The creative world of 'Banglar Rumi'

The creative works of celebrated writer Syed Ahmadul Huq, popularly known as 'Banglar Rumi' throughout Bangladesh, are a perfect blend of erudition, historical consciousness, philosophical insight and poetic brilliance. It is gratifying to note that Allama Rumi Society Bangladesh has taken a praiseworthy initiative to systematically publish the collected works of this outstanding scholar. This also ensures the preservation of Banglar Rumi's creative experimentations in the domain of Bengali literature at a historical juncture when the world is apparently sliding towards the abyss of intolerance and exclusivism culminating in periodical outbursts of violence. Needless to say that such a tendency is hardly entertained in the mystical and humane world of the Sufis who are scarcely immune from the assaults launched by the representatives of hegemonic orthodoxy in the subcontinent and beyond. The collected works of Banglar Rumi is a timely publication in this larger context. He was genuinely motivated by the urge to promote inter-faith dialogue and transnational goodwill which is resonated in his creative ventures relating to the world of Muslim mystics, particularly when he escorts the active and imaginative readers through the improvising literary productions of the illustrious Persian poet Jalaluddin Rumi. 

The world is replete with literature on Rumi and Sufism in English, German, French, Persian, Arabic and Urdu. But when it comes to Bengali, there is scope for massive multiplication of this genre. This is a painful experience because the Bengali speaking people constitute one of the largest linguistic groups of the subcontinent. Even the great Enamul Huq produced his magnum opus, A History of Sufism in Bengal, in English. This is true about other greats such as Abdul Karim, Abdur Rahim and Tapan Raychaudhury. Though Professors Karim and Huq left some works on the sufis in Bengali, those were not regarded as their major works. Seen from this angle, Banglar Rumi's vernacularising ventures in the genre are significantly praiseworthy, as it enables the commoners to access mystical poetry which spearheaded the Persian Renaissance in the pre-modern period. It goes without saying that this Persian Renaissance created ripples in the sub-continental intellectual world, spanning up to the era of Raja Rammohun Roy and the great Tagores. In this larger perspective, Ahmadul Huq's writings truly unveil the human face of Eastern South Asia's (which incorporates Bangladesh) socio-cultural world. 

Long before the advent of Gandhi on the political map of the subcontinent, eclectic spiritual leader Kesab Chandra Sen realised the significance of comparative theology in the embryonic form of the nation building process which involved intercommunity goodwill. He deputised his disciple Bhai Girish Chandra Sen to dedicate his entire life to Islamic studies, which the latter did remarkably successfully. Bhai Girish Chandra Sen is credited with the successful translation of the entire Quran from the original Arabic into Bengali. He extensively wrote on the Sufis and Persian literary personalities. When he died in the early twentieth century, both Hindus and Muslims had joined that funeral procession, defying the communal disharmony that characterised the decade. We may recollect here that Jalaluddin Rumi's death was also mourned by Muslims, Christians and Jews which confirms his universal acceptability. Unfortunately, many valuable works produced by this prolific Arabic and Persian knowing Bengali scholar have been lost since the posterity did not realise the significance of preserving them. Thanks to the noble initiative of Allama Rumi Society Bangladesh, a similar fate would not be embraced by Banglar Rumi's prolificity.

In one place, Ahmadul Huq has implied that like a genuine Sufi poet, Rumi distanced himself from reason (aql) which characterises the action of a demon and emphasised undivided loyalty to the Supreme Being. But I think we need not always rely on literal translations of Persian Sufi poetry because creative writers such as Rumi, Khayyam and Hafez used allegories and symbols to express their views. Moreover, translation from the original Persian into Bengali is an extremely challenging task. Thirdly, interpretation or translation is often situational. For example, during various challenges and uncertainties, reason often takes a backseat. But when Islam was strongly entrenched during its classical phase and even after, when the three great empires, i.e., the Mughals, the Safavids and the Ottomans were enjoying their heydays, reason occupied a dignified position in the madrassah curriculum. During the golden era of Islam, the Prophet himself emphasised ijtihad [independent reasoning or the thorough exertion of a jurist's mental faculty in finding a solution to a legal question]. In the modern era, great Muslim leaders such as Muhammad Abduh, Sir Sayyid Ahmed Khan, and Maulana Abul Kalam Azad recognised its importance for the betterment of mankind. In this broader context, let us see how Jalaluddin Rumi was celebrated in Akbaride South Asia. In tune with Emperor Akbar's desire, a particular portion from Rumi's Masnawi used to be recited before him.

In this way, the great mystical poet blended rationalism with spiritualism. This creative experimentation of Rumi was translated into practice during the Akbaride regime through the Qadiriya Sufi doctrine of Sulh-i-kul or "Peace with all". Rumi's personal crisis unleashed his creativity. His qalandariyya murshid was killed under mysterious circumstances. He witnessed the unsettling situation in Central Asia and West Asia due to Mongol raids which was followed by large scale migration. Similarly, Banglar Rumi experienced colonial subjugation associated with the infamous divide and rule policy culminating in violent de-syncretisation of Bengali society during and after independence. Last, but not the least, during the continuation of political hegemony under the Pakistan regime, that was also characterised by direct assault on his sweet mother tongue, the Bengali language, eventually leading to the Liberation War, Huq coped with this crisis through creativity. This involved putting emphasis on symbols of harmony, humanity, mutual understanding and mutual appreciation as resonated in the endeavours of Sufis, Sufi poets and folk singers such as the Maijbhandaris of Chittagong. On his fifth death anniversary, we pay tribute to his ideas and literary ventures by locating them on this broader perspective.

The writer is Professor of History, University of Calcutta.