This document provides background information on the English poet John Keats and analyzes his famous ode "Ode to a Nightingale". It outlines details of Keats' life and career, defines what an ode is, summarizes the themes of the poem like mortality and man's relationship with nature, and asserts that the nightingale symbolizes joy, nature, or Keats himself. It concludes that the moral of the poem is the acceptance of human mortality despite finding temporary escape through appreciating beauty.
Analysis and Interpretation of Pakistani Poet and writer Daud Kamal -writing style of poet and selective poems of Daud kamal - REPRODUCTION AND THE STREET OF NIGHTINGALES
Hymn to Intellectual Beauty by Percy Bysshe Shelley Iqramushtaq1142
The document provides a biography and analysis of Percy Bysshe Shelley's poem "Hymn to Intellectual Beauty". It summarizes the poem as addressing an invisible power or spirit of beauty that occasionally visits mankind. The speaker questions why this spirit causes such despair when it leaves. He asserts that religious notions are attempts to understand humanity's response to this spirit. The poem explores themes of the power of imagination versus reason, the simplicity of nature, and freedom. It advocates understanding nature to be liberated from darkness rather than relying on religion or superstition.
The document outlines the curriculum for a 4-year BS/BA program in English. It includes:
1) A scheme of studies showing the distribution of courses over 8 semesters, including compulsory, general, discipline-specific foundation, major, core literature, elective, and general elective courses.
2) Details of compulsory and foundation courses to be taken in the first two years.
3) Lists of core and elective literature and linguistics courses to choose from in the third and fourth years, focusing on various genres, periods, theories, and related topics.
4) Recommendations for implementing the curriculum, including the choice of authors/texts for some literature courses
Samuel Taylor Coleridge was an influential English poet and philosopher in the Romantic movement. He developed a theory of imagination that distinguished between primary and secondary imagination. Primary imagination observes the world directly through perception, while secondary imagination is a more conscious and comprehensive faculty that shapes raw materials through all human faculties into objects of beauty and meaning. Coleridge believed secondary imagination was responsible for truly creative and inventive acts in poetry by unifying different forms and extracting hidden ideas.
Salient features of Romantic Poetry and Wordsworth as a poet of Nature.AleeenaFarooq
Wordsworth was a poet of nature who believed nature had a profound spiritual and moral influence. He saw nature as a living personality from which humans could learn. As a child, nature nurtured him through beauty and fear, shaping his mind. As an adult, nature took on a spiritual meaning, with natural objects representing nature's message. Wordsworth sensitively described nature with subtle expressions of joy, energy, and movement beyond surface appearances, seeing nature's "ideal truth." He emphasized nature's role in educating humans and fostering spiritual communion between humanity and nature.
The poem is an ode addressed to the West Wind, personifying it as a powerful force of nature. In 3 sentences, the summary is:
The poet describes the West Wind's action over the land, sky, and water, portraying its ability to destroy dying leaves and carry seeds while also preserving new life. He asks the wind to carry his "dead thoughts" and spread inspiration among mankind, believing this will usher in a new spring and rebirth. Finally, the poet pleads for the wind to make him its instrument so that through him it can spread prophecy and change upon the earth.
1) T.S. Eliot's 1919 essay "Tradition and the Individual Talent" discusses his view of the relationship between poets and the literary tradition that preceded them.
2) Eliot argues that a poet's mind acts as a catalyst that synthesizes feelings and emotions into an artistic creation, emerging from the process unaffected. For Eliot, successful poetry achieves an impersonal form of expression that exists independently of its poet.
3) According to Eliot, a poet must be conscious of both the present and past literary traditions in order to create new works that alter how the past is understood, representing a fusion of different time periods. The progress of the artist involves a continual self-sacrif
This document provides background information on the English poet John Keats and analyzes his famous ode "Ode to a Nightingale". It outlines details of Keats' life and career, defines what an ode is, summarizes the themes of the poem like mortality and man's relationship with nature, and asserts that the nightingale symbolizes joy, nature, or Keats himself. It concludes that the moral of the poem is the acceptance of human mortality despite finding temporary escape through appreciating beauty.
Analysis and Interpretation of Pakistani Poet and writer Daud Kamal -writing style of poet and selective poems of Daud kamal - REPRODUCTION AND THE STREET OF NIGHTINGALES
Hymn to Intellectual Beauty by Percy Bysshe Shelley Iqramushtaq1142
The document provides a biography and analysis of Percy Bysshe Shelley's poem "Hymn to Intellectual Beauty". It summarizes the poem as addressing an invisible power or spirit of beauty that occasionally visits mankind. The speaker questions why this spirit causes such despair when it leaves. He asserts that religious notions are attempts to understand humanity's response to this spirit. The poem explores themes of the power of imagination versus reason, the simplicity of nature, and freedom. It advocates understanding nature to be liberated from darkness rather than relying on religion or superstition.
The document outlines the curriculum for a 4-year BS/BA program in English. It includes:
1) A scheme of studies showing the distribution of courses over 8 semesters, including compulsory, general, discipline-specific foundation, major, core literature, elective, and general elective courses.
2) Details of compulsory and foundation courses to be taken in the first two years.
3) Lists of core and elective literature and linguistics courses to choose from in the third and fourth years, focusing on various genres, periods, theories, and related topics.
4) Recommendations for implementing the curriculum, including the choice of authors/texts for some literature courses
Samuel Taylor Coleridge was an influential English poet and philosopher in the Romantic movement. He developed a theory of imagination that distinguished between primary and secondary imagination. Primary imagination observes the world directly through perception, while secondary imagination is a more conscious and comprehensive faculty that shapes raw materials through all human faculties into objects of beauty and meaning. Coleridge believed secondary imagination was responsible for truly creative and inventive acts in poetry by unifying different forms and extracting hidden ideas.
Salient features of Romantic Poetry and Wordsworth as a poet of Nature.AleeenaFarooq
Wordsworth was a poet of nature who believed nature had a profound spiritual and moral influence. He saw nature as a living personality from which humans could learn. As a child, nature nurtured him through beauty and fear, shaping his mind. As an adult, nature took on a spiritual meaning, with natural objects representing nature's message. Wordsworth sensitively described nature with subtle expressions of joy, energy, and movement beyond surface appearances, seeing nature's "ideal truth." He emphasized nature's role in educating humans and fostering spiritual communion between humanity and nature.
The poem is an ode addressed to the West Wind, personifying it as a powerful force of nature. In 3 sentences, the summary is:
The poet describes the West Wind's action over the land, sky, and water, portraying its ability to destroy dying leaves and carry seeds while also preserving new life. He asks the wind to carry his "dead thoughts" and spread inspiration among mankind, believing this will usher in a new spring and rebirth. Finally, the poet pleads for the wind to make him its instrument so that through him it can spread prophecy and change upon the earth.
1) T.S. Eliot's 1919 essay "Tradition and the Individual Talent" discusses his view of the relationship between poets and the literary tradition that preceded them.
2) Eliot argues that a poet's mind acts as a catalyst that synthesizes feelings and emotions into an artistic creation, emerging from the process unaffected. For Eliot, successful poetry achieves an impersonal form of expression that exists independently of its poet.
