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1ulr4;)
I
u
u. S_,

t!$btort

tg

r,-,7_-

tal

i) t2tl"irt;

!!1n-i,,',1 -,.
-

ie,t+ -*
ll::t./fi| y

et;/

..\

O'tr,t/.tDr/

4(

'.,..

(rvlli)

uy)3
ot-rre,f ,'I! JF oqqp .(-. r.r fr
olrr:r,.J-. ilr*

u!j'- 'rt" 2}r rlr okt'l -r 2* brs J3lr orjlt

0rK ,rt-t ;b! J+- 6J dt-"I

u-/

te-rj
*ts olb" r sl t t*tt 'o .r',ch il.l*lt E ! 'r'-Q
e+t

,r

r a"rr,Jy' .rrro"

orfojjrl dLl gtr^ ! ,.lrrn S: z-! o\ta

i i i

ur-* at 2! a)ta L:

ot-d 30 a 'l,. )n
r'elul er--

''/ ;u.S a-J L rt cS

olara z-a.

oY'h z-F stt fi3\

1

'

ot'tf oVitt 6,(;11 otr'' ,r,tC ,e'' ,ll lri ./,lj,r a,-L^ lr'{,-t J".rr:1,,r...- &hl OreJ ,r.rt f
ntt

d*

tt',- iJt'' JL:' llJ

E
I I

jr
dl.+r4_j rciilJ
drLJ

(xvii)

oi.

J, sfl,

CiJjiI! JrF

-!

oiL orjL

a-r! oU.
JJ u^1, ,s;

jl.. &t z_jr_. l!_b

Ldlr rrT

dLr.t tIe{

n .. i

f J, crtLr- .'.J, s.'J sC o$. !J okrr oti,. x,rjlr .;,,L olr. irjts.LJue-r utr.rt . tt !'\* i\i L 6li
Jf

!r!i!

,!

*t

"!,

u-1,:-

z1 !,t
)

\ \'

2 ,-lri ,jc, JJ _.., ..I er r-Jt.oy! J_l

o.t

drr+_

'.--

Lr,-

Ey) D
L

/- j$J-.(]t!t)t- d;) ,r!- ^.i.6)1.

s5J- Z*

eCJ ..$"- at)

J. -r

d;.r-.J .JJiJ ol..JJ- .Jlr.l.rl

61t-,

,rj2.f ,rjf, e;t^r- Cr J.61K1 a: J.ta .r.rKj- r&-- or-t ,dt JH^ 4-; l-t

J.,1, 6J:r, 6.1-

,erl-r

{ tf *t of Lrrt-, 'r;L-l 6;.1 4,1,j rr.rl1 .J,rr a-.l (JLJ- ; srl-, qr-. l, !-JJ l,r c,JLr

(xvi)
may be defned. OfaI thc grcat Sufi poets of is lndus Valley, parhaps Sachal S&rnast who paovides ur wi$ rhc richcst proportion of such origioal surprises, aod we rDay perhaps bc allowed to concludc our

th.

it

survey with a pcrsooal fsvouriic' whicb deservei to rtaDd without critical

com0cnt:

' Pleoty of tricks'

'

8e hrppy, heloYed, be hsply Oh thra crn se do to rlloae you?

1s

yogis ia ashcs

We'll wander about, lfonly to give you enjoydear. We'll slrip ofr our clothd, We'll drink jars ofwioe, lfonly you'll notica we're h.rc now. We'll joggle with clubs,. We'll sharnelessly sing, Ifonly to draw youl attcotion. Wc'li danc. iD the sircct, We'U bcat out the druln, If only our tricks will diven you. Lile bears will we roar, Like mookeys we'll dance, tf only you'll sit down besidc us.
Tbus Sachal. your dog, Does rhousatrds of tricks. Just longing to ticklc yout fancy,

,s
, .
srccNo.

?t

iii)

5
I

t
Flcsh thcy cat, and

(xv) drirt
blood too,

Rctrdilg with their clasr.

Sec how thy, ss yet utrfillcd,

Hovcr poised for blood

Such vivid desoriptiods of thc ovcr$helEiDg powcr of thc attraction ofdiviDe lovc are sooetimes giveo addirional force in Sachal by the slylistic device ofprotrouEcirg the idal than tle .real'. Th;s rhctoricat iricl is. ofcouBe, s iplc[did way of conveyiug rhe Eystical uDderskoditrg of tb. naturc of existetrce. It is u6d ro EaIlcllous efrect in anotbct dokoi
i

,Th cye-rigcrs,
Tha Jungtenigers arc bcaren by Thc rigers of ihc eyes. Whom nonc is ablc to escapc, Onc fallctr iD lheir grasp.

Thc JuDgle{igers havc at last: Ttcse slaod poised to till. Atrd lh.y may oot bc made to quit. Sav. by their lovclr, dcath.

Therc is, indeed probably Do Siraiki poet.'wko has rivalled lh. dir.ct folcc of such a dorra as rhis, .nd we Dced feel no surprise thar (hwaja Farid himself is ktrouh to havc bc.B a closc adrirer, sometimcs
veB atr imitalor. of Sachsl Sarmast.

