takatoo - website.uob.edu.pk

TAKATOO Issue 1 Volume 1 January- June 2009

3

Bilingual / Bi-Annual Pashto English Journal

TAKATOO

Chief Editor:

Dr. Nasrullah Wazir

Editor:

Dr. Naseebullah Seemab

([email protected])

Co-Editors:

Javed Iqbal Iqbal

Qari Abdul Rehman

Barkat Shah Kakar

________________________________________________

Department of Pashto University of Balochistan, Quetta.

E-mail: [email protected]


4

Editorial Board

1. Prof. Dr. Parvez Mehjoor, Research Officer Pashto Academy

Peshawar.

2. Dawood Azami, Program Manager, BBC UK, London.

3. Naseebullah Seemab, (Ph.D) Assistant Prof. Department of

Pashto, University of Balochistan, Quetta.

4. Prof. Raz Muhammad Raz, Principle Govt Degree College,

Pishin.

5. Dr. Razaq Pahalwal, Kandahar.

6. Ali Kumail Qazalbash, (Ph.D) Govt Degree College Pishin.

7. Dr. Khushal Roohi, Germany.

8. Anil Zaib Babar (Ph.D) Endeavour Research Fellow, Monash

Asia Institute, Monash University, Clayton, VIC 3800,

Australia.

Office Staff:

Composer Pashto: Hafiz Rehmat Niazi

Composer English: Murtaza Khan Bazai

Journal: Pashto

Publication: Bi-Annual

Serial No: One

Publisher: Department of Pashto University of Balochistan,

Quetta.

Press: United Printers Quetta.

________________________________________________

Department of Pashto University of Balochistan, Quetta.

E-mail: [email protected]


5

Department of Pashto

University of Balochistan, Quetta.

The bi-annual and bi-Lingual Research Journal TAKATOO is an

academic and research endeavor of the Pashto Department which caters

standardized contents with internally recognized approach and diction.

Higher Education Commission of Pakistan is intended to financially

support the research journal and approve it as one of the authentic source

of knowledge construction and dissemination. No part of the material

published in the journal be copied, reproduced or printed with out the

prior permission of the editor.

Disclaimer:

Authors of the published material have their independent perspective,

agreement of the journal


6

Guidelines for Contributors

TAKATOO, Department of Pashto University of Balochistan, Quetta

welcomes papers in English and Pashto on Pashto language, literature,

history, art and culture. Manuscript should not exceed 7000 words

(including end notes and references). Quotations from foreign texts must

be translated in the body of the paper, and accompanied by the original in

the endnotes. The author‟s name, e-mail and mailing addresses and

institutional affiliation should appear on a separate title page. Each paper

in Pashto / English is to be preceded by an 80-100 worded abstract in

English. Submission for concideration for publication in Takatoo, 2 hard

coppies and a soft copy, may please be mailed to the Editor.

Paper in English must be in accordance with the MLA / APA style.


7

List of contributors:

1. Abdul Karim Baryalai Govt Civil Servant.

2. Dr. Nasrullah Jan Wazir Chairman Department of Pashto

U.O.B Quetta.

3. Dr. Naseebullah Seemab Assistant Prof. Department of

Pashto U.O.B, Quetta.

4. Dr. Muhammad Zubair Subject Specialist

Hasrat Text Book Board, Peshawar.

5. Ahmed Shah Durrani Chairperson Social Sciences

B.U.I.T.E.M.S , Quetta.

6. Razia Gul Associate Prof. Govt Girls

Degree College, Quetta.

7. Dr. Hanif Khalil Lecturer NIPS Quid-e-Azam

University, Islamabad.

8. Javed Iqbal Iqbal Lecturer Department of


9. Barkat Shah Kakar Lecturer Department of


10. Mehmood Ayaz Associate Prof. Govt Degree

College, Quetta.


8

Contents

Mawlana Rumi and Mwlawiyyah Order 10

Ahmad Shah Durrani

The Social construction of Tragedy in the 32

Pashto Folk Romance narratives.

Barkat Shah Kakar

Khan Shaheed Abdul Samad Khan Achakzai 49

A Political Leader and His Literary Contributions.

Razia Gul


9

Message of the Vice Chancellor

In the leading scenario of globalization, the research

has evolved as a discipline and as well as cross cutting theme

and instrument for producing true knowledge with its

pragmatic premise. The research has gradually gained an

inevitable space in the domains of natural sciences. Similarly it

has now become core determinant in the academic domains of

social sciences and humanities. Several paradigms of literary

research and criticism are evolved which are primarily aimed at

unpacking the reality in an objective fashion.

The need of regular research production and

publication in departments of humanities and arts has always

been felt. Secondly, it is a prime Priority of a higher degree

awarding academic institutions to unfold spaces and

opportunities for high value knowledge production through

refined research methods and approaches. The idea of

publishing the Research Journal from the faculty of Languages

was shared two years before, now at this end I am very pleased

and proud while seeing an idea materialized.

The Bi-Annual Pashto Research Journal “Takatoo” is

an outstanding addition in the area of literary research

especially regarding Pashto literature, language, history and

culture. The Quality of matter is impressive both in terms of

message and its presentation.

I congratulate the Pashto Department, University of

Balochistan, its faculty and chairman for their outstanding

academic and research endeavors which will certainly enhance

the knowledge body and scope of research in the larger groups

of readers and scholars.

I pray for them to continue their research and

scholastic contribution for a peaceful, learned and self reliant

Pakistani society.

Prof. Dr. Masoom Yasinzai

Vice Chancellor

University of Balochistan Quetta.


10

Mawlana Rumi and Mwlawiyyah Order

Ahmad Shah Durrani

Abstract:

The paper discusses the past and present of Mawlawiyya

Order of Sufism which is named after Mawlana Jalaluddin

Rumi, one of the most famous Sufi masters and celebrated

poet. Mawlana Rumi (born 1207) was not the head of an

order during his lifetime but the Order was gradually

organized by his immediate successors, especially his son,

Sultan Walad and his friend and disciple Celebi Hussam-ud-

Din. Based on Rumi‟s message of love as being the motive

force of the universe, the Order soon spread throughout the

Ottoman territory. Although Sufi Orders are legally banned

in modern Turkey, Mawlawiyya is considered one of the

largest Sufi Orders in the country. The paper also explores

Rumi‟s message of love and brotherhood and discusses the

tradition of Mawlawi Sama (Whirling Dance) which has

become popular in many Western countries. Each year,

different groups from Turkey perform the Sama ceremony in

some of the most famous cultural venues abroad. Rumi‟s

family is still holding the seat of leadership of the

Mawlawiyya Order. A number of individuals and groups

seek direct guidance from the descendants of Mawlana.

While discussing the current situation of Mawlawiyya Order,

the paper also discusses the origin and ban on Sufism in

Turkey.


11

Mawlana Rumi:

Jalaluddin Muhammad Balkhi Rumi, named “Mawlana” (Our Lord or

teacher) is regarded as one of the greatest poets, thinker and mystics in

the Islamic world. He was born in the city of Balkh (historical city near

Mazar-i-Sharif) in the north of Afghanistan on September 30th

1207.

Mawlana‟s father Sultan-ul-Ulama Baha-ud-din Waled was a renowned

scholar of his time who migrated with his family to Turkey from Balkh;

apparently due to the Mongol threat over Balkh and the region. After

staying in the Turkish town of Larende for few years where he

established a Madrassa and attracted a wide circle of students, Baha-ud-

Din Waled eventually settled in Konya, the Seljuk capital, and continued

teaching. When Mawlana Rumi‟s father died in 1231, his followers

attached themselves to Rumi. Mawlana Rumi‟s Madrassa became a

center of learning and he became a leading authority. But he himself was

not satisfied with the extent of his knowledge and understanding and

began gradually to move towards a mystic approach.

The meeting of Mawlana Rumi with a wondering ecstatic dervish proved

to be the beginning of an extraordinary relationship between the two of

them. The dervish, Shams-ud-Din of Tabriz, became his teacher and they

remained together for days, even weeks, deep in philosophical

discussions and meditation. It is said that Shams set his heart alight with

the rapture of Divine Love and Gnostic ecstasy. Both of them exchanged

their views on a range of subjects and became inseparable as they were

convinced they had found the level of mystical understanding of

Almighty God.

Rumi expressed what he had experienced and learnt during his time with

Shams in a truly remarkable literary outpouring in verse. His greatest


12

work is the six-volume long poem, known as Mathnawi, contains some

of the most beautiful passages of mystical verse ever written. His poetry,

which is in Persian, has been translated in a number of annotated and

prose versions into several modern languages, including English.

Rumi is said to be the best-selling poet in the United States and a massive

increase has been noted in the sale of copies of his translated poetry

especially after the events of 9/11. He was named by Time Magazine as

the Mystic of the 13th

Century. (1)

In recognizing year 2007 as the 800th

anniversary of Rumi‟s birth, the

United Nations Educational, Scientific and Cultural Organization,

UNESCO, called Rumi an “eminent philosopher and mystical poet of

Islam” whose “work and thought remain universally relevant today.” (2)

This true devotin of God and a follower of the Prophet of Islam died

when he was 66 years old on December 17, 1273 in Konya, Turkey.

According to him, death was a form of rebirth into the devotion and the

ultimate reality. He described the night of his death as the night of union

“shab-i-arus”, as he regarded it as the instant when his physical entity

attained union with the Universal Entity and thus with everlasting life.

Members of all sects, inclinations and religions were present at his

funeral and considered him as one of mankind‟s greatest leaders.

He saw life as a corridor to meet with God and defined death as being the

meeting time as he described in this poem:

On the day of death, when my coffin is on the move

Do not suppose I have any pain at leaving this world.

When you see my hearse, say not

“Leaving! He is leaving!”

