Cẽ Fazal Amin Beg en
Yem 2009 sol tu ki maz̃h yi chand K̃hik k̃hũynan pishqadam’vem dẽ Gilgit dẽ k̃hũ khun qũw kert woz dam’venem yi bu g̃has̃h qisa kert Wuk̃hikwor lus’v-e bobat.De Wuk̃hikwor, lusi gham-e yi qism-e sho’iri woz baydguyi et baydkhoni tey. Yi khalges̃h ki cem dũnyo en kuch cart k̃he res̃htes̃h k̃hũ hamishagig̃h-e jahoner, ghafch nozũk woz hũshyor k̃hũynan’ves̃h haya zẽmun ya chandi bandev trẽ liman gok̃ht k̃he k̃hũ khũshruy woz pũr asar wog̃herves̃h ya da mirgig̃h-e khun k̃hat. Cem’nes̃h ne ki yav-e rost ki ya mirgig̃h-e zavoved, magam ya rek̃hk jon-e khun-e khalgveres̃h ca lus en ghafch osoyish vite ki yav-e puzũves̃h helk vite ce gham en, ce mal’ves̃h ki yasht khub nowde.
It was in 2009, I invited some old women in my house in Gilgit to discuss around a Wakhi poetry related with lament.Lament is a particular genre of poetry in Wakhi as well as a way of its expression in singing. When a person leaves this world and departs for the eternal world, a few sensitive and intelligent women would not only begin to bring the situation of misery on the spot under their poetic words but rather would also sing them through their melodious and effectual voices during the time of death ritual. Through such creative approaches, the lament composers and singers (lusghars) would not grace the ritual but also would provide a great relief to the bereaved family members after a deep cry.
Magam, trem wakhter, cemal ki Kũnjũdh-e Riyosat nas̃hte dẽ sol 1974, lus be da wakht en nas̃hte mirdina’v-e pobandi-e natija’er. Yem pobandig̃h ne ki skẽ lus vire balki skẽ k̃hũynan’v-e takhliq trẽ pũdh-e dest din vite.
But, in the recent history, when the Hunza State was lost in 1974, the beautiful artistic skill of women in composing and reciting or singing the lament was also lost in result of men’s restriction on the laments. Such restrictions thus stood not only on the lament but rather was equal to trespassing of and suppressing one of the voluntary creativities in Wakhi poetry.
Tẽ idora-e dest halak k̃he, trẽ pũrũt wing kam, trẽ cẽbas rec̃hn k̃he kum baf yarkisht ki k̃hũynan’ven tu, sho’iri-e takhliq-e bobat hũmũyd yoy digar, skam’vev k̃hũ s̃hukh wog̃h et dhast wuch k̃hak shuru kert. Okhir, K̃hũynan’v-e jay mirdina’v-e lus k̃hẽnak oghoz kert.
While remaining within organizations,looking ahead in future was evidenced less and more evidences were seen in going behind in the past and imposing restriction on the positive aspects of women such as their poetic creativities and others related. Consequently,the menfolk began reciting the lament by replacing womenfolk.
Dẽ wakht en qiti k̃hat jũr wũzũmn-e haten, Kũnjũdh-e Wuk̃hik’v-e k̃hũnen yi awalin sozmon jũr kert De sol 1991 woz yow nungev “K̃hik Tojik’v-e Farhang-e Sozmon” yotht. Hayem Sozmon-e zariya en, K̃hik zik’rev yi tahafuz dhet woz K̃hikwor trẽ pũrũt yundak-e haten yi kushish shuru vite. Da awalgini dhas sol, yem Sozmon-e bũzurg-e kheli pũrũt reg̃hde, ya’ni kheli k̃hũ hadaf’vi trẽ dhast kert. Magam kheli chizisht trẽ cẽbas werg̃hene. Yem Sozmon dẽ baydguyig̃h et sho’irig̃h-e maydon mirdina’v-e ghafch trẽ pũrũt yut magam ghafch kam k̃hũynan’vep gotten ki yashtev dẽ sho’irig̃h-e maydon oshkor tey. Lusev tek kũli tra yand likerk. Cẽ lus’v-e mulung en rost ki yi Sinisay nung baydes̃h pishqadamisht yoy yi chandi chũmũt̃kerisht de marca k̃hanen.
