The Hierarchy of Saints: In Words of Mevlana Rumi [Masnavi Volume II, Verse 815]
Once Rasoolallah’s [SAW] unmatched greatness is agreed.
Hence if you praise any faithful [Momin], it cannot cause envy.
Behold! In every era, there is a Wali [Saint]
The people are on trial till the Resurrection.
Whosoever has a good nature is saved, But one with frail heart is broken.
The Saint, is the living Imam, who appears in every age,
Whether he be a descendant of Umar R.A. or Ali R.A [1]
He is the God-guided one (Mahdi) and the Guide (Hadi) [2]
He is both disguised and present before you
He is as the Light of the Prophet [SAW], and Universal Reason is his Jibreel
His subordinate saint receive illumination from him, like a lamp.
The Saint below this “lamp” is as the lamp-niche: as Light has grades of intensity [3]
For the Light of God has seven hundred veils: hence the veils of the Light has so many tiers too
Behind each veil a certain class of Saints has its abode: the veils mount tier after tier up to the Imam. [4]
The light that is the life of the topmost rank is painful and insupportable to one beneath;.
Yet, by degrees, his squintness in eyes reduced; and when he has passed through all seven hundred veils, he becomes the Sea.
The fire that is good for iron or gold—how can it be good to ripe, quinces and apples?
The apple and quince have only slight crudity : unlike iron, they want a gentle heat;
But those flames are too mild for the iron, which easily absorbs the glow of the fiery dragon.
What is that iron? The self-mortified dervish: under the hammer and the fire he is red and happy.
He is the chamberlain of the fire, in immediate touch with it: he goes straight into the heart of the fire.
Therefore he is the Heart of the world, for through heart, the body performs its proper function.
All individual hearts are as the body in relation to the universal Heart of the Saint.
– Above Translation inspired by Prof. Reynold A. Nicholson
[1] Rumi here reinforce the uninterrupted succession of great Sufi saints, who have no common ancestry [i.e. can be from Hazrat Umar or Ali, which contradicts with Shiite doctrine] except their purely spiritual descent from the Prophet in virtue of the “Light of Mohammed” (Nur-i Muhammadi) immanent in them all.
[2] The Qutb is a “Mahdi” and a “Hidden Imam,’ but only in the sense that he is the Divinely-guided Perfect Man who makes others perfect (Kamil u Mukmil), and that although seen by many he is recognised by few.
[3] “The lamp-niche” (mishkdt) alludes to a celebrated verse of the Qur’an (XXIV, 35): “Allah is the Light of the heavens and the earth; the likeness of His Light is a niche wherein is a lamp.”
[4] The Hadith concerning seven hundred (or seventy thousand) veils of light and darkness which conceal the Face of Allah is expounded by Ghazali in his Mishkdt al-Anwar. See Gairdner’s translation, 88-98. The light-veils correspond to various degrees or levels of saintship.
A Bedouin came to Rasool-ul-Allah S.A.W. and said that he has little prayers and fasts, but he loved Prophet and want to be with him in Paradise.
Prophet S.A.W smiled and replied, “All of us will be with whom we love”.
When Abu Bakr heard Prophet this saying, the greatest Ashiq-e-Rasool, he went to ecstasy and start Whirling.
Naqshbandi Sufi Order stems from Hazrat Abu Bakr, the first whirling Sufi of Islam. I had the honour to be invited by Shaykh Nazim (May Allah bless his soul) who were the head of Naqshbandi Order.
In Kashf ul Mahjoob , Hazrat Ali Hujwiri R.A. narrates story of a pious women, who with her husband used to work for a aristocrat. Once the aristocrat thought of taking advantage of her and sent her husband to some work outside the city. Then he asked her to close all doors of the mansion. She come back and replied:
“I have closed all doors, except one”
“I asked you to close doors”, responds the aristocrat.
“That’s the door between myself and Allah that will never be closed”
Upon hearing this, the aristocrat repented to Allah on his action and begged her for forgiveness.
