Sunday, September 13, 2026

On finding a spiritual guide

On finding a spiritual guide

بِسْمِ اللَّهِ الرَّحْمَٰنِ الرَّحِيمِ

Bismi llāhi r-raḥmāni r-raḥīm.

In the name of God, the All-Merciful, the Compassionate.

It is often said that we cannot choose our murshid, our spiritual guide, because the recognition must be mutual. Another familiar saying tells us that when the murīd, the seeker or disciple, is ready, the guide appears. I think both describe something of the same experience. We make a conscious decision to seek guidance, yet we may come to regard the meeting that follows as a gift from God. The effort is ours, even when we recognize grace in what it brings.

Being ready requires some honesty with ourselves. We may long for spiritual experience and still resist examining the habits that keep us preoccupied with ourselves. A willingness to acknowledge and work on those habits is already a beginning. Al-Qushayrī makes this connection in his discussion of irāda, spiritual desire or resolve: the murīd begins by leaving heedlessness and attending to character. We can begin that work while we are still looking for a teacher. [1]

Khusrow at the threshold

The story of Amīr Khusrow’s meeting with Hazrat Niẓām al-Dīn Awliyāʾ, the Chishti master of Delhi, illustrates this recognition. Their relationship holds a much-loved place in South Asian Sufi tradition. Accounts of their first encounter differ, however, and its precise historical details remain uncertain. [2]

In the version in which his mother accompanies him, the young Khusrow arrives at the khānqāh, the community where the shaykh teaches and receives seekers. He pauses at the entrance, wondering whether this is the person to whom he can entrust his spiritual formation. Silently, he composes these Persian lines:

تو آن شاهی که بر ایوانِ قصرت کبوتر گر نشیند، باز گردد غریبی، خسته‌جانی از در آمد بیاید اندرون یا باز گردد؟

Tu ān shāhī ke bar ayvān-e qasrat Kabūtar gar nishīnad, bāz gardad Gharībī, khasta-jānī az dar āmad Biyāyad andarūn yā bāz gardad?

You are that king upon whose palace terrace, if a pigeon alights, it becomes a falcon. A stranger, weary in soul, has come to the door. Should he come inside, or turn back?

Bāz means a falcon or hawk; bāz gardad can also mean “turn back.” The Persian gives transformation and departure the same sound, a play on words that the English cannot reproduce. Khusrow’s question also tells us what he hopes for: companionship with someone who might help him develop capacities he cannot yet bring to life himself.

According to the story, Niẓām al-Dīn perceives the unspoken question and sends a disciple to the entrance with a reply:

بیاید اندرون مردِ حقیقت که با ما یک نفس همراز گردد اگر جاهل بود آن مرد و نادان ز هر راهی که آید باز گردد

Biyāyad andarūn mard-e haqīqat Ke bā mā yak nafas hamrāz gardad Agar jāhil buvad ān mard o nādān Ze har rāhī ke āyad bāz gardad

Let the man of truth come within, and for one breath become our confidant. If that man is ignorant and unknowing, let him turn back by whatever road he comes.

The verses circulate in several wordings. These translations follow the Persian given here, including the variant final line.

In the telling, Khusrow hears the answer and knows that he has found his guide. His silent question has been understood. This moment of recognition has become an enduring image of love between a Sufi teacher and disciple.

Mard-e haqīqat means a “man of truth” or “man of reality.” I read it here as an address to someone who comes sincerely seeking truth. Hamrāz means a confidant, a person with whom an intimate matter or secret is shared. The invitation is tender: the stranger is welcomed into a conversation of trust.

The reference to ignorance is severe. It seems unlikely, though, that it should exclude everyone who lacks knowledge; learning is why a seeker approaches a teacher. I read it as a question about our willingness to learn. We can admit that we do not know, or we can hold fast to our opinions and ask a teacher to confirm them. The story asks us to examine the attitude with which we approach. This is my reading of its teaching; the historical shaykh’s exact intention cannot be established from the account.

The character of a guide

The miraculous reply belongs to the devotional story. We should not make such an event a test that every guide must perform. Al-Qushayrī records Abū Yazīd al-Bisṭāmī’s warning that even apparently extraordinary powers must be considered alongside a person’s fidelity to divine commands and prohibitions. An experience may move us deeply, but it takes time to know whether a teacher’s conduct is dependable. [1]

Al-Ghazālī gives a more practical account of mutual acceptance in Ayyuhā al-walad. He describes a seeker finding a qualified shaykh and the shaykh accepting the seeker. The qualifications are demanding: learning, formation under a discerning teacher, freedom from the love of status, and a character marked by patience, generosity, humility, truthfulness, and trustworthiness. He compares spiritual training to tending a cultivated plot and clearing the growth that obstructs what has been planted. [3]

Both people undertake a responsibility. The seeker must be willing to receive correction and practice what is taught. The teacher must have the competence and integrity to accept responsibility for another person’s formation. Affection may begin the relationship, but trust develops through their work together. A responsible teacher may also recognize that another guide would be better able to help a particular seeker.

