Umar Qazi of Veliyankode: The Poet, Scholar, and Revolutionary of Malabar

The golden age of Prophetic poetry is often associated with Al-Būṣīrī, whose works significantly shaped the genre’s evolution. This two-part series focuses on the South Indian context as Prophetic praise entered through Arabic poetry, impacting the subcontinent’s literary landscape. The integration of Arabic poetic forms into Indian literature facilitated cultural and intellectual exchanges, enriching regional traditions. Umar Qazi of Veliyankode, a prominent figure in this tradition, made substantial contributions through his eulogies.

Read Part One here.

PART TWO

Umar Qazi of Veliyankode (rahimullah) stands as one of Kerala’s most celebrated figures from the early nineteenth century, revered for his scholarship, improvisational poetry, authorship, and Sufi asceticism. Renowned primarily for his poems in praise of Prophet Muhammad (ﷺ), he gained recognition not only in Kerala but also across the Arab world, where he was respectfully referred to as “Omar al-Faqeeeri al-Malabari”. His most famous work, “Qasidah Umariya,” is a testament to his mastery of prophetic praise, earning him the title “Hassan of Malabar,” a reference to the companion of the Prophet who composed prophetic eulogies.

Qazi’s poetry, deeply rooted in realism and spiritual devotion, became an emblem of resistance during the Muslim struggle against British colonization, making him a key figure in Kerala’s anti-colonial movement. His legacy, blending literary brilliance with leadership, has left a lasting impact on both the Arabic literary tradition and the historical consciousness of the region.

Brief Biography

Born in 1765 AD (10 Rabiul Awwal 1177 AH) in a pious family, Qazi exhibited early signs of intellectual and spiritual greatness. His father, Āli Musliyar, exposed him to the presence of great saints and scholars from a young age, nurturing his education in Quranic recitation, aqeedah and fiqh. After the loss of both parents by the age of 10, Qazi continued his studies at Dars in Tanur and Ponnani.

Qazi’s political vision extended beyond religious life, as he sought unity among Hindus, Muslims, and Christians to resist British colonial rule. He became known for his leadership in the Non-Taxation Movement at the end of the 19th century, a ground breaking act of defiance against British taxation policies. His courageous stance caused persecution from the British authorities, but he remained symbol of communal harmony and patriotic resistance.

Umar Qazi’s Impact on Arabic Literature

Qazi made significant contributions to Arabic literature. His career in Arabic poetry was marked by a deep understanding of the arts and commitment to strengthening the language and its literary traditions. At a time when the vibrancy of Arabic literature was waning, Qazi authored many interdisciplinary works. These works remain a true indicator of his interest in the Arabic language, making it the language of his writings and poetry.

Qazi’s poetry encompassed a variety of themes, including praise, lamentation, and spiritual reflection. He inscribed many of his poems on the walls of mosques, leaving a lasting imprint on the cultural and religious heritage of the region. Notably, his poem “Al-Qaseedathul Umariyya fil Madahihil Nabawiyya” (The Umari Ode in Praise of the Prophet), also known as the poem “Salla Al-Ilah”, is esteemed for its significance within the tradition of prophetic praise and is famous in the Arab world. 

Some of his most notable poems were published in Egypt and Mumbai, cementing his reputation in the broader Arabic literary world. Among these, Qasidah Allafa al-‘Āṣī (“He Reconciled the Disobedient One”) stands out for its unique structure, wherein the poem is organized according to the Arabic alphabet at the beginning and end of the rhyme. Another significant contribution is “Lahal Hilalu” (“The Crescent Has Appeared”) and “Lamma Zahara” (“When He Appeared”), which are distinguished by their innovative use of neglected and lexical letters, showcasing Qazi’s creativity and linguistic mastery.

In addition to his eulogies, Qazi authored several important works that reflect his deep engagement with Islamic jurisprudence and literature. For example, Maqasid al-Nikah (“The Aims of Marriage”), a thousand-verse poem based on the Tuhfa of Ibn Hajaril Haitami (ra), demonstrates his scholarly expertise in Islamic laws and principles.

His work remains conclusive evidence of his proficiency in the Arabic language, his deep dive into the ocean of eloquence and rhetoric, his mastery of meanings and expression, and his skill in meter and rhymes, making him one of the pioneers in praising the Messenger of Allah.

An Analytical Study of Umar Qazi’s Prophetic Eulogies 

Ṣallā al-Ilāhu (May Allah send blessings upon him)

The eulogy “Sallal Ilahu” is a notable work comprising over 110 lines. Its distinctive feature is the recurring refrain, “Sallu Alaihi wa Sallimoo Taslima,” recited after every four lines.

