THE FAKÍR NÁNAKSÁ SAVES THE MERCHANT'S LIFE.

Once upon a time, in a land far away, there lived a kind grain seller. A very good man named Nánaksá, who was a fakír (like a wise teacher), often visited him to chat.

A vibrant watercolor illustration of a kind grain seller, Nánaksá the fakír (depicted as an older, benevolent man with a simple robe, slightly tattered at the hem, and weathered hands), and the grain seller’s wife (with kind eyes and worn, practical clothing) sitting together outside the grain seller’s shop on a sunny day. Golden sunlight bathes the scene, casting long, warm shadows. The color palette is warm, with ochres, siennas, and muted greens. A frightened goat hides trembling behind the grain seller’s legs, its fur realistically rendered, with a man in roughspun clothes pulling it away with a rope. The shop has a worn wooden door and cracked clay pots are visible. Nánaksá smiles gently, while the wife looks on with a sense of peace. The air feels still and warm.

One sunny day, Nánaksá came by as usual. The grain seller and his wife were happy to see him. While they were sitting together, they saw a goat being led away to be killed. The poor goat wiggled free from the person holding it and hid behind the grain seller! But it was caught again and taken away.

The grain seller didn’t say anything, but Nánaksá laughed.

Later, they saw an old woman who had done something wrong. The king had told the guards to take her to the jungle and leave her there to die! The old woman escaped and ran behind the grain seller for help. But she was grabbed and dragged away.

The grain seller still didn’t say anything. Nánaksá laughed again, and the grain seller’s wife noticed.

A captivating watercolor illustration of Nánaksá laughing, a deep, hearty laugh that crinkles the corners of his eyes, while the grain seller’s wife looks at him with a questioning expression, her brow furrowed in concern. The color palette is muted, with grays and browns dominating. In the background, shadowy figures of guards are dragging away an old woman (face etched with desperation, reaching out with gnarled hands) who is reaching out towards the grain seller for help. The scene is dimly lit, casting strong shadows. A wooden cart sits in the background, its wheels broken. The wife’s dress is simple, made of coarse fabric, and her hands are rough from work. The air feels tense and heavy with unspoken dread.

Just then, the grain seller’s little daughter woke up and started crying loudly! Her mom picked her up and tried to comfort her, but the child was fussy and kept pulling at her clothes.

Nánaksá laughed a third time!

A tender watercolor illustration of the grain seller’s wife (her hair pulled back in a simple bun, dark circles under her eyes indicating exhaustion) holding her fussy baby daughter, who is pulling at her mother’s dress with tiny, grasping hands. The baby’s face is flushed and red. Nánaksá sits nearby, on a woven mat, laughing for the third time, a knowing glint in his eye. Soft, diffuse light filters through a window behind the wife, illuminating her and the baby. The color palette is soft and pastel, with gentle pinks and blues. A cracked clay pot sits on a wooden floor, holding a few wilted flowers. The wife looks tired but loving, while the baby writhes and cries. The air feels stuffy and close.

The mother fixed her dress, held her daughter close, and calmed her down. Then, she grabbed a knife and went up to Nánaksá. She said, “Why did you laugh three times? Tell me the truth! What’s so funny?”

A dramatic watercolor illustration of the grain seller’s wife holding a gleaming knife, confronting Nánaksá. Her eyes are narrowed, and her jaw is set. She looks determined and serious, her body tense and ready. Nánaksá appears calm and serene, his face radiating peace. The light is dramatic, with shadows emphasizing the tension between them. The color palette is stark, with deep blues and reds contrasting with the whites of the wife’s eyes and the glint of the knife. The background is a simple mud brick wall, casting a long shadow. The wife’s knuckles are white as she grips the knife. The air crackles with unspoken accusations.

Nánaksá replied, “Does it matter if I laugh or cry? Don’t ask me questions! I’m just a fakír. It doesn’t matter at all if I laugh or cry.”