For the sake of bringing themselves in par with the time,the Wakhi people of Hunza founded an organization of their own in 1991 and gave it a name as Wakhi Tajik Cultural Association (WTCA).through this organization, they began preserving many good aspects of their culture handed over to them in tradition. They also endeavored in promoting their language. In the first decade, the Association achieved many of its objectives but in many respects, it lagged behind. The Association focused more on poetry and singing(performing arts) but on the genre of lament no effective meansures have been taken so far. Among the laments, a renowned poetic song (folksong) termed as Sinisay could be observed sung by either the elderly women or the teenagers or even smaller ones in the gatherings.
Yemzel, dẽ sol 1994, yi idora-e bũzũrg-e Imom-e Zamon, kumd ki Farhan-e tahafuz et pishraft e haten dẽ Gilt-Baltiston g̃hate, yi chandi yark’vev ske soz, bayd et sho’iri woz digar pahluvev be kert. Hayemzel, lusev be dẽ kaset̃ev sabt k̃hak shuru kert har qidimi zik’ven. Magam lus dubora k̃hũ jay wũdruk̃ ne bas wezde. Mirdinayishtes̃h yem wakht k̃hũ lusvev daroz woz kammaza taqrir et sho’iri-e sokhter trẽ pũrũt wũzmen.
In the year 1994, an esteemed organization of the Imam of the Time, which reached Gilgit-Baltistan for the sake of preservation of cultural aspects, also focused on some of its function around music, singing, poetry and other related aspects. In this manner, lament in different old languages was also recorded in cassettes.but the lament (Lus dẽ K̃hikwor woz Lolo dẽ Virchikwor) could not get back its deserving place.the male members of the society have now replaced the female ones and lament in terms of their long and tasteless talks/speeches.
Garchi, qisayisht ghafch daroz, magam wuz kũt̃ k̃hũ qisa k̃hanem. Hadem musoyiba, cẽbũr pishqadam k̃hũynanishtes̃h qisa caren. Yem qiysayisht trẽ hawo nast balki skem zamin, skem sheti, yav-e wũyũkh (ya’ni bikh). Kum khalgisht ki cem jahon en rek̃hk k̃he lusev yav e k̃hetk, yav-e bobati yi bu g̃has̃h. Ũmides̃h lecrem ki cem’venep khalgisht ahm nuktav-e nik̃hind en k̃he trẽ pũrũt skem lus’vep be k̃hũynanisht woz trẽ pũrũt wezin, k̃hũ nazm/sho’iri-e lihozer, woz k̃hũ khũshruy sado-e lihozer.
Although, there are enormous points to discuss at length, I’d opt to cut short in my explanations. In the interview, the elderly women talk not in the air but rather their talks are on the ground and their roots are in the earth.those people who have passed away from this world, some points are related to them. I’m certain that people would get important points out of these discussions and will promote the poetic feature of lament by Wakhi women in the future in terms of poetry composition and in terms of singing the lament.