The story goes that a Sufi master used to manage food distribution (langar) for needy at a shrine. Once he had to visit another city and asked one of his pupils to manage langar in his absence.
His pupil, wise and astute Sufi himself, asked him, “Do you want to distribute using Allah’s way or Muhammad S.A.W. way”.
The Sufi teacher was puzzled but thought there is nothing greater than Allah, so he told him to follow that.
When the Sufi master returned, he was shocked to see a complete chaos. Some people went without food, while others have to sleep starved and deprived.
He called for his Pupil whom he delegated this and asked how did he manage the distribution in his absence.
“As you said, I used the distribution way of Allah”, replied the wise pupil. “Since he is Al-Samad (be-niyaaz in Urdu) , there were people who have wasted, while others went with hunger”
The master smiled and advised, “Next time please follow Muhamad S.A.W’s distribution since we humans can indeed never have such divine characteristic”.
It is said that Mughal Emperor Jalaluddin Mohammad Akbar asked Tansen, his court singer and one of his ‘nine jewels,’ if he was the most melodious person on earth.Tansen responded that his mentor Swami Haridas was one.Akbar expressed his desire to have Swami Haridas in his court but Haridas was fond of seclusion and didn’t prefer being in royal courts.The emperor was left with no other option but to visit Haridas’ monastery himself.Akbar waited for days but Haridas wouldn’t sing. As Tansen had said, Haridas sang only when it pleased him.
At last, Tansen thought of doing something about it — he started singing and deliberately hit a wrong note in between.
Haridas wouldn’t remain silent anymore. To correct Tansen, he started to sing. And everyone, including Akbar, was in an awe of his mesmerizing voice.
“Tansen! You were right, Swami Haridas is the most melodious singer in this world,” Akbar admitted.
“This is because he sings when he hearts says, not per command of emperor like myself” responded Tansen.
Akhian Nu Rehn De Akhian De Kol Kol Chan pardasiya Bol paawain na bol
Reshma voice is regarded as the most god-gifted and natural. She was never trained, and lived a life of nomad, grazing cows, until discovered by Pakistan TV! Akhian Nu Rehn De by Reshma can easily be one of the most beautiful Punjabi Folk songs ever. Extremely touching in verse, read lyrics below as you enjoy Reshma’s unmatched vocals.
Hazrat Abu Bakr remain the closest companion of Prophet Muhammad SAW through his life. Prophet said that there is one companion whose immense favours he can never return that is Abu Bakr. The glory of Hazrat Abu Bake as the foremost of Companions and first Caliph is acknowledged by Sufis, including Rumi and Ali Hajvairi in Masnavi and Kashful Mahjoob respectively.
According to Hadith, once Abu Bakr knocked at Prophet’s door at night.
“Who is this ?” , asked Prophet
“Abu Bakr”, he replied
“Abu Bakr, who”, Prophet enquired
This puzzled Abu Bakr and he went back. He asked Prophet
In the morning how come he didn’t recognise him last night. Prophet explained that there is a moment in time where such singularity of being happens and all the distance between creation and creator are gone and there is no room remains for any other being.
Waliyon de Siraan Da Hai Taj Ali Mominaa di Hai Bas Miraaj Ali Ali
Hazrat Ali is the crown jewel of Saints’ crown Ali is the spiritual Ascension of Momins
Ali Maula Ali Maula Ali Dam Dam is one of the most genius Qawwalis of Ustad Nusrat Fateh Ali Khan. Simple in its tune, its beauty lies in its increasing tempo, which keeps increasing as the track progresses. Download to see the Genius of greatest Qawwal ever born.
TheSufi.com is extremely grieved to know about PIA flight PK-661 crash, which included JUNAID JAMSHED, one of the most amazing and celebrated Naat Singers of Pakistan.
TheSufi.com hugely admired Junaid Jamshed as he abandoned the world of showbiz and glitz to dedicate himself to Islam and Hamd 0 Naat Kalam.
