The Unsung Elegist of Kashmir: Mirza Abul Qasim

By Muzaffar Hussain Bhat

Within the intricate fabric of Kashmiri culture, characterized by its deep roots in mysticism, aesthetic richness, and a history of suffering, few literary figures are as significant yet overlooked as Mirza Abul Qasim of Gund Khwaja Qasim, Parspore. A prolific 19th-century composer of Marsiya, a form of elegiac poetry dedicated to the commemoration of the martyrs of Karbala, Abul Qasim devoted his life to this literary tradition. Despite his substantial contributions to Kashmiri literature, his legacy remains largely unrecognized, overshadowed by the tragic events that led to his eventual departure from Kashmir. His work, largely confined to the Kashmiri Shia community, remains obscure to the broader Kashmiri population and largely unknown beyond the region.

Abul Qasim’s Marsiya are not merely poetic articulations of grief; they represent a profound testament to the enduring resilience of a community that has long sought solace in the commemorative rituals of Karbala, particularly in times of adversity. Writing in the Kashmiri language, Abul Qasim’s oeuvre deeply resonated with the local Shia community, reflecting the unique blend of Persian cultural influences and indigenous Kashmiri traditions. His verses, rich in emotive depth and cultural allusions, continue to echo the collective sorrow and perseverance of the Kashmiri people.

A distinctive feature of Qasim’s Marsiya is the infusion of his personal suffering into his poetic compositions. While Marsiya are inherently vehicles for expressing collective sorrow, Qasim’s works transcend the conventional boundaries of the genre by embedding his personal tragedies within the broader narrative of communal grief. His poetry not only reflects the collective lamentation but also serves as a poignant mirror to his own existential anguish. For instance, in the composition ‘Meeras’, Qasim parallels his own harrowing experience of exile from Kashmir while leaving his ‘meeras’ here with Imam Hussain’s tragic journey from Medina to Kufa. In the early 1840s, Qasim was compelled to leave Kashmir following a bitter incident, leading to his migration to Lucknow. This event, still vividly recalled by the residents of Gund Khwaja Qasim, was first recorded by Hakim Ghulam Safdar in the journal ‘Al-Irshad,’ published by Bab ul Ilm Budgam in 1962. Safdar writes:

“Mirza [Abul Qasim] was well-off, possessing substantial estates and several houses, remnants of which still exist in Gund [Khwaja Qasim]. Little is known about him, though I have come across accounts of Asad Joo. Despite being a local, Asad Joo harbored an inexplicable animosity towards Mirza and relentlessly sought to harm him. Supported by a group of miscreants, Asad Joo eventually forced Mirza Abul Qasim to leave his homeland. On his way to Lucknow, Mirza and his family were robbed at ‘Tosa Maidan.'”

This narrative attracted the attention of the Khwaja family from Gund Khwaja Qasim, who responded with an open letter published in a subsequent issue of ‘Al-Irshad.’ The letter not only presented their perspective but also further complicated the historical understanding of the incident by providing additional contextual details. Recently, Khwaja Mohammad Qasim took up this issue and compiled a whole book on the exile of Mirza Abul Qasim. I will further explore this dimension in the following sections.

Another dimension that adds depth to Abul Qasim’s Marsiya is his expressed desire to be interred in Karbala, a wish that was fulfilled after his departure from Lucknow when he chose to spend his remaining years in Karbala, serving the pilgrims. The tragic end of Mirza Abul Qasim’s life, marked by exile and unfulfilled longings, adds a melancholic layer to his literary legacy. On one hand, his death deprived him of the chance to see his homeland again; on the other, his wish to remain in Karbala was fulfilled. Like many artists, Abul Qasim’s life was fraught with hardship, and his death underscores the often harsh realities faced by those in the creative professions. However, it is precisely this tragic backdrop that elevates his work, imbuing it with an authenticity and depth that resonate with those who have experienced loss and found solace in faith.

In a region where the echoes of conflict and suffering are omnipresent, Abul Qasim’s Marsiya provide a voice of empathy and understanding, bridging the temporal gap between the historical events of Karbala and the contemporary experiences of the Kashmiri people. His poetry serves as a reminder that, even in the darkest of times, the Kashmiri Marsiya can offer a pathway to the divine, a means of processing collective pain, and a source of meaning in the face of despair.

It is imperative that the contributions of Mirza Abul Qasim to Kashmiri literature be recognized and celebrated. His work not only enriched the literary heritage of his time but also provided a cultural touchstone for future generations. In a world that often overlooks its poets, Abul Qasim’s Marsiya stand as a testament to the enduring power of the written word, serving as a beacon of hope and a repository of collective memory.

In commemorating Mirza Abul Qasim, we do more than honour a great poet; we acknowledge the pain, beauty, and resilience that define the human experience. His life and work serve as a profound reminder that, even in the face of adversity, the power of words can transcend time, offering solace and insight to those who follow.

The author is from Gund, Kantarbugh, Pattan

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