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tbt :ttt rY.r; r, o.t,.*!y'! 47 ,e,Atrgei
-, (-rrLl,*tJt1"r-rt; -l
t d6bsy-,).-?
a*t a"trycjf,,fi,
6#gt!: -.
Vd{:z _t
ba ri-,::
art,;r- ',li t!$btort
,* "r, 1ulr4;) s
\
- 9'! I t tg r,-,7_-
I
u u. S_, 2
tal
!!1n-i,,',1 -,.
i) t2tl"irt; -
ie,t+ -*
ll::t./fi| y
et;/
..\
O'tr,t/.tDr/ 4(
'.,..
(rvlli)
uy)3
ot-rre,f ,'I! JF u!j'- 'rt" 2}r rlr okt'l -r
oqqp .(-. r.r fr 2* brs J3lr orjlt
olrr:r,.J-. ilr* 0rK ,rt-t ;b! J+- 6J dt-"I
u-/ te-rj
: ,r orfojjrl dLl
r a"rr,Jy' .rrro" e+t *ts olb" r sl t t*tt 'o
gtr^ ! ,.lrrn S: z-! o\ta .r',ch il.l*lt E ! 'r'-Q
i ur-* at 2! a)ta L: ot-d 30 a 'l,. )n

r'elul er--
i ''/ ;-
i u.S a-J L rt cS oY'h z-F stt fi3\
olara z-a. f ntt ot'tf oVitt 6,(;11 otr''

d* 1
,r,tC ,e'' ,ll lri

J
' .rr:1,,r...- &hl OreJ ,r.rt ./,lj,r a,-L^ lr'{,-t J"-
tt',- iJt'' JL:' llJ
E
I
I
(xvii)
jr
dl.+r4_j rciilJ drLJ oi. J, sfl, CiJjiI! JrF -!
oiL orjL a-r! oU. jl.. &t z_jr_. l!_b
JJ u^1, dLr.t tIe{ L-
..n !r!i! Jf ,! ,s; *t f J, crtLr- .'.-
dlr rrT
i "!,
J, s.'J sC o$. !J
okrr oti,. x,rjlr .;,,L olr. irjts.LJue-r utr.rt .
tt !'\* i\i L 6li
u-1,:- z1 !,t o.t2 ,-lri ,jc, JJ drr+_
_.., ..I er r-Jt.oy! J_l
\
( Lr,- )
'.--
\'
Ey) D L
. 6)1. /- j$J-.(]t- s5J- Z* eCJ ..$"- at) J. -r

!t)t- d;) ,r!- ^.i.- d;.r-.J .JJiJ ol..JJ- .Jlr.l.rl
61t-, ,rj2.f ,rjf, J.,1, 6J:r, 6.1- ,erl-r
e;t^r- Cr J.- { tf *t of Lrrt-,
61K1 a: J.ta 'r;L-l 6;.1 4,1,j rr.rl1
.r.rKj- r&-- or-t .J,rr a-.l (JLJ- ; srl-,
€,dt JH^ 4-; l-t qr-. l, !-JJ l,r c,JLr
(xvi)
may be defned. OfaI thc grcat Sufi poets of th.
lndus Valley, it
is
parhaps Sachal S&rnast who paovides ur wi$ rhc richcst proportion of
such origioal surprises, aod we rDay perhaps bc allowed to concludc our
survey with a pcrsooal fsvouriic' whicb deservei to rtaDd without critical
com0cnt:
' Pleoty of tricks' '

8e hrppy, heloYed, be hsply -
Oh thra crn se do to rlloae you?
1s yogis ia ashcs
We'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,
,s ?t
, . srccNo. ( iii)
5
t (xv)
Flcsh thcy cat, and drirt blood too,
Rctrdilg with their clasr.
Sec how th€y, 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 the
slylistic device ofprotrouEcirg the id€al than tle .real'. Th;s rhctoricat
iricl is. ofcouBe, s iplc[did way of conveyiug rhe Eystical uDderskod-
itrg of tb. naturc of existetrce. It is u6€d ro EaIlcllous efrect in
anotbct dokoi
i ,Th € cye-rigcrs, .
Tha Jungtenigers arc bcaren by
Thc rigers of ihc eyes.
I
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, sometimcs
€veB atr imitalor. of Sachsl Sarmast.
Our illuslralioos of softc of thc most ortstandirg features of

