English Translations - International Iqbal Society - Allama Iqbal

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Introduction

This poem is complementary to the previous one. It resulted from two things. One was Allamah Iqbal's deep first hand knowledge of the apparent and material prosperity and the outward courtesy of the Western people, but their moral and ethical bankruptcy. The second was the Western nations' inherent hatred for and their machinations against the Muslim world, which resulted in the latter's decline. These feelings attained their climax when he reached the Island of Sicily on his return journey to India.

Sicily had been conquered by the Aghlabad Dynasty of Tunisia in the early ninth century and was ruled by them as well as by other Arab dynasties till it was conquered back by the Normans in the second half of the eleventh century. This poem has resulted from the flood of thoughts which must have streamed through his mind on reaching the Island of Sicily. The sight of the island brought back to his mind the Muslim world with its glory in ethical as well as social, economic and political fields. The Muslim world, which at one time was spread over northern Africa, southern Europe, central, southern and south eastern Asia and was the cradle of the highest civilization of all times, and in moral and ethical spheres, was the highest power, had crumpled down by his time. This sight must have brought to his mind the whole panorama of the period of Muslim suzerainty in Africa and southern Europe. After the Norman conquest of Sicily the Muslim world and society have experienced constant decline which has continued till today. In contrast with the memory of the past glory must have passed his mind the extremely poor condition of the Muslim world in his time. This reminiscence must have made Allamah Iqbal very painfully sad as is evident from the verses of this poem.

At that time little did Allamah Iqbal know that the Muslim Ummah would have to go through much more afflictions than imagined at that time, till he cried out in 1924:

Rendered cheap like water is the blood of the Muslim
You are agitated as your heart is not aware of the secret

(Appendix III, No. 25 )

More perturbing than the affliction itself was his life long realization which poured out of his afflicted heart in 1935:

What an outrage, extinguished is the Love's fire
The Muslim is no more than a heap of burnt ashes !

(Appendix III, No. 29.)

Translation
O blood-dripping eye! Now cry to your heart's content
There you can see the mausoleum of the civilization of Hijaz

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Introduction
This and the next poem are complementary to each other and contain a flood of his longings and ambitions for service to Islam and Muslims. He got the motivation for this poem from the good organization of the society and government of European countries and focusing of their attention to the work of national reconstruction and advancement. At that time he could not do better than express his feelings to his long term friend and confidante, Sir Abd al Qadir, Barrister at Law, Lahore who was also the editor of the famous Urdu magazine, Makhzan . At that time he only expressed his thoughts as they occurred to him. However, reference to Chapter 4 will show that later he adopted poetry as the vehicle for communication of all his philosophy of Islam as a panacea for the ills of the Muslim Ummah and, in fact , for the maladies of the whole human race. He made this task the ambition and purpose of his life and produced a vast amount of literature in Urdu, Persian and English on this subject, mostly in verse. Some of this work has already appeared in this commentary and much more will appear as we proceed with the study of "Bang-i-Dara ".

Translation
Rise, as darkness has appeared on the eastern horizon
We should light up the assemblage with blazing songs

Our capacity is only a cry of lament like the wild rue¹
We should overturn the assemblage with this same uproar

We should show the assemblage the effect of Love's polish
We should convert the stone of today into the mirror of tomorrow ²

By showing them the effulgence of the lost Yusuf ³We should make them more agitation-prone than Zalaykha's blood ⁴
By giving the lesson of the law of growth to this garden
We should turn the insignificant drop of dew into the ocean

We should lift our dearest chattel from the China' s temple⁵
We should fascinate all with the face of Sa'di ⁶ and Sulaima ⁷

Look! The Lailah' s she camel became useless in Yathrib
We should make Qais acquainted with the new Longing ⁸

The wine should be mature and so hot that with it
We should soften the heart of the glass, the goblet, and the decanter

The grief which kept us warm in the cold of the West
Opening up the breast we should make it public

In the world's congregation we should live like the candle
We should burn ourselves and open up the rivals' eyes

"The candle reveals whatever passes through the heart
Burning is not the thought which the candle conceals"

Explanatory Notes
1. Sipand or Wild Rue See Appendix II. The property of the rue seed of cracking and jumping when put in fire is referred to here as an expression of distress and lament as well as the restlessness produced by them.

