Women in Shah's poetry (and in Sindhi folk stories generally) are the
central character, the heroines: and they are dynamic, uninhibited,
independent minded, autonomous, dedicated, and persistent.
While Sufi interpretations of Shah Latif abound, and these are
universalist and not gender specific, Dr. Durreshawar Sayed, considers
Shah's poetry and women's role and status, among other topics, in her
dissertation on Shah ("The Poetry of Shah Abd al-Latif", submitted to
University of Edinburgh, UK 1984 for her PhD. A version is published
by Sindhi Adabi Board, Hyderabad Sindh, 1988, 350pp, English).
Dr. Sayed is not the first to consider this aspect but her analysis
does go in far greater depth than previous work. While she has
analyzed a number of surs (compositions) here are a few of the many
examples cited by Dr. Sayed.
"Sisters! success is theirs, who abondan vanity.
Friends! you must give up mindlessness
Become uninhibited and come out."
"Adiyuun varu ughaarra, vihaanu jehen visaariyo
Jeddiyuun! chhadde jaarra, sabhi nangiyuun thii nikro."
"By giving up avarice, greed and inhibitions
Set out for the desired goal.
Success with the beloved cannot be
Achieved merely by sleeping."
"Sabhi nangiyuun thii nikro, laalacha chhadde lobha
Supriyaan siin sobha, ninddruun kande na thiye."
In Bhitai's Surs like, Leela Chanesar and Moomal-a RaanNo the topic dealt with is man's fall from Divine Grace by making a slip. In Sur Marui, Bhitai represents woman as symbol of purety, elegance and love. Marui represents the women of Sindh, in fact, Marui is Sindh. Despite all her trials and tribulations, she has not
forgotten her 'maaroonRa' - she yearns for them, cries for them, and is filled with perpetual longing for them. Despite all the comfort of the palace of Raja Umar, she has not forgotten her own humble roots, the thatched village homes, the 'chela' (lambs), who, as she remeniscenes, are still waiting for her to come and release them so that they can run to their mothers to feed themselves.
