is daur-e-bejunu.N kii kahanii koii likho: Ahmad Faraz



is daur-e-bejunu.N kii kahanii koii likho
jismo.n ko barf Khuun ko paanii koii likho
 
koii kaho ki haath qalam kis tarah hue
kyuu.N ruk ga_ii qalam kii ravaanii koii likho
 
kyo.n ahal-e-shauq sar-va-garebaa.N hai.n dosto
kyo.n Khuu.N-ba-dil hai ahad-e-javaanii koii likho
 
kyo.n surmaa-dar-guluu hai har ek taayar-e-suKhan
kyo.n gulsita.N qafas kaa hai saanii ko_ii likho
 
haa.N taazaa saaneho.n kaa kare kaun intazaar
haa.N dil kii vaardaat puranii koii likho

Zindagi Tune


zindagii tuune lahuu leke diyaa kuchh bhii nahii.n

tere daaman me.n mere vaaste kyaa kuchh bhii nahii.n


mere in haatho.n kii chaaho to talaashi le lo

mere haatho.n me.n lakiiro.n ke sivaa kuchh bhii nahii.n


hamane dekhaa hai ka_ii aise Khudaao.n ko

yahaa.N saamane jin ke vo sach much kaa Khudaa kuchh bhii nahii.n


yaa Khudaa ab ke ye kis rang se aa_ii hai

bahaar zard hii zard hai pe.Do.n pe haraa kuchh bhii nahii.n


dil bhii ik zid pe a.Daa hai kisii bachche kii tarah

yaa to sab kuchh hii ise chaahiye yaa kuchh bhii nahii.n

zindagii Khvaab-e-pareshaa.N hai koii kyaa jaane:Josh Malihabadi


zindagii Khwab-e-pareshaa.N hai koii kyaa jaane

maut kii larazish-e-mizshagaa.N hai koii kyaa jaane


raamish-o-rang ke aivaan me.n lailaa-e-hayaat

sirf ek raat kii mehamaa.N hai koii kyaa jaane

gulashan-e-ziist ke har phuul kii rangiinii me.n

dajalaa-e-Khuun-e-rag-e-jaa.N hai koii kyaa jaane

rang-o-aaha.ng se bajtii huii yaado.n kii baraat

raharav-e-jaadaa-e-nisiyaa.N hai koii kyaa jaane


[raamish=music],[dajalaa-e-Khuun=stream/river of blood,

[raharav-e-jaadaa-e-nisiyaa.N=traveller of a forgotten path]

aadatan tum ne kar diye vaade : Gulzar


aadatan tum ne kar diye vaade

aadatan ham ne aitabaar kiyaa


terii raaho.n me.n baarahaa ruk kar

ham ne apanaa hii intazaar kiiyaa


ab naa maa.Nge.nge zindagii yaa rab

ye gunaah ham ne ek baar kiyaa

lau de uThe vo harf-e-talab soch rahe hai.n: Shakeb Jalali


lau de uThe vo harf-e-talab soch rahe hai.n
kyaa likhiye sar-e-daaman-e-shab soch rahe hai.n

kyaa jaaniye manzil hai kahaa.N jaate hai.n kis simt
bhaTakii hu_ii is bhii.D me.n sab soch rahe hai.n

bhiigii hu_ii ek shaam kii dahaliiz pe baiThe
ham dil ke dha.Dakane kaa sabab soch rahe hai.n

TuuTe huye patto.n se daraKhto.n kaa ta'alluq
ham duur kha.De kunj-e-tarab soch rahe hai.n

is lahar ke piichhe bhii ravaa.N hai.n na_ii lahare.n
pahale nahii.n sochaa thaa jo ab soch rahe hai.n

ham ubhare bhii Duube bhii siyaahii ke bha.Nvar me.n
ham soye nahii.n shab-hamaa-shab soch rahe hai.n

dasht-e-shab par dikhaa_ii kyaa dengii: Parveen Shakir


dasht-e-shab par dikhaa_ii kyaa dengii
silavaTe.n roshanii me.n ubharengii

ghar kii diivaare.n mere jaane par
apanii tanhaa_iyo.n ko sochengii

u.Ngaliyo.n ko taraash duu.N phir bhii
aadatan us kaa naam likkhengii

rang-o-buu se kahii.n panaah nahii.n
Khvaahishe.n bhii kahaa.N amaa.N dengii

ek Khushbuu se bach bhii jaa_uu.N agar
duusarii nikahate.n jaka.D lengii

khi.Dakiyo.n par dabiiz parde ho.n
baarishe.n phir bhii dastake.n dengii

ka_ii marhale aur sar karane hai.n: Anwar Shaoor




ka_ii marhale aur sar karane hai.n
abhii to bahut se safar karane hai.n

[marhale = destinations/obstacles; sar karanaa = overcome]

badii aur nekii yaqii.n aur shak
hai.n jitane bhii aib-o-hunar karane hai.n

[badii = sin; nekii = good; aib = fault; hunar = skill]

hathelii pe rakhate hai.n apanaa kafan
jinhe.n apanaa jiivan amar karane hai.n

sitam hai ki duniyaa ke kitane hii kaam
zaruurii nahii.n hai.n magar karane hai.n

karoge kabhii tark bhii taak-jhaa.Nk
ki ye sil_sile umr bhar karane hai.n

bahut saKht mausam hai lekin 'Shaoor'
kisii taur ye din basar karane hai.n

kuchh to ehasaas-e-ziyaa.N thaa pahale: Nasir Kazmi


kuchh to ehasaas-e-ziyaa.N thaa pahale
dil kaa ye haal kahaa.N thaa pahale

ab to manzil bhii hai Khud garm-e-safar
har qadam sang-e-nishaa.N thaa pahale

safar-e-shauq ke far_sang na puuchh
vaqt beqaid-e-makaa.N thaa pahale

ye alag baat ki Gam raas hai ab
is me.n andeshaa-e-jaa.N thaa pahale

yuu.N na ghabaraaye huye phirate the
dil ajab kunj-e-amaa.N thaa pahale

ab bhii tuu paas nahii.n hai lekin
is qadar duur kahaa.N thaa pahale

Dere Daale hai.n bagolo.n ne jahaa.N
us taraf chashm-e-ravaa.N thaa pahale

ab vo dariyaa na bastii na vo log
kyaa Khabar kaun kahaa.N thaa pahale

har Kharaabaa ye sadaa detaa hai
mai.n bhii aabaad makaa.N thaa pahale

kyaa se kyaa ho ga_ii duniyaa pyaare
tuu vahii.n par hai jahaa.N thaa pahale

ham ne aabaad kiyaa mulk-e-suKhan
kaisaa sun_saan samaa.N thaa pahale

ham ne baKhshii hai Khamoshii ko zubaa.N
dard majabuur-e-fuGaa.N thaa pahale

ham ne roshan kiyaa maamuur-e-Gam
varnaa har simt dhuaa.N thaa pahale

Gam ne phir dil ko jagaayaa 'Nasir'
Khaanaa_barbaad kahaa.N thaa pahale

safar me.n dhuup to hogii : Nida Fazli


safar me.n dhuup to hogii jo chal sako to chalo
sabhii hai.n bhii.D me.n tum bhii nikal sako to chalo