That time will be for me union and encounter.


13

When you commit me the grave,

Say not “Farewell! Farewell!”

For the grave is a veil over the reunion of paradise. (3)

As he embraced everyone regardless of religious belief and social status,

Rumi‟s teachings have been playing a great role in the harmony of

Turkish society. Konya is still a centre of pilgrimage for those in search

of mystic truths as it was in the life of Mawlana Rumi. Every year

thousands of people from every corner of the world came to Konya and

pay their respects to this universal poet. An international Mawlana

congress is also held tri-annually in Konya where academics from all

over the world gather and discuss the works of „great Mawlana.‟

At the entrance of his historical and unique mausoleum, is an inscription

bearing his Persian couplet with Turkish and English translation.

“Come; come whoever you are…..

Wanderer, idolater or worshipper of fire…

Come even though you have broken your vows a thousand times,

Come and come yet again

Ours is not a carvan of despair…” (4)

Sufism and Sufi Ways (Orders):

Sufism or Islamic mysticims seeks to avoid conflicts and confrontations,

calls for love and peace and serving humanity. It seeks a brotherhood

among human beings. In the middle of this confusion of civilizations,

Sufism, the most accessible, tolerant and pluralistic incarnation of Islam,

and a uniquely valuable bridge between east and west at this moment of

crisis finds itself suppressed by the Islamic world's two most pro-western

governments: the Saudi Wahhabis, who see it as a heretical threat to their

own harsh and literal interpretation of the Qur'an; and secular Turkey,


14

which regards it as a token of their embarrassing, corrupt and

superstitious Ottoman past. (5)

The Sufi spirit softens the message of the Qur'an by emphasizing the

sense of love, and the passionate relationship between the believer and

the beloved, God, of course being the ultimate beloved. So in the eyes of

Rumi and the Sufis, God becomes not the angry God of punishment, nor

the God of revenge, but the God of love.

The number of different Sufi Orders or Sufi Brotherhoods is thought to

have reached to more than two hundred now. While commenting on the

nature and the need for the different Sufi Brotherhoods, the following

verse of Mawlana Rumi is mostly quoted.

“Though the many ways (diverse religions) are various, the goal is one.

Do you not see there are many roads to the Kaaba?” (6)

Origin of Mawlawiyya Order:

Mawlawiyya Sufi order is named after Mawlana Rumi who was not the

head of an Order during his lifetime. Ibn-i- Batoota says in his „Safar

Nama’ that followers of Mawlawiyya Order are known as Jalalia as

Mawlana‟s nickname was Jalaluddin but this Order is known as

Mawlawiyya in Minor Asia, Syria, Egypt and Constantinople. (7)

The foundation of Mawlawiyya Order was laid in 1273 by Rumi‟s

followers after his death. His first successor in the rectorship of an Order

was Rumi‟s close friend and disciple, Hassamuddin Chelebi. After

Hassamuddin‟s death in 1284, Rumi‟s younger and only surviving son

Sultan Walad (died 1312) became the master of the Order. (8)

Risale-i-Sipehsalaar, one of the most reliable historical accounts of

Rumi‟s life, tells us that Rumi followed the teachings and character of his

father, Sultan-ul-Ulama Baha-ud-din Walad (died 1231). From this


15

account it is understood that Rumi‟s first spiritual guide or sheikh was his

father. After the death of his father, Syed Burhan-ud-Din Muhaqiq Al-

Tirmizi, one of Sultan-ul-Ulama‟s deputies -- became Rumi‟s spiritual

guide and sheikh. Both Sultan-ul-Ulama and Burhan-ud-din Tirmizi were

members of the Kubrawiyyah Sufi Order. Hamdullah Musevifide writes

that Rumi‟s father was one of the deputies of Najam-ud-Din Al-kubra,

who was the founder of Kubrawiyyah Order. (9)The Mevlawiyya became

a well-established Sufi order in the Ottoman Empire by realizing a blood

relationship with the Ottoman sultans when Devlet Khatun, a descendant

of Sultan Waled, married the Sultan Bayezid I. Their son Mehmed I

Celebi became the next Sultan, endowing the order, as did his successors,

with many gifts. (10)Many of the members of the order served in various

official positions of the Ottomon Caliphate. The centre for the

Mawlawiyya order was in Konya where their 13th century guiding spirit,

Mawlana Jalauddin Rumi is buried. But Mawlawi Houses (called

Mawlawi Khana, pronounced as Hane in Turkish) were established in

many parts of the Ottoman Empire. Even today, there is also a Mawlawi

monastery or dergah in Istanbul, near the Galata Tower, where the sama

(whirling ceremony) is performed and is accessible to the public.During

the Ottoman period, the Mawlawi Order spread into the Balkans as well

as in Syria and Egypt. It is still practiced in these countries. The Bosnian

writer, Meša Selimović wrote the book "The Dervish and Death" about a

Mawlawi dergah in Sarajevo. (11)

During Ottoman times, the Mawlawiyya Order produced a number of

notable poets and musicians such as Sheikh Ghalib, Ismail Rushuhi Dede

of Ankara, Esrar Dede, Halet Efendi, and Gavsi Dede, most of whom are

buried at the Galata Mawlawi Hana in Istanbul. (12)

http://en.wikipedia.org/wiki/Sufi

http://en.wikipedia.org/wiki/Ottoman_Empire

http://en.wikipedia.org/wiki/Bayezid_I

http://en.wikipedia.org/wiki/Mehmed_I

http://en.wikipedia.org/wiki/Konya

http://en.wikipedia.org/wiki/Dergah

http://en.wikipedia.org/wiki/Istanbul

http://en.wikipedia.org/wiki/Galata_Tower

http://en.wikipedia.org/wiki/Balkans

http://en.wikipedia.org/wiki/Syria

http://en.wikipedia.org/wiki/Egypt

http://en.wikipedia.org/wiki/Bosnia_and_Herzegovina

http://en.wikipedia.org/wiki/Me%C5%A1a_Selimovi%C4%87

http://en.wikipedia.org/wiki/Sarajevo


16

The Mawlawi Order has some similarities to other Sufi orders, such as

the Qadiri (founded in 1165), the Rifaa'i (founded in 1182), and the

Qalandari.

Ban on Sufism in Turkey:

With the foundation of the modern secular Republic of Turkey, Mustafa

Kamal Ataturk, the first president of the country, removed religion from

the sphere of public policy and restricted it exclusively to that of personal

morals, behaviour and faith. On December 13, 1925, a law was passed

closing all the tekkes and zawiyas (Sufi lodges) as well as the centers of

venerations to which pilgrimages were made. Istanbul alone had more

than 250 tekkes and other small Sufi centers for gatherings of various

Sufi fraternities. Before the First World War, there are said to be almost

100,000 disciples of the Mawlawi order throughout the Ottoman Empire.

But, as part of his desire to create a modern, western-orientated, secular

state, Kamal Atatürk banned all the Sufi Orders. Charitable Waqfs were

suspended and their endowments expropriated; Sufi hospices were closed

and their contents seized. In addition, all religious titles were abolished

and darvish clothes outlawed. Turkish intellectuals were encouraged to

study western classics, while Rumi's writings, along with those of all his

Sufi peers, were treated as an intellectual irrelevance. Two years later, in

1927, the Mausoleum of Mawlana Rumi in Konya was allowed to reopen

as a museum. In 1937, Atatürk went even further, prohibiting by law any

form of traditional music, especially the playing of the ney, the Sufis'

reed flute. (13)

http://en.wikipedia.org/wiki/Qadiri

http://en.wikipedia.org/wiki/Rifa%27i


17

Sufis were suppressed in modern Turkey for decades. Today, one can see

that discreet expressions of Sufism are tolerated and pictures of Whirling

Dervishes are prominently used in Turkish government tourist brochures.

But the open practice of the Sufi mysticism that Rumi represented can

still technically result in prison sentence of several months.

Spread of Mawlawiyya Order:

In 1950s, the Turkish government legalized the Mawlawi Order as an

association and began allowing the Whirling Dervishes to perform the

ceremony. These darweshes are chosen among the members of Mawlawi

sect, to perform annually in Konya on December 17, the Urs or

anniversary of Rumi's death. The followers of Rumi have also performed

in the capitals of several Western countries. In 1971, they performed in

London with Kani Karaca as lead singer. In 1972, they toured North

America for the first time with Kani Karaca, Ulvi Erguner, and

Akagündüz Kutbay among the musicians. They performed in France, for

Pope Paul VI, and at the Brooklyn Academy of Music and other venues

in the United States and Canada, under the direction of the late Mawlawi

Shaikh Suleyman Hayati Dede. In April of 2007 the Order initiated

another tour of the US, where they performed to sold-out crowds, in

places such as Denver and San Francisco. (14)

As far as the Turkish State is concerned, the Mawlawis are little more

than a museum culture to be exploited as a tourist attraction. This process

apparently began in mid-60s when the wife of a senior US army officer

came to Konya and asked her government escorts about the dervishes.

The officials were thrown into a panic. The local mayor eventually found

http://en.wikipedia.org/wiki/Urs_%28Sufism%29

http://en.wikipedia.org/wiki/France

http://en.wikipedia.org/wiki/Pope

http://en.wikipedia.org/wiki/Pope_Paul_VI

http://en.wikipedia.org/wiki/Brooklyn_Academy_of_Music

http://en.wikipedia.org/wiki/United_States

http://en.wikipedia.org/wiki/Canada


18

an old dervish and forced him to teach the local basketball team how to

turn; soon a “folkloric” festival began to be mounted in the Konya sports

hall every year to attract foreign tourists. For a while, there was even a

brief attempt made to replace the Sufi musicians who accompanied the

dancers with the town‟s brass band, which was judged to be more

modern. For over seven centuries, Rumi‟s teachings have traveled from

Afghanistan to Andalusia, from Egypt to the Balkans. The fame of

Mawlawi Order had reached to all parts of the Eastern World. The Order

is still active and exploring the new frontiers in the Western world.

