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 ٣
عطا ایسا بیاں مجھ کو ہوا رنگیں بیانوں میں
کہ بامِ عرش کے طائر ہیں میرے ہم زبانوں میں
اثر یہ بھی ہے میرے جنونِ فتنہ ساماں کا
مرا آئینہِ دِل ہے قضا کے رازدانوں میں
رُلا تا ہے تیرا نظارہ ائے ہندوستاں مجھ کو
کہ عبرت خیز ہے تیرا فسانہ سب فسانوں میں
دیا رونا مجھے ایسا کہ سب کچھ دے دیا گویا
لکھا کلکِ ازل نے مجھ کو تیرے نوحہ خوانوں میں
نشانِ برگِ گل تک بھی نہ چھوڑ اس باغ میں گلچیں
تیری قسمت سے رزم آرائیاں ہیں باغبانوں میں
چھپا کرآستیں میں بجلیاں رکھی ہیں گردوں نے
عنادل باغ کے غافل نہ بیٹھیں آشیانوں میں
سن ائے غافل صدا میری! یہ کچھ ایسی چیز ہے جسکو
وظیفہ جان کر پڑھتے ہیں طائر بوستانوں میں
وطن کی فکر کر ناداں مصیبت آنے والی ہے
تیری بربادیوں کے مشورے ہیں آسمانوں میں
ذرا دیکھ اِسکو جو کچھ ہو رہا ہے، ہونے والا ہے
دھرا کیا ہے بھلا عہدِ کہن کی داستانوں میں
یہ خاموشی کہاں تک لذّتِ فریاد پیدا کر
زمیں پر تو ہو اور تیری صدا ہو آسمانوں میں
نہ سمجھوگے تو مٹ جاوٗگے ائے ہندوستاں والو
تمہاری داستاں تک بھی نہ ہوگی داستانوں میں
یہی آئینِ قدرت ہے، یہی اسلوبِ فطرت ہے
جو ہے راہِ عمل میں گامزن محبوبِ فطرت ہے
तस्वीर-ए दर्द – मुहम्मद इक़बाल – हिस्सा ३
अता ऐसा बयां मुझ को हुआ रंगीं बयानों में
के बाम ए अर्श के ता’एर हैं मेरे हम ज़बानों में
असर ये भी है मेरे जूनून ए फितना सामां का
मेरा आईना ए दिल है क़ज़ा के राज़दानों में
रुलाता है तेरा नज़्ज़ारा ऐ हिन्दोस्तां मुझ को
के इबरत ख़ेज़ है तेरा फ़साना सब फ़सानों में
दिया रोना मुझे ऐसा के सब कुछ दे दिया गोया
लिखा कल्क ए अज़ल ने मुझ को तेरे नौहा ख़्वानौं में
निशान ए बर्ग ए गुल भी न छोड़ इस बाग़ में गुलचीं
तेरी क़िस्मत से रज़म आराइयां हैं बाग़बानों में
छुपा कर आस्तीन में बिजलिया रक्खी हैं गर्दूं ने
अनादिल बाग़ के ग़ाफ़िल न बैठें आशियानों में
सुन ऐ ग़ाफ़िल सदा मेरी ये कुछ ऐसी चीज़ है जिसको
वज़ीफ़ा जान कर पढ़ते हैं ताएर बोस्तानों में
वतन की फ़िक्र कर नादाँ मुसीबत आने वाली है
तेरी बरबादियों के मशवरे हैं आसमानों में
ज़रा देख इसको जो कुछ हो रहा है होने वाला है
धरा क्या है भला अहद ए कुहन की दास्तानों में
ये ख़ामोशी कहाँ तक लज़्ज़त ए फ़र्याद पैदा कर
ज़मीं पर तू हो और तेरी सदा हो आसमानों में
न समझोगे तो मिट जाओगे ऐ हिन्दोस्तां वालो
तुम्हारी दास्ताँ तक भी न होगी दस्तानों में
यही आईन ए क़ुद्रत है, यही असलूब ए फ़ित्रत है
जो है राह ए अमल में गामज़न महबूब ए फ़ित्रत है
tasveer-e-dard mohammed iqbal
Third Section
Click here for overall comments and on any passage for meanings and discussion. 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.
