Abstract

This article revisits the expansive literary contributions of Maqbool Shah Kralawari, a visionary poet who not only pioneered mystical expression in Kashmiri poetry but also documented socio-political oppression with unparalleled honesty. Through his emblematic works—Gulrez, Greest Nama, Peer Nama, Yousuf Zulaikha, and Persian translations—Kralawari emerges as a poetic force who blended Sufi metaphysics, social conscience, and vernacular elegance. We also address misattributions linked to "Maqbool Amritsari," and critically reassess the historical estimates of his birth, emphasizing the need for neutral, manuscript-driven scholarship.
Introduction
Maqbool Shah Kralawari stands as a multifaceted figure in 19th-century Kashmiri literary tradition. While often celebrated for Gulrez, his lyrical ode to spiritual love, few acknowledge the full breadth of his contributions. He wrote against feudal tyranny, critiqued his own spiritual class, translated classical Persian works, and infused Sufi philosophy into vernacular Kashmiri verse. His pen was as capable of capturing divine ecstasy as it was of exposing social injustice.
Gulrez: Romance as Mystical Allegory
At the heart of Kralawari's legacy is Gulrez, a Persian-style mathnavi that weaves the fantastical love tale of Ajab Malik and Noshlab. Noshlab, a fairy princess, is punished by her mother and transformed into a bird when she is seen embracing Ajab Malik. Her mother's anger reflects Kashmiri's societal values surrounding chastity and honor.
Ajab Malik’s heroic journey—from slaying the devil Afreet to facing abandonment—becomes symbolic of the spiritual seeker’s path. His perseverance, despite losing companions and facing immense trials, echoes the Sufi ideal that only the steadfast reach divine union.
The scene where Ajab meets Noshlab and falls asleep is especially crucial—it represents the fourth stage of Sufi spiritual development, where the seeker may mistake momentary peace for the final truth. If complacent, one remains trapped; if resolute, the soul moves forward.
“Maqboole rahi dilbar mov pakh siwayi rahabar / Pai tshand paervy kar Saheb dilam Mubarak”
("Maqbool followed the path of the beloved rather than the guide—finding footprints, he declared: O master of my heart, blessings upon you.")
This couplet affirms that love—not doctrine—was his compass, aligning with experiential Sufi spirituality.
Nature as Spiritual Symbolism
Nature in Gulrez is not a backdrop—it is a living metaphor:
Gardens become sanctuaries of divine presence.
Birds, especially the bulbul, symbolize the soul’s cry.
Fragrance and breeze evoke dhikr and spiritual memory.
“Subho phol bulbulav tul shor I govga / Gayas bedar mutchriem chesmi shuhal / Na dyuthum yar nay bage ki gul / Na boozum dar chaman awaaz I bulbul”
The morning awakens, birds sing, yet the beloved is absent—a lament echoing the soul’s yearning.
His works Aabnama and Bahar Nama also use elements—water and spring—as metaphors for purification and rebirth.
Greest Nama & Peer Nama: Literature of Protest
Kralawari’s revolutionary voice rises in Greest Nama, where he highlights the plight of Kashmiri peasants under feudal torment:
Shakdar, Sazawul, and Doome were instruments of oppression.
Families were extorted for livestock, grain, and labor.
Peasants endured public flogging, shame, and deprivation.
His Peer Nama boldly critiques his own spiritual class:
“Diwan Raishs kangov nundbone peera / Libas rut tchenith zan bode Asira?”
("Peers, dressed in piety, have become jailers of the poor—how can their robes conceal the chains they impose?")
These works stand as early Kashmiri poetic documentation of class exploitation, making Kralawari not just a mystic—but a voice of the subaltern.
Yousuf Zulaikha and Persian Lineage
Kralawari's rendition of Yousuf Zulaikha reimagines the Persian classic with Kashmiri depth:
Zulaikha’s carnal desire becomes purified devotion.
Yousuf’s beauty reflects divine perfection.
The palace scenes become metaphors for spiritual chambers.
Unlike earlier adaptations by Jami or Mahmud Gami, Kralawari infuses intense emotional layers and spiritual undertones, affirming his command of Persian motifs and Kashmiri lyricism. Reassessing Authorship & Chronology
Birth Date Controversy:-
Renowned scholar M. Y. Teng placed Kralawari’s birth in 1820. However, a Persian ghazal in the author’s possession,
"Qumri dar nawayi ko ko
Mi zanad dar hawyi ho ho "
published in Achhtar magazine by Azad Cultural Forum Chadoora, contains a copying date earlier than 1820—thus challenging the accepted chronology.
This necessitates a scholarly audit based on:
Manuscript dating
Scribe annotations
Oral transmission timelines
The "Maqbool Amritsari" Misattribution:-
Editor M. L. Saqi, after reviewing the aforementioned Persian Ghazal and other Kashmiri ghazals, affirmed that:
> “The poetry attributed to Maqbool Amritsari is, without doubt, authored by Maqbool Shah Kralawari.”
The label “Amritsari” likely emerged from his murid presence in regions like Amritsar , Gujranwala, Lahor, rather than separate authorship. This reinforces the idea of one literary soul, viewed through multiple regional prisms.
Gulrez as a Map of Sufi Stages
Gulrez implicitly mirrors the seven stations of the soul, as articulated by Ibn Arabi and Al-Ghazali. Ajab Malik’s transformation tracks each stage:
| Stage | Concept | Ajab Malik’s Experience |
|------------------|--------------------------|---------------------------------------------|
| Nafs al-Ammara | Commanding self | Passion begins |
| Nafs al-Lawwama | Self-reproaching | Separation and moral tension |
| Nafs al-Mulhima | Inspired self | Guided by visions and longing |
| Nafs al-Mutma’inna| Peaceful self | Sleep after union—danger of stagnation |
| Nafs al-Radiyya | Contented self | Awakening and continued suffering |
| Nafs al-Mardiyya | Pleasing to God | Reunion and illumination |
| Nafs al-Kamila | Perfected self | Union with beloved—a divine metaphor |
This positioning makes Gulrez not only a love story, but a spiritual map for seekers.
Nature as Spiritual Symbolism

