Friday, May 30, 2014

Saʿdi, ‘Araqi, Khusrau: Guftam Ke Roshan Az Qamar

Bahauddin Khan Qawwal (1934-2006), whose party render the qawwali below, traced his lineage back to the days of Amir Khusrau. To remind centuries-yet-to-be that he had loved his murshid, Khusrau banded together twelve youngsters, personally trained them, funded them, and performed with them. He appointed Mian Saamat as the leader of the Bachche (Youngsters) Qawwal. Bahauddin's family claims descent from the Bachche.

The first couplet is by Saʿdī. Abū-Muhammad Muslih al-Dīn bin Abdallāh Shīrāzī, aka Saʿdī Shirazi (Persian: ابومحمد مصلح الدین بن عبدالله شیرازی‎; 1210-1292) was the major classical Persian poet of the middle ages, recognized for the quality of his composition and for the depth of his thought.

اگرم حیات بخشی و گرم هلاک خواهی
سر بندگی به حکمت بنهم که پادشاهی

Garam hayat bakhshi wa garam hayat khwahi
Sar-e-bandagi-ba-khidmat bane humke badshahi

Grant me a warm new life or grant me a hot death
I bow my head at Thy service and make Thee my king.

The second couplet is by ‘Araqi. Fakhr al-dīn Ibrahīm ‘Irāqī, or ‘Araqi (Persian: فخرالدین ابراهیم عراقی‎; 1213-1289), was a Persian Sufi master (a friend of Jalaluddin Rumi), poet and writer. Born in Hamedan, (i.e. 'Irani Iraq'), ‘Araqi spent many years in Multan in the Indian subcontinent, as well as in Konya in present day Turkey.

نہ شود نصب دشمن، کہ شود ہلاک تیغت
سر دوستاں سلامت، کہ تو خنجر آزمائی

Na shabad naseeb-e-dushman ke shabad halaq-e-taighat
Sar-e-doston-salamat ke tu khanjarat ma aaye

Why should our enemies be so fortunate to die by Thine hands?
The heads of comrades are standing alive, ready for dagger-wielder Thou.

The rest is by Amir Khusrau (1253-1305):

گفتم که روشن از قمر گفتا که رخسار منست
گفتم که شیرین از شکر گفتا که گفتار منست

Guftam ke roshan az qamar gufta ke rukhsar-e-man ast
Guftam ke shireen az shakar gufta ke guftar-e-man ast

I asked: 'What is brighter than the moon?' She said: 'It is my face.'
I asked: 'What is sweeter than sugar?' She said: 'It is my talk.'

گفتم کہ مرگِ ناگہاں، گفتا که درد هجر من
گفتم علاج زندگی ،گفتا که دیدار منست

Guftam ke marg-e-'ashiqan gufta ke dard-e-hijr-e-man
Guftam 'ilaaj-e-zindagi gufta ke deedar-e-man ast

I asked about the death of lovers; She said; 'The pain of being separated from me.'
I asked about the cure of life; She said: 'It is the sight of my face.'

گفتم طریق عاشقان گفتا وفاداری بود
گفتم مکن جور و جفا، گفتا کہ این کار منست

Guftam tareeq-e-'ashiqan gufta wafadari buwad
Guftam makun jaur o jafa gufta ke iin kar-e-man ast

I asked about the way of lovers; She said: 'Fidelity.'
I said: 'Then do not be cruel and wicked.' She said: 'That is my task.'

گفتم که حوری یا پری ، گفتا که من شاه ِ بتاں
گفتم که خسرو ناتوان گفتا پرستار منست

Guftam ke houri ya pari gufta ke man shah-e-butan
Guftam ke Khusrau na-tavaan gufta parastar-e-man ast

I said: 'Are you a houri or a fairy?' She said: 'Of idols I am King.'
I said: 'Khusrau is helpless.' She said: 'Worship me.'

In his Lectures on Aesthetics, Hegel wrote: 

Pantheistic poetry has had, it must be said, a higher and freer development in the Islamic world, especially among the Persians ... The full flowering of Persian poetry comes at the height of its complete transformation in speech and national character, through Mohammedanism ... In later times, poetry of this order [Ferdowsi's epic poetry] had a sequel in love epics of extraordinary tenderness and sweetness; but there followed also a turn toward the didactic, where, with a rich experience of life, the far-traveled Saadi was master before it submerged itself in the depths of the pantheistic mysticism taught and recommended in the extraordinary tales and legendary narrations of the great Jalal-ed-Din Rumi.