ata1 aisa bayaaN2 mujh ko hua rangeeN-bayanoN3 meN
ke baam-e-arsh4 ke taa’er5 haiN mere ham-zabanoN6 meN
asar7 ye bhi hai mere junoon-e-fitna-saamaaN8 ka
mera aaiina-e-dil9 hai qaza10 ke raazdaanoN11 meN1.grant 2.speech, ability to write poetry 3.colourful (good) poets 4.roof of the heavens 5.birds (angles) 6.same speech, similar ability to recite poetry 7.effect 8.mischief creating passion 9.mirror of the heart, inner eye 10.fate, future 11.sharing secrets, confidant
I, among all poets, have been granted such beautiful speech that the angels of paradise sing the same song that I do. My mad passion has this effect also, that my inner eye can see far into the future.
rulata hai tera nazzara ae hindostaN mujh ko
ke ibrat-Khez12 hai tera fasana13 sab fasanoN meN
diya rona mujhe aisa ke sub kuchh de diya goya14
likha kilk-e-azal15 ne mujh ko tere nauha-KhwanoN16 meN12.example setting, taking a lesson from 13.story 14.as if 15.pen of eternity, fate 16.mourners, lovers
Looking into this, O Hindostan, makes me cry. Your story is the most shameful among all legends. Fate has reserved for me the task of mourning. It has written me foremost among your mourners (O Hindostan).
nishan-e-barg-e-gul1 tak bhi na choR is baGh meN gulchiN2
teri qismat se razm-aaraiyaN3 haiN baGhbanoN4 meN
chhupa kar aastiN5 meN bijliaN6 rakkhi haiN garduN7 ne
anaadil8 baGh ke Ghafil9 na baiTheN aashianoN10 meN1.(even) a trace of flower petals 2.flower picker (British rulers) 3.preparations for war (communal conflict) 4.gardeners (Indian leaders) 5.hiding in sleeves, hidden (see notes) 6.lightning strikes 7.sky (British rulers) 8.bulbul 9.unaware 10.nests
Do not leave even a single petal in the garden, O flower picker. You are fortunate, the gardeners are fighting among themselves. The skies have reserved hidden bolts of lightning to strike and the bulbul sits in his nest, blissfully unaware.
sun ae Ghafil sada11 meri ye kuchh aisi cheez hai jisko
vazifa12 jaan kar paRhte haiN taa’er13 bostanoN14 meN
vatan ki fikr15 kar nadaaN musibat aane vali hai
teri barbadiyoN ke mashvare16 haiN aasmanoN17 meN11.voice 12.prayer, chant 13.birds 14.gardens 15.worry 16.schemes 17.skies, high up, ruling class (British)
Listen to my song, O you who are lost. Caged birds sing this song as a chant of freedom. Think of your homeland, O simpleton, great calamities befall. The skies are scheming for your desctruction. The flower picker is the British colonial power, picking flowers while the gardeners (Hindus and Muslims) fight among themselves. In Urdu poetic custom calamities descend from the “sky” or “fate”. Here Iqbal uses this for the British colonial power. “aastiN meN chhupana”, literally hide inside sleeves has reference to early Islamic history when the first converts to Islam came to prayer hiding idols in their sleeves, not quite comfortable in discarding their old faith. During namaz the idols fell out, revealing their deception. Thus “aastiN meN chhupana” has become an expression for deception. The “caged bird” is an analogy for colonized India.
zara dekh isko jo kuchh ho raha hai hone vala hai
dhara kya hai bhala ahd-e-kuhan1 ki daastanoN2 meN
ye Khaamoshi kahaN tak lazzat-e-faryad3 paida kar
zamiN par tu ho aur teri sada4 ho aasmanoN meN
na samjhoge to miT jaaoge ae hindostaN valo
tumhari daastaN tak bhi na hogi daastanoN5 meN1.ancient times 2.stories 3.pleasure of protest 4.voice 5.stories, history
Just look at what is happening and what is going to happen. Of what use is to dwell on ancient fables. How long this silence, learn to take pleasure in protest. Feet firmly planted on earth, let your cry reach the heavens. If you are not careful, you will be destroyed O people of Hindostan. Even your story will not remain in the pages of history. Read “shikwa” to see how Iqbal himself dwells on past fables.
yahi aaiin-e-qudrat1 hai, yahi asloob-e-fitrat2 hai
jo hai raah-e-amal3 meN gaamzan4 mahboob-e-fitrat5 hai1.laws of nature 2.ways of nature 3.path of action 4.walking on 5.beloved of nature/god
This is the law of nature, the way of the world that he who is on the path of action is the beloved of destiny.