Before committing ourselves, we need time to observe. How does the teacher respond to questions or disagreement? How are people treated when they have little money, no useful connections, or a difficult problem? Are those who have spent years in this company becoming more truthful and considerate? We can investigate a lineage, examine a teacher’s learning, and watch their conduct. Affection matters, alongside evidence that our trust is well placed.

Read together, two Qurʾānic passages help us understand the teacher’s role. One tells the Prophet that he cannot bestow guidance upon everyone he loves; the other affirms that he guides toward a straight path. They help us distinguish showing the way from granting the guidance itself. A teacher can instruct us, accompany us, and help us recognize our evasions. The opening of the heart remains God’s gift. [4]

Our gratitude to someone who has helped us pray, understand, or recover hope can be profound. A guide who continues to direct that gratitude toward God helps us deepen our faith. The relationship becomes confused when access to God is presented as a human being’s personal possession.

Classical accounts of discipleship often ask for considerable obedience. They also belong to a religious tradition in which the Prophet places a limit on obedience: it applies to what is right, never to disobedience to God. No claim to hidden wisdom can make exploitation or wrongdoing sacred. A seeker may ask for clarification, consult an independent person of knowledge, and withdraw from a relationship that violates this trust. [5]

Learning through companionship

Ṣuḥba, companionship, allows us to learn from the way another person lives. We notice how someone listens, keeps a promise, handles disappointment, or treats a person who can offer nothing in return. The Prophet compares good companionship to being near a bearer of musk: we benefit from the fragrance simply by being close. It is an apt image for the influence of someone whose conduct we observe over time. [6]

Khaliq Ahmad Nizami gives an account of such companionship in his introduction to Morals for the Heart. Drawing on Amīr Khurd’s Siyar al-awliyāʾ, he describes Khusrow staying after other visitors had left and talking with Niẓām al-Dīn about the events of the day. Their relationship had room for ordinary conversation. This account helps us see the everyday companionship that the gate story leaves out. [6]

Remembrance, prayer, self-examination, and service allow us to put what we learn into practice. Over time, we may find that we make fewer excuses when we have hurt someone, or that we remain attentive when another person’s suffering inconveniences us. Such changes can be hard to display and easy to overlook. They nevertheless show whether our spiritual longing is affecting the way we live.

The saying about the ready disciple should not be used to judge someone who has searched for a long time, or someone who has trusted an unsuitable teacher. We cannot judge another person’s readiness by how quickly they find a guide. The search itself can teach us to ask better questions and to look more carefully beyond appearances.

While searching, we can deepen our understanding of faith, fulfill the obligations we already know, repair an injury we have caused, and spend time with people who help us remember God. The Qurʾān associates striving for God with being guided along His ways. This gives us reason to persist without expecting a particular teacher, or a dramatic meeting, to arrive when we ask. [7]

The color of recognition

The Khusrow tradition expresses the joy of finding a guide through Āj Rang Hai, also known as Rang or Rang-e Khusrow. In devotional retellings, Khusrow shares with his mother his happiness at finding Niẓām al-Dīn. Their bond is central to the way the song is understood. The claim that he composed it at their first meeting, however, remains part of the traditional account. Much of the Hindavi poetry attributed to Khusrow has been passed down orally and has changed over generations. [2, 8]

Rang means color. In the song, it conveys the joy of finding the beloved’s presence everywhere. The title can be translated simply as “Today there is color.” The surroundings remain familiar, yet love changes the way they are seen. [9]

This imagery also brings to mind the Qurʾānic expression ṣibghat Allāh, the coloring of God. I hear a resonance between the two; I am not suggesting that the song deliberately quotes the verse. The association turns my attention to the purpose of spiritual formation: to live with a growing devotion to God. [10]

Khusrow’s hesitation at the door is familiar to anyone wondering whom to trust with their spiritual life. He hopes this teacher can help him become what he is called to be. His question is answered through an invitation to companionship, whose meaning will become clear in the life that follows.

For some, recognition may come suddenly; for others, trust grows slowly. We can search sincerely and remain open to grace in either case. When we return from the teacher’s company to our own responsibilities, the relationship continues in what we have learned to do: in our prayer, in our speech, and in the care we take with other people’s lives.

Source notes

The opening sayings are used as circulating spiritual counsel, without attribution to the Prophet or a particular early Sufi. The Persian exchange follows the supplied text rather than a critically established manuscript. The English verse translations were prepared for the preceding draft and have been retained. The historical accounts, devotional traditions, and personal interpretations are identified where they occur.