Sacbal's poct,y hcre havc occcsssrily b€cD presentcd rbe jmFrfcci
Dcdium of vcrsc iladslations iba! can ooly hopc to ca pturc a very small
Y part of ihcir origioals'quality. But rhe rcader has rhe Siraili tcrt beforc
bim, rnd ifthis bricf iDtroductiotr of ours bas helped rtr aoy *ay ro
incrcaie his cojoyecnt of this text atrd bis app.eciation o, ils autbor,s
stalurc, th€n our task rriil havc bec! achievcd.
Finqlly. Iet us acknowledgc rbat onc mark ota poet is hi3 bappy
failurc.lways to fit i.to the critic's tidy categorica, lbwever l,jat€ly rbcse
* . lag. No. (rviii)
(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 senc€
otwond€r at thc dlvire bcauty is cipresscd i6 a sthbolic fashion:
. The hsir-prrtiDg ,
Isaw the paning in rhot hair:

A sperr, it lecmcd.lashed our. ,t\
Or did th.r. flow lome swclliog siream,
Bctwcco itr doubie beoks?
Or cl3c was it the scsrlet crcst
Of iover-drowDiig waves ?
Or clsc a curviog bloody sword
Of lov.ly criDsoo r€d?
Or €lsc a raibbow itr tt. sky?
SoEre glifi.ring lightring-larh?
Or else an allof,, ftom the bow
Wbicb 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 weary
tepetition ot ioages by masy gbazat pocls, bui wbat fresh hfe it r.ceives
here f:om ihe vivid abruproess of rhe anapbora with ihich rhe simites,
som. old aad some new, are piled up otr oDe aoother !
marry oth.r drfurr of morc typical leogtb, ioo, Sacbal deyclops

.IBages ltrdrawa
from Lbe coDveDtioDal laoguage of tbe gbazal ro cr€rte
short poelns ot striklDgly origidal power, as itr:
'Th c 6Yc-hac/ks' "

Fai., thc fsir bcloved's eyes
Murder, wreakioB wBth.
I- . Takitrg oot a momeDt's iert,
Down rhcy swoop liks bawks.
. Pas. No. 30 ol oriciMl r.xt
(xiiD
lt i3 oo such pocms !3 thcre-end how Dasy 6ptedid cl.aplcs
tbaic olc!-ttat Eri:h of Sacbal's Eputatiotr ia3ts, jtr$ ,s it ij to ttcs€
thrt th. f.mour prophccy aiid to h.vc bcctr Dad. by Stoh Abdut Lltif
abor[ 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 oD
thir thcmc crprcss it dircctu i! ulmistr&ably lrlaoic tcrer, shicb owc
litdc 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 i
Who cbe should bcat thc druE ,
Thc ro.ary tums, bnt Dot thc haaaal
Who €lsc shoEld rcl thc bc.& ?
Now wha! th. I6aes fouod eartyrdoE,
Who ct* but 15g 319a, 6sa 1
Poor 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

oEly
itrttc uly i, $,hicb it lcsons ro rhc Dy.tic'r usurl dcvicc of ruc
tivc d.faltion of rhc objcd of bii adorrtion, Cod rhc Untnoreblc.
t['-
iur
slso itr itr foro.l orgroizeti,on. fhir i: bqcd on rne
rhrorical f3wc
callcd rmpiora, i! vbich aroccssivc r,leuscr arc iotroduccd
by thc imc
pt r. Tti.ilIrc s'rs ct.srty id.attt suitcd to S.cb.t,s h.Ut of @6-
poiirS hir Fc6r wtik iDa atate of rapturc. It fu
abo Dcrfectly ,!i&d
-i :" t. fud:ryr. of tlE lon, wirt its sscc.$irc vq..r iorcrrulrt d
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-wUcn
Ics al tba ccritc of qidaD..-
So it it hardly surprlsiag t-hat .o Dary of Sacbal,a Dolt