Rumi‟s teachings are now spreading in Europe and America.

In 1980, Sheikh Jalaluddin Loras began Mawlawi training in Northern

California. He was sent to America by his father Hazrat Murshid

Suleiman Hayati Dede, a Mawlawi Sheikh of Konya. Besides the

traditional Mawlawi teachings and practices (i.e. “Sama”, the turning

ritual, circles for “Zikr-Allah” (divine remembrance), and “Sohbat”

(sacred discourse), Sheikh Jalaluddin has instituted new expressions of

the traditional dervish teachings appropriate to North America. (15)

Besides regular classes, seminars, and public zikr ceremonies, the

Mawlawi Order of America produces public celebrations for “Shab-i-

Arus”, the anniversary of Mawlana‟s passing, each year. The „samazens‟

(whirling dervishes) prepare throughout the year to “receive from God

and give to people”, the sacred responsibility of those who embrace this

practice. The “Shab-i-Arus”, ceremony is offered annually in various

American cities, usually on the West Coast. As many as 60 -70 samazens

turn, accompanied by a score of Mawlawi musicians. Also participating


19

in the ceremony are Sheikhs from different Sufi and dervish lineages, as

well as senior representatives of other spiritual traditions.

Classes in Sama, the “Turning” are currently held at locations throughout

the United States. The practice of “Zikr Allah”, the Divine

Remembrance, is conducted by several circles that also meet regularly.

Everybody, regardless of his/her religious or spiritual background, is

welcomed to participate in these practices and classes.

For more than seven centuries, the Mawlawi Tradition has held the light

of the religion of love, offering spiritual refuge and enlightenment for

those who wished to develop their human-ness to the highest level. In

Ottoman times, the Mawlawis cultivated not only spiritual attainment but

cultural and artistic excellence as well. Mawlawis have always been

progressive and liberal in spirit while at the same time conserving the

best of tradition. Today, the Mawlawi Tradition is reviving in the West to

offer spirituality adequate modern times.

In 1990, Kabir Helminski was honored with the title and responsibility of

Mawlawi Sheikh by the late Dr. Jalaluddin Celebi of Istanbul, head of the

Mawlawi Tariqa (Order) and direct descendant of Mawlana Jalaluddin

Rumi. In May of 1996 at an international conference on “Rumi and

Goethe,” Kabir Helminski was awarded an honorary doctorate in

literature from Selcuk University in Konya for his writings on Mawlana.

In 1999, Camille and Kabir Helminski moved from Putney, Vermont to

Aptos, California. Under Camille‟s and Kabir‟s direction, “The

Threshold Society” is working to apply traditional Mawlawi principles to

the requirements of contemporary life. In addition to their continuing

http://www.hayatidede.org/V1/contacts.html

http://www.hayatidede.org/V1/contacts.html


20

work as spiritual teachers, they are now involved in several creative

projects in writing, recording, and educational consulting. Kabir

introduced the Mawlawi Dervishes of Turkey to more than 100,000

people during their four tours of North America. (16)

Current Status of Mawlawiyya Order:

Mawlana‟s family is still holding the seat of leadership of the Mawlawi

Order. A number of individuals (both among ordinary dervishes and

sheikhs) and certain groups seek direct guidance from the descendants of

Mawlana. The 22nd

generation descendant of Mawlana Rumi, Farooq

Hemdem Celebi, practically represents Mawlan Rumi and issues

recommendation and permission letters to those whom he thinks are

suitable and capable enough to be a Sheihk of Mawlawi Order. Farooq

Celebi and his sister Esin Celebi live in Istanbul and both are active in

promoting Sufism and the teachings of their great-grand father, Mawlana

Rumi. The descendants of Mawlana are called by the honorific title

Celebi (Pronounced as Chelebi), meaning “worthy man of God.” (17)

There are several other groups and individuals in Turkey trying to

promote the Rumi‟s message of love and harmony. Mawlana Education

and Culture Association in Istanbul is run by Mr. Abdul Hamit Cakmut

and his wife, both in charge of male and female wings respectively. The

group works for the promotion of Mawlana‟s teachings and trains their

male and female members in sama, the ritual dance. They also have sama

ceremony once in every two weeks in the famous Mawlawi Sama Khana


21

of Galata, Istanbul, and have separate groups of male and female „sama

zan‟ (whirling dervishes).

The Contemporary Lovers of Mawlana Society‟ is another Mawlawi

group in Istanbul, formed in 1989 under the guidance of its spiritual

leader Hassan Cikar. Most of the members of this group are young, both

male and female, who whirl and play music together without any

distinction of sex. The group has taken few steps towards changing some

of the traditional practices in order to make it more contemporary. They

have brought men and women together in the sama ceremony and also

introduced colorful ceremonial dress. These things have made the group

somehow controversial in the eyes of other Sufis and Mawlawis in

Turkey who argue that such changes are against the spirit of the

Mawlawi Order. These critics say that Mawlana‟s teachings and the

principles of Mawlawi Order, most of which are symbolic, are well

preserved in writing. They say that the symbolic meaning might be

affected with a slight change either in costumes or practice. But the head

of this group, Hassan Cikar defends his revolutionary steps and stresses

that all this is according to the spirit of Malwawi teachings. This group

also presents a sama ceremony twice a month in Galata Mawlawi Temple

in Istanbul which has become a tourist attraction where one has to buy an

entry ticket before attending the ceremony. (18)

Sama (Whirling):

The Mawlawis, or "Whirling Dervishes", believe in performing their

dhikr (Zikr) in the form of a "dance" accompanied by music ceremony.

This ceremony is called „sama‟. „Sama‟ means listening to music, and

entering into ecstasy and excitement induced by the music. The Sama

represents a mystical journey of man's spiritual ascent through mind and

http://en.wikipedia.org/wiki/Sema


22

love to the "Perfect." Turning towards the truth, the follower grows

through love, deserts his ego, finds the truth and arrives at the "Perfect."

He then returns from this spiritual journey as a man who has reached

maturity and a greater perfection, so as to love and to be of service to the

whole of creation.

Sipeh Salar writes that one day when Rumi was walking in front of

Salah-ud-Din goldsmith‟s shop and by hearing the regular and harmonic

hammer strokes, he suddenly became ecstatic and began whirling there.

When Salah-ud-Din saw this, he kept on hitting the gold without thinking

that the gold under the hammer would be wasted. Aflaki has given more

details in this regards and syas, “When Salah-ud-Din saw Rumi coming

to his shop, he left the work to his apprentices and came out of the shop.

When Rumi saw him, he embraced and kissed him and they started

whirling together. But the old goldsmith, Salah-ud-Din, who was

weakened by asceticism noticed that he couldn‟t whirl with Rumi. He

excused himself and Rumi did not insist. Upon returning to his shop,

Salah-ud-Din ordered his helpers to hit the gold not thinking of what is

going to happen with the gold. This way Rumi whirled from noon until

evening, and while whirling, he recited an ode beginning with the

following couplet:

A treasure of meaning appeared to me in this goldsmith shop. What a

luminous motive, what a pleasant meaning, what beauty, what

beauty!(19)

It is believed that Rumi heard the word Allah (God) in this rhythmic

sound, and this had inspired him; this inspiration put him into a state of

ecstasy, which resulted in his whirling.


23

Sama was not performed in an orderly format during Rumi's lifetime. It

started with Rumi's son, Sultan Walad, and Ulu Arif Celebi, and evolved

slowly until the time of Pir Adil Çelebi. It was at that point when the

form started to be taught and learned. It took on its final form in the 15th

century, with the Naat Sharif (eulogies that praise the Prophet of Islam)

being added to the Sama in the 17th century. The Sama symbolizes the

creation of the universe, the creation of the human being and our birth

into this world, the progress of the human being after the realization of

servanthood, which is supported with a love for God, and our ascendance

toward the ranks of Insan al-Kamil (Perfected Human). (20)

The Sama starts with the Naat, accompanied by music composed by

Bahurizade Mustafa Efendi, which is known as the Itri. This Naat is sung

by the Naat khawn without any musical instruments in a standing

position.

Naat Sharif is followed by a drumbeat (on the kudum) symbolizing the

Divine command: “Kun!” (Be).

The Naat is followed by an improvisation on the ney (reed flute). This

expresses the Divine breath, which gives life to everything, and perfects

them.

During the Sama, other traditional instruments like the tambur, the ud,

the kemençe, the kanun, and the bendir are also used along with the

kudum and the ney.

Vocal and instrumental music, especially the ney (flute), plays an

important role in the Mewlawi ceremony and famous composers, such as

Dede Efendi, wrote music for the ayin (cycle of Mawlawi ceremonial

http://en.wikipedia.org/wiki/Ney


24

music). The ayin text is normally a selection from the poetry of Mawlana

Rumi. (21)

The Sultan Walad Walk, which is accompanied by the peshrev music, is

a circular procession that consists of three turns around the middle space.

The greetings of the semazens during the procession represent the

salutation of soul to soul concealed by shapes and bodies.

A virtual line that stretches between the entrance point and the red fleece

divides the Sema platform into two. This sacred line is called „Khatt al-

Istiwa‟ and it is never stepped on.

During this circular procession, the samazens greet each other three

times. This visual greeting symbolizes the salutation of the spirits. The

samazens come from the right side of the platform up to the red fleece,

without stepping on the khatt-al-Istiwa and without turning their backs to

the red fleece, then step to the other side, and face the samazen behind

them. The two samazens face each other, bow and greet each other at the

same time; this is called Muqabala.

