Mevlana Jallaluddin Rumi

Mevlana Jallaluddin Rumi

The name Mowlana Jalaluddin Rumi stands for Love and ecstatic flight into the infinite. Rumi is one of the great spiritual masters and poetical geniuses of mankind and was the founder of the Mawlawi Sufi order, a leading mystical brotherhood of Islam.

Reason is powerless in the expression of Love. Love alone is capable of revealing the truth of Love and being a Lover. The way of our prophets is the way of Truth. If you want to live, die in Love; die in Love if you want to remain alive.

If you have lost heart in the Path of Love
Flee to me without delay.I am a fortress; invincible” – Rumi

The essence of all religions is to reach God or the Truth, or the Absolute Reality. The religions are like different rivers flowing into the same Sea. They may have different ways, but the destination is the same. Mevlana Rumi’s message is still relevant after seven hundred years. Rumi was a great thinker/philosopher, poet, or Sufi in present day Turkey. I read this about Mevlana Rumi written by a journalist some years ago “If one were to ask Mevlana Rumi what exactly he was he might say “nothing but a lover of God”.

His century was also a century of war and famine, where the Mongol hordes had wrecked havoc in Asia. Not much different from our own, where the majority of human race lives below the poverty line and is constantly at war. Mevlana Rumi had come from present day Afghanistan to Konya escaping the Mongol invasion. His family settled in present day Turkey. Mevlana Rumi soon became a very famous jurisprudent and preacher in Konya after his father’s death. At this point in his life he was already an accomplished Sufi master but restricted his spiritual teachings to a small selection of disciples but never exposed this publicly.

Mevlana Rumi around the age of 37 came in contact with a very spiritual figure known as Shams Tabriz meaning The Sun of Tabriz (Tabriz a place in Asia). People say he was a wandering dervish in search of a companion who could share his gnosis and be a mirror to him, but in truth no one but Mavlana Rumi knew his secret. After meeting with Shams, Mevlana took a retreat from his daily life. He stopped teaching at the institute where he was in the modern sense the Chair of the college. He would spend days and night with Shams mediating upon the Eternal Truth not meeting his family and spiritual disciples for many days at length. After Mevlana Rumi’s meeting with Shams, Mevlana said this about him “Today I have seen the God I have worshipped all my life in human form” and at another place he said that Shams was no ordinary vagabond he looked, he was an educated and well off Chemist who had left his profession in search of the divine truth.

Eventually, Shams disappeared. It is said that Mavlana Rumi’s jealous disciples murdered him. No one really knows what happened to Shams but his effect on Mevlana Rumi had been that of a catalyst, Rumi was transformed. This separation appeared to be a separation of two humans but in reality it was the separation of men and God. Just like man has never been happy since he left his place of origin, he finds satisfaction only in the remembrance of God, likewise Mevlana Rumi longed for reunion with God. Professor William C. Chittick writes this of their separation “Separation from Shams was but the appearance; separation from the Divine Beloved was the reality.”

Mevlana went into a state of ecstasy after this separation and would not meet anyone for many days’, singing and dancing day and night, remembering the Divine Beloved. Poetry poured from his lips, which eventually was collected into collections such as the Mathnavi, Divan-e-Shams-i Tabrizi and Rubaiyaat. In Mevlana Rumi’s own words “I was the country’s sober ascetic, I used to teach from the pulpit – but destiny made me one of Thy hand clapping Lovers:” from the Divan.

Professor Nasr interprets the meeting and separation of Mevlana Rumi as ” It seems that Shams was a divinely sent spiritual influence which in a sense “exteriorized” Rumi’s inner contemplative states in the form of poetry and set the ocean of his being into a motion which resulted in vast waves that transformed the history of Persian literature.”

Mevlana Rumi not only transformed the history of Persian literature but also fulfilled the prophecy of the great Sufi poet Fariduddin Attar (author of Conference of the Birds) who said to Mevlana Rumi’s father “soon this son of thine will set the spiritual aspirants of this world afire.

