is not like a cauliflower or a something like that. But more than that he or she is responsible for what he or she is. His or her responsibility is not limited to one’s individuality but more than that he or she is responsible for all men or women. There are so many patches on Marui’s dress; (ref. ‘sahsen seba kanjreen, loee leera thyam’ Adwani 2006: 344) her covering is torn at various places. In order to reach her dear ones, yet she has not worn the shawl given by Umar. The shawl she was wearing still covers her head. She wishes in core of heart: may I protect

my honor until getting my liberation.

I wish the chastity of this shawl remain,

the white wool is woven on it,

If this becomes holes I shall maintain,

O Umar! safe this poor innocent,

“I will meet you in season of rain”

I have promised with my friends.

(Adwani 2006: 356)

Here Bhittai in Marui’s fearless struggle is not only over emphasizing on survival for her individual existence but more than this he is an aspirant of all human beings’ liberty and including wants to see them as a conscious being who can obtain their existential authenticity in the world. His Marui is self-conscious, untried, moving ahead and never turns back to leave her endeavour. Instead of that, she is day by day meticulous, determined and adhered to her struggle. As if she has learnt the lesson of struggle never goes fail.

Fire is burning within her whole existence; lightening sparks are glowing on her face, now she has transmuted from common girl to a rebellious spirit, inspiring daughter of soil and a torch bearer who pines for changing destroyed females’ destiny towards valued goal.

The gravity of her struggle orbits around the human existence. Thus Marui becomes successful in her project.

She is no more a miserable girl. Now she is a complete being, who, by a long and arduous fight, has come to know how to live in freedom and joy, how to live at peace with myself and with other human beings. Umar throws down all the weapons of his conceit and power before Marui’s strong will.

Ko deenhn aaheen kote men, loee had ma laah,

Kaman awahn je kur jee, uho aado wadaee aah

Hit ma parj hekro, paer je pasaaha,

Satee seel nibah, Malir weendena Marui.

Don’t dishonor to shawl by any stain,

this prison confinement is timely abode,

Oh Marui, it is worthy wearing of your clan,

don’t equal mansion’s days to your Thar,

Oh virgin! your chastity must remain,

One day you will definitely go to Malir.

(Gurbaxani 2012: 332)

_________________ 

Naveed Sandeelo is a poet, writer and critic, and Lecturer at Department of Philosophy University of Sindh Jamshoro. He is author of five books: three books are on the subject of philosophy. Doing PhD at the department of Philosophy University of Karachi.

Read: A Journey Toward Intellectual Awakening

The post Human Existence and Liberty: Marui of Malir first appeared on Sindh Courier.

• From the Indus Valley Civilization through Shah Latif’s time, and down to the present, the Sindhi language has carried forward this astronomical folk knowledge

Aziz Kingrani

For thousands of years, various traditions about stars and constellations have been linked to Sindh’s folk wisdom. Among these celestial features are “Katti” (Pleiades or seven stars), “Teru”  (Three stars) , “Khat” (Cot) , “Vichhoon” (Scorpio), “Kheer Dhăra” (the Milky Way), the Pole Star, Suhail Tăro (Canopus), Suhăo Tăro (Morning Star), Vihao Tăro (Evening Star), and Ludhō or Ludhă Tăra (Twin Stars). Shah Latif, in his poetry, has referenced the stars and constellations such as Kati, Teṛu, and Ludhă Tăra in accordance with folk knowledge—not only metaphorically to convey beauty and brilliance but also to convey indigenous astronomical understanding.

In folk wisdom, especially regarding stars, various opinions and traditions exist. Before scientific knowledge about celestial bodies became widespread, the bright star seen before dawn was known as the Suhao Tăro (Morning Star), and the star appearing after sunset was called Vihão Tăro (Evening Star).