idhar udhar ka_ii ma.nzil hai.n chal sako to chalo
bane banaaye hai.n saa.Nche jo Dhal sako to chalo

kisii ke vaasate raahe.n kahaa.N badalatii hai.n
tum apane aap ko Khud hii badal sako to chalo

yahaa.N kisii ko koii raastaa nahii.n detaa mujhe
giraake agar tum sambhal sako to chalo

yahii hai zindagii kuchh Khvaab chand ummiide.n
inhii.n khilauno.n se tum bhii bahal sako to chalo

har ik safar ko hai mahafuus raasto.n kii talaash
hifaazato.n kii rivaayat badal sako to chalo

kahii.n nahii.n ko_ii suuraj, dhuaa.N dhuaa.N hai fizaa
Khud apane aap se baahar nikal sako to chalo

main jahaa.N tum ko bulaata hu.N wahaa.N tak aao: Ali Sardar Jafri

main jahaa.N tum ko bulaata hu.N wahaa.N tak aao
merii nazro.n se guzar kar dil-o-jaa.N tak aao

phir ye dekho ki zamaane kii hawaa hai kaisii
saath mere mere firdaus-e-jawaa.N tak aao

tegh kii tarah chalo chhod ke aaghosh-e-niyaam
tiir kii tarah se aaghosh-e-kamaa.N tak aao

phool ke gird phiro baagh mein maanind-e-naseem
misl-e-paravanaa kisii sham-e-tapaa.N tak aao

lo vo sadiyo.n ke jahannum kii hade.n Khatm huii
ab hai firdaus hii firdaus jahaa.N tak aao

chhod kar waham-o-gumaa.N husn-e-yahqii.n tak pahu.Ncho
par yaqii.n se bhii kabhii waham-o-gumaa.N tak aao

had-e-nigaah tak ye zamii.n hai siyaah phir: Shaharyar

had-e-nigaah tak ye zamii.n hai siyaah phir
nikalii hai jugnuo.n kii bhataktii sipaah phir

hontho.n pe aa rahaa hai koii naam baar baar
sannaato.n kii tilism ko todegii aah phir

pichchle safar kii gard ko daaman se jhaad do
aawaz de rahii hai koii sooni raah phir

berang aasmaan ko dekhegii kab talak
manzar nayaa talaash karegii nigaah phir

Dheeli huii giraft junu.N kii ke jal uThaa
taaq-e-hawas mein koii charaagh-e-gunaah phir

nahi.n nigaah mein manzil to justju hii sahii


nahi.n nigaah mein manzil to justju hii sahii
nahi.n visaal mayassar to aarazu hii sahii

na tan mein Khoon faraaham na ashk aankho.n mein
namaaz-e-shauq to vaajib hai be-vazuu hii sahii

kisii tarah to jame bazm maikade waalo
nahi.n jo baadaa-o-saaGar to haa-o-huu hii sahii

gar intezaar kathin hai to jab talak aii dil
kisii ke vaada-e-fardaa kii guftaguu hii sahii

dayaar-e-Ghair mein mahram agar nahi.n koii
to 'Faiz' zikr-e-watan apne ru-ba-ru hii sahii

Mujh ko yaqii.n hai: Javed Akhtar


Mujh ko yaqii.n hai sach kahatii thii.n jo bhii ammii kahatii thii.n
jab mere bachapan ke din the chaa.Nd mein pariya.N rahatii thii.n

ik ye din jab apano.n ne bhii hamase rishtaa tod liyaa
ik vo din din jab pe.D kii shaaKhein bojh hamaaraa sahatii thii.n

ik ye din jab laakho.n Gam aur kaal pa.Daa hai aa.Nsoo kaa
ik vo din jab ek zaraa sii baat pe nadiyaa.N bahatii thii.n

ik ye din jab saarii sa.Dkein ruuThii ruuThii lagatii hai.n
ik vo din jab 'aao khele.n' saarii galiyaa.N kahatii thii.n

ik ye din jab jaagii raate.n diivaaro.n ko takatii hai.n
ik vo din jab shaaKho.n kii bhii palake.n bojhal rahatii thii.n

ik ye din jab zahen mein saarii ayyaarii kii baate.n hai.n
ik vo din jab dil mein saarii bholii baate.n rahatii thii.n

ik ye ghar jis ghar mein meraa saaz-o-saamaa.N rahataa hai
ik vo ghar jisme.n merii boodhii naanii rahatii thii.n

Dr. Rahi Masoom Raza

Rahi’s journey begins on 1st September, 1927 in Gangauli, a small village in the Ghazipur district of Uttar Pradesh and ends with his vaseeyat in which he wills that he be laid to rest in the lap of Ganga, whom he considered his second mother. He passed away on 15 March 1992. In his career spanning 35 years, Rahi Masoom Raza has written lyrics, dialogues and stories for various movies and television series. His high came with the telecast of TV series 'Mahabharat' that was based on the Hindu epic Mahabharat. Rahi, a Muslim, wrote the screenplay and dialogue of the TV series that went on to become the most watched TV series in India. At one time, its TRP was a staggering 86 %. This was a triumph for Rahi as some Hindu zealots had criticized his inclusion in the team.


