yes but maybe the poet was also alluding to the previous four because although our Messenger SallAllahu'AlayhiwaSallam was one of the ulul azm, he was also in a category of his own! however, as you said, it was just a verse and it should be left at that.
just a friendly point i'd like to make - ala Hazrat writes in Fatawa Afriqa that: " May Allah protect us - Rafidis are a nation obsessed with superstition. this is the reason that Imam Shaf'i has called them 'the women of this ummah' but in reality, their obsession with superstition exceeds the superstitiousness of ignorant women. They loath and hold enmity towards the number 'four' only because the ahlul sunnah believe there to be four rightly guided caliphs. how noxious is their ignorance! the celestial books are four - the qur’ān, tawrāt, injīl, zabūr and qur’ān; the previous messengers ulul ázm are also four - Sayyiduna Nuh, Sayyiduna Ibrahim, Sayyiduna Musa, Sayyiduna Isa."
the above na'at has been recited most beautifully by the late mushtaq qadri rahimahullah. realfile @~530 KB can be found here: http://www.sunniport.com/portal/dload.php?action=file&file_id=255 mp3 file ~12.3 MB can also be found here: http://www.sunniport.com/portal/dload.php?action=file&file_id=256
subhanallah ! thanks for sharing. this is the first time i read poetry by mawlana mufti aĥmed yār khan naýīmi raĥimahullāh. --an
A poem by 'Salik' tum hi ho chayn aur qaraar is dil e bey qaraar meiN tum hi to eyk aas ho qalb e gunaahgaar meiN ruH na kyuN ho muzTarib mawt ke intizaar meiN sunta huN mujhko dekhne aayeNge woh mazaar meiN. khaak ho aysi zindagi woh kahiN aur hum kahiN hai usi zeest meiN mazaa jo ho diyaar e yaar meiN dil meiN jo aa ke tum raho seene meiN tum agar baso phir ho wohi chahal pahal ujRey huwe diyaar meiN qabr ki suni raat hai, koyi na aas paas hai ek tere dum ki aas hai,qalb e siyaahkaar meiN fayz ne tere yaa nabi kar diya mujhko kyaa se kyaa warna dhara huwa tha kya muThThi bhar iss ghubaar meiN char rusul, farishtey chaar; kutub haiN chaar, deen chaar silsiley dono chaar haiN, luTf ajab hai chaar meiN sar to su-ey Haram jhukaa, dil su-ey kuu-ey MuSTafa dil ka khudaa bhalaa karey, ye nahiN ikhtiyaar meiN 'salik' e ruu siyah ka munH? da`awa e `ishq e MuStafa? paaye jo khidmat e bilaal, aaye kisi shumaar meiN. ---- you [1] are the comfort and solace to this distressed heart of mine, you are the only hope, that lingers in my sinful heart. why should not my soul be fervent? impatient, waiting for death – for i hear that he shall come to see me in my grave. may such a life, separated from the beloved may vanish and fall to dust the real joy of existence, is when one lies at the beloved’s doorstep. oh, if you come and stay here in my heart; dwell in my bosom; liveliness shall return once more to this forsaken abode it is a forlorn night in the grave, and i harbor no other hope except the hope of your blessed breath that flickers in this darkened heart. o, my prophet! thy grace has elevated me. what was i and what i have become! if not for you, there was nothing special in the fistful of dust that is my origin. four are the messengers, the angels, the books and the religions the chains in both paths are four, four has a strange connotation[2] my head bows towards mecca, but my heart towards the abode of Mustafa may Allah bless my heart, this thing is not in my power. darkened is the face of ‘salik’[3] and he claims of loving Mustafa? if he can ever attain the slavery of bilal, he may be counted as something. ---- footnotes: 1. 1. here the poem is addressed to RasūlAllāh şalawātullāhi wa salāmuhu álayh. 2. “the messengers counted as ulul ázm or the most prominent are four: sayyiduna ibrāhīm, sayyiduna mūsā and sayyiduna ýīsā and sayyiduna muĥammad álayhimu’s şalātu wa azka’s salām. the prominent angels are four: sayyiduna jibrīl, sayyiduna isrāfīl, sayyidunā ázrāyīl, sayyiduna mīkāyīl álayhimu’s şalātu wa’s salām. the prominent books are four: tawrāt, injīl, zabūr and qur’ān. and the prominent sharīáh are four: that of sayyiduna ibrāhīm, sayyiduna mūsā and sayyiduna ýīsā and sayyiduna muĥammad álayhimu’s şalātu wa azka’s salām. the paths of sharīáh and ţarīqah are four each: namely ĥanafi, māliki, shafiýi, ĥanbali and qādiri, chishti, naqshbandi and suharwardi.” this is what the poet means, as explained in one of his books, though such classification is open to argument. for example the ulu’l ázm are five, not four; and Tariqas are many – suharwardi and chistiyyah are from the qadiri just as shadhiliyyah; there is also that of sayyidi aĥmed ar-rifaýi. as for madh’habs, there were others which were discontinued like that of the two sufyans – ath-thawri and al-uáynah. anyway, it is just a verse and it must be left at that. 3. saalik is the pen name of Mawlānā mufti aĥmed yār khan naýīmi raĥimahullāh.
