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BAZM.E

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&od Brka$ calr b9 apptccieted.

It

only rernains tocommend


Bazme Saqafal, MBItan, io
following their edition ofthe Siraiki poetry of Sachal Sarmast
with this selectioo of tbe work of a lesser, but still interesting
poet ofSind, and thereby helping a wider readership, of
tiose who koow Siraiki butare uoable to read the Sindhi
Script. to coDe to e truer understandiog of the richness of
litGrary past

tbc praisoworthy initiative of

NOTES.
I have given some itrstaDces of Bedil's typical treatrnenl
of Saqhal's images in Stlles otd themes in the Siraiki
nlsticcl peot! of Sind. Bazme Saqafat , pp. l7.li, 2!24
Kafi no- l8A
Diyan-i Bedil Siodhi Adabi Board, 2ed
editiotr, 1961, p. 185, beginning.
JU a-r r..rl, irL, Lt{r ".1 l.tt z_lt- 14dt,

zD

3
4

-i , "L-a.

Kail no.280 in Divan-i Bedil, p. 224, beginning:

d),J .rH q

t.eci,r,Ii-r..

rr-

Another fine example, Kafi no. 267 in Divol-i Bedil,


begi.nning:
,:Url *+ r;:r 2T
r . o s+ ,^ ,&-r.This is transl8ted iD, S,lles otd ,hemes, p. 15.
Kat no. 284 ia Diran-i Bedil p 226, beginning:
r." -;-;o "Ii..>\. c_t ,i) w ;{ o:-, it t'

l0

p.2lg

Thcn it had Abraham driven with violcoce into tbc fire,


Bcfore, becoming a butcher, it next had Isoarl alaugtrtered'

'-

Later is wounded Jacob the Prophet with parting's dread


brand,
Aa fbr Zulaikha it cxiled poor Yusuf to Egypt.
Then it did wondrously sPill th blood ofZakary4and fohD.
But nobody's pain could surpass the suflerings of the Imamr
Pure as they wcre, caB one ever describe ths havog
unleashed on thcm ?
Doomsday indecd was enacted on Kerbela's plain !

Love it w.s later which arrested Hallaj and impaled him,


Love which had Attar bcheadcd and Shams ul Haq flaycd.
See ho\r Saoaatr by love'8 law \ras reduced to tbe hcrdiug
of swine !

Pron their bodies lovc pa ed the heads of Shah Sharaf


atrd Sarmad,
Thcn on a spear did exhibit the head of the martyred IDayat
Burdened by sorrow how many tlue mystics departod this life!

Love filled M&jnun with his terrible passion for Laila'


Love set Farhad, whcu parted from Sbirin, to carve
through the mou[taitr.
Atrd, Bedil. rcmtmber what sufredlgs loYe gave to Rarjha
and Hir ! s

-*A short intioductiotr to a poet's work can do more tlan


what the rrader's appetite to approach the poems in the
original for themselvcs' My task here will thus have been
accomplished if in thesc few pagcs I havc succceded in
suggestiug sone ways in which these Siraiki poems of Bedil
9

and imagcry, pocms likc'this one do tave a special lyrical


cherm. It is also.worth noting that the posm is, like so
mnog of Bedil's, rathcr carefully const.ucted, falliog into
ncat, well -defined unils, consisiing of pairs of verses
beginniogwith the quotation .nd illustration of the Traditioo,
followed by the descriptioo of the divine Belovcd's worderlul'- - ,
appearance, tha[ the catalogus of the newly opened flowers,
befoie being rounded off with the poet's customarily explicit
teachilg, making plain the meaning of the refrril.