But the grain seller’s wife really wanted to know why he was laughing. She said, “If you don’t tell me, I’ll use this knife on you!”

“Okay,” said Nánaksá, “If you really want to know, I’ll tell you.”

“I really do!” she said.

“Well,” said Nánaksá, “Remember the goat that hid behind your husband? That goat used to be your husband’s father! Your husband could have saved him if he had given the man leading him away just a little bit of money. The man would have been happy and left the goat alone.”

“Okay,” said the woman. “Why did you laugh the second time?”

“Well,” said Nánaksá, “That old woman who hid behind your husband was his grandmother in her past life. If your husband had given the guards some money, they would have let her go! He could have saved her. If anyone, even an animal, asks us for help, we should try to save them!”

“Alright,” said the grain seller’s wife, “You’ve told me why you laughed the first two times. Now, tell me why you laughed the third time!”

“Listen,” said Nánaksá. “Remember your husband’s sister, the one you weren’t always kind to? She passed away, but then God made her your daughter! That way, she can bother you and maybe get you back for not being nice to her when she was your sister-in-law.”

“Is that really true?” the woman asked.

“Yes, it’s true,” answered the fakír, “That’s why I laughed the third time. But now, would you like to hear something else? If you promise not to cry, I’ll tell you.”

“I promise not to cry, so tell me!” she said.

“Then listen,” said Nánaksá. “God has decided that your husband will pass away tomorrow morning at ten o’clock. He will send four angels to take him away.”

At this, the poor woman started to cry.

“Don’t cry!” said the fakír. “I’ll tell you what to do. Tomorrow morning at four o’clock, you need to get up and clean your house really well. Then, buy new plates and make the yummiest, most delicious treats you can!”

“I’ll do it,” she answered.

Before the sun came up, she got out of bed and did everything the fakír had told her. Then, she went to him and said, “The treats are ready!”

“Now,” said Nánaksá, “Go get a nice, clean cloth. Take it and the treats with you, and walk until you find a big, open field far away from here. You’ll see a pond and a tree. Put your cloth down by the pond and tree, and put all the treats on it. At nine o’clock, you’ll see four men come to bathe in the pond. When they’re done, they’ll come towards you. You need to say to them, ‘You must be the four angels! Please have some of my treats!’”

A hopeful watercolor illustration of the grain seller’s wife in a sun-drenched field, placing a cloth covered with delicious treats (brightly colored sweets and pastries) under a large, ancient tree near a shimmering pond. Sunlight filters through the leaves, creating dappled patterns on the ground. The color palette is vibrant, with greens, yellows, and blues creating a sense of hope and renewal. She looks hopeful and anxious, her hands clasped tightly. The air is filled with the sounds of birdsong. The tree’s bark is rough and textured, and its branches reach towards the sky like welcoming arms. The water in the pond reflects the blue sky above. Her clothing is simple, but clean and carefully arranged. The breeze gently rustles the leaves.

The woman went to the field and did everything Nánaksá had told her. Everything happened just as he said it would. When the four men had bathed, they walked over to the woman, and she said, “You must be the four angels! Please have some of my treats!”

A celestial watercolor illustration of four angels, including Jabrá’íl (depicted with luminous wings and radiant light, shimmering with iridescent colors), sitting on the ground eating the treats offered by the grain seller’s wife. The treats are depicted with appetizing detail. The wife is bowing respectfully to them, her head lowered in reverence. The color palette is ethereal, with shimmering golds, blues, and greens. The ground is covered in soft grass and wildflowers. Light emanates from the angels, illuminating the scene with a heavenly glow. The wife’s clothes are simple but clean, reflecting her humble nature. The air hums with divine energy.

The leader of the angels, named Jabrá’íl, and the other three angels answered, “We don’t have any money to buy your treats. How can we eat them?”

“Don’t worry about the money!” said the woman. “You can pay me another day. Come on, eat some!”

