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### rel_215_transcriptions/Al-Ghazali Lecture Transcription & Notes Of course. Here is the full transcription of the lecture, followed by comprehensive notes on the topics discussed. ### **Lecture Transcription** **00:00** This thing is from al-Munqidh min al-Dalal. You read his autobiography, *al-Munqidh min al-Dalal*. It’s amazing. I think, um, when I used to… when I first read it, it was the thing that spoke a lot to me personally and it was not alone. It’s one of the most popular Islamic texts in the past century. So it’s been available in English translation for a while now. And, uh, ever since that happened, ever since those English translations came out, this text has had a lot of purchase, a lot of, attracted a lot of people’s attention. **00:39** Uh, toh hum uss ki baat kareinge. What it tells us about Imam al-Ghazali. I also gave you some parts of his book, *Breaking the Two Desires*, which is about, uh, *Riyadah*, meaning when you work on yourself as a, as a, as a Sufi, uh, as someone who’s on the Sufi path. So you work on yourself to tame your ego, to, to control your feelings of hunger and lust. Uske kuch hisse maine aapko diye thay. And then he wrote, you know his most famous work, I told you, is not al-Munqidh. What is it? **01:17** Inka sabse mashhoor kaam kya hai? There is one thing that Imam al-Ghazali wrote, jisko… that is his claim to fame. *(Student: Incoherence of the… philosophy?)* No, no, no. That, woh for, for, for, for many of many scholars in the West today, yeah, that’s one of the most important texts. Especially if you do philosophy. Main jab philosophy theology ka course parhata hoon, toh we talk about his incoherence, right? But in the Muslim world, he was famous, he became famous, he was famous for many things he wrote, right? In fact, most of the things he wrote were amazing. Very popular. His writings were generally very popular, well-received. He is the, you know, he’s one of the key figures in the Sunni tradition. **02:09** Okay? Usko ek shape dene mein inka bohot haath hai. What does he do mainly? He synthesizes different traditions. Yaani ke chaar paanch major traditions thay jo ke kai baar woh log aapas mein guftugu nahi karte thay, kabhi karte bhi thay. But Imam al-Ghazali merged them in a way and he gave ideas on, or he set the limits and rules for how these different traditions should converse with each other. Okay? Uske baad se, you know, all of these traditions became part of, um, you know, learning in madrasas. Uh, he settled many things, okay? **02:49** Toh woh kaunse traditions hain unki hum baat karenge. He tried many. Uh, you know, his heart eventually was with one of them. Toh hum uss pe saari baat karenge. He talks about that in *al-Munqidh min al-Dalal*. Jaldi se udhar se shuru karte hain. We will, we will come to his texts one by one. Khair, woh sawal toh udhar hi reh gaya. What was his most famous text? Come on. *(Student: Ihya Ulum al-Din)* Ihya Ulum al-Din. Revival of the Religious Sciences. **03:17** Aur woh ek badi si kitaab hai aur uss kitaab ke andar kitni kitaabein hain? That’s one major book made up of how many books? Does anyone know? Forty. Okay? Toh ek badi kitaab hai, uss kitaab ke andar 40 kitaabein hain. Aur har kitaab jo hai woh kisi bohot ahem mauzu par hai. Jaise sabr ke upar ek kitaab hai. Um, muhabbat, Allah ki muhabbat ke upar ek kitaab hai. There are different, uh, Nabi ke upar ek kitaab hai, Fiqh ke upar ek kitaab hai, muamlaat ke upar ek kitaab hai. So, you know what he feels is that, or what he felt was that you needed to revive Islam in a way. Uh, that the Islamic sciences, yaani jo uloom jo thay unki ek nai jaan. So to give them this fresh impetus, new relevance for today’s world, or for his own times, he wrote this book. **04:12** Aur uss book mein yeh woh kya karte hain, uloom al-din mein? Jo bhi woh topic lete hain shuru woh Quran se karte hain, phir ahadith par aate hain, phir Sahaba, Tabi’in ki baatein karte hain aur phir aksar, and this is something very interesting and something that you will not find in others, Sufia ki bhi woh baatein le aate hain aur uss zamane ki science aur philosophy ko bhi kai baar le aate hain. Okay? So this is what distinguishes him from many people before him, that he is going to bring in every tradition possible to make a point. **04:48** Okay? Accha ji, ek bohot… there is a very important story about him. Woh jaldi se hum parh lete hain. Unke… simple, I’ll read it quickly. Uh, the Shadhili tariqa. Have you heard of the Shadhili tariqa? It’s a North African silsila. It’s a North African brotherhood. Toh Imam al-Ghazali ki jo death thi, Imam al-Ghazali’s death date is the easiest death date in the world to remember. Okay? Never forget it. It’s a very easy date, okay? Imam al-Ghazali died in 1111. Okay? Accha, inke taqreeban 100 saal baad, meaning three generations after him, there was this great Sufi master, his name was Imam al-Shadhili. Aur unke peeche poora ek tariqa Shadhiliyya hai, jo aaj bhi zinda hai. In North Africa especially, okay? North Africa mein kya aa jaata hai? Egypt, Tunisia, yeh saare mulk, okay? **05:48** So this North African silsila, Shadhiliyya, inke jo Imam thay, uh, Abu’l-Hasan al-Shadhili, inko ek khwab aaya tha. And his dream vision is recorded, aur usme he saw the Prophet. Toh Prophet, uh, the Prophet was very proud of Imam al-Ghazali. Woh unki tareef kar rahe thay aur woh kehte thay ke jis tarah Musa aur Isa ne aa ke Allah ki khidmat ki, Allah ke liye kuch kiya, usi tarah mere deen ke liye kisne kaam kiya? al-Ghazali ne, theek hai? And, uh, there was someone who had said bad things about Imam al-Ghazali aur bade unpe kufr ke fatway laga diye thay, ke Imam al-Ghazali yeh, Imam al-Ghazali woh. So the Prophet ordered the punishment, his punishment. Uh, and the marks of the whip remained visible on their bodies until they died. Okay? So yaani ke unko ruhani taur par koray paray aur kuch unke jism pe ajeeb se nishan par gaye, even before they died, because they had said bad things about Imam al-Ghazali. **07:00** Now this is a legend that is repeated everywhere. Uh, you know, especially in, in, in alim circles or maulvi hazrat ke haan yeh bohot mashhoor hai yeh waqia ke Imam al-Ghazali jo hain, unko jo bura bhala log kehte hain, hamare baro ko khwab aaye huay hain ke jo karega uske saath bohot bura hoyega. Isi tarah se, there’s a famous saying, I forget ke kis, there’s another big sheikh who said ke jisko koi sheikh na mile, woh Ihya ko apna sheikh bana le. So Imam al-Ghazali’s books are so full of guidance that you know, let’s say you don’t find a good sheikh. Kyunki Sufi tradition mein yeh bhi ek badi lambi behes hai. Yeh baad mein jaa ke aur behes hoyegi. What do you do when you can’t find a good sheikh or an appropriate sheikh? Because there are so many corrupt shuyukh. Yes? **07:52** So sometimes people would say I don’t find the right sheikh. Toh aksar ek jawab yeh aata tha, chalo agar nahi milta, to make Ihya your sheikh. You can begin there, alright? Others would say, yeh behes jaari rehti hai, others would say ke books se kabhi aapko woh nahi mil sakta. Yes, books can help you to a point, but after a certain point you need something else to give you those, that *zauq*. Uski hum baat karenge. **08:21** Now, Shamel ki jo baat hai ke, uh, Shamel’s introduction of al-Ghazali is great, it’s good, theek hai? But usme bhi kuch masail hain. Because Imam al-Ghazali wasn’t just concerned with the clash, so-called clash, between philosophy and theology. Okay? Uh, because that’s a little too broad, aur usko thora sa humein nuance karne ki zaroorat hai. Was there a clash? What did he mean by that and so on. Khair, we can leave that. This is not a philosophy and theology class. Uh, Imam al-Ghazali jo thay, when he writes about his own intellectual journey, in *al-Munqidh min al-Dalal*, unse ek student puchta hai ke aap bataye aapne saari zindagi mukhtalif cheezon ko dekha, research kiya, aap ke bare mein mashhoor hai that you studied and you tried different paths to the truth. So what did you find? Can you tell me something that can benefit me? **09:18** Toh Imam al-Ghazali ne uska jawab ek khat ki surat mein likha. That khat became *al-Munqidh min al-Dalal*, that became his autobiography. Now, of course, it’s not a complete biography. It’s intended to teach. It’s intended to help a student. Toh usme agar koi modern scholar aa kar kahe ke bhai isme inhon ne apni falani baat kyun nahi batayi, ya unhon ne apni falani confusions ka kyun nahi zikr kiya. Uski wajah yeh hai he’s writing it for a student, right? For example, if a student asks me ke aap mujhe bataye ke, you know, how did you become a professor, or how did you, how did, what did you find useful while you were preparing as a historian or a scholar? Toh usme main apni har cheez toh nahi na bataunga, ya main toh nahi na bataunga ke main beech mein beemar bhi hua tha. Bata bhi sakta hoon, but I don’t need to put in everything there because I want it to be manageable, my main purpose would be to guide the student. Toh Imam al-Ghazali ka bhi isi tarah se tha. He simplified his zindagi, because we know from other sources that there were some more complex things and it was a bit messy. Life is messy, but when you write about it, you try to smooth it out. **10:27** Accha, toh ek yeh… kuch uske, uh, baat yeh hum abhi parh lein ya baad mein parh lein. One second. **10:47** Okay, we will, we will, we’ll read about his journey when we get to the Munqidh, okay? Before that, let me just quickly comment on the Ihya. And also, I just want to give a rebuttal to Schimmel. Phir main aapko ek proper apna introduction dunga Imam al-Ghazali ka. Kyunki aap logon ne readings ki huin hain, so I just want to proceed in that order. Accha, Ihya Ulum al-Din ke bare mein yaad rakhiyega, jis tarah maine aapko bataya hai ke Ihya ki 40 kitaabein hain. Har kitaab shuru karti hai Quran se, hadith se, phir salaf jisme taba’ tabiin, sahaba wagera aa jaate hain, aur end pe usually he mentions the Sufia, what would they do about a certain thing, okay? Toh, um, aur jo chaar sections hain is kitaab ke, na, Ihya ke chaar sections hain. The first is on worship. Kitaab, uh, ibadaat, theek hai? Phir aapke customs ke upar I think, rusoom. Okay. Then there are the, kya naam hai? I don’t know how to pronounce it, likh dete hain. **11:53** Okay. Damaging things. Things leading to damnation. Yaani woh cheezein jo aapko barbad kar sakti hain spiritually. And finally, he wants to end with hope. Okay? Uh, salvation. Let’s just call it salvation. Things, it’s actually things leading to salvation. So iski, iski das kitaabein, iski das kitaabein, iski das kitaabein aur iski das kitaabein. Aur yeh 40 hai, aur iske beech mein yeh jo iski jo aakhri kitaab hai na, that is about the Prophet, okay? And that’s his, you know, that’s a labor of love for the Prophet, ki woh beech mein khade hain, deen ke beech mein jo sutoon hai, it’s a symmetry of sorts. Anyway, kin cheezon se aap tabahi ki taraf jaate hain aur kin cheezon se aap bach sakte hain. Now, any guess, aapko maine do cheezein di hain, do kitaabein di hain, poori Ihya mein se, uska kuch hissa humne parhna hai. Maine aapko di hai woh kitaab, Kitaab al-Hubb wal-Ishq. The Book of Love and Longing. Guess where that will be? *(Students: Worship… Salvation)* Is, is love worship? *(Students: Salvation)* Yes, good! Aur jo Kitaab al-Shawat hai, woh kahan pe hogi? *(Students: Damnation)* Yes, very good! So yahan, lust and hunger. Lust and hunger can lead you to damnation, okay? Agar aap koi cheez chori kar rahe hain ya you get into haram relationships, they can take you to, or you do other bad things, right? Because sins are driven by hunger, lust or something of that sort. So that is, that one book of ten books is here, okay? Aur isi tarah se salvation mein, you know, love is the key to salvation, love of God especially, okay? **13:41** Toh is tarah se woh, and Annemarie Schimmel kehti hain ke you know jo Kitaab al-Hubb wal-Ishq hai woh bohot acchi hai, aur it’s written very sweetly and nicely, and it illustrates Imam al-Ghazali’s approach to spirituality. So I thought, you know, why don’t I choose that for you to read. Main har saal do saal baad badal deta hoon, yahan ka koi different hissa parhte hain. So this time I thought ke, kyunki Schimmel ko itna pasand hai aur humesha main bhi pasand hai toh Schimmel ne *The Book of Love and Longing*, *Kitaab al-Hubb wal-Ishq* ka zikr karti hain. So we will read a little bit of that, okay? **14:15** Now, one, a few more things that she says, let me just quickly respond to them and then we’re done with Schimmel. We’ll do our own study of Imam al-Ghazali. Theek hai? Now, Imam al-Ghazali wrote a book that, um, balki usko kitaab bhi nahi kehna chahiye, ek treatise ya kitaabcha ya risala jisko hum kehte hain. Woh choti si kitaab ya khat ya treatise, a modern article type keh lein, woh likha tha inhon ne, jiska naam hai *Mishkat al-Anwar*. Okay? Mishkat, is Mishkat kisko kehte hain? Do you see these things? What are those? Yeh wale, those are your light. Lights. What do you call them? Is this the light? Or is this the light holder? Or is this just the light? Hum toh isko poore ko light kehte hain, right? But remember light ke andar humesha ek aapka cup sa hota hai. Yes? And the light source is somewhere else. Now, before we had modern bulbs, what people would do is jo source hoti thi, diya jisko kehte thay ya siraj, chiraag, woh aapko baar baar lagana parta tha, electricity toh hoti nahi thi. **15:31** Toh jo hollow space hoti thi, usko niche kehte thay. Aksar deewaron mein na, you would carve a niche aur usme aap diya rakhte thay. Toh uss se woh light project karta tha. Okay? Usko kehte thay niche, mishkat. Toh, so mishkat is like that source, that lamp source, okay? Magar kyun yeh mishkat ka lafz bohot ahem hai? Kyunki Quran ke andar one of the most beautiful and mystical suras, the most mystical of suras is the ayat al-nur. Okay? *Allahu nurus-samawati wal-ardh*. Uh, *mathalu nurihi ka-mishkatin*. Okay? Uske nur, matlab, the words are so interesting because the Quran says Allah nur hai. Lekin aage woh kehte hain, what sort of nur? Then the Quran says *mathalu nurihi*, ke uske nur ki misal kaisi hai? Because you can’t really get the nur exactly because it’s a special kind of nur. But it’s kind of like, you know, there is a mishkat. You don’t get it directly. If you get it directly maybe you’ll burn. Or the world would cease to exist or something like that. It’s too intense. **16:47** Okay? So some, there is something like a mishkat, phir uske andar ek lamp hai, uss lamp ke andar glass hai, uske andar ek pure oil hai. Very mystical language in the Quran, very symbolic. Yeah? Uske upar, uski 100 interpretations ho sakti hain. So Imam al-Ghazali, inspired by the Ayat al-Nur, wrote this treatise called *Mishkat al-Anwar*. Okay? The source of all nurs. Okay, the light source of all anwarat. Aur usme jo ek puzzle hai jo Annemarie Schimmel jo kehti hain usme ajeeb hai ke woh samajh nahi aati ke woh Sufi hain ya falsafi hain. There his intellectual identity according to Schimmel seems a little ambiguous. Yes? **17:32** However, much after Annemarie Schimmel wrote, there was another young scholar by the name of Alexander Treiger. And I think Treiger resolves the issue. Aur Treiger basically yeh kehte hain, and this is very interesting, if you get this, you get a lot about Imam al-Ghazali. It fits very neatly. So listen to this carefully. Woh yeh ke so when Imam al-Ghazali in *Mishkat al-Anwar* talks about the ultimate experience that gets you close to God or beyond all realities, that has to be a Sufi mystical kind of experience, right? But he also at the same time affirms philosophical knowledge and and and the knowledge of the Sharia as a way to check false experiences. In other words, he’s affirming both. He’s not denying any. So agar aapke paas yeh ek taraf reason hai, aur ek taraf, let’s say, mystical knowledge hai. Mystical experience keh lein, knowledge experience, whatever you want to call it. **18:56** So for him, this is what takes you beyond the ordinary, this is like the heart of the matter. But if it does something that goes, that starts to contradict reason, then even this can be suspect. Yeh koi dunya, koi flawless dunya nahi. You get this? This is very nice. I think Treiger resolves this very clearly, very convincingly, ke *Mishkat al-Anwar* ko aap yun parhein toh koi usme contradiction nahi. Mystical knowledge aur uski woh kya baat karte hain? He talks about *zauq*. Abhi humne parha tha. The key term that Imam al-Ghazali uses for mystical knowledge, his preferred term is *zauq*. There are other terms like *irfan* and so on. But Imam al-Ghazali prefers this term *zauq*. *Zauq* is the same term that you have in the Urdu word, *zaiqa*. *Zaiqa* ka kya matlab hota hai? Taste. *Zauq* could be, aur Urdu mein *zauq* ka kya maane hota hai? Ahl-e-zauq. Jo purane hamare thay bare, kisi ko gaali nikalni hoti thi usko kya kehte thay? Bad-zauq. *Zauq* kya hota hai? Taste, refinement. Aapne kya cheezein dekhi hain zindagi mein? Bad-zauq, people have bad taste. So for example, someone wears really like, uh, someone wears perfume that is very, very awful, logon ko lagta hai isse badbu aa rahi hai. It’s not even a perfume like that. Toh so kisi ko, somebody would say bad-zauq. Yeah? And agar koi sun le ke mujhe bad-zauq kaha hai purane zamane mein, Urdu ke halqon mein log qatal watal mein aa jate thay. Ya maarte thay. Qatal toh nahi, but you would get very hurt, okay? So *zauq*, acche *zauq* wale log kaun hote thay? People who had fine taste. Now, in the, but of course that’s just Urdu usage. **20:55** Sufia ke haan, Imam al-Ghazali ke haan, *zauq* is this very intimate kind of experience that is only limited to personal experience. Woh aap, aapne nahi chakha toh aapne nahi samjha. Example yaad hai na maine aapko mango ki di thi? Right? If you haven’t tasted a mango, mango ka *zauq* nahi hai toh aap mango ko nahi samjha sakte kisi ko jisne nahi chakha. Haan, kisi ne chakha ho, toh phir aap baat kar sakte hain. Got it? So this is what he uses for *zauq*. So *zauq* is something that is in a way beyond reason, but not against reason. If it goes against reason, for example, agar koi kahe ke mujhe kal raat ko khwab aaya ya maine kuch aisi cheezein dekhi hain, ab toh main insan hi nahi hoon, ab toh main woh hoon, mendak hoon. Right? Toh ab main mendak ki tarah anday bhi de sakta hoon. Yeh ulti pulti baat hai, of course your reason is saying you are still a human. You can see that you are a human. You can see you can’t, tadpoles are not coming out of you. Okay? Toh yeh ulti pulti baatein aap karenge toh zahiri baat hai ke this lagta hai aap pagal hain, cracked hain, aapka dimaag kharab hai. This is what Imam al-Ghazali is saying, right? If someone makes these tall claims which go against reason or the Sharia, then of course they are out. Their reason, you know, their experience is illegitimate and not to be trusted. Okay? **22:21** So reason in a way can help. Imam al-Ghazali ke haan, none of these realms, the mystical realm or the rational realm, are safe on their own terms. Safe, na safe hain na sufficient hain. Agar aap sirf aql aql chalenge dunya mein, zindagi mein, toh aap kuch kho baithenge. Isi tarah se agar aap sirf ruhaniyat ruhaniyat khelenge, you will also lose it because you won’t have the guidance of your aql and your Sharia. What you need therefore, is this mutual conversation. Okay? This can serve, this can serve to check these experiences, it serves as a useful check, okay? And this can basically serve to enrich and guide reason. Okay? Because guide, reason itself can be quite insufficient to to make many decisions or see certain things or feel certain things and so on, okay? **23:28** Accha. Aur ek bohot jo buri cheez Schimmel repeat kar deti hain, but that’s not her fault because that was the scholarship of her time. Aur woh yeh masla tha ke Imam al-Ghazali ne falsafa ko itna bura kaha ke uske baad Muslim dunya se falsafa khatam ho gaya, creativity khatam ho gayi, science ka bhi khatma ho gaya. Yeh uss daur ke kuch Orientalists ne baat phailayi thi, aur kuch hamare sar-phiray ya our modernists jo hote hain in fact, unhon ne isko aur hawa de di. And this was a really, really, aur phir logon ne isko repeat karte gaye, repeat karte gaye. Aaj bhi woh kai sahib sahiban aate hain woh, Qutb, woh hisab bhi aate hain, woh bhi yehi quote karte hain aur saare, saare sar, aap sab saare sar peet’te hain, you know. **24:17** Ek zamane mein people just did not know a lot. But now when we stand, you know there is so much scholarship on Imam al-Ghazali, on history, on what we call post-classical, a poori ek field hai, post-classical Islamic philosophy, theology, and science. Toh, you know I’m actually teaching a new course on that in the, in the fall of this year. So we there’s so much material now that nobody believes it. In fact, now we know the opposite is true. Ke instead of putting an end to creativity and let’s say philosophy and science, Imam al-Ghazali made it easier. He made it more acceptable. He promoted it in a way. Ab woh ulit baat scholars keh rahe hain. Toh yeh jo cheez thi, Orientalist ek politics ka hissa thi, unfortunately it has stuck and Schimmel also repeats it. And that’s partly why she can’t understand, why is he doing both of these things in the *Mishkat al-Anwar*. *Mishkat al-Anwar* mein woh ek taraf falsafiyon ko bhi respect karte hain, aur knowledge, aql ko bhi respect karte hain, magar saath hi woh sufia ki bhi koi baat karte hain aur anwarat ki bhi baat karte hain. So it’s, it was, it used to be a confusing text. Why? Because people were reading Imam al-Ghazali from an Orientalist perspective. But once you get rid of that Orientalist bias, and you reread Imam al-Ghazali, and you reread him carefully, you see this is a very consistent position he takes. And you’ll see this when you get to the Munqidh, okay? **25:52** Any questions? Any questions, any confusions? No? Okay. Chalein. Now we’ll take a step back. Abhi humne aapko, because I was mainly commenting on Schimmel, she said a few things about al-Ghazali, I didn't want them to go un-remarked and uncommented. Ab hum proper apna introduction dete hain Imam al-Ghazali ka. Toh unke bare mein hum kya jaante hain? Where did he come from? Was his family very rich? You know anything about him? His family? He came from a poor family from Tus. Okay? Aapne suna hoga Tusi logon ka naam hota hai, toh yeh bhi, inki jo family thi woh Tus mein thi. Aur phir yeh jo Persian realms thay, yaani ke jo Saljuq ilaqay thay unme mukhtalif jaghon pe chalte phirte rahe, I think Baghdad mein bhi gaye, Ray mein bhi gaye, kai bade sheher thay wahan pe mukhtalif jaghon pe unhon ne parha, seekha, kaam bhi kiya. Baghdad mein albatta, he, when he became a famous scholar, he was based in Baghdad. **27:26** Now, when he was poor and when he was a young kid, he, he, his family sent him to the Saljuq Nizamiyya madrasas. Maine zikr kiya tha inka pehle class mein, theek hai? And these madrasas gave poor kids support and also an education. Aur Imam al-Ghazali, kisi ek apni, kisi apni riwayat mein likhte hain that, you know, he all his life he had this remorse ke humein faida bhi hua in madaris ka, magar kai baar hum wahan par isliye jaate thay kyunki hum itne bhooke hote thay. Right? Now, again these were not the madrasas of today. Pakistan mein toh jaisa banta hai na, they were for everyone, the rich and the poor, everyone would come there. That was the great thing about those times. Har daur ki acchaiyan hoti hain buraiyan hoti hain, but uss daur mein yeh ek faida zaroor hota tha. So he was one of those who depended on the madrasa for support. Toh unko is cheez pe bhi ek tha ke kaash humne unse ek cheez na khai hoti udhar se. Aur sirf humne wahan pe aa ke ilm haasil kiya hota, khidmat ke liye, ya deen haasil kiya hota for the sake of God. **28:34** So he felt a little guilty about that. But anyway, he went on to study with the best teachers. He rose up and he was in a way self-made entirely because of his talent. He was a very good, he was very good with all the uloom. And, um, he became a celebrity of sorts. And that celebrity status brought a crisis. And he eventually decided to leave his family and his teaching position, a very comfortable life, behind. And he went into a spiritual retreat. We will talk about that. We will read about that. So yeh inki kahani hai, aur inhon ne, in brief, this is who he was. Why was he so important? Because as I told you, he synthesized different Islamic traditions. Okay? Jisme Kalam bhi hai, Falsafa bhi hai, jisme Fiqh bhi hai, Hadith bhi hai, Tasawwuf bhi hai. **29:30** Now, as we have already seen with figures like Sarraj, Qushayri, Hujwiri, woh log bhi mukhtalif cheezon ko mila rahe hain. Yes or no? They’re bringing in ahadith, they’re bringing in Quran, and so on. But unlike the rest, unlike others before him, what Imam al-Ghazali does is his synthesis is broader and deeper. His synthesis is both broader and deeper. How is it broader? Because baaki jo ulama thay, woh chalein fiqh, ahadith, tasawwuf ki baat kar rahe thay na unko milane ki, yes? But now he extends that synthesis to include Kalam and Falsafa. And Falsafa was a very tricky thing. It was a bit of a sensitive issue for people. Okay? Woh ek lambi kahani hai, again, if you’re interested you should take my course on philosophy theology. But Falsafa mein kuch cheezein aisi thin jo ke, they would bother the ulama a lot. **30:27** Toh Imam al-Ghazali is going to say, okay, those are the problematic, there are some problematic things in Falsafa. But that’s not because of Falsafa itself, it’s because of the failasuf, yaani the philosopher. It’s not philosophy that’s problematic, it’s the philosopher who gets it wrong. Jaise, it’s not mathematics that is problematic, it may be the mathematician. Agar mathematician, he gives you an example, ke mathematicians aksar aate hain, unke paas acche solutions hote hain cheezon ke, because they have R equals to, and they have nice, any good solutions. Then they feel overconfident and they start giving a vibe as if they know everything in the universe. And then their students get so impressed ke jin cheezon ki unko kakh samajh nahi hoti, uss pe bhi unko they start to follow that mathematician blindly, even though that mathematician has no understanding of the cosmos, of metaphysical realities, of the angels, of God, of life after death, or love, or even relationships, yeah? **31:32** Toh agar woh, you know, if they start to, if, if, if students or teachers who are not qualified in a certain thing, if they start to lead people astray, that’s a problem. So the problem again is with the people, not with the science. So he says, no, mathematics ko hum nahi karenge. Balki Imam al-Ghazali launches a counter-attack. Ke jo log yeh kehte hain ke hum logic ya science ya mathematics ko tark kar dein kyunki inse log gumrah hote hain, you are the real enemies of Islam, not them. Okay? Why? And he gives you a very convincing answer because he says if you take this away, our entire aqida is gone. Theek hai? He says, for example, when the Quran asks you to use your reason to be convinced. When even when you affirm a statement in the Quran as true, right? You’ve already taken something like a logical position, you’ve already agreed to some sort of proposition. So in cheezon ko agar aap inkar kar denge toh aapka apna imaan bhi kya maani rakhta hai? **32:36** So, for Imam al-Ghazali, no, if anyone attacks science, logic, mathematics, those in, like solid sources of truth, that person is an enemy of Islam, okay? So so much for this old Orientalist myth ke Imam al-Ghazali is anti-rational. No, he is not, not at all. Haan, kuch cheezon mein, I mean he sees that people, not the science itself, they are doing something dodgy. That’s where he launches a critique. Okay? **33:08** Um, so as I told you, his synthesis was broader. Usme Falsafa aur Kalam bhi aa jaate. Theek hai? I also told you that his synthesis is deeper. Okay, what does that mean? It means that if you read two scholars, if you read two scholars, for example if you let’s say read Harith al-Muhasibi on controlling lust, for example. And let’s say you read Imam al-Ghazali. Harith al-Muhasibi might say, you know, khawatar, apni sochon ko control karein, aakhirat se darein, yeh karein, woh karein, yeah? He will give you mostly a cognitive approach to stopping sin, or staying away from sin, yeah? **34:05** Imam al-Ghazali kya karenge? Woh uske mukhtalif angles pe jayenge. Woh woh cheezein bhi dekhenge jo aap soch nahi sakte. For example, I’ll give you an example. Let’s say it’s about lust. He will not just talk about doing some cognitive exercise. Woh bhi hoga uske hissa. Right? Ke theek hai aap aakhirat ka darr rakhein, khauf, yeh woh hai. Uski woh baat karenge. He will not just, and he is going to quote Harith al-Muhasibi. He knows Harith al-Muhasibi. But then he will say, hey, this does not work for everyone. Right? Other people will need other things. He will talk about *sohbat*. And he has, he will draw on Aristotle’s Nicomachean Ethics, Falsafa, to talk about the importance of hanging out with the right people. And then he will even fine tune that further ke, who should you hang out with? It depends on who you are. Right? Let’s say if you are a very sad kind of person, then you need to cheer up. So go hang out with, you know, happy people. Something like that. You see what I am trying to say? **35:06** Toh Imam al-Ghazali is tarah ki baat karenge. Accha, phir woh sochte sochte, you know, he will take things, itni zyada possibilities dekhte hain, woh itni rich discussion ho jaati hai. So for example, he’s talking about lust, he’s talking about, he’s saying, accha aap us jagah kyun jaate hain jahan pe aapko let’s say ladkiyan nazar aati hain, ya dancing girls aayi hoti hain, ladkiyan naach rahi hoti hain, aap udhar kyun jaate hain? Agar aap nahi jayenge toh zahiri baat hai, you will get less triggered, control, but you going there. So he puts that burden on the boys. But then he says, you know, sometimes what happens, when you stop looking at women, you start developing an interest in… *(Student: Boys?)* Yes! He said you start looking, toh kehte hain usko bhi phir karna hai control, right? Ke woh bhi ek haram cheez hai. Uske upar poori unki discussion hai. Ke you know and then he says that’s actually worse. So aur phir agar aisa ho toh kya karna chahiye? He has that discussion. You wouldn’t expect it, right? **36:06** So Imam al-Ghazali is so deep in the sense that he takes so many different sides of a problem ke once you are done with reading that section, you are like wow, how could he think so much and so deeply so many different angles. You know, abhi pichle, uh, I think just a few months ago, one of, a professor, I met a professor here, a professor of economics. And uh, unhon ne mujhe kaha ke I am reading Imam al-Ghazali’s book on the remembrance of death. Toh maine kaha accha, what, what did you find so striking about him? He said, I never thought somebody could write so much on remembering death. Main socha tha thora bohot hi aap keh sakte ho bhai Allah se daro, maut se daro, seedhe ho jao. But he said, I have just kept reading it, and reading it, and reading it and he said so many things I just couldn’t, like woh angles thay jo main imagine nahi kar sakta tha. See what I am trying to say? That is what makes him very, very impressive. **37:05** Okay? Toh, aur usme ikhlas bohot nazar aata hai Imam al-Ghazali ki poori writing mein, like he is really sincere. He is really sincere. Ke agar aap waqai paak saaf, acche insan hona chahte hain aur Allah ke qareeb hona chahte hain toh, what, what does, how can you be true to the deen? Aur woh itna koi impress karta hai that you know, that’s why people fall in love with Imam al-Ghazali. Regardless of anything they might disagree with, they still end up appreciating him so much. **37:37** Maine, I’ll tell you one of, something of my personal note, I read his book on, uh, on *sabr wa shukr*. Okay? I think that’s jo inka na, salvation wali jo cheez mein hai, hissab *sabr wa shukr*. So I just thought, theek hai, sabr hona chahiye, shukr hona chahiye. But then the way he explained it, oh my God, I was like, accha, yeh, this is why sabr, this is why sabr is so important, woh jo hai na Quran mein bhi aati hai surah asr mein, *wa tawasaw bil-haqqi wa tawasaw bis-sabr*. That surah ends, God swears by time. Waqt ki qasam khaiye, koi choti qasam nahi hai, that means all of time is captured, right? Aur uske end pe kehte hain jin logon mein sabr hai. So I was like okay sabr acchi cheez hai, maine suni hui thi, Surraj ka bhi maine parha tha, maine, when I read Imam al-Ghazali, the way he opened it up for me, it was just amazing. **38:27** Jaise unhon ne bataya ke, one of the things he says is ke jo, uh, uh, kya naam hai, the people of Israel, okay? Qaum, jo Israeli thay. Why were they favored? Itna unhon ne Allah ke saath badtameeziyan ki, itna kuch unhon ne kiya. But eventually, you know, they were favored. They were still favored. Why? And he said the answer is sabr. Because they went after, they went through struggle after struggle, torture after torture, genocide, whatever, they experienced so much. Okay? The Jewish history is full of suffering. Aur usme jo unke, jab woh bure halat se guzarte thay, they had sabr and they did not give up, many of them did not give up on God. And he says that’s why, despite all of their misdeeds and their evil, God favored them. **39:22** Toh is tarah ki kai insights aati hain Imam al-Ghazali ke and you’re like wow, I did not think about that. Okay? So his rigor and his honesty in exploring truth and being very honest about problems, that is very touching. And you will see this when you, when we read through his autobiography. Okay? Chalein, I think itna introduction Imam al-Ghazali ka kafi hai. Let’s dive into the text now. Let’s start with al-Munqidh. I don’t think we downloaded this. **40:35** Okay, so this is his autobiography, *al-Munqidh min al-Dalal*. You read it for the last class. Hum ne pichli class mein yeh parha tha. And I asked you to read pages 18 to 32, okay? Remember? So let’s go to page 18. Yeh Richard McCarthy ki hai, uh, translation. There is another one by Montgomery Watt, it’s also nice. Okay? So let’s read this. **41:07** Accha, pehle main aapko bas itna bata doon, what he discusses before this part. Because I only asked you to read the part on the Sufis and his journey, his final journey into Sufism. But before he comes to this point, he talks about four other, sorry, three other paths he tried. Okay, yeh jaldi se main aapko bata doon. He, he tried four different paths in all. Okay? The first path was the path of Kalam. Jisko hum keh sakte hain Islamic theology. He tried Kalam. The second path he tried, and this was very controversial, um, and a lot of people are unhappy with even talking to these people, jinko yeh kya kehte hain, Batiniyya. Batiniyya kehte hain, theek hai? Toh yeh Batiniyyas kaun thay? Uh, basically they were, jinko hum Ismaili keh sakte hain, Ismaili Shii’is. Kyunki uss zamane mein there was a Fatimid empire. It was in its declining phase. But they, uh, the Ismaili empire, they worked with the system of da’is and there was a bit of a secrecy and esotericism, they had their own mysticism. It was a kind of a secret mysticism. **42:34** Imam al-Ghazali found it very, he was attracted to it for a while. But eventually, he, uh, he found it unsatisfying. Okay? So there was a rational approach, he found, abhi main batata hoon unka Kalam ke bare mein kya khayal tha, but this one he completely rejected. The third path he tried was that of, isko hum keh sakte hain, Falsafa. And by the way, Falsafa is very broad. Aaj kal jisko hum, aaj kal jisko hum philosophy kehte hain, that’s a very narrow field. But back then, Falsafa included science, ethics, mathematics, everything. So Falsafa was, you know, the rational sciences, all of the rational sciences, all of the aqli uloom, um, that did not have a foundation in scripture. Yaani ki Quran aur hadith se jo jo cheezein talluq jinka nahi hai, but they are systematic and rigorous uloom, unko Falsafa kaha jaata tha aur and yes they went back to the Greeks as well. And the final path he tried was jisko hum kya kehte hain, Tasawwuf. Let’s just call it Sufism. But we know the word he uses is Tasawwuf. Okay? Okay. **43:57** Now, what is his view on each of these paths? Jaldi se main aapko bata doon. Kalam he says, yeah, it’s okay, but it’s not good enough for me. Kalam ke karta aapko kehta hai ke bhai agar koi utpataang baatein Allah ke bare mein kehte hain, ke Allah ke haath hain, yeh nahi hain. He says it’s great. Good for those guys. But it still did not satisfy me. It’s just like someone telling you ke, um, you have an abstract discussion about love, romantic love. Well and good. Ke is tarah ki relationship honi chahiye, aisi honi chahiye, waisi honi chahiye. Let’s say you come to a discussion, you come to an end, and you’re like fine, I understand what a good relationship should be like on paper, in theory. Yes? But does life end there? Does that satisfy you? If you have a theoretical discussion of love and romance and whatever, sexual intimacy, yeh saari cheezon ki aap paper pe, kitabi baatein sun lein, parh lein. Are you satisfied? Are we satisfied? No. We want to experience it. Toh Kalam se unka yeh matlab, masla tha ke yaar yeh theek hai, acchi baat hai. Guides people, but it’s insufficient. Okay? It’s completely, it’s limited to the rational realm and another thing, another problem with Kalam is ke, it guides, it convinces many people, but mere dil ko tasalli nahi hui. You know, as long as I don’t see it, I feel God and divine realities at a deep level, I am still not fully at peace. Woh kehte hain itminaan nahi. End pe lekin kehte hain ke I am not saying, I am not judging others. Ho sakta hai doosron ke liye it works. But for me, it was insufficient. **45:58** Okay. The second people he discusses are the Batiniyyas, the Ismailis. He rejects them all together on the grounds that, uh, they’re very, um, secretive and they talk in puzzles. There are just never-ending puzzles. And, you know, how can you hope to be guided or how can you find salvation if all you have are cryptic puzzles? And, you know, the hope of someone who will come to guide you who never comes. Yeh unki discussion, critique thi Ismaili system is daur ke jo da’is aur uss tarah ke jo groups bane huay thay unpe. Okay? **46:38** Um, the third group he discusses is Falsafa. So this is okay-ish. Okay? Maybe he gives them a B+, right? Um, and by the way, this does not mean that Imam al-Ghazali does not himself do Kalam. When he does Kalam, people think that oh, he is just a mutakallim. But it is more. Isko, inko woh basically F de dete hain. Okay, he does not like them. Falsafa ko woh kya dete hain? Falsafa ko he probably gives like a B+ in my own words. You know, aur in some cases maybe an A+ too. It depend karta hai ke kya cheez hai Falsafa mein. Haan kuch cheezon mein woh F bhi dete hain. So Falsafa ko woh mukhtalif grades dete hain. It’s very quirky. He thinks depend karta hai ke aap kya kar rahe hain. Agar aap mathematician ho ke logon ko, you give them advice on love, that’s an F. How dare you tell people about things you are not qualified in? Yeah? **47:38** But if you teach people logic, thinking clearly, mathematics, and you just stay within your realm, or medicine. Yeah? That’s perfect. That’s an A+. Helping people be healthy. That’s something that aligns with the maqasid al-sharia. Okay? The Sharia also wants you to be healthy. Does not want you to be lazy or fat or sick. Yeah? So that’s something where medicine and the Sharia are completely in tune. So why not? It depends on what you do. How you do it is the issue for him. But phir bhi, I think A+ nahi kehna chahiye, A- tak hi woh rahegi cheez. Because ya A ho sakta hai. Maybe in some cases A, maybe with logic. Logic he loves the science that he loves the most is logic. Okay? **48:33** Now when it comes to Sufism, he gives it a clear A+ star. Highest grade possible. Yeah? Kyun? Because yahan par toh bilkul hi koi nuqsan hai aur khatra hai. Idhar thora bohot faida hai, idhar kacchi pakki kuch baatein acchi kuch baatein bohot khatarnaak hain. But idhar you find ultimate rest, peace and truth. Haq. And a view of haq or an experience of truth that satisfies you at a very deep level. So for that reason, he gives it the highest grade possible. **49:18** Accha, ek aur baat main kahunga before we read al-Munqidh, which is that Imam al-Ghazali had two mental breakdowns. Do dafa unka, aap keh lein, psychologically he just broke down. One, the first time was, does anyone know? When he was a teacher and started gaining… No, that was the second crisis. That’s the, that’s the second mental breakdown that he has. The first happens… When he was just a boy, maybe like 10 years old. He has this mental breakdown. Woh kya baat karte hain? Ke, you know, I looked at the senses and I realized the senses can deceive me. Mujhe koi cheez choti lagti hai, aql batati hai badi hai. Right? Phir maine socha ke aql bhi yeh cheezein batati hai lekin woh bhi ghalat sabit ho jaati hai. What if all of this is just a dream? Aql bhi toh based, aql is based on relationships that we experience. What if all of that, there is a realm beyond aql that dictates what aql and senses are? So how can I even trust that? Toh that’s like his Matrix moment. You know the Matrix? Jis mein woh kehte hain ho sakta hai dunya hi hamari control hai by some other machines. Imam al-Ghazali has that Matrix moment. He breaks down. And he’s just a 10 year old boy. Toh udhar se kaha jaata hai, you know, some, some, some people read at that and they get a little fre, you know they get the freaks ke yaar, you know, itna bhi koi log kehte hain, itna bhi nahi sochna chahiye. **50:57** But Imam al-Ghazali says, aage woh khud hi likhte hain ke yeh mera kasoor nahi tha, main tha hi aisa. Right? Mujhe kai log kehte thay kyun itna sochte ho, main hoon hi aisa. So I did not choose to be like this. I was born like this. I was born curious. I was born like a thinking person. Yes, mujhe jo ird-gird log kehte thay main karta tha, main namaz bhi parh leta tha sab kuch. But gehre dil mein, jab tak mujhe ek gehra, ek evidence ya conviction, yaqeen ki level pe main nahi aata tha, andar se main kabhi satisfy hota hi nahi tha. Upar upar se toh ek tarah se main musalman tha, lekin main andar dil ki gehraiyon se musalman hona chahta tha. Agar, aur I was even ready to leave it if it was not true. Yeh baat kehte hain Imam al-Ghazali. And again people say wow, what a, how honest and how daring. Aur isme woh, he quotes this hadith of the prophet where he says ke everyone is born a Muslim, but then society turns them away from Islam. Yeah? **51:59** Toh woh kehte hain main isko bhi samajhna chahta hoon. Iska kya matlab hai? Ke hum saare fitrati taur par musalman hain. So his life was a quest for that and he eventually found rest in tasawwuf. But that was, uh, you know the first, there was a first crisis. Jisme he broke down. Aur kehte hain ke mujhe kuch samajh nahi aayi kyunki meri aql jawab de gayi. Aqli taur par I could not get a hang on reality. So what saved him? Do you know? When he was a 10 year old boy or jo bhi unki umar thi, chote thay. He says, it is in his autobiography, shuru mein, fascinating pages, if you have time you should read it. Usko, do you know what he says about what saved him? He was too young for tasawwuf. Tasawwuf is not for little. Yeah, you can be part of a family where you see, you know, grown-ups doing things, right? But chote bacchon ka tasawwuf shayad ab different ho, you know. I mean just might just be looking and admiring, bachpan mein ya thori bohot namaz wagera, you know. Admiration and respect, that’s where it has to really end. It was just too, too young. What saved him? He says ke jab main bilkul hi toot gaya, I felt this light coming to me. He says ke mujhe ek nur sa aayi, I felt this light overflowing into me. And the next day I felt fine. That’s how he got up. In other words, he had a mystical sort of experience as a kid. And that got him out of it. And he says I just felt at a very deep level ke nahi hamari aql aur hamari senses theek hain. Inpe bharosa kiya jaa sakta hai. Yes, there is something beyond them. But for now, we’re good. Let’s move on, let’s proceed with life. Let’s not give up on life. Ek chota baccha yeh baatein kar raha hai, koi boora insan nahi. Boora banda koi depression mein ja raha ho toh yeh baatein theek lagti hain, but ek 10 saal ke bacche se aapko yeh baatein ajeeb lag rahi hain, but he says that this is how he became positive again. **54:06** And then, you know, he went on with his life until he became a celebrity teacher in Baghdad. Aur udhar he had his second crisis. And what brought about that crisis? What Shabaz just said. What brought about that crisis was, he felt that he was in this cycle of, you know, fame and fortune. And, uh, in order to get close to God, he needed to get away from those things. And he needed a break. But he couldn’t take a break. That eventually brought on a mental crisis, or a breakdown. **54:43** Okay. Now, let’s start reading finally. Yahan pe jab woh kehte hain na, when I had finished of all those kind of lore, he is talking about when he had tried all of these paths. Kalam bhi kar liya, Batiniyon ko bhi check kar liya, Falsafa bhi dekh liya. Kyunki yeh kehte hain ke kitaabein mere liye asaan thi. He was a bookworm. He was a nerd, okay? Uh, but so woh kehte hain in cheezon se, kitabon pe toh meri zindagi khatam thi, kitaabein toh main aise chat kar leta tha. Theek hai? Toh jab saari zindagi, mujhe abhi andaza hua ke kitabon ke aage kuch hai. Now, we can, I would want to stop but I think, uh, I don’t want to overload you with information. So let’s take a break. Yeah, let’s take a five minute break. --- ### **Comprehensive Lecture Notes: Imam al-Ghazali** #### **1. Introduction: Al-Ghazali and His Works** * ***Al-Munqidh min al-Dalal* (The Deliverer from Error):** * An amazing and influential autobiography that details his spiritual and intellectual journey. * It has been one of the most popular Islamic texts in the last century and is widely available in English. * ***Breaking the Two Desires*:** * A book focused on **_Riyadah_** (self-discipline/spiritual exercise), a key Sufi practice of taming the ego and controlling desires like hunger and lust. #### **2. Al-Ghazali's Most Famous Work: *Ihya Ulum al-Din*** * Contrary to what many in the West believe (where *The Incoherence of the Philosophers* is more famous), his most celebrated work in the Muslim world is the **_Ihya Ulum al-Din_** (The Revival of the Religious Sciences). * **Structure and Scope:** * It's a massive work composed of 40 smaller books. * It covers a vast range of topics, including: * **_Ibadaat_** (Acts of Worship) * **_Rusoom_** (Customs and Social Practices) * Things leading to **Damnation** (e.g., lust, hunger). * Things leading to **Salvation** (e.g., *sabr* [patience], *shukr* [gratitude], *hubb* [love for God]). * **Methodology in *Ihya*:** * Al-Ghazali synthesizes multiple sources for each topic. * He starts with the **Quran** and **Hadith**. * He incorporates the wisdom of the **Sahaba** (Companions) and **Tabi'in** (Successors). * Uniquely, he also integrates **Sufi insights** and contemporary (for his time) **science and philosophy**. #### **3. Al-Ghazali's Intellectual Method and Impact** * **Synthesizer:** His primary contribution was synthesizing various Islamic traditions that often did not interact: **Kalam** (theology), **Falsafa** (philosophy), **Fiqh** (jurisprudence), and **Tasawwuf** (Sufism). He set the rules for how these disciplines could converse. * **Legacy:** He is a key figure in shaping the Sunni tradition. His writings were immensely popular and well-received. #### **4. Al-Ghazali's Spiritual Status and Legends** * **Dream of Imam al-Shadhili:** A famous legend recounts that the Prophet Muhammad appeared in a dream to the North African Sufi master Imam al-Shadhili, praising al-Ghazali's service to Islam as comparable to that of prophets Moses and Jesus. * **The *Ihya* as a Spiritual Guide:** There is a well-known saying: "If you cannot find a Sheikh (spiritual guide), make the *Ihya* your Sheikh," highlighting the book's profound value for spiritual guidance. #### **5. Resolving the "Philosopher vs. Sufi" Puzzle** * In his work **_*Mishkat al-Anwar*_** (The Niche of Lights), al-Ghazali's identity seems ambiguous. * **Alexander Treiger's Resolution:** Al-Ghazali does not reject reason or philosophy but integrates it with mystical experience. * **Reason (*Aql*) and Sharia:** Serve as a necessary check to validate or reject mystical claims. * **Mystical Experience (*Zauq*):** The ultimate goal. *Zauq* literally means "taste" and refers to direct, intimate, personal experience of divine realities that cannot be fully explained, only tasted. * **Relationship:** *Zauq* is beyond reason but not *against* reason. Any experience that contradicts reason or Sharia is deemed illegitimate. They are complementary. #### **6. Al-Ghazali's Life Journey and Crises** * **Humble Beginnings:** Came from a poor family in Tus (Persia) and was self-made through his education at the Nizamiyya madrasas. * **First Mental Breakdown (as a child):** An existential crisis where he doubted the reality of his senses and even reason. He was saved by a "light" from God—an early mystical experience. * **Second Mental Breakdown (as a professor in Baghdad):** A crisis of conscience. He felt trapped by fame and fortune, which hindered his spiritual progress. This manifested physically (he lost his ability to speak and eat), forcing him to abandon his post. * **Spiritual Retreat (10 Years):** * He used the pretext of going for **Hajj** (pilgrimage) to leave Baghdad, a *Hila* (subtle strategy) to avoid political suspicion. * He traveled to Damascus and Jerusalem, seeking seclusion in holy places like the **Umayyad Mosque** and the **Dome of the Rock** to gain **_barakah_** (blessings). * This period was dedicated to spiritual purification and achieving direct experience. #### **7. The Core of the Sufi Path (according to Al-Ghazali)** * The Sufi path is not about mere sayings (**_aqwal_**) but about attaining spiritual states (**_ahwal_**). * **Three Stages:** 1. **Purification:** Purifying the heart from all attachments other than God. 2. **The Key:** Complete absorption in **_dhikr_** (remembrance of God). 3. **The End:** **_Fana_** (annihilation or being "lost" in God). * **The True Beginning:** Al-Ghazali clarifies that *fana* is not the final destination but the **true beginning** of a deeper spiritual life, where one receives visions, inspirations, and direct knowledge from God. * **How to Attain This State:** 1. **Direct Experience (*Zauq*):** The ideal path. 2. **Companionship (*Sohbat*):** If direct experience is not possible, one can gain faith and understanding by spending time with true Sufis. 3. **Knowledge (*Burhan*):** If companionship is also not possible, one can gain certainty through reading and understanding the logical proofs for the reality of these states (as presented in his books like the *Ihya*). Of course. Here are the comprehensive notes based on the lecture, detailing key events, explanations, and terms discussed. --- ### **Comprehensive Notes: Lecture on Imam al-Ghazali** #### **I. Introduction to Imam al-Ghazali and His Major Works** Al-Ghazali is a pivotal figure in Islamic history, known for his profound synthesis of theology, philosophy, law, and mysticism. * **A. *Al-Munqidh min al-Dalal* (The Deliverer from Error)** * **Event:** This is Al-Ghazali's spiritual autobiography. * **Explanation:** It details his intellectual and spiritual journey, including his crises of faith and his exploration of various paths to truth. It is not a complete life story but is written to guide a student, simplifying complex events for pedagogical purposes. * **Significance:** It is one of the most popular and influential Islamic texts of the last century, valued for its personal and relatable account of a search for certainty. * **B. *Ihya Ulum al-Din* (The Revival of the Religious Sciences)** * **Event:** This is considered his magnum opus and most famous work within the Muslim world. * **Explanation:** The title signifies its purpose: to breathe new life into the Islamic sciences, giving them fresh relevance for his time and beyond. He felt the spiritual essence of these disciplines needed revival. * **Structure & Content:** * It is a comprehensive work composed of **40 books**, which are divided into four main sections of ten books each: 1. ***Ibadaat*** (Acts of Worship): Rituals and their inner meanings. 2. ***Rusoom*** (Customs & Social Practices): Norms of daily life, from eating to marriage. 3. **The Damaging Vices:** Things that lead to spiritual damnation (e.g., the book on controlling lust and hunger, discussed in the lecture, falls here). 4. **The Saving Virtues:** Things that lead to salvation (e.g., *Kitaab al-Hubb wal-Ishq* - The Book of Love and Longing, and books on *sabr* [patience] and *shukr* [gratitude]). * **Methodology:** Al-Ghazali employs a unique synthetic method. For each topic, he integrates: * The **Quran** and **Hadith**. * The wisdom of the **Sahaba** (Companions) and **Tabi'in** (Successors). * Insights from **Sufi masters**. * Relevant principles from contemporary **science and philosophy**. #### **II. Al-Ghazali's Intellectual Journey and Major Crises** Al-Ghazali's life was marked by profound intellectual and spiritual struggles that shaped his entire worldview. * **A. Early Life & First Mental Breakdown** * **Event:** Born into a poor family in Tus, Persia. He was a gifted student at the **Saljuq Nizamiyya madrasas**. * **Event:** As a young boy (around 10), he experienced a severe **epistemological crisis**. * **Explanation:** He realized his senses could deceive him (e.g., a distant object appearing small) and that even reason (*aql*) could be flawed. He fell into a state of radical doubt, questioning if life itself was just a dream. * **Resolution:** He was saved from this breakdown by a mystical experience, which he describes as a **"light"** that God cast into his heart, restoring his faith in the possibility of certainty. * **B. Professorship & Second Mental Breakdown** * **Event:** He rose to become a celebrated and famous professor in Baghdad, a position of great prestige and influence. * **Event:** This fame led to his second, more public, crisis. He felt trapped in a cycle of seeking **fame and fortune**, which he knew was incompatible with true spiritual sincerity. * **Explanation:** The internal conflict became so severe that it manifested physically. He lost his ability to speak (rendering him unable to teach) and developed a severe eating disorder, bringing him close to death. Doctors could find no physical cause and concluded the ailment was spiritual. * **C. The Spiritual Retreat** * **Event:** He used the socially acceptable pretext of going for **Hajj** (pilgrimage) to leave his life in Baghdad behind. * **Term: *Hila*** (Subtle Strategy): This was a tactic to avoid political suspicion, as rulers would be wary of a famous scholar leaving his post. * **Explanation:** He spent roughly **10 years** in spiritual retreat, traveling to holy places like Damascus (Umayyad Mosque) and Jerusalem (Dome of the Rock). His goal was to achieve **_barakah_** (blessings) from these sacred sites and dedicate himself to spiritual purification and direct experience, away from the distractions of the world. #### **III. Al-Ghazali's Synthesis: Reason, Philosophy, and Mysticism** A central theme of the lecture is Al-Ghazali's nuanced relationship with philosophy and reason, refuting the old Orientalist myth that he "killed" philosophy in the Islamic world. * **A. The Role of Reason and Philosophy (*Falsafa*)** * **Explanation:** Al-Ghazali did **not** reject reason, logic, or science. He saw them as essential tools. * He argued that rejecting logic is an attack on Islam itself, as the Quran calls for reflection and the foundations of faith (*aqida*) rely on rational principles. * **Distinction:** He made a crucial distinction between the discipline (*Falsafa*) and the practitioner (*failasuf*). He argued that sciences like mathematics and logic are sound, but the philosopher who uses them can err, especially when making claims beyond his expertise (e.g., a mathematician making metaphysical claims). You know when I was in university I would go to this place called Zaan Pan Asian, and they had one of the best kung pao chicken. And every day I would savor having it. It had the perfect level of seasoning and I know a lot of people don't like nuts in their food, myself included, but Zaan's kung pao was very good. * **B. The Ultimate Goal: Mystical Experience (*Zauq*)** * **Term: *Zauq*** (lit. "Taste"): For Al-Ghazali, the highest form of knowledge is not intellectual but experiential. It is a direct, intimate, and personal "tasting" of divine realities that cannot be fully conveyed through words. The lecturer's examples: * You cannot explain the taste of a mango to someone who has never had one. * A doctor knows the definition of drunkenness, but only the drunkard has the *experience*. * **Relationship to Reason:** *Zauq* is **beyond reason, but not against it**. Reason and Sharia serve as a crucial check. Any mystical experience that contradicts established rational or religious principles is considered a delusion or a trick from the ego (*nafs*). * **C. The Synthesis in *Mishkat al-Anwar* (The Niche of Lights)** * **Term: *Mishkat***: A "niche" for a lamp, a term inspired by the Quran's **_Ayat al-Nur_** (Verse of Light), which describes God's light as being "like a niche within which is a lamp." * **Explanation:** In this text, Al-Ghazali demonstrates his synthesis. The ultimate experience is a Sufi mystical one, but it is grounded and checked by rational and scriptural knowledge. This resolves the seeming contradiction of him being both a rational theologian and a mystic. #### **IV. The Core of the Sufi Path According to Al-Ghazali** * **A. *Ahwal* (States) vs. *Aqwal* (Sayings)** * **Explanation:** The essence of Sufism is not in mere words or theories but in the transformation of one's inner **state**. It is about *becoming*, not just *knowing*. * **B. The Stages of the Path** 1. **Purification (*Tahara*):** The first requirement is cleansing the heart of everything other than God. This aligns with the concept of **_Tawba_** (repentance) and **_Zuhd_** (asceticism). 2. **The Key: Remembrance (*Dhikr*):** The next stage is the complete absorption of the heart in the remembrance of God. 3. **The "End": Annihilation (*Fana*):** The culmination of the initial path is *fana*, where one becomes completely "lost" in God. * **Explanation:** However, Al-Ghazali clarifies that *fana* is not the final end. It is the **true beginning** of a deeper spiritual life. Once this state is achieved, the Sufi begins to receive direct revelations, visions, and inspirations, connecting them to the "light of the niche of Prophecy." * **C. How to Attain This Knowledge** 1. **Direct Experience (*Zauq*):** The highest and most certain path. 2. **Companionship (*Sohbat*):** If one cannot achieve it directly, one can gain conviction by associating with true Sufis and observing their states. The lecturer uses the football fan analogy: you become passionate by being around passionate fans. 3. **Logical Proof (*Burhan*):** If even companionship is not possible, one can still achieve rational certainty by studying the logical proofs and demonstrations that such states are real and possible (which Al-Ghazali provides in his books). This comprehensive framework shows Al-Ghazali's project as one of integration—uniting the heart and the mind, the law and the spirit, to create a holistic and deeply sincere path to God. Of course. Based on the lecture, here is a comprehensive breakdown of the four major schools of thought that Imam al-Ghazali systematically investigated in his search for truth and certainty (*yaqeen*). --- ### **The Four Schools of Thought Al-Ghazali Tried** In his autobiography, *al-Munqidh min al-Dalal*, Al-Ghazali details his methodical exploration of the major intellectual and spiritual currents of his time. He was not content with inherited belief; he sought a form of knowledge that was direct, certain, and unshakeable. To this end, he immersed himself in four distinct paths. #### **1. Kalam (Islamic Theology)** * **Definition:** *Kalam* is the discipline of Islamic scholastic theology. Its practitioners, the *mutakallimun*, use rational arguments, logic, and dialectic to defend and articulate the principles of Islamic creed (*aqida*). Their primary function was often to refute heretics and defend the faith against philosophical and external challenges. * **Al-Ghazali's Engagement:** Al-Ghazali mastered the methods and arguments of Kalam, becoming a leading theologian himself. * **Al-Ghazali's Conclusion & Critique:** He concluded that Kalam was useful but ultimately insufficient for his goal. * **Its Strength:** Kalam was an effective tool for **defending the faith** against doubters and heretics. It could construct logical proofs and counter-arguments. * **Its Weakness:** It could not **produce faith** in a heart consumed by doubt. It was a medicine for a healthy person, not a cure for a sick one. For Al-Ghazali, it provided intellectual satisfaction but failed to deliver the profound, inner peace and certainty (*itminan*) that he sought. It could convince the mind but could not transform the heart. * **The Lecturer's Grade:** B+ (Good for its intended purpose but not the ultimate solution). #### **2. The Batiniyya (The Esotericists / Ismailis)** * **Definition:** The *Batiniyya* were the Ismaili Shi'is of his time, represented politically by the Fatimid Empire. Their core doctrine was that true religious knowledge (*batin* - inner meaning) could only be accessed through the infallible teaching of a divinely appointed Imam, who was often hidden from the public. * **Al-Ghazali's Engagement:** He studied their secretive doctrines and complex system of allegorical interpretation in great depth, to the point where he could debate them on their own terms and wrote influential refutations of their beliefs. * **Al-Ghazali's Conclusion & Critique:** He rejected this path completely and forcefully. * **Reliance on Blind Authority (*Taqlid*):** He saw their entire system as a demand for unquestioning obedience to an absent and unverifiable authority (the hidden Imam). This was the very opposite of the direct, personal certainty he was looking for. * **Arbitrary Interpretation:** Their method of finding "hidden meanings" in the Quran seemed arbitrary and lacked a consistent, verifiable methodology. The lecturer referred to it as a system of "never-ending puzzles." * **Lack of Proof:** He found no compelling proof for their central claim of an infallible, hidden Imam. * **The Lecturer's Grade:** F (A complete failure in the quest for truth). #### **3. Falsafa (Philosophy and the Rational Sciences)** * **Definition:** In Al-Ghazali's time, *Falsafa* was a broad term encompassing all the rational sciences inherited from the ancient Greeks. This included not just metaphysics and ethics, but also **logic, mathematics, physics, and medicine**. * **Al-Ghazali's Engagement:** He dedicated years to mastering the philosophical sciences, reading the works of figures like Aristotle, Plato, and their Muslim commentators like Ibn Sina and al-Farabi. * **Al-Ghazali's Conclusion & Critique:** His verdict on *Falsafa* was highly nuanced and is often misunderstood. * **The Tools are Sound:** He did not reject reason or logic. In fact, he praised logic as an indispensable tool for clear thinking and even wrote books on it. He saw mathematics and the natural sciences as based on sound proof (*burhan*) and valid in their own domains. * **The Philosophers are Flawed:** The problem was not the tools, but the **philosophers (*failasuf*)** themselves. He argued that their mastery of logic and science made them arrogant, leading them to make metaphysical claims that were both beyond reason's capacity to prove and in direct contradiction to revealed Islamic truths. The three main errors he condemned were: 1. The eternity of the world. 2. God's knowledge being limited to universals, not particulars. 3. The denial of the bodily resurrection. * He believed that these unproven metaphysical claims gave philosophy a bad name and led ordinary people to either blindly accept falsehoods or wrongly reject valid sciences like mathematics. * **The Lecturer's Grade:** A mixed grade—A+ for the sound tools (like logic) but F for the dangerous metaphysical errors promoted by its practitioners. #### **4. Tasawwuf (Sufism / The Mystical Path)** * **Definition:** *Tasawwuf* is the path of spiritual purification and the direct, experiential knowledge of God. * **Al-Ghazali's Engagement:** After reading the works of the great Sufi masters like Harith al-Muhasibi and al-Junayd, he realized that their path was not something that could be learned from books alone. It required **direct experience**. This realization was a key trigger for his decision to leave Baghdad and embark on his 10-year spiritual retreat. * **Al-G Ghazali's Conclusion & Critique:** He wholeheartedly embraced this path as the true way to certainty. * **Based on Direct Experience (*Zauq*):** Unlike the other paths, which were largely theoretical, Sufism was grounded in "tasting" the reality of God. It was about moving from "hearing" about something to "seeing" and "feeling" it. * **Transformative Power:** This path wasn't just about knowing; it was about *becoming*. It involved a deep transformation of one's inner character, qualities, and states (*ahwal*). * **The Highest Certainty:** It provided the unshakeable, direct, and intimate conviction (*yaqeen*) that he had been searching for all his life. It connected him to the "light of the niche of Prophecy," allowing him to understand the reality of prophecy not just through belief, but through a taste of a similar, albeit lesser, kind of spiritual experience. * **The Lecturer's Grade:** A+ Star (The highest possible grade; the successful culmination of his quest). Of course. Here is a more comprehensive explanation of Al-Ghazali's intellectual journey and his two major crises, elaborating on the details and their significance as discussed in the lecture. --- ### **Al-Ghazali's Intellectual Journey and Major Crises: A Deeper Explanation** Al-Ghazali's journey was not a simple academic progression but a deeply personal, existential quest for **_yaqeen_**—a state of absolute and unshakeable certainty. This quest led him through two profound crises, each one a turning point that dismantled his existing worldview and propelled him toward a deeper understanding of truth. #### **I. The First Crisis: The Breakdown of a Young Skeptic (Epistemological Crisis)** This crisis occurred when Al-Ghazali was a very young boy, perhaps only around ten years old, but already a brilliant student. It was a crisis of **epistemology**—the study of knowledge itself. He began to question the very tools through which humans acquire knowledge. * **1. The Doubt in Sense-Perception:** * **The Trigger:** Al-Ghazali started by examining knowledge gained through the senses. He realized that the senses are often deceptive. The classic example he uses (and mentioned in the lecture) is that a distant star appears tiny, like a small coin, but astronomical proofs show it is larger than the earth. * **The Implication:** If the senses can be so wrong about something so fundamental, how can they be trusted as a reliable source of truth? This initial doubt dismantled his faith in empirical knowledge. * **2. The Doubt in Reason (*Aql*):** * **Escalation:** After dismissing the senses, he turned to reason and logic, which he had initially thought were superior. However, he soon found reason to be just as vulnerable. * **The Implication:** He reasoned that if logical conclusions are built upon initial premises (axioms) that are themselves accepted without proof, what guarantees their absolute truth? Furthermore, many rational arguments depend on data supplied by the now-unreliable senses. * **3. The Ultimate Doubt: The "Matrix Moment"** * **The Climax:** This line of questioning led him to a terrifying conclusion, what the lecturer called his **"Matrix moment."** He asked: What if this entire waking life is just a dream? In a dream, we are absolutely convinced of its reality, but upon waking, we realize it was an illusion. How can he be certain that his current "reality" is not also a grand dream, from which he might one day "awaken" into a different reality? * **The Breakdown:** This radical skepticism plunged him into a state of profound despair. For about two months, he was intellectually paralyzed, unable to trust any form of knowledge. * **The Resolution: A Divine Intervention** * **The Event:** Al-Ghazali states that he did not escape this crisis through logical argument. No philosophical proof could satisfy him. Instead, he was saved by what he describes as **"a light that God cast into my heart" (*nur*)**. * **Significance:** This was his first major mystical experience. It taught him a crucial lesson: the ultimate foundation of certainty is not derived from human intellectual effort alone but is a form of divine grace, a direct gift from God that illuminates the heart. This experience foreshadowed his eventual embrace of Sufism. #### **II. The Second Crisis: The Collapse of a Celebrity Professor (Spiritual & Ethical Crisis)** This crisis occurred decades later, when Al-Ghazali was at the absolute pinnacle of his career. He was the most renowned professor at the prestigious Nizamiyya madrasa in Baghdad, with hundreds of students and immense influence. This crisis was not about *what* is true, but about *how to live that truth*. * **1. The Crisis of Sincerity (*Ikhlas*):** * **The Trigger:** As he taught about the virtues of humility, detachment from the world, and sincere devotion to God, he began to examine his own motivations. He realized that his actions were tainted by worldly desires: the love of fame, the pursuit of fortune, the desire for praise, and the pride he took in his own intellect. * **The Implication:** He felt like a profound hypocrite. He was a spiritual doctor prescribing medicine to others that he himself was not taking. The chasm between what he preached and how he lived created an unbearable internal conflict. He knew that knowledge without action and sincerity was worthless in the eyes of God. * **2. The Physical Manifestation:** * **The Breakdown:** This intense spiritual turmoil manifested physically. * His tongue became "locked," and he was literally unable to speak and deliver his lectures. The very instrument of his fame was silenced by his inner crisis. * He developed a severe eating disorder, losing his appetite and becoming physically weak. * He was on the verge of death. His condition baffled doctors, who eventually concluded that the cause was psychological and spiritual, not physical. * **The Resolution: Radical Abandonment** * **The Event:** After six months of torment, he realized he had to make a choice: continue his comfortable but insincere life and face damnation, or abandon everything to save his soul. He chose the latter. * **The *Hila* (Subtle Strategy):** To escape the political and social pressures of Baghdad, he used the pretext of performing **Hajj** (the pilgrimage to Mecca). This was the only excuse that the ruler and society would accept without suspecting him of political dissent. * **The Journey:** He left his family (making provisions for them), his position, and his wealth, and embarked on a ten-year spiritual retreat. This act was the practical application of the truths he had long known intellectually. It was his definitive turn from being a mere scholar of religion to a dedicated seeker on the path. These two crises were the crucibles that forged Al-Ghazali's unique identity. The first taught him the limits of the human mind and the need for divine light. The second taught him the worthlessness of knowledge without sincere practice, forcing him to embody the spiritual truths he had only previously theorized. Together, they represent his complete journey from intellectual certainty to existential and spiritual certainty. ### rel_215_transcriptions/Al-Ghazali Lecture_ Sufism & Shari_ah Of course! Here is a full transcription of the lecture, followed by comprehensive notes on the topics discussed. ### **Lecture Transcription** **(0:00-0:13)** ...it was now a tradition. Tradition yehi hota hai na, you like, a knowledge accumulate ho jati hai, specialists accumulate ho jatay hain, usko khatam karna mushkil hota hai. And that thing grows, that's a tradition. **(0:14-0:28)** Okay? Um, there are so many examples you can think of. Wo tradition, usko hum tradition kehte hain. Haan agar ek cheez shuru hoti hai aur bilkul khatam ho jati hai, you can't call that a tradition. A tradition means continuity. Jaise LUMS as a tradition, theek hai, hamare departments hain, har saal there's some growth, some change, yeah? **(0:28-0:45)** People leave, people come in, but some expertise stays. Yeah? That is a tradition. Or something is left for the new people who come in. Usko tradition hum keh sakte hain. **(0:45-1:07)** Alright. So, uh, shuru kahan se kar rahe hain? Shuru woh kar rahe hain Shariat se. Ke Shariat ke andar, yaani ke, Nikah is or marriage is not a bad thing. But then he gives you a fiqhi position. He says, marriage is permitted, it's mubah for everyone. So anyone can do it. **(1:07-1:21)** Obligatory for anyone who is unable to avoid the haram. So, let’s say you start liking someone and you're entering a relationship or whatever, then marriage becomes wajib, or farz. Wajib. **(1:21-1:38)** And then, those who are able to support a family—that is the main condition for marriage, you should be able to support a family—then it becomes a very preferable, nice thing to do. So yahan se woh keh rahe hain, this is the standard Shari’ position. Yeh aap logon ke liye, this is nothing new for you. **(1:38-1:55)** But, um, but what is his tilt? Yeh toh unho ne humein ek Shari’ disclaimer de diya. Jaise aap ne dekha hai na woh jab cigarette bech rahe hote hain toh neeche kya likhte hain aur uski kya tasveerein lagi hoti hain? **(1:56-2:11)** You will get cancer. And usko unho ne woh chota, hukumat kehti thi ke chota kar do toh woh neeche le jatay thay. Phir hukumaton ne kaha ke nahi nahi poora logon ko ek pegham diya karein. **(2:11-2:21)** Toh unho ne, companies are always trying to cheat it because they are not interested in you. They're selling poison. All they want to do is satisfy a government requirement. **(2:21-2:34)** Toh wahan se hota tha, tambaku noshi sehat ke liye muzir hai… toh woh ek disclaimer hota hai and it's just, usko kehte hain na khana puri. Usko bas ek zaroorat ke taur pe kar diya, okay kaanuni karwai ke liye. **(2:34-2:52)** Now, uh, but then governments, uh, said you must print a hideous kind of picture. Ab aap dekhein na cigarette khareedein Pakistani toh us pe gandi si sade hue organs ki pictures hoti hain because yeah that is what smoking does to you. People still buy them. **(2:52-3:08)** Toh, yeh yahan pe woh shuru mein Shari’ disclaimer de rahe hain, Shariat mein toh hai. But then the next question comes, okay let's say, if you have the option not to marry, or to marry, then what you should do? That's where it gets interesting. **(3:08-3:26)** Baaqi pehle toh unho ne Shari’ keh diya, ke bhai main yeh nahi keh raha ke aap, yeh toh pakka aap bilkul jahanum mein nahi ja rahe. So remember, Tasawwuf mein, this is a very important part, most of, especially the learned Sufis will tell you that the Shariah is not negotiable. Shariah foundation hai. **(3:26-3:30)** Ji, aap kuch kehna chahti hain Amna? Accha. **(3:30-3:50)** Now, um, he then goes on to say, as Saim also pointed out, that some of the Sufi shaikhs hold marriage to be desirable as a means of quelling lust. And acquisition, yaani ke paise kamana, to be desirable as a means of, as a means of freeing the mind from anxiety. **(3:50-4:04)** Others hold that the object of marriage is procreation, because your children pray for you, or if they die premature, then it becomes something of a shafa’at for you on the day of judgment. **(4:04-4:15)** Or, and then there is another hadith about the Prophet encouraging men to find and marry, okay, marry nice wives. **(4:15-4:29)** Toh, and remember that when these texts are written, they're not written for an, like a LUMS audience. They are written for, it's a guy writing for whom? Mostly other… and most of the people they're addressing are… **(4:29-4:40)** Men. Okay? It's boy talk in a way. Toh boys ka toh sabse bada masla hi lust hai. Toh yeh you know Ali al-Hujwiri is speaking… **(4:40-4:58)** aur agar aap Imam al-Ghazali ko bhi padhein, it's very clear that these people are talking primarily to men. Now, sometimes they address women, and then things change. But right now, it's like he is addressing a male audience. I think that's pretty much clear. **(4:58-5:10)** Now despite that of course aapko badi interesting cheezein milein gi iske andar. Aur is pe bhi hum sawal uthayein ge aur main aapko kuch mazeed baatein bataun ga as they arise. Okay? **(5:11-5:31)** So he's going to give you, when you read this, he oscillates. He seems to oscillate a little bit. Kabhi woh kehte hain ke shaadi kar sakte hain. Kabhi woh kehte hain ke shaadi kuch logon ke haan bas theek hai, shaadi kar lein toh aap ka, you can go, quote unquote, control your lust. Phir woh kehte hain jab akele hote hain na log, this is a hadith, ke shaitan akele bande ke oopar, shaitan zyada chadhta hai. Toh aap akele na rahein. **(5:31-5:42)** You see? Uhm, is tarah ki ahadith hain. And then he… shuru mein itni woh tareef karte hain Ali al-Hujwiri ke… **(5:42-5:55)** aapko aise lagta hai agar if you just read this part, you think he is pro-marriage. Yeah? But if you don't read this part, and if you read the end, you think he is… **(5:55-6:06)** …against. He has a severe phobia of marriage. Not just against. Okay? **(6:06-6:20)** So in between, this is one of the most like, this is one of the interesting things to read for scholars, for people like us, ke hum dekhte hain accha unka apna kya dil tha is cheez mein. **(6:20-6:37)** Theek hai? Toh he’s saying ke he will end up saying ke Shariat mein toh yeh bohot acchi cheez hai aur Aap (SAW) ne taareefein bhi ki. Yahan tak ke ek hadith yeh bhi aati hai, mashoor hadith hai. There are two things in the world I really like. One is perfume, the other is your women. **(6:37-6:59)** Okay? What he meant was, and he was teaching people ke aurton ko bura na samjha jaye. Hazrat Umar ki mashoor hadith hai na ke before Islam came, we used to not have any, hum samajhte thay kuch bhi nahi hai. We used to think, have a low opinion of women in general. Ke choti ya kamtar ya plebeian ya just to be used for whatever. Yeah? **(6:59-7:05)** Toh Islam really raised her respect. Hazrat Umar, Hazrat Umar ki yeh kehna hai. So that’s what he's saying, right? **(7:05-7:16)** Anyway, um, phir ja ke woh kehte hain ke… but this is his overall position. Yahan se padh lein, theek hai? **(7:16-7:29)** So, who will read for us? Emaan, you just came. Why don't you start with a bang and read for us from here? **(7:29-7:45)** No companionship is equal… No companionship is equal in rightness and security to marriage. When husband and wife are congenial and well-suited to each other, and no torment and anxiety is so great as an uncongenial wife. **(7:45-7:52)** Okay. Isko dhyan se, yeh unho ne jo IF keh diya na, this is a key to understanding his position. **(7:52-8:05)** Kehte hain agar acchi biwi aapko mil jaye, accha husband mil jaye, yahan pe of course he's talking to the boys so it's only basically talking about a wife, but you can reverse this. Toh then it's great, but if not, then marriage can be such a problem. Please continue. **(8:05-8:20)** Therefore, the dervish must in the first place consider what he is doing, and picture in his mind the evils of celibacy and of marriage in order that he may choose the state of which he can more easily overcome the temptations. **(8:20-8:30)** The evils of celibacy are two: the neglect of the Apostolic custom. The Apostolic custom ko hum kya kehte hain? Sunnah. Ke shaadi na karne ke do nuqsan hain. Number one, aapne sunnah chorr di. Number two? **(8:30-8:42)** The fostering of lust in the heart and the danger of falling into unlawful ways. Yes. So unmet desires create fantasies and perversions and all kinds of other like silly behaviors. **(8:42-8:57)** Right? Toh woh kehte hain ke, you know, yeh this is something that you need to, marriage can help you get rid of. Okay, continue. The evils of marriage are also two: the preoccupation of the mind with other than God, and the destruction of the body for the sake of sensual pleasure. **(8:57-9:15)** Okay, yeh do cheezein hain. Aur yeh this is going to be the key thing for the Sufi, ke sabse masla bada masla hota hai ke you can't focus. You're always distracted. Okay? So what can you do? Agar aap zikr karein Allah Allah karne lagein, toh bacha kehta hai, “Aa, mama, doodh chahiye.” **(9:15-9:27)** So you can't, you have to leave that. You have to give them milk or something like that. Yeah? Toh ek toh yeh ke you stay distracted. Second, you know, if you, the tangible part of the marriage, us mein you end up getting too much into bodily pleasures—khana peena, etc. **(9:27-9:45)** Okay. The root of the matter then? The root of this matter lies in the choice between retirement and companionship. Marriage is proper for those who prefer to associate with mankind and celibacy is an ornament for those who seek retirement from mankind. **(9:45-10:01)** So in the, this is his position. Okay? Yeh unki overall position hai ke shaadi unke liye jo logon ko, logon mein rehna pasand karte hain, aur celibacy un logon ke liye, I think iski behtar English hai reclusion, unke liye jo ke akele rehna pasand karte hain, jinki bardasht, jinse yeh cheezein bardasht nahi hoti. **(10:01-10:11)** Okay? Phir woh kuch aur ahadith sunate hain aapko kyunke you know many people are not convinced by this. Is mein there is one hadith in which the Prophet said ke aakhir ke qareeb, qayamat se pehle pata hai sabse acche log kaun honge? Woh jo halke phulke honge, jo be-fikr rehte honge. **(10:11-10:21)** Toh is mein unho ne aage kisi aur sahabi ko quote karke, be-fikr kaun log hote hain, jinko job ki, paison ki, ghar-baar ki zyada fikr nahi hoti. They are relaxed, they are happy with what they have. **(10:21-10:33)** Now he takes it to mean, well in this day and age, yeh kehte hain in this day and age, who are the people who are so light? Kehte hain the ones who are not married. So he says maybe, so in that respect marriage, not marrying also has its, um, also has its merits. **(10:33-10:46)** Okay? Um… Kahaani toh aap logon ne padh li thi na, is pe aap ka quiz hua tha? Uske bare mein woh kya kehte hain? Yeh wali kahaani suni hai aap ne? **(10:46-10:59)** This is a, so when he says that you can marry or you should marry or you can marry, baat masla sirf yeh nahi hai ke can Muslims marry? No, he's not even talking to most or ordinary Muslims. Which Muslims is he talking to? **(10:59-11:13)** Sufis. Especially like the mutasawwif, meaning the beginners, the dervish, the students or disciples, jo is cheez mein aage jaana chahte hain. Unko yeh advice kar rahe hain. He's saying ke shaadi mein bohot sare masle aate hain aur agar aap ghalat shaadi mein phans jayein jo ke aapko haram ki taraf le jaye ya aapko kisi aur burai ki taraf le jaye, phir toh aap bilkul hi, your entire spiritual path is destroyed. **(11:13-11:29)** So choose wisely. Phir woh misalein dete hain of amazing couples. And one example he gives of a wife of the ideal sort of wife is the wife of Sahl bin Abdullah al-Tustari. Yaad hai Sahl al-Tustari? We've come across his name? Jinka hum ne padha tha inki mashoor tafsir hai, one of the earliest mystical tafasir, jisme woh noor aur cosmic creation ka zikr hai. Okay? **(11:29-11:52)** So yahan se, yeh ek kahaani padh lete hain. So… Sahresh, can you read for us? It is related that a son was born to Sahl… It is related that a son was born to Sahl ibn Abdullah al-Tustari. Whenever the child asked his mother for food, she used to bid him ask God and while he went to a niche and bowed himself in prayer, she used to secretly to give him what he wanted without letting him know that his mother gave, had given it to him. **(11:52-12:02)** Thus he grew up accustomed to turn unto God. One day he came back from school when his mother was absent and bowed himself in prayer. God caused the thing that he wanted, sought, to appear before him. When his mother came, came in and she, she asked, “Where did you get this from?” He answered, “From the place whence it comes always.” **(12:02-12:12)** Okay. Niche kisko kehte hain, mihrab. Aaj kal toh sirf masjidon mein hota hai. Lekin ek zamane mein log gharon mein bhi banate thay. Aur agar aap ke koi dada-shada agar purane hon, bohot namazi thay ya sufi thay, ya pardada, aapne stories suni hon, ke woh palang bhi rakhte thay alag. A raised platform to pray. Uski ek alag kahani hai. **(12:12-12:25)** Toh yeh us zamane mein log alag se ek paak jagah rakhte thay gharon mein namaz ke liye. Aur toh bacha namaz padhta tha ya thoda bohot sajda karta tha, maa khana rakh deti thi. Ke woh kehta tha yeh kahan se aaya hai? Allah ne diya hai. Maine toh nahi diya. But she would imply that. **(12:25-12:31)** Toh ek din khana nahi tha toh bhai sahab khud hi kha rahe thay. Yeh kahan se aaya? Kehte hain roz jidhar se toh aata hai. You see? **(12:31-12:43)** So this is like a karamah, a miracle. What is, who is being credited here? The mother. Ke us maa ne bacche ki training aisi ki ke uska Allah se aisa ta'alluq ban gaya. So that is the kind of, you know, that is like the ultimate wife. **(12:43-13:00)** Accha, aur bhi agar aap sufi literature padhein, so there are these amazing stories, woh lagta hai jaise woh koi duniya badi ajeeb hai. Aap samajhte sochte ho ke aaj kal, aur Sufi aksar ek tarah se lament sa karte hain, woh kehte hain ke aisi, if you get a woman like this, if you get a wife like this, if you find people like this, you are unbelievably lucky. Because these, such women, such people will be extremely rare. **(13:00-13:17)** Misal ke taur par ke ek dafa ek koi buzurg aa rahe hain wapas ghar mein aur kuch khana le ke aa rahe hain toh unki aurat jo biwi hai unki woh bahar aa gayi gusse mein. Toh aap samjhein ge kya hua, why is she so angry? Because woh kehti hain ke maine tumhe udhar se guzarte… sirf us ek jagah se guzarte hue dekha jahan kuch ghalat log hote hain, toh agar unse kuch karobar karke aaye ho aaj, toh yeh wapas le jao, humein bhooka rehna manzoor hai, humein jahannum nahi chahiye. **(13:17-13:47)** Is tarah ki aur bhi badi kahaniyan, Attar also records some of those stories aur of course then he makes them chatpata, magar he also records some certain stories like this. Isi tarah… there are other stories, yaani ke what, the opposite of what you expect. Of course, you know the, the ideal would be that you know, people say, ghar wale aapko kehte hain ke humein bhi la ke do, dekho ussara unke paas kitni acchi gadiyan hain aur yeh aur woh. These women do the opposite in Sufi literature. Sufi women end up doing the opposite of what ordinary people do. **(13:47-14:00)** Isi tarah se there was this legend, this lady by the name of Fatima, and her husband was actually a Sufi master and they had this amazing relationship. So you would think, fine, they're all happy, unke bacche bhi hain aur perfect kind of a couple, but she is, she feels, you know, uncomfortable that it's too good. **(14:00-14:11)** And she wants to go beyond it. And she requests her husband ke ji… and her husband demands her company and whatever aur woh dono sufi hain. Toh woh unko aap kahoge ke usually you get very protected in such a relationship. And she says, nahi nahi nahi, tum kisi aur ke paas chale jao, mujhe Allah Allah kehna. **(14:11-14:23)** Of course, he didn't do that but is tarah ki humein, you will get these surprising kind of things that you would normally not expect because of the sort of high values these people have. Okay? Accha aage ja ke na woh bohot zyada bura bhala aurton ko yahan pe kehna shuru kar dete hain. **(14:23-14:29)** So how do we make sense of this? This is something you will find in Sufi literature. Pehle ji Shariat ki baat karein ge, phir aurton ki tareef karein ge, phir aurton ko accha kahein ge, phir super women, they'll talk about these super women like Rabia or the wife of Sahl al-Tustari and so on. **(14:29-14:38)** But then ek dum se na woh aurton ko bura bhala kehna shuru kar dete hain. Why is, what's happening there? Yeh dekhiye na yahan pe woh kya keh rahe hain? A woman was the cause of… who was reading for us? Amna aap, nahi aap padh chuki hain, can they read please? **(14:38-14:55)** A woman was the cause of the first calamity that overtook Adam in Paradise. Also the first quarrel that happened in this world, i.e., the quarrel of Abel and Cain. A woman was the cause of the punishment inflicted on the two angels, Harut and Marut, and down to the present day, all mischiefs, worldly and religious, have been caused by them. **(14:55-15:04)** Okay, wait a second. Yeh kahan se aa raha hai? What is the source of this? Hum jannat mein se nikale gaye aurat ki wajah se. Aurat ne kaha, chalo na kha lein, mazedaar hai. Eve. Bible mein hai, Adam and Eve. **(15:04-15:08)** What is the source of this? Quran mein teeno stories hain. Quran mein hai yeh story? Bible. **(15:08-15:15)** Bible? Quran mein teeno stories hain. Habil Qabil ki bhi, Harut Marut ki bhi, Adam ki bhi. Yeah, but does the Quran blame women? It doesn't blame women, woh just story narrate karta hai. **(15:15-15:21)** That’s my question. Where do you find this blaming of women for all of these problems? I think Christian traditions. Christian and Jewish. Toh Biblical tradition, in short. Jewish and Christian sources mein hai, yeh Islamic sources mein nahi hai. **(15:21-15:35)** Na aapko ahadith mein yeh baat milti hai, na aapko yeh Quran mein milti hai. Aap kuch kehna chahte hain Abdul Rehman? Quran mein bhi nahi milta. And in fact, when I was at the University of Chicago, there was a lady who had done her PhD on this subject. Aur, um, she had also converted to Islam, I think. Toh Quran ke andar jo yeh zikr aata hai jannat se nikaale jaane ka, us mein the Quran blames both equally. **(15:35-15:43)** It's actually the verbal form blames both equally, ke tum dono ne kya kiya? Okay, aisa nahi hai ke Hazrat Adam se hi hua. Both were sort of culpable. Yeah? **(15:43-15:58)** Sir, Habil Qabil ki story mein toh there was no woman if I remember. Woh I think Habil offered his lamb to God and God accepted that and… But why were they sacrificing the lamb, do you know? I don't know the reason but I know Cain was jealous. No, there was a, there was a girl and both of them wanted her and the girl wanted one of them. **(15:58-16:09)** But the other one, I think Cain wanted Abel or Abel wanted Cain? Cain wanted Abel. Cain wanted Abel. Okay, so the girl liked Abel and Abel also liked her. And you know, unho ne kaha ke chalo theek hai, hum, Abel was the nicest person. And he said, ke theek hai, main na, uhm, main apne bhai se nahi ladun ga aur agar Allah ko nahi manzoor, toh main apne bhai ke liye chorr bhi dunga usko. **(16:09-16:21)** So Cain agreed, chalo okay, chalo ek woh karte hain, sacrifice and let's wait for a sign. Toh unho ne koi qurbani ki aur us zamane mein kiya jata tha Jewish tradition, baad mein bhi yeh bana, ke log qurbani karte thay, they would wait for a sign. **(16:21-16:32)** Toh agar woh expectation ke mutabiq ho jata tha, toh you would say ke the sacrifice is accepted ya yeh koi na koi ishara aapko milta tha. Now it came clearly in favor of Abel, ke so Cain was in a way it is disputed by trial, jisko hum kehte hain. He was defeated by trial. Ke he should have stepped away. But what did Cain do? Killed Abel. **(16:32-16:44)** Yeah. Aur Quran mein this is a very tragic moment, kyunke Quran mein jab Qabil kills Habil, is coming to fight Habil, Habil in a very tragic sort of way says, I'm not going to fight my brother. Toh woh, kya? I just wondered about that. It's a very moving kind of thing in the Quran. It's a very moving, but Quran details mein itna nahi jaata. **(16:44-16:51)** Haan, imply toh hota hai. Now, if guys or dudes are fighting over a girl, is the girl responsible? No. And the Quran doesn't say anything, it doesn't blame women. **(16:51-17:02)** Uhm, jab ke Bible mein ya Biblical tradition mein is tarah ki bohot mirch masala bohot zyada hai. Okay? Khas taur pe jo Jewish traditions hain, un mein toh itna mirch masala hai anbiya ki zindagiyon ke bare mein, itni be-huda baatein hain jo ki Musalmanon se woh bardasht nahi hoti. Okay, and the Muslim tradition they created a huge problem because we have a special respect for the Anbiya which the Biblical, especially in the Jewish tradition, you don't find. **(17:02-17:09)** Yeah, they honored their prophet, ke yeh Allah wale thay, lekin Allah wale bhi bade time-I thay. You see what I'm trying to say? Okay. **(17:09-17:15)** So, here he is drawing on the Biblical tradition. This is not the Muslim tradition. **(17:15-17:23)** But phir bhi yeh sawal paida hota hai ke itne zyada Sufian ne aur ulama ne yeh Biblical tradition absorb kyun kiya? Even Imam al-Ghazali, woh bhi is tarah ki cheezein quote karte hain. Okay? **(17:23-17:35)** So you, I think, you should, I think it's, it's okay to accept that this is just part of a medieval, sexist society. Ke us mein aap aurton ko blame karte thay, aur aurtein, aurtein wajah ban bhi jaati hain. Although I don't think they're to blame in a way because, humara unka kya kasoor hai agar ladke lad rahe hain unke oopar. **(17:35-17:48)** Toh, but one way to read that is, not that women are causing it, but your weakness for women is causing these issues. So you get over your weakness for women. You see what I'm trying to say? In other words, baqi aage hum aage ja ke padhte hain. **(17:48-18:00)** In other words, it's not about women per se. It's about your own tendencies and your own relationship with women. Aur jab Sufi daant dapat karte hain aurton ki, all they're basically saying is, stop being, kehte hain na fida na ho. **(18:00-18:08)** Stop like, stop like thinking that a girl is at the end of your life, or women and marriage is everything that matters. That is nonsense. Yeh woh keh rahe hain. Okay? **(18:08-18:18)** Jaise, uh, you know one of the very fine things I read, uh, although it's not very as famous as his other works, is Attar's Pand-nameh. Attar wrote many things. Okay? **(18:18-18:28)** Aap log toh woh Mantiq-ut-Tayr padhein ge, ya Tazkirat-ul-Auliya padhein ge, but unki ek choti si ek aur booklet hai jiska naam hai Pand-nameh. A Book of Advice. Nasihat-nama keh lein. Aur us mein, you know he says ke it's very clear, he does, he launches a critique of women. **(18:28-18:41)** But immediately, woh saath saath aapko nazar aata hai ke woh kin ki baat kar rahe hain. Woh pata hai kin ki baat kar rahe hain? He's talking about slave girls. He's talking about dancers. In other words, aaj kal jis tarah se aap keh lein clubbing aur us tarah ki cheezein, unse woh mana kar rahe hain. **(18:41-18:51)** And immediately after that he says, ruk jao, ruk jao, respect them and be nice to them. So you scratch your head and say, ke abhi aap ne itna bura bhala kaha, phir ek dum se aap kehte hain nahi nahi inki izzat karo, inke saath meherbani aur pyaar se pesh aao. **(18:51-19:02)** All right? So it's both things and they don't have a problem saying that. Today you might think it's politically incorrect to say this, ke aurton se, fitna hota hai, aurton se tempation hoti hai, aurton se buraiyan hoti hain. But they were pretty cool saying both things: respect, love, but be wary, ke hota toh hai, masla toh hai. You see what I'm trying to say? **(19:02-19:13)** That is the, the view they took. And in most cases, in fact Imam al-Ghazali also wrote a book, it was called Nasihat al-Muluk. Nasihat for the Princes. Us mein bhi woh usi tarah ki aurton pe critique launch karte hain, but then he makes it very clear that he's talking about or he's addressing those people who are always going to red light areas or who are obsessed with women. **(19:13-19:24)** Are you with me? These people are not criticizing pious wives or decent people or aurtein in general. No. Yeh duniya different hai. So us duniya ko apni duniya mein jab aap apply karein aur aaj judgments karna shuru kar dein ge oh dekho aurton ko kya sochte thay, that is a bit a-historical, it's an a-historical misreading of texts. **(19:24-19:35)** Kyunke unki duniya different hai aur us mein woh distinctions rakhte thay. Nek khawateen aur hain, maayein aur hain. Yeah? Aur phir, buraiyon mein majboor aurtein aur hain. So, you know, they don't criticize the kanizas too much, they criticize the men more who fall for or who get obsessed with these women or just changing women or having these, you know, I don't know, one-off relationships or one-night stands or whatever. **(19:35-19:46)** Woh us ka masla hai, because you get stuck in that, it becomes an addiction, it becomes a distraction, aur udhar se saari phir barbadi hoti hai, ya log ladna shuru ho jaate hain aurton ke oopar. Yeh nahi, so he's saying get rid of that. Okay? Aapko pata hoga Punjabi mein bhi kya kehte hain, ke Punjab mein kya mashoor hai? Ladai ki teen wajahein kya hain? **(19:46-19:54)** Punjab ki history mein teen cheezon pe sabse zyada ladai hoti hai. Zameen. Nahi nahi woh teeno cheezein ‘zay’ se shuru hoti hain. It's very nice. It’s one of the most famous Punjabi pieces of wisdom. **(19:54-20:06)** Zan, Zar, Zameen. Yes, you know this! Zan, Zar, Zameen. Zan, Zar, Zameen. Okay, I think these days you can reverse it. Okay? Aaj kal shayad ulat hai. Kyunke aaj kal DHA bhi aa gaya hai na. Aur woh agricultural property bhi ab China bhi aa raha hai. **(20:06-20:18)** Uh so, agar in teen cheezon ko aap kisi ki chedein ge toh zaahiri baat hai ladai hogi. Okay? If you kisi aur ki aurat pe bhi nazar daalne ki koshish karein ge, ya us pe nazar daalein ge, toh whatever, us pe ladai hogi. Kisi ki chori karna shuru karein ge wealth, ladai hogi. Aur kisi ki zameen pe kabze ki koshish karein ge, toh ladai hogi. So, that's what that's what he's trying to say. **(20:18-20:25)** Now, the most interesting part is this one. So let's read this. Ayesha, can you read this for us? After God had preserved me for eleven years from the dangers of matrimony, it was my destiny to fall in love with the description of a woman whom I had never seen. **(20:25-20:41)** And during the whole year my passion so absorbed me that my religion was near being ruined. Until at last God in His bounty gave protection to my wretched heart and mercifully delivered me. Okay. Yeh dekhiye. This is the sentence on which people base the view that he was married. **(20:41-20:51)** And I'm not so sure what he means here. Is he saying I was married? Kehte hain ke mujhe Allah ne gyarah saal tak shaadi se bacha ke rakha. Toh lagta hai inko pehle se hi ek insecurity thi, koi problem tha. Maybe he had a bad relationship at some point in time. **(20:51-21:01)** But pehle kuch tha ya nahi tha, baad mein toh definitely he had a terrible year. Now that terrible year, of course, is terrible in retrospect. Jab woh chada hoga toh tab toh shayad unhein accha hi lagta ho. He says ke I was absorbed in the love of a woman. **(21:01-21:09)** Okay? And look at what he says. It was my destiny to fall in love with the description of a woman whom I might never have even seen. **(21:09-21:18)** And during the whole year my passion so absorbed me that my religion was near being ruined. Yaani ke main ek ladki thi jisko maine dekha bhi nahi tha, aur uski koi jhalak thi ya uski koi surat thi ya uski koi, uski koi, koi, koi, uski jhalak I think Urdu mein jhalak thi, koi uski jhalak thi ya koi surat thi ya kuch maine us ka dekha. **(21:18-21:28)** Maine usko dekha bhi nahi, dekhe baghair hi main pagal ho gaya. Aur ek saal tak I was mentally disturbed. Then he said God somehow delivered me. Okay? **(21:28-21:38)** So yeh kehte hain ke, this is the most dangerous thing, you get so distracted by women. And look, yeh jo part hai na, anti-women, chota sa part hai, itna bada toh nahi hai, usko isse mila ke padhna chahiye. **(21:38-21:51)** He's not, even Ali al-Hujwiri who has a phobia of marriage in my view is still overall, he tries to, you know he does not want to violate the Shariah or make a demon out of women, except when they serve to take you off spirituality or the spiritual path for people who are already on the spiritual path. **(21:51-22:04)** Yaani ke logon ne shuru kar di ek cheez, woh agar khatam ho jaye aurton ki wajah se ya kisi affair ki wajah se, that is what he really fears for his dervishes. Toh isliye woh keh rahe hain ke aurton se bach ke raho. Yeah, if you get someone like a very nice person who's compatible with the path that you want to take, why not? **(22:04-22:15)** Theek hai? Magar kehte hain mere saath toh bohot bura hua, maine toh tauba ki. Allah ne shukar hai mujhe nikal diya. Ek saal kuch hua. So, you know, one could have, one could say, vaise toh itne bade hain ke hum toh nahi kuch keh sakte, hum yeh keh sakte thay na ke woh gyarah saal tak agar aap shayad ijtinab na karte, you know maybe you, that sort of need that you had built up so much. **(22:15-22:25)** Toh woh ek saal usko ek dum se woh halki si chingari lagi hai and consumes you so much that it was overwhelming. And then you, you got over it fine. Magar kyunke agar, others don't get to this point because they make an early call to go for marriage and then they they're lucky they have a good wife or a good husband. **(22:25-22:34)** Samajh aa rahi hai aapko? Jab aap itni der ek cheez ko delay karte hain aur kai dafa phir aap nahi karna chahte toh ho jaati hai because andar se aap ka rooh aapki jism uski ek shayad zaroorat thi. Alright. **(22:34-22:45)** Then he says, and this is where I see your, his tilt coming to view. He says, Sufism was founded on celibacy. And the introduction of marriage brought about a change. Okay, and this part I really like, and again, let's try to make sense of this. Uh, yeh aap padhein ge Mohammad? **(22:45-22:50)** Uzaima, Uzaima. Uzaima aap padhein ge. There is, in short, yahan se padhein. There is no… There is no flame of lust that cannot be extinguished by strenuous effort because whatever is of a corporeal nature proceeds from the self because it is an instrument that may be removed. **(22:50-22:57)** Another is not necessary for that purpose. The removal of the lust may be affected by the two things. One of which involves sense perception and restraint. **(22:57-23:14)** While the other lies outside the sphere of human action and mortification. The former is composed of the, the traditions and agitating fear of the tool of, which is connected with the desperate and sensual thought, a love which extends its empire over the different parts of the body and devours all the senses of the, a sensual fire. **(23:14-23:19)** What a nice, this is a beautiful part. Yeh samajh aayi hai ya nahi aayi? Kyunke waqt kam hai isliye main aapko jaldi se samjha deta hoon. Remember what he said that the tasawwuf for him is the attainment of purity or safa, yeah? **(23:19-23:28)** And remember what he said, how do you achieve that safa? Through… you of course there are amaal, there are akhlaq, there are adaab, that's all part of the, the effort you put in, jisko hum mujahadah bhi kehte hain. **(23:28-23:36)** So you do, you do many things. But that doesn't really crack it for you. What cracks the, the real like barrier to purification for you is? **(23:36-23:43)** A grant of love. Yes, divine love. Okay, when there's a, you feel that infusion, ke ek dum se aapko kuch mehsoos hua hai. Uh, something has flowed into you that, you know, an experience which is very hard to describe. **(23:43-23:54)** You experience God's love. Toh kehte hain usse kya hota hai ke aapki, uh, saari jo sensual thoughts hain, theek hai, ladki ke paas chala jao, main is ladke ke paas chala jao, main yeh kar loon, main woh kar loon, main khana kha loon or whatever. He says ke woh ek dum se woh jaise na ghayab hi ho jaati hain. **(23:54-24:02)** Woh bilkul dispersion, is ghayab ho jaate hain. Okay? Aur woh jo, woh ishq jo hai, woh aapke jism, you kind of physically feel it. You know? And your senses are no longer the same senses. I mean we don't know what he means but it sounds very beautiful. **(24:02-24:08)** Ke kisi ko aisi koi paak mohabbat taari ho gayi hai jaise thand si pad gayi hai. You see what I'm trying to say? That's what he's saying. Toh he's saying ke do cheezein hain. Ek toh yeh ke aapne bhook, bhook ke rehna hai. Jisko hum kehte hain roza rakhna. **(24:08-24:18)** Ahadith bhi hai ke if you can't control your lust, what do you do? You fast. Fast. Um, but you know sometimes even fasting doesn't work. Right? That’s what he's saying. Aap yeh peeche se isse connect karein, shuru mein unho ne padha tha na, he says ke aap saare amaal shamaal kar sakte hain lekin phir bhi ho sakta hai you don't get over your problem. **(24:18-24:26)** Let's say you fast, you keep fasting, ho sakta hai aapne teen din tak roze rakhe, Ramzan mein bhi roze rakhe, Eid aayi aur aapne phir gandi cheezein dekhna shuru kar di, idhar udhar bhagna shuru kar diya. You see what I'm trying to say? **(24:26-24:34)** So he’s saying fasting only gives you preparation, kuch it dampens you, it opens up these windows. But the real change happens when you experience, when you are infused with divine love. Okay? **(24:34-24:43)** So this is Ali al-Hujwiri's, uh, view that you can do it yourself. And he ends the account after having, I think, shown us his preference for celibacy. **(24:43-24:55)** He ends up with again balancing it and giving you the final verdict, repeating his final verdict which is look at your own condition. Look at what sort of a person you are. I am not a lady's type and I had a very bad experience. **(24:55-25:05)** So, and most of the early Sufis were like that. But that doesn't mean you can't marry. See what, what helps you and see what works for you. That's, he repeats that. Okay, so now if I ask you in the exam ke inka view kya hai marriage ka, toh aapne mujhe isko do-teen levels pe batana hai. **(25:05-25:15)** Ek toh aapne mujhe batana hai ke woh Shari’ pe firm rehte hain. Doosra unki apni preference is for marriage or celibacy? Celibacy. Celibacy. Why? Because of a couple of things. Ke ek toh unka koi probably unke personal experiences acche nahi thay. Unki apni personality shayad itni acchi nahi, is tarah se nahi thi. Unko mushkil thi, you know not everyone is a ladies' man. **(25:15-25:25)** Okay? We know the Prophet was very good with women, but not everyone is like the Prophet, yeah? So he tried, but he, even without trying it happened to him and he did not have very good relationship experiences. **(25:25-25:34)** So he said that it was a, it almost destroyed his spiritual quest, which is why he thought that it was not good for him to marry. But he says then finally, what about you? That's me. What about you? **(25:34-25:40)** Look at yourself. Accha jahan pe woh kehte hain ke shaadi ki koi zaroorat nahi hai lust ko control karne ki, magar usse peeche unho ne kya kaha hai? Aksar hamare bade kehte thay ke shaadi se ho sakta hai control mein a jaye. **(25:40-25:46)** So what is he, what is he doing here? Is he contradicting himself? Maybe he’s just saying that there are other ways to restrict it instead of just marriage. **(25:46-25:54)** Yeah, so what he's basically doing is, he is encouraging people. There are, so he's saying there are two paths. You can marry, or you can go for celibacy, ke aapne nahi shaadi karni. **(25:54-26:01)** If you choose this path, at times you might want to go back to this, you might get confused, ke yaar mujhe abhi bhi bure khayal aate hain, mera abhi bhi dil chahta hai ke main kisi ladki ke paas pahunch jao. So, you know but then when I go there maybe I am terrible. **(26:01-26:08)** I have very bad experiences and I can't fulfill my obligations, mera deen bhi kharab hota hai main haram cheezon mein padh jata hoon. You see what I'm trying to say? So aap tazabzub mein hain. You come here, you go back, you come here, you go back. **(26:08-26:17)** Un logon ko woh keh rahe hain ke bhai, you can, if you want to make a complete break, you can do it. Okay? Magar us mein, don't just think you can get it, you can get out of this cycle or addiction for women just through fasting or hunger. **(26:17-26:27)** This is not, this is going to help but this is not enough. You need what? You need the divine love factor. Just make your heart okay? Uski usse phir aap logo ko control hoyega. If you want to make a clean break. **(26:27-26:36)** So when he says ke doosre ki zaroorat nahi hai, he's talking to those people, he's encouraging those jo ke ek decision le chuke hain. Aur unko woh keh rahe hain ke theek hai, if you have chosen this path, you can do it. Don't go back on this. You are always like, you'll end up confused. **(26:36-26:45)** But if you are the one jisko isse kuch fayda hota hai, sukoon milta hai and you can even pray better, then go for this. Got it? Toh he seems very consistent. So once again just to remind you, aap ek accha exam mein answer likh sakein. **(26:45-26:54)** Number one, he affirms the Shari’ view. Number two, he has a preference for celibacy for personal reasons. And finally, the different parts where he seems to contradict should be understood in different, in terms of his different audiences. **(26:54-27:02)** Jab woh ek khas tarah ke boys se baat kar rahe hain, he says, you know his tone is different. Jab woh doosre tarah ke ladkon se baat kar rahe hain, his tone is different. And of course yeh ladke bhi chote ladke nahi hain. These are probably some of these may be older men. You see what I'm trying to say? But these are men at the end of the day. **(27:02-27:03)** Okay? ### rel_215_transcriptions/Al-Ghazali on Marriage and Abstinence This text is a summary of Chapter VII, "Marriage and Abstinence for the Novice," from Al-Ghazālī's work *Kasr al Shahwatayn (Curbing the Two Appetites)*, translated by Caesar E. Farah. The chapter addresses the dilemma a spiritual novice on the Sufi path faces regarding marriage. Here is a summary of the key arguments: **The Ideal of Abstinence for the Novice:** * Al-Ghazālī argues that a novice beginning his spiritual journey should ideally avoid marriage. * Marriage is a major commitment that distracts the heart from its primary goal: intimacy with God. Anything that turns one away from God, including family and worldly attachments, is a spiritual hindrance. * The novice should not be misled by the example of the Prophet Muhammad's multiple marriages, as the Prophet's spiritual state was so advanced that nothing could distract him from God ("One cannot compare angels to smiths"). **When Marriage Becomes Necessary:** * Despite the ideal of abstinence, the novice's greatest enemy is lust. * If a novice cannot control his lust through spiritual exercises like fasting and prayer, then marriage becomes not only permissible but necessary. * The sin of uncontrolled lust is considered a greater spiritual danger than the distraction of marriage. **The Danger of the "Sin of the Eye":** * A major focus is on the danger of looking with desire. Al-Ghazālī states that "sinning by sight" is a major sin that leads to greater sins like adultery. * He quotes Jesus, who warned that looking "plants lust in the heart," and the Prophet Muhammad, who called a lustful gaze "one of Iblis' (Satan's) poisoned arrows." * This warning is extended even more strongly to looking at beardless young boys, which is framed as a greater evil than desire for women because it cannot be legitimized through marriage. * A hadith is cited where the Prophet tells his wives to veil themselves even from a blind man, implying the act of looking is itself a spiritual issue for the one who sees. **Guidelines for a "Necessary" Marriage:** If a novice must marry, he should do so with the right intention and conduct: * **Choose a Pious Wife:** He should marry a poor, religious woman, not a rich or high-status one who would bring worldly demands and distractions. * **Show Kindness and Patience:** He must treat his wife with exemplary character, as illustrated by the story of a Sufi who pretended to be blind for 20 years to spare his smallpox-scarred wife from feeling shame. * **The Purpose is to Curb Lust:** The marriage is a "cure" for the "disease" of lust, allowing him to continue his spiritual path without this major impediment. **Illustrative Stories:** * **Rābi'ah al-'Adawīyah:** A famous female saint who rejects a wealthy suitor, stating that her preoccupation is with God and she cannot be distracted by worldly matters. This represents the ideal of abstinence. * **Sa'īd ibn al-Musayyib:** A renowned scholar who, fearing the temptation of lust, marries his daughter off to a poor student for a tiny dowry on the very night the student's first wife died. He did this to prevent the student from sin and rejected a proposal from the powerful Caliph for his son. This story emphasizes that piety is more important than wealth and that marriage is an urgent remedy for lust. In conclusion, Al-Ghazālī presents a pragmatic approach: while celibacy is the ideal state for a novice focused on God, marriage is the prescribed cure if lust becomes an uncontrollable and greater spiritual threat. Of course. Al-Ghazālī makes extensive use of anecdotes in this text. It is a core part of his teaching style to use stories about prophets, saints, scholars, and ordinary people to illustrate his ethical and spiritual points, making them more powerful and relatable. Here are the key anecdotes used in the provided pages, categorized by the point they are intended to prove: ### 1. Anecdotes Illustrating the Ideal of Abstinence and Devotion * **Abu Sulaymān al-Dārānī's Rejection of Marriage:** When asked if he needed the "pleasures of a woman," this Sufi saint replied, "May God not cause me to enjoy one, because intimacy with her prevents intimacy with God." This illustrates the core argument that for a novice, worldly attachments can hinder a relationship with God. * **The Proposal to Rābi'ah al-'Adawīyah:** A wealthy man, Muhammad ibn Sulayman al-Hashimi, who earned 80,000 dirhams a day, proposed marriage to the famous female saint Rābi'ah. She rejected him, writing back that abstinence from the world brings peace, and that her preoccupation with God was so complete that she could not be turned from Him, not even "by a blink of the eye." This is the ultimate example of prioritizing the spiritual over the material. ### 2. Anecdotes Illustrating the Dangers of Lust and the "Sin of the Eye" * **The Prophet and the Blind Man:** The Prophet's wife, Umm Salmah, recounts how she and another wife were present when a blind man (Ibn Umm Maktum) came to visit. The Prophet told them to veil themselves. When they protested that the man was blind and couldn't see them, the Prophet retorted, "but can you not see him?" This story is used to argue that the prohibition against lustful gazing applies to women as well as men. * **The Companion's Struggle with Lust:** An unnamed companion tells a story of being so burdened by lust that he cried out to God. He had a dream where a figure struck his neck with a "sword of light," curing him for a year. When the lust returned even stronger, he was told in another dream, "woe unto thee, how often (must) you ask God to lift from you what He does not like to do!" After this, he got married, which finally "put an end to my suffering." This vivid story illustrates how overwhelming lust can be and that marriage is the divinely sanctioned solution when spiritual exercises fail. ### 3. Anecdotes Illustrating Why and How to Marry (as an Urgent Cure for Lust) * **Sa'īd ibn al-Musayyib's Quick Marriage of his Daughter:** This is the most detailed anecdote. A student named 'Abdallah ibn Abi Wada'ah loses his wife. His teacher, the great scholar Sa'īd ibn al-Musayyib, immediately offers him his own daughter in marriage for a tiny dowry of two or three dirhams. That very night, Sa'īd personally brings his daughter to the student's home, telling him, "I did not wish you to spend the night alone." This story powerfully demonstrates: 1. The urgency of marriage to prevent the sin of lust. 2. The virtue of choosing a pious but poor suitor over a powerful one. 3. The unimportance of wealth and status in a righteous marriage. * **Sa'īd's Rejection of the Caliph:** As a follow-up, the text mentions that Sa'īd had previously refused to marry the same daughter to the son of the Caliph 'Abd al-Malik ibn Marwan, the most powerful ruler of the time, even when he was publicly whipped for his refusal. This reinforces his absolute commitment to piety over worldly power. ### 4. Anecdotes Illustrating Exemplary Conduct Within Marriage * **The Novice Who Pretended to Be Blind:** A novice married a beautiful woman who was then disfigured by smallpox. To spare her from the shame of feeling ugly, he pretended that he had gone blind. He kept up this pretense for twenty years, only "opening his eyes" after she died. This is used as an example of supreme kindness and compassion in a marriage. * **The Sufi with the Bad-Tempered Wife:** A Sufi was very patient with his wife, who had a bad character. When asked why he didn't divorce her, he replied, "I am afraid someone (else) might marry her, would not be patient with her, and would be harmed by her!" This story illustrates patience and taking on a burden for the sake of protecting another person. * **The Husband Who Served His Wife:** A novice was so dedicated to serving his wife that she complained to her father, "this man puzzles me; I have been in his house for years and could not go to the bathroom once without him carrying water in front of me." This illustrates an ideal of humble service to one's spouse. ### rel_215_transcriptions/Al-Ghazali_s Sufism Lecture Okay, so let's begin. Let's resume where we left off. We were discussing Imam al-Ghazali's spiritual autobiography, Munqidh min al-Dalal, which translates to "Deliverer from Error." You may hear it more often as... it's usually translated as "Deliverance from Error" because it sounds better in English. But the book is literally means "deliverer," something that delivers you from error (yaani, gumrahi se bachane wali). Okay? Now... Shifa, those students who don't return after 10 minutes, and they were probably just here for the quiz, you should mark them absent, okay? Alright. But, wait for a few more minutes, maybe they just went out for... Okay. Toh hum baat kar rahe thay, the last thing we discussed is how Imam al-Ghazali came, you know, he starts, he tries out the Sufi path, first intensely, then you know, he's back to work, and he learns or he finds a way to balance both his seclusion, his zikr, and his family. Okay? That's where he what he returns to. Once he returns to life, with family, with service, with khidmat, with his job, teaching job, he says that, you know, he spent 10 years in this condition where he could do both. And, you know, then he says there was a discussion about how any attempts to describe the Sufi path are often fall short of the experience. Okay? Theek hai? Now this point 101 is important. It says here, "What became clear to me of necessity," (meaning, yeh mujhe yaqeen se, yeh laazmi taur pe kya samajh aa gayi), after practicing the Sufi path, the biggest thing I got was I got to understand the nature and the special character of prophethood. This is very important. Humne kal bhi baat ki thi, once you have 'dhawq', what Imam al-Ghazali calls 'dhawq', others would call 'irfan' or 'ma'rifa'. Imam al-Ghazali prefers the word 'dhawq'. Once you have that, you can truly appreciate and understand what the Prophet went through. Allama Iqbal ke jo walid thay, Allama Iqbal's father, he was a Sufi. And he used to say, when you read the Quran, do you know how you should read the Quran? When you should read the Quran, read it as if the verses are being revealed to you. Okay? Now, Iqbal had a, initially had a love-hate relationship with the Sufi tradition and eventually he found, he came to terms with it. Phir bhi woh zara critical thay, he was he was influenced by many currents of the time, Sir Syed waghera. Lambi kahani hai, uss taraf nahi jaate. Theek hai? But let's get back to Imam al-Ghazali. So, the big thing about for him is that once you get dhawq, you also get to appreciate prophecy. And then towards the end of his Munqidh, the entire discussion is about prophecy. Why does he put this discussion of 'nubuwwa' at the end of prophecy? He could have ended it here and said, "You should have spiritual experiences, you should try the Sufi path, so that you can have, you know, you can appreciate nubuwwa or you can understand the Prophet, what he went through better." But he has an extended discussion on nubuwwa. What does he talk about? Do you remember? Why does he end his Munqidh with a discussion of nubuwwa? Isski kuch baat humne kal ki thi. Why is nubuwwa so important? Because sainthood is the level below prophecy, so if you reach sainthood, it's possible that you'll understand, you know, understand prophecy. Okay, but why it's so... yahan pe baat khatam ho gayi. Yeh dono baatein pehle kar di. Isske baad woh itni lambi baat kya karte hain? Aakhir mein nubuwwat ki poori discussion kyun hai? He ends his account with an extended discussion of prophecy. Why? If you did this, if you read this, it's not very difficult. You should have an answer for that. No? Nobody knows? So, once you've seen the light, are you not responsible towards your fellow Muslims? You may feel that you are. You may feel that your station is to help others. Aur yeh Imam al-Ghazali ko feeling aayi thi bahut zyada. Yeh aage ja ke baat karte hain. I think aap log bhool gaye hain ya aap logon ne ghaur se nahi padha but if you read this last section, yahan se leke end tak, he basically says that nubuwwa is the key to faith. And the reason why people have such weak faith is because their, their tasting, their their their relationship with nubuwwa is so pathetic. Okay? Yaani aap yeh keh denge 'main Nabi ka aashiq hoon', ya 'Nabi ko hum maante hain', 'La ilaha illallah Muhammadur Rasulullah', yeh to keh to sab ne diya. Yeh Imam al-Ghazali kehte hain. But kisne actually uski uss se milti-julti koi cheez ke koi qareeb bhi aaye? You know, the Prophet received revelations. He could not sleep at night sometimes because he felt this need to be close to God, to pray. Woh kya kaifiyat hogi? Jab tak aap usska kuch chakhte nahi hain, tab tak... Imam al-Ghazali says, tab tak you can't fall in love with that. Therefore, if you are struggling and if people are struggling, they should be brought close to the this path so that they can appreciate nubuwwa. And therefore, you know, preserve their imaan. Kyunki agar nubuwwat chali jaaye, Nabi ke saath bas rookha-sookha sa ho, then you become a hypocrite. Aap oopar-oopar se to kahenge ki main Nabi ki baat maanta hoon, lekin koi asal jazba nahi hoyega. Fida'i jazba. You know, Quran mein to aata hai na, you should love the Prophet more than you love your self, your families, everything. Yeah? So, how can you do that if you haven't experienced that, right? Toh usska kuch hissa hona chahiye. Now, he also gives you an epistemology. This is a very important epistemology. Abhi aapke jo epistemology ki baat kar rahe hain, he's going to make... Yeh Imam al-Ghazali ki approach hai. Now, what you were saying, Iman, we can come to that. Yeh jo intellectual proofs woh dete hain, here he will just proceed in a very logical order. Agar koi kehta hai ke ji yeh prophecy jo hai, this is beyond our reach. Hum to aam banda isko experience nahi kar sakta. Or is it even a real source of knowledge jisko aaj hum tap kar sakte hain? Because Imam al-Ghazali's case is, yes, you need to tap into this. Everyone needs to tap into this. If you are not tapping into this, if this is not your source of spirituality, then you are gone. Your faith will eventually like dry out. Or you maybe just a hypocrite. Oopar oopar se aap Musalman kehte hain, andar se aap ne kuch dekha hi nahi, jaana hi nahi, to aap, how can you even act on it properly? So, so in order to build a case for tapping into prophecy, the first thing he wants to say is, yes, it is possible for us to experience this and yes, it is a valid source of knowledge. So, this is the question of experience. Can we experience it? And then the question is, is it a valid source of knowledge? Can we, you know, can we attain knowledge from prophecy or prophetic experiences or something like that? Now, when he uses the word nubuwwa or prophecy, he does not mean that the Prophet himself is guiding you. What he means is ke jo Khuda ka zariya hai hidayat ka, through angels, through noor, through anwarat, yes, also through the Prophet as a conduit. All of that. That's what he means by prophecy. For him prophecy... yeh aapko dekhna hota hai, har thinker likhte hue lafzon ko kaise use kar raha hai. Imam al-Ghazali is using prophecy in a very broad way. Now, once you get to tap into this, of course then you can appreciate the Prophet and his guidance and everything else and you can be a better Muslim. Okay? So, yeh do sawalat hain. Is it a source of valid source of knowledge? Can we experience it? So the first thing that it is a valid source of knowledge, he wants to build that case or he wants to outline how that is so. Toh yeh baat karte hain yahan pe aapki wo epistemology present karte hain. Hum uske saare proofs pe nahi jayenge, waqt itna nahi hai. But he says that the first valid source of knowledge the moment you are born are your senses. Okay? Jab aap bacha paida hota hai, abhi aankhein bhi nahi khuli hoti, lekin you know, he starts, he he grabs for his mother, her body, he looks for something to suckle so that he can drink milk. Toh yeh jo senses se shuru hoti hai, that is a source of knowledge. And the child touches something, you know, he feels or she feels that you know, they've got something. That's a source of knowledge. Ke haan, idhar jao, idhar se aapko khana milega, idhar se aapko doodh milega and so on. So the senses guide you, they are a valid source of knowledge. Then you have your intellect. Aql. The intellect is also a valid source of knowledge. 