In Kashmiri literature, the poetry of Lall Ded and Shaikh Ul Alam (Nund Rishi), often regarded as senior and junior contemporaries, forms the cornerstone of our literary heritage. However, prominent scholars like Prof. Rahman Rahi, Prof. T. N. Gunjoo, and Dina Nath Nadim have suggested that the high standard of their poetry may indicate an evolution rather than the beginning of Kashmiri literary tradition. Their works encapsulate profound philosophical insights and spiritual wisdom, which raises the possibility that these verses evolved through earlier poetic and mystical experiences.

In a previous study, I explored the shared themes of wisdom, spiritual guidance, and metaphorical significance between the 14th-century mystic poet Lall Ded’s Vaakh and European poetic traditions, such as Albanian, Africana, Norse, and German Valk poetry. This paper seeks to explore whether Shaikh Ul Alam’s Shuky (locally pronounced as Shruky) shares similar connections with other Indo-European languages, or whether it remains an indigenous Kashmiri genre.
As we know, early human migration—from Africa to Crete, Europe, and the Indian subcontinent—laid the foundation for linguistic and cultural exchanges across regions. These migrations shaped the development of numerous languages and cultures, including those of the Balkans and the Indian subcontinent. Therefore, in our quest to understand the depths of Kashmiri literature—whether in the Mahany Prakash, Lall Ded’s Vaakh, or Shaikh Ul Alam’s Shuky—we must consider the Indo-European linguistic roots and the impact of the Silk Route on cultural exchanges in Kashmir.
The Silk Route, in particular, played a crucial role in facilitating cultural and linguistic exchanges. Kashmir, as a significant hub, attracted scholars, traders, and spiritual seekers, enriching its cultural tapestry. This historical context helps explain the rich diversity and depth of Shaikh Ul Alam’s spiritual insights, which closely mirror those of his spiritual mother, Lall Ded. Their poetry offers timeless reflections on universal themes and embodies the profound cultural heritage that shapes our understanding of spiritual wisdom.
Archaeological evidence suggests continuity between the ancient Indus Valley civilization and early Kashmiri culture, further supported by findings at Rakhigarhi, which highlight connections between the Harappan civilization and early Kashmiri cultural practices. Given this historical context, it is not surprising that our language and literature share roots with other sister languages of the Indo-European family, as these languages stem from the same ancestral source. This study is thus supported by historical, linguistic, and cultural contexts that link Lall Ded’s Vaakh and Shaikh Ul Alam’s Shryuk to intriguing parallels in other Indo-European poetic traditions, shedding light on the shared themes of wisdom, spiritual guidance, and metaphorical significance across cultures.
At the same time, we must acknowledge that in the evolving landscape of research—where archaeology and anthropology continue to unearth astonishing new findings—it is crucial to re-examine our understanding of these poets and their works. A deeper, more comprehensive study of their poetry, particularly within the context of Vedic traditions, is essential for shedding light on the full richness of Kashmiri literature.
Shaikh Ul Alam remains a towering figure in the spiritual and cultural history of Kashmir. His dual role as both a Shaikh and a Rishi underscores his profound influence on the region’s religious and philosophical landscape. His poetry reflects a synthesis of Vedantic, Buddhist, and indigenous Shaivite elements, creating a unique poetic language that speaks to universal human experiences.
For example, in his poetry, he writes:
Yekh tulekatur te sheen
Byun byun paeda kor Ashyn
Yamath khotukh pori kin Raw
Tamath timan tryn akuy gaw.
This blend of Vedantic, Buddhist, and Shaivite traditions reflects the holistic understanding that Shaikh Ul Alam had of the world—a world that is transient, impermanent, and ever-changing.
One of the core themes in Shaikh Ul Alam’s poetry is the notion of impermanence and spiritual awakening, resonating with both Vedantic ideas of renunciation and Buddhist concepts of Nirvana. For instance, in one of his verses:
Raj kor skandery tajdaran
(Alexander the Emperor ruled)
Temy kuh mal niu vantam sety
Has he taken any wealth with him?
Dail dith tchond di neele mazaran
Have a visit to the greenery of graveyards.
Asi bronth asi hi gaemity keaty.
And see that many before us have already departed this world.
Here, the natural metaphors—graveyards, the impermanence of wealth—speak to a timeless truth: everything material is transient, and the true wealth lies in spiritual realization.
Shaikh Ul Alam’s teachings are deeply rooted in the principles of love and unity. He believed that the purpose of creation was to spread love and foster unity among people, much like the teachings of Rumi, who said: "You were born to unite, not to divide." Shaikh Ul Alam’s poetry advocates for a life of simplicity, compassion, and universal brotherhood. One of his verses reflects this idea:
Aashiq suy yus Ashiqe nare dazey
(The true lover is one who burns with the fire of love,)
Suon zan prezless panenuy paan
(who sacrifices himself for the beloved and transcends the physical realm)
Ashqeny dag yes waeniji sazey
(to unite with the divine, glitters you gold like. )

