98. Arkhael maan ker seeith khaas chhandanas: Samad Mir
صمد میٖر
اَرکٔھلۍ مان کٔر سٕتۍ خاصہ ژندنس
اَندنَس نٕہ زانہہ یِم نیاے
کر زانِہ لال مۆختہ فوتٕہ لاگِہ گِندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/ərkʰəliː mān kər sɨti xaːsə ʦəndənəs/
/andanas nə zãnʱ jim njaːj/
/kər zaːnɪ laːl moːxte pʰutɨ laːgɪ gɪndənəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Arkhael maan ker seeit khaase tsandanas
Andanas ne zanh yim nyaay
Kar zaani laal mokhte phoati lago gindanas
Andanas ne zañh yim nyaay
Words:
Arkhol: اَرکٔھول : Wild Varnish. A forest plant whose sap causes blisters when in contact with the human skin.
Chhandun: ژندُن : Sandalwood
Nyay: نیاے : Dispute, contention.
Phoate: فوتہ : Glass beads
Translation:
The wild varnish tree strove with sandalwood rare,
Such contention will never resolve for it there.
He who counts pearls as mere beads in play,
Such contention unresolved will ever stay.
Commentary:
The poem’s theme is about non-resolution of the inner conflicts. This stanza reflects two kinds of irreconcilable conflicts.
First, when something inherently baser, symbolised by the wild varnish tree, tries to contend with or rival something inherently refined, like the sandalwood. The essential nature of each ensures that the conflict cannot be resolved. It is not a matter of moral failing, but of inherent incompatibility between what is coarse and what is noble in essence.
Moreover, the one who treats pearls as mere glass beads, playing with them in futile games, represents a soul that fails to recognize the value of divine truths or spiritual treasures. His conflict too remains unresolved ever.
رازس زاگِہ نیرِ شال شکارس
شیرس چھیہ لٲزم ماے
پازس گال چھا پیٖنژٕ کانِہ گۆندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/raːzəs zaːgɪ neːrɪ ʃaːl ʃɪkaːrəs/
/ʃeːrəs t͡ʃʰe lɑːzɨm maːj/
/pɑːzəs gaːl t͡ʃʰaː piːnʦɨ kaːnɪ goːndənəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Raazas zaagi neri shaal shikaaras
Sheras chhe laezim maay
Paazas gaal chha peentsi kaani gondanas
Andanas ne zanh yim nyaay
Words:
In different editions of the book, the first word of the stanza is written either as روزُس or روٗنز .روٗنزس is not found in any dictionary that I went through. Be it Persian, Kashmiri, Hindi, or Sanskrit dictionary. However, this word is in usage in some Dari-Persian regions near Pakistan-Afghanistan Border and means musk deer. From the sung versions it is also not clear what is the exact word. Personally, I feel it is رازس because it perfectly rhymes with the first word of the third line. If we see the pattern of the poem, most of the stanzas’ first word of first line and first word of third line rhymes perfectly e.g., مستوٗرۍ & کوستوٗرۍ and راب & تاب and خاصٕہ & ناسٕہ and کندٕ & چندٕ and پَلٕہ بأر & کُلمار (Slightly slant rhyme) and دچِھہ & لچِھہ and راو & تھاو and جۄیہِ & پَے (slightly slant rhyme) and اَر (first letters of first word of the poem) & کر. So, I don’t think there is any doubt that why the word should not be رازس. It moreover fits in perfectly for a loin is called as King as well.
Maay: ماے : Pretension or feigning stillness for achieving some motive.
Paaz: پاز : Falcon
Peentsi Kaaen: پیٖنژٕ کانِۍ : Indian white-eye bird
Gondun: گۆندن : to flatter to achieve some motive
Translation:
The jackal sets forth to ambush the King,
The loin must feign caution, still in everything.
Is it fitting the falcon flatter a bird so small?
Such contention will never resolve for it at all.
Commentary:
The jackal, representing the baser self, lies in ambush, always seeking to overpower the noble soul, the King loin. The loin, symbolizing the higher self, must remain cautiously still and feign ignorance, as if unaware of the jackal’s schemes, even though it holds complete power over it. It is more like being playful with the baser self by the higher self. Likewise, the falcon, like the loin, pretends to flatter the tiny bird, appearing playful and submissive, while in truth it has full control. These contentions between the baser self and higher self will never resolve.