Legend has it that Qazi recited this poem at Rawdha Shareef, the eternal resting place of the Prophet Muhammad (ﷺ) in Medina. Historians report that Qazi traveled for Hajj and visited Madina al-Munawara and Rawda Sharif in 1209 AH. After completing the Hajj, he visited the Prophet’s holy burial place, which he cherished more than his own life. He was denied admission to Rawda Sharif by security as visiting hours had ended. At this point, his desire to enter Rawda grew stronger with each passing moment. His heart was consumed by his burning love for the Beloved of the Almighty, Prophet Muhammad (ﷺ). It was only natural for Qazi, a poet by nature, to express his devotion through poetry, resulting in his masterpiece, “Sallal Ilahu”.

The poem gained prominence among the Arab community during the 12th century Hijra (18th century CE) due to its passionate depiction of love for the Prophet Muhammad (ﷺ). Qazi utilized straightforward and accessible language, and his expertise is evident in his ability to write with both elegance and realism, making the poem comprehensible to a broad audience. Through succinct yet impactful verses,  Qazi provides a comprehensive account of the Prophet Muhammad’s (ﷺ) life, his miracles, and the contexts of his prophetic mission. The poem notably includes a fluent depiction of the events of Isra and Mi’raj.

Qazi employed the quintet form (مخمسة), a poetic structure characterized by stanzas consisting of five lines. Each stanza began with four lines, followed by a concluding fifth line that served as a refrain,

صلوا عليه وسلموا تسليما

This recurring fifth line was repeated after every four lines, reinforcing the theme of praise and veneration for the Prophet Muhammad (ﷺ) throughout the poem. This structural choice adds a rhythmic and devotional quality to the eulogy, enhancing its spiritual impact.

Additionally, the eulogy follows a carefully structured thematic progression, beginning with “prayers upon the Prophet”. The second section, “his Prophethood and mission”, delves into the significance of the Prophet’s divine message and the impact of his Prophethood on humanity. The third part, “his character and attributes”, reflects on the noble qualities and virtues of the Prophet, highlighting his exemplary moral conduct. In the fourth section, “the virtue of loving the Prophet”, Qazi emphasizes the superiority and merit of holding love for the Prophet Muhammad (ﷺ) in one’s heart.

The poem then transitions into a depiction of one of the Prophet’s greatest miracles in the fifth section “Isra and Mi’raj”, narrating the miraculous night journey and ascension of the Prophet to the heavens. This is followed by the precious moment of meeting the Master of the Two Worlds, where the poet reflects on the intimate encounter between the Prophet and his Lord.

The final section, the conclusion of the message, brings the poem to a reflective close, after which Qazi recited the heartfelt lines:

عمر الفقير المرتجي لجنابكم
والدمع من عينيه سال سجيما

يا أكرم الكرما على أعتابكم
يرجو العطاء على البكاء ببابكم

O most generous of the generous, at your door, I seek blessings. The poor Umar, weeping at your gate, hopes for your favor, and tears flow ceaselessly from his eyes...

This is followed by themes of praise, supplication, and finally, “prayers and peace upon the Prophet and his family”. This layered structure allows Qazi to gradually build his poetic homage, blending praise, devotion, and supplication into a spiritually profound work. Historians say that upon reciting these verses, the door of Rawda Shareef miraculously opened before Umar Qazi, a moment that has been regarded as a testament to his sincere devotion and the spiritual power of his poetry.

علمًا يفوق القارئين يتيما

أحببت أميا يكون عليما

An orphan whose knowledge surpassed the learned, I loved the unlettered one who became all-knowing…

Qazi highlights the mu’jiza (miracles) of Prophet Muhammad (ﷺ) by emphasizing that, despite being an unlettered prophet, the divine knowledge he received was of the highest order.

وعسى الإله به يبلغه الأمل

حب النبي ومدحه خير العمل

And perhaps through him, God will fulfill one’s hope, Loving and praising the Prophet is the best of deeds...

In the section “The Virtue of Loving the Prophet”, Qazi conveys the importance of love and praise for the Prophet Muhammad (ﷺ). He states, “Loving and praising the Prophet is the best of deeds, and through it, may Allah fulfill one’s hopes.” This reflects the belief that sincere devotion to the Prophet not only holds great spiritual merit but also serves as a means for attaining divine blessings and realizing one’s aspirations.