 اگرم حیات بخشی و گرم هلاک خواهی
سر بندگی به حکمت بنهم که پادشاهی

Wednesday, May 28, 2014

Khusrau: Nami Danam Che

Ab'ul Hasan Yamīn ud-Dīn Khusrau (Hindi: अमीर खुसरो; 1253–1325), better known as Amīr Khusrau Dehlvi, was a Sufi musician, poet and scholar. Khursau the mystic, disciple of Nizamuddin Auliya of Delhi,  inventor of the musical instruments sitar and tabla, sponsor of the first qawwali, originator of the khayal and tarana styles of Indian classical music - is an iconic figure in the cultural history of India.

Below, Jafar Hussain Khan Badauni and party perform the famous qawwali Nami Danam Che Manzil Bood Shab Jaaye, traditionally attributed to Amir Khusrau.

नमी दानम चे मंज़िल बुद शब् जाए के मन बुदम,
ब हर सू रक़्स-ए-बिस्मिल बुद शब् जाए के मन बुदम।

Nami danam che manzil bood shab jaaye ke man boodam
Ba har su raqs-e-bismil bood shab jaaye ke man boodam.

I wonder what was that place - last night where I was,
In every way half-slaughtered victims of love, last night where I was.

परी पैकर निगार-ए-सर्व कदे लाला रुख़सारे,
सरापा आफ़त-ए-दिल बुद शब् जाए के मन बुदम।

Pari paikar nigaar-e-sarw-qade laala rukhsare;
Sarapa aafat-e-dil bood shab jaay ke man boodam.

There was a fairy-like beloved, cypress-figured, tulip-cheek'd,
Playing ruthless havoc with hearts of lovers, last night where I was.

रक़ीबन गोश-बर-आवाज़, ओ-दर नाज़-ओ-मन तरसा,
सुख़न गुफ़्तन के मुश्किल बुद शब् जाए के मन बुदम।

Raqeeban gosh-bar-awaaz, o-dar naaz-o-man tarsa
Sukhan guftan ke mushkil bood shab jaay ke man boodam.

The rivals for the smallest sound of her voice were thirsty
Stood struck I, unable to speak, last night where I was.

ख़ुदा ख़ुद मीर-ए-मजलिस बुद अंदर लामकां ख़ुसरो,
मोहम्मद शम्मा-ए-महफ़िल  बुद शब् जाए के मन बुदम।

Khuda khud meer-e majlis bood andar laamakan Khusrau -
Muhammad shamma-e-mehfil bood shab jaay ki man boodam.

God Himself was Master-of-Ceremonies in that Heavenly court, Khusrau -
Where Muhammad too was shining like a candle, last night where I was.

There is an eerie story behind the song.

Hazrat Nizamuddin Aulia directed Khusrau to switch his attendance to a gathering presided over by a "rival" master - Hazrat Shah Qalandar.

Khusrau was puzzled but did as he was asked. The master ignored him. One day, Hazrat Qalandar asked Khusrau - How is it that I have never seen your old Master Nizamuddin at the Lord's gathering in Heaven? Khusrau had no reason to doubt this assertion, so he was crestfallen and sad.

Meeting Khusrau some time later, Nizamuddin perceived something was amiss, and, upon questioning, learnt what had happened. He laughed - Tell Qalandar that he himself should take you one day to the Lord's gathering in Heaven, and that you will yourself seek out your old Master there.

And so the next time Qalandar poked fun at Khusrau, he asked to be taken to the Lord's gathering. Qalandar held his palm on Khusrau's heart and lo, he was transported to the ground floor of an eerily lit palace where shining figure after shining figure was in attendance. But there was no Nizamuddin Aulia there.

