Kafis of Shah Hussain – Madho Lal Hussain (1538-1601)

After Baba Farid-ud-Din Ganj Shakar, Shah Hussain is the second great Sufi poet of Punjabi literature who used the genre of “Kafi” to express Sufi thoughts. Shah Hussain introduced the Kafi to Punjabi poetry for the first time, which is why he is recognized as the founder of the Kafi. His poetry contains multiple layers of meaning that express various symbols of the union between the human soul and the Lord. Shah Hussain lived his life according to the command of his spiritual guide, Bahlol Daryaee, and through worship and spiritual discipline, he traversed those stages of Sufism that are beyond the reach of ordinary people. In the history of the Punjabi Kafi, Bulleh Shah is considered the second great poet of the Kafi and Khawaja Ghulam Farid the last, but the fluency and passion found in Shah Hussain’s Kafi is unparalleled. The greatest beauty of his Kafis is “symbolism,” where he turned ordinary everyday things into profound Sufi symbols.

The foundation of Shah Hussain’s symbolic system is based on the role of “woman.” In Sufi poetry, the soul is presented as a woman (Heer or Sassi) and the Lord as a man (Ranjha or Punnu). A special aspect of his life is his “state of ecstasy” (majzubi), in which he became attached to a Brahmin boy named “Madho,” who later became part of his name, and he became known as “Madho Lal Hussain.” He lived his life in a symbolic hue, and the fundamental element of his poetry is humility and modesty. Dr. Mohan Singh Dewana collected 63 of his Kafis from various manuscripts, which are full of music and contain a priceless treasure of ethics. These Kafis are sung in different ragas and raginis, which further enhance their musicality and impact.

Symbolic System and Allegorical Representation

The symbolic system that Shah Hussain used in his poetry is connected to Punjab’s rural life and domestic crafts. Particularly through references to the “spinning wheel” (charkha) and “bangles” (choori), he explained the reality of life. The spinning wheel is not just a wooden structure but a symbol of the human body. Just as the spinning wheel requires effort and focus to spin, similarly, human life must be woven with the thread of good deeds.

“Valo Jhulaya” – For this reason, the “spinning wheel” holds fundamental importance
Spinning Wheel = The Human Body

Through this allegory, Shah Hussain explains that just as from the carded cotton (puniyan) to spinning on the wheel, then to winding (eetan) and finally to the loom (khadhi), this entire process is a long journey, exactly like the soul’s journey passes through various stages. The puniyan (carded cotton rolls) symbolize good intentions, and the spinning of thread symbolizes action and spiritual discipline. If the thread is weak or has knots, the cloth on the loom will not be proper, meaning if a person’s deeds are incomplete, they will be ashamed in the presence of their true Master (the Creator). The excellence of his allegorical representation is that he connected a common household task to the great philosophy of the universe.

Continuity of Shah Hussain’s Allegorical Representation

Shah Hussain gave a profound Sufi symbol to every action of life in his poetry. Just as every action connected to the spinning wheel is compared to different stages of human life. The thread spun on the wheel takes the form of cloth, and the entire process up to weaving the cloth is essentially a part of human action and life. According to Shah Hussain, this act of spinning is worship. He meant five puniyan as the five daily prayers, which are the fundamental pillars of a Muslim’s life. Similarly, seven puniyan refer to the five prayers including Ishraaq and Tahajjud, indicating higher stages of spirituality.

The entire process until the cloth is made is part of life. While explaining further stages of the spiritual journey, he says that Eetan (winding) refers to the recitation of Tasbih, which is necessary for the purification of the heart. Khadhi (loom), where cloth is prepared, refers to the reality of the grave, where a person must go wearing the garment prepared by his deeds. The thread that is spun, meaning the deeds that are done, their “twist” (majh) refers to the Record of Deeds. In this entire allegory, Shah Hussain presents himself as a woman spinning thread for the union with her “Kant” (husband or Divine Essence). This journey ends at “Alawa,” the hour of death, and finally “Doli” (palanquin) refers to the funeral bier that carries a person from this mortal world to their true Master.