Folk tradition holds that the appearance of Katti signals the fading of night. Ludhă Tăra, also known as twin stars, refers to Castor and Pollux in English. These are among the brightest stars in the sky. Other notable stars include Canopus (Suhail Tăro), the Pole Star, the Morning Star (Venus), and the Evening Star (also Venus). Venus appears in the east before sunrise and in the west after sunset, hence it’s referred to as both Morning and Evening Star. The name Vihăo is associated with the daytime movement of Venus.

Shah Latif used the twin stars (Ludhă Tăra) as metaphors in his poetry. In the twin-star pair, Pollux is the brighter one, but these stars do not appear in the morning sky. In some folk accounts, Ludhă Tăra follows Katti and can be seen in the northern sky. According to folk wisdom, Shah Latif compared the brightness of these two stars with the beauty of a beloved. Though Ludhă Tãra appears at night and not at dawn, it’s possible that in some regions of Sindh, folk traditions believed it rose in the morning, and Latif may have used the word Subuh (dawn) in that context. More likely, he used Subuh (dawn) metaphorically to describe brilliance or radiance, as the twin stars are remarkably bright and colorful.

In his Sur Kanbhăt, Shah Latif writes:

“Tăra teli rooe, Ludhă lălan ubhreen

Jahro toon subooh, tahro săfi sajaren”.

Latif also refers to the constellations Katti and Teṛu, using them in a temporal sense in accordance with folk astronomy:

“Katyun karu moriya, teru ubha taee,

Răno răt na aăeyo, vel tari vaee,

Khoe să khăňi rătiri, jă preen ree paee,

Monkhy daon daee, waji dholiyo dhat qarăriyo”.

In the early 18th century, Shah Latif brought to poetic expression the indigenous astronomical knowledge and traditions that had existed in Sindh since the era of the Indus Valley Civilization. Symbols resembling constellations and stars appear on seals from that era, written in the Indus script seals.

In Proto-Dravidian and Dravidian languages, the word mìn refers both to “fish” and to “bright, sparkling, white, golden, or silvery” things. In Sindhi, mín or meen carries similar meanings: fish, brightness, shine, gold, silver. The compound “son meen” (golden silver or fish) and the term meenakari (enamel art on gold/silver) are still used in Sindhi. Scholar Asko Parpola and others have interpreted mîn as representing a bright star. Lines or strokes beside the fish sign in Indus script likely indicate numbers.

Parpola links the seven stars (possibly the Pleiades) seven sages and connects Teeṛu with month of fish-like zodiac avatars in Tamil culture. However, these interpretations are not rooted in the religion or language of the Indus Valley era.

In my own work, I’ve interpreted Teeṛu in current Sindhi folk tradition as a constellation visible in June and July. The seven-star interpretation in Sindhi tradition refers to Katti, which also corresponds to the second month of the Sindhi calendar—important for the sowing season, when crops like onions, millet, sesame, cluster beans, and others are planted.

The interpretation of the twin stars Ludhă Taăa also follows folk tradition. Symbols on Indus seals reflect that these star groupings were known and held significance in the Dravidian languages of the time. However, what these stars were called in those languages remains unknown, unless the Indus script is fully deciphered.

From the Indus Valley Civilization through Shah Latif’s time, and down to the present, the Sindhi language has carried forward this astronomical folk knowledge. Still, the current names of constellations in Sindhi are not inherited from Dravidian languages. Even among modern Dravidian languages like Tamil, Telugu, Kannada, Malayalam, Gondi, Brahui, etc., the ancient names during IVC for these constellations are no longer in use.

In conclusion, Shah Abdul Latif Bhittai touched upon the folk wisdom related to constellations in his poetry. His use of these metaphors demonstrates his deep connection to the common people and reflects his stance alongside them.

Read – Deciphering the Fish Sign: A New Perspective

_________________

Aziz Kingrani, hailing from village Haji Manik Kingrani, Johi, Dadu District, Sindh, Pakistan, is poet, short story writer, playwright and a researcher. He has been contributing in the fields of history and literature. He has served as a professor as well. His 17 books are published in English and Sindhi language. 