Search Words: Indo-Pak Friendship, India Pakistan, Peace Now and Forever, Communal Harmony, Communal Riots, Hindu-Muslim Unity
tasveer-e-dard mohammed iqbal
Third Section
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.
ata1 aisa bayaaN2 mujh ko hua rangeeN-bayanoN3 meN
ke baam-e-arsh4 ke taa’er5 haiN mere ham-zabanoN6 meN
asar7 ye bhi hai mere junoon-e-fitna-saamaaN8 ka
mera aaiina-e-dil9 hai qaza10 ke raazdaanoN11 meN
1.grant 2.speech, ability to write poetry 3.colourful (good) poets 4.roof of the heavens 5.birds (angles) 6.same speech, similar ability to recite poetry 7.effect 8.mischief creating passion 9.mirror of the heart, inner eye 10.fate, future 11.sharing secrets, confidant
I, among all poets, have been granted such beautiful speech that the angels of paradise sing the same song that I do. My mad passion has this effect also, that my inner eye can see far into the future.
rulata hai tera nazzara ae hindostaN mujh ko
ke ibrat-Khez12 hai tera fasana13 sab fasanoN meN
diya rona mujhe aisa ke sub kuchh de diya goya14
likha kilk-e-azal15 ne mujh ko tere nauha-KhwanoN16 meN
12.example setting, taking a lesson from 13.story 14.as if 15.pen of eternity, fate 16.mourners, lovers
Looking into this, O Hindostan, makes me cry. Your story is the most shameful among all legends. Fate has reserved for me the task of mourning. It has written me foremost among your mourners (O Hindostan).
nishan-e-barg-e-gul1 tak bhi na choR is baGh meN gulchiN2
teri qismat se razm-aaraiyaN3 haiN baGhbanoN4 meN
chhupa kar aastiN5 meN bijliaN6 rakkhi haiN garduN7 ne
anaadil8 baGh ke Ghafil9 na baiTheN aashianoN10 meN
1.(even) a trace of flower petals 2.flower picker (British rulers) 3.preparations for war (communal conflict) 4.gardeners (Indian leaders) 5.hiding in sleeves, hidden (see notes) 6.lightning strikes 7.sky (British rulers) 8.bulbul 9.unaware 10.nests
Do not leave even a single petal in the garden, O flower picker. You are fortunate, the gardeners are fighting among themselves. The skies have reserved hidden bolts of lightning to strike and the bulbul sits in his nest, blissfully unaware.
sun ae Ghafil sada11 meri ye kuchh aisi cheez hai jisko
vazifa12 jaan kar paRhte haiN taa’er13 bostanoN14 meN
vatan ki fikr15 kar nadaaN musibat aane vali hai
teri barbadiyoN ke mashvare16 haiN aasmanoN17 meN
11.voice 12.prayer, chant 13.birds 14.gardens 15.worry 16.schemes 17.skies, high up, ruling class (British)
Listen to my song, O you who are lost. Caged birds sing this song as a chant of freedom. Think of your homeland, O simpleton, great calamities befall. The skies are scheming for your desctruction. The flower picker is the British colonial power, picking flowers while the gardeners (Hindus and Muslims) fight among themselves. In Urdu poetic custom calamities descend from the “sky” or “fate”. Here Iqbal uses this for the British colonial power. “aastiN meN chhupana”, literally hide inside sleeves has reference to early Islamic history when the first converts to Islam came to prayer hiding idols in their sleeves, not quite comfortable in discarding their old faith. During namaz the idols fell out, revealing their deception. Thus “aastiN meN chhupana” has become an expression for deception. The “caged bird” is an analogy for colonized India.
zara dekh isko jo kuchh ho raha hai hone vala hai
dhara kya hai bhala ahd-e-kuhan1 ki daastanoN2 meN
ye Khaamoshi kahaN tak lazzat-e-faryad3 paida kar
zamiN par tu ho aur teri sada4 ho aasmanoN meN
na samjhoge to miT jaaoge ae hindostaN valo
tumhari daastaN tak bhi na hogi daastanoN5 meN
1.ancient times 2.stories 3.pleasure of protest 4.voice 5.stories, history
Just look at what is happening and what is going to happen. Of what use is to dwell on ancient fables. How long this silence, learn to take pleasure in protest. Feet firmly planted on earth, let your cry reach the heavens. If you are not careful, you will be destroyed O people of Hindostan. Even your story will not remain in the pages of history. Read “shikwa” to see how Iqbal himself dwells on past fables.
yahi aaiin-e-qudrat1 hai, yahi asloob-e-fitrat2 hai
jo hai raah-e-amal3 meN gaamzan4 mahboob-e-fitrat5 hai
1.laws of nature 2.ways of nature 3.path of action 4.walking on 5.beloved of nature/god
This is the law of nature, the way of the world that he who is on the path of action is the beloved of destiny.
Midway down this news item a lawyer in the Supreme Court quotes iqbal’s she’r from this section of tasveer-e dard. Beautiful.