Not seeing Nizamuddin, Khusrau asked the Master of Ceremonies if his old Master would be coming. The figure pointed upwards to the next floor, where the scene repeated itself - shining saints and prophets, but no Nizamuddin. So Khusrau was led in turns to levels 2, 3, etc till 7 - and in this highest of floors levels he saw a mysterious veiled lady at whose feet the lovers writhed in the agony of Love. Khusrau approached the strange figure in a trance.  He removed the veil of this person - only to come face-to-face with his old Master Nizamuddin.  Khusrau shrieked to fall at the feet of this figure, and as he fell Qalandar withdrew his hand from Khusrau's heart, the brilliant lights vanished, and he was back in Old Delhi. On his way back home through the alleys lit by earthen lamps, Amir Khusrau composed "Nami Danam Che."

Dr. Tahir ul Qadri, a scholar of Sufi Islam, recounts the story (in Urdu) here.

Khusrau was born in Etah, Uttar Pradesh, India. His father Saif-ud-Dīn Mahmūd was a Turkic officer and a member of the Kara-Khitai Lachin tribe of Transoxiana. At the invasion of Genghis Khan, Saif-ud-Din migrated from his hometown Kesh, near Samarkand, to Balkh, and thence to the court of the Delhi Sultanate of Iltutmish. Khusrau's mother was of a recently-converted-to-Islam Rajput tribe. The metaphor of this 'mixed' parentage - Trans-Oxian and Cis-Indus - is also found in Khusrau's synthesis of Persian imagery and Hindvi music.

परी पैकर निगार-ए-सर्व कदे लाला रुख़सारे,
सरापा आफ़त-ए-दिल बुद शब् जाए के मन बुदम।

Nava'i: Qaro ko'zim

Nizām-al-Din ʿAlī-Shīr Herawī Nava'i (Chagatai: نظام الدین على شير هروی‎; 1441-1501) was an Uzbek politician, mystic, linguist, painter, and poet. He was the greatest representative of literature in the now extinct Chagatai branch of Turkic. Born in Herat (present day Afghanistan), part of the Timurid ruling class administering Khorasan (Northeast Persia and Central Asia), Nava'i was the quintessential Persianized Turk, whose literary work was a prototype for Babur.  Nava'i revolutionized the literary use of street-Turkic, and through his work the vernacular Chagatai of the mohalla became well-respected as a literary language. Nava'i also wrote in Persian (under the pen name Fāni), and to a lesser degree in Arabic.

Nava'i's Ushshoq (below, rendered by the formidable Munojot Yo'Ichiyeva, the haunting, aching voice of Ferghana) comes from the root Ishq, Love.

Қаро кўзим¸ келу мардумлиғ эмди фан қилғил¸
Кўзум қаросида мардум киби ватан қилғил.

Qaro ko'zim, kelu mardumlug' emdi fan qilg'il,
Ko'zum qarosida mardum kibi vatan qilg'il. 

Dark eyed one, show your mercy,
Come make your nest in my eyes.

Юзинг гулига кўнгул равзасин яса гулшан¸
Қаддинг ниҳолиға жон гулшанин чаман қилғил.

Yuzung guliga ko'ngul ravzasin yasa gulshan,
Qading niholig'a jon gulshanin chaman qilg'il.

Turn my heart into a flowerbed,
for the blossoms that are your face.

Таковарингға бағир қонидан хино боғла¸
Итингга ғамзада жон риштасин расан қилғил.

Takovaringg'a bag'ir qonidin hino bog'la,
Itingg'a g'amzada jon rishtasin rasan qilg'il. 

And rest your sapling form 
In the garden that is my life.

Фироқ тоғида топилса туфроғим¸ эй чарх¸
Хамир этиб яна ул тоғда кўҳкан қилғил.

Firoq tog'ida topilsa tufrog'im, ey charx,
Xamir etib yana ul tog'da ko'hkan qilg'il. 

Splash the hooves of your steed in my blood
Weave a leash for your dog from my tendons.

Юзунг висолига етсин¸ десанг кўнгулларни¸
Сочингни боштин-аëғ чин ила шикан қилғил.

Yuzung visolig'a yetsun desang ko'ngullarni,
Sochingni boshdin-ayog' chin ila shikan qilg'il.

Curl your hair into ringlets
So I can be easily captured should we meet.

Хазон сипоҳиға¸ эй боғбон¸ эмас монеъ¸
Бу боғ томида гар игнадин тикан қилғил.

Xazon sipohiga, ey bog'bon, emas mone'
Bu bog' tomida gar ignadin tikan qilg'il. 

When at foot of Separation-Range my dust be found,
Knead it into brick-dough sculpt from it your house.