[1] Al-Qushayrī, Al-Qushayrī’s Epistle on Sufism, translated by Alexander D. Knysh (Garnet Publishing, 2007). See “Desire” (irāda), pp. 213–214, and the report from Abū Yazīd al-Bisṭāmī, p. 33, for active seeking and ethical discernment. Read source

[2] The contemporary shrine biography, “Biography Hzt Amir Khusrau,” gives a version of the gate story involving his father. Ally Adnan’s “Khusrau at the door of his master,” Daily Times, June 12, 2025, associates the story with his mother and connects it with Rang. These are present-day retellings, not contemporary witnesses to the medieval encounter. No early manuscript witness for the exact exchange was established in the research for this article. Read source 1 ; Read source 2

[3] Al-Ghazālī, Ayyuhā al-walad, §XIX, in George H. Scherer’s translation, reproduced online as O Beloved Son. Because the HTML contains transcription errors, the relevant passage is paraphrased. Its demanding account of obedience is acknowledged in the article; the practical applications are my own. Read source

[4] Qurʾān 28:56 and 42:52. The discussion offers a theological reading of the distinction between divine guidance and guiding someone toward the path. It does not claim that these verses specifically institute a later Sufi order. Read source 1 ; Read source 2

[5] Ṣaḥīḥ al-Bukhārī, no. 7257. The report concerns a commander’s wrongful order and states the limit of obedience. The article applies that principle to spiritual authority. Read source

[6] Ṣaḥīḥ al-Bukhārī, no. 5534, on beneficial and harmful companionship. Read source 1 . For the historical companionship, see Khaliq Ahmad Nizami’s introduction, p. 34, to Morals for the Heart, translated by Bruce B. Lawrence, drawing on Amīr Khurd’s Siyar al-awliyāʾ. This material belongs to the introduction, not to an assembly recorded in Fawāʾid al-fuʾād. Read source 2

[7] Qurʾān 29:69. The verse supports hope through sincere striving; it does not specify when a guide will appear. Read source

[8] Yousuf Saeed, “Amir Khusrau’s Hindvi Poetry: An Academic Riddle?” (2003), author-uploaded text. Used for the distinction between written preservation and an evolving oral repertoire, not as proof of the exact authorship or date of Āj Rang Hai. Read source

[9] “Aaj Rang Hai,” a secondary overview of the song, its color imagery, and its performance tradition. Used to explain the title and the song’s reception, not to settle medieval authorship. Read source

[10] Qurʾān 2:138. Ṣibgha carries the sense of dye or coloring; translations also interpret the expression in terms of God’s religion or way. The association with Rang is my own reflection. Read source

Sultan Bahu: The Meaning of Faqiri

Sultan Bāhū: The Meaning of Faqīrī

In my reading of this Punjabi quatrain, Sultan Bāhū makes abiding love and remembrance of God the measure of faqīrī.

Transmitted among his Abyāt, the poem is often printed as four long lines or eight shorter lines. It is identified by its opening words, “Nahī̃ faqīrī jhallīā̃ māran,” and appears as no. 179 in the Sultan-ul-Ashiqeen collection.

The Poem

The Punjabi text is followed by a readable transliteration and my English translation. I retain faqīrī because “spirituality” only partly conveys its meaning: the way of the faqīr, whose spiritual poverty involves relinquishing worldly attachments and seeking nearness to God. Explanation of faqr in Bahu’s tradition.

نہیں فقیری جھلّیاں مارن، سُتّیاں لوک جگاون ہُو نہیں فقیری وہندیاں ندیاں، سُکّیاں پار لنگھاون ہُو نہیں فقیری وچ ہوا دے، مصلّے پا ٹھیراون ہُو نام فقیر تنہاں دا باہُو، جیہڑے دل وچ دوست ٹکاون ہُو
Nahī̃ faqīrī jhallīā̃ māran, suttiā̃ lok jagāvan Hū. Nahī̃ faqīrī vahindīā̃ nadīā̃, sukkiā̃ pār laṅghāvan Hū. Nahī̃ faqīrī vich havā de, muṣalle pā ṭhairāvan Hū. Nām faqīr tinhā̃ dā Bāhū, jehṛe dil vich dost ṭikāvan Hū.

Faqīrī is not dancing in noisy frenzy, waking people from their sleep—Hū.

Faqīrī is not crossing flowing rivers and reaching the far bank dry—Hū.

Faqīrī is not spreading prayer mats and keeping them suspended in the air—Hū.

Those alone deserve the name faqīr, O Bāhū, who give the Friend a home within their hearts—Hū.

In the transliteration, ā, ī, ū indicate long vowels; the tilde ◌̃ indicates nasalization. is pronounced “hoo.”

Words and Meanings

A few details help preserve the precision of the Punjabi. The collection’s accompanying Punjabi–Urdu glossary supports the following readings.

The comparison in the prayer-mat entry refers to the Roman text and Punjabi image supplied with the original quotation.

ExpressionMeaning and significance
جھلّیاں مارنjhallīā̃ māran Performing a form of dancing accompanied by loud cries. “Shouting chants and frenzied dancing” is an interpretive expansion; the Punjabi does not separately name chanting.
سُتّیاں لوک جگاونsuttiā̃ lok jagāvan Waking sleeping people. The original does not specify the early morning.
سُکّیاں پار لنگھاونsukkiā̃ pār laṅghāvan Crossing over while remaining dry. This detail makes the reference to an extraordinary feat explicit; “running on top of streams” is a freer rendering.
مصلّےmuṣalle Prayer mats. Your Roman text uses sajjādā, another word for a prayer rug. The Punjabi image and the version above use muṣalle.
دوست ٹکاونdost ṭikāvan Giving the Friend an abiding place. Dost, “Friend,” signifies God as the beloved; ṭikāvan suggests settling or establishing, giving the final line its sense of constancy.