Artistic Qualities and Language & Expression

Shah Hussain’s poetry possesses unparalleled musicality and impact from an artistic perspective. His words are perfectly aligned with music, which is why singing them brings a special joy. The rise and fall in his verses express human emotions. He used simile, metaphor, and symbols so beautifully that they directly penetrate the reader’s heart. Regarding language, Shah Hussain’s language is pure Punjabi, but it contains the cultural colors of Lahore of that time. Despite living in Lahore, the influence of Western Punjabi on his language is also prominent, proving that his poetry was equally popular and understood across all regions. He was a learned and erudite person, but his excellence in speech is that, despite his knowledge, he did not use any unfamiliar or heavy word in his poetry that would be beyond the understanding of a common Punjabi person; rather, he expressed great philosophies in simple and fluent language.

Sufi Coloring of Poetry: Unity of Existence (Wahdat-ul-Wujood)

The foundational pillar of Shah Hussain’s Sufi poetry is the concept of “Unity of Existence” (Wahdat-ul-Wujood). This most important theory of Sufism was presented by Sheikh Akbar Ibn Arabi, the essence of which is that the manifestation of God exists in everything in the universe, and everything is a form of God. This color is very deep in Shah Hussain’s Kafis, where he sees the manifestation of his Beloved in every particle of the universe. According to him, the veil between the Creator and creation is only that of human ego; when this ego ends, only “the Truth” (Haq) is seen everywhere. This very color makes Shah Hussain an immortal star of Punjabi Sufi poetry.

“O Lord, You are the knower of my state,
You are within, You are without, You are in every vein and pore.
Says Hussain, the humble faqir, I am nothing compared to all,
You alone are the warp, You alone are the weft, everything is Yours, O mine.”

In this Kafi, Shah Hussain used the symbol of “warp and weft” (tana-bana), which is a term from weaving. Just as cloth cannot come into existence without warp and weft, similarly, the existence of the universe is impossible without the Divine Essence. Further, he says that He alone is called virtuous, and He alone exists in every color. The greatest fortune for a bride (soul) is that her Husband (Lord) becomes dyed in her color, meaning the soul and the Lord become one.

“He alone is called the One Virtuous, the Master is of many colors,
Says Hussain, the bride of the Master, who is dyed in the Husband’s color.”

Sufism (Tasawwuf)

The color of Sufism in Shah Hussain’s poetry is very deep and symbolic. He expressed difficult issues of Sufism such as the importance of the spiritual guide (Murshid), annihilation in God (Fana fi Allah), and purification of the self (Tazkiya-e-Nafs) through the symbol of the spinning wheel. According to Shah Hussain, the entire edifice of Sufism stands on the two pillars (miniyan) of the spinning wheel. These pillars actually point to Shariah (Islamic law) and Tariqah (spiritual path). Just as the string (bair) of the spinning wheel connects all parts together, similarly, the love of the spiritual guide organizes all the actions of the disciple. According to Hussain Shahid, Shah Hussain gave a Sufi meaning to every part of the spinning wheel. The turning of the spinning wheel is synonymous with the remembrance of God (Zikr) for Shah Hussain. When the spinning wheel turns, the sound “Sai’n Sai’n” (Master, Master) emerges from it, which testifies that everything in the universe is glorifying its Creator.

“The spinning wheel says ‘Master, Master’, the string says ‘You’,
Says Hussain, the faqir of the Master, I am nothing compared to all.”

True Love (Ishq-e-Haqiqi)

According to Shah Hussain, the only path to union with the Lord is True Love. Through the symbol of the needle and thread, he explained that just as a needle joins torn pieces of cloth, similarly, Divine Love connects a person to their true center (the Lord). Purity of the soul is the first condition for meeting the Lord. If the thread is dirty or has knots, it cannot pass through the eye of the needle. Similarly, if a person’s heart is filled with malice, hatred, and worldly greed, they cannot attain the realization of the Lord.