The post Constellations, Bhittai and the Indus Script first appeared on Sindh Courier.

This article is based on conversation with ChatGPT

Nasir Aijaz

The region of Sindh, located along the Arabian Sea (Sindhu Sagar), has a rich history that dates back thousands of years, serving as a crucial hub for maritime commerce. Its strategic coastal position facilitated extensive trade networks that connected the Indian subcontinent with civilizations in Mesopotamia, Persia, the Arabian Peninsula, and East Africa. This article explores the key aspects of Sindh’s ancient marine trade and highlights the contributions of the renowned Sufi poet Shah Abdul Latif Bhittai, whose works reflect the cultural and historical significance of this trade.

Key Aspects of Ancient Maritime Trade in Sindh

Indus Valley Civilization (c. 3300–1300 BCE)

The port city of Lothal, while located in present-day Gujarat, India, had extensive trade links with Mesopotamia, evidenced by the discovery of seals inscribed with Indus script found in Mesopotamian ruins. Similarly, the city of Dholavira demonstrated maritime trade connections. The people of the Indus Valley Civilization (IVC) constructed large boats for coastal and riverine trade along the Indus River and beyond.

Trade with Mesopotamia (c. 2500 BCE and after)

Ancient ports in Sindh, such as Debal, played a significant role in exporting goods like cotton, timber, ivory, beads, and spices. Mesopotamian records reference a land called Meluhha, widely believed to correspond to the Indus Valley Civilization, indicating a vibrant trade relationship.

Arab and Persian Influence (Post-2000 BCE)

The Persian Empire, particularly during the Achaemenid period, integrated Sindh into its extensive commercial network. Following this, Arab traders utilized Sindh’s coastal ports as critical stopovers for journeys to India and Southeast Asia.

Greek and Roman Trade (c. 300 BCE – 500 CE)

The arrival of Alexander the Great in 326 BCE marked the beginning of Greek involvement in Sindh’s trade. The Periplus of the Erythraean Sea, a 1st-century CE Greek text, describes Sindh as an essential center of commerce, with ships navigating between the Red Sea, Persian Gulf, and Indian Ocean.

Buddhist and Hindu Kingdoms (Gupta and Pre-Islamic Era, c. 300–700 CE)

Under the Gupta and subsequent Hindu dynasties, Sindh remained a vital maritime trade hub. Ports like Debal and Barbarikon (near Karachi) facilitated trade with China, Southeast Asia, and the Persian Gulf.

Islamic and Arab Conquests (c. 700 CE onwards)

The conquest of Sindh by Muhammad bin Qasim in 711 CE established Arab control over its ports, transforming Sindh into a gateway for Islamic expansion into South Asia. The region’s trade flourished under Arab rule, linking it with the broader Islamic world, including Baghdad and the Mediterranean.

Commodities Traded from Sindh

Sindh’s strategic location allowed it to become a significant center for early maritime trade, exporting commodities such as cotton, textiles, ivory, spices, semi-precious stones, and timber. In return, it imported gold, silver, horses, perfumes, glassware, and ceramics, shaping the economic and cultural landscape of the region for centuries.

Shah Abdul Latif Bhittai: The Poetic Voice of Sindh’s Maritime Culture

Shah Abdul Latif Bhittai (1689–1752), the celebrated Sufi poet of Sindh, intricately woven the themes of maritime trade into his poetry, particularly in his seminal work Shah Jo Risalo. Through symbolic and metaphorical language, Bhittai depicted the lives of traders, sailors, and seafarers, emphasizing their struggles, journeys, and profound connection with the sea.

One of the most notable sections of his poetry is “Sur Samundi” (Sur of the Sea Voyagers), where he vividly describes the hardships and risks faced by Sindhi traders and sailors navigating the Indian Ocean. He highlights their resilience and courage, using the sea as a metaphor for life’s journey and divine love.