Kitāb Nafāʾis al-Dhurar (“The Book of Precious Pearls”)

Qazi composed this extensive eulogy of the Prophet Muhammad (ﷺ) in 1200 AH, when he was 23 years old.

It is structured into several distinct sections, providing a comprehensive account of various aspects of the Prophet’s life.¹ The poem is divided into two main parts: the first part consists of approximately sixty lines featuring a series of questions and answers that address theological and historical inquiries related to the Prophet Muhammad (ﷺ). These questions are followed by detailed responses from Qazi. The latter part of the poem is dedicated to the eulogy, where Qazi praises the Prophet Muhammad (ﷺ).

The speciality of this eulogy is first two lines of the poem are characterized by the use of the Arabic letter ر (ra), creating a unique rhythmic and melodic quality that enhances the emotional resonance of the text. 

The poem begins with the invocation “Prayers and peace upon the Prophet”, setting a tone of reverence. It then transitions to reflect “the state of the world before his birth”, highlighting the prevailing darkness and need for guidance. The subsequent section discusses “the signs that appeared near his birth”, referring to the miraculous occurrences that heralded his arrival. This is followed by a description of “the wondrous miracles that took place on the night of his birth” and “the extraordinary events that occurred at his birth”. The poem continues to elaborate on his (“mission and call”), emphasizing the impact of his teachings, and acknowledges “his greatness” and “some of his miracles”. In the penultimate sections, the poet expresses his yearning by “calling upon the Prophet and seeking his help” and “calling upon Allah, seeking intercession through the chosen Prophet”. Finally, the poet concludes the poem by “prayers and peace upon the Prophet, his family, and companions.

ما لاح نجم والدياجي تحتكر
من بين رسل الله واسطة الدرر

أزكى الصلاة مع السلام المنتشر
تترى على خير البنين من مضر  

The purest blessings, with peace that spreads far and wide, Each time a star appears, the darkness is pushed aside, May they descend upon the noblest son of Muḍar’s line, Among God’s messengers, the choicest pearl to shine...

As Qazi, begins to describe his love for the Prophet, he articulates a sense of helplessness, likening his attempt to praise the Prophet to trying to illuminate the full moon amidst the stars.

لقدومه الأكوان هشت بالبشر
إيوانه وتبددت منه النفر

قد حارت الثقلان والشيطان فر
جاء الهنا نلنا المنى كسرى انكسر

Humankind and jinn stood bewildered, and Shayṭān fled in fear, At his arrival, the cosmos burst with joyful cheer, Bliss arrived, our hopes fulfilled—Kisrā’s empire shattered, seared, His grand hall cracked, its people scattered, struck by what appeared…

 بسماوة الوادي عجائب تنتشر
من قبل في ألفين عاما استمر

أي بحر ساوة غاض فاض به انفجر
خمدت ضرام مجوسهم ذات السعر

The lake of Sāwah dried up, its flood burst forth in awe, In Samawah’s valley, wonders began to spread and soar, he raging fires of the Magians, long-burning, were snuffed and spent, Fires that had burned for two thousand years—now suddenly absent…

In fourth and fifth sections, Qazi depicts the cosmic significance of the Prophet Muhammad’s (ﷺ) birth. He conveys that the arrival of the Prophet caused great confusion among human beings and jinn, who were taken aback by the momentous event. The phrase indicates that even Shaytan was overwhelmed by the light and goodness that accompanied the Prophet’s birth. Furthermore, Qazi describes how “the universe rejoiced with glad tidings”, that the entire creation celebrated this pivotal moment. The following lines metaphorically express that with the Prophet’s arrival, “Kisra was broken”, symbolizing the fall of tyrannical powers, as the grandeur of the Persian Empire, represented by its throne, was diminished. The imagery of the “throne” collapsing and the “the people scattering from it”, the drying of Lake Sawah, the spread of wonders in Samawah, and the extinguishing of the sacred fire of the Majus (Zoroastrians), which had been burning for two millennia, are all symbols of the momentous change and the end of old regimes and beliefs brought by the birth of the Prophet.

سألوه من إعجازه انشق القمر
للمصطفى الهادي وصح به الخبر

من آية المختار حين كم كفر
نطق الجماد ونحوه مما اشتهر

Among the signs of the Chosen One, when disbelief was rife, They asked for proof—so by his miracle, the moon was split with life, The lifeless spoke, and other wonders—well-known and famed in every strife, All confirmed as truth for the Chosen Guide—Muhammad, peace be upon his life…

In the eighth section, he describes the Prophet Muhammad’s (ﷺ) mu’jizat (miracles). This enumeration serves to illustrate the extraordinary nature of the Prophet’s interactions with the world around him.

