Maulana Abdul Majeed Salik in his introduction to Khwaja Dil Muhammad’s book titled ‘Peet Ki Reet’ comprising Hindi Doha (a form of poetry) states that this format of poetry is endless in its beauty. In olden days Naik, Kabir and Bihari Sat Sai were famous for saying Dohas, which is a pure form of poetry of the subcontinent. In Farsi and Urdu, couplets have been said and continue to be said but ’Fard’ or ‘Bait’ have not been able to find a place in our poetry, Maulana contends. The formats Ghazal, Masanavi, Nazm, Geet and others are common in the subcontinent. Doha has permanence and is complete in its entity. It is forte of subcontinent’s poets that they say so much in just one couplet and continued saying Dohas one above the other. For example Tulsi Das said ‘Maya Ko Maya Mile Kar Kar Lambe Haath/Tulsi Das Ghareeb Ki Koi Na Pooche Baat’ (Money extends its hand to money but none bothers about the poor). It is a universal truth. Maulana had been hearing Khwaja Saheb’s Dohas for some time and he finally convinced him to compile his beautiful Dohas in a book form and that was done in the form of his book ‘Peet Ki Reet’. This was the time when Khwaja Saheb had presented Sura-e-Fatiha which is believed to be the essence of Quranic teaching, in 1000 simple and beautiful couplets in his book ‘Rooh e Quran’. In those days it was priced at Rs. 8/- only. In parallel in 1945, his book ‘Aina-e-Akhlaq’ that comprised fifty poems on human character was sold at Rs. 12/- only. In no time its 150,000 copies had been sold. Khwaja Dil Muhammad’s poetry was full of spiritual and social cause. His book comprising Ghazals was titled ‘Roohani Naghme’ (spiritual songs). It comprised his poetry in sensitive expressions, delicacy, and attractive language. This book comprised 208 pages. Then national and Islamic teachings were highlighted in his book ‘Hayat e Nau’. It was aimed at waking up Muslims to participate fully in the creation of Pakistan. He read these poems in the sessions of Anjuman Himayat-e-Islam, Muslim Educational Conference Punjab, and Muhammaden educational Conference Aligarh etc. His book ‘Dil Ki Geeta’ was hit published in 1944. ‘The book ‘JapJi and Sukhmani Saheb’ came in 1946. His collection of national and character building poems appeared under the title ‘Bostan-e-Dil’ in 1946. Khwaja Dil Muhammad’s book Peet Ki Reet gives answer to human being’s basic questions. It gives denotement to human being’s dreams and satisfaction to spiritual needs. The book comprises 500 Dohas. The language used is crisp, sweet and easy to comprehend. For example he says ‘Ab Ki Ab Kei Saath Hei, Jab Ki Jab Kei Saath/Jis Ki Rab Kei Saath Hei, Us Ki Sab Kei Saath’ on the titled of the first section of the book titled ‘Irfan’. The other sections are titled ‘Ishq-O-Masti’, ‘Shahood’, ‘Husn-e-Majaz’, ‘Ilm’, ‘Ammal’, ‘Hirs-o-Hawa’, ‘Aalam-e-Aashob’, ‘Fanna’ and ‘Baqa’. Basically the mental deprivation of humans has turned their inquisitiveness from existence to the unknown, from external to internal being. It was this mental state of affairs that had instigated Adam to extend his hand towards the forbidden fruit in the garden of Heavens. The same inquisitive mind leads human to make inventions and discoveries. The spiritual journey takes one from worldly affairs to the spiritual state of mind. One starts dreaming of better future. The way an inventor or a philosopher dreams, in the same way a poet does but the sentiments of both are different. If human life was devoid of such dreams human being’s life would have been empty and meaningless. In his prologue to the book Allama Muhammad Rafiq Asari observes that Khwaja Saheb’s creativity in this book has provided answers to these questions Khwaja Dil Muhammad’s book ‘Peet Ki Reet’ gives answer to human being’s basic questions. It gives denotement to human being’s dreams and satisfaction to spiritual needs. The book comprises 500 Dohas. The language used is crisp, sweet and easy to comprehend. For example he says ‘Ab Ki Ab Kei Saath Hei, Jab Ki Jab Kei Saath/Jis Ki Rab Kei Saath Hei, Us Ki Sab Kei Saath’ (present and future aside, the one who gets close to the Almighty is close to all) on the titled of the first section of the book titled ‘Irfan’ (genesis). The other sections are titled ‘Ishq-O-Masti’, ‘Shahood’, ‘Husn-e-Majaz’, ‘Ilm’, ‘Ammal’, ‘Hirs-o-Hawa’, ‘Aalam-e-Aashob’, ‘Fanna’ and ‘Baqa’ (salvation). Basically the mental deprivation of humans has turned their inquisitiveness from existence to the unknown, from external to internal being. It was this mental state of affairs that had instigated Adam to extend his hand towards the forbidden fruit in the garden of Heavens. The same inquisitive mind leads human to make inventions and discoveries. The spiritual journey takes one from worldly affairs to the spiritual state of mind. One starts dreaming of better future. The way an inventor or a philosopher dreams, in the same way a poet does but the sentiments of both are different. If human life was devoid of such dreams human being’s life would have been empty and meaningless. In his prologue to the book