Hum kaisaa geet likhe.n


dil ke ujle kaghaz par hum kaisaa geet likhe.n
bolo tum ko Gair likhe.n yaa apnaa meet likhe.n

niile ambar kii a.ngnaaii me.n taaro.n ke phool
mere pyaase honto.N par hai.n angaaro.n ke phool
in phoolo.n ko aaKhir apanii haar yaa jiit likhe.N

koii puranaa sapnaa de do aur kuchh meethe bol
lekar hum nikale hai.n apanii aa.Nkho ke kash-kol
hum ba.njaare preet ke maare kyaa sangeet likhe.n

shaam khadii hai ek chamelii ke pyaale me.n shabnam
Jamunaa jii kii ungalii pakde khel rahaa hai madhuban
aise me.n Ganga jal se Radhaa kii priit likhe.n

dil ke ujle kaghaz par ham kaisaa geet likhe.n

saKht muqaam : Dilawar Fighar


jadaa-e-fan me.n ba.De saKht muqaam aate hai.n
mar ke rah jaataa hai fanakaar amar hone tak

kitane Gaalib the jo paidaa hue aur mar bhii gaye
qadradaan ko taKhallus ki kHabar hone tak

kitane iqbaal rah-e-fikr me.n ut.The lekin
raastaa bhuul gaye Khatm-e-safar hone tak

kitne shabbiir Hasan kha.N na bane Josh kabhii
mar gaye kitane Sikander bhii Jigar hone tak

Faiz rang bhii ashaar me.n aa sakataa thaa
ungliya.N saath to de.n Khuun me.n tar hone tak

chaand zarro.n hi ko milatii hai ziyaa-e-Khurshiid
chaaand taare hii chamakate hai.n sahar hone tak

dil-e-shaayar pe kuchh aisii hii guzartii hai 'fighar'
jo kisii qatare pe guzare hai guhar hone tak

Waseem Bareilvy


dareechoN tak chale aaye tumhare daur ke khatre

ham apne ghar se baahar jhaankne ka hauslaa bhi kho baithe

wo apne waqt ke nasshe mein khushiaN chhin le tujhse

magar jab tum hansee baantoN to usko bhool mat jaana

apne har har lafz ka khud aaiinaa ho jaaoongaa

us ko chhota kah ke main kaise badaa ho jaaoongaa
tum giraane mein lage the tum ne sochaa hi nahiin

main giraa to maslaa ban kar khadaa ho jaaoongaa
mujh ko chlane do, akelaa hai abhi meraa safar

raastaa rokaa gayaa to qaafila ho jaaoongaa
saari duniya ki nazar mein hai meraa ahd-e-vafaa

ek tere kahne se kya main bevafaa ho jaaoongaa
_____________________________________Waseem Bareilvi

Ram, the Imam e Hind of Allama Iqbal


लबरेज़ है शराबे-हक़ीक़त से जामे-हिन्द ।
सब फ़ल्सफ़ी हैं खित्ता-ए-मग़रिब के रामे हिन्द ।।
ये हिन्दियों के फिक्रे-फ़लक उसका है असर,
रिफ़अत में आस्माँ से भी ऊँचा है बामे-हिन्द ।
इस देश में हुए हैं हज़ारों मलक सरिश्त,
मशहूर जिसके दम से है दुनिया में नामे-हिन्द ।
है राम के वजूद पे हिन्दोस्ताँ को नाज़,
अहले-नज़र समझते हैं उसको इमामे-हिन्द ।
एजाज़ इस चिराग़े-हिदायत का है ,
यहीरोशन तिराज़ सहर ज़माने में शामे-हिन्द ।
तलवार का धनी था, शुजाअत में फ़र्द था,
पाकीज़गी में, जोशे-मुहब्बत में फ़र्द था ।
:- Sir Mohammed Iqbal

शब्दार्थ :लबरेज़ है शराबे-हक़ीक़त से जामे-हिन्द । सब फ़ल्सफ़ी हैं खित्ता-ए-मग़रिब के रामे हिन्द ।।= हिन्द का प्याला सत्य की मदिरा से छलक रहा है। पूरब के सभी महान चिंतक इहंद के राम हैं; फिक्रे-फ़लक=महान चिंतन; रिफ़अत=ऊँचाई; बामे-हिन्द=हिन्दी का गौरव या ज्ञान; मलक=देवता; सरिश्त=ऊँचे आसन पर; एजाज़=चमत्कार; चिराग़े-हिदायत=ज्ञान का दीपक; सहर=भरपूर रोशनी वाला सवेरा; शुजाअत=वीरता; फ़र्द=एकमात्र, अद्वितीय; पाकीज़गी= पवित्रता

Kaifi Azmi

Kaifi Azmi, the renowned Urdu poet and lyricist, was born in 1925 in Mijwan, Azamgarh District, Uttar Pradesh. He died in Mumbai on May 10, 2002, fifteen months after recording for the Library of Congress in New Delhi. At the time of his death he was one of the last remaining representatives of the Progressive Writers Association, a writers' association that wielded unparalleled influence during India's freedom struggle.His poetry remains solidly rooted in the tradition of Urdu poetry with its ardent longing for intense emotions and passionate espousal of radical causes. His poems celebrate love, compassion and human equality. The lyrical beauty and powerful expression of his film songs have captivated millions. Despite the political and economic shifts in India, he retained his idealism and remained to the end optimistic of a socialist future for India. This optimism was reflected in poetry replete with dreams of a socialist egalitarian society in which the voice of another fellow human being will be felt like melodious music. "I was born in enslaved India, have lived in independent secular India, and God willing, I will die in socialist India." (The Indian Express, September 9, 1998)
Kaifi Azmi received many awards and accolades including the Soviet Land Nehru Award and Sahitya Akademi Award. In 2000, he was conferred the first Millennium Award by the Delhi Government and Urdu Academy. He was the recipient of "Padma Shri" one of the Indian Government's highest civilian awards. The Maharashtra government conferred the Dnyaneshwar award on him in 1998.The Library of Congress owns nine of his works.






Somnath

but-shikan ko’ii kahiiN se bhii na aane paaye
hamne kuch but abhii siine meN sajaa rakhe haiN
apnii yaadoN meN basaa rakhe haiN
dil pe ye soch ke path-raao karo diivaanoN
ke jahaaN hamne sanam apne chhupaa rakhe haiN
vahiiN Ghazni ke Khudaa rakhe haiN

but jo TuuTe to kisii tarah banaa leNge unheN
tukRe-tukRe sahii daaman meN uThaa leNge unheN
phir se ujRe hu’e siine meN sajaa leNge unheN
Gar Khudaa TuuTegaa ham to na banaa paayeNge
uske bikhre hu’e tukRe na uThaa paayeNge
tum uThaa lo to uTha lo shaayad
tum banaa lo to banaa lo shaayad

tum banaao to Khudaa jaane banaao kaisaa
apne jaisaa hii banaaya to qayaamat hogii
pyaar hogaa na zamaaneN meN muhabbat hogii
dushmanii hogi, adaavat hogii
hamse uskii na ibaadat hogii

vahshat-e-but-shikanii dekh ke hairaan huuN maiN
but-parastii mera shevaa hai ke insaan huuN maiN
ek na ek but to har ek dil meN chhupaa hotaa hai
uske sau naamoN meN ek naam Khudaa hotaa hai