2. This refers to the technology of glass making, ultimately making mirrors, whose starting material is a base material like silicates in stones and soil. This hemistich means that we should convert the youth of today, who are inert and useless like stones, into the mirrors of tomorrow.

3. See Appendix I, No. 80. This verse alludes to the early part of the story of S. Yusuf A.S. for which see the Holy Qur'an Surah 12, especially the first 20 verses.

4. Zalikhah or Zulaykhah- See Appendix I, No. 81.

5. This is a part of the often repeated message of Allamah Iqbal that Muslims should return to Islam for guidance in knowledge and for inspiration for noble deeds. The mention of China is a delicate reference to the Hadith that one should acquire knowledge even if it is in China.

6. Sa`di- See Appendix I, No. 66.

7. Sulaima- It was a tradition in pre Islamic Arabic poetry to write poems about their beloveds. However, the identity of the beloved was not revealed and she was represented by one of the several legendary beauties of the Arab folk lore, such as Salmah, Sulaima, Lubnah, Lailah etc. This poetic tradition was continued and strengthened by the Muslim poets, particularly the sufi ones. However, the difference was that God and/or the Holy Prophet S.A.W. was the focus of their Love instead of the human beauties. The tradition of using the names of the legendary beauties came into Persian and Urdu poetry also. `Allamah Iqbal has adopted the name of Salaima in his poetry, as here, in the sense of converging full attention on Islam and Islamic values.

8. With the advent of Islam old values in literature, including poetry, changed as has been stated earlier [See Introduction to Poem 15. "`Aql-o-Dil" (The Intellect and Heart)]. Instead of Lailah and her she camel, God and Holy Prophet S.A.W. became the objects of Love and they were referred to metaphorically as Lailah. `Allamah Iqbal has used this metaphor often. Cf.

(184) B� `Al� in Lailah's camel's dust cloud is lost
R�m�'s hand the curtain of her litter has got

(Appendix III, No. 24)

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Introduction

This poem was written during the period of Allamah Iqbal's stay in Europe and expresses the pangs of separation from the homeland.

Translation
I am wandering in search of a secluded corner
I have taken refuge at this mountain's side

Attraction of springs in their broken songs is excellent
Like the infant's supplication, who is learning to speak

The evening stars are established on the throne of twilight's rubies
The spectacle of the evening's beauty is Paradise for the observant's eye

Silence of separation's evening was an excuse to me
Someone's memory taught singing of this ode to me

This is the state of my impatient soul
I am like the small baby who is left alone

He starts the music in the darkness of the night
He considers his own voice as someone else's voice

In this way I give message of patience to my heart
In other words I beguile the night of separation

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Introduction
In this poem `Allamah Iqbal is conveying the message dearest and nearest to his heart. i.e. persuading the Muslim Ummah to rise from their slumber to strive and struggle in the cause of God for carrying out the original Divine Command of fulfilling the obligations of being the martyrs of His Love and His cause. The whole poem is the message of the Love of God addressed to the Muslim Ummah.

Translation
Listen O seeker of heart's pathos ! I am Naz, you should become Niaz ¹
I am the Ghaznavi of heart's Somnath, you completely become Ayaz ²

Greatness in the world is not associated with the Alexander's splendor
Your breast has everything, you should also become the maker of mirrors ³

The aim of life's struggle is perfection of your Crescent's grandeur
You are the world's oldest Divine Command, be fulfilled like prayer ⁴

Be not contented, O gardener, your dignity is established by this alone
If flowers abound in the garden, you should become a more ardent beggar

Gone are those days, these are not the times for wandering in wilderness
Become melted in the world like the congregation's lighted candle

The individual's existence is unreal, the nation's existence is real
Be devoted to the nation, become destroyer of the unreal's magic

Iqbal ! These sectarians of India are working like azar ⁵
Saving your skirt from idols become the dust of the way of Hijaz

Explanatory Notes
1. Naz and Niaz- See Appendix II. In the first hemistich of this verse Love addresses those who are anxious to develop the Love of God and says that this Love is the beloved and it is necessary to become a true Lover to win it. In the second hemistich the same message is repeated in another form.

