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A Stylistic Analysis of Bulleh Shah’s Poem It’s All in One Contained ‫اک ﻧﻘﻄ وِچ‬
‫ﻣﮑﺪی ا‬
ُ ‫ﮔﻞ‬
Article in PAKISTAN LANGUAGES AND HUMANITIES REVIEW · September 2023
DOI: 10.47205/plhr.2023(7-III)75

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RESEARCH PAPER
A Stylistic Analysis of Bulleh Shah’s Poem It’s All in One Contained
)’‫(‘اک نقطے ِوچ گل ُمکدی اے‬
1 Amina Bashir, 2 Aamir Aziz* and 3 Sarah

1. M. Phil Scholar, Department of English, University of Sahiwal, Sahiwal, Punjab, Pakistan

2. Lecturer, Department of English, University of Sahiwal, Sahiwal, Punjab, Pakistan
3. Graduate, Department of English, University of Sahiwal, Sahiwal, Punjab, Pakistan
*Corresponding Author [email protected]
ABSTRACT
The research concerns an in-depth stylistic analysis of Bulleh Shah’s poem ’‫گل ِوچ نقطے اک‬
‫( ‘اے ُمکدی‬It’s All in One Contained). Most of the work is done on translated versions but
almost no work is done on poems in Punjabi Language. The method of the undertaken
research is entirely qualitative and the sources of data are authentic i.e., books and
dictionaries of both English and Punjabi language. Various linguistic levels are applied to
the text of the poem, including phonological, lexico-morphological, syntactic, and
semantic levels to identify the style of the poet and the meaning of the poem. Linguistic
deviations are also considered in this research to cover the full aspect of foregrounding in
stylistics. Poetic devices are explained according to their setting in each linguistic level
and textual pieces of evidence are provided to assist the explained concepts. It is found
that Punjabi Language and Bulleh Shah’s Poems are stylistically enriched, which is the
reason he is one of the most celebrated Sufi poets. Also, contextual content is profound in
these classical works which make the researchers to work on both style as well as
pragmatism. It is strongly recommended that more work should be done on indigenous
languages instead of translated versions.

Bulleh Shah, Morphological, Phonological, Stylistic Analysis, Syntactic and

KEYWORDS
Semantic
Introduction

After Saussurean Linguistics, in the early 20th century in 1909 another domain of
linguistics was proposed by Charles Bally for a better understanding of language
expression, named Stylistics. It is the branch of applied linguistics that deals with the
linguistic as well as tonal study of different works of masses literary genres to depict the
style used by the writer. It includes the analysis of the literary text at the Lexical,
Phonological, Grammatical, Semantic, Morphological and Pragmatic levels, including
Literary Devices. Stylistics deals with both literary criticism and language components
(Widdowson, 1997); this can be proved by deconstructing its morphological structure. The
actual interpretation of the word ‘stylistics’ suggests the meaning by separating it into two
parts i.e., ‘style’ which is for literary criticism, and ‘istics’ which is for linguistic components
of a literary text. Short and Candlin (1989) defined it as a linguistic approach that deals
with literary texts. Stylistics is also referred to as ‘Linguo-stylistics’ which is a branch of
general linguistics in the words of Galperin (1971). Style and Stylistics go hand in hand;
however, stylistic refers to the expression, use of language, choice of language or diction,
rhythm or tone, sentence structure, and deviations from the traditional set of patterns
regarding grammar, and how meanings are created through poetic style; (Bradford, 2005),
while style refers to that how language is expressed i.e., in what manner, with what
intensity, etc, a person’s thoughts and his way of writing or speaking (Abdulbari et al.
 Pakistan Languages and Humanities Review (PLHR) July-September, 2023, Vol. 7, No. 3

2015). Wales (2001) says that stylistics is an ambiguous term and is hard to define. Every
author or poet has their own specific and unique format of writing, his choice of words
and use of language, portrayal of emotions which is considered as the style of that writer
(Zhukovska, 2010) this is why it varies from person to person and text to text.

Syed Abdullah Shah Qadri who is commonly known by the name Bulleh Shah is
renowned for his mystic, revolutionary poetry and existentialism. He is considered as the
“Poet of People” and “Father of Punjabi Enlightenment”. Bulleh Shah followed and
practiced the Sufi custom of Punjabi verse laid out by Sufi poets like Shah Hussain, Sultan
Bahu and Shah Sharaf and is also known as a well-known sufi mystic of Punjabi poetry
(Motwani, 2021). He is one of the most “celebrated and famous poet”, he had a natural
appeal and no other sufi poet enjoys the same reputation as he did (Ali, Ashraf and,
Tahseen, 2022). His verses are filled with profound spiritual insights and societal critiques.
Through his eloquent words, he explored themes of love, devotion, and the human
connection to the divine, making him a cherished poet whose works resonate with people
seeking spiritual enrichment and personal growth. The attractiveness of his work lies in its
ability to address complex themes of love, spirituality, and the human condition in a
relatable and beautiful manner. He is best known for his captivating and melodious style,
his poetry strikes a harmonious balance between mysticism and reality. His style is
different in the way that he represents his culture and the authentication of language in all
of his works. The kind of verse practiced by him, for which he is famous, is the “Kafi”,
derived from Arabic, meaning Group (Ali, Haq and Rashid, 2021). The selected poem also
lies in the category of Kafi.