clcvrlcd
outlouriDga should raly for Iluab of th.i, ctrcc-t oo thicl6syl*
o1
aorphorr" ohich *c aocountlr oot olD io thc ,.r1, bur
also itr thr d{rrr4
. rrt l.lo. I:r o.irprf r.lr
E,
(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
rimply writrco io vc.y shoat litrcs: "61.y
.fhc raystarioui
yogi, .
Itrka c.ic to hao yorr Laat
To E.t rcr hv! ,oE hd ;
y!r, LaviEg gldocs6, l,ou
Tool 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
^Srchal
crc .ac 8iv.tr ruci
lroao ar lti., l'. rc€d fccl !o $tlat tirt
resrrhtcd hiDlclf ooly to &ir lcgtnd
{,
wtaoy ollcr asp.c{s of t[a rtory of Hir
b hii Sir.itt -ri.f,ioo.
rcc.irc s simila.ly lolly tr.rtmcot
but.wc may cotrctudc wit[ r pnicularty 6rc k
r, id which rh; cha..ctcll
or thc ltory rre u!€d to.rpre'r thc futr&Ecntal
mFtical awsacre$, thli of thc loity of
rtocrrioc of Iic loctir
bcing:
'Alrrt15G' "
i .D lrd. . tt Xl.rq
Ao trbra ao.. HL ftldr ?
Jhaag Sial end Trtlt tlazara

Alc mct it thfu orc apot.
h ttlt llalE rhcrc we htvc jourocrcd
Tberc a't indc€d !o oamc..
QuiE e!8r{fcd by r.ptu€'s biuo*r,
The$ evm IIia eaa tost.
Sachd, i! this ra&ml6s Oreftrs
No hai.titr! caact cdtr coec.
' |ra. No. 96 oao.tliaat &rt lrt.No.95 orlti!.It.|t
, (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 of
treatme . MaDy of rhe lyricsl themd through u,hich thc po.t's
myslic.l lovc is erpElsed rcceivc added point by beiDg put ioto the
sooth 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 I
Fath.r and brothcr fidy stop mc,

Mothcr dEy try to aorrecl me-
l'll cast of the KheEa and leava-oh I
Gathcrilg rouod 6e, Di gi -tdcids
Humbly 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 haractcristic
d.vicc of the tar, addiog to its mt6icality, rrd often used to gre3t .ffect
by Sachal. As also so often, tha 6!&l ve.sc acts ai a personally
oxprcised key to thc symbolle nea.ning of tbc wbold poenr.
Wbile Sachd did ha.dl€ lhc wbolc ofthe llir atory iD Siraiki, by
stctching o'rr iF chiEfcpisodes io a sct of litrk€d drrra iers€s, it is his
sublimc symbolic Eeditalioas otr a few featurcs of lhc legend in bis lrl
thal Errst cDmmeod tbe greetcf atle[tioD. ore fertur€ of lhc legerd to
uhich Sachal retuhs timc aod agein is tbe abandotrmtnt by Ratrjha of
ti6 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 illusualioD
of thc fan ous mysticsl Tradition, 'I was a hiddeD tr€asurc, aod desired
. Paso {0 of orlStnal a.ir
!
' (x)
gteatcst
It ls, howcvcl, in the rhid verse form thdl Sacbal's
Sitaiki potrry is expresseal This is thc kaf, t c't
of rhymiog vcrses
is form of thc
i"rO"a ty ,"f.uio tt is r€peat€'l aftcr each, which tbc
"t fitted foi lhc musicsl cxprcrsion ofthe verrning
iJ po"iry" -o"t iae"rtv of
i""tt"r" tn th; mrstical Po'ls, the fe€liogs so expressed arc'
*u..i "ti."". * roacrstood ss those of thc soul foi thc God: bui thc
",*nr",o,0" orf derivgs fron ihc convention of
ir.r"a'"r*"i 'xpressioo
"f
ii 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 depend
for $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, :
r '{D!
trot yout Langlr-on !
Lcavc
. 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'
allowing for thc lact that it is
Evctr from this onc eralnplc, ald
rr*arvi'."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
mixture of themes ihat
,. sJi" o"o t sacnalt kafc the comPl'x
characteriz€ maoy of those by kha$ja
Farid'
Farid' with his
A second Poidt of diflcrenc! fron KhPaja
*.of ro .s[y of the local romatrlrc l€geods
to cobatrce
--a..r.Ai" upoo the romatrcc
r*'"iirl*""." "l r'" trrlcs. is lhal sacbal draws onlyflanv other local
* *lri-*lrit" t, his siraiki verse' althougb
! . kin No I of P.8. (iYi,
:'
Cr)
Thesc problcms 6rc, however, important only b€caus€'of the
supr8me quality of Sachal's Siraiki compositions, u,hich deserv€ lo
app.ar io a form as lreat to lhc origiDal a! possiblc. It sbou]d bc said
ibat suc[ difrculties useally iovolve qoesiiors of detai], aDd that rbe
oremllcharactcr ofhis poetry stands out in majeslic clariiy,
.,f As $as sBggested at the beginning of rhis. introducrion, this