The Path of Love and Purification of the Self

Shah Hussain compares the path of True Love to the eye of a needle, for which it is essential for the thread to be clean and without knots. These knots are essentially human ego, pride, and worldly desires. If a person is not pure from within, they cannot traverse this narrow path of love. He says that when a person becomes free from worldly tasks and worries, only then do they receive the special proximity of the Lord or “contemplation” (Muraqaba).

“If you are a lover, then earn love,
The path of love is like the eye of a needle; if you are thread, then pass through.
Pure on the outside but polluted within, why do you call yourself a sheikh?
Says Hussain, if you become free, then you will attain special contemplation.”

In this journey of love, the young woman (soul) is eager to go to the abode of her Ranjha (Lord). This path is not easy; there is a deep river and an ancient ferry, but for the true lover, the guidance of the spiritual guide (physician) exists, who knows the cure for the pain. Shah Hussain, calling himself a humble faqir, pleads at the door of the Master to protect his honor.

“I too am going to Ranjha’s abode, let someone come with me,
I fall at your feet and beg, I am going alone.
The river is deep and the ferry is old, a boat is found with great difficulty,
Ranjha, the friend, is a physician who hears, I have pain in my body.
Says Hussain, the humble faqir, let the Master send a message.”

Aversion to Other Than Allah (Ghairullah)

An important lesson in Shah Hussain’s poetry is that a person should worship the Lord with pure devotion. If there is a desire for anyone other than the Lord in the heart, that worship is incomplete. According to him, asking only from the Lord and trusting only in Him is true worship. For this purpose, he used the symbol of “Kherhay” (other men). In Sufi terminology, “Kherha” refers to worldly greed, carnal desires, and anything other than Allah, while “Ranjha” is the Divine Essence. He says that Heer (the soul) should not even take the name of other men (the world), because her connection is only with Ranjha. Even if people call Heer crazy or mock her, she does not care because her true friend and her Pure Master are with her.

“O mother! Do not speak to me of other men,
Ranjha is mine and I am Ranjha’s, I cast a false glance at others.
People think Heer is crazy, but Heer’s groom is the one,
Says Hussain, the faqir of the Master, the Pure Master knows.”

This allegorical representation of Shah Hussain teaches that Sufism is not just seclusion, but the removal of “other” from within and the establishment of “the Truth” (Haq).

Recognition of the Self (Man di Pachhan)

A major purpose of Shah Hussain’s poetry is “Man di Pachhan” i.e., the realization of one’s own self. In light of the famous saying “Man ‘arafa nafsahu faqad ‘arafa rabbahu” (Whoever knows himself knows his Lord), he advises humans to look within themselves instead of wandering in the external world. Man is the radish of the Lord’s garden, meaning His creation, but unfortunately, having forgotten his origin, he has become entangled in the gains and losses of the world.

“Man ‘arafa nafsahu faqad ‘arafa rabbahu”
“O Hussain, you are the radish of whose garden? Whose garden’s radish are you?
You do not recognize yourself, why do you wander looking at others?”

The Need for a Spiritual Guide (Murshid)

The importance of the spiritual guide in the path of Sufism cannot be denied. According to Shah Hussain, the spiritual guide is the guide who takes the seeker from darkness to light. The night of life is dark and the rain of sins is falling; in such difficult times, only the hand of the guide can save a person from drowning. Without a guide, this journey is impossible, because there are many robbers of the self on the path.

“My arm is in the beloved’s hand, how can I say let go?
The night is dark, there is a downpour of sin, how difficult has it become to hold the arm.”

The Ferry of Faqr / The Wealth of the Faqir

The path of faqr (spiritual poverty) appears very difficult outwardly, but in reality, this is the path of peace. Shah Hussain called faqr a “ghaat” (ferry) to reach which a person must endure great hardships. This path involves being insulted, enduring patience, and giving up pride. Faqr does not merely mean poverty, but being content with the Lord’s will. If a person adopts humility, they become a true traveler on the Lord’s path. The true wealth of faqr is “tearing the book” (daftar parna), meaning tearing the pages of worldly knowledge and pride and learning the lesson of love.