Even after his disappearance Shams remained alive in Mevlana’s heart. Mevlana Rumi probably never believed in Shams death and therefore went two times to Damascus in search of him. It is said that once a person came to Mevlana and told him that he had seen Shams. Mevlana gave away his cloak to him upon which his son said that this man is lying only to make you happy. At which Mevlana said, “I have given away my robe for a lie, I would give my life for the truth.”

Finally Mevlana came to the conclusion that Shams was within himself and
said,” Though in body I am far from him, without body and spirit we two are one light …
Since I am he and he is I, why do I seek? We are one, now I will sing of myself”

After Shams disappearance Mevlana Rumi left teaching at the university and only taught his spiritual disciples the path of Love/ Sufism. He continued his inspired poetry till his last breath. Mevlana Rumi’s name has now become very famous in the West. His poetry is widely read and in 1997 the Christian Science Monitor named his collection of poetry by Coleman Bark the best selling in the USA. Both people in the East and the West can associate with his message of Love, because it is a universal feeling for which mankind is thirsty.

“I am neither of the East nor of the West; no boundaries exist in my breast” - Rumi

“When someone mentions the gracefulness
of the night sky, climb up on the roof
and dance and say,
Like this.

When someone quotes the old poetic image
About clouds gradually uncovering the moon,
Slowly loosen knot by knot the strings
of your robe.

“I asked for a kiss you gave me six. Whose pupil were you to become such a master? Full of kindness, generosity... You are not of this world.”

“The minute I heard my first love story
I started looking for you,
not knowing
how blind that I was

Lovers don't finally meet somewhere
They're in each other all along.”

"Like the spear pierces the shield in a moment, I passed through nights and days. This is why all beliefs and religions are for me One and hundred thousand of years just a moment…"

"Come, come again, whoever you are, come!
Heathen, fire worshipper or idolatrous, come!
Come even if you broke your penitence a hundred times,
Ours is the portal of hope, come as you are."

“A nation of Love has a different religion, For them God alone is their nation and religion”

“By love, dead are made to live
By love, the sovereign is made a slave…
For Lovers the faith and religion is God”

And Mevlana’s final message would be

"Get united… I came here not to divide but to unify."

Inayat Khan an Indian Sufi master says “ The original words (in Persian) of Rumi are so deep, so perfect, so touching, that when one man repeats them hundreds and thousands of people are moved to tears. They cannot help penetrating the heart. This shows how much Rumi himself was moved to have been able to pour out such living words”.

Some of the themes in Mevlana Rumi’s Mathnavi are tolerance, love of the Divine and the remembrance of the Divine. The Mathnavi is a collection of stories of personalities such as Moses, Jesus and Muhammad and many Sufi’s. The East and West need to build bridges of understanding rather than talk about the “clash of civilizations”. We need to reach out to other civilizations and cultures. Mevlana Rumi’s life, works and teachings are a great source of inspiration for this purpose. On what basis can the dialog of civilizations take place? From Mavlana Rumi’s point of view people of faith from various religions and cultures can work for this understanding. As he said, “While beliefs vary from place to place, faith is essentially the same.”

God says to Moses in the Mathnavi of Rumi

“Ways of worship are not to be ranked as better or worse than on another
Its all Praise its all right

Its not me who is glorified in acts of worship
It’s the worshippers! …

Forget phraseology
I want burning, burning…”

And Rumi also says,

“There are many languages in the world,
in meaning all are the same.
If you break the cups, water will be unified and will flow together”

Truly the need of this age is to break the cups, remove the misunderstandings and flow together in harmony. It is said that Mevlana Rumi after the death of his wife married a woman of Christian origin. The remarkable thing about this marriage was that it took place at the time of the Crusades when the Christians saw Muslims as number one enemies and vice versa. Not only did Mevlana Rumi talk about love for humanity he himself proved many times in his life that he was a great lover of humanity.

“To love human beings is to love God” - Rumi.

On the 16^th of December Mevlana Rumi passed away to his beloved. Men of five faiths followed his funeral bier. People that day mourning his loss said, “he was the David, the Moses and Jesus of our age”. This day came to be known as the Night of Union and is celebrated by his followers and a ceremony is held in his honor.

“When you see my funeral, don't say, "Parting and separation!"
for me, that is the time for union and meeting (God).”