Doosra Banbaas in Hindi

दूसरा बनबास

राम बनबास से लौट कर जब घर में आये
याद जंगल बहुत आया जो नगर में आए
रक्स ऐ दीवानगी आंगन में जो देखा होगा (रक्स- तांडव)
छह दिसम्बर को श्री राम ने सोचा होगा
इतने दीवाने कहां से मेरे घर में आये।
जगमगाते थे जहां राम के कदमों के निशां
प्यार की कहकशां लेती थी अंगड़ाई जहां
मोड़ नफ़रत के उसी राहगुजर में आये।
धर्म क्या उनका है, क्या जात है, यह जानता कौन
घर न जलता तो उन्हें रात में पहचानता कौन
घर जलाने को मेरा यार लोग जो घर में आये।
शाकाहारी है मेरे दोस्त तुम्हारा खंज़र
तुमने बाबर की तरफ फेंके थे सारे पत्थर
है मेरे सर की खता जख्म जो सर में आये।
पाँव सरयू में अभी राम ने धोये भी न थे
कि नज़र आये वहां ख़ून के गहरे धब्बे
पाँव धोये बिना सरयू के किनारे से उट्ठे

यह कहते हुए श्री राम द्वारे से उट्ठे
राजधानी की फि़ज़ां आयी नहीं रास मुझे
छह दिसम्बर को मिला दूसरा
बनबास मुझे।

Parveen Shakir

Parveen Shakir was born on 24th November, 1952 in Karachi, Pakistan. She was highly educated with two masters degrees, one in English literature and one in linguistics. She also held a Ph.D and another masters degree in Bank Administration.
She was a teacher for nine years before she joined the Civil Service and worked in the Customs department. In 1986 she was appointed the second secretary, CBR in Islamabad.
A number of books of her poetry have been published. In chronological order, they are Khushboo (1976), Sad-barg (1980), Khud-kalaami (1990), Inkaar (1990) and Maah-e-Tamaam (1994). Her first book, Khushboo, won the Adamjee award. Later she was awarded the Pride of Performance award, which is the highest award given by the Pakistan government.
On 26th December, 1994, on her way to work, her car collided with a truck and the world of modern Urdu poetry lost one of its brightest stars.
Parveen Shakir initially wrote under the pen-name of 'Beena'. She considered Ahmed Nadeem Qasmi her 'ustad' and used to called him 'Ammujaan'. She was married to Dr. Nasir Ahmed but got divorced from him sometime before her untimely demise in 1994. They had one son - Murad Ali.

mushkil hai ab shahar me.n nikale ko_ii ghar se


mushkil hai ab shahar me.n nikale ko_ii ghar se

dastaar pe baat aa ga_ii hai hotii hu_ii sar se

barasaa bhii to kis dasht ke be-faiz badan par

ik umr mere khet the jis abr ko tarase

is baar jo indhan ke liye kaT ke giraa hai

chi.Diyo.n ko ba.Daa pyaar thaa us buu.Dhe shajar se

mehanat merii aa.Ndhii se to manasuub nahii.n thii

rahanaa thaa ko_ii rabt shajar kaa bhii samar se

Khud apane se milane kaa to yaaraa na thaa mujh me.n

mai.n bhii.D me.n gum ho ga_ii tanhaa_ii ke Dar se

benaam musaafat hii muqaddar hai to kyaa Gam

manzil kaa ta'yyun kabhii hotaa hai safar se

pattharaayaa hai dil yuu.N ki ko_ii ism pa.Dhaa jaaye

ye shahar nikalataa nahii.n jaaduu ke asar se

nikale hai.n to raste me.n kahii.n shaam bhii hogii

suuraj bhii magar aayegaa is raah-guzar se



terii Khushbuu kaa pataa karatii hai


terii Khushbuu kaa pataa karatii hai

mujh pe ehasaan havaa karatii hai

shab kii tanhaa_ii me.n ab to aksar

guftaguu tujh se rahaa karatii hai

dil ko us raah pe chalanaa hii nahii.n

jo mujhe tujh se judaa karatii hai

zindagii merii thii lekin ab to

tere kahane me.n rahaa karatii hai

us ne dekhaa hii nahii.n varnaa ye aa.Nkh

dil kaa ehavaal kahaa karatii hai

beniyaaz-e-kaaf-e-dariyaa angusht

ret par naam likhaa karatii hai

shaam pa.Date hii kisii shaKhs kii yaad

kuuchaa-e-jaa.N me.n sadaa karatii hai

mujh se bhii us kaa hai vaisaa hii suluuk

haal jo teraa ana??? karatii hai

dukh huaa karataa hai kuchh aur bayaa.N

baat kuchh aur huaa karatii hai

abr barase to inaayat us kii

shaaKh to sirf duaa karatii hai

masalaa jab bhii uThaa chiraaGo.n kaa

faisalaa sirf havaa karatii hai




Translated by Asad Khan

1.Woh jaa chukaa hai

Magar judaai se qabl kaa

Ek narm lamhaThehar gayaa hai

Miri hatheli ki pusht per

Zindagi meinPehli kaa chand bun ker


He is gone.

But a tender moment,

from when he was hereis stuck;

On the back of my hand(and)

in my lifelike a crescent.

2.Raks karte hue

Jis ke shaano.n pe

tu ne abhi sir rakha hai

Kabhi me bhee is ki panaaho.n me thee

Faraq yeh hai ke me

Raat se qabl tanha hui

Aur tu subha tak

Is fareb-e-tahaffuz me khoyee rahe gee


while dancing,

the one upon whose shoulders

you rest your head

i too was once in his safeguard.

