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PEARLS

FROM

A STREAM

(A study of Allamah Mohammad Iqbal’s poetry)

PEARLS FROM A STREAM (A study of Allamah Mohammad Iqbal’s poetry) VOLUME-XI 1

VOLUME-XI

CONTENTS

INQILAB: INDIVIDUAL LEVEL – PRAYERS - I …………………… 4 ..

The Child’s Invocation

اعد يک ےچب

The Flower Bud

يلک

The Supplication

اعد

Ghazal 16………………………………………………………… لزغ

Quatrains 19.………………………………………………… تایعابر

On Occasion of Permission to Keep Sword

 

رپ نلعا ےک ریشمش يدازآ

Quatrain 22.…………………………………………………… یعابر

A Prayer 23.……………………………………………………… اعد

To the Holy Prophet (S.A.W.)

بآم تلاسر روضح رد

INQILAB: INDIVIDUAL LEVEL – PRAYERS - II ………………… 53

..

Invocation

اعد

Ghazalein …………………………………………………… ںیلزغ

56

Ghazal 130.……………………………………………………… لزغ

INQILAB: INDIVIDUAL LEVEL – PRAYERS - III ………………

...

132

Hazoor-e-Haq: Set-1

قح روضح

Set-2 ……………………………………………………………….137

Set-3 ……………………………………………………………….146

Set-4 ……………………………………………………………….151

Set-5 ……………………………………………………………….155

Set-6 ……………………………………………………………….160

Set-7 ……………………………………………………………….161

Set-8 ……………………………………………………………….164

Set-9 ……………………………………………………………….166

Set-10………………………………………………………………168

Set-11………………………………………………………………170

INQILAB: INDIVIDUAL LEVEL – PRAYERS - IV ………………

...

173

Hazoor-e-Risalat

173..…………………………………

تلاسر روضح

Set-1……………………………………………………………… 174 ..

Set-2 ……………………………………………………………….179

Set-3 ……………………………………………………………….182

Set-4 ……………………………………………………………….185

Set-5 ……………………………………………………………….187

Set-6 ……………………………………………………………….189

Set-7 ……………………………………………………………….191

Set-8 ……………………………………………………………….193

Set-9 ……………………………………………………………….197

Set-10………………………………………………………………206

Set-11………………………………………………………………212

Set-12………………………………………………………………284

Set-13………………………………………………………………287

م یحم رر لٱ ن ــ حح

م

م

م

م

رر لٱ ملٱ م

حس ب

م

م

INQILAB

INDIVIDUAL LEVEL

PRAYERS - I

Prayer is an important ritual of all religions which is performed in a

prescribed manner by followers of a particular faith. The prayer so offered is

an overt display of an individual’s submission to God expressed in specific

words of mouth and prostrating gestures.

Islam makes it mandatory for its followers to say prayers five times a

day. Each prayer consists of different number of rak’aats and in each

rak’aat the recitation of first seven verses of Holy Qur’an, Surah Fatiha is

compulsory. By virtue of that it becomes the most offered prayer on earth

round the clock.

This Surah is the finest composition of a prayer. It has to be so as it has

been revealed upon human kinds through His last Messenger (S.A.W.). With

the help this Surah one can endeavour to understand the essential elements

of a prayer.

ةحح تتاف لا ة رحووسة

ح

ة

ــ وح

) م يحت ررلٱ ن مح

ت

ت

ررلٱ لت

ٱ م

وس ب

ت

ت

(عورش ش ) ۔ےہ ہ لاو محر تییاہن ن ناب ب رہم اڑب ب وج ب ےس ماب ن ےک هللا

(Shoro’a) Allah kay naam sey jo barra meharban,

nahait reham wala hai.

In the name of Allah, the Beneficent, the Merciful.

ر

ح

ںی ی ہہ

) نح يمتل عح ٱ بب رح ل دةومحح ولٱ

ــ ول

ی ب ب برم وج ب ںی ی ہہ

ت ت

ی ل وک یہ ہ

ق ی

۔ےک ملاع رہ ہ رہ ہ

ت

هللا ںهف ن هرع ت

Sabb ta’arifein Allah he ko la’iq hein jo

بس

Marabbi hein her her alam kay.

Praise be to Allah, Lord of the Worlds

) م يحت ررلٱ ن

ت

ــمحوحررلٱ

ت

۔ںی ی ہہ

ےلاو محر تییاہن ن

ناب ب رہم ےڑب ب

وج ب

Jo barray meharban nahait reham waley hein.

The Beneficent, the Merciful.

) ن يدبلٱ م

ت

ت

وويح كت لتــمح

۔ےک ازجب

ز ور ںی ی ہہ

ز

کلام وج ب

Jo maalik hein roz-e-jaza kay.

Owner of the Day of Judgment,

۔ںی ی ہہ

ح

) نة يعتتح

ن ك ايرإ وح دةبة

وس

وع

ح

ن ك ايرإ

ح

ح

ےت رک ی ک تی ن اعا تساوج ن رد ےس یہ ہ

ت

ت

پآ روا ںی ی ہہ

ےت رک تداب ب ع ی ک یہ ہ

ت

ت

Hum Aap he ki ibadat kartey hein

پآ مہ ہ

aur Aap he sey darkhwast e’anat ki kartey hein.

Thee (alone) we worship; Thee (alone) we ask for help.

ح

) م يقتتح

ح

مة ٱ ط رحصب لٱ ان

وس ول

وک مہ ہ

ی ی

ےی جی ب

د لب ت

یب

ح

ٲ

دتوهٱ

۔اهدب س ہت سر

ت

ی

Batla diji’ay hum ko rastah seidha.

Show us the straight path,

ب

) نح يل اض ر لٱ ل وح

ح

وم وي

ت

اب امرف ن

ح

ة

ه ل عح ب وض

ت

ن

وغ ول

مح ٱ ر غ

ت

پآ رب پ

ح

وي

وم وي

ح

ه ل عح

عح أ نح يذتل ر ٱ ط

ح

وم ون

تح

ح

ت

اک ںوگول نا

ت

ا

ٲرحصت

 

۔ےہ

ہ

ماع ت ن ا ےت

اک پآ رب پ

اب ی گ اب ی ک بض ن غ

ی

ئ

گ

ن

نج ب

اک

نج ب

ںوگول نا (ہت ت سر) ہن

ن

اک ںوگول نا ہن

ہت سر

 

مگ (ےس ہت سر) وج ب

ت

ن

روا

۔ےی

وہ ہ

Rastah onn loug’on ka jinn per Aap ney inaam farmaya hai.

Nah (rastah) onn loug’on ka jinn per Aap ka ghazb kiya gaya

aur nah onn loug’on ka jo (rastah sey) gom ho ga’ey.

Not (the path) of those who earn Thine anger

nor of those who go astray.

(Urdu translation by Ashraf Thanwi

and English translation by Pickthal)

The recitation of first verse is desirable before saying or doing

anything; the primary aim is to invoke benevolence and mercy of Allah. The

second verse is affirmation; the culmination of the journey that begins with

La, the rejection of all gods. It is affirmation that Allah is the Lord of the

worlds created and sustained by Him. In other words He is not only the

Creator but also the Provident.

Third verse is reiteration of sifaat mentioned at the beginning. The

fourth verse

is the acceptance

that Allah

is

the

Judge

to whom

all

his

creations are accountable. The fifth verse is the pledge that He is the only

one worthy of worship and worthy of seeking help. The last two verses

contain the prayer, which in itself is all encompassing.