Nature in Gulrez is alive with a metaphor:
Gardens reflect divine presence
Birds like the bulbul and crow express longing and awakening
Fragrance and breeze evoke remembrance (dhikr)
“Ashqe wavay awelensey manz lejmov navov / Kawov nitemov tas gulazaras miyani grawov”
> ("Love’s breeze stirred my soul’s veil anew /Oh, the crow’s ,my messenger, make him to listen my complaints enjoys a dwelling in the blooming garden.")
Here, the crow (kaw)—often seen as ominous—becomes a symbol of mystical awakening, showing that even the ordinary can trigger divine transformation.
Greest Nama & Peer Nama: Literature of Protest:-
In Greest Nama, Kralawari exposes the exploitation of Kashmiri peasants by feudal agents:-
Shakdars, Sazawuls, Doomes extorted grain, livestock, and dignity
Villagers faced public humiliation and forced labor
In Peer Nama, he critiques the spiritual elite:
“Diwan Raishs kangov nundbone peera / Libasah rut tchenith zan bode Asira?”
("Peers, dressed in piety, have become prisenors of their gait and jailers of the poor—how can their robes conceal the chains they impose?")
These verses make him a poetic reformer, aligned with Lal Ded and Nund Rishi's style.
Conclusion
Maqbool Shah Kralawari’s poetic legacy is a radiant blend of mysticism, rebellion, and realism. From his sublime verses in Gulrez to the unflinching truths of Greest Nama, he crafted a voice that still resonates across centuries. His works deserve renewed attention—not only for their aesthetic brilliance but for their ethical and spiritual weight.
His path was not paved in abstraction—it was carved with pain, love, fire, and courage.
walo ha subhekey khoshbayi wavo
nito tas gulazaras miyani grawov
Su boxiya ya na boziya toti wenizes
firaqi yaar laegith aar anizeys
Oh you, the morning breeze Carrey inner utterances to my beloved, whether he listens or not you narrate my vows before the deweler of the blooming garden”

Email:--------------------------shamshadkralwari@gmail.com