3) According to Eliot, a poet must be conscious of both the present and past literary traditions in order to create new works that alter how the past is understood, representing a fusion of different time periods. The progress of the artist involves a continual self-sacrif
The document provides analysis of Maya Angelou's poem "I Know Why the Caged Bird Sings". It discusses key themes and symbols in the poem. The caged bird represents African Americans experiencing racial oppression, while the free bird symbolizes freedom. Through vivid imagery and a contrast between the caged and free bird, Angelou conveys the theme of longing for freedom despite restrictions. Literary devices like repetition and personification enhance this message. The analysis also explores Angelou's use of diction to immerse readers in the emotions of hope and despair.
This document summarizes Ngugi wa Thiong'o's commentary on abolishing the English department at the University of Nairobi. It discusses suggestions to establish a Department of African Literature and Culture instead that places Africa at the center. The current English department framework assumes the centrality of English literature and views other cultures as satellites. However, Ngugi argues for orienting education towards placing Kenya, East Africa, and Africa at the center to understand ourselves, with other cultures considered in relation to understanding Africa better.
This document provides background information and analysis of John Keats's poem "Ode to a Nightingale". It begins with biographical details of Keats and contextualizes his work within the Romantic period. It then discusses the themes, structure, and inspiration for "Ode to a Nightingale", including Keats's exploration of nature, transience, mortality, and the contrast between the immortal nightingale and mortal man. The document analyzes the nightingale's song as a complex image representing human experience and notes how the poem depicts conflicts between reality and romantic ideals of uniting with nature.
The document discusses myths used in T.S. Eliot's poem "The Waste Land". It analyzes the myths of vegetation, Phlebas, Tiresias, the Sibyl, the Fisher King, and the Holy Grail. These myths represent themes of rebirth, prophecy, spiritual decay, and the quest to restore meaning and fertility to the wasteland of the modern world. Eliot employs ancient myths to both illuminate and critique modern life and culture through allusions in his famous modernist poem.
T.s eliot traditional and individual talentneelab1234
1. The document discusses T.S. Eliot's essay "Tradition and Individual Talent" which outlines his views on the relationship between tradition and an individual artist's work.
2. Eliot believes that great works of art are a combination of an individual's talent as well as their understanding of literary tradition. An artist must be aware of tradition but also add something new through their own work.
3. The essay is divided into three parts discussing Eliot's concepts of tradition, the impersonal nature of poetry, and how an artist's mind works like a catalyst in the creative process through combining tradition and individual talent.
Coleridge took laudanum and fell asleep, dreaming of writing a poem about Kubla Khan building a palace. When he awoke, he wrote down 54 lines but was interrupted by a visitor before finishing. The poem uses imagery and supernatural elements to depict Kubla Khan's pleasure dome and the sacred river Alph, representing creativity and nature. It has an AABB rhyme scheme and explores themes of imagination, man's relationship with nature, and the interaction of creation and destruction.
The document analyzes and summarizes a poem about the nature of power and how it can corrupt. It discusses how the poem depicts the hawk, a powerful predator, as a representation of how those with power feel they can do as they wish without concern for others. The analysis suggests the poem illustrates how having power can make one arrogant and blinded to their own flaws, believing they are always right and can control life and death over their prey. Power remains unchanged from birth and nothing can overcome the superior position it gives one in the world.
Ted Hughes was an English poet born in 1930 in Yorkshire. He is considered one of the greatest English poets of the 20th century. Hughes married American poet Sylvia Plath in 1956, but they separated in 1962, which took a toll on Plath's mental health. She died by suicide soon after. Hughes went on to be appointed Poet Laureate of the United Kingdom in 1984 and published over 90 books over 41 years, winning many prizes for his work.
The document provides an overview of Pakistani literature in English from the pre-partition era through the 1960s. It discusses how early literature highlighted the struggles for independence and nationalism, as well as the atrocities under British rule. Major pre-partition writers like Ahmed Ali portrayed the themes of lost freedom and nationalism. Post-partition literature dealt with the socio-political problems facing Pakistani society. Literature in the 1950s expressed disillusionment and supported democratic ideals. Prominent writers during this time included Saadat Hassan Manto and Zaib-un-Nisa Hamidullah. The 1960s saw literature address issues like political and social upheaval, corruption, cultural neglect, and ethnic/gender discrimination in Pakistan.
- The Waste Land is a modernist poem by T.S. Eliot considered one of the most important poems of the 20th century.
- It is composed of five sections that combine references from Western literature and culture with Buddhist and Hindu scripture.
- The poem depicts the spiritual and moral decay of post-WWI Europe through fragmented images and voices, with themes of sexual perversion, the breakdown of civilization, and the search for spiritual salvation.
The document provides an in-depth analysis of Bapsi Sidhwa's novel Ice-Candy-Man and its portrayal of the partition of India. The summary is:
1) Ice-Candy-Man uses the perspective of a young girl to depict the rising tensions and violence between Hindus, Muslims, and Sikhs during the partition.
2) The novel illustrates the breakdown of communal relations and social mores as religious extremism took hold.
3) Sidhwa provides historical context and accurately captures the trauma experienced by all communities during this violent period of history.
The document summarizes three important symbols in E.M. Forster's novel "A Passage to India":
1) The Marabar Caves, based on real caves in India, represent the alien and empty nature and defy understanding. They unsettle visitors by making them confront parts of themselves.
2) The green bird observed by characters symbolizes India as elusive and undefinable, baffling those who seek Western rational understanding of it.
3) The wasp represents the Hindu idea of the oneness of all living things, even the lowest creature. Mrs. Moore feels affection for the wasp, showing her openness to Hindu mysticism, though it also shows the limits
The poem "Thinking of Mohenjo-Daro" by Taufiq Rafat discusses how time relentlessly changes everything. It summarizes that Mohenjo-Daro was an ancient Indus Valley civilization city in present-day Pakistan that was at its peak thousands of years ago, but is now in ruins. The poem reflects on how mighty cities like Mohenjo-Daro, Rome, and Alexandria that were once thriving are now just remnants of the past, as time transforms and destroys all things in its path.
T.S. Eliot's theory of impersonality in poetry argues that a poet should not express their personal emotions and experiences in a poem. Instead, the poet must surrender their personality and see themselves as a vessel for tradition. According to Eliot, a poet achieves impersonality by becoming deeply immersed in the works of past poets and expressing the sense of literary tradition, rather than their individual self. Eliot also believed that the poet and the poetry should be considered separate entities, with criticism focusing on the work itself rather than the poet. Eliot's own poems like "The Waste Land" exemplify this theory through their detached, observational style.
Toufiq Rafat was a pioneer of Pakistani poetry in English, using the language to express local Pakistani sensibilities rather than British influences. His first collection "Arrival of Monsoon" established a Pakistani idiom and shifted away from portraying only British themes and concepts. Rafat innovatively employed nature, man-nature relationships, and war themes in a uniquely Pakistani context, laying the foundation for original Pakistani expression in English literature.
The poem describes Kubla Khan's decree to build the pleasure dome of Xanadu, an earthly paradise. It had fertile grounds enclosed by walls and towers, with bright gardens and ancient forests. However, an untouched chasm represented the untamed natural world beyond man's control. From this chasm emerged a sacred river that meandered for five miles before sinking into a sunless sea, representing the fleeting nature of creative inspiration.
This file only contains brief summary of chap 3, language used in chapter 2 and 3, characters in chapter 2 and 3, cultural heritage and history in chap 2 and 3, and lastly the difference b/w lawrence of thalabia and salt and saffron acc. 2 chap 2.