At the end of the third procession, after the Sheikh sits down on the red

fleece, the Sultan Walad Walk, which symbolizes reaching the Truth

(God), finishes.

Standing and leaning into one another, the samazens, after a short ney

improvisation, straighten their sikke (long woolen hats that resemble an

Ottoman tomb stone in shape), and take off the black coats. They then

become separated from this world, symbolized by their pure white

gowns, and become spiritual, opening their eyes to the truth. By holding

their left shoulder with their right hand and their right shoulder with the


25

left hand they symbolize the number one, which reflects and witnesses

the unity of God.

After kissing the Sheikh's hand and attaining permission to proceed, the

samazens start the Sama. In this kind of whirling, the lover of God

escapes his imaginary existence, his ego, and he is annihilated in God.

The annihilation of the particle in the whole is like the shivering and

whirling elevation of an atom to the sun.

Every detail of Mawlawi Sema possesses a symbolic meaning. For

example, the bow which each dervish accords to his fellow, both before

and at the end of whirling, symbolizes the respect which they feel all men

should have each other.

The upturned palm of the raised right hand is open to the sky during the

whirling and symbolizes the dwelling place of God. The down turned

palm of the left hand is directed towards the earth, the dwelling place of

man. The dervish thus himself can be viewed as a conduit of grace from

above which he channels to the world below.

“From God we receive, to men we give”

The Sema consists of four greetings:

“Being conscious of one's servant hood,”

“Being awed before the greatness and power of the Lord,”

“The transformation of this awe into love,”

“Return to the highest rank possible for the human which is servant

hood.”


26

These are symbolized by the first, second, third and fourth greetings,

respectively.

When the recitation from the Qur'an starts the samazens finish the Sama

and they take their places and sit. The Sema ritual finishes with the

greetings of the Sheikh, the samazens and the musicians toward the red

fleece.

Many people have explained the whirling. Many nice things have been

said about the whirling. But the one who best explained, felt, and made

others feel the whirling has been Rumi himself, as in the following ode:

Do you know what the whirling is? it is hearing the voices of the spirit

saying “yes “ to God’s question “Am I not your Lord?” it is deliverance

from ego and reunion with the Lord.

Do you know what the whirling is? It is seeing the Friend’s states, states

of God from across the curtains of the unseen.

Do you know what the whirling is? It is escaping one’s existence.

Continuously tasting the everlasting existence in the absolute non-

existence.

Do you know what this is? It is making one’s head a ball in front of the

Friend’s kicks of live and running to the Friend with out head and feet.

Do you know what the whirling is? It is knowing Jacob’s sorrow and

remedy; it is smelling the smell of the reunion with Joseph from Joseph’s

shirt.

Do you know what the whirling is? It is swallowing Pharaoh’s spells just

like Moses’s staff every moment.


27

Do you know what the whirling is? It is a secret from the Prophetic

Tradition: “There is a moment for me with God where no angel or no

prophet can cone in between God and me.”

It is reaching that place without any means where no angel can fit.

Do you now what the whirling is? It is, like Shams-i-Tabrizi, opening the

eyes of the heart and seeing the sacred lights. (22)


28

Notes

1. Azami, Dawood. “Survival of Sufism in Turkey” Onassis Bursary

Project 2003/2004. British Broadcasting Corporation, London,

UK. p: 19 (unpublished research paper)

2. Curiel, Jonathan. (April 01, 2007) “Can Rumi Save Us Now?”

(San Francisco Chronicle) http://www.sfgate.com/cgi-

bin/article.cgi?f=/c/a/2007/04/01/INGA7OTN521.DTL

(Accessed on March 09, 2008)

3. Seker, Mehmet “Rumi and the Sema”,

(http://www.umass.edu/gso/rumi/sema2.htm (Accessed on March

05, 2008)

4. http://www.sufism.org/society/mevlev.html (Accessed on March

09, 2008)

5. Dalrymple, William, “What goes Round…” (The Guardian, Nov.

5, 2005))

http://books.guardian.co.uk/departments/classics/story/0,6000,163

4757,00.html (Accessed on March 10, 2008)

6. Azami, Dawood. Op cit. p: 6

7. Nomani, Shibli. (2007) “Sawaneh-i-Mawlana Rum” Nigarishat

Publishers, Lahore. P: 43

8. http://en.wikipedia.org/wiki/Jalal_ad_Din_Muhammad_Balkhi-

Rumi#The_Mawlaw.C4.AB_Sufi_Order (Accessed on March 9,

2008)

9. Can, Sefik. (2005) “Rumi‟s Thought” The Light Inc. Sumerest,

New Jersy. P: 293

10. http://en.wikipedia.org/wiki/Whirling_Dervishes. (Accessed on

March 9, 2008)

http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/04/01/INGA7OTN521.DTL


http://www.umass.edu/gso/rumi/sema2.htm

http://www.sufism.org/society/mevlev.html

http://books.guardian.co.uk/departments/classics/story/0,6000,1634757,00.html


http://en.wikipedia.org/wiki/Jalal_ad_Din_Muhammad_Balkhi-Rumi#The_Mawlaw.C4.AB_Sufi_Order



29

11. Ibid

12. Ibid

13. Dalrymple, William. Op cit

14. http://en.wikipedia.org/wiki/Whirling_Dervishes, Op cit

15. http://www.hayatidede.org/V1/about_moa.html (Accessed on

March 7, 2008)

16. http://www.sufism.org/society/mevlev.html Op cit

17. Azami, Dawood. Op cit p: 20

18. Ibid. Pp: 21-22

19. Can, Sefik. Op cit. Pp: 70-71

20. Seker, Mehmet. Op cit

21. http://en.wikipedia.org/wiki/Whirling_Dervishes, Op cit

22. Can, Sefik. Op cit. Pp: 205-206

http://en.wikipedia.org/wiki/Whirling_Dervishes

http://www.hayatidede.org/V1/about_moa.html


http://en.wikipedia.org/wiki/Whirling_Dervishes


30

References:

Azami, Dawood. (2004) “Survival of Sufism in Turkey” Onassis

Bursary Project 2003/2004. British Broadcasting Corporation,

London, UK. Pp: 6-19-20 (unpublished research paper)

Can, Sefik. (2005) “Rumi‟s Thought” The Light Inc. Sumerest,

New Jersy. Pp: 70-71-205-206-293

Curiel, Jonathan. (April 01, 2007) “Can Rumi Save Us Now?”

(San Francisco Chronicle) http://www.sfgate.com/cgi-

bin/article.cgi?f=/c/a/2007/04/01/INGA7OTN521.DTL

(Accessed on March 09, 2008)

Dalrymple, William, “What goes Round…” (The Guardian, Nov.

5, 2005)

http://books.guardian.co.uk/departments/classics/story/0,6000,163

4757,00.html (Accessed on March 10, 2008)

Nomani, Shibli. (2007) “Sawaneh-i-Mawlana Rum” Nigarishat

Publishers, Lahore. P: 43

Seker, Mehmet “Rumi and the Sema”,

(http://www.umass.edu/gso/rumi/sema2.htm (Accessed on March

05, 2008)

http://www.hayatidede.org/V1/about_moa.html (Accessed on

March 7, 2008)

http://en.wikipedia.org/wiki/Jalal_ad_Din_Muhammad_Balkhi-

Rumi#The_Mawlaw.C4.AB_Sufi_Order (Accessed on March 9,

2008)

http://en.wikipedia.org/wiki/Whirling_Dervishes. (Accessed on

March 9, 2008)





http://www.umass.edu/gso/rumi/sema2.htm

http://www.hayatidede.org/V1/about_moa.html




31

http://www.sufism.org/society/mevlev.html (Accessed on March

09, 2008)



32

The Social construction of Tragedy in the

Pashto Folk Romance narratives.

Barkat Shah Kakar

Abstract: The oral tradition of Pashto language has been a vital source

in the formation of the collective social and historical

consciousness, cultural education, imagination and particular

forms of expression through poetics and prose. Romance

narratives are one of the composite proses cum poetic genre

of Pashto folklore which have been transferred from one

generation to others over the period of hundreds of years.

While stepping in the modern literacy and development

arena, one can see that some of the particular romance

stories have survived as part of the collective memory of

most of the Pashtun pertaining to cultural and traditional

backgrounds. This trickledown from the treasure of oral

tradition of poetics and prose is due to its particular

construction. Characterization and the very tragic ends of the

lives of both the lovers. Tragedy or Gham is perceived as a

compulsory value for life. The Tragedy occurred in the

romance narratives is crafted over the social conditioning of

women and the ideals of masculinity and male superiority,

therefore one can see that in all the popular romance

narratives woman has to die after her beloved to prove her

true love. This paper is going to unpack the reality that, the

tragedy in the popular romance stories is stemmed in the

ethos and norms of social structure and its value system.

This paper unfolds the tragic patterns of the popular romance

stories which are the great source of oral folkloric prose in


33

the Pashto language. The tragedy reflected in the popular

romance stories posses commonalities in terms of the

vantage position of male protagonists and his beloved

heroin.. but it also posses a true replica of the construction of

the social order, which awards specific and selected role to

the different social classes and sexes.

Origin of the story:

Story is perceived as the very initial imaginary creation of human being

after the origination of language. Max Muller the reckoned linguist has

pointed that, “Language is the very initial creation in the entire universe,

while mythology and legends come on the second numberi”. In this

context, the correlation of language with legends and stories is very

essential and chronologically both are equally old.

Both language and myth have traveled side by side. Myth has enriched

the language and as well has influenced the imaginary creation

particularly on the folk tales including epic, romances, tragedy and

comics. Dr Qazi Javed also connects both folk tales and the old

mythological stories. Supporting the Muller‟s hypothesis he also states

that, “Mythology is old as compare to the folk talesii” but then he also

finds its very usual connection in terms of both thoughts and techniques.