Inalilahi Wainalilahi Rojiun. May Allah bless everyone who died in such incident. Ameen.
This evening I’m sending you the Disc2 Qawwalis “Sufi Eternal”, by Ustad Farid Ayaz and Abu Muhammad Qawwal.
1) Nagri Wase Shala Jithe Mere Mahi Da Dera
I’ve tried to find information about this song, but all I’ve managed to find is that it is in Punjabi. It must be a song that expresses love, since it contains the word “Mahi”, which means “Beloved”.
The CD mentions a certain Muhammad Ali Faridi as the author of the lyrics, but regrettably I haven’t been able to find who this Muhammad Ali Faridi is or was.
2) Tere Ishq Nachaya(n) Kar Theya Theya
This is one of the most celebrated poems of the famous Punjabi mystic Hazrat Baba Bulleh Shah (1680-1757). Here’s an English translation of the lyrics:
“Come quickly, O Divine Healer,
Otherwise I’ll die!
Your Love makes me dance in sacred ecstasy
The sun has set yet the glow remains outside,
I’ll give my life for a glimpse of You
Ah! how mindless I am! I didn’t rush to You…
Come quickly, O Divine Healer,
Otherwise I’ll die!
Your Love makes me dance in sacred ecstasy
Amidst our sacred passion, the peacock will be singing (one day)
My search from nothing to all, will reveal my Beloved (one day)
Taking away my heart, You never asked about my state
Come quickly, O Divine Healer,
Otherwise I’ll die!
Bulleh losing his self, became the fragrance of his Master Shah Inayat*
He has given me new life, so became I the face of his Presence only,
This raptured heart has made me a fearless vagabond
* Hazrat Baba Bulleh Shah’s Master and Teacher was Hazrat Shah Inayat Qadiri (1643-1728 CE). Hazrat Shah Inayat belonged to the Qadiri Shattari Sufi Order. In Punjabi his name is pronounced “Shah Anayat” (I’ve even heard it pronounced as “Shah Anait” once). “Qādirī” is also shortened to “Qādrī”.
Come quickly, O Divine Healer,
Otherwise I’ll die!”
Towards the end of the song, Ustad Farid Ayaz inserts a tarāna.
3) Ganj-e-Shakar Ke Laal Nijamodin Chisht Nagar Mein Phaag Rachayo
The lyrics of this qawwali were written by Hazrat Bedam Shah Warsi (R.A.), a Saint of the Warsi Sufi Order, who lived from 1876 to 1936 (some sources give other years – let’s just say that he lived in the late 19th and early 20th century).
“Ganj-e-Shakar” means “Treasure of Sugar”. It is the epithet of the Chishti Sufi Saint Hazrat Khwaja Fariduddin Mas‘ood Chishti, or “Hazrat Baba Farid” for short. Hazrat Baba Farid (R.A.) lived from ca. 1173 to 1266 CE. He was the third head of the Chishti Sufi Order in the Indian subcontinent, having succeeded Hazrat Khwaja Qutbuddin Bakhtiyar Kaki Chishti (1173-1128 CE), whose dargah or mausoleum is in Mehrauli (a part of Delhi).
Although Hazrat Baba Farid is the third Master of the Chishti Sufi Order, a separate offshoot came into existence: the Chishti Faridi Silsila. The same would happen to his two most important disciples: Hazrat Khwaja Nizamuddin Auliya of Delhi (1238-1325 CE) and Hazrat Khwaja Makdoom Alauddin Ali Ahmad Sabir of Kaliyar Sharif, India (1188–1280 CE). With Hazrat Nizamuddin Auliya began the Chishti Nizami Silsila and with Hazrat Alauddin Sabir began the Chishti Sab(i)ri Silsila. The illustrious Sabri Brothers belonged to this particular lineage. It is important to stress that these offshoots were not the result of conflicts within the Chishti Sufi Order. They should be regarded as “branches on the trunk of the central Chishti tree”.