In short, a formal prayer begins with invocation and the praise, leads to

affirmation and the pledge, finally ending up with submitting the request.

In addition to formal prayers, a believer often converses with his

Creator. In that monologue the individual begs for forgiveness and mercy for

his acts and neglects. He seeks guidance and help for tackling problems

encountered by him. Such a conversation with the unseen God is also called

a prayer or Du’a.

A Du’a, a random prayer is in fact a statement of intent. A statement of

intent made before the Creator ought to be honest and sincere. It is

understood that the desire expressed to seek Divine guidance and help has to

be noble and earnest.

The sincerity of the prayer can be ascertained from the endeavours and

efforts put in before and after a prayer by the one who prays. Sincerity is

directly proportional to efforts put in for fulfillment of the intended desire. A

prayer lacking the corresponding endeavour makes the sincerity suspect and

may not merit response.

The prayers about Palestine and Kashmir can be quoted in this context.

For more than six decades, people in our part of the world have been

collectively praying for liberation of lands occupied Jews and Hindus yet

both the communities have been plunging deeper into the quagmire of

subjugation. This is because acts of those, who have been praying, have been

contrary to what they seek from God.

Notwithstanding the conflict in intent and action, one must not give up

praying for the simple reason that one day his prayers may incite him for the

right action. Moreover, sometimes the prayers are responded despite the lack

of sincerity; that is because of sheer benevolence of the Benevolent.

One must also pray for the reason that it is an act of expressed

submission and acknowledgment of the might of the Almighty, in addition to

thanks-giving. Islam encourages this and that is why there is a prescribed

prayer to be said before performing even ordinary routine acts like eating,

drinking, sleeping, and dressing etcetera.

Remembrance reflects belief and faith in the Creator and invokes His

mercy and grace. The contents and frequency of prayers of an individual

also reflect upon his personality. The contents of his prayers unveil his goals

and frequency reflects the degree and intensity of contact with his Creator.

From the above one can discern as to how much that individual cares for his

betterment, or well being of others.

Most of the poetical works of Allamah Iqbal sought well being of the

humanity in general even when Muslims were especially mentioned in these.

A verse or two in every poem qualify as a prayer, so many poems included

in earlier volumes merited place in this chapter.

But, herein only those poems are included which are a prayer from the

beginning to the end. This volume starts with a Du’a written by Allamah

Iqbal for the children and which is the most recited poem (prayer) in

Pakistan. This is also the only poem that has been included in an earlier

volume and repeated here.

THE CHILD'S INVOCATION

The

chapter ends with a wish

and prayer for

the children, which

is widely taught to and memorized by the children in this part of the world.

ذ وخ ام - اعد يک ےچب

Bachay ki do’a

بل يريم انمت ےک نب اعد ےہ يتآ ہپ

يگدنز يريم ايادخ وہ تروص يک عمش

Labb peh aati hai doa bun kay tamanna meyri;

zindagi shama’a ki surat ho Khodaya meyri.

My longing comes to my lips as supplication of mine.

O God! May like the candle be the life of mine!

رود ےئاج وہ اريھدنا ےس مد ےرم اک ايند

رہ ےئاج وہ لاجا ےس ےنکمچ ےريم ہگج

Door dunya ka merey dum sey andhaira ho jaa’ey;

her jagah meyrey chamakney sey ojala ho jaa’ey.

May the world's darkness disappear through the life of mine!

May every place light up with the sparkling light of mine!

وہ تنيز يک نطو ےريم يہنوي ےس مد ےرم

سج تنيز يک نمچ ےہ يتوہ ےس لوھپ حرط

Ho merey dum sey yu’onhi meyrey watan ki zeenat;

jiss tarah phhool sey hoti hai chaman ki zeenat.

May my homeland through me attain elegance

as the garden through flowers attains elegance.

يگدنز بر اي تروص يک ےناورپ يرم وہ

ملع بر اي تبحم وک ھجم وہ ےس عمش يک

Zindagi ho meri pervaney ki surat Ya-Rabb;

ilm ki shama’a sey ho mojh ko mohabat Ya-Rabb.

May my life like that of the moth be, O Lord!

May I love the lamp of knowledge, O Lord!

وہ انرک تيامح يک ںوبيرغ ماک ارم

انرک تبحم ےس ںوفيعض ےس ںودنمدرد

Ho mera kaam gharib’on ki hamayat karna;

dardmand’on sey zaif’on sey mohabat karna.

May supportive of the poor my life's way be!

May loving the old, the suffering my way be!

ےرم وک ھجم اناچب ےس يئارب !ہللا

کين وک ھجم انلچ ہپ ہر سا وہ ہار وج

Merey Allah! Boraeyi sey bachana mojh ko;

naik jo raah ho oss reh peh chalana mojh ko.

O God! Protect me from the evil ways;

show me the path leading to the good ways!

(Translated by Dr M A K Khalil)

THE FLOWER BUD

Dr Khalil writes: ‘Allamah Iqbal has used a common object like the

flower bud to explain mystic secrets and to show the way to recognizing,

loving and revering God

...

qualify as prayer.

In this poem the wishes expressed by the poet

Kali :يلک

بج انپا ںيگنر ضراع رحس ےہ يتاھکد

لوھک انپا ںيرز ءہنيس يلک ےہ يتيد

Jabb deikhhati hai sehar aarz-e-rung’in apna;

khhol deyti hai kali seinah-e-zarrein apna.

خ ن ر

(Khoobsurat rokhsar.) ۔راس

تروصب بوج :ںیگنر

ن

ضراع

When the dawn uncovers its beautiful cheek;

the flower bud uncovers its golden breast.

ہولج ںيم ےناخ ےم ےک حبص ےہ ماشآ

يگدنز ںيم ےناميپ ےک ديشروخ ےہ يک سا

Jalwah aasham hai sobh kay maey khaney mein;

zindagi oss ki hai Khurshid kay paimaney mein.

ہولج

ن

۔لاو ےت

اھٹ ٹ ا ہدب ئ اف ن ےس

ےول ج

ب

ع ت ی لاو ےی

ن

ین

ن

یی پ پ

ہول ج

ب

:ماشآ

(Jalwah peinay wala ya’ani jalwey sey fa’idah othhaney wala.)

It is manifest in the dawn's tavern;

its life is in the goblet of the sun.

ےنماس ےہ يتيد ھکر ےک ريچ لد ےک رہم

سک ےہ يتيل ےزم ےک يفاگش ہنيس ردق

Saamney mehr kay dil chir kay rakhh deyti hai;

kis qadar seinah shigafi kay mazay leyti hai.

ن ن یید لوھ ک ہت
ن
ن یید لوھ ک ہت

(Seinah khhol deyna.) ۔اب

ی یس

:يفاگش ہنیس

It opens up its heart before the sun;

it enjoys the Love's anguish immensely.

ےرم باقن ينپا اھٹا يھب وت يھبک !ديشروخ

رہب بات ےب ہاگن ےہ يتپڑت ہراظن

Merey khurshid! Kabhi tou bhi othha apni niqab;

beher-e-nazarah tarrapti hai nigah-e-bey taab.

My sun! You should also lift your veil some time;

my restless eye is impatient to witness your sight.

ےريت ںيم ےنيس ےرم وہ نميشن اک ےولج

سکع ںيم ےنيئآ ےرم اريت وہ دابآ

Teyrey jalway ka nashiman ho merey seinay mein;

aks abad ho teyra merey aeinay mein.