poetry 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 nlstitol
poetry ol Sird (Bazm+Saqafat, Multan, 19?6), I tried to show how
Sacbsl's Siraiki poeiry could be analysed as being writtcn in three
distioct, but ioterwcaviDg styles. Th€se I catled the ,Islamic styte', in
which the id€as of mystical theology arc straight-forwardly expressed;
the'persiao stylc', io uhich the conventional language and imu grs ofrhe
cl&ssical Pe.siaa ghezal are pressed inro lcrvic€atrd given furlher develop.
Ecnt; ard th. 'local stylc', in uhi6h the lraditonal €lements of tb€ locat
folk-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 greatly
clabdmted hcrl- It m!y, hovrever. bQ helpful to remark tbat lh€se sryles
do broadly corrcspond ro the three kinds of verse ]orm employed by
Sachal, althougb all th.se forms arc of coutse local io origiD and usuatly
written in local metrcs. The long€st form is tbe Sihad which has 30
verscs or 6tanzas, hcsded by th€ letters of thc Arabic alphab€t, Ihere
ars sevcral exarnpl$ of thc Sirar, in Sachal.s Si8iki works, usuatly
settingforth Eufi tcachings ina fdiriy direct fashion Finc as some of
therfi 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),.
t' For tbis wc have to turn to the short€i forlD, in lvhich his ecstatic
utt.raDc€s w.re typically cast to thc grearBt efrect- Th€ shortest of thesc
is that favourits ofthe hulnbler kind of populsr ve$€, ibc dol,/a, usualty
a rttyming locn of four lincs. Perhaps Do Siraiki poct has uscd thc
do,r, to gr€ater efr€ct rhaD Sachal, $bo mates paflicutarty 6tre usr of it
lo d€velop shiki.g images ofthe power of th6 alivine beaury rhar far
ttansrcDd th. convcotiotrot themcs of tbe ghazal itr which thes€ irnages
ofte, scero to havc their origitrs.
(viii)
Pcrsiatr Bystical loets, Maulana Jalal-ud'Dit Ruttri (d. !284), es
describ.d by Daulatslah :
'Thc& was a pillsr ro thc Maulada'E hou6e, aDd lvhelt hc

was drowncd io tbc ocero oflov€ he osed to lakc hold of
- rhat pillar etrd set himsclf turding round it. McaDwhil€
h€ v€rsifred rnd dictatcd, aod people wlote down thc
verscs,'
I! is, of coutse, throulh th€ coDtinua,ce of lhls uadition of

