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(xvi)may be defned. OfaI thc grcat Sufi poets of th. lndus Valley, it isparhaps Sachal S&rnast who paovides ur wi$ rhc richcst proportion ofsuch origioal surprises, aod we rDay perhaps bc allowed to concludc oursurvey with a pcrsooal fsvouriic' whicb deservei to rtaDd without criticalcom0cnt:

' Pleoty of tricks' '8e hrppy, heloYed, be hsply -Oh thra crn se do to rlloae you?1s yogis ia ashcsWe'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,

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(xv)Flcsh thcy cat, and 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 attrac-tion ofdiviDe lovc are sooetimes giveo addirional force in Sachal by theslylistic device ofprotrouEcirg the idal than tle .real'. Th;s rhctoricatiricl is. ofcouBe, s iplc[did way of conveyiug rhe Eystical uDderskod-itrg of tb. naturc of existetrce. It is u6d ro EaIlcllous efrect inanotbct dokoi,Th cye-rigcrs, .

Tha Jungtenigers arc bcaren byThc 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.I 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, sometimcsveB atr imitalor. of Sachsl Sarmast.

Our illuslralioos of softc of thc most ortstandirg features ofSacbal's poct,y hcre havc occcsssrily bcD presentcd rbe jmFrfcciDcdium of vcrsc iladslations iba! can ooly hopc to ca pturc a very smallpart of ihcir origioals'quality. But rhe rcader has rhe Siraili tcrt beforcbim, rnd ifthis bricf iDtroductiotr of ours bas helped rtr aoy *ay roincrcaie his cojoyecnt of this text atrd bis app.eciation o, ils autbor,sstalurc, thn our task rriil havc bec! achievcd.Finqlly. Iet us acknowledgc rbat onc mark ota poet is hi3 bappyfailurc.lways to fit i.to the critic's tidy categorica, lbwever l,jatly rbcse. lag. No. (rviii)


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(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 sencotwondr at thc dlvire bcauty is cipresscd i6 a sthbolic fashion:

. The hsir-prrtiDg ,I 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 crcstOf iover-drowDiig waves ?Or clsc a curviog bloody swordOf lov.ly criDsoo rd?Or lsc a raibbow itr tt. sky?SoEre glifi.ring lightring-larh?Or else an allof,, ftom the bowWbicb 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.?

. This is, ofcoursc, a theEe which has bee, subjecled to ibe wearytepetition ot ioages by masy gbazat pocls, bui wbat fresh hfe it r.ceiveshere 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 deyclopsIBages drawa from Lbe coDveDtioDal laoguage of tbe gbazal ro crrteshort poelns ot striklDgly origidal power, as itr:

'Th c 6Yc-hac/ks' "Fai., thc fsir bcloved's eyesI Murder, wreakioB wBth.- . Takitrg oot a momeDt's iert,Down rhcy swoop liks bawks.

,t\

. Pas. No. 30 ol oriciMl r.xt


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(xiiDlt i3 oo such pocms !3 thcre-end how Dasy 6ptedid cl.aplcstbaic olc!-ttat Eri:h of Sacbal's Eputatiotr ia3ts, jtr$ ,s it ij to ttcsthrt th. f.mour prophccy aiid to h.vc bcctr Dad. by Stoh Abdut Lltifabor[ 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 oDthir thcmc crprcss it dircctu i! ulmistr&ably lrlaoic tcrer, shicb owclitdc 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 !oa3 iWho cbe should bcat thc druE ,Thc ro.ary tums, bnt Dot thc haaaalWho lsc shoEld rcl thc bc.& ?Now wha! th. I6aes fouod eartyrdoE,Who ct* but 15g 319a, 6sa 1Poor 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 oElyitr ttc uly i, $,hicb it lcsons ro rhc Dy.tic'r usurl dcvicc of ruc t['-tivc d.faltion of rhc objcd of bii adorrtion, Cod rhc Untnoreblc. iurslso itr itr foro.l orgroizeti,on. fhir i: bqcd on rne rhrorical f3wccallcd rmpiora, i! vbich aroccssivc r,leuscr arc iotroduccd by thc imcpt r. Tti.ilIrc s'rs ct.srty id.attt suitcd to S.cb.t,s h.Ut of @6-poiirS hir Fc6r wtik iDa atate of rapturc. It fu abo Dcrfectly ,!i&d- :" t. fud:ryr. of tlE lon, wirt its sscc.$irc vq..r iorcrrulrt di 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-wUcnIcs al tba ccritc of qidaD..-So it it hardly surprlsiag t-hat .o Dary of Sacbal,a Dolt clcvrlcdoutlouriDga should raly for Iluab of th.i, ctrcc-t oo thicl6syl* o1aorphorr" ohich *c aocountlr oot olD io thc ,.r1, bur also itr thr d{rrr4. rrt l.lo. I:r o.irprf r.lr