Stylistics

Foregrounding

Deviation Parallelism

Figure 1 Division of Stylistics

Jaafar (2014) illustrates that stylistics shows more concern towards how poetry is
written than what is written. Poetry being a unique genre of Literature expresses many
linguistic deviations from the language used in prose or daily life conversations (Crystal,
1987). The function of stylistics is not only to describe some formal features of the text but
it also significantly describes its functions (Wales, 2001). This helps to analyze a literary
work far more accurately and this process of analysis is termed “Foregrounding” in
Stylistics.

The given figure illustrates that ‘Foregrounding’ pertains to the deviations used by
the poet or author which means that deviations are not mistakes but an expression of
emotions through words in a different manner. At first, they seem to be hindrances in
communication on the reader’s part but meanwhile, they give some information on the
writer’s part. Short (1996) says that Deviation as a linguistics concept affects the readers or
hearers psychologically and is of greater importance. There are as many types of deviations

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in language as its levels i.e., Lexical Deviation, Phonological Deviation, Morphological

Deviation, Syntactic Deviation, Pragmatic Deviation, Graphological Deviation, etc. In this
text only two types of deviations are present; lexical deviation and semantic deviation.

Lexical Deviation

According to Leech (1969), lexical deviation is the concept in which the poet forms
new words either by affixations or other processes. The introduction of new words to the
readers either in the phrasal form or clausal form is referred to as lexical deviation. In other
words, this innovation of words to move away from the conventional use of lexemes in
phrases or verses comes with the phenomenon of lexical deviation. As per evidence from
the text, the poet uses the word, "‫ "جند سکدی‬this phrase shows lexical deviation because life
is not a thing to be sucked dry, and rather the poet uses it in a sense to bear hardships but
with a whole new collocation.

Semantic Deviation

Leech (1969) suggests semantic deviation as absurdity or unstable meanings in a

text. This kind of deviation in poetry is used in the literary terms, irony, metaphor,
oxymoron, etc. A detailed analysis of these terms is present in the section of semantic
literary analysis.

Literature Review

Roona et al. (2022) unearth Daud Kamal’s representative poem ‘The Street of
Nightingale’ stylistically and also on various linguistic levels to explain the function
performed by style and structure along with stylistic devices to create a coherent poem and
meaning. The poem concerns the difference between modern life and its chaos and rustic
life and its beauty. Morphologically, they praise Kamal’s choice of words to construct this
unimaginable piece of writing, the poem is romantic in nature but the tone is full of agony
and fear. Anjum (2021), similarly works on the same poem and analyzes it at almost all
linguistic levels to applaud Kamal’s perfect use of imagery in the poem.

Bulleh Shah is considered one of the most well-known Punjabi poets, and his poem
named 'Bullah I know not who I am' is analyzed by Mazhar et al. (2021), on different
linguistic levels like graphological, phonological, semantic, morphological, pragmatic, and
lexico-syntactic level. They also highlight the indispensable role of stylistic devices to
convey the hidden thoughts of the poet beautifully. The study is done on the translated
version of the poem. Bulleh Shah’s grand style, portrayal of the culture, and diction are
very clear in his poetry, he is known as ‘the acme of Sufi literature'.

Bulleh Shah 'Ilmon Bas Kren O-Yaar' is explored pragmatically by Shafiq (2019) to
explain the hidden meaning and purpose of the poet. Mystic poetry serves the purpose of
bringing people back together in times of chaos and mayhem. The poem is considered to
be a masterpiece of Shah, in which he sarcastically calls the attention of people to utilize
knowledge to understand humanity by giving various examples. Bulleh Shah expressed
uncertainty concerning the worth of knowledge that one gains when it serves for no good
reason but rather ends up making many issues for the learned ones (Abbas, 2016).

Syahputra et al. (2018) analyzes Allama Iqbal’s ‘The Bird’s Complaint’

phonologically. They deconstruct the sound devices as assonance, consonance, alliteration
and onomatopoeia along with the rhyming patterns that makes the poem melodious and
pleasing to ears when read aloud. Consonance is the most effective sound device at first

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place and second to it is assonance giving the phonological effect along with alliteration.
The rhyming patterns used in the poem are monotonous because almost all stanzas follow
the same rhyming patterns.

Browning's poem ‘Patriot into Traitor’ is one of the best known poems in terms of
style and structure. Ahmed and Irshad (2015 selected this poem for stylistic analysis.
Browning is famous for his dramatic monologues and his choice of words and use of lively
images, rhyming patterns, and diction distinguishes him from other poets. This analysis is
done on four linguistic levels graphological, phonological, morphological, and lexico-
syntactic levels. The poem is deconstructed to disclose the underlying meanings that the
poet really wants to impart. In the poem, Browning very beautifully shifts from real-world
problems to Greek Mythology in no time to intensify the scene. The phonological features
which include the sound devices, rhymes, and patterns make the poem melodious and
appealing to one's ears and this is one of the best features of Browning's poetry.