Yem pishqadamishtev yi khondon en. Ya’ni awal, biyomorz Bibi Dawlat Sohiba, Arbob Muhammad Odob Khon-e dheg̃hd woz Salmon Ali-e pẽrkhas̃h ce Passu diyor en. Buy, Bibi Nikbakht Sohiba, kumdres̃h ki cẽ izat en Mumik be k̃hanen chizer ki yowi yi mum-e nung wẽrek̃hk. Yowi be Arbob Odob Khon-e dheg̃hd magam yow-e tuyi dẽ Gulmit vitk Arbob Sadun Shoh mes̃h en. Truy, Bibi Husni Sohiba ki yowi Muhammad Sayyob Khon-e dheg̃hd woz tuyi vitk dẽ Gulmit dẽ Zafarulloh Beg mes̃h en. Cẽbũreri, Khurshid Numo Sohiba, Murkhun en Khũdo Bũrdi-e dheg̃hd woz tuyi vitk pẽ Shingshal Qũrbon Ali mes̃h. Niv sak yav-e dilchasp qisa’v-e g̃his̃h kat̃en. Ma’ri yaqin ki savrep yem khus̃h wizit kum sho’iri ki k̃hũynan’v-e haya zẽmun yi khalg-e marg-e wakht nik̃hitk et k̃hẽnetk. .
The elderly women (in the videos) belong to the same family in Upper Hunza.for instance, first is late Bibi Dawlat daughter of Arbob Adob Khon and wife of Salman Ali of Passu. Second, Bibi Nikbakht who is also known as Mumik, as her name has been a grandma and in respect she’s known as Mumik. She’s also daughter of Adob Khon but wife of Sadun Shoh of Gulmit.third is Mrs. Bibi Husni daughter of Muhammad Sayyab Khan of Passu but married with Zafarullah Beg of Gulmit. And fourth is Mrs. Khurshid Numo daughter of Khudo Burdi of Murkhun who has been married with Qurban Ali of Shimshal.Let’s now listen their discussions and I believe you’d enjoy heeding and understanding them.they share interesting aspects connected with the lament within Wakhi oral poetry heritage composed by women themselves during the death time of persons on the spot.
K̃hik Pishqadam K̃hũynan’v-e Qisayisht (Discussions of Elderly Wakhi Women)
Bibi Nikbakht: Khalges̃h amonat kert da razh et lusgharv’ves̃h wozomd.Bu k̃hiynan tu a truy, yaves̃h nag̃hd skẽ rukhn z̃ereng stowis̃hig̃h kert, lusves̃h kert, to rek̃hk da nikhing bat ken to yut da arwo batken. Yan’ves̃h k̃hiynanv-e ce nomijoy en ne pẽshowd. Yanves̃h borkher yaver saripoy gok̃ht.ki yemi lus-e khalgveres̃h k̃hat. Yan woz z̃ereng tu ki kuyen ki ghafch swac tu , ya’ni ki ghafch qiymati jones̃h ki reg̃hde, yaves̃h yav (lusghgarev) pũtũn sol ta k̃hũ khun sirisol har pũrz’ves̃h yav wozomd k̃he yaves̃h lus k̃hẽnak remet.Ya khun-e khalisht’ves̃h nowdi et yav-e pũzũves̃h helk vite.
When a person would pass away in the early days (among the Wakhi community of Hunza in the 1940s to 1960s, the lusghars (lament composers and/or singers), who either in a group of two or three would begin singing the lament with their sweet voices (and through their composition of Wakhi poetry on the spot). For the entire night and in the morning, even up to the burial place, the Lusghars would sing the lament (with high enthusiasm).In contrast to the contemporary period, it wasn’t the tradition to restrict women not to go to the graveyard or force them to return from the mid-way of the graveyard. However, in the aftermath, the women lusghar would get the appreciations, awards of clothes and scarves, and so on. If a person of high value and caliber in terms of his or her contributions to the community, the lusghars would continue their visits of the deceased family each evening and with some intervals sing the lament for over a period of a year. The deceased family members would weep and cry, thus resultantly get relief (an ointment for their emotional wound) out of the lament and weep.