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

.fhc raystarioui yogi, .Itrka c.ic to hao yorr LaatTo E.t rcr hv! ,oE hd ;y!r, LaviEg gldocs6, l,ouTool g.icf upoo ywrs.lf.porsatiDg royd stata,You do!tred r loti'r dreas,l,ovot[idad ipu caoc [a@,Bur th.re you did bclors.O T.tht lllzara's !otd,Wtlt did yos coE to Jhrrt ?Why did you lct yoorrrla -Bc ractcd !y prrdag,s pda ?

^ . . Whco crc .ac 8iv.tr ruci lroao ar lti., l'. rcd fccl !o $tlat tirtSrchal resrrhtcd hiDlclf ooly to &ir lcgtnd b hii Sir.itt -ri.f,ioo.taoy ollcr asp.c{s of t[a rtory of Hir rcc.irc s simila.ly lolly tr.rtmcotbut.wc may cotrctudc wit[ r pnicularty 6rc k r, id which rh; cha..ctcllor thc ltory rre u!d to.rpre'r thc futr&Ecntal rtocrrioc of Iic loctirmFtical awsacre$, thli of thc loity of bcing:'Alrrt15G' "i .D lrd. . tt Xl.rqAo trbra ao.. HL ftldr ?Jhaag Sial end Trtlt tlazaraAlc mct it thfu orc apot.h ttlt llalE rhcrc we htvc jourocrcdTberc a't indcd !o oamc..QuiE e!8r{fcd by r.ptu's biuo*r,The$ evm IIia eaa tost.Sachd, i! this ra&ml6s OreftrsNo hai.titr! caact cdtr coec.

{,

' |ra. No. 96 oao.tliaat &rt lrt.No.95 orlti!.It.|t


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, (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 Siraikl-ipealiog arcs, trlusl be $ssuEed to uf,do ic this linguistia divilioo oftreatme . MaDy of rhe lyricsl themd through u,hich thc po.t'smyslic.l lovc is erpElsed rcceivc added point by beiDg put ioto thesooth of [Iir, as itr this typical tdr.

' IIir'B resolvc 'Le.Ying thc hnd of E, filh.i8,I'll l'ryd to Rojhr'i doin.i!-ot IFath.r and brothcr fidy stop mc,Mothcr dEy try to aorrecl me-l'll cast of the KheEa and leava-oh IGathcrilg rouod 6e, Di gi -tdcidsHumbly 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 haractcristicd.vicc of the tar, addiog to its mt6icality, rrd often used to gre3t .ffectby Sachal. As also so often, tha 6!&l ve.sc acts ai a personallyoxprcised key to thc symbolle nea.ning of tbc wbold poenr.

Wbile Sachd did ha.dl lhc wbolc ofthe llir atory iD Siraiki, bystctching o'rr iF chiEfcpisodes io a sct of litrkd drrra ierss, it is hissublimc symbolic Eeditalioas otr a few featurcs of lhc legend in bis lrlthal Errst cDmmeod tbe greetcf atle[tioD. ore fertur of lhc legerd touhich Sachal retuhs timc aod agein is tbe abandotrmtnt by Ratrjha ofti6 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 illusualioDof thc fan ous mysticsl Tradition, 'I was a hiddeD trasurc, aod desired. Paso {0 of orlStnal a.ir


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' (x)It ls, howcvcl, in the rhid verse form thdl Sacbal's gteatcst

Sitaiki potrry is expresseal This is thc kaf, t c't of rhymiog vcrsesi"rO"a ty " ,"f.uio tt "t is rpeat'l aftcr each, which is tbc form of thciJ po"iry -o"t iae"rtv fitted foi lhc musicsl cxprcrsion ofthe verrningi""tt"r" "ti."". tn th; mrstical Po'ls, the feliogs so expressedarc' of