the difference is that

iwas abandoned before dark,

and you shall remain

consumed in this false sense of security till dawn.
Parveen Shakir

Sir Mohammed Iqbal

BIOGRAPHY
Iqbal was an heir to a very rich literary, mystic, philosophical and religious tradition. He imbibed and assimilated all that was best in the past and present Islamic and Oriental thought and culture. His range of interests covered Religion, Philosophy, Art, Politics, Economics, the revival of Muslim life and universal brotherhood of man. His prose, not only in his national language but also in English, was powerful. His two books in English demonstrate his mastery of English. But poetry was his medium par excellence of expression. Everything he thought and felt, almost involuntarily shaped itself into verse.
Iqbal's Works His first book Ilm ul Iqtisad/The knowledge of Economics was written in Urdu in 1903 . His first poetic work Asrar-i Khudi (1915) was followed by Rumuz-I Bekhudi (1917). Payam-i Mashriq appeared in 1923, Zabur-i Ajam in 1927, Javid Nama in 1932, Pas cheh bayed kard ai Aqwam-i Sharq in 1936, and Armughan-i Hijaz in 1938. All these books were in Persian. The last one, published posthumously is mainly in Persian: only a small portion comprises Urdu poems and ghazals.
His first book of poetry in Urdu, Bang-i Dara (1924) was followed by Bal-i Jibril in 1935 and Zarb-i Kalim in 1936.
Bang-i Dara consist of selected poems belonging to the three preliminary phases of Iqbal's poetic career. Bal-i Jibril is the peak of Iqbal's Urdu poetry. It consists of ghazals, poems, quatrains, epigrams and displays the vision and intellect necessary to foster sincerity and firm belief in the heart of the ummah and turn its members into true believers. Zarb-i Kalim was described by the poet himself "as a declaration of war against the present era". The main subjects of the book are Islam and the Muslims, education and upbringing, woman, literature and fine arts, politics of the East and the West. In Asrar-i Khudi, Iqbal has explained his philosohy of "Self". He proves by various means that the whole universe obeys the will of the "Self". Iqbal condemns self-destruction. For him the aim of life is self-relization and self-knowledge. He charts the stages through which the "Self" has to pass before finally arriving at its point of perfection, enabling the knower of the "Self" to become the viceregent of Allah on earth/Khalifat ullah fi'l ard. In Rumuz-i Bekhudi, Iqbal proves that Islamic way of life is the best code of conduct for a nation's viability. A person must keep his individual characteristics intact but once this is achieved he should sacrifice his personal ambitions for the needs of the nation. Man cannot realize the "Self" out of society. Payam-i Mashriq is an answer to West-Istlicher Divan by Goethe, the famous German peot. Goethe bemoaned that the West had become too materialistic in outlook and expected that the East would provide a message of hope that would resuscitate spiritual values. A hundred years went by and then Iqbal reminded the West of the importance of morality, religion and civilization by underlining the need for cultivating feeling, ardour and dynamism. He explained that life could, never aspire for higher dimensions unless it learnt of the nature of spirituality.
Zabur-i Ajam includes the Mathnavi Gulshan-i Raz-i Jadid and Bandagi Nama. In Gulshan-i Raz-i Jadid, he follows the famous Mathnavi Gulshan-i Raz by Sayyid Mahmud Shabistri. Here like Shabistri, Iqbal first poses questions, then answers them with the help of ancient and modern insight and shows how it effects and concerns the world of action. Bandagi Nama is in fact a vigorous campaign against slavery and subjugation. He explains the spirit behind the fine arts of enslaved societies. In Zabur-i Ajam, Iqbal's Persian ghazal is at its best as his Urdu ghazal is in Bal-i Jibril. Here as in other books, Iqbal insists on remembering the past, doing well in the present and preparing for the future. His lesson is that one should be dynamic, full of zest for action and full of love and life. Implicitly, he proves that there is no form of poetry which can equal the ghazal in vigour and liveliness. In Javid Nama, Iqbal follows Ibn-Arabi, Marri and Dante. Iqbal depicts himself as Zinda Rud (a stream, full of life) guided by Rumi the master, through various heavens and spheres and has the honour of approaching Divinity and coming in contact with divine illuminations. Several problems of life are discussed and answers are provided to them. It is an exceedingly enlivening study. His hand falls heavily on the traitors to their nation like Mir Jafar from Bengal and Mir Sadiq from the Deccan, who were instrumental in the defeat and death of Nawab Siraj-ud-Daula of Bengal and Sultan Tipu of Mysore respectively by betraying them for the benefit of the British. Thus, they delivered their country to the shackles of slavery. At the end, by addressing his son Javid, he speaks to the young people at large and provides guidance to the "new generation".
Pas Cheh Bay ed Kard ai Aqwam-i Sharq includes the mathnavi Musafir. Iqbal's Rumi, the master, utters this glad tiding "East awakes from its slumbers" "Khwab-i ghaflat". Inspiring detailed commentary on voluntary poverty and free man, followed by an exposition of the mysteries of Islamic laws and sufic perceptions is given. He laments the dissention among the Indian as well as Muslim nations. Mathnavi Musafir, is an account of a journey to Afghanistan. In the mathnavi the people of the Frontier (Pathans) are counseled to learn the "secret of Islam" and to "build up the self" within themselves.
Armughan-i Hijaz consists of two parts. The first contains quatrains in Persian; the second contains some poems and epigrams in Urdu. The Persian quatrains convey the impression as though the poet is travelling through Hijaz in his imaginatin. Profundity of ideas and intensity of passion are the salient features of these short poems. The Urdu portion of the book contains some categorical criticism of the intellectual movements and social and political revolutions of the modern age.

Iqbal's English Works


Iqbal wrote two books in English. The first being The Development of Metaphysics in Persia in which continuity of Persian thought is discussed and sufism is dealt with in detail. In Iqbal's view true Islamic Sufism awakens the slumbering soul to a higher idea of life.
The second book, The Reconstruction of Religious Thought in Islam, is the collection of Iqbal's six lectures which he delivered at Madras, Hyderabad and Aligarh. These were first published from Lahore in 1930 and then by Oxford University Press in 1934. Some of the main subjects are "Knowledge and Religious Experience," "The Conception of God and the Meaning of Prayer," "The Human Ego," "Predestination and Free Will," "The Spirit of Muslim Culture," "The Principle of Movement in Islam (Ijtihad)." These issues are discussed pithily in a thought provoking manner in the light of Islam and the modern age. These lectures were translated into Urdu by Sayyid Nazir Niazi.


Letters

In addition to these books he wrote hundreds of letters in Urdu and English. Urdu letters have been published in ten different books. He issued statements pertaining to the burning topics of the day relating to various aspects of social, religious, cultural and political problems of India, Europe and the world of Islam. For a few years he served as a Professor of Philosophy and Oriental Learning at the government College, Lahore and the Punjab University Oriental College. Many of his speeches and statements have been compiled and published in book form. Except for the last four years of his life he practised at the Lahore High Court Bar. All his life he was easily accessible to all and sundry and evening sessions at his home were a common feature.
In Spite of his heavy political and social commitments he had time for poetry, a poetry which made philosophy sing. A.K Brohi says:
Dr. Iqbal is undoubtedly a renowned poet-philosopher of Islam and may have in his writings a never failing source of inspiration, delight and aesthetic wonder. He has made signal contribution to our understanding of the Holy Writ of Islam and offered his evaluation of the remarkable example of which the life of the Prophet of Islam (pbuh) has presented to the world at large and the high water-mark of excellence, it provides of how best our earthly lives can be lived here below.


