Recitation
tasveer-e-dard mohammed iqbal
Overview
“tasveer-e dard” is a beautiful sample of Iqbal’s “universalism” (inclusiveness of the Hindu-Muslim community of the subcontinent) before he adopted a more reactionary position. It is also a fine example of how the tradition of ambiguity and multiple meaning in Urdu poetry came in useful to elude censorship. It is a long composition and can be cosidered divided into seven sections/Ghazals strung together. Each section has its own radeef-qaafiya with a concluding she’r in a different radeef-qaafiya. Themes between sections overlap quite a lot and each excels the other in beauty of composition.
The first section focuses on proclaiming the universality of his message and how it is inevitable that it will spread in spite of its painful content and in spite of the powers to stop/restrict this message.
The second section is a tongue in cheek expression of humility and an expression of mysticism about existence and of “self”. I am a hidden treasure, nobody pays any attention to me, but I say what I see (and I see that which no one else seems to be able to see).
The third section re-inforces the power of the poet’s words and his ability to see far into the future. Here I like to think that Iqbal is NOT talking about himself personally but of “the poet” … every poet. In this section he is also exhorting his country men to listen and look at the disaster that is about to befall them … all because of communalism, infighting and lack of action against the oppressor.
The fourth section is a beautiful and powerful expression of the poet’s determination to set things right, to promote harmony among all the oppressed, so they may present a united front to the oppressor.
The fifth section is a beautiful expression of the poet’s pain at the indifference and backwardness of his countrymen and exhorting them to look outside, learn and to take action.
The sixth section uses sufi mystic themes/vocabulary to preach “universal love”, repeating that discrimination between fellow humans (communalism) is the cause of downfall of nations.
The seventh section re-inforces the theme of “universal love”, declares that it is this that manifests itself in everything, giving it a “god like” quality.
The eighth and concluding section, much like the previous two, repeats the message of Universal Love with Sufi overtones.
It is illustrative to read and compare “tasveer-e-dard” (1904) with “shikwa” (1909). The first nazm is full of Sufi thoughts, universal love, inclusiveness and Hindu-Muslim unity. It is of the same vintage and character as “naya shivala” and “taraana-e-hindi”. The second is bitter, angry, inciteful and divisive. What a difference 5 years makes. During this time Iqbal had lived in England and Germany, completed his post-graduate studies, become stridently Islamic.
تصویر درد – محمد اقبال – حصّہ ٢
ریاضِ دہر میں نا آشنائے بزمِ عشرت ہوں
خوشی روتی ہے جس کو میں وہ محرومِ مسرّت ہوں
میری بگڑی ہوئی تقدیر کو روتی ہے گویائی
میں حرفِ زیرِ لب شرمندہِ گوشِ سماعت ہوں
پریشاں ہوں میں مشتِ خاک، لیکن کچھ نہیں کھلتا
سکندر ہوں، کہ آئینہ ہوں یا گردِ کدورت ہوں
یہ سب کچھ ہے مگر ہستی میری مقصد ہے قدرت کا
سراپا نور ہو جس کی حقیقت، میں وہ ظلمت ہوں
خزینہ ہوں چھپایا مجھ کو مشتِ خاکِ صحرا نے
کسی کو کیا خبر ہے میں کہاں ہوں کس کی دولت ہوں
نظر میری نہیں ممنو نِ سیرِ عرصہِ ہستی
میں وہ چھوٹی سی دُنیا ہوں کہ آپ اپنی ولائت ہوں
نہ صہبا ہوں نہ ساقی ہوں نہ مستی ہوں نہ پیمانہ
میں اِس میخانہِ ہستی میں ہر شئے کی حقیقت ہوں
مجھے رازِ دو عالم دِل کا آئینہ دکھاتا ہے
وہی کہتا ہوں جو کچھ سامنے آ نکھوں کے آ تا ہے
तस्वीर-ए दर्द – मुहम्मद इक़बाल – हिस्सा २
रियाज़ ए दहर में ना आशना ए बज़्म ए इशरत हूं
ख़ुशी रोती है जिस को मैं वो महरूम ए मसर्रत हूं
मेरी बिगड़ी हुई तक़दीर को रोती है गोयाई
मैं हर्फ़ ए ज़ेर ए लब शर्मिंदा ए गोश ए समा’अत हूं
परेशां हूं मैं मुश्त ए ख़ाक, लैकिन कुछ नहीं खुलता
सिकंदर हूं, के आईना हूं या गर्द ए कदूरत हूं
ये सब कुछ है मगर हस्ती मेरी मक़्सद है क़ुद्रत का
सरापा नूर हो जिस की हक़ीक़त, मैं वो ज़ुल्मत हूं
ख़ज़ीना हूं छुपाया मुझ को मुश्त ए ख़ाक ए सेहरा ने
किसी को क्या ख़बर है मैं कहाँ हूं किस की दौलत हूं
नज़र मेरी नहीं ममनून ए सैर ए अरसा ए हस्ती
मैं वो छोटी सी दुनिया हूं के आप अपनी विलायत हूं
न सहबा हूं, न साक़ी हूं, न मस्ती हूं, न पैमाना
मैं इस मैख़ाना ए हस्ती में हर श’ऐ की हक़ीक़त हूं
मुझे राज़ ए दो आलम दिल का आईना दिखाता है
वही कहता हूं जो कुछ सामने आँखों के आता है
tasveer-e-dard mohammed iqbal
Second Section
Click here for overall comments and on any passage for meanings and discussion. The second section is a tongue in cheek expression of humility and an expression of mysticism about existence and of “self”. I am a hidden treasure, nobody pays any attention to me, but I say what I see (and I see that which no one else seems to be able to see).
