ang Barang Tailsan, the Urdu translation by Syed Noman-ul Haq of Mansoor Hallaj’s Kitabut Tawaseen, is not an easy read. A reader like this reviewer, who has only a superficial knowledge of the Sufi worldview, must be prepared to bear the burden while reading any Sufi text of an ambiguity that cannot be dispensed with. This may be because these attempt to describe transcendental experiences whose essence cannot be completely encapsulated in words.

That effect is ever present when reading Rang Barang Tailsan due to the enigmatic nature of all references to the original writer in our religious and literary traditions. Hussain ibn Mansoor Hallaj, popularly known as Mansoor Hallaj, Mansoor, or Hallaj, has been a controversial figure. He was born in the 9th Century during the Abbasid era. Some of his proclamations were denounced by the leading clerics of his time. This eventually led to his prosecution, imprisonment and execution.

In the religious tradition, Hallaj continues to be a divisive figure. The anti-Sufi school still denounces him. In the Sufi tradition, however, he is revered by many as a martyr. There are also those like Ashraf Ali Thanvi who concur with some of his ideas and yet find his execution justifiable, stating that he was punished for revealing divine secrets that he was not permitted to disclose.

The poetic tradition in Persian, Urdu and some other South Asian languages has added to the enigma. The mystic has become an extensive metaphor, praised by various poets, often for different, even conflicting reasons. For poets with a proclivity towards religion, like Iqbal, Hallaj represents the epitome of love for the divine. For writers who engage with sociopolitical and economic issues, like Jalib, Hallaj signifies rebellion against power and the sacrifice for one’s ideals.

Almost half of Rang Barang Tailsan comprises forewords and commentaries by the translator and notable literary figures of our time, including Iftikhar Arif, Mubin Mirza, Sarmad Sehbai and Ahmad Javaid. While it might seem somewhat extravagant, as these texts are full of praise for the book and the translator, they are all beautifully written. Mirza’s piece, in particular, stands out as a long essay on account of its diction and flow.

The most important parts of the foreword are the two essays by the translator himself. These provide a comprehensive account of Hallaj. Even if a reader is unable to fully grasp the text/ translation, these essays make the book worth reading.

The most important parts of the foreword are the two essays by the translator himself, which provide a comprehensive account of Hallaj.

Dr Haq states that contrary to popular belief, Hallaj was executed for political rather than religious reasons. He also points out that many stories about Hallaj—including accounts of his miracles, washing of his face with his blood, and the presence of Junaid Baghdadi on the occasion of his execution—are historically inaccurate. However, he does not dismiss these myths. Instead, he values them, stating they have become a permanent source of imagery and metaphors in our poetry. He particularly highlights the example of Faiz, citing excerpts from poems like Luhoo ka Suragh and Aaj Bazaar Mein Pabajaulan Chalo, which draw on some of the stories.

An interesting aspect of Hallaj scholarship is that the most extensive research on him was conducted by a French orientalist, Louis Massignon (1883-1962). Massignon compiled and published Hallaj’s works and had a role in Iqbal’s developing a fascination with the mystic. Dr Haq believes that without reading Massignon, Iqbal would not have written the part of Javed Nama that mention Hallaj.

The translator admits that although the original book, Kitabut Tawaseen, is in prose, his translation has taken on a somewhat poetic form. This poetic feel makes the translation artistic but also makes the book more suitable for those willing to wade through considerable ambiguity.

Tawaseen appears to be the plural of Tua Seen, an instance of huroof-i-muqatta’at (segregated letters) in the Holy Quran. These are letters that appear at the beginning of 29 surahs and are pronounced individually. Scholars differ on their meaning; some of them holding that they contain divine secrets. Hallaj seems to be attempting to unravel such secrets.

The first part of the translation is perhaps the easiest to understand, as it is in praise of the Holy Prophet (peace be upon him). The rest of the text is more ambiguous. Geometrical figures, containing circles and dots, that appear before and within certain chapters of the book add to the complexity. Even the titles of these chapters, such as Nuqtay ki Tuaseen and Dairay ki Tuaseen, could be interpreted as Mystery of the Point and Mystery of the Circle, contribute to this ambiguity.

Hallaj uses these geometrical objects as metaphors to describe his understanding of the divine. For a full appreciation of the content, a taste for such ways of describing reality may be necessary.

Rang Barang Tailsan

Translator:

Syed Noman-ul Haq

Author: Mansoor Hallaj

Publisher:

Maktaba-e-Danyal, 2024

Pages: 133

The reviewer works at The News, Karachi