-----------------------------------------------------------------------------------------------------------------------------------------------

Behzad Lucknawi

aye jazbaa-e-dil gar main chaahun har chiiz muqaabil aa jaaye
manzil ke liye do gaam chalun aur saamane manzil aa jaaye

aye dil kii Khalish chal yun hii sahii, chalataa to hun unakii mahafil men
us vaqt mujhe chaunkaa denaa jab rang pe mahafil aa jaaye

aye rahabar-e-kaamil chalane ko tayyaar to hun par yaad rahe
us vaqt mujhe bhaTakaa denaa jab saamane manzil aa jaaye

haan yaad mujhe tum kar lenaa aavaaz mujhe tum de lenaa
is raah-e-muhabbat men koii darapaish jo mushkil aa jaaye

ab kyun dhundhun vo chashm-e-karam hone de sitam balaa-e-sitam
main chaahataa hun ai jazbaa-e-Gam mushkil pas-e-mushkil aa jaaye

is jazb-e-dil ke baare men ik mashvaraa tum se letaa hun
us vaqt mujhe kyaa laazim hai jab tujh pe meraa dil aa jaaye

aye barq-e-tajalli kyaa tune mujh ko bhii muusaa samajhaa hai
main tuur nahiin jo jal jaauun jo chaahe muqaabil aa jaaye

---------------------------------------------------------------------------

diiwaanaa banaanaa hai to diiwaanaa banaa de
warnaa kahiin taqdiir tamaashaa na banaa de

aye dekhanewaalon mujhe hans ke na dekho
tum ko bhii mohabbat kahiin mujh saa na banaa de

main dhuundh rahaa hun merii wo shammaa kahaan hai
jo bazm kii har chiiz ko parwaanaa banaa de

aakhir koii suurat bhii to ho Khaanaa-e-dil kii
Kaabaa nahiin bantaa hai to but_Khaanaa banaa de

"Behzad" har ek jaam pe ek sajdaa-e-mastii
har zarre ko sang-e-dar-e-jaanaan naa banaa de

tum naGmaa-e-maah ho anjum ho tum soz-e-tamannaa kyaa jaano

tum dard-e-muhabbat kyaa samajho tum dil kaa tadapnaa kyaa jaano

sau baar agar tum ruuth gaye ham tum ko manaa hii lete the

ik baar agar ham ruuth gaye tum ham ko manaanaa kyaa jaano

taKhriib-e-muhabbat aasaan hai taamiir-e-muhabbat mushkil hai

tum aag lagaanaa siikh gaye tum aag bujhaanaa kyaa jaano

tum duur khade dekhaa hii kiye aur Duubane vaalaa Duub gayaa

saahil ko tum manzil samajhe tum lazzat-e-dariyaa kyaa jaano

tumhaare bulaane ko jii chaahtaa hai
muqadar banane ko jii chaahtaa hai

jo tum aao to saath khushiyaan bhii aayen
mera muskurane ko jii chaahtaa hai

tumhaarii muhabbat men khoyii huii hun
tumhen ye sunaane ko jii chaahataa hai

ye jii chaahataa hai ki tumhaarii bhii sun luun
Khud apanii sunaane ko jii chaahataa hai

Riddles of Khusru

-->

Can you solve these riddles of Khusrau?

Here is a sampler of Khusrau's Hindvi Pahelis collected from various sources. Although their answers are also given here, many riddles carry the answers/clues within. See how many of them you can solve without seeing the answers.

In these riddles you will find certain symbols that Khusrau is obsessed with, for instance naa (woman) which in Arabic/Persian also means fire. He plays around with both meanings of this and many other such words in various ways. If you know Urdu/Hindi and Persian well, you will discover many such word-acrobatics in these riddles.

