Mian Mir

Shah Abdul Latif Bhitai.
Timeline (1689 - 1752)

Shah Abdul Latif Bhitai (sometimes written Bhittai or Bhittaii) was a devout Muslim Sufi, but his spirituality was broad and welcoming, making room for Muslim and Hindu alike. He is one of the most revered poets and saints of the Sindh region of what is today Pakistan.

Although born into a well-respected family, he turned away from the comforts of life, revealing a natural ascetic tendency. He adopted the saffron-colored robes and simple lifestyle of the wandering Sufis and sanyasins of the region.

In his quest for inner truth, still a young man, Shah Bhitai left his home and began to travel extensively, favoring small villages and the countryside, interacting with the common people and other Muslim and Hindu ascetics. He quickly developed a reputation for holiness and absorption in meditation. At this time disciples began to gather about him.

Shah Bhitai returned to his family home for a while, where he married Bibi Saidha Begum, a young woman who was respected in her own right for her great piety. Sadly, she died at a young age, and Shah Bhitai never remarried.

Bhitai and his growing circle eventually moved to a place of retreat, a sand hill ("bhit") next to scenic Kiran Lake.

A fascinating story is told of his poetry. When Shah Bhitai was nearing death, he didn't want his poetry to simply waste away, so he had his writings thrown into the nearby lake. But, at the request of a disciple, Bhitai allowed his poetry to be re-written down by another disciple who had memorized them.
Mian Mir.

Mian Mir

Mian Mir was a renowned Sufi saint of Lahore. He belonged to Sistan in Central Asia. His original name was Shaikh Muhammad. He was born about 1550 AD. He had a religious bent of mind. As a child he attentively listened to religious sermons. He became a disciple of Shaikh Khizr of the Qadiri order of Sufis. Sufis believed in spreading Islam by peaceful means. As India was a great field for conversion, Mian Mir decided to come here. He was then about 25 years old. He settled at Lahore. He resided in the suburbs of the city called Begampura. The whole area is now called after him Mian Mir.

Mian Mir was such a holy man of God that the boons granted by him turned into reality. People thronged to him in large numbers from far and wide. Guru Arjan often visited Lahore to see the birth-place of his father and meet his relatives. On the occasion of one of such visits he called on the Pir. The two men of God met and became life-long friends. Mian Mir was thirteen years older than Guru Arjan.

Guru Arjan was responsible for the construction of many tanks and buildings. In 1589 he planned to build a temple in the centre of the holy tank called Amritsar or the tank of nectar. As the temple was to be thrown open to people of all castes, creeds and climes, he invited Mian Mir to lay the foundation stone of the Han Mandar. He came to Amritsar wearing a religious mendicant's long cloak made up of patches of coarse wool and a cone-cap made of a number of gores with a rose flower on top.

Mian Mir was given one of the warmest welcomes for which Guru Arjan was famous. The two holy men embraced each other in sincere love and regard. The purpose of the temple was disclosed to the Sufi saint. The Guru pointed out that the Hindu temples and Muslim mosques were built on a raised plinth. The Sikh temple would be erected on a lower plinth than the surrounding area. The idea was that God could be attained by bending low in submission and humi­lity. The Hindu temples and Muslim mosques were closed on three sides and had only one doorway facing east and west respectively. His temple would be open on all the four sides implying that it would welcome persons of all the four castes, Brahmans, Kshatriyas, Vaishas and Shudras; to all the four religions in the world, Hinduism, Buddhism, Islam and Christianity, and to all the people from any country or climate from north, south, east and west.

The Muslim saint was highly delighted at the fine objectives the Guru had in mind. He was deeply impressed with his pleasing. personality, charming manners and the divine light shining in his face,. words and deeds. The foundation-stone was laid. Hymns were sung in the praise of God and sweets were distributed among the audience. A mason with his tools stood by. As the holy man had placed the stone irregularly, the mason corrected its posture in order to place bricks on it properly. The saint expressed sorrow at the mason's mistake and remarked that the temple would have to be rebuilt in course of time The prophecy came out true about a century and a half later when Ahmad Shah Abdali blew it off with gunpowder.