Our illuslralioos of softc of thc most ortstandirg features of Sacbal's poct,y hcre havc occcsssrily bcD presentcd rbe jmFrfcci Dcdium of vcrsc iladslations iba! can ooly hopc to ca pturc a very small part of ihcir origioals'quality. But rhe rcader has rhe Siraili tcrt beforc bim, rnd ifthis bricf iDtroductiotr of ours bas helped rtr aoy *ay ro incrcaie his cojoyecnt of this text atrd bis app.eciation o, ils autbor,s stalurc, thn our task rriil havc bec! achievcd.

Finqlly. Iet us acknowledgc rbat onc mark ota poet is hi3 bappy failurc.lways to fit i.to the critic's tidy categorica, lbwever l,jatly rbcse

lag. No. (rviii)

(riv)
sidcc our illustratiols hri,c^roifar bccri coofincd to the &rL, let u! prdant an cxceptionaily toDg and fioe y'oira, iD which tbe poett senc otwondr at thc dlvire bcauty is cipresscd i6 a sthbolic fashion:

. The hsir-prrtiDg ,

saw the paning in rhot hair: A sperr, it lecmcd.lashed our. Or did th.r. flow lome swclliog siream, Bctwcco itr doubie beoks? Or cl3c was it the scsrlet crcst Of iover-drowDiig waves ? Or clsc a curviog bloody sword Of lov.ly criDsoo rd? Or lsc a raibbow itr tt. sky? SoEre glifi.ring lightring-larh? Or else an allof,, ftom the bow Wbicb 3lruck oD every sidc? Or cls-wss it a- tmi fot hcarts? Or elsc roBc caerceDt Doon? Or did ir wait to lhed o,trr blood, Oll.rhi3 our patb of lov.?

,t\

This is, ofcoursc, a theEe which has bee, subjecled to ibe weary tepetition ot ioages by masy gbazat pocls, bui wbat fresh hfe it r.ceives here f:om ihe vivid abruproess of rhe anapbora with ihich rhe simites, som. old aad some new, are piled up otr oDe aoother !

ltr marry oth.r drfurr of morc typical leogtb, ioo, Sacbal deyclops . IBages drawa from Lbe coDveDtioDal laoguage of short poelns ot striklDgly origidal power, as itr:

tbe gbazal ro crrte

'Th c 6Yc-hac/ks' "

I -

Fai., thc fsir bcloved's eyes Murder, wreakioB wBth. . Takitrg oot a momeDt's iert, Down rhcy swoop liks bawks.

Pas. No. 30 ol oriciMl r.xt

(xiiD lt i3 oo such pocms !3 thcre-end how Dasy 6ptedid cl.aplcs tbaic olc!-ttat Eri:h of Sacbal's Eputatiotr ia3ts, jtr$ ,s it ij to ttcs thrt th. f.mour prophccy aiid to h.vc bcctr Dad. by Stoh Abdut Lltif abor[ the young boy aost obvioEsly rcfcra. Thcy ar! by no mcrD! cotrfrr.d to rhc local lyrioal stylc wit[ its cmpbl3fu oD rhc tcgrnd of Hir, tvlich rvc bave ao f.r corsid.rrd. hdca4 eetry o{ thc incsl t jfr oD thir thcmc crprcss it dircctu i! ulmistr&ably lrlaoic tcrer, shicb owc litdc to loc.l clcdcnts, ri does tlis tb.D :

'Who clro?' . I lo d .!t!i, lord, @ly ,ca ,

Who

.tr. d.rf! hotr of lorc ? 'Thuo'p, thump' .t thc frir 6! bbor

Who cbe should bcat thc druE

!oa3

Thc ro.ary tums, bnt Dot thc haaaal Who lsc shoEld rcl thc bc.& ? Now wha! th. I6aes fouod eartyrdoE, Who ct* but 15g 319a, 6sa 1 Poor S.chal i! God'a oclt hlrnod al.vc : How ch.csDI plc6.c I D ?
Tbis r.o, b i iypic.l cxlEplc ofE.ny ofsact.l'r bcit, Dor oEly ttc uly i, $,hicb it lcsons ro rhc Dy.tic'r usurl dcvicc of ruc t['tivc d.faltion of rhc objcd of bii adorrtion, Cod rhc Untnoreblc. iur slso itr itr foro.l orgroizeti,on. fhir i: bqcd on rne rhrorical f3wc callcd rmpiora, i! vbich aroccssivc r,leuscr arc iotroduccd by thc imc pt r. Tti.ilIrc s'rs ct.srty id.attt suitcd to S.cb.t,s h.Ut of @6poiirS hir Fc6r wtik iDa atate of rapturc. It fu abo Dcrfectly ,!i&d :" t. fud:ryr. of tlE lon, wirt its sscc.$irc vq..r iorcrrulrt d by lha r.4ctitioo oflha rcfreitr: atrd i! is luitcd abovc aI to rhc mysticei *aJt, hrbich it woodcrfully cotrvclls tb. Do.t,. asc at ttc mystcry-wUcn Ics al tba ccritc of qidaD..itr
So it it hardly surprlsiag t-hat .o Dary of Sacbal,a Dolt clcvrlcd outlouriDga should raly for Iluab of th.i, ctrcc-t oo thicl6syl* o1 aorphorr" ohich *c aocountlr oot olD io thc ,.r1, bur also itr thr d{rrr4

. rrt

l.lo.