*u..i ",*nr",o * roacrstood ss those of thc soul foi God: bui thcir.r"a'"r*"i "f ,0" orf derivgs fron ihc convention of thc 'xpressiooii ii" ,.",'.r",* " *"liogs th$ugh the douth of a vouns girl awaiting .h.r ibsent lovcr.Quite a number o[ Sacbal's v'ry oumerous Siraiki &'Jfu dependfor $reiitfrcct on the vcry 3i6plcltv with which thls tradiiional lo'at

convention is Gmploy?d, as in thfu short ela'nplei'A Ples'

ComGto [Y cou(Jard, '{D! :r Lcavc trot yout Langlr-on !. Such as I rm. I 30 Yours :' Banish mc 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'

Evctr from this onc eralnplc, ald allowing for thc lact that it isrr*arv i'."itr.. ,"p,oaluc the rbvmcs io Boglish itr { naiural fashion*nii "in *.""r,0" "haro of the original' it will be apparent -that'.t-"*r" r"i d,,""*ss of rxpr'ssion are notablc fca(urss ot Sacbal's '!tranating otrfe tocat lyrical slyle lt would' in fact' be ioapproprkte,. sJi" o"o t sacnalt kafc the comPl'x mixture of themes ihatcharacteriz maoy of those by kha$ja Farid'

A second Poidt of diflcrenc! fron KhPaja Farid' with his--a..r.Ai" *.of ro .s[y of the local romatrlrc lgeods to cobatrcer*'"iirl*""." "l r'" trrlcs. is lhal sacbal draws only upoo the romatrcc* *lri-*lrit" t, his siraiki verse' althougb flanv other local! . kin No I of P.8. (iYi,


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.,f

t'

Cr)Thesc problcms 6rc, however, important only bcaus'of the

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

As $as sBggested at the beginning of rhis. introducrion, thispoetry owes much ofits rict.ess to the blending of learned and popular'clc ents. In a! sarticr prryt, St/es atd rhemes in the Stuoiki nlstitolpoetry ol Sird (Bazm+Saqafat, Multan, 19?6), I tried to show howSacbsl's Siraiki poeiry could be analysed as being writtcn in threedistioct, but ioterwcaviDg styles. Thse I catled the ,Islamic styte', inwhich the idas of mystical theology arc straight-forwardly expressed;the'persiao stylc', io uhich the conventional language and imu grs ofrhecl&ssical Pe.siaa ghezal are pressed inro lcrvicatrd given furlher develop.Ecnt; ard th. 'local stylc', in uhi6h the lraditonal lements of tb locatfolk-poetry arc relicd upoo.

This i6, of c.urss. only one of the sevenl possrble criticat oppro-aches lo thfu nch poetry, and rherc is Do need for ir ro bc greatlyclabdmted hcrl- It m!y, hovrever. bQ helpful to remark tbat lhse srylesdo broadly corrcspond ro the three kinds of verse ]orm employed bySachal, althougb all th.se forms arc of coutse local io origiD and usuatlywritten in local metrcs. The longst form is tbe Sihad which has 30verscs or 6tanzas, hcsded by th letters of thc Arabic alphabt, Iherears sevcral exarnpl$ of thc Sirar, in Sachal.s Si8iki works, usuatlysettingforth Eufi tcachings ina fdiriy direct fashion Finc as some oftherfi 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),.

For tbis wc have to turn to the shorti forlD, in lvhich his ecstaticutt.raDcs w.re typically cast to thc grearBt efrect- Th shortest of thescis that favourits ofthe hulnbler kind of populsr ve$, ibc dol,/a, usualtya rttyming locn of four lincs. Perhaps Do Siraiki poct has uscd thcdo,r, to grater efrct rhaD Sachal, $bo mates paflicutarty 6tre usr of itlo dvelop shiki.g images ofthe power of th6 alivine beaury rhar farttansrcDd th. convcotiotrot themcs of tbe ghazal itr which thes irnagesofte, scero to havc their origitrs.