There are several fanciful stories about how Hazrat Baba Farid came by his epithet, Ganj-e-Shakar*, “Treasure of Sugar”. My favourite one is the following: Hazrat Baba Farid had been fasting for a very long time and was so hungry that he put a pebble into his mouth. Moved by Hazrat Baba Farid’s perseverance, God changed the pebble into a lump of sugar. Afterwards, every word Hazrat Baba Farid spoke would be sweet as sugar.
* The forms Ganj Shakar, Ganjshakar, Shakar Ganj and Shakarganj are also found.
The real explanation of the epithet may be derived from the blessing which he is recorded to have received from his Master, Hazrat Khwaja Qutbuddin Bakhtiyar Kaki Chishti (R.A.), who praised the sweetness of his nature, and remarked: “You shall be sweet like sugar”.
Hazrat Baba Farid was born in Punjab. He settled in Ajodhan, Punjab, which is now called “Pāk Pattan”;. Hazrat Baba Farid’s dargah also is in Pāk Pattan or Pākpattan (in present-day Pakistan), close to the banks of the river Sutlej. Pākpattan, which means “Holy Ferry” or “Ferry of the Pure”, owes its name to the popularity and sanctity of Hazrat Baba Farid.
Hazrat Baba Farid was the first to write poetry in Punjabi. Many of his verses were included in the Adi Granth, the predecessor of the Guru Granth Sahib, the sacred scripture of the Sikh religion. He shares this honour with Bhagat Kabir (see Volume 1 of “Sufi Eternal”).
Here’s an English translation of the song:
“Ganj-e-Shakar’s darling Nizamuddin* called a gathering in the city of Chisht**
Khwaja Moinuddin, Khwaja Qutbuddin dyed it in the colours of Love
Come with colour and spray to play Hori*** in my courtyard
Khwaja Nizamuddin, Master Player, take my arm and lift my bridal veil****
O God! There is fortune in the fate of him who has obtained the adorable Beloved!
Play, O Chishtis, play Holi!
Come to Nizamuddin’s country”
* Pronounced “Nijamodin”. As I wrote earlier, in many forms of Hindi “z” often changes into “j”. This is also the case here.
** The Chishti Sufi Order is named after the city of Chisht, which lies in the West of modern-day Afghanistan. In Persian it’s pronounced Chesht. The first Sufi Master to have called himself “Cheshti” or “Chishti” was Hazrat Khwaja Abu Ishaq Shami (R.A.), who had travelled to Chesht from his native Damascus (Shām in Arabic). He died in 940 CE, after having established theCheshti or Chishti Sufi Order in Chesht. From there it would spread to the Indian subcontinent and become its most important Sufi Order.
***Holi or Hori is a Hindu spring festival, also known as “the Festival of Colours or “the Festival of Sharing Love”. Those who take part in this festival, spray coloured powder on each other. This festival is also popular with the Sufis of the Indian subcontinent.
**** This qawwali is written from the perspective of a young woman who is about to become a bride. The marriage is a symbol for mystical union.
4) Ze Haal-e-Miskeen Makun Taghaful
This qawwali was written by Hazrat Amir Khusrau (R.A.). It is unique in that the first line of each couplet is in Persian and the second in Braj Bhasha (a Western variety of Hindi). The theme of the poem is separation from the (mystical) Beloved:
“Do not overlook my misery
Blandishing your eyes, and weaving tales
My patience has over-brimmed, O Sweetheart,
Why do you not take me to your bosom?
The nights of separation are long like tresses,
The day of our union is short like life
When I do not get to see my Beloved Friend,
How am I to pass the dark nights?
Suddenly, as if the heart, by two enchanting eyes
Is beset by a thousand deceptions and robbed of tranquillity
But who cares enough to go and report
To my Darling my state of affairs?
