As a result of this schism, several groups developed within the Shī
ī Islam, including the Ismā
īlīs—the partisans of al-
ādiq’s eldest son, Ismā
īl. During the long and complicated course of their history, the Ismā
īlīs managed to establish themselves not only as an organised religious community, but also as a strong political power, such as the Fā
imids in Egypt and the Nizarīs in Iran. From the fall of the Alamūt (13th AC) strongholds until the new Ismā
īlī revival in Anjudān, Iran (15th AC), there was a period of anxiety and sorrow for the Ismā
īlīs, during which they were persecuted as heretics. Consequently, it was a time of concealment (satr) when the Ismā
īlīs had to conceal their real identity (the so-called method of taqiyya) under the umbrellas of Sufism, the Twelver Shī
ism and even Sunnism. In modern times, under the leadership of the Aga Khans, especially the last two (Aga Khan III, d.1957 and the current Ismā
īli Imam, Aga Khan IV), the Ismā
īlī community firmly established itself in India, Pakistan, Tajikistan, Iran, Syria, North Africa, Europe and North America. The socio-economic and cultural branch of the Ismā
īlī Imamate—the Aga Khan Development Network (AKDN)—is a powerful NGO, aiming to improve the quality of life in the developing countries. For a detailed account of the Ismā
īlī history and doctrines, refer to Farhad Daftary, The Ismā
īlīs: Their History and Doctrines (Cambridge: Cambridge University Press, 1990).

















11. To date, one of the best examples of Sufi poetic influence on the Ismā
īlī tradition of the post-Alamut period is Nizārī Quhistānī (d.1321). For a detail examination of him, see Nadia Jamal, Surviving the Mongols: Quhistānī and the Continuity of Ismā
īlī Tradition in Persia (London: Tauris, IIS, 2002). Leonard Lewishon, “Sufism and Ismā
īlī Doctrine in the Persian Poetry of Nizārī Quhistānī (645–721/1247–1321)” Iran: Journal of the British Institute of Persian Studies 12 (2003): 229–251.



12. Rūmī is very popular in Badakhshan under the name of his spiritual guide, Shams-i Tabrīzī, to whom he dedicated almost all his works. His lyrics, like those of
A
ār, Sanā
ī,
āfi
and many other Sufi mystics constitute the main body of the local sacred songs, referred to as the madô or qa
ā
id (plural of qa
īda). For a comprehensive study on Pamiri poetic and musical tradition, see G. Van Den Berg, “Minstrel Poetry from the Pamir Mountains: A Study of the Songs and Poems of the Ismailis of Tajik Badakhshan” (PhD thesis, State University of Leiden, 1997).