Sara Suleri's novel Meatless Days explores both public and private history through a blending of the personal and political. While not a strict autobiography, it weaves the author's life experiences into the larger context of Pakistan's history and culture. Suleri acknowledges selectively including some events and memories while leaving others out. She aims to create a new form of historical writing that presents people and places without explanations or introductions, allowing them to register immediately for the reader.
Salman Rushdie uses magic realism in his novel Midnight's Children to tell the story of India's independence. The main character, Saleem Sinai, is born at midnight on August 15th, 1947, when India gains independence. He and other children born at that moment have special supernatural powers. Rushdie blends realistic historical events with magical elements to reflect how independence was experienced on an individual level. Saleem acts as a telepathic link between hundreds of children with gifts, trying to understand their purpose and connection to India's fate. Magic realism allows Rushdie to incorporate indigenous worldviews and critique the effects of colonialism on post-independence India.
Stream of Conscious in James Joyce novel: PORTRAIT OF ARTIST AS YOUNG MAN S...Fatima Gul
The document discusses stream of consciousness as a literary technique where the character's thoughts and emotions are portrayed as they experience them. It provides 5 excerpts from James Joyce's novel "Portrait of the Artist as a Young Man" as examples of stream of consciousness. The excerpts depict the thoughts and feelings of the young protagonist as he experiences different moments like being sick in the infirmary, playing football, and walking through the city recalling different authors and poems. Stream of consciousness allows the reader to get inside the character's mind and experience events as the character perceives them in the moment.
The passage discusses the concept of the Self and its relationship to existence. It states that the system of the universe originates from the Self, and that life depends on strengthening the Self. It asserts that all forms of existence are effects of the Self, and that whatever one sees contains secrets of the Self. When the Self gains consciousness, it reveals the universe of thought, with a hundred worlds hidden within its essence.
Mohammad Akram Kunjahi known as Ghaneemat Kunjahi was an accomplished Persian poet. This is his collection of poetry. He also wrote a masnavi Nairang-e-Ishq.
The document provides analysis of Maya Angelou's poem "I Know Why the Caged Bird Sings". It discusses key themes and symbols in the poem. The caged bird represents African Americans experiencing racial oppression, while the free bird symbolizes freedom. Through vivid imagery and a contrast between the caged and free bird, Angelou conveys the theme of longing for freedom despite restrictions. Literary devices like repetition and personification enhance this message. The analysis also explores Angelou's use of diction to immerse readers in the emotions of hope and despair.
This document summarizes Ngugi wa Thiong'o's commentary on abolishing the English department at the University of Nairobi. It discusses suggestions to establish a Department of African Literature and Culture instead that places Africa at the center. The current English department framework assumes the centrality of English literature and views other cultures as satellites. However, Ngugi argues for orienting education towards placing Kenya, East Africa, and Africa at the center to understand ourselves, with other cultures considered in relation to understanding Africa better.
This document provides background information and analysis of John Keats's poem "Ode to a Nightingale". It begins with biographical details of Keats and contextualizes his work within the Romantic period. It then discusses the themes, structure, and inspiration for "Ode to a Nightingale", including Keats's exploration of nature, transience, mortality, and the contrast between the immortal nightingale and mortal man. The document analyzes the nightingale's song as a complex image representing human experience and notes how the poem depicts conflicts between reality and romantic ideals of uniting with nature.
The document discusses myths used in T.S. Eliot's poem "The Waste Land". It analyzes the myths of vegetation, Phlebas, Tiresias, the Sibyl, the Fisher King, and the Holy Grail. These myths represent themes of rebirth, prophecy, spiritual decay, and the quest to restore meaning and fertility to the wasteland of the modern world. Eliot employs ancient myths to both illuminate and critique modern life and culture through allusions in his famous modernist poem.
T.s eliot traditional and individual talentneelab1234
1. The document discusses T.S. Eliot's essay "Tradition and Individual Talent" which outlines his views on the relationship between tradition and an individual artist's work.
2. Eliot believes that great works of art are a combination of an individual's talent as well as their understanding of literary tradition. An artist must be aware of tradition but also add something new through their own work.
3. The essay is divided into three parts discussing Eliot's concepts of tradition, the impersonal nature of poetry, and how an artist's mind works like a catalyst in the creative process through combining tradition and individual talent.
Coleridge took laudanum and fell asleep, dreaming of writing a poem about Kubla Khan building a palace. When he awoke, he wrote down 54 lines but was interrupted by a visitor before finishing. The poem uses imagery and supernatural elements to depict Kubla Khan's pleasure dome and the sacred river Alph, representing creativity and nature. It has an AABB rhyme scheme and explores themes of imagination, man's relationship with nature, and the interaction of creation and destruction.
The document analyzes and summarizes a poem about the nature of power and how it can corrupt. It discusses how the poem depicts the hawk, a powerful predator, as a representation of how those with power feel they can do as they wish without concern for others. The analysis suggests the poem illustrates how having power can make one arrogant and blinded to their own flaws, believing they are always right and can control life and death over their prey. Power remains unchanged from birth and nothing can overcome the superior position it gives one in the world.
Ted Hughes was an English poet born in 1930 in Yorkshire. He is considered one of the greatest English poets of the 20th century. Hughes married American poet Sylvia Plath in 1956, but they separated in 1962, which took a toll on Plath's mental health. She died by suicide soon after. Hughes went on to be appointed Poet Laureate of the United Kingdom in 1984 and published over 90 books over 41 years, winning many prizes for his work.
The document provides an overview of Pakistani literature in English from the pre-partition era through the 1960s. It discusses how early literature highlighted the struggles for independence and nationalism, as well as the atrocities under British rule. Major pre-partition writers like Ahmed Ali portrayed the themes of lost freedom and nationalism. Post-partition literature dealt with the socio-political problems facing Pakistani society. Literature in the 1950s expressed disillusionment and supported democratic ideals. Prominent writers during this time included Saadat Hassan Manto and Zaib-un-Nisa Hamidullah. The 1960s saw literature address issues like political and social upheaval, corruption, cultural neglect, and ethnic/gender discrimination in Pakistan.
- The Waste Land is a modernist poem by T.S. Eliot considered one of the most important poems of the 20th century.
- It is composed of five sections that combine references from Western literature and culture with Buddhist and Hindu scripture.
- The poem depicts the spiritual and moral decay of post-WWI Europe through fragmented images and voices, with themes of sexual perversion, the breakdown of civilization, and the search for spiritual salvation.
The document provides an in-depth analysis of Bapsi Sidhwa's novel Ice-Candy-Man and its portrayal of the partition of India. The summary is:
1) Ice-Candy-Man uses the perspective of a young girl to depict the rising tensions and violence between Hindus, Muslims, and Sikhs during the partition.
2) The novel illustrates the breakdown of communal relations and social mores as religious extremism took hold.
3) Sidhwa provides historical context and accurately captures the trauma experienced by all communities during this violent period of history.
The document summarizes three important symbols in E.M. Forster's novel "A Passage to India":
1) The Marabar Caves, based on real caves in India, represent the alien and empty nature and defy understanding. They unsettle visitors by making them confront parts of themselves.
2) The green bird observed by characters symbolizes India as elusive and undefinable, baffling those who seek Western rational understanding of it.