Iqbal The Visionary


Iqbal joined the London branch of the All India Muslim League while he was studying Law and Philosophy in England. It was in London when he had a mystical experience. The ghazal containing those divinations is the only one whose year and month of composition is expressly mentioned. It is March 1907. No other ghazal, before or after it has been given such importance. Some verses of that ghazal are:
At last the silent tongue of Hijaz hasannounced to the ardent ear the tidingThat the covenant which had been given to thedesert-dwelles is going to be renewedvigorously:
The lion who had emerged from the desert andhad toppled the Roman Empire isAs I am told by the angels, about to get upagain (from his slumbers.)
You the dwelles of the West, should know thatthe world of God is not a shop (of yours).Your imagined pure gold is about to lose itstandard value (as fixed by you).
Your civilization will commit suicide with itsown daggers.A nest built on a frail bough cannot bedurable.
The caravan of feeble ants will take the rosepetal for a boatAnd inspite of all blasts of waves, it shall crossthe river.
I will take out may worn-out caravan in thepitch darkness of night.My sighs will emit sparks and my breath willproduce flames.
For Iqbal it was a divinely inspired insight. He disclosed this to his listeners in December 1931, when he was invited to Cambridge to address the students. Iqbal was in London, participating in the Second Round Table Conference in 1931. At Cambridge, he referred to what he had proclaimed in 1906:
I would like to offer a few pieces of advice to the youngmen who are at present studying at Cambridge ...... I advise you to guard against atheism and materialism. The biggest blunder made by Europe was the separation of Church and State. This deprived their culture of moral soul and diverted it to the atheistic materialism. I had twenty-five years ago seen through the drawbacks of this civilization and therefore had made some prophecies. They had been delivered by my tongue although I did not quite understand them. This happened in 1907..... After six or seven years, my prophecies came true, word by word. The European war of 1914 was an outcome of the aforesaid mistakes made by the European nations in the separation of the Church and the State.
It should be stressed that Iqbal felt he had received a spiritual message in 1907 which even to him was, at that juncture, not clear. Its full import dawned on him later. The verses quoted above show that Iqbal had taken a bold decision about himself as well. Keeping in view that contemporary circumstances, he had decided to give a lead to the Muslim ummah and bring it out of the dark dungeon of slavery to the shining vasts of Independence. This theme was repeated later in poems such as "Abdul Qadir Ke Nam," "Sham-o-Sha'ir," "Javab-i Shikwa," "Khizr-i Rah," "Tulu-e Islam" etc. He never lost heart. His first and foremost concern, naturally, were the Indian Muslims. He was certain that the day of Islamic resurgence was about to dawn and the Muslims of the South Asian subcontinent were destined to play a prominent role in it.
Iqbal, confident in Allah's grand scheme and His aid, created a new world and imparted a new life to our being. Building upon Sir Sayyid Ahmed's two-nation theory, absorbing the teaching of Shibli, Ameer Ali, Hasrat Mohani and other great Indian Muslim thinkers and politicians, listening to Hindu and British voices, and watching the fermenting Indian scene closely for approximately 60 years, he knew and ultimately convinced his people and their leaders, particularly Quaid-i-Azam Muhammad Ali Jinnah that:
"We both are exiles in this land. Both longing forour dear home's sight!"
"That dear home is Pakistan, on which he harpened like a flute-player, but whose birth he did not witness."
Many verses in Iqbal's poetry are prompted by a similar impulse. A random example, a ghazal from Zabur-i Ajam published in 1927 illustrates his deepseated belief:
The Guide of the Era is about to appear from acorner of the desert of Hijaz.The carvan is about to move out from this farflung valley.
I have observed the kingly majesty on thefaces of the slaves.Mahmud's splendour is visible in the dust ofAyaz.
Life laments for ages both in the Ka'bah andthe idol-house.So that a person who knows the secret mayappear.
The laments that burst forth from the breastsof the earnestly devoted people. Are goingto initiate a new principle in the conscience ofthe world.
Take this harp from my hand. I am done for.My laments have turned into blood and thatblood is going to trickle from the strings of theharp.
The five couplets quoted above are prophetic. In the first couplet Allama Iqbal indicates that the appearance of the Guide of the Era was just round the corner and the Caravan is about to start and emerge from "this" valley. Iqbal does not say that the awaited Guide has to emerge from the centre of Hijaz. He says he is going to appear from a far flung valley. For the poet the desert of Hijaz, at times, serves as a symbol for the Muslim ummah. This means that Muslims of the Indian sub-continent are about to have a man who is destined to guide them to the goal of victory and that victory is to initiate the resurgence of Islam.
In the second couplet, he breaks the news of the dawn which is at hand. the slaves are turning into magnificent masters. In the third couplet he stresses the point that the Seers come to the world of man after centuries. He himself was one of those Seers. In the fourth couplet he refers to some ideology or principle quite new to the world which would effect the conscience of all humanity. And what else could it be, if it were not the right of self-determination for which the Muslims of the sub-continent were about to struggle. After the emergence of Pakistan this right became a powerful reference. It served as the advent of a new principle and continues to provide impetus to Muslims in minority in other parts of the world such as in the Philippines, Thailand and North America.
In the fifth couplet Iqbal indicates that he would die before the advent of freedom. He was sure that his verses which epitomized his most earnest sentiments would stand in good stead in exhorting the Muslims of the sub-continent to the goal of freedom.
Iqbal and Politics These thoughts crystallised at Allahabad Session (December, 1930) of the All India Muslim League, when Iqbal in the Presidential Address, forwarded the idea of a Muslim State in India:
I would like to see the Punjab, North-West Frontier Provinces, Sind and Baluchistan into a single State. Self-Government within the British Empire or without the British Empire. The formation of the consolidated North-West Indian Muslim State appears to be the final destiny of the Muslims, at least of the North-West India.
The seed sown, the idea began to evolve and take root. It soon assumed the shape of Muslim state or states in the western and eastern Muslim majority zones as is obvious from the following lines of Iqbal's letter, of June 21, 1937, to the Quaid-i Azam, only ten months before the former's death:
A separate federation of Muslim Provinces, reformed on the lines I have suggested above, is the only course by which we can secure a peaceful India and save Muslims from the domination of Non-Muslims. Why should not the Muslims of North-West India and Bengal be considered as nations entitled to self-determination just as other nations in India and outside India are.
There are some critics of Allama Iqbal who assume that after delivering the Allahbad Address he had slept over the idea of a Muslim State. Nothing is farther from the truth. The idea remained always alive in his mind. It had naturally to mature and hence, had to take time. He was sure that the Muslims of sub-continent were going to achieve an independent homeland for themselves. On 21st March, 1932, Allama Iqbal delivered the Presidential address at Lahore at the annual session of the All-India Muslim Conference. In that address too he stressed his view regarding nationalism in India and commented on the plight of the Muslims under the circumstances prevailing in the sub-continent. Having attended the Second Round Table Conference in September, 1931 in London, he was keenly aware of the deep-seated Hindu and Sikh prejudice and unaccommodating attitude. He had observed the mind of the British Government. Hence he reiterated his apprehensions and suggested safeguards in respect of the Indian Muslims:
In so far then as the fundamentals of our policy are concerned, I have got nothing fresh to offer. Regarding these I have already expressed my views in my address to the All India Muslim League. In the present address I propose, among other things, to help you, in the first place, in arriving at a correct view of the situation as it emerged from a rather hesitating behavior of our delegation the final stages of the Round-Table Conference. In the second place, I shall try, according to my lights to show how far it is desirable to construct a fresh policy now that the Premier's announcement at the last London Conference has again necessitated a careful survey of the whole situation.
It must be kept in mind that since Maulana Muhammad Ali had died in Jan. 1931 and Quaid-i Azam had stayed behind in London, the responsibility of providing a proper lead to the Indian Muslims had fallen on him alone. He had to assume the role of a jealous guardian of his nation till Quaid-i Azam returned to the sub-continent in 1935.
The League and the Muslim Conference had become the play-thing of petty leaders, who would not resign office, even after a vote of non-confidence! And, of course, they had no organization in the provinces and no influence with the masses.
During the Third Round-Table Conference, Iqbal was invited by the London National League where he addressed an audience which included among others, foreign diplomats, members of the House of Commons, Members of the House of Lords and Muslim members of the R.T.C. delegation. In that gathering he dilated upon the situation of the Indian Muslims. He explained why he wanted the communal settlement first and then the constitutional reforms. He stressed the need for provincial autonomy because autonomy gave the Muslim majority provinces some power to safeguard their rights, cultural traditions and religion. Under the central Government the Muslims were bound to lose their cultural and religious entity at the hands of the overwhelming Hindu majority. He referred to what he had said at Allahabad in 1930 and reiterated his belief that before long people were bound to come round to his viewpoint based on cogent reason.
In his dialogue with Dr. Ambedkar Allama Iqbal expressed his desire to see Indian provinces as autonomous units under the direct control of the British Government and with no central Indian Government. He envisaged autonomous Muslim Provinces in India. Under one Indian union he feared for Muslims, who would suffer in many respects especially with regard to their existentially separate entity as Muslims.
Allama Iqbal's statement explaining the attitude of Muslim delegates to the Round-Table Conference issued in December, 1933 was a rejoinder to Jawahar Lal Nehru's statement. Nehru had said that the attitude of the Muslim delegation was based on "reactionarism." Iqbal concluded his rejoinder with:
In conclusion I must put a straight question to punadi Jawhar Lal, how is India's problem to be solved if the majority community will neither concede the minimum safeguards necessary for the protection of a minority of 80 million people, nor accept the award of a third party; but continue to talk of a kind of nationalism which works out only to its own benefit? This position can admit of only two alternatives. Either the Indian majority community will have to accept for itself the permanent position of an agent of British imperialism in the East, or the country will have to be redistributed on a basis of religious, historical and cultural affinities so as to do away with the question of electorates and the communal problem in its present form.
Allama Iqbal's apprehensions were borne out by the Hindu Congress ministries established in Hindu majority province under the Act of 1935. Muslims in those provinces were given dastardly treatment. This deplorable phenomenon added to Allama Iqbal's misgivings regarding the future of Indian Muslims in case India remained united. In his letters to the Quaid-i Azam written in 1936 and in 1937 he referred to an independent Muslim State comprising North-Western and Eastern Muslim majority zones. Now it was not only the North-Western zones alluded to in the Allahabad Address.
There are some within Pakistan and without, who insist that Allama Iqbal never meant a sovereign Muslim country outside India. Rather he desired a Muslim State within the Indian Union. A State within a State. This is absolutely wrong. What he meant was understood very vividly by his Muslim compatriots as well as the non-Muslims. Why Nehru and others had then tried to show that the idea of Muslim nationalism had no basis at all. Nehru stated:
This idea of a Muslim nation is the figment of a few imaginations only, and, but for the publicity given to it by the Press few people would have heard of it. And even if many people believed in it, it would still vanish at the touch of reality.
Iqbal and the Quaid-i AzamWho could understand Allama Iqbal better than the Quaid-i Azam himself, who was his awaited "Guide of the Era"? The Quaid-i Azam in the Introduction to Allama Iqbal's lettes addressed to him, admitted that he had agreed with Allama Iqbal regarding a State for Indian Muslims before the latters death in April, 1938. The Quaid stated:
His views were substantially in consonance with my own and had finally led me to the same conclusions as a result of careful examination and study of the constitutional problems facing India and found expression in due course in the united will of Muslim India as adumbrated in the Lahore Resolution of the All-India Muslim League popularly known as the "Pakistan Resolution" passed on 23rd March, 1940.
Furthermore, it was Allama Iqbal who called upon Quaid-i Azam Muhammad Ali Jinnah to lead the Muslims of India to their cherished goal. He preferred the Quaid to other more experienced Muslim leaders such as Sir Aga Khan, Maulana Hasrat Mohani, Nawab Muhammad Isma il Khan, Maulana Shaukat Ali, Nawab Hamid Ullah Khan of Bhopal, Sir Ali Imam, Maulvi Tameez ud-Din Khan, Maulana Abul Kalam, Allama al-Mashriqi and others. But Allama Iqbal had his own reasons. He had found his "Khizr-i Rah", the veiled guide in Quaid-i Azam Muhammad Ali Jinnah who was destined to lead the Indian branch of the Muslim Ummah to their goal of freedom. Allama Iqbal stated:
I know you are a busy man but I do hope you won't mind my writing to you often, as you are the only Muslim in India today to whom the community has right to look up for safe guidance through the storm which is coming to North-West India, and perhaps to the whole of India.
Similar sentiments were expressed by him about three months before his death. Sayyid Nazir Niazi in his book Iqbal Ke Huzur, has stated that the future of the Indian Muslims was being discussed and a tenor of pessimism was visible from what his friends said. At this Allama Iqbal observed:
There is only one way out. Muslim should strengthen Jinnah's hands. They should join the Muslim League. Indian question, as is now being solved, can be countered by our united front against both the Hindus and the English. Without it our demands are not going to be accepted. People say our demands smack of communalism. This is sheer propaganda. These demands relate to the defence of our national existence.
He continued:
The united front can be formed under the leadership of the Muslim League. And the Muslim League can succeed only on account of Jinnah. Now none but Jinnah is capable of leading the Muslims.
Matlub ul-Hasan Sayyid stated that after the Lahore Resolution was passed on March 23, 1940, the Quaid-i Azam said to him:
Iqbal is no more amongst us, but had he been alive he would have been happy to know that we did exactly what he wanted us to do.
But the matter does not end here. Allama Iqbal in his letter of March 29, 1937 to the Quaid-i Azam had said:
While we are ready to cooperate with other progressive parties in the country, we must not ignore the fact that the whole future of Islam as a moral and political force in Asia rests very largely on a complete organization of Indian Muslims.
According to Allama Iqbal the future of Islam as a moral and political force not only in India but in the whole of Asia rested on the organization of the Muslims of India led by the Quaid-i Azam.
The "Guide of the Era" Iqbal had envisaged in 1926, was found in the person of Muhammad Ali Jinnah. The "Guide" organized the Muslims of India under the banner of the Muslim League and offered determined resistance to both the Hindu and the English designs for a united Hindu-dominated India. Through their united efforts under the able guidance of Quaid-I Azam Muslims succeeded in dividing India into Pakistan and Bharat and achieving their independent homeland. As observed above, in Allama Iqbal's view, the organization of Indian Muslims which achieved Pakistan would also have to defend other Muslim societies in Asia. The carvan of the resurgence of Islam has to start and come out of this Valley, far off from the centre of the ummah. Let us see how and when, Pakistan prepares itself to shoulder this august responsibility. It is Allama Iqbal's prevision.