The Greek fables are rated as the initial imaginary creations of human

being some of these are known as “Aesop fablesiii

”. Analysis of the

contents and techniques of the Greek fables indicates that it has laid

strong foundation of the mythology as a collective human inheritance.

Fables have grown through perpetual inter-cultural and intra-cultural

interactions of the people. Tahir Afridi, the known short story writer of

Pashto shares his views in this regards, “fables have grown through a rich


34

interaction of the people of diverse background, the carvan (seeking their

trade markets and routs) used to settled and then for their imaginary and

emotional catharsis, the story tellers1used to sit in the middle and then

started the fable, they also played Daf2, rabab

3along with story which

created a space for story tellingiv

.

The well known and reported Pashto folk romances starts from

seventeenth centuryv, while tallying the much stretched history of Pashto-

in the Bakhtar (being migrated from Ariana Veija during 2500 BCvi

) as

the third sister language of Awista4 and Sanscrit

5 one can easily assess

that a huge treasure of fables is extinct and has not become part of the

collective memory and consciousness of Pashtoons. Ghani Khan the

great poet and thinker of Pashto presents his views as, “The Pathans have

no written history but they have thousands of ruins where they carved

stones, tell their story to any one who would care to listenvii

”

The Oral Tradition and Pashto Folk Tales:

The oral tradition is as old as human being. People‟s collective memory

registers certain events and tales as part of its inheritance from the

previous generation and then passes it on to the new generation with

substantial subtraction and additions. Thus stories and poetics travel from

place to place and generation to generation mainly through verbal

communication.

The oral tradition of Pashto language has been a vital source of the

creation of the collective social consciousness, imagination and

1 Dastan Gou

2 Locally made Drum mainly beaten by women in the recent dominant Pashtun culture

3 Rabab is a traditional Pashtun instrument mainly analogous to Gittar.

4 The Old Persian from indo-Eurpean group of languages

5 The sacred language of Hinduism enfolding the grand narrative and mythology of

Hinduism


35

expression through poetics and prose. The various forms of poetry and

prose have grown spontaneously and have diversified and magnified

the canvas of Pashto literature. Story telling and narrations regarding the

routine life are still part and parcel of the average traditional Pashtoons

man and woman.

The evolution of story in the folk spaces has been very identical to the

emergence and growth of the fabulous oral literature. The study of

contents and techniques of the Pashto folk tales indicate immersed

influences of various languages and cultures. The influence of Greek

tragedy, Arabian Alf-laila6, Persian classics and Vedic fables of Hindu

warriorsviii

are felt and verified through various means.

Ghani Khan the reckoned Pashto poet and thinker have also quoted an

analogy of the Pashtoon and Greece literature. But the framework of

Pashto folk tales has been diversified through various sources and

cultures. Sulleman Laiq verified this outcome in following words, “In

spite of all characteristics of its formation, our (Pashto) folk stories are

very identical to that of the other languages, it posses Romances, Epics,

war narratives, religious tales and diverse other forms”ix

.

S. Sthorburn the known Orientalist has collected several short stories and

has made his account entitled “Banu or our Afghan Frontier”. This is the

very first book containing the folk stories of Pashtun. S. Sthorburn has

classified these stories in the following manner.

Class1 Humorous and moral

Class2 Comic and Jocular

Class 3 Fables x

The Popular Folk Romances:

6 Alf-Laila is the legendry Aabian fable continued for thousand nights.


36

Some of the folk Romances have survived in the collective memory of

Pashtoons through oral tradition of story telling and due to its

compilations by Pashtoon scholars and some orientalists. These stories

cater an interesting representation of the various geographical, socio-

cultural and lingo-diction differences. But inspite of all these

dissimilarities some of the folk romances are equally popular and contain

social acceptance at all levels.

The folk tales that are evaluated in this paper are from different

geographical and tribal backgrounds. Though one cannot presume the

accurate period yet some of the poetic references pertaining to specific

events and characters can be instrumental as historical determinants.

Adam Khan-Durkhaney also known as Rumeo Jullet of Pastho were from

Bazdara-Malakand, they lived before the arena of the great scholar,poet

and warrior, Khushal Khan, who instructed his son Sadar Khan Khattak

to compile this romance story in a poetic formxi

. Momin Khan-Sherino

are also reported as living during the Mughal reign. They belong to

Kandaharxii

, similarly Yousaf Khan-Sherbano from one referencexiii

were

from Swat, While Aseer Mangal reports them from Sawabixiv

,Share

Alam –Memooney from Bajawarxv

Musa Jan –Gul Makkai Harnaixvi

district adjacent to Ziarat and Loralai districts. Similarly Talib Jan-

GulBashra, and Shadi Khan-Bebo are from the diverse geographical and

tribal backgrounds.

The Folklorist Habibullah Rafi has deduced the history of Momin Khan

from one of the Tappa7 by the Mughal princes whom he rescued from

being entrusted to a Dracula.

7 Tappa is a popular folkloric form of poetry.


37

These stories are equally popular in the diverse areas where Pashtoons

dwell, interestingly the Folk narrators/story tellers of different areas have

translated the story into their own diction and have interknitted the story

through the dominant poetic style. Like in some areas where Tappa is the

dominant form of folklore one can see the poetic aspect in this particular

form. This also reflects the significance of these romance stories which

has created a culture of reproducing and reshaping the deep romantic

experience into their own style, one can also deduce that its has

motivated the general public to be a poet and story teller.

While a holistic study of the folk narratives/stories will reveal that these

posses the characteristics of Drama, Novel and Short story at a time. As

novels deal with postulates, short story gives an imaginative dynamics to

the story and drama infuses soul in the dead characters of the storyxvii

.

The art of story telling is stemmed in the Pashtoon tradition, one can

easily guess it through the detailed sharing of people when they return

from another place or they even come from their daily duties in other

towns.

The analogy, that every Pashtoon is a poet also fits here, we can easily

say that an average Pashtoon male and female are the good narrators and

story tellers.

The folk romances are mainly shared by the specific and some how

professional story tellers. One of the key qualities of a good story teller is

his excellence of having a good throat for signing and skill of playing the

local music instruments. The listeners get around the story teller; one of

the persons is assigned to keep the story on the track that is mainly called

Shepard, in terms of guide. The story is consisting of narrations and


38

poetics some times the over all story is shared in the poetic framework

with singing.

Professor Muhammad Nawaz Tahir in his research paper on “Adam

Khan-Durkhanai elaborated, “this is a particular form of tragedy which

has found space in the hearts of all the children, young and old male and

female. People share this story at various places like in the Hujra, Dera

and around the heating fire, during journey or in the common sitting this

story is listened with equal zeal. Adherence to such tragic romance is the

true reflection of the nature of the emotions of Pashtunsxviii

.

The listeners most of the time in the traditional gathering spaces (hujra,

baitak, wattak)8 used to weep along with the progression of the story

towards the catastrophic conclusion. The observers and listeners reports

that the sighs of the listeners rises when the end of this particular tragic

romance stories come. The romances are concluded with prayers for

lover‟s souls.

Similarities in Folk romances:

The progression and construction of story follows an identical trajectory.

A heart breaking event enters in a community through a reporter with

required zeal, and then the story is further formulated through the

people‟s deep feelings of Gham (tragedy). One of the identical points in

all the stories is that almost all the popular romance stories posse‟s is

deepest feelings of Gham and have the very tragic ends to the lives of

both of the lovers. Gham is one of the core determinants of folk

romances popularity while the other core determinant is the particular

pious and virtuous portrait of the Heroine of these romances. Almost all

8 The traditional spaces of gathering and hospitality named differently in different areas


39

the heroes except Talib Jan are warriors and proven their skills and

courage as warrior and brave.

Almost in the entire protagonist has to travel to other areas especially for

increasing their power, wealth and influence while winning over their

rivals or equalizing with the socially higher class

Habibullah Rafi, the reckoned Pashto folklorist has quoted in his account

on the folklore.

Momin Khan has finally intended to go to Hindustan for increasing his

power and wealth, his fiancé assures him a firm commitment.

Do not lose your heart while being abroad

My love will be for you till my deathxix

Musafari pa jama xdra ka

Khulgai mi sta da ka za khawri sam maiena

The Esthetics of Gham in Folklore;

Gham is not created for the unwise purpose

It is the standard differentiating the gallant and coward9. KHUSHAL

KHAN KHATAK

Tragedy (Gham) is not an unusual phenomenon in the lives of the

ordinary Pashtoons, like an Bedouin Arab is familiar with desert, camel

and thirst similarly a common Pashtoon is familiarized with the

experience of Gham. Gham is mainly taken as a value and dealing the

tragic consequences of life, a common man expresses it in a particular

poetic form. Therefore one can see the very deepest feelings of the tragic

experiences in the folklore poetry and prose.

9 (Gham e Bey Hikmatta na day paida Karey-

Da Namard aw Mard pa munz ki Gham Mahaq dai).


40

Gham has been one of the socially accepted values, the folk proverbs and

expression in the folk literature also reveals that it must be acknowledged

as one of the closest companion of one‟s life, therefore the tragic

romance stories in this context are very much highlighted. The story

teller strives to connect the listener to their own stories therefore they can

easily contextualize the relevance of these stories with their lives and

experiences of Gham. The ethnographer Benedicte Grima (1992) shares

her findings regarding Gham, “ Gham is a major criterion among Pashtun

critics, writers and audiences, when discussing the plot in novels,

romances, television or radio drama, folktales and poetry, as one Pashtun

scholar (Purdal Khan Khatak) put it, “TV Dramas are good example, if

they do not have a lot of suffering, then we say they are unnatural we do

not appreciate thatxx

”.