3) The wasp represents the Hindu idea of the oneness of all living things, even the lowest creature. Mrs. Moore feels affection for the wasp, showing her openness to Hindu mysticism, though it also shows the limits
The poem "Thinking of Mohenjo-Daro" by Taufiq Rafat discusses how time relentlessly changes everything. It summarizes that Mohenjo-Daro was an ancient Indus Valley civilization city in present-day Pakistan that was at its peak thousands of years ago, but is now in ruins. The poem reflects on how mighty cities like Mohenjo-Daro, Rome, and Alexandria that were once thriving are now just remnants of the past, as time transforms and destroys all things in its path.
T.S. Eliot's theory of impersonality in poetry argues that a poet should not express their personal emotions and experiences in a poem. Instead, the poet must surrender their personality and see themselves as a vessel for tradition. According to Eliot, a poet achieves impersonality by becoming deeply immersed in the works of past poets and expressing the sense of literary tradition, rather than their individual self. Eliot also believed that the poet and the poetry should be considered separate entities, with criticism focusing on the work itself rather than the poet. Eliot's own poems like "The Waste Land" exemplify this theory through their detached, observational style.
Toufiq Rafat was a pioneer of Pakistani poetry in English, using the language to express local Pakistani sensibilities rather than British influences. His first collection "Arrival of Monsoon" established a Pakistani idiom and shifted away from portraying only British themes and concepts. Rafat innovatively employed nature, man-nature relationships, and war themes in a uniquely Pakistani context, laying the foundation for original Pakistani expression in English literature.
The poem describes Kubla Khan's decree to build the pleasure dome of Xanadu, an earthly paradise. It had fertile grounds enclosed by walls and towers, with bright gardens and ancient forests. However, an untouched chasm represented the untamed natural world beyond man's control. From this chasm emerged a sacred river that meandered for five miles before sinking into a sunless sea, representing the fleeting nature of creative inspiration.
This file only contains brief summary of chap 3, language used in chapter 2 and 3, characters in chapter 2 and 3, cultural heritage and history in chap 2 and 3, and lastly the difference b/w lawrence of thalabia and salt and saffron acc. 2 chap 2.
Sara Suleri's novel Meatless Days explores both public and private history through a blending of the personal and political. While not a strict autobiography, it weaves the author's life experiences into the larger context of Pakistan's history and culture. Suleri acknowledges selectively including some events and memories while leaving others out. She aims to create a new form of historical writing that presents people and places without explanations or introductions, allowing them to register immediately for the reader.
Salman Rushdie uses magic realism in his novel Midnight's Children to tell the story of India's independence. The main character, Saleem Sinai, is born at midnight on August 15th, 1947, when India gains independence. He and other children born at that moment have special supernatural powers. Rushdie blends realistic historical events with magical elements to reflect how independence was experienced on an individual level. Saleem acts as a telepathic link between hundreds of children with gifts, trying to understand their purpose and connection to India's fate. Magic realism allows Rushdie to incorporate indigenous worldviews and critique the effects of colonialism on post-independence India.
Stream of Conscious in James Joyce novel: PORTRAIT OF ARTIST AS YOUNG MAN S...Fatima Gul
The document discusses stream of consciousness as a literary technique where the character's thoughts and emotions are portrayed as they experience them. It provides 5 excerpts from James Joyce's novel "Portrait of the Artist as a Young Man" as examples of stream of consciousness. The excerpts depict the thoughts and feelings of the young protagonist as he experiences different moments like being sick in the infirmary, playing football, and walking through the city recalling different authors and poems. Stream of consciousness allows the reader to get inside the character's mind and experience events as the character perceives them in the moment.
The passage discusses the concept of the Self and its relationship to existence. It states that the system of the universe originates from the Self, and that life depends on strengthening the Self. It asserts that all forms of existence are effects of the Self, and that whatever one sees contains secrets of the Self. When the Self gains consciousness, it reveals the universe of thought, with a hundred worlds hidden within its essence.
Mohammad Akram Kunjahi known as Ghaneemat Kunjahi was an accomplished Persian poet. This is his collection of poetry. He also wrote a masnavi Nairang-e-Ishq.
An English translation of خلاصه تعبير كى غلطى by Maulana Wahiudin Khan by Dr. Salem A KHANANI. This book was written as a response to a book by Maulana Maududi Four Basic Quranic Terms.
A monthly digital production of the Dow Medical College Class of 1985.
A special tribute to two teachers: Professor Mohammad Akram and Professor Salma Akram
This document provides a historical overview of some of the major clubs in Karachi during British rule, including the Sind Club, Karachi Gymkhana, and Karachi Boat Club. It notes that these clubs were established by the British as institutions for the upper classes to socialize, and that natives were initially not allowed to enter. The Sind Club, founded in 1871, is described as the oldest and most prestigious club that was exclusively for European gentlemen. Details are provided on its founding members, original rented location, and later purpose-built building and facilities. The club evolved over time but maintained a Victorian atmosphere reflecting British architecture and traditions.
The document discusses Saleem Abubakar Khanani's favorite book, the Holy Quran, and how studying its teachings helped answer fundamental questions about his faith and changed his entire family's way of life. It also includes a guest editorial by Nadeem Zafar reflecting on the past 35 years since graduating medical school and encouraging classmates to reflect on how they can make a positive impact and promote good in the world.
D85 digital magazine november 2013- first annual issueSaleem Khanani
DMC CLASS OF 1985 DIGITAL MAGAZINE
FIRST ANNUAL ISSUE
NOVEMBER 2013
EDITED BY: SALEEM A KHANANI AND SAMEENA KHAN
DEDICATED TO THE FIRST COUPLE OF OUR CLASS MOAZZAM AND SHEHLA ABID ON THEIR 30TH WEDDING ANNIVERSARY
The story is about Nauman, a boy who buys honey from an old woman singer. He places the honey on bread but flies swarm around it. Nauman angrily kills seven flies with one strike. Puffed with pride, he brags about his feat so others will discuss his victory. His actions spread as news throughout the land.
The passage discusses Mohammad Iqbal's view that purpose and desire are essential to life. Without a clear purpose, the human being loses the warmth of vitality. Desire acts as a motivating force that allows people to achieve their goals and advance life. The heart awakens through desire, and desire guides the intellect towards realization of objectives. When desire brings the heart to life, all that is false dies out.
This document discusses the benefits of exercise for both physical and mental health. It states that regular exercise can improve cardiovascular health, reduce symptoms of depression and anxiety, enhance mood, and reduce stress levels. The document recommends that adults get at least 150 minutes of moderate exercise or 75 minutes of vigorous exercise per week to gain these benefits.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise has also been shown to boost self-esteem and can serve as a healthy way to manage stress.
Spiritual Purification In Islam The Life And Works Of Al Muhasibi by Picken, ...ccccccccdddddd
The document discusses the life and works of the early Islamic scholar al-Ḥārith al-Muḥāsibī, who lived in the 2nd/8th century and wrote extensively on spiritual purification (tazkiyat al-nafs) in Islam, examining his understanding and methodology regarding the purification of the soul; it provides biographical details of al-Muḥāsibī's life and an overview of his significant body of work, which explored this important facet of Islamic spirituality that had not been widely studied previously.
Allama Muhammad Iqbal was a famous Pakistani philosopher, poet and politician. He wrote extensively about reviving Islam and encouraging ideals of brotherhood, justice and service. His works explored concepts like the ego/self and its relationship with God, individuality, freedom, and achieving perfection. Iqbal emphasized strengthening the ego through love and questioning, and viewed the self as a unity between subject and object that can attain timelessness and divine vicegerency through self-realization. His book Asrar-e-Khudi extensively outlines his philosophy of khudi/ego and how it can progress through different stages including obedience, self-control, and representing God on Earth.