In some other Surs also Bhittai touches upon themes of riverine and maritime travel, where the imagery of boats and rivers reflects the economic and cultural reliance on waterways.

While Bhittai may not be a historian in the conventional sense, his poetry serves as a valuable cultural and historical source, offering insights into Sindh’s maritime activities, trade routes, and the lives of seafarers during his time. His works resonate with the spirit of Sindh’s rich maritime heritage, capturing the essence of a society deeply intertwined with the sea.

Conclusion

The ancient maritime trade of Sindh played a pivotal role in shaping the region’s economic and cultural history. From the Indus Valley Civilization to the Islamic conquests, Sindh’s ports facilitated a vibrant exchange of goods and ideas across vast distances. Through the poetic lens of Shah Abdul Latif Bhittai, we gain a deeper understanding of the maritime culture that flourished in Sindh, highlighting the resilience and spirit of its people. His legacy continues to inspire and illuminate the historical significance of Sindh’s maritime trade, reminding us of the enduring connection between culture, commerce, and the sea.

While he vividly portrays the maritime trade, its perils, and its significance, calling him the first historian of Sindh’s marine trade would be a stretch. Historians typically document events with factual analysis, dates, and records, whereas Bhittai’s work is poetic and allegorical, using maritime themes to convey spiritual and moral lessons. However, his poetry provides valuable historical insights into Sindh’s maritime activities, trade routes, and the lives of seafarers during his time. So, while he may not be a historian in the conventional sense, his work serves as an important cultural and historical source for understanding Sindh’s marine trade.

Read: THE PORTUGUESE, THATTA  AND THE EXTERNAL TRADE OF SINDH, 1515-1635 

_____________

AI-Augmented Article

The post Bhittai and the Ancient Maritime Trade of Sindh first appeared on Sindh Courier.

• The global interest in Shah Abul Latif Bhittai is not merely academic; it reflects a broader cultural appreciation for Sufi literature as a vehicle for understanding love, spirituality, and the human experience

Sindh Courier

Shah Abul Latif Bhittai, widely regarded as one of the greatest Sufi poets of the Sindh region in present-day Pakistan, has left an indelible mark not only in South Asian literature but also across the globe. His seminal work, the Shah Jo Risalo, is a collection of poetic verses that encapsulate profound spiritual themes, folk tales, and the rich cultural heritage of Sindh. Over the years, various publications about his life and poetry have emerged in different countries, reflecting his universal appeal and the relevance of his messages in diverse contexts.

The Essence of Shah Abul Latif Bhittai’s Work

Born in 1689 in Hala, Sindh, Shah Latif’s poetry explores themes of love, divine connection, and the human condition. His verses often draw on regional folklore and Islamic mysticism, making them both rooted in local culture and resonant with universal human experiences. The emotional depth and spiritual insights in his poetry have inspired scholars and literary figures worldwide.

Global Publications about Shah Abul Latif Bhittai

Pakistan

In Pakistan, numerous editions of Shah Jo Risalo have been published, accompanied by scholarly analyses and commentaries. These publications aim to preserve his legacy and introduce his work to younger generations. Various Urdu and Sindhi translations highlight the oral tradition of storytelling that Shah Latif espoused. Notable Pakistani authors and scholars, such as Muhammad Dero and Bhittai’s biographers, continue to explore his life and philosophy.

India

In India, particularly in the Sindhi diaspora, Shah Latif’s work has been widely celebrated. His poetry has been translated into Hindi and Urdu, often accompanied by commentaries that contextualize his themes for contemporary readers. Events and literary gatherings often feature discussions on his influence on the mystic traditions of India, showcasing his relevance across cultural boundaries.

United States and Europe

In the United States and various European countries, scholars have researched and published works on Shah Latif, often within the broader discussion of Sufism and its literary traditions. Academic publications analyze his contributions to mystic poetry, drawing parallels between his work and European Romantic poets. For instance, books like “Shah Abdul Latif Bhitai: A Sufi Poetic Vision” delve into his poetic style and themes, offering English-speaking audiences insights into his profound philosophy.