In 1606 Guru Arjan was implicated in the affair of Khusrau, the rebel son of Jahangir. He was imprisoned in the Lahore fort and was barbarously tortured. When Mian Mir heard about it, he came to see the Guru. He found Guru Arjan calm and serene having completely resigned himself to the will of God. Mian Mir suggested to the Guru whether he should intercede with Emperor Jahangir on his behalf The Guru forbade him saying that God's will must have its course unchecked, as it was not proper to interfere with its working. He only asked for the Saint's blessings for his son Hargobind.

A couple of years after the death of Guru Arjan, his son and successor Guru Hargobind, a lad of thirteen, called on Mian Mir at Lahore. In the monastery (Khanqah) there were many disciples of Mian Mir including a young girl Kaulan. She was the daughter of Rustam Khan, the Qazi of the Capital. Being religious-minded from childhood, she became a disciple of Mian Mir. She had made up her mind to become a nun, but in Islam there was no room for a woman to lead the life of a nun. She therefore decided to become a disciple of Guru Hargobind: Her father grew furious at such a proposal. He tried his best to dissuade her from her intention. Having failed in this. attempt he began to persecute her. She fled to Mian Mir who sent her to Amritsar under proper escort. She was given a separate house to live, and she was immortalised by the construction of a tank named after her Kaulsar.

He is called the founder of Mian Khail branch of the Qadiri order. He passed away on 11 August, 1635. He was buried at village; Hashimpur.

Guru Tegh Bahadur as a child met Mian Mir who blessed him.

Rabia al Basri.

Timeline (717 - 801)
Rabia, sometimes called Rabia of Basra or Rabia al Basri, was born to a poor family in Basra in what is now Iraq. Her parents died of famine and she was eventually sold into slavery.

The story is told that her master one night woke up and saw a light shining above her head while she was praying. Stunned, he freed her the next morning.

Rabia chose a solitary life of prayer, living much of her life in desert seclusion.

Her fame as a holy woman spread and people began to journey to her retreat, to ask advice, to study, to learn.

Today she is greatly revered by devout Muslims and mystics throughout the world.

Sachal Sarmast.

Timeline (1739 - 1829)
The name Sachal Sarmast can be translated as Mystic of Truth. He is sometimes called Sachoo, The Truthful.
Sachal Sarmast was born in the Sindh region of what is today Pakistan, and is considered one of the great poets and Sufi mystics to emerge from the region.
His teachings have often been compared with al-Hallaj, the Sufi martyr who ecstatically proclaimed, "I am the Truth." Rather than blindly following tradition, Sachal urged people to seek the truth directly. And like ibn Arabi and others, Sachal Sarmast taught a vision of Unity called Wahdat al-Wujud, which others have compared to the great nondualist teachings of Advaita Vedanta within Hinduism and Zen/Chan within Buddhism.
Sachal Sarmast once said, "He (God) is everywhere and in each and every phenomenon. He has come here just to witness His own manifestation."
Sachal Sarmast was born Abdul Wahab in the village of Daraza in the Sindh region. His father died when you was a young child, and Abdul Wahab was raised by his uncle, who also became his spiritual master.
His soul was deeply moved by music. Listening to music, he was enraptured, with tears pouring down his face.
A story is told that the Sufi master Shah Abdul Latif met the young Sachal Sarmast. Shah Abdul Latif later said, "I have set a fire beneath the pot. He will remove the lid."
Sachal Sarmast married his cousin, but the young woman died two years later. He never remarried.
He took the name Sachal, Truth. Later people added Sarmast, Leader of the Ecstatics, to his name in appreciation of his spiritual poetry.
Sachal Sarmast lived a humble, ascetic life, preferring solitude, simple meals of daal and yogurt. It is said that he never left Daraza, the village of his birth.
Yet he composed sacred poetry in seven different languages, poetry that is loved and sung to this day.
Unfortunately, I haven't yet found a good single source of Sachal Sarmast's poetry in English. I've only discovered scattered verses translated on the Internet. We are waiting for a book of inspired translations of Sachal Sarmast.

