Sultān Bāhoo (1630-1691 A.D.) is one of the best known mystics of the sub-continent. Author of well over a hundred books on various aspects of mysticism and religion, Sultān Bāhoo, for the common man of the Punjab, primarily remains an eloquent and powerful poet. It is in his ‘Abyāt’ that his beliefs about the fundamentals of mysticism find their most impressive expression. The moving rhythm of the form used and the haunting “HOO” at the end of each verse in Punjabi lends the ‘Abyāt’ a tender lyrical quality.

The present volume is a bilingual edition of his ‘Abyāt’. Divided into parts in alphabetic order to conform to a convention in Punjabi poetry, the ‘Abyāt’ retain unity of theme and thought which is mystics’ love of God.

The versified translation being presented here is the first complete English translation of this very important Punjābi poet.

For the benefit of the general reader, explanatory notes and explanations of mystical terminology have been added.

 

To Maajid,

My youngest son

Whose sweet remembrances are so dear.

Maqbool Elahi

5.8.77

Rawalpindi

 

“This our heart — than oceans deeper

Dive into it deep and deep…”

 

THE ‘ABYĀT’

Of

SULTĀN BĀHOO

 

RENDERED INTO ENGLISH

 

By

MAQBOOL ELĀHI

 

1. MUHAMMAD ASHRAF

KASHMIR BAZAR - LAHORE (Pakistan)

 

Copyright

 

March, 1967

 

PRINTED AT ASHRAF PRESS LAHORE AND PUBLISHED BY SH. MUHAMMAD ASHRAF

KASHMIRI BAZAR, LAHORE (PAKISTAN)

 

To

My Mother

whose recitation of the choicest Punjābi verses

I very much miss

And

to

The Dear Departed

Who

left me with long long evenings

of loneliness

 

     Transliteration

 

ا A

 

آ Ā (long vowel)

 

ب B

 

پ P

 

ت T

 

ث TH This is a sort of lisping ‘S’,

between ‘S’ and ‘th’, as in ‘thanks’.

 

ج J or G sounding as J.

 

چ CH

 

ح H This is a heavy ‘H’. In order to

distinguish it from the ordinary ‘H’ I have put a dot below.

خ KH  This sound is unknown in the

English language but is available in German, French and Dutch, e.g., the sound of ‘r’ in the word

‘morte’, ‘mercy’ etc

 

د TH (or D) As distinct from ‘th’ as in

‘thought’ this letter is nearer to ‘th’

in ‘this’ or ‘that’ or ‘thou’. The

correct sound of this letter is

available in French and Spanish.

Alternately I have conveyed

this sound through ‘d’ as in

‘Murshid’ on page 1. Here ‘u’ in

Murshid is pronounced as in

‘put’--- as a short vowel.

 

ذ Z There is no corresponding sound

in English. This letter

conveys a sound harder than ‘Z’

but softer than the ‘TH’

immediately preceding.

 

ر R

ز Z

 

س S

 

ش SH

 

ص S The sound of this letter is not

exactly conveyed by ‘S’. It is a

heavier ‘S’ pronounced with the

help of the tongue and the

front teeth.

 

ض DH This letter conveys a combination

of sounds of ‘th’ as in ‘that’,

of a soft ‘d’ and a faint ‘z’.

 

ط T This is softer than English ‘T’ and

heavier than ‘Tay’, the fourth

letter above. It conveys a

combination of the three letters

‘t, w, a’ with a peculiar softish ‘t’.

 

ظ Z This sounds like a combination of

‘z, w, a’.

 

ع ‘ (inverted apostrophe) ‘Ain. it

conveys a guttural sound peculiar

to Arabic. It is not a vowel.

 

غ GH This sound cannot be conveyed

through any letter of the English

alphabet. It is like that of ‘r’ in

Paris as pronounced in French.

 

ف F

 

ق  Q This sound is again peculiar to

Arabic and Punjabi. It is produced

through contact of the root of the

tongue and the throat. It is usually

transcribed as ‘Q’ by Orientalists.