This document provides an introduction and first chapter of a book discussing life after death in Islam. It begins by establishing Ibn al-Qayyim as a reliable source on the topic, being a renowned Damascus-based scholar. The chapter then describes what happens at the moment of death, with the soul seeing and interacting with the Angel of Death. It discusses the soul's journey to meet others in the next world and to be brought before Allah. It also describes the soul returning to witness funeral rites and reside with the body until questioning in the grave.
The Ever-Merciful Istawaa Upon the Throne - 1994 - by-Abdullah as-Sabtfatrop
This document provides an introduction to the author's research paper on the important Islamic concept of Allah's attribute of highness (al-'Uluw). The author seeks to clarify the correct Islamic belief as derived from the Quran and hadith, in opposition to misguided beliefs promoted by some modern Islamic writers. The author aims to distinguish right from wrong on matters of Islamic creed and shape beliefs according to authoritative Islamic texts rather than human opinions. The introduction outlines different types of problematic writings and their shortcomings before explaining the importance and purpose of the research paper on Allah's attribute of al-'Uluw.
This document summarizes the Islamic beliefs about what happens after death based on quotes from the Quran and hadith. It describes:
1) How the soul is taken by the Angel of Death at the time of death, even though the dying person can see and speak to the angel in a way the living cannot perceive.
2) How pure souls are greeted by loved ones in heaven and taken before Allah, while impure souls are wrapped in rough cloth and denied heaven.
3) A hadith describing how the soul is returned to the body in the grave for questioning by angels about faith, and the rewards or punishments that follow for believers and non-believers based on their answers.
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A Commenetary on Mohammad Iqbal's Secrets of the Self: First Chapter
1. ثؽن هللا الطحوي الطحين
A COMMENTARY ON
THE SECRETS OF THE SELF
اسرار خودى
DR. MOHAMMAD IQBAL
BY
DR SALEEM A KHANANI, MBBS, MD, MRCP
(UK)
3/8/2014
SHREWSBURY MASSACHUSETTS, USA
2. CHAPTER ONE
Asrar-e-Khudi or the Secrets of the Self is the first published work of Dr.
Mohammad Iqbal. Since its publication in 1915 it has invited both criticism
and acclaim.
Asrar-e-Khudi was translated into English by the noted orientalist Dr.
Reynold A. Nicholson, whose contribution to oriental studies also includes
translation of selected poems from Dewan Shams Tarbiz by Maulana
Jalaluddin Rumi and Studies in Islamic Mysticism. Nicholson read the
Mathnavi with Muhammad Shafi, professor of Arabic at Lahore, with whom
he discussed ―many points of difficulty‖.
In his introduction, Dr. Nicholson makes a point that in contrast to the Hindu
philosophers who appeal to the head in explaining the doctrine of the unity
of being, Allama Iqbal takes a more dangerous course like the Persian poets,
and aims at the heart. His message is aimed at the Muslims everywhere. He
aims at becoming the ―voice of the poet of tomorrow and the champion of a
new spirit‖. Iqbal‘s philosophy owes a great deal to Nietzsche and Bergson,
while his poetry reminds his readers of Shelley. Yet he remains a Muslim at
heart who carries ―the vision of a New Mecca, a world-wide theocratic and
Utopian state in which all Moslems, no longer divided by the barriers of race
and country, shall be one‖.
Iqbal cherished a world ruled by religion, not by politics; his ideal is a free
and independent Muslim fraternity with Ka‘aba as its center and knit
together by the love of Allah and devotion to the Prophet, peace be upon
him. He criticized Hindu intellectualism and Islamic pantheism for their lack
of dynamism and proposed that in order to regain their lost supremacy the
Muslims needed to work on their Khudi. The word Khudi or ego is not used
in the sense of selfishness but in the context of self-affirmation, selfexpression and self-development.
Iqbal considers every Muslim to be the shining star of the destiny of the
Muslim nation. Each individual should strive towards perfection, a step
towards Insaan-e-Kamil (Perfect Man) and in doing so everyone can
contribute to the establishment of the Islamic Kingdom of God on earth. The
3. doctrine of self-abandoment, ,فٌبis rejected by the poet-philosopher despite
his acknowledgment of Jalauddin Rumi as his mentor.
Dr. Nicholson did something unique by asking Iqbal to write a statement of
his own philosophical views which was duly accepted. This makes an
interesting reading. Here I will just give a few salient points from it.
All life is individual, there is no such thing as universal life. God Himself is
an individual: He is the most Unique individual.
The universe is not a completed act; it is still in the course of formation and
man too takes his share in its creation.
The moral and religious ideal of man is not self-negation but selfaffirmation. In order to reach tis ideal, man has to become more and more
like the most Unique Individual. An individual who comes nearest to God is
the most complete person.
The Ego (khudi) is partly free, partly determined and reaches fuller freedom
by approaching the Individual who is the most free – God. Life is an
endeavor for freedom.
In man the center of life becomes an Ego or Person. Personality is a state of
tension that must be maintained for it to develop and survive. What fortifies
personality is good and what weakens it is bad. Art, religion and ethics must
be judged from the stand point of personality. If this state of tension is
maintained then the shock of death would not affect personality. Death
simply produces an interval of relaxation that lasts until the day of
Resurrection. Egos that have takne good care during the present life will
survive the state of relaxation.
Love fortifies ego and in its highest form, love is the creation of values and
ideals and the endeavor to realize them. Love individualizes both the lover
and the beloved.
For Iqbal realization of Ego is not uncontrolled freedom and total disregard
for religious ethics. For him the Ego in its movement towards uniqueness
has to pass through three stages:
4. Obedience to the law, self-control, which is the highest form of selfconsciousness or Ego-hood, and Divine vicegerency or ِٔ ًيبثث الor in other
words, .ذالفث هللا ػلٔ االضض
This recipe for attaining the complete Ego is derived from Islamic ideology.
Allama Iqbal quotes his mentor Maulana Jalaluddin Rumi before his own
preface to Mathnavi ٓ.اؼطاض ذْز
This sums up his conquest for the Perfect Man and serves as the launching
pad for his poetry from that point onwards.
زی ـيد ثب چطاؽ ہوی گفث گطز ـِط
کع زام ّ زّ هلْلن ّ اًؽبًن آضظّؼث
ظیي ہوطہبى ؼؽث ػٌبصط زلن گطفث
ـيط ذسا ّ ضؼحن زؼحبًن آضظّؼث
گفحن کہ یبفث هی ًفْز جؽحہ این هب
گفث آًچہ یبفث هی ًفْز آًن آضظّؼث
Last night an old man went around the town holding a lamp
I am sick of animals and beasts
I want to meet a (perfect) man.
I have grown weary of these inactive companions of mine
I am looking for a Lion of God and a Rustam
I said: ―We have searched a lot but found none.‖
He said: ―I look for those who are not to be found!‖
5. ‗‗ هي کْجبہی’ًيؽث زض ذفک ّ جط ثيفہ
‘‘چْة ہط ًرل کہ هٌجط ًفْز زاضکٌن
There is nothing useless in the dry and wet of my forest
If a twig of my palm tree cannot be made into a pulpit then I will make
gallows out of it.
