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338/Jijñāsā
that the Upanishads were no doubt the Hidden Book, the most Ancient Book referred to in the Holy Qur'an and quotes a verse from the Qur'an applicable to the Upanishads "Most surely it is an honoured Qur'än; in a book that is protected. None shall touch it save the purified ones. A revelation by the Lord of the worlds" (Qur'an LVI, 77-80), as translated and quoted by B.J.Hasrat. 26
Barely a few months after the completion of the translation of the Upanishads (28th june 1657) Dārā Shukoh was called upon to defend the authority of his father, the Emperor, challenged by his rebellious younger brothers, but was not destined to succeed. He fought very bravely and faced defeat and severe hardships with rare courage and fortitude. He was betrayed by his Muslim generals, and by those whom he had rescued from certain disaster. When captured and brought a prisoner to Delhi, a mockery of trial, got up by his younger brother Aurangzeb, held him guilty of heresy. His head was cut off and when brought on a platter as per orders of Aurangzeb, the latter exclaimed "Ah bad-bakht! (ill fated) I did not look at the face of this apostate from Islam when alive, nor shall I do so now".27
Such was Prince Dārā Shukoh and such was his younger brother Aurangzeb, the Emperor, hailed as a living Pir by the Muslims in his life time an even now regarded as an ideal by most of his co-religionists. An important avenue in secular India's capital is named after Aurangzeb but there is none to commemorate Dārā Shukoh.
References:
1. For his early life, see K.R. Qanungo, Därä Shukoh, 2 edn., Calcutta, 1952, pp. 1-7. For Därä Shukoh's interest and studies in classical Persian literature, Bikrama Jit Hasrat, Därä Shukoh, Life and Works (abbreviated as DSLW),2 rev. ed.. New Delhi 1982, pp. 132ff. As for calligraphy, Dãrã had acquired a very high degree of perfection both in Naskh and Nasta liq styles as is evident from the extant specimens of his calligraphy. He was a pubil of the great calligraphist Aqã Abdur Rashid Dailami.
2. Sakinat-ul-Awliya, p. 142. DSLW, p.77.
3. See, K.R. Qanungo, op.cit., pp. 15ff.
4. For Sanskrit scholars associated with Prince Dārā, DSLW, pp. 13-15.
5. DSLW, p.9.
6. Ibid., p. 142.
7. Ruqa'ul-i-Alamgiri, Vol. I, p.322 cited in DSLW, p.65.
8. Amurat-i-Hazür Kishwar-Kashar, Julus (R. yr.) 9. Rabi II 24/13 Oct., 1666; Määsir-i-Alamgiri, tr. Sarkar, p.60.
9. Sakinat-ul-Awliya, pp. 142ff. DSLW, p.78.
10. Safinat-ul-Awliya. Nawal Kishore Press. Lucknow, 1800 A.D. See, a comprehensive view of its contents in DSLW. pp. 43ff.
11. Risala -i-Haqnumā, p.2.
12. An Urdu translation of Sakinat-ul-Awliya, was lithographed at Lahore.
13. DSLW', p.88.
14. Risälä'-i-Haynuma, Nawal Kishore Press, Lucknow, 1874 A.D. An English translation by S.C. Vasu; as Compass of Truth, Allahabad. 1912.
15. For a more detailed discussion of these stages in a mystic's journey through the four worlds, see DSLW, pp. 125-88. The method of meditation in the four stages, such as concentrating the mind on the centre of brain, rectal centre etc., shows deep influence of the Ashtanga Yoga in which meditation on various chakras is practiced.
16. Kulliyat-i-Dārā Shukoh, Gujranwala, 1857. An urdu translation was lithographed at Lahore in 1340 A.H.; DSLW.p.114.
17. Bikrama Jit Hasrat, DSLW. p. 105.
¡8. Ibid., p. 114.