I:r o.irprf r.lr

E,

(rii)
thrt I might b.. t owo,. The .?o rvhfo,l tlis mrlt.ry inrpi.c, i. bcrutifully c.pturcd by !u.i poce! .! rhc folo*i1g, si16x'6 .t11a rimply writrco io vc.y shoat litrcs: "61.y

.fhc raystarioui yogi, . Itrka c.ic to hao yorr Laat

To

E.t

rcr

hv! ,oE hd

y!r,

LaviEg gldocs6, l,ou Tool g.icf upoo ywrs.lf. porsatiDg royd stata,

You do!tred

l,ovot[idad ipu caoc [a@,

Bur th.re you did bclors.

r loti'r

dreas,

T.tht lllzara's !otd, Wtlt did yos coE to Jhrrt ? Why did you lct yoorrrla Bc ractcd !y prrdag,s pda ?

but.wc may cotrctudc wit[ r pnicularty 6rc k r, id which rh; cha..ctcll or thc ltory rre u!d to.rpre'r thc futr&Ecntal

. . Whco crc .ac 8iv.tr ruci lroao ar lti., l'. rcd fccl !o $tlat tirt ^ Srchal resrrhtcd hiDlclf ooly to &ir lcgtnd b hii Sir.itt -ri.f,ioo. wtaoy ollcr asp.c{s of t[a rtory of Hir rcc.irc s simila.ly
lolly tr.rtmcot
rtocrrioc

{,

mFtical awsacre$, thli of thc loity of bcing:

of Iic loctir

'Alrrt15G' " i .D lrd. . tt Xl.rq Ao trbra ao.. HL ftldr ?

Jhaag Sial end

Trtlt
!o

tlazara

Alc mct
Tberc

it

h ttlt llalE rhcrc

a't
indcd

thfu orc apot. we htvc jourocrcd

oamc..

QuiE e!8r{fcd by r.ptu's biuo*r, The$ evm IIia eaa tost. Sachd, i! this ra&ml6s Oreftrs No hai.titr! caact cdtr coec.

'

|ra.

No. 96 oao.tliaat

&rt

lrt.No.95 orlti!.It.|t

, (xi) romentic beroitrEs hav. atr isportant 1ole iD hi! Sildhi pootry. Tb. alsociatiotr of.lhc Hir Lgerd with Jhatrg, et th. o[rcr cnd of the Siraiklipealiog arcs, trlusl be $ssuEed to uf,do ic this linguistia divilioo of treatme . MaDy of rhe lyricsl themd through u,hich thc po.t's myslic.l lovc is erpElsed rcceivc added point by beiDg put ioto the sooth of [Iir, as itr this typical tdr.
' IIir'B resolvc

'
I

Le.Ying thc hnd of

I'll l'ryd

to

E, filh.i8, Rojhr'i doin.i!-ot

Fath.r and brothcr fidy stop mc, Mothcr dEy try to aorrecl mel'll cast of the KheEa and leava-oh I Gathcrilg rouod 6e, Di gi -tdcids Humbly besecch &Dd lmplotE mc; 'Bc setrsible, take our advicc -ob!, why should I ooti;. thesc oahcrs ? Tatiog up pen, iokr and pap6r, To Ra[jha l'll keep rvriting notes -oh ! Sschal is ntterly saddcned, Ilelplcssly nick aqd florld scer, - .I *as faom ttc atrri avcn 6o-oh !
The rcpcateal'o.h' &a th. end of each versc is ac haractcristic d.vicc of the tar, addiog to its mt6icality, rrd often used to gre3t .ffect by Sachal. As also so often, tha 6!&l ve.sc acts ai a personally oxprcised key to thc symbolle nea.ning of tbc wbold poenr.

Wbile Sachd did ha.dl lhc wbolc ofthe llir atory iD Siraiki, by stctching o'rr iF chiEfcpisodes io a sct of litrkd drrra ierss, it is his sublimc symbolic Eeditalioas otr a few featurcs of lhc legend in bis lrl thal Errst cDmmeod tbe greetcf atle[tioD. ore fertur of lhc legerd to uhich Sachal retuhs timc aod agein is tbe abandotrmtnt by Ratrjha of ti6 positioD at hom in Tatht llaz3m to s.a oul sith lolhin& as a yogi, in seorch of Hir. Ttis iru*dby thc poct as a symbolic illusualioD of thc fan ous mysticsl Tradition, 'I was a hiddeD trasurc, aod desired

Paso

{0 of orlStnal a.ir

'

(x)

gteatcst It ls, howcvcl, in the rhid verse form thdl Sacbal's of rhymiog vcrses Sitaiki potrry is expresseal This is thc kaf, t c't is form of thc i"rO"a ty ,"f.uio tt is rpeat'l aftcr each, which tbc "t fitted foi lhc musicsl cxprcrsion ofthe verrning iJ po"iry" -o"t iae"rtv of tn th; mrstical Po'ls, the feliogs so expressed arc' i""tt"r" God: bui thc *u..i "ti."". * roacrstood ss those of thc soul foi thc ",*nr",o,0" orf derivgs fron ihc convention of ir.r"a'"r*"i 'xpressioo "f *"liogs th$ugh the douth of a vouns girl awaiting

ii ii" ,.",'.r",*
h.r ibsent lovcr.