مستوٗرۍ بافس موٗچ آیہِ بارسس
بستوٗرۍ ترأوِکھ نیاے
کوستوٗرۍ نافس کیا کرِ پۄندٕ نس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/mastuːriː baːfəs muːt͡ʃ aːjih baːrəsəs/
/bastuːriː traːwɪkʰ njaːj/
/kostuːriː naːfəs kjaː kərɪ pɔndɨnəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Mastuuir baafas muuich aayih baarsas
Bastuuri traewikh nyaay
Kostuuir naafas kya kari pondanas
Andanas na zanh yim nyaay
Words:
Mastoor: مستوٗر : Hidden, Secret, Veiled
Baaf: باف : Weaver's craftshop
Muuich: موٗچ : Cobblers
Baarsas: بارسس : Arrogance (after getting elevated too soon)
Bastuuir: بستوٗرۍ : Bag
Kastuuir naaf :کوستوٗرۍ ناف : Musk pod
Pondun: پۄندن : To sneeze
Translation:
In the veiled craft shop, the cobblers rose in pride,
Their humble bags stirred up a swelling conflict tide.
What can they do when musk pods make them sneeze?
Such contention shall linger, and never cease.
Commentary:
This stanza reflects the tension between outer acquisition and inner readiness. The cobblers, unlearned and uncultured, suddenly find themselves elevated. They gain access to the craft shop where hidden, precious things are created. Symbolically, this represents souls or individuals who acquire spiritual gifts or knowledge without having developed the inner refinement or understanding to handle them properly. Their bags, their habitual means of carrying provisions, now become a source of conflict, as they are inadequate vessels for the subtle, sacred, or hidden treasures.
The poet illustrates the absurdity of this mismatch with the example of someone who sneezes at the sight of a musk pod. The musk is a symbol of refined and valuable spiritual essence and the one whose soul is not receptive, finds it repulsive. The inner conflict, arising from arrogance, immaturity, or misalignment with what is precious, will never be resolved.
راب گور ملوتھ دیو بیمارس
ہییہِ نو ماچھچ شاے
تاب دارٕ گیو کتہِ یی آب مندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/raːb ɡor milvit̪ʰ diːv bɪmaːrs/
/heːjih noː mɑːŋt͡ʃɨt͡ʃ ʃaːj/
/t̪ɑːb daːr ɡev kət̪i jɪ aːb mandənəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Raab gore milvith div bemaras
Heyi no maanchich shaay
Taabdaar gev kati yi aab mandanas
Andanas na zanh yim nyaay
Words:
Raab: راب : Molasses. Also used to mix in tobacco for use in Hukka.
Gore: گور : Jaggery
Taabdaar: تاب دارٕ : Lusturous
Mandun: مندن : To Churn
Translation:
Give jaggery and molasses to the sick one,
But honey’s healing power cannot be undone.
From churning water, no butter will appear,
Such contentions will never settle anywhere.
Commentary:
Giving jaggery and molasses to the sick symbolises partial remedies, actions that may comfort temporarily but cannot provide true healing. Such substitutes, no matter how sweet or nourishing, cannot replace the healing power of honey, which represents divine medicine. Similarly, churning water in hopes of producing lustrous butter reflects futile effort applied to an inadequate medium. True transformation requires the right substance, preparation, and receptivity. The soul that tries to achieve spirituality by counterfeit means (Jaggery v/s Honey binary) and get the spiritual benefits by doing futile efforts (Churning water) can have never the resolution of his inner conflict.
خاصٕہ کؠمخابٕہ سٕتۍ رٔچھ بنیٚا پُر وقار
ہرنٕہ چشمن پزیٚا ہاے
ناسٕہ تراس زانِہ کیا پاسٕہ سۆن کُندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/kʰaːsɨh kəmxɑːbɨh sɨtiː rɘt͡ʃʰ bənjaː pʊr vɘqaːr/
/hərnɨh t͡ʃəʃmən pəzjaː haːj/
/naːsɨh traːs zaːnɪ kjaː paːsɨh soːn kʊndənəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Khaasih kemkhaabih seeit rechh banya pur veqaar
Hernih cheshman pazya haay
Naasih traas zaani kya paasih sonn kundanas
Andanas na zanh yim nyaay
Words:
Kemkhaab: کؠمخابٕہ : Precious silk
Rechh: رٔچھ : Amulet
Hernih cheshm: ہرنٕہ چشم : Gazelle eyes
Haay: ہاے : Soot
Naase traas: ناسٕہ تراس : Stupid
Paasih sonn: پاسٕہ سۆن : Pure Gold
Kundan: کُندن : Pure Gold
Translation:
Will the amulet gain honor from silken ties?
Does soot belong upon the gazelle’s eyes?
What can the fool know of gold so pure?
Such contention will remain forever sure.