Khan and Jabeen (2015) explore John Keats’s ‘To Autumn’ from a stylistic point of
view through its grammar, graphology, phonology, syntax, and various stylistic devices
and schemes in the poem. Keats’ use of sensuous images, objectivity, his use of
personification, nature, and beauty, everything aspect is vivid in his poem. Robert Frost’s
‘Stopping by Woods on a Snowy Evening’ has always been a subject of criticism because of the
idea he presented in it, and still, it is thought to be incomprehensible because of its use of
words. Hashmi, Mahmood, and Mahmood (2019) stylistically analyze this masterpiece of
Frost to explain the main idea that he wants to display, the idea of a short span of human
life and innumerable responsibilities of humankind.

The poem 'To a Skylark' by P.B. Shelley is one of his greatest works. stylistically by
using Various linguistic tools are utilized to explain the explicit meanings in the poem on
various linguistic grounds as graphological, morphological, syntactical and phonological
along with the tropes and schemes used in the poem in the study of Shawa (2015). This
analysis helps in understanding the structure, themes, his sensuousness and style of
Shelly's poetry. Similar work has been done by Aslam et al. (2014) on the poem ‘Berefet’ by
Robert Frost and the analysis is done on the same linguistic grounds.

Bulleh Shah is not against acquiring knowledge but he condemns people who gain
little knowledge and then flaunt their learning as scholars. He actually encourages the
search for truth of humans, through knowledge that leads you to reality and divinity. He
prefers that knowledge should bring peace to humans rather than misery. Despite the
parallel construction of both versions of poems, original and translated, through an in-
depth analysis, it is revealed that the essence of the original version is lost when it is
translated and meanings, that the poet actually wants to convey, are also altered (Rafat;
2014).

In order to understand the multilayered meanings of the poem ‘The Onset’ by

Robert Frost Khan (2014) analyzes it stylistically. Its thematic analysis is done by utilizing
the sound devices and diction of the poem along with stylistic devices. Madlool (2023)
analyzes T.S, Eliot's renowned poem ‘The Love Song of J. Alfred Prufrock’ stylistically to
explore how Eliot’s writings are different from others. The analysis has been done on
various linguistic levels such as graphological, phonological, morphological, and syntactic.
In addition to these levels, the stylistic and figurative devices are also highlighted.

Material and MEthods

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The data for this research is the original text of the selected poem in the Punjabi
language named "‫" اک نقطے وچ گل مکدی اے‬. The stylistic analysis is used for an in-depth
understanding of the text of the poem. The nature of this research is qualitative to
determine the patterns of words and their use in a poetic manner. In this research, the
researcher will analyze the selected poem on various levels of language for the
transcending deconstruction of the style of the poet concerning both Linguistics and
Literature. The words, their grammatical categories, and meanings including their origins
are concerned with an authentic source i.e., a Dictionary Rekhta (2011) , a book ‘English
Stylistics’ (2012), and a Book ‘Kalaam Hazrat Baba Bullah Shah’ (2015).

Results and Discussion

The stylistic analysis of both poems is done separately, firstly the analysis of ‘ ‫اک‬
'‫ نقطے وچ گل مکدی اے‬is presented as follows;

Phonological Level

According to Odden (2005) phonology refers to the study of sound patterns which
is quite different froe sentence patterns and other historical linguistic patterns. The
undertaken poem is composed of six (6) stanzas, each having 5 lines following the rhyme
scheme of aaaab. The poem is a wisdom-rich piece of literature with an ironical as well as
religious or mystic tone. The phonological level deals with the sounds of words which
includes the rhetorical devices of sounds such as Alliteration, Consonance, Assonance, and
rhymes (Lodge, 2009). This level is essentially concerned with speech sound patterns of a
given language, abstract concepts, and mental aspects of actual speech articulations of
speech sounds (Sloat, 1978). The consonant and vowel sounds that are analyzed here are
taken according to the sounds present in the English language.

Literary Analysis

This poem’s lines end with rhyming words, ‫ کھاندے؛‬،‫ دکھائی؛ جاندے‬،‫ باباں؛ گھسائی‬،‫حساباں‬
‫ پائے‬،‫ آئے‬and refrains, ‫ جی‬،‫ نیں‬،‫ دا‬،‫نوں‬. The devices included in this level deal with the
phonetics of the rhythm in the poem. Huhmann(2018) defines alliteration which is also
known as Chime, is the repetition of consonant sounds at the start of words, and
consonance refers to the repetition of consonants at the end or middle, in assonance vowel
sounds are repeated, etc. The presence of these tropes in the poem is indicated in the given
table no. 1

Whereas, vowels in assonance, '‫ 'ی‬is taken as /I/, '‫ 'ا‬is taken as /a/, and '‫ 'ے‬is taken
as /eI/ as per the transcription of the sounds. However, consonant sounds in alliteration
and consonance are also depicted in the English language from Urdu on the basis of their
sounds. Thus, the phonological level including figurative language, tone of the poem,
patterns of sounds are briefly explained with their extracts from the text.

