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The Arabic word munajat is derived from najiymeaning confidential talk The Koran says: Another view suggests that the word munajat is derived either from yunaji or najawa meaning talking in secret.
This word is also found in a hadith that, “When a man is at his prayer-rite, he is in intimate converse with yunaji his Lord” Masnad2: The prayer-rite then is a munajat confidential converse. Besides, the word najawa itself is rooted from najahmeaning deliverance or salvation. In the technical term of the poetry, the word munajat offers the meaning of longing for repentance of sins.
udu According to Ilmi Urdu Lughat Lahore,p. It is a poem glorifying God as well as an act of offering prayer by submitting humble supplication. The munajat under our review is a traditional song of the Ismailis of Indo-Pakistan subcontinent to be recited in the Jamatkhanas on the occasion of the Imamate day.
It is difficult to be definitive about the name of its composer and its first recitation. The critical analysis of few lines and the blend of Hindi and Urdu expressions garbed in some Arabic and ornate Persian diction, do furnish clues, which would indicate that it may have been composed by a Syed of Persian origin and laterit was updated by another person. There is a view that it was composed by Syed Fateh Ali. Other attributed its composition by Syed Didar Ali d. We will thus examine the different traditions.
In the extant munajatthe words “Shamsi” and “Abul Hasan Shah” are incorporated, which prompted cultivation of above tradition. While examining the two accessible ginans of Syed Fateh Ali and comparing them with the language of the munajatit seems that the tradition of his composition is doubtful as the verses of munajat sound quite modernity. He speaks Persian in northern Iran. Granted that the munajat was composed by Syed Fateh Ali during the ascension ceremony of the Imam inthe age of Syed Fateh Ali should have been 3 to 4 years.
Besides, he had seen the Imam in Shahr-i Babak on or after when his age was 12 years or above. Hence, it ilki quite improbable that Syed Fateh Ali had composed it at the age of 3 or 4 years, or 12 years. Thirdly, the title “Shamsi” is said to have related to him, and the present munajat also contains the same epithet, whose reason was something different which has been lghat hereinafter, and nothing to do with that of the title of Syed Fateh Ali.
The second tradition relates that it was recited in India to celebrate the ascension ceremony of Imam Hasan Ali Shah The followers rejoiced and celebrated a token ceremony in the main Jamatkhana of Bombay. Accordingly, a wooden throne was prepared in Calcutta and brought in the main Jamatkhana. The Mukhi, Kamadia, leaders and jamats of different areas slowly marched towards the main Jamatkhana with an old musical team in a procession mamero.
The Imam’s painted photo was also placed on the throne. On that occasion, a praise-poem was composed and recited as if the Imam acceded to the throne on Indian soil. This praise-poem was known as the shairo, laudatory odes. Unfortunately, we cannot find the shairo in the old manuscripts. It was an occasional composition, and its composer could not be identified.
After a long and tedious journey, Imam Hasan Ali Shah arrived in Sind in via Afghanistan, and thence he proceeded to Bombay in Due to some political reasons, the Imam had to leave Bombay in for Calcutta for 18 months, and returned back to Bombay on December 26, He declared Bombay as his permanent residence. The Ismailis rejoiced with the Imam’s decision and urged for a grand didarwhich was granted. The preparation for a grand didar program began and the Ismailis from all parts of India poured down in Bombay.
They were lodged in the camps pitched at Wadi, Bombay. The guests were provided foods as per Imam’s order. It is further said that the Ismaili families of Ili, who knew their language, looked after the guests.
When the Iranian Ismailis entered Wadi, they delighted to see the well decorated camps, tinged with green flags. The Punjabi Ismailis greeted them with the loud recitation of the salawat. These Punjabi Ismailis were known as the Shamsi, and the whole account is sounded in the above qasida. Syed Hasan, representing the Iranian Ismailis sought permission from Kamadia Haji to recite few lyrical expressions in presence of the Imam. The pendol erected at Wadi, Mazgon was well decorated.
The ilmu was llmi with a beautiful throne and a green umbrella. Syed Hasan recited six qasida with some other eleven Syeds. These six qasida are given below: The vivid assembly is gloriously adorned with carpets spread on the floor. The Lord Abul Hasan Shah has come and sat on the throne. They are homaging prostratively as if offering their lives.
O’Beloved of Fatimatu’z Zahera! Hazrat Ali these pughat due to your deeds, and you embellish the paradise. Syed Hasan recites the munajat to offer you congratulations, and pray”O’Lord of Najaf!
These six qasida known as the shairohas nothing to do with the inaccessible shairo of The shairo of differed with the shairo ofbut the people equated them as one, making the later originated in InMukhi Laljibhai Devraj actually published the shairo of and he too attributed it that ofwhich was recited before the wooden throne in Bombay Jamatkhana.
Ulghat Laljibhai had no choice but to lughxt on the top of the shairo now known as the munajat that, “the greetings to the throne of the Lord. The above six qasida have been put in the present printed munajat in the order of 1, 2, 5, 6, irdu and 8. There is no record of the evolution of the above shairo or munajat between and On that occasion, Syed Didar Ali d.
He also added two another qasida in the recitation with a refrain to emphasis that Imam Sultan Muhammad Shah lugyat the bearer of the noor of Ali from his grandfather to father. Hence, the shairo of six qasida had been updated inwhich are given below: An exalted dignity in a small age indicates a sign of grandeur.
The six stanza or qasida recited in and another two with imi refrain in ultimately gave a final shape to the present munajat of 8 stanza or qasida.
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It is possible that an influx of the Ismailis from all parts of India poured down in Bombay in While returning to their places, they borrowed the above munajat and introduced in their areas. It was a mammoth concourse of the Ljghat, who seem to have coined that it was recited yrdu the first time.
The wedding celebrations took place in Poona at Yaroda Palace on January 16,where nearly 30, Ismailis ufdu come from all parts. From its content, it clearly appears that this munajat does not ilml to the occasion of the marriage.
It is luhat possible that it may have been recited on that occasion. On both occasion, the Imam sat on the wooden thrones. The first virtual takhat nashini of the Present Hazar Imam solemnized simply in Barkat Villa in Geneva on July 13, in presence of the distinguished Ismaili leaders.
On that occasion, the munajat was recited. The verses of the munajat are most simple and beautiful in form. Its beauty lies in thought and the expression is much impressive. Its style resembles that of the Kalam-e-Mawla as far as its language is concerned. It also excels in expression of thought with clear flow. The verses are written in simple Hindi mode, richly overlaid with Persian and Arabic words.
Besides, the term ” munajat ” for this praise-poem was coined around in It does not come in the category of the ginans like Kalam-e-Mawla.
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It is a praise-poem generally recited on the occasion of the Imamate day. The transliteration and translation of the munajat in present order of the stanza are given below: Syed Hasan recites the munajat to offer iilmi congratulations and prayO’Lord of Najaf! Soon after the liberation Pakistan inthe newly formed Ismailia Association for Pakistan assumed the word Pak jamat in place of Hindi jamat in the above 2nd stanza.
The East African Associations however retained the word Hindi jamat in their publications and recitations. Contact us – Sitemap. NET – Heritage Uurdu.
Ilmi Urdu Lughat – Waris Sarhindi
Guests are not required to login during this beta-testing phase. Encyclopaedia of Ismailism by Mumtaz Ali Tajddin. A Project of the Heritage Society.