musical prcformance - althoryh tbe perfo@e$ a.e rowa'lays usually
of Sachal's poetry has
'profassional Dusicions
- ther th. popular app€al
b€cn maintained : aDd it is, for thc most pa.t, darvollously suiled
to
thi3 purpose. lt does, horv.vef, trecal to be rcarizcd that lh€ o$ture ol
this poetry, thc madtrcr of hs composition, the ]xay in which it has b€en
trao"mined, aod thc vcry abloalaBce of its quantity all Da(e fot great
alifrculties io tryitrg to .stablish a coEPl€tsl, accuratc and .oliable text
Many ofthcs€ ptoblems ere sbarcd by the olher locsl Sl,f pocls,
esp€cistly thar r.ised by the alleredols and varlations iBtroduced by the
singels 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 of
latga rovcotioas But for sachal, whose Siraiki wolks arc more ettcn_
sive thas those ofany oth€r oajor Poct, thcsc ptobltms are pa'licularly
rcute. Nor is it possiblc entirely to disregard tha purely liDguistic difr_
cultics itrvolved in ass€ssing the work of a poet *ho composed exlell.
sivel, iD two quite closely related laoguages. Besidcs being quite the
fin€st. Sxchal i3 also ona of the carliest pocts of Siod to have wnttetr iD
Siraiki. While his Si.aiki is geoerllly quit€ purc, it natutallv shows
some 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 spok€tr
in trluch ot the rcgioo . M.oy pur.ly Sifldhi tt'lords are, bcsidos' iotolo_
ilocealheir end therc fo. poctic ftasotrs, as often for the purposc oI provi'
diog corvedeot ihymcs. These factors again ircrease the dificttlty of
the cdiror's t.sk, allhough it day be observed tbat rhe same situatiotr
applies ia rev€rse vhetr tha Siraiki el€Eeots iD Sachal s Sandhi v€rces
.ncountercd.
"e
(vri)
The most notable oflhese accornB tells of hovv Sacbsl sacrificed his
only soD, itr order to save lhe sick child of Mir Rustam fhan. Aparr
lrom this ooe son, the issue of his marriage wirh his uDcle,s daughter,
Sachal had no oflsprirg, The Dain line of spiritual successorship
passed through his un:le's litre, and he himsetf had no format disciples,
otrly persoml followers.
So, *heD he died in 1827, only sixr€eo years before the Brirish
conquest ofS'nd begaD ro briog ro an end many aspects otrhar worrd in
which he had livcd his long tife of 88 tearc, Sachat left no personal heirs
in either physical or spidtual descent from hisself. Bur no personat
h€irs, sulely, could have survived with the success achieved by rhe
vibranrly express€d m€ssage of his poetryr which rernains as hjs true
memorial. And rhis, wirhout doubi, is as hc would have wished it to
bc. Ai he said in a PersiaD poem :
Know that the world's work is simply a worry,
Endingat lasl in but sorrow aBd rernorse,
a; Hasten to pass by the .vils of wiseness i
Cood can be fouod in but madness and rapture !
.j
' Tho ecstatic tone ofalhost a Sachal Saimast,s Siraiki poetry
fully bears out the rradirional accounr of the saiDt poet,s manrer of
composition. He is said to hale creatcd most olhis poerry io an exlem_
porE fashion rrhile in a stale ef dysticat rrpture. lr would ttpicarty
6rct be uttered by him to lb e accompaniment of a drum out in the opeD
country. When ho emergcd f.oi such trance-like states, he is said to
havc had Do recollection of wbat he had coBpos€d. His folto$,.rc
would, bowcver, record his utrcratrces un lbe \pot: bu,, afrer hc had
once discovercd tfie norebooks fillcd with their transcriptions anat
t o.der€d th€nl aU to be'burDt, rhey used to keep what ihey had w;tten
down secr.t fmm him. At his death 935,606 verses ar€ said to hsvt
been copied dowD in tbis aanner, alihorgh much has bc.I) subseq.ntly
)ost : this hugc toral is perhaps not.eotiroly imptausible, givcn the gr€at
I€ngth ofhis life. Thcre is cerlainty norhiDg improbabtr about Sachat's
po€try having b€en mostly composcd itr the way described. Apart from
the internal .vidence olour prcseirt colleciioDs, thi6 ecstatic a d exrcm-
pore style ofcomposition siriliogly rccalls tbat of tbe grcaresr of a[
r
(vi)
ralher rhao rhole oftb.ir disciples is precisety b(ciuse of lhe geoeraly
superior 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 sciois
ofthc spirilual dynasries rvho were able to achieve that bletd of l€amed
and folk lements whicb is rhe perricular
Story of th. tocal mrsdcal
literature. This blcndiog rs. ofcourse. especia y srrik,ng Ia lhe uDique
rich$ess of texture achieved by maoy of rhe greatest of Khwaja Farid,s E
poehs, but the achi€vemeDts of Shah Abdul Latif aod Sachal
Sareast
are.qually uotbinkable v/irhout it. For ihe pr€setrr, ii wi[ bc .sufii- _
cienl lo cite the par cular r€lerence for lhe sorks of rhe grear clrssrcal
master of P.rstar my\trcal poerry, Iarrd-ud-Dro A(ar
td. c. LZ5r,
which is so frequeotly expressed by Sachal in his po€try.
All accourls agree that Sachal spen! thc eartier part ot his life in
$rrict obscrvanccoflhe reguiatioD6 of tstam, bul that in oiddle age hc
pairly abaadoned this for prolo.ged slates of mystical abroryrion, at_
I
thoBgh €vcn then he did not allow hims€lf.to fall in the antiromian
pattern ofwitre-drirkinC aEd drog-taking tradiliotrsly folloy€d by
so
,Bny.eesraric Sufs Sachal wss, howsv€r, greatty int€resled in music _
almost equally frowtred upon by the strictesr orthodoxy _ and bimself
played the td6l" aEd rardnAi. He is also said ro have tste! consialcrable
ttouble over the sel€ctio, of the appropriate ragr for the pcrformaDce. of
his pocms: this agrin r€calls lhe clos. i$teresr raleD by Khwaja Farid
in th. musical pcrformaDce of his owa versos, esp€cially rhrough his
intimate associarion wirh his chief musiciaD, Barkat Atr.
Thc cxierior events of Sachalt long life appcar to hale been