Bibi Dawlat et digar k̃hũynanisht: Lusgharishtev hũshyor khaligist tu. Yemisht yig̃hunbuyi lus nik̃hingkũzg tu. Haryũw be lusghar ne tu. Lusgharisht’ves̃h ca khondon en tẽr vich khalgisht vite k̃he yav-e stowd. Spo wakhtes̃h Qamar-e nan Bibi Azizes̃h k̃hat. Khalil-e nan, nan Ramo’es̃h k̃hat. K̃hũy Gũl Jahon tu (cẽ Gũlmit Odver en). Nazar Bigim cẽ Murkhun-e diyor en tu, k̃he wuz dam’ven z̃aqlay k̃he k̃hat’ves̃h ki “wog̃hi ti’n khũshruy.”
The lament composers and singers (Lusghars) of the old days used to be sober and highly intelligent and gifted women. Those, who were normally not part of the immediate family. The Wakhi lusghars were not in abundance previously, however, the prominent in the field before 1980 were Mrs. Bibi Aziz of Khaybar,Mrs. Ramo (mother of Khalil of Passu), Mrs. Nazar Begum of Murkhun,Mrs. Gul Jahon of Gulmit (Odver), wife of Shul Bai of Hussaini. Along with the aforementioned Lusghars, I myself also performed when I was young and the community members appreciated my voice as they would say: “you have sweet voice.”
Bibi Husni, Bibi Nikbakht et Khurshid Numo: Sisuniyes̃h Shulbai-e jũmat-e k̃hat. Dremi Paliwun-e marg wakht ce k̃hẽnetu ta chiramn. Yow ta be z̃ereng tu. Yi petri ta yowen. Yan’vo ũs̃hũk rat ki me k̃han.
From Sisuni (Hussaini), there was wife of Shul Bai. She had ssung the lament during the death of Pahliwun here on the spot (at the threshing site where people had gathered). She was so active there, too, but, in the later phases, she was cautioned (by the male counterparts) not to sing the lament.
Bibi Nikbakht et digar K̃hũynanisht: Panz̃ shadh khalighst lusghar tu. Bet har hũw be ne tu. Yanves̃h cam-e zot en, yan cam-e jon en, yan cam-e odat en, kũl chizves̃h haz̃ereng stowd. Nũwnes̃h yandi wezde niya. Yem wakhtes̃h niv shov halen k̃he ya mado’es̃h ta bafter ne k̃hanen. Yem wakhtes̃h nũwit be meyes̃h k̃hanen k̃he ya luses̃h be ne k̃hanen. Nũwen ki ney, ya z̃akhmes̃h ya kumer trẽ liman wost.
There used to be five or six lament composers and singers from the area. Praising the dead person included his/her good deeds and perfornence when alive, his/her family background, his/her habits or bhehaviors ,and the like), the singing would continue for hours and the audience would cry. At present, the people (including womenfolk) go to the deceased families for condolence and keep silence and even the devotional poetry is not effectively recited. But these days, there is restriction also on crying and weeping of the women during the day of a dath of a family member. Without crying, how could the wound will heal up.
Bibi Husni: Z̃hũ mummer ya (Gũlmit-e) kobir’ve-e z̃ereng k̃hẽnetk niya. K̃hẽnetkev ki didg̃ha, Zawora Bigime s̃hukh qẽsa kuyer ne k̃hetk. Sake ne kẽs̃hen cam-e sũdo’n ki ya s̃hukh niwiz. Nivi thetk k̃he rek̃hk skẽ Pẽdhes̃hn niya, yani aska z̃ereng lus k̃hẽnetk z̃hũ bech (ya’ni yow-e peter Ghũlomidin). Yanves̃h k̃hat ki tayin carit ki yowi thetk k̃he niv yow-e sũdo kuye kẽs̃heng a. sari ki casar gezg k̃he kẽs̃hengev ki lus-e sũdo’es̃h wizit.
when my maternal uncle Ghulomuddin (son of Arbob Gohar Hayat of Gulmit) had passed away, my maternal grandmother Zawora Begum remained in a great shock after the death of her only son. the elderly people of Gulmit were so stunned that Zawora Begum had never talked loudly before others but they had to evidence that day, too when they saw her deep and loud cry after her son.She would climb up before the dawn of the day to a hight of a hill called Pẽdhes̃hn (which is situated down to Gulmit Ondra Fort) and continued singing her lament. Burnt emotionally, she praised her late son whom she had lost and whom she expressed in her melodious voice (reflected in her unritten Wakhi poetry ) which was heard by the people during the dawn of mornings.
