Lost in the mystical land of Sindh echo the melodies of love and longing, such as “Sohni Meri Sohni Aur Nahin Koi Honi” and “Sohni Channa De Kinare.” Featured in the 1984 movie Sohni Mahiwal, starring Sunny Deol and Poonam Dhillon, this folklore forever immortalizes the love story of Sohni and Mirza Izzat Baig (Mahiwal). Sindh, a province in southeastern Pakistan bordered by Balochistan to the west and northwest, and Punjab to the northeast, has roots deep in the Indus Valley civilization. It offers a rich literary heritage, from translating the Quran to extensive folklore such as Umar Marui, Sassui Punhun, Dodo Chanesar, Moomal Rano, and Sohni Mahiwal.
The tale of Mahiwal originated during the Soomra dynasty in the 18th century when the Mughals were still prevalent. Sohni, known for her beauty in the area, belonged to a family of potters named Tulla, who lived in present-day Gujarat, located on the banks of the Channa, which was then part of the Punjab province of Pakistan. Shahzada Izzat Baig, a rich trader from Uzbekistan, came from Bukhara with a caravan for trading purposes. Sohni often helped her father make and decorate clay pots, and one day, during Baig’s stay, he chanced upon seeing her in Tulla’s shop. Completely in awe at first sight, Baig began visiting the shop frequently, buying clay pots, sharing interests, and having deep conversations. This eventually led Sohni to fall in love with him.
As their love blossomed, it came time for Baig’s caravan to leave. Enchanted by Sohni, he decided to stay and live with his beloved. Eventually, he had to work as a servant at Tulla’s shop, having exhausted his wealth during his daily visits to Sohni. He became a buffalo grazer, earning the famous name “Mahiwal” (buffalo grazer). However, a Sindhi variation of the story suggests that Sohni belonged to the Jat tribe, and her love for Mehar blossomed when she gave him milk to drink as her marriage procession passed by the river.
As news of their romance spread, the local potter community grew angry, refusing to let Sohni marry an outsider and forcing her to marry someone from her community. After this turn of events, Baig renounced worldly desires and lived as a faqir in a small hut across the Channa from Sohni’s house. Despite these obstacles, the couple continued to meet at night, with Sohni using baked pots to cross the river and Mahiwal bringing fish he caught each day. Some versions of the folklore suggest that one night, when Mahiwal couldn’t catch any fish, he baked a piece of his thigh. When Sohni took her first bite, she realized, through tears, what Mahiwal had done to keep her from going hungry.
As time passed, Sohni’s sister-in-law discovered the nightly meetings and replaced Sohni’s baked pot with an unbaked one. That night, while crossing the Channa, Sohni realized halfway that her pot was unbaked and would not hold.
“Paar chanaan de disse kulli yaar di Ghariya ghariya aa ve ghariya”
“Yaar noon milegi ajj laash yaar di Ghariya ghariya aa ve ghariya”
The song “Paar Channa De” explores Sohni’s conversation with the ghariya (earthen pot) as she tries to cross the river, pleading for it to hold on, as her lover’s hut lies just across the Channa. If it doesn’t, her beloved will be greeted by her lifeless body. Mahiwal, seeing her struggle, tries to save her, but he is unable to due to the pain from the wound on his thigh. Ultimately, Sohni drowns, and Mahiwal, devastated, jumps into the river, taking his own life. According to legend, Sohni’s tomb is located in Shahdadpur, Sindh.
The themes of love, tragedy, and sacrifice have inspired several poets, with the most renowned version of the tale penned by the Punjabi Sufi poet Shah Abdul Latif Bhittai. The story challenges traditional portrayals of heroes and heroines, depicting Sohni as a strong-willed, independent woman who defies patriarchal norms, while Mahiwal is portrayed as vulnerable, driven by deep love. This tension between traditional values and changing societal norms reflects the evolving values of Sindh.
Set against the backdrop of medieval society, the story also highlights the rigid class divisions based on caste, religion, and social status. The river, a crucial element in the tale, symbolizes the deep connection between waterways and the land in Sindh. The society of the time was also deeply rooted in Sufism, and the story carries a spiritual symbolism—without a true guide on the path to enlightenment, one will drown in worldly distress.
In conclusion, while fate dealt a cruel hand, the story of Sohni and Mahiwal transcends the boundaries of time and culture, continuing to resonate with people across generations. It serves as a timeless reminder of the enduring power of love.
Author’s Note:
Bhavya Singh
Bhavya has diverse interests, ranging from exploring the psychology behind everyday choices to believing in the magical power of words. She enjoys examining the interplay between culture and thought. A lover of movies and storytelling, Bhavya views writing as a powerful tool to transform perspectives and bring dreams to life. Her passion for traveling deepens her understanding of different cultures, which she strives to weave into her storytelling. Through her writing, Bhavya aims to capture the richness of human experiences, uncovering stories that inspire, connect, and resonate with people on a meaningful level.
