In my earlier writings, I have posited Aziz Mian as a multi-dimensional personality. I have argued, and supported, the idea that Aziz Mian was a devout Shia in his religious history leanings but a mystic when it came to theology. He was as much a philosopher as he was an anomaly. Today, I investigate another aspect of his work that has gone unnoticed since its inception- Aziz Mian as a historian.
Islamic history is contested brutally. There exist multiple historiographies with differing undertones, anecdotes, characters and contexts. Each Islamic sect has sought to retrospectively construct it’s own history. For example, the concepts of ‘The Rightly Guided Caliphs’ and the ‘Twelver Imams’ are both retrospective constructs of the two biggest sects in Islam- the Sunnis and the (twelver) Shias.
It is important to note that this tussle between the two sects is not one over the historical incidents, but rather over their interpretation. Using the Sunni and the Shia school of thought as an example, both agree on historical events but the interpretations vary greatly. Thus when Aziz Mian invokes history in his qawwali, his references cannot be contested. What can be challenged is his interpretation but that becomes a difficult task given the already insinuating nature of the qawwali lyrics.
Aziz Mian’s intro to this qawwali is subtle and typical. To the common man, it is but an admission of man’s dependence on love. Aziz Mian argues that it is only in the company of such love that man can properly appreciate the beauty of life.
Tum na mano magar haqeeqat hai
Ishq insaan ki zaroorat hai
Aur un ki mehfil mein baith kar dekho
Zindagi kitni khoobsoorat hai
To a seasoned fan of Aziz Mian, however, it is evident that this is a reference to the necessity of imamate, a fundamental doctrine of the Shia faith. Aziz Mian sets the tone in his typical oppositional stance- he starts off by advising his audience that despite their objections, ishq is a necessity. This is the same position advocated by Shias in defense of their religious activities. Ishq, in this context, is taken to be devotional, rather than passionate.
Aziz Mian is then arguing for guidance from authority- the word un is purposely ambiguous. It does not signify who they might be. While un is also a used as a sign of respect, it is also plural and thus could refer to more than one person (as object of devotion). He also invokes the concept of proximity as a necessary vehicle for such display of devotion. It is only when one has accepted the limitations of a normal being, and has submitted themselves to the will of the higher beings, is one able to understand and admire life.
Ishq mein zindagi ka maza hai yehi
Aashiq e zaar pehlu badalta rahay
The chorus of this qawwali also holds an important meaning. Not only is this indicative of Aziz Mian’s wit but also his mastery at disguising his meaning. Aashiq-e-zaar can be understood as referring to the excesses of a lover. Because Aziz Mian often refers to himself as the lover, we can assume he is also doing that in this case. Pehlo badalta rahay refers to the tendency of the lover to be unable to sit still.
I posit that this chorus is a reference to the finality of Mohammed’s prophethood and a subsequent argument for the doctrine of imamate. Islam, which means submission, is built on devotion to Mohammed. However, Aziz Mian argues, that such a passionate love cannot merely be contained towards one person. The death of Mohammed means that the love must find an alternate outlet. It is a continuously evolving emotion rather than a static feeling. In fact, it is only this love for multiple beings, rather that simply Mohammed, which gives life its taste.
Rooangay dekh kar woh bistar ki har shikan ko
Woh baat likh chala hoon karvat badal badal kar
Having done away with his introduction and the first chorus, Aziz Mian now starts off with the proper qawwali. The literal translation is rather straight forward as he revels in his own mastery. He mentions how he has narrated a story without the use of words. It was his actions that told tales within themselves.
One cannot appreciate Aziz Mian’s brilliance at this point. It seems that the singer Aziz Mian is referring to the ‘imagined’ lover Aziz Mian. The ‘imagined’ lover Aziz Mian is praising himself. But if the imagined Aziz Mian is praising himself, isn’t he simply praising the singer Aziz Mian instead? While the ‘imagined’ Aziz Mian can certainly praise himself- telling a tale without words is a worthy achievement- what has the singer Aziz Mian done to merit such praise?
The answer is that the singer Aziz Mian too has told us a tale we have failed to grasp. The last couplet is not to be taken at face value but to be delved into. Given what we know about Aziz Mian’s Shia leanings, what we know about his interest in Islamic history, this being the beginning of the qawwali and the involvement of a character telling a tale using a bed, it is only logical to assume that this refers to Ali sleeping in Mohammed’s bed at the night of the hijrat.
Ali is a central figure in many qawwalis and is often referred to for his warrior attributes. Mohammed asked Ali to go to sleep in Mohammed’s bed and fool the Quraysh into believing that Mohammed was at home instead of migrating to Mecca. Ali did as asked and Mohammed managed to escape safely. The event is considered to be the beginning of the Muslim calendar. Ali, too, silently told a tale which Aziz Mian is referring to here. Perhaps it is this wordless narration that Aziz Mian is fond of?
The first line of the couplet is typically ambiguous. We do not know who is crying or why. Are they tears of happiness (by Mohammed for having such devout followers) or of jealousy (by other companions for not being chosen for this honor)? Perhaps it is the angels who are crying at Ali’s selflessness. However, the ambiguity of the first line only adds to the brilliant clarity of the second line. Perhaps it was this that Aziz Mian was praising himself for.
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