May the abode of your manifestations be in my heart!

May your reflection flourish in the mirror of my breast!

(This and the remaining verses are the spontaneous expression of Allamah

Iqbal's feelings of Love for God and request to Him to appear in tangible

form instead of through His signs, like the sun. In this poem ‘My sun’

means God.)

يگدنز ےيل ےک لد ےرم ہراظن ارت وہ

ينشور ےيل ےک لد ےرم ہراوہگ يرت وہ

Zindagi ho tera nazarah merey dil kay leay;

roshni ho teri gaehwarah merey dil kay leay.

May your sight be the life for my heart!

May your light be the cradle of my heart!

ہرذ تايح زودنا برط رھپ ارم وہ ہرذ

وہ تايح زوس رھپ ںيم ہشيدنا رہوج ںايع

Zarrah zarrah ho mera pher tarab andoz-e-hayat;

ho ay’an johar-e-andaishah mein pher soz-e-hayat.

ن

۔لاو ےت

اھٹ ٹ ا فطل اک ی گدب ن ز

:تایح زودنا برط

(Zindagi ka lotf othhaney wala.)

May every speck of mine full of pleasure be again!

May life's warmth appear again in the skill of my thoughts!

ےنپا ںيم ےس رود ںورک ہراظن اک ديشروخ

تفص ںيم ےس رون ںوہر شوغآ مہ ہچنغ

Apney khurshid ka nazarah kar’on door sey mien;

sift-e-ghonchah hum-aaghosh rah’on noor sey mien.

(Ghonchah ki tarah.)

تفص

۔حرط ی ک ہچ

ن

پن غ

ن

:ہچنغ

May I view my sun's sight from the distance!

May I embrace its light like a flower bud!

ناج ںود رک ںايامن وک تقيقح يک رطضم

لد ںود رک ںايرع يھب وک ںولايخ ہديشوپ ےک

Jan-e-mozter ki haqiqat ko nomaiy’an kar du’on;

dil kay poshidah khayal’on ko bhi oriy’an kar du’on.

(Bey qarar jan.(

ناج

۔ناج

ب

رارف ت ےت

ب

:رطضم

ن

)Bey niqab.) ۔باف

ت ن

ےت

ب

:ںايرع

May I highlight the reality of the restless life!

May I also open the secret of heart's thoughts!

(Translated by Dr M A K Khalil)

THE SUPPLICATION

‘This very beautiful and forceful poem describes the ardent desire of

Allamah Iqbal for the rejuvenation of the Muslim Ummah, starting with

their return to Islam and to the Love of God. This poem is very popular

among the Muslims of the Indo-Pakistan-Bangladesh sub-continent and is

often committed to memory.’

اي

Do’a : اعد

ےد انمت ہدنز ہو وک ملسم لد !بر

وج ےد اپڑت وک حور وج ،ےد امرگ وک بلق

Ya-Rabb! Dil-e-Moslim ko woh zindah tamanna dey;

jo qalb ko garma dey, jo rooh ko tarrpa dey.

O Lord! To the Muslim’s heart grant that live longing;

which may warm the heart, which may restlessness to the soul grant.

رھپ ےد اکمچ وک ےرذ رہ ےک ںاراف يداو

رھپ ےد اضاقت قوذ رھپ ،ےد اشامت قوش

Pher Wadi-e-Far’an* kay her zarrey ko chamka dey;

pher shouq-e-tamasha dey, pher zouq-e-taqaza dey.

(*Morad hai tamaam Millat-e-Islamiah.) ۔ہت

ی

میلسا تل م مامت ت ےہ

ہ

دارم*

Again brighten up every speck of dust of the Valley of Faran;

again; Longing for the Spectacle, taste for the asking grant.

(Allusion to the Holy Qur’an 7:142-145, particularly 143, in which the

longing of Mosa A.S. to witness the countenance of God is described.)

مورحم ےد انيب ہئديد رھپ وک اشامت

اھکيد ےد لھکد يھب وک ںوروا ےن ںيم ھچک وج ےہ

Mehroom-e-tamasha ko pher deidah-e-beina dey;

deikhha hai jo kochh mien ney aur’on ko bhi dikhhla dey.

(Deikhhney waali a’nkhh.) ۔ھک

ب ن آ ی لاو ےی

ن

د

ھ کی ی

:انیب ہئديد

Again to the one deprived of the Spectacle the discerning eye grant;

whatever I have seen, to others also its sight grant.

ےکٹھب لچ ےل مرح ےئوس رھپ وک وہآ ےئوہ

سا ےد ارحص تعسو رھپ وک رگوخ ےک رہش

Bhatkay hoay aahoo kop her soo’ey Haram ley chal;

iss shehar kay khoogar ko pher wosa’at-e-sehra dey.

ن

(Heran, morad hai Musliman.( ۔ی ب

ام ل س م

ےہ

ہ

دارم ،نرہ ہ

۔فرط ی ک نی

ن

ع ت

ی د ین

ی

مرج

:مرح ےئوس

:وہآ

)Haram ya’ani Deen ki taraf.(

۔یداع اک

ھ گ ی ک رہش

ٹ

نٹ

ش

ےہ

ہ

دارم ،یداع

:رگوخ

)Aadi, morad hai shehar ki ghhotan ka aadi.)

Again guide the strayed away deer towards the Haram*

to the one addicted to city, vastness of wilderness grant.

(*This is a metaphor for the Muslim Ummah having gone astray

and supplication to guide them to the right path.)

اديپ رک رشحم شروش رھپ ںيم ںاريو لد

سا ےد ليل دہاش رھپ وک يلاخ لمحم

Paida dil-e-ver’an mein pher shorish mehshar kar;

iss mehmal-e-khali ko pher shahid-e-Laila dey.

۔ےد رک ہدب

ن ز ےس رھ ٹ

پ

ےہ

ہ

دارم

:رشحم شروش

(Morad hai pher sey zindah kar dey.(

۔ےہ

ہ

اب ت اج

ب

اھکر ےی لی

ےک

یراوس

رب پ

ٹی ن وا

وج ب

ہواج بک

:لمحم

)Kajawah jo oont per sawari kay leay rakhha jaata hai.(

ئ

۔ےت

اج

ب

وہ ہ

ادب ی یپ

ؤاگ ل

ےس

نی ی د

ےس

رھ ٹ

پ

ےہ

ہ

دارم

:لیل دہاش

)Morad hai pher sey Deen sey lagao paida ho jaa’ey.)

Again in the forlorn heart create the Last Day’s tumult;

again to this empty camel-litter the lover of Lailah grant.

سا وک ںاشيرپ بلق رہ ںيم تملظ يک رود

ہو ےد امرش وک دناچ وج ےد تبحم غاد

Iss duor ki zolmat mein her qalb-e-perish’an ko;

woh dagh-e-mohabat dey jo chaand ko sharma dey.

(Andhaira.) ۔اری

ی

ھدب ن ا

:تملظ

In the darkness of this age to every perturbed heart

that mark of Love which may embarrass the moon grant.

تعفر رک ايرث شودمہ وک دصاقم ںيم

يراددوخ ےد ايرد يدازآ ،ےد لحاس

Rifa’at mein maqasad ko humdosh-e-Suriya kar;

khodaari-e-sahil dey, azadi-e-darya dey.

