Khushtar's Utterances

Be it poetry, prose, the poet, he is equally at ease, yet is seems that poetry is his forte as it is his popular mode of expression. Even his sermons cannot escape its magic touch. It is divine love expressed in all its fragrance. He cites Iqbal, Rumi, Shaikh Saadi, Maulana Ahmad Raza (may Allah be pleased with them) and others profusely. Crowds cheer him for the way he presents them.

His poems are written in different styles. His profound knowledge of Urdu, Persian and Arabic is an asset to his ardent expression. One of the ways of expressing himself is through his well-known quatrains. The beauty lie in the fact that often the four lines rhyme with ach other. Such compositions surpass even our imagination by the poet’s knowledge of prosody and mastery of versification. We are thus pleased to produce hereunder one such quatrain penned by the poet. The poem itself has euphony of its own with a high sense of natural musicality. It is a eulogy expressed in sweet phraseology.

Meri tarike wiladat aaga - i

Zindagi bebandagi sharmaga - i

Oomre fani ko mita fir ek saat

Fir ajal meri moojhe behlaga -i

Days are going by and by and once gone are not coming back again. Every minute is being spent in the valley of death. What is very unfortunate is that time is not being spent in a successful manner. Thus moans Maulana Khushtar.

Har subh goozarti he har sham gozarti he

Afsos to ye he naakaam goozarti he

Har lamhah chalaa jaataa he maut ki waadi mein

Phir ati nahi-n waapaas jo sham goozarti he

In another quatrain, Maulana Khushtar says that morning is yielding its place to the evening and His existence is being offered to ‘days’. He has placed his hopes on tomorrow and he is not achieving any success in today’s endeavor.

Subh hoti rahi sham hoti rahi

Zindagi nazre ayaam hoti rahi

Mein ne umid fardaa pe takya kiya

Sa-i amrose naakaam hoti rahi

While we tend to believe that our age in increasing, Maulana Khushtar, most philosophically asserts that his birthday reminds him that his stay in this world is in fact decreasing year in and year out.

Oomr khatti he kabhi barhti nahi-n

Ye hakiqat he zaraa sochain to ham

Din wiladat ka ye deta he payam

Zindagi Khushtar hoowi ek saat kam

At the age of 56 on 31 December 1985, Maulana Saheb writes that 1985 has gone by just like every year and those who came into this world have at last passed way. But, one thing that will last forever, he reminds himself, is perfect action, and the person who has performed some good work, will live, forever.

Har saal ki tara ye pachasi goozar gaya

Aya jo iss jahan mein akhir wo mar gaya

Han har nafasse kamala ka Khushtar he lazawaal

Wo zinda rehgaya jo ko-I kaam kar gaya

At the age of sixty, Maulana Saheb writes that he is the slave of Sheikh Abdul Qadir Jilani (RA) and does not care whether people sing praises or speaks ill of him. He follows the way (Ahle Sunnat Wal Jamaat) of Ahmad Raza (RA). Although he has not performed many righteous actions, he still relies on the Mercy of Almighty Allah.

Mein roolame Qadiri houn be niyaze nosh-o neish

Itteba-e maslake Ahmad Raza he mera kaish

Saath ka sin aur Khushtar naikian isse se bhi kam

Han magar Allah ki rahmat goonahon se he beish

By the grace of Almighty Allah, when Maulana Khushtar attained the age of sixty-three, the age at which the beloved Prophet Muhammad (SAW) passed away, he draws our attention to the fact that Allah first created the light of Muhammad (SAW) when nothing was in existence.

Behamdillah tair sath tak mein phonchaa

Hayaat zaaheri ka ye karam he

Hayaat baatani mere nabi ki

Azal ji ibteda se taa-adam he

On the occasion of his sixty fourth birthday, relying on the countless favors of the Almighty, Maulana Saheb most humbly requests Allah to forgive him and not to count his sins.

Moojhe too ne bakshaa he chonsath ka sin

Meri raat kie aur kia mere din

Teraa fazi zulfazi he be shoomar

Moojhe baksh de mere issyan na gin

At sixty-five, Maulana Saheb says that he neither has a claim for knowledge and wealth nor any hope upon his actions. He is a disgraced person and puts all trust upon the Mercy of the Almighty.

Moojh ko da’wa he na ilm-o-maal ka

Kooch bharosa bhi nahi-n aamaal ka

Han teri rahmat pe takya he zaroor

Banda-e rooswaa houn paynsat saal ka

Maulana Khustar states that he is neither Imam Ghazali nor Fakruddeen Razi, and neither an author nor commentator or one who slays infidels, but he relies on the mercy of the Almighty, although he has lost everything in the game of life.

Ghazali houn na Fakruddeen Raazai

Mosannif houn mufassir houn na ghaazai

Magar rahmat pe teri he bharosa

Ke mein to haar kar beitha houn baazi

On another occasion, Maulana Khushtar says that he cannot make any claim that he is a pious person but knows that has contact with the beloved Prophet Muhammad (SAW). As such, he does not lack anything.

Mein kahoun achcha houn kooch achcha nahi-n

Paarsa-i ka moojhe da’wa nahi-n

Han mein tera houn ye nisbat he zaroor

Ye agar he to mein kooch kia nahi-n

We shall now mention the following quatrain where Maulana Khushtar writes that this tenth part of his age has come and death has started some scuffle. Relatives and friends have all gone away. Maulana Khushtar, therefore seeks help from Shaikh Mohiyuddeen Jilani (RA).

Lo a-i oomre rafta ki daha-i

Ajal karne lagihay hatapa-i

Azizon doston ne sath choraa

Duha-iI ya Mohiyuddeen duhai

Be it poetry, prose, the poet, Khushtar is equally at ease, yet is seems that poetry is his forte as it is his popular mode of expression. Even his sermons cannot escape its magic touch. It is divine love expressed in all its fragrance. He cites Iqbal, Rumi, Shaikh Saadi, Maulana Ahmad Raza and others profusely. Crowds cheer him for the way he presents them.

His poems are written in different styles. His profound knowledge of Urdu, Persian and Arabic is an asset to his ardent expression. One of the ways of expressing himself is through his well-known quatrains. The beauty lie in the fact that often the four lines rhyme with ach other. Such compositions surpass even our imagination by the poet’s knowledge of prosody and mastery of versification. We are thus pleased to produce hereunder one such quatrain penned by the poet. The poem itself has euphony of its own with a high sense of natural musicality. It is a eulogy expressed in sweet phraseology.

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