By Narendra Luther
In my last article (10.1.99), I had called the Golconda period
(1518-1687) the ‘golden age’ of Dakhni. It was not as if the language
prospered only in Golconda. Simultaneously, in the neighbouring Bijapur
sultanate we witness the last flicker of its flame – and of the
language. Incidentally, Bijapur fell to the Mughals in 1686- only a year
before the fall of Golconda. We will therefore make a detour to Bijapur
before we resume our journey on the highway.
Earlier, we noted how Ibrahim Ali Adil Shah II of Bijapur made his
contribution not only to Dakhni but also to the classical Indian music
by composing 59 songs in 17 ragas and raginis. His grandson, Ali Adil
Shah II (1656-72) who was the eighth ruler of the dynasty became the
Sultan at the age of 19. He was a poet and sported the pen name of
‘Shahi’. He wrote extensively in various genres of poetry. He composed
21 songs in 21 ragas and raginis. His compositions exhibit a strong
influence of the ‘Prem margi’ school of Hindi poetry. A number of his
poems are as from a woman pining for her lover. The long poem ‘Birhani
Mukhammas’ is perhaps the best example of that. Its refrain is:
Koi jao kaho muj sajan sat; Main neha bandhi toon keeta ghat
(Go, tell my lover, that while I deeply loved him, he betrayed me)
Prof. Zeenat Sajida, a former head of the Urdu Department of the Osmania
University and a leading authority on the Dakhni edited an anthology of
Ali Adil Shah II: ‘Kalam-e- Shahi ’ in 1962. According to her, this
poem became so popular that many others wrote similar poems, which
causes some confusion regarding the identity of their authors.
This and other poems of his describe most graphically the condition of
woman burning in the fire of separation (Birha in Hindi). Note her
burning desire:
Main chhaon hoon piya sang lagi rahun dayam; Yak til juda na hona vaslat
ise Kate hain
(I’ll always be my lover’s shadow; then I will not separate from him.)
In a song in Bhairvi raga he gives a vivid description of Shiva. His
masterpiece is perhaps his raga named ‘Chouda Ratan’ (Fourteen Ratnas or
gems) in raga Kanra. In that he shows his complete knowledge of the
story of Amrit Manthan (the churning of sea) from the Puranas. According
to this very interesting story the churning was done jointly by gods
and the demons at the instance of Vishnu. It yielded fourteen gems
including the Moon, the Iravadi elephant, and the water of eternal life-
amrit. They were divided amongst various gods. This raga of his shows a
surprisingly high degree of knowledge of the Hindu mythology and the
intricacies of the Indian classical music. It is easier to read this
song in Devanagri because its language and vocabulary is Sanskritic.
Whether his topic is secular or religious -- including Islamic -- his
vocabulary, and the figures of speech are Hindi out and out.
Just as his grand father Ibrahim was called ‘jagat guru’, Ali was called
‘ustad-e-alam’. It means the same thing in Persian.
Nusrati
It was his court poet Mohd. Nusrat ‘Nusrati’ who gave him this title.
The latter chronicled the history of his patron’s struggle against the
Mughals and the Marathas in his ‘Ali Nama’. Thus the poet doubles as an
historian. There are seven ‘qasidas’ (odes) in his long poetic
chronicle. They alone would assure him a place in the hall of fame.
Nusrati is very proud of his work and claims that he combined in it the
best of ‘Hindi’ and Persian. He himself proclaims that it is the
‘Shahnama’ of the Deccan. (The original ‘Shahnama’ was the great poem,
which Firdausi wrote at the instance of Mahmood Ghaznavi and for which
he was not paid the promised amount).
In his own words:
Kata hoon sukhan mukhtasar be-guman, keh yoon Shahnama Deccan ka hai jan
(In short, doubtless it should be taken as the Shahnama of the Deccan)
Describing the din of battle, he says that the clanging of swords was so
loud that the mountains started trembling.
His masterpiece is the long poem: ‘Gulshan-e-ishq’ (The Garden of Love)
which is the love story of Kunwar Manohar and Madhumalati. In this
Nusrati is considered at his descriptive best. There is a liberal use of
similes and metaphors in the description of the beauty of Madhu Malati,
and of palaces, landscapes, and ceremonies.
In this work his imagery is exquisite. To wit: when the moon rose in the
west, Sun stepped back and stayed on to see the spectacle.
The boat in the river is mercury floating on a plate!
Nusrati is credited with initiating the transformation of the Dakhni
into Urdu by introducing Persian and Arabic vocabulary into it.
Hashimi
Nusrati’s contemporary was a blind poet called Syed Miran Miyan Khan
‘Hashimi’. Because of his disability, he had free access to the royal
harem. That enabled him to write the peculiar genre of the language
called ‘Rekhti’. In this form the feminine sentiments are expressed in
the idiom peculiar to women particularly of the Deccan.
He takes pride in that distinction and says that he has ‘ given a place
of honour to the language of ‘oui’. (’Oui’, even today is the
exclamation used by girls when they are surprised or horrified).
Thus Hashimi became the precursor of the subsequent ‘Rekhti’ writers of
the North. It is surprising that in spite of his blindness, he is very
good at description not only of scenes but also of the social conditions
of his times. His major work is the narrative love poem: ‘Yusuf
Zuleikha’. His vivid descriptions remind one of the blind contemporary
Indian writer, Ved Mehta.
That about completes the story of Bijapur’s contribution to Dakhni. Now
we can return to Golconda again to go on to the next part of our story.
Courtesy - Narendra Luther Archives Labels: Dakhni
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