She is also faithful and loyal (Marui).įor the first time most of the heroines of folk tales find their mention and appropriate use of Sindhi sayings and proverbs is made in the verse of Shah Karim.
She suffers the pangs of separation (Sasui) and repentance (Lila). He has also painted the picture of a woman who longs for love (Sasui as the lady who carries one pitcher over the other on her head and appears like a bird on the surface of water - my beloved is always in my mind and soul), conscious of society as well (Suhini). The first time described a woman who is hardworking. S hah Abdul Karim (1538 – 1622 A.D.) has for Qazi Qadan has selected only two heroines of folk tales ‘Sasui’ and ‘Suhini’. He also portrays her as a ‘seeker’ on the path of love for God, who is restless to have union with ‘the sought’. Instead of describing her as ‘weak’ and ‘humble’, the poet has portrayed her as a ‘foolish’ and ‘careless’ person who takes no notice of ‘jewel of life’ lying at her feet. There is a superfluous picture of woman in the ‘baits’ of Qazi Qadan. S even ‘Baits’ of Qazi Qadan, (around 1462 –ġ551 A.D.) were described as ‘shining stars’ or ‘glittering jewels’ of Sindhi verse by scholars. In short, Sindhi poetry, prior to Shah Abdul Lateef was influenced by : Though in the days of Arghoons, Turkhans and Mughals, Persian was the official language, yet the poets mentioned above wrote in the Sindhi language. The Mughals who were lovers of literature and patrons of art recognized the talented litterateurs and honoured them in their courts. During the reign of Arghoons and Turkhans, Sind was in the grip of great upheavals and a victim of atrocities on the natives, which upset the social pattern of the country. These poets were influenced by political, social, and economic conditions prevailing in Sind.
Prominent among the poets of this phase were Qazi Qadam, Shah Abdul Karim, Lutf Ullah Qadri and Shah Innat. Second phase of the classical poetry was that of written poetry. At the time when the courtiers gathered to choose one of the brothers – Dodo and Chanesar to be the ruler, Chanesar wished to go and seek guidance from his mother and lost his throne! This instance in the history of Sind establishes that woman held high position in Society. ‘Dodo Chanesar’, a folk tale, which depicts woman and holds her in high esteem is attributed to Bhagu Bhan (1213 A.D.) Chanesar’s respect and regard for his mother is vividly described. Folk tales of ‘Umar Marvi’, ‘Sasi Punhun’, ‘Suhini Mehar’ and ‘Moomal Rano’ (all woven around the character of woman), were no doubt popular, but there is a dispute regarding their origin.
#SINDHI POET FULL#
In the works of the poets of Soomra regime, which are full of emotional outburst, there exists an effort to express, but the compositions lack the ability to convey the thoughts in a clear and unambiguous form, which otherwise could have laid the foundation of a unique tradition in poetry.
There is a possibility that either there was no Sindhi literature at all, or it was never put in writing due to absence of any script, or the Arab conquerors had destroyed it, when they invaded Sind.ĭ uring the Soomra and Sama rule (1050 – 1520Ī.D.) Sindhi bait had reached the lips of a commoner and Ghah, Gech, Doha, Sortha and Lorao forms of verse existed. N o authentic information is available on the existence of Sindhi Literature before the Soomra and Sama regimes in Sind. Manifesting itself, it donned the garb of a woman, “When that Oneness was caught up with the idea of Woman in Sindhi Poetry THERE IS WOMAN …….
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