 

ن ل ب

(Bolandi.( ۔یدب

ب

:تعفر

 
 

ت

ہ ک

وک ٹمرھ جب

کب ا ےک ںوراب ت س اب رب

ش

:ايرث شودمہ

؛ںهہ

ےی

ہ

 

ی

حرط ی ک ںوراب ت س دارم

ی

)Suriya sitar’on kay eik jhormat ko kehtey hein;

morad sitar’on ki tarah boland kar dey.(

؛ اب ت اج

ب

ن

ںٹ ی ہ ن

رک ل ج

پ

فرط

ی ک

یسک

ل ج اس

ےہ

ہ

دارم

:لحاس يراددوخ

۔ںی ی ہہ ےت آ رک ل ج

ت

پ

فرط ی ک سا بس

)Morad hai sahil kissi ki taraf chal kar naheen jaata;

sabb oss ki taraf chal kar aatey hein.(

؛ےہ

ہ

اب ت اب ن یب

ہت سار اب ن یپا ےس یض

ت

۔اب ت

وہ ہ

ن

ںٹ ی ہ ن

ن

رم ین

حم

ن

پ پ ا اب رد

:ايرد يدازآ

اک ددم ی ک یسک

ی

جاب ت

)Darya apni marzi sey apna rastah banata hai;

kissi ki madad ka mohtaj naheen hota.)

In elegance raise the Muslims’ goals to the level of Thurayyah;

self-respect of the ocean, freedom of the sea shore grant.

ےب وہ تقادص کاب ےب ،وہ تبحم ثول

ںونيس ےد انيم تروص لد ،رک لاجا ںيم

Bey lous mohabat ho, bey baak sadaqat ho;

sein’on mein ojala kar, dil surat-e-mina dey.

 

۔ےگ

ن

 

ےب

ب

ام

ن

ہن

ہلص وج ب

تب ب م

ج

یسی ی

ا

:تبحم ثول

(Aisi mohabat jo silah nah maangay.(

)Bey khouf, naddar.( ۔رڈب

ن

ت

ھ ک ر ھچ

کپ

وج ب یحارص ہک ےہ

،فوج ن ےت

ب

:کاب ےب

   

ین

ہ

دارم

:انیم تروص

 

۔ےہ

ہ

پ ی د ٹی ن اب

ت

ین

ب

ںی ی م ںورشود ہو

 

)Morad hai keh surahi jo kochh rakhhti hai

woh doosar’on mein baant deyti hai.)

Love should be pure, candor fearless should be!

Grant Light to hearts, hearts like crystal grant.

ساسحا اک تبيصم راثآ رک تيانع

زورما ےد ادرف ءہشيدنا ںيم شروش يک

Ehsaas inayat kar asaar-e-moseebat ka;

imroz ki shorish mein andaishah-e-farda dey.

(Aaj ki masroofiyat.(

زورما

ن

۔تاب ف ورص م

ی

ی ک جآ

:شروش يک

)Aaney waaley kal ki fikr.) ۔رک

ن

ف

ی ک لک ی لاو ےت آ

ن

:ادرف ءہشيدنا

Grant the feeling for signs of the calamity

in today’s tumult concern for tomorrow grant.

ںيم اک ںاتسلگ ےڑجا کا ںوہ ںلان لبلب

ريثات ےد اتاد ک جاتحم ،ںوہ لئاس اک

Mien bulbul-e-nal’an h’on ekk ojrray gulist’an ka;

taseer ka saeyal h’on, mohtaaj ko Daata dey.

ب ل ب

۔ل

ب

ب

اب ت رک یراز و ہآ ن ن ۔لاو ےی گ ی
اب ت رک یراز و ہآ
ن
ن
۔لاو ےی
گ ی

اوہ ہ

:ںلان لبلب

(Aah-o-zaari karta hoa bulbul.(

ام )Bheik.( ۔کب :ریثات

ھ ٹ ب
ھ ٹ
ب

ی

)Maangney wala.) :

لئاس

I am the wailing nightingale of a ruined rose garden;

I am the supplicant for acceptance,

O Benevolent one alms to the beggar grant.

(Translated by Dr M A K Khalil)

GHAZAL : PART THREE

مئوس ہصص ح – لزغ

***** (6) *****

This ghazal is very popular despite being full of mysticism. Each

verse has a different theme. The ghazal as a whole defines the relationship

between God and Man and the last verse tells that while praying one’s heart

should be completely free of false gods which are rejected right at the start

of the path leading to Allah.

يھبک ںيم زاجم سابل آرظن رظتنم تقيقح ےا

ہک

ںيم زاين نيبج يرم ںيہ ےہر پڑت ےدجس ںورازہ

Kabhi ay haqiqat-e-montazir nazar aa libaas-e-majaaz mein;

keh hazar’on sajdey tarrap rehey hein meri jabein-e-niaz mein.

۔یدب

ن وادج ن

تاذ ےہ

ہ

ئ

دارم ؛ےت اج

ب

اب ک راظ ن

ی

ت ت پ ن ا اک سخ ب

ئ

ی ب اج پس ہو :رظتنم

تقیقح

(Woh sachaeyi jiss ka intizar kiya jaa’ey;

morad hai Zaat-e-Khodavandi.(

۔وہ

ہ

راب ی ی ت ےی لی

ےک ےی

ن

ک ھ جب

م

ن

ےی

اس ےک (ےلاع ت ت ہلب

ا) وج ب

اھٹ ت ام اس ی یا :زاین

نیبج

)Aisa maatha jo (Allah Ta’ala) kay saamney

jhokney kay leay tayaar ho.)

O the much sought after Reality! Some time appear in material form,

as innumerable prostrations restless in my humble forehead are.

برط وہ شوگ مرحم ےہ اون وت ،وہ شورخ ےئانشآ

ہو ںيم زاس ہئدرپ توکس وہ اوہ اپھچ ہک ايک دورس

Tarab aashna’ey kharosh ho, Tou nawa hai mehram-e-gosh ho;

woh sarood kaya jo chhopa hoa ho sakoot-e-pardah-e-saaz mein.

برط

۔لاو

ن

ےت

رک

ل ص اج

ش

ن

یش وج

ےس

ےماگ ن ہ ہ

ن

ن

روا ل ع

ش

و روس

:شورخ ےئانشآ

(Shor-o-ghol aur hungamey sey khoshi hasil karney wala.(

 

ن

 
 

ہ ن پ کب ت ناک

۔چن

ع ت ی ،مرح م اک ںوی ن اک

ن

ین

:شوگ مرحم

)Kaan’on ka mehram, ya’ani kaan takk poh’nch.(

 

)Naghmah.( ۔ہم

ن

غ ن ت

:دورس

 

ش

ی ک (ہج

ب

و ی ک ےت اج

ن

ب

 

ئ

ےک) زاس

 

۔یش

وماج ن

ےت

اج بی ب

ن

ہن

:زاس ہئدرپ توکس

)Saaz (kay nah baja’ey jaaney ki wajah) ki khamoshi.)

Join the assembly’s celebrations, You are a song, be heard!

What good are melodies which veiled in guitar’s frets are!

وت ہنئآ ہو ےہ ہنئآ ارت ،ےسا ھکر ہن ےک اچب اچب

ہک

ںيم زاس ہنئآ ہاگن ےہ رت زيزع وت وہ ہتسکش

Tou bacha bacha kay nah rakhh issey, tera aeinah hai woh aeinah;

keh shikastah ho tuo aziz-ter hai nigah-e-aeinah saaz mein.