Lall Ded, a revered mystic poetess, is believed by local myths to have spiritually nourished Shaikh Ul Alam, symbolized by her feeding him her breast milk—signifying the deep spiritual bond they shared. Shaikh Ul Alam hailed her as his "spiritual mother," acknowledging her profound influence on his own spiritual journey. Lall Ded's Vaakh and Shaikh Ul Alam’s Shruky both resonate with the themes of divine love and unity, offering wisdom that transcends time and cultural boundaries.
As Jaya Lal Koul notes in his work Lall Ded, Rahman Rahi once made an interesting distinction between the Vaakh and the Shruky: "Lall Ded’s Vaakh are live embers, while Shaikh’s Shruky are like sparks in dying ashes." While Rahi acknowledges the thematic similarities between the two, he also highlights the profound intensity of Lall Ded's verses.
Despite the occasional comparisons between the two forms, Moti Lal Saki argues that Vaakh and Shruky are "two sides of the same coin," reflecting the same spiritual depth but within different cultural and linguistic frameworks. Saki further asserts that both forms should be judged by their poetic qualities, not through communal lenses, as their teachings transcend religious divisions. Prof. Majruh Rashid has rightly said, “In my opinion Lal Dyad's most representative verses evoke a suggestive emotion in the reader's mind and lending themselves to many an interpretation whereas the poems of Shaikh Ul Alam are mostly metaphoric and we see a wonderful use of figures of speech in them that tell of his creative prowess.”

The Linguistic Roots of "Shrukh" and Its Parallels with Other Traditions
Regarding the word Shuky, many scholars, including Moti Lal Saki, trace its origin to the Sanskrit word Shaloka—although there are important differences between the two. A Shaloka is a standard poetic unit in Hindu scriptures, often seen in texts like the Mahabharata and Ramayana, and follows a rigid metrical structure. While there are similarities between Greek stichos and Sanskrit shloka, both poetic forms are distinct from the more fluid and mystical Shuky found in Shaikh Ul Alam's work.
Interestingly, the term "Shuk" in Shaikh Ul Alam’s poetry is unique to the Kashmiri tradition. He famously said: “Kan thaw Shukyen”—“Carefully listen to the Shuky”—inviting readers to engage deeply with the wisdom contained in these verses. Unlike the rigid metrical form of the Shaloka, the Shuky is more flexible, often utilizing natural metaphors to express spiritual and philosophical insights.
Despite these differences, the shared themes of spiritual wisdom and the quest for enlightenment echo across different Indo-European poetic traditions, from ancient Greek and Sanskrit poetry to medieval Christian mysticism. These cross-cultural parallels highlight the universal human yearning for divine truth and self-realization, as exemplified in the works of Shaikh Ul Alam as well.
During the Middle Ages, Dutch poets like Hadewijch ,a 13th-century mystic and Jacob van Maerlant 14th century religious mystic, coincedential contemporaries of Lalla,and Shaikh, wrote mystical and religious poetry. Hadewijch, composed poems that explored deep spiritual experiences and divine love, somewhat akin to the themes found in Shuk and Vakh. Jan Van wrote more prose than poetry also delved into spiritual and existential themes in his work.
Hadewijch: ‘Ic ben in minen here ghevaen
Ende in minen here ghevaen’
(I am captured by my Lord
And in my Lord captured)
Jan van Ruusbroec (1293-1381): Die minne es een vlamme (Love is a flame
Die minne es een vlamme (Love is a flame)
During the Middle Ages Meister Eckhart (1260-1328c Middle High German) mystic, composed sermons and writings that explored the nature of God and the soul, resonating with the spiritual depth of Shuk.
Got ist ein grunt (God is a ground
der nie verswîchet that never fails
und in dem grunt and in that ground
ist ein stille is a stillness)
Old Norse Poetry,Hávamál (Sayings of the High One):Deyr fé,Cattle die,
deyja frændr kinsmen die,
deyr sjálfr it sama the self must also die
ek veit einn I know one thing
at aldri deyr that never dies:
dómr um dauðan hvern the fame of a dead
man's deeds.
These examples reflect the spiritual and philosophical depth found in the poetry of these traditions, while distinct in their cultural and linguistic contexts, share a common thread of exploring deep spiritual and philosophical themes through poetry, much like the Shuk of Shaikh Ul Alam.

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