Commentary:
The stanza points to the fact that outer adornments cannot enhance true worth. Covering an amulet with printed silk does not make it more sacred. Likewise, something crude cannot befit what is inherently beautiful, as soot does not belong on gazelle eyes. Forcing the unworthy upon the refined creates disharmony. True wisdom, like pure gold, cannot be grasped by the ignorant or stupid. Hence, the resulting contention remains unresolvable.
کندٕپورۍ پۆختہٕ کار ہؠنِہ دراو مۆختہ ہار
اَندٕ وَند چھس کُنی تراے
چندٕ چھۆن یۆد پھیرِ لوہوٗرۍ لندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/qənd̪ʱpoːrɨː pɔxt̪ɦə kaːr hənɨh draːw moːxt̪ɦə haːr/
/ənd̪ɵ wənd̪ɘ t͡ʃʰəs kʊni trɑːy/
/t͡ʃənd̪ɘ t͡ʃʰoːn joːd pʰɘrɨ lʊhʊːrɨː ləndənəs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Kandhpuir pokhte-kaar henih draav mokhte-haar
Andeh wandeh chhes kuni traay
Chandeh chhon yod pheri lahuuir londanas
Andanas na zanh yim nyaay
Translation:
The steadfast in Kandapura sought the pearl necklace,
From beginning to end, had single inclination to possess.
The empty-pocketed may roam Lahore and London,
Such contention will never resolve for him, not even then.
Commentary:
Kandapura means a central energy point in the lower body, near the navel, from which the breath-energy starts and spreads through the body. It is called a “city” because all vital movement begins there. It has been used by Lall Dedh in one of her Vaakhs.
In Sufi practice, Kandapur can be understood as the lower centre (near navel) of the body which is directly affected by the remembrance and the remembrance waves radiate to all the body from there. When the seeker controls the breath and remembers Allah, this raw energy is transformed, allowing the heart and spirit to awaken. In this stanza Kandapuir pokhtekaar means a seeker firm in practicing remembrance of Almighty.
The stanza emphasizes that one who remains steadfast in remembrance develops an inclination to seek the Beloved in all engagements and occupations. Conversely, a person who remains inwardly empty and gains nothing in essence will never emerge from contention, even if he wanders across the length and breadth of the earth (Lahore or London).
پَلٕہ بأر تِلہٕ وآنۍ داندس چِھ مِلٕہ ژار
ٹھۄلِہ سٕتۍ ألران جاے
کُلمار کھوژیٚا بُم سِنہ تُندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/pəlɨ bɑːr tɪlɨ wɑːniː d̪ɑːnd̪as t͡ʃʰɪ mɪlɨ ʦɑːr/
/ʈʰɔlɨ sɨti ɑːlrɑːn d͡ʒɑːj/
/kʊlmɑːr kʰoʦʲɑː bʊmsɪni t̪ʊnd̪nas/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Palle baer tilwaen dandas chhi milchaar
Tholli seeit alraan jyaay
Kulmaar khochhya bomsini tundnas
Andnas ne zanh yim nyaay
Words:
Palle Baaer: پَلٕہ بأر : The stone that balances the distribution of weight of a scale. Used to distribute weight so that pressure is not applied disproportionately to one side.
Milchhar: مِلٕہ ژار : Harmony
Kulmaar: کُلمار : A large legendary serpent
Tundun: تُندن : Rage, anger, hot-temper
Translation:
The balancing stone and the oil-presser’s ox unite,
Yet the ox can shake the house with all its might.
Will the mighty serpent fear the earthworm’s spite?
Such contention's resolution will never see light.
Commentary:
This stanza speaks about harmony (small stone and Stout ox binary) and spiritual maturity (Large serpent and tiny earthworm binary). The oil-presser’s ox, when aligned with the small balancing stone, performs its task smoothly and helps press oil. It symbolising that when a seeker remains in harmony with discipline, guidance, and remembrance, the harmony yields true spiritual benefit. But when that harmony is broken, the same force causes turmoil, shaking a structure far larger than itself. This reflects how unchecked ego or inner discord creates disturbance disproportionate to one’s actual worth. The imagery of the earthworm showing anger toward the serpent shows another aspect i.e., the serpent, representing one who has attained depth in divine love and realization, remains unaffected, while the earthworm’s agitation harms only itself. In other terms, such contention exists in the earthworm that represents the souls that have not achieved anything and yet are scornful of those who are spiritually enlightened.