"

v'ry oumerous Siraiki &'Jfu depend Quite a number o[ Sacbal's which thls tradiiional lo'at for $reiitfrcct on the vcry 3i6plcltv with convention is Gmploy?d, as in thfu short ela'nplei

'A Ples' r . '

ComGto
Lcavc

'{D! trot yout Langlr-on !

[Y

cou(Jard,

rm. I 30 Yours : rot froo Ybur thoughts' SlrY whh me slways' mY lovc : tjq oot go of far awry' Dog_like I staod at Your door' waiting fot You to approach'
Such as I

Banish mc

{ i'."itr.. be apparent it will original' *nii "in *.""r,0" "haro of the -that '.t-"*r" r"i d,,""*ss of rxpr'ssion are notablc fca(urss ot Sacbal's
tranating otrfe
tocat lyrical

allowing for thc lact that Evctr from this onc eralnplc, ald itr naiural fashion ,"p,oaluc the rbvmcs io Boglish rr*arv

it

is

ioapproprkte themes ihat of mixture ,. sJi" o"o t sacnalt kafc the comPl'x Farid' characteriz maoy of those by kha$ja

slyle lt would' in fact' be

'!

Farid' with his A second Poidt of diflcrenc! fron KhPaja to cobatrce ro .s[y of the local romatrlrc lgeods *.of --a..r.Ai" upoo the romatrcc r*'"iirl*""." "l r'" trrlcs. is lhal sacbal draws onlyflanv other local t, his siraiki verse' althougb

* *lri-*lrit"
!

. kin No

I of P.8. (iYi,

:'

Cr)
Thesc problcms

6rc, however, important only bcaus'of the

supr8me quality of Sachal's Siraiki compositions, u,hich deserv lo app.ar io a form as lreat to lhc origiDal a! possiblc. It sbou]d bc said ibat suc[ difrculties useally iovolve qoesiiors of detai], aDd that rbe oremllcharactcr ofhis poetry stands out in majeslic clariiy,

.,f

at the beginning of rhis. introducrion, this ofits rict.ess to the blending of learned and popular 'clc ents. In a! sarticr prryt, St/es atd rhemes in the Stuoiki nlstitol poetry ol Sird (Bazm+Saqafat, Multan, 19?6), I tried to show how Sacbsl's Siraiki poeiry could be analysed as being writtcn in three distioct, but ioterwcaviDg styles. Thse I catled the ,Islamic styte', in which the idas of mystical theology arc straight-forwardly expressed;
As $as
sBggested

poetry owes much

the'persiao stylc', io uhich the conventional language and imu grs ofrhe cl&ssical Pe.siaa ghezal are pressed inro lcrvicatrd given furlher develop. Ecnt; ard th. 'local stylc', in uhi6h the lraditonal lements of tb locat folk-poetry arc relicd upoo.
This i6, of c.urss. only one of the sevenl possrble criticat opprolo thfu nch poetry, and rherc is Do need for ir ro bc greatly clabdmted hcrl- It m!y, hovrever. bQ helpful to remark tbat lhse sryles do broadly corrcspond ro the three kinds of verse ]orm employed by Sachal, althougb all th.se forms arc of coutse local io origiD and usuatly written in local metrcs. The longst form is tbe Sihad which has 30 verscs or 6tanzas, hcsded by th letters of thc Arabic alphabt, Ihere ars sevcral exarnpl$ of thc Sirar, in Sachal.s Si8iki works, usuatly settingforth Eufi tcachings ina fdiriy direct fashion Finc as some of therfi are,.trd imporiaDt as ahey ar for utrderstandiDs rhe poets ideas, ir caDtrot be s3id thrt they consriiurc:the mosr appcaling part of his poctr),.
aches

'

t'

For tbis wc have to turn to the shorti forlD, in lvhich his ecstatic utt.raDcs w.re typically cast to thc grearBt efrect- Th shortest of thesc is that favourits ofthe hulnbler kind of populsr ve$, ibc dol,/a, usualty a rttyming locn of four lincs. Perhaps Do Siraiki poct has uscd thc do,r, to grater efrct rhaD Sachal, $bo mates paflicutarty 6tre usr of it

lo dvelop shiki.g images ofthe power

ttansrcDd th. convcotiotrot themcs of tbe ghazal ofte, scero to havc their origitrs.