The Holy Prophet has said:


of the foresight of the believer Beware for he sees with Divine Light.
Lab Pe aati hai dua banke tamanna merii
lab pe aatii hai duaa banake tamannaa merii
zindagii shammaa kii surat ho Khudaayaa merii
duur duniyaa kaa mere dam a.Ndheraa no jaaye
har jagah mere chamakane se ujaalaa ho jaaye
ho mere dam se yuu.N hii mere watan kii ziinat
jis tarah phuul se hotii hai chaman kii ziinat
zindagii ho merii parawaane kii surat yaa rab
ilm kii shammaa se ho mujhako mohabbat yaa rab
ho meraa kaam Gariibo.n kii himaayat karanaa
dard-ma.ndo.n se zaiifo.n se mohabbat karanaa
mere Allah buraaii se bachaanaa mujhako
nek jo raah ho us raah pe chalaanaa mujhako
Allama Iqbal
Shivala
sach kah duu.N ai brahman gar tuu buraa na maane
tere sanam kado.n ke but ho gaye puraane
apano.n se bair rakhanaa tuu ne buto.n se siikhaa
jang-o-jadal sikhaayaa vaa_iz ko bhii Khudaa ne
tang aake aaKhir mai.n ne dair-o-haram ko chho.D
aavaa_iz kaa vaaz chho.Daa, chho.De tere fasaane
patthar kii muurato.n me.n samajhaa hai tuu Khudaa hai
Khaak-e-vatan kaa mujh ko har zarraa devataa hai
aa Gairat ke parde ik baar phir uThaa de.n
bichha.Do.n ko phir milaa de.n naqsh-e-du_ii miTaa de.n
suunii pa.Dii hu_ii hai muddat se dil kii
bastiiaa ik nayaa shivaalaa is des me.n banaa de.n
duniyaa ke tiiratho.n se uu.Nchaa ho apanaa tiirath
daamaan-e-aasmaa.N se is kaa kalas milaa de.n
har subah mil ke gaaye.n mantar vo miiThe miiThe
saare pujaariyo.n ko mai piit kii pilaa de.n
shaktii bhii shaantii bhii bhakto.n ke giit me.n hai
dharatii ke baasiyo.n kii muktii priit me.n hai
Allama Iqbal
Sitaaro.N se aage jahaa.N aur bhii hai.N
sitaaro.n se aage jahaa.N aur bhii hai.n
abhii ishq ke imtihaa.N aur bhii hai.n
taahii zindagii se nahii.n ye fazaaye.n
yahaa.N saika.Do.n kaaravaa.N aur bhii hai.n
kanaa'at na kar aalam-e-rang-o-bu par
chaman aur bhii, aashiyaa.N aur bhii hai.n
agar kho gayaa ek nasheman to kyaa
Gam maqaamaat-e-aah-o-fugaa.N aur bhii hai.n
tuu shahii.n hai parwaaz hai kaam teraa
tere saamane aasmaa.N aur bhii hai.n
isii roz-o-shab me.n ulajh kar na rah jaa
ke tere zamiin-o-makaa.N aur bhii hai.n
gae din kii tanhaa thaa mai.n a.njuman me.n
yahaa.N ab mere raazadaa.N aur bhii hai.n
Allama Iqbal
Mohabbat ka junuu.N baaqii nahii.N hai
mohabbat ka junuu.N baaqii nahii.n hai
musalamaano.n me.n Khuun baaqii nahii.n hai
safe.n kaj, dil pareshan, sajdaa bezuuk
ke jazabaa-e-a.ndruun baaqii nahii.n hai
rago.n me.n lahuu baaqii nahii.n hai wo dil,
wo aawaaz baaqii nahii.n hai
namaaz-o-rozaa-o-qurbaanii-o-haj
ye sab baaqii hai tuu baaqii nahii.n hai
Allama Iqbal
Taraana-E-Hind
saare jahaa.N se achchhaa hindustaan hamaaraa
ham bul_bule.n hai.n is kii ye gulistaa.N hamaaraa
Gurbat me.n ho.n agar ham rahataa hai dil vatan me.n
samajho vahii.n hame.n bhii dil ho jahaa.N hamaaraa
[Gurbat = exile/in an alien land]
parvat vo sab se uu.Nchaa ham_saayaa aasmaa.N kaa
vo santarii hamaaraa vo paasabaa.N hamaaraa
[ham_saayaa = neighbour][santri = sentry; paasabaa.N = guardian/watchdog]
godii me.n khelatii hai.n is kii hazaaro.n nadiyaa.N
gulshan hai jin ke dam se rashk-e-janaa.N hamaaraa
[rashk-e-janaa.N = envy of Paradise]
ai aab-e-ruud-e-gangaa vo din hai yaad tujh ko
utaraa tere kinaare jab kaaravaa.N hamaaraa
mazhab nahii.n sikhaataa aapas me.n bair rakhanaa
hindii hai.n ham vatan hai hindustaa.N hamaaraa
[mazhab = religion]
yuunaan -o-mishr-o-romaa sab miT gaye jahaa.N se
ab tak magar hai baaqii naam-o-nishaa.N hamaaraa
[yuunaan = Greece; misr = Egypt; romaa = Rome]
kuchh baat hai ki hastii miTatii nahii.n hamaarii
sadiyo rahaa hai duhman daur-e-zamaa.N hamaaraa
'Iqbal' ko_ii maharam apanaa nahii.n jahaa.N me.n
maaluum kyaa kisii ko dard-e-nihaa.N hamaaraa
[maharam = confidant; dard-e-nihaa.N = hidden pain]
Allama Iqbal