Gham/tragedy is taken as a source of healing from within. The very

popular folk poetic genres of Tapa, Kakarai Ghari and the poetics of the

romance stories show very deep connection of these people with Gham

as a source behind the production and creations of immense value of

literature. Reckoned Scholar Qalander Momand in his interview with

Benedicte Grima for her ethnographic study has put that, “Man‟s

greatness is judged from the point of view of his Gham, not of his joy but

his reactions to tragedy make him greatxxi

The beauty and esthetics of Gham is also acknowledged and suggested

by the classical Pashto poets like, Rehman Baba, Hamid Baba, Kazim

Khan Shaida and Mirza Hanan Barakzai. On the famous couplet of Mirza

Hanan Barakzai is as under

Until the heart is not broken, love cannot enter into it

Like the nib of the pen, takes ink while broken downxxii


41

Similarly Rehman Baba has rightly expressed about the nexus of Gham

and poetics as compulsory entities for each other.

It is a law that sighs are generated through pain

Otherwise, Rehman had nothing to do with poetry10

.

Portrait of the Virtuous Heroine of Romances;

Contrary to the beautiful seductive women in the grand narratives (The

Arabian folk story told in 1000 nights), Qisa-e-Chahar Darwesh11

or

Bagh W Baharxxiii12

The heroines of the romances reflect a perfect picture

of the women who fulfills the standards of Pashtunwali. Therefore one

cannot see their seductiveness and lust for fulfilling sexual desires. Shadi

Khan one of the representative Romance heroes leaves his land because

his lover refused to carry out any form of romance which is perceived an

illicit relation socially.

While comparing the romances of Pashto folklore, one also finds that

there are minimum contribution of the supernatural forces and magical

influences over the lives of the protagonist and his lover. Analysis of the

Romance narratives reveals that the stories are knitted over the canvas of

the social structure and ideals of the Pashtunwal13

which demands

demonstration of high character and ethos from the protagonist and his

beloved fiancé. There are several romance stories, but the romance

narratives that are concluded with particular tragic ends have become

part of the collective social memory.

10

Da dastoor dai chi la darda Zgirwai Khixi‟

Kane Sa Da Rehamn La Shaerai 11

The reckoned fable “Story of the four saints”\ transmitted from Persian to Urdu and

Pashto 12

Garden and spring 13

Pashtunwali is the cultural code of life, determined and constructed by the Pashtun

society over the years, which covers detailed jurisprudence, values and norms of the

Pashtuns.


42

Nexus of Tragedy, Romances and Social Structure;

One can see that the woman lovers die after their beloved male

protagonists, Durkhaney dies after having a visit to the grave of Adma

Khan in Baz Dara-Malakand, while her death over the grave of Adam

khan is also acknowledged by Payo Khan the anti-Protagonist and rival

of Adam Khan who forcibly strived to get marriage with Durkhaney.

Similarly Mosa Jan is killed by King Suhail who forcibly abducted Gul

Makai. She put forward a condition for wedding the Suhail if he builds a

tomb over the grave of her beloved. Suhail orders and the tomb is built.

Gul Muhammad Noori compiler of the romance story has written it in

following manner,

“In the morning, King Suhail along with his men took Gul Makai to

show her the glorious tomb he made over the grave of Mosa Jan. Gul

Makai entered the Ziarat14

, and made a cold sigh, and fell over the grave

of Mosa Jan, she prayed from Allah for ending her life and as she was the

true lover so her pray was admitted, Suhail‟s mouth remain open with

sorrow and surprise, it is said that she is burried beside Mosa Janxxiv

”.

In the case of Talib Jan and Gul Bashra and Yousf Khan Sherbano both

the couples of lovers get through series of hardships and then get

marriage, but the tragic romances only survives when the lovers die their

hearts filled with desires. Talib Jan was to complete his religious

scholarship, he lefts his loving princes wife and goes for seeking

knowledge, after completing his Scholarship he starts coming back to

Gul Bashra but the hardships of continuous journey makes him ill and

finally dies. Gul Bashra like her sisters woman lovers fell upon his grave

and leaves this mortal world.

14

Ziarat is the grave of a saint or spiritual person.


43

The tragedy of Yousaf Khan and Momin Khan is alike when one lacks

man power and wealth to protect his family, lover and land, while the

later lacks wealth to pay Walwar15

(dowry) for his beloved Sherin,

spelled as Sherino.Therefore both of them traveled Hindustan where they

demonstrated high skills and courage as wise warriors and leaders. In the

rewards of his services the King of the particular state gave him wealth

and men power to fulfill their right desires.

Yousaf Khan took over his cousin at the day of the Sherbano‟s by force

wedding to Yousaf‟s cousin but in the very initial days of their marriage

he dies while hunting in the stormy night. Momin Khan comes with

Walwar the dowry money but makes haste while not having a control

over his emotions. He reaches at night, stay his men outside the village,

jumps over the castle of Zabardast Khan the Sherino‟s elder brother and

go straightly to the bed of his fiancé Sherino who is sleeping deeply and

is surrounded by her seven brothers. He strive to kiss her meanwhile she

yelps and Zabradast Khan aims at him with his long knife, Momin Khan

dies and Shrino along with Gul Ghutttai the daughter of the King of an

Indian state also dies at the eve of the burial of the Momin Khan.

Shadi Khan and Beabo the cousin lovers are separated due to the ego of

Beabo‟s parents, Shadi Khan leaves home and goes Asfahan where he

encounters with another woman Sharin who fells in love with him, he

strives to avoid her and escapes from there to a desert where he dies,

Beabo becomes ill and requested her father to get her to Asfahan, she

reaches the place where Shadi Khan dies and then an end to her life

concludes the story.

15

Walwar is the money to be paid by the groom family to the family of bride.


44

The tragedy in Folk Romance narratives of Pashto is identical to the

tragic frameworks of the mainstream love stories of Arabic and Persian

languages like the eternal stories of Laila-Majnoon and Shareen –Farhad.

But there are some general differences mainly in the nature tragedy and

gender roles. Both Majnoon and Farhad dies after their Beloved while all

the woman lovers like Gul Bashra, Gul Makai, Durkhaney, Sherbano and

Beabo are died after their beloved man.

The desires of the entire Pashtoon women to die after their lover are

social norms, particularly woman who loves with their husband cannot

think beyond their existence as countless miseries opens after the

husband eyes are shut. Like the tragic custom of Satai in orthodox Hindu

faith in which wife is doomed to ablaze herself with her died husband,

the inner feelings of the Pashtoon romance heroine are also the same but

she gave her soul with her spiritual power and the Karishma of true love.

Analysis of the tragic romances and the particular role adopted by

woman lovers it is interesting to know that the co-incidence of issuing all

the same role determines demands of the social order and social role of

woman.

From the study of the romance stories, Anthropologist Charles Lindholm

has deduced that “In death romance lives while in marriage romance is

dead” as quoted by Benedicte Grima (1992) in her ethnographic study.

The death of the women after their beloved is a common drop scene of

the romance tragedies. It is a social demand from woman to prove her

love as cultural stereotypes are woman is blamed as hypocrite, disloyal

and wicked.

When we analyze the romance narratives, one finds interesting

similarities, presence of a woman or young girl is essential in all the


45

stories, which is a bone of contention amongst various male lovers. Like

in Drama or Noval one finds both tragic and comic aspects similarly we

can see the very tragic end of the story with the death of one of the lovers

which causes the death of the second. They are burried separately but

while digging graves some days later they are found togetherxxv

…

Conclusion:

The collective memory of Pashtoons possesses a short span of its history

while an unprecedented treasure of folklore is either deformed or

extinguished. The folk tales are still great sources for unpacking the

cultural and historical questions. The contemporary social scientists

strongly believe that folk tales posses the treasures of meaning for

understanding and unpacking the social systems and its construction.xxvi

The Pashto folk romances are the true reflections of the social order, in

which particular roles are assigned and expected to be displayed through

the acts of their protagonist. The demise of all the Heroine after the tragic

death of their lovers is perceived as a standard of Wafa ( loyalty to the

male lover) and one cannot find a popular romance story which does not

fulfill the typical characterization and patterns. Hero is a complete

warrior and representative of the traits of Pashtunwali, while heroine is

also conditioned to the particular values and virtue. Tragedy only

completes when woman dies for her lover.


46

References:

vi Abid, Dr. Qazi “Assatier awr Urdu Dastanien” published by

“DARYAFT” 2002 by NIML-Islamabad page-180



vi Mangal, Aseer “Da Pashto Dastan Paroon, Nun aw Saba” 2007

compiled by Sadiq Xarak page 149

vi Afridi, Tahir “Pa Pashto Ki Da Afsaney Da Irtiqa Jaj” Compilation by

Aseer Mangal, Salim Bangash ,Pashto ,Paroon, Nun Aw Saba,2006

Danish Kitabkhana Qissa Khwani Peshawer,

vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published

“Pa Yawishtama Sadi Ki Da Pashto Barkhlik , compiled by Sadiq Xarak

and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154

vi Habibi, Abdul Hai , “Da Pashto Adabiatoo Tarikh” Danish

Khparandoya Tollanana 2005 , page-35

vi Khan , Ghani “The Pathans” The Frontier Post publication 1947 page-

4

vi Rahbar, Dr. Dawood , Culture Key Rohani Anasir, compiled by

Fiction house Lahore, 1999 page 23

vi Laiq, Suleman “Qissay Aw Afsanay” published by “Da Afghanistan

da Ullomoo Academy” Page -1 (1361 HIj )


