Rahim Saabi Sopore Kashmiri Sufi Poet

Rahim Saabi Sopore who Lived at teliwani Mohallah Sopore (Kashmir; b.1775, d.1850) is a significant poet Of Kashmir.Born in a cowherd family Of Sopore (Kashmir), he joined a weaver`s workshop and was attracted to the Qadiri order of sufi.(Rahimas Silsilaye Qadiri Haq wallah billah Tath chhuna Shakh),while plying the loom,he felt like weaving mystical patterns that had awaited verbalisation.it, however, did not take him long to get over his dissatisfication with intial attempts.He seems have to kept in a touch with not only fellows sufis,but also with those who enjoyed sufi verses and were aware of tradition right from Lal Ded`s time.His contact with fellow of seekers,belonging to other orders engaged in spiritual quest, Must Have given him a sense of identity with them.it must have helped him again an insight into the tradition of non sectarian Shaiva philosophy as reflected in the "Vakhs" of Lal Ded. though steeped in islamic love lore and Quranic allusions,Rahim`s mystical idiom is inclusive enough to incorporate traditional diction reminisect Of lal Ded`s "Vakh" and Nundi Rishi`s `Shrukh`.Such a literary hertiage is,In fact, revealed in a number o f Rahim`s lines, Such as : Manas pavanas,yikaavath chhumay,Samah kornum aem omkaran,omakee pan kharan vasay gaganae zagayi do vasay,She van zalith shiva-malyun vasay.. it obviously speaks in special registers of vocabulary including what is now termed "Shashter" in kashmiri.peculiar to the indigenous shaiva tradition such as : Om,Omkaar,Pran,Shive,shivamalyun,,she-van,pavan,Gagan,yendrey and shashterbal.Rahim was thus initiated into the spiritual culture of `discerning the one in the many` and `moving beyond the form into the essence`such concern he repeatedly reflects stage by stage, and Step by Step. while doing so, he often mixes metaphors and succumbs to the temptation of employing pedantic terms like "Ilm- al-yaqni; Haqqul yaqin'Ain -ul-Yaqin, and sami-al-samavat;that certainly tells upon the literary quality of his verse;yet his craftsmanship sometimes offsets the prosaic treatment. For instance,In the context of "Namaz" (prayer),he relieves the tedium of the technical terms by resorting to cross-assonancial devices; as in : "Peshanchi...Cheshmann gaash pholnaviyo, Digarachi nemazi...jigarachi tara pholnaviyo,...The opening lines of this poems,however, are quite catchy in form as well as content,thouh the tempo is maintained only in a few cases. Here are few Chunks; A moment brought together in a jiffy,Him and me,