English translation
Then the world got the better of him, he gave up his devotions and his pious abstinences, and made unrighteous use of the moneys
at his disposal. This conduct of his was brought to the notice of the Sultan accordingly. When Abū Ghurra learned of this he set out on a journey, giving out that he was making for Khurasān with the object of visiting the tomb of ʿAlī b. Mūsā al-Riḍā, at Ṭūs, but his real purpose was to escape. So, after visiting the tomb of ʿAlī b. Mūsā, he proceeded to Herat, which is the last of the cities of Khurasān, and informed his companions that he intended to go to India. Most of them abandoned him, but he for his part went on from the
territory of Khurasan towards Sind. After crossing the river of Sind, which is called Panj Āb, he had his drums [ṭubūl] and his coiled trumpets [anfār] sounded, and thereby so startled the villagers that they thought that the Tatars had come to raid them and fled in panic to the city called Ūjā, where they informed the governor of what they had heard. He rode therefore with his troops and prepared for battle. When he sent out the scouts, they discovered about ten horsemen and a number of men on foot and merchants who had accompanied the Sharīf on his road, carrying kettledrums [aṭbāl] and banners. The scouts asked them who they were and what they were doing, and were told that the Sharīf, the Naqīb of al-ʿIrāq, had come on a mission to the king of India. They returned and reported the circumstances to the governor, who opined that the Sharīf showed little intelligence in hoisting his banners and beating his drums [ṭubūl] outside his own country. The Sharīf entered the city of Ūjā and stayed there for a time, having the drums [aṭbāl] beaten at the gate of his residence morning and evening, for that used to give him much gratification. It is said that in the days of his marshalship in al-ʿIrāq, the drums [aṭbāl] were beaten before him and when the drummer [naqqār] finished beating he would say to him 'One more roll [naqra], drummer [naqqār]', until the phrase stuck to him as a nickname. The governor of the town of Ūjā wrote to the king of India to report [the arrival of] the Sharīf and his drumbeating [ḍarb al-aṭbāl], both on his journey and before his residence morning and evening, as well as his flying of banners. Now the custom among the people of India is that no person hoists a banner or beats [yaḍrib] a drum [ṭabl] except those to whom the king has given this privilege, and [even then] they do so only while travelling. When in residence, however, no drum [ṭabl] is beaten [yuḍrab] except at the king's gate alone. In Egypt, Syria and al-ʿIrāq, on the other hand, drums [ṭubūl] are beaten [tuḍrab] at the gates of the military commanders. When the report on the Sharīf reached the king of India, therefore, he was displeased and annoyed at his action, and resented it. The Sharīf departed some time later for the king's capital. Now the amīr Kishlū Khān (the term khān is applied by them to the greatest of the amīrs), being the resident in Multān, the seat of government in the country of al-Sind — he is held in high regard by the king of India, who calls him 'Uncle', because he was one of those who aided the king's father, the sultan Ghiyāth al-Dīn Tughluq-Shāh, to fight against the Nāṣir al-Dīn Khusraw-Shāh — had come to the capital of the king of India and the king went out to receive him. It happened that the Sharīf's arrival was on that same day. The Sharīf had preceded the amīr by some miles [and as he approached the city] with his drums [aṭbāl] beating as usual, suddenly he met the Sultān with his cortege. The Sharīf went forward to the Sultān and saluted him, but the Sultān, after asking him how he was and why he had come and hearing his answers, went on till he met the amīr Kishlū Khān, and returned to his capital without paying any attention to the Sharīf or giving orders for his lodging or anything else.
Observations on the events description
Considering the role of drums as a signal of power (Cf. Beg, M.A.J. "Ṭabbāl", EI-2, Brill, 2012), it is possible that the extensive use of drums made by the Sharīf was intended as a means to affirm his authority while moving to a new political context.