Юзида терни кўруб ўлсам¸ эй рафиқ мени¸
Гулоб ила юву¸ гул баргидан кафан қилғил.

Yuzida terni ko'rub o'lsam, ey rafiq, meni
Gulob ila yuvu gul bargidin kafan qilg'il. 

Little can the gardener can do, O Friend, to stop the Fall,
Should he even thatch his roses with a roof of pine.

Навоий анжумани шавқ жон аро тузсанг¸
Анинг бошоқлиғ ўқин шамъи анжуман қилғил.

Navoiy, anjumani shavq jon aro tuzsang,
Aning boshog'lig' o'qin sham'i anjuman qilg'il.

Navoiy, gather from your heart a bouquet of joy, spark flame into
A sheaf of wheat, let this candle reveal the nameless wayside flower.

In spite of his songs on love, Ali-Shir Nava'i (the pen-name is also rendered Navoiy) led an ascetic lifestyle, "never marrying or having concubines or children." More on the Chaucer Of The Turks here.

Юзунг висолига етсин¸ десанг кўнгулларни¸
Сочингни боштин-аëғ чин ила шикан қилғил.

Friday, May 23, 2014

Jami: Chooma Hai Dar

Nur ud-Dīn abd-ar-Rahmān Jāmī (Persian: نورالدین عبدالرحمن جامی‎) (1414 – 1492) was the greatest Persian poet of the 15th century.

Below, Mehmood ul Hassan Ashrafi performs Jami's naatiya qalam:

चूमा है दर अर्ज़-ओ-समाँ ताबाँ तुई ताबाँ तुई 
रश्क-ए-मलक नूर-ए-खुदा इंसाँ तुई इंसाँ तुई 

Kiss thine doorstep earth and sky; the glow thou, glow thou!
Covet of angels, light of God; (the perfect) man thou, man thou!

रोशन-ए-रूयत दो जहाँ अक्स-ए-रुखत ख़ुर्शीद-ओ-माँ 
ऐ नूर-ए-ज़ात-ए-गिबरिया रख़्शाँ तुई रख़्शाँ तुई

Two worlds illuminated by thine blessed face, sun-moon thine countenance
O Light of the Lord Almighty!  the luster thou, luster thou!

आयात-ए-क़ुरान अब्रुयत तफ़सीर-ए-क़ुरान गेसुयत 
ऐ रूह-ए-तू क़ुरान-ए-मां ईमाँ तुई ईमाँ तुई 

Thy eyebrows [the beauty of] verses of the Quran,  thy hair [the vigor of]  exegesis of the Quran
Thy soul is our Quran; [the foundation] of faith thou,  faith thou!

या मुस्तफ़ा या मुज्तबा ईरहम लना ईरहम लना
दश्त-ए-मां बेचारा-रा दामाँ तुई दामाँ तुई

O chosen one! O elected one! Have mercy on us
Our hands find nothing to cling; haven thou, haven thou!

मन आसियम मन आज़जम मन बेक़सम हाल-ए-मरा 
या शफ़ी-ए-रोज़-ए-जज़ा पुरसाँ तुई पुरसाँ तुई

I am a sinner, I am weak, I am helpless -- such is my fate
O Intercessor on the Day of Recompense! the savior thou, savior thou!

जामी रवत अज़ चश्म-ए-मां जलवा-नुमा बेहर-ए-खुदा 
जान-ओ-दिलम हर दो फ़िदा जानाँ तुई जानाँ तुई |

Jami with his own eyes saw, magic-like, the ocean of God
His life and soul are both for thee; the essence thou, essence thou!

Na`at (Arabic: نعت‎) is poetry that specifically praises the prophet Muhammad. The practice is popular in India, commonly in Urdu. People who recite Naat are known as Naat Khua'an. In addition to Jami's verse, traditional verses from Arab, Indian and Quranic tradition are woven in:

सरे-ला-मकां से तलब हुई, सू-ए-मुनतहा वह चले नबी 
कोई हद है उनके उरूज की, बलघल उला बी कमालिही

From that place of no houses come the Summons, On that path of excellence there goes the Exalted
Can there be a limit to his ascent? He who reached the highest place by his Perfection

मेरा दीन अम्बर वारसी, बखुदा के इश्क़-ए-मुहम्मदी 
मेरा ज़िक्र-ओ-फ़िक्र है बस यहीँ, सल्लू अलैहे व आलिही 

My religion is Ambar Warsi, I am Mohammedan by reason of Love of God
My practice and concern is only this. Send blessings to him and his family.