(1) Ek guni nay yeh gun keena, Hariyal pinjray mein dedeena; Dekho jadoogar ka kamaal, Daalay hara, nikaalay laal. One trickster performed this trick, Inserted a (green) parrot into the cage; Oh, what an act the sorcerer shows, Puts in green, takes out red !
(2) Bheetar chilmun, baahar chilmun, beech kaleja dhadkay, Amir Khusrau yun kahay woh do do ungal sarkay. A screen inside, a screen outside, a pounding heart in between, Says Amir Khusrau, its moving inch by inch.
(3) Ujjal ateet moti barani, paayi kabnt diyay moye dharani, Jahaan dhari wahan nahin paayi, haat bajaar sabhay dhoondh aayi; Aye sakhi ab keejay ka? Pi maangay to deejay kya? He found some beautiful, sparkling pearls, and gave them to me to keep, But alas, I can’t find them now where I kept, Have searched every corner, even in the bazaar; What to do, Oh my friend? What will I give, when the beloved asks?
(4) Apnay samaye mein ek naar aaye, Tuk dekhay aur phir chhup jaaye; Mohey achambha aawat aisay, Jal mein agni basat hay kaisay. Sometimes I see a woman, She peeps in and then disappears. I get amazed – How can water contain such fire in it? (Note the double meaning of the word naar - in Hindvi, a woman and in Persian/Arabic: fire)
(5) Ek purukh hay sunder moorat, jo dekhay woh usi ki soorat; Fikr paheli paayi na, boojhan laaga aayi na. This fellow is beautiful like an idol, whoever sees him, looks like him; Haven’t understood this riddle, am guessing but can’t figure out. (Note: The last two words aayi na have the answer in them.)
(6) Bani rangeeli sharam ki baat, bay mausam aayi barsaat ; Yehi achambha mujh ko aaye, khushi ke din kyon roti jaaye. All dressed up colourfully, a little shy; but a rain without the season, This is what baffles me, what makes her cry on a happy day?
(7) Gupt ghao tan main lagyo aur jiya rahat bechayn, Okhad khaaye dukh badhey, so karo sakhi kachu bayn. My body is inflicted with an invisible wound, my heart is restless, The medicine (Okhad) only increases the pain, do something oh my dear.
(8) Ek naari mein jab nar jaaye, Kaala munh kar ultaa aaye; Chhati ghaao apni sahay, Man ke bachan par aaye kahay. When this man goes into the woman, Comes out with a tarnished (blackened) face, Even the chest has to tolerate the wounds, But at least, the words of the heart get expressed.
(9) Bidhna nay ek purkh banaya, Tiriya di aur naeh lagaya; Chook huee kuch wa say aisee, Des chod hua pardesee. God created the man, Provided him body and soul; But alas the man committed a mistake, Had to leave home and be a foreigner.
(10) Nar naari kehlaati hai, aur bin warsha jal jati hai; Purkh say aaway purkh mein jaai, na di kisi nay boojh bataai. Is known by both masculine and feminine names, And lightens up (or burns up) without rain; Originates from a man and goes into a man, But no one has been able to guess what it is. (This riddle is full of puns and various interesting clues playing around with the gender of the object. Knowledge of Hindi, Urdu would be helpful in solving it. Note, for instance, the word jal of the jal jaati hai in second line could mean burning as well as water in Hindi. Similarly, if you read the first two words in the last line together, you might get the answer to this riddle.)
(11) Ek naari kay sir par hai naar, Pi ki lagan main khadi laachar; Sees chuve aur chalay na jor, Ro ro kar woh karay hai bhor. A woman carries fire on her head, Hopelessly waiting for her lover; Her body melting, can’t seem to control herself. Crying, crying till its dawn.
(12) Pawan chalat weh dehe badhavay Jal peevat weh jeev ganvavay Hai weh piyari sundar naar, Naar nahin par hai weh naar. With the blow of wind she flares up, And dies as soon as she drinks water; Even though she is a pretty woman, She’s not a woman, though she’s feminine. (both Arabic and Hindi meanings of word Naar apply here)
(13) Baala tha jab sab ko bhaaya Bada huva kachu kaam na aaya, Khusrau keh diya uska naav (naam) Arth karo nahin chaado gaanv. When young, he was loved by everyone, Grew up, and was of no use; Khusrau has already told his name, Guess it, or leave the town. (Answer is hidden in the third line.)
(14) Saawan bhaadon bahut chalat hai Maagh poos mein thodi, Amir Khusrau yun kahay, Tu boojh paheli mori. It moves mostly in the rains, Not much in winter, summer; So says Amir Khusrau, You solve this riddle of mine. (Again, the last word in the last line is the clue)
(15) Beeson ka sir kaat liya, Naa maara naa khun kiya. It has beheaded twenties of people, But neither killed nor shed any blood. (Two words in the second line, if put together, have the answer)

