Harf
Script shown with the Urdu

بلھیا کی جاناں میں کون Bulla Ki Jaana Main Kaun — Bulleh, What Do I Know Of Who I Am

Bulleh Shah

1680– 1757

Kafi

Bulleh Shah was a Sayyid who took a gardener as his spiritual master, which his own family treated as a disgrace, and he spent a good part of his life being told what he was by people who felt entitled to say so. This is the best-known thing he wrote, and every line of it is a refusal.

Nothing in the poem ever says what he is. Each stanza names things he is not, then closes on the same question: Bulleh, what do I know of who I am. Six stanzas ahead, and the categories he throws out keep getting larger.

01  — na main momin vich maseetan, na main vich kufar diyan reetan

نہ میں مومن وچ مسیتاں، نہ میں وچ کفر دیاں ریتاں
نہ میں پاکاں وچ پلیتاں، نہ میں موسیٰ نہ فرعون
بلھیا کی جاناں میں کون

ना मैं मोमन विच मसीतां, ना मैं विच कुफ़र दीआं रीतां
ना मैं पाकां विच पलीतां, ना मैं मूसा ना फ़िरऔन
बुल्ल्हा की जाणा मैं कौण

na main momin vich maseetan, na main vich kufar diyan reetan
na main pakan vich paleetan, na main musa na firaun
bulleha ki jana main kaun

I am not a believer in the mosque, nor am I in the ways of unbelief. I am not the pure among the polluted, nor Moses, nor Pharaoh. Bulleh, what do I know of who I am?

He starts by refusing both sides of the largest division available, faith and unbelief, and then both sides of the oldest confrontation in scripture. Pairing Moses with Pharaoh gives away what he is doing. He will not take the good side either. Being the righteous one is just as much a position as being the tyrant, and he is declining all positions.

مومن momin
a believer
مسیت maseet
mosque, in Punjabi
کفر kufar
unbelief
پلیت paleet
polluted, impure

02  — na main andar bed kitaban, na vich bhangan na sharaban

نہ میں اندر بید کتاباں، نہ وچ بھنگاں نہ شراباں
نہ وچ رنداں مست خراباں، نہ وچ جاگن نہ وچ سون
بلھیا کی جاناں میں کون

ना मैं अन्दर बेद किताबां, ना विच भंगां ना शराबां
ना विच रिन्दां मसत ख़राबां, ना विच जागन ना विच सौण
बुल्ल्हा की जाणा मैं कौण

na main andar bed kitaban, na vich bhangan na sharaban
na vich rindan mast kharaban, na vich jagan na vich saun
bulleha ki jana main kaun

I am not in the Vedas or the holy books, not in cannabis or in wine. I am not among the drunkards ruined by drink, not in waking and not in sleeping. Bulleh, what do I know of who I am?

Scripture and intoxicants go into the same line, which is the joke and also the argument. Both are roads people take to get somewhere, and he is on neither. Then waking and sleeping, which between them cover every state a person can be in, and he is in neither of those either. The categories keep getting harder to escape and he keeps escaping them.

بید bed
the Vedas
بھنگ bhang
cannabis
رند rind
a drinker, one careless of religious law
سوݨ saun
sleeping, in Punjabi

03  — na vich shadi na ghamnaki, na main vich paleeti paki

نہ وچ شادی نہ غمناکی، نہ میں وچ پلیتی پاکی
نہ میں آبی نہ میں خاکی، نہ میں آتش نہ میں پون
بلھیا کی جاناں میں کون

ना विच शादी ना ग़मनाकी, ना मैं विच पलीती पाकी
ना मैं आबी ना मैं ख़ाकी, ना मैं आतिश ना मैं पौण
बुल्ल्हा की जाणा मैं कौण

na vich shadi na ghamnaki, na main vich paleeti paki
na main aabi na main khaki, na main aatish na main paun
bulleha ki jana main kaun

Not in happiness, not in sorrow; I am not in the impure or the pure. I am not of water, not of earth, not of fire and not of air. Bulleh, what do I know of who I am?

Here he leaves the human categories and starts refusing the physical ones. Water, earth, fire and air are the four elements everything is supposed to be made of, so denying all four leaves nothing he could be made of. And the pairs keep working the same way: joy and grief, filth and purity. Always both ends, never a preference.

غمناکی ghamnaki
sorrowfulness
آبی aabi
of water
خاکی khaki
of earth
آتش aatish
fire
پوݨ paun
air, wind

04  — na main arabi na lahori, na main hindi shahar nagauri

نہ میں عربی نہ لاہوری، نہ میں ہندی شہر نگوری
نہ ہندو نہ ترک پشوری، نہ میں رہندا وچ ندون
بلھیا کی جاناں میں کون

ना मैं अरबी ना लाहौरी, ना मैं हिन्दी शहर नगौरी
ना हिन्दू ना तुर्क पशौरी, ना मैं रहन्दा विच नदौण
बुल्ल्हा की जाणा मैं कौण

na main arabi na lahori, na main hindi shahar nagauri
na hindu na turak peshauri, na main rehnda vich nadaun
bulleha ki jana main kaun

I am not an Arab, nor of Lahore, not an Indian, nor from the city of Nagaur. Not a Hindu, not a Turk of Peshawar. I do not live in Nadaun. Bulleh, what do I know of who I am?

