Fading Nauhas and Salams of Nawab Raza Ali Khan of Rampur

Fading Nauhas and Salams of Nawab Raza Ali Khan of Rampur

By Prof.Mazhar Naqvi

The literary contribution of Nawab Raza Ali Khan of Rampur to the memory of martyrs of Karbala and Masoomeen has been a subject of minimal study. It is quite surprising as the library named after him is not only one of the largest in Indian sub-continent but also attracts a large number of research scholars looking for material on a wide of range of topics.

No doubt, his name is taken with reverence as the architect of Rampur after its merger with the Indian Union. His role as ruler with modern outlook before the merger has also been highlighted. Even a detail description of his coronation ceremony on August 26, 1930 in presence of British Governor of united Provinces of Awadh and Agra Sir William Malcolm Hailey is found in the History of Rampur written by Mr. Shaukat Ali. But why due attention has not been given to his lamentation poetry backed by musical notes and appropriate ‘ragas’ still remains an unanswered question?   

Nawab Raza Ali Khan’s poetry deserves attention as it is not composed in conventional mode nor written in Urdu. He has composed Salams, Nauhas and Marsiyas in Braj and Awadhi dialect. He did so deliberately so as to enable an ordinary person to understand what was being recited and in whose memory the lamenting poem has been written.       

How simply he calls the King of martyrs is indicated by his composition titled Dar-E-Shan-E-Husain based on Raag Darbari:

“Fatima Dulare Aao Aao

Ali Ke tare Aao Aao

Raza Nabi Sharan laiye Mujra

Hasan Ji Pyare Aao Aao “

(“Fatima’s beloved Come on, Ali’s Star Come on

Raza submits under Prophet’s Blessings a call ‘O’ adorable Husain Ji Come on “)

Similarly, he expresses jubilation over the birth of Imam Zain Ul Abdeen and congratulates his grand mother and Khatoon –e-Jannat (Lady of Paradise)Bibi Fatima. The use of words once again is very simple and lucid and set to the tune of ‘Raag Kamod’ by Nawab Raza himself :  

“Chamka Fatima Lo Chautha Tara

Damka Prakash se Sansar Sara

Hussain Ji Sun Lo Poot ka Mujra

Raza Piya Hai Sevak Tumhara”

(‘O ‘Fatima, the fourth star has illuminated the whole world with its shine. O Husain ,  listen to beloved’s composition as Raza is just a humble servant of yours’)

Nawab Raza has also not deviated while producing Nauhas and composed them with words taken from  Braj and Awadhi languages. His lamentation on the martyrdom of Hazrat Ali Asghar, the 6- month old son of Imam Husain leaves the listener not only soaked with sad emotions but also shed tears automatically :  

“Boli Mata Mukh Chupala Hai Hai

Lautkar Asghar Na Aaye Hai Hai

Ma Nippoti Tum Ko Soya jaan Ke

Raat Bhar Jhula Hulayo Hai Hai

Laaj rakh Li tumne Mere doodh Ki

Muskura kar baan Khayo hai Hai

Kya pitaji Sang Jaake Kho gaye

God Meri Phir Na payo Hai Hai

Tirphala,wo baan wo Nanha Gala

Ae raza Kya Rang Layo hai Hai  “

(“The mother has covered her face with Sorrow but Alas! Asghar has not returned. Mother thought of you as fast asleep and kept swinging your cradle whole night, You protected the sanctity of my milk, you received the arrow with a smile, have you lost with your father, you have never been on my lap, that  three pronged arrow and your little neck, O Raza what a calamity and tragedy has befallen” )

Another example of his lamentation poetry is his Nauha on the martyrdom of Hazrat Ali Akbar, Hazrat Qasim and the plight of the survivors of Karbala and harsh treatment meted out to them on the orders of Caliph Yazid and his cruel commanders:

“Karbal Ban Mein Bano dukhiya Khadi Pachare khawen Hai

Rain Andheri bale Asghar Mata tehari Bulawan hai

Bake Akbar Qasim Beeran Tor gaye sab Raksha Bandhan

Jake Karan aaj Sakina Kanan Rakt Bahawat hai

Raza nabi ki deven duhai Ghor Ghata Ab Dukh Ki Chayee

Sees Khula Bano Zainab Ka Abid Kode Khawan Hai “

“ (Grief stricken Bano is crying in the Jungle of Karbala,

O Asghar your mother is calling in the dark hours of night,

Brave Akbar and Qasim has broken their promise to protect

Sakina is bleeding as a sequel to their martyrdom,

Raza seeks intervention of Prophet as the dark cloud of sorrow has engulfed

 Bano and Zainab are bare headed and Abid is being flogged )”

How beautifully, he has composed the conversation between the prophet and his beloved daughter Bibi Fatima after the holy birth of Imam Husain.He says :

“Fatima Kahe Nabi se baba ,Laao Husain Ki Doodh pilai

Pita kahain dee swarg sarita, Ishwar ne Mori jayee

Jibrail Laaye Ishwar sandesa jag ka Hua kalian

Man Mandir se taan jo Nikli, Raza kavita kahlayee”

“(Fatima tells Prophet ‘O’ Baba, please give reward for feeding Husain,

Baba replies ‘O’ My Daughter, Allah has blessed you with river in paradise,

Jibrail has conveyed the divine message about the welfare of the world

The musical voice originated from the temple of heart becomes Raza’s poetry)”

There is an urgent need to protect the compositions of Nawab Raza Ali Khan. He was born on November 17,1906 and died on March 6,1966 at the age of 60.He lies buried close to shrine of Maula Ali In Najaf-e-Ashraf(Iraq).His lamentation poetry has earned much popularity  during his lifetime and was recited during Muharram processions. Professional singers were invited or retained to recite Salams, Nauhas and Marsiyas during Muharram. As Muharram was observed under his patronage, the Salams and Nauhas of Nawab Raza Ali had penetrated into the villages of the state and become a part of the folklore. The situation has just reversed since then. Even youths of Imami faith are not much aware about Nawab Raza Ali Khan’s literary pursuits or lamentation poetry. It is indeed an example of utter thanklessness to the memory of a ruler who was symbol of communal harmony, piety and charity mainly because of teachings of Masoomeen that shaped his personality.