(Toota hoa.) ۔اوہ

ہ

ٹ

اب ٹ وی :ہتسکش

Do not jealously protect them; your mirrors are the mirrors,

which would be dearer in the Maker’s eye if they broken are.

مد نہکرثا ہو ہک اہک ہي ےن عمش کمرک فوط

ہن ںيم زادگ ثيدح يرم ہن ،ںيم زوس تياکح يرت

Dum-e-touf kirmak-e-shama’a ney yeh kaha

keh woh asar-e-kohan;

nah teri hikayat-e-soz mein, nah meri hadis-e-godaz mein.

مد

ت و ےت اگ ل رک ج

ت

پ

۔تف

 

ت

اک

 
 

ن

غارجپ

 

ن

۔ہن

اورب

پ

،اگ ن پپ

ی

 

زادگ ثيدح

:فوط

(Chakkar lagatey waqt.(

:عمش کمرک

)Chiragh ka patanga, pervanah.(

ن

۔ی ب

اہک یرھ ٹ ب
اہک یرھ ٹ
ب

)Dokhh bhari kahani.):

ھکد

During circumambulation the moth exclaimed,

‘Those past effects neither in your story of pathos,

nor in my tale of love are’.

ہن يلم ںاہک وت يلم ںاما وج ،يلم ںاما ںيم ںاہج ںيہک

ےرم ںيم زاون ہدنب وفع ےرت وک بارخ ہناخ مرج

Nah kaheen jah’an mein im’an mili, jo im’an mili tou kah’an mili;

merey jorm-e-khanah kharab ko terey ofow-e-bandah nawaz mein.

۔وہ

ہ

اب ی گ اب ی ک مرک و فطل رب

پ

ےدب ن یب

ںی ی م سخ ب

ن

ی ف اع م یسی ی ا :زاون

ہدنب وفع

(Aisi mo’afi jiss mein banday per lotf-o-karam kiya gaya ho.)

My wretched sins could not get shelter anywhere except

when they in the shade of Thy Gracious Forgiveness were.

ہن ںايخوش ںيہر ںيم نسح ہو ہن،ںايمرگ ںيہر ںيم قشع ہو

ہن ںيم زايا فلز ےہ مخ ہو ہن ،يہر پڑت ںيم يونزغ ہو

Nah woh ishq mein rehein garmiy’an,

nah woh hosn mein rehein shokhiy’an;

nah woh Ghaznavi mein tarrap rehi,

nah who kham hai zolf-e-Ayaz mein.

Neither Love has that warmth nor Beauty has that humour!

Neither that restlessness in Ghaznavi

nor those curls in the hair locks of Ayaz are.

وج ادص يگل ےنآ ےس ںيمز وت يھبک اوہ ہدجسب رس ںيم

ارت ںيم زامن اگ ےلم ايک ےھجت ،انشآ منص ےہ وت لد

Jo mien sar basajdah hoa kabhi tuo

zam’in sey aaney lagi sada;

tera dil tuo hai sanam aashna, tojhey kaya millay ga namaz mein.

ھ ک

۔لاو ےی

ن

ن

غ

ر تب ب

ر ےس ںوت ت

پ

ب

:انشآ منص

(Bott’on sey raghbat rakhhney wala.)

Whenever I went into prostration a voice came from the earth:

Your heart is in materialism no rewards for your prayers are.

(Translated by Dr M A K Khalil)

Many poetical works included in various Volumes contain a verse or

two which fall in the category of prayer. Herein only a few of those have

been reproduced from Allamah’s various books; first, three four-liner

prayers selected from Bal-e-Jibril.

QUATRAINS

تايعابر

*****(---)*****

ںولد رک افو و رہم زکرم وک

ميرح رک انشآ ےس ايربک

ےسج ےن وت ےہ يشخب ںيوج نان

ےسا رک اطع يھب رديح ےئوزاب

Dil’on ko markaz-e-mehar-o-wafa kar;

harim-e-kibriya sey aashna kar.

Jissey naan-e-jav’in bakhshi hai Tou ney;

ossey baazo’ey Haider bhi ataa kar.

ٹ

(Jao ki roti.) ۔ی ب

ور ی ک وج ب :ںيوج

نان

Give to the youth my sighs of dawn;

give wings to these eaglets again.

This, dear Lord, is my only wish that

my insights should be shared by all!

(Translated by Naeem Siddiqui)

*****(23)*****

ںوناوج ےد رحس ہآ يرم وک

رھپ ےد رپ و لاب وک ںوچب ںيہاش نا

ايادخ ےہ يہي يريم وزرآ

ارم ےد رک ماع تريصب رون

Jawan’on ko meyri aah-e-sehar dey

pher inn shaheen bach’on ko baal-o-per dey.

Khodaya aarzoo meyri yehi hai;

mera noor-e-baseerat aam kar dey.

دارم

(Morad hai soojh boojh.) ۔ھجبویب ھجبوس ےہ :تریصب رون

ہ

Give the young, O Lord, my passionate love for Thee,

and give them an eagle's force to fly and to see.

O Lord, I pray that Thou vouch safe to them

the power of vision that Thou hast given me.

(Translated by Naeem Siddiqui)

*****(29)*****

اطع رک ںورد بذج اک فلسا

کيرش رک ،ںونزحي ل ہئرمز

درخ ںيم اکچ اھجلس ںايھتگ يک

ےرم رک ںونج بحاص ےھجم لوم

Ataa aslaaf ka jazb-e-dar’on;

sharik-e-zomrah-e-la yahzan’on, kar.

Khird ki gothhiy’an soljha choka mien;

merey Moula mojhey sahib-e-jan’on kar.

گول ےسی

ی

ا

ن

ہن

للم

ی م ںولد ےک نج ب

ںی

۔ ےت آ

ئ

:ںونزحي ل ہئرمز

و

ن

جی

ر

(Aisey loug jinn kay dill’on mein runj-o-milal

nah aa’ey.)

Grant me the absorption of the souls of the past,

and let me be of those who never grieve.

The riddles of reason I have solved, but now,

O Lord! Give me a life of ecstasy.

(Translated by Naim Siddiqui)

ON THE OCCASION OF PERMISSION TO KEEP SWORD

The poem reproduced hereunder is from Zarb-e-Kalim; the second last

line of which contains the prayer.

رپ نلعا ےک ريشمش يدازآ

Azadi-e-Shamshir kay Elaan per

اچوس ےن وت يھبک ںاملسم درم ےا ےہ يھب

ايک رادرگج ريشمش يک دلوف ےہ زيچ

Socha bhi hai ay mard-e-Muslim’an kabhi tou ney;

kaya cheez hai foulaad ki shamshir jigardar.

ھ ک ر ٹاک

ت ین
ت
ین

ہاب ن یپ ےت

ب

وج ب راول ب ت ی لاو رہ ہ وج ب

:رادرگج ریشمش

۔وہ

ہ

(Johar waali talwar jo bey panah kaat rakhhti ho.)

O Muslim, did you ever think or feel

what is meant by piercing sword of steel?

سا ںيم سج ہک ےہ لوا عرصم ہي اک تيب

ہديشوپ رارسا ےک ديحوت ںيہ ےتآ ےلچ

Iss beyat ka yeh missr’a-e-awwal hai keh jiss mein;

poshidah chaley aatey hein Towhid kay asrar.