of th6 alivine beaury rhar far itr which thes irnages

(viii)
Pcrsiatr Bystical loets, Maulana Jalal-ud'Dit Ruttri (d. !284), es describ.d by Daulatslah : 'Thc& was a pillsr ro thc Maulada'E hou6e, aDd lvhelt hc was drowncd io tbc ocero oflov he osed to lakc hold of rhat pillar etrd set himsclf turding round it. McaDwhil h vrsifred rnd dictatcd, aod people wlote down thc
verscs,'

of lhls uadition of perfo@e$ a.e rowa'lays usually musical prcformance - althoryh tbe of Sachal's poetry has 'profassional Dusicions - ther th. popular appal to bcn maintained : aDd it is, for thc most pa.t, darvollously suiled thi3 purpose. lt does, horv.vef, trecal to be rcarizcd that lh o$ture ol
I! is, of coutse, throulh th coDtinua,ce

this poetry, thc madtrcr of hs composition, the ]xay in which it has ben trao"mined, aod thc vcry abloalaBce of its quantity all Da(e fot great alifrculties io tryitrg to .stablish a coEPltsl, accuratc and .oliable text Many ofthcs ptoblems ere sbarcd by the olher locsl Sl,f pocls, espcistly thar r.ised by the alleredols and varlations iBtroduced by the singels who tavc kcpt lhcir poctry aliv. oYc. lhc geDeratioB: it is, indcld, probebly only in tbc car. of Khwaja Farid thrt lye possess a pro_ pcrly rcliable text which cad act as a touchstooc for lhe reiection of latga rovcotioas But for sachal, whose Siraiki wolks arc more ettcn_ sive thas those ofany othr oajor Poct, thcsc ptobltms are pa'licularly rcute. Nor is it possiblc entirely to disregard tha purely liDguistic difr_ cultics itrvolved in assssing the work of a poet *ho composed exlell. sivel, iD two quite closely related laoguages. Besidcs being quite the finst. Sxchal i3 also ona of the carliest pocts of Siod to have wnttetr iD Siraiki. While his Si.aiki is geoerllly quit purc, it natutallv shows some of thc spe.ial features of the Siraiki of Sind, wbich arc due to itrteractioo with lhe Sitrdi wirh which it has so lodg boco billitrgually spoktr in trluch ot the rcgioo . M.oy pur.ly Sifldhi tt'lords are, bcsidos' iotolo_ iloceal heir end therc fo. poctic ftasotrs, as often for the purposc oI provi'
diog corvedeot
the

ihymcs. These factors again ircrease the dificttlty of cdiror's t.sk, allhough it day be observed tbat rhe same situatiotr

applies ia revrse vhetr tha Siraiki elEeots iD Sachal s Sandhi vrces

.ncountercd.

"e

(vri)
The most notable oflhese accornB tells of hovv Sacbsl sacrificed his only soD, itr order to save lhe sick child of Mir Rustam fhan. Aparr lrom this ooe son, the issue of his marriage wirh his uDcle,s daughter,
Sachal had

no oflsprirg, The Dain line

of

spiritual

successorship

passed through his un:le's

litre, and he himsetf had no format disciples,

otrly persoml followers.

So, *heD he died conquest

in

ofS'nd

begaD ro

only sixreo years before the Brirish briog ro an end many aspects otrhar worrd in
1827,

which he had livcd his long tife of 88 tearc, Sachat left no personal heirs in either physical or spidtual descent from hisself. Bur no personat hirs, sulely, could have survived with the success achieved by rhe

vibranrly expressd mssage of his poetryr which rernains as hjs true memorial. And rhis, wirhout doubi, is as hc would have wished it to bc. Ai he said in a PersiaD poem : Know that the world's work is simply a worry, Endingat lasl in but sorrow aBd rernorse, Hasten to pass by the .vils of wiseness i Cood can be fouod in but madness and rapture !

a;
.j

ofalhost a Sachal Saimast,s Siraiki poetry fully bears out the rradirional accounr of the saiDt poet,s manrer of composition. He is said to hale creatcd most olhis poerry io an exlem_ porE fashion rrhile in a stale ef dysticat rrpture. lr would ttpicarty 6rct be uttered by him to lb e accompaniment of a drum out in the opeD country. When ho emergcd f.oi such trance-like states, he is said to havc had Do recollection of wbat he had coBposd. His folto$,.rc would, bowcver, record his utrcratrces un lbe \pot: bu,, afrer hc had once discovercd tfie norebooks fillcd with their transcriptions anat o.derd thnl aU to be'burDt, rhey used to keep what ihey had w;tten down secr.t fmm him. At his death 935,606 verses ar said to hsvt been copied dowD in tbis aanner, alihorgh much has bc.I) subseq.ntly )ost : this hugc toral is perhaps not.eotiroly imptausible, givcn the grat Ingth ofhis life. Thcre is cerlainty norhiDg improbabtr about Sachat's potry having ben mostly composcd itr the way described. Apart from
Tho ecstatic tone the internal .vidence olour prcseirt colleciioDs, thi6 ecstatic a d exrcmpore style ofcomposition siriliogly rccalls tbat of tbe grcaresr of a[

'

r
(vi)
subjccts that their morc privileged backgrolnd affordeal. Less tutoreal disciples : might, and did, composc lyrics of grsat iweetoess, but it vras thc sciois

ralher rhao rhole oftb.ir disciples is precisety b(ciuse of lhe geoeraly superior opportuoities for format education itr the traditiooal Islamic

ofthc spirilual dynasries rvho were able to achieve that bletd of lamed and folk lements whicb is rhe perricular Story of th. tocal mrsdcal literature. This blcndiog rs. ofcourse. especia y srrik,ng Ia lhe uDique rich$ess of texture achieved by maoy of rhe greatest of Khwaja Farid,s poehs, but the achivemeDts of Shah Abdul Latif aod Sachal Sareast are.qually uotbinkable v/irhout it. For ihe prsetrr, ii wi[ bc .sufiicienl lo cite the par cular rlerence for lhe sorks of rhe grear clrssrcal master of P.rstar my\trcal poerry, Iarrd-ud-Dro A(ar td. c. LZ5r,
which is so frequeotly expressed by Sachal in his potry.