Some qawwalis and folk songs of Amir Khusrau tradition

-->

Some qawwalis and folk songs of Amir Khusrau tradition

Qawwalis and folk songs, the most popular area of the Khusrau tradition, have kept his name alive amongst the masses for more than seven centuries. The following popular verses, just like the rest of his Hindvi dohas and riddles, have reached us through oral traditions rather than authentic document sources, and there is a strong possibility that some of them may have been composed by much later qawwals and poets who tried to relate to Khusrau's legendary association with Nizamuddin Aulia.

Today you may find differences in words, or sequence of couplets, and even addition of new couplets in their performance or documentation in two different places. This page contains mostly Urdu / Hindi qawwalis - other Farsi ghazals of Khusrau that are sung as qawwali may be found elsewhere. The following have been collected from various sources including transcriptions from actual Qawwali performances.

Note that the English translations here - a bit literal - are meant only to guide the readers about the contents of these songs. For a better appreciation of the poetry, knowledge of Urdu/Hindi and even Persian will be an advantage.

------------------------------------------------------------------------------

Chhap tilak sab cheeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay
Prem bhatee ka madhva pilaikay
Matvali kar leeni ray mosay naina milaikay
Gori gori bayyan, hari hari churiyan
Bayyan pakar dhar leeni ray mosay naina milaikay
Bal bal jaaon mein toray rang rajwa
Apni see kar leeni ray mosay naina milaikay
Khusrau Nijaam kay bal bal jayyiye
Mohay Suhaagan keeni ray mosay naina milaikay
Chhap tilak sab cheeni ray mosay naina milaikay

You've taken away my looks, my identity, by just a glance.
By making me drink the wine of love-potion,
You've intoxicated me by just a glance;
My fair, delicate wrists with green bangles in them,
Have been held tightly by you with just a glance.

I give my life to you, Oh my cloth-dyer,

You've dyed me in yourself, by just a glance.
I give my whole life to you Oh, Nijam,
You've made me your bride, by just a glance.

---------------------------------------------------------------------------------------------------------

Man kunto maula,
Fa Ali-un maula
Man kunto maula.
Dara dil-e dara dil-e dar-e daani.
Hum tum tanana nana, nana nana ray
Yalali yalali yala, yalayala ray Man tunko maula......

"Whoever accepts me as a master,
Ali is his master too."
(The above is a hadith - a saying of the Prophet Mohammad (PBH).
Rest of the lines are tarana bols that are generally meaningless
and are used for rhythmic chanting by Sufis.)

-----------------------------------------------------------------------------------------

Aaj basant manaalay suhaagun,
Aaj basant manaalay;
Anjan manjan kar piya mori,
Lambay neher lagaaye;
Tu kya sovay neend ki maasi,
So jaagay teray bhaag, suhaagun,
Aaj basant manalay…..;
Oonchi naar kay oonchay chitvan,
Ayso diyo hai banaaye;
Shaah-e Amir tohay dekhan ko,
Nainon say naina milaaye,
Suhaagun, aaj basant manaalay.

Rejoice, my love, rejoice,
Its spring here, rejoice.
Bring out your lotions and toiletries,
And decorate your long hair.
Oh, you’re still enjoying your sleep, wake-up.
Even your destiny has woken up,
Its spring here, rejoice.
You snobbish lady with arrogant looks,
The King Amir is here to see you;
Let your eyes meet his,
Oh my love, rejoice;
Its spring here again.

--------------------------------------------------------------------------------------

Bahut Kathin hai dagar panghat ki,
Kaisay main bhar laaun madhva say matki?
Paniya bharan ko main jo gayi thi,
Daud jhapat mori matki patki.
Bahut kathin hai dagar panghat ki.
Khusrau Nijaam kay bal bal jayyiye
Laaj rakho moray ghoonghat pat ki.
Bahut kathin hai dagar panghat ki.

The road to the Well is much too difficult,
How to get my pot filled?
When I went to fill the water,
In the furor, I broke my pot.
Khusrau has given his whole life to you Oh, Nijam.
Would you please take care of my veil (or self respect),
The road to the well is much too difficult.