Khurshid Numo: Z̃hũ Pup Rahmat Rahim en ta Shinghal. Ya petri merk k̃he yan ya yahsev ya’r mihmoni nik̃hit. Yanves̃h k̃hat ki ya mihmoni-e ta jũmotkhona yunit. Ya nan-e yan yay ash-e jilaw ra k̃hũ gẽrdan kẽt̃etk k̃he yani cebas pudh z̃ereng rek̃hk ki z̃hũ arqa trẽ z̃hũ peter-e miyit gẽna me wost. Hayemzeli cẽbas pudh tray ash-e mis rek̃hk da arqo batken.
When the only son of grandpa Rahmat Rahim of Shimshal has died, he has reportedly proposed his horse as Mehmoni (Calling the Divine Authority as guest and offering one’s present with a true faith so the departed soul should be relieved in spirituality ).as a mother of the only son, she put the stripe/band of the rein of the horse in her neck and the deadbody of his only son was laid on the horse’s back, while the people followed the deadbody and horse. The crying mother (wife of Rahmat Rahim) has walked in reverse order for a long distance from the door of her house to the grave so that in respect and honor of her son, she must not turn her back towards the deadbody .
Bibi Husni: Z̃hũ pup’rev be ce k̃hetu ne nan? Yashev ya’r mihmoni k̃hetu. Ya yash yan z̃ereng nowdi’v k̃hat. Da miyit-e cẽbas ya yashev wodort et c̃hawovdev k̃hat. Ya yash yandi nowdi’v k̃hat.
When my grandfather had passed away, his horse was made mehmoni for him, too, after his death.it’s reported that along with the mourning people his horse, following the deadbody, was also desperate and flowing the tears greatly.
Bibi Nikbakht: Nowde ya chiz? Ti tat-e wakht k̃han. Trugh yash yowen tu niya (Muhammad Siyob Khon en). Nivev niyes̃hk da sũroy. Tayinev k̃hetk ki yay ash-e k̃hũ sar da g̃har en diyetk k̃he yas̃hkes̃h az̃i bawbaw wizit. Shum-e khalgisht wezg k̃he tayinev k̃hetk ki yashes̃h prez̃d et yow-e yas̃hkes̃h res̃ht.
Well, that horse didn’t pour that much tears. But when your father (Muhammad Sayyab Khan) passed away, he had a brown horse and it was so upset that it deluged tears enormously for the loss of its master. The family members and other sorrowed people witnessed the horse in the morning of his death as seen in the stud by them that it was striking its head with the wall stones and crying.
Da wakht, saken trẽ Gũlmit en dhes̃h reg̃hde niya ki yashtev ta chiramn. Z̃hũ vũrũt-e mayitev da Khitirbakhs̃h khũmvetk niya ki Yirgoti az̃i bikhabar wezg, yani ya miyiter az̃i hal diyet. Yani farfari g̃hiretk yani rek̃hk ta qibla gẽna.
At that time, when we were informed of my brother Sayyab Khan’s death, we reached on the spot in Passu very late as it took more or less two hours walk on foot. It was said that when my brother’s corpse was laid down on the ground, the Yirgot (a white bird) has appeared on the spot and cirlced around the deadbody for couples of times and then has disappeared towards the West of the on the mountain in the village.