1+1=2 is a valid relationship, is a truth about this world. Okay? And then finally he says, there is what he calls nubuwwa, prophecy. Jisko aap revelation keh le ya beyond intellect. Sometimes he calls it prophecy or sometimes he calls it a world beyond intellect, ma wara' al-'aql. Aql se aage. He says, just let's just call it beyond intellect. Aur idhar se aapko kuch khwab aa sakte hain, idhar se aapko koi guidance mil sakti hai. Idhar se aapke ho sakta hai dil mein koi baat aa jaaye. For example, aap ja rahe hain kisi jagah aur you're going to meet someone and suddenly your heart tells you, "Don't go and meet that person," and you get a sudden like very bad feeling. Then maybe this person is going to cheat you or hurt you or do something wrong. And you just change your way. Yeah? Toh yeh bhi ek source of knowledge hai Imam al-Ghazali kehte hain, this is beyond intellect. Doesn't make sense. Kuch dreams aati hain which don't make sense. But it turned out to be a true source of knowledge and guidance. Now, on their own... yahan pe yaad rakhiyega, yeh wali baat Imam al-Ghazali ki maine aapko kal bhi samjhayi thi. Don't mind I test this, so please don't get this wrong. On their own, each of these can get... make... are all are on their own, are each of these faultless? Perfect? Or are they prone to error? Inn mein se akele kisi se ghalti ho sakti hai? Kal humne baat ki thi, come on guys. Nazar dhoka khati hai? So the senses are not perfect. Aql dhoka khati hai? Yes. Jhoote khwab aate hain? Bas, to all three are not... they are not perfect. Yeah? Someone's senses can deceive them, someone's intellect thinking can deceive them, someone's like spiritual experiences can deceive them. How do you make sure that you're not getting fooled by these sources of knowledge? Well, one way to do that, Imam al-Ghazali would say is, bring them into conversation. When you isolate each, jab aap innko alag alag se dekhte hain, to phir ghadbad hoti hai, lekin jab they are in conversation, they're checking each other, then you have the best possible way of ascertaining truth when they speak to each other. Okay? Toh misaal ke taur par, aapne aql lada li... A typical example is what happens especially in Pakistan around marriages, especially jab koi bahut nek log hote hain involved ho jaate hain. Pehle woh bahut aql lagate hain, "Oh this is a very good match, the couple seems fine," aur badi aql laga ke karte hain. But it doesn't work out. The couple is unhappy. So other people, another approach would be ki aap aql lagaye, theek hai, the girl is fine, the families are compatible, this seems fine. And then they wait for signs and dreams. If all of that is like in tune, toh people feel more comfortable, "Maybe this has a higher chance of succeeding." Yaani ki hamari aql bhi iss taraf ishaara kar rahi hai aur kuch cheezein jo aql ke aage hain jo hamein samajh nahi aati, woh bhi keh rahi hain ki, "Maybe this will be a good thing to do." Now, sometimes you will find that things don't match up in your intellect, but this guides you, and this is what Sufis would often say, and later on your intellect comes to understand, "Achha, iss mein yeh wisdom tha, iss mein yeh hikmat tha. Uss waqt hamein lag raha tha this is a bad match, but things worked out so well. Uss waqt hamein lag raha tha koi buri decision hai, lekin things worked out so well." But in short, you need to keep them talking to each other. And you give them time. Okay? Magar, jo khaas cheez yeh hai Imam al-Ghazali ki, ke woh yeh kehna chah rahe hain, sabse ahem cheez iss saare mein yeh hai, ke this is a valid source of knowledge. Okay? Aur uske liye phir woh bahut zyada proofs dete hain. Scientific or medical proofs dete hain, woh kehte hain ke even science mein bhi yeh cheez aa jaati hai. This is a part of al-Ghazali that very few people talk about and this is a bit beyond the scope of this course, we will not get into it, but there's a very interesting discussion, a very interesting discussion of how prophecy is indeed a valid source of knowledge. Theek hai? Logon ki zindagiyan bach jaati hain, badal jaati hain because of this and he gives you not just evidence from let's say Islamic literature, he tries to give you evidence from medical science of the time. Okay? Whether you're convinced or not is a separate matter. We can just appreciate what he's saying that this is a valid source of knowledge that can guide your life. Okay? Now the next question would be, can we experience it? Well, this is easier for him, I think, because yahan par all that he needs to show you... once he's shown you that it's a valid source of knowledge, and he's given you instances in the world where this knowledge has guided people and it is still present, you know, the experience bit is already confirmed. But he completes his account and makes it more convincing simply by citing ahaadees and the reports of the sahaba ke woh log aisi cheezein experience karte thay, sahaba bhi karte thay, aap sallallahu alaihi wasallam ne khud kaha tha ke he talked about mubashsharat, ke wahi khatam ho gayi hai magar mubashsharat jaari rahenge. Phir kisi ne unse poocha mubashsharat kya hote hain? He says when you have like a nice dream that tells you something nice. The Prophet said, this is a hadees. So he said, it's easier. The Prophet himself confirmed that there's something like divine guidance. Aur bhi ahaadees hain jin mein koi sahabi hain jinhon ne koi zikr kiya aap sallallahu alaihi wasallam to mere khayal mein pata chala, ya kisi sahabi ne koi neya kaam kiya to you know people around them are surprised but the Prophet says, "Yeah, that was correct. You did what you did is right and correct." Okay? So, ab yeh cheez ho gayi and he has set a good case for prophecy. Does his account end there? Does Munqidh min al-Dalal end there? No. He finally gets to the last thing he talks about since his concern in this final part of the Munqidh is about helping people become better Muslims and avoiding hypocrisy. He talks about the different kinds of spiritual illnesses or weaknesses of faith people have. Misaal ke taur par yeh kehte hain ke ek shakhs hai woh kehta hai ke woh falane aalim ko dekho, uske paas itna ilm tha, woh Quran pe bhi amal karta hai, Quran ka bhi usko itna pata hai, hadees ka bhi itna pata hai, lekin phir bhi woh corruption karta hai. Phir bhi woh uss aurat ko dekho, usse itna ilm hai, itni itni hamein lectures deti hai, lekin phir dekho uski kya harkatein hain, phir woh kitni badtameezi karti hai, her character is so bad or she's just so always angry or something like that. Imam al-Ghazali iske jawab dete hain ke dekhein, again, don't blame them, you know, don't look at them, look at the tradition, look at the truth. And then he says, "Maana ke unka unke andar ghalti hai, uss ghalti ka unko saza deni pade... milegi unko. Lekin ho sakta hai unka ilm unko thoda bahut bacha le. Aapke paas to ilm hi nahi hai, aap kya karenge?" Theek hai? Okay? Everyone, they're human. So don't don't make them gods. Don't think that they are perfect. Alright? So is tarah ki bahut saari cheezon pe woh baat karte hain. Phir kisi ka falani wajah se namaz padhne ka dil nahi chahta. Yaad hai Harith al-Muhasibi... The way Harith al-Muhasibi does a kind of an analysis of why people, what motivates people, what makes people lazy, what makes people weak in their faith, yeh saari woh baatein karte hain because in this part he wants to help people, help his students, he wants to help particularly his disciple and through his disciple other students, avoid a weakness in faith. He wants to, isse kehte hain na, ikhlas bahut hai. Imam al-Ghazali ki writings mein ikhlas bahut hai. He really wants to get at the heart of our being and say, "Let's be the best we can be. Okay? Let's be the best, let's be true to our consciousness, let's not cheat ourselves." Okay? So, mukhtalif... many people struggle with faith for different reasons. Achha koi koi Musalman hai jo ke bahut let's say intellectual hai. And they have questions. And that is what weakens their faith. Unko kuch sawalon kuch cheezon ki samajh nahi aati. "Agar Allah achha hai to duniya mein burayi kyun hoti hai?" Imam al-Ghazali says there are answers to all of these questions. Read this XYZ book and you will understand. Then there's someone who does not like reading a lot or thinking a lot but they have some other like emotional problem or they just were treated with someone or they were abused by someone and that turned them away from Islam. So Imam al-Ghazali unki bhi baatein karte hain. You know how can you get over that? And he says ke if you are getting away from guidance because of some person who abused you or abused their authority, you know, they they've actually won out because they've destroyed you. Now the way to get back at them is not by leaving something that was right. But by affirming that was right and rejecting them. Iss tarah ki baatein Imam al-Ghazali karte hain. Okay? So this makes perfect sense. This kitab is what? Munqidh min al-Dalal. Deliverer from error. And this shows you that even after having these spiritual experiences after which he wanted, he found a peace and he did not want to return, Imam al-Ghazali still felt a great deal of responsibility not just to his family but also to fellow Muslims. Aur woh kehte hain ke jab main wapas aaya tha to I just felt and I got this feeling that people's imaan was under danger. Log jo thay, woh tarah tarah ke bahane karte thay, ul-patang baatein karte thay, namaz mein susti kar rahe, uss mein kar rahe hain and I he I would hear sometimes people quoting philosophers, kisi mathematician ki baat kar dete thay. Yaani ke logon mein aur trends mein aur fashions mein aur pressure mein aake zamane ke, logon ka unko laga tha imaan kharab hai. He said, "I'm going to fight all of that and I'm also going to get at the heart of the matter which is you guys are not tasting prophecy. If you taste it, once you get it, there's no going back." Ab to aapne dekh liya ek dafa. Ab aapko samajh aa gayi, ab ab aap kaise ab aap to Jahannam bhi nahi aap deny kar sakte, jannat bhi nahi deny kar sakte and so on and so forth. Iss tarah ki baatein Imam al-Ghazali karte hain. Got it? So this gives you a good round up. I think we've done a good overview of Munqidh min al-Dalal. Aur kuch hisse iske abhi humne poori tarah discuss nahi kiye again because they were beyond the scope of our course. So we are done with Munqidh min al-Dalal. Let me just quickly read some of the other texts I assigned you. One of the texts I assigned you was Kitab Kasr al-Shahwatayn. Aapko yaad hai ke Ihya' Ulum al-Din ke four sections hain, fasl, yaani ki char faslein hain, char sections. Har section ke andar das kitabein hain, kitab al-awwal etc. etc. Usme jo third fasl thi, woh thi on the damning things, woh cheezein jo aapko gumrah karti hain. Aur, they may, they can take you potentially to hell or lead you to be cursed in life. Toh usme one of those things were the shahwa, shahwatayn. Shahwa Urdu mein bhi kehte hain na, shahwat. Shahwat-e-nafsani agar aapne suna ho bada lafz use hota hai media waghera pe. Toh shahwatayn means the two shahwats, the two lusts. Lust for food and lust for intimacy or for sex. Toh yeh do cheezein inko kaise control kiya ja sakta hai? Kaise break kiya ja sakta hai? Now, again Imam al-Ghazali will tell you the objective is not to get rid of your nature or change your nature but to bring it within the Shari'a, to bring it within control and not to be obsessed by or with these things. Not to be obsessed over food or intimacy. Yeah, you enjoy them when you enjoy them, but you know, agar if you they they are not ends in themselves. Toh yahan pe hum kuch cheezein padhte hain iss bare mein. Can you read for us the statement? The statement on hours at the commencement of his undertaking and under the acquired strength with his gnosis is celibacy and in the meanwhile he is not overtaken by lust. Okay so yahan pe woh keh rahe hain ke jab shuru aap karte hain, jab tak aapko ma'rifa nahi achieve hota, shuru mein you need to go for celibacy. Unless, unless... yahan pe bhi dekhein, itni ifs and buts hain. Maine aapko ek kitab nahi padhayi, jiska naam hai Kitab Adab al-Nikah. Aur woh jo kitab hai, by the way, it's one of the things I find fascinating about it is that it was translated by a lady aur a lot of women, despite my... I when I read Imam al-Ghazali sometimes I feel like, you know, women will be uncomfortable but actually what ends up happening is that women end up appreciating him a lot. Toh that's how it is, right? Kyunki woh bahut saari achi baatein bhi kehte hain aurton ke bare mein. Beech mein aapko bataya tha kayi dafa woh criticize bhi karte hain ke you know you need to be careful, otherwise you can be tempted or you can be obsessed with you know, just going after girls, you can become a womanizer. Uss context mein woh aksar criticize bhi karte hain. But on the whole however, he talks a lot about responsibility, love, gentleness, good character, khidmat, self-sacrifice. Woh aage ja ke yeh baat karte hain happiness. Toh I think that's perhaps that's why a lot of a lot of our women scholars and converts like these things and they translated them. Toh woh kitab adab-e-nikah mein aapko nahi padhayi. Uss mein woh bahut zyada detail mein jaate hain about again, he ends up affirming responsibility. Aur wahi discussion aati hai, karni chahiye nahi karni chahiye shaadi. Toh uss mein he gives you a very, you know, conditional kind of thing ke you know, agar aam taur par aapko nahi karni chahiye, agar aapko karni chahiye. But on the whole, he tends to tilt towards karni chahiye. Al-Hujwiri is very, as we saw, was a little different. Okay, so, shuru mein but this will become the overall road map. Imam al-Ghazali ki jo baatein aap padh rahe hain, yaad rakhiye for a lot of Sunni 'ulama and a lot of the Sunni Sufia, they will become a main road map. Haan, in practice you can always change things and tweak them around. But toh yeh baatein kahenge, moti moti yeh baatein aapko phir aage sadiyon ba-sadiyon log dohraenge aur uss pe amal karenge. Toh aapko abhi even agar aap pichli sadiyon ki bhi kuch kitabein utha ke dekhe jo Urdu mein bhi likhi gayi hain Sufiyon ne likhi hain, woh aksar yeh kehte hain ke shuru ke daur mein, let's say if you are very young, especially if you are a boy, a young boy can't support a family, yes? And maybe it's not the right time, you are studying or something like that. So what do they do? They can't get married, they just but they need to be pure in their intentions and they're supposed to not get into zina or something like that. So you need to tame your desire. And that stage, what do you do? You have to fight and subdue lust. So please continue. His enemy is lust, he is curtailed by bringing his hunger and fasting over a long period of time. If he cannot curb lust in such a manner or by restraining the eye for example, even if he restrained his genitals, then it is better that he appeases this lust by marriage. Because to the extent that he cannot restrain his eye, his mind cannot be clear and his concerns are multiplied. He might even be... he might even become afflicted with something which he cannot tolerate. Sinning by sight is one of the greater of the lesser category of sins, leading one closer to the greater sin, that of the genitals or adultery. He who cannot lower his sight is unable to safeguard his faith. Ghadde basar. This is what 'ghadde basar' hai na, lower your gaze and guard your modesty. In the Quran and he says that it's better to just control it and quash it until you are at a... you know, aap aap kaafi aapko time mil chuka ho and you are at a, you know, aap you are in a good state and you've kind of over it and then you go for marriage. That's the ideal. But everyone is different. Some people have a, you know, they have too much, they have such a need, ke woh zyada dabane ki koshish karte hain, to woh ulta unko aur kharab hote hain, ulta unko aur fantasies aana shuru ho jaati hain. So Imam al-Ghazali is saying if you are that sort of person, then you need to get married. But if you are not, then it's okay. Ibrahim Musa hain, very senior scholar, woh unhon ne kitab likhi hai on, "What is a Madrasa?" And Ibrahim Musa, he was here, sometimes he's in Pakistan. He's a South African and now he is teaching I think at Duke University. Toh unhon ne kitab likhi hai on, "What is a Madrasa?" Toh uss mein woh, he he, jab woh India aur Pakistan, India mein na, woh kahin bata rahe hain uss mein unhon ne zikr, guzara waqt. He was trained there. He went there. Then of course, he left the madaaris and he became a scholar in Western universities because he had that urge, he was born in the West and he was raised in the West and then he came to India to study in some of the madaaris in India. Toh Pakistan, India ke madaaris mein aapko, kuch ek duniya hi aur hai. It's a different world. Now, uss mein bhi you know, he talks about these boy hostels aur woh kayi dafa boys ki woh baat bahar aa jaati thi. You know, a young boy, woh saare ja rahe hain, "Bhai, tum namaz pe kyun nahi aa rahe Fajar pe?" Toh the boy is very embarrassed, "Sorry, I had a wet dream." Woh ek ladke usko baar baar aa hi jaati hai. Toh saare usko mazak udate hain, aur in woh they actually sing it together, woh saare usko mil ke chhedte hain, "In da toqani, nikah-un-waajibun." Ke ab tum pe nikah waajib ho gaya hai. Toh usko chhedte hain. Toh he he recites that as a very funny kind of incident, ya ek funny kind of thing that happens. It's very light-hearted. Toh yeh hota bhi jab you live together, there's no privacy in certain matters. Toh agar aap uss tarah ke hain to maybe Imam al-Ghazali is saying, you need to get married. Lekin the more important and interesting part will come later ahead. Let me show you. So this shows you, this just shows you there's nothing new here. Yeh cheez humne Hujwiri mein bhi dekhi thi in earlier chapters. Remember? So let's see what he tells you here, second paragraph. Yeh bahut ahem hai. Let's read this. Maahnoor, can you read? It is likely in a given situation that I might be attracted to a handsome grey-haired old person, knowing the difference between that and an ugly face. But again, it is a matter of discernment, not lust. One senses through the self's inclination to nearness and touching. To the extent that one senses this inclination in his heart and recognizes the difference in a handsome face, nice plants, decorative clothes and gold brocade, his gazing is motivated by lust and it is forbidden. This is something people tend to overlook and are led consequently to perdition without marriage. Yeh cheez agar aap samajh lenge to aap bahut saari ghaltiyon se ghalat... se bach jayenge. And now we're going to talk about a subject that can be quite controversial but I think we should talk a little bit about it and this is the quote-unquote notion of homosexuality in Sufi circles. Quote-unquote homosexuality. Theek hai? Ke ji Sufiya jo hain, they're... kayi logon ne yeh baat ki hai, badi fazool baat hai, ke Sufiya, Imam al-Ghazali ho jayein, ya Amir Khusrau ho jayein, yeh saare log jo hain na, yeh saare gays thay. Ya kam-az-kam they were very comfortable with homosexuality. And that is utter nonsense. Okay? Imam al-Ghazali yahan par iss paragraph ko agar aap yaad karein, this is this helps you understand what he's saying or what the Sufi position is on this. Now, the Sufi position is actually a bit is very diverse and it gets a little messy. But if you are ever in doubt and if you're really interested in this subject, I recommend this book. It's the best book on the subject. Iska naam note kar lein, kabhi agar aapko interest ho, aap isse dhundiyega. It's called, "Before Homosexuality in Islam." And it's by one of the most respected scholars in the world. His name is Khaled El-Rouayheb. Amazing, woh matlab bahut hi senior scholar hain. Not very old but very, very rigorous. Wo kehte hain na kuch log to in se aapko mil ke darr jaata hai, itna hota hai. So he's that kind of scholar. Very, very solid scholarship. Aur uske baad unhon ne yeh cheez tabahi kar di hai. Kyunki yeh kaafi der se baat chalti thi ke Sufiya jo hain woh yeh hain, woh hain aur Amir Khusrau bhi is tarah ki baatein karte thay. All of that is nonsense. Haan, agar aap unki shayri dekhein toh woh aise hai ki ji Nizam jo hain na, woh ek dulhan hai. Aur main unka dulha hoon. Aisi baatein hain. Theek hai? But are they are they to be taken to mean that, you know, I want to have sex with him or he wants to have sex with me? Matlab agar yeh baat kahein bhi to aap kisi aisi community mein jaein, aapko to... aapki chitrol ho jayegi ke yaar aapne baat bhi kitni buri ki hai, right? Yeah, if you recite poetry like that, people will say, "Adab! Wah! Wah!" But if you say something like, you know, ke your, you want to lie down with the old master or something like that, aapko udhar hi kahenge, "Please leave or we will set you right." Uski wajah kya hai? It's very clear. It's very clear, it's crystal clear in Islamic tradition, especially the Sufi tradition, that anything involving the genitals, ya penetrative sex or something like that, sodomy, anal intercourse, all of that is clearly forbidden. It's disgusting. Ispe jitna marzi literature utha ke dekh lein, saara is very clear. There is no explicit endorsement. Theek hai? Even jo Madho Lal Hussain ka aapne suna... suna hai Madho Lal Hussain ka? Madho Lal Hussain ki inki Pakistan Lahore ke andar shrine hai. Ke ek Sufi thay, unka naam tha Hussain. And he fell in love with a boy, his name was Madho Lal. Aur woh unke ghar gaye aur wahan par unhon ne unke amma abba se request ki ke unko mere paas aane dein ### rel_215_transcriptions/Ali al-Hajwari Lecture on Tradition it was now a tradition. Tradition yehi hota hai na ke... to like knowledge accumulate ho jaati hai. Specialists accumulate kar jaate hain. Usko khatam karna mushkil hota hai. And that keeps grows. That's a tradition. Okay. There are so many examples you can think of. Wo tradition, usko hum tradition kehte hain. Han agar ek cheez shuru hoti hai aur phir bilkul khatam ho jaati hai, you can't call that a tradition. A tradition means continuity. Jaise LUMS as a tradition. Theek hai? Hamare departments hain. Har saal there's some growth, some change. Yeah? People leave, people come in, but some expertise stays. Yeah? That is a tradition. Or something is left for the new people who come in. Usko tradition hum keh sakte hain. Alright, so... Shuru kahan se kar rahe hain? Shuru woh kar rahe hain shariat se. Ke shariat ke andar... yaani ke nikah is... marriage is not a bad thing. But then he gives you a Fiqhi position. He says marriage is permitted. It's *mubah* for everyone. So anyone can do it. Obligatory for anyone who is unable to avoid the haram. So okay, let's say you start liking someone in a relationship or whatever. Then marriage becomes *wajib* or *farz*. Wajib. And then, those who are able to support a family—that is the main condition for marriage, you should be able to support a family—then it becomes a very preferable, nice thing to do. So yahan se woh keh rahe hain, this is a standard Shari'i position. Yeh aap logon ke liye this is nothing new for you. But, uhm... But what is his tilt? Ye to unhon ne hamein ek Shari'i disclaimer de diya. Jaise aap ne dekha hai na woh jab cigarette bech rahe hote hain to neeche kya likhte hain aur peeche uske kya tasveerein lagi hoti hain? What's on... and you will get cancer. And usko unhon ne woh chota, hukumat kehti thi ke chota kar do to woh neeche le jaate thay. Phir hukumaton ne kaha ke nahi nahi poora logon ko ek pegham diya karein. To unhon ne, companies are always trying to cheat it because they are not interested in you. They're selling poison. All they want to do is satisfy a government requirement. To woh aisa hota tha... To woh ek disclaimer hota hai. It's just, usko kehte hain na khana-puri. Usko bas ek, ek zaroorat ke taur pe kar diya. Okay, qanooni karwayi ki hai. Now, uh, but then governments said you must print a hideous kind of picture. Ab aap dekhein na, if you buy a cigarette, Pakistani, to us pe gandi si sade hue, uh, organs ki pictures hoti hain because yeah, that is what smoking does to you. People still buy them. So, um, yeh yahan pe woh shuru mein Shari'i disclaimer de rahe hain ke shariat mein to hai. But then the next question comes. Okay, let's say ke if, if you have the option not to marry or to marry, then what you should do? That's where it gets interesting. Baaqi pehle to unhon ne Shari'i keh diya, ke bhai mein yeh nahi keh raha ke aap, yeh to pakka... So remember, tasawwuf mein, this is a very important part. Most of the, especially the learned Sufis, will tell you that the Sharia is not negotiable. Shariat foundation. Ji, aap kuch kehna chahti hain Amna? Accha. Now, um, he then goes on to say, as Sayam also pointed out, that some of the Sufi sheikhs hold marriage to be desirable as a means of quelling lust and acquisition, yaani ke paise kamana, to be desirable as a means of, as a means of freeing the mind from anxiety. Others hold that the object of marriage is procreation because your children pray for you or if they die premature, then it becomes something of a shafa'at for you on the Day of Judgment. Or, and then there's another hadith about the Prophet encouraging men to find and marry okay, marry nice wives. So, and remember that when these texts are written, they are not written for an, like a LUMS audience. They are written for, it's a guy writing for whom? Mostly other and most of the people they're addressing are men. Okay, it's boy talk in a way. To boys ka to sab se bada masla hi lust hai. To yeh you know, Ali al-Hajwari is speaking aur agar aap Imam al-Ghazali ko bhi padhein, it's very clear that these people are talking primarily to women. Now, sometimes they'll address women and then things change. But right now, it's like he is addressing a male audience. I think that's pretty much clear. Now, despite that, of course, aapko badi interesting cheezein milengi iske andar aur is pe bhi hum sawaal uthayenge aur main aapko kuch mazeed baatein bataunga as they arise. Okay? So, he is going to give you, when you read this, he oscillates or he seems to oscillate a little bit. Kabhi woh kehte hain ke shaadi kar sakte hain. Kabhi woh kehte hain ke shaadi kuch logon ke haan bas theek hai, shaadi kar lein to aap ka, you can quote unquote control your lust. Phir woh kehte hain jab akele hote hain na log, this is a hadith, shaitan akele bande ke upar shaitan zyada chadhta hai. To aap akele na rahein. You see. Uh, is tarah ke ahadith hai. And then he, shuru mein itni woh tareef karte hain, Ali al-Hajwari, ke aapko aise lagta hai if you just read this part, you think he is pro-marriage. Yeah? But if you don't read this part and if you read the end, you think he is against... He has a severe phobia of marriage. Not just against. Okay? So in between, this is a, this is one of the most, like, this is one of the interesting things to read for scholars, people like us, ke hum dekhte hain accha unka apna kya dil tha is cheez mein. Theek hai? To he's saying ke, he will end up saying ke shariat mein to bahut acchi cheez hai aur aap sallallahu alaihi wasallam ne taareefein bhi ki. Yahan tak ke ek hadith yeh bhi aati hai, mashhoor hadith hai, there are two things in the world I really like. One is perfume, the other is your women. Okay, what he meant was, and he was teaching people ke aurton ko bura na samjha. Umar ki mashhoor hadith hai na, ke before Islam came, we did not have any, samajhte thay kuch bhi nahi hai. We used to think, have a low opinion of women in general. Ke choti ya kamtar ya, just to be used for whatever. Yeah? But Islam raised their status. Umar ki. Okay? So that's what he's saying, right? Anyway, um, phir jaa ke woh kehte hain ke... But this is his overall position. Yahan se padh lein. Theek hai? So who will read for us? Uhm, Emaan, you just came. Why don't you start with a bang and read for us from here? No companionship is equal. No companionship is equal in pleasantness and security to marriage. When husband and wife are congenial and well suited to each other, and no torment in this life is so great as an uncongenial mate. Okay. Isko dhyaan se, yeh jo unhon ne if keh diya na, this is the key to understanding this position. Kehte hain agar acchi biwi aapko mil jaye, accha husband mil jaye, yahan pe of course he's talking to the boys, so he's basically talking about wives but you can reverse this as well. To then it's great. But if not, then marriage can be such a problem. Please continue. Therefore, the dervish must, in the first place, consider what he is doing and picture in his mind the evils of celibacy and of marriage in order that he may choose the state of which he can more easily overcome the evils. The evils of celibacy are two: the neglect of the apostolical custom and the fostering of lust in the heart and the danger of falling into unlawful ways. Yes. So unmet desires create fantasies and perversions and all kinds of other like silly behaviors, right? To woh kehte hain ke, you know, yeh, this is something that you need, marriage can help you get rid of. Okay, continue. The evils of marriage are also two: the preoccupation of the mind with other than God, and the destruction of the body for the sake of sensual pleasure. Okay, yeh do cheezein hain. Aur yeh this is going to be the key thing for the Sufiya ke sab se masla bada masla hota hai ke you can't focus. You're always distracted. Okay? So what can you do? Agar aap zikr Allah Allah karne lagein to baccha kahega, "Ah, mama doodhu chahiye!" So you, you can't, you have to leave that. You have to give them doodh or something like that. Yeah? To ek to yeh hai ke you stay distracted. Second, you know, if you, the tangible part of the, of the marriage, us mein you, uh, you can end up getting too much into bodily pleasures. Khana, peena, etc. Okay. The root of the matter then. The root of this matter lies in retirement and companionship. Marriage is profitable for those who prefer to associate with mankind and celibacy is an ornament for those who seek retirement in solitude. So in, that this is his position. Okay? Yeh unki overall position hai ke shaadi unke liye jo logon ko, logon mein rehna pasand karte hain aur, uh, celibacy un logon ke liye, I think uski bhi rehbaaniyaan hain, unke liye jo ke, uh, akele rehna pasand karte hain jinki, jin se yeh cheezein bardasht nahi hoti. Okay? Alright. So, phir woh kuch aur ahadith sunate hain aapko kyunke you know, many people are not convinced by these things. Us mein there is one hadith in which the Prophet said ke qiyamat se pehle pata hai sab se acche log kaun honge? Woh to halke phulke honge, jo be-fikr rehte honge. To is mein unhon ne abhi kisi aur sahabi ko quote kiya hai be-fikr kaun log hote hain jinko job ki, paison ki, ghar-baar ki zyada fikr nahi hoti. They're relaxed. They're happy with what they have. Now he takes it to mean well in this day and age, he says in this day and age, who are the people who are so light? They're the ones who are not married. So he says, maybe, so, so in that respect, marriage, not marrying also has its, um, also has its merits. Okay? Um... Kahani to aap logon ne padh li thi na jis pe aapka quiz hua tha? Uske baare mein woh kya kehte hain? Yeh wali kahani suni hai aapne? This is a... So when he says that you can marry or you should marry or you can marry, baat masla sirf yeh nahi hai ke, can Muslims marry? No, he is not even talking to most or ordinary Muslims. Which Muslims is he talking to? Sufis. Especially like the mutasawwif, meaning the beginners, the dervish, the students or disciples, jo is cheez mein aage jana chahte hain. Unko yeh advice de rahe hain. He is saying ke shaadi mein bahut saare masle aate hain. Aur agar aap galat shaadi mein phans jayein jo ke aapko haram ki taraf le jaye ya aapko kisi aur burai ki taraf le jaye to phir to aap bilkul hi your entire spiritual path is destroyed. So choose wisely. Phir woh misalein dete hain of amazing couples. And one example he gives of a wife, of the ideal sort of wife is the wife of Sahl bin Abdullah al-Tustari. Yaad hai aapko? Sahl al-Tustari we've come across his name, jinka main batata tha inki mashoor tafseer hai. One of the earliest mystical tafaseer jisme nur aur cosmic creation ka zikr hai. Okay? So yahan se, yahan pe ek choti kahani padh lete hain. So... Seharish, can you read for us? It is related that a son was born to Sahl... Azo? It is related that a son was born to Sahl... It is related that a son was born to Sahl ibn Abdullah al-Tustari. Whenever the child asked his mother for food, she used to bid him ask God. And while he went to a niche and bowed himself in prayer, she used secretly to give him what he wanted, without letting him know that his mother gave, had given it to him. Thus, he grew up accustomed to turn unto God. One day, he came back from school when his mother was absent, and bowed himself in prayer. God caused the thing that he sought to appear before him. When his mother came, came in, and she, she asked, "Where did you get this from?" He answered, "From the place whence it comes always." Okay. Niche kisko kehte hain? Mehrab. Aaj kal to sirf masjido mein hota hai lekin ek zamane mein log gharo mein bhi banate thay. Aur agar aapke koi dada, shada, agar purane hon, bahut namazi thay ya Sufi thay ya par-dada, aapne stories suni ho ke woh palang bhi rakhte thay alag. A raised platform to pray. Uski ek alag kahani hai. To yeh us zamane mein log alag se ek paak jagah rakhte thay gharo mein namaz ke liye. Aur to baccha namaz padhta tha ya thoda bahut sajda karta tha, maa khana rakh deti thi ke, woh kehta tha yeh kahan se aaya? Allah ne diya, main to nahi diya. But she would imply that. To ek din khana nahi tha to bhai sahab khud hi kha rahe hain. Yeh kahan se aaya? Kehta hai jahan se roz idhar se aata hai. You see? So this is like a karama or a miracle. What is, who is being credited here? The mother. Ke us maa ne bacche ki training aisi ki ke usko Allah se aisa ta'alluq ban gaya. So that is the kind of, you know, that is like the ultimate wife. Accha. Aur bhi agar aap Sufi literature padhein, so there are these amazing stories, woh lagta hai jaise woh koi duniya badi ajeeb hai aap samajhte sochte ho ke aaj kal... aur Sufiya aksar ek tarah se lament sa karte hain, woh kehte hain ke aisi, if you get a woman like this, if you get a wife like this, you find people like this, you're unbelievably lucky because these such women, such people will be extremely rare. Misaal ke taur par ke ek dafa ek koi buzurg aa rahe hain wapas ghar mein aur kuch khana leke aa rahe hain to aurat, jo biwi hai na woh bahir aa gayi unse. To aap samjhein ge kya, why is she so angry? To woh kehti hain ke maine tumhe udhar se guzar, sirf us ek jagah se guzarte hue dekha jahan kuch galat log hote hain, to agar unse kuch karobar karke aaye ho aaj to yeh wapas le jao, hamein bhooka rehna manzoor hai, hamein jahannum nahi chahiye. Is tarah ki aur bhi badi kahaniyan, Attar also records some of these stories. Of course, then he makes them chatpata, magar he also records certain stories like this. Isi tarah, umm, there are other stories, yaani ke, what, the opposite of what you expect. Aam, you know the idea would be that, you know, people say, ghar wale aapko kehte hain ke hamein bhi laake do, unke paas to itni acchi gaadi hai aur yeh woh. These women do the opposite. In Sufi literature, Sufi women end up doing the opposite of what ordinary people do. Isi tarah se ek, there was this legend, this lady by the name of Fatima and her husband was actually a Sufi master. And they had this amazing relationship. So you would think, fine, they're all happy, unke bacche bhi hain aur perfect kind of couple. But she is, she feels, you know, uncomfortable that it's too good. And she wants to move beyond it. And she requests her husband, ke ji... and her husband demands her company and whatever. And woh dono Sufi hain. To woh unko, ab aap kahoge ke usually you get very protected in such a relationship. And she says, nahi nahi nahi, tum kisi aur ke paas chale jao, mujhe Allah Allah kehna hai. Of course, he didn't do that, but is tarah ke hamein, you will get these surprising kind of things that you would normally not expect because of the sort of high values these people have. Okay? Accha ji. So basically yehi baat hai ke haram-sharam cheezon se aap na bach sakein. Uhm... Yeh beech mein agar aap is tarah ki baatein padhein, so shuru mein unhon ne bahut acchi baatein ki aurton ke liye kuch tareef bhi ki. Then he ends up, mujhe yeh lagta hai, my reading is what happens towards the end is that you start to get a taste of his own personal preference. Unhon ne bata diya ke is mein ek broad range hai options ki, all are okay. But I'll tell you what I prefer. He is, woh apne mureedon ko ya readers ko yeh bata rahe hain. Theek hai? So, woh yeh kehte hain ke kuch log, this is a very interesting point. Ke kayi log... Yeh padhein. This is, this is a nice part. To yeh kaun padhega hamare liye? Aap padhein. The Vulgar... The vulgar, in gratifying their lusts, appeal to the apostle's saying that he had three things he loved in the world, were scent, women and prayer. Yeh teen cheezein, ek hi hadith mein aati hain na, khushbu, namaz aur women. Okay? And argue that since he loved women, marriage must be more excellent than celibacy. I reply, "The apostle also said that he had two traits: piety, poverty, and the spiritual combat. Why then do you shun those two things? If he loved that, this was his trait. Your desires have a greater propensity to performance, but it is absurd on that ground to say that he loves what you desire. Anyone who follows his desires for 50 years and supposes that he is following the facts of the apostle is in grave error." Okay. What a nice... ye hai na ke ek ustaad kisi ko seedha karta hai na to that's what he's saying. To kehte hain ke tum log kya karte ho, you do a selective reading of a hadith. Yeah, okay, the prophet loved women and perfume and prayer. But look at all of these things. These are all very fine things. Okay? Khushbu gande-mande aap haath pehente nahi, aap badbu-daar ho, aap gande-mande ho, aap khushbu nahi lagate hain. You, it's very, it's like purity and refinement and subtlety. Yaani ke aap bahut jab ek acche andaaz mein, kisi, you look nice, you're clean, then you put on perfume. Similarly, you try to pray in a very pure state. And similarly, if you have a nice relationship, it's very dignified. To yeh teen cheezein ikatthi jaa rahi hain with dignity, with control, with adab, with beauty. Yeah? And Ali al-Hajwari is saying, "You guys, you are not that refined sort. Aap log to, you just want fulfillment of lusts. Aur agar aap sallallahu alaihi wasallam yeh cheezein karte thay to unki jo sab se zyada aadat thi, aadat kya thi? Jihad aur faqr." Right? Aksar woh lambe-lambe roze rakhte thay aur kai dafa kai-kai dinon tak bhi bahut thoda khate thay. So, Ali al-Hajwari is saying that is what made him up. And on top of that, you know, these were the nice blessings he could enjoy as part of that, not as the foundation of his life. Aap logon ka ulat hai. Aap logon ka to yeh cheezein, aap ek roza rakhna padhe to aapko... yaani ke pareshan ho jate hain aap. Ke khana nahi mil raha, haaye, khana nahi mil raha, mar gaye. Jab pehle aap apne aap ko us tarah se transform karein, phir aap in cheezon ko ek aur tarah se inse engage karte hain. Not through the lower self. And he says, so yeh jo selective reading hai just to satisfy your lusts is a misreading of the sunnah. I like this critique of... I mean, har banda jismein aap face to face kah lo ke haan, aap rasulullah ko bhi to khwateen pasand thi. Theek hai? To bhai, unko yeh bhi cheezein pasand thi aur jo aap keh rahe hain na, Bible and Quran forbid affairs and secret messages and all of that aur chalte phirte kisi ko flirt karna, no. Especially if you're committed, that's a huge problem. Got it? Are you with me? Ji. I don't understand the celibacy was his trait part. So what he what he means is that when you, when you abstinence, yahan pe celibacy nahi hona chahiye word, the word should be abstinence. When you're fasting, you can't have sex. That's what he's saying. Ke woh he would refrain. Aur kai dafa jis tarah aap sochein na aap Ghaar-e-Hira mein jaa rahe hain, aapne suna hai ke he would start going for days and then weeks and like months, udhar chale jate thay. Kuch chane waghaira, paani shani le jaate thay aur woh mahina-mahina udhar rehte thay. Wahan pe koi unko auratein aake milti thi? Nahi. He was alone, right? So you know, there is something more than food and, and, and bodily pleasures. Yes, those are part of our, he is a firm guy, magar uske alawa bhi kuch cheezein hain. Okay? Accha aage jaake na woh bahut zyada bura bhala aurton ko yahan pe kehna shuru kar dete hain. So how do we make sense of this? This is something you will find in Sufi literature. Pehle ji shariat ki baat karenge, phir aurton ki tareef karenge, phir aurton ko accha kahenge, phir superwomen, they'll talk about these superwomen like Rabi'a or the wife of Sahl bin Tustari and so on. But then ekdum se na woh aurton ko bura bhala kehna shuru kar dete hain. Why? What's happening there? Yeh dekhiye na, yahan pe woh kya keh rahe hain? A woman was the cause. Who's reading for us? Amna? Aap padhein. A woman was the cause of the first calamity that overtook Adam in paradise, also the first quarrel that happened in this world, i.e., the quarrel of Abel and Cain. A woman was the cause of the punishment inflicted on the two angels, Harut and Marut, and down to the present day, all mischiefs, worldly and religious, have been caused by them. Okay, wait a second. Yeh kahan se aa raha hai? What is the source of this? Hum jannat mein se nikaale gaye aurat ki wajah se. Aurat ne kaha, "Chalo kha lein, kha lein." What is the source of this? Quran mein bhi to yehi hai na stories? This is from the Bible. Aap Quran mein bhi, Quran mein teeno stories hain. Habil Qabil ki bhi, Harut Marut ki bhi, aur Adam ki. Yeah, but does the Quran blame women? Doesn't blame women, woh just story narrate karta hai. That's my question, that's my question. Where do you find this blaming of women for all of these problems? I think Christian tradition. Christian and Jewish. So Biblical tradition. In short, Jewish and Christian sources mein hai, yeh Islamic sources mein nahi hai. Na aapko ahadith mein yeh baat milti hai, na aapko yeh Quran mein milti hai. Aap kuch kehna chahte hain Abdul Rehman? Quran mein bhi nahi milta. And in fact, when I was at the University of Chicago, there was a lady who had done her PhD on this subject. Aur, umm, she had also converted to Islam, I think. To woh, Quran ke andar jo yeh zikr aata hai jannat se nikaale jaane ka, us mein the Quran blames both equally. It's actually the verbal form blames both equally. Ke tum dono ne kya kiya hai? Okay, aisa nahi ke Hazrat Adam se hi hua. Both were sort of talked over. Yeah? Sir, Habil Qabil ki story mein to there was no woman, if I remember. Woh I think Habil offered his lamb to God and God accepted that and... But why were they sacrificing the lamb? You know? I don't know the reason but I know Cain was jealous... No, there was a, there was a girl and both of them wanted her and the girl wanted one of them. But the other one, Cain wanted Abel or Abel wanted Cain? Cain wanted Abel. Cain... ah so the girl liked Abel and Abel also liked her and you know unhon ne kaha ke chalo theek hai, hum, Abel was the nicest person. He said ke theek hai, mein na, mein apne bhai se nahi ladunga aur agar Allah ko nahi manzoor to mein apne bhai ke liye yeh chorr bhi dunga isko. So Cain agreed, chalo okay. Chalo ek woh karte hain, sacrifice and let's wait for a sign. To unhon ne kuch qurbani ki aur us zamane mein kiya jata tha. Jewish tradition, baad mein bhi yeh bana, ke log qurbani karte thay and they would wait for a sign. To agar woh expectation ke mutabiq ho jata tha, to you would say ke the sacrifice is accepted ya yeh koi na koi ishara aapko milta tha. Now it came clearly in favor of Abel. Ke... so Cain was in a way disputed by trial, jisko hum kehte hain. He was defeated by trial. Ke he should've stepped away. But what did Cain do? Killed Abel. Yeah. Aur Quran mein this is a very tragic moment kyunke Quran mein jab Qabil kills Habil, it's coming to fight Habil, Habil in a very tragic sort of way says, "I'm not going to fight my brother." Pata hai woh kya? I just wondered about that. Ke kya hai? It's a very moving kind of thing in the Quran. Lekin Quran itni details mein itna nahi jaata. Haan, imply to hota hai. Now, if guys, dudes are fighting over a girl, is the girl responsible? No. Aur the Quran doesn't say anything. It doesn't blame women. Umm, jab ke Bible mein ya Biblical tradition mein is tarah ke bohot, mitch-masala bahut zyada hai. Okay? Khaas taur pe jo Jewish traditions hain, un mein to itna mitch-masala hai anbiya ki zindagiyon ke baare mein, itni be-huda baatein hain jo ke Musalmanon se woh bardasht nahi hoti. Okay, and the Muslim tradition, they created a huge problem because we have a special respect for the Anbiya, which the Biblical, especially in the Jewish tradition, you don't find. Yeah, they honor their prophets, yeh Allah wale thay. Lekin Allah wale bhi bade time-ai thay. You see what I'm trying to say? Okay. So, here he is drawing on the Biblical tradition. This is not the Muslim tradition. But phir bhi yeh sawaal paida hota hai ke itne zyada Sufiya ne aur Ulama ne yeh Biblical tradition absorb kiya. Even Imam al-Ghazali, woh bhi is tarah ki cheezein quote karte hain. Okay? So you I think, you should, I think it's okay to accept that this is just part of a medieval sexist society. Ke us mein aap aurton ko blame karte thay aur aurtein, aurtein wajah ban bhi jaati hain. Ek... although I don't think they're to blame in a way because... unka kya qusoor hai agar ladke lad rahe hain unke upar? To... but one way to read that is not that women are causing this, but your weakness for women is causing these issues. So you get over your weakness for women. You see what I'm trying to say? In other words, baaki aage hum, aage jaake padhte hain. In other words, it's not about women per se, it's about your own tendencies and your own relationship with women. Aur jab Sufiya daant-dapat karte hain aurton ki, all they're basically saying is, stop being... kehte hain na fida na ho. Stop like, stop like thinking that a girl is at the end of your life or women or marriage is everything that matters. That is nonsense. Yeh woh keh rahe hain. Okay? Jaise... you know, one of the... one of the very fine things I read, although it's not very famous as his other works is Attar's Pand-nameh. Attar wrote many things. Okay? Aap log to woh Mantiq-ut-Tayr padhenge ya Tazkirat-ul-Auliya padhenge. But unki ek choti si ek aur booklet hai jiska naam hai Pand-nameh. A book of advice. Nasihat-nameh keh lein. Aur us mein, you know, he says ke, it's very clear. He does, he launches a critique of women, but immediately woh saath saath aapko nazar aata hai ke woh kin ki baat kar rahe hain? Woh pata hai kin ki baat kar rahe hain? He's talking about slave girls. He's talking about dancers. He's, in other words, aaj kal ki jaisa aap keh lein clubbing aur us tarah ki cheezein, unse woh mana kar rahe hain. And immediately after that he says, ruk jao, ruk jao. Respect them and be nice to them. So you scratch your head and say ke abhi aap ne itna bura bhala kaha hai, phir ekdum se aap kehte hain nahi nahi inki izzat karo, inse meherbani aur pyaar se pesh aao. All right? So it's both things and they don't have a problem saying that. Today you might think it's politically incorrect to say this, ke aurton se, unse itna hota hai, aurton se temptation hoti hai, aurton se buraiyan hoti hain. But they were pretty cool saying both things. Respect, love, but beware ke hota to hai, masla to hai. You see what I'm trying to say? That is the, the view they took. And in most cases, in fact Imam al-Ghazali also wrote a book, it was called Nasihat-ul-Muluk. Nasihat for the princes. Us mein bhi woh usi tarah ki aurton pe critique launch karte hain, but then he makes it very clear that he's talking about aur he's addressing those people who are always going to red-light areas. Aur woh obsessed hain with women. Are you with me? These people are not criticizing pious wives or decent people or aurtein in general. No. Yeh duniya different hai. So us duniya ko apni duniya mein jab aap apply karein aur aaj judgments karna shuru kar denge, oh dekho aurton ko kya sochte thay. That is a bit a-historical, it's an a-historical misreading of texts. Kyunke unki duniya different hai aur us mein woh distinctions rakhte thay. Nek khwateen aur hain, maayein aur hain, yeah? Aur phir, buraiyon mein majboor aurtein aur hain. So, you know, they don't criticize the kaneezahs too much, they criticize the men more who fall for or who get obsessed with these women or just changing women or having these, you know, one-off relationships or one-night stands or whatever. Woh, woh uska masla hai ki you get stuck in that, it becomes an addiction, it becomes a distraction, aur udhar se saari barbaadi hoti hai ya log ladna shuru ho jate hain aurton ke upar. Yeh nahi. So you get rid of that. Okay? Aapko pata hoga Punjabi mein bhi kya kehte hain ke, Punjab mein kya mashoor hai, ladai ki teen wajhein kya hain? Punjab ki history mein teen cheezon pe sab se zyada ladai hoti hai. Zameen... Nahi, woh teeno cheezein zay se shuru hoti hain. It's quite nice. It's one of the most famous Punjabi pieces of wisdom. Zar, zan, zameen. Yes, you know this! Zan, zar, zameen. Zan, zar, zameen. Okay? I think these days you can reverse it. Okay? Aaj kal shayad ulat hai kyunke aaj kal ab DHA bhi aa gaya hai na. Aur woh agricultural property bhi ab chala bhi aa raha tha. Um, so agar in teen cheezon ko aap kisi ki chedenge to zaahiri baat hai ladai hogi. Okay? If you, kisi aur ki aurat pe bhi nazar daalne ki koshish karenge ya us pe nazar daalenge to whatever, us pe ladai hogi. Kisi ki chori karna shuru karenge wealth, ladai hogi aur kisi ki zameen pe qabze ki koshish karenge... So, um, that's what sort of saying. Now the most interesting part is this one. So let's read this. Ayesha, can you read this for us? After God had preserved me for 11 years from the dangers of matrimony, it was my destiny to fall in love with the description of a woman whom I had never seen. And during a whole year my passion so absorbed me that my religion was near being ruined, until at last God, in His bounty, gave protection to my wretched heart and mercifully delivered me. Okay. Yeh dekhiye. This is the sentence on which people base the view that he was married. And I am not so sure what he means here. Is he saying I was married? Kehte hain ke mujhe Allah ne 11 saal tak shaadi se bacha ke rakha. To lagta hai inko pehle se hi ek insecurity thi, koi problem tha. Maybe he had a bad relationship at some point in time. But pehle kuch tha ya nahi tha, baad mein to definitely he had a terrible year. Okay? Now that terrible year, of course, is terrible in retrospect. Jab woh chada hoga, to tab to shayad unhe accha hi lagta ho. He says ke, "I was absorbed in the love of a woman." Okay? And look at what he says. It was my destiny to fall in love with the description of a woman whom I had never even seen. And during a whole year, my passion so absorbed me that my religion was near being ruined. Yaani ke main ek, ek ladki thi jisko maine dekha bhi nahi tha. Aur uski koi jhalak thi ya uski koi surat thi ya uski koi, uski koi, koi, koi, uski jhalak, I think Urdu mein jhalak thi. Uski jhalak thi ya koi surat thi ya kuch maine unko dekha, maine unko dekha bhi nahi, dekhe baghair hi main paagal ho gaya. Aur ek saal tak I was mentally disturbed. Then he said God somehow delivered me. Okay? So, yeh kehte hain ke this is the most dangerous thing. You get so distracted by women. And look, yeh jo part hai na anti-women, chota sa part hota hai, itna bada to nahi hai, usko isse mila ke padhna chahiye. He's not, he doesn't even, even Ali al-Hajwari who has a phobia of marriage in my view, is still overall, he tries to, he does not want to violate the shari'a or make a demon out of women, except when this serves to take you off spirituality or the spiritual path for people who are already on the spiritual path. Yaani ki logon ne shuru kar di hai ek cheez, woh agar khatam kar de woh aurton ki wajah se ya kisi affair ki wajah se, that is what he really fears for his dervishes. Is liye woh keh rahe hain ke aurton se bach ke raho. Yeah, if you get someone like a very nice person who is compatible with the path that you want to take, why not? Theek hai? Magar kehte hain mere saath to bahut bura hua, maine to tauba ki. Allah ne shukar hai mujhe nikaal diya. Ek saal kuch hua. So you know, one could have, one could say, vaise to itne bade hain ke hum to nahi kuch keh sakte, hum yeh keh sakte thay na ke woh 11 saal tak agar aap shayad ijtinab na karte, you know, maybe you, you, you, the, that sort of need that you had built up so much, to woh ek saal usko ekdum se woh halki si chingari lagi hai and consumed you so much that it was overwhelming. And then you, you, you got over it finally. Magar kyunke agar others don't get to this point because they make an early call to go for marriage and then they're lucky they have a good wife or a good husband. Samajh aa rahi hai aapko? Jab aap itni der ek cheez ko delay karte hain aur kai dafa phir aap nahi karna chahte to ho jaati hai because andar se aapka rooh, aapki jism, uski ek shayad zaroorat thi. Alright. Then he says, and this is where I see his tilt coming to view. He says, "Sufism was founded on celibacy." And the introduction of marriage brought about a change. Okay, and this part I really like. And again, let's try to make sense of this. Uh, yeh aap padhenge Mohammad? So aapka naam? Uzema, Uzema aap padhenge? There is... in short, yahan se padhein, there is no... There is no flame of lust that cannot be extinguished by a strenuous effort because whatever the Prophet was proceeds from the self, he causes its instrument that will be moved. And other is not necessary for the purpose. Now, the removal of the lust may be affected by the two things, one of which involves sanctification and restraint, the while the other lies outside the sphere of human action and modification. The former is known as the agitating flame of the tool of which is connected by the spiritual and sensual thought. A love which extends its empire over the different parts of the body and that was all the senses of their sensual... What a nice... this is, this is a beautiful part. Yeh samajh aayi hai ya nahi aayi? Kyunke waqt kam hai is liye main aapko jaldi se samjha deta hoon. Remember what he said that, uh, the for him is the attainment of ya safa, yeah? And remember what he said, how do you achieve that safa? Through... you of course, there are a'mal, there are akhlaq, there are adab, that's all part of the, the effort you put in, jisko mujahada bhi kehte hain. So you do a'mal, you do many things. But that doesn't really crack it for you. What cracks the, the real like barrier to purification for you is? Yes, divine love. Okay? When there is a, you feel that infusion ke ekdum se aapko kuch mehsoos hua hai, uh, something has flowed into you that you know experience which is very hard to describe, you experience God's love. To kehte hain usse kya hota hai ke aapki, uh, saari jo sensual thoughts hain, theek hai? Yaar us ladki ke paas chala jaon, is ladke ke paas chala jaon, main yeh kar loon, main woh kar loon, main khana kha loon or whatever. He says ke woh ekdum se woh jaise na ghayab hi ho jaati hai, woh poori, bilkul dispersion is ghayab ho jaati hai. Okay? Aur woh jo, woh ishq jo hai woh aapke jism, you kind of physically feel it. You know? And your senses are no longer the same senses. I, we don't know what he means, but it sounds very beautiful. Ke kisi ki, ek aisi koi paak mohabbat taari ho gayi hai jaise thand si pad gayi hai. You see what I'm trying to say? That's what he's saying. To he's saying ke do cheezein hain. Ek to yeh ke aap ne bhooke rehna hai. Jisko hum kehte hain roza rakhna. Aur is pe hadith bhi hai ke if you can't control your lust, what do you do, you? Fast. Fast. Um, but you know, sometimes even fasting doesn't work. Right? That's what he's saying. Ke aap, yeh peeche se isse connect karein, shuru mein maine padha tha na, he says ke aap saare a'mal-shama'al kar sakte hain lekin phir bhi ho sakta hai you don't get over your problem. Let's say you fast, you keep fasting, ho sakta hai aap ne teen din tak roze rakhe, Ramzan mein bhi roze rakhe. Eid aayi aur aap ne phir gandi cheezein dekhna shuru kar di, idhar udhar baatein karna shuru kar di. You see what I'm trying to say? So he's saying fasting only gives you preparation. Kuch, it dampens you, it opens up these windows, but the real change happens when you experience, when you're infused with divine love. Okay? So this is Ali al-Hajwari's, um, view. That you can do it yourself. And he ends the account after having, I think, shown us his preference for celibacy, he ends up with again balancing it and giving you the final word, repeating his final verdict, which is, look at your own condition. Look at what sort of a person you are. I am not, uh, ladies' type. And I had a very bad experience, so... and most of the early Sufiya were like that. But that doesn't mean you can't marry. See what, what helps you and see what works for you. That's, he repeats that. Okay, so now if I ask you in the exam, ke inka view kya hai marriage ka, to aapne mujhe isko do teen levels pe batana hai. Ek to aapne mujhe batana hai ke woh shariat pe firm karte hain. Doosra, unki apni preference is for marriage or celibacy? Is personal preference for marriage or celibacy? Celibacy. Celibacy. Why? Because of a couple of things, ke ek to unka koi probably unke personal experiences acche nahi thay, unki apni personality shayad itni acchi nahi, is tarah se nahi thi, unko mushkil thi, you know, not everyone is a ladies' man. Okay? So, we know the Prophet was very good with women, but not everyone is like the Prophet. Yeah? So he tried, balki even without trying it happened to him and he did not have very good relationship experiences. So he said that it was a, it almost destroyed his spiritual quest, which is why he thought that it was not good for him to marry. But he says then finally, what about you? That's me. What about you? Look at yourself. Accha jahan pe woh kehte hain ke shaadi ki koi zaroorat nahi hai lust ko control karne ki, magar usse peeche unhon ne kya kaha hai? Aksar hamare bade kehte thay ki shaadi se ho sakta hai maidaan. So what is, what is he doing here? Is he contradicting himself? Maybe he's just saying there are other ways to restrict it instead of just manage? Yeah, so what, what he's basically doing is he is encouraging people. There are, so he's saying there are two paths. You can marry or you can go for celibacy. Ke aap ne nahi shaadi karni. If you choose this path, at times you might want to go back to this, you might get confused, mujhe abhi bhi bure khayalat aate hain, mujhe abhi bhi dil chahta hai ke main kisi ladki ke paas pahunch jaon. So you know, but then when I go there, maybe I am terrible. I have very bad experiences and I can't fulfill my obligations. Aur mera deen bhi kharab hota hai, main haram cheezon mein pad jaata hoon. You see what I'm trying to say? To aap tazabzub mein hain. You come here, you go back, you come here, you go back. Un logon ko woh keh rahe hain ke bhai, you can, if you want to make a complete break, you can do it. Okay? Magar us mein, don't just think you can get it, you can get out of this cycle of addiction for women, just through fasting or hunger. This is not, this is going to help, but this is not enough. You need what? You need the divine love factor that fascinates your heart. Okay? To uski, usse phir aapke woh control hoga. If you want to make a clean break. So when he says ke doosre ki zaroorat nahi hai, he's talking to those people, he's encouraging those jo ke ek decision le chuke hain aur unko woh keh rahe hain ke theek hai, if you chose, taken this path, you can do it. Don't go back on this. You're always like, you'll end up confused. But if you are the one, jisko in kuch fayda hota hai, sukoon milta hai and you can even pray better, then go for this. Got it? So he seems very consistent. So once again, just to remind you, like a good exam answer likh sake. Number one, he affirms the Shari'i view. Number two, he has a preference for celibacy for personal reasons. And finally, the different parts where he seems to contradict, should be understood in terms of his different audiences. Jab woh ek khaas tarah ke boys se baat kar rahe hain, he says, you know, his tone is different. Jab woh doosre tarah ke ladkon se baat kar rahe hain, his tone is different. And of course, yeh ladke bhi chote ladke nahi hain. These are probably some of these may be older men. You see what I'm trying to say? But these men are men at the end of the day. Okay. All right. Any questions or comments so far? Hum Imam al-Ghazali ko bhi dekhenge aur hum baad mein kuch aur Sufiya ko bhi dekhenge. But this is remember just one Sufi master writing I think around the 12th century. Aap dekhenge ke is is mauzu pe bhi views change. Or I think sorry, sorry, he's in the 11th century. 11th century. Imam al-Ghazali comes a little after him or he's writing around the same time. Takreeban hum asar hai almost, but just maybe like one generation of gap. You see what I'm trying to say? Aur Imam al-Ghazali ke haan, you come to this. Imam al-Ghazali is also a Sufi master. Unke haan, the tilt will be towards the... So agar inko dekhein to he was tilting towards the celibacy camp. Yes? Imam al-Ghazali will tilt towards the marriage camp. So dono ka format wohi hoyega, pehle woh shariat ki baat karenge, fiqhi position denge ke bhai yeh this is the default, there are different options, we don't want to mess with that. Hum shariat ke khilaf nahi jayenge. Lekin saari baatein kar-kur ke woh kahenge ke bhai, maybe this is what works better. But Imam al-Ghazali will say, what works better? Marriage. So Sufiya ke haan yeh dono raaste hain. And once again, you see the tradition is so dynamic. All right. I think, um, kafi yeh ho gaya. Aur khatam karne se pehle woh jo bete bacche wali itni kahani hai na ke bigdi hui aulad yeh badi aam si, purane zamane mein to log bahut kehte thay, bigdi hui aulad kis cheez ka natija hoti hai? The sins of the parents. Okay? To yeh purani baat hai, Ali al-Hajwari repeats that and he says ke, um, you know, marriage has fine, marriage is a great thing that can happen. You can get an amazing wife. You can find peace, companionship, love, you can focus better, you can have nice children who pray for you, who do good things in the world. But remember, it can be the other way around as well. You get a bad wife, you get terrible, you get mentally disturbed, you get sick, you want to kill yourself. Your children are horrible, bullies, and perverts. What can you do? Okay? So woh keh rahe hain ke dono hi raaste hain aur dono mein khatra hai. Aur celibacy ko woh thoda sa prefer karte hain. Theek hai? So I think too much about marriage or Ali al-Hajwari, we'll return to this issue of the time, but I think is pe bahut baat ho gayi. I'll get a taste of things. Uh, you have a taste of Sufi writings on marriage and women. Respectful, but also critical. All right? You'll see both things. Accha ji. So I think, maybe at this point, we can take a five minute break. Yeah, let's do that. Kya hota hai? So if you read this, it's a good indication of what happened historically to this tradition. To woh baat karti hain ke jo Hallaj side thay, aapko pata hi hai ke bahut khatarnak thay. Unka influence bahut tha. And then kuch disciples thay woh bhi inhi ki tarah, inhi ki tarz pe, same way, they also you know, criticized authorities, corrupt people, going to prison. And one of the disciples of Shibli was Ibn 'Ata, he had a bad end. Unko bhi us tarah se shaheed kar diya gaya. But inke ek aur dost thay jo ke government mein thay lekin eventually, uh, ya woh bhi wuzara ya us class mein se thay but then he went and gave it up. And he became known as this radical, crazy kind of person. He became one of the most ecstatic Sufi masters of the Baghdad era. And his name is Shibli. Okay? Now you know aapne Shibli ka itna zikr suna hai is class mein abhi tak, aapko pata hai kitne log Shibli pe kyun may be kyun is by their path, right? Um, but unlike Hallaj, Hujra, aap pooch rahi hain aap. Aaj ke liye do readings thi, ek yeh thi, ek aur thi. To yeh aaj ki readings hai, so okay. Accha, to Shibli is sort of like very, very passionate and at a time you know people want to go after him but they excuse him because he just retires and he's, kehte hain ki itne woh, un pe bojh pada tha in cheezon ka, ruhaniyat ka aur, uh, ladne ka ya haq ke liye ya whatever, that he lost his mental balance. And he, he would not perhaps, he was a different sort of person. Uhm, you know, a tamer version of Hallaj, if you would say. Jiski wajah se yeh bach gaye. Inko excuse kar diya gaya hai. Aray yeh to this guy is just gone. Like it's a gone case and he says these things. But if you let him be, it doesn't bother anyone. Hallaj was a little proactive. Samajh aa rahi hai aapko? Shibli is like, you know, main kya karun, main to aisa hoon. Okay? But if you were to engage with him, you would, you could like say these amazing things. So, one of his sayings is recorded, the many of Shibli's sayings are recorded, jinh ko hum padh chuke hain, and we're going to read one more. So he was asked about the perfect humans. Yeh jo sab se acche log hote hain Allah ke, in men and women included, but aksar the word use as men. So perfect individuals, spiritual people, kamil wali jisko hum keh sakte hain. Kamil wali, kamil is complete. What sort of people are they? Unke baare mein woh kya kehte hain? Uhm, Shiza, can you read? They are comparable to... They are comparable to springtime. Thunder clashes and the clouds pour rain. The lightning flashes and the wind blows. The buds open and the birds sing. Such is the state of the mystic. His eye weeps, his mouth smiles, his heart burns. He gives away his head, he mentions the name of the beloved, and walks around his door. What a beautiful... woh keh rahe hain ke, um, jo kamil wali hai woh bahar ki tarah hai. Bahar mein kitni contradictions hoti hain. Kabhi bijli kadakti hai, kabhi barish hoti hai, kabhi, uh, badal garajte hain. Phir hawa chalti hai aur phir gunchay khilte hain. You know the buds open and flowers come out. And then the birds sing. To kehte hain aarif ka dil aisa hi hai. Such is the state. Aarif ka haal aisa hi hai. Right? Jaise bijli kadakti hai aur barish hoti hai, usi tarah se uski aankh se aansu jaari hote hain. Uh, jaise gunchay khilte hain aur phool nikalte hain, woh muh se logon se muskura raha hota hai. Uh, lekin dil mein jaise, uhm, bijliyan chal rahi hoti hain aasmano mein, dil mein uski ek bahut dard hota hai, shauq hota hai aur aakhir mein jaise hawa chalti hai aur urha ke le jaati hai, toofan bhi aate hain barish mein kai baar ismein aath ke dauran. To kehte hain isi tarah se woh apna sar de deta hai aur har jagah mehboob ka naam leta hai aur uske darwaze tak. Okay? So what a beautiful sort of saying. And the garden and spring imagery that you find here in Shibli, according to Schimmel, well, um, you're seeing the process or you're seeing the sources of the later Persian garden imagery. Persian tasawwuf mein, jismein Attar aur Rumi sab se bade naam hain, unke haan to saari jo duniya hai na ruhaniyat ki, woh hai hi bahar aur jannatein. Garden, jannat also means garden. To woh usi ki imagery use karte hain. And you know, people who are either Sufis or who were, who respected Sufis or were inspired by Sufis, even someone like Sheikh Saadi, uh, you know, his two main books are Gulistan and Baharistan. Gulistan is what, a garden. Rose garden. What is Baharistan? You know, the land of spring. Another way to... Gulistan hai, Baharistan hai, ek aur bhi hai shayad. To all of these are garden imageries. Woh inspiration usse unko milti hai. Theek hai? So this is something you should, you will see more, we should know about. So jo Shibli thay, woh bach gaye aur unhon ne Hallaj ke bahut saare ideas aise andaaz mein bayan kiye ke they could be absorbed in the Sufi tradition us daur ke. Aur aam awaam mein bhi mashoor hona shuru ho gaye. Hallaj ki bahut saari cheezein mushkil thi but Shibli unko aise bayan karte thay ke people could sort of get it and be moved by it. Okay? Now another person, Ibn 'Ata got survived, he's kind of handled as Hallaj, but Shibli does. And after Shibli, there's a person by the name of Ruzbihan Baqli. And Ruzbihan Baqli is just amazing. He's one of the Hallajian, another one of the Hallajian, um, Sufi... intoxicated Sufis jinko sukara kaha jata hai, jinke thode se mast, masti wale. And, uh, but Baqli was more, you could say, theoretical compared to Shibli. Shibli kya karte thay, aage badi si ek baat keh jaate thay and then khamosh ho jaate thay, haaye. Disturb karke, bechain karke. That is that kind of person. He's not like bait ke, ek cheez ko baat ko samjhaye, kuch, likhe. Right? Isliye Shibli ki sayings or paradoxical, jisko shathiyat kehte hain. Other people recorded them. But Ruzbihan Baqli who is inspired by Hallaj and Shibli, he theorized and he tries to clarify stuff despite also being the same sort of ecstatic Sufi, isme shathiyat unki bhi bahut mashoor hai. So one of the things that Ruzbihan Baqli talked about and theorized is this notion of himma. Himma wohi lafz hai jo hamare Urdu mein bhi aata hai, himmat. But in the Sufi, it becomes, it becomes part of Sufi jargon aur woh usme himma ka kya matlab hota hai? Himma ka matlab hota hai ke when, jab aap ek tarah se focus karte hain kisi cheez pe, ghaur karte hain. For example, right now, I'm focusing on my phone. I am looking at its cover, it's old, I'm looking at the texture. See, I was just focusing on that point. Yeah? Ruzbihan Baqli kehte hain ke jab ek sheikh, someone who has these, who's very like close to God, jisko Allah ne kuch special taqatein di hui hain, spiritual powers. When that person focuses on you, isko himma kehte hain, they can change you, they can perform some sort of, they can connect with you, they can guide you, yahan tak ke if they're away from you, beyond space and time, they can connect with you. Isko kehte hain ek sheikh ki himma. His special connection, focus, and powers with you. Okay? Baad mein jaake, aage ka jo Sufi tradition hoga, usme sheikh jo hai, unki shuyukh ki bahut super powers ka zikr aana shuru ho jayega and that would disturb a lot of Sufis and non-Sufis because kyunke, again, as I told you, Sufi traditions are changing. Shuru ke daur mein pir-murid relationship was also very fluid. Yaad hai maine baat ki thi? Junaid ko Hallaj ne chorr diya. That doesn't mean ke unka tasawwuf khatam ho gaya. It continued. Baad ke daur mein sheikh ko chorna aur bhi zyada buri baat ban jayegi. Traditions thode se zyada formalize ho jayenge. Got it? Uh, Ruzbihan Baqli and Shibli and others also talk about munaqarah. Munaqarah hota hai jhagda. Aur yeh hum dekh chuke hain ke Sufi, Sufi literature mein, in early tradition, pehle to inka ek tradition maujood tha jismein ek Sufi kuch kehta hai aur usse senior Sufi aake usse bhi koi badi baat karta hai. Right? To aur kai dafa unka aapas mein ek, this is like a healthy kind of competition ya behes, isko munaqarah kaha jata hai. Um... And then you know, Ruzbihan Baqli said certain things that were, that became later, that later became very controversial, kind of like violating Islamic law. For example, unhon ne iltibas ki baat ki, yahan par hai, I can just, let's talk about this. Haan. Yeh dekhiye. Shibli ne kya kaha? Ke agar jahannum chahe bhi to mera, mere jism ka ek baal bhi nahi jala sakti. Jahannum chahe bhi to mera ek baal bhi nahi jala sakti. Okay? Now if you are a non-Sufi, what would you say? This is insane, and says wrong hell, hell will burn, hell has God's permission to burn. But he's saying, aisi ki taisi jahannum ki. So what is he saying? You see? This is the sort of Shibli person, the Shibli ka ek andaaz hai ke woh is tarah se aisi ek baat kahenge, aap kahenge, "Hain? Yeh kya keh diya?" And other Sufis will be upset, "Haaye, aur dekho, what did Shibli say?" But this is Shibli. Okay? Other Sufis will try to make sense of it and theorize it. What was Shibli saying? Yeah? So, jo baad mein Ruzbihan Baqli aaye thay, unhon ne isko kaise explain kiya? He used this notion of iltibas. Iltibas hota hai libaas se, ke jab aap koi cheez aapka libaas ban jaati hai. When God's nur becomes your libaas, it's like your shield. Right? To phir aur woh azal, nur-e-azal, jisko kehte hain, nur-e-azal. Jab aap us mein ek tarah se fana ho jaate ho ya Allah aapko ek tarah se cover kar leta hai, Baqli says of course tab aapko jahannum kyun jalayegi? Aur ek hadith bhi hai na, is tarah ki kuch ahadith bhi hain by the way, ke kuch logon ko jahannum ki aag nahi chuegi. Have you heard of these ahadith? One of the persons that hell can't touch according to the Prophet is whom? Lagta hai aap logon ka hadith, aap logon ka koi molvi dost nahi hai ya... One of the most famous. Kaun? Kin ko jahannum ki aag haath nahi laga sakti, haath... Rim. Sune. The Prophet said hellfire won't burn, can't touch a person who is soft-hearted. Narm dil insaan ko woh kehenge usko. Theek hai? And Shibli says yahan pe wahi keh rahe hote hain, gham-e-ishq hai aur tute hue hain andar se. Phir woh kehte hain, aisi ki taisi ab to main ho gaya hoon. Jahannum nahi chhu sakti. So maybe that's what he's saying. I'm not defending him. I don't know what he was thinking. All we can do is we can theorize, we can try to make sense of it. And Baqli who comes in that tradition says ke zaahiri baat hai agar ek insaan, when someone has given themselves up to God completely and God has given them their nur and protection and they promise ke main tumhe jahannum se bacha ke rakhunga, to when someone says mujhe jahannum chhu nahi sakti aur woh hai bhi Shibli type insaan, what they mean probably is that of course hell can't touch God's nur. God's nur is superior to hell, that's all. To yeh wohi purani baat hui. Okay? Yaad hai shuru mein koi ek shath hoti hai jo bahut ajeeb lagti hai, aapko kehte hain be-adab, be-tameez, zaleel lagti hai lekin phir koi usi tradition ka banda aake explain karta hai to aap kehte hain, "Oh, no biggie. Big deal." Yeah? So this is this notion of iltibas. Now these notions will be taken up by other Sufiya. Aur phir baad mein Sufiya yeh himmat ki, sheikh ki himmat ki bhi baat karenge, isko mazeed theorize karenge aur jab tak hum Ibn al-Arabi ke time pe aayenge, ho 13th century tak, to yeh aur bhi ek badi cheez ban jayegi iltibas aur himmat. Theek hai? Now let me show you a quote from Baqli because this is so beautiful. I thought you should, you should read this. Amna, can you read this for us? Yeh dekhiye, "The Infidel Heart." Infidel heart ki Urdu kya hogi? Kafir dil. Kafir dil. Excellent. This infidel heart is not satisfied with seeking the hidden beauty. I have lost my heart, for I am possessing that rose that grows not in clay. Pain does not enter into me, nor does my heart seeking submit to this nothingness. Who could think that my infidel heart has had enough of that eye and those two brows of my beloved? Okay. So yeh kya hai? But upar dekhiye, yeh, this is a, I've taken this quote from a book that I think, this is by Carl Ernst. Carl Ernst ne ek book likhi hai Baqli ke upar, aur usme woh bata rahe hain, "The constant restlessness of transcending infidelity is again identified with the power of love." To pehle isko Urdu mein padhte hain na. Kai baar aapko sirf alfaaz ki khoobsurti dekhni chahiye, kitni... baad mein hum dekhte hain ke accha, what does this mean, right? So let's see, Urdu mein iska dekhein ke yeh kafir dil, uh, yeh kafir dil ya is kafir dil ki pyas, is kafir dil ki pyas us chhupi hui khoobsurti ko dhoondne se bhi poori nahi hoti. Mera dil, main to apna dil kho chuka hoon. Main us gulaab ki khushboo mein kho chuka hoon jaise, jo woh aisa gulaab hai jo ki mitti mein bhi nahi ugta. Aisa gulaab jo mitti mein nahi ugta, yaani ke mitti mein nahi ugta to kahan ug raha hai? Probably he is saying dil mein. Right? Insaan ke dil mein Allah ki mohabbat ka gulaab. Mujhe ab koi dard nahi mehsoos hota aur mera dil uski la-shai'at ya uske na hone se khush nahi hai, usse jhukne ko khush nahi hai. Yaani ke, I don't want to just know God in negative terms. Ke Allah yeh nahi hai, Allah yeh nahi hai. Main janna chahta hoon, Allah kya hai. And love gives you that sight, that vision, that knowledge. Who could think? Kaun soch sakta hai ke yeh kafir dil us aankh se pur hoga, un do, what do you call these? Bhawein? Bhawein. Haan, un do bhawon se jo ke, uhm, mere mehboob ki hain. Yaani ke, you know the eye, aankhein aur eyebrows, the brows, right? The brows. Inke liye ek Farsi mein ek lafz hota hai... I'm forgetting right now, isko kya kehte hain? Urdu mein to hum bhawein kehte hain na. Bhawein, lekin uske liye ek alag word in Arabic and Farsi. Anyway, when it comes to me, I'll, I'll let you know. But basically, the, the, the... now, garden imagery humne dekhi thi. Now you're starting to see feminine imagery. Jaise you know, a woman when she's dressing herself, so they work on their eyes, they do makeup aur you know, the eyes are a focus of makeup, eye makeup jisko hum kehte hain. Aur isi tarah se khaas taur pe in the culture where women cover their bodies in loose, their loose robes and so on, to us mein the eyes are often left uncovered. They become these very mysterious, enchanting objects of fantasy. Samajh aa rahi hai aapko? To us mein phir, you know, jaise ek aurat ki aap dur se dekh sakte hain ya kabhi-kabhi jhalak nazar aati hai and it can sort of, um, make a lover crazy. Right? Usko woh tadap jaata hai. Isi tarah se khuda bhi aapko dur se nazar aata hai ya sahi tarah se nahi nazar aata lekin you get enough of that beauty. You don't see all of it. But enough of it that you know that it's beautiful. Whatever that reality is. To yeh the, the, the use of feminine imagery as a metaphor for divine love. Aur the quest of the lover for God, towards God. That is also going to become part of the Sufi tradition and once again you see this in Ruzbihan Baqli. Beautiful, beautiful words. Um, you know, and, uh, isko jaise aap, uh, unka kya naam tha? Bayazid Bastami ke alfaaz ko aap interpret kar sakte hain, aap inko bhi interpret kar sakte hain. But ab hum woh nahi karenge. I just wanted to show you a glimpse of this, those who are interested in Ruzbihan Baqli to hum baat kar sakte hain. Ruzbihan Baqli ke baare mein bahut saari kahaniyan aati hain. Ek aisa bhi aata hai ke woh redi ko chala rahe hote thay, to ekdum se woh redi girti thi aur unko lagta tha ke unko ek aisa, unko nazar aata tha ke agar yeh zameen ko ulta diya jaye to usme jo chhupi hui cheezein hain, woh bhi unhe nazar aa jaati thi. And then he would just go into a swoon. Woh ghash sa kha jaate thay. Like it's just too much. What have I just seen? To unko he would have these amazing visions that were just, itna kuch nazar aa jaata tha, it was very difficult for him to control that. Is tarah ki unke baare mein kahaniyan aati hain. Okay? Yeah. I was correct, I wrote it in my notes. This quote that you have, jo humne abhi padha tha, this is from Carl Ernst's book, Words of Ecstasy in Sufism: Ruzbihan Baqli. There is another Sufi, I'm not going, I'm just going to mention his name, Niffari. Aur inki woh, "Main aur Tu" ya "Mein aur Tu," "Ana wa Anta," inki woh sunai hui kuch shayari hai inki, bahut mashoor hai. He's one of the lesser-known Sufis but he came up with certain ideas jinko mawaqif kehte hain, yaani ke Allah ke aage khada ho jaana, waqfa. So the Sufiya somehow, sometimes have these intimate moments with God, intimate moments, jaise lagta hai ki hum bilkul Allah ke saamne haazir ho gaye. To us mein woh jo guftugu hoti hai, lafzon ke baghair, usko unhon ne shayarana andaaz mein bayan kiya. That became very popular among, sorry, that was popular in certain Sufiya. Although he's not the most famous Sufi but he's still significant. To yeh jo waqfa hai aur muhaddathah, namaz ek Allah ka tohfa hai because it starts a conversation. Aap haazir ho jate hain Allah ke saamne. Aur jo Sufi hai, uski namaz hi ek aur tarah ki hoti hai. To Sufiya ke haan ek kahawat hai, As-Salah Miraj-ul-Mu'min. Isko Sufi hadith bhi kaha jata hai. As-Salah Miraj-ul-Mu'min. Ya Miraj-ul-Mu'min as-salah. Yaani ke jo namaz hai woh mu'min ka meraj hai. Yeh Sufiya ke haan mashoor hai. Okay? Okay. Mawaqif woh wali cheez mein ki like he uses confusing pronouns so you can't tell ke he's him and who's God. Yes, thank you, very good, you remembered that. Maine pichli ek class mein iska zikr kiya tha. Good. Aur iska zikr aapko Amir Khusro mein bhi nazar aayega baad mein Farsi ke andar. Now I, I wanted to talk a lot about Schimmel, but I think we can skip many parts, so let me just see what we can skip. Okay. So one important issue that we can now turn to, aapko kuch andaaza ho raha hai ke yeh Sufi traditions kaise tabdeel ho rahe hain aur Hallaj is not just confined to history. Hallaj has not just someone ke woh aaye aur unki shahadat ho gayi aur then he's gone to history. No. He left disciples, he left a tradition. It was not a stable tradition. How can people like Hallaj and Shibli create a stable tradition? Lekin unke ideas bahut popular hue. So it was left up to other people, jinke hum baad mein kabhi zikr karenge, like Ibn Khafif, Shiraz ke, Iran mein ek jagah hai, Ibn Khafif udhar ke guzre thay. Ibn Khafif woh un logon mein se thay jinhon ne Junaid ki teachings ko foundation, again Junaid ki teachings ko foundation banaya aur baaqiyon ko bhi respect kiya aur uske upar ek brotherhoods aur Baghdad tradition ko aage chalaya. Kyunke Baghdad mein after the execution of Hallaj, Shibli, Baqli, um, it was still a center, it remained a center, but it was not the only center now. Lekin you could have other places where you could also have Sufi communities and tasawwuf. So people like Ibn Khafif wrote about and constructed those communities, unko unhon ne traditions ko mazeed aage leke gaye in practice. Okay? Aur unhon ne aisa tasawwuf bhi banana shuru kiya jo ke har koi kar sake. So it was, it was made more accessible over time. Is pe hum agli class mein kabhi baat karenge. Ji. Ibn Khafif aur Baqli dono hi the, unhe execute kiya tha? No, Baqli wasn't, as far as I know, Baqli wasn't executed, and Shibli was not executed. There was another guy who was executed, and he is also another Shahid-e-Ishq. And but he came after Imam al-Ghazali, hum un pe abhi late to hain. Unka bhi main aapko naam bataunga. Aur kai log unko bhi quote karte hain aaj bhi, when you know, they want to be very hip and cool. You know, Hallaj politicians aur unke liye bhi inspiring hai, there's another guy jo ke jo aaj kal ek nayi hai na, woh hip and cool, some, some, some, um, usko kya kehte hain, punk Islam if you heard of it, America mein bhi ek cheez hai. To woh us ek aur Sufi ko quote karte hain, main unka aapko bataunga. Okay, okay, okay, before we do that, I want to turn to another issue which is this notion of bid'ah. Aapki assignment bid'ah pe thi na? Yeah? To, um, you know, at least some of you did not read the second one jo Khas taur pe hui tha, I mean Keller ka jo piece tha, jismein woh bid'ah ka zikr karte hain. Usko, uh, ghaur se agar aapko padhna chahiye tha. Um, jo bid'ah ke upar woh ek baat kehte hain ke the word bid'ah, yes there is a famous hadith of the Prophet aur aksar usko base banaya jata hai yeh kehne ke liye ke ji, jo bhi bid'ah hai woh buri hai aur har bid'ah jahannum mein hai. That hadith is quoted. Aksar jo aapke wahabi hain, salafi hain woh us hadith ko baar baar repeat karate hain. Theek hai? Kullu bid'ah dalalah wa kullu dalalah fil naar. Har bid'ah jo hai woh gumrahi hai aur har gumrahi jahannum mein hai. Yaani ke har bid'ah jahannum mein hai. So, um, that hadith is a sahih hadith. It's not disputed. But the ulama did not take the bid'ah in that hadith to refer to anything that is new, even in religious matters. For example, Hazrat Umar ne jab Tarawih ko dekha tha hote hue masjid mein. You know that the Prophet did it but then he stopped it? Phir Hazrat Umar ke daur mein kuch sahab ne dobara se usko resume kiya tha. And when Hazrat Umar saw it, what did he say? Ni'ma-l-bid'ah hazihi! Kitni acchi bid'ah hai yeh. Okay? To, so Keller ya I think iska zikr karte hain ke agar bid'ah hamesha, yeh lafz bid'ah bura ya gaali type hota to Hazrat Umar Tarawih ko bid'ah kehte? So he says, you need to, the ulama on linguistic considerations therefore divide bid'ah into different types. Yeh jo tradition, Hanafi, Shafi'i, Maliki, yeh log hain, yeh log aur Sufiya bhi, bid'ah ko kai categories mein divide karte hain. Aur unme se kuch bid'atein hain jo ke waqai buri hain aur haram bid'atein hain. Aur woh kaun si hain jo haram hain? Jo usul-ud-din mein ho. They are considered to be forbidden. For example, kal ko aap yeh kahein ke, um, we're going to permit indecency, or we're going to encourage zina. That's one of, that attacking one of the usul of our deen. One of the foundations of the religion. So that is unacceptable. Aisi koi bid'ah ho ke aap for example, uh, decency ko khatam karna chahe maashre se. That would be resisted and that would be haram. But let's say you do some nice kind of innovation, jaise Tarawih shuru ki thi Sahaba ne, kuch azaanein add ki thi, woh bhi hamein pata hai Sahaba ke daur mein, Aap Sallallahu Alaihi Wasallam ne bhi unki ijazat di thi. Ya koi naya koi zikr karta hai, ya koi nayi darud likh deta hai, ya koi nayi na'at likh deta hai, those are optional things. They are not problematic. So finally, cut the long story short, Nuh Ha Mim Keller tells you that Sufiya, yes, Sufiya ke haan bid'ah bahut sari hai. Magar number one, jo Sufis religious innovations karte hain, misaal ke taur pe kisi ko keh diya ke yeh dua padh lo aur woh dua hadith mein nahi aati. That's not, they don't make it part of the deen. They're not changing usul-ud-deen. They're just tell you, uh, they're just give you an optional prayer. Ek extra cheez hai woh, woh aap kar lein. That's all. To woh usko deen ka hissa nahi banate. Woh kehte hain ke, fiqh mein bhi yeh position hai ke agar koi cheez optional rakhi jaati hai to phir usko ek problematic bid'ah mein nahi classify kiya jata. So this is what Nuh Ha Mim Keller is telling you. Ke aaj kal kyunke online yeh polemics ka daur hai, TV ka daur hai, YouTube ka daur hai, Saudi-backed Wahabion ka daur tha, woh abhi khatam ho raha hai. So for a long part of the last century, you had this criticism of all bid'ah jab ke ulama usko divide karte thay, categorize karte thay, dekhte thay kis qism ki hai, phir us pe judgment dete thay. Theek hai? So it's not a necessary part of religion. If someone goes to a shrine, they improve their connection to God, and it's just, if it's just, if it remains optional, and they're not saying to other Muslims, "Ke yeh karo, warna tum jahannami ho." Ya nahi? That's okay. That's what Nuh Ha Mim Keller is saying. Okay? Um, and secondly, um, this is something that Nuh Ha Mim Keller does not say but I'll tell you that some of the fiercest critics of bid'ah in tasawwuf, once again are also themselves Sufis. Which branch of Sufis are they? Jinko hum keh sakte hain, Hambali Sufiya. Hambali? Yes. You know, when I teach, when I was a student, when I, when I went through my own journey, my own, let's say, intellectual journey, I, uh, the more I grew in experience, the more I came to doubt all the developments that you see in the modern period. I tend to be very suspicious of them. Why? Because jitni bhi modern developments hain, they often happen under the shadow of... Colonialism. Colonialism. Thank you. Colonialism. Misaal ke taur pe, Pakistan ka jo law hai aaj kal, woh kya hai? Is, is that some old fiqh book, based on old fiqh books or old shariat code or something like that? No. It's based on what? British law, the civil... British law. Right? Tazeerat-e-Hind, uh, British penal codes and so on and of course, usme adaptations hain, usme Islamic elements bhi daal diye gaye. Lekin jis tarah se daale gaye, it's very messy. So in the colonial period, kuch bhi aapko milta hai jismein Islam ka label lag jata hai ya naam ya sources use hoti hain, I tend to take it with a huge pinch of salt. Now, I am not saying ke yeh jo, isse pehle ka daur hai, woh bada koi golden time tha. No, no, no, there is nothing golden in history. There are always problems and predicaments and challenges and weaknesses and errors. Theek hai? But kam az kam yeh bala nahi thi. So we can see, okay, what were Muslims thinking when they were not maghlub, when they were not intellectually and emotionally and, and, and politically, they were not under pressure? How were they thinking then? So, aksar udhar ki jab humein sources milte hain, usme soch mujhe thodi behtar milte hain. I've been very disappointed and hurt. Agar aap samjhe ke, jo Ali al-Hajwari ke partyion ke saath bure experiences hue thay jisse unhe woh dar gaye, unka khwateen se phobia ho gaya, to mera modern movements se phobia hai ek tarah ka. Because... mere bade bure tajarbaat rahe hain inke saath. I've had these very bad relationships with them. Kabhi Iqbal ke peeche pad jaate thay, kabhi Sir Syed ko pata nahi kya bulate thay aur nikalta kuch aur hi tha. So I'm not, I'm not saying Iqbal is like that. I'm just saying ke, you know, it was, I got some... lambe safar ke baad aapko pata chalta hai, oh bhai, yeh kya cheez hai. So, thank God I'm out of it. Accha ji, to... waapis hum aate hain, hum kiski baat kar rahe thay? Haan, bid'ah ki. To is daur mein, yes, there is no golden period. But then, in this period, people criticize, when they criticize, they are usually themselves Sufis. So they do it very differently from the kind of criticism you see here. When you have this Salafi criticism here, it's very different. It's, you know, Wahhabi politics, oil politics, colonial politics, and Muslims working under, you know, in, in, in partnership with colonial powers. Same thing today, right? In the Middle East, yes or no? America sits on top and all the Gulf countries, you know, kiss their feet. Upar upar se woh Al Jazeera bhi chala lenge. Lekin jahan baat aayegi bases dene ki aur aur saari cheezon ki, to woh bilkul joote choomenge. Okay? So what I'm saying is, is daur mein bahut kuch hota hai jo ke lagta kai baar hai aapko ke yeh to hamesha se aise hota tha, lekin it was very different. So when you find critics of the tasawwuf, they are usually Sufis. And in particular, bid'ah ke upar. Bid'ah ke mamle pe, the strongest criticisms came from the Hambalis. Hambali Sufiya. Aapko pata hoga ke Sunni tradition ke teen, chaar major schools hain. Hambali, Hanafi, Shafi'i, Maliki. Unme se jo Hambali thay, Hambali mizaaj ke jo, Hambali fiqh padhte thay, woh bhi Sufiya thay. Lekin woh sab se bid'ah ki unko bardasht nahi hoti thi. They were like... unki ek approach thi jismein zara sa bhi Quran-o-Hadith se zara sa bhi dur jaata tha, woh unse interpretation bhi nahi uski bardasht hoti thi, woh usko criticize karte thay. So yeh woh log thay. Now these people sometimes quote these sources, but in a way that is distorted. And that is the problem with the modern period. Okay? To isme hum ek aur, abhi hum padhenge khud se, uh, abhi Schimmel is pe jo baat padhenge usme aapko yeh cheez sab azeem nazar aayegi. Theek hai? So yeh wala jo masla hai bid'ah ka aur orthodoxy ka, ke kya Sufiya jo thay Islam ke khilaf thay ya shariat ke khilaf thay ya unhon ne koi nayi-nayi cheezein ijaad ki? To us pe poori behes aap, I think humne kaafi kar li, lekin aap read pages 83 or 84 in Schimmel, phir se behes aati hai. Aur she says that this is a ridiculous kind of thing to say ke tasawwuf aur hai aur orthodoxy kuch aur hai. No. In the pre-modern period, this was an internal debate. Internal debate bounded by the Shari'ah. Nobody asks or nobody says ke shariat illegitimate hai ya hum shariat se bahir jaa rahe hain. It was always others within that tradition saying, "Dekho, ahadith aur Quran mein yeh cheezein hain aur aap yeh kar rahe hain ya hamare buzurg yeh karte thay ya nahi, yeh nahi karte thay to aap yeh karein." These are the terms of the debate. It's not this modern kind of debate where all of Sufism is suspect and Sufiya, woh stereotypes hain, orientalist stereotypes hain, etc., etc. Okay? So ye jo divide hai, it's just very, very, um, un... unjustified. Theek hai? Is tarah ki divide aapki nahi honi chahiye. Lekin ek cheez yahan pe unhon ne na zikr kiya. Kyunke hum, we don't want to just say that all Sufiya are law-abiding, shari'i kind of Sufis. Remember humne pichli ek class mein kya kaha tha? Ke Schimmel un Sufiyon ko ka kabhi zikr to karti nahi hai but she does not acknowledge them fully. So there were many mendicant ya begging Sufiya, jo waqai bilkul faqiri karte thay aur logon se maangte rehte thay. Yeah? Woh bhi apne aap ko Sufi kehte thay. Aur woh bas dar-ba-dar phirna pasand karte thay. Kaam koi nahi karte thay, sirf jaake faqiri karte thay. Maangte thay. Aur faqiri not in the sense of Saraj, but in the literal sense of begging. Woh bhi kiya karte thay, jinko mendicant orders kaha jata hai. Um... Aur yeah, they were very problematic. Most of the Sufiya, most of the ulama did not like them. Woh kehte thay kaam karo aur maangna acchi baat nahi hai. Ahadith mein kya aata hai? Ke logon se maangna acchi baat hai ya buri baat hai? Buri baat hai. The Prophet said ke, haan, aap jab majboor hain to it's okay. The Prophet himself would ask for help. Kuch laon bhi le lete thay non-Muslims se bhi le lete thay. But he always said, "It's better not to get into that trap." Okay? The hand that gives is better than the hand that takes. Yeh hadith hai. So these Sufis who used to beg, who used to not work, um, they were very controversial figures, but they were still there. And Schimmel does not talk about them at all. Yaani ke hum koi bahut neat stereotype nahi karte. Ke tamaam Sufiya jo thay woh perfect thay ya tamaam Sufiya jo thay woh gumrah aur kafir thay ya bid'ati thay. No. Those are both, I think, extreme statements. The truth lies somewhere in the middle, which is that yeah, most Sufiya, especially the learned Sufiya, were always very mindful of the Shari'ah. But there were certain groups that were quite problematic. Got it? So not all Sufiya were, um, without controversy, without trouble. Okay. So, Schimmel finally discusses the Qalandar on page 87 to 88. Qalandariyya. Qalandar woh log hote thay jo ke formal kisi bahut zyada order ka hissa nahi hote thay. Haan, loose se brotherhoods unke ban jaate thay aur unki bahut minimum requirements hoti thi shariat ki. Unka zyada focus hota tha kis cheez pe? Khidmat par. Uhm... So, let's say namaz woh zyada nahi padhenge, zikr bhi woh bahut zyada lekin woh khidmat ke zariye, logon ko paani pilayenge, is tarah ki cheezein. Jaise aaj bhi jab aap jaye na, Data Sahab, yeh jo Ali al-Hajwari ka jo, ki jo shrine hai, you will sometimes see a very strange kind of thing that there is a guy, jo ganda-manda sa aapko lag raha hai, ajeeb usne baalon ki guttein si banayi hui hain. Uh, it might seem very strange to you. But woh wahan paani bhar ke logon ko pila raha hai. That is something like a qalandari thing going on there. Okay? Iska yeh matlab nahi hai ke saare qalandar aur aala hote hain, they've been, they're subject to a very like, jisko hum kehte hain na gray area in Sufism. Aur Sufiya khud un pe divided hain. Ke yeh kidhar, where do they lie? Okay? For example, when they become very poor, and they drink, doosron ko paani pilate hain, woh khud bhi pee lete hain, and they have to go to the toilet. And they don't have a toilet. Ek zamane mein woh bahir jaake kar aate thay, ab pata hai aapko woh jagah hi saari concrete ho gayi hai. They end up, they used to pee outside the, the shrine. To woh itna organized manda to tha. To ab wahan unhon ne junglein laga di hain. To woh qalandar bhi kahan jaye is daur mein? So you know, um, so you know, the, the... I mean zyada tar Sufiya pehle unke kaafi, they had tense kind of relationship with them. And you know, maybe the qalandars won't survive urban development in Lahore and Pakistan. There are some other books too, jo ke is daur mein likhi gayi thi. Abu Nu'aym al-Isfahani, Hilyat al-Awliya, aur bhi bahut saare log hain, Qushayri ka humne already zikr dekh chuke hain. They also wrote books and all of those books, un tamaam kitabon mein pattern aur objective aapko ek hi lagta hai, to show that tasawwuf is an Islamic tradition, it goes back, back, back to the Prophet, it's derived and in tune with the Shari'ah. Uh, and then of course they discuss controversies. Okay? Okay. So, yeh jo daur tha, jis daur mein Abdullah Ansari as a Hambali Sufi was active in Afghanistan, in the city of Herat. The power that was ruling the central Asian region, unko kya kehte hain? Does anyone know which empire? Seljuk. Seljuk. Very good. Seljuk. Seljuk jinko kaha jata hai. They were the power during that time. And the Seljuks were great friends with... they were Sunni, Turkish, Turco... Turkish and Central Asians. They were great fighters. Aur agar aapne woh dekhi ho, Ertuğrul dekhi hai na aap logon ne? To usme woh jab Alp Arslan ki baat karte hain to woh baat... you know, they look at the Seljuks with respect. Ke woh bhi Turk thay aur hum bhi Turk hain. We're different. They formed their own dynasty. Uh, Ertuğrul gives birth to the Ottoman dynasty. Yeah? But woh apne jo, woh lekin they're small fish. When Ertuğrul is alive, his clan is a little small clan. Yeah? Agar aapne dekhi ho. It's fictionalized, the, woh jo series thi, magar usme woh dekhein woh chote hain. Badi taqat us daur mein kya hai? Seljuks. Seljuks. Haan, apne declining phase mein. When the Seljuks decline, eventually the Ottomans rise, the Mongols come in aur dynasties bhi aati hain Iran mein. Okay? So Seljuk jo thay, inki kuch ulama Sufiya se bahut dosti thi. Balki unko unhon ne sponsor kiya hua tha, unke liye madaris banaye thay. To examples, Qushayri and then later Imam al-Ghazali. Woh us, you know, Seljuk institutions ka hi woh products thay. Unke andar, Nizam-ul-Mulk ek mashoor wazir thay unke, unhon ne madaris qaaim kiye, Sunni madaris, usme Sufiya bhi aa jaate thay, saaron ke unhon ne ek jagah de di. Phir ahista ahista, you know, it was, tasawwuf became part of mainstream Sunni Islam during this time. Yet, at the same time that the Seljuks were sponsoring many Sufiya, there were other Sufiya who were, who got into trouble with the Seljuks because, you know, politicians are politicians. They have to do shady stuff and some of the Sufiya could not hold back, they would criticize them. And one of those people were Hambali Sufiya, including our Abdullah Ansari of Herat. So he got into trouble with the authorities, he was in prison. Thankfully he was not executed, but he still spent his time in prison. Badi mushkil se kaafi arse ke baad unko nikaala bhi gaya. Okay? Now, another person, jo ke who's probably seen, who's seen as even more influential than Abdullah Ansari, is another Hambali Sufi. Aur kaha jata hai, Pakistan-India mein mashoor hai ke jitne bhi bade silsile hain, unke yeh sheikh hain. Aaj ke jo, jitne bhi bade Sufi orders hain, unki rooh, unmein jo, the uber-saint, he is that person. Who is that person? Pura bolein. Abdul Qadir Jilani. Jilan kaun sa ilaqa hai? Kahan hai Jilan? Iraq... Let's call it Central Asia. Iraq, Iran, Central Asia, us ilaqa hai woh. Jilan, I think you're right, maybe it's in Iraq. It's northern Iraq. It's northern Iraq. So, udhar se thay Sheikh Abdul Qadir Jilani aur, umm, he also travelled but he was a Hambali Sufi. Ab Hambali Sufi, to yeh jo baat hai jo ke aaj kal is tarah se present kiya jata hai na ke Sufiya jo thay shariat ke khilaf thay, bhai, the strictest of the strictest ulama were Sufis. Including Sheikh Abdul Qadir Jilani. Okay? Aur aaj kal, even the modern Salafis, they derive their inspiration from yet again another Hambali Sufi, jinka naam hai Ibn Taymiyyah. Ibn Taymiyyah. Aur woh aaj kal kya aapko nahi batate ya bhool jate hain, that he was himself a Sufi. Ibn Taymiyyah, ab... and for a long time when maine pehli dafa suna tha ke Ibn Taymiyyah is Sufi thay, maine kaha, "Hain? Yeh kaise ho sakta hai?" Ibn Taymiyyah ne to itni kitabon mein, uh, he actually wrote a book, Awliya, farq baina Awliya Allah wa Awliya Shaytan. He said a lot of people that people, a lot of people that people consider to be Awliya Allah, are actually Awliya-ul-Shaytan. Yeh shaytanon ke dost hain, yeh Allah ke, yeh Allah ke wali nahi hain, yeh shaytanon ke wali hain. So, and he launched this attack. But agar us kitab ko bhi aap ghaur se dekhein, he maintains a balance ke kuch log hain jo waqai Allah ke sacche wali hain. Aur he calls Ibn Taymiyyah calls Sheikh Abdul Qadir Jilani, "Sheikhuna." Mere hamare sheikh. Aur un Sheikh-ul-Masha'ikh Abdul Qadir Jilani ki ek kitab hai, woh maine padhi thi ek zamane mein, it's beautiful. Usme woh... Sheikh Abdul Qadir Jilani before he speaks, he cites a verse. Itne woh qareeb rehna pasand karte hain Quran ke. This is the Hambali mizaaj, ke aap har cheez mein Quran aur hadith ke qareeb rahein. Woh ek, aise lagta hai jaise Quran, almost aap Quran ki ayat hi padh rahe hain aur chhoti-chhoti beech mein insertions hain aur phir unko poetically aap kar rahe hain. It's a beautiful kind of text. Us pe commentary likh rahe hain Ibn Taymiyyah. Phir woh doosre fellow Sufis ko criticize kar rahe hain. This is what happens in the pre-modern period, right? In the modern period, even when people say that we're Hambali, we're Salafi, we're quoting Ibn Taymiyyah, they miss out on all of that nuance and do their selective kind of bashing of the tasawwuf. Okay? So yeh kehna ke tasawwuf aur shariat ka koi tazaad hai ya contradiction hai, historically it's complete nonsense. Uh, and it's shown by the fact ke some of the greatest Sufiya, the most critical of fellow Sufiya were themselves the most senior Sufiya. Jaise Abdullah Ansari, Hambali. Sheikh Abdul Qadir Jilani is a Hambali. And Ibn Taymiyyah who's very awkward, he got into fights with lots of other Sufiya but eventually he was himself, most likely a Qadri Sufi. Okay? Uhm... Abdullah Ansari jo thay woh kaise bane ek Sufi? Although he was a Hambali, I'll just take a few more minutes and then I think you guys can go, but Abdullah Ansari ke jo apne master thay, woh, unka naam tha Kharqani. Kharqani was an anpadh kind of guy. Abdullah Ansari was a very aalim kind of person. And when he met this guy, he realized ki mere paas ilm to bahut hai Quran aur hadith ka, but what this guy has is far better, far greater. He has a direct connection with God. Kharqani ke baare mein kya aata hai, that he was an Owaisi Sufi. Who are Owaisis? We remember this term, Owaisi? Owais al-Qarni... No, woh to waise Qarni thay, but maine aapko bataya tha it became a certain kind of... unorthodox Sufis, like they don't follow a silsila or anything. No, silsile ki zaroorat nahi hai. Owaisi ka kya matlab hota hai? Owaisi ek jargon ban gaya in the way of a term that the Sufis coined. Owaisi means, spiritual inheritor of Rasool-Allah... No. It just means people who are discovering religion by their own without a scholar or master. Not discovering. Discovering is a very modern kind of thing. I'm discovering my kya ho, parinda hoon, main ladka hoon, main ladki hoon. Ji? The silent kind of tasawwuf. The silent kind of tasawwuf. No. Yeh term aapko aani chahiye. This is a, definitely I will make sure it's part of your final exam. Owaisi Sufiya unko kaha jata hai jo ke Owais al-Qarni ki tarah, they had this direct connection to God and Prophet. Owais al-Qarni ke baare mein kya mashoor hai, did he meet the Prophet? But he loved the Prophet more than most, more than or almost as much as some of the Sahaba. Yeah? And so Owaisi in Sufism... because he was not just, Ali al-Hajwari he was taught by Kharqani. And Kharqani said that he was an Owaisi, meaning, unko kisi ustaad ke paas jaa ke seekhne ki zaroorat nahi padi. Haan, magar unko khwaab mein Sufiya sikhaya karte thay. And the one spirit that Kharqani was inspired by was guess which, which person's spirit? He's called the Sultan-ul-Awliya. Bastami. Bastami. So yeh dekhiye, it gets so messy. You have the most fiercest critics of the tasawwuf taught by an Owaisi Sufi who is inspired by another controversial Sufi, Bayazid Bastami. Yeh isse aapko nazar aata hai ke how messy it is. And, um, it's messy only because we think that there should be some divide, some filtering, some controversy. Lekin us daur mein woh nahi thi. Bayazid Bastami had become accepted and in the spiritual world, people could take from many of these masters and retain their own fiqhi mazhab. You can be a different kind of Sufi. Maine aapko bataya tha na ke ek dafa mere mujh pe bhi yeh bhoot chada hua tha ke main zara Wahhabi, Hambali ho gaya tha ek zamane mein, har kisi ko kehta hai, "Tum yeh nahi kita, yeh nahi kita." Hum, hum bade change, hum bade acche hain, hum bade paak hain. To yeh kyun nahi karte? Hum pe bhi ek zamane mein woh ek tarah ki bimari thi. So one of my teachers told me, "Calm down! Agar aapko nahi hai pasand na saare bid'ati log, to aapko apne jaise Sufiya bhi mil jayenge jo aap se bhi zyada bid'ah-phobia jinko hoga." Whatever kind of Islam you want, you will find it in the Sufis. You know itni, itna diverse tradition hai aur historically there is so many options and so many ways in which these people relate with the Shari'ah. Okay? Of course. Here are comprehensive notes on the lecture, organized by topic with names, anecdotes, and contextual explanations as discussed by the speaker. --- ### **Comprehensive Notes on the Lecture** #### **1. Defining "Tradition" (Riwayat) in Sufism** The lecture begins by defining what constitutes a "tradition." It is not merely something that starts and ends, but rather an accumulation of knowledge and expertise that is passed down and grows over time. * **Key Concept:** A tradition requires **continuity**. * **Example:** LUMS is used as an example of a tradition where people come and go, but a body of expertise and knowledge remains and evolves. * **Application to Sufism:** This concept is crucial for understanding Sufism itself, which is a tradition passed down through generations of masters and disciples. #### **2. Ali al-Hajwari on Marriage: A Multi-Layered View** This is a central theme of the lecture. Hajwari's view on marriage is not monolithic but has distinct layers, which the speaker unpacks. **A. The Standard Shari'i (Islamic Law) Position:** Hajwari begins by affirming the standard Islamic legal position on marriage, which is nuanced and depends on the individual's situation. * **Permitted (*Mubah*):** For the average person, marriage is simply permitted. * **Obligatory (*Wajib*):** For someone who cannot avoid falling into sin (*haram*), marriage becomes obligatory. * **Preferable (*Mustahabb*):** For someone who can financially support a family, marriage is a highly recommended and virtuous act. **B. Hajwari’s Personal Preference for Celibacy:** Despite affirming the Shari'i view, Hajwari's personal inclination, shaped by his experiences, is towards celibacy for the dedicated spiritual seeker. * **The Evils of Celibacy:** 1. Neglecting the Prophetic custom (*Sunnah*). 2. Fostering lust and the danger of falling into sin. * **The Evils of Marriage (from a seeker's perspective):** 1. **Distraction:** The mind becomes preoccupied with worldly matters instead of God. 2. **Sensual Pleasure:** The body can become overly focused on sensual gratification. * **Hajwari's Personal Anecdote:** He reveals that after being "preserved" from marriage for 11 years, he fell intensely in love for a whole year based merely on the *description* of a woman he had never seen. This experience "nearly ruined" his religion, leading him to believe that for a seeker like himself, marriage is a dangerous distraction. **C. Contextualizing Anti-Woman Tropes:** The speaker notes that Hajwari includes statements blaming women for major calamities (Adam's expulsion from paradise, the quarrel of Cain and Abel, etc.). * **Source Identification:** The speaker clarifies that this "blame game" is **not from Quranic or authentic Hadith sources**. It stems from the **Biblical (Judeo-Christian) tradition**. * **Quranic Contrast:** In the Quranic narrative, Adam and Eve are blamed **equally** for their mistake. * **Speaker's Analysis:** This inclusion reflects the medieval, sometimes sexist, environment, but it should not be taken as a core Islamic or Sufi principle. **D. The Ideal Sufi Wife: Anecdote of Sahl al-Tustari's Wife** To show the positive potential of marriage, Hajwari provides an example of an ideal wife. * **The Story:** The wife of the great Sufi Sahl al-Tustari would tell her young son to pray in a niche (*mehrab*) when he was hungry. While he prayed, she would secretly place food there. The boy grew up believing God directly provided his food. One day, the mother was out, the boy prayed, and food miraculously appeared. When she returned and asked where it came from, he replied, "From the place it always comes from." * **The Lesson:** A pious wife can be instrumental in the spiritual training (*tarbiyah*) of her children, directly connecting them to God. #### **3. The Misuse of Hadith and the Hambali Critique** The speaker explains how some people selectively use religious texts to justify their desires. * **The Famous Hadith:** The Prophet ﷺ said he loved three things in the world: **scent, women, and prayer.** * **The Vulgar Argument:** People use this to argue that since the Prophet loved women, indulging in desires related to them is an excellent act. * **Hajwari's Rebuttal:** He counters by pointing out that the Prophet's other defining traits were **poverty (*faqr*) and spiritual combat (*jihad*)**, which these same people shun. He argues that the Prophet's love for women was part of a refined, dignified, and pure existence, not a justification for base lust. The speaker emphasizes that this is a classic example of a "selective reading." #### **4. Key Concepts from the Baghdad School (Shibli, Baqli)** **A. *Iltibas* (Divine Veiling / Clothing):** This concept is used to explain seemingly blasphemous or ecstatic utterances (*Shathiyat*). * **Shibli's Statement:** Shibli once proclaimed, "Even if hellfire wished, it could not burn a single hair on my body." * **Ruzbihan Baqli's Explanation:** This is not arrogance. It is *Iltibas*. When a saint is "clothed" in God's Light (*Nur*), they are veiled by it. Since hellfire cannot touch God's Light, it cannot touch the saint who is enveloped in it. **B. *Himma* (Spiritual Concentration / Power):** This refers to the focused spiritual energy of a master. * **Definition:** It is the ability of a perfected Sheikh to focus their spiritual attention on a disciple, which can guide, protect, or transform them, even across space and time. **C. The Garden and Feminine Imagery in Mysticism:** * **Shibli's "Springtime" Analogy:** The mystic's state is like springtime—full of contradictions that create a beautiful whole: thunder (weeping), rain (love), wind (action), blooming buds (smiling), and singing birds (mentioning the beloved). * **Ruzbihan Baqli's "Kafir Dil" (Infidel Heart):** He uses the metaphor of the "infidel heart" that is never satisfied in its quest for divine beauty, comparing it to the longing for a beloved's eyes and brows—using feminine beauty as a metaphor for the divine. #### **5. Sufism and Orthodoxy: The Question of *Bid'ah* (Innovation)** This section tackles the common accusation that Sufism is full of forbidden innovations. * **The General Hadith:** "*Kullu bid'atin dalalah...*" (Every innovation is a misguidance, and every misguidance is in the Hellfire). * **The Counter-Example:** Hazrat Umar, upon seeing the congregation for Tarawih prayers re-established, called it a "*Ni'ma-l-bid'ah*" (What a good innovation!). * **The Ulama's Distinction:** Traditional scholars and Sufis differentiate between types of *bid'ah*. An innovation in the **foundations of the faith (*Usul-ud-Din*)** is forbidden. However, new optional practices (like a new *dhikr* or a new form of charity) that do not contradict the Shari'ah are permissible and can even be good. * **The Hambali Sufis:** Ironically, the most vociferous critics of *bid'ah* within the pre-modern tradition were often **Hambali Sufis** themselves, like **Abdullah Ansari of Herat** and **Ibn Taymiyyah**. This shows the debate was internal and complex, not a simple case of "orthodox" vs. "Sufi." #### **6. Sufis and Society** **A. The Role of Work and Profession:** The lecture debunks the stereotype that all Sufis were beggars who shunned work. * **Examples of Working Sufis:** Many great Sufis had professions, reflected in their names: * **Mansur al-Hallaj:** The Cotton-Carder * **Sari al-Saqati:** The Peddler * **Abu Hafs al-Haddad:** The Blacksmith * **Al-Warraq:** The Bookseller/Copier * **Al-Qawariri:** The Glassmaker * **The Mendicant (*Qalandar*) Orders:** There were indeed groups who practiced begging, but they were often controversial and not representative of the whole tradition. **B. Relationship with Political Power (The Seljuks):** Sufis had diverse relationships with the ruling powers of their time. * **Cooperation:** Some, like **Imam al-Ghazali** and **al-Qushayri**, worked within the Seljuk-sponsored system of madrasas. * **Critique:** Others, like **Abdullah Ansari**, were critical of the rulers and suffered imprisonment for it. * **Conclusion:** There was no single "Sufi position" on politics; it varied based on the individual's temperament (*mizaj*) and context. **C. *Tabaqat* Literature (Books of Generations):** This is a specific genre of Islamic literature that Sufis used extensively. * **Definition:** Books that list important figures (scholars, saints) generation by generation, starting from the Prophet ﷺ and his Companions. * **Purpose:** 1. **Legitimacy:** To establish an unbroken chain (*silsila*) back to the Prophet, proving the tradition's authenticity. 2. **Inspiration:** To provide role models and lessons from the lives of past saints. * **Examples:** The book by **al-Sulami (*Tabaqat al-Sufiyya*)**, which was translated into Persian by Abdullah Ansari and later updated by Jami. **Attar's *Tazkirat-ul-Auliya*** is a similar, though less structured, work. ### rel_215_transcriptions/Attar_s _Conference of the Birds_ Translation Excellent question. The reference to the Simorgh being in China is one of the most important symbolic moments in the poem. It's not a random geographical detail but a rich metaphor with several layers of meaning. Based on the provided text and the wider context of Sufi thought, here is the meaning of the Simorgh being in China: ### 1. The Remoteness and Difficulty of the Goal On the most straightforward level, China, for a 12th-century Persian, represented the farthest, most remote edge of the known world. * **Symbol of the Arduous Journey:** Placing the Simorgh (the ultimate Truth or God) in China immediately establishes that the spiritual quest is not easy. It is a long, difficult, and perilous journey to the "ends of the earth," requiring immense dedication and a willingness to leave behind everything familiar. ### 2. The Source of Ultimate Knowledge (Gnosis) This is the most crucial layer of meaning, which Attar explicitly points out in the text: > "(In China still this feather is on view, > Whence comes the saying you have heard, no doubt, > “**Seek knowledge, unto China seek it out.**”)" Attar is directly referencing a famous *hadith* (a saying attributed to the Prophet Muhammad). By linking the Simorgh's feather to this saying, he redefines what "knowledge" means. * **From Worldly to Divine Knowledge:** The hadith is often interpreted as encouraging the pursuit of worldly or scientific knowledge, no matter how far one must travel. * **Attar's Sufi Reinterpretation:** Attar transforms this into a call to seek *ma'rifa*, or **divine gnosis**—the direct, experiential knowledge of God. The ultimate "knowledge" is not found in books but in the spiritual journey towards the Divine, which is as distant and challenging as a physical journey to China. ### 3. The Nature of Divine Revelation: The Feather The story isn't that the Simorgh *lives* in China, but that it was in China that a **single feather** from the Simorgh fell to earth. This is a vital distinction. * **A Mere Trace of the Divine:** Humanity cannot see the Divine in its full, overwhelming glory. We only get a tiny hint, a single sign or trace—the "feather." This one beautiful, perfect feather is enough to create a "rumour" and inspire the quest. It represents the fragment of divine beauty that exists in the world and awakens the longing for the source in the soul. * **The Inadequacy of Human Perception:** The fact that the feather itself causes so much confusion is also key: > "Throughout the world men separately conceived > An image of its shape, and all believed > Their private fantasies uniquely true!" This is a powerful critique of religious dogmatism. The one Truth (the feather) is perceived differently by every person or group, and each mistakenly believes their limited understanding is the complete and only truth. The journey is necessary to move beyond these partial "fantasies" to the source itself. In summary, placing the origin of the quest in China serves three main symbolic purposes: 1. **It establishes the spiritual path as long and difficult.** 2. **It redefines the highest form of "knowledge" as direct, mystical experience of the Divine.** 3. **It illustrates that our quest for God begins with a mere hint or trace of His beauty (the feather), which we often misinterpret until we undertake the journey to find the source.