Middle East

In the Middle Eastern region, Shah Latif’s poetry has found resonance due to its Islamic themes and Sufi messages. Publications showcasing mystical poetry often include translations of his verses, contributing to intercultural dialogues about spirituality and literary expression.

Translations and Adaptations

Translating Shah Latif’s work has been a challenging but rewarding endeavor. The lyrical quality of his poetry, which often relies on the musicality of the Sindhi language, poses difficulties in translation. However, several dedicated translators have taken on this challenge, producing works that aim to capture both the essence and depth of his themes. Noteworthy translations include the collaborative efforts of researchers and poets who strive to adapt his verses into English, Punjabi, and other languages.

Bhittai’s work has inspired many scholars and translators worldwide. Here’s a list of some of the books about him and his poetry that have been published in different countries:

Pakistan

Shah Abdul Latif Bhittai: His Life and Poetry – A detailed exploration of his life and works with scholarly insights into his poetic themes.

Sufi Poetry of Shah Abdul Latif Bhittai – A compilation of his poems, often translated into Urdu and English.

India

Shah Abdul Latif Bhittai: The Poet of Sindh – This book focuses on his poetic contributions and their significance in the broader context of Indian literature.

Latif’s Letters – A collection of writings and reflections on Bhittai’s influence on various spiritual and artistic movements.

United States

Shah Abdul Latif Bhittai: Translation and Interpretation – A collection of translations with contextual analysis of his poetry, exploring themes of love and spirituality.

Songs of the Spirit – Featuring translations of some of Bhittai’s most famous verses, along with commentary on his life.

United Kingdom

Whispers of the Heart: The Poetry of Shah Abdul Latif Bhittai – An anthology of his poetry along with essays that delve into his mystical philosophy and literary contributions.

Roots of Sufism: Shah Abdul Latif Bhittai and His Legacy – A critical review of Bhittai’s impact on Sufism and his enduring influence in contemporary spiritual discourse.

Canada

The Heart of Sindh: Selected Poems of Shah Abdul Latif Bhittai – A bilingual edition with poems in Sindhi and English, aimed at introducing his work to a broader audience.

Beyond Borders: Shah Abdul Latif Bhittai and His Mystical Vision – A scholarly work analyzing the universal themes present in his poetry.

Australia

Luminous Verses: The Sufi Poetry of Shah Abdul Latif Bhittai – An engaging interpretation of his poems for readers unfamiliar with Sufi literature.

Echoes of the Soul: Celebrating Shah Abdul Latif Bhittai – This book discusses the cultural and spiritual context of Bhittai’s work.

These titles reflect a small fraction of the international interest in Shah Abdul Latif Bhittai’s poetry and philosophy.

Cultural Impact and Legacy

The global interest in Shah Abul Latif Bhittai is not merely academic; it reflects a broader cultural appreciation for Sufi literature as a vehicle for understanding love, spirituality, and the human experience. His poetry has inspired countless artists, musicians, and poets around the world. Festivals celebrating his life and work, such as the Bhittai Mela in Sindh, attract participants from various cultures, emphasizing the enduring legacy of his message.

Conclusion

Shah Abul Latif Bhittai remains a beacon of spiritual wisdom and artistic expression. As his poetry continues to be published and celebrated in diverse contexts worldwide, it serves as a reminder of the power of words to transcend cultural boundaries and touch the hearts of people from all walks of life. His legacy thrives through the translations, scholarly works, and artistic adaptations that keep his spirit alive, inviting new generations to explore the depths of Sufi thought and the beauty of Sindhi culture.

(AI-Generated Article published on experimental basis)

Read: American Scholar Dedicates His Ph.D. to Shah Abdul Latif Bhittai

___________________

Read: Bhittai in India

The post Bhittai: The Sufi Poet of Sindh and His Global Literary Influence first appeared on Sindh Courier.