generally uDremarloble, and he seems s€ldom to have travelled far
beyold tie lur.oundings of DaIaza, ercepr to visit rbe major shitres of
lhe reSioD. Mosr oi the speci6c anecdores about hii life wbich have
been preserved connecr him q/itb lbar braEcb of lhe Talpur dytresty
wbich as,umed rule io Khanpur in bis l.rer years. The grear favour
and respeq shown to biE by the Talpur princes is stressed, particularly
in view o: iheia r€ligious beliefs a[d the sainfs descent from thc Caliph
U&al. Several stories tell of the \vay in which br was ablc to lrse his
iiriueEce wilh the rr.rlilg family for lhe beoefit of dgserv;Dg suppliants;
' (v) ,
'Sachal Sarmast' means somerhing iD English likc .Truetin thc cod
drunk'.
A famous atrccdore. repsared rn all sources, conn€crs lhe youDg

Sachalwilh rbe grear Sr0dhi Suh poet, Shah Abdul Latif (,689-t?52).
He is alleged to have s€en the boy on a visfu to his graodfathc. in
Dsraza, 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.flects
a jlst sppreciation of Sachat's posirion as Shah AHd Larif,s greatest
poetic succcssor., ir seems sadly likely that it is fie laier product of a
rypical pious elaboration, like tbe similar srgry which would tint Sacbal
wilh 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 of

Sachal'6 family. His farher died-iD ti45, and he was brolght up by his
urcie, Abdul Haq, who became his spiritual director also, as ihe
appoiDteal successor to his grandfathcr, Miya! Sahib-ditro. Jachal pals
cootinual tribute iD his poerry ro thc spiritual rutelaBe of Abdul Haq.
I trn thesc circumsrances of his upbringing. {/e may discern
a more real
r$4mblance to lhose of rhe gr€atesi Siraiki poer. Kbwaja Chutan Fsr;d
(1845.190I), than anyrhing;uggestcd by the pious arecdore
lirkiog bim
$ith Sbah Abdul Latif For Kbwaja Farid wa6 at:o orpbatred al atr carty
agc, a.d brought up by his fatbcr's successor, tis brothe. Kbwaia
Fakhr-c Jahatr. And. Irkc rhose of Sacbat, Kh$aja Farid\ poe;.
too frequendy bear wittresi to thc velaration witb {hich he
re$rded O. spiilual dircctor so D€a.ly relateat ro him, who was vet n6t
bis falher. Do we bave, io this similariry io Ihe chitdhood circumsran-
cc6 of th.!c two grcat poets, sufrci€nt grouods for speculation
atout the
psychological origirs of that yeainiDg quality which
is so importaot an
ingrcdiem in thc uoique appeal oftheir mystical blmns ?
Sachal's formal schooling iD the traditioDal subjects of the timc was

uDdertiken |ty ole Hafz Abdutjah, and the poei,s subscquent profici€n-
cy i! Persian is trot thc leasr of rhc maDy testioories ro thc thoroughDess
of his grouading h is ivort[ reE;rting that the.eason lhar so higb a
proportip, of rhc b€st local poets of those dr)r cafir
from pirs, famities
-:
.l!r!ry!-iij?
(io
owtr short.livcd rival.ics, a last 0oweriag ofthe old ctassical Islabic civi.
li?atior, before its patte.ns we-re profouddly disturbed and changed by
thc influeDces later rele3sc4 by the temporaty irdposition of British
supfeltracy.
Within thatss yct substantiatly unchatrged society, th€ p.tty

courts ofthe prioces did indeed contitrue to foster tbe old folms of
literature, but the Persian verses of their prolific court-poets arc oow
L
deservcdly lorgorten The lit€ratuc which lives on today from that
p€riod \*as lvrhten in rhe local languaqes, and it $as rbc prcduct nor of
the courts of the princess, but of rhe courts of thc sainrs. Although the
vrlal 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 few
of 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 the
local poetry. add bleoditrg thesc vith the rcources of rhe classical tradi
rion, to crcato a ricbly vari.d m€diuD for rbc powerful expi€ssiotr of
rheir mystical insight, above all into rbe mysrary of hama osr, t* luairy
of all creation with its only Clcator.. Ir is tbis Sufi poetry *,hich doEi'
nates thc classic local liteatur€s as unambjguoully as thc eodless flatness
of the local lsndscapc is dominated by rhe grear tiled domes of the saiEts
of those bygotre times-
' Sacbal Sartrlast, later to bc ooe of the $eates! cotrtribulors to