** ### rel_215_transcriptions/Baba Farid_s Life and Travels Here is a transcription of the lecture on Baba Fareed and Bulla Shah, with timestamps included. **[00:00]** ...jo bohat yeh limited. Aur although, you know, there were others around him, bohot saare log abhi zinda the, lekin logon ne unko recognize karna shuru kar diya as the leading Chishti master, of the leading master of the Chishti. **[00:20]** Toh jab unko yeh logon ne kehna shuru kar diya ke yeh toh sab se chhaaye hue hain, woh sab se cool hain, sab se awesome hain. Guess what he did? He disappeared. But we know where he went. He went to Hansi. **[00:35]** Okay? Shuru mein toh logon ko pata hai, zaahiri baat hai uss daur mein there was not koi Google karke ya phone karke "kidhar gaye Baba ji?" Toh aahista-aahista, baat phail gayi and he spent 20 years in Hansi. So Delhi was a big place. But Hansi was a small place. And he liked to be in small places. So avoid attention. He did not want to be a celebrity. And so he spent two decades in Hansi. **[01:02]** Jab Hansi mein bhi bohot zyada log aana shuru ho gaye, Hansi had almost center wahan pe log jaate the Baba Farid se milne. It became a very, very corporate thing. Toh woh Hansi bhi chhod ke bhaag gaye. And then he came to another small town in Punjab. So he would go to these small towns. Why? To avoid too much attention and distraction. **[01:22]** Toh udhar se jab ek idhar aaye, Ajothen, ek ek village thi. Aur Ajothen ka jo, usse pehle thodi der Kotwal bhi gaye the. Kotwal aapko pata hai was their purana ancestral home was. So they were probably their highest family. And then he went to Ajodhan. Aur Ajodhan mein hi that became his final center. And that's where he left his, spent the final years of his life. **[01:50]** Toh jo Ajodhan tha, in the memory of Baba Farid, the town was renamed Pakpattan. Okay? Aur Pakpattan, pattan hota hai, pattan ka kya matlab hota hai purani agar aap dekhenge Punjabi mein pattan kisko kehte hain? Kishti ko. **[02:09]** So, the pure ferry. It's not a big ship. It's like a boat. Ferry agar aapko pata ho, or you've taken a ferry ride. Ferry bohot chhoti bhi nahi hoti, bohot badi bhi nahi hoti. It's like this middle-sized ship. It's like a bus on water. Haan, I think that's a good analogy. It's like a bus on water. **[02:31]** So, the ferry, the pure ferry. Uh, the ferry of the pure. I think that's better. The ferry of the pure, yaani ke jo logon ko paak karne ka raasta ke people who, aur badi, yahan pe maine legend sune hue hain. There is a legend, ke us, wahan pe bade zyada mashhoor thi baatein ke that land is cursed, wahan pe koi jadu hota hai, ya logon ke saath bure, buri cheezein hoti hain. **[02:55]** But once Baba Farid lived there, the perception of that land changed. The image of that land changed. And people felt. Ab yeh khaali Pakpattan ki kahani nahi hai. Bohot saare ilaake hain jinki isi tarah ki koi kahani hai ke koi buzurg aise jagah pe chale jaate the jo log jis ilaake mein nahi jaana chahte the. Yeh unko khauf ata rehta tha, ke uss ilaake mein toh deo rehte hain. **[03:18]** Uss ilaake, deo suna hai? The word, you know the word deo? Urdu mein aapne padha hoga, deo. What is a deo? It's basically a ghost-like thing. No. Like a giant. Or some either giant or some monster, something like that. **[03:38]** Toh udhar koi, uss zamane mein, and I think that was partly because of the way nature would terrify people. Bohot saari myths hoti thi na ke falaane ilaake mein deo hain, falaane ilaake mein pariyan hain. Uh, woh kya hai Pindi mein aap abhi bhi jaayen toh kaunsa ek ilaaka jahan pe mashhoor hai ke wahan pe pariyan aati hain raat ko? What is the area? Shakarparian? Purana ek legend hai. Toh is tarah ke purane legends hain. **[04:01]** Ab aap kehte hain kahan gayin pariyan? Woh toh darakht bhi chale gaye hain, woh khauf bhi chala gaya, har jagah property development, DHA, Area, DHA. Toh uski wajah se pariyan nahi chahiyen. Mein yeh kehna yeh chah raha hoon ke khaali Pakpattan ki kahani nahi hai, poore India mein aapko Pakistan mein jagah-jagah is tarah ki koi kahani milegi. And in fact agar aapne suna hoga Deobandi scholars, Deoband bhi ek ilaake ka naam tha, wahan pe mashhoor tha ke koi buzurg gaye the aur unhone deo pe, deo jo the uss ilaake ke unke upar ek bandh laga diya tha. So they could not like bother the people of that land. **[04:36]** So, yeh uh, Sufia, as I told you, there are many, many uh, traces, deep traces, cultural traces, historical traces they've left across Pakistan and India. Jo aaj Pakistan aur India hai. Jagah-jagah ilaakon mein, naamon se leke, landmark se leke, koi na koi aapko ek purani deep history kuch mil jaati hai. Jis pe kai dafa phir Hindu revivalist movements waale unko bohot ghussa bhi chadhta hai ke hamare deoband pe Musalmaanon ne band kar diya tha, deoband azaad karo or something, I don't know that's the kind of politics you see, what I'm trying to say. **[05:10]** Anyway, back to Baba Farid. Aur unki shaan mein uss ilaake ka naam badal diya gaya Pakpattan. So he was a scholar, remember, he was a Sufi master, but he was also an aalim. Yeh jo Sufi-aalim ki divide hai, mein kai dafa aapko bata chuka hoon, yeh bilkul aksar ghalat hai. **[05:30]** Uh, he engaged in intense meditative and spiritual exercises, aur jismein lambi fasting hoti thi, lamba seclusion hota tha, yaani ke ghaar mein chale jaate the ya door kahin chale jaate the. And he would focus a lot on getting rid of distractions and focusing on God and reflecting on yourself and so on. **[05:51]** Apne aap ko it was basically, these are different spiritual exercises for self-transformation. Uh, aur baad mein inhi practices ko chilla bhi kaha jaata tha. 40 din ka hota tha. 40 din tak aap exercises karte, yaani ibaadaat karte the. Aur kai dafa bohot usme aapko ajeeb cheezein bhi milti thin. **[06:11]** Baba Farid ke baare mein yeh aata hai ke unhone experiment bhi kiya tha ek zamane mein. He even tried some yogic practices. Uh, jiska jo 40 din ka hai unka chilla mashhoor tha ek, jismein woh ulte latakte the. So he also tried that. Okay? Probably influenced by local Indian traditions. Okay? **[06:31]** Uh, so he is, he was, he was in the Chishti spirit, not entirely sort of allergic towards Indian religions and Yogis. Haan, unka apna ek view tha. Islam hi unka compass tha. But within that compass they could also explore, try certain things. To help him spiritually, if they do, they would try it out. Okay? **[07:00]** Now, he is a key figure responsible for drawing locals to Islam. All members of society, elite and ordinates, scholarly and lay, Muslim and non-Muslim, came to visit him. Yaani ke yeh aise Sufi hain jinke baare mein we have many sources that tell us that members of, yaani ke ameer, ghareeb, har koi uss daur mein aata tha unse milne. And even reports ke aisi bhi kahani hai ke koi pata nahi kitne 100, 1000 log ja rahe hain army ke. **[07:28]** Aur woh general ek martaba they stopped by at some town ke chalo yahan pe thoda sa rest kar lein, phir march shuru karenge, phir ghode apne chalayenge. Toh woh wapas aate hain general sab koi army available nahi hai. And they are like, ke Baba Farid is somewhere nearby, all the soldiers have gone to visit him. Toh is tarah ki he was that kind of magnetic, he became that kind of magnetic, charismatic person and a lot of people were drawn to him. **[07:56]** Aur his appeal was so vast and so broad, jaise maine kaha Muslims and non-Muslims would come to visit him. Uh, for all sorts of things. For guidance, for favors, for charms and so on. Balke yeh dekhiye na, yeh jo lafz hai Ganjshakar. Ganjshakar what does that mean? Ganj hota hai? Nahi, nahi, nahi, ganj woh friend nahi hai. Ganj means treasure. Khazana. Okay? So, ganj means treasure. Shakar kya hai? Sugar. But shakar also represents what? Bliss. Uh, it also represents wealth. It also represents pleasure. **[08:47]** Yaani ke khushiyon ka khazana. That is his laqab. Laqab hota hai jo log aapko de dete hain, jaise Pakpattan logon ne naam rakh diya uss jagah ka. Isi tarah se Ganjshakar. Ke aap Ganjshakar hain, yaani ke aap jo hain, uh aap kya hain, ke aap so much good flows out from you. You're like this storehouse. You're like this pool of treasures for us. Jis se hamari zindagi mein khoobsurti, khushi, bhalayi aati hai. Okay? Our life becomes sweet. Our sorrows go. Hamare gham door kar dete hain, aap. Is tarah ki baatein. This is all devotion towards him. Okay? **[09:29]** Acha, he was so popular, and he was so well acknowledged. And his poetry was became so well-received that it is now part, it became part of Adi Granth. What is Adi Granth? It's one of the Sikh scriptures. Yaani ke Sikhon ki jo kitaab hai, unki jo deen ki kitaab hai, uss ka hissa hai Baba Farid ki shaayri. Are you, are you following this? **[09:57]** Aur jab aapke aate hain by the way yahan pe Sikh, jab aate hain log, pilgrims aate hain, zaaireen aate hain. Woh kya kehte hain, yaatri jinko kehte hain na. Woh aate hain, woh kai dafa Pakpattan, woh bhi jaate hain. Aaj bhi jaana chahte hain. Okay? So that's his appeal. **[10:16]** So he is clearly the most revered, the most senior, the most popular Chishti Sufi in Punjab. And as I've told you, his most famous disciple was Nizamuddin Auliya of Delhi. Acha, now, he is famous for a certain genre of poetry called dohras. Dohra bhi keh lekin dohra. Yeh 'rhe' hai I don't know Punjabi letter. Toh dohray jo hain inke woh mashhoor hain. **[10:44]** Dohra jo hai do se hai. It's a pair of, uh it's a pair of verses, short and very poignant, meaning very, they hit you like this. They are so it's a very it's a, it requires a great taste and skill and craft to produce these dohras, dohras. Okay? Uh, aur uske jo aakhri hissa hota hai normally, kai tarah ke aap dohray likh sakte hain, but most, in most dohras, hota yeh hai ke jo pehla misra aur ek, do, do ashaar hote hain bas, yaani do ashaar ka pair hai. Ek sher, phir dusra sher. Aur jo dusra sher hota hai, dusre sher ka jo aakhri misra hota hai, the best dohra will have some sort of pun or play or irony jis se woh koi ek lesson dega. Are you with me? And that makes a dohra beautiful, impactful. Uss ka kuch asar hota hai. Alright? **[11:48]** So let's start reading these poems. They are selected for you. **[12:08]** Okay, can you read this, all see this? Aap logon ne kuch padhne ki koshish ki? Acha yeh mein aapko pehle bata doon when you're preparing for your exams, you don't need to read all of this explanation. Yeh explanation bohot long hai. Yeh saari padhne ki zaroorat nahi hai. Aap, aap basically yahan se, yeh jo kalaam hai, yeh padh lein aur iski English thodi bohot yaad kar lein. So you should know the words. Focus on the vocabulary. Are you with me? And then you should be able to interpret them. That's it. If you struggle, then you can look at this explanation. Magar agar aapne abhi tawajjo di hogi, aap thoda sa isko enjoy kar lenge, it shouldn't be a problem. You should focus more on the vocabulary. Aapko alfaaz yaad ho jaayein, kuch ratt lein, you should be fine. Okay? **[12:57]** So let's read the first one. As you can see, sorry, it's just two, it's one verse actually. Oh, magar usko dohra is liye kehte hain kyunki that one verse has four parts. Yaani ke woh do misre hote hain. Do misre hote hain. Do ashaar nahi hote, sorry, my bad. **[13:15]** So let's read the first dohra, it says: "Farida kaale mainde kapre, kaala mainda wes. Gunahi bharya main phiran, lok kahe Darvesh." Yeh bhi mein aapko batata chaloon ke yeh jo unhone banayi hai na selection, unhone Muzaffar sahib ne, Muzaffar Ghaffar, I really like this one, but it's not an academic rendition. Yaani ke, jis tarah agar hum academics, historians jab research karte hain, toh hamein bada, hum pe ek pressure hota hai ke aapki sources kya hain, kya waqayi Baba Farid ne likha tha ya nahi likha tha. **[13:48]** So, uh, in, albatta, yeh jo Ghaffar sahib hain, yeh Lahore Sangat ka hissa hain. Woh badi ek friendly si environment hai, alag-alag kism ke log hain, achhe-achhe se ke pyaare-pyaare log wahan aake baithte hain aur woh aapas mein shaayri karte hain aur phir woh likhte jaate the. So they used to discuss poetry and out of those discussions they produced this book. **[14:10]** And the purpose was to help us read and connect with this part of our history. Are you with me? Toh woh chahte the Sangat waale log ke hum apni Punjabi se mohabbat karein, Punjabi ko appreciate karein, jo Sufia ka itna zabardast kalaam hai, uss se kuch seekhein. So that was, that's what the Sangat people were devoted to. **[14:31]** Toh Ghaffar sahib se kuch logon ne jhagda bhi kiya ke yeh aap research nahi karte, aap yeh kyun nahi dekhte ke 100 saal pehle manuscripts kyun nahi dhoondte, is tarah historians hote hain, sources, evidence collect karte hain. Toh unka yeh kehna tha ke bhai, yeh jo shaayri hai, yeh aapki yeh zinda shaayri hai. Meaning, Baba Farid does not need a historian to be known. He's known in the galis, he's known in the gaons, he's known everywhere. And people recite this poetry. **[15:00]** Toh jo log jaise padhte hain, sunte hain, unko yaad rehta hai, mein toh usko document kar raha hoon aur hum usko aage chalte hain. Historically kya hua, exact unke paas kuch mukhtalif the, I don't care. You see what I'm trying to say? Toh bas yeh yaad rakhiyega, more or less this is, you know, okay. So you can feel, you can think that Baba Farid said this or wrote this kind of kalaam. Lekin aapko is kalaam ke kai versions mil jayenge. Yaani ke Baba Farid ne ho sakta hai ke slightly differently isko ada kiya ho is kalaam ko. Aapko samajh aa rahi hai? Misaal ke taur pe meine, agar aap usko sunein Nusrat Fateh Ali Khan ki performance sunein Baba Farid ke kalaam ki na, toh woh thodi si different hai. Yahan pe unhone is tarah se likha hai na, "Farida kaale mainde kapre, kaala mainda wes." Woh wes ko kehte hain bhes. Bhes kya hota hai? Appearance, costume. Costume jisko kehte hain, get up. In English, what is get up? The way I dress. "Gunahi bharya main phiran, lok kahe Darvesh." Woh kehte hain, "lok kahan Darvesh." So minor changes, oral tradition mein aisa hota hai. So no need to worry. This is good enough for us. Are you with me? Toh aapko yeh pata hona chahiye ke isko kuch isme variations aa sakti hain, oral tradition mein. This is not a written tradition. People recite the poetry and sometimes they modify it, tweak it a little bit. Dialects bhi logon ke different hote hain. **[16:27]** So what does this mean? Let's read this quickly. Aur haan by the way mein aapko, in fact break ke baad thoda sa sunaoonga bhi agar time hua Nusrat Fateh Ali Khan ki performance, so iska matlab kya hai? First, let's read this. "Farida kaale mainde kapre." So my clothes are black. "Kaala mainda wes." Aur mera poora ka, meri poori ki poori appearance hi black hai. "Gunahi bharya main phiran." I am full of sins. Alright? So, the first three misras, hemistiches are all saying, "I am black on the outside, I am black on the inside." In Sufi terms, we will say, "mera zahir bhi kharab, mera batin bhi kharab." **[17:17]** Kaale ka matlab yeh hai ke, you know, I'm torn, I'm poor, I sin. Bahir se bhi mein bura hoon. Aur andar se bhi mein bura hoon. Iska yeh matlab nahi ke literally woh black clothes pehnte the. Okay? That would be a misreading of the text. Okay? Kapde aur bhes is basically about you know, shame bhi ho sakti hai, guilt bhi ho sakti hai, bad reputation bhi ho sakti hai, kuch bhi ho sakta hai. So mera zahir bhi kharab, mera batin bhi kharab. "Gunahi bharya main phiran." Mein toh, I am full of sin, mein toh itna gunahgaar insaan hoon. Then the twist will come. "Lok kahe Darvesh." Yaar ke log mujhe Darvesh kehte hain, logon ne mujhe pata nahi kya Sufi bana choda hai. Mein toh bohot hi kamtar cheez hoon. You see? What a beautiful dohra. Did you get this? Did you get the irony at the end? Ke ek flow ja raha hai ke mein bura, mera zahir kharab, mera batin kharab. But "lok kahe Darvesh." Logon ne mujhe pata nahi kya bana diya hai. **[18:22]** So logon ko mein pata nahi, log samajhte hain pata nahi kya cheez hai but mein kya hoon, mein kuch bhi nahi hoon. So this is what we will call an expression of humility, inkesari. Iska, aur jab yeh kehte hain Baba Farid, "gunahi bharya main phiran," iska, iska yeh matlab hai ke Baba Farid jaake jagah-jagah gunah karte phirte the? Ya log samajhte the ke woh, ya woh waqayi gunah karte the? No, no, no, no. This is just a very intense feeling ke of humility. Allah ke nazdeek we are always sinning. Even the most pious people feel ke woh nek farishta kism ke log hote hain, um, jo bhooke mar jayenge kuch karenge nahi bura, but they feel like they are so faulty. Okay? **[19:08]** And the reverse is true for those who are not like spiritually advanced. Ke woh apne aap ko bada samajhte hain aur dusron mein dusron ko kya kehte hain? Dusron ko achha samajhte hain? Dusron ko neech samajhte hain, dusron ko paleed samajhte hain, dusron mein ghaltiyan dekhte hain. Dusron ko paindu kehte hain, dusron ko yeh kehte hain, woh kehte hain. Theek hai? So, Baba Farid is sort of reversing all of that and saying, mein kya cheez hoon? Got it? So if I give you this dohra in the exam, you should be able to explain it. It's very, very straightforward. **[19:46]** This one is more interesting and a little tricky, so pay attention. It says, "Dekh Farida jo thia, shakar hoi vis." Now this is Punjabi I don't know, this is very old Punjabi. And we need the help of the Sangat people to understand this. "Dekh Farida jo thia, shakar hoi vis. Saain baajhon aapne, vedan kahiye kis." The rhyme is beautiful. Aakhri do aap dekh lein ke woh alfaaz rhyme karte hain: "vis" rhymes with "kis." Lekin yeh aapko jab aapko mein thoda sa samjhaonga aapko Urdu, Urdu aati ho toh tab bhi aap samajh jayenge. "Dekh Farida." Aur by the way, kuch versions mein "wekh" bhi hai. "Wekh Farida, dekh Farida," same meaning. Dekho Farid, "jo thia." "Jo thia" yaani ke yeh kya ho gaya, jo kya ho gaya. "Shakar hoi vis." "Vis" kisko kehte hain? Poison. Shakar kisko kehte hain? Sugar. Pleasure. Toh kehte hain, "oh look what has happened." "Look what has happened. Sugar has become poison." "Saain baajhon aapne." Saain kisko kehte hain? Mera mithra Saain. Friend, lover, yaar, dost. Isko kehte hain Saain. So when he's saying Saain, which Saain does he refer to, talking about? God. God, haan. "Saain baajhon aapne." Baajhon ka kya matlab hota hai? Yeh toh Urdu, Punjabi jiski achhi ho, usko pata hoga. Bagair. Haan. Apne Saain de bagair, yaani ke Allah ke siwa, apne dost ke ilawa. "Vedan kahiye kis." **[21:24]** Acha vedan kisko kehte hain? Gham? Nahi. Vis is poison. What's the opposite of poison? Yeh Rumi mein bhi humne padha tha. Antidote. Poison ka opposite kya hota hai? Antidote. Antidote aur antidote ko Punjabi mein kehte hain vedan. Ya, ya marham bhi ho sakti hai ya ek, medicine bhi ho sakti hai. Theek hai? Toh kehte hain "Saain baajhon aapne, vedan kahiye kis." Okay? Uhm. Now, of course, vedan, aap theek keh rahe ho Maaruf, vedan can also be pain. Jaise dawaai bhi kadwi hoti hai na. Toh woh, koi cheez kadwi cheez hai, woh aapko dukh deti hai, lekin vedan is also the antidote. It's also the solution. Okay? So agar aap phir se is dohray ko padhein toh aapko teen jo iske hisse hain, "Dekh Farida jo thia, shakar hoi vis. Saain baajhon aapne," yahan tak aapko kya nazr aa raha hai? There is a sorrow. Ya there is, it's gloomy. But the last part has to reverse. Toh aakhri part mein kya hota hai? You get hope out of darkness. "Vedan kahiye kis." So meaning, yes, terrible things are happening, but there is an antidote. So let's break this down further. **[22:54]** Pehla misra kya tha? "Wekh Farida jo thia." Oh look Farid what's happened. "Shakar hoi vis." Sugar has turned into poison. "Saain baajhon aapne," without, other than God, if there's no God, if our God is not with us, God is not our friend, "vedan kahiye kis." Kis ko hum kahein apna vedan? Kaun hai jo hamara ilaaj karega? Okay? Yaad hai, zeher aur taryaaq. Yeh alfaaz the Rumi mein. Toh yeh wohi pairs hain. **[23:22]** Aur Baba Farid ki poetry mein aapko agar aap ghaur se padhenge, aapko purane Sufi ideas mil jayenge. But the way they put it in Punjabi, the way they put in these beautiful, sonorous, um, very beautifully crafted dohras. Yaani ke Sufia khaali yeh nahi tha ke woh, unke paas aql thi ya ilm tha, they also had great taste. Aesthetics unki kitni kamaal thi. Which is why you know, people sing them to this day. They're so beautiful. Main aapko shayad pehle bhi bataya tha, Waris Shah ki Heer Ranjha mein bhi agar time hua hum baat karenge aaj. Chalein, samajh aa gayi? **[24:00]** Acha ab isko hum dekhte hain, isme, the key words are "shakar hoi vis." What does that mean? Iski explanation mein aksar puchta hoon ke what does this mean? I I test students in the exam. What does Baba Farid mean when he says, "shakar hoi vis"? And another thing about these dohras, like other Sufi kalaam, like the nai-nama of Rumi, isme yeh hai ke bohot mukhtasar hai, but they are very deep sometimes. Pichla wala aapne dekha to wahi straightforward tha, but this one is deeper. So aap kya kehna chah rahe the? Sir basically, shakar, woh pleasures ko represent karti hai. And like the pleasures of the world have basically turned into a poison for him. Okay, excellent. Very good. Did you read that? Or you hear that? Acha, lekin ab isko zara expand karein. What does this mean? "Shakar hoi vis." All the pleasures in life have turned into poison. What does he mean by this? To distractions. Okay. How does pleasure, worldly pleasure, become poisonous? If we too much indulge into worldly pleasure, we might lose the spirituality and okay. That's one way of reading this. But let's stick to the text. Let's stay closer to the text. He says "shakar hoi vis." Sugar becomes poison. He has not brought in spirituality. It's just three words. So let's really, it seems to me like in a commentary on reality, yeh zindagi ki haqeeqat hai. "Shakar hoi vis" ya shakar vis ho jaati hai. What does that mean? It's not ke ji, misaal ke taur pe, mein bohot zyada khaane mein pad jaata hoon toh mein Allah ko bhool jaata hoon. That's not what he's saying right now. I think he's saying something else. Something of a different kind. Which is I think very interesting and very insightful I think to talk about. Ji. Dunya khatam ho jayegi. Faani ho jayegi. Lekin, okay, in that, that's one way perhaps. It could be poison. But I think it's more immediate. It's more palpable. It's more, we can feel it more. More immediate. And if you if you read it the way I suggest you read it, toh phir jo agli lines hain woh zyada, they will fit much better. Aur woh jo dohray ki coherence hoti hai na aur jo uska craft hai, ke there has to be a switch. From hopelessness, you get into hope. From corrupt zahir and batin, you get to, I don't know, false acclaim. Koi switch ya irony ya koi lesson aata hai end mein. That makes it beautiful. So there was a hopeless switch, hope. That is the switch. **[27:24]** Toh mein aapko batata hoon ke woh kya keh rahe hain. I thought somebody would figure it out. Kehne ka maqsad yeh hai, all the pleasures in life become poisonous at some point. Especially if you just indulge in them. If you are, if you're committed to pleasure, pleasures will turn into poison. So how, what does it, let's take this. Iski example lete hain. Let's say you love food. If you eat too much, what happens? You vomit. Not food poisoning, woh toh hai agar aap ganda khaana khaa lein. Come on guys. Fat. You become fat. Bhai zyada tar jo hamare health issues hain is waqt, actually I I just recently, I just finished the book. Okay? It basically they are because of overconsumption, jisme hum ne kaha tha. Hamari diet mein sugars aur carbohydrates ka itna excess ho jaata hai aur jitni bhi mazay ki cheezein hain, what do they have? They are loaded with sugars and carbs. Yeah? Sugars aur carbs mein kya cheezein hain? Bakery items aa gaye, meethi cheezein aa gayi. Even fruits mein jab bohot zyada sugar hota hai, even meethay aam bohot zyada, all of them they cause, create sugar, diabetes, heart problems, all sorts of issues. Um, aur uss zamane mein bhi logon ko pata tha, overconsumption kills you. But people couldn't stop. Those who loved food would become fat and sick and then they would die a painful death. Aur phir unki, aaj kal toh yeh hai na ke aapko antibiotics de dete hain, numb kar dete hain medicine deke, theek hai? So medical procedures, deliveries, etc, can be painless. But uss zamane mein pain killers bhi nahi hote the. Toh logon ki surgeries hoti thin just because of overconsumption. Koi kuch kaatna padta tha. It was very, very painful. So it was literally painful if you were into pleasures. Aap cheeni, literally bhi aap cheeni zyada khaate the, toh aap, you would suffer. Okay? Too much sugar was really bad. Aapke daant kharab ho jaate the. Daanton mein keeda lag jaaye, aa uss zamane mein without, woh kya kehte hain, numb, things that numb you. What do you call them? Anesthetics. Anesthetics. Yeah, without anesthetics how can you, woh kitna painful hota hoga. So literally like taking pleasures in life, or let's say if you're committed to food for example, then you suffer. But it's not just about food. Let's take about, talk about something else. Let's say you like, you're committed to a life of sexual pleasures. Toh aap padh lein kahaniyan. Pichle dino mein kal dekh raha tha, my children put on Shrek. And I was watching Shrek after a long time. And this time I realized that Shrek has so many adult jokes. Mujhe tab pata nahi chalta tha. It has so many cool adult jokes. So I was just enjoying it. And I, that's one of the things I want to do, um, as soon as I get some free time because it was so, it made me feel so much lighter. Acha, toh usme woh has ke woh Donkey kehta hai, woh "celebrity marriages don't last, do they?" Woh wohi wali baat hai. In a world where there's too much freedom and you're just after pleasure, right? Do people get, find happiness? No. They have no restrictions. In fact, they live in unrestricted life. Jo pehnna hai pehno. Jis ke saath jo karna hai karo. Chaahe kisi falaane ke saath sona hai, falaane ke saath uthna hai, baithna hai, sex karni hai, jo karna hai karo. But at the end, are they happy? Are they settled? Are they relaxed? Do they have companionship, love, belonging, etc, etc, things that make people feel better? And these are the goals of their whatever. But it doesn't work out. **[31:16]** Okay? Toh wohi keh rahe hain ke if you live, especially I've talked about movies bhi bani hui hain, there's no shortage of literature, there's a lot of drama, ke kis tarah se log jo you know is tarah ki zindagi guzaarte hain, how difficult their lives become. They're torn between people, between passions, between desire, between the, the desire for a lasting relationship, woh hota hi nahi hai. Toh, if you go over, let's say food, if you're committed to pleasure vis-a-vis food, it hurts you. If you're committed to, uh, let's say sexual pleasure, it will hurt you. Because you will become disloyal. Aur what if your partner can't, I don't know, satisfy you sexually, phir aap use chhod denge. Is that what, how you see each other? Is that what your relationship is about? Toh, woh uss liye woh cheez bhi ajeeb ho jaati hai. Theek hai? Uss mein jo ek element hai, uh, ek dusre ki duty ka ya ethics ka, that's gone. That, that takes a, that's gone away because you're just committed to pleasure. **[32:17]** Acha, iske ilawa agar aap, let's say somebody is just committed to health, health freaks hote hain? They also at some point feel the pain. The pain of not being able to reverse aging. Humein budha hona hai, marna hai. That's a haqeeqat. Toh koi kahega nahi, nahi, mein exercises karunga, yeh hoga, surgeryan karata rahunga, jawan rahunga. Bhai woh bhi unko, uss se woh aur zyada pareshan hote hain mentally because every day they look at themselves getting old and they can't accept it. And so that's painful. **[32:47]** Toh yeh Baba Farid keh rahe hain ke this is the nature of life. Anything, even children or family, jis cheez mein bhi aap apna poora dil phenk dete hain, ya aap samajhte hain ke is se mujhe maza aayega aur is se meri zindagi wah-wah ho jayegi, all of everything in the world turns poisonous. Aapke bachhe aapko disappoint karenge, sometimes even your parents will disappoint you, hurt you, destroy you. So what do you do? You have nobody really, except here comes the twist. There is an antidote. There is hope in God. Turn to God. Saain baajhon aapne. Apna dost. Theek hai? Jo kabhi aapse door nahi jayega, jo aapse zyada koi, koi, uss se behtar aapko koi nahi samajh sakta. That's your friend, that's God. Saain baajhon aapne, vedan kahiye kis? So if there is some solution to our pains, our attachments, the worldly disappointments we feel because we're devoted to pleasure or selfish gains, the way out of that is through God. Okay? Ji. Sir, is there a pun here kyunki inka naam bhi agar Ganjshakar hai aur shakar kharab ho gayi hai toh inki like apne jo actions aur apne woh the, woh bhi... Yeh ek achha sawal hai but I don't know if he was called Ganjshakar during his life. I think he was called, aur shakar uss daur mein shaayri mein aur uss ilaake mein shakar was a metaphor for sweet things. And pleasures. That's I think clear in his poetry. Baad mein unko yeh title diya gaya ya unke daur, unki zindagi mein diya gaya Ganjshakar, I'm not sure. I'm not sure about that. Ji. Sir, ek yeh bhi baat thi ke jab woh bachpan mein namaz padhte the toh unki ammi unko shakar deti thin. Bohot saari kahaniyan mashhoor hain. Kai yeh bhi kahani hai ke woh log aate the, woh logon mein actually literally shakar baanta karte the. Bohot saari kahaniyan mashhoor hain but they are just legends. We don't know. Kuch, bohot saari cheezein inke baare mein verified hain because we get reports about him. But uske ilawa bohot saare legends bhi hain. Acha, jab woh logon ko shakar dete bhi the, candy, it's like a kind of candy. Bachhe nahi aate aur in fact mujhe pata hai therapy centers mein pata nahi lums mein cats ke bahir kya hota hai ya nahi hota, but uh aur universities mein maine dekha hai bahir ki universities mein ke jo woh waiting area hota tha udhar koi chai, coffee aur kuch candies rakhi hoti thi, unhone kaha hai kyunki log pareshan aa rahe hain. Toh pareshan aa rahe logon ko aap thodi bohot koi meethi cheez dete hain ya unko ek achha mahol dete hain so they, they can heal. Right? And I think Sufi lodges had the same sort of principle. Ke aksar khanaqaahon mein ya jab un logon ki woh baithak lagti thi, logon ko ijaazat hoti thi ke aa ke aap mil lein in se, buzurg se. So you know, those were very, those were places of healing. Pyaar, mohabbat se sab ko equally treat kiya jaata tha. In fact, even woh ke jo low-caste Hindus aate the, they would be surprised that they can go all the way up to the Sheikh without anyone like pushing them away. Right? That was something, that was a very, that must have been and we know from sources that it was a very sort of transformational experience for those people. Ke jinko pehli dafa izzat mili ho, pehli dafa unko kisi ne insaan ke taur pe treat kiya ho, it must have been something. **[36:04]** Chalein, yeh ho gaye Baba Farid. Aur aapko ab pata chal gaya ke vedan kya hota hai. Ab yeh dekhiye inki jo translation hai, he tries to, uh, he tries to do what Darbandi and Davis did with Attar. Yaad hai, Attar ki unhone translation ki thi rhyme karne ki. Toh yeh jo hain, Ghaffar sahib, unhone bhi koshish ki hai. But I think he has not done a very good job. Inhone jo Urdu, angrezi mein jo rendition hai, yeh kabhi theek likhte hain, kabhi they are like, "What?" So terrible. And, um, jo uska jo, jo uski Punjabi mein original jo uska pun, shift, irony, it's often lost. So I find the keys more useful in this text. Toh jab aapne exam ki tayyari karni hai, remember, take leave from the lecture, yeh jo unhone ki hui hai, just use it as a rough guide. Don't use this to explain. Don't use this to explain because this is hiding the depth of meaning here. Okay? Haan, agar aap idhar dekhein toh aapko pata chalega ke vedan ki kitni meanings ho sakti hain. Right? Okay? So Ghaffar sahib knows it, but sometimes, you know, he is more interested in making the English translation sound nice. And I am more interested in the lesson and the power, the impact, the beauty of these things. Are you with me? Toh, he just wanted, he he chose a translation pain because he wanted it to rhyme with bane. Okay? Bane is also poison. Sugar becomes bane. Allah ke ilawa, who can you tell our pain? So he wants to make it rhyme. But vedan jo hai, actually antidote hai. God is the antidote. And of course, he's also someone you can share your grief with. Aur aksar healing mein yehi hota hai na, when you, somebody can hear you out, when you can share your grief with someone, you actually get better. So that person becomes a kind of healer for you. Toh vedan uss sense mein bhi God ho sakta hai. Theek hai? Um, Quran ki ek aayat hai by the way, "Innama ashkoo bassee wa huznee." Hazrat Yaqoob the ke kisi aur kisi ne aake kaha tha ke mein apni jo takleef hai, pareshani hai, woh sab Khuda ko hi batata hoon. Hazrat Yaqoob. Hazrat Yaqoob, thank you. **[38:30]** Acha. "Farida khak na nindiye, khak o jed na koi. Jiundian pairan thale, moyan uppar hoi." So this is not rhyming very well, again, this is a problem with their rendition. But jaldi se mein aapko bata deta hoon, nindiye ya nindana in this Punjabi, again, this is a word that's a little alien to me. This Punjabi is a little alien to me, but still, baaki words mujhe samajh aa jaate hain. "Farida khak na nindiye," ke khak ko yaani ke jo dust hai jab aap uss pe chal rahe ho, usko kuch kam na samjho. Yaani in other words, akad ke na chalein. Don't walk with a swagger. Jisko hum kehte hain, walk with a swagger, cat walk na karein please. Why? "Khak o jed na koi." Khak jaisa kuch nahi. Don't work proudly on the earth. Yeh toh Quran mein bhi hai, yeh Bible mein bhi hai. Quran mein toh jagah-jagah aata hai, la yuhibbu Allaha, kuch is tarah aata hai, la yuhibbu Allaha man yamshee maraha, something like this, ke jo, sorry I might have changed the words a bit, but point is the meaning. Ke Allah ko nahi log pasand jo ke zameen pe na bade style se, akad ke, raub daalne ke liye chalte hain. Kai jagah aata hai. So wohi keh rahe hain. "Farida khak na nindiye, khak o jed na koi. Jiundian pairan thale," when you are living, jiundian, jeete hue, "pairan thale," woh aapke paaon ke neeche hai. "Moyan," when you are dead, "utte hoi." When you are dead, earth will be over you. Okay? So what a beautiful verse. You see the switch again? You see the switch again? That's the beauty. Ke "khak na nindiye, khak o jed na koi. Jiundian pairan thale," and then the final switch comes, "moyan uppar hoi." Actually, maine, mujhe behtar iski rendition lagti hai, "moyan utte hoi." That rhymes better. Uppar woh kai dafa lagta hai jaise woh Urdu aa rahi hai. So that a little Urdu feel zyada aa rahi hai. **[40:20]** You got this? So this is a reversal. Ke aap zameen pe akad ke na chalein. Don't walk proudly on earth at the end. Aapne mar jaana hai, aapko bhi keede kha jayenge, aap saare barabar ho jayenge. Maut ke baad aap sab barabar hain. Aur jo zameen ko aap kamtar samajh ke apne aap ko badi cheez samajhte hain ke I have control and power over the earth, that earth will eventually rule over you because you will, when you are dead, the earth will do whatever it wants to your body. Ji. Nindiye in the English translation says revile. Revile yaani ke bura-bhala kehna ya kamtar samajhna. Ji. Okay? **[40:53]** Let's read some more. Yeh chhod dein, thodi baqiyat par. Let's read this one. This one, this is, this is nice. Acha, yahan par dekhiye, this is a pair of two dohras. Main isme chaar, that's why I was confused. Okay, because kuch dohron mein, kuch dohron ke pairs hote hain, unme do ashaar aa jaate hain. So let's read this quickly. Farida, acha mein isko thoda sa badloonga kyunki mujhe kai dafa lagta hai yeh Urdu aa rahi hai iske andar. But anyway, that's my problem. **[41:26]** "Farida roti meri kaath di, lavan meri bhukh. Jina khadi chopri, ghane sahenge dukh." Yeh this is a complete dohra. But, you know, yeh Ghaffar sahib made the choice of adding another dohra because it's the same theme, same images, same. Okay? So let's complete, break this down. "Roti meri kaath di." Meri roti kaath ki hai. Kaath kya hota hai? Anyone know? Jab hum log sunte hain woh, "kaatha angrez." Have you heard this? Kise kehte hain kaatha angrez? Woh jo desi, acha, basically jo na poora angrez ho, wanna-be angrez ko na Punjabi mein kai dafa mazak udaate kehte hain kaatha angrez hai. Theek hai na? Jaise woh meri yeh, you know, I learned this ke burger, you know the way the village people make fun of us, people like me, modern, raised in Defence and DHA and Lums and all, softies, unko woh mazak udaate kehte hain, "burger." Burger se bhi zyada jo bada insult hai woh kya hai? Broiler. Yeh broiler murghiyon se hain. You know the broilers are just farm, abused, soft, they just, you know, they look nice, they're fluffy, but they are not tough, they can't survive, they die easily, they don't fight back, they have no character, and they're abused and then just finally abused and raised and slaughtered. Lekin jo kukad hota hai, uski ek shaan hoti hai. Theek hai na? Toh apne aapko kehna hai hum desi kukad hain toh saare broiler. **[43:12]** Anyway aur kaatha angrez bhi woh usko kehte hain jo hota hai, wanna-be kacha sa angrez. Ke woh poora angrez bhi nahi hai. So I like it when you know people from the margins can hit back. Zyada tar hum bichare raub mein rehte hain angrezi ke aur un ameer logon ke. People who can speak a little bit of English, they terrify them. But sometimes they hit back. So I like it when they make fun of us. **[43:35]** Acha. Kaath kisko kehte hain? Kaath is an inferior grain. Okay? Kaath, lakdi ko bhi kehte hain. Kaha jaata hai na, lakdi ki kaathi. Kaathi pe ghoda, suna hoga aapne, gaana. Kaath usko bhi kehte hain, kaathi yaani ke uski, thodi si soft wood se bani hui ya uske upar woh jo uski saddle hoti thi uske upar kuch daalte the kaath ka ya I don't know, maybe, something like that. But this is, kaath can mean wood or a hard, inferior grain. Khane ki na ek, jaise bohot saari grains hain na hamari, oatmeal hai, baajra hai, um, aapki gandum hai, chawal. All of these are grains. Yeah? So kaath is another kind of grain, uski English ya scientific name, I don't know. But it's an inferior, low, inferior grain. Thodi sakht hoti hai woh nikalne mein thodi si mushkil hoti hai aur uski I think nutritional value bhi thodi si kam hoti hai. So it's hard to swallow a roti made of kaath. Are you listening? Kaath ki jo roti hogi woh thodi sakht banegi. Jaise makai ki roti bhi hoti hai, woh bhi thodi si sakht hoti hai. Usko soft karne ke liye log kya karte hain? Ghee lagaate hain. Ghee lagaate hain. Haan bilkul. Usko bana, banaate hi log ghee ke saath hain, otherwise it's too hard. It's too hard. You can't, it's not easy to eat it. So, Baba Farid kya keh rahe hain, "Roti meri kaath di, lavan meri bhukh." Lavan kisko kehte hain? Maaruf, dassan hai? Lavan ka matlab, meri bhook poori kar di hai. Nahi nahi nahi, lavan usko bhi kehte hain lekin lavan, salan bhi ho sakta hai. Salan, excellent. Salan. Salan jo hai na, shorba, usko kehte hain lavan. Lavan ka woh wala matlab bhi hai lekin lavan ka matlab shorba bhi hai. "Lavan meri bhukh." Bhukh hai is hunger. So meri roti badi sakht hai, but what softens it is my? Hunger. Toh hunger serves as a kind of shorba. Jaise agar aap, aapko purani roti bhi de de, aapka khane ka dil na chah raha ho, lekin shorba ho toh aap bohot bhooke hain toh aap usko laga ke aaram se kha lete hain. Um, aur bhook se kya hota hai? When you're full, let's say you've eaten so much, ab mein aapke aage ek bohot maze ka koi aur khana rakh doon, do you want to eat it? No, you're already full. But when you are really hungry, toh halki si khushboo aati hai aur log jo hain woh, paas ho to aa rahi hai. You know, they start losing themselves like. Um, so that's what he's saying. It's a trick of the mind. Satisfaction is a trick of the mind. If you make yourself used to luxuries, nothing will be enough. But if you learn to live simple, little things will be amazing pleasures. Yeh kitni pyaari baat hai. Kisi ne mujhe ek dafa, I remember listening to, ah, Ahmad Javed sahib, uh, Sheikh and he was, mein ek lecture de rahe the. Ab meri unse lagti tabiyat nahi hai by the way, but I still respect that tradition. Mujhe mujhe yaad hai ke, unhone ek badi pyaari baat ki. He was saying ke, woh lecture kar rahe the, woh keh rahe the, aur bohot pyaari baat ki. He said, ke aaj kal itne log kehte hain ke bachhon ko khush karna hai, ya ghar mein kuch khush karna hai, we need a TV, we need, you know, entertainment, we need this, we need that. He said, why don't you just hold the finger of your child and just go for a walk? Without the distractions, without the music, without the everything flashy. That's the most pleasurable thing. And I thought I was like, "Wow, what a nice, simple thing to say." Ke zindagi ki aasan cheezein aapko bohot pyaari aur khoobsurat lagna shuru ho jaati hain, jab aap apne standards kam kar dete hain. Jab aap apni zindagi mein saadhgi le aate hain toh chhoti-chhoti cheezon pe aapko khushi naseeb hoti hai. Aur yehi bohot badi baat hai. You know, sometimes you watch these poor kids and the way they love their elders and they respect their elders, aur chhoti-chhoti cheezon pe haste hain. Tinkon se apne toys bana lete hain. You see what I'm trying to say? And sometimes they feel so happy, happier than these super rich, spoiled kids. Yeah? Toh yeh wali baat Baba Farid keh rahe hain. Ke meri jo bhook, jab mujhe bhook lagegi toh saada cheezein bhi mazay ki ho jayengi. Because what does shorba do? Roti mein jab aap shorba dip karke khaate hain toh roti bas maza aata hai usko zyada, right? Saada cheezein, yaani ke kaath ki roti woh bhi mazay ki ho jaati hai jab aap khud bohot bhooke hote ho. Toh saada cheezein aap khaa lein zindagi mein jab tak woh aap apne standards kam karte hain aur saadhgi apnaate hain aur ek hadh tak zohad bhi apnaate hain toh chhoti-chhoti cheezein aapko, they feel enough to you. They feel pleasurable to you. But when you keep complicating things, you keep going after luxuries, aapka woh standard badhta chala jaata hai. Aapki addictions complex hoti jaati hain and you never end up satiated. In fact, this is a classic addiction problem in psychology. Ke aap kisi ek cheez par jaate hain, shuru mein aapko bohot zyada pleasure deti hai. But the next time you repeat it, the amount of pleasure decreases. Decreases. So you need to increase the dosage. Increase the dosage. Okay? Chaahe woh drugs ki ho baat, khaane mein bhi yehi hota hai ke aapko pehle jise hum chote the, hum gulab jamun pe khush ho jaate the. Ab hum kehte hain layers of, ab layers se bore ho gaye hum kehte hain aur woh layers waale bhi naye-naye cakes nikaalte rehte hain. Because they have to keep improving and, you know, changing, refining things. Taake woh aur behtar hota chala jaaye. Theek hai, layers on thoda bohot or kar le, they're like the extended family. Alright? But in other cases, people get into serious trouble. Okay? For example, um, you know people get addicted to pornography and then aap kabhi unki baatein sune, woh, they almost become sometimes suicidal because they're caught in the cycle of watching something. Shuru mein woh badi exciting lagti hai, uh, but after they keep watching it, it doesn't even excite them anymore. So they go for something even weird, then they start watching perverted things, then they start watching very unnatural, hideous, phir unko violence bhi chahiye hota hai to get some kind of kick. Aur phir woh bhi nahi kaam karta and then they want to get out of it and they sometimes can't. Woh khud ba khud woh cycle ko perpetuate karta rehta hai and that's the point, sometimes people break down. You see what I'm trying to say? **[52:41]** Khair, woh toh ek extreme case hai. Baba Farid is commenting generally on life. That "jina khadi chopri," chopri kya hai? Luxury. Chopri represents luxury. Kyunki roti ke upar makkhan laga ke khaana it was seen as a great treat. Um, Urdu ka muhaavra hai chopri aur do do. What does that mean? Sarish, do you know? Chopri aur do do kaha jaata tha misaal ke taur pe aapke paas ek dost aaya aur aapne, ya ek saheli aayi aur usne pucha, "aao mujhe aaj toh treat de do gi." Toh aap kehti hain, "acha chalo waise mere paas itne paise toh nahi bache hue lekin chalo I'll still treat you." So you'll say, "What do you want?" She says, "Acha, can you treat me to a delicious pizza?" You say, "Okay." Toh ek kha liya usne, aapne kaha mere paas toh bas paise khatam ho gaye. Usne kaha, "nahi nahi, ek aur de do." Toh aapne socha, chalo kisi se qarz leke de doon usko aaj khila doon. So you feel very annoyed. Ke pehle maine mushkil se isko itna treat kiya aur upar se aur maangi ja rahi hai. That's so rude and unconsiderate. Toh it's the same thing. Agar aapke ghar pe aata tha aur aap usko honor karke koi ek chopri badi mushkil se uske aage pesh kar dete the, shayad na makkhan hota tha, na itni roti hoti thi, aapne usko mushkil se ek chopri de di, toh woh badtameez sa guest aake kehta hai, "ek aur dena zara." You see what I'm trying to say? So that's the Urdu phrase. Chopri, ek tumne humein chopri di, ab tum do do maang rahe ho. You see? So chopri in Punjabi, in Urdu, in our culture represents luxury. And Baba Farid is saying, "jina khadi chopri," jo yeh chopriyon ke peeche pad jaate hain, "ghane sahenge dukh." So luxury will produce all sorts of pains. Wohi wali baat hai jo unhone pehle bhi ki thi, "shakar hoi vis." Ke pleasures in life, if you go after them, if they become, if you become a hedonist in short, you will suffer, one way or the other. Chaahe aap khaane ke peeche jaaye, sexual pleasures ke peeche jaaye, fashion ke peeche jaaye, jis cheez ke peeche jaayenge, usko ek tarah ka maqsad-e-hayaat bana lenge, luxury ko, cool hone ko, whatever, you will suffer. Theek hai? So what is the way to, what is the good way to be? What is the way to happiness? It's not through luxury, it's through simplicity. This is the lesson. Got it? And that will produce a state of contentment. You will feel full, you will feel enough. Right? Why? Because jab aap kam kar denge, hum, you will naturally feel hungry. Aur woh saada cheez bhi achhi lagegi aapko. But agar if you keep feeding your, you keep spoiling your nafs, yeh wohi wali baat hai Sufia ki. Aapne padha hoga na ke aap nafs ko jitna aap feed karte jaate hain, woh aap par utna haawi hota jaata hai. Jaise maine aapko example di thi na, kisi ek hum text ko padh rahe the Attar mein. Ke the nafs is like a gadha. And the more you feed it, the more it overpowers you. You should tame the ego. The ego should not make you their own donkey. **[55:39]** So, if you understood this, you can easily understand the next one, which is pretty similar. "Rukhi sukhi kha ke, thanda paani pi. Farida, dekh parai chopri, na tarsaain ji." Okay? So what does this mean? Ke rukhi sukhi khao, yaani ke saada tumein koi purani, chhoti-chhoti koi bhi cheez mil jaaye, usko enjoy kar lo. Thanda paani pi. But one thing you should go for is cool water. Thanda paani. So he says, "You could say okay, so that's something enjoyable." Farid is not saying don't have pleasures in life. He's not against pleasure. He's saying, go for the pleasure which is like thanda paani. Thanda paani piyo. "Rukhi sukhi kha, te thanda paani pi." Then he says, "Farida, dekh parai chopri." Parai kisko kehte hain? Hamsaaye ki. Kisi doosre ki. Kisi doosre ki chopri dekh ke, "na tarsaain ji." Apne dil mein hasratein na paalo. Don't envy. In short, looking at the wealth, the pleasure of other people, na tarsaain ji. Okay? So what does this mean? Ke tum saadhgi apnao, live a simple life and be happy with it. And then have thanda paani. Now, thanda paani ki kya muraad hai? What does thanda paani mean? Well, water is something that is abundantly available. Especially in Punjab. Punjab is what? The land of? Five rivers. Five rivers. Toh kisi nadi mein thanda paani hai jo kisi ek ki malkiyat nahi hai. In other words, God's gifts, nature's bounties, things that are with us. Parents, anything that gives you coolness. Okay? It could just be something simple like spending time with your children. That's your thanda paani, that gives you coolness, warmth, whatever. Aur paani bhi, thanda paani hai, yeh ho sakta hai na ke aap nadi hai, udhar aap nadi ke kinaare aapke paas rukhi sukhi thodi bohot roti hai woh aap khaayein, and after that you drink cool water. It feels so nice. It, it relaxes you, aapko thak, aapki pyas bujhata hai. You feel lighter. You know, it's cool water and you enjoy it. So he's not saying don't enjoy life. Yes, positivity is important, happiness is very important. That's what makes life worth living. But, the way to that is not through chopri. And it is especially not through envying other person, other people's chopri. Now, jab kaha jaata hai parai chopri, that means ke doosron ki koi cheez. Misaal ke taur pe aapke paas chhoti gaadi hai, kisi ke paas bohot badi gaadi hai aapko hai, "haye, yeh dekho kitni badi gaadi hai," aap uss pe jealous hain. Ya "mein toh Pakistan mein travel karti hoon, woh meri friend Spain jaati hai, pata nahi England jaati hai, wahan jaati hai, wahan jaati hai." No, that's what Baba Farid is saying, no, no, no. Un, unko dekh ke, unse comparison karke aap hasratein paal-pool ke you just spoil yourself. And even if you got that, you won't be happy. It's just all this fake show. Okay? **[58:49]** Aur jo Bible ki ek main tradition, teaching hai, jo Moses ke ten commandments mein thi, jo Christian religious traditions ka bhi ek hissa hai, woh bhi kya hai? What was I think the third or fourth commandment? "Do not covet thy neighbor's wife." Okay? Ke woh doosre ki biwi hai, badi pyaari si, toh uski taraf hasrat bhari nazarein na rakhein. Okay? The same thing. Ke aapko apni, woh angrezi mein iska ek muhaavra bhi hai na, the grass is always greener on the other side. Ke aapko doosron ki cheezein behtar lagti hain, apni cheez kam lagti hai, doosron ki barhki cheezon se aap hasad karte ho. Baba Farid is saying, don't do that because it's an unending cycle of unhappiness. There will always be someone who has more than you. And if you got that, maybe you will, it will not make you happy. In fact, if you go for chopri and luxury and what not, you will never be happy. Thanda paani piyo. Matlab, jo aapke paas hai, jo apna thanda paani hai, jo apni biwi hai, apna ghar hai, apni zindagi hai, usme khush raho na, usme paiso leke aao. That's your thanda paani, that's available to you. Uss pe koi restriction nahi hai, uske liye aapko haram kaam nahi karna, jaayein pi lein woh. Got it? So that's where you find your peace and happiness. It's about qana'at. Jis lafz, use hota hai qana'at. Yahan pe Baba Farid is teaching saadhgi and qana'at. Toh jaisa maine aapko explain kiya, I would want you to explain a similar. **[1:00:27]** Yeh mein jaldi se kar deta hoon, this is nice because I may see a part of thing about Nusrat Fateh Ali Khan ne bhi yeh perform kiya hai. Jaldi bootha, and it's a very easy. "Birha birha aakhiye, birha tu sultaan." Birha means dard, pain. Love pain, love sickness. "Birha birha aakhiye, birha tu sultaan." Aakhna hota hai poochna kisi cheez ke baare mein, to yearn for pain. He says, "Pain, pain, let it come." "Pain, you are our king." Tu hi toh sultan hai. "Jit tan birha na upje." Tan kehte hain body ko. Upajna is ugna. Jis jaan se, jis jism se dard na nikle, jis jism se dard na nikle, "so tan jaan masaan." This is again the reversal. Jaan kehte hain life ko. Masaan is death. Ya, ya something that is no longer alive. So this is a reversal. Ke jis jaan se, jis tan se dard na ubhray, woh jaan aisi jaise be-jaan. That's what he's saying. **[1:01:35]** Now this is nothing new. Yeh aapne Rumi mein bhi dekha tha, Rumi bhi kya kehte hain ke, "aatish ast in baang-e naai-o neest baad, har ki na daurad in aatish, neest baad." Ya something like this ke, uh, ke jiske paas yeh ishq nahi hai, woh mar hi jaaye toh behtar hai. Ya woh murda hi hai. Samajh aa rahi hai aapko? In other words, if you're just living a life, the lesson here is, if you're living a life without longing and pain for God, if you're too happy in life, if you're too satisfied with living a worldly life of narrow concerns, not worried about death or ultimate realities, then you're living a meaningless life. That's what he's saying. It's almost like you're dead. You're spiritually dead. Okay? I think we should. **[1:02:32]** Yeh bhi kar lete hain. Alright, quickly, quickly, jaldi se. "Lambi lambi nadi wahe, kandhi kere he." Okay? Uh, "bede nu kappar kya kare, je paatan rahe suchet." This is nice. And it also tells you about the kind of world they were living in. Kyunki Pak, agar aap, aap gaye hain, aap mein se koi gaya hoga Pakpattan toh aapko aaj, aaj bhi you enter, you cross a narrow kind of stream. Choti si ek nadi hai. Uss zamane mein shayad woh badi hoti thi. But aaj bhi woh ek choti si, aaj bhi thoda sa ek bridge si hai, choti si bridge aap cross karte ho, then you enter Pakpattan. Toh this land was dotted with little streams. Okay? Before we had so much construction and all that, the British came, the canal irrigation system, uske faide bhi bohot hue. But we also lost a lot of the natural streams and rivers and flood plains. Okay? And of course, a lot of natural wildlife. So wohi keh rahe hain. "The mighty, spreading river flows, so the shore deep care. When the, what can whirlpools do to a boat if the boatman remains alert?" "Lambi lambi nadi wahe." Wahe meaning, lambi lambi nadi behti hai. Yeh lambi-lambi nadi behti hai. "Kandhi kere he." Okay? Yaani ke, kandhi hai, kandha isme shoulder, shore. Kandhi ki taraf fikr karo, udhar dekho, udhar dekho. "Bede nu," beda kya hota hai? Ship. It's a bigger ship. Which can go on a longer journey. "Bede nu kappar kya kare?" Kappar kisko kehte hain? Bhanwar. Whirlpool. Jis mein agar kishti ad jaaye toh woh gayi. Are you with me? So what can whirlpools do to a ship? "Je paatan rahe suchet." Suchet is alert. Jisko hum Sufi term would be wara. Watchful. Paatan, pattan main aapko bataya tha na Pakpattan, pattan hoti hai ship or boat. Paatan kisko kehte hain? The boatman, the boat driver. **[1:04:42]** So what does this mean? I wanted you to guess, but in the interest of time let me just quickly give you an explanation. Ke ek lamba raasta hai. Meaning the spiritual road, the spiritual travel is long. Yeh ek din ki baat nahi hai. It's full of difficulties and trials. You need to keep your eye on the final goal which is what? Yearning for God, getting close to God, transforming yourself, getting rid of your evils. "Bede nu kappar kya kare?" So it's a long, difficult journey. How can you, you need to get to the end, you need to stay focused, otherwise you can fail in the spiritual journey. You can be distracted. However, "bede nu kappar kya kare?" All the trials and tests and difficulties that come your way in your spiritual path, don't worry about them. Why don't you need to worry about them? "Je paatan rahe suchet." If the driver, if the boat driver is watchful and careful, the one who's driving your boat, if he is really on top of his game, you will reach the shore. You will be successful in your journey. **[1:05:52]** So who is the paatan here? It could be God, it could be? For a typical Sufi, who is your paatan? Your master. Your sheikh, your peer, he's watching over you. He is the one who is guiding you. Coach bhi kya karta hai? Guide karta hai aapko. Right? So if you have a good guide who tells you what to do in your spiritual journey, what not to do, you will reach the shore. You will be successful in your journey. **[1:06:19]** Paatan sheikh bhi ho sakta hai, paatan aap khud bhi ho sakte ho if you are, agar aap dhyan rakh rahe ho aur aap dheele nahi padte apni journey mein, you'll probably succeed. Or it could be God. You know, yeh teeno cheezein ho sakti hain. When Sufis use these metaphors, they can be, can refer to God, they can refer to the self, they can refer to the peer. But the more obvious meaning is that of the peer. Magar aap, agar aapse mein exam mein pucho, toh peer ka zaroor yahan pe zikr kijiyega. Other meanings are also possible, but peer toh zaroori, zaroor discuss kijiyega. **[1:06:53]** Okay. **[1:07:07]** Let's take a break. We will resume after the break. [BREAK IN AUDIO] **[1:07:14]** So main pehle aapse excuse karoon, hum thoda sa late aayenge. Otherwise if you get a chance at the end, we will not be able to do even a little bit of justice to this section of our class. Okay? Baba Farid, Banday Shah ko thoda sa hum aur padhenge, taake thoda sa aapko aur batana hai iske baare mein. Okay? Right? **[1:07:44]** Okay. So Baba Bullay Shah kaun the aur unko Bullay Shah kyun kaha jaata hai? Alright? So, very quickly, we don't know a lot about his biography, about his life, who he was, where he was from. However, there are a lot of legends associated with him. So we know something about him from, there are references in his poetry that allow us to reconstruct some of his life. Okay? **[1:08:05]** Now, most of his poetry was recorded 100 years after he passed away. Aur kai dafa logon ne yahan tak kaha, in fact Baba Bullay Shah pe ek course padhaate the, kuch bohot, uh, experts the Punjabi ke. Woh bhi yahan pe course padhaate the and I remember hearing from them, "We don't even know if Baba Bullay Shah existed." "We don't even know if Baba Bullay Shah was real, ya baad mein ek, uh, narrative," baad mein logon ne unko bana diya. Toh phir woh yeh bhi kehte the, jinki main baat kar raha hoon, ke mere se kuch students disturb ho jaate the aur kehte the ke ji, hum toh Baba Bullay Shah ko bada maante hain aur aap keh rahe hain woh shayad the hi nahi, shayad logon ne construct kiya. Toh woh kehte hain, "Haan, ho bhi sakte hain, nahi bhi ho sakte." **[1:08:47]** Now, that I don't buy that view. Or Christopher Shackle who is the leading expert, uh, in English at least of Baba Bullay Shah, very good, very solid scholar. Unhone, he makes a very, uh, his argument is very convincing point and he says that Baba Bullay Shah was a real, historical person. Why? Because of what we can call his poetic coherence. Har shayar, you know, you can, you can read, you can detect a certain kind of poetic coherence, jiski wajah se aap keh sakte hain ke kisi ek hi shakhs ki paidawaar hai, kisi ek hi shakhs ka kalaam hai. Alright? For example, if you have someone like Allama Iqbal, people who read Iqbal a lot, can find, jaise hi Iqbal se milta-julta koi sher hai lekin woh Iqbal ka na ho, they'll pick it up. Woh kehte hain yeh Iqbal ka ho hi nahi sakta. Are you with me? Isi tarah se Ghalib ko log jo padhte hain, woh Ghalib ka na ho sher, woh, they can, unko ek badi ajeeb si, they get a sense ke this can't be Ghalib, this is just not Ghalib's taste or style. Yeah? Toh woh pakad lete hain. Isi tarah se aapki agar handwriting koi padhta rehta ho, toh jaise hi aapse milti-julti koi handwriting hogi they will say, "No, no, no, yeh Reem ne nahi likha, ya Acha ne nahi likha. Kisi aur ki handwriting hai." Yeah? So poets ka apna ek signature style hota hai. And Christopher Shackle believes that there is enough of that signature coherence that we can argue there was some person who said it. Haan, ek core zaroor hai jiske ird-gird logon ne add kar di cheezein. Jaise Baba Bullay Shah ki koi kalaam tha, usme kisi ne Sultan Bahu ka bhi daal diya, kisi ne apne sher bhi daal diye. Yeh tamaam shora ke saath hota hai. Yeh, jisko aap pseudo-Rumi keh lein, pseudo-Ghalib keh lein, pseudo-Bedil keh lein, har shayar se milte-julte, usse milte-julte aur 100 log ashaar laga dete hain, uss bande ka naam laga dete hain dekhne ke liye, balke kai cheezein itni mashhoor hain jaise Sheikh Saadi ke baare mein kaha jaata hai ke unhone kaha tha, um, khair ek muhavara hai Farsi ka abhi dimaag se nikal raha hai abhi zehen se nikal raha hai. Ke unhone kaha, log kehte the Sheikh Saadi ne kaha. Maine, and I had read Sheikh Saadi and I said that can't be Sheikh Saadi. And I don't claim to be a big Farsi expert, but maine itni, itni Farsi padhi thi, itna Sheikh Saadi padha tha, mein kehta tha yeh toh yeh Sheikh Saadi ka mujhe style lagta nahi hai. And then I went to a big Farsi expert, yahan pe hua karte the Dr. Moin Nizami. Very amazing person. Bohot very sweet, you know, genteel, kind of person hai. Unse mein bohot achhe lagte the, woh chale gaye chhod ke. But he was, he is a genius when it comes to Farsi. He's one of the most senior authorities on Farsi in Pakistan. Aur aaj bhi aapke faculty members jo hain unke students hain as far as Farsi goes. Okay? Unse maine poocha aur unhone kaha, "Haan, yeh Sheikh Saadi ka nahi hai." Unhone mujhe exact time bataya ke kab yeh logon ne ghadi thi baat aur yeh kahan se muhaavra nikla aur logon ne keh diya Sheikh Saadi ne kaha hai. Right? So people who are experts of language can tell you ke kai koi poetic coherence hai, koi ek shakhs ki baat ho sakti hai ya nahi ho sakti. **[1:12:07]** Baba Bullay Shah ki jahan tak baat hai, I think and I agree with Christopher Shackle that he was a historical person. This is important because then it means that we are looking at some person and his legacy and his teachings that matters. It's from this land, it belongs to us. It's not just cultural fiction. Aapko samajh aa rahi hai? Ke kisi, aur agar aap ghaur se padhein, again I agree with Christopher Shackle, Baba Bullay Shah ko kai dafa log bohot kuch bana dete hain jo woh nahi hain. Okay? And in particular, hamare jo left ke log hain Pakistan mein, jo kai dafa, hamare apne colleagues bhi hain. And I, I, I, I, toh woh, mere apne teachers bhi reh chuke hain. Lekin I completely disagree with their reading of Bullay Shah. Why? Woh kehte hain ke ji, "He was a revolutionary before revolution." "He was a Marxist before Marx." "He was protesting against class injustice." Samajh aa rahi hai? That is complete bunkum as far as I'm, sorry, don't quote me on this, right? Yeh bilkul ghalat hai. Uski wajah kya hai? Number one, ke jab woh, haan, Baba Bullay Shah criticizes hypocrisy a lot. But he never criticizes the Sharia. He is not saying, he's not even asking for Sharia reform. All he is saying is, ke yeh spirit hai in cheezon ki and you are making a fool out of yourself so you're hypocrites. Samajh aa rahi hai aapko? Deen mein, deen, Sharia ke andar bhi ek ikhlas aur ek niyat built-in hai. He doesn't challenge that. He just reminds us, but in a very powerful way. He is um, you know, a jalali kind of, hallaji kind of Sufi. Yeh cheez hai. But by now you should know, this is nothing strange in tasawwuf. We know a lot of people, there's an entire Sufi tradition of losing your head. Hallaj ho gaye, Khwaja Bayazid Bastami ho gaye, Ain-ul-Qudat Hamadani ho gaye, beshumar, Nuri ho gaye, 100 aisi misaalein aapko mil jayengi, jinme the Sufia would resist. They would criticize. They would lay down their life, they will serve people. Badi beshumar misaalein hain iski. There are many legends like this. And Baba Bullay Shah was one of those aur bade pyaare, badi kamaal ke, sometimes outrageous kism ki cheezein milti hain. Jaise misaal ke taur pe, ek unka sher mujhe abhi bhi nahi bhoolta. First time I had heard it, I have not, mein pura woh kalaam nahi dekha, but I was shocked, but it was so good when he was, talked about it. Jismein unhone, jismein, uh, koi unko kehta hai ke Holi na khelo. Kehte hain, "Mein Holi khelungi." Ya "mein Holi khelunga." Right? Aur usme woh aage jaake baat karte hain. Basically he's against people jo tafarka daalte hain, jo nafratein daalte hain logon mein, insaniyat mein. Yes. But you don't need to be, you, you don't need, that doesn't mean you stop being a fully committed Muslim. The problem with people these days ya bohot se hamare jo liberal dost hain, when they want to have something like what we can call humanism, meaning love for, love for everyone, Muslim regardless of the fact whether they're Muslim or non-Muslim. Toh unke liye that, for that you have to disown or step away from religion. Okay? So humanism ya us tarah ki jo broad si ek cheez hai, usme when they do it, that means ke religion doesn't matter. Okay? Misaal ke taur pe koi Hindu hai, koi Musalman hai, jab woh doosre, ek doosre se mohabbat karein aur uss mohabbat ke raaste mein agar deen bhi aata hai ya kuch bhi aata hai, toh it should not matter. That's not what Bullay Shah is doing. You can, in fact, these people love, they have their own humanism without giving up on religion. Without giving up on their own boundaries. Without giving up on their own Sharia. You see what I'm trying to say? You why can't you love others and die for others without giving up on your Islam? You know there is a verse in the Quran, ek bohot khoobsurat ek aayat hai and in that aayat the Quran, God says, "I don't stop you from being nice to non-Muslims, Jews and Christians. I'm not stopping you from them. I'm only stopping you, you're stopping you from associating those who do injustice and other bad things." You see what I'm trying to say? Yeh Quran ki aayat hai and there is nothing weird, it's just a limited head of imagination aaj kal hamare kai logon ki. And because they are, I think, products of the post-Zia era. Zia-ul-Haq sahib jo the, unhone jo restrictions ya jis tarah se unhone Islam ko promote kiya ya sectarianism ko aur jis tarah se phir weaponize kiya gaya religion ko siyasat ke liye, uss ka yeh reaction ho sakta hai hamare liberal aur aur logon mein ke woh, um, for them to reach beyond, to love others requires giving up on your own conservative or your own shari principles or your own boundaries. So yeah, for these people, you don't need to do that. You can stay within. In fact, agar aapne, Ibn Arabi ki woh padhi thi na maine, puri assignment ki thi Ibn Arabi ki, balke woh toh argument hi poora ka poora Faris Abdul-Hadi ka yeh hai ke Ibn Arabi's cosmopolitanism, his tolerance was made possible precisely because of the Sharia, not by disowning it. You see what I'm trying to say? Sharia ka jo framework tha, that allowed him to to appreciate, to tolerate, to love others. Okay? Other religions. **[1:27:56]** Chalein, yeh ho gayi Baba Bullay Shah ke baare mein moti-moti baat. Haan, ek aur cheez jo humein unki shaayri se pata hai kyunki unke bohot saare kalaam mein ek yeh masla baar-baar aata hai ke unki zaat kya thi? He was born? I'll give you a big hint. I also came to be a Syed. Syed. Theek hai? I'm also at least claimed to be a Syed. Theek hai? Toh uss zamane ke Syed aur the, aaj kal Syed kuch aur hote hain. But yeh Kasur ka jo sheher hai Punjab mein, wahan ke ek Syed gharane se the. Aur jo inko Bulla kaha jaata hai, Bullay. Bulla, that's a shorter form of Abdullah. Toh inka asal naam tha Abdullah aur usko Punjabi mein pyar se unko kehte the Bullay. Theek hai? And his peer was Shah Inayat from Lahore. And he was not a Syed. He was from? He was an? Arain. Okay? Arain, Aaryan caste. Ek doosri zaat se the. Aur mashhoor waqaya hai ke unko bohot zyada log upset hue the ke unhone Syed peer kyun nahi liya, unhone Arain peer ko apna liya. Toh uske khilaf Baba Bullay Shah ne badi baatein unko sunayin. Mashhoor unka kalaam hai, "Bulle nu samjhawan aaiyan pehna te parjaiyan." "Chhad de palla," kya tha woh? "Manle Bulla saada kehna, chhad de palla Araiyan." Yeh Arain ko chhod do bhai. Wapas Syedo mein aa jao, kisi Syed ko apna banao, yeh toh we are the superior ones. Toh Baba Bullay Shah ne jawab mein kya kehte hain and this is the kind of stuff that the left, left people on the left remind of revolutionary hain na, woh unko bohot pasand aate hain Baba Bullay Shah jab yeh kehte hain, kehte hain "Yeh dekho Baba Bullay Shah. This is where, this is our, this is the cool kind of Sufis we like." Baba Bullay Shah kya kehte hain? Um, "jehra saanu," kya tha, "jehra saanu Syed sadday, dozakh mile sazaiyan." "Ke jo humein Syed kahe, may he burn in hell." Okay? That's a very strong. Okay, this is, yeh keh sakte the, ke bhai joh Syed zaat-chaat kuch nahi hoti. Woh ulta kehte hain, "jehra saanu Syed keh, sadday," I am, woh kehte hain I disown, mein Syed nahi raha. Main because I love, balke ussi kalaam mein woh kehte hain, "Arain Saain," kya tha? "Arain Saain," something, and then he says "rab diyan be parwaiyan." Ke Arain Saain tumhare masle hain, kisi ko Arain bulao, kisi ko Saain bana lo. God doesn't care. Allah ke aage sab barabar hain. So this is nothing strange. It's coming from the Sufi tradition, it's coming from the Islamic tradition. Um, and there's nothing like breaking away from the Sharia or, one would argue he's not even trying to recreate a new kind of caste or classless society. I think woh bhi bohot it's a distortion of his history and his work. Okay? But that's too much, saying too much. Let's get into his kalaam. Kyunki Baba Bullay Shah jo hai is known for his kalaam. His kalaam is beautiful, it's powerful. Um, aur the, the, the thing he gets most attention for is what I just gave you some example for. Ke jo muaashre mein jo zulm hai, jo hypocrisy hai, jo restrictions hain, jo hierarchy hai, ke koi upar hai, koi neeche hai, usko todna aur usko criticize karna aur nafrat aur, um, nafrat ke khilaf baat karna. Aur mulle ko criticize karna. Yeh cheez logon ko bohot achhi lagti hai. But Baba Bullay Shah apne daur mein he is not rejecting all maulvis or all ulema or something like that. He is just criticizing the hypocritical maulvi. Aapko samajh aa rahi hai? And that is again nothing strange. Maulvi khud apne aap pe kalaam likhte the, "mulle toh bas kar de, lekin woh khud banda mulla hota tha." Maulana Rumi jo hain woh khud maulvi the. Aapko samajh aa rahi hai? So, in modern times however people just destroyed the way things were. **[1:12:15]** Okay, let's read, read this quickly. "Ek alif tere darkar, ilmon bas karin o yaar." Yeh suna hoga aapne? It's a very famous kalaam, Abida Parveen ne, Nusrat Fateh, bohot saare logon ne I think yeh perform kiya hua hai. So, "ek alif tere darkar." All you need is one alif. "Ilmon bas karin o yaar." Alif ka, alif is a short way of saying God, Allah. So all you need is God. You don't need to be very learned. Ilmiat apni bas kar dein. "Padh-padh ilm hazar kitaban cha chuke." "Girde chaanan, vich anhare." "Apne aap di khabar na saar." "Ek alif tere darkar, ilmon bas karin o yaar." This is the nice part, hai na? Woh rhyme karta hai. And it returns to this lesson. Toh ek main lesson hai ke you don't need, apni ilm na jhaadein because you are using your knowledge as a form of raub, as a form of showing off, as a form of claiming position and power. And that's a kind of hypocrisy. That's a kind of riya. Riya-ujab humne saara padha na tasawwuf, Sufi tradition mein. So he's saying. Aur Imam Ghazali ka mashhoor hai ke ilm toh aapki aankhon pe parda ban jaata hai. Toh ilm ka bhi tabhi faida hai when you have humility and sincerity. So he's saying "padh-padh ilm hazar kitaban." Itna tumne kitabein padhi tumne dher laga diye. "Ved." Ved, Ved is a very difficult Hindu text. It's very difficult to read. Toh usme Ved bhi aapne padh liye, kitabein bhi padh li. So he's not just criticizing the maulvis, he's also criticizing let's say corrupt Brahmin priests. Ke tum maulvi ho, tum Hindu ho, padh-padh ke tumne logon pe raub daalna shuru kiya hua hai, apna ilm, apna raub, whatever intellectual ho, meri baat maano. Chaar chufere, all around you. Chaaron taraf. "Girde chaanan, vich anhare." So kehte hain "girde chaanan," yaani ke apne, itna, uthaate-uthaate tum girte phirte ho. Itni zyada kitabein, "girde chaanan," tum hi gir rahe ho. Uthaate-uthaate tum girte ho, itni zyada kitabein hain. Lekin, "vich anhare." Khud tum kis cheez mein ho? Andhere mein. So you are the most misguided and corrupt people, yet you have read so many books. What's the point of your knowledge if you are so corrupt? "Apne aap di khabar na saar." Saar is consciousness. Khabar is news or knowledge. So you have zero self-awareness, yet you claim to guide the world. Okay? "Ek alif tere darkar, ilmon bas karin o yaar." I've heard that this is something that now, almost Sufi language, these are some people, recently when I I heard some people from the left in Pakistan are adopting this language. We need to check our egos, otherwise our revolution will fail. Ke humein apne aap ko durust karne ki zaroorat hai. Hum bohot padhte hain lekin hum andar se hamare andar bohot corruption hoti hai. And so we need to fix ourselves. But of course, Baba Bullay Shah here is saying something very typical in tasawwuf. Very typical in tasawwuf. Which is introspection, which is ikhlas, which is sincerity, which is, you know, zyada, it's not trying to be a celebrity, Baba Farid ki humne kahani padhi thi, so that's the one example. **[1:15:52]** "Padh-padh sheikh mushaikh hoya, bhar-bhar pet neendan bhar soya." "Jaan di waar, nain bhar roya, dubba vich, urar na paar." "Ek alif tere darkar, ilmon bas karin o yaar." So yaani ke tum padh-padh ke sheikh-mushaikh, you got these titles, doctor sahib or whatever, doctor sahiba. "Bhar-bhar pet neendan bhar soya." But all your life was just about job, money, pleasure, fun. And that's how you slept. Pet bhar ke, luxury, basically. "Jaan di waar," yaani ke marte waqt, "nain bhar roya." And when you were dying, that's when you will be really sad. Because you've lived a life of sin, you've wasted your life, you've wasted the opportunities you had to get close to God or something like that, or become a better person. "Dubba vich urar na paar." You kept, you were drowned in this world, dunya ki hi buraiyon mein, luxuries mein, kamiyon mein, ya uske, uske cycle mein, you got phas gaye aap. You were lost yourself. Na idhar ke rahe, na udhar ke rahe. Na dunya mein poori tarah successful hue. Kyunki logon ko bhi aapki haqeeqat pata thi. Chhupti toh nahi hai na agar ek insaan bohot dunyaawi ho. Aur "urar na paar," na tum idhar, dunya mein successful hue, na tum paar hue, yaani ke na tumne Khuda ka koi qurb haasil kiya. So, you know, you just used your ilm for, for the dunya and na dunya mein tum poori tarah khush rahe, na akhirat mein kuch paaya. "Ek alif tere darkar." So darkar hota hai needed. Toh kya cheez asal mein darkar hai? What is really needed from you? Just one alif. Okay? One alif, "ek alif." Yaani ke ek, ek alif hai woh anpadh banda bhi samajh sakta hai, "ek alif." Aur uske liye koi zyada padhai nahi chahiye. That's what he's saying. "Padh-padh masle roz sunavein, khaana shak shube da khavein." "Dasse hor, te hor kamavein, andar khot bahir sachiyar." "Ek alif tere darkar, ilmon bas karin o yaar." So he's saying tum namazein nafl mein padhte rehte ho. "Unchiyan baangan chaangan maarein." What a beautiful way to, yeh ek mazak hai na. "Unchiyan baangan chaangan." Chaang is like a cheekh. Baang is another kind of call, loud call. Chaang is like a, "Aah!" scream. So he's saying ke tumhari jo azaan hai na, tum logon ko utha-utha ke badi baatein ki tum jaise kehna hai ke dekho maine kitni service perform kar raha hoon. "Mimbar te chadh waaz pukare." You lecture people on a podium. Uuncha ban ke padh ke, tum bada bante ho tum. Magar what's your reality? "Kitta tainu hirs khawar." Hirs is greed. Khawar is loser, lost. So what made you a real loser is your greed. All you really need, "Ek alif tere darkar, ilmon bas karin o yaar." **[1:18:30]** "Padh-padh mulla hoye qaazi, Allah ilmon baajhon raazi." "Hove hirs dilon din taazi, nafa niyyat vich guzaar." "Ek alif tere darkar, ilmon bas karin o yaar." Toh tum jo mulle the, woh padh-padh ke zyada degrees aage ki leke woh qaazi ban jaate hain. So they get promotion, career promotion. But what about God? "Ilmon baajhon Allah raazi." Allah, God doesn't need your ilm. If you have a career or a job or you're a good scientist, God doesn't care. What does God care about is what you do, is who you are. "Hove hirs dilon din taazi." So you are, all your struggle is about greed, is driven by career or lust or something like that. And every day it keeps increasing. "Nafa neet vich guzaar." So all, neet he is not, so it's not neeyat here, neet. "Nafa neet" is profit and loss. All you care about is profit, loss. Profit, loss, profit, loss. That's all your life. So it's a life that God doesn't care about. What do you need then? "Ek alif tere darkar, ilmon bas karin o yaar." **[1:19:44]** "Ilmon Mianji kahavein, tamba chuk chuk mandi javein." "Dhela leke chhuri chalavein, naal qasaaiyan bohot pyar." "Ek alif tere darkar, ilmon bas karin o yaar." So kehte hain ke ilm ki wajah se logon ne aapko Mianji kehna shuru kar diya. Kuch jagahon pe title hota tha na Mianji was a learned person. Tamba chuk chuk mandi javein. Um, so basically tamba is load. Mandi is market. So you're basically you're selling your ilm in the market. Aapko logon ki bohot deeni khidmat nahi kar rahe, you just care about money. "Dhela leke chhuri chalavein." Dhela is a penny. Yaani ke chand rupe ke ewaz, "chhuri chalavein." Yaani ke tum, aap bik jaate hain. You know, aapko suna hoga sarkari maulvi ka jo concept hai. Kisi ko paise do, apni marzi ka fatwa nikaal lo, apni marzi ki koi legal ruling le lo. Jisko aaj kal hum kahenge sarkari judges, ya bikke hue judges, corrupt judges. That's what Bullay Shah is criticizing. And then he's saying, "naal qasaaiyan bohot pyar." Butchers, you love butchers. Who are the butchers? The jabars, the, the, the, the, the tyrants. Unko woh kasai keh rahe hain. Jo logon ko be-dardi se qatal karte hain, be-dardi se un, unke saath zulm karte hain. Toh kehte hain un logon se tum pyar karte ho. You sit with the corrupt elite and you think you're a person of God. So, the last bandh gives you, usually gives you a deeper answer or final ultimate lesson of the kaafi. Ek toh refrain aapko baar-baar batata, yaad karata hai ke kya point hai. Aur aakhri bandh uski aur bhi depth mein jaake aapko ek bohot important baat batata hai. So let's read this. **[1:22:32]** "Jad mein sabaq ishq da parheya." So if the problem is with ilm, the solution is in ishq. Masla ilm se hai, hal kya hai? Ishq. "Jad mein sabaq ishq da parheya." Jab maine ishq ka lesson padhna shuru kiya, "darya wekh wahdat da warheya." Toh maine darya dekha wahdat ka, usme mein gir gaya. Wahdat yaani ke Allah ki tauheed. Lambi ek Sufi kahani hai, wahan pe Allah ki wahdat mein kaise Allah ki tauheed, Allah ka qurb kaise haasil karte hain. Then he says, "ghuman gherian de vich arheya." Ghuman gheri kisko kahenge? Again, whirlpools ya, uh, things that take you down. Now here it's not entirely bad. It could be tests and trials in the spiritual path. Ke jab maine waqayi apne aap ko fix karna shuru kiya, let's say you were an angry person, let's say you were an insecure person, let's say you were a greedy person, let's say you were addicted to certain bad things. Dealing with your problems, that's the most difficult challenge. Toh kehte hain mein un cheezon mein phansa, jab maine Allah ko paane ki koshish ki, tab maine asal challenges dekhe. Ilm toh mere liye easy ho sakta tha. Ilm was just about feeding my own ego or serving my own path. But the path of love towards God, that was very difficult. Uss mein ghuman gherian. I, yaani ke aap phans gaye hain, toofan hai aur aap, woh aapko jakad leta hai. It could also be like letting go and letting God's love drive you. Woh bhi ek tarah ki ghuman gheri ho sakti hai. But he's saying, "I got stuck." "Arheya." I struck, got stuck in all of these problems, troubles along the spiritual path. **[1:24:18]** Then what happened? "Shah Inayat laaya paar." Who was the peer of Baba Farid? Shah Inayat. Shah Inayat. So, "I would have been lost, was it not for my lovely Shah Inayat." Mere peer Shah Inayat ne, who, who saw me to the end? Shah Inayat. "Ek alif tere darkar, ilmon bas karin o yaar." So if the problem is in too much ilm and hypocrisy and problems, what is the solution? Become a person of love through your peer, Shah Inayat. Yeh lesson hai. Ke agar aap ilmi-ilmi baatein karte rahenge aur padh-padh ke aur Google kar-kar ke aap bade samjhenge mein koi cheez ban gayi hoon ya ban gaya hoon, ya khud se Quran-Hadees padh-padh ke aap bohot ilm haasil kar lein, that's not the point. Because the point is to change yourself, to experience God, God's love. And you usually can't do it yourself. If somebody tells you, "chalo get rid of your insecurities, get rid of your addictions," you won't be able to do it yourself. You need someone to help you. And in his case, it was his sheikh. **[1:25:26]** Let's try to do one or two more and then we'll call it a day. **[1:25:39]** Yes, we can read this, this little poem. **[1:25:55]** Yes, we can read this, this is the whole page. **[1:26:07]** Chalo, yeh, yeh padheinge aur ek aur hum padheinge. I don't know if we have the time. Let's do this. "Ek alif padho chhutkara hai." Same lesson. "Ek alif padho chhutkara hai." Chhutkara kya hota hai? Jisko hum kahenge salvation. You will be saved. Aap chhoot jaoge barbadi se, chhoot jaoge gham se. You will be released. You will, chhutkara paoge. Okay? So if you want to be saved, you grab on to this one alif. And what's, what does the alif represent? Allah, God. And it's simple. Just one alif. Then he says, "ek alfon do, tan chaar hoye." "Phir lakh karor hazaar hoye." "Phir othon baad shumaar hoye." "Hek alif," hek means one. "Hek alif da nuqta niyara hai, ek alif padho chhutkara hai." Okay? So he says, ek alif tha, woh phir do bodies ban gaya, woh do bodies jo thi phir chaar ho gayi. Woh chaar bodies jo thi phir lakh, karor ho gayi. Aur phir udhar se itne zyada ho gaye insaan. What does he mean? Adam and Eve. Adam, Hawwa. And God said, "nafahtu fihi min roohi." I breathed my own spirit into Adam. That's what he's saying. Hum sab Allah se nikle. Allah ne humein banaya, Allah se hum pehle do hue, do se chaar hue, chaar se beshumar hue. And then he says, "in all of us, there is this breath or trace of God." There's one thing that's unique. Kehte hain, "ek alif da nuqta niyara hai." Yeh dekhein iske upar ek nuqta hota hai. Uhm, he's saying, ke bas yeh nuqta, nuqte ka matlab point bhi hota hai. Point ka matlab yeh hai ke that point of beginning is, niyara is unique. Baaki toh hum sab, we share characteristics. Once you and I we share characteristics. But one thing that's common to all of us and that's also unique, that we can't match is the point of origin, which is the alif or God. So what do you do? "Ek alif padho chhutkara hai." Go back to that point of origin because there is a trace of that in all of us. Yeh wohi wali baat hai jo Attar ne bhi ki thi, yaad hai? Ke the Simurgh came, left a feather, trace. Remember that? Aur udhar se poori dunya ban gayi and so on. Aur har, there's a, there's a reflection of God in each one of us. More or less the same thing. **[1:30:33]** "Kyun padhna hain gadd kitaban di, sir chana pand azaaban di." "Kyun padhte ho?" Gadd kehte hain, you know, gatthri, ek bunch of books. So why do you read all of those books? You know, pand is the load. Jitni kitabein zyada padh rahe ho, utna azaab tum pe zyada padh raha hai. Utna zyada tum suffer karoge. Actually there's a hadith, ke jo aalim, one of the people that God will punish the first on the day of judgment will be the insincere aalim. The corrupt aalim. Toh kehte hain jitna tum padh rahe ho, utna tum pe bojh padega. God will ask you about this, what did you do with your knowledge? Aur agar tum hypocritical hue, "hun hoya shakl jalada di, agge penda mushkil paara hai, ek alif padho chhutkara hai." Toh kehte hain, now you've become a jallad. Jallad is the one who? Executes. Executioner. So woh keh rahe hain ke tumhara zahir bhi barbad ho gaya. You even look anxious, you look scary, you look disgusting. Yaani ke aapka andar toh, batin toh tha hi kharab, ab zahir bhi kharab ho gaya hai. And this is something that repeatedly Baba Farid and Baba Bullay Shah say, ke the people who sin, the people who don't go for God, the people who just go after this world, they suffer in this world and the next. Dono dunya mein unko kuch, pareshani hoti hai. So, what is the way out of it? Aage penda, yaani ke aage jo tumhara trial hai, woh bohot mushkil hai. What is the way out of it? "Ek alif padho chhutkara hai." Turn to God and you will be fine. Okay? **[1:32:07]** Um, yeh, this is a little bit of a funny moment. Main aapko batana chah raha tha ke Ghaffar sahib ki English rendition ka jab bohot buri lagti hai, jis tarah yeh hai. "Love for me..." "Tere ishq nachaya kar thaiya thaiya." Kitne pyaare alfaaz hain. Dekhein angrezi mein unhone kya beghad diya hai. "Love for you makes me whirl in ecstasia." I don't know what ecstasia is. I don't know what ecstasia is. Thank you for getting that. So I was like, aapko aisi angrezi padne ki zaroorat nahi hai. Don't try and do this. Um, I did not, unhone koshish ki hai to make it rhyme but "ecstasia," I don't know about that. Not a very good choice. So. **[1:38:48]** Hang on. I think this much is enough. And for the last five minutes, hang on, hang on. Aap logon ka bohot-bohot shukriya. You are a wonderful class. Um, I just feel a little guilty that I could not teach, share more of Bullay Shah or I had more, I wanted to read some more kalaam with you. But chalein, jitna aapne dekh liya, I hope this, this helps you appreciate who these people were and what their message was and what they stood for. Aur abhi tak jitna aapne padha hai, kahin aisi koi cheez nahi hai jo aapko keh, jo hum Sufi traditions ko dekhte hain, unse bohot kuch hatke hai. Yes? Jahan pe koi iconoclasm, quote unquote, ke ji tum yeh namaz ka kya faida yeh woh, they're not, those are not attacks on Islam or the Sharia. They're just attacks on those who do that with hypocrisy. Okay? Thank you so much. Good luck for your exams. **[1:49:51]** Sir? Ji? N - 1 hai ke 2 hai? Huh? N - 1 hai ya 2 hai? Quizzes pe? Quizzes kitne hue total? Sir 6. Oh, yeh toh n - 1 hi hai. Yeh toh n - 2 le lein. Phir sirf 4 quizzes count honge. Are most of you okay with that n - 2? Yes sir. Chalein, I can consider it. Of course. Here are comprehensive notes from the lecture on Baba Farid and Bullay Shah, organized by poet and then verse-by-verse as discussed. ### **Baba Farid (Ganjshakar)** #### **Biographical & Contextual Notes** * **Identity & Humility:** A leading master of the Chishti Sufi order. Despite his fame, he sought simplicity and actively avoided becoming a celebrity. He moved from the major center of Delhi to the small town of Hansi, and when Hansi became too popular, he moved again to Ajodhan. * **Pakpattan:** The town of Ajodhan was renamed **Pakpattan** in his honor. The lecturer explains the meaning of this name: * **Term:** **Pattan** (Punjabi): A ferry or boat. * **Term:** **Pakpattan**: "The Ferry of the Pure." This name frames Baba Farid as a spiritual guide who helps people "cross over" to purity and God. * **Spiritual Power & Legends:** There are legends that his presence transformed previously "cursed" or feared lands into blessed ones. This connects to a broader Sufi tradition of saints taming wild places, symbolized by myths of defeating a **Deo** (giant/monster). * **Scholar & Sufi:** The lecturer emphasizes that Baba Farid was both a scholar (*aalim*) and a Sufi master, challenging the modern tendency to see these as separate roles. * **Inclusion in Sikhism:** His poetry was so revered that it was included in the **Adi Granth**, the holy scripture of Sikhism. This shows his immense and cross-religious appeal. * **Title: Ganjshakar:** * **Term:** **Ganj** (Persian/Urdu): Treasure. * **Term:** **Shakar** (Persian/Urdu): Sugar. * **Meaning:** "Treasure of Sweetness." Shakar is a metaphor not just for sugar but for **bliss, wealth, and pleasure**. The title suggests he is a source of spiritual sweetness and blessings that can remove the sorrows of life. --- ### **Verse-by-Verse Analysis of Baba Farid's Poetry (*Dohras*)** A **Dohra** is a short, two-line (or four-part) poetic form, known for being concise, poignant, and often ending with an ironic or insightful twist. #### **Dohra 1: The Black Clothes** > **Verse:** *Farida kaale mainde kapre, kaala mainda wes. Gunahi bharya main phiran, lok kahe Darvesh.* > > **(Translation/Idea:** Farid, my clothes are black, my appearance is black. I wander full of sins, yet people call me a Darvesh/Saint.) * **Key Idea:** **Profound Humility & Critique of Public Perception.** * **Interpretation:** * The "blackness" is metaphorical, not literal. It represents the speaker’s feeling of being spiritually flawed, sinful, and imperfect (*zahir bhi kharab, batin bhi kharab* – "my outside is flawed, my inside is flawed"). * The final line is the **ironic twist**. Despite his internal feeling of unworthiness, the world perceives him as a holy man. This highlights the gap between inner reality and outer reputation. * It is an expression of deep humility before God, where even the most pious person feels infinitely distant and sinful in comparison to divine perfection. #### **Dohra 2 & 3 (Paired): Sugar into Poison & Contentment** > **Verse 1:** *Dekh Farida jo thia, shakar hoi vis. Saain baajhon aapne, vedan kahiye kis.* > > **(Translation/Idea:** Look Farid, what has happened, sugar has become poison. Without my Master/God, who can be my antidote?) > > **Verse 2:** *Rukhi sukhi kha ke, thanda paani pi. Farida, dekh parai chopri, na tarsaain ji.* > > **(Translation/Idea:** Eat dry bread and drink cool water. Farid, looking at another's buttered bread (luxury), do not let your heart yearn in envy.) * **Key Idea:** **The Poison of Worldly Pleasures and the Virtue of Contentment (*Qana'at*).** * **Key Terms:** * ***Shakar* (Sugar):** Metaphor for all worldly pleasures (food, wealth, luxury). * ***Vis* (Poison):** The outcome of overindulgence in worldly pleasures. They ultimately cause pain and suffering. * ***Saain* (Master/Friend):** Refers to God. * ***Vedan* (Antidote):** The cure for the poison of worldly life. God is the ultimate antidote. * ***Chopri* (Buttered Bread):** A symbol of luxury and indulgence. * **Interpretation:** * The first verse establishes a universal truth: any pleasure, when pursued excessively, becomes a source of pain (*shakar hoi vis*). * The final line of the first verse provides the solution: the only true cure for this worldly suffering is **God**. * The second verse provides the practical application of this idea: live a simple life (*rukhi sukhi kha*), enjoy the simple, universally available blessings (*thanda paani pi*), and do not fall into the trap of **envy** by desiring the luxuries (*chopri*) of others. * **Anecdote:** The lecturer explains the term *chopri* using the Urdu saying **"chopri aur do do,"** which refers to someone who, after being offered a luxury, greedily asks for more, highlighting the insatiable nature of desire. --- ### **Baba Bullay Shah** #### **Biographical & Contextual Notes** * **Identity:** His real name was **Abdullah**, lovingly shortened to **Bulla**. He was from a high-caste **Syed** family in Kasur. * **The Peer (Spiritual Master):** His master was **Shah Inayat**, who belonged to the **Arain** caste, which was considered lower in the social hierarchy. This was a radical and controversial choice. * **Core Conflict & Message:** Bullay Shah’s life and poetry are a powerful critique of social and religious hypocrisy, especially regarding caste and lineage. He rejected the superiority of his Syed status to embrace the spiritual truth he found with his Arain master. * **Anecdote of Defiance:** When his family told him to leave his "low-caste" master (*chhad de palla Araiyan*), he famously retorted: **"Jehra saanu Syed sadday, dozakh mile sazaiyan"** ("Whoever calls me a Syed, may they burn in hell!"). This shows his complete commitment to spiritual reality over social status. * **Poetic Form:** His primary form is the **Kafi**, a genre of Punjabi poetry that features a repeating refrain and multiple stanzas (*bandh*). --- ### **Verse-by-Verse Analysis of Bullay Shah's Poetry (*Kafis*)** #### **Kafi 1: The One Alif is All You Need** > **Refrain:** *Ek alif tere darkar, ilmon bas karin o yaar.* > > **(Translation/Idea:** The one Alif (God) is what you need; stop relying on (worldly) knowledge, O friend.) * **Key Idea:** **The supremacy of sincere love for God (*Ishq*) over pretentious religious knowledge (*Ilm*).** * **Bandh 1 (The Scholar):** You read thousands of books but are surrounded by darkness. You lack self-awareness (*apne aap di khabar na saar*). This knowledge is useless. All you need is the One God. * **Bandh 2 (The Qazi):** You progress from a preacher (*mulla*) to a judge (*qazi*), but God isn't impressed by knowledge alone. Your greed (*hirs*) only grows, and your life becomes a cycle of profit and loss. * **Bandh 3 (The Hypocrite):** People call you a learned man (*Mianji*), but you sell your knowledge for money (*dhela leke chhuri chalavein*). You associate with tyrants and the corrupt (*naal qasaaiyan bohot pyar*). * **Final Bandh (The Solution):** > **Verse:** *Jad mein sabaq ishq da parheya... Shah Inayat laaya paar.* > > **(Translation/Idea:** When I learned the lesson of Love... I was lost in the whirlpools of this path, but my master, Shah Inayat, carried me across.) * The solution to the problem of corrupt and pretentious knowledge (*ilm*) is sincere love (*ishq*). * This difficult spiritual path, with all its trials (*ghuman gherian*), cannot be navigated alone. It requires the guidance of a true master (*peer*), in his case, **Shah Inayat**. #### **Kafi 2: The Banyan Tree** > **Verse:** *Bulla beej board da boya si... Phir reh gaya beej ikalla hai.* > > **(Translation/Idea:** Bulla, I planted the seed of a Banyan tree... It grew into a sapling, then a huge tree, and when that plant was annihilated (in fana), only the lone seed remained.) * **Key Idea:** **Spiritual transformation as a process of self-annihilation (*fana*) and return to the divine source.** * **Central Metaphor:** The **Banyan Tree (*Board*)**. * The lecturer explains the Banyan grows as a **parasite**. It takes over a host tree, eventually consuming and replacing it entirely. * **Interpretation:** * **The Seed (*Beej*):** The initial divine spark or the path of love for God planted within the self. * **Growth of the Tree:** The spiritual path grows and transforms the seeker, completely taking over and replacing the old, ego-centric self (*nafs*). * **Annihilation (*Fani*):** When the transformation is complete and the seeker reaches the state of *fana* (annihilation of the self in God), the original, limited self is gone. * **The Lone Seed Remains:** At the end of the journey, what one discovers is the original divine source, the "seed," which is God. The journey is cyclical: it begins with God, moves through the annihilation of the self, and ends with the realization of God within. Of course. Here is a more detailed and expanded analysis of the *Dohras* (poetic couplets) of Baba Farid, based on the points, terms, and anecdotes discussed in the lecture. ### **Introduction to Baba Farid's *Dohras*** The lecturer introduces Baba Farid's primary poetic form, the **Dohra**. A Dohra is not just a simple couplet; it's a masterpiece of concise wisdom. Its key features are: * **Brevity:** It conveys a deep message in just a few words. * **Poignancy:** The language is emotionally resonant and hits the reader with great force. * **The Ironic Twist:** A classic Dohra often builds a particular idea in the first part, only to reverse or deepen it with an ironic, unexpected, or profound twist in the final part. This twist is where the core lesson lies. Here are the Dohras discussed in the lecture, broken down verse by verse. --- ### **Dohra 1: Humility and the Black Clothes** > **The Verse:** > *Farida kaale mainde kapre, kaala mainda wes.* > *(Farid, my clothes are black, my appearance is black.)* > > *Gunahi bharya main phiran, lok kahe Darvesh.* > *(I wander, filled with sins, yet people call me a Darvesh/Saint.)* **Detailed Interpretation:** This Dohra is a powerful statement on **humility** and the stark contrast between one's inner spiritual state and external public perception. 1. **The Metaphor of "Blackness":** * The lecturer makes it clear that the "black clothes" are not literal. "Black" is a metaphor for a state of spiritual impurity, sinfulness, and imperfection. * Baba Farid is saying that both his external self (*zahir*) and his internal self (*batin*) feel flawed and stained by sin. He feels "torn" and "poor" in spirit. 2. **The Ironic Twist:** * The second line delivers the punchline. Despite feeling completely unworthy and "filled with sins," the world looks at him and sees a holy man, a *Darvesh*. * This highlights the folly of judging by appearances and the internal struggle of a true spiritual seeker. The more one seeks God, the more acutely aware one becomes of one's own shortcomings. **The Ultimate Lesson:** True spirituality is not about public acclaim but about private humility. The Dohra serves as a critique of those who wear the garb of piety without possessing the inner purity, and as a sincere expression of unworthiness before God. --- ### **Dohra 2 & 3 (Paired): The Poison of Pleasure & The Antidote of Contentment** The lecturer presents these two Dohras as a philosophical pair. The first identifies a universal problem, and the second offers the practical solution. > **Dohra 2 (The Problem):** > *Dekh Farida jo thia, shakar hoi vis.* > *(Look Farid, what has happened, sugar has become poison.)* > > *Saain baajhon aapne, vedan kahiye kis.* > *(Without my Master/God, who can be my antidote?)* **Key Terms:** * **Shakar (Sugar):** A metaphor for all worldly pleasures—food, wealth, luxury, desire. * **Vis (Poison):** The ultimate result of overindulgence in these pleasures. What seems sweet at first eventually leads to spiritual (and often physical) pain and suffering. * **Saain (Master/Friend):** Refers to God, the beloved. * **Vedan (Antidote/Cure):** The only true cure for the "poison" of worldly attachment. **Interpretation:** This Dohra warns that a life dedicated solely to the pursuit of pleasure is self-destructive. Every "sweet" thing in the material world, if it becomes the ultimate goal, turns toxic. The only true healing and antidote (*vedan*) for this condition is turning to God (*Saain*). > **Dohra 3 (The Solution):** > *Rukhi sukhi kha ke, thanda paani pi.* > *(Eat dry, simple bread and drink cool water.)* > > *Farida, dekh parai chopri, na tarsaain ji.* > *(Farid, looking at another's buttered bread, do not let your heart yearn in envy.)* **Key Terms & Anecdotes:** * **Rukhi Sukhi (Dry/Simple):** Represents a life of simplicity and minimalism. * **Thanda Paani (Cool Water):** Represents the simple, natural, and freely available blessings of life that one should be grateful for. * **Chopri (Buttered Bread):** A powerful symbol of luxury and excess. The lecturer connects this to the Urdu idiom **"chopri aur do do"** (one buttered bread, and then asking for two more), which illustrates insatiable human greed. **Interpretation:** This Dohra provides the practical path to spiritual well-being: 1. **Embrace Simplicity (*Saadhgi*):** Be content with simple sustenance. 2. **Practice Contentment (*Qana'at*):** Do not fall into the trap of envy by comparing your life to others' luxuries. The desire for someone else's "buttered bread" is a source of immense unhappiness. 3. **The Hunger Metaphor:** The lecturer explained that true hunger makes even the simplest food (*kaath di roti*) delicious. Similarly, a simple life allows one to truly appreciate the small blessings, whereas a life of luxury dulls the senses and leads to a constant, unfulfilled craving for more. --- ### **Dohra 4: The Dust and Mortality** > **The Verse:** > *Farida khak na nindiye, khak o jed na koi.* > *(Farid, do not revile the dust; there is nothing like the dust.)* > > *Jiundian pairan thale, moyan uppar hoi.* > *(While living, it is beneath your feet; when dead, it is above you.)* **Detailed Interpretation:** This Dohra is a profound meditation on **mortality, pride, and the great equalizing power of death.** 1. **The Status of Dust:** The verse begins by telling us not to look down upon the dust (*khak na nindiye*), for it is unparalleled. This is counter-intuitive, as we often see dust as something lowly. 2. **The Reversal of Power (The Twist):** * While we are alive (*jiundian*), we walk upon the earth with pride, and the dust is beneath our feet (*pairan thale*). We feel dominant over it. * But upon death (*moyan*), this relationship is completely reversed. The same dust will cover our bodies (*uppar hoi*). * The lecturer connects this to the Quranic and Biblical teaching to "not walk proudly on the Earth," as our origin and end is the same humble dust. **The Ultimate Lesson:** This Dohra is a powerful antidote to arrogance. It reminds us that our time on earth is temporary and that our physical bodies are destined to return to the very dust we so often disdain. It calls for a life of humility in the face of this ultimate reality. Of course. Here is the expanded, verse-by-verse analysis of the Dohra about the spreading river, as discussed by the lecturer. --- ### **Dohra 5: The River Journey and the Alert Boatman** This Dohra uses the powerful and universal metaphor of a river journey to explain the nature of the spiritual path, its dangers, and the key to successfully navigating it. > **The Verse:** > *Lambi lambi nadi wahe, kandhi kere he.* > *(The long, long river flows; look towards the shore.)* > > *Bede nu kappar kya kare, je paatan rahe suchet.* > *(What can a whirlpool do to the ship, if the boatman remains alert?)* **Detailed Interpretation:** This Dohra is a lesson in spiritual focus, guidance, and resilience in the face of life's inevitable challenges. 1. **The Metaphor of the Spiritual Path as a River:** * **"The long, long river flows":** The river (*nadi*) represents the spiritual path (*suluk*) or life itself. It is long, continuous, and has a direction. * **"Look towards the shore" (*kandhi kere he*):** The shore (*kandhi*) symbolizes the ultimate spiritual destination—closeness to God, self-realization, or salvation. This first line is an instruction: in the midst of this long journey, never lose sight of your final goal. Maintain your focus. 2. **The Dangers and the Ship:** * **The Ship (*Beda*):** The ship represents the individual seeker, the disciple traveling on this path. * **The Whirlpool (*Kappar*):** The whirlpool is a metaphor for the many dangers and trials that can pull a seeker off course and "drown" them spiritually. These include: * Worldly distractions and temptations. * The traps of the ego (*nafs*). * Spiritual doubts and despair. * The hardships and tribulations of life. 3. **The Solution and the Twist:** * The second line presents the central lesson and the twist. The Dohra doesn't promise a journey free of whirlpools; the dangers are a given. Instead, it offers the key to overcoming them. * **"What can a whirlpool do... if the boatman remains alert?"** The power of the whirlpools is neutralized by the skill and mindfulness of the boatman (*paatan*). The solution to spiritual danger is not its absence, but the presence of vigilant guidance. **Who is the Boatman (*Paatan*)?** The lecturer explained that the *paatan* can be interpreted on multiple levels, each offering a layer of meaning: * **1. The Peer (Sheikh/Murshid):** This is the most direct and common Sufi interpretation. The spiritual master is the boatman who guides the disciple's ship. If the disciple places their trust in a watchful and alert master, they will be safely navigated through the trials of the path. This emphasizes the critical importance of having a true spiritual guide in the Sufi tradition. * **2. The Self (One's Own Consciousness):** The boatman can also symbolize the seeker's own inner guide—their awakened consciousness, their intellect, and their soul. If one remains mindful, self-aware, and vigilant (*suchet*), one can steer their own life through its challenges without being consumed by them. * **3. God:** On the highest level, the ultimate boatman is God Himself. By placing complete trust in God and remaining ever-conscious of His presence, the seeker is protected from all harm. God is the ultimate guide who ensures the ship reaches its destination. **The Ultimate Lesson:** The path of life and spirituality is fraught with dangers that can easily overwhelm and destroy an individual. However, salvation and success do not come from avoiding these dangers, but from navigating them with the help of a vigilant and skillful guide—be it a spiritual master, one's own awakened self, or ultimately, God. Of course. Here is a comprehensive, passage-by-passage list and analysis of the poetry of Baba Bullay Shah, based on the terms, ideas, and anecdotes discussed in the lecture. ### **Introduction to Bullay Shah's Poetic Form: The Kafi** The lecturer identifies Bullay Shah's signature poetic form as the **Kafi**. Unlike Baba Farid's concise *Dohra*, the Kafi has a different structure: * **Refrain (*Tek*):** A central line or couplet that is repeated after each stanza, reinforcing the poem's core theme. * **Stanzas (*Bandh*):** Multiple stanzas that explore different facets of the main theme, often building an argument or a narrative. * **Final Stanza:** The last stanza often contains the deepest lesson, the ultimate solution, or a personal signature. --- ### **Kafi 1: "Ek Alif Tere Darkar" (The One Alif is All You Need)** This Kafi is a powerful critique of pretentious religious knowledge (*ilm*) when it is devoid of sincere love for God (*ishq*). The "one Alif" (the first letter of the Arabic alphabet) is a simple yet profound symbol for Allah, or the singular truth of God. > **The Refrain:** > *Ek alif tere darkar, ilmon bas karin o yaar.* > *(The one Alif [God] is what you need; stop relying on [worldly/pretentious] knowledge, O friend.)* This refrain sets up the central conflict of the poem: the path of simple, sincere devotion to God is superior to the path of accumulating knowledge for the sake of pride, status, or worldly gain. --- #### **Stanza-by-Stanza Analysis:** **Stanza 1: The Arrogant Scholar** > *Padh-padh ilm hazar kitaban, aalim hoye bhare.* > *Girde chaanan, vich anhare, apne aap di khabar na saar.* > *(You read thousands of books and became a great scholar. There is light all around you, but darkness within; you have no knowledge of your own self.)* * **Critique:** This stanza targets the scholar who has immense external knowledge but lacks introspection and self-awareness. Their books provide an outer "light" of intellect, but their heart remains in "darkness." Their knowledge has not led to self-purification, making it spiritually useless. **Stanza 2: The Careerist Qazi (Judge)** > *Padh-padh mulla hoye qaazi, Allah ilmon baajhon raazi.* > *Hove hirs dilon din taazi, nafa niyyat vich guzaar.* > *(Reading, you went from being a preacher [mulla] to a judge [qazi], but God is pleased without [such] knowledge. Your greed grows fresher by the day, as you spend your life in [calculations of] profit and loss.)* * **Critique:** This attacks the use of religious knowledge for career advancement and material gain. The progression from *mulla* to *qazi* is a promotion, but God is not impressed. The person's true motivation is greed (*hirs*), and their life is reduced to a business of "profit and loss," devoid of genuine spirituality. **Stanza 3: The Hypocritical "Mianji"** > *Ilmon Mianji kahavein, tamba chuk chuk mandi javein.* > *Dhela leke chhuri chalavein, naal qasaaiyan bohot pyar.* > *(With knowledge, you are called "Mianji" [a learned man], but you take your copper pot to the market [to sell your knowledge]. For a mere penny, you run a knife; you have great love for the butchers [the corrupt and powerful].)* * **Critique:** This is the most direct attack on hypocrisy. The "Mianji" uses his religious title for personal profit. He is a "sellout" who compromises truth for petty gains (*dhela leke chhuri chalavein*) and aligns himself with the tyrants and oppressors (*qasaaiyan*) of society. **Final Stanza: The Solution of Love and Guidance** > *Jad mein sabaq ishq da parheya, darya wekh wahdat da warheya.* > *Ghuman gherian de vich arheya, Shah Inayat laaya paar.* > *(When I learned the lesson of Love, I saw the river of Unity and plunged in. I was stuck in its deep whirlpools, but [my master] Shah Inayat carried me across to the other side.)* * **The Ultimate Lesson:** The answer to the corruption of *ilm* is the sincerity of *ishq*. However, this path of love is dangerous and filled with trials (*ghuman gherian*) that can drown the seeker. The only way to navigate this river safely is with the guidance of a true spiritual master (*peer*). For Bullay Shah, this was his guide, **Shah Inayat**, who "carried him across." This stanza powerfully affirms the necessity of the master-disciple relationship in the Sufi path. --- ### **Kafi 2: "Bulla Beej Board Da Boya Si" (The Banyan Tree)** This Kafi uses the metaphor of the Banyan tree (*Board*) to explain the process of spiritual transformation through self-annihilation (*fana*). > **The Verse:** > *Bulla beej board da boya si, o bich wadda jeya hoya si.* > *Jad bich o fani hoya si, phir reh gaya beej ikalla hai.* > *(Bulla, I planted the seed of a Banyan tree; it grew into a sapling. When that plant was annihilated [achieved fana], only the lone seed remained.)* **Interpretation:** * **The Banyan Tree as a Parasite:** The lecturer highlights that the Banyan tree often grows as a parasite, starting on a host tree and eventually enveloping and replacing it entirely. This biological fact is central to the spiritual metaphor. * **The Stages of Transformation:** 1. **Planting the Seed (*Beej*):** The journey begins when the "seed" of divine love or spiritual yearning is planted within the seeker's soul. 2. **The Growth and Takeover:** As the spiritual path progresses, this "seed" grows into a new reality that, like the Banyan, gradually consumes and overtakes the original "host"—the ego-centric, worldly self (*nafs*). 3. **Annihilation (*Fani*):** When the transformation is complete, the old self is entirely gone. The seeker has reached the state of *fana*, or annihilation in God. 4. **The Lone Seed Remains:** After the ego is gone, what is left? Only the original seed. The seeker discovers that their true essence is the divine spark from which they began. The journey is circular: it starts from God, goes through the death of the self, and ends in the realization of God as one's true reality. --- ### **Kafi 3: "Tere Ishq Nachaya Kar Thaiya Thaiya" (Your Love Made Me Dance)** The lecturer explained the anecdote behind this famous Kafi rather than analyzing the full text. **The Anecdote and Context:** This Kafi was composed after Bullay Shah's master, Shah Inayat, became angry with him and refused to see him. To earn his master's forgiveness, Bullay Shah undertook an extreme act of self-humiliation. As a high-caste Syed, he joined a troupe of female dancers (*tawaif*), dressed as one, and danced before his master. This shocking act of devotion, which involved completely crushing his social pride and ego, made Shah Inayat laugh and finally forgive him. > **The Refrain:** > *Tere ishq nachaya kar thaiya thaiya.* > *(Your love made me dance the wild dance [of ecstasy].)* **Interpretation:** The "dance" is a metaphor for the ecstatic and seemingly "mad" actions that true divine love (*ishq*) compels one to perform. It symbolizes: * **The Crushing of the Ego:** The act was a public destruction of his ego and his pride in his Syed lineage. * **Radical Devotion:** It was a demonstration that his love for his master (and through him, God) was more important than any social convention or personal dignity. * **Ecstasy and Annihilation:** The dance represents the state of losing oneself in devotion, where normal rules of behavior no longer apply. It is a physical manifestation of the inner state of *fana*. Yes, absolutely. The lecturer did discuss one more famous *Kafi* by Bullay Shah, focusing more on the powerful anecdote behind its creation and the meaning of its key lines rather than a full stanza-by-stanza breakdown. Here is the detailed analysis of that final discussed passage. --- ### **Kafi 3: "Tere Ishq Nachaya Kar Thaiya Thaiya" (Your Love Made Me Dance)** This is one of Bullay Shah's most famous and beloved *Kafis*. The lecturer explains that to truly understand its meaning, one must know the powerful story of its origin. #### **The Anecdote Behind the Kafi: The Act of Crushing the Ego** 1. **The Conflict:** Bullay Shah's master, Shah Inayat, had become displeased with him. The lecturer suggests this was because Bullay Shah, in his ecstatic state (similar to Sufi figures like Mansur Hallaj), was perhaps speaking of spiritual mysteries too openly. This created a painful separation between the master and disciple. 2. **The Desperate Act of Devotion:** Bullay Shah was desperate to be forgiven and to be reunited with his master. However, Shah Inayat would not see him. Knowing that his master enjoyed listening to music and watching dance, Bullay Shah conceived a radical plan to demonstrate the depth of his love and humility. 3. **The Ultimate Self-Humiliation:** As a **Syed**, a member of the highest social and religious caste, Bullay Shah did the unthinkable: * He joined a troupe of traveling female dancers (*tawaif* or *kanjris*). * He spent time learning their craft. * He dressed in the traditional attire of a female dancer, wearing colorful clothes (green and red, as mentioned in the poem) and heavy anklets (*ghungroo*). 4. **The Performance and Forgiveness:** Completely shedding his identity as a learned, high-caste Syed, he came before his master and danced. The sight of his beloved disciple humbling himself to such an extreme degree, all for the sake of his love, moved Shah Inayat deeply. He is said to have laughed, and in that moment of shared emotion, the rift was healed, and he forgave Bullay Shah. The Kafi is the poetic expression of this entire spiritual drama. --- #### **Analysis of Key Lines and Their Meaning** > **The Refrain:** > *Tere ishq nachaya kar thaiya thaiya.* > *(Your love made me dance the wild dance of ecstasy.)* * **Interpretation:** The "dance" (*thaiya thaiya*) is not a calculated performance but a frenzied, ecstatic expression of love. The key is the phrase **"ishq nachaya"** (love made me dance). It was not Bullay Shah's ego or intellect that chose to dance; it was the overwhelming force of his love for his master (and God) that compelled him. This signifies a complete surrender of the self, where divine love becomes the sole driving force. > **A Pivotal Line:** > *Jaan maari addi, mil paiya vaiya.* > *(When I stamped my heel, I found my beloved.)* * **Term:** **Addi Maarna:** The lecturer explained this term means "to stamp the heel," a forceful and rhythmic movement in classical dance that makes the anklets jingle loudly. * **Symbolic Meaning:** This single physical act represents the **final, decisive crushing of the ego**. By performing the dance of a *tawaif*, he was stamping out his pride, his social status, and his personal identity. In that very moment of complete self-annihilation, he was reunited with his beloved (*vaiya*). It perfectly illustrates the Sufi concept that one finds God only when one loses the self. > **Another Key Line:** > *Jainde ishq taraye saanu, saava te suhe.* > *(The love for whom made me wear green and red...)* * **Interpretation:** This line directly references the story. The "green and red" clothes are the traditional attire of a dancer or a bride. Bullay Shah is stating that his love was so powerful that it made him abandon his formal identity and adopt the humble, and in the eyes of society, "lowly," identity of a dancer. It is a testament to the transformative and boundary-dissolving power of divine love. **The Ultimate Lesson:** This Kafi celebrates the necessity of **radical humility** and **ego-annihilation (*fana*)** on the spiritual path. To truly unite with the divine, the seeker must be willing to abandon everything that the world considers valuable—social status, reputation, and even personal dignity. The "dance" is a metaphor for this joyous and total surrender to the power of love. Of course. The lecturer provided a detailed and fascinating analysis of the **Banyan Tree (*Board*) Kafi**. This specific poem was used as a prime example of Bullay Shah's genius in using simple, natural imagery to explain a profound and complex Sufi doctrine. Here is the expanded, step-by-step breakdown of the Banyan Tree Kafi. --- ### **Kafi: "Bulla Beej Board Da Boya Si" (The Banyan Tree)** This Kafi is a powerful metaphor for the process of **spiritual transformation** and the Sufi concept of **self-annihilation (*fana*)**. > **The Verse:** > *Bulla beej board da boya si, o bich wadda jeya hoya si.* > *(Bulla, I planted the seed of a Banyan tree; it grew into a sapling.)* > > *Jad bich o fani hoya si, phir reh gaya beej ikalla hai.* > *(When that plant was annihilated [achieved fana], only the lone seed remained.)* --- #### **The Central Metaphor: The Nature of the Banyan Tree (*Board*)** To understand the poem, the lecturer explained the unique way a Banyan tree grows, which is central to the metaphor: * **It is a Parasite:** The Banyan often begins its life not from the ground, but as a seed dropped by a bird onto a host tree. It sprouts on the host, sending its roots down to the ground. * **It Envelops and Replaces:** As the Banyan grows, its roots thicken and multiply, gradually enveloping the original host tree. Over time, the host tree inside dies and decays, and the Banyan stands in its place, having completely consumed and replaced its original support. This biological process of one life form taking over and replacing another is what Bullay Shah uses to describe the spiritual journey. --- #### **The Stages of Spiritual Transformation (Verse Breakdown)** **Stage 1: "Planting the Seed" (*Bulla beej board da boya si*)** * **The Seed (*Beej*):** This is not just any seed; it's the seed of divine reality. It represents the initial spark of love for God (*ishq*) or the spiritual teaching that is planted in the heart of the seeker by their master (*peer*). It is the potential for a new, divine life. * **The Host Tree (The Unspoken Element):** The "host tree" is the seeker's original self—the ego, the worldly identity, the *nafs*. The divine seed is planted *on* this old self. **Stage 2: "The Growth and Takeover" (*o bich wadda jeya hoya si*)** * **The Sapling (*Bich*):** The divine seed sprouts and begins to grow. This growth represents the seeker's spiritual practices: meditation, devotion, and following the master's path. * **The Takeover:** Just as the Banyan envelops its host, this new spiritual life begins to take over the seeker's old self. The love for God starts to replace worldly desires. Sincerity replaces hypocrisy. Humility replaces pride. The new "tree" is growing stronger, while the old one (the ego) is being choked out. **Stage 3: "Annihilation" (*Jad bich o fani hoya si*)** * **The State of *Fana*:** The word ***fani*** is a direct reference to the Sufi state of *fana*, which means annihilation or effacement of the self. This is the climax of the journey. The Banyan tree has now completely replaced the host tree. * **The Death of the Ego:** Spiritually, this means the old, limited, ego-driven self has completely "died." It has been replaced by a new self that is animated only by the divine presence and love. The transformation is total and absolute. **Stage 4: "The Lone Seed Remains" (*phir reh gaya beej ikalla hai*)** * **The Paradoxical Twist:** This is the most profound part of the Kafi. After this immense growth and transformation, what is left is not the giant tree, but the tiny seed it started from. * **The Return to the Source:** The lesson here is that the entire journey of spiritual transformation is not about *becoming* something new and grand, but about *returning* to one's true, original essence. The "seed" was the divine spark. The whole purpose of the Banyan's growth was to destroy the ego (the host tree) so that only the pure, divine reality remains. The seeker discovers that their true identity was never the host tree (the ego), but the divine seed all along. **The Ultimate Lesson:** The path to God is not about improving the old self, but about allowing the love of God to completely consume and replace it. The journey is a cyclical one: it begins with the divine spark, moves through the annihilation of the ego, and culminates in the realization that our true, eternal reality is that divine spark alone. ### rel_215_transcriptions/Bayazid Bastami_s Ecstatic Utterances Here are comprehensive notes from the lecture on Bayazid Bastami, detailing key terms and the critiques and defenses of his utterances. ### **Lecture Notes: The Defense of Bayazid Bastami's Ecstatic Utterances** #### **I. Introduction: The Nature of Sufi Critique** The lecture begins by establishing the context for understanding criticism within Sufism. The critiques leveled by Sufis like Junayd against figures like Bayazid Bastami are not meant to reject their path but are a form of **internal self-critique**. * **Purpose:** To correct misunderstandings and ensure the purity of the spiritual path. The criticism is not against the core principles (like *tasawwuf* or Quranic recitation) but against the potential for individuals to "get it wrong." * **The Loss of Spirit:** When the inner spirit or essence of a practice is lost, the outward form can become a subject of critique. * **Example:** Reciting the Quran should ideally lead to *taqwa* (piety) and a trembling of the heart (*wajulat qulubuhum*). If someone recites beautifully but their heart remains hard and their character is poor, Sufis would critique the *person*, not the act of recitation itself. The problem is with the individual's internal state (*niyyah*, soul), not the practice. #### **II. Key Terms Discussed** * ***Shath* (pl. *Shathiyat*):** Ecstatic, paradoxical, or seemingly blasphemous utterances made by a mystic in a state of spiritual intoxication or overwhelming divine presence. * ***Fana* (Annihilation):** The annihilation or passing away of the self. In this context, it refers to the annihilation of the consciousness of the self, where the mystic is so overwhelmed by the presence of God that their own sense of "I" disappears. * ***Fana an Fana* (Annihilation of Annihilation):** A higher stage where the mystic is no longer even conscious of their state of *fana*. * ***Wajd* (Ecstasy/Finding):** An intense, temporary spiritual state (*hal*) of finding or experiencing God's presence. It is described as a total experience—physical, emotional, and spiritual—that can lead to an altered state of mind and ecstatic expressions. * ***Tawhid* (Unity):** The core Islamic doctrine of the absolute oneness and unity of God. * ***Tafrid* (Separation):** A complementary concept to *tawhid*, emphasizing the necessary separation and distinction between the Creator (God) and the creation (humanity). Maintaining *tafrid* prevents one from blurring the lines and claiming divinity. * ***Husn-e-Zan* (Thinking Well of Others):** The principle of giving others the benefit of the doubt and interpreting their actions and words in the best possible light. This is a central theme in Sarraj's defense of Bastami. * ***Hal* (State):** A temporary, passing spiritual state, often granted by God (e.g., *wajd*). * ***Maqam* (Station):** A more permanent, earned spiritual station on the Sufi path. --- ### **III. Analysis of Bayazid Bastami's Utterances (*Shathiyat*)** #### **Utterance 1: "He said to me, and I said to Him" & Being Raised to God's Presence** This refers to Bastami's claim of having an intimate, direct conversation with God and being brought into His presence. * **Critique (Implied, often by legalistic scholars):** This statement is theologically problematic if taken literally. It suggests a physical dialogue and a spatial location for God, which contradicts Islamic theology. It can be seen as an arrogant claim to a level of intimacy reserved for prophets like Moses. * **Defense (by Sarraj):** Sarraj defends this by refusing a literal interpretation and contextualizing it within established religious and poetic language. 1. **Defense via Hadith:** Sarraj cites a hadith where the Prophet Muhammad describes standing before God during prayer. This is universally understood metaphorically to mean a state of profound presence and intimacy (*intimacy with God*), not a physical encounter. Sarraj argues Bastami's statement should be understood in the same metaphorical way. 2. **Defense via Poetic Language:** The language used is that of a lover speaking to their beloved. In love poetry, the lines between "I" and "you" are often blurred to express a state of union. It signifies a **secret conversation of the heart (*munajat*)**, not a verbal one with lips and tongue. 3. **Defense via Mystical Experience:** This state is achieved through the "heart's vision" (*ru'yat al-fu'ad*), a Quranic concept where the heart "sees" what the eyes cannot. It is a state of heightened consciousness, not a physical event. #### **Utterance 2: The Mystical Journey ("I became a bird... and found it was a cheat")** Bastami describes a spiritual journey where he becomes a bird, flies through various spiritual realms for millions of years, and reaches the "Tree of Unity," only to declare, "I looked and knew that it was all a cheat." * **Critique (by Junayd):** Junayd critiques this as a **deficient (*naqis*) mystical experience**. He argues that Bastami is still describing the *path* and the *vision* itself, getting caught up in the created phenomena of his journey (the bird, the tree). He has not yet reached the ultimate, formless reality of God, which is beyond any vision. * **Defense (by Sarraj):** Sarraj offers a sophisticated defense, arguing that this statement, far from being deficient, is a sign of profound spiritual realization. 1. **Defense via Metaphor:** A man cannot literally become a bird. This is clearly metaphorical language used to describe a state of ecstatic excitement (*wajd*) and the "flight of the heart." 2. **Defense of "The Cheat":** This is the crucial point. By calling the experience a "cheat," Bastami is not devaluing it but expressing the ultimate truth of *Tawhid*. He recognizes that **anything other than God, even the most profound mystical vision (like the Tree of Unity), is ultimately a creation and a veil.** To mistake the vision for the ultimate reality would be a form of subtle idolatry. Therefore, realizing it's a "cheat" in comparison to God's true essence is the mark of a very senior, not a junior, mystic. #### **Utterance 3: The Prayer ("Adorn me with Your Unity... take me up to Your Oneness")** In his mystical dialogue, Bastami asks God to adorn him with God's own attributes. * **Critique (by Junayd):** Junayd sees this as a prime example of experiencing *Tawhid* without the necessary safeguard of ***Tafrid*** (separation). By asking to be clothed in God's attributes, Bastami is dangerously blurring the line between Creator and creation, which can lead to claims of divinity. * **Defense (by Sarraj):** Sarraj masterfully flips this argument by focusing on the form of the utterance. 1. **It is a Request, Not a Statement:** Bastami is not claiming "I am God" or "I have His unity." He is making a **supplication**—a prayer or a request ("Adorn me..."). This act of asking inherently affirms the distinction between himself (the one asking) and God (the One being asked). 2. **It is a Prayer for Perfection:** He is not claiming a flawed reality but asking for the **perfection of his experience of *Tawhid***. He is asking to be taken through the process that will lead to a perfect understanding, which would naturally include *tafrid*. The request is a sign of humility and recognition of his own station, not of arrogance or confusion. #### **IV. Conclusion: The Sufi Method of Interpretation** The lecture concludes that Sarraj's defense of Bastami is a masterclass in the proper Sufi method of interpretation, which is based on: 1. **Rejecting Literalism:** Understanding that ecstatic language is metaphorical and born of an overwhelming state (*wajd*). 2. **Contextualizing within Scripture:** Showing how similar language and ideas are present in the Quran and Hadith. 3. **Applying *Husn-e-Zan*:** Actively choosing to interpret a fellow mystic's words in the most charitable and theologically sound way, rather than seeking out heresy. 4. **Recognizing the Language of Love:** Appreciating that the relationship with God is often expressed through the language of intense, unifying love, where normal linguistic rules may not apply. Of course. This is an excellent and subtle concept in Sufi thought that deserves a deeper look. Let's break down **Fana an Fana** (فناء عن الفناء), or the "Annihilation of Annihilation." To understand it, we must first firmly grasp its prerequisite: **Fana**. ### **Part 1: The Foundation – Understanding *Fana* (Annihilation)** *Fana* is the "passing away" or "annihilation" of the self-conscious ego (*nafs*). It is the moment on the spiritual path where the seeker's sense of individual identity, with its desires, attributes, and self-awareness, dissolves into the overwhelming presence of God. * **What is Annihilated?** It's not the physical body or the essential soul. It is the false self, the ego, the sense of "I" that feels separate from God. The thought "I am doing this" is replaced by the realization that "God is the only true Doer." * **The Experience of *Fana*:** Crucially, *Fana* is still an **experience**. The seeker, in this state, is profoundly *aware* of their own annihilation. Their consciousness registers this incredible event. They might think: * "My self has vanished!" * "I am experiencing the state of egolessness." * "There is nothing but God's presence." Notice the subtle paradox: there is still a trace of a "self" left to observe and be conscious of this state of selflessness. This awareness of the state of *Fana* is the key distinction that leads to the next stage. **Analogy:** Imagine a drop of ink falling into a vast ocean of clear water. In the state of ***Fana***, the drop of ink has dispersed and merged with the ocean. The "drop" is aware of this profound union. It can perceive, "I, the drop, am now one with the ocean. My former identity is gone." --- ### **Part 2: The Next Step – *Fana an Fana* (Annihilation of Annihilation)** *Fana an Fana* literally means "annihilation *from* annihilation" or "the passing away of the state of passing away." This is the stage where the seeker becomes so completely absorbed and submerged in the Divine Reality that they lose all awareness of their own spiritual state, **including the awareness that they are in the state of *Fana***. The consciousness *of being annihilated* is itself annihilated. * **What is Annihilated Now?** The final, subtle remnant of consciousness that was observing the state of *Fana*. The experience of "annihilation" is no longer an object of perception because the perceiving subject has completely vanished. * **The Experience of *Fana an Fana*:** There is no "experience" in the conventional sense, because there is no one left to "have" the experience. There is only the Absolute, undifferentiated reality of God. There is no thought of "I am annihilated" because the "I" is gone, and so is the concept of "annihilation." **Revisiting the Analogy:** In the state of ***Fana an Fana***, the concept of a "drop" no longer exists at all. There is no "drop-consciousness" left to observe its union with the ocean. There is only the ocean itself. The memory and awareness of ever having been a separate drop are gone. ### **The Journey Through the States: A Summary** Let's chart the progression of consciousness: 1. **Normal Consciousness:** "I am seeking God." * *Subject:* I * *Action:* Seeking * *Object:* God 2. **State of *Fana* (Annihilation):** "I have been annihilated in God." or "The state of Fana is upon me." * *Subject:* A subtle, observing consciousness. * *Action:* Experiencing. * *Object:* The state of annihilation. 3. **State of *Fana an Fana* (Annihilation of Annihilation):** [No linguistic equivalent is possible] * *Subject:* Dissolved. * *Action:* None. * *Object:* Dissolved. * There is only the undifferentiated reality of the Divine. ### **The Goal and the Return: The Relationship with *Baqa* (Subsistence)** *Fana an Fana* is not the final, practical goal of the Sufi path. A mystic is not meant to remain in a state of permanent non-existence. This state leads to the ultimate return: ***Baqa***. ***Baqa*** means "subsistence" or "abiding." After the total annihilation of the self (*Fana an Fana*), the seeker is "returned" to the world by God. However, they do not return as their old self. They return as a perfect instrument of the Divine. * **The Transformation:** Their existence is now a subsistence *in* God. Their will is God's will, their sight is God's sight, their actions are God's actions. They are in the world but not *of* the world. * **The Mirror Analogy:** * **Normal Self:** A dirty, dusty mirror that barely reflects anything. * ***Fana*:** The mirror is polished so clean that it perfectly reflects the Divine Light, but it is still aware of itself as a "mirror reflecting." * ***Fana an Fana*:** The mirror becomes so perfectly reflective that it seems to disappear entirely. There is only the Light. * ***Baqa*:** The mirror "returns" to existence, but it is now a flawless instrument whose only function is to perfectly manifest the Divine Light in the world. In essence, *Fana an Fana* is the ultimate stripping away of every last vestige of selfhood, so that when the mystic returns to consciousness in the state of *Baqa*, their individuality is completely infused with and operates according to the Divine will alone. ### rel_215_transcriptions/Branch of Sufism Reading Notes_ Love_s Nature Of course. Here are comprehensive notes on the provided chapter about Rumi and Love, organized by the chapter's own structure. I have detailed the main ideas, supporting opinions, key terms, and all mentioned anecdotes or encounters. ### **Comprehensive Notes: Rumi on Love** #### **Overall Theme** Love (ishq) is the absolute central theme of all of Rumi's works, dominating the Sufi's inner states. It is an experiential reality that cannot be truly explained, only realized. --- ### **Introduction: The Ineffability of Love** * **Main Idea:** Love is an experience, not a theory. It must be lived to be understood and cannot be fully contained in words. * **Supporting Opinions/Points:** * While the *Diwan* explicitly deals with Love, the *Mathnawi* and *Fihi ma Fihi* deal with its "branches and ramifications." * Love is situated beyond articulated thought and is more real than the universe itself. * Rumi expresses a paradox about explaining Love: 1. It's impossible to explain ("shame overcomes me when I come to Love itself"). 2. One can discuss it forever and never exhaust it. * The ultimate purpose of Rumi's words on Love is not to define it, but to stir up the *desire* for it in the listener's heart. * **Key Term:** * **ishq (عشق):** The Arabic/Persian term for intense, passionate, or divine Love. * **Anecdotes/Encounters (Quotes used as illustrations):** * **The Inexpressible Mystery:** "Whatever you have said or heard is the shell: The kernel of Love is a mystery that cannot be divulged." * **The Limit of Language:** "Love cannot be contained within our speaking or listening; Love is an ocean whose depths cannot be plumbed." * **Experience over Erudition:** "Love cannot be found in erudition and science, books and pages." * **The Call to Transformation:** Someone asks, "What is Love?" Rumi replies, "When you become like me, then you will know... When He calls you, you will recite its tale." --- ### **1. God As Love and Beyond Love** * **Main Idea:** God is the source of all Love and can be called "Love," but this attribute does not define His entire reality. He is simultaneously Love and beyond Love. * **Supporting Opinions/Points:** * **Koranic Basis:** Verses where God "loves" something confirm Love as a divine attribute. The key verse cited is **5:54**, "...a people whom He loves and who love Him," establishing that God's love for humanity is primary and humanity's love for Him is a response. * **The "Yes and No" Paradox:** We can say "God is Love," just as we can say "God is Mercy" or "God is Power." However, no single attribute exhausts His reality. As the "Coincidence of Opposites," His Essence is beyond all attributes. * Love is an eternal attribute, with "branches in Eternity-without-beginning, its roots in Eternity-without-end." * Rumi refers to God as the "Sultan of Love," implying a status that transcends and rules over the concept of Love itself. * **Anecdote/Encounter:** * **The Caravan of the Unseen:** This metaphor describes higher realities entering the visible world. First comes intellect, then "beautiful Love," and finally, "from beyond Love, that indescribable One who can only be called 'That' keeps coming." This illustrates a hierarchy where God's ultimate reality is beyond even the concept of Love. --- ### **2. The World As Created by Love** * **Main Idea:** The universe was created as a direct result of God's Love, which is defined here as a desire or need to manifest. * **Supporting Opinions/Points:** * This is based on the famous *Hadith Qudsi* (holy saying): "I was a Hidden Treasure, so I desired (loved) to be known, so I created the world." * God's Love for the Prophet Muhammad is also cited as a cause for creation: "But for thee, I would not have created the celestial spheres." * Because Love is the creative force, it "courses throughout the world's arteries." All movement and existence are reflections of this original Love. * **Metaphors:** * "Love is the kernel, the world the shell." * "The world is like a mirror displaying Love's perfection." --- ### **3. The World As Maintained by Love** * **Main Idea:** All ongoing activity in the universe is sustained by a network of love and desire that God instilled in creation. * **Supporting Opinions/Points:** * God made all parts of the world "lovers of one another." Every existing thing has a need and desire for other things. * This mutual desire is the immediate source of all movement (e.g., heaven and earth, male and female). * Every person has a specific task, and God "placed desire for it in his heart." This is why a craftsman or scholar feels happiness and satisfaction in their work; it is divinely ordained love. * **Anecdotes/Encounters:** * **The King's Tent:** An analogy where people are tasked with maintaining a king's tent. One makes pegs, another ropes. Each is perfectly happy and satisfied with his specific job, believing it to be essential, because God has placed that love in him. * **The Talking Trees:** Roots and trees under the earth possess great beauty and skill and desire a "day of bazaar" to display them. A voice from the Unseen tells them not to worry, because this very desire to be known is a reflection of God's own attribute from the "Hidden Treasure" hadith. This desire is like that of young girls wanting to show their beauty. --- ### **4. Love and Beauty: True and Derivative** * **Main Idea:** All love is, in reality, love for God. However, most people mistake the object of their love (derivative love) for the true source (God). * **Key Terms:** * **ishq-i haqiqi:** "True love," directed toward God. * **ishq-i majazi:** "Derivative love," directed toward anything in creation. * **Supporting Opinions/Points:** * The difference between the two loves is knowledge. The Sufi knows only God is the true Beloved; the "vulgar" believe created things have independent existence and worth. * All worldly beauty is borrowed. It is a "drop of spray from the infinite Ocean" or a "ray of light" from God's sun shining on a wall. When the light returns to the sun, the wall is left dark. * Derivative love for worldly objects (wealth, people) will ultimately lead to God, as these objects prove ephemeral and unfaithful. The Sufi discovers this in life; others discover it after death. * **Anecdotes/Encounters:** * **Gold-Plated Coin:** Worldly beauty is like gold plating on a copper coin. Your love is for the gold (the reflection of God's attribute). When the gold returns to its mine (God), you are left disgusted with the plain copper. * **The Boasting Planets:** At night, Venus, Jupiter, Mars, and others boast of their light. At daybreak, the Sun appears and they are all disgraced, revealed as mere reflectors of its light. This is like worldly beauties in the presence of God's true Beauty. * **The Hungry Man:** A man desires many different foods (stew, halva, etc.), but the root of all these desires is one thing: hunger. Once he is full, he desires none of them. Likewise, all worldly desires are manifestations of the single root desire for God. * **The Ladder:** Worldly goals and diversions are like the rungs of a ladder. They are for passing over, not for taking up residence. The wise person climbs quickly to the destination without wasting life on the rungs. --- ### **5. Need and Aspiration** * **Main Idea:** To attract God's love, the seeker must actively cultivate and display their need, thirst, and aspiration for Him. God's bounty flows toward need. * **Supporting Opinions/Points:** * Passivity is wrong. One must actively "beg" from God, not just wait. * Pain, poverty, and thirst are positive states because they attract their opposites: cure, wealth, and water (God's Mercy). "Where there is pain, cures will come." * The seeker should "quickly increase your need," and the "Sea of Bounty will gush forth." * Love is reciprocal. The seeker's thirst is an "attraction of the Water." God is both the Sought and the Seeker. * Action is crucial. "In movement are blessings." A seeker must actively quest, and the profit will reveal itself. * **Anecdotes/Encounters:** * **The Hungry Dog:** A dog without intellect knows to wag its tail to beg for food. A human should not be less than a dog and must actively show their need to God. * **The Crying Infant:** A baby cries without understanding exactly *how* it brings milk, but its crying (seeking) is the direct cause of it receiving nourishment. The seeker should weep and lament in the same way. * **The Farmer and the Earth:** A farmer must actively move and turn the earth for it to yield a crop. If abandoned, it becomes hard. The seeker must work on their questing self. --- ### **6. The Religion of Love** * **Main Idea:** Love constitutes a complete spiritual path—a "religion"—that transcends conventional religious forms, dogma, and morality. Its creed is God, and its practice is self-naughting. * **Supporting Opinions/Points:** * **Superiority to Religion:** "Love's creed is separate from all religions: The creed and denomination of lovers is God." * **Life and Death:** A life without Love is considered not lived. To die without Love is the "worst of all deaths." To "die in Love" is to "remain alive." * **The Goal:** The aim is not reward (paradise) or avoidance of punishment (hell), but only the Beloved Himself. The lover would consider seeking paradise a "sin." * **The Practice:** The core practice is annihilation of the self. "Love is that flame which... burns away everything except the Beloved." This is symbolized by the declaration of faith: *la ilaha* ("no god," or slaying other-than-God) leaves only *illa'Llah* ("but God"). * **Love as Vehicle and Elixir:** Love is the Buraq (celestial mount) that carries the soul to God. It is the alchemist's elixir that transmutes the "copper" of existence into gold. * **Anecdotes/Encounters:** * **The Lover's Death (Ghazal D 972):** This poem details how lovers die differently. They die knowingly, "like sugar," laughing, without fear, flying to the spheres, and are met by the "spirit's King." * **The Lover's State:** The lover is described with signs like "yellow cheeks, a frail body," and constant weeping, but these are thorns around a hidden garden containing the Beloved. * **The Friend's "False-Dealings":** In the religion of Love, the Beloved's harshness is soft, His tyranny is justice, His "No!" contains a thousand "Yea's." The lover buys this "bent religion" with the price of their spirit. --- ### **7. Love and the Intellect** * **Main Idea:** Love is superior to and ultimately transcends the intellect. The intellect is a necessary guide for the initial part of the journey but becomes an impediment at the final stage of union, which requires annihilation. * **Key Terms:** * **Partial Intellect:** Connected to the ego, denial, and worldliness. It is a "denier of Love." * **Universal Intellect:** Angelic in nature, a guide toward God, embodied by Gabriel. * **Supporting Opinions/Points:** * The intellect, even the Universal Intellect, is a created being. To reach the Uncreated God, one must leave the intellect behind. * **The Door and the Palace:** The intellect is useful to get you to the King's door, but once there, you must "divorce the intellect" to enter. * **Shadow and Sun:** Intellect is the shadow; God is the sun. * **Cleverness vs. Bewilderment:** Cleverness (intellect) is opinion, while bewilderment (a state of Love) is vision. The seeker should "sell your cleverness and buy bewilderment." * Sacrificing your intellect in love for God results in Him giving you "ten like it, or seven hundred." * **Anecdote/Encounter:** * **The Prophet's Miraj (Ascent):** This is the key allegory. Gabriel (the Universal Intellect) guided the Prophet Muhammad through the heavens but had to stop at the "Lote Tree of the Far Boundary," saying, "If I fly beyond this limit, my wings will burn." The Prophet had to travel the final stage alone, carried by Love and self-naughting. This illustrates the limit of the intellect and the necessity of Love for ultimate union. --- ### **8. Bewilderment and Madness** * **Main Idea:** The state of the lover is one of madness and bewilderment, which is a higher station than the sober rationality of the intellect. * **Supporting Opinions/Points:** * This is not a negative bewilderment that leads one astray, but one that "drowns you in the Friend and intoxicates you with Him." * To achieve this, one must "become ignorant of this intelligence" and embrace what seems like madness to the world. * This madness involves a total inversion of worldly values: "Drink poison and pour away the water of life! ... Abandon security and stay in frightful places! Throw away reputation, become disgraced and shameless!" * This is related to the Prophetic saying, "Most of the people of paradise are simpletons"—not foolish, but "distraught and bewildered in God." * **Anecdote/Encounter:** * **Dalqak the Jester:** The king's jester, Dalqak, explains why he married a harlot. He had already married nine pious women who all became corrupt, so he concluded that the rational approach (intellect) had failed him. He decided, "I have tested the intellect many times—from now on, I will seek a seedbed for madness." This illustrates a conscious choice to abandon the intellect's logic in favor of a path of "madness" in hopes of a better outcome. Of course. Here is an expanded explanation of the topic **"2. The World As Created by Love,"** based on the provided text. This section explains the *cosmological* role of Love in Rumi's thought. It moves from Love as an attribute of God to Love as the very engine and purpose of creation itself. The central idea is that the universe did not come into being by accident or through a sterile, mechanical process, but as a direct result of a divine, loving impulse. ### Expanded Explanation: The World as Created by Love #### 1. The Core Principle: Love as the Motivating Force The fundamental argument is that Love is the "motivating force" behind God's creation of the universe. Rumi understands this Love not as a passive emotion but as an active **desire and need**. This immediately presents a theological paradox: How can God, who is defined as utterly self-sufficient and beyond all need, have a "need" or "desire"? Rumi resolves this by differentiating between God's absolute, unknowable Essence and His active Attributes through which He relates to the world. In His Essence, He is beyond need. But at the level of His Attributes, this "desire" is an overflowing of His own infinite potential, a positive impulse to manifest Himself. #### 2. The Theological Foundation: The "Hidden Treasure" Rumi's view is directly rooted in a famous *hadith qudsi* (a saying of God relayed by the Prophet) which is central to Sufi cosmology: > **"I was a Hidden Treasure, so I desired (or 'loved') to be known, so I created the world."