---------------------------------------------------------------------------

Mohay apnay hi rung mein rung lay,
Tu to saaheb mera Mehboob-e-Ilaahi;
Mohay apnay hi rung mein……
Humri chundariya, piyaa ki pagariya,
Woh to donon basanti rung day;
Tu to saaheb mera …….
Jo kuch mangay rung ki rungaai,
Mora joban girvi rakhlay;
Tu to saaheb mera…….
Aan pari darbaar tehaaray,
Mori laaj saram sab rakh lay;
Tu to saaheb mera Mehboob-e-Ilaahi,
Mohay apnay hi rung mein rung lay.

Dye me in your hue, my love,
You are my man, oh beloved of Almighty;
Dye me in your hue.
My scarf, and the beloved’s turban,
Both need to be dyed in the hue of spring;
Whatever be the price for dyeing, ask for it,
You can have my blossoming youth in mortgage;
Dye me in your hue.
I have come and fallen at your door step,
For you to safeguard my pride, my dignity,
You are my man, Oh beloved of Almighty,
Dye me in your hue.

------------------------------------------------------------------------------------------------------

Tori soorat kay balihaari, Nijaam
Tori soorat kay balihaari.
Sab sakhiyan mein chundar meri mailee,
Dekh hansain nar naari, Nijaam........
Ab ke bahar chundar meri rang de,
Piya rakh lay laaj hamari, Nijaam......
Sadqa baba Ganj Shakar ka,
Rakh lay laaj hamari, Nijaam........
Qutab, Farid mil aaye barati,
'Khusrau' raajdulaari, Nijaam.......
Kouo saas kouo nanad say jhagday,
Hamko aas tihaari, Nijaam.....
Tori soorat kay balihaari, Nijaam.

Beholding your appearance, Oh Nijaam
I offer myself in sacrifice.
Amongst all the girls, my scarf is the most soiled,
Look, the girls are laughing at me.
This spring, please dye my scarf for me,
Oh Nijaam, protect my honour.
In the name of Ganj-e Shakar (Nizamuddin Aulia's pir),
Protect my honour, Oh beloved Nijaam.
Qutab and Farid have come in the wedding procession,
And Khusrau is the loving bride, Oh Nijaam.
Some have to fight with the mother-in-law,
While some with sisters-in-law,
But I have you for support, Oh Nijaam.

-----------------------------------------------------------------------------------

Main to piya say naina lada aayi ray,
Ghar naari kanwari kahay so karay, Main to piya say naina lada aayi ray.
Sohni suratiya, mohni muratiya, Main to hriday kay peechay samaa aayi ray;
Khusrau Nijaam kay bal bal jayyiye Main to anmol cheli kaha aayi ray,
Ghar naari kanwari kahay so karay, Main to piya say naina lada aayi ray.

Hey, I’ve just had an affair with my darling,
Don’t care what the neighbourhood girls say;
Just had an affair with my darling.
Oh, his beautiful face, charming like an idol,
I’ve just made a place in the bottom of his heart.
I, Khusrau, give my life to Nizamuddin in sacrifice,
I’ve just had him call me his most favourite disciple;
Don’t care what the neighbourhood girls say,
Just had an affair with my darling.

-------------------------------------------------------------------------

(This song, in the form of a dialogue between the married daughter in her in-laws’ home and her mother, is sung by girls in North India at the onset of Monsoon rains - usually while swinging on the Jhoolas in a garden.)

Amman meray baba ko bhaijo ri - Ke saavan ayaa
Beti tera baba to boodha ri - Ke saavan ayaa Amman meray bhai ko bhaijo ri - Ke saavan ayaa
Beti tera bhai to baala ri - Ke saavan ayaa Amman meray mamu ko bhaijo ri - Ke saavan ayaa
Beti tera mamu to baanka ri - Ke saavan ayaa

Dear Mom, send my dad across; the rainy season has come.
Oh, dear daughter, how can I?
Your dad's too old; the rainy season has come.
Dear Mom, send my brother across; the rainy season has come.
Oh, dear daughter, how can I?
Your brother's too young; the rainy season has come.