Bibi Dawlat: Ya pũrzi ya Jamo’ate yinot winetk ki Muhammad Siyyob Khon wuch vivte, cẽ dũnyo en reg̃hde. Shoghmend̃ sokht tu niya. Nives̃ho yo z̃ereng go’n ki yow- miyitev wũzũmner dẽ Jam’oatkhona bar. Haca’n yan yow e Khũdhoyor cariti k̃hẽnetk yanyow dam-e makon g̃hatũviti k̃hẽnetk.
Before the death of my brother (Muhammad Sayyab Khan), Jamo’at Ali (father of Nazar Muhammad of Passu) has been informed in his dream that Muhammad Sayyab Khan had passed away. His corpse would therefore be taken to the compound of Passu Jamatkhana (community Prayers Hall. He has been advised in the dream that after performing the death ritual process, the corpse should be touched onto the threshold of and seen-off from the Jamatkhana and then should be taken to the burial site.
Bibi Nikbakht: Yashtev achra vite niya k̃he z̃hũ nunev be ne didig̃hd, sak e be ney k̃he khok’rev yow tawil kert.
At that time, the people were so in haste that they didn’t wait even for my sister-inlaw (late Shafa’t Begum wife of Muhammad Sayyab Khan who was in Gulmit.
Bibi Husni: Hada wakht, yi qisayi niya, ki kuy mirdinayi ska Sarnichin g̃huzer rek̃hk. Haskayi yan nũwn-e sũdo’es̃h wizit. Yowi yan skan parishon vitk k̃he g̃huzi nimkor besob k̃hetk k̃he yowi dez̃hg k̃h khẽmetk .k̃hẽnetki ki kuyer chiz bũlo vite ki skẽ Sarnichin sado wezdie nũwnen. Yowe k̃hẽnetk ki windem ney, nũwn-e sado wezde. Yani ki past pẽrvetk, ya-e k̃hẽnetk ki z̃hũ tai rek̃hk ce dũnyo en. Yow-e k̃hũyishtev remen reg̃hdiv k̃hẽnetk.
At the time of my father’s death, someone from Gulmit had reportedly gone up on the Sarnichin mountain (above Chamangul). He has then heard the voices of some people who were crying. The man has become conscious and worried about someone’s death (as such mourning voices are considered indicators for a person’s loss). He has thus wrapped up his task of collecting firewood and quickly descended to the village. when he has met wit the people and inquired about around his observation at the mountain, although he couldn’t see anyone but heard their mourning voices.the people have updated him that Muhammad Sayyab Khan had passed away and his sisters (married in Gulmit) left for Passu to attend the funeral ceremony.
Bibi Nikbakht: Sak’rev spo nan-e nung k̃hat niya. Nivev sak e yut skem tingig̃h, kifchtan (wuz et z̃hu lup K̃hũy Bibi Haji). Wuzem da vũrũt Dod-e khun-e s̃hik̃h, farem g̃hirde ki z̃hũ Nane Bibi (Tohira) ra bogh-e pũdh wezg k̃he az̃i k̃hates̃h dik̃ht yan yem Bohodũr Khon-e nan niya. Yanem ca’n tra disht ki yemi z̃hũ vũrũt. Z̃hũ nan’res̃h yem k̃hat chi’r dik̃ht. Ke z̃erenges̃h wezde ra Libay-e wunder, Nana da’n qiti, k̃he yanes̃h tẽ kifch dhast en k̃hat chukt et mestes̃h dik̃ht Wuzem yan ce nowde, z̃hũ wog̃hi ska Ghulkin-e jingal be rek̃hk. Z̃hũ vũrũt e kuftigig̃h wũdretu. Yem wakhti ya bimorig̃h malumi niya. Ya wakht d̃okt̃ar ne tu.