** Let's break down the meaning of this statement: * **"I was a Hidden Treasure":** God's infinite qualities—His Beauty, Knowledge, Power, Mercy, etc.—were unmanifested and concealed within His own Being. * **"so I desired (loved) to be known":** This is the crucial moment of Love. It is the divine impulse for this hidden perfection to be seen, experienced, and reflected. The universe is created specifically to be the "other" that can witness and know the Treasure. * **"so I created the world":** The cosmos thus becomes the grand **mirror** in which the Hidden Treasure can be displayed. Rumi captures this beautifully: *"The world is like a mirror displaying Love's perfection."* In this context, creation is an act of self-revelation born from Love. As Rumi puts it, God essentially says to Love, *"If not for thy beauty, how should I pay attention to the mirror of existence?"* (D 26108). The universe itself is only valuable because it serves as the canvas for Love's expression. #### 3. The Specific Focus: The Prophet Muhammad The text introduces a second, more specific reason for creation, based on another famous hadith: > **"But for thee, I would not have created the celestial spheres."** This statement, addressed to the Prophet Muhammad, provides a focal point for God's creative Love. In Sufi thought, Muhammad is the *Insan al-Kamil* (the Perfect Man), the most complete and perfect mirror of all of God's attributes. Therefore, God's love for this perfect reflection was the ultimate goal of creation. The entire universe was created as a stage for this perfection to be realized. Rumi ties this directly to Love: * *"Pure Love was paired with Muhammad—for its sake God said to him, 'But for thee...'"* (M V 2738) * *"I erected the heavenly wheel so that you might understand Love's exaltation."* (M V 2740) Creation is thus an act of Love aimed at manifesting a perfect Beloved. #### 4. The Consequences for the Universe If Love is the fundamental cause of creation, then everything within creation must be imbued with it. The text explains this through several powerful metaphors: * **Love as an Animating Force:** *"Love courses throughout the world's arteries."* and *"The creatures are set in motion by Love, Love by Eternity-without-beginning."* All movement, from the spinning of galaxies to the growth of trees, is a ripple effect of that first, cosmic impulse of Love. * **Love as the Inner Reality:** *"Love is the kernel, the world the shell; Love is the sweetmeat, the world the cauldron."* This establishes a clear hierarchy. The physical world (the shell, the cauldron) is merely the external, transient vessel. The true, eternal substance contained within it is Love. * **Love as the Formless Source of All Forms:** *"Like Adam and Eve, Love gives birth to a thousand forms; the world is full of its paintings, but it has no form."* The single, unmanifest principle of Love is what differentiates into the infinite variety of created things ("Turk, Greek, and Ethiopian"). All the diverse forms in the world are merely "paintings" originating from the one artist, Love. In summary, for Rumi, the world is not a random collection of matter. It is a coherent, meaningful, and dynamic cosmos born from God's loving desire to be known. This original Love is the source of its existence, the force that sustains its movement, and the ultimate reality hidden within all its forms. ### rel_215_transcriptions/Copy of Sufism Lecture_ Ali al-Hajwari Notes Of course! Here is the full transcription of the lecture, followed by a set of comprehensive notes covering all the topics discussed. ### Lecture Transcription **(0:00-0:16)** ...*quiz-es, but a couple of you are very... abstract. A couple of you took the last multiple quizzes, so... aage... you know, hum to chote the to Ainak Wala Jin ata tha. You remember Ainak Wala Jin? Yes. He has no? How do you know?* **(0:17-0:29)** *Sir bachpan mai dekha tha. Bachpan mai dekha tha? Usme wo bolta tha... aapka Hoota... you know the Hoota? What would he say? What was his famous saying?* **(0:30-0:44)** *Main kya karun? Main kisko khaun? So there's so many voices I have to, of course, you know, this is our last and I want us to get to the middle of our last path. You want to have quizzes?* **(0:45-0:58)** *So, I'm happy you guys know about some of the things. I think I'm getting older and losing people. You guys know about Captain Planet? Captain Planet? Don't know Captain Planet? Johnny Bravo?* **(0:59-1:15)** *Pehla wala azaab nahi, dusra wala azaab hai. Johnny Bravo nahi pata? Nahi Johnny Bravo pata hai. Johnny Bravo pata hai. Cartoon Network pe Dexter ke baad. There was also a boy who would save people.* **(1:16-1:30)** *Chale choro. Things are changing. So that... that was just to get you connected. Okay? To break the ice once again. Bar bar rozana aate hain, shakal dekhte hain, thak parta hai, aap kehte hain kya, roz aate rehte hain... beech mein...* **(1:31-1:47)** *Chalein. Ab hum aaj... Today is a lighter class. I don't think, you know, we're going... If you were looking at Bayazid Bistami aur Hallaj, those were tricky texts, yes or no?* **(1:48-2:00)** *Aur, agar abhi to humne aapko unke kuch woh passages parhaye hain jo ke phir decipherable the. There are many passages jo aap sochte hain sochte reh jayenge iska kya matlab hai. It’s very difficult to figure out... figure out any meaning.* **(2:01-2:13)** *But I think I think we did fairly well, we've done well with Hallaj, we've done well with Bistami. Okay? Toh ab jo jinko aaj hum parhenge, he's very... it's very easy to read. Yes or no? This is written as an accessible introduction.* **(2:14-2:28)** *And it's, you know, there are many interesting things about it. Toh yeh Kashf al-Mahjub hai jo aap logon ne parhi. Did you guys read it? You read it for today? It's the famous Kashf al-Mahjub. Probably one of the most famous Sufi texts in Pakistan.* **(2:29-2:46)** *And of course, globally. But Pakistan mein toh Kashf al-Mahjub bohot... it's very popular. It's a very popular Sufi text. I'm so sorry, just a second. Ji. Day care. Aap andar chale jayen? Day care ke andar chale jayen aur woh deden.* **(2:47-3:09)** *Ji? Ji. Ji kaun bol rahe hain? Ji main Dr. Baqir bol raha hun, Fariha ke husband. Oh okay. I apologize for that. I'm so sorry. There was some hungry people and... And so I gave them instructions to deliver food and it is already going and it's got so late.* **(3:10-3:24)** *Anyway. Chalein, get back, let's get back to what we were doing. I'm sorry for this. Achha. Toh Ali al-Hujwiri ki hum baat kar rahe the. As I was telling you that Kashf al-Mahjub is one of the most famous Sufi texts today, and in Pakistan, a lot of people study it, a lot of people read it.* **(3:25-3:40)** *And one of the reasons why it's so famous is, well, you are in Lahore. How can you miss it? Anyone thinks about Data Sahab and he's like the... the most senior patron saint of the city. Toh unke pure traditions hain aur practices hain. Agar aap jayen toh wahan pe logon ke bohot sare logon ke belief hai that you know, Lahore has its blessings because of him and his grave and his shrine.* **(3:41-3:51)** *There are so many traditions around him, aur wahan pe proper readings bhi hoti hain. Agar aap udhar jayen. Haan, again, it's a different world. Aksar log mujhse puchte hain ke Sufia kidhar hai, hume toh koi Sufia nazar nahi aate. Main kehta hun aap kahan hain? LUMS mein hain. Of course na nazar aayenge.* **(3:52-4:05)** *LUMS mein aayenge toh apne aap ko chupayenge ya they won't probably talk about it, right? It's really, this is not the place, this is not the space. But if you go there, if you step out of your comfort zone, if you can be different and you know, access those spaces on their terms. Yahan pe anthropology wale log bohot karte hain. Trips bhi karayenge aapko. Aur trip se pehle aapka ek session hota hai jisme woh sab ko batate hain ke you know you have to be respectful of those places.* **(4:06-4:16)** *Aur kai dafa khawateen ke liye alag, ladkiyon ke liye alag ehtamam hota hai, please dress according to that place and so on. So, if you respect those holy places and if you go there, you will find that there are so many people who come there who are interested in spirituality or are seeking it. Koi na koi, and I'm not saying everyone is the same, there's just so different.* **(4:17-4:28)** *Das mukhtalif traditions honge, unke... koi bohot zyada shariat pe chal raha hoga, koi malang hoyega. Very different Sufi traditions, yeah? But they may all get go to the shrine, the same shrine. So shrine culture ke upar hum waqt hua toh hum mazeed baat karenge. Let's turn to Ali al-Hujwiri. Ali al-Hujwiri is one of the... he wrote the first book on tasawwuf in Farsi.* **(4:29-4:41)** *And when I say the first book on tasawwuf, I mean the first comprehensive book. Now, we've already seen, we've already seen works like this. We've read Sarraj. Remember? Sarraj ka maine bataya tha it's one of the earliest. There are others, Kalabadhi, aur bohot se log the Sarraj ke daur mein jinhone likhi thi is tarah ki kitabein. But they wrote in which language? Arabic.* **(4:42-4:54)** *Okay? Around the 12th century, aapko shayad pata ho ke, uh, invasions of India had started. Balke started kya, they were in many parts established. Toh yeh jo Mehmood Ghaznavi wagera aapne suna hoga na? Ke Ghazna kya hai, Ghaznavi kaun the, Ghori kaun the. Ye tribes the, confederations, tribes nahi balke tribal confederations thi.* **(4:55-5:06)** *Ye ladte ludte, conquer karte karte, idhar aate the. Jab yeh log idhar aate the, ku- kai baar inse pehle hi Sufia kai jagahon pe pahunch chuke hote the. Kai dafa inke sath jab aur musalman aate the toh zahiri baat hai yeh bhi aa jate the. You see what I'm trying to say? Toh, uh, yeh is daur ki shakhsiyat hai Ali al-Hujwiri. Jab yeh ho rahe hain conquest aur jo Afghanistan se leke Bengal, Kabul to Bengal region jo hai, usme ek traffic hai.* **(5:07-5:18)** *Okay? Lahore se Delhi, Delhi se Bengal. Yeh rasta jaata hai. Yeh conquerors idhar se guzra karte the. Purani GT Road bhi thi mitti-witti. Aap samajh rahe hain meri baat? Toh ek purana, udhar Kabul, Khyber pass se ek rasta jaata tha udhar tak. Aur ek do aur bhi shayad raste the udhar pahadon se. But main rasta woh tha. Ek bohot purana rasta hai Kabul se leke udhar Bengal tak jaata hai.* **(5:19-5:30)** *Now, that's a huge stretch of land. Lots and lot- a lot of population, a lot of people. Toh, is daur mein jab yeh jinko Turkish Mamluk daur kaha jaata hai, ke yeh jo warriors the, leaders the, slaves mein one of the first persons to actually establish Muslim presence was Qutbuddin Aibak. Qutbuddin Minar ka agar aapne suna ho Delhi mein.* **(5:31-5:41)** *Toh Qutbuddin for example was a... was a quote unquote slave. Right? But he was a slave general. And what would happen is ke aap shuru mein kisi ke slave hote the. Phir aap once you progressed a certain amount of time or certain amount of time passed and you served your master and you could help them do what they want to do, conquest whatever. After a certain point, you become free.* **(5:42-5:53)** *And then you can, you know, you can have your own juniors, jinko quote unquote slave kaha jaata tha. Now, the word slave can be a very misleading term. It's not the kind of slavery that you find in Django. You know about Django? Woh movie hai na, ya ya jo basically African-American slavery jo hai na, jis tarah se America mein practice ki jaati thi, aur aaj kal jab aap slavery ka sunte hain to you have these terrible images of torture and everything. And thinking low of people, right?* **(5:54-6:04)** *Muslim history mein it's pretty different. It's a pretty complex. And actually, it's sometimes the reverse of what you find in the West. The slave can be the most prestigious person in society. One of the most... They can be... they can be the ruling class. Jab se Turk aaye hain, tab se yeh durust hai. Okay? And, interestingly, Muslim men and women, men were valued for, um, men were valued for their ability to fight. Okay?* **(6:05-6:16)** *And women were valued, slave women especially, for their service, for their sexuality, for bearing children. Okay, as mothers. Usse, that was their route to power and prestige. And for men it was war and violence. Okay? Toh woh jo bohot achha ladte the, woh phir ahista ahista, unko, hote woh technically, on paper they were kind of slaves, but they were like, "Can my son become a slave too?" It was like this kind of thing, you know?* **(6:17-6:28)** *It was a very prestigious thing because these people would eventually become the rulers, or super rich, super prestigious, very... they got the best education. They were the most privileged kind of people. Agar aapne woh dekhi ho Mera Sultan, maine nahi dekhi by the way, but you get that, you get into that world of slaves and concubines and woh jo malkayein ban jaati hain. All of those ladies, you think that they were, who are those princesses and queens, most of them are quote unquote slaves. But they're not actually... I mean they're not like low-ranking slaves.* **(6:29-6:39)** *Think of them like as very privileged employees. Taken at a young age. Okay? Got it? Toh is duniya mein yeh the. Achha, is duniya mein lad dhad ke maar moor ke woh Afghanistan se India mein invasions ho rahi hain, Afghanistan ke andar bhi jangein ho rahi hain aur sath sath Sufi networks, Sufia, ulama, yeh log chalte hain. It's not... purane visa koi system nahi hai, border koi nahi hai, controls nahi hai, states are weak.* **(6:40-6:51)** *But so there's a problem with that ke kabhi koi aa jaata hai, ladayi karta hai, koi aa ke kabza kar leta hai cheezon pe, unstable, security ka masla hai. But mobility is better. Hamari duniya mein aaj kal, let's say aap Pakistan mein hain, security is better, but mobility is a problem. Let's say if I want to go to Kabul, I cannot go to Kabul very easily. I'll think twice, right?* **(6:52-7:03)** *Or if I want to let's say go to Delhi, impossible today, right? Kyun ke ab toh hamari dushmani lagti hai bohot zyada. So, aur abhi tight border controls hain. Us zamane mein logon ki jangein-dungein hoti rehti thi lekin yeh koi rok nahi sakta tha us tarah se aapko, border controls us tarah se the hi nahi. As long as you just said ke ji main toh ziyarat pe ja raha hun ya main yeh, I'm a traveler, main ilm seekhne ja raha hun, people would not normally, you'll be fine. Of course, travel had risks.* **(7:04-7:15)** *So, where was, where did Ali al-Hujwiri come from? Why do we call him Hujwiri? Anyone know? Hujwer is like a little town in Ghazna, if I'm not mistaken. It's a little town in Afghanistan. Maybe aaj woh it's like a blip on the map. Agar aap usko dhoondein na kahin toh I think Kabul ya Ghazna ke beech mein. I think it's near Ghazna. So Ghazna ke beech mein ek chota sa ek ilaqa hai, usko kehte hain Hujwer.* **(7:16-7:27)** *Hujwer se, wahan pe yeh paida hue the. Udhar se inka naam ho gaya Hujwiri. Now, we don't know a lot about his family, right? Uh, but we do know that he was, he was educated by Sufi masters. Some very senior Sufi masters of the time. How do we know this? Anyone tell me? You can guess. It's an easy guess. Because we don't have like lots of writings about him, but we do have his own writings.* **(7:28-7:39)** *So what we know about him comes from his own words. Toh woh hume khud batate hain apni Kashf al-Mahjub mein hi woh bohot kuch batate hain. Ke main idhar tha, mere teacher ne kaha ke yeh na karo, yeh choro, udhar ja ke unse bhi padh ke aao, right? Ilm seekho, ahadis bhi seekho, Quran ki bhi cheezein seekho, woh hamari foundation hai. Theek hai, phir yeh karna, phir haan wahan falaane buzurgh hain unko, unke bhi paas jaana. So some people are guiding him, right? Do this, do this, step by step.* **(7:40-7:51)** *So he was trained by, he was educated by Sufi masters and he is clearly, clearly part of the Sufi tradition that goes back to Baghdad. Not only did he travel and live and study in Baghdad and the central Muslim lands, he met some of them, he studied their works.* **(7:52-8:03)** *And when he wrote his Kashf al-Mahjub, he did not write it as like a fresh piece out of nowhere. He wrote it after he had read works that you have been reading. Jaise Sarraj ki aapne Kitab al-Luma parhi hai, unhone woh poori parhi. Aur yeh, aisa nahi ke hamari class mein, jaise humne baith ke thoda sa hissa parh liya. Poori padhte the woh aur kai dafa unke living authors ya us tradition ke masters se padhte the.* **(8:04-8:15)** *So that's a very different kind of study. Toh unhone woh poori kuch kitabein padhi thi aur isme jo do inspirations thi aur agar aap unki kitab... inki Kashf al-Mahjub ko un kitabon ke sath rakhein, there are two people that you're already aware of, unke aapne kitabon ke kuch hisse padh bhi liye. He was inspired by those two people. Ek Qushayri, number two, Sarraj. Aur aapne dono ko padha hai. Yeah, you just read parts of them, he read all of it.* **(8:16-8:27)** *So unhone woh kitabein padhi thi and he said well let's write something similar in Persian. Of course, he wanted to add more and like he wanted to add details that he knew, some of his own insights, some of his own views, yeah? But he wanted to write something similar in Persian which was more up to date. Toh he wrote something in Persian and that's the Kashf al-Mahjub. But it's inspired. Uska jo pattern jo hai, uska pattern poora ka poora kaun sa wala hai? Sarraj aur Qushayri wala.* **(8:28-8:39)** *Okay, now this is, this is what we call a tradition. Ek jo tradition hota hai, usme, you know, people build certain things, then you don't have to start from scratch. You improve, you do, you produce something, you go beyond. You don't reinvent the wheel. You just improve. Ji. Sir, how long after Sarraj did he write this book?* **(8:40-8:52)** *Sarraj was, as you know, in the 11th century figure, so he's a 12th century figure. I think one or two generations afterwards. Toh itna zyada koi bohot zyada distance nahi hai inke beech mein, theek hai? Toh just a few generations. Not more. Exact dates I'm not sure we know the exact date of his life, but we can figure it out. I forget, I don't have my notes, main dekhta hun mere notes mein hai. Okay, um, just as you had these debates, these debates about Hallaj and Junayd in, uh, among people like Sarraj,* **(8:53-9:04)** *you find similar debates in Ali al-Hujwiri except that by Ali al-Hujwiri's time, Hallaj is more of a hot topic. Dekhein na, Sarraj ke dauran, jab Sarraj likh rahe hain, toh who is the most controversial figure? Bistami. It's not Hallaj. But when Ali al-Hujwiri writes, there is another important, very, very important Sufi figure who was very controversial and he is Hallaj. He eclipses Bistami.* **(9:05-9:16)** *Inke zamane tak Bistami ko... Bistami is not that difficult, Bistami is not that much of a problem. Yaad hai na Qushayri aur unka padha tha ke jo Sarraj ke baad log likhte hain, Sulami, Qushayri, they don't... they don't even remember. As if there's nothing wrong with Bistami or there was no controversy about Bistami. Maybe Sarraj's defense of Bistami was so powerful ke baad mein logon ne kaha yaar... why did we even raise questions about him?* **(9:17-9:28)** *But Hallaj jo hain, Hallaj ka toh kabhi status jo tha us pe consensus nahi aaya Sufia ke beech mein. Usme there were those who felt that he was uber awesome. And there were others who felt that he was great but a naqis. That's the majority opinion. Aur kuch hai jo, very few, would say he's a total fake. He's a total fake, he's a total weirdo, he's a total deviant. Yeh bilkul hi Islam se hat gaye hue hain.* **(9:29-9:40)** *But maine aapko jis tarah se Kitab al-Tawasin padhayi hai, yes? Uske baad, what do you think? Let's say you know this much about him, what do you think? Does he seem, uh, does he seem very insightful to you? Yeah, so my, I mean I see a lot of you nodding your heads.* **(9:41-9:51)** *So, mujhe toh yeh lagta hai ke he was, he was quite awesome. He may have been a very difficult person to live with, right? Magar yehi hai, bohot se log hote hain jinko aap ek khaas capacity mein bardasht kar sakte hain, usse zyada nahi, right? Toh theek hai, maybe for example, you come to my class, you like my class, but aap mere sath agar ghanta bahir guzarein, aap kahenge "baap re, kya insaan hai yeh." Toh of course, you know, this is, this is how life is.* **(9:52-10:03)** *So but but, you know, as a, as a, as someone with great insight, someone who loved humanity, who was ready to sacrifice himself, he is, he remains an inspiration. Abhi hum Hallaj ki baat aage... Achha toh Hujwiri jo hain, yeh masla uthate hain Hallaj ka, Junayd ka. Main pehle aapko bata chuka hun. And guess who he prefers, Hallaj or Junayd? Ali al-Hujwiri? Who does, who does he prefer? Junayd or Hallaj? Hallaj. No. Junayd. Junayd. Yes, thank you, that was a trick one because I told you ke Persian tradition mein aam taur pe who is preferred, who do people love whom? Hallaj. No, no, Persian tradition. Hallaj. Hallaj.* **(10:04-10:15)** *But this is the... one of the earliest Persian Sufi texts. Lihaza, in this early discussion of, you know, the Junayd vis-à-vis Hallaj, what you see is, especially in Ali al-Hujwiri, a preference for, and again, where did he study? What did I tell you? He studied in Baghdad. Baghdad. Toh he's hanging out with the Baghdad folks. And his teachers are also telling him. And so can you guess who's the uber-master, who's the uber-authority in Baghdad? Junayd.* **(10:16-10:27)** *Now, he tells you, it's very fascinating, jo poori discussion hai Kashf al-Mahjub mein, if you have, if you have the patience and the interest. Isme woh baat karte hain ke main bhi ek zamane mein Hallaj ka deewana ho gaya tha. Lekin ahista, ahista, ahista I saw that you know, there was something wrong, there was something deeply troubling about him. So he prefers Junayd over Hallaj. Okay? He thinks that Junayd is superior and Hallaj is a naqis. He clearly says it, ke, you know, Hallaj ek naqis hai.* **(10:28-10:39)** *Okay, that is his opinion. He prefers Junayd, he considers Hallaj was an imperfect but very advanced Sufi. There are two more things I'll quickly talk about. One is this thing about his marriage or his purported marriage, married life, and finally how he came to Lahore. Okay? Achha, jab inki shaadi ke bare mein na kai logon ne is tarah se likha hai ke he was married and then it didn't work out or something like that. I tried to find it ke uski source kya hai.* **(10:40-10:51)** *Toh agar aap uski source dekhne ki koshish karein toh it's not clear at all. Woh alfaz jab aayenge toh hum dekhenge. So in my view we just don't know whether he was married or not, what happened. But there was something. Let's see when we go get to that, ke he had a difficult relationship with a woman. Yeh uski woh zikr karte hain. Toh we'll talk about, when we come to that, we'll talk about it.* **(10:52-11:03)** *Now, last thing before we start reading the Kashf al-Mahjub. His arrival at Lahore. Achha, bade legends hain aur ek, I don't remember kahan se, magar maine kai baar yeh kahani aam mein suni hai. Ke woh aaye the idhar bohot shaan-o-shaukat se aaye the Ali al-Hujwiri aur jab woh idhar aaye, toh logon ne unko kaha "Yahan toh pehle hi itne Sufia hain. Yahan toh pehle hi itne Sufia hain."* **(11:04-11:15)** *So, you know, what they did was when he came to Lahore, this is a story, they sent him a bowl full of milk. Aur woh itna full tha ke you could not, aap usse peene ki bhi koshish karte toh gir jaata. So this was a symbolic way of saying, this city is already full of the purest souls. So what are you doing here? Go away, shoo. Yahan pehle hi itne Sufia hain.* **(11:16-11:27)** *This is just a story, don't take it seriously, it's just a legend. Toh kahani ke mutabiq, what does Ali al-Hujwiri do? He does not drink from it... he so he gets what they're trying to tell him. Symbol meaning. Isharatan kya bata rahe hain. What does he do? He puts a rose on top of that bowl of milk. And returns it. Okay? Toh woh jo hai na doodh ke upar ek gulab ter raha hai. Wapas bhej deta hai.* **(11:28-11:39)** *So what do you guys think was a nice way to respond? But iska matlab kya hai? Ji. Sir usse kidnap karke nahi laaye the Lahore? How do you know that? I've heard of that for some reason. Good, good, very clever, very nice. We'll talk about that. That's exactly what I was about to talk about. Magar yeh kahani hai pehle, is kahani ka matlab samajhein. What does it mean? Aamna, why would you put a rose on top of milk?* **(11:40-11:51)** *I was trying to like imply that he's the best amongst them. Yeah, or there's still space. Aur you guys may be pure but you lack beauty and love and sacrifice. Or you know, your purity is naqis in some way. And I've come to help you. So you know, don't, don't mess with maulvi. Aapko pata hai na Sufia ka yeh ek uske andar, pura ek, there's a, there's a, there's an entire kind of Sufi literature in which Sufia compete with each other.* **(11:52-12:03)** *Yaad hai woh Rabia ke sath Hasan al-Basri ka muqabla hua tha? These are all later, usually later legends. Woh baad, aap samajhein na, shedayi jo hain, the, you know, the disciples hain ya tradition ke log hain, they try to show you, um, competition ho bhi sakta hai aur definitely hota bhi hai, egos toh har jagah hain. But I usually find these stories in later traditions jisme woh kisi ek buzurgh ko dikhana chahte hain ke woh kitne bade the, kitne zabardast the, we get these stories.* **(12:04-12:15)** *The evidence, you know, as our friend Shehbaz has already like, uh, told you, the evidence suggests that he did not come on his own. He came very unwillingly, reluctantly. Woh aana nahi chahte the, unko zabardasti laaya gaya tha. Kaise laaya gaya tha? I wouldn't call it kidnapped. Kidnapped, ek buzurgh, ek bada banda, kya... what would that be kidnapped? I can understand women getting kidnapped or children getting kidnapped.* **(12:16-12:27)** *But you know, this guy was probably very spiritual and an alim or a Sufi or something like that, yeah? Toh unko kaun kidnap karega? Kidnapped nahi kehna chahiye, captured. He was captured as part of some raid. Okay, jab raid hoti thi, he was probably in his middle years, still very active, so probably he was not too old, but a mature person, okay?* **(12:28-12:39)** *Toh jab raid hoti thi toh aksar kya hota tha, logon ko utha liya jaata tha. Ek ilaqe ke logon ko utha liya jaata tha. Phir unko kai cheezein, bohot sari harkatein hoti thi. Let's say you capture... you raid an area, aap either a tribe will conquer you or you're part of some empire, aapka jo shehzada hai woh idhar baitha hua hai Lahore mein aur uski faujein jaati hain aur kahan hamla karti hain kisi chote Ghazna pe aur udhar ke logon ko utha ke le aati hain. Why would they do that?* **(12:40-12:51)** *Make them slaves. Slaves, okay, one possibility but Muslims are forbidden from enslaving other Muslims. Yes. So why would they do it? Maybe because he was a resourceful person and he was a talent, so that he could be used in society. That was one reason. Actually the Turks and the Mongols used to do that. Hume pata hai na, hum samajhte hain ke Turks aur Mongols jo the woh aate the bade jangli the, maar moor ke chale jaate the. But they were always interested in getting talent and forcing talent to go to their cities.* **(12:52-1:03:03)** *Okay? Ke aao, Samarkand aur Bukhara ke bare mein aata hai ke you know they actually captured people from Baghdad and they know... logon ko qatal-watal kar rahe hote the, pata chalta tha ye architect hai, yeh alim hai, yeh fankaar hai, isko koi fun aata hai. Toh chodh dete the. Chodh dete the aur kehte the "aao chalo," haan unko phir woh ghulam banate the. Unke liye toh rules were different from those of Muslims. Aur they could be like pseudo-Muslims or they could be like convert, fresh Muslims, who knows? It was a, it was a changing time.* **(1:03:04-1:03:14)** *Achha. Toh, you know, you can capture people also for leverage. Isko political prisoners kehte hain ya hostage exchange kehte hain. Okay? Or another reason why you capture people or imprison them is to weaken your enemy. Okay? Kyun ke, uh, this may sound like a very dirty kind of tactic to you but that's how the world was.* **(1:03:15-1:03:26)** *Ke the, you know, who's going to fight, who can potentially attack you? Are women going to attack you? No. Are children going to attack you? No. They're only grown-up men are going to attack you, in all likelihood. So you capture them, you weaken your enemy. Aur unke bandon ko hi aap uthate rehte ho. So you do two things. One, you weaken them. B, you, you know, you tell them, "You know main tera, aapka chacha mere paas hai."* **(1:03:27-1:03:37)** *So you try to hit us, we will cut his throat. Toh is tarah ki aur sau tactics hote the. Whatever the reason, we really don't know. I'm just guessing ke us, yeh duniya woh thi. Us duniya mein he was somehow captured and brought to Lahore and he was not very happy about this. Like, yeh kya ho raha hai. Why are you guys taking me to Lahore? Woh logon ko kehte honge, "Kehte honge, Lahore nahi dekhya te jammya nahi." "Toh kehte the please, I don't want to go to Lahore, mujhe nahi pasand."* **(1:03:38-1:03:49)** *Lekin eventually, he settled. And once he settled, he wrote. Okay? That's what he... inki kitab, khud nazar aata hai kitab se, that he started to, he did very well, even in his life and he started to be recognized. Yahan tak ke, kitab ke shuru mein likhte hain ke, shuru mein kehte hain ke ji yeh maine likhi hai aur aapko pata hai, asal mein maine isse pehle bhi yeh likh chodi thi.* **(1:03:50-1:04:01)** *Toh kisi bande ne, woh meri cheezein chori karke, plagiarize karke, um, apne naam se pass karna shuru kar di. Kehte hain yeh do tarah ka ki na-insafi hai. This is unjust on two ways. Number one, well you know, you take credit for something you haven't written yourself. That's stealing, number one. Number two, they fool people and you know when someone reads my works and somebody thinks "oh this guy wrote it," Baqir the idiot wrote it. Toh, people think that I am Hujwiri.* **(1:04:02-1:04:13)** *I am that elevated, I have that knowledge. Samajh aa rahi hai aapko? So you, you, you, you end up misguiding people. People think that you have knowledge and you are a guide and you know these things and you are sincere. But this guy is a total fake. So fake people but were promoting themselves using stolen, plagiarized material that he had written. And then, I think one more thing... yeah, and they, when they did it...* **(1:04:14-1:04:24)** *Woh aapko suna hoga na, Urdu mein kya kehte hain? Akal ke liye bhi... nakal ke liye bhi akal chahiye hoti hai. Nakal ke liye bhi akal chahiye hoti hai. Toh, you know when they would plagiarize, the same way you, many of you end up getting into the... getting with the DC. Jaise when you use AI, you don't use it intelligently. Aap koi, chodh, you make a mistake, you get caught and then there are consequences. Toh kehte hain woh log us zamane mein, unke paas LUMS ki DC toh nahi thi.* **(1:04:25-1:04:35)** *Toh woh karte jaate the aur log ulti-pulti baatein bhi padhte jaate the. So he was very upset by this. Ke they woh bigad ke aage logon ko meri baatein bata rahe the. Main kehte hain, pehle, meri chori hoti thi, main kehta tha "hain, yeh toh maine kaha hai." Jab agli baar uski, usi nuqte ki mujhe pata chalti thi, main kehta "yeh toh maine nahi kaha." So what is this? So he said all of that. He's very hurt by all of this. And he says "no, so I've decided, I'll write a complete book and I'll cover everything so that people stop looking at these, you know, other fake versions of my works, stolen versions."* **(1:04:36-1:04:47)** *And they know once and for all who wrote this and what its author meant. Okay? So yeh woh sari baatein shuru mein karte hain. And that sort of shows you, if people were stealing his work and passing it off as his own, he was recognized as an authority, or at least he was doing very well. Toh yehi baat hai ke he, he ended up doing very well. Baki us, us duniya ka kuch jo aapko samajh hai, woh yeh hai ki when you read the Kashf al-Mahjub, you will get some sense of what sort of world it was.* **(1:04:48-1:04:59)** *Kis qisam ki communities thi, kis qisam ki duniya thi. It was very different from what we know. Okay? So, enough about his life, his background, his travels, that time, the politics of that area. Let's start reading the Kashf al-Mahjub. We'll start reading a little bit and then we'll take a break, okay? Ji, so, let's start by reading this. Main doobara doobara aap na again, because um, it's right in front of me and she was missing for a month or two classes before the midterm.* **(1:05:00-1:05:11)** *So let's start with you Amna. Can you please read? God Almighty and glorious has said, "And those who walk meekly on the earth and when the ignorant speak to them, answer peace, shall be rewarded with the highest place in paradise." And the apostle has said, "He that hears the voice of the Sufis, Ahl al-Tasawwuf, and does not say amen to their prayer is inscribed before God among the heedless." The true meaning of this name has been much discussed and many books have been composed on the subject.* **(1:05:12-1:05:23)** *Okay, pause. Now the, yeh Quran ki jo ayat hai usse shuru kar rahe hain. Okay? Quran ki ayat se shuru kar rahe hain, al-lazeena yamshoona fil-ardi hauna. Is it... yahan pe koi hafiz hai? Hauna, hauna kya hota hai? Ke aap apne aap ko na kamzor... aap log hume kuch nahi samajhte. So there are some beautiful ayaat. There was a... in Egypt, there was a blind qari and he had the most beautiful recitation.* **(1:05:24-1:05:35)** *The first time I heard the is, I think Surah Furqan ki kuch ayaat hai yeh wali. Jis mein imaan walon ki na... there are many sort of flourishes like this in the Quran. Kai ayaat hain unka ek guccha-cluster aata hai. Jis mein na khuda ke sabse achhe logon ki qualities ki baat hoti hai. And this is one of those very powerful kind of clusters. Aur us mein jis tarah uski recitation hai, it was a... there was this blind qari, I keep forgetting his name. Unhone Surah Furqan mein, he used to recite this and people would just stop their cars and get out and start crying or uske unke bare mein badi aati hai.* **(1:05:36-1:05:47)** *I think he died reciting the Quran, he's a very powerful reciter. People recorded it. Toh aaj bhi agar aap woh sunein toh it's... it's... it's beautiful, very powerful, especially if you have the taste for it, especially if you can get some of the Arabic. Toh yeh bohot powerful ayaat hain, badi mashhur hain. Idhar se woh shuru karte hain. Toh woh kehte hain ke yeh woh log hain, imaan wale woh log hain jab woh zameen par chalte hain, they feel, you know, they, they feel, they walk with, without any pride. They walk with humility. Isko angrezi mein kehte hain humility.* **(1:05:48-1:05:59)** *Hona, kamzor ho ke almost chalte hain. When the ignorant speak to them, what do they say? Salam. They don't bother, they don't go on, what do we do? Just say okay. Good for you. Let us be. Okay? Toh brackets mein aap dekhein na, agar aap poori ayaat padhein toh usme aata hai ke they are the awesome people, Allah loves them and they'll be in paradise.* **(1:06:00-1:06:11)** *Alright, and then so yahan pe hume samajh aati hai, but is, are these people the Sufia? Of course, the Quran doesn't make it clear. But Ali al-Hujwiri is saying that this is the Sufia. He's a Sufi and he's going to discuss the very word tasawwuf, kyun ke yeh poora chapter hai tasawwuf ke upar, ke tasawwuf kya hai. Um, uske baad ek hadees aayi. He that hears the voice of Ahl al-Tasawwuf and does not say amin, is inscribed among the God... jahilon mein ya ghafileen mein aate the, I think so, ghafileen uska naam likh dete hain.* **(1:06:12-1:06:23)** *Now this is one of the very, I think, weak if mauzu or fake ahadis. Weak toh definitely hai. I'm sure ke, I think it's one of the weak or fake. Achha jo weak or fake ahadis hoti hain woh kai dafa aa jaati hain Sufi text mein. Aur aaj kal ke log uska bohot bada, woh bana dete hain ke "oh isse toh bohot bada... look Sufia use weak ahadis or fake ahadis." But, he's also trained under, by the Muhaddithun. So he knows the Uloom al-Hadith.* **(1:06:24-1:06:35)** *Agar hadees weak ho ya fabricated ho, theek hai? Aur kai dafa kisi uske beech mein kisi grey area mein ho, then you can only use it for what we call akhlaq. Akhlaq or ethics. Then you're only allowed to use it for ethics. And that's an acceptable use. So why? Because there is some uncertainty whether the Prophet said it or not, that's accepted.* **(1:06:36-1:06:47)** *Yaani ke the likelihood that the Prophet said it is pretty low, but if the thing is beautiful you can still use it. Okay? Misal ke taur pe, aap aage jayenge if we have time I'll show you a hadees that Rumi cites. Woh kya hai? Innahauna yaghlibna al-aqil wa yaghlibhunna al-jahil. Ke beshak aurtein, beshak aurtein achhe, akal walon ke upar ghalib hoti hain. You know, women dominate the intelligent, intelligent and nice men. And then the Arabic reverses it, it's so very beautiful.* **(1:06:48-1:06:59)** *But the jahil men, ignorant men, what do they do? They try to dominate women. Okay? What a beautiful hadees. But it's the same kind of weak/fabricated hadees. Phir log kehte hain "oh, yehi dekho, Rumi ne yeh kiya." But agar aap dekhein, toh number one, there is some chance, very low chance that the Prophet said it. So yeah, ulama know that it's not a very strong hadees, so it's probably not very cool.* **(1:07:00-1:07:11)** *Achha. Plus, another thing that people don't understand is that if you have something like, you have other sources that say the same thing or similar things, then it's all, and it is very similar to, kind of similar to what you're finding in there, then it's also considered okay to use it. For example agar koi banda ke ke ek hadees hai, "Lahore ke logon ko hamesha salam kiya karo, kyun ke beshak woh jannati hain."* **(1:07:12-1:07:23)** *So aisi hadees aap nahi cite kar sakte. Why? Because why? Does it fit with other sources or does it contradict other sources? Contradict. It contradicts other sources. Hume mashhur Khutbat al-Wida mein humko pata hai ke tum mein se na koi Arabi behtar hai na Ajmi hai. Kaun behtar hai? Hua atqakum, the one who is more pious, jo Allah se zyada darta hai, parhez karta hai, gunahon se, woh tum mein se behtar hai aur koi farak nahi padta tum kale ho, gore ho, patle ho, mote ho, lambe ho, whatever.* **(1:07:24-1:07:35)** *You see what I'm trying to say? So since that fabricated hadees contradicts other sources, you can't use it. But if let's say there's a nice hadees like, "Be nice to your wives." So why? My not is pe dher sari ahadis hain. So there's no problem. Now of course here, if if even if this is a weak or fabricated hadees, if there are other sources that kind of indicate that the Sufia, the auliya or people of that sort were special and the Prophet used other words or ispe hum aayenge aage agar time hua.* **(1:07:36-1:07:47)** *Toh it's okay. Maybe it's a bit of a stretch. But, by the way, inhi ke alawa dusre Sufia honge jo inhi par tanqeed karenge ke tum, "Why did you use this hadees here?" So let's say even if this is a mistake you don't like it, it's okay. It's not a, it's not a dealbreaker. You with me? Good. Ab Sufia ka the word tasawwuf ya Sufia ka matlab kya hai? Yaad hai humne pehli do teen discussion ki thi? Let's see what Ali al-Hujwiri says. Can you continue reading Amna? Some assert...* **(1:07:48-1:07:59)** *Some assert that the Sufi is so called because he wears a woolen garment, jama-e-suf. Others that he is so called because he is in the first rank, saff. Others that he is so called because the Sufis claim to belong to the Ashab al-Suffa with whom may God be well pleased. Others again declare that the name is derived from safa, purity. Okay, pause. Woh kehte hain ki char aapko possibilities bata rahe hain. Ek kehte hain jama-e-suf. Suf kehte hain kisko? Wool ko. Un ko. Jama-e-suf, yaani ke woolen garment.* **(1:08:00-1:08:11)** *Yaani kehte hain un ka qameez. Theek hai na? Jama kehte hain jo aap cheez upar pehnte hain na like a... odhni jisko hum kehte hain Urdu mein. Ya, something that flows and falls, that's jama. So your... any loose long garment, maybe like your shalwar, if it's a qameez jisko hum kehte hain Urdu mein thodi si lambi, usko bhi jama kaha ja sakta hai, theek hai? What you wear under your jama, what do you call that? Pa-jama. Pa-jama. Very good, that's Farsi. So jama-e-suf.* **(1:08:12-1:08:23)** *Ke jama-e-suf ko kuch log kehte hain ke the word Sufi hai, suf, tasawwuf woh milta julta hai jama-e-suf se, jo suf ke kapde hote the. Dusra, ke yeh suf se nahi, saff se nikla hai. Jo log saff-e-awwal mein hote the unko log Sufi kehte the. Teesra koi kehta hai ke ji yeh ashab-e-suffa hain. Yaad hai humne baat ki thi Sahaba ashab-e-suffa, woh hain. Aur koi kehta hai ke yeh safa se nikla hai lafz. Safa ka matlab kya hai? Purity. Safayi Urdu mein istemal hota hai. Theek hai? Yeh char possibilities hain.* **(1:08:24-1:08:35)** *What does he say about these four possibilities? Continue please. These explanations of the true meaning of Sufism are far from satisfying the requirements of etymology, although each of them is supported by many subtle arguments. Very good. Yeh dekhein. What a nice... what a... what a great insight. Isse aapko pata chalta hai he's solid in his uloom. Woh yeh kehte hain ke, etymology ke liye lafz hai, if I... I think is lugha. Yaani ke Arabi ke usoolon, zaban ke usoolon ke mutabiq, all four of these roots or words do not convince us that the word tasawwuf derives from these words.* **(1:08:36-1:08:47)** *Okay? Kyun ke, Arabi agar aapne seekhi ho ya padhi ho, Arabic mein na words are like a family. And all, all the words go back to some roots. Jaise ek root hai agar qaf ta la. Qatala se poori ek duniya nikal aayegi words ki. Qatala, qatala ka matlab hoga... qatala se hi lafz niklega qatil. Qatil kaun hai? Killer. Qatal karne wala, killer. Jis ko qatal kiya jaaye usko kya kehte hain? Maqtool. Toh qatala aa gaya na.* **(1:08:48-1:08:59)** *Qatil, maqtool, qutila, woh qatal ho gaya, qatalat usne qatal kiya, qatalna, unhone, us ladki ne qatal kiya. Qutilna, woh ladki qatal ho gayi. Qatala se hi you derive all of those words. Theek hai? Toh, qital, jhagda karna, sorry, ladna. Okay? So all of these words derive from that root. If you study Arabic, you can figure out lots and lots of rules on how words relate to their roots.* **(1:09:00-1:09:11)** *That is the most difficult thing about Arabic. Okay? It takes a long time to get that. So woh yeh keh rahe hain ke yeh Arabi ke usoolon pe koi ek cheez bhi nahi baithti aur koi zaroori nahi hai ke tasawwuf, the word tasawwuf derives from any of these. And he says "yeah people give very nice, clever arguments but I don't think any of those arguments are convincing." Okay? So how does he solve this problem? Agar woh keh rahe hain ke inke origins se ya Arabic linguistic rules ya linguistic derivation ke rules pe utarta hi nahi hai lafz.* **(1:09:12-1:09:23)** *Hum us pe base hi nahi kar sakte, then how should we define tasawwuf? Okay? So it's not based on linguistic and historical reasons. So how can we, what can we, what should we then do? Who will read for us now? Thank you Amna. Let me ask someone else to read for us. Um... kya naam hai? Sahir, chalein aap padhein. Safa purity is universally praised...* **(1:09:24-1:09:35)** *Safa purity is universally praised and its opposite is kadar impurity. The Apostle, on whom be God's peace and blessing, said, "The safa pure part of this world is gone and only its kadar impure remains." Therefore, since the people of this persuasion have purged their morals and conduct and have sought to free themselves from natural taints, on that account they are called Sufis. And this designation of the sect is a proper name, as asami alam.* **(1:09:36-1:09:47)** *In as much as the dignity of the Sufi is too great for their transactions, mu'amala, to be hidden, so that their name should need a derivation. Yeah, pause. Very nice. He is saying, this is a very... I think... it's a very intelligent, very convincing response to the origins issue. Yaad hai na humne shuru ki classon mein discuss kiya tha ke tasawwuf naam kahan se aaya, Sufia Christians toh nahi the, yeh the, woh the.* **(1:09:48-1:09:59)** *He's saying stop discussing, stop... yaani aapko nazar aati hai us zamane mein bhi yeh behes thi. A yeh khali Orientalist ne behes nahi shuru ki, musalmanon ne khud bhi is pe bohot socha hai. Okay? And he is saying, when you try to settle this debate by going back to language and history, you are missing the point. You are missing the point. Because language can't settle it and history can't settle it.* **(1:10:00-1:10:11)** *Okay? So, what does he say? How can we, how can and how should we, how should we see it? Now, yahan pe jo lafz hai na, a proper name, asami aalam. I would... aalam is basically whether it's an indication ya indicative sign. Jaise alam hote hain na, jhanda. So is liye hum kehte hain, the tasawwuf is just like a pointer. What does it point to? It points to people like everyone knows.* **(1:10:12-1:10:23)** *And he knew the word when people talk about the Sufi or Sufia these days, who do... apne daur ki baat kar rahe hain. Who do they think of? They think of Junayd, they think of Hallaj, they think of other people. Collect all of them, the people that people have known and recognized as the Sufia. What do they stand for? That's important. Not where it came from aur 100 saal pehle, 1000 saal pehle woh kya cheez thi. Origins, whether historical or linguistic, he says A, you can't settle it on those bases, aisi behes hum nahi honge. B, irrelevant what happened.* **(1:10:24-1:10:35)** *Where did all it came from? The point is ke aaj, it's so well-known when people... people are so clear about this, we should just focus on what, you know, what they have in mind when they say, see what these people stand for. And he says, what these people stand for is safa. In other words, he's giving you a normative definition, not a descriptive definition. Okay? He's saying, inka ek ideal hai, aur woh ideal hai safa.* **(1:10:36-1:10:47)** *In pursuit of that ideal, you know, Sufis will take so many different courses, so many different paths, they'll be different. But according to him, what's important is ke A, people know it, know them. How do they know them? The word he uses for that is mu'amalat. Urdu mein aap samajh jaate hain, mu'amalat kya hai? Mu'amalat is relationships. Interactions, social interactions. Misal ke taur pe, aap koi bura kaam kar rahe hain aur koi aapko pakad leta hai. "Oye kya kar rahe the?"* **(1:10:48-1:10:59)** *Lekin let's say koi aata hai aur nazar-andaz karta hai. Aise act karta hai jaise aapne kuch kiya hi nahi. Phir aapko pyar se thoda sa let's say cover bhi kar deta hai aapko, chala jaata hai, chodo is cheez ko. You see what, that's very dignified, yeah? And you're like "wow, who was this guy or who was this lady?" Toh yeh mu'amalat hain, ke you are so nice and you're so impressive in how you behave with others. So he says, "ke uske baad you really, do you still need a definition?"* **(1:11:00-1:11:11)** *Okay? It's so obvious who these people are and I'll tell you if you want to really still talk about that, yeah, they have this, they are, they are committed to safa, purity. And getting rid of human imperfections. Another word that we use for this, this was in your terms, was...? Apne aap ko saaf karna... tazkiya. Okay, good. But he uses another word for this, which is safa.* **(1:11:12-1:11:23)** *Okay? Let's continue. In this age... In this age however God has veiled most people from Sufism... and from its votaries, mojuhin, and has concealed its mysteries from their hearts, accordingly some imagine that it consists merely in the practice of outward piety without inward contemplation, and others suppose that it is a form and a system without essence and rule.* **(1:11:24-1:11:35)** *To such an extent that they have adopted the view of scoffers, ahl-e-hazl, and theologians, ulama, who regard only the external and have condemned Sufism altogether, making no attempt to discover what it really is. Okay, so woh kehte hain ke kuch, kuch log yeh kehte hain ke yeh sirf ek zahiri, uh, upar upar se yeh dikhawa hai, it's just a show. Jab ke kuch kehte hain ke yeh sirf chhup-chhup ke karte hain log, upar se aapko kuch nazar nahi aata.* **(1:11:36-1:11:47)** *Aur jo log aksar jo hain mazak udate hain, latife bhi banaye hue hain Sufia ke bare mein aur kai dafa ulama bhi samajhte hain ke yeh bilkul hi ghair-shar'i hain aur yeh fix inke sath taluk nahi hai. Okay? And he's saying all of these people, including some learned ulama and some of these, you know, aaj kal TikTokers jinko hum kehte hain, jokers, like jo log mazak udate hain har cheez ka. Toh us zamane mein shayad aisi koi TikToker nahi tha, but you know, whatever form there was.* **(1:11:48-1:11:59)** *Toh un and you know, he's saying these people, they don't really understand and they have not tried to understand what the server really is. Uh, let's continue please. When the people... When the people in general blindly conform to this opinion and turn their backs from their hearts the quest for inward purity and have discarded the tenants of the ancient saints and the companions of the prophet.* **(1:12:00-1:12:11)** *Verily, purity is the characteristic of the siddiq. If thou desirest a true Sufi, because purity, safa, has a root and a branch, its root being severance of the heart from others, aghyar, and its branch that the heart should be empty of this deceitful world. Okay? So that's how he's trying to telling you what the server is. And ye maine kafi padh liya hai. Um... I think maybe we can take a break here. Okay? Let's take a break. Just take a five-minute break.* **(1:12:12-1:12:44)** *(Break)* **(1:12:45-1:12:56)** *...what we have said and that's okay, it's a quick recap ho jayega. Aur you will see that sometimes these texts do repeat certain ideas, but yahan pe ek choti si cheez nayi hogi. Toh jaldi se hum padh lete hain. So Reem, why don't you read for us? Sufi is a name... Sufi is a name which is given and has formally been given to the perfect saints and spiritual adepts.* **(1:12:57-1:13:08)** *One of the shaykhs says, he that is purified by love is pure and he that is absorbed in the beloved and has abandoned all else is a Sufi. Achha yeh sorry. Main aapko ek misal deta hun ke kis tarah Arabi mein jo cheez aati hai woh behtar hai angrezi mein aayi par behtar nahi aayi. This is a good example. Dekhein, man saffahu al-hubb, jisko mohabbat ne saaf kar diya, fa huwa saafin, woh saaf hai. Jisko mohabbat ne saaf kar diya woh saaf hai.* **(1:13:09-1:13:20)** *Okay, this is the beauty, I look at it as a very beautiful way of speaking, right? It's a beautiful speech, balagha. Arabi mein isko kehte hain balagha. Aur Urdu mein bhi hum also feel it. Jisko mohabbat, hubb, jisko mohabbat ne saaf kar diya, woh saaf hua. Okay? Then? Wa man saffahu al-Habib, jisko Habib ne saaf kiya. Fa huwa Sufi.* **(1:13:21-1:13:32)** *Ye dekhein, kya hai na, what a play on the words. Lafz kya hai? Safa, saaf aur saaf Sufi. Okay? Saaf aur Sufi, it's a, it's a play on these words, okay? Isko angrezi mein kya kehte hain? Balagha... uloom hai... ilm al-balagha mein ek term hai iske liye. You play with the same root to make the words beautiful. So samajh aa gaya aapko? Ke jisne, jisko mohabbat ne saaf kiya woh waqai saaf hua. Aur jisko Habib ne saaf kiya, who is the Habib? Bilawal. Woh hota hai, beloved kisko kehte hain? The one you love? Active kya hota hai?* **(1:13:33-1:13:44)** *The active, isko hum kahenge, the active noun is not the... is not the word beloved, woh hai lover. Okay? Lover kisko kehte hain... lover is the word, the lover is active, the beloved is, is sort of more passive. Okay? Which is why if you read old English, you know the word beloved is usually used for the woman. Okay? And the... when you use the word lover, it was often the, the, it's often Romeo or someone like that, who was, who was going on the quest, who was active.* **(1:13:45-1:13:56)** *Okay? Now, lover ke liye lafz Arabi, Arabi mein aur Urdu mein I think most of you know what this is, Habib. And the the word for the one who becomes loved, that is called... that the word is? Mahbub. Thank you. Habib is the lover and the Mahbub is the beloved. Okay? Isliye, you know, it's not easy to, the God is often seen as, sometimes Habib, sometimes Hubb, sometimes Ishq. Sufia mukhtalif terms Allah ke liye istemal karte hain.* **(1:13:57-1:14:08)** *Um, lekin kabhi kisi Sufi ko yeh, maine, maine nahi dekha ke baat kisi ne is tarah se ki ho ke woh usko Allah ne darja-e-Habibiyat de diya. They refer, that and often they reserve that a little bit usually for the Prophet, God. But they do talk about some of the greatest saints as the, as becoming the mahbubs of khuda. Or even the Prophet as the ultimate mahbub who receives God's love. Balke mehbub-e-ilahi kisko kaha jaata hai? Anyone know? Shayri mein bhi aata hai, qawwaliyon mein bhi kehte hain mehbub-e-ilahi, mehbub-e-ilahi. Who's that referred to? Ali. Hazrat Ali?* **(1:14:09-1:14:20)** *Nahi nahi. Woh unko bhi kaha jaata hai. Woh toh auliya generally bhi use kiya jaata hai, anbiya ke liye, auliya ke liye, ahl al-bayt ke liye, un sab ke liye kaha jaata hai usually kehte hain mehbub-e-ilahi. Par a very famous Sufi jinhe mehbub-e-ilahi aksar qawwaliyon mein kaha jaata hai, kaun hai? Nizamuddin Auliya. Okay? Achha. So this is... this was just an example. English mein unhone kya kar diya? Absorbed in the beloved. Ab absorbed in the beloved ka kya hai? Habib ko unhone bilkul hi badal diya.* **(1:14:21-1:14:32)** *Iska matlab kuch aur tha ke yaani ke agar aapko mohabbat mein aap giraftar ho jao, Urdu mein hum kahenge na, Allah ki mohabbat mein ya kisi ki mohabbat mein aap giraftar ho jao, it has a cleansing effect. You stop caring about other things, you start sacrificing, you start trying to be nice. That's a fact of love. But then he says ke jisko Khuda khud se actively saaf kar de. Mohabbat kai tarah ki ho sakti hai, but when you receive that special divine effusion of love, a special kind of God love and you become chosen in a way, you become the mahbub, then you become a Sufi.* **(1:14:33-1:14:44)** *Now yeh ek aap saaf ho gaye pehle mohabbat se, phir usme... usme ishq bhi aa gaya, toh noor bhi aa gaya, phir aap Sufi ho gaye. So, again he says, the name has no derivation answering to etymological requirements yaani ke zaban ke usool ka isse koi taluq nahi hai, kyun ke... yeh wahi wali baat jo hum kar chuke hain, it's too exalted to have any genus. Yeh ab yahan pe thodi si technical baat aa gayi. Again this is ilm al-lugha, it's also a little bit philosophical. Ke genus se derive hoti hai har cheez.* **(1:14:45-1:14:55)** *Now, he says, "the derivation of one thing from another demands homogeneity, mujanasat." Toh woh kehte hain ke agar woh agar likeness exist hi nahi karti toh aap derive bhi kaise kar sakte hain, bada clever kind of thing to say. Misal ke taur pe, we are, humans are what? Are we reptiles? Are we birds? What are we? Mammals. Mammals. How do we know that we are mammals? Similarities. Similarities, right. Yeh isko kehte hain mujanasat. Ke homogeneity is again, bad translation.* **(1:14:56-1:15:07)** *I... Nicholson, I like Nicholson's translation but beech beech mein kai ajeeb-o-ghareeb word choices hain. Jaise homogeneity. No, it's not homogeneity, it's similarity. Jins ek hota hai. But he's saying ke bhai, Sufia itni bari baat kar rahe hain, woh isme Khuda ko bhi la rahe hain aur pata nahi ishq ko la rahe hain, aisa ishq ya aisa noor aur aisi mohabbat jo duniya se hi bahir hai. So things that are beyond this world or above this world, you can't like find anything similar at your level of human experience, ordinary experience.* **(1:15:08-1:15:19)** *So how can you even create categories? What a clever thing, right? Dekhein na, woh yeh keh rahe hain, I just want you to appreciate what he's just said because that's a very brilliant thing to say. Woh yeh keh rahe hain ke dekhein na yahan pe aapne ek kutta dekha, you saw a dog, you saw a... a... a cow, you saw, you saw a... a sheep, you saw a lion, and you see, you saw a man, you saw a woman, these are humans of course. And you compare all of these and you say, "Oh, they are mammals."* **(1:15:20-1:15:31)** *There's something similar. There's something you focus on their similarities and you say they are all mammals. While they're different, main ab biology mein nahi ja raha, purane zamane ki Aristotelian idea tha of how you derive categories, us pe hum nahi ja rahe. But basically it's based on some similar features, yes? Simplify. Woh keh rahe hain ke Sufia jo hain aapko kaise kehte hain ke bhai is duniya se upar, is duniya se aapko koi jab paak karta hai, when you're purified, tazkiya hota hai, aap saaf ho jate hain, aapko safa naseeb hota hai, you get this safa.* **(1:15:32-1:15:43)** *So then how can you... now this this this event, this possibility is so above this world, you can't like find anything similar at your level of human experience, ordinary experience. So how can you even derive it? Derivation mein hoti hai na, ek super category jab aap banate hain derivation ki aap baat karte hain, you have to look at some similarities. And he says kyun ke logon ka toh kaam hi koi ajeeb sa hai, toh iski kya, how can you create categories? Whether you buy this or not, it's another matter but you can just appreciate the argument.* **(1:15:44-1:15:55)** *Unhone argument kitna achha technical terms mein isko explain kiya. Now he says, "All that exists is the opposite of purity and things are not derived from their opposites." Now, safa ka opposite kya hai, peeche unhone baat ki thi iski, kisi ne notice kiya tha? Safa ka opposite hai kadar. Okay na? Kadar, isko Urdu mein hum kehte hain gadla ho jana. Gadla. For example, ek paani hai jo bohot saaf hai, it's clear. That's safa. Aur agar uske andar matti aa jaye and you call it it's muddy, gadla, that's kadar.* **(1:15:56-1:16:07)** *So he's saying what you find at this level of earthly existence is usually kadar. Okay? And so how can you derive... if you use your own mind and everyday experience and just try to figure out, achha, ulama yeh karte hain, artists yeh karte hain, fankar yeh karte hain, toh Sufia bhi is tarah se kuch toh karte honge, so let's try to figure out what they do. He's saying all of that is nonsense because what they are doing is something beyond that. Okay?* **(1:16:08-1:16:19)** *So that was a clever use of or a very interesting use of the word mujanasat and similarity and categories. Aur main aapko dikhana chah raha hun ke this guy, Ali al-Hujwiri, hain bade padhe-likhe, aalim qisam ke Sufi hain, okay? Um, so, how do you become saf, yeh jo baat hai na, saaf. Uske liye, uh, he says that they are... page 62, pehle thoda sa peeche aana hai. So let me just find it.* **(1:16:20-1:16:51)** *(Searching for text)* **(1:16:52-1:17:03)** *Yes, this is very nice. So basically, uh... here he's defining the terms. Isliye isko main thoda sa... and this is what he's talking about. Okay, so one of them, the first one is unintentional. Main namaz padh raha hun, mujhe log keh rahe hain "yaar yeh kyun kya karta rehta hai." Ya main, mujhe hota hai ke chalo main bhi koi basic si cheez karun, jhoot na bolun, cheating na karun, kuch na karun, jo ke bura hai, objectionable hai aur log kehte hain "baap re, aisa nahi karte." "Tax chori nahi karoge toh this is a sin." "What? It's okay, thoda bohot de dunga."* **(1:17:04-1:17:15)** *"But I don't want to, I don't want to lie. I don't want to do something haram or something like that. Main rishwat nahi deni for example." Aur log usi pe kahein "bewakoof." Yeah? So isko kahenge malamat-e-rast raftan. Achha, malamat apni bhi ho sakti hai. You do your own malamat, but here it refers to the malamat of others. That that Sufia talk about malamat, it's the malamat of others. So pehli is unintentional. The second, the last one is intentional but it involves violating the sharia.* **(1:17:16-1:17:27)** *The second one is interesting because it involves staying within the sharia but doing something intentionally to get malamat. Iski example hum dekhte hain. Iski example unhone di hai. Anyone know kya misal, kya example hai? So, yahan pe padhte hain. This is a story, this is nice. So kaun padhega humare liye? Abu Bakr. Omar, can you read this for us?* **(1:17:28-1:17:39)** *"And a story is told about... And a story is told about Abu Yazid that when he was entering Rayy on his way from the Hijaz..." Okay, who's Abu Yazid? Bayazid Bistami. Bayazid Bistami, excellent. Ji, phir kya hua? "The people of that city ran out to meet him in order that they might show him honor." "Their attentions distracted him and turned his thoughts away from God. When he came to the bazaar, he took a loaf from his sleeve and began to eat. The whole party forsook him for it was the month of Ramadan."* **(1:17:40-1:17:51)** *Okay. Ramadan ke din mein itna bada wali hai woh khana kha raha hai. Yeh to fake hai, chalo chale, chodh ke chale gaye. Right? So continue. He said to his disciple who was traveling with him, "You see, as soon as I perform a single article of the law, the whole rejected me." Unhone kaha maine toh shariat par amal kiya aur yeh mujhe chodh gaye. What does this mean? Continue reading. In those days it was necessary for an earnest seeker to do something disapproved or extraordinary.* **(1:17:52-1:18:03)** *But in our time if anyone desires blame he need only leave undone a little of his voluntary prayers or of other religious practices which are not prescribed. At once everybody will call him an anti-pious man, a heretic, and a non-conformist. Okay. Yeh jo yeh jo unhone likha hai Bayazid Bistami ne, "Maine jaise hi shariat par amal karta hun, yeh mujhe chodh jaate hain." What does this mean? Ji. He was traveling so the sharia allows you to eat when you travel. Yes. Shariat kya hai? If you're traveling, if you're sick, if you're impure, you can... you don't you don't need to fast.* **(1:18:04-1:18:15)** *In certain conditions you're not even allowed to fast. Okay? So woh kehte hain main toh inko maine toh shariat ke mutabiq keh raha tha toh mujhe chodh ke chale gaye. Now, he could have not eaten the food. But he chose to, yaani ke jaan ke kiya, but without violating the law. Because he knew these people were... kis tarah ke log hain aur kya bas sirf waqt zaya kar rahe honge na unka fayda hai na inka. So all he did was he chose, he exercised an option within the sharia, without violating the sharia. So this is a good example.* **(1:18:16-1:18:27)** *Okay? So yeh inke bare mein kehte hain ke jo log yeh tark... malamat... us tarah ke malamati hain jo ke jo jo ke shariat ke khilaf jaate hain, he thinks that they are fake Sufis. They are all, they are so fake. Okay? Toh dekhein kitni maze ki baat karte hain. This is, this is a little fun, it's not difficult but it's a, it's a fun insight. It's like a fun wise insight. So yeh padhte hain humare, yeh dost hain, kya naam hai inka? Ji, Ahmed, aap padhenge? Yeah. He who abandons the law...* **(1:18:28-1:18:39)** *He who abandons the law and commits a irreligious act and says that he is following the rule of blame is guilty of manifest wrong and wickedness and self-indulgence. There are many in the present age who seek popularity by this means forgetting that one must already have gained popularity before deliberately acting in such a way as to make the people reject him. Okay, yeh dekhein aapne kitni maze ki baat hai. Log kehte hain "dekho ji, main toh... ek dum se main gunah karne laga hun." "Kyun ke mujhe log bura kahein." "Bhai tumhein jaanta kaun tha pehle, ke tum... tumhein nek bhi nahi koi kehta tha."* **(1:18:40-1:18:51)** *Right? So he says this is for a lie, what a, what a show, what a, what a, what a fake. Please continue. Otherwise he is making himself unpopular as a mere pretext for gaining popularity. On a certain occasion I was in the company of one of those vain pretenders. He committed a wicked act and excused himself by saying that he did it for the sake of blame. One of the party said, "That is nonsense." He drew back a sigh. I said to him, "If you claim to be a malamati and are firm in your belief, this gentleman's disapproval of what you have done ought to encourage you to persevere in sin since he is seconding you in your chosen course..."* **(1:18:52-1:19:03)** *"Why are you so unfriendly and angry with him?" Bas. Pehle woh... woh kehte hain dekho na hypocrisy kitni zyada hai, yeh kitni bewakoofi hai. Ke pehle khud hi koi ulti harkat ki aur kaha ke "dekho main toh isliye ki ke main, main toh malamati hun." Phir kisi ne kaha "ja tu malamati bhi nahi." Aur woh bura man gaye. "Tum mujhe malamati nahi maante?" So woh kehte hain, maine unse kaha, "yaar agar tum waqai malamati hai, toh khush ho jao. Yeh ek aur..." log toh tumhe yeh bhi manwa... manwana hai ke main malamati hun.* **(1:19:04-1:19:15)** *So there's like hypocrisy and silliness after silliness. Okay? Toh yahan pe woh bohot clearly kehte hain ke jo, he has a very interesting discussion on these three types and he says yeh jo pehli qisam ki malamat hai, yeh toh this is the most beautiful type of malamat. It is the key to ikhlas, it is what the anbiya did. This is what the auliya often go through. So that's... there's nothing wrong with it. Aap bas apni achhayi ka kaam kar rahe hain aur log aapko bura keh rahe hain... no questions there.* **(1:19:16-1:19:27)** *This one is perfectly fine. This one is perfectly not fine. This is completely unacceptable. Tark kardan kya hai? Aapko ghair-shar'i kaam karein. Log samajhte hain main bada paak hun, toh chalo main ek bohot hi ganda kaam karta hun. Chalo main yahan pe ek dum se sharaab pee leta hun. Taake log kahein yeh toh sharabi hai. Andar se toh main bada wali hun. This is called malamat-e-tark kardan. Log kahein yeh toh ganda aur badbudar aur zani aur sharabi aur kababi. Yeh malamat ho rahi hai aapki.* **(1:19:28-1:19:39)** *And you say, "haan dekho, andar se toh main achha hun, duniya mujhe na achha samjhe, achhi baat hai." And this is unacceptable kind of malamat. Ali al-Hujwiri keh rahe hain, no. Whatever malamat has to happen should happen within... within the bounds of the sharia. He's very clear about that. But then there's this second category. This is the coolest one. This is an intentional malamat but without violating the sharia.* **(1:19:40-1:19:51)** *This is, the first one is unintentional. The second, he prefers that you don't exercise, you don't do malamat-e-qasd kardan. You don't do the, the intentional kind of malamat. Why? Let's say, you are pious. He talks about it. Yeh interesting problem hai aur yeh, this is a more genuine problem. Woh yeh hai ke let's say aap achhe kaam kar rahe hain, you are not selfish, you help others and people say, "oh, this guy is so, or this lady is so pious, itni nek hai, kitna nek hai."* **(1:19:52-1:20:03)** *And you know, aapki log tareef karte hain, log kehte hain ke inke... aapke samne aapki tareef karte hain aur aapko bohot bura lagta hai ke main aisi cheez nahi hun ya main kam-az-kam yeh sunna nahi chahta apne bare mein. I don't want an ego boost. So what do you do? One way to get out of this is to do something like Bayazid Bistami did. You within the sharia, you do something so people stop talking to you. Ya woh aapse bas door ho jate hain. Magar Ali al-Hujwiri kehte hain ke bhai, iska nuqsan yeh nahi ho sakta? Maybe you were doing something good and now people don't want to get that out of you.* **(1:20:04-1:20:15)** *And then they turn to... they have no guidance or they maybe turn to other people who are fake, who are worse. Remember, the Kashf al-Mahjub was also written for his disciples and students and people who are learning the Sufi path. Toh woh kehte hain ke this is also, you have to move beyond qasd kardan. Theek hai, if you are starting out, yeah, try to avoid attention. But once you are actually able to help others and yourself and then you also get attention, do, keep doing what you're doing.* **(1:20:16-1:20:27)** *Regardless of whether people give you attention or not. Just keep doing what you're doing. And if people think you're awesome and you are awesome, stay awesome. And just keep doing good because you know, you have a role to play. Toh woh kehte hain ke qasd kardan pe bhi mujhe nahi pasand. But he says ke theek hai, lekin kuch log, kuch senior Sufia phir bhi karte hain, so I'll let it be. Okay? This is an option you can take. He prefers not taking it for the arguments I've just shared with you.* **(1:20:28-1:20:39)** *Okay? And it's a very fine, if I ask you, "woh kyun karte hain? Ya qasd kardan mein unki position kya hai? Woh kyun isko prefer nahi karte?" you should be able to explain it. It's written on page 67. Go back to page 67 and compose your answer. Now, one, two more things we'll discuss and then we'll call it a day. Ek hai yahan pe section... section Isar ka. What does Isar mean? Preference. Dusron ko apne upar isko Urdu mein kehte hain kya dena? Tarjih.* **(1:20:40-1:20:51)** *Okay? Quran ke andar kis ke liye aata hai? Ansar ke liye. Aur Sahaba ke liye, ke kuch ghareeb Sahaba the aur kuch aise the jo bilkul hi bhookhe the. Toh jo ghareeb hote the, woh bhookhon ko apna khana de ke khud bhookhe ho jaate the. Uski you know, there were stories like that and the Quran talks about those people ke they, uhm... they... youseeroona alahum, yeh bhool raha hai. Ke woh dusron ko apne upar tarjih dete hain, halanke woh khud takleef mein hain, khud un pe mushkil hai.* **(1:20:52-1:21:03)** *So this, he says that you know, Ali al-Hujwiri says ke yeh Sufia ki ek khaas, uh, unki khaas khaslat hai. This is a special thing about the Sufia. The Sufi tradition is incomplete without Isar. And he discusses Isar in a section on a Sufi group of Sufi he calls the Nuris. Who are the Nuris? Nuris woh log the, inspired by a Sufi master who was also called Nuri.* **(1:21:04-1:21:15)** *Okay? Toh woh jo Nuri the, he was famous for his Isar. Unke bare mein badi maze ki kahaniyan hain. Jaise ek kahani jo aap logon ne shayad padhi ho, ke there are three or four Sufis, they're charged as crazy Sufis. Kaun the woh? Nuri, Ruqam, and Abu Hamza. Okay? And there was this Abbasid Wazir by the name of Ghulam al-Khalil. Okay? He used to do a lot of dirty work on jo bhi jin logon ko lagta tha ke threats hain ya hum par tanqeed karenge Hallaj wagera ya aur log jo bhi, unko maro peeto.* **(1:21:16-1:21:27)** *So he was going to kill three people: Nuri, Ruqam, and Abu Hamza. Toh jab unko kaha ke yeh sare zindiq hain. Zindiq kehte hain heretics, jo Islam ko bighad rahe hain aur musalman hain, unko qatal kiya ja sakta hai ya fitna kar, kar rahe hain logon mein dal rahe hain. Unko... bas ek jhoota case bana ke unko qatal kiya jane laga tha. Jab Ruqam ki gardan kaatne pe aaya toh Nuri uth gaye aur unhone kaha ke mujhe pehle kaato. Aur khushi khushi kaha. Toh sare hansne lag gaye aur hairan ho gaye ke, and this is what he says, "Oh young man, the sword is not a thing that people desire to meet so eagerly, and you're happy, you're begging for it."* **(1:21:28-1:21:39)** *Toh Nuri ne kya kaha? "My doctrine is founded on preference." Yaani ke mera jo rasta hai, okay? Mera jo tariqa hai, woh kis cheez par... mere tariqe ki buniyad kya hai? Isar. Okay? Aur sabse qeemti cheez kya hai? Zindagi. Main apni zindagi apne doston ke liye deta hun. Jaise Sahaba apni cheezein dete the. Okay? Aur woh kya uske liye lafz use karte hain? Ke dekho, "one moment of this world is better than a thousand years of the next world because this place of service..."* **(1:21:40-1:21:51)** *Ajeeb baat lagti hai kehte hain yeh duniya aakhirat se bhi behtar hai. Woh kaise? Ke agar is duniya mein khidmat kar do, toh jitni khidmat, utni aakhirat behtar hai. It's an investment in the aakhirat us lihaz se. And you get qurbat, you get the qurb of God. And his his words were so tender and soft ke woh sare jo the woh pareshan ho gaye, woh log ruk gaye aur he was, he was eventually he was released. Okay? Is tarah se aur uska ek follow up bhi hai, main chodh deta hun I don't have time.* **(1:21:52-1:22:03)** *Aur bhi kuch kahaniyan hai badi maze ki yahan pe... but there's another one... but I think this thing about Isar is also very important. And there's so many different aspects of tasawwuf that Kashf al-Mahjub discusses. The last thing we want to talk about, but we'll talk about it tomorrow is um, you know, Ali al-Hujwiri's views on marriage and celibacy. So yeh meri cheez aap logon ne padhi thi? Did you read this? Yes.* **(1:22:04-1:22:15)** *Okay. So we'll we'll we'll have a quick word about this tomorrow. Abhi bas jaldi se main aap logon ko kal... Tomorrow is Thursday, Friday. Thursday. Okay. Tomorrow is Thursday, so tomorrow we will hopefully...* --- ### Comprehensive Lecture Notes #### **I. Introduction & Connecting with Students** * **Icebreaker:** The lecturer begins by creating a rapport with the students, referencing popular culture from different generations to illustrate a point. * **Urdu Cartoon:** *Ainak Wala Jin* and its character Hoota's catchphrase, *"Main kya karun? Main kisko khaun?"* (What should I do? Whom should I eat?). * **American Cartoons:** *Captain Planet* and *Johnny Bravo*. * **Purpose:** This light-hearted introduction serves to "break the ice" and make the class feel more connected before diving into complex topics. #### **II. Review of Previous Texts: Bayazid Bistami & Hallaj** * The lecturer contrasts the upcoming text with previously studied ones. * **Difficulty:** The texts of Bayazid Bistami and Mansur al-Hallaj are described as "tricky" and difficult to decipher, with many passages that are hard to interpret. * **Current Text:** In contrast, Ali al-Hujwiri's *Kashf al-Mahjub* is presented as "very easy to read" and an "accessible introduction" to Sufism. #### **III. Introduction to Ali al-Hujwiri & *Kashf al-Mahjub*** * ***Kashf al-Mahjub***: Introduced as one of the most famous and popular Sufi texts, especially in Pakistan. It is a foundational text studied widely. * **Significance in Lahore:** Hujwiri, popularly known as **Data Ganj Bakhsh**, is the patron saint of Lahore. His shrine is a major spiritual center, and many believe the city's blessings are due to him. * **Historical Context:** * **Time Period:** Hujwiri lived around the 11th-12th century, a time of political change with the invasions of the Ghaznavids and Ghurids in the Indian subcontinent. * **Movement of Sufis:** This era saw a "traffic" of Sufis, scholars, and conquerors along the route from Kabul to Bengal, with Lahore as a key city. * **Sufi Presence:** Sufis often preceded or accompanied Muslim conquerors into new lands. * **"Mamluk" (Slave) System:** * The lecturer clarifies the complex concept of "slavery" in this context, distinguishing it from the chattel slavery of the Americas. * Slave-generals (like Qutbuddin Aibak) could rise to become rulers. It was often a prestigious position where individuals received the best education and training. * It was a path to power and prestige for men (through military skill) and women (through service, sexuality, and bearing children in elite households). #### **IV. Ali al-Hujwiri's Background & The Writing of *Kashf al-Mahjub*** * **Origin:** He is called "al-Hujwiri" because he came from Hujwer, a small town near Ghazna in modern-day Afghanistan. * **Education:** We know about his life primarily from his own writings. He was educated by many senior Sufi masters and was clearly part of the **Baghdad School** of Sufism. * **Arrival in Lahore:** * **Legend:** The famous story of the local Sufis sending him a bowl full of milk (symbolizing "we're full, no room for you"), to which he responded by placing a rose on top (symbolizing "I'll add beauty and fragrance without taking up space"). * **Historical Reality:** The evidence suggests he was brought to Lahore unwillingly, likely **captured** during a raid, not kidnapped in the modern sense. This was a common practice to acquire talent (scholars, artisans) or for political leverage. * **Motivation for Writing *Kashf al-Mahjub***: * **Plagiarism:** Hujwiri states that his earlier works were stolen and plagiarized by others, who distorted his teachings. * **Correction:** He wrote *Kashf al-Mahjub* to create a complete, authoritative text to correct these misconceptions and establish a clear record of his teachings and Sufi principles. * **Influences and Structure:** * The book was the **first major comprehensive text on Sufism in Persian**. * It was heavily inspired by earlier Arabic works, particularly **Sarraj's *Kitab al-Luma*** and **Qushayri's *Risala***. Hujwiri read these texts in their entirety with masters of the tradition. * He adopted their structure but wrote in Persian, adding his own insights to make it more up-to-date. This demonstrates the concept of a **scholarly tradition**, where one builds upon the work of predecessors rather than "reinventing the wheel." #### **V. Core Sufi Concepts & Debates in *Kashf al-Mahjub*** * **The Etymology of "Sufi":** * Hujwiri discusses four common etymological theories but ultimately rejects them as linguistically and conceptually unsatisfying. 1. ***Suf*** (wool): From the woolen garments worn by ascetics. 2. ***Saff*** (rank): From being in the "first rank" before God. 3. ***Ahl al-Suffa*** (People of the Bench): The poor companions of the Prophet ﷺ who lived in the mosque. 4. ***Safa*** (purity). * **Hujwiri's Normative Definition:** He argues that "Sufism" is a proper name (*ism alam*) and doesn't need a linguistic derivation. Its meaning is understood through the **actions and character (*mu'amalat*)** of true Sufis. The focus should be on what they stand for, not where the word came from. * **Purity (*Safa*) and Divine Love:** * For Hujwiri, the core ideal of Sufism is **Safa (purity)**. * This purity is achieved through Divine Love. He presents a poetic distinction: * **Safi (The Pure):** One who is purified by love (*hubb*). * **Sufi (The Perfected):** One who is purified by the Beloved (*Habib*), i.e., God Himself. * **Three Categories on the Sufi Path:** 1. **The Sufi:** The perfected adept who has achieved *Fana* (annihilation of the self) and *Baqa* (subsistence in God). They are "dead to the self and living in God." 2. **The Mutasawwif:** "The Seeker." The novice who strives on the path through effort and spiritual struggle (*mujahada*). 3. **The Mustaswif:** "The Pretender/Wannabe." The fake Sufi who imitates the externals for worldly gain (popularity, wealth, power). * **The Debate of Hallaj vs. Junayd:** * While earlier texts focused on Bistami's controversies, by Hujwiri's time, **Hallaj** had become the more contentious figure. * As a member of the Baghdad school, Hujwiri sided with **Junayd**, viewing him as superior. He considered Hallaj to be a great but "imperfect" (*naqis*) Sufi. * ***Malama* (Blame/Censure):** * Hujwiri analyzes the complex practice of attracting blame. He divides it into three types: 1. ***Malamat-e Rast Raftan* (Blame for Following the Right Path):** Unintentional blame received for acting rightly (like the prophets). This is praiseworthy. 2. ***Malamat-e Tark Kardan* (Blame for Abandoning the Path):** Intentionally violating the *Shari'a* to attract blame. This is forbidden (*haram*) and a form of hypocrisy. 3. ***Malamat-e Qasd Kardan* (Intentional Blame):** Deliberately doing something permissible but unusual (within the *Shari'a*) to repel unwanted attention. Example: Bayazid eating in Ramadan while traveling. Hujwiri is critical of this, arguing it can be a form of pride and can deprive people of genuine guidance. * ***Isar* (Altruism/Self-Sacrifice):** * Defined as preferring others over oneself, even when in need. This is a core Sufi value, rooted in the Quranic praise of the Ansar. * The story of **Ahmad ibn Masruq al-Nuri** is highlighted. When facing execution with his companions, Nuri joyfully offered himself first to save his friends a few moments of life, demonstrating the ultimate *Isar*. His sincerity moved the ruler, and they were all pardoned. * Nuri's prayer: He prayed to God to fill Hell with his body so no one else would have to suffer, and to take him in place of all other sinners. Of course. Based on the lecture, here is an expanded explanation of what Ali al-Hujwiri says about **Purity (*Safa*) and Divine Love**. In his work, *Kashf al-Mahjub*, Ali al-Hujwiri presents a profound and nuanced understanding of purity (*safa*) as the central ideal of the Sufi path. While he analyzes several potential linguistic origins for the word "Sufi," he ultimately dismisses them as inadequate from a technical, etymological perspective. Instead, he elevates **safa (purity)** to a normative and spiritual definition, arguing that the true meaning of Sufism is found in this very state, which is achieved through Divine Love. Here is a breakdown of the key points discussed in the lecture: --- ### 1. Defining *Safa* (Purity) For Hujwiri, *safa* is not merely an external or superficial cleanliness. It is a deep, internal state of being that has two fundamental components, described using a "root and branch" analogy: * **The Root: Severance from *Aghyar* (Others)** * The "root" of purity is the "severance of the heart from others." *Aghyar* literally means "others" but in the Sufi context, it signifies everything other than God—creation, worldly attachments, the ego, and even spiritual states that might distract from the Divine. This is the act of detaching one's ultimate concern and affection from the created world to focus solely on the Creator. * **The Branch: Emptying the Heart of the World** * The "branch" that grows from this root is a heart that is "empty of this deceitful world." This means freeing oneself from the grip of worldly desires, ambitions, greed, and anxieties. It is a state of inner liberation from the "natural taints" and imperfections that tie a person to the material realm. ### 2. The Role of Divine Love (*Hubb*) as the Catalyst This profound state of purity is not achieved through mechanical rituals or intellectual exercises alone. According to the lecture, the essential catalyst and the very means of achieving *safa* is **Divine Love (*hubb*)**. Love has a transformative, "cleansing effect." It acts like a fire that burns away the impurities of the ego and sin. When a person's heart is filled with love for God, that love naturally displaces worldly concerns and purifies their intentions and actions. ### 3. The Two-Stage Process: From *Safi* (The Pure) to *Sufi* The lecturer highlights a beautiful and poetic Arabic saying quoted by Hujwiri that masterfully illustrates the two stages of this process, playing on the words *safa*, *safi*, and *Sufi*. **Stage 1: Purification by the Seeker's Love** > **"He that is purified by love is pure"** > *(Man saffahu al-hubb, fa huwa saafin)* * This first stage describes the seeker's active effort. A person turns to God with love (*hubb*). This act of loving begins the purification process. Through their devotion, remembrance, and sacrifice, their love cleanses their heart, and they become **Safi**—a pure person. This is the result of the seeker's love *for* God. **Stage 2: Purification by God's Love (The Beloved)** > **"And he that is absorbed in the Beloved and has abandoned all else is a Sufi."** > *(Wa man saffahu al-Habib, fa huwa Sufi)* * This is the higher, more profound stage. It marks a shift from the seeker's active love to receiving God's direct, transformative love. The lecturer explains that **Habib** means "the lover" (the one who loves), while **Mahbub** means "the beloved" (the one who is loved). In this stage, God, the ultimate Beloved, becomes the active **Habib** (Lover) who bestows a "special divine effusion of love" upon the seeker. * It is this divine grace, this active purification by the Beloved Himself, that completes the transformation. The person is no longer just *Safi* (pure through their own effort); they become a true **Sufi**, a state that is a gift from God. ### Conclusion: The Ultimate State Ultimately, this love-driven journey to purity leads to the state of **fana** (annihilation of the self) and **baqa** (subsistence in God). The Sufi is described as one who is "dead to the self" and its selfish desires but is "living by the attributes of his Beloved." Their individual will is aligned with the Divine Will. As the lecture explains, this state brings a profound inner peace, where negative emotions like anger and worldly anxieties are "completely gone," replaced by a spiritual bliss or "rapture." In short, for Hujwiri, **Sufism is the path of achieving absolute purity (*safa*) through the transformative power of Divine Love, a journey that culminates in receiving God's grace and living in a state of union with the Divine.** Of course. Based on the detailed discussion in the lecture, here is an expanded explanation of the Sufi concept of **Malama (Blame/Censure)** as analyzed by Ali al-Hujwiri. --- ### Introduction to Malama In the lecture, Ali al-Hujwiri presents *Malama* as a profound and essential, yet often misunderstood, aspect of the Sufi path. At its core, *Malama* is the practice of dealing with the blame or censure of other people. The ultimate goal is to achieve pure sincerity (**ikhlas**) by freeing oneself from the desire for public approval and the fear of public disapproval. Hujwiri establishes the spiritual legitimacy of this path by rooting it in the Quran and the experiences of the prophets. He references the Quranic verse that praises true believers as those who **"do not fear the blame of a blamer" (*la yakhafuna lawmata la'im*)**. He also points out that the prophets (*Anbiya*) themselves were constantly subjected to the *malama* of their people. However, Hujwiri is deeply concerned with how this concept was being misused in his time. To clarify its true meaning and expose its counterfeits, he breaks down the practice into three distinct categories. ### The Three Types of Malama The lecturer explains Hujwiri's three-fold classification, which is based on the intention behind the act and its relationship to Islamic Law (*Shari'a*). The Persian terms he uses are crucial for understanding the distinctions: #### 1. Malamat-e Rast Raftan (Blame for Following the Right Path) * **Definition:** This is the highest and purest form of *Malama*. It is **unintentional blame** that a person receives simply for doing what is right according to the *Shari'a* and their conscience. They are not trying to provoke anyone; they are just living a sincere life, and society criticizes them for it. * **Example:** A person who refuses to take a bribe, lie, or engage in cheating is called a "fool" or "naive" by their peers. The prophets experienced this constantly when they called people to monotheism and morality. * **Hujwiri's Verdict:** This type of *Malama* is **highly praiseworthy**. It is a sign of true sincerity because the person persists on the right path, proving that their actions are for God alone and not for the approval of others. #### 2. Malamat-e Tark Kardan (Blame for Abandoning the Path) * **Definition:** This is the lowest and most corrupt form of *Malama*. It involves **intentionally violating the *Shari'a*** (committing a sin) with the excuse that one is trying to attract blame. * **Example from the Lecture:** A person might drink wine in public and claim, "I am doing this so people will think badly of me, but secretly, in my heart, I am a great saint." * **Hujwiri's Verdict:** This is **completely forbidden (*haram*) and unacceptable**. It is a form of hypocrisy and self-deception. Hujwiri argues that one cannot use a forbidden act as a means to a spiritual end. This is not Sufism; it is wickedness and a clear deviation from the path. #### 3. Malamat-e Qasd Kardan (Intentional Blame within the Shari'a) This is the most complex and controversial category, and the one that requires the most careful analysis. * **Definition:** This involves **intentionally performing an act that is permissible within the *Shari'a***, but is unusual or likely to be misunderstood by the public, specifically to repel unwanted praise and avoid ego-inflation. * **The Key Example: Bayazid Bistami:** The lecture highlights the famous story of Bayazid Bistami. * When he entered the city of Rayy, a large crowd gathered to honor him. This attention distracted him from his focus on God. * To disperse the crowd, he took out a loaf of bread and began to eat it publicly during the month of Ramadan. * The people immediately forsook him, calling him a fake. * **The Nuance:** Bayazid had not sinned. As a traveler, the *Shari'a* permitted him to break his fast. He used a legal concession to achieve a spiritual goal—to protect his heart from the potential pride of being celebrated. * **Hujwiri's Critique:** Despite its permissibility, Hujwiri is critical of this practice for two main reasons: 1. **The Danger of a Hidden Ego:** He questions the seeker's true motive. A person might claim they are attracting blame to fight their ego, but they might actually be developing a new, more subtle ego—the pride of being a "blameworthy one" (*Malamati*). The lecture tells a story of a pretender who did a wicked act, claimed it was for "blame," and then got angry when someone called his actions "nonsense," revealing his hypocrisy. A true *Malamati* wouldn't care. 2. **Depriving Others of Guidance:** By deliberately pushing people away, a genuine spiritual guide might prevent others from receiving the benefit of their wisdom and guidance. These rejected people might then turn to false or corrupt teachers. * **Hujwiri's Final Stance:** He acknowledges that some great and sincere Sufis did practice this form of *Malama*. Therefore, he does not forbid it outright but says, "I'll let it be." However, he **personally prefers against it**, believing that a Sufi should remain steadfast in doing good, regardless of whether it brings them praise or blame, without resorting to such strategies. ### rel_215_transcriptions/Ibn Arabi Transcription 1 Hello everyone and welcome to Blogging Theology. And today I am delighted to talk to Dr. Faris Abdel-hadi. You are most welcome, sir. As-salamu alaykum. [00:12:05] Wa alaykumu s-salam wa rahmatullah. And thank you so much for having me here. [00:14:48] It's great to have you on the show. Now Dr. Faris is an independent researcher, writer and publisher with a background in commercial law. He delivers lectures, seminars and workshops around the world on the subject of Sufism, Islamic philosophy and intellectual history. His latest book, which is this one here, Ibn Arabi's Religious Pluralism: Levels of Inclusivity, published by Routledge uh this year, 2025, marks a significant contribution to the debate concerning Ibn Arabi's views on religion, focusing on his multifaceted approach to non-Abrahamic traditions. [00:54:82] So uh Dr. Faris is very kindly going to introduce the wider uh subject of Ibn Arabi's thought and then focus on into his book uh later on. So I'll just upload uh the first slide. [01:08:00] So over to you sir. [01:10:48] Thank you very much. Um, Paul and again, uh thank you for the extraordinary work you've you've been doing as well. Um, mashallah. So, basically, uh this book was published a few months ago, but I think the majority of people would at least have come across the name of this Sufi Andalusian, um, quasi philosopher, whose name is of course, Muhammad ibn al-Arabi al-Hatimi al-Tai, um otherwise better known as just simply as Ibn al-Arabi. Um, most people would have heard his name at least once or twice in their lifetime. Um, but these days, you tend to uh come across his name with a view towards the controversies that are associated with that name. Um, so I'd like to address that first if that's all right. Um, and you know, I think it's such an interesting question and issue because Ibn al-Arabi is not a small figure, not by any stretch of the imagination, particularly when we look at the, um, I guess, his, uh, the, the, the, the, the, the effects his writings have had over, um, history. Um, since his, uh, posthumous, um, since since since his death, for the past 850 years, what influence has he had over the whole Islamic world? So the reason that people get involved with this issue as to, um, I guess the controversies associated with Ibn al-Arabi, is because what he has to say has an impact on, uh, who we identify, um, as in particular if you are a Sunni Muslim. Um, it is an issue of such pertinence that it, uh, uh, arouses passions, um, simply because Ibn al-Arabi is a figure that one cannot ignore. Um, and there's also a recognized sense of authority that lies with Ibn al-Arabi, whether one agrees with him or not. So he is not inconsequential. Um, and it's also related to what he has to say about, um, what I think is a significant portion of the Islamic tradition, uh, which is to do with wilaya or what could be translated as friendship with God, or what is sometimes translated as sainthood, sainthood and ma’rifa, which is gnosis or this kind of, um, direct, having direct knowledge of, um, God or Allah. So, I think it's important to contextualize Ibn al-Arabi in his environment before we begin to address the issue of these controversies that tend to be associated with his name. [04:10:86] Now, uh, he occupies a relatively unique position in contemporary scholarship and academia. And I think that this is because, um, hundreds of his books are available to us. Um, one of his books, the magnum opus, Futuhat al-Makkiyya, spans thousands upon thousands of pages. We still have that. Um, we have a large corpus of his writings. So we have reasonable access to what he thought, to what he taught and what he said. Um, and even more exceptionally, we have access to his autobiographical data, um, which connects to the way he, uh, not only has lived his life, but applied those teachings to his life. And that gives us and that gives us an insight into the way he thought. In fact, he has written so much about himself. You could, without exaggeration, establish a TV series on him. Um, and you know, for, for someone who was born 850 years ago, that is really quite unique. [05:20:10] So where just just to clarify, where he was born? Was he not Spanish actually? Is a European Muslim really in a traditional sense. [05:27:85] Yes. He he was born in Murcia. [05:30:17] Actually. [05:31:47] In the year uh 1165 of the Gregorian calendar or 560 um, of the Hijri year. And he was born in Murcia, and he spends the beginning of his life in Spain traveling throughout Granada and Cordoba amongst other Spanish towns and localities. And then he ventures into the wider Islamic world as he grows older. And he is a perennial traveler, um, traveling throughout the entire Islamic world. [06:01:21] So, uh, he is, I mean, despite, I guess some of the criticisms and sometimes despite even some of the vitriolic attacks that are leveled against Ibn al-Arabi, one does has to recognize that he is first and foremost an alim, a scholar. And he is a Sufi as well who is trained in the methods of Western Andalusian Sufism as well as the Eastern school as well. And he is arguably a Sunni. This view may not necessarily be accepted by all scholars. But I think to be fair to him, it is reasonable to identify him with what he considers himself to be, which is a Sunni, if you consider the fact that he um has this massive respect and devotion towards the Sahaba and towards their views and their opinions. Um, that would qualify him to at least to be a prima facie sufi, notwithstanding the other I suppose issues that come along with determining whether one is Sunni or not. And being a scholar, um, it's a given that he was very knowledgeable of the four major legal schools, and in in addition to Ibn Hazm's own school, which is the Zahiri school founded by um, Dawud al-Zahiri. So, Ibn Arabi himself, despite being knowledgeable of the four legal schools, does not, strictly speaking, adhere to any one particular legal school. He is in fact what some scholars would consider to be a mujtahid mutlaq. There is another opinion that he's actually a Zahiri in in in in um, I guess, in disguise. Let's say in disguise. Um, my my my my own view is that he is a mujtahid mutlaq. Um, he has the ability to found his own legal school given his significant training and knowledge in fiqh and usul al-fiqh. Uh, the foundations of jurisprudence and jurisprudence itself. And so, therefore, by extension, he is well-trained in virtually all the sciences and subjects and disciplines of his day. [08:16:92] He is a massive hadith expert. Um, he has studied with major muhaddithun of his day and age, around 60 teachers. So he took the study of hadith incredibly seriously. And then his foremost student and um stepson, his stepson. So he ends up, Ibn al-Arabi ends up marrying the mother of Sadr al-Din al-Qunawi, who goes on to become his foremost student, was also, um, a surpassing hadith master of his own time. Um, and so, in that vein, Ibn al-Arabi composes one of the earliest collections of what is called Hadith Qudsi. Hadith Qudsi which um, you could translate as holy or divine hadith in which God speaks in the first person. Um, and it's of course not the Quran, it's hadith. Um, according to, uh, the, um, Syrian alim, Dr. Samir al-Nass, he says this is the earliest. Ibn al-Arabi's collection is the earliest one that he's aware of. Right? So of course Hadith Qudsi existed before Ibn al-Arabi, but to gather it into in into a collection as a particular genre in itself, uh, he is one of the first ones to do that. And so therefore, he obviously knew the major collections of hadith, the six, the six mother collections if you like, in addition to Malik's Muwatta. Um and he knew the Sunan of Bayhaqi and Tabarani very well. And he quotes those hadith extensively in his writings. So, what is, now we're going to go back to his autobiography, what is the impetus for his pursuit for for hadith? Well, in the beginning stage of his life before he begins this spiritual path of converting himself to the path of God and becoming devoted totally to Allah Subhanahu Wa Ta'ala and becoming what is known as a salik, a spiritual traveler. He has this vision, tripletic vision of Jesus, Moses and Muhammad who um are instrumental in converting him to the way of God and to and to become a proper sufi if you like. [10:37:37] So, this vision of Muhammad, in this vision, he says, "In my sleep, I saw myself in a huge space, surrounded by armed people who intended to kill me. There was nowhere at all I could find refuge. Then I saw in front of me a hill on which the Messenger of God, peace and blessings be upon him, was standing. Immediately I took refuge beside him. He opened his arms wide and pressed me very forcefully against himself, saying, 'My beloved, hold fast to me and you will be safe.' I then looked around me to see my assailants, but there was no longer a single one of them to be seen. From that time onwards, that was when I gave myself to the study of prophetic narrations." [11:19:93] Um, and then there's another dream he has, um, which basically lauds the lofty status of hadith in which, um, someone says, "I saw in my sleep a man from amongst the pious shortly after his death. And I asked him, 'What have you seen?' And he told me certain things and said to me in particular, 'I saw books that were abased and books that were elevated.' So what were the elevated books, the books of hadith, and what were the abased books? The books of ra’y, the books of one's own personal opinion and their authors will be held accountable for it um in the hereafter." So, um again, uh he took the study of hadith very seriously. And he was learned in the seven recitations, qira’at of the Quran. Um and he was very familiar with the tafsir tradition as a whole. Um, and the sira was transmitted to him by the scholars of his day. For example, Abd al-Rahman al-Suhayli. And so he transmitted to him his commentary on Ibn Hisham's Sira. Um, and then he is, of course, well-versed in poetry, in the major collections of poetry, whether it be al-Mutanabbi or Abu Nuwas, and the the the the pre-Islamic poets, the Jahili poets as well. [12:33:63] And he used to frequent the company of judges, jurists, doctors, philologists, grammarians, poets, historians and other people as well. And he traveled around the world, uh, with the famous explorer Ibn Jubayr. And he met Ibn Rushd, of course, the famous Aristotelian Averroes at least once in his life, according to his own testimony. And he was familiar with the issues of kalam and philosophy, referencing Imam al-Haramayn and, of course, al-Isfaraini and Imam Ghazali, uh, without a doubt. And he has personally, according to his own testimony, which and we have this letter, he personally corresponded with Fakhr al-Din al-Razi. Albeit, not to discuss the finer issues of kalam and philosophy. Albeit perhaps to proselytize Razi and ask him to become an itinerant sufi and to give up this path of overthinking things and just to go into spiritual retreats in order to understand what reality is. Um, so he has correspondence with Fakhr al-Din al-Razi. [13:41:20] And of course, um, it goes without saying that he was familiar with classical Sufism, the Sufism of Junayd al-Baghdadi, of course. And by extension, he would dedicate his entire life to the pursuit of the path of friendship with God or sainthood. Friendship is technically more accurate, but I prefer the word sainthood, but friendship is more accurate. Um, I find it fascinating that that's um, this this dimension of Islam is perhaps less taught um in certain countries because uh it tends to be quite an integral part of the religion and it's been integral for at least the past 1000 years. Um, so, it is just interesting to to see that maybe less emphasized in certain places. Um, and then uh, Ibn Arabi, of course, himself exists in that same line of training, being trained to be a uh saint. [14:52:16] So, he's familiar with the whole tradition of classical Sufism and wilaya. Um, and then it goes without saying that his own saintly teachers were well acquainted with the Islamic sciences. Um, and in in in in in in contrast to those teachers whom he loved dearly, um, and who were like these kind of like rugged figures who lived in the wilderness without light or fire, barely eating any scraps of food, um, living life in the most humble circumstances. Uh, these Sufis, uh, performed miracles and charismatic feats. There is no shortage of them. Um, and they possessed extraordinary character traits. [15:46:11] So, having said that, in Ibn Arabi's own testimony, the greatest wali, therefore friend of God, in Islam would be Abu Bakr. And so, this is what he says about Abu Bakr: "Without a shadow of a doubt, Abu Bakr's faith is equal to that of the entire ummah, and even outweighs them by the like of it. And I obtained, praise be to God, this veracious Bakrian faith, al-iman al-Siddiqi al-Bakri, in the Messenger of God, peace and blessings be upon him, and in his inheritors, may God be pleased with them. Although I do not profess that they are divinely protected from sins." All right? So this is a Sunni doctrine. Except, except for what they report from God. So he, so he, um, is putting forward a very interesting view in which although he does not believe that the Sahaba are sinless, but they cannot make an error with regards to what they report from God. And that includes the inheritors of the Messenger of God, who are the awliya for Ibn al-Arabi, who are the friends of God. [16:58:39] So, what is the impact of this Akbarian legacy after the death, after the death of Ibn al-Arabi? It spreads quickly and globally. Um, you know, and it clearly influences a school of ‘irfan of mystical knowledge in Iran and philosophy. Um, and it has this massive impact on the whole of the Mughal Empire, right? And promotes a relative ecumenism, what is called Sulh-i-kul, this kind of universal tolerance, which you should take with a grain of salt because there is an incentive for for an empire to promote that kind of ecumenism in order for empire to function if you take that with a grain of salt. But his writings in the Mughal Empire are, um, super influential, whether one disagrees with him or not. They influenced this interreligious discourse that carries through, that carries out throughout the centuries. And of course, um, it is well known that he is a major figure, if you use this, if you use this figure of speech, uh, patron saint of the Ottoman Empire, um, in which Dawud al-Qaysari is the first head of the Ottoman educational system, and Mulla Fanari, you know, the these are his indirect students, becomes the first Sheikh al-Islam in the Ottoman Empire. And his teachings are protected under the patronage of the Rasulid dynasty for 200 years in Yemen, at least 200 years. Um, and so you you get these Yemeni Akbarian Sufis, if I say Akbarian, that means they come from Ibn al-Arabi's school. Um, these Sufis are under the under the protection of this dynasty. And it reaches the Malay-Indonesian archipelago as early as the 15th, 16th centuries. And then it goes, it spreads into China through the writings of Abd al-Rahman Jami, in which a specific group who were called the Han Kitab, um, managed to synthesize an extraordinary, um, application of faith between Confucianism and Islam using the writings of Abd al-Rahman Jami and Akbarian thought. And then of course, Sadr al-Din al-Qunawi, Ibn al-Arabi's foremost student, himself corresponds also with Nasir al-Din Tusi, uh, the foremost scientist, philosopher of his day. Um, Abd al-Ghani al-Nabulusi is a major public voice, who gets involved in social issues. Um, one of them is to do with, uh, you know, in that day and age, there is this introduction to tobacco and coffee, for example. Should those be allowed or not? Right? And then the Amir Abd al-Qadir al-Jaza’iri, um, who is a major, um, I I guess figure in this school, uh, and is a major devotee to Ibn al-Arabi's teachings. He, in Damascus, single-hand, I mean, his story of his life is fascinating by the way, but he single-handedly saved around 11 to 15,000 Christians in a local uprising. They were instigated by the Ottoman authorities, um, at that at that time. And so, he is gifted a pistol from Abraham Lincoln and granted audience with the Queen of England. And to this day, a town in Iowa is named after him. It's called Elkader. The high school there is called Elkader High School, in which they honor the Amir Abd al-Qadir al-Jaza'iri, um, annually, which is extraordinary. [20:37:37] So, Ibn al-Arabi, uh, has written at least 350 to 400 books, which is a staggering, um, output. And then there are 800 books in total attributed to his name, but you could say half of those aren't his books. And about half of those are books he has actually written. [21:01:87] Nonetheless, if we're going to get into the controversies of Ibn al-Arabi, it would seem that the source almost in its entirety for major criticisms against Ibn al-Arabi lies solely with a book called Fusus al-Hikam, which I'm sure you would have heard of at some point. Um, this book is not a particularly big book. It's about 200 pages, really. Um, and that's what makes it so open to attack. [21:26:77] So what what is the title of this book mean in English? That's obviously an Arabic title. But how would you translate that title? [21:32:46] Um, so if you take Austin's translation, that would be The Bezels of Wisdom. The Bezels of Wisdom, or you can even call it The Ringstones of Wisdom. [21:40:48] Hm, hm, okay. [21:42:25] And um that requires an explanation in it in itself. Uh, to be fair, um, there is, I guess, what you might call, um, anonymous opinion. Not not anonymous, but singular, singular opinions that the book is not written by Ibn al-Arabi. In fact, it is a forgery. Um, but it's generally rebutted in the academia. And by traditional scholars themselves. So you've got for example Chodkiewicz and Abd al-Baqi Miftah. They refute that, um, claim that the Fusus is forged. Um, and there's a general acceptance that the book we have, the Fusus al-Hikam, um, pretty much in its entirety, um, was written by Ibn al-Arabi. [22:29:94] It's been translated. And there are at least four English translations. And there's there are also translations in other languages as well. Um, so you've got the translation by Ralph Austin, and then Caner Dagli, um, and then there's a more recent one by, um, uh, Binyamin Abrahamov, and there's also another one by Aisha Bewley. [22:55:18] And so, so, so she's translated, yeah. [23:01:18] She translated parts of the Futuhat as well. Uh, so, uh, there is one opinion that it's a forgery. We can see why, and Mahmud Ghurab is a defender of Ibn al-Arabi, and there are other defenders who would incline to the view that this book is a forgery. And one can sort of understand why, right? Because pretty much the controversial issues surrounding Ibn al-Arabi, uh, come from this book that includes this concept of he is most famous for that is attributed to him, which is called wahdat al-wujud, which you can translate as the unity of being or the unity of existence. Now, to be fair to Ibn al-Arabi, he doesn't use this word himself, but it becomes associated with him in the polemical attacks against him, particularly by Ibn Taymiyyah for example, and the scholars that follow after him. Um, another controversial issue is, um, the people who remain in the fire will obtain bliss or will attain to bliss and some kind of, um, salvation in the fire. What you might call, what's the word? This, um, in the Christian tradition, this apocatastasis. And then there's the issue of Firawn, or Pharaoh, who, according to Ibn al-Arabi, died upon faith and believing in God and is therefore saved, just before he drowns. [24:39:13] So, the Quran, just doesn't the Quran say that he died an unbeliever, a disbeliever? [24:43:08] Oh, that's a fantastic question. And we'll get into that when we get into into the slides. [24:49:15] No but that's a fantastic... [24:50:41] I'm reading, I'm reading uh the Quran in that in that section at the moment I should recall it, it said that he died a disbeliever. But anyway, I don't want to just disrupt your flow. [24:58:65] No, no, not at all, just out of interest. Do you have the sura, the chapter on on hand? The the sura title, just out of interest? [25:05:07] Uh I don't, no. I've read it a couple of days ago actually. I'm sorry. [25:08:70] Okay. Then we'll get to that section eventually. Okay. And then, uh, then the final issue is to do with what is called the universality of faith. Um, sometimes, you know, it's given this misnomer, wahdat al-adyan, the unity of religions, which I don't think is applicable to Ibn al-Arabi, actually. Um, but it's the it's the idea that every religion and every person in the world, um, believes in God in some respect whether he knows it or not. Right? So that would be the universality of faith. Every person on this planet has a degree of faith in God whether they know it or not. And every person from every religion is worshiping God, whether he knows it or not. How is that the case? We'll come to that. Or at least how does he argue for it? Um, so just to address this issue of forgery very quickly. Um, it's not a strong argument. And there's a simple reason for that. Nearly every paragraph that you find in the Fusus, The Bezels of Wisdom, has a close or identical counterpart in terms of idea, theme or substance in the Futuhat. And other of Ibn al-Arabi's works. What is the Futuhat? The Futuhat is his, so the Fusus al-Hikam is one of his, um, most important works. It's a magnum opus. So is the Futuhat. The Futuhat is a magnum opus as well. The Futuhat al-Makkiyya or the openings or what you what you might call the Meccan Revelations, the Meccan revelations or the openings in Mecca. Uh, the word even means conquest, like this kind of like spiritual conquest of of of of of of, um, Mecca and the whole Islamic tradition by extension. Um, it is one of Ibn al-Arabi's most important works. This is the Futuhat that spans thousands of pages. And, um, a, uh, autobiographical copy of what's called the second redaction has been preserved in the library of Sadr al-Din al-Qunawi and it is now preserved in a museum in Turkey. I think Konya, if I'm not mistaken, but it's there in, uh, Turkey and it can be viewed to this day. Um, there have been has now been digitized. So you can view the actual manuscript leaves themselves online. Right? And then there's been several editions of the Futuhat as well. And new editions continue to appear because it's not an easy book to get right, given that it spans thousands of pages. Um, so, coming back to the subject, any idea you can find in the Fusus really, um, in a nutshell, already exists in the Futuhat. Right? [27:59:02] Now, what is Ibn al-Arabi say about the law? It's nice to get, um, a summary about his idea and adherence to the shari'a, the law, um, after we've already contextualized him with a scholarly background, right? So it should be no surprise if we have gone over his scholarly background and established that he's well-versed in this Islamic sciences and has adhered to these Islamic sciences. It should be no surprise to see him upholding the law, right? So what does he say? He says, "The shari'a is identical with the haqiqa." The shari'a is identical with the reality. What is called in philosophy al-amr fi nafsihi, al-amr fi nafsihi, with the way things are. And also the shari'a takes one to the haqiqa. Why do we talk about haqiqa? Because that's the sufi's goal, right? Um and so, one cannot claim, one cannot make the claim that my spiritual journey and therefore my spiritual attainment enables me to break the law. For Ibn al-Arabi, that is an oxymoron and that is impermissible. The shari'a takes you to the haqiqa, but the haqiqa takes you back to the shari'a because the shari'a is the way things are. And so, he says again, in an autobiographical note, "I saw in a vision that the doors of heaven had been opened, and the storehouses of divine deception were descending like an omnipresent rain. I heard an angel saying, 'What deception has descended tonight?' And I awoke terrified. I considered the way to safety from that, and I could not find it except in knowledge of the scale, the mizan, the scale set up by the law. So if anyone desires that God give him good and preserve him from the calamities of deception, let him never let the scale of the law drop from his hand." So at the very least, we have to admit that he is explicitly calling for adherence to the law. We have to acknowledge that much. [30:04:19] And then he he he just repeats the same point really ad infinitum. And he says, "It does not, it belongs to the saints to preserve the shari'a for everyone. But it is not their job to make law. Why? Because the coming of Muhammad Sallallahu Alayhi Wasallam abrogates the previous laws. And therefore he seals prophethood. He seals nubuwwa. What that means by extension is that no law may come after the law of Muhammad Sallallahu Alayhi Wasallam. That's why it belongs to a saint to preserve the law and to understand the law in all its dimensions, but you can't make law because the lawgiver is Muhammad. And so he says, "We have no way to God except that which he has laid down for us as law. He who says there is another way to God other than than the shari'a, different from what he has laid down in the law, has spoken falsehood." Right? And then he talks about the path of the shari'a, which he says is "easy, bright, exemplary, pure, unstained, without any crookedness or deviation." But as for the other path which is not shari'i, which is not by law, that other path, its final outcome is felicity which we'll get into, which is bliss in the fire. But along the way are found deserts, perils, vicious predators, and harmful serpents." In other words, um, damnation. "Hence no created thing reaches the end of this second path without suffering those terrors." Right? If one disregards the law. [31:42:55] So, in other words, Ibn al-Arabi is a staunch upholder of the law. So when we say that he's controversial, we therefore need to ask the question, controversial according to whom? Because Ibn al-Arabi is clear about his own position about the importance of adhering to the shari'a, right? So therefore, it seems to me, it seems to me that the Ibn al-Arabi that is being attacked is almost like a dehistoricized and a decontextualized caricature. Almost. And we'll come to that and see if we can, um, look at any, um, quotes that describe that. Now, I don't know why I have done that to my own slide, but someone gives the definition of wahdat al-wujud in, I think this is more of what we might call pamphlet literature, which is just a collection of quotes as to why Ibn al-Arabi is so bad. But just to give one example, what is the definition of wahdat al-wujud according to this book or pamphlet. And it essentially says that Allah and the creation are identical to one another. Allah and the creation are completely identical to one another. And that is almost what we, what might be called the reductionist perspective on Ibn al-Arabi. It is a, it is a definitely a reductionist take as to what wahdat al-wujud is if we are going to use this term now. Ibn al-Arabi almost never uses this term as we said, and certainly not in a systematic way. But there are other terms that come close. So, what is wujud, being for Ibn al-Arabi, and therefore what is the unity of being? Now, that's going to need some explanation, but in a nutshell, it is saying that being is one. There is no division of being. Being is one and two, it belongs to God. Wujud belongs to God in the same way that every other object in existence belongs to God. He owns it. God owns wujud, but, uh, thirdly and perhaps a bit more confusingly, God is identical to wujud. Right? And we'll see how Ibn al-Arabi argues that. And that is distinct and different from saying God is identical to the things in wujud. He is not. He is not identical to the things in wujud. He's identical to wujud itself. [34:52:62] All right. So, if we're going to get into the argument, we need to address the presuppositions that are built into, um, anyone's, um, I guess, anyone's perception as to what wahdat al-wujud is. What are the presuppositions there? Right? And there's a very simple question. You need to know what wujud is, which is being or existence. So is being a mental construct, a construct of the mind and it's not an an an an actual thing? So is it dhini? Or is it something real and lies outside of the mind, fi’l-kharij? Right? So for example, we can talk about an apple and a horse, right? And this is going to get into a whole lot of philosophy and terminology and ideas of which Ibn al-Arabi inherits and then addresses. Right? The distinction between being and essence, for example. Right? Wujud versus mahiyya. Now, if you take the first view, that wujud is just a mental construct, you would say that that the apple and the horse are real. Right? And then when I talk about existence and being, that's just a figure of speech. We might say it is a quantifier. But if you take the second view, and this is Ibn al-Arabi's view, and the view of those in his school of thought, if you take the second view, the second view is that the apple and the horse are what we might consider to be expressions of being and configurations of being. They are expressions of being or they are what you might call entifications or configurations of being, right? A sort of determination of it. [38:08:44] And so you can conceive of them as a series of gradations of being or even light, different kinds of light. This this will become a system in the philosopher um, Mulla Sadra in his system, uh, which also borrows from Suhrawardi al-Maqtul, the idea of light. And so the objects of existence are just gradations of being in the same way that the different lights are gradations of luminosity. So, what has more being is therefore more real, and what has less being is less real. Another metaphor that's used to explain wahdat al-wujud is a series of funhouse mirrors. Every object of existence is a reflection of the one entity and reality in the same way that if you put a candle in the middle of a room and you surround that candle with different mirrors, this was the best image I could get. But now imagine your mind that each mirror is a different size, different shape, and different clarity. Right? You therefore perceive that there are different, there are a number of candles, a number of different candles according to the shape and size of the mirror. Whereas those are just different reflections of the one candle. So, so therefore, each image reflects God, but the image is by definition nonexistent. And this is one of the fundamental tenets of wahdat al-wujud that might be misunderstood by people. The things themselves don't have existence, which is why there's only one being. Only God has existence. The image by definition is nonexistent in comparison with its object of reflection. God is the only one who has wujud. It is not to say, and it is not to argue for a kind of pantheism for example, or the accusations that are brought up in the polemical writings, hululiyya, there's this kind of incarnationism in which God indwells any creation. No, because creation doesn't exist itself by itself. Its wujud is a reflection of God's wujud. The things themselves are nonexistent. They cannot... [40:21:49] it seems to be... still fall short of the particularity of the tree. Uh, it's talking about the attributes of the tree, their manifestations of the divine. I I I think I understand what you're saying. But it doesn't still doesn't give us a tree in the sense of a thing made of bark with leaves, uh, in my back garden or my whatever. That that seems to be slightly more than just this abstract conception of names manifest in this, if you get what I mean? [40:45:00] Hmm. Yeah, I I understand what you mean. I think, um, yeah, I'd have to think about it a little bit like what is it that makes this thing a tree and itself? It would be the ‘ayn al-thabita, which is its fixed entity or its immutable entity, which is the object of knowledge as God knows it from pre-eternity. [41:11:46] Okay, I get all that. But it seems to be, it seems to be still falls short of the particularity of the tree. I mean, it's talking about the attributes of the tree, they're manifestations of the divine attributes. I understand what you're saying. But it doesn't, that still doesn't give us a tree in the sense that of a thing made of bark with leaves, uh in my back garden or my whatever. That seems to be slightly more than just this abstract conception of names manifest in this if you get what I mean. [41:45:51] It does conjure up that image. The one thing you'd add to that is that Ibn Arabi does not believe in a kind of a radical non-existence in which everything is completely non-existent. It is non-existent in itself, except for what it manifests of God's wujud. And what of God's wujud becomes manifest? His attributes and his actions. And that is why the Sufis talk about the tawhid, the unity of the ### rel_215_transcriptions/Kashf al-Mahjub Summary_ Sufiism Defined_ Of course. Here is a comprehensive summary of the provided text from the *Kashf al-Mahjub*, organized by key themes and including the specific examples and interactions you requested. This text is a series of excerpts from the classic Sufi manual, *Kashf al-Mahjub* ("The Unveiling of the Veiled"). It provides definitions of Sufiism, outlines the character and practices of its followers, and delves into specific doctrines like "Blame" (Malamat), "Preference" (Ithar), and the rules surrounding marriage and celibacy. ### 1. The Definition and Nature of Sufiism The author begins by exploring the etymology and true meaning of "Sufi." While several theories are presented, the text emphasizes that the spiritual reality of Sufiism transcends simple linguistics. * **Proposed Origins:** * **Suf (wool):** Because they wear simple woolen garments. * **Saff-i awwal (first rank):** Because they are in the "first rank" before God. * **Ashab-i Suffa (Companions of the Bench):** In honor of the poor, pious companions of the Prophet Muhammad. * **Safa (purity):** This is the most spiritually significant meaning. The author states, "purity is the attribute of those who love." * **The True Meaning:** The author concludes that Sufiism is too exalted for a simple derivation. It is a state of being where one has "purged their morals and conduct" and freed themselves from worldly taints. * **The Three Tiers of Followers:** 1. **The Sufi:** The perfected one who is "dead to self and living by the Truth." 2. **The Mutasawwif:** The aspirant who strives to reach the rank of a Sufi through self-mortification and discipline. 3. **The Mustaswif:** The pretender who imitates Sufis for worldly gain (money, power). The author scathingly describes them as "despicable as flies" to true Sufis and predatory "like a wolf" to others. ### 2. The Qualities and Sayings of a True Sufi The text compiles sayings from eminent Sufis to define the ideal practitioner's inner state. The central theme is the annihilation of the self (*fana*) and subsistence in God (*baqa*). * **Dhu 'l-Nun the Egyptian** said: The Sufi's speech is the "reality of his state," and his silence is his conduct, which shows his detachment from all worldly ties. * **Junayd** offered a profound definition: Sufiism's "essence is an attribute of God" (the annihilation of human qualities) while its "formal system is an attribute of mankind" (the practice of self-mortification). * **Abu 'l-Hasan Nuri** defined it as "the renunciation of all selfish pleasures." He also provided a key description of the Sufi's selflessness: **"The Sufi is he that has nothing in his possession nor is himself possessed by anything,"** a state of complete annihilation (*fana-yi kulli*). * **Junayd on the Foundations of Sufiism:** In a highly influential passage, Junayd states that Sufiism is built on eight qualities, each exemplified by a prophet: 1. **Generosity** like **Abraham**. 