In the concluding lines of the poem, Qaz expresses his sense of dependency and humility. He laments that his only investment is his love and praises for the Prophet Muhammad (ﷺ), acknowledging his own sinful nature and surrendering everything to the Prophet.

Lāḥa al-Hilāl (The Crescent Has Risen)

Lāḥa al-Hilāl is distinguished by its unique linguistic structure, as it is written using only unpointed letters (letters without diacritical marks in Arabic).² The poem consists of 25 verses.

الله داع رسول الله للأمم
كل المكارم سمع واسع الكرم

لاح الهلال هلال لامع العلم
الحاكم العادل الصدر المعد له

The crescent appeared—a crescent shining with knowledge, Allah is the Caller; the Messenger of Allah is [sent] to the nations, The just ruler, with a heart prepared for [his mission], All noble qualities were heard in him—expansive in generosity…

The poem opens with a metaphor likening the Prophet to a shining crescent moon. Through this imagery, Qazi introduces the Prophet (ﷺ) as a radiant figure whose presence dispels darkness and brings forth spiritual clarity to the hearts of believers.He describes the noble attributes of the Prophet Muhammad (ﷺ), emphasizing qualities such as hakim (wise), adil (just), and wasī‘al-karam (generous), which reflect his exemplary character and the virtues that distinguish him as a leader and guide for humanity.

As the poem progresses, Qazi shifts from metaphorical praise to a more direct exposition of the Prophet’s virtues and honor. He extols the Prophet’s moral excellence, his role as a guide for humanity, and his unparalleled status in the eyes of God.³

Lammā Zahara (“When He Appeared”)

This poem, composed in the Malayalam style, is named for its rhyme pattern, with each verse ending in the letter “ra” (ر), which lends the poem its distinctive musicality. The poem consists of 38 verses and is noted for its verbal and rhythmic innovations.

ضاء البصرى كسرا انكسرا
أهل عداوة نادوا حذرا

لما ظهرا عم البشرى 
غاضت ساوة فاض سماوة

When he appeared, glad tidings spread universally, The sight was illuminated; Kisrā (the Persian emperor) was broken, Lake Sāwah dried up, and [the land of] Samawah overflowed (with wonders), The people of enmity cried out in fear…

The opening words of the poem, “Lamma Zahraa“, from which it derives its popular name, set the tone for a grand narrative by recounting the extraordinary events that accompanied his birth. The choice to end each line with the letter “ra” creates a harmonious effect, reinforcing the poem’s thematic coherence and emotional impact. The repetition of this sound carries a sense of continuity and flow, aligning with the poem’s purpose of celebrating the Prophet’s virtues and the divine blessings associated with his life.⁴

Qazi’s use of both verbal and musical innovations in the poem reflects his deep understanding of classical Arabic poetry, while also incorporating stylistic elements familiar to the Malayalam tradition. This fusion of traditions demonstrates Qazi’s ability to create a poetic form that resonates both culturally and spiritually. The poem is structured to evoke a sense of reverence and awe, as each verse draws the listener deeper into contemplation of the Prophet’s noble character, his extraordinary life, and the divine blessings he brought to the world.

عبل العضدين أهدب شفرا

سهل الخدين طول الزندين

Smooth-cheeked, with long forearms, Thick in the upper arms, with long eyelashes…

In third Section, He describes the Holy Prophet (ﷺ) as someone with symmetrical, soft cheeks, long wrists, and strong upper arms. His eyebrows were beautifully shaped, adding to his dignified and graceful appearance. This portrayal reflects the noble and balanced physical attributes of the Prophet, emphasizing both strength and elegance in his form.

عند الرؤية تحسب بدرا

كث اللحية هون المشية

He had a thick beard and walked with humility, When seen, you would think him the full moon…

Jafatnī

This is a five-verse poem composed entirely using dotted letters.⁵ In this short yet powerful composition, Qazi employs a striking metaphor by likening his love for the Prophet to that of a woman. This metaphor conveys an intense, intimate, and devoted form of love, often evoked in Sufi traditions to symbolize the soul’s yearning for divine connection. The portrayal of love as a woman brings a sense of personal and emotional depth to the poem, highlighting the poet’s attachment to the Prophet Muhammad (ﷺ).