2. Ghaznavi, Somnath and Ayaz See Appendix I, No. 34.

3. Alexander See Appendix I, No. 6. He is believed to have made a mirror of very highly polished copper plate, which is alluded to here. This verse means that being a conqueror like Alexander does not make a person 'great'. However making a mirror with the help of one's knowledge and effort does confer greatness. As a Mumin has the potential for making the mirror he has also the potential for attaining greatness.

4. This is a reminder to the Muslim Ummah that they are the vice gerents of God on earth and for that reason are charged with the responsibility of establishing the sovereignty of God on earth. It is a reminder to them that they should rise to their responsibilities and achieve what is expected of them.

5. azar See Appendix I, No. 13. This verse means that the people who are creating and nurturing sectarian poison in India are like azar, and Muslims should avoid them and keep their own objectives before them, close their ranks and attain those objectives.

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Introduction
`Allamah Iqbal was an ardent lover and supporter of late night prayers and supplications and has given expression to these feelings frequently. This poem is also one such expression, in which he extols the blessings of the silent and quiet prayers and supplications in the silence of the night.

Translation
Why are you sad in the night's loneliness?
Are not the stars your close associates?

This elegant dignity of the silent sky
This sleeping earth, this silent world

This moon, wilderness, environment, mountains,
Nature is a prolific garden of white roses

The colorful pearls, are variegate and beautiful
Seem to be the stars of your tears

What do you desire so inordinately, O Heart!
Nature is in concord with you, O Heart!

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Introduction

This is a beautiful nature poem which reflects the poet's feelings created by the silent serene scene on the banks of the River Neckar near Heidelberg in Germany, where he had lived in connection with his doctorate degree. This poem is on the lines of the poetry of the famous nature's poet of England, William Wordsworth ( 1770 1850 ) . He is one of `Allamah Iqbal's favorite poets. The last verse shows that `Allamah Iqbal was at that time (1905 08) in some grief. We have seen in the previous poems what that grief was and we shall see more of it as we proceed. May God confer that grief on all Mumins.

Translation
The moon's light is silent
The branches of every tree are silent

The songsters of the valley are silent
The green trees of the mountain are silent

Nature has become unconscious
It is sleeping in the night's lap

Some such spell of serenity exists
That Neckar's flow is also serene

The caravan of stars is silent
The caravan is moving without the bell

Silent are the mountains, forest, river
As if Nature is absorbed in deep meditation

O Heart! You should also become silent
Taking grief in your lap go to sleep

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Introduction
This short poem is the spontaneous expression of the poet's Love for the Eternal Beauty (God) and his ardent desire to witness the same. Its beauty and meanings are difficult to translate into English 'and are equally difficult to be appreciated by those un initiated towards that Beauty. The reader is requested to exercise his spiritual imagination.

Translation
Beauty's manifestation which gives restlessness to Longing
Which youth nurtures in its fancy's lap

By which this ephemeral universe becomes eternal
By which youth becomes a colorful tale

Which teaches us to be meditating
To be escaping the present state's scene

Which removes the immaturity of perceptions
Which makes Intellect a slave to impressions

Ah! Does that Beauty exist anywhere or not?
O Lord! Does that jewel exist on the universe' ring?

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Introduction
This short poem is an eloquent but sad commentary on the status of Man as it stands at present. All creation in the universe is bound by the laws of its Creator and is busy in the performance of the tasks assigned to it. All creatures enjoy obeying their Creator. However, Man, the masterpiece of creation, by misusing his autonomy, disobeys the laws of his Creator and has landed himself in very un enviable situation of strife and other forms of suffering with the added affliction that there is none to sympathize with him in his travail.