The Friend Within the Heart

belongs to the poem’s devotional meaning. It is the Arabic “He,” referring to God, and functions as a repeated invocation in Sufi remembrance. Keeping it in the translation preserves the prayerful cadence of the original. The Matheson Trust’s explanation of Bahu’s refrain.

The poem moves through increasingly striking outward acts, then ends with the quiet image of the heart becoming the Friend’s dwelling. “Enshrined the Friend” conveys this beautifully, provided we understand it as the heart’s enduring devotion and awareness of God.

Saturday, September 12, 2026

Love and Devotion

Love and Devotion

بِسْمِ ٱللَّهِ ٱلرَّحْمَٰنِ ٱلرَّحِيمِ

Bismi llāhi r-raḥmāni r-raḥīm

Surah al-Fātiḥah 1:1

Love

شاد باش ای عشقِ خوش‌سودایِ ما ای طبیبِ جمله علّت‌هایِ ما

Shād bāsh ey ʿeshq-e khosh-sowdā-ye mā Ey tabīb-e jomle ʿellat-hā-ye mā

Hail, Love, the harbinger of happiness— the physician of all our ills.

جسمِ خاک از عشق بر افلاک شد کوه در رقص آمد و چالاک شد

Jesm-e khāk az ʿeshq bar aflāk shod Kūh dar raqs āmad o chālāk shod

Our earthly body is elevated to the skies through Love; it makes the mountains come alive and dance.

The above couplets are from Ney Naama (Song of the Reed Flute), by Maulana Rumi.

عقل آمد دین و دنیا شد خراب عشق آمد در دو عالم کامیاب

ʿAql āmad dīn o donyā shod kharāb ʿEshq āmad dar do ʿālam kāmyāb

Logic ruins this world and the Hereafter; and with the arrival of Love, both worlds are achieved.

Devotion

زندگی آمد برایِ بندگی زندگی بی بندگی شرمندگی

Zendegī āmad barā-ye bandegī Zendegī bī bandegī sharmandegī

Life is only for devotion. Life without devotion is a disgrace.

Gathering, Separation, and the Beloved

Gathering, Separation, and the Beloved

بِسْمِ اللّٰهِ الرَّحْمَٰنِ الرَّحِيمِ

Bismi llāhi r-raḥmāni r-raḥīm.

In the name of Allah, the Most Compassionate, the Most Merciful.

Surah al-Fātiḥah 1:1

Gathering and Separation

This quatrain, transmitted in early Sufi literature, is attributed in some sources to al-Junayd and in others to al-Ḥallāj:

وَتَحَقَّقْتُكَ فِي سِرِّي فَنَاجَاكَ لِسَانِي فَاجْتَمَعْنَا لِمَعَانِي وَافْتَرَقْنَا لِمَعَانِي إِنْ يَكُنْ غَيَّبَكَ التَّعْظِيمُ عَنْ لَحْظِ عِيَانِي فَقَدْ صَيَّرَكَ الْوَجْدُ مِنَ الْأَحْشَاءِ دَانِي

Wa-taḥaqqaqtuka fī sirrī fa-nājāka lisānī. Fa-jtamaʿnā li-maʿānī wa-ftaraqnā li-maʿānī. ʾIn yakun ghayyabaka t-taʿẓīmu ʿan laḥẓi ʿiyānī. Fa-qad ṣayyaraka l-wajdu mina l-aḥshāʾi dānī.

I found your reality in my innermost secret, and my tongue whispered to you in intimate confidence. So we came together for certain meanings, and we separated for certain meanings. If reverence has kept you hidden from the glance of my outward, visible sight, still longing—ecstatic love—has drawn you near from the very depths within me.

Attribution and Transmission

Al-Khaṭīb’s Tārīkh Baghdād records al-Ḥallāj reciting the poem as his own, while al-Qushayrī attributes it to al-Junayd. This difference in attribution remains part of the received tradition.

  1. لِلْجُنَيْدِ رَحِمَهُ اللّٰهُ

    Li-l-Junaydi, raḥimahu llāh.

    Al-Qushayrī’s al-Risāla al-Qushayriyya introduces the poem explicitly as “recited for al-Junayd” in its discussion of al-jamʿ wa-l-farq, or “gathering and separation.”

  2. وَلَهُ أَيْضًا …

    Wa-lahu ʾayḍan …

    Ibn Kathīr’s al-Bidāya wa-l-Nihāya includes these lines among al-Ḥallāj’s poetry in his biography under the year 309 AH.

  3. أَنْشَدَنِي … لِنَفْسِهِ بِالْبَصْرَةِ

    ʾAnshadanī … li-nafsihi bi-l-Baṣrah.

    Al-Khaṭīb al-Baghdādī’s Tārīkh Baghdād transmits an explicit report that al-Ḥusayn b. Manṣūr al-Ḥallāj recited the poem “for himself” in Basra: a direct attribution within a biographical isnād.

  4. كَمَا قَالَ بَعْضُهُمْ

    Kamā qāla baʿḍuhum.

    Al-Sulamī’s Ḥaqāʾiq al-Tafsīr quotes the verses anonymously under Qur’an 56:85, without naming an author.