2. **Acquiescence** to God's will like **Ishmael**. 3. **Patience** like **Job**. 4. **Symbolism/Hinting** (*isharat*) like **Zacharias**. 5. **Strangerhood/Alienation** from one's people like **John**. 6. **Pilgrimhood/Detachment** from the world like **Jesus**. 7. **Wearing wool** like **Moses**. 8. **Poverty** (*faqr*) like **Muhammad**. ### 3. The Path of Blame (Malamat) This doctrine was spread by **Hamdun Qassar** and involves deliberately courting public blame to destroy one's ego and attachment to social honor. * **The Goal:** To make oneself "non-existent" in the eyes of people to focus solely on God. It is a tool against self-conceit, which the text calls the most difficult "veil" to remove. * **The Three Types of Blame:** 1. **Righteous Blame:** Being blamed for simply following one's religious duties without ostentation. 2. **Intentional Blame:** Purposely performing an act that is offensive (but not sinful) to make people reject you. 3. **False Blame:** Committing sinful acts and using "blame" as an excuse, which the author condemns as "manifest wrong and wickedness." * **Key Examples:** * **Abu Yazid**, upon entering a town where he was honored, took out a loaf and began eating during Ramadan (as a traveler, he was exempt). The people were disgusted and left him alone, allowing him to escape their distracting praise. * **The Author's Own Experience:** He recounts being lodged by a group of pretentious "Sufis" who looked down on him. They fed him old bread while feasting themselves and then pelted him with melon skins from a roof above. He says, "the more they scoffed at me the more glad became my heart," as enduring this humiliation was the very means that delivered him from a spiritual difficulty. ### 4. The Principle of Preference (Ithar) This is the doctrine of preferring others over oneself, considered a cornerstone of Sufi practice. It is demonstrated in both companionship and love. * **Key Story: The Arrest of Nuri:** When Nuri, Raqqam, and Abu Hamza were arrested and sentenced to death, **Nuri** rose and offered himself to the executioner first. When questioned, he explained: **"My doctrine is founded on preference. Life is the most precious thing in the world: I wish to sacrifice for my brethren's sake the few moments that remain."** This act of ultimate preference so astonished the Caliph that he spared them all. * **Other Examples:** * **The Ten Dervishes:** Lost in the desert with only one cup of water, each dervish offered it to the next until all died of thirst, each preferring his brother's life to his own. * **The Lion:** A hungry lion in the desert killed a camel but waited for all the other beasts, including a lame fox, to eat their fill before it ate. The lion then told the watching narrator that preferring others in food is for "dogs," but a true man "sacrifices his life and his soul." ### 5. Rules on Marriage and Celibacy The text presents a frank discussion on the merits and drawbacks of marriage versus celibacy for a Sufi. * **The Central Conflict:** Marriage is an apostolic custom necessary for procreation, while celibacy aids in the spiritual retirement from the world. The author notes that "Sufiism was founded on celibacy; the introduction of marriage brought about a change." * **Evils of Celibacy:** Fostering lust and neglecting a prophetic tradition. * **Evils of Marriage:** Preoccupation of the mind with "other than God" and distraction of the body. * **Rules for the Married Sufi:** He must not let his family distract him from God and must provide for them from a lawful, pure source. * **Cautionary Tale:** The son of **Ahmad b. Harb** became a drunkard. Ahmad explained this was because the son was conceived on a night when he and his wife had eaten food from a government official's wedding feast, an impure source. * **Rules for the Celibate Sufi:** He must guard his heart and senses, use hunger to quench lust, and not mistake the desires of the lower soul for "inspiration." Based on the provided text, Hujwiri presents a complex, cautious, and deeply personal view on marriage. He does not offer a simple endorsement or condemnation but rather frames it as a significant spiritual crossroad with both potential benefits and grave dangers for the Sufi aspirant. Here is a breakdown of his views: ### 1. The Sufi Ideal is Celibacy Hujwiri makes his preference clear by stating that celibacy is the original and ideal state for a Sufi seeking complete devotion to God. * **Foundational Principle:** He states unequivocally, **"Sufiism was founded on celibacy; the introduction of marriage brought about a change."** This suggests that marriage was a later concession that compromised the purity of the path. * **Spiritual Retirement:** Celibacy is presented as the natural state for those who "seek retirement from mankind." The goal is to be "lightly burdened" to focus entirely on God, free from the distractions and obligations of family life. * **The Ultimate Example:** He recounts the story of Ibrāhīm Khawwāṣ, who visited a devout old man and woman. He later learned they had been married for sixty-five years but had never touched one another, choosing instead to live in chaste worship as a form of thanksgiving to God. This story represents the highest form of spiritual companionship, where worldly desires are completely transcended. ### 2. The Permissibility and Benefits of Marriage Despite his preference for celibacy, Hujwiri acknowledges that marriage is an "Apostolic custom" and is permissible, and even necessary, under certain conditions. * **A Defense Against Sin:** Marriage is a legitimate means of "quelling lust" and is considered "obligatory on those who cannot abstain from what is unlawful." It provides a lawful outlet for natural desires. * **A Prophetic Tradition:** He cites the Prophet Muhammad's sayings encouraging marriage for procreation and valuing a religious wife above all else. * **Freeing the Mind:** Paradoxically, for some, the "acquisition (of sustenance)" for a family can be a means of "freeing the mind from anxiety," though this is a lesser goal. ### 3. The Grave Dangers and Evils of Marriage This is where Hujwiri's strongest warnings and personal feelings emerge. He sees marriage as a potential source of spiritual ruin. * **The Root of Calamity:** He holds a starkly negative view of the role of women in history, stating, **"A woman was the cause of the first calamity that overtook Adam in Paradise... and down to the present day all mischiefs, worldly and religious have been caused by women."** * **Personal Testimony of Near-Ruin:** Hujwiri shares a deeply personal and painful experience: > "After God had preserved me for eleven years from the dangers of matrimony, it was my destiny to fall in love with the description of a woman whom I had never seen, and during a whole year my passion so absorbed me that **my religion was near being ruined**, until at last God in His bounty gave protection to my wretched heart and mercifully delivered me." This personal anecdote is the most powerful evidence of his view. It shows that his caution is not just theoretical but based on a profound personal struggle where he felt his devotion to God was existentially threatened by romantic passion. * **Spiritual Distraction:** The primary "evils of marriage" are **"the preoccupation of the mind with other than God"** and **"the distraction of the body for the sake of sensual pleasure."** ### 4. The True Issue: The Heart's Intention Ultimately, Hujwiri concludes that the real danger lies not in the state of being married or celibate, but in **"asserting one's will and in yielding to one's desires."** * A person can be ruined in either state if their heart is not pure. * **The Married Sufi's Duty:** If married, one must follow strict rules: provide lawful food, not be distracted from devotions, and guard against impurity. The story of **Ahmad b. Harb**, whose son became a drunkard because he was conceived after his parents ate food from an impure source (a government official's wedding), serves as a stark warning. * **The Celibate Sufi's Duty:** If celibate, one must use hunger to quench lust and not mistake the desires of the lower soul for divine "inspiration." **In summary, Hujwiri's view is that while marriage is a permitted and sometimes necessary path, it is fraught with peril for the Sufi.** He believes celibacy is the higher, safer, and more traditional path for one seeking undiluted union with God. His personal experience of nearly having his "religion ruined" by love for a woman solidifies his position that marriage is a profound spiritual risk that must be undertaken with extreme caution, if at all. Of course. The story of Sahl al-Tustari's son is presented in the text as a powerful lesson in spiritual upbringing and the cultivation of absolute reliance on God (*tawakkul*). It illustrates how a parent can actively shape a child's faith from a young age. Here is the story as described on page 363 of the provided text: ### The Pious Method A son was born to the great Sufi, Sahl b. 'Abdallah al-Tustari. His mother devised a clever and pious method for his upbringing: 1. **The Request:** Whenever the young boy felt hungry and asked his mother for food, she would not give it to him directly. 2. **The Direction:** Instead, she would instruct him to go to the prayer niche (*mihrab*) in their home and ask God for what he wanted. 3. **The Secret Provision:** While the boy was praying and bowing to God, his mother would secretly place the food he desired in the niche. When he finished his prayer, he would find the food and believe that God had directly answered him. ### The Result and the Miracle This training continued until the boy became completely accustomed to turning to God as his first and only provider. The habit was so deeply ingrained that it became his natural instinct. One day, the crucial test of his faith occurred: * He came home from school while his mother was away. * Feeling hungry, he did exactly as he had been taught: he went to the prayer niche and bowed in prayer, asking God for food. * This time, with no human intervention, **God caused the food he sought to appear before him miraculously.** When his mother returned, she saw him with the food and asked, "Where did you get this?" The son's reply reveals the profound success of his training: **"From the place whence it comes always."** ### The Lesson of the Story The story is a classic Sufi parable with several key lessons: * **Teaching True Reliance:** The mother's goal was to teach her son that God is the ultimate Provider (*Al-Razzaq*). By removing herself as the visible source, she trained him to see beyond the immediate means (his mother) to the True Source (God). * **The Power of Habit:** It demonstrates how spiritual habits, instilled from childhood, can shape a person's entire worldview and relationship with God. * **From Means to Miracles:** The story shows a progression from God providing through ordinary means (the mother) to God providing directly through a miracle. For the son, however, there was no difference—the source was always the same. * **The Role of Parents:** It highlights the immense responsibility and opportunity parents have to be creative and wise in the spiritual education (*tarbiyah*) of their children. ### rel_215_transcriptions/Rumi Lecture_ Spiritual Love & Romance Of course, here is a detailed transcription of the lecture on Rumi, with timestamps included. **00:00** *Khair*, *aaj kal aap logon ke daur mein to ladke ladki ka ishq bhi ab badal chuka hai*. I mean, the West has what's called dates over romance, I think. Because relationships don't survive there. But, it's getting complicated over there, but we still see many images of quote-unquote male-female romance, right? But male-male spiritual romance, you don't, you don't have those images. *Magar hamare jo purane daur mein, maine pichli class mein bhi aapko bataya tha, Imam al-Ghazali yeh masla uthate hain.* Remember? He said if you look at someone and just looking at the face of someone brings you to a point of tears, *ya aapse uska dekha nahi jaata chehra, ya aapko usse bohot mohabbat ho jaati hai*, and you feel this kind of purity like you would like when you see roses or when you see anything beautiful. *Uss waqt aapko kuch ek Khuda ka kuch kuch jamal ya jalal kuch nazar aata hai kisi shakhs mein.* That's okay. **00:57** Right? *Haan*, but when your private parts get involved, when you want to have sex with someone, that is the poverty line. *Uske qareeb bhi aap aaye*, it's the end of your, then you're just deceiving yourself *ke Khuda dikhta hai mujhe isko dekh ke ya pakeezgi aati hai isko dekh ke.* Got it? *Yeh baat mein pehle keh chuka hoon*. **01:15** Anyway, so *inki mohabbat bohot shadeed thi, bohot ajeeb thi*. These were, *yahan tak aati hain kuch descriptions ke na, ek doosre ki daadhi ko stroke karte the, baalon ko stroke karte the, phir kayi dafa aisi masti mein chale jaate the, khade ho ke naach karna shuru kar dete the*. Now you might find that very weird. *Aur woh naach bhi aisa nahi tha jis tarah aaj kal hai, lekin it was, it's just hard to imagine, ek doosre ki daadhiyan kheench rahe hain pyaar se, kyun ke, if you read some ahadith, there too, you know, when men were like friends or buddies with each other, to woh ek doosre ki daadhi ko aise pyaar se karte the, aise baalon ko yun karte the, pat karte the, is tarah se hota tha*. **01:56** Today, unfortunately, or I don't know how you take it, *shayad iska kuch faida bhi hai*, but *kuch log kehte hain ke hamare daur, modern dunya mein, Victorian era ke baad, Queen Victoria thi na, woh bohot prim and proper thi aur uss zamane mein unhon ne bade kuch reforms wagera woh laayi thi aur woh thodi zara, ek sakht qism ki Christian bhi thi shayad. Lekin Christianity bhi unki thodi ajeeb si hoti thi. Anyway, woh ek lambi kahani hai*. Point yeh hai, *ke woh Victorians jo the, unhon ne kuch cheezon mein na unko bohot zyada anxiety thi, bohot zyada pareshani hoti thi. Jaise agar ladka kisi ladke ka haath pakad le na, to woh ghabra jaate the ke yeh homosexuality ki taraf baat ja rahi hai*. Samajh aa rahi hai aapko? **02:38** But in our culture, in our tradition, and I remember even when I was growing up when we used to go to a boys' school, it was very common for friends to just hold each other's hands and just walk around. *Lekin mein jab America gaya tha, to agar koi karta tha to woh foran se samajhte the yeh kya hai?* They're gays, right? So, you know, is culture *mein* you could do a lot of things, you could be affectionate, and that was just seen as brotherly or spiritual love. Nothing to do with sex. *Haan*, woh cheez bhi hoti thi. That was a threat. That was a problem. *Uski bhi koi kami nahi thi aur kuch ilaqon mein woh zyada hota tha. Aur jab hota tha to ulema usko bohot bura bhala kehte the*. Alright, it's a struggle. Humans are weak, they commit this sin. *To aisa, I don't want to pretend ke zamanon mein yeh buraiyan nahi hoti thi*. They did, there were many, and in fact, there were many more. There's a lot of mention of this. **03:31** So, but despite that said, *Rumi aur Shams ki jo relationship thi, there is no evidence that it was anything having to do with sexuality*. No sexuality. It was a pure relationship of love. Right? Yes, it could involve hugging, it could involve playing with each other's beards. *Woh to Sahaba bhi karte the agar aap padhein. Unki daadhi hoti thi to daadhiyon se ek doosre ke pyaar se khelte the*. *Ab hamari daadhiyan nahi hoti hamein pata nahi hai*, you know, play with the beard, or I would stroke the beard. You know, when you have like these long beards, beards have their own culture anyway. *Meri bhi nahi hai, pata nahi kya keh raha hoon*. Anyway. **04:13** So, it was a very intense kind of love and when suddenly Shams disappeared from Rumi's life. There are many theories about what happened. *Kuch kaha jaata hai ke* his family got very upset. And his, his someone in his family got so jealous of Shams that they poisoned him and then Rumi was left behind. *Kuch yeh bhi kehte hain ke kuch logon ne Shams ko kuch log gaye kaha ke dekho, itna tum disturb kar rahe ho usko, saara waqt tumhara hi zikr karta hai, tumhare peeche chalta hai, apni doosri zimmedariyan nahi nibha raha. So, you better leave him yourself or we'll do something*. So Shams agreed to leave because his presence was hurting others or something like that, it was too much. **04:58** *Phir yeh bhi kuch log kehte hain ke Shams voluntarily disappeared, jaan boojh ke woh ho gaye because that was the next part of his teaching. Yaani ke Rumi ko, Rumi finds God through the love of Shams. But now Shams wants to leave him because judai, or separation, was the next lesson that he wanted to give Rumi. Are you with me? Yeh jo judai se insan ka dil tootta hai, uss se jo insan Khuda tak pahunchta hai, that was another, that was the next lesson for him.* **05:33** Whatever the reason, whatever the reason Shams disappeared, when he disappeared, this was a very traumatic moment for Rumi. He broke down. *Badi mushkil se unko hosh aaya. Aur jab woh*, it transformed him. And he started to look at separation very differently. *Judai becomes a very important thing, theme in his, in his teachings.* **05:58** And he, it's not as if he becomes dysfunctional and stops doing things or helping people. In fact, he finds new relationships that are sort of similar to the one he had with Shams. Okay? So there was, there's another, there are a couple of disciples that have this strong relationship, that form a strong bond with Rumi. And Rumi helps them, and he's back to life. *Aahista aahista he gets over Shams. But woh jo ek chingari lag chuki hoti hai na, that deep kind of spiritual love with someone and that becomes a way of connecting to God, Rumi is now, has sort of become, he has experienced that. And now he can experience it again. If not with Shams, with other people.* Okay? **06:53** So, we know, and I think there were a couple of other people who had, Rumi had this same, that kind of similar kind of intense relationship of love with them. But one guy, who was his disciple, *unka naam tha Husamuddin. And you know, Rumi dedicates the Masnavi to him. And we know from various sources ke, balki woh Masnavi ke shuru mein woh khud hi bayaan karte hain ke uske muqaddame mein, jo mein aapko nahi padha raha kyunki Arabic mein hai. Rumi Farsi... sorry, Masnavi Farsi mein hai lekin uska ek muqaddama hai chota sa jo Arabic mein bhi hai. Aur kuch usmein Farsi bhi hai shayad. It's a mix. To usmein woh yeh kehte hain ke, hamare yeh saare dost the aur mere saare, hum saare jo baith ke na... mere ek, sorry, ek din mere mureedon ne kaha ke aap ishqiya shayri karte hain aur aap... you know sometimes Rumi would, out of pain, he just would ek woh sutoon ko pakad ke, ek pillar ko pakad ke he would just go round and round and he would just sort of speak words. Kuch shayri kehte the, kuch kehte the, unke doosre disciples record karte jaate the.* **08:04** Are you listening to what I'm saying? *Acha, to ek din kehte hain ke hum yun baithe hue the saare, to mere disciples ne, mere ek mureed ne kaha ke yeh saare jo hamare dost hain, yeh Fariduddin Attar ki kaunsi kitab bohot pasand karte hain? Bade shauq se padhte hain, for spiritual teachings, which one? Can you guess? Tazkirat-ul-Auliya? Great. But the most colorful, beautiful, fun thing to read, what did I tell you? Was the one about the spiritual journey and the problems that attachments that we have, getting over them, woh kaunsi kitab thi? Mantiq-ut-Tayr, The Conference of the Birds, or The Song of the Birds, or the Speech of the Birds*. **08:47** *To, woh yeh padhte hain. To aap ke paas bhi itna wisdom hai. Aap ne bhi itna kuch hamein sikhaya hai. Why don't we put that into a similar, why don't you write a Masnavi of your own? To aapko maine kya bataya tha ke jo Mantiq-ut-Tayr hai woh kis form mein likhi gayi hai, kis form mein? Masnavi. So these guys said, these disciples, especially Husamuddin, said, "Why don't you compose this Masnavi so that all of us can benefit? And people after us can benefit." So Rumi finally agreed. He said, "Yes, let's do it." To phir Rumi probably dictate karte the, inki mureed likhte gaye. Aur that's how we got the Masnavi.* **09:33** Now, this is why if you read the Masnavi, sometimes it reads like someone is, kya kehte hain woh, someone has just, it's not very coherent. It's beautiful, it's full of wisdom. In fact, *itni mashoor kitab thi, this is one of the most widely studied and read texts in all of history. And now, I think you can say, because of the English translations and the internationalization of Rumi, aap keh sakte hain khali Muslim dunya mein nahi, globally, it's one of the most cited, quoted, recited, read texts ever written. Okay? Aur Musalman dunya mein to it was definitely one of the most popular texts. Aur India ke andar, India tak mein bohot popular thi, aur jitne hamare bade the purane zamane mein, woh Masnavi padhte the, gaate the, uske sher yaad karte the, quote karte the. Allama Iqbal ki kai, Allama Iqbal ki ek mashoor ek nazm hai Peer-o-Mureed, usmein uske woh poore poore misre quote karte hain, Masnavi ke. Allama Iqbal ko bohot saari yaad thi. Isi tarah aur bohot saare logon ko yaad thi. Aur kya naam hai, Delhi mein ek poora ek institution tha jiska naam tha Dar-ul-Masnavi, jahan pe log Masnavi seekhne, padhne jaate the.* Okay? **10:57** So Masnavi is in, this text is one of the most influential, beautiful, deep texts ever, despite the fact that it's not very coherent. *Kyunki aisi hai jaise ek teacher random lessons de raha hai, boli ja raha hai, boli ja raha hai, aur log likhi ja rahe hain*. Yeah? And so he's talking, he's telling you a story, suddenly he stops and says, *Oh ek aur baat yaad aa gayi hai. Woh adab bhi ek badi achi cheez hai. Adab ke bagair koi point nahi hai*. And then he digresses. Then somebody says, *Oh but we left the story*. He says, *Okay let's get back to the story*. *To aisa bhi hota hai Masnavi mein, right? There are lots of these digressions in the Masnavi*. Okay? **11:38** *To, I think this much is enough for now. I'll tell you about two of his other works. Ek Divan-e-Shams hai aur doosra Fihi Ma Fihi. Uss par hum aayenge baad mein. Lekin abhi, let's, I think, limit ourselves to the Masnavi. Now, yeh jo Masnavi hai isko kaise padhna chahiye? Aasan jawab aur a short answer: you read it the same way you read which other text written in the same genre? This text is sort of inspired by which other text? Conference of the Birds, Mantiq-ut-Tayr. Aur usmein maine aapko kya kaha tha? Ke har kahani, har personality, what is that representing for us? It represents us. Yes, and what about us? If there's one word? Personality, lekin dekhein na, personalities are part of what? The key term is the human... condition. Another word, Sufiya ke liye jo sabse ahem jo lafz hai, jo sabse zyada woh use karte hain, Nafs. Excellent. Soul ke liye jo lafz hai, human soul is Nafs. Yaad rakhiyega. The human soul in Arabic and for the Sufiya is Nafs. Isliye purification of soul ko kya kehte hain woh? Tazkiyat-un-Nafs. Okay? So purification of the human soul. So every story, every character represents the human soul. In fact, very few things in these stories do not represent the human soul.* Okay? **13:38** *Iski ek achi misaal yeh hai jo ke I think Munib Sattoo ne ek dafa di thi, it's a very nice example ke Masnavi ke andar there is a story about a fly, ek makkhi hai. And you know, it's riding a, ek pond hai, actually it's not even a pond, it's a garbage dump. Theek hai? Aur uske upar there is a pile of filth. Theek hai? Gand aur you know, waste and all the rotting, the worst, the most filthy things you can imagine. And the fly is alone on top of that, yeah? That pile of poop and what what. And sitting on top of that pile, the fly thinks, "I am the king of the world." Why? Because you know, they get these flies, find nutrition in, some sort of nutrition in that. Isiliye makhiyan jama ho jati hain na, gand ke upar, because they find some sort of nutrition there. Unka rizq hai woh.* **14:48** *And he says, "Jitna yeh ooncha dher hai, woh mujhe mil gaya hai, kisi ke paas nahi hai. Aur poore pond mein mein akela dekho iske upar tair raha hoon." Right? I am ruling. To woh makkhi apne aap ko na, you know, thinks that he's the king of the world. So, if you find a story like this, to aap, one way to read it is surface-level reading ke oh dekho makkhiyan kya hoti hain, makkhiyon ke upar aap usko koi science nikalna shuru kar denge. That is the wrong way to read the Masnavi. And you know, Rumi's own son Sultan Walad wrote about this ke yeh log ghalat hain jo ke Rumi, because Rumi has this very good imagery. Just like Attar is so gifted, Rumi is also very, very good with imagery. And Rumi's great talent is in putting, you know, some very beautiful, putting things in simple terms. Isliye Rumi touches many people. In fact, he touches everyone who reads him ke bohot pyaari images use karke, gehri baat aasan andaaz mein keh dete hain. Koi lamba falsafa-walsafa, he doesn't do that. If you read Rumi enough, you follow him, his central point is pretty clear. Kabhi-kabaar haan kuch cheezein hain jo ke bohot usmein gehri hain, you can keep thinking about them. Uh, but the complexity will happen or comes from reflecting on Rumi, right? But Rumi's message is often not very convoluted or weird, it's actually very striking and beautiful, especially if you understand the, the genre, aapka zauq ho uss shayri ka, uss genre ka, thoda sa samajhte hain.* **16:33** Okay? So back to the *makkhi*. *Makkhi wali misaal badi khoobsurat lag rahi hai ke woh makkhi apne aap ko pata nahi kya samajhti hai*. But what does the *makkhi* actually representing? What's the key? What does everything, almost everything represent in these stories? The *nafs*, the human soul. Okay? So now if the *makkhi* is representing the human soul, what is the pile of, what is the pile of waste representing? Worldly things. The world, the *dunya*. So yeh ke jo *dunya* mein aapko cheezein milti hain, aap samajhte ho mujhe pata nahi kya mil gayi hai, but from another point of view, it's all rubbish, it's all filth. Okay? **17:22** *Jis tarah se misaal ke taur pe aap bada khush ho ke maine na koi pata nahi kya badi mehngi jagah jaake khana kha liya hai. Aur agle din pet kharab ho gaya ho. Ya maybe you know, usko is tarah ki khane khane se aapko aur aapki tabiyat kharab ho jaye. Ya let's say, I'll tell you another, uss se bhi aasan misaal deta hoon. Like let's say people might drink very expensive wine and feel very good about it ke dekhein hum kitne ameer hain hum afford kar sakte hain aisi cheezein. But for someone else looking at it from another perspective, that's very bad for your health. Sometimes those things smell so bad. Beer smells so bad. The first time I smelt beer because I was in the US, to woh serve kar rahe the to, I was like what, this smells like somebody's pee, what is this? Aur log pi rahe hain, unko maza bhi aa raha hai, lekin hamein woh bohot gandi lag rahi hai cheez. So Rumi is saying the dunya is like that. You know, things, it's a matter of perspective. Aapko badi fakhr lag raha hai uss cheez pe, lekin woh asal mein kya hai woh, from some other point of view, it is oppressing you. And it's an attachment that does not make you happy. Right? So the world is like that. Ab Rumi jo hai uski mazeed jab usko kholenge aur is nazm ko develop karenge, wahan par aur bohot bareek baatein aayengi, again those are reflections on the soul.* **18:54** Okay? So that's how to read the Masnavi. To read the Masnavi, always think how different stories are teaching you lessons about the soul. Now, it's not just the soul. Not every character represents the soul. Of course, you can have saints and you can have prophets and you can have *auliya* and you can have devils and you can have God, some character representing God or something like that. Yeah? *Aisa hota hai*. So not every character is representing the *nafs*. But the stories are intended to teach something about the *nafs*. Unka focus hota hai ke hum taake hum kuch reflect kar sakein aur seekh sakein. Okay? **19:38** And one more thing, *yaad rakhiyega, these are pedagogical texts. Pedagogical ka kya matlab ho sakta hai? Yeh taleem, yeh tarbiyat ke liye hain. Logon ki formation ke liye. Yeh be-maqsad, shughli nahi likhe gaye ke dekhein meri career promotion ho jaye ya log meri wah wah karein. No. Someone like Rumi or someone like Attar is writing these to push us, and this is precisely why they were so highly acclaimed because inmein ek ikhlaas hai, they want to push us to become better in our spirituality.* Okay? Got it? **20:16** *Acha*. I am also looking at so many empty chairs today, I am also quite tempted to have a, you know, a quiz, maybe after the, maybe after our break or maybe right before class time ends. Who knows? So *agar aapke koi dost hain jo idhar udhar phir rahe hain, break mein beshak unko message kar dein. I think those of you who made an effort deserve to get something special. Chalein dekhte hain, let's see. Let's keep it open for now. Now, let's get back to our story. What is that story? It's called the, the, the, the Masnavi opens with the story about or the parable. Story bhi nahi actually, yeh parable hai. Kahani woh to hoti hai na, yeh hua, yeh hua, yeh hua. Yes? Parable hoti hai koi ek misaal de di jaati hai. Jaise mein kahoon ke Quran mein bhi jaise aata hai ke kalmat-ul-haq yaani achhai ki baat, koi acha kaam, acha kaam, achi guftugu, koi bhi cheez jisse, which is very impactful, is like a tree. Right? A tree, it's firm, it grows, it keeps growing, then it gives benefit to the world. Achi baat ka yeh asar hota hai. Aur buri baat kaisi hoti hai? Jaise gala sada darakht. Usmein stability nahi hoti, right? Example, bad relationships, haram relationships, unstable, koi usmein sukoon nahi hota. Aur phir woh logon ko, jaise gala hua sada hua darakht jo hota hai, jab woh girta hai to girte girte bhi aur cheezon ko tabah kar jaata hai. All right? So Quran mein usko kalmat-ul-su kaha jaata hai. Ke bura kaam, burai ke kaam aise hote hain, unmein instability hoti hai aur woh logon ko nuksan pahunchate hain aur khatm hote hote to aur bohot kuch kar jaate hain. You see this? Now this was just a parable, what a beautiful parable. The parable of a tree. Are you listening to me? The parable of a tree. A healthy tree grows, it multiplies, it gives shade, it gives fruit. Quran ne uske saath parable ki example di hai ke yeh jo achhai ka raasta hai woh aisa hai. It gives you peace, it's beautiful, it's natural. Jabke jo burai ka raasta hai it's unnatural, it's weird, it's obscene, it's aapke dil mein bhaari mehsoos hoyega, blah blah blah blah blah. Okay? Those are parables. To, ya misaal jisko hum keh sakte hain. Maulana Rum shuru karte hain Masnavi Ney-nameh se. Ney-nameh bansuri ki kahani hai, bansuri ki misaal hai. The Ney-nameh is so important, so beautiful, so deep, ke jo Rumi, Maulana Rum ka jo silsila hai, jinko Mevlevi bhi kaha jaata hai, un wahan unke haan ek kahawat mashoor hai ke pehle zindagi ke koi 18-20 saal sirf Ney-nameh par ghaur karte hote. Okay? So it's that deep. If you can, you can keep rereading it and you can keep thinking about it. And I've been teaching, reading this for a long time and every time I read it, especially after I take a break and reread it, I enjoy it so much and I often like end up, mera zehen pata nahi kahan kahan travel shuru ho jaata hai. And so I'm not alone, right? This is the experience of many people. So let's do this and before we do that, remember, whenever you find these objects or parables, the, everything goes back to the human soul. Yeh yaad rakhiyega.* **23:50** So the *Ney-nameh*, the song of the reed, reed flute ko keh sakte hain *bansuri* ko. So, the *bansuri* is going to represent, this is like a *bansuri*. So the guess what, the first word you should remember whenever there is any image given, your first guess should be that this *bansuri* is going to represent the human soul. Okay? So let's read, okay? It says, *“Bishnau in ney chun shikayat mikunad, az judaai ha hikayat mikunad. Kaz nayestan ta mara bebureeda and, dar nafeeram mard o zan naleeda and.”* Okay? So it says, ever since, okay, listen to this reed, ya is *bansuri* ko suno, how it complains, telling a tale of separation. *Az judaai ha hikayat mikunad*. *Acha jab aapne Farsi suni thi, they switched shikayat with hikayat. Kyunki kuch versions mein itne logon ne Masnavi likhi thi to kuch logon ne shikayat ko hikayat kar diya, hikayat ko shikayat kar diya*. Either way it doesn't matter, in fact this is an art in poetry when sometimes some words are interchangeable, so aap woh bhi kar sakte hain. *“Kaz nayestan ta mara bebureeda and.”* Ever since I was parted from the reed bed, *“Dar nafeeram mard o zan naleeda and,”* people, men and women have moaned with my, you know in unison with my lament. Ke jab se mujhe, jab se mujhe, talab se, talab se, kata gaya, tab se, mere gaane se har koi udas hai. Now, *ney* is *baans, bansuri. Nayestan* kya hai? *Stan* kisko kehte hain? Jaise Pakistan hai. Pak logon ki jagah. Balochistan, balochon ki jagah. Turkmenistan, Turkmen, Turkmenon ki jagah. Gulistan, phoolon ki jagah. So *stan* is just represents the land. So *nayestan* is the land of the *ney*, yaani ke jisko reed bed keh sakte hain ya swamp keh sakte hain jahan pe *baans* ugta hai.* **26:14** *Now, the thing about the baans, this is a beautiful image to use. Agar aapne bamboo dekha ho, aur log to ab gharon ke bahar bhi lagate hain aur for some reason jo LGS ki buildings hain unke bahar bhi bohot saara baans hota hai. I don't know why, though. It looks nice, I think with the red bricks, that's why they choose to put a lot of bamboos around their campuses. To lekin woh patla wala baans hota hai. If you, I remember when I was young I did this very strange thing, hamara ek koi play tha, school ka koi play tha, aur uske liye hamein sticks chahiye thi, to we used to have this old home, it's kind of like a purana ek ghar tha to udhar bamboos kuch uge hue the. To ek dafa mein koi I took a knife and I cut some bamboo. And I said, "Okay let's use these for as sticks for our play or something like that." So usko maine ek din rakh diya, agle din subah utha, guess what happened? The bamboo becomes super hard. Jab woh kat-ta hai to woh bada soft sa, green sa hota hai, because it's connected, it's living, but when it dries, it becomes so hard. Okay? Aur jo aksar jo tents pe nahi lagate bamboo, tents ke neeche laga hota hai, that's hardened bamboo also. So, this is the reed bed. Aur idhar se aap usually kaat-te ho, ya idhar se kahin kaat-te ho, aur woh ek cheez yahan se woh bahar aa jaati hai. And then usko mazeed kaat ke aap uski bansuri bana sakte ho. Okay? So, what is the ney representing? This ney represents the human soul. And so the human soul, Maulana Rumi is saying, “Bishnau in ney,” listen to the song of the flute. Whenever a flute is, is, whenever someone plays the flute, koi jab bansuri bajata hai, what sort of feeling do you get out of that sound? It’s peaceful. Or what? Is there a little sad? It's a little sad, yes. It's serene, it's beautiful, it's sad. And, you know, that's very strange. How can a, how can the flow of sound produce meaning that we can feel? Yeh bas ek hawa chal rahi hai uske beech mein, lekin woh hawa jab chalke kuch gaana banati hai, naghma banati hai, to hamein mehsoos hota hai. How is that so? Maulana Rumi is saying that is because the reason why when air flows through the baans, the reason why we can feel that grief, that pain, maybe some degree of serenity, is because it's telling us something. It's telling us about the pain of separation. Yeh dekhein, az judaai ha, meaning separations. It's not one judaai because this individual reed, ek baans ki ladi jo hai, woh yahan par akeli nahi thi. It had many, the company of many other beings and souls. But now it’s been cut off. And so it's so sad. Okay? Separations.* **30:01** Alright, if the *ney* represents the human soul, what does the *neyestan* represent? Connection to God. *Haan, lekin* connection to God ka isse kya taaluq hai? Some plane where all the souls were together. Yes! Thank you, you got it. So *ahd-e-alast* jo hai, usmein kya hai? Aaj kal Allah Ta'ala kehte hain na ke I, maine tamam jo maine Adam ki aulad ko jama kiya. Aur sab se poocha, "Am I not your Lord?" Yeah? And they said, "Bala, yes." So there was some point where our souls were together. Right? Aur ek hadith bhi hai ke ek dafa aapko koi milta hai aur aapko foran se you start liking that person. Not in terms of like, again, don't think woh sexual wali baat nahi hai, but it's just like, kuch log aapko milte hain, you meet a girl, you meet a boy, and you just like find it very easy to become friends with them. Ek hadith hai ke that's because your souls maybe knew each other before you came into this world. **31:37** So, you know, the human soul in its worldly condition is like the *ney*. But in its primordial condition, yaani ke dunya mein aane se pehle, it was like this, this, this, this *baans* in the *talab*, in the, in the *neyestan*. Reed bed, in the swamp. That was our home. But when we come to this earth, we are extracted from this plane of *alast* and our souls are brought into this world. Now, when that happens, in a sense we are sad. Our soul at some very deep level is sad because it's lost its original home. It's lost its original friends, all the souls it was close to. And it's not just souls that we were close to. It was also the God. *Ooncha bole na Seresh, you know this. Why are you...? Very good. So we had the company of other souls. So you have these other souls. And you also have God and maybe angels and what not. So we were in this world before we came to this earth. And so our human condition is like this thing that is cut off from its original home. Our original home was with God, with some other land where other souls were. But in our worldly condition, we are separated. It's, our worldly condition essentially is a tale of separations. Okay?* **33:34** Now, if you listen to the song of the reed, *kayi log isko perform bhi karte hain Ney-nameh ko to woh bansuri bajate hain*. Theek hai? So *woh yeh keh rahe hain ke everyone, everyone listens to it but people don't reflect on something. What is that something? Aur yahan pe hum aage choti pe jayenge. Let's just read this. “Seena khwaham sharha sharha az firaq, ta bigoyam sharha dard-e-ishtiyaq. Har kasi ke oo duur maand az asl-e-khwesh, baaz jooyad rozgar-e-wasl-e-khwesh.” To woh keh rahe hain ke mein aisa seena chahta hoon, sharha sharha az firaq, jo ke firaq yaani separation se toota, toota ho, para-para ho chuka ho. Ta bigoyam sharha dard-e-ishtiyaq. To mein usko bataun ke yeh jo jab aap se koi kho jaata hai, when you lose someone you love, jo aapko ek tadap hoti hai, ishtiyaq is passionate love, shauq ho jiske andar. Aur kisi ko paane ka shauq ho, ishtiyaq. Uss ka woh jo extreme qism ka dard hota hai, when you go crazy because you've lost someone you love, he says, you know I want to tell you about that.* **34:50** *Now, when do people, when do we mostly feel that? When we lose someone who was close to us, maybe a family member, maybe someone we were in a relationship with or something like that, or when we have a breakup or something like that, we do feel that very intense kind of hurt, um, longing, wanting to get back to into some sort of, into union, you know? It could be your, anyone, it could be a very tragic kind of thing that you lose someone you love deeply. So woh kehte hain ke lekin jiska, jis shakhs ka aisa seena toot-toot, toota hua, woh meri baat samjhega. How I feel. Now, Rumi is giving making a deeper point here. Jab hum dunya mein jo firaq ka dard mehsoos karte hain, that's a window into, that's a, that's an opportunity, yeh ek mauqa hai ke hum apni asal condition ko pehchan le. Because we were born separated. We were born separated from our true nature, true home. But we got used to the world, we got comfortable in a new home, an alien world or a new world for us. So, when you lose someone, it's now time to get back to who you really are. Okay? So a crisis is an opportunity. Yaad hai na maine bataya tha ke when Rumi lost Shams, that was a crisis, he broke down. But then, in separation, he found a kind of union. Woh aage jaake baat aayegi.* **36:32** *Okay? So he says, “Har kasi ke oo duur maand az asl-e-khwesh.” Har shakhs jo apni asl se duur ho jaata hai. Asl kisko kehte hain? Root. Very good. So dekhiye, this is such a nice play on words here. Asl ka matlab hota hai genuine ya haqeeqat, it also means literally it means root. Kisi paudhe ki asl kya hoti hai? Uski jadein. So all of us have a root. We've been cut off from that root. When you are cut off from that root, you always want to go back to that place you were cut off from, right? To aapko pata hai, “Baaz jooyad rozgar-e-wasl-e-khwesh.” Woh baar baar sochta hai ke mein wahan wapas jaoon. You know people are away from their home, they miss home so much, homesick ho jaate hain. Baar baar woh sochte hain. Chahe unko dunya mein bahar aake bohot kuch mil jaaye, woh aksar purana sochte hain. Of course if their home was hellish, to that's another thing. But for most people, even if they had a little bit of goodness and peace in their home and they had memories there, they'll never forget that and they always want to come back or do something or relive those moments because they're like, they feel separated from where they come from. So woh kehte hain ke har insan jo apni asl hoti hai uss pe pahunchne ki koshish karta hai. Har cheez yeh chahti hai. Theek hai? Iski kayi misaalein yaad hai aapko quiz mein bhi question tha, Rumi uses another example, the metaphor of an elephant. Do you remember that? Ke maybe you don't, you did not answer that question correctly, but woh haathi ka bhi yeh kehte hain na ke haathi ka jo asal ghar tha woh Africa aur India hai. Because these were lands with these big jungles. India mein bohot bade bade jungle hote the. Punjab mein bohot bade jungle hote the. Yeh to again industrialization wagera ke baad humne tabah kar diya bohot saari cheezein. Theek hai? But unn junglon mein haathi phirte the. Aur unke poore migration pattern hote the. Because it's a big animal, right? So usko aap kahin aur shift karke le jayein, uss bade haathi ko, usko uske, and animals, elephants are very social animals. If you watch some nature documentaries, woh qabrein bhi banate hain, jaake afsos bhi karte hain. Elephants are actually quite intelligent. They have memory, they have many other things, they are very social animals. So unko yaad aata hai apna ghar agar unko kar dein, they feel depressed. Aur aapko pata hoga ke Pakistan mein bhi ek aad haathi marre the, phir ek aad haathi bimaar the to unko wapas unhon ne Africa shift kiya tha. You know this?* **39:11** *So, Rumi, Musalman jo the, unke haan elephants ki management aur elephants gifts bhi, gift bhi kiye jaate the. But people handlers would know what could feel that this animal is sad because you've cut it off from its original environment, you've cut it off from its, it's, you know, its society, and now it sort of feels sad. Yeah? Isliye jo circus mein perform karte the woh aksar unko phir aapko groups mein rakhna padta tha. Then they would still do better, they would survive. Elephants wouldn't survive. So wahi baat hai ke kisi cheez ko uske asal se aap nikal dein, okay? Jaise, Maulana Rumi will also use the example of a fish. Okay? Ke agar aap ek machhli ko pani se nikal de to woh tadpegi. Lekin agar insan ko pani mein daalein to I think I'm seeing something. Kyunki dono ka asal aur hai. Dono ka ghar aur hai, dono ki nature aur hai. So everyone wants to go back to their asal.* **40:11** And *“Baaz jooyad rozgar-e-wasl-e-khwesh.”* apne aap ko woh paana chahta hai. *Wasl-e-khwesh*, he actually, yahan pe na, everyone who has left far from his source wishes back the time when he was united with it. Good translation. But jo Farsi mein uski jo, multiple uski jo gehri cheezein nikalti hain woh mein aapko samajhata hoon. Because the *asal* is your root. So this *asal* is your root and is also yourself. *Wasl-e-khwesh*, woh apne aap se to reunite with itself. Because you were part of this, now you've been just cut off from this. You want to go back and find the missing part that connected you with everyone else. All of you were part of this one soil. But now you've been cut off. So jo aapka aadha hissa tha jo juda hua tha Khuda se, ya se, aur ruhon se, woh saara kat gaya. So since you've been cut off, all of us our deepest yearning or at a spiritual level is to get back to that original moment of unity. Okay? So woh doosron ke saath judna, apnon ke saath judna hai, Khuda ke saath judna bhi ek tarah se apne aap se judna hai. Okay?* **41:48** Okay. *Ney harif-e-har ke az yaari bureed, pardahoyash pardahoy-e-ma dareed*. Okay? *Ney* har woh shakhs jiska yaar usse kat gaya, *ney* jo hai uska ek tarah se dost hai. Harif can mean, Urdu mein kayi dafa iska matlab dushman bhi hota hai, but someone who is very close to someone like a buddy, like a friend. So the flute is a buddy to anyone who's feeling sad because they've been cut off from their friend. Now, ultimate, ultimate buddy is this reed bed. *Haan*, we have these other souls, but this reed bed is basically the divine reality. So ultimately we are all cut off from God, right? And God is also part of us. Our own *asal* is God. So when you find God, you find your own self. Remember, *Mantiq-ut-Tayr* mein bhi yehi baat thi. So *“Ney harif-e-har ke az yaari bureed.”* So if you use the, the reed and you can understand the human condition as one of separation from God, um, and you're feeling sad and you have that opportunity in your life, then the *ney* will do wonders for you. You will reflect, you will listen to that music, and you will think about connecting with God. Right? Or reconnecting. You will not just feel, use it to project emotions. I am sad, this is sad, to just meaninglessly do it. You will ask the other question, the deeper question, why am I feeling so sad? And what am I really trying to do? I'm always trying to fill gaps in my life through love. Koi cheez jab chali jaati hai, to phir andaza hota hai ke yaar this is what we were living for, this is what we're yearning for. So kho ke hum paana chahte hain. But paana kyun chahte hain? Har waqt hum kuch paana chah rahe hote hain. Aur jab hum kuch bohot gehra kho jaate hain, that's when we sort of sink deeper into ourselves and into our deep, our deeper needs. And the deeper need is to connect with the ultimate that you've lost, which is God.* **45:10** So, anyone who's lost their friend, anyone you love, the flute, meaning the human soul or the secrets of the human soul, they are now your opportunity, they're your friend. That song is your friend. *“Pardahoyash pardahoy-e-ma dareed.” Acha*, flute ke aage bhi kayi dafa parde lage hote hain aage na, there's often, idhar bhi aur idhar bhi to make the air flow more consistent or something like this. Isko flute pe koi, koi cheez daali ja sakti hai ya drum daala jaata hai uske upar to make the sound improve the sound perhaps. To iska flute ka bhi parda hota hai aur hamara bhi parda hota hai. Hamara kahan parda hota hai? *Kaan* ka parda, ear drum jisko kehte hain. So he says, *“Pardahoyash,”* yaani ke it's notes, haan idhar bhi lag sakte hain parde. All the openings can have some sort of, jaise speakers mein, speakers mein bhi kya hota hai, koi ek surface hoti hai na jo sound ko augment karti hai. So you could say uske speakers ne hamare speaker phaar daale. That's what he's saying. We have our ear receiving speaker, we have our ear drum. Hamara yeh kaan ka parda hota hai aur uske apne parde hote hain. This is another pun, ke uske pardon ne hamare parde phaar daale.* **46:23** Now iske do maani nikal sakte hain. This is playful poetry, remember. Do maani nikalte hain. Ek maani yehi hai ke jab humne, once we really understood the deeper meaning of life, going beyond the superficial, sensual data we experience all the time, it blew us away and we, you know, hamare kaan ke parde phat gaye yaani ke we were just blown away and we started to realize what we're really missing on, we're really missing on being separated from God. Woh asal hai. Phir aap gaadi khareedte hain, aap koi mohabbat mein pad jaate hain, aapko ishq karte hain, woh karte hain, all of those are like bad attempts to fill what you really need in your life, which is reconnecting with God. Okay? So, that realization is blown on our minds. Another interpretation could be, ke once we realize this, we became, hamare parde phat gaye, yaani ke parda is tarah se hota hai na, parda covers you. So you are pretentious, aap apne aap ko bada paak samajhte hain. You think I am very holy and very pious. Or, um, maybe you fool yourself ke haan mein kal tauba kar loonga ya kal tauba kar loongi. Whatever, there's those parde, whatever those veils are, parda is also a veil, all those veils are destroyed once you realize what you really need. That realization is so powerful.* **48:06** Okay? *“Jumla mashuq ast o aashiq pardaye, zinda mashuq ast o aashiq murdaye.”* Okay? Uh, this is not too difficult and we can do this tomorrow. Okay? So I'll see you tomorrow. Good luck for your assignment. And one wait a second, I just need to mark attendance. Can I borrow your pen please? Thank you. Please stay seated. Of course. Here are comprehensive notes on the lecture, organized by themes and key concepts, including important terms, ideas, and illustrative anecdotes with timestamps. ### **Comprehensive Notes on the Lecture on Rumi** #### **Introduction: Differentiating Worldly Love from Spiritual Love (00:00 - 01:15)** * **Modern vs. Spiritual Romance:** The lecture begins by contrasting contemporary Western concepts of romance ("dates over romance") with the deeper, spiritual love discussed in Sufism. Worldly romance is often fleeting, whereas spiritual love is transformative. * **The Purity of Spiritual Love (Anecdote from Imam al-Ghazali):** * (00:28) Imam al-Ghazali's perspective is used to define pure, spiritual love. This is an attraction that is not based on lust. * **Idea:** If looking at someone's face brings you to tears or fills you with a sense of immense purity (*pakeezgi*), similar to seeing a beautiful rose, it reflects a glimpse of the divine (*jamal* or *jalal*). This is considered acceptable. * **The Dividing Line:** The line is crossed when physical desire and "private parts get involved" (00:58). This is the fundamental distinction between lust and spiritual love in this context. --- #### **The Relationship of Rumi and Shams-e-Tabrizi (01:15 - 05:33)** * **Nature of their Bond:** Described as intensely profound, spiritual, and strange (*shadeed* and *ajeeb*). It was a male-male spiritual romance, devoid of the physical connotations often assumed today. * **Cultural Context of Affection:** * (01:24) The lecture notes descriptions of them stroking each other's beards, which was a common, non-sexual sign of affection and camaraderie in that era, also seen among the Sahaba (Companions of the Prophet). * (02:06) This is contrasted with the post-Victorian Western perception where such physical affection between men became taboo and was often equated with homosexuality. * **The Disappearance of Shams & Rumi's Transformation:** * Shams's sudden departure was the pivotal, traumatic event that transformed Rumi from a scholar into a mystical poet. * **Three Anecdotes/Theories on his Disappearance (04:17):** 1. **Jealousy:** Rumi's family and followers, jealous of Shams's influence, may have poisoned him. 2. **Voluntary Departure:** Shams may have left willingly, realizing he was causing a distraction in Rumi's life and duties. 3. **A Spiritual Lesson:** Shams's disappearance was a deliberate pedagogical act to teach Rumi the profound spiritual lesson of separation (*judai*), believing that the pain of separation is a powerful path to finding God. * **From Separation to Spiritual Love:** The pain of this separation broke Rumi, but ultimately "transformed him" (05:48) and made separation (*judai*) a central theme in his teachings. This experience ignited in him a "deep kind of spiritual love" that became his primary way of connecting to God. --- #### **The *Masnavi*: Its Genesis and How to Read It (06:53 - 13:38)** * **The Inspiration (Anecdote of Husamuddin):** * (06:53) Rumi's disciple, Husamuddin, noticing the disciples' love for Fariduddin Attar's *Mantiq-ut-Tayr* (The Conference of the Birds), requested that Rumi compose a similar work in the *masnavi* form. This is how the monumental work began, with Rumi dictating and his disciples writing. * **The Nature of the *Masnavi*:** * (09:33) It is not always a linear, coherent narrative. It often digresses into different stories and ideas, much like a teacher giving spontaneous lessons. * **Idea: Pedagogical Text:** The *Masnavi* is not for mere entertainment; it's a **pedagogical text** designed for spiritual training (*tarbiyat*). Its primary purpose is to teach lessons about the human soul. * **The Key to Interpretation: The Human Soul (*Nafs*)** * (13:00) **Term: *Nafs***. This is the central concept for understanding the *Masnavi*. Almost every character, story, and object is a metaphor for an aspect of the human soul. * **The Anecdote of the Fly on the Garbage Dump (13:48):** This is the primary example of how to read the text. * **The Fly (*Makkhi*):** Represents the human soul (*Nafs*). * **The Garbage Dump (*Gand*):** Represents the material world (*Dunya*). * **The Meaning:** The fly, sitting atop a pile of filth, believes it is the "king of the world." This illustrates the soul's delusion in the material world, mistaking worldly attachments (which are ultimately "filth") for true treasure and power. Reading this story literally misses the entire spiritual point. --- #### **Deep Dive into the *Ney-nameh* (Song of the Reed) (13:38 - End)** The opening of the *Masnavi* is a parable about a reed flute, which serves as the foundational metaphor for the entire work. * **Central Metaphor:** * (24:12) **Term: *Ney*** (The Reed Flute). The *Ney* represents the **human soul**. * (25:47) **Term: *Neyestan*** (The Reed Bed). This represents the **primordial world** or spiritual realm (*ahd-e-alast*), where all souls were united with each other and with God. It is our true home. * **The Idea of Separation:** The song of the *Ney* is a lament because it has been **cut off from its origin** (the *Neyestan*), just as the human soul has been separated from its divine source upon entering the material world. * **The Yearning for the Origin (*Asal*)** * (36:35) **Term: *Asal*** (Root, Origin). Every soul, like the reed, has a deep, innate yearning to return to its origin. This longing for reunification is the driving force of the spiritual journey. * **The Role of the Divine & the Spiritual Guide** * (1:00:03) **Term: *Dam-saz*** (The Flute Player, literally "one who breathes with"). This represents God or a spiritual guide (like Shams) who "breathes" into the soul, giving it life and allowing it to express its song of longing. The intimate image of the player's lips on the flute (*ba lab-e-damsaz*) symbolizes this profound connection. * **Key Themes Expressed in the *Ney-nameh***: * **Love as Fire (56:47):** The sound of the *Ney* is not mere wind; it is the "fire of love" (*aatish-e-ishq*). Love is the engine of the universe and the driving force behind the soul's journey. * **Poison (*Zeher*) and Antidote (*Taryaaq*) (70:08):** The *Ney* is both. It's a poison because it reminds us of the pain of our separation from God. It's an antidote because this very realization is the cure and the path back to union. * **The Incomprehensibility of Spiritual States (74:20):** A person who is "raw" or spiritually immature (*khaam*) cannot understand the state of one who is "cooked" or spiritually mature (*pukhta*). These are experiential states that cannot be explained, only felt. * **Freedom from Worldly Chains (83:35):** The lecture discusses the "chains of gold and silver" (*band-e-seem o band-e-zar*), representing greed for wealth and status. The soul must break free from these prisons to find true liberation. * **The Anecdote of the Oyster and the Pearl (87:43):** * **Term: *Sadaf*** (Oyster Shell). * **Idea:** The oyster must practice **contentment (*qana'at*)**. By closing its mouth and being content with a single drop of rain, and then nurturing it over time, it produces a precious pearl (*dur*). This teaches that spiritual richness comes from patience, nurturing, and being content, not from endless greed. * **The Rose (*Gul*) and the Nightingale (*Bulbul*) (1:05:14):** The nightingale only sings when the rose is present. When the rose (the divine inspiration, the beloved) is gone, the nightingale (the soul, the lover) falls silent. This reinforces the idea that our spiritual life withers without a connection to the divine. Of course. Here is a more detailed explanation of the "Song of the Reed" (*Ney-nameh*), expanding on the concepts, metaphors, and spiritual ideas presented in the lecture. ### **A Detailed Explanation of the "Song of the Reed" (*Ney-nameh*)** The "Song of the Reed" comprises the first 18 verses of Rumi's monumental work, the *Masnavi*. It is not merely an introduction; it is the spiritual overture that encapsulates the central themes of the entire 6-volume masterpiece. It uses the simple, powerful metaphor of a reed flute to explain the profound condition of the human soul, its origin, its suffering in the material world, and its ultimate yearning for reunification with the Divine. #### **1. The Central Metaphor: Unpacking the Reed and Its Song** The entire parable is built on a single, powerful image that Rumi deconstructs to reveal layers of spiritual meaning. * **The Reed (*Ney*) as the Human Soul:** The reed flute begins its life as part of a larger, unified whole in the reed bed. To become an instrument, it must be cut, hollowed out, and pierced with holes. This process is a direct metaphor for the human soul. * **Hollowness and Emptiness:** The reed is hollow, signifying that the soul, in its purest state, is empty of ego and self-will. It is a vessel, a channel waiting to be filled. Its purpose is not to create its own sound but to perfectly transmit the breath of the player. This connects directly to the Sufi ideal of **Fana** (annihilation of the ego), where one becomes an instrument for the Divine will. * **Pain and Refinement:** The piercing of holes in the reed represents the pains, trials, and attachments of worldly life. These experiences, while painful, are what allow the soul to produce a variety of "notes" and express its unique spiritual melody. * **The Reed Bed (*Neyestan*) as the Primordial Origin:** As explained in the lecture (25:47), the *Neyestan* is not just a physical swamp; it is a symbol of the spiritual realm, the **Primordial World** (*ahd-e-alast*). * **A State of Unity:** This was our "true home," a state of perfect unity where all souls existed in harmony with one another and in direct proximity to God. There was no separation, no sense of "I" or "other." * **The Source of Nostalgia:** The soul retains a deep, subconscious memory of this home, which manifests as a constant, inexplicable feeling of restlessness and longing in the material world. * **The "Cutting" as Separation (*Judai*):** The poem begins with the reed's lament: *"Ever since I was parted from the reed bed..."* (25:11). * **The Trauma of Existence:** The act of being "cut" represents the soul's entry into the physical world—the trauma of birth and the separation from its divine source. This separation is the root cause of all human suffering. * **The Song as a Lament:** The melancholic sound of the flute is therefore not just music; it is a **lament (*shikayat*)** and a story (*hikayat*) of this painful separation. The sadness evoked by the flute's music resonates with the listener because it awakens the echo of their own soul's homesickness. * **The Flute Player (*Dam-saz*) as the Divine Breath:** A reed flute is passive; it cannot make music on its own. It needs a player to breathe life into it. * **Divine Inspiration:** The flute player (*Dam-saz*, literally "one who breathes with") represents God, the Divine Spirit, or a spiritual guide (*murshid*). It is the Divine Breath that flows through the empty soul, creating the beautiful, sorrowful song of longing. Our spiritual life is not self-generated; it is a response to this divine call. #### **2. Major Themes Arising from the Parable** The lecture highlighted several key spiritual ideas embedded within this parable: * **Love as a Consuming Fire (*Aatish-e-Ishq*):** Rumi states, *"It is the fire of Love that is in the reed, it is the ferment of Love that is in the wine."* (56:47) This is a crucial point. The energy that drives the reed's song is not mere air but the **fire of Divine Love**. * **Transformative, Not Sentimental:** This is not a gentle, romantic love. It is a powerful, purifying force that burns away the impurities of the ego, greed (*hirs*), and worldly attachments. It is this fire that propels the seeker on their difficult spiritual path (*rah-e-pur-khoon*, "the bloody path"). * **The Duality of Spiritual Pain (Poison and Antidote):** *"The reed is a poison (*zeher*) and an antidote (*taryaaq*) at once."* (70:08) * **The Pain of Awareness (Poison):** Listening to the reed's song is painful because it forces us to confront our state of separation, our loneliness, and our spiritual exile. It is a bitter reminder of what we have lost. * **The Cure in the Pain (Antidote):** However, this very awareness is the cure. By recognizing our separation, we begin the journey of return. The pain of longing is the medicine that awakens the soul and motivates it to seek reunification. * **Spiritual Knowledge vs. Sensual Perception:** Rumi makes it clear that true understanding cannot be gained through the physical senses alone. * *"My secret is not far from my lament, but eye and ear do not have the light [to perceive it]."* (47:57) This emphasizes that spiritual reality is an experiential state (*zauq* or *haal*) that transcends intellectual analysis or sensory perception. One must move beyond the superficial sound to feel the underlying meaning. * **Freedom from the Prison of the Self:** The lecture connects the *Ney-nameh* to the idea of breaking free from worldly attachments. * *"Happy is the one who broke free of these chains! Break your chains and be free, O son!"* (83:22) The "chains of gold and silver" represent our imprisonment by greed, status, and reputation (*nakhwat* and *namoos*). The song of the reed is a call to shed these attachments, which weigh the soul down and prevent it from returning to its source. True freedom is spiritual liberation, not material accumulation. In essence, the "Song of the Reed" is a microcosm of the entire Sufi path. It tells us that the feeling of being incomplete, the search for meaning, and the deep-seated sadness that often characterizes human existence are not random feelings. They are the echoes of our soul's memory of its true home. The path back to that home is through the transformative fire of Divine Love, a journey that is both painful and healing, and one that requires us to become hollow vessels for the Divine Breath. Of course. Here is a detailed, verse-by-verse explanation of the "Song of the Reed" (*Ney-nameh*), drawing upon the themes and interpretations discussed in the lecture. ### **Verse-by-Verse Explanation of the *Ney-nameh*** The *Ney-nameh* is the opening of Rumi's *Masnavi* and serves as its spiritual foundation. The parable of the reed flute is a profound allegory for the journey of the human soul. --- #### **Verse 1: The Lament of Separation** > *Bishnau in ney chun shikayat mikunad, az judaai ha hikayat mikunad.* > (Listen to this reed how it complains, telling a tale of separations.) * **Literal Meaning:** The poem immediately personifies the reed flute (*ney*), asking the reader to listen to its sorrowful sound. The music is not just a melody; it is a complaint (*shikayat*) and a story (*hikayat*) about being torn away from its home. * **Sufi Interpretation:** The **reed** is the **human soul**. Its song is the innate sadness and longing that every human feels, a subconscious grief for being separated (*judai*) from its **Divine Origin**. The word "separations" (plural) hints that this is a multi-layered alienation—from God, from our primordial state of unity, and from our true selves. --- #### **Verse 2: The Origin and the Universal Cry** > *Kaz nayestan ta mara bebureeda and, dar nafeeram mard o zan naleeda and.* > (Ever since I was parted from the reed bed, men and women have moaned in unison with my lament.) * **Literal Meaning:** The reed explains the source of its pain: it was cut from the reed bed (*neyestan*), its home. Its sorrowful music resonates universally, causing both men and women to feel and express a similar pain. * **Sufi Interpretation:** The **reed bed (*Neyestan*)** symbolizes the primordial spiritual realm (*ahd-e-alast*), where all souls existed in a state of perfect unity with God. Being "cut" is the act of birth, the soul's entry into the material world. The lament is universal because every human soul shares this experience of spiritual exile, even if they are not consciously aware of it. The flute's music simply awakens this dormant feeling. --- #### **Verse 3: The Search for a Confidant** > *Seena khwaham sharha sharha az firaq, ta bigoyam sharha dard-e-ishtiyaq.* > (I want a bosom torn by severance, that I may unfold the pain of my yearning.) * **Literal Meaning:** The reed is looking for someone who can truly understand its pain—a "bosom torn by severance," meaning another heart that has also experienced deep separation. Only to such a confidant can it explain the depth of its passionate longing (*ishtiyaq*). * **Sufi Interpretation:** This verse speaks to the loneliness of the spiritual seeker. The soul yearns for a companion on the path—a spiritual guide (*murshid*) or a fellow seeker (*salik*)—who understands the unique and often incommunicable pain of longing for the Divine. It highlights the importance of spiritual company (*suhbah*). --- #### **Verse 4: The Inevitable Return to the Origin** > *Har kasi ke oo duur maand az asl-e-khwesh, baaz jooyad rozgar-e-wasl-e-khwesh.* > (Everyone who has remained far from his origin, seeks back the time of his union with it.) * **Literal Meaning:** Anyone who is far from their home or roots naturally feels homesick and longs for the day they can return. * **Sufi Interpretation:** This establishes a universal spiritual law. The **origin (*asal*)** is our Divine Source. The soul’s journey through life, consciously or not, is a quest to find its way back to that state of union (*wasl*). Every desire we have in the world is, at its core, a misdirected expression of this one ultimate desire. --- #### **Verses 5 & 6: The Misunderstood Message** > *Man be har jam'iyati nalan shudam, juft-e-bad-halan o khush-halan shudam.* > *Har kasi az zann-e khod shod yaar-e-man, az darun-e-man najust asrar-e-man.* > (I have become a lament in every gathering, a companion to the miserable and the happy. Everyone became my friend from their own opinion, but no one sought my secrets from within.) * **Literal Meaning:** The reed plays its music for everyone. The sad find solace in its sorrow, and the happy find beauty in its melody. However, each person interprets the music based on their own feelings, not the reed’s true inner state. * **Sufi Interpretation:** This is a powerful critique of superficial religiosity. People engage with spiritual teachings (the reed's song) on their own terms. They project their own moods and desires onto it, taking from it what comforts them, but they fail to seek the deeper, transformative **secrets (*asrar*)** that lie within. They become "friends" with the form but ignore the essence. --- #### **Verses 7 & 8: The Hidden Reality** > *Sirr-e man az nala-ye man duur neest, lek chashm o goosh ra aan noor neest.* > *Tan ze jaan o jaan ze tan mastur neest, lek kas ra deed-e-jaan dastur neest.* > (My secret is not far from my lament, but eye and ear lack that light. Body is not veiled from soul, nor soul from body, yet no one is permitted to see the soul.) * **Literal Meaning:** The reed insists its secret is obvious—it's right there in its sound. The problem isn't the message, but the inability of the physical senses (eye and ear) to perceive it because they lack the necessary "light." He uses the analogy of the body and soul: they are inseparable, yet we cannot see the soul. * **Sufi Interpretation:** Spiritual truth is not an intellectual or sensory phenomenon. It requires **spiritual insight (*noor* or *baseerat*)**. Just as the soul animates the body but remains unseen, the Divine presence animates the universe but is veiled from our physical senses. The path to understanding is through the "eye of the heart," not the physical eye. --- #### **Verses 9 & 10: The Fire of Love and Divine Wine** > *Aatish ast in baang-e ney o neest baad, har ke in aatish nadarad neest baad!* > *Aatish-e ishq ast ke dar ney futad, joshesh-e ishq ast ke dar mey futad.* > (This sound of the reed is fire, it is not wind; whoever lacks this fire, may he be naught! It is the fire of Love that is in the reed, it is the ferment of Love that is in the wine.) * **Literal Meaning:** The sound is not just lifeless wind (*baad*); it is a living, passionate **fire (*aatish*)**. Rumi then connects this fire to the intoxicating ferment in wine. * **Sufi Interpretation:** This is the heart of the parable. The driving force of the spiritual quest is **Divine Love (*ishq*)**. This love is a consuming fire that purifies the soul. The mention of **wine (*mey*)** is a classic Sufi metaphor for spiritual intoxication—a state where the seeker loses their ego and becomes "drunk" on the love of God. Rumi declares that a life without this fire of love is a life of non-existence (*neest baad*). --- #### **Verses 11-14: The Nature of the Spiritual Path** This section describes the difficult but transformative nature of the path. * The reed is a **friend to the separated** but also a **veil** that can obscure reality. * It is both a **poison (*zeher*)** that reveals our painful separation and an **antidote (*taryaaq*)** that offers the cure. * It speaks of the **"bloody path" (*rah-e-pur-khoon*)** of love, a journey that requires the death of the ego, as exemplified by the archetype of the mad lover, **Majnun**. * This path is only understood by one who has lost their worldly senses (*behosh*) to gain a higher spiritual consciousness (*hosh*). --- #### **Verses 15 & 16: Transcending Worldly Time** > *Ruzha gar raft go, "Raw, baak neest," To bemaan, ay aan ke chun to paak neest.* > (If the days have passed, say, "Go on, there is no fear." You remain, O You who are incomparably pure.) * **Literal Meaning & Interpretation:** The speaker expresses a profound detachment from the passage of time. Let days, weeks, and years go by—it doesn't matter. The only thing of value is the eternal presence of the Beloved (God), who is "incomparably pure." For the true lover, worldly time becomes irrelevant in the face of the timeless Divine. --- #### **Verse 17: The Fish and the Water** > *Har ke joz maahi ze aabash ser shod, har ke bi rozi'st ruzash der shod.* > (Anyone who is not a fish gets sated with its water; anyone who is without daily bread, his day becomes long.) * **Literal Meaning:** A non-fish can only drink a little water before it is full. A fish, however, lives in water and can never have enough of it. * **Sufi Interpretation:** This is a metaphor for the spiritual seeker (*salik*). The **fish (*maahi*)** is the true seeker who thrives in the **ocean of Divine knowledge and love**. They can never get enough. The "non-fish" is the casual or worldly person who only takes a small sip of spirituality and quickly feels "full" or gets bored. They are not in their natural element. --- #### **Verse 18: The Final Word on Experience** > *Dar nayabad haal-e pukhta hech khaam, pas sokhan kutah bayad, was-salam.* > (The raw will never understand the state of the cooked, so the speech must be shortened. Peace be upon you.) * **Literal Meaning & Interpretation:** Rumi concludes by stating that spiritual maturity is an experiential state. The "raw" (*khaam*), or the novice, cannot intellectually grasp the state of the "cooked" (*pukhta*), the spiritually mature one. There is no point in trying to explain it further with words. The journey must be lived, not just talked about. Therefore, he ends the introduction abruptly with *"was-salam"*—Peace. Of course. Here is a continuation of the verse-by-verse explanation of the *Masnavi's* opening, starting from verse 19, building upon the themes established in the "Song of the Reed." --- #### **Verse 19: The Command to Break Free** > *Band begosal baash azaad, ay pesar, chand baashi band-e-seem o band-e-zar?* > (Break your chains and be free, O son! How long will you be a slave to silver and gold?) * **Literal Meaning:** This is a direct and urgent command to a "son" (*pesar*, a term of endearment for a disciple) to break the chains of silver and gold that enslave him. * **Sufi Interpretation:** As the lecture highlighted (83:35), this is not about a literal prison. The **prison (*band*)** is the material world (*dunya*) and the ego's attachments. The **chains (*band*)** specifically refer to: * ***Band-e-seem* (Chain of Silver):** Symbolizes the concern for social status, reputation, and honor (*namoos*). * ***Band-e-zar* (Chain of Gold):** Symbolizes the greed for wealth and material possessions (*hirs*). Rumi is making a passionate plea for spiritual liberation. He argues that as long as we are enslaved by the desire for wealth and the opinions of others, we can never be truly free. --- #### **Verse 20: The Limit of the Worldly Vessel** > *Gar berizi bahr ra dar kuze'i, chand gonjad qismat-e yek ruze'i?* > (If you pour the sea into a pitcher, how much can it hold? The portion of one day.) * **Literal Meaning:** A simple physical analogy: a small pitcher (*kuza*) cannot contain the vastness of the sea (*bahr*). It can only hold enough for a single day's needs. * **Sufi Interpretation:** This verse, mentioned in the lecture (84:36), explains *why* we must break free from worldly chains. * The **Sea (*bahr*)** represents the infinite, boundless ocean of Divine Reality, God's love, mercy, and knowledge. * The **Pitcher (*kuza*)** represents the limited capacity of our physical body and ego-centric mind. As long as we are only concerned with our "daily portion" (our worldly needs and desires), our spiritual vessel remains small and can only receive a tiny, finite amount of the Divine ocean. To experience the infinite, one must become infinite by transcending the limitations of the self. --- #### **Verses 21 & 22: The Nature of Greed and Contentment** > *Kuza-ye chashm-e harisaan por nashod, ta sadaf qaane' nashod, por dorr nashod.* > (The pitcher of the greedy eye is never filled, until the oyster shell becomes content, it is not filled with a pearl.) * **Literal Meaning:** A greedy person's eye is like a bottomless pitcher; it can never be filled. In contrast, an oyster shell only creates a pearl when it closes itself and becomes content. * **Sufi Interpretation:** This deepens the previous idea. The "greedy eye" is a metaphor for the insatiable **ego (*nafs*)**. It is always seeking more, trapping the soul in an endless cycle of want. The lecture beautifully explained the **oyster shell (*sadaf*)** anecdote (87:43). * **Contentment (*Qana'at*):** The oyster must become content with a single drop of rain (divine grace). * **Nurturing:** It must then patiently nurture this drop within its closed shell. * **The Pearl (*Durr*):** This process transforms the simple drop into a precious pearl, symbolizing true spiritual richness. The lesson is clear: spiritual wealth is not achieved through grasping and greed, but through contentment, patience, and nurturing the divine spark within. --- #### **Verse 23: The Purity of the Love-Torn** > *Har ke ra jaame ze ishqi chaak shod, oo ze hirs o 'ayb kolli paak shod.* > (Whoever's garment is torn by love, he is made pure of all greed and fault.) * **Literal Meaning:** Someone whose clothes are torn in a frenzy of love is seen as pure. * **Sufi Interpretation:** As the lecture noted (91:53), a "torn garment" (*jaame chaak*) symbolizes the shedding of the ego, social honor, and reputation. When one is completely consumed by **Divine Love (*ishq*)**, they no longer care about worldly appearances or desires. This act of "tearing the garment" of the false self purifies them entirely from greed (*hirs*) and all other spiritual faults (*'ayb*). --- #### **Verses 24-27: A Direct Address to Divine Love** In this powerful section, Rumi personifies Love and speaks to it directly. > *Shaad baash, ay ishq-e khosh sawda-ye maa, Ay tabib-e jomle 'ellat-ha-ye maa.* > *Ay dawa-ye nakhwat o namus-e maa, Ay to Aflatoon o Jaalinus-e maa.* > (Hail, O Love, our sweet madness! O physician of all our ills! O remedy for our pride and our honor! O our Plato and our Galen!) * **Sufi Interpretation:** This is a celebration of *ishq* as the ultimate force. * **"Sweet Madness" (*Khosh Sawda*):** From a rational, worldly perspective, the path of the lover seems like insanity. Yet for the seeker, it is the most beautiful and desirable state. * **"Physician of all our Ills" (*Tabib*):** Love is the ultimate medicine that cures all spiritual diseases—envy, anger, fear. * **"Remedy for Pride and Honor" (*Nakhwat o Namoos*):** Specifically, it cures the two great diseases of the ego: arrogance (*nakhwat*) and the obsession with reputation (*namoos*). * **"Our Plato and our Galen":** As the lecture explained (94:32), Plato (*Aflatoon*) and Galen (*Jaalinus*) represented the highest forms of philosophical and medical knowledge. Rumi declares that Divine Love surpasses all worldly wisdom and science. It is both the ultimate truth and the ultimate cure. --- #### **Verse 28: The Ascent of the Earthly Body** > *Jism-e khaak az ishq bar aflaak shod, Kuh dar raqs aamad o chaalaak shod.* > (The earthly body, through love, ascended to the heavens; the mountain began to dance and became nimble.) * **Literal Meaning:** An earthy body flew to the sky because of love, and a mountain started dancing. * **Sufi Interpretation:** This alludes to two key events: 1. **The Ascension (*Mi'raj*) of the Prophet Muhammad (PBUH):** His "earthly body" (*jism-e khaak*) ascended to the heavens, an event Sufis attribute to the power of his perfect love for God. 2. **Mount Sinai and Moses:** When God revealed His glory to the mountain, the Quran says it crumbled. Rumi poetically reinterprets this as the mountain "dancing" in ecstatic response to the divine presence. The point is that Divine Love has the power to elevate the mundane and make the impossible possible. --- #### **Verses 29-34: The Incommunicable Nature of the Experience (Conclusion)** Rumi ends this section by returning to the theme of the inexpressibility of the spiritual state. * He speaks of being united with the "lips of his beloved," a metaphor for receiving direct, unmediated divine inspiration. * But like the reed, he says he has much to say, but if he were to speak it plainly, the world would not be able to bear it and would be consumed. * He concludes by reiterating that this is a state that can only be understood through direct experience (*haal*), not through words. The raw cannot comprehend the cooked. Therefore, the discussion must end. **Pas sokhan kutah bayad, was-salam.** (So the speech must be shortened. Peace be upon you.) ### rel_215_transcriptions/Rumi_s Love_ An Experiential Theme Of course. This is an excellent text for a Sufism course, providing a structured overview of Rumi's central doctrine of Love (ishq). Here is a detailed outline of the things discussed and how they are discussed, designed to help you with your reading. ### Outline of "Love" in Rumi's Works (Based on the Provided Text) #### **I. Introduction: The Centrality and Ineffability of Love** This section establishes the main thesis: Love is the absolute core of Rumi's teachings. * **What is discussed:** * **Love as the Central Theme:** The text asserts that Love (ishq) is the explicit subject of most poems in the *Diwan* and the implicit subject of the *Mathnawi* and *Fihi ma Fihi*. * **Love as an Experience:** The author stresses that Love is an experiential (dhawqī) reality, not a theoretical one. It must be felt to be understood. * **The Ineffability of Love:** Because the Sufi's Beloved (God) is transcendent and inconceivable, Love for Him cannot be truly explained in words. This is a recurring point in Rumi's poetry. * **How it is discussed:** * The author presents a definitive claim about Love's centrality and supports it by referencing Rumi's major works. * The discussion uses an analogy: explaining divine Love is even more impossible than explaining human love on paper. * A series of direct quotes from Rumi are used as primary evidence. These quotes emphasize: * The failure of language ("shame overcomes me when I come to Love itself"). * The infinite nature of Love ("an ocean whose depths cannot be plumbed"). * The separation of Love from intellectual learning ("Love cannot be found in erudition and science"). * The need for direct experience ("When you become like me, then you will know"). * The author concludes the introduction by stating that Rumi's discussion of Love is not for definition but to "stir up the desire for Love in the heart of the listener." --- #### **II. The Eight Facets of Love (Numbered Sections)** This is the main body of the text, breaking down the concept of Love into eight interconnected themes. **1. God As Love and Beyond Love** * **What is discussed:** The paradoxical relationship between God and His attribute of Love. * God is the source of all love. * The Quranic verse "He loves them and who love Him" (5:54) is used to show that God's love for humanity is primary and humanity's love for Him is a derivative response. * The text addresses the question, "Is God Love?" with a "yes and no." Yes, Love is a Divine Attribute, but no, this single attribute does not encompass God's full Reality, which is a "Coincidence of Opposites" and ultimately beyond all attributes. * **How it is discussed:** * By framing the issue as a theological paradox common in Sufism (God is both His Attributes and beyond them). * Through Rumi's quotes, which contrast God's essential attribute of Love with the derivative attribute in humans ("a handful of dust"). Rumi also points to a reality "beyond Love" where the mind cannot enter. **2. The World As Created by Love** * **What is discussed:** The idea that Love is the cosmological force behind creation. * God's desire "to be known" (a famous *hadith qudsi*) is identified as the loving impulse that brought the universe into existence. * The creation of the cosmos is specifically linked to God's love for the Prophet Muhammad ("But for thee, I would not have created the celestial spheres"). * **How it is discussed:** * By linking the metaphysical act of creation to the emotion of divine desire or love. * Rumi's metaphors are highlighted: Love is the "kernel" and the world is the "shell"; the world is a "mirror" reflecting Love's perfection. **3. The World As Maintained by Love** * **What is discussed:** Love as the sustaining force of the universe. * Since all things participate in God's creative Love, all things are infused with a need and desire for other things. * This universal desire is the immediate source of all movement, change, and activity in the cosmos. * **How it is discussed:** * By extending the principle of creation to continuous existence. * Through quotes that personify the universe: heaven desires earth, the female desires the male, etc. The text explains that God placed a specific desire in each creature's heart to perform its task, ensuring the world is maintained ("He gave each of them a satisfaction and happiness in his task"). **4. Love and Beauty: True and Derivative** * **What is discussed:** The crucial distinction between love for God (ishq-i haqiqi) and love for creation (ishq-i majazi). * **True Love:** Love directed toward God, the only true and eternal Beloved. * **Derivative Love:** Love directed toward created things (people, objects, ideas), which are only "veils" or "reflections" of God. * The argument is that all love is ultimately for God, but most people mistake the reflection for the reality. * Earthly beauty is described as "borrowed" and ephemeral—a "ray" from the "Sun" of divine Beauty. * **How it is discussed:** * This section is rich with metaphors used to explain the concept: * **Veils:** Worldly objects of desire are veils hiding the one true Object. * **Gold-plating:** Earthly beauty is like gold-plating over base copper; it eventually wears off, revealing the true substance. * **Sun and Ray:** Divine Beauty is the Sun; worldly beauty is a temporary ray shining on a wall. * **Root of Hunger:** The desire for many different things is just a manifestation of one root cause: hunger (or need for God). * The text argues that derivative love can act as a "wooden sword," a practice that can eventually lead the seeker to true love for God. **5. Need and Aspiration** * **What is discussed:** The practical attitude the seeker must cultivate to attract divine love. * To receive God's favor, one must actively express "need" (niyaz) and "aspiration" (himmat). Passivity ("If He wants to, He will give me something") is wrong. * Need is the root that makes the "Sea of Bounty" gush forth. * This seeking is mutual: Just as the thirsty man seeks water, "the water also laments, 'Where is the drinker!'" God (the Beloved) also seeks the seeker. * **How it is discussed:** * Through practical analogies: the begging dog wagging its tail, the crying infant receiving milk, the farmer tilling the earth. * By turning the concept of need on its head: "Bounty is in need of beggars." * By identifying seeking as a divine "deposit" within the human being. The act of seeking is proof that one is worthy of finding. **6. The Religion of Love** * **What is discussed:** Love as a complete spiritual path that transcends conventional religious forms and morality. * The "creed of the lovers is God," and their path is "nonexistence" (self-naughting). * Life without Love is meaningless, a "shame" and an "agony of the spirit." * Love is presented as the means of spiritual transformation and ascension. * **How it is discussed:** * This section uses powerful, transformative metaphors for Love: * **The Water of Life:** It saves you from spiritual death. * **Buraq:** The celestial steed that carried the Prophet on his ascension (mi'raj), symbolizing Love's ability to carry the seeker to God. * **The Alchemist's Elixir:** It transmutes the "copper" of the ego into the "gold" of divine consciousness. * **A Consuming Flame:** It "burns away everything except the Beloved." * The discussion emphasizes that this path requires total sacrifice, especially of the self, quoting Hallaj: "Verily in my death is my life." **7. Love and the Intellect** * **What is discussed:** The famous Sufi dichotomy between Love (ishq) and Intellect ('aql). * A distinction is made between the "partial intellect" (ego-bound, worldly, clever) and the "Universal Intellect" (angelic, a guide). * The partial intellect is a denier of Love because it is based on logic and self-preservation, while Love demands self-annihilation. * The Intellect is a necessary guide but has its limits. It can bring you to the "doorway" of the palace, but only Love can enter. * **How it is discussed:** * The primary analogy is the Prophet's *Miraj* (Ascension). Gabriel (symbolizing the Universal Intellect) could only escort the Prophet to the Lote Tree of the final boundary; the last stage into the Divine Presence had to be traversed by Love alone. * Other metaphors are used to show the intellect's limitations in the face of Love: an ass in the mud, a gnat in a gale, a shadow before the sun. * The text advises the seeker to "sell your cleverness and buy bewilderment," sacrificing the intellect for the sake of the Friend. **8. Bewilderment and Madness** * **What is discussed:** The spiritual state that results from transcending the intellect. * The lover's state is one of "bewilderment" (hayrat) and "madness" (junun). * This is not a negative state but a positive one: "not a bewilderment that turns you away from Him, but one that drowns you in the Friend." * It represents the dissolution of the rational ego in the face of the overwhelming, ineffable Divine Reality. * **How it is discussed:** * By contrasting the sober, rational man with the "distraught" and "mad" lover. * The text frames this madness as a necessary step, quoting Rumi: "I have tested the far-seeing intellect—after this I will make myself mad." * The poems quoted in this section are filled with a sense of ecstatic confusion and the loss of self-identity ("Art Thou the sun, or Venus, or the moon? I don't know."), which is the hallmark of this spiritual station. ### rel_215_transcriptions/Sufi Critique of Religious Practice Excellent request. Here is a complete transcription of the lecture, followed by a set of comprehensive, structured notes covering all the key concepts and arguments discussed. *** ### Full Lecture Transcription **00:00** …mein unse bhi, Zahid ka bhi woh mazaaq udate hain. Yes? Kabhi aalim ka mazaaq udate hain, kabhi woh Qari ka mazaaq udate hain. Aur kabhi woh apna mazaaq udate hain, Sufi ka hi mazaaq udate hain. **00:15** Uska kya matlab hai? It does not mean that qira'a is bad. It does not mean that tasawwuf is bad. All that means is that someone is getting it wrong. **00:27** Woh ek tarah ki self-critique hai, ya internal critique. All right? When the spirit of something is lost, it can then become a subject of critique. For example, Quran padhna chahiye, and it should affect you spiritually. Yes? Or it should create this taqwa or piety or make you feel purity. **00:47** Ya aap Quran mein bhi hai na ke jo nek log Allah ki ayaat sunte hain toh… (unclear phrase)… ke unke dil laraz jaate hain. The hearts shake and tremble. And the Sufi will say, "Bhai sahab, you recite so beautifully, but I've never seen your heart shake from your qira'a." **01:06** So, it's not that qira'a is bad, it’s just that the way you're doing it, the niyyah, the formation, the internal soul that's doing it, that has problems. Aapko samajh aa rahi hai? **01:18** Isi tarah se jab Zahid ka bhi woh mazaaq udayenge, uska yeh matlab nahi hai that the Sufia disagree with or dismiss zuhd absolutely. It's just that, you know, all that it means is ke misaal ke taur pe ek khatoon hain, she's a Zahida, she's like very strict about her prayers, her namaz, her fast… you know, she covers herself, but she's so strict. In her heart, does not have any softness or kindness. **01:43** Uska bhi mazaaq udega, us pe bhi tanqeed hogi. Isi tarah agar koi mard hai, woh bhi is tarah ki harkatein karta hai aur bada badtameez hai, toh us pe log kahenge, you know, the Sufia will criticize him. That, you know, if you just consider ahadith, if you just look at the Quran, all of what you're doing, aapke tumhare aamaal hi… they're all zaaya, they're all in vain. Why? Because your heart is not soft. **02:05** Theek hai? Kitni ahadith hai. There are beautiful ahadith about the softness of the heart. Ke jo dil ro nahi sakta woh patthar dil hai. Jo patthar dil hai usko samjhe ke usko aag zyada lagegi. Narm dil ko aag nahi lagegi. Itni ahadith hain is tarah ki. You see what I'm trying to say? **02:18** Toh when the Sufia criticize something, or when they use, when they criticize the ulama, it's not that they are criticizing or rejecting 'ilm or qira'a. For them, those things are essential. It's just that you have to do them in the right manner, with the right niyyah. Okay? **02:39** Ab yeh dekhiye, yahan pe aakhir mein woh Hadith hi quote kar rahe hain. So Sarraj is a fully, you know, he's like a, he's a fully learned Sufi. And when I say learned, meaning unko deeni uloom mein bhi training thi. Woh Hadith quote kar rahe hain. Aur Hadith ke agar aap alfaz dekhein, woh alfaz yeh hain ke main… ah, badshah, azeem badshah ke samne khada ho gaya. I stood in front of the Almighty King. **03:04** Now, does that mean that when the Prophet is standing in prayer, God is literally in front of him? Perhaps not. Okay? What it means is that he had this presence, this intimacy with God. And Sarraj is saying, when Bastami says ke mujhe Allah ne utha ke apne qareeb khada kar diya, uska yehi matlab hai ke God made me very conscious of him. He granted me his intimacy. Bas. Yeh usko samajhna chahiye. **03:28** The language may seem strange to someone who is not an insider. But those who are insiders, jaise Sarraj hain, woh kehte hain ke, you know, when we say it, it means something different. And the Prophet also used to use similar language, so what's the big deal? Okay? **03:45** Aur Sarraj yeh kahenge, misaal ke taur pe agar kisi ke kuch shath mein masla bhi hai, pehle aapko kya koshish karni chahiye? Should you jump to criticize and demonize fellow Muslims or should you first try to defend them? **04:06** Aapko pata hai na woh jo ek waaqiya-e-ifk hai Quran ke andar? You all know about that? It involves the darling wife of the Prophet, Hazrat Aisha. You know about that? **04:21** (Student response: The one where she is accused of adultery?) Yes, you know what happened? She was coming, they were all coming back to Madinah. She lost her necklace. Toh woh necklace ko dhoond rahi thi. Uh, so first she went to the bushes, she had to relieve herself. Us zamane mein toilets nahi the. So when she was doing that, uh, in during that she also dropped her necklace. **04:47** Toh woh usko dhoondna shuru ho gayi, and you know she was very young. So young people can be a little irresponsible. Or she just lost track of time. She made this mistake. Toh woh aawazein maarte rahe log, she was door, nahi woh, dhoondti rahi necklace. Woh qafla chal gaya. **05:04** So she was left stranded, she was left alone. Ab woh ghabrayi, main kya karun, kya karun, kya karun. Abhi woh dhoond rahi thi aur rasta samajhne ki koshish kar rahi thi. Toh usi waqt, there was this handsome young guy and he recognized her and he was coming on a camel, woh peeche reh gaya tha. Toh uske paas apna oont tha. So he said, "Okay, I can give you a lift." So she said, "Okay." She had no choice of course. **05:28** Toh woh aa gayi, jab woh aa gaye Madinah mein, toh phir uh, it became a huge scandal, right? Ke ek na-mehram ke saath aayi hain, aur you know, what's up with that? Like the wife, the young wife of the Prophet with this young guy, all alone. What were they doing in the desert? Yeah, something was fishy. **05:48** So, it became a huge scandal and there were poets who wrote poetry against her, slanderous poetry. Unka Quran mein bhi unka bhi zikr hai. But the most important thing that I want to talk about, jo ke I think idhar nahi hai, ki I will quote kar deta hu, the Quran says, "When something bad was said about one of you, your fellow Muslim, why did you not first defend them? Why did you not think well of them?" **06:17** Okay? Toh yeh Sufia aksar iska zikr karte hain. Urdu ka jo Sufi literature hai, aur yeh Arabi ka bhi, isme they use this one phrase. Aur Farsi mein aur Urdu mein bahut zyada yeh use hota hai. And they say, you know this is a very nice, I really like this phrase, it's called Husn-e-Zann. Has anyone heard? Has anyone? Has anyone heard of this? Husn-e-Zann? **06:44** Husn-e-Zann is giving others the benefit of the doubt. Zann ka matlab hota hai gumaan or conjecture. So if you want to conjecture, give others a nice conjecture. Okay? Misaal ke taur pe, you see someone doing something wrong. Somebody gets angry. You give them the benefit of the doubt. Maybe they're having a tough day, maybe they're ill, maybe there is something, you know, instead of saying, "Woh toh hai hi gandi, woh toh hai hi bura, woh toh hai hi cracked," etc, etc. You see what I'm trying to say? **07:09** This is Husn-e-Zann. And this requires also a lot of adab, cultivation, sabr. And you will see this in Sufi communities. Husn-e-Zann is very, very important for them. By the way, this is just a joke. Kyunki aap logon ko main jokes nahi samajh aate, isliye main pehle hi bata raha hu thoda bahut joke hai. Isko, yeh yaad rakhiyega, yeh 'Zwaad' se hai. Isko yun na likh dijiye ga. Okay? Because that will make it something very different. You know what that would mean? Iska kya matlab ban jayega? **07:40** (Student response: Zann means woman.) Yes, beauty of the lady. No, we are not talking about beautiful ladies, there's too much of that. We are talking about thinking well of others, okay? They sound similar but don't get confused with that. Okay? Chalein, aage chalte hain. **07:56** So yeh, this is just one part of the shath jisko abhi Sarraj ne defend kiya hai. Ke jab woh keh rahe hain ke mujhe Allah apne upar uda ke le gaye, uska yeh matlab yeh nahi hai ke physically woh gaye, it just means that this was a level of consciousness he had attained. Okay, that's one way to interpret and understand Bayazid. Aur yeh peeche unhon ne keh diya hai ke jo chughal-khor hain ya jo logon mein keede dhoondte hain, unko humne, we have to respond to them. So I'm going to give you a, you know, I'm trying to, I am going to try and defend this man. **08:32** Acha, who else was not here yesterday? Ji, chalein Suleman, phir aap padhein. "As for his saying…" **08:39** (Student reading) "As for his saying, 'He said to me and I said to Him,' by that he alludes to the intimate conversations of the secret of the heart and to the purity of remembrance that occurs with the heart's vision of the Almighty King's watchful regard day and night." **08:54** Okay, pause here. Now yeh lambi si English translation mein, this is a very long and wordy kind of sentence. But yahan pe bahut saari Sufi terminologies use ki gayi hain. Theek hai? So intimate conversations ko kya kahenge, munajat. Munajat. Isko Urdu mein kahenge sargoshiyan. Khusar-phusar bhi isko kehte hain. Yeah? So it’s like this very intimate kind of talk between two people who are very close to each other, jo ke isharon mein bhi baatein kar sakte hain. Acha, munajat hoti hain intimate conversations. **09:27** Secret, secret of the heart. Yeh bhi ek Sufi term hai, jisko Sirr al-Asrar ya Sirr al-Qulub is tarah se kaha jaata hai. Basically, when your heart is purified, jab aap Allah ka bahut zyada zikr karte hain, so somehow in the depths of your heart, you start feeling God or start like hearing from God. Isko Sufia Sirr al-Qalb ya Sirr al-Asrar kehte hain. **09:57** Purity of remembrance, that's okay, that's not difficult. Purity of remembrance, remembrance hai ke when you, your zikr is a pure kind of zikr. It's not a dikhawa kind of zikr, it's not like you're loudly saying Allah Allah Allah Allah. No, you do it sincerely, you do it privately, you do it, you know, out of purity of intention just to get close to your God. Close to God. **10:18** And then it says that occurs with the heart's vision. Heart's vision, yeh bilkul Sufi term hai. It's derived from the Quran. Remember when we did Surah Najm? Usme kya tha, "ma kazaba al-fu'ad." Fu'ad is the heart. Heart, the heart vision. Ru'yat al-Fu'ad, Ru'yat al-Qalb. The vision of the heart. The heart sees mystical things. Okay? **10:44** And then it says vision of the Almighty King's watchful regard. Yeh bhi lafz iske liye jo hota hai wara'. When you're always thinking of God, when you're always trying to be nice, to to to um, follow and be like he would like you to be. Toh woh watchful, to be watchful all the time. Day and night. **11:04** So when you attain that level, then jab aapko lagta hai he said, I said, Allah ne yeh kaha, maine yeh kaha, uska yeh matlab hai, it's not a normal conversation. It's not a conversation using these lips and mouths and language and words. It's a secret kind of conversation, khusar-phusar, dil ki baatein, dil-ba-dil. You know? Yeh woh baat keh rahe hain. So please continue reading. **11:33** (Student reading) "So weigh that I have elucidated for you for each part of it is similar to the next. When a servant of God becomes certain of the nearness of his Master to him, and when he is present with his heart in watchfulness over his thoughts, then every thought that occurs to his heart is as if the Real were addressing him." **11:53** Pause. So, yaad hai aapko Harith al-Muhasibi ne kya kaha tha? You have to watch your khawater. Ke aap analyze karein ke aapki sochein kahan se aa rahi hain. Are they coming from the nafs? Are they coming from Shaitan? Or are they coming from God? So Sarraj is basically saying the same thing. And by the way, Sarraj knew Muhasibi as well. **12:16** So he is saying that when a person does this a lot, when a person is constantly watchful, analyzing, thinking ke mere khayalat kahan se aa rahe hain aur har waqt unki, they circle everything back to God. Woh baqi cheezon ko minimize karne ki koshish karte hain, baqi sources of influence of thought ko minimize karte hain, aur jo aati bhi hain, unko bhi scrutinize kar rahe hote hain. **12:41** So once you end up, you do this so much that most of the thoughts that come to you pass, have passed through the filter of God consciousness and taqwa and being a Muslim and being nice and being a good servant of God and doing 'ibada and becoming a nice person. Jab woh saare filter se baar-baar aapki sochein to aahista-aahista aapki thoughts bhi bahut pure ho jati hain. They become so pure, according to Sarraj, that every thought that comes to you, you feel like God is, it is as if God is addressing you. **13:14** Okay? For example, agar aap ko yeh khayal aata hai ke main kisi, uthho, abhi uthho, namaz padh lo. Phir main billi ko, pyaasi billi ko koi khaana daal doon ya paani pila doon. Phir main koi, uh, you know, apni boodhi maa ki jaake khidmat kar doon. You get those thoughts. All of those nice thoughts. So it's not as if, it is as if God is telling you in your heart, do this, do this, do this. But it's not actually God speaking to you. You see what I'm trying, it is as if God is speaking to you. **13:44** Aur yaad hoga Harith al-Muhasibi ne aapko kya kaha tha ke jab aapne dil ko paak karte hain toh jo, there are ahadith in which God says that I then start inspiring my servant. Main apne bande ko inspire karna shuru kar deta hu, in the heart. So the heart is the local for, a locus of divine guidance according to ahadith. The heart is the locus of mystical vision according to the Quran. **14:07** Toh dil mein aapki woh baatein aati hain, achi baatein Allah aate hain, but woh Hadith mein woh condition hai. Condition kya hai? It comes only when you are very cautious, you have sabr, you do a lot of zikr, you always, you're very concerned. Phir jaa ke, when once you've done, woh aadat hoti hai na Urdu mein usko kehte hain tatolna. Jab aapne bahut zyada apne andar gehrayi mein jaa ke aadat bana li hai ke aap sochein ke ismein kuch galat toh nahi thi? Then God starts to intervene and guide you. Okay? So please continue, "Then every thought…" **14:42** (Student reading) "…every thought that occurs to him… and everything he thinks of in the inner secret of his heart is as if he were addressing Allah Most High. Thoughts and motions of the inner heart and whatever occurs, all have their origin with Allah and their end in Allah. And this is the correct meaning. Allah grants success in finding the right." **15:06** Ab woh yeh keh rahe hain ke dekhiye, jo dil ki baatein hain, ahadith ke mutabiq, jo nek log hote hain ya koi bhi insaan jo bahut nek ho jaata hai aur woh burai se bachne ki koshish karta hai, aur Allah ka bahut zyada sochta hai, toh Allah uske dil ke andar aawazein ya naseehtein daal dete hain. Right? This is a hadith that we read in Muhasibi. **15:28** So he is saying, agar baat shuru bhi udhar hi hoti hai aur khatam bhi Khuda par hi hoti hai, toh when someone says maine kaha ya Khuda ne kaha, those are interchangeable terms. Because wahan par, you know, whether you said it or God said it, it doesn't matter because ultimately it's all coming from God. Toh woh is just a poetic way of speaking. **15:52** Aur in fact Sells ki kitab mein ek aakhri, ek section hai on the, you know, not a very famous Sufi in the West, but he, unki ek bahut hi khoobsurat, ek, uh, kalam hai, proper poem, jo unhon ne translate kiya hai. Aur usme yehi ho raha hota hai. Maine kaha, tum ne kaha. Tum ne kaha, maine kaha. Aur pata hi nahi chalta kaun bol raha hai. Khuda bol raha hai ya banda bol raha hai. **16:11** So Sarraj is saying that that's what's going on. It's not a normal conversation. It's a secret kind of, uh, conversation. So aage dekhein, now he quotes… yeh toh unki ho gayi Hadith-based defense of Bastami. But in your exam, I might ask you how does Sarraj use poetry to defend Bastami? Ab woh batayenge ke dekhiye, shayri mein bhi is tarah se baatein aati hain. So, yahan par dekhte hain, yeh padhte hain, theek hai? This is, this is poetry. Let's see who can make sense of this and relate this to the previous discussion. Okay? Toh Sheeza, aap padhengi? "The aspirations…" **16:54** (Student reading) "The aspirations stood before him. He remained my intimate companion. Then I rejoiced, lost in joy. They stood forth before him, as if I were conversing with him in the secret of my heart, and the secret of his heart, concealed." **17:11** Okay. Yeh, uh, I, you know, normally Sells, Michael Sells ki jo translation hai, bahut, bahut achi hoti hai. But in this case, I think he does not, he fails to capture what the poetry is trying to say here. Because the poetry is being used as an argument here. Argument to defend… to defend whom? Bastami. Good. **17:36** Yahan pe woh keh rahe hain, this is, this is basically love poetry. Aur isme woh keh rahe hain ke… mere jazbaat uske aage khade the. Mere jazbaat uske aage khade the. Woh mera saathi raha. Aur phir main khush hua, gumm khushi mein, ya is tarah se kuch matlab hai, ya I think isme qurb ka bhi zikr hai, ya phir main, phir main qareeb aa gaya khushi mein, qareeb aaye baghair. Okay, that's the Arabic. What does this mean? **18:11** You know, it's like, you know, two people like each other, you're locked into each other, you really like each other, but you haven't sort of expressed your love for someone, right? Toh lekin aap phir bhi na ek doosre ko, there's a, he knows and she knows that there is something going on. So usko bhi pata hai he likes me, but there's still some reluctance to get it, like, get it, baat ko aage badhaya jaaye. **18:39** Toh poet, the poet is saying ke uske, uske saamne aa chuki hai baat. Ab woh aage kadam nahi utha raha. Theek hai? Mera toh, main toh pehle hi uske qareeb aa chuki hoon ya aa chuka hoon. Right? And then it says finally, this is implied, ke aage reverse mein ke jab hum qareeb aa gaye toh qareeb aane ki zaroorat bhi na padi. Yaani ke jab usne dil se mujhe qubool kar liya, toh kuch kehne ki bhi zaroorat nahi. **19:07** You see what I'm trying to say? So this is love poetry. What is Sarraj saying? Look, this is how poets talk. This is how lovers talk. This is how lovers experience love. Aapko bahut zyada jab intense koi ek moment hoti hai, toh you don't want to say it out, you don't want to say I love you, log I love you kehte hue bada mar jaate hain, kehte hi nahi. That's the first time you're supposed to say it, if that's the case for you. Kehne ka maqsad yeh hai ke that's a difficult moment. Aapko bada mazak lage, aaj kal log bada, maybe they're very too casual. Gore, gore toh bahut hi asaan kar, wese keh dete hain. But for most people, even in Gora culture, it can be a very big deal because that's how humans experience love, no matter how long it lasts. Maybe it's just a special one. **19:55** Toh woh, woh ek aur baat hai. Magar this is how we feel, this is how we often experience things. Aage kya hai? "They stood forth before him." Kya stood forth before him? Mere jazbaat. Meri khwahish, mera shauq, mera jazba, mera dil, mere jazbaat keh lein. "They stood before, before him." Uske saamne khade the. "As if I were conversing with him." Theek hai? Yaani ke mera dil ya mere dil ke jazbaat uske saamne the, jaise main usse bol rahi hoon ya usse main bol raha hoon. **20:26** "In the secret of my heart, and the secret of his heart, concealed." Okay? Uske dil mein meri baatein, mere dil mein uski baatein, lekin baqi duniya se chupi huin. You see what I'm trying to say? Toh log isharon mein baatein karte hain. And you know, and he knows or you know and she knows, but baahar ke logon ko kya pata. So, yeh this is how love poetry is often structured. **20:50** But note what's happening. There is a conversation that's happening without words. Without words. You know, Urdu mein bhi ek, aksar, aaj kal toh aksar hi bahut fazool gaane aate hain. Sachchi baat hai, log laga dete hain, humein sunne padte hain, hum log bas mein rehte hain, oh my God, can't we like this stuff, right? Toh lekin kuch ek hain gaane jo ya toh Sufi kalam hain ya woh bahut achi shayri hain. **21:19** Jaise woh ek band tha, ab toh pata nahi unke, ajeeb lambe baalon wale kuch log the. Yaaron ke naam se, na kaho, kuch kaho, na kaho. Exactly similar idea, right? Ke kya uske alfaz hain? Dil hi dil mein. Chalo, main yaad hai toh aapko bataunga. I know some of you know this. It's very beautiful words, but same idea that you know, ke (student response: khamoshi guftugu hone lagi hai). Khamoshi guftugu hone lagi hai. Right? Aur agar aap woh poore alfaz padhein, it's very beautiful, but basically, ke dil hi dil mein, we know, we have this communication, we have this channel in love. Nobody else can get it, but we are already, even in silence we speak to each other. **22:02** That's love poetry for you. Okay? Toh woh keh rahe hain ke when he says ke maine yeh kaha, Allah ne yeh kaha, dil hi dil mein yeh baatein huin, ya upar pahunch ke baatein huin, toh Sarraj is saying, look at what, how poets talk about love. That's what Shaykh, Pir Bastami is saying. Okay? **22:20** Acha, yeh bahut, agla dekhte hain. Now you are getting into, you're all in a romantic sort of mode, so maybe you can get this. Maybe you can crack this. Agla dekhiye, ek aur sher hai, kuch aur ashaar hain. "He said to me when I reached him." "He said to me when I reached him, 'All this I have known. Were he to be the rest of his life, tears of blood, I would not forgive him.'" **22:49** Ab isko main Urdu mein karta hoon, aapko shayad zyada asani ho. Theek hai? Chahe hum jitna marzi Angrezi padhein lekin sometimes Urdu just works better for us. So jab, jab main usko pahuncha, ya jab, when I approached him, "He said to me, mujhe toh pehle se hi pata tha. Ab agar woh saari zindagi bhi rota rahe toh main tumhe maaf nahi karunga." What does this mean? **23:17** (Various student responses and discussions) **23:32** Okay, okay, okay. I think... okay. His aadat, thoda sa zyada isko behtar articulate aur explain karein. Okay, ji. **23:53** (Student response) "I understood it as he's angry at her for sort of torturing him because he always wanted to get to her, but and she knew that he loved her forever, and now that he's actually reached her and going to confess his love, she's saying 'I've known this all along.' So he's angry at her okay if you did…." **24:11** Her or him. Yeah, it could be either. Theek hai? Aur yeh, poem Amir Khusrau, Amir Khusrau ka suna hai naam logon ne? Woh qawwali jo log sunte hain, woh Amir Khusrau ke baare mein qawwaliyan hoti hain. Toh qawwali mein Farsi ka jo khas taur pe aur Hindvi ka jo kalam hai na, purani Hindvi aur Farsi ka, woh aksar Amir Khusrau ke baare mein. Unki ek, and he was a beautiful Farsi line hai, you know, "ba-haqq-e-roz-e-visaal-e-dilbar." Did anyone hear this? "Ba-haqq-e-roz-e-visaal-e-dilbar." Ke us din ki qasam, jab humein dilbar ya mehboob mil gaya. "Ke daad ma ra fareb Khusrau." Ke usne toh humko dhoka de diya. **24:50** What is this feeling? The feeling is ke you know, you tortured me. Main itni der tak tadapta raha ya main itni der tak tadapti rahi. Aakhirkar jab maine jaa ke, finally I made an effort to express my love or to reach out to you, aur tumhare saamne aake iqraar kar diya, that's a very difficult thing to do, and you just smiled and said, "Mujhe toh pehle hi pata tha." "Mujhe toh pehle hi pata tha." So why were you, what were you doing? You know, waiting or torturing or, but that's how love works. See? **25:19** Aur, what is Bastami saying? What does Bastami take out of all of this? That intimate conversations of the secret of the heart and the like are frequent in poetry and in this way. Yaani ke jo Bastami alfaz use kar rahe hain ke maine usse kaha, usne mujhse kaha, we should not understand that as normal language. It's poetic language, and that's how poets always talk about someone they love. Ke usne yeh kaha, maine usse yeh kaha. Woh dil hi dil ki baatein thi, aur dil hi dil ki baaton mein kuch na kehna bhi kehna ho jaata hai, ya kehna na kehna ho jaata hai, it's these paradoxes of language. You're trying to say something that is hard to put into language. That's how, that's why poetic language takes this structure. **26:02** Okay? Toh yahan pe yeh ke, meri baat jab finally us tak pahunchi, usko toh pehle hi pata thi. Right? What does this mean? That she or he already knew it. Pehle se hi usse guftugu jaari thi, bas mujhe nahi pata tha, lekin usne phir baad mein bata diya. So yahan pe woh keh rahe hain ke Bastami bhi isi tarah ki zabaan istemal kar rahe hain, poetic language where people speak secretly, intimately. They don't need language like normal people do, because there is a special connection, a special sort of relationship of love. **26:36** Acha, ab yahan tak sirf do cheezein address hui hain. Pehli cheez kya address hui hai jo unhon ne kaha ke mujhe Allah apne tak le gaye. So uska unhon ne jawab de diya ke bhai, this is just a degree of huzuri. The second thing, he says, "Oh, I talked to God." You know, some people may say how can you talk to God? Quran ke andar by the way, isme kuch tanqeed bhi hai ke, you know, direct conversations with God, forget about it. Alright? Toh Quran mein kuch ayaat hain jo isko mana karti hain. So he is saying, oh, you think this is direct? No. You think this is normal language? No. This is love language. That's one way to understand it. **27:13** Okay? Finally, yeh agli jo baat thi jo ke jis pe Junaid bhi bole the, Junaid ne inko criticize bhi kiya tha, woh kya tha? When he says, ke mujhe apni Tawhid se saja de, mujhe apni kya naam hai, uh, apni anaiyat se odh de, mujhe apni ahadiyat tak le ja. Toh yeh woh kya ajeeb baatein kar rahe hain toh, so now he is going to defend that. Junaid just said this is, this represents a flaw. This is naqis or flawed spirituality. Remember? Yeh Junaid ne kaha tha. Ab Sarraj jo hai, he will give you a different explanation. Let's see what he says. So Hamza, welcome back. Can you please read for us, "As for his saying..." **27:58** (Student reading) "As for his saying, 'Adorn me with Your Oneness, clothe me with Your Singularity, and take me up to Your Oneness,' he means by that the increase and the transportation from his condition to the future condition of those who have realized the detachment of Tawhid, and those who are singled out for Allah with the reality of singularity." **28:17** Okay pause here. Yeh technical terms hain. Main inme aapko nahi uljhaunga bahut zyada, kyunki Sufia khud is pe bahut behes karte the ke iska asal matlab kya hai. But the key thing to note here, and please note this down in your notes, is that this is the reverse, the opposite of what Junaid had said. **28:37** Junaid ne kya kaha tha? Unhon ne kaha tha ke jis shakhs ne Tawhid ko ek unche level pe jaana magar tafreed ke baghair, you know, their experience of Tawhid, of God, their vision of God was therefore faulty. And then they said, you know, some ridiculous things. Yeh Junaid ki critique thi kiski, upar? Bastami. That this was a, his experience of Tawhid was deficient, woh naqis experience tha Tawhid ka kyunki usme tafreed ki kami thi. What is Tawhid? You see the totality of God's unity. What is tafreed? You see it as separate from you and yourself as separate from that unity. **29:25** So, so woh yeh keh rahe hain ke jab woh yeh kehte hain ke gaur kijiye, when he says, "Adorn me with your unity," he's saying you can read it as precisely the opposite of how Junaid read it. Junaid read it as the experience of Tawhid without tafreed, where then someone thinks that they're God. He's saying, no. This may be seen as the opposite of what Junaid made it out to be. Because he is not claiming something, remember, Khuda ne poocha hai, Khuda ne ek option diya ke do you want something? He said, "Yeah, I want something. Clothe me with your Tawhid." **30:13** Sorry, "Adorn me with your Tawhid." What does this even mean? It's a very strange thing to request. But it is still a request. It's not a statement. It's not a statement. Statement kya ho? I am Ahad. I am Haqq. I am ultimate Tawhid. No, no, no, no. Aisi toh koi baat hi nahi kar rahe. Woh yeh keh rahe hain ke mujhe Tawhid se saja de. So, mujhe adorn kar de, beautify me with your identity. **30:41** So Sarraj is saying that when he says, "Adorn me with your Tawhid," what he is basically saying is that perfect my, uh, perfect my Tawhid. He's asking for perfect experience of Tawhid, which includes tafreed. So he's flipping Junaid on his head. So Junaid yeh keh rahe the ke yeh tafreed ke baghair Tawhid ka tajurba tha, lihaza unhon ne ulat-pulat baatein keh di. But Sarraj is saying, come on, he's saying, "Adorn me with your Tawhid," meaning he's saying, "Adorn me," you know, when someone beautifies you, let's say aapka koi makeup karta hai. Makeup se pehle aapka makeup nahi hua hota. It takes time to do it, right? So it's a process. **31:34** So he's saying he's requesting that process. Okay? Take me through that process where I perfect my experience of Tawhid. So he's requesting a Tawhid with tafreed. Okay? Do you follow this? This is now Sufis criticizing or debating each other using very Sufi jargon, very specialist Sufi jargon. **31:58** Okay, continue please. **32:00** (Student reading) "It has been related of the envoy of God that he said, 'Those who single themselves out, al-Mufarridun, have precedence.' It has been recalled that someone asked, 'Oh Rasulullah, and who are those who single themselves out?' He said, 'Those who praise Allah in good times and bad.'" **32:19** Okay. Toh yeh Hadith hai ke jo log jo mufarridun hain, jo tafreed ke log hain, mufarrid, tafreed se hi the same word. Ke jo tafreed wale log hain woh, they have, they're very, very special. They have sabqa. You know, I have, this is an entirely legal notion of sabqa. Some people have a higher rank in front of God, sometimes in society as well. **32:42** Um, and the Prophet is saying ke woh log hain ke whether something good happens or bad happens, they always turn to God. They're always doing zikr, uh, actually praising God, Alhamdulillah. They're always praising God in good times and bad times. And that makes them special because, you know, normal people, when they are, have a, have trouble, they don't praise God because they will, ya toh dua karenge ya maafi maangenge ya, you know, ke hum naraz hi ho jayenge Khuda se. So he's saying, no, they don't fall for any of that. They keep praising God, whether it's good things are happening or bad things are happening. **33:22** So yeh Hadith hai. Aur is Hadith ki basis pe woh yeh keh rahe hain ke we know that people like Bayazid Bastami were, was someone who used to do a lot of zikr. Kyunki Allah ka bahut zikr karte the, unke baare mein itni baatein mashhoor hain. And so he is one of those who is singled out, asking for the, the perfection of his Tawhid with, while being a mufarrid, while being someone who's separated themselves, singled themselves out as God's servant. **33:58** Yahan pe asal mein sirf alfaz ki khel-khel rahe hain, woh yeh keh rahe hain ke although hamari yeh Sufi terminology bhi hai, magar iski Hadith mein bhi foundations hain. So if someone is reading and saying, "Acha bhai, yeh tafreed ka notion Hadith mein kahan se aaya?" So he's saying, "Well, you can find it in Hadith too." Although of course, Sufia do use it a little differently than how it's used in Hadith. Okay? **34:19** Acha ji, so isko aap tanqeed kar sakte hain, you may not be convinced entirely by this, this part, this bit about ahadith, the hadith that uses the, I don't think it's used in any other context. The more important thing to understand and crack here is how he's, he is taking the position that's the opposite of Junaid. Okay? He's reading the shath very differently. **34:44** Alright, let's move on to the next weird part when he says, you know, "Clothe me with your subjectivity and take me up to your oneness." When they see me, they say "Tujhe dekha." Bayazid ko nahi dekha, tujhe dekha. Aur tu hoga, main toh hoon ga hi nahi. **35:02** Okay, so what is that? What's up with that? Iman, can you read for us? Yahan se padhein, "This and the like." **35:09** (Student reading) "This and the like describe his passing away, his passing away from passing away, and the taking over of his self by the Real in unity with no creature before it and no creature after it." **35:21** Okay, now he's going to use a Sufi, Sufi term that Junaid himself accepts. And this is not up for debate. So this is this notion of fana'. But there is another notion that's also used here, which is fana' an al-fana'. **35:46** Bas, aur bhi hai, there are some notions but I won't focus on these two. Now these two notions, kyunki, unhon ne na ek chota sa, chota sa, you know, a very little you could say booklet or risala hai, uska I think Kitab al-Fana' kaha jaata hai. Junaid himself wrote it, okay? And there he talked about how, you know, when a person is very close to God, they remember God a lot, they have this overwhelming experience of God. Woh jo Junaid ki writing hai, it's very deep, it's full of paradoxes. Aur usme woh jo ek overwhelming experience hai, woh jo ek, ek, us ka ek mazaa hai, us ka ek terror hai, phir uski enjoyment hai, phir woh chala jaata hai, toh insaan tadapta hai ke where did that, you get this strange kind of feeling. And when it goes away, it's a torment. So you try to re, to get it again. It's like a roller coaster ride. You really want it when it finishes. It exhausts you, but you are never like sated. Aap ka dil chahta hai phir se woh aaye, aaye, aaye. So he says, yeh is cheez mein woh phans jaate hain Sufia. And that's this overwhelming experience. Woh ek point aisa aata hai ke then they completely feel enveloped in the being of God. **37:02** So the first stage in that is fana', jisko kahenge, uh, annihilation. And the first step can also be called, or the first stage of that can also be called fana' an-nafs. Apne aap se aap fana' ho gaye. **37:25** So, this is the first part of the journey. Aapne apne aap ko kho diya. All you see is God. Aapko har jagah, jab aap aaina bhi dekhte hain, aapko Khuda hi nazar aata hai. Alright? **37:40** But so what is fana'? Fana' is that you are no longer there. All you can see is God's will and God's power and God. You no longer exist for yourself. That is the first part. After fana', after that you realize that there's a problem here. The problem is that I am saying that I am no longer here. I have been annihilated. Which means that I still am here. You see the problem? Okay? So the next stage is that you are also annihilated from the thought or the experience of being annihilated. Got it? So you forget that you are annihilated. And that is what is called fana' an al-fana'. So you, you're not even conscious that you have been annihilated. You are not even aware that you are no longer there. That is the ultimate stage. You see what I'm saying? So first there's fana' an-nafs, you get rid of your own self. But there's still a, you know, a trace of your self. So you then become annihilated from the experience of annihilation. Got it? **38:04** Agar ek Sufi aake yeh kehta hai ke, maine uthaya, ek, aur woh bhi shath thi, it's understood that it's a shath said in a state of 'wajd'. Ke maine, misaal ke taur pe, main na tha, tu tha. Ya maine nahi kiya, tu ne kiya. Aur ek shayarana se andaz mein keh rahe hain. You see what I'm trying to say? So he says when we do understand that, is that, you know, God is overtaking that person and, you know, when they spoke or when they did something, it was as if God did it. As if. **38:38** Now one common way to interpret this is to say, "Oh, it is as if." It is as if God is acting. You don't become, the person does not actually become God, but they're so in harmony or in tune with God, it is as if God is acting through them. Got it? And the Sufia will accept that. It's okay. Aap itna hi interpret kar lein. But isi tarah phir aap Bastami ko bhi maan lein. When Bastami says ke woh, tu hoga, main nahi hunga, what he means is that you will take me to this level of love. **39:15** The key thing here is love. Ke mohabbat ke bhi maqamat hain Khuda se. One could say God loves everyone, of course. But it does not love everyone equally. Jo Allah ke nek log hain ya nek bandiyan hain, God has a special love for them. That's the Sufi idea. That's why they love and honor their saints and they say abhi ke dekho, yeh toh Hadith mein bhi aati hai baat ke, isme, yeh marhala hai, marahil hai, there are stations and ranks. It's like a journey. Not everyone is on, at top of this journey, like, you know. So this is, this is a, this is a fact for them, a fact of reality. Okay? **39:59** So it's all about, it boils down to love. It boils down to love talk. And this love talk and this intimacy and this kind of shath expressions, these are beyond language. It's the language of lovers. And when it is love, if someone says main nahi hunga, tu hoga. Tu hoga, main nahi hunga. Tu aur main, main tu, tu, tu, main, main hoti hai, in a way. He is essentially, I said, but it all becomes it's like a wordplay. Then don't be too disturbed because it's, it should not be read literally. And it's something that's okay in ahadith. **40:36** Now, if someone in a very sober, considered kind of way keeps asserting that they are divine, haan, tab aap unko pakdenge. Right? But aisa toh kuch hai hi nahi. Bastami ne toh aisa kuch kaha hi nahi hai ke main Khuda hoon. Aisa koi statement hai? I am God? No. Look, it's a request. It's poetic. And you can easily insert "as if" in between. It's justified by the language, the register, the style, the kind of speech that is being done away with. Okay? So good. **41:15** Acha, yeh padhte hain. Um, kya naam hai, Hani-jab, aap padhengi? "Someone has described…" **41:21** (Student reading) "Someone has described his experience with the seeker with the reference to his experience with the created being with the poetic being, 'I am my beloved, my beloved is I. If you see me, you see us both. Two spirits in one flesh clothed by Allah in His own form.'" **41:40** Yaani ke, main, main, mera mehboob aur main apna mehboob. Mera mehboob, main. Agar tum hum dono ko dekho, toh hum dono ko ikatha hi dekh paoge. Do ruhein, ek jism. Aur Khuda ne unko ek jism mein daal diya. Of course, you have two bodies, but this is not to be taken literally, you see? Literal meaning kya hoga ke do log hain aur woh kisi tarah se unki body ek ho gayi hai. No, no, no, no. The poet is saying ke hamari ruhein, do ruhein thi, hum dono ek jism mein aa gaye. **42:15** Uska kya matlab hai? Ke, you know, we love each other so much, we've achieved a kind of union. Ke woh mere saath, main uske saath. Woh jaise woh hai na, another Sufi, woh toh aap logon ne suna bhi hoga qawwaliyon mein bhi, kya tha? Heer-Ranjha ke dhoke mein hai, uh, "Mainu Heer na aakho koi," so na is pehle, you know this? "Ranjha Ranjha…" (student responds). Haan, "Ranjha Ranjha kardi main aape Ranjha hoi." Theek hai? Main Ranjha Ranjha karte karte khud hi Ranjha ban gayi. Uh, "Ranjha mainu aakho sakhiyo, Heer na kahiyo koi." Iske kai versions hain. But mujhe, you know, she's talking, this girl is talking to her girlfriends and she tells them, "You know, don't call me Heer, I have become Ranjha." Kaise? "Ranjha Ranjha karde, aape Ranjha hoi." Main khud hi Ranjha ban gayi. **43:17** Theek hai? So, you know, this Heer-Ranjha is a tale, I told you, by Waris Shah, and it's a Sufi who plays on the Heer-Ranjha legend or romance. Toh the idea is similar. Sometimes when lovers love each other, remember each other so much, that they are in a state, unko wohi mehboob hi har jagah nazar aata hai. Okay? Uh, it's just a state. It's just a state, it's an experience in life that happens or it can potentially happen. Kehte hain Allah, ke jo Allah se jin logon ko mohabbat hoti hai, unka aisa hi ek experience hota hai. **43:51** But this point is very important. This is very important. Let's read this. It kind of caps it all. Anijah, can you read this please? **43:57** (Student reading) "Now, if a created being is experienced in this way with a fellow creature, what would you make of something beyond that? The poet has reached a certain stage, he said, 'Two lovers have not attained the reality of love until the one's face is the mirror of the other.'" Okay. **45:02** (Student reading) "It would prolong our discussion for me to give an in-depth explanation of