Translation
What an ingenious tyranny of Nature it is!

Man has been made a seeker of the Secret
The Secret has been concealed from his eyes

The taste for awareness is restless
The secret of life is not un raveled

Amazing is the alpha and omega of life¹
What else is there in the mirror's house?

The river stream is moving fast
The river is moving towards the ocean

The wind is blowing the cloud
Is bringing the cloud on its shoulders

Stars are intoxicated with destiny's wine
They are chained in the prison of the sky

The sun, that early rising devotee
That carrier of the message of "rise"

Concealed in the hills of the west
Is drinking wine in twilight's goblet

Everything is enjoying its existence
It is intoxicated with manifestation's wine

None is sympathetic with Man!
How bitter is the life of Man!

Explanatory Notes
1. Alpha and Omega- Alpha is the first letter of the Greek alphabet. This word is also used for the brightest star in a constellation. Omega is the last letter of the Greek alphabet. The phrase is used for the most important person or entity, e.g. The New Testament, The Book of Revelations of Saint John the Divine, Chapter 1:8, in which S. Musa A.S. is supposed to have said to Saint John in his dream "I am Alpha and Omega, the beginning and the ending." In this verse Allamah Iqbal uses this phrase to show the intrinsic value and elegance of Man, and also the miraculous way in which he was created by God.

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Introduction
This is another short poem which is highly mystical and difficult to understand. Tasawwuf is based on the inability of the human Intellect to comprehend the marvels and mysteries of the celestial and spiritual worlds. Matters like the Existence of God can be argued for and against with Intellect and logic. Its logic can be understood with the study of "Anfus o ufuq" to which the Holy Qur'an has repeatedly referred for this purpose. Spiritual philosophers and sufis have adjudged God as "Wajib al-Wujud" (the Being whose Existence is essential for the creation and operation of the universe). However, His Dhat (Essence) is incomprehensible and indescribable. For that reason the Islamic system has established ninety nine names, which are really attributes, by which we can get some feeling for His Nature, but not knowledge. `Ibadah, in the broad sense and meditation can enable a person to feel His Essence. Similarly, other spiritual objects, like Paradise and Hell are beyond human comprehension, and their nature can only be felt, rather than described. The Holy Qur'an and Hadith literatures have used highly metaphorical language so as to make the subject somewhat intelligible to the persons of average intelligence. Any other kind of description would have been intelligible to the super or ultra-intellectuals only, if at all. Furthermore, it would have led to perpetual arguments and schisms among Muslims as has happened in other religions, based on philosophies. With this in the background of his thoughts Allamah Iqbal warns us in this poem, in a sarcastic style, that literal explanations of the descriptions of spiritual objects in the Holy Qur'an and Hadith literatures on these matters can lead to gross misunderstanding, particularly in the young and immature minds. Ibadah and meditation are the only means of getting some feeling of these subjects. For example, with reference to verse four it will be profitable to refer to Appendix III, No. 27, Chapter IV "The Human Ego His Freedom and Immortality", particularly pages 122 123. The following excerpt discusses resurrection and its aftermath:

The point, however, which has caused much difference of opinion among Muslim philosophers and theologians is whether the re emergence of Man involves the re emergence of his former physical medium. Most of them, including Shah Wali Allah (Appendix I, No. 82), the last great theologian of Islam, are inclined to think that it does involve at least some kind of physical medium suitable to the ego's new environment. It seems to me that this view is mainly due to the fact that the ego, as an individual, is inconceivable without some kind of local reference or empirical background. The Holy Qur'an 50:3,4 throw some light on this point.

'What ! When dead and turned to dust, shall we rise again ? Remote is such a return'. Now know what the earth consumeth and what with us is as a book in which account is kept .