I Do Not Know Where I Have Gone

In the words of Bū ʿAlī Shāh Qalandar Pānīpatī (R.A.):

منم محوِ خیالِ او نمی‌دانم کجا رفتم شدم غرقِ وصالِ او نمی‌دانم کجا رفتم

Manam mahv-e khayāl-e ū, nemī-dānam kojā raftam. Shodam gharq-e vesāl-e ū, nemī-dānam kojā raftam.

I am lost in my beloved’s thought—I do not know where I have gone. I am drowned in the ecstasy of union—I do not know where I have gone.

غلامِ رویِ او بودم اسیرِ مویِ او بودم غبارِ کویِ او بودم نمی‌دانم کجا رفتم

Gholām-e rū-ye ū būdam, asīr-e mū-ye ū būdam. Ghobār-e kū-ye ū būdam, nemī-dānam kojā raftam.

I was the servant of that radiant face, the captive of those tresses; I was the dust of that lane—I do not know where I have gone.

به عام آشنا گشتم زِ جان و دل فدا گشتم فنا گشتم فنا گشتم نمی‌دانم کجا رفتم

Be ʿām āshnā gashtam, ze jān o del fedā gashtam. Fanā gashtam, fanā gashtam, nemī-dānam kojā raftam.

Known everywhere among people, I offered up my heart and soul; I became annihilated—annihilated—I do not know where I have gone.

قلندر بو علی هستم به نامِ دوست سرمستم دل اندر عشقِ او بستم نمی‌دانم کجا رفتم

Qalandar Bū ʿAlī hastam, be nām-e dūst sarmastam. Del andar ʿeshq-e ū bastam, nemī-dānam kojā raftam.

I am Bu ʿAlī the qalandar; by the Friend’s name I am intoxicated; My heart is bound in His love—I do not know where I have gone.

Shaykh Sharaf al-Dīn Bū ʿAlī Shāh Qalandar Pānīpatī

شیخ شرفُ الدّین بو علی شاہ قلندر پانی پتی

Shaikh Sharaf ud-Dīn Bū ʿAlī Shāh Qalandar Pānīpatī.

In Search of a Glimpse

In Search of a Glimpse

بِسْمِ اللَّهِ الرَّحْمَٰنِ الرَّحِيمِ

Bismi llāhi r-raḥmāni r-raḥīm.

In the name of Allah, the Most Compassionate, the Most Merciful.

Sūrah al-Fātiḥah 1:1

This short poem is often attributed to Mawlānā Jalāl al-Dīn Muḥammad Rūmī (Persian: جلال‌الدین محمّد رومی). Its provenance, however, remains uncertain.

Rūmī (September 30, 1207–December 17, 1273) was a 13th-century poet, jurist, theologian, and Sufi mystic. He is widely known as Mevlānā (مولانا) and, in the West, as Rumi (رومی).

The Poem

نه من بیهوده گِردِ کوچه و بازار می‌گردم

Na man bīhūde gerd-e kūche o bāzār mī-gardam

I do not wander in vain through alley and bazaar—I roam.

مذاقِ عاشقی دارم پِیِ دیدار می‌گردم

Mazāq-e ʿāsheqī dāram, pey-e dīdār mī-gardam

I carry the taste of love; in search of a glimpse, I roam.

خدایا رَحم کن بر من پریشان‌وار می‌گردم

Khodāyā, rahm kon bar man—parīshān-vār mī-gardam

O God, have mercy on me—distraught and scattered, I roam.

خَطاکارم گناهکارم به حالِ زار می‌گردم

Khatākāram, gonāhkāram; be hāl-e zār mī-gardam

I am at fault, I am sinful; in this wretched state, I roam.

شرابِ شوق می‌نوشم به گِردِ یار می‌گردم

Sharāb-e showq mī-nūsham; be gerd-e yār mī-gardam

I drink the wine of longing; around the Friend, I roam.

سُخَن مستانه می‌گویم ولی هُوشیار می‌گردم

Sokhan mastāne mī-gūyam, valī hūshyār mī-gardam

I speak with drunken rapture, yet clear‑minded, I roam.

گهی خَندم گهی گِریَم گهی اُفتم گهی خیزم

Gahī khandam, gahī geryam; gahī oftam, gahī khīzam

At times I laugh, at times I weep; at times I fall, at times I rise.

مسیحا در دلم پیدا و من بیمار می‌گردم

Masīhā dar delam peydā, o man bīmār mī-gardam

The Messiah appears within my heart—and still, like the sick, I roam.

بیا جانا عِنایت کن تو مولانایِ رومی را

Biyā jānā, ʿenāyat kon to Mowlānā-ye Rūmī rā

Come, beloved—show your grace to Maulana Rumi.

غُلامِ شمسِ تبریزم قلندروار می‌گردم

Gholām-e Shams-e Tabrīzam; qalandar-vār mī-gardam

I am a servant of Shams of Tabriz; like a qalandar (a wandering dervish), I roam.