Table 1
The sound devices used in the poem
Alliteration Consonance Assonance
‫پھڑ ۔ چھوڑ‬ ‫ایسے ۔ اے‬
‫دلے ۔ دیاں‬ ‫حساباں ۔ نوں‬ ‫کدی ۔ سچی ۔ مکدی‬
ٰ ‫د‬
‫کھائی ۔ دا‬ ‫کر ۔ کفر‬ ‫بے ۔ تھکاندے‬
‫جنگل ۔ جاندے‬ ‫عذاباں ۔ نوں‬ ‫کے ۔ ماندے‬
‫دانہ ۔ دا‬ ‫دوزخ ۔ عذاباں‬ ‫حاجی ۔ جی‬
‫بے خواھش ۔ بے نوائی‬ ‫دیاں ۔ خواباں ۔ نوں‬ ‫نیلے ۔ جامے‬
‫دل ۔ دے‬ ‫ایویں ۔ زمیں‬ ‫ٹکے ۔ لے‬
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‫بلھا ۔ بات‬ ‫دیاں ۔ باباں ۔ نوں‬ ‫سچی ۔ رکدی‬

‫متھا ۔ دا‬ ‫ال ئی ۔ دا‬
‫لماں ۔ محراب‬ ‫دانہ ۔ دا ۔ کھاندے‬
‫جنگل ۔ جاندے ۔ نیں‬ ‫کتے ۔ اے‬
‫کلمہ ۔ لوک‬ ‫نقطے ۔ اے‬
‫دانہ ۔ کھاندے ۔ نیں‬
‫تھکاندے ۔ نیں‬
‫ماندے ۔ نیں‬
‫اندر ۔ جند‬
Note. Analysis at the Phonological Level of the poem on the basis of alliteration, assonance,
and consonance

Lexico- Morphological Level

Jatinka (2014) says that Morphology is the investigation of word development, the
words' design, and the interaction of how the words are framed. It is a mental system for
word formation concerned with inner structure of words (Aronoff, and Fudeman 2010).
Yule (2010) described almost nine processes of word formation which are blending,
coinage, compounding, acronyms, borrowing, clipping, backformation, conversion and
derivation. This is the analysis of word formation, in which free morphemes, borrowing,
and affixations (suffix, prefix) are considered under the characterization of Neologism
while inflections and derivations are studied under the concept of conversion. The tables
for pieces of evidence are as follows;

Free Morphemes

Free morphemes are those words that give the whole sense when they are used
alone in a text and need no supporting words to give their meaning. Katamba (1993) says
that these morphemes are the irreducible roots that can stand alone, independently. The
given table 2 shows free morphemes of the poem under observation.

Table 2
Free Morphemes in the Poem
‫لماں‬ ‫نقطہ‬
‫محراب‬ ‫چھوڑ‬
‫پڑھ‬ ‫بند‬
‫کلمہ‬ ‫کفر‬
‫لوک‬ ‫چھڈ‬
‫دل‬ ‫دوزخ‬
‫اندر‬ ‫گور‬
‫سمجھ‬ ‫صاف‬
‫بات‬ ‫گل‬
‫جنگل‬ ‫گھر‬
‫دانہ‬ ‫متھا‬
‫روز‬ ‫زمیں‬
‫وجود‬ ‫نیلے‬
‫جند‬ ‫جامے‬
‫حاجی‬ ‫حج‬
‫جی‬ ‫مرشد‬
‫گل‬ ‫ویچ‬

Note. The analysis of Free Morphemes in the text of the poem.

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Conversion
The formation of new words by the process of changing their grammatical
categories is referred to as Conversion in Linguistics. This process is usually observed in
the words that are Bound Morphemes: the words that cannot stand alone and need other
words to give proper sense. It is done by two phenomena, inflection and derivation. The
detail and examples from the text for these two concepts are described below.

Inflectional Morphemes

Inflection comes from the division of bound morphemes, in this phenomenon, the
function of words is changed i.e., the Present form of the verb changes into past form or
singular words from plural words, etc. It does not change the category of words as
Anandita (2017) says. Textual pieces of evidence for inflections are as in Table 3.

Table 3
Inflectional Morphemes in the poem
Word Root
‫حساباں‬ ‫حساب‬
‫باباں‬ ‫باب‬
‫عذاباں‬ ‫عذاب‬
‫دلے‬ ‫دل‬
‫خواباں‬ ‫خواب‬
ٰ
‫گھسائی‬ ‫گھسا‬
‫سچی‬ ‫سچ‬
‫بحریں‬ ‫بحر‬
‫جاندے‬ ‫جان‬
‫کھاندے‬ ‫کھان‬
‫کھ ٗاے‬ ‫کھ ٗا‬
‫خدائی‬ ‫خدا‬
‫دکھائی‬ ‫دکھ‬
‫بے نوائی‬ ‫نوا‬
ٰ
‫پروائی‬ ‫بے‬ ‫پروا‬
Note. The analysis of Inflectional Morphemes in the poem in context of conversion.