that issue, but I have already recorded this enough in Kitab al-Luma' wal-Asas." Thank you. Thank you. **45:11** So, ab aapko samajh aa gayi? This was a very close reading, point-by-point defense of a shath of Bastami by Sarraj. Toh agar aap se main exam mein yeh poochu, "Okay, Sarraj poetry kaise use kar rahe hain, kya yeh, misaal ke taur pe Ranjha-Ranjha type koi main aapko baat de doon aur kahun ke how does Sarraj use something similar to defend Bastami?" You should be able to do that, okay? Kyunki ab humne is pe bahut waqt lagaya hai. **45:40** Now, there is another shath. We can move to it. Now I don't want to stop. Normally, by this time, we stop. I know it's getting a bit taxing, ho sakta hai aap thak rahe ho, I'm not even whatever. But we usually don't, I usually do take a break. But aaj main chah raha hoon ke hum, we continue for like another 30, 40 minutes and then we'll just take a break. Us break mein aap apni cheat sheet Shafa ko dikhaiye, and then you just do your assignment. Okay? **46:06** Um, are you guys tired? Should we, because I think woh behtar ho jayega, aap logon ko ek lambi break mil jayegi just before your assignment. Is that, is that better? Would you prefer that? Can you go on? Anijah, are you feeling tired or can you go on? Is it okay? Okay, everyone is on board? Yes? Theek hai, chalein. Agla padhte hain. Toh Reem, yeh ab aap padhiye. Yahan se padhiye, "As soon as I arrived…" **46:31** (Student reading) "As soon as I arrived at His oneness, I became a bird whose body is of Oneness and whose wings are of everlastingness. So I continued to fly through the ether of Howness for 10 years until I came to the air of something like that 1,000,000 times. I did not cease flying until I came to the field of pre-eternity and saw there the tree of Oneness. Then he described its roots, trunk, boughs, branches, and fruit. Then he said, 'Then I looked and knew that it was all a cheat.'" **47:04** Okay. So ab yeh dekhiye, ab yeh kya hai? Let us put this into Urdu and see what it means or try to get a better feel of this. Woh kehte hain, jaise hi main unki ahadiyat tak pahuncha, okay, main ek parinda ban gaya jiska jism kis cheez ka tha? Tawhid ka. Aur uske par kis cheez ke the? Uhm, abadiyat. Azal se abad. Abad is everlasting eternity, you know, beyond time. **47:36** "So I continued to fly." Phir main udta raha. "Ether of Howness." Ek faza, kaifiyat, faza mein. Das saal tak. Phir main ek doosri duniya, ek aur faza mein aaya jo ke usi ki, like one, uski 1,000,000 times thi. 1,000,000 is like a million. It was like 1,000,000 times that, a similar space in time. Yaani ke aur bhi zyada, aur bhi khuli faza thi. "I kept flying." Yaani ke samjhe, he's crossing, he's beyond time. "I did not cease flying until I came to the field of pre-eternity." Azal aur abad. Abad is, you know, eternity ahead. And pre-eternity is like backwards in time. He says, "I came to pre-eternity," so he's beyond time and space, going backwards in time, pre-eternity. **48:32** And then what did he see? The tree of unity. Ek darakht. Acha, phir woh batate hain, "Woh kitna bada darakht tha, usme phal bhi the, usme yeh bhi tha, it's a mysterious kind of tree." And then he says, ke main, jab maine woh saara examine kar liya aur jab main door gaya toh mujhe samajh aa gayi, all of this is a dhokha. So what a weird thing to say. Yes or no? What weird kind of language. And once again, he's being sort of accused of going crazy or saying something very heretical. **49:05** Let's see what the charge is here, okay? Ab yahan dekhiye, ke, um, yeh jo baat thi, isme, the tree. Do you remember any other tree, a mystical experience we discussed? Sidrat al-Muntaha. Good, good, good, good. So, so, you know, a charge could be ke woh apne aap ko he's comparing himself to the Prophet, he's blaspheming or something like that. So let's see what the charge is, how Junaid responds or how Sarraj responds. Let's see. **49:38** So, unhon ne, you can read for us, Junaid said. **49:43** (Student reading) "Junaid said, 'As for his saying, 'As soon as I had arrived at His Oneness,' that refers to his first glimpse of the formation of unity, Tawhid. He described what he glimpsed of that and described his end in the condition of its attainment and his abiding in the finitude of its establishment. All that is one stretch along the path for all who are called to attain the reality of the science of Tawhid, by visible signs of its meaning, conspicuous to those who seek it and who are sent forth in regard to the visions they have glimpsed. If all that is the case, this stretch along the path is not the most advanced inner essence that those who are called are capable of. Nor is a settling down in the grade towards which they are advancing. Rather, that is grounded upon the sign of eternity and a trace of immortality upon those who find rapture in it.'" **50:29** Yeh aap ne itni tezi se padha hai jaise koi legal text nahi padhte. But that's okay, my job is to help you understand this. Okay, but thank you. Thank you for reading. Acha, ab Junaid yeh keh rahe hain ke jab woh kehte hain na ke jaise hi main uski ahadiyat tak pahuncha, main parinda ban gaya, right? So Junaid is saying that when he says that I reached there, he says, "That is his first glimpse of Tawhid." First glimpse of Tawhid. By the way, Sufis are using the word Tawhid, they're using it in this deep, strange, mystical sense. Got it? **51:07** To kehte hain unka pehla woh mystical experience tha of Tawhid. Tawhid is the ultimate reality basically, how God's being is behind everything. Kehte hain jab pehli dafa woh ek mystical level pe koi cheezein nazar aayin, Junaid is saying he was talking about that. So far, so good. Junaid ne abhi tak koi tanqeed nahi ki. Aage jaa ke woh kya kehte hain? He described what he glimpsed of that and described his end in the condition of its attainment and his abiding in the finitude of its establishment. **51:36** Yaani ke woh keh rahe hain ke, magar yeh toh sirf wohi tha jo unko nazar aaya. And he was always feeling bounded. So he was always trying to go beyond those limits, because woh finitude tha, usko woh cross karne ki koshish kar rahe the and God is beyond limits. So that's what he was trying to get at. But then he says, "All that is just one stretch along the path for all who are called to attain the reality of Tawhid." Magar yeh jo hai, yeh toh ek, Tawhid ko asal samajhne ke liye, ek chota sa kadam tha. That's what Junaid is saying. Theek hai? By visible signs of its meaning conspicuous to those who seek it and who are sent forth in regard to the vision they have glimpsed. **52:21** "If all that is the case, this is not the most advanced inner essence that one is capable of." Okay? Toh Junaid is saying, once again, repeating his, you know, what he said earlier, that this is okay, okay-ish kind of experience, but it's a naqis kind of experience. Yeah? Because he reached there, he saw things, he was always trying to go beyond finitude, and he's trying to get to infinity or some sort, but he could not really get there. Therefore, this is something deficient, faulty, problematic. Got it? **53:01** So he's saying, um, this is just based on the sign of eternity and a trace of immortality and he must have found rapture in it, but that's, you know, what he saw was not the, the heart of the matter, the, the core of that reality, the core of Tawhid. It was just like a surface level and he was trying but he could not really penetrate deep into the reality. Yeh Junaid ki comments hai. **53:32** Acha. But there are other places, parts on which Junaid also commented. Jab Abu Yazid says, or Bayazid says, 1,000,000 times, yaad hai woh kehte hain ke pehle main ek duniya mein gaya, wahan 10 saal guzare, phir main gaya jahan pe maine 1,000,000 years guzare. Junaid says that this is a meaningless statement. What just, all that it means is ke usse woh bahut khush hai. Okay? And then again he says, woh bhi ek kadam tha. Alright? Woh bhi ek kadam tha. **54:03** Now, what does, what does Sarraj say about Junaid? He says, "This is the interpretation of Junaid." Okay? And then this is adab. Sarraj does not want to harshly dismiss Junaid. He says, yeh unka opinion hai. Okay, good for him. But I don't agree. Okay, so once again, Sarraj is going to say, "Sorry, I'm not convinced." Okay? **54:31** Um, so let's see what happens. Let's read, let's continue reading. Iman, you read today? You already read? It's okay, it's okay. Inko mauqa dete hain na. Suleman. Sorry, Suleman bhi, Abdullah ne nahi padha. Abdullah, can you read for us? "Junaid spoke for…" **54:47** (Student reading) "Junaid spoke of the condition of Tawhid with the ecstatic in his ecstatic addresses. He did not pronounce upon his ecstatic state. He did not recall the saying of Abu Yazid that offers the both finder and key word for attack, 'I became a bird and did not cease to fly.'" Okay. **55:07** (Student reading) "How can it be that a man becomes a bird and flies?" Meaning, he was hewn to the loftiness of aspirations and the flight of the heart. One uses such terminology found in the language of Arabs. One says, 'I almost flew out of joy.' And 'my heart flew' and 'my mind was about to fly.'" **55:36** Okay. So woh yeh keh rahe hain ke jo, yahan par, when someone says, that a Sufi says ke main ek parinda ban ke ud gaya, uska yeh matlab nahi ke woh literally, uh, by the way, when I was very little, there used to be a series where we used to be fascinated by that series, it was called Manimal. Have you all heard about that? So there was, used to be this hero, aur whenever there was trouble, he could turn into some animal. Okay, woh bahut hi to, woh aise karta tha, aahista-aahista uska claw banta tha, then he would turn into a black panther. So, bachpan mein hum dekhte the, ab aap dekhe, toh shayad aapko bahut woh silly lage, but that, that moment was like very cool for us. **56:18** So, uh, he says, no, that's not going on. It's not like he's literally becoming a bird. He says, this is how, you know, people talk sometimes when they are very excited. When they have a certain degree of excitement. Yaad hai, dekhein, wajd mein kya tha? Emotional, physical, encounter type aur iske liye ek aur lafz bhi use kar sakte hain when you feel very excited, elevated, elated. Ke aap jaise ud rahe ho ya aap kahin aur chale gaye ho. Out of body, beyond yourself. You found something bigger and beyond yourself. Theek hai? **56:54** Toh yeh, yahan pe woh keh rahe hain ke when someone says, uh, that I flew, he says, this is a metaphorical language. Okay? By the way, Quran ke andar bhi aata hai, I don't think unhon ne yahan pe quote kiya hai. Quran ke andar aata hai, haan Quran ke andar unhon ne likha hai. Yeh main padha deta hoon aur bhi hain is tarah ke expressions Quran ke andar bhi jo yeh bird, bird metaphor use karte hain. So, continue reading please, Fatima. **23:29** (Student reading) "Yahya ibn Mu'adh said, 'The rasi walks while the 'arif flies.'" This is a beautiful, uh, so, beautiful, beautiful, uh, saying. Iski Arabi note ki thi. Yeh 'Arif aur 'atar' ki bhi isme aati hai aur isme, uh, yes, az-zahid sayyar, al-'arif tayyar. Beautiful, aur yeh, yeh zabaan ki khel hai, Farsi, Arabi mein aapko pata chalta hai ke woh kitni rhyming karke kehte hain, so a beautiful way of putting it. Az-zahid. Zahid hota hai jo sirf nek aamaal hi kar raha hai, roze rakh raha hai, burai se bach raha hai. You know, Yahya ibn Mu'adh said ke zahid jo hai woh ek khas level tak rehta hai. You know, he's like walking, sayyar, sair, chalna. But what about the 'arif? The 'arif is someone who goes beyond just, you know, he, he or she is someone who has a connection with God at the level of their heart. It's not just about doing good deeds, but also purifying your heart or developing a deep connection with God. They've done it, they've cracked it at the level of the heart. And they have this mystical knowledge jisko hum kehte hain ma'rifa or 'irfan. **24:47** So, a person who just focuses on good deeds, they, yeah, they will walk to God, but the 'arif, he just or she just flies away. Matlab they are light years ahead, okay? Toh, um, yeh, yeh woh saying quote kar rahe hain. Then, when, when Yahya ibn Mu'adh, woh Sufi says that al-'arif tayyar. Tayyar, airoplane, ab Arabi mein agar aap kisi airport pe jayein na Middle East ke, toh wahan gaya hota hai, woh kehte hain at-tayran. Toh wahan pe ke, flight ko woh kya kehte hain? Tayran, tayyarat. So flight, flying birds can also be called tayyib. Okay? Toh, yeh tairna, woh wala nahi hai, yeh to'in se hai, this means to fly. Or a bird, like a bird who can fly. Okay, continue please. **25:32** (Student reading) "By that he means that the knower in his quest for what he seeks is faster than the one who walks here. At my means, Allah Most High said, 'And for every person, we've bound around his neck his bird of omen.'" Okay. Ab Quran ke andar bhi yeh hai, uh, (unclear phrase)... is tarah ka kuch hai. Yeah, (unclear phrase)... his bird of omen. Iska of course yeh bhi matlab nahi ke aapke gardan ke gird koi parinda phansa hua hai. No. All that means is ke har kisi ki apni ek, har kisi ko ek, yeh keh lein, taqdeer hai. Everyone has their own destiny. Right? Everyone has their own limits. Aapko kuch milna hai, kuch nahi milna, jo ke Allah ne likha hai. So if you try to get it out of yourself, you won't. You'll just be frustrated. Jo aapko milna hai, woh mil ke rahega. Jo aapko nahi milna, woh nahi milega. That is what it means. It does not mean that there's a literal like bird that's stuck on your neck. Got it? **26:34** Ek aur misaal deta hoon, and this is something I find very beautiful. It's a beautiful, um, saying, a phrase in Arabic to lower your wings of mercy. Literally what does that mean? Ke apne paron ko, apne paron se doosre ko dhaank lena. Ya apne rehm ke paron se kisi ko dhaank lena. Okay? Junah, lafz aata hai. Jo kehte hain the bird's feathers, covering someone. **27:04** Toh yeh, uh, aata hai na ke jab aapke maa baap boodhe ho jayein, you know, lower your wings of mercy. Unko apne jaise ek parinda, ek maa jo hoti hai, ek mommy bird, they kind of covers its young with its feathers, yeah? Tum bhi us tarah se kar lo. Now, the Quran is not saying that you are a bird and you have to be like a mommy bird. All it means is, you know, protect, nourish, support, love each other, even when, you know, your parents are old and maybe annoying, still be, be, be patient, be forgiving. Okay? Toh yeh bird metaphors is tarah se use kiye jaate hain and Sarraj is saying, "How could you miss that? How could you miss that, sir Junaid?" **27:44** Okay. Uh, aage jaake woh kehte hain ke is Quran ki aayat ka matlab wohi hai ke taqdeer hai aur kisi ko khushi ya kisi ko khushi, kisi ko duniya mein blessings milegi. Right? **27:57** Okay. Um, and then he quotes poetry about flying, ke poetry mein bhi flying ki bahut zyada baatein hoti hain, theek hai? So maybe we can skip this a bit. Let's read from here quickly. So who's going to read for us? Taiyab ne nahi padha. Chalein Umar, aap padhengi? **28:26** (Student reading) "Such expressions can be found in the speech of the ecstatics and overcome by the remembrance of the One and the love lost when the secret of the heart, the ecstatic, is overcome by the remembrance of the One in whom he has found rapture. He depicts all his conditions with the attributes of his beloved. In this way, Majnun of the Bani 'Amir would say while looking at a wild animal, 'Layla,' while looking at the mountains, 'Layla,' and while looking at other people, 'Layla,' to the point that when he was asked his name and condition, he said, 'Layla.' In that regard he said, 'I pass by the ruined abodes of Layla, kissing this wall and that. It is not love of the ruins that captivates my heart, but love of the one who inhabited the ruins.'" Okay. **29:12** (Student reading) "Another said, 'I searched the secret of my heart for desire of you, but found only myself and that I am you.' And the inner essence is greater. If she fancies that I have found rapture in her, she speaks of herself when she speaks of me." Okay. So, basically he is saying that what the, what Junaid and critics have missed is this business of, you know, flying away, ud jaana, it's something that people speak of when they are very excited, when they have an experience of wajd. You know, this is an out-of-body kind of experience. So the way you express it in language is, you know, you say as if I became a bird. Okay? **29:54** Aur isi tarah se, this is also used in poetry a lot, it's also used in love language a lot. Ke main udhar pahunch gaya aur main udta raha, ya main usko dekhta raha, all of that is something you can see, you can find in the experience of ecstatics or people or lovers, okay? **30:15** Now, yeh wali jo baat hai ke main ek jagah gaya wahan 10 saal, uske baad ek million years and then he says the ether of howness. Kaifiyat ki faza, a space where all howness perishes or subsides. Okay, this is a very weird kind of phrase. Ke yeh duniya bhi kya hai? It's like the nature of, is he viewing somehow the deeper nature of or the deeper structure of reality? What is he talking about? **30:46** Um, yahan par woh kehte hain, this is a rare moment where Sarraj says, "Junaid is okay." Jab jitna Junaid ne keh diya woh okay hai. So he says, "What Junaid said, that is sufficient for me." So I agree with that. When, when, jab woh kehte hain na ke main ek jagah gaya jahan 10 saal guzare, phir main gaya jahan pe maine one million years guzare hain, he's saying that should, Junaid said all that it means is it was a long period of time, or it was beyond time. Toh woh kehte hain yahan tak, this is something I can believe in. Okay? **31:19** But the more important part or the more controversial, quote-unquote controversial part is when he says, "I looked and knew that it was all a cheat." Yeh sab dhokha tha. This is something that could be controversial. Ke ek toh pehle kehte hain ke mujhe Allah ne itna apne qareeb dikhaya, woh ayaat dikhayi, something like that, and then he says it was a dhokha. Isn't that insulting? So what does that mean? Okay? Yeh hum zara dekhte hain. This part we should read. So Iman, Iman Ali, tumne padha? Iman Iftikhar, aap padhengi? "As for his saying…" **31:59** (Student reading) "As for his saying, 'I looked and knew that it was all a cheat,' its meaning, and God knows best, is that the turning to and preoccupation with creation and dominion is a cheat next to the existence of the realities of the Real and the purity of the One. Therefore, Junaid, God grant him compassion, said, 'I do not see that Abu Yazid described the grandeur of his ablutions as one beyond the beginning and the end. I have not heard from him any pronouncement that would point to a meaning that would show the end.' This applies to his mention of the body, the wings, the air, and the field. He said, 'I knew that it was all a cheat, because among the people of the end, the turning to anything other than God is a cheat.' Lest anyone…" **32:39** Okay, so here he disagrees with them. Here he disagrees with Junaid. Junaid kehte hain ke mujhe toh nahi kuch lagta ke aisi bhi koi cheez thi jisse saabit ho that, um, that Bayazid Bastami is, has gone beyond surface-level realities. But once again, Sarraj is going to take the opposite position. He's going to flip Junaid's position on his head. **33:03** He's saying you missed the point. When he said ke maine woh saara darakht dekha aur woh saari faza dekhi, aur structure of reality dekhi, but he, ultimately kya samajh aayi? Ke all of this is a cheat. What does that mean? That all that we see eventually does not have its own independent reality. All reality that we visual, see, in our, you know, in our visions, even if it's a mystical vision, if it appears in a physical way, its own reality is not really there. What's the ultimate reality? God. **33:44** If you think that the, you know, the, the tree or some neutrons or some protons or some other electromagnetic forces are the foundations of all existence, that is a cheat. This is what he's saying. So woh keh rahe hain ke that is a very profound thing. That is the thing that the most senior mystic would say, not a baby, beginner Sufi. Kyunki woh yeh keh rahe hain ke jab maine saari cheezein, saare asrar bhi dekh liye, tab bhi mujhe kya samajh aayi? Ke in cheezon ki bhi koi haqiqat nahi hai siwaye ke Allah unko kuch haqiqat deta hai. So whatever exists does not have its own existence. Because ultimate existence, what's behind that? That's God. **34:31** Toh jo har cheez hai woh nazar ka dhokha hai in the sense that all existence rests on some other existence. There is nothing that we see has an independent, everlasting existence. Why? Because it rests on God for its own existence. Uski apni haqiqat nahi hoti, har cheez Allah par munhasir hoti hai. Allah par ek tarah se take lagayi hoti hai. If God takes that away, that existence will go away. So that is, that's why all that we see can be a cheat. All right? So that's why he says ke among the people of the end, yaani ke jo bahut senior mystics hote hain, turning to anything other than God is a cheat. Let's say you're fascinated by the tree and you think, "Oh, isse ab saari humein aqayad samajh aa jayenge, and this is the ultimate reality." That is a cheat. No. Don't think that the tree is some ultimate reality. Woh bhi Allah ki ek makhlooq hai. The ultimate reality is ineffable. It's, you can't express it in words. You can't even experience it, and that's God. Okay? **35:34** So what is the Prophet, uh, phir woh ek Hadith quote karte hain that the Prophet said, uh, "The truest words spoken by the Arabs is the saying of Labid." Labid was a great poet, and the Prophet said ke usne ek sher kaha tha jo bilkul sacha tha. "Everything other than God, how true it is, is vanity." Yaani ke har cheez, Allah ke siwa, woh, it's a beautiful, beautiful verse that says ke har cheez hum dekhte hain ke woh aati hai, chali jaati hai. Jaise pahad mein agar aap dekhein, sorry, jaise sehra mein dekhein, desert mein dekhein, hawa aati hai, you know, ek ret ka teela ban jaata hai. Sometimes it becomes so awesome it becomes like an entire mountain. But then the wind blows and that mountain is, of that dune is gone. That sand is gone. And what is left? Nothing, just dust. And he says, Labid says, "That's, isn't that how everything is? Isn't that how everything is? Everything goes and perishes and nothing has a stable existence. Everything, and then he says at the end, 'Everything other than God, it's batil.'" Yahan jo lafz hai vanity, uska Arabi lafz hai batil. It's all, you know, almost fake. **36:47** And that's what Sarraj is saying, aap sallallahu alaihi wasallam ne khud isko kaha ke yeh baat theek hai. In other words, the Prophet himself repeated these words, he said that everything other than God is a cheat. So if Bastami says it in a different way, in, you know, in a shathi form, why is that so difficult to appreciate? It's not the, it's not the statement of a deficient mystic, but the statement of a very senior, realized, like an 'arif, a sultan of the Sufia, not a beginner, not a naqis way. Okay? **37:23** Chalein, I'm tempted to continue because we have some more things to talk about, but I think this is too much Bastami and we haven't had a break, and you also have your assignment. So you can take, uh, it's 11:35, 11:36, that clock is five minutes ahead. So you can take a 10-minute break. Your assignment will start, um, at 11:46, 45, 46. So that will give you 25 minutes to complete it. Those who have accommodations can take 30. If you still feel like you need more time, talk to Shafa. Okay? Raise your hand, do it quietly. Chalein, Shafa, it's up to you, over to you. Please make sure you show your cheat sheet to Shafa and, uh, she has to approve it. Alright? Aur apni cheat sheet please iske andar daal dijiyega. Assignment, hum aapko booklet denge, us pe aapne cheat sheet aapne andar rakhna. Okay? Good luck. **(End of Lecture)** Of course. Here is a set of comprehensive, structured notes based on the lecture, designed for study and understanding. *** ### **Comprehensive Notes on the Lecture: Sarraj's Defense of Bayazid Bastami** #### **I. Overview & Core Argument** This lecture explores the interpretation of Sufi ecstatic utterances, known as **shathiyyat**, focusing on the sayings of the 9th-century mystic, **Bayazid Bastami**. The central theme is the contrast between the critical perspective of the "sober" Sufi, **Junaid al-Baghdadi**, and the detailed, sympathetic defense offered by **Abu Nasr al-Sarraj** in his seminal work, *Kitab al-Luma'*. Sarraj's method is to defend Bastami by re-contextualizing his seemingly heretical statements, arguing they should not be taken literally but understood as: 1. Metaphorical expressions of profound spiritual states (*wajd*). 2. The language of divine love, similar to poetic or romantic expression. 3. Statements that are, in fact, the opposite of what critics like Junaid perceive them to be. --- #### **II. Key Figures** * **Bayazid Bastami (d. 874):** The central figure, a Persian Sufi famous for his ecstatic and paradoxical sayings (*shathiyyat*). * **Junaid al-Baghdadi (d. 910):** A highly influential "sober" Sufi who often critiqued Bastami's utterances, viewing them as signs of a spiritually *naqis* (deficient or flawed) state. * **Abu Nasr al-Sarraj (d. 988):** The primary defender of Bastami in this lecture. His *Kitab al-Luma'* provides a systematic methodology for interpreting *shathiyyat* positively, using context, language, Quran, and Hadith. * **Harith al-Muhasibi (d. 857):** Mentioned for his foundational concept of watching one's inner thoughts (*khawater*) to discern their source (God, *nafs*, or Shaitan). --- #### **III. Core Concepts & Terminology** * **Shath (pl. Shathiyyat):** An ecstatic utterance from a mystic that may appear paradoxical, blasphemous, or heretical to an outside observer. Sarraj argues they arise from a state of spiritual ecstasy (*wajd*) and should not be read literally. * **Husn-e-Zann (حسن ظن):** "Thinking well of others" or giving the benefit of the doubt. Sarraj applies this as a primary rule for interpreting the words of saints. * **Wajd (وجد):** A state of spiritual ecstasy; an overwhelming experience of God's presence that alters one's state of mind and can lead to out-of-body or metaphorical expressions. * **Fana' (فناء):** Annihilation of the self. A state where the mystic's consciousness of their own self is obliterated, and only the presence of God remains. * **Fana' an al-Fana' (فناء عن الف ناء):** "Annihilation from the experience of annihilation." The next stage after *fana'*, where the mystic is no longer even conscious that they have been annihilated. This is considered a more complete state. * **Tawhid (توحيد):** The Islamic concept of God's absolute Oneness. In Sufism, this is not just a theological doctrine but a profound, experiential reality. * **Tafreed (تفريد):** Detachment or separation. The realization that God's unity is utterly separate from the created self. Junaid argued that a true experience of *Tawhid* requires *Tafreed*. * **Mufarridun (مفردون):** "Those who single themselves out." A term from a Hadith referring to individuals who praise God in all circumstances, good or bad, and are thus considered special. Sarraj links this to *tafreed*. * **'Arif (عارف):** A Gnostic, a knower. A mystic who has attained a deep, experiential knowledge (*ma'rifa*) of God, which goes beyond the outward piety of the *Zahid* (ascetic). --- #### ** Of course. Here is a set of comprehensive,IV. Analysis of Bastami's *Shathiyyat*** The lecture analyzes three key utterances, contrasting Junaid' structured notes based on the provided lecture on Bayazid Bastami, following a complete transcription of the audio. *** ### Full Lecture Transcription **(0:00 - 0:14)** …mein unse bhi, Zahid ka bhi woh mazaaq udate hain. Yes? Kabhi aalim ka mazaaq udate hain, kabhi woh Qari ka mazaaq udate hain. Aur kabhi woh apna mazaaq udate hain, Sufi ka his critique with Sarraj's defense. ##### **Shath #1: Claiming Intimacy and Conversation with God ("He said to me and I said to Him")** * **Junaid's Implied Critique:** Direct mazaaq udate hain. **(0:15 - 0:26)** Uska kya matlab hai? It conversation with God is generally considered impossible for anyone other than select prophets. Such a claim could be seen as heretical. does not mean that qira'a is bad. It does not mean that tasawwuf is bad. All that * **Sarraj's Defense (The Language of Love):** * This is not a literal means is that someone is getting it wrong. **(0:27 - 0:46)** Woh ek tar, verbal conversation. It is an **intimate communion** (*munajat*) or "secret of the heart" (*sirr al-qalb*). * It's a **poetic and metaphorical language**, similar to the wayah ki self-critique hai, ya internal critique. All right? When the spirit of something is lost, it can then become a subject of critique. For example, Quran padhna chahiye, and it should affect you spiritually. Yes? Or it should lovers communicate without words, through glances or shared understanding. Sarraj uses a love poem as an example: "My beloved is I, I am my beloved... two spirits in one flesh." * **Basis in Spiritual Practice:** This state create this taqwa or piety or make you feel purity. **(0:47 - 1:05 is achieved when the heart is purified through *dhikr* and attains a **"heart's vision"** (*)** Ya aap Quran mein bhi hai na ke jo nek log Allah ki ayaat sunte hain toh… *wajilatru'yat al-qalb*), a concept supported by the Quran (e.g., Surah Najm qulubuhum*… ke unke dil laraz jaate hain. The hearts shake and tremble. And). * **The Goal:** It describes a state of profound closeness to God, not a literal dialogue. ##### ** the Sufi will say, "Bhai sahab, you recite so beautifully, but I've never seen your heartShath #2: The Mystical Journey ("I became a bird and flew...")** * **The Utterance:** shake from your qira'a." **(1:06 - 1:17)** So, it's not Bastami describes a spiritual ascent where he becomes a bird, flies through metaphysical realms (like the "Ether of Howness" that qira'a is bad, it’s just that the way you're doing it, the niyyah, the formation and "Field of Pre-eternity"), and sees the "Tree of Oneness," before concluding, **"I looked and knew that it was all a cheat."** * **Junaid's Critique:** *, the internal soul that's doing it, that has problems. Aapko samajh aa rahi hai? **(1: He sees this as a *naqis* (deficient) experience. Bastami is fascinated by the signs and visions18 - 1:42)** Isi tarah se jab Zahid ka bhi woh mazaaq udayenge, uska along the path (the journey, the tree) but has not reached the ultimate destination. * He is stuck yeh matlab nahi hai that the Sufia disagree with or dismiss zuhd absolutely. It's just that, you know, in the early stages of the path, mistaking the signs for the reality itself. * **Sarraj's Defense (Flipping the Argument):** 1. **"Becoming a bird" is a metaphor for *W all that it means is ke misaal ke taur pe ek khatoon hain, she's a Zahida, she's like very strict about her prayers, her namaz, her fast… you know, she covers herself, but she'sajd*:** It is a common linguistic trope in Arabic (and other languages) to express extreme excitement or joy as "flying" (e.g., "I almost flew out of joy"). This is not literal transformation but the language of so strict. In her heart, does not have any softness or kindness. **(1:43 - 2:04 ecstasy. 2. **"It was all a cheat" is a profound realization, not a flaw:** This is Sar)** Uska bhi mazaaq udega, us pe bhi tanqeed hogi. Isi tarah agar koi mraj's masterstroke. He argues that this statement demonstrates Bastami's *advanced* state. Bastami realizesard hai, woh bhi is tarah ki harkatein karta hai aur bada badtameez hai, toh us pe log ka that **any created thing, even a mystical vision like the Tree of Oneness, is ultimately a "cheat" orhenge, you know, the Sufia will criticize him. That, you know, if you just consider ahadith, if a veil compared to the unseeable, uncreated reality of God Himself.** * **Core Principle:** For you just look at the Quran, all of what you're doing, aapke tumhare aamaal hi… the most advanced mystics ("the people of the end"), turning to anything other than God is a distraction. * they're all *zaaya*, they're all in vain. Why? Because your heart is not soft. **(2 **Support from Hadith:** Sarraj quotes the Prophet Muhammad's approval of the poet Labid's verse::05 - 2:17)** Theek hai? Kitni ahadith hai. There are beautiful ahad "Everything other than God is vanity (*batil*)." This shows that recognizing the transient nature of creation is a sign of true insight. ##### **Shath #3: The Request for Union ("Adorn me with Your Onenessith about the softness of the heart. Ke jo dil ro nahi sakta woh patthar dil hai. Jo patthar dil hai...")** * **The Utterance:** "Adorn me with Your Oneness, clothe me with Your Singularity, and take me up to Your Oneness." * **Junaid's Critique:** usko samjhe ke usko aag zyada lagegi. Narm dil ko aag nahi lagegi. It * Junaid interprets this as an experience of *Tawhid* **without** the necessary *Tafreed*ni ahadith hain is tarah ki. You see what I'm trying to say? **(2:18 - (detachment). * This leads to a dangerous blurring of the line between God and the self, a flawed 2:38)** Toh when the Sufia criticize something, or when they use, when they criticize the ulama, it state of union where the mystic might mistakenly think they have become God. * **Sarraj's Defense (Request's not that they are criticizing or rejecting 'ilm or qira'a. For them, those things are essential., Not a Statement):** * Sarraj points out that this is a **request or a prayer**, not Of course. Here is a set of comprehensive, structured notes based on the lecture, written entirely in English and focusing on the analytical content without the Romanized Urdu. *** ### **Comprehensive Notes on the Lecture: Sarraj's Defense of Bayazid Bastami** #### **I. Overview & Core Argument** This lecture provides a detailed analysis of the interpretation of Sufi ecstatic utterances, known as **shathiyyat**, with a specific focus on the controversial sayings of the 9th-century mystic, **Bayazid Bastami**. The central theme is the intellectual debate between the critical perspective of the "sober" Sufi, **Junaid al-Baghdadi**, and the systematic, sympathetic defense offered by **Abu Nasr al-Sarraj** in his foundational text, *Kitab al-Luma'*. Sarraj's primary argument is that Bastami's statements, which appear heretical on the surface, should not be taken literally. He employs a sophisticated methodology to re-contextualize them, arguing they must be understood as: 1. **Metaphorical expressions** arising from profound spiritual states of ecstasy (*wajd*). 2. The unique **"language of love,"** which mirrors poetic and romantic discourse. 3. Profound theological insights that are, in fact, the **opposite** of what critics like Junaid perceive them to be. --- #### **II. Key Figures** * **Bayazid Bastami (d. 874):** The central figure of the lecture. A pioneering Persian Sufi renowned for his powerful and paradoxical ecstatic utterances (*shathiyyat*). * **Junaid al-Baghdadi (d. 910):** A highly influential leader of the "sober" school of Sufism in Baghdad. He often critiqued Bastami's utterances, viewing them as signs of a spiritually "deficient" or "flawed" (*naqis*) state that lacked proper discipline. * **Abu Nasr al-Sarraj (d. 988):** The primary defender of Bastami discussed in the lecture. His *Kitab al-Luma'* is one of the earliest systematic works of Sufism, and he provides a methodology for interpreting *shathiyyat* positively, grounding his defense in scripture, linguistics, and an understanding of spiritual states. --- #### **III. Core Concepts & Terminology** * **Shath (pl. Shathiyyat):** An ecstatic utterance from a mystic that appears paradoxical, blasphemous, or contrary to doctrine. Sarraj argues these are not theological propositions but expressions born from a state of spiritual ecstasy (*wajd*). * **Husn-e-Zann:** An ethical and interpretive principle meaning "thinking well of others" or giving the benefit of the doubt. Sarraj applies this as a foundational rule for approaching the words of saints. * **Wajd:** A state of spiritual ecstasy or an overwhelming experience of God's presence. This state can alter one's perception and language, leading to metaphorical or seemingly out-of-body expressions (e.g., "flying"). * **Fana':** "Annihilation" of the self. A core Sufi concept describing a state where the mystic's consciousness of their individual self is obliterated by the overwhelming presence of God. * **Fana' an al-Fana':** "Annihilation from the experience of annihilation." A more advanced stage after *fana'*. Here, the mystic is no longer even aware that they have been annihilated, thus removing the last trace of self-consciousness. * **Tawhid:** God's absolute Oneness. For Sufis, this is not just a creedal statement but a profound, experiential reality that is the ultimate goal of the spiritual path. * **Tafreed:** "Detachment" or "separation." The crucial realization that God's unity is utterly separate and distinct from the created self. Junaid argued that a true experience of *Tawhid* is incomplete and dangerous without *Tafreed*. * **Mufarridun:** "Those who single themselves out." A term from a Hadith referring to individuals who are completely devoted to praising God in all circumstances, good or bad, and are thus considered special. Sarraj connects this concept to *tafreed*. * **‘Arif vs. Zahid:** The **‘Arif** is the "Gnostic" or "knower" who has attained deep, experiential knowledge of God (*ma'rifa*). The **Zahid** is the "ascetic" who focuses on outward acts of piety. The lecture notes that the 'Arif "flies" while the Zahid merely "walks." --- #### **IV. Analysis of Bastami's *Shathiyyat*** The lecture deconstructs three key utterances, contrasting Junaid's critical view with Sarraj's detailed defense. ##### **Shath #1: Claiming Intimate Conversation with God ("He said to me and I said to Him")** * **Theological Problem:** Direct, verbal conversation with God is generally considered a privilege reserved for select prophets in Islam. Bastami's claim could be interpreted as a heretical assertion of prophethood. * **Sarraj's Defense (The Language of Love):** 1. **Not Literal Conversation:** Sarraj argues this is not a physical, verbal dialogue but an **intimate communion** (*munajat*) occurring in the "secret of the heart" (*sirr al-qalb*). 2. **Poetic & Metaphorical Language:** This form of expression is common in love poetry, where lovers communicate profoundly without words. Sarraj uses a love poem as an analogy: "My beloved is I, I am my beloved... two spirits in one flesh." 3. **Grounded in Spiritual Practice:** This state is only achieved after the heart is purified through constant remembrance (*dhikr*) and attains a **"heart's vision"** (*ru'yat al-qalb*), a concept supported by Quranic verses (e.g., in Surah Najm). ##### **Shath #2: The Mystical Journey ("I became a bird and flew...")** * **The Utterance:** Bastami describes a spiritual journey where he becomes a bird, flies through metaphysical realms ("Ether of Howness," "Field of Pre-eternity"), sees the "Tree of Oneness," and then declares, **"I looked and knew that it was all a cheat."** * **Junaid's Critique:** Junaid views this as a sign of a deficient (*naqis*) experience. He argues that Bastami became captivated by the mystical visions (the journey, the tree) and mistook these created signs for the ultimate, uncreated Reality of God. * **Sarraj's Defense (Reinterpreting the Climax):** 1. **"Becoming a bird" is a Metaphor for Ecstasy (*Wajd*):** Sarraj explains that "flying" is a common linguistic trope used to describe a state of extreme joy or spiritual elation. It is not meant literally. 2. **"It was all a cheat" is a Profound Insight, Not a Flaw:** This is Sarraj's most powerful counter-argument. He asserts that this realization is a sign of an *advanced* mystic. Bastami understands that **any created thing, including mystical visions, is ultimately a "cheat" or a veil** when compared to the uncreated, absolute Reality of God. For the most advanced Sufis, turning one's attention to anything other than God—even a divine sign—is a distraction. 3. **Support from Hadith:** Sarraj supports this by quoting the Prophet's praise for the poet Labid's line, "Everything other than God is vanity (*batil*)," demonstrating that this insight is central to the Islamic tradition. ##### **Shath #3: The Request for Union ("Adorn me with Your Oneness...")** * **The Utterance:** "Adorn me with Your Oneness, clothe me with Your Singularity, and take me up to Your Oneness." * **Junaid's Critique:** Junaid interprets this as a dangerous desire for *Tawhid* (Oneness) **without** the necessary *Tafreed* (detachment). He sees it as a blurring of the line between creator and creation, a flawed state where the mystic might wrongly believe they have merged with or become God. * **Sarraj's Defense (A Request, Not a Statement):** 1. **The Key Distinction:** Sarraj argues that Junaid misses the crucial point that this is a **prayer or a request**, not a statement of fact. A request inherently implies a sense of separation and need, which is the very essence of *tafreed*. Bastami is *asking* for something he does not yet fully possess. 2. **A Prayer for Perfection:** By asking to be "adorned," Bastami is praying for God to *perfect* his experience of Oneness. This is a request to be taken through the spiritual process that leads to a complete understanding of *Tawhid*, a process which necessarily *includes* *tafreed*. 3. **Flipping Junaid's Argument:** Sarraj turns Junaid's critique on its head. Far from lacking *tafreed*, Bastami's prayer is a profound expression of it, as he acknowledges that only God can grant him this perfected state. ### rel_215_transcriptions/Sufi Dance & Music Lecture Transcription Here is a transcription of the lecture on Sufi Dance and Music, including both English and Urdu, with timestamps. **[00:00]** The kind of... what did this mean? Itni hazaar log, itne crore log jo thay, naqshbandi ek poori dunya ka hissa ban gaye thay. (What did this mean? So many thousands, so many crores of people who were Naqshbandi had become a part of a whole world.) **[00:10]** Woh dunya kya thi? (What was that world?) **[00:11]** Usmein shehzade bhi theen, shehzadiyan bhi theen. Ek badshah bhi thay jo Sufi ho jatay thay, Naqshbandi Sufi. Aur yeh wale jo Sufi thay yeh bohot aksar auqat committed thay. (In it, there were princes and princesses. There were even kings who would become Sufis, Naqshbandi Sufis. And these Sufis were often very committed.) **[00:20]** Jis tarah Akbar bhi Chishti Sufi thay lekin unko qatl-o-gharat bhi karni padti thi. Aur Naqshbandi Sufia bhi aksar jab Mughalon ke saath hotay thay woh bhi qatl-o-gharat usi tarah karte thay. (Just as Akbar was also a Chishti Sufi, but he had to engage in bloodshed. And Naqshbandi Sufis too, when they were with the Mughals, they also engaged in bloodshed in the same way.) **[00:30]** But some of them would become very pious. And pious in the sense ke woh... (that they...) **[00:35]** ...baith ke jaise logon ki problems hal kar rahe hain, aur ilmi cheezein likh rahe hain, aur Quran ke upar commentary kar rahe hain, a big deep reflection mein chale jatay hain. (…sitting and solving people's problems, and writing scholarly things, and writing commentary on the Quran, they go into a big, deep reflection.) **[00:45]** Aur kayi dafa itna bara masla ho jata tha ke bhai, what do you, how can you do this and how can you run a country? You can't do both sometimes for the problem. (And sometimes it would become such a big problem that, brother, how can you do this and how can you run a country? You can't do both sometimes.) **[00:55]** And then a lot of women were in, in this silsila, who were... who became princesses, who were very sophisticated, very advanced. **[01:03]** Unhein calligraphy woh kiya karti theen. Phir bohot zabardast unhone kuch kitabein bhi likheen. (They used to do calligraphy. Then they also wrote some very wonderful books.) **[01:08]** And even when they don't leave traces, we hear stories about them, ya records hain hamare paas, which show that they were learning some very advanced uloom. (or we have records that show they were learning some very advanced sciences.) **[01:17]** Okay, maybe not the uloom that are valued today. Lekin misaal ke taur pe philosophy, who cares about philosophy today? Because philosophy karke aapko koi job to nahi milti. (But for example, philosophy, who cares about philosophy today? Because doing philosophy doesn't get you a job.) **[01:27]** But that shows that, you know, they could grow intellectually, spiritually, they were doing some very sophisticated stuff. So, jo poori jo dunya thi, woh ek aur dunya thi, woh chali gayi. (So, that entire world was another world, which has now vanished.) **[01:38]** Khair, kahan se kahan baat chali gayi. Point yeh hai ke us dunya mein, Naqshbandis ho gaye, Qadris ho gaye, they were not too fond of music and, or what you can call dance. (Anyway, the conversation has strayed. The point is that in that world, the Naqshbandis, the Qadris, they were not too fond of music and what you can call dance.) **[01:47]** But the other ones, jis tarah Suhrawardi ho gaye, Chishti ho gaye, Mevlevi ho gaye, they are quite cool with music and dance. (like the Suhrawardis, the Chishtis, the Mevlevis...) **[01:56]** In fact, unke nazdeek there can be a way, it's a part of their spirituality. (In fact, according to them, there can be a way, it's a part of their spirituality.) **[02:02]** Now, they don't call it music and dance, although some, jis tarah unhone yahan pe likha hai, some musical instruments, some motions are part of their, what you can call ritual performances, ya zikr, ya dhikr, ya whatever. (just as he has written here...) **[02:16]** We'll talk about it. Can you continue reading please? **[02:19]** *(Student reading)* "Popular appreciation of Sufism today frequently focuses on music and dance, which in our popular culture are much more familiar categories than prayer or metaphysics." **[02:27]** Yeh dekhein, kitni ahem baat hai. (Look at this, what an important point.) **[02:29]** Hum jab music aur dance ki baat karte hain, so it's about what? What do people want when you think about music and dance? (When we talk about music and dance...) **[02:36]** Pleasure. And the more common word that we use is... I want to have... fun, right? So fun. Good. **[02:49]** However, when you have, when you come into this world of the Sufia, the categories they will use will not be fun or pleasure. **[02:58]** Although pleasure can be a part of it, the categories they will be, they will be using are prayer or something to do with metaphysics. **[03:07]** Okay? Ibadat ki ek qism ya Allah ke qurb hasil karne ki qism ya koi ruhani mashqala, mukhtalif alfaz woh use karte hain. (A type of worship, or a type of attaining closeness to God, or some spiritual exercise, they use various words.) **[03:15]** Continue please. **[03:16]** *(Student reading)* "Today, Sufi practices in the form of music and dance have been redefined in terms of contemporary Western aesthetic standards. The Mevlevi Sema ritual developed in Turkey in close proximity to the Ottoman court is now performed on concert stages as the dance of the whirling dervishes. A Pakistani singer trained in Chishti Qawwali ritual, Nusrat Fateh Ali Khan, records in the 'world music' genre and collaborates with American musicians on movie soundtracks. How are these contemporary manifestations to be understood in terms of the role of music and dance in earlier Sufi traditions?" **[03:47]** Okay, thank you. Now a lot of my teaching revolves around these issues, which is the things we take as part of, as representative of Islam or Islamic traditions, are they really representative of those traditions or are they monstrosities? Are they deviations? Are they distorted forms of traditions? **[04:08]** And as far as whatever, Qawwali ho gayi, ya Mevlevi Sama ritual ho gaya... Aapne dekha hoga na woh gol gol ghumte hain concerts pe aa ke? (And as far as whatever, whether it's Qawwali, or the Mevlevi Sama ritual... You must have seen them, they spin in circles at concerts?) **[04:17]** Okay, uski picture har kisi ke Facebook pe, logon ne apni woh, I think ab LUMS ke store pe subah subah chale jaye toh uski koi... unki koi notebook bhi... (Okay, its picture is on everyone's Facebook, people have their own... I think if you go to the LUMS store in the morning, there is some... they also have a notebook...) **[04:34]** notebook pe bhi yeh picture print hui hoti hai. (this picture is also printed on the notebook.) **[04:42]** Yeah, these rituals, you must have heard, seen some videos or is tarah ki jo pictures aapne dekhi hongi. (or you must have seen pictures like this.) **[04:52]** You get the point, right? Is tarah ki performances, dance performances, halka phulka koi duff-duff chal raha hai, ya Qawwali ho rahi hai. (Performances like this, dance performances, some light drumming is going on, or Qawwali is happening.) **[05:00]** Those performances, all of us have seen them or heard them, and they seem to be distorted or very, they're taken and experienced very differently from their original traditions. Aur unpe aaj hum baat karenge. (And today we will talk about them.) **[05:15]** And the problem with all of that is that it distorts our understanding of what these traditions are. We think of them as fun. **[05:24]** Jaise Qawwali hai. Yes, people think it's deep. People think it's nice. **[05:30]** But jo Qawwali, asal Qawwali hua karti thi almost, almost a thousand years, it's not a thousand-year-old tradition yet, but almost like at least 800-year-old tradition. It's very, very old. Yeah? (But the Qawwali, the original Qawwali that used to be...) **[05:46]** Un sadiyon mein jo Qawwali perform ki jaati thi uske kuch usool hote thay, kitabein hain hamare paas. But nobody knows that ke woh kya usool thay, kya maqasid thay, kya tareeka tha, kya uski cheezein theen. (In those centuries, the Qawwali that was performed had certain principles, we have books. But nobody knows what those principles were, what the purposes were, what the method was, what its elements were.) **[05:58]** Why? Because you pull it out of that original home and you put it in this music pop form, so that it sells. Okay? And it can appeal to a Western audience. **[06:11]** Once it starts to appeal to a Western audience, it's recycled back to us. And then we, as people who are no longer part of those communities, we also consume it as part of a capitalist consumer culture. **[06:23]** Samajh aa rahi hai aapko? Toh aap bhi pop, aap bhi video cassettes lenge, aap bhi Bollywood movies mein woh Nusrat Fateh Ali Khan ka sehra sun rahe honge, shadion mein bhi sehra sunaya jayega. (Do you understand? So you too... pop, you will also buy video cassettes, you will also be listening to Nusrat Fateh Ali Khan's sehra in Bollywood movies, the sehra will also be played at weddings.) **[06:34]** So, so are you with me? So it take, it changes, it takes on a different form. **[06:39]** What do these things mean in the tradition? Aur usmein ek bohot bara masla jo khara hota hai in traditions ke liye, woh yeh hai, it's one of the key questions we've been asking throughout this semester, woh yeh, what does the tasawwuf have to do with Islam? (And in that, a very big problem that arises for these traditions is this... it is this...) **[06:56]** Because many pious Muslims will object, ke yeh khel tamasha agar hai tasawwuf, naachna gaana hai, how is it Islamic? Why do they think it's a form of getting close to God when all I see is people get, yaani ke woh, log taash ke patte khelte hain, aur sharab-shurab le aate hain, aur kayi dafa... you know, they get prostitutes and then peeche kya chal raha hota hai? (that if Sufism is this fun and games, dancing and singing... people play cards, and bring alcohol, and sometimes... and then what's playing in the background?) **[07:22]** *Saanson ki maala pe...* [sings a Sufi song] yaani woh ek aur chalta tha, nahi nahi, ek aur hai jo bohot mashhur hai in gatherings mein, woh konsa hai? *Yeh jo halka halka suroor hai...* [sings another Sufi song] (I mean, there was another one playing, no, no, there's another one that's very famous in these gatherings, which one is it?) **[07:31]** Right? Woh, woh usmein bohot zyada log kaam kharab karte rehte hain, sharab-shurab peete hain. Toh kehne mein yeh chah raha hoon ke agar Qawwali yeh hai, toh phir tasawwuf kya hai? Is it, what does it, how does, how do these traditions have to do with anything spiritual or religious and how can Sufism as an Islamic tradition allow all of that? (Right? In that, many people do bad things, they drink alcohol. So what I'm trying to say is if this is Qawwali, then what is Sufism?) **[07:55]** So we want to talk about that. Before we do that, however, let me just quickly mark your first attendance and I can delete it. **[08:02]** *(The speaker takes attendance until 08:55)* **[08:57]** So, agla paragraph is also very important. Arisha, can you read this for us? The term that Sufis... (So, the next paragraph is also very important.) **[09:03]** *(Student reading)* "The term that Sufis use was Sama'... The emphasis for listening to chanting and singing... that might or might not be accompanied by musical instruments. The emphasis was therefore on the experience of listening rather than on the performance of music. Performance was generally the job of service professionals of a relatively low social status, much like actors or dancers in the 19th century..." **[09:27]** Okay pause. This is extremely important. Jab Sama hota, Sama ritual hota tha, usko Sama kehte hain. Humne pichli baar bhi humne baat ki thi, Sama means what? (When Sama happened, the Sama ritual, it's called Sama. We talked about it last time, Sama means what?) **[09:37]** Listening. Sun'na. So, point was, you listen to the words. Now why is it important to listen to the words? (Listening.) **[09:50]** *(Students respond)* **[10:05]** Because you avoid listening to the beauty of the voice or any other outward appearance there is, you just focus on what is meant by the words. **[10:14]** Woh bhi ho sakta hai. Sab kuch ho sakta hai, but what is that supposed to do? Why listening? (That can also be the case. Everything is possible, but what is that supposed to do? Why listening?) **[10:30]** Listening ka purpose kya hai in short? Why do we need to listen? (What is the purpose of listening, in short?) **[10:39]** To understand? **[10:41]** Understanding is a very intellectual thing. Haan, ek had tak mystical ya emotional bhi ho sakti hai. (Yes, to an extent it can be mystical or emotional too.) **[10:48]** Ji Maham? (Yes Maham?) **[10:48]** To communicate? **[10:50]** To communicate. Communicate with what or whom? **[10:54]** Aap jab sunte hain, does something, someone communicate with you? Okay, yes. But woh shaks toh Allah ki hi baat kar raha hai ya koi ishq ki baat kar raha hai. Communication kiske beech mein hai? Kahan hai? (When you listen... that person is talking about God or about love. The communication is between whom? Where is it?) **[11:18]** *(Student responds)* **[11:28]** Is it like a form of teaching, like through the words, you learn new things... **[11:33]** Okay, learning, like what sort of learning ya teaching mein bhi kya? It could be... (or what in teaching?) **[11:38]** Closer to God. **[11:40]** Yes, yes. But you're still not putting it the way a Sufi would put it. Ji Abdur Rehman? (Yes Abdur Rehman?) **[11:46]** To experience something. **[11:48]** Like what? **[11:49]** Like some sort of ecstasy or some sort of... **[11:53]** Excellent. More or less, but to put it the way the Sufi will do it, you listen to be moved, you listen to be transformed, you listen to have experiences, you listen to connect, you listen to grow. It's like a nourishment for your soul. **[12:10]** What is the Quran? The Quran is recited. These are recited words. Okay? Qara ka kya matlab hota hai? Parhna. Quran kya hai? Parhi gayi cheez. Aur Quran ke andar khud hukm aata hai ke isko suno. (What does Qara mean? To read. What is the Quran? Something that is read. And in the Quran itself, there is a command to listen to it.) **[12:25]** Sun'na jo hai, listening to the Quran, and what are our rituals, our prayers? Aap jab namaz parhne jaate hain masjid ki, masjid mein jaate hain, jummah parhte karte hain, what does everyone do mostly? You stand and you, or sit and... listen. (Listening... When you go to pray, go to the mosque, pray jummah, what does everyone do mostly?) **[12:40]** Chahe woh jummah ka khutba ho, chahe woh azan ho, hum sab, sara kuch sun'ne pe hai. So our tradition is an Islamic tradition is about words, reciting words and listening to words. (Whether it's the Friday sermon, or the call to prayer, all of it is about listening.) **[12:57]** And for most people, it is about listening. It's not about, the emphasis is, khair with the Quran the emphasis on recitation is also, there's a lot of emphasis on that, but Quran ko chhor ke jo doosri cheezein hain, usmein zyada emphasis recitation se kam hai aur listening pe zyada hai. (Anyway... but apart from the Quran, in other things, the emphasis is less on recitation and more on listening.) **[13:16]** For example, azan. Okay? Aapko yeh bohot zyada emphasis bachpan se aap bare ho rahe hain, amma abba ne, sab ne kaha na, Quran parhna zaroori hai, Quran seekhna bhi zaroori hai. Lekin yeh toh nahi kisi ne kaha sare, 'Oye azan bhi seekho, tumne azanein bhi deni hain.' Halanke it's a very nice thing to do, but... you don't have that emphasis. Azan sun'ni zaroori hai. Bachcha bhi jab paida hota hai usko hum sunate hain azan. (You've been growing up since childhood with a lot of emphasis... your parents, everyone said that reading the Quran is important, learning the Quran is also important. But no one said, 'Hey, learn the azan too, you have to give the call to prayer.' Although it's a very nice thing to do... The azan must be heard. Even when a child is born, we make them hear the azan.) **[13:39]** So that is the idea, that the words that we listen to change us, or they can potentially transform us. **[13:47]** Especially when the words, yaad rakhiyega for the Sufia, especially when the words are spoken by a wali, or they're coming from a very pure source, toh phir un alfaz ka aap par waisa asar ho sakta hai. (remember this for the Sufis... then those words can have that kind of effect on you.) **[14:07]** Why? Because alfaz jo hain, they are spoken through a certain haal. Let's say you're happy, you'll sing a happy song. If you're sad, you'll sing a sad song. Okay? (The words...) **[14:21]** Aur hum misaal ke taur pe agar aap, you are in a lot of pain, you will express that through words. The idea is to use the words and get back to the haal. (And for example, if you...) **[14:34]** Agar ek haal se alfaz aa rahe hain, toh alfaz se haal pe wapas aana. It's like reverse engineering. How? By listening. (If words are coming from a state, then using the words to go back to that state.) **[14:41]** If somebody spoke out of a haal, you listen and you try to get that haal. And haal is a step towards a maqam. Okay? Yaani ke yeh terms jo marzi ho, idea basically yehi hai, you have these experiences and states and eventually stations. (Meaning, whatever these terms are, the basic idea is this...) **[15:00]** So it's like something that hits your soul, and you try to, you leave, you let your soul be influenced by those things. **[15:09]** Agar koi Sufi ishq ki baatein karte hain aur aap woh Allah se ishq ki baatein hain aur woh aap bar bar suneinge, toh aapke dil mein bhi uski ek raghbat, ek chahat, ek khwahish, ek cheez paida hogi. (If a Sufi talks about love, and you hear those talks about love for God again and again, then a desire, a longing, a wish for it will be born in your heart too.) **[15:22]** I remember when I was a young, I was, I was kind of like you guys and much younger, and... kafi mein us waqt I was going through my Salafi-Mawdudi phase, I guess. But I was very open to being proven wrong. **[15:39]** Toh mujhe yaad parta hai ke hum ek dafa, I was driving and there was a guy, hamare koi driver thay, he was listening to Qawwali. And I was like, why do you listen to Qawwali? (So I remember once... we had a driver...) **[15:51]** Aur yeh toh abhi Ramzan aane wala hai, Ramzan mein, Ramzan mein toh yeh chhor dena chahiye. Ramzan mein toh music bara ajeeb hota hai. (And now Ramadan is about to come, in Ramadan, you should leave this. Music in Ramadan is very strange.) **[15:58]** He said, "Why? Hum toh Qawwali sunte hain, uske baad mera dil chahta hai namaz parhe, dil chahta hai yeh ho." Maine kaha, "Acha?" (We listen to Qawwali, after that my heart wants to pray, my heart wants this and that." I said, "Really?") **[16:06]** So that was the first time I saw Qawwali in a very different light for these people. Main bhi sun raha tha, woh bhi sun raha tha, lekin hamare liye sirf ya woh maza hai ya shugal hai ya koi, you know, something forbidden, but it's still musical, so it's fun, we can listen to it. (I was listening, he was also listening, but for us it was either fun or entertainment or some...) **[16:22]** But he had a very different relationship with it. For him, it was, the words meant something. Unki zuban apni hai, jaise Punjabi ka kalam hai. It hit them, it hit him harder than it could hit me. (His own language, like a Punjabi verse.) **[16:35]** Are you with me? So that is the idea that the words do something to you, and you want it, it has this transformative, encouraging, maybe like a gentle changing, whatever, but it changes you. That is the idea. **[16:53]** Jaise Quran sun'ne se, zikr azkar karne se, aur bohot sari practices se maqsad hota hai to self-transform, similarly, this kind of whatever we call the Sama, is supposed to do that. (Just as the purpose of listening to the Quran, doing dhikr, and many other practices is to self-transform...) **[17:06]** Aksar woh yeh alfaz use karenge ke jaise to kindle a fire, ke aapki, aapko ek, yeh sholay hain, chingariyan hain. Alfaz kya hain? Sholay aur chingariyan. (Often they will use these words, that it's like to kindle a fire, that for you, these are flames, these are sparks. What are words? Flames and sparks.) **[17:17]** But a shola or a chingari, that can't light a fire on its own. What else do you need? To light a fire other than a spark, you need...? (A flame or a spark...) **[17:28]** *(Students respond)* **[17:34]** Aur kya chahiye? Hawa chahiye. Hawa? Hawa oxygen important hai usko chhor dein toh woh band ho jayegi thori der mein. If you want to keep that fire burning... fuel. Some sort of fuel. Okay? (What else is needed? Air is needed. Air? Air/oxygen is important, if you leave it, it will extinguish in a while.) **[17:48]** Some sort of fuel. Ya toh mom hogi, koi batti hogi, koi candle hogi, koi cotton hogi, kuch hoyega jo jalta rahega. Right? And they say, ya agar aag hogi ya gas hogi toh phir bohot zyada bharak jayega. Toh woh wali baat hai ke the fuel has to come from within you. (Either there will be wax, or a wick, or a candle, or cotton, something will be there that keeps burning. Or if there is fire or gas, then it will flare up a lot. So it's that thing...) **[18:04]** If you are very stone-hearted aur aap bas wahan pe aaye hue hain dekhne observation ke liye aur aap you don't even believe, maybe it won't affect you. Because those are just sparks. But those who are really willing and ready and sincere, the Sufia will say their light, their fire can be ignited. (and you've just come there to observe and you don't even believe...) **[18:24]** Aur ultimate maqsad yeh kya hai ke aap Allah ke qareeb aayein, Allah ka ishq aap mehsoos kar sakein, aap tazkiya mehsoos kar sakein, woh wali feelings aap mein aa sakein jo auliya mein theen. (And what is the ultimate purpose? That you come close to God, you can feel the love of God, you can feel purification, those feelings can come into you that were in the saints.) **[18:34]** If you don't have those feelings of sacrifice, of love, but once you listen to them, maybe you will nurture them. So it's an exercise of sorts that is supposed to trigger something inside you. **[18:49]** Acha ji. Aur haan, Quran ke andar bhi, ahadith mein bhi, achi awaz ko bohot pasand kiya gaya hai aur bohot zyada emphasis hai. (Okay. And yes, in the Quran and in the ahadith, a good voice has been greatly liked and there is a lot of emphasis on it.) **[19:01]** In fact, Quran ke bare mein bhi aap sallallahu alaihi wasallam ne kaha tha, there is a hadith which says, learn Tajweed, or learn to recite the Quran in beautiful, in the beautiful, in the best possible manner properly in the most beautiful voices. **[19:16]** Aur yahan tak, I think, I'm not sure, but yahan tak tha ke let's say if someone has a very bad voice, they should avoid reciting too loudly. (And to the extent... I think... it was to the extent that...) **[19:26]** Ispe woh Sheikh Saadi jo hain na, unhone ek bohot mazahiya qissa bhi bayan kiya hai ke koi musafir kafle ja rahe thay ek kafle mein ek musalman tha. It's a, guys, it's really funny. (On this, Sheikh Saadi has narrated a very funny story that some traveler caravans were going, in one caravan there was a Muslim.) **[19:39]** Toh woh kehte hain ke woh unki laraai honay hi lagi thi toh na laraai se pehle woh, unka jo tha, jo, jo unka jo kaferon ka sardar tha, uska beta bhag ke aa gaya musalmanon ke paas. Aur aur bhi kuch defections ho rahi theen. (So he says that their fight was about to happen, so before the fight, the one who was their, the leader of the infidels, his son ran over to the Muslims. And there were some other defections happening too.) **[19:58]** Aur woh musalman ho gaya. Ke main tauba karta hoon. Acha, ab jang hone lagi hai aur woh musalman bade excited hain aur unhone apna bari woh josh se aa, larenge, jeeteinge, maareinge. (And he became a Muslim. That I repent. Okay, now the battle is about to start and the Muslims are very excited and with great enthusiasm, yes, we will fight, we will win, we will kill.) **[20:11]** Jaise hi woh jane lage, woh jo uska beta tha sardar ka, woh wapas bhag gaya. And now they were scared maybe there's a, this was a trick. Are you listening? (As soon as they were about to go, that son of the chieftain, he ran back.) **[20:21]** Ab Sheikh Saadi hain, it's not Attar hai na, so Sheikh Saadi is also a master of literary play with your mind but then Sheikh Saadi, it's usually something funny that happens in the end. So listen to what happens. (Now it's Sheikh Saadi, it's not Attar, right...) **[20:32]** Toh woh jab qareeb aate hain toh woh bhag jata hai wapas. Aur musalman ab ghabra jaate hain ke yaar yeh kya hua, dhoka ho gaya, ab toh mare jayenge. (So when he comes close, he runs back. And the Muslims now get scared that what happened, we've been tricked, now we will be killed.) **[20:42]** Aur lekin jaise hi woh larne lagte hain aur woh kafiron ka lagta hai jaise ghalba hoga, woh dosti karte hain, woh sulah kar lete hain aur woh jo kafiron ka sardar aata hai, woh aa ke na musalmanon ke sardar ko zor se hug karta hai aur kehta hai, "Jao, balki usko tohfe bhi de ke kehta hai, ab maine tumse larna hi nahi." (But as soon as they start fighting and it seems like the infidels will overpower them, they make friends, they make peace, and the leader of the infidels comes and hugs the Muslim leader tightly and says, "Go, in fact he even gives him gifts and says, now I don't want to fight you at all.") **[20:58]** Toh woh kehte hain, yeh kya hua kya? What happened? He said, ke mera beta jo tha na woh bada fascinate hota tha Islam se, tum logon se, aur pata nahi tumhari sari baaton se aur teaching se. (So he says, what happened? He said that my son was very fascinated by Islam, by you people, and by all your words and teachings.) **[21:11]** Toh kehte hain ke woh bhag ke chala gaya ke maine toh musalman hona hai. Toh mujhe iska is cheez se itna dukh hua, main itna dukhi tha, main itna pareshan tha, toh kehte hain ke wahan pe jab idhar aaya hai toh tumhara itna woh ek bad-lehan banda tha, itni usne buri awaz mein azan di, phir itni gandi usne tilawat ki, woh bhag ke wapas aa gaya hai, mujhe uski khushi hai. (So he says he ran away saying he wanted to become a Muslim. So I was so saddened by this, I was so sad, I was so worried, so he says when he came here, you had such a man with a terrible voice, he gave the call to prayer in such a bad voice, then he recited so horribly, he ran back, I am happy about that.) **[21:33]** So that is the, the idea, that is the funny story that he told ke and the lesson is ke agar aapki achi awaz nahi hai, toh behtar hai ke aap kharab na karein ya aahista hi karein. (that if you don't have a good voice, it's better that you don't ruin it or just do it softly.) **[21:46]** Aur jinki khoobsurat awazein hain, unko mauka dena chahiye because beauty is important in Islam, especially when the word, jab alfaz ki baat aa rahi hai. Okay? (And those who have beautiful voices, they should be given a chance because... especially when it comes to words.) **[21:56]** So, alfaz ka, achi awaz ka, achi awazon ka insan par asar hota hai. And that is taken very seriously. In fact, you could argue ke jo Islam mein anxiety bhi hai music ke hawale se ke music sun sakte hain, nahi sun sakte ya bohot si ahadith mein kuch mana bhi hai, that is precisely because sounds are taken so seriously ke unka asar hota hai. (So, words, a good voice, good voices have an effect on a person. that in Islam there is anxiety about music, whether you can listen to it or not, or in many hadiths it's forbidden... that they have an effect.) **[22:21]** Yeh nahi hai ke you, aap trance music bhi sun lein, aap, you know, wahiyat cheezein bhi sunte rahein aur unka aap pe koi asar nahi hoega. The idea is ke unka asar hota hai. (It's not that you... you can listen to trance music, you... you can keep listening to vulgar things and they won't have any effect on you. The idea is that they have an effect.) **[22:32]** Now, main yeh nahi kehta ke I personally have according to this ideal, unfortunately, main aapko bata chuka hoon ke bache gaane sunte hain aur pata nahi kya kya sun'ne ko aaj mil jata hai, aap chal phir rahe hain, people don't understand either the meanings or they don't understand the gravity of what is being said. (I'm not saying that... I've already told you that children listen to songs and you get to hear so many things today, you're walking around...) **[22:48]** Ke woh baatein kitni ajeeb hain ya buri hain ya, you know, sometimes it's very vulgar stuff in the songs, lekin kya karein? This is the world we live in. Anyway. (That those things are so strange or bad or... but what can we do?) **[22:58]** *(The lecture continues with a detailed analysis of the term "Sama" and its conditions: Makan (place), Zaman (time), and Ikhwan (brethren).)* *(A video of a Qawwali performance is shown and analyzed from 27:24 to 28:55. The transcription of the Qawwali lyrics is as follows:)* **[28:57]** *Shaban-e-hijran daraz chu zulf* (The nights of separation are long like your tresses) **[29:16]** *Wa roz-e-waslat chu umr kotah* (And the day of union is short like life) **[29:32]** *Sakhi piya ko jo main na dekhun* (If I don't see my beloved benefactor) **[29:49]** *Toh kaise kaatun andheri ratiyan* (Then how do I pass these dark nights?) *(The lecture then continues, analyzing the Mevlevi tradition, the concept of "wajd" (ecstasy), and contrasting traditional Sufi practices with modern performances.)* Of course. Here are comprehensive notes on the lecture, organized by key themes, ideas, terms, and anecdotes as requested. ### Comprehensive Notes on the Lecture: Sufi Dance & Music #### **I. The Historical Context: A "Sufi World"** * **A Pervasive Culture:** The lecture begins by describing a historical "Sufi world," particularly referencing the Naqshbandi order, where Sufism was not a fringe movement but a vast, integrated part of society. * **Royalty and Sufism:** This world included people from all social strata, including princes, princesses, and even kings (like the Mughal Emperor Akbar, a Chishti follower) who embraced Sufi practices. * **The Committed Practitioner:** Many of these individuals were deeply "pious" and "committed." Their practice was not just nominal but involved deep intellectual and spiritual work, such as: * Writing scholarly texts and commentaries on the Qur'an. * Engaging in deep reflection. * Actively helping solve the problems of the community. * **The Role of Women:** Women were highly active and respected participants. The lecture highlights that "princesses" and other women were often very sophisticated, educated, and contributed intellectually, practicing arts like calligraphy and even writing books. --- #### **II. The Core Debate: Music & Dance in Different Sufi Orders** A central theme is the differing attitudes towards music and dance among various Sufi orders. * **Orders Against Music (Generally):** * **Naqshbandi & Qadri:** These orders are generally not fond of music and dance as a primary spiritual practice. Their focus is more on silent dhikr (remembrance), Qur'an recitation, and contemplative practices. * **Orders Embracing Music (with conditions):** * **Chishti, Mevlevi, Suhrawardi:** These orders see music and dance as a powerful tool for spiritual growth and a legitimate part of their path. * **Important Distinction:** Even for these orders, it is not "music and dance" for entertainment. It is referred to as **Sama'** (listening) and is a structured ritual with a specific spiritual purpose. --- #### **III. The Concept of *Sama'* (The Art of Listening)** * **Definition:** *Sama'* literally means **"listening"**. The emphasis is not on the musical performance but on the **experience of listening** to the words and their impact on the soul. * **Purpose:** The goal is not "fun" or worldly "pleasure." The purpose is to: 1. **Be Moved & Transformed:** To let the words of the poetry, often about love for God, "kindle a fire" within the soul. The words are seen as "sparks" (*chingariyan*) that can ignite the "fuel" of a sincere heart. 2. **Achieve Spiritual Absorption (*Jazb*):** To become so absorbed in the remembrance of God that one forgets the self. 3. **Connect with the Primordial Covenant:** To take the soul back to the *'Alam-e-Alast'* (the Plane of "Am I not?"), a pre-eternal moment where all souls affirmed God's lordship. 4. **Reverse Engineering a Spiritual State (*Haal*):** The poetry is born from a spiritual state (*haal*). By listening intently, the participant can access that same state. --- #### **IV. The Three Conditions for Authentic *Sama'*** For a *Sama'* gathering to be legitimate and spiritually effective, three conditions must be met: **Makan, Zaman, and Ikhwan.** 1. ***Makan* (The Place):** * The venue must be pure and appropriate. It cannot be a place associated with sin or distraction (e.g., land seized unjustly). * Uncontrolled public locations where the sanctity of the gathering cannot be maintained are discouraged. 2. ***Zaman* (The Time):** * The ritual must not conflict with obligatory religious duties like daily prayers. * It should not become an all-consuming, regular addiction that detracts from other responsibilities. 3. ***Ikhwan* (The Brethren / The Company):** * This is considered the most critical condition. The people present must be appropriate. * **Inappropriate Company Includes:** * Improper intermingling of men and women that leads to distraction. * Powerful figures (e.g., "a powerful man from the nobility") who disrupt the atmosphere of humility and expect insincere respect. * Pretenders or "fake Sufis" who perform *pseudo-ecstasy* for show. * The presence of such individuals corrupts the gathering, and the sincere are advised to leave. --- #### **V. Traditional Practice vs. Modern Performance** The lecture draws a sharp contrast between the traditional ritual and its modern, commercialized form. | **Traditional *Sama'* / Qawwali** | **Modern Concert / Pop-Culture Version** | | :--- | :--- | | **Focus on Participation:** The audience are active participants in a spiritual ritual. | **Focus on Performance:** The audience are passive spectators at an "aesthetic event." | | **Purpose is Spiritual:** The goal is inner transformation, remembrance of God, and *Jazb*. | **Purpose is Entertainment:** The goal is fun, pleasure, and worldly enjoyment. | | **Primacy of Words:** The poetry and its divine message are paramount. | **Primacy of Music:** The musical beats, rhythm, and performer's skill take precedence. | | **Strictly Regulated:** Governed by the rules of *Makan, Zaman, Ikhwan*. | **Unregulated:** Happens in commercial venues, weddings, movie soundtracks. | | **Performers' Status:** Performers (*Qawwals*) were often from a lower social class, seen as service professionals, not idols. | **Performers as Superstars:** Performers (e.g., Nusrat Fateh Ali Khan) become global superstars and idols. | | **Ecstasy (*Wajd*) is Internal:** A genuine spiritual state is valued, but outward, showy displays are discouraged and seen as a spiritual flaw (*nuks*). | **Ecstasy is for Show:** Outward displays are celebrated and seen as proof of the performance's power. | --- #### **VI. Key Terms & Concepts** * ***Sama'***: The ritual of "listening" to spiritual poetry and music. * ***Raqs***: The Arabic word for "dance." Notably, the Mevlevis and other Sufis often avoid this term for their ritual, preferring *Sama'*. * ***Wajd***: Ecstasy; a state of spiritual transport where one is overwhelmed by a divine experience. * ***Jazb***: Spiritual absorption; being completely engrossed in the divine. * ***Majzub***: One who is permanently in a state of *Jazb*. In the tradition, this is often seen as a spiritual state one gets "stuck" in, not the ultimate goal. * ***Urs***: Literally "wedding." It refers to the death anniversary of a saint, celebrated as their ultimate "union" with God. This is the primary traditional context for Qawwali. * ***Haal***: A temporary, divinely-granted spiritual state or mood. * ***Maqam***: A more permanent and earned spiritual station on the path. --- #### **VII. Anecdotes & Illustrations** 1. **The Driver and Qawwali:** The lecturer recalls his driver listening to Qawwali and explaining that it made him want to pray. This was a formative moment for the lecturer, revealing that for sincere participants, the music is a catalyst for piety, not just entertainment. 2. **Sheikh Saadi's Story of the Bad-Voiced Muezzin:** A humorous story about a chieftain's son who wants to convert to Islam but is scared away by the horribly dissonant voice of a man reciting the Qur'an or Azan. The chieftain is relieved, thanking the man for saving his son from converting. **The lesson: Aesthetics matter. A beautiful voice is important in conveying a divine message, as a bad one can be off-putting.** 3. **Analysis of the Qawwali Video:** * The audience is shown sitting with **adab (respect and proper etiquette)**, mostly still and absorbed in listening. * One man who starts moving his head ecstatically is quickly and gently calmed by those next to him, demonstrating the community's role in discouraging uncontrolled outward displays. * The elderly man who gets up to dance is seen as a spontaneous, tolerated exception, not the norm or the goal of the gathering. Excellent question. This is a very important and often misunderstood point that the lecturer addresses directly. According to the lecture, the popular notion that Sufis used *Sama* (music and dance rituals like Qawwali) as a primary tool to attract non-Muslims and spread Islam is a **fundamental misconception and historically inaccurate.** Here’s a breakdown of why this claim is considered false, based on the points made in the lecture: ### 1. It Mischaracterizes the Nature of Sufi Outreach * **Sufis Were Not "Missionaries" in the Modern Sense:** The lecturer explains that the Sufi approach was not about active, direct proselytizing (preaching, handing out pamphlets, etc.). Their method was one of **passive attraction through service (*khidmat*) and character**. * **Method of Conversion:** They would settle in a community, serve people of all faiths, and draw them in through their piety, love, and wisdom. Conversion was an organic, long-term outcome of people being inspired by their example, not the result of a specific "conversion event" like a musical performance. ### 2. The Ritual of *Sama* was Exclusive, Not Inclusive This is the most crucial argument presented. Far from being an open invitation to the masses, the traditional *Sama* was a highly regulated and exclusive ritual meant only for the initiated and spiritually advanced. * **The Condition of *Ikhwan* (The Brethren/Company):** The lecture emphasizes that the most important condition for a legitimate *Sama* was having the right company (*Ikhwan*). This explicitly meant **excluding**: * The general public (*awam*). * Spiritual "newbies" or the uninitiated. * Outsiders who did not understand the spiritual context. * Anyone insincere or there for entertainment. * **Logical Contradiction:** The lecturer poses the question: **How can a ritual that is designed to be exclusive and actively keeps the general public out be a tool for converting that same public?** The very structure of the ritual was insular, designed to protect its sanctity from outside influence, not to broadcast a message to it. ### 3. The Purpose of *Sama* was Internal, Not External * **A Tool for the Practitioners:** The purpose of *Sama* was not to convert outsiders, but to deepen the spiritual state of the **insiders**—the Sufis who were already on the path. * **Focus on Spiritual States:** As explained in the lecture, the goal was to achieve states of spiritual absorption (*Jazb*) and ecstasy (*Wajd*), and to help the soul connect with the divine. It was a sophisticated spiritual technique for those already engaged in the practice, not an introductory event for newcomers. --- ### Conclusion In summary, the lecturer argues that the idea of using music to spread Islam is a modern, romanticized projection onto the past. Traditional Sufi texts and the very rules governing the *Sama* ritual show that it was a **limited-access, advanced spiritual practice**. The Sufis' method of spreading their message was their way of life and service, not a concert stage. The modern phenomenon of Qawwali being performed for mass audiences (including for entertainment or at weddings) is a complete distortion of its original context and purpose. Of course. The topic of "dance" in Sufism is complex and highly nuanced, and the lecturer dedicates significant time to deconstructing modern assumptions and explaining the traditional perspective. Here is an expanded note on everything discussed about dance, based on the lecture: ### I. The General Sufi Attitude: Ambivalence and Avoidance The first and most important point is that for the vast majority of Sufi traditions throughout history, **"dance" as an art form or performance was not a central spiritual practice.** * **A Peripheral Topic:** The lecturer notes that in Sufi literature, dance (*raqs*) is only "peripherally discussed." It is not a major theological or practical concern for most orders. * **Focus on Listening (*Sama'*):** The primary focus is always on *Sama'* (listening). Any physical movement that occurs is considered secondary and a *result* of the listening, not the goal itself. * **A Potential Danger:** Dance is often viewed with caution because it can feed the **ego (*nafs*)**. The desire to perform, to be watched, and to display one's spiritual state is seen as a major spiritual pitfall. The goal of Sufism is to *crush* the ego, not to celebrate it on a stage. --- ### II. Terminology: Why the Word "*Raqs*" (Dance) is Rejected Sufis who incorporate movement into their rituals are very careful with their terminology, often rejecting the word *raqs* because of its worldly connotations. * ***Raqs* vs. *Sema'***: * ***Raqs*** implies a performance for an audience, for entertainment or aesthetic appreciation. It is associated with worldly pleasure. * ***Sema'*** (which includes the Mevlevi whirling) frames the movement as part of a sacred ritual of listening and remembrance. It is an act of worship, not a performance. * The lecturer makes it clear that calling the Mevlevi ritual "the dance of the whirling dervishes" is a modern, Western-centric label that fundamentally misunderstands its purpose. --- ### III. Two Forms of "Dance" in Traditional Sufism The lecture identifies two primary forms of sanctioned movement, each with a different philosophy: #### A. The Chishti Tradition: Spontaneous and Unrehearsed Ecstasy (*Wajd*) For the Chishtis, any physical movement is not a planned "dance" but a **spontaneous and uncontrollable overflow of spiritual ecstasy (*wajd*)**. * **Not Taught or Choreographed:** No one is taught "how to dance" in the Chishti tradition. It is not a skill to be learned. * **A By-Product, Not the Goal:** The movement is a symptom of the heart being overwhelmed by the power of the poetry and the remembrance of God. The person is often not in full control of their body. * **Community Reaction:** As seen in the Qawwali video, when someone (like the elderly *Baba-ji*) enters such a state, the community's reaction is one of **tolerance and gentle management**, not celebration. Others try to calm him down or ensure he doesn't hurt himself. It is seen as a sign of being spiritually overwhelmed, which can be both a powerful and a delicate state, not a "cool" performance. This display is often viewed as a spiritual flaw (*nuks*), a sign that the person couldn't contain the spiritual experience within themselves. #### B. The Mevlevi Tradition: A Disciplined and Choreographed Ritual of Remembrance (*Zikr*) The Mevlevi tradition is the most famous exception, but their "whirling" is a highly disciplined and symbolic ritual, not a dance of free expression. * **Historical Origin:** The lecturer notes that this ritual was not even started by Rumi himself, but was formalized later by his grandson, **Adil Çelebi**, as a way to structure the spiritual practice. * **Purpose is *Zikr*, Not Performance:** The entire ritual is a form of **meditative *zikr***. * The rhythmic drumbeat and the stepping of the right foot at the end of each rotation are timed to the silent, internal repetition of the name of God, **"Allah,"** in the heart. * The body's movement is a physical aid to achieve total concentration on God. * **Goal is Selflessness and Egolessness:** The reason for the uniform, synchronized whirling is to **discourage individual display and dissolve the ego**. Everyone moves together at the same speed, in the same position, creating a collective state of absorption. This is the **exact opposite** of a modern dance performance, which is designed to highlight the skill and passion of an individual performer. --- ### IV. The Modern Distortion: From Ritual to Performance The lecture argues that the modern understanding of Sufi dance is a complete distortion of its original meaning, driven by commercialism and cultural misunderstanding. * **The Concert Stage:** Moving the ritual from a sacred space (*khanqah*) to a concert stage transforms it from a **participatory ritual** into an **aesthetic event for spectators**. The audience is there to be entertained, not to participate in remembrance. * **The Loss of *Adab* (Etiquette):** The strict conditions of *Makan, Zaman, and Ikhwan* are completely ignored. The sacred context is lost. * **The Performer as a "Star":** Traditionally, performers held a low social status. Today, figures like Nusrat Fateh Ali Khan or the "whirling dervishes" are marketed as global superstars and cultural icons. The focus shifts from God to the performer. * **Misinterpretation of Ecstasy:** Outward displays of ecstasy (like women with their hair unbound, whirling intensely) are misinterpreted by modern audiences as acts of "freedom" or rebellion. In the traditional context, such an uncontrolled display would often be seen as **embarrassing** or a sign of spiritual immaturity. In conclusion, the lecture presents a powerful argument that what we call "Sufi dance" today is a shadow of its original form. In the authentic tradition, it was never about performance. It was either a spontaneous, uncontrollable expression of divine love (Chishti) or a highly disciplined, ego-dissolving tool for focused remembrance of God (Mevlevi). ### rel_215_transcriptions/Sufi Lecture_ Al-Ghazali_s _Munqidh_ & Dhawq Here are the comprehensive notes from the lecture on Al-Ghazali and Attar: ### Lecture Notes: Al-Ghazali and Attar #### **Part 1: Al-Ghazali (Recap and Deeper Dive)** **1. Al-Ghazali's Spiritual Autobiography: *Munqidh min al-Dalal* (The Deliverer from Error)** * **Title Meaning:** The title literally translates to "The Deliverer from Error," not just "Deliverance." It implies an active agent or a text that saves one from error. * **Al-Ghazali's Journey:** The book chronicles his spiritual journey where he tested different paths (philosophy, theology) and found the Sufi path to be the most certain. * **The Sufi Path and Balance:** * After an initial period of intense spiritual practice and seclusion, Al-Ghazali returned to his life, work (teaching), and family. * He learned to find a **balance** between his spiritual practices (*dhikr*), seclusion, and his worldly responsibilities (*khidmah* or service). This balanced state lasted for 10 years. * **Centrality of *Dhawq* (Tasting / Direct Experience):** * This is a key term Al-Ghazali uses to describe the direct, experiential knowledge gained through Sufism. It is a form of knowledge beyond mere intellect. * He argues that describing this experience falls short; it must be "tasted." **2. Prophecy (*Nubuwwah*) and the Purpose of the Sufi Path** * **Connection to Prophecy:** Al-Ghazali concludes that the greatest benefit he gained from the Sufi path was a true understanding and appreciation of the **nature of prophecy** and the experience of the prophets. * **Why *Munqidh* Ends with Prophecy:** The book ends with an extended discussion on prophecy for a crucial reason: * **The Problem:** Al-Ghazali observed that the faith (*iman*) of the people around him was weak and superficial. They claimed to believe but lacked a deep, internal conviction. * **The Cause:** This weakness of faith stemmed from a poor and pathetic relationship with the concept of prophecy. People said the words but had not "tasted" a fraction of what the prophets experienced. * **The Solution:** The Sufi path, by allowing a person to "taste" spiritual realities (*dhawq*), allows them to truly appreciate what the Prophet Muhammad (PBUH) went through. This direct experience solidifies faith and protects it from hypocrisy. **3. Al-Ghazali's Epistemology (Theory of Knowledge)** Al-Ghazali presents a hierarchical model of knowledge sources: 1. **The Senses (*Hiss*):** The most basic source of knowledge, available from birth (e.g., touch). 2. **The Intellect (*'Aql*):** The ability to reason and understand concepts beyond immediate sensation (e.g., 1+1=2). 3. **Beyond the Intellect (*Ma Wara' al-'Aql*):** This is the realm of prophecy, revelation, dreams, and spiritual insights. * **Fallibility:** Al-Ghazali argues that each of these sources, **on its own**, can be deceptive and is prone to error (e.g., senses can be tricked by optical illusions, intellect can be flawed, dreams can be meaningless). * **Integration is Key:** True and certain knowledge is achieved when these sources are brought into **conversation and checked against each other**. One should not isolate one source and reject the others. --- #### **Part 2: *Kitab Kasr al-Shahwatayn* (The Book on Breaking the Two Desires)** This book is a section within Al-Ghazali's magnum opus, *Ihya Ulum al-Din* (The Revival of the Religious Sciences). * **The Two Desires (*Shahwatayn*):** Refers to the two primary appetites: 1. Lust for Food (Gluttony) 2. Lust for Sex * **The Goal: Taming, Not Destroying:** The objective is not to eliminate these natural desires but to **break their power** over the self and bring them under the control of the Shari'ah. The goal is moderation, not destruction of nature. * **Marriage and the Spiritual Path (*Suluk*):** * **The Dilemma:** Should a *murid* (spiritual disciple) marry or remain celibate? * **Al-Ghazali's Position:** It is a matter of **when**, not if. * In the beginning stages, if lust is a major distraction, it's better to remain celibate and control it through fasting and restraining the eyes (*ghadd al-basar*). * However, if suppressing it leads to greater turmoil and fantasy, then one should marry. * **The Ultimate Purpose of Marriage for a *Murid*:** The primary goal of marriage for a spiritual seeker is the opportunity to **build good character (*akhlaq*)**. It is a training ground for patience, service (*khidmah*), kindness, and selflessness. * **Illustrative Stories:** 1. **The Murid and His Wife:** A wife complains to her father that her husband (a pious *murid*) has "shamed" her his entire life because he serves her so completely (even helping her in the washroom) that she feels humbled and embarrassed by his kindness. 2. **The Man Who Pretended to Be Blind:** A man married a beautiful woman who contracted smallpox and became disfigured right after the wedding. To save her from the grief and embarrassment, he pretended to have lost his sight. He lived as a blind man for 20 years and only "regained" his sight after she died. When asked why, he said he did it for her so she would not feel grief. The people remarked, "You have surpassed all the Sufis with your excellent character." --- #### **Part 3: Attar and *Mantiq-ut-Tayr* (The Conference of the Birds)** **1. Introduction to Attar** * A Persian Sufi poet who was a master of allegorical and mystical poetry. * He was an inspiration to Rumi. * His name "Attar" suggests he may have been a pharmacist or a perfume-seller. * His writing style is meant to engage the reader psychologically and push them towards self-reflection. **2. The Poem: *Mantiq-ut-Tayr* (The Speech/Conference of the Birds)** * **Form:** It is a *Masnavi*, a long narrative poem in rhyming couplets, which allows for a loose and expansive structure. * **Central Allegory:** * **The Birds:** Represent different types of human souls, personalities, and their various spiritual weaknesses and excuses. * **The Hoopoe (*Hudhud*):** Represents the spiritual guide (*Peer* or *Murshid*). He is the leader because he has a crown and was a companion to Prophet Solomon. * **The Quest:** The birds are unhappy and in disarray. They decide they need a king to bring order to their lives. The Hoopoe tells them they have a king, the **Simorgh**. * **The Simorgh:** Represents God or the Ultimate Truth. * **The Journey and its End:** * The birds embark on a long and difficult journey to find the Simorgh. * Along the way, most birds give up due to their attachments and weaknesses (e.g., the nightingale loves the rose too much, the duck loves water, the falcon is proud). * Only **30 birds** complete the journey. * **The Punchline:** When they finally reach the destination, they look into a pond and see their own reflection. They realize that they themselves are the Simorgh. The name is a Persian pun: **Si Morgh** literally means **"Thirty Birds."** * **The Core Message:** The divine truth or God is not an external entity to be found, but a reality to be discovered **within one's own self** through a process of purification and journeying. ### rel_215_transcriptions/Sufi Lecture_ Language & History **00:00 - 01:00** Ab yeh wala jo text aap ne pichli dafa ke liye parha tha. Abhi hum Bustami aur Heravi ke aur text pe wapas aenge. But before we do that, I want to quickly go through some of the... some of the things that Schimmel says, okay? And these are basically general things about Sufi literature and history. So hum, you know, during this course, Schimmel ki kitaab humein ek overview dia karegi. Aur phir jab hum zoom in karna chahenge to get a first hand taste of Sufi texts, we will often use Michael Sells or some other author, jinhon ne kisi Sufi master ke asal text ko translate kia hai. So it's like this, you know, tasting first hand and then zooming out and seeing what's happening in history more broadly. So, ek bohat interesting baat, yahan pe kuch random bohat sari interesting baatein woh kar rahi hain, Schimmel. So one thing that she tells you that is interesting for me at least is what happens with language. **01:00 - 02:00** How do, what do the Sufis do with the language? You know, when I was a student, your age, toh, um, mujh se kai dafa, ek dafa kisi ne poocha tha ke tum bara, tumhein bara hai, ke tumhein bara, tumhari dilchaspi hai Islam se. So history... batao na mujhe history mein kon se musalman hain jo achhe hain? Yeah? And back then I had no answer. And, you know, that person pushed me. He was very senior. Unhon ne mujhe push kia, ki inn Maulvion jaisa banna hai tumne? And he was referring to, you know, some Maulvis, I don't know which Maulvis because maybe Maulvis aren't that bad, maybe that's also a stereotype, theek hai? But khair, koi ho sakta hai ke corrupt Maulvion ka unhon ne koi zehn mein kuch banaya ho jo bhi woh thay. But if, you know, agar mein thora sa tayyar hota, toh mein unko just to... I don't want to glorify Tasawwuf here or the Sufis, I would have just said no, Sufi tradition aur woh bechare khamosh ho jaate, ki inki, it's very hard if you have all of this literature and all of these studies to question at least the kind of strong ethical tradition we have. And people used to live up to these realities. Theek hai? **02:00 - 03:00** Acha, zuban tak pe inka asar huwa. The Sufis... so why is this important? Because if someone asks you, maybe, you know, we are exaggerating the significance of the Sufis. Yeh bhi ek sawal ho sakta hai, na? Kyunke ek taraf to woh log hain jo kehte hain ke Tasawwuf bid'at hai, Tasawwuf bilkul nayi cheez hai, Tasawwuf jo hai musalmanon mein thi nahi. Um, aur yeh bilkul ghalat hai aur yeh baat kyun nahi ho rahi. On the other hand, you have people like Munir Sahab, many other scholars, perhaps myself, we try to say ke no no no no no no. Tasawwuf was adopted because it was so special, because it meant so much, because it was such a meaningful and beautiful tradition. You see? Aur it's only in the colonial times when Muslim societies are upset, uh, their own foundations are... are... are shaken. Apne, apni rawayat se woh kat jaate hain ya woh hil jaate hain, tab ja ke woh isko... iske khilaf tanqeed jo hai woh zor pakarti hai. Tanqeed to hamesha se thi, balke unki internal critic bohat strong thi jese aaj hum dekhenge. So, um, but some could say maybe this new, this emphasis on Tasawwuf is also a romantic notion. Yaani ke Sufia bhi shayad itne nahi the logon ne aaj kal Sufism ko bara... it's like a fashionable thing now. **03:00 - 04:00** And that is not entirely correct. I think the historical evidence points to the, uh, to the conclusion that the... the... the Sufia were highly, highly, uh, influential. They pervaded Muslim society. In fact, uh, after the 12th century... haan, hamesha aisa nahi tha. Kuch sadiyan lagin. Magar 11vi, 12vi sadi tak har jagah Sufia thay. There is so much evidence for this and study after study shows this. And one example or one good piece of evidence is what the Sufia did to languages. Languages changed. Itna deep influence tha ke zubanein badal gayin. Ek misal jo mein aksar hamesha deta hun, aap Musalman na bhi hon, agar aap, uh, Sindh mein hain, agar aap Punjab mein hain, toh aap ne Waris Shah ka suna hoga. Aap ne Waris Shah ki Heer suni hogi. Unki Heer gayaki hoti hai. Woh Sikh bhi sunte hain. Woh Hindu bhi sunte hain. Woh Musalman bhi sunte hain. Yeah? Aur, why... there were other... other versions of Heer. Magar yeh kis ki Heer sab se zyada mashhoor ho gayi? Itni mashhoor ho gayi ke baaki Heerein aap ko shayad pata hi kam ho. Log apni phir se bana lete... lekin jo, everyone returns to the Heer of... the Heer-Ranjha story of Waris Shah. **04:00 - 05:00** Whether you are Sikh, whether you are Hindu, whether you are Muslim, you will always be drawn. There's nothing that beats the quality and the depth of Waris Shah's version. Aap ko samajh aa rahi hai? It's an oral tradition. Mazaron mein, galiyon mein log sunte the, sunate the, parhte the. Musicians khaas taur pe aaj bhi bolte hain, parhte hain, sunate hain. Toh sawal yeh paida hota hai ke... ke kyun? What is happening here? Why is that so popular? And it's not just for Punjab, globally if you study, over centuries you will see Sufis have transformed local languages, transformed and enriched literature. Toh logon ka jo woh folk literature hai, uska woh hissa ban gaya Tasawwuf, theek hai? Um, Waris Shah ki jo Heer hai, uski kamyabi ki mere nazdeek, is pe bohat zyada analysis ho sakta hai, us pe bohat behes ho sakti hai, this is in a separate field. But mujhe jo lagta hai woh yeh ke, what Waris Shah does is that he brings, uh, uh, Sufi insights and he makes the Heer-Ranjha, uh, tragedy a commentary on human divine love. That's what makes it so powerful. **05:00 - 06:00** Ke woh jo Heer ka aur Ranjha ka ishq hai, woh asal mein dunyawi nahi rehta, it becomes a metaphor for divine love, our potential to love God. Aur us mein phir qurbani aur ikhlas ki baat aati hai. Aur usko woh jis tarah se uthate hain na, it can move people, log ro parte hain. Itna us mein woh zor le aate hain Waris Shah. That's what makes it so powerful and so moving. Toh, isi tarah agar hum yeh parhe, this is not, it's not just for Punjabi ya Sindhi literature, wahan pe bhi hum dekhenge bohat zyada, Bengali literature mein bhi aap ko nazar aega Sufia ka influence bohat zyada. Even in Arabic. Even in Arabic, which is the, you know, main language of, you know, the classical language of Islam, because us mein Quran hai, toh us mein bhi dekhiye kya tabdeeli hoti hai. So let's quickly read this. Uh, page 23 pe yeh hai. Yeh, um, this is my time to take a break, give my throat a break and also remind me of your names. Mujhe naam bhi yaad nahi ho rahe. Toh Muhammad aap parhenge? Yahan se, uh... **06:00 - 07:00** Paul Nwyia, likhein yahan pe. Paul Nwyia noting that the adventures of the mystics in language has highlighted the fact that thanks to the mystics in the Arabic language, an authentic language that affects experience evolved. The writings of the early Sufis show not only a variety of expression but an increasing profundity, profundity of thought as the mystical experience is refined. In the prayers of some of the Sufis in the 10th century, or in certain poems by Hallaj, the ineffable experience has been abstracted in words of unforgettable beauty. Theek hai? So Arabic ke andar bhi woh keh rahe hain ke Sufia ki wajah se woh zuban hi badal gayi. Aur yeh hota hai whenever you have a, an, any movement that is culturally pervasive, yaani ki jiska waqai gehra asar ho muashre pe, zuban badal jaati hai. Simple example, feminism, right? Because of feminism, a lot of sexist language is no longer fashionable. And or gone, gone out of vogue. Isi tarah se kai aisi cheezein jo ke pehle hum nahi istemal karte the jo ke ab log aam roz-marra mein istemal karte hain, jaise people use the word patriarchy all the time. Yes or no? Uh, it used to be, it used to have a very different meaning in church literature, Christian... church fathers ke baare mein hai na, patriarchs hote the woh. **07:00 - 08:00** Toh it became a general commentary on, ek nayi term logon ne invent ki, feminists ne jo ke aam ho gayi. Isi tarah Sufia ne bohat saari terms invent ki jaise nafs, jaise hawa, jaise, uh, kuch Sufi naare jaise Ana 'l-Haqq ho gaya. Yeh cheezein, these became part of language, zauq, um, zahid. Humari language, aage ja ke jab hum jitna literature parhenge, poetic literature, you will see a lot of those terms became part of language. Language changed because of the Sufia. Now, why would Arabic first and then other languages also become more sophisticated and deep, um, because of Tasawwuf. Toh is mein inka jawab yeh hai, yeh dekhiye. This is the key to that sentence. She says, "In order to express the mysteries of divine love and devotion, they were obliged to use the vernacular, making them vehicles of the most lofty thought. Then they emerged as languages well able to serve a literary medium for non-mystical writers." Woh keh rahe hain aaj kal to log, secular... baat ke jo modern times mein log, people who are not very religious, they use let's say Sufi language and they might say, 'Oh, we love Sufi poetry' as appreciation. Kai dafa hum apni politics mein bhi usko cite karenge. Ke dekho Sufia bhi, uh, critique kar rahe hain ke aap muashre mein na-insaafi mat karein. **08:00 - 09:00** So you're letting you're committed to justice, you can cite Sufia on this point. But Schimmel is saying that what really pushed their language, the, the, the way they change language was their concern with expressing divine secrets and ethical teachings. Yaani ke unka maqsad tha ke, you know, Khuda ke qareeb aana, logon ko theek karna, ya is dunya ko behtar karna, ya sirf yeh ke aap ne kuch paya hai, usko thora sa share karna logon ke saath jo ke doosre tak nahi pahunch pa raha. That transformed other languages, whether it was Persian, whether it was Urdu. In mein bhi yeh saari Sufia ki cheezein, Sufi literature ki cheezein aa gayi. Okay? So the refinement of, uh, Sufi ideas led to the refinement of languages, especially the languages of love, because the Sufia elevated love to divine love. Okay? Um, aur yeh hum dekhenge, especially when you go to Rumi, you will see what, what this is and then you will, you will have a better understanding. Uh, let's see if we have some interesting things to share from the marketing. **09:00 - 10:00** (Silence as instructor looks at notes) **10:00 - 11:00** (Silence as instructor looks at notes) **11:00 - 12:00** (Silence as instructor looks at notes) **12:00 - 13:00** Yahan pe, Schimmel also responds to some of these older Orientalist claims that Sufism originated in Christianity or that Sufism originated in Buddhism or Hinduism. Toh woh Hinduism aur Buddhism wala to reject kar deti, kehti haan thora bohat influence ho sakta hai, is se zyada kuch nahi. Okay, it's a very, very vague idea. But Christian influence, strong Christian influence ko Schimmel kehti hain ke zyada chance hai because there are, there's some more evidence that yes, early Sufia were drawn to Christian monastic practices. Okay? One of these practices was wool-wearing. **13:00 - 14:00** Or long fasting, jo ke Christian monks mein mashoor tha. Toh woh kehti hain kuch ke baare mein reports aati hain ke woh yeh aise karte the, so it is possible that they were inspired by that, or they were maybe, let's say, a monk first, then converted to... so they became Muslims. Regardless, she says, unhi ke baare mein, she says, here is a quote. Iska yeh matlab nahi ke woh Sharia ko respect nahi karte the. She taught, she tells you about one of them. Ab yahan pe likha nahi hua ke yeh kon hai, maybe it's Ma'ruf al-Karkhi, I think in my notes I have written Ma'ruf al-Karkhi. So some, that's, he's a very early Sufi. Woh yeh kehte hain, "Sometimes truth yaani haqq knocks at my heart for 40 days, but I do not permit it to enter my heart until it brings two witnesses, the Quran and the ahadith." Yaani ke shuru ke bhi Sufia mein, Muhasibi mein bhi dekha hai aur aur bhi Sufia ke text mein aata hai, is tarah ki bohat saari baatein aati hain, shuru se hi. Ke if you don't follow the Sharia, you can be misled. What you think is divine guidance may just be Shaytan or your own nafs. Okay? So the Sharia becomes an anchor, early on. Aur Schimmel yeh batane ki koshish kar rahi hain ke Tasawwuf jo hai woh uska Shariat se koi ikhtilaf nahi hai. **14:00 - 15:00** Okay, let's start looking at some of the early Sufia. Unke baare mein kya kya kahaniyan aati hain. Kuch ahem, maze-maze ki kuch kahaniyan hain, kuch scary qisam ki kahaniyan bhi hain. I think the most scary person is Fudayl ibn Iyad. Maine aap ko bataya tha na, early Sufia mein aap ko bohat zyada negativity nazar aegi, right? So yeh jab mein, when I was a little kid, we used to have these little kitabchas, illustrated Urdu stories hoti thi. Un mein yeh Fudayl ibn Iyad ki kahani aati thi. And I did not remember the name. I just knew that there was some great person who did this, right? Uh, unke baare mein aata hai ke he used to be a highway robber. Alright? Aur woh ja rahe the, ke raaste mein unko, um, Quran unhon ne suna, Quran ki ek ayat thi, ke kya waqt nahi aaya ke kuch log tauba kar ke Allah ki taraf paltein. So he just broke down. And then he did his tauba. And then he became, you know, a major Sufi figure. **15:00 - 16:00** So, uh, what was so spectacular about Fudayl ibn Iyad? Theek hai, unke baare mein kahaniyan aati hain, bohat saari, uske... unke baare mein unki log tareef bhi karte hain. But the most, uhm, famous thing about him that he had this extremely intense dislike of the world, extremely intense dislike of the, uh, world. Okay? Uh, unke baare mein, uh, jo sab se disturbing cheez aati hai, uh, kai logon ne report ki hai ke he used to always be unhappy. But there was a time in his life he smiled. Do you know what that time was? His son passed away. When his son died. Toh aap to kahenge that is bad. I would also think that's crazy, right? Baaki Sufia bhi kahenge that's crazy. But then they would say, theek hai, woh aise the, hum kya kar sakte hain? And you know, you have to understand his smiling. Uh, he was... it's a way of reversing what you feel. Jab aap log khushi, logon ko khushi ho rahi hai ke hum ameer ho gaye hain, unko dukh ho raha hai. Yaani kuch log hote hain jo bas har cheez se ulat chalte hain. So probably disturbing person to live with, but, um, Sufia still respect and celebrate him for his piety because he did other things that were awesome. Like he would help people, distribute his wealth to people, when people would want safety, he would go for risks. Okay? Jaise ab hamare bhi ek dost hain jinko hum bar bar samjha ke thak jaate hain ki na karo, na karo, na karo, lekin jaise hi unki zindagi mein stability aati hai, woh kuch na kuch kar bethte hain apne aap ko... but he's always helping someone. **16:00 - 17:00** So he ends up destroying his own life for the sake of someone else. What do you do with such a person? You can appreciate them, but you cannot set them up as models. And this is something, this is very interesting in Tasawwuf, ke bohat se log hain jo ke, jinhe hum terhay kahenge, terhay, terhay characters. And the standard teaching in Tasawwuf will be, and the Sufi, the Sufi masters will say, "Respect and honor these people, but don't try to be like them." Otherwise, you can end up in greater trouble than you think. You see what I'm trying to say? For example, agar ek banda terha hai, udas hai, aap bhi udas hone ki koshish karein, you might end up doing terrible things. Fudayl could be like that and maybe he was close to God and he was doing all kinds of amazing things like charity and so on. And he was generally approved by the, the community of the pious. Magar agar hum har banda agar ulat hone ki koshish kare aur woh pretend kare ke mein bhi us... mein bhi aisa ho sakta hun, you will just maybe end up, end up sick in the mind. Toh isliye un logon ko models nahi aap bana sakte. Yeh, yeh cheez bar bar aegi Tasawwuf mein. Fudayl is one of the, you know, early, intense, sad kind of mystics. Jo bas, they're always sad. Okay? Um, now, what I like about Schimmel and her discussion here is that, umm... Acha yeh aage ja ke hoga, aage ja ke thora sa aega. Is se pehle yeh parh lete hain. This is, let's just, uh, there's some very nice, uh, quotes here. **17:00 - 18:00** Kya aap hum parh lete hain? Magar usko bhi samajhne ki koshish karenge in the context of it. So Maham can you read for us among the earliest ascetics? Among the earliest ascetics, celibacy was common, despite the Prophet's example of married life and his advice to raise a family. But as Darani said, the sweetness of a generation and an undisturbed celebry of the heart, which a single man can feel... the married... which a single man can feel the married man never experiences. Yaani ke aap ne shaadi agar kar li, toh aap pareshan hi rahenge. Aage chaliye. But the restlessness caused by marriage, the distraction from God, has often been described by the Sufis and the sorrows of family life might be regarded as punishment for the execution of legally permitted lusts. Haan ji parhein, Fudayl's elder contemporary... Fudayl's elder contemporary, Ibrahim ibn Adham, um, whom he met in Mecca, expressed such a notion in a striking sentence, often quoted in Sufi poetry and prose. When a man marries, he embarks on a ship, and when a child is born, the Sufi... when a child is born, he suffers shipwreck. Okay. Ab yeh, yeh bohat hi powerful quote hai. Guftgu mein, mein yeh parhta hun to mera dil toot jaata hai ke haye hum kahan phans gaye. Kyunke shaadi ho gayi hai meri. Us mein woh kehte hain ke jab aap, uh, shaadi karte hain, to aap ek kashti mein chale gaye. **18:00 - 19:00** Now, kashti mein kya hai? You are not controlling it. You are at the mercy of the sea. Aap ek tarah se phans gaye hain uske andar. Ab woh jab tak woh chal rahi hai, aap us mein, you have to just wait, right? You can't say stop, you can't, you are basically on the journey with other people who are also on that ship. It's like being on a bus. And then he says, when a child is born, jese bache paida hote hain, woh kashti bhi doob jaati hai. So, uh, so you know, there is a lot of, you will see this, you will see this, uh, you know, discomfort with married life. Kyunke unko lagta tha ke haan woh karna zyada chahte hain, ibadat, Allah ke kaam, neki ke kaam, you want serenity, peace. But with kids and family, it's always chaos, you know? Um, I can't put on here. Oh god. So, it is chaos, right? I'm joking, you guys don't get my jokes. It's just so disappointing. Maybe because aap mein lagta hai ke aap log ghar pe hain, so that sounds like... Don't worry. Um, uh, okay. **19:00 - 20:00** (Silence) **20:00 - 21:00** The romantic and poetic aspect of Zunnun can be understood best from his prayers. The Quran asserts that everything created worships God, everything utters praise and thanks to its creator, and its own tongue which may be the human voice, the humming of the bee, the purling of the weeds, the scent of the flower or just the lisan al-hal, one's whole attitude. The created world gains thus a religious meaning, a meaning that the early ascetics had lost sight of because they considered it to be a deceptive veil that distracted them from God. But for Zunnun and the generations of Sufis following him, the worthlessness of the world is determined not by itself but by man's relationship to it. Cause. Got it? This is a line worth highlighting. Woh yeh keh rahi hain, ke jo early mystics the, they were one-dimensional in their approach to the world. Quran ke andar the world isn't always negative. The world can be a path to God. The world can be an ayah of God. Theek hai? So, the early mystics, however, aur uski hum ne wujuhat... we discussed why... no point repeating that. But the early mystics, many of them were very negative towards the world. Later mystics, however, could explain that negativity and say, "Oh, hamare jo barhe the jese Fudayl ibn 'Iyad the aur log the, theek hai, they were very negative, but that doesn't mean that that's all there is to our tradition or to Islam or the circle." **21:00 - 22:00** And Zunnun and others would say... this would become the standard Sufi position, or a very popular Sufi position. Woh kya hogi? Whether the world is worthy or worthless depends not on the world itself but how you are relating, relating to it. Got it? So for example, aapko, aap ek phool dekhte hain. Aap us phool se kya karein? If the flower reminds you of God and helps you think of God, let's say, understand the beauty and the creative beauty of God, then that flower has just connected you to God. That's, the dunya is divine, or a path to the divine. That's very, very good for you. But if there is something in the dunya that distracts you from God, let's say woh ek phool hai aur aap us phool ko istemal kar ke koi, I don't know, you are doing something wrong, like starting some, some sort of... you have a plot to poison someone and you use some sort of illicit stuff and flowers are a part of that. So you use an instrumental approach to that flower. Toh, then it's not a great thing. You just did, it became a distraction, it became a cause for sin. The same thing can be said about family or wealth or having a nice car. If that nice car, you have a nice car and it helps you avoid a lot of stress in your life, it helps you get to work and get to places of worship and so on, that's not a problem. Magar agar aap gaari gaari karte rehte hain ya family family karte rehte hain ya bachon ke peeche ya kisi aur cheez ke peeche ya khawand ke peeche ya biwi ke peeche, aap let's say you miss your prayers, or you are always distracted, then that's a problem. But if that same family protects you, nurtures you, nourishes you, encourages you to do good, then that's a blessing. Okay? **22:00 - 23:00** Toh it really depends on what sort of relationship you have with the world. Dunya ke saath, logon ke saath, phoolon ke saath, parindon ke saath, kya ta'alluq hai? And you know, this idea is going to be very powerful aur aap dekhenge, aahista aahista yeh cheez badalti chali jaegi. Ek yeh Zunnun al-Misri who's even in the 9th century, he pushes this a lot. Phir aapko Imam al-Ghazali mein bhi yeh cheez nazar aegi. Magar sab se zyada jo aapko yeh intense form mein milegi yeh idea, aur that's a, that's a watershed moment in the history of Tasawwuf, is in the brother of Imam al-Ghazali. Imam al-Ghazali bohat mashhoor hain, sab jaante hain, yes? But unke jo bhai the, unka naam tha Ahmad al-Ghazali. Aur woh Ahmad al-Ghazali Sufism ki history mein bohat ahem hain, why? Because he pushes this shift to an ultimate sort of level. Aur unke nazdeek, you know, he will say the world is indeed a path to God. Whenever you will... whenever you have like a good, pure kind of relationship with the world, a relationship based on ethics and pure purity of love, that can lead you to the, that is a, one of the sure-shot ways or a very good way of connecting with God. Toh yeh isko Imam al-Ghazali jo hain, Ahmad al-Ghazali, woh isko bohat push karenge aur baad ke Sufi literature mein aapko phir yeh dono ideas milenge. Ke dunya ek temptation bhi ho sakti hai, magar Khuda tak pahunchne ka ek raasta bhi ho sakta hai. Okay? **23:00 - 24:00** So, Zunnun al-Misri is very important in bringing balance and giving change... in changing the Sufi tradition and it shows you, one thing I've been telling you again and again, that Sufi traditions are not static. They are dynamic. They are changing. They, they have these internal discussions which end up changing these traditions all the time. The change may be gradual, it may be subtle, but change happens in traditions, not like these traditions are dead and they never change. Okay? Jis tarah se, ek aur misaal iski mein deta hun. Junaid al-Baghdadi jo the, um, he looked at some people who used to wear wool. And he said, "Why do you need, why are you obsessed with wearing wool? Okay, it's so you can, you can do it if it helps you, but remember, the ultimate thing to wear is cotton because of the Prophet." Why? Because it's in the Sunnah. Kyunke woh hamari he... haan, extreme circumstances mein aap kar sakte hain change, but ultimately everything circles back to the Sharia for the Sufia. Okay? Bayazid Bistami ko abhi hum chhor dein, unki hum discussion Sells ke through karenge and that's going to be a lot... we're going to... jaise Rabia pe humara waqt laga tha, Bayazid pe bhi waqt lagega toh Schimmel bhi jo baatein kehti hain unki to phir unhein chhor dete hain. Um... Aur bohat se naam bhi yahan pe naam hain, let me just skip those, mark no need to talk about them. Ma'ruf al-Karkhi ka zikr hai, Sari al-Saqati ka hai. But agar mein yeh baatein karunga, aap ko bhool jaengi so no need to worry. One thing that's very interesting about Harith al-Muhasibi is that later Sufia will quote him and one Sufi master who will depend heavily on him is Imam al-Ghazali. Imam al-Ghazali ka zikr hum kar rahe hain bar bar. So wait for it, you will see Imam al-Ghazali citing him and talking about other Sufia that we've studied. Theek hai? Um... There were other Sufia who came up with other ideas like fana and baqa. Junaid ke jo masters... ke jo teachers hain unka naam tha... tha Kharraz. And um, he developed these notions of fana and baqa. Toh yeh kuch terms hain jo ke aap ko pata honi chahiye. Again we will... we will read them again when we do Bistami lekin abhi hum likh dete hain. Inko hum discuss phir mazeed baad mein kar denge. Okay? **24:00 - 25:00** Fana. Literally means annihilation. Isko Urdu mein hum kehte hain, "tabah ho jaana, khatam ho jaana". To become zero. Fana. Okay? Um, literally to end, khatam ho jaana, to become zero, to become nothing. That's fana. And then the, there's another term that Sufia develop and it's called baqa. Baqa is to stay, remain, subsist. Jaari rehna, zinda rehna, baaki rehna. Subsist. Urdu mein asaan hai na? To subsist. Baaki reh jaana. Fana hai khatam ho jaana. Woh fana ho gaya. Okay? So, um, what does these... what do these terms mean in Sufi terminology or Sufi jargon? Fana means when your own self-consciousness is annihilated. Self-consciousness. Yaani ke aap apne aap ko bhool jaate hain. Itna Khuda ko yaad karte hain ke aap apne aap ko bhool jaate hain. That's a certain, you can say it's a haal, ke aap apne aap ko bhool jaate hain. Haal hai ya haalat hai, haalat... haale fana. Okay? Now, is pe bhi bohat zyada behes hogi Sufia ke haan ke fana jo hai, uski kya degrees hain, kya states hain, kya yeh ek nuks hai, kya yeh ek ultimate end hai, kya yeh ek deficiency hai, kya yeh ek trial hai, test hai? Aage ja ke is pe bohat behes hogi, lekin shuru ke daur mein, Junaid waghera ke daur mein aur jis tarah se yeh mukhtalif yeh jo the, Ma'ruf al-Karkhi... sorry, kya naam hai inka, Kharraz aur Junaid, in logon ke haan, fana was a very positive thing. **25:00 - 26:00** There's no dispute there, ke fana koi buri cheez to nahi hai. Baad mein ja ke hoegi kyunke baad mein ja ke Sufia khud bohat zyada behes shuru kar denge ke bhai yeh Sahaba ne to aisi terms use ki. Toh they will, they will shift their positions a little bit. But shuru ke daur mein fana is a very positive thing. It's just that this person has become so absorbed in God that they just think of God. And they don't do things on their own accord. So, toh yeh hai fana. But even in this early generation, there were, the earliest theorists of this notion, or the earliest Sufi master would say that you have to move from fana to baqa. So fana is not supposed to be the ultimate or a final station of sorts. It's just supposed to lead you to baqa. Baqa yeh hai ke you return to your life and your consciousness but now with God. That is, fana would be like totally God, immersed in God. Baqa would be that it's now you, you're back to your senses, but you're also conscious of God all the time. So Allah ke saath, pehle tha apne baghair sirf Allah Allah. Aur baqa kya hai ke aap apna bhi, aap bhi aa gaye, aapna aap bhi maujood hai aur Khuda ke mutabiq... mutabiq aapki zaat. This is baqa. Acha ji, uh... **26:00 - 27:00** Shaqiq al-Balkhi who was one of the first to discuss ahwal. Yeh hum ne, maine pehle bhi aap ko ek term batayi thi, I'll repeat it. Ahwal, jisko hum keh sakte hain, "states". Theek hai? Ahwal is the plural of... the singular is... hal. Aur yeh hamari ab Urdu ka ek, uh, stock phrase ban chuka hai. Aap ko yeh yaad... andaza na ho. Magar yeh ek Sufi term thi, hal. Aur Urdu mein bhi yeh kehte hain na woh, kai dafa log mazak mein kehte hain, ek bacha nachna shuru ho jae to usse kya kehte hain, "isko hal charh gaya hai". Isko kehte hain, "isko hal charh gaya hai". Woh, that's a Sufi notion, woh hum us pe baad mein aenge, we have time. But gone into a special state like a Sufi, "Allah hoo Allah Allah" kar raha hota hai aur woh ek Sufia ek aur state mein chale jaate hain. Now what sort of state is that? What do they mean by different states? There are, there's an entire world of Sufi jargon that talks about special, uh, mental and spiritual states that come over a Sufi when they get close to God or sometimes when they, when they don't feel very close to God. Okay? Ek hai bast, qabd. Bast yeh hoti hai, you are in a feeling like, you know, aap khul gaye ho aur aapko noor aur peace receive ho rahi hai. Kai dafa you feel like something's choking you, like God or the anwar are sort of... ya ya jo noor hai woh door ja raha hai aap se. So you feel like choked. That's all you can say, woh aapko constriction, jese ek tangi si ek feel hoti hai, you know, tightening of the chest, they call it. Okay? Isi tarah se, uh, sometimes you may feel drawn to God. Sometimes you may feel, um, like you are doing... you are being a servant of God or sometimes you might feel God, uh, God is acting upon you. You do not, you're not doing this, God is doing it through you. Yeh saare mukhtalif Sufi states hain, inko ahwal kehte hain. Iski discussion ek had tak hum karenge is course mein, but you should just know this term. **27:00 - 28:00** Ahal will be different from maqam. It's often contrasted with maqam. So hal is often contrasted with what they call maqam. Plural hoegi maqamat. This is the singular is maqam. Aur maqam literally means... station. So a state is different from a station. States are temporary. Aap khush ho, aap udas ho, these are... ahwal, good. But let's say you, uh, graduate from LUMS. Now you are a LUMS graduate. You can't undo that. You've already, you've progressed. You are at a different station now. Toh stations jo hote hain, woh permanent hote hain, ahwal jo hote hain, woh, uh, shifting hote hain. But kuch Sufia jo hain is, is, is baat ko... isko bhi collapse karne ki koshish karte hain, hum us pe nahi aenge. But, but in general you should know ahwal are shifting Sufi conditions, you think. Jab ke stations jo hote hain, they are progress, permanent changes to a person. Okay? So Shaqiq al-Balkhi was the one who, one of the first to discuss ahwal. Rabia al-Basri jo hain unki hum baat kar chuke hain, no need to repeat her. Another person who was very famous from Baghdad is Shibli. Inka mein zikr kar chuka hun, he's considered one of those mad mystics who is again those, one of those terha mystics. They are good to, to upset people, they are good to, to, to deliver a teaching but they are not role models. Because they're seen as like on the verge of madness. **28:00 - 29:00** Toh teaching yeh hi thi ke yeh log the, dekho yeh kahan tak pahunch gaye the. Of course, we can't... don't try to be like them, but, but just look at what they could say, the kind of limits they could reach. Okay, um... Rabia's prayer has been repeated with variations by Sufis of all ages, probably in the most shocking form by Shibli, the mystic of Baghdad, who's paradoxical is famous in Sufi history. Yeh maine pehle bhi aap logon ko is tarah unka kai baar bataya. Uh... So yahan pe woh Shibli kya kehte hain? "O God, hand this world and the other one... to me so that I might take a morsel from this world and throw it into a dog's mouth and make a morsel of the other world and put it into a Jew's mouth. For both are veils towards the true world." Yeh Rabia ki hi teaching hai na ke mein jannum toh jannum ko bhi mein farig kar dun. Uska woh kehte hain ke poori dunya aur aakhirat aur jannum saari mujhe de do. Mein saare ka ek luqma bana ke kisi kutte ko hi khila doon. Mujhe jannat jannum se koi parwah hi nahi. Aur phir woh saara, saari ki saari jo haqeeqat hai, uh, woh mein kisi Yahudi ko de doon, kisi kafir ko de doon. I don't care. And all of that is gone. Sara kuch khila pila dia hum ne ghairon ko, yaani ke humne apni musal... keh rahe hain hum Musalman kehte hain humne jannat mein jaana. Hum ne apni jannat kafiron ko de di. Kyunke humein woh nahi chahiye, humein to tum chahiye. This is a shocking kind of thing that Shibli could say but not to be taken literally, okay? It's literary, not literal. That comes. Okay. Uhm... **29:00 - 30:00** There are other, you know, some other crazy kind of mystics. Unke baare mein kuch ajeeb-o-ghareeb baatein mashhoor hain to humein zaroori hai ke hum woh ajeeb-o-ghareeb baatein jo aapko bata dein. There are two extreme mystics of this early time. Yeh Junaid ke hi daur ke hain. Ek ka naam Nuri mashhoor hai, ek ka naam Sumnun hai. Um, and both of them were famous for their love. They were like this... they were high on divine love. Uh, Nuri is, uh, called Nuri because he used to experience light or talk about light or noor a lot. But in his poetry, he is known for having wonderful garden imagery. Janna... ya aage ja ke hum roomi mein bhi dekhenge Sufia is cheez ko bohat... in fact unke haan to poori discussion kehte hain, Nuri is one of the first. The heart becomes the janna. Heart becomes the garden in Nuri. Um, but both Sumnun and Nuri came under the criticism of Junaid. Toh Junaid ke nazdeek yeh log bohat khuli baatein kar rahe the, jo unhein nahi karni chahiye thi. Nuri aur bari ulti seedhi harkatein karte the. Jaise woh kehte the ke mujhe agar Allah ka khauf hai to mujhe kisi sher se bhi nahi darna chahiye. Toh woh akele chale jaate the jangal mein bethne. Now you might say ke yeh kya zaroorat hai? Yeh to ghalat hai. Apni jaan ko khatre mein nahi daalna chahiye. But that's how he was... woh yeh kehte the ke sher hai na jis jagah sher hai udhar hi ja ke mein bethon ga. Okay, taake mera bas khauf har cheez ka chala jae. **30:00 - 31:00** Aur kaha jaata hai ke you know he read... he, he, he, he heard some Quranic verse that sent him into a certain intense kind of haal and then he died. Bohat ek sensitive, strange kind of person, Nuri. Okay, Sumnun apne aap ko kehte the, uh, al-Kazzab, apne aap ko kehte the mein to jhoota hun. Okay, now this is a very strange thing you know, why would you call yourself a kazzab? Why would you call yourself, uh, aur baad mein ja ke hamare haan to, Pakistan India mein apne aap ko Sufia kafir bhi kehna kehte hain. The crazy ones, not the sober ones. The sober ones would say yeh kya kia bhai? Yeh this is all fake, yeh buri baat hai. Lekin there were other Sufia who would do that. This is a tradition, okay? You have to understand there were competing traditions. They will never sometimes be in complete harmony. Toh apne aap ko Kazzab kehte the. Kyun? Woh kehte the ke hum jo bhi... ab aap unse poocheinge bhai kyun apne aap ko jhoota kehte hain? Woh kehte the, "Whatever we try to say about God, we end up lying." For example, when you say, "I am a Muslim," you've lied. Why? Or how? Language deceives us, therefore and I speak language, therefore I am a liar. Okay? Toh, Sumnun called himself a liar. It's a very weird, funky kind of thing to do. But what he, um, what he meant was it was a, it was kind of a malama, self-critique ki tarah. Kyunke jab hum kehte hain hum Musalman hain, a Sufi might say, "Do you really think you're a good Muslim? You really think you've done everything that God wants you to do? You've done everything that the, that, that goodness demands of you? Kya aap ne hamesha janwaron se, environment se, dunya se, Khuda se aise muhabbat ki hai?" Jisne nahi ki, to woh phir kaise poora Musalman... to hum nahi ho sakte. Toh we are always like partially true and partially we're always liars. So yeh woh, Sumnun is tarah ki baatein karte the. And he used to preach. He was a tableeghi kind of guy. **31:00 - 32:00** Woh hota nahi kuch log jinko adat hoti hai sab ko chherne ka shauq hota hai, us tarah ke the. And he used to talk about love. He was taken... Ma'rifa bhi wohi cheez, na se ishq hai. Toh mein na bhi samjhaye, whatever, lekin yeh ilm bhi ek tarah ke woh kehte the ek dhoka ho sakta hai, asal cheez sirf ishq hai. So unki zuban mein, unki language mein, unki poetry mein, nothing matters except love. So Nuri aur Sumnun jo the, they were known as these other crazy mystics jinko Junaid jo the kai baar criticize bhi karte the, but he would also love and respect them. Theek hai? Um... Okay, aur yeh Sumnun aur Nuri isliye bhi ahem hain because they were not alone. There were part of other mystics who were also known... who were also known for their outrageous actions and the most famous of them was from Baghdad was... Mansur al-Hallaj. Okay? We'll return to Mansur al-Hallaj and we'll return to Bistami after a five-minute break. Okay? Sorry I've taken a little bit long today but, uh, yeah let's take a five-minute break. **32:00 - 33:00** (Break time with background noise) **33:00 - 34:00** (Break time with background noise) **34:00 - 35:00** (Break time with background noise) **35:00 - 36:00** (Break time with background noise) **36:00 - 37:00** (Break time with background noise) **37:00 - 38:00** (Break time with background noise) **38:00 - 39:00** (Break time with background noise) **39:00 - 40:00** (Break time with background noise) **40:00 - 41:00** (Break time with background noise) **41:00 - 42:00** (Break time with background noise) **42:00 - 43:00** (Break time with background noise) **43:00 - 44:00** (Break time with background noise) **44:00 - 45:00** (Break time with background noise) **45:00 - 46:00** (Break time with background noise) **46:00 - 47:00** (Break time with background noise) **47:00 - 48:00** (Break time with background noise) **48:00 - 49:00** (Break time with background noise) **49:00 - 50:00** (Break time with background noise) **50:00 - 51:00** (Break time with background noise) **51:00 - 52:00** (Break time with background noise) **52:00 - 53:00** (Break time with background noise) **53:00 - 54:00** (Break time with background noise) **54:00 - 55:00** (Break time with background noise) **55:00 - 56:00** (Break time with background noise) **56:00 - 57:00** (Break time with background noise) **57:00 - 58:00** (Break time with background noise) **58:00 - 59:00** (Break time with background noise) **59:00 - 1:00:00** (Break time with background noise) **1:00:00 - 1:01:00** (Break time with background noise) **1:01:00 - 1:02:00** (Break time with background noise) **1:02:00 - 1:03:00** (Break time with background noise) **1:03:00 - 1:04:00** (Break time with background noise) **1:04:00 - 1:05:00** (Break time with background noise) **1:05:00 - 1:06:00** (Break time with background noise) **1:06:00 - 1:07:00** (Break time with background noise) **1:07:00 - 1:08:00** (Break time with background noise) **1:08:00 - 1:09:00** (Break time with background noise) **1:09:00 - 1:10:00** (Break time with background noise) **1:10:00 - 1:11:00** (Break time with background noise) **1:11:00 - 1:12:00** (Break time with background noise) **1:12:00 - 1:13:00** (Break time with background noise) **1:13:00 - 1:14:00** (Break time with background noise) Of course. Here are comprehensive notes on the topics discussed in the lecture, detailing what the lecturer said about each. ### **Comprehensive Lecture Notes: An Introduction to Early Sufism** #### **Overall Summary** The lecture provides an introduction to the early period of Sufism (approx. 