“Their sails are set, ropes new, and oars of ivory,

Loaded with goods the seafarers have commenced their voyage,

O Unique Allah, let them reach their destination safely.”

(Shah Abdul Latif Bhittai)

[About three hundred years back, Shah Abdul Latif Bhittai (1689/1690 – 21 December 1752), the Great Sufi Poet, sung the Vanjaras, the sea traders of Sindh, in his poetry. He used the word Vanjara for the seafarers. The above verse has been taken from the Bhittai’s poetry. A Sikh writer, however, has used the word Vanjara for the wandering Sikh traders. Sindh Courier is reproducing the article]     

RATTAN SINGH (SIRPENTAPOTAMIA)

Editor’s note: The text shared here is a translation of the Vanjara section of Piara Singh Padam’s Sikh Sampradavali. Below are some figures controversially mentioned as Vanjara by Piara Singh Padam but it is the opinion of the author that two of these figures are likely Rajputs.

Introduction

The Vanjaras are a caste of wandering merchants who primarily live in states such as Andhra Pradesh, Telangana, Karnataka and Madhya Pradesh; they are distinguished by their proximity to Sikhism. Although, some Vanjaras are not Sikh themselves; the vast majority are Nanakpanthis and have a strong connection to Hazur Sahib as a pilgrimage site. There is also a large growing minority that initiate themselves into the Khalsa by taking pahul.

Piara Singh Padam’s ‘Sikh Sampradavali’ describes them as:

ਵਣਜਾਰਾ ਜਾਤੀ, ਭਾਰਤ ਦੀ ਪੁਰਾਣੀ ਚੱਕ੍ਰਵਰਤੀ ਵਪਾਰੀ ਜਮਾਤ ਹੈ ਜੋ ਕਿ ਸਦੀਆਂ ਤੋਂ ਘੁੰਮ ਫਿਰ ਕੇ ਹਰ ਥਾਂ ਹਰ ਚੀਜ਼ ਪੁਚਾਉਣ ਦਾ ਕਾਰਜ ਕਰਦੀ ਰਹੀ ਹੈ। ਇਸ ਦੀ ਪ੍ਰਫੁੱਲਤਾ ਦਾ ਵੱਡਾ ਸਬੱਬ ਇਹ ਬਣਿਆ ਕਿ ਵੇਲੇ ਦੀ ਹਰ ਸਰਕਾਰ ਨੂੰ ਫੌਜ ਦੀ ਲੋੜ ਲਈ ਤਰ੍ਹਾਂ ਤਰ੍ਹਾਂ ਦਾ ਸਮਾਨ ਸਮੇਂ ਸਿਰ ਮਿਲਣਾ ਜ਼ਰੂਰੀ ਸੀ ਤੇ ਇਹ ਠੇਕੇਦਾਰ ਵਪਾਰੀ ਹੀ ਇਸ ਤਰ੍ਹਾਂ ਹਰ ਮਾਲ ਮੁਹੱਈਆ ਕਰਨ ਦਾ ਮੁਕੰਮਲ ਪ੍ਰਬੰਧ ਕਰ ਸਕਦੇ ਸਨ।

The Vanjara caste is India’s old wandering merchant class that has been wandering for centuries, fulfilling the duty of delivering everything to every place. The main reason behind their prosperity is that it was important for every government to receive various kinds of goods and only these contracted merchants could fulfil those requirements.

‘The Vanjaras’ by @SirPentapotamia.

A description of the Vanjaras, a group of wandering traders, using translations from Piara Singh Padam's 'Sikh Sampradavali.'

LINK: https://t.co/fOTE4KLUUq pic.twitter.com/QWVAr1sNlB

— The Khalsa Chronicle (@KhalsaChronicle) January 29, 2024

Although they were wandering traders, they were not the only ones that were involved in the wandering trade business. Lubanas were salt traders, who eventually intermarried into Vanjaras depending on the location. Other trading castes like Khatris and Banias were occupied with more administrative-based tasks and foreign trade.