Derivational Morphemes

Derivational morphemes are that type of bound morphemes that deal with the
formation of new words from the root words and there is a change in the category of words
(Ford, 2010). It includes the transformation of words from one form to another. The table 4
exemplify it:

Table 4
The Derivational Morphemes in the poem
Word Root
‫*ڈھکدی‬ (V) ‫*ڈھکھ‬ (N)
‫الئی‬ ( N) ‫ال‬ (V)
‫مکدی‬ (V) ‫مک‬ ( N)
‫تھکاندے‬ ( V) ‫تھک‬ (N)
‫سـکدی‬ ( N) ‫سـک‬ ( V)
‫ہسائی‬ ( N) ‫ہسا‬ (V)
Note. The analysis of Derivational Morphemes in the poem in context of conversion.

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Neologism

The process of formation of new words by borrowing from other languages or

adding affixes or suffixes to the words. McDonald (2005) explains that Neologisms are the
signs that a language is continuously developing and Mass Media is one of the greatest
and affective sources. The shreds of evidence from the text are:

Borrowing

It is another basic concept that is observed at the morphological level. The given
table 5 explains the words used in the poem that do not belong to the Punjabi language but
are borrowings of other languages including, Sanskrit, Hindi, Persian, etc.

Table 5
Borrowed words in the poem
Origin Word
Sanskrit ‫گھر‬
Arabic ‫صاف‬
Hindi ‫بے سمجھ‬
Arabic ‫وجود‬
Persian ‫جامے‬
Hindi ‫جنگل‬
Sanskrit ‫ٹکے‬
Persian ‫خواہش‬
Persian ‫بے نوائی‬
Sanskrit ‫بات‬
Persian ‫بے پروائی‬
Arabic ‫صفائی‬
Arabic ‫حساب‬
Note. The description of words borrowed from other languages in the poem.

Affixations

The addition of suffixes and prefixes to the root words as in Table 6.

Table 6
Affixations in the poem
Roots + Suffix Root + Affix New Word
‫ اں‬+ ‫حساب‬ ‫حساباں‬
‫ اں‬+ ‫دی‬ ‫دیاں‬
‫ اں‬+ ‫باب‬ ‫باباں‬
‫ اں‬+ ‫عذاب‬ ‫عذاباں‬
‫ ے‬+ ‫دل‬ ‫دلے‬
‫ اں‬+ ‫خواب‬ ‫خواباں‬
‫ دی‬+ ‫ڈھکھ‬ ‫ڈھکدی‬
‫ ئی‬+ ‫گھسا‬ ٰ
‫گھسائی‬
‫ دی‬+ ‫مک‬ ‫مکدی‬
‫ ی‬+ ‫سچ‬ ‫سچی‬
‫ یں‬+ ‫بحر‬ ‫بحریں‬
‫ دے‬+ ‫جان‬ ‫جاندے‬
‫ دے‬+ ‫کھا‬ ‫کھاندے‬
‫ دے‬+ ‫تھک‬ ‫تھکاندے‬
‫ اں‬+ ‫چال‬ ‫چلیاں‬

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‫ دی‬+ ‫سک‬ ‫سـکدی‬

‫ ے‬+ ‫کھا‬ ‫کھ ٗاے‬
‫ ئی‬+ ‫خدا‬ ‫خدائی‬
‫ نا‬+ ‫دکھ‬ ‫دکھائی‬
‫ نوا‬+ ‫بے‬ ‫بے نوائی‬
‫ پرواہ‬+ ‫بے‬ ٰ
‫پروائی‬ ‫بے‬
‫ ئی‬+ ‫ہسا‬ ‫ہسائی‬
Note. Analysis of Affixations, suffixes and prefixes, in the poem.

Syntactic Level

Radford (2004) defines syntax as how phrases, clauses or sentences are combined
and structured out of words. In this section, the dissection of the structure of a text is done
along with literary devices such as parallelism, antithesis, repetition of words, clauses,
hyperbole, understatement, nominalization, agentless passive, etc. The meanings of the
words need to be learned in accordance with their syntactic categories for understanding
(White, 1991). To analyze ‘‫ ’اک نقطے وچ گل مکدی اے‬the original text of this poem is given in
appendix portion for a better understanding of the sentence structure and grammatical
patterns. McIntyre (2014) explains that all the words in a sentence belong to a particular
syntactic category or part of speech which can be separately identified. The identified
nouns, pronouns, verbs, and other grammatical structures are as follows:

Table 7
Analysis at Syntactical Level
Noun Pronoun Verb Preposition Adverb Adjective
(Point) ‫نقطہ‬ (This) ‫ایہہ‬ (Hold) ‫پھڑ‬ (But) ‫پر‬ (Where) ‫کتے‬ (Clean) ‫صاف‬
(Disbelief) ‫کفر‬ (Such) ‫ایسے‬ (Quit) ‫چھوڑ‬ (Of) ‫دیاں‬ (Blue) ‫نیلے‬
(Hell) ‫دوزخ‬ (Whom) ‫کہنوں‬ (Leave) ‫چھڈ‬ (Inside) ‫وچ‬
(Grave) ‫گور‬ (Read) ‫پڑھ‬ (In) ‫اندر‬
(House) ‫گھر‬ (See) ‫دکھائی‬ (To) ‫نوں‬
(Forehead) ‫متھا‬ (Bring) ‫الئی‬
(Ground) ‫زمیں‬ (Finish) ‫مکدی‬
(The Arch) ‫محراب‬ (Go) ‫جاندے‬
(The Word) ‫کلمہ‬ (Eat) ‫کھاندے‬
(Heart) ‫دل‬ (Exhaust) ‫تھکاندے‬
(Truth) ‫بات‬ (Come) ‫آون‬
(Forest) ‫جنگل‬ (Dry) ‫سکدی‬
(Sea) ‫بحریں‬ (Eat) ‫کھائے‬
(Grain) ‫دانہ‬ (Wear) ‫پائے‬
(Existence) ‫وجود‬ (Sell) ‫ویچ‬
(Life) ‫جند‬ (Take) ‫لے‬
(Pilgrim) ‫حاجی‬ (Stop) ‫رک‬
(Clothes) ‫جامے‬ (Like) ‫بھاۓ‬
(Pilgrimage) ‫حج‬ (Close) ‫کر بند‬
(Money) ‫ٹکے‬
(Word) ‫گل‬
(Mentor) ‫مرشد‬
Note. Analysis of the sentence structure of poem dividing sentences into various parts.

These words are translated to find out the correct form of verbs and other
grammatical patterns.

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Literary Analysis

The literary devices that come under the level of syntax present in the given text
are parallelism, anaphora, epistrophe, symploce, understatement, refrain, aphorism,
hypophora, etc.

Parallelism

Parallelism is a literary concept that deals with the usage of similar words, clauses,
lines, phrases, and structures of other grammatical elements. It is used to emphasize
similar ideas in the line to make it clear and concise. The presence of this device can be
observed in the given line;

‫پھڑ مرشد ابد خدائی ہو‬

‫وچ مستی بے پروائی ہو‬

Here, in these line words at the end are composed of similar patterns of
grammatical structures highlighted by underlining the presence of undertaken
phenomenon, the same concept is also present in almost every stanza of the poem.

Anaphora

It refers to the repetition of similar words at the beginning of successive lines in a

text. It is usually used to produce a poetic effect in the text to make it more appealing and
rhythmic.

‫اک جنگل بحریں جاندے نیں‬

‫اک دانہ روز دا کھاندے نیں‬

The indicated words show an explicit poetic effect produced by the poet
using repetition of similar words.

Epistrophe

Epistrophe implements artistic use of repetitions just like anaphora but the only
difference between the two is that epistrophe refers to the repetition of similar words at
the end of successive lines. Another name used for this device is ‘Epiphora.’

‫کئ حاجی بن آۓ جی‬

‫گل نیلے جامے پاۓ جی‬

In these lines, the word ‫ جی‬represents epistrophe same as other words in other
stanzas of the poem show, such as .‫ ہو‬،‫ نیں‬،‫ دا‬،‫نوں‬

Symploce

The combination of anaphora and epistrophe makes another trope or rhetorical

device named symploce. It is also known as ‘Complexio.’ This notion is expressed in 3rd
stanza of the poem.

‫اک جنگل بحریں جاندے نیں‬

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‫اک دانہ روز دا کھاندے نیں‬

Aphorism

A literary figure which elaborates a universal truth on the writer’s part is called an
aphorism.

‫کِتے سچی گل نہ ُرک دی اے‬

It is a universal fact that truth is always truth and it always wins no matter how
strong the arguments of lies are. The poet uses the sentence structure of a verse in this way
that it clearly states the Genuity of truthfulness.

Understatement

Understatement is introduced in the text when a poet decreases the importance of

a thing or event for a variety of reasons. It makes the subject weaker or less appealing to
the readers.

‫اک دانہ روز دا کھاندے نیں‬

In this line of the 3rd stanza, Bulleh Shah being a master poet has used
understatement to explain the concept of a society where people give their lives and time
to meditation and other physical religious activities instead of focusing on the purification
of their rotten hearts. He says that these kinds of people go to jungles or deserts, consume
the least amount of food, suck their life dry for meditation, and blindly tire themselves for
no good reason. To explain the concept of fasting, the poet says that these people utilize
only a grain per day which shows the least amount of food for a person. Here, the poet
decrees the importance of a meal to unearth the facet of these people.

Hypophora

When the poet asks a question and then immediately answers it by himself it means
he is using the figurative term hypophora.

‫پر ایہہ گل کہنوں بھاۓ جی‬

‫کِتے سچی گل نہ ُرکدی اے‬

In the first line, he poses a question that who will like this thing and immediately
answer the query that the true idea or thing can never be stopped or denied. The poet
emphasizes the universality and bitterness of reality and facts.

Thus, the style and language components that lie in the level of syntax in
linguistics are explained in detail along with their textual evidence.

Semantic Level

In linguistics, semantics deals with the study and interpretation of meanings of the
text in different contexts. The different types of meanings have their own significance
according to Caron (1992) as they have their strengths and weaknesses, so the various
appropriate approaches used to explain the meanings are thought to be more realistic as
descriptive, evaluative and explanatory. In semantics, there are seven types of meanings,
Thematic, Collocative, Connotative, Conceptual, Affective, Reflected, and Social. The

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definitions of these types are briefly described according to the concepts of Leech used by
Mwihaki, A. (2004).