It is the first hemistich of this verse

that God's Oneness shows in form so terse.

ےہ ہدايز يک يناث عرصم ےھجم رکف

ہللا راولت يک رقف اطع وک ھجت ےرک

Hai fikr mojhey missr’a-e-saani ki ziyadah;

Allah karey tojh ko ataa faqr ki talwar.

My anxiety for the second half is greater though,

may God the sword of Faqr on you bestow.

ےضبق نموم وت ےئاجآ يھب راولت ہي ںيم

اي رارک رديح اي ےہ زابناج دلاخ

Qabzay mein yeh talwar bhi aa-ja’ey tuo Momin;

ya Khalid-e-j’anbaz hai ya Haider-e-Karrar (R.A.).

If Muslim true can get this sword in hold;

he is Ali the Lion of God, or Khalid bold.

(Translated by Syed Akbar Ali Shah)

QUATRAIN

یعابر

The following quatrain has been chosen from Armoghan-e-Hijaz (Urdu)

*****(3)*****

ںوگرگد رک رحس و ماش ملاع

ناہج رک ربز و ريز رت و کشخ

ےہر کاپ ےس غاد يئادخ يريت

ےرم رک رذح ےس ںودجس قوذ ےب

Digarg’on alam-e-shaam-o-sehar kar;

jahan-e-khoshk-o-tar zir-o-zabar kar.

Rehey Teyri Khodaeyi dagh sey pak;

merey bey zouq sajd’on sey hazr kar.

(Badalna.( ۔اب

ن لدب

ب

:ںوگرگد

ن

ن

)Tehas nehas.( ۔ سہ

ت

سہ ن

:ربز و ريز

)Bach, perhaiz kar.) ۔رک زی

ی ہہرب پ
ی ہہرب
پ

،چی ب

:رذح

Change the whole world’s evenings and dawns,

change the whole world’s dry and wet lawns.

Make thy Godship free from every plaint,

look not my kowtow’s tasteless taint.

(Translated by Q A Kabir)

A PRAYER

The prayer reproduced below is from Payam-e-Mashriq. This is the

only prayer from Persian poetry in this chapter, but the remaining three

chapters have poetical works from Zabur-e-Ajam and Armoghan-e-Hijaz.

Do’a : اعد

یتخير مماجب ترطف ہناخمخ زا ہک ےا

ارم ےانيم زادگب نم ےابہص شتآ ز

Ay keh az khomkhanah-e-fitrat bajamam raikhti;

’z-aatish-e-sehbaa’ey mun begodaz meina’ey mera.

ل ب یڈب ن وا

(بارش

ش

ن رف او) ںی ی م ماج ب
ن
رف او) ںی ی م ماج
ب

ےری ی م ےس ترطف ن

ید،

ء ہن اج ن

ن

ن

مح

ن

ےت

سخ ب

!تاذ ہو ےا

۔ےد لھگی پ وک

یری ی م ےس آ ی ک بارش

ش

(بل ف ت ) اب ن ییم

یری ی م

[Ay woh Zaat! Jiss ney khom khanah-e-fitrat sey

meyrey jaam mein (waafir sharab) ondail dei,

meyri sharab ki aag sey meyri mina (qalb) ko pighhla dey.]

O You who filled my glass with wine

galore from Nature’s own wine-store,

see to it that my glass is melted by this fire sent from Your sky.

نم دايرف یمرگ زا زاس ہيامرس ار قشع

ارم ےانيس کاخ نادرگ کابيب ہلعش

Ishq ra sarmayah-e-saaz az garmi-e-faryaad-e-mun;

shoalah-e-beybaak gardaan khak-e-Sinai’ey mera.

اب ن یب

ہن امرش اک قش ش ع

وک یمرگ ی ک داب ی رف

ن

ش

ء ہلع ش

یری ی م،

کاج ن

۔ےد رک ل ب یدب ب ی ت ںی ی م کاب ےت

ی

ب

ب

اک اب ن ییس

یری ی م

(ہت ل ع یشوم) ۔اھٹ ت اھکی ی د روی ن ء ہول ج ںی ی م اب ن ییس ےت ارح ص ےت )

ی

ب

ئ

ن

[Meyri faryaad ki garmi ko ishq ka sarmayah bana,

meyri Khak-e-Seina ka shoalah-e-bey baak mein tabdil kar dey.

(Mosa (A.S.) ney Sehra’ey Seina mein jalwah-e-noor deikhha thha).]

O let my spirited lament provide Love with its wealth of pride.

Would that the dust of my Sinai became an all-consuming flame!

زاس ہلل غارچ نم رابغ زا مريمب نوچ

ارم ےارحصب نازوس ارم غاد نک ہزات

Choon bimiram az ghobar-e-mun chiragh-e-lalah saaz;

tazah kon dagh mera sozaan besehra’ey mera.

؛اب ن یب

غارجپ

اک ہلل لگ ےس راب ع

ن

ت

ےری ی م وی

ںؤاج

ب

رم ںی ی م بج ب

(ںوی ی ) ۔ھکر ںازوس ںی ی م ارح ص ےھ چ ب ےک رک ہزاب ت (دع ت ےک توم) وک غاد ےری ی م

م

ب

ب

[Jabb mien mur jaa’on tuo meyrey ghobar sey

gul-e-lalah ka chiragh bana;

(yu’on) meyrey dagh ko (mout kay ba’ad) tazah kar-key

mojhey sehra mein soz’an rakhh.]

When I die, let my ashes form a bed where tulips will be bred,

so that my passion’s wounds, revived, may shine in tulips’ hearts again.

(Translated by M. Hadi Husain)

TO THE HOLY PROPHET S.A.W.

While translating this poem from Pas Chih Bayad Kard Ay Aqwaam-e-

Sharq, B. A. Dar in the explanatory note writes: ‘Iqbal’s love for the Prophet

(S.A.W.) has become proverbial. His visitors have related almost

unanimously that whenever there was discussion about the Prophet

(S.A.W.), Iqbal was deeply touched and tears would begin to flow from his

eyes involuntarily. In one of his letters, Iqbal says about the Prophet

(S.A.W.): ‘It is my belief that the Prophet (S.A.W.) is still alive and the

people of this age can get inspiration from him as his Companions did

during his mortal life.’

In Asrar-i Khudi, first published in 1915, he spoke of the love for the

Prophet (S.A.W.) in relation to the development of the individual. It is

through love, he says, that the Self is made ‘more lasting, more living, more

burning, more glowing’. He continues: ‘He [i.e. Muhammad (S.A.W.)] chose

the nightly solitude of Mount Hira and [then] founded a state and laws and

government.’ ‘In the Moslem’s heart is the home of Muhammad (S.A.W.),

all our glory is from the name of Muhammad (S.A.W.).’ ‘We are like a rose

with many petals but with one perfume: he is the soul of this society, and he

is one. We are the secret concealed in his heart: he spoke out fearlessly, and

we were revealed. The song of love for him fills my silent reed, a hundred

notes throb in my bosom.’

In Rumuz-i Bekhudi, first published in 1918, Iqbal speaks of the role of

Prophethood in the life of the community. ‘God fashioned forth our form’,

he says, ‘and through Apostleship breathed in our flesh the soul of life… [It]

shaped our being, gave us Faith and Law, converted our vast myriads into

one, and joined our fractions in a mighty whole inseparable, indivisible…

His was the breath that gave the people life; his sun shone glory on their

risen dawn. In God the Individual, in him [i.e. Muhammad (S.A.W.)] lives

the Community, in his sun’s rays resplendent ever; his Apostleship brought

concord to our purpose and our goal.’