Mention in Sikh texts

The Sri Guru Granth Sahib itself contains many mentions of Vanjaras. It is mentioned by Guru Nanak Dev Ji, Guru Amar Das Ji, Guru Ram Das Ji and Guru Arjan Dev Ji, alongside Bhai Gurdas. All of these mentions use Vanjaras as a metaphor for devotees and is often juxtaposed with the role of the Shah, as an administrator. One of the more interesting usages come from Guru Nanak Dev Ji’s bani:

ਆਪੇ ਜਾਣੈ ਆਪਿ ਪਛਾਣੈ ਸਭੁ ਤਿਸ ਕਾ ਚੋਜੁ ਸਬਾਇਆ ॥੧੧॥ ਆਪੇ ਸਾਹੁ ਆਪੇ ਵਣਜਾਰਾ ॥

He himself knows and He himself realizes; this whole world is all his play. He is the Shah and He is the Vanjara.

There is also an early pothi of the Adi Granth called the Vanjara pothi, dated to 1601. They may have played an important role as custodians of this pothi hence their naming after it. This allows us to see how early the Vanjaras had an impact in Sikhi, finding mention among the earlier Gurus alongside Bhai Gurdas.

Famous Sikhs

In his book, Piara Singh Padam mentions five great Vanjaras:

(੧) ਮੱਖਣਸ਼ਾਹ ਲੁਬਾਣਾ (Makhan Shah Lubana)

(੨) ਲੱਖੀ ਸ਼ਾਹ ਵਣਜਾਰਾ (Lakhi Shah Vanjara)

(੩) ਨਗਾਹੀਆ ਸਿੰਘ (Naghia Singh)

(੪) ਭਾਗੂ ਵਣਜਾਰਾ (Bhagu Vanjara)

(੫) ਭਾਈ ਮਨੀ ਸਿੰਘ ਪੁਆਰ ਤੇ ਉਸਦਾ ਬੰਸ (Bhai Mani Singh Puar and his descendants)

Makhan Shah Lubana

Makhan Shah Lubana was a resident of Muzaffarbad, Kashmir and born in a Nanakpanthi household, since his great-grandfather. Makhan Shah Lubana was born in 1646 and propagated Sikhi using his resources as a wealthy trader.

Lakhi Shah Vanjara

Lakhi Shah Vanjara was from Khairpur, Alipur and being rich, he lived in Delhi. His eight sons were all devout Sikhs. His family including his son, Naghia Singh, and other sons were involved in the plan to cremate Guru Tegh Bahadur without alerting the Mughal authorities.

Naghia Singh

Naghia Singh was the eldest son of Lakhi Shah Vanjara and he went from Delhi to Amritsar upon hearing about the Mughal army’s attack there. On the 29th of March 1709, he was martyred whilst fighting in Amritsar.

Bhagu Vanjara (Bhagwant Singh)

Bhagwant Singh was an important supplier of Mughal armies in the Deccan. Since Aurangzeb was impressed with his work, he gave him an official rank with 5000 soldiers. As the situation changed, Bhagwant Singh joined forces with the Yousafzais to form a breakaway state on the Mughal-Afghan frontier, near Bannu called Bangash. Aurangzeb stripped him of his rank but he continued to aid Aurangzeb so he later restored it, alongside the soldiers, a horse and an elephant. He later aided Banda Singh Bahadur and hid him to save him from the Mughal armies.

Bhai Mani Singh Puar and his descendants

Bhai Mani Singh is an exalted figure in Sikhi; he had been in service of the Gurus since Guru Har Rai Ji. He was a great scholar and also fought in many battles. Bhai Mani Singh’s grandfather, Ballu Rao had experience fighting in Guru Hargobind Ji’s army. His brother, Bhai Dyala, was killed alongside him in Delhi. Alongside this, three of his sons were killed at Chamkaur and his son, Bachittar Singh, famous for spearing a drunk elephant during a skirmish with the Mughals.