Shah Hussain.

Shah Hussain (1538 - 1599)

Introduction

Shah Hussain (1538 - 1599) was a Punjabi poet and Sufi saint. He was born in Lahore (present-day Pakistan). His tomb and shrine lies in Baghbanpura, adjacent to the Shalimar Gardens.

His urs (annual death anniversary) is celebrated at his shrine every year. It is known as "Mela Chiraghan" ("Festival of Lights") and is the second largest festival in Lahore after Basant. It used to be the biggest festival of the Punjab.

Shah Hussain's love for a Brahmin boy called "Madho" or "Madho Lal" is famous, and they are often referred to as a single person with the composite name of "Madho Laal Hussain". Madho's tomb lies next to Hussain's in the shrine.

Shah Hussain was the pioneer of the kafi form of Punjabi poetry.

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Kafiyan ٍShah Hussain

In the new Lahore lies buried Shah Husain and with him lies buried the myth of Lal Husain. Still, at least once a year we can hear the defused echoes of the myth. As the lights glimmer on the walls of Shalamar, the unsophisticated rhythms of swinging bodies and exulting voices curiously insist on being associated with Husain. This instance apparently defies explanation. But one is aware that an undertone of mockery pervades the air - released feet mocking the ancient sods of Shalamar and released voices mocking its ancient walls. Husain too, the myth tells us, danced a dance of mockery in the ancient streets of Lahore. Grandson of a convert weaver, he embarrassed every one by aspiring to the privilege of learning what he revered guardians of traditional knowledge claimed to teach.

Then again, fairly late in life, he embarrassed every one by refusing to believe in the knowledge he had received from others, and decided to know for himself. He plucked the forbidden fruit anew.

The myth of Lal Husain has lived a defused, half-conscious life in the annual Fare of Lights. The poetry of shah Husain which was born out of common songs of the people of the Punjab has kept itself alive by becoming a part of those very songs. In recent past, the myth of Madhu Lal Husain and the poetry of Husain have come to be connected. But the time for the myth to become really alive in our community is still to come.

Husain's poetry consists entirely of short poems known as "Kafis." A typical Husain Kafi contains a refrain and some rhymed lines. The number of rhymed lines is usually from four to ten. Only occasionally a more complete form is adopted. To the eye of a reader, the structure of a "Kafi" appears simple. But the "Kafis" of Husain are not intended for the eye. They are designed as musical compositions to be interpreted by the singing voice. The rhythm in the refrain and in the lines are so balanced and counterpointed as to bring about a varying, evolving musical pattern.

It may be asserted that poetry is often written to be sung. And all poetry carries, through manipulation of sound effects, some suggestion of music. Where then lies the point in noticing the music in the "Kafis" of Shah Husain? Precisely in this: Husain s music is deliberate - not in the sense that it is induced by verbal trickery but in the sense that it is the central factor in the poet's meaning.

The music that we have here is not the vague suggestion of melodiousness one commonly associates with the adjective "lyrical : it is the symbolic utterance of a living social tradition. The "Kafis" draw for their musical pattern on the Punjabi folk songs. The Punjabi folk songs embody and recall the emotional experience of the community. They record the reactions to the cycle of birth, blossoming, decay and death. They observe the play of human desire against the backdrop of this cycle, symbolizing through their rhythms the rhythms of despair and exultation, nostalgia and hope, questioning and faith. These songs comprehend the three dimensions of time - looking back into past and ahead into future and relating the present to both. Also, these songs record the individual s awareness of the various social institutions and affiliations and clinging to them at the same time - asserting his own separate identity and also seeking harmony with what is socially established.