At the end of the book; Iqbal expresses his misgivings about the present

state of the Muslim society, the ignoble role of its leaders of thought and his

prayers for its bright future which depends, as he holds, on the Muslims

turning once again to the inspiring leadership of the Prophet (S.A.W.). It was

the Prophet (S.A.W.) who lit the lamp of life and infused the spirit of truth in

the hearts and minds of the people who, in spite of being weak, rose in revolt

against the strongest and thus succeeded in establishing the law of truth and

justice. It was love for the Prophet (S.A.W.) that ‘hath lit a flame within my

heart… [and] all my spirit is consumed in me… But now the Muslim is

estranged anew unto the Prophet’s (S.A.W.) secret; now once more God’s

sanctuary is an idols’ shrine… As timorous of death as any infidel, his

[Muslim’s] breast is hollow, empty of a living heart.’

Iqbal decides to close the gap that has developed unfortunately between

the Muslims and the Prophet (S.A.W.), the source of their inspiration, and

break down all the barriers raised between them. ‘I bore him [i e. the

Muslim]’, he says, ‘lifeless from the doctors’ hands and brought him to the

Prophet’s (S.A.W.) presence; dead he was; I told him of the Fount of Life, I

spoke with him upon a mystery of the Koran… I brought to him perfume

sweet pressed from the roses of Arabia.’

But Iqbal complains that his readers, the Muslims of the subcontinent,

accuse him of weaving Europe’s spells with which he bound their hearts and

minds. Iqbal claims, on the other hand, that he broke this spell of the West

by his poetry: ‘I broke the spell of modern knowledge, and managed to tear

off the net, after removing the grain; God knows that like Abraham I came

out of the fire of the West unscathed.’

He claims that what he teaches is the truth from the Qur’an which he

received through the Prophet (S.A.W.). He prays that he may be granted

knowledge of the Truth: ‘O thou, that to Busairi grant a cloak and to my

fingers yielded Salma’s lute, grant now to him, whose thoughts are so

stray, that he can no more recognize his own, perception of the truth, and joy

therein.’

In Payam-i Mashriq, first published in 1923, he says about love for the

Prophet: ‘He who cherishes love of Mustafa, controls everything in the seas

and lands. It is love for him that gives life and prosperity in the universe to

Community.’

In Javid Namah, published in 1932, he states clearly that the present

miserable plight of the Muslims is due to the fact that they have ceased to

cherish love for the Prophet (S.A.W.) as they should. Speaking about the

modern Muslim, Afghani says: ‘In his heart there is no burning fire, Mustafa

(S.A.W.) is not living in his heart.’

The same idea is expressed by Iqbal in Armoghan-i Hijaz: ‘I wept

bitterly one night before God and asked Him: Why is the Muslim so

miserable? Came the reply: Don’t you know, this Community possesses the

heart but has no beloved.’ In other words, it is because the Muslims have

ceased to maintain that loving contact with and sentimental attachment to

the Prophet (S.A.W.) that once characterized them, that they have fallen on

bad days. The implication is clear. If the Muslims wish to regain their lost

glory, they must start loving the Prophet (S.A.W.) in right earnest and as

Iqbal states: ‘The meaning of beholding the Last of Prophets is to make his

rule binding on oneself.’

In Armoghan-i Hijaz, published posthumously in 1938, more than sixty

pages are devoted to quatrains addressed to the Prophet (S.A.W.). I would

quote only two here which give a clear picture of Iqbal’s views about the

role of the Prophet in the revival of Muslim society: ‘The world is based on

Love and Love is derived from your breast, its intoxication flows from your

old wine.’ ‘I have lifted veil from the face of Destiny, don’t be hopeless,

follow the way of Mustafa (S.A.W.).’

This poem may

not qualify

as

a

prayer

as that has to be submitted

directly to Allah. This, however, is a request forwarded through a channel

that could enhance its acceptability.

بام تلاسر روضح رد

Dar Hazoor Risalat Maab (S.A.W.)

مدوب لاپوہب لابقلاراد رد ہک 1936 ليرپا ہس بش

مديد باوخ رد ار

ناخ دمحا دیس –

نک ضرع بآم تلاسر روضح رد شيوخ تللع زا ہک دندوم

Shabb seh April 1936 keh dar Daar-al-Iqbal Bhopal boodam

Syed Ahmad Khan ra dar Khwab deidam –

moudand keh az ilalat-e-khwaish

dar hazoor-e-Risalat Ma’ab (S.A.W.) arz kon.

ںی ی م

ی ک

لاب پ وھ ٹ ب
لاب پ وھ ٹ
ب

لاب ب ف لاراد

ت

ںی ی م

ش

بس

ل ب یرب پ
ل ب یرب
پ

ن

بج ب

1936

ن

ںی ی م

۔اھکی ی د وک ناج ن

دمحا دب س

ںی ی م باوج ن ےت

ی

پ پ ا ہک اب امرف ن

ن

ین

م

ےھ چ ب

ن

ںی ی م ہراب

ےک یرامی یپ ب

ےت

ںوہ ن ا

۔رک ضرع ےس (مغ ل ص ) بآم تلاسر روص ن ح

ب

ی

ت

؛اھٹ

ا نٹ ی ت ت

[Teen April 1936 ki shabb jabb mien Daar-al-Iqbal Bhopal mein thha;

mien ney khwab mein Syed Ahmad Khan ko deikhha.

Onnh’on ney mojhey farmaya keh apni bimaari kay barah mein

Hazoor Risalat Maab (S.A.W.) sey arz kar.]

On the night of 3 April 1936, while I was staying in Dar al-Iqbal,

Bhopal for rest and treatment I saw in a dream Sayyid Ahmad Khan

(on whom be God’s mercy).

He advised me to place

before the Holy Prophet the state of my health.

گرب و زاس ار ناگراچيب ام وت ےا

گرم سرت زا ار موق نيا ناہر او

Ay tou ma bichargaan ra saaz-o-burg;

wa rihaan ein quom az tars-e-murg.

؛ںی ی ہہ

عاب ت م ی ک ںوگول ہراج

ئ

ئ

لد

ی ب اہہر

ن

ےس فوج

ےت

مہ ہ

(مغ ل ص ) پآ

ےک توم وک (مل س م ) موق ت سا

پ

ب

۔ ےی پی

[Aap (S.A.W.) hum bey charah loug’on ki mata’a hein;

iss quom (Moslim) ko mout kay khouf sey rahaeyi dilai’ay.]

O you who are helper of helpless people like us,

free this nation from the fear of death.

(Fear of death: Iqbal feels that this is the basic malady which

destroys the moral strength of man; it is found when men are

oriented towards this world and are unmindful of the next world.

To be truly creative, one must cultivate indifference to death

which in any case is inevitable.)

ار ہنہک تانم و تل یتخوس

ار ہنہک تانئاک یدرک ہزات

Sokhti Laat-o-Manaat-e-kohnah ra;

tazah kardi kainat-e-kohnah ra.