“Difficult is the ferry of the faqir, O that!
I have eaten the price, endured the abuse, and passed through the ordeal.
Give up pride, adopt humility, take the path of the lion, O that!
Says Hussain, the humble faqir, tear the book, O that!”

The Prayer of Hussain Faqir

Shah Hussain often ends his poetry with prayer and supplication. He believes that Allah hears the prayer of the faqirs and never turns them away empty-handed. He prayed for everyone that Allah protect everyone’s honor and grant everyone His realization. According to him, there is no beloved like the Lord, and without His remembrance, everything in the world is perishable.

“Allah hears the prayer of the faqirs. He prayed for everyone:
‘Do not forget the Lord,’ this is the prayer of the faqirs.
Forget not the Lord, forget everything else, there is none like the Lord.”

This journey of Shah Hussain’s Kafi begins with humility and ends with the Lord’s will and prayer. His poetry continues to kindle the flame of Divine love in our hearts.

Separation (Hijr) and the Spiritual Guide

The most impactful aspect of Shah Hussain’s poetry is the state of “separation and parting.” To express this longing, he addresses “mother” (mai’n), which is a way to share the inner pain of his soul. The separation from the Beloved (Lord) is such a disease that no one else can know its condition. The role of the spiritual guide appears here as a guide, without whom recognition of the Beloved is impossible. Shah Hussain says that searching for the Beloved in forests and thickets is futile, because He is within you. When a person recognizes the “Beloved” within themselves, then this longing of separation transforms into union.

“O mother, to whom shall I tell the state of the pain of separation?
The smoke rises towards my guide; when will I find the Beloved?
I wander searching in forests and thickets, yet have not found the Beloved.
Says Hussain, the humble faqir, when I meet the Husband, I will be blessed.”

Ethical Color: The Instability of the World

A large part of Shah Hussain’s poetry is based on moral lessons, in which he warns humans about the instability of the world. According to him, this world is a temporary inn where everything is perishable. Humans should not take pride in their existence, because ultimately everyone must merge into the dust. Using the symbol of “four days of stay at the inn” (char diharay goyal wasa), he expressed the impermanence of life.

“O foolish one, consider each moment as precious,
You come for a while, you go for a while, the whole world is perishable.
It is a stay of four days at the inn, do not take so much pride,
Says Hussain, the humble faqir, in the end, you will merge into the dust.”

Concern for the Hereafter

In his poetry, Shah Hussain connected the concern for the Hereafter with the symbol of “daaj” (dowry) in an allegorical manner. Just as a girl must prepare her dowry before marriage so that she can go to her next home with honor, similarly, a soul must prepare the dowry of good deeds. Using the allegory of woman, gold, and dowry, he shakes the heedless human: if you do not spin the thread (deeds) today, what face will you show tomorrow at the Husband’s (Lord’s) house? The young woman who wastes time playing in the streets will ultimately suffer the pain of separation.

“Where have you been lost, O girl, where have you been lost?
You wasted your entire life like this; you did not run and spin, you foolish one.
You wander in the streets and play, you forgot this one thing.
Says Hussain, the humble faqir, the dowry is about to depart.”

This allegorical representation of Shah Hussain is actually a warning that humans should spend the precious moments of their lives in good deeds, because after death, only these deeds will be our true asset.

Hope for Forgiveness and Grace / Humility

The concept of forgiveness in Shah Hussain’s poetry is based on the Lord’s grace and mercy rather than deeds. He believes that if the Lord were to bring justice, there would be no place for sinners like us, but if He shows grace, even those with black faces like us can be forgiven. Expressing his humility, he says that I am filled with flaws and only hope for Your grace.