Dear Mom, send my uncle across; the rainy season has come.
Oh, dear daughter, how can I?
Your uncle's too dandy; the rainy season has come.

------------------------------------------------------------------------------------------------

aaj rung hai hey maan rung hai ri
Moray mehboob kay ghar rang hai ri
Sajan milaavra, sajan milaavra,
Sajan milaavra moray aangan ko
Aaj rung hai........
Mohay pir paayo Nijamudin aulia
Nijamudin aulia mohay pir payoo
Des bades mein dhoondh phiree hoon
Toraa rung man bhayo ri......,
Jag ujiyaaro, jagat ujiyaaro,
Main to aiso rang aur nahin dekhi ray
Main to jab dekhun moray sung hai,
Aaj rung hai hey maan rung hai ri.

(It is difficult to translate the word rung into English. It is not colour, hue or anything like that. May be something like glow or brilliance or gorgeousness may come close to it. There are many different legends explaining the use of this word in the qawwali. Most of them point to the fact that Amir Khusrau sang these line ecstatically when he came back to his mother after meeting Nizamuddin Aulia for the first time, after a long search for an ideal sufi master – reason why the lines are addressed to the mother.)

What a glow everywhere I see, Oh mother, what a glow;
I’ve found the beloved, yes I found him,
In my courtyard;
I have found my pir Nizamuddin Aulia.
I roamed around the entire world,
looking for an ideal beloved;
And finally this face has enchanted my heart.
The whole world has been opened for me,
Never seen a glow like this before.
Whenever I see now, he is with me,
Oh beloved, please dye me in yourself;
Dye me in the colour of the spring, beloved;
What a glow, Oh, what a glow.

------------------------------------------------------------------------------------

(The following song - called Babul - is very poignantly sung by women in much of North India when they part with their daughter on her wedding.)

Kaahay ko biyaahi bides, ray, lakhi baabul moray,
Kaahay ko biyaahi bides........
Bhayiyon ko diye babul mehlay do-mehlay,
Hum ko diya pardes, ray, lakhi babul......
Hum to hain babul teray khoontay ki gayyan,
Jid haankay hank jaayen, ray, lakhi babul......
Hum to hain babul teray belay ki kaliyan,
Ghar ghar maangi jaayen, ray lakhi babul......
Hum to hain babul teray pinjray ki chidiyan,
Bhor bhaye ud jaayen, ray, lakhi babul......
Taaqon bhari mainay gudiyan jo chhodeen
Choota sahelin ka saath, ray lakhi babul......
Kothay talay say palakiya jo nikli,
Beeran nay khaayi pachhad, ray, lakhi babul.....
Dolee ka parda uthakar jo dekha,
Aaya piya ka des, ray, lakhi babul moray.
Kaahay ko biyaahi bides, ray, lakhi baabul moray.

Why did you part me from yourself, dear father, why?
You’ve given houses with two stories to my brothers,
And to me, a foreign land? Why dear father, why?
We (daughters) are just cows tied to your peg,
Will move on to where ever you drive us to, dear father.
We are just flower-buds of your garden,
And are asked for, in every household, dear father.
We are just birds from your cage,
Will fly off when its dawn again, dear father.
I’ve left at home, alcoves full of dolls;
And parted from my buddies too, dear father.
When my palanquin passed beneath the terrace,
My brother fainted and fell, dear father.
As I remove the curtain from the palanquin,
I see we’ve reached the beloved’s house, dear father.
Why did you part me from yourself, dear father, why?

------------------------------------------------------------------------------------------------

Hajrat khaja sung khailiye dhamal,
Hajrat khaja sung.......
Baais khaja mil bun bun aaye,
Taamay hajrat Rasool saheb-e jamaal
Hajrat khaja sung khailiye.......
Arab yaar tori basant manaayo,
Sadaa rakhiyo laal gulaal.....
Hajrat khaja sung khailiye dhamal.

(Dhamal could be a song or a musical genre that aroused ecstasy amongst the sufis. It was usually performed at special occasions such as Basant.)

