Marsiyakhwans of Delhi

Asaf Jah-1 who took Dargah Quli Khan to Delhi

Dr.Mazhar Naqvi

Muraqqa-E-Delhi, the personal diary of Dargah Quli Khan, is a significant source of Muharram ceremonies in Delhi during the later Mughal period. Unfortunately, little efforts have been made to create awareness about the diary among devotees of Ahle-Bait and a number of great Marsiyakhwans and patrons of Azadari in Delhi remain unknown to us even today. Dargah Quli Khan was an important official of Hyderabad and had visited Delhi as a part of the entourage of Nizam-Ul-Mulk, Asaf Jah- 1.He penned his observations about the various aspects of Delhi’s socio- cultural life during his stay from 1737 to 1741.As he reportedly professed Imami faith, he took great interest in witnessing Muharram rituals and has given a detailed account of rituals observed in memory of Imam Husain’s martyrdom during the reign of Mughal Emperor Mohammad Shah.

Dargah Quli Khan mixed freely with the people and ensured to visit all those places known for providing spiritual solace to Delhites. He paid visits to all the centers of socio- cultural activities so as to present correctly the wide range of his observations. His most remarkable contribution is the description of Marsiyakhwans of Delhi. Had he not specifically mentioned some of the best known Marsiyakhwans of Delhi of later Mughals, their names would have erased from the pages of history forever. The credit for christening of the diary as Muraqqa (Album) goes to Mirza Muzaffar Husain who extracted the portion relevant to Delhi for the first time in 1926 and arranged for its publication from Hyderabad.

Dargah Quli Khan has mentioned as many as eleven Marsiyakhwans who were popular for their composition and recitation. He has also given details about their physical appearance and also quality of their voices. Some of them were blessed with booming voiced and were able to fill the eyes of mourners with tears through the verses of the elegies. He also mentions a few Marsiyakhwans who were devoid of powerful voice but had so much pathos in their recital that left the devotees grief- stricken. Muraqqa presents the Marsiyakhwans in a hierarchal form and gives a superior position to those who wrote and recited both followed by the ones who only recited the elegiac poetry of others.

Muraqqa starts with the description of Mir Lutf Khan who according to the writer does not indicate any spiritual enlightenment from his bulky body, ugly and unattractive face. But he recited marsiyas with great skill and aplomb. Dargah Quli Khan suggests that Mir Lutf Khan should be called Muhtashim and honored as Maulana Hasan Kashi. It may here be noted that Muhtashim Kashani was associated as poet with the court of Shah Tehmasp( 1524-1576) of Safavid dynasty  and famous for a number of elegies composed by him on the tragic theme of Karbala. Muraqqa reveals that Mir Lutf Khan used to recite marsiyas full of agony and affliction at the mourning gatherings held at the palatial mansion of Javed Khan.

Dargah Quli Khan has also discussed specifically three brothers namely Maskeen, Hazeen and Ghamin who were quite popular in the art of composition and recitation of marsiyas. They were capable of afflicting the mourners more deeply than the listening of ‘Rauzatus-Shauda’. The trio devoted themselves to the memory of Hazrat Ali and his sons and eked out a decent living from their recitation. The translation of a stanza of their famous marsiya indicates their devotion to martyrs :

“We hardly know the difference between the breeze and the zephyr,

All we know is that who so ever brings us the news of our beloved, takes away our heart”    

Muraqqa is full of praise for Mir Abdullah who recited elegies of Hazeen and Nadim in such a way that wails and laments of the mourners always attained a high pitch. He was so popular that devotees gathered in large number hours before his arrival. The great musicians of 18^th century were unanimous in their opinion that Mir Abdullah was a superb elegist with a rhythmic voice never heard before. Many a qawwals also learnt from him the art of Marsiyakhwani.

Another marsiykhawan to figure in the Muraqqa is Shaikh Sultan who hailed from western Uttar Pradesh. Though he did not receive any formal training yet his recitations always evoked lamentation and wailing from the mourners. His rendering always created an atmosphere of grief and sadness at the Ashurkhanas. He used to recite marsiyas in a sonorous voice. Dargah Quli Khan also mentions Mir Turab Khan as a leading marsiykhawan whose recitation stunned the people to a state of melancholic silence. He was well-versed in the art of music and always left a great impact on mourners. Mir Turab commanded considerable respect among Marsiyakhwans of his times.

“The melancholic sounds of his elegies melt the heart and his wailing tones bring tears in the eyes. People are mesmerized by his recitations and some go into a state of trance. His dignified bearing in the Ashurkhana and other places of mourning is worth beholding”. This is how Muraqqa describes another popular Marsiyago Mirza Ibrahim but mentions nothing about his family and lineage. Mir Dervish Husain has been described as a worthy successor of Mir Abdulla by Dargah Quli Khan. He was patronized by Javed Khan and his recitation was highly appreciated and caused cacophony of wails among the mourners. His style and voice had a striking similarity with Mir Abdullah but devotees never accused him of copying due to his exemplary devotion to Ahle-Bait.

“Having heard him once they do not desire to hear him again, as the sheer force and impact of his recitation saps their strength”. This is the description of Jani Hajjan Marsiyago whose voice was so piercing and sharp as the razor’s edge. He was a favorite of nobles and accumulated huge wealth through recitation of elegies at the zenith of his career.  The last one to find a place in Muraqqa is Mohammad Nadim. His compositions were replete with sorrowful words and metaphors. His performance always had a mesmerizing affect on the listeners. Nadim excelled in the art of inserting verses of another poet in his composition ( tazmeen).He was greatly influenced by Wahshi, a  poet of Kirman (Iran) known for his Musaddas.( Stanza of an elegy).Muraqqa gives an example of Nadim’s elegy:

“Friends, hear the details of my problems, Hear the details of my life when I have nothing left.   

While reciting his marsiya, Nadim himself was afflicted so much that his listeners were simply left crestfallen.

While eulogizing the works of popular Marsiyakhwans, Dargah Quli Khan has also lamented over their poor economic condition. Except Jani Hajjan and the three brothers ,all other Marsiyakhwans were not affluent and also not held in high esteem. They were considered inferior to even a small Mansabdar and called razil instead of sharif. Their demand increase during Muharram only and they earned maximum during Mausam-e-Aza and lived frugally rest of the year. (Reference available on request)