The lamp is aflame; every atom excited
I roam, always, afire with love
Neither sleep to my eyes, nor peace for my body,
Neither comes himself, nor sends any messages
In honour of the day of union with the Beloved
Who has lured me so long, O Khusrau
I shall keep my heart suppressed,
If ever I get a chance to get to his place”
5) Mohe Apne Hi Rang Mein/Hazrat Khwaja Sang Kheliye Dhamal/Rang
The final piece is a suite of three qawwalis by Hazrat Amir Khusrau, all written in Hindevi (or Hindavi), the form of Hindustani spoken in the Delhi area in Hazrat Amir Khusrau’s time, and the precursor of Urdu.
This is a translation of the first one, “Mohe Apne Hi Rang Mein De”:
“Dye me in your hue, Nijam
You are my Lord and Master, O Beloved of God*
Dye me in your hue**
My scarf, and the Beloved’s turban,
Both need to be dyed in the hue of Spring
Whatever be the price for dyeing, ask for it,
You can have my blossoming youth in mortgage
Dye me in your hue
I have come and have fallen at your doorstep,
For you to safeguard my pride, my dignity,
You are my Lord and Master, O Beloved of God
Dye me in your hue”
* “Mehboob-e-Ilahi” or “Beloved of God” is the epithet of Hazrat Khwaja Nizamuddin Auliya, just like “Ganj-e-Shakar” is the epithet of Hazrat Baba Farid.
** As I explained in an earlier post, “dye” “hue” or “colour” have a special meaning in this context: when “dye”, “hue” or “colour” are mentioned, a special quality of a Sufi Master or Saint is meant: “rang”. This word literally means “colour”, “dye” or “hue”, but there’s much more to it. “Rang” can only be described. I describe it as “the Glow of the Inner Essence of the Master”. I don’t know a better way to describe it.
This is the following qawwali, “Hajrat Khwaja Sang Kheliye Dhamal”:
“Let us play dhamal* with Hazrat Khwaja
Everyone dresses up, the Twenty Two Saints have come**
So let us play dhamal
Give respect to our exalted Messenger
We celebrate spring for you, O Arab Friend
Keep the colourful spirit alive for ever
Let us play dhamal with Hazrat Khwaja”
* “Dhamāl” is a Sufi dance, usually performed to the rhythms of loud drums. The aim of dhamālis to reach mystical ecstasy. The origin of dancing dhamāl predates the advent of Sufism in the Indian subcontinent: it used to be performed at special occasions, such as Basant (the celebration of the arrival of Spring). The Sufis adopted this dance. Not all Sufis dance dhamāl; it is mainly practised by qalandars and devotees of qalandar Saints, such as the hugely popular Hazrat La‘l Shahbāz Qalandar (d. 1274 CE – R.A.), whose dargah in Sehwan Sharif in Sindh, Pakistan, attracts many thousands of pilgrims every year.
** “Twenty Two Saints” or “Twenty Two Khwajas”: Delhi is known as “Baees Khwaja ki Chaukhat”, “the Threshold of the Twenty Two Saints”. There is a belief that the Prophet Muhammad (S.A.W.S.) gifted some of his personal possessions, including his cloak and a prayer carpet, to the elders of the Chishti Sufi Order. The Chishti Sufis draw their spiritual lineage (“Silsila”) from the Sufi Saint Hazrat Hasan of Basra (642-728 CE – R.A.), who was initiated by the Prophet’s son-in-law, Hazrat Ali (may God be pleased with him). These sacred relics came to the Indian subcontinent with Hazrat Khwaja Moiunuddin Chishti, and were entrusted to his successor, Hazrat Khwaja Qutbuddin Bakhtiyar Kaki Chishti, who passed them on to Hazrat Khwaja Fariduddin Chishti. They arrived in Delhi with Hazrat Khwaja Fariduddin’s disciple, Hazrat Khwaja Nizamuddin Auliya, who handed them over to Hazrat Khwaja Nasiruddin Cheragh-e-Dehlevi. The latter willed that the relics be entombed with him. The spiritual chain from Hazrat Khwaja Nasiruddin to the Prophet Muhammad remains an unbroken Silsila of 22 Khwajas, and Delhi became their threshold. [Based on Sufism: Heart of Islam, published in 2013. The author, Sadia Dehlvi, is a well-known columnist who writes for several leading publications of the Indian subcontinent.]