9th-11th centuries), focusing on its core characteristics, key figures, and foundational concepts. The lecturer uses the works of Annemarie Schimmel for a broad historical overview and Michael Sells for in-depth analysis of specific texts. The central themes explored are the profound impact of Sufism on language and culture, the diversity of early Sufi personalities (from sober ascetics to "drunk" ecstatics), the development of key technical terms, and the internal debates within the tradition regarding mystical experience and its expression. --- ### **1. The Cultural & Historical Significance of Sufism** The lecturer argues that Sufism was not a marginal or heretical movement but a deeply influential and integral part of Islamic civilization. * **Impact on Language and Culture:** * Sufism had such a deep influence that it transformed languages, including Arabic, Persian, and Urdu. * **Example: Waris Shah's *Heer***: The lecturer cites the story of *Heer-Ranjha* by the Sufi poet Waris Shah as a prime example. Its enduring popularity across religious lines (Sikhs, Hindus, and Muslims) in Punjab demonstrates the deep cultural penetration of Sufi thought. Waris Shah's version became the definitive one because he transformed a folk love story into a powerful metaphor for **divine love (Ishq-e-Haqiqi)**. * **Enrichment of Literature:** Sufi ideas and terminology became part of mainstream folk literature, showing that Sufism wasn't just an elite phenomenon but resonated with the masses. * **The Debate on Sufism's Origins and Legitimacy:** * **Counter-Argument (Sufism as *Bid'at*):** The lecturer acknowledges the view that Sufism is a later, unacceptable innovation (*bid'at*) foreign to early Islam. * **Lecturer's Position:** He counters this by arguing that Sufism was a "meaningful and beautiful tradition" that was widely adopted because it was "so special." * **Christian Influence:** The lecturer concedes that early Sufism likely drew inspiration from Christian monastic practices (e.g., wearing wool, long fasts). However, he emphasizes that even these early Sufis anchored their practices firmly in the **Quran and the Sunnah**, using them as the ultimate witnesses to the truth of their experiences. --- ### **2. Key Early Sufi Figures & Their Teachings** The lecturer presents a "rogues' gallery" of early Sufis to illustrate the diversity and intensity of the tradition. * **Fudayl ibn ‘Iyad (The Intense Ascetic):** * **Profile:** An early, "scary" figure known for his extreme piety and intense dislike of the world (*dunya*). He was a former highway robber who repented after hearing a verse of the Quran. * **Core Teaching (via anecdote):** The lecturer highlights the story of Fudayl smiling only once in his later life—when his son died. This is interpreted not as cruelty, but as a "reversal" of worldly emotions. For him, worldly attachments were a source of sorrow, and freedom from them was a source of spiritual relief. He represents the extreme ascetic tendency. * **Ibrahim ibn Adham & Sumnun (On Worldly Attachments):** * **Profile:** Figures who expressed a deep suspicion of worldly life, particularly marriage and family, as distractions from God. * **Core Teaching (via quote):** The lecturer shares a famous quote: *"When a man marries, he embarks on a ship. When a child is born, he suffers shipwreck."* This powerfully illustrates the ascetic view that family life inevitably leads to spiritual chaos and distracts from the singular focus on God. * **Zunnun al-Misri (The Shift in Perspective):** * **Profile:** A pivotal figure who represents a major turning point in Sufi thought. * **Core Teaching (Reinterpreting the World):** Unlike the purely negative view of earlier ascetics, Zunnun taught that the **world itself is not inherently bad**. Its value ("worthy or worthless") is determined by **one's relationship to it.** * The world can be an **Ayah (a sign) of God** and a path leading to Him. This more "romantic and poetic" view sees the beauty of creation (a flower's scent, a bee's humming) as a form of God's praise, a concept he calls **lisan al-hal** (the tongue of one's state). * **Bishr al-Hafi (The Barefoot One):** * **Profile:** A Sufi who repented from a life of drunkenness after finding a piece of paper with God's name on it and treating it with respect. * **Core Teaching (Humility & Penitence):** He was so ashamed of his past sins that he began to walk barefoot, feeling he didn't even deserve to cover his feet. His name "al-Hafi" means "the barefoot one." This exemplifies a path of extreme humility and self-reproach. --- ### **3. Foundational Sufi Concepts & Terminology** The lecturer introduced several key technical terms that are central to Sufi discourse. * **Hal (pl. Ahwal) vs. Maqam (pl. Maqamat):** * **Hal (State):** Temporary, fleeting, and often involuntary spiritual conditions that come over a Sufi. Examples include joy, sorrow, expansion (*bast*), or contraction (*qabd*). * **Maqam (Station):** Permanent, earned stages on the spiritual path that represent a lasting change in a person's character. Graduating from a university is an analogy for achieving a *maqam*. * **Fana (Annihilation) & Baqa (Subsistence):** * **Fana:** The annihilation or dissolution of the individual self-consciousness (the ego or *nafs*) in the overwhelming presence of God. It is to "become nothing." * **Baqa:** The stage *after* Fana. It is "subsistence" or "remaining." The Sufi returns to self-awareness but now lives, acts, and perceives *with* God. This is considered the more complete and higher station, as the Sufi can now function in the world while remaining in a state of divine consciousness. * **Shat'h (pl. Shat'hiyat) (Ecstatic Utterances):** * These are paradoxical or seemingly blasphemous statements made by Sufis in a state of spiritual ecstasy (e.g., Bayazid's "Glory be to Me!"). * The lecturer notes that Junaid believed these secrets should be kept private, while others like Hallaj made them public. --- ### **4. "Sober" vs. "Drunk" Sufism & The Case of Bayazid Bistami** This section explores a central tension in the Sufi tradition. * **Two Types of Sufis:** * **Sober (Sahw):** Represented by **Junaid al-Baghdadi**. These Sufis emphasize self-control, discipline, strict adherence to the Sharia, and keeping mystical experiences private. They are presented as reliable role models. * **Drunk (Sukr):** Represented by figures like Shibli, Nuri, and Sumnun. These are the "crazy" or "ecstatic" mystics. Their actions are extreme and they publicly declare their mystical states. While respected for their piety, they are **not to be emulated** by ordinary people. * **The Case of Bayazid Bistami's Prayer:** * The lecturer analyzes a prayer where Bayazid asks God to annihilate him and make him God, so that when people see him, they see God. * **Junaid's Critique (The Sober View):** Junaid argues that this prayer, while from a great mystic, reveals a **flaw (*nuks*)**. Bayazid was so overwhelmed by God's unity (*Tawhid*) that he lost his sense of his own separate individuality (*Tafreed*). He had not reached the highest station, where one can hold both realities (God's oneness and one's own distinct existence) in perfect balance. * **Al-Sarraj's Defense:** Sarraj, a later scholar, defends Bayazid. He argues that Junaid's critique, while technically astute, gives ammunition to the "fault-finders" and those who want to discredit the saints. Sarraj's goal is to protect the sanctity of the great masters from literalist or hostile interpretations. This highlights the ongoing, complex conversation within Sufism about how to interpret its own history and teachings. ### rel_215_transcriptions/Sufi Lecture_ Marriage, Sharia, and Mysticism Here are comprehensive notes from the lecture on Sufism, detailing the key terms, figures, stories, and arguments discussed. ### **Lecture Notes: Sufism, Sharia, and the Mystic's Path** --- #### **1. On "Tradition" (0:00 - 0:47)** * **Definition:** A tradition is not just a practice but an accumulation of knowledge, expertise, and specialists over time. * **Key Characteristic:** It requires **continuity**. Something that begins and then completely ends cannot be considered a tradition. * **Example:** The lecturer uses his institution, LUMS, as an example of a tradition where expertise and knowledge are passed down, even as people come and go. --- #### **2. The Sufi Perspective on Marriage (0:47 - 4:15)** This section is approached first from the standard Islamic legal (Sharia) standpoint and then from a deeper, more nuanced Sufi perspective. **A. The Sharia & Fiqhi (Jurisprudential) Position on Marriage:** * **Baseline View:** Nikah (marriage) is not considered a bad thing in Islam. * **Rulings based on circumstance:** * **Mubah (Permitted):** The default ruling for everyone. * **Wajib (Obligatory):** For an individual who is unable to avoid *haram* (forbidden acts), particularly illicit sexual relations. * **Mustahabb/Sunnah (Preferable):** For one who has the financial means to support a family. **B. The Sufi Dilemma & Deeper Meanings:** * The lecturer frames the standard Sharia rulings as a **"disclaimer,"** similar to a health warning on a cigarette pack that is presented before the "real" product. The real Sufi question is: **If one has a spiritual choice, should one marry or remain celibate?** * **Sufi Justifications for Marriage:** 1. **Quelling Lust:** To control base desires. 2. **Peace of Mind:** Gaining financial stability to support a family can free the mind from worldly anxiety. 3. **Procreation:** Children can pray for their parents after death. If a child dies in infancy, they are believed to become a source of *Shafa'a* (intercession) for the parents on the Day of Judgment. * **The Audience:** The lecturer emphasizes that these classic Sufi texts (like those by Ali al-Hujwiri and Imam al-Ghazali) were written primarily **by men for a male audience** of disciples. Therefore, the focus is often on challenges like lust. --- #### **3. Key Figures & Their Views** **A. Ali al-Hujwiri (Author of *Kashf al-Mahjub*):** * **Oscillating View:** Hujwiri’s writing presents a tension. He begins by affirming the virtues of marriage but ends the discussion with what seems like a "severe phobia of marriage." * **Personal Experience:** He reveals that after God "protected" him from marriage for 11 years, he fell intensely in love with the mere "description of a woman" he'd never met. The experience lasted a year and nearly "ruined his religion," leading him to prefer celibacy for the spiritual seeker. * **His Conclusion:** * **Marriage is for:** Those who prefer to live among people. * **Celibacy is for:** Those who seek retirement from mankind for spiritual focus. **B. Shibli (d. 946):** * A radical, ecstatic, and "intoxicated" Sufi from the Baghdad school. * He made paradoxical statements, such as: **"If Hell willed it, it could not burn a single hair of mine."** * This statement is explained by others through the concept of *Iltibas* (see Key Terms). **C. Ruzbihan Baqli (d. 1209):** * A Persian Sufi who theorized many of the ecstatic ideas of figures like Hallaj and Shibli. * He explained concepts like **Himma** and **Iltibas**. **D. Abdullah Ansari of Herat (d. 1088):** * A **Hanbali Sufi**, representing a stricter, more Sharia-bound form of Sufism. * He was critical of what he saw as innovation (*bid'ah*) and was uncomfortable with theology (*kalam*) and philosophy. He got into trouble with the ruling Seljuk authorities for his critiques. **E. Imam al-Ghazali (d. 1111):** * Contrasted with Ansari, Ghazali was a great synthesizer who worked within the Seljuk-sponsored madrasa system. * He integrated theology, philosophy, and Sufism. His view on marriage was more favorable than Hujwiri's, and he saw it as generally better for the seeker. **F. Abd al-Qadir Jilani (d. 1166):** * Another major **Hanbali Sufi** who is considered the "uber-saint" (*shaykh*) by many subsequent Sufi orders. * Even the strict critic Ibn Taymiyyah referred to him as *Shaykhuna* ("our master"). --- #### **4. Key Stories and Anecdotes** * **The Wife of Sahl al-Tustari:** An ideal Sufi mother who taught her son to rely on God. She would secretly provide food for him after he prayed for it. One day, when she was absent, food appeared miraculously (*karamah*), showing the power of the spiritual training she had instilled. * **Story of Cain & Abel (Habil & Qabil):** The lecturer uses this story to illustrate that the source of conflict is often worldly desire (in the biblical/extra-Qur'anic version, over a woman). He notes that the Quran does not blame the woman but rather frames it as a conflict between the two brothers. The blaming of women is a feature of the biblical, not Islamic, tradition. * **Hujwiri's Personal Love Story:** As detailed above, a story of unrequited or distant love that nearly destroyed his spiritual path, forming his critical view of such attachments. --- #### **5. Key Sufi Terms and Concepts** * **Bid'ah (Innovation):** The lecturer refutes the idea that all innovation is forbidden. He cites Caliph 'Umar calling the institutionalized Tarawih prayer a "good innovation" (*ni'mat al-bid'ah*). Traditional scholars differentiate between innovations that contradict the foundations of faith (*Usul al-Din*) and those that are permissible. * **Tabakat (Generations/Classes):** A genre of books that catalogued Sufis by generation, creating a history and a chain of legitimacy (*silsila*) stretching back to the Prophet Muhammad and his Companions. * **Himma (Spiritual Concentration):** The focused spiritual energy or power of a Sufi master, which could be used to guide, influence, or connect with a disciple, even over great distances. * **Iltibas (Being Clothed/Veiled):** Ruzbihan Baqli's term to explain how a Sufi can be so "clothed" in the Divine Light (*Nur*) that worldly things (like hellfire, in Shibli's claim) cannot affect them. * **Qalandar:** A type of mendicant or wandering dervish, often living on the margins of society and focusing on service (*khidmah*) rather than strict adherence to all formal rules. * **The "Three Z's" of Punjab:** An old Punjabi saying that the three causes of fighting are **Zan, Zar, Zameen** (Woman, Wealth, Land). --- #### **6. Sufism & Orthodoxy: A False Dichotomy** * The lecturer argues that the modern division between "Sufism" and "Orthodoxy" is a historical anachronism. * In the pre-modern era, the debate was **internal** to Islam. Most Sufis were also jurists, hadith scholars, and theologians. * **Sufis and Professions:** Unlike Christian monasticism, Sufism did not demand complete withdrawal from the world. Major early Sufis were tradesmen: Hallaj (cotton-carder), Kharraqani (farmer), Saqati (junk-dealer), Jilani, etc. They had jobs and families. * **The Hanbali Sufis:** The existence of a strong tradition of Sufism within the Hanbali school—the strictest of the four Sunni legal schools—proves that Sufism was deeply embedded in mainstream Islam. Figures like Abdullah Ansari and Abd al-Qadir Jilani were fiercely anti-*bid'ah* but were also profound Sufi masters. ### rel_215_transcriptions/Sufi Poetry Notes_ Rose and Nightingale Of course. Here are comprehensive notes on the chapter "THE ROSE and the NIGHTINGALE: Persian and Turkish Mystical Poetry," structured to highlight the key ideas, opinions, terms, and anecdotes as requested. ### **Chapter 7: The Rose and the Nightingale: Persian and Turkish Mystical Poetry** **Overall Thesis:** The author argues that Persian and Turkish mystical poetry is defined by its intentional ambiguity, masterfully blending erotic and divine love. It is futile to interpret this poetry as purely secular or purely mystical; its power lies in the "perfect interplay of both levels." The central metaphor for this dynamic is the love of the Nightingale (the longing soul) for the Rose (the manifestation of Divine Beauty). --- ### **Part 1: The Central Problem: Mystical vs. Erotic Interpretation (Immortal Rose)** #### **Key Ideas** * **The Core Question:** The fundamental debate is whether Persian lyrical poetry should be read as mystical (divine love) or erotic (sensual love). * **Intentional Ambiguity:** The greatest poets (like Hāfiz, Jāmī, ‘Irāqī) deliberately maintained an oscillation between worldly and otherworldly meanings. This ambiguity is not a flaw but the very essence of the art form. * **Synthesis of Profane and Sacred:** The poetry uses religious language, imagery from the Koran and *hadith*, and theological concepts, but transforms them into symbols of aesthetic and emotional experience. This can be shocking to outsiders but opens up "surprising new vistas." * **Sufi Theories as Foundation:** Persian lyrics would not have their unique charm without the underlying Sufi theories of love. The poetry resolves the tension between worldly and religious life into a "perfect harmony of the spiritual, psychic, and sensual components." * **The Beloved as a Manifestation:** Mystical-erotic poetry developed from the idea that the "fullness of divine beauty and radiant glory" could be reflected in a human being. The poet, experiencing this beauty, creates "small, lucid, prismatic fragments" of art that reflect the original glory. #### **Author's Opinions** * The author asserts that claims for a purely mystical *or* a purely hedonistic interpretation of poets like Hāfiz are "equally wide of the mark." * It is "futile" to look for a single, non-ambiguous meaning. * One cannot derive a systematic mystical system from the poetry; it is an expression of experience, not a textbook. * The "opalescence" and "closely interwoven, glittering symbolism" of the poetry make it extremely difficult to translate without losing its essence. #### **Key Terms** * ***Ghazal***: A form of lyrical poetry, famously used by Hāfiz. * ***Hadith***: The traditions and sayings of the Prophet Muhammad. * **"Daughter of the Grape"**: A common poetic kenning for wine. #### **Anecdotes, Encounters & Analogies** * **Analogy of the Mosque Pool:** The poetry is compared to pools in mosque courtyards that mirror the huge building, its beauty enhanced by ripples and reflections. This illustrates how the poetry reflects the grandeur of Islamic culture. * **Urdu Poet Mir (late 18th c.):** Quoted to illustrate the idea of seeing the divine face in all of creation: "Rose and mirror and sun and moon—what are they? / Wherever we looked, there was always Thy face." --- ### **Part 2: The Human Beloved as a Bridge to the Divine** #### **Key Ideas** * **The "Unbearded" Youth:** In a society where the feminine element was largely excluded from public life, admiration was often directed toward young, handsome boys. The "handsome boy of fourteen, 'radiant like the full moon,'" became an ideal of human beauty in Persian and Turkish poetry. * **Human Love as a Ladder:** Worldly love (*‘ishq-i majāzī*) is seen as a "pedagogical experience" or a "ladder" that trains the soul in obedience and love, preparing it for divine love. It is a bridge from the metaphorical to the real. * **The Beloved as Witness (*Shāhid*):** The beautiful beloved is a *shāhid*, a "witness" to divine beauty. Contemplating their face is a form of worship that can induce religious ecstasy. * **Lover & Beloved Dynamics:** The relationship is defined by the lover's *niyāz* (asking, petitioning) and the beloved's *nāz* (coquetry). Though contrasting, they are interdependent and find unity in love. #### **Author's Opinions** * This turn towards a human object of love is a significant departure from early Sufism, which would have rejected it as a distraction from purely divine love. #### **Key Terms** * ***Nazar ilā l-ahdāth***: "Looking toward the young men," a controversial practice in some Sufi circles. * ***Hulūlīyat***: Adherents of incarnation, a belief condemned by orthodox Sufis. * ***Kaj-kulāh***: "With his cap awry," an expression from a controversial *hadith* that became a common poetic description of the beloved. * ***Mithāl***: "Image," suggesting the beloved is an image, but not the likeness, of God. * ***Shāhid***: "Witness," the human beloved as a witness to divine beauty. * ***‘Ishq-i majāzī***: "Metaphorical love" (i.e., human love). #### **Anecdotes, Encounters & Analogies** * **Kharrāz's Dream (9th c.):** He dreamed Satan boasted of having a noose to ensnare the Sufis: their "love for the unbearded." * **Controversial Hadith:** "I saw my Lord in the shape of a beautiful young man, with his cap awry." This tradition, though suspect in orthodox circles, deeply influenced Persian poets. * **Mahmūd of Ghazna and Ayāz:** The historical king and his Turkish slave became the archetypal model of the lover and beloved. Ayāz symbolizes the soul's complete surrender to the Divine (Mahmūd). * **Majnūn and Laila:** The classic Arabic story reinterpreted by Sufis. Laila, though not objectively beautiful, becomes the paragon of divine beauty as seen through the eyes of her lover, Majnūn. * **Rūmī's Wooden Sword Analogy:** Worldly love is like a father giving his child a wooden sword to learn the techniques of fighting before receiving a real one. --- ### **Part 3: The Great Theorists and Poets of Mystical Love** This section profiles key figures who articulated and poeticized these ideas. #### **1. Ahmad Ghazzālī (d. 1126)** * **Key Idea:** Master of "chaste love." His work focuses on the mysterious, mutual relationship between lover and beloved, who are like mirrors to each other. * **Key Work:** ***Sawānih* ("Aphorisms on Love"):** A small, fragile, and rhythmically beautiful Persian treatise on love. The author notes its language is so refined it's nearly impossible to translate well. * **Legacy:** His teachings were carried on by disciples, inspiring later works. #### **2. ‘Aynu’l-Qudāt Hamadhānī (executed 1132)** * **Key Idea:** A disciple of Ahmad Ghazzālī, he had a greater talent for explaining deep mystical thoughts in accessible, poetical language. * **Key Work:** ***Tamhīdāt*:** Inspired by the *Sawānih*, this book was widely read in the Muslim world for its clarity. * **Anecdote:** Executed for alleged heresy in Baghdad as a young man, though his apology suggests he was orthodox and likely a victim of personal envy. #### **3. Rūzbihān Baqlī of Shiraz (d. 1209)** * **Key Idea:** A pivotal figure who fully integrated the language of love poetry (roses, nightingales) with deep mystical experience. He gave religious sanction to the love of the rose. * **Key Works:** * ***Sharh-i shathiyāt*:** A commentary on the "theopathic utterances" (paradoxical sayings) of early mystics like Hallāj. * ***Abhar al-‘āshiqīn* ("Le Jasmin des fidèles d'amour"):** A work dedicated to his beloved, describing love in a rich, poetic, and colorful style. * **Central Contribution:** He highlighted the prophetic tradition that the **red rose is the manifestation of God's glory**. This cemented the rose as the symbol of the divine beloved and the nightingale as the longing soul in poetry. * **Concept of *Iltibās*:** The "concealment of preeternal beauty in created forms," a key theme in his meditations. #### **4. Sanā’ī (d. 1131)** * **Key Idea:** Laid the foundations for Persian mystical didactic poetry. He was the first major poet to use the *ghazal* form for mystical thought. His style is more sober, clear, and frank than later mystics. * **Key Works:** * ***Hadiqat al-haqīqa* ("Orchard of Truth"):** A foundational *mathnawī* (didactic poem in rhyming couplets) that became a model for later works. The author notes Western scholars find it "rather boring." * ***Sayr al-‘ibād ilā’l-ma‘ād* ("The Journey of the Servants toward the Place of Return"):** A poem about the soul's return to its origin, considered a forerunner to Dante's *Divine Comedy*. * **Anecdote:** A court poet who underwent a repentance/conversion to a mystical life. #### **5. Fariduddin ‘Attār (d. c. 1220)** * **Key Idea:** A master storyteller who used allegories to describe the soul's perpetual journey toward its origin. He is called "the voice of pain," expressing longing and searching. * **Key Works:** * ***Mantiq ut-tayr* ("The Birds' Conversation"):** His masterpiece. An allegory of the soul's journey to God. The "soul-birds," in search of their king (the Sīmurgh), discover that they themselves (*sī murgh*, "thirty birds") are the Sīmurgh. This is a famous pun expressing the identity of the soul with the divine. * ***Musībatnāme* ("The Book of Affliction"):** The story of a Sufi's quest through the created world to find the absolute. * ***Tadhkirat al-auliyā’***: A collection of hagiographies (biographies of saints), written with dramatic talent. * **Legacy:** A massive influence on later poets, including Rūmī, who said, "Sanā’ī was the spirit, and ‘Attār his two eyes—we have come after Sanā’ī and ‘Attār." * **Anecdote:** The story of Sheikh San‘ān, who fell in love with a Christian maiden and gave up his faith ("changed the rosary for the infidel's girdle"), became a famous symbol of loving surrender. --- ### **Part 4: The Cosmic Symbolism of Mystical Poetry** * **The Universe in Motion for Love:** Rūmī stressed the dynamic, cosmological role of love. It is the force that moves the heavens, purifies all things, and quickens the dead. "From love bitterness became sweet, from love copper became gold." * **Allegorical Charts:** Later, more systematic mystics (like Muhsin Fayd Kāshānī, 17th c.) created charts explaining the allegorical meaning of poetic terms, which the author feels robs the poetry of its charm. * **rukh (face/cheek):** Revelation of Divine Beauty (grace, light). * **zulf (tress):** Revelation of Divine Majesty (concealment, omnipotence). * **kharābāt (tavern):** Pure, undifferentiated Unity. * **Animal and Plant Symbolism:** * **Nightingale & Rose:** The quintessential pair: the longing soul and Divine Beauty. * **Falcon (*bāz*):** The royal soul-bird that longs to return (*bāz*) to its master's fist. * **Elephant dreaming of India:** A perfect image of the soul, captured in the material world, remembering its true, primordial homeland and breaking its chains to return. * **Lily:** Praises God silently with its "ten tongues." * **Violet:** Sits modestly in its dark blue Sufi garb. * **Red Tulips:** Grow from the burned hearts of lovers. * **Ruby:** The heart of a stone transformed through patience and "shedding its blood." Of course. Here is an expanded and detailed exploration of "Part 4: The Cosmic Symbolism of Mystical Poetry," drawing on all the relevant details from the chapter. ### **Part 4: The Cosmic Symbolism of Mystical Poetry (Expanded)** #### **I. The Overarching Principle: The World as a Book of Signs** The fundamental idea is that the entire universe is a text filled with symbols pointing back to its divine author. The mystic poet's role is to read these signs and translate their mute eloquence into verse. As the Koran states, God has placed "signs on the horizon and in man's soul" (Sūra 41:53). Therefore, everything in creation—from a flower to a star—becomes a "witness" (*shāhid*) to eternal beauty and can serve as a vehicle for expressing the experience of divine love. The mystic, enraptured by love, sees these traces of the Beloved everywhere. #### **II. Love as a Cosmic, Dynamic, and Transformative Force** This symbolism is not static; it is animated by a dynamic conception of love as the engine of the cosmos. This idea is most powerfully expressed by **Rūmī**. * **Cosmological Love:** Love is not just a human emotion but the power that gives the universe its purpose and motion. * Poets like **Nizāmī** had already described this magnetic force, claiming "the heaven has no *mihrāb* [prayer niche] save love." * **Rūmī** expands this dramatically: the universe would be frozen and inert without love. The whirling of the skies is a result of the "wave of love." He states: > If this heaven were not in love, then its breast would have no purity, > and if the sun were not in love, in his beauty would be no light, > and if earth and mountain were not lovers, grass would not grow out of their breast. (D 2674) * **Transformative Love:** Love is an alchemical agent that purifies, ennobles, and perfects everything it touches. > From love bitterness became sweet, from love copper became gold, > from love the dregs became pure, from love the pains became medicine, > from love the dead become alive, from love the king is made a slave. (M 2:1529–31) * **Love as Fire and Illness:** Love is also depicted as a consuming and paradoxical force. * It is a **fire** that burns away everything other than the Beloved, leading the soul to true *tauhīd* (the affirmation of God's Oneness). * It is an **illness** that destroys patience ("My patience died the night that love was born" - M 6:4161) and brings suffering, yet this suffering is cherished: > Sweeter than this poison I did not see any drink, > Lovelier than this illness I did not see any health. (M 6:4599) #### **III. The Detailed Lexicon of Symbols** The poets developed a rich, shared vocabulary of symbols drawn from the natural world, which became the standard imagery of Persian, Turkish, and Urdu poetry. ##### **A. The Kingdom of Birds (The Soul)** * **The Nightingale:** The quintessential symbol of the longing soul. * Its love for **the Rose** (Divine Beauty) is its entire existence. * It tirelessly sings hymns from the "Koran of the rose" (i.e., its petals). * It suffers the stings of the thorns (the pains of love) without complaint. * **Iqbal's interpretation:** The nightingale's creativity comes from its *unfulfilled* longing. Union would bring silence, so longing is the higher, more productive state. * **The Falcon (*bāz*):** The noble, royal soul. * A favorite symbol of **Rūmī**, who used a pun on its name: the falcon (*bāz*) longs to come *back* (*bāz*) to its master's fist. * It is exiled on earth, trapped among "black crows" (worldly, base people), and yearns to hear the falconer's drum calling it home. * **Other Birds:** * **The Dove:** Its coo (*kū kū*) is interpreted as the question "Where, where?" (*kū, kū?*), symbolizing the soul's search for the Beloved. * **The Stork (*lak-lak*):** Its call is a pious Arabic phrase: *al-mulk lak, al-amr lak, al-hamd lak* ("Thine is the kingdom, Thine is the order, Thine is the praise"). * **The Duck:** Symbolizes the human condition, half-bound to earth and half-living in the "ocean of God." * **The Crow:** Represents the ugly, desolate winter of worldly existence. ##### **B. The Animal Kingdom (States of the Soul)** * **The Elephant Dreaming of India:** One of the most powerful images, used by **Khāqānī, Nizāmī, ‘Attār,** and **Rūmī**. * The elephant, an animal from India, is captured and taken to a foreign land. * When it dreams of its homeland, India, it is filled with such powerful longing that it breaks its chains and runs there. * This is a perfect metaphor for the soul, exiled in the material world, which is blessed with a vision of its primordial, eternal home and strives to return. * **Rūmī's contrast:** "the ass does not dream of Hindustan at all!" (M 4:3067), meaning only the noble soul is capable of such divine nostalgia. * **The Camel:** Symbolizes the faithful person who perfectly and patiently obeys the orders of the master. * **The Dog:** Even an animal considered ritually unclean can become sanctified through faithful companionship, like the dog of the Seven Sleepers in the Quranic story. This shows that the lower soul can be elevated by associating with saints. ##### **C. The Garden (Manifestations of Beauty)** * **The Rose:** The supreme symbol of the Divine Beloved, the manifestation of God's beauty and glory. Its religious status was cemented by **Rūzbihān Baqlī**. * **The Lily:** Its petals are seen as "ten tongues" with which it silently praises God. * **The Violet:** Sits modestly in its dark blue "Sufi garb," its head bowed on the "knee of meditation." * **The Red Tulip:** Has a dark scar in its "heart," symbolizing the burnt hearts of lovers or, alternatively, the black hearts of hypocrites. * **The Hyacinth:** Its purple, curly form resembles the beloved's tresses. * **The Narcissus:** Its shape is likened to a languid, half-closed eye gazing toward the Creator. ##### **D. Inanimate Objects and Elements** * **The Ruby:** The heart of a stone that has been transformed into a priceless jewel through immense pressure, patience, and "shedding its blood"—a symbol of the perfected soul. * **The Emerald:** Represents the power of the mystical guide, which blinds the "serpents" (enemies of the faith). * **The Millstone:** Its constant, restless turning symbolizes the Sufi's journey. * **The Waterwheel:** Its constant sighing sound is the lament of the lover separated from his home and friend. * **Rain:** God's mercy, which revives the heart that has become as dry and lowly as dust. * **The Sun:** God's glory, which is too bright to be seen directly but can be contemplated through the "multicolored prisms of created things." #### **IV. The Culmination: Seeing the One in the Many** The ultimate purpose of this vast symbolic universe is to train the mystic's eye to see the single essence behind the multiplicity of forms. The author provides the perfect illustration with the story of **Zulaykhā's love for Joseph**. * Her love was so all-consuming that whatever she mentioned, she was truly referring to him. She "applied to him 'the name of every thing, from rue-seed to aloes-wood.'" * **Rūmī** captures this perfectly: > If she piled up a hundred thousand names— > her meaning and intention was always Joseph. (M 6:4022–37) This demonstrates the final stage of the mystic's perception: the world dissolves into a single object of love. #### **V. The Problem of Over-Allegorization** The author contrasts the fluid, intuitive symbolism of the great masters with a later trend toward rigid, systematic allegory. * Mystics like **Muhsin Fayd Kāshānī (17th c.)** drew up charts to explain poetic terms in a one-to-one mystical sense: * **rukh (face/cheek):** The revelation of Divine Attributes of grace (the Gracious, the Guide). * **zulf (tress):** The revelation of Divine Attributes of Majesty (the Withholder, the Seizer), which veil Divine Reality. * **kharābāt (tavern):** Pure, undifferentiated Unity. * The author expresses doubt that masters like **Rūzbihān** would have approved of this. For them, a word was "like a fan, veiling and unveiling at the same time," and its charm is lost when it is trapped in the "heavy chains of a terminology." The poetry of **Hāfiz** is presented as the perfect example of this subtle, harmonious balance, where the ideal vehicle of Persian poetry is used to express the centuries-old tradition of seeing "the divine revealed in visible forms." ### rel_215_transcriptions/Sufi Utterances_ Bayazid Bastami_s Critique and Defense Of course. Here are comprehensive notes from the lecture on Sufism, focusing on the utterances and stories of Bayazid Bastami, with critiques and defenses as discussed. ### **Lecture Overview** The lecture focuses on the interpretation of ecstatic utterances (*shathiyat*) in early Sufism, primarily through the sayings of Bayazid Bastami. Using the framework of the book *Kitab al-Luma* by Abu Nasr al-Sarraj, the professor examines how these controversial statements were critiqued and defended within the Sufi community itself, particularly by figures like Junayd of Baghdad and Ibn Salim. The lecture emphasizes the importance of context, the limitations of language in describing mystical experiences, and the internal diversity and debates within Sufi traditions. --- ### **Key Terms Discussed** * ***Shath*** (plural: *Shathiyat*): Ecstatic, paradoxical, or seemingly blasphemous utterances made by a Sufi while in a state of spiritual ecstasy (*wajd*). The professor notes that the more poetic and convoluted a *shath* is, the easier it is to interpret metaphorically and defend. * ***Fana*** (Annihilation/Effacement): A core Sufi concept referring to the annihilation of the self or ego. The mystic's individual consciousness is "effaced" in the overwhelming presence of God. Junayd uses this concept to defend Bayazid, arguing his strange sayings were attempts to describe this ineffable state. * ***Barzakh*** (Intermediate State/Barrier): Literally, a barrier between two things (like two seas). In Islamic theology, it refers to the intermediate state between death and the Day of Resurrection. Bayazid uses it metaphorically to describe a mystical realm he passes through. * ***Ujb*** (Self-Admiration/Ego): A form of spiritual pride or narcissism where one becomes impressed with one's own piety or spiritual state. The lecture explains this as a deep-seated obstacle that mystics struggle to overcome. * ***Zunnar*** (The Belt): A symbol for a non-Muslim, particularly Zoroastrians (Magi) or Christians, in classical Islamic texts. In this mystical context, it is used metaphorically by Bayazid to represent his own deep-seated ego or identity that he feels he must "cut" or destroy to achieve true spiritual purity. * ***Antinomianism***: The act of going against established laws, norms, or moral codes. A figure who is an "antinomian" is one who breaks these rules. Some critics accused Sufis like Hallaj of being antinomians. The professor clarifies that this is a misreading of their intent. * ***Pantheism***: The belief that God and the universe are one and the same; that everything is God. This is a charge often leveled against Sufis, but the lecture argues it's a misunderstanding based on applying Western Christian theological terms to a different tradition. --- ### **Utterances of Bayazid Bastami: Critique & Defense** #### **Utterance 1: Flying Through Nothingness** * **The Saying (as read in class):** Bayazid describes flying for ten years in the "domain of nothingness" (laysiyya), arriving "from nothing, in nothing, to nothing." He then enters a state of "predition" and becomes "lost in the loss of being lost," disappearing even from nothingness itself before finally arriving at the understanding of *Tawhid* (divine unity). * **The Critique (Implicit):** The language sounds nihilistic and nonsensical. It appears to deny reality and could be interpreted as a rejection of God's creation in favor of a void. * **The Defense (primarily from Junayd and Sarraj):** 1. **"Nothingness" is *Fana*:** Junayd's primary defense is that "nothingness" is not a literal void but a technical term for the mystical experience of *fana* (annihilation of the self). Bayazid is trying to describe the indescribable feeling of his ego dissolving. 2. **Language of Ineffability:** The confusing, paradoxical language ("lost in the loss of being lost") is a necessary result of trying to put an ineffable, overwhelming spiritual experience into words. It's a "language of the overwhelmed." 3. **A Language for Initiates:** Sarraj adds that this language is not meant for everyone. It is for other mystics who have had a similar experience. The professor uses the analogy of "butterflies in my tummy"—a phrase that only makes sense to someone who has experienced that feeling of love or nervousness. 4. **The Goal is *Tawhid*:** The entire journey through "nothingness" and "predition" culminates in a deeper understanding of God's unity (*Tawhid*). Therefore, the process is not an end in itself but a means to a recognized Islamic theological goal. --- #### **Utterance 2: "Subhani, Subhani" (Glory to Me, Glory to Me)** * **The Saying:** Bayazid is reported to have said, "Glory to Me! How great is my state!" * **The Critique (from Ibn Salim):** 1. **Worse than Pharaoh:** Ibn Salim argues this is more blasphemous than Pharaoh declaring "I am your Lord, most high." His reasoning is that the word "Lord" (*Rabb*) can be used in a non-divine context (e.g., rabb al-bayt, master of the house), but "Glory" (*Subhan*) is a term reserved exclusively for God. 2. **Unprecedented Claim:** To apply this exclusive attribute of God to oneself is an unforgivable act of kufr (unbelief). * **The Defense (primarily from Sarraj, with the professor's elaboration):** 1. **The Context is Missing:** Sarraj’s main defense is that the statement is decontextualized. We do not know what was said before or after. 2. **Quoting God:** It's possible Bayazid was not speaking for himself but was quoting God, or speaking in a state where God was speaking *through* him. The professor supports this by pointing to Quranic verses where God speaks in the first person (e.g., "There is no god but I, so worship Me" - la ilaha illa ana fa'buduni). While *Subhani* itself is not in the Quran, the precedent for God speaking in the first person is. 3. **The Unreliable Report:** Sarraj physically traveled to Bayazid's hometown of Bistam and found that nobody there—not relatives, not disciples—had ever heard him say this. The report itself is likely a legend or a fabrication from Baghdad, far from where Bayazid lived. 4. **A Man of Piety:** Sarraj points out Bayazid's immense reputation for piety, worship, and knowledge. It is inconsistent with his entire character to make such a blasphemous claim. One should practice *husn al-zann* (thinking well of others) and give him the benefit of the doubt. --- ### **Stories & Anecdotes about Bayazid** 1. **The Story of Cutting the *Zunnar* (The Belt):** * Bayazid states that for 30 years, every time he prayed, he felt as if he were a Zoroastrian (Magi) who wished to cut his sacred belt (*zunnar*). * **Interpretation:** The *zunnar* is a metaphor for his deepest sense of self, his ego (*ujb*). Even in the act of prayer, which is meant to bring one closer to God, he was struggling with the spiritual pride of "I am praying" or "I am a pious person." His thirty-year struggle was the effort to "cut" this ego and pray with pure sincerity, free from any sense of self. 2. **The Story of Shame and Silence:** * Bayazid once went to a retreat house to perform remembrance of God (*dhikr*). However, he spent the entire night in silence without uttering God's name. * When asked why, he explained that he remembered a "word" (an inappropriate or ugly utterance) that had come from his mouth in his youth. He felt so ashamed of this past sin that he could not bring himself to utter God's pure name with the same tongue. * **Interpretation:** This story highlights his extreme sense of *adab* (proper conduct, reverence) and piety. It portrays a man deeply conscious of his own unworthiness before God, the complete opposite of someone who would arrogantly declare "Glory to Me!" Of course. Here is an expanded and more detailed section on the stories and anecdotes about Bayazid Bastami, extending the original notes to provide deeper analysis and connect them to the central themes of the lecture. --- ### **Expanded Notes: Stories & Anecdotes of Bayazid Bastami** These anecdotes serve a crucial function in the lecture by providing a counter-narrative to the image of Bayazid as a purely "intoxicated" or antinomian figure. They are used by defenders like Sarraj to ground Bayazid's experiences in orthodox piety, discipline, and profound self-awareness, showing a different side to the man behind the ecstatic utterances. #### **1. The Story of Cutting the *Zunnar* (The Belt)** * **The Anecdote:** Bayazid is quoted as saying, "For thirty years, as I performed the prayer, the belief I held within myself in each prayer performed was as if I were a Magian (Zoroastrian) wishing to cut my belt." * **Deeper Interpretation & Analysis:** * **The Symbolism of the *Zunnar*:** The *zunnar* was a belt worn by Zoroastrians and sometimes Christians in the region, physically distinguishing them from the Muslim populace. Metaphorically, it represents a core identity that is fundamentally "other" than submission to God. For Bayazid, this "belt" is not an external piece of clothing but the internal, deep-seated ego (*nafs*) and its subtle form of pride, *ujb* (self-admiration). It is the part of him that stands separate from God. * **The Arena of the Struggle - The Prayer:** It is highly significant that this struggle takes place *during* the formal prayer (*salah*). This is the highest moment of worship and submission, yet it is precisely here that Bayazid feels the presence of his own ego most acutely. The subtle thought, "**I** am praying," or the feeling of satisfaction in his own piety, is what he identifies as his "inner Magian." This reveals a spiritual struggle of immense sophistication; he is not fighting external sin but the very root of self-consciousness that separates a worshipper from the worshipped. * **"Cutting the Belt" as *Fana*:** The desire to "cut" the belt is a powerful, violent image. It signifies a complete and decisive annihilation of the ego, not merely its taming. This is the practical, lived experience of striving for *fana*. He is saying that for thirty years, his primary goal in every prayer was to destroy his sense of self so that only God remained. * **The 30-Year Struggle:** The timeframe of thirty years is crucial. It underscores that the path of spiritual purification is not a momentary flash of insight but a long, arduous, and disciplined struggle (*mujahada*). This directly refutes any simplistic notion that Sufism is about seeking quick ecstatic "highs." * **Counter-Narrative Function:** This story presents Bayazid not as an intoxicated mystic who has lost his senses, but as a sober, deeply self-critical, and disciplined spiritual warrior. It is a portrait of a man engaged in the most profound form of internal jihad. This is exactly the kind of evidence Sarraj and other "sober" Sufis would use to defend him against accusations of heresy, showing that his path was rooted in the central Islamic practice of prayer and the goal of purifying one's intention for God alone. --- #### **2. The Story of Shame and Silence at the Retreat** * **The Anecdote:** Bayazid went to a retreat house (*ribat*) with the intention of performing *dhikr* (remembrance of God). However, upon arrival, he remembered a single inappropriate or "ugly word" he had uttered in his youth. Overcome with shame, he was unable to use the same tongue to pronounce the holy name of God and thus remained completely silent for the entire night. * **Deeper Interpretation & Analysis:** * **The Profound Sense of *Adab* (Reverence):** This story is a masterclass in the concept of *adab*. *Adab* is more than mere politeness; it is a deep, abiding sense of reverence and the awareness of one's own station in relation to God's absolute holiness and purity. Bayazid feels that his tongue, having once been "defiled" by a single mistake from his past, is an unworthy instrument to articulate the sacred. This level of sensitivity and shame before God is presented as the hallmark of a true mystic. * **Silence as the Highest Form of *Dhikr*:** In this context, Bayazid's silence is not an absence of worship but its most profound expression. It is a *dhikr* of the heart, born out of humility and awe (*hayba*). This silence speaks louder than any uttered words because it comes from a complete recognition of his own nothingness before the majesty of God. The story teaches that the internal state is what validates the external act; mechanical chanting without this inner reverence would be meaningless. * **Counter-Narrative to "Subhani":** This anecdote is the perfect foil to the utterance "Glory to Me!" It presents a powerful internal contradiction. How could the same man who arrogantly claims divinity for himself also be a man so overwhelmed by shame for a long-past sin that he cannot even speak God's name? This demonstrates the complexity of the mystical personality, which can encompass both moments of ecstatic overflow (*shath*) and moments of profound, sober awe. Defenders would argue that the state of shame and *adab* is his foundational, default state, while the *shathiyat* are rare, momentary overflows that should not define him. * **Humanizing the Saint:** The story makes Bayazid relatable. It shows that even a great spiritual master is not a flawless being detached from his own history. He carries the memory of his imperfections, and this memory serves to humble him, bringing him even closer to God. It affirms that the path of Sufism is a human one, filled with an ongoing awareness of one's flaws and a continuous striving for purification. ### rel_215_transcriptions/Sufism Lecture_ Ali al-Hajwari & _Kashf al-Mahjub_ Here are comprehensive notes from the lecture on Sufism, focusing on Ali al-Hajwari and his work, *Kashf al-Mahjub*. ### **Introduction to Ali al-Hajwari and *Kashf al-Mahjub*** * **The Text:** The lecture focuses on *Kashf al-Mahjub* ("The Unveiling of the Veiled"), one of the most famous and foundational texts on Tasawwuf (Sufism). * **Accessibility:** Unlike other complex texts like those of Hallaj or Bistami, *Kashf al-Mahjub* is described as an "accessible introduction" to Sufism. * **Author:** The author is Ali al-Hajwari, a highly revered figure, particularly in Pakistan, where his shrine (Data Darbar) is a major center of pilgrimage in Lahore. * **Significance:** *Kashf al-Mahjub* is considered the first comprehensive book on Sufism written in the Persian language. ### **Historical and Personal Context of Ali al-Hajwari** * **Origins:** Ali al-Hajwari hailed from Hujwer, a small town near Ghazna in modern-day Afghanistan. * **Historical Period (12th Century):** He lived during a turbulent period marked by: * Invasions of India by figures like Mahmud Ghaznavi. * The rise of the Turkish Mamluk (slave-warrior) dynasties. * A great deal of movement and traffic of people, ideas, and armies along the Kabul-to-Bengal route, with Lahore and Delhi as key centers. * **Slavery in that Era:** The concept of slavery was complex. "Slave generals" (like Qutbuddin Aibak) were often highly trained individuals who could attain freedom and great power, making it a prestigious position in some contexts. * **Education:** Hujweri was educated by senior Sufi masters of his time, and much of what is known about his life and teachings comes from his own writings within *Kashf al-Mahjub*. * **Arrival in Lahore:** * **The Legend:** A famous story recounts that upon his arrival, the Sufis of Lahore sent him a bowl brimming with milk, signifying that the city was already full of saints. Hujweri placed a rose petal on top, which floated without spilling any milk, symbolizing that he would add beauty and fragrance to the city without displacing anyone. * **The Evidence:** The lecturer suggests that historical evidence points to a less romantic arrival. Hujweri was likely brought to Lahore unwillingly, possibly as a captive during a military raid. ### **Key Themes and Discussions in *Kashf al-Mahjub*** #### **1. The Origin of the Word "Sufi"** Hujweri discusses and critiques four main etymological origins for the term "Sufi": 1. ***Suf* (Wool):** From the coarse woolen garments worn by early ascetics. 2. ***Saff* (Rank/Row):** From being in the "first rank" before God spiritually. 3. ***Ahl al-Suffa* (People of the Bench):** A group of poor, pious companions of the Prophet Muhammad ﷺ. 4. ***Safa* (Purity):** Derived from spiritual purity. **Hujweri's Conclusion:** He argues that from a strict linguistic (etymological) standpoint, none of the derivations perfectly fit. He concludes that **Sufism's essence is *Safa* (Purity)**, and the name "Sufi" should be understood as a proper name (**_Ism 'Alam_**) for a reality so exalted that it doesn't need a linguistic derivation. Its meaning is understood through the actions and states (**_mu'amalat_**) of the Sufis themselves. #### **2. The Three Categories of People in Sufism** Hujweri outlines a hierarchy of spiritual seekers: 1. **The Sufi:** The perfected saint who is "dead to self" (**_fana_**) and lives subsistently through God (**_baqa_**). They have reached the ultimate goal. 2. **The Mutasawwif (The Aspirant):** The seeker who strives to become a Sufi. They are on the path, engaging in spiritual struggle (**_mujahada_**) to discipline themselves. They are the "beginners" or novices. 3. **The Mustaswif (The Pretender):** The "wannabe" who imitates the external appearance and customs of Sufis for worldly gain, such as wealth, fame, and power, without any genuine spiritual reality. #### **3. The Concept of *Malama* (Blame or Censure)** *Malama* is a central theme, and Hujweri divides it into three types: 1. ***Malama-e-Rast Raftan* (Blame for Following the Straight Path):** Receiving blame from people for doing what is right according to the Sharia. This is seen as the path of the prophets and is the most praised form. 2. ***Malama-e-Qasd Kardan* (Intentionally Seeking Blame):** Deliberately acting in a way that invites public censure, but without actually violating the Sharia. * **Example:** Bayazid Bistami, while traveling during Ramadan (a valid reason for not fasting), publicly ate bread to dispel the excessive veneration people had for him. * **Hujweri's Stance:** He is cautious about this path, suggesting that while some senior Sufis practiced it to fight their ego, it is dangerous and can be used as a pretext by pretenders to gain popularity. 3. ***Malama-e-Tark Kardan* (Blame for Abandoning the Path):** Intentionally violating the Sharia and religious law to attract blame. This is completely condemned as an act of disbelief and hypocrisy. #### **4. *Isar* (Altruism/Self-Sacrifice)** * This is the practice of giving preference to others over oneself, even in times of need. It is a cornerstone of the Sufi path. * **The Story of Abu'l-Hasan an-Nuri:** Nuri and his companions were arrested and sentenced to death. When the executioner came, Nuri joyfully rushed forward to be the first one killed. When asked why, he replied that he wanted to give his friends the gift of a few more moments of life in this world, because one moment here is a place of service to God, while the hereafter is a place of proximity. His profound self-sacrifice moved the authorities, and they were all pardoned. #### **5. The Nature of Sufism** * **Sufism is Akhlaq (Character):** Hujweri quotes masters who say Sufism is not about rituals (*rusum*) or knowledge (*ulum*) alone, but is entirely about developing good character and manners (**_adab_**). * ***Adab* (Proper Conduct):** Every time, place, and spiritual state has its own required *adab*. True Sufis are those who master the *adab* for every moment. * **The Goal is Purity through Love:** The ultimate state is achieved when one is purified by Divine Love. The one who is absorbed in the Beloved (God) and has abandoned all else is a true Sufi. ### rel_215_transcriptions/Sufism Lecture_ Ali al-Hajwari Notes Of course! Here is the full transcription of the lecture, followed by a set of comprehensive notes covering all the topics discussed. ### Lecture Transcription **(0:00-0:16)** ...*quiz-es, but a couple of you are very... abstract. A couple of you took the last multiple quizzes, so... aage... you know, hum to chote the to Ainak Wala Jin ata tha. You remember Ainak Wala Jin? Yes. He has no? How do you know?* **(0:17-0:29)** *Sir bachpan mai dekha tha. Bachpan mai dekha tha? Usme wo bolta tha... aapka Hoota... you know the Hoota? What would he say? What was his famous saying?* **(0:30-0:44)** *Main kya karun? Main kisko khaun? So there's so many voices I have to, of course, you know, this is our last and I want us to get to the middle of our last path. You want to have quizzes?* **(0:45-0:58)** *So, I'm happy you guys know about some of the things. I think I'm getting older and losing people. You guys know about Captain Planet? Captain Planet? Don't know Captain Planet? Johnny Bravo?* **(0:59-1:15)** *Pehla wala azaab nahi, dusra wala azaab hai. Johnny Bravo nahi pata? Nahi Johnny Bravo pata hai. Johnny Bravo pata hai. Cartoon Network pe Dexter ke baad. There was also a boy who would save people.* **(1:16-1:30)** *Chale choro. Things are changing. So that... that was just to get you connected. Okay? To break the ice once again. Bar bar rozana aate hain, shakal dekhte hain, thak parta hai, aap kehte hain kya, roz aate rehte hain... beech mein...* **(1:31-1:47)** *Chalein. Ab hum aaj... Today is a lighter class. I don't think, you know, we're going... If you were looking at Bayazid Bistami aur Hallaj, those were tricky texts, yes or no?* **(1:48-2:00)** *Aur, agar abhi to humne aapko unke kuch woh passages parhaye hain jo ke phir decipherable the. There are many passages jo aap sochte hain sochte reh jayenge iska kya matlab hai. It’s very difficult to figure out... figure out any meaning.* **(2:01-2:13)** *But I think I think we did fairly well, we've done well with Hallaj, we've done well with Bistami. Okay? Toh ab jo jinko aaj hum parhenge, he's very... it's very easy to read. Yes or no? This is written as an accessible introduction.* **(2:14-2:28)** *And it's, you know, there are many interesting things about it. Toh yeh Kashf al-Mahjub hai jo aap logon ne parhi. Did you guys read it? You read it for today? It's the famous Kashf al-Mahjub. Probably one of the most famous Sufi texts in Pakistan.* **(2:29-2:46)** *And of course, globally. But Pakistan mein toh Kashf al-Mahjub bohot... it's very popular. It's a very popular Sufi text. I'm so sorry, just a second. Ji. Day care. Aap andar chale jayen? Day care ke andar chale jayen aur woh deden.* **(2:47-3:09)** *Ji? Ji. Ji kaun bol rahe hain? Ji main Dr. Baqir bol raha hun, Fariha ke husband. Oh okay. I apologize for that. I'm so sorry. There was some hungry people and... And so I gave them instructions to deliver food and it is already going and it's got so late.* **(3:10-3:24)** *Anyway. Chalein, get back, let's get back to what we were doing. I'm sorry for this. Achha. Toh Ali al-Hujwiri ki hum baat kar rahe the. As I was telling you that Kashf al-Mahjub is one of the most famous Sufi texts today, and in Pakistan, a lot of people study it, a lot of people read it.* **(3:25-3:40)** *And one of the reasons why it's so famous is, well, you are in Lahore. How can you miss it? Anyone thinks about Data Sahab and he's like the... the most senior patron saint of the city. Toh unke pure traditions hain aur practices hain. Agar aap jayen toh wahan pe logon ke bohot sare logon ke belief hai that you know, Lahore has its blessings because of him and his grave and his shrine.* **(3:41-3:51)** *There are so many traditions around him, aur wahan pe proper readings bhi hoti hain. Agar aap udhar jayen. Haan, again, it's a different world. Aksar log mujhse puchte hain ke Sufia kidhar hai, hume toh koi Sufia nazar nahi aate. Main kehta hun aap kahan hain? LUMS mein hain. Of course na nazar aayenge.* **(3:52-4:05)** *LUMS mein aayenge toh apne aap ko chupayenge ya they won't probably talk about it, right? It's really, this is not the place, this is not the space. But if you go there, if you step out of your comfort zone, if you can be different and you know, access those spaces on their terms. Yahan pe anthropology wale log bohot karte hain. Trips bhi karayenge aapko. Aur trip se pehle aapka ek session hota hai jisme woh sab ko batate hain ke you know you have to be respectful of those places.* **(4:06-4:16)** *Aur kai dafa khawateen ke liye alag, ladkiyon ke liye alag ehtamam hota hai, please dress according to that place and so on. So, if you respect those holy places and if you go there, you will find that there are so many people who come there who are interested in spirituality or are seeking it. Koi na koi, and I'm not saying everyone is the same, there's just so different.* **(4:17-4:28)** *Das mukhtalif traditions honge, unke... koi bohot zyada shariat pe chal raha hoga, koi malang hoyega. Very different Sufi traditions, yeah? But they may all get go to the shrine, the same shrine. So shrine culture ke upar hum waqt hua toh hum mazeed baat karenge. Let's turn to Ali al-Hujwiri. Ali al-Hujwiri is one of the... he wrote the first book on tasawwuf in Farsi.* **(4:29-4:41)** *And when I say the first book on tasawwuf, I mean the first comprehensive book. Now, we've already seen, we've already seen works like this. We've read Sarraj. Remember? Sarraj ka maine bataya tha it's one of the earliest. There are others, Kalabadhi, aur bohot se log the Sarraj ke daur mein jinhone likhi thi is tarah ki kitabein. But they wrote in which language? Arabic.* **(4:42-4:54)** *Okay? Around the 12th century, aapko shayad pata ho ke, uh, invasions of India had started. Balke started kya, they were in many parts established. Toh yeh jo Mehmood Ghaznavi wagera aapne suna hoga na? Ke Ghazna kya hai, Ghaznavi kaun the, Ghori kaun the. Ye tribes the, confederations, tribes nahi balke tribal confederations thi.* **(4:55-5:06)** *Ye ladte ludte, conquer karte karte, idhar aate the. Jab yeh log idhar aate the, ku- kai baar inse pehle hi Sufia kai jagahon pe pahunch chuke hote the. Kai dafa inke sath jab aur musalman aate the toh zahiri baat hai yeh bhi aa jate the. You see what I'm trying to say? Toh, uh, yeh is daur ki shakhsiyat hai Ali al-Hujwiri. Jab yeh ho rahe hain conquest aur jo Afghanistan se leke Bengal, Kabul to Bengal region jo hai, usme ek traffic hai.* **(5:07-5:18)** *Okay? Lahore se Delhi, Delhi se Bengal. Yeh rasta jaata hai. Yeh conquerors idhar se guzra karte the. Purani GT Road bhi thi mitti-witti. Aap samajh rahe hain meri baat? Toh ek purana, udhar Kabul, Khyber pass se ek rasta jaata tha udhar tak. Aur ek do aur bhi shayad raste the udhar pahadon se. But main rasta woh tha. Ek bohot purana rasta hai Kabul se leke udhar Bengal tak jaata hai.* **(5:19-5:30)** *Now, that's a huge stretch of land. Lots and lot- a lot of population, a lot of people. Toh, is daur mein jab yeh jinko Turkish Mamluk daur kaha jaata hai, ke yeh jo warriors the, leaders the, slaves mein one of the first persons to actually establish Muslim presence was Qutbuddin Aibak. Qutbuddin Minar ka agar aapne suna ho Delhi mein.* **(5:31-5:41)** *Toh Qutbuddin for example was a... was a quote unquote slave. Right? But he was a slave general. And what would happen is ke aap shuru mein kisi ke slave hote the. Phir aap once you progressed a certain amount of time or certain amount of time passed and you served your master and you could help them do what they want to do, conquest whatever. After a certain point, you become free.* **(5:42-5:53)** *And then you can, you know, you can have your own juniors, jinko quote unquote slave kaha jaata tha. Now, the word slave can be a very misleading term. It's not the kind of slavery that you find in Django. You know about Django? Woh movie hai na, ya ya jo basically African-American slavery jo hai na, jis tarah se America mein practice ki jaati thi, aur aaj kal jab aap slavery ka sunte hain to you have these terrible images of torture and everything. And thinking low of people, right?* **(5:54-6:04)** *Muslim history mein it's pretty different. It's a pretty complex. And actually, it's sometimes the reverse of what you find in the West. The slave can be the most prestigious person in society. One of the most... They can be... they can be the ruling class. Jab se Turk aaye hain, tab se yeh durust hai. Okay? And, interestingly, Muslim men and women, men were valued for, um, men were valued for their ability to fight. Okay?* **(6:05-6:16)** *And women were valued, slave women especially, for their service, for their sexuality, for bearing children. Okay, as mothers. Usse, that was their route to power and prestige. And for men it was war and violence. Okay? Toh woh jo bohot achha ladte the, woh phir ahista ahista, unko, hote woh technically, on paper they were kind of slaves, but they were like, "Can my son become a slave too?" It was like this kind of thing, you know?* **(6:17-6:28)** *It was a very prestigious thing because these people would eventually become the rulers, or super rich, super prestigious, very... they got the best education. They were the most privileged kind of people. Agar aapne woh dekhi ho Mera Sultan, maine nahi dekhi by the way, but you get that, you get into that world of slaves and concubines and woh jo malkayein ban jaati hain. All of those ladies, you think that they were, who are those princesses and queens, most of them are quote unquote slaves. But they're not actually... I mean they're not like low-ranking slaves.* **(6:29-6:39)** *Think of them like as very privileged employees. Taken at a young age. Okay? Got it? Toh is duniya mein yeh the. Achha, is duniya mein lad dhad ke maar moor ke woh Afghanistan se India mein invasions ho rahi hain, Afghanistan ke andar bhi jangein ho rahi hain aur sath sath Sufi networks, Sufia, ulama, yeh log chalte hain. It's not... purane visa koi system nahi hai, border koi nahi hai, controls nahi hai, states are weak.* **(6:40-6:51)** *But so there's a problem with that ke kabhi koi aa jaata hai, ladayi karta hai, koi aa ke kabza kar leta hai cheezon pe, unstable, security ka masla hai. But mobility is better. Hamari duniya mein aaj kal, let's say aap Pakistan mein hain, security is better, but mobility is a problem. Let's say if I want to go to Kabul, I cannot go to Kabul very easily. I'll think twice, right?* **(6:52-7:03)** *Or if I want to let's say go to Delhi, impossible today, right? Kyun ke ab toh hamari dushmani lagti hai bohot zyada. So, aur abhi tight border controls hain. Us zamane mein logon ki jangein-dungein hoti rehti thi lekin yeh koi rok nahi sakta tha us tarah se aapko, border controls us tarah se the hi nahi. As long as you just said ke ji main toh ziyarat pe ja raha hun ya main yeh, I'm a traveler, main ilm seekhne ja raha hun, people would not normally, you'll be fine. Of course, travel had risks.* **(7:04-7:15)** *So, where was, where did Ali al-Hujwiri come from? Why do we call him Hujwiri? Anyone know? Hujwer is like a little town in Ghazna, if I'm not mistaken. It's a little town in Afghanistan. Maybe aaj woh it's like a blip on the map. Agar aap usko dhoondein na kahin toh I think Kabul ya Ghazna ke beech mein. I think it's near Ghazna. So Ghazna ke beech mein ek chota sa ek ilaqa hai, usko kehte hain Hujwer.* **(7:16-7:27)** *Hujwer se, wahan pe yeh paida hue the. Udhar se inka naam ho gaya Hujwiri. Now, we don't know a lot about his family, right? Uh, but we do know that he was, he was educated by Sufi masters. Some very senior Sufi masters of the time. How do we know this? Anyone tell me? You can guess. It's an easy guess. Because we don't have like lots of writings about him, but we do have his own writings.* **(7:28-7:39)** *So what we know about him comes from his own words. Toh woh hume khud batate hain apni Kashf al-Mahjub mein hi woh bohot kuch batate hain. Ke main idhar tha, mere teacher ne kaha ke yeh na karo, yeh choro, udhar ja ke unse bhi padh ke aao, right? Ilm seekho, ahadis bhi seekho, Quran ki bhi cheezein seekho, woh hamari foundation hai. Theek hai, phir yeh karna, phir haan wahan falaane buzurgh hain unko, unke bhi paas jaana. So some people are guiding him, right? Do this, do this, step by step.* **(7:40-7:51)** *So he was trained by, he was educated by Sufi masters and he is clearly, clearly part of the Sufi tradition that goes back to Baghdad. Not only did he travel and live and study in Baghdad and the central Muslim lands, he met some of them, he studied their works.* **(7:52-8:03)** *And when he wrote his Kashf al-Mahjub, he did not write it as like a fresh piece out of nowhere. He wrote it after he had read works that you have been reading. Jaise Sarraj ki aapne Kitab al-Luma parhi hai, unhone woh poori parhi. Aur yeh, aisa nahi ke hamari class mein, jaise humne baith ke thoda sa hissa parh liya. Poori padhte the woh aur kai dafa unke living authors ya us tradition ke masters se padhte the.* **(8:04-8:15)** *So that's a very different kind of study. Toh unhone woh poori kuch kitabein padhi thi aur isme jo do inspirations thi aur agar aap unki kitab... inki Kashf al-Mahjub ko un kitabon ke sath rakhein, there are two people that you're already aware of, unke aapne kitabon ke kuch hisse padh bhi liye. He was inspired by those two people. Ek Qushayri, number two, Sarraj. Aur aapne dono ko padha hai. Yeah, you just read parts of them, he read all of it.* **(8:16-8:27)** *So unhone woh kitabein padhi thi and he said well let's write something similar in Persian. Of course, he wanted to add more and like he wanted to add details that he knew, some of his own insights, some of his own views, yeah? But he wanted to write something similar in Persian which was more up to date. Toh he wrote something in Persian and that's the Kashf al-Mahjub. But it's inspired. Uska jo pattern jo hai, uska pattern poora ka poora kaun sa wala hai? Sarraj aur Qushayri wala.* **(8:28-8:39)** *Okay, now this is, this is what we call a tradition. Ek jo tradition hota hai, usme, you know, people build certain things, then you don't have to start from scratch. You improve, you do, you produce something, you go beyond. You don't reinvent the wheel. You just improve. Ji. Sir, how long after Sarraj did he write this book?* **(8:40-8:52)** *Sarraj was, as you know, in the 11th century figure, so he's a 12th century figure. I think one or two generations afterwards. Toh itna zyada koi bohot zyada distance nahi hai inke beech mein, theek hai? Toh just a few generations. Not more. Exact dates I'm not sure we know the exact date of his life, but we can figure it out. I forget, I don't have my notes, main dekhta hun mere notes mein hai. Okay, um, just as you had these debates, these debates about Hallaj and Junayd in, uh, among people like Sarraj,* **(8:53-9:04)** *you find similar debates in Ali al-Hujwiri except that by Ali al-Hujwiri's time, Hallaj is more of a hot topic. Dekhein na, Sarraj ke dauran, jab Sarraj likh rahe hain, toh who is the most controversial figure? Bistami. It's not Hallaj. But when Ali al-Hujwiri writes, there is another important, very, very important Sufi figure who was very controversial and he is Hallaj. He eclipses Bistami.* **(9:05-9:16)** *Inke zamane tak Bistami ko... Bistami is not that difficult, Bistami is not that much of a problem. Yaad hai na Qushayri aur unka padha tha ke jo Sarraj ke baad log likhte hain, Sulami, Qushayri, they don't... they don't even remember. As if there's nothing wrong with Bistami or there was no controversy about Bistami. Maybe Sarraj's defense of Bistami was so powerful ke baad mein logon ne kaha yaar... why did we even raise questions about him?* **(9:17-9:28)** *But Hallaj jo hain, Hallaj ka toh kabhi status jo tha us pe consensus nahi aaya Sufia ke beech mein. Usme there were those who felt that he was uber awesome. And there were others who felt that he was great but a naqis. That's the majority opinion. Aur kuch hai jo, very few, would say he's a total fake. He's a total fake, he's a total weirdo, he's a total deviant. Yeh bilkul hi Islam se hat gaye hue hain.* **(9:29-9:40)** *But maine aapko jis tarah se Kitab al-Tawasin padhayi hai, yes? Uske baad, what do you think? Let's say you know this much about him, what do you think? Does he seem, uh, does he seem very insightful to you? Yeah, so my, I mean I see a lot of you nodding your heads.* **(9:41-9:51)** *So, mujhe toh yeh lagta hai ke he was, he was quite awesome. He may have been a very difficult person to live with, right? Magar yehi hai, bohot se log hote hain jinko aap ek khaas capacity mein bardasht kar sakte hain, usse zyada nahi, right? Toh theek hai, maybe for example, you come to my class, you like my class, but aap mere sath agar ghanta bahir guzarein, aap kahenge "baap re, kya insaan hai yeh." Toh of course, you know, this is, this is how life is.* **(9:52-10:03)** *So but but, you know, as a, as a, as someone with great insight, someone who loved humanity, who was ready to sacrifice himself, he is, he remains an inspiration. Abhi hum Hallaj ki baat aage... Achha toh Hujwiri jo hain, yeh masla uthate hain Hallaj ka, Junayd ka. Main pehle aapko bata chuka hun. And guess who he prefers, Hallaj or Junayd? Ali al-Hujwiri? Who does, who does he prefer? Junayd or Hallaj? Hallaj. No. Junayd. Junayd. Yes, thank you, that was a trick one because I told you ke Persian tradition mein aam taur pe who is preferred, who do people love whom? Hallaj. No, no, Persian tradition. Hallaj. Hallaj.* **(10:04-10:15)** *But this is the... one of the earliest Persian Sufi texts. Lihaza, in this early discussion of, you know, the Junayd vis-à-vis Hallaj, what you see is, especially in Ali al-Hujwiri, a preference for, and again, where did he study? What did I tell you? He studied in Baghdad. Baghdad. Toh he's hanging out with the Baghdad folks. And his teachers are also telling him. And so can you guess who's the uber-master, who's the uber-authority in Baghdad? Junayd.* **(10:16-10:27)** *Now, he tells you, it's very fascinating, jo poori discussion hai Kashf al-Mahjub mein, if you have, if you have the patience and the interest. Isme woh baat karte hain ke main bhi ek zamane mein Hallaj ka deewana ho gaya tha. Lekin ahista, ahista, ahista I saw that you know, there was something wrong, there was something deeply troubling about him. So he prefers Junayd over Hallaj. Okay? He thinks that Junayd is superior and Hallaj is a naqis. He clearly says it, ke, you know, Hallaj ek naqis hai.* **(10:28-10:39)** *Okay, that is his opinion. He prefers Junayd, he considers Hallaj was an imperfect but very advanced Sufi. There are two more things I'll quickly talk about. One is this thing about his marriage or his purported marriage, married life, and finally how he came to Lahore. Okay? Achha, jab inki shaadi ke bare mein na kai logon ne is tarah se likha hai ke he was married and then it didn't work out or something like that. I tried to find it ke uski source kya hai.* **(10:40-10:51)** *Toh agar aap uski source dekhne ki koshish karein toh it's not clear at all. Woh alfaz jab aayenge toh hum dekhenge. So in my view we just don't know whether he was married or not, what happened. But there was something. Let's see when we go get to that, ke he had a difficult relationship with a woman. Yeh uski woh zikr karte hain. Toh we'll talk about, when we come to that, we'll talk about it.* **(10:52-11:03)** *Now, last thing before we start reading the Kashf al-Mahjub. His arrival at Lahore. Achha, bade legends hain aur ek, I don't remember kahan se, magar maine kai baar yeh kahani aam mein suni hai. Ke woh aaye the idhar bohot shaan-o-shaukat se aaye the Ali al-Hujwiri aur jab woh idhar aaye, toh logon ne unko kaha "Yahan toh pehle hi itne Sufia hain. Yahan toh pehle hi itne Sufia hain."* **(11:04-11:15)** *So, you know, what they did was when he came to Lahore, this is a story, they sent him a bowl full of milk. Aur woh itna full tha ke you could not, aap usse peene ki bhi koshish karte toh gir jaata. So this was a symbolic way of saying, this city is already full of the purest souls. So what are you doing here? Go away, shoo. Yahan pehle hi itne Sufia hain.* **(11:16-11:27)** *This is just a story, don't take it seriously, it's just a legend. Toh kahani ke mutabiq, what does Ali al-Hujwiri do? He does not drink from it... he so he gets what they're trying to tell him. Symbol meaning. Isharatan kya bata rahe hain. What does he do? He puts a rose on top of that bowl of milk. And returns it. Okay? Toh woh jo hai na doodh ke upar ek gulab ter raha hai. Wapas bhej deta hai.* **(11:28-11:39)** *So what do you guys think was a nice way to respond? But iska matlab kya hai? Ji. Sir usse kidnap karke nahi laaye the Lahore? How do you know that? I've heard of that for some reason. Good, good, very clever, very nice. We'll talk about that. That's exactly what I was about to talk about. Magar yeh kahani hai pehle, is kahani ka matlab samajhein. What does it mean? Aamna, why would you put a rose on top of milk?* **(11:40-11:51)** *I was trying to like imply that he's the best amongst them. Yeah, or there's still space. Aur you guys may be pure but you lack beauty and love and sacrifice. Or you know, your purity is naqis in some way. And I've come to help you. So you know, don't, don't mess with maulvi. Aapko pata hai na Sufia ka yeh ek uske andar, pura ek, there's a, there's a, there's an entire kind of Sufi literature in which Sufia compete with each other.* **(11:52-12:03)** *Yaad hai woh Rabia ke sath Hasan al-Basri ka muqabla hua tha? These are all later, usually later legends. Woh baad, aap samajhein na, shedayi jo hain, the, you know, the disciples hain ya tradition ke log hain, they try to show you, um, competition ho bhi sakta hai aur definitely hota bhi hai, egos toh har jagah hain. But I usually find these stories in later traditions jisme woh kisi ek buzurgh ko dikhana chahte hain ke woh kitne bade the, kitne zabardast the, we get these stories.* **(12:04-12:15)** *The evidence, you know, as our friend Shehbaz has already like, uh, told you, the evidence suggests that he did not come on his own. He came very unwillingly, reluctantly. Woh aana nahi chahte the, unko zabardasti laaya gaya tha. Kaise laaya gaya tha? I wouldn't call it kidnapped. Kidnapped, ek buzurgh, ek bada banda, kya... what would that be kidnapped? I can understand women getting kidnapped or children getting kidnapped.* **(12:16-12:27)** *But you know, this guy was probably very spiritual and an alim or a Sufi or something like that, yeah? Toh unko kaun kidnap karega? Kidnapped nahi kehna chahiye, captured. He was captured as part of some raid. Okay, jab raid hoti thi, he was probably in his middle years, still very active, so probably he was not too old, but a mature person, okay?* **(12:28-12:39)** *Toh jab raid hoti thi toh aksar kya hota tha, logon ko utha liya jaata tha. Ek ilaqe ke logon ko utha liya jaata tha. Phir unko kai cheezein, bohot sari harkatein hoti thi. Let's say you capture... you raid an area, aap either a tribe will conquer you or you're part of some empire, aapka jo shehzada hai woh idhar baitha hua hai Lahore mein aur uski faujein jaati hain aur kahan hamla karti hain kisi chote Ghazna pe aur udhar ke logon ko utha ke le aati hain. Why would they do that?* **(12:40-12:51)** *Make them slaves. Slaves, okay, one possibility but Muslims are forbidden from enslaving other Muslims. Yes. So why would they do it? Maybe because he was a resourceful person and he was a talent, so that he could be used in society. That was one reason. Actually the Turks and the Mongols used to do that. Hume pata hai na, hum samajhte hain ke Turks aur Mongols jo the woh aate the bade jangli the, maar moor ke chale jaate the. But they were always interested in getting talent and forcing talent to go to their cities.* **(12:52-1:03:03)** *Okay? Ke aao, Samarkand aur Bukhara ke bare mein aata hai ke you know they actually captured people from Baghdad and they know... logon ko qatal-watal kar rahe hote the, pata chalta tha ye architect hai, yeh alim hai, yeh fankaar hai, isko koi fun aata hai. Toh chodh dete the. Chodh dete the aur kehte the "aao chalo," haan unko phir woh ghulam banate the. Unke liye toh rules were different from those of Muslims. Aur they could be like pseudo-Muslims or they could be like convert, fresh Muslims, who knows? It was a, it was a changing time.* **(1:03:04-1:03:14)** *Achha. Toh, you know, you can capture people also for leverage. Isko political prisoners kehte hain ya hostage exchange kehte hain. Okay? Or another reason why you capture people or imprison them is to weaken your enemy. Okay? Kyun ke, uh, this may sound like a very dirty kind of tactic to you but that's how the world was.* **(1:03:15-1:03:26)** *Ke the, you know, who's going to fight, who can potentially attack you? Are women going to attack you? No. Are children going to attack you? No. They're only grown-up men are going to attack you, in all likelihood. So you capture them, you weaken your enemy. Aur unke bandon ko hi aap uthate rehte ho. So you do two things. One, you weaken them. B, you, you know, you tell them, "You know main tera, aapka chacha mere paas hai."* **(1:03:27-1:03:37)** *So you try to hit us, we will cut his throat. Toh is tarah ki aur sau tactics hote the. Whatever the reason, we really don't know. I'm just guessing ke us, yeh duniya woh thi. Us duniya mein he was somehow captured and brought to Lahore and he was not very happy about this. Like, yeh kya ho raha hai. Why are you guys taking me to Lahore? Woh logon ko kehte honge, "Kehte honge, Lahore nahi dekhya te jammya nahi." "Toh kehte the please, I don't want to go to Lahore, mujhe nahi pasand."* **(1:03:38-1:03:49)** *Lekin eventually, he settled. And once he settled, he wrote. Okay? That's what he... inki kitab, khud nazar aata hai kitab se, that he started to, he did very well, even in his life and he started to be recognized. Yahan tak ke, kitab ke shuru mein likhte hain ke, shuru mein kehte hain ke ji yeh maine likhi hai aur aapko pata hai, asal mein maine isse pehle bhi yeh likh chodi thi.* **(1:03:50-1:04:01)** *Toh kisi bande ne, woh meri cheezein chori karke, plagiarize karke, um, apne naam se pass karna shuru kar di. Kehte hain yeh do tarah ka ki na-insafi hai. This is unjust on two ways. Number one, well you know, you take credit for something you haven't written yourself. That's stealing, number one. Number two, they fool people and you know when someone reads my works and somebody thinks "oh this guy wrote it," Baqir the idiot wrote it. Toh, people think that I am Hujwiri.* **(1:04:02-1:04:13)** *I am that elevated, I have that knowledge. Samajh aa rahi hai aapko? So you, you, you, you end up misguiding people. People think that you have knowledge and you are a guide and you know these things and you are sincere. But this guy is a total fake. So fake people but were promoting themselves using stolen, plagiarized material that he had written. And then, I think one more thing... yeah, and they, when they did it...* **(1:04:14-1:04:24)** *Woh aapko suna hoga na, Urdu mein kya kehte hain? Akal ke liye bhi... nakal ke liye bhi akal chahiye hoti hai. Nakal ke liye bhi akal chahiye hoti hai. Toh, you know when they would plagiarize, the same way you, many of you end up getting into the... getting with the DC. Jaise when you use AI, you don't use it intelligently. Aap koi, chodh, you make a mistake, you get caught and then there are consequences. Toh kehte hain woh log us zamane mein, unke paas LUMS ki DC toh nahi thi.* **(1:04:25-1:04:35)** *Toh woh karte jaate the aur log ulti-pulti baatein bhi padhte jaate the. So he was very upset by this. Ke they woh bigad ke aage logon ko meri baatein bata rahe the. Main kehte hain, pehle, meri chori hoti thi, main kehta tha "hain, yeh toh maine kaha hai." Jab agli baar uski, usi nuqte ki mujhe pata chalti thi, main kehta "yeh toh maine nahi kaha." So what is this? So he said all of that. He's very hurt by all of this. And he says "no, so I've decided, I'll write a complete book and I'll cover everything so that people stop looking at these, you know, other fake versions of my works, stolen versions."* **(1:04:36-1:04:47)** *And they know once and for all who wrote this and what its author meant. Okay? So yeh woh sari baatein shuru mein karte hain. And that sort of shows you, if people were stealing his work and passing it off as his own, he was recognized as an authority, or at least he was doing very well. Toh yehi baat hai ke he, he ended up doing very well. Baki us, us duniya ka kuch jo aapko samajh hai, woh yeh hai ki when you read the Kashf al-Mahjub, you will get some sense of what sort of world it was.* **(1:04:48-1:04:59)** *Kis qisam ki communities thi, kis qisam ki duniya thi. It was very different from what we know. Okay? So, enough about his life, his background, his travels, that time, the politics of that area. Let's start reading the Kashf al-Mahjub. We'll start reading a little bit and then we'll take a break, okay? Ji, so, let's start by reading this. Main doobara doobara aap na again, because um, it's right in front of me and she was missing for a month or two classes before the midterm.* **(1:05:00-1:05:11)** *So let's start with you Amna. Can you please read? God Almighty and glorious has said, "And those who walk meekly on the earth and when the ignorant speak to them, answer peace, shall be rewarded with the highest place in paradise." And the apostle has said, "He that hears the voice of the Sufis, Ahl al-Tasawwuf, and does not say amen to their prayer is inscribed before God among the heedless." The true meaning of this name has been much discussed and many books have been composed on the subject.* **(1:05:12-1:05:23)** *Okay, pause. Now the, yeh Quran ki jo ayat hai usse shuru kar rahe hain. Okay? Quran ki ayat se shuru kar rahe hain, al-lazeena yamshoona fil-ardi hauna. Is it... yahan pe koi hafiz hai? Hauna, hauna kya hota hai? Ke aap apne aap ko na kamzor... aap log hume kuch nahi samajhte. So there are some beautiful ayaat. There was a... in Egypt, there was a blind qari and he had the most beautiful recitation.* **(1:05:24-1:05:35)** *The first time I heard the is, I think Surah Furqan ki kuch ayaat hai yeh wali. Jis mein imaan walon ki na... there are many sort of flourishes like this in the Quran. Kai ayaat hain unka ek guccha-cluster aata hai. Jis mein na khuda ke sabse achhe logon ki qualities ki baat hoti hai. And this is one of those very powerful kind of clusters. Aur us mein jis tarah uski recitation hai, it was a... there was this blind qari, I keep forgetting his name. Unhone Surah Furqan mein, he used to recite this and people would just stop their cars and get out and start crying or uske unke bare mein badi aati hai.* **(1:05:36-1:05:47)** *I think he died reciting the Quran, he's a very powerful reciter. People recorded it. Toh aaj bhi agar aap woh sunein toh it's... it's... it's beautiful, very powerful, especially if you have the taste for it, especially if you can get some of the Arabic. Toh yeh bohot powerful ayaat hain, badi mashhur hain. Idhar se woh shuru karte hain. Toh woh kehte hain ke yeh woh log hain, imaan wale woh log hain jab woh zameen par chalte hain, they feel, you know, they, they feel, they walk with, without any pride. They walk with humility. Isko angrezi mein kehte hain humility.* **(1:05:48-1:05:59)** *Hona, kamzor ho ke almost chalte hain. When the ignorant speak to them, what do they say? Salam. They don't bother, they don't go on, what do we do? Just say okay. Good for you. Let us be. Okay? Toh brackets mein aap dekhein na, agar aap poori ayaat padhein toh usme aata hai ke they are the awesome people, Allah loves them and they'll be in paradise.* **(1:06:00-1:06:11)** *Alright, and then so yahan pe hume samajh aati hai, but is, are these people the Sufia? Of course, the Quran doesn't make it clear. But Ali al-Hujwiri is saying that this is the Sufia. He's a Sufi and he's going to discuss the very word tasawwuf, kyun ke yeh poora chapter hai tasawwuf ke upar, ke tasawwuf kya hai. Um, uske baad ek hadees aayi. He that hears the voice of Ahl al-Tasawwuf and does not say amin, is inscribed among the God... jahilon mein ya ghafileen mein aate the, I think so, ghafileen uska naam likh dete hain.* **(1:06:12-1:06:23)** *Now this is one of the very, I think, weak if mauzu or fake ahadis. Weak toh definitely hai. I'm sure ke, I think it's one of the weak or fake. Achha jo weak or fake ahadis hoti hain woh kai dafa aa jaati hain Sufi text mein. Aur aaj kal ke log uska bohot bada, woh bana dete hain ke "oh isse toh bohot bada... look Sufia use weak ahadis or fake ahadis." But, he's also trained under, by the Muhaddithun. So he knows the Uloom al-Hadith.* **(1:06:24-1:06:35)** *Agar hadees weak ho ya fabricated ho, theek hai? Aur kai dafa kisi uske beech mein kisi grey area mein ho, then you can only use it for what we call akhlaq. Akhlaq or ethics. Then you're only allowed to use it for ethics. And that's an acceptable use. So why? Because there is some uncertainty whether the Prophet said it or not, that's accepted.* **(1:06:36-1:06:47)** *Yaani ke the likelihood that the Prophet said it is pretty low, but if the thing is beautiful you can still use it. Okay? Misal ke taur pe, aap aage jayenge if we have time I'll show you a hadees that Rumi cites. Woh kya hai? Innahauna yaghlibna al-aqil wa yaghlibhunna al-jahil. Ke beshak aurtein, beshak aurtein achhe, akal walon ke upar ghalib hoti hain. You know, women dominate the intelligent, intelligent and nice men. And then the Arabic reverses it, it's so very beautiful.* **(1:06:48-1:06:59)** *But the jahil men, ignorant men, what do they do? They try to dominate women. Okay? What a beautiful hadees. But it's the same kind of weak/fabricated hadees. Phir log kehte hain "oh, yehi dekho, Rumi ne yeh kiya." But agar aap dekhein, toh number one, there is some chance, very low chance that the Prophet said it. So yeah, ulama know that it's not a very strong hadees, so it's probably not very cool.* **(1:07:00-1:07:11)** *Achha. Plus, another thing that people don't understand is that if you have something like, you have other sources that say the same thing or similar things, then it's all, and it is very similar to, kind of similar to what you're finding in there, then it's also considered okay to use it. For example agar koi banda ke ke ek hadees hai, "Lahore ke logon ko hamesha salam kiya karo, kyun ke beshak woh jannati hain."* **(1:07:12-1:07:23)** *So aisi hadees aap nahi cite kar sakte. Why? Because why? Does it fit with other sources or does it contradict other sources? Contradict. It contradicts other sources. Hume mashhur Khutbat al-Wida mein humko pata hai ke tum mein se na koi Arabi behtar hai na Ajmi hai. Kaun behtar hai? Hua atqakum, the one who is more pious, jo Allah se zyada darta hai, parhez karta hai, gunahon se, woh tum mein se behtar hai aur koi farak nahi padta tum kale ho, gore ho, patle ho, mote ho, lambe ho, whatever.* **(1:07:24-1:07:35)** *You see what I'm trying to say? So since that fabricated hadees contradicts other sources, you can't use it. But if let's say there's a nice hadees like, "Be nice to your wives." So why? My not is pe dher sari ahadis hain. So there's no problem. Now of course here, if if even if this is a weak or fabricated hadees, if there are other sources that kind of indicate that the Sufia, the auliya or people of that sort were special and the Prophet used other words or ispe hum aayenge aage agar time hua.* **(1:07:36-1:07:47)** *Toh it's okay. Maybe it's a bit of a stretch. But, by the way, inhi ke alawa dusre Sufia honge jo inhi par tanqeed karenge ke tum, "Why did you use this hadees here?" So let's say even if this is a mistake you don't like it, it's okay. It's not a, it's not a dealbreaker. You with me? Good. Ab Sufia ka the word tasawwuf ya Sufia ka matlab kya hai? Yaad hai humne pehli do teen discussion ki thi? Let's see what Ali al-Hujwiri says. Can you continue reading Amna? Some assert...* **(1:07:48-1:07:59)** *Some assert that the Sufi is so called because he wears a woolen garment, jama-e-suf. Others that he is so called because he is in the first rank, saff. Others that he is so called because the Sufis claim to belong to the Ashab al-Suffa with whom may God be well pleased. Others again declare that the name is derived from safa, purity. Okay, pause. Woh kehte hain ki char aapko possibilities bata rahe hain. Ek kehte hain jama-e-suf. Suf kehte hain kisko? Wool ko. Un ko. Jama-e-suf, yaani ke woolen garment.* **(1:08:00-1:08:11)** *Yaani kehte hain un ka qameez. Theek hai na? Jama kehte hain jo aap cheez upar pehnte hain na like a... odhni jisko hum kehte hain Urdu mein. Ya, something that flows and falls, that's jama. So your... any loose long garment, maybe like your shalwar, if it's a qameez jisko hum kehte hain Urdu mein thodi si lambi, usko bhi jama kaha ja sakta hai, theek hai? What you wear under your jama, what do you call that? Pa-jama. Pa-jama. Very good, that's Farsi. So jama-e-suf.* **(1:08:12-1:08:23)** *Ke jama-e-suf ko kuch log kehte hain ke the word Sufi hai, suf, tasawwuf woh milta julta hai jama-e-suf se, jo suf ke kapde hote the. Dusra, ke yeh suf se nahi, saff se nikla hai. Jo log saff-e-awwal mein hote the unko log Sufi kehte the. Teesra koi kehta hai ke ji yeh ashab-e-suffa hain. Yaad hai humne baat ki thi Sahaba ashab-e-suffa, woh hain. Aur koi kehta hai ke yeh safa se nikla hai lafz. Safa ka matlab kya hai? Purity. Safayi Urdu mein istemal hota hai. Theek hai? Yeh char possibilities hain.* **(1:08:24-1:08:35)** *What does he say about these four possibilities? Continue please. These explanations of the true meaning of Sufism are far from satisfying the requirements of etymology, although each of them is supported by many subtle arguments. Very good. Yeh dekhein. What a nice... what a... what a great insight. Isse aapko pata chalta hai he's solid in his uloom. Woh yeh kehte hain ke, etymology ke liye lafz hai, if I... I think is lugha. Yaani ke Arabi ke usoolon, zaban ke usoolon ke mutabiq, all four of these roots or words do not convince us that the word tasawwuf derives from these words.* **(1:08:36-1:08:47)** *Okay? Kyun ke, Arabi agar aapne seekhi ho ya padhi ho, Arabic mein na words are like a family. And all, all the words go back to some roots. Jaise ek root hai agar qaf ta la. Qatala se poori ek duniya nikal aayegi words ki. Qatala, qatala ka matlab hoga... qatala se hi lafz niklega qatil. Qatil kaun hai? Killer. Qatal karne wala, killer. Jis ko qatal kiya jaaye usko kya kehte hain? Maqtool. Toh qatala aa gaya na.* **(1:08:48-1:08:59)** *Qatil, maqtool, qutila, woh qatal ho gaya, qatalat usne qatal kiya, qatalna, unhone, us ladki ne qatal kiya. Qutilna, woh ladki qatal ho gayi. Qatala se hi you derive all of those words. Theek hai? Toh, qital, jhagda karna, sorry, ladna. Okay? So all of these words derive from that root. If you study Arabic, you can figure out lots and lots of rules on how words relate to their roots.* **(1:09:00-1:09:11)** *That is the most difficult thing about Arabic. Okay? It takes a long time to get that. So woh yeh keh rahe hain ke yeh Arabi ke usoolon pe koi ek cheez bhi nahi baithti aur koi zaroori nahi hai ke tasawwuf, the word tasawwuf derives from any of these. And he says "yeah people give very nice, clever arguments but I don't think any of those arguments are convincing." Okay? So how does he solve this problem? Agar woh keh rahe hain ke inke origins se ya Arabic linguistic rules ya linguistic derivation ke rules pe utarta hi nahi hai lafz.* **(1:09:12-1:09:23)** *Hum us pe base hi nahi kar sakte, then how should we define tasawwuf? Okay? So it's not based on linguistic and historical reasons. So how can we, what can we, what should we then do? Who will read for us now? Thank you Amna. Let me ask someone else to read for us. Um... kya naam hai? Sahir, chalein aap padhein. Safa purity is universally praised...* **(1:09:24-1:09:35)** *Safa purity is universally praised and its opposite is kadar impurity. The Apostle, on whom be God's peace and blessing, said, "The safa pure part of this world is gone and only its kadar impure remains." Therefore, since the people of this persuasion have purged their morals and conduct and have sought to free themselves from natural taints, on that account they are called Sufis. And this designation of the sect is a proper name, as asami alam.* **(1:09:36-1:09:47)** *In as much as the dignity of the Sufi is too great for their transactions, mu'amala, to be hidden, so that their name should need a derivation. Yeah, pause. Very nice. He is saying, this is a very... I think... it's a very intelligent, very convincing response to the origins issue. Yaad hai na humne shuru ki classon mein discuss kiya tha ke tasawwuf naam kahan se aaya, Sufia Christians toh nahi the, yeh the, woh the.* **(1:09:48-1:09:59)** *He's saying stop discussing, stop... yaani aapko nazar aati hai us zamane mein bhi yeh behes thi. A yeh khali Orientalist ne behes nahi shuru ki, musalmanon ne khud bhi is pe bohot socha hai. Okay? And he is saying, when you try to settle this debate by going back to language and history, you are missing the point. You are missing the point. Because language can't settle it and history can't settle it.* **(1:10:00-1:10:11)** *Okay? So, what does he say? How can we, how can and how should we, how should we see it? Now, yahan pe jo lafz hai na, a proper name, asami aalam. I would... aalam is basically whether it's an indication ya indicative sign. Jaise alam hote hain na, jhanda. So is liye hum kehte hain, the tasawwuf is just like a pointer. What does it point to? It points to people like everyone knows.* **(1:10:12-1:10:23)** *And he knew the word when people talk about the Sufi or Sufia these days, who do... apne daur ki baat kar rahe hain. Who do they think of? They think of Junayd, they think of Hallaj, they think of other people. Collect all of them, the people that people have known and recognized as the Sufia. What do they stand for? That's important. Not where it came from aur 100 saal pehle, 1000 saal pehle woh kya cheez thi. Origins, whether historical or linguistic, he says A, you can't settle it on those bases, aisi behes hum nahi honge. B, irrelevant what happened.* **(1:10:24-1:10:35)** *Where did all it came from? The point is ke aaj, it's so well-known when people... people are so clear about this, we should just focus on what, you know, what they have in mind when they say, see what these people stand for. And he says, what these people stand for is safa. In other words, he's giving you a normative definition, not a descriptive definition. Okay? He's saying, inka ek ideal hai, aur woh ideal hai safa.* **(1:10:36-1:10:47)** *In pursuit of that ideal, you know, Sufis will take so many different courses, so many different paths, they'll be different. But according to him, what's important is ke A, people know it, know them. How do they know them? The word he uses for that is mu'amalat. Urdu mein aap samajh jaate hain, mu'amalat kya hai? Mu'amalat is relationships. Interactions, social interactions. Misal ke taur pe, aap koi bura kaam kar rahe hain aur koi aapko pakad leta hai. "Oye kya kar rahe the?"* **(1:10:48-1:10:59)** *Lekin let's say koi aata hai aur nazar-andaz karta hai. Aise act karta hai jaise aapne kuch kiya hi nahi. Phir aapko pyar se thoda sa let's say cover bhi kar deta hai aapko, chala jaata hai, chodo is cheez ko. You see what, that's very dignified, yeah? And you're like "wow, who was this guy or who was this lady?" Toh yeh mu'amalat hain, ke you are so nice and you're so impressive in how you behave with others. So he says, "ke uske baad you really, do you still need a definition?"* **(1:11:00-1:11:11)** *Okay? It's so obvious who these people are and I'll tell you if you want to really still talk about that, yeah, they have this, they are, they are committed to safa, purity. And getting rid of human imperfections. Another word that we use for this, this was in your terms, was...? Apne aap ko saaf karna... tazkiya. Okay, good. But he uses another word for this, which is safa.* **(1:11:12-1:11:23)** *Okay? Let's continue. In this age... In this age however God has veiled most people from Sufism... and from its votaries, mojuhin, and has concealed its mysteries from their hearts, accordingly some imagine that it consists merely in the practice of outward piety without inward contemplation, and others suppose that it is a form and a system without essence and rule.* **(1:11:24-1:11:35)** *To such an extent that they have adopted the view of scoffers, ahl-e-hazl, and theologians, ulama, who regard only the external and have condemned Sufism altogether, making no attempt to discover what it really is. Okay, so woh kehte hain ke kuch, kuch log yeh kehte hain ke yeh sirf ek zahiri, uh, upar upar se yeh dikhawa hai, it's just a show. Jab ke kuch kehte hain ke yeh sirf chhup-chhup ke karte hain log, upar se aapko kuch nazar nahi aata.* **(1:11:36-1:11:47)** *Aur jo log aksar jo hain mazak udate hain, latife bhi banaye hue hain Sufia ke bare mein aur kai dafa ulama bhi samajhte hain ke yeh bilkul hi ghair-shar'i hain aur yeh fix inke sath taluk nahi hai. Okay? And he's saying all of these people, including some learned ulama and some of these, you know, aaj kal TikTokers jinko hum kehte hain, jokers, like jo log mazak udate hain har cheez ka. Toh us zamane mein shayad aisi koi TikToker nahi tha, but you know, whatever form there was.* **(1:11:48-1:11:59)** *Toh un and you know, he's saying these people, they don't really understand and they have not tried to understand what the server really is. Uh, let's continue please. When the people... When the people in general blindly conform to this opinion and turn their backs from their hearts the quest for inward purity and have discarded the tenants of the ancient saints and the companions of the prophet.* **(1:12:00-1:12:11)** *Verily, purity is the characteristic of the siddiq. If thou desirest a true Sufi, because purity, safa, has a root and a branch, its root being severance of the heart from others, aghyar, and its branch that the heart should be empty of this deceitful world. Okay? So that's how he's trying to telling you what the server is. And ye maine kafi padh liya hai. Um... I think maybe we can take a break here. Okay? Let's take a break. Just take a five-minute break.* **(1:12:12-1:12:44)** *(Break)* **(1:12:45-1:12:56)** *...what we have said and that's okay, it's a quick recap ho jayega. Aur you will see that sometimes these texts do repeat certain ideas, but yahan pe ek choti si cheez nayi hogi. Toh jaldi se hum padh lete hain. So Reem, why don't you read for us? Sufi is a name... Sufi is a name which is given and has formally been given to the perfect saints and spiritual adepts.* **(1:12:57-1:13:08)** *One of the shaykhs says, he that is purified by love is pure and he that is absorbed in the beloved and has abandoned all else is a Sufi. Achha yeh sorry. Main aapko ek misal deta hun ke kis tarah Arabi mein jo cheez aati hai woh behtar hai angrezi mein aayi par behtar nahi aayi. This is a good example. Dekhein, man saffahu al-hubb, jisko mohabbat ne saaf kar diya, fa huwa saafin, woh saaf hai. Jisko mohabbat ne saaf kar diya woh saaf hai.* **(1:13:09-1:13:20)** *Okay, this is the beauty, I look at it as a very beautiful way of speaking, right? It's a beautiful speech, balagha. Arabi mein isko kehte hain balagha. Aur Urdu mein bhi hum also feel it. Jisko mohabbat, hubb, jisko mohabbat ne saaf kar diya, woh saaf hua. Okay? Then? Wa man saffahu al-Habib, jisko Habib ne saaf kiya. Fa huwa Sufi.* **(1:13:21-1:13:32)** *Ye dekhein, kya hai na, what a play on the words. Lafz kya hai? Safa, saaf aur saaf Sufi. Okay? Saaf aur Sufi, it's a, it's a play on these words, okay? Isko angrezi mein kya kehte hain? Balagha... uloom hai... ilm al-balagha mein ek term hai iske liye. You play with the same root to make the words beautiful. So samajh aa gaya aapko? Ke jisne, jisko mohabbat ne saaf kiya woh waqai saaf hua. Aur jisko Habib ne saaf kiya, who is the Habib? Bilawal. Woh hota hai, beloved kisko kehte hain? The one you love? Active kya hota hai?* **(1:13:33-1:13:44)** *The active, isko hum kahenge, the active noun is not the... is not the word beloved, woh hai lover. Okay? Lover kisko kehte hain... lover is the word, the lover is active, the beloved is, is sort of more passive. Okay? Which is why if you read old English, you know the word beloved is usually used for the woman. Okay? And the... when you use the word lover, it was often the, the, it's often Romeo or someone like that, who was, who was going on the quest, who was active.* **(1:13:45-1:13:56)** *Okay? Now, lover ke liye lafz Arabi, Arabi mein aur Urdu mein I think most of you know what this is, Habib. And the the word for the one who becomes loved, that is called... that the word is? Mahbub. Thank you. Habib is the lover and the Mahbub is the beloved. Okay? Isliye, you know, it's not easy to, the God is often seen as, sometimes Habib, sometimes Hubb, sometimes Ishq. Sufia mukhtalif terms Allah ke liye istemal karte hain.* **(1:13:57-1:14:08)** *Um, lekin kabhi kisi Sufi ko yeh, maine, maine nahi dekha ke baat kisi ne is tarah se ki ho ke woh usko Allah ne darja-e-Habibiyat de diya. They refer, that and often they reserve that a little bit usually for the Prophet, God. But they do talk about some of the greatest saints as the, as becoming the mahbubs of khuda. Or even the Prophet as the ultimate mahbub who receives God's love. Balke mehbub-e-ilahi kisko kaha jaata hai? Anyone know? Shayri mein bhi aata hai, qawwaliyon mein bhi kehte hain mehbub-e-ilahi, mehbub-e-ilahi. Who's that referred to? Ali. Hazrat Ali?* **(1:14:09-1:14:20)** *Nahi nahi. Woh unko bhi kaha jaata hai. Woh toh auliya generally bhi use kiya jaata hai, anbiya ke liye, auliya ke liye, ahl al-bayt ke liye, un sab ke liye kaha jaata hai usually kehte hain mehbub-e-ilahi. Par a very famous Sufi jinhe mehbub-e-ilahi aksar qawwaliyon mein kaha jaata hai, kaun hai? Nizamuddin Auliya. Okay? Achha. So this is... this was just an example. English mein unhone kya kar diya? Absorbed in the beloved. Ab absorbed in the beloved ka kya hai? Habib ko unhone bilkul hi badal diya.* **(1:14:21-1:14:32)** *Iska matlab kuch aur tha ke yaani ke agar aapko mohabbat mein aap giraftar ho jao, Urdu mein hum kahenge na, Allah ki mohabbat mein ya kisi ki mohabbat mein aap giraftar ho jao, it has a cleansing effect. You stop caring about other things, you start sacrificing, you start trying to be nice. That's a fact of love. But then he says ke jisko Khuda khud se actively saaf kar de. Mohabbat kai tarah ki ho sakti hai, but when you receive that special divine effusion of love, a special kind of God love and you become chosen in a way, you become the mahbub, then you become a Sufi.* **(1:14:33-1:14:44)** *Now yeh ek aap saaf ho gaye pehle mohabbat se, phir usme... usme ishq bhi aa gaya, toh noor bhi aa gaya, phir aap Sufi ho gaye. So, again he says, the name has no derivation answering to etymological requirements yaani ke zaban ke usool ka isse koi taluq nahi hai, kyun ke... yeh wahi wali baat jo hum kar chuke hain, it's too exalted to have any genus. Yeh ab yahan pe thodi si technical baat aa gayi. Again this is ilm al-lugha, it's also a little bit philosophical. Ke genus se derive hoti hai har cheez.* **(1:14:45-1:14:55)** *Now, he says, "the derivation of one thing from another demands homogeneity, mujanasat." Toh woh kehte hain ke agar woh agar likeness exist hi nahi karti toh aap derive bhi kaise kar sakte hain, bada clever kind of thing to say. Misal ke taur pe, we are, humans are what? Are we reptiles? Are we birds? What are we? Mammals. Mammals. How do we know that we are mammals? Similarities. Similarities, right. Yeh isko kehte hain mujanasat. Ke homogeneity is again, bad translation.* **(1:14:56-1:15:07)** *I... Nicholson, I like Nicholson's translation but beech beech mein kai ajeeb-o-ghareeb word choices hain. Jaise homogeneity. No, it's not homogeneity, it's similarity. Jins ek hota hai. But he's saying ke bhai, Sufia itni bari baat kar rahe hain, woh isme Khuda ko bhi la rahe hain aur pata nahi ishq ko la rahe hain, aisa ishq ya aisa noor aur aisi mohabbat jo duniya se hi bahir hai. So things that are beyond this world or above this world, you can't like find anything similar at your level of human experience, ordinary experience.* **(1:15:08-1:15:19)** *So how can you even create categories? What a clever thing, right? Dekhein na, woh yeh keh rahe hain, I just want you to appreciate what he's just said because that's a very brilliant thing to say. Woh yeh keh rahe hain ke dekhein na yahan pe aapne ek kutta dekha, you saw a dog, you saw a... a... a cow, you saw, you saw a... a sheep, you saw a lion, and you see, you saw a man, you saw a woman, these are humans of course. And you compare all of these and you say, "Oh, they are mammals."* **(1:15:20-1:15:31)** *There's something similar. There's something you focus on their similarities and you say they are all mammals. While they're different, main ab biology mein nahi ja raha, purane zamane ki Aristotelian idea tha of how you derive categories, us pe hum nahi ja rahe. But basically it's based on some similar features, yes? Simplify. Woh keh rahe hain ke Sufia jo hain aapko kaise kehte hain ke bhai is duniya se upar, is duniya se aapko koi jab paak karta hai, when you're purified, tazkiya hota hai, aap saaf ho jate hain, aapko safa naseeb hota hai, you get this safa.* **(1:15:32-1:15:43)** *So then how can you... now this this this event, this possibility is so above this world, you can't like find anything similar at your level of human experience, ordinary experience. So how can you even derive it? Derivation mein hoti hai na, ek super category jab aap banate hain derivation ki aap baat karte hain, you have to look at some similarities. And he says kyun ke logon ka toh kaam hi koi ajeeb sa hai, toh iski kya, how can you create categories? Whether you buy this or not, it's another matter but you can just appreciate the argument.* **(1:15:44-1:15:55)** *Unhone argument kitna achha technical terms mein isko explain kiya. Now he says, "All that exists is the opposite of purity and things are not derived from their opposites." Now, safa ka opposite kya hai, peeche unhone baat ki thi iski, kisi ne notice kiya tha? Safa ka opposite hai kadar. Okay na? Kadar, isko Urdu mein hum kehte hain gadla ho jana. Gadla. For example, ek paani hai jo bohot saaf hai, it's clear. That's safa. Aur agar uske andar matti aa jaye and you call it it's muddy, gadla, that's kadar.* **(1:15:56-1:16:07)** *So he's saying what you find at this level of earthly existence is usually kadar. Okay? And so how can you derive... if you use your own mind and everyday experience and just try to figure out, achha, ulama yeh karte hain, artists yeh karte hain, fankar yeh karte hain, toh Sufia bhi is tarah se kuch toh karte honge, so let's try to figure out what they do. He's saying all of that is nonsense because what they are doing is something beyond that. Okay?* **(1:16:08-1:16:19)** *So that was a clever use of or a very interesting use of the word mujanasat and similarity and categories. Aur main aapko dikhana chah raha hun ke this guy, Ali al-Hujwiri, hain bade padhe-likhe, aalim qisam ke Sufi hain, okay? Um, so, how do you become saf, yeh jo baat hai na, saaf. Uske liye, uh, he says that they are... page 62, pehle thoda sa peeche aana hai. So let me just find it.* **(1:16:20-1:16:51)** *(Searching for text)* **(1:16:52-1:17:03)** *Yes, this is very nice. So basically, uh... here he's defining the terms. Isliye isko main thoda sa... and this is what he's talking about. Okay, so one of them, the first one is unintentional. Main namaz padh raha hun, mujhe log keh rahe hain "yaar yeh kyun kya karta rehta hai." Ya main, mujhe hota hai ke chalo main bhi koi basic si cheez karun, jhoot na bolun, cheating na karun, kuch na karun, jo ke bura hai, objectionable hai aur log kehte hain "baap re, aisa nahi karte." "Tax chori nahi karoge toh this is a sin." "What? It's okay, thoda bohot de dunga."* **(1:17:04-1:17:15)** *"But I don't want to, I don't want to lie. I don't want to do something haram or something like that. Main rishwat nahi deni for example." Aur log usi pe kahein "bewakoof." Yeah? So isko kahenge malamat-e-rast raftan. Achha, malamat apni bhi ho sakti hai. You do your own malamat, but here it refers to the malamat of others. That that Sufia talk about malamat, it's the malamat of others. So pehli is unintentional. The second, the last one is intentional but it involves violating the sharia.* **(1:17:16-1:17:27)** *The second one is interesting because it involves staying within the sharia but doing something intentionally to get malamat. Iski example hum dekhte hain. Iski example unhone di hai. Anyone know kya misal, kya example hai? So, yahan pe padhte hain. This is a story, this is nice. So kaun padhega humare liye? Abu Bakr. Omar, can you read this for us?* **(1:17:28-1:17:39)** *"And a story is told about... And a story is told about Abu Yazid that when he was entering Rayy on his way from the Hijaz..." Okay, who's Abu Yazid? Bayazid Bistami. Bayazid Bistami, excellent. Ji, phir kya hua? "The people of that city ran out to meet him in order that they might show him honor." "Their attentions distracted him and turned his thoughts away from God. When he came to the bazaar, he took a loaf from his sleeve and began to eat. The whole party forsook him for it was the month of Ramadan."* **(1:17:40-1:17:51)** *Okay. Ramadan ke din mein itna bada wali hai woh khana kha raha hai. Yeh to fake hai, chalo chale, chodh ke chale gaye. Right? So continue. He said to his disciple who was traveling with him, "You see, as soon as I perform a single article of the law, the whole rejected me." Unhone kaha maine toh shariat par amal kiya aur yeh mujhe chodh gaye. What does this mean? Continue reading. In those days it was necessary for an earnest seeker to do something disapproved or extraordinary.* **(1:17:52-1:18:03)** *But in our time if anyone desires blame he need only leave undone a little of his voluntary prayers or of other religious practices which are not prescribed. At once everybody will call him an anti-pious man, a heretic, and a non-conformist. Okay. Yeh jo yeh jo unhone likha hai Bayazid Bistami ne, "Maine jaise hi shariat par amal karta hun, yeh mujhe chodh jaate hain." What does this mean? Ji. He was traveling so the sharia allows you to eat when you travel. Yes. Shariat kya hai? If you're traveling, if you're sick, if you're impure, you can... you don't you don't need to fast.* **(1:18:04-1:18:15)** *In certain conditions you're not even allowed to fast. Okay? So woh kehte hain main toh inko maine toh shariat ke mutabiq keh raha tha toh mujhe chodh ke chale gaye. Now, he could have not eaten the food. But he chose to, yaani ke jaan ke kiya, but without violating the law. Because he knew these people were... kis tarah ke log hain aur kya bas sirf waqt zaya kar rahe honge na unka fayda hai na inka. So all he did was he chose, he exercised an option within the sharia, without violating the sharia. So this is a good example.* **(1:18:16-1:18:27)** *Okay? So yeh inke bare mein kehte hain ke jo log yeh tark... malamat... us tarah ke malamati hain jo ke jo jo ke shariat ke khilaf jaate hain, he thinks that they are fake Sufis. They are all, they are so fake. Okay? Toh dekhein kitni maze ki baat karte hain. This is, this is a little fun, it's not difficult but it's a, it's a fun insight. It's like a fun wise insight. So yeh padhte hain humare, yeh dost hain, kya naam hai inka? Ji, Ahmed, aap padhenge? Yeah. He who abandons the law...* **(1:18:28-1:18:39)** *He who abandons the law and commits a irreligious act and says that he is following the rule of blame is guilty of manifest wrong and wickedness and self-indulgence. There are many in the present age who seek popularity by this means forgetting that one must already have gained popularity before deliberately acting in such a way as to make the people reject him. Okay, yeh dekhein aapne kitni maze ki baat hai. Log kehte hain "dekho ji, main toh... ek dum se main gunah karne laga hun." "Kyun ke mujhe log bura kahein." "Bhai tumhein jaanta kaun tha pehle, ke tum... tumhein nek bhi nahi koi kehta tha."* **(1:18:40-1:18:51)** *Right? So he says this is for a lie, what a, what a show, what a, what a, what a fake. Please continue. Otherwise he is making himself unpopular as a mere pretext for gaining popularity. On a certain occasion I was in the company of one of those vain pretenders. He committed a wicked act and excused himself by saying that he did it for the sake of blame. One of the party said, "That is nonsense." He drew back a sigh. I said to him, "If you claim to be a malamati and are firm in your belief, this gentleman's disapproval of what you have done ought to encourage you to persevere in sin since he is seconding you in your chosen course..."* **(1:18:52-1:19:03)** *"Why are you so unfriendly and angry with him?" Bas. Pehle woh... woh kehte hain dekho na hypocrisy kitni zyada hai, yeh kitni bewakoofi hai. Ke pehle khud hi koi ulti harkat ki aur kaha ke "dekho main toh isliye ki ke main, main toh malamati hun." Phir kisi ne kaha "ja tu malamati bhi nahi." Aur woh bura man gaye. "Tum mujhe malamati nahi maante?" So woh kehte hain, maine unse kaha, "yaar agar tum waqai malamati hai, toh khush ho jao. Yeh ek aur..." log toh tumhe yeh bhi manwa... manwana hai ke main malamati hun.* **(1:19:04-1:19:15)** *So there's like hypocrisy and silliness after silliness. Okay? Toh yahan pe woh bohot clearly kehte hain ke jo, he has a very interesting discussion on these three types and he says yeh jo pehli qisam ki malamat hai, yeh toh this is the most beautiful type of malamat. It is the key to ikhlas, it is what the anbiya did. This is what the auliya often go through. So that's... there's nothing wrong with it. Aap bas apni achhayi ka kaam kar rahe hain aur log aapko bura keh rahe hain... no questions there.* **(1:19:16-1:19:27)** *This one is perfectly fine. This one is perfectly not fine. This is completely unacceptable. Tark kardan kya hai? Aapko ghair-shar'i kaam karein. Log samajhte hain main bada paak hun, toh chalo main ek bohot hi ganda kaam karta hun. Chalo main yahan pe ek dum se sharaab pee leta hun. Taake log kahein yeh toh sharabi hai. Andar se toh main bada wali hun. This is called malamat-e-tark kardan. Log kahein yeh toh ganda aur badbudar aur zani aur sharabi aur kababi. Yeh malamat ho rahi hai aapki.* **(1:19:28-1:19:39)** *And you say, "haan dekho, andar se toh main achha hun, duniya mujhe na achha samjhe, achhi baat hai." And this is unacceptable kind of malamat. Ali al-Hujwiri keh rahe hain, no. Whatever malamat has to happen should happen within... within the bounds of the sharia. He's very clear about that. But then there's this second category. This is the coolest one. This is an intentional malamat but without violating the sharia.* **(1:19:40-1:19:51)** *This is, the first one is unintentional. The second, he prefers that you don't exercise, you don't do malamat-e-qasd kardan. You don't do the, the intentional kind of malamat. Why? Let's say, you are pious. He talks about it. Yeh interesting problem hai aur yeh, this is a more genuine problem. Woh yeh hai ke let's say aap achhe kaam kar rahe hain, you are not selfish, you help others and people say, "oh, this guy is so, or this lady is so pious, itni nek hai, kitna nek hai."* **(1:19:52-1:20:03)** *And you know, aapki log tareef karte hain, log kehte hain ke inke... aapke samne aapki tareef karte hain aur aapko bohot bura lagta hai ke main aisi cheez nahi hun ya main kam-az-kam yeh sunna nahi chahta apne bare mein. I don't want an ego boost. So what do you do? One way to get out of this is to do something like Bayazid Bistami did. You within the sharia, you do something so people stop talking to you. Ya woh aapse bas door ho jate hain. Magar Ali al-Hujwiri kehte hain ke bhai, iska nuqsan yeh nahi ho sakta? Maybe you were doing something good and now people don't want to get that out of you.* **(1:20:04-1:20:15)** *And then they turn to... they have no guidance or they maybe turn to other people who are fake, who are worse. Remember, the Kashf al-Mahjub was also written for his disciples and students and people who are learning the Sufi path. Toh woh kehte hain ke this is also, you have to move beyond qasd kardan. Theek hai, if you are starting out, yeah, try to avoid attention. But once you are actually able to help others and yourself and then you also get attention, do, keep doing what you're doing.* **(1:20:16-1:20:27)** *Regardless of whether people give you attention or not. Just keep doing what you're doing. And if people think you're awesome and you are awesome, stay awesome. And just keep doing good because you know, you have a role to play. Toh woh kehte hain ke qasd kardan pe bhi mujhe nahi pasand. But he says ke theek hai, lekin kuch log, kuch senior Sufia phir bhi karte hain, so I'll let it be. Okay? This is an option you can take. He prefers not taking it for the arguments I've just shared with you.* **(1:20:28-1:20:39)** *Okay? And it's a very fine, if I ask you, "woh kyun karte hain? Ya qasd kardan mein unki position kya hai? Woh kyun isko prefer nahi karte?" you should be able to explain it. It's written on page 67. Go back to page 67 and compose your answer. Now, one, two more things we'll discuss and then we'll call it a day. Ek hai yahan pe section... section Isar ka. What does Isar mean? Preference. Dusron ko apne upar isko Urdu mein kehte hain kya dena? Tarjih.* **(1:20:40-1:20:51)** *Okay? Quran ke andar kis ke liye aata hai? Ansar ke liye. Aur Sahaba ke liye, ke kuch ghareeb Sahaba the aur kuch aise the jo bilkul hi bhookhe the. Toh jo ghareeb hote the, woh bhookhon ko apna khana de ke khud bhookhe ho jaate the. Uski you know, there were stories like that and the Quran talks about those people ke they, uhm... they... youseeroona alahum, yeh bhool raha hai. Ke woh dusron ko apne upar tarjih dete hain, halanke woh khud takleef mein hain, khud un pe mushkil hai.* **(1:20:52-1:21:03)** *So this, he says that you know, Ali al-Hujwiri says ke yeh Sufia ki ek khaas, uh, unki khaas khaslat hai. This is a special thing about the Sufia. The Sufi tradition is incomplete without Isar. And he discusses Isar in a section on a Sufi group of Sufi he calls the Nuris. Who are the Nuris? Nuris woh log the, inspired by a Sufi master who was also called Nuri.* **(1:21:04-1:21:15)** *Okay? Toh woh jo Nuri the, he was famous for his Isar. Unke bare mein badi maze ki kahaniyan hain. Jaise ek kahani jo aap logon ne shayad padhi ho, ke there are three or four Sufis, they're charged as crazy Sufis. Kaun the woh? Nuri, Ruqam, and Abu Hamza. Okay? And there was this Abbasid Wazir by the name of Ghulam al-Khalil. Okay? He used to do a lot of dirty work on jo bhi jin logon ko lagta tha ke threats hain ya hum par tanqeed karenge Hallaj wagera ya aur log jo bhi, unko maro peeto.* **(1:21:16-1:21:27)** *So he was going to kill three people: Nuri, Ruqam, and Abu Hamza. Toh jab unko kaha ke yeh sare zindiq hain. Zindiq kehte hain heretics, jo Islam ko bighad rahe hain aur musalman hain, unko qatal kiya ja sakta hai ya fitna kar, kar rahe hain logon mein dal rahe hain. Unko... bas ek jhoota case bana ke unko qatal kiya jane laga tha. Jab Ruqam ki gardan kaatne pe aaya toh Nuri uth gaye aur unhone kaha ke mujhe pehle kaato. Aur khushi khushi kaha. Toh sare hansne lag gaye aur hairan ho gaye ke, and this is what he says, "Oh young man, the sword is not a thing that people desire to meet so eagerly, and you're happy, you're begging for it."* **(1:21:28-1:21:39)** *Toh Nuri ne kya kaha? "My doctrine is founded on preference." Yaani ke mera jo rasta hai, okay? Mera jo tariqa hai, woh kis cheez par... mere tariqe ki buniyad kya hai? Isar. Okay? Aur sabse qeemti cheez kya hai? Zindagi. Main apni zindagi apne doston ke liye deta hun. Jaise Sahaba apni cheezein dete the. Okay? Aur woh kya uske liye lafz use karte hain? Ke dekho, "one moment of this world is better than a thousand years of the next world because this place of service..."* **(1:21:40-1:21:51)** *Ajeeb baat lagti hai kehte hain yeh duniya aakhirat se bhi behtar hai. Woh kaise? Ke agar is duniya mein khidmat kar do, toh jitni khidmat, utni aakhirat behtar hai. It's an investment in the aakhirat us lihaz se. And you get qurbat, you get the qurb of God. And his his words were so tender and soft ke woh sare jo the woh pareshan ho gaye, woh log ruk gaye aur he was, he was eventually he was released. Okay? Is tarah se aur uska ek follow up bhi hai, main chodh deta hun I don't have time.* **(1:21:52-1:22:03)** *Aur bhi kuch kahaniyan hai badi maze ki yahan pe... but there's another one... but I think this thing about Isar is also very important. And there's so many different aspects of tasawwuf that Kashf al-Mahjub discusses. The last thing we want to talk about, but we'll talk about it tomorrow is um, you know, Ali al-Hujwiri's views on marriage and celibacy. So yeh meri cheez aap logon ne padhi thi? Did you read this? Yes.* **(1:22:04-1:22:15)** *Okay. So we'll we'll we'll have a quick word about this tomorrow. Abhi bas jaldi se main aap logon ko kal... Tomorrow is Thursday, Friday. Thursday. Okay. Tomorrow is Thursday, so tomorrow we will hopefully...* --- ### Comprehensive Lecture Notes #### **I. Introduction & Connecting with Students** * **Icebreaker:** The lecturer begins by creating a rapport with the students, referencing popular culture from different generations to illustrate a point. * **Urdu Cartoon:** *Ainak Wala Jin* and its character Hoota's catchphrase, *"Main kya karun? Main kisko khaun?"