Now it is the passport. He works from the largest identity down to a named small town, refusing each in turn, and the descent into detail is what makes it funny. It is one thing to say you are not an Arab, another to bother denying Nadaun. Turk is the ordinary Punjabi word for a Muslim, so Hindu and Turk between them cover everyone he lives among.

نگوری nagauri
of Nagaur, a town in Rajasthan
ترک turak
a Turk — in Punjabi usage, a Muslim
ندون nadaun
Nadaun, a town in the Punjab hills

05  — na main bhet mazhab da paya, na main aadam havva jaya

نہ میں بھید مذہب دا پایا، نہ میں آدم حوا جایا
نہ میں اپنا نام دھرایا، نہ وچ بیٹھن نہ وچ بھون
بلھیا کی جاناں میں کون

ना मैं भेत मज़हब दा पाइआ, ना मैं आदम हव्वा जाइआ
ना मैं आपना नाम धराइआ, ना विच बैठण ना विच भौण
बुल्ल्हा की जाणा मैं कौण

na main bhet mazhab da paya, na main aadam havva jaya
na main apna naam dharaya, na vich baithan na vich bhaun
bulleha ki jana main kaun

I have not found the secret of religion, nor am I born of Adam and Eve. I have not taken a name for myself, not in sitting still and not in moving. Bulleh, what do I know of who I am?

Two large refusals and one small one. He gives up on religion having a secret he could find, then denies being descended from the first couple, which is a denial of being human in the ordinary way. Then comes the smallest refusal of the three: he never gave himself a name. A man writing under a takhallus knows exactly what that costs to say.

بھید bhet
a secret, a mystery
دھرانا dharana
to give or assume a name
بھوݨ bhaun
moving about, wandering

06  — avval aakhar aap nun jana, na koi duja hor pachhana

اول آخر آپ نوں جاناں، نہ کوئی دوجا ہور پچھاناں
میتھوں ہور نہ کوئی سیانا، بلھا شاہ کھڑا ہے کون
بلھیا کی جاناں میں کون

अव्वल आख़र आप नूं जाणां, ना कोई दूजा होर पछाणां
मैथों होर ना कोई स्याणा, बुल्ल्हा शाह खढ़ा है कौण
बुल्ल्हा की जाणा मैं कौण

avval aakhar aap nun jana, na koi duja hor pachhana
maithon hor na koi siyana, bulleha shah khada hai kaun
bulleha ki jana main kaun

First and last, I know only myself. I recognise no other second. There is nobody wiser than I am. Bulleh Shah — who is this, standing here? Bulleh, what do I know of who I am?

The ending refuses to resolve. He claims to know only himself and to recognise no second thing anywhere, which in Sufi terms is the whole of the doctrine, stated as flatly as it can be. Then he calls himself by name and asks who is standing there. So the man who has just claimed there is nothing but himself cannot identify the one person present. The refrain lands one last time and answers nothing.

اول آخر avval aakhar
first and last
پچھاننا pachhanna
to recognise
سیانا siyana
wise, clever

Reading it whole

The feeling underneath this is not confusion. It is refusal, and it is stubborn. Every pair he is offered comes with a respectable side and a disgraceful one, and he will not stand on either, because standing anywhere at all is the thing he is declining to do. He could have been Moses. He turns that down in the same line as Pharaoh. He could have been the pure one among the polluted. He declines both halves of that too.

The technique is old and is normally reserved for God: you describe something by stripping away everything it is not, on the understanding that whatever survives the stripping could not be said directly anyway. Bulleh Shah turns it on himself instead. The tool for describing the indescribable, aimed squarely at the man holding it.

The fourth stanza is where it stops being metaphysics. Not an Arab, not of Lahore, not an Indian, not a Turk of Peshawar, no resident of Nadaun. Coming from him that is no abstract gesture. It is a man declining to be sorted, written in Punjabi rather than Persian by somebody who made the clerics his standing target.

And then it refuses to land. He has just said there is only himself in the whole of things, and in the very next line he turns to himself by name and asks who is standing there. The one person the doctrine leaves in existence is a stranger to him. The poem walks right up to the edge of its own claim and then declines to jump. There is no answer coming, and it will not manufacture one.

Rabbi Shergill's 2005 recording carried the poem far beyond the people who would have known it already. The Wadali Brothers sing it the traditional way, close to how it goes at the shrines.

Recordings

  • Rabbi Shergill

    The 2005 recording that made this poem a hit with people who had never heard a kafi.

  • Wadali Brothers

    The traditional Punjabi reading, close to how it is sung at the shrines.

Read next

All 128 poems, A to Z

Text and rights

Devanagari text supplied and checked by a reader who knows the language. The Shahmukhi and the transliteration follow that reading.

Kafis circulate in many versions. Stanza count, order and wording all vary between singers and collections.

Bulleh Shah died in 1757, so the poem itself is out of copyright everywhere. The translation, the reading of each stanza and the essay around them are original work written for Harf.