The final qawwali, the Rang, has already been treated in one of my earlier posts, so I end my comments for the second volume of “Sufi Eternal” here. I hope that my writings may be useful to all who visit TheSufi.com.
Among the new voices in Sufi Music, Hina Nasrullah is certainly one of the most remarkable. A totally untrained voice, she rose to fame with her Punjabi Sufiana Kalam as well as Kalam e Iqbal. Her performance with Rahat Fateh Ali Khan at Mian Salli’s Wirsa Show [organized by PTV] remained one of her most memorable performances.
Meri Chunni Dian Reshmi Tandan is a beautiful and soulful track by Hina Nasrullah, which truly depicts her amazing natural talents in singing and vocal quality.
Miniature Art by Abdur Rahman Chughtai [A.R.Chughtai]
Miniature art flourished during the Mughal times and many artefacts that are preserved today at Lahore Shahi Qila belong to the same era. Among artists of the 20th century, A.R.Chughtai stands in a league of its own. A graduate of National College of Arts, he devoted immense time in flourishing this endangered art.
A.R.Chughtai’s efforts were recognised by artists community as well as government as he was awarded the coveted Nishan-e-Imtiaz by government of Pakistan. Pakistan Mail also published postal stamps of his art in recognition of his talents.
Koi Apna Nahin Ghum Ke Maarey Hain Hum
Apkey Darr Par Faryaad Laaye Hain Hum
Tajdar-E-Haram Ho Nigah-E-Karam
Hum Ghareebon Ke Din Bhi Sanwar Jayenge
We Dont Have Anyone At Our Side, Our Lives Are Full Of Grief
Hence We Have Brought Plea At Your Doorstep
O King Of Kaaba, Grant Me Glance Of Favour
So The Days Of Poor Like Myself Are Blessed.
Mevlana Rumi’s Verses on Human Evolution [Persian & Urdu text above with English Translation below]
Initially Man started from non-living [Jamood] From non-living, he acuires state of vegtation
He remained a vegetation for a long time But he doesn’t have memory of this anymore
Then he evolved from vegetation to animal But then he forgot his state of vegetation
Besides the need to meet and breed, which continued from vegetation state He did remember the time of Spring, which is time to bloom
Just like children and mothers share bond of Love Even though the child cannot understand the reason and secret of his love towards his mother
According to Maulana Shibli, these verses clearly signifies that Rumi hinted the Human evolution, as a it progressed from Non-Living to Flora to Fauana and finally Human Beings. Per other researchers, Rumi may be taking about evolution on more spiritual level as our soul evolved from plant form to humanity.
Regardless, of which way it is interpreted, it indicates the sheer genius of the greatest of Islamic Mystic.
Persian (Farsi) is regarded as language of beautiful verse and rich literature. It is no surprise that Persia witnessed some of the world’s greatest authors and poets, including heavyweight such as Hafiz, Saadi, Hakim Sinai and Attar to mention a few. Each of these gained immense popularity for writing ‘Masnavi’ couplets, basically two verses that end with rhyming words. Hafiz wrote Farsi Diwan, Sinai became famous for Hadiqa and Saadi’s Gulistan is even considered a textbook for fables with moral message. Such format of poetry provides more flexibility as not all the verses of poem need to rhyme with each other.
However, it is Rumi’s immortal Masnavi that unarguably remains the most admired, studied and recited Masnavi of all. It is manifested by the fact that Rumi’s verses are quoted all over internet and social media even today (despite many remaining unverified). In modern Persia (Iran), Rumi is called Balkhi (The Northern One), since he belonged to Northern Persia (now Turkey).