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(viii)Pcrsiatr Bystical loets, Maulana Jalal-ud'Dit Ruttri (d. !284), esdescrib.d by Daulatslah :

'Thc& was a pillsr ro thc Maulada'E hou6e, aDd lvhelt hcwas drowncd io tbc ocero oflov he osed to lakc hold of

- rhat pillar etrd set himsclf turding round it. McaDwhilh vrsifred rnd dictatcd, aod people wlote down thcverscs,'

I! is, of coutse, throulh th coDtinua,ce of lhls uadition ofmusical prcformance - althoryh tbe perfo@e$ a.e rowa'lays usually'profassional Dusicions - ther th. popular appal of Sachal's poetry hasbcn maintained : aDd it is, for thc most pa.t, darvollously suiled tothi3 purpose. lt does, horv.vef, trecal to be rcarizcd that lh o$ture olthis poetry, thc madtrcr of hs composition, the ]xay in which it has bentrao"mined, aod thc vcry abloalaBce of its quantity all Da(e fot greatalifrculties io tryitrg to .stablish a coEPltsl, accuratc and .oliable textMany ofthcs ptoblems ere sbarcd by the olher locsl Sl,f pocls,espcistly thar r.ised by the alleredols and varlations iBtroduced by thesingels 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 oflatga rovcotioas But for sachal, whose Siraiki wolks arc more ettcn_sive thas those ofany othr oajor Poct, thcsc ptobltms are pa'licularlyrcute. 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 thefinst. Sxchal i3 also ona of the carliest pocts of Siod to have wnttetr iDSiraiki. While his Si.aiki is geoerllly quit purc, it natutallv showssome of thc spe.ial features of the Siraiki of Sind, wbich arc due to itrter-actioo with lhe Sitrdi wirh which it has so lodg boco billitrgually spoktrin 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 ihymcs. These factors again ircrease the dificttlty ofthe cdiror's t.sk, allhough it day be observed tbat rhe same situatiotrapplies ia revrse vhetr tha Siraiki elEeots iD Sachal s Sandhi vrces "e.ncountercd.


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(vri)The most notable oflhese accornB tells of hovv Sacbsl sacrificed hisonly soD, itr order to save lhe sick child of Mir Rustam fhan. Aparrlrom this ooe son, the issue of his marriage wirh his uDcle,s daughter,Sachal had no oflsprirg, The Dain line of spiritual successorshippassed through his un:le's litre, and he himsetf had no format disciples,otrly persoml followers.

So, *heD he died in 1827, only sixreo years before the Bririshconquest ofS'nd begaD ro briog ro an end many aspects otrhar worrd inwhich he had livcd his long tife of 88 tearc, Sachat left no personal heirsin either physical or spidtual descent from hisself. Bur no personathirs, sulely, could have survived with the success achieved by rhevibranrly expressd mssage of his poetryr which rernains as hjs truememorial. And rhis, wirhout doubi, is as hc would have wished it tobc. 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 iCood can be fouod in but madness and rapture !' Tho ecstatic tone ofalhost a Sachal Saimast,s Siraiki poetryfully bears out the rradirional accounr of the saiDt poet,s manrer ofcomposition. He is said to hale creatcd most olhis poerry io an exlem_porE fashion rrhile in a stale ef dysticat rrpture. lr would ttpicarty6rct be uttered by him to lb e accompaniment of a drum out in the opeDcountry. When ho emergcd f.oi such trance-like states, he is said tohavc had Do recollection of wbat he had coBposd. His folto$,.rc

would, bowcver, record his utrcratrces un lbe \pot: bu,, afrer hc hadonce discovercd tfie norebooks fillcd with their transcriptions anato.derd thnl aU to be'burDt, rhey used to keep what ihey had w;ttendown secr.t fmm him. At his death 935,606 verses ar said to hsvtbeen copied dowD in tbis aanner, alihorgh much has bc.I) subseq.ntly)ost : this hugc toral is perhaps not.eotiroly imptausible, givcn the gratIngth ofhis life. Thcre is cerlainty norhiDg improbabtr about Sachat'spotry having ben mostly composcd itr the way described. Apart fromthe internal .vidence olour prcseirt colleciioDs, thi6 ecstatic a d exrcm-pore style ofcomposition siriliogly rccalls tbat of tbe grcaresr of a[