Through this deliberate rhythmic design, Shah Husain evokes the symbolic music of the Punjabi folk songs. His "Kafis" live within this symbolic background and use it for evolving their own meaning.

By calling into life the voice of the folk-singer, Husain involves his listeners into the age-old tension which individual emotions have borne it its conflicts with the unchanging realities of Time and Society. But then, suddenly one is aware of a change. One hears another different voice also. It is the voice of Husain himself, apparently humanized with the voice of the folk-singer, and yet transcending it. The voice of the folk-singer has for ages protested against the bondage of the actual, but its fleeting sallies into the freedom of the possible have always been a torturing illusion. The voice of the folk-singer is dragged back to its bondage almost willingly, because it is aware of the illusory nature of its freedom and is reluctant run after a shade, fearing the complete loss of its identity. The voice of Shah Husain is transcending folk-singer s voice brings into being the dimension of freedom - rendering actual what had for long remained only possible:

Ni Mai menoon Kherian di gal naa aakh Ranjhan mera, main Ranjhan di, Kherian noon koori jhak Lok janey Heer kamli hoi, Heeray da wer chak

Do not talk of the Kheras to me, O mother, do not. I belong to Ranjha and he belongs to me. And the Kheras dream idle dreams. Let the people say, "Heer is crazy; she has given her-self to the cowherd." He alone knows what it all means. O mother, he alone knows. Please mother, do not talk to me of Kheras.

At first , the little "Kafi" deftly suggests the underlying folk-song patter. The usual figures in the marriage song - the girls, the mother, the perspective husband and the perspective in-laws are all there. And the refrain calls the plaintive marriage-song address of the girl to he mother on the eve of her departure from the parents house.

But the folk-song pattern remains at the level of an underlying suggestion. The mother and the daughter in the folk-song were both helpless votaries of an accepted convention, bowing before the acknowledged power of an unchanging order. Here in the "Kafi" the daughter assumes the power of choice and rejection. She stands outsides the cycles of time and society. The mother continues to represent the social order and the accepted attitudes according to her convictions, the Kheras offer the best possible future for her daughter because they assure mundane security and prestige, within a decaying order. But the daughter I snow determined to go beyond this order and seek further inner development. To her the Kheras, her unacceptable in-laws, represent the tyranny of the actual forced on the individual. To her, Ranjha, the socially condemned cowherd, represents the consummation of her revolt, promising a union which is the real inner fulfillment. The accepted attitudes are based on a superficial vision, which takes appearance to be the only reality. Ranjha, who always hides his real self behind the shabby garb of a jogi or a cowherd can never be understood and can never be preferred to the wealthy Kheras. His real identity is a mystery that can be realized only in Heer's individual emotions. And for such a realization, a conscious break with the order of appearances is a prerequisite. Husain's triumph is achieved, not by evading the bondage s of the actual but by suffering them and finally transforming them. The mother remains a part of the daughter s consciousness - in addressing her she addresses herself. But this part of her consciousness is now subjected to more vital individual self. In the refrain:

Ni Mai menon Kherian di gal naa aakh

there is a tone of confidence - a mixture of earnest protestation and assured abandon.

Here is a "Kafi" presenting a different emotion:

Sujjen bin raatan hoiyan wadyan Ranjha jogi, main jogiani, kamli kar kar sadian Mass jhurey jhur pinjer hoyya, karken lagiyan hadyan Main ayani niyoonh ki janan, birhoon tannawan gadiyan Kahe Husain faqeer sain da, larr tairay main lagiyaan

Nights swell and merge into each other as I stand a wait for him. Since the day Ranjha became jogi, I have scarcely been my old self and people every where call me crazy. My young flesh crept into creases leaving my young bones a creaking skeleton. I was too young to know the ways of love; and now as the nights swell and merge into each other, I play host to that unkind guest - separation.