Although, Piara Singh Padam refers to both Bhai Mani Singh and Bhagwant Singh as Vanjaras, both their identities are debated. Some suppose them to be Rajputs and others suppose Bhai Mani Singh to be a Kamboj so the topic remains a fierce debate as of yet.

Also read: The Sikhs Demand Their Homeland – Overview of the Book

_______________________________

Courtesy: The Khalsa Chronicle (Posted on Jan 29, 2024)

The post Vanjaras – The Wandering Traders first appeared on Sindh Courier.

By Aruna Jethwani

Recently (In 2006), I traveled to the interiors of Banni (Kutch), to experience Shah Latif’s Sindh. To live in ‘Bhongas’, to hear rare original Sufi Kalaams, to witness the unique feature of Sindhi poetry ‘Gujarat’, and to warble with “Wai” sung by jats, the camel riders, who in their black robes sing crescendos, pouring the wisdom of Shah Abdul Latif. In the process, I stumble upon the riches of Sindhi culture. It is a treasure mine, with the richness of language, synthesis of religion and beauty of spirituality of Sindhi language; its alliteration, its idioms, its symbols, and extensive repertoire of words with the same meaning is mind boggling. There are more than 20 words for camel and more than 9 words for water.

The vast spectrum of the language in itself is a matter of great pride. Wah, Wah! I am certainly proud to be the inheritor of the richest oxygenated language in the world! Perhaps few of us know, that the oldest musical instruments ‘Bhorindo’ and ‘Chaang’ originated in Sindh. The folk music to which ‘Shah-jo-Rasaalo’ is strummed to is comparable to the best in the world. Hear the musicians at Hodka outpost under the starlit moonless night, and you will know that the rap and the tap and harp are pale imitation of the Sindhi energy.

The folk music to which ‘Shah-jo-Rasaalo’ is strummed to is comparable to the best in the world.

While it is true that ‘Rig Veda’ was written on the banks of Sindhu river; Rohiri and Sukkar were seats of legendary saints and ‘Manjhdan’ and ‘Halla’ durbars were riddled with miracles, the true spirituality lay in its Sufism, a spirituality of love without boundaries and barriers. A semblance of this I found in the oasis of Banni.

In a hamlet a Hindu saint Ram Dev Bapu has many Muslim devotees just as some Hindus worship at the local Durgah at the same place. The religion did not matter, so long you spoke the same language and had the same Sindhi soul.

“Sindhi woman is the soul of Sindh” often said Sadhu Vaswani

All this makes me proud, but more than that it makes me wise. As a small child I lived with a philanthropic Gujarati family. The neighbors called us ‘Nirvasi’ – homeless. They treated us outcaste, because we were non-vegetarians, wore leather chappals at home and did not wash clothes every day. I used to feel miserable. Later the convent education and few Methodist classmates mocking at our gurus and religious icons made me feel ashamed of my Sindhiness. A Zoroastrian friend used to say if you meet a Sindhi and a snake, kill the Sindhi first. It is only when I moved to Bombay and Poona and mingled with the community that I realized that Sindhis are basically spiritual and philanthropists; they are homely and responsible. Sindhi men are clean and sincere, and Sindhi women no one can beat.

I still remember and cherish the spiritual glow on my mother’s face-fair and beautiful, the positivism of faith written large, which helped the family to survive the partition; the open hearted hospitality, even when we were going through rough trough; the courage to face the impossible. “Sindhi woman is the soul of Sindh” often said Sadhu Vaswani, who glorified the spirit of Sindhi womanhood in many of his talks.

Today I can raise my head high and tell the world that being a Sindhi woman is a rare privilege, because we are the inheritors of a rare kind.

_________________

Courtesy: Sindhi Shaan (Oct-Dec 2006 issue)

The post The Inheritors of a Rare Kind first appeared on Sindh Courier.