دچِھہ کُجِہ کأریگر وُچھ کوتاہ سؠزر
سۆ چھیہ ۂجۍ سر تا پاے
لچِھہ بٔدۍچھان یۆد تچھنس تہٕ رندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/d̪ʊt͡ʃʰɨ kʊd͡ʒɪ kɑːrɪɡɑːr wʊt͡ʃʰɨ kʊt̪ɑːh sɨːzɑːr/
/soː t͡ʃʰɪ hɨd͡ʒɪ sɑːr t̪ɑː pɑːj/
/lat͡ʃʰɪ bɨd tsɑːn joːd̪ t̪ʊt͡ʃʰnɑːs t̪ɨ rand̪nɑːs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Duchhi kujih kaergar wuchhi kotah sezar
So chhe hejj sar ta paay
Luchhi beddi chhaan yod tachhnas te randnas
Andnas ne zanh yim nyaay
Translation:
How much straightness can a craftsman seek in the vine,
Twisted head to toe, in every curve and line?
Though millions of carpenters chisel, carve, and ply,
Such contention will never in it untie.
Commentary:
This stanza illustrates the principle of innate nature and inherent limitations. The grapevine, twisted from head to toe, represents a heart or soul that is naturally entangled, disordered, or misaligned. No matter how much a craftsman, or even millions of carpenters, try to straighten it, its inherent twists remain. In Sufi terms, this symbolizes that external effort alone cannot reform the inner being. The true transformation requires alignment with divine guidance, inner receptivity, and grace. The “contention” refers to the inherent crookedness of the grapevine (such souls) which will never be resolved no matter what.
راو مو پانہٕ چُھکھ پانس مۄختار
اغیارس گُمانہ ژھاے
تھاو کن باو چُھنہ حیوان خندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/rɑːw moː pɑːnɨ t͡ʃʰʊkʰ pɑːns mɔxt̪ɑːr/
/ɑɣjɑːrɑːs ɡʊmɑːnɨ ʦʰɑːj/
/t̪ʰɑːw kan bɑːw t͡ʃʰʊnɨ hɪːwɑːn xind̪nɑːs/
/andanas nə zãnʱ jim njaːj/
Romanisation:
Raav mo paane chhukh paanas mokhtar
Aghyaaras gumaane chhaay
Thaav kan baav chhune haywaan khindnas
Andnas ne zanh yim nyaay
Words:
Aghyaar: اغیار : Stranger
Ghumaan : گُمان : Doubt
Khindun: خندن : Play and leap sportively
Translation:
Do not be lost; your own command you hold,
The stranger nurtures a shadow of doubt untold.
Hear well the precept, no worth in beasts’ wild play,
Such contention will never resolve, and will ever stay.
Commentary:
This stanza emphasises the gift and responsibility of self-mastery. The seeker is reminded not to lose themselves, for they alone are in control of their actions and inclinations, able to choose between good and evil. The strangers unfamiliar with the path of divine love often doubt this mastery, assuming the heart is helpless against fate and worldly impulses. A stranger to the path of love is as good as an animal in the realms of Divine. The precept is that there is no worth in frolicking around in this world aimlessly like an animal. Such stranger soul will ever have this inner conflict and will never resolve.
جۄیہِ دِیا صمد میر لال مۆختہ اظہار
سُدرس چھ لٔدرٕچۍ تراے
پَے یؠمۍ نہ تھۆو ہیوُے پَر پان وؠندنس
اَندنَس نٕہ زانہہ یِم نیاے
IPA:
/ˈd͡ʒoːjɪh dɪjɑː Samad Mir lɑːl mɔxt̪ɑː ɪzʰɑːr/
/sʊd̪rəs t͡ʃʰe lɘd̪ɽɨt͡ʃʰɪ trɑːj/
/pɛːɪ jɪmɨ nɨ t̪ʰoːw hɪwui par pān wɘnd̪nɑːs/
/andanas nə zãnʱ jim njaːj/
Words:
Joyi: جۄی : Stream, brook, rill
Sadir: سُدر : Ocean, sea
Ladir: لٔدرٕ : Pearl
Traay: تراے : Inclination, inner nature
Parr paan: پَر پان : Stranger and Self or one's known
Vendun: وؠندن : Know, acknowledge
Translation:
Will a brook, O Samad Mir, unveil pearls or gems?
The ocean alone bears pearls by nature’s realms.
He who cannot discern the stranger from the self within,
Such contention remains forever unresolved therein.
Commentary:
The brook here symbolises the soul that is shallow and small as against the deep and vast ocean in terms of spiritual enlightenment and gnosis. The ocean by virtue of its depth and vastness produce pearls while as a brook just sparkles from surface only. The poet further says that not knowing the difference between two i.e., the stranger (unbeknown of the gnosis) and one’s own related (enlightened one) and takes what is shallow to be deep and what is only a reflection to be real. Such inner confusion cannot be settled and remains forever unsettled.
وللہ اعلم
Sung version:
If you can, please translate Samad Mir's "Tann naar daezz Arevali"
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