E
_

All accourls agree that Sachal spen! thc eartier part ot his life in oflhe reguiatioD6 of tstam, bul that in oiddle age hc pairly abaadoned this for prolo.ged slates of mystical abroryrion, at_ thoBgh vcn then he did not allow himslf.to fall in the antiromian pattern ofwitre-drirkinC aEd drog-taking tradiliotrsly folloyd by so ,Bny.eesraric Sufs Sachal wss, howsvr, greatty intresled in music _ almost equally frowtred upon by the strictesr orthodoxy _ and bimself played the td6l" aEd rardnAi. He is also said ro have tste! consialcrable ttouble over the selctio, of the appropriate ragr for the pcrformaDce. of his pocms: this agrin rcalls lhe clos. i$teresr raleD by Khwaja Farid in th. musical pcrformaDce of his owa versos, espcially rhrough his
$rrict obscrvancc

intimate associarion wirh his chief musiciaD, Barkat Atr.

Thc cxierior events of Sachalt long life appcar to hale been generally uDremarloble, and he seems sldom to have travelled far

him q/itb lbar braEcb of lhe Talpur dytresty wbich as,umed rule io Khanpur in bis l.rer years. The grear favour and respeq shown to biE by the Talpur princes is stressed, particularly in view o: iheia rligious beliefs a[d the sainfs descent from thc Caliph U&al. Several stories tell of the \vay in which br was ablc to lrse his
been preserved connecr

beyold tie lur.oundings of DaIaza, ercepr to visit rbe major shitres of lhe reSioD. Mosr oi the speci6c anecdores about hii life wbich have

iiriueEce wilh the rr.rlilg family for lhe beoefit

of

dgserv;Dg suppliants;

'
drunk'.

(v)

'Sachal Sarmast' means somerhing iD English

likc .Truetin thc cod

A famous atrccdore. repsared rn all sources, conncrs lhe youDg Sachalwilh rbe grear Sr0dhi Suh poet, Shah Abdul Latif (,689-t?52). He is alleged to have sen the boy on a visfu to his graodfathc. in Dsraza, and to hav said, .This chitd shal tift lhe iid of the pot which *c atc boiling ' This is raken to have tlecn a prophelic a[usioo to th. morc xplicit totrc ofsachal's mystical poetry While tte story r.flects a jlst sppreciation of Sachat's posirion as Shah AHd Larif,s greatest poetic succcssor., ir seems sadly likely that it is fie laier product of a rypical pious elaboration, like tbe similar srgry which would tint Sacbal wilh his later poetic hE, Bedit of Rohri (t8t4-t872r. about whom he i\ allegcd ro have said. .We are incarnalcd itr him..
We are on fillnea ground wheo we come
Sachal'6

His farher died-iD ti45, and he was brolght up by his urcie, Abdul Haq, who became his spiritual director also, as ihe appoiDteal successor to his grandfathcr, Miya! Sahib-ditro. Jachal pals cootinual tribute iD his poerry ro thc spiritual rutelaBe of Abdul Haq. trn thesc circumsrances of his upbringing. {/e may discern a more real r$4mblance to lhose of rhe gratesi Siraiki poer. Kbwaja Chutan Fsr;d (1845.190I), than anyrhing;uggestcd by the pious arecdore lirkiog bim $ith Sbah Abdul Latif For Kbwaja Farid wa6 at:o orpbatred al atr carty agc, a.d brought up by his fatbcr's successor, tis brothe. Kbwaia Fakhr-c Jahatr. And. Irkc rhose of Sacbat, Kh$aja Farid\ poe;.

family.

to th

circumstances

of

too

frequendy bear wittresi

re$rded O. spiilual dircctor so Da.ly relateat ro him, who was vet n6t bis falher. Do we bave, io this similariry io Ihe chitdhood circumsrancc6 of th.!c two grcat poets, sufrcint grouods for speculation atout the psychological origirs of that yeainiDg quality which is so importaot an ingrcdiem in thc uoique appeal oftheir mystical blmns ?
Sachal's formal schooling iD the traditioDal subjects of the timc was

to thc velaration witb {hich

he

uDdertiken |ty

cy i! Persian is trot thc leasr of rhc maDy testioories ro thc thoroughDess of his grouading h is ivort[ reE;rting that the.eason lhar so higb a proportip, of rhc bst local poets of those dr)r cafir

ole Hafz Abdutjah, and the poei,s subscquent proficin-

from

pirs, famities

.l!r!ry!-iij?

-:

(io
owtr short.livcd rival.ics, a last 0oweriag ofthe old ctassical Islabic civi. li?atior, before its patte.ns we-re profouddly disturbed and changed by thc influeDces later rele3sc4 by the temporaty irdposition of British supfeltracy.

