It is well known that poetry in contemporary Punjabi had its origins in the 10th and 11th centuries, evidence of which is found in a book of religious hymns known as ‘Ginan’, composed by Ismaili scholars in Multan. Later, we witness a larger-than-life figure, poet and saint, named Fariduddin Masa’ud, mounting the stage of history from the suburbs of Multan. He is undisputedly considered the pioneer of contemporary Punjabi literary tradition. His couplets (Shloka) carried such a socio-spiritual vision and aesthetic dimension that Guru Nanak Dev preserved them for posterity, which later became an inseparable part of Sikh scripture ‘Guru Granth Sahib’.

Interestingly, one of the earliest prose writings in Punjabi, titled ‘Maslay Saikh Farid Kay’ is also concerned with his life, real and imagined. The book, edited by Prof Dr Nabila Rehman, has been published by the Institute of Punjabi and Cultural Studies of the Punjab University, Lahore. Prof Rehman is a well-known research scholar and writer. This is the first time that the book has been made available in Arabic-based Shahmukhi (a misnomer) script.

‘Masla’ is the Punjabi pronunciation of the Arabic word ‘Masala,’ which has multiple meanings, such as a question, problem, issue, a thing asked, doctrine, precept etc. Here it means questions/matters of spiritual and mystical importance. In the form of stories, which have Baba Farid as their central figure, questions/matters are raised and solved. Stories look like parables designed to teach spiritual lessons and promote a certain moral vision. Consequently, it involves natural and supernatural elements, which may inspire the devotees of the saint but put the rationalists off. But it must be remembered that the book was composed in the late 16th century when superstition reigned (it reigns even now) and arcane practices were thought to be an integral part of spiritual life. So it offers hagiographic picture of his (Farid’s) supposed esoteric and mystical practices.

What’s significant is not the structure of the stories but the inferences one is supposed to draw from them. The happenings narrated with disarming innocence carry nuggets of wisdom, moral views and glimpses into spiritual practice.

Some ‘Maslas’ are stories full of wit and wisdom. In the second ‘Masla we come across this: “…Shaikh Farid starved for seven consecutive days. On day eight, his wife said to him; ‘look Farid, people toil daily (to eke out a living). You also toil for a few days so that we get something in our belly. We are starving.’ Saikh Farid thereupon replied to the woman; ‘I can’t toil.’ ‘Well, you can’t toil but can’t you even steal? Who else shall provide for us?’ she retorted…”

Prof Rehman has quoted Pritam Singh’s apt remarks about Baba Farid’s character portrayed in the book.

“The author of this book has created the character of Baba Farid modelled on some indigenous saint, not on the model of an alien proselytizer from Arabia or Iran. The author makes Baba Farid undergo nearly all the experiences, which are a product of a treasure trove of indigenous thinking. Here the alien Sufi movement has donned indigenous robes,” he writes.

The book has 19 stories on different aspects of Sufi experiences and practice. The editor deserves kudos for her academic research on the history and evolution of the classical Punjabi prose spanning over centuries, which most of the scholars this side of the border are not aware of.

Nabila Rehman has briefly explored diverse genres of classical prose. Her introduction to ‘Maslay’ is thorough and exhaustive. In her opinion, ‘Maslay’ is the product of Meherban Sodhi’s research and wit. He was the nephew of fifth Guru Arjun Dev. His real name was Manohar Das but came to be known as Sodhi Meherban, which seems to be his nom de plume. In literary history, ‘Maslay’ is mostly valued for being one of the early specimens of Punjabi prose. The language used has a blend of two dialects, erstwhile Multani (now Saraiki) and Lehndi, which is nothing unusual as the similar specimen of language is found in classical poetry. The book may prove a serendipitous gift for those interested in literature, culture and spirituality. It is a must-buy for libraries, private and public.

Another book being reviewed is by a poet who also has some connection with Baba Farid, though obliquely. Mian Nasir Jalal Bhandara’s book of verse, titled ‘Sufna Such Te Udeek’ has been published by Akbar Lahori Foundation, Lahore. The suffix ‘Bhandara’ alludes to something interesting that happened to the author’s elders. His clan joined the resistance movement of 1857 against the white colonialists, led by famous Ahmed Khan Kharral in and around present day Sahiwal region. In the aftermath of locals’ defeat, the patriarch of the family ran away to Rajasthan. Later, the clan settled in Bahawalnagar and Pakpattan. In pre-partition days, a conflict arose between the two descendants of Baba Farid as to who would be the custodian of the shrine. The family sided with one of the claimants and using muscle power scared away the other. Now to show his gratitude, the custodian would invite an elder of the family and along with him inaugurate the annual ‘Urs’ of the saint. The elder would bring loads of food as a show of devotion. The traditional word for a place where food is stored is ‘bhandara’. Another meaning of it is feast. Since the family would do its bit to provide for the devotees, the people started calling them Bhandara and it stuck.

Mian Nasir Jalal Bhandara is a land owner but what distinguishes him is his creative pursuits. He is basically a playwright and fiction writer with a number of publications to his credit. His plays have been recorded by Pakistan Television while the Alhamra Art Council staged some of his plays. He also wrote stories for films. With the publication of this book, he makes his debut as a poet.

A quiet melancholy runs through Bhandara’s poetry. Time slipping out of hand like sand creates a sense of loss, which gives his verse an air of pathos. The unravelling of inherited sociocultural fabric under immense pressures of modern conditions is another theme that haunts him. But the lucky streak is that somber experience of changing life makes him neither a pessimist nor a cynic. What sustains him is his faith in human goodness and promise of tomorrow.

Bhandara’s poetry is unpretentious, simple and accessible. “Days are the same/ Same are the nights/ But how did our conversations and tales vanish into thin air?” — soofi01@hotmail.com

Published in Dawn, August 1st, 2022

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