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Muslim Saints of South Asia: The eleventh to ... - blog blog blog

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THE HERMIT OF LAHORE<br />

(jalāl) on the other. And further on in the same section <strong>of</strong> the poem<br />

Iqbal puts in al-Hujwiri’s mouth his concept <strong>of</strong> an active, energetic<br />

personality khūdī, the revelation <strong>of</strong> whose secrets is the main purpose<br />

<strong>of</strong> his mathnawī.<br />

Obviously Iqbal was impressed by the figure <strong>of</strong> al-Hujwiri as well<br />

as by the type <strong>of</strong> sainthood personified by him, 17 since sukr (sobriety),<br />

envisaging absolute self-control and moderation, obedience <strong>to</strong><br />

religious law, eulogized by the poet, and, what is still more important,<br />

absence <strong>of</strong> ‘vedantic’ syncretism, which he rejected and <strong>to</strong> which he<br />

attributed the excesses <strong>of</strong> ecstatic Sufism and the concept <strong>of</strong> wah˛dat<br />

al-wujūd (unity <strong>of</strong> Being), were inherent in the convictions and world<br />

view <strong>of</strong> the author <strong>of</strong> Kashf al- mah˛jūb.<br />

Dātā Darbār has not changed much since the days Iqbal used <strong>to</strong><br />

visit it: in the second half <strong>of</strong> the twentieth century the dargāh was<br />

repaired more than once but it was not reconstructed. In pictures<br />

and coloured pho<strong>to</strong>graphs the dome <strong>of</strong> the <strong>to</strong>mb is shown <strong>to</strong> be a rich<br />

emerald colour. In reality, from a distance it seems <strong>to</strong> be a moving<br />

and swaying white-grey mass with islets <strong>of</strong> green, since from the<br />

spire up <strong>to</strong> the drum it is covered completely with a living carpet <strong>of</strong><br />

pigeons. When the courtyard <strong>of</strong> the <strong>to</strong>mb is not crowded one can<br />

hear how the pigeons animatedly coo, as if holding a ‘conversation<br />

<strong>of</strong> birds’ (manţiq aţ-ţair), which, by ‘Attar’s happy initiative, became<br />

a metaphor <strong>of</strong> the mystics’ esoteric and ‘obscure’ language.<br />

A multitude <strong>of</strong> pigeons is a characteristic sign <strong>of</strong> the most important<br />

monuments <strong>of</strong> the <strong>Muslim</strong> world, for example, <strong>of</strong> Shaikh ‘Abdul<br />

Qadir Jilani’s <strong>to</strong>mb in Baghdad and <strong>of</strong> the Afghan complex Mazar-i<br />

Sharif. <strong>The</strong> pro<strong>to</strong>types <strong>of</strong> these birds, <strong>of</strong> course, are the kabūtarān-i<br />

h˛aram (forbidden, i.e. sacred, pigeons) <strong>of</strong> Mecca, symbolizing the<br />

prohibition <strong>of</strong> any violence against any living being in the sanctum<br />

sanc<strong>to</strong>rum <strong>of</strong> Islam. In accordance with the āyats, ‘And We made the<br />

House (in Mecca) a resort for mankind and a sanctuary’ (2: 125) and<br />

‘Have We not established for them a sure sanctuary?’, on the sacred<br />

terri<strong>to</strong>ry <strong>of</strong> Ka‘ba, particularly during H˛ajj, absolute safety is<br />

guaranteed <strong>to</strong> the people, the animals and even <strong>to</strong> the plants. This<br />

prohibition, and also the cus<strong>to</strong>m <strong>of</strong> breeding and feeding pigeons,<br />

was in the course <strong>of</strong> time also extended <strong>to</strong> those places <strong>of</strong> pilgrimage<br />

connected with the cult <strong>of</strong> the saints. And the pilgrims themselves,<br />

dressed in white ih˛rām (the robe worn by pilgrims), were <strong>of</strong>ten<br />

compared with the ‘prohibited pigeons’.<br />

This connotation became so entrenched in the consciousness <strong>of</strong><br />

the <strong>Muslim</strong>s that when in 1987 more than six hundred persons,<br />

performing H˛ajj suffered in clashes with the Saudi forces <strong>of</strong> law<br />

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