riyaz-e-dahr1 meN na-aashna2 e bazm-e-ishrat3 huN
Khushi roti hai jis ko maiN vo mahroom-e-masarrat4 huN
meri bigRi hui taqdeer ko roti hai goyaee5
maiN harf-e-zer-e-lab6 sharminda7 e gosh-e-sama’at8 huN1.garden of this world 2.unfamiliar 3.assembly of pleasure 4.deprived of happiness 5.speaking, writing poetry 6.murmured (unimportant) word 7.ashamed, deprived of 8.hearing ear
In this garden-world, I am not familiar with the ways of pleasure. I am the deprived one for whom Happiness herself sheds tears. Speech herself mourns my poor fate. I am the murmured word that gets no hearing.
pareshaN9 huN maiN musht-e-Khaak10, laikin kuchh nahiN khulta11
sikandar12 huN, ke aaiina huN ya gard-e-kadoorat13 huN
ye sub kuchh hai magar hasti14 meri maqsad15 hai qudrat16 ka
saraapa17 nuur18 ho jis ki haqeeqat19, maiN vo zulmat20 huN9.scattered, puzzled 10.fistful of dust 11.becomes apparent/understood 12.Alexander, used here to mean Greeks (see notes for the legend this draws on) 13.dust of impurity 14.existence, life 15.purpose 16.nature, god 17.head to toe 18.light, brilliance 19.truth 20.darkness
I am made of clay, I am puzzled and do not understand. Am I the art, the artist, a reflection or mere dust of impurity. This has reference to a legend. The king of Persia arranged an art competition between Chinese and Greek artists. The Chinese artists asked for and received painting material to create exquisite art. The Greek artists asked for mirrors and polishing material. They polished their mirrors and placed them to reflect the art of the Chinese artists even more exquisitely than the original and won the prize. Iqbal is using “sikandar”, Alexander as a stand in for “Greeks”. The legend purports to show the confusion about reality and reflection – thus am I the art, artist or reflection. Here Iqbal is reflecting on how the British government has undervalued and silenced the people of India. All this may be true, but god has given my life a purpose. I am the darkness which in reality is the embodiment of light.
Khaziina1 huN chhupaya mujh ko musht-e-Khaak-e-sehra2 ne
kisi ko kya Khabar3 hai maiN kahaN huN kis ki daulat4 huN
nazar meri nahiN mamnoon5 e sair6-e arsa-e-hasti7
maiN vo chhoTi si duniya huN ke aap apni vilayat8 huN
na sahba9 huN, na saqi10 huN, na masti11 huN na paimana12
maiN is maiKhana-e-hasti13 meN har-sha’e14 ki haqiqat15 huN1.treasure 2.handful of sand of the desert 3.knowledge 4.wealth 5.obliged, limited to 6.view, look at 7.period of life i.e.this world 8.lordship 9.wine 10.wine bearer 11.intoxication 12.flask 13.tavern of existence i.e.the world 14.everything 15.truth, reality
I am a treasure hidden under a fistful of sand of the desert. No one knows who I am or what treasures I hold. My sight is not obliged to scan the expanse of this universe. I am a world to myself that is lord unto itself. I am not the flask or the bearer, neither wine nor cup, but still, in this tavern I am the spirit of reality. Iqbal continues the theme of being put down by the British colonial government. There is a tinge of Sufi thought … I may not be any of the material manifestations of this world (sahba, saaqi, masti or paimana) but I am still the spirit of this tavern i.e.human existence carries in it a reflection of god, a reflection of all existence.