 

ک K or C

 

گ G

 

ل L

م M

ن N

 

و V

 

ہ/ھ H and WH

 

۶ ‘a This is a short ‘a’ more resembling

the short vowel sound.

 

ی Y

و Diphthong AU

 

ی Diphthong AI

 

Long vowels : ā = آ

   ī = ی

OO, ū= و

 

Introduction

 

SULTĀN BĀHOO

(1093-1102 A.H. / 1630-1691 A.D.)

 

Sultān Bāhoo’s ancestors had migrated from Arabia in the early days of Islām. The Mughal Emperors had conferred an estate on one of his later ancestors. This was in the vicinity of the small town of Shorekote in District Jhang and comprised quite extensive lands and a brick-built fort. Bāzīd Muhammad, father of Sultān Bāhoo, was a title holder of the Mughals. He was an accomplished man of the world. Some time after his marriage with Rāsti, however, he renounced it.

Precious little is known about Sultān Bāhoo’s early life and education except a few legends. He was a peace-loving quiet boy, with inherent spiritual qualities. His education began at home on his mother’s knees. Rāsti, his mother, was a saintly woman. Sultān Bāhoo has referred to her devotion to truth in one of his Persian couplets:

رحمت حق بر روان راستی

راستی با راستی آراستی

Bliss of God for Rāsti be

For, with Truth is gifted she.

 

 Sultān Bāhoo’s request to his mother to be his Murshid, in the mystical sense, was not granted. She directed him to seek spiritual guidance from one Habībullāh Qādiri. After some time, Habībullāh sent him on to Delhi for further polish under the guidance of ‘Abdul Rehmān, a Sūfi dignitary of the court of Aurangzeb, the Mughal Emperor of India. This did not take long. Then Bāhoo returned to his own familiar surroundings.

 

 Sultān Bāhoo is acknowledged as one of the most prominent Sūfi poets of the Indo-Pakistan subcontinent. He is known, on authority, to be the author of as many as one hundred and forty books. But only about thirty of these are extant, including an anthology in Persian. With a single exception, all these books were written in Persian and Arabic. These books dealt with a variety of religious and mystic subjects.

The single exception mentioned above was his ‘Abyāt’ or book of verse, which was composed in Punjabi, the language of the

masses of this area. It is through these verses that Sultān Bāhoo’s accomplishments in the field of mysticism unfold themselves to his readers and listeners. It is through these that he has captured, for all ages, the soulful attention of the Punjāb, the celebrated land of five rivers. These ‘Abyāt’ have perpetuated his memory and preserved his fame as the outstanding Sūfi of his age.

 

Mystic belief, practice and orders are common to all religions of the world. The most pronounced feature of mysticism is the intense love of the Sūfi for the Creator— “the love which burns everyone except Allāh”, as they say in Arabic. History has recorded the mystic experience as an attested fact. Through cultivation of the faculties of heart with the help of love for Allāh, the Sūfis sought to see Him and merge with the Essence. According to them, intellect, reason and formalism are of no help in this quest.

Once having called this passion, love, and God, their Beloved, the mystics had to borrow all the paraphernalia of metaphor and simile of worldly love to convey their experience, feelings and sentiments through the medium of verse.

Sultān Bāhoo belonged to the Qadri school of Sūfis, that is, those who owe spiritual allegiance to the Prophet of Islam through Muhayyuddīn ‘Abdul Qādīr Al-Jīlāni one of the most revered mystic scholars and saints of Islam who lived and lies buried at Baghdād. Invocations to him have been addressed by Bāhoo in many of his ‘Abyāt’, as will be found. At the bottom rung of the Sūfic ladder of all schools stands the mystic himself. Immediately above him stands his Murshid or master,who is more than a philosopher, guide and friend to him. Next higher is the Murshid of the mystic’s Murshid and so on. At the top stands the Prophet of Islām who is taken to be the fountain-head of all mystic experiences and orders.