The slower tempo of the refrain sets the mood of the "Kafi." The voice of the singer stretches in an ecstasy of suffering along the lengthening vowel sounds. The vowel sounds initiated by the refrain are taken up by rhythms and several other words.

The Heer-Ranjha motif is used here in a different emotional background. The intense loneliness here contrasts sharply with the confidence of fulfillment shown in the earlier "Kafi." Here people s preoccupation with appearances is not treated with indifference;

Ranjha jogi, main jogiani, kamli kar kar sadian

instead it adds to the plain. But in the notes of suffering, there is a strange quality of single-mindedness. One is not aware of any fidgety second thoughts. The plain does not evince any desperation: in fact there is an air of contemplative pose, born out of the awesome finality of commitment.

In another "Kafi" using the Heer-Ranjha motif, we are taken back to a still earlier stage of the poet s emotional Odyssey:

Main wi janan dhok Ranjhan di, naal mare koi challey Pairan paindi, mintan kardi, janaan tan peya ukkaley Neen wi dhoonghi, tilla purana, sheehan ney pattan malley Ranjhan yaar tabeeb sadhendha, main tan dard awalley Kahe Husain faqeer namana, sain senhurray ghalley

Travelers, I too have to go; I have to go to the solitary hut of Ranjha. Is there any one who will go with me? I have begged many to accompany me and now I set out alone. Travelers, is there no one who could go with me?

The River is deep and the shaky bridge creaks as people step on it. And the ferry is a known haunt of tigers. Will no one go with me to the lonely hut of Ranjha?

During long nights I have been tortured by my raw wounds. I have heard he in his lonely hut knows the sure remedy. Will no one come with me, travelers? <

The folk-song locale is present here in the shape of a river, a ferry and a batch of travelers. The travelers gather to set off to remote places for business, duty and other reasons. And there is the self conscious girl who comes daily to hear some chance gossip drop a word about her friend. The river for centuries has flowed between desire and fulfillment. No one knows where it goes; it has no beginning and no end. The river is ancient and unfathomable - holding mysterious dangers. It causes both life and death but shows a fascinating indifference that compels awed men and women to kneel and worship the river. There is another reason for this homage. The river bounds the village. It limits and defines the known and tried capacities of humanity. The girl s father has no possessions beyond the river. What she was born with lies placidly marked this side of the river. What is beyond, is vaguely threatening. But this hazardous unknown fascinates the girl and seeks to lure her out of the complacent peace she was born with.

But the girl in the "Kafi" differs from the girl in the folk-song in one vital respect. The girl in the folk-song has for ages, waited on this side of the river. She visits the ferry and moves among the travelers with questioning looks. But in her words and looks there lurks the knowledge of perpetual impossibility, the acknowledge that desire is never more than a wish is often less than it. The girl in the "Kafi" is prepared to bridge the gap between desire and attainment. She too is aware of the hazards of her ways but for her he imperative need to set out has become the supreme fact.

The image of a patient, desperately looking for a last remedy contains subtle implications. When Heer fakes illness in the house of her in-laws, Ranjha the fake jogi was approached for some magic cure. Heer was cured in a way the people did not foresee and her illness turned out to be of an unexpected nature. Those believing in appearances as the only reality were given a dramatic lesson. Here in the "Kafi", the metaphorical background is recreated. The girl earnestly wishes to align herself with ordinary motives and measures. But the uncommon purpose of her journey and the uncommon destination still stand out among the group of travelers. Her request for some one to accompany her only throws into stranger relief her unique loneliness. The ecstatic rhythm brings to the refrain a tone of finality, a finality comparable to that of death. The journey across the river is a transition as radical as death. The two worlds of experience are as different from each other as the familiar life and the unknown beyond.