Allama Iqbal started the prologue to his Mathnavi with a couplet from
Naziri, who was one of his favorite poets. In fact in his Message of the East
Iqbal paid tribute to Naziri by adding a هصطعto a famous هصطعof Naziri
ثولك جن ًسُن هصطع ًظيطٓ ضا
كؽے كفحَ ًَ ـس اظ لجيلَ هب ًيؽث
I will not exchange this hemistitch of Naziri for the Kingdom of Jamshed
―Whoever did not get killed (in the path of love or honor) does not belong to
our tribe‖
What he means by the introductory couplet is that his poetry contains
nothing that is useless. The word pulpit might mean a place for proclamation
of the truth, while gallows might imply being ready to pay the price for
challenging injustice. Iqbal indeed proclaimed what he perceived as the truth
and challenged the orthodoxy for its conservatism and lack of dynamism. He
did incur the wrath of the religious orthodoxy in India. Khawaja Hasan
Nizazmi and Akbar Ilahabadi were both not very pleased with some of
Iqbal‘s comments on mystics and mysticism. Yusuf Saleem Chishti has
recorded some of the correspondence between Iqbal and the other two. Iqbal
had criticized Hafiz Shirazi in the first edition of the mathnavi Secrets of the
Self which were deleted from the second edition. Similary the introduction
6. to the first edition and some verses dedicated to Sir Syed Ali Imam were
taken out.
Khawaja Hasan Nizami wrote a series of articles against the secrets of the
self in his weekly magazine ,ذطيتwhile Pirzada Muzaffar Ahmad Fazli
wrote a mathnavi against it titled ٓ.ضاظ ثيرْز
Akbar Ilahabadi tried to make peace between Iqbal and Nizam and sent the
following verses to the latter.
حعطت الجبل اّض ذْاجہ حؽي
پہلْاًی اِى هيں اُى هيں ثبًکپي
جت ًہيں ہے ظّض ـبہی کے ليۓ
آّ گحِ جبئيں ذسا ہی کے ليۓ
ٴ
ّضظـْں هيں کچِ جکلف ہی ؼہی
ہبجِ پبئ کْ جصْف ہی ؼہی
ہؽث زض ہط گْـۂ ّیطاًہ ضلص
هی کٌس زیْاًہ ثب زیْاًہ ضلص
Now we will look at the Prologue in more detail.
The prologue in Persian and its English translation by Dr. Reynold
Nicholson are given first followed by brief explanation based upon the
commentary by Professor Yousuf Saleem Chishti.
12. ذبهَ ام اظ ُوث فکط ثلٌس
ضاظ ایي ًَ پطزٍ زض صحطا فکٌس
لططٍ جب ُوپبیَ ی زضیب ـْز
شضٍ اظ ثبليسگی صحطا ـْز
ـبػطی ظیي هثٌْی همصْز ًيؽث
ثث پطؼحی ، ثث گطی همصْز ًيؽث
ٌُسین اظ پبضؼی ثيگبًَ ام
هبٍ ًْ ثبـن جِی پيوبًَ ام
ْحؽي اًساظ ثيبى اظ هي هج
ْذْاًؽبض ّ اصفِبى اظ هي هج
گطچَ ٌُسی زض ػصّثث ـکط اؼث
غطظ گفحبض زضی ـيطیي جط اؼث
فکط هي اظ جلٍْ اؾ هؽحْض گفث
ذبه ٴ هي ـبخ ًرل غْض گفث
َ
پبضؼی اظ ضفؼث اًسیفَ ام
زض ذْضز ثب فططت اًسیفَ ام
ذطزٍ ثط هيٌب هگيط ای ُْـوٌس
زل ثصّق ذطزٍ ی هيٌب ثَ ثٌس
PROLOGUE
WHEN the world-illuming sun rushed
upon Night like a brigand,
My weeping bedewed the face of the rose.
My tears washed away sleep from the eye of the narcissus,
My passion wakened the grass and made it grow.
The Gardener taught me to sing with power,
He sowed a verse and reaped a sword.
In the soil he planted only the seed of my tears
And wove my lament with the garden, as warp and woof.
Tho‘ I am but a mote, the radiant sun is mine:
Within my bosom are a hundred dawns.
My dust is brighter than Jamshíd's cup,
It knows things that are yet unborn in the world.
My thought hunted down and slung from the saddle a deer
13. That has not yet leaped forth from the covert of non-existence.
Fair is my garden ere yet the leaves are green:
Full-blown roses are hidden in the skirt of my garment.
I struck dumb the musicians where they were gathered together,
I smote the heartstrings of all that heard me,
Because the lute of my genius hath a rare melody:
Even to comrades my song is strange.
I am born in the world as a new sun,
I have not learned the ways and fashions of the sky:
Not yet have the stars fled before my splendour,
Not yet is my quicksilver astir;
Untouched is the sea by my dancing rays,
Untouched are the mountains by my crimson hue.
The eye of existence is not familiar with me;
I rise trembling, afraid to show myself.
From the East my dawn arrived and routed Night,
A fresh dew settled on the rose of the world.
I am waiting for the votaries that rise at dawn:
Oh, happy they who shall worship my fire!
I have no need of the ear of To-day,
I am the voice of the poet of To-morrow.
My own age does not understand my deep meanings,
My Joseph is not for this market.
I despair of my old companions,
My Sinai burns for sake of the Moses who is coming.
Their sea is silent, like dew,
But my dew is storm-ridden, like the ocean.
My song is of another world than theirs:
This bell calls other travellers to take the road.
How many a poet after his death
Opened our eyes when his own were closed,
And journeyed forth again from nothingness
When roses blossomed o‘er the earth of his grave!
Albeit caravans have passed through this desert,
They passed, as a camel steps, with little sound.
But I am a lover: loud crying is my faith:
The clamour of Judgement Day is one of my minions.
14. My song exceeds the range of the chord,
Yet I do not fear that my lute will break.
‘Twere better for the waterdrop not to know my torrent,
Whose fury should rather madden the sea.
No river will contain my Omán:
My flood requires whole seas to hold it.
Unless the bud expand into a bed of roses,
It is unworthy of my spring-cloud's bounty.
Lightnings slumber within my soul,
I sweep over mountain and plain.
Wrestle with my sea, if thou art a plain;
Receive my lightning, if thou art a Sinai.
The Fountain of Life hath been given me to drink,
I have been made an adept of the mystery of Life.
The speck of dust was vitalised by my burning song:
It unfolded wings and became a firefly.
No one hath told the secret which I will tell
Or threaded a pearl of thought like mine.
Come, if thou would‘st know the secret of everlasting life!
Come, if thou would‘st win both earth and heaven!
The old Guru of the Sky taught me this lore,
I cannot hide it from my comrades.
O Saki! arise and pour wine into the cup,
Clear the vexation of Time from my heart!
The sparkling liquor that flows from Zemzem—
Were it a beggar, a king would pay homage to it.
It makes thought more sober and wise,
It makes the keen eye keener,
It gives to a straw the weight of a mountain,
And to foxes the strength of lions.
It causes dust to soar to the Pleiades
And a drop of water swell to the breadth of the sea.
It turns silence into the din of Judgement Day,
It makes the foot of the partridge red with blood of the hawk.
Arise and pour pure wine into my cup,
Pour moonbeams into the dark night of my thought,
15. That I may lead home the wanderer
And imbue the idle looker-on with restless impatience;
And advance hotly on a new quest
And become known as the champion of a new spirit;
And be to people of insight as the pupil to the eye,
And sink into the ear of the world, like a voice;
And exalt the worth of Poesy
And sprinkle the dry herbs with my tears.