The main schools of Sūfis are Qādiri, Chishti, Suharwardy and  Naqshbandi. The early Sūfis conformed to formalism. Later, however, there developed an everlasting and an unedifying controversy between mystics and dogmatists: whether religious rituals are a necessary means of worship and of union with God. Bāhoo has taken sides with the mystics in no uncertain terms. In his practical religious life, however, he is said to have been a wholesome mixture of both. He is reputed to have gained the metaphoric powers of making himself invisible and of assuming other forms.

* * *

I should preface the translation with an explanation and some helpful hints mostly for those who know only the English language.

The word ‘Abyāt’ is the plural of the Arabic word ‘Bait’ — a house (not to be confused with English “bait”). In the Punjābi language, it has assumed the meaning of a ‘verse’ irrespective of its form and length. Sultān Bāhoo’s ‘Abyāt’, with one single exception, are of four lines, all in the same rhyme, with the invariable ending — the haunting “Hoo” (or ‘He’ — Allāh). The ‘Abyāt’ do not conform to the peculiar requirements of ‘Rubā‘iyāt’ or quatrains. Since the word ‘stanza’ also does not meet the situation, I have retained the original word ‘Bait’ and ‘Abyāt’ for the sake of facility. It is by no means a phonetically difficult word.

The arrangement of the ‘Abyāt’ is alphabetical. Every “Bait” in the original starts with a letter of the Punjābi alphabet in strict order. There is no fixed number of ‘Abyāt’ under every letter. They have varied with the poet’s convenience as will be presently seen. This form of four-lined verse is also known as “Sī-Harfi”.

Some of the Punjabi letters of the alphabet have no counterparts in English. I have, all the same, followed the original Punjabi pattern of Sultān Bāhoo. For example, ‘Alif’ (الف) of Punjābi is ‘A’ and ‘Bay’ (ب) is ‘B’. I have been able to start all the ‘Abyāt’ beginning with ‘Alif’ and ‘Bay’ with English A and B. But where there is no English equivalent, I have had to depart from the original and seek a convenient English letter, e.g., under ‘Tay’ (ت) or soft ‘T’. Sometimes I have had to start a ‘Bait’ with a differently-sounding English letter, due to my inability to find as many words beginning with a particular letter of the original, e.g., in the case of ‘Jeem’ (ج) or J/G.

I have had to adopt ‘I’ for the Arabic/Punjabi “Ain” (ع) which is a guttural ‘A’.

I have retained some words of the original, sometimes attempting a rendering also to avoid repetition. Some of these words have passed into the English language, e.g., Allah, Haj, Mullā, Pundit, Jogī, Faqīr, etc. Other original words adopted are: ‘Zāhid’ for an acolyte under ‘Z’ (ز) and ‘‘Ishq’ under the letter ‘‘Ain’ (ع) which I have interchanged for I. The word ‘‘Ishq’ is the compendium for all types of love. Here, of course, it has been used for the love of God.

In place of the four rhyming lines of the original, the translated ‘Bait’ has eight lines, second, fourth, sixth and eighth of which rhyme. Having once chosen the mould of  regular rhyme, I could not get out of it. At places, the strain is apparent but it is not very inexcusable. I have also attempted to bring in the name of Bāhoo in the last or last two lines in much the same manner as it is in the original. It is rarely that an English poet ever brings his nom de plume in his verses or poems. Tradition and practice in Persian, Urdu, Punjabi, Hindi poetry and some other languages is quite the reverse. The nom de plume must appear in the last couplet.

I have also tried to keep as near the original metre as was feasible. This is, of necessity, an experiment. If, here and there, accepted accent has been shifted or stretched, it is in the interest of rhythm and metre. I have no pretensions to being accurate or correct in this respect. I confess that I have not studied or learnt English prosody. I have been guided solely by a silent beat of the words in my ears and in my heart. I am conscious of variations at some places, which should not be unpardonable.