Within thatss yct substantiatly unchatrged society, th p.tty courts ofthe prioces did indeed contitrue to foster tbe old folms of literature, but the Persian verses of their prolific court-poets arc oow
deservcdly

priod

lorgorten The litratuc which lives on today from that \*as lvrhten in rhe local languaqes, and it $as rbc prcduct nor of

sainrs. Although the vrlal support which they derived frod ihe pritrces'prorecrioo and patromge is trot to b forgotten, it was thc pirs of the sbrircs xnd somc few of their disciples who alone u,ere able to pass on a ]iving literary herit ge. This thel did by employing lotraiive forms and images of the local poetry. add bleoditrg thesc vith the rcources of rhe classical tradi rion, to crcato a ricbly vari.d mdiuD for rbc powerful expissiotr of rheir mystical insight, above all into rbe mysrary of hama osr, t* luairy of all creation with its only Clcator.. Ir is tbis Sufi poetry *,hich doEi'
nates thc classic local liteaturs as unambjguoully as thc eodless flatness of the local lsndscapc is dominated by rhe grear tiled domes of the saiEts of those bygotre times-

the courts of the princess, but of rhe courts of thc

' Sacbal Sartrlast, later to bc ooe of the $eates! cotrtribulors to thcse literaturcs, and to bc entosbed bneath just such a dordel was bom in i ?39 into a family which tmced its descent from rhe - Caliph Umcr through as imoigrant to Sind itr the o giotrl irvasion of Mahamflad b. Qasim. Whrle this family bad loDg bee, prominent in Sitrd, both as officialiand as scholais, it was Sachal's gratrdfalhe., known as MiyaB Sahib ditro (1689 1?78), who achieed a great reputation as ar outstanding spiriiual figure. Sachal was bom at his gaodfather's resideoc. at Daraza, in Khairpur in Uppc. Sind, whicb had b&om6 an imponaut shIioe atrd centle of pilgrimage. Ihe poet's givn name was Abdul Wnhhab. 'Sachal,' or'Sachu', wasa pet name he received from his fabily, which he later used as signature iD bis poms in the local latrguages, while'sarmast' was a desc.iption later bestowed lrpon him oo account of th.e ecstadc tone of his life aod vers The doubie ridc

:,

-lt

'1
(

iii)
if lhe tight

are.

it

may Deverlhctess be qoile reasonabty asked

cal vencration vhieh has tcnded to be more or less rclusivelv locussed oo lhem slonc sometim$, ir hay be ob(erved, for reasors thal havc otrly a.emotc connexion with litemry value$ ! _ has nor led ro an undue lcngrhening ofthcir shadows ovff th figures of olher wr,ters of comf,amble, ifrot quirc gual, imporrahce. !n lhe galeries of both SiDdhi and Siraiki literature. Sach,t S,rmast is o* .f rt" rn*t canf of such flgores, who dservc to have the spottight of critical "igrinattentior.dir.r.d. ar.rh.m io order to dispel rhe biurring of rbcir pos,rton by rbe ov.rbaogitrg sbadows oflhe gianrs.

of

uDcri,r_

i=

u/ork which bas been done on rhe ctassics of Sindhi.

laoguagc. trisnrhertobe.afiibuted to "itle, the very trlucb slower anal small.rstart that it hasproved possible ro make, fur various social, cul tul.l, a d polilical reasons, in rhe critical study of the older Siraiti Iireraturc, wb.o lhis ;s compdrrd witb the very real achivemeDls

Of ahe two, it is Sachal's Siraiki verse s,hich stands i. even tuore Deed of such attentioD than do3s tbe Sindhi. This j baiance does not rcsuh.fro[l_any reasons inrrinsic to th. poe!ry its.lf; for, borh in qEalri_ tyard quality, there is litrle to choose htweeo his poems io

of

lhe

Not the Ieasl nfth.s. obstrcles har heen,he paraltel use rbe Urdu and rhe Sindhi scrrprs for wriri.B Sirarki o)rriog

of

bor\

apEoa.h

to

,Y-

praiseworthy initiativc of th Baz{e-Saqafat, in issuing Sachal,s Sraiki in the former script, shoulal succeed in lasl at brirging its glories logtr before r wider audience ofhis couDtrymen lhaD have hitherto been aUle aasily to read it. In rhis brief introducrioD to the Siraiki works of itrrheir fresh it will bc fuise, ouilurposc faqial only ro say somrhing of the backround againsi whicb this poetry was produca, by rapialy skctching rhc circumsianccs of its aulhor,s life, and than to araw ritenrion to gome of;ts mosr our\tanding bcsutis.

its litemrure muci morc difrcuk. So the p6scrr

,n;O"a

Likc sb many oftbe g.eatcsr conrributors to th classic Mustim ,ikrarurcs writtetr i, the local languages of the Itrdus Valtey, Sachat Sarmast lived io tbat uncasy priod of rhe 18rh and early

Tlc local

,iity

tgth centuries. dytrasties lhat had succeedeal tbe colapse of the centrat aurhoof,h. Mughal Eopirc in the rigion pcrmittea, wtite purr,ring

ti.].

(ii)
Sidbi
and Si.aiki. So this extmordioary ve$atiliry of hfu output, ler alooc its quality, does givc Sachat Sarmast a v.ry special right to the titlc ofa nelional poet.