Inspired by the genius of the Master of Rúm,
I rehearse the sealed book of secret lore.
His soul is the source of the flames,
I am but as the spark that gleams for a moment.
His burning candle consumed me, the moth;
His wine overwhelmed my goblet.
The Master of Rúm transmuted my earth to gold
And clothed my barren dust with beauty.
The grain of sand set forth from the desert,
That it might win the radiance of the sun.
I am a wave and I will come to rest in his sea,
That I may make the glistening pearl mine own.
I who am drunken with the wine of his song
Will draw life from the breath of his words.
‘Twas night: my heart would fain lament,
The silence was filled with my cries to God.
I was complaining of the sorrows of the world
And bewailing the emptiness of my cup.
At last mine eye could endure no more,
Broken with fatigue it went to sleep.
There appeared the Master, formed in the mould of Truth,
Who wrote the Koran of Persia.
He said, "O frenzied lover,
Take a draught of love's pure wine.
Strike the chords of thine heart and rouse a tumultuous strain,
Dash thine head against the cupping-glass and thine eye against the lancet!
Make thy laughter the source of a hundred sighs,
Make the hearts of men bleed with thy tears!
16. How long wilt thou be silent, like a bud?
Sell thy fragrance cheap, like the rose!
Tongue-tied, thou art in pain:
Cast thyself upon the fire, like rue!
Like the bell, break silence at last, and from every limb
Utter forth a lamentation!
Thou art fire: fill the world with thy glow!
Make others burn with thy burning!
Proclaim the secrets of the old wine-seller;
Be thou a surge of wine, and the crystal cup thy robe!
Shatter the mirror of fear,
Break the bottles in the bazaar!
Like the reed-flute, bring a message from the reeds;
Give to Majnún a message from Lailá!
Create a new style for thy song,
Enrich the feast with thy piercing strains!
Up, and re-inspire every living soul!
Say 'Arise!' and by that word quicken the living!
Up, and set thy feet on another path;
Put aside the passionate melancholy of old!
Become familiar with the delight of singing;
O bell of the caravan, awake!"
At these words my bosom was enkindled
And swelled with emotion like the flute;
I rose like music from the string
To prepare a Paradise for the ear.
I unveiled the mystery of the. Self
And disclosed its wondrous secret.
My being was as an unfinished statue,
Uncomely, worthless, good for nothing.
Love chiselled me: I became a man
And gained knowledge of the nature of the universe.
I have seen the movement of the sinews of the sky,
And the blood coursing in the veins of the moon.
Many a night I wept for Man's sake
17. That I might tear the veil from Life's mysteries,
And extract the secret of Life's constitution
From the laboratory of phenomena.
I who give beauty to this night, like the moon,
Am as dust in devotion to the pure Faith (Islam)
A Faith renowned in hill and dale,
Which kindles in men's hearts a flame of undying song:
It sowed an atom and reaped a sun,
It harvested a hundred poets like Rúmí and Attar.
I am a sigh: I will mount to the heavens;
I am a breath, yet am I sprung of fire.
Driven onward by high thoughts, my pen
Cast abroad the secret of this veil,
That the drop may become co-equal with the sea
And the grain of sand grow into a Sahara.
Poetising is not the aim of this masnaví,
Beauty-worshipping and love-making is not its aim.
I am of India: Persian is not my native tongue;
I am like the crescent moon: my cup is not full.
Do not seek from me charm of style in exposition,
Do not seek from me Khánsár and Isfahan.
Although the language of Hind is sweet as sugar,
Yet sweeter is the fashion of Persian speech.
My mind was enchanted by its loveliness,
My pen became as a twig of the Burning Bush.
Because of the loftiness of my thoughts,
Persian alone is suitable to them.
O Reader, do not find fault with the wine-cup,
EXPLANATION
ضاٍ ـت چْى هِط ػبلوحبة ظز
گطیَ هي ثط ضخ گل ، آة ظز
ٴ
اـک هي اظ چفن ًطگػ ذْاة ـؽث
18. ؼجعٍ اظ ٌُگبهَ ام ثيساض ضؼث
ثبغجبى ظّض کالهن آظهْز
هصطػی کبضیس ّ ـوفيطی زضّز
زض چوي جع زاً ٴ اـکن ًکفث
َ
جبض افغبًن ثَ پْز ثبؽ ضؾ
When the world-illuming sun rushed
upon Night like a brigand
My weeping bedewed the face of the rose.
My tears washed away sleep from the eye of the narcissus,
My passion wakened the grass and made it grow.
The Gardener taught me to sing with power,
He sowed a verse and reaped a sword.
In the soil he planted only the seed of my tears
And wove my lament with the garden, as warp and woof.
In Eastern poetry certain metaphors are used whose intended meaning can be
determined either from the context or from knowledge of similar usage of
these metaphors found in the poetry of other masters. Iqbal uses some
metaphors and similes very frequently. Sun and Gardner refer to Allah, the
God. Night and darkness refer to the plight of the Muslims of his times who
were ―living in the dark‖. Morning, dawn and day break refer to the poet
wishing for the dawn of a new era of enlightenment and progress. His tears
are his verses and thoughts. The flower could imply the budding Muslim
youth. His songs are his poems.
Hence the following interpretation given by Yousuf Saleem Chishti in his
commentary on the Secrets of the Self:
19. When Allah willed to bring the Muslim nation from the darkness of
ignorance to enlightenment, He gave me the poetic ability to stimulate my
co-religionists. My verses (tears) served as a wake-up call for the Narcissus
(the sleeping Muslims) of the Muslim nation. Allah (the Gardner) sowed my
verses and nurtured them so that they came out like sword, i.e., a catalytic
force for action. I have been chosen exclusively for this task just as if the
Gardner planted only the seeds of my tear so that only my verses grew and
spread all over the Garden, the Muslims World.
شضٍ ام هِط هٌيط آى هي اؼث
صس ؼحط اًسض گطیجبى هي اؼث
ذبک هي ضّـي جط اظ جبم جن اؼث
هحطم اظ ًبظازُبی ػبلن اؼث
فکطهي اُْ ؼط فحطاک ثؽث
کْ ٌُْظ اظ ًيؽحی ثيطّى ًجؽث
ؼجعٍ ًبضّئيسٍ ظیت گلفٌن
گل ثفبخ اًسض ًِبى زض زاهٌن
هحفل ضاهفگطی ثطُن ظزم
ظذوَ ثط جبض ضگ ػبلن ظزم
ثؽکَ ػْز فططجن ًبزض ًْا ؼث
ُن ًفيي اظ ًغوَ ام ًب آـٌب ؼث
Tho‘ I am but a mote, the radiant sun is mine:
Within my bosom are a hundred dawns.
My dust is brighter than Jamshíd‘s cup,
It knows things that are yet unborn in the world.
20. My thought hunted down and slung from the saddle a deer
That has not yet leaped forth from the covert of non-existence.
Fair is my garden ere yet the leaves are green:
Full-blown roses are hidden in the skirt of my garment.
I struck dumb the musicians where they were gathered together,
I smote the heartstrings of all that heard me,
Because the lute of my genius hath a rare melody:
Even to comrades my song is strange.