To my mind these verses clearly suggest that the nature of the universe is such that it is open to it to maintain in some other way the kind of individuality necessary for the final working of human action, even after the disintegration of what appears to specify his individuality in his present environment. What that other way is we do not know. Nor do we gain any further insight into the nature of the 'second creation' by associating it with some kind of body, however subtle it may be. The analogies of the Holy Qur'an only suggest it as a fact; they are not meant to reveal its nature and character. Philosophically speaking, therefore , we cannot go further than this that in view of the past history of Man it is highly improbable that his career should come to an end with the dissolution of his body.

However, according to the teaching of the Holy Qur'an the ego's re emergence brings him a "sharp sight" whereby he clearly sees his "self built fate fastened round his neck" (50:21-22) (read with 17:13)¹. Heaven and Hell are states, not localities. The descriptions in the Holy Qur'an are visual representations of an inner fact, i.e. character. Hell, in the words of the Holy Qur'an, is ' God's kindled fire which mounts above the heart ' ! -- the painful realization of one's failure as a Man. Heaven is the joy of triumph over the forces of disintegration. There is no such thing as eternal damnation in Islam. The word 'eternity' used in certain verses, relating to Hell, is explained by the Holy Qur'an itself to mean only a period of time (78:23). Time cannot be wholly irrelevant to the development of personality. Character tends to become permanent; its re shaping must require time. Hell, therefore, as conceived by the Holy Qur'an is not a pit of everlasting torture inflicted by a revengeful God; it is a corrective experience which may make a hardened ego once more sensitive to the living breeze of Divine Grace. Nor is Heaven a holiday. Life is one and continuous. Man marches always onwards to receive ever fresh illuminations from an Infinite Reality, 'which every moment appears in a new glory'. And the recipient of Divine Illumination is not merely a passive recipient. Every act of free ego creates a new situation, and thus offers further opportunities of creative unfolding."

Translation
You should not tell me, "Death is a message of luxury and pleasure"
You should not draw the picture of Sharab-i--uhur's ² ecstasy

Do not feel grieved by separation from the Houri
Do not present the Houri in the mirror of words

Do not make me fascinated by the beautiful cup bearer
Do not describe the Houri, do not relate the Salsabil's ³ story

I do not doubt Paradise being the place of peace
Your message is not proper for the life's prime!

Ah! How long should youth linger in hope
Joy is not joy for which you remain waiting

What worth is the beauty which is in need of the discerning eye
Which is obligated for the tomorrow for its manifestation

Strange is the feeling for life
"Today's joy" is the belief of youth

Explanatory Notes
1.The parentheses are mine.

2. Sharab-i--uhur- This is the holy beverage, or wine of Paradise which, according to the Holy Qur'an is free from the evils of the earthly wines (47:15; 76:21; 78:35 and 83:25 28).

3. Salsabil- This is one of the streams of Paradise.

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Introduction
This short and extremely beautiful poem is an expression of the joy and happiness which one derives from the Love of God. Apparently, the Love of God is a series of trials and tribulations, like any other love. However, the Lover feels some degree of joy and pleasure in his condition of Love. In the same way the Love of God is full of trials and tribulations of the extreme magnitude, but for His Lover they are also sources of joy of the highest order. As God is the Highest and Most Supreme Existence, His Love is the source of trials and tribulations as well as that of joy and happiness of the highest order, which can be felt and appreciated only by those who are so graced by Him. For others it is "lunacy", as love is often called.

Translation
My life is similar to that of the silent violin
The lap of which is full of all kinds of melodies

The harp of the universe is sacrificed on whose silence
Every string of which is the grave of hundreds of melodies

The silence of which is the custodian of music's perfection
And the silence of which is not obligated to any uproar

Ah ! The hope of my Love was never fulfilled
This instrument was never hit by the plectrum

But sometimes the zephyr of the garden of Tur flows
And sometimes the breeze of Houri's breath from the sky

Which gently touches the string of my life
And frees the imprisoned soul of my life

The gentle sound of the music of despair rises
The clarion's call for the caravan of tears rises

Just as dew's elegance depends upon the taste for racing
The elegance of my nature depends upon grief's melodies !