Habba Khatoon

Habba Khatoon (; born Zoon Rather () ; sometimes spelt Khatun), also known by the honorary title The Nightingale of Kashmir, was a Kashmiri Muslim poet and ascetic in the 16th century.

Habba Khatoon's music pushed her poetry gradually into learned circles and those who had fled on the works of immortals like Firdausi, Omar and Hafez were bound to raise their eyebrows at first. This wobbling of Habba Khatoon under her peculiar compulsions and with her own limitations created the symphony of romantic words running side by side with mystic poetry till it over stripped and outshone it. According to the oral tradition, she was called Zoon because of her immense beauty. Although a peasant, she learnt how to read and write from the village Alimah.

Some circles who have disputed this fact associate her birth with the small glen of Gurez to the north of the valley of the Jhelum. Tradition links a spot near Tsoorawan in Gurez with the poet and it is known even now as the 'hillock of Habba Khatoon'. They take their stand on a legend that Habba Khatoon was born to a petty chieftain in Gurez who passed her on to a Kashmiri trader Hayaband in lieu of the liquidation of his debts. Hayaband married her to his son Habalal, hence the name— Habba Khatoon.

Yet, It is held that the 'hillock' of Habba Khatoon came to be associated with her because of her later contacts when she visited Gurez as the consort of Yusuf Shah Chak.

Abdi Rathar of Chandhur, her father, was a well-to-do farmer and was a man gifted with unusual courage and foresight. Notwithstanding the expected back-talk and open criticism, he made arrangements for the education of his daughter at the hands of a village maulvi. Habba Khatoon received instruction in the study of the Quran and, of course, the Persian classics which, owing to the patronage at the court had become the rage of the times. No further details of this period of her life are available. Perhaps she read Gulistan and Bostan which was the usual fare of pupils in Persian in Kashmir till recently. However, her name spread well beyond the village boundaries and Abdi Rathar's Zoon was referred to as an extraordinary child in hamlets other than Chandhur.

In the course of time, her parents thought of marrying Zoon. Few girls could be better endowed for a happy married life. She came from a well-to-do family and was educated and accomplished. She was highly beautiful and could sing in a sweet, enchanting voice. She could work at home and on the farm to bring prosperity to her family. Her parents selected a peasant boy, Aziz Lone, as her husband. His tastes and interests had nothing in common with Zoon's and there is hardly any doubt that he was a dull-witted, matter-of-fact a boorish young peasant. Nature tricked her into song and glory through Aziz Lone who was stolid to her charm and apathetic to her love. Despite this Habba Khatoon was fondly devoted to him in love and fidelity and left no stone unturned in trying to evoke a suitable response from her husband. With all her beauty of form and mellifluous voice she worked like a slave at her husband's home and their lands. She would so to the stream to fetch water for the household, go to the uplands in search of firewood and wild edible roots, ply the spinning-wheel and do other chores in the tradition of the old times. But there was no appreciation for all this. Instead, her mother in-law and perhaps her husband too were always on the look out for a slip on her part-of course, innocent and unwitting to give them a handle to taunt her, abuse her and perhaps be labour her. If she broke an earthenware water-pot by accident she was asked to replace it or pay for a new one.

The situation was pretty bad for her and she realized that life in such an atmosphere was worse than death. She could not make out how her death would profit him. In her song— Tche Kyoho Vaatiyo Myaeni Marnai<nowiki/>' (What do you stand to gain by my death?) contemplates such an act but concludes on a note of self-introspection but neither the display of emotion in abandon not admonition brought any relief to Zoon in her predicament and Aziz continued to be indifferent to her.

Translation:

In such circumstances women approach saintly people credited with mystic powers for help. Zoon also must have sought the help of such men, among them one Khwaja Masud. He is said to have given her consolation and predicted a better future for her. He, it is said, also coined for her the name Habba Khatoon which Zoon adopted. But nothing brought even a streak of conjugal delight in the life of Habba Khatoon and she continued to address her laments to her husband. She entered the palace in about 1570, and at some point changed her name to become Habba Khatoon ().

Here was the young peasant woman slaving for her loaf, neglected and loathed by her husband, abhorred by his mother and a victim of people's gossip, being entreated by the heir-apparent to take her exalted place in his palace. She had sought love from Aziz Lone which he denied her: she was in need of affection from his mother which she did not give; she expected normal regard and courtesy from society which treated her with disdain. And now she was being offered all this and more. Need less to say that she accepted the offer and entered the palace in circa 1570 Habba Khatoon was of an age when Kashmir suffered much political, social and economic distress. The dynasty of the Sultans distinguished by rulers like the mighty Shahab-ud-Din and the illustrious Zain-ul-Abdin had grown feeble and power passed into the hands of feudal barons who keenly competed with one another in the bid to exercise power in the name of a puppet here or a pretender there. Though energetic, Ali Khan Chak was intrepid and was occupied all the time in meeting revolts and confrontations. The Chaks were Shias and the brunt of their proselytising zeal fell on both the Hindus and the Sunni-Muslims. What was worse, the Sunni-Shia rivalry took an ugly turn and distressing form, leading to an extensive cleavage between the two sections of the population, and sympathies of the masses were alienated. A more serious development was the allurement felt by the hawk-eyed Mughal, Akbar, for the beautiful valley of Kashmir. Because of their mutual bickerings and quarrels, disgruntled Kashmiri leaders often sought assistance from the emperor, or his satraps, who encouraged defections and destabilisation. The hillock in Gurez Valley, Kashmir is named after Habba Khatoon.

thumb|The pyramid-shaped Habba Khatoon mountain, located in Gurez, Kashmir was named after her.|160x160px

An underpass in Mughalpura, Lahore has been named after Habba Khatoon. The Indian Coast Guard named the ship CGS Habba Khatoon after her.

In film

Habba Khatoon (1978) is an Indian Kashmiri-language television film directed by Bashir Badgami for Doordarshan. It starred Rita Razdan in the titular role of the queen. Doordarshan also aired Habba Khatoon, another television show in Hindi on DD National about the poet.
Mrinal Kulkarni portrayed her role in the Indian television series Noorjahan, which aired on DD National from 2000-2001.
Zooni is an unreleased Indian Hindi-language film by Muzaffar Ali that was supposed to release in 1990 but was eventually shelved. Earlier unsuccessful attempts in Indian cinema to portray her life on screen included one by Mehboob Khan in the 1960s and in the 80s by B. R. Chopra.

In film

See also

References

Further reading