In the first part of the prologue Iqbal praised Allah for giving him the gift of
writing that would galvanize the Muslim nation. In the second part he seems
to be in a self-indulgent mood. Yusuf Saleem Chisti mentions that this style
of description is befitting for a poet who achieves an insider‘s knowledge
into the rise and fall of nations.
I think that Iqbal is not simply talking about his talents. He recognizes his
humble beginning as a speck of dust; a description of mankind and not just a
personal statement of humility. He is referring to every human being who
can rise above his humble beginning to a level where he can begin to see the
reality as broad day light. He is not claiming prophethood, and this needs to
be borne in mind.
He goes on to describe the status of man as being higher than that of the sun
that has been made subservient to man. Through his creativity man can
shape a hundred dawns, that is, change the course of his life. He develops
farsightedness that can tell him what lies ahead. Is Iqbal referring to
clairvoyance or is he simply stating that using intellect man can determine
the consequences of individual as well as collective actions? He refers to his
world as a garden that has the capacity to bear new flowers and it is up to the
man to choose the right seeds (correct actions and appropriate choices) to
beautify this world with the product. He wants to direct his readers from a
21. life of song and pleasure to a new music that is invigorating and not just
inebriating.
In his Urdu poem َ ؼبلٔ ًبهIqbal writes:
پالزے هجِے ٍّ هئے پطزٍ ؼْظ
کہ آجی ًہيں فصل گل ضّظ ضّظ
ٕ
ٍّ هے جػ ؼے ضّـي ظويط حيبت
ٍّ هے جػ ؼے ہے هؽحئ کبئٌبت
ٍّ هے جػ هيں ہے ؼْظ ّ ؼبظ اظل
ٍّ هے جػ ؼے کِلحب ہے ضاظ اظل
اٹِب ؼبليب پطزٍ اغ ضاظ ؼے
لڑا زے هوْلے کْ ـہجبظ ؼے
ظهبًے کے اًساظ ثسلے گئے
ًيب ضاگ ہے، ؼبظ ثسلے گئے
Mohammad Iqbal felt that his poetry and philosophy would be appreciated
more fully after his death. His message is the message of love. The secrets of
love cannot be explained fully in mere words; love is something to be felt in
order to be appreciated. There may be technical flaws in how he expresses
himself. People with limited understanding of abstract concepts should not
try to read his poetry. He likens the depth and breadth of his thought process
22. to a sea. A proper understanding of his poetry requires men of higher
intellect.
He attributes his vision to the mercy of Allah. He has been gifted with an
insight into the secrets and realities of life. His poetry can raise the
intellectual standard of his readers so that they achieve the ability to share
his insight.
Iqbal‘s poetry is full of love for the Holy Prophet Mohammad peace be upon
him. He requests Allah to instill that love into his heart. When he asks for
wine, the sparkling liquor that flows from Zemzem, he is referring to that
love. This love can turn a beggar into a king. It increases the acuteness of
thought and sharpens the inner eye that leads to the recognition of the
Ultimate Reality. A weak human being becomes as strong as a mountain and
a fox rises to the stature of a lion.
It causes dust to soar to the Pleiades and makes the foot of the partridge red
with blood of the hawk. The human being made of dust can explore the
Universe, and weaklings can conquer the world. He seeks a new role for his
poetry such that he becomes the champion of a new spirit and the voice of a
new age.
He then turns his attention to Jalaluddin Rumi whom he has described as his
spiritual mentor. The sequence of the prologue reflects the main sources of
Iqbal‘s philosophy; the Holy Quran, the love of the Holy Prophet peace be
upon him based upon an insightful study of his life and character, and the
works of Rumi. Rumi‘s masterpiece poem, ٌْٓ ,هثhas been described as the
(interpretation) of the Holy Quran in Persian.
Iqbal describes his struggle in achieving a real understanding of the
philosophy of religion as he made a supplication to God.
I was complaining of the sorrows of the world
And bewailing the emptiness of my cup.
At last mine eye could endure no more,
Broken with fatigue it went to sleep.
23. There appeared the Master, formed in the mould of Truth,
Who wrote the Koran of Persia.
He makes sure that his readers understand the debt he owes to Rumi. He
recognizes that his own stature is nothing compared with that of his mentor.
He himself is a drop of water, his mentor an ocean. Rumi‘s poetry has
provided Iqbal with both an inspiration and a deep understanding of the
religion so that now he will revitalize the Muslims and explain the secrets of
life to them.
I who am drunken with the wine of his song
Will draw life from the breath of his words.
The Master provides a series of instructions to his protégé the foremost
being to develop the true love of the Holy Prophet peace be upon him.
Take a draught of love's pure wine
Armed with love the young poet will be able to conquer his fear and declare
his understanding of the hidden realities openly, i.e., break the bottles in the
bazaar. His will be the old message in a new style compatible with his times.
Shatter the mirror of fear,
Break the bottles in the bazaar!
Like the reed-flute, bring a message from the reeds;
Give to Majnún a message from Lailá!
Create a new style for thy song,
Enrich the feast with thy piercing strains!
The mentor‘s words kindled a fire in the poet‘s heart preparing him for the
task ahead. It seems like the writing of the Secrets of the Self was inspired
while reading Rumi. Did Iqbal see Rumi say this to him in a dream?
At these words my bosom was enkindled
And swelled with emotion like the flute;
I rose like music from the string
To prepare a Paradise for the ear.
24. I unveiled the mystery of the. Self
And disclosed its wondrous secret.
Prior to this spiritual encounter Iqbal had considered himself as worthless.
He was unaware of his hidden potential. A study of Rumi‘s works made him
discover himself.
Love chiselled me: I became a man
And gained knowledge of the nature of the universe
Now he can see meaning in the terrestrial and celestial phenomena, and
more than that, he now has the ability to describe these through his poetry.
All of these celestial bodies and phenomena point towards the existence of
one God, one Creator.
He now describes the real purpose of his poetry drawing inspiration from the
Holy Quran, love of the Holy Prophet peace be upon him and works of
Rumi. He wants to serve his faith and his co-religionists. He wants the
Muslim nation to regain its lost glory through his poetry. He feels for his
fellow beings. He feels their pain.
Many a night I wept for Man's sake
That I might tear the veil from Life's mysteries,
And extract the secret of Life's constitution
From the laboratory of phenomena.
He expresses his pride at being a follower of the faith of Islam. He describes
him
as dust in devotion to the pure Faith (Islam)
A Faith renowned in hill and dale
Through self-realization the members of his community will rise again.
Iqbal then describes why he chose Persian to be the medium of expression
for his philosophy.
25. Iqbal hoped that through the medium of Persian he would gain a wider
audience in India, Afghanistan and Iran.
Sadly this beautiful language has only a few admirers in India and Pakistan
of today.
My aim in writing this masnavi is not to gain poetic glory
Nor is it to idolize the beloved
Or to carve out new idols
I am a native of India; Persian is not my language
I am the new moon; my cup is yet to be filled
Do not except from me mere beauty of expression
Do not look for the style of the poets of Khansar and Ispahan in my poetry
The Language of Hind is sweet no doubt
The style of Persian poetry is even sweeter
Its manifest beauty has fascinated my imaginative thinking
My pen has been turned into a twig of the Tree on the Mount Toor
For the loftiness of my thought and its nature
Persian is most suitable
O the sensible one! Do not criticize the tumbler of wine
Tie your heart with a taste for what is inside it.
Do not try to find fault with my poetry in terms of its literary qualities. On
the other hand focus on its message.