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(vi)ralher rhao rhole oftb.ir disciples is precisety b(ciuse of lhe geoeralysuperior opportuoities for format education itr the traditiooal Islamic sub-jccts that their morc privileged backgrolnd affordeal. Less tutoreal disciples: might, and did, composc lyrics of grsat iweetoess, but it vras thc scioisofthc spirilual dynasries rvho were able to achieve that bletd of lamedand folk lements whicb is rhe perricular Story of th. tocal mrsdcalliterature. This blcndiog rs. ofcourse. especia y srrik,ng Ia lhe uDiquerich$ess of texture achieved by maoy of rhe greatest of Khwaja Farid,spoehs, but the achivemeDts of Shah Abdul Latif aod Sachal Sareastare.qually uotbinkable v/irhout it. For ihe prsetrr, ii wi[ bc .sufii- _cienl lo cite the par cular rlerence for lhe sorks of rhe grear clrssrcalmaster of P.rstar my\trcal poerry, Iarrd-ud-Dro A(ar td. c. LZ5r,which is so frequeotly expressed by Sachal in his potry.

All accourls agree that Sachal spen! thc eartier part ot his life in$rrict obscrvancc oflhe reguiatioD6 of tstam, bul that in oiddle age hcpairly abaadoned this for prolo.ged slates of mystical abroryrion, at_ IthoBgh vcn then he did not allow himslf.to fall in the antiromianpattern ofwitre-drirkinC aEd drog-taking tradiliotrsly folloyd by so,Bny.eesraric Sufs Sachal wss, howsvr, greatty intresled in music _almost equally frowtred upon by the strictesr orthodoxy _ and bimselfplayed the td6l" aEd rardnAi. He is also said ro have tste! consialcrablettouble over the selctio, of the appropriate ragr for the pcrformaDce. ofhis pocms: this agrin rcalls lhe clos. i$teresr raleD by Khwaja Faridin th. musical pcrformaDce of his owa versos, espcially rhrough hisintimate associarion wirh his chief musiciaD, Barkat Atr.

Thc cxierior events of Sachalt long life appcar to hale beengenerally uDremarloble, and he seems sldom to have travelled farbeyold tie lur.oundings of DaIaza, ercepr to visit rbe major shitres oflhe reSioD. Mosr oi the speci6c anecdores about hii life wbich havebeen preserved connecr him q/itb lbar braEcb of lhe Talpur dytrestywbich as,umed rule io Khanpur in bis l.rer years. The grear favourand respeq shown to biE by the Talpur princes is stressed, particularlyin view o: iheia rligious beliefs a[d the sainfs descent from thc CaliphU&al. Several stories tell of the \vay in which br was ablc to lrse hisiiriueEce wilh the rr.rlilg family for lhe beoefit of dgserv;Dg suppliants;

E


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' (v) ,'Sachal Sarmast' means somerhing iD English likc .Truetin thc coddrunk'.

A famous atrccdore. repsared rn all sources, conncrs lhe youDgSachalwilh 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. inDsraza, 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.flectsa jlst sppreciation of Sachat's posirion as Shah AHd Larif,s greatestpoetic succcssor., ir seems sadly likely that it is fie laier product of arypical pious elaboration, like tbe similar srgry which would tint Sacbalwilh 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 to th circumstances ofSachal'6 family. His farher died-iD ti45, and he was brolght up by hisurcie, Abdul Haq, who became his spiritual director also, as iheappoiDteal successor to his grandfathcr, Miya! Sahib-ditro. Jachal palscootinual tribute iD his poerry ro thc spiritual rutelaBe of Abdul Haq.trn thesc circumsrances of his upbringing. {/e may discern a more realr$4mblance to lhose of rhe gratesi Siraiki poer. Kbwaja Chutan Fsr;d(1845.190I), than anyrhing;uggestcd by the pious arecdore lirkiog bim$ith Sbah Abdul Latif For Kbwaja Farid wa6 at:o orpbatred al atr cartyagc, a.d brought up by his fatbcr's successor, tis brothe. KbwaiaFakhr-c Jahatr. And. Irkc rhose of Sacbat, Kh$aja Farid\ poe;.too frequendy bear wittresi to thc velaration witb {hich here$rded O. spiilual dircctor so Da.ly relateat ro him, who was vet n6tbis falher. Do we bave, io this similariry io Ihe chitdhood circumsran-cc6 of th.!c two grcat poets, sufrcint grouods for speculation atout thepsychological origirs of that yeainiDg quality which is so importaot aningrcdiem in thc uoique appeal oftheir mystical blmns ?