(Hazrat Ambar Shah Warsi of Ajmer, was the Sufi saint who initiated Ghulam Sabri.)

ऐ मज़हर-ए-नूर-ए-खुदा बलघल उला बी कमालिही 
मौला अली मुश्किल कुशा क़शाफद्दुजा बी जमालिही

O manifestation of the Light of God! He who reached the highest place by his perfection.
Maula Ali! slayer of problems! He removed darkness by his beauty.

हसनैन जाने फ़ातिमा हसुनत जमीओ ख़िसालिही 
यानि मुहम्मद मुस्तफ़ा … सल्लू अलैहे व आलिही |

Of the two goods, life of Fatima! Beautiful are all his attainments
Therefore Muhammad is the chosen one. Send blessings to him and his family.

(Fatima, daughter of Muhammad, was the wife of  'Ali, and mother of Hassan and Hussain. Hassan means good, Hasnain is plural of Hassan - the two Hassans or the two goods.)

Here is another version by Badar Miandad Qawwal & Party:

Finally, the traditional Sare La Makaan See Talab Hui can be heard below:

Jami was also an outstanding theologian of the school of ibn-Arabi, as well as a prominent historian and Khwājagānī Sũfī, who analyzed the metaphysics of Mercy. He was recognized for his repartee and the crispness of his verse.

चूमा है दर अर्ज़-ओ-समाँ ताबाँ तुई ताबाँ तुई
रश्क-ए-मलक नूर-ए-खुदा इंसाँ तुई इंसाँ तुई |

Thursday, May 22, 2014

Niyaz: Mamoor Ho Raha Hai

Hazrat Shah Niyaz Ahmed (1742-1834) is said to have been descended from 'Ali (via the royals of Bukhara) and lived around Bareilly in Uttar Pradesh. HIs followers are the Niyazi Sufis.

Below, the Sabri brothers perform qalam-e-Niyaz in qawwali, from an old UNESCO collection of 1975.

मामूर हो रहा है आलम में नूर तेरा
अज़ माहताब माहि, सब है ज़हूर तेरा

Becoming abundant in all universe is the light of Thee
The Moon, this Life, all are but manifestations of Thee.

इसरार-ए-अहमदी से आगाह हो सो जाने
तू नूर हर शरार है, हर संग-ए-तूर तेरा

Secrets of the Praiser (Muhammad) are to none but Thee known
Thou light of every spark, every flint-stone of Thee.

हर आँख तक रही है, तेरे ही मुहँ को प्यारे
हर कान में हूँ पाता, शोर-ए-ज़हूर तेरा

To every eye has been, only Thy face beloved
In every ear is known, that abundance shout of Thee.

जब जी में ये समाया जो कुछ है, सो तू है
फिर दिल से कब दूर हो कुर्ब-ओ-हज़ूर तेरा

When soul's convinced that whatever is, is Thou
Then how can from heart far be presence of Thee.

भाता नहीं है वाइज़ जुज़ दीद-ए-हक़ मुझे कुछ
तुझको रहे मुबारक हूर-ओ-क़सूर तेरा

Like not I sermons on Only-Truth, O Preacher!
Welcome thou to keep virgin-and-sin for thee

वहदत के हैं ये जलवे नक्श-ओ-निगार कुसरत
गर सिर्र-ए-मरिफत को पावे शऊर तेरा

Magic of creation revealed to eye - that is Oneness
If only wisdom could decipher the Truth of Thee.

गर हर्फ़-ए-बेनियाज़ी सरज़द 'नियाज़' से हो
पुतले में ख़ाक के है, प्यारे गुरूर तेरा |

Were letters-of-unyearning to come from this Niyaz (Yearner)
Twould only be, 'cause proud is this clay-toy's Love for Thee.

