Shah Hussain | |
|---|---|
| شاہ حسین | |
 Portrait of Shah Hussain | |
| Born | Hussain 1538CE (945AH) |
| Died | 1599CE (1008AH) |
| Resting place | Darbar Shah Hussain,Baghbanpura, Lahore |
| Occupation | Poet |
| Era | Early Mughal era |
| Notable work | Kāfiyā'n Shah Hussain |
| Writing career | |
| Language | Punjabi |
| Genres | |
Shah Hussain[a] (Punjabi:[ʃaː(ɦ)ɦʊˈsɛːn]; 1538 – 1599), also known asMādhū Lāl Hussain,[b] was aPunjabiSufipoet, who is regarded as a pioneer of theKafi form inPunjabi poetry; and the first majorearly-modern poet in thePunjab, living during the 16th century in the earlyMughal era, theMughal interregnum with theSur era, and theMughal restoration.[1][2]
Shah Hussain is also often known asShah Hussain Faqir -Faqir meaningDervish (mendicant) andShah meansKing. So due to his extremely humbleSufi personality, people called himThe Dervish King, a person who was a King and a Dervish at the same time.[1]
He was born in 945 AH (1538) within theWalled City of Lahore in what is nowPunjab, Pakistan.[2] His father was Sheikh Usman,[2] he was a DhudhiRajput(a clan of Rajput), and by occupation, he was a weaver (in some of Shah Hussain poetic rhymes he used his pen name as Faqir Hussain Julaha which means "Saint Hussain the weaver").[1]Notable books written on his life includeRisala Baharia (by Bahar Khan on the directions ofEmperor Jahangir),Hasanat ul Arifin (byPrince Dara Shiko in 1653),Haqiqat ul Fuqra (by Syed Sheikh Mahmood in 1662),Miftahul Arifin (by Abdul Fatah Naqshbandi Mujadad in 1667), along with others.[2]
Shah Hussain, a 16th-century Punjabi Sufi poet, is also known as Madho Lal Hussain due to his profound and unique bond with Madho Lal, a Hindu Brahmin boy. Their relationship transcended societal norms and religious boundaries, symbolizing unity and love in South Asia.The connection between Shah Hussain and Madho Lal was so deep that their names became inseparable. It is said that Hussain was captivated by Madho's beauty and devoted himself to him in a way that mirrored the Sufi tradition of divine love. Hussain even celebrated Hindu festivals like Basant Panchami and Holi to honor Madho. Over time, Madho became Hussain's disciple and spiritual successor. After Hussain's death, Madho carried forward his legacy for 48 years until his own passing, and they were buried side by side at their shrine near Lahore's Shalimar Gardens.[3][4]
Shah Hussain’s decision to place Madho’s name before his own was a gesture of eternal remembrance. This fusion of names—Madho Lal Hussain—symbolizes their inseparable bond and serves as a metaphor for harmony between different faiths and communities.[3][4]
Cultural context: Shah Hussain's poetry often uses passionate language that could be interpreted as romantic love. Many argue that this relationship should be understood within the context of 16th-century Punjabi culture and Sufi traditions. Sufi poetry often uses romantic imagery to describe spiritual love, which can lead to different interpretations.[5]
Shah Husayn, often assumed a female persona in their poetry, portraying themselves as brides and God as the male beloved or bridegroom. He used multiple terms for God in his poetry, such as Sajjan, Sāi'yāņ, Şāĥib, and Kant, all referring to husband, beloved, or bridegroom in Punjabi.[6]
ਸਜਣ ਦੇ ਹਥਿ ਬਾਂਹ ਅਸਾਡੀ, ਕਿਉਂ ਕਰਿ ਆਖਾਂ ਛਡਿ ਵੇ ਅੜਿਆ سجن دے ہتھ بانہ اساڈی، کی کر آکھاں چھڈ وے اڑیا
The human soul is represented as a bride, with different states of the soul depicted through various female roles; An unmarried girl unaware of her destiny, a bride-to-be waiting for her groom or a married woman in marital bliss or longing for reunion. He wrote in the concept of spiritual marriage or "betrothal to God" to symbolize the soul's union with the Divine.[6] Thus, he represented soul's relationship with God through marital imagery. He would call a soul that has attained communion with the Divine as suhāgan (happily married woman), and a soul that fails to achieve divine love as duhāgaņ (unlucky or deserted wife). Shah Husayn used items associated with brides, such as the sālo (a red-dyed embroidered cloth), to symbolize spiritual concepts like good deeds and the soul's journey.[6]
His tomb and shrine is located at theBaghbanpura precincts, adjacent to theShalimar Gardens (Lahore), Pakistan. HisUrs (annual death anniversary) is celebrated at his shrine every year during the "Mela Chiraghan" ("Festival of Lights").[2][7] Madho's tomb lies next to Hussain's in the shrine.[8][1]
In the 18th century, duringMaharaja Ranjit Singh (1780 – 1839) rule of Punjab, the maharaja himself would lead a procession from his palace in Lahore to Shah Hussain's shrine barefoot during Mela Chiraghan (Festival of Lights), accompanied by thousands of Sikhs, Muslims and Hindus. Shah Hussain'surs and themela used to happen at two different times but were both combined into one and then called "Mela Chiraghan" (Festival of Lights) by Ranjit Singh. This mela (festival) is considered to be the biggest festival of Punjab.[1][2]
Hussain's works of poetry consist entirely of short poems known as Kafis.[9] A typical 'Hussain Kafi' contains a refrain and some rhymed lines. The number of rhymed lines is usually between four and ten. Only occasionally is a longer form adopted. Hussain's Kafis are also composed for, and the singing of them has been set to music based onPunjabi folk music. Many of his Kafis are part of the traditionalQawwali repertoire. His poems have been performed as songs by Kaavish,Nusrat Fateh Ali Khan,Abida Parveen,Ghulam Ali, Hamid Ali Bela,Amjad Parvez,Junoon andNoor Jehan, among others.[1][10]
"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".[11]
Here are three examples, which draw on the famous love story ofHeer Ranjha:
Ni Mai menoon Khedeyan di gal naa aakh[11] | Do not talk of the Khedas to me, mother. |
Another Kafi:
Sajjan bin raatan hoiyan whadiyaan[11] | The nights are long without my beloved. |
Two Kafis that are addressed to his Hindu disciple Madho Lal Hussain[12] need a special mention:
Madho Lal! Piyaare ki parwaasa dam da? | Madho Lal! My dear what is this trust on life? |