Thematic Meaning

This type of meaning can be constructed from the text according to its themes; it
depends on two elements, i.e., themes that readers have perceived and the themes that the
writer has tried to convey. The extraction of this meaning from the text is entirely
dependent on the central topic of the given text.

Collocative Meaning

Collocative meaning is defined as the meaning derived through the co-occurrence

of two words but their meaning is taken as one. Collocations and Semantics have a
symbiotic relationship as each helps the other word to define what other means as Michaud
(2017) described. It is used to produce a creative effect in the text to represent a traditional
means of communication using proficient language simultaneously.

Connotative Meaning

The meaning that is derived from the contextual aspect of a society expressing the
essence of values and norms is specified as connotative meaning. Askarovich and Nilufar
(2023) describes that these meanings are somehow related to personal pragmatics, hence it
performs three important tasks which are understanding, clear evaluation and emotive
categorization This interpretation of meanings varies from society to society and culture to
culture suggesting that it is unstable and changeable for different situations.

Conceptual Meaning

The meaning that is produced by using logical sense and the literal meaning of the
whole sentence is named conceptual meaning. Lyons (1981) describes it as cognitive or
denotative meaning which is totally dependent on the text itself, and it is the universal or
basic meaning. The semantic representation of conceptual meaning is based on two
linguistic principles: contrast and arrangement, these are related to the structures and
studied under the syntactic and phonological analyses. Thus, the conceptual meaning
cannot be defined or explained without reference to the whole context under observation.

Affective Meaning

In contrast to social meaning, the affective meaning of a text deals with the
interpretation of words on the writer’s part, his personal attitudes, expressions, feelings,
and reflexes a stated by Indayani (2014). This type of meaning is usually used in the forms
such as irony, hyperbole, sarcasm, flattery, etc.

Reflected Meaning

The phenomenon, in which the meaning of a single word, phrase, or expression is

associated with the combination of other expressions or meanings, is called reflected
meaning. As its name suggests the meaning is reflected through other expressions giving
the same sense.

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Social Meaning

The social meaning is closely related to the connotative meaning, but the difference
is that the social meaning expresses the use of language to demonstrate social
communication and social relations of language. Beltrama (2020) says that it refers to the
group of qualities that semantic structures convey about the social characteristics of the
users. It explains the relationship among speakers and the social purpose of the verbal
exchange of emotions. These meanings are explained according to their use in different
literary elements.

Literary Analysis

The literary devices or tropes that come under the umbrella of semantics or those
devices which cover the explanation of meaning in them are Symbolism, Irony, Metaphor,
Oxymoron, Synecdoche, Lexical Ambiguity, Allusion, Imagery, Periphrasis, Climax, etc.
The description and presence of these literary elements in the undertaken text are given as
follows;

Symbolism

The concept in which symbols are used to express an abstract concept generated
from a concrete thing is called symbolism. It is used to yield innovation and artistic visage
in the text. The symbolic words which are used in the poem are ‫ ِچلیاں۔‬،‫ جنگل‬،‫ محراب‬،‫دوزخ‬

The word ‫( دوزخ‬Hell) represents the abstract phenomenon of the afterlife of humans,
this concept is as concrete in religion as a pillar but to logic, it comes in the section of
abstract ideas. This interpretation comes under the connotative meaning of the selected
word.

(The Prayer Callus) ‫ محراب‬is a dark callus or sign on the forehead of those people
who offer regular prayers five times a day, and it is made when a person bows down his
forehead on the ground for prostration. It’s also called a ‘devout sign’. This callus is a
symbol of humbleness, confession of the oneness of God, and piousness of a man. The
person with the callus on the forehead is considered to be pious and reverent, so this
perception is related to social meaning.

(The Jungle) ‫جنگل‬, according to its contextual meaning (detail given above) is a
symbol of solitude and peace because here the poet refers to this word in the context of
contemplation.

(Meditation) ‫چلیاں‬,
ِ its singular form is ‫چلے‬.ِ It is covered by the reflective
interpretation because this same word suggests some other negative subjects such as black
art along with the concept of spirituality.

Irony

Irony refers to the event or thing which is used to demonstrate an opposite thing;
there is a difference in the words and their actual meaning. It is used to produce a
humorous or emphatic effect, but in this poem, the poet has used this device for the
production of an emphatic effect to reveal the dark side of hypocrites.

‫حج ویِچ ٹکے لے کھاۓ جی‬

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This line suggests that people after visiting their religious places and performing
annual pilgrimage apparently wash off their sins but in reality, use the name of their
pilgrimage to deceive others by their greed and corruption. This practice in society is
common in the modern age people are using religion for their personal matters and desires
instead of following the right path. This illustration is considered through the sight of
affective meaning because here writer is unleashing the reality.

Metaphor

A metaphor is a comparison of two different things, to give a poetic effect in the

text. It comes in the description of reflective meaning because the meaning can be
interpreted in some other sense for the same phrase or word.