A Reflection on Ghurbat

In my view, the poem seems to echo a well-known description of taṣawwuf attributed to Junayd al-Baghdādī (may Allah be pleased with him). In this description, the path is summed up through prophetic qualities. Among them is the ghurbat—the condition of being a “stranger,” an exile—associated with Prophet Yaḥyā (peace and blessings be upon him).

Friday, September 11, 2026

There Is No God but He

There Is No God but He

A devotional poem attributed to Rumi by Sufinama; historical authorship has not yet been established.

The Lord of All Dominion

مَالِكُ الْمُلْكِ لَا شَرِيكَ لَهُ
وَحْدَهُ لَا إِلٰهَ إِلَّا هُوَ
Māliku l-mulki lā sharīka lahu Waḥdahu lā ilāha illā huwa
He is the Lord of all dominion; He has no partner. He alone—there is no god but He.

I read the opening as a statement about God, giving مَالِكُmāliku—the nominative ending. Mulk means dominion, sovereignty, or kingship; waḥdahu emphasizes His absolute uniqueness. The divine title occurs in Qurʾān 3:26, while the refrain appears in Qurʾān 2:255.

An Offering of Heart and Soul

عاشقان جان و دل نثار کنند
بر سرِ لَا إِلٰهَ إِلَّا هُوَ
ʿĀsheqān jān va del nesār konand Bar sar-e lā ilāha illā huwa
Lovers offer their hearts and souls in homage to “There is no god but He.”

جان و دل (jān va del) means “soul and heart,” expressing the whole inward self. نثار کردن (nesār kardan) evokes scattering precious gifts or making a generous offering. Here, the lovers offer themselves in devotion to the truth proclaimed by the refrain. “In homage to” conveys my reading of the figurative بر سرِ (bar sar-e).

The Robe of Honor

مصطفی یافت در شبِ معراج
خِلعتِ لَا إِلٰهَ إِلَّا هُوَ
Mostafā yāft dar shab-e meʿrāj Khelʿat-e lā ilāha illā huwa
On the night of his Ascension, the Chosen One received the robe of honor: “There is no god but He.”

Muṣṭafā, “the Chosen One,” refers to the Prophet Muḥammad. A khilʿat is a robe bestowed as a mark of honor; here, it becomes a poetic image of divine favor and nearness. The linking vowel in خِلعتِ (khelʿat-e) makes the declaration itself the figurative robe. Dehkhodā’s entry for خلعت (khelʿat) records both its ceremonial and figurative senses.

The Eternal Gardener

باغبانِ قدیمِ لم‌یزلی
صِفَتَش لَا إِلٰهَ إِلَّا هُوَ
Bāghbān-e qadīm-e lam-yazalī Sefatash lā ilāha illā huwa
The Gardener, beginningless and everlasting, is described by these words: “There is no god but He.”

I understand the singular Gardener as an image of God, who brings creation into being and sustains it. قدیم (qadīm) here means “without beginning”; لم‌یزلی (lam-yazalī) reinforces His everlasting existence. صفتش (sefatash) means “His attribute” or “His description.” Dehkhodā defines لم‌یزلی (lam-yazalī) as perpetual or everlasting.

The Tree and Its Fruit

خوش درختی است در میانِ جِنان
میوه‌اش لَا إِلٰهَ إِلَّا هُوَ
Khosh derakhtī ast dar miyān-e jenān Mīve-ash lā ilāha illā huwa
A lovely tree stands amid the gardens of Paradise; its fruit is “There is no god but He.”

جِنانjinān, pronounced jenān in modern Persian—means “gardens,” understood here as the gardens of Paradise. The image presents the declaration of God’s oneness as something nourishing and delightful: a truth whose sweetness can be experienced.

Remembrance and Paradise

صوفیان گر بهشت می‌طلبند
ذکرشان لَا إِلٰهَ إِلَّا هُوَ
Sūfiyān gar behesht mī-talaband Zekreshān lā ilāha illā huwa
If the Sufis seek Paradise, their remembrance is “There is no god but He.”

ذکرشان (zekreshān) means “their remembrance” or “their devotional invocation.” The couplet associates the longing for Paradise with remembering God through the declaration of His oneness. It describes their practice while also encouraging the listener.

The Believers’ Portion

مؤمنان را نعیم شد روزی
بَرَکَتَش لَا إِلٰهَ إِلَّا هُوَ
Moʾmenān rā naʿīm shod rūzī Barakatash lā ilāha illā huwa
Bliss has become the believers’ allotted share; its blessing is “There is no god but He.”

I read روزی (rūzī) here as “allotted provision” or “one’s portion,” a meaning documented in Dehkhodā. نعیم (naʿīm) means bliss or delightful well-being, with Paradise suggested by the preceding couplets. The second line is compressed: برکتش (barakatash) literally means “its blessing,” most naturally referring back to that bliss.

Seeking God

شمسِ تبریز اگر خدا طلبی
خوش بخوان لَا إِلٰهَ إِلَّا هُوَ
Shams-e Tabrīz, agar Khodā talabī Khosh bekhān lā ilāha illā huwa
O Shams of Tabriz, if you seek God, chant beautifully: “There is no god but He.”