Sachal's formal schooling iD the traditioDal subjects of the timc wasuDdertiken |ty ole Hafz Abdutjah, and the poei,s subscquent proficin-cy i! Persian is trot thc leasr of rhc maDy testioories ro thc thoroughDessof his grouading h is ivort[ reE;rting that the.eason lhar so higb aproportip, of rhc bst local poets of those dr)r cafir from pirs, famities


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

Within thatss yct substantiatly unchatrged society, th p.ttycourts ofthe prioces did indeed contitrue to foster tbe old folms ofliterature, but the Persian verses of their prolific court-poets arc oowdeservcdly lorgorten The litratuc which lives on today from thatpriod \*as lvrhten in rhe local languaqes, and it $as rbc prcduct nor ofthe courts of the princess, but of rhe courts of thc sainrs. Although thevrlal support which they derived frod ihe pritrces'prorecrioo and patro-mge is trot to b forgotten, it was thc pirs of the sbrircs xnd somc fewof their disciples who alone u,ere able to pass on a ]iving literary heri-t ge. This thel did by employing lotraiive forms and images of thelocal poetry. add bleoditrg thesc vith the rcources of rhe classical tradirion, to crcato a ricbly vari.d mdiuD for rbc powerful expissiotr ofrheir mystical insight, above all into rbe mysrary of hama osr, t* luairyof all creation with its only Clcator.. Ir is tbis Sufi poetry *,hich doEi'nates thc classic local liteaturs as unambjguoully as thc eodless flatnessof the local lsndscapc is dominated by rhe grear tiled domes of the saiEtsof those bygotre times-

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

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( iii)are. it may Deverlhctess be qoile reasonabty asked if lhe tight of uDcri,r_cal vencration vhieh has tcnded to be more or less rclusivelv locussedoo lhem slonc - sometim$, ir hay be ob(erved, for reasors thal havcotrly a.emotc connexion with litemry value$ ! _ has nor led ro anundue lcngrhening ofthcir shadows ovff th figures of olher wr,ters ofcomf,amble, ifrot quirc gual, imporrahce. !n lhe galeries of bothSiDdhi and Siraiki literature. Sach,t S,rmast is o* .f rt" rn*t "igrin-anf of such flgores, who dservc to have the spottight of critical atten-tior.dir.r.d. ar.rh.m io order to dispel rhe biurring of rbcir pos,rtonby rbe ov.rbaogitrg sbadows oflhe gianrs.

Of ahe two, it is Sachal's Siraiki verse s,hich stands i. even tuoreDeed of such attentioD than do3s tbe Sindhi. This j baiance does notrcsuh.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 "itle,aoguagc. trisnrhertobe.afiibuted to the very trlucb slower analsmall.rstart that it hasproved possible ro make, fur various social, cultul.l, a d polilical reasons, in rhe critical study of the older SiraitiIireraturc, wb.o lhis ;s compdrrd witb the very real achivemeDls of lheu/ork which bas been done on rhe ctassics of Sindhi.Not the Ieasl nfth.s. obstrcles har heen,he paraltel use of bor\rbe Urdu and rhe Sindhi scrrprs for wriri.B Sirarki o)rriog , ,n;O"aapEoa.h to its litemrure muci morc difrcuk. So the p6scrrpraiseworthy initiativc of th Baz{e-Saqafat, in issuing Sachal,s Sraikilogtr in the former script, shoulal succeed in at lasl brirging its gloriesbefore r wider audience ofhis couDtrymen lhaD have hitherto been aUleaasily to read it. In rhis brief introducrioD to the Siraiki works offaqial itrrheir fresh fuise, it will bc ouilurposc only ro say somrhingof the backround againsi whicb this poetry was produca, by rapialyskctching rhc circumsianccs of its aulhor,s life, and than to araw riten-rion to gome of;ts mosr our\tanding bcsutis.Likc sb many oftbe g.eatcsr conrributors to th classic Mustim,ikrarurcs writtetr i, the local languages of the Itrdus Valtey, SachatSarmast lived io tbat uncasy priod of rhe 18rh and early tgth centuries.Tlc local dytrasties lhat had succeedeal tbe colapse of the centrat aurho-

,iity of,h. Mughal Eopirc in the rigion pcrmittea, wtite purr,ring ti.].