Kafian کافیاں

ربا میرے حال دا محرم تُوں!
اندر تُوں ہیں، باھر تُوں ہیں ،رُوم رُوم وِچ تُوں
تُوں ہیں تانا، تُوں ہیں بانا،سبھ کجھ میرا تُوں
کہے حسین فقیر نماناں،میں ناہیں، سب تُوں

اوکھے لفظاں دے معنے

مِحرم: واقف
رُوم رُوم: لُوں لُوں

(2)

چرخہ میرا رنگڑا رنگ لال!
جے اوڈ چرخہ،تے ڈومنے ہُن کہہ گیا باراں اپنے
سائیں کارن،لوئن رُنّے روئے ونجایا حال
جے وڈ چرخہ،تے وڈگُھمائن سبھے آئیاں،سیس گندائِن
کائی نہ آیا حال ونڈائِن ہن کائی نہ چلدی نال
وچّھے کھاہد گوہڑا واڑا سبھولڑ دا ویہڑا پار
میں کیہہ پھیڑیا ویہڑے دا نی سبھ پئیاں میرے خیال
جے وڈ چرخہ تے وڈ پچھی ماپیاں میرے سر تے رکھی
کہے حسین فقیر سائیں دا ھر دم نال سنبھال

اوکھے لفظاں دے معنے

رنگڑا: رنگیا ہویا
اوڈ: جنا
لوئن رُنّے: اکھیاں روندیاں ہین
سائیں:مالک۔رب
ونجایا: برباد کیتا۔ کافیاں شاہ حسین:کافی3-4

(3)

نی اسیں آؤ کھڈا ہاں لُڈّی
نوں تار ڈور گڈی دی، اسیں لے کے ہاں اُڈّی
ساجن دے ہتھ ڈور اساڈی، میں ساجن دی گُڈّی
اس ویلے نوں پچھوتا سیں، جد جائے پوسیں وچ کھڈّی
کہے حسین فقیر سائیں دا، سبھ دنیا جاندی بڈّی

اوکھے لفظاں دے معنے

لُڈی: اک پنجابی ناچ
نوں تار: نو حواس
گُڈی : پتنگ
ساجن: محبوب
پچھو تاسیس: پچھتائے گی۔
کھڈّی : گڑھا جیس وچ جولاہیا تانی بُن دے ویلے پیر رکھدا ہے۔ ایتھے مطلب قبر۔
بُڈی: ڈُب رہی ہے۔

(4)

دل درداں کیتی پوری نی،دل درداں کیتی پوری
لکھ کروڑ جیہناں دے جڑیا،سوبھی جھوری جھوری
بھٹھ پئی تیری چٹی چادر، چنگی فقیراں دی بھوری
سادھ سنگت دے اوہلے رہندے،بُدھ تیہناں دی سوری
کہے حسین فقیر سائیں دا، خلقت گئی اُدھوری

اوکھے لفظاں دے معنے

جڑیا: جمع کرلیا
جُھوری: پریشان ہوئی
بھٹھ: تندور،اگ
بھُوری: لوئی۔ کمبل۔


(5)

میرے صاحبا! میں تیری ہو مُکی آں
منوں نہ وساریں تُوں مینوں،میرے صاحبا! ہرگلّوں میں چُکی آں
او گنہاری نوں کو گُن ناہیں،بخش کرے تاں میں چُٹھی آں
جیوں بھاوے،تیوں راکھ پیاریا، دامن تیرے میں لُکی آں
جے توں نظر مہردی بھالیں، چڑھ چوبارے میں سُتی آں
کہے حُسین فقیر سائیں دا، در تیرے دی کُتی آں

اوکھے لفظاں دے معنے

ہو مُکی آں: مُک گئی آں
منوں: دِلوں
گلوں: گل بات وچ
او گنہگاری :گنہگار
گُن: خوبی۔اچھائی
چھٹی: آزادی ۔رہائی
بھاوے: پسند آوے
راکھ: رکھ
لُکی: چھُپی
مہر: رحمت۔ محبت

(6)