Niyaz lived roughly at the time Muslim rule was being replaced by the British - say the Sirajuddaula-to-Bentinck span of Indian history. Note the repudiation of 'mine-is-the-only-Truth' ulema who, then as now, came bearing the promise of virgins-of-paradise as well as the threat of monotheistic original-sin:

भाता नहीं है वाइज़ जुज़ दीद-ए-हक़ मुझे कुछ
तुझको रहे मुबारक हूर-ओ-क़सूर तेरा |

Ghalib: Muddat Hui Hai

Mirza Asadullah Khan 'Ghālib' (Urdu غاؔلب‎; Hindi ग़ालिब; 1797-1869) was the last great poet of the Mughal era. His takhallus ġhālib means 'dominant.'

Iqbal Bano performs Ghālib in a 1974 made-for-PTV mehfil:

Part 1:

Part 2:

मुद्दत हुई है यार को मेहमाँ किये हुए
जोश-ए-क़दह से बज़्म चराग़ाँ किये हुए

It's been long since my love were my guest
The cup's warmth had our gathering candle-lit

करता हूँ जमा फिर जिगर-ए-लख़्त-लख़्त को
अर्सा हुआ है दावत-ए-मिज़्श्गाँ किये हुए

Gather up I, again, this body piece-by-piece
Age's passed since feasting on those eyelashes

फिर पुर्सिश-ए-जराहत-ए-दिल को चला है इश्क़
सामाँ-ए-सदहज़ार नमकदाँ किये हुए

Love comes again to inquire upon Heart's wounds
Carrying a hundred-thousand salt-boxes in supply

फिर वज़ा-ए-एहतियात से रुकने लगा है दम
बरसों हुए हैं चाक गिरेबाँ किये हुए

The decorum of restraint is suffocating, again
Been years since I had tore at my collar

माँगे है फिर किसी को लब-ए-बाम पर हवस
ज़ुल्फ़-ए-सियाह रुख़ पे परेशाँ किये हुए

Again asks desire for someone by roof-edge
On a face agitated, dark disheveled hair

चाहे है फिर किसी को मुक़ाबिल में आरज़ू
सुर्मे से तेज़ दश्ना-ए-मिज़्श्गाँ किये हुए

Ask again I for someone as combatant
Those eyelash daggers, sharpened by kohl

इक नौबहार-ए-नाज़ को ताके है फिर निगाह
चेहरा फ़ुरोग़-ए-मै से गुलिस्ताँ किये हुए

Eyes seek again beauty in first blossom
Her face flushed of wine, a garden of color

फिर जी में है कि दर पे किसी के पड़े रहें
सर ज़ेर बार-ए-मिन्नत-ए-दर्बाँ किये हुए

Again wish I to lie at someone's door
Head weary of pleading to the guard

फिर शौक़ कर रहा है ख़रीदार की तलब
अर्ज़-ए-मता-ए-अक़्ल-ओ-दिल-ओ-जाँ किये हुए

Desire summons a purchaser yet again
Bidding anew for my mind my spirit my heart my life

फिर चाहता हूँ नामा-ए-दिलदार खोलना
जाँ नज़र-ए-दिलफ़रेबी-ए-उन्वाँ किये हुए

Yearn I to open a letter from my Love, agree, to
Sacrifice my life for the seduction of what’s said

जी ढूँढता है फिर वही फ़ुर्सत के रात दिन
बैठे रहें तसव्वुर-ए-जानाँ किये हुए

My life seeks again those hours of languor
Sitting for long, thinking of Beloved

दिल फिर तवाफ़-ए-कू-ए-मलामत को जाये है
पिंदार का सनमकदा वीराँ किये हुए

Heart goes again to that alley-trap of ill-intention
Leaving vacant the noble temple of pride so built.

“ग़ालिब” हमें न छेड़ कि फिर जोश-ए-अश्क से
बैठे हैं हम तहय्या-ए-तूफ़ाँ किये हुए |

Ghālib: Leave me be, for eyes full of tears
I sit, mind made up to unleash a torrent at will.

Mirza Asadullah Khan's life was one of witnessing the eclipse of the Mughals before, during, and after the defeat of the Great Indian Mutiny of 1857.

दिल फिर तवाफ़-ए-कू-ए-मलामत को जाये है
पिंदार का सनमकदा वीराँ किये हुए |

Bedam: Na Karo Juda Khudara

Hazrat Bedam Shah Warsi was born Ghulam Hasnain in 1882 in Etawa. Taking early the life of a Sufi, he moved to Dewa in eastern Uttar Pradesh, India. His murshid was Hazrat Syed Waris Ali Shah.