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

..:II

Aod ycr it is dimcutt to ivoid feciiog that this roiqucly a -ernblacitrg poctic vcrsatility has most u.fortunetcty re6ult.d itr a alelayiD the pmpcr establishm.nt ofhis critical reputaliotr which is qnally ,utriquc, when eotrtBstcd with thc fulsome trcatmeoi accordd most of ithc other classic pols ofhis raot from the lircrary past of palisun. IThc reasoDs for tbis unduc Degtect are oot, wcmay lbink, tnr to scel. rThe virtually cooplere supplanring of persiaa by Urdu in receot rides Ihas caus.d rhc glory of eveo the mosr i ustrious oative Doets of forme. ,1days uho worked iB the mcdiuo of thc ctassicat laoguaBe to be pro. tgr$sivly dimmcd by uofamili& ry, It caonot, tbereforc, be hoprd thaf jSachal's large body ofcompo\itioos itr persian wrlt Drove to be of much :dircci service iD cnihaociog his prcsent repuration oursiae a rathcr small icircle of readers : atrd so. by a cruel trooy, his choice of peo-name for . !bis Persih verse - .Ashlara', or.the OpeD, - can no tonccr reattv bc 1held eppropriare, wbile there i. Do fo.mal obslacte to tbc prcseot '.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.

Tte situariotr is, of coursc, quire diffreDt wher Sachal.s copious tvcrse io tbe popular rraditiotr is conceroed. Whethcr writtco io Sindhi tor Siraiki. lhis has coDtitrued, sioc. the tiDc ofits compositiotr, to co_ioy Ia dcep. gcauioe, atrd quire widespr{d popular apped in thc bcst sctse. ralthough rhisappcal has very tralurally bectr most powcrfulty felt io Upprr :'Sind, the regioo ofthe !,oct's binb: Here. ioo, though, this ctrdurlg o ,porqlar appeal ias faild to give ris to very much io the way of seriouscriticsl apprEciatioD : for it has bceD th misfortuoc of S.chst to bcunduly oversbadowcd iD tbc litcralures of bolh larguags, by a g.catprcderessor irr thc otre, hnd by a great succ.sso, in the other.Now no one with any facdlty for litera.y appreciation soutd fo.ooe ,nomeor seriously wish to dcvatue lhe siacial posilio[ of primacyuoiversally accorded ro Shsh Abdut talifof Bhir iriirati p..,ly, ,"Jto Khwaja GhulaE Fa.id of Chacharan in Sir;ifi. Cinatg us tf.se r;


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

C. SHACXLf,

NE ofthe most siriking featurei of the litetary heritage ofPakistan is the dch variety of lhe m.dia through which k has bcnexpressed. We have on the one hand, th classical aod llamed tmditionofcompositioo in PersiaD, which was maintaitred and recordcd throughso ma[y ceoturi s, and to wbich Urdu, oow the natioDal laDguagc of thecountry, has become the natutal heir in more recent timca. OD theothcr hand, there is whrt may be calld tte popular traditiof, of compo-sition tbalhas floolished in parallel fashion.in .ll the sveBl regiorallanguages ofth Indus valley aDd the adjaceot areas. This populartradition has naturally drived much of its itrspiratioo froor foll:elemenls, sllhough it would be misleaditrg rol ro tecogo'ze lbat nearlyall lhc most outstanding $rdters who workd witbin il wre also pro_foundly iofluetrced in the slyle oftoeir potic expressions i, tbe locallanguages by their educatio, in lbe elassical trad'liotr

AmoDg rh msny geat fgurcs of thh varied titerary herilage, theplacc of Srchal Sarmasl ir ulique. Most ofthe importart polts workdeirhcr 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 theclassical 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

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SACHAT SARilIASTHft:""$fl HS $& slRAtKt poErRy ft

ilBYiift ASLAM RASULeT-.,Rr ft$ rNrRoDucrroN rN ENGLT=H Uft8"ffi

Schal Sar Mast

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