The closing turns to direct address. خدا طلبی (Khodā talabī) means “you seek God,” and خوش بخوان (khosh bekhān) means “recite or sing beautifully.” In a traditional recitation, the closing is approximately:

Shams-i Tabrīz, agar Khudā ṭalabī, Khush bikhwān: lā ilāha illā Hū.

A Variant Found in Munājāt Books in Kashmir

The following is a longer variant of this poem found in munājāt books in Kashmir—collections of devotional supplications and poems. The photographed page is headed مناجات and attributes the poem to Ḥaẓrat Mawlānā Shams al-Dīn Tabrīzī. This printed attribution is retained here as part of the variant’s transmission; it does not by itself establish historical authorship.

Its seventeen couplets preserve the refrain “There is no god but He,” with changes in wording and sequence and additional verses on creation, the four caliphs, and the Prophet’s knowledge of the declaration. The original text is followed by transliteration, translation, and a brief explanation, as in the version above.

Text: transcribed from the photographed munājāt page. Spelling, spacing, punctuation, and Arabic vowel marks have been normalized for reading. The small honorific marks beside Ṣiddīq and Fārūq are outside the metrical text; they convey the prayer “may God be pleased with him.” The readings and translations of couplets 9 and 14 require particular care and are discussed beside those verses.

The transliteration follows the convention used above. The fully vocalized Arabic ending is huwa; in a paused or sung refrain, it is often heard as .

1. The Lord of All Dominion

مَالِكُ الْمُلْكِ لَا شَرِيكَ لَهُ
وَحْدَهُ لَا إِلٰهَ إِلَّا هُوَ
Māliku l-mulki lā sharīka lahu Waḥdahu lā ilāha illā huwa
He is the Lord of all dominion; He has no partner. He alone—there is no god but He.

The opening is Arabic. Waḥdahu means “He alone,” affirming that sovereignty belongs to God without any partner.

2. At the Threshold

عاشقان جان و دل نثار کنند
بر درِ لَا إِلٰهَ إِلَّا هُوَ
ʿĀsheqān jān va del nesār konand Bar dar-e lā ilāha illā huwa
Lovers offer their hearts and souls at the threshold of “There is no god but He.”

This version reads bar dar-e, “at the door of” or “at the threshold of,” where the version above has bar sar-e. The declaration becomes a threshold at which lovers offer their whole selves.

3. The Robe of Honor

مصطفی یافت در شبِ معراج
خِلعتِ لَا إِلٰهَ إِلَّا هُوَ
Mostafā yāft dar shab-e meʿrāj Khelʿat-e lā ilāha illā huwa
On the night of his Ascension, the Chosen One received the robe of honor: “There is no god but He.”

Muṣṭafā, “the Chosen One,” refers to the Prophet Muḥammad. The declaration is imagined as a robe of honor bestowed upon him. This is the poem’s devotional imagery.

4. Remembrance and Paradise

صوفیان گر بهشت می‌طلبند
ذکرشان لَا إِلٰهَ إِلَّا هُوَ
Sūfiyān gar behesht mī-talaband Zekreshān lā ilāha illā huwa
If the Sufis seek Paradise, their remembrance is “There is no god but He.”

Zekreshān means “their remembrance” or “their devotional invocation.” The verse connects the longing for Paradise with the repeated remembrance of God’s oneness.

5. The Eternal Gardener

باغبانِ قدیمِ لم‌یزلی
صفتش لَا إِلٰهَ إِلَّا هُوَ
Bāghbān-e qadīm-e lam-yazalī Sefatash lā ilāha illā huwa
The Gardener, beginningless and everlasting, is described by these words: “There is no god but He.”

The Gardener is an image of God as the source and sustainer of life. Qadīm means “without beginning”; lam-yazalī expresses everlasting existence.

6. The Collar of the Curse

طوقِ لعنت فگند بر ابلیس
غیرتش لَا إِلٰهَ إِلَّا هُوَ
Towq-e laʿnat fagand bar Eblīs Ghayratash lā ilāha illā huwa
The collar of the curse was cast upon Iblīs by the jealous zeal of “There is no god but He.”

Ghayrat is a fierce protectiveness or jealous zeal. Here I read it as the uncompromising majesty of divine oneness, personified as casting the collar of the curse upon Iblīs. The photographed word is غیرتش, ghayratash.

7. The Believers’ Portion

مؤمنان را نعیم شد روزی
برکتش لَا إِلٰهَ إِلَّا هُوَ
Moʾmenān rā naʿīm shod rūzī Barakatash lā ilāha illā huwa
Bliss has become the believers’ allotted share; its blessing is “There is no god but He.”

Rūzī here means an allotted portion or provision. Naʿīm is bliss or delightful well-being. The compressed second line associates this gift with the blessing of the declaration.

8. The Tree and Its Fruit

خوش درختی‌ست در میانِ جِنان
میوه‌اش لَا إِلٰهَ إِلَّا هُوَ
Khosh derakhtīst dar miyān-e jenān Mīve-ash lā ilāha illā huwa
A lovely tree stands amid the gardens of Paradise; its fruit is “There is no god but He.”

Jenān means “gardens,” here understood as the gardens of Paradise. The declaration appears as a fruit whose sweetness nourishes the one who receives it.