Probably the fincst of all Bcdil's KofN, la,oveyc;, arc


those itr which he deals with t&e irruptive power o[ divine
loye throughg1lt human history. Here both his fondness for
elearly articulatcd atrd rymmetriaal struatural foras to his
poems, and his tendoacy to dwell upoa thc formulations of
traditiooal learoilg combine to eahaBce thc power of his
message, rather than - as quite often clsewhere - detracting
from the.lyrical appeal of the Kdfi. A particvlarly good
examplc of this g[oup of poems'is one in which Bedil
rapidty yet comprehensively dcscribes the power of mystical
love over the carlier and later Prophets, followed by ihe
Imams, in the first h&lq exactly recapitulatrd by the description of the sufrcrings of th6 classica! aad local Sufi martyrs
in the sccood, followed by those of the great loyers of
Persian legend, culmiEatiog at lart io thc incvitable Ranjha
and Hir. One could hardly hope - if oae did Dot have the
example of Khwaja Farid before one - for a more perfectly
controlled expression of a ripe poetio tradiioq ;

By God, for lor? was I borr !


By God, in love was i reared !
Look what love did
his eyes !

to Ada.o, drawirg the tsaIr flom

l' l

Holi song in 'Rup lloli', or of those in the fotm of a spriag


song in 'Rup Basant'. Ia the following appealing example
of one of these Basant-soDgs, the atmosihero.is entirely that
ofthe Perso-Uidu ghazal, both iL the distiDetively lrarian
details of thc flora, and in the static, idcalized charac{er of
the descriprion. This, as so oiten io Bedil, is explicitly
removed from any referelce to actuality by the explicitly
Dystical tose of the opening, with its quotation of the
well-known Tradition cinwnq tawalla sumna wojhulltlh :
of spring - the sjring of the Colourlets :
The meadow has opened in bloom all sround !
Flimself He encouraged his lovers by sayiog,
'WheresoeYer you turn ...
'... there is the face of your Lord' - so enjoy
The sight of the garden around !
Adorning Himself in thotsands of ways,
Assuming most marvcllous shapes and disguiscs,
Thc rose-bodied Lord has entered the garden,
Filling each corner with wonderful fragraoce.
The flowers have all blossomed and bloomed,
The pomegraDale and the mounttrin-ebony too,
The marigold, cypress, tbe jasmine, and lily,
In the u'onderful spring created by love.
To stroll round the garden is useless, however,
Uoless oue can see the Beloved Himielf.
So, Bedrl, experience the sceot of the spring,
ADd lot all prlvate awaroess be gone ! r
Sed the beauty

*n '

Even if they cannot be claimed to rival the magical


descdptions of the divine immatreocc in nature achieyed so
memorably in Khwaja Farid's Korts ot the coming of tbe
,ains lo desert, with their exubarant use of local vocabulary
7

By drinking sel6cssness's cuP,


We have beheld His glorY.
Instantly bY love arc faith
And unfaith cast awdy.
Mansur's waY alone is truo All else is idle fancY.
Bedil spend YouI little life
trr thinking 'Al1 is Him" ']

tone of the later verses of dris


poem which predomiDates throughout Bedrl's worL. This
prominance, with its consciously retrospectjve look towards
the creative teachings ofthe past, is itself a typical feature
ofthe later phases of any poetic traditiotr inspired by a
system of ideas, notjust by th'e vagarics of human imagination, and so it tells us a good deal about thc later evolutroa

It

is rhe theosophical

of Siraiki mystical poctry in Sind.


The other sidc of thc coin, though, is that it is seldom
easy to siogle out briginal featutes which are particularly
characteristic of Bedil himself, rather thatr the tradition of
which he formcd part. Eveu his laaguage, with its tendency

towards a mixed rekhta, io which siraiki is mixed with


Sindhi, Punjabi, Urdu, and Hindi elements (wben it does
not consist oI strings of Arabic and Persion nours), perhaps
already points to comiDg dissolution of the purely Siraiki
literary traditiou in Siod: it is ccrtainly true that a complet
mixture of languages is even more characteristie of the less
carefully preserved verse of his son Bekas.

Nevertheless, the yery search for fresh sources of


inspiration outsidc tho local tyrical coDventions does somctimes produce very charming results in Bedil. This is
nowhere more true thau of his far6.r in the style of a Hindi

r
on the open cxpression and reiteration offormal Sun teachiu8
and tradrtioBs. The same elements are naturally given an
importaut place in the poetry of the grcat masters also, but
the very depth of their irsights and their power to combiBe
, !o maDy intellectual, emotional, and spiritual strands into
, aD apparantly seamless thread-particularly in the case of
Khwaja Farid - olten makes their distenranglemcnt for the
purposes of a full understandirg, a most dimcult task. Itr
this sense, therefore. cven a rather simple and oot particularly outstandrng lyric of Bedil may help one to understaud
moro clearly features of a more complex -tAl by Khwaja
Farid, or an apparently entiraly emotional outbunt of ,oye
in a poem by Sachal. And so the lesscr master cau truly be
said to cast'Iight on the greater.