جاگ نہ لدھی آ، سن جند ہبھو وہانی رات
اِس دم دا کیہہ بھرواسا' رہن سرائیں رات
وچھڑے تن من' بوہڑ نہ میلہ' جیوں تروڑٹٹے پات
کہے حسین فقیر سائیں دا،ہوئے گئی پربھات

اوکھے لفظاں دے معنے

جاگ: اثر کرن والی تھوڑی چیز، جیہڑی دوجی شے نوں اپنا بنا لوے۔جیویں ددھ
وچ تھوڑا جیا دہی رلا دیون نال اوہ بھی دہی بن جاندا ہے۔
لدّھی: ملی
جِند: جان
ہبھو: ہوکے
وہانی: لنگھاونی
بھرواسا: بھروسہ
رہن: رہنا مراد دنیا
سرائیں رات: جیویں سرائے وچ رات لنگھاونا
بوہڑ: دوبارہ۔ پھیر
ترور:درخت
پات: پتے
پربھات: تڑکے


(7)

ویلا سمرن دا نی، اٹھی رام دھیائے
ہتھ ملے مل پچھوتا سی، جد ویسی آوقت وہائے
اس تڑے توں بھر بھر گئیاں،تُوں بھی اپنی وار لنگھائے
اکناں بھریا، اِک بھر گئیاں،اک گھرے اِک راہے
کہے حسین فقیر سائیں دا، آتن پھیرا پائے
اوکھے لفظاں دے معنے

سمرن:عبادت
رام دھیائے: اللہ دا ناں لو
وہائے: لنگھ گیا
وار:باری

(8)

سائیں جیہنا ندڑے وَل' تیہناں نوں غم کیندا وے لوکا
سوائے بھلیاں جورب ول آئیاں، جیہناں نوں عشق چروکاوے لوکا
عِشق دی سرکھاری چائیاں، در در دینی آں ہوکا وے لوکا
کہے حسین فقیر سائیں دا ،لدھا ہی پریم جھروکا وے لوکا
سائیں جیہناندڑے ول، تیہناں نوں غم کیندا وے لوکا
ہو میں واری غم کیندا وے لوکا
اوکھے لفظاں دے معنے

وَل: پاسے۔نال
کیندا:کِس کا
لوکا:اے لوکو!
بھلیاں: چنگی
چروکا: پُرانا
کھاری: ٹوکرا
ہوکا: درد بھری آواز
پریم جھروکا: محبت دا طاقچہ

(9)

اک تینوں سُپنا تھیسن،گلیاں بابل والیاں دو
اُڈ گئے،بھور پُھلاں دے کولوں، سَن پَتراں سن ڈالیاں
جِت تن لگے، سو ای تن جانے، ہور گلاں کرن سُکھالیاں
رہ وے قاضی ،دل نہیوں راضی، گلاں ہوئیاں ناہوون والیاں

اوکھے لفظاں دے معنے

سُپنا تھیسَن: واہوا پتہ ہوون گئیاں
بھور:بھونرے
سَن: سنے
جِت:جس
سُکھالیاں: سوکھتاں
رہ وے: پرے ہٹ
سو ١ی:اوہی
لیکھے:حساب

(10)

جت ول مینڈا مِتر پیارا، اوتھے ونج آکھیں میری عاجزی وو
جوگن ہوواں، دھوواں پاواں، تیرے کارن میں مر جاواں تیں ملیاں
میری تازگی وو
راتیں درد وہیں در ماندی ، مرن اساڈا واجبی وو
لٹاں کھول گلے وچ پائیاں ، میں بیراگن آودی وو
جنگل بیلے پھراں ڈھونڈیندی ، کوک نہ سکاں ماری لاج دی وو
کہے حسین فقیر سائیں دا،راتیں دھیں میں جاگدی وو

اوکھے لفظاں دے معنے

مِتر: پیارا۔ محبوب، سنگی
ونج: جا کے
دہیں: دن نون
در ماندی:پریشان
لٹاں: سر دے وال
لاج عزت
دھیں: دن