‫گل ایسے گھر وچ ڈُھکدی اے‬

Here, in this line word ‫ گھر‬is used as a metaphor for ‘heart’. The poet says that hold
only one central point and forgets the calculations of an afterlife instead purify your heart
because this is the thing that looks good in this home (heart).

Oxymoron

It refers to the contrastive use of words simultaneously. This device is present in

the view of contextual meaning because when these words come alone, they seem absurd
but together they make a whole sense of logic and meaningful expression.

‫حج و ِیچ ٹکے‬

When this phrase comes alone it makes no sense only represents the whole different
and contradictory concepts of religion and society. But when the whole verse ‫حج ویِچ ٹکے‬
‫ لے کھاۓ جی‬is considered, it opens up the context for the reader that the writer has tried to
point out the double faces and personalities of people.

Synecdoche

The literary term in which a writer uses a part of a thing to represent the whole is
termed synecdoche. In terms of semantics synecdoche deals with the collocative meaning.

‫کر صاف دِلے دیاں خواباں نوں‬

In this verse, ‫( صاف دِلے‬to clean heart) heart represents a whole individual making a
collocation of noun (heart) with an adjective (clean), and the word ‫ خواباں‬offers to mean:
dreams, which are also experienced by individuals through their brain processing and
memories instead of their hearts.

Lexical Ambiguity

Lexical ambiguity means the incompleteness of an idea that needs an explanation

to make sense in a text or a conversation. This characteristic is used in poetry to make the
reader brainstorm the whole scenario that the poet has tried to construct through his
words.

‫پر ایہہ گل کہنوں بھاۓ جی‬

The word ‫( ایہہ‬this) can be interpreted in two ways when the reader comes
to know about the previous and the next verse. But considering this verse only, the
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meaning is not clear to what idea the poet is trying to refer to the pronoun, this. This can
be reasoned through the lens of contextual meaning in means of a semantic version.

Allusion

In this poem, religious allusions are used such as The Arch, Pilgrimage, Meditation,
Prostration, etc. which suggests that allusions in this poem are used in the suggestion of
thematic meaning. These words depict the theme of spirituality in the poem which is also
the central idea of the poem showing the Sufis style of the poet.

‫( حج‬Pilgrimage)

Pilgrimage is the annual visit of Muslims to Mecca in order to perform Hajj, their
religious ritual while visiting different Holy Places with the belief that their sins are wiped
off of their soul.

Imagery

Imagery means to make an image in the mind of the reader that stimulates their
five senses through the use of words by the poet. In this poem many words create images
in the reader’s mind when reading, one of them is as;

‫پا لماں محراب دکھائی دا‬

Here, ‫محراب‬, when read by the reader, creates an instant image of a black, dark mark
on the forehead in the mind of a person. It can be said that ‫ محراب‬is a signifier for the black
mark (signified).

Periphrasis

The indirect or lengthy use of words to explain a single idea refers to periphrasis in
literature.

‫پھڑ نقطہ چھوڑ حساباں نوں‬

This whole verse suggests that one should stay steadfast and stick to their
central point i.e., religion and God. But the poet has explained in a manner to create a
rhythmic effect by using more words instead of one. It belongs to the affective meaning
because the poet has expressed his emotive purpose of language.

Rhetorical Question

‫بلھا بات سچی کدوں رکدی اے‬

In this verse of the last stanza of the poem, the poet is asking a question without
the intention of receiving an answer, to emphasize his point or idea that the truth can never
be denied or disclaimed. It also creates an affective meaning in the verse.

Hence, the last applied level i.e., semantics is also well explained with all of its
parameters and possible explanations with the indications of the presence of tropes
regarding this level and their proper analysis using samples from the text.

Conclusion

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The choice of words by the authors constructs the style in the piece of any text.
Bulleh Shah is one of the greatest and famous poets of the subcontinent and thus his poetry
is matchless, it is full of hidden meanings, rich in imagery, full of cultural and social
depictions, ironically highlights the social, economic, and specifically religious problems.
His poem ‘‫( ’اک نقطے ِوچ گل ُمکدی اے‬It’s All in One Contained) is his best known poem and the
researcher deconstructed it stylistically to unearth the hidden realities.

The examination of style and structure of this poem along with the literary devices
and deviations from the traditional set patterns and rules is the aim of the research. It
investigates both the linguistic and literary style. This research is done according to the
rules of English language applied on Punjabi language. The phonological level shows the
perfection of rhymes and rhythm which is enough to highlight the grip of Bulleh Shah on
Punjabi Language. The morphological level explains various phenomenon such as
affixation, borrowing, neologisms and conversions etc. The syntactical level deconstructs
the sentence structure of the poem and at last the semantic level significantly describes the
variety and vastness of meanings. To conclude, it is stated that the researcher has filled the
research gap by using the original text of the poem taken from an authentic source and
explained directly into the language of analysis i.e., English. Four linguistic levels, such as
Phonological, Lexico-Morphological, Syntactical and Semantic levels, are explained both
in terms of language and literature. The style of the poet used in the poem and its features
are rationalized using the original text and its translation. All the components of stylistic
analysis are explicit in this research to avoid any confusion. The literary devices are also
mentioned according to their proper division with regard to the linguistic level to which
they belong.

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