The Guardian of SJR

Reviving Shah’s Words: A Scholarly Triumph

Through 32 years of relentless research, Dr. Nabi Bux Khan Baloch restored Shah Jo Risalo to its purest form, safeguarding Latif’s true voice for generations.

Dr. Nabi Bux Baloch’s monumental effort to compile the definitive edition of Shah Jo Risalo was the result of 32 years of rigorous research and textual scrutiny (1966–1996). In his own words, this was not merely an act of collecting verses but an attempt to “bring the study of Shah Abdul Latif’s life, poetry, and philosophy to its logical conclusion.” His process was meticulous—he combed through manuscripts handwritten by Faqirs from Shah’s era, traveled beyond Sindh to locate lost versions, and compared over 50 handwritten and printed editions to establish the most authentic text.

One of the most remarkable aspects of his work was his strict adherence to scholarly principles. He treated early Faqirs’ manuscripts as primary sources, prioritizing those closest to Shah’s time. Any Bait or Vaye absent from these manuscripts was excluded. Furthermore, he meticulously documented multiple versions of each verse in footnotes, providing future researchers with a transparent account of textual variations. His approach was methodical and uncompromising—every word, every phrase was carefully verified, annotated, and standardized.

Perhaps the most revolutionary aspect of his work was the precise application of Airaab (phonetic markings), a feature often overlooked in previous editions. In Sindhi, as in Arabic, diacritical changes can alter the meaning of a verse entirely. Dr. Baloch corrected errors that had crept into centuries of transcriptions, ensuring that Shah’s poetry could finally be read in its truest form. This was not just a linguistic refinement; it was an act of restoration, reviving the poetry in the exact phonetic cadence Shah himself would have intended.

To illustrate the impact of these refinements, consider this well-known verse:

ڪَري پاڻَ ڪَرِيمُ، جوڙُون جوڙَ جَھانَ جِي.

Now, pay close attention to two specific words:

1. پاڻَ (pāṇ)

2. جوڙُون (joṛūn)

With Dr. Baloch’s meticulous corrections:

ڪَري پاڻُ ڪَرِيمُ، جوڙَئُون جوڙَ جَھانَ جِي.

1. پاڻَ (pāṇ) becomes پاڻُ (pāṇu)

2. جوڙُون (joṛūn) becomes جوڙَئُون (joṛa’ūn)

At first glance, these changes may seem minor. But in reality, they shift the meaning and rhythm of the verse entirely. پاڻَ (pāṇ) refers to oneself, while پاڻُ (pāṇu) carries a different nuance. Likewise, جوڙُون (joṛūn) and جوڙَئُون (joṛa’ūn) are not simple spelling variations—they alter the depth and interpretation of Shah’s words.

Now, consider how often such errors have found their way into everyday references to Shah Jo Risalo. In an age where quotes are widely shared on social media without verification, such mistakes spread rapidly. The danger is not just in inaccurate wording but in the gradual distortion of Shah’s poetry—words that have endured nearly three centuries to reach us.

This is not just a matter of linguistic precision; it is about respect. To misquote Latif, whether knowingly or unknowingly, is to diminish the sanctity of his words. A single misplaced Airaab can lead to an entirely different interpretation, affecting how people understand his philosophy, spirituality, and poetic expression.

Dr. Baloch’s commitment to correcting such errors was not merely an academic pursuit—it was an act of preservation. His meticulous application of Airaab ensures that Shah’s verses are recited and understood as they were meant to be. This level of accuracy is essential, not just for scholars but for every reader who values Latif’s poetry beyond mere repetition. If we truly revere Shah, we must engage with his words seriously. His poetry deserves more than casual sharing; it demands careful reading, precise pronunciation, and deep understanding.

Beyond textual refinement, Dr. Baloch also addressed longstanding historical ambiguities. His edition of Shah Jo Risalo was the first to comprehensively document the history of previous compilations, tracing their evolution from the early Faqirs’ handwritten manuscripts to 19th-century printed editions. He debunked many myths surrounding Shah’s biography by relying on historical references rather than oral traditions. For the first time, Shah Abdul Latif’s life story was presented with scholarly rigor, free from the embellishments of later narrations.

Dr. Baloch also settled a long-standing debate: what should be considered authentic Shah? Previous compilers often inserted poetry from other mystics, believing it aligned with Shah’s philosophy. But Dr. Baloch drew a firm line—his edition included only what could be historically verified as Shah’s own. However, he did not discard non-Shah verses outright. Instead, he compiled them separately, acknowledging their literary value while distinguishing them from Shah’s core work.

Another crucial contribution was his restructuring of the Surs. Earlier editions followed arbitrary arrangements based on musical or thematic considerations, often disrupting the internal coherence of Shah’s thought. Dr. Baloch restructured the Surs logically, ensuring a more natural philosophical progression. Each Sur now begins with a thematic introduction, offering readers insight into the mystical and philosophical dimensions embedded within the poetry.

Despite the immense success of his project, Dr. Baloch was not immune to criticism. Some scholars pointed out minor oversights—occasional repetition of verses, placement errors, or textual inconsistencies. But as he himself acknowledged, no project of this scale is without flaws. Most of these issues were addressed in later editions, and none compromised the overall integrity of his work. His commitment to continuous revision exemplifies the scholarly humility that defined his career.

One intriguing aspect of his edition remains a subject of curiosity: why did Dr. Nabi Bux Baloch enclose numerous words in brackets or quotation marks, such as:

سو ”ھِيءُ“ سو ”ھُو“ سو ”اَجَلُ“ سو ”اَلله“

سو ”پِرين“ سو ”پَساھُ“ سو ”ويري“ سو ”واھِرُو“.

What was his reasoning? Was it a stylistic choice, an emphasis, or something more? At first glance, it seems unnecessary; these words and their meanings are already clear. Instead of enhancing understanding, the quotation marks seem to disrupt the natural flow of reading. Yet, dismissing it as a mere formatting quirk feels premature.

There must have been a deliberate rationale behind it—one that perhaps only those who worked closely with Dr. Baloch could fully explain. Someone like Dr. Abdul Ghaffar Soomro, who deeply assisted in this edition, might have the answer. If anyone can shed light on this aspect, it would help us understand not just the mechanics of the text but the scholarly approach that shaped its final form.

In its final form, Dr. Nabi Bux Baloch’s Shah Jo Risalo is more than just a compilation; it is a landmark in Sindhi literary scholarship. It provides not only the most authentic version of Shah’s poetry but also a blueprint for future research, translation, and interpretation. It is, without question, the definitive edition—the foundation upon which all future studies of Shah Abdul Latif Bhittai must be built.