The same is in a measure true about the interpretation of the ‘Abyāt’. There are words and phenomena or experiences which do not lend themselves to an accurate rendering into another language. Added to it was the difficulty of my own modest knowledge of English and my first encounter with such a mystifying type of Punjābi poetry in a dialect peculiar to the area to which Bāhoo belonged. I have kept as near the original as I could. But free renderings are quite frequent. I have given brief foot-notes, at the end, to convey appropriate sounds, meanings, references in the original to books of religion or to folk-lore. Some explanations have also been added. To repeat, the purpose is to approach those who know only the English language.

I am sadly conscious of my inability to retain or convey the singular invocation to God, at the end of every line of the original, in the mystically musical word “Hoo”. But this perhaps would be beyond anyone.

I have not introduced Sultān Bāhoo’s ‘Abyāt’ in the accepted literary tradition. I have let the poet speak for himself.

 

Maqbool Elāhi

Gulberg, Lahore

 

My thanks are due to:

‘Ālī, Ikrām, Sandra Young, Marye Myers, Faiz Ahmed Faiz, Safdar Mīr

and

others who remain pardonably unnamed

for

suggestions, interest and helpful hints.

And to:

My father for resolving some difficulties of meaning and interpretation of the original.

 

Contents

ا

A

ب

B

پ

P

ت

T

ث

TH

ج

J

چ

CH

ح

H

خ

KH

د

TH

ذ

Z

ر

R

ز

Z

س

S

ش

SH

ص

S

ض

DH

ط

T

ظ

Z

ع

‘Ain

غ

GH

ف

F

ق

Q

ک

K

گ

G

ل

L

م

M

ن

N

و

V

ھ

H or WH

ء

‘ or ‘A

ی

Y

 

 

 

 

ا

A

 

 

 

 

 

 

 

 

 

 

 

 

1

 

الف-اللہ چنبے دی بوٹی مرشد من وچ لائی ھو

نفی اثبات دا پانی ملیس ھر رگے ھرجائی ھو

اندر بوٹی مشک مچایا جاں پھلن پر آئی ھو

جیوے مرشد کامل باھو جیں ایہہ بوٹی لائی ھو

 

2

 

الف-اللہ پڑھیا پڑھ حافظ ھویا گیا حجابوں پردا ھو

پڑھ پڑھ عالم فاضل ھویا بھی طالب ھویا زردا ھو

لکھ ھزار کتاباں پڑھیاں ظالم نفس نہ مردا ھو

باجھ فقیراں کسے نہ ماریا باھو ایہ ظالم چور اندر دا ھو

 

1

Allāh is like a jasmine creeper

Murshid planted in my heart

Affirmation’s and negation’s

Water runs through every part

Full of fragrance is my being

At the blossom season’s start

May my Murshid live for ever!

Bāhoo! His is real art!

 

2

“Allāh” is the first of lessons

Solving all the mysteries deep

Scholastics in spite of learning

Fall a prey to Mammon’s heap

Thousand million books are helpless

In conquering this “self” — the steep

Mystics, only mystics, Bāhoo!

Thief of “self” at distance keep.

 

3

 

الف-اللہ صحیح کیتوس جدوں چمکیا عشق اگوھاں ھو

رات دھیں دیوے تاءنگھڑے نت کرے اگوھاں سوھاں ھو

اندر بھائیں اندر بالن اندر دے وچ دھوآں ھو

باھو شہ رگ تھیں رب نیڑے لدھا جدوں عشق کیتاسی سوھاں ھو

 

4

 

الف-احد جد دتی دکھالی از خود هویا فانی ھو

قرب وصال مقام نہ منزل نہ اوتھے جسم نہ جانی ھو

نہ اوتھے عشق محبت کائی نہ اوتھے کون مکانی ھو

عینوں عین تھیوسی باھو سر وحدت سبحانی ھو

 

3

Allāh-wards I set on journey

When love flashed its beacon-light

Warmth so sweet it radiated

Burning dim and burning bright

Fuel, smoke and blaze I harbour

All concealed from human sight

“Than the jugular vein is nearer

Allāh” — Bāhoo’s love was right.