da Ullomoo Academy” Page -1 (1361 HIj ) Page-3




vi Rafi Habib Ullah ,Da khalko Sandaree”1349 hij Da Afghanistan

Tarikh aw Adab Tollana Kabal Page-1

vi Grima,Bendicte, A performance of emotion among Paxtun Women

page 153 Oxford Pakistan Paperback 1992

vi vi Mangal , Aseer “Da Pashto Dastan Paroon, Nun A Saba” published


and Published by Pashto AdABI Ghoorzang Quetta, 2007 page-154-155

page-180




47

vi Mangal, Aseer “Da Pashto Dastan Paroon, Nun aw Saba” 2007

compiled by Sadiq Xarak page 149

vi Afridi, Tahir “Pa Pashto Ki Da Afsaney Da Irtiqa Jaj” Compilation by

Aseer Mangal, Salim Bangash ,Pashto ,Paroon, Nun Aw Saba,2006

Danish Kitabkhana Qissa Khwani Peshawer,




vi Habibi, Abdul Hai , “Da Pashto Adabiatoo Tarikh” Danish

Khparandoya Tollanana 2005 , page-35

vi Khan , Ghani “The Pathans” The Frontier Post publication 1947 page-

4

vi Rahbar, Dr. Dawood , Culture Key Rohani Anasir, compiled by

Fiction house Lahore, 1999 page 23


da Ullomoo Academy” Page -1 (1361 HIj )




vi Rafi Habib Ullah ,Da khalko Sandaree”1349 hij Da Afghanistan

Tarikh aw Adab Tollana Kabal Page-1


page 153 Oxford Pakistan




vi Noori, Gul Muhammad “Milli Hindara” 1987 Muhal Jangi Peshawer ,

Page 132

vi Dawood, Professor Dawar Khan, “Pashto Tappa” page 131 july 1984


vi Rafi Habib Ullah “Da khalko Sandaree”1349 hij Da Afghanistan

Tarikh aw Adab Tollana Kabal Page- 198


page 147

Oxford Pakistan Paperback 1992

vi Do


48

vi Barakzai, Mirza Hanan, “Da Mirza Hanan Barakzai Dewan” compiled

and edited by Sayed Khairmuhammad Arif and Saeed Gohar published

by Pashto academy Quetta, 1987 Page -23

vi Saleem, Sobia “Urdu Dastanoon min Awrat” Published in

“DARYAFT” by NIML-Islamabad 2002, Page 445

vi Noori, Gul Muhammad “Milli Hindara” 1987 Muhal Jangi Peshawer

, Page 124



da Ullomoo Academy” (1361 HIj) Page-2


49

Khan Shaheed Abdul Samad Khan Achakzai A Political

Leader and His Literary Contributions.

Razia Gul

Abstract:

This paper highlights diverse dimensions of the life and

works of the prominent pashtoon leader, shaheed-e-millat

Khan Abdul Samad khan shaheed. His praise worthy

services rendered for the protection of pashtoon territory,

culture, history, language and civilization have also been

discussed.

The contents of the paper indicate that despite leading hectic

life, khan shaheed never ever ignored the literary aspects of

Pashto language. He provided a strong foundation to it by

reshaping Pashto Alphabets, translating prominent works,

and giving due status in media.

The writer explores command of Khan Shaheed over eight

popular regional languages through which he would easily

convey his message to all freedom fighters.

It also carries a comprehensive account of his vision and

active participation in the politics of the then sub-continent

and after the partition of India. The writer evaluates the life

of this pashtoon leader who spent half of his life for the

rights and dignity of pashtoon.

They planned to remove him out of their way. Finally at the

age of 67, he was martyred by two hand grenades attack on

December 2, 1973.


50

BACKGROUND:

The second half of the nineteenth century and the first half of the

twentieth were the most important periods generally in the political

history of the world and particularly for Afghanistan and the sub-

continent. This period of one century is characterized by the

destabilization of the already existing political system.

During the late 19th century, the British imperialists were the mightiest.

The most important slave countries in respect of economic, political and

strategic point of view came under the occupation of the British

imperialism with great number and amplitude when the British

imperialist exploiters transferred the whole of the sub-continent into their

colony. They latter on occupied the territory of Afghanistan and included

it in her occupied territory of subcontinent and named them as North

West Frontier province with the capital of Peshawar, which used to be

the winter capital of Afghanistan and British Balochistan with the capital

at Quetta.

At the beginning of the 20th century on the one side the European

imperialist countries were busy in preparation for war to distribute the

booty by force through the sophisticated arms of that time, on the other

side the highest revolutionary class, the industrial workers of the

European countries were organizing the labor movement and on the third

side the people of the slave and semi slave countries were taking the first

step for emancipation from the grip of the colonial exploitation and

establishment of self control over their countries. As the sub-continent

had completely come under the control of the British, their on going

struggle against British government was intensified.


51

Khan-I-Shaheed, (A Born Leader) and His Political

Struggle.

Khan Shaheed Abdul Samad Khan Achakzai was born in tehsil Gulistan

district Killa Abdullah of the colonized Afghanistan in 1907.1 His

father‟s name was Noor Mohammad Khan. His grandfather, Sultan

Mohammad Khan was the son of Inyatullah Khan. He was born in a

religious family and started his early education at home and mosque. He

was taught Pashto, Persian, Arabic and Islamic education under the

supervision of his father and teachers. He took admission in School in

1920. He stood first position at primary level and passed the middle

examinations in 1925. After being imprisoned by the then British rulers

then, late Khan Shaheed continued his education in prison and passed,

matriculation, intermediate, graduation, specialization in Pashto and

LL.B from there.

Khan Shaheed Abdul Samad Khan Achakzai was only ten years old

when his life was greatly influenced by certain incidents that took place

in the second decade of the twentieth century. Those incidents included,

the First World War (1914) and the Russian Revolution in 1917.2 In the

British Balochistan in 1918 at the age of eleven Khan Shaheed Abdul

Samad Khan Achakzai headed a procession of School boys at Gulistan in

confirmation with the khilafat movement demonstrating against the

British rule in the region.3

In those days taking part in the politics against the British was a difficult

task, even talking against them was like calling for your own death, but

Shaheed Khan Abdul Samad Khan Achakzai took up the challenge and

started the struggle for freedom in Balochistan. He created political


52

awareness in the people of Balochistan.4 In 1930, Khan-i-Shaheed was

arrested immediately after his decision to found democratic political

party for freedom on during his struggle. After his release in 1931, he

went to Bombay where he met Mahatma Gandhi, who was on his way to

London to attend the round table conference. On this occasion Khan

Shaheed had the opportunity to meet many other known political figures

besides Bacha Khan. As a result of this visit they united the freedom

movement of oppressed classes with a special reference of Pashtoons

lived in Peshawar and Quetta region with the cooperation of other

Pashtoon leaders playing a great role in the organization of the Khudai

Khidmat Gar of Surkpossh movment.5

Khan Shaheed Abdul Samad Khan Achakzai, inspired by several

revolutionary movements, formed Anjuman-e-watan in 1938, in order to

achieve constitutional reforms and democratic rights in Balochsitan.6

Abdul Samad Khan Achakzai was elected president of the party. The

members of working committee for the year 1939 were:- 1) Khan Abdul

Samad Khan Achakzai, President. 2) Mohammad Hussain Anqa, General

Secretary 3) Arbab Abdul Qadir, Secretary. 4) Seth Donomal, Treasurer.

Other active members of this organization were Nawabzada Mir Shahbaz

Noshirwani, Vadera Mir Muhammad Kusa and Molvi Ghulam Haider7.

The main object of Anjuman-e-ewatan were as follows:-

To get rid of British imperialism.

To demand constitutional reforms for Balochistan like other provinces of

the sub-cntinent.8

The Anjuman-e-watan kept itself in touch with Khudai Khidmatgar

Movement and Indian National congress. The annual session of the Kalat

National Party held in Mastung in 1939, was attached by some influential


53

elements of the state of Kalat and its leaders were exiled from the state.

Its offices, therefore wer shifted to Quetta, where it collabrated with the

Anjuma-e-watan of Abdul Samad Khan Achakzai. In this manner by

direct contact and cooperation of Mir Ghous Bux Bizenjo, Gul Khan

Naseer and other freedom loving Baloch leaders, the combined struggle

of the Pashtoon and Baloch people gained the leadership of revolutionary

democratic organization9. Here Khan-I-Shaheed and his Pashtoon and

Baloch companions struggled very hard and untiringly against the British

imperialist and the tribal chiefs attached to them. He established a

platform to complete the aims and objects of his revolutionary struggle to

Pashtoon and Baloch masses and people of the sub-continent.

A weekly newspaper “Istiqlal” was started by Khan Shaheed Abdul

Samad Khan from Quetta in 1938.10. Weekly paper Istiqlal played

unforgettable role in the politics of Bolan valley before and after partition

of the sub-continent. It expressed the peoples grievances. It created

political consciousness among the masses and raised a strong voice

against western imperialism.

In 1939 Khan Shaheed Abdul Samad Khan Achakzai and Bacha Khan

went on political tour of the British Balochistan together and motivated

the Pashtoons to make themselves ready for the up coming challenges as

the imperialist countries with their fresh ratio of power once more

planned the second world war 1939-45 for the redistribution of the

world11. There emerged two groups against each other, one led by

Germany and the other by British. The second world war had direct

effect on the political scenario of the world in general and on sub-

continent particular. The India National congress resigned from the


54

ministries in order to put pressure on British and started quiet India

movement against the British in 1942.12.