The death reality of our brother was kept in secrecy from us. Both my older sister (Bibi Haji) and I were led through the narrow street of Gulmit. When we reached near the house of Dad Ali, I heard the crying voices . when I turned to my right, I saw that my aunt, Bibi Tahira (wife of Shabaz Khan and mother of Raja Bahadur Khan of Gulmit). She was beating herself and was joined by Nana (her daughter). At this oment, I conceived that the death could be of my brother and not of my mother. If my mother had passed away, my aunt would never cry in such manner and beat herself. It was said that the voice of my loud weeping and crying has been heard so far as up at the places like jungle of Ghulkin village. We however lost our brother as he had got a disease called at that time as Kuftigig̃h. It was a serious disease of that time but these days it’s rversable.
Bibi Husni: Wuzem timiker tiwetk niya k̃he yem z̃hũ nan (Bibi Nikbakhte) maz̃h pẽ dam k̃hetk k̃he k̃hũy Khanim Sũlton-e tuy wakht k̃he maz̃hi yutk tra Skorddhur pũrũt. Ki z̃hũ tati ne wezg k̃he yanev woz skẽ yash maz̃he pũshũwetk.
It’s said that I was too young and when there was wedding of sister Khanim Sultan (daughter of Muhammad Nishat of Passu married to Khushdil Khan of Gulmit), my aunt (Bibi Nikbakht) had carried me on her back. She has noticed that my father was not with the wedding party (coming from Passu). My aunty has thus become concerned and asked why my father was not with the wedding party? May be he was not doing well and she has asked the people with a great concern.
Bibi Nikbakht: Yan woz cereng. Saken pũrũt reg̃hde niya ki z̃hũnisht hechkuy nast. Tayin kert ki z̃hũ vũrũtisht hechku nast.
Bibi Dawlat:Z̃hũ vũrũt (Siyob Khon) maz̃her k̃hat ki ko rec̃h ya z̃hũ Didig̃hik-e Kitob maz̃her wũzũm. Maz̃he yow wozomd k̃he yowi yo z̃i werekhovd , ra yi tayini kert k̃he, z̃i bandi ya kert. Yowe k̃hat ki ye hayemi. Yund yaow dra’r lecer. Ye hayem rek̃hũngi k̃he wuzes̃h rec̃hem, yowe k̃hat.
When my brother (Muhammad Sayyab Khan) was in the bed, he asked me to bring his book of spiritual healing to him. I handed it over to him and he opened the book and by a quick look and calculation, he said : “That was the last day for me in the world. I’d leve the world soon.” The next day, my brother passed away.
Zhũ vũrũt joyetkkũng tu. Yow-e yem Jamo’ater timor gok̃ht ki yow marger tiwetk k̃he yow ya’r khatra vite. Jama’oterev ya shart ne k̃hetk k̃he yow yan ya’r gagat̃ vite. Yan yow-e ya (Mergech) yinot winetk ki yowes̃h yar k̃hand ki: “Ye Jamo’at Shoh! Rec̃ha ! Muhammad Sayyob Khon wuch vite Niv, yaver z̃i k̃hanit ki wuz̃mit yow da Jamo’atkhona-e bar. Yan yow khamvit, ca yishũr en yow Khũdhoyor cart k̃he, yan yow hunden yow-e makoner, k̃he khoker tawil caren.
My brother was an educated gentleman. He knew Persian language.when Jamo’at Shoh was sick and was about to die, my brother healed him through spiritual interventions.Resultantly, Jam’oat recovered dramatically.However, there were some conditionalities to be met by the family of the sick person. Because the conditionalities by the family of Jamo’at was not addressed appropriately and, my brother had to face the consequence in giving his life. It was thus in this context that Jamo’at Shoh had seen in his dream a holy spirit who has said to him to go for the condolence along with some advice as Muhammad Sayyab Khan had passed away.