9. Creation and the Divine Command

بستی کاینات كُنْ فَيَكُونُ
از اثرِ لَا إِلٰهَ إِلَّا هُوَ
Bastī kāʾenāt, kun fa-yakūnu Az asar-e lā ilāha illā huwa
You fashioned creation—“Be, and it is”— through the power of “There is no god but He.”

Textual note. The photograph appears to read بستی, bastī, which I provisionally understand as “You fashioned” or “You bound together.” The syntax is compressed, so this translation remains interpretive. I have retained the photographed reading rather than replacing it with هستی, hastī, “existence.” The second line reads از اثر, “through the effect or power of.” Kun fa-yakūn, “Be, and it is,” echoes the divine command in Qurʾān 36:82.

10. Heaven and Earth

آسمان بی‌ستون، زمین بر هوا
قدرتش لَا إِلٰهَ إِلَّا هُوَ
Āsemān bī-sotūn, zamīn bar havā Qodratash lā ilāha illā huwa
Heaven without pillars; earth suspended in air— the power of “There is no god but He.”

The first image recalls the heavens raised without visible pillars in Qurʾān 13:2. “Earth suspended in air” preserves the poem’s imagery. Both images direct the listener’s attention to the divine power that sustains creation.

11. A Call to the Reciter

قاریا! شاد باش، کن حاصل
هنرِ لَا إِلٰهَ إِلَّا هُوَ
Qāriyā! Shād bāsh, kon hāsel Honar-e lā ilāha illā huwa
O reciter, rejoice; acquire the art of “There is no god but He.”

Qāriyā means “O reciter.” Honar can mean art, skill, virtue, or attainment. Here I understand it as learning to recite and inwardly realize the declaration. The printed address is قاریا, not قادرا (“O Powerful One”).

12. The Kohl of Ṣiddīq’s Eye

چشمِ صدیق را مُکَحَّل کرد
سرمهٔ لَا إِلٰهَ إِلَّا هُوَ
Cheshm-e Seddīq rā mokahhal kard Sorme-ye lā ilāha illā huwa
The eye of Ṣiddīq was anointed with the kohl of “There is no god but He.”

Ṣiddīq refers here to Abū Bakr. Mokaḥḥal kard means “applied kohl to” or “anointed with kohl.” I understand the eye as an image of inward sight, clarified by the recognition of divine oneness.

13. The Strength of Fārūq’s Justice

عدلِ فاروق را مدد بخشید
همّتِ لَا إِلٰهَ إِلَّا هُوَ
ʿAdl-e Fārūq rā madad bakhshīd Hemmat-e lā ilāha illā huwa
The justice of Fārūq was strengthened by the spiritual resolve of “There is no god but He.”

Fārūq refers here to ʿUmar. Hemmat suggests aspiration, resolve, and concentrated spiritual purpose. The poem personifies the declaration as a force supporting his justice.

14. The Forbearance of Dhū al-Nūrayn

کامل‌الحلم گشت ذوالنورین
او همین لَا إِلٰهَ إِلَّا هُوَ
Kāmel al-helm gasht Zu n-Nūrayn Ū hamīn lā ilāha illā huwa
Dhū al-Nūrayn became complete in forbearance; his word was this alone: “There is no god but He.”

Dhū al-Nūrayn, “the possessor of the two lights,” refers to ʿUthmān. Ḥilm means forbearance, patience, and self-restraint. Textual note: I read the photographed second line as او همین, ū hamīn, literally “he—this very [declaration].” “His word was this alone” supplies a link implied by the elliptical wording.

15. The Cry of the Lion of God

دم‌به‌دم بر زبانِ شیرِ خدا
نعرهٔ لَا إِلٰهَ إِلَّا هُوَ
Dam be dam bar zabān-e Shīr-e Khodā Naʿre-ye lā ilāha illā huwa
With every breath, upon the tongue of the Lion of God, the cry: “There is no god but He.”

The Lion of God is ʿAlī. Dam be dam means “at every moment” or “with every breath”; naʿra is a powerful cry. This completes the sequence of verses honoring Abū Bakr, ʿUmar, ʿUthmān, and ʿAlī.

16. The Meaning Known to the Messenger

کس نداند بجز رسولِ کریم
معنیِ لَا إِلٰهَ إِلَّا هُوَ
Kas nadānad be-joz Rasūl-e Karīm Maʿnī-ye lā ilāha illā huwa
None but the noble Messenger knows the meaning of “There is no god but He.”

The literal wording is emphatic. I understand it as praise of the Prophet’s unsurpassed realization of the declaration’s meaning; this explanation is an interpretation of the devotional verse.

17. Seeking God

شمسِ تبریز، گر خدا طلبی
خوش بخوان لَا إِلٰهَ إِلَّا هُوَ
Shams-e Tabrīz, gar Khodā talabī Khosh bekhān lā ilāha illā huwa
O Shams of Tabriz, if you seek God, chant beautifully: “There is no god but He.”

This version has gar, the shortened form of agar, “if.” The closing addresses Shams of Tabriz directly. His name in the final verse, and the attribution in the printed heading, do not by themselves establish who composed the poem.

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