Rumi’s Masnavi is referred Masnavi Maanvi, which means Masnavi with Deeper Maa’na (meaning), as it narrates stories which has mystical and spiritual meanings.
Masnavi has 6 daftars or volumes, although per some researchers, Rumi also drafted the seventh volume. It is hard to verify but generally the former seems more authentic and we only see 6 volumes of book available.
Rumi was a true genius, not only for writing exceptional verse, but the way he concluded Masnavi, a long poem comprising 2666 verses. Rumi left it unfinished on purpose, since it was a revelation that will continue in hearts of Sufis. Masnavi, like other oriental masterpieces like Alif Laila, derived stories within stories hence it seems a never ending story.
Another interesting thing is the context of last story of Masnavi where Rumi left Masnavi opened ended. It is story of a father who had 3 sons and his last wish is that laziest of them gets his entire inheritance. The Qazi (Judge) calls all 3 and ask them to narrate an example that proves their sloth is of the greatest level, hence the rightful owner of entire inheritance.
However, the stories of Sons never begin (which also possibly can be a proof of laziness, as they cannot be bothered to speak!).
Nonetheless, we do see Sultan Walad’s plea to his father to complete the story, and lift the veil regarding who of the 3 sons for the bequest. However Rumi excused and says his time has arrived now and whoever has light is their heart, the Masnavi will enter in the person and reveal and continue its secrets. This is evident by his verse from last volume:
باقی این گفتہ آید بے زبان
درد دل ھر کس کہ دارد نور جهاں
Whoever is enlightened in their Inner Being The remaining part of Masnavi will enter them by its self
Many authors, tried to continue Rumi Masnavi in the same vein, which is an attempt to validate the prediction of Rumi. Such works include works of Hazrat Ilajhi Baksh Kandhlvi and Maulana Shaykh Muhammad Thanvi.
However, my personal view is that such works lack the genius and elgence of Rumi’s narrative. Another reason TheSufi.com didn’t like annexing something to Rumi since I treat Masnavi as Ilhami Kitaab like Quran, a revelation that begins and ends with divine decree. Quran starts with ‘Alhamd o Lilla Rabialameen’ for a reason and doesn’t have a preface. So does Masnavi begins with ‘Listen to Reed’ and writing a preface poem or an ending is merely an attempt to please one ego, something that Professor Reynoldson did in his translation of Rumi.
One particular piece of literature that is not a continuation of Masnavi, but a beautiful related narrative is Iqbal Javed Nama. This is anothet work of Genius of Iqbal, inspired by Dante’s Divine Comedy, in which Iqbal makes Rumi his guide and travels many celestial worlds, heavens and hell and meet many notables. Iqbal, being a protege of Rumi, concludes Javed Nama in interesting manner. Although he ends with advice and prayers to Javed, his son, he doesn’t one particular gem of advice to Javed. He admits words fail him and only way for Javed to find this is to explore Iqbal footsteps and in the Aah-e-Seher (Words of prayers of spiritual connection at Fajr), as seen below:
Mawlāya, Salli Wa Sallim Dā’iman Abadan ‘Alā Habībika Khayr-il-Khalqi Kullihimi (Burda Sharīf)
The refrain of this qawwali comes from a famous medieval Arabic poem in praise of Hazrat Muhammad, called “Qasīdat-ul-Burda” (“The Poem of the [Prophet’s] Mantle”). It was written in the 13th century CE by the eminent Egyptian Sufi Shaykh and poet Imam Sharafuddin Muhammad al-Busiri (ca. 1212–1296 CE – R.A.), who belonged to the Shadhili Sufi Order.
In this ode to the Holy Prophet, Shaykh al-Busiri (R.A.) tells how he had become afflicted with paralysis, and how the Holy Prophet (Blessings and Peace Be Upon Him) cured him by coming to al-Busiri in a dream and covering him with his mantle.
The refrain is translated as follows: “My Lord, continuously and eternally bestow Blessings and Peace on Your Beloved, the Best of All Creation”!