“If You do justice, even the high-ranked tremble,
If You show grace, even those with black faces like me are forgiven.”

He supplicates before the Lord not to look at his sins but to forgive him with His attribute of forgiveness. As a humble faqir, he knocks on the Lord’s door, saying that there is no support for me except You.

“O Lord, do not keep my sins in mind,
This sinner has no virtues; every pore is filled with flaws.
If my life passes, O beloved of my comfort, I lie at Your door.
Says Hussain, the humble faqir, may the Master show grace.”

Humility and Modesty

Shah Hussain’s entire life and poetry are an example of humility and modesty. He never took pride in his knowledge or worship, but always called himself “the dog at the Lord’s door.” This humility is the extreme of the Sufi station, where a person considers the erasure of their “self” as the true success.

“If you show a glance of mercy, I lie on the upper floor,
Call me the dog of Hussain, the faqir of the Master, at Your door.”

Condemnation of Pride and Arrogance

According to Shah Hussain, pride and arrogance are the greatest enemies of spirituality. He repeatedly advises to give up arrogance and adopt humility, because the wise person is the one who erases themselves. The true path of faqr is to be lost in the remembrance of the Lord (Sai’n Sai’n).

“Give up arrogance, adopt humility, what do you call wisdom?
Says Hussain, the humble faqir, always hear the Master within.”

The Lesson of Actions (Deeds)

Sufism does not mean withdrawal from actions; rather, according to Shah Hussain, the true Sufi is the one who performs good deeds. He says that in the Hereafter, only “deeds” will be recognized; your external appearance or Sufi cloak will be of no use. Whatever a person sows, they will reap. Do good and you will receive good; this is the immutable law of the universe.

“The reckoning will be on the basis of deeds, whether a Sufi or a scavenger,
Whatever evil or good one has done, they will receive their own reward.”

This essence of Shah Hussain’s Kafis shows us an ethical and spiritual path where humility, hope for Divine grace, and the importance of good deeds are paramount.

Gratitude (Shukr)

A very important aspect of Shah Hussain’s faqr is “gratitude.” According to the noble Sufis, the station of gratitude is that a person should consider even every trial and pain from the Lord as His mercy. Shah Hussain says that if the Lord’s name settles in the heart, then no sorrow or pain of the world can approach a person. Remaining grateful in every condition is true worship.

“Hussain presents this supplication: ‘Whatever You do, I accept with my heart,
No pain or sorrow will come near; every moment is for offering gratitude.'”

Universal Truths

Shah Hussain’s poetry is not for any specific era or region but is “universal.” The truths present in his poetry are as fresh today as they were four hundred years ago. He pointed to those habits of human nature that do not change. He says that just as whiteness cannot be applied to black cloth, or a crow can never become a heron, similarly, people who are corrupt from within are difficult to reform externally. For true reformation, “looking within” is essential. Only the seeker of truth can understand the true word.

“Whiteness does not stick to black cloth, crows do not become herons,
Sometime, you must look within.
The true word is not heard, O man, how can the true word be heard? It must be ingrained in the bones.”

The Symbol of Heer Ranjha

In Punjabi Sufi poetry, the story of Heer Ranjha is not just a folk tale but a great allegory of the union between the soul and the Lord. Shah Hussain gave this symbol the heights of perfection. When Heer (the soul) becomes so absorbed in the remembrance of Ranjha (the Lord) that she begins to see herself as Ranjha, this is the station of “annihilation in God” (Fana fi Allah). When a person’s ego ends and they become merged in the essence of their Beloved, then whether someone calls them “Heer” or not, they have become Ranjha.

“Crying ‘Ranjha, Ranjha’, I myself have become Ranjha,
Call me ‘Ranjha, Ranjha’, do not call me Heer, no one.”

This immortal Kafi of Shah Hussain is the most beautiful and simplest example of the philosophy of the Unity of Existence (Wahdat-ul-Wujood), which shows that the ultimate end of love is that there remains no difference between the lover and the Beloved.