Let us play Dhamal with Hazrat Khwaja,
All dresses up, the twenty two saints have come,
So let us play Dhamal;
Give respect to our exalted Hazrat Rasool.
We celebrate spring for you, Oh Arab friend.
(This Arab friend is not meant for the Prophet)
Keep the colourful spirit alive for ever.
Let us play Dhamal with Hazrat Khwaja.

-------------------------------------------------------------------------------------------------

Sakal bun (or Saghan bhun) phool rahi sarson,
Sakal bun phool rahi.....
Umbva phutay, tesu phulay, koyal bolay daar daar,
Aur gori karat singaar,
Malaniyan gadhwa lay aayin karson,
Sakal bun phool rahi.....
Tarah tarah kay phool lagaaye,
Lay gadhwa haathan mein aaye.
Nijamudin kay darwazay par,
Aawan keh gaye aashaq rung,
Aur beet gaye barson.
Sakal bun phool rahi sarson.

The yellow mustard is blooming in every field,
Mango buds are clicking open, other flowers too;
The koyal chirps from branch to branch,
And the maiden tries her make-up,
The gardener-girls have brought bouquets.
Colourful flowers of all kinds,
In hands everyone’s bringing;
But Aashiq-rung (the lover), who had promised to come
To Nizamuddin’s house in spring,
Hasn’t turned up - its been years.
The yellow mustard is blooming in every field.

(According to one tradition, the above song has been composed by a much later poet called Aashiq Rung - whose name features in the song)

-------------------------------------------------------------------------------------------------------

Mora jobana navelara, bhayo hai gulaal,
Kaisi dhar dini bikas mori maal.
Mora jobana navelara.......
Nijamudin aulia ko koyi samajhaaye,
Jyon jyon manaon, wo to rootha hi jaaye.
Mora jobana navelara......
Chudiyan phod palang pe daaron,
Is cholee ko doon main aag lagaai.
Sooni saij darawan laagay, virah agni mohay dus dus jaaye
Mora jobana navelara.......

---------------------------------------------------------------------------------------------------

My youth is budding, is full of passion;
How can I spend this time without my beloved?
Would someone please coax Nizamuddin Aulia,
The more I appease him, the more annoyed he gets;
My youth is budding……
Want to break these bangles against the cot,
And throw up my blouse into fire,
The empty bed scares me,
The fire of separation keeps burning me.
Oh, beloved. My youth is budding.

(The above song is also sung as a Khayal composition)

--------------------------------------------------------------------------------------------------

Har qaum raast raahay, deen-e wa qibla gaahay,
Mun qibla raast kardam, bar samt kajkulaahay.
Sansaar har ko poojay, kul ko jagat sarahay,
Makkay mein koyi dhoondhay, Kaashi ko koi jaaye,
Guyyian main apnay pi kay payyan padun na kaahay.
Har qaum raast raahay, deen-e wa qibla gaahay.....

Every sect has a faith, a direction (Qibla) to which they turn,
I have turned my face towards the crooked cap (of Nizamudin Aulia)
The whole world worships something or the other,
Some look for God in Mecca, while some go to Kashi (Banaras),
So why can’t I, Oh wise people, fall into my beloved’s feet?
Every sect has a faith, a Qibla.

---------------------------------------------------------------------------------------------

Chashmay mastay ajabay zulf daraazay ajabay,
Mai parastay ajabay fitna darazay ajabay,
Behray qatlam chu kushad taighe-nihaan sar basajud,
Oo ba-naazay ajabay mun be-neyaazay ajabay,
Turk taazay ajabay sho’bada baazay ajabay;
Kajkulahay ajabay arbada saazay ajabay;
Haq mago kalma-e kufr ast darein ja Khusrau;
Raaz daanay ajabay saaheb-e raaz-e ajabay.

O wondrous ecstatic eyes, o wondrous long locks,
O wondrous wine worshipper, o wondrous mischievous sweetheart.
As he draws the sword, I bow my head in prostration so as to be killed,
O wondrous is his beneficence, o wondrous my submission.
O wondrous amorous teasing, o wondrous beguiling,
O wondrous tilted cap, o wondrous tormentor.
Do not reveal the Truth; in this world blasphemy prevails, Khusrau;
O wondrous source of mystery, o wondrous knower of secrets.