mujhe raaz-e-do-aalam1 dil ka aaiina2 dikhata hai
vahi kahta huN jo kuchh saamne aankhoN ke aata hai1.secrets of both worlds (material and spiritual) 2.mirror of my heart, inner eye
My inner eye reveals the secrets of spirituality. I (the poet) speak the truth that I see.
tasveer-e-dard mohammed iqbal
Second Section
The second section is a tongue in cheek expression of humility and an expression of mysticism about existence and of “self”. I am a hidden treasure, nobody pays any attention to me, but I say what I see (and I see that which no one else seems to be able to see).
riyaz-e-dahr1 meN na-aashna2 e bazm-e-ishrat3 huN
Khushi roti hai jis ko maiN vo mahroom-e-masarrat4 huN
meri bigRi hui taqdeer ko roti hai goyaee5
maiN harf-e-zer-e-lab6 sharminda7 e gosh-e-sama’at8 huN
1.garden of this world 2.unfamiliar 3.assembly of pleasure 4.deprived of happiness 5.speaking, writing poetry 6.murmured (unimportant) word 7.ashamed, deprived of 8.hearing ear
In this garden-world, I am not familiar with the ways of pleasure. I am the deprived one for whom Happiness herself sheds tears. Speech herself mourns my poor fate. I am the murmured word that gets no hearing.
pareshaN9 huN maiN musht-e-Khaak10, laikin kuchh nahiN khulta11
sikandar12 huN, ke aaiina huN ya gard-e-kadoorat13 huN
ye sub kuchh hai magar hasti14 meri maqsad15 hai qudrat16 ka
saraapa17 nuur18 ho jis ki haqeeqat19, maiN vo zulmat20 huN
9.scattered, puzzled 10.fistful of dust 11.becomes apparent/understood 12.Alexander, used here to mean Greeks (see notes for the legend this draws on) 13.dust of impurity 14.existence, life 15.purpose 16.nature, god 17.head to toe 18.light, brilliance 19.truth 20.darkness
I am made of clay, I am puzzled and do not understand. Am I the art, the artist, a reflection or mere dust of impurity. This has reference to a legend. The king of Persia arranged an art competition between Chinese and Greek artists. The Chinese artists asked for and received painting material to create exquisite art. The Greek artists asked for mirrors and polishing material. They polished their mirrors and placed them to reflect the art of the Chinese artists even more exquisitely than the original and won the prize. Iqbal is using “sikandar”, Alexander as a stand in for “Greeks”. The legend purports to show the confusion about reality and reflection – thus am I the art, artist or reflection. Here Iqbal is reflecting on how the British government has undervalued and silenced the people of India. All this may be true, but god has given my life a purpose. I am the darkness which in reality is the embodiment of light.
Khaziina1 huN chhupaya mujh ko musht-e-Khaak-e-sehra2 ne
kisi ko kya Khabar3 hai maiN kahaN huN kis ki daulat4 huN
nazar meri nahiN mamnoon5 e sair6-e arsa-e-hasti7
maiN vo chhoTi si duniya huN ke aap apni vilayat8 huN
na sahba9 huN, na saqi10 huN, na masti11 huN na paimana12
maiN is maiKhana-e-hasti13 meN har-sha’e14 ki haqiqat15 huN
1.treasure 2.handful of sand of the desert 3.knowledge 4.wealth 5.obliged, limited to 6.view, look at 7.period of life i.e.this world 8.lordship 9.wine 10.wine bearer 11.intoxication 12.flask 13.tavern of existence i.e.the world 14.everything 15.truth, reality
I am a treasure hidden under a fistful of sand of the desert. No one knows who I am or what treasures I hold. My sight is not obliged to scan the expanse of this universe. I am a world to myself that is lord unto itself. I am not the flask or the bearer, neither wine nor cup, but still, in this tavern I am the spirit of reality. Iqbal continues the theme of being put down by the British colonial government. There is a tinge of Sufi thought … I may not be any of the material manifestations of this world (sahba, saaqi, masti or paimana) but I am still the spirit of this tavern i.e.human existence carries in it a reflection of god, a reflection of all existence.
mujhe raaz-e-do-aalam1 dil ka aaiina2 dikhata hai
vahi kahta huN jo kuchh saamne aankhoN ke aata hai
1.secrets of both worlds (material and spiritual) 2.mirror of my heart, inner eye
My inner eye reveals the secrets of spirituality. I (the poet) speak the truth that I see.
Search Words: Indo-Pak Friendship, India Pakistan, Peace Now and Forever, Communal Harmony, Communal Riots, Hindu-Muslim Unity