ن

(مغ ل ص ) پآ (مغ ل ص ) پآ
(مغ ل ص ) پآ
(مغ ل ص ) پآ

؛ ےت د

ی

۔اب امرف ن

ی

لج

ب

تاب ن م و تل ےت ارب پ

ن

ےت

اظ ع گب ن

ب

وک اب ی ی ن د مییدف ت ےت

ن

ر دب دج

ی

[Aap (S.A.W.) ney poraney Laat-o-Manaat jala di’ay;

Aap (S.A.W.) ney qadim dunya ko jadeed rung ataa farmaya.]

You burnt down ancient idols and renewed the old universe.

(Ancient idols: Old social and economic order,

old loyalties to others than God.)

ناج و سنا رکف و رکذ ناہج رد

ناذا گناب وت حبص تولص وت

Dar jahan fikr-o-zikr-e-Inns-o-Jaan;

۔ںی ی ہہ

Tou salaat-e-sobh Tou bang-e-azan.

ںی ی م رک ف و رکذ

ن

ناہج ب

ےک ںوت ن

ج ب

روا ںوی ن اس ی ن ا

زامت ن

ی ک حن ب

(مغ ل ص ) پآ ،ںی ی ہہ

ناذآ گب ن اب

ب

ص (مغ ل ص ) پآ

[Insan’on aur jinn’on kay jahan-e-zikr-o-fikr mein

Aap (S.A.W.) sobh ki namaz hein, Aap (S.A.W.) bang-e-azan hein.]

In this world where men and genii

are engaged in meditation and devotion,

you are the morning prayer and the call to prayer.

ہلا ل زا رورس و زوس تذل

ہلا ل زا رون ہشيدنا بش رد

Lazzat-e-soz-o-saroor az la ilah;

dar shabb andaisha-e-noor az la ilah.

۔ےہ

ہ

ہلا ل تذل ی ک رورش و زوس

ہلا ل

؛ےہ

ہ

ےس

اب ت رک نش ور روی ن اک

ش

وک تار (کب ی راب ت ) ی ک ںوش ش ی یدب

ن

ا

[Soz-o-saroor ki lazzat la ilah sey hai;

andaish’on ki (tareek) raat ko la ilah ka noor roshan karta hai.]

La ilah is the essence of ardour and ecstasy;

it sheds light in the dark night of doubts.

رخ و واگ زا ميتخاس اہ ادخ ےن

رس ہدنگفا نانہاک روضح ےن

Ney khoda-ha saakhtaim az gaao-o-khar;

ney hazoor-e-kahinaan afgandah sar.

؛ی ک اج وی

۔اب اک ھ جب

ی

ب

پ

ی ک ےھدگ روا ےت اگ ےت

ئ

ن

رش اب ن یپا ےی

ن

م

اس ےک ںوت ن

ہ ہ

مہ ہ

ن

ہن

اک ہن

ن

[Nah hum ney gaa’ey aur gadhey ki pooja ki;

nah kahin’on kay saamney apna sar jhokaya.]

We did not make gods of cows and asses,

nor did we bow our heads before soothsayers;

ريپ نادوبعم شيپ یدوجس ےن

ريم و ناطلس کشوک فاوط ےن

Ney sajoodi paish-e-ma’aboodan-e-pir;

ney touf-e-koshak-e-sultan-o-mir.

۔اب ی ک

فاوط

اک

تلج م ےک

ارما

روا

ںوہ ہ اس

ش

داب

پ

ن

ہن

؛اب ی ک ہدج بس وک ںؤادج ن

ن ےت ارب پ
ن
ےت ارب
پ

ن

ہن

[Nah poraney khoda’on ko sajdah kiya;

nah padshah’on aur umra kay mahalaat ka tawaf kiya.]

We did not prostrate ourselves before ancient gods,

nor did we walk in adoration

round the palaces of kings and nobles;

(It was due to the revolutionary teaching of the Prophet

that man was freed from bondage to other-than God.)

تست ناياپ ےب فطل زا ہمہ نيا

تست ناسحا ہدرورپ ام رکف

Ein hamah az lotf-e-bey payaan-e-to’st;

fikr-e-ma pervardah-e-ehsan-e-to’st.

ف ن ط

ل ب

ی

ئ

ےک ںاب ی اب

ی ب اب پ شرورب

پ

ےت

فطل ےک (مغ ل ص ) پآ بس ہن

ن

ےت

ن

ی

؛ےہ

ہ

۔ےہ

ہ

ےس ناس خ ا ےک (مغ ل ص ) پآ

پ

ب

رک ف ےرامہہ

[Yeh sabb Aap (S.A.W.) kay lotf-e-bey payan kay tofial hai;

hamarey fikr ney Aap (S.A.W.) kay ehsaan sey perwarish paeyi hai.]

This is all the result of your benevolence,

our thought has been nourished by your kindness.

رورس و قوذ ہيامرس وت رکذ

رويغ ردنا رقف ہب دراد ار موق

Zikr-e-Tou sarmayah-e-zouq-o-saroor;

quom ra darad beh faqr andar ghayoor.

ہن امرش اک

ی

ن

(تب

پ

ی

۔ےہ

ہ

اجور) رورش و قوذ رکذ اک (مغ ل ص ) پآ

ن

روتی غ

ںی ی م رک ف موق

ن

ت

ےی لی

سا

؛ےہ

ہ

[Aap (S.A.W.) ka zikr zouq-o-saroor (rohaniyat) ka sarmayah hai;

issi leay quom fikr mein ghayoor hai.]

Our remembrance of you is the source of delight and rapture,

and keeps the nation jealous of its honour even in poverty.

ورہار رہ لزنم و ماقم ےا

ورہار رہ لد ردنا وت بذج

Ay moqam-o-manzil her rahrao;

؛ یھ ٹ

ب

jazb-e-Tou andar dil-e-her rahrao.

یھ ٹ

ب

ماف ت م

ےی لی

ےک کلاس رہ ہ

لزی ن م روا ںی ی ہہ

ےہ

ہ

بذج

ب

(مغ ل ص ) پآ

ورہ ہ ار رہ ہ

اک یہ ہ

ب

(مغ ل ص ) پآ ںی ی م لد ےک

ےی لی

ںاس ش ک ںاس ش ک

ےسا وج ب )۔

(ےہ ہ اہہر اج

[Aap (S.A.W.) her salik kay leay moqam bhi hein aur manzil bhi;

her rahrao kay dil mein Aap (S.A.W.) he ka jazb hai

(jo ossey kash’an kash’an leay jaa raha hai).]

You are the goal of every wayfarer,

the ideal that everyone aspires to attain.

نانچنآ ديدرگ توص ےب ام زاس

نارگ ديآ وا ےاھگر رب ہمخز

Saaz-e-ma bey saut gardeid aanchonan;

 

zakhmah ber rug-ha’ey oo ayad graan.

 

۔ےہ

ہ

اب گ وہ ہ

زاوآ ےت

؛ےہ

ہ

اب ت رذگ ںارگ یھ ٹ

ی

ب

ب

اب ن اگ ل

ےس حرط سا (تاب ی ح) زاس ارامہہ

اک بارص ن م رب پ

ںوراب ت ےی

ن

پپ

ا

ےسا ہک

[Hamara saaz (-e-hayat) iss tarah sey bey awaaz ho gaya hai;

keh ossey apney taar’on per

mizraab ka lagna bhi gr’an gozarta hai.]

We are a defunct musical instrument

whose chords do not respond to the plectrum any longer.

برع رد مہ و مديدرگ مجع رد

بہلوب نازرا و بايان یفطصم

Dar Ajam gardeidum-o-hum dar Arab;