' Jrandling of the Hir-Ranjha liigcrd,

which is for

him, as for

the other poets of Sind, rhe legeod specifically associated


with Sireiki. Bedil ftay trot take us inside the.heari of Hir,
as the greatest poets do whetr speaking through the mouth of
tlrc heroine, but he does make quite explicit the itrner,
mystical meaning of the legcnd. In the followiog rKaf, for
irstaoce, hc typically leaves the local lyrical style half way
through to dwell on its theorophical interpretatiot :

Ra gpur

So

'.

does not plea$e my heart,

I will go with Rqtjha

Ranjha has since time's beginning


Been my closest friend.
In the world witl no Bclovcd
Life has lost its poiDts.
Takht Hazara's traveller king
Ooes round io hcrdsmen's guise.

of coursc, a long aisociatioa with prrts of the Sufi trsditioa,


aad, both iu his way of lifc and in thc chief object of his
devotioo, Bekas strikingly recalk the wild attachncot to the
Brahman boy Madho of Shah Husain-tie famous sixteenthcentury Paujabi mystic poct of Lahore. In his poetry, too.
with its frcquent usc of the language of the injured love
borrowcd from th.e ghazal, Bekas dcEoEstratcs his.
passiooately emotiotral Dature.
This is, however, most dcfinitely not a characteristic ot
thc muoh morc important and abutrdatrt collectioB of poctry
composcd by his f.thcr, Bedil, who employs the emotioral
language of the rliaf, the classical Sirai&i lyric, wirh marked
restraint. Bedil is sometimes loosely referred to ar thc
cuccessor of Sachal Sarmast (1739-1827), who is irdeedaccorditrg to an aDecdote of the most suspicious autheDticity
alleged to have touched Bedil and said 'we are incarnated
iD him'. But Bcdil, while fotlowing Sachal in time, and
continuiog the tradition of coEposing poetry in Siraiki that
flourished in Upper Sind utrder the Siraiki-speekiog Talpur
dynasty, is better seer as a successor in word than io spi{it
of the great Sachal. That is to s&y, oDc encoustcrs phrases
and expressions coilcd by Sachal so frequantly in Bedil that
he obviously had an intimate knorvledge of his predecessor'r
poctry: but the soaring power of Sachal at his finest was
clearly bcyond Bedil's muah more hmited raoge, '

But the depth and siscerity of Bedit's mystical devotion


are trever io question, and his Siraiki poems, which arc
considerebly more numerous than his Sindhi compositiors,
havc oany poidts of interest and features of beauty to
rccommend them. Probably the most interestitrg feature of
his poetic style ar a whole is the dcgrce to which it relies on

'

t
He earned his liviog, however, fromlis skip in Rohrl;
where hc sptnt the greater part of his life lvheq ocit absEnt
on, pilgtimages, Asmightbc expecied from.his relatiYely
humble birth, his nu4erous followers were largety draurrn
frrm -the lower classes, and he did Dot have. the:close
c@rexions with royally that furnish the basis for- mairy- of
tbe aroedotes related o[ Khwaja Farid or Sachat. So it is
pcrhaps unsurprisiog that the general tcine ef his poetll
conspicuously lacks the.quality of kingly freedon which
emerges, ia differelt ways, so strongly from rhe 'IA$s .of
tl
both

,'

masters.

The most notable feature of Bedil's way of life was his


adherence to the traditional SuF rechnique of seeking an
emorionel uDder.tanding ofdrrine love through the adoratiou
'.'of bcautilul boys and handsome young men.

The object ot Bedrl'" derorion was Qazi Pir Mohd,


wirh whom his relationsbip l,steJ lrom the larer's boylrood
for somc twenly ycars, uotil his death in 1868. Bedil himself l-ollowed his compaoion to the grave shortly afrerwords,

in

7.1.