Bibi Nikbakht: Ya k̃hũ sũmlates̃h et vrew z̃ereng dhast dik̃ht (az̃i bland ruk tu), yandi tra kũnj’ni haz̃i wozomd ya vuli kerti k̃hat . z̃hũ tat et nane k̃hat az̃i dik̃hti nũwetkev ta ruyev tayin k̃hetkk̃he. Yow (Muhammad Sayyaob Khon) k̃hẽnetk ki: “Ye nan! Cumer rigig̃his̃h be ki wizit, marg’ren tey. Niv be ki merin, yem be yi nung weres̃ht. Nivi z̃hũ Ghũlomjon (yani Ghũlomidin) vitk, z̃hũ nungi toza vitk. Z̃hũ nungi toza vitk ey nan, yowe k̃hẽnetk.
Having a high forehead, Muhammad Sayyab Khan would knead his moustache and eyebrows time and again while entering in the main part of Wakhi traditional house (called Yorch).My father and mother would look at him and weep deeply.” Muhammad Sayyab Khan would console them by saying: “Hey mom! No matter, if the beard grows and grows (means if even a man becomes old), one day, all of us has to go from this world. It’d be remembered if a person dies in one’s youth. Now, I have got my son, Ghulomuddin (nickname as Ghulomjon). No worry at all. My name is alive, mom!”
Yan z̃hũ vũrũtisht kifch wezde k̃h maz̃hev wozomd. Tiyorev yow bẽjo k̃hetk k̃he. Yan ,z̃hũ nan kũli chiz wũzmetk da nikrd’ri dũm k̃hetk. Z̃hũ nane tag ya kẽsal ne dos̃ht. Z̃hũ tates̃h ki ca sar nẽmozer reg̃hde, yowes̃h k̃hat ki z̃hũ pet’ri ska wir. Yowes̃h yan reg̃hde k̃h ska gũmbizes̃h halde. Spreg̃hi kẽt̃etu. Az̃i khũshruy ghũlop ska s̃hũpkhetu. Drepchi ska tu, vishtes̃h ya gird gird. Wes̃htives̃h ney, niya. Dẽ arwo’p ne wes̃hin. Yan’mes̃h wuz be cem en reg̃hde da z̃hũ nan en qiti ska gũmbiz’nes̃h niyene. Sakres̃h z̃i sũdhoyde ki yow gũmon sak tayin cart yoy teyi dra.
My brothers (in the later phase) then brought me to Passu. My mother didn’t bear the pain of the loss of her son. When my father would go to morning prayer before the dawn, my mother would say that her son is alone in the graveyard and would go up there. She had grown the flowers around Sayyab Khan’s grave. The roses had beautifully bloomed around.she had kep a broom in the graveyard and would always clean the grave. No one would get fear of the graveyard. Along with my mother, I’d also go to graveyard and spend the entire day at my brother’s grave.we would think that the corpse may be seeing us.
Yan z̃hũ nan-e marg-e wakht z̃hũ tate k̃hat: “Ye rec̃h! K̃hũ petered wudhg ahro reg̃hde. “ Bikhares̃h z̃hũ nan z̃i rẽwun vite niya ki z̃hũ petri ska wir. Har wakht dam-e arwo chiroghdun pidhing tu.
When my mother passed away, my father then said during her burrieal day: “Be happy now. Today, became a companion to your son.”When my mother was alive, his son would remind her and abruptly she would leave the house and go to the graveyard.” Each night (for a long time), the fire light would lit at the grave of my brother.
Bibi Dawlat: Nives̃h yet (z̃hũ tat) ya fand rat z̃hũ nan). Ska gũmbizves̃h g̃hate ki kifch tanev ska jay.Yasht’ves̃h ne wes̃hte. Magam, z̃hũ vũrũtisht wũs̃hkuch tu, k̃hates̃h ki z̃hũ petri ska wir.
My father, Muhammad Adab Khan, was though in a great shock, he would apparently bear it before others.He’d dodge his wife and would visit the grave of Muhammad Sayyab Khan clandestinely. But interestingly, when he’d reach there, he’d meet my mother who was being witnessed already sitting in the graveyard.
Watch the above discussions in Eagle’s World (Bũspũr-e Jahon) on the following link):