..:

apprcciatrctr of his Urdu ghszjls, these are borh roo fw itr number aod (let it bc said) insufrcieDlty dislitrgu3hed io poetic quatity for atry ctaims lbr lhc poel's bcrtcr rEcongoitiotr to be primarily based pon thcrD.
vcrse io tbe popular rraditiotr is

pro. t gr$sivly dimmcd by uofamili& ry, It thaf j Sachal's large body ofcompo\itioos itr persian wrlt Drove to be of much : dircci service iD cnihaociog his prcsent repuration oursiae a rathcr small i circle of readers : atrd so. by a cruel trooy, his choice of peo-name for . ! .Ashlara', bis Persih verse or.the OpeD, - can no tonccr reattv bc 1 held eppropriare, wbile there i. Do fo.mal obslacte to tbc prcseot '.
ctassicat laoguaBe to be caonot, tbereforc, be hoprd

days uho worked iB the mcdiuo

of I r Thc reasoDs for tbis unduc Degtect are oot, wcmay lbink, tnr to scel. The virtually cooplere supplanring of persiaa by Urdu in receot rides has caus.d rhc glory of eveo the mosr i ustrious oative Doets of forme.
of thc

utriquc, when eotrtBstcd with thc fulsome trcatmeoi accordd most of i thc other classic pols ofhis raot from the lircrary past palisun.

Aod ycr it is dimcutt to ivoid feciiog that this roiqucly a ernblacitrg poctic vcrsatility has most u.fortunetcty re6ult.d itr a alelay iD the pmpcr establishm.nt ofhis critical reputaliotr which is qnally

I
,1

although rhisappcal has very tralurally bectr most powcrfulty felt io 'Sind, the regioo ofthe !,oct's binb: Here. ioo, though,

Tte situariotr is, of coursc, quire diffreDt wher Sachal.s copious t conceroed. Whethcr writtco io Sindhi t or Siraiki. lhis has coDtitrued, sioc. the tiDc ofits compositiotr, to co_ioy I a dcep. gcauioe, atrd quire widespr{d popular apped in thc bcst sctse. r

porqlar appeal ias faild to give ris to very much io the way of serious criticsl apprEciatioD : for it has bceD th misfortuoc of S.chst to bc unduly oversbadowcd iD tbc litcralures of bolh larguags, by a g.cat
prcderessor irr thc otre, hnd by great a succ.sso, in the other.

Upprr this ctrdurlg

:
o

Now no one with any facdlty for litera.y appreciation soutd fo. ooe ,nomeor seriously wish to dcvatue lhe siacial posilio[ of primacy uoiversally accorded ro Shsh Abdut talifof to Khwaja GhulaE Fa.id of Chacharan in Bhir iriirati p..,ly, ,"J Sir;ifi. Cinatg us tf.se r;

A[ SARIIIASI A]ID HIS SIRAII(I P(IEIRY

Bt

C.

SHACXLf,

NE ofthe most siriking featurei of the litetary heritage of Pakistan is the dch variety of lhe m.dia through which k has bcn expressed. We have on the one hand, th classical aod llamed tmdition ofcompositioo in PersiaD, which was maintaitred and recordcd through so ma[y ceoturi s, and to wbich Urdu, oow the natioDal laDguagc of the country, has become the natutal heir in more recent timca. OD the othcr hand, there is whrt may be calld tte popular traditiof, of composition tbalhas floolished in parallel fashion.in .ll the sveBl regioral languages ofth Indus valley aDd the adjaceot areas. This popular tradition has naturally drived much of its itrspiratioo froor foll: elemenls, sllhough it would be misleaditrg rol ro tecogo'ze lbat nearly all lhc most outstanding $rdters who workd witbin il wre also pro_ foundly iofluetrced in the slyle oftoeir potic expressions i, tbe local languages by their educatio, in lbe elassical trad'liotr
AmoDg rh msny geat fgurcs of thh varied titerary herilage, the placc of Srchal Sarmasl ir ulique. Most ofthe importart polts workd

eirhcr in onc or in lhe other of tbe two parallel lradilionr of t,lerature. . and, if thcy chose the popular tradition for their xprcssiotr, nattlrally ' 'idopled tbeit own regional molhcr-tongue as their exchsire medium of 'lxpression, But Sacbal Sarmast Dot onty coo,posed abuodanlly in the classical Bcdium of Persian, as wlt as. if to a much lcsscr erteot. in

- Urdu. He sas also a master-poet ofthe PoPulat traditior, oot just:iD .onc regional laESuaga, like trearly all his peers, but in two; for his Po.tty .njoF the utrdisputed status ofacla$ic itr the litcrary patrlhcotrs of both

f,.

&wwa,**e%qp;w,

ftH SACHAT SARilIAST $

ft:""$ HS fl
&
$

slRAtKt poErRy

ilBYii ft
il
T

$ ft

ft8"ffi
ft
4

ASLAM RASULeT-.,Rr ft rNrRoDucrroN rN ENGLT=H U

DR. c.

ffi ,$

SHA.KLE |i Lo,ldohuniwnilv
ffi

By $ Bazme Saqafat, Multan. [i

puBLrsHED
f,ar UEH^RB^N cHowx

ro\r^na

ijl

ie%%e*wa**#,