One of .Bedil's sons, Muhammad Muhsin (1858-1881)


was also mystic poet in Sitrdhi and Siraiki, writing unde4
'. the pen-name of Bekas. He also followed his father in
attacbing himself 10 beautiful boys, notably to the youog son
*of
a family of Hiodu bankers of Rohri, called Kanhyyo,
Bekas adopted a more.extreme way of life than his father,
pnd is remembered for wearing bdghr clothcs and going
about sirging ard dancirg with his boy-friends before his
oaxly deat-h. Such aaiinomia:n ,oI lnale ati pructices },a'te,
3

?in Siraiki. Their particutar lustrc and preciousn"r,


"ho1d.
Dot allow thg surroundiDg ores to be cast away as so much
dross, for in this way many lesser but still valuable gems
will be necdlessly lost. The great jewels must certai6ly Se
given their place io the ccntre of the richly wrought crowus
of the Siraiki poetic tradition. But let the maDy sBallet
gems alsobe sought out, cut, and polished, so that their
lesser facets may throw their individual shafts of light upoa
lhc great s-totres at the centre, aod add to tbe rich glory of
thc diaiiims as a whole !

.-,

Bedil Faqir.is assuredly.cae of the most important of


the lesser lights in tho southcrn litcrary trrdition of Siraiki,
which flourished in Siad in thc cighteenth and ninstceath
centuries. Born in Rohri in l8l4,.he w&s firs! named Abdut
Qadir, and thus became coincidentally a camesake of the
gratest persian poet of seventeenth - celtury India, Abdul
-'Qadir Bedil ofPatna, though he was later re-named Qadir '
Bakhsh by his farhcr, a devout dealer in silk goods whd :
became a disciplc of a branch of Qadiri pirs descended from
th6 mariyred Shah Irayat of Jhok. Bedil was thcrefore .
raised in a home of somewhat humble social circumstancas,
but steeped in an atmosphere both of rnystical piety and of r
religious learlilg. It is quite clear from his vsrse that he
koew Arabic and pcmian \r,ell.
The ciucial experieucc in his own mystical lile came to ,
him at ScLwan where he had been instructed to go in a . \
dream to the great shrine of Shahbaz Qalandar. Thcrgaftcr, *
not only did he undertake visits and pitgrimages to most of
ihe holy tombs and principal spi-ritual leaders of Upper Sind,
but he also begaD to $rite the mystical poetry in both Sindbi
aod Siraiki for which he- is now chiefly remembered.

..:'".-

i
.{:..-

E3ed-Ll- Fa.qLrr

atrd the

Siraiki Poetic Tradition

i..

Av

.'.
':

C. Shackl
-1,

,. \
L;:'

i.i

L'

,;.'1--.u.

*.-l

i'':

'One swallow does Dot make a summer', as thc saying


Exactly the same holds good of literaturc, whcre no
t"r
gcnuinely vital poetic tradition is bounded by the work of a
single poct, howeycr great hc may truly be. It is particularly

it-

important not to losc sight of this truth when looking at


--4iteratures which are dominated by oDe or two outstauding
figtres; for it is olhcrwise impossible to reach a ProPer
,.appreciation either of such literatures as a whole and their
: place itr the civilizatioq of which they form a part, or of thc
i.".true rank of their greatcst pociS.
The general view of Siraiki literaturc certainly suffcrs
from this lack of perspective, The poetry of Sufi itrspiration
. has indeed rightly been seeD as thc greatest glory of classical
Siraiki literature: but devotion, apprcciation, and the
detailed studicr which spring from these have all teoded to
cotrcetrtrate upos the grealest Sufr poets only - that is to say,
-on
Rhwaja Farid in thc Siraiki-speakiog heartlatrds, and otr
Sachal Sarmast in Siud. But these two are uot, so to speak,
isolated diamonds miraculouly washed up on the shorc, but
r&her brightest jewols to have been formed in the rich veins
thibh coostitute the twio traditiotrs of the classic Sufi poetry

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