So the four angels sat down and ate lots and lots of her treats!

When they were finished, they stood up and said to each other, “Now we need to go to the village and get the grain seller.”

Then, the woman bowed to them many times and said, “That grain seller is my husband! But, if you need to take him, then go ahead.”

The angels felt sad. They said to her, “How can we take your husband’s life now that we’ve eaten your food? But stay here under this tree until we come back, and then we’ll pay you for the treats.”

So the angels left, and the wife waited under the tree. She felt very sad. After a while, she thought, “I’m going home! Maybe those angels have already taken his life!” Then she cried and stayed under the tree.

Meanwhile, the four angels had gone back to God, who asked them, “Have you brought the grain seller?” They were sad that they hadn’t brought him, and they told God everything that had happened.

A majestic watercolor illustration of God (depicted with a glowing aura, radiating warmth and power) handing a sealed letter (its surface embossed with intricate designs) to the four angels, who are kneeling before him, their wings lowered in reverence. The scene should convey a sense of divine authority and mission. The color palette is rich and vibrant, with golds, purples, and blues creating a sense of grandeur. The angels’ faces are filled with awe and respect. The letter gleams with divine energy. The background is a swirling vortex of stars and galaxies. The air crackles with divine power.

God was a little angry. But he said to them, “Don’t worry. I know that the fakír Nánaksá is with the grain seller and his wife right now. He’s the one who tricked you!”

Then God wrote a letter promising the grain seller twenty more years of life! But at the end of those twenty years, he would really have to pass away and not live any longer. God gave this letter to the angels and told them to take it to the grain seller’s wife. He told her to have a silver box made and put the letter inside. Then, she was to hang it around her husband’s neck so that he would live for twenty more years.

The four angels came back to earth and went to the tree where they had left the woman. They found her waiting for them and gave her the letter. They said, “You need to get a silver box made and put this letter in it. Then, hang it around your husband’s neck so that he can live for twenty more years!”

The woman thanked them and was very happy! She took the letter and went home. She found her husband feeling fine, and Nánaksá was with him. She gave Nánaksá the letter and told him what the angels had said to do with it. Nánaksá read the letter and was very pleased.

Then, he said to her, “Call a silversmith to make the silver box. And you need to make a big dinner and ask all your friends, both rich and poor, to come and eat!”

A heartwarming watercolor illustration of the grain seller’s wife placing a silver box (intricately etched with floral patterns) containing the letter around her husband’s neck. The box hangs heavy on his chest. Nánaksá is present, observing with a knowing smile, his eyes twinkling with amusement. Their home is decorated for a feast, with colorful tapestries hanging on the walls and candles flickering in the background. The color palette is warm and inviting, with reds, oranges, and yellows creating a sense of celebration. The grain seller’s face is etched with worry and hope. Food is laid out on a long, wooden table, tempting aromas filling the air.

She did everything he said. When the dinner was ready and all their friends had arrived, the fakír said, “No one here, men, women, or children, can eat until they have put their hands over their faces and prayed to God!”

Everyone covered their faces with their hands and prayed to God. While they were doing this, the fakír quietly left! When they uncovered their faces, he was gone! No one knew where he went, and no one saw him leave. Some of the men went to look for him, but they couldn’t find him. No one ever saw him again.

A mystical watercolor illustration of Nánaksá, depicted as a serene figure in simple robes, disappearing in a swirl of light and wind (leaves and dust swirling around him) while the grain seller, his wife (tears streaming down her face), and a large gathering of guests are praying with their hands over their faces, their heads bowed in reverence. The light is blinding, and the wind whips through the scene. The color palette is dominated by whites and yellows, representing divine light. The air is charged with emotion and faith. The faces of the guests are etched with a mixture of awe and sadness. The background is blurred, suggesting a transition to another realm.

But the grain seller and his wife lived happily ever after.