thcse literaturcs, and to bc entosbed b€neath just such a dordel was bom
in i ?39 into a family which tmced its descent from rhe - Caliph Umcr
through as imoigrant to Sind itr the o giotrl irvasion of Mahamflad b.
Qasim. Whrle this family bad loDg bee, prominent in Sitrd, both as
officialiand as scholais, it was Sachal's gratrdfalhe., known as MiyaB
Sahib 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 imponaut
shIioe atrd centle of pilgrimage. Ihe poet's giv€n name was Abdul
Wnhhab. 'Sachal,' or'Sachu', wasa pet name he received from his
fabily, which he later used as signature iD bis po€ms in the local latrgu-
ages, while'sarmast' was a desc.iption later bestowed lrpon him oo
account of th.e ecstadc tone of his life aod vers€ The doubie ridc :,
-lt
'1
( 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
locussed
oo lhem slonc sometim$, ir hay
- be ob(erved, for reasors thal havc
otrly a.emotc connexion with litemry value$ ! _ has
nor led ro an
undue lcngrhening ofthcir shadows ovff th€ figures
of olher wr,ters of
comf,amble, ifrot quirc €gual, imporrahce. !n lhe galeries
of both
SiDdhi and Siraiki literature. Sach,t S,rmast is o* .f
rt" rn*t
canf of such flgores, who d€servc to have the spottight
of critical "igrin-
atten-
tior.dir€.r.d. ar.rh.m io order to dispel rhe biurring of rbcir pos,rton
by rbe ov.rbaogitrg sbadows oflhe gianrs.
Of ahe two, it is Sachal's Siraiki verse s,hich stands i.

even tuore
Deed of such attentioD than do3s tbe Sindhi. This j
baiance does not
rcsuh.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
laoguagc. trisnrhertobe.afiibuted to
the very trlucb slower"itle,
anal
small.rstart that it hasproved possible ro make,
fur various social, cul
tul.l, a d polilical reasons, in rhe critical study of the older
Siraiti
Iireraturc, wb.o lhis ;s compdrrd witb the
i= very real achivemeDls of lhe
u/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"a
apEoa.h to its litemrure muci morc difrcuk. So the p6scrr
praiseworthy initiativc of th€ Baz{e-Saqafat,
in issuing Sachal,s Sraiki
in the former script, shoulal succeed in lasl
logtr
before r wider audience ofhis couDtrymen
at brirging its glories
lhaD have hitherto been aUle
aasily to read it. In rhis brief introducrioD
to the Siraiki works of
faqial itrrheir fresh fuise, it will bc ouilurposc only ro say som€rhing
of the back€round againsi whicb this poetry was produc€a,
by rapialy
,Y- skctching rhc circumsianccs of its aulhor,s
life, and than to araw riten-
rion to gome of;ts mosr our\tanding bcsuti€s.
Likc sb many oftbe g.eatcsr conrributors to th€

classic Mustim
,ikrarurcs writtetr i, the local languages of
the Itrdus Valtey, Sachat
Sarmast lived io tbat uncasy p€riod of
rhe 18rh and early tgth centuries.
Tlc local dytrasties lhat had succeedeal tbe colapse
of the centrat aurho-
of,h. Mughal Eopirc in the rigion pcrmittea, wtite purr,ring
,iity ti.].
(ii) ..:
Sidbi and Si.aiki. So this extmordioary ve$atiliry of hfu output, ler I

alooc its quality, does givc Sachat Sarmast a v.ry special right to the I
titlc ofa nelional poet.
Aod ycr it is dimcutt to ivoid feciiog that this roiqucly a -

ernblacitrg poctic vcrsatility has most u.fortunetcty re6ult.d itr a alelay
iD the pmpcr establishm.nt ofhis critical reputaliotr which is €qnally
utriquc, when eotrtBstcd with thc fulsome trcatmeoi accordd
,
most of i
thc other classic po€ls ofhis raot from the lircrary past palisun.
of Ir
Thc reasoDs for tbis unduc Degtect are oot, wcmay lbink, tnr
to scel.
The virtually cooplere supplanring of persiaa by Urdu in
receot rides I
has caus.d rhc glory of eveo the mosr i ustrious
oative Doets of forme. ,1
days uho worked iB the mcdiuo of thc ctassicat laoguaBe to be pro. t