In the prevailing world events the British were compelled to leave

Balochistan, Pashtoonkhawa and the sub-continent through the struggle

by the Anjuman-i-watan, Khudai Khidmatgar from Pashtoonkhawa,

Kalat National party from Balochistan, and many more from other parts

of the region. But Khan-I-Shaheed, Bacha Khan and other freedom

loving persons who persisted on the sole aim of putting the British to

fight, could not stop the success of the British in their intrigues of those

days. It was hoped with the creation of Pakistan the Pashtoon, Baloch,

Sindhi, Siraki, Punjabi and Bengali people than emancipated from the

British subjection would be the masters of their supreme authority and

powers on basis of equality of the nationalities and on this principle

would equally share the political authority but these still were the dreams

of the people of the country. Within such conditions Khan-i-Shaheed

carried on the struggle for the national and democratic rights for the

people of Pakistan and with the coming of August, 1947, the series of his

arrests and detentions began once more and then he was put behind the

bars on orders by the representative of French colonialist rulers, the

English agent to the Governor General and he remained in jail till

195413. After his release in 1954 he formed a political party with the

name of Wrore Pashtoon (Pashtoon Brothers)14.

Khan-I-Shaheed Abdul Samad Khan Achakzai spent a major share of his

life in jails. Afterwords again the chain of arrests and dententions began

and hardly was set free by Lahore High Court in 1956.15. Abdul Samad

Khan Shaheed merged his party in the national Awami Party in 1957.16.

National Awami Part (NAP) adopted a free, neutral political policy on


55

the basis of the principle of equality of all nationalities. Khan-I-Shaheed,

Bach Khan, Kaka Sanobar Hussain Momand and other numerous

Pashtoon leaders were runners of the real democratic political party that

was anti-imperialist, anti feudal and truly a party for the establishment of

power of the toiling peoples of Pakistan.

Khan-I-Shaheed was arrested on the second day of Ayub Khan‟s Martial

law and then was confined to fourteen years rigorous imprisonment by

special military court on false allegations.16. He was released in 1968

after the full term punishment, when Khan-I-Shaheed came to Quetta, the

enthusiastic procession of people to welcome his proved to be the first

spark of the peoples fury to burn the Ayub despotism and reduce it to

ashes.17. Khan-I-Shaheed was again arrested with his some of

companions. In 1969 Yahya Khan understanding the demand of time

disbanded one unit and restored the previous provinces.18. Khan-I-

Shaheed Abdul Samad Khan Achakzai was elected member of the

Balochistan provincial Assembly in the General Election of 1970.19.He

continued his struggle to further strongthen the movment for the unity of

Pashtoons. When Khan-I-Shaheed Khan Abdul Samad Khan Ackazai

was sleeping in his room on Jamaluddin Afghani Road, Quetta. The

agents of colonialist rulers dropped two hand bombs on him, and the true

leader of the masses become a martyr, on 3rd of December, 1974. The

great leader of the freedom was buried in graveyard of his native village

Gulishtan by about sixty thousand people were present on this

occasion.20.

Literary Contribution of Khan Shaheed Abdul Samad

Khan Achakzai.


56

Being an educated and literary person himself, Khan Shaheed Abdul

Samad Khan Achakzai gave a lot of importance to education, therefore

he never ignored this filed. He had a complete command over the

following eight languages i.e Pashto, Urdu, Persian, Balochi, Brahvi,

Sindhi, Arabic and English. He was also a prolific author, translator and

philologist, Khan Shaheed Abdul Samad Khan Achakzai served

Pashtoons throughout his life. Being a lover of the Pashto language, he

rendered unforgettable services to it, while he was for most of the time

behind the bars in different prisions of the sub-continent

He was the author of the following books and pamphlets, 1) Pashto

Zhaba au likdood. (Pashto Language and its writing). This is a small

booklet of forty pages and has been published twice so for due to its

rising demand. It is an intellectual attempt of Abdul Samad Khan

Achakzai, who completed it after a deep research on Pashto language. In

this book he had made every possible effort to standardise Pashto

language with respect to its diction. He had tried to make it easy in

reading and writing, as was his own belief that no language could make

satisfactory progress unless it is easy for readers and writers. The main

objective behind his work was to open the way for other researchers and

writers and to encourage them to work on Pashto language. 2) Zama

Zhwand. (My Life) the autobiography of Abdul Samad Khan Achakzai is

a valuable addition to Pashto literature, Khan Shaheed, has seen many

ups and downs in life. His biography is comprehensive record of

important political and historical events of the recent past. It also

contains his political debates and experiences. It also contains Pahstoon‟s

ethics and national traditions. 3) Samad-ul-Lughat. (Samad Khani

Dictionary) Khan Shaheed was a great patron of Pashto language which


57

is evident from his dictionary. His dictionary occupies an important place

in Pashto literature. May words which are not available in other

dictionaries of Pashto language, can be found in Samad Khani

Dictionary. 4. Pashto Zaban aur Rasmul Khat (Pashto language and its

script). This is a small pamphlet in which Khan Shaheed has presented

his views with arguments. A new key board was proposed by him for the

type writer. This pamphlet was first published in 1956 and was presented

from the platform of wrore Pashtoon. Khan Shaheed has also written

numerous articles in daily newspapers from time to time. He was also

translated the work of charlet and discarson (Canadian authers), Imam

Ghazali, Shaikh Saad, Abdul Kalam Azad and Shibli Numani.

Khan Shaheed Abdul Samad Khan Achakzai translated “Future of

Freedom” by Canadian authors charlet and Dicarson into Urdu and

entitled it as “Azadi ka Ufaq” is to compare the meaning of freedom,

which both the socialist as well as European countries attribute to it. As

both the world powers claim that freedom, in its real sense, exists with

tem22. The work of Imam Ghazali has gained great popularity in the

Muslim Ummah on account of its great demand in Pashtoon‟s areas,

Abdul Samad Khan Achakzai translated it from Persian into Pashto

language while he was in Mach and Quetta jails. He translated the

Persian prose into Pashto prose and Persian verse in to Pashto verse

Abdul Samad Khan Achakzai dedicated it to his father Noor Mohammad

Khan Achakzai.

Khan Shaheed Abdul Samad Khan Achakzai took the pain to translate

the work of Abdul Kalam Azad in Pashto on 29th October 1948, while he

was in Mach Jail. Maulana Abdul Kalam Azad‟s work “Tarjuman-ul-

Quran” was not only a translation of parts of Quran but also a


58

commentary on it, which offers a highly pertinent interpretation of its

basic teachings. Khan Shaheed Abdul Samad Khan Achakzai is regarded

as father of journalism, as he did spade work in the field of journalism in

Balochistan after the horrible earth quake of 1935. Khan Shaheed stepped

in to the field of journalism, at a time when India was under the yoke of

British imperialism23. The British knew about the power of the press, so

they took all steps to discourage press and journalism in India and

especially in Balochistan. So, he can be called the father of politics as

well as the father of journalism in Balochistan.

Khan Shaheed Samad Khan Achakzai was busy in his political activities

and had not enough time for the press and the Newspaper. He faced

difficulties in fulfilling the task of getting the press act. Untiring efforts

bore fruit and he succeeded in starting a weekly paper “Istiqlal” which

played unforgettable role in the politics of Bolan valley before and after

partition of the sub-continent. Abdul Samad Khan was very liberal in the

matters concerning journalism. In paper “Istiqlal” Pashto poems and

articles were also used to be published in it. It expressed the peoples

grievances. It raised a strong voice against western imperialism. Chemya-

i-saadat was written by Imam Ghazali who is known to every body.

Besides his other works Chemya-i-saadat is an interesting monograph of

Imam Ghazali, Abdul Samad Khan Achakzai translated it in to Pashto.

Therefore, the literary contribution of Khan Shaheed Abdul Samad Khan

Achakzai is really valued by the people of Balochistan.

CONCLUSION:


59

Shaheed Khan Abdul Samad Khan Achakzai was a freedom fighter. He

was not only anti-British, but also an enemy of all sorts of colonizers.

Political Philosophy of Khan Shaheed Abdul Samad Khan Achakzai

firmly believed in the freedom of nations from the yoke of British

imperialism,. He hated the slavery of his people. He remained in prision

for about 32 years but continued his fight for freedom on Balochistan

soil. Finally he was martyred and his death was the greatest loss for the

people of Balochistan.

REFERENCES:

Akhtar Ali Baloch, Balochistan Ki namwar Siastdan, Royal Book

Company, Karachi, 1994, PP.70.


60

Paul Kennedy, The rise and fall of the great powers, economic

challenge and military conflict from 1500 to 2000, Izhar printers, Lahore,

1988, P.345.

Abdul Rahim Mandokhail, Khan Shaheed Seminar, 1991.

Pashtoonkhawa Student organization, Khan-I-Shaheed, 2nd December

1985.

Sher Ali Bacha, Khan Shaheed Abdul Samad Khan Achakzai: in Khan

Shaheed Seminar, Quetta, 1991.

Inyatullah Baloch, The problem of Greater Balochistan, Steiner

verlage weisbaden GMBH, Stuttgort, 1987, P.158

Ramzan Armani, Khan Shaheed in monthly Sehar, Quetta, 2004.

A.B Awan, Balochistan: Historical and Political processes. New centre

publishers, London, 1985, P.163.

Malik Faiz Mohammad Yousafzai, Yadashtain, United Press,

Quetta, 1997, PP 35-38.

Abdul Ghani Ghano, Baba-I-Pashtoon and Pashtoon Khawa, volume

I, Quetta, 1990, P.38

Ramazan Armani, Op.cit; 2004.

SN.Sen, History of Modern India, wiley limited, New Dehli, 1979,

P.207.

Abdul Rahim Mandokhail, Op.cit; PP.40-41

Akhtar Ali Baloch, Op.cit; PP.74-75

Ibid.

Abdul Rahim Mandokhail, Op.cit; PP.49.

Ibid

Dr. Safdar Mehmood, Pakistan Kiu Tota? Jang Publishers, Lahore,

1990,P.73

Ramzan Armani, Op.cit; P.72.

Akhtar Ali Baloch, Op.cit;72.


61

takatoo - website.uob.edu.pk

Documents