Allama Muhammad Rafiq Asari observes that Khwaja Saheb’s creativity in this book has provided answers to these questions. It is not only the lover who spends all his life looking for his beloved. Moon also does the same. The moment night passes, moon gets pale. So a human gets old in this search and the moon gets pale the moment sun rises. Condition of both is the same. In the section ‘Ishq-o-Masti’ Khwaja Saheb says ‘Chand Phire Aur Main Phiroon, Dhoondain Pee Ka Dais/Raat Gai Din Aa Gaya, Roopa Ho Gaye Kais’ (Both the moon and I try to find the world of our beloved but the moment sun overshadow the moon, we are left high and dry). The second couplet is more meaningful. It says Munh Takta Har Aik Ka, Phiroon Dais Pardes/Peetum Nit Ka Ajnabi, Phire Badal Kei Bhais’ (I look for my beloved in all the worlds but he disguises itself by changing its attire each time). This couplet indicates that the beloved has no shape or face. He is seen in many faces. The question is who to unveil! A poet invites us to appreciate the seeming beauty of nature as well as the inner magnificence. In his section titled ‘Shahood’ Khwaja Saheb says ‘Masti Ki Rut Aa Gayi, Nachain Phool Aur Paat/Shakhain Mujhe Bula Rahien, Lambe Kar Kar Haat’ (Flowers and petals dance with joy and invite me to join them in their festivity). In the section ‘Husn-e-Majaz’ physical beauty has been dealt with delicacy. This section is full of flowers, colours, spring, clouds, odour, ecstasy and music. In this trance the poet suddenly remembers that all of us have to leave this temporary abode one day. He says ‘Sajni Peet Na Jorio, Heera Mun Kei Saath/Heera Mun Ur Jaye Ga, Malti Rehio Haath’ (my beloved do not fall in love with me as I may vanish and you may regret thereafter). This book contains poetry on two issues; one is ‘Irfan’ that means discovery of inner feelings of universes’ issues that have dawned upon man. The other issue is ‘Ilm’ (knowledge) that is the information a man gets through his sensibilities. Scientific experiments, study of astronomy, research outcomes, all fall under this category. Khwaja Saheb philosophizes it by saying ‘Qabu Kar Lei Bijlian, Aag Hawa Aur Bhaap/Main Janun Jab Tu Kare, Qabu Apna Aap’ (You may conquer electric currents, wind or steam but I shall be satisfied when you have control over yourself). Humans, despite conquering this world still are hostage to their greed. Now the next section deals with ‘Ammal’ (action). Poet’s expression is simple expressing the importance of action. He simply expresses that those who serve humanity do not have worldly goods. Even the sun’s heat reaches the rich and the poor with equal intensity. He says ‘Seva Jin Ka Kaam Hei, Raas Na Unke Paas/Sui Nangi Khud Rahe, Sab Ka Siye Libaas’ (Those who believe in serving others do not have worldly possessions like a needle who remains bare but sews other’s clothes). The next section deals with ‘Hirs-o-Hawa’ (gluttony and greed). Khwaja Saheb says ‘Heere Moti Chaab Kei Bhare Na Tera Pait/Do Roti Kei Waaste Kyun Itni Alsait’ (Chewing pearls do not fill your appetite then why you struggle so much for the riches for just two meals a day!). This couplet is a direct satire on Europe and America. The section ‘Aalam-e-Ashob’ directly reflects today’s socio-political scenario. Presently, pre-Corona Virus era has been full of greed and lust for power. We have been creating boundaries on the basis of religion and cast ending up in economic reprisals, sexual harassments, and extreme poverty. One can hope that after the present pandemic lessons shall be learnt by the Rulers and masses alike. Khwaja Saheb says ‘Yei Maalik Ki Bhool Hei, Ya Khalqat Ki Bhool/Aik Kei Sir Par Phool Hain, Aik Kei Sir Par Dhool’ (Whether it is the misconception of the Almighty or the masses, one has flowers and the other dust on his head). The next section is titled ‘Fana’ (annihilation). Soul remains perturbed in the body as each and every moments, death knocks at the door. Khwaja Saheb says ‘Tun Kutiya Main Aatma, Chain Kahan Sei Paye/Har Dum Kundi Saans Ki, Maut Pari Kharkaye’ (In the body’s enclave, there is no peace as death keeps knocking at the door). The topic of last section is ‘Baqa’ (salvation). The end of all the ambitions is dust but the poet stands with a candle in his hand on the other side of this entertainment arena. So he says ‘Fani Fani Kyun Kahain, Nadaani Sei Log/Lafani Sei Rooh Ka, Lafani Sanjog’ (why do we say that we shall perish in our misgiving as imperishable link remains intact with our soul). Khwaja Saheb’s poetry is universal in nature. Its message is as valid today as it was seven decades before. His messages were known to and valued by the generation that witnessed the creation of Pakistan. He was a renowned mathematician and served as Principal, Islamia College, Lahore. Reprinting of his book ‘Peet Ki Reet’ by prestigious Majlis Taraqi e Adab, Lahore shall keep his valuable creative endeavor shall be available for the present and future generations! The writer is the recipient of the prestigious Pride of Performance award. He can be reached at doc_amjad@hotmail.com