gr$siv€ly dimmcd by uofamili& ry, It
thaf j
caonot, tbereforc, be hoprd
Sachal's large body ofcompo\itioos itr persian wrlt
Drove to be of much :
dircci service iD cnihaociog his prcsent repuration
oursiae a rathcr small i
circle 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 1
-
held eppropriare, wbile there i. Do fo.mal obslacte
to tbc prcseot '.
apprcciatrctr of his Urdu ghszjls, these are borh roo f€w
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 diff€reDt wher€ Sachal.s copious t

vcrse io tbe popular rraditiotr is conceroed.
Whethcr writtco io Sindhi t
or Siraiki. lhis has coDtitrued, sioc. the tiDc ofits compositiotr,
to co_ioy I
a dcep. gcauioe, atrd quire widespr€{d popular apped in
thc bcst sctse. r
although rhisappcal has very tralurally bectr most powcrfulty
Upprr
felt io :
'Sind, the regioo ofthe !,oct's binb: Here. ioo, though, o
this ctrdurlg ,
porqlar appeal ias fail€d to give ris€ to very much io
the way of serious
criticsl apprEciatioD : for it has bceD th€ misfortuoc
of S.chst to bc
unduly oversbadowcd iD tbc litcralures of bolh larguag€s,
by a g.cat
prcderessor irr thc otre, hnd by great
a 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 primacy
uoiversally accorded ro Shsh Abdut talifof
Bhir iriirati p..,ly, ,"J
to Khwaja GhulaE Fa.id of Chacharan in Sir;ifi. Cinatg us tf.se r;
A[ SARIIIASI A]ID HIS SIRAII(I P(IEIRY
Bt
C. SHACXLf,
NE ofthe most siriking featurei of the litetary heritage of

Pakistan is the dch variety of lhe m.dia through which k has b€cn
expressed. We have on the one hand, th€ classical aod llamed tmdition
ofcompositioo in PersiaD, which was maintaitred and recordcd through
so ma[y ceoturi s, and to wbich Urdu, oow the natioDal laDguagc of the
country, has become the natutal heir in more recent timca. OD the
othcr hand, there is whrt may be call€d tte popular traditiof, of compo-
sition tbalhas floolished in parallel fashion.in .ll the s€veBl regioral
languages ofth€ Indus valley aDd the adjaceot areas. This popular
tradition has naturally d€rived much of its itrspiratioo froor foll:
elemenls, sllhough it would be misleaditrg rol ro tecogo'ze lbat nearly
all lhc most outstanding $rdters who work€d witbin il w€re also pro_
foundly iofluetrced in the slyle oftoeir po€tic expressions i, tbe local
languages by their educatio, in lbe elassical trad'liotr
AmoDg rh€ msny geat fgurcs of thh varied titerary herilage, the
placc of Srchal Sarmasl ir ulique. Most ofthe importart polts work€d
eirhcr in onc or in lhe other of tbe two parallel lradilionr of t,lerature.
. and, if thcy chose the popular tradition for their €xprcssiotr, nattlrally
' 'idopled tbeit own regional molhcr-tongue as their exchsire medium of
'lxpression, But Sacbal Sarmast Dot onty coo,posed abuodanlly in the
classical Bcdium of Persian, as w€lt as. if to a much lcsscr erteot. in
- Urdu. He sas also a master-poet ofthe PoPulat traditior, oot just:iD
.onc regional laESuaga, like trearly all his peers, but in two; for his Po.tty
.njoF the utrdisputed status ofacla$ic itr the litcrary patrlhcotrs of both
f,.
&wwa,**e%qp;w,
ftHSACHAT SARilIAST
$
ft:""$
fl HS
H
slRAtKt poErRy $
& ft
ilBYii
ft ASLAM RASULeT-.,Rr
rNrRoDucrroN rN ENGLT=H
ft
$
ft8"ffi
U
il DR. c. SHA.KLE
Lo,ldohuniwnilv
|i
ffi ffi
,$ By puBLrsHED
$
ft Bazme Saqafat, Multan. [i
4 f,ar UEH^RB^N cHowx ro\r^na
ijl
T
ie%%e*wa**#,

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