Raashid Rather
Rasul Mir Shahabadi popular in literary circles as Rasul Mir was born in 1940 in historic Dooru-Shahabad town in south Kashmir’s Anantnag district. He is often referred as Imam-e-Ishqiya-Shayiri (the perfect example of romanticism). Mohammad Yousuf Taing in his book Kullliyat-e-Rasul Mir acknowledges Rasul Mir as a Mukdam, village chieftain, during agrarian prevalent era in Kashmir.
Rasul Mir has been undoubtedly one of the leading romantic poets of Kashmir of 19th century, which has earned him the sobriquet of ‘John Keats of Kashmir’. Mir is credited to have formally introduced the Ghazal genre in Kashmiri poetry.
Some of the popular verses of his famous poem are:
Gaste Visyae Lal’e Chhum Dhoorae; Meah Chu Moorae Lalwun Naar
The verse can be roughly translated as; Go my friend my love stays for away; I have to nurture the fire of love every day.
Rasul Mir is revered by many as one of the greatest poet of Kashmiri language and genuinely so for his outstanding poetry. Nevertheless one would love to see Rasul Mir with Mirza Ghalib on the basis of their optimum works. And for me I think Rasul Mir is as complete poet of Kashmiri language as is Mirza Ghalib in Urdu. Both the poets seem to have a vast knowledge and grip on the rhythm of their poetry, the two wrote each verse with great depth, profound emotion, passion and meter. Both were the masters of poetry and had great control on the languages. Mir and Ghalib are nonetheless very difficult to comprehend and interpret by a casual reader even their poetized lyrics are regarded as most arduous poetry in the respective languages but still we see the duo most famed, loved, read and remembered till date.
Some notable couplets of both Rasul Mir and Mirza Ghalib are composed in such way that it seems as if they have been together while writing them;
Aah Ko Chaahiye Ik Umr Asar Hone Tak; Kaun Jeeta Hai Teri Zulf Ke Sar Hone Tak
A lifetime fades before a sigh shows its results; Who would live so long to see thy dark curls fixed up – Mirza Ghalib
Za-eil Wankan Ball Yel Laagie Shumaar; Pachh Lagnas Ganz-rans Lachh Ti Hazaar
Tami Shayeh No Muklan Payeh Lo Lo; Rind Poosh Maal Gind-nay Drayeh Lo Lo
When beloved shall begin to count the curly locks; Days shall change into weeks and weeks into years
But is still impossible to get rid of; The lovely dear Poosh Maal is going out to play – Rasul Mir
The most predominant theme of Rasul Mir’s poetry both Vatsun and Ghazal are cherished themes of love. If love is the theme of Rasul Mirs poetry music is its technique. Rasul Mir’s poetry is something that is to be sung not read. Primarily a singer Mir led a singing party moving from place to place and singing (Chakri) and Rouff (Wanwun). Most of his songs were composed for occasions of singing and would surely have been different if merely for writing purpose.
Mohammad Yousaf Taing in his book Kullliyat-e-Rasul Mir says that Mir was in love with a Brahman maid named ‘Kwong’, a resident of his native place. Taing says that both Mir and Kwong were known to each other since childhood and received their elementary education from the same teacher.
It is widely believed that the poet wrote all his love poems addressed to this young women (Kwong). Though one can’t find any mention of marriage of the two, however few poems, ‘Rind poshmaal’, Bal Maraiyo, Kwongi Haaw Te Paan’, written by Mir to express his love and remember his beloved.
The Poetic works (Qalaam) of Rasul Mir is limited to seventy nine poems or baeths (a Kashmiri lyrical ballad) including a Ghazal in Persian language. His notable works include, Rindh Posh Maal, Balmarayo, Gaste Visyae, Ashq Tsuroh.
Legend is that once Rasul Mir was composing a poem, while he concluded all the stanzas, he got stuck at the very last couplet where he was supposed to cite his name. For few days he tried to compose the last couplet but no fitting verse was striking his mind. It was first time in his life when proper words were not coming to his mind otherwise Mir being superfluous in vocabulary. After failing each time he tried writing, Mir finally visited the tomb (Mazaar) of Mehmood Gami and sat next to Gami’s grave. He kept his head down on the grave for a while and on getting up wrote the final couplet to complete his poem. It again is in folklore that when Mir was at the grave he saw Mehmood Gami in his dream who told him the last stanza of the poem. This is the first couplet of that poem: Thare Zan Poosh Harie Kael; Bale Marieye My Roosh
Translation: Today or tomorrow I shall fall like blossoms in autumn; For my sake don’t be annoyed or I shall die.
Rasul Mir’s later life however seems to have been quite sober and serene. He became a disciple of Murshid (spiritual guide), Sheikh Ahmad Tarbali and according to people in knowhow of his life history had another Murshid at Tral. In his later life the poet was often seen sitting alone as if in an intoxicated state, near the Verinag spring, seemingly absorbed in his own thoughts with moonlight shimmering on its blue waters. It is said that during the last days of his life, he sat at the south side window on the ground floor of the Khanqah and spent his time in solitude. He wished to be buried under the same window. Mir left for heavenly abode in 1870 and his resting place is at Khanqah-e-Faize Panah in in his native village Dooru-Shahabad.
Mir in one of his famous poem wrote;
Rasul Mir Chue Shahabad Doorae; Aem Chue Tramut Ashque Dukaan
Yeevo Ashkou Cheyiv Turi Turae; Mea Chu Moorae Lalwun Naar
Translation: Rasul Mir is at Shahabad Dooru; He has opened a love tavern
Come lovers, drink cupfuls away; I have to nurture the fire of love everday
The author is pursuing his M.A in English Literature from University of Kashmir, Dargah Hazratbal