فذبت بشحن بين جنبي يخفق
بنشق شذي في نبي ينشق

جفتني فذبتني فغطت بغيظة
يشققني شغفي فخفت تجنبي

She abandoned me, melted me, then covered me in her rage, I melted with passion pounding between my ribs, My yearning tears me apart—I feared she might turn from me, With a fragrant inhale—at the mention of the Prophet—it bursts forth

The poem’s use of dotted letters could also symbolize the intricacy of human emotions, particularly love, which is often multifaceted and complex. By restricting himself to a subset of the Arabic alphabet, Qazi demonstrates that true devotion can still be fully expressed within creative and linguistic boundaries, mirroring how love for the Prophet transcends linguistic or material limitations. ((Dr. Wiran Mohiuddin Al-Faruqi, Arabic Poetry in Kerala: Its Evolution (2003), 1st ed.))

Furthermore, the poet expresses his hope that this love will serve as a source of salvation in the intermediate world (Barzakh), the state between death and resurrection. This reflects the Islamic belief in the intercessory power of the Prophet Muhammad (ﷺ), where the Prophet’s love and blessings can lead to salvation and peace in the afterlife.⁶

Qasidah Allafa al-‘Āṣī (“He Reconciled the Disobedient One”)

This 34-verse poem by Qazi is yet another exemplary eulogy of the Prophet Muhammad (ﷺ), showcasing his remarkable linguistic prowess. One of the most notable features of this poem is its meticulous structure, as it follows an alphabetical arrangement at the beginning of both the first and second halves of the composition, similar to Allafal Alif by Shaykh Umar Qahiri.

أنظما في مدح من هو في ذرى المعال عال
أهل الثنا والمجد حمد لانتها الأمال مال

ألف العاصي الذي في البكر واللأصال صال
أولا بسملت أحمد بعده الإله له 

I compose verses in praise of the one exalted at the peaks of nobility, He reconciled the sinner—who turns to him morning and evening—with grace, First, I begin with “Bismillah,” then follow it with blessings upon Ahmad (the Prophet), To the people of praise and glory belongs Muhammad—toward whom all hopes turn and incline

Throughout the 34 verses, the poet’s admiration for the Prophet is evident as he recounts the Prophet’s noble character, his mercy, and his intercessory power.⁷ The linguistic innovation of coordinating the verses alphabetically adds a layer of intellectual rigor to the poem, while also creating a harmonious flow that complements the spiritual depth of the content.³

The poem culminates in a heartfelt supplication to God Almighty, seeking the Prophet’s intercession and praying for blessings upon the Prophet Muhammad (ﷺ), his family, and his noble companions. The final verses reflect the poet’s yearning for spiritual salvation through the Prophet’s intercession, mercy and guidance for the believers on the Day of Judgment.

Conclusion

The evolution of Prophetic praise in Arabic poetry spans from the early Islamic period through the Ottoman era, shaped by notable poets across the Umayyad, Abbasid, Mamluk, and Ottoman dynasties. Each period introduced distinct stylistic and thematic innovations, enriching the genre’s literary and spiritual depth.

In the Indian context, the arrival of Arabic Prophetic poetry profoundly influenced local traditions, fostering cultural and intellectual exchange. Poets like Umar Qazi played a pivotal role in this integration; his eulogies blend artistic mastery with deep devotional expression. Rooted in the spiritual culture of Malabar, Qazi’s work continues to resonate, embodying a fusion of Arabic literary excellence and regional religious heritage. The comprehensive analysis of Umar Qazi’s contributions, encompassing his thematic, stylistic, and symbolic innovations reveals the lasting impact of his work on both historical and contemporary Arabic literature, affirming his role as a key figure in the evolution of Prophetic praise.

Photo by Brian Scott on Unsplash

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3. Dr. Wiran Mohiuddin Al-Faruqi, Arabic Poetry in Kerala: Its Evolution (Calicut, Kerala: Arabnet, 2003), 1st ed. [↩] [↩]
4. Abdul Gafoor Abdullah Al-Qasimi, Muslims in Kerala (Malabar, Kerala: Akmal Library, 2000), 1st ed. [↩]
5.  Sulaiman Mawlawi, Famous People of Arabic Literature (Trivandrum: Arabic Literature Academy, 2013), 1st edition [↩]
6. Prominent Arabic Authors in the Indian Subcontinent, p. 183. [↩]
7. Dr. Abdul Raheem. M., “Umar Qadi of Veliyankode: Hassan of Malabar,” Malabar Magazine, April 2012, Department of Arabic, Pookoya Thangal Memorial Government College, Perinthalmanna. [↩]