Below, Mehmood ul Hassan Ashrafi performs naat, with hints of Atulprasad, or perhaps an old English madrigal (with techno echo effects).

न करो जुदा खुदारा मुझे अपने आस्ताँ से
नहीं है फिर ठिकाना जो उठा दिया यहाँ से

Send not me away Lord, from Thy haven, thus I pray
No home be mine 'ere again, if from here I stray

मुझे ख़ाक में मिला कर मेरी ख़ाक भी उड़ा दे
तेरे नाम पर मिटा हूँ मुझे क्या गरज़ निशां से

Grind Thou me into ash, then that ash blow away
Erased I me on Thy name, need tomb nor display

यही मेरी सजदा रेज़ी, यही मेरी बंदगी है 
मैं ज़रा लिपट के रो लूँ तेरे संग-ए-आस्ताँ से

Such be my supplication, and such be how I pray
May I cling crying yet, to Thine stone-haven, yea 

कोई क़ाश जा के कह दे, उस अरब मेहरबाँ से 
तेरे ग़म में या मुहम्मद कोई जा रहा है जाँ से 

If only someone could, to that kind-soul Arab say
In thy sorrow, Muhammad, here's one that pines away

ज़रा ठहर जा मुअज़्ज़ाँ मेरा दिल लरज़ रहा है 
कहीं काबा झुक न जाए  तेरे मस्त-ए-अज़ाँ से 

Pause yet, O Muezzin, aquiver my heart is set 
Lest Kaaba 'self be sway'd, by thy sweet call to pray

तू हज़ार बार ठुकरा मेरा सर यहीं झुकेगा 
मेरे सर को है मुहब्बत तेरे संग-ए-आस्ताँ से 

Turn me away a thousand, bow here still will I
'Tis love of Thy stone-haven, that my head doth sway

मेरी बेक़सी का आलम कोई उनके दिल से पूछे 
मेरी तरह लूट गया हो जो बिछड़ के कारवाँ से 

Helpless my universe, of it ask the heart of one
Who alike was robbed, from caravan stepping away

न इधर कि पर्दा न केवल पर्दा दारयाँ हूँ
मेरी दुख भरी कहानी जो सुने मेरी ज़बां से

No curtain spread here, behind no purdah I hide
My tale of sorrow, hearken this tongue doth say

इसी ख़ाक आस्ताँ में किसी दिन फ़ना भी होगा
कि बना हुआ है बेदम इसी ख़ाक-ए-आस्ताँ से |

In this haven of ashes, some day erasure'll come
Breath-bereft (Bedam) was made, from ash-haven purvey.

Another version, a livelier romp, by the inimitable Amir Rafiq Murkiyanwale Qawwal & Party.

Bedam - literally, Breathless -  forbade his followers to keep biographical detail on himself; what is remembered is that he was consulted by most of the great poets of the turn of the century - Pir Mehr Ali Shah, Khwaja Ghulam Fareed, Hazrat Hasan Nizami  - this last Sufi said about Bedam Shah's work - Hast Irfan dar Zabaan-e-Purbi, i.e. Here is Irfan in the Purbi tongue. In Islam, ‘Irfān (literally ‘knowing, awareness’) is gnosis. Bedam Shah passed away in 1936. Note the slyness of the maqta - the last couplet - above. The word Fna in Arabic means end, erasure, passing-away; the Sufi reads it as the end of the duality with his God, who is also immanent in the dust and ash, beyond breath.

Bedam Shah's Purbi qalam is a mix of Rekhta/Urdu idiom and the village tradition that provided sibstrate to Indian Sufi poetry. The syncretic nature of the qalam led Bedam Shah Warsi to be given the title of 'Khusrau-e-Saani' - the Second Khusrau. His Naatiya work, such as the one above, departs from the Persianate classical Naat of Jami, and brings to the genre a certain simple directness - as he himself says - a 'bheeni bheeni khushboo', a redolent fragrance - of the Ganga-Jumna-Gomti.

इसी ख़ाक आस्ताँ में किसी दिन फ़ना भी होगा
कि बना हुआ है बेदम इसी ख़ाक-ए-आस्ताँ से |