Ustad Farid Ayaz & Abu Muhammad Qawwal only sing the first part of the refrain (“Mawlāya, Salli Wa Sallim Dā’iman Abadan”), but they sing it with great fervour.
“My Master (or Lord) Has Come!” – a magnificent Qawwali celebrating the birth of Hazrat Muhammad (Blessings and Peace Be Upon Him),welcoming Allah’s Beloved into this world with immense love and joy.
Here’s an English translation of this Persian classic of Hazrat Amir Khusrau (R.A):
“I don’t know what place it was, where I was the other night
Victims of the Dance of Slaughter* lay in every direction, where I was the other night
There was a nymph-like Beloved with a cypress-like form and a tulip-like face,
Causing hearts to suffer utter torment**, where I was the other night
Rivals competed with their voices, He was full of coquetry***, and I was filled with fear
It was so difficult to speak, where I was the other night
God Himself presided over the assembly, and Khusrau (or Khusrō) was in lā makān****
The fire of Your Love has burnt my soul, O Khusrō!*****
Muhammad (S.A.W.S.) was the Burning Candle that lit up the gathering, where I was the other night”
* “Raqs-e-Bismil” – “The Dance of Slaughter”. This may refer (I’m not 100% sure) to people who go into ecstasy during ritual Sufi gatherings, and start to move uncontrollably. The Sufi term for this involuntary movement is “raqs”, literally meaning “dance”. This movement is caused by the attraction exerted by the Divine Being. Another explanation that I’ve read somewhere (can’t remember where) is this: “Bismil is the name given to the lamb which is about to be slaughtered in the name of Allah. So Raqs-e-Bismil is the twitching of the lamb while being slaughtered.”
** Literally “disaster” (‘āfat)
*** In Sufism, a Master often plays the game of “Nāz-o-Niyāz”: the Master attracts the mureed (Sufi disciple) in all kinds of ways (= “nāz” – “coquetry”) and then pushes him away, in order to increase the mureed’s longing and need for the Master’s Love and attention (“niyāz”) even more. This really is the Sufi version of “playing hard to get”!
**** Lā makān: in Arabic this literally means “no place”, or “spaceless space”, i.e. “the Placeless Realm”, the place of the deity, where there is no space and time, a state beyond our conception.
***** Here Ustad Farid Ayaz Qawwal inserts a Persian verse that I haven’t heard in any other performance of this poem.
To end this series of qawwalis by Ustad Farid Ayaz & Abu Muhammad Qawwal, I send you another rendition of Hazrat Amir Khusrau’s “Rang”. Here’s an English translation of the “Rang”* (“Aaj Rang Hai E Maa(n), Rang Hai Ri”):
“What a Glow do I see now, O Mother, what a Glow!
See the Glow in my courtyard [i.e. “in his innermost being”, “in his heart”]!
I have found my Pīr, Nijamuddin Auliya! [“Pīr” is the Persian word for “Sufi Master”]
I roamed around the entire world, looking for an Ideal Beloved
And finally this Face has enchanted my heart
The whole world has been opened for me
Never have I seen a Glow like this before
Whenever I see now, he is with me,
Oh Beloved, please dye me in yourself [i.e. “in your own Glow/Colour”]
Dye me in the Colour of Spring, Beloved!
What a Glow, O what a Glow!”
* The term Rang designates a special quality of a Sufi Master or Saint. “Rang” literally means “colour”, “dye” or “hue”, but there’s much more to it. “Rang” can only be described. I describe it as “the Glow of the Inner Essence of the Master”. I don’t know a better way to describe it.
Dear Brother, may listening to these qawwalis bring you much joy!
Wazir
PS: I don’t know when and where these four qawwalis were recorded, nor do I remember where I got them. They’re just part of my music collection. I’ve classified them as “Ustad Farid Ayaz & Ustad Abu Muhammad Qawwal – Miscellaneous”.