* (What should I do? Whom should I eat?). * **American Cartoons:** *Captain Planet* and *Johnny Bravo*. * **Purpose:** This light-hearted introduction serves to "break the ice" and make the class feel more connected before diving into complex topics. #### **II. Review of Previous Texts: Bayazid Bistami & Hallaj** * The lecturer contrasts the upcoming text with previously studied ones. * **Difficulty:** The texts of Bayazid Bistami and Mansur al-Hallaj are described as "tricky" and difficult to decipher, with many passages that are hard to interpret. * **Current Text:** In contrast, Ali al-Hujwiri's *Kashf al-Mahjub* is presented as "very easy to read" and an "accessible introduction" to Sufism. #### **III. Introduction to Ali al-Hujwiri & *Kashf al-Mahjub*** * ***Kashf al-Mahjub***: Introduced as one of the most famous and popular Sufi texts, especially in Pakistan. It is a foundational text studied widely. * **Significance in Lahore:** Hujwiri, popularly known as **Data Ganj Bakhsh**, is the patron saint of Lahore. His shrine is a major spiritual center, and many believe the city's blessings are due to him. * **Historical Context:** * **Time Period:** Hujwiri lived around the 11th-12th century, a time of political change with the invasions of the Ghaznavids and Ghurids in the Indian subcontinent. * **Movement of Sufis:** This era saw a "traffic" of Sufis, scholars, and conquerors along the route from Kabul to Bengal, with Lahore as a key city. * **Sufi Presence:** Sufis often preceded or accompanied Muslim conquerors into new lands. * **"Mamluk" (Slave) System:** * The lecturer clarifies the complex concept of "slavery" in this context, distinguishing it from the chattel slavery of the Americas. * Slave-generals (like Qutbuddin Aibak) could rise to become rulers. It was often a prestigious position where individuals received the best education and training. * It was a path to power and prestige for men (through military skill) and women (through service, sexuality, and bearing children in elite households). #### **IV. Ali al-Hujwiri's Background & The Writing of *Kashf al-Mahjub*** * **Origin:** He is called "al-Hujwiri" because he came from Hujwer, a small town near Ghazna in modern-day Afghanistan. * **Education:** We know about his life primarily from his own writings. He was educated by many senior Sufi masters and was clearly part of the **Baghdad School** of Sufism. * **Arrival in Lahore:** * **Legend:** The famous story of the local Sufis sending him a bowl full of milk (symbolizing "we're full, no room for you"), to which he responded by placing a rose on top (symbolizing "I'll add beauty and fragrance without taking up space"). * **Historical Reality:** The evidence suggests he was brought to Lahore unwillingly, likely **captured** during a raid, not kidnapped in the modern sense. This was a common practice to acquire talent (scholars, artisans) or for political leverage. * **Motivation for Writing *Kashf al-Mahjub***: * **Plagiarism:** Hujwiri states that his earlier works were stolen and plagiarized by others, who distorted his teachings. * **Correction:** He wrote *Kashf al-Mahjub* to create a complete, authoritative text to correct these misconceptions and establish a clear record of his teachings and Sufi principles. * **Influences and Structure:** * The book was the **first major comprehensive text on Sufism in Persian**. * It was heavily inspired by earlier Arabic works, particularly **Sarraj's *Kitab al-Luma*** and **Qushayri's *Risala***. Hujwiri read these texts in their entirety with masters of the tradition. * He adopted their structure but wrote in Persian, adding his own insights to make it more up-to-date. This demonstrates the concept of a **scholarly tradition**, where one builds upon the work of predecessors rather than "reinventing the wheel." #### **V. Core Sufi Concepts & Debates in *Kashf al-Mahjub*** * **The Etymology of "Sufi":** * Hujwiri discusses four common etymological theories but ultimately rejects them as linguistically and conceptually unsatisfying. 1. ***Suf*** (wool): From the woolen garments worn by ascetics. 2. ***Saff*** (rank): From being in the "first rank" before God. 3. ***Ahl al-Suffa*** (People of the Bench): The poor companions of the Prophet ﷺ who lived in the mosque. 4. ***Safa*** (purity). * **Hujwiri's Normative Definition:** He argues that "Sufism" is a proper name (*ism alam*) and doesn't need a linguistic derivation. Its meaning is understood through the **actions and character (*mu'amalat*)** of true Sufis. The focus should be on what they stand for, not where the word came from. * **Purity (*Safa*) and Divine Love:** * For Hujwiri, the core ideal of Sufism is **Safa (purity)**. * This purity is achieved through Divine Love. He presents a poetic distinction: * **Safi (The Pure):** One who is purified by love (*hubb*). * **Sufi (The Perfected):** One who is purified by the Beloved (*Habib*), i.e., God Himself. * **Three Categories on the Sufi Path:** 1. **The Sufi:** The perfected adept who has achieved *Fana* (annihilation of the self) and *Baqa* (subsistence in God). They are "dead to the self and living in God." 2. **The Mutasawwif:** "The Seeker." The novice who strives on the path through effort and spiritual struggle (*mujahada*). 3. **The Mustaswif:** "The Pretender/Wannabe." The fake Sufi who imitates the externals for worldly gain (popularity, wealth, power). * **The Debate of Hallaj vs. Junayd:** * While earlier texts focused on Bistami's controversies, by Hujwiri's time, **Hallaj** had become the more contentious figure. * As a member of the Baghdad school, Hujwiri sided with **Junayd**, viewing him as superior. He considered Hallaj to be a great but "imperfect" (*naqis*) Sufi. * ***Malama* (Blame/Censure):** * Hujwiri analyzes the complex practice of attracting blame. He divides it into three types: 1. ***Malamat-e Rast Raftan* (Blame for Following the Right Path):** Unintentional blame received for acting rightly (like the prophets). This is praiseworthy. 2. ***Malamat-e Tark Kardan* (Blame for Abandoning the Path):** Intentionally violating the *Shari'a* to attract blame. This is forbidden (*haram*) and a form of hypocrisy. 3. ***Malamat-e Qasd Kardan* (Intentional Blame):** Deliberately doing something permissible but unusual (within the *Shari'a*) to repel unwanted attention. Example: Bayazid eating in Ramadan while traveling. Hujwiri is critical of this, arguing it can be a form of pride and can deprive people of genuine guidance. * ***Isar* (Altruism/Self-Sacrifice):** * Defined as preferring others over oneself, even when in need. This is a core Sufi value, rooted in the Quranic praise of the Ansar. * The story of **Ahmad ibn Masruq al-Nuri** is highlighted. When facing execution with his companions, Nuri joyfully offered himself first to save his friends a few moments of life, demonstrating the ultimate *Isar*. His sincerity moved the ruler, and they were all pardoned. * Nuri's prayer: He prayed to God to fill Hell with his body so no one else would have to suffer, and to take him in place of all other sinners. Of course. Based on the lecture, here is an expanded explanation of what Ali al-Hujwiri says about **Purity (*Safa*) and Divine Love**. In his work, *Kashf al-Mahjub*, Ali al-Hujwiri presents a profound and nuanced understanding of purity (*safa*) as the central ideal of the Sufi path. While he analyzes several potential linguistic origins for the word "Sufi," he ultimately dismisses them as inadequate from a technical, etymological perspective. Instead, he elevates **safa (purity)** to a normative and spiritual definition, arguing that the true meaning of Sufism is found in this very state, which is achieved through Divine Love. Here is a breakdown of the key points discussed in the lecture: --- ### 1. Defining *Safa* (Purity) For Hujwiri, *safa* is not merely an external or superficial cleanliness. It is a deep, internal state of being that has two fundamental components, described using a "root and branch" analogy: * **The Root: Severance from *Aghyar* (Others)** * The "root" of purity is the "severance of the heart from others." *Aghyar* literally means "others" but in the Sufi context, it signifies everything other than God—creation, worldly attachments, the ego, and even spiritual states that might distract from the Divine. This is the act of detaching one's ultimate concern and affection from the created world to focus solely on the Creator. * **The Branch: Emptying the Heart of the World** * The "branch" that grows from this root is a heart that is "empty of this deceitful world." This means freeing oneself from the grip of worldly desires, ambitions, greed, and anxieties. It is a state of inner liberation from the "natural taints" and imperfections that tie a person to the material realm. ### 2. The Role of Divine Love (*Hubb*) as the Catalyst This profound state of purity is not achieved through mechanical rituals or intellectual exercises alone. According to the lecture, the essential catalyst and the very means of achieving *safa* is **Divine Love (*hubb*)**. Love has a transformative, "cleansing effect." It acts like a fire that burns away the impurities of the ego and sin. When a person's heart is filled with love for God, that love naturally displaces worldly concerns and purifies their intentions and actions. ### 3. The Two-Stage Process: From *Safi* (The Pure) to *Sufi* The lecturer highlights a beautiful and poetic Arabic saying quoted by Hujwiri that masterfully illustrates the two stages of this process, playing on the words *safa*, *safi*, and *Sufi*. **Stage 1: Purification by the Seeker's Love** > **"He that is purified by love is pure"** > *(Man saffahu al-hubb, fa huwa saafin)* * This first stage describes the seeker's active effort. A person turns to God with love (*hubb*). This act of loving begins the purification process. Through their devotion, remembrance, and sacrifice, their love cleanses their heart, and they become **Safi**—a pure person. This is the result of the seeker's love *for* God. **Stage 2: Purification by God's Love (The Beloved)** > **"And he that is absorbed in the Beloved and has abandoned all else is a Sufi."** > *(Wa man saffahu al-Habib, fa huwa Sufi)* * This is the higher, more profound stage. It marks a shift from the seeker's active love to receiving God's direct, transformative love. The lecturer explains that **Habib** means "the lover" (the one who loves), while **Mahbub** means "the beloved" (the one who is loved). In this stage, God, the ultimate Beloved, becomes the active **Habib** (Lover) who bestows a "special divine effusion of love" upon the seeker. * It is this divine grace, this active purification by the Beloved Himself, that completes the transformation. The person is no longer just *Safi* (pure through their own effort); they become a true **Sufi**, a state that is a gift from God. ### Conclusion: The Ultimate State Ultimately, this love-driven journey to purity leads to the state of **fana** (annihilation of the self) and **baqa** (subsistence in God). The Sufi is described as one who is "dead to the self" and its selfish desires but is "living by the attributes of his Beloved." Their individual will is aligned with the Divine Will. As the lecture explains, this state brings a profound inner peace, where negative emotions like anger and worldly anxieties are "completely gone," replaced by a spiritual bliss or "rapture." In short, for Hujwiri, **Sufism is the path of achieving absolute purity (*safa*) through the transformative power of Divine Love, a journey that culminates in receiving God's grace and living in a state of union with the Divine.** Of course. Based on the detailed discussion in the lecture, here is an expanded explanation of the Sufi concept of **Malama (Blame/Censure)** as analyzed by Ali al-Hujwiri. --- ### Introduction to Malama In the lecture, Ali al-Hujwiri presents *Malama* as a profound and essential, yet often misunderstood, aspect of the Sufi path. At its core, *Malama* is the practice of dealing with the blame or censure of other people. The ultimate goal is to achieve pure sincerity (**ikhlas**) by freeing oneself from the desire for public approval and the fear of public disapproval. Hujwiri establishes the spiritual legitimacy of this path by rooting it in the Quran and the experiences of the prophets. He references the Quranic verse that praises true believers as those who **"do not fear the blame of a blamer" (*la yakhafuna lawmata la'im*)**. He also points out that the prophets (*Anbiya*) themselves were constantly subjected to the *malama* of their people. However, Hujwiri is deeply concerned with how this concept was being misused in his time. To clarify its true meaning and expose its counterfeits, he breaks down the practice into three distinct categories. ### The Three Types of Malama The lecturer explains Hujwiri's three-fold classification, which is based on the intention behind the act and its relationship to Islamic Law (*Shari'a*). The Persian terms he uses are crucial for understanding the distinctions: #### 1. Malamat-e Rast Raftan (Blame for Following the Right Path) * **Definition:** This is the highest and purest form of *Malama*. It is **unintentional blame** that a person receives simply for doing what is right according to the *Shari'a* and their conscience. They are not trying to provoke anyone; they are just living a sincere life, and society criticizes them for it. * **Example:** A person who refuses to take a bribe, lie, or engage in cheating is called a "fool" or "naive" by their peers. The prophets experienced this constantly when they called people to monotheism and morality. * **Hujwiri's Verdict:** This type of *Malama* is **highly praiseworthy**. It is a sign of true sincerity because the person persists on the right path, proving that their actions are for God alone and not for the approval of others. #### 2. Malamat-e Tark Kardan (Blame for Abandoning the Path) * **Definition:** This is the lowest and most corrupt form of *Malama*. It involves **intentionally violating the *Shari'a*** (committing a sin) with the excuse that one is trying to attract blame. * **Example from the Lecture:** A person might drink wine in public and claim, "I am doing this so people will think badly of me, but secretly, in my heart, I am a great saint." * **Hujwiri's Verdict:** This is **completely forbidden (*haram*) and unacceptable**. It is a form of hypocrisy and self-deception. Hujwiri argues that one cannot use a forbidden act as a means to a spiritual end. This is not Sufism; it is wickedness and a clear deviation from the path. #### 3. Malamat-e Qasd Kardan (Intentional Blame within the Shari'a) This is the most complex and controversial category, and the one that requires the most careful analysis. * **Definition:** This involves **intentionally performing an act that is permissible within the *Shari'a***, but is unusual or likely to be misunderstood by the public, specifically to repel unwanted praise and avoid ego-inflation. * **The Key Example: Bayazid Bistami:** The lecture highlights the famous story of Bayazid Bistami. * When he entered the city of Rayy, a large crowd gathered to honor him. This attention distracted him from his focus on God. * To disperse the crowd, he took out a loaf of bread and began to eat it publicly during the month of Ramadan. * The people immediately forsook him, calling him a fake. * **The Nuance:** Bayazid had not sinned. As a traveler, the *Shari'a* permitted him to break his fast. He used a legal concession to achieve a spiritual goal—to protect his heart from the potential pride of being celebrated. * **Hujwiri's Critique:** Despite its permissibility, Hujwiri is critical of this practice for two main reasons: 1. **The Danger of a Hidden Ego:** He questions the seeker's true motive. A person might claim they are attracting blame to fight their ego, but they might actually be developing a new, more subtle ego—the pride of being a "blameworthy one" (*Malamati*). The lecture tells a story of a pretender who did a wicked act, claimed it was for "blame," and then got angry when someone called his actions "nonsense," revealing his hypocrisy. A true *Malamati* wouldn't care. 2. **Depriving Others of Guidance:** By deliberately pushing people away, a genuine spiritual guide might prevent others from receiving the benefit of their wisdom and guidance. These rejected people might then turn to false or corrupt teachers. * **Hujwiri's Final Stance:** He acknowledges that some great and sincere Sufis did practice this form of *Malama*. Therefore, he does not forbid it outright but says, "I'll let it be." However, he **personally prefers against it**, believing that a Sufi should remain steadfast in doing good, regardless of whether it brings them praise or blame, without resorting to such strategies. ### rel_215_transcriptions/Sufism Lecture_ Attar, Ghazali, and _Kafir_ Here is a transcription of the lecture on Sufism, with a focus on the works of Attar, including time stamps for key topics. ### **Lecture on Sufism: Attar's "The Conference of the Birds"** **(0:00 - 0:18) Introduction and Housekeeping** The speaker walks to the front of the classroom and sets up his materials. There is some background noise of students settling in. **(0:19 - 0:34) Lecture Outline: Attar and al-Ghazali** So what we're going to do today is, we're going to finish up with Attar. Then we're going to discuss Ghazali today... machine learning. I think you've raised quite a few interesting points today. Some of those were tested in your paper as well. So we'll talk about them. **(0:35 - 1:14) Revisiting a Quote from Usman Bukli** But before I forget, I want to go back to something I showed you a while ago. *Speaker says in Urdu:* “ہم نے عثمان بُخلی کا ذکر کیا تھا۔” (We had mentioned Usman Bukli.) I showed you a piece of poetry from Usman Bukli. *He navigates his presentation slides.* There it is. Quote from Bukli. Okay. So, this... this said... this says, "This infidel heart (یہ کافر دل) is not satiated with seeking the unknown beauty." *He continues reading and translating from the slide:* “یہ کافر دل اس چھپی ہوئی خوبصورتی کو پانے سے بھی نہیں خوش۔ میں اپنا دل ہی کھو چکا ہوں، کیونکہ میں تو for I am in the scent of that rose, میں اس گلاب کی خوشبو میں ہوں، but I have not been able to touch it.” (This infidel heart is not happy even in attaining that hidden beauty. I have already lost my own heart because I am in the scent of that rose, but I have not been able to touch it.) **(1:15 - 2:00) Class Discussion on the term "Kafir"** *(Note: A student is marked present during this time)* Alright. So, what does it mean to you? You've already read this, I don't want to read this again. Just one point that I want to... nobody asked me and I forgot to comment on it. *He asks the class in Urdu:* “یہ 'کافر دل' کا کیا مطلب ہے؟” (What is the meaning of this 'infidel heart'?) What does it mean to be a *kafir*? You often see this in Sufi texts. Later, when I explain Sufism, they also theorize it. So what does... what does it mean to call yourself a *kafir*? Some Sufis... there was one Sufi here, I think in the Indian subcontinent, whose famous name was Kafir Shah. Very outrageous, right? Why would a Muslim call themselves *kafir*? But what does it mean? **(2:01 - 2:29) Student Interpretations of "Kafir"** *Student 1:* Maybe a soul that is distracted? *Speaker:* Distracted? Yeah. So why do you call yourself *kafir* if you're distracted? *Student 1:* Maybe distracted from the path of God and indulging now. *Speaker:* Okay, maybe. But how does the word *kafir* mean distracted? *Student 2:* I think it's a way of showing humility. That I am not worshiping God as I should be achieving, so I am a *kafir*. *Speaker:* Okay, headed in the right direction. But remember, we also need to pay attention to the words. What do the words literally mean? And how can this be a play on that meaning? *Student 3:* So, because the heart or the soul has not met with God in a mystical union, so he says that my heart or my soul is still *kafir*, so it still doesn't believe in that essence or it is still... *Speaker:* Okay, great. So it's a way of showing humility. *He speaks in Urdu:* “کہ میں نے ابھی پوری طرح تو اللہ کو جانا یا اس کا اقرار نہیں کیا۔” (That I have not yet fully known or accepted God.) That would be one thing. But I want someone to comment on the literal meaning of... what does the word *kafir* even mean? **(2:30 - 3:10) Literal Meanings of "Kafir"** *Student 4:* To reject. *Speaker:* Reject. So is this person rejecting God? *Student 4:* He's rejecting the world maybe and turning to Him. *Student 5 (in Urdu):* Sir, in Tasawwuf (Sufism), shirk (polytheism) is to keep your heart from others, because others don't even exist. That's how he has playfully used the word 'dil' (heart). *Speaker:* Yes, but what is the playful meaning? Good. Good, but what is the playful meaning here? By now you must have understood that certain Sufis... and this becomes... it starts out less, then gradually increases, and then at one point, people sort of accept that this is how they will be. Right? By the 12th century, we've had Hallaj, we've had Bukli, we've had many of these intoxicated Sufis. People had, in a way, understood and accepted them. And people knew that this was a style of some Sufis, that they would playfully use certain words, or use them in ways different from their apparent or common meanings. **(3:11 - 4:43) Etymology and Multiple Meanings of "Kafir"** So let me tell you what's going on. Good, you guys are headed in the right direction. But the word *kafara* in Arabic just does not mean "to reject." It also means to be ungrateful. *In Urdu:* “ناشکری جس کو ہم کہتے ہیں” (What we call ungratefulness). Or, it also means to hide something or cover your tracks. Okay? For example, in Arabic... a single word in Arabic can have a hundred meanings, by the way. So for example, if you cover yourself with a shawl, someone can say, *kafara haza bi-thiyab*, meaning he covered that person with a sheet or cloth. So to cover up. To hide something in another thing is also called *kafara*. And also to erase. To just blot it out, to forget, to hide, to erase, this is also a meaning. That is why there is a famous dua (prayer) in which... what is it... *takfir an sayyi'ati a'malina* (blot out our sinful deeds). We pray to God that He commit *kufr* (disbelief/rejection) against our sins. What does *kufr* mean here? That He cancels them out. Hides them away. You see? So you pray to God to cancel out or hide or cover your sins as if you never did them. Like someone walks, they cover their tracks. So *kafara* has many meanings. Now, a *kafir* isn't just someone who rejects God or rejects prophethood. Yes, that is the main meaning. But the word *kafir*, like so many other words in the Quran, can have so many different meanings depending on who is using it, how it's being used, depending on the context, basically. So *kafir* also means someone who's ungrateful. It also means someone who hides certain things. Right? So it could be... someone could be a *kafir* because they reject, they lie, they cheat, they... um... they're ungrateful, or they keep covering their tracks. *He speaks in Urdu:* “تو جب یہ کہتے ہیں نا 'یہ کافر دل'” (So when they say 'this infidel heart'). What does it mean? My heart also remains in deception. Or my heart has not yet fully reached its goal. I haven't really got it. Okay? So, you guys were right. You got half of it right. But the second half of the answer is to reflect on the word *kafir*. *In Urdu:* “کہ کافر کے معنی کیا ہیں” (What are the meanings of *kafir*?). *Kafir* is someone who rejects, hides, is ungrateful, maybe cheats... all these are its meanings. **(4:44 - 5:50) "Kafir" in Sufi Poetry and Humility** So it's a way of speaking of yourself in terms of humility. *In Urdu:* “ایک طرح سے میرا دل جو ہے وہ چیزیں چھپاتا بھی ہے” (In a way, my heart also hides things). And you know, sometimes a *kafir* can also be... they call themselves *kafir* in the sense that... I can't really tell you everything. I'm hiding a lot of secrets. In that sense too, I am a *kafir*. So, one word, many meanings. To say ten different things in a single sentence, this is a poetic method. This is a poetic way. Poets in the old days were appreciated for this. These days, we just want clarity. We want 1+1=2, right? But in one era, people would enjoy ambiguity in language, ambiguity in poetry. And they would say, "Oh, it can have this meaning, it can have that meaning," and they enjoyed it. Of course, our mindset is different; it's shaped by a certain view of science, technology, and so on. We like precision. But in their time, one could speak like this, and among Sufis, this *kafir*, *kafir mazaar*, *kafir dil*... it could have several meanings depending on the context. So that's how they could call themselves *kafir*. So here he is saying, "This infidel heart is not even happy..." *He gestures to the slide and explains:* "...I have lost my heart." Meaning, this is a... my heart cheats itself, my heart is trying to reach somewhere, my heart is seeing so many mysteries. So it's all of those things. And if you can't make precise sense of it, that's okay, that's precisely the point. It's supposed to be open to meaning, ambiguous. You have to experience it in a way to know this, perhaps. But one thing it is not is a rejection of Islam itself. This is not the mainstream meaning of *kafir an-Islam* (disbeliever in Islam). No, no, no, no, no. This is *kafir an haqiqat-ul-haqa'iq*. This is... meaning, I am a disbeliever in the reality of realities, in the sense that who can pretend to know all the secrets or truths that are out there? That's it. Got it? Because this thing often appears in Sufi poetry and literature. One of the purposes of this course is to give you enough exposure that if you come across certain Sufi texts, or certain discussions, right, if you are sitting somewhere and people are discussing something, you already have a good exposure or some guiding stances on those issues. So that you know where things stand, and this is how you can approach this. And of course, you can change your views later, but for now, this course wants to give you a good start. **(5:51 - 6:28) Returning to Attar's "The Conference of the Birds"** *In Urdu:* “چلیں، اب ہم عطار کے... Let's get back to Attar.” Now, you'll remember that we discussed the *Hudhud* (Hoopoe). The *Hudhud* stands for...? *Student:* The guide. *Speaker:* The guide, very good. *In Urdu:* “مرشد کہہ لیں ان کو، شیخ کہہ لیں، عام لوگ پیر کہتے ہیں” (You can call them Murshid, Sheikh; common people say Pir). Right? The *Hudhud* represents the Pir or the guide. Now, when the... we discussed how the *Hudhud* through the Goldfinch encourages all of the birds to escape Pharaoh and reach Mount Sinai. And he says all of us have in a way been in Mount Sinai. And I told you what that referred to, that referred to...? *Students:* *Alast*. *Speaker:* *Alast*, or the *Alastu* covenant, or the Plain of *Alast*. Okay? Everyone knows the *Alastu* covenant? It was in your midterm syllabus. Good. **(6:29 - 7:20) Symbolism of Pharaoh and Worldly Attachments** So, what is Pharaoh then? If everyone... all of us have seen God's *tajalli* (manifestation), God's *nur* (light) in some way when we came... before we came to this world, we were close to God in some way. So that is understood. He's saying, go back there. Right now, you are all trapped in Pharaoh. So what is... who is Pharaoh? What's Pharaoh that all of us need to escape? *Student:* *Nafs* (the self/ego). *Speaker:* *Nafs*, what else? *Student:* *Dunya* (the world). *Speaker:* *Dunya*. Excellent, that's it. Yani, in short... the short answer is *dunya* because it's difficult when you get attached to different things, right? And in fact, we will see this later on, the key thing that holds people back from taking this path to God... to achieving the *qurb* (proximity) of God and cleansing your soul are certain attachments. Everyone has some attachments. It can be to oneself, it can be to someone else. Getting rid of those attachments is the path to freedom. So those attachments are the worldly ones, right? The pull of the world, that is Pharaoh. Just as Pharaoh had imprisoned them... he would not let the people of Israel free. And Prophet Musa (Moses) would repeatedly say, "Let them go." He would just say, "I won't let them go." **(7:21 - 8:12) The Purpose of Attar's Allegory** He was forced... you know the story, right? He was very forced, when you know, even his own... Pharaoh's own household was afflicted with torment. His own children were afflicted, and locusts appeared everywhere, mosquitoes, I don't know what else. When he was utterly defeated in some sense and afflicted, then he finally said, "Okay." And when he let them go, after a while, he came to his senses, things settled down, the torment subsided, and he again said, "How can this be?" He couldn't accept it, and he launched an attack to kill them before they crossed the Red Sea. You know this story? So, he's saying that Pharaoh is like that; Pharaoh will never let you go. Similarly, the world will never let you go. So it's very difficult to get rid of those attachments so that you can walk the path of God. Whether it is your fame, your fortune, your family, your confidence, your self-image... that I am a big shot, and so on. Okay? So this is Pharaoh. Now this will become clear as we read that this will be a pattern. And Attar does not want this to be a puzzle. Okay? This is not a puzzle. You will see that time and again, he explains what he's trying to... what he means. What he means becomes... it's not very difficult to get. Yes, there are many things to reflect on. He wants it to be thought-provoking, but it's thought-provoking without being unclear. Because its purpose is to teach people, to encourage people. If it's just puzzle after puzzle or perplexity after perplexity from reading this text, then this text would fail in its objective. The objective is to guide and encourage people who are on the Sufi path. Okay? **(8:13 - 9:00) The Birds and Their Task: Opposite or Redirect** So what does... what do the birds represent? There are so many birds in this. What do the birds represent? *Student:* Different personalities. *Speaker:* Different personalities, different kinds of attachments. Okay? So what is each bird asked to do? First, all these birds come on their own. And they themselves say, "Take us with you." But then they themselves... someone turns away, someone starts making excuses, someone does something else. And so on and so forth. So what does the *Hudhud* do? The *Hudhud* is committed. The *Hudhud* is committed to helping all of them. The Pir is committed. So what does the Pir ask each bird to do? Well, either... and remember this, this is a key, this will help you. Every bird is asked to either do the opposite of what its self symbolizes, okay? Either do the opposite. Let's say you're very cowardly, you're very afraid. You are... you will be told to be brave. Okay? Or, let's say you have some great potential. Let's say you are already brave, right? Now the idea will not be to get rid of bravery or valor or spirit, but to redirect it. Let's say you were brave, but you were fighting just for honor. Now, retain that personality, that trait, that passion, but instead of putting your energies into fighting for the recognition of, let's say, some army or some general or some prince, try to win the... the *raza* (pleasure) of God. Okay? The contentment, the blessings of God. So you either have to redirect the energies of your self or your qualities, or you have to go against them. This is what Attar normally, more or less, does. **(9:01 - 10:40) Example: The Parrot and the Collar of Imprisonment** So we'll see that as it happens. So for example, if we look at the parrot. Okay? What does the parrot symbolize? And you have to read this poetry, then you can understand which... what each bird symbolizes. And they tell you themselves that what the... if you read closely, it's clear what the... what each bird symbolizes. For example, let's look at what the parrot symbolizes. You don't need to... when you read it, you will understand. So let's read from here, "And welcome, Parrot." Who will read for us? *(He asks a few students, one has a sore throat, another reads.)* *Student reads:* "And welcome, Parrot, dressed in Paradise, this splendid plumage is a strange device, a necklace of bright fire about it drawn..." *Speaker stops the student.* Okay, pause. So now we're just talking about the parrot. There should be an artist's impression. *He looks for a picture on his slides.* Let's see, look at the parrot here. This is a parrot. Now, notice the neck of the parrot. You see this? What is this? It looks like a ring. It looks like a collar. *In Urdu:* “جس کو عربی میں، اردو میں، فارسی میں کہتے ہیں طوق۔” (Which in Arabic, Urdu, Persian is called a *tauq* [collar].) Now, whose neck has a collar? A pet, a slave, or a prisoner. Right? Now, the parrot looks... this collar looks colorful and beautiful, right? And the parrot is this bird of paradise. Now, paradise, of course, represents *Jannah*, but it also represents the world. The beauty of the world. Because what is paradise, what is Jannah? *Jannah* literally means, or *firdaus* in Persian, literally means a garden, *bagh*. So this parrot is in a garden, enjoying the fruit trees of paradise. So, the parrot is the... is a bird of paradise. Yani, it's a... it thinks of itself as someone who's deeply attached to the world. Because it is itself very beautiful and colorful. Yeah, parrots are very beautiful, especially Brazilian parrots, right? And in the South, people buy them and bring them here and keep them in cages... why? Because they are beautiful birds, yes? So, you know, these are birds of paradise. They look very colorful and beautiful. Now, the parrot itself is also proud of its beauty and the way it sort of fits in with the world. So you're comfortable with the world. So anyone who's comfortable with the world, loves their position, loves an easy, colorful kind of life, yeah, luxury life, whatever, he calls that the parrot. Now he says, "Fine, you have a splendid plumage, you are very beautiful, but you don't know one thing, that there is a collar, a fiery collar, that has imprisoned you. You don't even know it, but you're actually a slave." Okay? So this is a pun. That whenever we feel that we are... we have such a nice life and we feel so good in our attachments to our luxury or easy-going life, that's actually... that can actually be a kind of imprisonment. In a way, we are trapped in those things. We can't break free because we are too used to luxury living or an easy life. Okay? **(10:41 - 12:10) Example: The Partridge and the Pride of Wisdom** Next, what was it? The Partridge. *Partridge, in Urdu, is called teetar, I think.* We saw the partridge. Let me see if the partridge comes up here. Yeah. Now, if you watch these birds moving, they move almost like these little chickens. And they have this kind of puffed-up chest. The way ducks also walk, they have this puffed-up chest. So the partridge also feels like... it just gives you this sense that it's walking with a certain kind of pride and assertion. Okay? So what does he say about it? What does he make the partridge represent? This is all Attar's invention. That the partridge is this kind of person, the parrot is this kind of person. He gives you hints himself. *A student reads the passage on the Partridge:* "Welcome dear Partridge, how you stride with pride along the slopes of wisdom's mountainside..." *Speaker pauses the student.* Welcome dear Partridge, you are walking with pride. Where? On wisdom's mountainside. Because the mountain is where the partridge came from, but he is saying, the mountain you are on is whose mountain? The mountain of wisdom. So you are very proud of your wisdom. Some people are like that, right? "I am a know-it-all, I know a lot of things." So someone who is very proud of themselves and their knowledge, this can be a very learned person, a very intelligent person, a very accomplished person, any man or woman. You know, if you are, let's say, a senior doctor or maybe a professor or an *alim* (scholar) or somebody like that, you might think that I know how the world works. Yeah? So that kind of pride of over-knowledge, that is what the partridge is representing. There is a kind of arrogance. In Urdu, we'd say *ilm par ghuroor hona*, being proud of one's knowledge. And here the word is wisdom, being proud of one's wisdom, that "I'm a big shot, I understand many things, I know how the world works, I know how to manipulate things, I know how to understand and use the world to my advantage." Many people have this pride, right? This arrogance. So he's representing that kind of person. And he's being told that you need to think beyond your reason. What does the she-camel of Saleh represent here? Something impossible. Something that reason can't understand. Because it's a miracle. In it, the rules of nature, the laws of nature, are broken. Yes or no? So he's telling him that... but Attar is putting a nice twist to it, and he says, "Destroy the mountain of the self." Because the she-camel came out of a mountain. So he's saying the mountain for you is your own mind's arrogance. Go beyond your mind's arrogance. Laugh loudly over it, that "What is this mind I was so proud of? This is nothing." And then knock loudly on God's door. What will happen? Your mind's mountain will shatter, and from it, Saleh's she-camel will emerge. And what is that mountain of the mind? It's your own self (*nafs*), your own ego. Right? Your ego is being fed by this knowledge, this expertise, whatever you have. But once you ask God for help and you destroy the *nafs*, you destroy this arrogance, this pride over your *nafs*, from the ruined rocks, when the mountain shatters, what will happen? You will see the wonders of God. **(12:11 - 14:15) Example: The Falcon and the Pride of Liberty** Okay. Now the next one is the Falcon. Let's look at the Falcon. "Rare Falcon, welcome..." *(A student reads the passage for the Falcon.)* "...how long will it be so fiercely jealous of your liberty?" Okay, pause. So you see? What does the Falcon represent? Pride of over what? Liberty. "My will." I'll do whatever I want. Don't tell me to do this or that. Yeah? So that is what that sort of personality is represented by the Falcon. Now what is the Falcon asked to do? I told you there are two choices. He is... either you do the opposite of what a certain personality represents, or you redirect your energies in a certain direction. So what is the... what is the Falcon asked to do? Submit. To what? If the Falcon loves liberty, what is he being asked to do? *Student:* To be free. *Speaker:* But he already thinks he's very free. *Student:* Follow on the path of God. *Speaker:* Yes. Give up. Good. When someone says, "It's my will," what is driving your decisions or... your will also has something behind it, right? For example, you say, "I want to eat biryani." So why are you eating biryani? Why not grass? Because biryani tastes good, because you are a human, a mammal, not a cow that should eat grass. So there are other factors: your nature, your intellect (*aql*), they drive whatever you think you should do. Yeah? Your own appetite, your own *nafs*, your own intellect... all these things combine to form the 'I', or the *nafs*. And they tell you, "Do this, do that." Yeah? So, the... when someone says "I am free, I want to do whatever I want to do, don't tell me, don't stop me, 'do this, dress like that, eat this,' whatever"... so you're using your intellect and you're being driven by your appetites as well. In contrast to that, the opposite of that is being asked of the Falcon. You need to, for a while, give up your freedom. So here's the twist. Those who think they are free are actually not free. Right? And so he's saying if you sacrifice your freedom, you'll be... and settle in a black cave... The Falcon doesn't like to be in a dark, black cave. Yeah, it likes to soar high, it likes the world, the open sky, right? So, he's telling that person, "You have this great fondness for your own will. You want to do whatever you want to do. But if you can submit and give up your, quote-unquote, limited freedom or what you think of as freedom, you'll come to this cave. This cave of unity... the cave of *Tawhid* (monotheism), you'll reach it. And the cave of *Tawhid* will seem very dark. It will be difficult. It won't be easy. Anyone who's used to being like, 'I'll do whatever I want,' giving that up is not easy. It feels very dark. But at the end of the tunnel, what happens? What happened to the Prophet? Who is the person who found something great in a dark cave? It's talking about the Prophet. What did he achieve in a cave? Which cave did he used to go to? Cave of Hira. So he's saying, just as the Prophet used to go to the Cave of Hira, and at the end of his vigils, of his remembrance, of his retreat... he spent so many weeks there... in the end, what happened? Did nothing happen? No, something big happened. What was that big thing? Revelation. The angel came to him. So Attar is saying that just as the Prophet gave up his own freedom and for the sake of worship, to attain proximity to God, he would go to the Cave of Hira and eventually, in the Cave of Hira, he received such a great thing, he received revelation and God's proximity and guidance and everything. Similarly, if you are someone who is really proud of things and proud of freedom, you have a strong personality, you just say, "I will do whatever I want to do," you need to tame that. You need to tame your ego. And yes, at the end, you'll be liberated in a way you never thought you could be liberated. But for that, you need to submit. **(14:16 - 16:40) Summary of Poetic Method and Other Birds** *(The lecture continues in a similar pattern, analyzing the Francolin, Cock Pheasant, and Pigeon. The speaker summarizes their symbolic meanings and the lessons Attar provides for each one, often referencing Quranic stories and Sufi concepts like taming the *nafs*.)* **(16:41 - 17:50) Example: The Nightingale and the Lover/Beloved Dynamic** The Nightingale, what do we call it in Urdu and Persian? *Bulbul*. Okay? I told you about... and the *bulbul* is often paired with which object? The rose. The rose. What do we call it? *Gul*. *Gul-o-bulbul*. So what do the... what does the *gul* represent and what does the *bulbul* represent? This is a very important thing. It appears time and again in Persian poetry, in Sufi Persian poetry, it appears a lot. The rose represents many things. So we'll talk about that. First, let's read these lines. *(A student reads the passage about the Nightingale.)* "Welcome, dear Nightingale..." Okay, pause. So, the *bulbul* represents... remember this, there is a pair. The *bulbul* represents the lover. The lover. The Nightingale represents the lover. And the *gul* (rose) represents? The beloved. Thank you. And I told you, in Arabic, what would we call this same pair? *Habib* and *Mahbub*. Just as if someone is a killer, they are called *qatil*. The one who is killed, the passive one, is called *maqtul*. Similarly, the one who loves actively is the *habib*. And the one who is loved, the passive one, is the *mahbub*. Okay? This is the beloved. Now, how does this imagery make sense? Think of the rose. Does the rose speak? No. Does the rose move? No. Does the rose cry? No. The rose is just there, right? And just by virtue of being there, it kind of like attracts the attention of the... of the Nightingale. It inspires the Nightingale. It's this beautiful thing. Now, red... the rose is red. Red represents heart and love. Red also represents *shahadah*, martyrdom. Red also represents sacrifice. So red represents all of those things. And the rose can represent any kind of beloved. And remember this. It can represent the divine beloved or some worldly beloved. The point is that the *gul* is this passive beloved that inspires and attracts the lover. And the lover is the one who is burnt and inspired and passionate and suffering to reach the beloved. Now, when the *gul-o-bulbul*... the pairing also appears in the sense that the *bulbul*, when it's close to the *gul*, it loves to sing and it finds peace. Because it is close to this object that it loves. Right? But once they are separated, the rose is waiting and the *bulbul* has to do whatever he has to do, but he really wants to get back there. **(17:51 - 18:30) The Lesson for the Nightingale: Channeling Love** Okay? And as usual, it's also the feminine and the masculine. The feminine is like this pretty girl who's just standing there and the boy has to come. It's the same kind of imagery. Lover, beloved. Okay? Active versus passive. And Sufis will shift this. They will change this. Sometimes God is active in love, and you are passive. Sometimes you are active, He is passive. Or sometimes you are the *bulbul*, but your *gul* is not the divine beloved, it is the *dunya* (world). And this is what seems to be happening here. Okay? So here they say, "Welcome, dear Nightingale... pour out the pain of lovers..." So here he is praising them. "Oh dear *bulbul*, what an amazing person you are. You talk about love. Yeah, you're a very lovey-dovey... what we call... you're a very loving person. And maybe you've fallen for someone." So he's saying, "That's a lovely thing to experience, that's a lovely kind of person to be... to be in love." Okay? Sufis also talk about this, that people who have experienced difficulties in love or in life, which softens their heart... Sufis love that person. We'll come back to this when we read Rumi. Rumi says exactly this. Okay? And he's saying, you know, this experience of love that you have, whatever the precise nature of that experience... whoever's love it may be... but the pain that you experience, that's a beautiful thing. Share your pain with us. Tell us your love story. Then it says, "Like David in love's garden gently sigh, there sing the songs that make men long to die..." He's saying, "Oh *bulbul*, sing as David did. And with your song, guide whom? Man's suffering and deluded throng." So, with love, with passion, and with passionate words, you redirect that potential into the spiritual path. And you inspire yourself and guide... first your own *nafs* is broken by it, because a person is very arrogant and proud, you get angry, you're a big shot, but then love breaks you. Or you become completely captivated by something. And that's when you start to feel, okay, you know, maybe I can let it go. Maybe I can let many of my insecurities go, my hesitancy, my reluctance, I can let it go. So he's saying that once that... you can bring that out, the self is like a mail-coat. Mail-coat, what is that? Steel armor. Okay? When they used to wear mail-coats in battles, it was a coat made of metal. So if somebody strikes you with a sword, it sort of blunts that hit, you can survive, you won't die from it. So that... the self is like this steel jacket. And he's saying, melt the deep donkey, remember? Melt that. *(The speaker continues to explain the lesson, emphasizing that the Nightingale's passion for love should be used as a force to "melt" the hard, armor-like self (*nafs*), similar to how Prophet Dawud (David) could use his love for God and his powerful voice to shape metal.)* **(18:31 - 21:30) Conclusion: The Final Destination is Within** *(The lecture concludes by summarizing the initial sections of "The Conference of the Birds." The speaker reiterates that the Simurgh (the king bird they seek) is beyond all human limits, like the mythical mountain of Qaf or the distant land of China. However, the true journey is internal. God is closer than one's jugular vein, but humanity has become distant. The quest is to break free from the attachments of the self (*nafs*) to find God within. The speaker ends by reading the Persian couplet which reveals the main theme: the journey is to become a "perfect bird" (*murgh-e-tamaam*), a state where the individual self ceases to exist, and only God remains.)* Excellent. Here are comprehensive notes on the lecture, detailing the key terms, philosophical ideas, and illustrative anecdotes discussed. ### **Comprehensive Notes: Lecture on Sufism and Attar's "The Conference of the Birds"** --- #### **Part 1: Deconstructing the Term "Kafir" in the Sufi Context** This section revisited a previous lecture's discussion on a poem by Usman Bukli to explore the multi-layered meaning of the term "Kafir" (infidel/disbeliever) in Sufi literature. **Key Terms & Concepts:** * **Kafir (کافر):** While its common meaning is "non-believer" or "one who rejects," in Sufism, it is a complex, metaphorical term used to express deeper spiritual states. * **Kafara (کَفَرَ):** The Arabic root word for *Kafir*, which has multiple meanings beyond simple rejection. * **Tasawwuf (تصوف):** The Islamic tradition of mysticism, or Sufism. **The Speaker's Breakdown of *Kafara*** The lecturer explained that to understand the Sufi use of *Kafir*, one must understand the root word's multiple meanings: 1. **To Reject:** The standard definition, rejecting God or prophethood. 2. **To Be Ungrateful (ناشکری):** To be ungrateful for God's blessings. The heart is "infidel" because it is not in a state of constant gratitude. 3. **To Hide or Cover:** * **Anecdote:** The speaker gave the example of covering oneself with a shawl (*kafara haza bi-thiyab*). The word implies hiding something. A *Kafir* can be one who "hides" the truth or "covers their tracks." 4. **To Erase or Blot Out:** * **Anecdote:** He referenced the prayer (*dua*), *takfir an sayyi'ati a'malina* ("blot out our sinful deeds"), where God is asked to "do *kufr*" to our sins, meaning to erase or cancel them. **Sufi Application of "Kafir"** The term is used poetically and provocatively, not as a statement of theological disbelief. It is a way of expressing: * **Humility:** A Sufi calls their own heart "Kafir" to show humility, admitting they have not yet perfectly known or submitted to God. * **Internal Deception:** The heart is an "infidel" because it hides secrets, has hidden attachments, and can deceive the self. * **A State of Separation:** The heart is *Kafir* because it is not yet in mystical union with the Divine, thus "rejecting" its own true reality. * **Important Distinction:** This is **not** *Kafir an-Islam* (disbelief in Islam), but rather *Kafir an haqiqat-ul-haqa'iq* (a disbeliever in the ultimate Reality of Realities), acknowledging the impossibility of fully comprehending the Divine. --- #### **Part 2: Attar's "The Conference of the Birds" (*Mantiq-ut-Tayr*) - The Allegorical Framework** The main part of the lecture focused on Fariduddin Attar's epic allegorical poem. **Key Allegorical Figures & Symbols:** * **The Birds:** Represent different types of human souls or personalities, each with its own unique strength, weakness, and worldly attachment (*Dunya*). * **The Hudhud (Hoopoe):** Represents the spiritual guide (*Murshid*, *Pir*, *Sheikh*). He is the leader who encourages the other birds on their journey. * **The Simurgh:** The mythical King of the Birds whom they seek. He represents the Divine Reality, God, or the ultimate truth. * **Pharaoh (Fir'aun):** Symbolizes the trapping nature of the material world (*Dunya*) and the ego (*Nafs*). Just as Pharaoh imprisoned the Israelites, worldly attachments imprison the soul and prevent its spiritual flight. * **The Journey:** Represents the Sufi path (*tariqah*) of spiritual purification and the quest to find God. * **Mount Sinai / Plain of *Alast*:** Represents the primordial, pre-worldly covenant between God and all souls, where humanity first acknowledged God's divinity. The journey is a symbolic return to this original state of knowing. * **Koh-e-Qaf (کوه قاف) / China:** Mythical or distant lands that represent the seemingly unreachable, transcendent nature of God. The journey requires going beyond all known human limits. **The Central Task for Each Bird (Soul)** The Hudhud's guidance for each bird follows one of two primary strategies for spiritual transformation: 1. **Do the Opposite:** Confront and overcome one's primary flaw. (e.g., The cowardly Pigeon must become brave). 2. **Redirect the Energy:** Take an existing strength that is misdirected toward worldly goals and redirect it toward God. (e.g., The Falcon's pride in its freedom must be channeled into submission to a higher freedom). --- #### **Part 3: Symbolic Analysis of Specific Birds** The lecture analyzed several birds as case studies of different human archetypes. **1. The Parrot (طوطا):** * **Symbolism:** Represents the soul attached to worldly beauty, luxury, and comfort. It is happy in its "paradise" (the material world). * **Key Image:** The colorful ring around its neck is a **tauq (طوق)**, a collar. While beautiful, it symbolizes its slavery and imprisonment to the *Dunya*. * **Lesson:** What appears as beautiful adornment in the world can actually be a form of spiritual bondage. **2. The Partridge (تیتر):** * **Symbolism:** Represents pride in one's own wisdom, intellect, and knowledge. The arrogant scholar or intellectual. * **Key Image:** Strutting with pride on "wisdom's mountainside." * **Reference:** The story of Prophet Saleh's she-camel emerging miraculously from a mountain. * **Lesson:** One must shatter the "mountain" of one's own ego and intellectual pride to witness the true, miraculous reality of God, which lies beyond reason. **3. The Falcon (باز):** * **Symbolism:** Represents the soul proud of its liberty, independence, and personal will. It resists being controlled. * **Reference:** The Prophet Muhammad sacrificing his worldly freedom to retreat to the **Cave of Hira** for spiritual communion. * **Lesson:** True spiritual freedom is found not in the assertion of the individual ego, but in the submission of one's will to the Divine. This requires entering the "dark cave" of self-surrender to receive true enlightenment. **4. The Nightingale (بلبل):** * **Symbolism:** Represents the passionate lover (*Habib*), consumed by love. * **Key Image:** The **Gul-o-Bulbul** (Rose and Nightingale) motif. The Nightingale (the lover) ceaselessly sings of its love for the beautiful but silent Rose (the beloved, *Mahbub*). * **Reference:** Prophet Dawud (David), who was known for his beautiful voice and his Psalms (*Zabur*), which were songs of love for God. * **Lesson:** The powerful, often painful, energy of love should be embraced and redirected. This passion has the spiritual force to "melt" the hard, metallic armor of the *Nafs* (ego), just as David could mold metal. --- #### **Conclusion: The Ultimate Message of the Journey** * **The Revelation of the Simurgh:** At the journey's end, the 30 surviving birds (*si murgh* in Persian) realize that the Simurgh they sought is nothing but their own collective reflection. The Divine is not an external king but a reality found within. * **Transcendence and Immanence:** God is simultaneously beyond the farthest reaches of human imagination (*Koh-e-Qaf*, China) and intimately close (within the self). * ***Fana* (فنا - Annihilation):** The ultimate goal is the annihilation of the individual self. The journey's end is a state where, as Attar writes, **"You will be gone, and only God will be."** The individual soul dissolves into the universal Divine Reality. Of course. Here is an expanded, comprehensive analysis of the specific birds discussed in the lecture on Attar's *The Conference of the Birds*, focusing on their symbolic meaning, the spiritual problem they represent, the guidance they receive, and the ultimate lesson. --- ### **Expanded Symbolic Analysis of the Birds in Attar's Allegory** In Attar's masterpiece, each bird is an archetype representing a different human personality, with its own set of virtues, vices, and excuses for not embarking on the difficult spiritual journey. The Hudhud (the spiritual guide) addresses each one, exposing their core attachment and offering a specific path to transformation. #### **1. The Parrot (طوطا) - The Soul Attached to Superficial Beauty** * **Symbolic Representation:** The Parrot symbolizes the soul that is deeply attached to the comforts, luxuries, and superficial beauties of the material world (*Dunya*). It is the personality that values external appearance and pleasure above all else and is content in its "paradise" of worldly delights. * **The Worldly Attachment (The Problem):** The Parrot's primary obstacle is its **complacency and love for its gilded cage**. It lives in a state of perceived perfection and sees no reason to undertake a perilous journey. It is proud of its "splendid plumage" and comfortable life, failing to see that this comfort is a form of spiritual stagnation. * **Key Imagery and Metaphors:** The most crucial metaphor is the colorful ring around the Parrot's neck. The lecturer explains this is a **_tauq_ (طوق)**, a collar, the symbol of a pet, a prisoner, or a slave. What the Parrot perceives as a beautiful adornment is, in reality, the very symbol of its **imprisonment**. It is a slave to its own beauty and the worldly pleasures it enjoys. * **The Hudhud's Guidance (The Solution):** The guidance is to recognize the illusion. The Parrot must understand that its beautiful cage is still a cage and its collar, however lovely, is still a chain. It is being asked to look beyond the superficial and understand that true, lasting beauty and freedom lie outside its current comfort zone. This requires breaking free from its attachment to the familiar and the aesthetically pleasing. * **Underlying Spiritual Lesson:** Worldly beauty and material comfort, when they become an end in themselves, cease to be blessings and become spiritual chains. They create a "false paradise" that prevents the soul from seeking its true home. Real freedom is found only in detachment from these superficial attractions. #### **2. The Partridge (تیتر) - The Soul Attached to Intellectual Pride** * **Symbolic Representation:** The Partridge represents the arrogant scholar, the proud intellectual, or any soul that places its faith solely in its own reason, wisdom, and knowledge. It is confident in its ability to understand the world through logic and is dismissive of anything that lies beyond it. * **The Worldly Attachment (The Problem):** Its primary flaw is **intellectual arrogance (*ghuroor* غُرور)**. The Partridge is so proud of its "wisdom" that it cannot imagine a reality that its mind cannot grasp. This pride forms a massive, impenetrable "mountain" that blocks its spiritual vision. * **Key Imagery and Metaphors:** Attar places the Partridge on "wisdom's mountainside," striding with a puffed-up chest. The **mountain** is the central metaphor for its solid, unshakeable pride in its own intellect. * **The Hudhud's Guidance (The Solution):** The guidance follows the "do the opposite" strategy. The Partridge is told to **"destroy the mountain of the self."** It must recognize the limits of its own reason and "laugh" at its own intellectual vanity. By humbling itself and "knocking on God's door," it opens itself up to a different kind of knowing. * **Quranic Reference:** The lecturer highlights the story of **Prophet Saleh's she-camel**, which miraculously emerged from a solid rock. This event defies all logic and is a sign for those who believe in a power beyond human reason. The message is: if the Partridge shatters its mountain of ego, it too will witness a miracle—a spiritual reality its logic could never predict. * **Underlying Spiritual Lesson:** The intellect is a gift, but it becomes a major spiritual obstacle when it leads to arrogance. The Sufi path requires moving beyond the confines of rationality into the realms of faith, humility, and direct spiritual experience (*dhawq*), which cannot be logically deduced but must be felt. #### **3. The Falcon (باز) - The Soul Attached to Personal Liberty** * **Symbolic Representation:** The Falcon is the archetype of the rugged individualist, the soul fiercely jealous of its own freedom, independence, and personal will. It embodies the spirit that declares, "I am the master of my own destiny; no one will tell me what to do." * **The Worldly Attachment (The Problem):** The Falcon's core issue is its attachment to a **false notion of liberty**. It equates freedom with the unlimited exercise of its own ego and resists any form of submission, seeing it as a loss of power and identity. * **Key Imagery and Metaphors:** The Falcon is a creature of the open sky, a symbol of power and freedom. The Hudhud’s advice presents a stark contrast: the Falcon must enter a **"dark, black cave."** * **The Hudhud's Guidance (The Solution):** This is a classic "redirect the energy" strategy. The Hudhud does not deny the Falcon's love for freedom but asks it to sacrifice its limited, ego-based freedom for a higher, truer freedom found in submission to the Divine. * **Islamic Reference:** This directly alludes to the **Prophet Muhammad's retreats to the Cave of Hira**. The Prophet willingly gave up his social life to enter a dark, solitary cave. It was in this act of worldly sacrifice and spiritual submission that he received the ultimate liberation of divine revelation. * **Underlying Spiritual Lesson:** The ego's definition of freedom ("doing whatever I want") is a form of bondage to one's own desires and limitations. True spiritual liberation (*najaat*) is ironically achieved through the submission of the individual will (*irada*) to the Divine Will. This is not an act of losing oneself, but of finding one's true, expansive self in union with God. #### **4. The Nightingale (بلبل) - The Soul Attached to Love Itself** * **Symbolic Representation:** The Nightingale represents the passionate, yearning lover. It is the soul that is entirely consumed by the experience of love—its beauty, its pain, and its ecstasy. * **The Worldly Attachment (The Problem):** The Nightingale's attachment is subtle. It is not attached to a base desire, but to love itself, specifically its love for the Rose. It is so focused on the object of its love and the emotional state of loving that it is unable to see the journey beyond. Its love, while beautiful, keeps it tethered to one spot. * **Key Imagery and Metaphors:** The central motif is the classic Persian literary pair, **_Gul-o-Bulbul_ (The Rose and the Nightingale)**. The **_Bulbul_** is the active lover (*Habib*), singing its heart out with pain and passion. The **_Gul_** is the beautiful, silent, and passive beloved (*Mahbub*). This dynamic represents the soul's yearning for the beautiful, yet seemingly distant, Divine. * **The Hudhud's Guidance (The Solution):** This is another "redirect" strategy. The Hudhud does not condemn the Nightingale's love. Instead, it affirms its power and instructs the bird to **use its passion as fuel for the journey**. The very pain and longing in its song can become a spiritual force. * **Biblical/Quranic Reference:** The lecturer connects this to **Prophet Dawud (David)**, who was famed for his beautiful voice and his love-filled Psalms (*Zabur*). He was also a blacksmith who could mold hard iron. Attar poetically merges these two attributes: the Nightingale's song of love, like David's, has the power to **"melt"** and reshape the hard, stubborn "steel" of the ego (*nafs*). * **Underlying Spiritual Lesson:** Love, even worldly love (*ishq-e-majazi*), is not something to be discarded but is a potent vehicle for spiritual progress. The intense emotions of love—the yearning, the suffering, the self-forgetfulness—can effectively break down the ego and soften the heart, preparing the soul for the ultimate divine love (*ishq-e-haqiqi*). Of course. The lecture provides a rich basis for expanding on the symbolic analysis of the Francolin (referred to as *Durraj* in the text), which represents a crucial archetype on the Sufi path. Here is a comprehensive expansion. --- ### **Expanded Symbolic Analysis: The Francolin (*Durraj*) - The Pious Soul with an Untamed Ego** The Francolin represents a different kind of spiritual challenge compared to the other birds. While birds like the Parrot or Partridge are held back by clear external attachments or vices (love of luxury, intellectual pride), the Francolin is an archetype of the **pious, believing soul that is still burdened by its own stubborn ego (*Nafs*)**. * **Symbolic Representation:** The Francolin is the soul that has an innate connection to the divine. The text begins by acknowledging this: *"Since you have heard and answered God's first... word."* This is a direct reference to a soul that remembers and affirms the primordial covenant of *Alast*. This is not a soul lost in disbelief, but one that is already spiritually inclined. It represents the sincere believer, the devout worshipper, or the person who is naturally drawn to spirituality but finds the practical journey of self-discipline difficult. * **The Worldly Attachment (The Problem):** The Francolin's primary obstacle is not an external object but an internal one: its own **stubborn, untamed ego (*Nafs*)**. The lecturer emphasizes that the ego is like a stubborn animal—necessary for the journey of life but often disobedient, lazy, and driven by its own base desires. Even with sincere faith, this untamed self weighs the soul down, resists discipline, and pulls it away from a purely spiritual focus. It is the raw, unrefined self that has yet to be brought under the spirit's control. * **Key Imagery and Metaphors:** The guidance given to the Francolin is rich with powerful spiritual symbolism. 1. **The Donkey:** The donkey is the central metaphor for the *Nafs*. In Christian and Sufi traditions, it represents the physical body and its base instincts—hunger, laziness, stubbornness. It is the "animal soul" that must carry the "human soul" through the world. It is essential, but if left untrained, it will wander off the path to graze or refuse to move altogether. 2. **Jesus (Isa) Riding the Donkey:** This image is profoundly significant. Jesus, in both traditions, represents the pure spirit, the "Word of God" (*Kalimatullah*). His gentle but firm control over the donkey symbolizes the **perfect mastery of the pure spirit over the body and the ego**. The spirit is the rider, and the ego is the mount. The spirit dictates the direction, and the ego obediently follows. This represents the ideal state of spiritual harmony. 3. **"Burn this self and purify your soul":** This is a classic Sufi metaphor for the process of spiritual purification (*tazkiyah*). The "fire" is often the intense love of God (*ishq*) or the rigorous practice of self-discipline and remembrance (*dhikr*). This fire doesn't destroy the soul but burns away its impurities—the dross of ego, desire, and attachment—leaving behind the pure, "spotless spirit." * **The Hudhud's Guidance (The Solution):** The guidance is direct and pragmatic. It is a call to active spiritual warfare (*mujahada*) against the self. * **Take Control:** The Francolin is told, "As Jesus rode his donkey, ride on it." In other words, stop being dragged around by your ego's whims. You must become the master of your own self. You must tame it, discipline it, and guide it. * **Embrace Purification:** The path to mastery is through purification. This involves actively "burning" away the negative traits of the ego through spiritual practice until the soul is cleansed. * **Aspire to the Highest Ideal:** The ultimate goal is to emulate the purity of Jesus, "Let Jesus' spotless spirit be your goal." This means striving for a state where the soul is so aligned with the Divine that its actions are no longer dictated by personal desire but by divine will. * **Underlying Spiritual Lesson:** This section serves as a crucial lesson for those who are already on a religious or spiritual path. Attar warns against **spiritual complacency**. Simply having faith or performing rituals is not enough. The real work of the Sufi path is the continuous, moment-to-moment struggle to tame the *Nafs*. The ego is not an enemy to be killed, but a powerful animal to be trained. When disciplined, it becomes a strong and reliable vehicle for the soul's journey. But if left wild, it will throw its rider and lead the soul to ruin. True spirituality, therefore, is the active dominion of the enlightened spirit over the physical self. Excellent. Let's expand on the symbolic analysis for the Cock Pheasant and the Pigeon, drawing from the lecture's framework. These two birds represent distinct yet common spiritual obstacles: vanity and cowardice. --- ### **Expanded Symbolic Analysis: The Cock Pheasant and the Pigeon** #### **The Cock Pheasant - The Soul Attached to External Vanity and Appearance** * **Symbolic Representation:** The Cock Pheasant is the archetype of the soul obsessed with **external beauty, vanity, and self-adornment**. This personality finds its entire identity in its physical appearance and the admiration it receives from others. It is the person who spends all their energy polishing the outside—their clothes, their reputation, their public image—while neglecting the inner state of their soul. * **The Worldly Attachment (The Problem):** The Pheasant's primary obstacle is **vanity and a focus on the superficial**. In the poem, it boasts about its beautiful plumage and cannot imagine leaving the mirror-like stream where it admires its reflection. This "mirror" is a powerful metaphor for the world that reflects back our own ego-driven image. The Pheasant is trapped by its own reflection, in love with the image of itself rather than the reality of God. It is a form of self-worship. * **Key Imagery and Metaphors:** 1. **Plumage and Colors:** The Pheasant's colorful feathers represent all the external trappings we use to define ourselves: wealth, status, beauty, titles, and social standing. These are the "colors" we paint ourselves with to appear impressive to the world. 2. **The Mirroring Stream:** This symbolizes the external world and the validation we seek from it. The Pheasant is dependent on this external reflection for its sense of self-worth. It cannot bear to leave it because, without the mirror, it feels it has no identity. * **The Hudhud's Guidance (The Solution):** The guidance for the Pheasant is a stark call to **renounce the external in favor of the internal**. This is a classic "do the opposite" strategy. * **Abandon the Colors:** The Pheasant is told to abandon its attachment to its colorful plumage. This means letting go of the need for external validation and ceasing to define oneself by worldly appearances. * **Embrace the "Ocean":** The guidance often contrasts the shallow "stream" of the self with the vast, formless "ocean" of Divine Reality. The soul is instructed to leave the small, reflective pool of its ego and plunge into the boundless ocean of God. In this ocean, individual colors and forms dissolve into the unified light of the Divine. * **Seek Inner Beauty:** The Hudhud essentially tells the Pheasant that the beauty it cherishes is fleeting and superficial. True, eternal beauty is not found in the feathers but in the state of the soul when it is polished by remembrance of God. * **Underlying Spiritual Lesson:** An obsession with self-image and external validation is a profound spiritual trap. It creates a false self that is fragile and dependent on the opinions of others. The Sufi path requires a radical shift in focus from how one appears to the world to how one's soul appears before God. It is the journey from polishing the exterior to purifying the interior. --- #### **The Pigeon - The Soul Paralyzed by Fear and Cowardice** * **Symbolic Representation:** The Pigeon is the archetype of the **timid, fearful, and cowardly soul**. It represents the personality that is paralyzed by anxiety and a lack of courage. The Pigeon is not necessarily attached to a vice like greed or pride; its primary obstacle is its own internal weakness and inability to take risks. It prefers the safety of the familiar, even if that safety is a form of spiritual stagnation. * **The Worldly Attachment (The Problem):** The Pigeon's core problem is **fear (*khauf*) and a lack of resolve (*himmah*)**. In the poem, it trembles at the thought of the long and dangerous journey. It makes excuses, imagining all the potential dangers—deserts, seas, predatory animals—and concludes that it is too weak to survive. Its fear becomes a self-fulfilling prophecy, preventing it from ever starting. It is attached to its own perceived weakness. * **Key Imagery and Metaphors:** 1. **The Dovecote/Tower:** The Pigeon's home, often a high, enclosed tower, symbolizes its self-imposed prison of safety and routine. It feels secure there but is cut off from the vastness of the world and the spiritual sky. 2. **The Lion's Heart (*Dil-e-Shir*):** The lecturer mentions this is a common Sufi concept. The journey requires a "lion's heart"—a symbol of supreme courage, resolve, and trust in God's protection. The Pigeon has the heart of a... well, a pigeon. * **The Hudhud's Guidance (The Solution):** The guidance is a direct command to **"do the opposite"** by cultivating courage and trust. * **Embrace the Danger:** The Hudhud does not deny that the path is dangerous. Instead, it reframes the danger. The real danger is not the external world but the internal state of cowardice. It tells the Pigeon that it must be willing to face its fears to achieve its goal. * **Develop a "Lion's Heart":** The Pigeon is told it needs to transform its fearful nature into one of courage. This is not something one is born with but is a quality that is developed through struggle and, most importantly, through **trust in God (*tawakkul*)**. The Sufi believes that if one sets out on God's path, God Himself will provide the strength and protection needed for the journey. * **Leave the Tower:** The first step is to leave the comfort zone. The Pigeon must fly out of its safe dovecote and face the unknown. The act of taking the first step, despite the fear, is what begins the process of transformation. * **Underlying Spiritual Lesson:** Fear is one of the greatest obstacles to spiritual growth. It keeps the soul trapped in a small, limited version of itself. The Sufi path is not for the faint of heart; it is a journey for spiritual warriors who are willing to confront their deepest anxieties. Courage is not the absence of fear, but the willingness to act in spite of it, fueled by an unshakable trust in Divine Providence. Of course. The Goldfinch plays a brief but significant role at the very beginning of the narrative, acting as a catalyst for the entire quest. Here is an expanded symbolic analysis of the Goldfinch based on the lecture's framework and the broader context of Attar's poem. --- ### **Expanded Symbolic Analysis: The Goldfinch - The Voice of Divine Allure** While the Hudhud is the primary guide and teacher, the Goldfinch functions as the initial spark, the **herald of the quest**. It is not a bird that makes excuses or represents a human flaw; instead, it symbolizes the irresistible call of the Divine that awakens the soul's dormant yearning. * **Symbolic Representation:** The Goldfinch represents the **beautiful, captivating allure of the spiritual world**. Its song is not a mere sound but a symbolic representation of the divine message or the "echo" of the primordial covenant of *Alast*. It is the voice that reminds the other birds (the souls) of a higher reality they have forgotten. In Sufi terms, it is the embodiment of **divine attraction (*jadhba*)**, the spiritual magnetism that pulls the soul towards God. * **The Role in the Narrative (The Catalyst):** The story begins with the birds living in a state of anarchy and complacency, without a king or a higher purpose. The Goldfinch is the one who disrupts this status quo. The lecturer mentions that the Hudhud speaks "through the Goldfinch," meaning the Goldfinch delivers the initial, beautiful message that there is a magnificent king, the Simurgh, who is their rightful sovereign. 1. **Awakening the Yearning:** The Goldfinch's description of the Simurgh is so beautiful and enchanting that it awakens a deep longing in the hearts of the other birds. Before its song, they were content with their worldly lives. After, they are filled with a passionate desire to find their king. This represents the moment of spiritual awakening in a person's life—when they hear or experience something so beautiful that it makes their ordinary existence feel incomplete. 2. **The Promise of Beauty:** Unlike the Hudhud, who later speaks of the hardships of the path, the Goldfinch focuses entirely on the **glory of the destination**. It paints a picture of the Simurgh's unparalleled majesty, wisdom, and beauty. This is crucial because the spiritual journey often begins not with a sense of duty or fear, but with an overwhelming attraction to the beauty and love of the Divine. The soul is drawn by beauty before it is ready for discipline. * **Key Imagery and Metaphors:** * **The Golden Plumage:** The Goldfinch's name itself is significant. Gold symbolizes something precious, pure, and incorruptible. Its "golden" nature suggests that the message it carries is of the highest, most valuable reality. It is a messenger from a celestial, "golden" realm. * **The Sweet Song:** Its song is a metaphor for divine revelation, sacred music, beautiful poetry, or any form of spiritual expression that can bypass the intellect and speak directly to the heart (*qalb*). It's the aesthetic dimension of spirituality that captivates the soul. * **The Hudhud's Relationship with the Goldfinch:** The lecturer’s phrasing, "the Hudhud through the Goldfinch," is insightful. This suggests a two-stage process of spiritual guidance: * **Stage 1: The Goldfinch (Attraction):** The initial call is one of beauty and allure. This is what makes the soul *want* to begin the journey. It is the phase of falling in love with the idea of God. * **Stage 2: The Hudhud (Guidance and Discipline):** Once the soul is captivated and committed, the more pragmatic guide, the Hudhud, steps in. The Hudhud confirms the Goldfinch's message but then lays out the practical, difficult steps required to actually complete the journey. It speaks of the valleys of trial, the need to tame the *nafs*, and the necessity of sacrifice. * **Underlying Spiritual Lesson:** The spiritual journey rarely begins with a cold, rational decision. It begins with a moment of enchantment, an experience of beauty that awakens the soul's innate desire for its creator. This could be hearing a beautiful recitation of the Quran, being moved by a piece of poetry, or experiencing a profound moment of awe in nature. The Goldfinch symbolizes this initial, irresistible pull. It teaches that God first calls to us through beauty and love. Only after our hearts have been captured does the real work of the path begin, guided by the wisdom and discipline represented by the Hudhud. The Goldfinch is the "why" of the journey; the Hudhud is the "how." Of course. The concept of **Koh-e-Qaf (کوه قاف)**, or Mount Qaf, is a fascinating and recurring element in Islamic cosmology, folklore, and especially in Sufi literature like Attar's poem. The lecturer's reference to it is brief but touches on its core symbolic meaning. Here is a detailed expansion on the idea of Mount Qaf. --- ### **The Idea of Mount Qaf (*Koh-e-Qaf*)** #### **1. The Origin and Cosmological View** In traditional and mythical Islamic cosmology, Mount Qaf was believed to be a legendary, circular mountain range that encircled the entire earth. * **The Boundary of the Physical World:** It was seen as the farthest point of the known terrestrial world. Beyond it lay a realm that was inaccessible to ordinary human beings—a world of mystery, spirit, and the unknown. It was, quite literally, the "edge of the world map." * **The Source of the Blue Sky:** A popular belief, mentioned in some commentaries on the Quran, was that the blue color of the sky was a reflection of the emeralds or other precious green and blue stones that made up Mount Qaf. This links the mountain to a celestial, otherworldly beauty. * **The Abode of Mystical Beings:** Because it was beyond the human realm, Mount Qaf became the mythical home for non-human and supernatural beings in folklore. It was the land of the **Jinn** (spirits made of smokeless fire) and the **Pari** (fairies). In Attar's story, it is also the home of the **Simurgh**, the king of the birds. Placing the Simurgh there immediately establishes it as a transcendent, almost mythical being that is not easily reached. #### **2. The Symbolic Meaning in Sufism** For Sufi poets like Attar, Mount Qaf was not a literal geographical location but a powerful **spiritual and psychological symbol**. Its meaning can be understood on several levels: * **The Limit of Human Perception and Reason:** Mount Qaf represents the absolute boundary of the human intellect (*aql*) and sensory perception. It is the point where logic, reason, and empirical knowledge fail. To go to Mount Qaf is to undertake a journey that requires leaving behind the familiar tools of the mind and venturing into the realm of pure faith, intuition, and direct spiritual experience (*dhawq*). * **The Barrier of the Ego (*Nafs*):** On a more internal level, Mount Qaf can symbolize the massive, seemingly insurmountable mountain of the **ego (*nafs*)**. The self, with its pride, desires, and attachments, forms a circular barrier around the heart (*qalb*), preventing the soul from accessing its own divine center. The spiritual journey, therefore, is the arduous task of climbing and ultimately transcending this internal mountain. The lecturer connects this to the Partridge, whose "mountain of wisdom" must be shattered. * **The Remoteness and Transcendence of God:** The statement that the Simurgh (God) is "beyond Mount Qaf" is a poetic way of expressing the **transcendence of the Divine**. It emphasizes that God is not a being that can be easily located, defined, or contained within human concepts. He is utterly beyond the farthest reaches of our imagination. This creates a sense of awe and reinforces the idea that the journey to find Him will be incredibly difficult and will require a complete transformation of the self. #### **3. The Paradox: Beyond Qaf, Yet Within** The genius of Attar's poem lies in its central paradox, which the lecturer highlights: * **The Simurgh is beyond Mount Qaf (Transcendence):** The journey is long, arduous, and requires traversing seemingly impossible spiritual landscapes. * **The Simurgh is also within the birds themselves (Immanence):** At the end of the journey, the surviving birds discover that they *are* the Simurgh. The ultimate reality they sought in the most remote place imaginable was, in fact, present within them all along. This resolves the tension between God's transcendence and His immanence (as stated in the Quran, He is "closer than the jugular vein"). The journey "beyond Mount Qaf" is not a physical journey outward, but a **spiritual journey inward**. The soul must travel to the very limits of its being, shed its ego, and overcome all internal barriers to discover the Divine spark that resides in its own core. #### **Connection to "China" in the Lecture** The lecturer correctly links the symbolism of Mount Qaf to that of **China**. In the medieval Islamic world, China was the most distant, exotic, and difficult-to-reach civilization known. The famous (though likely apocryphal) saying attributed to the Prophet Muhammad, "Seek knowledge even unto China," uses China in exactly this symbolic way. * **China as the Farthest Point:** It doesn't literally mean that the best knowledge is in China. It means you must be willing to go to the **ends of the earth**—to endure any hardship and travel any distance—in your quest for knowledge and truth. For Attar, both **Mount Qaf** and **China** serve the same symbolic purpose: they are metaphors for the ultimate, most distant destination. They represent the supreme effort and absolute commitment required for the spiritual path. The Simurgh appearing first in China or living on Mount Qaf is Attar's way of saying that the goal is the highest and most difficult one imaginable, yet it is a goal worth striving for. Of course. The **feather of the Simurgh** is a central and profoundly beautiful symbol in Attar's *The Conference of the Birds*. It is not just a physical object but a multi-layered metaphor that drives the entire narrative and explains the nature of divine revelation and guidance. Here is an expanded analysis of its meaning and symbolism. --- ### **The Meaning and Symbolism of the Simurgh's Feather** #### **1. The Divine Sign or Revelation (*Ayah*)** The most direct and important meaning of the feather is that it represents a **divine sign (*ayah*)**. In the Quran, an *ayah* can be a verse of scripture, but it also refers to any sign in nature or within the self that points to the existence and majesty of God. * **A Glimpse of the Transcendent:** The Simurgh (symbolizing the Divine) is described as being impossibly distant, living "beyond Mount Qaf." It is utterly transcendent and cannot be seen directly by the world. However, in a moment of grace, it lets a single feather fall to earth. This feather is a **tangible trace of the intangible**, a small, beautiful fragment of the divine reality that has entered the material world. * **The Catalyst for Yearning:** This single feather is so beautiful that it throws the entire world into turmoil. Everyone who sees it is captivated and filled with an overwhelming desire to see the bird from which it came. The feather, therefore, is the **catalyst for spiritual longing**. It is the initial proof that a higher, more beautiful reality exists, and it awakens the soul's innate desire to seek its source. This represents the moment of spiritual awakening—when a person encounters a sign of God (a beautiful verse, a profound experience, an act of grace) that makes them realize their life is incomplete without seeking Him. #### **2. The Quran and Sacred Scripture** On a more specific theological level, the feather is often interpreted as a metaphor for the **Quran or other sacred scriptures**. * **A Message from the Divine:** Just as the feather is a physical object that originates from the unseen Simurgh, the Quran is a physical book with words and letters that originates from the unseen God. It is God's communication, His "feather" dropped into the human world. * **Beauty That Inspires:** The beauty of the Quran's language and the depth of its message are what inspire believers. People "fall in love" with the scripture and, through it, develop a yearning to know the God who revealed it. * **Incomplete Picture, Yet a True Guide:** A single feather is not the entire bird. Similarly, scripture can never fully contain or describe the infinite nature of God. It is a sign, a guide, and a reflection of the Divine, but not the Divine itself. Attar is subtly warning against literalism or worshipping the book instead of the God the book points to. However, the feather is a true and authentic guide. By studying its patterns and beauty, the birds can learn something about the Simurgh and find their way to him. #### **3. The Spiritual Guide or the Perfect Man (*Insan-e-Kamil*)** In some interpretations, the feather can also symbolize the **spiritual guide (*Pir*) or the Perfect Man (*Insan-e-Kamil*)**. * **A Reflection of the Divine:** The Perfect Man (like a prophet or a great saint) is a human being who has so purified his soul that he becomes a perfect mirror reflecting the attributes of God. He is not God, but he is the clearest "sign" of God in the world. * **The Living Guide:** Encounters with such a person can have the same effect as seeing the feather. Their wisdom, grace, and spiritual presence can awaken a deep longing for God in others. They are the living embodiment of the path, a "feather" that shows others the way. #### **4. The Problem of Interpretation and the Diversity of Religions** Attar uses the feather to make a profound point about religious diversity and human perception. * **"Everyone Conceived an Image of Its Shape":** After the feather falls, the poem says that everyone who saw it or heard of it created their own image of what the Simurgh must look like. One person imagined a bird with magnificent red wings, another with a golden beak, and so on. They created these images based on their own limited understanding of the single feather. * **The Origin of Different Beliefs:** This is Attar's allegorical explanation for why there are so many different religions and philosophies in the world. All of them, he suggests, originated from a genuine encounter with a true **divine sign** (the feather). However, people used their own limited human intellects and cultural biases to interpret that sign, leading to different, and often conflicting, images of the ultimate reality. * **A Tolerant yet Critical View:** This is a remarkably tolerant perspective. It implies that every religion has a piece of the truth at its core. However, it is also critical, as it warns that mistaking one's own interpretation (the imagined bird) for the full reality (the Simurgh itself) is a grave error. The goal is not to cling to one's own drawing of the bird, but to use the feather as a map to find the real Simurgh. In summary, the **feather of the Simurgh** is a rich and central symbol representing: * **Divine Revelation (*Ayah*)** that awakens spiritual longing. * **Sacred Scripture** (like the Quran) as a guide to the unseen God. * **The Spiritual Master** as a living reflection of the Divine. * The **common source of all religious beliefs** and the human tendency to create limited interpretations of the infinite. ### rel_215_transcriptions/Sufism Reading Notes_ Love_s Nature Of course. Here are comprehensive notes on the provided chapter about Rumi and Love, organized by the chapter's own structure. I have detailed the main ideas, supporting opinions, key terms, and all mentioned anecdotes or encounters. ### **Comprehensive Notes: Rumi on Love** #### **Overall Theme** Love (ishq) is the absolute central theme of all of Rumi's works, dominating the Sufi's inner states. It is an experiential reality that cannot be truly explained, only realized. --- ### **Introduction: The Ineffability of Love** * **Main Idea:** Love is an experience, not a theory. It must be lived to be understood and cannot be fully contained in words. * **Supporting Opinions/Points:** * While the *Diwan* explicitly deals with Love, the *Mathnawi* and *Fihi ma Fihi* deal with its "branches and ramifications." * Love is situated beyond articulated thought and is more real than the universe itself. * Rumi expresses a paradox about explaining Love: 1. It's impossible to explain ("shame overcomes me when I come to Love itself"). 2. One can discuss it forever and never exhaust it. * The ultimate purpose of Rumi's words on Love is not to define it, but to stir up the *desire* for it in the listener's heart. * **Key Term:** * **ishq (عشق):** The Arabic/Persian term for intense, passionate, or divine Love. * **Anecdotes/Encounters (Quotes used as illustrations):** * **The Inexpressible Mystery:** "Whatever you have said or heard is the shell: The kernel of Love is a mystery that cannot be divulged." * **The Limit of Language:** "Love cannot be contained within our speaking or listening; Love is an ocean whose depths cannot be plumbed." * **Experience over Erudition:** "Love cannot be found in erudition and science, books and pages." * **The Call to Transformation:** Someone asks, "What is Love?" Rumi replies, "When you become like me, then you will know... When He calls you, you will recite its tale." --- ### **1. God As Love and Beyond Love** * **Main Idea:** God is the source of all Love and can be called "Love," but this attribute does not define His entire reality. He is simultaneously Love and beyond Love. * **Supporting Opinions/Points:** * **Koranic Basis:** Verses where God "loves" something confirm Love as a divine attribute. The key verse cited is **5:54**, "...a people whom He loves and who love Him," establishing that God's love for humanity is primary and humanity's love for Him is a response. * **The "Yes and No" Paradox:** We can say "God is Love," just as we can say "God is Mercy" or "God is Power." However, no single attribute exhausts His reality. As the "Coincidence of Opposites," His Essence is beyond all attributes. * Love is an eternal attribute, with "branches in Eternity-without-beginning, its roots in Eternity-without-end." * Rumi refers to God as the "Sultan of Love," implying a status that transcends and rules over the concept of Love itself. * **Anecdote/Encounter:** * **The Caravan of the Unseen:** This metaphor describes higher realities entering the visible world. First comes intellect, then "beautiful Love," and finally, "from beyond Love, that indescribable One who can only be called 'That' keeps coming." This illustrates a hierarchy where God's ultimate reality is beyond even the concept of Love. --- ### **2. The World As Created by Love** * **Main Idea:** The universe was created as a direct result of God's Love, which is defined here as a desire or need to manifest. * **Supporting Opinions/Points:** * This is based on the famous *Hadith Qudsi* (holy saying): "I was a Hidden Treasure, so I desired (loved) to be known, so I created the world." * God's Love for the Prophet Muhammad is also cited as a cause for creation: "But for thee, I would not have created the celestial spheres." * Because Love is the creative force, it "courses throughout the world's arteries." All movement and existence are reflections of this original Love. * **Metaphors:** * "Love is the kernel, the world the shell." * "The world is like a mirror displaying Love's perfection." --- ### **3. The World As Maintained by Love** * **Main Idea:** All ongoing activity in the universe is sustained by a network of love and desire that God instilled in creation. * **Supporting Opinions/Points:** * God made all parts of the world "lovers of one another." Every existing thing has a need and desire for other things. * This mutual desire is the immediate source of all movement (e.g., heaven and earth, male and female). * Every person has a specific task, and God "placed desire for it in his heart." This is why a craftsman or scholar feels happiness and satisfaction in their work; it is divinely ordained love. * **Anecdotes/Encounters:** * **The King's Tent:** An analogy where people are tasked with maintaining a king's tent. One makes pegs, another ropes. Each is perfectly happy and satisfied with his specific job, believing it to be essential, because God has placed that love in him. * **The Talking Trees:** Roots and trees under the earth possess great beauty and skill and desire a "day of bazaar" to display them. A voice from the Unseen tells them not to worry, because this very desire to be known is a reflection of God's own attribute from the "Hidden Treasure" hadith. This desire is like that of young girls wanting to show their beauty. --- ### **4. Love and Beauty: True and Derivative** * **Main Idea:** All love is, in reality, love for God. However, most people mistake the object of their love (derivative love) for the true source (God). * **Key Terms:** * **ishq-i haqiqi:** "True love," directed toward God. * **ishq-i majazi:** "Derivative love," directed toward anything in creation. * **Supporting Opinions/Points:** * The difference between the two loves is knowledge. The Sufi knows only God is the true Beloved; the "vulgar" believe created things have independent existence and worth. * All worldly beauty is borrowed. It is a "drop of spray from the infinite Ocean" or a "ray of light" from God's sun shining on a wall. When the light returns to the sun, the wall is left dark. * Derivative love for worldly objects (wealth, people) will ultimately lead to God, as these objects prove ephemeral and unfaithful. The Sufi discovers this in life; others discover it after death. * **Anecdotes/Encounters:** * **Gold-Plated Coin:** Worldly beauty is like gold plating on a copper coin. Your love is for the gold (the reflection of God's attribute). When the gold returns to its mine (God), you are left disgusted with the plain copper. * **The Boasting Planets:** At night, Venus, Jupiter, Mars, and others boast of their light. At daybreak, the Sun appears and they are all disgraced, revealed as mere reflectors of its light. This is like worldly beauties in the presence of God's true Beauty. * **The Hungry Man:** A man desires many different foods (stew, halva, etc.), but the root of all these desires is one thing: hunger. Once he is full, he desires none of them. Likewise, all worldly desires are manifestations of the single root desire for God. * **The Ladder:** Worldly goals and diversions are like the rungs of a ladder. They are for passing over, not for taking up residence. The wise person climbs quickly to the destination without wasting life on the rungs. --- ### **5. Need and Aspiration** * **Main Idea:** To attract God's love, the seeker must actively cultivate and display their need, thirst, and aspiration for Him. God's bounty flows toward need. * **Supporting Opinions/Points:** * Passivity is wrong. One must actively "beg" from God, not just wait. * Pain, poverty, and thirst are positive states because they attract their opposites: cure, wealth, and water (God's Mercy). "Where there is pain, cures will come." * The seeker should "quickly increase your need," and the "Sea of Bounty will gush forth." * Love is reciprocal. The seeker's thirst is an "attraction of the Water." God is both the Sought and the Seeker. * Action is crucial. "In movement are blessings." A seeker must actively quest, and the profit will reveal itself. * **Anecdotes/Encounters:** * **The Hungry Dog:** A dog without intellect knows to wag its tail to beg for food. A human should not be less than a dog and must actively show their need to God. * **The Crying Infant:** A baby cries without understanding exactly *how* it brings milk, but its crying (seeking) is the direct cause of it receiving nourishment. The seeker should weep and lament in the same way. * **The Farmer and the Earth:** A farmer must actively move and turn the earth for it to yield a crop. If abandoned, it becomes hard. The seeker must work on their questing self. --- ### **6. The Religion of Love** * **Main Idea:** Love constitutes a complete spiritual path—a "religion"—that transcends conventional religious forms, dogma, and morality. Its creed is God, and its practice is self-naughting. * **Supporting Opinions/Points:** * **Superiority to Religion:** "Love's creed is separate from all religions: The creed and denomination of lovers is God." * **Life and Death:** A life without Love is considered not lived. To die without Love is the "worst of all deaths." To "die in Love" is to "remain alive." * **The Goal:** The aim is not reward (paradise) or avoidance of punishment (hell), but only the Beloved Himself. The lover would consider seeking paradise a "sin." * **The Practice:** The core practice is annihilation of the self. "Love is that flame which... burns away everything except the Beloved." This is symbolized by the declaration of faith: *la ilaha* ("no god," or slaying other-than-God) leaves only *illa'Llah* ("but God"). * **Love as Vehicle and Elixir:** Love is the Buraq (celestial mount) that carries the soul to God. It is the alchemist's elixir that transmutes the "copper" of existence into gold. * **Anecdotes/Encounters:** * **The Lover's Death (Ghazal D 972):** This poem details how lovers die differently. They die knowingly, "like sugar," laughing, without fear, flying to the spheres, and are met by the "spirit's King." * **The Lover's State:** The lover is described with signs like "yellow cheeks, a frail body," and constant weeping, but these are thorns around a hidden garden containing the Beloved. * **The Friend's "False-Dealings":** In the religion of Love, the Beloved's harshness is soft, His tyranny is justice, His "No!" contains a thousand "Yea's." The lover buys this "bent religion" with the price of their spirit. --- ### **7. Love and the Intellect** * **Main Idea:** Love is superior to and ultimately transcends the intellect. The intellect is a necessary guide for the initial part of the journey but becomes an impediment at the final stage of union, which requires annihilation. * **Key Terms:** * **Partial Intellect:** Connected to the ego, denial, and worldliness. It is a "denier of Love." * **Universal Intellect:** Angelic in nature, a guide toward God, embodied by Gabriel. * **Supporting Opinions/Points:** * The intellect, even the Universal Intellect, is a created being. To reach the Uncreated God, one must leave the intellect behind. * **The Door and the Palace:** The intellect is useful to get you to the King's door, but once there, you must "divorce the intellect" to enter. * **Shadow and Sun:** Intellect is the shadow; God is the sun. * **Cleverness vs. Bewilderment:** Cleverness (intellect) is opinion, while bewilderment (a state of Love) is vision. The seeker should "sell your cleverness and buy bewilderment." * Sacrificing your intellect in love for God results in Him giving you "ten like it, or seven hundred." * **Anecdote/Encounter:** * **The Prophet's Miraj (Ascent):** This is the key allegory. Gabriel (the Universal Intellect) guided the Prophet Muhammad through the heavens but had to stop at the "Lote Tree of the Far Boundary," saying, "If I fly beyond this limit, my wings will burn." The Prophet had to travel the final stage alone, carried by Love and self-naughting. This illustrates the limit of the intellect and the necessity of Love for ultimate union. --- ### **8. Bewilderment and Madness** * **Main Idea:** The state of the lover is one of madness and bewilderment, which is a higher station than the sober rationality of the intellect. * **Supporting Opinions/Points:** * This is not a negative bewilderment that leads one astray, but one that "drowns you in the Friend and intoxicates you with Him." * To achieve this, one must "become ignorant of this intelligence" and embrace what seems like madness to the world. * This madness involves a total inversion of worldly values: "Drink poison and pour away the water of life! ... Abandon security and stay in frightful places! Throw away reputation, become disgraced and shameless!" * This is related to the Prophetic saying, "Most of the people of paradise are simpletons"—not foolish, but "distraught and bewildered in God." * **Anecdote/Encounter:** * **Dalqak the Jester:** The king's jester, Dalqak, explains why he married a harlot. He had already married nine pious women who all became corrupt, so he concluded that the rational approach (intellect) had failed him. He decided, "I have tested the intellect many times—from now on, I will seek a seedbed for madness." This illustrates a conscious choice to abandon the intellect's logic in favor of a path of "madness" in hopes of a better outcome. Of course. Here is an expanded explanation of the section **"1. God As Love and Beyond Love,"** drawing directly from the provided text to detail its ideas, arguments, and supporting evidence. --- ### **Expanded Notes on "1. God As Love and Beyond Love"** This section explores the complex relationship between God and the concept of Love (ishq). The central argument is a paradox: God can be correctly identified *as* Love, but simultaneously, His ultimate reality transcends and is not limited *by* the attribute of Love. The text presents this as a "yes and no" proposition. #### **The Core Paradox: The "Yes and No"** The author states that the answer to the question "Is God Love?" is both yes and no. This is the same principle that applies to any other divine attribute (Mercy, Knowledge, Power, etc.). * **The "Yes":** God is certainly Love. His Being is the same as the Being of Love. * **The "No":** The attribute of "Love" does not exhaust His total Reality. He is Love, but He is not *only* Love. The text explains this through the concept of God as the **"Coincidence of Opposites."** This means He possesses all His attributes absolutely and simultaneously, yet in His pure Essence, He is beyond them all. Therefore, from one perspective, He *is* Love; from another, He is *beyond* Love. Rumi's poetry reflects both these viewpoints. #### **Part 1: The Argument that God IS Love** The text establishes that Love is a fundamental attribute of God, not just a human emotion projected onto the divine. 1. **Koranic Foundation:** The primary scriptural evidence cited is from the **Qur'an (5:54)**: *"God will bring a people whom He loves and who love Him..."* This verse is crucial for two reasons: * It explicitly confirms that God "loves," making Love an attribute of God. * It establishes a clear **hierarchy**: God's love for humanity ("He loves them") is the primary, originating force. Humanity's love for God ("who love Him") is a secondary, derivative response that exists only because of God's initial love. 2. **Rumi's Affirmation of Love as a Divine Attribute:** * **Primary vs. Derivative:** In the introduction to *Mathnawi II*, Rumi states: *"Love is affection beyond bounds. Hence it is said that Love is truly God's Attribute, while it is the attribute of His servants only in a derivative sense."* This reinforces the idea that true, original Love belongs to God alone. * **Eternality of the Attribute:** The text quotes Rumi's verse (*Mathnawi V 2184-90*) to emphasize that Love is an eternal, divine quality, unlike fear, which is an attribute of the mortal servant. The quote argues: * Love and Affection are God's attributes, but fear is not. * There is no comparison between God's eternal attribute and the attribute of a "handful of dust." * Explaining Love fully is impossible because it is one of God's limitless attributes, which cannot be contained by time ("a hundred resurrections would pass"). * **Love as an Unshakeable Foundation:** Rumi describes Love as a tree whose "branches are in Eternity-without-beginning, its roots in Eternity-without-end," a tree not supported by any created thing, but self-subsistent. #### **Part 2: The Argument that God is BEYOND Love** While God is Love, His ultimate nature transcends this concept. The text argues that Love, as immense as it is, is still a stage or a realm that exists *before* the ultimate, ineffable reality of God's Essence. 1. **The "Sultan of Love":** Rumi's poetry gives God a title that places Him in command of Love, rather than being defined by it: *"Others call Thee Love, but I call Thee the Sultan of Love—oh Thou who art beyond the concept of this or that..."* A sultan rules over his dominion; he is not the dominion itself. This suggests God's authority over and transcendence of the reality of Love. 2. **Realms Beyond Love:** Rumi explicitly points to realities that lie past the station of Love: *"Beyond Love are thousands upon thousands of courtyards, but their might and majesty prevent them from entering the mind."* This indicates that Love, while a supreme goal for the seeker, is not the final destination. 3. **Anecdote: The Caravan of the Unseen:** This allegorical poem (*D 30789-96*) provides the clearest illustration of the hierarchy of reality: * First, the Unseen world of **intellect** enters the visible world. * Next, "from beyond the intellect, beautiful **Love** comes." * Finally, "from **beyond Love**, that indescribable One who can only be called **'That'** keeps coming." This encounter portrays a clear progression where Love is a penultimate reality, surpassed only by the indescribable Divine Essence itself. #### **Synthesis and Conclusion** The text synthesizes these two perspectives to present a complete picture. God's *attribute* of Love is the creative force that brings the world into being and the power that draws the seeker toward Him. It is an eternal and divine reality. However, God's ultimate *Essence* is an unnamable, absolute Oneness that cannot be confined to any attribute, even one as profound as Love. Rumi navigates these two truths, sometimes focusing on the immanence of God as Love and other times on the transcendence of God beyond all concepts. ### rel_215_transcriptions/Sufism Reading Notes_ _The Rose and the Nightingale_ Of course. Here are comprehensive notes on the provided chapter, "The Rose and the Nightingale," organized to highlight key ideas, opinions, terms, and anecdotes as requested. ### **Notes on "The Rose and the Nightingale"** --- ### **Part I: The Mystical Vision in Persian Poetry (p. 309)** * **Core Idea:** The mystic sees the material world as a witness to the divine and a reflection of the "source of eternal beauty." Every created thing holds a deeper, spiritual meaning. * **Key Imagery & Symbolism:** * **Ruby:** Represents the heart of a stone, transformed through patience and "shedding its blood" into a jewel. (Cited from Annemarie Schimmel's "The Ruby of the Heart"). * **Emerald:** Symbolizes the powerful mystical leader who can blind "serpents" or enemies of faith. * **Millstone/Waterwheel:** The restless, sighing journey of the Sufi or the lover separated from the beloved. * **Rain & Sun:** Rain is God's mercy reviving the heart (dust); the Sun is His glory, seen through the "prisms of created things." * **Anecdote: Zulaykha and Joseph:** * Zulaykha, consumed by her love for Joseph's beauty, applied his name to everything she saw. * **Quote from Rumi's *Mathnawi* (M 6:4022-37):** "If she piled up a hundred thousand names— / her meaning and intention was always Joseph." This illustrates that for the mystic, all worldly descriptions ultimately point to the one true Beloved. * **Author's Opinion:** Persian poetry, with its "gemlike images," was the "ideal vehicle" for expressing these feelings. The poetry of Hāfiz is presented as the pinnacle of this tradition. --- ### **Part II: Maulānā Jalāluddīn Rūmī (pp. 309-328)** This section forms the core of the chapter, providing a detailed overview of Rumi's life, work, key relationships, ideas, and legacy. #### **A. Introduction & Western Reception (pp. 309-310)** * **Key Terms:** * **Jalāluddin Rūmī:** His full name. * **Maulānā:** "Our master," the title given by his followers. (Turkish: **Mevlâna**). * **Mevlevi:** The Sufi order he inspired. * **Whirling Dervishes:** The Western name for the Mevlevis. * **Early European Translators & Scholars:** * **Joseph von Hammer-Purgstall (1818):** An early, but "rather dry," translator. * **Friedrich Rückert (1819):** A key figure. He didn't translate literally but created German *ghazals* in Rumi's style. * **Author's Opinion:** Rückert's "free adaptations... convey more of Maulānā's genius than most of the later, more literal, translations." His work heavily influenced Rumi's image in Germany. * **Hegel:** Knew Rumi's work through Rückert's translations. * **William Hastie (1903):** Translated Rückert's German poems into English, explicitly as an "antidote to the cult of Omar Khayyam." * **Reynold A. Nicholson:** A giant of Rumi scholarship. He produced the definitive 8-volume edition and translation of the *Mathnawi* (1925-1940) and an excellent introduction to the *Dīvān-i Shams-i Tabriz* (1898). * **A.J. Arberry:** Another major 20th-century translator. #### **B. Rumi's Life & Mystical Development (pp. 311-314)** * **Early Life & Influences:** * Born in Balkh, 1207. * **Legendary Encounter:** Said to have been blessed as a boy by the great poet **Farīduddin ʿAṭṭār**, highlighting a spiritual lineage. * **Intellectual Lineage:** Acknowledged his debt to the poets **ʿAṭṭār** and **Sanāʾī**. * **Family:** His father, **Bahāʾuddin Walad**, was a noted theologian whose writings (*Maʿārif*) influenced Rumi. * **Migration:** The family fled the Mongol invasion, eventually settling in Konya, Anatolia (the Seljuk Sultanate of Rūm, hence the name "Rūmī"). * **Konya: The Setting:** * A multicultural and intellectually stimulating center, a safe haven for scholars. * **Author's Opinion:** The architecture of Konya, like the Karatay Medrese with its "intricately interlaced" turquoise tilework, is a "perfect illustration of Rūmī's poetry" — separate parts interwoven into an inexplicable whole. * **The Decisive Encounter: Shams-i Tabrīzī (p. 313)** * **Shams's Character:** An "overpowering," strange, and harsh mystic who claimed to have reached the station of "the beloved," not the lover. * **Anecdote:** Shams rebukes another mystic for "seeing the moon in a vessel filled with water" instead of looking directly at the sky, a critique of mediated vs. direct experience. * **Meeting:** Met Rumi in October 1244. This encounter kindled an all-consuming "fire of mystical love" that caused Rumi to neglect all other duties. * **The Murder of Shams:** Rumi's jealous disciples, with the help of his son **ʿAlāʾuddin**, murdered Shams and threw his body in a well. Rumi's other son, **Sultan Walad**, secretly buried him. * **Rumi the Poet:** * **Idea:** The experience of love and loss with Shams transformed Rumi into a poet. * **Practice:** He used his friend's name, Shams, as his *nom de plume* (pen name), a sign of complete spiritual identification. * **Anecdote from the *Mathnawi* (M 1:3056-64):** The story of the lover knocking at his friend's door. 1. He knocks and, when asked "Who is there?", answers "I." He is told to leave, for there is "no place for the raw." 2. After a year of burning in separation, he returns. 3. He knocks again. When asked "Who is there?", he answers "Thou." He is welcomed in, for "there is no room for two I's in this house." * **Later Companions:** After Shams, Rumi found mystical companionship with **Ṣalāḥuddīn Zarkūb** (a goldsmith) and **Ḥusāmuddīn Çelebi**. #### **C. Major Works & Poetic Style (pp. 315-320)** * ***The Mathnawi*:** * A massive didactic poem (over 26,000 verses). * **Inspiration:** Composed at the request of his disciple **Ḥusāmuddīn Çelebi**, who wrote down the verses as Rumi dictated them, often in a state of trance. * **Content:** Called the "shop of unity," it contains countless stories, parables, and mystical theories, but is not a systematic work. It is "without end." * ***Dīwān-i Shams-i Tabrīzī*:** * His collection of lyrical poetry (ghazals), mostly written under the name of Shams. * ***Fīhi mā fīhi* ("In it is what is in it"):** * His "table talks" or discourses. * **Author's Opinion:** "Substitute poetic imagination for logical argument" and are not on the same level as his poetry. * **Style & Imagery:** * **Spontaneity:** Rhythms suggest the whirling dance; verses were inspired by everyday sounds like the hammering of goldsmiths. * **Form:** Often used simple meters similar to Turkish folk songs, meant to be sung. * **Music & Dance:** The "Song of the Reed" (from the *Mathnawi*) is a key example. The flute, cut from its reedbed, laments its separation from the source, a metaphor for the soul's longing for God. * **Everyday Life:** Used simple situations (a sick neighbor, ropedancing gypsies) as springboards for mystical allegory. * **Dramatic & Coarse Imagery:** Used shocking images (butcher shops, thirsty sand) and even "dirty jokes" (*hazal*) to convey spiritual instruction. * **Dark Imagery:** The "subconscious reminiscence of Shamsuddin's blood" inspired some of his darkest and most powerful poems (e.g., "Make a mountain from skulls, make an ocean from our blood"). #### **D. Core Mystical Ideas (pp. 320-323)** * **Dying to Be Reborn:** A central theme is gaining a new, higher life through the "death" of the ego. * **Source:** Based on the Prophetic tradition, "Die before ye die." * **Anecdote: The Chickpea (M 3:4158):** A chickpea in a pot of boiling water complains to the cook. The cook explains that this suffering is necessary for it to be transformed from a raw vegetable into nourishing food, a higher state of being. The goal is "surrender." * **The Upward Journey of the Soul (Spiritual Evolution):** * **Famous Quote from the *Mathnawi* (M 3:3901-6):** "I died as mineral and became a plant, / I died as plant and rose to animal. / I died as animal and I was Man... Yet once more I shall die as Man, to soar / With angels blest..." * **Final Goal:** The journey continues beyond angelhood to become "what no mind e'er conceived" in a state of **adam** (Nonexistence), which is the ineffable Divine Essence. * **Modern Interpretations:** Some modernists see this as an anticipation of Darwinian evolution. * **Author's Opinion:** The context (linking to the story of Hallāj's martyrdom) points to a "purely mystical interpretation" of spiritual transformation through fanā (annihilation) and baqā (subsistence in God), not a "pseudoscientific" one. * **Experience of the Divine:** Rumi experienced and expressed Divine beauty through all five senses—the sight of Konya's gardens, the sound of thunder, the smell of blossoms, the touch of silks, the taste of food. * **Rumi's Self-Summary:** * **Quote (D 1768):** "And the result is not more than these three words: / I burnt, and burnt, and burnt." #### **E. Rumi's Legacy & Influence (pp. 324-328)** * **The Mevlevi Order:** Formalized by his son **Sultan Walad**. It spread throughout the Ottoman Empire, and its leader had the privilege of girding the new Sultan with his sword. * **The samāʿ ritual:** The highly structured whirling dance, accompanied by music of "exquisite beauty," including a hymn written by Rumi himself. * **Artistic Influence:** The order became a major patron of Turkish classical music, calligraphy, and painting. * **In Turkey:** Rumi (Mevlâna) is beloved. Many commentaries and poems have been written in his honor. Despite Atatürk's official ban on dervish orders, his shrine in Konya remains a major site of pilgrimage. * **In Iran:** Widely read until the Safavid era; now subject of major modern scholarship. * **In the Indo-Pakistan Subcontinent:** His "largest influence." The *Mathnawi* was studied by Chishti saints and beloved by Mogul emperors and common villagers alike. * **Anecdote:** It was said that some mystics in Sind kept only three books: the Koran, the *Mathnawi*, and the *Dīwān* of Hāfiz. * **Modern Influence:** A major inspiration for the poet-philosopher **Muhammad Iqbal**. --- ### **Part III: Turkish Popular Mysticism (p. 328)** * **Idea:** While Rumi's influence was elite and immense, there were other, "perhaps even more typical," expressions of Sufism in Anatolia. * **Folk Tale: The Naming of Konya:** * Two saints fly from Khurasan (a region in Iran famous for Sufism). * Liking the view, one asks, "**Konalım mı?**" ("Shall we dwell there?"). * The other replies, "**Kon ya!**" ("Certainly, alight and dwell!"). * **Meaning:** The tale shows a popular awareness that the roots of their mysticism came from the Persian East (Khurasan). Of course. Here is a more detailed explanation of the sub-heading **B. Rumi's Life & Mystical Development (pp. 311-314)**, expanding on the key points from the notes with more narrative and context from the chapter. --- ### **B. Rumi's Life & Mystical Development (pp. 311-314): An Expanded Explanation** This section chronicles the crucial events and relationships that shaped Rumi, transforming him from a promising theologian into the world's most famous mystical poet. The narrative focuses on his influences, the unique environment that nurtured him, and the single, cataclysmic encounter that ignited his poetic genius. #### **1. Early Life and Formative Influences (p. 311)** Rumi's spiritual path was paved long before his own fame. Born in Balkh (modern-day Afghanistan) in 1207, he inherited a legacy of religious scholarship. His father, **Bahāʾuddin Walad**, was a prominent theologian with his own mystical leanings, and his writings (the *Maʿārif*) were a foundational influence on Rumi's thought. The chapter highlights two key figures from the generation before him: the poets **Sanāʾī** and **ʿAṭṭār**. Rumi openly acknowledged his debt to them. A famous, though likely legendary, story tells of the young Rumi and his family, fleeing the Mongol invasion, meeting the elderly ʿAṭṭār. ʿAṭṭār is said to have blessed the boy, recognizing his future greatness. While perhaps not a historical fact, the story's purpose is to establish a **spiritual lineage**, showing that Rumi was the heir to an already rich tradition of Persian mystical poetry. #### **2. The Cauldron of Konya (pp. 311-312)** After a long migration, Rumi's family settled in Konya, the capital of the Seljuk Sultanate in Anatolia (called "Rūm," hence his name). This location was critical to his development. While the rest of the eastern Islamic world was being devastated by the Mongols, Konya was a rare pocket of peace and stability. It became a magnet for **"scholars, artists, and mystics"** from all over, creating an "intensely stimulating" intellectual and religious environment. The city itself was a melting pot. Its literary language was Persian, but the population also spoke Greek (a remnant of the city's Byzantine past as Iconium) and Turkish. This multiculturalism exposed Rumi to a wide array of traditions that would later surface in his poetry. The author, Annemarie Schimmel, offers a powerful opinion: the very architecture of Konya is a **"perfect illustration of Rūmī's poetry."** She points to the turquoise-domed mosques and madrasas, covered in "intricately interlaced stars." Each tile is a separate, distinct element, yet they are all "interwoven in an almost inexplicable way" to form a stunning, unified whole. This, she argues, is exactly like Rumi's poetry, which masterfully weaves together stories, theology, personal emotion, and everyday details into a single, breathtaking vision of divine unity. #### **3. The Sun of Tabriz: The Decisive Encounter (p. 313)** In 1244, Rumi, by then a respected professor, met a wandering dervish named **Shams-i Tabrīzī**. This was not a mentorship; it was a spiritual explosion. Shams was everything Rumi was not: an "overpowering," abrasive, and "strange" mystic who shocked polite society. He made the radical claim to have reached the station of the **"beloved,"** no longer the "lover"—the traditional role of the spiritual seeker. This encounter "kindled in him the fire of mystical love," an all-consuming passion that caused Rumi to completely neglect his family, students, and duties. He and Shams were inseparable. The intensity of their bond bred jealousy and resentment among Rumi's disciples. The relationship ended in tragedy. After the disciples forced Shams to leave once, Rumi fell into such a deep depression that his son, Sultan Walad, was sent to bring Shams back. But the relationship was too overwhelming for the community. In 1247, a group of disciples, with the cooperation of Rumi's other son, ʿAlāʾuddin, lured Shams from Rumi's house, murdered him, and threw his body into a well. #### **4. The Birth of a Poet: Identification and Annihilation (p. 314)** The chapter argues that this consuming love and devastating loss is precisely what **transformed Rumi into a poet.** He had been searching for his "Sun" (Shams) externally, but after the loss, he discovered Shams "in himself, radiant like the moon." This realization of **complete identification** is the key to his poetry. Instead of signing his own name to his poems, he used Shams's name as his *nom de plume*. He was no longer speaking *as* Rumi; he felt he was a channel for the voice of the Beloved. This mystical concept of identification is perfectly captured in the famous anecdote from the *Mathnawi*: * A lover knocks on his friend's door. Asked "Who is there?" he replies, "I." He is turned away because the "I"—the ego—is a barrier to union. There is "no place for the raw." * After a year of "cooking" in the fire of separation, he returns. * Asked "Who is there?" again, he now replies, "**Thou.**" He is immediately welcomed in, for now that his separate self is gone, "there is no room for two I's in this house." This story encapsulates the core of Rumi's post-Shams experience: the annihilation of his own ego (fanā) and its replacement by the divine presence of the Beloved. It was from this state of union and searing loss that his vast and immortal body of poetry was born. Of course. Here is a more detailed explanation of the section **D. Core Mystical Ideas (pp. 320-323)**, elaborating on the key concepts, the imagery Rumi uses to convey them, and the author's analysis of their meaning. --- ### **D. Core Mystical Ideas (pp. 320-323): An Expanded Explanation** This section delves into the central philosophical and spiritual tenets of Rumi's poetry. The author, Annemarie Schimmel, argues that these are not abstract doctrines but lived experiences, expressed through a series of powerful, recurring metaphors. The overarching theme is **transformation**: the soul's journey from a state of raw potential to divine union through processes of suffering, surrender, and rebirth. #### **1. The Necessity of "Dying": Annihilation for Rebirth (fanā and baqā)** The most fundamental concept in Rumi's thought is that **spiritual death is the prerequisite for true life.** This idea is rooted in the famous Prophetic tradition, **"Die before ye die,"** which Rumi takes as a central command. The "death" here is the annihilation (fanā) of the limited, selfish ego. Only by "dying" to one's own will, desires, and identity can one be reborn into a higher state of being, subsisting (baqā) in God. Rumi illustrates this not with dry theology but with a humble and vivid story: * **The Anecdote of the Chickpea (M 3:4158):** A chickpea, boiling in a pot, complains bitterly to the cook (who represents God). The cook replies that this painful boiling is not a punishment but a process of transformation. It is necessary to break down its raw, hard nature so it can become delicious, nourishing food, thus reaching a higher state of being. The chickpea, having grown by God's "rain and sunshine" (divine grace), must now endure the "fire of divine wrath" (testing and tribulation) in order to mature. * **The Key takeaway:** The goal is **"your surrender."** Only through willing surrender to this painful, transformative process can the "vegetable" self ascend to a higher form of life, endowed with spirit and thought. #### **2. The Upward Journey of the Soul: A Cosmic Drama of Evolution** Rumi expands this idea of individual transformation into a cosmic principle. He presents the soul's journey as a vast, evolutionary ascent through all the stages of creation. This is most famously expressed in a passage from the *Mathnawi*: > "I died as mineral and became a plant, > I died as plant and rose to animal. > I died as animal and I was Man. > Why should I fear? When was I less by dying? > Yet once more I shall die as Man, to soar > With angels blest..." * **The Trajectory:** This is a relentless upward movement. Each "death" is not an end but a promotion to a more advanced state of existence. * **The Ultimate Goal: adam (Nonexistence):** The journey does not stop at becoming an angel. The final stage is to "become what no mind e'er conceived," a state Rumi calls adam. This is not a void or nothingness. It is the very opposite: the **"ineffable divine essence,"** a reality so absolute and beyond description that, from the limited human perspective, it can only be described as "Nonexistence." Schimmel compares it to the Hindu concept of *neti neti* ("not this, not that")—a reality that transcends all categories. #### **3. The Debate over Interpretation: Mysticism vs. Modernism** Schimmel highlights a major point of contention in how these verses are understood today. * **The Modernist/Scientific View:** Many Islamic modernists, particularly those influenced by Muhammad Iqbal, interpret the "I died as mineral" poem as a remarkable anticipation of **Darwin's theory of evolution**. They see it as proof of the scientific foresight of medieval Islam. Others, like Iqbal himself, interpret it as a metaphor for the endless striving of the individual ego for greater freedom and self-realization. * **Schimmel's Mystical Interpretation:** The author strongly disagrees with these "pseudoscientific" readings. She argues that Rumi's context is purely mystical, not biological. Her crucial piece of evidence is that Rumi frames the chickpea story with a quote from the 10th-century martyr-mystic **Hallāj**: **"Kill me, o my trustworthy friends, for in my being killed is my life."** By invoking Hallāj, Rumi firmly places the theme within the tradition of mystical martyrdom and spiritual resurrection. The "death" is the loving surrender of the ego to God, which leads to a higher life in Him. It is about the interplay of fanā and baqā, a concept perfectly captured by the Goethean phrase **"Stirb und Werde" ("Die and Become").** #### **4. Divine Reality Experienced Through the Senses** For Rumi, these profound transformations are not confined to the soul; they are reflected everywhere in the material world. He experiences and expresses divine beauty with all his senses. * **Spring as Resurrection:** The sudden, explosive arrival of spring on the vast, dry plain of Konya is a perfect real-world symbol of resurrection (qiyāmat). The dead, dusty earth bursts forth with green grass and fragrant flowers, mirroring the soul's rebirth after the "winter" of spiritual desolation. * **Sensory Experience of God:** Rumi's poetry is filled with the sights, sounds, and smells of Anatolia, all of which become vessels for divine presence. He sees the "loveliness of the heavenly beloved" in roses and running brooks. He hears divine praise in the thunder and the songs of birds. He feels God's majesty in the texture of silks and carpets, and tastes it in the delicious food of Konya. This total sensory engagement is why his poetry remains so vibrant. Schimmel concludes that the enduring power of Rumi's work lies in its perfect **"balance between sensual experience and divine love,"** where even the most ordinary aspects of life are transformed into windows onto the eternal.
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