 

4

“Ahad” showed me but an inkling

And from self I did depart

Nearness, union, stay and sojourn

Body, soul, and love and heart

Time and space and all creation

In that flash, all fell apart

Essence unto Essence, Bāhoo!

Is the secret of His art!

 

5

 

الف-ازل ابد نوں صحیح کیتوس ویکھ تماشے گزرے ھو

چوداں طبق دلے دے اندر آتش لائے حجرے ھو

جنہاں حق نہ حاصل کیتا اوہ دونہیں جہانیں أجڑے ھو

عاشق غرق ھوئے وچ وحدت باھو دیکھ تنہاں دے مجرے ھو

 

6

 

الف-اندر ھوئے باهر ھو وت باھو کتھ لبھیندا ھو

ھو دا داغ محبت والا دم دم نال سڑیندا ھو

جتھے ھو کرے روشنائی اوتھوں چھوڑ اندھیرا ویہندا ھو

دونویں جہان غلام اس باھو جیہڑا ھو نوں صحیح کریندا ھو

 

5

All this sport of End, Beginning

Have I seen, O Friend of mine!

Heart is Universe entire

Burn this hermit’s corner thine

Truth Transcendent if you reach not

‘Gainst you both the worlds combine

Lovers steeped in Oneness, Bāhoo

See! Their stars of fortune shine.

 

6

Ah! Where do you seek, when He is

Inside you and outside you

Love for Him is e’er increasing

Each breath fans His fire anew

Where-so-e’er His light appears

Darkness flees without ado

Yours are both the worlds, O Bāhoo!

Please perfect your Essence “HOO.”

 

7

 

الف-الست بربکم سنیا دل میرے جند قالو ابلٰی کوکیندی ھو

حب وطن دی غالب ھوئی اک پل سون نہ دیندی ھو

قہر پوے تینوں رھزن دنیا توں حق دا راہ مریندی ھو

عاشقاں مول قبولی نہ باھو زار و زار رویندی ھو

 

8

 

الف- ایہہ نفس اساڈا بیلی جے نال اساڈے سدھا ھو

جو کوئی اس دی کرے تباھی اس نام اللہ دا لدھا ھو

زاھد عابد آن نوائے جتھے ٹکڑا دیکھے تھدا ھو

راہ فقر دا مشکل باھو گھر مان نہ میرا ردھا ھو

 

7

“Am I not your Lord?” said Allāh

“Why not? Why not?” cried my soul

Yearns it so for Homeland dear

Sleeps not for a moment whole

May you perish, world alluring

Highway-woman of our goal

In your snare won’t fall true lovers

Carry on seducers’ role!

 

8

All controlled and trained and harnessed

“Self” of ours is a friend

Who-so-ever kills it, dear!

Allāh’s fortress does defend

Buttered crumbs espy wherever

Sham abstainers, stoop and bend

Mystics’ path is different, Bāhoo!

Kitchen-ward it does not wend.

 

9

 

الف-ادھی لعنت دنیا تائیں ساری دنیا داراں ھو

جنہاں راہ صاحب دے خرچ نی کیتی لین غضب دیاں ماراں ھو

پیرواں کولوں پتر کوھیندی بھٹھ دنیا مکاراں ھو

جنہاں ترک دنیا تھیں کیتی باھو لیسن باغ بہاراں ھو

 

10

 

الف-ایه دنیا زن حیض پلیتی ھرگز پاک نی تھیوے ھو

جیں فقیر گھر دنیا ھووے لعنت تس دے جیوے ھو

حب دنیا دی رب تھیں معڑے ویہلے فکر کچیوے ھو

سہ طلاق دنیا نوں دئیے جے باھو سچ پچھیوے ھو

 

9

Ah! This cursed worldly living!

Two times cursed worldly-wise!

Those who do not spend for Allāh

Perdition shall be their prize

Fathers cut the throats of children

Hell for their deceitful guise

Givers-up of world, O Bāhoo!

Revel in sweet Paradise.

 

10

Ah! This world: an unclean woman!

Who remains unclean for ever

Mystics wedded to this woman?